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Boise Philharmonic 2016-2017 SEASON

one baton seven conductors one fabulous season

Art is at the heart of a healthy community.

A healthy community is physically, emotionally, and economically fit. Our vibrant arts community makes people feel something deep down. And a community that feels better, is healthier.


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Music Director Search Committee 2016-2017 Season Calendar Boise Philharmonic Foundation The Orchestra 2016-2017 Roster Boise Philharmonic Master Chorale Dr. Jim Jirak, Music Director Letter from the Chairman of the Board & the Executive Director Board of Directors & Staff Explore Music! Backstage with the Artist Musically Speaking Classical Series 1 Classical Series 2 Classical Series 3 Classical Series 4 - Holiday Pops Classical Series 5 Classical Series 6 Classical Series 7 Classical Series 8 Chamber 360ยบ Music Series Boise Philharmonic Youth Orchestra Donors & Sponsors





is music


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The Idaho Statesman is a proud supporter of the arts community and is pleased to sponsor the Boise Philharmonic’s 2016-17 season.

Thank you Boise Philharmonic for entertaining, educating and inspiring the Treasure Valley.




BAM-BW Annual Manual Ad 2014-2015.indd 1

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BAM-BW Annual Manual Ad 2014-2015.indd 1

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The Search for a new Music Director ~ We all have a part to play! The Boise Philharmonic’s quest for new artistic leadership is spearheaded by the Music Director Search Committee. The Committee is comprised of 6 musicians chosen by the orchestra from within its ranks, plus 6 board members and other community leaders. Over 200 applications were received from conductors across the United States and from 22 countries around the world. The Committee carefully screened these applications, and after an extensive winnowing process, the 7 finalists were chosen. During every candidate’s week in Boise, they will be intensively interviewed and assessed by the orchestra, chorale, Philharmonic staff, members of the audience, and the Search Committee itself. As an audience member, you can provide feedback on each conductor by completing the printed ballot inserted in the program book, or online at, or by using your smart phone to click on the QR graphic below. We have 7 amazing and gifted Music Director candidates. The choice between them will not be easy, but with everyone’s input the Philharmonic will welcome its new Music Director for the 2017-18 season! Members of the Music Director Search Committee Stephen S. Trott & Jeanie Smith, Co-Chairs John Barnet Anne Hay Danial Howard Carmen Izzo Dick Riley Phyllis Saunders Bill Shaltis Ken Stokes Geoffrey Trabichoff Brian Vance Ex-Officio Julie Kilgrow, Board Chair Mary Abercrombie, BPA Foundation Chair Sandra Culhane, Executive Director Anthony Boatman, Consultant


Share your opinion... Because we value your opinion and privacy, we will not publish your comments without your prior approval.

SEASON SPONSORS Please join us in thanking these Season Sponsors

Dr. Christopher Davidson & Sharon Christoph d

Howard & Dottie Goldman d

The Honorable Stephen & Carol Trott


2016 - 2017 Season Calendar Aram Demirjian CLASSICAL SERIES

September 2016 30th 12:00 pm

Backstage with the Artist ESPAA 7:00 pm Musically Speaking NNU Brandt Center


8:00 pm Boise Phil Classical #2 Michelle Merrill, conductor Caroline Goulding, violin The Morrison Center



3:00 pm Boise Phil Classical #3 Keitaro Harada, conductor Kevin Cole, piano NNU Brandt Center


8:00 pm Boise Phil Classical #1 Aram Demirjian, conductor Andrew von Oeyen, piano NNU Brandt Center

October 2016 1st 7:00 pm

Musically Speaking The Morrison Center 8:00 pm Boise Phil Classical #1 Aram Demirjian, conductor Andrew von Oeyen, piano The Morrison Center

21st 12:00 pm

Backstage with the Artist ESPAA 7:00 pm Musically Speaking NNU Brandt Center 8:00 pm Boise Phil Classical #2 Michelle Merrill, conductor Caroline Goulding, violin NNU Brandt Center

22nd 7:00 pm

Musically Speaking The Morrison Center



9th 8:00 pm

Boise Phil Classical #4 Holiday Pops Troy Quinn, conductor with BP Master Chorale NNU Brandt Center

10th 8:00 pm

Boise Phil Classical #4 Holiday Pops Troy Quinn, conductor with BP Master Chorale The Morrison Center

January 2017 29th 11:00 am

Chamber 360º Series #1 BP String Quartet St. Michael’s Cathedral

November 2016

19th 11:00 am

Chamber 360º Series #2 BP Brass Quintet First Presbyterian


December 2016

1st 7:00 pm

Boise Phil Youth Orchestra Fall Concert The Morrison Center

21st 11:00 am

Chamber 360º Series #3 BP Woodwind Quintet St. Michael’s Cathedral

12th 12:00 pm

Backstage with the Artist ESPAA 7:00 pm Musically Speaking The Morrison Center 8:00 pm Boise Phil Classical #3 Keitaro Harada, conductor Kevin Cole, piano The Morrison Center

13th 2:00 pm

Musically Speaking NNU Brandt Center

27th 12:00 pm 2nd 8:00 pm

Handel’s Messiah Case Scaglione, conductor with soloists and BP Master Chorale St. John’s Cathedral

3rd 8:00 pm

Handel’s Messiah Case Scaglione, conductor with soloists and BP Master Chorale St. John’s Cathedral

Backstage with the Artist ESPAA 7:00 pm Musically Speaking NNU Brandt Center 8:00 pm Boise Phil Classical #5 Alastair Willis, conductor Joachin Achúcarro, piano NNU Brandt Center


28th 7:00 pm

Musically Speaking The Morrison Center 8:00 pm Boise Phil Classical #5 Alastair Willis, conductor Joachin Achúcarro, piano The Morrison Center

February 2017 6th 7:00 pm


18th 7:00 pm

Musically Speaking The Morrison Center 8:00 pm Boise Phil Classical #6 Andrés Franco, conductor Edgar Moreau, cello The Morrison Center



8:00 pm Boise Phil Classical #7 Eric Garcia, conductor David Kim, violin The Morrison Center

18th 5:30 pm

Annual Gala at JUMP


25th 11:00 am

Chamber 360º Series #4 BP Master Chorale First Presbyterian

Silent Movies with Orchestra Deanna Tham, conductor Ben Model, organ The Egyptian Theater

17th 12:00 pm

Backstage with the Artist ESPAA 7:00 pm Musically Speaking NNU Brandt Center 8:00 pm Boise Phil Classical #6 Andrés Franco, conductor Edgar Moreau, cello NNU Brandt Center


8th 7:00 pm

Musically Speaking The Morrison Center 8:00 pm Boise Phil Classical #8 Alexander Mickelthwate, conductor with soloists and BP Master Chorale The Morrison Center


Boise Phil Youth Orchestra Winter Concert NNU Brandt Center

11th 8:00 pm

Alexander Mickelthwate

March 2017 10th 12:00 pm

Backstage with the Artist ESPAA 7:00 pm Musically Speaking NNU Brandt Center 8:00 pm Boise Phil Classical #7 Eric Garcia, conductor David Kim, violin NNU Brandt Center

11th 7:00 pm

Musically Speaking The Morrison Center

25th 11:00 am

Chamber 360º Series #5 College of Idaho Langroise Trio St. Michael’s Cathedral

April 2017 7th 12:00 pm

Backstage with the Artist ESPAA 7:00 pm Musically Speaking NNU Brandt Center 8:00 pm Boise Phil Classical #8 Alexander Mickelthwate, conductor with soloists and BP Master Chorale NNU Brandt Center

22nd 11:00 am

Chamber 360º Series #6 BPO & BSU Graduate Quartet St. Michael’s Cathedral

May 2017 1st 7:00 pm

Boise Phil Youth Orchestra Spring Concert The Morrison Center


Subscriber Benefits Music Director Search - Add your voice and vote for your favorite conductor from our candidates. Reserved Seating - Being a subscriber puts you first in line for the best seats and automatically saves you up to 38% off single ticket prices. You will receive the highest priority in choosing the best seats available, long before they go on sale to the general public. Plus, you can keep your seats year after year! Preferred Parking - Why worry about parking? As a full season subscriber in Boise, you will receive preferred, surface lot parking located steps away from the Morrison Center. Symphony Savings - Bring a guest and they will enjoy 10% off any concert. FREE Single Ticket - Receive one free single ticket to any Classical Series Concert. Flexibility - Always on the go? We offer subscribers many easy options to exchange tickets with no additional fees. Ticket Recycling - If you cannot attend, notify us by 5pm Thursday prior to the concert and we will provide a receipt for a charitable contribution.

Connect with Us... Visit our website to purchase tickets and find concert information. Learn more about our education programs, the history of the Boise Philharmonic, and much more! 516 S 9th Street Boise, ID 83702 (208) 344-7849

Flex 4 & 5 Packages Enjoy the flexibility of choosing a concert package tailored to your schedule and interests. Hand pick four or five concerts from our Classical Series (Holiday Pops excluded), and receive many of the same benefits as full season subscribers!

Single Tickets Single tickets are available to purchase by calling 344-7849. NEW! Go online to and choose your seat.

2017-2018 Season Subscription Renewals begin in February 2017. Available by phone or online 10

Take our survey... Scan this QR code and take our online survey and tell us about your experience with the Boise Philharmonic. Your feedback is valuable and allows us to improve the concert experience. You can also find the survey on our website.

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The Boise Philharmonic Foundation Securing the Future of Artistic Excellence The Boise Philharmonic Foundation was created in 2001 as a vehicle to support the Boise Philharmonic’s mission and the orchestra. Beginning with a single gift of $1 million, the value of the Foundation’s Endowment Fund, which is currently managed by the Idaho Community Foundation, stands at $1.7 million. During its existence, the Foundation has distributed a total of $580,000 in yearly gifts to the Association. The Foundation now has over $2 million in pledges and planned giving commitments from generous supporters who have designated the Philharmonic as beneficiaries of their wills or estates. To join this community effort by making a contribution or a pledge, please contact our office at (208) 344-7849 or email The Board of Directors of the Association and the members of our orchestra and chorale extend sincere appreciation to our contributors whose commitments serve as a lasting cultural legacy.

Boise Philharmonic Foundation Board Mary Abercrombie, President Gary Peterson, Vice President Steve Trott, Secretary/Treasurer A.J. Balukoff Bill Drake Larry Hunter Renee Malewski Amber Myrick John Stedman Julie Kilgrow (Ex Officio) Sandra Culhane (Ex Officio)

A Special Thank You to Our Endowment Contributors Mrs. Mary K. Abercrombie Richard & Darlene Adams Mr. Don Anderson Cecil Andrus Thomas & Marilyn Beck Thomas Bennett K.O. Blickenstaff Anthony Boatman Walter & Alice Bodie Glenn & Glida Bothwell Suzi Boyle & Michael Hummel The Estate of Nancy Brown Robert & Jacquelyn Burns Phil & Margaret Carroll Kevin Cole Jerry & Janet Conley Brian & Wendy Den-Herder Mr. & Mrs. Mark Dunkley

The Very Rev. & Mrs. Martin Dwyer Wade Eller Constance Farmer Mr. & Mrs. Richard Fields Mr. Robert Franz Stephen & Barbara Garman Mr. & Mrs. Richard Hackborn Richard & Loretta Halling George & Bev Harad Tom & Alice Hennessey Mr. & Mrs. Larry Hunter Kay Hardy & Gregory Kaslo Dr. & Mrs. Fred Helpenstell Robert & Laura Higley Danial Howard Charles & Calista Hummel Cynthia Jenkins Mr. & Mrs. George H. Juetten



Mr. Jim Kelly Stephen & Mary Keto Mrs. Francis J. Kopp Jerry Lillge Don & Jane Marrs D & K Carringer Matthews Robyn Wells McDonnell Cecilia Merz RC & JB Moon Dorothy Morland Martha Mullins Patrick & Barbara Myhre Genevieve & Ward Orsinger Dick & Susan Parrish Gary & Ann Peterson Mr. & Mrs. Philip Peterson James M. Quinn, D.O. Richard & Daryl Sallaz The Saturday Fortnightly Club


Barbara Scott J.R. Simplot Foundation (Esther Simplot) Joel A. Slagg Ken & Jeanie Smith William & Sharon Stack John & Linda Stedman Kent & Barbara Sullivan Hazel & John Thornburgh The Honorable Stephen & Carol Trott Kathy Troutner Judith Voth Norman Waugh Mr. & Mrs. Bill Weiler Wilbur & Ellen Wheaton Larry & Marianne Williams Nancy & David Zelnick



a will, a codicil can be an addendum to include the Symphony in your estate plans.

Please consider including the Boise Philharmonic (unrestrictive support) or the Boise Philharmonic Foundation (endowment) in your estate plans through a bequest. You will be supporting the future of fine classical music in the Treasure Valley! Without giving up assets during your lifetime, you can make a gift to the Boise Philharmonic through a bequest in your will for a specific amount, a percentage of your estate, or the remainder after other obligations are fulfilled. If you already have

JOIN THE BOISE PHILHARMONIC FOUNDATION Please let us know if you include the Boise Philharmonic in your estate plans, and you will automatically become a member of the Boise Philharmonic Foundation! Enjoy special events for members and help secure the future of the orchestra! (Please consult with your financial planner or legal counsel as you proceed with your estate planning.)


Thank you! Champion’s Fund Donors Please join the Boise Philharmonic Association, Board Members, Orchestra Members, Chorale Members, and Staff in expressing our gratitude to the following people for their support and generous donations to the Champion's Fund to help ensure the organization's financial stability. Mary Abercrombie AJ & Susie Balukoff Mike & Joan Boren Glenn & Glida Bothwell Suzi Boyle & Michael Hummel Phil & Margaret Carroll Bill & Sandra Culhane Bill & Leslie Drake Martin & Becky Dwyer Michael & Patty Fery Jack Gjording & Trudy Fouser Howard & Dottie Goldman Bob & Anne Hay Doug & Carole Heimforth Don & Iris Hendrickson John & Margaret Janzen JR Simplot Company Foundation

Julie Kilgrow & Alan Gardner Lawrence & Kaye Knight Dr. John Knochel Ward & Renee Malewski Dick & Susan Parrish Gary & Ann Peterson Dr. James Quinn Jodi Reynolds Richard & Susan Riley Dr. Peggy Rupp Andrew & Elizabeth Scoggin Esther Simplot Ken & Jeanie Smith Ray & Linda Stark Stephen & Carol Trott Mike Winter & Mona Morrison



The Orchestra

Violin I



Geoffrey Trabichoff ^ (19)

David Johnson * (24)

Chia-Li Ho ** (2)

Lindsay Bohl ** (5) John Cochrane (50) Jennifer Drake (16)

Chris Ammirati * (1) Daniel Ball (5) Patric Pulliam (13) Roberta Jo Smith (35) Brenton Viertel (9)

Concertmaster & College of Idaho Langroise Fellow Associate Concertmaster

Katherine Jarvis *** (1)

College of Idaho Langroise Fellow

Sponsored by Elizabeth Stearling Assistant Concertmaster Marcia von Huene + (23) Sponsored by Donald & Iris Hendrickson Sponsored by Ann Sutton

Dawn Douthit = (23) Lauren Folkner (1) Brookann Hessing (11) Michaella Pape (3) Phyllis Saunders (20) Kathy Stutzman (37) Anna-Marie Vargas (9) Anne Wolfe ~ Violin II Geoffrey Hill *= (5) Paula Stern ** (32) Julia Rice ***+ (41)

Sponsored by John & Linda Stedman

Heather Calkins (20) Katherine Dickeson (15) Debra Ellis (18) Jessica Harned Erin Held Anna Iyerusalimets (5) Janette Kurz + (13) Holly Lawrence Molly McCallum (12)

Sponsored by Gary & Ann Peterson

DaNece Lyman ~


Linda Kline Lamar (6)

Sponsored by Donald & Iris Hendrickson

Aurora Torres = (6)

Sponsored by John Matthew & Judy McKay

Laura Von der Heide (44) Emily Jones ~ Cello Ned Johnson *+ (34)

Sponsored by AJ & Susie Balukoff

Samuel Smith * (24)

College of Idaho Langroise Fellow

Micah Claffey ** Melaney Johnson ***+ (42)

Sponsored by Honorable Stephen & Mrs. Carol Trott

Lisa Cooper (12) Kyla Davidson (9) Doug Lawrence (32) Leslie Mandigo (21)

Sponsored by John & Linda Stedman

Stephen Mathie (13) Heidi Nagel (13) Julia Pope (14) Kyle True ~

Flute Allison Emerick *

Sponsored by Julie Kilgrow & Alan Gardner Jessica Polin = (3)

Karlin Coolidge + (19) Oboe Peter Stempe * (31)

Sponsored by Sus Helpenstell

Nicole Golay + (5) English Horn

Lindsay Edwards + (10)

Sponsored by Doug & Carole Heimforth

Clarinet Carmen Izzo * (1) Christina Lee (6) Bass Clarinet Shandra Helman (5) Bassoon Patty Katucki * (34) Janelle Oberbillig (34)



Donovan Schatz (14)

John Baldwin * (44) Kelley Smith (28)

Horn Brian Vance * (5)


Lori Roy (2) Philip Kassel ** (7) Mark Givens (11)


Sponsored by Sondra & George Juetten

Del Parkinson* (28) Matthew Tutsky* (6)

Key ^ Concertmaster * Principal ** Associate Principal *** Assistant Principal + On Leave ~ BSU Quartet †Assistant = Orchestra Committee (#) Years of Service

Trumpet Brad Peters * (24)

Sponsored by Mrs. Mary Abercrombie

James Smock ** (2) Brendan Grzanic (5) Trombone

George Turner * (28) Kensey Chellis + (5) Bass Trombone Danial Howard (10)

Sponsored by Carter Marsden

Tuba Adam Snider * (1) Timpani Bill Shaltis * = (5)

Sponsored by Bill & Martha Weiler


As a Boise Philharmonic Chair Sponsor, you show your support and recognize the efforts of the musicians who provide your community with live classical music. You are also ensuring the artistic excellence of your orchestra by providing reliable and ongoing funding. Many chair sponsors have developed close relationships with the musicians they underwrite. Chairs may be sponsored for one or more years or in perpetuity and may recognize the donor or honor a family member or friend. Each sponsor will be honored with a listing in the season program, special VIP invitations, and on the Boise Philharmonic website.

Chair Sponsorships & Endowments Music Director $10,000 Concertmaster $5,000

Principal Chair $2,000 Section Chairs $1,500 15


Master Chorale Dr. James Jirak, BPMC Music Director

James Jirak has been the Artistic Director/Conductor of the Boise Philharmonic Master Chorale since 1996. He is an Associate Professor of Music at Boise State University, where he teaches courses in Choral Music Education and directs the award-winning BSU Vocal Jazz Ensemble. Jirak also co-directs the annual Hymns of Thanksgiving Chorus and Orchestra. Dr. Jirak holds a Bachelor of Music Education degree from Colorado State University, a Master of Music degree in Voice Performance from the University of Wyoming, and a Doctor of Arts degree in Choral Conducting and Jazz Studies from the University of Northern Colorado. In addition to conducting, Jirak has performing experience ranging from studio and jazz singing to opera and musical theatre roles, as well as ballet and modern dance. He has performed as a vocal soloist on the BSU Faculty Artist Series and in January of 1997 he performed Mendelssohn’s “Elijah” in Carnegie Hall as a member of the Festival Chorus under the direction of Mr. Robert Shaw. An active clinician, guest conductor, and adjudicator, Dr. Jirak’s professional memberships include the Music Educator’s National Conference, the National Association of Teachers of Singing, and the Idaho and Boise Jazz Societies. He is also a Life Member of the American Choral Directors Association. A native of Nebraska, he began his teaching career in Teton County, Wyoming, where he taught music to all grades (K-12, both vocal and instrumental) for eleven years.

