“Life Cycles”, the season finale of the Nashua Chamber Orchestra, conducted by David Feltner, will be held on Saturday, June 4th, at Nashua Community College, and Sunday, June 5th, at the Milford Town Hall. Cellist Carolyn Regula, a Nashua native, is the featured soloist. She will be performing the Davidov Cello Concerto No. 1. The program also includes Beethoven’s Prometheus Overture, Mozart Symphony No. 40, and Cycles, a world premiere by David Feltner. Dates and times:
SATURDAY, JUNE 4th, 7:30PM; Nashua Community College, Judd Gregg Hall; 505 Amherst Street
SUNDAY, JUNE 5TH, 7:30PM; Milford Town Hall, 1 Union Square on the Milford Oval
Tickets can be purchased at the door, or in advance at Darrell’s Music Hall in Nashua, and the Toadstool Bookstore in Lorden Plaza, Milford, or on line at the web site: www.nco-music.org Prices are $18 adult, $15 senior, and $8 student; children under 12, free. For more information, check the web site at www.nco-music.org or phone (603) 582-5211.
Nashua native Carolyn Regula began her cello studies at age 8, and has amassed prestigious awards, performing as a soloist since age 15. She attended the College of Fine Arts at Boston University, graduating in May, 2015 with a Bachelor’s in Cello Performance, Music Theory and Composition. She received the Academic Excellence Award for having the highest GPA in her class. Ms. Regula makes her debut with the NCO in a performance of the Davidov Cello Concerto No. 1. Karl Davidov (1838—1889), the most influential cellist of the nineteenth century, made his solo debut performing his own B Minor Cello Concerto. An innovator in cello technique, Davidov composed four cello concertos and numerous chamber works for the cello. His compositions had a huge impact on the development of cello playing. Davidov played a 1711 Stradivarius cello that is now performed on by Yo-Yo Ma. The Concerto in B minor is a soulful, lyrical piece, epitomizing the Romantic era with its expressive, fluid melodies.
Ludwig van Beethoven’s (1770—1827) ballet,The Creatures of Prometheus, was his first theatre work, completed in 1801. Although the ballet is rarely performed today, the Overture is part of the standard repertoire. The Prometheus myth is among the most central to Ancient Greek religion. Prometheus incurred the wrath of Zeus by stealing fire from the gods in order to uplift humankind. The Overture is concise, powerful, and unmistakably Beethoven. Consisting of a slow introduction followed by an allegro, its most distinguishing feature is the outrageous opening chord, containing a seventh in the bass. Three more chords follow, descending chromatically in the bass with contrary motion in the upper voices, before resolving to the dominant. With this masterful opening, Beethoven, the ingenious innovator, defies musical convention and displays his towering sense of drama.
In a burst of creative inspiration, Wolfgang Amadeus Mozart (1756—1791) composed his three last symphonies during a six-week period in the summer of 1789. Perhaps more profound than its counterparts, Symphonies No. 39 and 41, the Symphony No. 40 in G Minor is a remarkable fusion of contrasts: unrestrained passion and formal elegance, inconsolable sorrow and triumphant joy, darkness and light. Suffused with drama and seething with restless agitation, Mozart’s prolific motifs bounce back and forth, sustained by underlying driving rhythmic patterns. The Symphony hovers on the threshold of Classical expression, with forays into the Romantic. No words on any page can convey its turbulent longing; its compelling musical intensity penetrates the recesses of mind. A contemporary review of an 1804 performance declares: “However often the work is heard, it never fails in its effect — every time, it grips the listener irresistibly and sweeps him along in its train.”
Frustrated by the revving of motorcycles competing incongruously with the music played by the NCO in its Milford Town Hall concerts, music director David Feltner adopted the adage, “If you can’t beat ‘em, join ‘em.” Said the conductor-composer: “Why not just embrace it and incorporate these sounds into a new piece?” As a multi-dimensional performance piece, Cycles will use a mix of live motorcycle sounds and orchestral instruments mimicking those sounds, along with echoes of some favorite songs of the open road. Local bikers are invited to join in.