24/25 Season Program Part 2 by Boise Phil

Spring 24/25 Season Program

Experience the music...

24 25

Consider This Your Rx for Art

Nothing can change your mood, mind or outlook like great performance art. Enjoy the show and remember: We’re here when you need us.

2025

February 22, 2025

Symphonic 4

In Nature's Realm

7:30 pm / Morrison Center

February 23, 2025

Symphonic 4

In Nature's Realm 2:00 pm / Morrison Center

April 26, 2025

Symphonic 6

Broadway Pops

7:30 pm / Morrison Center

April 27, 2025

Symphonic 6

Broadway Pops

2:00 pm / Morrison Center

March 1, 2025

24/25 BPYO

Winter Concert

2:00 pm / The Brandt Center

March 8, 2025

Harry Potter and the Order of the Phoenix™ in Concert

1:00 pm & 7:30 pm

Morrison Center

March 15, 2025

Chamber 4

Brass Quintet and Langroise Trio

7:30 pm / Hemingway Center, BSU

March 22, 2025

Symphonic 5

Mozart’s Requiem

7:30 pm / Morrison Center

March 23, 2025

Symphonic 5

Mozart’s Requiem

2:00 pm / Morrison Center

May 17, 2025

Symphonic 7

Mahler 1

7:30 pm / Morrison Center

May 18, 2025

Symphonic 7

Mahler 1

2:00 pm / Morrison Center

May 23, 2025

Chamber 5

"Appalachian Spring" w. Ballet Idaho

7:30 pm / JUMP

May 24, 2025

Chamber 5

"Appalachian Spring" w. Ballet Idaho 1:00 pm / JUMP

May 24, 2025

Chamber 5

"Appalachian Spring" w. Ballet Idaho

7:30 pm / JUMP

May 30, 2025

Encore Ball

Contact: Jason@boisephil.org

5:30 pm / Treefort Music Hall

Welcome

With great pleasure, I welcome you to the Boise Philharmonic’s highly anticipated 20242025 season! This season promises to be an exhilarating musical journey featuring works by revered composers such as Beethoven, Mahler, Mozart, Rimsky-Korsakov, and Tchaikovsky, among many more. It will also feature the exceptional artistry of our esteemed guest soloists Mak Grgić, Janice Carissa, Vanessa Becerra, Kristen Choi, Robert Stahley, Enrico Lagasca, Allison Emerick, and Del Parkinson.

Furthermore, we are thrilled to showcase our collaborations with three esteemed Boise artistic partners. Join us for the captivating performance of Broadway Pops program with Opera Idaho.

And we cannot wait to see you at our performances which will feature the glorious sounds of the Boise Phil Master Chorale.

I am thrilled to share this dynamic season with you!

Sincerely yours,

Eric Garcia Music Director Boise Philharmonic

Garcia LETTER FROM MUSIC DIRECTOR

Eric

OFFICERS

Anne Hay, President

Ridgley Denning, Vice President

Phil Jensen, Secretary

Jerry Sturgill, Treasurer

DIRECTORS

Shannon Baltz

Phyllis Barker

Aaron Bell

Megan Bennett

Jeanette Bowman

Peaches Chilanga

Nicolette Clark

Don Collins

Wendy Creighton

Phil Gordon

Kay Hardy

John Knochel

Bob Law

Nanci Marquess, MD

Susan McPeek

Christine Neuhoff

Peggy Ann Rupp

Brandon Snodgrass

David Westergard

Laura White

EX-OFFICIO MEMBERS

Eric Garcia, Music Director

Brandon VanWaeyenberghe, Executive Director

Jennifer Drake, BPYO Music Director

Richard Hutton, Master Chorale Music Director BOISE

Marty Jacobs, President

Christine Neuhoff, Vice President

Julia Rundberg, Secretary & Treasurer

Mary Abercombrie, AJ Balukoff, Ridgley Denning, Bill Drake, Jack Gjording, Larry Hunter, Julie Kilgrow, Renee Langworthy, Amber Myrick, Jeanie Smith, Brandon Snodgrass, Ray Stark, & Dave Westergard

LETTER

FROM THE BOISE PHIL EXECUTIVE

DIRECTOR

Brandon VanWaeyenberghe

Welcome to another amazing season of the Boise Philharmonic. I am so honored to be serving as your Executive Director. Since arriving in May, I have been meeting with staff, board members, patrons, and musicians to get to know the organization and the Treasure Valley. I am excited to be able to share some of the work we have been up to.

Our 2024-25 Season is all about collaboration. On the stage you will see artistic partnerships with Ballet Idaho, Opera Idaho, Boise Contemporary Theatre, and the Idaho Shakespeare Festival. These collaborations bring new heights of creativity to our organizations and showcase the talent we have here locally. I hope you enjoy some (or all) of these performances.

Thank you so much for your support of the Boise Phil, and all that we do to bring memorable musical experiences to the Treasure Valley. Whether you buy a ticket, make a donation, or have a student in our Youth Orchestras. You ensure that we continue to play on each season.

Sincerely,

Brandon VanWaeyenberghe Executive Director Boise Philharmonic

Pictured: Barley (left) & Brandon (right)

Orchestra Members

VIOLIN I

Vacant

Concertmaster & Langroise Fellow

CELLO

Philip Kettler

Principal & Langroise Fellow

TRUMPET

John Kilgore, Principal

Sponsored by Mary Abercrombie & Kim Cafferty

Brendan Grzanic

TROMBONE

Michael Maier, Principal

TIMPANI

Alex Artale, Principal

Principal Musicians

HARP

Caroline Wilkins, Principal

PIANO

Del Parkinson, Principal

Sponsored by Andy & Elizabeth Scoggin, and Jerry Saltzer in memory of Marlys Anne Saltzer

Alex Artale Principal Timpani

Vacant

Concertmaster & Langroise Trio Fellow

Geoffrey Hill Principal Second Violin

Chris Ammirati Principal Bass

Allison Emerick Principal Flute

Patty Katucki Principal Bassoon

Adam Snider Principal Tuba

Brandon Lim Principal Percussion

Brian Vance Principal Horn

Dave Johnson Principal Viola Langroise Trio Fellow

Philip Kettler Principal Cello Langroise Trio Fellow

Lauren Blackerby Principal Oboe

John Kilgore Principal Trumpet

Michael Maier Principal Trombone

Del Parkinson Principal Piano

Carmen Izzo Principal Clarinet

Sponsorships

24/25 Sponsors

SEASON SPONSOR

Esther Simplot (Mrs. J.R.)

SEASON SERIES SPONSORS

Nancy & Bill Barkell

Daniel & Micki Chapin

Anne & Bob Hay

Anonymous

Peggy Ann Rupp

CONCERT SPONSORS

Anne & Bob Hay

Bob Law & Mikel Ward

Peggy Ann Rupp

Women's Leadership Circle

GUEST ARTIST SPONSORS

Karin Camp

Richard & Mary Frasch

Kay Hardy & Gregory Kaslo

Dr. Joseph & Patti Williams

COMMUNITY & CHAMBER

CONCERT SPONSOR

Kay Hardy & Gregory Kaslo

Enterprise Holdings Foundation

AJ & Susie Balukoff

Kim Wegener

SHEET MUSIC SPONSORS

Susan Judge

John & Lois Kloss

Peggy Ann Rupp

BOISE PHIL MASTER CHORALE

Dr. Richard Hutton

Dear Friends of the Boise Philharmonic Master Chorale,

As we continue our 49th season as an ensemble, and my inaugural year as permanent director, I want to express both our tremendous pride as we recount the history of this distinguished chorus and our great excitement as we look to the future. This season features fantastic choral-orchestral works with the Boise Phil.

