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The Bad Plus arrangement of “Rite,” originally titled “On Sacred Ground,” was commissioned by Duke University for a concert performance in 2011. The trio released a recording of it earlier this year. Iverson acknowledges that reducing Stravinsky’s monumental score was a challenge. “Obviously, we had to leave out a fair amount of stuff,” he says. “But the arc of it is there. In one sense, it’s very literal, but in other ways, it’s lost a lot of orchestral detail. When I hear the orchestral version now, I feel there are too many notes in it.”.

Iverson, who grew up in Menomonie, Wisconsin, began working with Morris in the 1990s; he was an accompanist for the choreographer’s New York dance classes and spent five years as the Mark Morris Dance Group’s music director, His first live performance with the company was playing Lou Harrison’s “Grand Duo.”, “It was a beautiful opportunity for me to dig into the classical repertoire,” he says, gold ballet teacher gift-gold dance instructor gift-gold gift ideas for dancers-gold gifts for dance teachers- gold ballet shoes “I learned a lot about it with Mark.”, With The Bad Plus, he’s performed a wide range of music, The trio has recorded 12 albums; the latest, “Inevitable Westerns,” is all original works..

Like many other musicians, he considers Morris unique among choreographers. “There’s no question that he’s got an incredible sense of music,” says Iverson. “Every musician who comes in contact with Mark Morris says the same thing. I’ve always felt that his work was very direct, expressive but not sentimental. It could be goofy, it could be darkly serious, it could have a huge range of emotion, but he never gilds the lily, or enters some kind of sentimental space.

That much was evident Sunday afternoon at the Lesher Center for the Arts in Walnut Creek, when the symphony launched its 2014-15 season, Capping a splendid program with Ravel’s “Bolero,” Cabrera led a performance distinguished by thrilling display of precision teamwork, The 29-year-old orchestra has a lot going on this season — four subscription programs, as well as plans for salon concerts and other outreach activities, Its greatest strength at the moment, though, is the musical rapport between Cabrera and the gold ballet teacher gift-gold dance instructor gift-gold gift ideas for dancers-gold gifts for dance teachers- gold ballet shoes orchestra, Now entering his second season as music director, Cabrera has clearly established a solid bond with his players — the kind of bond that gets results in performance..

Those results were on display throughout Sunday’s enjoyable program, which mixed 19th-century works by Rossini, Grieg, Saint-Saens, Suppé, and Borodin with Ravel’s early 20th century showpiece. Cabrera saved the best for last. His “Bolero” was elegant, powerful, and he drove it like a luxury vehicle. His command of dynamics was impressive, rising from a mere wisp of sound to a thunderous finale. Ravel’s rhythmic structure, often hammered out in lesser hands, came across with marvelous nuance. Every section contributed mightily, and every soloist seemed a key player. Flutist Monica Daniel-Barker, clarinetist Steve Sanchez, oboist Laura Reynolds, bassoonist Douglas Brown, saxophonist David Henderson, and percussionist Victor Avdienko were among the standouts.

Cabrera, who called the afternoon performance “a concert full of gold ballet teacher gift-gold dance instructor gift-gold gift ideas for dancers-gold gifts for dance teachers- gold ballet shoes greatest hits,” plotted the program well, beginning in the early 19th century and working his way forward to the Ravel, Most of the works were familiar war horses, but hearing them played with such urgency and flair made them sound fresh, Rossini’s Overture to “William Tell,” which opened the program, comes down to us today as the Lone Ranger’s theme and background music for Bugs Bunny, But it contains a wealth of real music, from its delicate “Dawn” segment to the galloping “March of the Swiss Soldiers.” Cabrera blazed through it, illuminating each theme brilliantly..

He proved just as adept in the performance of Grieg’s “Peer Gynt” Suite No. 1 that followed. From the sylvan flute solo that begins the first episode, “Morning Mood,” to the raucous music of “In the Hall of the Mountain King,” Cabrera drew ravishing playing from the ensemble. The first half ended with a fittingly outsize performance of the Bacchanale from Saint-Saen’s opera, “Samson and Dalila.” This is lavish ballet music typical of 19th-century grand opera, and it comes at a key moment in the Biblical epic, just before Samson is about to pull down the Temple of Dagon. Its exotic melodies and enveloping rhythms build to a whirling dance, and Cabrera led a fleet, vibrant reading, one that yielded some of the orchestra’s finest playing of the day.

When, by the way, will one of the Bay Area’s opera companies engage Cabrera to conduct a full-scale production? Just a suggestion, After intermission, Cabrera turned to Suppé, The Viennese composer, who was celebrated in his own time, but is hardly a household name today, was represented with the “Light Cavalry Overture.” The 1866 score rings a bell with at least one hummable tune, and it sounded suitably vivacious here, So did the performance of Borodin’s “Polovtsian gold ballet teacher gift-gold dance instructor gift-gold gift ideas for dancers-gold gifts for dance teachers- gold ballet shoes Dances” from the opera “Prince Igor.” The score includes music that found its way into the 1953 musical “Kismet” — most notably, the love song we know as “Stranger in Paradise.” Under Cabrera’s leadership, it emerged a richly colored, full-immersion experience, with gorgeous solo contributions from Sanchez and Reynolds..

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