Boulder Phil 2021-22 Season, January-February, 2022

2021-22 SEASON

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Welcome Dear friends, Your Boulder Phil can’t wait to reconnect with you!

With your help, we kept the music playing during our Reimagined season and took you inside the music with unique camera angles, in-depth interviews, and behind-the-scenes video footage. For our 2021-22 Season, we’re excited to welcome you back inside the concert hall to reignite and reawaken your senses with the energy of in-person, live performances of great music that we know you’ll love.

Our six-concert subscription series kicks off at Macky Auditorium in January 2022 with a Gershwin Celebration featuring the renowned Marcus Roberts Trio and their spellbinding, toe-tapping take on his Concerto in F. The season is packed with audience favorites by Beethoven, Rachmaninoff, Elgar, Rimsky-Korsakov, and Stravinsky, along with fresh discoveries from Mason Bates, Anna Clyne, Cindy McTee, and a world premiere violin concerto from jazz legend Billy Childs.

We’re thrilled to be joined by a roster of world-class guests like violinist Rachel Barton Pine, pianist Terrence Wilson and Boulder’s own GRAMMY®-winning violist, Richard O’Neill. And we close our season with the return of ukulele sensation, Jake Shimabukuro! “Boulder touches” also abound, including concertmaster Charles Wetherbee playing the evocative Butterfly Lovers’ Concerto along with spectacular aerial choreography from Frequent Flyers® Aerial Dance, and the premiere of two fascinating works of video art commissioned by the Phil to deepen and enhance the experience of Circuits and Mysterious Mountain.

We also invite you to join us for musical hikes in 2022, led by interpretive naturalist Dave Sutherland in collaboration with Boulder County Audubon Society.

So, welcome back, and thank you for being part of our Boulder Phil family!

S A R A PAR KI N SO N E XECU TI VE D I R ECTOR

MICHAEL BUTTERMAN M U S I C DI R E CTO R

About the Phil

“Our first experience with Boulder Phil was fabulous.”

Photo: Lauren Click

As one of Colorado’s premier ensembles, the Boulder Phil is a critically acclaimed professional orchestra serving Boulder and the greater metro-Denver region.

Known for innovative concert programming presented at the highest artistic level and a growing commitment to authentic community engagement, the Boulder Phil continues to push the boundaries of what it means to be Boulder’s orchestra.

We are defined by the artistry of our talented musicians, the support of our extraordinary patrons, and ongoing creative collaborations with partner organizations encompassing the arts, sciences, nature, youth, and social services.

We strive to present once-in-a-lifetime performances, inspire the next generation with school-age education programs, and pioneer community-focused projects that bring music to all.

“Thank you for pricing seats for kids to make it easier for families to have access and for hosting high quality events like this!”

To Our Supporters Welcome to the Boulder Philharmonic’s 64th subscription season at Macky Auditorium! For almost two years we at the Boulder Phil, along with everyone else, have felt the effects of this pandemic. We are so happy to be back!

1600 Range Street, Suite 200 • Boulder, CO 80301 303-449-1343 www.BoulderPhil.org

During the summer of 2020, our Board of Directors started a campaign to create a COVID-19 Contingency Fund.

Over the following months we were able to complete this fundraising task which gave us a reserve fund of $200,000 for contingencies caused by the COVID pandemic. We, like so many arts organizations in the United States, are very fortunate that we have been able to benefit from the various federal funding ventures for supplemental funding for arts’ organizations during this pandemic.

In September 2020, Michael Butterman and our orchestra recorded concerts at Brungard Aviation in Boulder for our first-ever digital season. These were, although only available on our television screens or computers, delightful concerts, with multiple cameras showing many different angles of our performers, up close and personal. This is a perspective which we actually don’t have when we sit in our seats in the Macky Auditorium. I personally want to thank Michael and all of our musicians for their tremendous efforts to give us a digital season during this pandemic.

MUSIC DIRECTOR

Michael Butterman

PRINCIPAL GUEST CONDUCTOR Gary Lewis

OFFICERS

Raymond Wells, President Adrianne Tracy, Treasurer Steve Miller, Vice President Bruce Fest, Secretary

BOARD Jessica Bauters Michael Butterman, ex officio David Crowe Claire Figel David Fulker Marilyn Gallant Steve Knapp

Erma Mantey Sharon Park Sara Parkinson, ex officio Harry Poehlmann Charlotte Roehm David Rothman Karyn Sawyer Leslie Scarpino

ADMINISTRATION

Sara Parkinson, Executive Director Rebin Ali, Associate Director of Development Aspen McArthur, Assistant Director of Donor & Patron Relations N. Sam Headlee, Personnel Manager & Orchestra Librarian

DeAunn Davis, Education Coordinator Adam Snider, Production Manager Julie Tyree, Bookkeeper Olivia Lerwick, Administrative Assistant Sean Brennan Kevin Gunia Randel Leung Interns

A little over a year ago, Sara Parkinson took over the post of Executive Director for the Boulder Phil. She has provided outstanding leadership for our orchestra, starting her new responsibilities in the middle of the COVID-19 pandemic.

Today, under her guidance and in conjunction with our talented Music Director Michael Butterman, we are poised to enter a new and vigorous era of musical performance for the Boulder community and beyond. I would be remiss to fail ADVISORY COUNCIL to tell you that our marvelous education program interacting with the schools Barbara Brenton Susan Olenwine in our community continued to operate quite successfully throughout the PamelaPERFORMANCE Dennis Dick Van Pelt TARGETED MARKETING WITH EVERY Ruth Kahn Brenda Zellner pandemic and will be broadening its focus as we go forward.

View, the magazine of the Lone Tree Arts Center, features performing arts highlights and information about the state-of-the-art facility that serves the south metro community.