In the spring, the Chorale is excited to revisit one of the greatest masterworks in all of Classical music, Mozart’s Requiem (previously performed in 1982, 2001, 2005 & 2016). For our full calendar, please visit our website as we continually find new and exciting performance opportunities and collaborations within our community to share our artistry. 2025/2026 will be our 50th Anniversary Season with special events and performances to celebrate this important milestone.

We are thrilled that you have decided to join us on our musical journey, and we look forward to sharing our song with you for many years to come!

Dr. Richard Hutton

Music Director

Boise Philharmonic Master Chorale

SYM 5 Mozart's Requiem

March 22 at 7:30 pm & 23 at 2:00 pm, 2025

Symphonic Concert with Master Chorale Morrison Center, Boise

SOPRANO

Steph Benischek

Caitlin Bynum

Nancy Cuoio

Ridgley Denning

Amanda Halverson

SueClaire Hebert

Sharon Helppie

Daphne Huang

Vicki Kreimeyer

Christina Mahaney

Emily Mahon

Cady McCowin

Kyra Peterson

Julia Rundberg

Lola Schiess

Alana Seacord

Cindy Sharp

Sarah Smith

Kathy Stockton

Armida Taylor

Master Chorale

For almost 50 years, the Boise Phil Master Chorale has endeavored to create moving musical experiences that inspire our community through a rich tradition of great choral music and modern musical innovations. An auditioned chorus of nearly 100 volunteer singers, the Master Chorale is always searching for a range of voices. You’re invited to audition for the chorus!

BOISE PHIL MASTER CHORALE ARTISTS

Coleen Walker

Alicia Weeks

Kaisa White

ALTO

Diane Bleazard

Lois Chattin

Kristin Colburn

Wendy Creighton

Marty Dayton

Rebekah Fry

Virginia Haber

Leta Harris Neustaedter

Anne Hay

Diane Jones

Bianca Kennedy

Bozena Kinalski

Danielle Lofgren

Carol Martinez

LeeAnna McMullen

Brittany Miller

TaeLynn Perez

Laura Toland

Paula Weitemier

Cori Winton

Patsy Wolter

TENOR

David Czerepinski

Daithi Fisher

Will Grubaugh

Tim Judy

Alex Lundquist

Stephen March

Loren McGinnis

Larry Mincer

Hubert Schwarthoff

Paul Turcke

Brad Wolf

BASS

Brian Cronin

Eliot DeHaven

Ken Grover

Jon Krutz

Mike Lynott

Bruce Moberly

Brock Pfautsch

Nolan Pinto

Kevin Richert

Shane Robison

Kieren Savage

Peter Steven

Ray Toland

Allan Wang

Bruce Yang

Staff

Boise Phil Staff

Brandon VanWaeyenberghe Executive Director

Eric Garcia Music Director

Jason Chilson Development Manager

Bradley Berg Grants Manager & Musiciologist

Parker Pratt Marketing Operations Manager

Dr. Richard Hutton

Music Director, Boise Philharmonic Master Chorale

Jennifer Drake Music Director, Boise Philharmonic Youth Orchestra

Erin Paradis VP & General Manager

Christal Holmes Chief Financial Officer

Timothy O'Donnell Director of Marketing & Communication

Cameron Brizzee Business Intelligence Director

Harmony Soto Major Gifts Officer

Nickie Shell Customer Experience & Volunteer Coordinator

Melissa Wilson Librarian & Licensing Manager

Andrew Martin Education & Community Engagement Manager

Sarah Kelly Orchestra Personnel & Social Media Manager

Mike Harris Operations Manager

Louis McFarland Equipment Coordinator

Memberships

24/25 Members

PATRON

CIRCLE / $10K+

Mary Ambercrombie & Kim Cafferty

AJ & Susie Balukoff

Marilyn Beck

Ann Peterson

Peggy Ann Rupp

BENEFACTOR

/ $5K+

Joanne Anderson

Sharon Christoph

Julie Kilgrow & Al Gardner

Dwight & Lorna Board

Glenn & Glida Bothwell

Anne & Bob Hay

Jerralyn Kehne

Robert & Patricia Rietveld

FOUNDER / $2.5K+

Patrick & Felicity Arnold

Jeannette Bowman

Jason Bender

John & Barbara Bender

Karin Camp

Sandy & Brent Fery

Richard & Mary Frasch

G. Robert & Dorthy Klomp

John & Lois Kloss

Donald & Marcia Liebich

Cecelia & Don Lojek

Susan & Michael McPeek

Laura & Michael Miller

Christine & Phillip Neuhoff

Susan Parrish

Rahul & Mita Sandil

Andrew & Elizabeth Scoggin

Linda & Jeffrey Stengel

Jo Ann & Richard Stillinger

Richard & Jacquelyn Wilson

Members are passionate about making an investment in the Boise Phil’s mission. Memberships range from $2,500-$30,000+ and fund general operations of our professional Orchestra, Youth Orchestras and Master Chorale, as well as our Community Engagement and Education programs. The higher the level of membership you choose, the greater your impact.

For memberships contact; Jason Chilson jason@boisephil.org (208) 748-7990

Boise Phil Youth Orchestras

Boise Phil Youth Orchestras provide outstanding musical training and performance experiences to over 250 talented young musicians throughout the Treasure Valley. Under the direction of Music Director, Jennifer Drake, our young musicians attend weekly rehearsals, receive professional coaching from Boise Phil orchestra musicians, and perform out in our community throughout the year. Boise Phil offers three orchestral ensembles in our program. We have the Symphonic Orchestra, Concert Orchestra, and the Strings Orchestra. The Symphonic and Concert orchestras are open to violin, viola, cello, bass, flute, oboe, clarinet, bassoon, horn, trumpet, trombone, tuba and percussion students from 8th through 12th grade. The Strings Orchestra is open to violin, viola, cello, and bass students from 5th through 8th grade. Auditions are held in the spring for Symphonic and Concert Orchestras and fall for the Strings Orchestra. We invite youth musicians in the Treasure Valley to audition and come join BPYO. LEARN

Learn More about BPYO:

Jennifer Drake

Hi everyone!

On behalf of the Boise Phil Youth Orchestras, it is my distinct pleasure to extend a warm welcome to each of you. We are thrilled to have you join us for what promises to be an extraordinary musical journey this season. You will witness the culmination of months of dedication and hard work from our talented young musicians. Their commitment to musical excellence has been nothing short of inspiring. Through countless hours of practice, rehearsals, and mentorship, they have grown not only as musicians but as artists who are passionate about sharing their love for music with all of you. Music has a unique power to transcend barriers and unite people from all walks of life. As you listen to our performances this season, I encourage you to let yourselves be immersed in the world crafted by composers as performed by our students. To our young musicians: your hard work and perseverance have brought us to this moment. Your passion for music is truly inspiring, and this season, we celebrate your achievements with pride. I am incredibly proud of each and every member of our orchestras. Their talent, discipline, and teamwork have resulted in performances that are sure to captivate and move you. Today is not just a concert but a celebration of their achievements and the vibrant future of classical music and our students.

To our loyal audience members: your support means the world to us. As we embark on this musical journey together, I thank you for being here with us this season.

Jennifer Drake Music Director Boise Philharmonic Youth Orchestras

BPYO Winter Concert

March 1, 2025 at 2:00 pm

Symphonic, Concert, and Strings Orchestras NNU's Brandt Center, Nampa, ID

OPEN SEVEN DAYS A WEEK IN JULIA DAVIS PARK!

Experience the Idaho State Museum! Immerse yourself in history as you explore the amazing state we call home. Discover how Idaho’s unique landscapes have shaped, and continue to shape, the Gem State and its people. Fun and interactive environments lead you from Idaho’s southern canyons through the central mountains, and up to the northern forests and engage you with the stories of Idahoans past and present. Find your story in the Idaho State Museum.

