Romantic Bees
with Edward Dusinberre - Violin
Saturday, January 31, 2026
7:30 – 9:30 PM
Boulder Adventist Church
The Boulder Chamber Orchestra
Bahman Saless
conductor
Edward Dusinberre
violin
Program
Max Bruch (1838–1920)
Concerto for Violin and Orchestra No. 1 in G Minor, Op. 26 (1866–67)
I. Vorspiel: Allegro moderato
II. Adagio
III. Finale: Allegro energico
Edward Dusinberre - Violin
Johannes Brahms (1833–1897)
Serenade No. 1 in D Major, Op. 11 (1857–58; rev. 1865)
I. Allegro molto
II. Scherzo: Allegro non troppo – Trio
III. Adagio non troppo
IV. Menuetto I – Menuetto II
V. Scherzo: Allegro – Trio
VI. Rondo: Allegro
ABOUT THE ARTIST
Bahman Saless
Music Director
The conductor for the 21st Century: "Entrepreneurial, creative, and plugged in”, “Innately talented musician and conductor, without frills or ego” - the accolades all indicate the exuberance of artists that have worked with Bahman Saless, the founder of the Boulder Chamber Orchestra. “His enthusiasm is contagious and the results he gets from his players are quite extraordinary.” Bahman Saless’ musical career can be summarized in one word: Miraculous! After pursuing a variety of seemingly unrelated careers, Mr. Saless, who studied the violin as a teenager and was a member of the […]
Edward Dusinberre
Violin
Violinist Edward Dusinberre was born in 1968 in Leamington Spa, England, and started learning the violin at the age of four. After studying at the Royal College of Music in London, he continued his studies at The Juilliard School and joined the Takács Quartet in 1993. As first violinist of the Takács Quartet, Edward Dusinberre has won a Grammy and awards from Gramophone Magazine, the Japanese Recording Academy, Chamber Music America and the Royal Philharmonic Society. Combining an international career with his longstanding appointment as artist-in-residence at the […]
PROGRAM NOTES
Max Bruch (1838–1920)
Concerto for Violin and Orchestra No. 1 in G Minor, Op. 26 (1866–67)
Max Bruch’s Violin Concerto No. 1 in G Minor is one of the most beloved works in the violin repertoire—an enduring favourite among audiences and violinists alike for its soaring melodies, emotional directness, and rich Romantic texture. Composed between 1866 and 1867, the concerto was the result of meticulous refinement. Bruch revised the piece extensively, seeking guidance from violinists such as Joseph Joachim, who would later become one of the work’s great champions.
Though often referred to as a “one-hit wonder,” Bruch was, in his time, a respected composer of choral and orchestral works. Yet it is this concerto—his first of three for violin—that has guaranteed his lasting fame. It strikes a balance between virtuosic brilliance and lyrical warmth, creating a deeply expressive showcase for the soloist without sacrificing structural cohesion.
The first movement, Vorspiel (Prelude): Allegro moderato, unfolds as an extended introduction rather than a traditional exposition. The orchestra and violin exchange phrases in a restrained, almost searching dialogue, gradually building emotional intensity. This movement seamlessly transitions into the second, a deeply lyrical Adagio. Here, Bruch's gift for melody shines—this is the heart of the concerto, where the violin sings with operatic beauty over lush orchestral harmonies. The final movement, Allegro energico, bursts forth with fiery energy and rhythmic vigour, blending folk-like dance motifs with sweeping Romantic lines. It demands technical brilliance from the soloist but is always grounded in heartfelt expression.
In the capable hands of violinist Edward Dusinberre—first violinist of the Takács Quartet and a performer known for his depth, clarity, and emotional sensitivity—Bruch’s concerto becomes not just a Romantic showpiece but a living, breathing journey of lyrical and dramatic contrasts. It remains a testament to the enduring power of melody and the emotional resonance of the violin.
Johannes Brahms (1833–1897)
Serenade No. 1 in D Major, Op. 11 (1857–58; rev. 1865)
Before Johannes Brahms became known for his monumental symphonies and concertos, he tested his orchestral voice through more modest forms. The Serenade No. 1 in D Major, Op. 11, composed in 1857–58 and later revised in 1865, is one of these early explorations. It is Brahms’s first completed orchestral work, composed when he was in his mid-twenties during a period of professional self-discovery and personal introspection.
The Serenade was written while Brahms was working in Detmold, where he had access to a court orchestra and developed a growing confidence in orchestration. The work is pastoral, expansive, and generous in spirit—less a dramatic narrative and more a sequence of elegant and expressive scenes, almost symphonic in scope but infused with the charm and ease of a divertimento.
Opening with a bright and spacious Allegro molto, the Serenade immediately evokes the outdoors with its open textures and lilting themes. The music is sunny and unhurried, a portrait of young Brahms enjoying nature and sound with equal reverence. The first Scherzo, energetic but never aggressive, leads to a warm and contemplative Adagio, which showcases Brahms’s gift for heartfelt melody and gentle harmonic motion.
The central Menuetto movements are graceful nods to 18th-century tradition, but Brahms infuses them with Romantic sensibility—particularly in their trio sections, which often shift in mood and colour. A second Scherzo, bolder than the first, adds rhythmic drive before the closing Rondo: Allegro brings the work to a spirited, joyful conclusion.
Though Brahms would later regard the serenade as an early effort, the piece stands on its own as a joyful, luminous work that hints at the great orchestral masterworks to come. It bridges Classical form and Romantic warmth, offering the listener a portrait of Brahms before the stormier currents of his mature symphonies. The Serenade No. 1 is not just a student work—it is a celebration of emerging confidence and enduring charm.