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A LETTER FROM

NOR MAN HUYNH MUSIC DIRECTOR

Hello Everyone, Welcome back! It is my absolute pleasure to introduce you to the 54th season of your Bozeman Symphony Orchestra and Symphonic Choir. As you can imagine, we have been looking forward to this moment for over a year and a half. Together, we will hear music by a multitude of composers and explore a wide range of genres through our staple Classical Series, a newly added Bozeman Symphony Presents, and our contemporary music series at The Rialto,

Classical Series concert features a world class soloist to bring their talents to our community. Through these guest artists, we dive into concertos (music written for a solo instrument with an orchestra) that are thought provoking and certainly keep you at the edge of your seats. We all know that Bozeman is rapidly changing and growing. Our aim is to be in front of that growth and align ourselves as a leading performing arts organization in Bozeman and throughout our region. In our first step towards that goal, we are expanding our concert offerings with the addition of Bozeman Symphony Presents, a series that increases our musical offerings to include a variety of popular musical genres outside of the classical series. If you are a movie music buff, you will hear the well-regarded film scores of John Williams brought to life in a concert celebrating his 90th Birthday. This season, we are also introducing a new Bozeman tradition with the Holiday Spectacular featuring local favorite jazz vocalist, Jeni Fleming, along with Sleigh Ride and the highly popular Christmas Carol Sing-Along from my audition.

Current Commotion. You will find that this season features the most diverse pool of composers that the Bozeman Symphony has ever set out to perform. This is significant because it provides us with the opportunity to discover and search for music that we can champion together as an orchestra and audience. What music comes naturally to us? Which composers do we have a particular affinity towards? What strengths and weaknesses do we have with music from a certain period or style? You are a part of that process and I invite you to share your thoughts with me as we explore the answers to these questions together. For each Classical Series concert, I included at least one piece from the standard repertoire, some of which will be a Bozeman Symphony premiere. Mozart, Beethoven, and Tchaikovsky, to name a few, will be frequent musical guests at the Willson Auditorium. As you get to know me, you will find that I have a passion for performing music written during our time. It is important for us as an organization to commission composers to further our artform. It is no accident that we open our season with a highly anticipated world premiere of a piece that is inspired by the town of Bozeman, written by our Composer-in-Residence, Scott Lee. For the first time since our creation, each

Whether this is your first Bozeman Symphony concert or you are a seasoned classical music lover, we thank you for spending time with us. Relish in this incredible music - let it bring you joy, solace and healing. Enjoy the 2021-2022 concert season and see you around town!

N o r m an H u yn h Mu si c D i re c to r

"You will find that this season featur e s the most div erse po ol of comp osers that the Bozeman Sy mphony has ev er set out to perform." -Nor man Huynh, music dir e ctor

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audibozeman.com


A LETTER FROM

STEPHEN & EMILY D ear Friends, T his season, on e th in g h as b e co m e ove r w h el m i ng l y c l ea r because of y our suppo r t – th e sh o w m us t go o n! N o w m ore than ever w e h ave tur n e d to th e m ag ic a l a nd hea l i ng p o w ers of sy mph o n ic m usic to provid e us w i t h o pt i m i s m , i n spiration, and co n n e ctio n . As pa tro n s a nd d o no rs to th e Boz eman Sy m ph o n y, yo u h ave co n sistent l y b een o u r bi ggest fans. Over the past y e a r, th e Bo z e m a n Sym ph o n y ha s c o nt i nu ed to thr ive. I t is with sin ce re h um ility th a t we c a n t a ke a m oment to refle ct o n th e o r gan iz atio n ’s re c ent s u c c es s es : O ur livestream offe r in g s th ro ugh o ut 2 02 1 rea c hed a n au dience of 13,00 0 fro m 3 0 + co un tr ie s. We have w elco m e d o ur fir st Co m po se r in Res i d enc e, S c ot t Lee, and w ill soon pe r fo r m h is w o r ld pre m ie re a b o u t B o z em a n. Cur rent Commotio n w a s la un ch e d in M a y p o s i t i o ni ng t he B o z eman Sy mpho n y to b e o n th e cuttin g e d ge of o u r i nd u s t ry. The first Boz e m an S ym ph o n y Pre se n ts s eri es fea t u ri ng Ki shi Bashi (Duo) laun ch e d in M ay succe ssfully ex p a nd i ng o u r e ngagement w ith th e co m m un ity a n d in tro d uc i ng new f ri end s to the Boz eman S ym ph o n y. The or ganiz atio n ’s Bo a rd of Dire cto r s h a s ex p a nd ed i n s i z e. Praise should be g ive n to e a ch of th e se in d iv i d u a l s w ho a re m aking significan t in ve stm e n ts of tim e an d re s o u rc es to s ee th e or ganiz ation in to o ur n ext ph a se of d e ve lo p m ent . In the pages that fo llo w, yo u w ill n otice th at t he 2 02 1- 2 02 2 c o ncer t season is th e b e gin n in g of a tra n sfo r m a t i o na l t i m e i n th e histor y of the Bo z e m an S ym ph o n y. All of u s - m u s i c i a ns , au diences, patro n s, d o n o r s, b o ard m e m b e r s, a d m i ni s t ra t i ve te a m and volunte e r s h ave r ise n to th e ch all enges of 2 02 0 and 2021 to ensure m usic w ill m ove us fo r w a rd . Tha nk y o u for being so enth usia stic fo r o ur retur n n o w, a nd fo r m a ny year s to come. With sincere gratitud e ,

Stephen Schachm a n Chai r, Board of D i rec to r s

E mily P ar i s -M ar ti n Exec ut i ve D i re c to r

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100 years of serving Montana. This year marks our 100th year in business and we’re celebrating by telling 100 stories, sharing 100 lessons, and giving 100 gifts. We’re calling it the Big 100. It’s a celebration of this community, the good people who live here, and the businesses we’ve helped build across a hundred years. Thank you for letting us serve you. Here’s to the next 100 years.

OPPORTUNIT Y100.COM

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5 4 TH C O N C E R T S E A S O N

TABLE OF CONTENTS

5

A LETTER FROM NORMAN HUYNH

62

JOHN WILLIAMS: 90TH BIRTHDAY BONANZA

7

A LETTER FROM STEPHEN & EMILY

64

Biography: John William s

9

TABLE OF CONTENTS

65

Feature: Cade Fiddaman

10

ABOUT THE SYMPHONY

66

PIRATES, MERMAIDS & MUSIC!

11

THE SYMPHONY WISHES TO THANK

70

MOZART'S "JUPITER" SYMPHONY

14

OUR UNDERWRITERS

72

Biography: Karen G omyo

15

SEASON CONCERT SPONSORS

74

Feature: Aurora, Exfouli s

16

BOARD & STAFF

76

Program Notes

17

THE FUTURE

19

BIOGRAPHY: NORMAN HUYNH

82

Biography: Sidney O utl aw

22

TCHAIKOVSKY SYMPHONY NO.4

84

Program Notes

32

40 44

54

80

SCHEHERAZADE

24

Biography: Julian Schwarz

26

Scott Le e, Composer-in-Residence

90

Biography: Alexandra Razskazof f

28

Program Notes

91

Biography: Siena Licht Mill er

92

Biography: Katherine G of orth

88

SYMPHONIE FANTASTIQUE

BEETHOVEN’S NINTH SYMPHONY

34

Biography: Rodolfo Le one

93

Biography: Anthony Clark Evans

36

Program Notes

94

Program Notes

ELEMENTS OF LIFE

98

ORCHESTRA ROSTER

42

99

SYMPHONIC CHOIR ROSTER

Biography: Jon Harney

BRAHMS SYMPHONY NO. 2

100

WELCOME, DANA DOMINGUEZ

46

Biography: D emondrae Thurman

102

SEASON DONORS

48

Program Notes

105

SUPPORT THE SYMPHONY

106

ADOPT-A-MUSICIAN

107

VOLUNTEERS

HOLIDAY SPECTACULAR 56

Biography: Jeni Fleming

58

Feature: B ozeman Symphony Presents

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ABOUT

THE SYMPHONY The Bozeman Symphony Society presents a repertoire o f s y m p h o n i c a n d c h o r a l m u s i c p e r fo r m e d fo r t h e b e n e f i t of individuals, students, and musicians residing in s o u t h - c e n t r a l M o n t a n a . Pe r fo r m a n c e s a n d e ve n t s include a series of classical subscription concerts, p e r fo r m a n c e s a i m e d a t e n g a g i n g a n d a t t r a c t i n g n e w audiences under the umbrella of Bozeman Symphony Presents, Current Commotion — an experimental music series that allows the Bozeman Symphony to be o n t h e c u t t i n g e d g e o f o u r i n d u s t r y, a n d a s t r o n g d e s i r e

the last twenty years. In addition to a wide variety of orchestral programming, the Bozeman Symphony s u p p o r t s Fa r A f i e l d — a h i g h l y a c c e s s i b l e c o m m u n i t y outreach program, awards scholarships to promising y o u n g m u s i c i a n s — a n d p r ov i d e s e m p l o y m e n t a n d e n g a g e m e n t o p p o r t u n i t i e s fo r ove r 3 0 0 p e o p l e . T h e B o z e m a n S y m p h o n y, w h o s e h i s t o r y i s m a r ke d b y a r t i s t i c e xc e l l e n c e , h a s e s t a b l i s h e d i t s e l f a s a significant cultural icon in Montana. Its future is dependent upon maintaining a skilled and motivated

t o l a u n c h a s u m m e r t i m e m u s i c fe s t i v a l . T h e B o z e m a n S y m p h o n y h a s e x p e r i e n c e d t r e m e n d o u s g r o w t h ove r

orchestra t o l i fe .

whose

members

bring

symphonic

OUR MISSION The Bozeman Sy mphony Or che str a and Sy mphonic Choir is dedicated to pr e ser v ing musical excellence as a liv ing par t of our community, now and for futur e gener ations, thr ough liv e performance, education and community par tnerships, while maintaining a v igilant dev otion to ar tistic and fiscal integrity.

54

25

74

70

Sy mphony S easons

Per formance s This Year

Or che str a Memb ers

Choir Memb er s

10

music


THE BOZEMAN SYMPHONY

WISHES TO THANK SEASON SUBSCRIBERS T h e B o z e m a n S y m p h o n y i s g r a t e f u l fo r t h e s u p p o r t o f ove r 8 0 0 s e a s o n t i c ke t h o l d e r s . S e a s o n t i c ke t h o l d e r s p r ov i d e s t a b i l i t y t o o u r c o n c e r t s e a s o n a n d w e a p p r e c i a t e t h e i r a t t e n d a n c e t h r o u g h o u t t h e y e a r. S e a s o n t i c ke t h o l d e r s r e c e i ve a p p r ox i m a t e l y 2 0 % s a v i n g s ove r s i n g l e t i c ke t p r i c e s , p r i o r i t y s e a t i n g , t i c ke t d e l i ve r y, r e p l a c e m e n t o f l o s t t i c ke t s a n d t h e a b i l i t y t o e xc h a n g e t i c ke t s fo r a d i f fe r e n t p e r fo r m a n c e .

B OZEMAN SYMPHONY CONTRIBUTORS T h e B o z e m a n S y m p h o n y i s e x t r e m e l y g r a t e f u l t o o u r a d ve r t i s e r s a n d p a t r o n s w h o d o n a t e t o o u r a n n u a l f u n d , U n d e r w r i t e r ’s c a m p a i g n , E n d o w m e n t and Adopt-a-Musician campaign.

SYMPHONY VOLUNTEERS We w o u l d n o t b e a b l e t o p r e s e n t h i g h q u a l i t y m u s i c a l p e r fo r m a n c e s t o o u r c o m m u n i t y w i t h o u t o u r d e d i c a t e d vo l u n t e e r s . Vo l u n t e e r s a s s i s t w i t h u s h e r i n g a t c o n c e r t s , p r ov i d i n g r e f r e s h m e n t s t o o u r m u s i c i a n s , s e l l i n g t i c ke t s & c o n c e s s i o n s a n d a s s i s t i n g i n t h e o f f i c e .

IN-KIND PARTNERS T h e Bo z e m a n S ym ph o ny w o u l d l i ke to rec o g ni z e b u s i nes s es a nd i nd i v i d u a l s w h o provid e go o d s an d se rv i c es to t he S y m p ho ny. The S y m p ho ny w o u l d not b e a b l e to flo ur i s h w i t ho u t t hei r c o nt i nu ed genero s i t y.

1 0 0 1 We st Oa k St. S u ite 1 1 0 B oz e m a n, MT 59715 b oz e m a n sym ph o ny.o rg 4 0 6-585-9774

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B oz e ma n Sy mp h o n y Presen t s Kishi Bashi (Duo) Th e B i g Ye l l o w Ba rn, M o nta na


C u r re n t C o m m ot io n , T h e Ri a l to


T H A N K YO U

OUR UNDERWRITERS 2021 / 2022

The Unde r w r ite r s h ave co m m itte d to a nnu a l c o nt ri b u t i o ns s u p p o rt i ng t he rem a rk a b l e a c hi evement of the highly tale n te d m usician s livin g am o ng u s , t hei r s el f l es s d ed i c a t i o n, a nd enri c hi ng o u r ent i re c ommu nity through music. Ple ase jo in in th an k in g t he Und erw ri ters fo r p rov i d i ng a s t a b l e a nd s ec u re b a s e of fu nding now and fo r th e future .

B ill & Katie And e rson J ose p h And e rson A no ny mous, in memory of Marth a Drury D ouglas C . & Je anie B ad e noch E laine B e st & J e ffre y B arish T im & Mary B arnard Michae l & Sharon B e e hle r R ichard & C arol B e lgrad Tom & Dale B ray Pete r & Ke rri B row n Wood y A. B u rt Annette & R ob e rt C arson J e rry & Jan C ashm an Jon C hane y Le e & Ann C hase Don & B e ve rly C lark R on & J u d y C lark Daw n & Ke nt C ollins B ru ce & C hristie C op e land Ke nneth & Mary Danhof B re nd a & Sw e p Davis Suzanne Day M i ke De lane y & I le ana I nd re land Joshua & Sally Dick inson O rville & Rob yn E rle nb u sh Sharon Eve rsm an Donald & Signe Farris Norm an & Su sie Fle et S id ne y E . Frank Fou nd ation Kare n Gilhouse n Donald B . Gim b e l B a rb ara & Je rom e R . Glick m an Lu cian & J u rgita Hand Mitch & Jan Hob ish De nnis & Kathe rine Hoffm an C aro ly n Hop p e r, in memory of Dan Hopper M i ke & C y n d i Hue m pfne r, Five Points Foundat i on J ohn & Donna Hunt Kim b e rlie & B ruce J od ar Sal & C arol Gle nn Lalani Larry & Gail Larson B eth Le e & R ab b i E d Stafm an Rob e rt & Nancy Lux R o b C. Mahe r & Ly nn Pete rson- Mahe r C o l . ( US A R et ) M i ke Mahle r, In Lovin g Memory of Ellie Mahler Mary & Ke n May Ge orge S. McC lu re , Jr. Marcia McC ru m H e i d i McLoughlin & David Ge nte r

Morton H . Meyerson, Morton H . Meyerson Fa mil y Fo u n d a t io n James & Berni e Mi tchell Iri s M.L. Model Bruce & A udrey Muel l er Don & Mari l yn Murdock George & Kat hl een H ei t z M ye r s Kei t h & Marki e Nat han Brad & Paul i ne Nussbaum Val eri e Oppenhi mer Steven Ough Margaret Perryman Ben & Barbara Phi nney Deni s & Barbara Prager Ti m & Tri sh Prehei m Li sa & Kei t h Reed, Reed Fami l y Fo u n d a t io n Ll oyd & JoA nne Reynol d s Lynn Ri nehart Charl es & Kat hy Ri nker Dav i d Ross & Ri si Ri chard & Mel ani e S abo Dori McTi gue John S ackl i n & Mary H ektn e r Ri ck S anders & Jani ce H a n d Dav i d & Ki ppy S ands Thomas J. S canl i n Stephen S chachman & Ri t v a Po r te r Cl i f f & Laura S chut ter Lee & Di ane S el by Ri chard & Deni se S heehy, S heehy Famil y Fo u n d a t io n Cami e S mi t h Judi t h S mi t h S cot & Judy S mi t h Larry A . S pri nger Bi l l & Donna St rat ton Beat ri ce Tayl or Ri c Ti eman & S usan Gi bb Ti mot hy Toohey Judy Tsi ang S haron Tudor Isl er & Bri an Tudor, for E R A L a n d ma r k Robert & Kari n Ut z i nger Ji m & Val eri e Webster Drs. Denni s & A nne Wen t z St uart Whi tehai r & Lee St adtl a n d e r Wi l l i am A . & Pat ri ci a J. Wi ls o n Ri chard Wol f f & Janel Car in o Wal ter & Regi na Wunsch Gregory Young & El i z abet h Cro y Ri ck & Mel ody Zaj del

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2021 / 2022

SEASON CONCERT SPONSORS The Boz eman S ym ph o n y O rch e stra an d S y m p ho ni c C ho i r c o nc ert s a re m a d e p o s s i b l e t hro u g h t h e generosity of our busin e ss, fo un d atio n an d in d ivid u a l s p o ns o rs . P l ea s e s ho w y o u r a p p rec i a t i o n t hro u g h y o u r continu ed patronage a n d th a n ks. L et th e m k n o w tha t y o u rec o g ni z e t hei r genero u s c o nt ri b u t i o ns .

SEASON SPONSOR D AV I D R O S S & R I S I

CHAIRMAN’S CIRCLE S T E P H E N S C H A C H M A N & R I T VA P O R T E R

LEAD CORPORATE SPONSOR O P P O R T U N I T Y B A N K O F M O N TA N A

CONCERT SPONSORS KIMBERLIE & BRUCE JODAR

SUPPORTING SPONSORS DONALD B. GIMBEL R O B E RT & D O N N A R I TC H I E D AV I D & K I P P Y S A N D S

GROUP SPONSORS MICHAEL & SHARON BEEHLER F I R S T S EC U R I T Y B A N K R O B Y N L . E R L E N B U S H , E R A L A N D M A R K R E A L E S TAT E R O B & LY N N M A H E R IRIS M.L. MODEL THOMAS J. SCANLIN S H E E H Y F A M I LY F O U N D AT I O N S P E C T E C T I C / WA L T E R & R E G I N A W U N S C H DRS. DENNIS & ANNE WENTZ RENEE & STUART WESTLAKE H E AT H E R W H I T E S T R AT E G I E S , L L C

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BOZEMAN SYMPHONY

B OARD & STAFF B OARD OF DIRECTORS

ADMINISTRATION

STEPHEN SCHACHMAN, Board Chair

E M I LY P A R I S - M A R T I N , E x e c u t i v e D i r e c t o r

CHARLES RINKER, Vice-Chair

C H E R I L A D D L ECA I N , O f f i c e M a n a ge r & Exe c u t i ve A s s i s t a n t

B E N P H I N N E Y, T r e a s u r e r

M A R I A D ’A M B R O S I O , A r t i s t i c O p e r a t i o n s M a n a g e r

BILL ANDERSON, Secretary

THOMAS ROBERTS, Stage & Equipment Manager

DIANE DWYER, Choir Representative

AT H E N A C A R S O N , L i b r a r y A s s i s t a n t

M E G A N M C FA D D E N , O r c h e s t r a R e p r e s e n t a t i v e

E M M A F E R R I E , Eve n t s & C o m m u n i t y E n g a g e m e n t M a n a g e r

ANGELLA AHN

C H A S E H E I L A N D, Fro n t of H o u s e A s s o c i a te

T O M B R AY

A B BY B R A D FO R D, M a r ke t i n g M a n a g e r

J EC Y N B R E M E R

C I E R R A WA L L A C E , B o x O f f i c e & C o m m u n i c a t i o n s L i a i s o n

DONALD B. GIMBEL

KIM CENTER, Bookkeeper

TA M A R A H A V E N H I L L - J A C O B S

A . J A M E S L I S K A , P r o g r a m N o t e s & Fe a t u r e S t o r i e s

GARY KACHADURIAN K E N N E T H M AY

COMMUNITY ADVISORY COUNCIL

R O B E RT R I TC H I E LEE SELBY

ROBYN ERLENBUSH

H E AT H E R W H I T E

MIKE DELANEY & ILEANA INDRELAND SAL & CAROL LALANI D AV I D & K I P P Y S A N D S

DIRECTORS

CLIFF & LAURA SCHUTTER

NORMAN HUYNH, Music Director

W I L L I A M A . & P AT R I C I A J . W I L S O N

J O N H A R N E Y, S y m p h o n i c C h o i r C o n d u c t o r

WA L T E R & R E G I N A W U N S C H

ORCHESTR A COMMITTEE

CHOIR COMMITTEE

*The Symphony wishes to thank the following orchestra members who served on the orchestra committee during the 2020/2021 concert season.

*The Symphony wishes to thank the following choir members who served on the choir committee during the 2020/2021 concert season.

C H A I R - W E N DY B I C K FO R D, Wo o d w i n d s R e p r e s e n t a t i v e

S U Z Y VA N D E R V O S , S o p r a n o R e p r e s e n t a t i v e

B O A R D R E P R E S E N TAT I V E - M E G A N M C F A D D E N ,

K AT H Y B R A U N , A l t o R e p r e s e n t a t i v e

Upper Strings Representative

J E F F A B E L I N , Te n o r R e p r e s e n t a t i v e

S E C R E TA R Y - J A C K S O N H U G H S T O N , S t u d e n t R e p r e s e n t a t i v e

CHIP RITTER, Bass Representative

C AY L E Y H U N T, L o w e r S t r i n g s R e p r e s e n t a t i v e

DIANE DWYER, Member Elect Representative

S T E P H E N V E R S A E V E L , B r a s s / Pe rc u s s i o n R e p re s e n t a t i ve

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F E AT U R E S T O R Y

THE FUTURE While the past th re e se a so n s of th e Bo z e m a n S y m p ho ny h a ve not been w ith o ut its ch alle n ge s , Step hen Schachman, Chair m a n of th e Bo ard of Dire c to rs , l o o ks for w ard to a bright future of g re a t m usic an d o p p o rt u ni t y.

“We’ve ex p a nd ed o u r s ea s o n w i t h B ozeman Symp hony P res ent s ,” s a i d S c ha c hm a n, w ho i s e nter ing his fou r th y ea r a s C ha i rm a n. At t he l a u nc h of t he new ser ies which to o k p l a c e i n A u g u s t p res ent i ng t he K ishi B ashi (D u o), S c ha c hm a n p ro c l a i m ed “I t ’s a new era ” as demonstrated b y t he d i vers i t y of i nd i v i d u a l s i n a ttendance, not to m ent i o n t he d a nc e p a rt y t ha t to ok p lace at one p o i nt d u ri ng t he event . H e a l s o p o i n ted ou t that the S y m p ho ny ha s rec ei ved m a j o r c o rp o rate su p p or t from Op p o rt u ni t y B a nk of M o nt a na , c a l l i ng it a “ ver y big deal”

With Nor man Huyn h n am e d its n e w M usic D i rec to r a nd Emily P ar is-Mart in its Exe cutive Dire cto r, th e b o a rd i s p o ised to offer c o n tin ue d suppo r t to th e o rc hes t ra a nd c h oir and is help in g to ste e r th e o r gan iz ati o n a l o ng a p a th of innova tive g ro w th an d d e ve lo p m ent . Fo r Huy nh, w ho has d e sig n e d a n excitin g re pe r to i re fo r t he orchestra’s sea so n , g ue st co n d uctin g wi t h ot her orchestras aroun d th e co un tr y w ill h e lp b r ing a hei g hte ned aw areness of th e Bo z e m an S ym ph o n y, S c ha c hm a n said. H e lauded Par is- M a r tin , w h o se h usb an d p l a y s i n th e orchestra, as b e in g so m e o n e b e yo n d ca p a b l e i n her p o sition. “She als o un d e r stan d s m usician s, ” he s a i d .

a nd t he f i rs t of i t s k i nd fo r t he o rg a ni zation.” H e s a i d t ha t t he S y m p ho ny i s a s “well-p ositioned as w e’ve ever b een,” es p ec i a l l y i n l i g ht of the su r ging g ro w t h of t he B o z em a n a rea ” he s a i d , noting that many of t he new a rri v a l s a re o l d er a nd ret i re d, and are coming f ro m a rea s w here a v i t a l a rt s a nd m u s ic scene are what t hey l ef t .

“ The board today is a m uch d iffe re n t g ro up, ” S c ha c hm a n n oted, refer r ing to h is te n ure in 2 0 1 4. “ I t ’s a n eng a ged B o ard of people w h o b r in g to th e o r gan i z a t i o n t he su ccess of their ca re e r s a n d a re co o p era t i ve i n developing future pla n s. ” E n th usia sm fo r the m u s i c a l p rograms and th e o ppo r tun ity fo r th e c o m m u ni t y i s rampant.

“They ’re get t i ng to k no w w ha t w e have to offer.” What t he B o z em a n S y m p ho ny ha s to of fer is a ser ies of a d vent u res i n go o d m u s i c t ha t s t rengthens the bonds of t he c o m m u ni t y, a nd b u i l d s p a rt ner ship s with those i nd i v i d u a l s , i ns t i t u t i o ns , a nd b u s i nesses that choose to p a rt i c i p a te.

B o z em a n S y m p h o n y Prese nts Kishi Bashi (Duo) T h e Big Yello w Ba rn, Montana

17


V i val di 's G l or i a , D e c e mb e r 2 0 19 W i lls on A ud i tor i um


BIOGRAPHY

NORMAN HUYNH Music Director

American conducto r No r m a n H uyn h co n tin ue s to b u i l d a reputation as one of cla ssica l m usic’s m o st a d vent u ro u s ambassador s. H a ile d fo r th e exub e ran ce w it h w hi c h he l e a ds orchestras acro ss E uro pe , Asia , an d No r t h A m eri c a , Huy nh’s ability to a ttra ct n e w aud ie n ce s to th e o rc hes t ra h a s received equa l re n o w n . T h e 2 0 2 0 se aso n ina u g u ra ted h i s tenure as Mu sic Dire cto r of th e Bo z e m an S y m p ho ny Orchestra, joinin g a n existin g a ppo in tm e n t a s A s s o c i a te C onductor for the O re go n S ym ph o n y. Huy nh has attaine d in te r n atio n al pro m in e n ce i n t he f i rs t years of his caree r, m o st re ce n tly th ro ugh an in v i t a t i o n to th e Bruno Walter Yo un g Co n d ucto r Pre vie w, a s el ec t i ve show case hosted b y th e L e a gue of Am e r ica n Orc hes t ra s . He maintains an a ctive gue st co n d uctin g sched u l e, w i t h recent and upcom in g e n gage m e n ts in clud in g t he D et ro i t Sy mphony O rchestra, St. Lo uis S ym ph o n y Orc hes t ra , R o chester Sy mph o n y O rch e stra , O rch e stra S i nfó ni c a del Vallés (Spain ) an d th e Pr in ce ss Galyan i Va d ha na Youth O rchestra of T h a ilan d . I n a d d itio n , N o rm a n ha s wo r ked w ith both th e Ne w Yo r k Ph ilh a rm o ni c a nd for J ohn Williams of th e Lo s An ge le s Ph ilh ar m o ni c a s a c over conductor.

P ro g ra m , b u t a l s o fo u nd ed “S y m p h ony and Sp ir its," a ro u t i nel y s o l d - o u t c o nc ert s eri es for an u nder-40 a u d i enc e. H i s a c c o m p l i s hm ent s w o uld ear n him the 2 015 Ya l e D i s t i ng u i s hed M u s i c E d u c a to r Award, awarded “i n rec o g ni t i o n of i nnov a t i ve a p p roaches to mu sic ed u c a t i o n.” M o re i m p o rt a nt l y, b ot h the O ccasional S y m p ho ny a nd t he p ro g ra m s he b egan at the P SO c o nt i nu e to t hri ve to t hi s d a y. In addition to outreach, Norman has found success through p ro g ra m m i ng w i t h u ni q u e c ro s s over collaborations, t a k i ng b o w s t hro u g ho u t hi s c a reer with ar tists like S m o key R o b i ns o n, W y c l ef J ea n, B o y z II Men, Gregor y A l a n I s a kov, a nd m a ny ot hers i n t he R &B , hip -hop , and p o p genres . A d d i t i o na l l y, H u y nh ha s received growing a c c l a i m fo r hi s w o rk l ea d i ng l i ve film sou ndtracks, ra ng i ng f ro m S p i el b erg c l a s s i c s , A n A mer ican in P ar is, a nd s p ec i a l p erfo rm a nc es of t he H a r r y Potter films in B a rc el o na a nd M a d ri d .

As a music directo r, No r m an ’s sh ar p fo cus o n w i nni ng over new audience s re fle cts h is o w n e n try p o i nt to c l assical music—n am e ly as a 1 2 - ye a r- o ld “ b a nd geek ” tro mbonist in Al ab am a . No w th e fir st in h is f a m i l y to p ur sue orchestra l m usic a s a ca re e r, th e eu p ho ni u m p l ay er turned mae stro co n tin ue s to fin d w ay s to c rea te th ese same entr y po in ts fo r oth e r s, w h ether t hro u g h outreach initiative s o r b o ld co n ce r t pro g ra m m i ng . While still a stu d e n t a t Pe a b o d y, h e co - fo u nd ed t he Occasional Sy mph o n y afte r a succe ssful K i c ks t a rter c a mpaign raised $5 , 0 0 0 , b uilt to ce le b ra te ho l i d a y s i n modern setting s, w ith exa m ple s in clud in g D r. S eu s s ’ bi rthday at a ch ild re n ’s m use um , H allo w e e n i n a b u rnt c h urch, and Cinco d e M ayo in th e b ase m e nt b a r of a M exican restaura n t.

S el ec ted fo r p ri v a te m ento rs hi p b y t he late maestro Ku r t M a s u r a s a Fel i x M end el s s o hn- B a rt h oldy Scholar ship rec i p i ent , N o rm a n i s a l s o a n a l u mnu s of both the Ta ng l ew o o d M u s i c Fes t i v a l a nd t he A s p en Mu sic Festiv al C o nd u c t i ng A c a d em y, w here he s t u died with R ober t S p a no. Ot her tea c hers w ho ha ve m a d e a p rofou nd imp act a re D em o nd ra e Thu rm a n, J o hn R a t l edge, Adr ian Gnam, G u s t a v M ei er, M a rk a nd Tha k a r, a nd M ar in Alsop .

T his track reco rd w o uld exte n d to existi ng l eg a c y organiz ations. A s th e A ssistan t Co n d ucto r of t he Po rtland (Maine) Sym ph o n y O rch e stra, No r m a n not o nl y v i sited 60 public sch o o ls in h e lm in g its M usica l Ex p l o rer’s

A p ro u d f i rs t genera t i o n A s i a n- A m eri can, Nor man makes hi s ho m e i n B o z em a n, M o nt a na , where he enjoys s t a r- g a z i ng , s k i i ng , a nd ri d i ng hi s m otorcycle.

