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Thank you for coming to the Wine Gallery. Your patronage helps support the Bozeman Symphony.

Is it any wonder that Music and Wine share the same vocabulary?

The Wine Gallery 2320 West Main Street, Bozeman, MT 586-8828

Matthew Savery — Music Director and Conductor Fresh on the heels of what has been called his “tour-de-force” Carnegie Hall debut in June of 2015, American conductor Matthew Savery enjoys an everexpanding reputation for his multi-faceted career as an electrifying performer, dedicated orchestra builder and charismatic teacher. Mr. Savery is currently serving as Music Director and Conductor of the Bozeman Symphony Orchestra and Symphonic Choir as well as the Wyoming Symphony Orchestra. Having collaborated with some of the most exciting artists of our time, such as Jon Nakamatsu, Alexander Markov, The Canadian Brass, Carol Wincenc, Roberto Diaz, Andres Cardenes, Ryan Anthony, Judith Ingolfsson, and many more, Matthew Savery’s career has brought him to orchestras throughout the United States, Europe and Canada. He has led performances with the Boise, Dayton, Fort Wayne, Long Island and Naples philharmonics, Indianapolis, East Texas, El Paso, Greater Bridgeport (16 performances), Greater Lansing, Lake St. Clair, New Haven, Quad City, Saginaw Bay, Sioux City, Springfield (MA, MO and OH), South Dakota and Virginia Symphony Orchestras, Missouri Chamber Orchestra, Cape May Music Festival, Canada’s Victoria Symphony, Italy’s Orchestra Sinfonica di Bari, Turkey’s Presidential Symphony Orchestra, and the National Symphony Orchestra of Ukraine. While at the University of Michigan, Matthew Savery was the founding Music Director of the University Campus Chamber Orchestra; subsequently, he served as Music Director of the Comic Opera Guild of Ann Arbor. Along with his regular duties with the Bozeman Symphony, where his innovative subscription, family and children’s programming earns consistent praise and sold-out houses, Matthew Savery has established an active commissioning program, bringing compelling new compositional voices to his orchestra and its audiences, among them: Kenneth Fuchs–Glacier (Concerto for Electric Guitar and Orchestra); Erik Santos–Karnak, the Mines of Desire, Sun Road (Five Symphonic Dances for Orchestra); Elodie Lauten - Symphony 2001; James M. Stephenson, III - Concertino and Fanfare for Orchestra; Lowell Liebermann - Concerto for Clarinet. During his years with the orchestra, Mr. Savery has also presided over a ten-fold rate of financial growth, while regularly attracting over 3% of Bozeman’s metropolitan population to its concerts. Matthew Savery offers Montana’s schools a “Conductor in Residency” program that has accounted for dozens of hours per school year. He is much in demand as guest lecturer and in-school clinician. Mr. Savery is a recipient of the Eugene and Sadie Power Award for the Performing Arts. In October 1998, he and the Bozeman Symphony Orchestra were the subjects of a special feature on “CBS Sunday Morning.” Since his appointment to the Wyoming Symphony Orchestra, Matthew Savery and his notable artistic and organizational skills have refocused the greater-Casper area’s attention on the orchestra with gratifying results, among them a dramatic elevation of the orchestra’s artistic achievement and the quality of its guest artists, a broadening of the scope of the performance repertoire, a 30% increase in attendance and a 35% increase in the budget. With enthusiastic board support, he has introduced children and family programming, the “Music on the Move” outreach program, and his “Conductor in Residency” program for the public schools. Of special pride to the entire organization was Maestro Savery’s development of the “Wyoming Symphony Orchestra Young Artist Competition”— the first of it’s kind in the State of Wyoming—geared towards both high school and college students. A native of Western Massachusetts, just “down the road” from the famed Tanglewood Music Festival, Matthew Savery graduated from the New England Conservatory of Music and received his Master of Music Degree from the University of Michigan, where he was the recipient of a Teaching Assistantship to the prestigious studio of Gustav Meier and to which he returned in 2001 and 2006 as a Visiting Guest Lecturer. In addition to Mr. Meier, his principal teachers have been Pascal Verrot and Frank Battisti. Matthew makes his home in Bozeman, Montana, with his wife Soprano Catherine Viscardi Savery, and their three year old son Adam.

