Boulder Phil, January-February 2020

2019-2020 SEASON

MICHAEL BUTTERMAN, MUSIC DIRECTOR

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The Nutcracker

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With the Boulder Philharmonic Orchestra: Thanksgiving Weekend Friday, November 29 at 2:00pm Saturday, November 30 at 2:00 & 7:00pm Sunday, December 1 at 2:00pm Macky Auditorium, CU Boulder

Be transported to a magical place where a sleeping princess is awakened by a kiss and good conquers evil.

Featuring sparkling choreography set to the glorious score by Tchaikovsky.

Friday, May 15 at 7:30pm Saturday, May 16 at 2:00 & 7:30pm Sunday, May 17 at 2:00pm Dairy ARTS Center, Boulder

November 29,30, December1

Modern Masters: Taylor & Wheeldon February 21,22,23

Boulder Ballet presents “Modern Masters� featuring Boulder Ballet premieres of two works by dance icons Paul Taylor and Christopher Wheeldon.

Friday, February 21 at 7:30pm Saturday, February 22 at 2:00 & 7:30pm Sunday, February 23 at 2:00pm Dairy ARTS Center, Boulder

May 15,16,17

Ballet in the Park May 30,31

Family-friendly performance of excerpts from the 2019-20 season.

Saturday, May 30 at 7:00pm Boulder Bandshell Sunday, May 31 at 7:30pm Civic Green Park, Highlands Ranch BoulderBallet.org 303.443.0028

Welcome to the Phil!

We are thrilled that you’ve joined us tonight, and we want to make your experience fantastic in every way. The Boulder Phil is your orchestra. Our mission is to bring great, innovative, challenging, and beautiful music to every corner of our community.

Our Phil musicians are fiercely dedicated to their craft and artistry, but we live for the moment our sound leaves our fingers and lips, lingers in the air for a bare instant, then reaches your ears. Have we reached you, have we given you something valuable? For us the joy of making music is all about making music for you.

Yo Yo Ma recently said, “I believe that culture is essential to our survival. It is how we invent, how we bring the new and the old together, how we can all imagine a better future.” Where better than Boulder to put great music in the same room with our new ideas, and to share the myriad stories of our varied histories?

This season the Phil celebrates Boulder with our new tagline, “Let’s play”, because we know Boulder is serious about play. We will play with the orchestral ideas of Deep Purple and Radiohead artists, with the visual beauty of our friends at Frequent Flyers Aerial Dance and the stunning artistry of violinist Jennifer Koh and pianists Anderson & Roe. We will play with the sound palettes of Mozart, Sibelius, Beethoven, and Schubert, alongside those of today’s Grammy® winners Michael Daugherty and Mason Bates, and innovators like Aldo López Gavilán and Cindy McTee. Don’t forget our other great events beyond our main Series—for the holidays, you can’t miss our Nutcracker production with Boulder Ballet, and Christmas with the Phil—tickets will sell fast, don’t wait! Spend your Valentines weekend with the Phil and local phenomenon, FACE Vocal Band, in a stunning collaboration of vocal technique and lush orchestral sound.

We invite you also to take a peek inside the orchestra with our pre-concert talks, Events of Note, and Musical Hikes, as well as events around town. The Phil is your orchestra, and we want to share our music with you, all over this beautiful region!

Thank you for being here, and we look forward to seeing you all season.

K ATHERINE LEHMA N EXEC UTIVE DIRECTOR

About the Boulder Phil

“Our first experience with Boulder Phil was fabulous.”

As one of Colorado’s premier ensembles, the Boulder Phil is a critically acclaimed professional orchestra serving Boulder and the greater metroDenver 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 communityfocused projects that bring music to all.

BoulderPhil.org

“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

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

MUSIC DIRECTOR

Michael Butterman

PRINCIPAL GUEST CONDUCTOR Gary Lewis

OFFICERS

Karyn Sawyer, President Chris Brauchli, Vice President

Ronny Wells, Secretary Tom Abraham, Treasurer

BOARD Michael Butterman, ex officio Bruce Fest Claire Figel David Fulker Steve Knapp Katherine Lehman, ex officio

Erma Mantey Steve Miller Sharon Park Eleanor Poehlmann Harry Poehlmann Leslie Scarpino

ADMINISTRATION

Katherine Lehman, Sam Headlee, Executive Director Personnel Manager, Eve Orenstein, Orchestra Librarian Director of Development Adam Snider & Shelley Sampson, Chris Martin Patron Services Manager Production Managers & Artistic Administrator Kendalia Spencer, Sara Parkinson, Alexis Jas, Director of Education & Interns Community Engagement Breanna McCaughey, Education & Community Engagement Associate

ADVISORY COUNCIL Barbara Brenton Pamela Dennis Ruth Kahn

ING WITH EVERY PERFORMANCE

Susan Olenwine Dick Van Pelt Brenda Zellner

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The Boulder Philharmonic is one of Boulder’s oldest and prominent arts organizations. One could say with no exaggeration that the Boulder Philharmonic is one of our city’s cultural “crown jewels”. The Boulder Arts Commission recognizes how the Boulder Phil sets the standard for artistic excellence and commitment to our community.

The Phil reaches over 50,000 audience members each year, and last year donated over 2000 free tickets through partner social service agencies. Their Discovery Program serves over 5000 schoolchildren each year and is growing to include K-2 children and Head Start programs this year.

The Phil’s inclusion and access mission holds high value with the Boulder Arts Commission. This year they will launch Hearing Boulder, funded in part by the Boulder Convention and Visitors Bureau, taking their musicians to venues across the region and crowdsourcing what they play.

The Phil is a key component of the Arts as an economic force in Boulder. The economic impact of the arts in Boulder is well documented and acknowledged by our Chamber of Commerce, Convention and Visitors Bureau and our City Council. The Phil employs over 70 local professional musicians, and is the only fully professional, year-round orchestra in the Boulder area.

Boulder has a wealth of arts & cultural organizations that provide impactful and inclusive programming for our community. That good fortune extends to our larger, “legacy” organizations, of which the Boulder Philharmonic is a leader.

Sincerely, Mark Villarreal, Chair, Boulder Arts Commission

Educational Outreach The Boulder Philharmonic believes that live orchestral music is for everyone and is committed to providing a wide array of opportunities for people throughout our community to encounter the life-enriching power of classical music.

We are one of 200 American orchestras to participate in a national effort to support in-school music education. We’re committed to taking community-specific action to improve access to music education in schools through performances, partnerships and advocacy.

Discovery Program reaches 6,000+ students annually In-School Visit brings live music into classrooms Meet the Maestro creates up-close interactions with Maestro Butterman Side-by-Side brings Boulder Phil musicians into local high schools Hearing Boulder Series offers free & low-cost concerts around town $5 Student Tickets affordable concert attendance Pre-Concert Talks enriches the concert experience

Photo: Jati Lindsay

Musical Hikes brings nature and music together

‘We have been part of this program for three years and are excited to keep it going!

Thank you for doing outreach.’

— Third Grade Teacher

For more information about Boulder Phil educational programs & regional outreach, please contact the Director of Education & Community Engagement at 303-443-9203 or sara@boulderphil.org.

Thank You to Our Sponsors SEASON PRESENTING SPONSORS Anonymous Erma Mantey SeiSolo Foundation Lynn Streeter Nicky Wolman and Dave Fulker

SEASON SPONSORS Grace and Gordon Gamm Jayne and Stephen Miller Margaret and Rodolfo Perez Eleanor and Harry Poehlmann Karyn Sawyer

Anonymous AEC Trust Sydney and Robert Anderson Margot and Christopher Brauchli Patricia Butler Colorado Creative Industries

PERFORMANCE SPONSORS Leadership Circle Ursula Dickinson Constance Holden and T.K. Smith Suzanne and David Hoover Ruth and Richard Irvin Midge Korczak Peggy Lemone and Peter Gilman Susan Litt Francine and Bob Myers Marti Oetzel Bill Shunk and Pat Read Stephanie and Alan Rudy Marjorie and Bob Schaffner Jane and Neal Sliker

Silver Circle Anonymous (2) Rebecca and Al Bates Nancy Clairmont and Bob Braudes Vermilion Design + Digital Westland Development Services Bronze Circle Academy Senior Living Ruth and Carl Forsberg Sara and David Harper John Hedderich Joan and Harold Leinbach Christine Yoshinaga and Wayne Itano

BUSINESS AND COMMUNITY SPONSORS BOULDER’S BOUTIQUE RETIREMENT COMMUNITY

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E VE N TS O F NOTE

Support your Phil and experience music in intimate settings through this unique series of fundraising events. Each Event of Note features a food and wine reception for a chance to mingle with artists.

