Filed under: Reviews | Tags: Amy Palmer, Ann Marie Morgan, Ars Nova Singers, Brian du Fresne, Jonathan Raabe, Lucille Reilly, Margaret Ozaki, Thomas Edward Morgan
Friday evening, December 7, the Ars Nova Singers gave one of the best performances that I have ever heard from them at St. Paul’s Lutheran Church in Denver. The name of their program was A Midwinter Collage: Christmas with Ars Nova Singers, and they sang a great deal of music that encompassed almost every style you can think of from Gregorian chant, Appalachian shape-note, and avant-garde.
The guest artist of the evening was the outstanding Lucille Reilly, whose instrument is the hammered dulcimer. I will quote from the program notes:
“Lucille Reilly lives in metro Denver (www.thedulcimerlady.com). She is a graduate of Westminster Choir College and a Melodious Accord Composers Fellow, plus an award-winning performer on both hammered dulcimer and diatonic autoharp (1997 National Hammered Dulcimer Champion, 1995/2010 Mountain Laurel Autoharp Champion and 1995/2003/2010 International Autoharp Champion). In addition to performing locally, her distinguished list of performance venues include The Academy of Music, Philadelphia; Arizona Folklore Preserve; The Metropolitan Museum of Art, New York City; Denver Center for the Performing Arts, Colorado; the Philadelphia Folk Festival; Sore Fingers Summer School, Kingham, England; New Jersey State Council on the Arts; Old Faithful Inn, Yellowstone National Park; and numerous chamber-music series around the United States. This is her first time performing with the Ars Nova Singers.
“As an instructor, Lucille dedicates her teaching to helping musicians of all instruments craft wonderful sound with grace, freedom and resonance. The author of two best-selling instruction books for hammered dulcimer and a monograph series for diatonic autoharp, Lucille has composed several choral works, one of them performed on tonight’s program, and has two CDs to her credit (Thus Sings My Soul and Contra-Intuitive) with another on the way in 2013 (All in a Garden Green, English and Scottish dance music performed solo on six diatonic autoharps).”
The Ars Nova Singers began their program with a processional into the sanctuary of St. Paul’s, while singing Ave Maria: O auctrix vitae (Hail Mary, O source of life) which was written by Hildegard of Bingen. This was also performed by a wonderful soprano, Margaret Ozaki, Ann Marie Morgan playing a treble gamba, and Lucille Reilly performing on the dulcimer.
In the last 20 years, Hildegard of Bingen has emerged from obscurity as abbess, poet, composer, and mystic because of the recordings of her music by the Anonymous 4. We believe her dates to be 1098 to 1179 but those dates may not be exact. Her parents gave her to the Church because she professed to have visions, which caused her to become known as a mystic. However, she could compose music and poetry, because she was one of the few women of her time who were taught how to read and write. You must understand that in the medieval period, women were considered useful only to raise a family and bear children. Women of the upper-class were sometimes taught to read: those who were not taught to read were considered to be stupid; therefore, they were considered unfit for education. Because they were not given an education, they were considered stupid. It was a remarkable catch 22. But Hildegard of Bingen rose above all, and wrote some truly beautiful music.
Margaret Ozaki has an absolutely huge voice that is crystal clear, and very well produced, allowing her the adequate support for an excellent diction. This was a perfect work to open the program with, and I must say that I did not know Ann Marie Morgan could play the gamba. She does it well.
Maestro Thomas Edward Morgan divided this program into six sections, each one different, and each one giving us a different perspective on the holiday season: thus, the title of Collage. I have heard the Ars Nova Singers many times, and I have come to expect excellent performances. As I said above, this evening’s performance was truly exceptional. The first work that caught my attention was the canon, Nesciens mater (Without knowing man, the Virgin mother gave birth) composed by Jean Mouton (c. 1459-1522), a French composer who began teaching at the collegiate church in Saint Omer. A canon is a type of strict counterpoint in music where there are two or more identical melodic lines, each starting at a specific distance from each other. The entrances of each subject were incredibly precise and the exuberance of this work was never in doubt. There was never any hint of working hard on the part of the performers: the joy of what they were doing, and their enthusiasm for it, was quite obvious, and lent an almost personal touch to the performance.
But for me, the most perfect performances came from the carols sung in Group III of the concert. There were four carols in this group: Away in a Manger, arranged by J.E. Spilman; While Shepherds Watched Their Flocks by Night, by Supply Belcher; A Christmas Carol, by Charles Ives; and, Christ the Appletree, by Stanford Scriven. These four carols were sung with such amazing sensitivity that it brought tears to the eyes. The dynamics and the phrasing could not have been better, and I don’t think I have ever heard a choir sing such accurate entrances in such a totally natural way. One expects a choir like this to be on pitch, and they always were, but they have a way of following Maestro Morgan so that each phrase and tone within the phrase has its own character. The Charles Ives work, A Christmas Carol, S. 228, is a very early work written in 1894 (the S. is for Sinclair, who catalogued all of Ives’ creative output). This was written before Ives began to experiment with new trends in music, and yet the clarity with which this was presented, particularly the very subtle emphasis on harmonic changes, allowed the listener to guess what Ives might do in the future. Stanford Scriven (born in 1988[!]) wrote Christ the Appletree in 2009. It has the kind of rich, full harmony that the Ars Nova Singers seems to delight in. This work, too, was wonderfully sensitive and clean. The Ars Nova Singers are so amazingly skilled in creating warmth of tone, that I wondered how the human voice could create the sounds that they achieved Friday evening. I spent two of my undergraduate years accompanying in Margaret Harshaw’s studio. She was a marvelous voice teacher, but I don’t remember hearing vocal production like I heard from everyone in the choir at this concert. The detail work from the Ars Nova Singers was spellbinding without being pedantic: their phrasing could not have been improved upon, and their rhythmic emphasis and accents were absolutely together without being doctrinaire. It was beautiful.
Group IV of the concert was comprised of three Appalachian Carols: Star in the East, Rise up Shepherd, and Judah’s Land. These were written and sung in shape-note notation. To explain what that is, I will quote from the Encyclopaedia Britannica:
“Shape-note hymnal, also called patent-note hymnal, or buckwheat-note hymnal, American hymnal incorporating many folk hymns and utilizing a special musical notation. The seven-note scale was sung not to the syllables do–re–mi–fa–sol–la–ti but to a four-syllable system carried with them by early English colonists: fa–sol–la–fa–sol–la–mi. The notation of the music was normal except that the note heads of the shape-note system replaced the regular ones. The singer reads the music by following the shapes of the note heads, although someone unfamiliar with the system could read the notes according to their placement on the staff.