A Letter from the Maestro Matthew Savery

Dear Friends, Today we put on display the music of two well-known and respected composers who emerged from the eastern European tradition. One, Antonín Dvořák, famous for works firmly embedded in our standard repertoire and regularly performed the world over. The other, Miklós Rózsa, who lived what he called a “double-life” as a composer dedicated to writing concert music, but who became famous as one of Hollywood’s most successful film composers, having been nominated for 13 Academy Awards and receiving three, most notably for his glorious score to the 1959 film Ben-Hur. It was my long-time friend and colleague Jolyon Pegis, Associate Principal Cellist of the Dallas Symphony Orchestra, who sent me a score to Rózsa’s Sinfonia Concertante, in the hopes to find more performances for himself and his Dallas Symphony colleague Maria Schleuning. I was immediately intrigued. The idea of presenting a double concerto has been on my mind for several years, but tackling a piece like this was too good to resist. Moving effortlessly from the intensely passionate to the sublimely serene, this work proves Rózsa to be a composer of the highest caliber. Written for two giants, Jascha Heifetz and Gregor Piatigorsky, the stories of their dueling giant egos while collaborating on this work are sure to provide a few giggles to any classical music lover. However, funny behind-the-scenes stories aside, this piece has earned a respected place in the repertory, and we feel privileged to present it to you.   After the break you will hear one of the most cherished gems of the repertoire, Dvořák’s 8th Symphony. Typically referred to as his “Pastoral,” and obvious reference to Beethoven’s 6th Symphony and more subtly Brahms’ 2nd Symphony, this is Dvořák at his deepest and most profound. There are no gimmicks here—none of the standard bells and whistles. Instead we hear the highest level of musical thought presented in a most graceful way. I just adore this symphony, and I hope you will too! As always, we thank you for joining us and for your continued support of live symphonic music in the Gallatin Valley.  Enjoy!

Matthew Savery Music Director and Conductor

About the Symphony Directors:

Board of Directors:

Willson Auditorium Technicians:

Community Advisory Council:

Matthew Savery, Music Director and Conductor Jon Harney, Symphonic Choir Conductor

Stephen Schachman, President Renée Westlake, Vice President Stuart Whitehair, Secretary Pat Ellis, Treasurer Administration: Christopher Freeze, Executive Director Kathy Braun, Choir Representative Bridget Cavanaugh Emily Paris-Martin, Paul Gates Director of Marketing and Operations Anna Hatcher, Student Representative Amy Leister Patron Services and Box Office Manager “i” Kitahara Nancy Ojala Audrey Peart, Denis Prager Volunteer and Event Coordinator Cliff Schutter Alan Leech, Program Notes Matthew Bowdish, Equipment Manager Sandy Stimson, Orchestra Representative Kappa Kappa Psi, Equipment Moving Kandace Sylvester Walter Wunsch Brita Shaw, Bookkeeper Michael Hillenius, Technical Director Mike Andrews Peter Fedock Drew Fleming Jessica Joyce Jess Hays Dan Haywood John Schlender Courtney Yovich

Mike and Eve Art Peter Bogy Robyn Erlenbush Helori Graff John Jr. & Kiku Hanes Ileana Indreland & Mike Delaney Sal and Carol Glenn Lalani Mrs. Robert W. Martin, Jr.

About the Symphony

The Bozeman Symphony Society presents a repertoire of symphonic and choral music performed for the benefit of individuals, students, and musicians residing in south-central Montana. Established in 1968, the Society supports the Bozeman Symphony Orchestra and Symphonic Choir. Under the direction of Music Director and Conductor Matthew Savery, the Bozeman Symphony has experienced tremendous growth over the last twenty years. In addition to a wide variety of orchestral programming, the Bozeman Symphony supports Far Afield, a highly accessible community outreach program, donates thousands of dollars worth of tickets to local nonprofits, awards scholarships to promising young musicians, and provides employment and engagement opportunities for over 300 people. The Bozeman Symphony and Symphonic Choir have established themselves as significant cultural icons in Montana, whose history is marked by artistic excellence. Its future is dependent upon maintaining a skilled and motivated orchestra whose members bring symphonic music to life. The Bozeman Symphony Wishes to Thank

Season Subscribers: The Bozeman Symphony is grateful for the support of our almost 900 season ticket holders. Season ticket holders provide stability to our concert season and we appreciate their attendance throughout the year. Season ticket holders receive nearly a 40% savings over single ticket prices, priority seating, ticket delivery, replacement of lost tickets and the ability to exchange tickets for a different performance. Bozeman Symphony Contributors: Ticket sales cover less than 40% of our annual operating expenses. The Bozeman Symphony is extremely grateful to our advertisers and patrons who donate to our annual fund, Underwriter’s campaign, Endowment and Sponsor a Musician campaign. Symphony Volunteers: We would not be able to present high quality musical performances to our community without our dedicated volunteers. Volunteers assist with ushering at concerts, providing refreshments to our musicians, selling tickets & concessions and assisting in the office. In-Kind Sponsors: The Bozeman Symphony would like to recognize businesses and individuals who provide goods and services to the Symphony. The Symphony would not be able to flourish without their continued generosity. The Bozeman Symphony Society 1001 West Oak, Ste. 110 Bozeman, MT 59715 • 406-585-9774

