Filed under: Reviews | Tags: David Wallace, Denver Philharmonic Orchestra, James Buswell, Kim Brody, Lawrence Golan, Loren Meaux, Pauline Dallenbach, Robert Dallenbach, Samuel Barber, Tchaikovsky
Friday evening, November 15, I attended the concert given by the Denver Philharmonic Orchestra under the conductor Maestro Lawrence Golan. This was their second performance of the season, and the second performance under the baton of Maestro Golan. He was selected as the DPO’s conductor after the departure of Maestro Adam Flatt, who left because of a heavy schedule.
This is the 66th season for the Denver Philharmonic Orchestra, and they have made several new changes this fall, aside from their new logo and program design. There were many new faces in the orchestra, particularly in the violin section. There truly seemed to be a fresh new attitude amongst the musicians of the orchestra Friday evening: one of excitement, and, certainly, one of renewed dedication to the art of making music. In addition, this season marks the fiftieth anniversary of violinist Pauline Dallenbach’s performance with the Denver Philharmonic Orchestra. She, and her husband, Dr. Robert Dallenbach, have given so much of their lives to the DPO, and they have supported the DPO by allowing the orchestra to use the KPOF Hall as its residence. Ms. Dallenbach was presented with a photograph of her and her husband, Robert, surrounded by signatures of the board and the musicians of the orchestra. She and her husband deserve much recognition for what they have contributed.
The Denver Philharmonic opened their program with Beethoven’s Overture to Fidelio, Opus 72c. As most concertgoers know by now, the overture to Fidelio was revised many times by Beethoven, and the particular one used by the DPO on Friday evening is actually the fourth overture that he composed for this opera. None of the four overtures use music that is contained in the opera itself. They were written in order to establish the atmosphere of triumph that is inherent in the opera. The other overtures are known as Lenore 2, and Lenore 3, Lenore 3 being a revision of Nr. 2. Lenore Nr. 1, carries the opus number 138, and was not discovered until after Beethoven’s death. It is widely considered to have been a possible overture to a performance which was to have been given in Prague in 1807.
After the opening chords in dotted rhythm by the orchestra, Beethoven requires the horn section to announce the main theme, followed by another outburst from the full orchestra. The horn section seemed to have some trouble with this opening, and it was burbled several times. But most noticeable in this overture, which uses the sonata-allegro form, was the marked improvement of the violin section from last season. They were in tune, and considerably more precise in their attacks. The woodwind section of this orchestra has always been good, and the oboes, clarinets, and bassoons were outstanding. Maestro Lawrence Golan is clearly leaving his own mark on this orchestra. The general tone was very different, and I think that its fullness and robustness can be ascribed to the changes in personnel. This overture seemed not only to be an opening to the evening’s performance, but an introduction to a new step in the orchestra’s development.
Following the Beethoven, violinist James Buswell joined the orchestra to perform Samuel Barber’s beautiful violin concerto. Buswell has performed the world over, and teaches violin at the New England Conservatory. I will quote from his website:
“Since his solo début with the New York Philharmonic at the age of seven, he has appeared with most of the major orchestras in the U.S. and abroad and also with conductors such as Leonard Bernstein, George Szell, William Steinberg, Leonard Slatkin, Sir Malcolm Sargent, Zubin Mehta, Andre Previn, Erich Leinsdorf, Seiji Ozawa and Michael Tilson Thomas.
“Buswell studied at the Juilliard School, where he was a pupil of Ivan Galamian, and at Harvard University, where his major field of study was Renaissance Art. For more than a decade he was a professor of violin and conductor at the Indiana University School of Music. His instrument is a Leveque Stradivarius of 1720.
“In 1987, Mr Buswell and his family moved to Massachusetts, where his teaching activities are centered at the New England Conservatory of Music in Boston. He is frequently engaged as an Artist-in-Residence and Visiting Professor at Harvard University and Amherst College.
“He has performed nearly one hundred works for violin and orchestra spanning three centuries. Formerly a member of the Chamber Music Society of the Lincoln Centre, Mr Buswell appears frequently as a guest artist at the Lincoln Centre and at other music festivals such as those in Santa Fe, Marlboro and Sarasota as well as events in Italy and Australia.
“James Buswell is as closely associated with new music as he has been with the standard repertoire. World première performances include works by Donald Erb, Charles Wourinen, Gian Carlo Menotti, Ned Rorem, Leon Kirchner, John Harbison, Gunther Schuller, William Bolcom, Ellen Taaffe Zwilich and Peter Schickele. Presently he is active in reviving lesser-known masterpieces from the 20th century by composers such as Martinů, Weill, Busoni and Respighi.
