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26 27 MICHAEL BUTTERMAN MUSIC DIRECTOR

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Music Director Michael Butterman Michael Butterman is Music Director of three American orchestras and a sought-after guest conductor acclaimed for his creative artistry, innovative programming, and commitment to audience development and community engagement. He is Music Director of the Boulder Philharmonic Orchestra, which he has led to national prominence, resulting in an invitation to open the Kennedy Center’s inaugural SHIFT Festival of American Orchestras in 2017, as well as the Shreveport Symphony, which has experienced an unprecedented era of artistic growth under his two decades of leadership. More recently, he assumed the role of Music Director of the Williamsburg Symphony, which has since been featured over two dozen times on nationwide public radio. He recently concluded a transformative tenure as Music Director of the Lancaster Symphony and previously spent nearly two decades with the Rochester Philharmonic as Principal Conductor for Education and Community Engagement. As a guest conductor, Butterman has led many of the country’s preeminent ensembles, including the Cleveland Orchestra, Philadelphia Orchestra, National Symphony, Detroit Symphony, and Houston Symphony, with additional appearances at Tanglewood, the Bravo! Vail Valley Music Festival, and Colorado Music Festival. He is also a frequent guest conductor for Cuba’s renowned Havana Chamber Orchestra. PHOTO BY MOLLY SCHLACHTER.

Butterman gained international attention as a diploma laureate in the Prokofiev International Conducting Competition and finalist in the prestigious Besançon International Conducting Competition. A recipient of the Seiji Ozawa Fellowship, he studied at Tanglewood with Robert Spano, Jorma Panula, and Maestro Ozawa, with whom he shared the podium to lead the season’s opening concert. He was also sponsored by UNESCO to lead the National Philharmonic Orchestra of Moldova in a concert of music by great American masters. An experienced opera conductor, Butterman served for six years as Music Director of Opera Southwest and has held conducting and academic positions at LSU and the Indiana University Jacobs School of Music. At Indiana University, he conducted a highly acclaimed production of Leonard Bernstein’s 1600 Pennsylvania Avenue at the Kennedy Center, receiving praise from The New York Times, The Washington Post, Variety, and USA Today. He was subsequently invited to New York at the request of the Bernstein estate to prepare a performance of a revised version of the work. Butterman’s work has been featured in more than three dozen nationwide broadcasts on public radio’s Performance Today. His newest recording, Emporium: The Music of Aldo López-Gavilán, on the Reference Recordings label, is garnering critical acclaim and radio airtime. His work can also be heard on recordings for Newport Classics and on an album with the Rochester Philharmonic featuring actor John Lithgow. Butterman is represented by Cadenza Artists and is a voting member of the Recording Academy/GRAMMY Awards®. 6 Boulder Phil 26-27 Season

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Boulder Phil Orchestra Roster DeAunn Davis, Assistant & Utility Andrew Miller Jeffrey Rubin Alan Davis Daniel Skib

VIOLIN 1 Ryan Jacobsen, Chas Wetherbee Endowed Concertmaster Becky Roser & Ron Stewart Annamaria Karacson, Assistant Concertmaster Virginia Newton Stephanie Bork Rinat Erlichman Heejung Kim+ Christopher Leonard Ava Pacheco+ Veronica Sawarynski Marion Thurnauer & Alex Trifunac Takanori Sugishita* Malva Tarasewicz Yenlik Weiss

Joey Howe Amanda Laborete Yoriko Morita Margot & Chris Brauchli Erin Patterson Eleanor Wells

VIOLIN 2 Zachary Ragent, Principal Leah Mohling, Assistant Principal Hilary Castle-Green Caitlin Jacobsen+ Regan Kane Isaac Kay Chris Mentor Autumn Pepper Robyn Sosa Eva Toncheva+

FLUTE Wonpyo Lee, Principal Pamela Dennis & Jim Semborski Elizabeth Sadilek Laurie Hathorn Olga Shilaeva, Piccolo

TUBA James Andrus, Principal

OBOE Sarah Bierhaus, Principal Harry Poehlmann Brittany Bonner Grace Stringfellow

PERCUSSION Nena Lorenz Wright

CLARINET Kellan Toohey, Principal Margaret & Rodolfo Perez Michelle Orman Ian Buckspan, Bass Clarinet

PIANO Vacant In memoriam Ruth C. Kahn

VIOLA Allyson Stibbards, Principal Patricia Butler Ross McIntosh, Assistant Principal Aniel Cabán Matthew Diekman Nancy Clairmont & Bob Braudes Claire Figel Aimee McAnulty Nancy McNeill Stephanie Mientka CELLO Charles Lee, Principal Christine & Wayne Itano Andrew Kolb, Assistant Principal Sara Fierer 8 Boulder Phil 26-27 Season

BASS David Crowe, Principal Lin & Matthew Hawkins Brian Knott, Assistant Principal Lin & Matthew Hawkins Ernie Glock Hunter Hawkins Isaiah Holt John St. Cyr