Support the Symphony

The support of the community, businesses, and individuals is vital to the livelihood and success of the Bozeman Symphony. Ticket sales cover less than 40% of our annual operating budget and we rely upon contributions in order to continue to present high quality musical presentations to Bozeman and surrounding areas. To ensure the continued vitality of the Bozeman Symphony we encourage you to become a Bozeman Symphony Supporter! There are many ways to become involved: RR Annual Fund Support: Any amount is helpful and appreciated to support our annual operating expenses. RR Symphony Underwriters Program: Symphony Underwriters commit to a minimum annual contribution of $1200 ($100/month). In addition to a variety of benefits, our Underwriters are invited to use our Hospitality Room at Concerts and are invited to our annual Underwriter’s Appreciation Party and Season Sneak Preview. RR Adopt-a-Musician: Each year our Symphony embarks on a campaign to support all of our dedicated Bozeman Symphony Musicians. Look for the Adopt-a-Musician Campaign posters and information in the program and in the lobby. RR Concert and Event Sponsorship: This is the perfect opportunity for businesses and individuals to show support for a specific concert or event. Sponsors receive many benefits such as complimentary tickets and advertising. RR Bozeman Symphony Endowment: Build a legacy of inspiring symphonic music by contributing to the permanent endowment fund. This fund will accumulate through the years to provide permanent operating support for the Bozeman Symphony and Symphonic Choir. Your gift will be preserved forever in this fund, leaving a lasting memory of music. RR Planned Giving: Bozeman Symphony’s Mrs. Robert W. Martin, Jr. Legacy Society: Provide for the future of the Bozeman Symphony and Symphonic Choir and keep music alive for generations to come through a bequest, gift of securities, gift of retirement plan assets or a gift of life insurance. Call the Bozeman Symphony Office to request a brochure which describes the ways in which you can remember the Bozeman Symphony in your planned giving. RR Volunteer: We would never be able to accomplish all that we do without our amazing volunteers who support the Symphony with ushering and assisting at concerts, providing refreshments to the musicians, providing event support and assisting the office staff.

2016-2017 Concert Sponsors

The Bozeman Symphony Orchestra and Symphonic Choir concerts are made possible through the generosity of our business, foundation and individual sponsors, as ticket sales cover only 40% of production costs. Please show your appreciation through your continued patronage and thanks. Let them know that you recognize their generous contributions.

Season Concert Series Symphonic Fireworks

Saturday, September 24, 2016, 7:30 p.m. Sunday, September 25, 2016, 2:30 p.m. Willson Auditorium Thomas Scanlin

Sinfonia Concertante

Saturday, October 29, 2016, 7:30 p.m. Sunday, October 30, 2016, 2:30 p.m. Willson Auditorium The Art Family: Mike, Eve, Andy & Jackie, Northwest Farm Credit Services

Holiday Collage

Saturday, December 10, 2016, 7:30 p.m. Sunday, December 11, 2016, 2:30 p.m. Willson Auditorium First Security Bank, ERA Landmark, Allegra Bozeman

Signs of Life

Saturday, February 4, 2017, 7:30 p.m. Sunday, February 5, 2017, 2:30 p.m. Willson Auditorium Spectec/TIC, Walter & Regina Wunsch, Jon Chaney

Songs of Destiny

Saturday, March 4, 2017, 7:30 p.m. Sunday, March 5, 2017, 2:30 p.m. Willson Auditorium Big Sky Western Bank, Judith King

The Titan

Saturday, April 8, 2017, 7:30 p.m. Sunday, April 9, 2017, 2:30 p.m. Willson Auditorium Spectec/TIC, Walter & Regina Wunsch, Mrs. Robert W. Martin, Jr., Bruce Jodar and Kimberlie Birdwell

Sponsorship benefits include website links, program advertising and complimentary tickets. Please call the Bozeman Symphony office at 585-9774 for information about becoming a Sponsor. All events are held at the Willson Auditorium unless otherwise specified.

2016-2017 Concert Sponsors: Special Events

Special Events O Magnum Mysterium-Choir Concert Friday November 11, 2016, 7:00 p.m. Sunday, November 13, 2016, 3:00 p.m. Holy Rosary Church Michael & Sharon Beehler, David & Kippy Sands

Heroes & Villains-Free Family Concert

Saturday, February 11, 2017, 10:30 a.m. and 1:00 p.m. Willson Auditorium Barnard Construction, Montana Arts Council

Symphony at the Shane

Thursday, September 8, 2016, 7:30 p.m. Thursday, May 18, 2017, 7:30 p.m. Shane Lalani Center for the Performing Arts, Livingston Sal & Carol Lalani, Donald B. Gimbel Sponsorship benefits include website links, program advertising and complimentary tickets. Please call the Bozeman Symphony office at 585-9774 for information about becoming a Sponsor. All events at the Willson Auditorium unless otherwise specified.

