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Fall - Winter Season Program

26 27 SEASON

Boise Phil est. 1960

SEASON SPONSOR:

Esther Simplot (Mrs. J.R.)

Join us for Idaho Premieres & American Classics.

EXPERIENCE THE MUSIC Celebrating 66 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 Board of Directors .................................................. 8 Welcome Letter, Brandon VanWaeyenberghe ....... 9 Orchestra Members.............................................. 10 Principal Musicians................................................. 11 Staff & Sponsors.............................................. 12-13 Boise Phil Master Chorale ............................... 14-15 Coda Club & Members...................................... 16-17 Boise Phil Youth Orchestra ............................ 20-21 SYM. 1 - Beethoven's 7th ............................... 23-26 SYM. 2 - The Planets...................................... 31-34 POPS 1 - Elf in Concert ................................... 37-39 Handel's Messiah ........................................... 40-44 2026 Donors & Sponsors................................ 46-48

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............ 51

SEASON PARTNERS:

2026

October 10, 2026

November 14, 2026

October 11, 2026

November 28, 2026

October 11, 2026

November 29, 2026

October 31, 2026

December 18, 2026

November 7, 2026

December 19, 2026

November 8, 2026

December 19, 2026

Symphonic 1 Beethoven's 7th 7:30 pm / Morrison Center

Symphonic 1 Beethoven's 7th 2:00 pm / Morrison Center

Special Event Center Stage 4:00 pm / Morrison Center

Family Concert Boise Philharmonsters 2:00 pm / Centennial H.S.

Symphonic 2 The Planets 7:30 pm / Morrison Center

Symphonic 2 The Planets 2:00 pm / Morrison Center

BPYO Fall Concert 12:00 & 3:30 pm / Borah H.S.

Symphonic 3 Elf in Concert 7:30 pm / Morrison Center

Symphonic 3 Elf in Concert 2:00 pm / Morrison Center

Holiday Favorite Handel's Messiah 7:00 pm / Cathedral of the Rockies

Holiday Favorite Handel's Messiah 2:00 pm / Cathedral of the Rockies

Holiday Favorite Handel's Messiah 7:00 pm / Cathedral of the Rockies

Welcome

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

Lauren McLean Hello and welcome to the 2026-2027 season of the Boise Philharmonic. Over the past year, the Boise Philharmonic has served as the City of Boise’s official Cultural Ambassador, and what a fantastic year it has been! From celebrating America’s 250th birthday to welcoming over 60,000 guests at performances across the city last season—Boise Phil has a clear and dear mark in our community. As Boise’s premier professional orchestra, with a history 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 resilience of the community we serve. Now, in their 66th year, I am pleased to share that this season will feature renowned guest artists from across North America and a Grammy Award winning pianist. This year, we can also look forward to the live orchestra performance of Elf the film in concert and Idaho’s premiere of Heroes: A Video Game Symphony. 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 Boise Phil Youth Orchestra, along with smaller performances at local libraries and community events reflect a true commitment to making the arts more accessible to everyone. We are so fortunate to have such creative and talented performers in Boise, and I’m excited to celebrate their artistry with you throughout the season. Mayor Lauren McLean City of Boise

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2026/27 SEASON

PARTICIPATING WINERIES:

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Special tasting experiences Invitations to select intimate performances by Boise Phil ensembles A season-long opportunity to explore Idaho wine Get Your Passport with an Additional $100 Donation

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Welcome Welcome to the Boise Phil’s 2026–27 Season!

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

Eric Garcia

This year, we explore masterpieces by a wide range of musical voices, from Sibelius, Holst, Elgar, and Schoenberg to many others. We are thrilled to welcome an exceptional roster of guest artists, including violinist Timothy Chooi for Sibelius’ introspective Violin Concerto; pianists Fei-Fei and Michelle Cann, performing Beethoven and Gershwin, respectively; and cellist Julian Schwarz, who joins us for Jennifer Higdon’s new Cello Concerto—continuing the Boise Phil’s ongoing exploration of Higdon’s music. The Boise Phil Master Chorale joins us for Bruckner’s monumental Te Deum, while musicians of the Boise Phil Youth Orchestra join us for Dvořák’s celebratory Carnival Overture. Our symphonic season concludes with Jessie Montgomery, Copland, and Gershwin in a program devoted to American music. Beyond our symphonic concerts, we hope you will join us for Elf in Concert and Handel’s Messiah, which bring two very different traditions to the holiday season; Heroes: A Video Game Symphony; and a tribute to the iconic Music of Led Zeppelin. This season also marks another year serving as Boise’s Cultural Ambassador, a role that reflects the work we do onstage, in schools, and through programs across the Treasure Valley. We are honored to continue finding ways to bring music into the lives of people throughout our community. There’s much ahead this season, and I can’t wait to experience it with you in the hall.

Eric Garcia Music Director Boise Philharmonic

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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 EC TO RS OFFICERS Jerry Sturgill, President Peaches Chilanga, Vice President Megan Bennett, Treasurer Laura White Barton, Secretary DIRECTORS Anne Hay, Past President Phyllis Barker Aaron Bell Jeannette Bowman Nicolette Clark Don Collins Wendy Creighton Ridgley Denning Phil Gordon Kay Hardy Dr. Brian Hodges Phil Jensen John Knochel Bob Law Diane Kay Minnich Christine Neuhoff Sujana Regmi-Schuler Peggy Ann Rupp, MD David Westergard ADVISORY DIRECTORS Candy Hua Kelsey Gooden Shelby Marker Krystal Patel Emma Bronwyn Schwarz 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 Martin 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 & 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 2026–27 Season with the Boise Philharmonic! On behalf of our board, musicians, and staff, it is our pleasure to welcome you to this concert. This past year, as the City of Boise's Cultural Ambassador, we've seen firsthand what happens when a community shows up for its orchestra. Our audience grew by nearly 2,000 tickets sold — from 23,323 to 25,260 — and an average of 40% of attendees at every concert were new faces. Our sold-out Home Alone in Concert performances welcomed roughly 3,800 people, more than a third of them children and students, many experiencing live symphonic music for the first time. We brought chamber music into libraries across Boise, Meridian, and Nampa, and hosted our second Family Concert at the Brandt Center in Nampa — proof that when we open more doors, more of Boise walks through them. And this summer, we celebrated our proudest moment yet: our first-ever Fourth of July concert with the City of Boise, where 30,000 of our neighbors gathered together to celebrate America's 250th birthday. Sharing that evening with so much of our community, under fireworks and live orchestral music, was an achievement we will carry with us for years to come. Wherever you find yourself this season — in your seat, at a concert, at a musical moment shared with your community — we hope you feel it too: the way music brings us together, lifts us up, and offers a little hope and solace when we need it most. 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. 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 9

Orchestra Members John Fawcett, Concertmaster Langroise Fellow

Linda Kline Assistant Principal Jennifer Drake

Sponsored by Anne & Bob Hay

John Fawcett Concertmaster Langroise Fellow

Geoffrey Hill Principal Second Violin

Chris Ammirati Principal Bass

Allison Emerick Principal Flute

Patty Katucki Principal Bassoon

Brian Vance Principal Horn

Adam Snider Principal Tuba

Brandon Lim Principal Percussion

Emily Jones Principal Viola

Philip Kettler Principal Cello Langroise Fellow

Lauren Blackerby Principal Oboe

Carmen Izzo Principal Clarinet

John Kilgore Principal Trumpet

Alex Artale Principal Timpani

Michael Maier Principal Trombone

Del Parkinson Principal Piano

Staff 12

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

Emily Mahon Director of Development Mallory Walker Individual Giving & Partnership Manager Parker Pratt Marketing Manager Krista Arroyo Development Operations & Patron Services Coordinator Melissa Wilson Librarian & Licensing Manager

Lauren Folkner Repertory & Strings Music Director, Boise Phil Youth Orchestra

Emily Jones Library Assistant

Erin Paradis VP & General Manager

Savannah Butler Education Manager

Christal Holmes Chief Financial Officer

Julia Tan Orchestra Personnel Manager

Timothy O'Donnell Director of Marketing & Communication

Mike Harris Operations Manager Louis McFarland Equipment Coordinator

26/27 Sponsors

SEASON SPONSOR Esther Simplot (Mrs. J.R.) SERIES SPONSORS Anonymous Nancy & Bill Barkell Anne & Bob Hay Mike & Connie Lyon Peggy Ann Rupp CONCERT SPONSORS Richard & Mary Frasch Anne & Bob Hay ICCU Idaho Rivers United & Williams Companies J.R. Simplot Company Foundation Inc. Kay Hardy & Gregory Kaslo Mike & Connie Lyon Robert & Patricia Rietveld Peggy Ann Rupp Jeanie & Ken Smith St. Luke's Health Systems Kris & Jerry Sturgill Steve S. & Carol Trott Legacy Society Bob Law & Mikel Ward Women's Leadership Circle COMMUNITY & CHAMBER CONCERT SPONSOR Kim Wegener GUEST ARTIST SPONSORS Anonymous Julie Kilgrow Mike & Connie Lyon The Sturgill Family Thelma Shear Park Memorial Fund in the Idaho Community Foundation Peggy Ann Rupp SHEET MUSIC SPONSORS Ridgley Denning Dr. John & Lois Kloss Kyle Rietveld Elizabeth & Eric Schneider

