25/26 Boise Phil Winter-Spring Season Program by Boise Phil

Winter - Spring

Celebrate America’s 250th birthday with works by American composers.

Season Program

25 26

SEASON SPONSOR:

Esther Simplot (Mrs. J.R.)

America at 250

Boise Phil est. 1960 Celebrating 65 Years of Music as the Boise Phil...

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.

Contents

Calendar.................................................................. 4 Welcome Letter, Mayor McLean............................ 5 Welcome Letter, Eric Garcia................................... 7 Welcome Letter, Brandon VanWaeyenberghe ....... 9 Orchestra Members.............................................. 10 Principal Musicians................................................. 11 Sponsors................................................................ 13 Boise Phil Master Chorale ............................... 14-15 Staff & Members.............................................. 16-17 Boise Phil Youth Orchestra ............................. 18-19 SYM. 4 - Ravel & Strauss ................................ 21-25 Music of Queen................................................ 29-31 SYM. 5 - Carmina Burana .............................. 35-39 SYM. 6 - Sailing .............................................. 41-42 SYM. 7 - Pines of Rome .................................. 47-50 2025 Donors & Sponsors................................. 54-56

516 S. 9th Street Boise, ID 83702 ph. 208.344.7849 © Boise Philharmonic assets may not be used without prior written permission.

Pre-Concert Talks & Boise Phil Showcase............ 61 SEASON PARTNERS:

2026

January 24, 2026

March 15, 2026

January 25, 2026

April 18, 2026

February 7, 2026

April 25, 2026

Symphonic 4 Ravel & Strauss w. BPYO 7:30 pm / Morrison Center

Symphonic 4 Ravel & Strauss w. BPYO 2:00 pm / Morrison Center

One Night Only The Music of Queen! 7:30 pm / Morrison Center

February 11, 2026

FREE Boise Phil at the Nampa Library 5:30 pm / Downtown Nampa Library

February 14, 2026

Family Concert Phil the Love 2:00 pm / NNU Brandt Center

February 21, 2026

Chamber Series String Quartet & Percussion Ensemble 7:30 pm / Shrine Social Club

February 28, 2026

BPYO Winter Concert 2:00 & 4:00 pm / NNU Brandt Center

March 14, 2026

Symphonic 5 Carmina Burana w. BPMC 7:30 pm / Morrison Center

Symphonic 5 Carmina Burana w. BPMC 2:00 pm / Morrison Center

Spring in Paris The Encore Ball 5:30 pm / The Grove Hotel

BPYO Spring Concert 2:00 & 4:00 pm / Borah H.S.

May 2, 2026

Symphonic 6 Sailing: Soft Rock Hits of the 70s & 80s 7:30 pm / Morrison Center

May 3, 2026

Symphonic 6 Sailing: Soft Rock Hits of the 70s & 80s 2:00 pm / Morrison Center

May 16, 2026

Symphonic 7 Season Finale: Pines of Rome 7:30 pm / Morrison Center

May 17, 2026

Symphonic 7 Season Finale: Pines of Rome 2:00 pm / Morrison Center

Welcome Hello and welcome to the 2025-2026 season of the Boise Philharmonic.

L E T TE R F RO M TH E M AYO R O F BO I S E

Lauren McLean

On September 18, I had the honor and distinct pleasure of naming Boise Philharmonic as the City of Boise Cultural Ambassador for 2026 and 2027. As the city’s premier professional orchestra with roots extending back to the 1890s, Boise Phil has grown alongside Boise for generations, evolving from a local ensemble into a regional organization that reflects the spirit and resiliency of the community we serve. And now, in their 65th year, I am particularly excited to share that Boise Phil is joining the city in celebration of America 250. Each performance will begin with a piece by an American composer, deepening the connection between art and our shared history. That connection is furthered, under the direction of Conductor Eric Garcia, as this season’s program blends deeply admired classical music composers with contemporary twists. This season’s diverse lineup of performances features guest artists from across the country alongside our local musicians and the stories and voices of Idaho composers. The Boise Philharmonic plays a special part in our community through their education and outreach programs, serving thousands of students across the Treasure Valley. Initiatives like their School Concerts and the Boise Phil Youth Orchestra along with smaller performances at local libraries reflect our commitment to creating opportunity for everyone. We in Boise are so fortunate to have such creative and talented performers on iconic stages like the Morrison Center and the Idaho Shakespeare Festival, and I look forward to seeing so many of you at performances throughout the season. Enjoy the show! Mayor Lauren McLean

Welcome It is with great excitement that I welcome you to the Boise Phil's 65th season, "America at 250," a celebration of American composers and the rich musical heritage of the United States. Each symphonic series program opens with a piece by an American composer, including audience favorites John Williams and Jennifer Higdon, as well as a tribute to the beloved Boise composer David Alan Earnest. In addition to this vibrant repertoire, you will hear treasured classics by Beethoven, Mendelssohn, Mozart, Tchaikovsky, and many more.

L E T TE R F RO M M US I C D I R ECTO R

Eric Garcia

We also celebrate the 50th anniversary of our Master Chorale with Carl Orff's exhilarating audience favorite, Carmina Burana, as well as the music of Bach and Haydn, in a one-night-only performance at NNU, and, of course, Handel's Messiah. You will also hear the artistry of guest artists Bella Hristova, Joyce Yang, Amy Owens, Brian Giebler, Norman Garrett, Stewart Goodyear, and Boise Phil's principal cellist Philip Kettler. In addition to this remarkable symphonic repertoire, celebrate the holidays with us with Home Alone, and enjoy the pop and rock sounds of the '70s and '80s with The Music of Queen and Sailing. We are deeply honored to serve as Boise's Cultural Ambassador for 2026 and 2027, carrying the city's spirit beyond our community. Our concerts are also part of a larger mission - through the Boise Phil Youth Orchestras, school and family concerts, and community programs, we share the transformative power of music across the Treasure Valley. I am absolutely thrilled to share this musical journey with you and look forward to seeing you in the hall!

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Eric Garcia Music Director Boise Philharmonic

The Misaligned Love of a Sinner and a Saint

ThaïS March 27 & 29

The Egyptian Theatre

OPERA IDAHO

2O25-2O26 SEASON WINTER/SPRING SHOWS We have something for everyone to love!

CMVA

BO I S E PH I L H A R MO N I C ASSO C I ATI O N BOA R D O F D I R E CTO RS OFFICERS Anne Hay, President Ridgley Denning, Vice President Jeannette Bowman, Secretary Jerry Sturgill, Treasurer DIRECTORS Phyllis Barker Laura White Barton Aaron Bell Megan Bennett Peaches Chilanga Nicolette Clark Don Collins Wendy Creighton Phil Gordon Kay Hardy Phil Jensen John Knochel Bob Law Nanci Marquess, MD Susan McPeek Christine Neuhoff Peggy Ann Rupp David Westergard EX-OFFICIO MEMBERS Eric Garcia, Music Director Brandon VanWaeyenberghe, Executive Director Jennifer Drake, BPYO Music Director Richard Hutton, Master Chorale Music Director BO I S E PH I L H A R MO N I C FO U N DATI O N Marty Jacobs, President Christine Neuhoff, Vice President Julia Rundberg, Secretary & Treasurer

May 25 Zarzuela, Mariachi, and More at Idaho Shakespeare Festival

April 18 Renewal May 23 Choral Showcase

January 29 March 19 April 23 Dinner-Theater

Group & military discounts available on all events; senior, child & student discounts exclude Operatini.

EXPLORE OUR FULL 2O25-2O26 SEASON LINEUP OF EVENTS

TICKETS: OPERAIDAHO.ORG 208.345.3531

Mary Abercrombie, A J Balukoff, Ridgley Denning, Bill Drake, Jack Gjording, Larry Hunter, Julie Kilgrow, Renee Langworthy, Amber Myrick, Jeanie Smith, & Dave Westergard

L E T TE R F RO M TH E BO I S E PH I L E X EC U TI V E D I R E CTO R

Brandon VanWaeyenberghe Welcome to our 2025–26 Season with the Boise Philharmonic. We are thrilled to return for a 65th Season, and one where we celebrate America at 250 with great works by American composers. On behalf of our board, musicians, and staff, it is our pleasure to welcome you to this concert. This season, we are honored to be named the City of Boise’s Cultural Ambassador—a role that invites us to share Boise’s creative life with audiences near and far and to serve as an honorary representative for our city. In practice, it’s about connection: listening to our neighbors, reflecting Boise’s stories on stage, and extending a warm welcome to new audiences. We will carry that spirit into our concerts, chamber series, and Youth Orchestra program —deepening relationships in Boise and representing our community thoughtfully beyond Idaho. Thank you for standing with the Boise Phil. Orchestras are civic assets that bring people together across neighborhoods and generations; they make music more accessible, create spaces where everyone feels welcome, and help unite and inspire communities. Whether you are joining us for the incredible classical music concerts featuring world-class artists, for a family favorite Home Alone film with live orchestra or our annual performances of Handel’s Messiah, we guarantee you will leave enriched and wanting to return for another shared experience of great live music! Sincerely,