I thank you all for participating in the Boulder Phil’s music offerings, and I wish 2013/2014 highlights you well during our new Macky season.

R ONNY WE L L S PRES ID E NT, BOA RD OF DI RE CTO RS, BOUL D E R PH IL H A RM ON I C ORC H E ST R A Feet Don’t Fail Me Now, A Rhythmic Circus Production

South Pacific in Concert • Big River Yesterday & Today, the All-Request Beatles Tribute This program is produced for the Boulder Philharmonic Orchestra by The Publishing House, Westminster, CO. Target your marketing with advertising in View Magazine.

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Music Director Michael Butterman Celebrating 15 Years!

Making his mark as a model for today’s conductors, Michael Butterman is recognized for his commitment to creative artistry, innovative programming, and to audience and community engagement. Now in his 15th season as Music Director, he has led the Boulder Philharmonic Orchestra to national prominence, resulting in an invitation to open the Kennedy Center’s inaugural SHIFT Festival of American Orchestras in 2017.

He is also the Music Director of the Shreveport Symphony Orchestra and the Pennsylvania Philharmonic, an orchestra uniquely focused on music education. He has recently completed a 19year association with the Rochester Philharmonic Orchestra as their Principal Conductor for Education and Community Engagement, and a 15year tenure with the Jacksonville Symphony, first as Associate, and then as Resident Conductor.

As a guest conductor, Mr. Butterman has led many of the country’s preeminent ensembles, including the Cleveland Orchestra, Philadelphia Orchestra, National Symphony, Detroit Symphony and Houston Symphony. Other recent appearances Photo: Lauren Click include performances with the Fort Worth Symphony, Colorado Symphony, Oregon Symphony, Phoenix Symphony, Kansas City Symphony, Charleston Symphony, Hartford Symphony, San Antonio Symphony, Syracuse Symphony, New Mexico Symphony, Santa Fe Symphony, California Symphony, Louisiana Philharmonic, Spokane Symphony, El Paso Symphony, Mobile Symphony, Winston-Salem Symphony, Pensacola Opera, Asheville Lyric Opera and Victoria Symphony (British Columbia). Summer appearances include Tanglewood, the Bravo! Vail Valley Music Festival, Colorado Music Festival, and the Wintergreen Music Festival in Virginia. Guest appearances this season include the Lancaster and Williamsburg symphonies, and a residency at the North Carolina School of the Arts.

Mr. Butterman gained international attention as a diploma laureate in the Prokofiev International Conducting Competition and as a finalist in the prestigious Besançon International Conducting Competition. As the 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. Earlier, Mr. Butterman was sponsored by UNESCO to lead the National Philharmonic Orchestra of Moldova in a concert of music by great American masters.

Thank You to Our Sponsors

EMERALD PEAK W E A LT H M A N A G E M E N T OF

SEASON SPONSORS Sydney & Robert Anderson Patricia Butler Grace & Gordon Gamm

Erma Mantey Jayne & Stephen Miller Nicky Wolman & David Fulker

Ellie & Harry Poehlmann SeiSolo Foundation

PERFORMANCE SPONSORS SILVER CIRCLE Anonymous (2) Nancy Clairmont & Bob Braudes Francine & Robert Myers

Ruth Carmel Kahn Judy & Steve Knapp Nancy & Gary Rosenthal Pamela Dennis & Jim Semborski

BRONZE CIRCLE Joan Cleland Ruth & Carl Forsberg Audrey & Andrew Franklin Sara & David Harper Ruth & Rich Irvin

LEADERSHIP CIRCLE Suzanne & James Balog Margot & Christopher Brauchli Karen Connolly Marilyn Gallant John Hedderich

Suzanne & David Hoover Carolyn & Sam Johnson Midge Korczak & Harold R. Osteen Susan Litt Susan Olenwine & Frank Palermo Janet Robertson Luana Rubin Jane & Ross Sheldon Patricia Read & Bill Shunk Ronald Sinton Ken & Ruth Wright

Gershwin Celebration

Opening Weekend: Gershwin Celebration Michael Butterman, Conductor Saturday, January 22, 2022 Macky Auditorium, CU Boulder 7:30 pm Performance Marcus Roberts Trio Marcus Roberts, Piano Jason Marsalis, Drums Rodney Jordan, Bass

George Gershwin (1898-1937)

An American in Paris

Concerto in F

I. Allegro

II. Adagio – andante con moto

III. Allegro agitato Marcus Roberts Trio

Thanks to our concert sponsors:

Westland Development, in memory of Gail Aweida Ruth Carmel Kahn

Gershwin Celebration themes, to change the form, to get us where we’re getting ready to go.” Ted Panken, Jazziz Magazine

BIOGRAPHIES MARCUS ROBERTS TRIO The Marcus Roberts Trio is a long-term musical partnership between pianist, Marcus Roberts, the phenomenal drummer Jason Marsalis, and gifted bassist Rodney Jordan.

The Marcus Roberts Trio is known for its virtuosic style and entirely new approach to jazz trio performance. While most jazz trios have the piano front and center, all members of the Marcus Roberts Trio share equally in shaping the direction of the music by changing its tempo, mood, texture, or form at any time. And they do this with lightning quick musical reflexes and creative imagination. The trio is known for having almost telepathic communication on the stage. And more than a few concert goers have been heard to say that it sounds like a lot more than three people up there on the stage!

The Marcus Roberts Trio believes in ‘letting the music take over’ and the result is a powerfully rhythmic and melodic sound that is filled with rhythmic, harmonic, and dynamic contrast. One of the most enjoyable aspects of watching this trio perform is that it is so evident that these three musicians are really having fun playing together and listening to each other.