19


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406-587-2889 / IntermountainOpera.org 21


SEPTEMBER

CLASSICAL SERIES N O~ 1

PRESENTING

TCHAIKOVSKY SYMPHONY NO.4

SEPTEMBER 25 th 202 1 Saturday - 7:30PM

NOR MAN HUYNH conductor

SEPTEMBER 26 th 202 1 Sunday - 2:30PM

JULIAN SCHWARZ cello

SPONSORED BY

D onal d B. Gimb el an d Rob ert & D onn a Ritchie 22


CLASSICAL SERIES N O~ 1 PRESENTING

TCHAIKOVSKY SYMPHONY NO.4

Scott Lee Samuel Barber

The Last Best Place (World Premiere) Cello Concerto, Op. 22

Allegro moderato

Andante sostenuto

Molto allegro e appassionato

Julian Schwarz

INTERMISSION

Piotr Ilyich Tchaikovsky

Symphony No. 4 in F Minor, Op. 36

Andante sostenuto

Andantino in modo di canzona

Scherzo: Pizzicato ostinato

Finale: Allegro con fuoco

P E R F O R M E D AT

Will s on Auditori um 23


F E AT U R E D A R T I S T

JULIAN SCHWARZ CELLO

24


CLASSICAL SERIES N O 1 Julian Schwarz was born to a multigenerational musical family in 1991. Heralded from a young age as a cellist destined to rank among the greatest of the 2 1 s t c e n t u r y, J u l i a n ’s p o w e r f u l t o n e , e f fo r t l e s s v i r t u o s i t y, a n d e x t r a o r d i n a r i l y l a r g e c o l o r p a l a t e a r e hallmarks of his style. After making his concerto debut at the age of 11 with the Seattle Symphony and his father Gerard Schwarz on the podium, he made his US touring debut with the Moscow Radio Symphony Orchestra in 2010. Since being a w a r d e d f i r s t p r i z e a t t h e i n a u g u r a l S c h o e n fe l d I n t e r n a t i o n a l St r i n g C o m p e t i t i o n i n 2 0 1 3 , h e h a s l e d a n a c t i ve c a r e e r a s s o l o i s t , p e r fo r m i n g w i t h t h e s y m p h o n y o r c h e s t r a s o f A n n a p o l i s , B o i s e , B u f f a l o, C h a r l o t t e , C o l u m b u s , D e s M o i n e s , H a r t fo rd , J a c ks o n v i l l e , L o u i s v i l l e , M e m p h i s , M o d e s t o, O m a h a , P u e r t o R i c o, R i c h m o n d , R o c h e s t e r, S a n A n t o n i o, S a r a s o t a , S e a t t l e , S y r a c u s e , To l e d o, Tu c s o n , V i r g i n i a , We s t V i r g i n i a , W i c h i t a , a n d W i n s t o n - S a l e m , a m o n g o t h e r s . I n t e r n a t i o n a l l y, h e m a d e h i s A u s t r a l i a n d e b u t w i t h t h e Q u e e n s l a n d S y m p h o n y, his Mexican debuts with the Boca del Rio Philharmonic i n Ve r a c r u z a n d t h e M e x i c o C i t y P h i l h a r m o n i c w i t h f r e q u e n t c o l l a b o r a t o r J o r g e M e s t e r, a n d h i s H o n g Ko n g d e b u t a t t h e I n t i m a c y o f C r e a t i v i t y Fe s t i v a l . H e h a s a l s o a p p e a r e d a t t h e S a l z b u r g M o z a r t e u m , a n d t h e Ve r b i e r fe s t i v a l i n S w i t z e r l a n d . A s a c h a m b e r m u s i c i a n , M r. S c h w a r z p e r fo r m s e x t e n s i ve l y i n r e c i t a l w i t h p i a n i s t M a r i k a B o u r n a k i . In 2016 the Schwarz-Bournaki duo was awarded first p r i z e a t t h e i n a u g u r a l B o u l d e r I n t e r n a t i o n a l St r i n g C o m p e t i t i o n ’s “ T h e A r t o f D u o ” , a n d s u b s e q u e n t l y e m b a r ke d o n a n e x t e n s i ve 1 0 - r e c i t a l t o u r o f C h i n a i n M a r c h 2 0 1 7 . M r. S c h w a r z i s a fo u n d i n g m e m b e r o f t h e N e w Yo r k b a s e d Fr i s s o n E n s e m b l e ( a m i xe d n o n e t o f w i n d s a n d s t r i n g s ) , a n d t h e M i l e - E n d Tr i o w i t h v i o l i n i s t J e f f M u l t e r a n d M s . B o u r n a k i . H e p e r fo r m s frequently at Bargemusic in Brooklyn with violinist Mark Pe s k a n ov, on the Fr a n k l y Music Series i n M i l w a u ke e w i t h v i o l i n i s t Fr a n k A l m o n d , a s a member of the Palladium Chamber Players in St . Pe t e r s b u r g , F l o r i d a , a n d h a s a p p e a r e d a t t h e C a p e C o d C h a m b e r M u s i c Fe s t i v a l , O r c a s I s l a n d C h a m b e r M u s i c Fe s t i v a l , a n d t h e S e a t t l e C h a m b e r M u s i c Fe s t i v a l . In addition, he is the co-coordinator of chamber music a t E a s t e r n M u s i c Fe s t i v a l , r u n n i n g p r o g r a m m i n g fo r t h e Tu e s d a y e ve n i n g c h a m b e r m u s i c s e r i e s .

Julian Schwarz is an ardent supporter of new music, and has premiered concertos by Richard Danielpour a n d S a m u e l J o n e s ( r e c o r d e d w i t h t h e A l l St a r O r c h e s t r a fo r p u b l i c t e l e v i s i o n i n 2 0 1 2 , s u b s e q u e n t l y r e l e a s e d a s a DV D o n N a xo s ) . I n t h e 2 0 1 7 - 2 0 1 8 s e a s o n , h e g a ve t h e w o r l d p r e m i e r e o f L o w e l l L i e b e r m a n n ’s first Cello Concerto with a consortium of six orchestras. Other premieres include recital w o r k s b y P a u l Fr u c h t , S c o t t O r d w a y, J o n a t h a n C z i n e r, G a v i n Fr a s e r, A l e x We i s e r, O fe r B e n - A m o t s , a n d t h e U S P r e m i e r e o f D o b r i n k a Ta b a kov a ’s C e l l o C o n c e r t o. O n r e c o r d , h e h a s r e c o r d e d B r i g h t S h e n g ’s “ N o r t h e r n L i g h t s ” fo r N a xo s , t h e c o m p l e t e c e l l o / p i a n o w o r k s b y E r n e s t B l o c h fo r t h e M i l ke n A r c h i ve o f A m e r i c a n J e w i s h M u s i c , a n d a n a l b u m o f c o n c e r t o s w i t h t h e S e a t t l e S y m p h o n y. A d e vo t e d t e a c h e r, M r. S c h w a r z s e r ve s a s A s s t . P r o fe s s o r o f C e l l o a t S h e n a n d o a h C o n s e r v a t o r y o f S h e n a n d o a h U n i ve r s i t y ( W i n c h e s t e r, VA ) a n d o n t h e a r t i s t f a c u l t y o f N e w Yo r k U n i ve r s i t y ( N Y U St e i n h a r d t ) . He spends his summers teaching a n d p e r fo r m i n g a t t h e E a s t e r n M u s i c Fe s t i v a l ( G r e e n s b o r o, NC). Past faculty appointments include artist-in-residence at the Lunenburg Academy of Music Pe r fo r m a n c e ( N ov a Scotia, Canada), faculty teaching assistant to Joel Krosnick at The Juilliard School, and artist-in-residence at the p i a n o S o n o m a Fe s t i v a l . B o r n i n S e a t t l e , WA , M r. S c h w a r z s t u d i e d a t t h e A c a d e m y o f M u s i c N o r t h w e s t a n d t h e L a ke s i d e S c h o o l . He continued to the Colburn School in Los Angeles u n d e r R o n a l d L e o n a r d , a n d t h e n m ove d t o N e w Yo r k City to study with mentor Joel Krosnick at The Juilliard School (BM 14, MM 16). Other influential teachers i n c l u d e t h e l a t e D a v i d To n ko n o g u i , t h e l a t e To b y S a k s , Ly n n H a r r e l l , N e a l C a r y, a n d c h a m b e r m u s i c m e n t o r s A n d r e R o y, A r n o l d St e i n h a r d t , J o n a t h a n Fe l d m a n , To b y A p p e l a n d P a u l C o l e t t i . J u l i a n p l a y s a N e a p o l i t a n cello made by Gennaro Gagliano in 1743 and an American bow made by Paul Martin Siefried. He is an a c t i ve c o n t r i b u t o r t o St r i n g s M a g a z i n e ’s A r t i s t B l o g , and sits on the music committee of the National Arts Club. A Pirastro artist, he endorses and plays t h e " Pe r p e t u a l " m e d i u m a n d e d i t i o n s e t s o f c e l l o strings. Julian also proudly endorses Melos Rosin.

"“…it w as cellist Julian Schw ar z high-flying passage s thr oughout the concer to, and he play ed them all with impeccable intonation and ar tistr y.” - Classical Voice of L os Angele s


W E LC O M E

SCOTT LEE COMPOSER-IN-RESIDENCE

Praised as “colo r ful” an d “ e n gag in g ” ( T h e P hi l a d el p hi a In quirer), Scott Le e ’s m usic ofte n ta ke s i ns p i ra t i o n f rom popular ge n re s, explo r in g o d d - m eter g ro oves an d interlocking h o ckets w h ile fe atur in g p o i nt i l l i s t i c

L ee ha s w o rked w i t h l ea d i ng o rc hes tras inclu ding the B a l t i m o re S y m p ho ny Orc hes t ra , t he Nor th C arolina S y m p ho ny, t he Po rt l a nd S y m p ho ny O rchestra, the B o z em a n S y m p ho ny, S y m p ho ny i n C , the Morav ian P hi l ha rm o ni c , R a l ei g h C i v i c S y m p ho ny, the O ccasional S y m p ho ny, t he Pea b o d y S y m p ho ny O rchestra, and m em b ers of t he W i ns to n- S a l em S y mp hony, as well as c ha m b er g ro u p s a nd p o p a rt i s t B en Fo lds.

orchestration and exte n d e d pe r fo r m an ce te ch ni q u es . H i s m usic mar r ies the tra d itio n al in tr ica cy of cla s s i c a l fo rm wi th the more b o d y- ce n te re d a n d visce ral la ng u a ge of c o ntemporary po pula r m usic, cre a tin g a co mp l ex m u s i c of the present w i th b ro a d appe al.

N ot a b l e ho no rs i nc l ude a C har les Ives S c ho l a rs hi p f ro m t he Amer ican Academy of A rt s a nd L et ters , t wo ASCAP Mor ton G o u l d Yo u ng C o m p o ser Awards, winner of t he S y m p ho ny i n C You ng C omp oser ’s C o m p et i t i o n, t he G ra nd P r ize in the 2 015 PA R M A St udent C omp oser C o m p et i t i o n, a nd t h e Gu stav K lemm Aw a rd i n C o m p o s i t i o n from the Peabody I ns t i t u te.

T h e Berkshire E d ge d e scr ib e d th e wo rld premiere of h is “ S lack T id e ” at Tanglew ood Music Ce n te r as h a vin g “ moments both of calm a n d m axim um te nsion... w e’ve n e ve r h e a rd a n yth in g l i ke it.” Lee, a colleague of co n d ucto r No r m a n Huy nh, joins the Bo z e m an S ym ph o n y as c o mposer-in-resid e n ce .

I n 2 02 0, L ee i s c u r rently Assistant P rofes s o r of C o m p osition at the Uni vers i t y of F l o ri d a School of Mu sic, a nd ha s p rev i o u s l y w o r ked as a Lectu rer a t t he Uni vers i t y of Nor th C arolina at G reens b o ro a nd a n i nstr u ctor at D u ke Uni vers i t y. L ee ea rned a P hD i n C o mp osition at D u ke Uni vers i t y, a nd a l s o ho l d s d eg rees f rom the Peabody I ns t i t u te a nd Va nd erb i l t Uni vers i t y.

" I’m thrilled to h ave th e o ppo r tun i ty to come be a pa r t of a flo ur ish in g m usical commun ity, w h ich in clud e s th e Boz eman S ym ph o n y m usicia n s, au dience memb e r s, an d pa tro n s a s well as the stud e n ts a n d faculty a t M o n t a na St a te U niversity,” he sa id . “A s a co m po se r w ith a n o u t s i d er’s p er spective on B o z e m an I h o pe th e pie ce I ’ve w ri t ten wi ll br ing some fre sh e n e r gy an d n e w id e a s t ha t w i l l i n vigorate the orc h e stra . "

“As a comp oser with an outsider’s perspectiv e on Bozeman I hope the piece I’v e written will bring some fr e sh energy and new ideas that will inv igor ate the or che str a." - Scott L e e

26


C u r re n t C ommot i on , Th e Ri a lto


PROGR AM NOTES By A. James Liska

SCOTT LEE

of B o z em a n. R hy t hm s rem i ni s c ent of gallop ing hor ses rec a l l t he to w n’s o ri g i ns i n t he W i l d West. O u t of all of t hi s a c t i v i t y em erges a d i s t a nt a nd myster iou s mu sic in t he m u ted b ra s s , s u g ges t i ng a n i m p o sing stillness that c o nt ra s t s w i t h t he ra u c o u s c ha ra c ter of the mu sic heard s o f a r.

b.1988

THE LAST BEST PLACE CO MP O S E D : 2 0 2 1 Commissi o n e d b y th e Bo z e m a n S ym pho ny

To m e t hi s m u s i c rep res ent s t he na t u ral landscap e of t he G a l l a t i n Va l l ey, a t t hi s p o i nt s hro u ded in mist, which i s ho w t he m o u nt a i ns a p p ea red w hen I fir st ar r ived in B o z em a n a f ter a n u ns ea s o na b l y l a te snowstor m. T he m u s i c of t he c i t y s o o n ret u rns , b u t eventu ally begins to f ra nt i c a l l y p i l e o n to p of i t s el f, b u i l d i n g to a boisterou s c l i m a x . Ou t of t he c o m m ot i o n em erge s once again the m u s i c of t he na t u ra l l a nd s c a p e, no w fu ll of majesty and b ri l l i a nc e, rep ea t i ng a nd g a i ni ng m o mentu m as it bu ilds

WOR LD PR EM IE RE BY TH E B OZE MA N SY M PHONY IN S TRU ME N TATIO N 2 flutes , picco lo, 2 o b o e s, 2 clar in ets , 2 bassoons, 4 h o r n s, 2 tr um pets, 3 tro m b o nes , tuba, timpani, s n a re d r um , b o w e d crota le s, v i b ra s l a p , tam-tam, spla sh cym b al, ch in a cym b a l, sus p end ed c ymbal, w oodblo ck , casta n ets, xylo ph o n e , r id e c y m b a l ,

to w a rd s t he c l o s e of t he p i ec e.

bongos, tr ia n g le , b ass d r um , tam b o ur in e, ru te, gloc ke n spie l, pia n o, an d str in gs ESTIM ATE D D U RATIO N: 6 m in ute s

SAMUEL BARBER

C ommissioned b y th e Bo z e m a n S ym ph o n y, The L a s t B est Place is inspire d b y th e city of Bo z e m a n a nd i t s su r rounding land scape .

1910–1981

CELLO CONCERTO, OP. 22

I visited Boz ema n in M ay 2 0 2 1 an d to o k in t he s i g ht s , h i k ing in the Ga llatin M o un ta in Ra n ge , ea t i ng a t restaurants on M a in Stre et, a n d to ur in g M o nt a na St a te U niversity. The city h as b o o m e d in re ce n t y ea rs , a nd i s one of the fa ste st- gro w in g in th e co un t ry. I s p ent a lot of time ch a ttin g w ith lo cals (I th in k I v i s i ted e ver y coffee sh o p in Bo z e m an ! ), in clud in g m u s i c i a ns , artists and ga lle r ists, jo ur n alists, an d p o l i t i c i a ns .

C OM POS ED : 19 4 5 BOZ EM A N SYM PHONY PR EM I E R E I NS T R U M ENTAT I ON 2 f l u tes , o b o e, E ng l i s h ho rn, 2 clar inets ( 1 d o u b l i ng b a s s c l a ri net ) , 2 b a s s oons, 2 hor ns, 3 t ru m p et s , t i m p a ni , s na re d ru m , and str ings

A common theme e m e r ge d in m y co n vers a t i o ns —a fe ar that the pla ce w as ch an gin g , an d th at s o m et hi ng e ssential about Bo z e m an w a s in pe r il of b ei ng l o s t . While each per so n ’s ve r sio n of th is sto r y ref l ec ted di fferent ty pes of ch a n ge — th e sh iftin g ch ara c ter of t he c o w tow n-turned- te ch - e n tre pre n e ur- h ub , th e i nf l u x of wealthy new come r s pr icin g lo cals o ut of h o u s i ng , t he e ncroachment of h um an s in to th e n a tura l e co s y s tem of “Amer ica’s Seren geti”— th e co n to ur s re m ain e d t he s a m e. T he details of th e se sto r ie s are un iq ue to B o z em a n, but reflect the b ro a d e r co n flict b etw e e n g ro w t h a nd c o nservation tha t co m m un itie s acro ss th e c o u nt ry are grappling w ith . T h e title of th e pie ce re fers to t he u nofficial nickna m e of M o n tan a, w h o se ad o pt i o n a s a sl ogan by the tour ism in d ustr y h as iro n ically c o nt ri b u ted to the explosion of gro w th , puttin g at r isk th e very t hi ng th e nickname rep re se n ts.

ES T I M AT ED D U R AT I ON : 2 7 minu tes Samuel Barber’s Cello Concerto is arguably one of the more tec hni c a l l y c ha l l eng i ng w o rks i n t he reper toire. C omp osed i n 19 4 5 fo r R a y a G a rb o u s ov a , B a r ber (1910-1981) w a s s t i l l i n t he a rm y w hen S erge Kou ssev itzk y, the B o s to n S y m p ho ny Orc hes t ra c o nd u c tor, ar ranged for the y o u ng c o m p o s er to b e d i s c ha rged to wr ite the wor k to c o m m em o ra te hi s t w ent i et h s ea s o n a s mu sic director. It w a s a b i g s u c c es s i n C a rneg i e H a l l i n 1946 and received t he N ew Yo rk M u s i c C ri t i c s ’ C i rc l e Award in 1947 as “exc ept i o na l a m o ng o rc hes t ra l c o m p o sitions p er for med fo r t he f i rs t t i m e [ here] d u ri ng t he c o n cer t season.” Lyrical and expressive, it was written in three movements— f a s t , s l o w, f a s t —w i t h ext rem el y d i f f i cu lt dou ble notes a nd s evera l c a d enz a s . The p i ec e req u ires an assu red tec hni q u e a nd d ra m a t i c f l a i r.

T he piece opens e n e r getica lly w ith a se r ie s of q u i c k l y al ter nating vignette s re pre se n tin g th e h ustle a nd b u s t l e

28


CLASSICAL SERIES N O~ 1

The first movement is the longest with an unusual rhythmic stamp—a tw o-ba r patte r n of a 2 / 4 b a r fo llo w e d b y a 3 / 4 bar. Nonetheless , it is a ve r y lyr ical, playful m ovem ent . T he soloist enter s w ith a flash y ca d e n z a w ith i n t he f i rs t fe w minutes, sho w in g e ve r y ra n ge of th e in str u m ent .

t he t i m e he c o m p o s ed hi s fo u rt h s y m phony (1877-1878). A f ter a c c ept i ng a c o m m i s s i o n f ro m N a dezhda von Meck , t he t w o d evel o p ed a fo u rteen- y ea r affair maintained ent i rel y b y c o rres p o nd enc e, a s b ot h were rep u lsed by p hy s i c a l rel a t i o ns w i t h t he o p p o s i te s ex .

T he slow moveme n t, m a r ke d An d an te So ste nu to ( s l o w and sustained) is in ke y of C sh a r p m in o r, an d i s w ri t ten i n a Sicilian dance r h yth m . M ute d str in gs a n d a s o l o o b o e accompany the m e lan ch o ly ce llo. I t is d istin g u i s hed b y l ong singing melo d ic lin e s in th e glo w in g m i d - ra nge of th e instr ument. Eve n th e o rch e stra l pa r t is d o m i na ted by the low er str in gs. T h e po ig n a n t m ove m e n t end s w i t h tragic over tones.

D u ri ng t ha t s a m e t i m e p eri o d , he mar r ied Antonina Milyukova. He may have taken the advice of well-meaning f ri end s w ho ho p ed t he rel a t i o ns hi p w ou ld p rov ide a cu re fo r hi s em ot i o na l i ns t a b i l i t y The m ar r iage took p lace i n J u l y. Tc ha i kov s k y a t tem pted s u i c ide in September. Thro u g ho u t a l l of t hi s t u rm o i l , he c o nt inu ed to p ou r ou t hi s feel i ng s to M a d a m e vo n M ec k .

T he

last

moveme n t

is

a

passio n a te

an d

P y ot r I l y i c h Tc ha i kov s k y ( 18 4 0– 18 9 3 ) was a comp oser in t he R o m a nt i c t ra d i t i o n a nd t he f i rs t R u ssian comp oser

energet i c

di alogue—the cello spe a ks an d th e o rch e stra a ns w ers . T he cello goes we ll up in to th e strato sph e re a nd t here are several sectio n s of spiccato w o r k . But th e a go ni z i ng i n tensity and a pa ssio n ate ca d e n z a retur n b ri ng s t he c o ncer to to a bravura fin ale .

w ho s e m u s i c w o u l d m a ke a l a s t i ng i mp ression inter na t i o na l l y. H e w a s ho no red i n 18 8 4 b y Tsar Alex ander III a nd a w a rd ed a l i fet i m e p ens i o n. The p rem i ere of t he fo u r- m ovem ent s y mp hony took p lace i n Feb ru a ry 18 7 8 , to m i xed rev i ew s . It was p resented a s a n a b s t ra c t w o rk , b u t fo r t he b enefit of Madame von M ec k , Tc ha i kov s k y p rov i d ed a “p ri v ate” p rogram. In i t , he d es c ri b es t he o p eni ng f a nf a re as “ Fate, the fatal p o w er w hi c h hi nd ers o ne i n t he p u rsu it of hap p iness.” I t ret u rns a g a i n a nd a g a i n to m a rk off the fou r main s ec t i o ns of t he m ovem ent . The s ec o nd movement shows “a not her p ha s e of s a d nes s . One m o ur ns the p ast and h a s n e i t h er the courage nor the will to begin a new life.” The pizzicato f i g u res i n t he s c herzo “ are cap r iciou s arabesques, vague figures, which slip into the imagination w hen o ne ha s t a ken w i ne a nd i s s l ightly intox icated: m i l i t a ry m u s i c i s hea rd p a s s i ng i n t he distance.”

T hough best kno w n fo r h is Ad a gio fo r Str ing s ( 19 3 6 ) , Barber was adept at writing both instrumental and vocal m usic; his w orks b e cam e succe ssful o n th e in terna t i o na l stage and many of h is co m po sitio n s e n jo y ed q u i c k adoption into th e classical pe r fo r m an ce ca no n. H e w a s tw ice aw arded th e Pulitz e r Pr iz e fo r M usic.

PIOTR ILYICH TCHAIKOVSKY 1840–1893

The f i na l e i s ex p l a i ned i n p a rt a s fo l l o ws: “ If you have no pleasure in yourself, look about you. Go to the people. See ho w t hey c a n enj o y l i fe a nd g i ve t hemselves u p entirely to fes t i v i t y.” Tc ha i kov s k y c o nc l u d es this most p er sonal of a l l hi s l a rge- s c a l e w o rks w i t h a re statement of the “f a te” t hem e w hi c h t ri es u ns u c c es s f ully to silence the fo l k s o ng s a nd m a rc hes of t he p eo p l e. T he p rogram ends w i t h t he w o rd s , “R ej o i c e i n t he ha p p i ness of other s and y o u c a n s t i l l l i ve.”

SYMPHONY NO. 4 IN F MINOR, OP. 36 C O MP O S E D : 1 8 7 7 – 1 8 7 8 MOS T R EC ENT BOZE MA N SY MP H O N Y P E RFOR M A NC E S e pte m b e r 2 3 , 2 0 1 8 IN S TRU ME N TATIO N 2 flutes, picco lo, 2 o b o e s, 2 clar in ets, 2 b a s s o o ns , 4 horns, 2 tr um pets, 3 tro m b o n e s, tub a , t i m p a ni , triangle, b ass d r um , cym b als, an d str in g s ES TI MATE D D U RATIO N: 44 m in ute s T he backstory of Tch a ikovsk y’s S ym ph o n y N o. 4 i s a tale of emotiona l cr ise s, un re q uite d love , an d a d i f f i c u l t , l oveless mar r iage . T h e re is ge n e ra l ag re e m ent a m o ng scholar s that Tch aikovsk y suffe re d e m otio n a l l y d u ri ng

29


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31


OCTOBER

CLASSICAL SERIES N O~ 2

PRESENTING

Symphonie fantastique

OCTOBER 30 th 202 1 Saturday - 7:30PM

NOR MAN HUYNH conductor

OCTOBER 31 st 202 1 Sunday - 2:30PM

ROD OLFO LEONE piano

SPONSORED BY

Th oma s J. Scanlin 32


CLASSICAL SERIES N O~ 2 PRESENTING

Symphonie fantastique

Carl Maria von Weber S ergei Prokofiev

Overture to Der Freischütz Piano Concerto No. 3 in C Major, Op. 26 Andante—Allegro Andantino

Allegro ma non troppo

Rodolfo Leone

INTERMISSION

Hector Berlioz

Symphonie fantastique, Op. 14

Rêveries, Passions

Un bal (A Ball)

Scène aux champs (Scene in the Country)

Marche au supplice (March to the Scaffold)

Songe d’une nuit du sabbat (Dream of a Witches’ Sabbath)

P E R F O R M E D AT

Will s on Auditori um 33


F E AT U R E D A R T I S T

ROD OLFO LEONE PIANO

34


CLASSICAL SERIES N O~ 2 T he brilliant 29 - ye ar- o ld I ta lian b o r n pia n i s t R o d o l fo Leone, whose career is supported by the Amron-Sutherland Fund for Young P ia n ists at th e Co lb ur n Sch o o l , w a s t he f i rst-priz e w inne r of th e 2 0 1 7 I n te r n a tio n a l B eet hoven Pi ano Competitio n Vie n n a. De scr ib e d as “ a t ru e s o u nd p hilosopher ” (O be rö ste r re ich isch e Na ch r ich te n) , R o d o l fo released his debut a lb um o n th e A ustr ian lab el G ra m o l a i n May 2018 . T h e a ll- Be eth ove n d isc fe a tures tw o pill a r s of th e pian o re pe rtoire: the “H amm e r k lavie r ” S o n ata a n d th e “Waldstein” S o n a ta . H is pla yin g h a s been descr ibed a s h a vin g “ im pe ccab le sty le” and “abso lute te ch n ical co n tro l” ( Il Nuovo Amico).

y ea r p erfo rm i ng S ho s t a kov i c h’s P i a n o C oncer to No. 1. R o d o l fo m a d e hi s N o rt h A m eri c a n debu t in 2014 p erfo rm i ng L i s z t ’s P i a no C o nc erto N o. 1 with the Toronto C o nc ert Orc hes t ra . S i nc e t hen, he ha s p er for med with, a m o ng ot hers , t he V i enna R a d i o S y mp hony O rchestra a nd t he C o l b u rn Orc hes t ra a t Wa l t D i s ney C oncer t Hall, c o nd u c ted b y Stép ha ne D enève; a nd recitals at Festiv al N a p a Va l l ey a nd t he Soka Per for ming A rt s C enter. H e ha s also p er for med c ha m b er m u s i c w i t h Lynn Har rell, Fabio B i d i ni , A nd rew S c hu l mann, and the V iano St ri ng Q u a rtet .

R o dolfo’s recent se a so n s in clud e a c o llaboration w ith J a m e s Co n lo n a n d L A Opera and debu ts w ith th e S an Die go Sy mphony (Lisz t ’s Pia n o Co n ce r to No. 1 ) c o nducted by Mic h ae l Fra n cis, Pasad e n a Sy mphony (Moz a r t ’s Pian o Co n ce r to No. 21) w ith conducto r David Lo ck in g to n , and Borusan I stan b ul Ph ilh a r m o n ic Orchestra (Beet h ove n ’s Co n ce r to No. 5, “Emperor ”) w ith S asch a Go etz e l; h e also per forme d Be eth ove n ’s Tr iple C oncerto in Walt Disn e y H a ll un d e r th e b ato n of Xi a n Zhang. I n May 2 0 1 9, h e gave a re cital to ur i n A u s t ri a , c ulminating in a pe r fo r m a n ce in Vie n n a a t the B ra hm s Saal of the Musik ve re in . H e also pe r fo r m e d rec i t a l s i n Los Angeles and Naple s, F lo r id a , an d appe a red o n t he c h amber music se r ie s L e Sa lo n d e M usiq u es i n L o s Angeles. As a 2 0 1 8 - 2 0 1 9 Pe r fo r m an ce To d a y Yo u ng Ar tist in Reside n ce , Ro d o lfo ’s live re co rd i ng s w ere bro adcast nation ally th ro ug h o ut th e U n ite d St a tes .

C hi na . Thes e p erfo r mances inclu de d eb u t s i n venu es s u c h as the Mu sikverein i n V i enna , Stei nw a y Hall in London, the M u s i c H a l l of t he N a t i o nal C entre for the Perfo rm i ng A rt s i n B eijing, the Politeama Thea t re i n P a l erm o, t h e Mozar t C oncer t H a l l of A c c a d em i a Filar monica and Tea t ro C a rl o Fel i c e di Genov a in Italy, a nd t he B AS F Gesellschaftshau s in G erm a ny. A top -p r ize winner of s evera l m a j o r p i ano comp etitions, R o d o l fo w a s a w a rd ed to p p ri z es a t the 2014 Toronto I nterna t i o na l P i a no C o m p et i t i o n a nd the 2013 B u soni I nterna t i o na l P i a no C o m p et i t i o n. Pianist magazine d es c ri b ed hi s c o nc erto p erfo rm ance du r ing the 2 017 I nterna t i o na l B eet hoven P i a no C omp etition as a “c o m m u ni o n w i t h t he o rc hes t ra ” that “ was raptly c o nv i nc i ng … ro b u s t a nd j o y f u l .”

Rodolfo has performed extensively t hro u g ho u t E u ro p e, Nor th Amer ica, and

R o d o l fo i s c u rrent l y b a s ed i n L o s Angeles where he p rev i o u s l y s t u d i ed a t t he C o l b u rn C o ns er v ator y of Mu sic. H e ho l d s b ot h a M a s ter of M u s i c d eg ree and an Ar tist D i p l o m a f ro m C o l b u rn, w here he s t u d i ed with Fabio B idini. H e p rev i o u s l y s t u d i ed a t t he H a ns E i s l er School of Mu sic i n B erl i n, G erm a ny a nd a t t he G . R o s sini C onser v ator y i n Pes a ro, I t a l y.