Brandon VanWaeyenberghe Executive Director Boise Philharmonic

Orchestra Members VIOLIN I Nicole Oswald Acting Concertmaster & Langroise Fellow Katherine Jarvis Acting Associate Concertmaster

ENGLISH HORN Jessie Brown

CLARINET Carmen Izzo, Principal

Sponsored by Andy & Elizabeth

James Nickell Sean Van Winkle

Scoggin, and Jerry Saltzer in memory of Marlys Anne Saltzer

Nicole Oswald Acting Concertmaster Langroise Trio Fellow

Geoffrey Hill Principal Second Violin

Dave Johnson Principal Viola Langroise Trio Fellow

Philip Kettler Principal Cello Langroise Trio Fellow

Chris Ammirati Principal Bass

Allison Emerick Principal Flute

Carmen Izzo Principal Clarinet

Patty Katucki Principal Bassoon

Lauren Blackerby Principal Oboe

Brian Vance Principal Horn

John Kilgore Principal Trumpet

Michael Maier Principal Trombone

Adam Snider Principal Tuba

Brandon Lim Principal Percussion

Alex Artale Principal Timpani

Del Parkinson Principal Piano

Savor life’s finer moments at our urban oasis on the Boise River. Enjoy river views and a glass of wine with friends and family. Join us before the Boise Philharmonic—or relax with us after. Like fine wine, music is meant to be cherished..

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JOIN US HERE Tasting Room including Patio & Deck Seating Family & Dog Friendly Private Reserved Tastings Meeting & Event Rental Space Food Trailer onsite

Visit our Tasting Room and show your Boise Philharmonic program to receive $10 off a glass, flight, or bottle purchase. Prefer to shop online? Use promo code BOISEPHIL10 at checkout. Scan to find out more!

240 E 32ND STREET GARDEN CITY, ID 83714 208-557-9463 WWW.TELAYAWINE.COM Open Daily at Noon

LET YOUR BUSINESS HIT THE RIGHT NOTE. Advertising with Boise Phil connects your business to one of Idaho’s most engaged and loyal arts audiences. Our concert programs reach tens of thousands of patrons who value culture, community, and local partnerships. Put your brand center stage and amplify your message with us this season. Contact Parker Pratt, Marketing Manager, at parker@boisephil.org for more info.

Sponsorships

25/26 Sponsors SEASON SPONSOR Esther Simplot (Mrs. J.R.)

SERIES SPONSORS Nancy & Bill Barkell Anne & Bob Hay Anonymous Peggy Ann Rupp

CONCERT SPONSORS ICCU Kay Hardy & Gregory Kaslo Robert & Patricia Rietveld Bob Law & Mikel Ward Kim Wegener St. Luke's Health Systems Stephen Trott Women's Leadership Circle

GUEST ARTIST SPONSORS Richard & Mary Frasch Thelma Shear Park Memorial Fund in the Idaho Community Foundation Ann Peterson

COMMUNITY & CHAMBER CONCERT SPONSOR Enterprise Holdings Foundation Idaho Rivers United

SHEET MUSIC SPONSORS Susan Judge John & Lois Kloss Amie & Brad Bruggeman John Knochel

L E T TE R F RO M M US I C D I R ECTO R BO I S E PH I L M ASTE R C H O R A L E

Dr. Richard Hutton Dear Friends of the Boise Philharmonic Master Chorale, This season marks a remarkable milestone: the 50th Anniversary of the BPMC. As we pause to honor the rich history of this ensemble, we also look forward with anticipation to the music still to come. Our journey this year celebrates both tradition and innovation. We revisit beloved works that have shaped our identity while also embracing new compositions that will carry our artistry into the future. The season opened with collaborations that highlight our versatility, from Handel’s majestic Coronation Anthems with Boise Baroque Orchestra to the elegance of Haydn and Bach with the Boise Phil. Time-honored traditions continue with our annual performance of Handel’s Messiah, a cherished offering for the Treasure Valley community since our very first concert in 1975. Spring brings a monumental work for a monumental occasion–Orff’s Carmina Burana. Finally, we have an extraordinary opportunity to premiere a newly commissioned choral-orchestral work on the stage of Carnegie Hall which is a fitting finale for a golden-anniversary season. What has sustained this ensemble across five decades is not only the dedication of its singers but also the support of our community. Your presence reminds us that choral music is made to be expressed to an audience, and we are grateful to walk this path with you. If you are a singer, we warmly invite you to audition with us next season and join our community as we look to the next fifty years. With gratitude, Dr. Richard Hutton Music Director Boise Philharmonic Master Chorale

Carmina Burana w. BPMC March 14 at 7:30 pm & 15 at 2:00 pm, 2026 BP Symphonic Concert with Master Chorale Morrison Center, Boise, ID

Master Chorale Celebrating 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 75 volunteer singers, the Master Chorale is always searching for a range of voices. You’re invited to audition for the chorus!

BO I S E PH I L M ASTE R C H O R A L E A RTI STS SOPRANO Jessica Brain Emmalee Cazier Nancy Cuoio Ridgley Denning Amara Ewing Amanda Halverson SueClaire Hebert Sharon Helppie Lisa Hettinger Daphne Huang Jessica Krzemien Geraldine Mackinnon Christina Mahaney Emily Mahon Lydia Nissen Kyra Peterson Julia Rundberg Lola Schiess Alana Seacord

Cindy Sharp Kathy Stockton Armida Taylor Coleen Walker Alicia Weeks Sharon Smolar-Warner ALTO Jen Black Diane Bleazard Lois Chattin Kristin Colburn Leslie Craig Wendy Creighton Marty Dayton Tamara Dizdarevic Virginia Haber Anne Hay Nicki Hellenkamp Diane Jones

Desiree Kaae Bianca Kennedy Bozena Kinalski Ida Larsen Carol Martinez Ellen McKinney LeeAnna McMullen Paula Mikkelson Valerie Munoz Kathleen Noden Linnea Panther Laura Penney TaeLynn Perez Paula Weitemier Patricia Wolter TENOR Sam Anderton David Czerepinski Daniel Dyer

Daithi Fisher Will Grubaugh Tim Judy Darrell Ludders Loren McGinnis Larry Mincer Jeff Powell Hubert Schwarthoff Jason Taylor Paul Turcke BASS Ken Grover Jonathan Krutz Michael Lynott Fraser Martens Bruce Moberly Shane Robison Peter Steven Allan Wang

Staff

Boise Phil Staff Brandon VanWaeyenberghe Executive Director Eric Garcia Music Director Dr. Richard Hutton Music Director, Boise Phil Master Chorale

Bradley Berg Musicologist Parker Pratt Marketing Manager Nickie Shell Customer Experience & Volunteer Coordinator

Jennifer Drake Music Director, Boise Phil Youth Orchestra

Melissa Wilson Librarian & Licensing Manager

Erin Paradis VP & General Manager

Savannah Butler Education Manager

Christal Holmes Chief Financial Officer

Sarah Kelly Orchestra Personnel Manager

Timothy O'Donnell Director of Marketing & Communication

Mike Harris Operations Manager

Harmony Soto Major Gifts Officer

Jason Chilson Development Manager

Louis McFarland Equipment Coordinator

Memberships

STRADIVARIUS CIRCLE

Esther Simplot (Mrs. J.R.)

ORCHESTRA CIRCLE

Bill & Nancy Barkell Anonymous Anne & Bob Hay Peggy Ann Rupp

MAESTRO CIRCLE

Kim Wegener

PATRON CIRCLE

Mary Abercrombie & Kim Cafferty A J & Susie Balukoff Marilyn Beck Kay Hardy & Gregory Kaslo Bob Law & Mikel Ward Ann Peterson Robert & Patricia Rietveld Steve Trott John & Chris Westwater

BENEFACTOR MEMBERS

Joanne Anderson Jason Bender Glenn & Glida Bothwell Sharon Christoph Richard & Mary Frasch Philip Gordon Jerralyn Kehne Julie Kilgrow & Al Gardner Anonymous Susan Parrish Andrew & Elizabeth Scoggin Robert & Alice Selder Jeanie & Ken Smith Jo Ann & Richard Stillinger Kenneth & Paula Weitemier Richard & Jacquelyn Wilson

FOUNDER MEMBERS

Michelle & Robert Angell Patrick & Felicity Arnold Phil Rogers & Tricia Baur Thomas & Angela Beauchaine Jeannette Bowman Amie & Brad Bruggeman Karin Camp Ridgley Denning Jim & Tess Emerick Karen & Michael Falvey Sandy & Brent Fery Cathleen Hurwitz G. Robert & Dorothy Klomp John & Lois Kloss John Knochel Vicki Kreimeyer Mary & Boyd Leavitt Cecelia & Don Lojek Susan & Michael McPeek Laura & Michael Miller Mary & Ernie Monroe Christine & Philip Neuhoff Linda & Jeffrey Stengel Sturgill Family Dr. Joseph & Pattie Williams Mike Winter & Mona Morrison 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 four orchestral ensembles in our program. We have the Symphonic Orchestra, Concert Orchestra, Repertory, 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 Repertory & Strings Orchestra is open to violin, viola, cello, and bass students from 5th through 8th grade. Auditions are held in the spring for Symphonic & Concert Orchestras and fall for the Repertory & Strings Orchestra. We invite youth musicians in the Treasure Valley to audition and come join BPYO. LEARN MORE AT BOISEPHIL.ORG/YOUTHORCHESTRA