MONDAY - SATURDAY | 10 AM - 5 PM SUNDAY | 12 PM - 5 PM For more information, visit HISTORY.IDAHO.GOV/MUSEUM

In Nature's Realm

~

Beethoven's 6th

FEBRUARY 22 & 23, 2025 • 7:30 PM & 2:00 PM •

Eric Garcia, Conductor

Janice Carissa, Piano

Boise Phil Youth Orchestra Seniors

Samuel Coleridge-Taylor (1875 – 1912)

Ballade, op. 33 with BPYO Seniors

Franz Liszt (1811 – 1886)

Piano Concerto No. 1 , S.124

I. Allegro maestoso

II. Quasi adagio - Allegretto vivace

III. Allegro marziale animato

Janice Carissa, Piano

Concert Sponsors: WOMEN'S LEADERSHIP CIRCLE

Season Sponsor: Esther Simplot (Mrs. J.R.)

INTERMISSION

Ludwig van Beethoven (1770 – 1827)

Symphony No. 6 in F Major, op. 68 "Pastoral"

I. Awakening of cheerful feelings on arriving in the country (Allegro ma non troppo)

II. Scene by the brook (Andante molto mosso)

III. Merry gathering of country folk (Allegro)

IV. Thunderstorm (Allegro)

V. Shepherd’s Song: Happy and grateful feelings after the storm (Allegretto)

Series Sponsors:

Nancy & Bill Barkell

Daniel & Micki Chapin

Anonymous

Anne & Bob Hay

J.R. Simplot Company Foundation

Program Notes

Samuel Coleridge-Taylor

Born: August 15, 1875, Holborn, London, UK

Died: September 1, 1912, Croydon, UK

Ballade in A Minor, op. 33

Duration: 12 minutes

Composed: 1898

Instrumentation: Piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, cymbals, and strings.

There is something cinematic about ColerigeTaylor’s Ballade. Its very title suggests a narrative, one beginning with utter urgency at the fluttering of woodwinds underlined by the dull thud of timpani. Like an Indiana Jones movie, we join the story mid-action, as if witnessing some desperate heroic stunt—or villainous plot—unfold. To be sure, ColeridgeTaylor had no such Hollywood imagery in mind when composing this work, yet the musical styles of his symphonic contemporaries Dvořák and Tchaikovsky were precisely the ones that John Williams emulated in his film scores. Coleridge-Taylor’s Ballade shares much in common with the music of these composers, from stormy passages under full orchestral sail, to soaring, heart-wrenching melodies that conjure emotions of heightened drama.

What inspired such impassioned music?

Composed when Coleridge-Taylor was just twenty-three years old, the Ballade was his first big break as a symphonist. His opportunity to write and conduct a grand work for a prestigious festival came from none other than the icon of English symphonic music, Edward Elgar, who wrote to the event organizers: “I have received a request to write a short orchestral thing for the evening concert. I am sorry I am too busy to do so. I wish, wish, wish [sic] you would ask Coleridge-Taylor to do it. He still wants recognition, and he is far and away the cleverest fellow going amongst the young men. Please don’t let your committee throw away the chance of doing a good act.” And so it was that Coleridge-Taylor was offered the commission.

Despite some apprehension about how the public would receive such a young composer of mixed race (his father was Sierra Leonean and his mother was English), the success

of Coleridge-Taylor’s public premiere at the 1898 festival could not have been more decisive: enthusiastic applause erupted from the audience as he took the stage. Even in the summer heat, which hovered around 90 degrees in the shade, the packed crowd was captivated by this symphonic gem. After the performance, Coleridge-Taylor became an overnight sensation. His fame in England lasted until the end of his life, tragically cut short by pneumonia at age 37.

Franz Liszt

Born: October 22, 1811, Raiding, Austria

Died: July 31, Bayreuth, Germany

Piano Concerto No. 1 in E major

Duration: 20 minutes

Composed: 1835, revised in ‘39, ‘49, ‘53, ‘55, and ‘57

Instrumentation: Piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, cymbals, triangle, strings, and solo piano.

Franz Liszt was one of the first truly modern musical celebrities. We take it for granted that today’s pop stars are mobbed by fans and paparazzi, but in the early to mid-1800s, this was a novel phenomenon. It arose as the growing middle class began filling concert halls, making concert music a popular pastime rather than an elite one. These audiences flocked to Liszt’s concerts to witness his unprecedented pianistic virtuosity—rapid keyboard passages, extreme dynamics (Liszt kept spare pianos backstage to replace the ones he broke midperformance), and a dazzling showmanship that turned each performance into a spectacle. It was the fervor with which fans fainted midconcert and scuffled over the pianist’s used handkerchiefs that Heinrich Heine famously dubbed Lisztomania. According to one report, a particularly keen admirer was once seen retrieving Liszt’s discarded cigar butt from a grimy gutter, enshrining it in a locket with the jewel-encrusted initials “F.L.”

In his early twenties, Liszt began sketching his first piano concerto as a bold, crowd-pleasing showpiece. He revised it five times over the course of 26 years, completing the final version

in his mid-forties after he had established himself as a more serious composer. The result unites the fiery bravado of his youth with the organic, tightly woven structure of his mature works.

Liszt compressed four distinct movements into a unified work without breaks. The concerto begins with a storm of octaves spanning the entire keyboard. The soloist constantly interrupts the orchestra’s attempts at exposition, launching into rhapsodic flourishes and wooing a few orchestra members to join in on the fun. A slow section follows as the pianist foreshadows a theme that will be transformed in the finale. Sweeping romantic gestures abound, alternating between lyrical and broodingly dramatic.

The third section is colored by an unusual instrument, the triangle, unheard of in piano concertos of that time. It adds a light, magical aura to this excursionary movement. Liszt then uses sleight of hand to recall the first movement while also paving the way for the last, effectively shouting “something big is coming!” Consequently, an exuberant march theme emerges with glittering variations in tow. But no theme in this concerto remains stable for long as previous melodies reappear in fantastic new guises. In a final flourish, Liszt concludes with a new rendition of the opening octave storm, wrapping up one of the quickest—and most thrilling—20 minutes in piano concerto history.

Ludwig van Beethoven

Born: December 16, 1770, Bonn, Germany

Died: March 26, 1827, Vienna Austria

Symphony No. 6 in F major, Op. 68 ‘Pastoral’

Duration: 40 minutes

Composed: 1807–1808

Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, and strings.

Beethoven conceived his Fifth and Sixth Symphonies at roughly the same time— both of them premiered during one 1808 concert—and like fraternal twins with opposite temperaments, these sibling masterworks are best understood by their starkly contrasting

Program Notes

features. The Fifth is in the brooding key of C minor with a forceful, terse rhythmic tag that defines its entire structure, an abstract exercise with a predetermined plan from utter darkness to brilliant light. By contrast, the ‘Pastoral’ Sixth, in breezy F major, is passive, placing the listener entirely at the whims of nature itself. Its subject matter is not abstract but rather explicitly tied to a narrative across its five parts.

The Pastoral Symphony has a peculiar subtitle: “more the expression of feelings than a painting.” With this seemingly innocuous remark, Beethoven defended his new work from certain critics of the era, who were suspicious of music’s ability to describe objects and actions rather than abstract feelings. Indeed, Beethoven makes a point to highlight emotion in his movement titles: Part I, Awakening of cheerful feelings… Part III, Merry gathering… Part V, Thankful feelings after the storm. While the other two movements do center around physical phenomena—a brook and a thunderstorm—we might take Beethoven’s comment to mean that they represent experiences, or the sensations of witnessing a storm rather than a sounding replica of one.