Gratitude for above and beyond work goes to: Sarah Meyer, Search Director, Waldron Heather Mohler, Senior Associate, Waldron the BSO Board of Directors

The Bozeman Symphony Endowment Fund

$20,000 and Up Ardi DeVries Robyn & Orville Erlenbush, ERA Landmark Michael & Cynthia Huempfner

Alan & Jean Kahn Mr. & Mrs. Jim & Bea Taylor Seilkirk Charitable Remainder Unitrust

$10,000 to $19,999 D. A. Davidson & Co. Susan Eckert, Adventurewomen, Inc . Asger & Ebba Mikkelson

Fred & Ginny Traeger Robert & Karin Utzinger

$5,000 to $9,999 Denis & Barbara Prager The John D. & Catherine T. MacArthur Foundation Thomas & Shannon Nygard Marcia & Chuck Raches

Molly Richardson The Estate of Merriam Packard Sargent Pete Sobrepena, Star West Satellite Lou & Wayne Vinje

$1,000 to $4,999 Mike & Eve Art Michael & Sharon Beehler Merton Bell Jerry & Jan Cashman, Cashman Nursery Jon Chaney Catherine E. Costakis Mark Peterson & Irene Dahl, Dahl Funeral Home Joe Dittmar Mr & Mrs. C.A. Dogterom Robert & Michele Dubose Virginia Gauss Elaine Haaland Dennis & Katherine Hoffman Mrs. Robert W. Martin, Jr. Dr. William & Carol Mealer Jim & Bernie Mitchell

Iris M.L. Model Anthea George & Bill Muhlenfeld Jack & Donna Ostrovsky Dorothy Refling Linda M. Reynolds Jim & Kay Rivenes Rocky Mountain Rug Gallery Dave & Kippy Sands Vicki & Al Scharen Dr. & Mrs. Dwight B. Short Target Corporation Tarlow, Stonecipher & Steele, PLLC Brian & Deborah Van Dyke King Jim & Valerie Webster Elaine Williamson Rick & Melody Zajdel

The Bozeman Symphony Endowment Fund (continued)

Up to $999 Mr & Mrs. J.H. Abney Connie Adams Jack & Pat Anderson Susan Andrikopoulos Beverly Bacon Jerry & Noreen Bancroft Audre Rae Beckenhauer Jean Bishop Dr. Ben & Paula Blend Julie Blockey Ray & Kay Campeau Janel Carino & Richard Wolff Andrew & Susan Dana Sally & Ty Dann Russ & Ruth Dunn Rodolf & Carol Dietrich Kendall Dittmar Ruth & Russ Dunn Donald & Elizabeth Dynek Patrick & Susan Ellis Dan & Mary Beth Ewen Tom & Sharon Eversman John W. Fisher Helen Frazier Mark & Monica Guenther Mary Karen Grande A.J. & Betty Hancock John Jr. & Kiku Hanes Wayne & Darlene Hansen Virginia W. Hanson HDR Architecture, Inc. Paul F. Heymann Ron & Patty Hinds Wayne & Marilyn Hill John & Jane Hodges Barry & Jane Strandl- Jacobsen Margo Janke Pat Jennings Cynthia Johnson Jerrold & Margaret Johnson Grace Jones & Dana Scott John & Charlotte Jutila Murray & Natalie Katz Marilyn Kirchoff

Sal & Carol Glenn Lalani John & Kathleen Langenheim, The Langmont Group Sherry & Scott Linnerooth Richard & Virginia Linting Leroy & Agnes Luft Richard & Valerie Monroe Dr. Robert P. Myers Marjorie A. Negus Jerome & Arlyss Nelson Art & Mary Ann Nielsen Rudy & Wilma Niermeier Mr. & Mrs. George F. Phillips, Jr. Robert R. & Sydney M. Reed Ann W. Restvedt Ted & Elaine Rist Gerald & Marilyn Robertson Arnold Robinson Eliodoro & Martina Rodoni Richard & Carol Roehm Hugo & Shirley Schmidt Dr. Richard & Phyllis Schultz Dave & Julee Shepard Alice Siebecker Glenn & Jere Skaalure Connie Staudohar John P. Stocksdale June Stone Tom Stonecipher John & Gail Stucky Randy & Sally Sullivan Gerald & Arlene Trebesch Scott Carpenter & Barbara Turner Joan Underwood Jeff & Jackie Vick Fred & Julie Videon Jerry & Kathryn Vrbas Richard M. Wallace Ken & Judy Weaver Gail & Paul Weingart Dr. & Mrs. George Wharton Frank & Phyllis Wolcott Robin & Richard Wolcott Dorothy Wolters Gregory Young & Elizabeth Croy