“He and his wife, cellist, Carol Ou, reside in Boston where he is Professor of Violin at New England Conservatory, and gives an annual recital in NEC’s Jordan Hall. The unanimous praise for his ‘sensitive, evocative, compelling playing’ continues unabated today.”
As the excellent program notes pointed out, there is much erroneous information about the Barber violin concerto that has for many years been taken as the truth. As the program notes stated, whatever gets printed first stays in the mind of the public as “the truth.” This work was commissioned by the soap magnate, Samuel Fels, for his ward, Iso Briselli. If one does the proper research, one learns that the violinist Iso Briselli’s violin coach, Albert Meiff, thought the last movement was “unviolinistic,” and might harm Briselli’s reputation. This does not mean they thought that the last movement was too difficult, as the old story goes. I think it is quite possible that Meiff and Briselli simply didn’t like the work. Therefore, Albert Spaulding gave the premier, and it was a success.
As Buswell began the Barber, I was immediately struck by the remarkable sound of his violin. It was full and it was rich, and his playing was wonderfully lyrical in the opening theme. The lyricism changes to a short and very rhythmical theme which provides a great deal of drama. I might add that in this first movement, the violin section of the orchestra sounded excellent, as did the clarinets. There is no question that James Buswell knows the Barber extremely well. His playing revealed every nuance that Barber intended in this magnificent work: drama and lyricism in the first movement, and moodiness and melancholy in the second movement. The third movement is marked Presto, and Buswell performed it at a blindingly fast pace that left everyone in the audience breathless. The orchestra provided Buswell with exactly the right amount of rhythmic drive in this work, and they performed this last movement with a great deal of confidence.
I must say that Buswell performed this concerto as if he had some special insight into what Barber wished. His musicianship is absolutely extraordinary, and as I have said before about performing musicians whether they are pianists or violinists or percussionists: it is necessary to be a musician first, and Buswell certainly is. I assure you that that musicianship is accompanied by a very powerful technique that seems limitless. I would also like to add that before the performance of the Barber began, Maestro Golan announced that Buswell had been his violin teacher at the New England Conservatory. That knowledge filled in the gap, because it seemed that the personal and musical knowledge these two gentlemen shared in the performance, narrowed their connection to Samuel Barber. It was a fine performance.
After the intermission, the DPO performed Tchaikovsky’s Symphony Nr. 5 in E minor, Opus 64. Tchaikovsky had ambivalent feelings about this symphony, certainly after it was performed, but also while it was being written in 1888. When he conducted the work in Prague, he labeled it a failure. But shortly after, he stated that he “… liked it much better now.” This Symphony is unified by a six measure motive that appears in all the movements, and many listeners and critics found the reiteration of this theme to be annoying, resulting in an overblown effect. And I think that it can certainly be said that Tchaikovsky did not find the symphonic form as satisfying or as friendly as ballet, or even opera.
The Denver Philharmonic Orchestra performed well in this symphony, but seemed to suffer a little, because their playing did not quite equal their performance of the Barber or the Beethoven. It made me wonder what would happen if they performed a concert with no intermission, which sometimes seems to drain the spark of their excitement. I hasten to point out, however, that there were moments in the Tchaikovsky where the orchestra sounded absolutely terrific. But, even in the first movement, the violins began to go out of tune as did the violas and cellos. The second movement of this work has a marvelous horn solo, and David Wallace performed it very nicely. Different sections of the orchestra seemed to be, alternatively, in and out of tune throughout the entire symphony, with the exception of the woodwinds. They were outstanding for the duration of the entire concert, and in the third movement of the Tchaikovsky, the oboes, Kim Brody and Loren Meaux, were superb. Please be aware that when I say that the orchestra vacillated in its tune, it was not terribly extreme, but it was noticeable. This was still one of the best performances that I have heard the Denver Philharmonic Orchestra give. The second movement of this symphony was done extraordinarily well, because Maestro Golan did not imbue it with the familiar maudlin and weepy quality that seems to say “hard Russian winters have kept old pathos fresh.” He conducted it with a very beautiful and lyric fashion, at a proper andante tempo, which provided it with an excellent, but unhurried forward momentum. It was very much like a slow ballet. The same was true for the third movement, which Tchaikovsky labeled Valse – Allegro moderato. As I was sitting in the audience listening, I thought to myself, “Finally, someone has some insight into this particular Tchaikovsky Symphony.”
I must emphasize how much the violins have improved in this orchestra.
Even though I continually nag about the Denver Philharmonic Orchestra having problems with tune, there is no mistaking their excitement with what they play, and their desire to continually improve. There is no question in my mind that they are the best community orchestra in the state.