The Pastoral Symphony gives us a personal glimpse into Beethoven’s love of nature. Throughout his life, he cherished the experience of escaping the city to wander in the open countryside, a pastime that Idahoans in particular can appreciate. It was on endless walks through the rolling hills of rural Austria where Beethoven would enter a state of immense concentration, at once connected with nature yet detached from the outside world. When a friend once happened upon Beethoven at such a moment, he watched as the composer furiously scribbled ideas onto a piece of sheet music, thereafter pausing and craning his head, as if listening to something in the distance.

If we take Beethoven at his word in experiencing this symphony, we may not have to attune so completely to its many pictorial details. You may occasionally recognize the whistling of the wind, the babbling of the brook, and the simultaneous singing of the nightingale, quail, and cuckoo. Yet in playing this aural game of “I Spy” we risk distraction from the symphony’s meditative structure

Program Notes

and pacing. Advice from the conductor Daniel Barenboim comes to mind when hearing this symphony: you must “hang onto the first note and fly with the music until the last note. . . there is nothing else in life that will give you this kind of enjoyment, provided you give yourself to it.”

~Written by Bradley Berg

Janice Carissa Pianist

A Gilmore Young Artist and winner of Salon de Virtuosi, Janice Carissa has “the multicolored highlights of a mature pianist” (Philadelphia Inquirer) and “strong, sure hands” (Voice of America) that “convey a vivid story rather than a mere showpiece” (Chicago Classical Review). Her artistry has been showcased at an array of renowned stages, including the Sydney Opera House, Carnegie Hall, the United Nations, the Kennedy Center, Jay Pritzker Pavilion in Millennium Park, and the Saratoga Performing Arts Center.

Following her Philadelphia Orchestra debut at age sixteen, Janice has since performed with the Orpheus Chamber Orchestra, the San Diego, Nashville, Kansas City, Amarillo, Des Moines and Jakarta symphonies among others. Highlights of the 2024-2025 season include concerto performances with the Pittsburgh Symphony Orchestra under the direction of Osmo Vanska, the Erie Philharmonic, the Boise Symphony Orchestra, the Knoxville Symphony and recital debuts with Washington Performing Arts, and the Salon Piano Series of Wisconsin where she will give the world premiere performance of a new work by fellow Indonesian composer Eunike Tanzil.

Janice’s passion for chamber music has led her to performances with Bravo! Vail where she was a piano fellow, the Brooklyn Chamber Music Society and Jupiter Chamber Concert Series; collaborations with Vadim Gluzman, Miriam Fried, Paul Neuebauer, Lucy Shelton, Marcy Rosen, David Shifrin, Jennifer Cano, Peter Wiley, among other distinguished musicians; and appearances at Marlboro, North Shore, Ravinia, Caramoor, and Kneisel Hall festivals.

Born on July 26, 1998, in Indonesia, Janice left Indonesia 2013 to enter the Curtis Institute of Music with a full scholarship from Gerry and Marguerite Lenfest, where she was a pupil of Gary Graffman. She went on to earn a Master of Music at The Juilliard School where she studied with Robert McDonald. When away from the piano, Janice is an avid foodie and loves going on strolls with her camera.

Mozart’s Requiem

~ The Hope and Mercy of Mozart's Requiem

MARCH 22 & 23, 2025 • 7:30 PM & 2:00 PM • MORRISON CENTER

Eric Garcia, Conductor

Dr. Richard Hutton, Conductor, BPMC

Johann Sebastian Bach (1685 – 1750)

Brandenburg Concerto No. 5 in D Major, BWV. 1050

I. Allegro

II. Affettuoso

III. Allegro

Allison Emerick, Flute

Nicole Oswald, Violin

Del Parkinson, Harpsichord

Concert Sponsors

ANNE & BOB HAY

Series Sponsors:

Nancy & Bill Barkell

Daniel & Micki Chapin

INTERMISSION

Wolfgang Amadeus Mozart (1756 – 1791) Requiem, K. 626

I. Introitus - Requiem

II. Kyrie

III. Sequenz

Dies irae • Tuba mirum

Rex tremendae

Recordare

Confutatis • Lacrimosa

IV. Offertorium

Domine Jesu • Hostias

V. Sanctus

VI. Benedictus

VII. Agnus Dei

VIII. Communio

Vanessa Becerra, Soprano

Kristen Choi, Mezzo-Soprano

Robert Stahley, Tenor

Enrico Lagasca, Bass-Baritone

Mozart Ave verum corpus, K. 618

Anonymous

Anne & Bob Hay

J.R. Simplot Company Foundation

Season Sponsor: Esther Simplot (Mrs. J.R.)

Program Notes

Johann Sebastian Bach

Born: March 31, 1685, Eisenach, Germany

Died: July 28, 1750, Leipzig, Germany

Brandenburg Concerto No. 5 in D Major

Duration: 20 minutes

Composed: Late 1710s Instrumentation: flute, violin, harpsichord, strings, basso continuo.

How do you summarize the essence of music in a single word? In 1738, Bach gave his answer: Harmony. He was responding to a critic who had complained that Bach’s music lacked a “principal voice,” believing the inner and outer parts were confused. Bach disagreed, retorting that the goal of music was for every voice to have its own melody while still blending perfectly with the others.

In the late 1710s, he applied this ideal to a Baroque form called the concerto grosso (a common type of Baroque concerto that featured multiple instrumental soloists). But Bach took it a step further than most, devising imaginative combinations of strings, winds, brass, and harpsichord soloists. One particularly adventurous concerto features an unlikely group of seven instruments: two horns, three oboes, a bassoon, and a piccolo violin (pitched a minor third higher than the standard violin).

Although Bach did not originally conceive of these pieces as a set, he gathered six of the concertos in 1721 and dedicated them to Margrave Christian Ludwig of BrandenburgSchwedt (1677–1734), brother of Prussia’s first king. Now known as the Brandenburg Concertos, these works sat unused for over a century before finally being published in 1850. Today, they are prized as masterworks (the second concerto was even included on the Voyager probe’s Golden Record, now over 15 billion miles from Earth).

Brandenburg No. 5 stands out as the first of its kind: a true harpsichord concerto. Rather than follow the standard practice of leaving the harpsichord tucked away within the orchestra, Bach put it front and center. This was unusual for the time, but not a complete surprise coming from Bach, who was a generational performer on both the

organ and harpsichord. Although the flute and violin share the spotlight in this concerto, the harpsichord steals the show. When revisiting the work after several years, Bach expanded the original 17-measure keyboard cadenza into a massive 78-measure solo, occupying about one-third of the opening movement—likely an effort to impress his royal patron. Later in his career, Bach continued developing the genre with concertos for one, two, three, and four harpsichords, paving the way for the piano concerto tradition that blossomed in the latter 18th century.

Wolfgang Amadeus Mozart

Born: January 27, 1756, Salzburg, Austria

Died: December 5, 1791, Vienna, Austria

Requiem in D Minor, K. 626

Duration: c. 55 minutes

Composed: 1791

Instrumentation: 2 basset horns, 2 bassoons, 2 trumpets, 3 trombones, timpani, organ, strings, mixed chorus, and solo quartet.

During the summer of 1791, the 28-yearold Count Franz von Walsegg anonymously commissioned Mozart to compose a Requiem Mass to honor his late wife, who had died aged 20 in February of that year. Mozart accepted, adding this monumental undertaking to an already ambitious list of projects: two operas (The Magic Flute and La clemenza di Tito), a Masonic cantata, a clarinet concerto, and the vocal motet Ave verum corpus. In September, while he was in Prague for the premiere of La clemenza di Tito, Mozart contracted an unidentified illness. Nonetheless, he kept working away at his busy composing schedule with the assistance of his junior colleague and student, Franz Xaver Süssmayr. On November 20, after six or seven weeks spent sketching out the Requiem, Mozart was forced to his sickbed, where he most likely ceased any significant work until his death fifteen days later.