SOPRANO Joanne Anderson Penny Brooks Chelsea Cammann Nancy Cuoio Tammy Duthie Erin Eadington Sarah Edvalson Sue Claire Hebert Sharon Helppie Lisa Hettinger Jan Hurst Vicki Kreimeyer Beth Layton Ruth Manthey Yvonne McCoy Cathy McCrea Cady McGovern Megan Mueller Heidi Naylor Deena Oppenheim Jennifer Lea Petritsch Rachel Raburn

Julia Rundberg Lola Schiess Alana Seacord Connie Shepson Stephanie Shepson Kathy Stockton Armida Taylor Alicia Trakas Helen Watts Cheryl Zollman

ALTO Diane Campbell Lois Chattin Stacie Cheney Cheryl Davidson Tamara Dizdarevic Anne Hay Cindy Hayes Laural Hildebrand Betsy Hoefer Julie Hurdman Rebecca Irwin Lohrea Johnson Lana Jutzy

Amy Krutz Ida Larsen Michele Lee Vicke Lee Moira Lynch Karen Midkiff Leta Neustaedter Kathryn Nicholas Brianne Nolte Laura Penney Sue Phillips Kathy Pick Ami Rumble Jana Schaffeld Colleen Scovill Regina Seubert Nathalie Simpson Alison Steven Tatyana Wahlman Mary Jane Webb Paula Weitemier Natalie Whiting Amy Wickstrom Patsy Wolter



Don Anderson David Czerepinski Dale Donahue Paul Goldy Aaron Hansen Ron Johnson Harold Keech Otis Kenny Darrell Ludders Ralph Lyons Chris Machado Stephen March Steve Maughan Thomas Paul Bob Pitts Hubert Schwarthoff Wally Tuck

Robert AndrewsBryant Brian Bailey Chris Binion Don Boyer Joey Bunn Leon Collins Brian Dickson Alan Gardner Ken Grover Douglas Haines David Hayes Jon Krutz Mike Lynott Bruce Moberly Bob Pownall Brian Shepson Korey Smitheram Marvin Stallcop Peter Steven Gordon Watkins Richard Wilson Taylor Wood Cody Woody


From the Chairman of the Board of Directors and the Executive Director

This is an exciting year for the Boise Philharmonic! The 57th season begins a new chapter for our organization as we launch the search for our next Music Director who will lead the orchestra into the future. We are truly appreciative of the support of our audience and invite you to be part of the search process by attending our concerts and providing your honest feedback. Since February of 2016, a search committee comprised of members of the board, orchestra, and chorale, chaired by Steve Trott and Jeanie Smith, and assisted by Tony Boatman, have been involved in an intense search for our new Music Director. After a lengthy process of interviews, we feel that we have a group of very talented candidates to present to you. Each is a shining star, and every one of our conductors and soloists is eager to perform for you. We invite you to complete the audience surveys as your input is a vital piece of the final decision. We hope that you will enjoy each of our concerts this season and share with us your comments and views about each of our candidates. We are proud of the excellence that our musicians in the orchestra and the chorale provide in every performance, whether in our Nampa and Boise concert halls, or at our schools, senior centers and veteran’s homes with smaller ensembles, and as participants in the pit of Ballet Idaho, Opera Idaho, Idaho Shakespeare Festival, or Morrison Center events. At the core of our mission is the music, and we are proud to present the music in many different forms and faces. Music is the cornerstone of our culture, bringing joy, beauty, and relevance to our lives. It is important for those of us who love this art form to ensure its continuity. We are continually seeking new ways to expand our reach in the Treasure Valley. Look for us in new venues – listen to us on the Boise State and Spokane Public Radio Stations. And please continue to let us know that we matter to you through your generous donations and attendance at our performances. As we enter this new era for the Boise Philharmonic, we have an energized board, a talented staff, an accomplished orchestra, a dedicated group of volunteers, and of course you, our very supportive audiences in Boise and Nampa. We look forward to One Baton, Seven Conductors, and One Fabulous Season, filled with wonderful pieces of music that we all love and hope they will provide new musical experiences for everyone to enjoy. Let the music begin! Musically Yours,


Julie Kilgrow, Chairman of the Board of Directors Sandra Culhane, Executive Director

Board of Directors & Staff Staff

Board of Directors

Past Presidents

Sandra Culhane Executive Director

2016-2017 Julie Kilgrow Chairman Jeanie Smith Vice Chairman Ray Stark Secretary Renee Malewski Treasurer Sandra Culhane Executive Director

Ray Stark, 2014-2015 Bill Drake, 2012-2014 John Stedman, 2008-2012 Larry Hunter, 2007-2008 Jeanie Smith, 2005-2007 Don Hendrickson, 2004-2005 Dr. Fred Helpenstell, 2003-2004 The Honorable Stephen S. Trott, 1999-2003 Jeff Lebens, 1997-1999 Kaye Knight, 1996-1997 Richard Fields, 1994-1996 Richard Roller, 1991-1994 Virginia Vanderpool, 1990-1991 Tom Snediker, 1989-1990 Marilyn Beck, 1987-1989 Nancy K. Vannorsdel, 1984-1987 C Eugene Sullivan, 1982-1984 James F. Stull, 1981-1982 John L. Runft, 1979-1981 Edith Miller Klein, 1977-1979 Wilbur Elliot, 1976-1977 Alyce Rosenheim, 1973-1976 Terence O’Rouarke, 1972-1973 Charles Hummel, 1971-1972 John W. Frink, 1968-1971 George Sterk, 1967-1968 Clay Wilcox, 1965-1967 Clair Johnson, 1964-1965 Jerome Beeson, 1963-1964 Michael Thometz Jr., 1962-1963 Paul Ennis, 1960-1962

Joanne Anderson BPMC Administrator Cameron Brizzee Patron Services Manager Roger Cole Marketing Manager Matthew Crane Orchestra Personnel Manager & Director of Education Dale Hartwell Development Coordinator Garrett Holmes Stage Manager Gordon Hynes Director of Finance Jim Jirak Music Director, BPMC Doug Lawrence Orchestra Librarian Nickie Shell Patron Services Admin Anna Ward Stage Crew Melissa Wilson Operations Manager, Marketing & Development Associate The Honorable Stephen Trott Program Annotator

Charlotte Borst Dr. Glenn Bothwell Suzi Boyle Shavonna Case Dr. Joseph (Pete) Daines Becky Dwyer Patty Fery Doug Flanders Jack Gjording Anne Hay Margaret Janzen Dr. John Knochel Carter Marsden Christine Neuhoff Joey Perry Jordan Salo, CPA Dave Sherman Brandon Snodgrass Ken Stokes David Wali Orchestra Representatives Geoffrey Hill Aurora Torres Jessica Polin Chorale Representative Cady McGovern

Board Members Emeritus Mary Abercrombie Marilyn Beck Bernice Comstock Pam Lemley Nancy Rae Richard Roller Alyce Rosenheim Esther Simplot Carolyn Terteling The Honorable Stephen S. Trott


Boise Philharmonic

Music education for young people has been integral to the Boise Philharmonic’s mission since its founding. The Philharmonic music education programs strive to inspire students by helping them develop high-level active listening skills and enhancing their knowledge of great music. Education programs are generously offered free of charge by funding through grants and donations. Boise Philharmonic Youth Orchestra The Treasure Valley’s premiere youth performance program pulls its membership from the most talented local young musicians. Members are accepted through auditions, maintain a rigorous rehearsal schedule, and perform a three concert season, while being mentored by the principal musicians of the Philharmonic. All young musicians also have the chance to participate in a variety of chamber ensembles that have the opportunity to play at concerts and events in the Treasure Valley. Musicians in the Classrooms Under this program our fourteen principal players visit every second grade classroom throughout the Treasure Valley. Each classroom “adopts” its own musician, who leads the students in an interactive program that teaches them active listening skills timed to coincide with the development of their cognitive abilities. Master Classes with Guest Artists Guest artists scheduled to perform with the Boise Philharmonic will share their talents and experiences with the Boise Philharmonic musicians, university students, and community from around the region through free classes. Verde Percussion The Percussion Ensemble of the Boise Philharmonic performs four concerts in Boise and the Treasure Valley for approximately 2,900 students in grades K-8. Free Children’s Concerts A series of free concerts for approximately 14,000 students in grades 3-6 from schools in the Treasure Valley. The concerts are performed at the Morrison Center in Boise and at the Brandt Center in Nampa. The Philharmonic sends lesson plans, biographical information


on composers, instrument and music terminology, and an assortment of musical games and quizzes to be used in classrooms by teachers to prepare their students for the Children’s Concert. Ensembles in the Schools An educational outreach program that takes the Philharmonic’s String Quartet, Woodwind Quintet, and Brass Quintet into schools free of charge in Boise, the Treasure Valley, and central/southern Idaho for performances and interactive music education from October through April. Conductor in the Schools This program sends out Music Directors and Guest Conductors from the Boise Philharmonic into Treasure Valley schools with orchestras, bands, or choirs to provide master classes for young musicians. Students are then offered free admission at an upcoming subscription concert that same week, inspiring their talent and ambitions. Senior Series Members of the Boise Philharmonic Orchestra and Master Chorale travel to retirement homes, assisted living facilities, veterans' homes, and low-income meal sites to perform for seniors who (due to physical constraints, lack of transportation, or price barriers) otherwise would not be able to experience the joy of symphonic music.

The Explore Music! Programs are generously sponsored by: Ann & Gordon Getty Foundation Boise Dept. of Arts and History Gladys E Langroise Trust Idaho Commission on the Arts Idaho Community Foundation Jeker Family Trust John William Jackson Fund Laura Moore Cunningham Foundation Micron Foundation Morrison Center Endowment Foundation Northwest Nazarene University Saint Alphonsus

"Backstage with the Artist" is a FREE series giving you an up-close and personal experience to our upcoming concert. An educational discussion with guest artists, composers, and musicians offering a glimpse into their talents and experiences. Please join us on each of the following dates from noon to 1:00 pm upstairs at the Esther Simplot Performing Arts Academy. Spend an hour with us and enjoy a stimulating conversation with our guest conductors and musicians as they discuss the music to be performed.

September 30, 2016 October 21, 2016 November 11, 2016 December - no event January 27, 2017 February 17, 2017 March 10, 2017 April 7, 2017

Beginning one hour before each Classical Series concert (except Holiday Pops) in Nampa and Boise, Jamey Lamar leads a special pre-concert conversation that will give you insights into the music and music-makers you will hear on the program, as well as the stories behind the composers and time period.

FREE to ticket holders Concert Fridays* 7:00 p.m. NNU Brandt Center

Concert Saturdays 7:00 p.m. Morrison Center

*Our November concert will be held on Sunday at 3:00 pm with Musically Speaking beginning at 2:00 pm. There will be no Musically Speaking for December concerts.


Be Part of the Boise Philharmonic

Conductor's Circle Your combined annual donations of $5,000 and over put you in an elite group! You will enjoy.... • Special receptions giving you the opportunity to personally meet each of the candidates for Music Director! • Attend rehearsals!

Our benefits are designed to enhance your enjoyment of the Philharmonic, and say “thank you” for your investment in our orchestra.

Subscription to the Boise Philharmonic e-newsletter

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Season long recognition in Season Program

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Invitation for two to attend a Boise Phil rehearsal


Support e ($100-$ r 499) Patron ($500-$ 999)

Donor Benefit Levels

Founde r’ ($1,000 s Club -$1,499 ) Musicia n ($1,500 ’s Circle - $2,499 ) Conce rtmaste r’ ($2,500 -$4,999 s ) Condu ct ($5,000 or’s Circle -$9,999 ) Benefa c ($10,00 tor’s Circle 0 and u p)

• Attend the announcement of our New Music Director!

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Invitation to post concert receptions (Boise only)

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VIP parking for Boise concerts

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Four tickets to a future concert (if available)

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Invitation to a special Donor Experience

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Attend rehearsal, seated on stage or in audience (Boise)

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Invitation for a special event with our Candidates

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VIP pass - tickets to Chamber 360° concerts

Recognition on full page in Season Program

Classical Series 1 Aram Demirjian, conductor Andrew von Oeyen, piano

September’s concert generously co-sponsored by

Mike & Patty Fery and Gardner Company Venue Sponsor

Endowment Foundation


Hotel Sponsor

Piano Sponsor

Radio Sponsor

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September 30 | October 1, 2016

Aram Demirjian, conductor Andrew von Oeyen, piano Antonin Dvorák (1841 – 1904) Scherzo Capriccioso, Op. 66 Allegro con fuoco Pyotr Ilyich Tchaikovsky (1840 – 1893) Piano Concerto No. 1 in B-flat minor, Op.23 1. Allegro non troppo e molto maestoso 2. Andantino semplice 3. Allegro con fuoco

Andrew von Oeyen, piano Intermission

Michael Schachter (b.1987) “Five – Six – Seven – Eight” 1. Five 2. Six 3. Seven 4. Eight Igor Stravinsky (1882 – 1971) L’Oiseau de Feu (The Firebird Suite) 1. Introduction 2. Ronde des princesses 3. Danse infernale du roi Kastchei 4. Berceuse Scan the QR Code to see more information about tonight’s concert, answer concert trivia, and leave feedback about tonight’s performance.



Aram Demirjian, conductor

When I began programming this season-opening concert, I was intent on marking such a festive occasion with some musical fireworks! While there are few pieces that can match the grandeur of Tchaikovsky's Piano Concerto No. 1, fellow Russian composer Stravinsky's Firebird is one of them. Stravinsky once said that the memory of Tchaikovsky "strengthened [his] desire to become a composer." In Firebird, Stravinsky created a showcase of musical and compositional range that the elder composer would have been proud of, beginning with the low murmurs of the bass and cello section, ending in one of the most triumphant finales in the symphonic world, and covering everything in between. Firebird represented a monumental step forward in the evolution of Russian ballet, and it was this idea of dance and musical evolution that led me to program a phenomenal new piece, Five... Six...Seven...Eight..., by my close friend, Michael Schachter. This "musical love letter to dance" captures everything that I love about Michael's musical mind (and about music in general!): inventiveness, diversity of musical styles and a commitment to creating beauty. And to round out this dance-mix of a program, I added a personal favorite of mine, Dvorak's Scherzo capriccioso, an extended Slavonic romp that is just pure, unfiltered musical fun.

Aram Demirjian is a dynamic emerging leader on the American musical landscape. Known for his “zeal and fresh perspective” (KC Metropolis) and “confident and expressive style” (Kansas City Star), Demirjian bridges the musical traditions of the past with the cultural appetites of the present, forging a magnetic rapport with audience members of all ages and backgrounds and creating inspiring musical experiences in both familiar and progressive concert formats.

the concert hall experience with thematic programming, narration, visual effects, musical demonstrations and audience interaction. These programs have garnered effusive praise for their fun, casual atmosphere and diverse repertoire selection, attracting thousands of firsttime and long-time patrons and earning the recognition of such organizations as 21cm Magazine, which featured the series as its January 2016 “POP Pick,” and the New World Symphony’s New Audiences Initiative.

In May of 2016, he was named Music Director of the Knoxville Symphony in Tennesse. Demirjian’s 2016/17 season also includes multiple return engagements with the Louisiana Philharmonic, debuts with the Corpus Christi Symphony, Fresno Philharmonic and Illinois Symphony, and his European debut on the Lausanne Chamber Orchestra’s Dominicales series, which features rising conductors of the next generation. Demirjian also is a frequent cover conductor with the Boston Symphony, where he has assisted Andris Nelsons, Christoph von Dohnányi, Manfred Honeck and others.

In addition to his orchestral performances, Demirjian showcases his versatility in a variety of special projects. In 2014, he was featured as a guest artist in the Tanglewood Music Center’s Festival of Contemporary Music. He has collaborated with his alma mater, Harvard University, on two unique interdisciplinary events: Witness, a commemoration of the ratification of the Human Rights Accord, where he conducted Yo-Yo Ma and members of the Silk Road Ensemble in Dimitri Yanov-Yanovsky’s Night Music: Voices in the Leaves; and Whitman: Composed and Considered, a performance and conversation with John Adams, Harvard President Drew Faust and Professor Helen Vendler, where Demirjian conducted Adams’ The Wound Dresser. Equally comfortable in the opera pit as on the podium, in 2010 Demirjian produced, directed and conducted a charity performance of Mozart’s The Marriage of Figaro in collaboration with Partners in

In his four years as Associate Conductor of the Kansas City Symphony (KCS), Demirjian conducted over 200 performances. Among his most substantial achievements, he was instrumental in designing and launching Classics Uncorked, a widely acclaimed series that presents weeknight classical concerts, enhancing



Share your opinion... Health: Symphonic Relief for Haiti, and he also has conducted productions of Bernstein’s Candide and Copland’s The Tender Land. Demirjian was recently among seven conductors selected by renowned maestro Bernard Haitink as an active participant in the exclusive 2016 Haitink Masterclass at the Lucerne Easter Festival, where he was the only American in the class. A sincere believer in music’s capacity to empower, inspire and enrich, Demirjian is involved in a substantial breadth of education activities and initiatives for all ages. With the KCS, he programmed, scripted and conducted

Andrew von Oeyen, piano Hailed worldwide for his elegant and insightful interpretations, balanced artistry and brilliant technique, Andrew von Oeyen has established himself as one of the most captivating pianists of his generation. Since his debut at age 16 with the Los Angeles Philharmonic and Esa-Pekka Salonen, Mr. von Oeyen has excelled in a broad spectrum of concerto repertoire with such ensembles as the Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco Symphony, National Symphony, Detroit Symphony, Cincinnati

2016 | 2017 SEASON education concerts for nearly 45,000 elementary school students annually. Demirjian was one of only two conductors in the inaugural class of the distinguished Orchestral Conducting program at New England Conservatory, where he earned his Master of Music. He also holds a Bachelor of Arts, cum laude, in music and government from Harvard University, where his conducting career began with a two-year appointment as music director of the Harvard Bach Society Orchestra. His primary teachers and mentors include Hugh Wolff, Robert Spano, Larry Rachleff and Michael Stern.

Symphony, Geneva Chamber Orchestra, Spoleto Festival USA Orchestra, Slovenian Philharmonic and Slovak Philharmonic. As both soloist and conductor he has led concerti and orchestral works by Haydn, Mozart, Beethoven, Ravel and Kurt Weill. On July 4, 2009, von Oeyen performed at the U.S. Capitol with the National Symphony in “A Capitol Fourth,” reaching millions worldwide in the multi-award winning PBS live telecast. Mr. von Oeyen’s 2015/16 engagements included, among others, appearances with the Mariinsky Theater Orchestra in St. Petersburg, Prague Philharmonia, Chicago’s Grant Park Festival Orchestra, Detroit Symphony, and Winston-Salem Symphony. He also appears in recital throughout the US and in Europe and records a concerto album with the Prague Philharmonia. In 2013 Mr. von Oeyen released a critically acclaimed album of Debussy and Stravinsky piano works under the Delos Label (including two pieces written for him by composer, David Newman), following his 2011 awardwinning album of Liszt works under the same label. 2013 also saw the release of the Chopin-Debussy-Ravel digital album “Andrew von Oeyen: Live in Recital.” Mr. von Oeyen, of German and Dutch origin, was born in the U.S. He began his piano studies at age 5 and made his solo orchestral debut at age 10. An alumnus of Columbia University and graduate of The Juilliard School, where his principal teachers were Herbert Stessin and Jerome Lowenthal, he has also worked with Alfred Brendel and Leon Fleisher. He won the prestigious Gilmore Young Artist Award in 1999 and also took First Prize in the Leni Fe Bland Foundation National Piano Competition in 2001. Mr. von Oeyen lives in Paris and Los Angeles.


program notes Antonin Dvořák September 8, 1841 – May 1, 1904 Scherzo Capriccioso Dvořák believed that great art music must grow organically from the healthy soil of mature folk music, not from failed marriages, physical infirmities, battles with the cosmos, or other human travails. He became the champion of Czech music, fluently and effortlessly transforming the sounds of his people into classical fare. In this respect, he was quickly branded as a “nationalist composer,” a style much in vogue in Europe between 1850-1900. In the New World, we were compositionally mired in Old World models, mostly from Germany and Austria. This situation did not sit well with a wealthy handful of American patrons of serious music who believed we should stop imitating and borrowing from Europe and develop instead music that reflected our own national character. So, Jeanette Thurber, the wife of a wealthy wholesale grocer, founded in New York City in 1888 the “National Conservatory of Music” and set out to find someone who could lead her Conservatory in a search for a distinctive American style of serious music. If you were looking in 1890 for a big name, who knew how to write music of a national character and was not stuck in the German tradition, who might come to your attention? Antonin Dvořák, for sure. Mrs. Thurber then set out to recruit Dvořák to her cause, but at first he declined the offer, not wishing to leave his beloved homeland. But when she offered him a salary of twenty times what he was earning in Prague, he accepted and soon boarded a ship for America. When he arrived in New York, Mrs. Thurber turned him over to a music critic, James Huneker, to show him the city. This is Huneker’s memory of their day together: “Old Borax, as Dvořák was affectionately called, was handed over to me by Madame Thurber when he arrived. Rather too jauntily I invited him to taste the American drink called a whiskey cocktail. He nodded his head, that of an angry-looking bulldog with a beard. He scared one at first with his fierce Slavonic eyes, but he was as mild a mannered man as ever scuttled a pupil’s counterpoint. I always spoke of him as a ‘boned pirate.’ At each bar we visited, Doc Borax took a cocktail. I left him swallowing his nineteenth. ‘Master,’ I said, ‘don’t you think it’s time we ate something?’ He gazed at me through those awful


whiskers which met his tumbled hair half-way, ‘Eat. No. I no eat. We go to a Houston Street restaurant. We drink the Slivovitch. It warms you after so much beer.’ I never went with him. Such a man is as dangerous to a moderate drinker as a false beacon is to a shipwrecked sailor. When I met Old Borax again, I deliberately dodged him.” Three years later, Dvořák became homesick for Bohemia and returned to great acclaim. Dvořák’s Scherzo Capriccioso is an eclectic orchestral showpiece, a spirited way to start our new season. His Czech/Bohemian cultural roots shine through this colorful tour de force. It features almost every rhythm and meter in the symphonic textbook, keeping the orchestra and the conductor on their musical toes. The piece begins with a lively horn fanfare, unexpectedly pulled up short by a somber response from the strings. The winds quickly part those dark clouds, however, and we are back in the sunshine where Dvořák treats us to a delightful folk-inspired open-air waltz. The second time we hear the ebullient horn fanfare, the bass clarinet jams on the brakes. No wonder Dvořák called this piece a “capricious joke.” Scherzo in Italian means joke – but not the funny kind. As used in music, it generally means playful and lighthearted. Beethoven used it to render obsolete the courtly polite minuet employed in the classical symphonic form. Enjoy! This may be the only time you’ll ever hear the bass clarinet get the best of the horns. Pretty sophisticated for a “boned pirate.”

