2025-26 Concert Season Magazine

BOZEMAN SYMPHONY

2025-26 CONCERT SEASON

2025-26 Season at a Glance

Opening Weekend Sounds of America I: Marsalis & Rachmaninoff

SATURDAY, SEPTEMBER 20, 2025 @ 7:30 PM

SUNDAY, SEPTEMBER 21, 2025 @ 2:30 PM

Nature’s Wonders: Beethoven’s Pastoral Symphony

SATURDAY, OCTOBER 11, 2025 @ 7:30 PM

SUNDAY, OCTOBER 12, 2025 @ 2:30 PM

Night & Light: The Music of Lauridsen & Shaw

THURSDAY, NOVEMBER 13, 2025 @ 7:30 PM

FRIDAY, NOVEMBER 14, 2025 @ 7:30 PM

SATURDAY, NOVEMBER 15, 2025 @ 2:30 PM Hope Lutheran Church

Holiday Spectacular

FRIDAY, DECEMBER 12, 2025 @ 7:30 PM

SATURDAY, DECEMBER 13, 2025 @ 2:30 & 7:30 PM

SUNDAY, DECEMBER 14, 2025 @ 2:30 PM

Masters of Melody: Mozart, Copland, & Haydn

SATURDAY, JANUARY 24, 2026 @ 7:30 PM

SUNDAY, JANUARY 25, 2026 @ 2:30 PM

Cinematic Legends: The Music of Hans Zimmer & Ennio Morricone

FRIDAY, FEBRUARY 13, 2026 @ 7:30 PM

SATURDAY, FEBRUARY 14, 2026 @ 7:30 PM

SUNDAY, FEBRUARY 15, 2026 @ 2:30 PM

Community Concert Symphony Storytime in Concert: Dan Brown’s Wild Symphony

SATURDAY, FEBRUARY 21, 2026 @ 10:30 AM & 1 PM

Romantic Splendor: Schumann & Schubert

SATURDAY, MARCH 21, 2026 @ 7:30 PM

SUNDAY, MARCH 22, 2026 @ 2:30 PM

Lyrical Landscapes: Mahler, Walton, & Clair de lune

SATURDAY, APRIL 25, 2026 @ 7:30 PM

SUNDAY, APRIL 26, 2026 @ 2:30 PM

Sounds of America II: Rhapsody in Blue & West Side Story

FRIDAY, MAY 15, 2026 @ 7:30 PM

SATURDAY, MAY 16, 2026 @ 7:30 PM

SUNDAY, MAY 17, 2026 @ 2:30 PM

Season Finale Sounds of America III: Appalachian Spring

SATURDAY, JUNE 13, 2026 @ 7:30 PM

SUNDAY, JUNE 14, 2026 @ 2:30 PM

Classical Series

Bozeman Symphony Presents Bozeman Symphonic Choir Series Community Concert

All Classical Series, Bozeman Symphony Presents, and Community Concert performances at Willson Auditorium

Principal Bassoon Nick Ober, Flutist Megan Makeever, Bassoonist Sam Macken, Principal Oboe Sandy Stimson, and Horn Player Michael Sgrecci

Norman Huynh Bozeman Symphony Music Director

BOZEMAN SYMPHONY 2025-26 Season

MASTERS OF MELODY: MOZART, COPLAND, & HAYDN .

SATURDAY, JANUARY 24, 2026 @ 7:30 PM

SUNDAY, JANUARY 25, 2026 @ 2:30 PM

CINEMATIC LEGENDS: THE MUSIC OF HANS ZIMMER & ENNIO MORRICONE .

FRIDAY, FEBRUARY 13, 2026 @ 7:30 PM

SATURDAY, FEBRUARY 14, 2026 @ 7:30 PM

ORCHESTRA

Maestro’s Message

Music Director Norman Huynh

Orchestra Map

Orchestra Roster

Orchestra Musician Spotlight: Don Kronenberger

CHOIR

Symphonic Choir Director Conor Whalen

Symphonic Choir Roster

25

Symphonic Choir Members’ Spotlight: Michael and Sharon Beehler 26

FEATURE ARTICLES

Musician BSD Educators

Behind the Music

Community Engagement: Storytime

Patron Spotlight: Judy Worley

VENUES

Willson Auditorium Seat Map

PERFORMANCES Enhance Your Experience

SUNDAY, FEBRUARY 15, 2026 @ 2:30 PM

COMMUNITY CONCERT

SYMPHONY STORYTIME IN CONCERT: DAN BROWN’S WILD SYMPHONY.

SATURDAY, FEBRUARY 21, 2026 @ 10:30 AM & 1 PM

ROMANTIC SPLENDOR: SCHUMANN & SCHUBERT

SATURDAY, MARCH 21, 2026 @ 7:30 PM

SUNDAY, MARCH 22, 2026 @ 2:30 PM

LYRICAL LANDSCAPES: MAHLER, WALTON, & CLAIR DE LUNE

SATURDAY, APRIL 25, 2026 @ 7:30 PM

SUNDAY, APRIL 26, 2026 @ 2:30 PM

SOUNDS OF AMERICA II: RHAPSODY IN BLUE & WEST SIDE STORY

FRIDAY, MAY 15, 2026 @ 7:30 PM

SATURDAY, MAY 16, 2026 @ 7:30 PM

SUNDAY, MAY 17, 2026 @ 2:30 PM

SEASON FINALE SOUNDS OF AMERICA III: APPALACHIAN SPRING

SATURDAY, JUNE 13, 2026 @ 7:30 PM

SUNDAY, JUNE 14, 2026 @ 2:30 PM DONORS

SATURDAY, SEPTEMBER 20, 2025 @ 7:30 PM SUNDAY, SEPTEMBER 21, 2025 @ 2:30 PM

NATURE’S WONDERS:

BEETHOVEN’S PASTORAL SYMPHONY

SATURDAY, OCTOBER 11, 2025 @ 7:30 PM SUNDAY, OCTOBER 12, 2025 @ 2:30 PM

NIGHT & LIGHT:

THURSDAY, NOVEMBER 13, 2025 @ 7:30 PM FRIDAY, NOVEMBER 14, 2025 @ 7:30 PM

SATURDAY, NOVEMBER 15, 2025 @ 2:30 PM Hope Lutheran Church

HOLIDAY SPECTACULAR .

FRIDAY, DECEMBER 12, 2025 @ 7:30 PM

SATURDAY, DECEMBER 13, 2025 @ 2:30 & 7:30 PM

SUNDAY, DECEMBER 14, 2025 @ 2:30 PM

VOLUNTEERS

Volunteer Roster & Musician Hosts

A Message from Board Chair Emeritus Ben Phinney

Welcome to the Bozeman Symphony’s 58th season! On behalf of our Board of Directors, it’s my pleasure to warmly welcome you and thank you for being part of our musical family. We are proud to present another extraordinary year of live orchestral music, featuring our incredible musicians. Their dedication and artistry continue to inspire us all.

As Music Director and Conductor Norman Huynh begins his sixth season with the Bozeman Symphony, we are once again energized by his passion, vision, and commitment to musical excellence. Norman has curated a remarkable season that we can’t wait to share with you. We hope you’ll join us for every concert—and bring your friends along, too! Help us spread the word that Bozeman is home to a truly superb symphony orchestra and chorus.

Teamwork is a defining characteristic of this organization. Our board, conductor, executive director, musicians, and staff all work together in a shared spirit of collaboration to create transformative experiences that engage, unite, and uplift our community through the power of music. I am especially grateful to Norman and Executive Director Jacob Blaser for their exceptional leadership in transforming the Bozeman Symphony into the best orchestra in the region. I also want to express deep appreciation for our dedicated staff and volunteers, who work tirelessly behind the scenes to ensure everything runs smoothly. Their creativity, organization, and passion are essential to our success.

In recent years, we’ve entered a new chapter—one marked by meaningful artistic growth and stronger community connections. Now in the second year of our five-year strategic plan, we’ve extended Norman’s contract, added concerts, launched new community engagement initiatives, and welcomed a development director to our team. We’ve also reached new milestones in subscription and ticket sales, and we’re excited to build on that momentum.

Serving on the Symphony’s board has been an incredibly special experience for me. I’ve witnessed firsthand the energy and care that go into every performance and program. Our board members are deeply committed to the Symphony’s mission and to ensuring its lasting impact on our community.

Looking ahead, our new Board Chair Ken May and directors are committed to ensuring the Symphony’s long-term financial health through expanding fundraising efforts and continuing to develop board leadership. One of our most exciting projects is the potential for a new performing arts center in Bozeman. In collaboration with other local arts organizations, we’ve begun important conversations about what such a space could look like and how we might work together to make it a reality.

The Bozeman Symphony exists not only to bring great music to the stage, but also to enrich lives across our community. Thank you for continuing to support us as we move boldly into this next era.

Happy listening!

With warmest regards,

Ben Phinney

Welcome to the 2025–26 Season of the Bozeman Symphony! A Letter from the Executive Director and Board Chair

Dear Friends,

As the Bozeman Symphony embarks on another season of extraordinary music-making, we are filled with gratitude and excitement. Whether you’re joining us for the first time or have been part of our journey for many seasons, welcome. You are the heart of this organization.

We step into this season with renewed energy, bold artistic vision, and deep appreciation for the community that makes it all possible. From the stirring power of Mahler to the intimate elegance of Lauridsen, our 2025–26 lineup is designed to uplift, surprise, and inspire.

This coming season also marks the second year of our five-year strategic growth plan—a bold vision to elevate the Bozeman Symphony to new artistic and organizational heights. Together, we’ve laid the groundwork for an exciting future: expanding concert offerings, deepening community engagement, and investing in the musicians who bring our mission to life. The progress we’ve made this past year energizes us as we look toward the next four years—full of opportunity to serve, innovate, and grow our impact across Montana. This season also marks a new chapter of leadership. We look forward to continued collaboration and stewardship as we grow toward an even brighter future.

Together, we remain committed to ensuring that the Bozeman Symphony is not only a home for exceptional performance but a vital part of our community, partnering with schools, supporting local artists, and envisioning a state-of-the-art concert hall worthy of the talent it will showcase.

Most importantly, we extend our appreciation and thanks to Ben Phinney, our departing Board Chair and new Chair Emeritus. For over 10 years, Ben has been a key agent of change across the organization culminating in his outstanding leadership for the past two seasons. Ben will continue on the Board for the next year and continue to be a great resource on the Executive Committee.

Thank you for making this all possible. Your presence in the concert hall, your generosity, and your belief in the power of music are what sustain us.

Here’s to a season of unforgettable moments.

With gratitude,

Jacob Blaser Executive Director

Ken May Chair, Board of Directors

The Bozeman Symphony engages, unites, and uplifts the human experience through music and the arts in Montana.

2024-25 SEASON STATISTICS

Year One in Motion (2024–25): The Bozeman Symphony’s Strategic Growth Plan

Music that Moved Us… to New Musical Horizons

As we turn the page on the first year of our five-year strategic growth plan, the Bozeman Symphony is proud to share the achievements we have made during the 2024-25 season—each one a testament to the power of music to engage, unite, and uplift.

Expanded Concert Offerings

In response to the growing enthusiasm from our audiences, we expanded the 2024-25 season in bold new ways:

• Added a 7th Classical Series concert, featuring the return of the dynamic violinist Simone Porter, enriching the musical journey of our season.

• Presented five stunning performances of two choral concerts:

• Mozart’s Requiem at Holy Rosary Church

• The Stones Sang at Hope Lutheran Church

Blossoming Education & Community Engagement

Our commitment to musical education and community engagement has never been stronger:

• We welcomed our first-ever Artist in Residence, Kishi Bashi, whose two-week residency brought music and inspiration throughout our community. He led a masterclass at MSU, visited local schools, performed in Symphony Storytimes at the Bozeman Public Library and an HRDC Head Start, headlined our annual Fourth Grade Concerts, and offered a free community concert—all culminating in three exciting performances of Kishi Bashi & the Bozeman Symphony.

• Our beloved annual 4th Grade Concert has now expanded to two performances, welcoming even more rural students.

• Twenty Symphony Storytimes brought the magic of live music and storytelling to children and their families across the community.

• A new Side-by-Side program paired high school students with Symphony musicians for invaluable mentorship.

• Seven Joy Program events at Bozeman Health’s Cancer Center brought comfort and healing moments through live music.

• Six Far Afield concerts extended our reach beyond the concert hall, bringing the gift of music to rural and underserved areas across the Greater Yellowstone region.

• Ten Masterclasses offered students and community members opportunities for music learning and skills development through expert guidance from visiting guest artists and Symphony staff.

• Deepened community partnerships have included meaningful collaborations with the Bozeman Public Library, HDRC Head Starts, Montana Shakespeare in the Parks, Montana State University’s School of Music, Bozeman School District, Befrienders, Random Acts of Silliness, Montana School for the Deaf and Blind, Haven, and many more. These partnerships bring music into the heart of our community in powerful ways.

Toward a New Performing Arts Center

Bozeman is ready for a world-class performing arts center—a vibrant, shared space where music, dance, theater, and creativity can thrive in the Gallatin Valley for years to come. As the region’s largest arts organization, the Symphony is a key stakeholder and must be strong, visible, and well-resourced to help bring the vision to life. Supporting the Symphony today is a direct investment in building the performing arts center of tomorrow.

Years 2-5: Music that Moves Us… to Shape the Montana Sound

Building upon our Year One initiatives, we are energized by the possibilities ahead. Guided by our mission and inspired by our community, we will build upon Year One’s momentum through the following goals:

SUPPORTING OUR MUSICIANS

Recognizing our musicians’ professionalism and affirming our commitment to them, the Bozeman Symphony is taking meaningful steps to strengthen support for our orchestra members. With our musicians’ compensation being among the lowest in the nation, we are increasing pay levels and are working to establish a contract for our first salaried core musician—with more to follow in the seasons ahead. Expanding professional development funding and creating salaried positions for core orchestra members are key strategies to enhance both the artistic excellence and cohesion of our ensemble.

EXPANDING OUR SUMMER PRESENCE

Increasing our ongoing commitment to uplifting the community, we will expand our concerts into the summer season, introducing a broader range of repertoire and diverse programming for rich and varied musical experiences. These efforts will bring symphonic music to new audiences across Montana and deepen our yearround cultural impact.

CELEBRATING AND UPLIFTING MONTANA

The Bozeman Symphony is committed to expanding access to live symphonic music and inspiring the next generation of musicians through innovative programs that reach audiences of all ages across the region. By celebrating Montana’s unique cultural identity, we collaborate with local musicians and composers and showcase themes that reflect the state’s rich heritage and natural beauty.

In Year Two, we will continue to expand our education and community engagement programs, reaching new locations and connecting with more Montanans. We are especially proud to launch our participation with the Carnegie Hall Weill Music Institute’s Link Up Program, which will engage area 4th grade students by inviting them to learn about the orchestra and perform alongside the Symphony right from their seats in the audience.

INVESTING IN OPERATIONAL EXCELLENCE

To ensure a world-class experience for both audiences and artists, we will allocate resources to strengthen our internal infrastructure, including concert production, marketing, and development.

Keep the Music Moving Forward

Thank you for being part of this extraordinary journey. Together, we are building a musical legacy that will resonate for generations to come.

Explore opportunities to support the Symphony and be a vital force in propelling our vision ahead. Visit www.bozemansymphony.org/giving today and join us in moving the music forward.

BOARD AND STAFF

BOARD OF DIRECTORS

Paul Bertelli

Architect

FY25-27

Tom Bray

Board Secretary

Journalist (Ret.)

FY22-27

Gary Kunis

Chief Science Officer (Ret.)

FY23-28

Nina Jaeger

Fundraising Consultant

FY26-28

Mark Juranek

GM and Finance Director (Ret.)

FY26-28

Ken May

Board Chair

International Corporate Executive (Ret.)

FY22-27

Ben Phinney

Board Chair Emeritus Executive & Personal Coach

FY20-27

Skye Raiser

Board Vice-Chair

Engagement Committee Chair

Environmental Consultant & Photographer

FY23-28

Liz Richards

Board Treasurer Finance Committee Chair Asset Manager

FY24-26

Dr. Charles Rinker

Governance Committee Chair

Surgeon (Ret.)

FY20-26

Bob Ritchie

Insurance Industry CEO

FY22-27

Michael Schmidt

Financial Advisor

FY24-26

Sara Jayne Steen

Development Committee Chair

Higher Education Consultant

FY25-27

EX OFFICIO BOARD MEMBERS

Jacob Blaser

Bozeman Symphony Executive Director

Norman Huynh

Bozeman Symphony Music Director

Conor Whalen

Bozeman Symphony Symphonic Choir Director

Jill McJunkin

Bozeman Symphony Orchestra Representative

Rick Ojala

Bozeman Symphony Choir Representative

AMBASSADORS

Michael & Sharon Beehler

Robyn & Orville Erlenbush

Ileana Indreland & Mike Delaney

Carol G. Lalani

Ben & Barb Phinney

Ritva Porter & Stephen Schachman

David & Kippy Sands

Cliff & Laura Schutter

Dennis K. Wentz, MD & Anne Colston

Wentz, MD

Renée & Stuart Westlake

ADMINISTRATION

Jacob Blaser

Executive Director

Norman Huynh Music Director

Conor Whalen

Symphonic Choir Director

Eliese Besemer Patron Services Manager

Heidi Giem Bookkeeper

Kate Kammeyer

Development Director

Cherí Ladd LeCain

Development Associate

Dr. Matthew Makeever Concert Manager/Librarian

Megan McFadden Director of Marketing & Box Office

Amelia Murnane Front of House Manager

Peggy Stebbins

Marketing & Communications Manager

Cierra Wallace

Education & Community Engagement Coordinator

Amy Wright Orchestra Personnel Manager

MAGAZINE CONTRIBUTORS

Design

Jason Johnson

Alexa Wildung

Brook Froelich

Prime, Incorporated

Photography

Jimmy Michaels Last Best Films

Program Notes

Elizabeth Schwartz Editor/Writer

CONNECT WITH THE BOZEMAN SYMPHONY

For more than five decades, the Bozeman Symphony has brought the power of live music to Southwest Montana. Since its founding in the late 1960s, the Symphony has become a vital cultural institution— performing at the historic Willson Auditorium, launching innovative outreach programs that bring chamber music to rural communities, and expanding music education for audiences of all ages.

Under the artistic leadership of Music Director Norman Huynh and the strategic guidance of the Board of Directors, the Symphony continues to deepen its impact across the region, connecting more people than ever to the transformative power of music.

Stay Tuned In

The Bozeman Symphony is proud to engage with the community through a variety of media platforms. Hear from our leadership, learn about upcoming performances, and go behind the scenes:

Radio Features

• Yellowstone Public Radio – Resounds

Music Director Norman Huynh and Board Member Ken May recently joined hosts Jennifer Corning and Corby Skinner to discuss the Symphony’s vision and community impact.

Listen here: www.ypradio.org/show/resounds-arts-and-culture-on-the-high-plains

• KGLT Radio – Monthly Interviews

Tune in on periodic Sundays at 11 AM for Symphony updates and special guest interviews.

• Montana Public Radio (MTPR) & YPR

Watch for periodic Symphony features throughout the year.

Hoary Marmot Podcast

Listen for occasional appearances by Symphony guests and staff on this local podcast spotlighting Montana’s vibrant arts scene.

Follow Us Online

Stay up-to-date with news, events, and behind-the-scenes stories:

Facebook: facebook.com/BozemanSymphony

Instagram: @bozemansymphony

LinkedIn: Bozeman Symphony Society

YouTube: Watch performances & interviews

Press & News: bozemansymphony.org/press-and-news

MAESTRO’S MESSAGE

Dear Friends,

Welcome to the 2025–2026 season!

This season, our concerts feature a diverse range of repertoire designed to immerse you in new sounds, colors, and melodies, as well as some old favorites.

We are thrilled to present a world premiere by composer Stephanie Ann Boyd, Carnival of the Nearly Extinct Animals, which will be paired with Beethoven’s Symphony No. 6 “Pastoral”—a celebration of nature in all its wonder.

To mark the 250th birthday of the United States of America, we’re launching a special mini-series titled “Sounds of America.” This series will showcase the music of U.S. American composers such as Leonard Bernstein, George Gershwin, Florence Price, and Wynton Marsalis, along with Sergei Rachmaninoff, who became a naturalized U.S. citizen.

We’ll also showcase talented guest artists from across the globe and right here in our community. In January, three of our incredible principal musicians will step into the spotlight to perform concertos.

And just in time for Valentine’s Day, we’ll present a special, cinematic evening featuring the music of Hans Zimmer and Ennio Morricone—an epic night of familiar and iconic film scores.

We’re also entering an exciting new chapter with our Symphonic Choir, now under the leadership of the exceptionally talented conductor Conor Whalen.

It feels like just yesterday that I began my journey as Music Director of this incredible organization. As I begin my sixth season, I’m filled with deep gratitude for each of you—our loyal audience. Thank you for showing up, again and again. I look forward to another year of unforgettable music, shared memories, and meaningful moments.

With gratitude,

Norman Huynh Music Director

MUSIC DIRECTOR

Norman Huynh

American conductor Norman Huynh has attracted significant acclaim not just for his natural musicality and technical command but for his dynamic presence, creative programming, and highly soughtafter abilities in connecting with new audiences. The Music Director of the Bozeman Symphony Orchestra, with a distinguished career as a guest conductor, his past and future guest performances include his sold-out subscription debut with the New York Philharmonic, as well as appearances with the St. Louis Symphony Orchestra, San Diego Symphony, Seattle Symphony, Edmonton Symphony, Rochester Philharmonic Orchestra, Minnesota Symphony Orchestra, Dayton Philharmonic, Mobile Symphony Orchestra, Oregon Symphony, Detroit Symphony Orchestra, Portland Symphony, Baltimore Chamber Orchestra, and the Britt Music & Arts Festival. He also served as the conductor for the 2025 Thomas and Evon Cooper International Competition, leading the Pro Musica Chamber Orchestra in the Final Round.

Norman also serves as the Music Director of the Britt Festival Orchestra, part of the Britt Music & Arts Festival in Jacksonville, Oregon.

This prestigious summer appointment is a wonderful complement to Norman’s core role with the Bozeman Symphony. As principal conductor and artistic leader, he guides the Britt Festival Orchestra through a threeweek summer season, conducting seven to nine performances each year at the Britt Pavilion’s renowned outdoor amphitheater.

With a range of repertoire from the Baroque to the contemporary, Norman’s prowess as an insightful collaborative conductor includes conducting not only renowned, multi-award-winning stars throughout the world of classical music but also throughout the genres of R&B, hiphop, and pop. These include violinists Itzhak Perlman and Augustin Hadelich; bassist Edgar Meyer; guitarist Pablo Sáinz Villegas; composers Kevin Puts, Andy Akiho, and Phillip Glass; singer/ songwriters Smokey Robinson and Gladys Knight; rappers, musicians, and actors Leslie Odom Jr., Wyclef Jean, and Nas; indie and folk artist Gregory Alan Isakov; and pop groups such as Pink Martini and Boyz II Men. In addition, Norman has received considerable acclaim for his work conducting orchestral performances of live film soundtracks, ranging from An American in Paris to Harry Potter films.

A proud first-generation AsianAmerican, Norman’s passion for engaging new audiences reflects his entry point to classical music as a 12-year-old “band geek” trombonist in Alabama. The euphonium player turned maestro is deeply committed to creating similar opportunities for others to discover the arts and is passionate about creating innovative opportunities for community engagement. These include creating the Portland Symphony Orchestra’s popular evenings of “Symphony and Spirits,” a concert series for under-40 audiences featuring signature cocktails and live performances which continues to be a regularly sold-out event to this day, as well as implementing the Orchestra’s award winning PSO Explorers Program In 2015, Norman and the PSO earned the 2015 Yale Distinguished Music Educator Award, awarded “in recognition of innovative approaches to music education.”

In 2012, Norman co-founded and served as the first Music Director of the Occasional Symphony, a chamber orchestra that creates experiences of live music curated for non-traditional spaces, such as Halloween in a half-restored gothic church or Cinco de Mayo in the basement bar of a Mexican restaurant. Based in Baltimore, the Occasional Symphony continues to perform to critical acclaim, presenting diverse musical voices of the past and present through Norman’s approach of commissioning world premieres along with reimagined concerts of traditional orchestral works.

Norman previously served as the Associate Conductor of the Oregon Symphony and Assistant Conductor of the Portland (Maine) Symphony Orchestra. He was a featured conductor in the 2022 Bruno Walter National Conductor Preview alongside the Louisiana Philharmonic. He was also selected for private mentorship by the late maestro Kurt Masur as a prestigious Felix MendelssohnBartholdy Scholarship recipient.

Norman Huynh resides in Bozeman, Montana, where he enjoys stargazing, board games, and spending time with his family.

BEHIND THE BATON

Things You Didn’t Know About Norman

From stylish kicks to secret fears, here’s a peek behind the podium into the life of Music Director Norman Huynh.

He’s known for his signature red sneakers.

Norman started wearing his bold red Nike Air Force 1s while conducting special film concerts in Portland, Oregon. They were an instant hit with audiences—and they’ve since traveled with him across the globe. He still wears them when the moment feels right.

His hair care routine is next level.

Yes, there’s a method to that maestro mane. Norman starts by applying Rudy’s Perfect Cream to damp hair, followed by a blow-dry with a brush. He finishes the look with a Japanese styling product called Moving Rubber, a gift from musician Kishi Bashi.

Video games are his guilty pleasure.

When time allows, Norman loves getting lost in video games. He owns both a PlayStation 5 and Nintendo Switch 2. Gaming helps him mentally recharge while still exercising problem-solving skills in a fun, immersive way.

Weekends are for family.

Norman’s ideal weekend? Spending time outdoors with his wife, Catherine, and their son, Romeo. They love showing their curious little boy the world.

He’s a bookworm—when he has time.

His reading recommendation? The Red Rising series by Pierce Brown.

Morning bird or night owl? It depends.

Norman gets his best work done in the mornings—but with a young child in the house, those hours now belong to Romeo. When deadlines loom, he becomes a night owl by necessity.

He has a four-legged best friend.

Nellie, his 9-year-old dog, has been by his side for nearly a decade.

His favorite foods are full of flavor.

Vietnamese, Japanese, and Thai cuisines top his list.

He’s the oldest of three.

Norman has two younger sisters—one is a pharmacist, the other just started high school and plays both violin and saxophone.

He wishes there were more hours in the day.

Especially to study music and sneak in a little more gaming.

His greatest fear? Showing up unprepared.

Norman has a recurring nightmare: he steps onto the podium, opens his score... and realizes he has no idea what’s on the program. It’s the stuff of conductor horror stories.

He’s grateful for Bozeman.

Being able to live and work in a supportive, vibrant community like Bozeman is something he doesn’t take for granted.

His taste in music? Wide open.

Outside the concert hall, Norman listens to all kinds of music—as long as it’s good. He’s especially grateful to Audio Artisans for outfitting the Bozeman Symphony office with a mind-blowing sound system that makes listening a deeply immersive experience.

He sees the world differently thanks to Romeo.

Watching his son discover the world inspires Norman to stay curious and see life through a child’s eyes.

He’s a traveler at heart.

Norman loves experiencing new cultures and cuisines. High on his list: eating sushi in Japan.

Alternate career choice? U.S. President.

Yes, really. If he weren’t a conductor, Norman says he’d run for President.