An Evening with

Pianist Aldo Lรณpez Gavilรกn SAT, NOVEMBER 2, 7:00 PM The Home of Susan Olenwine & Frank Palermo

An Evening with

Piano Duo Anderson and Roe THURS, JANUARY 23, 7:00 PM The Home of Susan Olenwine & Frank Palermo

An Evening with

Cellist Zuill Bailey THURS, FEBRUARY 20, 6:00 PM The Home of Ewa Borowska & Christopher Usher

An Evening with

Violinist Jennifer Koh THURS, APRIL 23, 7:00 PM The Home of Jan Burton

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Music Director Michael Butterman During his tenure as Music Director of the Boulder Phil, Michael Butterman has led the orchestra to national prominence, resulting in an invitation to open the Kennedy Center’s inaugural SHIFT Festival of American Orchestras in 2017. He also serves as Music Director for the Shreveport Symphony Orchestra and the Pennsylvania Philharmonic, and recently completed a 19-year association with the Rochester Philharmonic Orchestra as their Principal Conductor for Education and Community Engagement, and a 15-year 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. In the 2019/20 season, he returns to the National Symphony on several occasions for performances at the Kennedy Center, and leads the North Carolina School of the Arts Symphony in a program featuring a new work by Grammy-nominated composer Chris Brubeck.

Other recent appearances include performances with the 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, WinstonSalem 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.

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.

For six seasons, Mr. Butterman served as Music Director of Opera Southwest in Albuquerque. During much of that time, he was also Director of Orchestral Studies at the LSU School of Music and was Principal Conductor of the LSU Opera Theater.

Previously, he held the post of Associate Conductor of the Columbus Pro Musica Orchestra, and served as Music Director of the Chamber Opera, Studio Opera, and Opera Workshop at the Indiana University School of Music. As its Associate Music Director, he led the Ohio Light Opera through two festivals, conducting over 35 performances each summer.

Michael Butterman’s work has been featured in six nationwide broadcasts on public radio’s Performance Today. He can be heard on two CDs recorded for the Newport Classics label and on a new disc in which he conducts the Rochester Philharmonic and collaborates with actor John Lithgow.

Boulder Philharmonic

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BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Saturday, January 25, 2020 Macky Auditorium, CU Boulder 6:30 pm Pre-Concert Talk 7:30 pm Performance Greg Anderson and Elizabeth Joy Roe, piano Gabriel Fauré Masques et Bergamasques, op. 112 (1845 – 1924) I. Overture II. Menuet III. Gavotte IV. Pastorale Wolfgang Amadeus Mozart Concerto for Three Pianos in (1756 – 1791) F Major, K. 242

I. Allegro II. Adagio III. Rondo: Tempo de menuetto

— with Michael Butterman, guest pianist

Wolfgang Amadeus Mozart (Arr. Anderson) Ragtime alla Turca – INTERMISSION -

Wolfgang Amadeus Mozart Symphony No. 35 in D Major, K. 385

I. Allegro con spirito II. Andante III. Menuetto IV. Presto Camille Saint-Saëns (Arr. Anderson) (1835 – 1921)

Danse Macabre: Bacchanal

Georges Bizet (Arr. Anderson and Roe) (1838-1875)

Carmen Fantasy for Two Pianos

Boulder Philharmonic Orchestra 2019-2020 Program Page 1

Mozart & More!

ANDERSON & ROE PIANO DUO Known for their adrenalized performances, original compositions, and notorious music videos, Greg Anderson and Elizabeth Joy Roe are revolutionizing the piano duo experience for the 21st century.

Described as “the most dynamic duo of this generation” (San Francisco Classical Voice), “rock stars of the classical music world” (Miami Herald), and “the very model of complete 21st-century musicians” (The Washington Post), the Anderson & Roe Piano Duo aims to make classical music a relevant and powerful force around the world. Their five critically acclaimed albums have spent dozens of weeks at the top of the Billboard Classical Charts, while their Emmy-nominated, self-produced music videos have been viewed by millions on YouTube and at international film festivals.

Since forming their dynamic musical partnership in 2002 as students at The Juilliard School, Anderson & Roe have toured extensively worldwide as recitalists and orchestral soloists; appeared on NPR, MTV, PBS, and the BBC; presented at numerous international leader symposiums; and served as hosts for the medici.tv webcast of the 15th Van Cliburn International Piano Competition. A live performance by Anderson & Roe was handpicked to appear on the Sounds of Juilliard CD celebrating the school’s centenary. Highlights of the 2019/20 season include performances throughout North America, Europe, and Asia; a stint as guest hosts of NPR’s From The Top; the release of nearly a dozen new music videos; and a multi-week residency at the Tippet Rise Art Center as recitalists, recording artists, and filmmakers. www.andersonroe.com | Facebook, Twitter, Instagram: andersonroe

PROGRAM NOTES Masques et Bergamasques Suite, Opus 112 – Gabriel Fauré

Gabriel Fauré’s life was a series of very fortunate events. Born to a wealthy family in the south of France, near the Pyrenees, he enjoyed the comforts of a foster-nurse, never wanting for a child’s necessities.

When his father became director of a school in a nearby town, Fauré was allowed to play on the chapel’s harmonium. Such experience eventually led him to Paris, at age eight, to enter composer/teacher Louis Niedermeyer’s newly opened Ecole de Musique Classique et Religieuse (School of Classic and Religious Music), later known as the Ecole Niedermeyer. For eleven years, Fauré studied Gregorian chant, as well as the organ and composition.

Upon Niedermeyer’s death in 1861, Fauré was fortunate enough to begin studies with Camille Saint-Saens, the eminent composer who inspired several generations of young musicians. Through Saint-Saens, he learned the newest music by the most recent composers, including the controversial Richard Wagner. Over the next thirty years, Fauré would become the most sought-after organist in Paris, holding appointments at the most prestigious cathedrals. Paradoxically, he never accepted the dogma of the Church, but remained agnostic until the end of his life.

His most prestigious appointment was as director of the Paris Conservatoire in 1905, which he held until 1920.

Fauré’s music consists of captivating and sensible melodies. The excesses of Wagner and Italian opera are absent and have no place in Fauré’s reserved style.

However, this approach is revolutionary in its modesty. By stripping away the chaff, he presents emotion in a carefully measured, yet disarmingly direct form. It should be no surprise that Fauré’s output consists largely of chamber music, vocal works, and keyboard pieces.

Program Page 2 Boulder Philharmonic Orchestra 2019-2020

Mozart & More!

His final orchestral work was the score for Masques et Bergamasques, which was commissioned in 1919 by Albert I, Prince of Monaco, to be presented in the royal theater.

Designed to be a modern commedia dell’arte play, the work is really a look back at the eighteenth century through twentiethcentury eyes. Composer Reynaldo Hahn said it reminded him of “Mozart imitating Fauré.” The title of the piece was drawn from Paul Verlaine’s 1869 poem “Clair de lune” from his volume Fêtes galantes.

Your soul is like a landscape fantasy, Where masks and Bergamasks, in charming wise, Strum lutes and dance, just a bit sad to be Hidden beneath their fanciful disguise.

The word “masks” reminded the composer of the commedia dell’arte.

“Bergamasks” refers to a dance from Bergamo, Italy. Those two words together evoked the eighteenth-century theatrical productions in which masked players acted out amorous foibles for the entertainment of the aristocracy. For this production, Fauré decided, along with writer René Fauchois, to turn that premise on its head.

They described the scenario: “The characters Harlequin, Gilles, and Colombine, whose task is usually to amuse the aristocratic audience, take their turn at being spectators at a ‘fête galante’ on the island of Cythera. The lords and ladies who as a rule applaud their efforts now unwittingly provide them with entertainment to their coquettish behavior” The production was a major success and the Paris Opéra-comique staged the show the following spring. The 74-year-old Fauré recycled music from earlier works eventually preparing eight numbers for the program, four of which he crafted into the suite performed today. The first three movements of the suite are based in part on an abandoned symphony that the composer began in 1869—50 years before.

Fauré’s “Ouverture” begins with a lively theme whose mood dominates the movement, despite two espressivo passages that provide a break from the bustle. The character of the music is quite classical in style with a near-constant eighth-note pulse in the lower instruments and flutes often doubling the violins.

The “Menuet” is a leisurely movement in 3/4 meter. It retains the gentility of the classical-period minuet, but the harmonies are clearly a product of the twentieth century. The interesting trio section uses a delightful accent on beats one and three.

Fauré’s “Gavotte” shifts between D major and D minor. The major-key middle section juxtaposes the rhythm of the first section with a legato theme. Imitative and fresh, the opening music returns at the end.

The final movement is a “Pastorale” that was newly composed for this work. Fauré provides almost unnoticed dissonances in the harmonies that underpin the sumptuous main theme with its many wide leaps. The opening theme from the “Ouverture” returns near the end as a countermelody. This is the last movement that Fauré composed for orchestra.

Concerto No. 7 in F Major for Three Pianos and Orchestra, K. 242 (“Lodron”) - Wolfgang Amadeus Mozart As a child, Wolfgang Amadeus Mozart was well known as a violinist and keyboard prodigy, touring Europe while performing for every major crowned head on the continent. As he physically grew into his teenage years, he could no longer pass as a precocious child and was forced to settle down to a court position. As concertmaster of the court orchestra for the Prince Archbishop of Salzburg, he was able to explore the sounds of the orchestra firsthand. The position also allowed him to concentrate on his violin playing. Although he came to despise the job that he would eventually leave to seek his fortune

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Mozart & More! in Vienna, the Salzburg years saw the composition of his earliest masterpieces.

Mozart’s Concerto for Three Pianos was composed in Salzburg in February of 1776.