BASSOON Francisco Delgado, Principal in Memory of Joan Ringoen Joshua Sechan Wendy La Touche, Contrabassoon HORN Michael Yopp, Principal Ruth Irvin Devon Park, Associate Principal

TRUMPET Leslie Scarpino, Principal Nicky Wolman & David Fulker Noah Lambert TROMBONE Bron Wright, Principal Nancy Clairmont & Bob Braudes Owen Homayoun Jeremy Van Hoy, Bass Trombone

TIMPANI Douglas William Walter, Principal Constance Holden & TK Smith

HARP Katie Wychulis, Principal

PERSONNEL MANAGER Bron Wright Members of string sections are listed alphabetically following titled players. * On leave this season Temporary contract Interested in sponsoring a musician? Give us a call at 303-449-1343.

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A FAMILY BEHIND THE MUSIC CELLO

THE PEOPLE BEHIND THE MUSIC

ELLEANOR WELLS PRINCIPAL CELLO

CHARLES LEE

For cellists Eleanor “Elle” Wells and Charles Lee, sharing the stage with the Boulder Philharmonic is just one part of a life built around music. They’re colleagues, teachers, chamber musicians, parents—and a married couple who have spent much of their professional lives making music side by side. Both are familiar faces throughout Colorado’s classical music community, performing together with the Boulder Phil, Opera Colorado Orchestra and Colorado Ballet Orchestra. Cha Charles has served as Principal Cellist of the Boulder Philharmonic since 1998. He began his studies in composition and piano at the Eastman School of Music before earning his master’s in cello performance at Temple University. He later came to Boulder for the graduate quartet program at CU Boulder, earning his Doctor of Musical Arts degree in 2004.

pe Elle has performed with the Boulder Phil since 2002. She also studied at CU S S I S Ther A NBachelor T P R I NofCMusic I P A LasVaI O LA Boulder,Aearning full-scholarship student before completing her Master of Music at UC Santa Barbara. Her musical Allyson studied at the University of Colorado Boulder and New education included summers at the Aspen, Brevard and Eastern music festivals, along with chamber music programs at Banﬀ and with the Takács England Conservatory, with formative summers at the Aspen Ross teaches viola and chamber music at the University of and Tanglewood music festivals. Growing up in Longmont, she Quartet. Today, she remains an active performer throughout the Front Wyoming andlove has of performed in theatU.S. and Valley Range and shares her music withextensively young musicians Boulder performed with Boulder Suzuki Strings, Greater Boulder Youth Europe, including as guest principal violistteaches of the cello BBC and Waldo Waldorf School, where she conducts the orchestras, Orchestra, and Denver Young Artists Orchestra, winning two Concert Orchestra and with the Swiss Chamber Concerts in oversees the ensemble program. concerto competitions in 2014. Her primary teachers include Geneva. He has shared the stage with artists including Atar Erika Eckert, Kathy Basrack, Geraldine Walters, and C.J. Chang. Teaching is also centralRidout, to Charles’s life. Heand teaches cello, string Arad, Timothy and musical Tomo Keller, worked with orchestra and chamber RegisRutter University cello at Metropolitan A dedic dedicated educator, Allyson has taught violin and viola with composers suchmusic as SiratJohn and and Cheryl Frances-Hoad. El Sistema Colorado since 2021, working with students through State University of Denver. His private studio has produced generations of A s founder and Artistic of the Wyoming accomplished young cellists, withDirector former students going on to win private and group lessons, early childhood classes, and International Chamber Music Festival, Ross brings competitions and perform in professional orchestras—including in chamber music. A former Suzuki student herself, she has also international artists to Wyoming for free performances pursued Suzuki teacher training and believes deeply in music’s principal positions. designed to make classical music more accessible. He is also power to connect people. After years of performing teachingwhose the next generation and an active organisttogether, and composer works have been musical family, Ellethe andnorthern Charles are a wonderfulHis reminder A fter experiencing a debilitating repetitive strain injury during raising aperformed across hemisphere. musicalthat life behind extends the musicfrom we hear onstage are relationships builtloft over college, Allyson developed a holistic approach to playing the concert stage to the organ at athe lifetime—and the artistry and dedication thatHis have made them such a through yoga, Alexander Technique, and Body Mapping. Now Ca Cathedral of St. Mary in Cheyenne. wide-ranging projects valued part of the Boulder Phil. performing pain-free, she is pursuing Body Mapping licensure include recording the music of Brahms and Joachim on and helps other musicians learn to play without pain. Joachim’s historic ca.is 1609 Gasparo da Salò viola. For these two cellists, it truly a life in music—shared.