His musical bucket list is ambitious.

He dreams of conducting all the Beethoven and Mahler symphonies.

City, mountains, or beach? Why not all three.

Norman prefers the city for work, the mountains for adventure, and the beach to unwind.

His favorite color is green.

Simple as that.

Favorite movie? Depends on the day.

But he has a soft spot for Moulin Rouge

If he had a superpower, he’d fly.

Flying like Superman would be the ultimate time-saver—and offer an incredible view of the world.

Historical dinner guest? Beethoven

He’d love to meet the legendary composer, if only to learn whether the stories about his fiery personality are true.

CAROLINE SHAW

KENJI BUNCH ATTACCA QUARTET

MONICA OHUCHI

VOLTERRA PROJECT TRIO

AMER HASAN

ALBERT CANO SMIT

XAVIER FOLEY

ANGELLA AHN

ORCHESTRA MAP

STRINGS

Concertmaster

MEET THE ORCHESTRA

Core Musicians: 53

Substitute Musicians: 145

Men: 20 core

Women: 33 core

10+ Years playing in the core: 30

Music Teachers: 19

Retired: 4 core

Students: 2 core

Rehearsal Time Per Concert: 12-15 hours

Personal Practice Time: 1-6 hours daily

Longest Piece Performed: 90 minutes, Verdi’s Requiem

Largest Instrument: Bass

Loudest Instruments: Trumpet and Trombone

Smallest Instrument: Piccolo

BOZEMAN SYMPHONY CORE ORCHESTRA

VIOLIN

Carrie Krause, Concertmaster

Claudia Albrecht

Sarah Church

Richard Ferguson

Chelsea Lind

Megan McFadden

Jill McJunkin

VIOLA

Anna Jesaitis, Principal

Jodi Allison-Bunnell

Nathan Hallauer

Jake Kamintezky

Ashleigh Snider

CELLO

Chandra Lind, Principal

Cayley Hunt

Charlie Martin

Bärbel Pafford

Lisa Woidtke

BASS

Hillary Fuller, Principal

April Cooper

Max Johnson

Cortney Peres

W. Scott Stebbins

Samantha Vetter

HARP

Angela Espinosa, Principal

FLUTE

Sierra Schmeltzer, Principal

Sue Makeever

OBOE

Sandy Stimson, Principal

Justine Myers

CLARINET

Wendy Bickford, Principal

Gregory Young

BASSOON

Nicholas Ober, Principal

Sam Macken

HORN

Madeleine Folkerts, Principal

Elizabeth Schmidt, Associate Principal

Susie Fritts

Michael Sgrecci

TRUMPET

Sarah Stoneback, Principal

Daniel Wood

Jerry Makeever

TROMBONE

Jeannie Little, Principal

Michael Dolin, Associate Principal

BASS TROMBONE

Lisa Stoneham, Principal

TUBA

Donald Kronenberger, Principal

TIMPANI

Jeffrey Vick, Principal

PERCUSSION

Irene Kang, Principal

Mark Brown

Kristofer Olsen

KEYBOARD

Laurel Yost, Principal

*String & percussion sections are seated on a rotating basis

Musician Spotlight: Donald Kronenberger

Principal Tuba

At the back of the orchestra, where the deepest sounds resonate, you’ll find Don Kronenberger, principal tuba of the Bozeman Symphony. For 27 seasons, Don has made the 170mile round trip over the 6,385-foot Homestake Pass from his home in Butte to Bozeman for each of the Symphony’s four concert rehearsals. Remarkably, in all those years, he’s never missed a performance, and only missed one rehearsal, due to severe weather.

Don joined the Bozeman Symphony in 1998 at the invitation of thenMusic Director Matthew Savery, while he was still performing with the Butte Symphony.

“I enjoy the continually improving professionalism and quality of the orchestra,” Don says. “The low brass section is the best I’ve ever had the privilege of playing with. I love the camaraderie—with musicians across the orchestra and with the staff who support the music.”

This season, Don is especially excited to perform John Adams’s Harmonielehre, a contemporary masterpiece known for its rich harmonies and emotional power. He also looks forward to the Symphony’s free children’s and community concerts each year. These days, he finds special joy in sitting in the audience for pieces that don’t include the tuba—like Beethoven’s symphonies—experiencing the music from a different perspective.

While Don no longer serves as principal tuba with the Butte Symphony, he remains on its Board of Directors and performs with them occasionally. As the Bozeman Symphony’s schedule has grown, he’s scaled back his performing commitments in Butte to focus more fully on his role here.

Don’s journey to the tuba was unexpected. Raised in Houston, Texas, and Baton Rouge, Louisiana, he began playing trumpet in fifth grade. But in high school, a band director changed the course of his musical life.

“My band director put his hand on my shoulder and said, ‘Don, I want to make a tuba player out of you.’ It was the fastest way into the top band, so I took it,” he recalls. “When I got to Rice University in 1980, I had no intention of majoring in music—let alone playing tuba. But when they needed a tuba player for a brass repertoire class, I surreptitiously borrowed a horn from my old high school and showed up. Once I started studying with musicians from the Houston Symphony, I was hooked.”

In addition to being a professional musician, Don is a clinical mental health counselor in private practice in Butte. He incorporates music— especially hand drumming and drum circles—into his work with youth and in therapeutic settings. Since 2017, he’s attended a dozen weeklong silent meditation retreats and regularly integrates mindfulness and meditation into both his personal life and professional practice. Before becoming a counselor, Don spent two decades as a Montessori teacher and school director.

Don holds a Master of Arts in Clinical Mental Health Counseling, a Master of Business Administration, and a Bachelor of Music in Tuba Performance. He’s studied at the Tanglewood Brass Quintet Symposium with Empire Brass and has performed with the Galveston Symphony, as well as the University of Michigan Symphony Band at renowned venues such as La Scala in Milan, the Concertgebouw in Amsterdam, and the Tonhalle in Zurich.

Don and his late wife, Brett Naylor Kronenberger, raised three children: Louis (30), Claire (28), and Oscar (26). He is now married to Anne Kish, a librarian at Montana Technological University, and is stepfather to Audrey (18). Outside of work and music, Don enjoys hiking in the Rocky Mountains and rafting the Big Hole and Jefferson Rivers.

Symphonic Choir Director

Conor Whalen

In July 2025, Conor Whalen of Los Angeles became the new director of the Bozeman Symphonic Choir to lead and develop the choir in alignment with the Symphony’s mission to engage, unite, and uplift the human spirit through music and the arts in Montana.

As Director, Conor oversees the choir’s musical leadership and artistic growth. His responsibilities include conducting rehearsals and performances, preparing scores, enhancing the ensemble’s artistic quality, and assisting Music Director Norman Huynh in planning repertoire and programming for concerts.

Conor brings more than five years of experience directing choirs in a variety of settings. He has built a strong foundation in choral artistry, vocal technique, and orchestral collaboration, having prepared ensembles for performances of major choral-orchestral works in both symphonic and operatic contexts.

“My approach to choral direction is deeply rooted in artistic excellence, community engagement, and fostering a collaborative rehearsal

environment,” said Conor. “I am also committed to growing ensembles through strategic recruitment, audience development, and innovative programming that honors tradition while embracing new artistic possibilities.”

Conor joined the Bozeman Symphonic Choir from Chaminade College Preparatory High School in West Hills, Calif., where he served as Director of Choral Programs. He has also held leadership roles with the Conejo Valley Choral Society, Holy Trinity Lutheran Church, and conducted ensembles with First Presbyterian Church of Oxnard, Boston Conservatory at Berklee Opera, Newburyport Choral Society, and the Opera NEO Summer Festival.

He holds a Master of Music in Choral Conducting from the Boston Conservatory at Berklee and a Bachelor of Science in Music with a vocal emphasis from Murray State University in Kentucky. His conducting studies have included mentorship from Maestro Andrew Altenbach, Dr. George Case, and Simon Carrington.

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BOZEMAN SYMPHONIC CHOIR

Conor Whalen, Conductor

SOPRANO

Sharon Beehler

Beth Campbell

Amy Carlson

Katie Catlett

Lila Cebulla

Cordelia Cluett

Jennifer Cogley

Hallie Echols

Katryna Fabricius

Anna Floyd

Kate Gardner

Shalani Gentry

Maria Griffing

Hannah Harris

Debby Haynes

Nicole Jordan

Carole McLean

Hannah McMaster

Wendy Monson

Rachel Osen

Rose Phillips

Marsha Ross

Kirsten Rothenbucher

Mary Ruebush

Gayatri Sabne

Deborah Schuerr

Tamilla Simpson

Hadley Stonecipher

Suzy VanderVos*

Sara Williams

Grace Zabrocki

ALTO

Samantha Baker

Kris Barnes

Jolene Balyeat

Janice Benham

Laura Bennett

Eliese Besemer

Heather Blaze

Connie Campbell-Pearson

Becky Catlett

Vicki DeBoer

Ozaa Echomaker

Ashley George

Nadine Grayl

Kate Groundwater

Heidi Hester

Holly Janssen

Michelina Kazeminejad

Alyce Larsson

Annika Linkenbach

Christa Merzdorf

Grace Ann Monroe

Nancy Ojala*

Nicole Rosenleaf Ritter

Kippy Sands

Rebecca Stanton

Ellen Stephenson

Grace Stroh

Jill Stika

Liz Vonderhaar

Kelsi Weaver-Martin

TENOR

Jeff Abelin*

Webster Crist

Elliot Heumier

Justin Horak

Peter Nalen

Ben Nelson

Brad Osen

John Sheppard

Brian Smithers

Matt Sonnichsen

Carlton Williams

Yufu Yoshimura

BASS

Blaze Balyeat

Jake Balyeat

Michael Beehler

Karl Benjamin

Richard Bennett

Riley Evans

Tyler Flock

Charles Franklin

Logan Henke

Alec Kimball

Mitchell Larsson

Matt LaSalle

Jeff Marker

Rick Ojala

Jack Oosterhuis

Marcus Pearson

Thomas Pezzarossi

James Pritchard

Chip Ritter*

Jesse Sheppard

Quinn Sigler

Brian Viall

Henry Westesen

Richard Wilbur

Adam Williams

*Section Leader

Bozeman Symphonic Choir

Featured Members:

Harmonizing Through the Years:

The Beehlers’ 40-Year Legacy with the Bozeman Symphonic Choir

For more than four decades, music has been a guiding force in the lives of Michael and Sharon Beehler. As longtime members of the Bozeman Symphonic Choir, the couple has found both joy and meaning in singing together—season after season.

Michael, a bass, and Sharon, a soprano, are Professors Emeritus of English at Montana State University. Amid their busy academic careers, choral singing offered something invaluable: a respite from the pressures of teaching and the chance to be part of something larger than themselves.

“In our professional lives, we were always the ones in front of the room, directing the action,” Michael explained. “Rehearsals gave us the opportunity to step into a different role—one where we followed a conductor’s lead and simply made music.”

For Sharon, the experience has been just as rewarding. “I’ve learned so much singing with this group and the different conductors we’ve had over the years, going back to Lowell Hickman,” she said. “The choir demands focus and discipline, and it

was always a wonderful escape from work. Now that we’re retired, it’s just pure fun!”

Over the years, the Beehlers have served the choir in many capacities: as section leaders, choir representatives to the Symphony Board, and Board members themselves. But at the heart of their involvement is the simple joy of singing—and sharing that joy with the Bozeman community.

“The thrill of performance and the collaboration of the ensemble make the experience especially meaningful,” said Sharon.

This season, the couple will perform in the fall Choir Series concert, the Bozeman Symphony’s Holiday Spectacular, and February’s Bozeman Symphony Presents concert. As always, they look forward to singing alongside longtime friends and making new musical memories.

“We’ve made so many friends through the Choir,” said Michael. “Because we’re involved with several arts organizations in town, our connection to the Choir strengthens those ties and deepens our sense of belonging in the community.”

One of the Beehlers’ most memorable performances was Carl Orff’s Carmina Burana, performed in spring 2024. “It was a challenging piece—lots of work—but an incredible high when we pulled it off,” said Michael.

Another standout moment was traveling to London in 2012 to sing Beethoven’s Ninth Symphony with a massed chorus just before the Olympic Games. For Sharon, a personal highlight was being a founding member of Bel Canto, the Far Afield women’s ensemble that toured Montana, performing in schools and at arts festivals across the state.

Both Beehlers discovered their love of music early in life. Michael sang in choirs throughout his youth, and joining the Symphony Choir was a natural extension of that passion. Sharon sang in church choirs, studied voice in her twenties, and performed extensively while living in Austin, Texas, before moving to Bozeman.

The couple also appeared with Opera Montana and performed as Guardian Angels in Bending Toward the Light, a jazz nativity. In addition, they have acted in and directed numerous local theater productions with The Blue Slipper, Verge Theater, and Bozeman Actors Theatre.

When asked what they would say to someone considering joining the Bozeman Symphonic Choir, their message is simple: “Do it! Choir will enhance your life,” said Michael. Sharon agreed, adding, “The variety of music you encounter helps you grow— both intellectually and emotionally.”

Passionate about singing? The Bozeman Symphonic Choir is looking for experienced singers of all voice types to join us for the 2025–26 season!

To schedule an audition, message conor@bozemansymphony.org

Auditions include sight-reading and aural skill exercises, vocal exercises to assess voicing and agility, and a prepared excerpt.

Choir members commit to:

• Weekly Monday evening rehearsals

• Additional rehearsals the week of each performance

• At least three performances with the Bozeman Symphony throughout the season

We’d love to have you lend your voice to something extraordinary!

BRIAN TUDOR

Robyn Erlenbush Broker/Owner. Each office independendly owned and operated. 1805 W Dickerson

Featured Article:

BOZEMAN SYMPHONY MUSICIANS INSPIRE THE NEXT GENERATION

Bozeman Symphony musicians are not only exceptional performers—they are passionate educators shaping the future of music in our community. From bustling elementary classrooms to quiet university studios, these dedicated instrumentalists play a vital role in nurturing the next generation of musicians.

Many Symphony members teach private lessons, while others serve as instructors in public schools and at Montana State University. Three of the five Bozeman School District orchestra teachers are also core members of the Bozeman Symphony—a testament to the Symphony’s deep roots in local music education.

These musician-educators bring more than technical expertise to their students. They inspire curiosity, instill discipline, and cultivate a lifelong love for music. Whether coaching students on bow technique or guiding ensembles through complex harmonies, they help young musicians grow in both skill and confidence. Through rehearsals, performances, and one-on-one instruction, they teach not only how to play—but how to listen, collaborate, and create.

Teaching and Performing: A Harmonious Balance

For violist Nathan Hallauer, teaching and performing are two sides of the same coin. As Orchestra Director at Bozeman High School, Nathan leads four orchestras and works with more than 100 students annually. His ensembles perform multiple times each year—most recently in Germany, Austria, and the Czech Republic. Before joining Bozeman High, Nathan was the Band Director at Belgrade High School.

“I always knew I wanted to teach, but my love of music came later,” Nathan said. “Each performance feels like a new opportunity to connect with others and dive into something beautiful. I feel like the luckiest person on the planet.”

Nathan began playing violin in sixth grade and was inspired by a high school orchestra teacher to pursue a career in music education. He joined the Bozeman Symphony as a section violist in 2020 and now also performs with ensembles across Montana, including string quartets and pit orchestras.

Chandra Lind, Principal Cellist of the Bozeman Symphony, is the Orchestra Director at Gallatin High School, where she leads nearly 90 students. She has more than 30 years of private teaching experience and previously taught at Chief Joseph Middle School for 13 years.

“What I love most about my role is seeing the growth of students I’ve worked with since middle school,” Chandra said. “It’s incredibly fulfilling to continue supporting them on their musical journeys.”

A Symphony member since 1992 and Principal Cellist since 1999, Chandra has also served as orchestra librarian and on the Symphony council. Her passion for music was sparked by her middle school orchestra experience and continues

Nathan Hallauer

Nathan Hallauer, Jill Keegan, Chandra Lind, and Bärbel Pafford during Bozeman high schools’ orchestra tour in Europe

to be fueled by her colleagues in the Bozeman Symphony. Over her career, Chandra has taught orchestras of all types and levels, including public and private programs from elementary to high school. She is also a co-founder of the Bozeman Summer String Jam, a camp for beginner through high school-aged musicians.

Cellist Bärbel Pafford, a Symphony member since 2009, introduces more than 220 fifth-grade students to music each year. As a beginning orchestra teacher across eight elementary schools, she leads holiday concerts and an annual fifth-grade orchestra festival each May.

“Learning an instrument is hard work— it takes perseverance and attention to detail—but the payoff is tremendous,” Bärbel said of her teaching philosophy, which blends fun with rigor to help students overcome challenges by breaking skills into manageable steps.

Bärbel’s musical roots run deep. She began violin lessons at age three and switched to cello at eleven. Raised by two musician parents, she developed a strong appreciation for both the discipline and joy of music. After graduating from Bozeman High School, she studied in South Carolina, where she discovered her love for teaching through a University’s String Project. By the time she entered the public school system, she had already accumulated years of experience. Today, Bärbel also performs with Big Sky Strings, teaches private lessons, and co-directs String Jam with Chandra, teaching a summer camp of about 150 middle and high school string players.

A Lasting Legacy

Whether on stage at the Willson Auditorium or teaching in classrooms across the valley, Bozeman Symphony musicians are inspiring the next generation of performers, music lovers, and creative thinkers. Through their dedication to both education and artistry, they are leaving a legacy that will resonate for years to come.

Chandra Lind

Bärbel Pafford

Featured Article:

BEHIND THE MUSIC: HOW THE BOZEMAN SYMPHONY BUILDS A SEASON

For music lovers, attending a symphony concert is nothing short of magical—breathtaking performances with world-class guest artists, the artistry of skilled local musicians, and thoughtfully curated programs that take audiences on unforgettable journeys.

But what does it take to bring a Bozeman Symphony season to life? The answer: nearly two years of planning, collaboration, and creativity.

Designing a concert season is an intricate blend of artistry and logistics. It involves countless hours of thoughtful decision-making by a dedicated team of the Music Director, musicians, staff, and stakeholders. The season must strike a delicate balance between artistic ambition, audience appeal, and financial feasibility to ensure it is a success.

Each spring, the unveiling of our new season is a moment of high anticipation for subscribers, patrons, and first-time concertgoers alike. Anything is possible leading up to the announcement: bold new works, returning guest favorites, and unexpected musical pairings await behind the curtain.

So how does it all come together?

Season planning typically begins two years in advance during the summer months, when Music Director Norman Huynh proposes a theme. His goal is to create compelling programs that

combine beloved classics with new or lesser-known works across a variety of styles and composers.

“Everything goes into the blender when I’m planning a good mix of programming ingredients,” Norman explains. “A strong season includes a range of orchestral works featuring different instrumentations and genres. My desired outcome is to build constellations of great music that inspire both musicians and audiences alike.”

The Symphony’s Artistic Advisory Committee—made up of Norman, Executive Director Jacob Blaser, and musicians—works throughout the year to shape the season. They begin by assembling a skeletal framework of repertoire they believe will resonate with Bozeman audiences. Then the puzzle begins: collaborating with artist managers, balancing budgets, aligning with musicians’ schedules, and ensuring each program fits the season’s broader artistic vision.

“This long-range planning allows us to create exciting and dynamic concerts that highlight the best of our Bozeman Symphony Orchestra musicians and world-class guest artists,” says Jacob.

Securing dates with venues like the Willson Auditorium is the next step. The team coordinates closely with arts partners like Opera Montana and Montana Ballet to avoid scheduling

conflicts. Once dates are locked in, detailed planning kicks into high gear.

The Symphony team then matches guest artists to repertoire, balancing availability with artistic fit. These tentative plans—including programming, logistics, and preliminary budget—are reviewed by the Symphony’s Board of Directors in late fall. After board approval in early winter, the season is ready to be finalized.

Roughly nine months before a season begins, all programming and artist contracts are secured. That’s when the marketing team steps in to translate the vision into an engaging publicfacing campaign—writing descriptive copy, collecting photography, and designing promotional materials to support the season launch. At the same time, box office staff begin building the season in ticketing software, setting up seating maps, pricing structures, and subscription packages. Hard-copy subscription renewal materials are prepared, and web content is developed to support the season announcement.

As one season wraps up, the next is already being prepared for its debut. From the first brainstorming session to the final printed brochure, each concert series is the result of careful planning, enthusiastic collaboration, and a deep commitment to inspiring Bozeman audiences through the power of live music.

Norman Huynh, Music Director

April Cooper, Max Johnson, Samantha Vetter, W. Scott Stebbins, and Cortney Peres, Bass

Featured Article:

SYMPHONY BRINGS MUSIC BEYOND THE STAGE WITH STORYTIME FOR CHILDREN

The Bozeman Symphony envisions a future where live music is an everyday presence in the lives of Montanans—a source of joy, inspiration, and connection. That vision comes to life through a wide range of education and community engagement programs, beginning with one of our most beloved: Symphony Storytime.

Launched in 2024, Symphony Storytime is a lively, interactive event that inspires the next generation by bringing cherished children’s books to life through live classical music. Held monthly at the Bozeman Public Library, each free event draws 100 to 150 children and caregivers, offering a whimsical introduction to both music and literature.

“Storytime is about joy, curiosity, and making lasting memories,” said Cierra Wallace, the Symphony’s Education and Community Engagement Coordinator. “Young children experience the wonder of music in a way that’s fun, approachable, and meaningful.”

Each Storytime features a Symphony musician who performs a short piece, introduces their instrument, and engages young listeners with fascinating facts and answers to questions. Children are often invited to touch or even try out the instruments afterward—an experience

that can light a spark for a lifetime of musical curiosity.

“This is like a special social time for us,” said Sara Binstock, mother of a young girl. “I love that the music is paired with storytelling. We’re not a particularly musical family, so I think it’s important to get her out and expose her to experiences like this.”

Community member Vicky York shared a similar sentiment: “Programs like this matter because so many kids don’t get the chance to experience music. This kind of exposure can really make a difference.”

In addition to its monthly library events, the program travels to the Human Resource Development Council’s (HRDC) Head Start classrooms in Bozeman and Belgrade, reaching even more families and young learners where they are.

Adding another layer of magic is a guest reader—often a professional actor from Montana Shakespeare in the Parks (MSIP)—who dramatically brings the featured story to life Other special readers have been from Random Acts of Silliness and the Montana School for the Deaf and Blind.

“The mutual desire to engage our communities with the magic of live

performance provides the foundation for wonderful collaborations,” said Hannah Jacobsma, MSIP’s Director of Community Access and Engagement. “To see the enthusiasm among young audiences when multiple art forms come together is truly moving.”

After the story and performance, the Bozeman Public Library rounds out the experience with themed sensory activity stations that invite children to dive deeper into the story’s themes and instruments.

“The excitement is bubbling over at these events for our youngest patrons as they have the opportunity to discover and explore the joy inherent in music and community!” said Kathleen McPherson Glynn, Library Assistant.

These early, enriching encounters with music can have lasting effects. “Soon, these youngsters will be in school, maybe choosing what instrument they want to play,” Cierra said. “We hope they’ll think back to a Storytime they attended and say, ‘I love the sound of the violin—I want to play the violin.’ Music education supports development in areas like language, math and science and offers a healthy outlet for emotions.”

Though geared toward preschoolers ages 3 to 5, Symphony Storytime

welcomes children of all ages— and their families—to participate. Storytime details are posted at www.bozemansymphony.org/eventcalendar. The program is free and open to the public, made possible through the generous support of donors and community partners, including the Library, MSIP, and the HRDC.

Since the Education and Community Engagement program began in January 2024, nearly 20,000 people have been served through more than 120 free engagements and programs in schools, libraries, healthcare facilities, and community centers across the Gallatin Valley and beyond. By working closely with our local partners—schools, nonprofits, and community leaders—programs are tailored to meet the real needs of those they serve, including many from economically disadvantaged and underrepresented backgrounds.

“These initiatives embody our commitment to engage with our community and enrich the lives of

people through the transformative power of music,” said Cierra. “We aim to nurture a love for music in students, support music teachers and students, provide soulful experiences for adults, and foster a shared sense of joy and connection with the community.”

At the heart of this work are three guiding principles: personal connection, impact, and community building. The programs fall into the three categories of education, community engagement, and access. By working closely with our local partners—schools, nonprofits, and community leaders—programs are tailored to meet the real needs of those they serve, including many from economically disadvantaged and underrepresented backgrounds.

To learn more or get involved with the Bozeman Symphony’s Education and Community Engagement programs, contact Cierra Wallace at cierra@ bozemansymphony.org

EDUCATION & COMMUNITY ENGAGEMENT 2024-25 SEASON HIGHLIGHTS

EDUCATION

• 42 choristers participated in Random Acts of Silliness’ annual Lantern Parade 73 Total Engagements Communities Reached: 10 Montana Towns Community Partners: 22 Organizations 29 Schools Served

• 20 Symphony Storytimes reached 1,200+ people

• Four Side-by-Side events educated and inspired 32 high school band students

• Seven BSD7 5th Grade Sectionals educated 39 students

• Two 4th Grade Concerts were attended by 1,323 students and teachers from 23 schools

• Three Instrument Petting Zoos engaged 1,130 participants.

COMMUNITY

• Six Far Afield events served 367 people across five communities

• Seven Joy Program events enjoyed by more than 280 people

• Six Prelude Performances by 14 student musicians

Patron Spotlight:

A LIFETIME OF MUSIC: JUDY WORLEY’S DEVOTION TO THE BOZEMAN SYMPHONY

What began as a simple date night more than 40 years ago has blossomed into a lifelong love affair with music for longtime Bozeman Symphony patron Judy Worley.

Judy and her husband, Dave, attended their first Symphony concert in 1985, shortly after the Willson Auditorium became the Symphony’s official home. From that moment, they were hooked. Season after season, the couple returned, side by side in their favorite seats, until Dave’s passing in 2003. But Judy never stopped coming. She has continued the tradition faithfully, never missing a season—and carefully saving each concert program as a cherished keepsake.

Now 90 years old, Judy still attends every performance, calling each concert “the highlight of my month.” Even a recent fall that left her with a broken hip and shoulder couldn’t keep her away. With the help of her walker and the kind assistance of Symphony ushers, she still makes her way to the Willson. Her companion for each concert is her “adopted daughter” Wendy Sonnenberg, a nurse who cared for Judy during the COVID-19 pandemic and has since become like family.

Her favorite time of year? The Symphony’s Holiday Spectacular concerts. “I wouldn’t miss them even if I were flat down in bed,” Judy says with a laugh. A former singer, she was especially moved during last year’s performance when the Bozeman Symphonic Choir surrounded the audience with the haunting strains of O Come, O Come, Emmanuel. “It brought tears to my eyes,” she said. “It doesn’t get better than that.”

Of the many conductors she’s seen grace the Symphony stage over the years, Judy holds current Music Director Norman Huynh in the highest regard. “I am so grateful for Norman. He is the best—a breath of fresh air,” she said, recalling the buzz of excitement in the auditorium during his audition. “He just lit up the room.”