program notes Pyotr Ilyich Tchaikovsky May 7, 1840 – November 6, 1893 Piano Concerto No. 1 in B-flat Minor Tchaikovsky completed this jewel in 1875. Before its premiere, however, it suffered an unexpected reception from one of the composer’s close friends and collaborators, Nicolai Rubenstein, the director of the Moscow Conservatory. Tchaikovsky recounted the story in a letter to his patron, Nadezhda von Meck. “In December 1874 I had written a piano concerto. As I am not a pianist, it was necessary to consult some virtuoso as to what might be ineffective, impracticable, and ungrateful in my writing. I must mention that some inner voice warned me against the choice of Nicolai Rubinstein as a judge of the pianistic side of my

composition. Nevertheless, I decided to ask him to hear the work and give me his opinion on the solo part. “I played the first movement. Not a single word, not a single comment! If you knew how stupid and intolerable the situation of a man is who cooks and sets a meal before a friend, a meal the friend then proceeds to eat – in silence! Oh for one word, for friendly abuse even, but for God’s sake, one word of sympathy, even if it is not praise! But Rubinstein was preparing his thunderbolt. I did not want judgment on the artistic value of the piece: what I needed was comment on pianistic questions. R’s silence was eloquent. ‘My dear friend,’ he seemed to be saying, ‘how can I speak about details when the whole thing is so repellent?’ I summoned all my patience and played through to the end. Still silence. I stood up and asked, ‘Well?’ “Then a torrent poured from Nicolai Gregorievich’s mouth, gentle to begin with, but growing more and more into the sound and fury of Jupiter Tonans. My concerto, it turned out, was worthless and unplayable – passages so fragmented, so clumsy, so badly written as to be beyond rescue – the music itself was bad, vulgar – here and there I had stolen from other composers – only two or three pages were worth preserving – the rest must be thrown out or completely rewritten. ‘Here, for instance, this – what’s all that?’ (Caricaturing my music on the piano). ‘And this? How could anyone . . .’ etc., etc. But the chief thing I can’t reproduce: the tone in which all this was uttered. “I was not just astounded but outraged by the whole scene. I am no longer a boy trying his hand at composition and I no longer need lessons from anyone, especially when they are offered so harshly and in such a spirit of hostility. I need and shall always need friendly criticism, but this was censure, indiscriminate, and deliberately designed to hurt me to the quick. I left the room without a word and went upstairs: in my agitation and rage I could not have said a thing. Presently Rubinstein joined me and, seeing how upset I was, asked me into one of the other rooms. There he repeated that my concerto was impossible, pointed out many places where it would have to be completely revised, and said that if I reworked the concerto according to his demands, then he would do me the honor of playing this thing of mine at his concert. ‘I shall not alter a single note,’ I replied. ‘I shall publish the work exactly as it stands!’ And this I did.” The majestic opening three minutes of this masterwork features one of the most famous melodic themes Tchaikovsky ever wrote. The full orchestra presents it, the piano then develops it, both reprise it, and surprisingly the theme never returns. But mark my words, you may find yourself humming it on the way home, it’s that memorable.

program notes Michael Schachter September 8, 1987 Five-Six-Seven-Eight It took Gustav Mahler an hour to express it, but Michael Schachter succeeded in just eight minutes. To express what? The whole world. Here’s the story. Michael is a fervent Boston Red Sox fan, but also a gifted musician, teacher, and imaginative composer. He describes his music as drawing from “an eclectic brew of influences including jazz and New Orleans, Renaissance polyphony, Jewish liturgy and klezmer, and South Indian classical music.” He wrote tonight’s piece on commission for an unusual ensemble called Alarm Will Sound. AWS began as an idea successfully hatched by composition students at the Eastman School of Music to enhance performance opportunities for “new music.” When they graduated, they remained together and expanded their concept by “forming a 20-member group dedicated to the creation, performance, and recording of ‘today’s music’.” AWS has become a risk-taking advocate for innovative work. They asked Michael to compose an eight minute piece, no other requirements. This jewel is the result. It is a David among tonight’s Goliaths, a clever heterogeneous four movement dance-inspired symphony in miniature, expressed in 21st Century musical language. It explores the depth and scope of a traditional symphony albeit in telescoped fashion. The catalyst for the piece came from the rhythmic and metrical play he heard while joining in a folk dance session with local children in South India. Michael assimilated the inspiration for each of this composition’s four sections from well-known pre-existing orchestral forms in a process similar to the organic distillation of a substance into something deliciously intoxicating, or the transformation of a chrysalis into a butterfly. It opens with a 21st Century two-minute approximation of an 18th Century rondo. Movement #2 derives its essence from a classical/romantic form pioneered by Beethoven, the scherzo, meaning “joke.” Movement #3 is a traditional slow interlude with roots in classical sonata allegro soil; and the composition ends seamlessly after the slow interlude with a lively ritornello, a form common in the Baroque era. Voilà, an atom-packed diminutive symphony! So, should you listen for any of these tantalizing details? I think not. Michael’s ingenious use of form deftly gives this work scaffolding coherence, but more important than its


structure – obviously – is his kaleidoscopic music. And now, we return to Mahler. He said that “the whole world should be reflected in a symphony, everything.” He lived up to his ambitious inclusive goal; and so does Michael – but with greater economy. Jazz, New Orleans, Classical, Baroque, Romantic, Modern, Polytonality, Klezmer, and South Indian classical, they’re all there in the “brew,” “the whole world,” just like Mahler. Can you hear Michael in the finale folk dancing with Indian children? Wow, Five-Six-Seven-Eight, let’s dance! Bravo, Michael. p.s. Get ready for many surprises. I do not want to spoil the fun by revealing what they are. Don’t worry, you won’t miss them.

program notes Igor Stravinsky June 17, 1882 – April 6, 1971 L’Oiseau de feu – The Firebird Stravinsky’s father was a successful Imperial House opera singer in St. Petersburg, Russia. Although Igor exhibited an affinity for music, his father – wishing “better” for his son – steered him away from the stage and into law school. Fortunately for us, Igor met Rimsky-Korsakov who took him on as a pupil, and the law disappeared in his rear view mirror. (Carriages do have a rear view mirror, don’t they?) Stravinsky’s second break happened in 1908 when he composed a short blazing piece as a wedding present for Rimsky’s daughter. He named it Feu d’artifice, or Fireworks, and it fully captured in sound the brilliant and dazzling excitement of a festive pyrotechnic display. When completed, a proud Stravinsky dispatched it by mail to his teacher and mentor, but tragically it came back marked “Not delivered on account of the death of the addressee.” Shocked, Stravinsky put Fireworks on the shelf and wrote in its place a funereal lament for his fallen mentor. Three months later, Alexander Siloti programed Fireworks at a concert in St. Petersburg, and by happenstance, the great Russian impresario Sergei Diaghilev was in the audience. Diaghilev was scouting for talent to take to his popular Ballets Russes in Paris, where Russian music, dance, and art were all the rage. He signed Stravinsky, took him to France, and Igor rewarded him with the sensational music for a new ballet drawn from Russian folklore, L’Oiseau de feu, or The Firebird. From Fireworks to Firebird, the transition was organic.


The ballet tells the fantastic tale of an evil wizard/ogre, Kastchei, who holds thirteen beautiful maiden princesses captive in his medieval castle in an enchanted forest. A young and virile hunter, Ivan Tsarevich, stumbles upon the scene, and with the help of a giant bird with radiant plumage – a good fairy in disguise – he breaks the spell on the maidens by destroying a magic egg hidden in a casket holding Kastchei’s twisted soul. Kastchei’s evil demons disperse, the grateful maidens are freed, and Ivan chooses the most alluring of the bunch to be his bride. I guess even the Russians need a happy ending every so often. After the excitement of the triumphant ballet had run its course, Stravinsky extracted from it a suite of symphonic music capturing various episodes from the fairy tale. The suite opens with an eerie introduction to Kastchei’s dark and threatening magic forest which leads into the colorful and animated Dance of the Firebird. You won’t miss the transition. After the Firebird struts her stuff, the maiden princesses appear in a graceful dance around a silver tree bearing golden apples. Who appears to spoil the fun? Crash! Kastchei, in his threatening whirlwind Infernal Dance. Next, as change of pace, Stravinsky gives us a “berceuse,” a dreamy lullaby, causing the maidens to fall asleep. A fantastic finale ends the action. The music world would never be the same. Firebird served as an appetizer for Petrushka and The Rite of Spring. With his primitive bizarre instrumental colors, his orgiastic rhythms, and his strength and unbridled passion, Igor had changed it forever.

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Classical Series 2 Michelle Merrill, conductor Caroline Goulding, violin

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October 21 | 22, 2016

Michelle Merrill, conductor Caroline Goulding, violin Hector Berlioz (1803 – 1869) Roman Carnival Overture, Op. 9 Allegro assai con fuoco Ludwig van Beethoven (1770 – 1827) Concerto for Violin and Orchestra, Op. 61 1. Allegro, ma non troppo 2. Larghetto 3. Rondo: Allegro Caroline Goulding, violin Intermission Pyotr Ilyich Tchaikovsky (1840 – 1893) Symphony No. 4, Op. 36 1. Andante sostenuto 2. Andantino in modo di canzona 3. Scherzo: pizzicato ostinato: allegro 4. Finale: Allegro con fuoco

Scan the QR Code to see more information about tonight’s concert, answer concert trivia, and leave feedback about tonight’s performance.



Michelle Merrill, conductor

Berlioz, Beethoven, and Tchiakovsky: a Frenchman, a German, and a Russian whose compositional additions to the history of music span a little over 100 years. Beethoven acts as the foundation, as the pillar of this concert, and knowing that I would be conducting the Beethoven Violin Concerto with Caroline Goulding, I wanted the surrounding pieces to reflect back to him. In Beethoven, we have a figure described by both Berlioz and Tchaikovksy (among many others) to be a God. Berlioz was one of the first champions of Beethoven’s music in France, as both a music critic and a conductor. And both Beethoven and Berlioz served as influences for Tchaikovsky, who favored Beethoven’s mastery of the symphonic form and Berlioz’s imaginative use of orchestration and program music. However, the true driving force behind the selections for this concert was my desire to explore the range of human emotion. The Berlioz Roman Carnival Overture is fiery and ferocious at the beginning, leads into the sweet song of love, and ultimately ends in a frenzy of colorful activity. As Berlioz would later exclaim “This is the carnival, not Lent!”. With the Beethoven Violin Concerto, we are refined, perfectly executed and dignified, and then we let our hair down a little for the dancing final movement, a playful and spirited rondo which showcases the violinist's technical prowess. And finally with Tchaikovsky's foreboding Fourth Symphony, we come to the darker side of the human psyche, where we wrestle with the meaning of life, fate, the melancholy call of what lies beyond, and a triumphant declaration of resistance, albeit with a twinge of questioning at the end. I am excited to take you on this journey of the human spirit, and glad you will be joining us for the ride.


Rapidly rising conductor Michelle Merrill is currently Associate Conductor of the Detroit Symphony Orchestra where she also serves as the Phillip and Lauren Fisher Community Ambassador. A passionate and dynamic artist, Ms. Merrill was recently named as one of Hour Detroit Magazine’s 3 Cultural Organization Leaders to Watch, and made her classical subscription debut with the DSO in April 2016. She is also a recipient of a 2016 Solti Foundation U.S. Career Assistance Award. Recent and upcoming engagements include the Jacksonville Symphony Orchestra, Toledo Symphony, Louisiana Philharmonic, Sacramento Philharmonic & Opera, Orlando Philharmonic, New Music Detroit, and the Northeastern Pennsylvania Philharmonic, where she formerly served as Assistant Conductor before coming to Detroit. As the Assistant Conductor of the Detroit Symphony Orchestra, she helps plan and conduct over 30 concerts per season, including the renowned educational webcasts, which have reached over 100,000 students to date in classrooms throughout the nation.


Ms. Merrill also gives pre-concert lectures, leads adult music education seminars, engages with students in and around Metro Detroit, speaks on behalf of the DSO throughout the community, and participates in hosting Live from Orchestra Hall, the DSO’s free concert webcast that launched in 2011 and is now watched in more than 100 countries. She was awarded in 2013 the prestigious Ansbacher Conducting Fellowship by members of the Vienna Philharmonic and the American Austrian Foundation, which enabled her to be in residence at the worldrenowned Salzburg Festival. Recent praise came from her classical debut with the DSO conducting Beethoven’s Symphony No. 6: “from the off this was a heavenly ‘Pastoral’…Merrill (conducting from memory) certainly has an ear for focused inner parts, and her meaningful flexibility was welcome…There was something reassuringly old-world about this performance (reminding of but not emulating such views of the music as Böhm, Boult and Klemperer) yet with a New World bloom that trod freshly-mown grass and also looked skywards…”

Share your opinion... A strong advocate of new music, Ms. Merrill recently collaborated with composer Gabriela Lena Frank and soprano Jessica Rivera on Frank’s work La Centinela y la Paloma (The Keeper and the Dove), as a part of numerous community programs related to the Diego Rivera and Frida Kahlo exhibition at the Detroit Institute of Arts.

2016 | 2017 SEASON running, hiking, and spending time outdoors with her husband, Steve Merrill, who serves as the principal percussionist of the Jacksonville Symphony.

Born in Dallas, TX, Ms. Merrill studied conducting with Dr. Paul C. Phillips at Southern Methodist University’s Meadows School of the Arts, where she holds a Master of Music Degree in conducting and a Bachelor of Music in performance. Apart from music, she loves cooking,

Caroline Goulding, violin Named “precociously gifted” by Gramophone magazine, violinist Caroline Goulding has appeared as a soloist with many of the world’s premier orchestras including The Cleveland Orchestra, Frankfurt Radio Symphony Orchestra, Toronto Symphony, Netherlands Philharmonic Orchestra, National Symphony, Nashville Symphony, Milwaukee Symphony, Colorado Symphony, Dallas Symphony, Houston Symphony, Detroit Symphony, Deutsche Radio Philharmonie, Berlin’s ensemblemini, and the Orchestra of St. Luke’s. She has

appeared in recital at Carnegie Hall, Lincoln Center, the Kennedy Center, Beijing’s Forbidden City Concert Hall, the Tonhalle-Zurich, the Louvre Museum, and the Isabella Stewart Gardner Museum. The 2015-2016 season brought forth engagements in Asia, Europe, and North America with the Hong Kong Philharmonic, Dortmunder Philharmoniker, Houston Symphony, Fort Worth Symphony, Omaha Symphony, Hartford Symphony, Tacoma Symphony, and New West Symphony. Her upcoming recital CD release with pianist Danae Dörken including works by Schumann, Enescu, and Dvořák. Caroline is the recipient of an Avery Fisher Career Grant, a Grammy nomination for her debut album on the Telarc label and has appeared on NBC’s Today, Martha hosted by Martha Stewart, Germany’s Stars von Morgen hosted by Rolando Villazón and can be heard on NPR’s Performance Today and SiriusXM Satellite Radio. Currently studying with Christian Tetzlaff at the Kronberg Academy, Caroline splits her time between Kronberg, Germany, and Boston, Massachusetts. Other musical mentors have included Donald Weilerstein, Paul Kantor, Joel Smirnoff and Julia Kurtyka. A past member of the Stradivari Society, Caroline currently plays the General Kyd Stradivarius (c 1720), courtesy of Jonathan Moulds.


program notes Hector Berlioz December 11, 1803 – March 8, 1869 Roman Carnival Overture To call Hector Berlioz an over-the-top, selfindulgent, industrial strength free spirit is to indulge in understatement. A brilliant and talented man, he lived on the edge of the edge in the realm of the extremes, and every bit of his mercurial life found its way into his music and his writings. Berlioz was the first true romantic in music. In form, in style, and in substance, his music represents a complete break with the restrained and balanced classical traditions of the 18th Century. He was the first to bring to music the true romantic’s love for fantasy, for mystery, and for the occult and the bizarre. Berlioz was born in 1803 in a small town near Grenoble, France. His father was a country doctor who was determined to have his son follow in his footsteps. Hector had other ideas, but in those days, fathers ruled the roost, and at the age of 18, Hector was dispatched to medical school in Paris. And what did he think of his introduction to the life of a medical student? Again from his Memoirs: “When I arrived in Paris in 1822, I gave myself up entirely to preparation for the career which had been forced upon me. But I was sorely tried when my fellow-student Robert announced that he had bought a subject (meaning a corpse), and asked me to accompany him to the dissecting-room at the Hospital. When I entered that fearful human charnelhouse, littered with fragments of limbs, and saw the ghastly faces and cloven heads, the bloody cesspool in which we stood, with its reeking atmosphere, the swarms of sparrows fighting for scraps, and the rats in the corners gnawing bleeding vertebrae, such a feeling of horror possessed me that I leapt out of the window, and fled home as though Death and all his hideous crew were at my heels. I firmly resolved to die rather than enter the career which had been forced upon me.” Are we getting an idea of his histrionic personality? After an unenthusiastic year in medical school he quit and joined the Paris Conservatory. His family disowned him. As he matured as a musician, Berlioz became a major league public rabble rouser. He loved the opera, but his volcanic presence in the audience must have been feared by both the musicians and the singers alike. An account by one of Berlioz’s friends of his first encounter with Hector confirms his fanatical behavior. The man was at a performance of Weber’s opera, Der Freischütz. I quote


from his account: “Suddenly, in the middle of the ritornello in Caspar’s aria, I saw a young man leap up and yell at the orchestra, ‘Not two flutes, you scoundrels! Two piccolos! Two piccolos!! Oh, what brutes!’” The young man “was trembling with rage; his fists were clenched; his eyes were blazing; and his mop, oh, his mop! It looked like a huge umbrella, overhanging and waving about the beak of a bird of prey. It was at the same time comic and diabolic.” The next day his friend discovered that this wild man was Berlioz. Tonight, his virtuosic Roman Carnival Overture, a sparkling piece inspired by the Saltarello, an energetic Italian dance played in a brisk triple meter. Berlioz intended this piece to be played as fast as possible. It derives its name from a distinctive leaping step. The Italian verb “saltare” means to jump. If the rhythm sounds familiar, you probably remember it from the fourth movement of Mendelssohn’s Fourth Symphony, known as the Italian. On one occasion, Berlioz attended a performance of his Overture in Vienna which he considered to be too slow. Here is his account of the evening: “They began the first allegro much too slowly. The andante was passable, but the moment the allegro resumed, at an even more dragging pace than before, I turned scarlet, the blood rushed to my head, and, unable to contain myself, I yelled, ‘This is the Carnival, not Lent!’ You make it sound like Good Friday in Rome!” Berlioz extracted this orchestral gem from his opera Benvenuto Cellini. To our 21st Century ears, this music does not sound revolutionary, but to audiences in 1843, it did. One long-forgotten critic put it this way: “I can compare Berlioz’s Roman Carnival Overture to nothing but the caperings and gibberings of a big baboon, overexcited by a dose of alcoholic stimulus.” Berlioz was the first “modern” orchestrator. He brought new instrumental colors and techniques to the orchestra’s standard sonic palette, colors never before heard. The English horn and harp were two of his new additions. Not bad for a baboon.

program notes Ludwig Van Beethoven December 16, 1770 – March 26, 1827 Concerto for Violin in D Major Shortly after he turned thirty, Beethoven’s onrushing deafness pushed him to the brink of suicide. In a letter to his brothers, he said, “It was only my art that held me back. Ah, it seemed to me impossible to leave the world until I had brought forth all that I felt that was within me.” He emerged from this cauldron of despair with a life-affirming burst of astonishing creativity unparalleled in the history of music. Yes, Mozart was Mozart, but Beethoven changed music from an exquisite medium of entertainment for the aristocracy into the impassioned voice of humanity. Driven by an acute awareness of his mortality, his output between 1802 and 1808 included such magnificent works as his Third Symphony, (the “Eroica”), his Fifth Symphony, his Fourth Piano Concerto, and the unsurpassed Concerto for Violin we will experience tonight. Each of these pieces severed its genre from 18th Century Classicism and launched the Romantic Era. No wonder we call this his “heroic period.” Beethoven wrote this Concerto for Franz Clement, one of the top violinists of the time. Clement, who conducted the premiere of the “Eroica”, was the master of all styles, but critics and audiences alike celebrated his “indescribable delicacy, neatness and elegance, an extremely delightful tenderness and purity.” No doubt Beethoven had these qualities in mind as he wrote this wonderful piece for his young friend. The first movement is pure Beethoven. He begins with a mysterious rhythmic figure on the kettledrum. What, a violin piece introduced by the timpani? Leave it to Ludwig. Like the first movement of the Fifth Symphony, these five beats haunt the entire movement. They are like rhythmic mortar. Listen also for the abrupt changes in mood and the inspired transitions from major to minor modes, as he moves from sunshine to shadow, another signature of his music. The ethereal second movement opens with a peaceful extended theme played gracefully by the strings, followed by variations of that theme led first by the horns and the clarinets, and next by the bassoons. The violin adorns these two variations with radiant embellishments. The soloist then rests while the whole orchestra repeats the main theme. What follows is the soul of the concerto. After a searching

sequence of rising notes, the violin settles and sings a quiet song of celestial purity. Listen for it five and one-half minutes in. You will not be disappointed. After a pizzicato version of the theme, the movement morphs into a highsprinted rondo to finish the piece. Two of the many highlights of this Concerto are the demanding cadenzas near the conclusions of the first and third movements. But guess what? Beethoven did not write them. As was the custom of the day they were left to the ingenuity of the soloists. There are 60 known cadenzas in existence. Caroline will treat us to a new version written by Robert Levin. A mystic Persian poet once called the voice of the violin “the sound of the opening of the gates of Paradise.” This metaphor aptly applies to Beethoven’s masterpiece. He unleashes the incomparable voice of the instrument with both a passion and a sensitivity never heard before, and rarely equaled since. The music is pure music. No plot, no storyline. Just exquisite music. Is there anything better?

program notes Pyotr Ilyich Tchaikovsky May 7, 1840 – November 6, 1893 Fourth Symphony “Fate” Peter Ilyich Tchaikovsky’s gift was melody: lovely, lyrical, captivating melodies that dominate every piece he ever wrote. But while melody was his gift, dance was his passion. Dance music was such a part of his repertoire that one of the contemporary criticisms of his Fourth Symphony – by his pupil Sergey Taneyev – was that it is nothing more than ballet music disguised as a symphony, to which Tchaikovsky replied, “I have no idea what you consider to be ‘ballet music,’ or why you should object to it. Do you regard every melody in a lively dance rhythm as ‘ballet music?’ If so, you must think poorly of the great Beethoven. Get a life!” Tonight, Tchaikovsky’s Fourth Symphony. The dedication on the title page reads, “To My Great Friend.” He called it, his “Fate” symphony. “Great Friend?” “Fate” symphony? Here’s the story. In late 1876, Tchaikovsky decided that the best way to avoid persecution as a homosexual was to get married. Now, all he needed was a willing woman, and he found one without trying, Antonina Milyukova. She came to his attention by writing him a series of over-the-top letters


in which she professed her undying love: “All day I stay at home, pacing the room from corner to corner like a lunatic, thinking only of the moment I shall see you, and throw myself on your neck, smothering you with kisses. I cannot live without you, so perhaps I shall soon kill myself. Let me see you and kiss you so that I can remember that kiss in the other world.”

bright, gracious human form passes and beckons somewhere. How delightful! Little by little, dreams have completely enveloped the soul. All that was gloomy, joyless is forgotten. It is here, it is here, happiness! No! These were dreams, and Fate awakens us harshly. Thus, life is a perpetual alternation between grim reality and transient dreams and reveries of happiness.