The Underwriters We are fortunate to live in the beauty of the valleys and mountains that surround us. We are doubly blessed to have in our small community the magnificent music brought to us by the Bozeman Symphony Orchestra and Choir. This remarkable achievement is due to the unusual number of highly talented musicians living among us, and to their selfless dedication to the orchestra and choir. We all benefit in some way from our orchestra and choir. Those who hear them benefit the most, but all of us benefit from the way they enrich the entire community. We, in turn, owe our orchestra and choir our generous and continuing support. For this reason, our Underwriters have committed to contributing a minimum of $1,200 to the Bozeman Symphony this year (the equivalent of $100 each month, exclusive of tickets or other benefits) and, if circumstances permit, in future years as well. Please join the Bozeman Symphony Society in thanking the Underwriters for their ongoing commitment to the Symphony and its wellbeing, and consider becoming a member of our Underwriters Group to help provide a stable and secure base of funding for our orchestra for years to come. Please contact us at 585-9774 for information about becoming an Underwriter. The Bozeman Symphony Society 2016-2017 Underwriters Mike & Eve Art Doug & Jeanie Badenoch, The Wine Gallery Dr. Roger & Lynn Barnes Bobb Beehler Michael & Sharon Beehler Richard & Carol Belgrad Tom Bergsland Thomas & Dale Bray Janel Carino & Richard Wolff Jerry & Jan Cashman Jon Chaney Ron & Judy Clark Judy & David M. Cook Bruce & Christie Copeland Richard & Anna Damon Brenda & Swep Davis Suzanne Day Fred & Paula Deigert Martha Drury Susan L. Eckert Pat & Susan Ellis Robyn & Orville Erlenbush Paul & Patricia Gates Ric Tieman & Susan Gibb Klein & Karen Gilhousen Donald Gimbel

Jerome R. & Barbara Glickman Rick Sanders & Janice Hand Lucian Hand John Jr. & Kiku Hanes Rusty & Nancy Heymann Dennis & Katherine Hoffmann Carolyn & Dan Hopper Cyndi & Michael Huempfner John & Donna Hunt Ileana Indreland & Michael Delaney Don & Sharon Tudor Isler Bruce Jodar & Kimberlie Birdwell Judith King Kelly & Shirley King “i” & Beau Kitahara Sal & Carol Glenn Lalani Tom & Dee Ann Langel Dr. Mick & Holly Lifson Robert C. Maher & Lynn Peterson-Maher Michael Mahler Mrs. Robert W. Martin, Jr. Heidi McLoughlin Dori McTigue

Dr. William & Carol Mealer David Nathan Meyerson Foundation James & Bernie Mitchell Iris M. L. Model Mike & Marsha Montgomery Marilyn & Don Murdock Keith & Markie Nathan Ellie Nolan Brad & Pauline Nussbaum J. David & Rose Ann Penwell Ben & Barbara Phinney Denis & Barbara Prager Timothy Preheim Gene & Edie Renner JoAnne & Lloyd Reynolds Charles & Kathy Rinker Tom Ross Dr. Richard & Melanie Sabo Kippy & David Sands Mr. & Mrs. Matthew Savery Thomas J. Scanlin Stephen Schachman Cliff & Laura Schutter

Camie Smith Scot & Judy Smith Bret Snyder Larry Springer Ray & Sandy Strother Jim & Bea Taylor Marjie Toepffer & Roger Schwer Robert & Karin Utzinger Charles & Eleanor Von Stade Beth Lee & Rabbi Ed Stafman Lee Wagner Jim & Valerie Webster Doctors Anne & Dennis Wentz Renée & Stuart Westlake James & Cathy White Stuart Whitehair & Lee Stadtlander John & Vickie Wilkinson Elaine Williamson Richard Wolff & Janel Carino Walter & Regina Wunsch Rick & Melody Zajdel William Ziegler

The Bozeman Symphony Orchestra Musicians

Violin I

Carrie Krause, Concertmaster Mary Kamack Kothman ♫, Assistant Concertmaster Lucinda Morris Kira Engle Michael Mleko Shannon Smith Alan Stelling Emily Paris-Martin Amy Leister Sharon Eversman

Violin II

Cami Kohler, Principal Jill Roberts, Assistant Principal Rebekah Mohr Chelsey Padilla Athena Carson Carina Gillet Jessica Kelly Spencer Doerksen Cade Fiddaman Sarah Crossman Emily Cooley


Jennifer Smith, Principal Bina Peters, Assistant Principal Caitlin Pafford Madeleine Price Andrew Snider Cindy Stone Patricia Gates Sara Schultz Levesque


Chandra Lind, Principal Julia Cory Slovarp, Assistant Principal ♫ Morgan Araujo Cayley Hunt Bärbel Pafford Lisa Woidtke Tiffany Ocampo Kris Williams


Jon Ford, Principal ♫ April Cooper Anna Hatcher Samantha Vetter Scott Stebbins Suzanne Ford Cortney Bury


Sue Makeever, Principal ♫ Kerri Brown


Kerri Brown


Sandra Stimson, Principal Beth Antonopulos ♫


Mary Ann Jacobson, Principal Greg Young ♫


Alan Leech, Principal Paul Gates

French Horn

Greg Notess, Principal Melissa Smith ♫ Lily Hunter Benjamin Refling


Sarah Stoneback, Principal ♫ Dan Wood Jerry Makeever


Jeannie Little, Principal ♫ Eliese Besemer Andrew Scruggs


Don Kronenberger, Principal


Angela Espinosa, Principal

Celeste/Keyboard Laurel Yost, Principal ♫


Jeff Vick, Principal ♫


Mark Brown Micah Jastram Kristofer Olsen, ♫ Stephen Versaevel, ♫ ♫ MSU School of Music faculty

