About Wild Things: Music of Springtime

We all love springtime, with new growth and boundless energy.
We are thrilled to bring you music that celebrates the delights of springtime.
ONLINE EVENT ONLY
 
Domenico Gallo (1730-1768): Trio Sonata no. 2 in Bb major, Dan Urbanowicz, Yuan Yuan Wang, Scott Kluksdahl 


G.F. Handel (1685-1759): Harp concerto, Lily Primus, harp

Josephe de Bologne, Chevalier de Saint-George (1745-1799): Sonata for Harp and Violin, Paul and Lily Primus


J.S. Bach (1685-1750): C minor Suite for Solo Viola, BWV 1011, Sarabanda and Gavottes,  Barbara Hamilton


Ludvig van Beethoven (1770-1827): 1st/last mvts of f minor Piano Sonata no. 1, op.2 #1, Andrew Cooperstock, Piano


Bohuslav Martinů (1890-1959): Madrigal no. 1, for Violin and Viola, Barbara Hamilton and Paul Primus


Aaron Copland (1900-1990): El Salon Mexico, Andrew Cooperstock, Piano (arranged by Leonard Bernstein)


Kenji Bunch (b.1973): 3 G’s, Solo Viola, Daniel Urbanowicz


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."