Filed under: Reviews | Tags: Beethoven, Breanne Cutler, Creatures of Prometheus, Gustav Mahler, Kristen Jürgens, Lawrence Golan, Samuel Barber, Travis Jürgens
The performance given Thursday night, March 8, by the Lamont Symphony Orchestra was, in many ways, a very memorable experience. It marked the debut performance of a new graduate student in Orchestral Conducting, Ms. Breanne Cutler. In addition, it was, at least to my knowledge, the first time that the Lamont Symphony – keep in mind they are students – performed Mahler’s Symphony Nr. 1 in D Major, which has been nicknamed “Titan.” These performances were exciting; there is no question about it. However, for me, the highlight of the evening, and perhaps, one of the highlights of the entire concert season, was watching and listening to the performance given by the Lamont Symphony’s Associate Conductor, Travis Jürgens, and his pianist wife, Kristen Jürgens, in their performance of Samuel Barber’s monumental Piano Concerto, Op. 38.
Maestra Breanne Cutler opened the program conducting Beethoven’s Overture to The Creatures of Prometheus.
Ms. Cutler is now a graduate student studying with Dr. Lawrence Golan at University of Denver’s prestigious Lamont School of Music. The 2011-2012 season will mark the beginning of Breanne Cutler’s position as Apprentice Conductor with the Helena Symphony Orchestra and her mentorship from Maestro Allan R. Scott. A Montana native, she is a graduate of Montana State University- Bozeman where she was the Assistant Conductor of the MSU Symphony. Ms. Cutler is also a noted classical and jazz vocalist. As a vocal major at Montana State University, she studied with Dr. Jon Harney. Along with winning the 26th MSU Concerto and Aria Competition, she has taken 1st place in both the Lower Division in 2008 and Upper Division in 2010 for the Montana state competition of the National Association for Teachers of Singing. Not only is she an active performer, but also a distinguished leader in the collegiate music community. Her term as Montana State CMENC President has just come to an end, where she was the head of the Montana collegiate division for the National Association of Music Education. She has regularly contributed columns to the Montana music education publication, The Cadenza, which is distributed to music educators across the northwest. At Lamont, she teaches undergraduate courses in conducting. Ms. Cutler has also served as assistant conductor for various productions with Bozeman’s Intermountain Opera.
The Creatures of Prometheus, Beethoven’s only ballet, was begun in the summer of 1800. It is interesting to conjecture why the work had been given to Beethoven by Salvatore Vigano, a ballet dancer and choreographer, because Beethoven was relatively unknown at the time. I can well imagine that Beethoven was eager, not only to accept commissions that came his way, but also to try his hand at dramatic music. At any rate, the ballet was an enormous success, and the premier in 1801 was followed by 15 performances the same year. In 1802, it had 13 performances. However, after that, its popularity dwindled because some dancers and choreographers felt that the score was “too learned” for ballet. The overture did retain its popularity, and has been performed on a fairly regular basis ever since. It is interesting to note that one of the full performances of the ballet was attended by Haydn, and he expressed great pleasure with the ballet, even though he had a few critical remarks. The story of the ballet, as most of you surely realize, regards the Greek God Prometheus and his efforts to have the two creatures he has brought to life instructed in the arts.
I must say that Maestra Cutler entered the stage with a good deal of authority, and that she was absolutely beaming with pleasure as she mounted the podium. It is clear that she likes what she does. This overture begins with some widely spaced chords that require sharp attacks. Cutler’s energy and precision were readily apparent, as she raised herself on her toes, and gave the orchestra some very sharp jabs as cues. The orchestra responded with these forte chords with such precision, that several in the audience, who may not have heard the piece before, were taken by surprise and jumped in their seats. And really, Cutler’s ability at communication, even though she has had conducting experience before she came to Lamont, gave the entire audience a predilection for the style of her conducting. It is energetic and demanding, and it is clear that she knew precisely what she wanted, and was not going to be shy about demanding it from the orchestra. In the performance of this piece, it seemed to me that the outstanding section of the orchestra was the violin section which sounded quite good all the way through the piece. Ms. Cutler did give one late cue which resulted in the woodwinds not together with the strings, but a few beats later everything was back to the way it should have been. And, I must say, that if this performance had been my debut as a conductor, I would have been a little nervous myself. I am most sure that the funny cue resulted from nerves not from inability to conduct, and it was very good to see that the orchestra was doing their best for her, because after all, they are comrades. I, for one, think this was an outstanding debut of a young conductor who shows a great deal of intelligence and composure on the podium. It will be very interesting to watch her develop as she proceeds through the program at the Lamont School. And yes, it was excellent Beethoven.