Special Guest: Jolyon Pegis, Cello

Jolyon Pegis was born in Rochester, NY. He attended Indiana University and the Hartt School. His principal teachers include Alan Harris, Gary Hoffman, and David Wells. Mr. Pegis is a winner of the Artists International Awards in New York City. He has appeared as soloist with the Virginia Symphony, Maui Symphony, San Antonio Symphony, Chautauqua Symphony, Dallas Symphony, and the West Virginia Symphony among others. He gave his formal recital debut in New York at Carnegie Recital Hall in 1990 and has since appeared as a recitalist across the country. As a champion of new music he has commissioned and premiered several works and has worked with composers such as Gunther Schuller, Lukas Foss, and Don Freund. Jolyon was a member of the contemporary ensemble “Voices of Change” from 2004-2010. A dedicated teacher, he has served on the faculties of Southern Methodist University, the Hartt School of Music, and the D’Angelo School of Music at Mercyhurst College. Recent master classes include Baylor University, Eastern Michigan University, the University of Georgia, SUNY Fredonia, the University of Toronto, The Cleveland Institute of Music, and the Eastman School of Music. He was a member of the Arcadia Trio in residence at the Yellow Barn Chamber Music Festival and has also been featured at the Anchorage Festival of the Arts and the Roycroft Chamber Music Festival in Buffalo. He was the Principal Cellist of the San Antonio Symphony from 1995-2000. Currently, Jolyon is the Associate Principal Cellist of the Dallas Symphony and Principal Cellist of the Chautauqua Symphony. Other appearances this year include solo performances with the Dallas Symphony and the New Texas Symphony Orchestra.

Special Guest: Maria Schleuning, Violin

Maria Schleuning has been a member of the Voices of Change Modern Music Ensemble since 1996 and Artistic Director since 2009. An advocate of new music, she has worked with many of the leading composers of our day, including the legendary Witold Lutoslawski, George Crumb, Aaron Kernis, John Corigliano, Augusta Read Thomas, Sebastian Currier, Bright Sheng, Samuel Adler, Donald Erb, David Dzubay, and Bruce Adolphe. She has premiered many new works, including “Dream Catcher”, a solo violin work written especially for her as a gift by Augusta Read Thomas. The world premiere performance was on May 3, 2009 in Dallas, TX. An active chamber musician, Ms. Schleuning has performed in venues such as New York’s Alice Tully Hall, Weill Hall, Merkin Hall, Avery Fisher Hall, and the Museum of Modern Art, as well as at numerous festivals throughout the United States and Europe. From 1993-2012 she was a faculty member and performer at the Bowdoin International Music Festival in Maine and served in the same capacity at Idyllwild Arts in CA from 2007-2010, and the Bennington Music Festival, VT in 2012. She has recorded with Continuum modern music ensemble in NYC, as well as in Dallas with grammy-nominated Voices of Change, and the Walden Piano Quartet. In addition, she serves as Principal Second Violin of the New York Women’s Ensemble and as a member of the Lake Tahoe Summerfest Orchestra, where she was a guest concertmaster in 2014. A member of the Dallas Symphony since 1994, she has been featured as a soloist with the orchestra on many occasions. Other solo highlights include appearances with the Oregon Symphony, Seattle Symphony, West Virginia Symphony, Abilene Symphony, Laredo Symphony, and with the Greater Dallas Youth Orchestra on a tour of Eastern Europe including concerts at the Gewandhaus in Leipzig and the Rudolfinuum in Prague. She studied with Josef Gingold at Indiana University, where she was awarded a Performer’s Certificate; with Yfrah Neaman at the Guildhall School in London, with a grant from the Myra Hess Foundation; and with Joel Smirnoff at the Juilliard School, where she received her Master’s Degree.

Eve and Mike Art, Andrea and Jacqueline Wish Maestro Savery & the Bozeman Symphony Orchestra & Symphonic Choir yet another brilliant season!