Learn More about the BPYO:

L E T TE R F RO M M US I C D I R ECTO R BO I S E PH I L YO U TH O RC H E STR AS

Jennifer Drake Hi everyone! It is with great enthusiasm and joy that I welcome you to the 2025–26 season of the Boise Philharmonic Youth Orchestra! Each fall, we gather a community of young musicians who bring with them incredible talent, curiosity, and dedication. Their energy is at the very heart of what makes BPYO so special. This year is especially meaningful as we expand to four orchestras, opening new doors for even more students to find their place, develop their skills, and experience the joy of making music together. Watching these young musicians grow—not only as instrumentalists, but also as leaders, teammates, and creative thinkers—is one of the greatest privileges of this work. Our students do not walk this path alone. Their accomplishments are made possible through the support of school music educators and private teachers, who give them the tools and encouragement to flourish. We are also grateful to the musicians of the Boise Philharmonic, whose artistry inspires our students to dream big and reach higher. At the center of it all, though, are the students themselves—their commitment, their joy, and their eagerness to discover how their individual voices come together to create something larger than themselves. Each rehearsal and performance is a reminder of the transformative power of music in their lives and in our community. We look forward to a season filled with growth, inspiration, and unforgettable music-making. Thank you for joining us in celebrating the remarkable young people who make up the Boise Philharmonic Youth Orchestra! Jennifer Drake Music Director, Mary Abercrombie Endowed Chair, Boise Philharmonic Youth Orchestra

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BPYO Winter Concert February 28, 2026 at 2:00 & 4:00 pm NNU Brandt Center, Nampa, ID

BPYO Spring Concert April 25, 2026 at 2:00 & 4:00 pm Borah High School, Boise, ID 19

STEPHEN S. AND CAROL TROTT LEGACY SOCIETY

25 YEARS OF MUSICAL LEGACY

A QUARTER CENTURY OF ENDOWMENT, IMPACT, AND INSPIRATION In 2000, visionary leaders of the Boise Philharmonic created a dedicated Foundation to safeguard the orchestra’s future. With the first $1 million gift from Kathy Troutner and the leadership of Jack Lemley, Esther Simplot, and Stephen Trott the Boise Philharmonic Foundation was born. Since then, the Foundation has granted more than $1.56 million in annual support to the orchestra, and as of December 31, 2024, holds an endowment of $2.77 million — a lasting investment in the music we all cherish. Every time we gather for a concert, we are sustained by this extraordinary legacy of generosity. As we celebrate the Foundation’s 25th Anniversary, we invite you to join in shaping the next 25 years of music in our community. When you pledge a planned gift to the Boise Phil, you become a member of the Stephen S. and Carol Trott Legacy Society where you will join others that have committed to the special level of giving. Consider a gift to the Boise Philharmonic Foundation and help ensure a vibrant musical future for Idaho. The Boise Philharmonic Foundation is a 501(c)(3) charitable organization. Learn more at boisephil.org/planned-giving.

boisephil.org/planned-giving 20

JANUARY 24 & 25, 2026 • 7:30 PM & 2:00 PM • MORRISON CENTER Eric Garcia, Conductor Philip Kettler, Cello David Alan Earnest (1960 - 2024) Turbulence Camille Saint-Saëns (1835 – 1921) Concerto No. 1 in A Minor, Op. 33 I. Allegro non troppoo II. Allegretto con moto III. Allegro non troppo

INTERMISSION Maurice Ravel (1875 – 1837) Le Tombeau de Couperin I. Prélude II. Forlane III. Menuet IV. Rigaudon Richard Strauss (1864 – 1949) Der Rosenkavalier Suite, Op.59

Philip Kettler, Cello Series Sponsors:

Nancy & Bill Barkell The Amphion Foundation Anonymous Anne & Bob Hay Peggy Ann Rupp

Season Sponsor: Esther Simplot (Mrs. J.R.) 21

Program Notes David Alan Earnest (1) Born: May 11, 1960, Nampa, ID Died: August 24, 2024, Boise, ID Turbulence Duration: ~6 minutes Composed: 2011 Instrumentation: two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, four trumpets, three trombones, one timpani, glock, crotales, xylophone, cymbals, bass drum Dave Earnest spent his time like many other native Idahoans: fishing on the Snake River, playing golf with his friends, and exploring rural Idaho, where he liked to paint. As a curious person, he was not content with playing just one instrument: experience on the bass clarinet, tenor saxophone, classical and bass guitars was among his many talents. After playing in various rock bands in his teens, 20-year-old Dave discovered Beethoven’s 6th Symphony in a friend's record collection. Inspired, he arranged the original songs he was writing at the time to match the same “band” that Beethoven had used—the orchestra. From then on, he would pursue classical composing. After a stint at Micron and attaining a composition degree at Wheaton College Conservatory, Earnest set out on a busy period of composition. He wrote concert works for orchestra, chamber ensembles, wind bands, and choirs, including music for the Boise Philharmonic (Cello Concerto for Sam Smith in 2003 and Turbulence in 2011), Caritas Chorale of Sun Valley (Immense Ranges of High Mountains in 2005, and Nez Perce: Promises in 2012), the Langroise Trio (7 world premieres), Idaho Dance Theater (6 premieres), and the Darkwood Trio, among others. Earnest’s concert overture, Turbulence, first premiered at the Boise Phil’s annual Children’s Concerts in 2012. Boise Phil Music Director Robert Franz then conducted it with the Houston Symphony seven times in 2012 before its Boise premiere in 2013. The music describes a journey that brings both excitement and discomfort. Fittingly, Dave shared this piece of advice later in his life: "Travel. You'll see that we're all in the same boat, just trying to stay afloat, and there’s no reason for hate or discrimination. Love one another. Be tolerant of others’ beliefs. Be kind." Notes from the composer:

Ravel & Strauss This overture portrays a short, harrowing flight from Newark to O’Hare airport in Chicago, where we landed surrounded by storms, lightning, and wind. It scared me to death. First we hear the take off, then a false sense of elation and calm as cruising altitude is reached, followed by mild turbulence as we near Chicago, then the descent into the storms and the landing. The piece ends with a sigh of relief in the clarinets and bassoon.

Camille Saint-Saëns (2) Born: October 9, 1835, Paris, France Died: December 16, 1921, Algiers, Algeria Cello Concerto no. 1 in A Minor, Op. 33 Duration: ~20 minutes Composed: 1873 Instrumentation: two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, strings, and solo cello As France and Prussia neared war in the 1860s, cultural divisions between French and German musicians grew wider. Common stereotypes viewed Germans as the masters of instrumental music—symphonies and concertos—while the French specialized in frivolous theatrical works like Offenbach’s comic operettas. The divide negatively impacted young musicians writing orchestral music in Paris. Saint-Saëns recalled that “the name of a composer at once French and living on a program had the effect of putting everyone to flight.” Even with the post-war surge of national sentiment after France’s humiliating defeat to the Prussians in 1871, audiences in Paris remained apprehensive, even hostile toward new French concert music. To support homegrown talent, Saint-Saëns co-founded a National Society of Music with the aim of programming serious French concert works, beginning with his own. He sought to win over his countrymen with dignified orchestral music that might improve the standing of French composers. Composed in 1872, the Cello Concerto in A minor was the composer’s lucid antidote to German-Romantic excess. Saint-Saëns’ abundantly melodic concerto forms an unbroken procession of noble themes. It begins with a defiant, swirling melody played by the soloist. This turbulent section opens up into a richly lyrical theme within the cello’s natural singing range. Whereas the first theme spirals downwards, the second resolutely climbs upwards. An antiquated dance interrupts with

Ravel & Strauss elegant, muted strings, evoking a three-beat minuet from the bygone Classical era. These episodes are interspersed with precarious passagework for the soloist with phrases that swell like great ocean waves. The work ends with a sudden mood-shift into cheery A Major. Even for Saint-Saëns, the Concerto’s immediate success came as a surprise. Whereas the French public had previously been unwilling to applaud new music, they did so feverishly at the work’s 1873 premiere. The composer proudly concluded: “from then on French names appeared on concert programs on which no one had previously dared allow them. The barriers had gone.” Saint-Saëns had helped clear the path for the next generation of French composers to thrive, or so he thought.

Maurice Ravel (3) Born: March 7, 1875, Ciboure, France Died: December 28, 1937, Paris, France Le Tombeau de Couperin Duration: ~17 minutes Composed: 1877–1878 Instrumentation: two flutes (second doubling piccolo), two oboes (second doubling English horn), two clarinets, two bassoons, two horns, trumpet, harp, and strings.