About half of the Requiem, as it is traditionally performed today, was notated in Mozart’s own hand by the end of 1791. His progress was uneven: the opening Introit and Kyrie were complete while the Lacrimosa had just eight

The Hope and Mercy of Mozart's Requiem

bars written out. Several other movements had mere scraps of motifs and instrumentations sketched out beyond the initial measures. Evidently, Mozart had not yet begun to write the Sanctus, Benedictus, and Agnus Dei movements, leaving much work to do.

Mozart’s widow, Constanze, had several motivations to have the Requiem completed as quickly as possible. Beyond the personal wish to honor her late husband and the cultural importance of turning his final creative efforts into a performable opus, the commission deadline was fewer than three months away with a considerable sum of money on the line. Constanze initially sent the unfinished manuscript to Joseph Eybler, whom Mozart praised as “a painstaking composer,” so that he might finish it. While Eybler added some orchestration details, he shied away from the daunting task of continuing the music where Mozart left off. The task then fell to Süssmayr, who claimed authority on the basis of his musical discussions with Mozart in the final months of his life. Süssmayr finished the Requiem by deducing Mozart’s sketched intentions while inventing other movements from scratch, making an untold number of creative decisions that resulted in the version most commonly performed today.

There is no evidence that Mozart intended his Requiem to be performed in a concert setting. The Requiem is a liturgical work meant to underscore a Catholic funeral service, which includes intoned texts between several of the movements that reflect on the passage of a deceased person’s soul.The combination of Mozart’s ascending reputation in 1791, the suddenness of his death at age 35, and the coincidence that he was writing a Mass for the Dead at the same time have spawned centuries of myths based on unverified anecdotes. Critiques about how Süssmayr continued certain movements have since spurred numerous alternate completions and revisions, even as recently as 2020. Still, Süssmayr’s version is the most widely accepted one today. Even if much of it was composed with mere remnants, the Requiem still carries a special poignancy as Mozart’s final creative act.

A few months before embarking on the Requiem, Mozart composed a brief vocal masterpiece, the motet Ave verum corpus

Program Notes

(“Hail, true body”). It is a simple reflection on the Eucharistic death of Christ with music of unadorned beauty. Though Ave verum corpus and the Requiem are unrelated, they are occasionally presented alongside one another, lifting the Requiem’s imposing shadow to invite a final moment of solemn reflection.

~Written by Bradley Berg

Featuring Guest Artists:

Allison Emerick, Flute

Del Parkinson, Harpsichord

Nicole Oswald, Violin

Vanessa Becerra, Soprano

Kristen Choi, Mezzo-Soprano

Robert Stahley, Tenor

Enrico Lagasca, Bass-Baritone

Boise Phil Master Chorale

Join us as Boise Phil’s Allison Emerick, Del Parkinson, and Nicole Oswald take center stage for Bach's famous Brandenburg Concerto No. 5.

Artist Bio.

Allison Emerick is the principal flutist of the Boise Philharmonic. Praised by the South Florida Review for her “rich tone and evocative playing,” she frequently appears with the Utah Symphony, Las Vegas Philharmonic, and has performed with the Grand Teton Music Festival, Ballet Sun Valley, River Oaks Chamber Orchestra in Houston, and the New World Symphony. She held the Piccolo Fellowship at the Aspen Music Festival and School from 2014-2015 and was a winner of the 2012 National Flute Association Master Class Competition. Ms. Emerick is on faculty at Northwest Nazarene University and maintains a private studio in Boise. Ms. Emerick earned her Master of Music at Carnegie Mellon University and Bachelor of Music at the University of Colorado at Boulder. She is wholly indebted to her teachers Jeanne Baxtresser, Christina Jennings, Alberto Almarza, and Jennifer Keeney.

Del Parkinson began studying piano at age five in his hometown of Blackfoot, Idaho. He holds a Doctor of Music degree from Indiana University and a postgraduate diploma from The Juilliard School. He is currently the Distinguished Professor of Piano and keyboard chair at Boise State University. He was the recipient of a Fulbright-Hays grant for graduate study in London. His London debut recital was on the American Bicentennial Series, and his New York debut recital was in Carnegie Recital Hall. He has performed with the Guadalajara Symphony, the Indiana University Symphony, the Civic Orchestra of Chicago, the Utah Symphony, and the Boise Philharmonic. He is featured on four compact disc recordings. He is the recipient of the Boise State University foundation scholar award for creative activity, the Idaho Commission on the Arts career fellowship award, and the Idaho governor’s award for excellence in the arts. Dr. Parkinson is a Steinway Artist.

Violinist Nicole Oswald is a member of the Thirdspace Quartet and the new Associate Concertmaster of the Boise Philharmonic. She was previously a tenured core member of the Virginia Symphony Orchestra and concertmaster of The Orchestra Now in New York, as well as a member of the West Virginia Symphony Orchestra. Nicole has performed and recorded with artists such as Gil Shaham, Andrés Cárdenes, and Charlie Castleman, and has appeared as a soloist and chamber musician across the U.S. and internationally since her early debut in Boise. An experienced educator, she maintains a large private studio, teaches at the College of Idaho, and coaches chamber music. She has also worked with youth music organizations and conducted workshops for international orchestral institutes. Nicole earned degrees from Eastman, Frost, and Carnegie Mellon, and was mentored by Castleman and Cárdenes.

Peruvian-Mexican American soprano Vanessa Becerra’s 24/25 season highlights include her return to LA Opera for Ainadamar (Nuria) and debut performances in the titular role of Paër’s Leonora at Chicago Opera Theater. Additional engagements include debuts in Don Pasquale (Norina) at UC Davis, La Traviata (Violetta) with Berkshire Opera Festival, and Le nozze di Figaro (Susanna) with Sacramento Philharmonic. On the concert stage, she debuts with the Madison Symphony Orchestra, Chamber Music Society of Lincoln Center, and Boise Philharmonic in Mozart’s Requiem. Last season, she debuted with Sacramento Philharmonic & Opera in Die Fledermaus (Adele) and returned to Opera Omaha, Minnesota Opera, and Arizona Opera. Becerra has also performed with The Metropolitan Opera, Lyric Opera of Chicago, and Washington National Opera, among others. She is a graduate of the Los Angeles Opera’s Young Artist Program.

Allison Emerick

Del Parkinson

Nicole Oswald

Vanessa Becerra

The Hope and Mercy of Mozart's Requiem

Robert Stahley

Mezzo-soprano

Kristen Choi, hailed as a "powerhouse in the making" by Opera News, is gaining recognition for her captivating operatic performances. This season, she reprises Suzuki in Madama Butterfly with Opera Philadelphia and Virginia Opera, while debuting in the role with Detroit Opera, Kentucky Opera, and Florentine Opera. Additional performances include returning to Dallas Opera for Elektra and joining the Hart Institute for Women Conductors. On the concert stage, she debuts as alto soloist in Messiah with the Naples Philharmonic and Phoenix Symphony. Notable past engagements include roles with The Metropolitan Opera, Opera Philadelphia, and Opera Omaha. Choi is a finalist in several prestigious competitions and holds a master’s degree from the San Francisco Conservatory of Music. Her growing career reflects both versatility and depth in the operatic world

Rising tenor Robert Stahley, praised for his "impassioned, soaring tenor" (Broadway World), continues to captivate audiences with his compelling stage presence. Upcoming engagements include Canio in Pagliacci at Glimmerglass Festival, Siegmund in Ring Cycle Highlights with Lyric Opera of Kansas City, and Dick Johnson in La Fanciulla del West with North Carolina Opera. Recent highlights include major role debuts in The Flying Dutchman with Utah Opera, Tristan und Isolde with LA Philharmonic, Die Walküre with Opera Santa Barbara, and Tosca with Opera Theatre St. Louis. A graduate of the LA Opera Domingo-Colburn-Stein Young Artist Program, Stahley’s credits include Tannhäuser, La bohème, and Der Freischütz. He has also performed with Santa Fe Opera, Cincinnati Opera, and more. Stahley won first prize in the 2019 Wagner Society of New York Competition.