Although he had spent much time travelling in the early 1770s and would return to the road in 1777, the years from 1774-1776 were spent mostly in Salzburg. The year 1775 resulted in all five violin concertos and his opera, La finta giardiniera. But 1776 would be even more productive with the Haffner serenade and several works of church music to be used at court. Also, that year Mozart wrote his 7th and 8th piano concertos.

The 7th Concerto is for three pianos and was written for Countess Maria Antonia Lodron and her two daughters, Aloysia and Josepha, to perform. Aloysia was far along in her studies, but Josepha had only played for a short time. Therefore, the third piano part is less difficult than the other two. In fact, the concerto also exists in a two-piano version that was designed to be played by Mozart and his sister, Nannerl.

Countess Lodron was the sister of Count d’Arco, a senior official at the Archbishop’s palace who would clash with Mozart three years later when the young composer asked to be released from his duties. This infuriated the Count to such a degree that he ended the conversation by kicking Mozart in the rear.

This concerto was a favorite of Mozart, as he performed the second piano part at a 1777 concert in Augsburg and programmed the work in Paris the following year. He is also known to have performed the two-piano version in Vienna in the 1780s alongside his pupil, Josephine Aurnhammer.

The work opens with dotted rhythms followed by a legato section in the violins.

Lively sixteenth-note figures dominate the first movement. After the unusually brief introduction, the pianos enter with the first theme. There is much sparkling scale work, often in thirds. Mozart shows his command of composition by

expanding the thematic material on each statement—a technique he explores further in the second movement. The orchestra plays an accompanimental role through much of this movement but plays the lead role in the usual tutti sections. After the recapitulation, there is a cadenza for all three pianos.

Mozart’s tender second movement allows the soloists to show their lyrical side. Critics and musicologists have discussed the maturity of composition in this movement as being surprising for a 20-year-old composer, but Mozart was not the average young composer. Where the first theme unfolds with grace, the second is more playful by concentrating on the offbeat.

The finale is an ornate rondo, but is reminiscent of a minuet. Throughout the movement there is a delicious conflict between triplets and duplets. Some of the most interesting music occurs in the minor-key episodes, but there is considerable fun around every corner. This movement includes three cadenzas—one for the first piano, one for the second, and a third for both. Mozart provides no cadenzas for Josepha.

Ragtime alla Turca, based on “Rondo alla Turca” from Piano Sonata No. 11 in A Major, K. 331 – after Wolfgang Amadeus Mozart (arranged by Greg Anderson) Wolfgang Mozart, like his father, Leopold, had been employed in the court of Archbishop Colloredo of Salzburg – Leopold as deputy Kapellmeister, and Wolfgang as court organist and concertmaster.

Wolfgang despised the harsh treatment of the court’s servants whose ranks included all court musicians. After two years of service, he left the position against official orders from the Archbishop. In other words, he quit, but his employer refused to release him. Because of his unique family situation, a rift with the court also meant a severance of ties with is father. Much

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Mozart & More! like the Archbishop, Leopold insisted on retaining control of his son. Wolfgang had no choice but to leave Salzburg, deciding to relocate to the musical Mecca of Vienna.

He was finally granted dismissal from the court in May of 1781.

In Vienna, Mozart met Constanze Weber, and they were married on August 4, 1782.

Leopold did not approve, not yet ready to accept that the son who had brought the family so much wealth and recognition was no longer under his control. In hopes that Leopold would accept Constanze if he finally met her, the young couple planned a trip to Salzburg for the following June.

Leopold, not to be outdone, never accepted his daughter-in-law. When the Mozarts left Salzburg, they never returned.

Many scholars believe that the Piano Sonata No. 11 was composed on this journey.

Others believe that he composed it on the tragic Paris trip in 1777-1778 during which he remained unpaid for several commissions – most notably, the two flute concertos – and culminated in his mother’s death.

Greg Anderson wrote the following notes about his arrangement of the rondo movement from this sonata: “In his beloved “Rondo alla turca” (from his Piano Sonata in A major, K. 331), Mozart appropriated a number of characteristics from Turkish military music, most notably a predilection for noise. One might assume that such an ostensibly “serious,” “Classical” piece was solely meant for a quiet concert hall, but in actuality the composition was intended for a fun, informal setting. It was also the perfect piece to utilize the “janissary pedals” — clamorous cymbal, triangle, or bass drum effects — featured on many pianos of Mozart’s day!

The world has certainly changed since this music was composed: in Mozart’s time, audiences would have delighted in the frightening yet exciting exoticism of his Turkish Rondo, but to modern listeners, this music does not

necessarily sound particularly exotic.

We composed our Ragtime alla turca to help audiences connect with the spirit of Mozart’s original. Just as he appropriated elements of the Turkish style into his “Rondo alla turca,” we have appropriated elements of Mozart’s music into our composition. Although our piece diverts considerably from the notes of Mozart’s rondo, we sought to capture the utter joyousness and revelry, as well as the folksiness and the virtuosity, of the original work. In presenting great works of art, we value the spirit of the music over the notes on the page. Franz Liszt may have said it best: ‘some exactitudes are the equivalent of infidelities.’”

Symphony No. 35 in D major, K. 385, Haffner – Wolfgang Amadeus Mozart

The year 1781 was also a musical landmark for Mozart, as he heard the string quartets of Haydn’s Opus 33 for the first time. The impact was immense, prompting the young composer to write a series of six quartets over the next four years, which showed a new mastery of musical form that would inform many of his later compositions. By 1783, he was amid the happiest period of his adult life. He had been happily married for nearly a year and was expecting his first child in June.

Financially, he was quite comfortable, with yearly earnings equivalent to about $150,000 in today’s money. Within five years, his life would change drastically with marital troubles and poverty.

During Mozart’s childhood and young adult years in Salzburg, not all citizens had been as oblivious to his talents as the Archbishop. Salzburg mayor, Sigmund Haffner, had long appreciated Wolfgang’s talents. The two men were the same age, played as boyhood friends, and felt a fraternal link as such. In 1776, when Haffner’s sister, Elisabeth, announced her engagement to marry a local shipping

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Mozart & More! agent, Franz Xaver Späth, Sigmund asked Wolfgang to supply music for a wedding eve party. The six-movement Haffner Serenade was perfectly suited to the festivities.

Never forgetting Mozart’s efforts, the Haffners again commissioned him in December of 1781, to provide another serenade for the elevation of Sigmund, Jr., to the ranks of the nobility, therefore becoming Sigmund von Imbachhausen.

Even though Mozart’s schedule overflowed with other deadlines and preparations for his own wedding, he could not refuse.

Sigmund received his title on July 29, but not his serenade, as Mozart could not finish it until a few days after his missed deadline.

Mozart revised the second serenade the following winter when he suddenly needed to compose a new symphony. He removed the two marches, and added flutes and clarinets to the outer movements, thus creating the customary four-movement symphonic form. The premiere of the symphony took place on March 23, 1783, with Emperor Joseph II in attendance.

Mozart wrote to his father: “I need not tell you much about the success of my concert, for no doubt you have already heard of it. Suffice it to say that the theater could not have been more crowded, and every box was filled. What gratified me most was the presence of the Emperor, who gave me great encouragement. It is his usual custom to send money to the box-office of the theater before going there; otherwise I might properly have hoped for a larger sum, for his delight was beyond all bounds. He sent twenty-five ducats.”

The symphony opens with a delightful series of leaping octaves, lending a sense of resolute seriousness to the movement.

Influenced by Haydn’s monothematic symphonic movements, Mozart builds the bulk of this movement from the one musical idea. Perhaps the most

striking element of this movement is Mozart’s unparalleled master of motivic development.

The andante and minuet that comprise the central movements hearken back to the lighter serenade with their tireless creativity and unimposing nature. Formal and mannered, they translate perfectly to the symphonic form.

The exuberant finale is one of Mozart’s most satisfying movements, full of spirit and energy. Beginning with a fast-paced whisper, the bottled energy soon breaks open with exuberance. A lively development section concentrates mainly on the second theme. Mozart’s recapitulation and coda are nothing short of joyous.

Danse macabre: Bacchanale – after Camille Saint-Saëns (arranged by Greg Anderson)

Greg Anderson and Elizabeth Joy Roe prepared the following note explaining their approach to this music: “An emperor, a beggar, a monk, a mother, a musician... No matter one’s station in life, the dance of death unites us all. Can we, the living, dance with the same unbridled revelry as these white skeletons who pass through the gloom?

How fragile life is, how vain its earthly glories...

“Danse macabre, the third of SaintSaëns’s four symphonic poems, was premiered in 1874. The broad waltz theme in the Danse macabre may be recognized as a variation on the Dies Irae, the ancient liturgical chant for the dead. While the Danse macabre is SaintSaëns’s most frequently performed orchestral work, it was not originally conceived in orchestral terms. SaintSaëns adapted it from one of his songs for voice and piano. The song was originally set to a verse by French poet Henri Cazalis (translated in English below):

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Mozart & More!

Zig, zig, zig, Death in a cadence, Striking with his heel a tomb, Death at midnight plays a dance-tune, Zig, zig, zig, on his violin.

The winter wind blows and the night is dark; Moans are heard in the linden trees.

Through the gloom, white skeletons pass, Running and leaping in their shrouds.