“The hymns normally appear in three-part or, less often, four-part harmonizations. Traditional rules of European harmony are consistently disregarded, giving rise to a spare, vigorous style in which the movement of the individual melodic lines is of primary importance. The melody is normally in the tenor part. Melodies are drawn from folk hymns, religious ballads, revival spirituals (see spiritual), hymns of 18th- and early 19th-century Americans, and, to a lesser extent, popular hymns and anthems of European composers.
“The shape-note tradition waned in New England around 1815, pressured by urban trends toward Europeanized music, but it thrived in the Midwest and South. Important hymnals from this period were John Wyeth’s Repository of Sacred Music, Part Second (1813) and Ananias Davisson’s Kentucky Harmony (1816).
“Only in the 1880s did the shape-note system decline. Still in use among shape-note singers, who often meet in annual singing conventions, are William Walker’s Southern Harmony (1835; 7th ed. 1854) and Benjamin Franklin White and E.J. King’s Sacred Harp (1844; rev. ed., The Sacred Harp, 1991), both of which use four shapes. Walker’s Christian Harmony (1866) used his own seven-shape system.”
I am aware that that is a lengthy explanation, but I feel it is necessary, because it also implies – and this is important – a style of singing. I grew up in southern Indiana, and late at night, this kind of singing could be heard on radio broadcasts coming from Kentucky and Tennessee. The style was easily recognized by its nasal quality and its slightly-off-key approach to pitch. The announcer always made it clear that what was being sung was a shape-note composition of some kind. The soloists from the Ars Nova Singers who performed these shape-note works were Tara U’Ren, Amy Palmer and Jonathan Raabe. These three individuals must have practiced diligently for weeks prior to this concert, because it appears to me that singing slightly off pitch, after so carefully making sure that one sings on pitch, would be incredibly difficult. In addition, they completed the style by adding a nasal quality to their voices.
This had to be incredibly difficult, and I am sure that those in the audience who noticed it, probably thought that Ms. U’Ren, Ms. Palmer, and Mr. Raabe were getting tired (!), but I assure you that was not the case. To me, that is a demonstration of the skill that these three singers possess: it would be easier to sing a great deal off key, but they were singing just a couple of micro tones off key.
Throughout the concert, Lucille Reilly was spectacular on the dulcimer. In a 15th Century French Carol, Noel nouvelet, she was spectacular. And in the other works which she accompanied, and in her encore, which was a hornpipe, I was startled at her ability. She is a virtuoso who can change the tone of the instrument: sometimes it was harp-like, and other times it was almost percussive. Her dynamic range was extreme, very musical, always matching the expression of the choir. It has been a while since I have heard a hammered dulcimer, especially performed at the level that Ms. Reilly can perform, and it is clear that she has a vastly superior instrument.
Group VI on the program contained a Swedish Carol which was arranged by Ms. Reilly entitled, Prepare the way, O Zion. I was not surprised at the excellent quality of the arrangement, because her musicianship was readily apparent as she performed on the dulcimer.
I might add that this last group of carols also had Gesù bambino and Once in Royal David’s City, both arranged by Thomas Morgan. The arrangements were excellent.
If there is anything that I shall remember from this performance, it is the incredible accuracy and detail work demonstrated by the Ars Nova Singers and Lucille Reilly. In addition, I shall remember the perfect style demonstrated by U’Ren, Raabe, and Palmer in their shape-note carols. Every time the Ars Nova Singers presents a concert they create new musical expectations. It truly seems as if there is no limit.
Filed under: News | Tags: Ars Nova Singers, Lucille Reilly, Thomas Edward Morgan
The Ars Nova Singers is another chamber ensemble that has made everyone take notice. Thomas Edward Morgan, the artistic director and conductor of the Ars Nova Singers, has a remarkable knack for auditioning and choosing the members of this choir. It is one of the most outstanding chamber choirs in the United States.
“The Artistic Director and Conductor of the Ars Nova Singers has been acknowledged as a leading interpreter of new music in Colorado. Under his leadership, the choir has become one of the premiere ensembles in the region.
“Mr. Morgan received his Bachelor of Arts degree in Music from Macalester College in St. Paul, Minnesota, and the Master of Music degree in Composition from the University of Colorado. In addition to his work with Ars Nova Singers, he currently serves as Music Director of St. John’s Episcopal Church in Boulder, a position he has held for twenty years. Mr. Morgan studied choral and orchestral conducting with Dale Warland, Helmut Rilling, Giora Bernstein, and has taken master classes with Eric Ericson and Herbert Blomstedt. In addition to his work with Ars Nova, Morgan has assembled and prepared choruses for the Boulder Bach Festival, the Colorado Music Festival, the Colorado MahlerFest, and the Boulder Philharmonic. Recent collaborative efforts include the Colorado premiere of Carol Barnett’s The World Beloved: A Bluegrass Mass with Jake Schepps and Expedition (September, 2010); a production of Prokofiev’s Alexander Nevsky with the Boulder Philharmonic (February, 2008); a critically acclaimed performance of Terry Riley’s Sun Rings with the renowned Kronos Quartet (July, 2006); and an unusual production of Carmina Burana with the Colorado aerial dance company Frequent Flyers. He recently prepared Ars Nova Singers for the Colorado premiere of Osvaldo Golijov’s cantata Oceana, presented in collaboration with the professional chamber orchestra Pro Musica Colorado.”
A Colorado holiday tradition! Celebrate the season with a colorful array of mysterious medieval harmonies, joyous polyphony from the Renaissance, and modern carols, presented with unique Ars Nova flair. Our featured guest instrumentalist is Lucille Reilly on the hammered dulcimer. She is an award- winning performer on the hammered dulcimer and has performed at The Academy of Music in Philadelphia, The Metropolitan Museum of Art in New York, the New Jersey State Council on the Arts, the Philadelphia Folk Festival, the Buell Theater and St. John’s Cathedral in Denver, Westminster Choir College, and others, as well as on numerous concert series.