“One way Roberts individualizes his sound is by utilizing orchestral devices initially borrowed from the Ahmad Jamal Trio. In the course of a single piece, he constantly modulates grooves, tempos and keys, plays separate time signatures with the right hand and the left, and, as he puts it, “flips around the roles of the piano, bass and drums by giving everyone an equal opportunity to develop the concepts and

Added to the logic and balanced trio style of Ahmad Jamal, is the swing and virtuosity of the Oscar Peterson Trio, combined with the buoyant joyous sound of Erroll Garner.

These influences provide a rich foundation for the ever evolving and expanding sound of the Marcus Roberts Trio.

Influences such as Ahmad Jamal, Oscar Peterson Trio, and Error Garner provide a rich foundation for the ever evolving and expanding sound of the Marcus Roberts Trio. The musical cues combine with musical inspiration from all over the world, which guarantees that audiences never know where this trio is heading; influences from Africa, Europe, and South America are combined with American traditions to give this group an infinite palette of styles, timbres and colors to draw from.

MARCUS ROBERTS Pianist/composer, Marcus Roberts, has been hailed “the genius of the modern piano”. In 2014, the celebrated CBS News television show, 60 Minutes, profiled his life and work on a segment entitled “The Virtuoso”. The show traced Roberts’ life to date from his early roots in Jacksonville and at the Florida School for the Deaf and Blind to his remarkable career as a modern jazz musician.

Roberts grew up in Jacksonville, FL where his mother’s gospel singing and the music of the local church left a lasting impact on his own musical style. He began teaching himself to play piano at age five after losing his sight but didn’t have his first formal lesson until age 12. Despite that late start, he progressed quickly through hard work and good teachers. At age 18, he went on to study classical piano at Florida State University with the great Leonidas Lipovetsky, whose own teacher was the celebrated Madame Rosina Lhévinne.

Roberts has won numerous awards and competitions over the years, but the one that is most personally meaningful to him is the Helen Keller Award for Personal Achievement.

While Roberts is known for his remarkable ability to blend the jazz and classical idioms to create something wholly

Gershwin Celebration new, he may be even better known for his development of an entirely new approach to jazz trio performance.

Matsumoto, Japan. That piece was commissioned by the Seiji Ozawa and the Saito Kinen Orchestra.

Roberts’ critically-acclaimed legacy of recorded music reflects this tremendous artistic versatility. His recordings include solo piano, duets, and trio arrangements of jazz standards as well as original suites of music for trio, large ensembles, and symphony orchestra. His popular DVD recording with the Berlin Philharmonic showcases his ground-breaking arrangement of Gershwin’s Concerto in F for Piano and Orchestra (A Gershwin Night, EuroArts 2003).

Finally, Roberts has long been dedicated to the training and development of younger musicians. Each year, he returns to the Savannah Music Festival where he serves as an Associate Artistic Director as well as the Director of the annual Swing Central Jazz programs that bring high school students from all over the country to Savannah for educational programs and a band competition. Roberts is an associate professor of music at the School of Music at Florida State University. He holds an honorary Doctor of Music degree from The Juilliard School.

Roberts launched his own record label, J-Master Records, in 2009. Since then he has released several popular recordings on that label including New Orleans Meets Harlem, Volume 1 (trio), Deep in the Shed: A Blues Suite (nonet), Celebrating Christmas (trio), From Rags to Rhythm (trio), Together Again: Live in Concert (quartet), Together Again: In the Studio (quartet), and Romance, Swing, and the Blues (with the Modern Jazz Generation). In the fall of 2017, he released his newest recording called Trio Crescent: Celebrating Coltrane.

Roberts tours with his long-standing trio featuring two phenomenal musicians—Rodney Jordan (bass) and Jason Marsalis (drums). Marsalis has held the drum chair in the trio for 22 years and when this trio performs, they sound like they have been performing together for decades. One of Roberts’ more recent musical projects is the founding of a new band called “The Modern Jazz Generation”. This multigenerational ensemble is the realization of Roberts’ long-standing dedication to training and mentoring younger jazz musicians.

Both Marsalis and Jordan are also key founding members of this band.

In addition to his renown as a performer, Roberts is also an accomplished composer who has received numerous commissioning awards, including ones from Chamber Music America, Jazz at Lincoln Center, ASCAP, the Atlanta Symphony Orchestra, and the Savannah Music Festival who co-commissioned him to write his first piano concerto— Spirit of the Blues: Piano Concerto in C-Minor (2013). In 2016, Roberts premiered his second piano concerto (Rhapsody in D for Piano and Orchestra) at the Ozawa Music Festival in

RODNEY JORDAN Jazz bassist, Rodney Jordan, is a native of Memphis, Tennessee. He grew up playing bass in church and like Marcus Roberts, these roots are the foundation for his rich and soulful sound. Jordan went on to study classical upright bass at Jackson State University. This training led him to positions as Assistant Principal Bassist and Principal Bassist with leading state and regional orchestras in Mississippi and Georgia. While living in Atlanta, Jordan became one of the city’s most sought-after jazz bassists, performing and recording with some of America’s finest jazz musicians, including Marcus Printup, Mulgrew Miller, James Williams, Milt Jackson, George Coleman, and Russell Gunn. Jordan joined the faculty at Florida State University in 2001, where he now serves as an Associate Professor of Jazz Studies.