The Barber Piano Concerto, Op. 38, was the next work performed on Thursday evening’s performance. This Concerto, commissioned by Barber’s publisher, G. Schirmer, for their 100th anniversary, is one of the most important pieces of the 20th century. I am constantly surprised that in spite of its eminence, its beauty, and its incredible difficulty, that it is not mentioned in many books whose main topic is piano literature. This is doubly surprising, because Samuel Barber was known as a very gifted composer which was evident from the very start of his career. His First Symphony, Op. 9, was written when he was 26. The Concerto was commissioned in 1959, and Barber began working on it in March of 1960. However, his work on the piece was partially delayed by a period of depression following the death of his sister. Barber worked very closely with John Browning (Browning was Barber’s favorite pianist at the time, and was one of three American pianists including Rosalyn Turek and Byron Janis, who achieved great prominence in the world as pianists, and whose study was accomplished in the United States without attending any of the great European conservatories.)
Barber engages in a little self-plagiarism in this work, for he elaborates and orchestrates themes from his Elegy for Flute and Piano, which was written in 1959. But even so, there is no question that he shaped this work around his own style, and the incredible technical ability possessed by the pianist John Browning. In fact, one of the reasons this work is seldom performed live, is because of its extreme difficulty.
The performance of the Barber Concerto was conducted by Maestro Travis Jürgens with his wife, Kristen Jürgens, performing on the piano. Ms. Jürgens was the winner of the 2012 Lamont Solo Honors Competition. And it is a small wonder. She is an absolutely amazing pianist. According to the program notes, she has been a pianist since the age of four. She graduated with High Distinction from the world renowned Jacobs School of Music at Indiana University, where she received her Bachelor of Music and Piano Performance. While there, she studied with Edward Auer and Luba-Edlina Dubinsky, of the distinguished Borodin Trio. She has also studied Philosophy of Music at St. Peter’s College, at Oxford University. She is now a graduate student studying with Alice Rybak for her master’s degree in Piano Performance.
I have written about Travis Jürgens in other articles, but to refresh your memory, I will quote from his website:
Travis Jürgens is currently the Music Director and Conductor of the Philharmonia of Greater Kansas City, and the Associate Conductor of the Lamont Symphony Orchestra and Opera Theatre in Denver. In 2011, Jürgens received 2nd place from The American Prize in Orchestral Conducting.
Jürgens has performed in the United States, Europe, and Japan. Musicians who have played under his baton have commented on his exceptional talent, dynamic musicianship, imagination, and strong leadership. He has conducted the Denver Philharmonic, Bohuslav Martinu Philhamonic, Illinois Valley Symphony, Rose City Chamber Orchestra, South Carolina Philharmonic, and musicians from the Orquestra de Cadaqués. He earned his Bachelor’s in Piano Performance with High Distinction from the Indiana University Jacobs School of Music, and his Master’s in Orchestral Conducting from the University of Illinois. Additionally, he studied at the Universität für Musik und darstellende Kunst Wien and the Institut für Europäishe Studien in Vienna, Austria. He also made his Viennese debut as guest conductor of the IES Vienna Chamber Orchestra.
This was a truly remarkable performance of the Barber Concerto. It was remarkable because both the conductor and the pianist are already outstanding artists. It was also remarkable, because they are husband and wife, and it is a very moving experience to see them perform together, especially when they are of such even musicianship. The Barber Concerto, for both orchestra and piano, is one of the most difficult. I have never performed this concerto, but I have performed two Prokofiev concertos, and I honestly believe that the Barber exceeds the Prokofiev in difficulty. From the outset Ms. Jürgens demonstrated a great deal of forcefulness. By that, I mean that she sat down at the piano and truly took charge with her astonishing finger work that was always very clear and very articulate. One of the aspects of this Concerto is difficult rhythms with demanding accents throughout the entire work, her accents were perfect and even in the most difficult rhythmic spots, her tone was scintillating, yet rich. And, of course, Maestro Jürgens conducting was above reproach. I must also say that the orchestra seemed to be enjoying this partnership between conductor- pianist-husband-wife, because it is been some time since I have seen the Lamont Symphony (they always work very hard) work so hard at making music and responding to what the conductor demands. There are so many words that typify this performance: exciting, passionate throughout, lyrical, and beautiful. And every note could be heard. It was also a pleasure to watch Ms. Jürgens play, because there were no extraneous theatrical movements. She simply sat at the piano and got to work. In truth, I would challenge anyone to make theatrical movements while playing this piece, because I simply don’t think they would have the time.
I truly enjoyed the second movement, because it gives the pianist and the orchestra a chance to blossom in the incredible lyrical sections that must sound so expansive. I assure you that Kristen Jürgens performed it just that way. I could not help but think of the words that I believe come from Omar Khayyám: “Ephemeral light, ephemeral life!” The two Jürgens made such incredible music – both seemed very comfortable in their roles, and very assured.
