Masterpiece Series Finale:
A Symphonic Saga
Saturday, May 23, 2026
7:30 – 9:00 PM
Macky Auditorium Concert Hall
The Boulder Chamber Orchestra
Bahman Saless
conductor
Program
Jean Sibelius (1865–1957)
En Saga, Op. 9 (1892; rev. 1902)
Arturo Márquez (b. 1950)
Danzón No. 2 (1994)
Pyotr Ilyich Tchaikovsky (1840–1893)
Symphony No. 5 in E Minor, Op. 64 (1888)
I. Andante – Allegro con anima
II. Andante cantabile, con alcuna licenza
III. Valse: Allegro moderato
IV. Finale: Andante maestoso – Allegro vivace
ABOUT THE ARTIST
Bahman Saless
Music Director
A conductor for the 21st century, Bahman Saless has been described as “entrepreneurial, creative, and plugged in,” and “an innately talented musician and conductor, without frills or ego.” His passion is palpable, his enthusiasm contagious, and the results he draws from musicians are, as one colleague put it, “extraordinary.” Saless’s musical path is anything but conventional. After studying violin in England as a teenager and composing music from a young age, he pursued violin studies with Lyman Bodman at Michigan State University while simultaneously earning a Ph.D. in theoretical physics. He later founded the […]
PROGRAM NOTES
Jean Sibelius (1865–1957)
En Saga, Op. 9 (1892; rev. 1902)
En Saga (Finnish for “A Saga”) is an early tone poem by Jean Sibelius, and one of his first orchestral works to hint at the vast, mythic landscapes that would become a hallmark of his music. Originally composed in 1892 and significantly revised in 1902, En Saga is not based on a specific literary source but rather evokes the spirit of Finnish folklore and legend. Sibelius himself described it as “an expression of a state of mind,” a work rooted more in psychological narrative than concrete story.
The music unfolds with a stark, brooding atmosphere, rich in Nordic color and textural variety. It opens with quiet, ominous murmurings in the lower strings and winds, gradually building into sweeping gestures and emotional surges. Throughout the work, Sibelius creates a sense of journey—haunted, searching, at times heroic. Listeners may detect hints of battle, solitude, or even melancholy triumph, though no specific tale is ever told.
En Saga marked a turning point in Sibelius’s career, showing his early mastery of orchestral color and form. It remains a powerful example of how music can suggest epic narrative without ever uttering a word.
Arturo Márquez (b. 1950)
Danzón No. 2 (1994)
Danzón No. 2 by Mexican composer Arturo Márquez has become one of the most frequently performed orchestral works by a living Latin American composer. Written in 1994, the piece is part of Márquez’s larger exploration of the danzón—a dance form that originated in Cuba but was later embraced and transformed in the salons of Veracruz and Mexico City.
The danzón is both elegant and passionate, marked by a slow tempo and expressive lyricism that contrasts with sudden bursts of rhythmic vitality. Márquez masterfully captures these qualities, blending traditional Latin rhythms with symphonic textures. The work opens with a languid, sinuous melody introduced by the clarinet, gradually layered with solos for oboe, violin, and trumpet. The music builds with increasing energy, creating a vivid sense of tension and release.
Though undeniably rooted in Latin American dance traditions, Danzón No. 2 also speaks to universal themes—joy, longing, and the irresistible pull of rhythm. Its infectious energy and cinematic sweep have made it a favorite of orchestras and audiences worldwide.
Pyotr Ilyich Tchaikovsky (1840–1893)
Symphony No. 5 in E Minor, Op. 64 (1888)
Tchaikovsky’s Symphony No. 5 is a deeply emotional and dramatically cohesive work, composed in 1888 during a period of renewed self-doubt and creative insecurity. In it, Tchaikovsky confronts what he described in his sketches as "fate"—not as a destructive force, as in his Fourth Symphony, but as something to be endured, perhaps even transformed.
The symphony begins with a slow, somber introduction that presents a motto theme, which recurs throughout the work in various guises. The first movement moves from brooding darkness to an impassioned allegro, marked by sweeping melodies and intense orchestral interplay. The second movement, one of Tchaikovsky’s most sublime creations, features a soaring horn solo that has become iconic—tender, noble, and deeply expressive.
Instead of a scherzo, the third movement offers a graceful waltz, elegant and refined yet shadowed by the reappearance of the fate motif. The finale opens with a majestic statement of the theme, now transformed into a kind of victory march. Whether this conclusion is truly triumphant or tinged with irony is a question that has long intrigued interpreters.
More than a century after its premiere, Symphony No. 5 continues to move audiences with its emotional immediacy, masterful orchestration, and the raw humanity that lies at the heart of Tchaikovsky’s music. It is a journey from darkness to light—though never without shadows—and remains one of the most beloved symphonic works in the repertoire.
Program Notes by Reginald Winters