Program Notes Ravel arranged the piano version for orchestra, though he only did so for four out of the original six movements. Couperin wrote music in short, lively phrases that formed larger strains called couplets. These couplets would alternate with one another, usually with a primary one being reprised multiple times throughout the piece, similar to Classical rondo form. Because the harpsichord cannot change its dynamic level fluidly like the piano, Couperin maintained the interest of repeated sections by adding delicate ornaments known as agréments, spritely flourishes that lent distinct characteristics to each melody. Ravel adopts these embellishments in the swirling Prélude, beginning with a sparkling dialogue between the oboe and clarinet. The phrase becomes tossed around the whole ensemble, ending with an upward harp glissando and an ethereal, wavering trill in the strings and winds. The Forlane, a lilting Italian folk dance in origin, was the first piece that Ravel composed in the... (3)

During the Battle of Verdun in April of 1916, a German artillery shell exploded 30 meters away from a French supply truck. Behind the wheel was 41-year-old composer Maurice Ravel. He proudly served his country throughout the Great War any way he could, though he had wished for the more exciting role of a pilot dropping bombs on the enemy. “I’m enjoying it enormously,” he wrote after one near-death experience, still curious about the adventure of it all. His outlook soon changed. As the hideous violence of trench warfare took its toll on Ravel’s young friends who served on the frontlines, he gradually resolved to dedicate a suite of music in their memory. At the outset of the war, he began a “French suite” for piano, inspired by the Baroque composer François Couperin, a prolific writer of charming harpsichord pieces. A tombeau (tomb) is a musical piece written in memory of someone. In this case, Ravel was paying homage to both French musical culture (represented by Couperin, hence Le tombeau de Couperin) as well as his friends who perished in warfare. Keeping with his career-long habit,

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Program Notes set, before it became a memorial to the fallen. Rustic solos and duets break out amid a series of short, repeated sections. The harmony turns increasingly sophisticated, like a country scene becoming disfigured through the eyes of an abstract painter. The Menuet in moderate threebeat time begins in a Classical manner. The middle section grows more somber, with delicate harmonics in the strings layering on top of the melody like a shimmering veil.

Wagner mingle among mid-1800s waltz music, a popular genre that peaked a century after the opera’s 1740s setting. Like the character of the Marschallin, who comes to accept that her youth has passed, Vienna's grandeur has evidently devolved into a pastiche of itself in Strauss’ score. The composer’s use of waltzes has another significance: Germany’s Kaiser Wilhelm had banned waltzes from his court because their sensuous nature conflicted with his preference for disciplined, militaristic pageantry. The Kaiser was not pleased when he attended a performance of Der Rosenkavalier, saying afterwards “That’s no music for me!” But Strauss’ opera was a huge success, drawing so many visitors to its Dresden premiere that special train schedules had to be arranged from Berlin.

Ravel dedicated the Rigaudon to Pierre and Pascal Gaudin, two brothers who died by the same shell blast on November 12, 1914, the day they arrived on the front. The two-step dance bursts forth with a rambunctious cadence that forms both the beginning and ending of the phrase. This musical sleight-of-hand recalls Joseph Haydn, who made a similar gesture in his “How Do You Do?” String Quartet. A slower middle section halts the momentum for a ghostly oboe solo accompanied by plucked strings, echoed by the oboe’s “sibling,” the English horn, in a darker, velvety tone. The rowdy opening theme returns for a few final cheers to end the suite.

The symphonic suite begins with a night of intimacy between young Octavian and the more mature Marschallin, in her early 30s (ecstatic horns echoed by swooning strings). Octavian is then ordered to present a ceremonial silver rose to Sophie on behalf of her ill-mannered fiancé Baron Ochs, who arranged the marriage himself. The music cools off for this intimate scene as Sophie and Octavian fall in love. The flower glistens with luminous chords colored by the flutes and celesta. After a burst of rage from Baron Ochs, who realizes that Octavian is pursuing his betrothed Sophie, we hear a sequence of waltzes from Act II during the Baron’s doomed attempt at seduction.

Richard Strauss (4) Born: June 11, 1864, Munich, Germany Died: September 8, 1949, GarmischPartenkirchen, Germany Der Rosenkavalier Suite, Op. 59 Duration: ~24 minutes Composed: 1911 Instrumentation: three flutes (third doubling piccolo), three oboes (third doubling English horn), three clarinets (third doubling bass clarinet), three bassoons (third doubling contrabassoon), six horns, three trumpets, three trombones, tuba, timpani, percussion (triangle, cymbals, bass drum, tambourine, glockenspiel), celesta, two harps, and strings. Richard Strauss’ third and fourth operas, Salome (1905) and Elektra (1909), stirred controversy through their dissonant scores and grotesque, violent plots. By contrast, Der Rosenkavalier (The Knight of the Rose) premiered in 1911 with a burst of nostalgia and charm. Set in 1740s Vienna, the opera followed a typically Mozartean comic plot: a love triangle with costumed disguises and mischievous pranks. Beyond the humorous plot, Strauss’ score is an anachronistic parody of old Vienna. Scraps of material akin to 1780s Mozart and 1860s

Ravel & Strauss

In Act III, the Marschallin gracefully steps aside to allow her former lover Octavian to unite with Sophie. The masterpiece within the whole opera is the glorious Trio that follows, heard here in its orchestral version with passionate surges that reverberate across the entire orchestra. After the Marschallin leaves the two lovers alone, the score grows more intimate. Echoes of the shimmering rose theme reprise until another boisterous waltz whisks us away.

~Written by Bradley Berg ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙

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Ravel & Strauss

Artist Bio.

Philip Kettler Cello

Philip Kettler is the newly appointed Principal Cellist of the Boise Philharmonic. A passionate chamber musician, he is also the cellist of the Langroise Trio, with whom he serves as Artistin-Residence at The College of Idaho. He began his positions in Boise after three seasons with the Indianapolis Chamber Orchestra, where he served as Second Cellist and the orchestra’s youngest member. Philip has also performed with the Indianapolis Symphony, Oregon Symphony, and Sarasota Orchestra, and previously held principal positions in orchestras including the Terre Haute Symphony, Carmel Symphony, and Columbus Indiana Philharmonic. Highlights of Philip’s 2025-2026 season include Camille Saint-Saëns’ Cello Concerto No. 1 with the Boise Philharmonic and appearances at the Britt Festival, and in recent seasons, he has been featured as a soloist and chamber musician in concert series across the state of Idaho and in Washington DC, Tennessee, Maryland, Colorado, Maine, and Ohio, among others. In the summer, Philip is the Assistant Principal Cellist of the Lancaster Festival Orchestra, and has spent previous summers performing with the National Repertory Orchestra and at the music festivals of Aspen, Bowdoin, and Aix-en-Provence (France). Philip is a dedicated educator, serving as Lecturer of Music at The College of Idaho and maintaining a competitive private studio in Boise. Other teaching engagements have included Northwest Nazarene University, the Sun Valley Music Festival, and regular masterclass across the United States. Philip received his Doctor of Music and Master of Music degrees from the Indiana University Jacobs School of Music, his Bachelor of Music degree from the Vanderbilt University Blair School of Music, and a Performer’s Certificate from the Conservatorium van Amsterdam in the Netherlands. His principal teachers include Eric Kim, Felix Wang, and Dmitry Ferschtman, and he has performed in masterclasses for Johannes Moser, Alisa Weilerstein, and Zuill Bailey. Philip performs on a cello made in Rome by David Tecchler in 1723, generously on loan by Mrs. Esther Simplot.

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FEBRUARY 7, 2026 • 7:30 PM • MORRISON CENTER Martin Herman, Conductor MiG Ayesa, Vocalist Bonnie Keen, Background Vocals Pete VanDeRiet, Bass & Background Vocals

Andrew Payne, Drums & Background Vocals Steve Zukowsky, Guitar & Background Vocals Andrew Kesler, Keyboards & Background Vocals

Experience The Music of Queen! with the Boise Philharmonic—an electrifying orchestral celebration of Queen’s legendary music. Led by conductor Martin Herman and featuring a full rock band with powerhouse vocalist MiG Ayesa, this symphonic rock concert blends iconic anthems with dynamic orchestral arrangements that honor the original sound while adding thrilling depth. Perfect for lifelong fans and new listeners alike. *Tonight’s program will be announced from the stage!