A native of Tur in , I taly, Ro d o lfo m ad e h is o rc hes t ra l debut in 2013 per fo r m in g Rach m a n in ov’s Pia no C o nc erto N o. 3 w ith the Hayd n O rch e stra of Bo lz an o a nd Trento (Italy). He toured Italy with that orchestra the following

"... a true philosopher of sound ..." - Ob er österr eiche Nachr ichte (Upper Austrian New s)

35


PROGR AM NOTES By A. James Liska

CARL MARIA VON WEBER

t he ru l e of d em o ni c p o w ers .” The fo rmer is rep resented b y t he s o u nd of t he ho rn q u a rtet , the latter by the l o w reg i s ters of t he s t ri ng s , c l a ri nets, and bassoons. The s l o w i nt ro d u c t i o n i s a m i ni a t u re tone p oem that ef fec t i vel y es t a b l i s hes t he m o o d fo r the entire op era. The a l l eg ro s ec t i o n t ha t fo l l o w s m a kes u se of melodies f ro m s evera l of t he m o re i m p o rt a nt a rias.

1786–1826

OVERTURE TO DER FREISCHÜTZ CO MP O S E D : 1 8 1 7 – 1 8 2 1 MOS T R EC ENT BOZE MA N SY MP H O N Y P E RFOR M A NC E S e pte m b e r 2 3 , 2 0 1 8

N o ot her w o rk of Web er b et ter s ho w s off his sk ill as an o rc hes t ra to r, a nd p erha p s no ot her o p e ra over tu re better s et s t he s t a ge fo r t he d ra m a to fo l l o w.

IN S TRU ME N TATIO N 2 flutes, 2 obo e s, 2 clar in ets, 2 b asso o n s, 4 ho rns , 2 trumpets, 3 tro m b o n e s, tim pan i, an d s t ri ng s ES TI MATE D D U RATIO N: 1 0 m in ute s

SERGEI PROKOFIEV

T hough frequent ly ove r lo o ke d in th e ch ro n ic l es of 19 t h c entury Ger man ro m a n ticism Ca r l M a r ia vo n Web er ha d th e temperamen t, expre ssive n e ss, a n d lyr ic i s m , a l o ng wi th an interest i n e le m e n ts of m ysticism an d t he s u p ern a tural, that w ould m a r k h im as o n e of th e tr u e fo u nd ers of the Romantic M ove m e n t in m usic.

1891–1953

PIANO CONCERTO NO. 3 IN C MAJOR, OP. 26 C OM POS ED : 19 17 – 19 2 1 M OS T R EC ENT BOZ EM A N SYM PHONY PE R FO R M AN C E S eptem b er 2 5, 2 016 ; S p enc er Myer, p iano

It w as in the ope ra h o use th a t We b e r (1 7 8 6- 1 8 2 6 ) m a d e h i s most significan t co n tr ib utio n s. I n 1 8 1 7 , he s et a s i d e a career as a pianist an d cr itic to b e co m e m us i c d i rec to r of the Dresden Staa tsk ape lle w h e re h e attem pted to e stablish a respectab le Ge r m an tra d itio n . H e so o n rea l i z ed th at there w ere ve r y fe w o pe ra s w h ich w e re tru l y G erm a n i n spir it and none at all th a t e m b o d ie d th e te net s of t he yo uthful romantic m ove m e n t. Dur in g th e n ext ni ne y ea rs , h e w as able to re m e d y th e situatio n b y w ri t i ng t hree wo rks—Der Freis ch ütz , E ur yan th e , an d O b e ro n —t ha t not only ser ved to de fin e Ge r m a n ro m a n ticism b u t hel p ed to e stablish it as the m usica l fo rce in E uro pe .

I NS T R U M ENTAT I ON 2 f l u tes ( 1 d o u b l i ng p i c c o l o ) , 2 o b o es, 2 clar inets, 2 b a s s o o ns , 4 ho rns , 2 t ru m p et s , 3 t ro mbones, timp ani, b a s s d ru m , c y m b a l s , c a s t a net s , t a m b o u r ine, and str ings ES T I M AT ED D U R AT I ON : 2 7 minu tes I n c o m m o n w i t h B eet hoven, P ro kof i ev wrote five p iano c o nc erto s , b u t o nl y o ne of t hem i s p l a yed often. It is the Thi rd , w hi c h w a s f i rs t p erfo rm ed i n C h icago in D ecember of 19 2 1, d u ri ng t he c o m p o s er’s s el f - i mp osed ex ile from hi s na t i ve R u s s i a . A l t ho u g h t he w o rk ha d been in p rogress since 1911, its elements are united in an exciting and colorful d i s p l a y t ha t b et ra y s no s i g ns of i t s l o ng gestation p er iod.

D er Freischütz w a s pro b a b ly th e m o st suc c es s f u l i n e stablishing a Ge r m an ro m an tic o pe ra sty l e. I t ha d e ver y thing that h a d b e e n co n sid e re d e ssent i a l : fo l k m aterial, my sticism , m ag ic, d ista n t pla ce s, d a nger, a nd a strong dose of th e supe r n a tura l re plete w it h Fa u s t i a n over tones. The ti tle tra n slate s as “ T h e Fre e - S ho oter” —a reference to the fact th at th e h e ro casts s i x b u l l et s guaranteed to fin d th e ir m a r k a n d a se ve n th tha t b el o ng s to the devil. The pre m ie re in Be r lin o n J un e 18 , 18 2 1, wa s such a succe ss th at th e w o r k im m e d iate l y b ec a m e p o pular througho ut E uro pe . Pro b a b ly n o other G erm a n wo rk in histor y was e ve r so q uick ly an d w id e ly a c c epted . It was to have a m ajo r in flue n ce o n Wa gn e r, a nd a c ent u ry l ater, such com po se r s as De b ussy, Stra v i ns k y, a nd Hi ndemith ackno w le d ge d its im po r ta n ce .

The Uk ra i ne- b o rn S ergei S ergey ev i c h P rokofiev (189119 53 ) w a s a S ov i et R u s s i a n c o m p oser, p ianist and c o nd u c to r. A s t he c rea to r of a c k no w l edged master p ieces across numerous music genres, he is regarded as one of the m a j o r c o m p o s ers of t he 2 0 t h c ent u ry. Of the established fo rm s a nd genres i n w hi c h he w o rked , he created seven o p era s , s even s y m p ho ni es , ei g ht b allets, five p iano c o nc erto s , t w o v i o l i n c o nc erto s , a cello concer to, a s y m p ho ny - c o nc erto fo r c el l o a nd o rchestra, and nine c o m p l eted p i a no s o na t a s . P ro kof i ev m a d e hi s d eb u t a s a p i a ni s t - comp oser in 1908, w hen he s ho c ked t he a u d i enc e w i t h s u ch dar ing wor ks

T he over ture to De r Fre isch ütz vivid ly d e pic t s t he t w o c entral elements in th e o pe ra : “ th e life of th e hu nter a nd

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CLASSICAL SERIES N O~ 2

as his Suggestio n Dia b o liq ue, an d h e w e n t o n to w ri te a si gnificant body of w o r k fo r th e ke yb o ard .

s y m p ho ny a s a w a y to ex p res s hi s l ove. Smithson did not a t tend t he p rem i ere i n 18 3 0, b u t s he heard the wor k in 18 3 2 a nd rea l i z ed hi s geni u s . The t wo finally met and w ere m a rri ed i n 18 3 3 , b u t l a ter s ep a ra ted.

Prokofiev’s distin ctive style — a b le n d of ra p i d a nd p ercussive play in g w ith lyr icism a n d r ich h a rm o ni es — m akes his music a lm o st in stan tly re co g n iz a b l e. Yo u w i l l h ear pre-echoes of h is Ro m e o an d J uliet b a l l et s c o re ( 1 935-19 36) in th is Co n ce r to, w h ich th e c o m p o s er h i mself introduced in Ch icago a n d la te r in L o s A ngel es .

Fa nt a s t i c a l S y m p ho ny : E p i s o d e i n t he Life of an Ar tist … i n F i ve S ec t i o ns , Op . 14 , i s a p ro g ra m matic comp osition m ea nt to c o nvey ri c h i m a gery. I n t his case, Leonard B erns tei n fo u nd i t b e t he f i rs t m u s i c al ex p edition into p s y c hed el i a b ec a u s e of i t s ha l l u c i na to r y and dream-like na t u re, a nd b ec a u s e hi s to ry s u g ges t s B er lioz comp osed a t l ea s t a p o rt i o n of i t u nd er t he i nf l u ence of op iu m.

T he first moveme n t o pe n s w ith a h a un tin g them e i n t he c l a r inets that is so o n d isplace d b y e n e r get i c a c t i v i t y i n the strings, m ak in g w a y in tur n fo r th e pia no ’s ent ry. T he staccato pas sage w o r k re q uire d of th e s o l o i s t i s of th e most exciting o rd e r. An in te r lud e fo r o b o e l ea d s to a development of th e o pe n in g m e lo d y, th e n m o re f i rew o rks for the soloist and o rch e stra .

The s y m p ho ny, w ri t ten i n f i ve m ovem e nts tells the stor y of a n a rt i s t g i f ted w i t h a l i vel y i m agination who has p o i s o ned hi m s el f w i t h o p i u m i n t he depths of desp air b ec a u s e of ho p el es s , u nreq u i ted l ove. B er lioz p rov ided hi s o w n p ref a c e a nd p ro g ra m notes fo r each movement of t he w o rk . They ex i s t i n t w o p ri nc i p al ver sions — one f ro m 18 4 5 i n t he f i rs t s c o re of t he w or k and the second f ro m 18 55.[ 4 ] Fro m t he rev i s ed p ref a ce and notes, it can b e s een ho w B erl i o z , l a ter i n hi s l i fe, downp layed the p ro g ra m m a t i c a s p ec t of t he w o rk .

T he second move m e n t is in th e fo r m of t hem e a nd v ariations, altern a te ly rapt an d po etic, d a z z l i ng a nd dy namic. The third a n d fin al m ove m e n t retu rns to t he brilliant style of the first, uniting the composer’s proclivities for decadently lu scio us m e lo d y an d b r ittle , ma c hi ne- l i ke rh y thm.

“The fo l l o w i ng p ro g ra m s ho u l d b e d istr ibu ted to the a u d i enc e every t i m e t he S y m p ho nie fantastiqu e i s p erfo rm ed d ra m a t i c a l l y a nd t hu s followed by the m o no d ra m a of L él i o w hi c h c o nc l u d es a nd comp letes the ep i s o d e i n t he l i fe of a n a rt i s t ,” he w rote. “ In this case t he i nv i s i b l e o rc hes t ra i s p l a c ed o n t he stage of a thea t re b ehi nd t he l o w ered c u rt a i n. I f t he symp hony is p erfo rm ed o n i t s o w n a s a c o nc ert p i ec e t his ar rangement is no l o nger nec es s a ry : o ne m a y eve n disp ense with d i s t ri b u t i ng t he p ro g ra m a nd kee p only the title of t he f i ve m ovem ent s . The a u t ho r hop es that the s y m p ho ny p rov i d es o n i t s o w n s u f f i c i en t mu sical interest i nd ep end ent l y of a ny d ra m a t i c i ntent i o n.”

HECTOR BERLIOZ 1803–1869

Symphonie fantastique, OP. 14 CO MP O S E D : 1 8 30 MOS T R EC ENT BOZE MA N SY MP H O N Y P E RFOR M A NC E M ay 1 , 1 97 7 IN S TRU ME N TATIO N 2 flutes (1 d o ub lin g picco lo ), 2 o b o es (1 doubling English h o r n ), 2 cla r in ets, 4 b a s s o o ns , 4 horns, 2 tr um pets a n d 2 co r n ets, 3 tro m b o nes , 2 ophicleides (re place d n o w a d a ys b y b a ss t u b a s ) , timpani, bass dr um , sn are d r um , cym b a ls, lo w - p i tc hed b e lls, 2 h ar ps, an d str in gs

D u ri ng hi s y ea rs i n P a ri s , he p ro d u c e d no less than an o ra to ri o, nu m ero u s c a nt a t a s , t w o dozen songs, a m a s s , p a rt of a n o p era , t w o overt u res, a fantasia on S ha kes p ea re’s Tem p es t, a nd ei g ht s c enes from Goethe’s Fa u s t, a s w el l a s t he S y m p ho ni e f a nt a stiqu e. S e e fe a t u re o n p a ge 3 8 fo r H e c tor B e rlioz orig ina l p ro g ra m note s.

ES TI MATE D D U RATIO N: 49 m in utes Li ke his Russian co un te r- par t, th e Fre n ch - b o rn H ec to r B er lioz (18 03-1869) fo un d in spiratio n fo r h is S y m p ho ni e f antastique in un re q uite d love w ith H a r r iet S m i t hs o n, th e I r ish actress. H e se n t h e r n um e ro us love l et ters , a l l of w hich w ent unan sw e re d . Wh e n sh e le ft Pa ri s i n 18 2 9 , th ey had still not m et. H e th e n co m po se d h is f a nt a s t i c a l

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S Y M P H O N I E F A N TA S T I Q U E

HECTOR BERLIOZ ORIGINAL PROGRAM NOTES

Berlioz provided th e fo llo w i n g n ote o n th e p ro g ra m to t h e au dience at t h e f i rst pe rfo rma n c e i n 1 830 :

b ri ng a n u nf a m i l i a r p ea c e to hi s hear t, and a more c heerf u l c o l o r to hi s t ho u g ht s . He thinks of his l o nel i nes s ; he ho p es s o o n to b e a l o n e no longer … B u t s u p p o s e s he d ec ei ves hi m ! ... Thi s m i xtu re of hop e and fea r, t hes e t ho u g ht s of ha p p i nes s d istu r bed by dar k fo reb o d i ng s , fo rm t he s u b j ec t of t he adagio. At the end, o ne of t he s hep herd s a g a i n t a kes u p t h e ranz de v aches; t he ot her no l o nger a ns w ers ... S o u nds of distant t hu nd er... s o l i t u d e... s i l enc e.

T he composer ’s in te n tio n h as b e e n to tre at va ri o u s s t a tes i n the life of an ar tist, in so fa r as th e y h a ve m u s i c a l quality. Since th is in str um e n tal d ram a l a c ks t he assistance of w ord s, a n ad van ce expla n a tio n of i t s p l a n i s n ecessar y. The fo llo w in g pro gra m , th e re fo re, s ho u l d b e th o ught of as if it w e re th e spo ke n text of an o pe ra , s erv i ng to introduce the m usica l m ove m e n ts an d to ex p l a i n t hei r c h aracter and expre ssio n .

M a rc h to t he S c a f fo l d : The a rt i s t , no w knowing beyond all d o u bt t ha t hi s l ove i s not ret u rned , p oisons himself with o p i u m . The d o s e of t he na rc ot i c , to o weak to take his l i fe, p l u nges hi m i nto a s l eep a c c o m panied by the most ho rri b l e v i s i o ns . H e d rea m s t ha t he ha s k illed the woman he l oved , a nd t ha t he i s c o nd em ned to death, brou ght to t he s c a f fo l d , a nd w i t nes s es hi s o wn execu tion. T he p ro c es s i o n i s a c c o m p a ni ed b y a m a rc h that is sometimes f i erc e a nd s o m b er, s o m et i m es s t a tel y and br illiant: Lou d c ra s hes a re fo l l o w ed a b ru pt l y b y t he du ll thu d of heav y fo ot f a l l s . At t he end of t he m a rc h, t he fir st fou r bar s of t he i d ée f i xe rec u r l i ke a l a s t t ho u g ht of love inter r u pted b y t he f a t a l s t ro ke.

D ay dreams, P assio n s: T h e co m po se r im a gines t ha t a yo ung musician, tro ub le d b y th at spir itua l s i c k nes s which a famous w r ite r h as calle d le va gue d es p a s s i o ns ( i ntimations of p assio n ), se e s fo r th e fir st tim e a w o m a n who possesses all th e ch ar m s of th e id e al b ei ng he ha s dreamed of, and falls d e spe rate ly in love wi t h her. B y some strange trick of fan cy, th e b e love d visio n never a pp ear s to the artist ’s m in d exce pt in a sso cia t i o n w i t h a m usical idea, in w h ich h e pe rce ive s th e sa m e c ha ra c ter — i m passioned, y et re fin e d an d d iffid e n t th at h e a t t ri b u tes to the object of his love . T his melodic ima ge a n d its m o d e l pur sue h im u nc ea s i ng l y l i ke a double id é e fixe . T h a t is w h y th e t u ne a t t he beginning of the fir st alle gro co n stan tly re cu rs i n every m ovement of the sym ph o n y. T h e tra n sitio n fro m a s t a te of dreamy mela n ch o ly, in te r r upte d b y se ve ra l f i t s of ai mless joy, to one of d e lir io us pa ssio n , w ith i t s i m p u l s es of rage and jealou sy, its retur n in g m o m e n ts of tend ernes s , i ts tears, and its re lig io us so la ce , is th e sub j ec t of t he f i rst movement.

D rea m of a W i tc hes ’ S a b b a t h: H e s e es himself at the w i tc hes ’ s a b b a t h, i n t he m i d s t of a ghastly crowd of s p i ri t s , s o rc erers , a nd m o ns ters of eve r y kind, assembled fo r hi s f u nera l . St ra nge no i s es , g ro a ns , bu r sts of lau ghter, f a r- of f s ho u t s to w hi c h ot her s ho u ts seem to rep ly. The b el oved t u ne a p p ea rs o nc e m o re, bu t it has lost its c ha ra c ter of ref i nem ent a nd d i f f i d ence; it has become not hi ng b u t a c o m m o n d a nc e t u ne, tr iv ial and g rotes q u e; i t i s s he w ho ha s c o m e to t h e sabbath... A roar of j o y g reet s her a rri v a l ... S he m i ng l es with the dev ilish o rg y... Fu nera l k nel l , l u d i c ro u s p a ro d y of the D ies irae , s a b b a t h d a nc e. The s a b b a t h d a nc e a nd the D ies irae in c o m b i na t i o n.

A Ball: The artist is place d in th e mo s t v a ri ed c i rcumstances: a m id th e h ub b ub of a car n iva l; i n p ea c ef u l c o ntemplation of th e b e auty of n a ture – b ut e very w here, i n tow n, in the m e ad o w s, th e b e love d visio n a p p ea rs before him, bring in g tro ub le to h is so ul. Scene in the Co un tr y: O n e e ve n in g in th e c o u nt ry, he h ears in the dis ta n ce tw o sh e ph e rd s pla y i ng a ra nz de vaches; this pasto ra l d uet, th e e ffec t of hi s su r roundings, the slig h t r ustle of th e tre es gent l y stirred by the w in d , ce r tain fe e lin gs of h o p e w hi c h h e has been re ce n tly e n te r tain in g – all c o m b i ne to

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39


NOVEMBER

BOZEMAN SYMPHONIC CHOIR

PRESENTING

ELEMENTS OF LIFE

NOVEMBER 12 th 202 1 Friday - 7:00PM

JON HARNEY conductor

NOVEMBER 14 th 202 1 Sunday - 3:00PM

B OZEMAN SYMPHONIC CHOIR

SPONSORED BY

Mi cha el & Sha ron B e ehl er 40


B OZEMAN SYMPHONIC CHOIR PRESENTING

ELEMENTS OF LIFE FAI TH Z. Randall Stroope Josquin des Prez Paul Manz Anton Bruckner

Os Justi Ave Maria E’en So, Lord, Jesus, Quickly Come Ave Maria

Bozeman Chamber Choir

MUSI C Arvo Pärt

Solfeggio

Josef Rheinberger

Abendlied

Arr. Derek Bermel

Kpanlongo

Pärt Uusberg

Muusika

Percy Grainger

Bozeman Chamber Choir

Handel in the Strand BRIEF INTERMISSION

LOVE AND LI VI NG Eric Whitacre Shawn Kirchner

A Boy and a Girl Tu sangre en la mía

Paul Mealor

She Walks in Beauty

Andrea Ramsey

Bozeman Chamber Choir Bozeman Chamber Choir

That Which Remains

Johannes Brahms

Abschiedslied

James Whitbourn

Eternal Rest

Arr. Michael Barrett

Siyalobola Gogo

P E R F O R M E D AT

Hol y Ro sa r y Ch urch 41


BIOGRAPHY

JON HARNEY Bozeman Symphonic Choir Conductor

Jon Har ney is an a sso ciate profe sso r of m us i c a t M S UB o z eman. He rece ive d h is Bach e lo r of M usic d eg ree i n m usic education fro m L uth e r Co lle ge , De co ra h, I o w a — where he studie d un d e r We sto n No b le — a nd M a s ters and Doctor of Mu sical Ar ts d e gre e s in vo cal pe rfo rm a nc e f rom the Univer sity of M in n e sota w h e re h e st u d i ed w i t h C l ifton Ware. As a te n o r so lo ist, h e h as sun g m o re t ha n tw enty -five pr incipal a n d suppo r tin g ro le s in o p era , o p e retta, and major w o r ks w ith o rch e stra an d cho ru s . W hi l e active w ith the Un ive r sity of M in n e sota o pera t hea ter, h e appeared as T h e S ailo r in Did o a n d Ae n e a s, Fento n i n Fal staf f, Nemor ino in T h e E lixir of L ove , Fe r ra nd o i n C o s í Fa n tutte and J u n k i in th e U S pre m ie r of Ra u t a v a a ra ’s Al eksis Kivi. O the r ro le s in th e m id w e st in clud e d D r. C a i u s i n Falstaff and Ba silio in L e No z z e d i F ig aro w i t h t he P i ne M ountain Music Fe stiva l, Fe n to n in T h e M e r r y W i ves of Windsor w ith th e Do r ia n O pe ra T h e a tre an d Fred eri c k i n a touring prod uctio n of T h e Pirate s of Pe nz a nc e w i t h th e Madison-base d O pe ra fo r th e Yo un g . H e ea rned a n h o norable mentio n a w ard in th e 1 998 M in n e sot a D i s t ri c t M etropolitan O pera A ud itio n s. Pe r fo r m a n ce s i n M o nt a na h a ve included th e ro le s of E d m o n d o in M an o n L es c a u t and Remendado in Ca r m e n w ith I n te r m o un t a i n Op era B o z eman as w e ll a s Bach ’s M ag n ificat a nd H a nd el ’s M essiah w ith the Bo z e m a n S ym ph o n y. Harney has ser ve d a s ch o r us m a ste r fo r th e I n term o u nt a i n Opera since 2002 , pre par in g th e ch o r use s fo r p ro d u c t i o ns of L’elisir d’amore, A id a , Lucia d i Lam m e r m o o r, C a v a l l eri a R usticana, I P ag liacci, T h e Pirate s of Pe n z a nc e, M a no n Lescaut, The Magic F lute , Ca r m e n , L a Bo h e m e , The B a l l a d of Baby Doe, I l Trovato re an d I l Ba r b ie re d i Siv i g l i a .

C ha pter of t he N a t i o na l A s s o c i a t i o n of Teacher s of S i ng i ng f ro m 2 007 - 2 009 . I n s u m mer 2008, Har ney w a s s el ec ted to s i ng i n t he Wes t m i nster C hoir C ollege C ha m b er C ho i r i n res i d enc e i n F l o rence, Italy, singing u nd er t he d i rec t i o n of J o e M i l l er a nd in Ju ly 2010 sang u nd er t he d i rec t i o n of D a l e Wa rl a nd a s p ar t of the Festiv al C ho ra l e a t t he M i nnes ot a B eet hoven Festiv al.

Prior to coming to M S U - Bo z e m a n , H ar n e y wa s o n t he vo ice faculty of M acale ste r Co lle ge a n d d irec ted hi g h school choir s in th e No r th St. Pa ul sch o o l d i s t ri c t . I n 2001, Dr. H ar ney jo in e d th e M S U - Bo z e m a n m u s i c f a c u l t y where he teaches stud io vo ice le sso n s a n d o p era s c enes c l ass and directs th e U n ive r sity Ch o r us. I n 2 0 02 , he w a s selected as one of tw e lve vo ice te a ch e r s n at i o nw i d e to p a r ticipate in the Natio n al Asso ciatio n of Tea c hers of Si nging Intern Pro g ra m w o r k in g un d e r m a ster tea c her El aine Bonaz z i. H e se r ve d a s pre sid e n t of the M o nt a na

42


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Command Performance.

President’s Award Winner 5 years in a row.

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43


NOVEMBER

CLASSICAL SERIES N O~ 3

PRESENTING

Brahms Symphony No. 2

NOVEMBER 20 th 202 1 Saturday - 7:30PM

NOR MAN HUYNH conductor

NOVEMBER 2 1 st 202 1 Sunday - 2:30PM

DEMONDR AE THURMAN euphonium

SPONSORED BY

Iri s M.L. Mo d el 44


CLASSICAL SERIES N O~ 3 PRESENTING

Brahms Symphony No. 2

Antonín Dvořák Anthony Barfield

Carnival Overture, Op. 92 Heritage Concerto (Orchestra World Premiere)

Building the Egyptian Pyramids

The Nile River

King Thutmose III

Demondrae Thurman

INTERMISSION

Johannes Brahms

Symphony No. 2 in D Major, Op. 73

Allegro non troppo

Adagio non troppo

Allegretto grazioso (Quasi andantino)

Allegro con spirito

P E R F O R M E D AT

Will s on Auditori um 45


F E AT U R E D A R T I S T

DEMONDR AE THUR MAN EUPHONIUM

46


CLASSICAL SERIES N O~ 3 D emondrae Thurman is co n sid e re d o n e of th e s t a rs of t he formidable generatio n of b rass so lo ists. H is eu p ho ni u m p l ay ing has been d e scr ib e d a s “ awe i n s pi r i ng ,” a nd he i s touted as “an am a z in g m usician ”. De m o nd ra e ha s a fi r m inter nationa l re puta tio n a s a e uph o n i u m s o l o i s t h aving per formed in E uro pe , Asia a n d th ro ug ho u t N o rt h America.  Many of A m e r ica ’s pre m ie re co l l eges a nd u niver sities have h o ste d h im as a perfor mer and teach e r, an d h e co n tin ue s to be in high dem an d . O ve r th e last te n years, Demondrae h as b e e n an in vite d guest ar tist/clin ician at m an y of th e wor ld’s prestigio us e uph o n ium fe stivals i n cluding the I n te r n atio n al Tub a/ Euphonium Confe re n ce , U . S. A r m y Ba n d

I n a d d i t i o n to t he S ot to Vo c e Q u ar tet recordings, D em o nd ra e rel ea s ed hi s f i rs t s o l o recording on the S u m m i t R ec o rd s l a b el i n 2 005 ent i t led, Soliloqu ies. It rec ei ved a 9 / 9 o u t of 10/ 10 f ro m c l a s sicstoday.com, and he w a s referred to a s “ha v i ng ea rned (his) str ip es as one of t he p rem i ere eu p ho ni u m p l a y ers i n t he wor ld.” Showing hi s d ed i c a t i o n to new m u s i c , a l l of the mu sic on the rec o rd i ng w a s w ri t ten for him or w i t h hi s p l a y i ng i n mind. His sec o nd a l b u m ,  S o ng s of a Wayfarer, was rel ea s ed i n 2 011. I n Febr u ar y 2014, D em o nd ra e rel ea s ed h is third recording ent i t l ed , S na p s hot s : T he Sp ir it of C o l l a b o ra t i o n. D em o ndrae can also be hea rd o n rec o rd i ng s with the Atlanta

Tu ba and Eupho n ium Co n fe re n ce an d t h e Leonard Falco n e Co m petitio n . H is primar y teacher s are J o h n Ste ve n s, M ichael Dunn, J ame s J e n k in s, an d Dan ie l Dr ill.

S y m p ho ny Orc hes t ra, B rass B and of B a t t l e C reek , a nd the New Sou th J a z z Orc hes t ra . C u rrent l y, D em o nd rae is Associate P rofes s o r of M u s ic at Samford Uni vers i t y   w here he teaches low brass, c o nd u c t s t he W i nd E ns emble, and ser ves a s D i rec to r of G ra du ate Stu dies. In a d d i t i o n to hi s d uties at Samford Uni vers i t y, D em o nd rae is also on the f a c u l t y of t he M i rap hone Academy, S o u t hea s tern Tu b a E u p ho ni u m Wo r kshop and the N a t i o na l M u s i c Fes t i v a l E u p ho ni u m Wor kshop .

Demondrae is a lso a n active ch a m b e r m usician. H e pla ys fir st e uph o n ium an d trombone in th e h ig h ly re g ard e d Sotto Voce Quar tet w h ich to ur s extensively. The q ua r tet h as re le a se d t h ree recordings o n th e Sum m it Re co rd s l ab el; all of w hic h h a ve re ce ive d ste llar re v i ew s .  V i v a Voce!: The Complete Qua r tets of J o h n Stevens   w o n t h e I nter nationa l Tub a/ E uph o n ium Asso ciat i o n a w a rd for best chamber m usic re co rd in g in 2 0 0 6. The q u a rtet has been fea ture d se ve ral tim e s o n A m e r i c a n P u b l i c M edia’s,  Perfor m a n ce To d a y. I n J an ua r y 2 0 1 4 , rel ea s ed i t s four th album e n title d ,   Take T h is H am m e r. H e a l s o pl ay s first barito n e h o r n in th e Bra ss Ba n d of B a t t l e Creek, a British b rass b an d co m pr ise d of m a ny of t he wor ld’s best bras s an d pe rcussio n pe r fo r m e r s. I n a d d i t i o n to his chamber m usic w o r k , De m o n d ra e is i n d em a nd as a euphonium spe cia list fo r sym ph o n y o rc hes t ra s i n cluding the Atlan ta Sym ph o n y, S arasota O rc hes t ra , a nd N orth Carolina Sy m ph o n y a n d th e Ph ilad e lph ia Orc hes t ra .

D em o nd ra e Thu rm a n i s a M i ra p ho ne  Per for ming Ar tist a nd exc l u s i vel y p l a y s t he M i ra p ho ne 505 0 Ambassador “E d i t i o n” eu p ho ni u m , w hi c h w a s d esigned sp ecifically fo r hi m . H e a l s o p l a y s t he c u s to m “D emondrae” model m o u t hp i ec e m a nu f a c t u red b y   War bu r ton Mu sic P ro d u c t s   a nd i s a S hi res Tro m b o ne Perfor ming Ar tist.

“He w as such a gr eat teacher, and now I get to take that r elationship to one of b eing colleague s.” - Nor man Huynh, music dir e ctor

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PROGR AM NOTES By A. James Liska

ANTONÍN DVOŘÁK

S o u t h” to c rea te a p a rt i c u l a rl y A m eri c an style. R ep r ints of W hi t i ng ’s s p eec h a p p ea red w i d el y i n the mu sical p ress a nd i ns p i red i m p a s s i o ned reb u t t a l s a rou nd the cou ntr y.

1841–1904

Carnival Overture, Op. 92

D ra w i ng c o m p o s i t i o na l i ns p i ra t i o n f rom B lack mu sical i d i o m s w a s a l s o not hi ng new. H enry S choenefeld, based i n C hi c a go, ex p l a i ned i n t he p ro g ra m note to his 1890 “S u i te C ha ra c teri s t i q u e” fo r s t ri ng o rchestra that an “A m eri c a n s c ho o l w i l l b e b a s ed u p o n t h e Negro melodies of t he S o u t h, a s t he R u s s i a ns ha ve fo u nded the R u ssian s c ho o l b y l o o k i ng to t he S l a v m el o d i es”— a for mu lation t ha t nea rl y m a tc hed w ha t D vo ra k wou ld recommend l a ter. Fea t u ri ng a t a m b o u ri ne, t ri a ngle, and tam-tam, t he s u i te’s s ec o nd m ovem ent a t tem pted to captu re the v i t a l i t y of B l a c k verna c u l a r d a nc e w i t h syncop ation, u nu s u a l c hro m a t i c l i nes a nd c o l o rf u l ef fects in the str ings.