Instead of running for his life, Tchaikovsky felt honorbound to marry her to prevent her suicide. The wedding and the wedding night were disasters. Five days later, a despondent Tchaikovsky wrote to his brother Anatole: “Physically my wife is totally repugnant to me. Her head and heart are completely empty. I hate her in every sense of the word. I have fallen into a deep despair, and I have begun to long fiercely and hungrily for death.” Two weeks later, on a bitterly cold night, he walked into an icy River Moscow and stood there hoping to die of pneumonia. All he did was catch a terrible cold. Eventually, she was committed to an insane asylum where she died in 1917.

“The second movement expresses another phase of depression. This is that melancholy feeling which comes in the evening when one sits alone, tired from work, having picked up a book but let it fall from one’s hands. And one is sad because so much is gone, past, and it is pleasant to remember one’s youth.

Simply put, this symphony depicts a crisis episode in the life of a tormented genius. In a letter to the composer Taneyev he said, “There is not a single bar in my Fourth Symphony which I have not truly felt and which is not an echo of my intimate self.” Nadezhda von Meck, the incredibly wealthy widow of a Russian railroad baron and the mother of 12 children, was his “Great Friend.” She loved his passionate music. The two began to correspond, and they exchanged over a 14 year period 1,100 letters. Although they never met in person, Tchaikovsky poured out his heart to her. Nadezhda began to pay him a yearly stipend of 3,0005,000 rubles, enough so that Tchaikovsky did not need to work and could compose full time. And so it came to pass that Tchaikovsky dedicated this masterwork to her as “My Great Friend.” Nadezhda attended the premiere in 1878 of the Fourth Symphony and was swept off her feet. Intrigued by the music, she asked Tchaikovsky about it, and he privately responded, calling it “a faithful echo of the torments I have gone through during the latter half of 1877,” meaning the torments of his failed marriage. “There is a programme to our symphony, i.e. there is the possibility of putting into words what it is trying to express, and to you, to you alone, I want to tell and can tell the meaning both of the whole and the separate sections. The introduction is the seed of the whole symphony, beyond question the main idea. This is Fate, the fatal force which prevents our hopes of happiness from being realized, which watches jealously to see that our bliss and peace are not complete and unclouded, which, like the Sword of Damocles, is suspended over the head and perpetually poisons the soul. It is inescapable and it can never be overcome. O, joy! at last a sweet and tender vision appears. Some


“The third movement does not express any definite sensations. It consists of capricious arabesques, elusive apparitions that pass through the imagination when one has drunk a little wine and feels the first stage of intoxication. “Fourth movement. If you find no joy within yourself, look for it in others. Scarcely has one forgotten oneself and been carried away at the sight of someone else’s pleasure than indefatigable Fate returns again and reminds you of yourself. Reproach yourself and do not say that all the world is sad. Simple but strong joys do exist. Rejoice in others’ rejoicing. To live is still bearable!” In a letter to Taneyev, he said: “My work is a reflection of Beethoven’s Fifth Symphony. I have not of course copied Beethoven’s musical content, only borrowed the central idea. What kind of program does his Fifth Symphony have, do you think? It is so clear that there cannot be the smallest difference of opinion as to its meaning. Much the same lies at the root of my symphony, and if you have failed to grasp that, it merely proves that I am no Beethoven – a point on which I have no doubt anyway.” Okay, so he’s no Beethoven. But to paraphrase what Ravel said to Gershwin, “Why be a second-rate Beethoven when you can be a first-rate Tchaikovsky?


Classical Series 3 Keitaro Harada, conductor Kevin Cole, piano

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November 12 | 13, 2016

Keitaro Harada, conductor Kevin Cole, piano Leonard Bernstein (1918 – 1990) On the Waterfront Symphonic Suite (one movement) George Gershwin (1898 – 1937) (score by Ferde Grofé) Rhapsody in Blue Molto moderato Kevin Cole, piano Intermission Ferde Grofé (1892 – 1972) Grand Canyon Suite 1. Sunrise 2. Painted Desert 3. On the Trail 4. Sunset 5. Cloudburst

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Keitaro Harada, conductor

This all-American program opens with Bernstein's one and only film score On the Waterfront, followed by Gershwin's Rhapsody in Blue featuring Kevin Cole, and concludes with Grofé's Grand Canyon Suite. Though the other two composers are more widely recognized, the program is connected by the influence of American composer, arranger, and pianist Ferde Grofé. Leonard Bernstein, one of the most legendary American musicians of all time, was inspired by jazz and classical crossovers. Naturally, he had a deep interest in Gershwin's Rhapsody in Blue and performed this work many times as a pianist and a conductor. Gershwin was an undeniably brilliant musician, but at the time that Rhapsody in Blue was commissioned, he did not have adequate knowledge of orchestration. His original composition was actually written for two pianos, and it was Ferde Grofé who turned it into a concerto with orchestral parts. If it weren't for Ferdie's (as he was often called) orchestration of Rhapsody in Blue, we would not have the most iconic American concerto today. Ferdie was also an established composer in his own right, and one of his most famous works is the Grand Canyon Suite, which was inspired by his 1916 road trip across the Arizona desert in his vintage jeep. In this work, he used magnificent, sweeping orchestral colors to paint the sunrise over the Grand Canyon. With Ferdie's music, we experience the orchestration magic that created the quintessential "American sound" and inspired many composers - Bernstein included - to discover their own voices as American composers.

Conductor Keitaro Harada continues to be recognized at the highest levels for his artistic abilities and passion for musical excellence. As a recipient of The Solti Foundation U.S. Career Assistance Award (2014 and 2015), Bruno Walter National Conductor Preview (2013), the Seiji Ozawa Conducting Fellowship at Tanglewood Music Festival, a student of Lorin Maazel at Castleton Festival and Fabio Luisi at Pacific Music Festival, Harada’s credentials are exemplary.

the world premiere performances of Riders of the Purple Sage for Arizona Opera in 2017.

Currently in his first season as Associate Conductor of the Cincinnati Symphony and Pops Orchestra, Harada regularly assists Music Director Louis Langrée and conducts the Cincinnati Symphony, Cincinnati Pops, and World Piano Competition, as well as assists James Conlon for the May Festival. Keitaro also holds the positions of Associate Conductor of the Arizona Opera and Associate Conductor of the Richmond Symphony.

In 2013, Harada was selected by the League of American Orchestras as one of only six conductors for the Bruno Walter National Conductor Preview, a prestigious showcase that occurs biennially in an effort to promote gifted, emerging conductors to orchestra industry leaders.

With a growing schedule as a guest conductor, the coming season holds several high profile engagements for Keitaro. He starts the summer at the 2016 Pacific Music Festival by invitation of Valery Gergiev, makes his conducting debut with Tokyo Symphony Orchestra and Tokyo Philharmonic Orchestra in the fall, and leads



Most recently, Harada made his conducting debut in Japan with the New Japan Philharmonic in a sold out performance as well as his debut with Indianapolis Symphony Orchestra. He led performances of Carmen for Arizona Opera and conducted concerts with Tucson Symphony, Phoenix Symphony, Virginia Symphony, and Orquesta Filarmónica de Sonora.

Early in his career, Harada served as Music Director of the Phoenix Youth Symphony. During his tenure, he elevated the organization’s profile, expanded their season; added challenging repertoire, and took the symphony on a European performance and education tour that culminated with a master class on the main stage of the Berlin Philharmonic.

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A native of Tokyo, Japan, Harada is a graduate of Interlochen Arts Academy and Mercer University. He completed his formal conducting training at University of Arizona. Harada champions creative programming, development of the orchestra as a part of a community’s cultural fabric, advancement of each musician he encounters, and responsibility as an artistic and civic leader. Very early in his career, he was selected as a guest artist for National Public Radio’s From the Top and is featured as a favorite guest alumnus on their PBS television documentary.

Kevin Cole, piano “America’s Pianist” Kevin Cole has delighted audiences with a repertoire that includes the best of 20th Century American Music. Kevin Cole’s performances have prompted accolades from some of the foremost critics in America. “A piano genius...he reveals an understanding of harmony, rhythmic complexity and pure show-biz virtuosity that would have had Vladimir Horowitz smiling with envy,” wrote critic Andrew Patner. On Cole’s affinity for Gershwin: “When Cole sits down at the piano, you would swear Gershwin himself was

at work... Cole stands as the best Gershwin pianist in America today,” Howard Reich, arts critic for the Chicago Tribune. Engagements for Cole include: sold-out performances with the Los Angeles Philharmonic at the Hollywood Bowl; BBC Concert Orchestra at Royal Albert Hall; National Symphony at the Kennedy Center; San Francisco Symphony, Chicago Symphony, Philadelphia Orchestra, Philharmonia Orchestra (London); Boston Philharmonic, Minnesota Orchestra, Hong Kong Philharmonic; Vietnam National Symphony Orchestra; New Zealand Symphony, Pittsburgh Symphony, Edmonton Symphony (Canada) and many others. Mr. Cole was featured soloist for the PBS special Gershwin at One Symphony Place with the Nashville Symphony. Kevin is an award-winning musical director, arranger, composer, vocalist and archivist who garnered the praises of Irving Berlin, Harold Arlen, E.Y. Harburg, Hugh Martin, Burton Lane, Stephen Sondheim, Marvin Hamlisch and members of the Jerome Kern and Gershwin families. Mr. Cole worked with songwriting legend Hugh Martin – Mr. Martin was vocal coach to Lena Horne, Ethel Waters, Judy Garland and many others. His discography includes Gramophone Musical Album of the Year, 1995, Gershwin’s Oh, Kay! with soprano Dawn Upshaw, his critically acclaimed solo piano disc, Cole Plays Gershwin and his vocal debut album In The Words Of Ira-The Songs of Ira Gershwin.


program notes Leonard Bernstein August 25, 1918 – October, 1990 On The Waterfront: Symphonic Suite As a youngster, Terry Malloy (Marlon Brando) was a promising but ill-fated prize fighter. When his own brother destroyed his career by fixing his fights so the mob could bet against him, Terry became a disillusioned union longshoreman. He lived and labored in the 1940s on the gritty docks of Hoboken, New Jersey, across the mouth of the Hudson River from New York City. This Suite is Terry’s story, the story of his lonely battle to break the stranglehold of the vicious racketeers who controlled the New York Harbor. It is a tale told in musical language of corruption, mob violence, murder, torn family loyalties, fierce resolve, redemption, and the triumph of love and one man’s integrity against impossible odds. On the Waterfront won eight Oscars in 1955, including “Best Picture.” The Academy nominated Leonard Bernstein’s score, but he lost to Dimitri Tiomkin’s The High and The Mighty. This movie score is the only one Bernstein ever wrote. He hated what happened to his music when it became subservient during the sound dubbing process to the plot and the dialogue. So he salvaged it from the cutting floor and reworked it into this tense action packed and emotion filled powerhouse. The Suite contains six episodes taken from the movie. Although they speak for themselves – including the gunfire – the opening lonely horn solo and recurring theme is “Terry’s Theme.” Who is Terry before he decides to stand up to the corrupt union bosses?” Listen to his responses to Edie Doyle, the sister of Joey Doyle, a longshoreman killed by the mob when he turned against them. Edie (Eva-Marie Saint): “I’ve never met anybody like you. There’s not a spark of sentiment or romance or human kindness in your whole body.” Terry: “What good does it do but get you in trouble.” Edie: “Shouldn’t everybody care about everybody else?” Terry: “Boy, what a fruitcake you are.” But then the fighter in Terry emerges when the mob kills his brother, Charley (Rod Steiger). Terry responds to Charley’s assassination by testifying to the Waterfront Crime Commission against the racketeers. When he returns to the docks, the union boss Johnny Friendly (Lee J. Cobb) and his thugs savagely beat him as a bloody lesson to his colleagues. Moved by Terry’s courage on their behalf, his fellow longshoremen throw the union boss


in the river, line up behind their new hero, and break the mob’s stranglehold on their lives. Bernstein captures all of this turmoil and emotion in his compelling music. One of the most quoted scenes in the history of cinema is Terry’s response to his brother’s attempt at gunpoint to dissuade him from testifying to the Crime Commission. Terry: “You was my brother, Charley, you shoulda looked out for me a little bit, you shoulda taken care of me so I wouldn’t have to take those dives for the short-end money. I coulda been a contenda. I coulda had class. I coulda been somebody instead of a bum, which is what I am, let’s face it.” With those lines, Brando was on his way to becoming a legend. Forget the popcorn. Break out the beer for this one.

program notes George Gershwin September 26, 1898 – July 11, 1937 Rhapsody in Blue George Gershwin was to American music what his contemporaries Charles Lindbergh and Babe Ruth were to American aviation and baseball. Lindbergh flew non-stop from New York City to Paris, capturing the world’s attention and ushering in a new era of travel; Babe Ruth swatted a record-setting 60 home runs; and in 1924, George Gershwin’s legendary jazz-inspired Rhapsody in Blue shattered the sound barrier that had long existed between popular and classical music. Gershwin’s immensely popular songs and the infectious melodies from his concert works catapulted America’s spirits and confidence to new heights, and by the time he was 27 years old, the prolific young composer found himself on the cover of Time Magazine. Gershwin, Brooklyn born in 1898, was the second son of Morris and Rose Gershovitz, recent immigrants from Russia. As a child, George was a troublemaker and a high-spirited kid who might easily have become a gangster had it not been for his discovery at the age of eleven of the piano. In a 1924 interview, he said, “Studying the piano made a good boy out of a bad one. It took the piano to tame me down. I was a changed person after I took it up.” Hooked on music, George quit school at fifteen to go to work for $15.00 a week at Remick’s, a music publishing house in Tin Pan Alley. Tin Pan Alley was actually an

area of New York City. Sheet music was Tin Pan Alley’s main product. It was the home of many music publishing houses who employed scores of piano players known as “song pluggers.” George was the youngest plugger ever to work there. Their job was to peddle sheet music to customers and Broadway and Vaudeville professional performers looking for new material. One day, Morris Rosenfeld, a journalist, heard all the pianos playing popular tunes at the same time and said, “It sounds like somebody pounding tin pans.” But George also had a deep interest in classical music and aspired to success in that field also. His big break came on January 4, 1924, when the orchestra leader Paul Whiteman announced he was preparing a grand concert to be called “An Experiment in Modern Music.” The concert would feature American composers, and a panel of distinguished judges would decide “what American music was.” The judges would include Sergei Rachmaninoff and Jascha Heifetz. Serious American music was still regarded as an inferior copy of European classical music, and Whiteman aspired to give it a respectable voice. Gershwin began to compose a serious piano concerto for the event. Its working title was, An American Rhapsody, but at his brother Ira’s suggestion, George changed it to Rhapsody in Blue. In a letter to his biographer, Gershwin explained the inspiration for the piece. “The rhapsody, as you see, began as a purpose, not a plan. I was summoned to Boston for the premiere of Sweet Little Devil. It was on that train, with its steely rhythms, its rattlety-bang that is so often stimulating to a composer – I frequently hear music in the heart of noise – I suddenly heard – and even saw on paper – the complete construction of the rhapsody from beginning to end. I heard it as a musical kaleidoscope of America, of our vast melting pot, of our national pep, of our blues, our metropolitan madness.” On the evening of February 12, 1924, Rhapsody in Blue was the twenty-second in an audience-taxing program of twenty-three pieces. Gershwin was at the piano. The clarinet glissando by Ross Gorman that opens the piece electrified the crowd, and Rhapsody in Blue was the clear hit of the evening. Walter Damrosch, the leading critic of his day, accurately captured the impact that Rhapsody in Blue had on the public: “Lady Jazz, adorned with her intriguing rhythms, has danced her way around the world. George Gershwin is the prince who has taken Cinderella by the hand and openly proclaimed her a princess to the astonished world.” Gershwin’s great successes notwithstanding, he constantly wrestled with his own sense that his music training was incomplete. During a meeting in 1928 with Maurice Ravel, Gershwin asked Ravel if he would

teach him orchestration, Ravel being one of the greatest orchestrators who ever lived. The Frenchman’s answer was, “Why be a second-rate Ravel when you can be a first-rate Gershwin?” In 1935, Gershwin began to experience obvious neurological problems, but the doctors discovered too late that he had a brain tumor. They performed a delicate operation, but it failed. He died at thirty-eight years old, on July 11, 1937. Gershwin’s colorful, exciting, and innovative legacy continues to enrich us all. He made a lady out of Jazz, transformed our national vernacular into art, and gave a distinctive musical voice to America.

program notes Ferde Grofé March 27 1892 – April 3, 1972 Grand Canyon Suite In 1916, Ferdinand Rudolph von Grofé, who left home at the age of thirteen, jumped into a car in Los Angeles and drove across the California and Arizona deserts to see the Sun rise over the rim of the Grand Canyon. He arose at 4 a.m. to watch the sky awaken and the blazing Sun break loose from the horizon, all accompanied by stirring birdcalls. This stunning experience changed his life. As he later said, “All of a sudden, Bingo! There was the Sun!” From that point on, he took his musical inspiration from the beauties of our unique land and its robust people. He described this suite as having been “born of sights, sounds, and sensations common to all of us. I think I have spoken of America in this music simply because America spoke to me, just as it has spoken to you and to all of us.” Paul Whiteman hired Grofé in 1917 to be the pianist, arranger, and chief orchestrator for his unique band, which melded jazz and classical influences into a unique and exciting style. In 1924, because George Gershwin did not have the skills to orchestrate Rhapsody in Blue, Grofé stepped in at Whiteman’s request to do it for him. Pairing Grofé and Gershwin in a concert along with Bernstein – all born in New York – is a natural. Liszt wrote symphonic poems, and Strauss tone poems, but Grofé wrote tone pictures. He loved the scenic beauty of our country, particularly of the American West, and he composed rich and vivid depictions of what he observed and experienced. He saw himself as a translator of his native soil into not just glorious scenes, but also the emotion evoked by them.


This Suite has five sections. It begins, of course, with Sunrise. The woodwinds play the part of birds announcing the awakening of life while the trumpets emulate chirping crickets. Next, we hear the Painted Desert, with its radiant colors. When it comes to pictorial cinematic orchestration, Grofé has no peer. Can you feel the shimmering heat of the sunbaked sands? Have you ever heard an orchestra “heehaw?” You will tonight, at the beginning of part three, On the Trail. In this famous section, the violin plays the part of a burro navigating the treacherous canyon trails, braying along the way as if to protest his fate as a beast of burden. When instruments could not imitate natural sounds, Grofé resorted to devices like coconut shells striking leather to simulate the sound of the burro’s hoofs. Sunset follows in all its quiet splendor, only to be jarred awake by Cloudburst. Not Beethoven, not Liszt, not even Wagner could have equaled this storm for ferocity and the obvious terror it kindled in Grofé’s heart. He creates dazzling effects of roaring wind, flashes of menacing lightning, and judgment day thunder. It serves as a tale of death and resurrection. We leave you with Ferde’s heartfelt words about his collective work: “I treasure my recollections of the place I am writing about; recollections sentimental, pictorial,


romantic; recollections of grandiose Nature, of vast areas of eloquent solitudes, towering heights, silent deserts, rushing rivers, wild animal life; of health-giving ozone, magic dawns and resplendent sunsets, silvery moonshine, iridescent colorings of skies and rocks; and before all else, of a stock of men and women who breathe deeply and freely, live bravely and picturesquely, speak their minds in simplicity and truth, and altogether represent as typical and fine a human flowering as this land of ours has inherited from its pioneer days.”