The last movement, which is so full of rhythmic difficulties, demonstrated the thorough knowledge and understanding that both of these musicians possess. In a piece like this it is not enough to simply memorize: it must be conceived in the mind in order to bring it to life. Both of these musicians have that ability. They are outstanding: Kristen Jürgens has amazing technique and amazing ability to concentrate with ease. Their ability to communicate with each other as they performed was so incredibly personal, and full of knowledge as to what the other was going to do. It truly became a musical conversation between piano and orchestra, for all the questions were answered and all statements were in agreement. It was an electrifying performance because both are such superior musicians. They are of graduate student age, but in this instance, age has nothing to do with ability. These two are excellent musicians, and one wonders where their artistic ability will take them.
Following the Barber Concerto, Maestro Lawrence Golan conducted the Mahler Symphony Nr. 1 in D Major. This is an absolutely enormous piece of music that, like the Barber, is extremely difficult. This symphony is known to all regular concert audiences, so I will not go into great detail about its history. In the performance of this piece, Lawrence Golan easily demonstrated what a partnership there was between him and the Lamont Symphony Orchestra, which obviously admires and respects him. I mention that because it is so necessary for orchestra members to have some sense of symbiosis with their conductor, and it is most noticeable when that does not exist.
The pastorale opening of the first movement with all the bird calls and distant fanfares was absolutely beautiful as it develops into a standard sonata form. There were moments in this first movement that seemed absolutely mysterious, and I am not sure at all that I have heard the Lamont Symphony change their mood, which they created with such depth, so easily and quickly. That, again, is a demonstration of Golan’s ability to motivate the students. The second movement was lusty and full of vigor with a slower trio section which was incredibly lyrical and graceful. It was a pleasure to sit and listen for a while without taking any notes on the performance. I was once again struck by the fact that this was a student orchestra performing a Mahler symphony. If any of you readers are orchestra members or professional musicians, you will understand what I mean. Performing a Mahler symphony is not at all like playing an early Mozart or an early Haydn symphony. While those works are gems that will live forever, the Mahler is fraught with rhythmic difficulties, changes of tempo, and harmonies which can be difficult because they require excellent tune and attention to sound. It is hard work to play the notes, and to make those notes beautiful.
I have written about this Symphony before, and every time I hear it, I become divided in my thoughts about the third movement. Mahler uses the French folk song, Frère Jacques, in a minor key, slows the tempo, and changes it to a funeral march. Its motivation was a woodcut depicting animals carrying a hunter to his grave. Its tone is one of deadly seriousness, and yet its irony almost overcomes that seriousness. I have often wondered if Mahler wasn’t inserting his own brand of humor in this very serious symphony, but I have been assured by Mahler-ites that he never laughed much during his entire life, and this certainly was not the spot. Nonetheless, the orchestra performed it beautifully, with great solemnity, and yet with a certain lightness that did not bog things down.
The last movement had some fine lyricism which belied the difficulties of the work. The brass section in the performance of this symphony was outstanding, and considering the difficulties of this work, and considering that these are students still in the learning process, this was a remarkable performance.
The Lamont Symphony Orchestra members are very fortunate to have Maestro Lawrence Golan show them Mahler and lead them through the learning process of such a difficult work so that they perform it truly well. As they received their well-deserved applause, one could observe how tired some of the orchestra members looked, and yet, sense the pleasure they felt in their performance. I am sure that made it very satisfying for the audience as well.
Some of you readers may consider that this review is overly complementary. I assure you that it is not. Every superlative was well deserved. Every performance has spots where the performers wish they could have done better. But the ultimate goal was most certainly achieved: they made music worth listening to.
Filed under: Reviews | Tags: Also Sprach Zarathustra, Keitaro Harada, Lamont Symphony Orchestra, Lawrence Golan, Phoenix Youth Symphony, Richard Strauss, Sleeping Beauty, Tchaikovsky
It has been a very long time since I have heard Also Sprach Zarathustra in a live performance, and all the way through, so I was quite interested to hear the Lamont Symphony Orchestra perform this work on Sunday, January 15. In addition, it was to be the yearly performance with the Phoenix Youth Symphony, which means that the orchestra would be absolutely enormous. I haven’t heard the Phoenix Youth Symphony since they performed The Planets by the English composer, Gustav Holtz, and that was in 2010.