Artist Bio.

Enrico Lagasca

Filipino-American bassbaritone Enrico Lagasca’s “smooth, dark bass voice” has appeared on five Grammy-nominated recordings. Recent and upcoming debuts include the Baltimore Symphony Orchestra, Toronto Symphony Orchestra, and Winston-Salem Symphony Orchestra, BachFest in Leipzig and with the San Francisco Gay Men’s Chorus with San Francisco Symphony. Career highlights also include St. Louis Symphony Orchestra, Portland Baroque Orchestra, Tafelmusik, Ars Lyrica Houston, American Classical Orchestra, Experiential Orchestra, Washington Bach Consort and Musica Sacra New York. As a member of the Kaleidoscope Vocal Ensemble, he participates in outreach programming for marginalized communities. His performance of Craig Johnson's Considering Matthew Shepard reflects Enrico’s dedication to works that center the LGBTQ+ community.

Boise Phil Master Chorale

For almost 50 years, the Boise Phil Master Chorale has been dedicated to creating moving musical experiences that inspire and connect our community. Through a rich tradition of great choral music and a commitment to modern musical innovations, the chorale has become a cornerstone of Boise’s vibrant arts scene. Comprised of nearly 100 auditioned volunteer singers, the Master Chorale performs a wide range of repertoire, from classical masterpieces to contemporary compositions. With a focus on excellence and musical diversity, the chorale strives to engage audiences and foster a deep appreciation for the art of choral singing. We are always seeking new voices to join our ensemble. If you are passionate about music, we invite you to audition and become part of our musical family!

Kristen Choi

Broadway Pops

~ The Culmination of Effort and the Breadth of Broadway

APRIL 26 & 27, 2025 • 7:30 PM & 2:00 PM • MORRISON CENTER

Eric Garcia, Conductor

Leonard Bernstein

West Side Story Overture

John Kander & Ebb

arr. Andy Anderson

“New York, New York” from New York, New York

Claude-Michel Schönberg, Boublil, & Natel

“I Dreamed a Dream” from Les Misérables

Howard Ashman, Rice, & Menken

“Home” from Beauty and the Beast

Stephen Schwartz & Menken

“Out There” from Hunchback of Notre Dame

Joe Darion, Leigh, & Wasserman

arr. Andy Anderson

“Impossible Dream” from Man of La Mancha

Stephen Sondheim

“Last Midnight” from Into the Woods

“Agony” from Into the Woods

Bernstein, Sondheim, & Laurents

“Maria” from West Side Story

Bernstein, Sondheim, & Laurents

“Glitter & be Gay” from Candide

INTERMISSION

Richard Rogers & Hammerstein

“Oh, what a Beautiful Mornin’” from Oklahoma!

Andrew Lloyd Webber

“Music of the Night” from The Phantom of the Opera

“Think of Me” from The Phantom of the Opera

Bob Merrill & Jule Styne

arr. Andy Anderson

“Don’t Rain on My Parade” from Funny Girl

Lin-Manuel Miranda

arr. Andy Anderson

“Burn” from Hamilton

Stephen Sondheim

“Finishing the Hat” from Sunday in the Park with George

Schoenberg, Kretzmer, & Boublil

“Bring Him Home” from Les Misérables

Stephen Flaherty

“Journey to the Past” from Anastasia

Kristen Anderson-Lopez, Lopez, Beck, & Fjellheim

“Into the Unknown” from Frozen 2

Anderson-Lopez & Lopez

arr. Andy Anderson

“Finale” from Frozen

Series Sponsors:

Artist Bio.

Kelly Glyptis

A Greek-American lyric soprano currently based in London, England on a Tier 1 Global Talent Visa where she performed as Carlotta Giudicelli in The Phantom of The Opera in the West End. Miss Glyptis’ credits include the World Premieres of Madeleine (Madeleine) with Surrey Opera, Meesha (Her Day) with Her Day Opera, and Vinkensport, or the Finch Opera as Sir Elton John’s Trainer with Opera Saratoga as well as Amelia (Un ballo in Maschera) with Opera on Location, Countess Almaviva (Nozze di Figaro) and Fiordiligi (Cosi fan tutte) with Shreveport Opera, Aldonza (Man of La Mancha) and The Foreign Woman/Magda Sorel Cover (The Consul) with Opera Saratoga, North American National Tour of Fiddler on the Roof as Fruma Sarah and Golde/Yente Cover, Cupid (Orpheus in the Underworld) and Mimi cover (La bohème) at Virginia Opera, Berta (Il barbiere di Siviglia) with The Atlanta Opera, The Mother Abbess Cover (The Sound of Music) on the North American National Tour, Mary Poppins (Mary Poppins), The Witch (Into the Woods), Morticia (The Addams Family), Anita (West Side Story) with The Prizery Theatre, Suor Angelica (Suor Angelica) with the Virginia ARTfactory and has covered the title role in Alcina with Fargo-Moorhead Opera. Miss Glyptis has also performed with Cardinal Stage, Gray Ghost Theater, Pied Piper Theatre, and Dominion Stage and has been seen in concert with the Eclectic Voices in London, Opera Delaware, Baltimore Opera, and Brooklyn Metro Chamber Orchestra. Upcoming performances include the Lithuanian National Opera as Giorgetta (Il tabarro).

A musical theater artist based out of Brooklyn, NY. She holds a Bachelor of Music from the Baldwin-Wallace College Conservatory of Music. Credits include the Broadway Nat’l Tour of Wicked as the Glinda/Nessarose cover where she toured much of the U.S. and part of Canada. After a couple of years in Oz she joined the resident acting companies of Great Lakes Theatre, Idaho Shakespeare Festival, and Lake Tahoe Shakespeare Festival where for the last decade she has been able to grow her artistry with roles like Eliza in My Fair Lady, Portia in Julius Caesar, Lily in The Secret Garden, Stephano in The Tempest, Donna in Mamma Mia, Jane in Pride and Prejudice, Marian in The Music Man, Helen in Murder on the Orient Express, Hélène in The Great Comet of 1812, Titania in A Midsummer Night’s Dream and most recently The Witch in Into the Woods. She looks forward to a long life ‘on the boards’ and hopes to one day run her own theater company and youth acting program out of a commune with her wild and wonderful group of friends!

Guest Artist Sponsors

KAY HARDY & GREGORY KALSO

Jillian Kates

The

Peter Lake

BROADWAY

Ezekiel Andrew

Praised by the Houston Press for how he “… amazes with a clarion tenor that has the reedy projection of superstar-from-yore Jan Peerce,” is an internationally performing crossover artist who debuted as Old Deuteronomy in Really Useful Group’s production of Andrew Lloyd Webber’s CATS aboard the Oasis of the Seas with Royal Caribbean Cruise Lines International in 2023. He returned to reprise his role as Old Deuteronomy for multiple contracts in the 2024 season. This October Peter released his debut, full-length album of all his favorite Broadway hits, “Still Standing.” His acclaimed album is currently available on all streaming platforms! In 2025 Peter will be debuting the role of the Prince in Gulfshore Opera’s Rusalka and performing the leading tenor role of B.F. Pinkerton in Madama Butterfly with New Jersey Verismo Opera and Light Opera of New Jersey. In the Spring of 2024 Peter made his role debut as Roberto in Puccini’s rarely performed Le Villi with a return to Mobile Opera, in collaboration with Classical Ballet Mobile, along with a return to Pacific Opera Project to share in their ground-breaking English-Japanese language production of Madama Butterfly as B.F. Pinkerton. Peter is also enjoying a flourishing concert career including a debut with the Savannah Symphony in Carmina Burana.