ROSS McINTOSH

Thank You to Our Partners The Boulder Philharmonic Orchestra recognizes those who have made or pledged transformative and lasting gifts. These people are planting seeds for the future that will sustain the music for future generations, at the same time enhancing and enriching our current programs. Thank you! Grace & Gordon Gamm Endowment Fund SeiSolo Sydney & Robert Anderson Margot & Christopher Brauchli

Patricia Butler Jayne & Stephen Miller Harry Poehlmann Margaret & Rodolfo Perez

Becky Roser & Ron Stewart Lynn Streeter Nicky Wolman & David Fulker

Boulder Philharmonic Orchestra Legacy Circle Nancy Clairmont & Robert Braudes Pamela Dennis & Jim Semborski Jerry Gilland

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It is the mission of the Boulder Philharmonic Orchestra to enrich connections and communities through the power of orchestral music.

MUSIC DIRECTOR Michael Butterman

PRINCIPAL GUEST CONDUCTOR Gary Lewis

ASSISTANT CONDUCTOR Renee Gilliland

ADMINISTRATIVE STAFF Mimi Kruger, Executive Director Fernanda Nieto, Director of Education & Community Engagement Rosie Harris, Marketing & Communications Manager Nicholas Lussier, Sales & Communications Manager Abby Kellems, Director of Artistic Administration and Librarian Randel Leung, Assistant Artistic Coordinator and Librarian Bron Wright, Orchestra Personnel Manager Kyle Sneden, Stage Manager

Thank you for joining us! Orchestral music is a source of creative expression, entertainment, social cohesion and wellbeing. As a bridge between the past and the future, we keep music traditions alive and evolving. We inspire students and educate communities, and provide spaces of creativity, inclusivity, artistic creation, and experience.

OFFICERS Judy Knapp, President David Fulker, Vice President

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SIBELIUS SYMPHONY NO.2

Michael Butterman, Music Director Christina Jennings, ﬂute October 23, 2026, 7:00 PM October 24, 2026, 2:00 PM First United Methodist Church

Vivian Fung (b.1975)

Pizzicato

5’

Lowell Liebermann (b.1961)

Concerto for Flute and Orchestra, Op.39 I. Moderato II. Molto adagio III. Presto

26’

Symphony No.2 in D Major, Op.43 I. Allegretto II. Tempo Andante, ma rubato III. Vivacissimo IV. Finale: Allegro moderato

46’

Intermission Jean Sibelius (1865-1957)

Courtesy recording provided by Galle Studios. Program and artists subject to change. There may be professional photographers and recording crew present during our performances. All other photography or recording of any kind is strictly prohibited. Boulder Phil 2026-2027 Season

PROGRAM 1

SIBELIUS SYMPHONY NO. 2 GUEST ARTIST

Jennings’ recent Naxos disc of flute music by American composer George Rochberg features her transcriptions of his “Caprice Variations,” and was published by Galaxy Music. She recently released an Albany disc of new music by Christopher Theofanidis with Italian guitarist Nicolò Spera. She is also the founder of the Panoramic Flutist Seminar, Rise Up Flutist courses and the Once a Flutist Festival. An advocate of equity and diversity, Jennings champions the careers and compositions of women and underrepresented groups while encouraging her students to do the same. Jennings is devoted to her community and grateful for belonging in yoga, dance, book and spiritual circles. She lives in Boulder with her husband, violist Matthew Dane, and their twin teenagers.

PROGRAM NOTES

CHRISTINA JENNINGS, FLUTE A passionate teacher, Jennings is professor of flute at the University of Colorado Boulder, where her flute studio is one of the most prominent and respected in the United States. As a performer, Jennings enjoys varied musical settings She is the winner of several major competitions - including the Concert Artists Guild and National Flute Association competitions—and has appeared as a concerto soloist with over 50 orchestras. Jennings has premiered new concertos composed for her by Carter Pann, Marcus Maroney, Laura Elise Schwendinger and others. The Washington Post described her performance of Jonathan Leshnoff’s concerto with the Fairfax Symphony as a “spirited, quicksilver performance.” For decades, she also served as the principal flute with the Arizona Music Fest and ROCO (Houston). Notable chamber music partners have included the Takács Quartet, Sō Percussion and Brasil Guitar Duo; she has also frequently performed with Simone Dinnerstein.

PROGRAM 2 Boulder Phil 2026-2027 Season

PIzzicato, Vivian Fung (2001) While Canadian composer Vivian Fung (b. 1975) has studied composition in Canada, Paris and New York, she has also travelled extensively in order to study the music and traditions of cultures as diverse as Bali, China, Vietnam and Spain. In her music, she blends her experience with Western musical art traditions with the traditions of those other cultures. Her compositions have been performed internationally and won numerous awards. She is currently on the faculty of Santa Clara University. She has written the following program note about her piece Pizzicato: “Pizzicato is a short work for string orchestra, the duration of which the players never use their bows. The central sound produced is that of plucked strings as well a few surprises in the middle and towards the end of the work. Inspired by listening to Asian folk music, the piece is influenced partly by the music of the Chinese plucked instruments pipa and qin as well as by the energetic rhythms of Indonesian gamelan. Pizzicato was originally read as a string quartet by the American String Quartet while I was an associate artist at the

