25/26 Fall/Winter Season Program by Boise Phil

Fall - Winter Season Program

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

Boise Phil est. 1960

SEASON SPONSOR: Esther Simplot (Mrs. J.R.)

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

October 4, 2025

Symphonic 1

Mozart & Tchaikovsky 4

7:30 pm / Morrison Center

October 5, 2025

Symphonic 1

Mozart & Tchaikovsky 4

2:00 pm / Morrison Center

October 25, 2025

w. BPMC

Bach & Beethoven

7:30 pm / The Brandt Center

November 8, 2025

Symphonic 2

Mendelssohn's Italian

7:30 pm / Morrison Center

November 9, 2025

Symphonic 2

Mendelssohn's Italian

2:00 pm / Morrison Center

November 15, 2025

BPYO

Fall Concert

Home Alone w. Live Orchestra

7:30 pm / Morrison Center

November 30, 2025

Symphonic 3

Home Alone w. Live Orchestra

2:00 pm / Morrison Center

December 19, 2025

w. BPMC

Messiah

7:00 pm / Cathedral of the Rockies, Boise, ID

December 20, 2025

w. BPMC

Messiah

1:00 pm / Cathedral of the Rockies, Boise, ID

December 20, 2025

w. BPMC

Messiah

7:00 pm / Cathedral of the Rockies, Boise, ID

2:00 pm & 4:00 pm / Borah H.S.

Welcome

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

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

Lauren McLean

“We are saddened to hear of Robert’s passing. He left an indelible mark on Boise’s musical community, inspiring concertgoers, performers, and future musicians to embrace music with passion. We are deeply proud of his legacy with the Boise Phil and honor his memory."

-Music Director Eric Garcia

“The Boise Phil mourns the loss of former Music Director Robert Franz. He led the organization from 2008 to 2016, and his memory remains strong within our organization and throughout the Treasure Valley. He was known for his inspiring performances on the podium but also for his tireless work in education and community engagement. I had the pleasure of working with Robert for 12 out of the 21 years in my career, and like many others, found myself inspired by his dedication to the work orchestras do in their communities. His personal e orts here and across the nation have educated and shaped a generation of students and fostered their love for the orchestra. We will continue to endeavor diligently towards those goals in his memory as part of his legacy with the Boise Phil.”

-Executive Director Brandon VanWaeyenberghe

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.

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!

Eric Garcia Music Director Boise Philharmonic

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Eric Garcia LETTER FROM MUSIC DIRECTOR

SWEENEY TODD

OPERA IDAHO

BOARD OF DIRECTORS

OFFICERS

Anne Hay, President

Ridgley Denning, Vice President

Jeannette Bowman, Secretary

Jerry Sturgill, Treasurer

DIRECTORS

Shannon Baltz

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 BOISE PHILHARMONIC FOUNDATION

Marty Jacobs, President

Christine Neuhoff, Vice President

Julia Rundberg, Secretary & Treasurer

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

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

Sponsored by Chris Takako & Maddy Hirose

Kathy Stutzman

CELLO

Philip Kettler

Principal & Langroise Fellow

FLUTE

Allison Emerick, Principal

TIMPANI

Alex Artale, Principal

Principal Musicians

HARP

Caroline Wilkins, Principal *on leave

PIANO

Del Parkinson, Principal

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

Alex Artale Principal Timpani

Nicole Oswald Acting 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

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..

Family owned urban winery located in Garden City on the Boise River.

JOIN US HERE

Tasting Room including Patio & Deck Seating Family &

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.

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 Reitveld

Bob Law & Mikel Ward

Kim Wegener

St. Luke's

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

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

Bach, Beethoven, & BPMC

October 25, 2025 at 7:30 pm

BP Orchestra Concert with Master Chorale

NNU Brandt Center, Nampa, ID

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

SOPRANO

Steph Benischek

Jessica Brain

Emmalee Cazier

Nancy Cuoio

Ridgley Denning

Amara Ewing

Amanda Halverson

SueClaire Hebert

Sharon Helppie

Lisa Hettinger

Daphne Huang

Vicki Kreimeyer

Jessica Krzemien

Geraldine Mackinnon

Christina Mahaney

Emily Mahon

Heidi Naylor

Lydia Nissen

Kyra Peterson

Julia Rundberg

Lola Schiess

Alana Seacord

Cindy Sharp

BOISE PHIL MASTER CHORALE ARTISTS

Kathy Stockton

Armida Taylor

Coleen Walker

Alicia Weeks

Kaisa White

ALTO

Jen Black

Diane Bleazard

Lois Chattin

Kristin Colburn

Leslie Craig

Wendy Creighton

Marty Dayton

Tamara Dizdarevic

Virginia Haber

Leta Harris Neustader

Anne Hay

Nicki Hellenkamp

Diane Jones

Bianca Kennedy

Bozena Kinalski

Ida Larsen

Carol Martinez

Emily McClellan

Ellen McKinney

LeeAnna McMullen

Paula Mikkelson

Brittany Miller

Cindy Owings

Linnea Panther

Laura Penney

TaeLynn Perez

Valerie Terry

Paula Weitemier

Cori Winton

Patsy Wolter

TENOR

Sam Anderton

David Czerepinski

Daithi Fisher

Will Grubaugh

Tim Judy

Darrell Ludders

Loren McGinnis

Larry Mincer

Jeff Powell

Hubert Schwarthoff

Jason Taylor

Paul Turcke

Brad Wolf

Dan Yocum

BASS

Willis Carr

Ken Grover

Jonathan Krutz

Michael Lynott

Fraser Martens

Bruce Moberly

Brock Pfautsch

Shane Robison

Peter Steven

Allan Wang

David Saunders

Kieren Savage

Staff

Boise Phil Staff

Brandon VanWaeyenberghe

Executive Director

Eric Garcia

Music Director

Dr. Richard Hutton

Music Director, Boise Phil Master Chorale

Jennifer Drake Music Director, Boise Phil 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

Jason Chilson

Development Manager

Bradley Berg Grants Manager & Musicologist

Parker Pratt Marketing Manager

Nickie Shell Customer Experience & Volunteer Coordinator

Melissa Wilson Librarian & Licensing Manager

Savannah Butler Education Manager

Sarah Kelly Orchestra Personnel Manager

Mike Harris Operations 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

A J & Susie Balukoff

Kim Wegener

PATRON CIRCLE

Mary Abercrombie & Kim Cafferty

Marilyn Beck

Kay Hardy & Gregory Kaslo

Bob Law & Mikel Ward

Ann Peterson

Robert & Patricia Reitveld

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

Susan Parrish

Andrew & Elizabeth Scoggin

Jeanie & Ken Smith

Jo Ann & Richard Stillinger

Richard & Jacquelyn Wilson

FOUNDER MEMBERS

Patrick & Felicity Arnold

Robert & Michelle Angell

Phil Rogers & Tricia Baur

Thomas & Angela Beauchaine

Jeannette Bowman

Amie & Brad Bruggeman

Karin Camp

Ridgley Denning

Jim & Tess Emerick

Sandy & Brent Fery

Cathleen Hurwitz

G. Robert & Dorothy Klomp

John & Lois Kloss

John Knochel

Vicki Kreimeyer

Mary & Boyd Leavitt

Donald & Marcia Liebich

Cecelia & Don Lojek

Susan & Michael McPeek

Laura & Michael Miller

Mary & Ernie Monroe

Christine & Philip Neuhoff

Linda and Jeffrey Stengel

Sturgill Family

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, 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 More about BPYO:

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 Boise Philharmonic Youth Orchestra

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BPYO Fall Concert

November 15, 2025 at 2:00 & 4:00 pm

Symphonic, Concert, and Strings Orchestras

Borah High School, Boise, ID

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

OCTOBER 4 & 5, 2025 • 7:30 PM & 2:00 PM • MORRISON CENTER

Eric Garcia, Conductor

Bella Hristova, Violin

John Williams (1932 - Present)

Liberty Fanfare

Wolfgang Amadeus Mozart (1756 – 1791)

Violin Concerto No. 5 in A Major, K.219 “Turkish”

I. Allegro aperto

II. Adagio

III. Rondo: Tempo di menuetto

Bella Hristova, Violin

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

INTERMISSION

Pyotr Ilyich Tchaikovsky (1840 – 1893)

Symphony No. 4 in F Minor, Op. 36

I. Andante sostenuto

II. Andantino in modo di canzona

III. Scherzo: Pizzicato ostinato

IV. Finale: Allegro con fuoco

Concert Sponsors: STEVE TROTT

*IN HONOR OF THE BOISE PHIL FOUNDATION'S 25TH ANNIVERSARY WOMEN'S LEADERSHIP CIRCLE

Series Sponsors:

Nancy & Bill Barkell

The Amphion Foundation

Anonymous

Anne & Bob Hay

Peggy Ann Rupp

Program Notes

John Williams (1)

Born: February 8, 1932, Flushing, NY

Liberty Fanfare

Duration: 5 minutes

Composed: 1986

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

The Statue of Liberty–Ellis Island Foundation commissioned John Williams to write a fanfare—a brief, often celebratory musical work featuring brass and percussion—for a performance on July 4, 1986 to commemorate the Statue of Liberty’s centennial. The extravagant festivities took place in Liberty State Park on New York Harbor, with Williams conducting the Boston Pops against the backdrop of Lady Liberty herself.

The opening of the Fanfare erupts in a cavalcade of brassy riffs, described in practical terms by the composer as a “detachable frontispiece” to be used for the televised productions that surrounded the occasion. The main theme is a beacon of warm, patriotic fervor. It shares the signature design of Williams’ film scores: fittingly thematic, singable, and memorable.

Though Williams has written many concert works in a contemporary classical idiom, he remains unrivaled in his ability to invent new tunes that instantly sound like familiar favorites. As the critic Anthony Tommasini wrote of the Liberty Fanfare’s premiere: the music “sounds like lots of others Williams has composed for Hollywood, but [it] still gets you right in the back of the throat.”

Wolfgang Amadeus Mozart (2)

Born: January 27, 1756, Salzburg, Austria

Died: December 5, 1791, Vienna, Austria

Violin Concerto No. 5 in A Major, K.219 “Turkish”

Duration: ~28 minutes

Composed: 1775

Instrumentation: 2 oboes, 2 horns, strings, solo violin.

In his late teens, Mozart was rapidly making strides towards a mature compositional voice. The “Turkish” Violin Concerto, the last and most ambitious one he wrote, shows a composer who was beginning to surpass mere technical facility to make original artistic choices.

Mozart’s given tempo for the first movement is Allegro aperto—fast with an air of openness and brilliance; outgoing. At the time, the young composer was gaining confidence as a performer on the piano and the violin (“I played as though I were the greatest fiddler in all Europe,” he wrote to his father after playing one of his own string works in 1777). But the Violin Concerto’s boldness comes from more than its showy solo passage work. The standard orchestral opening sets the stage as usual, until a sudden Adagio brings it to a halt. The soloist enters with an innocent phrase, underscored by hushed strings, as if to say “I have arrived.” The whole episode was entirely out of place for the opening of a concerto in 1775, but that did not stop the young Mozart from trying something new.

Overall, it is a spacious concerto with broad phrases and a range of diverse ideas. A few years after writing it, Mozart considered arranging a shorter version: “In Germany we rather like length, but after all it is better to be short and good.” Others had reservations, too. When an Italian violinist (whom Mozart did not particularly like) complained that the concerto’s slow movement was too serious, the composer graciously responded by writing a completely new Adagio, K. 261. Both are excellent, but Mozart’s first attempt is undoubtedly the star of the two. It has no words, but we can well imagine the type of operatic character who might sing this lovely aria—perhaps a protagonist expressing forbidden love or yearning for a brighter future.

Nearly all of Mozart’s concertos end with a rondo in which a recurring theme alternates with contrasting episodes. The subject in this finale is a minuet, a graceful dance in three-beat time. The movement begins normally until Mozart makes such a striking choice that it would come to give the entire concerto its nickname: a threeminute excursion in the “Turkish” style.

A common sight on Viennese streets in those days was the Turkish Janissary band, whose march like music with characteristic cymbal clashes would later inspire the Alla turca finale of Mozart’s A Major Piano Sonata, K. 331. In the Violin Concerto’s Turkish episode, Mozart mustered all the exotic elements associated with Turkish music at the time: vigorous minorkey passages, athletic leaps, crude ornaments, percussive string accompaniment using the wood of the bow, and the familiar march cadence “left, left, left-right-left.” The band marches past as quickly as it arrived, and the remainder of the

movement dances to a close as if nothing had happened.

Pyotr Ilyich Tchaikovsky

(3)

Born: May 7, 1840, Votkinsk, Russia

Died: November 6, 1893, Saint Petersburg, Russia

Symphony No. 4 in F Minor, Op. 36

Duration: ~42 minutes

Composed: 1877–1878

Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, triangle, strings.

Writing to his patron, Tchaikovsky provided this vivid but suspiciously simplistic description:

“The introduction is the seed of the whole symphony . . . This is Fate, i.e. that fateful force which prevents the impulse towards happiness from entirely achieving its goal . . . A sweet and tender daydream appears . . . and Fate inevitably returns to wake us.” The second movement, he continued, represents melancholic depression with nostalgic episodes, while the playful third movement is an intoxicated, dreamlike mirage. Despite the lingering cloud of Fate, the finale finds joy in the dancing of the common people (by quoting a popular folk song), leading to a bombastic conclusion.

But Tchaikovsky related it differently when writing to a fellow composer. Many 19th-century critics viewed programmatic works—those that followed an internal story—with skepticism. “You are right to suggest my symphony is programmatic,” Tchaikovsky wrote to a colleague who critiqued his work, “What I don’t understand is why you consider this a fault . . . its program is such that it cannot be [fully] expressed in words . . . Shouldn’t a symphony be such a work?”

Tchaikovsky’s grappling with fate in this symphony has meaningful parallels to the personal crisis he experienced in 1877–1878. His doomed two-month marriage to a woman he could not love stirred complex feelings of guilt. Meanwhile, he began an intense correspondence with a distant patron who bestowed obsessive praise and financial support on him. This was Nadezhda von Meck, the widow of a railroad tycoon, who saw in the composer her Platonic ideal. She became the dedicatee of the Symphony and remained Tchaikovsky's longdistance admirer for the next fourteen years. The personal highs and lows of this period are

Program Notes

well-represented in a symphony that fluctuates between extreme bitterness and bliss. Ultimately, the finale finds light in escapism—a song of the people spun into a rapturous celebration—which seems to defy cruel Fate, at least for now.