Zig, zig, zig, each one is frisking, The bones of the dancers are heard to crack— But hist! of a sudden they quit the round, They push forward, they fly; the cock has crowed.

“With vividness and verve, SaintSaëns depicts the fantastic tale of Death’s frenzied dance. The work begins with the tolling of midnight bells, after which Death, portrayed as a fiddler, tunes up and commences his waltz. A second theme evokes the roused skeletal celebrants who become increasingly energetic until, with the cock’s crow, they disperse and vanish.

“The musical material in Saint-Saëns’ Danse macabre has proven to be ideal for multiple piano treatment, and to date, we have created no fewer than six different compositions based on the original score. In all iterations, we exploit the capabilities of the piano, illustrating the rattling of bones with percussive rhythmic drive and creating atmospheric effects through use of pedal and swirling harmonic figurations.

“Additionally, the four “bacchanal” arrangements feature an extended hootenanny in which the pianists playfully take turns demonstrating their pianistic prowess.”

Carmen Fantasy for Two Pianos based on themes by Georges Bizet arr. by Anderson and Roe

A concert fantasy in the grand romantic tradition, the Carmen Fantasy for Two Pianos weaves together several distinct scenes from Georges Bizet’s beloved opera Carmen. Serving as an introduction, the work begins with the “Danse Bohémienne” from Act IV, a ballet that is almost always cut from modern performances of the opera. (Incidentally, Bizet used the same material as incidental music to L’Arlésienne.) The introduction is followed by the “Aragonaise” (originally the entr’acte to Act IV, a scene just before the opera’s climactic bullfight), the famous “Habanera” from Act I (in which Carmen sings “L’amour est un oiseau rebelle,” or, “Love is a rebellious bird”), and the “Card Aria” from Act III (in which Carmen reads in the cards that both she and Don José are doomed to die). Following the terrifying omen of death, the music cuts to the “Flower Song” from Act II, a scene that epitomizes that love Don José and Carmen once shared for one another. Ultimately, the juxtaposition serves to highlight the tragedy of the opera without actually recreating the opera’s climactic recitative (in which Don José murders his former lover, Carmen). The fantasy concludes with a party scene from the beginning of Act II, in which Carmen and her friends entertain army officer with a song about gypsy girls (much like themselves). The music accelerates in a whirlwind of fevered rhythm, Basque tambourins, and ecstatic dance.

— Greg Anderson & Elizabeth Joy Roe

©2019 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com

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Face Vocal Band BOULDER PHILHARMONIC ORCHESTRA Scott O'Neil, conductor Saturday, February 15, 2020 Macky Auditorium, CU Boulder 7:30 pm Performance Face Vocal Band Ryan Driver Forest Kelly Mark Megibow Cody Qualls Stephen Ross

All works will be announced from the stage.

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Face Vocal Band SCOTT O'NEIL

FACE VOCAL BAND

Scott O’Neil is currently living a diverse musical life as a conductor, educator, composer/ arranger/orchestrator, and speaker on classical radio. He served as the Associate Conductor for the Utah Symphony from 2000-2006 and as the Resident Conductor of the Colorado Symphony from 2006-2015. O’Neil has guest conducted the Houston Symphony, Houston Youth Symphony, San Diego Symphony, Phoenix Symphony, Annapolis Symphony, Florida Philharmonic, Tucson Symphony, Tulsa Philharmonic, Portland Symphony (Maine), the Lubbock Symphony, the Boise Philharmonic, the Salt Lake Symphony, the Boulder Philharmonic, the Denver Philharmonic, the Dallas Pops Orchestra, and the Toledo Symphony and Columbus Symphony in Ohio.

In the past he served as the director of orchestras at the High School for the Performing and Visual Arts in Houston, Texas, and the conductor of the Denver Young Artists Orchestra, he has done multiple conducting masterclasses for the Arapahoe Philharmonic, and he continues to volunteer as a guest instructor for the George N. Parks Drum Major Academy. His TED Talk on Creating Meaning in Music, using his original composition composed for Arrow Electronics, can be seen on YouTube. He has orchestrated works for such diverse artists as Eileen Ivers, Béla Fleck, Ingrid Michaelson, the Face Vocal Band, Weird Al Yankovic, and Jack Black (Tenacious D). He is a proud alum of the Oberlin Conservatory, the Eastman School of Music, and Rice University, where he was the music director for the Campanile Orchestra.

Face Vocal Band is an internationally acclaimed allvocal rock band from Boulder, Colorado who have been captivating audiences for over a decade with their infectious energy punctuated by an endearing love of performance. “Blending modern popular tunes with complex harmonies, brilliant beat-box rhythms and superb singing...Face take their audience on a musical journey and it’s fantastic fun.”

(FringeReview.co.uk) Performing over 100 shows per year around the world, the band has also competed on the hit NBC series “The SingOff,” headlined at Edinburgh, Scotland’s prestigious Festival Fringe, and has opened for legendary performers such as Jon Bon Jovi, Barenaked Ladies, Jay Leno, The Wailers, 38 Special, Manhattan Transfer, Rick Springfield, and Culture Club & Boy George.

Face continues to be voted “Best Local Band/Musician” by numerous publications and audience awards, was just voted Quintet of the year, and regularly performs for packed audiences in iconic venues such as Red Rocks Amphitheatre, Paramount Theatre, Swallow Hill, Boulder Theater, Soiled Dove Underground, and the Denver Bronco’s Mile High Stadium.

Critics and fans world-wide describe Face as “a true American heartland sound.” (Recorded A Cappella Review Board) “[Face] communicates with a directness and warmth – perhaps America at its best.” (Norbbottens Kuriren) “Soulful singing stands out above the crowd.”

(FringeReview.co.uk)

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Hemingway Portraits & Sibelius 2 BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Saturday, February 22, 2020 Macky Auditorium, CU Boulder 6:30 pm Pre-Concert Talk 7:30 pm Performance Zuill Bailey, cello

Michael Daugherty Tales of Hemingway (b. 1954) I. Big Two-Hearted River

II. For Whom the Bell Tolls III. The Old Man and the Sea IV. The Sun Also Rises

– INTERMISSION -

Jean Sibelius Symphony No. 2 in D Major, Op. 43 (1865 – 1957) I. Allegretto

II. Tempo andante, ma rubato III. Vivacissimo IV. Finale: Allegro moderato

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Hemingway Portraits & Sibelius 2 ZUILL BAILEY Zuill Bailey, widely considered one of the premiere cellists in the world, is a Grammy Award winning, internationally renowned soloist, recitalist, Artistic Director and teacher. His rare combination of celebrated artistry, technical wizardry and engaging personality has secured his place as one of the most sought after and active cellists today.

A consummate concerto soloist, Mr. Bailey has been featured with symphony orchestras worldwide, including Los Angeles, Chicago, San Francisco, Detroit, Indianapolis, Dallas, Louisville, Honolulu, Milwaukee, Nashville, Toronto, Colorado, Minnesota, Utah, Israel, Cape Town, and the Bruchner Orchestra in Linz, Austria. He has collaborated with such conductors as Itzhak Perlman, Alan Gilbert, Andrew Litton, Neeme Jarvi, Giancarlo Guerrero, James DePriest, Jun Markl, Carlos Kalmar, Andrey Boreyko, Krzysztof Urbanski, J acques Lacombe, Grant Llewellyn and Stanislav Skrowaczewski. He also has been featured with musical luminaries Leon Fleisher, Jaime Laredo, the Juilliard String Quartet, Lynn Harrell and Janos Starker.

Mr. Bailey has appeared at Disney Hall, the Kennedy Center, the United Nations, Alice Tully Hall, the 92nd St. Y and Carnegie Hall, where he made his concerto debut performing the U.S. premiere of Miklos Theodorakis’ “Rhapsody for Cello and Orchestra.” In addition, he made his New York recital debut in a sold out performance of the complete Beethoven Cello Sonatas at the Metropolitan Museum of Art. Bailey also presented

the U.S. premiere of the Nico Muhly Cello Concerto with the Indianapolis Symphony Orchestra. World premieres include works by composers such as Lowell Lieberman, Phillip Lasser, Roberto Sierra, Benjamin Wallfisch and Michael Daugherty.

His international appearances include notable performances with the Moscow Chamber Orchestra in its 50th anniversary tour of Russia as well as concerts in Australia, the Dominican Republic, France, Israel, Spain, South Africa, Hong Kong, Jordan, Mexico, South America and the United Kingdom. Festival appearances include Ravinia, the Interlochen Center for the Arts, Manchester Cello Festival (UK), Wimbledon (UK), Consonances- St. Nazaire ( France), Australian Festival of Chamber Music, Deia Music FestivalMallorca (Spain), Montreal (Canada), Santa Fe, Caramoor, Chautauqua, Bravo!, Vail Valley, Maverick Concert Series, Brevard, Interlochen, Cape Cod and the Music Academy of the West. In addition, he was the featured soloist performing the Elgar Cello Concerto at the Bard Festival in the World Premiere of the Doug Varrone Dance Company performance of “Victorious.”

Zuill Bailey is a renowned recording artist with over twenty titles. Mr. Bailey won a best solo performance Grammy Award in 2017 for his Live Recording of “Tales of Hemingway,” by composer Michael Daugherty. The celebrated CD, recorded with the Nashville Symphony, Giancarlo Guerrero, conductor, also won a Grammy for best composition, “Tales of Hemingway,” and Best Compendium.