SIBELIUS SYMPHONY NO. 2 Atlantic Center for the Arts (ACA) in New Smyrna Beach, Florida from April 29–May 17, 2001. The string orchestra version of Pizzicato was premiered by the San José Chamber Orchestra in San José, California on December 9, 2001. The string quartet version has been recorded by the Ying Quartet and is commercially available on the Telarc CD entitled “Dim Sum,” featuring short works for string quartet by Chinese American composers.” Concerto for Flute and Orchestra, Op.39, Lowell Liebermann (1992) “I’ve always seen my works as being part of the western classical continuum of music. I never intend for my music to be a radical break with what’s happened before it. To me, the whole history of music is a very enriching tradition, and my music often makes references to other composers, styles and techniques…In my music, there usually is no extra-musical inspiration. It’s not about sunsets, political events or things of that sort. It’s about the manipulation of the harmonies, the melodies, the musical materials I’m using and the abstract emotions that those evoke in the listener. I do stress that these are abstract emotions. I often compare it to working with emotions the way an abstract painter would work with colors…I never want to tell people what they should expect when listening to my works. I would much rather people listen to the music as it unfolds and see what they feel rather than having this fear that they have to listen for something, and if they miss it, they’re not getting the piece. I encourage all to simply sit back, relax and enjoy the music” (Lowell Liebermann). Lowell Liebermann is a New-York based composer and serves on the faculty at the Mannes School of Music. Liebermann has composed extensively for symphony, opera, and his primary instrument, the piano. This flute concerto, however, is the piece for which he has perhaps become best known. The work was famously commissioned by Sir James Galway, who originally asked for Liebermann’s flute sonata to be orchestrated by the composer. Liebermann would have agreed, but he posed to Galway that perhaps a new concerto would be a more fulfilling project. Now, the work is a pillar of orchestral repertoire and has been recorded over 20 times.

Symphony No.2 in D Major, Op.43, Jean Sibelius (1902) Symphony No.2 in D major, Op.43 was received and welcomed by the Finnish public as an allegory of Finnish oppression and heroic resistance. However, Sibelius rejected this premise, writing “a symphony is not just a ‘composition’ in the ordinary sense of the word. It is more of an inner confession at a given stage of one’s life.” Regardless, with his previous nationalistic pieces, such as Finlandia (1899), the dramatic and triumphant nature of his second symphony remains a source of inspiration. The piece was written during the imperial era of Finnish history which lasted from 1809 to 1917. This era began in connection with the Napoleonic Wars as the Russian Empire conquered Finnish territory from the Kingdom of Sweden, and lasted until the collapse of the Russian Empire during the First World War. During this time, the Finnish nation underwent rapid cultural and economic developments, with conflict rising between the emerging Finnish nation and the empire proper. The imperial manifesto issued on February 15, 1899 placed nearly all Finnish legislation under the surveillance of the Russian government which reduced Finland’s autonomy and allowed the tsar to legislate without following the established constitutional framework. The premiere of this symphony in Helsinki was followed by four sold-out repeat performances later that month, and the piece became one of Sibelius’s first major works to achieve a significant international breakthrough. Robert Kajanus, founder and conductor of the Helsinki Philharmonic Orchestra, put it this way: “The Andante strikes one as the most brokenhearted protest against all the injustice that threatens at the present time to deprive the sun of its light and our flowers of their scent.… The scherzo gives a picture of frenetic preparation. Everyone piles his straw on the haystack, all fibers are strained and every second seems to last an hour. One senses in the contrasting trio section with its oboe motive in G-flat major what is at stake. The finale develops towards a triumphant conclusion intended to rouse in the listener a picture of lighter and confident prospects for the future.”

Boulder Phil 2026-2027 Season

PROGRAM 3

BOULDER PHILHARMONIC PRESENTS

thirty

up close YOU’VE HEARD CHARLES. JUST NOT LIKE THIS. For nearly 30 years, Principal Cellist Charles Lee has performed with the Boulder Philharmonic. Now, hear a side of him—and the cello—you don’t often get to experience. In the intimate setting of Stone Cottage Studios, Charles steps into the spotlight for a rare solo performance, with music spanning centuries and styles—from Bach and Britten to Mark Summer’s Julie-O, and Charles’s own transcription of Jul Rachmaninoﬀ ’s Second Symphony.