~Written by Bradley Berg

Artist Bio.

Bella Hristova Violinist

Bulgarian-American violinist Bella Hristova has won international acclaim for her “expressive nuance and rich tone” (New York Times) and “impressive power and control” (Washington Post). She has distinguished herself on the world stage as a performing artist with a remarkably diverse repertoire and a bold approach to programming. A recipient of the prestigious Avery Fisher Career Grant, she has won numerous awards, including First Prize in the Michael Hill International Violin Competition and is a Laureate of the International Violin Competition of Indianapolis.

Hristova has performed extensively as a soloist with orchestras around the US, including the Buffalo Philharmonic, Fort Worth Symphony Orchestra, Chamber Orchestra of Philadelphia, the New York String Orchestra at Carnegie Hall, and the Hawaii, Kansas City, and Milwaukee Symphonies, as well as orchestras in Asia, Europe, Latin America, and New Zealand. Highlights of the 202526 season include a return to Carnegie Hall performing Dvorak’s Violin Concerto with the New York String Orchestra, conducted by Jaime Laredo; debuts with the Shenzhen and Wuxi Symphony Orchestras, and the completion of her Lineage commissioning project. In addition to her many appearances with orchestras, Hristova frequently performs with The Chamber Music Society of Lincoln Center and has held residencies at top conservatories and summer music festival programs as a recitalist. She has performed recitals at Carnegie Hall, Merkin Concert Hall, the Kennedy Center in Washington, DC, and Boston’s Isabella Gardner Museum.

A champion of music by living composers, her commissioning project Lineage showcases six new solo violin works by Dai Wei, Gloria Kravchenko, Nokuthula Ngwenyama, Eunike Tanzil, Joan Tower, and Ellen Taaffe Zwilich. In 2015, Hristova was the featured soloist of a concerto commissioned by a consortium of eight orchestras, written by her husband, acclaimed composer David Serkin Ludwig.

As a recording artist, Hristova has released a variety of albums reflecting her broad musical interests. Bella Unaccompanied, an album released on Tonegold Records, features works by John Corigliano, Kevin Puts, Astor Piazzolla,

Nathan Milstein, and J.S. Bach. Her Naxos debut album features the solo violin works of Belgian composer Charles de Bériot. Following multiple tours of New Zealand with renowned pianist Michael Houstoun, she and Houstoun have recorded the complete Beethoven Sonatas, the complete Brahms Sonatas, and an album of French sonatas by Ravel, Poulenc, and Fauré. Most recently, Hristova recorded Ludwig’s violin concerto with JoAnn Falletta and the Buffalo Philharmonic Orchestra.

Hristova began violin studies at the age of six in her native Bulgaria. After gaining accolades following master classes in Salzburg with Ruggiero Ricci, she studied with Ida Kavafian at the Curtis Institute of Music in Philadelphia and received her Artist Diploma with Jaime Laredo at Indiana University. Hristova plays a 1655 Nicolò Amati violin, once owned by the violinist Louis Krasner and started her career with Young Concert Artists. She lives in New York City with her husband, David, and their four beloved (but poorly behaved) cats.

NOVEMBER 8 & 9, 2025 • 7:30 PM & 2:00 PM • MORRISON CENTER

Eric Garcia, Conductor

Joyce Yang, Pianist

Clarice Assad (1932 - Present)

Baião ‘N’ Blues

I. Allegro

II. Affettuoso

III. Allegro

Edvard Grieg (1843 – 1907)

Piano Concerto in A Minor, Op. 16

I. Allegro molto moderato

II. Adagio

III. Allegro moderato molto e marcato

Joyce Yang, Piano

INTERMISSION

Felix Mendelssohn (1809 - 1847)

Symphony No. 4 in A Major, Op. 90 “Italian”

I. Allegro vivace

II. Andante con moto

III. Con moto moderato

IV. Saltarello: Presto

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

Concert Sponsors: BOB LAW & MIKEL WARD WOMEN'S LEADERSHIP CIRCLE

Series Sponsors:

Nancy & Bill Barkell

Anonymous

Anne & Bob Hay

Peggy Ann Rupp

Program Notes

Clarice Assad (1)

Born: February 9, 1978, Rio de Janeiro, Brazil

Baião ‘N’ Blues

Duration: 9 minutes

Composed: September 24, 2023, by the University of Texas Symphony Orchestra, conducted by Douglas Kinney

Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trombones, tuba, timpani, percussion, strings.

Composer’s Notes:

Baião ‘N’ Blues [pronounced bye-YOWN] is an orchestral composition celebrating the vibrant fusion of two diverse musical worlds. Inspired by Brazilian music’s lively rhythms and infused with the soulful essence of American blues, the piece explores cross-cultural musical influences. Juxtaposing Brazilian themes with bluesy inflections, the composition presents a seamless and delightful blend of harmonious colors. Throughout the orchestral journey, a sense of lightness and humor permeates the musical landscape, inviting the audience to engage in a spirited dialogue. Commissioned by KMFA for the University of Texas Orchestra under conductor Douglas Kinney Frost, Baião ‘N’ Blues showcases the power of music to transcend cultural boundaries and connect people through the art of listening.

About Clarice Assad:

A powerful communicator renowned for her musical scope and versatility, Brazilian-American Clarice Assad is a significant artistic voice in the classical, world music, pop, and jazz genres. The Grammy Award–nominated composer, celebrated pianist, inventive vocalist, and educator is acclaimed for her evocative colors, rich textures, and diverse stylistic range. With her talent soughtafter by artists and organizations worldwide, the polyglot musician continues to attract new audiences both onstage and off.

Edvard Grieg (2)

Born: June 15, 1843 in Bergen, Norway

Died: September 4, 1907 in Bergen, Norway

Piano Concerto in A Minor, Op. 16

Duration: 30 minutes

Composed: 1868

Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, strings, solo piano.

Upward of 500 piano concertos were composed in the 19th century. A relative handful are still played today. Of these, only a few became nearinstant classics after their premieres. The fact that one of them was composed by a 24-yearold from provincial Norway is one of the great outliers of music history.

In his teens, Grieg spent three years as a self-proclaimed lazy student at the Leipzig Conservatory, where only traditional German techniques were taught. Grieg’s written exercises show he already had a flair for complexity, as if the fundamentals bored him. By his early twenties, Grieg’s adoration for the songs of his homeland began to surface in his music. Known to scholars as the “Grieg Formula,” this new style incorporated the unique melodic shapes and rhythmic dances of Norwegian folk culture, giving Grieg’s music its unmistakable character.

The Copenhagen premiere of Grieg’s Piano Concerto in 1869 came like a breath of fresh air. The concerto genre had become oversaturated with the works of derivative charlatans and virtuosos with limited compositional talent. But Grieg’s new concerto began with a distinctly new and gripping sequence: a thunderous timpani roll, a piercing “A” on the piano, and a descent into the depths of the keyboard. The first three notes (A–G#–E) mirror a characteristic gesture found in Norwegian music, one of Grieg’s favorite techniques. Grieg’s talent for unadorned but striking melodies shines throughout the first and second movements, the latter of which is a consoling nocturne. The restless energy of the third movement is based on an acrobatic folk dance called the halling, which Grieg transformed into another dance, the leaping springar, in the coda.