It was there that Jordan and Roberts first played together, while working to train young aspiring musicians. In 2009, Jordan took over the bass chair in Roberts’ trio and he quickly became known for his virtuosity, quick reflexes, and musical wit. His hard-swinging style has earned him the nickname Rodney “Swing” Jordan. Jordan is a perfect fit for Roberts’ melodic, blues-based, rhythmically syncopated improvisational group style. He has also been instrumental to the training of many of the younger musicians in the Modern Jazz Generation, a 10—12 piece band featuring three generations of jazz musicians. Jordan is a gifted and generous teacher who is respected by all. He has been featured on all of Roberts’ recordings since 2009, including

Gershwin Celebration the most recent, Trio Crescent: Celebrating Coltrane. He released his own CD as a leader, Playing Jazz, in 2017.

JASON MARSALIS

included a superb piano concerto, featured on the second half of this Boulder Philharmonic program, as well as this brilliant tone poem capturing the composer’s impressions of the city – from an American point of view.

Drummer Jason Marsalis is the youngest son of pianist and music educator Ellis Marsalis. At age seven, he was sitting in with his father’s jazz group and progressed so rapidly as a drummer that his father started using him for some of his own engagements. Shortly after graduation from New Orleans Center for Creative Arts in 1995, Marsalis joined a new trio lead by virtuoso pianist Marcus Roberts, while furthering his educational goals at Loyola University in New Orleans. In 2008, Marsalis began playing vibraphone and touring with his vibes quartet. At the same time, Marsalis has remained an instrumental member of the Marcus Roberts Trio. His skill at the drum set has been a critical part of the sound and philosophy of the trio for many years, and, in fact, he has been featured on all of Roberts’ recordings for almost 25 years. During that same time period, he continued to release his own recordings both on vibes and on drums.

His most recent recording, Melody Reimagined, Book 1, was critically acclaimed in the jazz world. In recent years, Marsalis has also become increasingly known for his own educational contributions. He frequently teaches at the New Orleans Center for the Creative Arts and he is a key member of The Modern Jazz Generation group, helping to train many of the younger musicians in the band.

An American in Paris premiered Thursday, December 13, 1928, at Carnegie Hall with the New York Philharmonic, newly combined with the New York Symphony and conducted by Walter Damrosch (1862 – 1950), formerly maestro of the latter ensemble. Wagner and Franck were amongst the other composers on the program. Some listeners that evening would have come for the classics; hopefully, they were also impressed by the new work. As for Gershwin fans who attended to find out what Gershwin was doing in Carnegie Hall, perhaps they came away thinking this “classical stuff” wasn’t half bad.

PROGRAM NOTES

A distinct change of atmosphere brings a sassy new theme of dotted rhythms and shimmering shakes, initially from unmuted trumpet, then passing around the orchestra. Earlier materials – both sauntering and bluesy – reappear, now broader and more leisurely in manner.

Gershwin: An American in Paris For George Gershwin (1898 – 1937), Rhapsody in Blue had been just a start. The premiere of that beloved work on February 12, 1924, proved to the jazz and classical worlds alike – and to George himself – that he had what it took to bridge those two worlds. However, realizing that a wider range of compositional tools could lead to even more impressive results, Gershwin spent several months in Paris, immersing himself in the City of Light’s cultural milieu. The results

An American in Paris offers a kaleidoscope of musical impressions, beginning with a light-hearted sauntering theme soon interrupted by the honking of taxi horns (Gershwin wanted actual taxi horns, if possible). A busy street scene ensues, brassy interludes sharing space with bubbly clarinets.

The next scene brings melancholy blues. Sometimes, woodwinds – especially saxophones – provide the moodiness, at other times it is strings. However, the principal star is muted trumpet, its falling phrases that seem to long for an absent sweetheart.

Short solos for the unusual pairing of violin and tuba set up a spirited conclusion drawing its energy from the opening sauntering theme. Vibrant bursts of orchestral color claim attention, and other than a brief and playful woodwind interlude, it is with brilliant splendor that An American in Paris comes to a close.

Gershwin Celebration Gershwin: Piano Concerto in F major Thanks to the phenomenal popularity of Rhapsody in Blue, which had premiered in 1924, Walter Damrosch (1862 – 1950), German-born conductor of the New York Symphony Orchestra, asked Gershwin to take the next step: writing a multi-movement piano concerto, rather than the single movement fantasy that Rhapsody was. Gershwin spent much of the winter and spring of 1925 focused upon the concerto. That he also managed to finish a new stage musical, Tell Me More, in time for its premiere April 13, proves that he was not averse to multi-tasking. Long before the concerto’s scheduled premiere, the New York Symphony announced not only that the work was coming soon, but also that the orchestra would be taking it on the road to Washington DC, Philadelphia, and even that queen city of American musical culture, Boston. Expectations were high.

Gershwin finished the concerto in mid-November, barely two weeks before its announced premiere, set for December 3. Cautiously, and perhaps wisely, Gershwin arranged a private tryout of the work, hiring an orchestra and recruiting a conductor friend, though playing the solo part himself, as he would soon be doing on the grand stage.

After all, his stage works regularly were given dry runs, and Carnegie Hall was at least as significant a venue as any theater on Broadway.

The premiere came at Carnegie Hall Thursday, December 3, 1925, sharing the program with music by Glazunov and Rabaud. It was all reasonably contemporary music, though listeners might have expected Gershwin’s concerto to be the most progressive offering on the concert. Certainly, those who prepared the printed program for the event saw fit to assure readers that the new work used “no ultra-modern devices, such as polytonality or ‘tone clusters.’” It was no more than the truth: even if Gershwin had been thoroughly familiar with those avant garde techniques, he was more interested in bringing the spirit and energy of jazz into classical circles.