His celebrated “Bach Cello Suites” and recently released Britten Cello Symphony/ Sonata CD with pianist Natasha Paremski, immediately soared to the Number One spot on the Classical Billboard Charts.

Other critically acclaimed recordings include his live performances with the

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Hemingway Portraits & Sibelius 2 Indianapolis Symphony of the Bloch Schelomo, Muhly Cello Concerto (World Premiere), Brahms Sextets with the Cypress Strings Quartet, Elgar and Dvořák Cello Concertos, described by Gramophone magazine as the new “reference” recording and one that “sweeps the board.” In addition, the Dvořák Cello Concerto CD is listed in the “Penguin’s Guide,” as one the Top 1000 Classical Recordings of all time. Zuill Bailey’s other releases include “Brahms” complete works for cello and piano with pianist Awadagin Pratt, and “Russian Masterpieces” showcasing the works of Tchaikovsky and Shostakovich performed with the San Francisco Ballet Orchestra. Mr. Bailey is featured on the chart topping Quincy Jones- produced “Diversity,” with pianist/composer Emily Bear. Other releases include his innovative “Spanish Masters” CD for Zenph Studios, where he forms a unique duo blending with recordings of composer Manuel de Falla and an all American recital program with Pianist Lara Downes on the Steinway and Sons label. His discography also includes a debut recital disc for Delos, Cello Quintets of Boccherini and Schubert with Janos Starker, Saint-Saens Cello Concertos No. 1 and 2 “Live,” and the Korngold Cello Concerto with Kaspar Richter and the Bruckner Orchestra Linz for ASV. Zuill Bailey was named the 2014 Johns Hopkins University Distinguished Alumni and was awarded the Classical Recording Foundation Award for 2006 and 2007 for Beethoven’s complete works for Cello and Piano. The highly touted two disc set with pianist Simone Dinnerstein was released on Telarc worldwide. In celebration of his recordings and appearances, Kalmus Music Masters has released “Zuill Bailey Performance Editions,” which encompasses the core repertoire of cello literature.

Network television appearances include a recurring role on the HBO series “Oz,” NBC’s “Homicide,” A&E, NHK TV in Japan, a live broadcast and DVD release of the Beethoven Triple Concerto performed in Tel Aviv with Itzhak Perlman conducting the Israel Philharmonic, and a performance with the National Symphony Orchestra of Mexico City. Mr. Bailey is also featured in the televised production of the Cuban premiere of Victor Herbert’s Cello Concerto No. 2 with the National Orchestra of Cuba.

He has been heard on NPR’s “Morning Edition,” “Tiny Desk Concert,” “Performance Today,” “Saint Paul Sunday,” BBC’s “In Tune,” XM Radio’s “Live from Studio II,” Sirius Satellite Radio’s “Virtuoso Voices,” the KDFC Concert Series, KUSC, Minnesota Public Radio, WQXR’s “Cafe Concert”, WFMT and RTHK Radio Hong Kong.

Mr. Bailey received his Bachelor’s and Master’s Degrees from the Peabody Conservatory and the Juilliard School.

His primary teachers include Loran Stephenson, Stephen Kates and Joel Krosnick. Mr. Bailey performs on the “rosette” 1693 Matteo Gofriller Cello, formerly owned by Mischa Schneider of the Budapest String Quartet. In addition to his extensive touring engagements, he is the Artistic Director of El Paso Pro-Musica (Texas), the Sitka Summer Music Festival/ Series and Cello Seminar, (Alaska), the Northwest Bach Festival (Washington), Classical Inside and Out Series- Mesa Arts Center(Arizona) and Director of the Center for Arts Entrepreneurship at the University of Texas at El Paso .

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Hemingway Portraits & Sibelius 2 PROGRAM NOTES Tales of Hemingway Michael Daugherty Tales of Hemingway for cello and orchestra was commissioned by the Nashville Symphony and a consortium consisting of: the Asheville Symphony, the Detroit Symphony Orchestra, the El Paso Symphony Orchestra, the Erie Philharmonic, the Redwood Symphony, the South Florida Orchestra, and the Virginia Symphony. The world premiere was on April 17, 2015, with the Nashville Symphony Orchestra, under the direction of Giancarlo Guerrero,with Zuill Bailey, solo cello, at the Schermerhorn Symphony Center, Nashville, Tennessee.

Tales of Hemingway evokes the turbulent life, adventures, and literature of American author and journalist Ernest Hemingway (1899-1961). His terse, direct, accessible writing style, combined with a mastery of dialogue and brilliant use of omission and repetition, made him one of the most influential and original writers of the 20th century. Hemingway’s distinctive body of work was also informed by his larger-thanlife experiences.

In his youth in Oak Park, Chicago, Hemingway was surrounded by music, where his mother was a prominent music teacher and he played the cello in school orchestras. Hemingway’s family owned a remote summer home on Walloon Lake near Petoskey, Michigan, where hunting, fishing, and camping were a family ritual.

As an adult, Hemingway’s passion and expertise for deep-sea fishing in the Florida Keys and Cuba, big game hunting in Africa, bullfighting in Spain, and boxing were legendary.

Hemingway experienced the horrors and ironies of war as a Red Cross ambulance

driver in World War I (1918) and as a journalist on the front lines of the Spanish Civil War (1937) and World War II (194445). In the 1920s, Hemingway was part of Gertrude Stein’s “Lost Generation” in Paris and haunted the bars and cafés with F. Scott Fitzgerald. During his lifetime, many of his works were made into Hollywood films, and his journalism and literature was syndicated in magazines and newspapers around the world, making Hemingway an international celebrity and a household name. 25 minutes in duration, my cello concerto is divided into 4 movements, which are inspired by one of Hemingway’s short stories or novels: I. Big Two-Hearted River (Seney, Michigan, 1925) In this story, Nick Adams is an emotionally scarred and disillusioned soldier from World War I who treks to Northern Michigan for a camping-fishing trip to try to regain control of his life. I have composed serene and passionate music that evokes a leitmotif in Hemingway’s writing: his belief that one can be healed by the power of nature through exploring isolated outdoor terrains.

II. For Whom the Bell Tolls (1940, Spanish Civil War) Hemingway tells the tale of the last three days in the life of Robert Jordan, an American teacher turned demolition expert who has joined the anti-fascist Loyalist guerillas in Spain. Jordan accepts a suicide mission to blow up a bridge only to fall in love with Maria, a young Spanish woman of the Loyalist guerilla camp. The cello strums and plucks, leading the martyr’s march to battle the Fascists and to Jordan’s eventual death. As the chimes explode at the conclusion of the movement, the epitaph of

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Hemingway Portraits & Sibelius 2 the novel rings forth: “And therefore never send to know for whom the bell tolls; it tolls for thee.”

III. The Old Man and the Sea (1952, Cuba) In Hemingway’s Nobel Prize-winning novella, Santiago is a poor, old fisherman whose luck changes when he takes his small boat deep into the Gulf Stream. After an epic struggle, he catches a gigantic marlin, the largest fish of his career. As he makes the long journey home, sharks relentlessly attack his boat and devour the marlin. As a musical response, I have composed an elegy to the struggle of life and death between man and nature. The cello represents the old fisherman’s journey as he searches for the truths of man’s existence with dignity and grace.

IV. The Sun Also Rises (1926, Pamplona, Spain) The main character in this groundbreaking novel is Jake Barnes, bitter and wounded by war, living in Paris as an unhappy expatriate journalist. Aimless in life, he makes a journey to the Festival in Pamplona, Spain. Along the way, he is joined by other adrift souls of the “Lost Generation,” such as Lady Brett, a promiscuous divorcée with whom Barnes was involved before the war. For the final movement of the concerto, I have created an exciting and dramatic sound world where I imagine Jake Barnes, his entourage (and Hemingway) in Pamplona at the Fiesta, watching the running of the bulls and reveling in the spectacle of the bullfights.

We also hear musical illuminations of the novel’s enigmatic epigraph, “the sun also ariseth, and the sun goeth down, and hasteth to the place where he arose.”

— Michael Daugherty

Symphony No.2 in D Major, Op.43 – Jean Sibelius Jean Sibelius was an adult before he decided to concentrate on a musical career. Although he began to study piano at age nine and composition at ten, his first intention was to become a lawyer. In 1885 he enrolled in the University of Helsinki to study law. Within a year, however, he decided music was his field and to it he devoted the rest of his unusually long life.

He was drawn to folklore, and many of his numerous works for orchestra, stage, chamber ensembles, and voice and piano were inspired by stories from the Kalevala, the Finnish epic poem of native legends.

It is puzzling that such a prolific composer abruptly abandoned his compositional career in 1927 to live in retirement, refusing to discuss his music, until his death thirty years later at the age of 91.

Although he lived well beyond the middle of the twentieth century, the spirit of Sibelius belonged to the nineteenth. His music reflects the two great driving forces of his public career: he was a Romantic as a composer and an intense nationalist as a citizen. During his early years as a composer Sibelius was influenced by the styles of Tchaikovsky and Brahms. Later he developed his own characteristic style but remained a Romantic. Sibelius was the authentic voice of Finland, not only to his countrymen but also to the world.