CO MP O S E D : 1 8 91 MOS T R EC ENT BOZE MA N SY MP H O N Y P E RFOR M A NC E Apr il 1 4, 2 0 1 9 IN S TRU ME N TATIO N 2 flutes, 2 obo e s, 2 clar in ets, 2 b asso o n s, 4 ho rns , 2 trumpets, 3 tro m b o n e s, tim pan i, an d s t ri ng s ES TI MATE D D U RATIO N: 1 0 m in ute s Antonin Dvorak's Sym ph o n y No. 9 (“ Fro m th e N ew Wo rl d ” ) i s central to the w o r ld w id e o rch e stra l re pe r to ry.

A ro u nd t hi s t i m e, p hi l a nt hro p i s t J e annette T hu r ber i nv i ted D vo ra k to b ec o m e d i rec to r of her new National C o ns erv a to ry i n N ew Yo rk . W hen the news of his a p p o i nt m ent b ec a m e p u b l i c i n 18 9 1, cr itics immediately d o u bted t ha t he c o u l d hel p A m eri c an comp oser s find a na t i o na l vo i c e. A nd D vo ra k o p enl y denied that the Uni ted St a tes c o u l d ever d evel o p a t ruly national style.

B y Douglas W. Shad le Sunday is the 1 2 5 th a n n ive r sa r y of th e p rem i ere of D vorak’s Sy mpho n y No. 9 (“ Fro m th e Ne w Wo rl d ” ) a t C arnegie Hall. La tch in g o n to its un fo r gettab le m el o d i es , i n cluding the fam o us tun e th a t in spire d “ Go i n’ H o m e,” au diences aroun d th e w o r ld h ave cra ve d t hi s l u s h, dramatic w ork eve r sin ce .

“A m eri c a w i l l ha ve to ref l ec t t he i nf l uence of the great G erm a n c o m p o s ers ,” he to l d a rep o rte r in London, “ ju st a s a l l c o u nt ri es d o.”

C ountless histor y b o o ks an d pro g ra m n ote s w o u l d ha ve u s believe that Dvo ra k sud d e n ly aw a ke n e d a na t i o na l m usical consciousn e ss so o n a fte r h is ar r iva l in t he Uni ted St ates in 18 92 an d th a t th e “ Ne w Wo r ld ” S ymp ho ny w a s an attempt to sh o w n aïve A m e r ica n co m po s ers ho w to build a distinctive style usin g w h a t Dvo ra k ca l l ed “N eg ro m elodies.” Leona rd Be r n ste in claim e d a t a 1 958 N ew Yo rk Philharmonic You n g Pe o ple ’s Co n ce r t th at co m p o s ers i n th e United States a t th e e n d of th e 1 9th ce n tu ry b eg a n to “ feel funny about n ot w r itin g Am e r ica n - so un d i ng m u s i c . And it took a fore ign e r to po in t th is o ut to th e m .”

The c o nd u c to r Fra nz Xa v i er A rens , b a sed in Milwau kee, w a nted to p rove ot herw i s e. E a rl y i n 1892, he tou red C ent ra l E u ro p e, w i t h S c ho enefel d ’s s u ite anchor ing an a l l - A m eri c a n o rc hes t ra l p ro g ra m . The su ite’s evocation of B l a c k A m eri c a n m u s i c a l i d i o m s d el ighted au diences. A V i ennes e c ri t i c w rote t ha t “t hi s p i c t ure from the Negro l i fe of t he S o u t h i s d i s t i ng u i s hed t hro u gh lively shap ing a nd u nu s u a l l y c l ever ex p l o i t a t i o n of u nfamiliar mu sical el em ent s ,” w hi l e a w ri ter i n L ei p z i g d e scr ibed it as “ the m o s t s p ec i f i c a l l y A m eri c a n” p i ec e on the p rogram. R ep o rt s o n A rens ’s c o nc ert s s p rea d i n Ger man-langu age new s p a p ers fo r w eeks .

A g reat stor y. But it ’s n ot tr ue .

A c c o u nt s of fo rei g n ent hu s i a s m rea ched the United St a tes t w o m o nt hs b efo re D vo ra k ’s a rr iv al. A.J. Goodr ich, t hen t he l ea d i ng A m eri c a n m u s i c t heor ist, commented t ha t S c ho enefel d ’s m u s i c ha d “a t t ra cted instant atten t i o n, fo r here w a s a m ot i ve not a l re ady develop ed by B ra hm s , D vo ra k , S a i nt - S a ëns , G ri eg or Tschaikov ski.” W hen D vo ra k f i na l l y a rri ved , t he i d e a of mix ing B lack verna c u l a r i d i o m s w i t h c o nvent i o na l classical idioms ha d f a s c i na ted m u s i c i a ns a c ro s s E u rop e and the United St a tes fo r nea rl y t w o y ea rs . Tha t he wou ld be asked to w ei g h i n o n t he s u b j ec t w a s a l l b u t i nev itable.

T he program fo r th e pre m ie re of th e “ N ew Wo rl d ” Sy mphony, featu r in g th e Ne w Yo r k Ph ilh a rm o ni c a t C arnegie Hall, o n De c. 1 6, 1 8 93. (Cre d it N ew Yo rk Philharmonic Leo n L e vy Digita l A rch ive s) Amer ican compo se r s w e re w re stlin g w ith na t i o na l i dentity long befo re Dvo rak ’s a r r ival. Spe a k i ng a t t he annual conventi o n of th e M usic Te a ch e r s N a t i o na l Association in 1 8 8 4, th e Bo sto n co m po s er G eo rge Whiting invoked th e pian ist L o uis M o re a u G ot t s c ha l k ’s C reole-inspired m usic of th e 1 8 5 0 s a n d a rg u ed t ha t c o mposers should w o r k w ith “ Cre o le m e lo d i es of t he

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CLASSICAL SERIES N O~ 3

D vorak immerse d h im se lf in th is b ur n in g to p i c s o o n af ter arriving. H e liste n e d to o n e of hi s B l a c k c o nservatory stu d e n ts, H ar r y Bur le ig h , sin g s p i ri t u a l s and studied the Lo uisville m usic te ach e r M i l d red H i l l ’s scholar ship on Bla ck fo lk so n g s M a ur ic e A rno l d , another Black s tud e n t, sh o w e d Dvo rak h i s a t tem pt at w riting an o rch e stral pie ce usin g Bla c k i d i o m s , and the manuscr ipt fo r Sch o e n e fe ld ’s new “R u ra l Sy mphony ” sat o n Dvo rak ’s d e sk aw a itin g ju d g m ent i n a conservatory -s po n so re d co n te st. (I t e ve n t u a l l y w o n.) B y May 18 9 3, Dvo ra k h ad se e n an d h e ard e n o u g h.

The s y m p ho ny ’s “t ru e” i d ent i t y —Amer ican? C zech? s o m et hi ng el s e? not hi ng a t a l l ?—ha s remained a sou rce of d eb a te to t hi s d a y. B u t t hes e d i s c ussions have taken fo r g ra nted t ha t t he p i ec e w a s s u i gener is and have o b s c u red D vo ra k ’s o ri g i na l p u rp o s e: to acknowledge c o nt ri b u t i o ns B l a c k m u s i c i a ns ha d a l ready been making to t he A m eri c a n c u l t u ra l l a nd s c a p e. T he “ New Wor ld” S y m p ho ny m oved o ne of D vo ra k ’s B l a ck stu dents, Will M a ri o n C o o k , to m u s e o n w het her B l a c k comp oser s might b ec o m e t he vo i c e of t he na t i o n. “A nd w ho k no w s ?” C o o k a s ked . “S o o n, p er hap s, will some na t i ve c o m p o s er, ho p ef u l l y of t he f u tu re, take the p en, i ns p i red b y l o ng rep res s ed i m a g i n ation, and p aint g l o w i ng to ne p i c t u res of a ra d i a nt d a w n — a dawn withou t p a s s i ng — a d a y w i t ho u t a ni g ht .”

“ When I first cam e h e re la st ye ar, ” h e exp l a i ned i n a statement to the pre ss, “ I w a s im pre sse d w it h t hi s i d ea and it has develo pe d in to a settle d co n victio n.” Al though Dvorak h a d n ’t o r ig in a te d th e co nc ept , hi s e ndorsement of in co r po ra tin g th e se m e l o d i es a nd i dioms into “cl assical” m usic spur re d a v i go ro u s , racism-laced d e b ate . Detracto r s q ue sti o ned t he Amer icanness of th e m e lo d ie s, claim in g t ha t t hey were African or a ctua lly d e r ive d fro m w h i te s o u rc es h eard on plantat io n s. T h e Ne w Yo r k co m po s er W i l l i a m M ollenhauer sni ppe d th at “ a n A m e r ica n w o u l d b e ashamed to derive h is in spiratio n fro m such t ra s h.”

ANTHONY BARFIELD b. 1983

Heritage Concerto C OM POS ED : 2 014 FOR B A N D, OR C HEST R AT ED 2021

For the first time , pro m in e n t Bla ck in te lle c t u a l s a l s o addressed the to pic. H ar r y S m ith , th e e d ito r of The C l eveland Gaz ette , re m ar ke d th a t Dvo rak ’s p res c ri pt i o n “ s eems to be a b itte r pill in d e e d fo r m a n y p rej u d i c ed m usicians (w hite) to sw a llo w. ” Dvo ra k , h e a d d ed , w a s “o n th e r ight track, fo r th e sim ple re a so n th at a b o u t a l l t he truly Amer ican m usic w e h a ve is fur n ish e d in t hes e very same ‘Negro’ me lo d ie s. ”

OR C HES T R A WOR L D PR EM I E R E BY TH E B OZ E M A N SY M P HO NY I NS T R U M ENTAT I ON s o l o eu p ho ni u m , 2 f l u tes , p iccolo, 2 o b o es , E ng l i s h ho rn, 2 c l a ri net s , bass clar inet, 2 b a s s o o ns , 4 ho rns , 2 t ru m p et s , 3 trombones, 1 t u b a , t i m p a ni , m a ri m b a , s u s p end ed cymbal, tr iangle, w i nd c hi m es , t a m b o u ri ne, to m s , china cymbal, k i c k d ru m , b a s s d ru m , a nd s tr ings.

Anticipation moun te d as o b se r ve r s w o n d e re d ho w D vo ra k wo uld manifest th e se pr in ciple s in h is n e w s y m p ho ny, e specially since h e h ad e n co un te re d e ve n m o re fo l k sty les at the Wor ld ’s Co lum b ia n Expo sitio n in C hi c a go i n 1 89 3. The New Yo r k cr itic H e n r y Kre h b ie l g a ve a s nea k p review in the Tr ib un e th e d a y b e fo re th e p rem i ere, arguing that it pro je cte d a tr uly A m e r ica n c ha ra c ter th rough its blend of eth n ic m usical tra its like t he fo l k y, syncopated “Scotch sn ap” an d “ th e m o o d in sp i red b y t he c o ntemplation of I n d ia n le ge n d an d ro m a n ce . ”

ES T I M AT ED D U R AT I ON : 2 4 minu tes H eri t a ge C o nc erto fo r E u p ho ni u m was wr itten s p ec i f i c a l l y fo r D em o nd ra e Thu rm a n a nd commissioned b y D o n W i ns to n. Thi s p erfo rm a nc e b y T hu r man with the B o z em a n S y m p ho ny i s t he f i rs t . A c c o rd i ng to c o m p o s er A nt ho ny B a rfield, the wor k is b a s ed o n s p ec i f i c a rea s of A nc i ent E gyptian civ ilization a nd i s p res ented i n t hree m ovem ent s .

Surprisingly, the pre m ie re le d to pe r plexe d d i s a p p o i ntm ent. Listener s a gre e d th a t th e m usic w a s ma g ni f i c ent , but many did not h e ar a n yth in g “Am e r ica n ” in i t , a f ter a l l . “ So me of those wh o appla ud e d m o st lo ud ly, ” w rote o ne B rookly n critic, “th o ugh t th e I n d ia n a n d Ne g ro t hem es wo uld have been as e ffe ctive if picke d up in S i b eri a .”

The f i rs t m ovem ent , B u i l d i ng t he P y ramids, reflects on t he p ro c es s d u ri ng t he b u i l d i ng of t he three p yramids in G i z a , E g y pt . The s ec o nd m ovem ent , The N i l e, p a i nt s a mu sical p ictu re

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PROGR AM NOTES By A. James Liska

of the importan ce of th e r ive r fo r provid i ng w a ter, transpor tation, a n d exce lle n t so il fo r gro w in g fo o d . T he third moveme n t, T h utm o se I I I, h as as i t s fo c u s T hutmose— w ho w a s th e sixth Ph a ra o h of th e E i g hteent h D ynasty. Thutmo se w a s k n o w n fo r h avin g a s t ro ng A rm y and he created th e lar ge st e m pire E g ypt h a d ever s een.

18 57 , o nl y to t ra ns fo rm i t a t t he l a s t moment into the P i a no C o nc erto N o. 1 i n D m i no r. The wor k failed and the ex p eri enc e d i s c o u ra ged B ra hm s f ro m wr iting another s y m p ho ny. I t to o k f i f teen y ea rs fo r him to find the c o u ra ge to t ry a g a i n. H i s S y m p ho ny N o. 1 was a su ccess, a nd S y m p ho ny N o. 2 w a s c o m p l eted l ess than a year later.

“ Her itage focuses o n A n cie n t E g yptia n life a s w e k no w i t, ” Barfield note d , “ b ut as a w h o le , te lls the s to ry of h o w w e culturally a n d ofte n un co n scio usly pres erve t he m emor ies and idea s fro m o ur an ce sto r s. ”

The S y m p ho ny N o. 2 i n D m a j o r i s o ne of the most cheer fu l of B ra hm s ’ w o rks , s o m u c h s o t ha t i t is often called his “Pastoral,” an obvious reference to Beethoven’s symphony w i t h t he s a m e na m e. I t s b u c o l i c na t ure may be du e to t he f a c t t ha t i t w a s c o m p o s ed d u ri ng a su mmer holiday in 18 7 7 o n t he s ho res of a b ea u t i f u l A u s tr ian lake.

JOHANNES BRAHMS

The overw hel m i ng l y p o s i t i ve rec ept i on to its p remiere g rea t l y c heered B ra hm s a nd m a rked the beginning of

1833–1897

hi s rep u t a t i o n a s a p ro m i s i ng s y mp honic comp oser. Of t he fo u r s y m p ho ni es he w a s to wr ite, it was his p ers o na l f a vo ri te.

Symphony No. 2 in D major, Op. 73 CO MP O S E D : 1 8 7 7

The f i rs t m ovem ent b eg i ns w i t h t h ree notes in the c el l o s a nd b a s s es t ha t c o ns t i t u te a theme heard rep ea ted l y t hro u g ho u t t he w o rk . A p astoral second t hem e i s i nt ro d u c ed b y t he ho rns and comp leted by t he w o o d w i nd s . Thes e t w o t hem es and a gentle third t hem e a re t hen extend ed a nd d evelop ed at length t hro u g ho u t t he m ovem ent . A t ra nq u i l coda featu res an ext ra o rd i na ri l y ex p res s i ve s o l o fo r the hor n and a res t a tem ent of t he o p eni ng t heme. T he second m ovem ent a l s o m a kes u s e of t hree p r incip al themes. The f i rs t t w o a re hea rd s i m u l t a neo u s ly— one descends i n t he c el l o s , w hi l e t he ot her a s c end s in the bassoons. The rem a i ni ng t hem e, s y nc o p a ted a nd scored for the w o o d w i nd s , i s l i g hter i n s t y l e a nd character. An i nterm ez z o s erves a s a t hi rd m ovement. Here the f i rs t t hem e i s p res ented b y t he o boe with p izzicato a c c o m p a ni m ent . Tw o t ri o s fo l l o w, sep arated by a res t a tem ent of t he p ri nc i p a l t hem e. Th e final movement b eg i ns w i t h a q u i et t ra ns p a rent m el o dy in the str ings. A f ter rep et i t i o ns i n t he w o o d w i nd s , a tr iu mp hant setting of t he t hem e fo r t he f u l l o rc hes t ra d o minates the textu re to t he end . A s i f to m a ke s u re t here is no dou bt abou t t he to ni c key, t he l a s t m ea s u res c u l m i nate in a for tissimo D m a j o r c ho rd p l a y ed b y t he t ro m b o nes.

MOS T R EC ENT BOZE MA N SY MP H O N Y P E RFOR M A NC E O cto b e r 2 8 , 2 0 1 8 IN S TRU ME N TATIO N 2 flutes, 2 obo e s, 2 clar in ets, 2 b asso o n s, 4 ho rns , 2 tr umpets, 3 tro m b o n e s, 1 tub a , tim pan i, an d s t ri ng s ESTIM ATE D D U RATIO N: 43 m in ute s B y all appearanc e s, th e succe ss of J o h a n n es B ra hm s ( 1 8 33-18 97) see m s e n viab le . W h ile he enj o y ed e nor mous succes se s d ur in g th e la st tw e n ty y ea rs of hi s l i fe, he often foun d it d ifficult to fin d a styl i s t i c p l a c e wi thin the artistic cur re n t th a t sw e pt E uro p e d u ri ng th e latter part of th e 1 9th ce n tur y. Bo r n in to t he v a s t l y c reative era of Ge r m a n Ro m a n ticism , h e fo u nd t he m ovement fragme n tin g as h e re a ch e d m usica l m a t u ri t y. N ext, he found h is m usic b e in g ch am pioned a s a n al ter native to tha t of Wa gn e r ’s. I t w as n ot a c o m fo rt a b l e role for him to pla y an d h e ch o se to e scap e i nto t he c o mforting confin e s of a po st- Ro m a n ticism . Few Ger man compo se r s co uld w o r k o utsid e t he s ha d o w of Beethoven. T h e oth e r Ro m an tics— M end el s s o hn, Li sz t, and Ber lioz— fo un d it n e ce ssar y to re ly hea v i l y o n p rogrammatic d e vice s as a w a y of d e vel o p i ng a symphonic sty le th a t co uld a vo id co m par iso n . B rahms himself s um m e d up th e pro b le m b y st a t i ng , “Yo u wi ll never know ho w th e like s of us fe e l w h e n we hea r t he tramp of a giant l ike Be eth ove n b e h in d us. ” Des p i te s u c h m i sgivings, he beg an sketch in g a sym ph o n y a s ea rl y a s

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The Wine Gallery and Bozeman Symphony What a Fabulous Pairing

2320 W. Main | 406.586.8828 | bozemanwinegallery.com 53


DECEMBER

B OZ E MAn SY M PHONY P R ESEN T S

Holiday Spectacular

DECEMBER 11 th 202 1 Saturday - 7:30PM

NOR MAN HUYNH conductor

DECEMBER 12 th 202 1 Sunday - 2:30PM

JENI FLEMING vocalist

B o z e m a n S ym p h o n i c C h o i r SPONSORED BY

First Se c urity Bank, Sh e ehy Famil y Foun d ation, an d Ren e e & Stua rt We stl ake 54


B OZ E M An S YMPHONY P rESENTS

Holiday Spectacular Leroy Anderson Traditional

A Christmas Festival O Tannenbaum

Arr. Dragon Traditional

What Child is This

Arr. Tyzik Traditional Arr. Stern Pyotr Ilyich Tchaikovsky

The Christmas Song

Jeni Fleming

Selections from The Nutcracker

In the Pine Forest

Waltz of the Snowflakes

Bozeman Symphonic Choir

INTERMISSION John Williams

Walter Kent

Selections from Three Holiday Songs from Home Alone

Somewhere In My Memory

Merry Christmas, Merry Christmas

I’ll Be Home for Christmas

Arr. Stern

Jule Styne

Let it Snow

Arr. Stern

Traditional Arr. Dragon Wolfgang Amadeus Mozart S ergei Prokofiev Leroy Anderson John Finnegan

Jeni Fleming Jeni Fleming

Twelve Days of Christmas

Bozeman Symphonic Choir

Die Schlittenfahrt from Three German Dances, K. 605 Troika from Lieutenant Kijé, Op. 60 Sleigh Ride Christmas Sing-a-Long

P E R F O R M E D AT

Will s on Auditori um 55


F E AT U R E D A R T I S T

JENI FLEMING VOCALIST

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B OZ E M An S YMPHONY P rESENTS Fast becoming o n e of th e w e st 's m o st so u g ht - a f ter m usicians, J eni Fle m in g b r in gs a b re ath tak in g o ri g i na l i t y to some of the b e st m usic of th e Am e r ica n s o ng b o o k . Fro m classic jaz z stan d a rd s fro m co m po sers s u c h a s Gershw in, Cole Po r te r an d J o b im , to re - a r ra nged p o p h i ts by Cy ndi Lau pe r, T h e Gra te ful De ad , o r T he B ea t l es , Je ni defies easy cla ssifica tio n sim ply sa yin g i n d efens e “ a good song is a go o d so n g . ” H e r sig n a ture b a l l a d s d ri p wi th so much e m otio n th a t an a ud ie n c e m em b er s uggested addin g Kle e n ex b oxe s o n e a ch c ha i r i n her Tech Rider. The Big S k y J o ur n a l co m m e n te d “a n eveni ng of this and y ou’re b oth w h ippe d an d exh ilara ted , y o u ’ve wi ped y our ey es, yet yo ur ch e e ks h ur t fro m a l l t he grinning.” With eve r y pe r fo r m a n ce , th e so n g s a nd s to ri es of J eni Fleming a re w in n in g th e h e a r ts of a ud ienc es f ro m c oast to coast.

J a z z M o nt a na ( t hree y ea rs i n a ro w o p ening for Hilton R u i z , D a ve Va l ent i ne, N i c ho l a s P a y ton, T im War field, C y ru s C hes t nu t , G a ry B a rt z a nd Stefo n Har r is), B ig T imber J a z z S o c i et y C o nc ert S eri es , P hi l l i p s bu r g Jazz Festiv al, J a z z a t t he D ep ot ( B i l l i ng s , M T o p eni n g for Hank Jones), M i not J a z z Fes t i v a l , J a z z I n t he C a ny o n (Twin B r idges, ID, a nd J a z z Fes t I nterna t i o na l ( V i c to ri a , B C ), op ening for f a m ed p i a ni s t D a ve B ru b ec k . J eni ha s tou red the cou ntr y a nd b ey o nd i n m a ny d i f ferent ens em b les, she has been a g u es t s o l o i s t w i t h v a ri o u s B i g B a nds, hou se r hythm s ec t i o ns , a nd i n p ro m ot i o n of her a l b u m "We' ll B e Together Again" with symphony orchestras across the country. J eni m a i nt a i ns a f u l l - t i m e p ri v a te stu dio of p iano a nd vo i c e s t u d ent s . S he C o - fo u nd ed Hand Me D own S o m e S i l ver, I nc . ( H M D S S ) , a 501(c)3 or ganization of feri ng need - b a s ed s c ho l a rs hi p s to you ng mu sic i a ns fo r m u s i c l es s o ns , i ns t ru m ents, and creating p rofes s i o na l rec o rd i ng a nd p erfo rm a n ce op p or tu nities. ( w w w.H a nd M eD o w nS o m eS i l ver.o rg ) . Her p er for mance of t he s i ng l e “Three C u p s of Tea ” (Jake Fleming), c o m m i s s i o ned b y N o b el Pea c e P ri z e no minee and au thor G reg M o rtens o n of t he N a t i o na l B es t Selling book of t he s a m e t i t l e, c o nt i nu es to g a rner rave rev iews. P ro c eed s f ro m t he s i ng l e go to w a rds the effor ts of The C ent ra l A s i a I ns t i t u te.

The second of fo ur d augh te r s to a Luth e ra n p a s to r a nd an English teache r, J e n i's love of m usic w a s n u rt u red a t a very y oung age . “ T h e fir st so n g s I k n e w w e re hy m ns ,” an d since their moth e r w as th e d ire cto r of t he c hu rc h c hildren’s choir sh e a n d h e r th re e siste r s a l l s a ng i n t h at choir, as sh e puts it, “ . . .w h eth e r o r n ot w e w a nted to. Some families b o n d th ro ugh a th letics, so m e t hro u g h ac ademics, our s w a s ce n te re d a ro un d m usi c .” P ri v a te pi ano lessons beg an a t age 6, b y 1 3 sh e h a d w o n The Yo ung Artist Aw ard a n d m a d e h e r class i c a l p i a no debut w ith The Billin g Sym ph o n y, th e fir st of a s t ri ng of s uccesses in the co m petitive cla ssica l pia no w o rl d . College offered h e r a ch a n ce to pur sue an ot her l ove, v i sual ar ts but af te r fo ur ye ar s a s a n a rch ite c t u re m a j o r, m usic found her a gain a n d sh e g ra d uate d fro m M o nt a na State Univer sity in m usic.

J eni ha s ei g ht a l b u m s i n her d i s c o g ra p hy, bu t has su ng o n c o u nt l es s ot her p ro j ec t s . H er f ir st albu m "It Is Wel l " w a s rel ea s ed i n 19 9 7 w i t h [ fo rmer hu sband] Jake F l em i ng . I n 2 002 , t he d u o a d d ed f ri end and bassist C had L a ng fo rd a nd to get her The J eni Fleming Acou stic Tri o rel ea s ed f i ve a l b u m s . J eni 's albu m “ We’ ll B e To get her A g a i n,” fea t u res 14 t ra c ks of lu shly-ar ranged s t a nd a rd s a nd o ri g i na l p i ec es , a nd t he wor k of T he Str ing Orc hes t ra of t he R o c k i es , M o nt a na ’s p remiere str ing ens em b l e. The w i nter a nd ho l i d ay-themed albu m " D ec em b er " w a s i ntend ed to b e a p roject with Jeni's b el oved m ento r a nd c ha m p i o n, R alp h Sap p ington ( t ru m p et ) . Unfo rt u na tel y, R a l p h p a s s ed away ju st weeks b efo re hea d i ng i nto t he s t u d i o, t ha t albu m is dedicated to hi m . The 2 010 rel ea s e " C o m e To Life" reflects the s o m et i m es ro u g h a nd p a i nf u l p a rt s of a relationship , and p erha p s w a s a fo res ha d o w i ng of t he sep aration from m u s i c a l p a rt ner a nd hu s b a nd J a ke. T he mu sic is raw a nd ho nes t a nd m a rks a n o bv i o u s t u rn ing p oint in Jeni's m u s i c a l p a t h.

“ Having studied classical pian o fo r m o st of m y l i fe, i t i s the thing I kno w so m eth in g ab o ut, b ut sing i ng i s t he t h ing I feel someth in g a b o ut. ” W ith th e 1 997 rel ea s e of " It I s Well" J eni w a s fe a ture d o n a n atio n all y - tel ev i s ed pro gram by the Od ysse y Ch a n n e l. Fo llo w in g t he s u c c es s of her subsequen t th re e re co rd in g s, T h e J e n i F l em i ng Tri o was featured as t h e pilot e piso d e of " 1 1 th a n d G ra nt w i t h Eric Funk," w hich a ire d o n M o n ta n a PBS in S eptem b er 2005, w inning an E m m y. Je ni has per forme d a s a vo calist a t m a n y m a j o r m u s i c festivals includin g U NC Gre e le y J az z Fe stiva l , ( w i nni ng t wo O utstanding S o lo ist Aw ard s), Ye llo w s to ne J a z z Festival, Pow ell J az z Fe stival, J ua n d e Fuc a Fes t i v a l ,

"Jeni Fleming is a r ar e elegance…r ev ealing a gr eat sensitiv ity and b eautiful musicality." - Jazz Hot Magazine, Par is

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F E AT U R E S T O R Y

A NEW BOZEMAN TR ADITION WHAT IS BOZEMAN SYMPHONY PRESENTS?

In addition to h is o bvio us tale n t an d m u s i c a l sensibilities, No r m an H uyn h ’s eth usia sm fo r t he tasks ahead is in fe ctio us. H e is e age r to eng a ge t he c o mmunity w ith n e w pro g ra m s th at w ill h e lp b u i l d t he B o z eman Sy mpho n y's re putatio n a n d a ttra ct a n a u d i enc e di verse in its taste s.

“We w a nt to c rea te a new B o z em a n tradition,” Hu ynh s a y s , “b y p i g g y - b a c k i ng o n t he C hri s t mas stroll. T he hall w i l l b e fes t i ve w i t h l i g ht s a nd ho l i d a y d écor.” The s ec o nd of feri ng of B o z em a n S y mp hony P resents w i l l b e a n ent i re c o nc ert of m u s i c by John Williams, ho no ri ng t he f i l m c o m p o s er w ho w i l l be 90 this year. The o rc hes t ra w i l l p erfo rm t hem e s from timeless c l a s s i c s s u c h a s E .T., J u ra s s i c P a rk , St ar War s, and more. The a l l - a ges c o nc ert w i l l c el eb ra te o ne of the wor ld’s

To that end, the o rch e stra h a s expan d e d i t s c o nc ert season w ith the a d d itio n of tw o co n ce r ts of w ha t a re being billed as t h e Bo z e m an S ym ph o n y Pres ent s . Thi s season’s offering s are fe a tur in g pro gra m s of “f a m i l i a r, f amily fr iendly ” m usic.

m o s t b el oved c o m p o s ers . I n a d d i t i o n to w a nt i ng to vent u re i nto indie p op , jazz, and ot her genres , H u y nh i s em b ra c i ng c o ntemp orar y mu sic in t he c o nc ert t ra d i t i o n.

“ They are highly e n te r tain in g , ” H uyn h sa ys . “Po p u l a r m usic that allow s a n o utre ach to a w id e r aud ie nc e.” T he first program , H o lid a y S pe ctacula r w i l l fea t u re guest ar tist J en i F le m in g, a sin ge r of g rea t reno w n to Montanans (a n d b e yo n d ). T h e co n ce r t w i l l fea t u re yuletide favor ites, alo n g w ith sym ph o n ic in te rp ret a t i o ns of LeRoy Anderso n ’s “ Sle igh Rid e . ”

The B o z em a n S y m p ho ny i s i n go o d ha nds with ou r new M u s i c a l D i rec to r a nd w e c a n a l l l o o k for ward to a fu tu re b ri g ht w i t h f res h i d ea s a nd g rea t m u s i c.