SOLO CELLO PERFORMANCE

THURSDAY, NOVEMBER 19 S T O N E C O T TA G E S T U D I O S | D O W N T O W N B O U L D E R

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DISCOVERY 2026 A FORCE OF NATURE

Ingrid Larragoity-Martin, conductor October 29, 2026, 10:00 & 11:30 AM October 30, 2026, 10:00 & 11:30 AM First United Methodist Church Modest Mussorgsky (1839–1881)

Night on Bald Mountain

Bedřich Smetana (1824 –1884)

The Moldau

Ottorino Respighi (1879-1936)

Pines of Rome I: The Pines of the Villa Borghese

Dimitri Shostakovich (1906-1975)

Symphony No.10 II: Allegro

Viet Cuong (b. 1990)

Next Week’s Trees

Igor Stravinski (1882 - 1971)

The Firebird, K10, 1919 Suite: VI. Berceuse & VII. Finale

Suzanne & James Balog, Lin & Matthew Hawkins, Stefan & Anjali Maus, Harry Poehlmann, Blessing Foundation Program and artists subject to change. There may be professional photographers and recording crew present during our performances. All other photography or recording of any kind is strictly prohibited. Boulder Phil 2026-2027 Season

PROGRAM 5

A FORCE OF NATURE PROGRAM NOTES Night on Bald Mountain, Modest Mussorgsky (1867) Mussorgsky was a member of a group of Russian composers known as “The Five.” The group wanted to create original music that reflected Russian culture, traditions, and stories. Night on Bald Mountain, also known as Night on the Bare Mountain, was inspired by Russian folklore. The story depicts witches gathering on the eve of St. John’s Day. The witches celebrate throughout the night, but as the sun rises, they suddenly vanish. Mussorgsky completed the first version of the piece on June 23, 1867. However, the music was considered unfinished and was not performed during his lifetime. After Mussorgsky’s death, his friend and fellow composer Nikolai Rimsky-Korsakov rearranged the piece. His version eventually became the one most widely performed in concert halls around the world. The piece gained even more popularity when it was featured in the 1940 Walt Disney film Fantasia, introducing Mussorgsky’s dramatic music to a whole new audience. The Moldau, Bedřich Smetana (1879) Bedřich Smetana was born in a small town in what is now the Czech Republic. At just five years old, he began playing the piano, and by age six, he was performing for local audiences. He began composing music at age eight, three years before he was sent away to his first boarding school. By 1874 after a period in Sweden, Smetana had returned to Prague to live with his daughter and her family. Around this time, he had become completely deaf. Despite losing his hearing, he continued to compose music. One of his most famous works is The Moldau, which tells the musical story of the Vltava River as it flows through the Czech countryside and the city of Prague. At the very beginning, listen for the sound of two small mountain streams. The cold, bubbling stream is represented by the flute, followed by the warmer stream played by the clarinet. As the two streams come together, the river grows wider and more powerful. A majestic melody then carries the river on its journey. Along the PROGRAM 6 Boulder Phil 2026-2027 Season

way, the river passes a forest hunt, a lively peasant wedding, the rushing rapids of St. John, and finally an ancient castle in the city of Prague. The Pines of Rome: The Pines of Villa Borghese, Ottorino Respighi (1924) Ottorino Respighi was an Italian composer, violinist, and teacher who became one of the most important Italian composers of the early 20th century. He was born in Bologna, Italy, in 1879 and grew up in a musical family. As a young musician, Respighi traveled to Russia, where he performed as a violinist and studied with the famous Russian composer Nikolai Rimsky-Korsakov. In 1913, Respighi moved to Rome to teach composition. He fell in love with the city and its history, and Rome became an important source of inspiration for his music. His 1924 symphonic poem Pines of Rome has four continuous movements: “The Pines of the Villa Borghese” (lively children playing), “Pines Near a Catacomb” (somber religious chant), “The Pines of the Janiculum” (serene moonlight with a real phonograph bird recording), and “The Pines of the Appian Way” (a massive marching Roman army.) You will hear the first movement, The Pines of the Villa Borghese, at the Discovery Concert. In this piece, Respighi imagined the sounds of children playing among the pine trees. They dance, sing, play games, and even pretend to be marching soldiers. Symphony No. 10 in e Minor - II. Allegro, Dimitri Shostakovich (1953) Dmitri Shostakovich was a Russian composer and pianist who lived during a very difficult and important time in Russian history. He was born in 1906 and showed great musical talent from a young age. His talent as a composer became widely recognized after the premiere of his First Symphony in 1926, when he was only 19 years old. Shostakovich lived under the Soviet government, which had strict ideas about what music should sound like and what messages it should communicate. This created a complicated relationship between Shostakovich and the government. At times, his music was praised and celebrated, while at other