Even his works of absolute music express a combination of pastoral moods and rare outbursts of passionate emotion that seem typical of his native land. The Second Symphony is no exception.

Sibelius’s opening movement, allegretto, is unique in its construction. Traditionally, first movements of symphonies present all of the themes near the beginning, often in contrasting keys. After a development

Program Page 14 Boulder Philharmonic Orchestra 2019-2020

Hemingway Portraits & Sibelius 2 section that involves fragmentation of these melodies, they are reassembled triumphantly into their original form, all of them in the tonic key of the movement.

Sibelius presents only short fragments at first, and then allows these snippets to congeal into longer phrases in the development section. At the end, these phrases are once again split into melodic shards.

The second movement is also unconventional. Dramatic and soulsearching, this spectacular andante uses two different groups of melodies that are treated quite differently. The first group, starting with the bassoons at the beginning of the movement, receives the usual fragmentation in the development.

Sibelius’s second group includes the fluid legato theme that is played after a short pause just a few minutes after the beginning. The composer uses this group in the second half of the movement to combine with other themes and provide new dimensions to his texture.

A startling scherzo and trio comprise the third movement. The scherzo theme is motoric and bristling with activity.

Interestingly, the pastoral oboe theme of the Trio leads seamlessly into the finale.

The finale is based on two themes, a broad opening theme in the strings and brass, and a short melody first heard in the solo oboe. Alternating throughout the movement, the themes are put through many permutations in the development section. A massive climax occurs just before the recapitulation. Soon afterward, a grandiose fanfare begins the coda, which transforms the opening theme into an electrifying conclusion over which the brass section reigns supreme. Š2019 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com

Volunteer With Us! Boulder Phil volunteers contribute over 4,000 hours per year and help make our programs possible.

Fulfilling a variety of roles, volunteers’ time and talent is essential to our success. Join us!

Morgan Bee Pat Butler Joan and Peter Dawson Susan Donaldson Debra Enevoldsen Jenny Favell Hans Jordan Jane Ann Lockwood Gina Meadows Joan Mulcahy Marti Oetzel Shelley Pierce Sharon Randel Carolyn Richardson Bob Rothe Pamela Walker Jo Wiley Linda Wolpert

volunteer@boulderphil.org

Boulder Philharmonic Orchestra 2019-2020 Program Page 15

Boulder Phil Orchestra We thank our “Friends of the Phil” musician sponsors. For more information on sponsoring one of the Boulder Phil’s professional musicians, please visit www.boulderphil.org/ways-to-support-us

VIOLIN 1 Charles Wetherbee, concertmaster Rebecca Roser Annamaria Karacson, assistant concertmaster Christine Yoshinaga-Itano & Wayne Itano Virginia Newton Debra Holland Brenda & Jack Zellner Susie Peek Randy Long Gyongyver Petheo Heidi & Jerry Lynch Veronica Sawarynski Leslie Sawyer Takanori Sugishita Joan & Harold Leinbach Malva Tarasewicz Pamela Walker Yenlik Bodaubay Weiss Charlotte Corbridge VIOLIN 2 Leah Mohling, principal Marilyn & Robert Mohling Sharon Park, assistant principal Robert & Francine Myers Sarah Delevoryas Kristen Wolf Regan Kane Miriam Linschoten Cyndi Mancinelli Robyn Sosa Paul Trapkus Azaduhi A. Vieira Lori Wolf Walker VIOLA Mary Harrison, principal Patricia Butler Michael Brook, assistant principal Aniel Cabán Matthew Diekman Nancy Clairmont & Bob Braudes Megan Edrington Claire Figel Nancy McNeill Stephanie Mientka

CELLO Charles Lee, principal Rebecca & Albert Bates Zachary Reaves, assistant principal Charles Barnard Sara Fierer Penny & Robert Haws Yoriko Morita Margot & Chris Brauchli Greta Parks Shirley Stephens-Mock Eleanor Wells BASS David Crowe, principal Nyla & William Witmore Brian Knott, assistant principal Lin & Matthew Hawkins Brett Armstrong Benjamin de Kock Jeremy Nicholas Matthew Pennington HARP Kathleen Wychulis, principal TIMPANI Douglas William Walter, principal PERCUSSION Mike Tetreault, principal Paul Mullikin, assistant principal Marion Thurnauer & Alexander Trifunac Nena Lorenz Wright FLUTE Elizabeth Sadilek, principal Pamela Dennis & Jim Semborski Caitlyn Phillips Olga Shilaeva Paul Weber PICCOLO Olga Shilaeva Paul Weber OBOE Sarah Bierhaus, principal Max Soto Janet & Hunter McDaniel Kristin Weber

Program Page 16 Boulder Philharmonic Orchestra 2019-2020

ENGLISH HORN Kristin Weber CLARINET Stephanie Zelnick, principal Margaret & Rodolfo Perez Michelle Orman Ann Kellogg BASS CLARINET To be filled BASSOON Charles Hansen, principal in Memory of Joan Ringoen Wendy La Touche CONTRABASSOON Wendy La Touche HORN Michael Yopp, principal Ruth and Rich Irvin Jeffrey Rubin Tessa & Alan Davis Devon Park, associate principal DeAunn Davis, assistant & utility Stuart R. Mock TRUMPET Leslie Scarpino, principal Nicky Wolman & David Fulker Kenneth Aikin Andrew Miller TROMBONE Bron Wright, principal Jeremy Van Hoy Martha Oetzel TUBA James Andrus, principal PERSONNEL MANAGER N. Samantha Headlee ORCHESTRA LIBRARIAN N. Samantha Headlee

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YOUR IMPACT. MEASURE BY MEASURE.

42% of our annual budget comes from you, our generous community. Your donation to your Boulder Phil will make all of this possible.

45,000 15 5,000 2,000 70 40 300

Boulderites reached mainstage concerts students at our Discovery Concerts free tickets donated to local social service agencies professional Phil musicians performing in each concert in-school assemblies and in-class workshops reaching 6,000+ children participants at free Boulder Public Library concerts

SUPPORT YOUR PHIL TODAY! Text LET’SPLAY to 44-321 or scan this code with your smartphone’s camera app to donate any amount!

To make a donation by phone call Director of Development, Eve Orenstein at 303-443-0542

Supporters The Boulder Philharmonic Orchestra is able to provide high-quality artistic and education 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 who made contributions or pledges from September 1, 2018 through December 1, 2019.

FOUNDERS CIRCLE ($30,000+)

Anonymous(1) Boulder Arts Commission Erma Mantey Jayne & Stephen Miller Margaret & Rodolfo Perez + SCFD SeiSolo Foundation Lynn Streeter Nicky Wolman & David Fulker +

GOLD CIRCLE ($10,000+)

Anonymous(1) AEC Trust Sydney & Robert Anderson Margot & Christopher Brauchli + Patricia Butler + Colorado Creative Industries Pamela Dennis & Jim Semborski *+ Grace & Gordon Gamm Marla & Jerry Meehl Eleanor & Harry Poehlmann + Karyn Sawyer Westland Development Services, Inc. *

SILVER CIRCLE ($5,000+)

Anonymous(2) Lari & Thomas Abraham Academy Senior Living * Rebecca & Albert Bates *+ Nancy Clairmont & Bob Braudes *+ The Community Foundation Serving Boulder County Beverly & Bruce Fest Ruth & Carl Forsberg * Sophia Garrett + Guillaume’s European Catering Virginia W. Hill Charitable Foundation Constance Holden & T.K. Smith * Judy & Stephen Knapp George Lichter (in memoriam) Janet & David Robertson Taddiken Tree Company Trevor Valdez Caroline & Dick Van Pelt Vermilion Design + Digital *

BRONZE CIRCLE ($2,500+)

Tessa & Alan Davis + Heather Dupre Stathis Edel Lisa & Mark Galvin Sara & David Harper * Lin & Matthew Hawkins + Ann & Russell Hayes John Hedderich * IBM Ruth & Richard Irvin *+ Christine Yoshinaga-Itano & Wayne Itano *+ Ruth Carmel Kahn Joan & Harold Leinbach *+ Maihaugen Foundation Susan Olenwine & Frank Palermo Kathey Pear Eleanor Poehlmann Anita & Arthur Polner Patricia Read & William Shunk * Luana Rubin Jane & Neal Sliker * Martha & Alan Stormo Three Leaf Concepts Rena & Raymond Wells Vivian Wilson Nyla & Gerry Witmore +

LEADERSHIP CIRCLE ($1,000+)

Anonymous(3) Suzanne & James Balog Boulder County Arts Alliance Boulder Office Of Arts & Culture Boulder Piano Gallery Fred Bratman Barbara Brenton Amy & Terry Britton Jan Burton Jennifer Carsillo & Michael Butterman Toni & Nelson Chen Joan Cleland Jenny & Terry Cloudman Ursula Dickinson in Memorium * Kristin Dura Bradley Fernandez Fisher Honda Frasier *