"They ar e highly enter taining,” Huynh say s. “Popular music that allow s an outr each to a wider audience." - Nor man Huynh

Bo zem an S y m p h o n y P rese nts Kishi Bashi (Duo) T h e Big Yello w Ba rn, Montana

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JANUARY B o z e m a n S y m p h o n y Pr e s e n t s

JOHN WILLIAMS: 90TH BIRTHDAY BONANZA

JANUARY 29 th 2022 Saturday - 7:30PM

JANUARY 30 th 2022 Sunday - 2:30PM

NOR MAN HUYNH conductor

SPONSORED BY

David & Kippy San d s 62


B o z e m a n S y m p h o n y Pr e s e n t s

John Williams: 90TH Birthday Bonanza

Raiders March from Indiana Jones and the Raiders of the Lost Ark The Flight to Neverland from Hook Air and Simple Gifts With Malice Towards None, from Lincoln

Sarah Stoneback, trumpet

Viktor’s Tale from The Terminal

Wendy Bickford, clarinet

Adventures on Earth, from E.T. Extra Terrestrial

INTERMISSION

Olympic Fanfare and Theme Nimbus 2000 From Harry Potter and the Sorcerer’s Stone Theme from Jurassic Park Theme from Schindler’s List

Cade Fiddaman, violin

Luke and Leia, from Star Wars: Return of the Jedi Main Title from Star Wars: A New Hope

P E R F O R M E D AT

Will s on Auditori um 63


BIOGRAPHY

JOHN WILLIAMS COMPOSER

The B FG , w a s rel ea s ed o n J u l y 1, 2 016. Mr. Williams has c o m p o s ed t he s c o res fo r a l l s even St ar War s   films, the f i rs t t hree  H a rry Pot ter  f i l m s ,  S u p er man: T he Mov ie,  J F K ,  B o rn o n t he Fo u rt h of J u l y,  Memoir s of a G ei s ha ,  Fa r a nd Aw a y,  The A c c i d ent al Tou r ist,  Home A l o ne,  N i xo n,  The P a t ri ot ,  A ngel a ’s A shes,  Seven Year s i n Ti b et ,  The W i tc hes of Eastwick,  R o s ew o o d ,  S l eep ers,  Sabr ina,  P resu m ed I nno c ent ,  The C owboys  and  T he R ei vers, a m o ng m a ny other s. He has w o rked w i t h m a ny l e gendar y director s, i nc l u d i ng A l f red Hitchcock , William W y l er a nd R o b ert Altman. In 1971, he a d a pted t he s core for the film vers i o n of   F i d d l e r on t h e R oof, for w hi c h he c o m p o s ed or iginal v iolin c a d enz a s fo r reno w n ed v ir tu oso Isaac Stern. H e ha s a p p eared on recordings a s p i a ni s t a nd c o ndu ctor with Itzhak Perl m a n, J o s hu a B ell, Jessye Nor man a nd ot hers .

In a career tha t spa n s five d e cad e s, J o hn W i l l i a m s h as become one of A m e r ica ’s m o st a cco m p l i s hed a nd s u ccessful compo se r s fo r film an d fo r th e co nc ert s t a ge. He has ser ved as m usic d ire cto r an d laure a te c o nd u c to r of one of the co un tr y’s tre a sure d m usical ins t i t u t i o ns , t h e Boston Pops O rch e stra , a n d h e m ain ta ins t hri v i ng artistic relationsh ips w ith m an y of th e wor ld’s great o rch e stra s, in clud in g t h e Boston Sy mph o n y O rch e stra, th e N ew York P hilha r m o n ic, th e Ch ica go Symphony and th e Lo s A n ge le s Philhar monic. M r. W illiam s h a s re c eived a variety of pre stigio us a w ard s, i n cluding the Na tio n al M e d al of A r ts, t h e Kennedy Cente r H o n o r, th e O lym pic Order, and numero us A ca d e m y Aw ard s, Grammy Aw ards , E m m y Aw ard s an d Golden Globe Aw a rd s. H e re m a in s o n e of our nation’s mo st d istin guish e d a n d c ontributive mus ica l vo ice s. M r. Williams has co m po se d th e m usic an d served as music d ire cto r fo r m o re t h an one hundred film s. H is 40 - ye ar artistic par tne r sh ip w ith d ire cto r Steven Spielberg has re sulte d in m an y of Ho l l y w o o d ’s m o st acclaimed an d succe ssful film s, i nc l u d i ng Sc hindler ’s List, E .T. : T h e Extra -Te r re str ial,  J aws , J u ra s s i c Par k,  Close Enco un te r s of th e T h ird Kin d, fo u r   I nd i a na Jones  films,  Sa vin g Pr ivate Ryan ,   A m ista d ,  M u ni c h,  Hook,  Catch Me I f Yo u Can ,   M in o r ity Rep o rt ,  A .I .: Artificial Intelligen ce ,  E m pire of th e Sun ,  T h e A d vent u res of Tin Tin  and  War H o r se . T h e ir la te st co l l a b o ra t i o n, 

M r. Williams ha s received five A c a d em y Aw a rd s and 5 0 O scar no m i na t i o ns , m a k i ng hi m t he Academy’s mostno m i na ted l i v i ng p ers o n a nd the second-most no m i na ted p ers o n i n t he hi s to ry of t he O scar s. His most rec ent no m i na t i o n w a s fo r t he f i l m Star War : T he Fo rc e Aw a kens . H e a l s o ha s rec ei ved seven B r itish A c a d em y Aw a rd s ( B A F TA ) , 22 Grammys, fou r G o l d en G l o b es , f i ve E m m y s , a nd nu merou s gold a nd p l a t i nu m rec o rd s . S ource : Gorf ai n e /S ch w art z A ge n cy

“S o much of what w e do is ephemer al and quickly forgotten, ev en by ourselv e s, so it’s gr atifying to hav e something y ou hav e done linger in people’s memorie s.” - John Williams, comp oser

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F E AT U R E D A R T I S T

CADE FIDDAMAN VIOLIN

When Cade Fidda m an w a s o n ly tw o ye a r s o ld , he hea rd Yo-Yo Ma and decid e d h e w an te d to b e co m e a c el l i s t . A s f ate w ould have it, th e re w e re n o ce llo s th a t w ere of a si z e he might be ab le to pla y.

L a s t y ea r he c o m p eted i n t he M o nt a na Association of S y m p ho ny Orc hes t ra s 2 02 1 Yo u ng Ar tist C omp etition. The b i - a nnu a l c o m p et i t i o n, c o m p l eted online, heard hi m p erfo rm i ng a s i ng l e m ovem ent of a Shostakov ich v i o l i n c o nc erto. H e w o n t he c o m p et i tion in the college d i v i s i o n. A B o z em a n res i d ent fo r m ost of his life, he c u rrent l y s t u d i es v i o l i n w i t h A ngel a Ahn. He has a d o u b l e- m a j o r a t M o nt a na St a te Uni ver sity— mu sic and m ec ha ni c a l eng i neeri ng .

He opted for th e le ss- siz e - ch alle n ge d vio lin. St a rt i ng wi th the Suz uki meth o d , th e Wash in gto n - b o r n F i d d a m a n became intereste d in th e Ce ltic fid d le a nd a c t i vel y p ur sued that in te re st a lo n g w ith co n ce r t m u s i c , t he l atter of w hich sl o w ly to o k pre ce d e n ce . Fi d daman star te d playin g in th e vio lin s ec t i o n of th e Boz eman Sy mph o n y O rch e stra in 2 0 1 6, as he s t u d i ed wi th the orchestra’s co n ce r tm aste r, Ca r r ie Kra u s e.

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FEBRUARY

Free Family Concert

PRESENTING

PIRATES, M E R M A ID S , & MUSIC! F E B R UA R Y 1 2 T H 202 2 S AT U R DAY - 1 0 : 3 0 A M & 1 : 0 0 P M

SPONSORED BY Montana Cultural Trust 66


A

! h h h rg Yo u’ve disc overed the u lti ma te t rea su re wit h ou r annu al free family c onc er t . T his f u n and engaging per fo rm a n ce i s t h e pe rfect w ay to int rodu ce y o ur y o un g o n e s to the Symphony, feat u rin g m usi c f ro m Pirates of t he Caribbean, Th e Li t t l e M e rm a i d , and th e greatest hit s from t h e o rch e st ra l re pe rtoire. Dress for t he o cca si o n i n y o ur pirate or mermaid t hemed co st um e a s w e explore t he high seas wit h y o ur Bo z e m a n S y mp hony Orc hest ra. C om e e a rl y to experience pre-c oncert ac t i vi t i e s l i ke the inst ru ment pet t ing zoo, a rt s a n d crafts, and more family fu n a ct i vi t i e s.

NORMAN HUYNH conductor

P E R F O R M E D AT Willson Auditorium


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TO ALL MONTANA MUSICIANS: B u i l d i n g i n t h e G a l l at i n Va l l ey fo r over 20 year s, G ra h a m E nte rp ri s e s I n c. i s a f u l l s er vice bu ilding co nt ra c to r s p e c i a l i z i n g i n h o mes fo r th e d i s ce rn i n g c l i e nt. We wo rk w i t h ou r c lients o n a l l l eve l s o f t h e b u i l d i n g p ro ce s s to c reate ho mes t h at a re b u i l t w i t h c a re f u l at te nt i o n to detail, q u a l i t y f i n i s h e s, a n d a f u n c t i o nal des ig n . 621 W Mendenhall Bozeman, MT 59715 406.587.8007

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Portfolio Manager Financial Advisor 2200 West Main Street Bozeman, MT 59718 406-522-2046 mary.e.howard@morganstanley.com advisor.morganstanley.com/mary.e.howard MT Insurance Lic.#3000567640 NMLS #1842860 Morgan Stanley Smith Barney LLC (“Morgan Stanley”), its affiliates and Morgan Stanley Financial Advisors do not provide tax or legal advice. Clients should consult their tax advisor for matters involving taxation and tax planning and their attorney for matters involving trust and estate planning, charitable giving, philanthropic planning and other legal matters. © 2021 Morgan Stanley Smith Barney LLC. Member SIPC.

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CRC 3684329 08/21


FEBRUARY

CLASSICAL SERIES N O~ 4

PRESENTING

Mozart’s “Jupiter” Symphony

FEBRUARY 26 th 2022 Saturday - 7:30PM

NOR MAN HUYNH conductor

FEBRUARY 27 th 2022 Sunday - 2:30PM

KAREN GOMYO violin

SPONSORED BY

Kimb erli e & Bruce Jo d a r 70


CLASSICAL SERIES N O~ 4 PRESENTING

Mozart’s “Jupiter” Symphony

Gabriela Lena Frank S ergei Prokofiev

Apu: Tone Poem for Orchestra Violin Concerto No. 1 in D Major, Op. 19 Andantino

Scherzo: Vivacissimo

Moderato Karen Gomyo

INTERMISSION

Wolfgang Amadeus Mozart

Symphony No. 41 in C Major, K. 551, “Jupiter”

Allegro vivace

Andante cantabile

Allegretto

Molto allegro

P E R F O R M E D AT

Will s on Auditori um 71


F E AT U R E D A R T I S T

KAREN GOMYO VIOLIN

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CLASSICAL SERIES N O~ 4 B o rn in Toky o an d b e g in n in g h e r m usical c a reer i n M ontréal and N e w Yo r k , vio lin ist Kare n G o m y o ha s recently made Be r lin h e r h o m e . A m usicia n of t he hi g hes t c a libre, the Chicago Tr ib un e pra ise d h e r as " … a f i rs t - ra te artist of real m usica l co m m a n d , vita lity, b ri l l i a nc e and intensity ".

of t he c o m p o s er. I n M a y 2 018 s he p e r for med the wor ld p rem i ere of S a m u el A d a m s ’ new C hamber C oncer to w i t h t he C hi c a go S y m p ho ny Orc hes tra and Esa-Pek ka S a l o nen to g rea t c ri t i c a l a c c l a i m . The wor k was wr itten s p ec i f i c a l l y fo r Ka ren a nd c o m m i s s i o ned by the C SO ’s ‘ M u s i c N o w ’ s eri es fo r t hei r 2 0t h a nni ver sar y.

Ka ren’s 2019-20 2 0 se aso n fe ature s E uro pe a n d eb u t s wi th Deutsches S ym ph o n ie - O rch e ste r B erl i n w i t h C r istian Macelar u, O rch e stre d e la S uisse R o m a nd e wi th J onathan Nott, De utsch e Ra d io Phi l ha rm o ni e Saarbr ücken Kai se r slaute r n w ith Pietar i I n kenen, B B C Scottish Sy mpho n y O rch e stra w ith Ge r ge l y M a d a ra s and Dresdner P h ilh a r m o n ike r w ith Ro d e r ic k C ox , a s well as returns to Ba m b e r g S ym ph o n ike r a nd Po l i s h

Ka ren ha s ha d t he p l ea s u re of w or king with su ch c o nd u c to rs a s , S i r A nd rew D a v i s , C ri s t i a n Macaler u , D av id R o b ert s o n, D a v i d Z i nm a n, E s a - Pek k a Salonen, Hannu L i nt u , J a a p v a n Z w ed en, J a k u b H ru s a , James Gaffigan, Ka ri na C a nel l a k i s , L eo na rd S l a t k i n, Lou is Langrée, M a rk W i g g l es w o rt h, M i rg a G ra ž i nyte-Tyla, Neeme J ä rv i , P i nc ha s Z u kerm a n, Tho m a s D au sgaard, T homas S ø nd erg å rd , Va s i l y Pet renko a nd Ya nni ck Nézet-Ségu in.

N a tional Radio S ym ph o n y, am o n g oth e r s. O t her rec ent European appearan ce s in clud e Ph ilh ar m o n ia Orc hes t ra , C i ty of Bir ming h a m S ym ph o n y O rch e stra , Orc hes t re Sy mphonique de Ra d io Fra n ce , WDR S in fo n i eo rc hes ter Kö ln, Danish Na tio n al Sym ph o n y, an d in M a rc h 2 019 Ka ren opened the Dub a i Pro m s w ith th e BBC S y m p ho ny and Ben Gernon. Fur th e r a h e ad Ka re n m ake s her d eb u t a t th e Cz ech Philhar m o n ic O rch e stra w ith Se m yo n B y c hkov.

A p a s s i o na te c ha m b er m u s i c i a n, Karen has enjoyed a f ru i t f u l c o l l a b o ra t i o n w i t h g u i t a ri s t Ismo Eskelinen w hi c h c u l m i na tes i n t he rel ea s e of a recording of wor ks b y P a g a ni ni a nd hi s b a ro q u e p red ecessor s schedu led fo r N ovem b er 2 019 o n B I S R ec o rd s . Karen has also c o l l a b o ra ted w i t h Ka t hry n Stot t , L ei f Ove Andsnes, James E hnes , A nto i ne Ta m es t i t , E m m a nu el P ahu d, Lawrence Po w er, C hri s t i a n Po l téra , A l i s a Wei l e r stein, T ine T hing H el s et h, L a rs A nd ers To m ter, E ri c le Sage, D aishin Ka s hi m oto, P a u l M ey er, a nd t he l a te Heinr ich Schiff. She g a ve a t hree- w eek to u r of A u s t ra l i a w i th Mezzo-sop rano S u s a n G ra ha m a nd m em b ers of t he A u stralian C hamber Orc hes t ra a nd ha s a l s o j o i ned J erem y D enk at his Milton C o u rt / B a rb i c a n res i d enc y i n L o nd o n. She also ap p ear s reg u l a rl y a t t he L o u i s i a na M u s eu m of Moder n Ar t in D enm a rk . Fu t u re c ha m b er p l a ns i nc l u d e a new p iano tr io w i t h p i a ni s t Ol l i M u s to nen a nd c el l i s t Ju lian Steckel.

Al ready w ell esta b lish e d in No r th Am e r ica Ka ren ha s p erfor med w ith th e Ne w Yo r k Ph ilh a r m o n i c , C hi c a go Sy mphony, Clevela n d O rch e stra , Ph ilad e lph ia Orc hes t ra , Los Angeles P hi lh a r m o n ic, M in n e sota O rch e s t ra s , a nd th e sy mphony o rch e stra s of Detro it, S an Fra nc i s c o, D a llas, Cincinna ti, To ro n to, M o n tré al, Van c o u ver, St . Louis, and Washi n g to n D.C. Fur ther afield h e r po pular ity in Australa s i a c o nt i nu ed over the last fe w se aso n s a s sh e to u red w i t h N ew Zealand Sym ph o n y an d also appe are d w i t h Wes t Australian Sy mph o n y O rch e stra in Pe r th , Ta s m a ni a n Sy mphony and in re cital a t th e S yd n e y O pe ra H o u s e. Thi s season sees Karen retur n to th e M e lb o ur n e a nd S y d ney symphony orche stras. I n Asia sh e m a ke s her d eb u t s wi th the Singapo re Sym ph o n y an d To k yo Met ro p o l i t a n Sy mphony O rchestra .

Ka ren p a rt i c i p a ted a s v i o l i ni s t , ho s t , and nar rator in a d o c u m ent a ry f i l m p ro d u c ed b y N H K J ap an abou t Antonio St ra d i v a ri u s c a l l ed The M y s teri es of t he Su p reme V iolin , w hi c h w a s b ro a d c a s t w o rl d w i d e o n N HK WO R LD. S he i s a l s o a c ha m p i o n of t he N u evo Tango mu sic of A s to r P i a z z o l l a , w i t h p l a ns i n d evel o p ment for a diver se p ro g ra m m e w i t h t he S a n Fra nc i s c o Symp hony. Karen reg u l a rl y c o l l a b o ra tes w i t h P i a z z o l l a ’s longtime p ianist a nd t a ngo l egend P a b l o Z i eg l er, a s w el l as, more recently, w i t h b a nd o neo n p l a y ers H ec to r d e C u r to and JP Jofre.

St rongly committe d to co n te m po ra r y w o r ks, Ka ren g a ve th e Nor th Amer ican pre m ie re of M a tth ia s P i nt s c her’s C oncerto No. 2 M ar 'e h in 2 0 1 5 w ith the N a t i o na l Sy mphony O rchestra in Wa sh in g to n un d e r t he b a to n

"…a first-r ate ar tist of r eal musical command, v itality, brilliance and intensity.” - Chicago Tr ibune

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F E AT U R E S T O R Y

AUROR A, EXFOULIS KAREN GOMYOS' STRADIVARIUS VIOLIN

“I t c o m es w i t h a s t ro ng p ers o na l i t y, a nd you can’ t imp ose y o u rs el f o n i t .”

C l assically trained m usician s fre q ue n tly d e vel o p c l o s e relationships w ith th e ir m usica l in str um ent s . W hen V i olinist Karen Go m yo fir st w as in tro d uc ed to her St radivarius violi n , it w a sn ’t exa ctly love at f i rs t s i g ht — but it w as close.

Unl i ke m a ny St ra d i v a ri , t he i ns t ru m ent never was owned p rev i o u s l y b y a reno w ned v i o l i ni s t . Throu ghou t the 20th c ent u ry, i t o nl y ha d t hree o w ners —ra re for an instr u ment of t hi s c a l i b er.

“ I’m incredibly atta ch e d to it, ” sh e to ld Sa n Fra nc i s c o C l assical Voice in 2 0 1 2 .

G o m y o s a i d i t to o k her y ea rs to get a c qu ainted with the i ns t ru m ent b ec a u s e a n i ns t ru m ent s u c h as a Stradiv ar iu s

G omy o perfor ms o n a Strad ivar ius vio lin na m ed t he “Aurora, exFoulis , ” w h ich w a s b uilt in 1 7 0 3. W hen s he f i rst began play in g it, it h ad n ’t b e e n pla y ed m u c h for decades.

ha s i t s o w n c ha ra c ter. At 15, s he b ec a m e t he y o u nges t v i o linist ever accept ed o n t he m a na gem ent ro s ter of Yo u ng C oncer t Ar tists. I n 2 008 a t a ge 2 6 , s he w a s a w a rd ed an Aver y Fisher C a reer G ra nt .

G omy o, w ho ser ve d as vio lin ist, h o st, an d n a rra to r fo r a documentar y ab o ut A n to n io Stra d iva ri u s , The M y steries of th e Supre m e Vio lin , pe r fo rm s o n a St radivarius violin th at w as b o ug h t fo r h e r exc l u s i ve u se by a pr ivate spo n so r.

G o m y o ha s p erfo rm ed w i t h to p A mer ican orchestras i nc l u d i ng t he N ew Yo rk P hi l ha rm o nic, Los Angeles P hi l ha rm o ni c , S a n Fra nc i s c o S y m p h ony, P hiladelp hia Orc hes t ra a nd C l evel a nd Orc hes t ra i n the United States a s w el l a s w i t h t he V i enna C ha m b er O rchestra, Sydney S y m p ho ny Orc hes t ra , D a ni s h N a t i o nal Symp hony, and To k y o S y m p ho ny Orc hes t ra .

“ I w ould describ e m y vio lin as h a vin g a very p u re tone. That doesn ’t m e a n q uiet; it ce r tain l y c a rri es very w ell in a hall. But it ’s a silve r y to n e . I t ha s a l ot of wa r mth,” she said .

G o my o p er fo r m s o n a Stradiv ariu s v i o lin n a m ed t h e “Aurora, ex Fou lis,” w h ic h w a s b uilt in 1 7 03.

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31 South Willson, Bozeman, MT Blendbzn.com

75


PROGR AM NOTES By A. James Liska

GABRIELA LENA FRANK

SERGEI PROKOFIEV

Apu: Tone Poem for Orchestra

Violin Concerto No. 1 in D major, Op. 19

CO MP O S E D : 2 0 1 7

C OM POS ED : 19 16 – 19 17

BOZEMA N SY MP H O N Y P RE MIE RE

BOZ EM A N SYM PHONY PR EM I E R E

IN S TRU ME N TATIO N 2 flutes, picco lo, 2 o b o e s, E n glish h o r n, 2 clarinets, b ass cla r in et, 4 h o r n s, 3 tr um p et s , 2 trombones, tim pa n i, xylo ph o n e , sn a re d ru m , suspended cym b al, w o o d b lo ck , tam b o u ri ne, trian g le , pian o, h ar p, a n d str in g s

I NS T R U M ENTAT I ON 2 f l u tes ( 1 d o u b l i ng p i c c o l o ) , 2 oboes, 2 c l a ri net s , 2 b a s s o o ns , 4 ho rns , 2 t r u mp ets, tu ba, t i m p a ni , s na re d ru m , t a m b o u ri ne, har p , and str ings

ES TI MATE D D U RATIO N: 1 8 m in ute s

S ergei P ro kof i ev ( 18 9 1- 19 53 ) s p ent h is ear ly year s as a c o m p o s er a nd p i a ni s t i n d ef i a nc e of the p rev ailing c ri t i c a l a nd a c a d em i c es t a b l i s hm ent s with su ch abrasive s c o res a s hi s f i rs t t w o P i a no C o nc ertos and the cantata S even They a re S even. B u t t he c o m p o ser with which he w a s u l t i m a tel y m o s t c o m fo rt a b l e w a s revealed ear ly in t he l y ri c i s m ex hi b i ted i n f i rs t m ovement of the V iolin C o nc erto N o. 1 i n D m a j o r, Op . 19 .

b. 1972

1891–1953

ES T I M AT ED D U R AT I ON : 2 2 minu tes

“Apu: Tone Poem fo r O rch e stra, ” b y Ga b ri el a L ena Frank, the multic ultural co m po se r of Pe r uvia n- C hi nes eLi thuanian-J ew is h d e sce n t, po r trays a m i s c hi evo u s m ountain spir it fro m A n d e a n Pe r uvian lo re — le a p i ng a b o u t th e Andean pea ks, tum b lin g ove r in pe a ls of l a u g hter while sensing the fo lk to n e of w h ich it ’s b e ing g i f ted . A second gift is give n to th e apu — a pra ye r, at w hi c h t he spir it languidly glid e s d o w n th e te e m in g cre sc end o s a nd decrescendos to flo at a lo n g a lullin g h um . Sa t i s f i ed , t he Apu offers its ow n g ift: “ a b r ie f b ut b r illian t a nd d a z z l i ng appearance befo re d isappe ar in g o n ce ag ai n i nto t he m ountain peaks.”

H e w rote t he p i ec e i n 19 17 , t he m o s t tu r bu lent year in R u s s i a n hi s to ry : t he y ea r of t he Feb r u ar y R evolu tion, w hen l i b era l s a nd m o d era te s o c i a l ists top p led the c z a ri s t s f ro m p o w er, a nd of t he no minally "bloodless" Oc to b er R evo l u t i o n, w hen L eni n, Trotsk y, and their B o l s hev i k c o ho rt s to d ec l a re R u s s i a the wor ld's fir st s o c i a l i s t s t a te.

As the composer n ote d : I n A n d e a n Pe r ú, spir its a re s a i d to i n habit rocks, rive r s, an d m o un ta in pe a ks w ith t he i ntent of keeping a w atch ful e ye o n trave le r s pa ssi ng t hro u g h h i g hland roads. Th e apu is o n e of th e m o re w el l - k no w n spir its that is sometim e s po r tra ye d as a m in or d ei t y w i t h a mischievous sid e w h o is ra re ly se e n . Sim ple fo l k s o ng and a solemn pra ye r ofte n succe ssfully pla ca te t he a p u to ensure safe passa ge th ro ug h th e m o un tain s .

W ha t P ro kof i ev m a d e of a l l t hi s p olitical tu r moil is d i f f i c u l t to d eterm i ne, a s he w a s c l o s er in beliefs to the c z a ri s t s t ha n t he s o c i a l i s t s . We d o k n ow that he sp ent t he era i n t he C u a c a s u s , w here he c o mp osed fever ishly. H i s o u t p u t i nc l u d ed t he C l a s s i c a l S y mp hony, the T hird a nd Fo u rt h P i a no S o na t a s , t he V i s i o ns fu gitives for solo p i a no, a nd t he p res ent V i o l i n C o nc erto No. 1.

“Apu: Tone Poem fo r O rch e stra, ” b e gin s w i t h a s ho rt folklor ic song ins pire d b y th e ag ile " pin k illo" fl u te, a s m a l l sl ender instr umen t th at packs w e ll in to th e s m a l l b a g s of travelers w ho m ust trave l lig h t. I t is fo llo w ed b y t he extended "haillí" of th e se co n d m ove m e n t, a p ra y er to th e apu, w hich f lo w s atta cca to th e th ird m ovem ent i n which the apu make s its b r ie f b ut b r illian t a nd d a z z l i ng appearance befo re d isappe ar in g o n ce ag ai n i nto t he m ountain peaks.

The f i rs t p erfo rm a nc e of t he C o nc erto was schedu led for a d eb u t i n N ovem b er of 19 17 , b u t c i rc umstances delayed u nt i l 19 2 3 , w hen i t w a s p l a y ed i n P a ri s b y Marcel D ar r ieu x , w i t h S erge Ko u s s ev i t z k y c o nd u c t i ng . P rokofiev was then l i v i ng i n t he Frenc h c a p i t a l , ha v i ng l e ft R u ssia shor tly a f ter c o m p l et i ng t he C o nc erto fo r what he ter med "a b ri ef c o nc ert to u r " of t he Wes t —a to u r that wou ld last f i f teen y ea rs . The C o nc erto m a d e i m p res s i o n t h at straddled the t w o w o rl d s of t he c o ns erv a t i ve a nd the p rogressive. B u t t he p i ec e b ec a m e a hi t i n a m a t ter of months— the c o ns eq u enc e of t he o rc hes t ra - l es s Ru ssian p remiere,

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CLASSICAL SERIES N O~ 4

p l a y ed by violinist Ho row itz , and the version by Sz igeti R einer at the 19 2 4

Na th an M ilste in a n d pia n i s t V l a d i m i r sub se q ue n t pe r fo r m an ce of t he f u l l a n d a n o rch e stra co n d ucted b y Fri t z Prag ue Co n te m po rar y M us i c Fes t i v a l .

I t i s a l s o p o s s i b l e, ho w ever, t ha t M o z ar t wrote the 1788 s y m p ho ni es w i t h t he i ntent i o n of p resenting them on a L o nd o n to u r. I n t he event of s u c h a c o ncer t tou r, it was c u s to m a ry fo r c o m p o s ers to b ri ng new wor ks. Whatever t he c i rc u m s t a nc es of t hei r c o m p o s i t i on, the symp honies w ere not p u b l i s hed i n M o z a rt ’s l i fet i me, and there is no c l ea r ev i d enc e t ha t t hey w ere p erfo rmed before Mozar t d i ed a t t he a ge of t hi rt y - f i ve.

T he tw o w orld s re fe r re d to a b ove a re t ho s e of 1 9th-century Ro m an ticism , am ply d isplayed i n t he l u scious fir st an d th ird m ove m e n ts, a n d t he s ec o nd m ovement 's 20th - ce n tur y w o r ld of m o d e r n ism , of w hi c h Prokofiev and Stravin sk y w e re co - in ve n to rs . A s t he c reator of ackno w le d ge d m aste r pie ce s acro s s nu m erous music genre s, h e is re g ard e d a s o n e of t he m a j o r c o mposers of the 2 0 th ce n tur y.

The J u p i ter S y m p ho ny i s t he l a rges t a nd most comp lex of M o z a rt ’s s y m p ho ni es . A l t ho u g h a t moments jov ial, as i f J u p i ter hi m s el f w ere l a u g hi ng i n t he celebrator y key of C M a j o r, t he w o rk genera l l y c a rri es a ser iou s sp ir it— es p ec i a l l y i n t he f i rs t a nd fo u rt h m ove ments— that hints a t t he g ra nd R o m a nt i c s y m p ho ni es which were soon to c o m e. The o p eni ng m ovem ent , i n sonata for m, is fo l l o w ed b y a m o re s u b d u ed s ec o nd movement, with a l y ri c a l m i xt u re of t hem es i n m a j o r a n d minor keys. T he t hi rd m ovem ent i s a s t a tel y m i nu et , and the fou r th and f i na l m ovem ent , a g a i n i n s o na t a fo rm , is bold and br isk, w i t h a s t ri d ent f u g a l c o d a t ha t i s a ha l l mar k of the p iece.

WOLFGANG AMADEUS MOZART 1756–1791

Symphony No. 41 in C major, K. 551, “Jupiter”

M o z a rt ’s J u p i ter S y m p ho ny i ns p i red many comp oser s, es p ec i a l l y H a y d n, w ho u s ed i t a s a model for his own S y m p ho ny N o. 9 5 a nd S y m p ho ny N o. 98 . Per hap s the m o s t s u c c i nc t ref l ec t i o n o n t he w o rk ’s imp or tance is fo u nd i n t he c ri t i q u es of G erm a n c o m p o ser and jou r nalist R o b ert S c hu m a nn, w ho i n 18 3 5 w rote, “Abou t many t hi ng s i n t hi s w o rl d t here i s s i m p l y nothing to be said— fo r ex a m p l e, a b o u t M o z a rt ’s C - M a j o r symp hony with the f u g u e, m u c h of S ha kes p ea re, a nd s o m e of B eethoven.”

CO MP O S E D : 1 7 8 8 BOZEMA N SY MP H O N Y P RE MIE RE IN S TRU ME N TATIO N 1 flute, 2 o b o e s, 2 b a sso o n s, 2 h o r n s , 2 tr um pets, tim pa n i, a n d str in g s

Fo r S c hu m a nn, a t l ea s t , t he J up iter s ec u red fo r M o z a rt a n eterna l p o sition rea l m of t he m a s ters .

ES TI MATE D D U RATIO N : 3 1 m in ute s Ju piter Sy mphony, o r th e S ym ph o n y No. 41 i n C M a j o r, K 551, is an orch e stra l w o r k b y A ustr ian c o m p o s er Wo lfgang Amade us M o z a r t (1 7 5 6- 1 7 91 ). Kn o w n fo r i t s go od humor, exub e ra n t e n e r gy, a n d un usua lly g ra nd s c a l e for a sy mphony of th e Classical pe r io d . T h e s e q u a l i t i es l i kely ear ned the sym ph o n y its n ick n a m e “ J u p i ter” —fo r th e chief god of th e an cie n t Ro m an pan th e o n . The J u p i ter wa s completed in 1 7 8 8 an d w as M o z ar t ’s la st s y m p ho ny. M oz art rarely co m po se d o n a w h im . Ge n e ra lly, he w rote on commission (b y o rd e r of a pa yin g custo m e r o r p a t ro n) or for his ow n co n ce r ts. Such tran sa ctio n s were u s u a l l y c a taloged in the co m po se r ’s lette r s a n d w r it i ng s , w hi c h h a ve survived in lar ge n um b e r. H o w e ve r, in t he c a s e of h i s last three sym ph o n ie s d atin g fro m th e s u m m er of 1 7 8 8 , the histor ical re co rd is sile n t. M usi c s c ho l a rs h a ve found no in d icatio n of a co m m issio n , s o p erha p s M oz art composed th e w o r ks in h o pe s of se lli ng t hem o r p resenting them in a co n ce r t in Vie n n a .