Midwinter Collage: Christmas with Ars Nova
Friday, Dec. 7, 7:30 PM - St. Paul’s Lutheran Church, 1600 Grant Street, Denver
Saturday, Dec. 8, 7:30 PM - St. John’s Episcopal Church, 1419 Pine Street, Boulder
Friday, Dec. 14, 7:30 PM – St. John’s Episcopal Church, 1419 Pine Street, Boulder
Saturday, Dec. 15 - Bethany Lutheran Church, 4500 E. Hampden Blvd., Denver (2:00 p.m. matinee)
Filed under: Reviews | Tags: Arvo Pärt, Brian du Fresne, Eric Harbeson, Henry Balfour-Gardiner, Henry Cowell, Maurice Duruflé, Paul Fowler, The Ars Nova Singers, Thomas Edward Morgan
Though I became a pianist, the first live concert that I can remember attending was one given by the soprano, Lily Pons, when she sang with the Indianapolis Symphony Orchestra in 1944. As a matter of fact, that was the first year that I began taking piano lessons. The reason I mention this is to underscore the fact that I have been attending concerts for a long time. I have also given many concerts. Attending and performing concerts sharpens the ears. There have been several concerts that I remember vividly because the performers were such gifted artists who gave themselves to their art so selflessly: Sviatoslav Richter, Gyorgy Sebok and Janos Starker, The Beaux Arts Trio, the late Dietrich Fischer-Dieskau and Gerald Moore, just to name a few. There are more, but I will not take space to name them.
I am absolutely convinced that there is one group here in Colorado that is solidly in the company with those individuals that I mentioned above. That group is Thomas Edward Morgan and the Ars Nova Singers. I know there are many who read this who will say, “Yes, they are good, but they’re not that good.” I have heard many choral groups in my time, and at my undergraduate school, pianists were always used to fill out concert choirs and opera choruses. As a chorus member, I have been conducted by Fiora Contino, Robert Stoll, George Krueger, and Hugh Johnson. These individuals were phenomenal choral conductors, but I can assure you I have never heard or seen one like Maestro Morgan. Granted, conducting a relatively small ensemble like the Ars Nova Singers is different than conducting a large chorus. However, I have never seen anyone concentrate on the minutest of details in the same manner that Morgan does. Every phrase is shaped very gracefully with dynamics; and every phrase leads into the next without being gushy and unnecessarily sentimental. He teaches the members of the Ars Nova Singers how to emphasize every syllable of text, and sometimes every half syllable, so that the diction is perfect and the required musical accents are present. The dynamic range of the Ars Nova Singers is simply unbelievable, as is the balance between sections. To achieve this balance, he moves the singers standing positions from composition to composition. It also seems to me that he has the ability of showing the singers that they can meet his demands with utmost ease, even though these are all superb singers who already know how to sing. Morgan is absolutely tireless in his pursuit of detail work, so much so, that I am left with the impression that he has created a completely new instrument, all the while, using something so ancient as the human voice. He also has a knack for choosing singers who wish to make music as eagerly as he does.
Friday, June 1, I attended one of their last two season performances (the first here in Denver, and the second in Boulder) at the Saint John’s Cathedral on Washington Street. They opened the program with Henry Balfour-Gardiner’s Evening Hymn. The harmonies in this work are remarkably lush, and each section of the choir is sometimes divided so that there are more than just four parts. Gardiner, who was the great uncle of conductor Sir John Eliot Gardiner, was very self-critical about his compositions, and many have been destroyed, though scholars are unsure whether he destroyed his manuscripts himself, or if they were destroyed in World War II. It is been several years since I have heard this particular work, but it was done beautifully, and one could sense that the Ars Nova Singers really liked this particular composition a great deal. However, they seem to like everything they do, because they do everything so well.
This was followed by two works by Arvo Pärt, Cantate Domino and De Profundis. I have written about Arvo Pärt in other articles, so I will quote from one of mine:
“… please be reminded that Arvo Pärt is widely known as a minimalist composer, and his work between the years 1977 to 1992 can be described as “holy minimalism” because of his immersion in Gregorian chant and early liturgical music. He further describes this sound as “tintinnabuli” because it often sounds like the ringing of bells. Some critics have gone so far as to describe Pärt as a Western Confucius because of his mysticism and liturgical leanings. Pärt found much inspiration in the Russian Orthodox Church, and was specifically influenced by his acquaintance with Archimandrite Sophrony, who was a disciple and biographer of St. Silouan. As a matter of fact, it was Father Sophrony who advised Pärt to stay the course and become a composer.”
In the two works presented Friday evening, it was very easy to hear the influence of Gregorian chant. There were open fifths and fourths, and even some of the cadences were structured by a half-step down a third and then a leap down to an open fourth or fifth. The De Profundis was accompanied by percussionist Eric Harbison who played chimes and the bass drum. The piece opens in the lowest possible range for the basses, and clearly was influenced by Gregorian chant. It is accompanied by organ and a softly struck bass drum. Harbison used a soft mallet on the bass drum, not only to keep the dynamics in check, but to create the rhythm of a slow and the mysterious procession.
This performance was divided into five segments, all of which were contrasting. Following the Pärt, in second segment, Brian du Fresne, the multitalented bass section leader, performed Maurice Duruflé’s Fugue sur le theme du Carillon des Heures de la Cathédrale de Soissons, Op. 12. I have known for some time that Brian du Fresne was an organist, but this was the first time I heard him perform. He is really quite excellent, and he has performed with the Boulder Philharmonic Orchestra, the El Paso Symphony Orchestra, as well as the Ars Nova Singers. From the program notes, I also learned that his first organist position was in England at the age of fourteen. He attended high school in London, Munich, and Naples, and, upon moving to the US, he attended the University of Texas in El Paso. He has two Master’s degrees, one in piano performance, and the other in music education. Mr. du Fresne adds quite a bit of depth to this organization. The Duruflé is a relatively short piece, but it certainly gave Mr. du Fresne the opportunity to make his love for music obvious to the audience. He is a very good organist. Even though short, this piece is difficult.
I must say that the highlight of the evening for me, at least, was the World Premiere of a work, Shakespeare’s Love, by Boulder composer, Paul Fowler. Before I tell you about this work, I will quote from Fowler’s website:
“His initial love for music was borne of the voice, being the child of 2 opera singers. During his formal vocal training, he was awarded by NATS, Milwaukee’s MacAllister Awards and the NFAA Arts Recognition; he sang Nero in Monteverdi’s ‘L’Incoronazione di Poppea’ and the Vicar in ‘Albert Herring’ at Ithaca College, and was a soloist with the Syracuse Symphony. Over the past decade, Fowler has explored the voice outside of classical technique, most recently performing overtone (harmonic) singing in the premiere of his chamber orchestra work, ‘Beyond Completely Gone.’ This technique allows Fowler to sing two-voice counterpoint by manipulating the upper harmonics of the voice in conjunction with the fundamental. Within the next year, Fowler will release an album of his choral works performing all voice parts himself, also, a live solo project incorporating the voice and laptop manipulation thereof.