Music has been a lifelong passion for Judy. As an alto, she sang in her church choir and was part of her high school’s first band, where she learned to play the French horn. That love of music continued through her family: Dave played the

The Symphony performing Carmina Burana

trombone in high school, their son Tim sings and plays guitar, and son Mark played baritone in a band. Judy’s journey to Bozeman began in the small farming town of Wheaton, Minnesota. She earned her nursing degree in Minneapolis, where she often attended Minnesota Orchestra concerts. As a child, she would visit her grandmother in Bellingham, Washington, and during those long car rides through the mountains, she made a promise to herself: one day, she’d live among the peaks.

That dream came true. After working in Wheaton, Judy moved to Minneapolis, followed a roommate to Redding, California, and eventually accepted a position at the VA Hospital

in Seattle. It was during a visit to her brother—then a student at Montana State University—that she met Dave, one of his professors, during a campus lab tour. The two quickly fell in love and married in 1969.

Today, Judy’s sons live out of the area but visit often. Mark, his wife Deanna, and their son Sean live in Fort Collins, Colorado, while Tim and his wife Tracy reside in Missoula. This fall, Judy is especially excited for a visit from her brother, who lives near Chicago and shares her love of orchestral music. A frequent attendee of Chicago Symphony rehearsals, he plans to accompany Judy to a Bozeman Symphony concert during his stay.

Between concerts, Judy enjoys listening to her favorite composers— Beethoven and Rachmaninoff—on CDs. But it’s the live experience, the sense of community, and the emotion of the music that mean the most to her.

For Judy, the Bozeman Symphony is more than just a concert series. It’s a story of love—of music, of family, and of a community that continues to inspire her every season.

Cinderella MAGIC.

RAGTIME MUSIC.

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404 WEST MAIN STREET, BOZEMAN, MT 59715

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HOPE LUTHERAN SEAT MAP

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ENHANCE YOUR CONCERT EXPERIENCE

Prepare for unforgettable concerts filled with captivating performances throughout the season. Follow these tips to make the most of your concert experience.

Pre-Concert Talk

Join Conductor Norman Huynh and guest artists for an insightful pre-concert talk about what to listen for, historical settings, and important events one hour before each Classical Series concert, setting the stage for an immersive musical journey. The pre-concert talk will not be offered before Bozeman Symphony Presents and Symphonic Choir performances.

Showtime

Sit back and enjoy concerts ranging from one to two hours, with a brief 20-minute intermission for relaxation and refreshment. Arrive early as doors open 30-45 minutes before the concert begins.

Venues

Experience the magic of music at the Willson Auditorium for our classical and Bozeman Symphony Presents Series concerts. The Fall choir performance takes place at Hope Lutheran Church. Find venue maps on page 36-38 for easy navigation.

Parking

Navigate convenient street parking near the Willson Auditorium. Parking lots are available on the west side and southeast corner of the building for those with accessibility issues. Be aware of potential traffic congestion because of nearby construction projects. Hope Lutheran Church boasts a spacious parking lot for easy access.

Ticket Information

Present your printed or electronic ticket to an usher at the concert hall door for seamless entry. For tickets being held for you at the door, the will-call table is located on the left side of the Willson Auditorium’s Main Street entrance lobby and in the church entrance.

Concessions

Bottled water and snacks are available for purchase at the Willson Auditorium’s concession stand, located in the main lobby before the concert and during intermission. Cash, checks payable to the Bozeman Symphony, credit cards, and Apple pay are accepted.

Updates

Stay informed! Check your e-mail or bozemansymphony.org during concert weeks for pertinent updates. If you’re not receiving communications from the Bozeman Symphony, contact us at info@bozemansymphony.org to be added to our mailing list for the latest news and announcements.

LISTEN TO CLASSICAL MUSIC LIKE A PRO

For some, developing a love for classical music comes naturally. For others, it may take time and intentional effort. Whether you’re drawn to the lush romanticism of Tchaikovsky or the intricate counterpoint of Bach, learning to truly appreciate classical music begins with how you listen.

Even if you can’t attend live performances, world-class recordings are widely available and offer a powerful way to experience the beauty and emotional depth of this timeless genre. The key is to listen actively and with curiosity.

Listen for Melody and Rhythm: Unlike pop or rock, where lyrics often take center stage, classical music invites you to focus on instrumental storytelling. Pay close attention to the melody— the musical line that carries the piece—and the rhythm, which provides movement and energy. Listen to how they interact and evolve. Let yourself feel the rise and fall of emotion crafted by the composer.

Name That Emotion: Classical music rarely tells you what to feel. One piece might evoke joy, sorrow, awe, or even unease— and sometimes all within a few minutes. Take a moment to reflect on how a piece makes you feel. Then, listen again. You might notice that your emotional response shifts or deepens over time.

Visualize: Close your eyes and let your imagination run free. What images, scenes, or colors come to mind as you listen? There’s no right or wrong answer. Visualization can enhance your emotional connection to a piece and open new pathways of understanding.

Trust Your Taste: Not every composer or work will resonate with you—and that’s okay. Just as people gravitate toward different genres in popular music, the same is true for classical. Explore broadly, but don’t hesitate to revisit pieces that didn’t initially strike a chord. Your tastes may evolve.

Embrace Repetition: Think of how you learn the lyrics to your favorite song—you hear it over and over. The same principle applies to classical music. Repetition builds familiarity, and with it, deeper appreciation. Over time, a piece you once found confusing might become one you can’t get out of your head.

Attend a Live Concert: Nothing compares to the experience of hearing classical music performed live. The energy, acoustics, and

connections with the musicians and fellow audience members bring a new level of richness that recordings simply can’t replicate. If you have the opportunity, don’t miss it.

Engage with New Music: Don’t overlook contemporary classical works. Discovering something new can be exciting—and challenging. Try incorporating new pieces into your routine. Whether you’re working, walking, or unwinding, listening in the background can gradually create a positive association and help the music become more familiar.

Final Tip: The more you listen, the more you’ll understand. Classical music is vast, varied, and endlessly rewarding. Whether you’re a seasoned concertgoer or just starting, the journey is worth taking, one note at a time.

PERFORMANCES

Classical Series

Our seven-concert Classical Series brings stories of music to life, straight from the heart and soul of our accomplished orchestra and choir. Under the dynamic leadership of Maestro Norman Huynh, this 58th season of the Bozeman Symphony promises to be our most inspiring yet. This year, we proudly honor the 250th anniversary of the United States with three special Sounds of America programs, celebrating the spirit and diversity of U.S.-American music. The season also features timeless masterworks by some of the greatest composers of all time. Enjoy this powerful musical adventure that will stir your soul, ignite your spirit, and bring us all closer together.

2025-26 Classical Concert Series Timeline

Explore a detailed timeline that places each musical composition in it historical period. Utilize this resource to immerse yourself in the evolution of orchestral music throughout history.

Classical Concert 1

Classical Concert 2

Classical Concert 3

1780

Joseph Haydn Concerto for 2 Horns and Orchestra in E-flat major

Classical Concert 4

Classical Concert 5

Classical Concert 6

Classical Concert 7

1825-26

Franz Schubert Symphony No. 9 in C major, D. 944 (Great)

1786

1808

Beethoven Symphony No. 6 in F major, Op. 68

Wolfgang Amadeus Mozart Symphony No. 38 in D major, K. 504 (Prague)

1850

Robert Schumann Cello Concerto in A minor, Op. 129

1890-1905

Claude Debussy Clair de lune

1901-02

Gustav Mahler Rückert-Lieder

1924

1931

William Walton Belshazzar’s Feast

George Gershwin Rhapsody in Blue

1934

Florence Price Piano Concerto in One Movement

1940

Sergei Rachmaninoff Symphonic Dances, Op. 45

2015

Wynton Marsalis Violin Concerto in D major

2025

Stephanie A. Boyd Carnival of the Nearly Extinct Animals

1947-48

Aaron Copland Clarinet Concerto

1944

Aaron Copland Appalachian Spring

1960

Leonard Bernstein Symphonic Dances from West Side Story

1985

John Adams Harmonielehre

2022

Caroline Shaw The Observatory

Classical Series 1 Opening Weekend Sounds of America I: Marsalis and Rachmaninoff

SATURDAY, SEPTEMBER 20, 2025 – 7:30 PM

SUNDAY, SEPTEMBER 21, 2025 – 2:30 PM

WILLSON AUDITORIUM | Free pre-concert talk one hour before the performance

Norman Huynh, conductor

Hannah Ji, violin

Wynton Marsalis Violin Concerto in D major (1961- )

I. Rhapsody

II. Rondo Burlesque

III. Blues

IV. Hootenanny

INTERMISSION

Sergei Rachmaninoff Symphonic Dances (1873-1943)

I. Non allegro

II. Andante con moto. Tempo di Valse

III. Lento assai – Allegro vivace

Sponsors:

Calum & Tricia DeSouza, Maestro’s Circle

Bob & Donna Ritchie, Maestro’s Circle

Bruce & Kimberlie Jodar, Conductor’s Circle

Angella Ahn & Richard Harjes, Presenter’s Circle

Skye Raiser & David Perlin, Presenter’s Circle

Leland & Diane Selby, Presenter’s Circle

PROGRAM NOTES

What to Listen For:

Violin Concerto: Marsalis’ creative, nontraditional approach evokes both drama and historical/cultural experiences of Black America, such as the Rhapsody’s police whistle and sirens heard in swirling string patterns. The wacky, off-kilter Rondo Burlesque pays homage to Marsalis’ hometown, New Orleans, with its sophisticated Expressionistic episodes, theatrical flourishes, chuckling solo violin, an extensive cadenza, and dynamic brasses. In the Blues, listen for the languid, deliberate pace of the solo violin line, with its signature blue notes (notes that slide deliberately between pitches). Stamping feet and clapping hands open the Hootenanny, with its propulsively joyful, off-beat accents and the soloist’s down-home blue-note melodies.

Symphonic Dances

First movement: repeated rhythmic motif (da-da-DAH da-da-DAH) in brasses, particularly trumpet, and plaintive alto sax solo, whose melody the orchestra repeats. Second movement: stop-and-start waltz rhythm; English horn solo. Third movement: Sweeping romantic episodes and featured moments for winds and brasses; ends with Rachmaninoff’s go-to musical quotation: the Dies irae (Day of Wrath) plainchant melody borrowed from the liturgy of the requiem mass.

Hannah Ji, Violin

Korean-American violinist Hannah Ji has captivated audiences around the world as a soloist, chamber musician, and orchestral performer, appearing on some of the most prestigious stages in classical music. Praised by głos na Wieniawskiego (Polish Radio) for her playing as “engaging, mature, well thought-out, and honed down to the finest details,” Ji continues to earn acclaim for her expressive artistry and technical command.

Recent highlights include her debut with the St. Louis Symphony Orchestra under the baton of Jonathon Heyward, and a chamber performance at the Sun Valley Music Festival with pianist Gabriela Martinez. Her performances have been featured on NPR’s From the Top, Philadelphia’s WHYY, Taos’ KTAOS Solar Radio, and PBS’s Live from Lincoln Center, which was broadcast across North America. She has performed at the United States

Embassy of Canada, appeared in Canada Day concerts with Pinchas Zukerman at the National Arts Centre, collaborated with pianist Jeremy Denk for “The Art of Giving Back,” and joined cellist Yo-Yo Ma and the Silk Road Ensemble in a Gala Concert at Lincoln Center.

Ji currently serves as Assistant Concertmaster of the St. Louis Symphony Orchestra. She toured internationally with the Philadelphia Orchestra, performed as Guest Associate Concertmaster with the Baltimore Symphony Orchestra, and appeared as Guest Concertmaster with the Chautauqua Symphony Orchestra. She has also held concertmaster and leadership roles at the Music in the Mountains Festival and Sun Valley Music Festival.

A dedicated chamber musician, Ji has performed alongside renowned artists including Jaime Laredo, Jennifer Koh, Roberto Díaz, the Borromeo and Calidore String Quartets, and Time for Three.

Passionate about education and mentorship, Ji has served on the faculties of the Curtis Institute of Music’s Summerfest Young Artists Program, the Bronx Conservatory of Music, and Manhattan in the Mountains Festival. She was also a substitute faculty member at the Manhattan School of Music Precollege Division and currently mentors young musicians through the SLSO’s Mentoring the Music: Peer to Peer program.

Listening Guide

If you like Marsalis’ Violin Concerto, you might also enjoy his Concerto for Tubist and Orchestra; both works combine and juxtapose elements of jazz and Black vernacular music with classical forms and orchestral timbres.

Rachmaninoff is best known for his piano concertos, but his deft skills as a writer of orchestral music also make his orchestra-only works worth a listen. Like the Symphonic Dances, Rachmaninoff’s Second and Third Symphonies spotlight the composer’s masterful use of orchestral timbres to convey his seemingly endless supply of gorgeous melodies.

Other works by these composers

Marsalis: Concerto for Tubist and Orchestra; Blues Symphony; Swing Symphony

Rachmaninoff: Symphony No. 2 in E minor; Isle of the Dead

Ji holds a Bachelor of Music from the Curtis Institute of Music, a Master of Music from The Juilliard School, and an Artist Diploma from The Colburn School. She began her musical studies at age seven in South Korea and is an alumna of the Manhattan School of Music Precollege Division.

Wynton Marsalis

Concerto in D for Violin and Orchestra

Composer: born October 18, 1961, New Orleans, LA

Work composed: 2015, for violinist Nicola Benedetti

World premiere: Benedetti performed the solo part with conductor James Gaffigan and the London Symphony Orchestra on November 6, 2015, in Barbican Hall, London.

Instrumentation: solo violin, 3 flutes (1 doubling piccolo), 3 oboes (1 doubling English horn), 2 clarinets, bass clarinet, 3 bassoons (1 doubling contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba doubling sousaphone, timpani, percussion, harp, and strings)

Estimated duration: 44 minutes

Internationally acclaimed musician, composer, bandleader, and educator Wynton Marsalis is also a leading advocate of American culture. Born into a New Orleans family of musicians and educators, Marsalis began playing trumpet at age six. In his teens, Marsalis studied at Tanglewood and Juilliard, and also toured with acclaimed bandleader Art Blakey and his Jazz Messengers.

As a composer, Marsalis has created and performed music with diverse ensembles: quartets, big bands, chamber music ensembles, and symphony orchestras, all the while expanding the vocabulary for both jazz and classical music. In 1997, Marsalis’ oratorio Blood on the Fields

became the first jazz composition to win the Pulitzer Prize in Music. Marsalis composes his solo works for specific performers, rather than instruments, and the Violin Concerto was written for Scottish violinist Nicola Benedetti. “Nicky asked me to ‘invite a diverse world of people into the experience of this piece,’” Marsalis writes in his program notes. “It takes inspiration from her life as a traveling performer and educator who enlightens and delights communities all over the world with the magic of virtuosity.” Marsalis goes on to describe his approach to composition in general: “Finding and nurturing common musical ground between differing arts and musical styles has been a lifetime fascination of mine … The shared vocabulary between the jazz orchestra and the modern orchestra sits largely in the areas of texture and instrumental technique. Form, improvisation, harmony, and methods of thematic development are very different. The biggest challenges are how to orchestrate the nuance and virtuosity in jazz and blues for an ensemble not versed in those styles (a technical issue); and how to create a consistent groove without a rhythm section (a musical/ philosophical issue).

“The piece opens with Nicky whispering a solo note before the orchestra enters, as if to say, ‘And so it came to pass’ or ‘Once upon a time,’” Marsalis continues. “Then we are into a form constructed in fours – as in the four corners of the earth, where her travels take her. Each of the four movements - Rhapsody, Rondo Burlesque, Blues, and Hootenanny – reveals a different aspect of her dream, which becomes reality through the public storytelling that is virtuosic performance.

“Rhapsody is a complex dream that becomes a nightmare, progresses into peacefulness and dissolves into ancestral memory. Rondo Burlesque is a syncopated, New Orleans jazz, calliope, circus clown, African gumbo, Mardi Gras party in odd meters. Blues is the progression of flirtation, courtship, intimacy, sermonizing, final loss, and abject loneliness that is out there to claim us all. Hootenanny is a raucous, stomping and whimsical barnyard throw-down. She excites us with all types of virtuosic chicanery and gets us intoxicated with revelry and then … goes on down the Good

King’s highway to other places yet to be seen or even foretold. As in the blues and jazz tradition, our journey ends with the jubilance and uplift of an optimistic conclusion.”

Sergei Rachmaninoff Symphonic Dances for Large Orchestra, Op. 45

Composer: born April 1, 1873, Oneg, Russia; died March 28, 1943, Beverly Hills, CA

Work composed: the summer and autumn of 1940. The published score bears the inscription: “Dedicated to Eugene Ormandy and The Philadelphia Orchestra.”

World premiere: Eugene Ormandy led the Philadelphia Orchestra on January 3, 1941

Instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, chimes, cymbals, drum, orchestra bells, tam-tam, tambourine, triangle, xylophone, piano, harp, and strings

Estimated duration: 35 minutes

Sergei Rachmaninoff had great regard for the Philadelphia Orchestra and its music director, Eugene Ormandy. As a pianist, he had performed with them on several occasions, and as a composer, he appreciated the full rich sound Ormandy and his musicians produced. Sometime during the 1930s, Rachmaninoff remarked that he always had the unique sound of

Photo by Clay McBride

this ensemble in his head while he was composing orchestral music: “[I would] rather perform with the Philadelphia Orchestra than any other of the world.” When Rachmaninoff began working on the Symphonic Dances, he wrote with Ormandy and the orchestra in mind. Several of Rachmaninoff’s other orchestral works, including the Rhapsody on a Theme of Paganini and the Piano Concerto No. 4, were also either written for or first performed by Ormandy and the Philadelphia Orchestra.

The Symphonic Dances turned out to be Rachmaninoff’s final composition. Although not as well-known as the piano concertos or the Rhapsody on a Theme of Paganini, Rachmaninoff himself and many others regard the Symphonic Dances as his greatest orchestral work. “I don’t know how it happened,” the composer remarked. “It must have been my last spark.”

Nervous pulsing violins open the Allegro, over which the winds mutter a descending minor triad (three-note chord). The strings set a quickstep tempo, while the opening triad becomes both the melodic and harmonic foundation of the movement as it is repeated, reversed and otherwise developed. The introspective middle section features the first substantial melody, sounded by a distinctively melancholy alto saxophone. The Allegro concludes with a return of the agitated quickstep and fluttering triad.

Muted trumpets and pizzicato strings open the Andante con moto with a lopsided stuttering waltz, followed by a subdued violin solo. This main theme has none of the Viennese lightness of a Strauss waltz; its haunting, ghostly quality borders on the macabre suggestive of Sibelius’ Valse triste or Ravel’s eerie La valse Rachmaninoff’s waltz is periodically interrupted by sinister blasts from the brasses.

In the Lento assai: Allegro vivace, Rachmaninoff borrows the melody of the Dies irae (Day of Wrath) from the requiem mass. Rachmaninoff had featured this iconic melody many times before, most notably in Isle of the Dead and the Rhapsody on a Theme of Paganini. The Dies irae’s distinctive descending line carries particular weight and suggestive power in the Symphonie Dances,

as we can hear it, in retrospect, as Rachmaninoff’s final statement about the end of his compositional career. This movement is the most sweeping and symphonic of the three and employs all the orchestra’s sounds, moods, and colors. In addition to the Dies irae, Rachmaninoff also incorporates other melodies from the Russian Orthodox liturgy, including the song “Blagosloven Yesi, Gospodi,” describing Christ’s resurrection, from Rachmaninoff’s choral masterpiece, All-Night Vigil.

On the final page of the Symphonic Dances score, Rachmaninoff wrote, “I thank Thee, Lord!”

© Elizabeth Schwartz. All rights reserved.

Robyn I.

Chanal S.

Sara M.

Providing unrestricted Scholar Grants directly to nontraditional students.

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PERFORMANCES

Classical Series 2 Nature’s Wonders: Beethoven’s Pastoral Symphony

SATURDAY, OCTOBER 11, 2025 – 7:30 PM

SUNDAY, OCTOBER 12, 2025 – 2:30 PM

WILLSON AUDITORIUM | Free pre-concert talk one hour before the performance

Norman Huynh, conductor

Stephanie Ann Boyd, composer

Stephanie Ann Boyd

World Premiere: Carnival of the Nearly Extinct Animals (1990- )

I. The Tigers

II. The Bees and Butterflies

III. The Polar Bears

IV. The Hawksbill Turtles

V. The Elephant

VI. The Black Rhinos

VII. Coral

VIII. The Blue Whales

IX. The Ivory-Billed Woodpeckers

X. The Passenger Pigeons

XI. The Grey Wolves

XII. The American Buffalo

XIII. The Kāhuli

XIV. Finale

Co-commissioned by the Bozeman Symphony INTERMISSION

Ludwig van Beethoven Symphony No. 6 in F Major, “Pastoral” (1770-1827)

I. Awakening of Cheerful Feelings on the Arrival in the Country

II. Scene by the Brook

III. Merry Gathering of the Countryfolk

IV. Thunderstorm

V. Shepherd’s Song, Glad and Grateful Feelings After the Storm Sponsors:

Calum & Tricia DeSouza, Maestro’s Circle

Bob & Donna Ritchie, Maestro’s Circle

Bruce & Kimberlie Jodar, Conductor’s Circle

Prof. Rob Maher & Ms. Lynn Peterson-Maher, Presenter’s Circle

Keith & Lisa Reed, Presenter’s Circle

Liz & David Richards, Presenter’s Circle

The Utzinger Family, Presenter’s Circle

Stephanie Ann Boyd, Composer

Stephanie Ann Boyd is a Michiganborn, Manhattan-based American composer known for her melodic, emotionally resonant music inspired by women’s memoirs and the natural world. Her works—ranging from symphonic to chamber—have been performed across nearly all 50 U.S. states and commissioned by musicians and organizations in 37 countries.

Boyd has written five ballets, including works choreographed by New York City Ballet principal dancers Lauren Lovette and Ashley Bouder. Her music has earned acclaim from major outlets: The New York Times praised her for a “racing, brassy score,” Gramophone highlighted her “attractive lyricism,” and The Boston Globe noted her “ethereal dissonances.”

Current projects include Nautilus, a clarinet concerto for New York Philharmonic principal clarinetist Anthony McGill; Lake of Muses, a reed quintet for Akropolis; and the second book of her Flower Catalog Piano Preludes. Recent premieres include Everywoman, a work inspired by Betty Friedan featuring mezzo-soprano Michelle DeYoung, violinist Sirena Huang, and Kennedy Center President Deborah Rutter, commissioned by the Peoria Symphony Orchestra and conducted by George Stelluto; Julia Louisa Esther: A Suffragette Symphony, commissioned by the Wyoming Symphony Orchestra and featured in a 2022 Wyoming PBS documentary; Alleluia Olora, written for cellist Tommy Mesa and Astral Artists; and Aurora, commissioned by the Kurganov-Finehouse Duo.

Boyd’s music has been commissioned and performed by concertmasters and principal players from the BBC Symphony Orchestra, Singapore Symphony, New York City Ballet Orchestra, Colorado Symphony, and others. Orchestras presenting her work include the Boston Modern Orchestra Project, Peoria Symphony Orchestra, Wyoming Symphony Orchestra, Cape Cod Chamber Orchestra, River Oaks Chamber Orchestra, Detroit Civic Orchestra, and youth symphonies from Chicago to El Paso.

Serving as Composer-in-Residence for the Peoria Symphony Orchestra in 2021–2022 and the Eureka Ensemble in Boston from 2016–2018, Boyd was also a 2013–2014 Collage New Music Fellow. Boyd has held residencies at summer festivals in Italy, Canada, and the U.S., and is currently on faculty at the Iceberg Institute in Vienna. She holds degrees in composition from Roosevelt University and New England Conservatory, where she graduated with honors.

A violinist by training, Boyd was a student of John Kendall and participated in ensembles including the Michigan Youth Symphony Orchestra and the Blue Lake International Youth Symphony.

She is a member of the Iceberg New Music composers’ collective. For premieres and red carpet events, she is often dressed by MILLY founder Michelle Smith or designer Sasha Parfenova. Boyd is an avid fan of jazz big bands, vintage cars, campfire scents, plane takeoffs, and contemporary fiction—usually read beside her cat, Petra.

Find her music at stephanieannboyd.com and on Instagram at @stephanieannboyd

Carnival of the Nearly Extinct Animals

Composer: born Ann Arbor, MI 1990

Work composed: 2024-25

World premiere: October 11 & 12, 2025, by the Bozeman Symphony.

Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, tuba, timpani, percussion, harp, and strings

Estimated duration: 25 minutes

Stephanie Ann Boyd writes melodic music about women’s memoirs and the natural world for symphonic and chamber ensembles. Her work has been performed in nearly all 50 states and has been commissioned by musicians and organizations in 37 countries. Boyd’s five ballets include works choreographed by New York City Ballet principal dancers Lauren Lovette and Ashley Bouder and include a ballet commissioned for the grand opening of the TWA Hotel at JFK Airport. Boyd’s music has earned praise from multiple sources: “a racing, brassy score” (New York Times); “attractive lyricism,” (Gramophone); “[with] ethereal dissonances” (Boston Globe); “[music that] didn’t let itself be eclipsed” (Texas Classical Review).

Boyd first conceived the idea of her Carnival, which is inspired by and modeled on Camille Saint-Saëns’ Carnival of the Animals, in 2021. “I was locked in my apartment because of COVID,” she remembers, “and the idea

Stephanie Ann Boyd

Carnival of Extinct Animals Artwork by Sasha Parfenova

just came to me, but I thought, ‘Isn’t this low-hanging fruit? How is it no one has done this before?’” Two years later, Boyd revisited the idea again, and began assembling a group of orchestras and other organizations to co-commission the work.

Like Saint-Saëns’ Carnival, Boyd’s work has 14 movements, 13 focused on a different endangered species, plus a finale. Some of the animals, such as the American bison and the gray wolf, are generally well known, while others, such as the ivory-billed woodpecker and the kāhuli snail, are less familiar to audiences. At times the music evokes the sounds of the animals directly; in other movements, Boyd wants to “bring the audience into the environment, like the icy lonesome space of the polar bear.”

Boyd, a former violinist, describes herself as a “melodist,” and her work reflects the foundational importance of melody in her music. She expects her Carnival to go even deeper into melodic explorations, many of which are an outgrowth of her synesthesia. Synesthesia, a neurological phenomenon in which the experience of one sense, like hearing, triggers involuntary associations with other senses, like sight. People with synesthesia can, for example, smell music or taste color. The most common form of synesthesia occurs when people see particular colors when they hear specific notes or harmonies. “I’m pretty sure I’ve only published one dominant seventh [chord] intentionally,” says Boyd. “They’re an icky green and orange color I really don’t like.”

A piece of music dedicated to endangered species could suggest feelings of despair or sadness regarding the planet’s dire environmental crises, but Boyd decided early on to focus on gratitude. “I want to help people absolutely fall in love with all these animals,” she says, “As they listen, I want them to get goosebumps, and maybe even shed a few tears. And I want them to leave the hall with a smile on their face.”

Ludwig van Beethoven Symphony No. 6 in F major, Op. 68, “Pastoral”

Composer: born December 16, 1770, Bonn; died March 26, 1827, Vienna

Work composed: 1803-08. Dedicated to Beethoven’s patrons, Prince Joseph Lobkowitz and Count Andrey Razumovsky.