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Symp hony within the


Proud to Support Bozeman Symphony The Gallatin Valley’s preferred funeral service provider for more than 100 years. “There is a difference.” www.dokkennelson.com | 406.587.3184 78


BZN Film Festival celebrates independent filmmaking and creative expression from both emerging and established voices.

Occurs anually in the fall. visit bozemanfilmcelebration.com to learn more

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MARCH

CLASSICAL SERIES N O~ 5

PRESENTING

Scheherazade

MARCH 26 th 2022 Saturday - 7:30PM

NOR MAN HUYNH conductor

MARCH 27 th 2022 Sunday - 2:30PM

SIDNEY OUTLAW baritone

SPONSORED BY

D rs. D enni s & Ann e Wentz 80


CLASSICAL SERIES N O~ 5 PRESENTING

Scheherazade

Nikolai Rimsky-Korsakov

Scheherazade

The Sea and Sinbad’s Ship

The Tale of Prince Kalendar

The Young Prince and the Princess

The Festival at Baghdad—The Sea

The Ship Goes to Pieces on a Rock

INTERMISSION

S ir Edward Elgar

Sea Pictures

Sea Slumber Song

In Haven (Capri)

Sabbath Morning at Sea

Where Corals Lie

The Swimmer

Sidney Outlaw Bedřich Smetana

Vltava (The Moldau)

P E R F O R M E D AT

Will s on Auditori um 81


F E AT U R E D A R T I S T

SIDNEY OUTLAW BARITONE

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CLASSICAL SERIES N O~ 5 Lauded by The Ne w Yo r k T im e s as a “ te r r i f i c s i nger” wi th a “deep, r ich tim b re ” a n d th e S an Fra nc i s c o C hronicle as an “o pe ra po w e r h o use ” w ith a “ w ei g ht y a nd forthright ” sound , S id n e y O utlaw w as th e G ra nd P ri z e wi nner of the Co n cur so I n te r n acio n al d e C a nto M ontser rat Ca b a lle in 2010 an d c o nt i nu es to delight audie n ce s in th e U . S. an d a b ro a d w i t h his r ich and ve r satile b ar ito n e and eng a g i ng stage presence. A g ra d uate of th e M e ro la O pera P ro g ra m and the Gerdine Yo un g A r tist Pro gra m a t O pera Thea t re of Saint Louis, th is r isin g A m e r ica n b a r i to ne f ro m B revard, Nor th Caro lin a re ce n tly ad d e d a G R A M M Y n o mination to his list of a cco m plish m e n ts fo r t he N a xo s R ecords recording of Da r ius M ilh aud ’s 1 92 2 o p era t ri l o g y, L’O restie d’Eschy le in w h ich h e sa n g th e ro le of A p o l l o.

t he t i t l e ro l e i n M o s es w i t h t he A mer ican Symp hony Orc hes t ra , M a l c o l m i n M a l c o l m X at New Yor k C ity Op era , P ri nc e Ya m a d o ri i n M a d a m e B u tter fly at O p era o n t he J a m es , t he c over of D a nd i ni in La C enerentola w i t h F l o ri d a G ra nd Op era , A ri o d a nte in Handel’s Xer xes a nd D em et ri u s i n B ri t ten’s A M i d s u m mer Night ’s D ream fo r t he I nterna t i o na l Vo c a l A rt s I ns t itu te, P ap ageno in D i e Z a u b erf l öte a nd a s ens a t i o na l i nter national debu t as G u g l i el m o i n C o s ì f a n t u t te, i n b ot h G er many and Israel. A s o u g ht - a f ter c o nc ert s i nger a nd recitalist, Mr. Ou t l a w m a d e hi s S c hw a b a c her R ec i t al debu t at the San Fra nc i s c o Op era c enter w i t h p i a ni s t J o hn C hu rchwell and c o l l a b o ra tes reg u l a rl y w i t h reno w ned p ianists War ren J o nes , C a ro l Wo ng , Steven B l i er, a nd Michael B ar rett. H i s c o nc ert a nd rec i t a l a p p ea ra nc es inclu de debu ts of reno w ned w o rks a t m a j o r c o nc er t halls: Haydn’s The C rea t i o n a nd H a nd el ’s M es s iah at C ar negie H a l l , B eet hoven’s S y m p ho ny N o. 9 at Aver y Fisher H a l l , M a hl er’s L i ed er ei nes Fa hrenden Gesellen with M u s i c A c a d em y of t he Wes t a nd “ Wednesday At One” a t A l i c e Tu l l y H a l l , J o hn Stevens in the wor ld p rem i ere c o nc ert of H . L es l i e A d a m ’s op era B lake at the p res t i g i o u s S c ho m b u rg C enter fo r R esearch in B lack C u l t u re i n H a rl em , a nd t he w o rl d p remiere of Wayne Oq u i n’s A Ti m e to B rea k S i l enc e: S ongs insp ired by t he Wo rd s a nd W ri t i ng s of M a rt i n Lu ther K ing, Jr., c o m m i s s i o ned b y The J u i l l i a rd S c ho o l .

Last season for M r. O utlaw in clud e d h is Da nd i ni i n L a C enerentola w ith Gre e n sb o ro O pe ra , a ppe a ra nc es w i t h th e Char lotte Sy m ph o n y, th e Br id ge h a m pto n C ha m b er M usic and Colour of M usic Fe stiva ls, h is S po leto Fes t i v a l debut as J ake in Po r g y a n d Be ss, an d M a d is o n Op era ’s Opera in the P ar k . T h e 2 0 1 6- 2 0 1 7 se aso n i nc l u d es M ercutio in Romé o et J uliette w ith M a d iso n O p era , Va u g h Williams’ Dona no b is pace m w ith th e M e m ph is S y m p ho ny Orchestra, a recital w ith Wa r re n J o n e s, an d a ret u rn to th e New York P hi lh ar m o n ic. M r. O utlaw has b e e n a fe ature d re citalist w i t h Wa rren Jones at Carneg ie H a ll an d pe r fo r m e d E lija h w i t h t he N ew York Choral So ciety. H e trave le d to Gu i nea a s a n Ar ts Envoy w ith th e U . S . Sta te De pa r tm e n t , w here he p erfor med a pro gra m of Am e r ica n m usic in ho no r of B l ack History Mo n th a n d in re m e m b ra n ce of D r. M a rt i n Luther King.

M r. Ou t l a w w o n 2 nd P ri z e i n t he Wa lter W. Nau mbu r g Fo u nd a t i o n’s I nterna t i o na l C o m p et i t i o n , 2nd P r ize in the 2 011 G erd a L i s s ner Fo u nd a t i o n Awards, National s em i - f i na l i s t i n t he M et ro p o l i t a n O p era National C o u nc i l A u d i t i o ns , s em i f i na l i s t i n t he Francisco V iñas I nterna t i o na l S i ng i ng C o m p et i t i o n, finalist in both C o nc o u rs I nterna t i o na l M u s i c a l d e M o ntreal and Geor ge L o nd o n Fo u nd a t i o n, a nd g ra nd p ri z e i n the Flor ida Grand Op era / Y P O Vo c a l C o m p et i t i o n. H e holds a B achelor i n M u s i c Perfo rm a nc e f ro m t he Univer sity of Nor th C a ro l i na a t G reens b o ro a nd a Master of Vocal Perfo rm a nc e f ro m The J u l l i a rd S c ho o l .

M r. O utlaw made h is E n g lish Natio n al O pe ra d eb u t i n th e 2011-2012 se aso n a s Ram b o in T h e D ea t h of Kl inghoffer and jo in e d th e M etro po lita n O p era ro s ter i n 2014 -2015 als o fo r T h e De a th of Klin gh of fer. R ec ent e ngagements inc lud e Da llapicco la ’s I l Pr igio ni ero w i t h th e New York Phi lh a r m o n ic, Sch a un ard in L a b o hèm e w i t h th e Ash Law n Festival, a n d Guglie lm o in M o z ar t ’s C o s i f a n tu tte w ith North Caro lin a O pe ra . O th e r m ain s t a ge ro l es i n clude F igaro in I l b a r b ie re d i S iviglia w ith Atla nt a Op era ,

“Sidney Outlaw used his de ep, r e sonant baritone and thoughtful appr oach to phr asing p ow erful but shapely to cr eate a str ong, nuanced p or tr ayal of Elijah.” -Alan Konzinn, New York Time s 2011

83


PROGR AM NOTES By A. James Liska

NIKOLAI RIMSKY-KORSAKOV

t he p u rel y m u s i c a l el em ent s . A nd w h ile p rogrammatic el em ent s w ere u nd o u bted l y p res ent in Scheherazade a nd p l a y ed a n i m p o rt a nt p a rt i n t h e shap ing of the w o rk , R i m s k y - Ko rs a kov d i d not w a nt h is listener s to be d i s t ra c ted b y ext ra - m u s i c a l d et a i l .

1844–1908

Scheherazade, Op. 35 CO MP O S E D : 1 8 8 8 MOST R ECENT BOZE MA N SY MP H O N Y P E RFOR M A NC E: Se pte m b e r 2 0 , 2 0 1 5

Fu l l of g l o ri o u s s o l o o p p o rt u ni t i es , the v itality, the c ha rm of i t s t u nes , a nd t he ef fo rt l es s br illiance of its o rc hes t ra t i o n never f a i l to m a ke a n imp ression and to g i ve d el i g ht .

IN S TRU ME N TATIO N 2 flute s (1 d o ub lin g picco lo ), picco lo, 2 oboes (1 d o ub lin g E n glish h o r n ), 2 cla ri net s , 2 bassoons, 4 h o r n s, 2 tr um pets, 3 tro m b o nes , tuba, timpani, tr ian gle , cym b als, sn are d r um , b a s s d ru m , tambour in e , ta m - ta m , h a r p, an d str in g s

One of t he p ro g ra m m a t i c el em ent s of which we can be c ert a i n i s t he p o rt ra y a l of S u l t a n a nd S u ltana in the fir st m i nu te. The u ni s o n a nd fo rt i s s i m o p roclamation that o p ens t he w o rk o bv i o u s l y rep res ent s t he for mer, a br u tal p s y c ho p a t h. Fa i ry - t a l e c ho rd s fo r s of t woodwinds lead to

ESTIM ATE D D U RATIO N: 42 m in ute s

t he s ed u c t i ve a nd f l a t teri ng v i o l i n- vo i ce of Scheherazade hers el f. The tend er t hi rd m ovem ent ret u rns to the more leisu rely g a i t of t he f i rs t . I t i s a l ovel y f l o w of lyr ic invention, s c o red w i t h rem a rk a b l e f i nes s e, t he wr iting for qu iet p erc u s s i o n b ei ng es p ec i a l l y c ha rm i ng. Scheherazade ha s her s a y, b u t i t i s w i t h t he l y ri c m a in theme that the m ovem ent c o m es to i t s gent l e a nd s m iling close.

N i kolai Rimsky -Ko r sa kov (1 8 44- 1 90 8 ) w as a R u s s i a n c o mposer, and a m e m b e r of th e gro up of c o m p o s ers know n as The F ive . A m aste r of o rch e stratio n , hi s b es t know n orchestral co m po sitio n s— Ca pr iccio E s p a g no l , th e Russian Easte r Fe stival O ve r ture , a n d th e s y m p ho ni c su ite Scheheraz a d e— are staple s of th e co n c ert m u s i c repertoire, along w ith suite s a n d exce r pts fro m s o m e of h i s 15 operas. The th re e o rch e stra l pie ce s were w ri t ten dur ing a three-y e a r pe r io d fro m 1 8 8 7 - 1 8 8 8 . D eterm i ned to w rite for the th e ate r, h e ab an d o n e d o rc hes t ra l c o mposition in 18 8 9.

The f i na l e o p ens m u c h a s t he f i rs t movement did, w i t h t he c o nt ra s t of S u l t a n a nd S u l tana, thou gh this vers i o n i s m o re el a b o ra te. The m u s i c , after this dou ble i nt ro d u c t i o n, i s q u i c k a nd exc i t i ng . A p p rop r iately enou gh, i t i s S c hehera z a d e w ho ha s t he l a s t word. When her s i nu o u s m el o d y ret u rns , her m o d e of address is sweet a nd c a p ri c i o u s . Then s he rep ea t s w a y down on the fou r th s t ri ng a nd t he m u s i c c l i m b s s l o w l y i nto the ether.

As a boy and y o un g m a n , Rim sk y- Ko r sakov, m a ny of whose ancestors h a d b e e n m ilitar y m e n , pla n n ed a l i fe i n th e navy. His mu sical g ifts m an ife ste d e a r ly, a nd b y t he ti me he began na val sch o o l, h e w a s a go o d pia ni s t a nd a n e a ger composer.

EDWARD ELGAR

T he still teenage d Rim sk y- Ko r sa kov fe ll u nd er t he i n fluence of Mily Ba lak ire v, th e in te lle ctua l l ea d er of a gro up of Russian n a tio n a lists. H e co n tin ue d hi s na v a l p ursuits for a tim e , b ut th e fir st im po r ta n t step s to w a rd tu r ning him into a re al co m po se r h a d b e e n taken. H e w a s still, in his ow n d e scr iptio n , “ an office r- d ilet t a nte w ho sometimes enjoy e d playin g a n d liste n in g to mu s i c .”

1857–1934

Sea Pictures, Op. 37 C OM POS ED : 18 9 7 – 18 9 9 BOZ EM A N SYM PHONY PR EM I E R E

He composed, b ut h e also co n d ucte d , ta u g ht , a nd wa s a generous fr ie n d to co lle ag ue s. I n th e w i nter of 1 88 7-8 8 , he co m plete d th e un fin ish e d o p era P ri nc e Igor by his recently d e ce a se d fr ie n d A lexa n d er B o ro d i n. While engaged with th is m usic, h e co n ce ive d t he i d ea of Scheheraz ade.

I NS T R U M ENTAT I ON 2 f l u tes , 2 o b o es , 2 c l a ri net s , 2 bassoons, c o nt ra b a s s o o n, 4 ho rns , 2 t ru m p et s , 3 trombones, t u b a , t i m p a ni , go ng , s u s p end ed c y mbal, bass dr u m, ha rp , o pt i o na l o rg a n, a nd str ings

From the beginnin g, h e co uld n ot q uite ma ke u p hi s m i nd about the b a lan ce b etw e e n th e pro g ra m m a t i c a nd

ES T I M AT ED D U R AT I ON : 2 3 minu tes

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CLASSICAL SERIES N O~ 5

Edw ard Elgar (1 8 5 7 – 1 934) h ad a care e r w ho s e hi g hs and low s seeme d e q ua l pro po r tio n . Alw ays s t ru g g l i ng to make a livin g , h e w a s se lf- taugh t ra t her t ha n u niver sity -traine d . Sta un ch ly Ca th o lic, h e wa s t he o d d m an out among E n g lish co m po se r s. H e b o u nc ed f ro m si ckening failure s— such a s th e d isastro us p rem i ere of his oratorio T h e Dre a m of Ge ro n tius — to g l o ri o u s triumphs, such as h is E n igm a Var iatio n s.

t he f i rs t t hem e i n a d ra m a t i c c o nc l u s i on.

BEDŘICH SMETANA 1824–1884

Vltava (The Moldau), No. 2 from Má Vlast (My Country)

T he 18 99 song cycle Se a Picture s— usin g m a ri t i m e texts by poets R o d e n No e l, A lice E lg ar (th e c o m p o s er’s wi fe), Eliz abeth B ar rett Bro w n in g , Rich a rd G a rnet t , a nd Adam Lindsay Go rd o n — fo llo w e d clo se ly o n t he heel s of the Enigma Var iatio n s an d d isplays a n eq u a l l y p l easing melodic r ich n e ss. E ach offe r in g a d i f ferent response to the o ce an : its b e a uty, tem pt a t i o ns ,

C OM POS ED : 18 7 4 M OS T R EC ENT BOZ EM A N SYM PHONY PE R FO R M AN C E : A p ri l 3 0, 19 7 2 I NS T R U M ENTAT I ON 2 f l u tes , p i c c o l o, 2 o b o es , 2 c l a ri nets, 2 bassoons, 4 ho rns , 2 t ru m p et s , 3 t ro m b o nes , tu ba, timp ani, t ri a ng l e, b a s s d ru m , c y m b a l s , ha rp , and str ings.

symbolism, and d an ge r s. It is the only son g cycle w h ich E lg ar w rote fo r vo i c e a nd orchestra. For the vo cal ro le , h e h a d in m in d D a m e C l a ra El len Butt, noted fo r h e r w id e te ssitura a n d b o o m i ng l o w n otes. Dressed a s a m e r m a id , sh e san g th e p rem i ere i n 1 89 9 at the Nor w ich Fe stiva l, co n d ucte d b y E l g a r.

ES T I M AT ED D U R AT I ON : 12 minu tes The c o m p o s er w ho m a d e B o hem i a n na tional mu sic v iable w i t hi n a nd b ey o nd C z ec h b o rd ers w a s B edř ich Smetana. Tra i ned i n A u s t ri a n- ru n s c ho o l s a nd who sp oke only G erm a n a s a y o u t h, he w a s ra d i c alized du r ing the revo l u t i o na ry fervo r t ha t s p rea d a c ross Eu rop e du r ing t he l a te 18 4 0s . The new el em ent t ha t Smetana brou ght to C z ec h m u s i c w a s t he em p l o y m ent of folk styles as p ar t of a n i nd ep end ent m u s i c a l l a ng u a ge ra t her than inser ting t hem a s exot i c c o l o ri ng i n s c o res t hat cou ld have been w ri t ten b y a no n- na t i ve.

T he fir st is titled S e a S lum b e r S o n g , b y Ro d e n N o el , w hi c h p resents a beau tiful settin g in a ro ck in g st y l e l u l l a b y ( waves softly bre ak in g o n th e sh o re ) co m b i ni ng w i t h di stant w aves to co m e , in d icate d b y soft tim pa ni s t ro kes . The second In Haven (Capri) was written by Elgar’s wife, Alice. C apri is reference d b y a sicilia n o r h yth m — th e vo i c e s i ng s of the transcenden ce of love ove r b lin d e le m ent a l fo rc es . T he third poem is b y E liz ab eth Bar rett B ro w ni ng , ti tled  Sabbath M o r n in g at S e a. E lgar ch a nges to a stronger mood he re in in w h ich h e un le ash e s hi s rel i g i o u s fe rvor. A lar gamen te   o pe n in g le ave s se a im agery to s hi f t i n to a serious m o o d of d e votio n . A s th e ve r s es u nfo l d , th e orchestral pa r t sur ge s to stro n g clim a xe s a nd s t ro ng e motional expressio n s.

S m et a na ( 18 2 4 - 18 8 4 ) w a s a C z ec h-bor n comp oser w ho p i o neered t he d evel o p m ent of a mu sical style t ha t b ec a m e c l o s el y i d ent i f i ed with his p eop le's a s p i ra t i o ns to a c u l t u ra l a nd p o l i t i c a l "rev iv al." He has b een reg a rd ed i n hi s ho m el a nd a s t he father of C zech m u s i c . I nterna t i o na l l y, he i s b es t k no wn for his op era The B a rtered B ri d e a nd fo r t he s y mp honic cycle Má v l a s t ( " M y Fa t herl a nd " ) , w hi c h p o rtrays the histor y, legends and landscape of the composer 's native Bohemia. It c o nt a i ns t he f a m o u s s y m p ho ni c p oem "V ltav a,” (in E ng l i s h, " The M o l d a u " ) .

T he four th is title d Wh e re Co rals L ie  b y Rich a rd G a rnet t . T he composer shifts to a gra ce ful settin g w ith w i nd s a nd delicate accomp a n im e n t. T h e h a r p an d str i ng c ho rd s , which evoke the sh im m e r in g , un d e r w ate r wo rl d , w i t h su ggestions of th e po ssib le d a n ge r of th e d e e p w a ters .

M á v l a s t w a s c o m p o s ed over a p er iod five year s: Vy s ehra d a nd V l t a v a ( M o l d a u i n G erman) in 1874, Sar ka a nd Fro m B o hem i a ’s Wo o d s a nd F i el d s in 1875 , Tábor and B l á ni k i n t he w i nter of 18 7 8 / 7 9 . B y the time of the f i rs t p u b l i c p erfo rm a nc es of Vy s ehra d and V ltav a at the s a m e c o nc ert i n P ra g u e i n 18 7 5, t he dep redations of venerea l d i s ea s e ha d m a d e S m et a na d e af, to which in the fo l l o w i ng y ea rs w o u l d b e a d d ed b lindness and the

T he fifth poem, T h e Sw im m e r  b y Ad a m Lin d s a y G o rd o n, reflects a tur bulen t se a in w h ich a sw im m e r re c a l l s ha p p y ti mes w ith a lost love r, a n d h e im a gin e s b e ing d ro w ned i n the thr usting w ave s. M usica l re fe re n ce s a re m a d e by quotes from th e pre ce d in g settin gs, an d t he p rof usi on of climaxes m ar k th e e m otio n al d e spe ra t i o n of t he sw immer and po w e r of th e se a . T h e o rch e st ra rep ri s es

85


PROGR AM NOTES By A. James Liska

h a llucinations an d se lf- d e str uctive n e ss th at c a u s ed hi m to be institutiona liz e d . H e d ie d in a Prag ue asy l u m fo r t he i n sane in May of 1 8 8 4.

t w o s p ri ng s , o ne w a rm t he ot her c old, r ising in the B o hem i a n Fo res t , [ a nd ] w a tc hes t he streams as they j o i n a nd fo l l o w s t he f l o w of t he ri ver t hrou gh fields and w o o d s ... a m ea d o w w here t he p ea s a n ts are celebrating a w ed d i ng . I n t he s i l ver m o o nl i g ht the r iver nymp hs f ro l i c , c a s t l es , a nd p a l a c es f l o a t p a s t , as well as ancient ru i ns g ro w i ng o u t of t he w i l d c l i f f s . T he Moldau foams a nd s u rges i n t he R a p i d s of St . J o hn , then flows in a b ro a d s t rea m to w a rd P ra g u e. Vy s ehra d C astle ap p ear s ( t he fo u r- note t hem e f ro m t he f i rs t of the six symp honic p o em s ) o n i t s b a nks . The ri ver s t ri ve s on majestically, l o s t to v i ew, f i na l l y y i el d i ng i t s el f to t he Elbe.”

Smetana had not o r ig in a lly co n sid e re d a set of s y m p ho ni c p o ems, rather a sin gle w o r k tra cin g th e co u rs e of t he V l tava River from its so urce in th e Bo h e m ia n Fo res t to i ts passage throu g h Pra gue . But th e n otio n to o k o n a l i fe of its ow n, becom in g a m usica l picture of th e l a nd s c a p e of Bohemia. T he Moldau, wh ich h as ach ie ve d th e s t ro nges t i n d ependent life am o n g th e six sym ph o n ic p o em s , i s a rondo (w ith coda ) in w h ich th e h a un tin g, G- m a j o r m a i n th eme is introduce d b y th e uppe r str in gs an d w o o d w i nd s , wi th the low er str in g s sugge stin g th e r ive r w a ves . To quote poet-c o m po se r Václav Z e le n y, w h o d ev i s ed th e story lines fo r a ll six to n e po e m s: “ T h is c o m p o s i t i o n depicts the cour se of th e M o ld au. I t sin gs of i t s f i rs t

Montana Ballet Company’s 38th Annual Performance Season

AD HERE

Nutcracker

The

with the Bozeman Symphony & Guests from New York City Ballet DECEMBER 4 - 2pm & 7pm DECEMBER 5 - 2pm

Winthrop Corey’s

SnowWhite with Live Orchestra

February 19 - 7pm & February 20 - 4pm

CONNECTIONS 2022 Stars of American Ballet, Starring Principals and Soloists from New York City Ballet June 3 - 7pm

Performances at the Willson Auditorium | information & tickets at montanaballet.org

86


THE ONE WITH ALL THE MONTANA The historic Big Yellow Barn, located just north of Bozeman, boasts stunning mountain views, an inspired country setting, and easy access. It’s the perfect place for your Montana wedding, concert, or private event.

W W W.BIGYELLOWBARN .COM

406.579.3415

BOZ EMAN, MONTANA

Photos by (numbered from top): Sarah Notarius Photography (1-2), Amy Hallenius Photography (3), and Amelia Anne Photography (4)

87


MAY

CLASSICAL SERIES N O~ 6

PRESENTING

Beethoven’s Ninth Symphony MAY 21 st 2022 Saturday - 7:30PM

MAY 22 nd 2022 Sunday - 2:30PM

NOR MAN HUYNH conductor ALEXANDR A R AZSKAZOFF soprano

KATHERINE GOFORTH tenor

SIENA LICHT MILLER mezzo-soprano

ANTHONY CLARK EVANS baritone

B o z e m a n S ym p h o n i c C h o i r SPONSORED BY

Robyn L. Erl enb ush, ERA Landmark Real Estate, an d Sp e cte c TIC / Walter & Regina Wunsch 88


CLASSICAL SERIES N O~ 6 PRESENTING

Beethoven’s Ninth Symphony

Augusta Read Thomas

Aureole

Ludwig van Beethoven

Symphony No. 9 in D Minor, Op. 125, “Choral”

Allegro ma non troppo; un poco maestoso

Molto vivace

Adagio molto e cantabile

Brief p ause for entrance of the choir and soloists

Presto—Allegro assai—Allegro assai vivace

Alexandra Razskazoff

Siena Licht Miller

Katherine Goforth

Anthony Clark Evans

Bozeman Symphonic Choir

P E R F O R M E D AT

Will s on Auditori um 89


F E AT U R E D A R T I S T

ALEXANDR A R AZSKAZOFF SOPRANO

So prano Alexand ra Ra z sk a z off is a cclaim e d b y t he N ew Yo rk Times as a “ r ich ly facete d , slin k y so pra no,” w ho s e voice is “...ample in siz e w ith an in tr ig uin g ins t ru m ent a l c olor,” (O pera New s).

a t t hei r 2 019 g a l a , s i ng i ng s c enes f ro m Fau st, Fidelio and D er R o s enk a v a l i er w i t h o rc hes t ra . A l ex a nd ra w a s a R es i d ent A rt i s t at T he Academy of Vo c a l A rt s i n P hi l a d el p hi a i n 2 017-18, where she p erfo rm ed V i o l et t a ( L a Tra v i a t a ) w here she stu died with W i l l i a m Sto ne. S he p erfo rm ed H a nd el ’s Messiah with the C o l u m b u s S y m p ho ny 2 018 . A l ex a nd ra was a R esident A rt i s t w i t h t he M i nnes ot a Op era for their 2016-17 s ea s o n, w here s he s a n g Wellgu nde (D as R hei ngo l d ) a nd M u s et t a (La boheme).

In the 2021-22 sea so n , A lexa n d ra w ill m ake h e r d eb u t a s Suz el in Teatro Gratta cie lo's pro d uctio n of M a s c a g ni 's L'Amico Fr itz . S h e w ill also appe ar in conc ert w i t h M a r y land O pera a n d M id - Atlan tic Sym ph o n y. Of late, Alexand ra h a s gar n e re d m uch ac claim in the rea lm of vo cal co m petitio n s. She most rece n tly w as se le cte d to par ticipate in the pre stig io us O pe ra lia vocal competition th is O cto b e r in M o sco w.

S he p a rt i c i p a ted i n the Merola O p era P ro g ra m i n 2 017 , w here she p er for med a s t he l ea d i ng l a d i es in scenes from L u c rez i a B o rg i a a nd I Pagliacci. She was a n A p p rent i c e w i t h t h e Santa Fe O p era i n 2 015, a nd a c c epted their inv itation to ret u rn i n 2 016 to c over D onna Elv ira (D on G i ov a nni ) . A l ex a nd ra s pent su mmer 2013 a t M u s i c A c a d em y of t h e West, where she p erfo rm ed E rs te D a m e (D ie Zau ber flöte).

In spr ing 2021, sh e w as n a m e d th e 1 st Pl ace w inner of th e J am e s To lan d Vo cal Arts Inc. Competitio n . E a r lie r in th e ye a r s h e took 3rd P la ce in th e PART NE RS fo r t h e Ar ts Competitio n , th e O r ph e us Vo cal Competition, and in th e Natio n al O pe ra Association’s C. Ba ile y an d D. Ar ge n to Vocal Competitio n . Alexa n d ra w a s also n amed a finalist in th e Pa sa d e n a O pe ra Co m p et i t i o n a nd Opera Ithaca’s I n te r n a tio n a l Co m petitio n of Vo i c e.

I n 2 018 , A l ex a nd ra to o k 1st P r ize in AVA’s G i a rg i a ri B el C a nto Vo c a l C o m p et i t i o n, and 2nd P lace in t he M a ri o L a nz a C o m p et i t i o n i n P hi l adelp hia. In 2014, A l ex a nd ra to o k 2 nd P l a c e i n t he M i d -Atlantic R egion of t he M et ro p o l i t a n Op era N a t i o na l C o u n cil Au ditions and rec ei ved 3 rd P l a c e i n H o u s to n G ra nd O p era's Eleanor M c C o l l u m C o m p et i t i o n i n 2 016 .

In fall of 2020, Alexan d ra w o n to p pr iz e s in nu m ero u s c ompetitions, in clud in g 1 st Pla ce in th e G i ov a nni Consiglio I nter n a tio n a l Vo cal Co m petitio n , 2 nd P l a c e i n O pera Mississippi’s J o h n Alexa n d e r Co m pet i t i o n, a nd 3rd P lace in the NYI O P + Pre m ie re O pe ra Fo u nd a t i o n In ternational Voca l Co m petitio n . Alexa n d ra a l s o l a nd ed top pr iz es in a se r ie s of 2 0 1 9 co m petitio n s i nc l u d i ng Premiere O pera Fo un d atio n + NYI O P I n te r n a t i o na l Vo c a l Competition (Au d ie n ce Ch o ice / Be l Can to Aw a rd ) , t he Dorothy Lincoln- Sm ith Vo ca l Co m petitio n (1 st P l a c e) a nd Opera at Florham ’s Vio letta DuPo n t Vo cal C o m p et i t i o n (1 st Place).

A c a d em i c c red i t s i nc l u d e a rep ri s e of Er ste D ame (D ie Z a u b erf l öte) a nd C o ntes s a ( L e no z z e di Figaro) while at The J u i l l i a rd S c ho o l , w here s he ea rned her M.M. in vocal p erfo rm a nc e f ro m 2 014 - 16 u nd er R o b er t C . White Jr. At t he Pea b o d y C o ns erv a to ry, w here s he received her B .M. i n vo c a l p erfo rm a nc e f ro m 2 010- 14 u nder D r. Stanley C o rnet t , s he s a ng B l a nc he d e l a Fo rce (D ialogu es des C a rm él i tes ) , D o nna E l v i ra ( D o n G i ov anni), and Abigail W i l l i a m s ( The C ru c i b l e) . A l ex a nd ra i s a gratefu l recip ient of t he N ov i c k C a reer G ra nt genero u s ly p rov ided by T he J u i l l i a rd S c ho o l .