“Fowler makes his home in Boulder, CO, where he conducts the chorus, and teaches theory and world music appreciation at Naropa University – a Buddhist inspired contemplative university. In addition he maintains a private studio for students of voice, composition, piano, and computer production. He has degrees in voice, composition and theater from Ithaca College and a Masters of Music in Composition from the University of Michigan – Ann Arbor.”
There were five movements in this new work: As sweet and musical; Love it is a smoke; How silver suite; One touch of nature; and, If music be the food of love.
So many new choral works are similar: twenty-five or thirty years ago, a new style of choral writing evolved, in which composers used a lot of ninth, eleventh, and thirteenth chords. Many choral composers are still composing in that way, because it was so effective a few years back. There are exceptions of course, Arvo Pärt, Veljo Tormis, Tarik O’Regan, to name but three. Now, however, there is another exception, and that is Paul Fowler. I have never heard a new choral composer who is so completely original. He uses incredible cascading harmonies that constantly shift – everything seems to move all the time without ever resting. It reminded me very much of how clouds constantly shift and change. This new work is one of the most haunting pieces of music that I have heard in some time. It seemed microtonal, and yet that aspect sometimes seemed almost accidental, compared with what Fowler creates structurally. I would absolutely love to see a score to this work. One of the reasons the Baroque counterpoint is so difficult, is that all of the contrapuntal lines, when they are performed together, as in a four voice fugue for example, must also have vertical (that is to say, harmonic) structure, as well as horizontal structure. It often seemed in Fowler’s new work, that the sound coming from the vertical alignment was not dependent upon the horizontal movement of the voices. There were many dissonances, but they were not as harsh as tone clusters can be. Everything was smooth and silken, and his demands on the dynamic capabilities of the choir were startling. Of course, the Ars Nova Singers truly excels in extreme dynamics, so it is my opinion that he chose very wisely when he selected the Ars Nova Singers to premiere his piece.
Fowler’s compositions have been performed all over the world, and I have no doubt they will continue to be, because he is an absolutely outstanding composer.
Following the intermission was the Processional for Organ, by Henry Cowell. This is yet another piece that I have never heard before, and hearing Brian du Fresne perform made me realize how much I have missed going to organ recitals in the last couple of years. As he performed, the Ars Nova Singers entered the sanctuary and took their places to sing the final work on the program.
The final work was entitled An Eclectic Organ Mass, and was made up of two Kyrie’s, one Gloria, one Summa, a Sanctus, and an Agnus Dei. All of these were composed by different composers, which included Louis Vierne, Maurice Duruflé, Nico Muhly, Arvo Pärt, David Briggs, and Flor Peeters. It was an absolutely stunning closing to this sensational program. Stunning, because all of these works, again, highlighted the incredible ability the Ars Nova Singers and their conductor, Thomas Edward Morgan, have in producing such a wonderfully true sound of the human voice. As I said above, it has been a long time since I have heard anyone concentrate so hard in pursuing what the human voice is capable of doing.
That concentration is manifest in every measure of music that Morgan conducts, and every measure that the Ars Nova Singers sing. It is by no means an exaggeration to say that they are world-class.
Filed under: News | Tags: Ars Nova Singers, Arvo Pärt, Brian du Fresne, David Briggs, Flor Peeters, Henry Balfour-Gardiner, Louis Vierne, Maurice Duruflé, Nathan Jones, Nico Muhly, Thomas Edward Morgan
The renowned Ars Nova Singers will present their final season performance on Friday, June 1, and Saturday, June 2. If you have never heard them perform before, I would strongly suggest that you attend one of the two performances listed below in their press release. These two performances will also include a World Premiere of a new work by Boulder composer Paul Fowler. In addition, Brian Du Fresne will perform on the organ. Du Fresne is a long time member of the Ars Nova Singers, and to say that he is multitalented is an understatement.
Quoting from Mr. Du Fresne’s website:
“Mr. du Fresne is Director of Vocal Music and Music Theatre at Monarch High School. He also teaches AP Music Theory, Guitar and directs the annual musicals. He started teaching at Monarch in its second year.
“He holds a Bachelor and Master’s degree in Music (piano performance, voice) from the University of Texas, and a second Master’s degree in Music (music education, ethnomusicology) from the University of Colorado, Boulder. He holds the Associate level certification with the American Guild of Organists. Outside of school, Mr. du Fresne is a professional organist and currently serves as Principal Organist at St. John’s Episcopal Church in Boulder. His first job as an organist was at the age of fourteen, for a church just outside of London, England. Since 1994 he has sung with the internationally-acclaimed Boulder-based Ars Nova Signers and has been bass Section Leader for that ensemble since he started with the group. He is Associate Conductor of the Rocky Mountain Chorale.
“Mr. du Fresne has served on the Colorado Music Educators’ Association Board of Directors, as well as the Colorado All State Choir Board of Directors. He is affiliated with the following organizations: Music Educators’ National Conference, Colorado Music Educators’ Association, Phi Mu Alpha National Professional Music fraternity, Golden Key and Phi Kappa Phi National Honor Societies, the Gay/Lesbian/Straight Education Network, Human Rights Campaign, the American Guild of Organists, and the Association of Anglican Musicians.
“His passion is music, and loves every opportunity to share music with the hearts and minds of young people”
This final performance of the Ars Nova Singers will also feature another multitalented individual, who is also a resident of Boulder: composer Paul Fowler. I will quote from Paul Fowler’s website:
“His initial love for music was borne of the voice, being the child of two opera singers. During his formal vocal training he was awarded by NATS, Milwaukee’s MacAllister Awards and the NFAA Arts Recognition; he sang Nero in Monteverdi’s ‘L’Incoronazione di Poppea’ and the Vicar in ‘Albert Herring’ at Ithaca College, and was a soloist with the Syracuse Symphony. Over the past decade, Fowler has explored the voice outside of classical technique, most recently performing overtone (harmonic) singing in the premiere of his chamber orchestra work, ‘Beyond Completely Gone.’ This technique allows Fowler to sing two-voice counterpoint by manipulating the upper harmonics of the voice in conjunction with the fundamental. Within the next year Fowler will release an album of his choral works performing all voice parts himself, also, a live solo project incorporating the voice and laptop manipulation thereof.