Gershwin’s concerto measured up to the formidable standards for concertos established by great names of the past. Contrasting tempos and moods mirror those that Mozart might have used, and worthwhile musical statements are shared around the ensemble, so that the pianist isn’t the only one in the spotlight. For example, the first movement Allegro opens with thunderous timpani and flashes of orchestral brilliance, all before the soloist has played a note. By contrast, the second movement Adagio is a lyrical, mournful ballad focusing first upon muted trumpet, only afterwards piano. In the third movement Allegro agitato, contrasting melodies appear in turn, sometimes given to the soloist, at others to the orchestra, with the soloist then providing the decorative details. Jazzy rhythms and bluesy harmonies flavor the score, and to be sure that no one is inattentive for the finale, Gershwin adds a powerful stroke on the gong. It is jazz on a bigger and more ambitious scale, and Gershwin was just the right man to pull it off.

One might call it the most brilliant piano concerto of the 20th century, were it not that Rachmaninoff was not yet finished with the field. However, Gershwin’s concerto has more sparkle and verve than the Russian master’s, and certainly speaks more to the spirit of Manhattan. At that Carnegie Hall premiere, Gershwin may not have played the exact notes that would appear in the published score; not only was he the composer, but also jazz stars were accustomed to working around and between the notes for the sake of expression.

The Boulder Philharmonic’s soloist, jazz pianist Marcus Roberts, is likely to do the same, and even George would not fault him for bringing his own twists to the music.

Program notes © Betsy Schwarm, author of the Classical Music Insights series

BEETHOVEN 7 & A WORLD PREMIERE Michael Butterman, Conductor Saturday, February 12, 2022 Macky Auditorium, CU Boulder 7:30 pm Performance Rachel Barton Pine, Violin

Billy Childs Violin Concerto No. 2 (2020)

(b. 1957) I. Romance/Rejoice

II. Remorse III. Resilience — Intermission —

Ludwig van Beethoven Symphony No. 7 in A Major, op. 92

(1770-1827) I. Poco sostenuto – Vivace II. Allegretto III. Presto IV. Allegro con brio

Thanks to our concert sponsors: David and Suzanne Hoover Ruth and Rich Irvin

Beethoven 7 & A World Premiere BIOGRAPHIES Rachel Barton Pine In both art and life, violinist Rachel Barton Pine has an extraordinary ability to connect with people.

Celebrated as a leading interpreter of great classic and contemporary works, her performances combine her innate gift for emotional communication and her scholarly fascination with historical research. She plays with passion and conviction, thrilling audiences worldwide with her dazzling technique, lustrous tone, and infectious joy in music-making.

Pine performs with the world’s leading orchestras including the Philadelphia Orchestra, the Royal Philharmonic Orchestra, Camerata Salzburg, and the Chicago, Vienna and Detroit Symphony Orchestras. She has worked with renowned conductors, including Teddy Abrams, Marin Alsop, Semyon Bychkov, Neeme Järvi, Erich Leinsdorf, Sir Neville Marriner, Nicholas McGegan, Zubin Mehta, Tito Muñoz, and John Nelson, and has collaborated with artists such as Daniel Barenboim, Christoph Eschenbach, and William Warfield.

Pine frequently performs music by contemporary composers, including major works written for her by Billy Childs, Mohammed Fairouz, Marcus Goddard, Earl Maneein, Shawn E. Okpebholo, Daniel Bernard Roumain, José Serebrier, and Augusta Read Thomas. She has premiered concertos written for her by Fairouz, Goddard, and Maneein.

This season, she premieres “Violin Concerto No. 2,” written for her by Billy Childs through a co-commission by the Grant Park Music Festival, the Boulder Philharmonic Orchestra, the Anchorage Symphony Orchestra, and the Interlochen Orchestra.

Pine’s virtual appearances during quarantine have included performing Mozart Concerto No. 1 with the Detroit Symphony Orchestra and Domingo Hindoyan. At a Grant Park Music Festival event, she and Billy Childs offered a preview of his violin concerto. She joined New Mexico Philharmonic music director Roberto Minczuk for a conversation and performance celebrating their two-decade-long collaboration history. She was presented in recital by Barrington’s White House, the Boulder Philharmonic Orchestra, Chamber Music Tulsa, Early Music Seattle, the Placitas Artists Series, and Portland Friends of Chamber Music, and she performed at a Washington Performing Arts tribute honoring Justice Ruth Bader Ginsburg. She appeared on Ottawa Chamberfest Chamber Chats and on Daniel Bernard Roumain’s Hopkins Center for the Arts at Dartmouth series “Who We Are w/DBR.” Her presentations on classical music by Black composers included the American String Teachers Association National Conference, the Chicago Symphony Orchestra’s Soundpost series, Cornell University, the New World Symphony, the 92nd Street Y, Northwestern University, Sphinx Performance Academy, and Temple University.

From July to December 2020, she presented the live, weekly series “Family Fridays with RBP.” From January to June 2021, Pine performed the entire solo violin part of 24 different violin concertos, live and unaccompanied, for her weekly series “24 in 24: Concertos from the Inside with RBP.” Also in 2021, she led “RBP on JSB: the Bach Masterclasses,” joining Sphinx Laureates and other rising-star violinists representing schools including The Curtis Institute of Music, The Juilliard School, New England Conservatory, Oberlin Conservatory, Rice University’s Shepherd School of Music, and Yale School of Music to work on Bach’s Six Sonatas and Partitas for Solo Violin. She also gave masterclasses for numerous organizations including the Chicago Youth Symphony, National Orchestral Institute, and Oberlin Conservatory of Music.