Audiences were quick to hail the young Norwegian’s concerto as a masterpiece. The premiere performance received stormy applause after each movement and even during the striking first-movement cadenza. The next year, Grieg showed the concerto to Franz Liszt (1811–1886), the most legendary living pianist at the time, who played the score at sight (combining the solo and orchestral parts) in front of a private crowd. Grieg noted that Liszt played the most difficult passages “perfectly,” although a bit too quickly, all the while carrying on a conversation

and nodding at the parts he liked best. Thoroughly impressed, Liszt offered his advice to Grieg: “Hold to your course; you have the talent for it—and don’t get scared off!”

Felix Mendelssohn (3)

Born: February 3, 1809, Hamburg, Germany

Died: November 4, 1847, Leipzig, Germany

Symphony No. 4 in A Major, Op. 90 “Italian"

Duration: 30 minutes

Composed: 1831 - 1834

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

On a cloudless May day near Italy’s Amalfi Coast in 1831, 22-year-old Felix Mendelssohn produced a watercolor painting of a spring-fed cistern flanked by semi-ruined columns crawling with vines. Behind them was the villa-dotted Italian landscape with terraced slopes that seemed to fall straight into the rippled, azure sea. It was the natural beauty and sightseeing that most impressed Mendelssohn on his yearlong sojourn to Italy.

The Italian music scene, on the other hand, left him wanting. Mendelssohn once had to sit through an opera where the first violinist monotonously beat time on a tin candlestick. He yawned through the mannered crowing of local singers (those who were not good enough to leave Italy for better opportunities), noting that even the Bavarian barmaids sang better. When in Rome, he found the aging papal choir singers to be almost “completely unmusical.”

Still, Mendelssohn found enough positive inspiration to sketch a symphony that began with a sunburst of radiant energy—an infectious theme bounding to ever greater heights. By contrast, the sustained, single-voiced melody of the second movement seemed to resemble Mendelssohn’s experience of listening to Mass in the cavernous St. Peter’s Basilica: “The sounds echo and float in the vast space, so that the most singular and vague harmonies are borne towards you,” he wrote. The finale blends two Italian folk dances: the springing saltarello and the vigorous tarantella, which according to local legend could cure a spider bite if executed properly.

After shelving the symphony for a few years, Mendelssohn dusted it off and completed it to fulfill a commission from the Philharmonic Society of London. He conducted the premiere himself

Program Notes

in May of 1833. English orchestras were not used to this because it was their custom to follow their “leader,” the first violinist; the “conductor” was only a ceremonial role where an invited guest turned pages on stage. Going by tradition, the orchestra accidentally began the work when Mendelssohn was offstage, causing much confusion. Otherwise, the premiere was a success. The audience encored the second movement. Mendelssohn later revised most of the symphony but it was not published until after his death when it immediately entered the standard symphonic repertoire.

~Written by Bradley Berg

Artist Bio.

Joyce Yang Pianist

Praised for her “poetic and sensitive pianism” (Washington Post) and “wondrous sense of color” (San Francisco Classical Voice), Grammynominated pianist Joyce Yang is renowned for her virtuosity, lyricism, and deeply expressive performances. She gained international prominence at 19, winning the Silver Medal at the 2005 Van Cliburn International Piano Competition, along with awards for Best Chamber Music and Best New Work Performance.

Yang’s orchestral debut with the New York Philharmonic under Lorin Maazel in 2006 launched a distinguished career with over 1,000 performances worldwide. She has since appeared with top ensembles, including the Chicago Symphony, Los Angeles Philharmonic, San Francisco Symphony, Deutsches SymphonieOrchester Berlin, and major orchestras across Asia and Oceania. Her five-year Rachmaninoff concerto cycle with Edo de Waart and the Milwaukee Symphony was hailed for its emotional depth and color.

A devoted chamber musician, Yang has collaborated with the Takács and Emerson String Quartets, and maintains a long-standing partnership with the Alexander String Quartet. She earned a Grammy nomination for her recording with violinist Augustin Hadelich and has released acclaimed solo and concerto recordings, including Wild Dreams, Collage, and live performances of Tchaikovsky and newly commissioned concertos by Michael Torke, Jonathan Leshnoff, and Reinaldo Moya.

Equally at home in solo recital, Yang has performed at iconic venues such as Lincoln Center, the Kennedy Center, and Zurich’s Tonhalle, and toured extensively across North America, Europe, Asia, and Australia. Her imaginative programming and dynamic stage presence have been lauded by critics and audiences alike, with the Los Angeles Times describing her performances as “extraordinary” and “kaleidoscopic.”

Beyond the concert stage, Yang is passionate about arts education and cross-disciplinary collaboration. She served as Guest Artistic Director of the Laguna Beach Music Festival, curating performances that explore connections between music and other art forms. Her acclaimed project with Aspen Santa Fe Ballet,

Half/Cut/Split, brought Schumann’s Carnaval to life through dance, reaching new audiences and expanding the boundaries of classical performance.

In the 2024/25 season, Yang continues to be one of the most sought-after soloists of her generation, performing concertos, recitals, and chamber music in over 30 cities around the globe. Highlights include her tour of Australia with the Sydney Symphony and appearances at leading summer festivals such as Aspen, Caramoor, and La Jolla. With her ever-expanding repertoire and commitment to connecting with audiences, Joyce Yang remains a dynamic and influential voice in classical music today.

Born in Seoul, Yang began piano lessons at age four and moved to the U.S. at ten to study at Juilliard with Yoheved Kaplinsky. A decorated alumna, she received Juilliard’s Arthur Rubinstein Prize and William Petschek Recital Award. She is a Steinway Artist.

Where Music and Nature Meet

The Idaho Botanical Garden proudly supports the Boise Philharmonic, an organization that brings beauty, creativity, and connection to our community through music. Like the Garden, the Philharmonic inspires people of all ages and backgrounds to slow down, listen, and celebrate the arts.

Growing Toward the Future

Through our Expansion Campaign, we’re creating more room for learning, gathering, and inspiration. Join us in growing a more vibrant, accessible Garden for all.

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NOVEMBER 29 & 30, 2025 • 7:30 PM & 2:00 PM • MORRISON CENTER

Daniel Black, Guest Conductor

John Williams (1932 - Present) Music of Home Alone

A true holiday favorite, this beloved comedy classic features renowned composer John Williams' charming and delightful score performed live to picture by the Boise Phil. Macaulay Culkin stars as Kevin McCallister, an 8 year-old boy who's accidentally left behind when his family leaves for Christmas vacation, and who must defend his home against two bungling thieves.

Hilarious and heart-warming, Home Alone is holiday fun for the entire family! Tonight's program is a presentation of the complete film Home Alone with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits.

Concert Sponsor:

Sheet Music Sponsor: PEGGY ANN RUPP

Series Sponsors: Nancy & Bill Barkell Anonymous

Anne & Bob Hay Peggy Ann Rupp

Program Notes

TWENTIETH CENTURY FOX Presents A JOHN HUGHES Production A CHRIS COLUMBUS Film

H O M E A L O N E

MACAULAY CULKIN

JOE PESCI

DANIEL STERN

JOHN HEARD and CATHERINE O’HARA

Music by JOHN WILLIAMS

Film Editor RAJA GOSNELL

Production Designer JOHN MUTO

Director of Photography JULIO MACAT

Executive Producers

MARK LEVINSON & SCOTT ROSENFELT and TARQUIN GOTCH

Written and Produced by JOHN HUGHES

Directed by CHRIS COLUMBUS

Soundtrack Album Available on CBS Records, Cassettes and Compact Discs

Color by DELUXE®

Home Alone in Concert produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc.