A native of the Mississippi Delta, enjoys a career of both excitement and versatility. He is most grateful to have performed in some of the major regional theaters across the country. Some of his favorite roles include Coalhouse Walker Jr. (Theatre Under the Stars), The Beast, Beauty and the Beast (Syracuse Stage) Jim, Big River (Utah Shakespeare Festival). In November of 2021, he made his Broadway debut with the cast of Disney’s The Lion King on Broadway in New York City. Ezekiel also enjoys being active as a concert artist, most often creating his own programs and opportunities as he travels from theater to theater. Outside of the theater, Ezekiel explores other artistic pursuits in modeling and tv/film, and fitness. With a heart for youth and arts education, Ezekiel enjoys giving back to the community by going to high schools and colleges, holding masterclasses and talkbacks to inspire the next generation of artists.

“I am very fortunate to be doing the thing that I love the most, touching the hearts and lives of people through storytelling and song. I am grateful to my family, teachers, and friends who stand with me and support me every step of the way. Thank you and God bless.”

We welcome Opera Idaho for a spectacular concert celebrating

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Mahler 1

~

The Return Gives Us a Chance to Learn and Start Again

MAY 17 & 18, 2025 • 7:30 PM & 2:00 PM

Eric Garcia, Conductor

Meet Mahler

Maestro Garcia leads the Boise Phil in demonstrations from Mahler 1, exploring the musical and historical background of this symphonic masterpiece before the Boise Phil performs.

INTERMISSION

Concert Sponsors BOB LAW & MIKEL WARD

Series Sponsors:

Nancy & Bill Barkell

Daniel & Micki Chapin Anonymous

Anne & Bob Hay

Gustav Mahler (1860 – 1911)

Symphony No. 1 in D Major “Titan”

I. Langsam, schleppend (Slowly. Dragging.)

II. Kräftig bewegt, doch nicht zu schnell (With powerful movement, but not too fast)

III. Feierlich und gemessen, ohne zu schleppen (Solemn and measured, without dragging)

IV. Stürmisch bewegt (With stormy emotion)

Sheet Music Sponsor SUSAN JUDGE

J.R. Simplot Company Foundation

Season Sponsor: Esther Simplot (Mrs. J.R.)

Program Notes

Gustav Mahler

Born: July 7, 1860, Bohemia

Died: May 18, 1911, Vienna, Austria

Symphony No. 1

Duration: 55 minutes

Composed: 1888, revised and published in 1899. Instrumentation: 4 flutes (3rd and 4th = piccolo), 4 oboes (4th = English horn), 4 clarinets (4th = bass clarinet), 4 bassoons (4th = contrabassoon), 7 horns, 4 trumpets, 3 trombones, tuba, 4 timpani, percussion (bass drum, cymbals, triangle, tam-tam), harp, and strings.

The symphony genre underwent dramatic changes during Mahler’s lifetime. The size of orchestras swelled to over 100 players as the duration of symphonies ballooned to more than an hour, double their average length in Mozart’s day. Music of such epic proportions demanded greater attention from audiences, who began talking less during performances and holding their applause until the final movement. This practice encouraged reverential silence during the music and also marked a shift in perception; the multi-movement symphony was not a succession of individual pieces but rather a unified concept to be digested as a whole. To promote a more sanctified experience, concert halls cracked down on latecomers by barring them from entering mid-performance, ensuring they would not disturb others while training them to arrive early. By the end of the 19th century, the symphony was no longer an amusement meant to please as it had been a century earlier, but a transcendental monument of sound to be experienced and contemplated.

Beyond sheer size and gravity of tone, the

The Return Gives Us a Chance to Learn and Start Again

experience of a Mahler symphony is uniquely eclectic. In its mysterious resemblance to the subconscious mind, this music is truly worthy of the Freudian era. In the third movement of the First Symphony, for example, the listener will recognize the popular tune Frère Jacques, even though it is presented in a foggy minor key, in the form of a funeral march. Curiously, the march gives way to the ethnic strains of a roving band—percussion, oboes, and clarinets— possibly inspired by Czech folk styles or Jewish klezmer music. The next section is one of several instances in the symphony when Mahler quotes from his own song cycle, Songs of a Wayfarer (1884–1885), in an extensive series of self-references that was unprecedented for symphonic repertoire. In the context of the cycle, this melody references the moment when the love-crazed protagonist finds respite under the falling flowers of a linden tree. Within the span of seven minutes, Mahler wove together themes both popular and personal in dreamlike succession.

Over a century after Mahler composed his symphonies, his music today is more vital than ever. In 2016, when BBC Music Magazine surveyed 151 of the world’s top conductors to rank history’s greatest symphonies, Mahler won three spots in the top 10 (whereas Beethoven and Brahms each earned two places). It should come as no surprise that today’s maestro’s love Mahler considering he was one of the great conductors of his time, known for his vigorous style of direction. Mahler strained himself with an overwhelming workload, conducting hundreds of concerts at a rate of twice a day during his busiest seasons, but he also pushed orchestra musicians to their limits in rehearsals and performances. As he raised the artistic standards of his ensembles, demonstrating the feats that well-drilled orchestras could achieve, he also challenged his audiences to listen longer and more deeply. Mahler’s symphonies are allencompassing; they are immersive experiences.

To amplify your experience, Music Director Eric Garcia will guide you through the sonic landmarks of Mahler’s First Symphony before the full performance after intermission. In this segment, you will witness a unique look under the hood of a Mahler symphony with live excerpts and commentary, delving into the rich layers of this orchestral masterwork.

~Written by Bradley Berg

Surel’s Place is an artist residency program located in Garden City. In this inspiring live/work space, artists of all disciplines are given time and freedom to reﬂect, create, and share their work with Idahoans of all ages and backgrounds. Join us at our intimate location by the river for a workshop, art event, or performance and gain insights into the creative process shared by artists from all over the world.

Daren Kendall | Ohio | Sculpture

Photo: Christina Birkinbine

Monica Raymond | Massachusetts | Playwriting

Left to right: Jason Haskins, Elke Myers, Janet Lo, Katie Preston, and Kiala Siman

Photo: Christina Birkinbine

Kit Julianto | Nevada | Painting, Music, Masks

Photo: Jodi Eichelberger

Mary Welcome | Washington | Photography

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Karolina Majewska | Poland | Sculpture

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Nervous Theater | Montana | Performance

Left to right: Jen Gorman, Isabel Shaida, Connor Berkompas, Tracy Sunderland, Jodeen Revere (at center), DJ Fogel, and Lisa Lechner

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Chamber Concerts

March 15, 2025

Chamber 4 – Brass Quintet and Langroise Trio Hemingway Center, Boise

March 15th @ 7:30 pm

Join us on Saturday, March 15th, at 7:30 pm, for the fourth concert in this captivating chamber music series performed at the Hemingway Center featuring the Brass Quintet and the Langroise Trio.

The Brass Quintet will present music by Higdon, Biedenbender and more, showcasing vibrant brass textures. The Langroise Trio will perform a dynamic selection, including movements from Beethoven’s String Trio No. 3, Sibelius’s soulful String Trio Suite, and Gershwin’s lively Three Preludes.

May 23 & 24, 2025

Chamber 5 - Appalachian Spring with Ballet Idaho JUMP, Boise

May 23rd @ 7:30 pm / 24th @ 1:00 pm & 7:30 pm

Join us for the fifth concert in this captivating chamber music series performed at JUMP featuring Ballet Idaho, Music Director Eric Garcia, and members of the Boise Phil.