World premiere: Beethoven conducted the Sixth Symphony in Vienna on December 22, 1808, as part of a four-hour all-Beethoven benefit concert

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

Estimated duration: 37 minutes

“All tone painting in instrumental music loses its value if pushed too far.” – Ludwig van Beethoven

The popularity of “program” or “characteristic” music – instrumental works based on non-musical subjects with accompanying narratives –reached its zenith in the late 1700s to early 1800s. Many characteristic pieces, which featured descriptions of nature, ocean voyages, hunting expeditions, weather (particularly storms), and military battles were of slight musical value, little more than musical bon-bons designed to delight audiences. Some stretched the bounds of musical taste, like military scenes complete with flying bullets and the groans of wounded soldiers. As such music became more fashionable, critics extolled what

came to be known as “absolute” music, compositions conceived without extra-musical ideas or inspirations.

Beethoven was very familiar with characteristic pieces, particularly Justin Heinrich Knecht’s 1785 Portrait musical de la nature, which, like Beethoven’s Pastoral Symphony, has five movements featuring a country landscape and a storm. Beethoven, however, exercised great caution when composing his own characteristic music. In the Pastoral Symphony, Beethoven combined programmatic elements (e.g., birdcalls) with the feelings nature evoked in him. To clarify his intentions, Beethoven noted in the score, “The whole will be understood even without a description, as it is more feeling than tone-painting.”

Beethoven gave each of the five movements a title. Of particular note is the Szene am Bach (Scene by the Brook), in which the strings’ rocking triplet rhythm perfectly captures the brook’s lazy meanderings. This movement also features specific bird imitations carefully notated by Beethoven in the score: nightingale (flute), quail (oboe), and cuckoo (two clarinets).

In the final three movements, which Beethoven indicated should be played without pause, peasants dance to a rousing folk tune. The short Allegro Gweitter, Sturm (Thunderstorm), the only movement in a minor key, depicts the fury of a summer squall. The closing Hirtengesang: Frohe und dankbare Gefühle nach dem Sturm (Shepherd’s song. Happy and grateful feelings after the storm) begins with a chorale phrase, an indication of Beethoven’s spiritual inclinations. In the score, Beethoven wrote, “Herr, wir danken dir” (Lord, we thank thee).

Despite less-than auspicious circumstances at the Sixth Symphony’s premiere (a four-hour program, under-rehearsed orchestra and spottily heated concert hall), both audiences and critics responded favorably. One review described the storm as “unsurpassedly beautiful,” while Beethoven himself noted, in a letter to his publisher, “In spite of the fact that various mistakes were made, which I could not prevent, the public nevertheless applauded the whole performance with enthusiasm.”

© Elizabeth Schwartz. All rights reserved.

Carnival of Extinct Animals Artwork by Sasha Parfenova

Bozeman Symphonic Choir Series 1 Night & Light:

The Music of Lauridsen & Shaw

THURSDAY, NOVEMBER 13, 2025 – 7:30 PM

FRIDAY, NOVEMBER 14, 2025 – 7:30 PM

SATURDAY, NOVEMBER 15, 2025 – 2:30 PM

HOPE LUTHERAN CHURCH

Norman Huynh, conductor

Conor Whalen, director Bozeman Symphonic Choir

Morten Lauridsen Nocturnes (1943- )

I. Sa nuit d’été

II. Soneto de la noche

III. Sure on this Shining Night

IV. Epilogue - Voici le soir

Caroline Shaw and the swallow (1982- )

INTERMISSION

Franz Biebl Ave Maria (1906-2001)

Morten Lauridsen Lux Aeterna (1943- )

I. Introitus

II. In te, Domine, Speravi

III. O Nata Lux

IV. Veni, Sancte Spiritus

V. Agnus Dei - Lux Aeterna

Sponsors:

Calum & Tricia DeSouza, Maestro’s Circle

Bob & Donna Ritchie, Maestro’s Circle

Bruce & Kimberlie Jodar, Conductor’s Circle

Bozeman Symphonic Choir Series

Choral repertoire from all eras is brought to life by our talented 101-member choir in the Bozeman Symphonic Choir Series. Under the direction of Maestro Norman Huynh and Symphonic Choir Conductor Conor Whalen, the choir captivates audiences with its impeccable performances, appealing to even the most discerning music lovers. This season’s powerful program features a rich array of timeless and diverse music that will move you emotionally and spiritually.

Composer: born February 27, 1943, Colfax, WA

Work composed: 2004-05; rev. 2008. Commissioned by the American Choral Directors Association (ACDA) for their 2005 national convention in Los Angeles.

World premiere: February 2005, at the American Choral Directors Association National Convention in Los Angeles, CA

Instrumentation: SATB choir and piano

Estimated duration: 16 minutes

If you attend choral music concerts, you are likely familiar with the music of Morten Lauridsen, the eminence grise of contemporary choral music. Many of Lauridsen’s works are a permanent part of the standard vocal repertoire of the 21st century. His eight vocal cycles, including the two works heard on tonight’s concert, Lux Aeterna and Nocturnes, along with his instrumental works, art songs, and motets are performed throughout

the world and have been recorded on over two hundred CDs, several of which were nominated for Grammys.

In 2006, Lauridsen was named an “American Choral Master” by the National Endowment for the Arts, and in 2007 he was awarded the National Medal of Arts, the highest artistic award in the United States, “for his composition of radiant choral works combining musical beauty, power, and spiritual depth.”

Nocturnes was commissioned by the American Choral Directors Association (ACDA) as the Raymond W. Brock Commissioned Work for their 2005 National Convention in Los Angeles. With Nocturnes, Lauridsen set himself an unusual challenge: to compose a work with individual movements that can be performed separately, but are also thematically unified. Lauridsen selected three “night poems” – his definition of a nocturne – that explore different aspects of night. The first movement, “Sa Nuit d’Été,” (His Summer Night) sets a French text by the German poet Rainer Maria Rilke. Despite its title, the poem focuses on the transformational power of love, suggesting that night can transform itself into day. In the second movement, “Soneto de la Noche,” (Night Sonnet), by the Chilean poet Pablo Neruda, night becomes a metaphor for death. This is the most intimate of the movements, which Lauridsen accentuates through his a capella setting. In the text, the poet expresses his love for his beloved, and his hopes that she will continue to love and live fully long after he is gone. James Agee’s “Sure on this Shining Night” expresses awe and wonder at the beauty of nature in various seasons, as the speaker wanders through a series of nights.

In 2008, Lauridsen added a fourth movement, “Epilogue: Voici le Soir” (Here Comes the Evening), to another poem by Rilke. In this brief text, the speaker says, “For another whole

day/I loved you very much/… But: to feel the lining of closed eyelids/ The sweetness of having seen.” Here the concept of night may be literal or metaphorical – or both. In Lauridsen’s spare, minimal setting, both work equally well.

Caroline Shaw and the swallow

Composer: born August 1, 1982, Greenville, NC

Work composed: 2017. Commissioned by Nederland Kammerkoor.

World premiere: First performed on November 11, 2017, by the Netherlands Chamber Choir at Union Theological Seminary in New York City, as part of Lincoln Center’s White Lights Festival “150 Psalms.”

Instrumentation: SATB a capella choir

Estimated duration: 4 minutes

Composer, vocalist, violinist, and producer Caroline Shaw became the youngest recipient of the Pulitzer Prize for Music in 2013 with her groundbreaking Partita for 8 Voices.

Morton Lauridsen Nocturnes

Today, Shaw is a sought-after composer/performer in multiple genres, including classical music, film and television scores, and contemporary popular music. She has received numerous awards, including several Grammys (most recently 2022’s Best Contemporary Classical Composition for Narrow Sea). Over the last decade, Shaw has written over 100 works for Anne Sofie von Otter, Davóne Tines, Yo Yo Ma, Renée Fleming, Dawn Upshaw, the LA Philharmonic, Philharmonia Baroque, Baltimore Symphony, Seattle Symphony, Cincinnati Symphony, Aizuri Quartet, The Crossing, Dover Quartet, Calidore Quartet, Brooklyn Rider, Miro Quartet, I Giardini, and Ars Nova Copenhagen, among others. As vocalist or composer, Shaw and her work have been featured in several films, TV series, and podcasts, including The Humans, Bombshell, Yellowjackets, Maid, Dark, Beyonce’s Homecoming, Tár, Dolly Parton’s America, and More Perfect

Shaw’s music refutes the common and misguided belief that contemporary classical music is by definition obscure, esoteric, or comprehensible only to musical cognoscenti. Instead, Shaw creates music that appeals to audiences of all ages and backgrounds, with its fresh approach to established forms, accessible sounds, and moments of pure joy. While Shaw’s music defies easy categorization, some commonalities do emerge. Each piece creates a particular atmosphere that draws listeners in. In Shaw’s more recent music, melodies, harmonies, and rhythms ebb and flow, creating a sense of inevitability or even déjà vu. Shaw’s official biography alludes to this quality: “Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed.”

and the swallow sets excerpts of Psalm 84, beginning with “How beloved is your dwelling place/O lord of hosts…” In an interview, Shaw mentions that she was thinking of the Syrian refugee crisis as she composed the work: “There’s a yearning for a home that feels very relevant today. The second verse is: ‘The sparrow found a house and the swallow her nest, where she may place her young,’ which is just a beautiful image of a

bird trying to keep her children safe – people trying to keep their family safe!”

Morton Lauridsen

Lux Aeterna

Composer: born February 27, 1943, Colfax, WA

Work composed: 1997. Commissioned by the Board of Governors of the Los Angeles Music Center. Dedicated to Paul Salamunovich and the Los Angeles Master Chorale.

World premiere: Paul Salamunovich led the Los Angeles Master Chorale and Sinfonia at the Dorothy Chandler Pavillion in Los Angeles, CA, on April 13, 1997.

Instrumentation: SATB chorus, flute, oboe, clarinet, bassoon, 2 horns, bass trombone, and strings

Estimated duration: 25 minutes

“I tell audiences every single time this piece is done, if you can get to that deep, personal space, it’s almost like a meditation, where you can reflect on those things that are important to you, that bring light in your own life.”

– Morten Lauridsen

“Each of the five connected movements in this choral cycle contains references to ‘Light,’ assembled from various sacred Latin texts,” Lauridsen writes. “I composed Lux Aeterna in response to my mother’s final illness and found great personal comfort and solace in setting to music these timeless and wondrous words about Light, a universal symbol of illumination at all levels – spiritual, artistic, and intellectual.

In his original composer’s notes from the 1995 publication, Lauridsen says, “In each of my seven vocal cycles I have designed the musical materials to complement the style and content of the texts, ranging from atonal songs on abstract Lorca poems about

time and night to the complex, thorny harmonies of the passionate Madrigali to the softer chords and tuneful melodies of Rilke’s Les Chansons des Roses. For the Lux Aeterna, I chose as my point of departure the sacred music of the late Renaissance, especially that of Josquin des Prez, to create a quiet, direct and introspective meditation on Light, using primarily the consonant harmonies, intricate counterpoint, formal procedures and chant-like melodic lines of that era.

“The work opens and closes with the beginning and ending of the Requiem Mass, with the central three movements drawn respectively from the Te Deum, O Nata Lux, and Veni, Sancte Spiritus. The instrumental introduction to the Introitus softly recalls motivic fragments from two pieces especially close to my heart (my settings of Rilke’s Contre Qui, Rose and O Magnum Mysterium) which recur throughout the work in various forms. Several new themes in the lntroitus are then introduced by the chorus, including an extended canon on et lux perpetua.

“In Te, Domine, Speravi contains, among other musical elements, the cantus firmus “Herzliebster Jesu” (from the Nuremburg Songbook, 1677) and a lengthy inverted canon on “fiat misericordia.” O Nata Lux and Veni, Sancte Spiritus are paired songs, the former an a cappella motet at the center of the work and the latter a spirited, jubilant canticle. A quiet setting of the Agnus Dei precedes the final Lux Aeterna, which reprises the opening section of the Introitus and concludes with a joyful celebratory Alleluia

“Over the years I have received dozens of letters about Lux Aeterna, often from those experiencing deep sorrow. One listener wrote that ‘Lux Aeterna has become a rock in my sea of grief’ that he turns to each day to gain strength and solace. “It is my hope that this quiet meditation on Light will enrich and enlighten the lives of both performers and listeners in some way.”

© Elizabeth Schwartz. All rights reserved.

Ave Maria

Translations

Latin text

Angelus Domini nuntiavit Mariae et concepit de Spiritu Sancto.

Ave Maria, gratia plena, Dominus tecum, benedicta tu in mulieribus, et benedictus fructus ventris tui, Jesus.

Maria dixit:

Ecce ancilla Domini Fiat mihi secundum verbum tuum.

Ave Maria ...

Et verbum caro factum est Et habitavit in nobis.

Ave Maria ...

Sancta Maria, mater Dei, ora pro nobis peccatoribus.

Sancta Maria, ora pro nobis nunc et in hora mortis nostrae. Amen.

English translation

The Angel of the Lord announced to Mary And she conceived by the Holy Spirit.

Hail Mary, full of grace, the Lord is with thee: blessed art thou amongst women, and blessed is the Fruit of thy womb, Jesus.

Mary said: Behold the handmaiden of the Lord.

Do to me according to your word.

Hail Mary ...

And the Word was made flesh And dwelt among us.

Hail Mary ...

Holy Mary, Mother of God, pray for us sinners.

Holy Mary, Mother of God, pray for us now and at the hour of our death.

Amen.

Nocturnes

Translations

Latin text

4.1 “Sa Nuit d’Été”

Si je pourrais avec mes mains brûlantes fondre ton corps autour ton coeur d’amante, ah que la nuit deviendrait transparente le prenant pour un astre attardé qui toujours dès le premier temps des mondes était perdu et qui commence sa ronde en tâtonnant de sa lumière blonde sa première nuit, sa nuit, sa nuit d’été.

-Rainer Maria Rilke

4.2 “Soneto de la Noche”/ “Soneto LXXIX” (from Cien Sonetos de amor)

Cuando yo muero quiero tus manos en mis ojos: quiero la luz y el trigo de tus manos amadas pasar una vez más sobre mí su frescura: sentir la suavidad que cambió mi destino. Quiero que vivas mientras yo, dormido, te espero, quiero que tus oídos sigan oyendo el viento, que huelas el aroma del mar que amamos juntos y que sigas pisando la arena que pisamos. Quiero que lo que amo siga vivo y a ti te amé y canté sobre todas las cosas, por eso sigue tú floreciendo, florida, para que alcances todo lo que mi amor te ordena, para que se pasee mi sombra por tu pelo, para que así conozcan la razón de mi canto.

-Pablo Neruda

4.4 “Epilogue: Voici le Soir” Pendant tout un jour encore je vous ai beaucoup aimées, collines émues. C’est beau de voir. Mais: de sentir à la doublure des paupières fermées la douceur d’avoir vu...

-Rainer Maria Rilke

English translation

“Its Summer Night”

If, with my burning hands, I could melt the body surrounding your lover’s heart, ah! how the night would become translucent, taking it for a late star, which, from the first moments of the world, was forever lost, and which begins its course with its blonde light, trying to reach out towards its first night, its night, its summer night.

-translation by Byron Adams

“Sonnet 79” (from 100 Love Sonnets) When I die, I want your hands upon my eyes:

I want the light and the wheat of your beloved hands to pass their freshness over me one more time I want to feel the gentleness that changed my destiny.

I want you to live while I wait for you, asleep,

I want your ears to still hear the wind, I want you to smell the scent of the sea we both loved, and to continue walking on the sand we walked on.

I want all that I love to keep on living, and you whom I loved and sang above all things

To keep flowering into full bloom. so that you can touch all that my love provides you, so that my shadow may pass over your hair,

so that all may know the reason for my song.

-translated by Nicholas Lauridsen

Epilogue: “Night has come”

For one whole day again

I’ve loved you so much, stirring hills.

It’s beautiful to see. But: to feel in the lining of closed eyelids The sweetness of having seen...

-translated by Morten Lauridsen

Lux Aeterna

Translations

Latin text

I. Introitus

Requiem aeternam dona eis, Domine: et lux perpetua luceat eis.

Te decet hymnus Deus in Zion, et tibi redetur votum in Jerusalem: exaudi orationem meam, ad te omnis caro veniet.

Requiem aeternam dona eis, Domine: et lux perpetua luceat eis.

II. In Te, Domine, Speravi

Tu ad liberandum suscepturas hominem non horruisti Virginis uterum.

Tu devicto mortis aculeo, aperuisti credentibus regna coelorum. Exortum est in tenebris lumen rectis. Miserere nostri, Domine, miserere nostri.

Fiat misericordia tua, Domine, super nos quemadmodum speravimus in te.

In te Domine, speravi: non confundar in aeternum.

III. O nata lux

O nata lux de lumine, Jesu redemptor saeculi, dignare clemens supplicum laudes preces que sumere. Qui carne quondam contegi dignatus es pro perditis. Nos membra confer effici, tui beati corporis.

IV. Veni, sancte spiritus

Veni, Sancte Spiritus, Et emitte coelitus

Lucis tuae radium.

Veni, pater pauperum, Veni, dator munerum, Veni, lumen cordium. Consolator optime, Dulcis hospes animae, Dulce refrigerium.

In labore requies, In aestu temperies, In fletu solatium.

O lux beatissima, Reple cordis intima Tuorum fidelium.

Sine tuo numine, Nihil est in homine, Nihil est innoxium.

Lava quod est sordidum, Riga quod est aridum, Sana quod est saucium, Flecte quod est rigidum, Fove quod est frigidum, Rege quod est devium. Da tuis fidelibus, In te confidentibus, Sacrum septenarium. Da virtuis meritum, Da salutis exitum, Da perenne gaudium.

English translation

Rest eternal grant to them, O Lord, and let light perpetual shine upon them. A hymn befits thee, O God in Zion, and to thee a vow shall be fulfilled in Jerusalem:

Hear my prayer, unto thee all flesh shall come.

Rest eternal grant to them, O Lord, and let light perpetual shine upon them.

To deliver us, you became human, and did not disdain the Virgin’s womb. Having blunted the sting of death, You opened the kingdom of heaven to all believers. A light has risen in the darkness for the upright. Have mercy upon us, O Lord, have mercy upon us. Let thy mercy be upon us, O Lord, as we have trusted in thee. In thee, O Lord, I have trusted: let me never be confounded.

O born light of light, Jesus, redeemer of the world, mercifully deem worthy and accept the praises and prayers of your supplicants. Thou who once deigned to be clothed in flesh for the sake of the lost ones, grant us to be made members of your holy body.

Come, Holy Spirit, Send forth from heaven

The ray of thy light. Come, Father of the poor, Come, giver of gifts, Come, light of hearts. Thou best of Consolers, Sweet guest of the soul, Sweet refreshment. In labor, thou art rest, In heat, the tempering, In grief, the consolation.

O Light most blessed, Fill the inmost heart Of all thy faithful. Without your grace, There is nothing in us, Nothing that is not harmful. Cleanse what is sordid, Moisten what is arid, Heal what is hurt. Flex what is rigid, Fire what is frigid, Correct what goes astray. Grant to thy faithful, Those trusting in thee, Thy sacred seven-fold gifts. Grant the reward of virtue, Grant the deliverance of salvation, Grant everlasting joy.

Lux Aeterna Continued

Translations

V. Agnus dei – lux aeterna Agnus Dei, qui tollis peccata mundi, dona eis requiem.

Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.

Lux Aeterna luceat eis, Domine: Cum sanctis tuis in aeternum: quia pius es.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Alleluia, Amen.

Lamb of God, who takest away the sins of the world, grant them rest.

Lamb of God, who takest away the sins of the world, grant them rest everlasting.

May light eternal shine upon them, O Lord, in the company of they Saints for ever and ever; for thou art merciful.

Rest eternal grant to them, O Lord, and let perpetual light shine upon them. Alleluia. Amen.

Translation © Copyright 1988 by earthsongs. Reprinted by Permission

PERFORMANCES

Bozeman Symphony Presents Series 1 Holiday Spectacular

FRIDAY, DECEMBER 12, 2025 – 7:30 PM

SATURDAY, DECEMBER 13, 2025 – 2:30 PM

SATURDAY, DECEMBER 13, 2025 – 7:30 PM

SUNDAY, DECEMBER 14, 2025 – 2:30 PM

WILLSON AUDITORIUM

Norman Huynh, conductor

Terrence Chin-Loy, tenor Bozeman Symphonic Choir

Leroy Anderson

A Christmas Festival (1950 original version) (1908-1975)

Arr. Matthew Jackfert

I Saw Three Ships (1988- )

Charles Gounod

Ave Maria (1818-1893) Terrence Chin-Loy, Tenor

Giacomo Puccini

Che gelida manina from La Boheme (1858-1924)

Michael Praetorius

Terrence Chin-Loy, Tenor

Lo, How a Rose E’er Blooming (1571-1621) Bozeman Symphonic Choir

Arr. Alice Parker & Robert Shaw (1925-2023) (1916-1999)

George Frideric Handel

Ev’ry Valley Shall be Exalted from Messiah (1685-1759)

Terrence Chin-Loy, Tenor

Pyotr Ilyich Tchaikovsky Waltz of the Flowers from The Nutcracker (1840-1893)

INTERMISSION

Jerry Herman We Need a Little Christmas from Mame

Arr. Robert Wendel Bozeman Symphonic Choir (1931-2019) (1951-)

Gustav Holst

Christmas Day (1874-1934) Bozeman Symphonic Choir

Franz Schubert

Orch. Arthur Luck

Ave Maria

Terrence Chin-Loy, Tenor (1797-1828) (1873-1925)

Adolphe Adam

Arr. David T. Clydesdale

O, Holy Night!

Terrence Chin-Loy, Tenor (1803-1856) (1954- )

George Frideric Handel

Bozeman Symphonic Choir

Hallelujah Chorus from Messiah (1685-1759) Bozeman Symphonic Choir

Leroy Anderson

Sleigh Ride (1908-1975)

John Finnegan

Christmas Carol Sing-a-Long (1926-2007)

Sponsors:

Calum & Tricia DeSouza, Maestro’s Circle

Bob & Donna Ritchie, Maestro’s Circle

Bruce & Kimberlie Jodar, Conductor’s Circle

Ambassador Max Baucus & Ms. Melodee Hanes, Presenter’s Circle

Paul & Jillian Bertelli, Presenter’s Circle

Mike & Cyndi Huempfner, Five Points Foundation, Presenter’s Circle

Crystal & Chris Sacca, Presenter’s Circle Zsa-Zsa’s, Presenter’s Circle

Holiday Spectacular Featured Artist

Terrence Chin-Loy, Tenor

Praised by Opera News for his “beautiful lyric tenor voice,” American tenor Terrence Chin-Loy is recognized for his passionate artistry, expressive musicality, and full, sweet sound.

In the 2024–2025 season, Chin-Loy made his European debut as Gualtiero in Vivaldi’s Griselda with the Danish National Opera. He also returned to the Lyric Opera of Chicago as Cop 1 in Blue, sang Ferrando in Così fan tutte with Virginia Opera, Don Ottavio in Don Giovanni with Opera Omaha, and performed Graf Albert in Korngold’s Die tote Stadt in concert with conductor Andris Nelsons and the Boston Symphony Orchestra.

During the 2023–2024 season, Chin-Loy appeared as Roméo in Gounod’s Roméo et Juliette and originated the role of Victor Frankenstein in the world premiere of Gregg Kallor’s Frankenstein at Arizona Opera. He sang Pang in Turandot with LA Opera, performed tenor solos in Paul Moravec’s Sanctuary Road with Virginia Opera, and joined the Lubbock Symphony Orchestra for Haydn’s The Creation.

Recent highlights include his solo debut at the Metropolitan Opera in Terence Blanchard’s Fire Shut Up in My Bones, Tamino in Die Zauberflöte with both the National Taichung Theater in Taiwan and Arizona Opera, and Don José in Carmen with MasterVoices at Lincoln Center. He has also performed Henrik Egerman in A Little Night Music and Ferrando in Così fan tutte with Arizona Opera, and Benny Paret Jr. in Boston Lyric Opera’s production of Champion. In concert, Chin-Loy has appeared with the American Symphony Orchestra at Carnegie Hall in Taneyev’s At the Reading of a Psalm, the North Carolina Symphony for Mozart’s Requiem, the Caramoor Festival for its Independence Day concert, and the Boise Philharmonic in a performance of Hailstork’s I Will Lift Mine Eyes and a residency with the College of Idaho.

Notable past roles include Idomeneo in Idomeneo: afterWARds, a reimagining of Mozart’s opera directed by David Paul, Edgardo in Donizetti’s Lucia di Lammermoor, and Younger Thompson in Tom Cipullo’s Glory Denied. He made his Carnegie Hall debut in the 2018–2019 season as the tenor soloist in Handel’s Messiah

Chin-Loy holds a Performer Diploma from Indiana University, a degree from the Mannes School of Music, and a BA in Music from Yale University, where he focused on Music Theory and Musicology. He was a 2018 National Semifinalist in the Metropolitan Opera National Council Auditions.

Bozeman Symphony Presents Series

The Bozeman Symphony Presents Series delivers an exciting fusion of musical genres—from jazz and movie scores to pop hits and more—performed by the extraordinary musicians of the Bozeman Symphony and the powerful voices of the Bozeman Symphonic Choir. These vibrant, highenergy concerts highlight the ensemble’s incredible range and versatility, offering something for every kind of music lover.

Designed to be fun, welcoming, and accessible, these performances are perfect for audiences of all ages, including those new to the symphony experience. With a more relaxed atmosphere than traditional classical concerts and often featuring special guest artists, the series offers an engaging and entertaining night out.

Whether you’re a longtime fan or attending your first symphony concert, the Bozeman Symphony Presents Series promises unforgettable performances that celebrate the joy of live music across genres.

Classical Series 3 Masters of Melody: Mozart, Haydn, & Copland

SATURDAY, JANUARY 24, 2026 – 7:30 PM

SUNDAY, JANUARY 25, 2026 – 2:30 PM

WILLSON AUDITORIUM | Free pre-concert talk one hour before the performance

Norman Huynh, conductor

Madeleine Folkerts, horn

Elizabeth Schmidt, horn

Wendy Bickford, clarinet

Joseph Haydn (Rosetti)

Concerto for 2 Horns and Orchestra in E-flat major (1732- 1809)

I. Allegro Maestoso

II. Romance: Adagio

III. Rondeau: Allegretto

Aaron Copland

Clarinet Concerto (1900-1990)

I. Slowly and Expressively

II. Rather Fast

INTERMISSION

Wolfgang Amadeus Mozart

Symphony No. 38 in D major, “Prague” (1756-1791)

I. Adagio – Allegro

II. Andante

III. Presto

Sponsors:

Calum & Tricia DeSouza, Maestro’s Circle

Bob & Donna Ritchie, Maestro’s Circle

Bruce & Kimberlie Jodar, Conductor’s Circle

Barbara & Ben Phinney, Presenter’s Circle

David & Kippy Sands, Presenter’s Circle

PROGRAM NOTES

What to Listen For:

Concerto for Two Horns in E-flat major: balanced phrases, virtuoso passages for the two horns in the first and third movements, and hunting calls in the third movement

Clarinet Concerto: the soloist’s extended cadenza (unaccompanied solo section) links the serene, beguiling first movement to the “Rather Fast” second movement. Listen for jazz elements—syncopations and offbeat accents in particular—along with widely spaced intervals like the kind of writing Copland used in Appalachian Spring.