Producers: Steven A. Linder and Jamie Richardson Director of Operations: Rob Stogsdill

Production Manager: Sophie Greaves

Production Assistant: Katherine Miron

Worldwide Representation: IMG Artists, LLC

Technical Director: Mike Runice

Music Composed by John Williams

Music Preparation: Jo Ann Kane Music Service

Film Preparation for Concert Performance: Ramiro Belgardt

Technical Consultant: Laura Gibson

Sound Remixing for Concert Performance: Chace Audio by Deluxe

The score for Home Alone has been adapted for live concert performance.

With special thanks to: Twentieth Century Fox, Chris Columbus, David Newman, John Kulback, Julian Levin, Mark Graham and the musicians and staff of the Boise Phil.

Artist Bio.

John Williams

Born: February 8, 1932, Flushing, NY

Music of Home Alone

Duration: 103 minutes

Released: 1990

In a career spanning more than six decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music and served as music director for more than one hundred films, including all nine Star Wars films, the first three Harry Potter films, Superman, JFK, Born on the Fourth of July, Memoirs of a Geisha, Far and Away, The Accidental Tourist, Home Alone and The Book Thief. His 50-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. the Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Munich, Saving Private Ryan, The Adventures of Tintin, War Horse, Lincoln, The BFG, The Post and The Fabelmans. His contributions to television music include scores for more than 200 television films for the groundbreaking, early anthology series Alcoa Theatre, Kraft Television Theatre, Chrysler Theatre and Playhouse 90, as well as themes for NBC Nightly News (“The Mission”), NBC’s Meet the Press, and the PBS arts showcase Great Performances. He also composed themes for the 1984, 1988, and 1996 Summer Olympic Games, the 2002 Winter Olympic Games. He has received five Academy Awards and fifty-four Oscar nominations, making him the Academy’s most-nominated living person and the second-most nominated person in the history of the Oscars. He has received seven British Academy Awards (BAFTA), twenty-six Grammys, four Golden Globes, five Emmys, and numerous gold and platinum records. In 2003, he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic movement. He received the prestigious Kennedy Center Honors in December of 2004. In 2009, Mr. Williams was inducted into the American Academy of Arts & Sciences, and he received the National Medal of Arts, the highest award given to artists by the U.S. Government. In 2016, he received the 44th Life Achievement Award from the American Film Institute – the first time in their history that this honor was bestowed upon a composer. In 2020, he received Spain’s Princess of Asturias Award

for the Arts as well as the Gold Medal from the prestigious Royal Philharmonic Society in the UK, and in 2022 he was awarded an honorary knighthood of the British Empire as one of the final awards approved by Her Majesty Queen Elizabeth II.

In January 1980, Mr. Williams was named nineteenth music director of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler. He currently holds the title of Boston Pops Laureate Conductor which he assumed following his retirement in December 1993 after fourteen highly successful seasons. He also holds the title of Artist-in-Residence at Tanglewood. Mr. Williams has composed numerous works for the concert stage, among them two symphonies, and concertos commissioned by several of the world’s leading orchestras, including a cello concerto for the Boston Symphony Orchestra, a bassoon concerto for the New York Philharmonic, a trumpet concerto for The Cleveland Orchestra, and a horn concerto for the Chicago Symphony Orchestra. In 2009, the Boston Symphony premiered his concerto for harp and orchestra entitled “On Willows and Birches”, and in the same year, Mr. Williams composed and arranged “Air and Simple Gifts” especially for the first inaugural ceremony of President Barack Obama.

In 2021, Williams premiered his second violin concerto with the Boston Symphony Orchestra at Tanglewood along with soloist Anne-Sophie Mutter, for whom he composed the work. Most recently he composed a new piano concerto for pianist Emanuel Ax, who premiered the work with the Boston Symphony Orchestra at Tanglewood in July 2025.

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.

Photo:

Handel’s Messiah

50 Years of Music

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

DECEMBER 19, 7:00 PM • DECEMBER 20, 1:00 PM & 7:00 PM •

Richard Hutton, BPMC Conductor

Erika Schuller, Soprano

Emily Marvosh, Contralto

Martin Bakari, Tenor

Edward Vogel, Baritone

George Frideric Handel (1685 - 1759)

Messiah

Part I: The Advent of the Messiah

I. Sinfonia

II. Recitative: Comfort ye my people

III. Air: Ev’ry valley shall be exalted

IV. Chorus: And the glory of the Lord

V. Recitative: Thus saith the Lord

VI. Air: But who may abide the day of his coming

VII. Chorus: And he shall purify

Recitative: Behold, a virgin shall conceive

VIII. Air: O thou that tellest good tidings to Zion

IX. Recitative: For behold, darkness shall cover the earth

XI. Chorus: For unto us a child is born

XII. Pifa: Pastoral Symphony

XIII. Recitative: But lo, the angel of the Lord came upon them

XIV. Recitative: And suddenly there was with the angel

XV. Chorus: Glory to God

XVI. Air: Rejoice greatly, O daughter of Zion

XVII. Duet: He shall feed his flock

XVIII. Chorus: His yoke is easy, and his burden is light

INTERMISSION

Part II: The Passion of the Christ

I. Chorus: Behold the lamb of God

II. Air: He was despised

III. Chorus: Surely, He hath bourne our griefs

IV. Chorus: And with his stripes we are healed

V. Chorus: All we like sheep have gone astray

VI. Recitative: All they that see him laugh him to scorn

VII. He trusted in God

VIII. Recitative: He was cut off out of the land of the living

XIV. Air: But thou didst not leave his soul in hell

XV. Air: Why do the nations so furiously rage together

XVI. Air: Thou shalt break them

XVII. Chorus: Hallelujah

Part III: His Resurrection

I. I know that my Redeemer liveth

II. Since by man came death

III. Behold, I tell you a mystery

IV. The trumpet shall sound

V. Chorus: Worthy is the Lamb

Artist Sponsor: Richard & Mary Frasch

Program Notes

George Frideric Handel

Born: February 23, 1685, Halle, Germany

Died: April 14, 1759, Westminster, London, U.K.

Messiah

Duration: 140 minutes

Composed: 1741

Instrumentation (original): 2 trumpets, timpani, 2 oboes, strings, basso, continuo, SATB choir and soloists.

Composed in just twenty-four days—a regular feat for Handel—while on a summer break in 1741, the Biblical oratorio Messiah has been performed every year since its Dublin premiere in 1742. One might assume that such a consistent record would preserve much of its original context, but quite the opposite is true for today’s performances. Nearly three centuries of countless interpretations across the globe have created the uniquely modern tradition that we know as Messiah.

Today, Messiah is almost exclusively performed during the Advent season in expectation of Christmas, a trend that solidified in the century after Handel’s death. While Messiah does recount the story of Christ’s birth, it also relates the Passion, Resurrection, and prophecy of judgment day, making its subject matter suitable for multiple parts of the liturgical year. During Handel’s lifetime, performances of Messiah typically occurred in April around the Easter holiday. Modern audiences also tend to think of Messiah as being sung by massive choirs, though this is another 19th-century invention; in the Victorian age, printed music became widely available for amateur singers, who joined newly formed choral societies in droves and participated in popular concerts that featured up to several hundred performers on stage at once. Such resources were unthinkable in Handel’s time, when music education was not nearly as common among the middle class. Ever the practical composer, Handel ensured that Messiah could be performed with as few as 20 musicians according to the resources on hand.