Sinfonia Concertante

with special guests Jolyon Pegis, cello and Maria Schleuning, violin

Festival March, op. 54a (Slavnostni pochod: Fest-Marsch)

Sinfonia Concertante, op. 29

Antonín Dvořák (1841-1904)

Miklós Rózsa (1907-1995)

I. Allegro non troppo II. Tema con variazioni III. Allegro con brio Intermission

Symphony No. 8, op. 88, G major

Antonín Dvořák (1841-1904)

I. Allegro con brio II. Adagio III. Allegretto grazioso IV. Allegro ma non troppo

Saturday, October 29, 2016, 7:30 p.m. Sunday, October 30, 2016, 2:30 p.m. Saturday Concert Sponsored by The Art Family: Mike, Eve, Andy and Jackie Sunday Concert Sponsored by Northwest Farm Credit Services Please join Maestro Matthew Savery, Jolyon Pegis, Maria Schleuning, and the Bozeman Symphony Musicians following the concert: Saturday – Baxter Hotel Ballroom, catered by Ted’s Montana Grill, 105 W. Main St. Sunday – Emerson Cultural Center, Weaver Room, catered by Corner Bakery Café, 111 S Grand Ave Unauthorized use of cameras or recording devices during performances is strictly forbidden

Program Notes by Alan Leech This Bozeman Symphony concert program brings together strong works that come directly from Eastern Europe, specifically Hungary and Bohemia (now the Czech Republic). Although the music of Rózsa and Dvořák is different in style upon first hearing, the composers were born only 66 years apart and in places less than 350 miles apart. When Emperor Franz Joseph I was in power, he ruled Austria-Hungary, as well as Bohemia, making the two composers in this concert practically neighbors. The somewhat modal sounds of the melodies, as well as the interesting harmonies and rhythms found in the folk music of this region, provide an appealing although slightly different sound to the music more often heard in American concert halls.

Antonín Dvořák (1841-1904): Festival March, op.54 [B.88] (1879) This festive showpiece was written as an introduction to a gala performance marking the silver wedding anniversary [yes, the 25th] of Emperor Franz Joseph I and his wife, the Empress Elizabeth. The Festival March was premiered in Prague by the Provisional Theater Orchestra. Franz Joseph was the longest reigning Emperor of Austria (in fact, the third longest reigning monarch in history of any European country) and his various titles included “King of Hungary, Croatia, and Bohemia.” So it is no surprise that he might have been in Prague for a celebration concert. The fact that Franz Joseph’s court resided in Vienna is reflected in Dvořák’s composition of this bright piece, with its overtones of the romantic-styled Strauss waltzes, marches, and light-hearted popular pieces that were common in Vienna. Dvořák had also made his own Bohemian-styled contributions to that popular orchestra genre with his Slavonic Dances.

Miklós Rózsa (1907-1995): Sinfonia Concertante for Violin, Cello and Orchestra, op.29 (1966) Miklós Rózsa was born in Hungary, trained in Germany, and active in France, England, and in the United States. He was introduced to film scoring by his friend, Swiss composer Arthur Honegger, who confessed that he supplemented

his income by writing scores for films (at the time Les Misérables) – and after Rózsa went to see (and hear) that film in 1934, he immediately understood the opportunities that the film media was offering to a talented composer. Our audience is most likely to have an acquaintance with Rózsa’s music for Hollywood films, including Thief of Bagdad (1940), Spellbound (1945), A Double Life (1947), and Ben-Hur (1959) – the last three of which earned Academy Awards for him. His more recent film scores include The Green Berets (1968), The Golden Voyage of Sinbad (1973), Time after Time (1979), Eye of the Needle (1981), and Dead Men Don’t Wear Plaid (1982). In fact, although he authored close to one hundred film scores, Rózsa always remained tied to his ‘concert’ music composition. His string music was strongly championed by violinist Jascha Heifetz, and by cellists Gregor Piatigorsky and János Starker. The Violin Concerto of 1954 was written for Heifetz, who collaborated in the fine touches as the work was finished. Rózsa adapted portions of the Concerto in his score for Billy Wilder’s The Private Life of Sherlock Holmes (1970), the plot of which according to Wilder, was inspired by Rózsa’s Concerto. The Sinfonia Concertante for solo Violin and Cello, op.29, was commissioned by Heifetz and Piatigorsky, but they never performed the entire work. Rózsa worked on the piece between Hollywood film assignments, and showed his drafts-in-progress to the soloists, who squabbled over who was getting the longer solos and more brilliant passages. The composer then worked very carefully in order to make the parts as equal as possible. He first completed the second movement (Theme, Variations and Finale) and it was performed and recorded by the soloists with a reduced orchestration. This was given a separate opus number in that version: op.13a. A revealing insight to the musical material in the piece is to understand that the composition is based on original themes purposely written in Hungarian folk style (I think of Béla Bartók’s many pieces in this style). The first movement begins with broad, sweeping music involving the soloists and the orchestra, which then gives way to periods of intimate melodies and interactions between the soloists alternating with sections of more dramatic,

engaging entanglements. Following an extended cadenza for the two solo strings, there is a gradual building of excitement to an excited ending that seems more expectant than complete – leading us on to the slow movement that follows.

chronological order - this G major symphony was “old No.4”. At any rate, the current knowledge of all nine symphonies with appropriate numbering was not known until the 1930’s.

The second movement begins with an original melody that Rózsa wrote in a Hungarian style with its character more of ‘modes’ rather than ‘scales’. The cello states the lyrical theme and then is joined by the violin to enhance and extend. The whole movement then proceeds with a series of variants using the theme as basis for segments that seem to present many different moods and tempos, all the while developing the musical ideas. The conclusion of the movement seems to tie together what has come before and summarize it with a bit more drama.