Symphony No. 38 in D major, “Prague”: note the compact three— movement format, instead of the usual four movements typical of a late Classical symphony. The opening Adagio gives way to a buoyant up-tempo Allegro. Mozart focuses on dynamic, even breathless forward motion, especially in the first movement Allegro and the closing Presto; we hardly notice the absent minuet.

Guest Artists Principal Clarinet

Wendy Bickford, Associate Principal Horn Elizabeth Schmidt, and Principal Horn Madeleine Folkerts

Madeleine Folkerts, French Horn

Madeleine Folkerts is a dynamic performer and dedicated educator based in Missoula, Montana. She serves as Principal Horn of the Bozeman Symphony and Adjunct Instructor of Horn at the University of Montana. Formerly a member of the Chinook Winds, she brings a rich background in both chamber and orchestral performance.

Originally from Washington state, Madeleine moved to Montana in 2017 after earning degrees in horn performance and psychology/ neuroscience from St. Olaf College in Minnesota. She maintains an active teaching studio with private horn and piano students across the state and regularly collaborates with public

schools as both an instructor and accompanist.

Her performance highlights include appearances with the Big Sky Festival Orchestra, the National Repertory Orchestra, and various other festival ensembles. Outside of music, she enjoys exploring the great outdoors through hiking, skiing, and other adventures.

Dr. Elizabeth Schmidt, French Horn

Dr. Elizabeth Schmidt is a Montanabased horn player and educator dedicated to exploring and redefining the role of classical music—and the French horn—in contemporary culture. Since joining the faculty of the Montana State University School of Music in 2021, she has built a dynamic horn studio and teaches aural skills and music appreciation courses for non-majors.

An active and versatile performer, Dr. Schmidt holds positions with both the Bozeman Symphony and Billings Symphony. She also collaborates regularly with Opera Montana, the Montana Ballet Company, and numerous ensembles across the state. As a clinician and freelance artist, she is in demand throughout Montana and the greater Northwest. Dr. Schmidt earned her Doctor of Musical Arts degree from SUNY Stony Brook in 2021, where she served as a teaching assistant in music theory and ethnomusicology. She also holds a Master of Music degree from the University of

Listening Guide

Notice how Rosetti’s music fits perfectly into the sound palette of Classical style created by Mozart and Haydn; it’s understandable that his Concerto for Two Horns in E-flat could be mistaken for music of Haydn’s.

The contrast between the first and second movements of Copland’s clarinet concerto, both in mood and style, are a deep dive into the clarinet’s expressive range and its exciting—and, in classical music up to that point, underutilized— potential for eyepopping virtuosity of a kind Goodman had made popular as “The King of Swing” in jazz.

Listen for the energy Mozart infuses into the “Prague’s” compact three movements; the fast outer movements can hardly contain their headlong tempos.

Other

works by these composers

Rosetti: If you like how Rosetti wrote for horn, check out any of his 12 horn concertos (some solo horn, some for two horns) or his four double horn symphonies concertantes.

Copland: He didn’t write many concertos—just two, in fact—but if you like the clarinet concerto you might also enjoy Copland’s 1925 orchestral suite, Music for the Theatre. You can also hear the evolution of Copland’s approach to jazz in the 1926 Piano Concerto, which is markedly different than the Clarinet Concerto.

Mozart: for a similar mood, check out the “Haffner” Symphony No. 35.

Cincinnati College-Conservatory of Music. Her scholarly research centers on gender and sexuality in music, particularly examining the gendered history of instruments and how assumptions of gender influence the experiences and career paths of brass musicians.

Through her performance, teaching, and research, Dr. Schmidt continues to challenge tradition and foster a more inclusive and forward-thinking classical music landscape.

Wendy Bickford, Clarinet

Wendy Bickford is an accomplished clarinetist and former member of the United States Marine Band, “The President’s Own,” in Washington, D.C. She currently serves as Assistant Professor of Clarinet at the Greenwood School of Music at Oklahoma State University and is the Principal Clarinet of the Bozeman Symphony Orchestra. She also performs as an auxiliary clarinet with the Billings Symphony Orchestra and is an active chamber and orchestral musician in the Philadelphia area. Her performance credits include prestigious venues such as the Kennedy Center for the Performing Arts, the Kimmel Center, Boettcher Concert Hall, Strathmore Concert Hall, the Mexican Embassy in Washington, D.C., and El Auditorio–Palacio de Congresos de Zaragoza in Spain.

Wendy made her concerto debut with the Imperial Symphony Orchestra in 1999. She holds a Master of Music degree in Clarinet Performance from the University of Northern Colorado and a Bachelor of Music degree from the Peabody Institute. She is currently completing her Doctor of Musical Arts degree at Temple University. Based in Stillwater, Oklahoma, Wendy shares her home with her dog Nala and cats Eli and Molly. Beyond her musical pursuits, she is an enthusiastic softball fan.

Signed

Haydn, Styled Rosetti:

A

Musician’s

Perspective

by Dr. Elizabeth Schmidt

The Concerto for Two Horns in E-flat Major is one of the most programmed double horn concertos and a mainstay of the horn repertoire. But who is responsible for its creation? Premiered in 1796, this concerto hit the scene in the heyday of the double horn concerto. Indeed, it was a great time to be a horn player. Thanks mainly to opera composers’ inclusion of hunting scenes in their plots, horns made their way from the fields, into the opera pits, then finally into the concert hall as an orchestral instrument. With the invention of the hand horn technique in the early 1700s, the possibilities for horn players to play outside of the harmonic series expanded dramatically! By the late 1700s, the horn had confirmed its place as a prominent member of the orchestra with soloistic capabilities.

The Concerto for Two Horns that you will hear is far from the first double horn concerto to be written. Composers were writing for pairs of horns as early as the Baroque period and were responsible for introducing the virtuosity of the instrument to a wider audience. These concertos also laid the foundation for the two distinct roles of Classical period horn players, “cor alto” and “cor basse,” or “high horn” and “low horn.” The high horn player’s specialty was primarily the lyrical, upper-range melodic playing, and the low horn player’s job was to jump around the lower end of the harmonic series, providing the rhythmic and technical foundation for the cor alto player. You’ll see these roles at play in the Concerto for Two Horns in a big way!

But who is responsible for this smash hit? Most album notes and concert programs will attribute this piece to Joseph Haydn, the most famous of the possible composers. Putting his famous name on this piece certainly ensured that money could be made. However, the manuscript only contains “Sig. Haydn” or “Signed Haydn,” no first name. Both Joseph and his brother Michael were writing for the horn at the time, and the concerto has similarities to both brothers’ compositional styles. But there’s another, non-Haydn composer to consider in this mix: Bohemian composer Antonio Rosetti. While lesser known than his contemporaries within the larger music community, Rosetti’s contribution to the horn repertoire is vast. He wrote seven double horn concertos and over 20 solo horn concertos, which were popular with horn players of the time, and Rosetti received commissions from aristocrats and horn players alike!

The first movement of the concerto, titled Allegro Maestoso, begins with a nearly two-minute-long ritornello in the orchestra without the soloists. Typical of Rosetti’s concertos, and a rare occurrence in either Haydn’s works. The second movement, Romance, is a slow lyrical offering that features both hornists’ legato playing rich with notated ornamentations, also in quintessential Rosetti style. The third movement, a Rondo in 6/8 time, evokes the hunting roots of the horn, and plays with the Maggiore and Minore qualities of the key of the movement, also widespread in Rossetti’s works, another rare find in either Haydn’s works. Am I letting on who we think truly wrote this concerto? Maybe! Am I a huge fan of other Rosetti works? Definitely! Other than possessing a time capsule, our only paths forward are conjecture and enjoyment of this music, because no matter who puts their pen to paper to create this concerto, the result will continue to be celebrated as long as there are horn players to play it.

Antonio Rosetti (Franz

Anton Rösler or Rössler)

Concerto for Two Horns and Orchestra in E-flat major (previously attributed to Joseph Haydn)

Composer: born c. 1750, Leitmeritz (now Litoměřice); Bohemia; died June 30, 1792, Ludwigslust, Mecklenberg-Vorpommern (now a state in northeastern Germany)

Work composed: between 178289; most probably written for two accomplished hornists, Franz Zwierzina and Joseph Nagel, while all three men were employed at the court of Kraft Ernst, Prince (Fürst) von Oettingen-Wallerstein.

World premiere: undocumented

Instrumentation: 2 solo horns, 2 oboes, 2 horns, and string orchestra

Estimated duration: 16 minutes

“What’s in a name? That which we call a rose by any other name would smell as sweet.”

— Romeo and Juliet, Act II, Scene II

Was Juliet right? After all, names can carry inherent value. Case in point: would we be more likely to attend a concert featuring a concerto by Joseph Haydn, one of the composing giants of 18th century Europe, or a concerto by an unknown Bohemian double bassist and composer, Franz Anton Rösler, who Italianized his name to Antonio Rosetti to take

advantage of increasing interest in Italian music? You decide.

Another question: the most current research regarding the authorship of this concerto makes several compelling historical and musical arguments in favor of Rosetti, so how did Haydn’s name get attached to it in the first place? There are several possibilities. Until the mid19th century, copyright laws were largely nonexistent, and unscrupulous music publishers often deliberately and erroneously attributed music by lesser-known authors to popular composers to boost their sales. In the case of Rosetti’s concerto, the question of authorship is more likely the result of honest confusion. Rosetti adopted the Italian version of his name no later than 1773, but he was composing before then. As Rosetti’s biographer Sterling Murray observes, “The existence during this period of several musicians who shared one or the other of the composer’s [German/Czech] surnames has led to considerable confusion in the identification of his music.”

Some unpublished manuscript scores of Rosetti’s Concerto for Two Horns in E-flat reveal an added notation, likely from a 19th century music librarian or archivist, attributing the work to Haydn. A different published version lists Haydn’s younger brother Michael as the composer. Given Haydn’s fame and Rosetti’s relative obscurity, it is easy to see how this concerto became linked to Joseph Haydn, but it is past time Rosetti receives the credit he deserves. He wrote a significant number of works for horn, including at least seven double-horn concertos, and his affinity for the instrument’s sound and capabilities are reflected in this polished work.

The concerto’s three-movement format features two up-tempo outer movements bracketing a slower, more lyrical central section, which Rosetti titled “Romanza.” The solo writing for the horns requires consummate technical skill to execute well, particularly for the valveless horns of the late 18th century. The two horns play in close duet throughout. The lively closing, Rondo: Allegro, showcases the horn’s origins as both a hunting instrument and a herald of nobility or royalty.

Aaron Copland Clarinet Concerto

Composer: born November 14, 1900, Brooklyn, NY; died December 2, 1990, North Tarrytown, NY

Work composed: 1947-48

World premiere: Goodman first performed the Clarinet Concerto on the radio, with Fritz Reiner conducting the NBC Symphony Orchestra, on November 6, 1950. The first concert performance took place three weeks later, on November 28, 1950, with clarinetist Ralph McLane and conductor Eugene Ormandy leading the Philadelphia Orchestra.

Instrumentation: solo clarinet, piano, harp, and strings

Estimated duration: 18 minutes

In 1947, legendary jazz clarinetist and bandleader Benny Goodman asked Aaron Copland to write him a concerto for clarinet. Copland agreed, producing a two-movement work that would simultaneously showcase Goodman’s extraordinary improvisational skills and technical ability, but also fuse the rhythms and colors of jazz with the timbres of a classical orchestra. “I had long been an admirer of Benny Goodman,” said Copland, “and I thought that writing a concerto with him in mind would give me a fresh point of view.” In recalling the genesis of this concerto, Copland later said that Goodman “assumed that since I was writing a work for him, I’d know more or less what he’d like to play. The decision to use jazz materials was mine, inspired, of course, by Goodman’s

playing. Although I didn’t mention this to him, I was certain that he would approve. But, contrary to certain commentators, the jazz elements in the Clarinet Concerto have nothing to do with the ‘hot jazz’ improvisation for which Benny Goodman and his sextet were noted.”

Copland finished the concerto in 1948 and sent it to Goodman, but Goodman, concerned about the difficulty in parts of the concerto –the widely spaced intervals, a hallmark of Copland’s sound, for example – asked Copland to simplify it, to which the composer agreed, albeit somewhat reluctantly.

In his usual straightforward writing style, Copland provided a description of the Clarinet Concerto: “The first movement is simple in structure, based upon the usual A-B-A song form. The general character of this movement is lyric and expressive. The cadenza that follows provides the soloist with considerable opportunity to demonstrate his prowess, at the same time introducing fragments of the melodic material heard in the second movement. Some of this material represents an unconscious fusion of elements obviously related to North and South American popular music. The overall form of the final movement is that of a free rondo, with several side issues developed at some length. It ends with a fairly elaborate coda in C major.”

A year after its premiere, choreographer Jerome Robbins made a ballet titled The Pied Piper from the Clarinet Concerto, which was first performed by the New York City Ballet on December 4, 1951.

Symphony No. 38 in D major, K. 504, “Prague”

Composer: born January 27, 1756, Salzburg; died December 5, 1791, Vienna

Work composed: Mozart began work on the “Prague” Symphony in the late autumn of 1786 and finished it on December 6, 1786.

World premiere: Mozart led the Bohemian Estates Theatre Orchestra in the premiere on January 19, 1787, in Prague.

Instrumentation: 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings

Estimated duration: 23 minutes

Public appetite for the next big thing is as capricious today as it was in Vienna in 1786, when a 30-year-old Wolfgang Amadeus Mozart realized the people of Vienna were no longer interested in his music. When Mozart first moved to Vienna, in 1781, he was hailed as a musical sensation, primarily for his extraordinary abilities as a pianist. From 1781 to 1785, Mozart mounted a series of subscription concerts, for which he composed the majority of his piano concertos, and the public flocked to hear this young, phenomenally gifted musician.

But familiarity breeds contempt, or, in this case, indifference. Over time the Viennese wearied of Mozart; by 1786 he was passé. In the city of Prague, however, Mozart was venerated to the point of reverence. As biographer Maynard Solomon notes, when Mozart brought his opera Le nozze di Figaro to Prague in 1786, the opera “fueled an enthusiasm for Mozart that has passed into legend, with Prague seen as the good city that supported and understood him at a time when he had allegedly been neglected, even scorned, by Vienna.” Prague’s love affair with Mozart continues today.

Mozart returned the affection and admiration of the people of Prague with his Symphony No. 38 in D major, appropriately nicknamed “Prague.” This symphony is distinctive in several ways. Three-movement symphonies were more typical of late-Baroque/ early Classical style c. 1750, so K. 504’s lack of a fourth movement may seem unusual to today’s listeners (in German-speaking countries, the “Prague” is also known as “the symphony without a minuet.”) The symphony begins with a slow, somber introduction, an uncommon feature in Classical-era symphonic writing. Although only three movements, the “Prague” is one of Mozart’s most challenging symphonies to perform, due primarily to the expanded prominence of the winds, which, in addition to their usual work doubling the strings, also play several exposed solo passages.

Given Prague’s adoration of Mozart, it is not surprising that the “Prague” symphony was popular from its first performance on, and was thereafter often programmed in orchestra concerts. Biographer Franz Niemetschek, writing in 1796, ten years after the “Prague’s” premiere, observed: “The symphonies [sic] which [Mozart] composed for this occasion are real masterpieces of instrumental composition, which are played with great élan and fire, so that the very soul is carried to sublime heights. This applied particularly to the grand Symphony in D major, which is still always a favorite in Prague, although it has no doubt been heard a hundred times.”

© Elizabeth Schwartz. All rights reserved.

Wolfgang Amadeus Mozart

PHOTO

Bozeman Symphony Presents Series 2

Cinematic Legends: The Music of Hans Zimmer & Ennio Morricone

FRIDAY, FEBRUARY 13, 2026 – 7:30 PM

SATURDAY, FEBRUARY 14, 2026 – 7:30 PM

SUNDAY, FEBRUARY 15, 2026 – 2:30 PM

WILLSON AUDITORIUM

Norman Huynh, conductor Bozeman Symphonic Choir

Ennio Morricone

The Good, Bad, and Ugly (1928-2020) Main Theme Ecstasy of Gold

Hans Zimmer

The Dark Knight Suite (1957- )

Ennio Morricone

The Thing Suite

Hans Zimmer Pirates of the Caribbean Suite

INTERMISSION

Ennio Morricone

The Hateful Eight

Hans Zimmer Inception Time

Ennio Morricone Cinema Paradiso Love Theme

Hans Zimmer

Sponsors:

The Lion King Suite

Calum & Tricia DeSouza, Maestro’s Circle

Bob & Donna Ritchie, Maestro’s Circle

Bruce & Kimberlie Jodar, Conductor’s Circle

Rick Sanders & Janice Hand, Presenter’s Circle

Ennio Morricone

Ennio Morricone’s long artistic career includes a wide range of composition genres, from absolute concert music to applied music, working as orchestrator, conductor and composer for theatre, radio and cinema. With more than 400 scores for cinema and television as well as more than 100 classical works, Morricone is widely considered one of the most prolific and greatest film composers of all time.

Throughout his near 50-year career as a film composer, his signature ideas have included simple ideas (easy to hum) in complex arrangements, unusual instrumentation, concrete sounds, the use of the human voice as part of the orchestra, long silences, musical gags and single notes sustained forever.

Morricone lived in Italy his entire life and never desired to live in Hollywood. In 1946, he received his trumpet diploma and in 1954 he received his diploma in Composition at the Conservatorio di Santa Cecilia in Rome. He wrote his first concert works at the end of the 1950s, then worked as arranger for the Italian broadcasting company RAI and RCA-Italy.

He started his career as a film music composer in 1961 with the film Il Federale. World fame followed in 1964 through a series of westerns, including A Fistful of Dollars, Once Upon a Time in The West, and The Good, The Bad and The Ugly. Some of his most famous films include Cinema Paradiso, The Untouchables, Once Upon a Time in America, and The Mission

During his long career, Morricone has also received many awards. In the recording field, he received 27 gold discs, seven platinum discs, three Golden Plates and the Critica discografica award for the music of the film Il Prato. The soundtrack from the film The Good, The Bad and The Ugly was inducted into the Grammy Hall of Fame in 2009. His other awards include three Grammys, three Golden Globes, six BAFTAs, ten David di Donatello, eleven Nastro d’Argento, two European Film Awards, the Golden Lion Honorary Award, and the Polar Music Prize. In 2007, he received the Academy Honorary Award “for his magnificent and multifaceted contributions to the art of film music.” In 2009, the President of the French Republic signed a decree appointing Morricone to the rank of Knight in the Order of the Legion of Honor.

In 2015, Morricone collaborated with Quentin Tarantino on an original soundtrack for the very first time, and on December 7, 2015, The Hateful Eight had its world premiere followed by a Golden Globe nomination in the Best Original Score category the very next day. And finally, in February 2016, he won his first and only competitive Academy Award (after five previous nominations) for his score to The Hateful Eight. Morricone passed away in 2020 at the age of 91 after a long and very fruitful career, but his music continues to share our lives, finding new life in 21st century television and movie productions, through always recognizable as pure Morricone.

Hans Zimmer

Hans Florian Zimmer is a renowned German composer and music producer whose groundbreaking film scores have shaped modern cinema. Born in Frankfurt, Germany, in 1957,

Zimmer is largely self-taught. He is best known for his signature style that blends traditional orchestral arrangements with innovative electronic elements.

Since the 1980s, Zimmer has composed music for more than 150 films, including The Lion King (for which he won the Academy Award for Best Original Score in 1995), Pirates of the Caribbean, Interstellar, Gladiator, Crimson Tide, Inception, Dunkirk, and The Dark Knight Trilogy His big Hollywood break came in 1988, though, when director Barry Levinson asked him to write the score for the Oscar-winning film Rain Main. And over the course of his career, he has collaborated extensively with visionary directors such as Ridley Scott, Ron Howard, and Gore Verbinski.

Zimmer grew up in KönigsteinFalkenstein and attended the Ecole d’Humanité, a boarding school in Switzerland, before moving to London as a teenager, where he continued his studies at Hurtwood House. Influenced early on by the work of Ennio Morricone, Zimmer credits Once Upon a Time in the West as the score that inspired him to pursue film music.

The composer began his music career in the UK in the 1970s playing keyboards and synthesizers with various bands, including the new wave band the Buggles, even appearing briefing in their iconic 1979 music video “Video Killed the Radio Star,” the first video ever played on the then-fledgling MTV network. While living in London, Zimmer wrote advertising jingles and the theme song for a television game show, as well as partnering with Stanley Myers, a prolific film composer in his own right, with who he co-founded the Londonbased Lillie Yard recording studio.

In 1989, Zimmer relocated to the United States, where he began his now iconic Hollywood film-scoring career. At one time, he led the music division at DreamWorks Studios, but is now focused on other projects, including his own company, Remote Control Productions (formerly Media Ventures), through which he mentors emerging composers. His state-ofthe-art studio is equipped with a vast array of digital tools, enabling rapid development of demo scores for film projects.

Zimmer has received widespread recognition for his contributions to the industry. His honors include 12 Academy Award nominations with two wins (The Lion King and Dune), four Grammy Awards, two Golden Globes, and three Classical BRIT Awards. He has also received the Max Steiner Film Music Achievement Award, the ASCAP Henry Mancini Award, the BMI Richard Kirk Career Achievement Award, and the Frederick Loewe Award for Film Composing. In addition, he has been named a Disney Legend, earned a star on the Hollywood Walk of Fame, and was listed among the “Top 100 Living Geniuses” by The Daily Telegraph.

The Bozeman Symphony is seeking enthusiastic individuals and corporate teams to help at concerts and special events throughout the season. Whether you’re greeting guests or assisting behind the scenes, your support helps bring the music to life.

up today: bozemansymphony.org/volunteer Or email Amelia at amelia@bozemansymphony.org

Sarah Stoneback, Principal Trumpet

Ernest Amouzou, Bass Clarinet

Community Concerts

Discover the joy of live symphonic music with our beloved Community Concerts—fun, free performances designed to inspire audiences of all ages and spark a lifelong love of music. Perfect for children and a delight for parents and caregivers, these concerts make classical music accessible, exciting, and unforgettable.

Each season, the Bozeman Symphony presents two performances of a Community Concert that regularly “sells out,” drawing more than 2,000 community members to experience the thrill of live orchestral music together. Especially ideal for children ages 5–12, these performances blend music with storytelling, visuals, and interactive elements to engage young minds and ignite imaginations.

In addition to the public concerts, the Symphony offers two performances exclusively for area fourth graders. Presented in partnership with Bozeman Public Schools and local educators, these concerts help students explore orchestral music at a pivotal moment, just as they begin choosing their musical path in school bands or orchestras.

Past Community Concerts have featured beloved works such as Peter and the Wolf, narrated by Oscar-nominated actress Glenn Close and Montana Shakespeare in the Parks’ Kevin Asselin, along with a memorable appearance by internationally acclaimed musician Kishi Bashi.

In addition to these concerts, young concertgoers are often invited to explore our popular Instrument Petting Zoo—a hands-on, ears-on adventure where children can touch, try, and learn about real orchestral instruments under the guidance of our knowledgeable “zookeepers.” Many children leave inspired to pick up an instrument of their own!

Featured Artist: Steve Downer

The Bozeman Symphony is proud to spotlight illustrator Steve Downer, whose dynamic and imaginative artwork has brought visual life to many of our educational and community programs. We are incredibly grateful for our ongoing partnership with Steve, whose work continues to inspire and engage audiences of all ages.

Steve’s creative journey with the Symphony began in 2023, when he designed the whimsical graphic for our Symphony Storytime program. Since then, he has illustrated captivating artwork for our Peter and the Wolf and Adventures in Melody concerts. Most recently, Steve designed the visual identity

for our new Community Concert series, Symphony Storytime in Concert, capturing the spirit of musical storytelling with his vibrant and expressive style.

A Bozeman-area native with a passion for storytelling through art, Steve has built an impressive career collaborating with nationally recognized brands including DC Entertainment, Warner Bros., and Condé Nast. He currently works as a lead artist with theDifference, where he helps bring to life immersive visual experiences for clients across the nation.

We’re honored to collaborate with an artist of Steve’s caliber and deeply

appreciate the creativity and heart he brings to our programs. His work helps make the Symphony’s educational and family-friendly offerings even more accessible, memorable, and fun.

Community Concert Symphony Storytime in Concert: Dan Brown’s Wild Symphony

SATURDAY, FEBRUARY 21, 2026 – 10:30 AM & 1 PM WILLSON AUDITORIUM

Norman Huynh, conductor

Special Guest Narrator

Dan Brown Wild Symphony (1964- )

1. Maestro Mouse

2. Woodbird Welcome

3. Bouncing Kangaroo

4. Clumsy Kittens

5. The Ray

6. Happy Hippo

7. Frogs in a Bog

8. Anxious Ostrich

9. The Armadillo Shell

10. Dancing Boar

11. Impatient Ponies

12. Wonderous Whale

13. Cheetah Chase

14. Eager Elephant

15. Rat Attack

16. Busy Beetles

17. Spiders on a Web

18. Brilliant Bat

19. Swan in the Mist

20. Cricket Lullaby

21. Maestro Mouse Reprise

Sponsors:

Calum & Tricia DeSouza, Maestro’s Circle

Bob & Donna Ritchie, Maestro’s Circle

Bruce & Kimberlie Jodar, Conductor’s Circle

Arne & Steffi Siegel Endowment of the MT Community Foundation, Presenter’s Circle

Symphony Storytime in concert

Dan Brown

Dan Brown—the man behind the #1 bestselling publishing phenomenon The Da Vinci Code—is known for exciting twists, turns, and surprises. His newest surprise, Wild Symphony, unveils the novelist as a lifelong musician and composer who was inspired at a young age by Peter and the Wolf, The Carnival of the Animals, and The Young Person’s Guide to the Orchestra.

Featuring nearly two dozen musical portraits drawn from the animal kingdom, Wild Symphony springs to life on stage and is poised to become an instant children’s classic.

From the joyous rhythms of “Bouncing Kangaroo” to the mysterious melodies of “Wondrous Whale” to the hair-raising harmonies of “Brilliant Bat,” this is a very wild symphony indeed.

Wild Symphony is accompanied by a vibrantly illustrated New York Times bestselling children’s book of the same title, which has been translated in more than 20 countries worldwide.

Wild Symphony Album Cover

Dan Brown and Winston

Photo by Gregory W. Brown

Symphony Storytime artwork by Steve Downer

PERFORMANCES

Classical Series 4 Romantic Splendor: Schumann & Schubert

SATURDAY, MARCH 21, 2026 – 7:30 PM

SUNDAY, MARCH 22, 2026 – 2:30 PM

WILLSON AUDITORIUM | Free pre-concert talk one hour before the performance

Norman Huynh, conductor

Jonathan Swensen, cello

Robert Schumann Cello Concerto in A minor (1810-1856)

INTERMISSION

Franz Schubert

I. Nicht zu schnell

II. Langsam

III. Sehr Lebhaft

Symphony No. 9 in C major, “The Great” (1797-1828)

I. Andante – Allegro, ma non troppo

II. Andante con moto

III. Scherzo. Allegro vivace

IV. Finale. Allegro vivace

Sponsors:

Calum & Tricia DeSouza, Maestro’s Circle

Bob & Donna Ritchie, Maestro’s Circle

Bruce & Kimberlie Jodar, Conductor’s Circle

Dennis Wentz, MD, & Anne Colston Wentz, MD, Presenter’s Circle

PROGRAM NOTES

What to Listen For:

Cello Concerto: All three movements of the concerto are linked – played without pause – a compositional innovation of Schumann’s as he looked for ways to unify multi-movement works. The central movement’s format is similar to that of an aria, with the cellist “singing” the melodies.