Elyse Grasso Joanna & Ralph Grasso Carol Grever The Hansson Family Holly & Grant Hickman Karen & Stewart Hoover Suzanne & David Hoover * Robert Huffaker Carolyn & Sam Johnson Midge Korczak * Buddy Kring Peggy Lemone & Peter Gilman * Nancy & Paul Levitt Susan Litt * The Lockwood Foundation Heidi & Jerry Lynch Annyce Mayer Millstone/Evans Group of Raymond James & Associates Marilyn & Robert Mohling + Francine & Robert Myers *+ Barbara & Irwin Neulight Martha Oetzel *+ Richard & Joan Ringoen Family Foundation Cynthia & Dave Rosengren R. Alan & Stephanie Rudy * Marjorie & Bob Schaffner * William Seale Arthur & Carol Smoot Ivonka & Greg Sobeich Marion Thurnauer & Alexander Trifunac + Alison Craig & Stephen Trainor Sophie & Jack Walker Priscilla & James Walker Wines For Humanity

ARTIST CIRCLE ($500+)

Anonymous(4) Alpenhof Lodge Patricia Angell Anne & Henry Beer Jaydip Bhaumik Helen Bosley Sally & Alexander Bracken Aaron Brockett Boulder Ensemble Theatre Company Anne Burkholder & Stephen Eisenberg

Supporters Rona Cantor Cherilynn Cathey Vivian & Thomas Cecil Amy Clay Nancy Colburn Colorado Performing Arts Publications Karen Connolly Charlotte Corbridge + Rick Dallago Sylvia & Burt Darmour Vici & Warren DeHaan Alexandra & Paul Dujardin Claire & Art Figel RoseMarie & Jeffrey Foster Jeri & Hans Friedli Kathleen Fry Marilyn & Mel Gallant Teri & Richard Golden Chuck Hardesty Harris Gift Matching Program Doree Hickman Neva Huffaker Brian Jack Jacobs Audio Diana & Matthew Karowe Ann Kellogg + Eileen & Walter Kintsch Margot & Ray LaPanse Tracy Mayo Judy & Alan Megibow Karen & Steve Meyers James Neely Jean & Scott Nelson Sara Parkinson Molly Parrish James Pendleton Delafoto Portraits Judy Reid & Richard Collins Alicia & Juan Rodriguez Diane Rosenthal Ann & Tom Rounds Jane & Leo Schumacher Jane & Ross Sheldon Lynn Sherretz Ronald Sinton Hitomi Sipher Linda & Stephen Sparn Gail & John Squires Margrit & Andrew Staehelin Jonathan Steinberg Randy Stevens Ron Stewart Glen Strand Jean Thompson Pamela Walker + Celia & John Waterhouse Tron Welch The Winston Family Foundation

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PARTNERS ($250+)

Anonymous(3) Peter Alexander Cherry Anderson Aspen Music Festival Nancy Berman Catherine & William Bickell Cinnamon Bidwell Kovalev Blanc Canvas Interiors Joan Bleacher Boulder Chophouse & Tavern Joan Brett Brewers Association Debbie & Yan Cardineau Central City Opera Norma & Roger Cichorz Lyn Ciocca McCaleb & Rob McCaleb Colorado Ballet Colorado Music Festival & Center for Musical Arts Colorado Symphony Margot Crowe Dairy Arts Center Denver Center For The Performing Arts Alice & Joe Doyle Michelle Edwards Martha Coffin Evans & Robert Trembly II Nancy & Robert Fierer Marj & Dean Fowler Bill & Randy Ganter Anita & Gerald Gershten Suzan Grenier Dianne & Ken Hackett Catherine Haskins & Larry Day Bruce Henderson Jeannette & David Hillery Sondra & Randal Hittle It’s Just Stuff Jo Ann Joselyn Marcia & Colman Kahn Ann Kiley Walter Kintsch Bonnie Kirschenbaum Robert Krenz Douglas Lerner Lois & Jeffrey Linsky Randy Long + George Matzkanin Pamela McKelvey Mark & Cindy Meyer Andrew Miller + Lily & Roger Moment Joan & William Nagel The Newton Family Fund +

Muriel & David Olsen Martha Olson Opera Colorado Linda Ortiz & Tim Shoemaker Jan Osburn Overnight Prints Richard J. Meisinger, Jr. Beatriz & Juan Roederer * Charles Samson Savory Spice Shop Mary Scarpino Ruth Schoening Gerald Shioshita Deann & Bill Snider Spirit Hound Distillers The Stanley Hotel Barbara Steinmetz Kathryn Strand Shelby & Nicholas Vanderborgh Tami Wakeman Paul Weber + Jim Welsch Wendy & Richard Wolf

LEGACY CIRCLE

Nancy Clairmont and Bob Braudes Pat Butler Ruth Carmel Kahn Pamela Dennis Nicky Wolman and David Fulker John Hedderich Judy and Steve Knapp Juan and Beatriz Roederer Lynn Streeter The Boulder Phil also thanks the 358 households who made smaller gifts this past year, in addition to in-kind support received from numerous businesses. For more information about supporting the Boulder Phil, information about planned giving options, or to report errors or omissions, please contact the Director of Development at 303-443-0542 or development@boulderphil.org *Performance Sponsor +Friends of the Phil

Listen Locally 2019-20 SEASON ELLIOT MOORE, MUSIC DIRECTOR

La Commedia dell’arte OCT 19 & 20

Beethoven Cycle at Vance Brand NOV 9, 7:30 PM SHOSTAKOVICH Cello Concerto No. 1 with Adrian Daurov BEETHOVEN “Eroica” Symphony

Gentle Nutcracker DEC 7, 1 PM

Nutcracker Ballet DEC 7 & 8

Music is life

Family Concert JAN 18, 4 PM

Force of Destiny

FEB 15, 7:30 PM CORIGLIANO The Red Violin with Andrew Sords RESPIGHI Pines of Rome

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Handel’s Messiah LSO at the Movies!

DEC 15, 4 PM

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MAY 9, 7:30 PM

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Listen Locally

Proudly supports the Boulder Phil EXPERIENCE EXTRAORDINARY

Mozart and Haydn Opera - Dido & Aeneas Bach Goldberg Variations Vivaldi’s Four Seasons

OCT 19 - 20 JAN 11 - 12 FEB 29 - MAR 1 MAY 14 - 17

Plus three Confluence concerts.

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Sundays 8am + 10am Bread + Belonging Tuesdays 6pm CU Student Dinner and Fellowship

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Celebrate the 10th year of the Greater Boulder Youth Orchestras Concerts, auditions, and events throughout the year

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Listen Locally

2019-20 SEASON

A World in Harmony Rhythm Planet A World in NOV 2 & 3, 4 PM Harmony Boulder Concert Chorale w/ Julianne Davis, soprano First United Methodist

MAR 14 & 15, 4 PM

Brightest & Best Holiday Concert

All That Jazz

Boulder Concert Chorale First United Methodist

APR 26, 4 PM

Boulder Children’s Chorale with Featuring Six Boulder Peak A Cappella Boulder Church Chorale Choirs First United Methodist

DEC 14 & 15, 4 PM

Visit our website for full details

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COLORADO MAHLERFEST XXXIII May 12–17, 2020 | Boulder, CO

Featuring: Gustav Mahler: Symphony No. 2 Philip Sawyers: Homage to Kandinsky Richard Wagner, arr. by Francis Griffin: Die Walküre, Act One DANIEL W. DIETRICH II FOUNDATION SOSNOW FOUNDATION

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Listen Locally

The Boulder Public Library Presents:

Midday Music Meditations Join us for an hour of inspirational, improvised music.

Second Wednesday of the Month at 12 p.m. in the Canyon Theater

A guided nature walk through Butterfly Pavilion’s Wings of the Tropics exhibit alongside the music recording of The Butterfly Lover’s Concerto

Sunday March 15, 2020 | 8am-9am Friday March 20, 2020 | 6pm-7pm Free to attend, spaces are limited.

Register at butterflies.org

Dear Friends of the Boulder Philharmonic, City of Boulder Open Space and Mountain Parks is pleased to partner again with the Boulder Philharmonic orchestra! This is our sixth year as a Boulder Phil partner, weaving the worlds of music and nature together. We look forward to leading you, your family and your friends on hikes inspired and accompanied by music from the Boulder Philharmonic’s concert repertoire.

This fall and spring, join Open Space and Mountain Parks interpretive naturalists for pre-concert nature programs to celebrate Boulder’s mountains and sublime scenery.

In March, we will be teaming up with our new partner, the Butterfly Pavilion, to bring the Butterfly Lovers violin concerto to life with a stroll through the pavilion’s rainforest – complete with samples of music about insects!

Celebrating Six Years of Open Space Collaboration!

The Boulder Phil and the City of Boulder Open Space & Mountain Parks (OSMP) have created an ongoing collaboration to connect community members with the natural world through music. This partnership includes guided musical hikes designed to complement specific works performed by the Boulder Phil. Free and open to the public.

THE MUSIC OF LANDSCAPES Oct 6, 2-5pm; Oct 12, 10am-1pm NEW COLLABORATION AT THE BUTTERFLY PAVILION! Nature + Music: Butterfly Lovers March 15, 8-9am; March 20, 6-7pm Mystic Mountains April 19, 2-5pm; April 25, 10am-1pm

www.NatureHikes.org

Through these unique hikes, Open Space and Mountain Parks seeks to bridge music and nature exploration, helping to evoke a feeling of wonder and awe of nature’s beauty and fragility. We hope you can join us on these hikes and spark your creative spirit. Go to www.NatureHikes.org to learn more about our free education programs.