Felix Mendelssohn (1809 - 1847)

Symphony No. 4 in A Major, Op. 90 “Italian”

Even the perception of Messiah as a church work fit only for a cathedral has been debated since Handel’s time. Messiah’s first performances took place in theaters and playhouses, where crowds regularly gathered for evenings of operatic amusement. Some argued that these venues were inappropriate for a religious work while others saw value in bringing Biblical virtues into common

gathering spaces. Entertainment and religious piety were not mutually exclusive in 18th-century musical performances. The oratorio genre was, by definition, an unstaged opera with a sacred (religious) plot rather than a secular one, meaning that hearing Messiah in Handel’s time was akin to seeing a modern-day blockbuster movie; the subject may have been a Biblical drama, but the audience also expected a good show. Unlike operas, oratorios like Messiah did not feature any set designs or character portrayals (a costumed Jesus on stage would have been considered blasphemous), but this made them easier to produce and has contributed to the accessibility of Messiah performances throughout history.

According to legend, King George II once spontaneously stood during the famous Hallelujah chorus, requiring the audience to stand with him according to custom. Even though the King’s presence at any performance of Messiah remains unconfirmed, the beloved tradition of standing up at this moment adds vibrancy to the modern ritual of attending a Messiah performance, where people of all ages and many beliefs gather to relish the music, meditate on the narrative, ponder the universal themes of joy and sorrow, and spend time with their loved ones.

~Written by Bradley Berg

Artist Bio's

Erica Schuller Soprano

Praised for her “lively personality, abundant charm, and luscious vocalism” (Chicago Tribune) and “crystalline clarity” (BBC Music), is a versatile performer known for expressive artistry across opera, concert, and recording. She has sung leading roles with The Boston Early Music Festival, Haymarket Opera, Apollo’s Fire, Florentine Opera, and Opera Siam. Recent highlights include Morgana in Alcina at the Ravinia Festival and Euridice in Euridice with the Newberry Consort. She has appeared with Apollo’s Fire, Ars Lyrica Houston, Jacksonville Symphony, and Milwaukee Symphony. Her recordings include GRAMMY-nominated roles in Psyché and L’Amant Anonyme. She directs Cantabile School of Voice and Piano and teaches at the University of Chicago. She holds degrees from the Eastman School of Music and San Francisco Conservatory.

Felix Mendelssohn (1809 - 1847)

Symphony No. 4 in A Major, Op. 90 “Italian”

INTERMISSION

Edvard Grieg (1843 – 1907)

Piano Concerto in A Minor, Op. 16

I. Introitus - Requiem II. Kyrie

III. Sequenz

Handel's Messiah

Martin Bakari Tenor

Emily Marvosh has performed at major venues including Carnegie Hall, Jordan Hall, Disney Hall, Prague’s Smetana Hall, and Vienna’s Stefansdom. Praised for her “flexible technique and ripe color,” “sterling voice,” and “velvety soulfulness,” she is celebrated for her rich, expressive tone. In the 2017-18 season, she appeared as soloist in Handel’s Messiah at the National Cathedral and with the Rhode Island Philharmonic Orchestra, and performed Beethoven’s Missa Solemnis with Boston’s Cantata Singers. A regular member of the acclaimed vocal ensemble Seraphic Fire, Marvosh appears on their GRAMMYnominated recording of Brahms’s Ein Deutsches Requiem. Her accolades include the prestigious Adams Fellowship at the Carmel Bach Festival, the American Prize in Oratorio and Art Song, and second place in the New England Regional NATSAA competition.

Dies irae • Tuba mirum

Tenor Martin Bakari, praised by Opera News for his “golden tenor” and “vocally charismatic” presence, is a dynamic artist across diverse musical genres. A 2018 George London Competition winner, his 2023-24 season included Charlie Parker in Yardbird (Indianapolis Opera), Mime in Das Rheingold (Seattle Opera), Frederic in The Pirates of Penzance (Kentucky Opera), and tenor soloist in Messiah at Carnegie Hall. His 2024-25 season featured Count Almaviva in Il barbiere di Siviglia (Indianapolis Opera), Greene Evans in Jubilee (Seattle Opera), Goro in Madama Butterfly (Utah Opera), and tenor soloist in Messiah (Boise Philharmonic). Upcoming highlights include debuts with the Barcelona Symphony Orchestra and Nashville Opera, along with returns to Seattle Opera and others, underscoring his growing acclaim and versatility.

Edward Vogel Baritone

Baritone Edward Vogel, praised for his “velvet-toned” voice (BBC Music Magazine) and “forthright agility” (Musical America), is known for his sensitive, versatile artistry. He recently made solo debuts with the New York Philharmonic in Israel in Egypt—earning a 2024 GRAMMY® nomination—along with appearances with the Jacksonville Symphony, Boise Philharmonic, and GRAMMY®-winning Apollo’s Fire. Other engagements include Dona Nobis Pacem and The Creation with GRAMMY®-nominated True Concord. An in-demand ensemble singer, Vogel has performed with Bach Collegium Japan and Theatre of Voices at Carnegie Hall. As a recitalist, he specializes in British art song, early Iberian music, and Mahler. He holds degrees from the Yale School of Music and the University of Notre Dame. edwardvogelmusic.com

Emily Marvosh Contralto

EQUIPPING STUDENTS TO CHANGE THE WORLD.

Right here in the Boise Valley, Northwest Nazarene University is preparing the next generation of leaders, innovators and artists. For more than 110 years, NNU has o ered a distinctive education that transforms minds, hearts and futures, all within a Christ-centered community.

SEE HOW WE DO COLLEGE DIFFERENT NNU.EDU

94.9 The River proudly supports the Boise Philan important community pillar, bringing music

Recognized by BBC Music as one of the best classical music festivals in the country, the Sun Valley Music Festival presents exceptional, admission-free concerts in a spectacular setting-along with tuition-free music education programs that inspire young musicians. Audiences and students alike can expect a memorable experience, with opportunities for people from all walks of life to listen, learn, and play.

Winter Season

March 19–21, 2026

Summer Season

July 27 – August 20, 2026

AMPLIFYING WOMEN IN THE ARTS

The WLC champions women on stage, bringing female composers and guest artists to the Boise Phil.

25/26 MEMBERS

Nancy Barkell

Phyllis Barker

Angela Beauchaine

Marilyn Beck

Deborra Marshall- Bohrer

Suzi Boyle

Amie Bruggeman

Karin Camp

Ridgley Denning

Susan Eastlake

Sandra Fery

Dee Ann Goulet

Kay Hardy

Anne Hay

Jordan Heller

Julie Kilgrow

Vicki Kreimeyer

Margaret Kurtz

Mary Leavitt

Patricia McClung

Susan McPeek

Mary Monroe

Caroline Morris

Christine Neuhoff

Christine Nicholas

Arlene Oyer

Ann Peterson

Patricia Rietveld

Dr. Peggy Ann Rupp

Naomi Simmons

Susan Stacy

Linda Stengel

Mikel Ward

Kim Wegener

The Women’s Leadership Circle unites female supporters of the Boise Phil with one purpose: to uplift women in classical music. Since 2015, they have sponsored at least one rising female guest artist each season in the Symphonic Series.