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, I am delighted to welcome you to our 51st season. With a full roster of 99 members, including 30 newly accepted singers, we are grateful for the opportunity to share a remarkable season of choral and orchestral music with audiences throughout the Treasure Valley. We begin with the distinct honor of being showcased on the Idaho American Choral Directors Association Fall Conference’s Gala Concert. We will perform Giselle Wyers’ The Lips of the Sky, a newly composed multi-movement work that 17 of our members recently performed at Carnegie Hall. Our season continues in November at the Morrison Center with two exciting projects. First, the BPMC sopranos and altos will join the Boise Philharmonic for performances of Holst’s The Planets. Later that month, a select ensemble from the BPMC will perform Elf in Concert, bringing the holiday film to life alongside the orchestra. Begun in 1975, our annual performances of Handel’s Messiah remain one of BPMC’s most cherished traditions. We are honored to continue offering this beloved work to our community each Christmas season. This year’s performances will take place December 18th & 19th at Cathedral of the Rockies. In the spring, our full symphonic chorus returns to the Morrison Center for Bruckner’s monumental Te Deum. We conclude the season with a select ensemble performing Heroes: A Video Game Symphony, a concert experience that brings the music and storytelling of video games to life through orchestra and chorus. The beauty of a large choral ensemble comes from many individual voices working together to create something greater than any one singer could create alone. We are grateful to share that collective artistry with you! Whether you have been attending our performances for decades or are joining us for the first time this season, thank you for being part of the BPMC community. Dr. Richard Hutton Music Director Boise Philharmonic Master Chorale 14

Handel's Messiah feat. BPMC December 18, 7:00 pm December 19, 2:00 & 7:00 pm Cathedral of the Rockies, Boise, ID

Master Chorale Celebrating 51 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 99 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 Stephanie Benischek Rachel Booth-Raburn Merri Carr Autumn Craig Nancy Cuoio Ridgley Denning April Flake Jessica Graika-Krzemien Amanda Halverson SueClaire Hebert Sharon Helppie Lisa Hettinger Daphne Huang Sophia Jensen Vicki Kreimeyer Geraldine MacKinnon Emily Mahon Jennifer McGonigal Rachel Miller Heidi Naylor Lydia Nissen Izzy Pedersen Maggie Reis Sally Robertson Julia Rundberg Ashley Sayler

Emily Schauer Lola Schiess Kayla Schrader-Downs Alana Seacord Cindy Sharp Kathy Stockton Armida Taylor Coleen Walker Shannon Warner Alicia Weeks Veronica Welter ALTO Jennifer Black Diane Bleazard Lois Chattin Kristin Colburn Leslie Craig Wendy Creighton Marty Dayton Amara Fuhriman Virginia Haber Anne Hay Nicki Hellenkamp Diane Jones Annika Kalac Bianca Kennedy

Bozena Kinalski Ida Larsen Janet Mansinne Carol Martinez Paula Mikkelson Valerie Munoz Beth Newell Cindy Owings Linnea Panther Laura Penney TaeLynn Perez Michele Rowe Karla Shimono Tamara Slajhert Christina Smerick Paula Weitemier Jennie Wilford Patricia Wolter TENOR Louis Bokma Daniel Dyer Daithi Fisher Will Grubaugh Jackson Hart Justin Holland Tim Judy

Alexander Lundquist Stephen March Loren McGinnis Larry Mincer Jeff Powell Hubert Schwarthoff Jason Taylor Paul Turcke Brad Wolf BASS Willis Carr Ken Grover Aaron Hansen Joseph Isaacson Bill Kloppenburg Michael Lynott Fraser Martens Bruce Moberly Paul Navarro Nolan Pinto Shane Robison Peter Steven Allan Wang Van Wright

Behind-the-Scenes Step into our Rehearsal Hall for exclusive behind-the-scenes experiences before the performance with complimentary brunch bites and mimosas. Limited seating, FREE to attend! Reserve your seat to Brunch, and Learn at boisephil.org/brunchandlearn

Step behind the curtain...

SPONSORED BY: • 3100 Cellars • Form & Function Coffee • Gaston’s Bakery

CHECK AVAILABILITY AND RESERVE YOUR SEAT

Your leadership makes extraordinary music possible—and brings you closer to the artists, experiences, and people behind it. As a Coda Club member, you’ll enjoy special opportunities throughout the season, including: • • • • •

Post-concert receptions following Symphonic Series concerts. Members-only events and VIP gatherings. Behind-the-scenes access, including select rehearsals and insider experiences. Opportunities to meet and connect with Boise Phil musicians, guest artists, and Music Director Eric Garcia. The Score, a quarterly donor newsletter with insider stories, special updates, and upcoming donor events.

Join a community of leadership supporters whose generosity helps bring exceptional performances, meaningful music education, and unforgettable artistic experiences to the Treasure Valley. ANNUAL GIFTS & PLEDGES OF $2,500+

Coda Club recognizes Boise Phil supporters who make an annual gift or pledge of $2,500 or more.

Join our community of members today → tickets.boisephil.org/Donations

Memberships

STRADIVARIUS CIRCLE

Mary Abercrombie & Kim Cafferty Kay Hardy & Gregory Kaslo Esther Simplot (Mrs. J.R.)

ORCHESTRA CIRCLE

Anonymous Nancy & Bill Barkell Anne & Bob Hay Mike & Connie Lyon Peggy Ann Rupp

MAESTRO CIRCLE

Kim Wegener

PATRON CIRCLE

AJ & Susie Balukoff Marilyn Beck Ann Peterson Bob & Patty Rietveld Robert & Alice Selder Steve S. & Carol Trott Legacy Society Kris & Jerry Sturgill

BENEFACTORS

Joanne Anderson Jason Bender Richard & Mary Frasch Philip Gordon Julie Kilgrow John & Lois Kloss Mary & Boyd Leavitt Mike Winter & Mona Morrison Jeanie & Ken Smith Jo Ann & Richard Stillinger Bob Law & Mikel Ward Dr. Richard & Jacquelyn Wilson

FOUNDERS

Patrick & Felicity Arnold Angela & Thomas Beauchaine Amie & Brad Bruggeman Ridgley Denning Tess & Jim Emerick Sandra & Brent Fery Tom & Ann French Dee Ann Goulet Dr. John Knochel Vicki Kreimeyer Alexandra Manning Allen Morgan & Patricia McClung Laura & Michael Miller Christine & Philip Neuhoff Tricia Baur & Phil Rogers Marilyn Vickers Dr. Joseph & Pattie Williams

Your generosity makes the music possible. Every gift to the Boise Philharmonic helps sustain extraordinary performances, inspire the next generation of musicians and audiences, and create meaningful experiences for our community. Donors who give $250 or more also receive opportunities to connect more deeply with the orchestra, musicians, and artistic team through exclusive experiences and benefits. For memberships contact Mallory Walker mallory@boisephil.org (208) 748-7990

Given at the Coda Club level as of September 30, 2026.

26 YEARS

boisephil.org/planned-giving

EST. 2000

STEPHEN S. AND CAROL TROTT LEGACY SOCIETY For more than a quarter century, visionary leaders of the Boise Phil have helped safeguard the orchestra’s future through the Boise Philharmonic Foundation. Founded in 2000 with a $1 million gift, the Foundation continues to sustain the music we cherish. The Foundation’s distributions to the Boise Phil total $1,790,324, with an endowment held at the Idaho Community Foundation valued at $3,277,130 as of December 31, 2025. Help carry this legacy forward. Pledge a planned gift to the Boise Phil and join the Stephen S. and Carol Trott Legacy Society, ensuring music enriches our community for generations to come. 18

An Evening of Music, Growth, & a little Magic

April 17, 2027 . The Grove Hotel . Boise, Idaho

The final concert is just the beginning.

An Evening of Music, Growth, & a little Magic

Raffle Closes January 15, 2027

Boise Phil Youth Orchestras Boise Phil Youth Orchestras provide outstanding musical training and performance experiences to over 200 talented young musicians throughout the Treasure Valley. Under the direction of Music Directors, Jennifer Drake & Lauren Folkner, 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 & 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/EDUCATION/BOISEPHILHARMONIC-YOUTH-ORCHESTRA

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! Welcome to the 2026–2027 season! Each fall, we bring together a community of young musicians whose hard work, curiosity, and dedication make BPYO an inspiring place to learn and grow. This season marks an exciting milestone as we welcome Lauren Folkner as our new Strings and Repertory Orchestra conductor. Lauren brings tremendous energy, expertise, and passion for music education, and we are excited for the impact she will have on our students and our program. The success of BPYO is made possible through the partnership of many people. We are grateful to our school music educators and private teachers, whose dedication prepares students to thrive, and to the musicians of the Boise Philharmonic, whose artistry inspires our young performers to reach ever higher. My sincere thanks also go to Music Director Eric Garcia for his steadfast support of our youth orchestra program, the Boise Philharmonic office staff for the countless details they manage behind the scenes, and our wonderful parents and volunteers, whose generosity of time and encouragement make so much of what we do possible. Most of all, we celebrate our students. Their commitment, enthusiasm, and willingness to work together remind us of the extraordinary power of music to connect people and strengthen our community. Thank you for joining us as we celebrate another season of growth, inspiration, and exceptional musicmaking. We look forward to sharing it with you. Jennifer Drake Music Director, Mary Abercrombie Endowed Chair, Boise Philharmonic Youth Orchestra