“As a break from his initial theater and voice studies, Fowler learned to improvise at the piano. Ultimately, this hobby lead to his work as a keyboardist, arranger, and band leader in jazz, world, and other popular music. In 2003, he released his first album, Photograph, produced by Robbie Parrish at Sugar Hill Studios in Houston. He’s performed at New Orleans JazzFest, the AguaZero Festival in Ecuador, Taos Solar Fest, and on Japanese television. He’s played with jazz luminaries Bruce Dunlap, Donald Walden, Rob Schepps, and Andre Wright. After touring for several years with Native American artist and Grammy winner, Robert Mirabal, Fowler was associate producer for his award winning album, “In the Blood,” in 2007. He has produced several local artists of New Mexico and Colorado and performs regularly throughout the region.
“Fowler makes his home in Boulder, CO, where he conducts the chorus, and teaches theory and world music appreciation at Naropa University – a Buddhist inspired contemplative university. In addition, he maintains a private studio for students of voice, composition, piano, and computer production. He has degrees in voice, composition and theater from Ithaca College and a Masters of Music in Composition from the University of Michigan – Ann Arbor.”
The following is a press release that I received from the Ars Nova Singers:
“The Ars Nova Singers, a professional-caliber ensemble of 36 choral musicians based in Boulder, will present the final program of their 26th season, New Perspectives: Modern Masterpieces, at two metro-area performances in June. The program includes guest artist Brian du Fresne, organ, and features the world premiere of Shakespeare’s Love by acclaimed Boulder composer Paul Fowler. The performances will be held:
“Friday, June 1, 7:30 p.m. – Saint John’s Cathedral, 1350 Washington Street, Denver Saturday, June 2, 7:30 p.m. – St. John’s Episcopal Church, 1419 Pine Street, Boulder
“Tickets for the performances are $22 for adults, $16 for seniors, $11 for college students, and $6 for youth ages 6-18). Tickets are on sale at our website: www.arsnovasingers.com or by phone: (303) 499-3165.
“Artistic Director Thomas Edward Morgan: ‘We’re celebrating the renovation of one of Colorado’s finest pipe organs: the historic Kimball organ of Saint John’s Cathedral in Denver. Our program features modern masterpieces for chorus and organ, as well as the world premiere of a spectacular new work for unaccompanied chorus by Paul Fowler, one of Colorado’s finest young composers.’
“In addition to the Fowler premiere, the Singers will perform three early works by the renowned contemporary Estonian composer Arvo Pärt, and an unusual eclectic organ mass featuring music from six different composers. The program includes the following works:
“Henry Balfour-Gardiner, Te lucis ante terminum
Arvo Pärt, De Profundis
Arvo Pärt, Cantate Domino
Nathan Jones, I Would Live in Your Love
Paul Fowler, Shakespeare’s Love (world premiere)
“An Eclectic Contemporary Organ Mass:
“Louis Vierne, Kyrie (Messe Solenelle)
Maurice Duruf1é, Kyrie (Requiem)
Nico Muhly, Gloria (Bright Mass with Canons, 2005)
Arvo Pärt, Summa (Credo)
David Briggs, Sanctus and Benedictus (Messe de Notre Dame)
Flor Peeters, Agnus Dei (Missa Festiva)
“For further information on the program or the ensemble, please visit our website, or contact Artistic Director Tom Morgan: firstname.lastname@example.org.”
Filed under: Reviews | Tags: Ars Nova Singers, Benjamin Cantú, Edwin London, Thomas Edward Morgan
Since I heard the Ars Nova Singers with the Boulder Chamber Orchestra perform the Mozart Requiem, I had been looking forward to their next performance. There always seems to be such a “dry spell” between their performances. It would be wonderful to hear them sing every weekend, but I suppose that is asking too much. Their Christmas concert Friday night, December 9, at St. Paul’s Lutheran Church, was another remarkable performance.
The program began with a processional by the Ars Nova Singers down the aisles of the church while they sang Ave Maris Stella, which is an old Gregorian chant hymn, certainly from the eighth century, and possibly even the sixth century. It was often used in later years as a piece of cantus firmus, and thus provided the basis of a polyphonic composition. In this concert, Maestro Morgan led the audience through several historic periods of music, ending with works from the late 20th century.
Rather than just lead you readers through the program in order, I think that I will begin with the work that the Ars Nova Singers performed immediately after the intermission. If there can be a work pinpointed as the outstanding work of the evening, this is it. They performed a Bach chorale entitled Schaut hin, dort liegt im finstern Stall, which had been arranged by Edwin London. Bach had a history, as I said in my review of the Christmas Oratorio, of plagiarizing himself. Tom Morgan, in his excellent program notes, quotes Ed London as London explains his arrangement of this particular chorale, which, by the way, is from the Cantata Nr. 2, Chorale Nr. 8, in the Christmas Oratorio. London is quoted thusly: “There is a long tradition of making music out of music. Just as J. S. Bach (with true artistry and respect for his sources) used traditional chorales to build a grand series of musical gems, so may we (with humility) utilize his harmonizations as a starting point on the road to new processes and compositions.”
I point out that this is the same Edwin London who taught at the University of Illinois during my last year at that institution. I also point out that he took the music school by storm, because of his compositions, and because he was such a fine teacher. Below is a very short biographical statement for London. It comes from the webpage of the Cleveland Arts Prize for composition.
“After earning a degree in French horn at Oberlin College, he began his performing career with Orquestra Sinfonica de Venezuela and the Oscar Pettiford Jazz Band.
“London continued his education at the University of Iowa, where he completed a master’s degree in conducting and a doctorate in composition. His principal teachers were P. G. Clapp and Philip Bezanson. He also studied composition with Luigi Dallapiccola, Darius Milhaud and Gunther Schuller. London’s music, published primarily by C. F. Peters Inc., has been recorded on several labels and performed by ensembles across the United States and in Europe.
“London taught at Smith College from 1960 to 1969, then joined the faculty at the University of Illinois. There, he founded Ineluctable Modality, a choral ensemble specializing in new music. From 1978 until his retirement in 2004, he was a faculty member at Cleveland State University, where he formed the award-winning Cleveland Chamber Symphony in 1980.
“Widely honored for his work as a composer, conductor, music director and champion of contemporary American music, London has won numerous awards, including the 2001 Ditson Conductor’s Award and the 1982 Cleveland Arts Prize for composition.”