All are welcome!

We wish the Boulder Philharmonic a successful concert season and we look forward to seeing you on the trail!

Sincerely, Dan Burke Director, City of Boulder Open Space and Mountain Parks

Sponsor a Boulder Phil Musician!

Hiring the most qualified musicians requires a significant investment - in fact, musician salaries represent the largest expense in the Phil’s annual budget. Your participation in Friends of the Phil helps support these talented artists in our community. Your Friends of the Phil sponsorship supports these musicians and ensures the artistic quality of the concerts you hear.

Friends of the Phil are given the opportunity to forge a special connection with the performers on stage. Special events and activities are planned each season to bring sponsors and musicians together, building connections that transform each concert experience into a meeting with friends!

Support a Boulder Philharmonic musician with a pledge of $250 or more!

Friends of the Phil Pledge Levels* Principal Chair Sponsor $1,000 Assistant Principal Chair Sponsor $500 Section Chair Sponsor $250

Show your support of a Boulder Phil musician by joining the Friends of the Phil pledge program today!

For more information please contact our Director of Development at 303-443-0542 or development@boulderphil.org. *In order to provide support we can count on, we hope that you will commit to a multi-year pledge of two years or more.

Play A Part!

Your generosity brings music to Boulder

What you see on stage is the tip of our musical iceberg. Join our family of donors and bring music to every corner of Boulder. Your gift supports a thriving Phil and shares your love of music with our community.

Make a

Donation to show your support

Sponsor

Be a of a concert, piece, or guest artist Your sponsorship entitles you to recognition and exceptional benefits.

Friend of the Phil

Sponsor a musician as a Your multi-year pledge as a Friends of the Phil will let you forge a special connection with the performers on stage.

Phil is in your will or ask about planned giving

Tell us if the

There are many ways to manage your assets while providing lasting financial support to the Phil. Are we already in your estate plans?

Let us know!

Ozzi Lehnert Artistic Innovation Fund Support our

This fund supports the Phil’s artistic vision through new technology, new music and new audiences.

Thank you!

To make a donation, visit BoulderPhil.org/support.

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COMING SOON Mozart Symphony No. 40 NOV 8-10 FRI- SAT 7:30 n SUN 1:00

Tchaikovsky Violin Concerto

Beethoven Piano Concerto No. 4

NOV 22-24 FRI-SAT 7:30 n SUN 1:00

Barber Piano Concerto performed by Olga Kern

APR 3-5 FRI-SAT 7:30 n SUN 1:00 Rune Bergmann, conductor

JAN 10-12 FRI-SAT 7:30 n SUN 1:00

Holst The Planets

Rachmaninoff Piano Concerto No. 3

APR 17-19 FRI-SAT 7:30 n SUN 1:00

JAN 24-26 FRI-SAT 7:30 n SUN 1:00

Mahler Symphony No. 9 conducted by Brett Mitchell

Chopin Piano Concerto No. 2 featuring Ingrid Fliter

MAY 1-3 FRI-SAT 7:30 n SUN 1:00

FEB 7-9 FRI-SAT 7:30 n SUN 1:00

Beethoven Violin Concerto conducted by Christopher Dragon

Beethoven Missa Solemnis featuring the Colorado Symphony Chorus FEB 21-23 FRI-SAT 7:30 n SUN 1:00

MAY 8-10 FRI-SAT 7:30 n SUN 1:00

Beethoven Symphony No. 3 “Eroica” conducted by Brett Mitchell

Strauss A Hero’s Life conducted by Brett Mitchell MAR 6-8 FRI-SAT 7:30 n SUN 1:00

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Season Sweet Sixteen 2019-2020

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JARROW MONTESSORI SCHOOL

Nurturing the Human Spirit for over 55 Years

THINK. CREATE. INNOVATE. COLLABORATE.

Your logo, Our chocolate

Your local purveyor: Matthew Brundridge (720) 272-0500 ess sin Bu

GIFT

Ages 18 Months to 12 Years

WWW.JARROW.ORG

3900 Orange Ct. Boulder, CO

giving made

simple.

StamChocolate.com

MORNING GLORY CAFÉ

Join us for oin us for Dinner too!

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INGGGLLO R Y C A F É M O R N I RNNG OR O M Cafe

Dinner too!

Free RangeVoted East Food for County’s st beFree Front RangeGluten Selection Families

best Gluten Free Selection

Open 364 Days a Year

s

ays!

Voted East County’s

Breakfast Served Anytime

Ask Us About

Ask Us About Dinner Parties Dinner Parties forPeople.

2-200 People. for 2-200

● Breakfast Pastries ● Individual Desserts ● Custom Cookies ● Birthday Cakes ● Wedding Cakes ● Wedding Favors

Offering a wide selection of artisan baked goods including gluten free and vegan options!

-:30am 8:00pm every dayevery | Breakfast day | Lunch until |4pm | Dinner - 8:00pm | all Breakfast all day Lunch until 4-8pm 4pm | Dinner 4-8pm Ask Usday About st Park Circle CO 303-604-6351 | www.morningglorycafe.org 77 Forest Park| Lafayette, Circle | Lafayette, CO 303-604-6351 | www.morningglorycafe.org Dinner Parties for 2-200 People

7:30am - 8:30pm Everyday | Breakfast All Day | Lunch Until 4pm Dinner 4-8pm | www.morningglorycafe.org 1377 Forest Park Circle | Lafayette, CO 303-604-6351

Button Rock Bakery

1377 Forest Park Cir, Suite102 Lafayette, CO 80026 303-926-1676 BUTTONROCKBAKERY.COM Info@Buttonrockbakery.com

Button Rock Bakery @buttonrockbakery

LONGMONT MUSEUM STEWART AUDITORIUM UPCOMING EVENTS OCTOBER 18

JANUARY 17

NOVEMBER 7

FEBRUARY 21

Friday Afternoon Concert: Altius Quartet Cowboy Poetry & Song

NOVEMBER 15

Friday Afternoon Concert: 300 Days Band

DECEMBER 7 The Longmont Museum’s 250-seat Stewart Auditorium is a multi-disciplinary performing arts venue dedicated to providing the people of Boulder County and beyond with dynamic programs and special events including theater, music, dance, film, talks, and more.

The Holiday Show!

Featuring the Longmont All Star Jazz Band, the Rocky Mountain Ringers, and Ayo Awosika

DECEMBER 13

Friday Afternoon Concert: Boulder Big Band

Friday Afternoon Concert: Conor Abbot Brown Friday Afternoon Concert: Planina–Songs of Eastern Europe

MARCH 6–8

16th Annual Boulder International Film Festival

MARCH 15

Seicento Baroque Ensemble: Airs & Graces

MARCH 20

Friday Afternoon Concert: Heath Walton Jazz Quartet

MARCH 20

Pro Musica: Composing Climate

400 Quail Road, 303-651-8374 longmontmuseum.org

Star Flooring & Design inc.

BoulderStarFlooring.com 303.443.9075

BoulderStove.com 303.442.4324

For a quick preview of our community, consult your wildest dreams.

There’s a vibrant community thriving in the heart of Boulder!

Here the neighbors are active, the concierge is always on-call and the whole concept of retirement is being rewritten.

Because, after all, sometimes dreams do come true.

For more information, call (720) 501-5365 or visit us online.

And, by the way, Assisted Living services are available.

Live • Learn • Laugh

Boulder • (720) 501-5365 • TheCarillonAtBoulderCreek.com

SHOP LOCAL MAKE TWICE THE IMPACT IN OUR COMMUNITY! When you shop at a local hardware store, you put twice as much money back into the local economy compared to when you shop at a big-box store or online retailer.

Source: 2015 NRHA/Independent We Stand Home Sweet Home Study

Boulder’s Own: PROUDLY FAMILY OWNED & OPERATED - SINCE 1955

Click: MCGUCKIN.COM Visit: 2525 ARAPAHOE AVE. BOULDER, CO 80302 Call: (303) 443-1822

Let us guide you home.

Our ability to guide you home just got better, as we welcome dynamos Heather Sadowsky Tobiasen, Tricia Dessel and David Trow to Burgess Group at Compass.

Using Compass Concierge, Burgess Group can help you easily prepare your home for sale by fronting home improvement costs for staging, painting and more. Let us help you sell your home faster and for more money. Partner with our award-winning trusted talent for unparalleled support each step of the way, from Boulder to Denver.

Partner with trusted talent.

Let’s get started! catherine@burgessgrouprealty.com andy@burgessgrouprealty.com heather@burgessgrouprealty.com tricia@burgessgrouprealty.com david@burgessgrouprealty.com burgessgrouprealty.com | 303.506.5669

Compass is a licensed real estate broker and abides by Equal Housing Opportunity laws. All material presented herein is intended for informational purposes only. Information is compiled from sources deemed reliable but is subject to errors, omissions, changes in price, condition, sale, or withdrawal without notice. No statement is made as to accuracy of any description. All measurements and square footages are approximate. This is not intended to solicit property already listed. Nothing herein shall be construed as legal, accounting or other professional advice outside the realm of real estate brokerage.