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BPYO Fall Concert November 14, 2026 at 12:00 & 3:30 pm Borah High School, Boise, ID

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OCT. 10, 7:30 PM • OCT. 11, 2:00 PM • MORRISON CENTER Eric Garcia, Conductor Timothy Chooi, Violin Bedřich Smetana (1824 – 1884) Vltava from Má vlast "The Moldau" Jean Sibelius (1865 – 1957) Violin Concerto in D minor, Op. 47 I. Allegro moderato II. Adagio di molto III. Allegro, ma non tanto Timothy Chooi, Violin

INTERMISSION Ludwig van Beethoven (1770 – 1827) Symphony No. 7 in A major, Op. 92 I. Poco sostenuto - Vivace II. Allegretto III. Presto IV. Allegro con brio Concert Sponsors

Guest Artist Sponsor

Series Sponsors

Sheet Music Sponsor

Idaho Rivers United & Williams Companies Bob Law & Mikel Ward

Anonymous Nancy & Bill Barkell Anne & Bob Hay Connie & Michael Lyon Peggy Ann Rupp

Anonymous

Mike & Connie Lyon

Season Sponsor: Esther Simplot (Mrs. J.R.) 23

Program Notes Bedřich Smetana (1) Born: March 2, 1824, Litomyšl, Bohemia (Czechia) Died: May 12, 1884, Prague Vltava from Má vlast "The Moldau", Duration: 12 minutes Composed: 1874 Instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, triangle, bass drum, cymbals, harp, and strings. Whereas Czech Bohemia had been under Austrian Habsburg rule for centuries, Smetana, "the father of Czech music," pioneered a unique national style independent of German cultural dominance. He was a central figure in the development of Czech-language operas, most notably The Bartered Bride, which was on a successful run by 1874. As principal conductor of Prague’s Provisional Theater, he supported up-and-coming Czech-Bohemian artists such as Antonín Dvořák, whose Third Symphony he conducted in March 1874, much to the initial distaste of Prague's musicians. But in July, Smetana was dealt a brutal blow. While on a duck hunt, he noticed ringing in his ears. By late October, he was completely deaf. Forced to cease his professional activities, he received a modest annual pension from the Provisional Theater in exchange for royaltyfree performances of his operas. Despite the ceaseless ringing, he continued to compose, telling those around him he was "able to imagine each instrument and the dynamic balance quite clearly." He recorded in his diary on October 30th: "I can hear nothing at all. How long will this last! What if I do not get better?" And later: "On the 8th [of December] I completed the symphonic poem Vltava [The Moldau], that is in 19 days." The Moldau (the German name of the river that passes through Prague) was the second of six orchestral movements Smetana wrote under the collective title Má vlast (My Homeland) between 1874–1879. The music traces the converging sources of the river into a unified current, upon which the iconic main theme enters. This soaring melody alone is enough to make The Moldau the best-known poem of the set, but there are several more episodes: we hear hunting music as the river passes through the woods, then it flows by a rustic wedding celebration. A moonlit dance of water nymphs is followed by intense rapids and then a broadening of the flow as it sweeps past the castle rock of Vyšehrad (recalling the theme

Beethoven's 7th of the cycle’s first poem) into Prague before the river disappears over the horizon.

Jean Sibelius (2) Born: December 8, 1865, Hämeenlinna, Finland Died: September 20, 1957, Järvenpää, Finland Violin Concerto in D minor, Op. 47 Duration: 32 minutes Composed: 1903–1904; revised 1905 Instrumentation: Solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. "Evidently a polonaise for polar bears," the musicologist Donald Tovey famously remarked of the last movement of Sibelius's Violin Concerto. In fact, there are as many wild polar bears in Finland as there are grizzly bears in downtown Boise (usually, none). While some might imagine a hardened Nordic outdoorsman pitching his composition tent in the tundra, Sibelius wrote much of his Violin Concerto while sampling the finest champagne and lobsters in the capital of Helsinki. Sibelius became a Finnish cultural hero who gave a musical voice to the nation as it sought political independence from Russia at the turn of the 20th century. Yet it is not Sibelius the patriot but the individual musician who takes center stage in the Violin Concerto. In his late teens and early twenties, he sought to master the violin. Years of study culminated in a failed audition for the Vienna Philharmonic in 1891, when he realized the dream of a performance career was not to be. Biographers commonly interpret the Concerto as Sibelius' last indulgence in the violin as an impassioned, personal vehicle of expression. At the same time it is an emergent work of a highly original symphonic composer. In the words of scholar James Burnett, it is where "the popular and the tough Sibelius meet, try to fuse, but end by remaining rather obstinately apart." The soloist's opening note is beautiful yet independent from its surroundings (a weak-beat G-natural that clashes with the orchestra's D-minor chord). The dissonance lasts only a moment, enough to catch our ears off-guard before the violin embarks on a rhapsodic episode, gradually subsumed and echoed by members of the orchestra. The violin punctuates major sections with solo cadenzas. The main one appears in the middle of the movement rather

Beethoven's 7th than the end, giving the whole an arch-like shape centered around a superheated core. The tender Adagio theme might have been too sappy if not treated by a composer with such a subtle ear for orchestration, which varies at each entrance of the theme. The restless finale begins with the brusque pounding of the timpani (one of Sibelius' favorite coloristic instruments). It has a rustic dance character that is not entirely at odds with Tovey's "polonaise for polar bears" remark. Yet the enduring, widespread popularity of this work may suggest far more universal interpretative possibilities than Finnish stereotypes allow.

Ludwig van Beethoven (3) Baptized: December 17, 1770, Bonn, Germany Died: March 26, 1827, Vienna, Austria Symphony No. 7 in A major, Op. 92 Duration: 38 minutes Composed: 1811–1812 Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. "One of my most excellent works" is how Beethoven advertised his Seventh Symphony to a publisher in 1815, distinguishing it as "grand" compared to the "smaller" Eighth. The latter has no introduction, beginning with its main theme right away. But the Seventh Symphony's main rooms can only be entered through a long introductory passageway. An 1825 listener heard this as the prelude to a wedding celebration: "the double doors of the great hall are opened; the climbing basses and violins . . . [are] the family, who walk about in the hall and arrange things." After roughly four minutes, all the tension releases in the first emphatic theme statement from the whole orchestra.

Program Notes whirlwind finale, finding it to be "astonishing," "chaotic," "riotous," and with one report calling it "a madhouse, in which crazy people were romping around." As opposed to the Fifth Symphony, which is unified by a single motif, each movement of the Seventh has its own rhythmic profile: the skipping gigue in the first, the march-like second, the quicksilver third, and the swirling, perpetualmotion finale. Beethoven conducted the premiere on December 8, 1813, when he was severely deaf. The violinist-composer Louis Spohr recalled its rocky rehearsal; the composer indicated forte by jumping and violently throwing his arms outward, whereas gradations of piano were signaled with increasingly low crouches. At one point Beethoven got off track and went from a low crouch to a ridiculous leap while the orchestra continued playing as quietly as possible. The embarrassing miscalculation was thankfully fixed in time for the performance.

~Written by Bradley Berg (3)

(1)

(2)

The second movement was an audience favorite from the beginning. "It deeply touches even those who are completely uneducated in musical art and carries everything along irresistibly with its naïveté and a certain secret magic," wrote a Leipzig critic in 1816, "So far, its repetition has been enthusiastically demanded at every performance." The dashing Scherzo deceived listeners with trap-door phrases that led nowhere: "Whoever does not smile congenially at this," an 1817 listener wrote, "is to be heartily pitied." Audiences were overwhelmed by the

Artist Bio Timothy Chooi Violin

Internationally acclaimed violinist Timothy Chooi (pronounced “Chewy”) is celebrated for his passionate interpretations, emotional depth, and dynamic stage presence. Praised for “dazzling the audience with a combination of flawless technique and heartfelt expression” (El Informador, Guadalajara), he has appeared with leading orchestras and at prestigious venues worldwide. Beyond the concert stage, Chooi is recognized as a cultural leader, committed to expanding access to classical music through education, outreach, and digital platforms that have reached millions of viewers worldwide. His artistry reflects the traditional roots of Asia, the elegance of European training, and the openness of his North American upbringing—embodying the voice of a 21st-century violinist. A laureate of some of the world’s most distinguished competitions, Chooi won First Prize at the Joseph Joachim International Violin Competition in Hannover, Second Prize at the Queen Elisabeth International Violin Competition in Brussels, and the Yves Paternot Prize from Switzerland’s Verbier Festival. His career has been supported and mentored by luminaries including Pinchas Zukerman and Anne-Sophie Mutter, whose encouragement has helped shape his path as one of today’s leading violinists. Chooi has collaborated with renowned conductors including Gianandrea Noseda, Jukka-Pekka Saraste, Michele Mariotti, Xian Zhang, and Pinchas Zukerman. His orchestral partners include the Deutsches SymphonieOrchester Berlin, Belgian National Orchestra, Royal Philharmonic Orchestra, Royal Liverpool Philharmonic, Wiener Concert-Verein, and Toronto Symphony Orchestra. He made his solo concerto debut at age 16 with l’Orchestre Symphonique de Montréal (OSM), launching a career that has since taken him to Carnegie Hall, the Berlin Philharmonie, Amsterdam’s Concertgebouw, London’s Royal Albert Hall, and Suntory Hall in Tokyo. The 2025–26 season marks a significant milestone in Chooi’s career, highlighted by his debuts with the NHK Symphony Orchestra and Tokyo Symphony Orchestra, as well as a major European tour with the Prague Radio Symphony Orchestra across Munich, Innsbruck, Paris, Antwerp, Eindhoven, Linz, and Prague. Other highlights include Hong Kong’s Generation