A FORCE OF NATURE times, it was criticized and even banned from being performed. These criticisms could put his career and livelihood at risk. Despite these challenges, Shostakovich continued to compose. He wrote 15 symphonies, concertos, string quartets, piano music, operas, ballets, and music for films and theater. His music is known for its strong contrasts. It can suddenly shift from playful and light to dark, dramatic, or intense. He often used unusual sounds and rhythms to create a sense of tension, humor, or mystery. Shostakovich continued composing throughout his life and became one of the most important composers of the 20th century. His music is still performed around the world today. His life also gives us an opportunity to think about an important question: How might a composer express ideas and emotions through music when they are not always free to say exactly what they think? Next Week’s Trees, Viet Cuong (2021) Described as “alluring” and “stirring” by The New York Times, the music of Vietnamese-American composer Viet Cuong (b. 1990) draws upon sincerity, wonder, and the spirit of invention to create works that resonate emotionally, embrace the unexpected, and celebrate our shared humanity. Grounded in a belief that craft and communication are inseparable, his music is brought to life through vibrant colors, rhythmic vitality, and inventive orchestration, with every phrase shaped in service of expressive clarity. Next Week’s Trees, for string orchestra, was commissioned by the California Symphony. About this piece, the composer says: The title of Next Week’s Trees comes from Mary Oliver’s poem Walking To Oak-Head Pond, And Thinking Of The Ponds I Will Visit In The Next Days And Weeks. During the days of the COVID-19 pandemic, I was deeply inspired by Oliver’s words— words that are a gentle reminder of the future’s uncertainty, the confident hope of the present, and the propulsive force of life that drives us through any doubt that a new day will arrive. In a way only Mary Oliver can, she assures us that the trees will still be there next week. (https://vietcuongmusic.com/next-weeks-trees/) The Firebird, K10, 1919 Suite: VI. Finale,

Igor Stravinski (1919) Igor Stravinsky was a Russian composer who became one of the most influential composers of the 20th century. He showed an interest in music from a young age and studied composition in Russia. His music became famous for its exciting rhythms, unusual sounds, and dramatic storytelling. One of Stravinsky’s most famous works is The Firebird, a ballet based on Russian fairy tales and folklore. It tells the story of a magical Firebird who helps a prince defeat the evil sorcerer, Kashchei. Stravinsky originally composed the ballet in 1910, and later created several orchestral suites using music from the ballet. The 1919 Firebird Suite is one of these versions. The final movement, which you will hear at the Discovery Concert, begins peacefully and slowly, creating a feeling of calm after the excitement and danger earlier in the story. A beautiful melody is introduced by the orchestra and gradually becomes richer and more powerful. As the music grows, listen for the melody being passed between different instruments and sections of the orchestra. The music builds toward a grand and joyful ending, representing the defeat of evil and the return of peace.

GUEST CONDUCTOR

INGRID LARRAGOITY-MARTIN, Executive Director of El Sistema Colorado Boulder Phil 2026-2027 Season

PROGRAM 7

SUPPORTERS Recognizing the support of gifts received July 1, 2025 to June 30, 2026 $50,000+ Anonymous Boulder Arts Commission Grace & Gordon Gamm SeiSolo Wolman-Fulker Artful Humanity Fund $20,000+ Jayne & Stephen Miller Harry Poehlmann in memory of Ellie Poehlmann 𝄞 SCFD Suzanne and Thomas Murphy Foundation $10,000+ Suzanne & James Balog Margot & Christopher Brauchli Nancy Clairmont & Robert Braudes Patricia Butler Caroline Douglas & Samuel P Douglas, III Mary Ann & Lee Erb Ruth Irvin and the late Richard Irvin Marla & Jerry Meehl in memory of Marie Kindgren Becky Roser & Ron Stewart Lynn Streeter Phyllis Wise $5,000+ Anonymous Blessing Foundation Jan Burton Caruthers Family Foundation Pamela Dennis & Jim Semborski Ms. Marilyn Gallant Svein & Sara Groem Sara & David Harper Lin & Matthew Hawkins Constance Holden and TK Smith Thomas Kinder Judy & Steve Knapp Erma Mantey Anjali & Stefan Maus Pam & Ed McKelvey Margaret and Rodolfo Perez Janet Winchester Silbaugh Karyn Sawyer Marion Thurnauer & Alex Trifunac Westland Development $2,500+ Boulder County

Debra Brindis Frances Burton Carob Gift Fund Create Boulder and Visit Boulder Flatirons Bank Elizabeth Herrick in memory of Patty Herrick Christine Yoshinaga-Itano & Wayne Itano Joan Leinbach Dr. Juan Roederer Nancy and Gary Rosenthal Boyce & Dan Sher Carol & Arthur Smoot $1,000+ Anonymous Robert Anderson Bow Miller Fund Amy and Terry Britton Toni & Nelson Chen Churchill Family Gift Fund Donna Class in memory of Pamela Walker Jenny & Terry Cloudman John Cowdrey Create Boulder/Visit Boulder Warren DeHaan Kris Estes Beverly & Bruce Fest Audrey Fishman Franklin Randy & Bill Ganter Brad Fronatine Chuck Hardesty Josephine and Rollie Heath Karen & Stewart Hoover Suzanne & David Hoover Carolyn & Sam Johnson Eyal Kaplan Judith Katz Bonnie Kirschenbaum Ray & Margot LaPanse George Lichter Family Fund Miriam Linschoten Susan Litt Barbara & Peter Loris 𝄞 Heidi Lynch Robert Lynch Annyce Mayer Priscilla Newbury Fern and Morgan O’Brien Susan Olenwine & Frank Palermo Patricia Read & BIll Shunk Michele and Michael Ritter Laura & Mike Ruth Sanctuary Doulas SavATree Boulder

