Boulder Philharmonic Winter/Spring 2014-2015, Jan. 17 & Feb. 14, 2015

BOULDER PHILHARMONIC ORCHESTRA

MICHAEL BUTTERMAN, MUSIC DIRECTOR

Legends: The Spirit of Boulder

2014-2015 SEASON

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20142015SEASON • The Nutcracker with full orchestra

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Welcome Dear Friends, We humans are sto rytellers by nature Through tales an . d parables we ha ve passed along important life lessons and ele ments of cultural identit y from one gene ration to the next. And we have done so not only with spoken and written words, bu t with our iconography, ar t, dance, drama an d music, as well.

GLEN ROSS

Our 2014-15 Boul der Phil season pr ovides myriad examples of composers wh o used the expansive tona l palette of the sy mphony orchestra to brin g classic legends to sonic life. We’l presented in highly l enjoy four creat varied styles, and ion stories explore avian char and Russian lore. acters from Nord Our Valentine’s pr ic ogram brings us legendary couples musical portraits , and we’ll celebra of two te our new concer weave the tale of tmaster as he help 1001 Nights in Sc s us heherazade.

We continue our interest in natura l inspiration as we world premiere of hear (and see) th Gates of the Arct e ic and the misty En also celebrating th chanted Lake. We’r e 150th anniversa e ry of Richard Stra Four Last Songs— uss with his exqu always on my list isite of most deeply m oving pieces.

We’re proud of th e musicians in ou r great orchestra spotlight on their , and will shine th vir tuosity in Bartó e k’s brilliant Concer the way, we’ll be to for Orchestra. joined by marvelo Along us guest ar tists wi unique qualities pe th an impressive rfectly matched to array of the works they’re presenting.

Our sincere than ks to you for join ing us, and to ou subscribers and pa r ever-increasing trons. Your passion family of , curiosity, and en inspire us as we co thusiasm sustain ntinue to reflect and and enhance The Spirit of Boulder.

Enjoy!

Boulder Philharmonic Orchestra 2014-2015

11

BOULDER PHILHARMONIC ORCHESTRA

MICHAEL BUTTERMAN, MUSIC DIRECTOR

2590 Walnut Street • Boulder, CO 80302 303-449-1343 www.BoulderPhil.org MUSIC DIRECTOR

Michael Butterman

OFFICERS Kyle Heckman, President Rudolfo Perez, Vice President

Patricia Butler, Secretary

BOARD Christopher Brauchli Joan Brett Claire Figel David Fulker Lin Hawkins Deborah Holland Erma Mantey

Yoriko Morita Eleanor Poehlmann Karyn Sawyer Jennifer Stachniak Lynn Streeter Marion Thurnauer

ADVISORY COUNCIL Barbara Brenton Roberta Brenza Pamela Dennis Kent Hansen Ruth Kahn Susan Olenwine

Joan Ringoen Mary Street Dick Van Pelt Betty Van Zandt Brenda Zellner

ADMINISTRATION Kevin Shuck, Executive Director Teresa Myrwang Holum, Development Director Shelley Sampson, Patron Services Manager & Artistic Administrator Michael Allen, Orchestra Librarian Janet Braccio, Publicity Consultant Holly Hickman, Marketing Consultant

Kim Peoria, Orchestra Manager Glenn Ross, Production Manager Betty Woon, Bookkeeper Ryan Foley, Development Intern Michelle Sheridan, Education Coordinator Carolyn Richardson, Volunteer

DIRECTOR EMERITUS Kim Coupounas China Leonard ORDER OF THE BATON Sydney Anderson Amy Batchelor Barbara Brenton Kurt Burghardt Amy Clark Frank Day Kitty deKieffer Ursula Dickinson Brad Feld Ray Frommer Diane Greenlee Aaron Harber Yvonne Haun Ray Hauser Sharon Hunter Ruth Kahn Bonnie Karlsrud Sandra Karpuk

Dan Sher

To Our Supporters

Have you heard the wonderful news?

Michael Butterman recently signed a 5-year extension as Music Director of the Boulder Philharmonic!

We couldn’t be more thrilled – during Michael’s tenure, subscriptions have increased a stunning 80% and the Discovery Concert program he founded has grown to reach 28 elementary schools. The Boulder Phil has never sounded better, and our thrilling performances, guest artists and collaborations continue to build momentum and attract capacity audiences to Macky Auditorium.

“My partnership with the Phil over the past several years has been extremely satisfying and artistically stimulating,” Michael said. “With the help and support of our dedicated patrons, we have been able to hone an identity deeply rooted in the fabric of Boulder’s essence, while elevating our artistry to greater heights.

I’m delighted by the opportunity to continue our work together in the coming seasons as we affirm and strengthen our core values of artistry, innovation and engagement.”