Beethoven's 7th Next Arts Festival; concerto engagements with the Calgary Philharmonic and other North American orchestras; and his appointment as Artistic Partner of Wiener Concert-Verein for the 2025–26 season, including a concert at the Musikverein Wien and performances in France. Festival appearances include the Verbier Festival, Toronto Summer Music Festival, and recitals in Vancouver, Brussels, Antwerp, Tokyo, Seoul, Ottawa, and New York City. Chooi’s artistry is widely broadcast and recorded, including collaborations with AnneSophie Mutter and Mutter’s Virtuosi for Deutsche Grammophon, Medici TV features, and appearances on NPO Radio Klassiek (Amsterdam), WQXR (New York), RTBF (Belgium), Swiss Public Radio, CBC Radio Canada, Deutschlandfunk Kultur, and Danish Public Radio. Born in Canada to Chinese-Indonesian parents, Chooi is now Professor of Violin at the University of Ottawa (Canada), where he received the Equity, Diversity and Inclusion in Research Award in 2025. His work emphasizes research in violin performance and classical music as a cultural connector, community engagement, accessibility, and nurturing the future of the violin as a mentor and teacher. Timothy Chooi performs on the legendary 1714 “Dolphin” Stradivarius, once played by the legendary Jascha Heifetz, generously loaned by the Sasakawa Music Foundation. He also plays the 1741 “Titan” Guarneri del Gesù (Canimex Group, Drummondville, Québec) and a 1761 Landolfi violin (University of Ottawa).

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NOV. 7, 7:30 PM • NOV. 8, 2:00 PM • MORRISON CENTER Eric Garcia, Conductor Boise Phil Master Chorale Fei - Fei, Piano Ludwig van Beethoven (1770 – 1827) Piano Concerto no. 4 in G Major, Op. 58 I. Allegro moderato II. Andante con moto III. Presto IV. Rondo. Vivace Fei - Fei, Piano INTERMISSION

Gustav Holst (1874 – 1934) The Planets, Op. 32 I. Mars, the Bringer of War. Allegro II. Venus, the Bringer of Peace. Adagio III. Mercury, the Winged Messenger. Vivace IV. Jupiter, the Bringer of Jollity. Allegro giocoso V. Saturn, the Bringer of Old Age. Adagio VI. Uranus, the Magician. Allegro VII. Neptune, the Mystic. Andante – Allegretto Concert Sponsors

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Anonymous Nancy & Bill Barkell Anne & Bob Hay Connie & Michael Lyon Peggy Ann Rupp

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Program Notes Ludwig van Beethoven (1) Baptized: December 17, 1770, Bonn, Germany Died: March 26, 1827, Vienna, Austria Piano Concerto No. 4 in G major, Op. 58 Duration: 34 minutes Composed: 1805–1806 Instrumentation: Solo piano, flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Beethoven unveiled four of his latest major compositions at a famous December 1808 concert in Vienna. They were, in order of performance: the Pastoral Symphony [No. 6], the Piano Concerto No. 4 in G, the C-Minor Symphony [No. 5], and the Choral Fantasy with piano and orchestra. Beethoven acted as both conductor and pianist (his last public appearance as a concerto soloist). The amount and difficulty of new music staggered the performers, forcing Beethoven to restart the Choral Fantasy midway through. An eyewitness wrote "It is all but impossible to pronounce judgment upon all of these works after a single first hearing . . . which were mostly so grand and long." There was a growing sense that Beethoven's music demanded multiple hearings to be fully appreciated, that is, if it was even adequately performed (less common in those days). Audiences understandably sought new music that, crucially, could please on first hearing. But the labyrinthine first movement of Beethoven's Fourth Concerto approached twenty minutes in length, prompting another critic to write "[it] will be heard many times before we are able to follow it completely and therefore truly enjoy it." Ten years later, in 1818, the Concerto was still very little-known. The Fourth Concerto begins with something not uncommon for its time: a warm up. Pianists in those days did not just launch into their repertoire; they preluded, or improvised, adjusting to the instrument as the audience attuned to the key. The novelty was that Beethoven made this gesture part of a concerto that was threaded into the composition itself. Instead of a standard three-minute orchestral exposition followed by the soloist's highly anticipated entry, we hear an understated G-major phrase in the piano, stunningly followed by the orchestra's response in remote B major. This "disagreement" between soloist and ensemble sets up the entire Concerto's story arc.

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The Pla nets The orchestra has its way first, restarting the exposition as if nothing were out of the ordinary. After its re-entry, the piano gets "stuck" on certain ideas that distract the orchestra from its course. One moment it plays along nicely; the next it detaches to philosophize all by itself, making the ensemble adjust on the fly. The separation is even more apparent in the second movement, where the soloist and orchestra alternate with irreconcilable ideas. The sprightly Rondo finale introduces, for the first time, trumpets and drums. The adversaries once again exchange their individual views, but seem to compromise more and more until reaching an agreement in the final moments.

Gustav Holst (2) Born: September 21, 1874, Cheltenham, England Died: May 25, 1934, London, England The Planets, Op. 32 Duration: 50 minutes Composed: 1914–1916 Instrumentation: 4 flutes (2 doubling piccolo), bass flute, 3 oboes, English horn, bass oboe, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 3 trombones, tenor tuba, tuba, timpani (2 players), percussion, celesta, glockenspiel, xylophone, tubular bells, 2 harps, organ, strings, and offstage women's chorus. "As a rule I only study things which suggest music to me . . . recently the character of each planet suggested lots to me, and I have been studying astrology fairly closely." Around the time of this writing in the early 1910s, Gustav Holst was reading booklets by the so-called "father of modern astrology" Alan Leo. In Leo's philosophy, distinct from the science of astronomy, the positions of celestial bodies at the moment of one's birth determined certain characteristics of that person. Thus someone born under the influence of Mars would demonstrate a headstrong, risk-taking, or militaristic temperament. After two years mulling over the idea of an orchestral suite of “mood pieces” based on the astrological temperaments, Holst sketched out Mars, the Bringer of War in early 1914, finishing the first draft just as World War I broke out. The movement's relentless motion is made more urgent with a five-beat measure, constantly driving forward, with massively dissonant pileups.

Program Notes

The Planets Leo described the Venus temperament as refined and affectionate, associated with beauty, pleasure, the fine arts. Venus, the Bringer of Peace is utterly pristine, with the twinkling of a celesta among wafting flute harmonies and the absence of more assertive trumpets, trombones, and tuba. A person born under Mercury's influence might, in Leo's view, be an ideal novelist, diplomat, inventor, or teacher. It was a thinking, curious temperament. Mercury, the Winged Messenger begins with a scampering motif followed by a more reflective section.

(1)

In Jupiter, the Bringer of Jollity, a brassy cavalcade of horns, trombones, tubas, and trumpets declaims a succession of memorable strains. The astrological Jupiter type is benevolent, hopeful, and socially conscious. A broad, gorgeous tune arises like a hymn from the strings and horns. Holst later named this melody "Thaxted" after the Essex town where he lived and set it to the patriotic British lyrics "I Vow to Thee, My Country." In its popular style and brassy instrumentation, the movement anticipates the film scores of John Williams, who has acknowledged his indebtedness to Holst. Saturn, the Bringer of Old Age is music of patient self-control, of cold, deliberate willpower, even stronger than that of the merely impulsive Mars. Undulating between two chords, it takes time to reveal its full might. Near the middle of the movement we are under its full gravitational pull with the clamor of tubular bells, perhaps as a symbol of passing time.

(2)

The only temperament with a stronger will than Mars and Saturn, according to Leo, is found in Uranus, the Magician. A Uranian has a love of freedom, of exploring new, often eccentric ideas, and Holst's sketch is of a character that cannot be pinned down. Eclectic ideas abound; at one moment the music is strident and proud, the next secretive and mysterious. Holst's biographer Michael Short describes the final burst of sound and rapid decrescendo (fff to ppp in several seconds) as the magician disappearing "in a whiff of smoke." Neptunians are said to be natural psychics, dreamers, and visionaries with great emotional intelligence and imagination. In Holst's time, Neptune was the farthest known planet in the solar system, and Neptune, the Mystic captures a sense of sheer remoteness and isolation. In a move possibly inspired by Debussy's Nocturnes, Holst calls for a female choir chanting wordless strains that disappear into the black void of space.