The Phoenix Youth Symphony has a new conductor, Maestro Keitaro Harada, and I will briefly quote from his website:
“Keitaro Harada is increasingly recognized as a conducting luminary of the next generation. A student of Lorin Maazel at Castleton Festival and recipient of the Seiji Ozawa Conducting Fellowship at Tanglewood Music Festival, Harada’s credentials are exemplary. At Tanglewood he assisted Christoph von Dohnanyi in the production of Strauss’ Ariadne auf Naxos and conducted the closing performance garnering this praise from The Boston Musical Intelligencer: ‘perfect timing, dramatic dynamics, and unerring coordination of the musical stagecraft.’ And, this review from Opera News: ‘For the third and final performance of Strauss’s Ariadne auf Naxos … rising young Japanese conductor Keitaro Harada, a student in the TMC program, got his turn to lead the forces prepared by Christoph von Dohnányi. Harada’s command of the score was total, from the uncommonly beautiful legato and sweep of the opening orchestral phrases, hinting at the inspired, ecstatic melodies created by the character known as the Composer, to the carefully controlled climaxes of the final duet, in which Ariadne and Bacchus join in uncomprehending ecstasy.’
“Harada is currently the Principal Guest Conductor for the Sierra Vista Symphony Orchestra, Assistant Conductor for Arizona Opera and Music Director for Phoenix Youth Symphony, an organization internationally recognized as one of the premiere youth orchestras in the United States. He previously served as Conductor of Arizona Symphony, UA Philharmonic Orchestra, and Mercer/Macon Symphony Youth Orchestra, and Assistant Conductor of the Tucson Symphony and Macon Symphony Orchestras.”
The Phoenix Youth Symphony performed first, Sunday, playing the Sleeping Beauty: Suite, Opus 66a, by Tchaikovsky. After the Tchaikovsky, they joined with the Lamont Symphony Orchestra and performed the Strauss Also Sprach Zarathustra.
Maestro Harada introduced the orchestra to the audience (which were far too few), then turned to his orchestra and began the Tchaikovsky. It has been a very long time since I have seen such an animated conductor on the podium. In addition, his movements were very angular and very sharp, but nonetheless, he was able to guide the orchestra through the flowing phrases of this ballet suite.
Keep in mind that this orchestra is comprised of high school students, so the Tchaikovsky couldn’t have been all that easy for them, even though they are one of the best youth orchestras in the United States. They’re playing was very impressive, and their woodwind section was outstanding. In addition, there was some fine work from the harp, which I could not see from where I was sitting.
As I listened to this excellent young orchestra, I wondered how many of them will go on to become professional musicians. All of them were working very hard, and were truly concerned with making music. Occasionally, an individual member’s enthusiasm would get the better of him, and there would be an incorrect dynamic or an incorrect entrance. Nonetheless, it was very enjoyable to listen to, and it was also quite enjoyable watching these young people play their hearts out.
Maestro Lawrence Golan then led the combined Lamont Symphony Orchestra and the Phoenix Youth Orchestra in the performance of Richard Strauss’ well-known Also Sprach Zarathustra. Except, is it really well known? Everyone knows the introduction, because it is that which was used in Stanley Kubrick’s famous movie, 2001: A Space Odyssey. But how many of you readers have heard it all the way through? I have spoken to many students who were unaware that this was a tone poem that contains such wonderfully beautiful music. Therefore, I applaud the choice of this piece of music for I think the students learned a great deal from it.
On the chance that some of you readers may be from Phoenix, and therefore a little unfamiliar with Dr. Lawrence Golan, I will quote from his website:
“Lawrence Golan is currently in his second season as the Helen N. Jewett Music Director of the Yakima Symphony Orchestra, central Washington’s premier professional orchestra. During his highly successful inaugural season, Golan helped to dramatically raise the artistic level of the orchestra. In addition, he spearheaded efforts to grow the organization financially as well. In just one year, the YSO increased its budget by 27%, its concert season by 33%, its private donations by 23%, its total ticket revenue by 39%, and single ticket sales more than doubled. Golan and the YSO also won an ASCAP Award for the Adventurous Programming of Contemporary Music. Golan’s appointment in Yakima comes on the heels of an equally successful four-year term as Resident Conductor of The Phoenix Symphony. That orchestra’s President and CEO Maryellen Gleason stated that Lawrence Golan was ‘unequivocally the best Resident Conductor The Phoenix Symphony ever had.’ Music Director Michael Christie said that Golan ‘is a programmer of virtually unprecedented creativity and scope.’ Several of the concerts that Golan programmed, conducted and narrated with The Phoenix Symphony turned out to be the most financially successful and well-attended performances in the history of the orchestra, completely selling out triple concert sets in a 2200-seat hall. Golan continues to guest conduct professional orchestras, opera, and ballet companies in the United States and around the world. Having conducted in 25 U.S. states and 15 countries, recent engagements include performances in Boulder, Macon, Memphis, and Tucson as well as the Czech Republic, Italy, Korea, and Taiwan.