Symphony No. 9 in C major, “The Great”: Don’t try to count all the melodies – there are many, all of them memorable, whether they showcase Schubert’s unparalleled ability to write lyrical themes (Schubert also composed more than 600 songs, further demonstrating his gift for melodic invention) or up-tempo, playfully rhythmic ditties.

Jonathan Swensen, Cello

A rising star of the cello world, Jonathan Swensen is the recipient of the 2022 Avery Fisher Career Grant and shared First Prize at the 2024 Naumburg International Cello Competition. He has been recognized as Musical America’s “New Artist of the Month” and highlighted as “One to Watch” by Gramophone Magazine Swensen’s passion for the cello began at age six, when he first heard Elgar’s Cello Concerto—an experience that inspired him to pursue a music career. He later made his concerto debut performing that very work with Portugal’s Orquestra Sinfónica do Porto Casa da Música.

His debut recording, Fantasia (Champs Hill Records), features works for solo cello, including Bent Sørensen’s Farewell Fantasia, a piece composed for and dedicated to Swensen, which he premiered in 2021. The album received widespread critical acclaim from Gramophone, BBC Music, and The Strad, which wrote: “An exciting young talent emerges. I would gladly buy a ticket to see Swensen on the strength of this appealing calling card.”

Swensen has appeared as a soloist with numerous ensembles, including the Aalborg Symphony Orchestra under Douglas Boyd, the New England Conservatory Philharmonia with Hugh Wolff, London’s Philharmonia Orchestra, Orquesta Ciudad de Granada, Copenhagen Philharmonic, Aarhus Symphony Orchestra, Odense Symphony Orchestra, Iceland Symphony Orchestra, Armenian State Symphony Orchestra, and the NFM Leopoldinum Orchestra in a play-direct program, among others. In the 2024–25 season, he made his debut with the Orchestre National Bordeaux Aquitaine and returned to the Aarhus Symphony Orchestra.

As a recitalist, Swensen has performed to critical acclaim at venues including The Kennedy Center’s Terrace Theater, New York’s Merkin Concert Hall, Boston’s Jordan Hall, The Morgan Library & Museum, the Casals Festival, and the Krannert Center. He is also an avid chamber musician, with appearances at Tivoli Festival, Copenhagen Summer Festival, ChamberFest Cleveland, Krzyżowa-Music, Vancouver Recital Society, San Francisco Performances, La Jolla Music Society’s SummerFest, and Newport Classical. In 2024, Swensen joined the prestigious Bowers Program of the Chamber Music Society of Lincoln Center, performing at Alice Tully Hall, Lincoln Center’s Rose Studio, and on tour throughout the U.S.

Swensen has previously won First Prizes at the 2019 Windsor International String Competition, the 2018 Khachaturian International Cello Competition, and the 2018 Young Concert Artists International Auditions. He is a graduate of the

Listening Guide

If you enjoyed Schumann’s Cello Concerto, you might also like his concerto for piano – also in A minor, like the cello concerto –and his Violin Concerto. The piano concerto parallels Schumann’s affinity for passionate themes, along with his musical explorations of intimate, vulnerable emotional arenas, while the Violin Concerto reiterates Schumann’s gift for communicating and transforming melancholy into exquisite musical interludes.

All of Schubert’s music reflects his unparalleled ability to generate beautiful and musically interesting, distinct melodies, so if melody is what you love most in music, anything Schubert wrote will likely satisfy you. The “Unfinished” Symphony No. 8 in B minor is no exception, and its two movements will leave you wishing he’d written a third.

Other works by these composers

Schumann: Piano Concerto in A minor; “Rhenish” Symphony; Fantasiestück, Op. 73

Schubert: Symphony No. 8 in B minor, “Unfinished”; Symphony No. 6 in C major, “The Little”

Royal Danish Academy of Music and pursued advanced studies with Torleif Thedéen at the Norwegian Academy of Music and Laurence Lesser at the New England Conservatory, where he earned his Artist Diploma in 2023. He currently serves as an Artist in Residence at the Queen Elisabeth Music Chapel in Belgium, working under the mentorship of Gary Hoffman.

Cello Concerto in A minor, Op. 129

Composer: born June 8, 1810, Zwickau, Saxony; died July 29, 1856, Endenich, Bonn, Germany.

Work composed: 1850.

World premiere: The premiere took place on April 23, 1860, almost four years after Schumann’s death. Concertmaster Karl Franzen led the Leipzig Conservatory with cellist Ludwig Ebert.

Instrumentation: solo cello, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings

Estimated duration: 26 minutes

Over the course of his life, Robert Schumann experienced several periods of heightened creativity and productivity, during which he wrote music with amazing speed. Schumann enjoyed his final creative burst in 1850, when he moved to Düsseldorf to take a job as conductor of the Düsseldorf Music Society. In a matter of months he had written the Rhenish Symphony, several chamber works and overtures, and the Cello Concerto, which he completed in two weeks.

Schumann began his tenure at Düsseldorf happily enough, but his chronic depression returned in 1852, accompanied by auditory hallucinations and extreme sensitivity to high-pitched sounds. These physical symptoms were likely caused by tertiary syphilis – Schumann

had been diagnosed with syphilis in 1831 – which can cause debilitating neurological problems. Although a noted music critic and composer, Schumann was not an equally gifted conductor, and this lack of skill, coupled with his increased physical and mental instability, prevented him from fulfilling his conducting duties for the ensemble. In 1854, after a failed suicide attempt, Schumann voluntarily committed himself to an insane asylum in Endenich, where he died two years later.

One of Schumann’s most significant innovations as a composer was his interest in fusing the movements of large-format works such as symphonies and concertos. To that end, several of Schumann’s compositions, including the Cello Concerto, feature movements played without pause, as a unifying device. The solo cello introduces the long primary theme of the first movement, a darkly passionate melody that explores the lowest notes in the cello’s range. The cello transitions to the second movement, with a new melody, more austere than those of the first movement. Performed against the barest suggestion of orchestral accompaniment, this theme recalls the clarity and exquisitely exposed lines of a Mozart aria. The cellist sings rather than plays this delicate melody, sometimes in an intimate duet with the principal cello of the orchestra. A brief reprise of the primary theme of the first movement acts as a transition to the final movement, in which the orchestra and the soloist bounce a vigorous rhythmic tune between them. During the solo passages, the cello executes the most virtuosic and extroverted passages in the concerto. Interestingly, Schumann deplored virtuosity for its own sake; he once commented, “I cannot write a concerto for the virtuosos; I must try for something else.” In this concerto, the virtuosity required is in service to Schumann’s music, rather than the other way around. In a 2016 video preview of the concerto, cellist Alicia Weilerstein wryly observed, “In fact, the virtuoso parts are a bit thankless because they are much more difficult than they actually sound.”

Pablo Casals famously declared Schumann’s Cello Concerto “one of the finest works one can hear – from beginning to end the music is sublime.”

Symphony No. 9 in C major, “The Great,” D. 944

Composer: born January 31, 1797, Vienna; died November 19, 1828, Vienna

Work composed: Schubert began working on his final symphony in 1825 and completed it in 1828.

World premiere: Felix Mendelssohn led the Leipzig Gewandhaus Orchestra on March 21, 1839.

Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings

Estimated duration: 50 minutes

“All must recognize that it reveals to us something more than beautiful song, mere joy and sorrow, such as music has always expressed in a hundred ways; it leads us into regions which – to our best recollection – we had never before explored.”

— Robert Schumann on Franz Schubert’s Ninth Symphony

In 1826, while Franz Schubert completed songs, piano sonatas and string quartets, he also spent time writing what would become his final symphony. Schubert received no commission from an orchestra or patron to write this large work, which suggests no

Franz Schubert

Robert Schumann

external impetus for its composition. Schubert’s admiration for Ludwig von Beethoven’s symphonies is well documented, however, and Schubert’s earlier symphonies demonstrate his eagerness to contribute to the genre. A letter Schubert wrote in 1824 discusses his plan to “to pave my way towards a grand symphony” through the composition of chamber works. Perhaps by 1826 he felt himself equal to the task.

In October 1826, Schubert sent a partially completed score of the symphony to Vienna’s Gesellschaft der Musikfreunde (Society for Friends of Music). In his accompanying letter to the Society, Schubert wrote, “Convinced of the Austrian Musical Society’s noble intention to support an artistic endeavor as far as possible, I venture, as a native artist, to dedicate to them this, my Symphony, and to commend it most politely to their protection.” The Society paid Schubert for receipt of the manuscript but, atypically, did not guarantee a public performance. One month after Schubert’s death, the Gesellschaft played a memorial concert in Schubert’s honor, choosing his other C major symphony, nicknamed “The Little,” as its centerpiece. Why not perform Schubert’s last symphony at his memorial? Possibly “The Great” was too challenging for the Gesellschaft orchestra to mount on short notice, or perhaps its forwardlooking innovations were not to the Society’s taste.

Individual movements of “The Great” were performed in Vienna in the 1830s, but it might have languished in obscurity far longer had Robert Schumann not discovered the unpublished manuscript among Schubert’s papers. Felix Mendelssohn subsequently conducted “The Great” in Leipzig in 1839, but he could not convince other ensembles to program it. One famous story details Mendelssohn’s efforts with a London orchestra. During a rehearsal of the finale, the musicians burst into derisive laughter at an “endless” series of triplets and refused to continue; “The Great” was cancelled. Today, Schubert’s final symphony is frequently programmed around the globe; along with the “Unfinished,” it is Schubert’s most popular symphony.

The horns begin with a simple statement that recurs throughout the Allegro and alternates with

countermelodies for strings, oboes, and bassoons. This profusion of melodies might overwhelm some composers, but Schubert handles all of his material with self-assured dexterity. In the Andante, Schubert recalls the folk-like oboe/bassoon melody of the first movement with a plaintive tune for solo oboe. As in the Allegro, Schubert offers one lovely melody after another, albeit in a more pensive, wistful mood. The Scherzo takes its cue directly from Beethoven: its seven minutes are fueled by a constant driving pulse, now insistent, now more relaxed, but always propelling the music forward. The tenminute Finale contains more energy than the three previous movements combined. After Schubert’s failure

to complete the B minor Symphony (“The Unfinished”), he doubted his ability to compose another, much less a symphony of this scope. The closing Allegro vivace of Symphony No. 9 is Schubert’s triumphant selfvindication, with its abundance of energetic, joyful melodies.

© Elizabeth Schwartz. All rights reserved.

Montana is a Symphony!

Classical Series 5 Lyrical Landscapes: Mahler, Walton, & Clair de lune

SATURDAY, APRIL 25, 2026 – 7:30 PM

SUNDAY, APRIL 26, 2026 – 2:30 PM

WILLSON AUDITORIUM | Free pre-concert talk one hour before the performance

Norman Huynh, conductor

Lester Lynch, baritone Bozeman Symphonic Choir

Claude Debussy (orch. Stokowski)

Clair de lune (1862-1918)

Gustav Mahler

Rückert-Lieder (1860-1911)

I. Blicke mir nicht in die Lieder

II. Ich atmet’ einen Linden Duft

III. Ich bin der Welt abhanden gekommen

IV. Um Mitternacht

V. Liebst du um Schönheit

INTERMISSION

William Walton

Belshazzar’s Feast (1902-1983)

I. Thus Spake Isaiah

II. If I Forget Thee

III. Babylon Was a Great City

IV. In Babylon, Belshazzar the King

V. Praise Ye the God of Gold

VI. Thus in Babylon, the Mighty City

VII. And in That Same Hour

VIII. Then Sing Aloud to God Our Strength

IX. The Trumpeters and Pipers

X. Then Sing Aloud to God our Strength

Sponsors:

Calum & Tricia DeSouza, Maestro’s Circle

Bob & Donna Ritchie, Maestro’s Circle

Bruce & Kimberlie Jodar, Conductor’s Circle

Dr. Jeffrey Barish & Dr. Elaine Best, Presenter’s Circle

Michael & Sharon Beehler, Presenter’s Circle

PROGRAM NOTES

What to Listen For:

Clair de lune: Stokowski’s opulent arrangement uses a full complement of winds, including four flutes, with a large string section complete with harp.

Rückert-Lieder: Notice how Mahler skillfully deploys the resources of a large orchestra to create an intimate chamber music sound that never drowns out the soloist.

Belshazzar’s Feast: Walton brings the drama of the text to life with a massive ensemble that includes two mixed choruses, two brass bands, and a large orchestra, plus a baritone soloist.

Lester Lynch, Baritone

Internationally acclaimed for his commanding voice and emotionally charged performances, baritone Lester Lynch has emerged as one of the most sought-after operatic artists of the 21st century.

Lynch made a powerful debut at Milan’s Teatro alla Scala as Crown in Porgy and Bess, followed by his Royal Opera House debut as Shylock in The Merchant of Venice. He has since graced the stages of many of the world’s leading opera houses and concert halls, including the Lyric Opera of Chicago, Houston Grand Opera, LA Opera, Semperoper Dresden, Seattle Opera, Berliner Philharmoniker, Vienna Volksoper, English National Opera, Bergen National Opera, Santa Fe Opera, and San Francisco Opera.

An exclusive recording artist with Pentatone, Lynch has built an impressive discography. His latest solo album, Full Circle (October 2024), features Mussorgsky’s Songs and Dances of Death and Brahms’ Vier ernste Gesänge. His 2021 recording of highlights from Porgy and Bess drew widespread acclaim, with BBC Music Magazine

praising his portrayal of Porgy as “dramatically and vocally engaged… extremely moving.” Other notable recordings include Verdi’s La Traviata with Lisette Oropesa, Otello, and Un ballo in maschera; Puccini’s Tosca, Il Tabarro, La fanciulla del West, and Madama Butterfly; Mascagni’s Cavalleria rusticana; and Gordon Getty’s Plump Jack and Joan and the Bells. His debut solo album, On My Journey Now: Spirituals and Hymns (2017), was met with critical acclaim. Lynch made his film debut in Gordon Getty’s opera Goodbye, Mr. Chips, creating the role of Merrivale under the direction of Brian Staufenbiel. He also appears as Crown in San Francisco Opera’s DVD release of its sold-out production of Porgy and Bess

As a passionate recitalist, Lynch has toured extensively throughout the U.S., including under the auspices of the Marilyn Horne Foundation. At Merkin Hall in New York, he premiered a song cycle by Lowell Liebermann, commissioned especially for him by the Foundation.

Dedicated to mentorship and arts advocacy, Lynch serves as Professor of Voice at the San Francisco Conservatory of Music, where he shares his wealth of experience through teaching, masterclasses, and guest lectures. Since 1998, he has also maintained a private teaching studio and actively volunteers his time to inspire young artists and support arts organizations, most notably Sing for Hope.

A native of Ohio, Lynch studied at Baldwin Wallace University, the New England Conservatory of Music, the Scuola Leonardo da Vinci in Florence, and completed his education at the Juilliard School in New York.

Other

works by these composers

Debussy: Suite bergamasque, L’isle joyeuse

Mahler: Kindertotenlieder, Das Lied von der Erde

Walton: In Honor of the City of London

He is the recipient of numerous prestigious honors, including awards from the Metropolitan Opera National Council, the George London Foundation, MacAllister Awards, the Sullivan Foundation, and the DiAngelo Award. He also received the Richard Gaddes Award for his work with Opera Theatre of Saint Louis.

When not on stage, Lynch pursues another high-octane passion—driving race cars at speeds of up to 160 mph.

Claude Debussy

Clair de lune (orch. Stokowski)

Composer: born August 22, 1862, St. Germain-en-Laye, France; died March 25, 1918, Paris

Work composed: 1890, rev. 1905; originally for solo piano

World premiere: undocumented

Instrumentation: 4 flutes, oboe, English horn, 2 clarinets, 2 bassoons, horn, 2 trumpets, marimba, vibraphone, electric guitar, harp, and strings

Estimated duration: 6 minutes

Claude Debussy was an unknown 28-year-old composer when he composed the first version of his four-movement Suite bergamasque for solo piano in 1890. Fifteen years later, he had achieved both critical and popular renown as the composer of Pelléas et Mélisande, Prélude à l’après-midi d’un faune, and other major works.

In 1905, Debussy’s publisher, Jacques Durand, saw an opportunity to capitalize on Debussy’s fame and asked the composer to submit all his early piano music for publication. The Debussy of 1905 was a vastly different composer from the Debussy of 1890. Stylistically, Suite bergamasque is a juvenile work, very different from Debussy’s more recent compositions. Before sending the Suite to Durand, Debussy made significant revisions, but the exact nature of most of the changes he made is undocumented. This leaves us with a tantalizing question: which Debussy endures in this work, the young journeyman or the mature composer?

The Suite bergamasque pays homage to the keyboard music of 17th and 18th-century French composers; it abounds with the hollow modal harmonies of medieval and Renaissance music, and three of its four movements began as Renaissance and Baroque dances: Prélude (originally titled Pavane), Menuet and Passepied (a sailor’s hornpipe from Brittany).

Clair de lune (Moonlight) is unique among the four movements in several ways. First, it does not reference old-fashioned French music; instead, its pentatonic (five-note) melodies and harmonies come from the scales of the Javanese music Debussy first encountered when he attended the 1889 World’s Fair in Paris. Unlike the other movements, Clair de lune is not a dance, but an ethereal interlude of exquisite beauty unmarred by either time or overexposure. It is also Debussy’s most popular and recognizable composition.

Legendary conductor Leopold Stokowski orchestrated Clair de lune and recorded it with the Philadelphia Orchestra. In the liner notes, he wrote, “Debussy was outstanding among the impressionist composers of France and this is among his most sensitive poems in tone. Extremely

delicate, it suggests by a few notes a whole world of mystery and nocturnal beauty.”

Gustav Mahler

Rückert-Lieder

Composer: Born July 7, 1860, Kalischt, [now Kaliště, Jihlava in the Czech Republic], Bohemia; died May 18, 1911, Vienna

Work composed: 1901-02

World premiere: The world premiere of the four songs published in 1905 was conducted by Mahler himself at a concert in the Brahms-Saal of the Vienna Musikverein (29 January 1905).

Instrumentation: solo voice, 2 flutes, 2 oboes, English horn, oboe d’amore, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, harp, piano, celesta, and strings

Estimated duration: 18 minutes

In both music and life, Gustav Mahler was a relentless seeker. His reflections on existential and spiritual questions influenced his choice of the texts he made into songs, particularly the song-symphony Das Lied von der Erde, and his settings of works by the 19th-century German poet Friedrich Rückert (1788-1866).

Songs were an essential component of Mahler’s output, and he composed them throughout his life. Mahler also adapted some of his songs into his first four symphonies, known as the Wunderhorn symphonies, named for

the collection of poems Des Knaben Wunderhorn (The Boy’s Magic Horn) from which Mahler set a number of texts.

Mahler had a particular affinity for the poems of Friedrich Rückert (1788-1866), a professor of Oriental languages. His study of Asian tongues inspired Rückert to write poetry using the forms and styles of Asian and Middle Eastern literature. Rückert also excelled at the hyperromantic German lyric style of his own time. For his part, Mahler was drawn to Rückert’s subjects as well as his words, and Mahler’s settings of Rückert’s poems are among the finest examples of German lieder.

Unlike the Kindertotenlieder, a group of Rückert’s poems Mahler made into a song cycle in 1904, the RückertLieder are not thematically linked and Mahler did not specify the order in which they should be sung. Mahler wrote four of the five songs in the summer of 1901, and the fifth, “Liebst du um Schönheit” (Do You Love for Beauty), an intimate expression of love for his new wife, Alma, in the summer of 1902. “Blicke mir nicht in die Lieder” (Do Not Look at my Songs) is a lighthearted commentary on the mystery of the creative process: “I can’t even trust myself/To watch them grow/Your curiosity is a betrayal!/Bees, when they build their cells/Also don’t let anyone observe them/even themselves.” In “Ich atmet’ einen linden Duft!” (I breathed a gentle fragrance), the scent of a lime tree becomes synonymous with love. “Ich bin der Welt abhanden gekommen” (I Have Become Lost to the World), considered by many Mahler’s finest song, expresses the quintessentially Romantic notion of spiritual and emotional withdrawal from the troubles of the world. The dark solitude of “Um Mitternacht” (At Midnight) is conveyed through a minor key and solemn tempo, while the joy and poignancy of “Liebst du um Schönheit” captures Mahler’s passion of Alma and his longing for love and acceptance.

William Walton

Belshazzar’s Feast

Composer: Born March 29, 1902, Oldham, in Lancashire, England; died March 8, 1983, on the island of Ischia, off the coast of Naples in southern Italy.

Work composed: 1929. Commissioned by the BBC.

World premiere: October 8, 1931; Malcolm Sargent led the Leeds Festival choir and orchestra

Instrumentation: solo baritone, double SATB chorus and semichorus, piccolo, 2 flutes, 2 oboes, 3 clarinets (1 doubling E-flat clarinet and 1 doubling bass clarinet, respectively), alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 2 trombones, bass trombone, tuba, timpani, anvil, bass drum, castanets, cymbals, glockenspiel, gong, side drum, tambourine, triangle, tenor drum, whip, wood block, xylophone, 2 harps, organ, and strings 2 brass bands, each with 3 trumpets, 2 tenor trombones, bass trombone, and tuba

Estimated duration: 35 minutes

The music of William Walton, though not as well known in America as that of his countrymen Edward Elgar, Ralph Vaughan Williams, and Benjamin Britten, is well-crafted, colorful and deeply emotive. He was most influenced by the innovations of Igor Stravinsky and Sergei Prokofiev, as well as American jazz. Belshazzar’s Feast is full of energy,

fresh and unexpected harmonies, and propulsive rhythms.

In 1929, the BBC commissioned the 27-year-old Walton, then a rising star among young British composers, to write a small choral work. Walton’s close friend Osbert Sitwell created a libretto from texts in the Bible’s Books of Daniel, Isaiah, and Revelation about Belshazzar, the last Babylonian king. His tyranny over the enslaved Israelites eventually resulted in his death and the Israelites’ freedom. Walton was drawn to the story but struggled over the music. “I got landed on the word gold,” Walton later recalled. “I was there from May to December, perched, unable to move either right or left or up or down.” As he worked, Walton kept enlarging the size of the ensemble, until it eclipsed the BBC orchestra’s modest resources. The Leeds Festival, which was better equipped to mount such a large work, agreed to premiere the massive 35-minute cantata. Critics and audiences alike were enthusiastic and Belshazzar’s Feast soon became a regular addition to the modern choral repertoire.

Walton structured the music into one large movement containing three

sections joined together by the solo baritone, who sings unaccompanied recitatives that move the narrative forward. In the first section we hear Elijah mourning the destruction of Jerusalem, and his fateful prophecy dooming the Israelites to slavery in Babylon. The baritone describes Babylon’s magnificence and suggests its inevitable decay.

The second section features Belshazzar’s decadent feast heralded by a flamboyant parade of pagan gods. The Israelites look on, helpless, as Belshazzar and his guests use and desecrate the Hebrews’ holy objects. The baritone interrupts with a hairraising description of “the writing on the wall.” As the feast grows more debauched, a mysterious hand inscribes the doom-laden fate of Belshazzar and his kingdom. All of a sudden, Belshazzar dies – the chorus cries out “Slain!” – and then launches into the joyous celebration of the final section, in which Babylon is destroyed and the Israelites are freed from bondage. A glorious pull-outall-the-stops “Alleluia!” brings the music to a jubilant conclusion.

© Elizabeth Schwartz. All rights reserved.

Classical Series 6 Sounds of America II: Rhapsody in Blue & West Side Story

FRIDAY, MAY 15, 2026 – 7:30 PM

SATURDAY, MAY 16, 2026 – 7:30 PM

SUNDAY, MAY 17, 2026 – 2:30 PM

WILLSON AUDITORIUM | Free pre-concert talk one hour before the performance

Norman Huynh, conductor Michelle Cann, piano

Florence Price Piano Concerto in One Movement (1887-1953)

George Gershwin Rhapsody in Blue (1898-1937)

INTERMISSION

Caroline Shaw The Observatory (1982- )

Leonard Bernstein Symphonic Dances from West Side Story (1918-1990)

I. Prologue

II. Somewhere

III. Scherzo

IV. Mambo

V. Cha-cha

VI. Meeting Scene

VII. Cool Fugue

VIII. Rumble

IX. Finale

Sponsors:

Calum & Tricia DeSouza, Maestro’s Circle

Bob & Donna Ritchie, Maestro’s Circle

Bruce & Kimberlie Jodar, Conductor’s Circle

Gary Kunis & Connie Wong, Concertmaster’s Circle

Carol G. Lalani, Presenter’s Circle

Lynn & Chip Rinehart, Presenter’s Circle

Michelle Cann, Piano

Praised as “exquisite” by The Philadelphia Inquirer and hailed by Gramophone as “a pianist of sterling artistry,” Michelle Cann has emerged as one of the most compelling pianists of her generation. Renowned for her expressive power, technical finesse, and deep musical insight, Cann has performed with many of the nation’s leading orchestras.

Cann is the recipient of numerous prestigious honors, including the Sphinx Medal of Excellence and the Andrew Wolf Chamber Music Award. In 2024, she was named the inaugural Christel DeHaan Artistic Partner of the American Pianists Association, overseeing artistic programming for the American Pianists Awards.

Cann’s 2024–25 season featured performances with the San Francisco Symphony, Cincinnati Symphony, and London’s Philharmonia Orchestra. She also appeared in recital and chamber music settings across North America and Europe.

An acclaimed interpreter of the music of Florence Price, Cann has brought renewed attention to the composer’s piano works through groundbreaking performances and recordings. She gave the New York City premiere of Price’s Piano Concerto in One Movement in 2016 and its premiere with The Philadelphia Orchestra in 2021. Her recording of the concerto with the New York Youth Symphony earned the 2023 Grammy Award for Best Orchestral Performance. Her debut solo album, Revival, featuring works by Price and Margaret Bonds, received critical acclaim. In 2024, she released Beyond the Years, showcasing 19 previously unpublished songs by Price. Cann also appears on the Catalyst Quartet’s UNCOVERED

series, recording Price’s piano quintets, and released Our Stories, an album of newly commissioned works by five living composers of color.

Cann is a sought-after chamber musician, frequently collaborating with distinguished ensembles and soloists including the Catalyst, Dover, and Juilliard string quartets; violinists Timothy and Nikki Chooi; soprano Karen Slack; and mezzo-soprano J’Nai Bridges. She also performs in a duo with her sister, pianist Kimberly Cann, as the Cann Duo. Her wideranging artistic presence includes appearances on NPR’s From the Top as well as features on PBS’s Now Hear This and the popular series Living the Classical Life.

Dedicated to education and mentorship, Cann regularly presents master classes, lectures, and residencies at leading institutions and festivals. Cann earned bachelor’s and master’s degrees from the Cleveland Institute of Music and an Artist Diploma from the Curtis Institute of Music. In 2020, she joined the Curtis faculty as the inaugural Eleanor Sokoloff Chair in Piano Studies and also serves on the piano faculty at the Manhattan School of Music.