Holiday Pops Troy Quinn, Conductor Boise Philharmonic Master Chorale, Dr. Jim Jirak, Music Director Spirit of the Season from The Polar Express (with Chorus)

Alan Silvestri Traditional arr. Arthur Harris

We Three Kings

Bruce Broughton

Main Title from Miracle on 34th Street

Piotr Tchaikovsky

Dance of the Sugar-Plum Fairy Trepak from The Nutcracker Suite

Howard Blake arr. Paul Bateman

Walking In The Air from The Snowman (with Chorus)

Georges Bizet

Farandole from L’Arlesienne Suite No. 2

John Williams

Somewhere In My Memory from Home Alone (with Chorus) God Bless Us Everyone from A Christmas Carol (with Chorus)

Alan Silvestri/Glenn Ballard orchestrated by William Ross Intermission

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December 9 | 10, 2016

Traditional arr. Carmen Dragon

Deck the Hall

Traditional arr. Carmen Dragon

The First Noel Sleigh Ride

Leroy Anderson Jerry Herman Leroy Anderson

We Need A Little Christmas from Mame (with Chorus) A Christmas Festival (with Chorus and Audience) O Holy Night (with Chorus)

Traditional arr. Gary Fry

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Classical Series 5 Alastair Willis, conductor Joachin AchĂşcarro, piano

January’s concert generously sponsored by

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January 27 | 28, 2017

Alastair Willis, conductor Joachin Achúcarro, piano Claude Debussy (1862 – 1918) Prelude to “The Afternoon of a Faun” Trés modéré Edvard Grieg (1843 – 1907) Piano Concerto, Op. 16 1. Allegro molto moderato 2. Adagio 3. Allegro moderato molto e marcato Joachin Achúcarro, piano Intermission Dmitri Shostakovich (1906 – 1975) Symphony No. 5, Op. 47 1. Moderato 2. Allegretto 3. Largo 4. Allegro non troppo

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To conduct three favorite pieces on the same program isn't something that happens every concert - I feel so lucky! For me it's a dream program, full of fantastic variety. L'Apres Midi d'un Faun by Debussy made a great impression on me the first time I heard it - I love how it seems to float in its freedom of rhythm, form, tonalities and colors. It's a perfect foil for Greig's Piano Concerto, which has one of the most dramatic beginnings in the repertoire and I'm excited to collaborate with Joachin Achúcarro. When I was five years old, my family and I moved to Russia where we lived for five years. Ever since, I have felt a connection to Russian composers, especially Shostakovich, who's music speaks to me deeply. Having experienced a bit of the Iron Curtain/Cold War myself (albeit at a young age) I can only fathom how hard it must have been for Shostakovich to have survived as an artist in the political climate he faced. I love grappling with the enigma that even today no one is totally sure exactly what he was trying to say in his Fifth Symphony, how much was genuinely him or how much was controlled by the authorities. This symphony speaks to us all in such different ways, and will no doubt it be a powerful way to end our powerful program.

Alastair Willis, conductor In the past few seasons, Grammy-nominated conductor Alastair Willis has guest conducted orchestras around the world including the Chicago Symphony, Philadelphia Orchestra, New York Philharmonic, San Francisco Symphony, Mexico City Philharmonic, Orquestra Sinfonica de Rio de Janeiro, Nordwestdeutsche Philharmonic, Hong Kong Sinfonietta, China National Orchestra (Beijing), and Silk Road Ensemble (with Yo-Yo Ma) among others. His recording of Ravel’s “L’Enfant et les Sortileges” with Nashville Symphony and Opera for Naxos was Grammy nominated for Best Classical Album in 2009.

This season he returns to the Chicago Symphony Orchestra, Qatar Philharmonic, Orquesta Sinfonica Barra Mansa in Brazil, Boca Raton Sinfonia, Gyor Philharmonic, and Pacific Northwest Ballet, and makes his subscription debut with the Mallorca Symphony Orchestra and Dresden Philharmonic.

“The music (Strauss Till Eulenspiegel) describing the life and gallows death of a legendary trickster, is full of theatrical gestures, and Willis savored every one of them. For all his attention to detail — and his accurate rendering of tempo indications that are often fudged — this was also a red-blooded, impetuous and deliciously over-the-top performance.”

Previous positions include Principal Guest Conductor with the Florida Orchestra’s Coffee Concert series 20082011, Associate Conductor of the Seattle Symphony 2000-2003, Assistant Conductor with the Cincinnati Symphony and Pops Orchestras, and Music Director of the Cincinnati Symphony Youth Orchestra.

Mike Greenberg, San Antonio Express News

Willis completed four seasons as Music Director for the Illinois Symphony Orchestra. Last season he was re-engaged twice by the Qatar Philharmonic Orchestra, Pacific Northwest Ballet, River Oaks Chamber Orchestra, Civic Orchestra of Chicago, and made his debut with the Hamilton Philharmonic Orchestra, and the Sewanee Music Festival in TN.


“Physically expressive, Willis challenged the orchestra, demanding — and getting — exceptionally focused attention to phrasing. Friday’s sound was anything but “as usual,” the texture less blended than mosaic, each line standing out clearly.” Ruth Bingham, Honolulu Advertiser

Born in Acton, Massachusetts, Willis lived with his family in Moscow for five years before settling in Surrey, England. He received his bachelor’s degree with honors from England’s Bristol University, an Education degree from Kingston University, and a Masters of Music degree from Rice University’s Shepherd School of Music. Willis currently resides in Seattle.


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Joachin Achúcarro, piano In October 2015, the prestigious French Magazine Diapason selected one of Joaquin Achucarro’s recordings as one of “The Best 100 Piano Recordings of All Time” together with legends such as Rachmaninoff, Horowitz, Rubinstein, Gieseking, Cortot, Richter, Gould, Arrau, Brendel, Argerich, Zimmerman and Pollini. Born in Bilbao, he won a number of international prizes in Spain, France, Italy and Switzerland during his student days, but it was his victory in England at the 1959 Liverpool International Competition (one year after Zubin Mehta had won it as conductor) and the rave reviews in the London papers after his debut with the London Symphony in the Royal Festival Hall that marked the beginning of his career. Since then, Achucarro has been enjoying an uninterrupted international career. He has toured 61 countries performing in venues such as Avery Fisher Hall, Berlin Philharmonie, Carnegie Hall, Concertgebouw, Kennedy Center, Musikverein, Royal Albert Hall, Salle Gaveau, Salle Pleyel, Teatro alia Scala, Suntory Hall, Sydney Opera House, Teatro Colon and The Barbican, both in recital and as a soloist. He has performed with over 200 different orchestras, including the Berlin Philharmonic, New York Philharmonic, Chicago Symphony, Los Angeles Philharmonic, La Scala

2016 | 2017 SEASON of Milan, London Philharmonic, Sydney Symphony, BBC Symphony, Philharmonia, Royal Scottish, City of Birmingham, Halle, Tokyo Symphony, Tonkunstler Wien, and, of course, every Spanish orchestra. He has played with an impressive list of more than 350 conductors such as Claudio Abbado, Sir Adrian Boult, Riccardo Chailly, Sir Colin Davis, Zubin Mehta, Sir Yehudi Menuhin, Seiji Ozawa and Sir Simon Rattle. He was named “Artist for Peace” in 2000 by UNESCO in Paris in recognition of “his extraordinary artistic achievement.” He is Accademico ad Honorem of the Accademia Chigiana in Siena, Italy, and in his home country, Achucarro has received the highest honors in the arts: the Gold Medal of Fine Arts and The National Award for Music. In 2003, King Juan Carlos of Spain bestowed upon him the Great Cross of Civil Merit. The International Astronomical Union (IAU) named the miniplanet 2131 after Achucarro, as a tribute to his successful international career. His 2010 DVD/Biu-Ray Achucarro plays Brahms, in which he plays the Brahms Concerto no. 2 with Sir Colin Davis and the London Symphony (Opus Arte label). received five-star reviews throughout Europe. It was named “Editor’s Choice” of Classic FM Magazine and rated “Outstanding” by the International Record Review (both in London) and climbed to the top of the bestsellers and “Hot New Releases” charts on Amazon. The following year, Euroarts released Achucarro’s DVD/ Biu-Ray Falla and Friends, with the pianist performing Falla’s Nights in ‘the Garden of Spain with the Berlin Philharmonic under Sir Simon Rattle, which also garnered critical acclaim. Achucarro has revised Joaquin Rodrigo’s Piano Concerto, which he has also recorded for Sony. He has made prizewinning recordings of de Falla, Granados, Ravel and Brahms with BMG-RCA, Claves and Ensayo. Other recordings include music by Schumann, Schubert, Chopin, Beethoven, Debussy, Bartok, Rachmaninoff, Scriabin, Turina and Hermann. Since August 1989 he has held the Joel Estes Tate Chair at SMU in Dallas, adjusting his teaching periods to his busy concert schedule. In 2007, The Joaquin Achucarro Foundation was created by a group of individuals and institutions from the Dallas community “to perpetuate his artistic and teaching legacy” and to help young pianists at the outset of their careers.


program notes

rather than depict. Color and mood take precedence over line and structure. My music is free verse.

Claude Debussy

“I choose to write of the nuances of nature, but not – and here is the key – not as the eye mirrors them, but as nature’s wonders are mysteriously transmitted to our emotions. I write not from direct observation, but from that interior kaleidoscopic well we call memory where we interpret and store our life’s experiences at the level where poets run out of words and painters out of paint. The musicologists – the pigeonholers – stubbornly persist in calling me an ‘impressionist,’ a term I categorically reject. I am simply trying to achieve something different, an effect of reality. Only an idiot would call it impressionism.

August 22, 1862 – March 25, 1918 Prélude á L’après-Midi d’un faune “Bonsoir. My name is Claude Debussy. I am an artist, and I live and dress the part. At night you will find me in the storied Black Cat Café of Montmartre engrossed in conversation with other French artists of my day, such as Marcel Proust, Stephane Mallarmé, and Henri Toulouse Lautrec. They call me, “Le Grand Noir,” The Great Dark One. As you might imagine, I am a hedonist, a sensualist, a Bohemian – but somewhat paradoxically, not to excess. I was born in France on August 22, 1862, the son of shopkeepers with no known musical interests or talent – which lends some credence to the nasty rumor that I may not have been my mother’s child. I dislike the word ‘illegitimate,’ don’t you? “At the age of eleven, I entered the legendary Paris Conservatory of Music. But from the moment I walked through the doors of the Conservatory, I doggedly fought all the established musical conventions and deliberately broke all the rules. I am convinced that music by its very nature cannot be cast in a traditional and fixed form. Music is made up of colors and rhythms. The rest is a lot of humbug invented by frigid imbeciles writing on the backs of the masters who, for the most part (except for Bach) wrote almost nothing but period music. Beethoven simply tricks you with unexpected shifts of rhythm and tonality. He batters you with self-referential themes and motifs. Wagner’s indiscriminate use of leitmotifs and orgies of sound has led music astray into sterile and pernicious paths. “Is it not our duty to find the symphonic formula that fits our time, one of progress and daring? The century of airplanes has a right to its own music. I should like to see the creation – I, myself, shall achieve it – of a kind of music free from themes and motifs, which nothing interrupts and which never returns upon itself. I will write no symphonies, no concertos, no overtures, just preludes, nocturnes, arabesques – music which has no form, just content. “I disdain the bacchanals of sound generated by Wagner over four evenings. My God, how unbearable these people in skins and helmets are by the end! Wagner looked upon his music as the glorious sunrise of a new age. I see it as the radiant sunset of an old one. I try to write music that is luminescent, sober, and refined – not a single note too many. I hint, I do not declare. I suggest


“Those who call me the father of modern music also say that I killed the symphony as a musical form. I plead guilty. I turned my back on it in favor of fleeting sensations and delicate drifting emotions, the infinite of the passing cloud. I hope you enjoy my style.” Claude Debussy died on March 25, 1918. In the newspapers, there was hardly a mention of his passing. The “War to End All Wars” blotted out everything else. Oscar Thompson said it well: “Debussy was the poet of mist and fountains, clouds and rain, of dusk and glints of sunlight through the leaves. He was moonstruck and seastruck, a lost soul under a vast sky illuminated by distant stars. He was conscious of the perfumes of a summer’s day, and he could scent in fancy the odors of an Andalusian night. He could not, or would not, stamp his feet or shake his clenched fist like Beethoven. The lightnings and tempests of Wagner were not in his world. Far from the great victories or defeats and tumults, he could envisage the faun, the naiad, the water spirit, the dream of moonlight upon water, or marble. There are no orgies in Debussy. If there is intoxication, and there is, it is gentle and always discrete. Claude Debussy was a dreamer, and his compositions were his dreams.” Tonight’s piece is a revolutionary tone poem shimmering with exotic melodies and elusive harmonies, a work inspired by Mallarmé’s symbolist poem of the same name. So, what transpires between this mythological amorous half-goat half-man satyr during his warm afternoon encounters with several flirtatious woodland nymphs? Could it be just a delicious daydream? Unleash your imagination as you listen, and enjoy the many wonderful solos in this dreamy masterpiece.

program notes Edvard Grieg June 15, 1843 – September 4, 1907 Concerto for Piano in A Minor The thunderous opening bars of this Nordic classic are among the most memorable in the repertoire. Most contestants playing “Name That Tune” would get it before hearing a single note on the piano, so distinctive is the kettledrum introduction. Then the piano enters like an enormous glacier calving into a blue green coastal fjord on the Norwegian Sea, unleashing a tsunami of glorious sound that continues in waves for the rest of the movement. This composition is a perfect combination of power and poetry. Proving once again that everyone stands on the shoulders of giants, Grieg wrote this timeless masterpiece after hearing Clara Schumann play her husband Robert’s Concerto for Piano in A Minor. At the time, Grieg was a young student at the Conservatory in Leipzig. He described hearing Schumann’s Concerto as the highlight of his stay, and the experience inspired him to try his hand at a concerto of his own – in the same key. About Schumann’s work, he wrote, “Inspired from beginning to end, it stands unparalleled in music literature and astonishes us as much by its originality as by its noble disdaining of an ‘extrovert virtuoso style.’ It is beloved by all, played by many, played well by few, and understood by still fewer, indeed perhaps by just one person – his wife.” Except for the reference to Clara Schumann, I might say the same about Grieg’s magnum opus. Typical of his humility, Grieg said of his style that “composers with the stature of Bach or Beethoven have erected grand churches and temples. I have always wished to build villages, places where people can feel happy and comfortable. The music of my own country has been my model.” His “own country” appears most prominently in the third movement which is rich with the color, excitement, and spirit of a Norwegian folk dance, the Halling. About Grieg’s music, Tchaikovsky said, “What warmth and passion in his melodic phrases, what teeming vitality in his harmony, what originality and beauty in the turn of his piquant and ingenious modulations and rhythms, and in all the rest what interest, novelty, and independence! It is not surprising that everyone should delight in Grieg.” If this composition is just a “happy village,” I would not mind living there. A contemporary critic summed it up well: “In these days when much music suggests nervous

maladies and the madhouse, Grieg comes like a whiff of pure Scandinavian air.” So, sit back, imagine the cool Northern Lights, and inhale!

program notes Dmitri Shostakovich September 25, 1906 – August 9, 1975 Symphony No. 5 Shostakovich’s symphonic music – like the music of Beethoven and Tchaikovsky – is personal, emotional, and written from the depths of his heart. Beethoven was driven by his battle with his progressive hearing loss, Tchaikovsky in his later symphonies by the emotional turmoil caused by his homosexuality in an intolerant culture, and Shostakovich by Stalin’s threatening totalitarian reign of terror in his country and the moral gangrene of communism. Before the release in 1979 of Testimony, Shostakovich’s secret memoirs, we in the West believed he was a loyal son of the Soviet Union, a willing and ardent supporter of the Communist Party and an enthusiastic arm of the Red propaganda machine. One of the leading authoritative textbooks said in 1947 about him, “Shostakovich is an active cog in the Soviet machine.” Given this context, we mistakenly heard Shostakovich’s symphonic music as a celebration of his supposed politics and as glorification of Stalin and the Reds. In a speech written for him by Party apparatchiks, he condemned Western music as “decadent and bourgeois.” He praised the glories of Soviet music and culture, trashed Stravinsky, and accused the United States of imperialism and warmongering. Shostakovich’s personal memoirs turned everything inside out. Early on, he had turned sour against Stalin and his regime and had carefully concealed his views for fear of being liquidated. He was a secret dissident, doing his best to stay alive. Here is a sampling taken from Testimony of his true views of Stalin and the Soviets: “Stalin was a spider and everyone who approached his nests had to die. It’s all marvelously simple. If the leader doesn’t write books, but cuts up people instead, what is he? You don’t need to look up the answer in an encyclopedia. The answer is simple: a butcher, a gangster.” When Stalin and his henchmen went to see Shostakovich’s hit opera in 1936, Lady Macbeth of the Mtsensk District, a dark story of adultery, betrayal, and murder, Stalin stormed out of the theater after the First Act, infuriated by what he saw and by the music that accompanied the libretto. A few days later, a vicious editorial condemning Shostakovich’s


music appeared in Pravda, believed to have been written by Stalin himself. Lady Macbeth was immediately banned by the government. In Testimony, Shostakovich writes, “Before Lady Macbeth I was a boy who might have been spanked, and later, I was a state criminal. From that moment on, I was stuck with the label ‘enemy of the people.’ The danger horrified me and I was near suicide.” Soon thereafter, Stalin decreed that Soviet music must have certain attributes: a socialist theme, no harsh tonalities, it must mirror Russian folksong and have a happy ending praising the State. Moreover, he established a musical Union of Composers made up of his stooges whose job it was to prescreen music and to approve it for public performance and publication, or to ban it altogether. The Union banned most of Shostakovich’s music after 1948. Believe it or not, the Union of Composers launched a war against the use of sharps and flats – too dissonant and disconcerting! So, how does this new information about Shostakovich affect our understanding of his music? He gives us answers in Testimony: “Hitler is a criminal, but so is Stalin. I feel eternal pain for those who were killed by Hitler, but I feel no less pain for those killed on Stalin’s orders. I suffer for everyone who was tortured, shot, or starved to death. The war brought much new destruction. That is what all my symphonies, beginning with the Fourth, are all about.

The majority of my symphonies are tombstones. Too many of our people died or are buried in places unknown to anyone, not even their relatives. In remembering my friends, all I see is corpses, mountains of corpses. Awaiting execution is a theme that has tormented me all my life. Many pages of my music are devoted to it.” Shostakovich could not speak about the horrors of Stalin and the Soviet Union, so he put his opinions in his music where the government dunces could not understand it. Listen eight minutes into the first movement for a march of cinematic impact. This music is widely believed to depict Stalin and the iron tread of a monstrous power crushing everything in its path. Another similar menacing march dominates the fourth movement which ends with the sound of a proud culture being clubbed into rubble. Writing this composition under the noses of Stalin’s henchmen was a singular act of courage. Shostakovich’s music, however, is not just a clever vessel for a hidden political agenda and autobiographical secrets. Do not get sidetracked on these secondary matters to the extent that you overlook the exceptional intrinsic value of his extraordinary music. In the end, although his music is fueled by personal issues, it transcends those issues – as does the music of Beethoven and Tchaikovsky – and flourishes on its own as great emotional art, with no need of explanation. Go with the flow!

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Classical Series 6 AndrĂŠs Franco, conductor Edgar Moreau, cello

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February 17 |18, 2017 Andrés Franco, conductor Edgar Moreau, cello Guiseppe Verdi (1813 – 1901) Overture to “La Forza del Destino” Allegro

Edward Elgar (1857 – 1934) Cello Concerto in E minor, Op. 85 1. Adagio – moderato 2. Lento – allegro molto 3. Adagio 4. Allegro Edgar Moreau, cello Intermission Modest Mussorgsky (1839 – 1881) Pictures at an Exhibition 1. Promenade: allegro giusto, nel modo russico; senza allegrezza, ma poco sostenuto 2. The Gnome: vivo e meno mosso, pesante 3. Interlude; promenade theme: moderato commodo assai e con delicatezza 4. The Old Castle: andante molto cantabile e con dolore 5. Interlude; promenade theme: allegretto non troppo, capriccioso 6. Tuileries: allegretto non troppo, capriccioso 7. Cattle: sempre moderato, pesante 8. Interlude; promenade theme: tranquillo 9. The Ballet of Unhatched Chicks in their Shells: scherzino (vivo, leggiero) 10. Samuel Goldenberg and Schmuÿle: andante. grave energico e andantino 11. Promenade: allegro giusto, nel modo russico; poco sostenuto 12. The Market at Limoges (The Great News): allegretto vivo, sempre scherzando 13. Catacombs: Largo (Sepulcrum) andante non troppo con lamento (Con mortuis) 14. Baba Yaga: allegro con brio, feroce e andante mosso 15. The Great Gate of Kiev: maestoso, con grandezza

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Programming concerts is one of my favorite activities, along with conducting them! I always seek to find both contrast and unity. In this case, the program was built around Elgar’s Cello Concerto, which had already been selected by the Boise Philharmonic. Elgar wrote this piece in the aftermath of World War I, as he was recovering from surgery. The work is very personal, and despite several light hearted moments, it is pervaded by a meditative, elegiac quality. To offer some contrast, I chose the Technicolor brilliance of Mussorgsky’s Pictures at an Exhibition, orchestrated by Ravel, which is a piece that explores the possibilities of the orchestra and showcases each one if its sections. To open the concert I selected Verdi’s Overture to La Forza del Destino. This work offers a wide range of emotions, from the drama of the opening Fate theme in the brass, to the delicate prayer intoned by the strings, to the exciting finale, all of them expressed through the Italian composer’s masterful melodies. The overture starts in E minor, the same key of Elgar’s Cello Concerto, bringing unity to the program.