After reading of Michael’s enthusiasm and confidence in the future of our orchestra, may we ask what the Boulder Phil means to YOU? Please take a moment to think about how the Phil and our music have enriched your life, and consider making a gift to support our continuing work. Thank you!

Kevin Shuck

Oswald Lehnert Cindy Lefkoff TARGETED MARKETING WITH EVERY PERFORMANCE Kyle Lefkoff Kevin Shuck Executive Director Jo Ann Mays View, the magazine of the Lone Tree Arts Center, Martha McGavin features performing arts highlights and information about the Frank McGuirk state-of-the-art facility that serves the south metro community.

Angie Flachman Johnson, J. Nold Midyette Publisher Edith Morris 2013/2014 highlights Barbara Nissen South Pacific in Concert • Big River Annette Allen, Art Bill Obermeier Yesterday & Today, the All-Request Beatles Tribute Director and Production This program is produced for Coordinator Joan Ringoen the Boulder Philharmonic Rebecca Roser Target your marketing with advertising View Sandy Birkey, Graphic Orchestrainby TheMagazine.

Publishing Barbara Rumsey Design and Layout House, Westminster, CO. Arthur Smoot Wilbur E. Flachman, For advertising information, Carol Smoot President and Founder please call (303)Publisher 428-9529 or Robert Wilson Angie Flachman, 303.428.9529 Ext. 237 e-mail sales@pub-house.com Ed Wolff

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Sponsors

SEASON PRESENTING SPONSORS Gordon and Grace Gamm

CONCERT AND PROGRAM SPONSORS

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Horejsi Charitable Foundation League of American Orchestras Virginia Hill Charitable Foundation

SPONSORS

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Boulder Philharmonic Orchestra 2014-2015

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About the Boulder Phil

GLENN ROSS

As one of Colorado’s premier ensembles, the Boulder Philharmonic Orchestra is creating a new model for American orchestras through dynamic performances that reflect our community’s own values, creativity, and sense of place. Voted “Best of Boulder” yet again in 2014, today’s Boulder Phil is bucking national trends with growing, enthusiastic audiences under the vision and leadership of Music Director Michael Butterman.

The Boulder Phil’s main concert series—broadcast state-wide on Colorado Public Radio—is presented at Macky Auditorium, a historic jewel on the University of Colorado campus.

From multi-genre productions featuring dance, choral and visual elements to concerts with a unique hometown flavor, the Phil’s imaginative programming has resulted in increasing numbers of sold-out concerts and nationwide notice in Symphony Magazine. In recent seasons the Phil has collaborated with an impressive 45 local organizations, encompassing arts, science, nature, youth, social services and more. By going beyond simply performing great music, we strive to connect ever more people to the inspiring power of orchestral music.

Recognized as “Boulder’s premier orchestra” (Boulder Weekly), the Boulder Phil is comprised of the top freelance musicians from Colorado’s Front Range and beyond. Founded in 1958, the Boulder Phil became a fully professional ensemble under the leadership of Theodore Kuchar, whose tenure as music director began in 1996. Today the Boulder Phil reaches audiences of over 20,000, with performances from Arvada to Highlands Ranch as well as regular invitations to perform at the prestigious Vilar Performing Arts Center in Beaver Creek.

GLENN ROSS

The Boulder Phil strives to inspire the next generation of music-lovers through Discovery Concerts that have reached thousands of 4th and 5th grade students in 28 schools across three counties. For decades the Phil has also fostered new talent with the annual Young Artist Concerto Competition, and Boulder Phil musicians provide mentorship through side-by-side concerts with the Greater Boulder Youth Orchestras and Front Range Youth Orchestras. In all these ways, the Boulder Phil strives to be at the center of our community’s cultural fabric.

14 Boulder Philharmonic Orchestra 2014-2015

Michael Butterman, Conductor

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. He is in his ninth season as Music Director for both the Boulder Philharmonic Orchestra and the Shreveport Symphony Orchestra, and is the new Music Director of the Pennsylvania Philharmonic, celebrating its inaugural season in 2014-2015. He is also the Resident Conductor of the Jacksonville Symphony Orchestra, and is in his 15th season as Principal Conductor for Education and Community Engagement for the Rochester Philharmonic Orchestra, the first position of its kind in the United States.

As a guest conductor, Mr. Butterman made his debut with the Cleveland Orchestra in the spring of 2012, and was immediately reengaged for two concerts the following season.

Other recent engagements include appearances with the Detroit Symphony, Houston Symphony, Colorado Symphony, Oregon Symphony, Phoenix Symphony, Kansas City Symphony, Colorado Music Festival Orchestra, Charleston Symphony, Hartford Symphony, San Antonio Symphony, Syracuse Symphony, New Mexico Symphony, California Symphony, