Opus Colorado


Cellist Inbal Segev and the Boulder Chamber Orchestra are sensational

Friday evening, November 7, I attended a concert by the Boulder Chamber Orchestra under the direction of Maestro Bahman Saless. This excellent program was comprised of Igor Stravinsky’s Octet for Winds, Mozart’s Serenade Nr. 12 for Winds in C minor, K. 388, and a work that I was totally unfamiliar with, the Concerto for Cello and Wind Orchestra, by pianist and composer Friedrich Gulda. The cellist who performed the Gulda Concerto was absolutely marvelous: Inbal Segev.

Maestro Seles opened the concert with the Stravinsky Octet which is scored for flute, two clarinets: one in B-flat and one in A; two bassoons, trumpets in C and A, tenor trombone, and bass trombone. According to some scholars, Stravinsky began composing this work in 1922; however, there is a sketch of 12 bars that were to become part of the waltz variation in the second movement. It is fairly certain that Stravinsky wrote those 12 measures as early as 1919.

The first movement is written in a straightforward sonata allegro form with a slow introduction. The second movement is a theme and variations, which, like the first movement, harkens back to traditional form. It even makes use of a fugue, but perhaps, the most startling variation, is the waltz, which is arrived at with no warning whatsoever. As the program notes state, the third movement is based on a Russian circle dance called a “Khorrod,” or occasionally spelled Khorovod. This is a syncopated dance in which Stravinsky almost begins to emulate a fugue once more.

This Stravinsky Octet is a difficult piece. In fact, and this is a point that needs to be made strongly, everything on Fridays program was difficult, but wonderfully done, because the musicians on stage were all excellent. I have previously written that the quality of musicians in the Boulder Chamber Orchestra is extremely high, and that sentiment was brought home with force Friday evening. Stravinsky certainly enjoyed using woodwinds in his compositions, and his use and difficulty of rhythm is truly pronounced in this work. There was a remarkable sense of energy and rhythmic precision that made the performance truly exceptional. As often as I have heard the Boulder Chamber Orchestra perform, I have come to know many of the musicians by name; however, there are some musicians whose names I do not know. Therefore, I ask forgiveness if I have misnamed any of the musicians, but I believe them to have been Cobus du Toit, flute; Kellan Toohey, B Flat and A clarinet; Kaori Uno-Jack and Kent Hurd, bassoon; Andrew Converse and Kiel Lauer, trombone; and John King and Reid Johnson, trumpet. These musicians made the march, which appears in the first movement, a wonderful, an almost caricature, of a march, wherein Stravinsky seems to be enjoying himself immensely. It was delightfully done, and the virtuosity of the musicians was remarkable.

Following the Stravinsky, the Boulder Chamber Orchestra performed Mozart’s Serenade Nr. 12 for Winds in C minor, K. 388. This Serenade was written in 1782, the same year as the Haffner Symphony, K. 385, and while Mozart was also writing his opera, Abduction From the Seraglio. This was a rare period in Mozart’s life when he was not receiving regular commissions, and many of the works composed during this time were not finished. However, this Wind Serenade, the Haffner Symphony, and, of course, the Abduction From the Seraglio are among his finest works.

This work is scored for two oboes, two bassoons, two French horns, and two clarinets. At the risk of sounding as if I am repeating myself, it was the skill and virtuosity of these performers (and of course Mozart’s ability) that truly brought this work to life. But I cannot state strongly enough how fine this evening’s concert was. Max Soto, Kimberly Brody, Kaori Uno-Jack, Kent Hurd, Kellan Toohey, Heidi Mendenhall, Christen Adler, and Devon Park are outstanding musicians. I hasten to point out that from where I was sitting, I could not see who the other French horn player was.

This particular Wind Serenade, unlike the Serenade For Winds in E Flat Major, K. 375, is quite a serious work. The E Flat Serenade has five movements, and is quite cheerful and outgoing in character. However, K. 388 has only four movements, and truly takes on the strength of a symphony complete with an introduction to the first movement. In this work, the musicians were so attuned to each other in their precision of phrasing, dynamics, and precision of note values. For example, if the oboes were playing portato notes (portato is a note value shorter than legato, but longer than staccato), and the oboes were followed by the bassoons who also played portato, the bassoon portato was exactly the same length as the oboe’s. That makes a big difference in the way any piece of music sounds to an audience: there are no ragged edges, and the Viennese charm with which Mozart writes is clearly evident. It was pure Mozart. The oboe, wonderfully performed by Max Soto, has the dominant melodic interest, while the bassoons supply the forward momentum. In so many ways, Mozart has scored this work as he would a symphonic work: the horns provide the harmonic support for the oboe, and occasionally there are wonderful, shared solos between the horn and oboe. Maestro Saless truly seemed to understand that the musicians he was conducting were excellent, as he did not seem to be forcing any kind of interpretive conducting upon them. And there is no question that he knew precisely what Mozart intended.

Following the intermission, the cellist Inbal Segev joined the Boulder Chamber Orchestra for the performance of Friedrich Gulda’s Concerto for Cello and Wind Orchestra. Before I begin to discuss Friedrich Gulda, I will quote from Inbal Segev’s bio statement on the web:

“Inbal Segev’s playing has been described as ‘characterized by a strong and warm tone . . . delivered with impressive fluency and style,’ by The Strad and ‘first class,’ ‘richly inspired,’ and ‘very moving indeed,’ by Gramophone. Equally committed to new repertoire for the cello and known masterworks, Segev brings interpretations that are both unreservedly natural and insightful to the vast range of solo and chamber music that she performs.

“Segev’s repertoire includes all of the standard concerti and solo works for cello, as well as new pieces and rarely performed gems. In June 2012, she gave the U.S. premiere of Maximo Flugelman’s Cello Concerto led by Lorin Maazel at the Castleton Festival, in Virginia near Washington DC. In February 2013, she gave the world premiere of Avner Dorman’s Cello Concerto with the Anchorage Symphony Orchestra, and then performed the work with the Hudson Valley, the Orquesta Sinfónica Nacional de Colombia in Bogota, and the Youngstown Symphony. …Composer Gity Razaz is currently at work on a new multimedia piece for Segev, which will premiere in spring 2015 and explores the themes of birth, transformation and death through the retelling of an Azerbaijani folktale.

“Inbal Segev is currently recording all of Bach’s works for solo cello for commercial release in summer 2015. Her recording sessions are taking place at the Academy of Arts and Letters in New York City. Audiences will have the opportunity to look behind the scenes at the making of this album through Inbal Segev’s PledgeMusic campaign, launching in November 2014. Segev’s new album will be released with a companion documentary about her journey through the music of Bach. Segev’s discography includes two previous solo albums – Sonatas by Beethoven and Boccherini (Opus One) and Nigun, a compilation of Jewish music (Vox). She has also recorded Max Schubel’s Concerto for Cello (Opus One). With the Amerigo Trio, she has recorded serenades by Dohnányi for Navona Records.

“…She made debuts with the Berlin Philharmonic and Israel Philharmonic, led by Zubin Mehta, at age 17.

“Segev’s many honors include the America-Israel Cultural Foundation Scholarship (which she began receiving at the age of seven), and top prizes at the Pablo Casals International Competition, the Paulo International Competition, and the Washington International Competition. She began playing the cello in Israel at age five and at 16 was invited by Isaac Stern to come to the U.S. to continue her studies.

“Segev earned a Bachelor’s degree from The Juilliard School and a Master’s degree from Yale University, studying with noted masters Joel Krosnick, Harvey Shapiro, Aldo Parisot, and Bernhard Greenhouse, cellist and founder of the Beaux Arts Trio.

“Inbal Segev (pronounced Inn-BAHL SEH-gehv) lives in New York with her husband, and three young children – twins Joseph and Shira, and Ariel. Segev performs on a cello made by Francesco Rugeri in 1673. She is managed by Barrett Vantage Artists.”

Without exaggeration, I will say that Inbal Segev is one of the finest cellists that I have heard. Her musicianship and prodigious technique remind me very much of the late Janos Starker, whom I had the great good fortune of hearing on many occasions because he taught at my undergraduate school. Every note that she plays is clear, and is done with the obvious conviction that it must relate to an overall scheme. That may sound like an obvious thing to say about a musician, but there are many musicians that I have heard where that simply is not the case.

Friedrich Gulda (1930-2000), whose Cello Concerto was performed by Segev, was a pianist (who can forget his Beethoven and Mozart recordings?) who became a composer as well. He courted controversy almost all of his life because he combined jazz with classical music, often dressed in a bizarre fashion, interrupted his concerts to improvise for the audience, and sometimes tapped his feet while he was performing, which annoyed the audience endlessly. In his compositions, as I mentioned above, he often combined jazz and other influences which annoyed the critics, and drove jazz musicians to distrust him because it was not pure jazz. However, he did study jazz piano with Chick Corea, and he performed with Miles Davis. In his effort to combine so many different aspects of music, he began to alienate the public, and it was almost as if he became bored with being the “traditional concert pianist.” He tried, valiantly to combine many arts into one pianistic expression. It clearly seemed as though the critics did not want, and therefore refused, to understand what he was trying to accomplish. It reminds me, quite seriously, of some of the rejections that the American composer John Cage suffered: the music world at large seemed disinterested in what he was trying to accomplish.

The Concerto for Cello and Wind Orchestra is a wonderful piece that combines jazz, blues, and some Eastern European jazz elements. It certainly sounds almost like beer hall music.

Guitarist Patrick Sutton, tuba player, Michael Dunn, Paul Mullikin, percussion, and bassist, Kevin Sylves, joined the Boulder Chamber Orchestra for this performance, make no mistake about it: this is a very difficult piece. This work contains a movement entitled Cadenza, in which the cellist improvises for the entire movement. Remember that cadenzas in concertos were almost always improvised, but often, some composers began to compose cadenzas in order to make sure that a relationship between the main themes and the cadenza was preserved. Nonetheless, the composers usually gave the performer the option of playing his own improvised cadenza.

Inbal Segev’s technique is one of the most formidable that I have heard, but like Janos Starker’s technique, it is always used to display the music and what the composer wished, rather than to impress the audience. Nothing was left to the imagination. I can remember a chamber literature class, wherein Janos Starker, after hearing a student perform the first movement of the César Franck Violin Concerto, said, “They say that a picture is worth 1000 words. You have just increased our vocabulary by 750 words. You must always aim for 1000.” There is no doubt that Inbal Segev is always complete. The portion of the first movement that sounded like jazz blues was done with total conviction. The portion of the last movement that sounded like “German beer hall” music sounded like German beer hall music without any hint of apology. She had the stamina and skill to do exactly what Friedrich Gulda wanted done in his composition. It was a wonderful performance and wonderful to listen to, and I hasten to point out that she received a very well deserved standing ovation. Some will say that this concerto was a carefree work, but I would disagree. I think that it was a very serious work that had cheerful moments, but it also had some moments that were incredibly moving. Inbal Segev showed that it was a serious work by delving into it, and producing some absolutely wonderful music. By demand, she performed an encore: the Gigue from the Unaccomapnied Suite for Cello, Nr. 1, by J.S. Bach.

This concert was one of the best I have ever heard from the Boulder Chamber Orchestra. Maestro Bahman Saless has surrounded himself with truly fine musicians, which, it would seem, is very easy to do when one is such a skilled musician himself.



The Boulder Chamber Orchestra with Soto and Korevaar: Truly exceptional in every way

Saturday evening, December 21, I attended a concert given by the Boulder Chamber Orchestra under the direction of Bahman Saless, given at the Montview Boulevard Presbyterian Church in Denver. The title of this particular program was A Gift of Music, and, I must say, that certainly turned out to be the case. There were two remarkable soloists. David Korevaar performed Mozart’s Piano Concerto in A Major, K. 414, and the BCO’s own Max Soto performed a work by Boulder composer Bill Douglas, entitled Songs and Dances for Oboe and Strings. Also on the program was George Frideric Handel’s well-known Water Music Suite Nr. 1 in F Major. This program was indeed a gift because there were two well-known works on the program, the Handel and the Mozart, but also, because there was a brand-new piece that I have never heard before, and that was the work by Bill Douglas.

Maestro Saless opened the program with the Handel. Handel had left Germany for England because he did not particularly like the patronage system that was in Germany, where the type of music he wrote was dictated to him by the royalty. In England he hoped to be able to compose more freely. The three Water Music suites, as the program notes pointed out, came about because King George I was trying to improve his image before the English people. He took some barge trips on the Thames from London to Chelsea, which, in today’s vernacular, we would call a ‘photo op,’ in order to prove to the people that he could mingle.

The Suite Nr. 1 is well-known for its tricky French horn writing, and this certainly gives the piece its immediate identity. The first movement of the six part suite opens with trills in the violins, and then in the horns. I was impressed immediately by the fact that the trills in the violins were together (each note!) as well as in the horns. As a matter of fact, Devon Park and Megan Rubin, French horn, were outstanding all the way through this work by Handel. I also hasten to point out that the violins have taken on a new life this season because of all the new faces. Annamaria Karacson, Concertmaster, did not play Saturday evening, because she was serving as concertmaster in the Colorado Ballet’s The Nutcracker. Principal Second violinist, Gyongyver Petheo, took her place, and another violinist who I believe was Michaela Borth, moved up one chair. The reason that I mention all of this is that this season, the Boulder Chamber Orchestra has demonstrated a great deal of depth with many new faces. I had the opportunity Saturday evening to sit very close to the violins, and because of that, I could hear the violinists individually. Some of the ornaments in the Handel are difficult, but, as one might expect, they were accomplished with great ease. In the second movement, which Handel has marked Adagio e staccato, there was some very nice work done by the oboes, Max Soto and Kim Brody, and bassoonist, Kent Hurd. The entire orchestra reflected a new precision and care Saturday evening. It is as if the new members of this orchestra have infected the entire group with a new sense of meticulousness. The Handel was full of spirit and drive, and it truly did seem as if they were in total agreement with Maestro Saless every step of the way.

Following the Handel, and immediately before the Douglas work, Maestro Saless inserted a seasonal carol entitled Chanukah, Chanukah. This was the first time I had heard this Carol and it was very definitely a slow-fast-slow dance form. I am sure that it was using the Ahava Rabbah scale which is used throughout Israel, Turkey, and Lebanon, at least. It is similar to a modified Phrygian mode. But this was a marvelous piece of music, and it was very definitely emotional in its celebratory spirit.

Next on the program Maestro Saless and the Boulder Chamber Orchestra principal oboist, Max Soto, performed a work by Boulder composer Bill Douglas entitled, Songs and Dances for Oboe and Strings. I will quote from Douglas’ website:

“I was born in London, Ontario, Canada on November 7, 1944. My father played trombone and sang in a big band, and my mother played organ in church. My earliest memory is of myself playing in a one-man band with toy instruments when I was three. I began piano lessons at four and I taught myself ukulele and guitar when I was about eight or nine….

“From 1962-66, I attended the University of Toronto and obtained a BA in music education. During this time, I became very interested in 20th century classical music, and started composing pieces influenced by Anton Webern, Elliott Carter, and Igor Stravinsky, as well as such contemporary jazz artists as Paul Bley and Gary Peacock. I played fourth bassoon in the Toronto Symphony, and I often played jazz piano gigs on weekends.

“I was awarded a Woodrow Wilson Fellowship in 1966, and attended Yale University from 1966-69. There I met clarinetist Richard Stoltzman, and we have been touring and recording ever since. In 1967, I played three concerti with the Toronto Symphony. I received a Master of Music degree majoring in bassoon in 1968, and a Master of Musical Arts degree in composition in 1969. At this time, I was writing very avant-garde atonal music. After Yale, I received a Canada Council award to study composition in London, England, for a year.

“In 1977, I moved to Boulder, Colorado, to teach at the Naropa Institute. I continue to teach there and to tour with Richard Stoltzman and my own groups. With Richard, I also often play with bassist Eddie Gomez. Some of my bassoon students from Cal Arts moved to Boulder with me, and we formed the Boulder Bassoon Band which played together for twenty years.”

This was the first time I have heard this composition. It is a very impressive piece, which has the overall quality of a pastorale, even though these movements are all dance movements. The movements are listed as, I. Bebop Jig; II. Folksong; III. Afro-Cuban Baroque; IV. Lament; and V. Celtic Waltz.

This is truly a beautiful piece of music, and it seemed to me that it was very well suited to Soto’s marvelous ability on the oboe. The Bebop Jig is full of difficult rhythms, and in spite of its lively character, has a certain plaintiveness about it. The program notes explained that in Part II of the suite, Folksong, that Douglas was inspired by the folk music of the British Isles. Indeed, this was a beautifully lyric work which displayed the newfound richness that the violin section has. It also gave Max Soto the opportunity to show that he could match that ambience with his oboe. But, for me, the most exciting portion of this work (and it is difficult to make this choice because the entire work is so excellent, as was Soto’s playing) was Part III entitled, Afro-Cuban Baroque. This was a vigorous tango that was so skillfully written that I could not help but compare it to the work done by Arturo Márquez or Luis Jorge González. It was as elegant as it was spirited, and I must say that the Boulder Chamber Orchestra seemed to have the same affinity for a tango that the Costa Rican native, Max Soto, displays without effort. If you can imagine a tango being lyrical and carefree, that is the character that Soto gave this movement. Yes, it was fast at times but Soto and the orchestra seemed to be totally relaxed. I could have listened to Part III all night long. Part IV of this suite of dances was named Lament, and Part V, Celtic Waltz. Bill Douglas and Max Soto seem to have created a piece of music that has a narrative. That almost seems a shallow way to describe this work, but the narrative is so skillfully done that it could be applied to anything the listener wishes.

When Songs and Dances for Oboe and Strings came to an end I was genuinely disappointed. I would love to hear this piece again and again.

In the closing weeks of 1782, Wolfgang Amadeus Mozart began work on several compositions: piano concertos K. 413, K. 414 (most likely completed by December 28, 1782), and K. 415. The G major string quartet was completed December 31, 1782. Also, we know that he had begun work on the C minor Mass at this period of time because it was mentioned in a letter to his father on January 4, 1783. This is, quite obviously, a truly Herculean effort on Mozart’s part. In many ways, it was spurred by his satisfaction of leaving Salzburg, where he had been very unhappy, for Vienna. He remained in Vienna until 1786, when the Viennese failure of The Marriage of Figaro received fewer than ten performances. This was due to the musical politics of the Italian clique in Vienna.

The A Major Piano Concerto was performed Saturday evening by David Korevaar, well-known faculty member at CU-Boulder. Korevaar has amazing concentration which keeps him very relaxed, and this was even more noticeable Saturday evening because the front row seats at the Montview Boulevard Presbyterian Church seemed to be immediately at the end of the keyboard. But I assure you that did not phase David Korevaar one bit. The minute the Boulder Chamber Orchestra and Maestro Saless began to perform, Korevaar was deep in concentration. His playing was, as usual, quite remarkable. This concerto has six major subjects in the first movement alone, and Korevaar carefully delineated each one in the most delightful way imaginable, through impeccable dynamic phrasing and nuance, which did not exceed the style of the Classical Period. It seemed that his ease at the keyboard inspired the orchestra to follow his every move with an effortlessness which was almost serene: Maestro Saless and the Boulder Chamber Orchestra easily demonstrated that they were just as musically reliable as David Korevaar. It was very clear throughout this entire concerto that everyone on stage was thoroughly enjoying each other’s company, and I assure you that for the solo performer that can be not only a very warm feeling, but a very great compliment.

The slow movement in K. 414 is a Sonata allegro form, with its main subject taken from an overture composed by Johann Christian Bach, who was Mozart’s childhood friend and teacher. As the program notes state, J.C. Bach died on New Year’s Day in 1782. This movement is so lyrical that its solemnity can almost be overlooked, and Korevaar gave it great warmth which was not at all destroyed by his meticulous shaping of each phrase. There has never been anything mechanical about the way Korevaar plays.

The third movement is a very affable and congenial movement presented in a way that only Mozart can accomplish, in spite of the complexities of its counterpoint. As my memory serves me, the last movement is written in a 2/4 meter, and is in a rondo form. It is, technically, the most difficult of the three movements, but it genuinely seemed as though Korevaar was saying to the audience, “Yes, it is difficult, but it is also an incredible joy to play, and that makes it very easy.” Again, the interchange between Korevaar and the Boulder Chamber Orchestra was something to behold: it was a remarkable and artistic collaboration.

I truly believe that I have never heard the Boulder Chamber Orchestra and Maestro Bahman Saless perform so well. On the other hand, when the orchestra has two fine soloists such as Max Soto and David Korevaar, their task becomes much more delightful. It was also a great pleasure at Saturday evening’s performance to see so many young people in the audience, even though the weather caused the audience to be somewhat sparse. Because of the intimate surroundings, these young people were able to hear a truly fine performance.



The “New” Boulder Chamber Orchestra is terrific

It is always very exciting when an organization that is already outstanding improves even more. Such is the case with the Boulder Chamber Orchestra under the directorship of Maestro Bahman Saless. The first concert of this season that I was able to attend was Saturday, November 9, at the Broomfield auditorium. They performed Mozart’s Symphony Nr. 29 in A Major, K. 201; Britten’s Les Illuminations, sung by Szilvia Schranz; and Beethoven’s Piano Concerto Nr. 2 in B flat Major, Op. 19.

There were many new faces in the orchestra, but particularly in the violin section. But, do not worry; Annamaria Karacson is still the Concertmaster. The result of the heavy changes, at least to my ear, was an amazing precision in dynamically shaped phrases which were shared by everyone, and very accurate attacks and releases in entrances. This new accuracy seems to be contagious, for the “old hands” in the orchestra played better than ever Saturday evening. Aniel Cabán was again superb as first chair viola, as was Joey Howe, Principal Cello, Cobus du Toit, flute, and Max Soto and Kimberly Brody, both on oboe. Just because I don’t mention everyone in all of the sections certainly does not mean that they escaped my attention for excellent playing. The entire orchestra seemed to be breathing fresh air.

Another reason I was delighted with this concert is purely personal: they opened with the Mozart Symphony Nr. 29, which happens to be one of my favorites. It is also regarded the world over as the first of Mozart’s mature style and symphonic writing, even though he was eighteen years old when he wrote this work. The word symphony (coming from the word ‘sinfonia’ in Italian), until the middle of the 18th century, could be applied to almost any style of composition for orchestra with different characters: suites, overtures, and even the interludes in oratorios. It was the Mannheim composers, those that came before Haydn, and the Bach sons, who contributed so greatly to the development of the sonata form and its use in the symphony. Mozart’s 29th symphony marks his change from the Italianate style to one of thematic development, richer motives, and a genuine balance between first and last movements.

From the outset, the change in this orchestra was apparent. The new precision was evidenced in the absolute accuracy of the dotted rhythms. In addition, the transparency of Mozart’s style can make it very obvious if someone in the orchestra is playing out of tune. This simply was not the case on Saturday. The entire orchestra was superbly in tune, and exhibited great care in the kind of sound they were producing. They played with such a new confidence, that it was very easy to sit back, relax, and share their amazement at the ability of an eighteen-year-old composer who could write such a work. It truly seemed as if they were able to put all of their musicianship into Mozart. The performance was warm, graceful, delicate where it needed to be delicate, and full of vigor. It was a delightful performance.

Following the Mozart, Szilvia Schranz sang Benjamin Britten’s Les Illuminations. For those of you who are unfamiliar with this work, it is a musical setting of Arthur Rimbaud’s cycle of poems. Keep in mind that Rimbaud was one of the Symbolist poets of the nineteenth century. Christine Brooke-Rose in her Grammar of Metaphor explains that in symbolist poetry “… The proper term is replaced altogether by a metaphor, without being mentioned at all.” Of course, the proper term or thing must be hinted at, or at least deciphered, from the context. I hasten to point out that some symbolist poetry simply cannot be ‘deciphered.’ Many of the symbolist poets visualized their poetry as expressing through its sensible instrumentality, something that is insensible. In addition, one of the elements that must be mentioned here is that in symbolist poetry, the lyrical self does not speak in the first person, but yields its place to a suggestive and impersonal lyrical object. For example a symbolist poet who is trying to express a search for meaning in life, might describe himself as a wandering ship.

The point of all this discussion is that symbolist poetry has a certain “musicality of language” which was recognized by Benjamin Britten, who clearly understood a great deal about poetry, especially from his friendship with W. H. Auden. Britten’s settings of Rimbaud’s poems are lyricism personified, and it is very clear that Szilvia Schranz recognized this. Her performance of this work was very emotional, and as one followed the translation in the program notes, one became aware of the “inherent search” in Rimbaud’s poetry: “Bordered by colossi and copper palms, ancient craters bellow melodiously through flames.… Groups of belfries sing the people’s ideas. Unfamiliar music escapes from castles of bone.”

There is no question that for a singer, this is a difficult piece. It not only demands perfect voice control which Ms. Schranz has in abundance, but that control must not get in the way of interpretive drama. In addition, one has to have a very keen sense of pitch, and enough control to land squarely on pitch every single time. Her performance was incredibly beautiful, and very sensitive, conveying the extraordinary sense of futility that is inherent in Rimbaud’s text. A few years ago, I was fortunate to hear Ms. Schranz perform Samuel Barber’s Knoxville: Summer of 1915, which is one of my favorite compositions of the twentieth century. That was a stunning performance as well, just as this one was. I would also point out, that in this work Aniel Cabán’s performance on the viola was superb.

The Boulder Chamber Orchestra performed beautifully in this work. There was immediate and solid communication between Maestro Saless and Szilvia Schranz, without any confusion or haste, proving beyond a doubt, that Ms. Schranz is a solid and very reliable musician. She and Maestro Saless were very comfortable with one another, which allowed them to concentrate on making music.

I will quote from the bio statement on her website:

“Ms. Schranz was born in Budapest, Hungary into a family of musicians that had worked for generations in the Hungarian National Opera and Hungarian Festival Orchestra. At the age of 10, her family escaped their country’s oppressive communist government to relocate in Boulder, Colorado where her father’s string quartet, the Grammy-winning Takács Quartet, [was] appointed as musicians-in-residence at the University of Colorado School of Music.

“After graduating from the University of Colorado, Ms. Schranz performed at the Denver Center for Performing Arts with their Tony-award winning theater company in the Tempest. She then went to further her studies at the Guildhall School of Music and Drama in London where she studied with Vera Rózsa, who also taught such renown singers as Kiri Te Kanawa and Anne Sofie Von Otter. After a year’s study in London, she received a post-graduate diploma in vocal training.

“While in London she appeared several times with the London Chamber Soloists, including solo performances of Mahler’s Des Knaben Wunderhorn at the Queen Elizabeth Hall, as well as in Mozart’s Requiem and Haydn’s Creation at St. Martin in the Fields. She also sang at a charity concert for the Kensington Housing Trust at the Leighton House in London.

“Today, Ms. Schranz studies with Julliard’s Daniel Ferro, while expanding her career as a solo and opera singer from her home in Manhattan.”

Following the intermission, pianist Soheil Nasseri, joined the Boulder Chamber Orchestra in performing Beethoven’s Piano Concerto Nr. 2 in B flat Major. I think most concertgoers are familiar with the reverse publication dates concerning Beethoven’s first piano concerto and his second, so I will not dwell on those details.

Quoting from Nasseri’s website:

“Pianist Soheil Nasseri has been lauded by The New York Times as “consistently interesting… consistently thoughtful… a vivid imagination. Filled with character…” and by the Berliner Zeitung as “Fantastic! A real talent. [In Beethoven] We in the audience could not possibly have had more fun.” In addition to critical acclaim for his playing, The New Yorker has noted that Mr. Nasseri is “one of New York’s most prolific recitalists.” Since 2001 he has performed 20 completely different solo recital programs in New York, all without repeating a single piece: at Carnegie Hall’s Weill Recital Hall, at Alice Tully Hall, Lincoln Center, and at Merkin Concert Hall. These concerts included 25 premières of contemporary works in addition to 30 of Beethoven’s 32 piano sonatas, a part of Mr. Nasseri’s pledge to perform all of Beethoven’s works involving piano by the 250th anniversary of Beethoven’s birth in 2020.

“Born in Santa Monica, California, Soheil Nasseri began studying the piano at the age of five and at the age of twenty moved to New York in part to study with Karl Ulrich Schnabel. In 2001 Mr. Nasseri became a protégé of Jerome Lowenthal who remains Mr. Nasseri’s mentor today. Other teachers include Irina Edelman, Claude Frank, Anna Balakerskaia, Clinton Adams, Eva Pierrou, and Ann Schein.”

Soheil Nasseri deserves all of the accolades above. As a pianist, he is extremely relaxed, and has an astonishing ability to play extremely softly, and not allow himself to be covered by the orchestra. His knowledge of Beethoven is profound, with all of the clarity and dynamic contrasts that Beethoven demands. His playing can be very articulate, and then wonderfully lyrical, and his concentration on what he is doing is total, and very confident. He demonstrated remarkable finesse in his phrasing, and every aspect of musicianship that can be verbalized. The only thing that I would change in his performance ability is his penchant for stomping his right foot on the damper pedal and the stage. That created a substantial amount of noise, and gave rise to my expectation that he might explode into the theatrical movements that some pianists of today seem to think is necessary when performing. He did not do that, but, nonetheless, he made a great deal of noise with his right foot. It was a real distraction to his fine playing.

There was another aspect of Mr. Nasseri’s performance that bears mention, and which was not at all expected. At the beginning of the concert, Maestro Saless explained to the audience a few things to listen for in the Mozart Symphony. When Szilvia Schranz came out on stage to perform the Britten, Maestro Saless handed her the microphone, and she gave us some insight into her performance. When Mr. Nasseri came out on stage, Maestro Saless handed him the microphone. However, instead of offering insights into the Beethoven Concerto, Nasseri delved into a standup comedy routine, a la Lenny Bruce, complete with foul language, that had no bearing whatsoever on his performance of the piano concerto. It certainly appeared to me that Maestro Saless was clearly surprised and taken aback, as was the audience. After about five minutes of this, Nasseri asked the audience if they wanted to hear the concerto, and everyone nodded their heads, and said yes. He then proceeded to play, and, as I said, he played very well. I do not know what caused his desire to do a “standup comedy routine,” but it reminded me of the nineteenth century pianist named Daniel Steibelt, who would play the piano while his wife performed on the tambourine. I thought that Nasseri’s actions were entirely uncalled for, and I stress that it is my opinion that Maestro Bahman Saless, everyone on stage, and in the audience, was dumbfounded. I would suggest to Soheil Nasseri that no matter where he plays, if he wishes to be asked back, that he concentrate on his art, rather than contribute to its denigration.



World Class Hsing-ay Hsu and the Boulder Chamber Orchestra are stunning!

I have attended three or four concerts this concert season where the musicians involved in the performance truly seemed totally energized and excited by the music they were going to perform. Such was the case Saturday evening, May 11th, with the Boulder Chamber Orchestra under the direction of Maestro Bahman Saless. They performed an all-Beethoven program at the Broomfield Auditorium in front of a full house.

The Boulder Chamber Orchestra opened the program with the overture to Beethoven’s only ballet, The Creatures of Prometheus. A result of an association with the choreographer Salvatore Viganò in 1800, it was first performed on March 28, 1801. At the time, it was quite popular, and received twelve performances, but even so, it was eventually criticized as being far too serious for a ballet. This work carries the number Opus 43, which is quite challenging, because it indicates that the work was written quite a bit later than it actually was. We know, for example, that there was a piano arrangement of the score published as Opus 24. It was the publisher, Hoffmeister, who published the score of the overture under the incorrect number Opus 43, which, of course, leads one to believe an incorrect composition date. Beethoven also used the theme from the ballet in his Twelve Contradanses (without opus number), the Variations and Fugue for Piano, Opus 35, and the connection for Saturday evening’s performance, as a major theme in the last movement of his Symphony Nr. 3.

This Beethoven overture is a relatively short work, but it is quite an exciting one, and was well-chosen to begin this program. The work opens with forte chords separated by a considerable space between them. The attacks on each of the chords were perfect, followed by lyrical sections of the full orchestra with the weight of the melodic line carried by the woodwinds. This short introduction is then followed by the theme of the opening chords with an underlayment of sixteenth notes in the strings. This is a very exciting piece of music, and it only works if there is true precision from the violins. That precision was in abundance throughout the whole concert Saturday evening. That sounds like a very obvious thing to say, especially considering the fact that these are all professional musicians, but I assure you there was a very special “edge” to the performance on Saturday. It was full of tension and excitement. The other aspect that I noticed about the performance was that all of the musicians on stage were not only watching Maestro Saless, they were very carefully watching each other. The sforzandos (a marked and sudden emphasis) were as perfectly together as the entrances, and that comes from eye contact with each other, as well as the conductor. Beethoven’s ballet, The Creatures of Prometheus, has fallen by the wayside as far as its popularity is concerned. That, in my opinion, has led many conductors to treat the overture to the ballet as a “filler” piece of music, to be used only when a short work is needed for the program. It was great to hear Maestro Bahman Saless and the Boulder Chamber Orchestra treat it like the genuine piece of music, which it is.

Following the Beethoven overture, Boulder (and world) pianist Hsing-ay Hsu joined the Boulder Chamber Orchestra in the performance of Beethoven’s Piano Concerto Nr. 5 in E Flat Major, Opus 73, known as the “Emperor.”

Surely, everyone in Colorado must, by now, know who Hsing-ay Hsu is; however, I will quote from her bio statement which is on the web:

“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 Asia and Europe.

“Upon entering her freshman year at Juilliard, she won the William Kapell International Piano Competition silver medal. Hsu was also winner of the Ima Hogg National Competition First Prize, the prestigious Juilliard William Petschek Recital Award, a McCrane Foundation Artist Grant, a Paul & Daisy Soros Graduate Fellowship Award, and a Gilmore Young Artist Award. She was also named a US Presidential Scholar of the Arts by President Clinton at the White House.

“A versatile concerto soloist performing Bach to Barber, she is described by the Washington Post as full of ‘power, authority, and self-assurance.’ Concerto collaborations include the Houston Symphony Orchestra as first-prize winner of the 2003 Ima Hogg National Competition, the Baltimore Symphony, the Colorado Symphony, Pacific Symphony (CA), Colorado Springs, Florida West Coast, Fort Collins, New Jersey, Waterbury (CT), China National, Shanghai, Shenzhen, and Xiamen orchestras. Television and radio feature broadcasts include Garrison Keillor’s Prairie Home Companion Live from Tanglewood (for a 10,000+ live audience members and 3.9 million broadcast audience), NPR’s Performance Today with Martin Goldsmith, TCI cablevision’s Grand Piano Recital (CA), CPR’s Colorado Spotlight, China Central National TV, Hong Kong Phoenix TV, and Danish National Radio. She has recorded CD/DVD’s for Pacific Records, Albany Records, and Nutmeg Press labels.

“An advocate of new music, she has given numerous world premieres including Ezra Laderman’s Piano Sonata No. and Beshert; Ned Rorem’s Aftermath (2002) for baritone and piano trio; Daniel Kellogg’s scarlet thread at the Guggenheim Museum in New York and his Momentum, which she commissioned for the 1998 Gilmore International Keyboard Festival; as well as Du MingXin’s Piano Concerto No.3 at the Gulangyu International Piano Festival and National Tour. Chamber music appearances include Carnegie Weill Hall, Bargemusic in New York, the Aspen Music Festival, Tanglewood, the Great Lakes Chamber Music Festival, the Gardner Museum in Boston, the Detroit Art Museum, Denmark’s Viborg Hall, Taiwan’s Novel Hall, and a 2007 all-stars gala in Hong Kong for the 10th anniversary of the reunification. Recent projects include the ongoing multi-media recital China through the Lens of Piano Music, co-directing/performing in the George Crumb at 80 Music Festival, and producing/performing the Olivier Messiaen Centennial series.”

I suppose that it is not without reason that Beethoven’s Fifth Piano Concerto is nicknamed the “Emperor,” though I hasten to point out that nickname did not come from Beethoven. The name arises from the fact that it is a very forceful piece, akin to the “Eroica” Symphony Nr.3, also in E Flat Major (and also performed at Saturday’s concert). Beethoven, perhaps, more than any other composer, has had so much written about him which is full of nonsense by the early romantically-inclined critics, that today, one must realize that listening to a single page of his music is far more instructive than reading a hundred pages of the early literary effusion. The Fifth Piano Concerto is full of sharp forte-piano shadings, and incredible bravura eruptions, but the second movement also contains some of the most idyllic writing to come from Beethoven.

As stated above in her biography, Hsing-ay Hsu takes charge of the piano the moment she sits down. Her playing is full of confidence, and why shouldn’t it be? Consider all of her awards and concert experience. However, she also exudes true musicianship, and understanding of the composer that she is playing. I also hasten to interrupt myself here, to explain that Maestro Saless, in speaking to the audience, clarified that all of works on Saturday’s concert were going to be taken at tempos that were consistent with those of Beethoven’s era. They were faster than the tempos of today. As Hsing-ay Hsu began to play, it was clear that she was comfortable, and in full agreement with the tempos that were no doubt discussed with Maestro Bahman Saless. Her arpeggios ascending the keyboard from the opening chords of the introduction were crystal clear because of her very careful pedal use. She certainly used less pedal on the ascending arpeggios and the accompanying trills at the top than, for example, Claudio Arrau. Yet, it was wonderfully musical. I was also immediately struck with the impression that she was enjoying the Sauter piano because of its clarity of tone, though there were spots in certain registers of the keyboard that seemed a little out of tune, unlike other performances that I have heard on this particular piano. Her playing is so clean that it boggles the mind, and she has such power that it seems there is no chance that the orchestra could cover her. Her playing in the second movement was positively ethereal and dream-like. And, indeed, it is one of Beethoven’s most expressive statements in his entire output. I have often stated that it is sometimes more difficult to play slowly, concentrating on tone production and dynamic shadings, then it is to play fast and loud. Hsing-ay Hsu allowed the second movement to radiate emotion without being overly sentimental, and never once did she leave Beethoven’s style behind. The second movement has a slow transition which gets faster as it progresses, and the third movement of the concerto begins attacca (begin what follows without pausing). The tempo of the third movement was very quick indeed, but Hsing-ay Hsu filled it with the jubilance that I have not heard for some time. Once again, the members of the orchestra were watching each other carefully. The violins and cellos, which could easily see the piano keyboard, were also keeping a sharp eye on Ms. Hsu. It was a perfect example of an orchestra determined to allow the soloist and the conductor to lead them in this piece and offer both individuals all the support they could muster. It was clear that the members of this orchestra truly enjoyed playing with Hsing-ay Hsu because she is such an incredibly reliable musician.

Allow me to explain precisely what I mean by reliable. It means that the soloist not only knows where every note and rest and dynamic marking is, but is able to communicate that with eye contact and gestures with the conductor. In the third movement of this concerto, Ms. Hsu had a miniscule memory slip, and came in a beat late. This is not an extreme criticism by any stretch: it is part of the price of admission of being a soloist. I am confident that no one in the audience spotted this slip because I doubt that anyone in the audience knows the score well enough to spot such a small error, but it did result in an amused smile from Hsing-ay Hsu. Her reliability as a performing musician allowed her great confidence to keep going as if nothing had happened without losing a secondary beat, and it also gave Maestro Saless the confidence to know that she was going to continue without a stumble. She knew the piece so well that her tempo never changed, her eyes never got wide with shock, and she never lost her breath. That is mental and musical reliability, and total knowledge of the work at hand. It is the mark of experience, which is something that is difficult for the audience to understand unless they do it themselves in their own field of endeavor. Hsing-ay Hsu gave a wonderfully exciting performance of this very difficult piece, and her artistry and musical excellence were in a sphere obtained by only a few.

Following Hsing-ay Hsu’s remarkable performance, Maestro Saless and the Boulder Chamber Orchestra performed Beethoven’s revolutionary Symphony Nr. 3 in E flat Major, Opus 55. Note that I used the word “revolutionary.” In truth, all of Beethoven’s symphonies are revolutionary, because he did so many things other composers would not do, as in his first symphony (which is in C major). He starts on the wrong chord, travels through a minor, then F major, and at the beginning of the exposition section, finally settles in C major. Just that aspect startled critics of the day. Of course, being a revolutionary meant that his thinking was in advance of his contemporaries, and that he was misunderstood because his contemporaries refused to look forward. It was due only to later generations to award Beethoven their honor with their enlightenment.

This Third Symphony is so well-known that it really needs no movement by movement explanation. But I must point out that in the first movement the entire cello section was absolutely marvelous. In the second movement the oboes, Max Soto and Kimberly Brody excelled, as did Cobus du Toit and Ginger Hedrick, flute. In fact, the entire woodwind section including Jerome Fleg and Kellen Toohey, clarinet; and Kent Hurd and Kaori Uno, bassoon, were all exceptional. I have never heard the horn section of the Boulder Chamber Orchestra play as well as they did in this Third Symphony. As I said in the opening paragraph of this article, this was a wonderful concert by everyone on stage. It clearly was the best performance I have ever heard the Boulder Chamber Orchestra give. Everyone on stage, guided by Maestro Bahman Saless, had a knowledge of Beethoven that allowed them to present Beethoven in his purist sense. What more could one ask for?



Andrew Cooperstock and the Boulder Chamber Orchestra present rare music

The Boulder Chamber Orchestra presented a very interesting concert at the Broomfield Auditorium Saturday evening. Of the four works presented, the BCO performed two works, one by the American composer Arthur Foote (1853–1937), and the other by Ernest Bloch (1880–1959). Bloch, of course, is much better known than Arthur Foote, but both of these works deserve to be heard today, and these two works contributed to making this concert truly rewarding.

Foote has been overshadowed by other American composers who were more aggressive harmonically, while Foote is often ranked with composers such as Edward McDowell and Amy Beach. To my way of thinking, Foote is considerably better than either of those composers, even though much has been made by a supposed influence of Robert Schumann and Johannes Brahms, and, even Wagner. Comparisons to those three composers are all irrelevant, and the comparison seems to have been made simply because Foote used traditional harmonies, and, therefore, the comparison would seem to be easy. There is absolutely no relationship in his music to Wagner, and precious little to Schumann and Brahms, because his melodic lines are beginning to show an angularity with melodic leaps that, if exaggerated, might presage Copland or Roy Harris, or perhaps, Ferde Grofé. While there is absolutely no evidence that Arthur Foote was influenced by traditional American themes as Copland was, there is an element in his music that is distinctly American.

The work performed Saturday evening was the Suite for Strings in E Major, Opus 63. It is in three movements, Praeludium, Pizzicato and Adagietto, and Fugue. At first glance, the second movement, Pizzicato and Adagietto, would seem to be a two section movement; however, the Pizzicato is repeated after the Adagietto so that it becomes three sections. Originally, there was a fourth movement, a Theme and Variations, but, for whatever reason, Foote decided against that addition.

As the Boulder Chamber Orchestra began the performance of this work, it was apparent that it could easily be identified as written by an American composer because of the shape of the melodic line. It was also apparent that since Arthur Foote was educated completely in the United States, that he was very isolated from all the European trends that had such an impact on music at the turn of the twentieth century. This is an excellent piece, and it is very attractive. It is apparent that Foote is a skilled and artistic composer, but the “spiritual” isolation from composers such as Stravinsky, and even Debussy, are evident.

The performance itself was excellent, but I felt that in this first work on the program, the BCO did not experience its accustomed performance “excitement” that usually fills everything when they are on stage. In the first movement, the first violins have the melodic line with some syncopation in the accompaniment played by the second violins and violas. The syncopation seemed a little on the mushy side, but please understand that I am criticizing at a very high level. The pizzicato in the second movement was not always precisely together which makes this movement difficult (how many of you can name the Tchaikovsky Symphony that has a movement entirely pizzicato?). Even if one violin, or viola, or cello, is not with the rest of the orchestra when pizzicato is being played, it is noticeable. The third movement, which is an enormous fugue, was the best movement of the three. The BCO seemed to be uniformly thinking, “Okay, this is a hard movement, so we had best be on our toes.” It was exciting, and it certainly demonstrated that Arthur Foote was a very fine craftsman. The concert going public truly needs to hear rare music such as this. While this particular work may be among the very best that Arthur Foote wrote it certainly raised my curiosity concerning the remainder of his output.

Following the Suite for Strings, Andrew Cooperstock joined the Boulder Chamber Orchestra and performance of J. S. Bach’s Keyboard Concerto Nr. 5 in F minor, BWV 1056. Cooperstock is so well-known as a fine pianist, that I don’t think he needs any introduction here. He has performed throughout the United States and Europe, and, fortunately for us, with many orchestras and chamber groups in Denver.

This Concerto is made up of three movements, all of them in ritornello form, which is typical of the Baroque Period, and certainly of the concerto grosso style. The ritornello form is a term that is usually applied to the first and last movement of the Baroque Concerto. These movements consist of an alternation of tutti (full orchestra) and solo sections. The tutti sections are based on identical material while the solo sections vary. The full orchestra sections are what give the ritornello its form. In the first movement, there is a solo section which is an almost sonata-like development, full of triplets that were stated in the opening tutti. It was exciting to listen to, and Cooperstock’s playing is always very clean and very articulate. He was, by the way, conducting from the bench, and his movements in doing so were extremely subtle. Of course, they would almost have to be subtle, because Cooperstock is playing almost all of the time. A Baroque Concerto, at least in the first and third movements, never gives the soloist much opportunity to sit and relax, as he is constantly playing. If he is conducting from the bench, he can only nod his head or raise his eyebrows in expectation. The orchestra performance in the Bach, finally hit its stride: it was excited and full of life, and it seemed to gain a lot by following the obvious energy given to it by Cooperstock.

In addition, I must say that the Sauter piano that Cooperstock performed on sounded absolutely perfect. It was in tune and it sounded as though the technician that services it knew what he was about. Sauter, of course, is one of the five or six best pianos in the world, and one would expect it to sound good. The Broomfield Auditorium is very fortunate to have such a piano.

The performance of the Boulder Chamber Orchestra, Andrew Cooperstock’s fine performance, and the excellent piano, would surely have pleased Bach. It was full of vivacity and vigor.

The audience demanded an encore, and Cooperstock responded by playing a Nocturne by Samuel Barber. It was a beautiful performance of Samuel Barber’s tribute to Irish composer John Field, who was the originator of the nocturne form which Chopin borrowed and made famous.

After the intermission, the Boulder Chamber Orchestra performed Samuel Barber’s well-known Adagio for Strings. This work, which was originally the slow movement from Samuel Barber’s String Quartet Nr. 1, Opus 11, has to be one of the best-known pieces of American music. It has been used for many funeral ceremonies, but it was not originally intended as a work of great sorrow, but one of intense meditation by the composer. Its arch form, slow buildup and then release of tension, and its deep, profound emotion, always surpassed the other movements of the original string quartet from whence it came.

Performing a piece such as the Adagio for Strings can sometimes be fraught with danger because it is such a familiar piece with such power that it must be done perfectly. And, the Boulder Chamber Orchestra and Maestro Saless did it perfectly. The music was allowed to work its magic on the audience without any kind of exaggerated dynamics or phrasing. In spite of its profound expression, it possesses a certain amount of simplicity, and, above all, a sense of great dignity. It may be that is what has helped this work become so successful. Dignity is the one aspect of this work that the Boulder Chamber Orchestra never lost sight of.

The last work on the program was the Concerto Grosso Nr. 1 by Ernest Bloch, (1880-1959). Straight away, I will warn you readers not to confuse this Ernest Bloch with his contemporary, Ernest Bloch (1885-1977), who was a German philosopher and music lover. The Ernest Bloch that we are concerned with was born in Switzerland, immigrated to the United States, became Director of the San Francisco Conservatory, and eventually Professor at the University of California in Berkeley. He still seems more European to me than American, particularly when one considers his knowledge of all that was being done in Europe. His music was strongly influenced by chants from Jewish worship, as well as twelve-tone serial technique.

The work that the Boulder Chamber Orchestra and Andrew Cooperstock performed Saturday evening was Bloch’s Concerto Grosso, which was written, as the program notes correctly stated, to demonstrate to his students at the Cleveland Institute of Music (which he founded) that one could write a Baroque concerto grosso using traditional techniques, but modern sounds. The piano, which is the concerto instrument in this composition, is placed at the rear of the orchestra, because even though it is the major instrument, it serves an almost dual role as soloist, and as a very prominent continuo, in that, it supports the orchestra.

The first movement, which is marked Allegro energico e pesante, begins with some very powerful chords. It is invigorating and exciting to hear because of its drive. The slow movement is lyric and beautiful, but, unlike the suggested mood from its title, Dirge, it did not strike me as being overly poignant or sad. The BCO and Cooperstock played it very expressively. The third movement is entitled Pastorale and Rustic Dances. I think it may have been a surprise to many people in the audience who were not expecting a 20th Century work to so easily portray a pastorale. But, it is a tribute to Bloch’s compositional ability that it does just that so easily. And, in truth, its overall sound is not as “avant-garde” as one might hear from Webern or Berg. The last movement is quite a remarkable fugue that uses every fugal technique invented by J.S. Bach: retrograde, inversion, and augmentation.

The performance of the Bloch was truly exceptional. The piano was used in the same way that Bartók used the orchestral instruments in his Concerto for Orchestra: it was considerably more important than an orchestral instrument, but only slightly less than a true concerto instrument. The size of the Boulder Chamber Orchestra, and the ear of Maestro Saless, was perfect to allow the piano to be heard, placed as it was, at the rear of the orchestra.

Again, the audience demanded an encore, and Maestro Saless chose one of the Romanian Dances by Béla Bartók.

In spite of the slow start, this was another fine performance by the Boulder Chamber Orchestra, because they were able to gather themselves together, and truly get down to business. In addition, it was an absolutely fascinating program because of the works performed. How many of the audience members have ever heard of Arthur Foote, let alone his wonderful Suite for Strings in E Major? And, why is it that the fickleness regarding “new music” has relegated Ernest Bloch’s music to silence, rather than the frequent performance that it deserves? There was absolutely no question that the audience appreciated this performance by Andrew Cooperstock, Maestro Saless, and the BCO, and well they should have, because it is another example of instruction in rare music beautifully performed. I guarantee you that all of us need that.



The Boulder Chamber Orchestra: Always Exceptional

It is always a great pleasure to attend a concert that, because of the reputation of the orchestra, soloist, or choir, you have a very reasonable expectation that it should be good. When it becomes obvious that the performance is not just “good,” but is exceptional in every way, that is a real bonus. It magnifies the pleasure of attending the concert many times over. Such was the case Friday evening when I attended a concert of the Boulder Chamber Orchestra at the Broomfield Auditorium.

The Boulder Chamber Orchestra opened their program with the Concerto Grosso in D minor, Op. 6, Nr. 10 (HWV 328), by George Frederic Handel (Opus numbers are still commonly used for Handel. However, the official Thematic Catalogue of his Works in Chronological Order compiled by Bernd Bäselt, is entitled HWV, which stands for Handel Werke Verzeichnis). In 1737, Handel had a very severe stroke which took three years from which to recover. Two years after the stroke, in 1739, he had recovered enough to write a set of twelve concerti grossi. The invention of the concerto grosso is universally assigned to Arcangelo Corelli.

Handel’s twelve concertos are the Opus 6, and a close examination of this collection will show no influence by the other popular composers of the time, mainly Corelli, Vivaldi, Albinoni, and Bach. Opus 6, Nr. 10, is one of the standouts of the group of twelve. I truly believe that any influence by other composers that some scholars say exists is purely coincidental.

This work begins in a very serious, if not dark, vein, and from the outset, I was struck by the absolute precision of entrances and dynamics. The phrases, so carefully shaped with dynamics, were, to my mind, perfect. The precision was not done in a mechanical way by any means; everything was wonderfully musical and very expressive. The fast movements were done with exactly the right amount of rhythmic pulse, and the tempos that were taken were excellent as well. The BCO was unmistakably full of enthusiasm for this piece, as well as enthusiasm for simply making terrific music. It was clear, by the way they performed, that they were having a very good time performing such a wonderful piece.

The second work on the program was the Concerto in G minor, RV 439, by Antonio Vivaldi. It carries the subtitle of “La Notte.” It would have been beneficial if the writer of the program notes for Friday’s concert had included the opus number or RV number for this composition – and/or perhaps, the key the piece is written in. The Vivaldi thematic catalogue is excruciatingly complex, and I will quote from other articles I have written:

“Every time I write about Vivaldi, I try to explain the RV thematic catalogue numbers, because in Vivaldi, more so than any other composer, it is a complex process. Rather than just one scholar establishing the chronological order of all of Vivaldi’s works, there are five musicologists and one publisher involved. To make a long story short, Mario Rinaldi catalogued much of Vivaldi’s output, but some works were not included or not yet discovered. The Danish musicologist, Peter Ryom began his own catalog of Vivaldi’s works and also included a Concordance with Rinaldi’s catalog. Ryom suggests using RV, wherein the V stands for the German word Verzeichnis, or catalogue (not Vivaldi as many suspect), and R can refer to either the Italian publisher Ricordi or to Rinaldi. I pray that you readers will trust me on the following comment, and that is: once the difference between all of the Rs is established then one can continue to the Pincherle Catalog, the Fanna Numbers, or the Malipiero Organization.”

This Vivaldi flute concerto which was performed by Cobus du Toit is probably the most difficult flute concerto that Vivaldi composed. What made this performance so stunning was the fact that Cobus du Toit asked for special permission to perform this without Maestro Bahman Saless conducting. That means, of course, that du Toit wished to conduct, which certainly gives the soloist a full plate. It was an absolutely amazing performance. Cobus du Toit is one of the finest flute players I have heard for quite some time, and what made this performance so outstanding, was the fact that the Boulder Chamber Orchestra musicians respect him very highly. All of the musicians in this organization are exceptional, and all of them have vast amount of chamber experience. They kept their eyes glued to Mr. du Toit, and he was certainly capable of conducting “from the bench” as it were. Of course, du Toit had the concerto memorized, and so was not constrained by having to watch a score as well as give cues to the musicians and the orchestra.

This concerto is absolutely beautiful, and, like the Handel before it, begins on a very serious but beautiful theme. Du Toit has absolutely amazing breath control, and this concerto has some trills which seemed to last forever. Not only did he make them last “forever,” but there was one trill which required that the trill be done with his fifth finger. Imagine holding one key down with your fourth finger, and then try trilling with your fifth finger of the same hand. It was amazing to watch, as much as it was amazing to hear, and it was done pianissimo. I have always been impressed with his playing, because as he moves in order to breathe, or to assist with the phrasing, he keeps the flute absolutely horizontal to his mouth. That means that he is always in tune, and that is one of the first things many other flute players do not do for whatever reason. If the flute sags from horizontal, one gets unwanted sounds and a distortion of tone.

Du Toit would occasionally turn to the orchestra to indicate the tempo that he would take, but for the most part faced the audience. However, every eye in the orchestra never left him and his movements to conduct them while playing. His virtuoso ability, combined with the wonderful musicianship of everyone in the Boulder Chamber Orchestra, made this a performance that was absolutely unforgettable.

Just prior to the intermission, the Boulder Chamber Orchestra played the Brandenburg Concerto, Nr. 3, by Johann Sebastian Bach. This is such a well-known piece that nothing needs to be said about it. I am positive that all of you readers have heard it. I first started listening to the Brandenburg Concertos (Do all of you remember that there are six?) when I was eleven or twelve, and I have often had great difficulty deciding which was my favorite, not that that was necessary. However, Friday night, even if it was just for this particular concert, the Boulder Chamber Orchestra made it clear that I should pick the Third Brandenburg Concerto. It was so masterfully done: the tempos were perfect, it had exactly the right amount of exuberance and rhythmic pulse that Bach requires, and the dynamics from everyone were absolutely together. I’m sure that the Boulder Chamber Orchestra has played this work many times, but they certainly communicated their love for it, and the fact that it might well be their favorite Brandenburg as well. They certainly made it sound as if it were Bach’s favorite. So much of what Bach wrote seems to portray him as an individual who was vibrant and full of life. The last movement was absolutely rollicking, and again the entrances were amazingly precise, as they were throughout the first two works on this concert program. I was left wondering where Maestro Saless found all of these incredible musicians. Every single one of them displays a commitment to the music first, and a commitment to their orchestra. The fewer there are in a chamber orchestra, the easier it is for those in the audience to hear occasional errors. These musicians are so dedicated, that I am sure some of them came away from Friday’s performance wishing they had performed a few measures, here and there, at a higher level. Every true musician always wants to do better. But, every work on this program was absolutely scintillating and wonderful to hear.

In 1711, Antonio Vivaldi’s reputation as a composer was beginning to spread throughout Europe. An Amsterdam publisher issued a set of violin concertos for one or more violins and orchestra with the title of Harmonic Inspiration. Bach was very impressed with these works, and transcribed them for other instruments, and, as a matter of fact, the Concerto for Four Violins and Cello, which was performed Friday evening, as the program notes point out, became Bach’s Concerto for Four Harpsichords.

The four violin soloists were Annamaria Karacson, Chelsea Lehnert, Gyöngyvér Petheö, and Brune Macary. The cello soloist was Clayton Vaughn. These individuals are all amazing musicians, and the performance of this work was truly spectacular. It is full of technical and musical traps that would send lesser musicians back to the practice room for many more hours. I have never been sure why the cello is usually left out of the title of this work, because it certainly is an integral solo instrument. What I appreciated so much in this performance was that the musicians did not try to impose their own individual style as they performed this piece. All of them played solid Vivaldi, and all of them are so accomplished at their instrument, and accomplished as ensemble players, that it was an incredible celebration of the music. As an ensemble, everything was perfectly clear and pristine, and surprisingly, they played at a dynamic level that allowed the wonderful continuo playing by Lori Walker, on the harpsichord, to be heard. Lori Walker, like everyone else in this orchestra is exceptional.

Maestro Saless ended the evening with a Suite of Carols which had been arranged by Leroy Anderson. That is certainly a name that I had not thought about for many years: how many of you readers remember his composition Syncopated Clock? These arrangements did not possess any kind of “commercial sound” whatsoever. They were done artfully, and very sensitively, and it was a great way to end the program.

The Boulder Chamber Orchestra dedicated an encore, Silent Night, to the victims of the tragedy in Connecticut.

Maestro Bahman Saless has assembled a remarkable group of musicians that are striking because they all obviously care so much for what they do. They are a joy to listen to, and one always leaves a Boulder Chamber Orchestra concert feeling refreshed and content.



The Boulder Chamber Orchestra concert is stunning

Saturday evening, November 17, the Boulder Chamber Orchestra performed a terrific program at The Montview Boulevard Presbyterian Church in Denver. It was terrific because they not only play well, but this was a very eclectic program of Puccini, Bartók, and Pergolesi. It was also interesting because all three of these composers required only a string orchestra, and not the full complement including brass, winds, and percussion.

Maestro Bahman Saless opened the program with Puccini’s Chrysanthemums. This is a very early work written by Puccini (1858-1924) when he was thirty-two years of age. He had already composed two operas by that time, but they were not outstanding successes. In addition to opera, Puccini was particularly drawn to the string quartet, and Chrysanthemums, even though it is regularly performed by string orchestras, was originally written for string quartet. The stimulus for writing this particular work was the death of Prince Amadeo di Savoia, Duke of Aosta in Italy. The Duke was a member of the reigning royal family of Italy, and was to eventually become King, but he renounced his title to become the King of Spain, only to abdicate that title as well, and returned to Italy. The flower, chrysanthemum, is a late blooming flower, and is commonly used in Italy as a tribute to be placed on the grave of a recently departed. Puccini’s Chrysanthemums is a single movement work of great melancholy, and its themes were again used in his great tragic opera, Manon Lescaut, which he completed in 1893. It was his first successful opera.

The Boulder Chamber Orchestra was absolutely stunning in the performance of this work. The cellos have the opening theme, and I don’t ever recall hearing this done so precisely that it sounded like one single instrument. Do not think for an instant that this precision implies a lack of emotion or musicality. It was very powerfully done. As I listened to this work, I had a great deal of difficulty realizing that I had made a mistake in trying to discover which section was performing at a higher level. The cellos were great, the violas were great, and the violins were great. This orchestra is wonderfully balanced not only from the standpoint of technical ability, but also musical ability. Maestro Saless received everything he asked for from them: phrases were perfectly shaped and the dynamics were extreme. Everyone in the orchestra clearly recognized the passion that lay behind this composition.

The Boulder Chamber Orchestra performed the Bartók Divertimento for String Orchestra following the Puccini. The program notes stated that this work was written in 1936. I think that might be a typographical error, because I was always under the impression that the work was composed in 1939 shortly before Bartók left Europe for the United States. He had stayed in Europe as long as he could, because of the illness of his mother, and in 1939 he decided to take a break, not only as caregiver for his mother, but to relax his mind from the stress of the gathering Nazi war machine, and the Nazi sympathizing regime in Hungary. He traveled to Switzerland, and stayed at the home of conductor Paul Sacher. Sacher was the forward thinking conductor of the Basel Chamber Orchestra, and he commissioned the Divertimento in 1939. It received its premiere in Basel, Switzerland, in June of 1940. Note that there are two separate thematic catalogs for the works of Béla Bartók. One is by Laszio Samfai, and carries the identifying initials of BB. Thus, the Samfai catalogue number for the Divertimento is BB 118. The other catalogue is by András Szöllösy, and the number for the Divertimento is Sz 113.

The Boulder Chamber Orchestra was absolutely beautiful in the performance of this Bartok piece which is, quite frankly, not heard often enough. Maestro Saless, in a few remarks before the performance, characterized this work as “very light.” I certainly agree; however, I also think that it is incredibly transparent, especially for Bartok. It is more clearly tonally centered, and has some very appealing melodic lines. Again, I was struck by the sensitivity exhibited by Bahman Saless and the members of the orchestra. The B theme group can only be described as enchanting. All three movements were well-nigh perfect when one considers attacks, expressiveness of tone, and phrasing.

The second movement is very dark and mysterious, and would seem to be somewhat reflective of Bartók’s thoughts and worries concerning his mother and the pending invasion of his homeland. Some may say that is a stretch, but the BCO performed it in such a manner that provided a very ominous aura. The third movement is really more cheerful than the first movement, and this is not the first of Bartók’s work to contain a fugue or a canon. This movement contains a small fugue which evaporates a short time later after it begins. It was absolutely delightful playing, and in fact, I could have listened to it very happily a second time.

Following the intermission, the Boulder Chamber Orchestra performed the Stabat Mater by Giovanni Pergolesi (he was born in 1710, and died of tuberculosis in 1736). Pergolesi orchestrated this for a soprano and a mezzo-soprano, and the guest artists Saturday evening were Jennifer Kampani, soprano, and Jennifer Lane, mezzo-soprano.

The Stabat Mater is a 13th century poem taken into the mass as a sequence in the late 1400s. To define a sequence, one must first be aware of the definition of a trope. A trope is a textual addition to amplify passages of text. For example, if the text is “Lord, have mercy upon us” then the trope would be “Lord, creator of all, have mercy upon us.” A sequence is a special kind of trope where in each strophe of text is followed by another of the same length and meter, and both are sung to the same melodic segment which is repeated for the strophe. Therefore, an example of the structure would be: A BB CC DD E.

The length of this poem is considerable, and it added to the length of the Mass accordingly. It was, therefore, removed by the Council of Trent (1543-1563), but in 1727 it was added for use in the Feast of  the Seven Dolours, which is celebrated on 15 September. The text of the poem describes the agony of Mary as she stands at the foot of the cross as her Son is crucified.

Both of the guest artists have considerable performing experience with many orchestras and operas throughout the United States and Europe. I will quote briefly from their bio statements:

“Grammy nominated soprano Jennifer Ellis Kampani, who ‘offers a freshness of voice, fineness of timbre, and ease of production that place her in the front rank of early-music sopranos,’ (andante.com) is one of the leading interpreters of the Baroque repertoire. She has performed with the Richmond Symphony, Washington Bach Consort, Bach Choir of Bethlehem, and New York Collegium. She was also a featured artist in ‘Le Tournoi de Chauvency’ a Medieval opera production which toured through Europe. Her international career has included appearances with the period instrument groups American Bach Soloists, Baroque Band, Portland Baroque Orchestra, Seattle Baroque Orchestra, Opera Lafayette, Apollo’s Fire, Musica Angelica, Boston Camerata, Bach Sinfonia, Magnificat, and the Washington Cathedral Choral Society. …Ms. Kampani has recorded Kingdoms of Castille (GRAMMY nomination 2012), Salir el Amor del Mundo, and Passion and Lament for Dorian, Villancicos y Cantatas and The Essential Giuliani for Koch, the works of Chiara Cozzolani (Gramophone editors pick, August 2002) for Musica Omnia, and Carissimi Motets for Hungaroton. Born in San Francisco and a graduate of the University of Michigan and the Guildhall School of Music in London, Jennifer recently moved to the Detroit area with her husband and two young sons.”

“Mezzo–soprano Jennifer Lane is recognized in the United States and abroad for her stunning interpretations of repertoire ranging from the early Baroque to that of today’s composers. She has appeared with many of the most distinguished festivals and concert series worldwide in programs ranging from recitals and chamber music to oratorio and opera. These include San Francisco Opera, Théâtre Châtelet, L’Opéra de Monte Carlo, New York City Opera, Göttingen and Halle Handel Festspiels, Aix-en-Provence, and the Palau de la Musica in Barcelona, with conductors Michael Tilson-Thomas, Donald Runnicles, Mistislav Rostropovich, William Christie, Nicholas McGegan, Nigel Rogers, Andrew Parrott, Marc Minkowski, Helmut Rilling, Robert Craft, and Robert Shaw, among many others. Many of her nearly fifty recordings, released on the Harmonia mundi USA, Naxos, Opus 111, CBC Records, Koch International, Newport Classic, Arabesque, VOX, PGM, Centaur, and Gaudeamus labels have won awards, as have her two films: The Opera Lover and Dido & Æneas. The latter, with The Mark Morris Dance Company and Tafelmusik, was filmed for BRAVO Television. Now Associate Professor of Voice at the University of North Texas, Ms. Lane has held positions at Stanford University and the University of Kentucky. Her students have won Metropolitan Opera National Council, NATS, and other competition prizes and awards. They have participated in prestigious Young Artist programs, have served as Teaching Fellows, and won prestigious Graduate Fellowships. A number of them are nationally and internationally active.”

Both of these soloists were incredibly expressive and have absolutely beautiful voices. Their vocal production made it possible for both of them to have considerable power, and at the same time, extreme control over dynamics. Jennifer Kampani is capable of some of the softest pianissimos that I have heard, and they carry a great distance. Jennifer Lane has such amazing breath control that she can shape phrases that seem to go on forever. I do wish, however, that both of these gifted women would concentrate a little more on diction and the change in diction between two words. For example in Verse III where the text reads, “Fuit illa Benedicta”, I could not hear the final T on Fuit, nor the I in the word illa. And, in Verse IX, where the text reads, “Sancta Mater…”, I could not hear the beginning S on Sancta. There were other examples as well. My point in bringing this up is that one should be able, I believe, to tell, in what language a singer is singing. I am quite familiar with the Stabat Mater text because I have taught graduate courses in Medieval liturgical music and the Medieval Mass. Both of these women are so skilled and artistic in every way, that the diction problem was quite surprising.

This was an absolutely marvelous concert: the programming was inventive, the musicians were excellent, and the venue was excellent as well. I have become accustomed to the artistic performances of the Boulder Chamber Orchestra, and I most certainly was not disappointed Saturday evening. This is another group of musicians who is helping to place the state of Colorado on the list of those who have a solid foundation in the arts.




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