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Jane & Leo Schumacher in memory of Peter Angell Jane & Ross Sheldon Ron Sinton Ken & Ruth Wright $500+ Anonymous Ellen Berry BETC Roshmi & Jaydip Bhaumik Boulder Convention and Visitors Bureau Boulder Country Club Sally & Alexander Bracken Joan Cleland Ellen Dale & Buddy Kring Susan Fishburne Fox Hill Club Andrew Gettelman Laurie Hathorn HB Woodsongs Stephanie & Kyle Heckman Tara and Steve Kelly Brian Knott 𝄞 Peggy Lemone & Peter Gilman Paul Levitt 𝄞 Barbara and Peter Loris Katie MacDonald Judy Megibow Kathleen Miller & Richard Nishikawa Francine & Robert Myers R&H Nadel Newton Family Fund Otter Island Foundation Louise Pearson & Grant Couch Richard And Joan Ringoen Family Foundation William Roettker Luana Rubin Charles Samson Mary Scarpino Marjorie & Bob Schaffner St Julien Hotel & Spa Randy Stevens Sunday Marianne Van Pelt Shelby & Nicholas Vanderborgh Pamela Walker in memory of Ellie Poehlmann Francine Weaver $250+ Anonymous Cynthia and Charles Anderson Patricia Angell Tamar Barkay

Sharon Bauer in memory of Pamela Walker Catherine Bickell Bortz-Boyer Family Charitable Fund Boulder Ballet Polly Buster Julianne Cassady Carol Cogswell 𝄞 Karen Connolly Louis Diamond Barbara Fahey in memory of Mark Fahey Nancy & Robert Fierer Claire & Art Figel 𝄞 Gino & Sue Grampp Justin Guerra Mark Halperin John Harding Janice Harvey Jeannette Hillery Holly & Steve Hultgren Jo Ann Joselyn Eileen Kintsch Lewis Kleinsmith Douglas Lerner Limelight Hotel Lois & Jeffrey Linsky Thomas Mallman Anne-Laurie McRee Andrew Miller Lily & Robert Moment Jean & Scott Nelson Barbara & Irwin Neulight Martha Olson Linda & Christopher Paris James Pendleton Jaclyn Ramaley Peri Rigler Susan Sidwell Robert Spencer Glen & Bonnie Strand Wendy & Richard Wolf Shigemichi Yazawa 𝄞 Thank you to our recurring donation members!

Thank you to our generous in-kind donors: Jan Burton Stefan & Anjali Maus Susan Olenwine & Frank Palermo Nicky Wolman & David Fulker

Chas Wetherbee Endowed Concertmaster Chair Fund Co-chaired by the generosity of WolmanFulker Artful Humanity Fund and Becky Roser & Ron Stewart The Boulder Phil wishes to recognize and honor Chas Wetherbee, Concertmaster of the Boulder Phil from 2014 to 2023. Chas Wetherbee exemplified the qualities of a Concertmaster with his extremely high level of performance, extensive knowledge, and love of the repertoire and the art form. Chas raised the standard of the orchestra and was a role model through his active role as a leader, mentor, and teacher in the community. His mindset was one of exploration and innovation and his contributions extend far and wide. Join us today and create a lasting legacy with the Chas Wetherbee Concertmaster Chair. Boulder Phil Music Director Michael Butterman: “His presence was transformative. Chas brought out the best in everyone by modeling technical and artistic excellence, combined with professionalism and a deep devotion to the cause of sharing music widely and expanding the reach of classical music. Most important, he radiated generosity, kindness and a selfless spirit that anyone in his presence could feel. The impact of his legacy is impossible to overstate.” For information, please contact mimi@ boulderphil.org or call 303-449-0916

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Boulder Phil 26-27 Season

BOULDER PHILHARMONIC ORCHESTRA

EDUCATION + COMMUNITY

MUSIC THAT CONNECTS US We believe orchestral music is for everyone. Through concerts, school partnerships and community programs, the Boulder Philharmonic creates opportunities for people of all ages and abilities to experience the joy and connection of live music—reaching more than 10,000 people each season.

| DISCOVERY CONCERTS

Interactive orchestral concerts introduce elementary and middle school students to the instruments, music and excitement of a live orchestra.

MEET THE MAESTRO

Boulder Phil conductors visit schools to work directly with students and oﬀer a rsthand look at what it takes to lead an orchestra.

| | | | SENSORY PROGRAMS

EARLY EDUCATION

Through partnerships with Integral Steps, Head Start and Title I schools, young learners experience orchestral music through programs created especially for them.

In partnership with The Joshua School, Friends of Broommeld and Spectra Center, we create welcoming opportunities to experience and participate in music-making.

SIDE BY SIDE

STORYTIME WITH BOULDER PHIL

Boulder Phil musicians rehearse and perform alongside middle and high school students, giving young musicians the opportunity to learn from professional players.