Florence Price

Concerto in D minor in One Movement for Piano and Orchestra

Composer: born April 9, 1887, Little Rock, AR; died June 3, 1953, Chicago

Work composed: 1932-4. Dedicated to Helen Armstrong Andrews.

World premiere: Frederick Stock led the Chicago Symphony with Price at the piano in 1934

Instrumentation: solo piano, flute, oboe, 2 clarinets, bassoon, 2 horns, 2 trumpets, 2 trombones, timpani, bass drum, crash cymbals, snare drum, suspended cymbal, and strings

Estimated duration: 18 minutes

The first female African American composer to earn a national reputation, and to have a symphony performed by a major orchestra, Florence Price enjoyed considerable renown during her lifetime. Sadly, both she and her music dropped into obscurity for decades after her death in 1953, due to the prevailing racism and sexism of the classical music establishment. In recent years, however, performers and audiences alike have begun to discover Price’s substantive body of work.

The daughter of a musical mother, Price was a prodigy, giving her first recital at age 4 and publishing her first composition at 11. During her childhood and teens, Price’s mother was the guiding force behind her piano and composition studies. Young Florence entered New England Conservatory in 1903, at 16, where she double majored in organ performance and piano pedagogy. While at NEC, Price also studied composition with George Whitefield Chadwick. Chadwick was an early champion of women as composers, which was highly unusual at the time, and he believed that American composers should incorporate the rich traditions of native American and “Negro” styles in their own works. Price, already inclined in this direction, was encouraged by Chadwick, and many of her works reflect the expressive and distinctive sounds of “Negro” traditions: spirituals, ragtime, and folkdance rhythms whose origins trace back to Africa.

In 1933, Frederick Stock, conductor of the Chicago Symphony, programmed Price’s Symphony in E minor, on a concert titled “The Negro in Music,” which was performed in conjunction with the Chicago World’s Fair. The following year, Stock asked Price to

write a piano concerto, which she premiered with him and the Chicago Symphony.

Price’s musical style combines European late-Romantic aesthetics with folk and popular music from the Black tradition. The single movement of the concerto features three sections performed without breaks. It begins with slow introduction and a rhapsodic folk-like theme, in which the piano executes both the main melody and a dizzying display of virtuosic elaborations. In the quieter central section, we hear a more intimate facet of Price’s voice. The tonality shifts to D major; the piano presents a theme redolent of both blues and gospel hymns, while the orchestra provides understated accompaniment. The closing section features a juba, an up-tempo folk dance with strong ragtime elements, including a powerful left-hand stride piano bass line.

George Gershwin Rhapsody in Blue

Composer: born September 26, 1898, Brooklyn, New York, NY; died July 11, 1937, Los Angeles, CA

Work composed: Gershwin wrote Rhapsody in Blue in the first three weeks of 1924.

World premiere: Gershwin was at the piano when Paul Whiteman’s Orchestra premiered Rhapsody in Blue at Aeolian Hall in New York on

February 12, 1924.

Instrumentation: solo piano, 2 flutes, 2 oboes, 2 clarinets, bass clarinet, alto saxophone, tenor saxophone, 3 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, gong, glockenspiel, snare drum, celesta, triangle, banjo, and strings.

Estimated duration:

Rhapsody in Blue occupies a special place in American music: it introduced jazz to classical music audiences, and simultaneously made an instant star of its composer. From its iconic opening clarinet glissando right through its brilliant finale, Rhapsody in Blue epitomizes the Gershwin sound, and transformed the 25-yearold songwriter from Tin Pan Alley star into a composer of “serious” music.

The story of how Rhapsody in Blue came about is as engaging as the music itself. On January 4, 1924, Ira Gershwin showed George a news report in the New York Tribune about a concert put together by jazz bandleader Paul Whiteman, grandiosely titled “An Experiment in Modern Music,” that would endeavor to trace the history of jazz. The report concluded with a brief announcement: “George Gershwin is at work on a jazz concerto.” This was certainly news to Gershwin, who was then in rehearsals for a Broadway show, Sweet Little Devil Gershwin contacted Whiteman to refute the Tribune article, but Whiteman eventually talked Gershwin into writing the concerto. Whiteman also sweetened the deal by offering to have Ferde Grofé do the orchestrations. Gershwin agreed and completed Rhapsody in Blue in three weeks; he was also at the piano when Paul Whiteman and his Jazz Orchestra premiered Rhapsody in Blue at Aeolian Hall in New York City on February 12, 1924.

In 1931, Gershwin described to biographer Isaac Goldberg how the ideas for Rhapsody in Blue came to him during a train trip to Boston: “It was on the train, with its steely rhythms, its rattle-ty bang, that is so often so stimulating to a composer – I frequently hear music in the very heart of the noise … And there I suddenly heard, and even saw on

paper – the complete construction of the Rhapsody, from beginning to end … I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, of our metropolitan madness. By the time I reached Boston I had a definite plot of the piece, as distinguished from its actual substance.”

At the premiere, Gershwin’s unique realization of this “musical kaleidoscope of America,” coupled with his phenomenal abilities at the keyboard wowed the audience as much as the novelty of hearing jazz idioms in a “classical” work. The original opening clarinet solo, written by Gershwin, got its trademark jazzy glissando from Whiteman’s clarinetist Ross Gorman. This opening unleashes a floodgate of colorful ideas that blend seamlessly. The pulsing syncopated rhythms and showy music later give way to a warm, expansive melody that suggests the lush romanticism of Sergei Rachmaninoff.

Caroline Shaw

The Observatory

Composer: born August 1, 1982, Greenville, NC

Work composed: 2019. Dedicated “to Xian Zhang, the brilliant conductor who premiered this work, and whose generosity, wisdom, and energy is something that I aspire to in my own life in music.”.

World premiere: Xian Zhang led the Los Angeles Philharmonic at the Hollywood Bowl in Los Angeles on August 27, 2019.

Instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, glockenspiel, snare drum, vibraphone, piano, and strings

Estimated duration: 16 minutes

Composer, violinist, vocalist, and producer Caroline Shaw became the youngest recipient of the Pulitzer Prize for Music in 2013 with her groundbreaking Partita for 8 Voices. Today, Shaw is a soughtafter composer/performer in multiple genres, including classical music, film and television scores, and contemporary popular music. She has received numerous awards, including several Grammys (most recently 2022’s Best Contemporary Classical Composition for Narrow Sea). Over the last decade, Shaw has written over 100 works for Anne Sofie von Otter, Davóne Tines, Yo-Yo Ma, Renée Fleming, Dawn Upshaw, the LA Philharmonic, Philharmonia Baroque, Baltimore Symphony, Seattle Symphony, Cincinnati Symphony, Aizuri Quartet, The Crossing, Dover Quartet, Calidore Quartet, Brooklyn Rider, Miro Quartet, I Giardini, and Ars Nova Copenhagen, among others. As vocalist or composer, Shaw and her work have been featured in several films, TV series, and podcasts, including The Humans, Bombshell, Yellowjackets, Maid, Dark, Beyonce’s Homecoming, Tár, Dolly Parton’s America, and More Perfect.

Shaw’s compositions refute the common belief that contemporary music is by definition obscure, esoteric, or comprehensible only to musical cognoscenti. Instead, Shaw creates music that appeals to audiences of all ages and backgrounds, with its fresh approach to established forms, accessible sounds, and moments of pure joy. While Shaw’s music defies easy categorization, some commonalities do emerge. Each piece creates a particular atmosphere that draws listeners in. In Shaw’s more recent music, melodies, harmonies, and rhythms ebb and flow, creating a sense of inevitability or even déjà vu. Shaw’s official biography alludes to this quality: “Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world

of sound that has never been heard before but has always existed.”

“One morning on a visit to Los Angeles, I hiked up the hill to Griffith Observatory, to clear my head before returning to work on this piece for orchestra,” Shaw writes. “I looked down at the city with all its curving road patterns, and up at the sky, which has been observed and wondered about since the beginning of consciousness. I had been thinking about my friend Kendrick Smith, a cosmologist at the Perimeter Institute who is at the cutting edge of the ancient tradition of stargazing. Kendrick constructs new conceptual frameworks for analyzing data collected by the CHIME radio telescope – developing ways of looking at ways of looking at ways of looking at nn (ways of looking at) the universe. (Maybe that is also what music can be.)

“There was something about writing for a full symphony orchestra that had made me think about sci-fi films. I love the way epic tales of the beyond can zoom in and out, using imagined alternative universes to tell stories about ourselves on multiple scales at once. And I love how music in these films carves and colors our attention to those worlds (in their various permutations).

“The Observatory features some very large chords, and some very large spaces. Motives appear in diminution and augmentation simultaneously, like objects in orbit at different phases. Patterns in the foreground occasionally yield to patterns hovering in the background (including brief references to Strauss’ Don Juan, Bach’s Brandenburg Concerto No. 3, Sibelius’ Symphony No. 2, Brahms’ Symphony No. 1, and to the arpeggios played on chimes to summon audiences to their seats at formal orchestra concerts). There is celebration and criticism of systems, amid moments of chaos and of clarity. The very large chords return at the end, but their behavior is not the same as when we began.”

Leonard Bernstein Symphonic Dances from West Side Story

Composer: born August 25, 1918, Lawrence, MA; died October 14, 1990, New York City

Work composed: The musical West Side Story was written in 1957. Bernstein, along with orchestrators and colleagues Sid Ramin and Irwin Kostal, made a suite of central themes from the score in 1961. The Symphonic Dances are dedicated “To Sid Ramin, in friendship.”

World premiere: Lukas Foss led the New York Philharmonic on February 13, 1961.

Instrumentation: 3 flutes (one doubling piccolo), 2 oboes, English horn, 3 clarinets, bass clarinet, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bongos, bass drum, chimes, congas, 3 cowbells, cymbals, drum kit, finger cymbals, glockenspiel, gourds, guiro, maracas, police whistle, 3 snare drums, tenor drum, tambourine, tam-tam, timbales, tom-toms, triangle, vibraphone, woodblock, xylophone, celesta, piano, harp, and strings

Estimated duration: 22 minutes

Romeo and Juliet’s tale of tragic love transcends time and place; it retains its emotional intensity whether performed in Shakespearean costume or modern dress, with words in English or German or Japanese. In fact, Shakespeare’s story is itself based on the familiar tale of star-crossed lovers, forbidden love, and tragic miscommunication, dating back as far as Greek mythology and continuing to this day.

In 1957, Leonard Bernstein’s West Side Story transformed Shakespeare’s Verona into the gang-infested streets of New York City, and the young lovers into Tony and Maria, both associated with warring gangs of whites and Puerto Ricans. Bernstein’s groundbreaking musical, conceived with choreographer Jerome Robbins, fundamentally changed the nature of musical theater. Since its premiere, West Side Story has become synonymous with Bernstein’s vibrant, energetic style.

The nine movements of the Symphonic Dances were assembled in 1961 and follow the basic outline of the musical. The Prologue introduces the Jets and Sharks and their constant gang war, which is broken up by a piercing blast from a policeman’s whistle. This segues into a tender dream sequence, set to the music of Somewhere, in which the two gangs cease their warfare and become friends. In the Scherzo, this dream world continues as the gang members escape the stifling atmosphere of the city to enjoy fresh air and sunshine. This dream is abruptly snuffed out in the exhilaratingly ominous Mambo, in which the Jets and Sharks continue their rivalry through an exciting and violent dance of one-upmanship. The heat and energy of the Mambo dissolve into an intimate Cha-Cha, when Tony and Maria first speak to one another. Tony’s gang, the Jets, then take the stage to demonstrate their unshakeable Cool. The Sharks confront the Jets in a climactic Rumble, in which the leaders of both gangs are killed. Tony’s funeral procession, set to the music of Somewhere, brings the Symphonic Dances to its affecting conclusion.

© Elizabeth Schwartz. All rights reserved.

Montana is a Symphony!

Season Finale, Classical Series 7 Sounds of America III: Appalachian Spring

SATURDAY, JUNE 13, 2026 – 7:30 PM

SUNDAY, JUNE 14, 2026 – 2:30 PM

WILLSON AUDITORIUM | Free pre-concert talk one hour before the performance

Norman Huynh, conductor

Aaron Copland Appalachian Spring (1900-1990)

INTERMISSION

John Adams Harmonielehre (1947- )

Pt. I: First Movement

Pt. II: The Anfortas Wound

Pt. III: Meister Eckhardt and Quackie

Sponsors:

Calum & Tricia DeSouza, Maestro’s Circle

Bob & Donna Ritchie, Maestro’s Circle

Bruce & Kimberlie Jodar, Conductor’s Circle

Diane L. Brawner, Presenter’s Circle

ERA Landmark—Robyn & Orville Erlenbush, Presenter’s Circle

PROGRAM NOTES

What to Listen For:

Appalachian Spring: Widely spaced notes create a sense of expansive possibilities; listen for the Shaker song “Tis a Gift to be Simple” towards the end.

Harmonielehre: Listen for the trumpet solo in the second section and the gentle berceuse (lullaby) in the final section, which transforms into a massive soundwave of brass and percussion.

Aaron Copland Suite from Appalachian Spring

Composer: Born November 14, 1900, Brooklyn, NY; died December 2, 1990, North Tarrytown, NY

Work composed: 1943-4. Copland won a Pulitzer Prize for the ballet score in 1945. Copland conducted the premiere of the ballet at the Library of Congress in Washington, D.C. on October 30, 1944, the birthday of arts patron Elizabeth Sprague Coolidge, to celebrate 25 years of her musical philanthropy.

World premiere: Artur Rodziński premiered the orchestral suite with the New York Philharmonic on October 4, 1945.

Instrumentation: 2 flutes (1 doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, bass drum, claves, orchestra bells, snare drum, cymbal, tabor, triangle, wood bloc, xylophone, piano, harp and strings.

Estimated duration: 24 minutes

Shortly before the debut of Ballet for Martha, Aaron Copland’s working title for the ballet Martha Graham had commissioned from him, the choreographer announced she had decided to name the ballet Appalachian Spring. Graham, who borrowed the words from Hart Crane’s poem “The Dance,” admitted she had chosen it simply because she liked the sound of the words together, and that it had no connection with either the location or scenario of the ballet. “Over and over again,” Copland recalled in 1981, “people come up to me after seeing the ballet on stage and say, ‘Mr. Copland, when I see that ballet and when I hear your music I can just see the Appalachians and I just feel spring.’ Well, I’m willing if they are!”

In Appalachian Spring, Copland’s affinity for folk melodies and idioms reaches its zenith. The Shaker hymn “Simple Gifts,” which Copland discovered in a 1940 book on Shaker culture, and the celebratory variations of its melody, form the climax of Appalachian Spring. When Copland arranged Appalachian Spring as an orchestral suite, he emphasized the song’s centrality by cutting several episodes from the ballet and changing the order of the variations. As scholar William Brooks notes, “In this context the Shaker melody came to serve as a kind of paradigm for the simplicity and authenticity of frontier America: mythical music for a mythical past.” In similar fashion Copland’s music, particularly Appalachian Spring, became the paradigm for the “American” sound of the mid-20th century.

Copland explained his musical conception: “When I wrote Appalachian Spring, I was thinking primarily about Martha and her unique choreographic style, which I knew well. Nobody else seems quite like Martha: she’s so proud, so very much herself. And she’s unquestionably

Listening Guide

Appalachian Spring: If you like Copland’s American sound, check out his ballet Billy the Kid, which features several cowboy songs and captures the lawless energy of the Wild West.

Harmonielehre: The pulsing rhythmic energy of Harmonielehre is also a central aspect of Adams’ dynamic Short Ride in a Fast Machine

Other works by these composers

Copland: Billy the Kid; Rodeo

Adams: The Chairman Dances; Short Ride in a Fast Machine

very American: there is something prim and restrained, simple yet strong about her, which one tends to think of as American.”

Edwin Denby, a noted dance critic, provided program notes for the premiere of the Appalachian Spring orchestral suite in 1945: “A pioneer celebration in spring around a newlybuilt farmhouse in the Pennsylvania hills in the early part of the last century. The bride-to-be and the young farmer-husband enact the emotions, joyful and apprehensive, that their new domestic partnership invites. An older neighbor suggests now and then the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end the couple are left quiet and strong in their new house.”

John Adams

Harmonielehre

Composer: Born February 15, 1947, Worcester, MA

Work composed: 1984-85. Commissioned as part of the Meet the Composer Orchestra residency program and funded by Exxon Corporation, the Rockefeller Foundation, and the National Endowment for the Arts.

World premiere: First performed March 21, 1985, by the San Francisco Symphony led by Edo de Waart in Davies Hall, San Francisco

Instrumentation: 4 flutes (3 doubling piccolo), 3 oboes (1 doubling English horn), 3 clarinets (2 doubling bass clarinet ), 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, 2 tubas, timpani, bass drum, bell tree, crash cymbal, crotales, glockenspiel, 2 marimbas, sizzle cymbal, 2 suspended cymbals, 2 tam-tams, 2 triangles, tubular bells, vibraphone, xylophone, celesta, piano, 2 harps, and strings

Estimated duration: 40 minutes

“‘Harmonielehre’ is roughly translated as ‘the book of harmony’ or ‘treatise on harmony,’ John Adams wrote in his notes for its premiere. “It is the title of a huge study of tonal harmony, part textbook, part philosophical rumination, that Arnold Schoenberg published in 1911, just as he was embarking on a voyage into unknown waters, one in which he would more or less permanently renounce the laws of tonality.”

At the time Adams was studying music at Harvard (1965-72), Schoenberg’s 12-tone aesthetic held absolute sway over contemporary classical music. As a young composer, Adams struggled with his conflicting feelings about Schoenberg’s overwhelming influence. “Despite my respect for and even intimidation by the persona of Schoenberg, I felt it only honest to acknowledge that I profoundly disliked the sound of twelve-tone music,” Adams explained. “[Schoenberg’s] aesthetic was … one in which the composer was a god of sorts, to which the listener would come as if to a sacramental altar. It was with Schoenberg that the ‘agony of modern music’ had been born, and it was no secret that the audience for classical music during the twentieth century was rapidly shrinking, in no small part because of the aural ugliness of so much of the new work being written.”

“Harmonielehre … was a statement of belief in the power of tonality at a time when I was uncertain about its future,” Adams observed some years later. “I needn’t have worried, as the huge success of popular music and our growing awareness of other non-Western traditions were already making it clear that tonal harmony was in no danger of demise … While writing the piece, I felt as if I were channeling the sensibilities of those composers I loved ...

“[Harmonielehre] is a large threemovement work for orchestra that marries the developmental techniques of Minimalism with the harmonic and expressive world of fin-de-siècle Romanticism … The shades of Mahler, Sibelius, Debussy, and the young Schoenberg are everywhere …

“The first part is a seventeen-minute inverted arch form … pounding e minor chords at the beginning and end of the movement are the musical counterparts of a dream image I’d had shortly before starting the piece. In the dream, I’d watched a gigantic supertanker take off from the surface of San Francisco Bay and thrust itself into the sky like a Saturn rocket.” The second movement, “The Anfortas Wound,” was inspired by Adams’ interest in Carl Jung’s writings about Medieval mythology, particularly the character of Anfortas, a king whose wounds could never be healed. “Anfortas symbolized a … sickness of the soul that curses it with a feeling of impotence and depression,” Adams explained. “… a long, elegiac trumpet

solo floats over a delicately shifting screen of minor triads that pass like spectral shapes from one family of instruments to the other.”

“‘Meister Eckhardt and Quackie’” begins with a simple berceuse (cradlesong) that is as airy, serene and blissful as “The Anfortas Wound” is earthbound, shadowy and bleak,” Adams continued. “The Zappaesque title refers to a dream I’d had shortly after the birth of our daughter, Emily, who was briefly dubbed “Quackie” during her infancy. In the dream, she rides perched on the shoulder of the Medieval mystic, Meister Eckhardt, as they hover among the heavenly bodies like figures painted on the high ceilings of old cathedrals. The tender berceuse gradually picks up speed and mass … and culminates in a tidal wave of brass and percussion.”

© Elizabeth Schwartz. All rights reserved.

A MESSAGE FROM OUR NEW DEVELOPMENT DIRECTOR

Greetings!

I’m honored to join the Bozeman Symphony as Director of Development to help secure the vital funding that powers this remarkable organization.

With 15 years’ experience as a professional oboist and English horn player and two decades of experience working with orchestras across the country, I’m excited to bring my passion for music and fundraising to this role. It’s a privilege to support a mission that inspires, uplifts, and unites our community through the transformative power of music.

What drew me to the Bozeman Symphony was the extraordinary talent, dedication, and heart of Music Director Norman Huynh, Executive Director Jacob Blaser, the Board of Directors, and the Symphony’s incredible staff. Their shared commitment to creating powerful musical experiences—both on stage and through innovative education and community programs—deeply resonated with me.

I’m especially inspired by the Symphony’s five-year vision to expand concert offerings, invest in our musicians and staff, and grow programs that bring music to schools and underserved communities across Montana. I look forward to collaborating with our team, board, and supporters to build a strong philanthropic foundation that ensures the Symphony’s long-term success.

Please don’t hesitate to say hello if you see me at the concert hall or around town—I’m eager to meet you and thank you for being a vital part of the Bozeman Symphony family.

Warm regards,

Kate Kammeyer Development Director Bozeman Symphony

Violinists Megan McFadden, Amy Wright, and Jihye Sung and their children

WAYS TO GIVE

Move Forward with Us

As we continue our bold five-year journey building on the Bozeman Symphony’s 58-year legacy, we invite you to be part of our vision. Ticket sales cover just 37% of our annual budget—we need your support to power everything from unforgettable performances to life-changing education and community engagement programs.

By supporting the Symphony, you help us elevate our artistry, expand our community impact, and ensure that symphonic music thrives in Bozeman for generations to come.

There are many meaningful ways to give. Find the one that resonates with you:

Make a One-Time or

Recurring Gift:

Give a gift today or schedule a monthly donation to sustain the Symphony’s work all year long.

Pay by:

• Check: Bozeman Symphony, 402 E. Main St., Suite 202, Bozeman, MT 59715

• Online: bozemansymphony.org/giving

• Phone: (406) 585-9774

• Scan to give

Multi-Year Pledge:

One of the most meaningful ways you can support the Symphony is through a multi-year pledge. Multi-year commitments provide the stability we need to plan and invest in our future.

Encore Society:

Support the Symphony with a gift of $2,500 or more per season and enjoy exclusive benefits, including:

• Access to our hospitality lounge

• Invitations to behind-the-scenes events

• Recognition in print and online

Concert or Program Sponsorship:

Align your name with a specific concert or community program to showcase your passion and support for the arts.

Corporate Sponsorship:

When you become a corporate sponsor, your business is aligned with artistic excellence, community engagement, and transformative musical experiences. Choose a level of sponsorship that is right for your business.

Employer Match:

Many companies offer matching gift programs that can double your donation. Check with your employer to see if your gift is eligible for a match.

Leave a Legacy:

Include the Bozeman Symphony in your estate plans through a bequest or other planned gift. It is a powerful way to ensure your love for music lives on.

Tax-Smart Giving:

Qualified Charitable Distributions (QCDs)

If you are age 70½ or older, you can donate directly from your IRA to satisfy your Required Minimum Distribution (RMD). QCDs are a smart, tax-advantaged way to support the Symphony.

Stock Donations

Donating appreciated stock may offer significant tax benefits. Contact your financial advisor or the Symphony for more information.

Donor-Advised Funds (DAFs)

Support the Symphony through your DAF by recommending a grant today. Enjoy immediate tax benefits while investing in the future of music in our community.

Give In-Kind:

Help behind the scenes with non-cash donations of goods, professional services, or equipment.

Foundation Support:

We are grateful for foundation partners who help us deepen our artistic excellence and extend our reach to new audiences.

Volunteer:

Be part of the action! From ushering at concerts to moving equipment, there are many meaningful ways to contribute your time and talents. Apply at www. bozemansymphony.org/volunteer

Let’s move the music forward—together.

To learn more or make your gift today, visit bozemansymphony.org/giving, call (406) 585-9774, or send a message to:

Kate Kammeyer, Director of Development, kate@bozemansymphony.org, or Cherí Ladd LeCain, Development Associate, cheri@bozemansymphony.org

Bozeman Symphony Society is a registered 501(c)3 nonprofit organization. Tax ID# 81-6019534

Looking Back: Recognizing the 2024-25 Season’s

Generous Donors

The Bozeman Symphony expresses sincere gratitude to those whose contributions helped make the 202425 season a success. Those who have graciously made multi-year pledges are denoted with an asterisk *.

ENCORE SOCIETY

Beethoven Circle - $100,000+

M. J. Murdock Charitable Trust

Conductor’s Circle - $50,000+

Calum & Tricia DeSouza

Dovana Foundation

Bob & Donna Ritchie

Ruth & Vernon Taylor Foundation

Concertmaster’s Circle - $25,000+

Bruce & Kimberlie Jodar

Gary Kunis & Connie Wong

Ritva Porter & Stephen Schachman

Skye Raiser & David Perlin

Presenter’s Circle $10,000+

Anonymous (2)

Tim & Mary Barnard

Ambassador Max Baucus & Ms. Melodee Hanes

Michael & Sharon Beehler*

Joanne Berghold

Paul & Jillian Bertelli

Diane L. Brawner

Tom & Dale Bray*

Donald & Beverly Clark

Ron & Judy Clark

Gianforte Family Foundation

Mike & Cyndi Huempfner, Five Points Foundation

Mr. & Mrs. Gary Kachadurian

Carol G. & Sal Lalani

Prof. Rob Maher & Ms. Lynn Peterson-Maher*

Mary & Ken May*

Kathleen Heitz Myers & George Myers

Ben & Barbara Phinney*

Liz & David Richards*

Lynn & Chip Rinehart

Crystal & Chris Sacca*

Rick Sanders & Janice Hand

David & Kippy Sands

Leland & Diane Selby

Sheehy Family Foundation -

Richard & Denise

Arne & Steffi Siegel Endowment at the Montana Community Foundation

Trent & Stephanie Smith

Utzinger Family

Dennis & Phyllis Washington Foundation

Dennis K. Wentz, MD &

Anne Colston Wentz, MD

Wolfe Family Charitable Fund

Impact Circle $5,000+

Page Armstrong

Doug & Jeanie Badenoch*

Richard & Carol Belgrad

Sharon Eversman*

Sidney E. Frank Foundation

Gilhousen Family Foundation

Michael & Gini Logan

Montana Cultural Trust

Keith & Lisa Reed

Charles & Kathy Rinker*

Daniel & Rachel Ruggles

Cliff & Laura Schutter

Larry A. Springer

Renée & Stuart Westlake

Richard Wolff & Janel Cariño*

Giving Circle - $2,500+

Anonymous (2)

Clyde Aspevig & Carol Guzman

Dotty Ballantyne

Donald & Diane Beeman

Harper Bohr, Jr.