~Written by Bradley Berg 33 33

Artist Bio Fei - Fei Dong Piano

“Fei-Fei brought both engaging musicality and delightful spoken commentary that showed how vivacious and poetic pianism can create a compelling narrative.” – Cleveland Classical Infusing “intoxicating grace” with “exceptional musicality” and “inconceivable virtuosity,” pianist Fei-Fei Dong conjures an immediate and undeniable connectivity with her audiences (Badische Neueste Nachrichten). Her warm, captivating personality shines through from the moment she steps on stage, bringing joy, passion, and deep musical understanding to concerto, recital, and chamber performances. Able to “convey impressive musical messages from deep within the music with an expressiveness hitherto unheard of” (Swiss Zofinger Tagblatt), she is acclaimed for “superb performance[s] comprised of equal parts power and nuance… compelling” (Lexington Herald Leader). Recent performance highlights include a return to Bravo! Vail Music Festival for its first Beethoven Sonata cycle; debuts with The Florida Orchestra/Rune Bergmann, Delaware Symphony/Michelle Di Russo, Oklahoma City Philharmonic/Alexander Mickelthwate, and New Hampshire Symphony/ Roger Kalia; and a return with Ballet Arkansas for a cross-disciplinary collaboration. Concerto engagements have taken her across the United States and overseas, with repertoire encompassing both the established canon and lesser-represented works, including recent performances of concertos by Florence Price, Clara Schumann, Leroy Anderson, and Xiaogang Ye. Highlights include appearances with the Fort Worth Symphony, Kansas City Symphony, Buffalo Philharmonic, Pacific Symphony, Boise Philharmonic, Aspen Music Festival Orchestra, New York Youth Symphony—with whom she performed at Carnegie Hall and toured Spain—as well as the Pegasus Symphony at Lincoln Center as part of its Rachmaninoff Concertos Marathon. Internationally, she has performed with Canada’s Calgary Philharmonic, Germany’s Rostock and Baden-Baden Philharmonic Orchestras, with the latter as artist-in-residence, and in China with the Shenzhen Symphony, Tianjin Symphony, and Hong Kong Philharmonic. She premiered Shaosheng Li’s piano concerto Behind the Clouds with the China National Symphony at Beijing Concert Hall.

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The Pla nets A dynamic recitalist and passionate chamber musician, Fei-Fei made her recital debuts at Alice Tully Hall at Lincoln Center as the recipient of the William Petschek Recital Award and at Weill Recital Hall at Carnegie Hall as a winner of the Concert Artists Guild Competition. Recent chamber collaborations include performances with cellist JeanGuihen Queyras, violinist Stefan Jackiw, the Harlem and Verona Quartets, and the Merz Trio, with appearances at the Isabella Stewart Gardner Museum and DaCamera of Houston, among others. She is a founding member of the Aletheia Piano Trio, which debuted at the Kennedy Center in 2014 and has performed across the United States and Asia, including a 19city tour of China and performances in Korea with the Gustav Mahler Orchestra under Wilson Ng. Fei-Fei was featured prominently as a Cliburn finalist in the documentary film, Virtuosity, about the 2013 Cliburn Competition, which premiered on PBS in August 2015. Deeply committed to sharing her joy for music and connecting with communities, Fei-Fei frequently engages students and community audiences through school and outreach concerts and masterclasses. Born in Shenzhen, Fei-Fei began piano lessons at the age of 5. She is a graduate of The Juilliard School, where she studied with Dr. Yoheved Kaplinsky, and is now completing her Doctoral of Musical Arts degree at the Manhattan School of Music, where she is mentored by pianist Yefim Bronfman and serves as his teaching associate. She is also on the piano faculty at John J. Cali School of Music at Montclair State University. Fei-Fei is a Steinway Artist.

WOMEN INVESTING IN WOMEN. INSPIRING MUSIC. BUILDING COMMUNITY. The Boise Phil's Women’s Leadership Circle brings together women who share a passion for exceptional music, meaningful connection, and advancing opportunities for women in the arts. Through philanthropy, advocacy, and community, members help support the Boise Phil while championing extraordinary women artists on our stage.

THIS SEASON’S FEATURED ARTISTS FEI - FEI

MICHELLE CANN

The first-ever two-time Women’s Leadership Circle sponsored artist returns to perform Beethoven’s Piano Concerto No. 4 at our November Symphonic Performance.

One of today’s most celebrated pianists joins us for Gershwin’s Piano Concerto in F Major as a triumphant conclusion to our season in our May 2027 Symphonic Performance.

2026/27 WLC Members To Date: Nancy Barkell, Angela Beauchaine, Marilyn Beck, Karin Camp, Ridgley Denning, Sandra Fery, Dee Ann Goulet, Kay Hardy, Anne Hay, Kim Kaine, Vicki Kreimeyer, Margaret Kurtz, Patricia McClung, Caroline Morris, Christine Nicholas, Barrie O'Neill, Kathy Opp, Ann Peterson, Patty Rietveld, Peggy Ann Rupp, Naomi Simmons, Mikel Ward, & Kim Wegener WLC Members make an annual contribution of $1,000 or more. For questions about WLC or to join our circle, contact Emily Mahon, Director of Development | emily@boisephil.org | (208) 718-7031 35

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POPS 1

NOV. 28, 7:30 PM • NOV. 29, 2:00 PM • MORRISON CENTER Shih-Hung Young, Conductor Boise Phil Master Chorale John Debney (b. 1956) Music of Elf Elf in Concert brings the modern holiday classic to the big screen with a live symphony orchestra performing John Debney’s score in synchronization with the picture. Will Ferrell’s Buddy the Elf, the irrepressible Christmascheer spreader, returns to New York for the most joyful live-to-picture event of the season. Brought to you by CineConcerts.

The Boise Philharmonic and Boise Phil Master Chorale bring this memorable score to life, adding the richness and excitement of live orchestral and choral music to Buddy the Elf’s hilarious holiday adventure. From whimsical melodies to sweeping musical moments, the live performance enhances the film’s humor, heart, and unmistakable Christmas spirit, creating an immersive cinematic experience for audiences of all ages. Film screening of Elf courtesy of New Line Cinema / Warner Brothers. ELF and all related characters and elements © & ™ New Line Productions, Inc. All Rights Reserved.

Concert Sponsors St. Luke's Health System

Series Sponsors

Anonymous Nancy & Bill Barkell Anne & Bob Hay Connie & Michael Lyon Peggy Ann Rupp

Season Sponsor: Esther Simplot (Mrs. J.R.) 37

Program Notes

Elf in Concert

CineConcerts is one of the leading producers of live and digital music experiences performed with visual media, and continues to redefine entertainment. Founded by Producer/Conductor Justin Freer and Producer/Writer Brady Beaubien, CineConcerts will engage over 4.8 million people worldwide in concert presentations in over 1,749 performances in 48 countries through 2022, and recently launched CineConcerts +PLUS - a global digital network and app suite with hundreds of exclusive podcast episodes and produced content.

Elf Directed by Jon Favreau Produced by Kent Alterman, Cale Boyter, Julie Wixson Darmody, Toby Emmerich, and Jimmy Miller Written by David Berenbaum Starring:

Will Ferrell James Caan Bob Newhart Edward Asner Mary Steenburgen Zooey Deschanel Music by John Debney Cinematography by Greg Gardiner Edited by Dan Lebental Produced by New Line Cinema & Guy Walks Into a Bar Productions Distributed by New Line Cinema

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CineConcerts continues to work with some of the most prestigious orchestras and venues in the world including the Chicago Symphony Orchestra, Cleveland Orchestra, London Philharmonic, Los Angeles Philharmonic, New York Philharmonic, Philadelphia Orchestra, Philharmonia Orchestra, and more. Recent and current live and digital concert experiences include Elf in Concert, The Pinball Concert (Digital), The Polar Express in Concert, Rudy in Concert, The Passion of the Christ in Concert, The Da Vinci Code in Concert, The Harry Potter Film Concert Series, Gladiator Live, The Godfather Live, It’s a Wonderful Life in Concert, DreamWorks Animation In Concert, Star Trek: The Ultimate Voyage 50th Anniversary Concert Tour, Breakfast at Tiffany’s in Concert, and A Christmas Dream Live. Justin Freer President/Founder/Producer Brady Beaubien Co-Founder/Producer Chief XR Officer / Head of Publicity and Communications Andrew P. Alderete Director of Operations Andrew McIntyre Senior Marketing Manager Brittany Fonseca Senior Social Media Manager Si Peng Worldwide Representation Opus 3 Artists Music Preparation JoAnn Kane Music Service Sound Remixing Justin Moshkevich, Igloo Music Studios

Elf in Concert John Debney

Composer Born: August 18, 1956 Throughout his legendary career, composer John Debney has seen himself in equal demand for holiday classics such as Hocus Pocus and Elf, tentpole films like Iron Man 2, The Jungle Book, and The Greatest Showman, and the powerful epic The Passion of the Christ, for which he received an Academy Award nomination for Best Original Score.

Program Notes Rodriguez, David E. Talbert, Harmony Korine, Kat Coiro, Brenda Chapman, Mel Gibson, Peggy Holmes, the late Garry Marshall, Adam Shankman, Kenny Ortega, and the late Ivan Reitman. In 2005, he became the youngest recipient of ASCAP’s Henry Mancini Career Achievement Award and has since continued to earn numerous honors for his outstanding work.