MADE POSSIBLE BY OUR COMMUNITY We are grateful to the individuals, organizations, and communities whose generous support makes these programs possible.

Little ones and their caregivers sing, dan explore instruments and enjoy dance, wonderful books through partnerships with libraries in Boulder, Broommeld, Westminster and Erie.

SUPPORT OUR EDUCATION PROGRAMS Contact us to learn more.

Fernanda Nieto, Director of Education and Community Engagement fernanda@boulderphil.org

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BOULDER PHILHARMONIC MASTERWORKS | APRIL 2 & 3

BEETHOVEN 5 AND MARIA IOUDENITCH, VIOLIN + JOSH HALPERN, CELLO

THE MUSIC PÄRT Collage of B-A-C-H BRAHMS Double Concerto

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“Brahms’s synthesis

— MICHAEL BUTTERMAN MUSIC DIRECTOR M

of intellect and emotion—head and heart—in music is second to none.“

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AND MARIA IOUDENITCH, VIOLIN + JOSHJOEL HALPERN WITH ORGAN BACON, ,CELLO WHEN MUSICAL BUILT FOR GRANDVOICES SOUNDMEET

Brahms’s Double Concerto is music Acclaimed organist Joel Bacon brings an international performing career about connection. Violin and cello trade and deep expertise in orchestral organ music to the Boulder Philharmonic’s ideas, challenge one another and come season nale. A University Distinguished Professor at Colorado State together, while the orchestra moves University, he has performed throughout Europe and North America. between intimate partner and full symphonic force. Maria Ioudenitch, Bacon will command First United Methodist Church’s historic 1888 Ba Josh Halpern, and the Boulder Roosevelt organ and its 2,114 pipes——rst taking center stage in Poulenc’s Philha dramatic Organ Concerto, then joining the full force of the Boulder Phil for together in a work where virtuosity Saint-Saëns’s monumental Third Symphony. serves something deeper: musical conversation.

“Brahms’s synthesis

— MICHAEL BUTTERMAN MUSIC DIRECTOR M

Symphony of B-A-C-H No. 31, “Paris” MOZART PÄRT Collage Double Concerto Concerto POULENC BRAHMS Organ for Violin and Cello SAINT-SAËNS Symphony No. 3 Symphony No. 5 BEETHOVEN “Organ”

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24 Boulder Phil 26-27 Season

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The 2026-27 Season

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Gordon Gamm Theater October 24 - 25, 2026 Choreography by Boulder Ballet Company Artists with guest choreographer Morgan Sicklick

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Boulder Phil 26-27 Season

M E E T YO U R

MUSICIANS THE PEOPLE BEHIND THE MUSIC

PRINCIPAL VIOLA

ALLYSON STIBBARDS

Allyson Stibbards loves the art of live music. She is principal violist in the Boulder Philharmonic, section member of the Colorado Springs Philharmonic, and core member of the Sphere Ensemble. She also performs with the Colorado Symphony Orchestra, the Sante Fe Chamber Music Festival, and the Rossini Club. Allyson is passionate about sharing music with audiences of all ages and in settings both inside and outside of the concert hall. Allyson studied at the University of Colorado Boulder and New England Conservatory, with formative summers at the Aspen and Tanglewood music festivals. Growing up in Longmont, she performed with Boulder Suzuki Strings, Greater Boulder Youth Orchestra, and Denver Young Artists Orchestra, winning two concerto competitions in 2014. Her primary teachers include Erika Eckert, Kathy Basrack, Geraldine Walters, and C.J. Chang. A dedic dedicated educator, Allyson has taught violin and viola with El Sistema Colorado since 2021, working with students through private and group lessons, early childhood classes, and chamber music. A former Suzuki student herself, she has also pursued Suzuki teacher training and believes deeply in music’s power to connect people. A fter experiencing a debilitating repetitive strain injury during college, Allyson developed a holistic approach to playing through yoga, Alexander Technique, and Body Mapping. Now performing pain-free, she is pursuing Body Mapping licensure and helps other musicians learn to play without pain. 28 Boulder Phil 26-27 Season

ASSISTANT PRINCIPAL VIOLA

ROSS McINTOSH Ross teaches viola and chamber music at the University of Wyoming and has performed extensively in the U.S. and Europe, including as guest principal violist of the BBC Concert Orchestra and with the Swiss Chamber Concerts in Geneva. He has shared the stage with artists including Atar Arad, Timothy Ridout, and Tomo Keller, and worked with composers such as Sir John Rutter and Cheryl Frances-Hoad. A s founder and Artistic Director of the Wyoming International Chamber Music Festival, Ross brings international artists to Wyoming for free performances designed to make classical music more accessible. He is also an active organist and composer whose works have been performed across the northern hemisphere. His musical life extends from the concert stage to the organ loft at the Ca Cathedral of St. Mary in Cheyenne. His wide-ranging projects include recording the music of Brahms and Joachim on Joachim’s historic ca. 1609 Gasparo da Salò viola.

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