The work began with an almost direct quote (I say “almost” because I’m sure I heard a few added notes in this chorale that were not Bach’s) of Bach’s famous chorale. Then, gradually, notes are added to each chord of the chorale to create intervals of minor and major seconds, which were not at all used by Bach. In addition, the Ars Nova Singers and Maestro Morgan demonstrated their amazing ability to control dynamics. In this particular instance, I promise you that I do not use the word “amazing” lightly. Hearing everyone in the choir sing so very softly that they were almost in audible, even from the ninth or tenth row of the church, had an amazing effect. This brought back many memories of hearing the Ineluctable Modality in Champaign-Urbana. Morgan has an incredible ability to control what a choir does and how they do it. I can promise you that if Edwin London had been in the audience, he would have been enormously pleased with what he heard. The sound from the Ars Nova Singers simply blossomed like a flower, and then diminished, as if the flower was closing its petals for the night. Morgan also used an innovative technique that London certainly would have approved: some members of the Ars Nova Singers slowly rotated, while others continued to face forward, thus making the sound swell and fade. This is the kind of “innovation” in avant-garde music that makes Maestro Morgan stand head and shoulders above a typical choral conductor. There are probably only two other choir directors in the state of Colorado with this kind of insight into sound.
It was also a very interesting work, because London used the melody of the chorale as a cantus firmus (see the second paragraph of this article) which was placed sometimes above the harmony and sometimes below the harmony, which was provided by Edwin London. Unless you were at this performance, it truly is difficult to imagine where some of these sounds came from, because of the dynamic control the Ars Nova Singers demonstrated. The sound simply appeared, blossomed, and then was gone. I sincerely hope that Friday night’s performance was recorded, and that the resultant CD is offered for sale. I will certainly be first in line.
There was a guest artist on Friday’s program: a terrific guitarist, Benjamin Cantú. I will quote from the program notes:
“Ben Cantú has quickly become one of the most sought after young guitarists in Colorado. He has worked with many ensembles including the Playground Ensemble, Ars Nova Singers, Pro Musica Colorado Chamber Orchestra, and the Pueblo Symphony Orchestra. Cantú received his Bachelor of Music degree from the Oberlin Conservatory of Music and his Master of Music degree from the University of Denver’s Lamont school of Music under the tutelage of Stephen Aron and Ricardo Iznaola. He is currently pursuing a Doctor of Musical Arts degree at the University of Colorado at Boulder in classical guitar performance with Jonathan Leathwood.”
The 17th work on the program, Christmas Lullaby, written by Jeffrey Van, was a showcase for Cantú to display his musicianship. This was not full of technical daring, but it required great sensitivity and ability to listen to the choir. He was also superb in the following work, the well-known carol, Bring a Torch, Jeannette Isabella. Cantú never faltered: he was always precisely with Maestro Morgan and the choir, and it was readily apparent that there was a great deal of mutual admiration in each other’s musicianship. However, this should not really be any kind of surprise. Every time I hear the Ars Nova Singers, I am always struck by Thomas Edward Morgan’s ability to choose members of the choir, to choose the pieces on the program, and to choose the guest artist. Of course, those attributes are one of the reasons that the Ars Nova Singers is one of the best choral groups in the United States, and I mean that quite sincerely.
Benjamin Cantú truly took me by surprise when he performed the ninth piece on the program,Villancico de Navidad, by the Paraguayan composer, Augustin Barrios Mangoré. Mangoré’s dates 1885 to 1944. Though he was born in Paraguay, he eventually moved to Argentina, and there he always performed in traditional Paraguayan dress.
The villancico, which is Spanish, but nonetheless related to the Medieval English Carol, eventually became just another Christmas carol. However, this work for solo guitar, to my knowledge at least, has no text whatsoever. But it is beautiful, and Cantú played it with great warmth, and it was truly exquisite.
Friday night’s entire program was full of detail and unbelievably solid musicianship, as one has come to expect from the Ars Nova Singers. Brian Du Fresne proved once again that he is not only a superb member of the choir, but that he can conduct as well, which he did in the work by Jeffrey Nytch, Calm on the Listening Ear of Night.
There were also some wonderful duets and solos by Steve Kientz, Brian du Fresne, Bruce Doenecke, Lou Warshawsky, Evanne Browne, Kim Lancaster, Janet Preloger, Leah Creek Biesterfeld, Paul Munsch, Tara U’Ren, Julie Poelchau, and Steve Winograd. And please understand that some of these solos were on the recorder, not just vocal solos. So, here is another organization that is similar to the Colorado Ballet: everyone in the organization can do something besides “just” sing, and do it extraordinarily well. The Ars Nova Singers has incredible depth.
When I say that Tom Morgan is concerned with detail, I mean just exactly that. If any of you in the audience has noticed, he shifts the singers around on their risers and location during the concert, and sometimes for individual pieces. Why? Because that affects sound production as the audience perceives it. And more importantly, how Morgan perceives it. I say more importantly, because to every artist every detail is important. The artist wants to know, and I can guarantee you that Morgan is one, that the choir (in this case) is doing exactly what he imagines in his mind it is doing. This entails very careful listening and very intense work. But this is why the Ars Nova Singers is one of the best choral groups in the United States.
It is my sincere hope that Maestro Tom Morgan does not uproot them, and take them off to someplace like New York City where they can have unlimited performance opportunities. I am fairly certain that he knows how much the Ars Nova Singers would be missed here in Colorado.
Filed under: Reviews | Tags: Ars Nova Singers, Bahman Saless, Boulder Chamber Orchestra, Cantique de Jean Racine, Joel Burcham, Leah Creek, Matthew Singer, Mozart Requiem, Peter Alexander, Szilvia Schranz, Thomas Edward Morgan
Friday evening, October 28, I attended a concert at St. John’s Episcopal Cathedral on 14th Avenue and Washington Street. This is one concert that I had been looking forward to, for it was a joint venture between two very exciting music organizations in the state, if not the entire Rocky Mountain region. It was a combined concert between the Ars Nova Singers, conducted by Thomas Edward Morgan, and the Boulder Chamber Orchestra, conducted by Bahman Saless. The main event of this concert was the Mozart Requiem, which as everyone knows, is one of the Requiem Masses of all time. The Mozart Requiem was sung after the intermission, but before the intermission were two absolute gems: the Concerto for Strings in D minor, RV 127, by Antonio Vivaldi, and the Cantique de Jean Racine, by Gabriel Fauré.
As Maestro Bahman Saless explained to the audience, the Vivaldi and Fauré are miniatures, and were chosen because they are small pieces, and would give enough time for the Mozart Requiem to be performed after the intermission.
I referred to the Vivaldi, above, as a gem, and believe me, it is. I will quote from the excellent program notes:
“Of the literally hundreds of concertos that Vivaldi wrote, approximately forty are for the entire string orchestra rather than for any particular solo instrument. Of these so-called ripieno concertos, there are twelve collected in one manuscript that resides at the Paris Conservatoire library. Although Vivaldi was known to have French patrons, most notably the French ambassador to Venice, the genesis of this collection and its connection to Paris remain unclear.