“Following in the footsteps of his father Joseph Golan, longtime Principal Second Violinist of the Chicago Symphony Orchestra, Lawrence Golan is also an accomplished violinist. He was Concertmaster of the Portland Symphony Orchestra for eleven years, has appeared as soloist with numerous orchestras, including the Chicago Symphony, and has made several commercially available recordings as a violinist. His recording entitled Indian Summer: The Music of George Perlman, is treasured by young violin students and their teachers and is regarded as a very helpful and inspiring pedagogical aide.”
Before I continue with this review, you must understand that the Phoenix Youth Symphony arrived in Denver on Saturday, January 14. That means, that since this performance was given on the 15th, there was one day for these two orchestras to merge and have some rehearsal time. Think of that. The Strauss work is very difficult, to say the least, and here, you have a youth orchestra and a university orchestra trying to work out all of the difficulties caused by the merger (the logistics are mind-boggling) in one day. I think that everyone involved, in any way with this concert, deserves a lot of praise.
There is a world of difference (and why shouldn’t there be) between Maestro Harada and Maestro Golan. Golan’s movements, in comparison to Harada’s, are smooth and almost liquid. When I make such a statement, please understand that I’m not criticizing either conductor, I am simply describing the difference between the two. It must be interesting, to say the least, to conduct an orchestra with such mixed abilities and experience. However, Maestro Golan did it, and it is my opinion that he did it extremely well. It was amazing to sit in the audience, in the seventh row, and watch this entire orchestra work so very hard and be so incredibly moved by the music and the fact that they were giving birth to it. You must understand that some of the students in this orchestra, and they were all students, had never played in such a large ensemble, and I am certain, that some of them had never played a piece of music similar to the Strauss. Any musician, who is rewarded by teaching, will tell you that one of those rewards is seeing the students moved by the music itself. Were there mistakes in this performance? Yes, but you must not hold it against any of these performers, especially when you consider their age, and the lack of rehearsal time. Was the performance exciting? Yes, without a doubt, it was. It is very gratifying to see young students so tremendously moved by the power of the music, and there is no doubt in my mind whatsoever that these students were. They were also trying as hard as they could to make this a successful performance. In spite of the mistakes, it was a successful performance, because it was clear that the students were having a marvelous learning experience.
Filed under: News | Tags: Breanne Cutler, Catherine Sailer, David Wetherill, Lamont Symphony Orchestra, Lawrence Golan, Rin-Jong Yang, Steven Mayer, Travis Jürgens
The University of Denver’s Lamont Symphony Orchestra has several interesting programs this season, as well as several interesting performers and conductors. This season we will get to hear the seldom performed work by Vaughn Williams entitled the Sea Symphony, which is written for orchestra and chorus. I encourage all of you to come to this particular performance because this is an absolutely beautiful piece of music. This work will be conducted by Catherine Sailer. We will also get to hear Ravel’s orchestration of Mussorgsky’s pictures at an exhibition. This is a great piece, but I do wish pianists would not seem to be so fearful of it, and perform the original version on the keyboard. Actually, the original version was done for two pianos, and then Mussorgsky’s rewrote it for one piano. It sounds just as perfect on the keyboard as Ravel’s orchestration.
We will also get to hear program conducted by Rin Jong Yang, Travis Jürgens, and Breanne Cutler. In addition, we will hear David Wetherill perform the Mozart horn Concerto on a Natural Horn, that is to say, a French horn with no valves (or keys).
The season schedule follows:
October 11, 7:30 pm
Opening Night with David Wetherill, former Principal Horn of the Philadelphia Orchestra
Strauss: Overture to Die Fledermaus, Travis Jürgens, Conductor
Mozart: Horn Concerto No. 3, David Wetherill, Natural Horn
R. Strauss: Horn Concerto No. 1, David Wetherill, Horn
Sibelius: Symphony No. 5
David Wetherill, long-time first-horn player with the Philadelphia Orchestra, began his professional career as Principal Horn with the renowned opera house, “Teatro alla Scala” in Milan, Italy, playing the greatest operas with the finest singers and conductors in the world. In 1976, Pierre Boulez asked Mr. Wetherill to come to Paris to work with the “Ensemble InterContemporain,” as a founding member of that cutting-edge chamber orchestra. During this period, he performed literally dozens of premieres by the leading contemporary composers of the day, including Berio, Stockhausen, Xenakis, Boulez, and Messiaen. At the invitation of Maestro Eugene Ormandy, Mr. Wetherill returned to Philadelphia, where he played for nearly 30 years. Now retired from full time performing, he is active with teaching and conducting, and occasionally performing on the horn if the stars line up properly. Mr. Wetherill is the Associate Conductor of the Lower Merion Symphony, where he conducts regularly. He also has conducted the Orchestra Society of Philadelphia.