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Series Sponsors:

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Season Sponsor: Esther Simplot (Mrs. J.R.) 29

Program Notes The Music of Queen: A Rock Symphony Duration: ~90 minutes Bridging the gulf between rock n’ roll and classical music, conductor/arranger Brent Havens takes the podium to present Windborne’s The Music of Queen, a program he scored to extend the listening experience of Queen’s exceptional tunes. Performed by an orchestra and amplified with a full rock band and vocals, Havens and his ensemble capture Queen’s distinct sound while presenting some familiar and lots of new musical colors. Delivering a fabulous rendition of Freddie Mercury’s vocals is London’s West End and Broadway’s MiG Ayesa. “I had worked with MiG on a “Rock of Ages” show in St. Louis and when we were looking for a new Music of Queen show singer I immediately thought of MiG. His energy, musicianship and fantastic voice made an immediate impression on me,” says Havens. “Clearly, there will never be another Freddie Mercury and I don’t want MiG to try to be him… but MiG delivers an amazing and wonderful performance on this show. He has the audience swept up in this music like no other.” Heightened by rock concert lighting, the symphonic rock hybrid has met with riotous approval at both ends of the hall. Many classical musicians also enjoy the change of pace. “So many of the musicians grew up with this music much like we did,” says Havens. “They may not have studied it to the extent that my musicians have studied it but they are certainly familiar with the music. Who can avoid hearing ‘We Will Rock You’ at sporting events, on TV shows, and even in the super market?” Indeed, Queen’s music seems omnipresent. “We’ve successfully merged four different groups with the orchestra and it seemed to me the next logical step in selecting a group was Queen. As always we wanted to keep the foundation of the music as close to the originals as we could and then add additional colors to enhance what Queen had done,” says Havens. “The wonderful thing with an orchestra is that you have an entire palette of sounds to call upon. The band is reproducing what Queen did live, as closely as possible within the constraints of personnel, and then having an orchestra behind the band gives the music richness, a whole new feel, a whole different sense of color but still preserving the wonderful music that they originally produced.

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Music of Queen ”As with the other shows, Havens understood that Queen fans would want to hear the original, familiar elements of the music. He therefore followed exact line arrangements and used the orchestra for enhancement. With a 50- piece orchestra hanging on his every cue, Havens had a large landscape to work with. Just among the double-reed instruments—the oboe, English Horn, bassoon—there are so many colors. Add in the violins, violas, cellos, basses, and woodwinds or more pure sounds from instruments like a flute or a clarinet and the selection grows. Then consider the entire brass sectiontrumpets, trombones, French horns, and the lower brass like the bass trombone and tuba and you realize the variety of choices available to accompany a distorted electric guitar, bass, keyboard and drums. Queen’s rich chord structures and amazing vocal harmonies made the music an ideal choice for scoring. “When I sat down to begin scoring the show, it was amazing how comfortably the orchestra fit within the structure of the music. Innovative chord progressions, wonderful melodies and the astounding vocals of Freddie Mercury make the music a perfect choice to orchestrate. And having world class musicians in every city we present the show makes the music even that much more compelling. “The show has proven a great way to introduce rock fans to the symphony experience. “As with our other shows, I’m sure there are people who are going to come out who have never seen their city’s symphony orchestra and this allows them to experience something new along with the music that they already love,” says Havens.

Artist Bio

Music of Queen

MiG Ayesa

Martin Herman

MiG is an internationally acclaimed performer whose career spans musical theatre, television, film, and recording. He began his professional journey in Australia in Buddy before being selected for the London cast, where he performed at the prestigious Royal Variety Performance for Her Majesty Queen Elizabeth II. His West End credits include We Will Rock You, Rent, Thriller Live, and Seasons of Larson. On Broadway, MiG appeared in Burn the Floor and Rock of Ages, later joining the 1st U.S. National Tour and productions in the Philippines.

Martin Herman has appeared as guest conductor with symphony orchestras in North America, Europe, Australia, and Canada. His most recent engagements include the Buffalo Philharmonic and the Ft. Worth Symphony Orchestra with Windborne’s Music of the Rolling Stones and Music of the Eagles. He recently guest-conducted Das Sinfonie Orchester Berlin at the Berlin Philharmonie Kammermusiksaal and continues as music director and arranger for Classical Mystery Tour in recent performances with the Sydney Symphony Orchestra in the Sydney Opera House, Seattle Symphony, Detroit Symphony, North Carolina Symphony, Long Beach Symphony, Vancouver Symphony, San Diego Symphony, and Florida Orchestra. Martin also served as music director and conductor with Downtown Opera in Long Beach, California, conducting premieres of new operas in the U.S. and the Czech Republic. In the fall of 2009, he was conductor and music director at LaMaMa Theatre in New York City where he led performances of his oneact opera, The Doctor, based on Chekhov short stories. He has served as assistant conductor with the San Francisco Contemporary Music Players and conductor of the Berkeley Young Musicians Program Orchestra and U.C. Berkeley Summer Orchestra. Additionally Mr. Herman has conducted several orchestra crossover projects in Amsterdam and Berlin.

Vocalist

In Australia, MiG’s extensive theatre credits include Grease, Cinderella, Aladdin, West Side Story, Rent, Fame, The Music of Andrew Lloyd Webber, and the UK and Australian tour of The Music of Queen: Rock and Symphonic Spectacular. He reprised the role of Galileo in the 10th Anniversary World Arena Tour of We Will Rock You and has performed globally as one of the Tenors of Rock, including a headline residency in Las Vegas, international tours, and performances on the high seas. He also sailed with Rock Rhapsody and headlined his own oneman show, MiG Rocks the Boat. In the Philippines, MiG starred as Robert Kincaid in the first international production of The Bridges of Madison County, originated the role of Jamie Crimson in the world premiere of All Out of Love, and appeared in major concert events with Lea Salonga and Tanya Manalang, including Curtains Up. His screen credits include the television series The Ferals, numerous broadcast specials, and films such as Queen of the Damned and Subterano. A finalist on Rock Star: INXS, MiG has released multiple albums, written music for television, and continues to captivate audiences worldwide with his versatility, vocal power, and commanding stage presence.

Conductor

Mr. Herman studied conducting and composition at Duke University, University of Pennsylvania, and University of California, Berkeley and spent two years in Paris, France on a Fulbright Grant and U.C. Berkeley Ladd Prix de Paris where he worked as conductor and composer with the New American Music in Europe and American Music Week festivals. He has received recognition for his work in the promotion of international cultural exchange from the Trust for Mutual Understanding, New York City.

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IN PERFECT

Harmony

Make your Philharmonic experience really sing by pairing your visit with a trip to Cottonwood Grille. Warm up with a seasonal cocktail, tuck into iconic dishes like tender lamb shank, and indulge in fresh, house-made desserts. And when it’s time to take your seats, the Morrison Center is just a short walk away. We’re proud to support our talented neighbors for yet another blockbuster year! Always good. Always Cottonwood.

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7/3/14 8:21 PM

MARCH 14 & 15, 2026 • 7:30 PM & 2:00 PM • MORRISON CENTER Eric Garcia, Conductor Dr. Richard Hutton, BPMC Conductor Amy Owens, soprano Brian Giebler, tenor Hugh Russell, baritone Boise Phil Master Chorale Opera Idaho Children's Chorus Jennifer Higdon (b. 1962) blue cathedral Carl Orff (1895 - 1982) Carmina Burana FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World)

*NO INTERMISSION 1. O Fortuna 2. Fortune plango vulnera

I. PRIMO VERE (In Springtime) 3. Veris leta facies 4. Omnia Sol temperat 5. Ecce gratum UF DEM ANGER (On the Green)

6. Tanz 7. Floret silvat 8. Chramer, gip die varwe mir 9. Reie 10. Were diu werlt alle min II. IN TABERNA (In the Tavern) 11. Estuans interius 12. Cignus ustus cantatz 13. Ego sum abbas 14. In taberna quando sumus III. COUR D'AMOURS (The Court of Love)

Concert Sponsor:

BOB & PATTY RIETVELD

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

15. Amor volat undique 16. Dies, nox et omnia 17. Stetit puella 18. Circa mea pectora 19. Si puer com puellula 20. Veni, veni, venias 21. In trutina 22. Tempus est iocundum 23. Dulcissime UBLANZIFLOR ET HELENA (Blanziflor and Helena)

24. Ave formosissima FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World)

25. O Fortuna Series Sponsors: Nancy & Bill Barkell Anonymous Anne & Bob Hay Peggy Ann Rupp

Program Notes Jennifer Higdon (1)

Carl Orff (2)

Born: December 31, 1962, Brooklyn, NY

Born: July 10, 1895, Munich, Germany Died: March 29, 1982, Munich, Germany

blue cathedral Duration: ~16 minutes Composed: 2000 Instrumentation: two flutes (second doubling piccolo), two oboes and English horn, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (crotales, marimba, tam-tam, vibraphone, glockenspiel, bell tree, sizzle cymbal, suspended cymbal, chimes, bass drum, tomtom, two triangles), piano (doubling celeste), and strings. Spurred by a commission from the Curtis Institute of Music, Jennifer Higdon composed blue cathedral in memory of her recently deceased younger brother, Andrew Blue. It is not funeral music in the traditional sense, but a bright, weightless flight through a skyborne structure. Higdon writes: “As I was writing this piece, I found myself imagining a journey through a glass cathedral in the sky. Because the walls would be transparent, I saw the image of clouds and blueness permeating from the outside of this church . . . the listener would enter from the back of the sanctuary, floating along the corridor amongst giant crystal pillars . . . the stained glass windows’ figures would start moving with song, singing a heavenly music . . . the speed of the traveller would increase, rushing forward and upward. I wanted to create the sensation of celebration and ecstatic expansion of the soul, all the while singing along with that heavenly music.” Throughout the work, solos for flute (Higdon’s instrument) and clarinet (her brother’s instrument) intertwine and speak with one another. The flute enters first because Higdon is the older sibling, but by the end it drops out as the clarinet continues its upward journey. “I found myself pondering the question of what makes a life,” Higdon said of the piece, which represents “our inner travels and the places our souls carry us, the lessons we learn, and the growth we experience.” The music ends with a heavenly shimmer. It is one of Higdon’s most frequently performed concert works.