In honor of their 10th anniversary, the WLC is proudly sponsoring the first two concerts of the 25/26 Season.

To learn more or get involved with the WLC, contact Harmony Soto, Major Gifts Officer, at harmony@boisephil.org

Sponsoring Bella Hristova playing Mozart’s Violin Concerto No. 5

Sponsoring Joyce Yang playing Grieg's Piano Concerto

Donors

24/25 INDIVIDUAL DONORS

$100,000+

Esther Simplot (Mrs. J.R.)

$20,000 - $49,999

A J & Susie Balukoff

Nancy & William Barkell

Daniel & Micki Chapin

Anonymous

Bob & Anne Hay

Dr. Peggy Ann Rupp

$10,000 - $19,999

Mary Abercrombie & Kim Cafferty

Marilyn Beck

Kay Hardy & Gregory Kaslo

George & Karen Mulhern

Robert Law & Mikel Ward

Ann Peterson

Stephen & Carol Trott

Kim Wegener

John & Chris Westwater

$5,000 - $9,999

Joanne Anderson

Dr. Glenn & Glida Bothwell

Karin Camp

Sandra & Brent Fery

Richard & Mary Frasch

Philip Gordon

Jerralyn Kehne

Julie Kilgrow & Alan Gardner

Dr. John & Lois Kloss

Robert & Patricia Rietveld

Andrew & Elizabeth Scoggin

Dr. Richard & Jo Ann Stillinger

Dr. Joseph & Pattie Williams

Dr. Richard & Jacquelyn Wilson

$2,500 - $4,999

Patrick & Felicity Arnold

Tricia Baur & Phil Rogers

Jason Bender

John & Barbara Bender

Jeannette Bowman

Mark & Karen Dunkley

Tess & Jim Emerick

Karen & Michael Falvey

Tom & Ann French

Cathleen Hurwitz

Phil & Jennifer Jensen

Dr. G. Robert & Dorothy Klomp

Marcia & Donald Liebich

Cecelia & Don Lojek

Michael & Connie Lyon

Nanci Marquess

Susan & Michael McPeek

Laura & Michael Miller

Christine & Philip Neuhoff

Rahul & Mita Sandil

Bonnie Schwartz

Jeffrey & Linda Stengel

Mike Winter & Mona Morrison

$1,000 - $2,499

Ms. Suzanne Allen

Phyllis & Brad Barker

Mrs Laura White Barton

Beauchaine Family

Charitable Fund

Fritz & Ann Beaumont

Suzi Boyle

Amie & Brad Bruggeman

S.K. Carnie

Shavonna Case & Dave Armga

Kevin & Betty Collins

Claude & Susan Connelly

Michelle Crawforth

Ridgley Denning

Brig. Gen. W. Donovan

Sylvia Dunkley Hessing

Bill & Susan Eastlake

Kerry & James Elliott

Sandra Evans

Vandye & Vondi Forrester

Eric Garcia & Sarah McKiddy

Dee Ann Goulet

Vicki Gowler

Tara Anthes & Christian Hamlat

George & Bev Harad

Jordan Heller

Takako & Chris Hirose

Jennifer Jensen

Bruce & Sonya Jensen

Susan Judge

Dr. Ron & Lana Jutzy

Thomas J. Katsilometes &

Katherine A. Mathews

Sheila Kessel

Dojun Kim

Dr. John Knochel

Michael Kostka

Margaret & Karl Kurtz

Renee Langworthy

Mary & Boyd Leavitt

Brent MacArthur

Carole MacGregor, Ph.D.

