The definition of the term “chamber orchestra” was imbued on me at a young age. The works of Bach, Corelli, Haydn and Beethoven, performed with more intimate forces, came across totally differently than with the “all hands on deck” crew.
In the Baroque, pretty much all they had was chamber orchestras, but as venues and instrumentation grew more grandiose and hyfalutin', people began to miss the olden days when there were soirees in CHAMBERS that essentially had no bad seats. Beethoven, Brahms, Grieg, Copland, and Richard Strauss recognized the potential in these musical textures and connectivity, and have composed music just for our Sunday afternoon chamber series this season!. If they only knew...
Leading off on September 28th, Beethoven brings it all home (well, most of it) with an overture and a symphony. The Coriolan Overture and his 4th symphony will sandwich an appearance by UT's Cello Professor, Wesley Baldwin, in Luigi Boccherini's iconic Cello Concerto. Some people ask, “did Beethoven even write a 4th Symphony?” but there it is, sandwiched in between the Rasumovsky Quartets and the Violin Concerto in the catalogue. Dr. Baldwin's colleague and our Resident Conductor, Jim Fellenbaum, will conduct.
Speaking of quartets, the KSO Principal String Quartet's usual April concert will happen in November this season, on the 2nd. We will be presenting Shostakovich's 8th Quartet and Beethoven's epic Op. 132 Quartet. I hate it when people refer to Shostakovich as “Shosty.” He deserves a more dignified nickname, like Rostropovich has; Slava. To me “Shosty” conjures up images of Shasta soda, or the “Mister Softee” ice cream truck that used to compete with Good Humor when I was growing up. It was soft ice cream, compared to the ice cream bars that Good Humor sold. (Sells?) ANYway, there is nothing sugar-coated about Shostakovich 8, and this much-revered late Beethoven quartet is so different a work from his 4th Symphony that you won't believe it's the same composer. Venezuelan composer Efrain Amaya's Angélica will be the perfect palate-cleanser.
First thing back from the holidays will be our January 11th Orchestra Soloists concert, with concertos by Stamitz (trumpet) and Mozart (bassoon). New fellers Chase Hawkins (trumpet) and Aaron Apaza (bassoon) will lead the charge. On the second half, EVERYone will get a solo in Strauss's Le Bourgeois Gentilhomme Suite, a quirky and beloved 20th -century neo-Baroque work which has become a hallmark of the chamber orchestra repertoire. It's pronounced “boor-zhwah zhon-tee-yum,” and was last performed here in April 1995, when Phil Hansen was our principal cellist. Way too long ago.
Although March 1st isn't technically a spring date, James Fellenbaum and the KSCO's offering of Copland's Suite from Appalachian Spring will make it so at the Bijou. Starting with Grieg's Holberg Suite and weaving through music of Honneger and Webern, this is as varied a chamber orchestra concert as one could imagine. What's more, the Go! Contemporary Dance Works will be adding their talents in the Copland, augmenting the springtime ambiance.
Lucas Richman's final appearance with us at the Bijou Theatre will be May 3. The program features three luxurious works whose scope and sentiment suits the Bijou-- and the occasion-- perfectly. American Composer William Schuman's Symphony for Strings dates from the year before Appalachian Spring but comes from quite a different place. The strings will then get a rare break and Richard Strauss' Serenade for 13 Winds will finish up the first half. A word has been coined for the skill required to produce such beautiful music for winds: it's called “bandstration.” Like orchestration, but with a band. The grand finale, and another long-awaited return, will be Brahms' First Serenade for Orchestra. It's pretty much a six-movement Brahms Symphony, and if you're like me, you know there ain't no such thing as too much Brahms.
This is a star-studded Chamber series, and I Can't Wait! Please join us! All concerts start at 2:30 at the Bijou Theatre.