Beethoven 7 & A World Premiere Pine’s prolific discography of 39 recordings includes Dvořák and Khachaturian Violin Concertos (Teddy Abrams and the Royal Scottish National Orchestra); Brahms & Joachim Violin Concertos (Carlos Kalmar and the Chicago Symphony Orchestra), and Elgar & Bruch Violin Concertos (Andrew Litton and the BBC Symphony Orchestra). Pine and Sir Neville Marriner’s Mozart: Complete Violin Concertos with the Academy of St Martin in the Fields and her Bel Canto Paganini both charted at number three on the classical charts. Pine’s Testament: Complete Sonatas and Partitas for Solo Violin

by Johann Sebastian Bach and Violin Lullabies debuted at number one. Her Violin Concertos by Black Composers of the 18th and 19th Centuries was nominated for a 1997 NPR heritage award. Her recent Blues Dialogues is an album of blues-influenced classical works by 20th- and 21st-century Black composers.

Pine writes her own cadenzas and performs many of her own arrangements. With the publication of The Rachel Barton Pine Collection, she became the only living artist and first woman in Carl Fischer’s Masters Collection. She has appeared on The Today Show, CBS Sunday Morning, PBS NewsHour, Prairie Home Companion, NPR’s Tiny Desk, NPR’s All Things Considered, and Performance Today, and in the Wall Street Journal, Los Angeles Times, and the New York Times. She holds prizes from several of the world’s leading competitions, including a gold medal at the 1992 J.S. Bach International Violin Competition.

An active philanthropist, Pine has led the Rachel Barton Pine (RBP) Foundation since 2001. Early in her career, she noticed that young people learning classical music seldom have the opportunity to study and perform music written by Black composers. Over the last 20 years, Pine and her RBP Foundation’s Music by Black Composers (MBC) project have collected more than 900 works by 450+ Black composers from the 18th–21st centuries. MBC curates free repertoire directories on its website and publishes print resources, including pedagogical books of music exclusively by global

Black classical composers and the Rachel Barton Pine Foundation Coloring Book of Black Composers. Additionally, the RBP Foundation assists young artists through its Instrument Loan Program and Grants for Education and Career. Pine also serves on the board of the Sphinx Organization and other not-for-profits. MKI Artists | One Lawson Lane, Suite 320 | Burlington VT 05401 | (802)658-2592 |www.mkiartists.com She performs on the “ex-Bazzini, ex-Soldat” Joseph Guarnerius “del Gesù” (Cremona 1742), on lifetime loan from her anonymous patron. rachelbartonpine.com

Billy Childs Billy Childs has emerged as one of the foremost American composers of his era, perhaps the most distinctly American composer since Aaron Copland – for like Copland, he has successfully married the musical products of his heritage with the Western neoclassical traditions of the twentieth century in a powerful symbiosis of style, range, and dynamism.

A native of Los Angeles, Childs grew up immersed in jazz, classical, and popular music influences. A prodigious talent at the piano earned him public performances by age six, and at sixteen he was admitted to the USC Community School of the Performing Arts, going on to earn a Bachelor of Music degree in Composition under the tutelage of Robert Linn and Morten Lauridsen.

By the time of his graduation from USC, Childs was already an in-demand performer in the L.A. jazz scene.

Soon thereafter he was discovered by trumpet legend Freddie Hubbard, with whom he embarked on a successful performing and recording tour. He recorded and performed with a number of other influential jazz musicians including

Beethoven 7 & A World Premiere J.J. Johnson, Joe Henderson, and Wynton Marsalis before landing a record deal with Windham Hill Records in 1988, when he released Take For Example, This…, the first of four critically acclaimed albums for the label. The albums Twilight Is Upon Us (1989), His April Touch (1991), and Portrait Of A Player (1992) followed, each expansive contributions of depth and virtuosity. Since then Childs has written and produced I’ve Known Rivers (1995) on Stretch/GRP, The Child Within (1996) on Shanachie, and two volumes of “jazz/chamber music” (an amalgam of jazz and classical music) – Lyric, Vol. 1 (2006) and Autumn: In Moving Pictures, Vol. 2 (2010); the recordings earned him two GRAMMY awards and five nominations.

Simultaneously with his recording career, Childs has occupied a parallel niche as an in-demand composer. His orchestral and chamber commission credits include Esa-Pekka Salonen and the Los Angeles Philharmonic, the Detroit Symphony Orchestra under the baton of Leonard Slatkin, The Los Angeles Master Chorale, The Kronos Quartet, The Lincoln Center Jazz Orchestra, The American Brass Quintet, The Ying Quartet, and The Dorian Wind Quintet.

Thus far in his career, Childs has garnered thirteen GRAMMY nominations and four awards: two for Best Instrumental Composition (Into the Light from Lyric and The Path Among The Trees from Autumn: In Moving Pictures) and two for Best Arrangement Accompanying a Vocalist (New York Tendaberry from Map to the Treasure: Reimagining Laura Nyroand What Are You Doing the Rest of Your Life? from To Love Again). In 2006, Childs was awarded a Chamber Music America Composer’s Grant, and in 2009 was the recipient of a Guggenheim Fellowship. He was also awarded the Doris Duke Performing Artist Award in 2013, and most recently, the music award from The American Academy of Arts and Letters in 2015.

Most recently, Childs has recorded a collection of reimagined Laura Nyro compositions for Sony Masterworks,

released in September 2014. Map to the Treasure: Reimagining Laura Nyro was produced by Larry Klein and features guest artists: Renee Fleming, Yo-Yo Ma, Wayne Shorter, Alison Kraus, Dianne Reeves, Chris Botti, Esperanza Spalding, Lisa Fischer, Susan Tedeschi, Rickie Lee Jones, Shawn Colvin, Ledesi, Becca Stevens, Chris Potter, Brian Blade, Steve Wilson and Jerry Douglas. In 2016, Childs was appointed President of Chamber Music America.

