Ah, the sweets of Paris! Tempting Pain au Chocolat, Crêpes, and our favorite- Macarons!


Join the Colorado Chamber Players for a beautifully indulgent program of French treats. Henri Casadesus wrote 24 preludes for Viola d’Amore and Harp in 1931. Each prelude is a short, bite-sized morsel in a different key, covering all major and minor keys. These musical “macarons” will delight and amuse listeners, with a wide range of colors and characters.


Camille Saint-Saëns wrote his charming Fantasie Op. 124 for harp and violin in 1907, while visiting the Italian Riviera. The Fantasie is a virtuoso piece for both players and the use of harp (rather than the more typical piano) lends a special, delicate if not magical sonority to this delectable duo. 


Gabriel Fauré composed Six Impromptus in 1904 for piano, as a mature composer. The final Impromptu op. 86 is for solo harp, and is a passionate and delicious excursion into the luscious world of the harp.
 

COLORADO CHAMBER PLAYERS

Named one of the top five chamber groups in Colorado by the Denver Post, the Colorado Chamber Players celebrates its 27th Season in 2020-2021. The 27th Season will be presented in a virtual format.

The ensemble has received numerous awards, including the prestigious Chamber Music America Residency Awards (2000 and 2008). The CCP has received awards from the Argosy Foundation, Denver Mayor's Fund, Colorado Creative Industries, National Endowment for the Arts, National Endowment for the Humanities, Energize Colorado, Xcel Energy Foundation, and the Scientific and Cultural Facilities District (SCFD).

The CCP has a core of string quartet, double bass, piano, harp, clarinet and flute.  Favorite guest artists have included cellists Lynn Harrell and David Geber, clarinetist Derek Bermel, guitarist Sharon Isbin, violists Jesse Levine, Patricia McCarty and Roger Tapping, and pianist Jeffrey Kahane. 

Critic Marc Shulgold wrote of a performance with Lynn Harrell in 2018 (from thescen3.org):

"From the hushed opening chords, growing majestically out of silence, the ensemble played as if with a single voice, the two cellos and then two violins soaring exquisitely through the First Movement’s unforgettable theme. The gorgeous Adagio unfolded with a wisely chosen tempo – not too fast, but just slow enough to maintain momentum and keep our focus on the subtly emerging melody. The final two movements bubbled with confidence, each of the numerous transitions managed with solid control. No surprise that the audience, clearly engaged in Schubert’s heavenly music, barely made a peep during the performance."