Boise Phil musicians will present Saint-Saëns' Carnival of the Animals and Copland's Appalachian Spring Suite with Ballet Idaho.

Concert Sponsor: Kim Wegener

or 208.344.7849

Encore Ball

ANNUAL FUNDRAISING GALA

May 30, 2025

5:30 - 9:30 pm

Location: Treefort Music Hall

Tickets: $250 Tables: $1,800

Feel the magic of Spring in the Air at Boise Phil’s annual fundraising gala, the Encore Ball! Join us for an unforgettable evening celebrating the transformative power of music. Your night will feature:

• A delightful cocktail reception.

• A silent auction and raffle featuring experiences and packages for all.

• A gourmet dinner inspired by the fresh flavors of spring.

• An intimate performance from your Boise Phil musicians.

Your support will help us celebrate our 24/25 Season, and together we will cultivate a future where music blooms in every corner of our community.

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Nancy Iseri

John & Alyson Jackson

Jeremy & Lynn Jeffers

Jon & Kim Krutz

Phil & Diane Kushlan

Joan & Lee Lindquist

Melinda Lindsey

James & Carole Linhart

Dale & Jeannette Neuman

Lois Ortmann

Ms. Marilyn Vickers

Dr. Jon Wagnild &

Cathleen Wagnild-Morgan

Ellen Wheaton

Mrs. Wynn Wildeman

Eric & Brandi Wilson

$50 - $99

Jerome & Teresa Arledge

Judith Baker

Wayne Baldwin

Nancy & John Briggs

Catherine Chertudi

Kristin Colburn

Kari & Doug Cook

David Cornell

Ms. Kristen Anderson

Janet Dickey

Rod & Janet Endow

Dr. Carl & Bonnieclare Erling

Carolee Eslinger

Rita Fleck

Anonymous

Beverly Fraser

Anonymous

Alan Dornfest & Virginia

Gillerman

Ken & Julia Grover

Dale & Mary Hinman

Sally Howard

Anna Karlsson

Cynthia Keller-Peck

Suzanne Krahn

Mrs. Pamela Lemley

John Stellberg & Mary Logan

Elaine Mayo

Robert McAndrew & Gwynne

McElhinney

Randall Merilatt

Brett Moll

Mark Moore

Robert & Connie Mortensen

Christine & Philip Neuhoff

Jenna Raino

Dorothy Read

Judith & Robert Schwartz

Bob & Marilyn Smith

Jay & Ann Swenson

Betty & David A. Turner

Linda Walker

Anonymous

Vance Wegner

Susan Whiting &

Bruce Van Dusen

Frank Lonyay

Don & Vicki Burwell

James & Mary McCallum

Nathan & Karen Meeks

Caroline Morris & David Monsees

Janie Black Morris

Judith Muoio

Lorynn Neser

Brenda & Robin Newmann

Del & Glenna Parkinson

Michael Margulies & Janet Parks

Susan & Quintin Phillips

Anonymous

Dr. Patrick & Jolene Schow

Hubert & Petra Schwarthoff

Gudrun & James Wilson

24/25 FOUNDATIONS AND CORPORATIONS

$50,000 - $99,999

Boise Philharmonic

Endowment Foundation

$20,000 - $49,999

Morrison Center Endowment

Foundation

Laura Moore Cunningham

Foundation

Idaho Commission on the Arts

Anonymous

Allen-Heath Memorial

Foundation

$10,000 - $19,999

The Bews' Foundation

$5,000 - $9,999

Flora of the World Foundation

Anonymous Fund 14 in the Idaho Community Foundation

Onsemi

The Whittenberger Foundation

$2,500 - $4,999

Enterprise Mobility Foundation

John William Jackson Fund

Group One Property Management

Micron Technology Foundation

Washington Trust Bank

$1,000 - $2,499

Boise Metro Chamber

Walmart #2508

Idaho Humanities Council

Anonymous

Idaho Community Foundation

Walmart Facility #3094

Mutual of America

4J Foundation

Boise City Department of Arts and History

Paycom

Schlosser Properties

$500 - $999

Intel Foundation

Walmart #2781

Walmart #4494

McEachern Morrison Foundation

Gifts Below $500

United Way of Treasure Valley

Telaya Wine Co.

The Flicks

The Kroger Co.

PayPal Giving Fund

Network For Good

24|25 in kind

Hotel 43

Alaska Airlines

Idaho Public Television

Boise State Public Radio

Lotus Boise Corp

The ROW Reno

3 Girls Catering

24/25

IN HONOR & MEMORY

Jennifer Jensen in honor of Dr. Phil Jensen.

Mr. Hyun Yoo Lee in honor of Jennifer Drake.

Jongheun Lim in honor of Jennifer Drake.

Jim & Cheryl Blackerby in honor of Lauren Blackerby.

Ann Sandven in honor of Wendy Hartman.

Nic Nelson in honor of Phil Gordon.

J'Cinda Bitters in honor of Nick & Maria Ernest, former Master Chorale singers.

Georgiann Gibson in honor of Martin and Elaine Mayo.

Frances Pope in honor of Julia Pope.

Anne Thomas, Jane & Daryl Halencak in honor of Melinda Lindsey.

Anonymous in honor of Virginia Haber.

Anna Karlsson in honor of Maud Regne-Karlsson.

John William Jackson Fund in honor of Alice Hennessey.

John & Barbara Bender in memory of Kif Bender.

Jerry Saltzer in memory of Marlys Saltzer.

Timothy Racette in memory of Ann Severance.

Lonnie & Annette Park in memory of Thelma Park.

John R. Sosoka III in memory of John R. Sosoka Jr. Phil Price in memory of Jo Price.

Frank & Mary Muguira in memory of Gary F. Peterson.

Ms. Jeannette Bowman in memory of Carol Trott.

Cecilia Merz in memory of Lois Wuertz, former Principal Violist.

Diane Kahm in memory of John Kahm.

STEPHEN S. & CAROL TROTT LEGACY SOCIETY

One of the most meaningful ways to support the Boise Phil, and ensure a musical future for our community, is through a planned gift. When you pledge a planned gift, you become a member of the Stephen S. & Carol Trott Society where you will join others that have committed to this special level of giving. Your legacy gift provides robust, transformational support that will help sustain Boise Phil long into the future.

Please contact the Boise Phil Development Office for more information about the Stephen S. & Carol Trott Society or to inform us of your plans to ensure the future of Boise Phil through a planned gift.

Jason Chilson, Development Manager jason@boisephil.org (208) 748-7990 | boisephil.org

Pre-Concert Talks

Join Musicologist Bradley Berg and Music Director Eric Garcia (and special guests) as they guide you through the music you are about to hear, providing an enlightening look at the repertoire and composers before the performance begins. Bring your questions! Please gather inside the concert hall by the stage.

Matinee Pre-Concert Talk starts at 11:45 am

Evening Pre-Concert Talk starts at 6:15 pm

Radio Showcase 90.3 FM

WEDNESAY 9AM • SUNDAY NOON • MONDAY 9AM

Tune into Boise State Public Radio – 90.3 FM to hear the Boise Phil Showcase, hosted by musicologist Bradley Berg. This weekly radio program that explores all of the classical music happening right here in Boise. We’ll take you inside the latest concerts around town with exclusive recordings and interviews with musicians, conductors, composers, and guest artists. Whether a particular week’s show features a recent performance or an archival recording, a timeless favorite or a groundbreaking new work, we will provide essential context, commentary, and listening examples to help guide your listening and transform your experience of the music.

AUDITION FOR A MUSIC SCHOLARSHIP TO THE COLLEGE OF IDAHO

February 15, 2025

March 1, 2025

March 15, 2025