As a pianist Childs has performed with Yo-Yo Ma, Sting, Renee Fleming, The Los Angeles Philharmonic, The Detroit Symphony Orchestra, Chick Corea, The Kronos Quartet, Wynton Marsalis, Jack DeJohnette, Dave Holland, Ron Carter, The Ying Quartet, The American Brass Quintet, and Chris Botti.

PROGRAM NOTES Notes from the composer: Billy Childs: Violin Concerto #2 My 2nd violin concerto (Violin Concerto #2) was composed in 2020, during a particularly excruciating part of the COVID-19 pandemic - the first half of the year. Coupling anxiety and depression about the existential threat which COVID presented for humanity, with the drudgery of this new antihuman social distanced paradigm we now found ourselves in, I set pen to paper with a few ideas for motifs. The 3rd movement, the most angular and dense of the three, was written first because agitation and edginess were the first things that occurred to me. But I knew I didn’t want the piece to begin like that; I wanted it to end with that - an assertive resilience which spoke to personal triumph over our fears about COVID, American race relations, and environmental issues which were exacerbated in 2020. This was the first sentiment that prevailed in my mind as I set out to compose the piece.

Beethoven 7 & A World Premiere Actually, I composed the piece backwards: movement 3 was composed first, then movement 2, and finally movement 1. If one were to compare the various moods of the movements to the stages of grief, then movement 3 would be anger, movement 2 would be grief or sadness, and movement 1 would be acceptance. But programmed in reverse, the piece now conveys the opposite progression: from rejoicing and acceptance (movement 1), though remorse (movement 2), and finally arriving at anger and resilience. Interestingly, I gave each movement a name based on the mood which I was trying to convey (1. Romance/Rejoice 2. Remorse 3.

Resilience), but I didn’t give the entire concerto a title, other than Violin Concerto #2. I don’t know why that is the case…

It’s difficult for me to talk about the piece from an analytical point of view; my process for composing is so internalized that I simply compose where the piece seems to take me.

If a section seems to go on too long, I’ll truncate it; if it’s not long enough, I’ll extend it. All of these judgements are based off of what “feels” right. I know that lately I’ve become enamored with extended ternary forms, forms which state and then restate exposition-like and recapitulation-like outer sections, with a developmental middle section. This is loosely the case with all three movements, but there is much variation within those parameters.

The violin is, in my mind, the voice of the piece, describing each sentiment through melodic shapes. The orchestra is used in a variety of ways: as accompanist, as interjector, and as a foil for the leading violin voice.

I want to thank the great Rachel Barton Pine for commissioning this piece - my third composition written especially for her. It is truly an honor to compose a piece for such a singular and extraordinary soloist. I also want to thank all of the co-comissioners for this project: the Grant Park Orchestra, the Boulder Philharmonic, the Anchorage Symphony, and the Interlochen Concert Orchestra.

Beethoven: Symphony No. 7 in A major, op. 92 Beethoven himself conducted the premiere of his Symphony No. 7 on December 8, 1813 at a concert in Vienna given to benefit Austrian and Bavarian soldiers wounded at the battle of Hanau in the Napoleonic Wars. He would later declare it to be his “most excellent symphony,” and one music critic of the time reported, “this symphony is the richest melodically and the most pleasing and comprehensible of all Beethoven symphonies.” On the dissenting side, Carl Maria von Weber (1786 – 1826) heard the piece as evidence that its composer had lost his mind, and Friedrich Wieck (1785 – 1873), a renowned piano teacher and Clara Schumann’s father, maintained that the music could only have been written by someone who was seriously intoxicated.

Regardless of Beethoven’s state of sanity – or his state of sobriety – this symphony is one of the composer’s most optimistic works, and it quickly won some powerful friends.

Richard Wagner (1813 – 1883), who often faced his own hostile critics, thought the piece was perfect dance music, calling it “the apotheosis of the dance.” In Wagner’s words, “if anyone plays the Seventh, tables and benches, cans and cups, the grandmother, the blind and the lame, aye, the children in the cradle fall to dancing.” Eager to prove this imaginative theory, Wagner once danced to the Symphony No. 7, accompanied by his colleague and father-in-law Franz Liszt (1811 – 1886) at the piano. It must have been quite a show!

As it begins, the first movement may seem not particularly dancelike, as sweet wind lines are repeatedly interrupted by strongly punched chords. Flowing string phrases promise motion, but seem hesitant to move forward, and several minutes pass before the movement’s most prominent theme arrives with brilliant colors, light-footed dotted rhythms and a Vivace tempo. One could easily imagine it as music to accompany a village spring festival.

Beethoven 7 & A World Premiere By contrast, the second movement Allegretto has no spring and no festival, being a funeral march in all but name. The solemnity begins with a treading pace for low strings and only gradually rises in pitch to reach the full orchestra.

Often, several contrasting melodic ideas overlap, as if Beethoven were imagining several processions converging upon the cemetery at once. As he was at work on this symphony during a time of war, that experience would likely have been within his experience.

Wagner’s vision of the dance returns with the third movement Presto and remains for the finale. The third movement alternates between two nimble melodies, the second more elegant than the first, but both using the triple meter 6/8 pattern found in many country dances. The second of those themes gives special focus to woodwinds and horns; the first has sweeping, downward-moving phrases for all.

As its central idea, the fourth and final movement Allegro con brio opens with a four-note motif that is closely related to the oh-so-famous one with which Beethoven’s Symphony

No. 5 begins. In that work, three repeated short notes are followed by a single longer note lower in pitch; here, the single long note comes before the short notes, rather than after, and the short notes are lower in pitch, rather than higher than the long note. In either case, it is a rhythmic pattern that recurs throughout the movement, rising its head amongst much swirling action. Beethoven had given himself rather limited instrumental forces – only pairs of flutes, oboes, clarinets, bassoons, horns, and trumpets, with timpani and strings – yet lacks nothing that he needs for brilliant dramatic effect.