In Washington Ope ra S o ciety’s 2 0 1 9 fa ll s ea s o n, s he perfor med the ro le of L isa in L e h ár ’s Das L a nd d es Lä chelns. She als o appe are d w ith M a r ylan d Ly ri c Op era

90


F E AT U R E D A R T I S T

SIENA LICHT MILLER MEZZO-SOPRANO

German Amer ica n m e z z o - so pran o Sie n a Lich t M i l l er i s rapidly establishin g a n am e fo r h e r se lf in o pe ra , c o nc ert , an d recital. I n 21/ 2 2 sh e retur n s th e I n te r n a ti o na l Op era Studio (IO S) at O pe r n h a us Z ür ich fo r a se co nd s ea s o n where she w ill b e se e n in a n e w pro d uctio n of S a l o m e (Page) directed by A n d re a s H o m o k i, th e w o r ld p rem i ere of R obert Evers Die O d ysse e (Pe n é lo pe ), L’italia na i n A l geri (Zulma) in a pro d uctio n sta r in g Ce ce lia B ar toli, and Rigo letto (Giova n n a). O n th e c oncert stage sh e d e b uts w ith th e B oz eman Sy mp h o n y an d retur n s to t h e O regon Sy mph o n y fo r Be eth ove n Symphony No. 9 . Last se aso n in Z ür ich s h e appeared in M a r ia Stuard a (An n a Kennedy ), Simon Bo cca n e gra (Am e lia ’s M a id), I pur itani (E n r ich etta d i Fra n cia), an d Viva la Mamm a (Luig ia). Afte r fin ish in g t h e IO S, Siena w ill jo in th e E n se m b le at O per nhaus Z ür ich sta r tin g w ith th e 2022-2023 seaso n .

a t C u rt i s Op era Thea t re, B eet hoven Symp hony No. 9 w i t h t he Orego n S y m p ho ny, B eet hove n Missa Solemnis w i t h G ra nt P a rk S y m p ho ny Orc hes tra, a recital with t he C a rneg i e H a l l C i t y w i d e C o nc ert Ser ies. Additional a c c o l a tes i nc l u d e b ei ng na m ed a 2 0 19 Gerda Lissner G ra nt Aw a rd ee. M s . M i l l er m a d e her p rofessional d eb u t d u ri ng t he 2 017 - 2 018 s ea s o n i n D ie Zau ber flöte ( Z w ei te D a m e) w i t h Op era P hiladelp hia a nd s p ent t he s u m m er of 2018 as a m em b er of The S a nta Fe O p era’s p res t i geo u s A p p rent i ce P rogram, coveri ng i n D o c to r Ato m i c ( Kitty O p p enheimer ) a nd M a d a m e B u t terf l y (Su zu ki). S i ena s a ng t he t i t l e role in L'enfant et l es s o rt i l èges with the Asp en M u s i c Fes t i v a l , a nd ap p eared with C u rt i s Op era Thea t re in T he R ap e of L u c ret i a ( Ti t l e R o l e) , D octor Atomic (K itty Op p enhei m er) , a nd Th e Mediu m (B aba). I n a d d i t i o n, s he a p peared in concer t a s t he A l to s o l o i s t i n B eet hoven Symp hony No. 9 w i t h S y m p ho ny i n C a nd s he w a s i nv ited by Mar ilyn H o rne to p a rt i c i p a te i n t he l e gendar y mezzo’s f i na l y ea r of l ea d i ng The S o ng C o ntinu es ser ies at C a rneg i e H a l l .

R ecent appearan ce s in clud e to O pe ra Ph ilad el p hi a fo r t h e w or ld premiere of Ve n ab le s’ De n is & Kat y a ( Ka t y a ) , debuts w ith Boise Ph ilh ar m o n ic fo r M e ssiah an d C ha rl ot te Symphony O rche stra fo r Be eth ove n M issa So l em ni s , a nd a retur n to Colum b us S ym ph o n y fo r M e ssia h. I n rec i t a l , Si ena joined Ra vin ia Ste an s M usic I n stitute fo r t hei r wi nter song tour an d a spr in g re sid e n cy a t C a ra m o o r wi th New Yor k Fe stiva l of S o n g.

M s . M i l l er i s a n a l u m na of t he Ob erl i n C onser v ator y of M u s i c a nd t he C u rt i s I ns t i t u te of M u s i c . Training p rograms i nc l u d e t he G erd i ne Yo u ng A rt i s t Program at O p era Thea t re of S a i nt L o u i s , t he C ha u t a u q u a Institu te, and the A s p en M u s i c Fes t i v a l .

Hi ghlights from past se a so n s in clud e A M i d s u m m er N i ght ’s Dream ( H e r m ia) w ith O pe ra Ph ila del p hi a , t he t i tle role in Dido a n d Ae n ae s an d Tro ub le in Ta hi t i ( D i na h)

“…Siena Licht Miller sto o d out, thanks to the r adiance and all-encompassing w armth of her sound,” - Chicago Tr ibune

91


F E AT U R E D A R T I S T

KATHERINE GOFORTH TENOR

Vocalist Katherin e Gofo r th sh a re s h e r “ n o bl e, c o l o rf u l and iridescent vo ca l so un d ” (M a gaz in Kla ssik ) i n s t ro ng and heartfelt pe r fo r m a n ce s. “ Gofo r th , w ith [ her] v i ri l e vo ice, does not ho ld b ack , " (T h e Ne w Yo r k T im e s ) of feri ng v i vid character po r tra its sun g w ith th e u t m o s t c o mmitment and fin e sse . Win n e r of th e 2 0 19 Orego n D i strict Metropo lita n O pe ra Natio n al Co un ci l a u d i t i o ns and the 2019 N atio n al Asso ciatio n of Teacher s of Sing in g Ar tist Aw ard s re gi onal competitio n , sh e is a d istin ctive vo calist, represen tin g th e b e st of n ext generation opera tic ta le n t.

s he p l a y ed Ta m i no a nd b ot h s t a ge d i rected and p layed t he ro l e of Peter ( t he Fa t her) i n Hansel and Gretel. G ofo rt h ha s p erfo rm ed ro l es i n c ha m ber op eras by Elise W i nk l er a nd D rew S w a to s h fo r S ea t t l e O p era's Jane Lang D a v i s C rea t i o n L a b . G ofo rt h s a ng i n t he Wor ld P remiere of M a t t hew A u c o i n’s c el eb ra ted new o p era C rossing, as p a rt of a s m a l l ens em b l e c a s t d i rec te d by Tony Awardw i nner D i a ne P a u l u s , with p er for mances a t t he B ro o k l y n A c a d emy of Mu sic and A m eri c a n R ep erto ry Th eatre. G ofo rt h i s a tea c hi n g ar tist at the A q u i l o n M u s i c Fes t i v al, where she a l s o p l a y ed Ta m i no, D on B asilio in Le N o z z e d i F i g a ro, a nd L e Mu sicien in the m o d ern d a y p rem i ere of La chû te d e P ha ëto n, a nd a l so ser ves on the fes t i v a l 's B o a rd of D i rec tor s. She for mer ly s erved o n t he B o a rd of D irector s of Op era Thea ter Orego n, where she was a c t i vel y i nvo l ved i n p rodu cing new o p era t i c w o rk , i nc l u d i ng J u s t i n R a l l s' Two Yosemites a nd p ro d u c t i o ns of R a c hel Po rt m a n's T he Little P r ince a nd M i c ha el D a u g htery 's Thi s L a nd S i ngs.

G ofor th, w ho is tran sge n d e r, exce ls in a wi d e range of ro le s a cro ss th e ge n d e r spectrum. As a member of th e I n te r n atio n al O pe ra St udio of O per Kö ln fo r th e 2 0 1 8 / 1 9 season, she san g I l Co n te d i Ba n d ie ra i n Salier i’s La S cuo la d e i Ge lo si in th e Kammeroper a n d Tam in o a n d M o n o sta to s i n D i e Zauber flöte für Kin d e r, 3 . J ud e in S alo m e an d o ne of t he C omedian H ar mo n ists in O pe r Kö ln 's o r ig in a l l i ed era b end about the a capp e lla e n se m b le of th e sa m e n a m e o n t he m ain stage, and cove re d Re v. H o race A d a m s i n Peter G r imes and J aqu in o in F id e lio. O f th e se p erfo rm a nce s, The Ger man Sta ge n ote d th at sh e w a s “s t u nni ng l y c h ar ming,” the Ge n e ra l- An z e ige r w rote th a t her “teno r p rojects clearly… (an d h e r ) pian o pa ssages revea l l yric qualities as w e ll, ” a n d O pe r n M a gaz in s t a ted t ha t she “rose to the h ig h e st fo r m . ” Gofo r th h a s a p p ea red a s a soloist w ith the O re go n a n d S e a ttle Sym ph oni es , Op era T heater O regon, Po r tla n d O pe ra Guild , Po r tla nd C ha m b er Orchestra, in live ra d io b ro ad ca st o n Al l C l a s s i c a l Po r tland, and in co n ce r t w ith Pin k M ar tin i. Fo r a l m o s t a d ecade, she ha s give n re cita ls a n d Lie d e ra b end e w i t h p i a nist Wenw en D u.

G ofo rt h i s a n I ns t ru c to r of Vo i c e a t C lar k C ollege in Va nc o u ver, Wa s hi ng to n. A g ra d u a te of t he J u i l l i a rd S c ho o l a nd St. O laf C ollege, G ofo rt h a l s o p a rt i c i p a ted i n m aster cou r ses at Fra nz S c hu b ert I ns t i t u t , B ri t ten- Pear s You ng Ar tist P ro g ra m m e, H ei d el b erger Frü hl i ng L i e dak ademie, Geor g S o l t i A c c a d em i a , a nd m a s terc l a s s es sp onsored by the R i c ha rd Tu c ker Fo u nd a t i o n. Up c o m i ng p erfo rm a nc es i nc l u d e B eethoven's 9th S y m p ho ny w i t h Wa l l a Wa l l a S y m p hony and a recital p erfo rm a nc e w i t h Po rt l a nd ’s Q u eer Op era. 

With Lar k O pera, w h e re sh e is also an a r tistic c o ns u l t a nt ,

92


F E AT U R E D A R T I S T

ANTHONY CLARK EVANS BARITONE

Lauded for his “ ste n to r ia n Ve rd i style ” b y the C hi c a go Tribune and as “ w ar m - to n e d , viva cio us an d h u m a ne” b y th e San Francis co Ch ro n icle , b a r ito n e An tho ny C l a rk Evans is quickly g ain in g re co g n itio n as o n e of t he m o s t p romising Verdi b a r ito n e s of h is ge n e ra tio n . The 2 02 0 – 2021 season se e s M r. Eva n s o pe ra tic E uro p ea n d eb u t as Gior gio Germo n t in La Tra viata w ith O pé ra N a t i o na l de Bordeaux, con d ucte d b y m usic d ire cto r P a u l D a ni el . Additional appe a ra n ce s in clud e L e po re llo i n a new p roduction of Do n Giovan n i sta ge d and conducted b y all fe m a le ar tists wi th Seattle O pera, an d a retur n to th e M etropolitan O p e ra to cove r th e ro le of Ernesto in Il P ira ta.

R i c c a rd o i n I P u ri t a ni , o p p o s i te L a rry Brownlee, the Jailer i n To s c a ( c overi ng t he S a c ri s t a n) , Ya mador i (cover ing S ha rp l es s ) i n M a d a m a B u t terf l y, t he Hu ntsman (cover ing t he G a m ekeep er) i n R u s a l k a , c rea t i ng the role of Simon Thi b a u l t i n t he w o rl d p rem i ere of B el C anto, and cover s of L ep o rel l o i n D o n G i ov a nni , t he C o unt in Le nozze di F i g a ro, t he C o u nt i n C a p ri c c i o a nd Wo l f ram in Tannhäu ser. C o nc ert w o rk i nc l u d es hi s R a v i ni a Fes t iv al debu t singing i n B erns tei n’s S o ng fe st with Ensemble d a l N i ente, W i l l i a m Wa lton’s B elshazzar ’s Fea s t w i t h t he R o y a l Scottish National Orc hes t ra c o nd u c te d by T homas S ø nd erg å rd , Thea t re D irector in Les M a m el l es d e Ti rés i a s with the C hicago C i v i c Orc hes t ra , a n ap p earance at the R i c ha rd Tu c ker G a l a at C ar negie Hall, hi s d eb u t w i t h t he P hoenix Symp hony i n B eet hoven S y m p h ony Nu mber 9 c o nd u c ted b y Ti to Mu ñoz and an a p p ea ra nc e o n t he “Star s of Lyr ic O p era a t M i l l enni u m P a rk ” c oncer t, condu cted b y S i r A nd rew D a v i s .

T he 2019 -2020 se a so n saw M r. Evan s return to San Fran cisco O pe ra in h is role debut as Lesca ut in M a n o n L e sca ut, c o nducted by m usic d ire cto r Nico la Luisotti. Mr. Evan s a lso re pr ise d th e ro le of Sharpless in Ma d a m a Butte r fly at Lyr ic Opera of Chicago a n d w as sch e d ule d to si ng the same role in h is h o use d e b ut w ith Opera Philadelph ia , w h ich w as can ce lle d due to COVI D-19. Co n ce r t w o r k in clud e d h is s c hed u l ed debut w ith the S a in t L o uis S ym ph o n y O rch e s t ra s i ng i ng B rander in Ber lio z ’s La d am n atio n d e Faust co nd u c ted b y Stéphane Denève, w h ich w a s can ce lle d d ue to C OV I D - 19 .

H o no rs a nd a w a rd s i nc l u d e a 2 017 B B C C ardiff Singer of t he Wo rl d m a i n p ri z e f i na l i s t , a G ra nd Finals Winner of t he 2 012 M et ro p o l i t a n Op era N a t i o na l C ou ncil Au ditions, a 2 017 R i c ha rd Tu c ker c a reer g ra nd, a 2014 Sarah Tu c ker C a reer G ra nt , a nd to p p ri z es i n the Gerda Lissner Fo u nd a t i o n C o m p et i t i o n, t he L i c i a Albanese-P u ccini Fo u nd a t i o n C o m p et i t i o n, D a l l a s Op era Gu ild Vocal C o m p et i t i o n, M a rc el l o G i o rd a ni C o m p etition, Giu lio Gar i C o m p et i t i o n, a nd t he M a ri o L a nz a C o mp etition. Mr. Ev ans to o k s ec o nd p ri z e i n b ot h t he L i ed er k ranz Fou ndation C o m p et i t i o n a nd t he Op era I nd ex C o mp etition, as well a s p ri z es f ro m t he S u l l i v a n Fo u nd a t i on, the Lu minar ts Fel l o w s hi p , a nd t he A m eri c a n Op era S o ciety.

Operatic highligh ts in clud e M r. Eva n s’ d e b u t w i t h t he M etropolitan O p e ra a s th e H un tsm an in th e new M a ry Zi mmerman prod uctio n of Rusa lk a, w h ich w a s b ro a d c a s t to theatres around th e w o r ld a s pa r t of th e M et ’s L i ve i n HD program, his Sa n Fra n cisco O pe ra d e b ut as S ha rp l es s i n the J un Kaneko pro d uctio n of M ad am a Butterf l y, Z u rg a i n the Lee Blakeley pro d uctio n of L e s Pê ch e ur s d e p erl es wi th Santa Fe O pe ra , Le po re llo in Do n Giovan ni w i t h Tu l s a Opera, Tonio in Pag liacci w ith O pe ra S an J os e, hi s S a n D i ego O pera debut a s S h a r ple ss in M ad am a Bu t terf l y, hi s debut in the title ro le in Rigo letto w ith Ke n tu c k y Op era , and his debuts with O pe ra T h e a tre of S ain t Lo u i s , D a l a l s Opera, and Queri d o A r te in Guate m ala as M a rc el l o i n L a bohème. Addition al ro le s at Lyr ic O pe ra of Ch ic a go i nc l u d e

A na t i ve of Ow ens b o ro, Kent u c k y, Mr. Ev ans stu died vo i c e a t M u rra y St a te Uni vers i t y i n Mu r ray, Kentu cky, a nd w a s a m em b er of t he R y a n Op era C enter at Lyr ic Op era of C hi c a go. M r. Ev a ns c u rrently resides in E l i z a b et hto w n, Kent u c k y.

93


PROGR AM NOTES By A. James Liska

AUGUSTA READ THOMAS

ever- c ha ng i ng rhy t hm s , m ov i ng a ro u nd the orchestra and c rea t i ng t he c o m p o s er 's d es i red "s himmer ing" effect. The w i nd s a nd b ra s s l a nd o n a c ho rd centered arou nd t he p i tc h B - f l a t ( t he s i ng l e ot her m o s t imp or tant p itch in B eet hoven's s y m p ho ny ) to c l o s e t he i n trodu ction.

b. 1964

OVERTURE TO DER FREISCHÜTZ CO MP O S E D : 2 0 1 3

The s t ri ng s i m m ed i a tel y join i n, tu r ning the i nt ro d u c t i o n's rep ea ted notes into a dr iv ing rhy t hm i c o s t i na to c entered o n t he ver y same B -flat. T he m el o d i c l i ne ex p l o d es , hu rl i ng f a s t - mov ing sixteenth notes u p a nd d o w n t he o rc hes t ra l register and arou nd t he ens em b l e. The tem p o s l o w s d o w n a bit and su stained notes m a ke a rea p p ea ra nc e, w i t h mu r mu r ing tr ip lets u nd ernea t h. The s i xteent h notes ret u r n qu ick ly, thou gh, j u s t a s v i go ro u s l y a s b efo re a nd a re only stop p ed with a rem i ni s c enc e of t he i nt ro d u c t i o n's fifths. Flu te and

BOZEMA N SY MP H O N Y P RE MIE RE IN S TRU ME N TATIO N 2 flutes , picco lo, 2 o b o e s, 2 clar in ets , 2 bassoons, c o n tra b a sso o n , 4 h o r n s, 2 tr u m p et s , piccolo trumpet, tro m b o n e , b a ss tro m b o n e, t u b a , vibraphone, g lo cke n spie l, tr ian gle s, w o o d b l o c ks , tom-toms, crotale s, suspe n d e d cym b al, b o n go d ru m s , claves, taiko d r um , ch im e s, fin ge r cym b a l s ,

c l a ri net s o l o s c ed e to a s ec t i o n of s u s tained har monies w ho s e ever- c ha ng i ng o rc hes t ra t i o ns give it a dynamic, f l u i d c ha ra c ter. A rha p s o d i c t ro m b o ne solo leads to a ret u rn of t he s hi m m eri ng rep ea ted notes and the re- em ergenc e of t he i nt ro d u c t i o n's f a n fares. 

tenor d r um , b ass d r um , a n d str in g s ESTIM ATE D D U RATIO N: 9 m in ute s T he music of Augusta Re ad T h o m as (b . 1 964 ) i s a t o nc e n uanced, majestic, e le gan t, capr icio us, ly ri c a l , a nd c o lor ful—"it is,” a s d e scr ib e d b y th e P hi l a d el p hi a In quirer, “boldly co n sid e re d m usic th at ce leb ra tes t he sound of the ins tr um e n ts an d re affir m s th e v i t a l i t y of orchestral music . "

The f renz i ed m el o d i c a c t i v i t y of t he e ar lier fast section i s rec a l l ed b u t i nterru pted b y t he f i na l retu r n of the star k, b ri g ht f i f t hs —t he very f i rs t a nd t he ver y last notes of B eet hoven's N i nt h S y m p ho ny.

Augusta Read T h o m a s's Aure o le, is a n o rc hes t ra l wo rk that w as d e sig n e d spe cifica lly to p rec ed e a p er formance of Be eth ove n 's Nin th S ym pho ny. H er respect for her co m po sitio n al pre d e ce sso r i s o bv i o u s f rom her explanatio n of th e title :

LUDWIG VAN BEETHOVEN 1770–1827

SYMPHONY NO. 9 IN D MINOR, OP. 125, “CHORAL”

" The title refers to an e n circlin g r in g of lig ht ; ra d i a nc e su r rounding the h e a d o r th e w h o le fig u re i n t he representation of a sa cre d pe r so n a ge o r sa int ; a ha l o of c o ncentr ic circles of ligh t se e n aro un d a lum i no u s b o d y, e specially around th e sun o r m o o n , ” sh e n ote d .

C OM POS ED : 18 2 2 – 18 24 M OS T R EC ENT BOZ EM A N SYM PHONY PE R FO R M AN C E : A p ri l 12 , 2 015

" Aureole alludes ta n ge n tially to ce r ta in fu nd a m ent a l tonal centers of Be eth ove n S ym ph o n y Num b er 9 i n D m i nor, O p. 125."

I NS T R U M ENTAT I ON s o p ra no, a l to, teno r a nd b a s s soloists; S ATB c ho ru s ; 2 f l u tes ; p i c c o l o ; 2 o b oes; 2 clar inets; 2 b a s s o o ns ; c o nt ra b a s s o o n; 4 ho rn s; 2 tr u mp ets; 3 t ro m b o nes ; t i m p a ni ; b a s s d ru m; cymbals; t ri a ng l e; a nd s t ri ng s

Surely the sac re d pe r so n age in th is si t u a t i o n i s B eethoven himse lf. T h o m a s' use b oth of to n a l c enters and inter vals cr ucial to th e Nin th S ym ph o n y i s a m u s i c a l au reole around th e e ar lie r co m po se r 's w o r k .

ES T I M AT ED D U R AT I ON : 6 5 minu tes

T he w ork opens w ith a sin g le pitch , th e n ote D, t he tonal center of B e eth ove n 's Nin th . Fan fare - li ke rep ea te d notes in the tr um pets an d vio lin s, a d d a n A s ho rt l y th ereafter—creat in g th e in te r val of a f i f t h—t he open-sounding so n o r ity w ith w h ich B eet hoven's symphony also b e gin s.   T h e fan fare s co nt i nu e i n

C o m p o s ed b et w een 18 2 2 a nd 18 2 4 , t h e Symp hony No. 9 i n D m i no r, Op . 12 5, i s a c ho ra l s y mp hony and the l a s t c o m p l ete s y m p ho ny b y L u d w i g v an B eethoven, c o m p o s ed b et w een 18 2 2 a nd 18 2 4 .

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CLASSICAL SERIES N O~ 6

t hi s t i m e p l a y ed fo rt i s s i m o a nd i n D major, rather than D m i no r.

It w as fir st per fo r m e d in Vie n n a o n M a y 7 , 18 2 4 . The symphony is w id e ly re g ard e d as Be eth ove n's g rea tes t wo rk and one of th e m o st n ota b le ach ie vem ent s i n th e history of m usic. O n e of th e b e st- k n o w n w o rks i n c o mmon practice m usic, it stan d s as o n e of t he m o s t f requently perfor m e d sym ph o n ie s in th e w o r ld .

M o l to v i v a c e , t he s ec o nd m ovem ent i s a scher zo and tr io. L i ke t he f i rs t m ovem ent , t he s c herz o is in D minor, with t he i nt ro d u c t i o n b ea ri ng a res em b l a n ce to the op ening t hem e of t he f i rs t m ovem ent . At t i m es du r ing the p iece. W hi l e a d heri ng to t he t hree- p a rt s t ru ctu re of a dance m ovem ent , t he s c herz o s ec t i o n ha s a n elaborate inter nal s t ru c t u re w i t hi n i t s c o m p l ete s o na t a for m.

T he sy mphony, co m m issio n e d b y th e Ph i l ha rm o ni c Society of Lond o n , w as th e fir st exam ple of a m a j o r c o mposer using vo ice s in a sym ph o n y. T h e w o rd s a re su ng dur ing the fin al m ove m e n t of th e sym pho ny b y fo u r vo cal soloists an d a ch o r us. T h e y w e re ta ke n f ro m t he " O de to J oy," a po e m w r itte n b y Fr ie d r ich Sch i l l er i n 17 8 5 and revised in 180 3 , w ith text ad d itio n s b y th e c o m p o s er.

The t hi rd m ovem ent , a d a g i o m o l to e cantabile, is a l y ri c a l , s l o w m ovem ent i n B - f l a t m a jor— a minor sixth a w a y f ro m t he s y m p ho ny 's m a i n key of D minor. It is i n a d o u b l e v a ri a t i o n fo rm , w i t h ea c h p air of v ar iations p ro g res s i vel y el a b o ra t i ng t he rhy t hm and melodic ideas.

In 2001, Beethove n 's o r ig in a l, h an d - w r itte n m a nu s c ri pt of the score, hel d b y th e Be r lin State Lib rar y, w a s a d de d to the Memory of th e Wo r ld Pro g ra m m e Heri t a ge l i s t e stablished by t h e U n ite d Natio n s, b e co m ing t he f i rs t m usical score so d e sig n a te d .

The f i na l v a ri a t i o n i s t w i c e i nterru pte d by ep isodes in w hi c h l o u d f a nf a res f ro m t he f u l l o rc hestra are answered b y o c t a ves b y t he f i rs t v i o l i ns . The c ho ra l f i na l e i s B eet hoven's m u s i cal rep resentation of u ni vers a l b rot herho o d b a s ed o n the "O de to Joy" t hem e a nd i s i n t hem e a nd v a ri ations for m. T he m ovem ent s t a rt s w i t h a n i nt ro d u c t i o n in which mu sical m a teri a l f ro m ea c h of t he p rec ed i ng three movements— t ho u g h no ne a re l i tera l q u ot a t i o ns of p rev iou s m u s i c —a re s u c c es s i vel y p res ented and then dis m i s s ed b y i ns t ru m ent a l rec i t a t i ves p layed by the low s t ri ng s . Fo l l o w i ng t hi s , t he " Od e to J o y" theme is finally i nt ro d u c ed b y t he c el l o s a nd d o u b l e b asses. After three i ns t ru m ent a l v a ri a t i o ns o n t hi s t hem e, the hu man voice i s p res ented fo r t he f i rs t t i m e i n t he symp hony by the b a ri to ne s o l o i s t , b efo re b ei ng j o i ned the other soloists a nd c ho ru s .

T he sy mphony eme r ge d fro m oth e r pie ce s b y B eet hoven th at, w hile complete d w o r ks in th e ir o w n r igh t , w ere a l s o i n some sense "sketch e s" fo r th e future sym p ho ny. The 1 808 Choral Fantasy , O p. 8 0 , b a sically a pian o c o nc erto m ovement, bring s in a ch o ir a n d vo ca l so lo is t s nea r t he e nd for the clima x. T h e vo cal fo rce s sin g a t hem e f i rs t p l a y ed instrumenta lly, an d th is th e m e is re m i ni s c ent of th e cor responding th e m e in th e Nin th S ym ph o ny. T he first movemen t, Alle g ro m a n o n tro ppo , i s i n s o na t a for m w ithout an expo sitio n re pe a t. I t b e g in s wi t h t rem o l o str ings, steadily b uild in g un til th e fir st m a in t hem e i n D minor. The o pe n in g, w ith its pe r fe ct fi f t h q u i et l y e mer ging, resemb le s th e so un d of an o rch e s t ra t u ni ng . At the outset of th e m ove m e n t, th e th e m e ret u rns ,

"S y m p h o n y of t h e St ars" commissione d by Walter Wun sc h in celebration of the S y mp h o n y 's 5 0t h a n n iversary.

95


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97


2021/2022 SEASON

ORCHESTR A ROSTER MUSIC DIRECTOR N o r m an H u yn h

VIOLIN

BASS

HORN

Carrie Krause , co n ce r tm a ste r Pico Alt, pr incipa l se co n d vio lin Claudia Al bre c ht Jas o n B a ide Athen a Ca r so n Stephe n Ce p e da * Noah Ce r t a l ic H ye r i Cho i Sarah Chu rc h Sharon Eve r sma n Laura Ha u e r * Yu-T in g Hu a n g Meg a n Ka r ls* Cher í L e Ca in Megan Mc Fa dd e n Jill Mc J u n k in Natalie P a d illa W illiam S ha c ke l to n * Rachel S c hn a c ke l * Ali A. Schult z L e ve sq u e * Kaitlin S ha w

R yan B e l l , p ri nc i p a l April Cooper Tr i s t yn F l e m i n g M ax Jo h n s o n C o r t n e y Pe re s Wi l l i am S c ott Ste b b i n s S am an th a Vet te r

M ad e l e i n e Fo l kerts, p r incip al M ar i a D ’A m b rosio El i z ab et h Sch m id t* Je n H ar rison*

S u s an M ake e ve r, p ri nc i p a l Ke r r i B ro w n M e gan M ake e ve r A l i *

VIOLA

ENGLISH HORN

Anna J es ait is, pr in cipa l Nathan Ha lla u e r Amy L et so n * Kris tin a Ot fin o sk i Sara Schul t z L e ve sq u e * As hleig h S n id e r Cind y Sto n e Nao m i Vl iet

CELLO Chandra L in d , pr in cipa l Abby Ei c he n b e r ge r David He in z e n * Cayl e y Hu n t Charl ie Ma r t in Bärbe l P a ffo rd Julia S l ova r p Lis a Wo idt ke

FLUTE

TRUMPET S arah Sto n e b ack, p r incip al D an i e l Wood Je r r y M a ke e ve r N i c h o l as Slag gert*

TROMBONE

PICCOLO

Je an n i e Li t tle , p r incip al Lo gan Bouley

M e gan M ake e ve r A l i * Lau re n R e i n e k i n g*

BASS TROMBONE

OBOE S an d y St i m s o n , p ri nc i p a l B et h A n to n o p u l o s

B et h A n to n o p u l o s

CLARINET We n d y B i c k fo rd , p ri nc i p a l Gre go r y Yo u n g B r u c e Ke n n e y

BASS CLARINET B r u c e Ke n n e y

Li s a Sto ne h am

TUBA D o n K ro n e n b e rge r, p r incip al

TIMPANI Je f f re y H . V i c k, p r incip al

PERCUSSION D an a D o m i n gue z, p r incip al M ar k Brow n M i c ah Ja strom C h r i s to p her Naro K r i s tofer Olsen Ste p h e n Ve rsae ve l

BASSOON

KEYBOARD

A l an Le e c h , p ri nc i p a l S am M ac ke n Pete r Gi f fo rd D e re k B an n as c h *

Lau re l Yo s t, p r incip al

CONTRABASSOON Pete r Gi f fo rd

* D e n ote s sub sti tute musi c i an s

98

HARP A n ge l a Es p i n osa, p r incip al


2021/2022 SEASON

SYMPHONIC CHOIR ROSTER CHOIR DIRECTOR Jo n H ar n e y

SOPRANO Kare n Abe lin Amy Ca r lso n Lila Ce bu lla Cordelia Zu r it a Clu et t Laura Det r ic k H allie E c ho ls Kate G a rd n e r Maggie Hic k m a n Magg ie Ke r r Morga n K ir k Dacia L u e dt ke Miche l l e Ma u re r Natalie Mc Ardle Carole Mc Cle a n J ulie Nyg re n Sandy Osb o r n e Tamill a S impso n Fait h S u hre Suzy Va n d e r Vo s* Paige E . Ve r ma a t Emma Wa r win sk y Suzan n e W il so n

ALTO S h aro n B e e h l e r Jan i c e B e n h am Lau ra B e n n ett M an d y B o w ke r Vicki DeBoer D i an e D w ye r Kate l yn n Ep p e n s te i n C h r i s s y Ev an s B ar b ara Go o d Je s s i c a Graf Kat h e r i n e H e z e l Kayte Kam i n s k i M i c h e l i n a Kaz e m i n e j ad Li n d a Lar s e n C h r i s ta M e r z d o r f A b i gai l M i d d l eto n S u z an n e M ac k ay O e h l e r N an c y O j al a N i c o l e R o s e n l e af R i tte r K i p p y S an d s El l y S c h w ar z ko pf El l e n Ste p h e n s o n C aro l yn “R u s ty” S w i n gl e S ara Wi l l i am s

TENOR Je f f A b e l i n * We b s te r C r i s t Le w i s H age n Pete r H . N al e n Pe d ro A n ge l Pi n ard o Jake R e i s i g Jo h n W. S h e p p ard M atth e w S . S o n n i c h s e n I s aac St af s tro m Ju s t i n Wi l l i am s

* D e n ote s sec ti o n l ea d er

99

BASS M i c h ae l Be e h ler R i c h ard Bennett M i ke Boye r R i l e y Ev ans C h ar l e s Franklin Ju s ti n Horak Je f f Marke r R i c k Ojala Ku r t Prond C h i p Ritter* Je s s e S h ep p ard Jo n ath an Sutton R i c h ard Wilb ur A d am William s Jo h n Z irkle

REHEARSAL ACCOMPANIST Ju d i t h Diana


F E AT U R E S T O R Y

WELCOME, DANA D OMINGUEZ PRINCIPAL PERCUSSION

D uring the Fall of 2 0 2 0 , Dan a Do m in gue z to o k a n au dition w ith the Bo z e m an S ym ph o n y, h e r f i rs t - t i m e p rofessional aud itio n , th a t le d to h e r b ei ng na m ed Principal Percussio n ist. T h e H o usto n n ative b eg a n her p ercussive caree r a t th e age of six. Both of her p a re nts are band dire cto r s a n d w e re “ extre m e ly s u p p o rt i ve i n getting me lesso n s an d h e lpin g m e pur su e d i f ferent m usical opportunitie s. ”

D a na ha s c overed a l l t he p erc u s s i ve b a ses— a p lethora of i ns t ru m ent s f ro m d ru m s to m a l l et s —a nd is excited abou t p erfo rm i ng w i t h t he B o z em a n S y m p ho ny. E a rl i er t hi s y ea r, D a na w a s fea t u red at the lau nch of C u rrent C o m m ot i o n p erfo rm i ng Ap hasia by Mar k A p p l eb a u m a nd A L i t t l e J a z z Wa l t z b y Andrei P u shk arev. B ot h p i ec es w ere s u b m i t ted b y D a na to be considered fo r t he p ro g ra m . I f y o u w ere a t t he p er for mance, the A p p l eb a u m w a s s o m et hi ng y o u ’ l l n ever for get, like

“ That gave me a to n of expe r ie n ce pe r fo r mi ng i n a n au dition setting a n d a so lo ist settin g. ”

v i s i t i ng a c o ntem p o ra ry a rt m u s eu m and finding an ex hi b i t t ha t w i l l i ns p i re y o u fo r y ea r s to come. T he P u s hk a rev, w a s a b ri l l i a nt c o m p l em ent to hav ing ju st ex p eri enc ed t he ext ra o rd i na ry.