November 3-5, 7:30 pm & November 6, 2:30 pm
November 17, 7:30 pm
Travis Jürgens, Artist Diploma Recital
Mozart: Overture to Le nozze di Figaro
Copland: Appalachian Spring Suite (Original 13 Instrument Version)
Handel: Overture to Solomon
Rachmaninov: Rhapsody on a Theme of Paganini, Steven Mayer, Piano
Travis Jürgens has performed in the United States, Europe, and Japan. Musicians who have played under his baton have commented on his exceptional talent, dynamic musicianship, imagination, and strong leadership. He earned his Bachelor’s in Piano Performance with High Distinction from the Indiana University Jacobs School of Music, and his Master’s in Orchestral Conducting from the University of Illinois. Additionally, he studied at the Universität für Musik und darstellende Kunst Wien and the Institut für Europäishe Studien in Vienna, Austria. He also made his Viennese debut as guest conductor of the IES Vienna Chamber Orchestra.
He has served as Graduate Assistant Conductor and General Manager of the University of Illinois Philharmonia Orchestra, and as a cover conductor for the University of Illinois Orchestras. He was also the Assistant Conductor for the University of Illinois Opera Theater production of Hansel and Gretel by Neely Bruce. While in Illinois, he founded the United Orchestra of Urbana.
The soloist, Steven Mayer, is Professor of Piano at the International Keyboard Institute and Festival at Mannes College of Music. He has served as Visiting Lecturer in Piano at UCLA, Professor of Piano at the Manhattan School of Music, and is currently Associate Professor with Tenure at University of Denver’s Lamont School of Music.
January 15, 3:00 pm
Side-by-Side with the Phoenix Youth Symphony
Strauss: Also sprach Zarathustra
February 9, 7:30 pm
Rin Jong Yang, Guest Conductor
Elgar: Pomp and Circumstance March No. 1 in D Major
Beethoven: Symphony No. 5
Mussorgsky, orch. Ravel: Pictures at an Exhibition
Maestro Rin-Jong Yang, one of the most prominent conductors of South Korea, has extensive experience conducting orchestras in various countries and has a vast repertoire ranging from Baroque music to contemporary music.
He was Visiting Professor at the University of British Columbia and Professor of Yeungnam University. In Korea he conducted the Suwon Philharmonic Orchestra for seven and half years. Internationally he has been Guest Conductor of Brasov Philharmonic conducting festival programs of Brahms, Mozart, Mendelssohn, Beethoven, and Tchaikovsky. In addition, he has been the guest conductor of orchestras throughout Russia, Jerusalem, and South America. As a Professional Violinist and Violist, Dr. Yang has performed at Carnegie Hall with Pianist Raymond Dudley, Suntory Hall in Japan, and Third International Viola D’Amore Congress.
March 8. 7:30 pm
Beethoven: Overture to The Creatures of Prometheus, Breanne Cutler, Conductor
Concerto TBD (DU Honors Competition Winner)
Mahler: Symphony No. 1 “Titan”
The 2011-2012 season will be the beginning of Breanne Cutler’s position as Apprentice Conductor with the Helena Symphony Orchestra and her mentorship from Maestro Allan R. Scott. A Montana native, she has recently graduated from Montana State University- Bozeman where she was the Assistant Conductor of the MSU Symphony. She is now a graduate student studying with Dr. Lawrence Golan at University of Denver’s prestigious Lamont School of Music. There, she is the Assistant Conductor of the Lamont Symphony Orchestra while she pursues a Master of Music in Orchestral Conducting.
Ms. Cutler is also a noted classical and jazz vocalist. As a vocal major at Montana State University, she studied with Dr. Jon Harney. Along with winning the 26th MSU Concerto and Aria Competition she has taken 1st place in both the Lower Division in 2008 and Upper Division in 2010 for the Montana state competition of the National Association for Teachers of Singing.
She received the Lamont School of Music Endowed Scholarship for her pursuit of graduate study. This past spring, she graduated with honors with her Bachelor of Music Education from MSU.
April 19-21, 7:30 pm & April 22, 2:30 pm
Mozart: Le nozze di Figaro
May 1, 7:30 pm
New Music Concert, Breanne Cutler, Conductor
May 31, 7:30 pm
Season Finale with the Lamont Chorale, Women’s Chorus, and Men’s Choir
Adventures at Sea
Wagner: Overture to The Flying Dutchman, Travis Jürgens, Conductor
Boyer: Titanic 1997, Colorado premiere
Vaughan-Williams: Symphony No. 1, “A Sea Symphony,” Catherine Sailer, Conductor