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Carmina Burana

Carmina Burana Duration: ~63 minutes Composed: 1937 Instrumentation: three flutes (second and third doubling piccolo), three oboes (third doubling English horn), three clarinets (second doubling bass clarinet and third doubling E-flat clarinet), two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, celeste, two pianos, and strings with soprano, tenor, and baritone vocal soloists, mixed-voice chorus, and children’s chorus. Around 1230–1250, a handful of scribes compiled 318 popular drinking songs, love poems, parodies and satirical dialogues from throughout the previous century. With texts in Medieval Latin, Middle High German, and Old French, the anthology painted a vibrant portrait of 12th- and 13th-century culture. It contained still-familiar references like board games and raunchy innuendos among inside jokes that only educated people from Medieval Europe would understand. When the text resurfaced nearly 600 years later in 1803, it acquired the name Carmina Burana (The Songs of Beuern), after the monastery in Germany where it was found. When Carl Orff discovered the codex for himself in the 1930s, he was drawn to its timeless depictions of the human experience: springtime renewal, erotic longing, indulgence, folly, and fate. He used the somber opening poem about the fickleness of fortune, O fortuna, as the frame for a massive new cantata for chorus and orchestra. Each section of this cosmic drama would represent the turning of an allegorical Wheel of Fortune, using texts selected from Carmina Burana. As a composer, Orff wanted his music to express an essential human spirit, one conveyed through repetitive, chant-like melodies and strong rhythms. His scores often called for elaborate percussion sections consisting of ten to fifteen players, plus multiple keyboard instruments like pianos, celestes, and even synthesizers. Orff typically constructed his music in large blocks of simple rhythmic patterns. By combining unadorned melody with percussive textures and primitive rhythms, he created highly memorable moments like the iconic opening chorus, O fortuna. Orff’s music sounds timeless partly

Program Notes

Carmina Burana because he intended it to reflect the eternal themes of the poetry. Orff envisioned Carmina Burana as a theatrical work, with integrated choreography, costumes, and live projections of 15th-century woodcuts, though it is rarely staged as such today. Despite its age, the Medieval poetry of Carmina Burana is entirely relatable and amusing to modern audiences: in it we find rejoicing over pleasant weather, men making futile advances on women, who mock them in return, an elaborate drinking song with stupidly repetitive rhymes, and an absurd song from the viewpoint of a swan on a spitroast. Orff’s clever orchestration shines through in the last of these, with bassoons, a piccolo, and a clarinet playing in a high register as the trombone periodically bursts in with a flaming, flutter-tongued jab. The “swan” is sung by a tenor in the excruciating falsetto range: “Miserable me! Now black and roasting fiercely!” Orff knew immediately that his work was a masterpiece. After the 1937 premiere, he informed his publisher that all of his earlier compositions could be destroyed, for “with Carmina Burana my collected works begin.” Carmina Burana became the first in a trilogy of cantatas that included Catulli Carmina (1943) and Trionfo di Afrodite (1953), but these sequels never matched the universal success of the first.

~Written by Bradley Berg (2)

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Jennifer Higdon Composer

Jennifer Higdon is one of America's most acclaimed figures in contemporary classical music, receiving the 2010 Pulitzer Prize in Music for her Violin Concerto, a 2010 Grammy for her Percussion Concerto, a 2018 Grammy for her Viola Concerto and a 2020 Grammy for her Harp Concerto. Higdon's first opera, Cold Mountain, won the International Opera Award for Best World Premiere and the opera recording was nominated for 2 GRAMMY-Awards. In 2018, Higdon received the prestigious Nemmers Prize, awarded to contemporary classical composers of exceptional achievement who have significantly influenced the field of composition. Most recently, she was inducted into the American Philosophical Society and the American Academy of Arts and Letters. Higdon enjoys several hundred performances a year of her works, and blue cathedral is today's most performed contemporary orchestral work, with more than 850 performances worldwide. Her works have been recorded on more than 70 CDs. Her music is published exclusively by Lawdon Press.

Artist Bio's

Amy Owens

Brian Giebler

Hugh Russell

Award-winning soprano and crossover artist Amy Owens is praised for her “high-flying vocals” and “scene-stealing” charisma across operatic, musical theatre, and symphonic stages (Opera News). She is widely recognized for her interpretations of Carmina Burana, appearing multiple times with the National Symphony at the Kennedy Center and Wolf Trap, and making her Carnegie Hall debut with MidAmerica Productions. Her repertoire includes Cunegonde (Candide), Johanna (Sweeney Todd), Chrisann Brennan (The Revolution of Steve Jobs), Mabel (The Pirates of Penzance), Emily (Our Town), Phoebe (A Gentleman’s Guide to Love and Murder), and the title role in Santa Fe Opera’s world premiere of Sweet Potato Kicks the Sun. She has performed with Santa Fe Opera, Wolf Trap Opera, Dallas Opera, Houston Grand Opera, Utah Opera, Virginia Opera, the National Symphony, San Diego Symphony, New York Festival of Song, Brooklyn Art Song Society, and the Virginia Arts Festival. An accomplished educator, producer, and conductor, Owens serves as Director of Young Voices at Santa Fe Opera. She is a Sullivan Foundation Grand Prize winner, a George London Foundation multiple award recipient, and holds degrees from Rice University and Brigham Young University.

Praised by The New York Times for his “lovely tone and deep expressivity,” GRAMMY®nominated tenor Brian Giebler is acclaimed for the “shine and clarity” of his singing and the skillful use of his high-placed tenor (Opera News; Opera Magazine). His debut solo album, a lad’s love, received widespread critical praise—including Gramophone and Opera News Critics’ Choice—and earned a GRAMMY® nomination for Best Classical Solo Vocal Album. Highlights of Giebler’s 2025–2026 season include debuts with American Bach Soloists and the National Philharmonic (Messiah), the Savannah Symphony (Mozart Requiem), and the Boise Philharmonic (Carmina Burana), alongside the release of his second solo album, a dad’s love. Widely regarded as a leading interpreter of the Roasted Swan in Carmina Burana, he has appeared with major orchestras across the United States. A distinguished period-performance specialist, Giebler has collaborated with The English Concert, Boston Early Music Festival, Boston Baroque, Trinity Wall Street, Apollo’s Fire, and Handel & Haydn Society, among others. Equally committed to new music, he has performed with Conspirare, the Prototype Festival, and Boston Modern Orchestra Project, and frequently collaborates with the Mark Morris Dance Group.

Baritone Hugh Russell has appeared with leading orchestras including The Philadelphia Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, Pittsburgh Symphony, San Francisco Symphony, Houston Symphony, National Symphony, Detroit Symphony, Seattle Symphony, Israel Philharmonic, Danish Radio Symphony, Toronto Symphony, Vancouver Symphony, Orchestre Métropolitain (Montréal), Cincinnati Symphony, and Kansas City Symphony. He has collaborated with distinguished conductors such as Yannick Nézet-Séguin, Jaap van Zweden, Charles Dutoit, Leonard Slatkin, Manfred Honeck, Kent Nagano, Donald Runnicles, and Rafael Frühbeck de Burgos. Operatic engagements include performances with Los Angeles Opera, New York City Opera, Opera Theatre of Saint Louis, Atlanta Opera, Boston Lyric Opera, Vancouver Opera, Calgary Opera, Pittsburgh Opera, Michigan Opera Theatre, Arizona Opera, Manitoba Opera, Wexford Festival Opera, and Angers-Nantes Opéra. His recital appearances include Weill Recital Hall at Carnegie Hall, the Kennedy Center, and frequent collaborations with the New York Festival of Song. An accomplished pianist, Russell has performed with Stephanie Blythe and Christine Brewer.

Soprano

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Carmina Burana

Tenor

Baritone

Artist Bio's

Carmina Burana

Opera Idaho Children's Chorus

Boise Phil Master Chorale

Opera Idaho’s children’s programs are designed to encourage acceptance, appreciation and enjoyment of opera in young people. Founded by Linda Eustice Berg, the programs hope to enable students to experience a live opera performance first hand with professional singers, and acquaint students with opera terminology, history and the lives of great opera composers. Opera Idaho’s programs also introduce students to the significance of theater, set, and costume design in opera.