Known for his sweeping orchestral writing, emotional depth, and genre-spanning range, Debney remains one of Hollywood’s most adaptable and prolific composers. Debney’s key to success is his immense versatility, composing for comedies (Bruce Almighty, Liar, Liar), action (The Gray House, Predators, The Scorpion King), horror (End of Days, Dream House), romance (Marry Me, Valentine’s Day), and family films (Clifford the Big Red Dog, Dora and the Lost City of Gold, Spy Kids: Armageddon, Luck, In your Dreams) with the same confidence and panache. Debney is also known for his work in such films as Princess Diaries 1 & 2, Sin City, Spy Kids, The SpongeBob Movie: Sponge Out of Water and The SpongeBob Movie: Search for Squarepants, No Strings Attached, The Emperor’s New Groove, Chicken Little, I Know What You Did Last Summer, Ice Age: Collision Course, Isn’t It Romantic, Come Away, Jingle Jangle: A Christmas Journey, Home Sweet Home Alone, The Beach Bum and Horizon: An (2) American Saga. Born in Glendale, California, Debney studied music composition at the California Institute of the Arts, and afterward began his career orchestrating and composing scores for Walt Disney Studios and various television series. He won his first Emmy Award in 1990 for the main theme for western series The Young Riders, and has since won three additional Emmy Awards and received nominations for a total of seven, with his latest being Disney+’s smash hit Hocus Pocus 2. Debney has also worked with industry titan Seth MacFarlane on numerous episodes of his sci-fi space series The Orville, utilizing nearly 100-piece orchestras to record his bombastic adventure scores. His first foray into video game scoring—Sony’s 2007 medieval adventure Lair—resulted in a BAFTA nomination and a Best Videogame Score award from The International Film Music Critics Association. Debney has collaborated with acclaimed directors as diverse as Jon Favreau, Kevin Costner, Robert

Handel’s

Dec. 18th & 19th, 2026

Messiah

Concert Sponsor Richard & Mary Frasch

Featuring

51 Years of Music

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

DECEMBER 18, 7:00 PM & DECEMBER 19, 7:00 PM • C.O.T.R. Dr. Richard Hutton, BPMC Conductor Arwen Myers, Soprano Jay Carter, Countertenor Matthew Newhouse, Tenor Christian Pursell, Baritone Boise Phil Master Chorale George Frideric Handel (1685 - 1759)

The Messiah, HWV 56 Part I: The Advent of the Messiah I. Sinfonia II. Accompagnato: Comfort ye my people III. Air: Ev’ry valley shall be exalted IV. Chorus: And the glory of the Lord V. Accompagnato: Thus saith the Lord

XXII. Chorus: And with his stripes we are healed

XI. Chorus: For unto us a child is born

XXIII. Chorus: All we like sheep have gone astray

XII. Pifa: Pastoral Symphony

XXIV. Accompagnato: All they that see him laugh him to scorn XXV. Chorus: He trusted in God XXVI. Accompagnato: He was cut off out of the land of the living XXVII. Air: But thou didst not leave his soul in hell

Recitative: There were shepherds abiding in the fields XIII. Accompagnato: And lo, the angel of the Lord came upon them XIV. Accompagnato: And suddenly there was with the angel XV. Chorus: Glory to God XVI. Air: Rejoice greatly, O daughter of Zion Recitative: Then shall the eyes of the blind open’d XVII. Duet: He shall feed his flock like a shepherd XVIII. Chorus: His yoke is easy, and His burden is light

XXX. Chorus: Lift up your heads XXXVI. Air: Why do the nations so furiously rage together Recitative: He that dwelleth in heaven XXXVIII. Air: Thou shalt break them XXXIX. Chorus: Hallelujah Part III: His Resurrection

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

INTERMISSION

XL. I know that my Redeemer liveth

VII. Chorus: And he shall purify

Part II: The Passion of the Christ

XLI. Chorus: Since by man came death

IXX. Chorus: Behold the lamb of God

XLII. Accompagnato: Behold, I tell you a mystery

XX. Air: He was despised (alto) XXI. Chorus: Surely, He hath borne our griefs

XLIII. Air: The trumpet shall sound XLVII. Chorus: Worthy is the Lamb

Recitative: Behold, a virgin shall conceive VIII. Air & Chorus: O thou that tellest good tidings to Zion Sheet Music Sponsor

Ridgley Denning

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

Handel's Messiah George Frideric Handel Born: February 23, 1685, Halle, Germany Died: April 14, 1759, Westminster, London, U.K. The Messiah, HWV 56 Duration: c. 140 minutes Composed: 1741 Instrumentation: 2 oboes, bassoon, 2 trumpets, timpani, strings, and continuo; SATB soloists and chorus. Composed in just twenty-four days in the summer of 1741 (a regular feat for Handel, helped by his recycling of some older material), the Biblical oratorio Messiah has been performed nearly every year since its Dublin premiere in 1742. The earliest performances were often charitable, with proceeds benefiting prisoners, the ill, and orphans. One of Handel’s last acts was to produce Messiah annually for a London orphanage, to whom he bequeathed the score and parts after his death, ensuring that the tradition could continue raising money for the needy. Thus within its first few decades, Messiah had already become a yearly event. 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 Felix Mendelssohn parts of the liturgical year. During Handel's lifetime, performances(1809 of Messiah typically occurred during - 1847) Lent and HolySymphony Week before No. Easter Sunday. Modern 4 in A Major, audiences tend to think of Messiah as being sung Op. 90 “Italian” by massive choirs, though this is another later invention; in the late 18th century and increasingly into the Victorian age, printed music became widely available for amateur singers, who joined newly formed choral societies in droves and participated in popular concerts with up to several hundred performers. 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 only a few dozen musicians according to the resources on hand. Some composers and arrangers have taken to “modernizing” Handel’s orchestration, as Mozart did in 1789 by reinforcing the wind section.

Program Notes place in secular 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. Handel's oratorios were, in practice, unstaged Englishlanguage dramas, usually on sacred subjects. Messiah is odder still: it has no characters at all, only scripture. The subject may have been a serious Biblical drama, but the audience also expected a good show with flashy, virtuosic singing, and Handel did not disappoint. Unlike operas, oratorios like Messiah did not require sets or costumes; a staged, costumed Christ would in any case have been unthinkable. 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 customarily stand with him. 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 excellent music, meditate on the narrative, ponder the universal themes of joy and sorrow, and spend time with their loved ones.

~Written by Bradley Berg

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

Artist Bios

Arwen Myers

Jay Carter

Matthew Newhouse

Christian Pursell

Praised for her “crystalline tone and delicate passagework” (San Francisco Chronicle), soprano Arwen Myers is “a rare vocalist who’s as comfortable performing early music as she is taking on contemporary works” (Stir Vancouver).

Jay Carter is an acclaimed countertenor known for his clear, belllike sonority and refined musicianship. A versatile interpreter of Renaissance and Baroque repertoire, he has performed throughout North America with conductors including Masaaki Suzuki, Nicholas McGegan, Ton Koopman, John Butt, and Matthew Halls.

Tenor Matthew Newhouse brings evocative storytelling and powerful artistry to concert and historical performance. He has performed across North America and Europe with conductors including Masaaki Suzuki, Grete Pedersen, Yaniv Dinur, Nic McGegan, David Hill, and Christopher Allen.

Christian Pursell is an acclaimed baritone known for his commanding stage presence, powerful voice, and versatility across baroque, bel canto, romantic opera, and musical theater.

Soprano

Countertenor

She has appeared as a soloist with leading ensembles including Portland Baroque Orchestra, Recent engagements Felix Mendelssohn Charlotte Bach Festival, include Bach’s (1809 - 1847) Philharmonia Baroque Weihnachtsoratorium Orchestra, Early Music with Bach Collegium Symphony No. 4 in A Major, Vancouver, and Seraphic Japan, Vivaldi with the Op. 90 “Italian” Fire, among others. Saint Louis Symphony, and Bach’s St. John Upcoming recordings Passion at St. Thomas include Baroque Music Church, New York. Montana’s I Melt in the Sun of Your Beauty Carter is featured on and Philip Glass’s 1000 recordings with Ars Lyrica Airplanes on the Roof Houston, Bach Collegium withINTERMISSION Third Angle New San Diego, The Kingsbury Music. Ensemble, and Yale Schola Cantorum, with Grieg MoreEdvard at forthcoming recordings (1843 – 1907) arwenmyerssoprano.com of El Mesías and Nicolaus Bruhns cantatas. Piano Concerto in A Minor, Op.

Handel's Messiah

He serves on the faculty of William Jewell College. I. Introitus - Requiem

II. Kyrie III. Sequenz Dies irae • Tuba mirum

Tenor

Recent solo highlights include Mozart’s Requiem with the Rochester Philharmonic and Utah Symphony, Handel’s Messiah with Tucson Symphony, and works by Scarlatti, Ethel Smyth, Mendelssohn, and Bach with leading ensembles. An accomplished ensemble singer, Newhouse holds core positions with Fourth Wall Ensemble, The Leonids, and Yale Consort. He champions Icelandic vocal repertoire and holds a Master of Music in Early Music Voice from Yale University. matthewnewhousetenor. com

Baritone

His notable roles include Escamillo in Carmen, Leporello in Don Giovanni, Don Basilio in Il barbiere di Siviglia, Dandini in La Cenerentola, and Falstaff in Salieri’s Falstaff. Recent highlights include his Metropolitan Opera debut in Tosca, the world premiere of Ricky Ian Gordon’s This House at Opera Theatre of St. Louis, and performances with Cincinnati Opera, Opera Philadelphia, Canadian Opera Company, and San Francisco Opera. Pursell holds degrees from the San Francisco Conservatory of Music and University of Cincinnati CollegeConservatory of Music.