Larry & Marcia Bowman

Kathryn Carlson

Ann Chase

Brenda & Swep Davis

Suzanne Day & Jim Penhale

Catherine & Richard Dowdell

Douglas H. Dybvig

Norman & Susie Fleet

Grace France

Monica Guenther & Terry Anderson

Lucian Hand & Jurgita Meiliute

Tamara Havenhill-Jacobs & Chris Jacobs*

Michael Mahler, in loving memory of Ellie Mahler

Mike & Andrea Manship

Marcia McCrum

Heidi McLoughlin & David Genter

Montana Association of Symphony Orchestras

Don & Marilyn Murdock

Michael G. Nast Foundation

John L. & Gail Paul

Penelope & Ben Pierce, in honor of

Norman Huynh

Carin Phillips

Lori & Mark Rosolowsky

John Sacklin & Mary Hektner

Michael & Marianne Schmidt*

Erna Smeets & Bill Simkins

Setzer Foundation

Craig & Sue Souser

Rep. Rabbi Ed Stafman & Beth Lee

Sara Jayne Steen*

Bea Taylor

Ric Tieman & Susan Gibb

Judy Tsiang

Dr. E. Wayne Vinje

John & Ann White

William A. & Patricia J. Wilson

2024-25 Season Donors

$1,000-$2,499

Frances G. & Lewis Allen Endowment of the Cleveland Foundation

Margaret Andersen

Anonymous (2)

Carol Anway

Bank of America Charitable Gift

Dr. Jeffrey Barish & Dr. Elaine Best

Lisa Barrett

Jennifer & Christopher Boyer

Christine Bredberg

Tippy & Michael Brickman

Carrie & Scott Chestnut

Glenn Close, in memory of Elizabeth

Taliaferro Close

Catherine Cole

Kelley Cousin

Evelyn Cranston

William C. Dabney III & Mary Kent Dabney

Kenneth & Mary Danhof

Pat & Diane Dwyer

JT Elliott

Virginia Ferré

Marco & Julie Ferro

Geraldine C. & Emory M. Ford Foundation

Emily Gadd

Jerome & Barbara Glickman

Stephen Guggenheim & Amanda Cater

Col. Eric E. Hastings USMC (Ret.) & Dr. Ilse-Mari Lee Hastings*

Andy & Kathy Hauser

Lora Heramb

John & Deb Huleatt

John & Donna Hunt

Jaeger Family*

David & Fraulein Jaffee

Jack & Tawnie Lehman

Marlene Lerer

Beth Kaeding, in honor of the Cello section

Alan & Jean Kahn Endowment Fund

Don Kauffman

Buck & Hilda Klein

Kozubal Family

Dr. Larry & Mrs. Gail Larson

Foster & Cathy Mobley

Donna Murphrey

Peter Nalen & April LaMon

Rick & Nancy Ojala

Shirley Olinger & Matt McCormick

One Valley Community Foundation

Donna & Michael Patrick

Tim & Trish Preheim

Fr. Leo Proxell

Dennis & Marilyn Raffensperger

Peter Rieke & Sally Maison

Thomas & Sheri Riggs

Thomas J. Scanlin

Raymond & Michele Stinnett

Tom Stonecipher

William & Donna Stratton

Dave and Carolyn L. “Rusty” Swingle

Julie Videon

Ken & Jane Walker

Ann Waters

Katherine Zabrocki

$500-$999

Alysia Andrikopoulos

Yvonne Brutger & Dain Rodwell

David Bybee, M.D. & Polly A. Coombs, M.D., in honor of Gregory Young

Dr. John & Laurel Campbell

David & Jocelyn Carson

Jack & Karen Day

Steven & Carolyn Eagle

Lee Freeman & Betsy Clark

Brian & Marianne Gilman

Nancy Hatfield & Kirk Michels

Mr. Ritt and Mrs. Roxanne Hoblitt

Jane & John Hodges

Al & Ellen Jesaitis

Matt & Hope Kapsner

Ann Kieffaber

David King & Daralee Schroeder

Brian Lojek & Kris Taylor

Kathleen Malone

Joanne Manthe

Martel Construction

Mike & Rhoda McCormick

Robert & Kathleen Morrison

Next Frontier Capital

Eleanor Nolan

Robert & Janet Palmer

Patricia Purvis

Mark & Jorie Ready

Sandra Roe

Kristina & Brian Rogers

Maia Sallouti

Douglas Sievers

Robert & Donna Thompson

Richard & Janet Young

David & Debbie Wieggel

$250-$499

Claudia Albrecht

Frank Anderson

Anonymous (2)

Nancy Barber

Tony & Martha Biel

Charles O. And Sally Broughton

Alan & Mary Brutger

Jim Chandler, in honor of Sarah Stoneback

Catherine Corbett, in memory of Mary Ann Nielsen

Al & Brooke Cunningham

Joanne Dornan

Carol Elliott

Mary Fellenz

Jane Gum

Drs. Chris & Connie Hahn

Deanna Hanson

Jennifer Heiss

IAT Insurance

Fern Jarmulnek

John & Joyce Kamp

Elizabeth Kelly

Richard & Marilyn Klein

Mary Leonardi

Ken & Malia Macken

James & Susan Martin

Susan McCune & Ronald McAdams

Jacki & Steve McGuire

Larry & Rita Merkel

Russ & Susan Nelson

James & Christine Robertson

Jessie Rolfson

Victoria Ryan & Paul Martin

Deborah Schuerr

Harriet Tamminga

Leslie Taylor

Lisa Trankley

Carlton & Leslie Williams

Janalynn Wong

Judy Worley

Ralph Williams, in memory of Kris Williams

Steve & Mary Lourdes Young

Vicky York

Gloria Zimmer

$100-$249

Zana Anderson

Anonymous (6)

Anonymous, in honor of

Maren Marchesini

Susan Backer

Robert Ballenger, in memory of A. James Liska

Anne Banks

Albert Banwart

Kevin & Lori Billings

Sara Bishop

Kristina Bogar

Michael Boyer & Colleen Cleary-Boyer

Roger & Noreen Breeding

Joanne Bunnell

Frederick Carr

Lila Cebulla, in memory of Paul Cebulla

Rodger Clingman

Charlotte Colliver

Helena Crawford

Bobby Crowe & Marlene Moran

Linda Curtis

Jeanne Davis

David Dickensheets

Sharon Ditterline

Diane Donnelly

Robert & Patricia Donovan

Lynne Elder

Maro & Mark Feig

Christy Flintoff

Jim & Bunny Gaffney

GE Aerospace Foundation

Gill & Nancy Geesey

Bill & Kathy Gillin

Kelsye Gould & Corey Getchell

Bob & Jane Hawks

George & Deborah Haynes

Wayne O. & Marilyn R. Hill

Kathleen Hoffman

Kate Holiday

Katherine Hubbard

Mary Hubbard

Doris Janes

Steve Janes

Fern Jarmulnek

Wynn & Minette Jessup

Lois & Kenneth Johnson

Oscar / Wally Johnson

Stacy & Bob Jovick

Kate Kammeyer

Jason Karro

Allyson Keller

Eileen Kenney

Sylvie Kern

Elizabeth & Joseph Kielczewski

Tom & Jill Kirk

Sarah Klaustermeier

Marilyn & Richard Klein

Judith Kmon

Charlotte Knighton, in memory of Mary Ann Nielsen

John & Suzanne Kozicki

Julie Kunen

Mary & Peter Kurey

Little-Besemer Family, in memory of

Raymond & Anneliese Besemer and Floyd & Ernestine Little

Billie Lupher

Mark MacIntyre

Nancy MacPherson

Robin & Gregory Mascari

Mary Frances McHugh & Joe Allison

Amy McNamara

Michael McNeil

Rolane & Curtis Meyer

Susan Miller

Thomas Mitro

Nancy Newton

David & Deborah Peters

Linda Pierce

Pamela Platt

Teresa Prond

Leslie Reardon & Christopher Crowder

Dan & Toba Rieder

Robert Roush

Thomas Ryan

Debra Schipper

Sally Schrank

Theresa Schuster

Deidra & Howard Schweitzer

Julia & Peter Shaida

David Shotwell

Dick & Jennifer Smith

Kirsten Smith

Marjorie Smith

Thomas Smith

Dr. David & Patti Steinmuller

Tom Stiffler

Dana Strazza

Daniel Szekely

Sarah & Whitney Tilt

Victoria & Arjen Van Garderen

James Van Lopik

Judy Vann

Stephen & Jennifer Versaevel

Carol Weaver

Donna West

Rick Wheaton

Robin Wolcott

Sheila Wyze

Jeffrey & Lauran Yates

1864 Noir Bar & Restaurant

IN-KIND

Michael & Sharon Beehler

Thomas & Dale Bray

Paul & Jillian Bertelli

Carlisle

Cashman Nursery & Landscaping Element

Phoenix Garden Center (formerly Gallatin Valley Garden Center)

Tamara Havenhill-Jacobs & Chris Jacobs

Ben & Barbara Phinney

Gary & Margaret Kachadurian

Gary Kunis & Connie Wong

Langohr’s Flowerland

Mary & Ken May

Skye Raiser & David Perlin

Liz & David Richards

Charles & Kathy Rinker

Bob & Donna Ritchie

Stephen Schachman & Ritva Porter

Michael & Marianne Schmidt

Sara Jayne Steen

Jeffrey H. Vick

*Denotes donors who have graciously made multi-year pledges.

Please Note: Donor recognition is based on contributions attributed to a particular season. If you do not see your name listed as expected, we kindly encourage you to review both the prior season’s and current season’s donor lists. While every effort has been made to ensure accuracy, we regret any omissions or errors. For corrections or inquiries, please contact the Bozeman Symphony at 406-585-9774 or info@bozemansymphony.org. We are deeply grateful for your generous support.

$10,000+

$5,000+

$2,500+

$1,000+

Looking Ahead: 2025-26 Season

Donors

A Preliminary List of $1,000+ Donors as of July 15, 2025

We proudly recognize the following individuals who already pledged or contributed to the 2025-26 concert season as of July 15, 2025. A full season list will be published next season.*

ENCORE SOCIETY

Beethoven Circle - $100,000+

M. J. Murdock Charitable Trust

Maestro’s Circle - $75,000+

Calum & Tricia DeSouza

Bob & Donna Ritchie

Conductor’s Circle - $50,000+

Bruce & Kimberlie Jodar

Concertmaster’s Circle - $25,000+

Gary Kunis & Connie Wong*

Presenter’s Circle $10,000+

Angella Ahn & Richard Harjes

Anonymous

Dr. Jeffrey Barish & Dr. Elaine Best

Ambassador Max Baucus & Ms. Melodee Hanes

Michael & Sharon Beehler*

Joanne Berghold

Paul & Jillian Bertelli

Diane L. Brawner

Tom & Dale Bray*

Ron & Judy Clark

Sidney E. Frank Foundation

Mike & Cyndi Huempfner, Five Points Foundation*

Mr. & Mrs. Gary Kachadurian

Michael & Gini Logan

Prof. Rob Maher & Ms. Lynn Peterson-Maher*

Mary & Ken May*

Montana Cultural Trust

Ben & Barbara Phinney*

Skye Raiser & David Perlin*

Keith & Lisa Reed

Liz & David Richards*

Lynn & Chip Rinehart

Crystal & Chris Sacca*

Rick Sanders & Janice Hand

David & Kippy Sands

Leland & Diane Selby

Utzinger Family

Dennis K. Wentz, MD & Anne Colston Wentz, MD

Wolfe Family Charitable Fund

Impact Circle $5,000+

Doug & Jeanie Badenoch* in memory of Sal Lalani

Richard & Carol Belgrad

Donald & Beverly Clark

Sharon Eversman*

Nina & Al Jaeger*, in memory of

Hazel B. Tracy

Peter Nalen & April LaMon

Shirley Olinger & Matt McCormick

Charles & Kathy Rinker*

Renée & Stuart Westlake

Richard Wolff & Janel Cariño*

Giving Circle - $2,500+

Don & Diane Beeman

Harper L Bohr, Jr.

Kathryn Carlson

Bruce & Christie Copeland

Suzanne Day & Jim Penhale

Douglas H. Dybvig

Don & Signe Farris

Norman & Susie Fleet

Monica Guenther & Terry Anderson

Andy & Kathy Hauser

Tamara Havenhill-Jacobs & Chris Jacobs*

Buck & Hilda Klein

Marcia McCrum

Foster & Cathy Mobley

Valerie Oppenhimer & Michael Hickey

John L. & Gail Paul

Penelope & Ben Pierce, in honor of Norman Huynh

Carin Phillips

John Sacklin & Mary Hektner

Michael & Marianne Schmidt*

Erna Smeets & Bill Simkins

Larry A. Springer

Sara Jayne Steen*

Raymond & Michele Stinnett

Bea Taylor

William A. & Patricia J. Wilson

2025-26 Season Donors

$1,000-$2,499

Col. Eric E. Hastings USMC (Ret.) & Dr. Ilse-Mari Lee Hastings*

John & Kathryn Heminway

Katy Hood

David & Fraulein Jaffee

Fr. Leo Proxell

*Denotes donors who have graciously made multi-year pledges.

Please Note: Donor recognition is based on contributions attributed to a particular season. If you do not see your name listed as expected, we kindly encourage you to review both the prior season’s and current season’s donor lists. While every effort has been made to ensure accuracy, we regret any omissions or errors. For corrections or inquiries, please contact the Bozeman Symphony at 406-585-9774 or info@bozemansymphony.org. A full list of 2025/26 donors will be published next season. Thank you for your generous support.

2025-26 CORPORATE & COMMUNITY SPONSORS

$10,000+

$5,000+

$2,500+

$1,000+

Corporate Sponsor Feature:

A SPARKLING COMMITMENT TO THE ARTS:

JOANNA PRATT AND ZSA-ZSA’S SUPPORT THE

BOZEMAN SYMPHONY

With a rich cultural heritage and a lifelong love of music, Joanna Pratt is more than a corporate sponsor of the Bozeman Symphony—she’s a passionate advocate for the arts and a vibrant member of the community. Through her downtown business, Zsa-Zsa’s, Joanna contributes $10,000 annually to help underwrite Symphony concerts, reinforcing her belief that access to the arts is essential to a thriving society.

“Every great city has a great orchestra, and the Bozeman Symphony is a cultural gem,” Joanna says. “The arts are essential to the human experience. They enrich our lives, drive economic growth, and make communities more desirable places to live and work.”

Known for her glamorous style, effortless elegance, and eye-catching jewelry, Joanna exudes the same charm and sophistication as the Hungarian-American actress Zsa Zsa Gabor, her business’s namesake. Her downtown Bozeman boutique, Zsa-Zsa’s, is a feast for the senses— offering a curated collection of exquisite jewelry, rare crystals, and captivating minerals from around

the world. Every piece tells a story, and Joanna has a talent for helping customers find just the right one.

Born and raised in Poland, Joanna’s connection to the arts began early. Her childhood was steeped in music, with years of daily cello lessons, piano lessons, solo vocal performances, and frequent family outings to the philharmonic—often attending concerts three to four times a month. Without television, her family turned to music, literature, and the visual arts for entertainment and inspiration.

“I can’t imagine living any other way,” she reflects. “We need culture in our lives—it’s really important. I greatly appreciate the Symphony’s role in Bozeman’s vibrant arts scene through its inspiring performances and educational programs.”

Joanna’s academic path led her to earn a bachelor’s degree in analytical chemistry and a master’s in business and management. She began a career as a lab chemist in Europe. After immigrating to America in 1998, she took some jobs for fun, including modeling for a hat company in New York City and merchandising products for a national shopping network.

When the recession of 2007-08 hit, however, she decided she needed to use her education and went back to work as a chemist in Florida, Minneapolis, and Wyoming. The shift to living in Cody with her two young sons felt like a cultural reset.

“I felt a bit like the socialite wife character from the television sitcom Green Acres—a city soul in a small town,” she jokes. “I didn’t come from Fifth Avenue, but I did come from a sophisticated European city more than a thousand years old.”

Eventually, Joanna and her family relocated to Bozeman for its excellent schools and outdoor lifestyle. When work as a chemist didn’t materialize, she embraced her creative instincts and opened Zsa-Zsa’s in 2019. What began as “something for fun” quickly became her calling, something she now says she would not trade for anything. Today, Joanna travels the world in search of gems and inspiration, often visiting opera houses and cultural landmarks along the way. Her store selections are driven not by scientific analysis but by instinct and artistry—drawn to colors,

patterns, and the emotional resonance of each piece.

“I buy with my eyes,” she explains. “If something takes my breath away, I know it will speak to others too.”

Her favorite stones include fossilized amber from her native Baltic Sea, delicate baby blue celestine, rich Mongolian fluorite, and the vivid blues and greens of onyx. In addition to their beauty, she’s fascinated by the traditional meanings and symbolic associations with different crystals and gemstones, and she often helps customers choose pieces that reflect their personal stories or align with their interests, including astrological themes.

“I believe crystals hold energy that people respond to,” she says. “They can promote balance, healing, and emotional well-being—if you’re open to it.”

Whether supporting the Symphony or curating her boutique, Joanna brings passion, generosity, and a cosmopolitan flair to everything she does. She rarely misses a Symphony concert and deeply admires Music Director Norman Huynh’s dynamic leadership and personal connection with the audience and musicians.

“I’ve watched the organization evolve into a modern, expressive symphony orchestra,” she says. “It’s exciting to witness, and I’m proud to support that growth.”

Her investment in the Symphony reflects her enduring love of music and her desire to ensure the arts remain accessible for all.

“Joanna’s generosity is a gift to our entire community,” says Symphony Board member Skye Raiser, who introduced Joanna to the organization. “Her support and constant enthusiasm for all we do helps us deliver extraordinary musical experiences for all ages that engage and uplift. She is a wonderful example of corporate leadership in Bozeman.”

As Joanna continues to bring beauty to the world through Zsa-Zsa’s, her unwavering commitment to the Bozeman Symphony helps ensure that music remains at the heart of our community—for generations to come.

Partner with the Bozeman Symphony: Elevate Your Brand and Support the Arts

The Bozeman Symphony invites businesses to connect with our vibrant community through sponsorships and advertising opportunities. By aligning your brand with the Symphony, your company gains direct access to a loyal and engaged audience that includes influential consumers, business leaders, and key decisionmakers. Sponsorship packages are tailored to meet your goals and can include support for concerts, education and community programs, or special events.

Business contributions play a vital role in bringing the Symphony’s performances and education and community engagement initiatives to life. In return, our partners receive meaningful recognition and visibility among our patrons and the broader community. Supporting the Symphony is more than a marketing opportunity—it’s a powerful investment in the cultural vitality of Bozeman.

We proudly collaborate with companies of all sizes and are eager to craft a sponsorship that aligns with your unique mission and objectives.

Inspired to help keep the music moving? Contact our Development Director, Kate Kammeyer, to learn how you can become a sponsor or donor: kate@bozemansymphony.org

Bassists W. Scott Stebbins and Max Johnson

Volunteer Feature

A Family Tradition in Harmony: Lawrence Family’s Nearly 20 Years of Volunteering with the Bozeman Symphony

For nearly two decades, the Lawrence family—parents Christa and Martin, along with their children Annika, Verena, and Erick--have been familiar, friendly faces at the Bozeman Symphony’s concerts. From ushering patrons with warm smiles to lending a hand in the donor lounge, their presence has become a beloved and steadfast part of the Symphony experience.

“We started volunteering with the Symphony around 2007,” says Martin, a Professor of Chemistry and Biochemistry at Montana State University, reflecting on the early days. “We were drawn in by our love of music and the opportunity to be part of something so enriching— not just for ourselves, but for the entire community. We wanted our children to learn that giving back could be fun and fulfilling.”

Long before they donned volunteer badges, the Lawrences were regulars at community concerts, often spending time at the Symphony’s instrument petting zoos. Martin and daughter Verena were the first to begin volunteering together, usually on Sunday afternoons. Soon after, Erick—who was taking clarinet lessons—joined in. A year later, Annika and Christa followed suit when Christa wasn’t on stage as a member of the Bozeman Symphonic Choir.

What started as ushering and greeting has grown into something more. Annika, who once greeted concertgoers at the door, now assists in the Encore Lounge. Verena volunteered all through college and now, as a substitute violinist, performs onstage when she’s in town. Erick, now a University of Utah student, frequently attends Utah Symphony

concerts, continuing the musical tradition from afar.

“Music has always been a part of our lives,” says Christa, an Associate Professor of Microbiology & Cell Biology at MSU. “Supporting the Symphony just felt like a natural extension of that. Plus, it’s such a welcoming group—you really feel like you’re part of a family.”

For Martin, the rewards are both personal and communal. “Of course, I enjoy the music,” he says, “but I also love knowing I’m helping others have that same experience. That’s why I always volunteer for the free family concerts— those events mean so much.”

The family’s dedication to music extends well beyond volunteering. Christa has sung with the Bozeman Symphonic Choir since 2001. Verena, who began volunteering in the fourth grade, continued her involvement through her years at MSU and now studies medicine at the University of Washington. Annika, a nursing student at MSU, plays first flute in the MSU Symphony Orchestra, and Erick remains active as an audience member and music lover.

“Last Christmas, seeing both Christa and Verena on stage was extremely meaningful,” Martin reflects. “I was a very proud dad.”

Verena recalls a particularly formative moment from her early volunteering days. “In fifth grade, we had the chance to bring treats to the musicians during a Friday night dress rehearsal. I remember sitting in the nearly empty Willson Auditorium, watching a guest violinist rehearse. At the time, I had just started playing violin and could only dream of

being on that stage someday. It still feels a little surreal that I now get to be one of the musicians.”

That behind-the-scenes exposure gave her a lasting appreciation for what goes into each performance. “Volunteering helped shape my love for classical music. It was a way to be part of the musical community in a different, meaningful way. Knowing that our small contributions helped others experience the Symphony made it deeply rewarding.”

Beyond their love of music, volunteering has brought the Lawrences closer together. “It’s given us a shared purpose and something we can all enjoy doing together,” says Christa. “Our children grew up in this environment, and it’s been wonderful watching them take on more responsibility over the years.”

So, what keeps them coming back after almost 20 years?

“It’s the people, the music, and the sense of giving back,” says Martin. “Every season brings something new, but the joy of seeing the community come together for a concert never gets old.”

Christa agrees. “I’ve met so many wonderful people. I love being part of the organization—not just as a listener, but as someone who helps make it all happen.”

And will they continue volunteering for years to come?

“Absolutely,” says Christa with a smile. “The Symphony is fabulous, and we love being part of it. As long as the music keeps playing, we’ll be there.”

Love music and want to be part of the action?

We are looking for enthusiastic volunteers to help create unforgettable experiences for our audience! From greeting patrons to assisting with concerts, your time and passion can make a difference. Whether you’re 16 or 60-plus, we welcome all who share a love for the arts! Plus, enjoy perks like free concert tickets, community service hours, and the chance to connect with fellow music lovers.

Ready to join this family in volunteering? Contact our Front of House Manager, Amelia Murnane, for details: amelia@ bozemansymphony.org.

VOLUNTEERS

The Bozeman Symphony sincerely thanks the following volunteers for their support throughout the season.

Elaine Alston

Susan Anderegg

Becky Auzenne

Daniel Avila

Suzanne Becker

Loretta Bendz

Kellie Bernardez

Annalise Besemer

Richard Blum

Roger Breeding

Dori Brownlow

Nellie Brushaber

Evelyn Buckingham

Luke Buckingham

Tina Buckingham

Sue Burke

Bethany Caball

Connie Cade

Caleb Carr

Cecile Carroll

Stephanie Cebulla

Sara Christensen

Mike Clow

Simon Cranston

Woody Cranston

Yuki Davidoff

Kyrie Dawson

Mary Demro

Beverly Diamond

Steve Durbin

William Echols

Sarah Eder

Louise Ellingsworth

Ann Ellsworth

Ryan Erickson

Mary Ellen Freeman

Ajax Ganje

Blythe Ganje

Lisa Garcia

Jane Gentholts

Hannah Giese

Kayla Gnerer

Casey Goranson

AnaSophia Graf

Jessica Graf

Anastasia Grayl

Josephine Grayl

Nadine Grayl

Sam Grayl

Mary Jo Gregory

McKinley Hall

Macayla Harmon

Janae Heap

Sarah Herron

Caroline Higa

Arleen “Tiny” Hutchinson

Macee Ingraldi

Gabrielle Jawer

James Jordan

Liesel Kahrau

Margie Kankrlik

Michelina Kazeminejad

Joseph Keel

Temia Keel

David Klem

Marjorie Klem

Shannon Klem

Taylor Klinkel

Judy Kmon

Angelica Kroesch

McKayla LaFleur

Riley LaFleur

Cindy Languet

Annika Lawrence

Erick Lawrence

Martin Lawrence

Carina LeCain

Daniel LeCain

Phyllis Lewis

Anthony Licata

John Liotta

Carlye Luft

Jan Lundy

Susan MacCall

LaVerne “Mac” MacDonald

Mary Anne Malandrino

Ann Maroney

Paul Martin

Steve Marty

Kathryn McCloney

Evan McCotter

Deb McLauchlin

Kristine McVey

Sarah Mendonça

Sonny Menon

Christa Merzdorf

Laila Moeller

Ross Moriarty

Robin Morris

Sally Moyce

Chris Nice

Patrick Olsen

Pat Omdahl

Patrick O’Neil

Mary Orr

Jameson Palmer

Kelly Palmer

Rebekah Patrick

Garrett Perkins

Valley Peters

David Piatz

Neil Poulsen

Pam Poulsen

James Pritchard

Catherine Rangel

Aleksi Rapkin

Cara Redalen

Martha Joh Reeder –

Erickson

Dan Reynolds

McKenzie Richards

Jeremy Rizer

Jonathan Rudd

Vicki Ryan

Elaine Samuelson

Necla Sarikaya

Judy Schlepp

Tricia Seifert

Gonnie Siebel

Avia Simmons

Teri Sinopoli

Nate Smith

Brian Smithers

Durward Sobek

Sarah Sobek

Ellen Stephenson

Demetri Stoumbos

Carolyn “Rusty” Swingle

Claudia Tedesco

Michael Thomson

Tyson Tuck

Judy Tucker

Shelby Volmert

Donna K. Wallace

Carol Weaver

Maximilian Weinhold

Sarah Widger

Sara Williams

Sharon Williams

Suzanne Winchester

Danielle Wojtak

Emilee Wood

Hui Yost

Maren Youngquist

Behind every Bozeman Symphony performance is a community of generous supporters who help make our music possible. Among them are our musician hosts, whose hospitality contributes to the warm, welcoming atmosphere that defines our concert experiences.

By opening their homes to visiting musicians during concert week, lodging hosts play a vital role in supporting the Symphony. Whether hosting one musician or several during a concert cycle, hosts are never expected to provide accommodations beyond their comfort.

As a token of our appreciation, each lodging host receives two complimentary tickets to the performance for which they host.

Interested in becoming a musician host? Contact Orchestra Personnel Manager Amy Wright at amy@bozemansymphony.org, call 406-585-9774, or apply online a www.bozemansymphony.org/ volunteer

With heartfelt thanks to our 2024-25 season musician hosts:

Laura & Richard Bennett

Paul & Jillian Bertelli

Kim Burdick

Ray & Kay Campeau

Marilyn Delger

Laura & Pat Eaton

Joe & Martha Joh Erickson

Monica Guenther & Terry Anderson

Connie Hahn

Dave Kendall & Sherry Hipp

Carrie Krause & Paul Lachapelle

Megan & JJ McFadden

Kristine McVey

Ben & Barbara Phinney

Karol & John Pollock

Robin Houston & Pam Poon

Penelope Pierce

Liz & Dave Richards

Elizabeth Schmidt & Nora Spielman

Sarah & Durward Sobek

Jihye Sung & Wonki Lee

Claudia Tedesco

Kathy & Lawrence VanDyke

Amy & Tyler Wright

Jeff & Lauran Yates