For 50 years, the Boise Phil Master Chorale, a 80-voice ensemble of auditioned singers, has inspired the community through a rich tradition of choral music and innovative programming. As part of the Boise Phil, the Chorale delivers professional-quality concerts, offers artistic development opportunities for its members, and engages new audiences through outreach and education. Its creative programming introduces music that is rarely performed locally, expanding the community’s musical horizons.

The Opera Idaho Children’s Choruses program provides learning and performing experiences in classic repertoire, and encourages healthy vocal technique for children through membership in a vocal ensemble. Musical education objectives are accomplished through weekly rehearsal sessions and performances through the year. Performances range from choral concerts to appearing in Opera Idaho, Ballet Idaho, and Boise Philharmonic performances as well as other venues throughout the Treasure Valley.

In addition to performing with the Philharmonic Orchestra, the Chorale collaborates with arts organizations such as Ballet Idaho, Opera Idaho Children’s Choruses, Boise State University Symphonic Orchestra, and local choruses. Its inaugural performance of Handel’s Messiah with the Boise Philharmonic Orchestra set a tradition that continues today, celebrating both heritage and artistic excellence.

This program is supported in part by a grant from the Idaho Humanities Council, a State-based partner of the National Endowment for the Humanities. Any views, findings, conclusions, or recommendations expressed in this publication do not necessarily represent those of the Idaho Humanities Council or the National Endowment for the Humanities.

MAY 2 & 3, 2026 • 7:30 PM & 2:00 PM • MORRISON CENTER Jason Seber, Conductor Morgan James, Vocals Doug Wamble, Guitar & Vocals John Scarpulla, Saxophone & Vocals 25 or 6 to 4 - Robert Lamm (arr. Daryl McKenzie) Whenever I call you friend - Kenny Loggins & Melissa Manchester (arr. Daryl McKenzie)

Rosanna - David Paich (arr. Sam Shoup) Baker Street - Gerry Rafferty (arr. Brad Ritchie) Sailing - Christopher Cross (arr. Doug Wamble) Tusk - Lindsey Buckingham (arr. Jason Seber) Landslide - Stevie Nicks (arr. Jason Seber) What a Fool believes - Kenny Loggins & Michael McDonald (arr. Brad Ritchie)

She’s Gone - Daryl Hall & John Oates

Africa - David Paich, Jeff Porcaro (arr. Sam Shoup) Biggest Part of Me - David Pack (arr. Sam Shoup) Escape - Rupert Holmes (arr. Doug Wamble) Islands in the Stream - Barry Gibb, Robin Gibb & Maurice Gibb (arr. Doug Wamble)

Peg - Walter Becker & Donald Fagan (arr. Sam Shoup) Careless Whisper - George Michael & Andrew Ridgeley (arr. Brad Ritchie)

Ride Like the Wind - Christopher Cross (arr. Brad Ritchie)

Higher Love - Steve Winwood & Will Jennings (arr. Gabriel Globus-Hoenich)

Concert Sponsors:

(arr. Brad Ritchie)

& KIM WEGENER Artist Sponsor: Ann Peterson

Series Sponsors:

Nancy & Bill Barkell Anonymous

Anne & Bob Hay Peggy Ann Rupp

Season Sponsor: Esther Simplot (Mrs. J.R.) 41

Program Notes

Sailing

Sailing: Soft Rock hits of the 70s & 80s

James set her sights on Broadway, landing a part in The Addams Family on Broadway in 2010 with Nathan Lane and Bebe Neuwirth. While treading the boards—eventually performing in five original Broadway companies— James started performing solo at New York City venues and developing her own sound. While appearing in “Motown: The Musical” in 2013, the legendary producer Berry Gordy Jr. became her mentor. “I was a star in his eyes,” James says. “Mr. Gordy is the one that encouraged me to write music, to go deeper to find my sound, and to stay true to my sound, no matter what anybody else thought or anybody else said.” Gordy then facilitated a record deal with Epic Records, where she released her first two albums: Morgan James Live: A Celebration of Nina Simone, and Hunter.

Debut: May, 2025 Duration: ~73 minutes Set sail on a nostalgic journey through the breezy, laid-back sounds of soft rock music from the 70s and 80s. Yacht Rock defined a generation and continues to be prevalent throughout pop culture today. Morgan James, Doug Wamble and John Scarpulla join the orchestra to lead you on a musical voyage singing hits from Hall & Oates, Christopher Cross, Fleetwood Mac, George Michael, Kenny Loggins and many more.

Morgan James (1) Vocals

Jason Seber (2)

Morgan James has a voice that needs to be heard; even when she was just a fifth grader belting out standards on a karaoke machine. After her grandmother heard her sing, the matriarch footed the bill for James’ voice lessons, positive that her granddaughter had the mysterious “it factor”. And, despite the sometimes treacherous terrain of the music industry, James has never tired in her quest. Whether it’s tussling with label executives, covering and owning songs by the likes of the Beatles or Prince, or creating her own brand of original soul music, James has carved out an enviable and diverse career, always on her own terms.

Conductor

Known for his inviting and engaging approach on and off the podium. A strong believer in the eclectic experiences which today’s symphony orchestras offer their communities, he strives to make music of many genres and styles accessible, relevant, and meaningful to diverse audiences across the country. Seber has conducted many leading American orchestras, including the Baltimore, Colorado, Detroit, Houston, Indianapolis, Kansas City, Milwaukee, Nashville, National, North Carolina, Phoenix, San Diego, and St. Louis Symphony, the Louisville and Minnesota Orchestra, the Buffalo Philharmonic, and the Cincinnati Pops, among others. Upcoming performances include debuts with the Oregon Symphony and the Dallas Symphony. Seber has conducted over 25 full feature films and has had the pleasure of performing with a wide range of artists including Patti Austin, Mason Bates, Andrew Bird, Boyz II Men, Ashley Brown, Melissa Etheridge, Ben Folds, Cody Fry, Renee Elise Goldsberry, Indigo Girls, Wynonna Judd, Lyle Lovett, Katharine McPhee, Natalie Merchant, Brian Stokes Mitchell, My Morning Jacket, Leslie Odom Jr., Aoife O’Donovan, Pink Martini, Ben Rector, Stephen Schwartz, Doc Severinsen, Lindsey Stirling, Violent Femmes, and Bobby Watson.

James has a particular taste for inserting herself into men’s spaces, twisting hyper-masculine songs to her will and changing their meanings in the process. That feminist lens is brought to the forefront in her most recent project, Soul Remains the Same, which reinterprets heavy tracks from the likes of AC/DC, the Stone Temple Pilots, and Pearl Jam. “Something I've always loved, and I've done throughout my career, is sing songs that are not just written by men, but especially made for men,” she says. “And make them my own.” Soul Remains the Same, her sixth studio album, transforms the testosterone-soaked ‘80s and ‘90s radio classics of her youth into poignant, soulful, and deeply personal covers. As if Aretha Franklin went into the studio with AC/DC; it’s heavy rock songs through a feminine, soul lens. James’ journey from karaoke kid to prolific singersongwriter didn’t follow an easy path. Raised on both musical theater and Laurel Canyon bards, she applied to The Juilliard School at 18, and was waitlisted before finally getting in. After studying opera and getting her BM in voice,

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MAY 16 & 17, 2026 • 7:30 PM & 2:00 PM • MORRISON CENTER Eric Garcia, Conductor Stewart Goodyear, Piano Michael Torke (b. 1961) Javelin Sergei Rachmaninoff (1873 – 1943) Rhapsody on a Theme of Paganini, Op. 43 Stewart Goodyear, Piano INTERMISSION

Ottorino Respighi (1879 - 1936) The Fountains of Rome, P.106 I. La fontana di Valle Giulia all'alba II. La Fontana del Tritone al mattino III. La Fontana de Trevi al meriggio IV. La fontana di Villa Medici al tramonto The Pines of Rome, P.141 I. I pini di Villa Borghese II. Pini presso una catacomba III. I pini del Gianicolo IV. I pini della Via Appia Artist Sponsor:

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Season Sponsor: Esther Simplot (Mrs. J.R.) 47

Program Notes Michael Torke (1) Born: September 22, 1961 in Milwaukee, Wisconsin Javelin Duration: ~9 minutes Composed: 1994 Instrumentation: three flutes (third doubling piccolo), two oboes, English horn, two clarinets (including E-flat clarinet and bass clarinet), two bassoons; four horns, three trumpets, three trombones, tuba; timpani; three percussionists (glockenspiel, vibraphone, tambourine, triangle, claves, woodblock, suspended cymbal, snare drum, bass drum); harp; and strings. Commissioned in 1994, Torke’s Javelin is a rousing overture written both for the Atlanta Symphony’s 50th Anniversary and in expectation of the 1996 Summer Olympics in Atlanta. With a global audience in mind, Torke wanted the music to be thematic—emphasizing stirring, broadly defined melodies—in a similar spirit to John Williams’ film scores. He also sought to use the orchestra as a “virtuosic instrument,” achieved by a variety of passages that intentionally display the orchestra’s full range of resources. Torke’s own program note further explains his inspiration: “What came out (somewhat unexpectedly) was a sense of valor among short flashes and sweeps that reminded me of something in flight: a light spear thrown, perhaps, but not in the sense of a weapon, more in the spirit of a competition. When the word javelin suddenly suggested itself, I couldn't help but recall the 1970s model of sports car my dad owned, identified by that name, but I concluded, why not? Even that association isn't so far off from the general feeling of the piece. Its fast tempo calls for 591 measures to evoke the generally uplifting, sometimes courageous, yet playful spirit.”