Handel’s

Dec. 19th @ 2:00 pm

Messiah Featuring

51 Years of Music

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

DECEMBER 19, 2:00 PM • MESSIAH FAMILY MATINEE • C.O.T.R. Richard Hutton, BPMC Conductor Arwen Myers, Soprano Jay Carter, Countertenor Matthew Newhouse, Tenor Christian Pursell, Baritone Boise Phil Master Chorale George Frideric Handel (1685 - 1759)

The Messiah, HWV 56 condensed to 60 minutes Conductor Speaks I. Sinfonia Tenor Speaks II. Accompagnato: Comfort ye my people III. Air: Ev’ry valley shall be exalted IV. Chorus: And the glory of the Lord

XIII. Accompagnato: And lo, the angel of the Lord came upon them XIV. Accompagnato: And suddenly there was with the angel XV. Chorus: Glory to God XVI. Air: Rejoice greatly, O daughter of Zion Conductor Speaks XXV. Chorus: He trusted in God Bass Speaks XLII. Accompagnato: Behold, I tell you a mystery XLIII. Air: The trumpet shall sound XXXIX. Chorus: Hallelujah Concert Sponsor Richard & Mary Frasch Sheet Music Sponsor Ridgley Denning

Alto Speaks V. Accompagnato: Thus saith the Lord VI. Air: But who may abide the day of his coming VIII. Air & Chorus: O thou that tellest good tidings to Zion Soprano Speaks Recitative: There were shepherds abiding in the fields

This program is supported in part by a grant from the Idaho Humanities Council, a Statebased 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.

MESSIAH AND THE SAINT JOHN’S BIBLE Saint Alphonsus Health System, in collaboration with the Boise Phil, is happy to make this volume of The Saint John’s Bible available for inspiration during performances of Messiah. The page of the Bible on display from the book of the Prophet Isaiah provides a visual to accompany the musical experience of beauty. The magnificent Hallelujah chorus is depicted in the soaring calligraphy and gold of the illumination. The Saint John’s Bible was commissioned by the Benedictine Monks of Saint John’s Abbey in Collegeville, Minnesota, as a gift to the world “to ignite the spiritual imagination” for the new millennium. Using the ancient techniques of quill pens for calligraphy, hand ground pigments and gold leaf on calf skin vellum for the illuminations, a team of calligraphers and artists directed by Donald Jackson in Wales and scholars and artists in Minnesota began the work in 1998. The final page of the 1,100-page, 160-illumination, seven-volume Bible was completed in 2011. The original pages are housed at Saint John’s Abbey in Minnesota. This Heritage Edition is an exact replica of the original and is printed on 100% cotton pages. It is number 112 of the 299 sets throughout the world. Donations to Saint Alphonsus made The Saint John’s Bible possible as a way of enhancing the healing environment of the hospitals. The volumes rotate among the Saint Alphonsus Health System medical centers. For more information locally, please contact the Mission Integration Department at Saint Alphonsus Regional Medical Center, or visit saintjohnsbible.org. 44 44

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FY 2026 Donors

Dr. Joseph & Pattie Williams

FY 2026 INDIVIDUAL DONORS Mike Winter & Mona Morrison $100,000+ Audrie B. & Jason M. Cudahy Esther Simplot (Mrs. J.R.) $50,000 - $99,999 Anne & Bob Hay $20,000 - $49,999 Anonymous Bill & Nancy Barkell Mary Abercrombie & Kim Cafferty Dr. Peggy Ann Rupp Kim Wegener $10,000 - $19,999 A J & Susie Balukoff Marilyn Beck Philip Gordon Kay Hardy & Gregory Kaslo Ann Peterson Robert & Patricia Rietveld Jeanie & Ken Smith Stephen Trott John & Chris Westwater $5,000 - $9,999 Anonymous Joanne Anderson Chad Babcock Jason Bender Dr. Glenn & Glida Bothwell Richard & Mary Frasch Jerralyn Kehne Julie Kilgrow Dr. John & Lois Kloss Carey & Chris Lombardo Geraldine MacKinnon Bruce Moberly Susan Parrish Andrew & Elizabeth Scoggin Robert & Alice Selder Dr. Richard & Jo Ann Stillinger Bob Law & Mikel Ward Dr. Kenneth Weitemier Dr. Richard & Jacquelyn Wilson $2,500 - $4,999 Michelle & Bob Angell Shavonna Case & Dave Armga Felicity & Patrick Arnold Tricia Baur Angela & Thomas Beauchaine Jeannette Bowman Amie Bruggeman Karin Camp Steve Crooks Ridgley Denning Tess & Jim Emerick Karen & Michael Falvey Sandra Fery Sandra Hufsmith Cathleen Hurwitz Teresa Jorgensen Dr. G. Robert & Dorothy Klomp Dr. John Knochel Cecelia & Don Lojek Michael & Connie Lyon Nanci Marquess Michael Miller Mary Monroe Caroline Morris Christine Neuhoff Bonnie Schwartz Lori Shandro Joel A. Slagg Linda & Jeffrey Stengel Eugene Sturgill Sturgill Family Dr. Marilou Terpenning & Terry Hall Fred Thompson

$1,000 - $2,499 Anonymous Nancy & Stewart Alford Suzanne Allen Buzz Beauchamp Fritz Beaumont Aaron Bell Mary & Rod Berkshire Suzi Boyle S.K. Carnie Claude & Susan Connelly Michelle Crawforth Susan & Bill Eastlake Jacquie Elcox James Elliott Vondi Forrester James, Matt, Elliot, Merek & the Kleins Dee Ann Goulet Vicki Gowler Jordan Heller Sylvia Dunkley Hessing Takako & Chris Hirose Ron Hodge Claudia McNair & Kristen Hopper Janell Hyer Susan Judge Michael Kostka Vicki Kreimeyer Margaret & Karl Kurtz Dr. Mary Langenfeld Mary & Boyd Leavitt Marcia & Don Liebich Carol MacGregor, PhD Alexandra Manning Deborra Marshall-Bohrer Thomas J. Katsilometes & Katherine Mathews Allen Morgan & Patricia McClung Don & Gabby McCree John Matthew & Judy McKay Susan & Michael McPeek Steve Mills Jim & Andrea Murray Dale Neuman Christine Nicholas Ellen Ochoa Dr. Lois Ortmann Jim Ovard Arlene Oyer Kathy Peter Jerry Saltzer Myrtle Alice Scott Elliot Sevier Naomi Simmons Adelia Simplot John Sloan Linda & Ray Stark Gregory Taboloff Walter Thode Bob Vestal Shaun Weston Rod & Karen Wiens Michael Womack $500 - $999 Megan Bennett Pixie Bosch Rich Campagna Sharon Christoph Jay Clark Alex Cochrane Jim & Berni Cockey Dr. Paul Collins Bob & Pam Cort Sandra Dawson Kenneth Desserault Walter Donovan William Donovan Dennis Ellis John Ferreboeuf

Clark & Sydney Fidler Gregory Knight & Constance J. Gordon Sharon McQuade Grisham Christian Hamlat Charles Hedemark Peter Hood Marian Hylen Martin Jacobs Lynn Jeffers Shannon Jones Linda & Ron Kerr Mary Lu Keyser Bozena Kinalski Kris Lysne Paul Mayfield Dr. Rhiana Menen Dan Mocuta Mahlon Park Jennifer Peterson Philip Peterson Rick Poplack Patricia Raino Kelly Richmond Jacob & Aliess Robison Gustav Rosenheim Ann & Lars Sandven Pamela Sheldon David Shurtleff Susan Tabb Brenda Tominaga Shirley Van Zandt Chet Walborn Nancy & John Werdel $250 - $499 Anonymous Garrett & Courtney Anderson Jon & Miren Arozamena Dr. Robert & Chantal Atnip Shannon Baltz David & Cindy Bartle Matthew Bell Laura Botimer David Churchill Don & Carol Collins Jane Crane Georgene Delihant Jacqueline Dwight Patricia A. Eisenbarth Claire Fenton Pam Guschausky Emily Mahon & Erik Hagen Dr. Leo Harf Alice Hennessey Karen & Richard Holine John Howell Nancy Iseri Dr. Shelley Jacks Blair & Karren Jaynes Norman Jensen Alex Johnson Phil & Diane Kushlan Jongheun Lim Joan & Lee Lindquist Narvil Lowe Dr. Kathleen Sutherland & Dr. Philippe Masser Cathy Silak & Nicholas Miller Sharon Montgomery Janie Black Morris Sean Murphy Bryan Nelson Lorynn Neser Brenda & Robin Newmann Phil Price Gary Richardson Lisa Bescherer & Bruce Robert Robb Elizabeth Schneider Dr. Patrick & Jolene Schow Edna & Dan Shochat William Jones & Barb Tomasini James Titmus