Alexandra Manning

Rebecca & Sal Petriello

John Plassman &

Debbie Depaul

Patricia Raino

Bob & Sandy Richmond

Connie & Gerald Schroeder

Hubert & Petra Schwarthoff

Dr. Ryan Shackelford

Cathy Silak & Nicholas Miller

Jeffrey L & Jo-Anne Smith

Douglas Foley

Marilyn Fordham

Anonymous

Timothy Gardiner

Jill Gertje

Scott Adams & Kathy

Graham

Virginia Haber

Terry Hall

Karen and Richard Holine

Kathy Holley

Carole McFadden & Chet Walborn

Dr. Kenneth &

Paula Weitemier

William & Joan Yost

$250 - $499

Robert & Chantal Atnip

Kristina Baughman

Buzz Beauchamp

Laura Botimer

Cheryl & David Churchill

Jane Crane

Elma & Zelma Doerksen

Christian Petrich & Susan

Gelletly

John Matthew & Judy McKay

Paul & Alison Mayfield

Allen Morgan & Patricia McClung

Mary & Ernie Monroe

Paula McGuinness & Kenneth Little

Mary & Ernie Monroe

Caroline Morris & David Monsees

Christine & Brian Nicholas

Coe Miles & Ellen Ochoa

Arlene Oyer

Kathy Peter

Philip & Pamela Peterson

Dianne Pierce

Timothy Racette

Alyce Rosenheim

Jerry Saltzer

Jeffrey & Naomi Simmons

Adelia Simplot

Joel A. Slagg

John & Deb Sloan

Jeanie & Ken Smith

Ray & Linda Stark

Eugene Sturgill

Walter & Mary Thode

Tim Tomkinson

Rod & Karen Wiens

Noreen & Ray Womack

$500 - $999

Mrs. Jacqueline Agenbroad

Stewart & Nancy Alford

Aaron Bell

Megan & Michael Bennett

Lisa Bescherer &

Bruce Robert Robb

Ms. Sharon Christoph

Mr. Jay Clark

Jim & Berni Cockey

Elizabeth Graham

Alex Grande

Charles & Polly Hedemark

James Hetherington

David Hill

John Howell & Bae Emilson

Carl & Shannon Jones

Teresa Jorgensen

Ron & Linda Kerr

Mary Lu Keyser

Gregory Knight &

Constance J. Gordon

Mr. Hyun Yoo Lee

James & Renee Lovejoy

Kris Lysne

Deborra Marshall Bohrer

Molly McCallum

Dale & Jeannette Neuman

Jim Ovard

Lonnie & Annette Park

Sharon Grisham

Dr. Leo & Pauline Harf

Alice Hennessey

Ron & Karen Hodge

Anonymous

Janell & Fern Hyer

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

Peter & Janet Petersen

John Plassman &

Debbie Depaul

Diane Ronayne & Gary Richardson

Dr. Jacob & Aliess Robison

Elizabeth Schneider

Connie & Gerald Schroeder

Pamela Sheldon

Craig Somers

Souza Family Charitable Fund

Ms. Tori Squires

Alison Sremack

James Titmus

Brandon Vanwayenberghe

$100 - $249

Mrs. Jacqueline Agenbroad

Leah & Peter Allan

Don & Cindy Anderson

Emily & Desmond

Anim-Appiah

Don Bott & Judy Austin

Donald & Donna Baird

Edward & Donna Beckman

Joe & Janet Bejsovec

Mary & Rod Berkshire

Karen & Jim Bird

Peggy & Paul Bohl

Sondra Bors

Debra Brew

Patricia & Michael Chakarun

Gail Cohen

Bill & Anne Connors

Ellie Cook

Anonymous

Georgene Delihant

Gillian & Teague Donahey

Mrs. Jacqueline Dwight

Edith Easterbrook

Paula Edmonds

Mary Lou Ennis

John Howell & Bae Emilson

David & Judy Hume

Nancy Hunter

Shelley Jacks

Blair & Karren Jaynes

Norman Jensen

Anonymous

Alex & Stephanie Johnson

Peggy Koubek

Sandra Kurka

Lee Landin

Matthew Leslie

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

Aimee Shipman

Janet Sims

Troy Smith

Dorothy A. Snowball

Darlene Stattner

Doug Houston & Nancy

Taylor

Julie Taylor

Carolyn Thornton

Martha, Jane, & Martin

Torres

Cynthia Ulrich

Ms. Marilyn Vickers

Dr. Jon Wagnild & Cathleen WagnildMorgan

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

Gudrun & James Wilson

24/25 FOUNDATIONS AND CORPORATIONS

$100,000+

Morrison Center Endowment Foundation

$50,000 - $99,999

Boise Philharmonic Endowment Foundation

Gladys E. Langroise Advised Fund in the Idaho Community Foundation

Pauline Becker & Dorothy Simplot

Memorial Endowment Fund in the Idaho Community Foundation

$20,000 - $49,999

Allen-Heath Memorial Foundation

Laura Moore Cunningham Foundation

Idaho Commission on the Arts

Anonymous

$10,000 - $19,999

The Bews' Foundation

$5,000 - $9,999

Anonymous Fund 14

Boise Philharmonic Association Fund in the Idaho Community Foundation

Flora of the World Foundation

Marjorie Moore Davidson Foundation

Micron Technology Foundation

Onsemi

The Whittenberger Foundation

$2,500 - $4,999

Armanino Foundation

Enterprise Mobility Foundation

Group One Property Management

Idaho Power Company

John William Jackson Fund

Washington Trust Bank

$1,000 - $2,499

Anonymous

Applied Materials

Boise City Department of Arts and History

Boise Metro Chamber

Four J Foundation

Idaho Community Foundation

Idaho Humanities Coucil

Kiwanis Club of Nampa

Mutual Of America

Paycom

Schlosser Properties

Walmart #2508

Walmart Facility #3094

$500 - $999

Amerisourcebergen Foundation

Intel Foundation

McEachern Morrison Foundation

Thelma Shear Park Memorial Fund in the Idaho Community Foundation

United Way of Treasure Valley

Walmart #2781

Walmart #4494

Gifts Below $500

Charity Choice

Chevron Matching Gift Program

Network For Good

PayPal Giving Fund

Telaya Wine Co.

The Kroger Co.

24/25 IN

KIND

3 Girls Catering

Alaska Airlines

Anglers Fly Shop

Anne & Bob Hay

Arthur Murray Dance Studio

Ballet Idaho

Bandanna Running Company

Bardenay Restaurant and Distillery

Bespoke Custom Clothing

Bob Law

Boise Contemporary Theater

Boise Hawks Baseball Club

Boise State Public Radio

Brandon Vanwayenberghe

Braun Brothers Reunion Festival

Chandlers Steakhouse

Christine Neuhoff

Cottonwood Grille

Discovery Center of Idaho

Don Collins

Doug Flanders & Carmine Caruso

Dr. Jacob & Aliess Robison

Esther Simplot Performing Arts Academy

Fantastic Games

Fred Astaire Dance Studios

Fujishin Family Cellars

Fussy Hussy

Geronimo Hospitality Group

Graeber & Co

Hotel 43

Idaho Botanical Garden

Idaho Public Television

Idaho Shakespeare Festival

Jeannette Bowman

Karin Camp

Karla Hardy

Kay Hardy & Gregory Kaslo

Limelight Hotel

Lotus Boise Corp

Mixed Greens

Nickie Shell

Opera Idaho

Peggy Ann Rupp

Philip Gordon

Phyllis Barker

Reno Phil

Roaring Springs Water Park

Split Rail Winery

Susan McPeek

Tegwin Matenaer

The Flicks

The Local

The ROW

University of Idaho - Athletics

White-Leasure Development Company

Zoo Boise

HOUSING HOSTS

Heidi Bangerter

Phyllis & Brad Barker

Marilyn Beck

Ridgley Denning

Judy Ellis

Theresa Ensign

Lauren Folkner

Philip Gordon

Mike Harris

Anne & Bob Hay

Fred & Sue Hebert

Steve & Amy Howe

Jackie Jansen

Renuka & Anil Kapoor

Vicki Kreimeyer

Jon Krutz

Joanne Lighty

Emily & Erik Mahon

Nanci Marquess

Susan & Michael McPeek

Doug & Nonie McWhorters

Ginni Neil

Peggy Ann Rupp

Elizabeth & Andy Scoggin

Karen & David Shropshire

Joanne Springer

Paula Stern

Peter Steven

Mikel Ward

Melissa Wilson

Patricia McClung

Louise Rogers

Marty Dayton

"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

Marie 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

STEPHEN S. & CAROL TROTT

LEGACY SOCIETY MEMBERS

Thomas* & Marilyn Beck

Audrie B. & Jason M. Cudahy

Richard* & Shirley* Fields Estate

Christian Petrich & Susan Gelletly

Bob & Anne Hay

Don* & Iris* Hendrickson

Lonnie & Annette Park

Esther Simplot (Mrs. J.R.)

*Deceased

Timothy Racette in memory of Ann Severance

Ralph & Ruby Hawkins in memory of Barbara Bender

Ms. Jeannette Bowman in memory of Carol Trott

David & Deborah Manning in memory of David Manning

Sue & Howard Maier in memory of Ernest Maier

Mary Muguira in memory of Gary F. Peterson

Shawn Miller in memory of Grace Terrell

Christine Hitchner in memory of Joanne Fisher Jones

Diane Kahm in memory of John Kahm

John R. Sosoka III in memory of John R. Sosoka Jr.

Carolyn Snyder in memory of June Tanner Merrell

Mr. John Bender in memory of Kif Bender

Cecilia Merz in memory of Lois Wuertz, former principal violist

Jerry Saltzer in memory of Marlys Saltzer

Lonnie & Annette Park in memory of Thelma Park

Marc Seeley in memory of William Seeley

John William Jackson Fund in honor of Alice Hennessey

Jennifer Jensen in honor of Dr. Phil Jensen

Mr. Hyun Yoo Lee in honor of Jennifer Drake

Jongheun Lim in honor of Jennifer Drake

Lily Lim in honor of Jennifer Drake

Frances Pope in honor of Julia Pope

Cheryl Blackerby in honor of Lauren Blackerby

Pam Guschausky in honor of Lauren Blackerby

Martin and Elaine Mayo in honor of Martin and Elaine Mayo

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

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

Nic Nelson in honor of Phil Gordon

James Lancaster in honor of Sandra Lancaster

Susan Stacy in honor of Susan Eastlake

Anonymous in honor of Virginia Haber

Ann Sandven in honor of Wendy Hartman

Steve Trott in honor of the 25th Anniversary of the Boise Philharmonic Foundation

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JOIN US FOR THE PRE-CONCERT TALK! at the Symphonic Series

SATURDAY’S

@ 6:15 PM SUNDAY’S

@ 12:45 PM

Bring your questions and join us in the hall before the show! Meet our guest artists and the people that make the music happen...

Enter through doors 1 and 3.

ON THE AIR

Wed. @ 2pm | Sun. @ Noon Mon. @ 9am

Boise State Public Radio | 90.3 FM (Music) hosted by musicologist Bradley Berg