Sergei Rachmaninoff (2) Born: April 1, 1873, Staraya Russa, Russia Died: March 28, 1943, Beverly Hills, California Rhapsody on a Theme of Paganini, Op. 43

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Duration: ~24 minutes Composed: 1934 Instrumentation: two flutes, piccolo, two oboes, English horn, two clarinets in B-flat, two bassoons, four horns in F, two trumpets in C, three trombones, tuba, timpani, snare drum, triangle, cymbals, bass drum, glockenspiel, concert harp, strings, and solo piano.

Pines of Rome

When the Genoese violinist Niccolò Paganini set out on his first European tour in 1828, he was the most in-demand musician on the continent. His technical arsenal sounded unreal to 1820s audiences: double stops and harmonics, rapid interval shifts, parallel octaves, bursts of left-hand pizzicato interspersed with bowed passagework. One of his calling cards was to play an entire piece on a single string, as if to prove he didn’t need the other three. Having pushed violin technique far beyond what anyone thought possible at the time, Paganini created a powerful onstage persona, fueled by spurious rumors of a pact with the devil. The otherwise conventional tunes he played became sensations when filtered through his dramatic manner of performance. Many of his biggest hits were sampled by other musicians to become successful spinoffs in their own right, such as Liszt’s iconic piano etude on La campanella. None of Paganini’s melodies was more frequently remixed than his 24th Caprice for solo violin, a treacherous theme and variations that has been adapted by no fewer than sixty composers over the last two centuries. Rachmaninoff was a great pianist who ranked in Paganini’s echelon as a performer. But Liszt and Brahms had already composed exhaustive piano variations on this theme—was Rachmaninoff so bold as to think he could outdo them? The potential was there. The theme has an angular quality that progresses in sharp rhythmic bursts. Its latter half traces an old-fashioned chord sequence abundantly found in Baroque music. Though memorable, Paganini’s theme is essentially a blank slate, lending itself to infinite possibilities in variation. Rachmaninoff first titled this work Symphonic Variations before changing it to Fantasy for Piano and Orchestra, then finally settling on Rhapsody. The latter two imply a sense of freedom beyond a simple procession of “variations.” The music becomes more rhapsodic after the fifth variant, especially when Rachmaninoff whimsically introduces the famous Dies Irae, an ancient chant representing death and judgment. It blends seamlessly with the theme, but it also might carry an extramusical significance: the Catholic Church controversially denied burial rites to Paganini’s corpse, deeming him an atheist due to his rumored associations with the devil.

Pines of Rome

Program Notes

The iconic eighteenth variation is a testament to Rachmaninoff’s genius. Any virtuoso performer can layer difficulties onto a melody, but to remake an already famous theme into an equally recognizable (if not moreso) variation is the distinction of a true composer. Plus, Rachmaninoff’s surgical tools were minimally invasive; he simply turned the melody on its head (known in music as “inversion”) and slowed it down from a lively Allegro to a singing Andante (“augmentation”). Whereas the original theme channels through a descending sequence, Rachmaninoff's inversion surges to a panoramic highpoint before serenely gliding back to solid ground. Barely three minutes in length, it is still the most popular variation ever written on this extremely well-explored theme.

infinite shadings in texture, tone, and mood. His distinctive instrumentations (note the differences listed above) make use of enlarged and diverse ensembles, including offstage brass and the first ever use of a pre-recorded element in orchestral music: a nightingale song during the Janiculum section of Pines. While related by Roman themes, the two symphonic poems have distinct methods. Fountains takes the listener through a clockwise loop around the Eternal City. Respighi musically translated the atmosphere, proportions, and fluidity of four distinct Roman fountains. The tour begins outside the bustling downtown at the quiet Valle Giulia Fountain, heads toward the city center to the Triton Fountain, and reaches its climax at the iconic Trevi Fountain—the grandest of them all—before settling at the serene, wooded Villa Medici Fountain.

Ottorino Respighi (3) Born: July 9, 1879 in Rome, Italy Died: April 18, 1936 in Rome, Italy

Whereas Fountains is a vivid walking tour of Roman sights, Pines is a remembrance of Rome’s past spurred by specific viewpoints, all connected through the ubiquitous presence of Rome’s thin, umbrella-shaped pine trees. The two inner sections contrast Rome’s dark underbelly, the catacombs, with a panoramic city view at the top of Janiculum Hill. The beginning centers around children’s games that include mock battles, while the finale depicts Rome’s military might in its ancient glory via the legendary Appian Way.

The Fountains of Rome; The Pines of Rome Duration: ~15 minutes (Fountains); ~23 minutes (Pines) Composed: 1917 (Fountains); 1924 (Pines) Instrumentation (Fountains): two flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (chimes, cymbals, orchestra bells, suspended cymbals, triangle), two harps, piano, celesta, organ, and strings. Instrumentation (Pines): Three flutes (third doubling piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, six offstage brass, timpani, percussion (bass drum, cymbals, bells, ratchet, snare drum, small glockenspiel, tam-tam, tambourine, triangle), harp, piano, celesta, organ, nightingale recording, and strings.

~Written by Bradley Berg (1)

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Italian composers dominated the world of opera throughout the 19th and early 20th centuries, with few significant entries in the purely symphonic genres. Ottorino Respighi broke out of this mold with his trilogy of Roman-inspired tone poems: Fountains of Rome (1917), Pines of Rome (1924), and Roman Festivals (1929). The first of these brought the composer international fame nearly overnight while all three have been admired for their evocative descriptions of Roman landmarks and culture. Respighi had an original ear for musical colors— specific combinations of instruments that create

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Artist Bio. Stewart Goodyear Piano

Proclaimed "a phenomenon" by the Los Angeles Times and "one of the best pianists of his generation" by the Philadelphia Inquirer, Stewart Goodyear is an accomplished concert pianist, improviser and composer. Mr. Goodyear has performed with, and has been commissioned by, many of the major orchestras and chamber music organizations around the world. Last year, Orchid Classics released Mr. Goodyear's recording of his suite for piano and orchestra, "Callaloo" and his piano sonata. His recent commissions include an orchestral work for the Chineke! Orchestra, his Piano Quintet for the Penderecki String Quartet, and a piano work for the Honens Piano Competition. His suite for solo violin, "Solo" was recorded by violinist Miranda Cuckson on the Urlicht Audiovisual label, and his work for cello and piano, "The Kapak" was recording by cellist Inbal Segev on the Avie Records label. Mr. Goodyear's discography includes the complete sonatas and piano concertos of Beethoven, as well as concertos by Tchaikovsky, Grieg and Rachmaninov, an album of Ravel piano works, and an album, entitled "For Glenn Gould", which combines repertoire from Mr. Gould's US and Montreal debuts. His Rachmaninov recording received a Juno nomination for Best Classical Album for Soloist and Large Ensemble Accompaniment. Mr. Goodyear's recording of his own transcription of Tchaikovsky's "The Nutcracker (Complete Ballet)", was chosen by the New York Times as one of the best classical music recordings of 2015. His discography is released on the Orchid Classics, Naxos, Analekta, Bright Shiny Things, Marquis Classics, and Steinway and Sons labels. Mr. Goodyear releases his recording of Prokofiev’s 2nd and 3rd Concertos with Andrew Litton and the BBC Symphony Orchestra, and the composer’s 7th Sonata, on Orchid Classics this September 2024. Highlights for the 2024-25 season are his performances at the BBC Proms with the Chineke! Orchestra, his return to the Phillips Collection (Washington D.C.), and performances with the Vancouver and Toronto Symphonies, the Indianapolis Symphony, the Rochester Philharmonic, Frankfurt Museumgesellschaft, and A Far Cry in Boston.

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Pines of Rome

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2025 Honor/Memorial

"Investments to the Boise Philharmonic Foundation provide longterm funding providing stable financial support to the Boise Phil each season. Individuals listed here have each made a significant investment to the Boise Philharmonic Foundaion in the amount of $10,000 or more. "

FOUNDATION DONORS Mary Abercrombie Thomas* & Marilyn Beck Nancy Brown Estate*

Robert Franz* Richard & Sondra Hackborn* George & Bev Harad James Kelly* Fred & Sus Helpenstell* Richard* & Susan Parrish Simplot Foundation Jeanie & Ken Smith John & Linda Stedman Stephen & Carol* Trott Kathy Troutner Estate*

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Pam Guschausky — In honor of Lauren Blackerby

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