Elaine Tucker Marilyn Vickers William Yost Marilla Zenner $100 - $249 Anonymous (4) Jacqueline Agenbroad Leah Allan Don & Cindy Anderson Emily & Desmond Anim-Appiah Dr. Stephen Asher Kathy Ayers Jim Fletcher & Kate Barrett Adam Betts Jim & Karen Bird Judy Austin & Don Bott Debra Brew Drs. Autumn & Daniel Bridger Nancy & John Briggs Don & Vicki Burwell Tasha Carlson Greg Carnathan Laura Caruso Patricia & Michael Chakarun Mary Clark Bill Connors Ellie Cook Franklin Cook Patti Copple Eloise Cronin Jennifer Crowell Kathleen & Robert Cummings Nancy & David Cuoio Linda Droker & Paul Dacher Kelly & Evelyn Dame Miriam A. Davidson Teena Dean Carol Delaney Robert Dell Daniel Donegan James J. Dufficy Edith Easterbrook Chloe Edwards David Eichmann Dr. Carl Erling Cornelia Fleming Larry Flynn Beverly Fraser Anne Gardner Christian Petrich & Susan Gelletly Claudia Gelzer Jill Gertje Shirley Hanes Paul Hartl James Hetherington Lisa Hettinger Sue Hicks David Hill Carlyn Hill Dr. David Hume Sidney Hunter Nancy Hunter Randal & Cheryl James Rebecca & David Jauquet Catherine Johansson Elizabeth Kelsey Harold (Hal) Kemp Bonnie Krupp Sandra Kurka James Lancaster Leslie Family James & Carole Linhart Deborah Manning Evelyn & Martin Marzinelli Joan Mattox Elaine Mayo Gwynne McElhinney & Robert McAndrew

David Merrick Sheryl Messinger Sharon DeLong & Donald Mitchell Mark Moore Judith Muoio Shirley & Tom O’Neil Erin Paradis Del Parkinson James Patrick Sandy Penner Sigrid Perrin Peter Petersen Robert Pownall Jenna Raino Ann Ritter Brandon Rosenkoetter Maximilian Rosenkoetter Donna Rowland Cher Sandmire Rochelle Schaetten Janet Sims Bob & Marilyn Smith Dorothy A. Snowball Mary Logan & John Stellberg Paula Stern Elizabeth Swanson Janice & Michael Tancredi Carolyn Thornton Martha & Martin Torres G Turner Cynthia Ulrich Johnson & Lundgreen, P.C. Remy Van Der Put R Vestal Tom Vukdelich Dr. Jon Wagnild Randall Wallace Ellen Wheaton Eric Wilson Zaborowski Family $50 - $99 Anonymous (13) Proshno Achjarya Carol Allen Laurie & Mark Anderson Elizabeth & James Barker Marcia Bleymaier Patricia Foss-Cameron Catherine Chertudi Mary Walker & Justin Cox David Duensing Ellen Elder Elytheia William & Margaret Erickson Wanda & Robert Firman Marilyn Fordham Brenda Foster Ryan Gibby The Haley's Carol Hansow Mary Hill Dale Hinman Sally Howard Christena Isaacs Dr. Ron Jutzy Julie McCandless Robyn McDonnell Carolyn Mitchell Sharon & George Moses Martha Moss Jennifer Anderson & Alex Rice Mary Rich Julia & Carl Rundberg David Schummer Judith Schwartz Emma Schwarz Gwen Thomson Ryan Trail Vance & Marsha Wegner

FY 2026 FOUNDATIONS AND CORPORATIONS $100,000+ Boise Philharmonic Endowment Foundation Inc. Morrison Center Endowment Foundation $50,000 - $99,999 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 Idaho Commission on the Arts J.R. Simplot Company Foundation, Inc. The Laura Moore Cunningham Foundation $10,000 - $19,999 The Bews' Foundation Boise City Department of Arts and History $5,000 - $9,999 Aquarium of Boise Flora of the World Foundation Idaho Central Credit Union St. Luke's Health Systems $2,500 - $4,999 Enterprise Mobility Foundation Fisher's Technology Group One Property Management Idaho Community Foundation Idaho Humanities Council Idaho Power Company Foundation Idaho Rivers United The Whittenberger Foundation $1,000 - $2,499 Anonymous Amphion Foundation Creative West Four J Foundation Paycom Shandro Group Thelma Shear Park Memorial Fund in the Idaho Community Foundation Walmart #2508 $500 - $999 Cencora Foundation Idaho Community Foundation McEachern Morrison Foundation United Way of Treasure Valley Walmart #3094 Walmart #4494 Gifts Below $500 Blackbaud Giving Fund Charities Aid Foundation of America D.A. Davidson & Co. Give Lively Foundation Inc. Micron Technology Foundation Network For Good The Kroger Co. United Way of Treasure Valley

FY 2026 IN KIND

AC Hotel by Marriott/Element by Westin AlphaGraphics Ballet Idaho Bandanna Running & Walking Bardenay Restaurant and Distillery Bark n' Purr Boise Contemporary Theater Boise Co-op Boise Hawks Baseball Club Boise State Public Radio Boise State University Music Department Caesars Entertainment Inc. Camille Marie Photography Chandlers Steakhouse

Cinder Winery Clay by Shay Cottonwood Grille Discovery Center of Idaho District Coffeehouse Edwards Greenhouse Element by Marriott Boise Downtown Esther Simplot Performing Arts Academy Flying M Coffee House Graeber and Company H.M. Cole Custom Clothing Hemlock Hotel 43 Hyde & Seek Idaho Botanical Garden Idaho Shakespeare Festival Lotus Boise Corp/The River Meriwether Cider Co Mixed Greens Northwest Nazarene University Opera Idaho Proletariat Wine Company Radiant Waxing Residence Inn by Marriott - Downtown Boise Roaring Springs Water Park Ruth's Chris Steakhouse Saltbrush SCHEELS Telaya Wine Co. The Flicks Trader Joe's Veer Wine Project Vine Wine Shop & Lounge Vr1 Arcade

HOUSING HOSTS

Phyllis & Brad Barker Marilyn Beck Marcia Chatalas Marty Dayton & Dave van Gorder Ridgley Denning Susan & Bill Eastlake Judy Ellis Allison Emerick Theresa Ensign Lauren Folkner Phil Gordon Anne & Bob Hay Fred & Sue Hebert Jackie Jansen Renuka & Anil Kapoor Belinda & Steve Keating Vicki Kreimeyer Jon & Kim Krutz Joanne Lighty Emily Mahon & Erik Hagen Nanci Marquess Doug & Nonie McWhorter Ginni Neil & David Cornell Rene & Kristy Ramirez Louise Rogers Julia & Carl Rundberg Dr. Peggy Ann Rupp Jolene & Patrick Schow Connie & Jerry Schroeder Karen & David Shropshire Tammy Siverson Chuck & Mary Slaughter Paula Stern Peter & Alison Steven Mikel Ward Noreen Womack

*Donations made between; Jun. 1st, 2025 - Jun. 30th, 2026

2026 Honor/Memorial

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

STEPHEN S. & CAROL TROTT LEGACY SOCIETY MEMBERS

Mary Abercrombie & Kim Cafferty 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

2026 HONOR/MEMORIAL Anonymous – In honor of Apollo, Magnificent God of the Lyre Anonymous – In memory of Marsha Grace Maughan Laurie & Mark Anderson – In memory of John Barnet Adam Betts – In memory of Larry & Carol Speir Kelly & Evelyn Dame – In honor of Sylvia Atchley David Eichmann – In honor of Dave & Iola Brubeck Anne Gardner – In memory of Sylvia Atchley Pam Guschausky – In honor of Lauren Blackerby Shirley Hanes – In memory of Grant S. McCracken Carol Hansow - In memory of Sylvia Atchley Dr. David Hume – In memory of Virginia Hill & Marguerite Hume Alex Johnson – In honor of Stephanie Johnson James Lancaster – In honor of Sandra Lancaster Jongheun Lim – In honor of Jennifer Drake Deborah Manning – In memory of David Manning Don & Gabby McCree – In honor of Philip Kettler David Merrick - In memory of Keith Taylor Jim & Andrea Murray – In honor of The Boise Phil Trombone Section Shirley & Tom O’Neil - In memory of Sylvia Atchley Phil Price – In memory of Jo Price Paula Stern – In memory of John Baldwin Brenda Tominaga – In honor of Bella Colberg & Josh Gendron Stephen Trott – In honor of the 25th Anniversary of the Boise Phil Foundation Johnson & Lundgreen, P.C. – In memory of Sharon Bancroft Remy Van Der Put - In memory of Sylvia Atchley John & Chris Westwater – In honor of Eric Garcia

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NEW! Experience SHOWCASE LIVE! An Exclusive Boise Phil Member Benefit New this season in collaboration with KBOI and KBSU. Contact Mallory Walker, Mallory@boisephil.org to learn more.

The PRE-CONCERT TALK at the Symphonic Series Saturday at 6:15 PM | Sunday at 12:45 PM Free with your ticket! Curiosity Required!

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New Episodes Wednesday at 2 PM Reruns Sunday at Noon | Monday at 9 AM

51 51

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March 7–14, 2027

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EXPERIENCE THE CHAMBER SERIES Boise Phil, up close. Experience our musicians in small ensembles, with music that invites you to listen a little closer. Three distinctive concerts. Limited seating. Every ticket $22. By popular demand, we’re welcoming more listeners to our Chamber Series this season, with expanded seating for our second and third concerts. The opening concert remains limited to just 200 seats.