There are stories that Dvořák himself didn’t think as much of the four earliest symphonies, and referred to them as youthful and demonstrations of his shortcomings as a composer. In fact, he noted in his own catalogue of works that he had torn up and burned his first symphony, op.3. Luckily the score was later found in a second-hand bookstore in Germany, and that First Symphony is actually one of my personal favorites of the nine.

The final movement, the shortest, begins with a defiant, almost angry orchestral introduction, which is followed by a dance tune (again in a Hungarian style) presented by the two soloists. As we are carried through this movement, the soloists and the orchestra continually seem to be pushing us forward in an excited fashion. Following a short cadenza by the two strings, we are sped toward the very bright flash of virtuosity that brings the conclusion with a flourish of excitement. Considering the predominance of the Hungarian-styled influence in this piece from the country of his birth, and the necessary prominence of the string soloists (with the Romantic era underpinnings of major string literature at the time), and combining those things with the many years of Rózsa’s experience in the writing of superb, dramatic film music, this Sinfonia Concertante brings us one of the strongest works in the composer’s musical output.

Antonín Dvořák (1841-1904): Symphony No. 8 in G, op.88 [B.163] (1889) Written just ten years after the Festival March at the beginning of this program, this popular Symphony of Dvořák is a delight to hear. But the term ‘popular’ may need a little explanation. We now recognize nine symphonies in Dvořák’s catalogue, but for a long time, only five were really well-known and performed. The five ‘popular’ symphonies weren’t even published with their opus numbers in order, so they were misunderstood according to proper

The G major symphony was written in record time: sketched between September 6th and 23rd of 1889, and completed the following month. The first performance was by the Prague National Theatre Orchestra in February of the following year. Simrock, Dvořák’s Czech publisher, was mostly interested in short pieces (like Dvořák’s Slavonic Dances) and offered the composer practically nothing for his score to this work. Dvořák had had a very successful performance of this symphony in England just two months following its premiere in Prague, and so the London publisher Novello was able to publish the work, hence it was sometimes referred to as the “English” symphony. A few people even decided that the work had made some use of English national material, but that is not true – it is very Bohemian/Czech in character and musical origin. Dvořák was always a champion of the idea of “nationalistic” music, proclaiming that a composer should always utilize local folk music and the language characteristics of his or her own region on which to base a musical language. The first movement begins with a dignified motive in lower instruments and in G minor rather than major. This is a sort of motto that Dvořák uses to introduce the three main parts of the first movement: the exposition, development, and recapitulation. The solemn and stately mood is tossed aside by the solo flute, playing a bright joyful melody above the violins, and establishing the happier G major key of the movement. The music proceeds in the happy and often excited character with bits of

Program Notes (continued) Slavic-styled melodies that were so much the center of Dvořák’s music. The coda is an explosion of happiness. The slow, second movement is beautiful in the extreme, filled with lyricism and also tinged with a touch of sadness. The music seems very restful and accepting, but is sometimes more playful, and sometimes more dramatic. In the dance movement, Dvořák has presented us with a lovely waltz, which floats past in a very balletic fashion, making us all want to dance gracefully. The coda throws the waltz away with a sort of scherzo or joke in the style of one of Dvořák’s Slavonic Dances, that prepares us for the final movement.

The fourth and final movement begins with a trumpet fanfare setting us up for something to happen. And then we are surprisingly presented with a romantic theme (related perhaps to the theme in the first movement) that is very luscious but will eventually provide the basis for a lot of variations on the material. It is easy to hear the Slavic sounds of a boisterous peasant celebration as the variants of the melodies are presented and then developed in turn. Following a beautiful slow variation, we are sent through a gradual build to the brilliant ending. The trumpet fanfare at the beginning does then make sense leading to the excitement in the movement, particularly to that exciting ending with the full orchestra expressing complete joy and triumph.

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Tuning into the Orchestra: Mark Brown, percussion

Mark Brown is a percussionist in the Bozeman Symphony. He is a student at Montana State University in Bozeman, Montana. In 2012, he received his bachelor of arts in music, and is currently pursuing a bachelor of arts in Music Technology as well as a bachelor of science in Computer Science. In his time at MSU, he has performed with many ensembles including the Percussion Ensemble, the Spirit of the West Marching Band, and the One O’clock Jazz Band. As part of the Bozeman Symphony, he also performs with the Percorchestra which is a percussion group that tours around Bozeman and the surrounding area. He has also performed with the Intermountain Opera House during their performance of “Madama Butterfly”, as well as several bands that travel around the state. He studied under professor Stephen Versaevel.

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Bozeman symphony 2016 sinfonia concertante concert program  

The program for the second concert of the Bozeman Symphony Orchestra's 2016-2017 season.

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