Andrés Franco, conductor Recently named Music Director of the Signature Symphony at Tulsa Community College and Assistant Conductor of the Pittsburgh Symphony Orchestra, Andrés Franco has established himself as a conductor to watch.  Mr. Franco’s 2014-15 highlights included subscription debuts with the Columbus and Fort Worth symphony orchestras,  as well as return engagements with the Houston and Saint Louis symphonies. In 2015-16, he debuts with the Chicago Sinfonietta, Grant Park Orchestra, OK Mozart Festival, and Saginaw Bay Symphony Orchestra, and return and conduct the Corpus Christi and Fort Worth symphony orchestras.   A frequent guest conductor in the U.S., Europe, and South America, Andrés Franco has appeared with the Orquesta Sinfónica de Castilla y León/Spain, the National Symphony Orchestra/Peru, as well as with the National Symphony, Bogotá Philharmonic, Medellin Philharmonic, and EAFIT Symphony Orchestra in Colombia. Festival appearances include the Cabrillo Festival of Contemporary Music, the Oregon Bach Festival, and the Wintergreen Music Festival in Virginia. Mr. Franco formerly served as Music Director of the Philharmonia of Kansas City (2004-2010), as Associate and Resident Conductor of the Fort Worth Symphony Orchestra (2009-2014), and as Leonard Slatkin’s Assistant



Conductor during the 14th Van Cliburn International Piano Competition (2013). A native of Colombia, Andrés Franco is dedicated to preserving and performing the music of the Americas. As Principal Conductor of Caminos del Inka, he has led many performances of Latin American music by composers of our time, such as Jimmy López, Gabriela Frank, and the popular Argentine composer, Astor Piazzolla. Born into a musical family, Andrés Franco began piano studies with his father, Jorge Franco. An accomplished pianist, he studied with Van Cliburn Gold Medalist Jose Feghali and attended piano workshops with Rudolph Buchbinder in Switzerland and Lev Naumov in France. He studied conducting with Marin Alsop, Miguel HarthBedoya, Kurt Masur, Gustav Meier, Helmut Rilling, Gerard Schwarz and Leonard Slatkin.  Mr. Franco holds a bachelor’s degree in Piano Performance from the Pontificia Universidad Javeriana in Bogotá, Colombia, as well as master of music degrees in Piano Performance and Conducting from Texas Christian University.   Andrés Franco is married to Victoria Luperi, Principal Clarinetist in the Fort Worth Symphony Orchestra.

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Edgar Moreau, cello “The rising star of the French cello,” 21-year-old cellist Edgar Moreau consistently captivates audiences with his effortless virtuosity and dynamic performances (Le Figaro Magazine). He won First Prize in the 2014 Young Concert Artists International Auditions after capturing, at the age of 17, Second Prize and the Prize for the Best Performance of the Commissioned Work at the 2011 Tchaikovsky Competition under the chairmanship of Valery Gergiev. In 2013, he was named “New Talent of the Year” at the Victoires de la Musique in France, and in 2015, he was named “Solo Instrumentalist of the Year.” As recipient of the 2015 Arthur Waser Award, he receives a grant of CHF 25,000 and makes his debut with the Lucerne Symphony Orchestra. Mr. Moreau has been selected as one of the European Concert Hall Organization’s 2016-2017 Rising Stars, and will embark upon a European tour of more than a dozen major concert halls including Barbican, Concertgebouw and Musikverein. He was awarded six concert prizes at the YCA Auditions and is recipient of the Florence Gould Foundation Fellowship of Young Concert Artists (YCA). His album of Baroque concertos was released earlier this season on the Warner Classics label. Highlights of the 2015-2016 season included his debut with the Los Angeles Philharmonic, as well as concerto

2016 | 2017 SEASON performances abroad with the Barcelona Symphony Orchestra, the Brussels Philharmonic, and the Orchestre National de France. Mr. Moreau makes his recital debuts in the Young Concert Artists Series at the Kennedy Center on January 26 and in New York at Merkin Concert Hall in the Peter Jay Sharp Concert on February 2. This season, he appears in chamber music concerts in France, Austria, Germany, Switzerland, Italy, the Netherlands, and Japan. He has soloed with the Sinfonia Iuventus Orchestra in Poland (Krzysztof Penderecki, conductor), the Orchestre Philharmonique de Radio-France (Myung-Whun Chung, conductor), the Simon Bolivar Orchestra in Caracas, the Zurich Chamber Orchestra, the Mariinsky Orchestra in Toulouse (under Valery Gergiev), the Orchestre National de France in Paris, the Orchestre du Capitole de Toulouse, the St. Petersburg Philharmonic (under Jean-Claude Casadesus), the Orchestre de la Suisse Romande in Switzerland, and in Asia with the Malaysian Philharmonic in Kuala Lumpur and the Hong Kong Sinfonietta. He has performed at Poland’s Easter Festival in Warsaw, the Radio France Montpellier Festival, the Colmar Festival, the Evian Festival, La Folle Journée in Nantes and Tokyo, the Verbier Festival, Edinburgh Festival, and at the Musikverein in Vienna. Born in 1994 in Paris, Edgar Moreau began playing the cello at the age of four and the piano at six. He studied with Philippe Muller at the Conservatoire National Supérieur de Paris, and currently works with Frans Helmerson at the Kronberg Academy. His first CD, “Play,” a collection of short pieces, is available on Warner Classics label. He plays a David Tecchler cello, dated 1711.


program notes Giuseppe Verdi

Edward Elgar

October 10, 1813 – January 27, 1901

June 2, 1857 – February 23, 1934

Overture to “La Forza Del Destino”

Cello Concerto in E minor

Giuseppe Verdi, who as a youngster was rejected by music school because he “lacked talent,” became one of the most popular opera composers of all time. His secret was that he eschewed the over-sophisticated opera of the day, writing instead about the intense passion, emotions, and tribulations of the ordinary people who fought to gain entrance to his productions. La Forza del Destino, or the power of fate or destiny, is the melodramatic tale of a star-crossed love relationship between a woman, Leonora, and a man, Don Álvaro, who her father believed was not right for her. The father dies at Don Álvaro’s hands. Don Álvaro flees, only to be pursued by his love’s enraged brother. Don Álvaro mortally wounds Leonora’s brother in a duel, but before he dies, he stabs his sister and kills her. Overcome by guilt, Don Álvaro jumps to his death from the roof of a monastery. Are we having fun yet? Now you know what the two hammering threenote sequences of “E” signify at the beginning of the supercharged Overture: Fate, deadly fate about to control the lives of everyone in the drama. In fact, old school Italian singers soon believed that La Forza Del Destino was cursed and brought bad luck. For this reason, Pavarotti would have nothing to do with it. On March 4, 1960, the American baritone Leonard Warren fell over dead on stage from a massive cerebral hemorrhage right before he was to sing in an aria, “To die is a momentous thing.” Verdi’s original overture was rather bland and uninteresting. Seven years after its premier, he replaced it with this magnificent full-throated work. It now offers a biting preview of the opera’s highlights, beginning with the threatening fate, motive, and also featuring Leonora’s soaring prayer to the Virgin as she prepares to spend the rest of her life as a hermit to atone for her sin that caused her father’s death. Viva Verdi, Viva Italia!


program notes

Elgar entered the world in 1857 surrounded by the rolling hills of rural England during the twentieth year of Queen Victoria’s glorious reign, and at the zenith of the British Empire. He came from a family living a life of genteel poverty in the English countryside. His father was a musician and a piano tuner who scratched out a meager living to support his family. Wanting better for his son, Elgar’s father sent him off to London as a fifteen-yearold to be an apprentice to study law – but it didn’t take. Fortunately, Elgar preferred music to law. Elgar had no money to go to music school or to take lessons. He was entirely self-taught. He said later, “When I resolved to become a musician and found that the exigencies of life [meaning he had to eat] would prevent me from getting any tuition, I read everything, played everything, and heard everything I possibly could.” Then, at the age of 22, he took the only paying musical job available to him: Bandmaster of the Attendant’s Orchestra in the county lunatic asylum, as it was called, where he spent 5 years honing his skills with a small group of staff musicians, but going nowhere career wise. His big break came in 1889 when he married Caroline Alice Roberts, the daughter of an upper crust moneyed family. Alice, who was 8 years older than Edward, became the bedrock of his personal and his professional life, as well as his entree into the higher social and economic class to which he aspired. She became not just his supportive companion, but also a sounding board for his compositions to the extent that he always relied on her ear to test his ideas. At first, Elgar was very much a proud nationalist, echoing the robust confidence of the British Empire. His was the voice of the Edwardian Age celebrating the glories of an epoch soon to end, and in 1914, end it did, with both a bang and a whimper. Some called it the “Great War,” others euphemistically the “War to End All Wars.” Whatever it was, it was horrible. The combatants invented new ways to kill each other. Tanks replaced horses, airplanes dropped bombs from the skies, heavy artillery bombarded opponents from great distances, and poison gas killed and maimed soldiers in their trenches. The Germans introduced the flame thrower into their array of killing instruments. The world would

never be the same, and neither would Elgar or the British Empire. So, what does this have to do with Elgar’s Cello Concerto? Quite a lot. He wrote it at the end of the killing during the summer of 1919 at his secluded cottage near the English Channel where, during previous years, he had shuddered at the sound of the artillery of WWI rumbling across the water from France. The Concerto is Elgar’s lament for all the war had cost and destroyed – the lives of 1,000,000 British soldiers and with them a way of life, Elgar’s way of life. It is Elgar’s heartfelt expression of the unquenchable angst, despair, and profound disillusionment he felt at the end of the carnage and hostilities. His world had been swept away, and this Concerto was his haunting elegy for all that was lost. His own words, written contemporaneously with this poignant piece, tell the story: “Everything good and nice and fresh and clean is far way – never to return.” “The old life is over and everything is blotted out.” However, this piece is not just a musical commentary on the dire state of post-war British civilization. It is also one of the most personal compositions ever written. This moving concerto was Elgar’s last significant work, written in contemplation of his own mortality and the approaching death of his beloved Alice. She died just a few months after its completion. He lived for 14 years after her death, but although he was knighted by the King, he was never the same. This Concerto was his farewell to the world. Elgar told a close friend that “if ever after I’m dead you hear someone whistling on the Malvern Hills [the lilting tune that follows the opening cello soliloquy], don’t be alarmed. It’s only me.” If you are still mourning the end of Downton Abbey, this will be your music. But even if you have never seen Lord Grantham and the Dowager Countess, you’ll love this piece. It ranks as one of the most self-referential pieces ever composed. Only the striking voice of the cello could have told this eloquent story.

program notes Modest Mussorgsky March 21, 1839 – March 28, 1881 Pictures at an Exhibition (arr. Ravel) Mussorgsky, an army officer by profession, belonged in the late 19th Century to a group of Russian composers known as “The Five.” They prided themselves in having no formal musical education. Their objective was to reject

the dominant German musical traditions of the times and to come up with a Russian national sound and style of their own. His co-conspirators included Nicolai RimskyKorsakov and Alexander Borodin. Viktor Hartmann, a noted artist and architect, was Mussorgsky’s close friend. When Hartmann unexpectedly died, Mussorgsky wrote this extraordinary piece in 1874 as a tribute to his fallen companion. In a fit of anguished inspiration, the composition seemed to write itself. Mussorgsky said, “Ideas, melodies come to me of their own accord. Like roast pigeons, I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” Mussorgsky composed this wondrous tribute for the piano, not for an orchestra. After his death, RimskyKorsakov added some finishing touches. Almost 50 years later, Serge Koussevitzky, the Russian Music Director of the Boston Symphony Orchestra, asked Maurice Ravel to orchestra it. Ravel’s luminous work was an immediate overwhelming success. It is a rarely matched audience favorite, a grand showpiece for conductors and orchestras alike. The composition features graphic musical depictions of Hartmann’s pictures and sketches. Mussorgsky ties them together with a walking theme that suggests a posthumous promenade by the composer through a gallery, stopping along the way to enjoy each of Hartmann’s works and to relish the memories of their friendship. In order, the descriptive music uncoils as follows: Promenade (the walking theme); Gnomus (a carved wooden nutcracker in the shape of a gnome); Promenade; The Old Castle (featuring a haunting saxophone solo); Promenade; Tuileries (children at play in a Paris garden); Bydlo (a ponderous wooden-wheel Polish ox cart); Promenade; The Ballet of the Unhatched Chicks in their Shells; Goldenberg and Schmuӱle (two Jewish gentlemen in conversation, one rich, one poor); The Marketplace; Roman Catacombs, with the dead in a dead language (Roman skulls); the Hut on Fowl’s Legs (Baba Yaga); and The Great Gate of Kiev – a colossal final section of unmatched power and grandeur. No greater eulogy for a friend has ever been delivered. To fully appreciate the genius of Mussorgsky and Ravel, listen to a version of the piano suite on YouTube. You will marvel at the pictorial expressiveness of Mussorgsky’s original keyboard work and the elegant Frenchman’s faithfulness to it through the use of superbly apt instrumentation. As a musical colorist, Ravel has few equals. As an unlikely pair, he and the mighty Russian have no peers. To view Hartmann’s artworks, go to Google Images and enter “Viktor Hartmann Pictures at an Exhibition.”


Classical Series 7 Eric Garcia, conductor David Kim, violin

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March 10 | 11, 2017

Eric Garcia, conductor David Kim, violin Dmitri Shostakovich (1906 – 1975) Festive Overture in A Major, Op. 96 (1954) Pyotr Ilyich Tchaikovsky (1840 – 1893) Violin Concerto in D Major, Op. 35 1. Allegro moderato 2. Canzonetta: Andante 3. Finale: allegro vivacissimo David Kim, violin Intermission Sergei Prokofiev (1891 – 1953) Symphony No. 5, Op. 100 1. Andante 2. Allegro marcato

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When I discovered that we would be collaborating with the immensely talented David Kim on Tchaikovsky’s Violin Concerto, I foresaw a great opportunity to create an all-Russian Program. Apart from Stravinsky, Shostakovich and Prokofiev certainly reign as the titans of twentieth century Russian music. I felt that these composers, with whom I feel a deep personal connection, would provide the perfect musical atmosphere for this very special collaboration. Shostakovich’s Festive Overture is a vibrant and incredibly exciting work that provides a great opener for the program. The overture is truly festive and shows Shostakovich at his most carefree. Tchaikovsky’s Violin Concerto is an absolute staple of the concerto repertoire and a truly virtuosic work that allows our distinguished soloist to shine.

Eric Garcia, conductor

Prokofiev’s Fifth Symphony is one of my absolute favorite works of the symphonic repertoire. It is one of Prokofiev’s most inspired and grand - not to mention virtuosic - creations. In a span of just 45 minutes, Prokofiev provides us with an immense musical canvas of grandeur and heroism, relentless humor and satire, mystery and sensuousness, and raucous jubilance. The symphony - one of the most humane, colorful, and evocative works of the twentieth century - continually astounds and inspires me. I am tremendously excited and honored for the opportunity to celebrate this great music with both the Boise Philharmonic and Boise community!

Eric Garcia currently serves as Director of Orchestral Studies and Associate Professor of Conducting at the Wanda L. Bass School of Music at Oklahoma City University. He concurrently serves as Interim Conductor of the Oklahoma Youth Orchestra, where he supervises and trains 350 students and 11 ensembles. In addition to his artistic responsibilities, his position requires overseeing programming, budgeting, fund raising, regional and national developing tours, student recruitment, marketing, and leading an annual concerto competition. Prior to joining OSU, he served as Assistant Conductor of the Seattle Symphony, working closely with thenmusic director Gerard Schwarz, and conducting the orchestra in subscription concerts, education concerts, popular culture outreach activities and other special events. He served as producer of recordings on the Naxos label, and collaborated with a diverse array of guest artists beyond the classical repertoire, including Herbie Hancock, Indigo Girls, Pink Martini and Garrison Keillor. Garcia has served as cover conductor of the Pittsburgh Symphony Orchestra, and will serve as cover conductor this summer at the acclaimed Aspen Music Festival.



Garcia previously served as Director of Orchestral Activities at the University of Evansville, Music Director of the Evansville Philharmonic Youth Orchestra, and Director of Orchestras at St. Xavier University. Garcia has served as guest conductor and clinician for high school orchestras throughout the country. An avid conductor of contemporary music, Garcia has premiered numerous compositions and worked directly with such esteemed composers as John Adams, Sergio Assad, George Crumb, David Lang, and Lowell Lieberman. In 2014, he served on faculty at the Cortona Sessions for New Music in Cortona, Italy. Garcia was a recipient of the Bruno Walter Foundation Scholarship. He has attended the Cabrillo Festival of Contemporary Music and the American Academy of Conducting at the Aspen Music Festival and School. Garcia received a Doctorate of Music and a Master of Music in Orchestral Conducting from Northwestern University. The summer of 2016 marks Garcia's return to the Eastern Music Festival, having previously served as Assistant Conductor to two student orchestras encompassing more than 200 gifted young musicians.

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David Kim, violin Violinist David Kim was named concertmaster of The Philadelphia Orchestra in 1999. Born in Carbondale, Illinois, in 1963, he started playing the violin at the age of three, began studies with the famed pedagogue Dorothy DeLay at the age of eight, and later received his bachelor’s and master’s degrees from the Juilliard School. Highlights of Mr. Kim’s 2015-16 season included teaching/performance residencies at Oberlin College, Bob Jones University, and the Boston Conservatory; continued appearances as concertmaster of the All-Star Orchestra on PBS stations across the United States and online at the Kahn Academy; recitals, speaking engagements, and appearances with orchestras across the United States; performances of the Brahms Double Concerto with Philadelphia Orchestra Principal Cello Hai-Ye Ni and the Orchestra under the baton of Donald Runnicles; and the launching of the first annual David Kim Orchestral Institute of Cairn University in Philadelphia.

internationally at such festivals as Grand Teton, Brevard, MasterWorks (US), and Pacific (Japan). Mr. Kim has been awarded honorary doctorates from Eastern University in suburban Philadelphia, the University of Rhode Island, and Dickinson College. His instruments are a J.B. Guadagnini from Milan, ca. 1757, on loan from The Philadelphia Orchestra, and a Michael Angelo Bergonzi from Cremona, ca. 1754. Mr. Kim resides in a Philadelphia suburb with his wife, Jane, and daughters, Natalie and Maggie. He is an avid runner, golfer, and outdoorsman.

Mr. Kim appears as soloist with The Philadelphia Orchestra each season as well as with numerous orchestras around the world. He also appears


program notes

program notes

Dmitri Shostakovich

Pyotr Ilyich Tchaikovsky

September 25, 1906 – August 9, 1975

May 7, 1840 – November 6, 1893

Festive Overture

Concerto for Violin in D Major

In 1954, the Soviets planned a concert to be held in the Bolshoi Theater in Moscow to commemorate the 37th Anniversary of the Great October Socialist Revolution of 1917. In that revolution, the Bolsheviks seized power from the Tsarist aristocracy and set the stage for the creation in 1922 of the Soviet Union. As the concert approached, the Bolshoi’s conductor, Vassili Nebolsin, lacked a suitable piece to open the celebration. He contacted Shostakovich for help, and Shostakovich produced this sparking overture in just three days. One of Shostakovich’s friends who witnessed these events penned a description of Dmitri’s style and genius: “The speed with which he wrote was truly astounding. Moreover, when he wrote light music, he was able to talk, make jokes, and to compose simultaneously, like the legendary Mozart. He laughed and chuckled, and in the meanwhile work was under way and the music was being written down.” The Russkies continue to use this work on appropriate occasions, such as to open the Summer Olympics in Moscow in 1980. Many observers have claimed that the joyous tone of the music reflects Shostakovich’s relief after the death seven months earlier of his nemesis, Joseph Stalin.