R ecalling from th e a ud itio n , Dan a sh are s t ha t s he c o mpeted for th e po sitio n w ith oth e r “ ve r y t a l ented p ercussionists.” Da n a attr ib ute s th e n e w n es s of t he experience to her performing well without a “lot of pressure.”

100


C u r re n t C ommot i on , Th e Ri a lto

LIGHT IN GREAT MUSIC INSPIRES, SPARKS CREATIVITY AND IS A CORNERSTONE IN OUR LIFE AND BUSINESS We thank and applaud the Bozeman Symphony and Symphonic Choir for bringing great live symphonic music to our community. WALTER & REGINA WUNSCH for SPECTEC, Thunderbird International Corporation www.spectecsensors.com

101


2021/2022

SEASON D ONORS G eral di ne C. & E mor y M. Ford Fou n d a t i on

CONDUCTOR’S CIRCLE

GUARANTOR

$100,00O & UP

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D a vid Ross & R isi

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CHAIRMAN'S CIRCLE $50,000 & up Step h en S c h ac h man & Ritv a Porte r

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Sharo n Evers m an

Jo hn & D on n a H u n t

Do nal d & Si gne Farri s

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Gi l ho us en Fam i l y Fo undati o n

Al & Ellen Jesaitis

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M argaret & G a r y Ka c h a d u r i a n

Barbara & Jero m e R. G l i ckm an

Beth & Ly n n Ka e d i n g

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Beth L ee & R a b b i E d St a f ma n

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of E llie M ahle r

Bruce & A u d re y Mu e l l e r

PREMIER

H ei di M cL o ughl i n & Davi d G enter

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Do ri M cTi gue

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$10,000 - $24,999 T im & M a ry Barnard M i ke & C y n d i Huem pfn er, Five Points Fou ndation Ro b er t & D onna Ritchie D a vid & K ippy Sands Cliff & L a ura Schutter Lee & D iane Selby Step h a n ie E. Sie ge l T i ppet Rise Fun d of t h e Sidney E. Frank Fou ndation Hea t h er Wh ite & Dav id Diamond S p ec tec T I C / Wa lter & Regina Wu nsch Dr s. An n e & Dennis We ntz

T he M o rto n H . M eyers o n Fam i l y Fo undati o n

Ste ve n O u g h

Mo ntana A ss o ci ati o n of Sym p ho ny O rches tras

Ti m othy & Le ora P a u l i c k

M o ntana Cul tural Trus t

M argaret Pe r r y ma n

Do n & M ari l yn M urdo ck

Car i n P h i l l i p s

Denni s & Barbara P rager

Tri sh & T i m P re h e i m

L eo P roxel l

L l o yd & J oa n n e R e y n ol d s

Reed Fam i l y Fo undati o n

Ri chard & Me l a n i e S a b o

Charl es & Kathy Ri nker

Ri ck Sande r s & J a n i c e H a n d

Jo hn Sackl i n & M ary H ektner

E l l e n S c ot t

Beatri ce Tayl o r

Bi l l Si m ki n s & E r n a S me et s

Sharo n Tudo r Isl er

Cami e S mi t h

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Jud i t h S mi t h

Ji m & Val eri e Webs ter

BENEFACTOR

Bi l l & D on n a St ra t ton

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Charl es & Kathy Ri nke r ( for t h e E n d ow me n t Fu n d )

$5,000 - $9,999

W i l l i am A . & P atri ci a J. W i l so n

V i cto ri a Ry a n & P a u l Ma r t i n

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SUSTAINER

V i c tor i a Yor k

Ric h ard & Carol Belgrad

$1,000 - $1,999

An o n ymou s

Jo a n n e & B i lly Be rghold To m & Dale Bray B ren d a & Swe p Dav is R o byn L. Er len b ush , ERA Landmark R eal Estate Fir st S ec urity Bank Gian fo r te Family Foundation Ka ren G ilhou se n S al & Ca rol G. Lalani Ro b & Lynn Mahe r Ma r y & Ken May Geo r ge S . McClu re , Jr. I r is M. L. Mode l Ben & Ba r bara P hinney Reed Fa m ily Fou ndation Ly n n Rine hart T h o m as J. Scanlin S h eeh y Fa m ily Foundation L a r r y Springer Ren ee & St uart We stlake

Jud y Ts i a n g Grego ry Yo un g & E l i z a b et h C roy Ri ck & M el o dy Z aj de l ( for t h e E n d ow me n t Fu n d )

A no nym o us A no nym o us , in m e m o r y of M ar t ha D r u r y Bi l l & Kati e A nders o n E l ai ne Best & Jef f rey Bari s h

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N o reen & Ro ger Breedi ng

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A nnette & Ro bert Carso n

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Jerry & Jan Cas hm an

The Bl ackb a u d G i v i n g Fu n d

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Ki m & R a y C e n te r

Jo n Chaney

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102


2021/2022

SEASON D ONORS Ka t ie Hoffman

Charl es P ari s

Charl e s & Ta n i Fr i t z

Jim Huffm a n & Le slie Spe nce r

Debo rah & Davi d Peters

Ji m & B u n n y G a f f n e y

Jean Kahn

Denni s & M ari l yn Raf fens p erger

Cyn t h i a G a r r i t y

Jam es K ram er & Nancy Smrcka

L arry Raf fety

Shi r l e y G e r h a rd t

Rev. B r uc e & Lois Linde rman

Barry & H el en Rem el y

Bi l l & Ka t h y G i l l i n

No r m & Ba rbara Lloyd

Chi p & N i co l e Ri tter

Ma r y G ra c i a

B r ian Lo jek & Kris Taylor

W i l l i am & Jane Shi el ds

Jo hn & Ma r y G r i f f i t h

M ike & Rh o d a McCormick

Ti m othy Sul l i van

M ari l y n G u g ge n h e i m

Jim & S a n dy McGrath

E l i sabeth Sw anso n

M ar j or i e H a n s on

Elea n o r Nolan

Dan & Beverl y Tri em stra

Bo b & J a n e H a w ks

Per sifor Olive r

Gai l Wei ngart & E d Sedi vy

Joh n H e i d ke

On e Valley C o m munity Foundation

Ri chard & Ro bi n Wo l cott

Ro n & D e e H e l l i n g s

S an d ra B. Roe

Judy Wo rl ey

Gary H erz b e r g & N a n c y B a i l e y

Jo d y Sav age

Z o ot E nterp ri s es

Bo b & Ma r j or i e H i c k ma n

S c h ran k Family Fund Ro ger S c h wer & Marjie Toepffe r Ray m o n d & M ichele Stinnett B ra d & Jin n y St rat to n , Am e rican Land Title Company

Ri tt & R oxa n n e H ob l i t t

SUPPORTER $100 - $249

N or ma n H u y n h Jo n & B e r k l e y H u d s on IN K O u t s i d e t h e B ox

D a vid & Ca rolyn Swingle

A no nym o us

Fer n J a r mu l n e k

Texa s In st r um e nts Fou ndation

L o ren & Evel yn A cto n

Stacy & B ob J ov i c k

Julie Videon

A ngel l a A hn

To m & J i l l K i r k

Ken & Judy Weaver

G i na A l bi ni

H o w ard & G a y l e K n a p p

R a lp h Willia m s, i n me mory of K ris Williams

Ivan A l brecht

Cha r l e n e K r yg i e r

Ric h ard & Janet Young

Jul i a A l brecht

Ri chard & R os e ma r y Le e

Ra lp h & Gloria Zimme r

PATRON $250 - $499

L . & M . A l brecht

L o ckh or n H a rd C i d e r

Step hani e A l ex ander

M ap Bre w i n g C omp a n y

E d A l l en

Jam es & S u s a n Ma r t i n

Beth A nto no p ul o s

Jaco b M arti n, i n me mor y of Ma r y A n n

A nne Banks

Kathl een M ashbur n , i n h on or of C h e r i L e C a i n

S usa n Agafonov

Buz z & Daw n Bas i ni

Dr. Kenneth Ma y & A n ge l a C h e n i e r

An o n ymou s

Sue Bedel l

N a n c y Me y e r

M a r go Bennett

Di ana Bl ank

A l i c e Mi l l e r

Mic h a el B o y er & C olleen Cle ary-Boye r

Di ane Braw ner

Di ck & Va l Mon roe

Jec y n Bre mer

Bri dger Brew i ng

M o nta n a A r t s C ou n c i l

Ch ar les O. & Sally Brou ghton

Bruce & A sako Bro w n

Do n n a Mu r p h re y

Ba r b ara R . Brow n

M i chael Burgard

Ro b e r t a N a g a n

Gar y & In g rid Bu ehler

M i chael Burke & M ary N o l l

N etw or k for G ood

T h e C o c a -C ola Company

A m y & Greg Burkho l der

Dan i e l l e N i c h ol a s

Ja c k & Kare n Day

P atri ck & Sus an Byo rth

Geral d & La Von n e N i e l s e n

Dia n e Donne lly

W i l l i am Cal l i ott

M ar y A n n N i e l s e n

Ca ro l Elliott

P atri ci a & Fred Co rnel i o us

E m i l y P ari s - M arti n & C h a r l i e , I r i s , & E l l i s Ma r t i n Michelle Paris

Dic k & Rita Fish

Suz anne Craw fo rd

C h a r less & M arjorie Fowlkes

Ji m & Ji l l Cunni ngham

E r i n G . Pe p u s

Gra c e France

N ancy & To m Danaher

Cl ara & S et h P i n c u s

Gill & Na ncy Ge ese y

Margaret Di rckx , in m e m o r y of M ar jo r ie E r icks o n

C a rol Pol i c h

M ike & Gail Hannon

Do ug Dybvi g

Chri s & Ma d d y Pop e

Wa y n e O. & Marilyn R . Hill

Patri ci a Do novan, in m e m o r y of Bo b D o nov an

Charl es & Ma u re e n Pore mb a

Jan e & Jo hn Hodges

P at & Di ane Dw yer

Davi d & Cel i a Pow e l l , i n me mor y of

Ca y ley Hunt

Steven & Caro l yn E agl e

Pe ggy & D a vi d W h i t l oc k

Jo h n & Joyce Kamp

E di bl e Bo z em an

L esl i e Reard on & C h r i s C row d e r Kerry Rei f & B ob Mc Ke n z i e

An n K ieffabe r

Gai l E ngl er

Jac k & B ar b ara Kligerman

A udrey & E m i l E rhardt

Jake & S a ra R e i s i g

Ja c k & Ta w nie Lehman

Sharo n Evers m an, in m e m o r y of Ko r ne lia D o r m ire

G ene a n d E d i e R e n n e r

Br uc e & Joan McNab

H el en F l ath

Ri chard a n d N a n c y R ote

La r r y & Rita Me rkel

Kevi n Fox , in m e m o r y of T ho m as R o s s

Ro bert Ro us h , i n me mor y of A l l a n ,

Ca r y le Me rrill

Janet & Jef f Fox

Anna Le e , & Ri c h a rd Rous h

Al & S uza n n e Montgome ry

Barbara French & G ary P arker

Michael Ryan

103


2021 / 2022 SEASON D ONORS

Jo h n S ac klin & Mary Hektne r

Do ugl as E asterl i ng

Cra ig & Mo r wenna Schifter

Bonni e E i chenberger, in ho no r of Ab b y E iche nb e r ge r

Dr. Aly c e A . Schu ltz

Frank & M ary E ri cks o n

T h eresa Schu ste r

M anf red F i nk

Ja n & Jim Schw artz

Kenneth D. H ap ner

Evely n Sheehan

E l eano re H artz hei m

N a n c y & Ro d S kin n er, in hon or of B arbara

P aul i ne H o l l ern

& Benj a m in P hinne y

L arry H uang

S a ra h Skofie ld

M ary H ubbard

M a r jo r i e Smith

A l l i e Jo hnso n

Da vid & Pa t ti Ste inmu ller

Kri sti na Kl aas

Jeffrey Strickler

Debra Krei ndl er

Jo el Stu ber

A l an & Karen L eech

G i g i S wen so n , i n m emory of Korne lia Dormire

Jean L ei th

H a r r iet Ta m m in ga, i n me mory of Joh n Tammin ga

L i nco l n N ati o nal Co rp o rati o n

M ir ia m & Jim Tille man

M erri ta M arbl e

S usa n & Jerry Tollefson

Kathryn M arker

Ka t h y VanDyke

M egan M cFadden

Jam es & Pamela Van Lopik

Ruth & Ro n M eyer

Jeff H. & Jackie Vick

Darrel l & L ee M i cken

Do n n a We st

M J N ef f, in m e m o r y of Bill N e f f

Peg Whe rry

E ri n M o ck

Hea t h er Wh ite, i n hon or of Su e Marle r

Jess i e N el so n

Fran ke W ilmer

M adel ai ne N eum ayr

C elia Wood

Sandra O l dendo rf

Ro ger P. Worthen

Susan O tts en

Jeff & La uran Yate s

Ro bi n P arki nso n

Steven & M a r y Lou rdes Young

Kenneth & L i nda P i erce

T h y r za Zabriskie

The P res to n Fam i l y

Mic h ael & Bonnie Ze ll

Kathl een Rabel

C aro lin e Zimme rman

Jeannette Radcl i f fe Karen Ro bi l otta

DONOR $50 - $99

P hyl l i s Ro unds Ro bert Ro us h, in m e m o r y of Allan, Anna Le e , & R ichard R o u s h

An o n ymous

Gretchen Rup p

Ca ro ly n Albre cht

Jas o n P. Schei n / Bi gho rn Basi n P al eo. Ins ti tute,

Grego r y & J e anette Alff

in ho no r of S haro n Eve r s m an

Bo n n ie Andes

Frank Schurz

D a vid Ande s

Dei dra Schw ei tz er

Lo ret t a Ben dz, in hon or of

Ian Scott

M ic h aela Garc ia Schanne p USAF

A m y Severance

Ha r r y Benham

N i ck Shul l

Olga P. Booth

E m i l y Si eger

Ab b y Bradford

Di ck & Jenni fer Sm i th

D u a n e & Ja n e Bra d fo rd , i n me mory of De lore s B radford

Ki rs ten Sm i th

L ib b y Bradford

E l l en Step henso n, in m e m o r y

T h e Bun kh ouse Brew ery

of D r. Haro ld P. Ste p he ns o n

Ken n ed y & Brandi Brown

Jo y Stri z i ch

T i m C ar lso n & S an d y O sborne , in me mory of

A ki Takeda

J effrey Safford

V i cki e Ti s chendo rf

Lila Ce bulla

A m el i e To l er

S ara h C h urc h , i n memory of David Han se n

L i sa Trankl ey

c o m m onFont

P ri s ci l l a Westesen

An n e F. Cooper

Sara W i l l i am s

B ar b ara Costigan

Janet & Jo hn W i nni e

Ar n o ld Dood

FRIEND up to $49 A n on y mou s Ro nal d & Ma rc i a A n d e r s on Sama n t h a B a ke r April Barnes Ray Bell Bl as ti n g Te c h n ol og i e s Jas o n & B a r b B ol te Jas o n & Ma n d y B ow ke r Kat h y B ra a ks ma M att Bradfo rd , i n me mor y of G ra mp a K i m B u rd i c k Ray & Ka y C a mp e a u L i l a Cebul l a, in me mor y of P a ul J. C e bul l a MK Chesley L i ndean & G ra n t C h r i s te n s on B et h D 'At r i Ed n a D a v i on B ra d E a r l y Ja c k E f fe r t z Bar b a ra Fre n c h W re n G a ve r i c k Ja n e G e i s s l e r Uw e Grabher, A ustri a , i n h on or of C l a udi a A l bre c h t H ann a h G u l l i c ks on A ndrea H am re, in h on or of C a rol e & P a ul H a mre H o w ard & S u s a n H e a h l ke A n n a H ol s t rom Bri an Im m el , in h on or of N or ma n t h e G re a t Maury Irvine Jerro l d & Ma r g a ret J oh n s on P atri ck & K r i s t i n J oy c e E l i z abet h & Ma t t Ke l l y M att & D e N a e K i z y s M arvi n & Ka y La n s ve r k M i ch a e l S . Log a n Jam e s Ma n n i n g Jef f re y Ma r ke r M er r i l y n Ma t t s on Co nni e & H u g h Mc Fa d d e n Linda Nallick Jo nqu i l & E r i k N e l s on Sandra O l dendo rf, in me mor y of Wa l te r O l de n dor f Peter & J a c k i e O ’ R e i l l y Chel sea P i erce, in me mor y of C h r i s t i n e Wa l l a c e L e s l i e P i e rc y Di ck & Ma r y Poh l Cecily Ryan C a rol S c ot t Sh a u n S c ot t H a l St a n l e y Jo sep h & Tra c y St a r ke y Thoma s Wa ge n e r M ari el l e Wal ker, i n h on or of B r uc e Wa l ke r Barba ra G . Wa r w ood Chri sti ne & Ma t t h e w We i n h e i me r S h a n a Wol d

We make every effort to list each of our contributors accurately. If you find errors or omissions, please contact us so that we may correct mistakes in future listings. Donations reflect gifts and pledges from July 1, 2020 – August, 29, 2021.

104


SUPPORT THE SYMPHONY

Boz eman S ym ph o n y is po w e re d b y th e genero s i t y of o u r d o no rs . We g a t her a nd i ns p i re a u d i ences, ar tists, and comm un ity co llab o rato r s th ro ug h s ha red s y m p ho ni c ex p eri enc es t ha t u ni te u s a l l , enhancing the cultural lan d sca pe of so uth - ce n tral M o nt a na . W i t h y o u r s u p p o rt , t he B o z em a n S y m p ho ny is made stronger b y th e pa r tn e r sh ips a n d co nnec t i o ns t ha t w e c rea te to get her. We a re ho no red a nd excited to chart a pro spe ro us, cre ative future und er t he a rt i s t i c l ea d ers hi p of M u s i c D i rec to r, N o rm a n H u y nh. When y o u suppo r t th e Bo z e m a n S ym p ho ny, y o u c rea te c o m m u ni t y. To get her, w e s ha re t hi s a rt for m with over 12,0 0 0 pe o ple e ach ye ar.

WAYS TO GIVE

ONE-TIME OR MONTHLY GIFT:

VOLUNTEER:

M a ke a one-time donatio n o r m o n th ly ple d ge to the B o z em a n Sy mphony today an d k n o w yo u are m ak in g a d i f ferenc e! D o nate online at w w w. b o z e m a n sym ph o n y.o r g/ d o na te.

We of fer a v a ri et y of fu n volu nteer o p p o rt u ni t i es a l l y ea r l o ng . C o nt a c t u s to become a S y m p ho ny vo l u nteer to d a y !

ENDOWMENT:

The E nd o w ment Fu nd was es t a b l i s hed i n 19 9 8 b y t he B o a rd of D i rector s to identify t ho s e d o no rs w ho s e v i s i o n fo r t he f u t u re of the Symp hony i s d em o ns t ra ted b y t hei r s u p p o rt of i t s endowment. T he S o c i et y g ra tef u l l y a c k no w l ed ges a ny fr iend who makes p rov i s i o n fo r t he S y m p ho ny t hro u g h t he Fu nd as a p ar t of hi s o r her es t a te p l a nni ng o r w ho w i s hes to make a direct g i f t to t he Fu nd . Yo u r c o nt ri b u t i o n to the Fu nd br ings the s a t i s f a c t i o n of enc o u ra g i ng t he S y m phony of today and p erp et u a t i ng t he S y m p ho ny of to m o rro w.

SYMPHONY UNDERWRITERS:

U n d erw ri ters p rovide a strong , sta b le fin an cia l b ase to th e B o z em a n Sy mphony O rchestra a n d S ym ph o n ic Ch o ir b y c o m m i t t i ng to donate at lea st $1 0 0 e ach m o n th ($1 , 2 0 0 a y ea r o r m ore) to the Sym ph o n y. U n d e r w r ite r b e n e f i t s i nc l u d e access to our h o spita lity ro o m at pe r fo r m a nc es w i t h c o mplimentary co at ch e ck , b e ve rage s, a p p et i z ers , i n vitations to private a n n ua l re ce ptio n s an d m o re!

CONCERT SPONSORSHIP: Co n ce r t s p o ns o rs hi p i s aimed at individ uals a n d b usin e sse s w h o, a s l ea d ers , su pport a thr iving Bo z e m a n Sym ph o n y b y p rov i d i ng a repertoire of sym ph o n ic an d ch o ra l m usic p erfo rm ed for the benefit of in d ivid ua ls, stud e n ts, a n d m u s i c i a ns residing in south - ce n tra l M o n ta n a . Spo n so r shi p b enef i t s are fully customiz ab le to m e et th e un iq ue need s of e a ch individual o r b usin e ss. Spo n so r sh ips o pt i o ns a re v aried. We can h e lp yo u fin d th e pe r fe ct f i t fo r y o u r l e vel of giving.

ADOPT-A-MUSICIAN:

M a ke a real difference i n o u r c o m m u ni t y b y s p o ns o ri ng o ne or more of the 16 0 ext ra o rd i na ry m u s i c i a ns of t he B o zeman Symp hony Orc hes t ra a nd S y m p ho ni c C ho i r! O u r dedicated m u s i c i a ns p rov i d e: Ou t s t a nd i ng m a i n s t a ge p erfo rm a n ces at the Willson A u d i to ri u m N u rt u ri ng ed u c a t i o na l a nd i nt ro d u c tor y p rograms Tw o f ree C hi l d ren’s C o nc ert s ea c h s eason E ng a gem ent p erfo rm a nc e t hro u g h ou t the region as p a rt of Fa r A f i el d

CORPORATE CIRCLE:

T h e Bo z e m a n S y m p ho ny c o r porate giving pro g ra m is co m po se d of l ea d ers i n th e business co m m un ity w h o value th e ar t s a nd w ho u nder stand the p o sitive im pa ct th e a r ts h a ve o n c hi l d ren, th eir families, and th e co m m un ity. As a m e mb er of t he C or porate Circle , yo ur b usin e ss w ill re ce ive exc l u s i ve p er ks that meet t h e un iq ue n e e d s of yo ur b us i nes s .

C o nt ri b u t i ng to y o u r f a vo ri te s ec t i o n, chair or voice, or M u s i c D i rec to r o r C ho i r D i rec to r i s a g reat way of showing a p p rec i a t i o n fo r o u r m u s i c i a ns !

QUESTIONS?

C a l l u s a t 4 06 - 585 -9774 or email i nfo @b o z em a ns y m p ho ny.o rg

ADVERTISE:

Ad ve r tisin g in o ur se aso n p ro g ra m s i s a unique w ay to ra ise yo ur b usin e ss profile , gai n ex p o s u re, reach a lar ge aud ie n ce , d r ive tra ffic to yo u r b u s i nes s , and support the a r ts. O ve r 1 2 , 0 0 0 in d ivid u a l s a t tend B o z eman Sy mpho n y pe r fo r m a n ce s e ach se aso n!

All gifts receive a tax receipt and are acknowledged in our concert season publications. Bozeman Symphony is a registered 501(C)3 nonprofit organization. Tax ID #81-6019534.

105


2021/2022 SEASON

AD OPT-A-MUSICIAN Th e d ire cto r s a n d m usician s of t he B o z em a n S y m p ho ny Orc hes t ra a nd S y m p ho ni c C ho i r wish to th a n k e a ch of th e ge n e ro us p a t ro ns w ho ha ve d o na ted to t he A d o pt - a - M u s i c i a n c a m p a ign.

N orm an Hu ynh, Music Director

OBOE

David Ross

Oboe S ect i on

E m i ly Paris- Martin, Executive Director

James K ramer & N anc y Sm rc k a

S usan Agafon ov David Ross Mich ael R yan

CLARINET

C a rrie Krause , Con certmaster

Wendy Bi ckford, Princip al Cl ari n et L ee & Dia ne Selby

Rob & Lyn n Mah er

Gregory Young, Clarinet D avid B y bee, M.D. & Polly A. Coom b s , M . D.

VIOLIN

John Sac k lin & Mary H ek tn e r

Sharon Eve rsm an, Violin A n o n y m ous, in memory of Korn elia Dormi re C he ri Lad d Le C ain, Violin

BASSOON

An on ymous

A l an Leech, B assoon

David Ross

Caroly n H op p er, in memory of D a n H o p p e r D avid & Caroly n "Rusty " Sw i n gl e

CELLO C e llo se ction

TRUMPET

Beth Kaedin g

Jerry Makeever, Trump et

R a l p h Williams, in memory of Kris W illiams

Caroly n H op p er, in memory of D a n H o p p e r

Chand ra Lind , Prin cipal Cello

N ancy Mey er

David Ross

S arah Stoneback, Princ ip al Tr u m p et

C harlie Martin, Cello

Jim & Mary Alic e Chandle r

S usan Agafon ov

Rob & Ly nn Maher

Victoria Ryan & Paul Martin

D avid Ross

Mich ael R yan

Gloria & Ralp h Z immer

J u lia Slovarp, Cello

Dani el Wood, Trump et

Rob & Lyn n Mah er

Gloria & Ralp h Z immer

Lisa Woid tke , Cello

TROMBONE

J im & Pam Van Lopik

Jeanni e Li t t l e, Princ ip al Trom b o n e

BASS

D avid Ross

B ass se ction

PERCUSSION

Gloria & R alph Zimmer C ortne y Pe re s, Bass

Percussi on S ect i on

David Ross

James K ramer & N anc y Sm rc k a

FLUTE

BOZEMAN SYMPHONIC CHOIR

S ue Make e ve r, Prin cipal F lute

S ymphoni c Choi r Musi ci a n s

D a vid & Carolyn "R usty" S win gle

Gloria & Ralp h Z immer

M arjie Toepf fer & Roger S ch wer

PICCOLO

We make every effort to list each of our contributors accurately. If you find errors or omissions, please contact us so that we may correct mistakes in future listings. Donations reflect gifts and pledges from July 1, 2020 – August 29, 2021.

Me gan Make e ve r Ali, Piccolo D a vid & Carolyn "R usty" S win gle

106


2021/2022 SEASON

VOLUNTEERS Th e Bo z e m a n S ym ph o n y w ish e s to t ha nk t he fo l l o w i ng vo l u nteers fo r t hei r p a s t s u p p o rt , and to n e w vo lun te ers t ha t j o i n t hro u g ho u t t he c o nc ert s ea s o n.

M i k a Aw anohara B et h B o y so n & B rian C lose Kat hy B raun D i ane B raw ne r R o ge r & N ore e n B re e d ing B et hany C ab all C o nn ie C ad e A nnet te C arson S ara C h riste nse n P at r i c ia De Witt J o y Dow e ll B o nni e E iche nb e rge r S he lle y Fle m ing M ar y E l l en Fre e m an B ly t he Ganje J ane Ge ntholts M ar y Jo Gre gory Kay Hage r E i l e e n Hosk ing M au re e n Hu ghe s Ti ny H utchinson D e bo rah Hurn D ani c a Jam ison M ar g i e Kank rlik M i c he l i na Kaze m ine jad J e ssi ca Ke lly

Bet h A nn Kennedy A nne Kenney A my Ki nman Lynn Ki nnaman Barbara & Jack Kl i german Teri Knut son Cat hy Laj ewski Cheryl Larson A nni ka Lawrence Mart i n Larence Verena Lawrence Mi chel e Letendre Phyl l i s Lewi s Gerre Mai l l et A nn Maroney Paul Mart i n Steve Mart y Kri st i na Mat t hews Li ndsey McCann Jast ram Chri sa Merz dorf Robi n Morri s A ul t i e Ol i ve Eve Parry Deborah Peters Pam & N ei l Poul sen Lynn Powers

107

Gretchen R u pp Vi cki R ya n El ai ne S a mu e l s o n Ki ppy S a n d s Ci ndi S ch e id t Li nda Sch o o l e y A l yce Sch u l t z El l y S chwa r zko pf Teri S i n o po l i Durward S o b e k S arah S o b e k Judy S o r g El l en Steph e n s o n Barbara Su mme r s Karen T h ie l e n A nne Tu l l a r Jef f Turczyn S uz i e Tu rczyn Kat hy Va n Dyke Vi ctor Ve l t k a mp Jenni fer Ve r s a e ve l Mari el l e Wa l ke r Carol We a ve r Gerri W ro b et z


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