Program notes © Betsy Schwarm, author of the Classical Music Insights series

Boulder Phil Orchestra Roster VIOLIN 1 Charles Wetherbee, Concertmaster Rebecca Roser & Ron Stewart Annamaria Karacson, Assistant Concertmaster Christine & Wayne Itano Virginia Newton Susie Peek Gyongyver Petheo Heidi & Jerry Lynch Veronica Sawarynski Leslie Sawyer Takanori Sugishita Joan & Harold Leinbach Luana Rubin Malva Tarasewicz Pamela Walker Yenlik Bodaubay Weiss VIOLIN 2 Leah Mohling, principal Marilyn & Robert Mohling Sharon Park, assistant principal Sarah Delevoryas* Regan Kane Miriam Linschoten Robyn Sosa Azaduhi A. Vieira* Lori Wolf Walker* Stephanie Bork Ryan Jacobsen Nina Fronjian Evan DeLong VIOLA Mary Harrison, principal Patricia Butler Michael Brook, assistant principal Aniel Cabán Matthew Diekman Nancy Clairmont & Bob Braudes

Megan Edrington Claire Figel Anonymous Nancy McNeill Stephanie Mientka

OBOE Sarah Bierhaus, principal Eleanor & Harry Poehlmann Max Soto* Kristin Weber

CELLO Charles Lee, principal Rebecca & Albert Bates Ethan Blake, assistant principal Sara Fierer Andrew Kolb Yoriko Morita Margot & Christopher Brauchli Greta Parks Shirley Stephens-Mock Eleanor Wells Martha Oetzel

ENGLISH HORN Kristin Weber

BASS David Crowe, principal Nyla & William Witmore Brian Knott, assistant principal Lin & Matthew Hawkins Matthew Pennington Ernie Glock Isaiah Holt FLUTE Elizabeth Sadilek, principal Pamela Dennis & Jim Semborski Caitlyn Phillips Olga Shilaeva Paul Weber PICCOLO Olga Shilaeva Paul Weber

CLARINET Stephanie Zelnick, principal Margaret & Rodolfo Perez Michelle Orman Ann Kellogg BASS CLARINET To Be Filled BASSOON Francisco Delgado, principal in Memory of Joan Ringoen Wendy La Touche Gyungsun Im Joshua Sechan CONTRABASSOON Wendy La Touche HORN Michael Yopp, principal Ruth & Rich Irvin Devon Park, associate principal DeAunn Davis, assistant & utility Stuart R. Mock Jeffrey Rubin TRUMPET Leslie Scarpino, principal Nicky Wolman & David Fulker Noah Lambert

TROMBONE Bron Wright, principal Owen Homayoun Jeremy Van Hoy TUBA James Andrus, principal TIMPANI Douglas William Walter, principal PERCUSSION Mike Tetreault, principal Paul Mullikin, assistant principal Marion Thurnauer & Alexander Trifunac Nena Lorenz Wright HARP Kathleen Wychulis*, principal Janet Harriman PIANO To Be Filled * on leave this season

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Our 2021-22 season promises more dazzling experiences for music students of all ages, from preschoolers in our Early Explorers program to adults who enjoy our Music and Nature Hikes. Even our Discovery Program has something for everyone: visit the Boulder Phil’s Discovery Program webpage to download a free “Soundscapes: Music + Visual Art” interactive curriculum guide to enjoy at home!

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Supporters The Boulder Philharmonic Orchestra is able to provide high-quality artistic and educational programming thanks to its growing number of season subscribers and the annual support of individuals, corporations, foundations, and government agencies. We take this opportunity to express our appreciation of those individuals and family foundations who made contributions or pledges from December 15, 2020 through December 31, 2021.

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Gretchen G. King Bonnie Kirschenbaum Midge Korczak & Harold R. Osteen Margot & Ray LaPanse George Lichter (in memoriam) Susan Litt Sara Neustadtl Annyce Mayer Pam & Ed McKelvey Marilyn & Robert Mohling Marti Oetzel Susan Olenwine & Frank Palermo Richard & Joan Ringoen Family Foundation Janet Robertson Charlotte Roehm Luana Rubin R. Alan & Stephanie Rudy Jane & Ross Sheldon Patricia Read & Bill Shunk Ronald Sinton Marion Thurnauer & Alex Trifunac Rena & Raymond Wells Ken & Ruth Wright Betty Van Zandt $500-999 Anonymous Patricia Angell Jaydip & Roshmi Bhaumik Neil Birnbaum Sally & Alexander Bracken Jean-Pierre & Glenna Briant Debra Brindis

Norma & Roger Cichorz Susan & David Donaldson Donabeth Downey Karen Franklin Patricia Gilbert Livia Hall Chuck Hardesty Janet Hendricks Neva Huffaker Ellen Vale & Buddy Kring Joy Levy Heidi & Jerry Lynch Judy & Alan Megibow Bob Mahoney & Pat Monroe Molly Parrish Dick Van Pelt James Pendleton Michele & Michael Ritter Charles Samson Marjorie & Bob Schaffner Jane & Leo Schumacher Glen & Bonnie Strand Norman Taylor Pamela Walker Paul Weber Jack & Sue Witkin The Boulder Phil also expresses our appreciation for the other 400+ donors who supported us with contributions under $500 and in-kind donations.

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Plan to join us for a thrilling gala celebration with authentic Cuban cuisine, the pulsating rhythms of Salsa, and an evening of festivities and entertainment.

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Your donation to your Boulder Philharmonic Orchestra will make all of this possible.

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We appreciate your support!

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