“… Its three brief movements follow the standard Italianate Concerto format of fast-slow-fast, with lively, repetitive figuration in the outer movements and a small moment of rhapsodizing for the first violin in between. What continues to amaze is Vivaldi’s ability to conjure endless variety and freshness within the briefest of forms and with the slightest of materials.”
Sharp eyed readers will also note the number, RV 127, which follows the title of the piece. A couple of years ago in another article on Vivaldi, I explained the complex Vivaldi thematic catalogue system. I will quote from my previous article:
“It is interesting to note the RV number. Unlike the D. numbers in Schubert, which stand for Deutsch, the musicologist who put Schubert’s works in chronological order, there are six different methods in identifying Vivaldi’s output. 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. There is enough information here for a doctoral dissertation.”
The best word that describes the performance of this Vivaldi Concerto is scintillating. The remarkable musicians of the Boulder Chamber Orchestra immersed this work in shimmering light. Maestro Saless found the perfect tempo, and the strings executed the ornamentation, mordents and appoggiaturas, with graceful precision. As a matter of fact, I was quite struck by the superior performance by the concertmaster, Annamaria Karacson, and the entire violin section. But truly, that speaks to the ability of this chamber orchestra: when one performs Vivaldi, the strings have to be accomplished, and everyone in this chamber orchestra is. I wish there was more space in this article, and I would name them all. This was a memorable performance.
When Gabriel Fauré (1845 to 1924) was a young boy in Arlège, France, Henry David Thoreau was in the process of writing Walden. When he died, in 1924, World War I had finally ended a few years earlier, and left a devastated Europe behind. Igor Stravinsky had written The Right of Spring. Fauré spent much of his youth playing the harmonium in a chapel which was next to his father’s school. He became one of the most progressive figures in Europe after studying at the illustrious École Niedermeyer in Paris. Camille Saint-Saëns joined the school as a faculty member in 1861, and Fauré continued his studies with him. The composition heard Friday evening, the Cantique de Jean Racine, was originally written for choir and organ, but in 1905, Fauré orchestrated the organ part for chamber orchestra. It was this version which was sung on Friday evening’s program. Fauré won first prize in 1865 for this composition.
This work was conducted by Maestro Bahman Saless, but Maestro Thomas Morgan, of course, prepared the Ars Nova Singers. And I would like to point out, that Mr. Morgan sang in the choir for this performance. And what a beautiful performance it was! Right away, I noticed that 1) I could understand what the choir was singing because their diction was excellent, and 2) from where I was sitting, the acoustics in St. John’s Cathedral were perfect. I will say that there was a very large audience, so I am sure that affected the acoustics. The result, whether due to the large audience or not, was a splendid performance where the orchestra never overpowered the choir, nor did the choir ever overpower the orchestra. This has to be one of Fauré’s most serene compositions. The music encompasses Racine’s three stanza prayer, “Word of God, one with the most high… Pour on us the fire of thy mighty grace.” Again, the word I used in the first paragraph of this article, “scintillating,” comes to mind. The balance between the orchestra and the choir was perfect, and Fauré’s harmonies never grow old. Maestro Saless gently exposed the phrasing in this tiny masterpiece, and made the hearing of this work absolutely sublime.
Following the intermission, the Boulder Chamber Orchestra and the Ars Nova Singers performed Mozart’s Requiem Mass. As most everyone is aware, until recently, there was great mystery surrounding Mozart’s death and the completion of this famous composition. In August of 2009, I wrote an article on the death of Mozart and the Requiem’s completion. At the performance Friday evening, CU musicologist, Peter Alexander, presented a terrific pre-concert lecture on the same subject. Not only that, but in the program notes he included a wonderful chart concerning the original manuscripts of the Requiem, and a Requiem Timeline concerning details of its completion and the “fraud” surrounding the attributation of its composition. These two items in the program notes certainly gave me a new visual perspective of all of the events surrounding the Requiem. I think that everyone realizes, by now, that these events were fictionalized in the movie, “Amadeus.”
This performance truly was one of the best that I have heard of the Mozart Requiem. Why? For many reasons. The soloists, Szilvia Schranz, soprano (and daughter of the Concertmaster – amazing!), Leah Creek, mezzo, Joel Burcham, tenor, and Matthew Singer, bass, were not only all excellent, but their voices seem to be suited for this particular work, and this particular church. I could understand all four of them, because their diction was perfect, and I promise you that is not an exaggeration. In addition, as I have said before, the acoustics can sometimes be very problematical in St. John’s Cathedral. But it is often such a magical place to perform, that everyone is grateful to make use of this facility. But it seemed that on Friday evening, there was no issue with the acoustics at all. Again, I point out that Maestro Thomas Morgan prepared the choir, and Maestro Saless conducted the performance. It truly seemed as though both of these gentlemen knew how to manipulate the acoustics. I say that, because when Maestro Saless indicated sharp cut-offs to the orchestra and the choir, even when the phrase endings lasted only a nano second, everybody stopped in unison (as they are supposed to do) but the effect was magical, because of the echo. And again, perhaps because the audience was so large, that echo never covered up the choir or the chamber orchestra, and it never distorted the soloist’s excellent diction, nor the diction of the choir. It is been a long time since I have heard that in St. John’s Cathedral, so perhaps it was a confluence of all things enchanted, but I think it had more to do with the thorough musicianship of everyone involved.
This was such a fine and well balanced performance that it is very difficult to say, for example, that the Tuba Mirum was better than the Dies Irae, or that the Tenor was better than the Soprano. The entire performance was full of emotion, but never went beyond the style of Mozart. Everything was crystal clear, and the soloists were an equal part of the performance, never overshadowing it, and never timorous.
I must say that I was looking forward for a long time to this concert, because Saless and Morgan are two outstanding musicians. I did not exaggerate above when I said this was one of the best performances of the Mozart Requiem that I have heard. Perhaps due to the surroundings, it had a very intimate feel, but the choir, the orchestra, and the soloists all gave the impression that they were performing for just a select few. It was so very clean and clear that every note (from everyone) could be heard.
The standing ovation was very well deserved, and judging by the look on the faces of all the performers, it was clear they had given their best and found it very rewarding, as did the audience.
Filed under: News | Tags: Albinoni, Ars Nova Singers, Bach, Bahman Saless, Beethoven, Biber, Boulder Chamber Orchestra, Claire Huangci, Cobus Du Toit, Diamond, Hummel, John King, Lindsay Deutsch, Max Soto, Mendelssohn, Mozart, Prokofiev, Rameau, Rossini, Saint-Saens, Strauss, Tchaikovsky, Thomas Edward Morgan, Torelli
The Boulder Chamber Orchestra and Maestro Bahman Saless have announced their new concert season for 2011-2012. Each concert has its own title which reflects the general spirit of the compositions performed for that particular concert.