Tchaikovsky’s Violin Concerto, composed in Switzerland in 1878, is one of the great masterpieces ever written for the instrument. It is a brilliant work featuring soaring operatic themes and dancing rhythms, and it requires extraordinary virtuosity to perform. But surprisingly, like his first piano concerto, it was poorly received at the time of its birth. In fact, it took Tchaikovsky three years after he composed it to convince someone to play it. Tchaikovsky created the piece with the help of a young but not yet well-known Russian violin prodigy, Josef Kotek. To Kotek’s dismay, however, Tchaikovsky dedicated it not to Kotek, but to Leopold Auer, the Imperial Concertmaster of the Czar of Russia’s Orchestra in Moscow who would later become Jascha Heifetz’s teacher. Tchaikovsky believed that Auer’s imprimatur would ensure his Concerto’s artistic and commercial success. But, Auer took one look at it, and, even though the dedication to him was printed on the score, he said it was impossible to play, and would have no part of it. Rejected by Auer, Tchaikovsky returned to Kotek and offered it to him, but Kotek, miffed by Tchaikovsky’s dedication of the piece to Auer, turned him down. To add insult to injury, Kotek agreed with Auer -- it was unplayable. Some years later, Tchaikovsky wrote in his diary that the effect of Auer’s pronouncement that the Concerto was unplayable “cast this unfortunate child of my imagination for many years to come into the limbo of hopelessly forgotten things.” Three years after Kotek’s rejection, and after numerous other violinists had rejected it, Tchaikovsky convinced a lesser-known violinist, Adolf Brodsky, to premiere the piece with the Vienna Philharmonic. The premiere was a disaster. An avalanche of derisive hisses and boos from the audience drowned out some polite applause from friendly quarters. Worse than the hisses were the critics’ reviews. Edward Hanslick, the eminent critic and uncrowned ruler of musical destinies in Europe wrote this scathing review: “For a while the Concerto has proportion, is musical, and is not without genius, but soon savagery gains the upper hand and lords it to the end of the first movement. The violin is no longer played. It is yanked about. It is torn


asunder. It is beaten black and blue. The adagio, with its tender national melody, almost conciliates, almost wins us. But it breaks off abruptly to make way for a finale that puts us in the midst of a brutal and wretched Russian peasant holiday. We see wild and vulgar faces, we hear curses, we smell bad vodka. Friedrich Vischer once asserted in reference to lascivious paintings that there are paintings which ‘stink in the eye.’ Tchaikovsky’s Violin Concerto brings to us for the first time the horrid idea that there may be music that stinks in the ear.” Edward Hanslick, now there’s a household name for you. Once again, the critics were wrong, self-relegated to the dustbin of history. Here’s an interesting aside. In 1983, Bill Conti won an Oscar for his score written for the movie “The Right Stuff” about John Glenn and the Mercury 7 Astronauts. In one scene, the astronauts walk one by one towards their destiny, accompanied by a triumphant march. It’s quite a scene, but guess what? Conti brazenly stole the music for his glorious march from the development section of the first movement of Tchaikovsky’s Concerto. This heist explains why Conti’s plagiarized Oscar winning sound track was never released in CD form. In addition to shamelessly swiping music from Tchaikovsky, much of the rest of the music for the movie score was lifted from Gustav Holst’s “The Planets.” Are you surprised that not a single member of the Academy recognized Tchaikovsky’s music? I’m not either.

program notes Sergei Prokofiev April 23, 1891 – March 5, 1953 Symphony No. 5 Sergei Prokofiev, described as “the bad boy of Russian music,” clashed with all his professors at the Conservatory in St. Petersburg. His compositions rocked the faculty with what they called “the rawest dissonances ever produced by a student of talent.” They called him brash, stubborn, obstinate, argumentative, and cocky. They said “soft,” he said “loud.” They said “slow,” he went fast. Rimsky-Korsakov wrote on Prokofiev’s graduation examination, “Talented, but completely immature.” His primary instrument was the piano, which he described as a member of the percussion family. In the United States, critics called him “The Bolshevik pianist: hands

of steel, biceps of steel, triceps of steel, with music to match.” In 1913, after attending Prokofiev’s graduation concert performance of the 22-year old composer’s Piano Concerto No. 2, one critic wrote, “The public is bewildered. Some indignant murmurs are audible. One couple gets up and stalks toward the exit, saying ‘This music is enough to drive you mad!’ The audience flees to the exits, exclaiming: ‘To hell with all this futuristic music! We came here for enjoyment. Meanwhile, the enchanted progressivists try to drown them out with: ‘This is the work of a genius!’... ‘How fresh, how new!’” Another critic, commenting on the same performance, took a long-range view: “The audience booed. This means nothing. Some ten years hence the same audience will pay for this booing with unanimous applause for the then famous composer who will be recognized in all of Europe.” Guess who was correct? With the violent Bolshevik Revolution in Russia in 1918, which left the country in tatters, Prokofiev left his homeland and went to France, where echoes of Stravinsky’s Revolutionary “Rites of Spring” could still be heard. Prokofiev settled in Paris and sought a career as a composer and as a pianist, but he was never comfortable or, for that matter, financially successful away from Mother Russia. He returned home in 1934. What Prokofiev failed to realize was that he was walking with his eyes closed into one of the most repressive political regimes in the history of the world: Stalin’s Union of Soviet Socialist Republics, where everything – including music – fell under iron-fisted state control. It did not pay to argue and object with the State. Many who did were arrested and died in gulags. In 1948, the roof fell in. The Central Committee of the Communist Party held a meeting at which formal accusations were brought against Prokofiev, Shostakovich, Khachaturian, and others. The charges were, “writing music reminiscent of the spirit of contemporary modernistic music of Europe and America,” and creating music with “anti-democratic tendencies that are alien to Soviet people and its artistic tastes.” The Central Committee published a Resolution containing a four-part program ordering the “liquidation of anti-national music.” One by one, the terrified musicians publically began to apologize. Shostakovich: “I am deeply grateful for....all the criticism contained in the Resolution....I shall with still more determination work on the musical depiction of the images of the heroic Soviet People.” Muraldi: “How could it have happened that I failed to introduce a simple folk song into the score of my Opera?” Prokofiev: “The Resolution has separated decayed tissue in the composers’ creative production from the healthy part. The Resolution is important because it demonstrates


that the formalist movement is alien to the Soviet People.” The composers then wrote a joint letter to Stalin thanking him for the public spanking: “We are tremendously grateful to the Central Committee of the All Union Communist Party and personally to you, dear Comrade Stalin, for the severe but profoundly just criticism of the present state of Soviet music. We shall lend every effort to apply our knowledge and our artistic mastery to produce vivid, realistic music reflecting the life and struggles of the Soviet People.” A period of complete artistic uniformity followed. Russian music, like Russian painting, had nothing to offer to the world. Bolshevik ideology drove everything. The only school allowed to survive was Stalinist Soviet Realism. Composers had little to do but orchestrate folk songs and let it go at that. All of this evoked Lenin’s chilling revolutionary statement that, “We not only removed heads, we also enlightened them.” The purpose of art was to jam communism down the Peoples’ throats. Art became pure propaganda.

against the Nazis. Victorious light could at last be seen at the end of the War’s long and devastating tunnel. This piece has no program as such, but Prokofiev called it “music glorifying the human spirit, praising the free and happy man – his strength, his generosity, and the purity of his soul.” A first-night Russian critic aptly called it “the embodiment of man’s courage, energy, and spiritual grandeur” a description which perfectly suited the mood of the audience as people began to sense victory. The finale begins in reflection and eventually bursts into a confident high voltage whirlwind of driving energy leading up to a scorching climax that only a Russian could write. Soon after its premiere in the United States, it landed Prokofiev on the cover of Time. Bravo!

In the midst of this cultural miasma, Prokofiev wrote his Fifth Symphony during a one-month period in 1944, shortly after the Allied invasion of Normandy and just as Russian armies began to make headway in the East







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Classical Series 8 Alexander Mickelthwate, conductor Boise Philharmonic Master Chorale Dr. Jim Jirak, Music Director, BPMC Lara Ciekiewicz, soprano Kathryn Leemhuis, mezzo-soprano Brian Cheney, tenor Timothy Jones, baritone April’s concert generously sponsored by

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April 7 | 8, 2017

Alexander Mickelthwate, conductor Boise Philharmonic Master Chorale, Dr. Jim Jirak, Music Director Lara Ciekiewicz, soprano • Kathryn Leemhuis, mezzo-soprano Brian Cheney, tenor • Timothy Jones, baritone Ludwig Van Beethoven (1770 – 1827) Leonore Overture No. 2 Kevin Puts (b. 1972) “Inspiring Beethoven” (2001) Intermission Ludwig Van Beethoven (1770 – 1827) Symphony No. 9 in D minor, Op. 125 1. Allegro ma non troppo e un poco maestoso 2. Molto vivace 3. Adagio molto e cantabile 4. Presto – allegro assai Boise Philharmonic Master Chorale

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We will finish the season with a quasi all-Beethoven program including one of the most famous works ever written, his Symphony No. 9 with the rousing Ode to Joy chorus. Beethoven wrote several revolutionary works, his opera Fidelio and the 9th Symphony are the most famous examples. Leonore 2 was the overture that Beethoven wrote for the world premiere of Fidelio in 1805. It reflects the spirit of liberty where Florestan throws of the shackles of the old regime and walks out of prison a free man. In between Leonore 2 and the 9. Symphony I decided to put Inspiring Beethoven by American composer Kevin Putz. It was inspired by, well, Beethoven and moves the concert into the 21st century. Music is alive, then and now.


Alexander Mickelthwate, conductor German Conductor Alexander Mickelthwate is the Music Director of the Winnipeg Symphony Orchestra. Since his appointment in 2006, Alexander has played a pivotal role in the development of the orchestra, which culminated in a highly successful and critically acclaimed performance at Carnegie Hall in May 2014 as part of the Spring For Music festival. The New York Times noted the performance was “conducted expertly” and the New York Classical review stated “under music director Alexander Mickelthwate, they play with excellent intonation and such a fine overall blend and balance of sound that, on their own terms, they may be the best orchestra to appear in the week’s worth of concerts.” Alexander began his career in North America as Assistant Conductor with the Atlanta Symphony Orchestra and then Associate Conductor of the Los Angeles Philharmonic under Essa-Pekka Salonen. He has guest conducted the New York Philharmonic, the Chicago Symphony, Seattle Symphony, Houston Symphony, Vancouver Symphony, Atlanta Symphony, Saint Paul Chamber Orchestra, Orchestra of St. Luke’s, Milwaukee Symphony, Rochester Philharmonic and Toronto Symphony amongst others. Alexander gave his European debut was with the Hamburg Symphony in 2006. He has also conducted


the Stuttgart Radio Orchestra, Royal Scottish National Orchestra, Deutsche Kammerphilharmonie Bremen and NDR Hannover. Other notable performances include the Sao Paulo Symphony and the Simon Bolivar Orchestra in Venezuela. He made his Australian debut with the Adelaide and Tasmanian symphony orchestras where he recorded the Mozart piano concerti Nos. 7 and 10 with the Silber Garburg Duo. For three years Alexander created the critically acclaimed Indigenous Festival. Passionate to connect with all cultures he created artistic collaborations between the First Nations and Western cultures that culminated in the performances of Stravinsky’s Rite of Spring and Revueltas’ Les Noches de los Mayas with new choreographies of contemporary and First Nations dance. Born and raised in Frankfurt Germany to a musical family, Alexander received his degree from the Peabody Institute of Music. He studied conducting under Fredric Prausnitz and Gustav Meier as well as with Seiji Ozawa, Andre Previn, Daniel Barenboim and Robert Spano at Tanglewood.

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Lara Ciekiewicz, soprano Whether being hailed as “mesmerizing” (Classical Voice of North Carolina), “thrilling” (The New Classical 96.3 FM), or “a clear standout” (San Francisco Classical Voice), versatile soprano Lara Ciekiewicz makes her mark as a compelling, intelligent, and accomplished singing-actress. As an indication of her increasing stature in the arts world, Ms. Ciekiewicz received the Winnipeg Arts Council’s RBC ‘On the Rise Award’ for 2015. An alumna of l’Atelier lyrique de l’Opéra de Montréal, she has distinguished herself at San Francisco’s Merola Opera Program, the Janiec Opera Company at the Brevard Music Center, Opera Nuova and the Banff Centre. She is featured in the world premiere of Estacio’s Ours at Opera on the Avalon in July of 2016 and later makes her role debut as Amelia in Simon Boccanegra for Pacific Opera Victoria. Her ‘Salute to Vienna’ New Year’s concerts this season take her to California and later in the season, she debuts for Vancouver Opera as Contessa in Le Nozze Di Figaro. A favourite with Winnipeg audiences, Ms. Ciekiewicz was heard during 2015-2016 season as Contessa in Mozart’s Le Nozze Di Figaro for Manitoba Opera and as soprano soloist in Mahler’s Symphony No. 2 with the Winnipeg Symphony. Gala New Year’s concerts - ‘Salute to Vienna’ – were on her schedule in Miami, West Palm Beach and Coral Springs, Florida. In 2014-2015, she was featured as Liu in Manitoba Opera’s Turandot with additional engagements for Orchestre Sherbrooke’s Messiah, the premiere of a new work by Vincent Ho for the Winnipeg Symphony and appearances for ‘Salute to Vienna’ in the Unites States. Highlights of the 2013-2014 season included Nellie in South Pacific for Pacific Opera Victoria, Messiah with the Winnipeg Symphony, Musetta in La Boheme for Manitoba Opera, and Lisa in Das Land Des Lächelns for Toronto Operetta Theatre. Ms. Ciekiewicz holds a Masters in Music (Opera) from McGill University and a Bachelor of Arts (Honours, Voice) from the University of Winnipeg. She is a laureate of Montreal’s Jeunes Ambassadeurs Lyriques.

Kathryn Leemhuis, mezzo-soprano American mezzo-soprano Kathryn Leemhuis has been praised for having “a large, beautiful, dark instrument, intelligently used, and spot-on dramatic timing” (St. Louis Today), and her voice has been described as “stunning in its combination of musical and dramatic nuance” (Living at the Opera). Most recently, she made her company debuts with Dallas Opera as Javotte in Massenet’s Manon, with Cincinnati Opera as Inez in Verdi’s Il Trovatore, and as the Mother in Menotti’s Amahl and the Night Visitors with the Cincinnati Chamber Orchestra. Ms. Leemhuis returned to DuPage Opera to perform Dorabella in Mozart’s Cosi fan tutte and to the Tanglewood Music Festival as Paquette in Bernstein’s Candide with the Boston Symphony Orchestra, both following a triumphant run as Dorabella with Fort Worth Opera. The Dallas Morning News hailed her performance as “ravishing,” adding that, “her sheer vocal beauty allied to nimbleness and an astonishing range of dynamic and coloristic nuance.” Ms. Leemhuis is the first place winner of the 2015 Shreveport Opera Singer of the Year Competition, the 2013 New York Lyric Opera Vocal Competition, the 2013 Opera at Florham Vocal Competition, the 2012 Bel Canto Competition, and the 2012 Heida Hermanns Competition. She is the second place winner of the 2015 National Opera Association Competition, the 2013 Opera Birmingham Vocal Competition, the 2013 Florida Grand Opera Competition, the 2011 Gerda Lissner Foundation Vocal Competition, and the 2010 Fort Worth McCammon Competition. She is the third place winner of the 2010 Licia Albanese-Puccini Competition, and a National Semi-Finalist in the 2012 Metropolitan Opera National Council Auditions. Ms. Leemhuis has also received prizes from the Sullivan Foundation, the George London Foundation, the Giulio Gari Foundation, the Orpheus Vocal Competition, and the Opera Columbus Vocal Competition.


Brian Cheney, tenor Hailed by KUSC Los Angeles as the “next great tenor”, Brian Cheney has gained international acclaim for his portrayal of characters such as Don José in Carmen, Mario Cavaradossi in Tosca, Rodolfo in La Boheme, the Duke in Rigoletto, Edgardo in Lucia di Lammermoor, and Canio in I Pagliacci. “It is tenor Brian Cheney as the brave painter Cavaradossi who really blew me away. Cheney has that terrific tenor sound: the power, richness, and vocal color of a high baritone combined with ringing, awe-inspiring high notes." (Stage and Cinema) Following Mr. Cheney’s debut at Carnegie Hall in 2007, he has been performing concert works and oratorio throughout the country. The Daily Gazette in Albany, NY had this to say about his recent performance of the Messiah, “Tenor Brian Cheney was a revelation. Cheney's voice was like spun gold. He seemed to dwell on his notes, basking in their loveliness. Each phrase was sculpted, each word was cleanly enunciated. Not just a gorgeous voice, Cheney showed imagination as he altered his colors or use of vibrato." Mr. Cheney has performed numerous times as a soloist at Carnegie Hall with his most recent performance performing a world premiere and US premiere of Hungarian music with the American Symphony Orchestra under the baton of Maestro Leon Botstein. In 2011, Mr. Cheney also made his Lincoln Center debut as tenor soloist for the 10th Anniversary of 9/11 at Avery Fisher Hall appearing with acclaimed soprano, Jessye Norman. A now frequent soloist at Lincoln Center, Brian will return this season for the popular New Year’s Concert, Salute to Vienna. Engagements in 2016 include Rodolfo in La Boheme with the Windsor Symphony and Norwalk Symphony Opera and Tenor Soloist in Salute to Vienna at Lincoln Center. “Cheney exhibits a robust, ringing tenor with a sure sense of style, firm tone and excellent diction.” (Opera News)

Timothy Jones, baritone American Bass-Baritone Timothy Jones enjoys a reputation as a charismatic presence on operatic and concert stages throughout the United States, Europe and South America. The Boston Globe hailed his voice as “stentorian and honeyed” and the Chicago Tribune called his “complete connection with the text extraordinary.” The Pittsburgh Tribune-Review praised him for his theatricality, noting that he “relished the dramatic possibilities of the songs' text and music.” His eagerly anticipated performances combine intelligent musicianship, commanding vocal technique and a unique ability to connect with audiences. A distinguished concert performer, Mr. Jones has soloed with the Cleveland Orchestra singing Handel’s Messiah and Bach’s St. Matthew Passion. He has also performed with Boston Baroque, Baltimore Symphony, St. Petersburg Chamber Orchestra, Austin Symphony, Buffalo Philharmonic Orchestra, Dallas Symphony, Houston Symphony, New Mexico Symphony, New Haven Symphony, Portland Symphony, Saginaw Symphony, San Antonio Symphony, Utah Symphony, Wichita Symphony Orchestra and the Virginia Symphony. His repertoire includes the Bach’s St. John Passion, Haydn’s Lord Nelson Mass, Mozart's Requiem, Beethoven’s Symphony No. 9, Verdi’s Requiem and A Sea Symphony by Vaughn Williams. Mr. Jones is widely celebrated as an enthusiastic champion of new and contemporary music. His tour de force performance of Eight Songs for a Mad King by Peter Maxwell Davies was called “an amazing feat, making unnatural demands seem natural … bizarre behavior coalesced into a sympathetic portrayal.” (The Salt Lake Tribune) Mr. Jones is an alumnus of Centenary College and the University of Michigan. He is currently a professor of voice at the University of Houston Moores School of Music.


program notes Kevin Puts January 3, 1972 – Inspiring Beethoven The years between 1803 and 1808 are known as Beethoven’s “heroic period.” No wonder. He composed his Third, Fourth, Fifth, and Sixth symphonies, his Violin Concerto, Fidelio, and his Fourth Piano Concerto. One might expect him in the ensuing years to bask in considerable wealth, acclaim, and glory. Unfortunately, his life between 1808 and 1812 was marked by debilitating physical ailments, grinding depression, money troubles, and continued loss of hearing and increasing tinnitus. Following this dark period, we might think his next symphony would reflect his travails, but no. His Seventh Symphony, written in 1812 is one of the most joyful, spirited, energetic, uplifting pieces ever written. Indeed, Richard Wagner called it “the apotheosis of the dance” and remarked that it “belongs to the Night Spirit and his crew, and if anyone plays it, tables and benches, cans and caps, the grandmother, the blind and the lame, aye, the children in the cradle fall to dancing.” We marvel at Beethoven’s unbridled optimism and wonder how he could possibly transcend his trying circumstances to write this masterpiece. Kevin Puts, a Pulitzer Prize winning composer, translates this quandary into Inspiring Beethoven. Hs description of it is as follows: “Inspiring Beethoven is a musical tale, completely imagined, of Ludwig van Beethoven finding the inspiration to compose the first movement Vivace of his Symphony No. 7. The materials of this joyous movement—the shape of the melody, the sprightly dotted rhythm—are all there, but I have cast them in the darkest of colors, reflecting the grim, inescapable realities of the great composer’s life. Out of the darkness intensified by the despair of his ever-worsening deafness, hope and inspiration come like a beacon of light, without warning, as they always seem to. Who or what causes this sudden transformation, I leave to the imagination of the listener.” Kevin’s piece starts with the infectious galloping rhythmic feature that dominates the Seventh’s first movement. Then, he descends deep into the Titan’s head where we experience the growling dissonant noises of his auditory affliction and personal torment. The storm clouds suddenly part, and the first movement Vivace appears, ushering in a healing balm. All is well! Do listen to the Seventh before this concert. Notice how

Beethoven himself gropes for two and one-half minutes in the first movement until he finds his way. We hear genius at work in both pieces.

program notes Ludwig Van Beethoven December 16, 1770 – March 26, 1827 Leonore Overture No. 2 Opus 72 By 1800, Vienna had become a repressive place to live. Shaken by the carnage of the French Revolution in 1789 and the beheading in 1793 of Louis XVI, the Austrian power structure clamped down on anything that might spark similar events in the Habsburg Empire. In Vienna, a succession of monarchs created a police state full of spies and pestiferous imperial censors charged with suppressing political ideas and speech deemed dangerous to the status quo. The royals and the aristocrats perceived “French sympathies” to be a mortal threat to their authority and privileges. Beethoven was such a sympathizer. He admired the ideas fueling the Revolution. At first, he dedicated his Third Symphony, the Eroica, to Napoleon. As late as 1803, he was planning to move to Paris. He detested any form of tyranny or oppression, and he regarded hereditary monarchy as unalloyed despotism. Around this time, Beethoven began to conceive of his role in life not just as an entertainer, but as a dramatic narrator influencing the stream of history. Departing on a “new path,” his music became a vehicle for the expression of his Enlightenment philosophy and his political ideals. He sought to inspire his audience. Consequently, when he decided in 1804 to tackle opera, it was natural that he would choose a story based on political injustice. The story is about Florestan, an innocent idealist condemned to death and awaiting execution in the bowels of a horrific dungeon. But, do not despair. His faithful wife, Leonore, disguises herself as a man, Fidelio, secures a job in the prison under false pretenses, and in the process of helping his jailer dig her husband’s grave, she pulls out a gun and saves Florestan’s life. Florestan is the symbol of the oppressed people of the world, and Leonore the force of liberty that sets them free. The imperial censors banned Leonore as “subversive.” Fortunately, some of Beethoven’s well-placed friends and supporters went over the censors’ heads and had the ban


lifted, but only after he made some significant changes, such as moving the location of the drama from France to Spain, and the date of events to the 1700s. Eventually the name of the work was changed—over Beethoven’s objection—from Leonore to Fidelio to avoid confusion with an earlier published version of the plot. Beethoven reworked Fidelio many times before it became popular, including writing four different overtures. Tonight, we’ll hear Number 2. The music immediately takes us underground into the dungeon where Florestan awaits his fate. Later, a trumpet call signals his liberation, and the piece concludes with exuberant optimism. Leonore/Fidelio was Beethoven’s first attempt to combine words with music to convey his humanistic message. The opera is a fitting prelude to the colossal Fourth Movement of his Ninth Symphony. His uplifting message resonates as much today as it did 200 years ago. Symphony No. 9 “Choral” Beethoven wrote nine symphonies, five of which – 3, 5, 6, 7, and 9 – are among the greatest ever written. His mature symphonies are personal expressive statements about his life, his challenges, his joys and sorrows, and about his heroic determination to survive all obstacles, and to triumph! The colossal Ninth represents his autumnal epiphany. As Beethoven aged, his music began to manifest the travails of his life’s journey, including his descent into total deafness, a stressful five-year battle in the courts over the custody of his teenage nephew Karl, and repeated failures to form a lasting relationship with a woman who was not already married to someone else.