“Liberation” – September 30th & October 1st, 2011
Mozart Abduction from the Seraglio, Overture
Mendelssohn Violin Concerto, Lindsay Deutsch, violin
Beethoven Symphony No. 7
Concert 1: First Congregational Church, Boulder
Concert 2: Montview Boulevard Presbyterian, Denver
“Piety” – October 28th & 29th, 2011
With Ars Nova Singers
1st piece To Be Announced
Concert 1: St. John’s Cathedral, Denver
Concert 2: First United Methodist, Boulder
“Festivity” – December 16th & 17th, 2011
Rameau Suite in G/g (La Poule)
Albinoni Oboe Concerto in d, featuring Max Soto, oboe
Torelli Christmas Concerto
Bach Suite No. 2 in b, featuring Cobus du Toit, flute
Concert 1: First Congregational Church, Boulder
Concert 2: Jefferson Unitarian, Golden
New Year’s Eve Concert – December 31st, 2011
Waltzes and more (still working on details)
Note: This concert will be performed in the Glenn Miller Ballroom, UMC (?)
“Joy” – February 10th & 11th, 2012
Mozart Divertimento, K.136
Diamond Rounds for String Orchestra
Concert 1: Broomfield Auditorium
Concert 2: First Congregational Church, Boulder
“Reverence” – April 13th & 14th, 2012
Saint-Saens Piano Concerto #2, featuring Claire Huangci, piano
Stravinsky Pulcinella Suite
Prokofiev Classical Symphony
Concert 1: First Congregational Church, Boulder
Concert 2: Broomfield Auditorium
“Mastery” – May 11th & 12th, 2012
Rossini L’Italiana in Algeri, Overture
Hummel Trumpet Concerto, featuring John King, trumpet
Mendelssohn Symphony No. 3, Scottish
Concert 1: First Congregational Church, Boulder
Concert 2: Broomfield Auditorium
This is a very good series of programs. The title of the entire season is “Road to Mastery.” And indeed, even though several of the pieces could be included in the last program, which is entitled Mastery, there is a sort of natural progression. And I point out that the titles for each program are quite apt. For example, take a look at the concert entitled Reverence. Here are three works which are truly “revered” because they are absolute masterworks.
Lindsay Deutsch, a young violinist who has taken the United States by storm will be the featured artist for the Mendelssohn Violin Concerto on the first program of the season. Ms. Deutch received her Bachelor’s Degree, and continues to study at the Colburn Conservatory of Music, where she studies with Robert Lipsett. She has performed with orchestras throughout the United Statesand Canada, in addition to performing the violin soundtrack for the 2006 movie, The Good Shepherd.
In addition to her many awards and concert credits, she and her sister, Lauren, have co-founded a non-profit organization, Classics Alive (www.ClassicsAlive.org), dedicated to building classical music audiences. I think this is a fantastic idea that more young musicians who are on the concert stage need to become involved with.
Another young American artist will perform with the Boulder Chamber Orchestra this coming season. She is Claire Huangci of Rochester,New York, and she will perform the Saint-Saens Piano Concerto Nr. 2.
Born in 1990, Claire became a student of Eleanor Sokoloff, a piano professor of the Curtis Institute of Music. In 2003, she was formally accepted by the Curtis Institute with a full scholarship from the Hirsig Family Foundation and continued her piano study under Eleanor Sokoloff and Gary Graffman. From there, she went on to win the Philadelphia Orchestra Competition and performed with the Philadelphia Orchestra under the baton of Wolfgang Sawalisch, one of dozens of American orchestras she has appeared with. Several of her performances were aired on music radio stations in 2006 and 2007. In May 2007, Curtis Director Gary Graffman honoured her with the Most Promising Student Award. She is continuing her work with Professor Arie Vardi in Germany at the Hanover Hochschule für Musik as she continues to perform throughoutEurope.
The Boulder Chamber Orchestra’s own Max Soto, principal oboe, will perform Albinoni’s Oboe Concerto in d minor. Max Soto has a Masters Degree in Performance from the Lamont School of Music, and has performed throughout the United States. Max began his musical education with the Orquesta Sinfonica Juvenil de Costa Rica which allowed him to study with Principal Oboist Jorge Rodriguez and helped to cultivate a passion for classical music and the oboe. Max arrived in the USA in 1996 at the Loyola University of New Orleans and received his Bachelor of Arts in Music Performance. Max began his professional career as the Assistant Principal oboist with the New Orleans Symphony Orchestra.
John King, principal trumpet with the Boulder Chamber Orchestra, will perform the Trumpet Concerto by Johann Nepomuk Hummel. Since moving to Coloradoin 2004 John has performed with all major arts organizations including Colorado Symphony and Colorado Ballet. Before moving here he was in the San Francisco Bay area for many years, and during this time he held the position of Second Trumpet in San Jose Symphony and was Principal Trumpet in Californiafor eighteen seasons. In addition, he worked extensively with the San Francisco Symphony including numerous national tours and recordings.
Another amazing musician from the BCO, Cobus du Toit, will perform the Bach Suite Nr. 2 in b. Cobus held the principal position in the National Youth Orchestra of South Africa which toured to Germany for the Beethoven Festival in Bonn. While in Germany, Cobus also performed at noted venues such as the Berlin Philharmonie under conductor Herbert Blomstedt. Other orchestral experience includes the Johannesburg Philharmonic Orchestra, Chamber Orchestra of South Africa, Boulder Chamber Orchestra, University of Pretoria Symphony Orchestra and the University of Colorado Symphony Orchestra.
Certainly, no one will want to miss the October concert. Thomas Edward Morgan and the Ars Nova Singers will perform the Mozart Requiem. I have stated before, and I mean this in all sincerity, that the Ars Nova Singers is one of the best choral groups in the United States. If any of you readers have not heard them, you must come to this performance. The pairing of the Boulder Chamber Orchestra and the Ars Nova Singers will be a performance that you absolutely must hear.
The artists involved, and the difficulty of the programming, are indicative of the quality of this organization. The Boulder Chamber Orchestra continues to set a new standard for itself. Maestro Bahman Saless has established a real criterion for this young organization which was founded in 2004. Their website says that they have become Boulder’s premier chamber orchestra. I truly think that should be changed to read one of the region’s premier chamber orchestras.