The First Movement begins in tonal ambiguity and reflects despair and the desperate condition of mankind. “In the beginning, there was chaos.” The ambiguity dissolves immediately into the key of D minor, the key of angst and pain. As the movement progresses, however, the music moves inexorably toward the key of D major, a bright key reflecting optimism. The Second Movement, a Scherzo, depicts a somewhat frantic and distracted search for worldly happiness. The music is pure energy. The Third Movement is a sublimely serene song that represents a retreat, a sort of calm resignation – a noble acceptance of the slings and arrows of outrageous fortune. The Fourth Movement abruptly destroys the harmony of the Third Movement with what Wagner called “a fanfare of terror,” and then one by one, the music quotes, recapitulates, and rejects the thematic essences of the First, Second, and Third Movements as insufficient answers, only to have the terror fanfare return. Then, a human voice – the first human voice to be heard – announces in Beethoven’s words, “Oh friends! Not these sounds! But let us strike up sounds more pleasant and joyful.” The remainder of this colossal movement is a celebration – in the form of an immense theme and variations – of Friedrich Schiller’s poem “Ode to Joy,” the last two stanzas of which of which read,

“To be, or not to be,” that was the Shakespearian question forced upon Beethoven at a young age by his progressive loss of hearing. For Beethoven’s answer, listen to any of his symphonies. He embraced the battle. His music is life affirming, exploding with energy and joy. His unflinching resolve to live his life by design, not by default, marks every one of his symphonic compositions. No other music ever written is more inspirational.

Embrace each other now, you millions! This kiss is for the whole wide world! Brothers – above the starry firmament A beloved Father must surely dwell.

In his Third and Fifth Symphonies, written between 1803 and 1808, Beethoven wrote about himself, about fate knocking at his door. But in the Ninth Symphony, finished three years before his death, he composed music not about his own fate, but about the fate of humanity. He elevated his reference from the personal to the universal, from the subjective to the metaphysical.

This jubilant humanitarian declaration, of course, is a return to Eden. Our Master Chorale singing with the orchestra is a symbol of this utopian message. Together they banish despair and pessimism.

Beethoven’s Ninth Symphony is an act of transcendent philosophy, ending in the final movement with joy in the embrace of brotherhood, and awe in the presence of the Creator of the Universe.


Beethoven wrote this Symphony in narrative form, intending his music from the first movement to the last note to tell a story, a spiritual story of birth, struggle, retreat, and finally glorious rebirth.

Do you come crashing down, you millions? Do you sense the Creator’s presence, world? Seek Him above the starry firmament, For above the stars he surely dwells.

Beethoven passed away on March 26, 1827, fittingly during a thunderstorm. According to witnesses, his last words spoken in Latin: “Plaudite, amici, comoedia finita est” – “Applaud, friends, the play is over.” The voice of Beethoven the man may have fallen silent, but the immortal voice of Beethoven the inspiring philosopher and composer lives on.

January 21st, 11am | St. Michael's Cathedral

Boise Philharmonic Woodwind Quintet Allison Emerick, flute Peter Stempe, oboe Carmen Izzo, clarinet Patty Katucki, bassoon Brian Vance, horn

Join us at Boise Philharmonic’s Chamber 360º Music Series with six unique chamber concerts featuring ensembles of the Boise Philharmonic. These more intimate, one hour concerts hosted by Jamey Lamar, are performed earlier in the day, making them perfect for seniors, families, and anyone who loves chamber music!

Advanced tickets for only $15!

February 25th, 11am | First Presbyterian

Boise Philharmonic Master Chorale Dr. Jim Jirak, BPMC Director

Adult seats $20 at the door All six concerts: $80 adult / $65 senior

Call 208-344-7849 or online October 29th, 11am | St. Michael's Cathedral

March 25th, 11am | St. Michael's Cathedral

Boise Philharmonic String Quartet

College of Idaho Langroise Trio

Chia-Li Ho, violin Geoffrey Hill, violin Lindsay Bohl, viola Micah Claffey, cello

November 19th, 11am | First Presbyterian

Boise Philharmonic Brass Quintet Brad Peters, trumpet James Smock, trumpet Philip Kassel, horn George Turner, trombone Adam Snider, tuba

Geoffrey Trabichoff, violin David Johnson, viola Samuel Smith, cello

April 22nd, 11am | St. Michael's Cathedral

BSU Graduate String Quartet Anne Wolfe, violin DaNece Lyman, violin Emily Jones, viola Kyle True, cello


Thank You! A Special Thank You to the Honorable Stephen S. Trott We would like to extend a special thank you to the Honorable Steve Trott for graciously donating his time and expertise in writing all of the program notes for the 2016-2017 Season. This valuable information gives

us much knowledge and insight into the composers and the history of the music. Please join us in thanking him for his generous contributions to the Boise Philharmonic!

Friends of the Philharmonic Volunteers are an integral part of our organization and the arts community. We thank you for your time and support! Thank you to all of our volunteers who have helped us in the Box Office, Annual Gala, Special Events, and in other ways! 2015-16 Volunteers Merry Atkinson Jamie Atkinson Phyllis Barker Boise Young Professionals Greg Campbell Carol Crowell Patricia DeBor Brandon (Brenda Starr) Edgerton Laura Edson

Arlene Garner Anne Hay Cindy Herman Cade Horsewood Maria Horsewood Margaret Janzen Joan Johnson Alia Kelly Eligh Kindall Jim Klepacki Sayoko Knode of LED

Debs & Phils A special thank you to our Debs and Phils who start volunteering at a young age and help out at the various events such as this concert and the Annual Fundraising Gala. Presidents Grant Breidenbach Sara Matlock Vice Presidents Rachel Lee Caitlin Nguyen Olivia Robison Corresponding Secretary Helen Wang


Recording Secretary John Sheih Sergeant at Arms Hattie Pratter Thomas Seabourn Maura Tolman

We couldn’t do it without you! Thank you! If you are interested in joining our 2016-17 Volunteer Alliance please call us at 344-7849 ext. 3 or email us at

Annika Kohlmeyer Roxy & Nikoa Mak of Lipsinc! Barbara Martin-Sparrow Graciela Mosscrip Twig Munro Debbie O’Brien Carrie Padilla Karen Reinheimer Becca Sears Roger Sparrow

Kem Tanner Jennifer Thompson Victoria Alice Volkert Roger Volkert Laura Wylde Mihai Wylde Carol Youtz

Grant Harville BPYO Music Director

Winner of the London Conducting Masterclass Competition and the Agatha C. Church Conducting Award, Grant Harville is the Artistic Director and Conductor of the Idaho State Civic Symphony, where he is charged with the musical leadership of all ISCS concerts, as well as the organization’s numerous ancillary and educational programs. His tenure has been marked by high artistic standards, adventurous programming, and fiscal stability, earning enthusiastic responses from orchestra, audience, board, and staff. Harville has previously served as Associate Conductor of the Georgia Symphony, Director of the Georgia Youth Symphony, Orchestra Director at Ripon College, and Music Director for multiple Madison Savoyards productions. Guest artists with whom Harville has collaborated include Bela Fleck, Time for Three, Chee-Yun, Martina Filjak, Patrick Sheridan, and Stephanie Chase, along with numerous young artist competition winners and various dance companies. A devoted educator, Harville has given clinics for numerous school orchestras, honors orchestras, youth orchestras, and summer programs, including founding the annual East Idaho Honors Orchestra. He has taught music appreciation courses for adults in several continuing education programs in both Idaho and Georgia and served as Choir Director for the Atlanta Music Project, an El Sistema-based music education program dedicated to underserved youth in urban Atlanta.

Boise Philharmonic Youth Orchestra 2016 - 2017 Concert Schedule Fall Concert November 1st, 7:00 p.m. Morrison Center

Winter Concert February 6th, 7:00 p.m. NNU Brandt Center

Spring Concert May 1st, 7:00 p.m. Morrison Center

Harville’s diverse musical background includes experience as a tubist, vocalist, violist, and composer. He has a number of tuba competition victories to his credit, including First Prize in the Leonard Falcone International Solo Tuba competition and winner of the University of Michigan Concerto Competition, performing a concerto of his own composition. Harville pursued his music studies at the University of Wisconsin-Madison and University of Michigan. His principal teachers and mentors include James Smith, Michael Alexander, Markand Thakar, Victor Yampolsky, Kenneth Kiesler, Michael Haithcock, and David Becker. Violin Savannah Andreade Lily Archibald Angus Baird Anna Black Isabel Burhart You-Jean Cho Katelyn Cook Annalisa Hamilton Bingxuan Ho Ellie Hunt Camille Hutchings Hyonoo Joo Alice Jung MacyLynn Keller Minji Ko Ann Lawrence Jusung Lee Elizabeth Lee Hannah Lim Rachel Liu

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John & Alison Baldwin Stephen Bancroft & Sharon Fuller-Bancroft + The Basque Museum & Cultural Center Bill Bateman Linda Beebe Marcia Bleymaier Willard & H.E. Blitman Bodies in Motion Bodovino Boise Art Museum Daniel Bonaminio Don Bott & Judy Austin Diane Campbell + Evelyn Cates Bruce Chambers * Marcia Chatalas John Cochrane ^ William & Judith Collins John Colwell Patricia Cope Linda & Terry Curtis Doris Denney Discovery Center of Idaho Linda Droker Linda & Jackson Dunlap Edie Easterbrook Pete & Kristi Edmunds Marilyn Emerson Shirley Ewing First American Title John & Cornelia Fleming Christine Francis Beverly Fritchman Marijke & Mark Geston Paul & Genny Goldy + Goldy's Bistro Gail Grace Arnold Hartigan Fred & Sue Hebert + Robert & Esther Henderlider Sylvia Dunkley Hessing Dale Hinman Sherry Hoff Hyde And Seek Idaho Botanical Garden Idaho Shakespeare Festival Lauren Johnson + Gail Kirkpatrick Janet & Doug Kochan Deena & Larry Kolb Cheryl & Jerry Korn Bonnie Krupp Michael Lazare Leaf Teahouse Heang & Phil Lee * David & Joan Lee Dave & Barbra Limber

Melinda Lindsey LipsInc! Makena Lee Nails Carol Martin Barbara McDermott Mark & Robyn McDonnell Mixed Greens Melinda Mobley Hap & Pat Myers, III Heidi & Patrick Naylor Laura O'Brian Jody Olson & Victoria Hawley Opera Idaho Deena Oppenheim + Connie & Paul Otter Diana Parker Betty Pearson Richard Pompian Nancy Rankin Larry & Judy Ripley Ruth Romero John & Anne Sager Jerry & Doreen Schreuder Rachel & Win Scott Shawn Shields * Christine Smith Monie Smith & Michael Johnson Roberta & Gary Smith Sola Salon Jay & Ann Swenson Frances E. Symms Karan Tucker Betty Turner Utah Symphony & Opera Sonja Vogt Chuck & Chris Walter William & Carola Winkle Symbol Key + BPMC Donations * BPYO Donations ^ Orchestra members and those sponsoring orchestra members

In Memory of In Memory of Gary Peterson Mary Abercrombie Nancy & Nathan Alexander Tricia Baur Stanley & Ann Bell Ruth Ann Bennett Dean & Judy Buffington William & Judith Collins John Colwell Mary Bliss Dallolio Philip & Helga Fast Anita Faull Patricia & Andrew Forbes Julie Kilgrow & Alan Gardner Gary & Joanne Gunther Chuck & Polly Hedemark

Marian Hylen Barbara Scott-Johnson Cheryl & Jerry Korn Mark & Juliana Lliteras Brit McCombs Frank & Mary Muguira Phillip & Anita Murelaga Joel & Susan Myers Deborah Newby John & Jackie Parrish Ann Peterson Jim & Pat Prochaska Rodney & Holly Reese Sandra & Mark Rich Robert & Sandra Richmond

In Memory of Nancy Marsden John & Linda Stedman

In Memory of M. Allyn Dingel, Jr. Fran Dingel

In Memory of Dick Allen and his love of life and beauty. Suzanne Greever

In Memory of Terence O'Rouark Charles Hummel

Larry & Judy Ripley Joseph & Rita Rodriguez Marilyn Rose Rhonda St Claire James Calvert Scott Judd Stitziel Stratton & Associates Steve & Carol Trott Myron & Elaine Tucker Harry & Barbara Tumanjian Sonja Vogt Leslie Wall Bob & Jane Willcuts Gini & Bill Woolley

In Memory of Linda Hipskind Tonia & Brian Nicholson

In Memory of Ron Bewick Karan Tucker

In Memory of Cal McGillis Julie Kilgrow & Alan Gardner

In Memory of Edith Swenson Anthony Boatman

In Memory of LeJulian Smith Frederick & Shahnaz Bauer

In Honor of In Honor of Margaret H. Sutherland Kathlene Sutherland & Phil Masser

In Honor of Julia Caven Valerie Caven

In Honor of George & Karen Baker J.D. Northway


Boise Philharmonic presents

An Evening at the


Hollywood Classics March 18, 2017 5:30 pm at JUMP Tickets $175 /person Tables with seating for 10 for $1750 Featuring live and silent auctions, elegant seated dinner, regional wine selections and custume contest. Proceeds to benefit the operations of the Boise Philharmonic. To learn more about Gala or to reserve your seat, call (208) 344-7849 or email 87

Always in tune with my clients. I’m proud to support the Phil!

Doug Flanders Multiple winner - Circle of Excellence 208-869-0833

Honesty. Communication. Your best interests in mind... Always.

Is your house payment standing between you and retirement? If so, perhaps we can help! We are Diversified Mortgage Group and we help folks everyday find a better quality of life by eliminating their mortgage payments* and allowing them to retire more quickly! We use the HECM (FHA Insured Home Equity Conversion Loan) to do the following: Use the equity from current home as a down payment for a right sized home, by taking advantage of a HECM for purchase. If you love your home but not your mortgage payment, we can look at refinancing your current loan into a HECM so that you can get rid of your monthly mortgage payment* and stay in your home!

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* No principal and interest payment required. Borrowers are responsible for property taxes, homeowners insurance, maintenance and home must be the primary residence. Eligible non-borrowing spouses may be under 62. These materials are not from HUD or FHA and this document was not approved by the Department or Government Agency.

Aurora Torres

Geoffrey Hill


Principal Violin II

125 Years of Excellence The College of Idaho is a creative environment where students like Boise Philharmonic Orchestra performers Aurora Torres and Geoffrey Hill are encouraged to strengthen their talents and discover new ones. Every C of I student earns a major and three minors through the PEAK Curriculum while learning from excellent professors, including the internationally recognized Langroise Trio. Begin your own C of I journey today at

David Johnson

Samuel Smith

Geoffrey Trabichoff

Langroise Trio The College of Idaho


Oct. 7 | 7:30 p.m. | Boise E. Simplot Perf. Arts Academy

Nov. 5 | 7:30 p.m. | Caldwell Langroise Recital Hall (C of I)

Mar. 25 | 11:00 a.m. | Boise St. Michael’s Episcopal Cathedral

Oct. 8 | 7:30 p.m. | Caldwell Langroise Recital Hall (C of I)

Feb. 24 | 7:30 p.m. | Boise E. Simplot Perf. Arts Academy

Apr. 21 | 7:30 p.m. | Boise E. Simplot Perf. Arts Academy

Nov. 4 | 7:30 p.m. | Boise E. Simplot Perf. Arts Academy

Feb. 25 | 7:30 p.m. | Caldwell Langroise Recital Hall (C of I)

Apr. 22 | 7:30 p.m. | Caldwell Langroise Recital Hall (C of I)

Ticket info: (208) 459-5275

2016 - 2017 Season Rachel Barton Pine returns for an encore performance with the BBCO! • Friday, March 3, 2017

8:00pm, Cathedral of the Rockies • Sunday, March 5, 2017 2:00pm, Cathedral of the Rockies

Season highlights include: Vivaldi : Gloria Copland : Appalachian Spring Mozart: Symphony No. 41, “Jupiter” Tickets available now by phone or online! • 208-297-3182 J. Strauss Jr.’s Die


Nov. 4, 7:30pm & Nov. 6, 2:30pm, 2016 The Egyptian Theatre

music by Schubert

Winterreise Project

Jan. 20, 7:30pm, 2017 a LED & Jason Detwiler collaboration

Puccini’s Tosca Soprano

Eleni Calenos returns to Boise as Tosca

Feb. 24, 7:30pm & Feb. 26, 2:30pm, 2017 The Morrison Center

Massenet’s Werther

May 5, 7:30pm & May 7, 2:30pm, 2017 The Egyptian Theatre

Opera + Martini = Operatini! Come to a relaxed atmosphere for great food, a specially designed martini, and the cast of the upcoming production singing their favorite opera and musical theatre pieces.

Season Sponsors:

Join us! Subscriptions as low as $57

Always at 6pm • $20 each/$35 couple Oct. 27 • Let’s Have a Ball Feb. 16 • I Lived for Love Apr. 27 • Forget Your Sorrows The Sapphire Room at The Riverside Hotel

For tickets and more information visit Prices does not include tax or fees - Senior, child, military, group discounts available.

Hard work. Passion. Creativity. We honor the musicians, staff and supporters of the Boise Philharmonic.

Experienced Bankers. Exceptional Service. Customized Solutions. 1750 W. Front Street, Suite 150 | Boise, ID 83702 208.332.0700 |


2016 SE A SON In Focus Series • July 24 – July 28 Orchestra Concerts • August 1 – August 18 Gala Concert • Sunday, August 7 2 0 8 . 6 2 2 . 5 6 0 7 • S V S U M M E R S Y M P H O N Y. O R G

All Sun Valley Summer Symphony concerts are admission-free. The Best First Run Movies with the Highest Quality Digital Projection

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2016 SE A SON In Focus Series • July 24 – July 28 Orchestra Concerts • August 1 – August 18 Gala Concert • Sunday, August 7

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2 0 8 . 6 2 2 . 5 6 0 7 • S V S U M M E R S Y M P H O N Y. O R G

2016 SE A SON

All Sun Valley Summer Symphony concerts are admission-free.

In Focus Series • July 24 – July 28

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Stop in for savory elk, buffalo, trout and other seasonal favorites. Open seven days a week.

(208) 333-9800 • 9th & River St. •















make make up up your your own own mind. mind. weekly. weekly.

All about excellence. An exquisite musical performance melds amazing talent, masterful precision and true dedication to deliver a transforming experience. The same applies in healthcare. That’s why everything we do is focused on your needs, to help you stay healthy – or recover quickly. So you can spend more time doing what you love. At Saint Alphonsus, we applaud the Boise Philharmonic and how its music touches so many in our community. Because an excellent performance, like great healthcare, is all about you.


(208) 367-DOCS

BP Playbill 2016 17  

The Boise Philharmonic 2016-17 Season is filled with the music you love from the great masters of classical music. This season, seven talen...

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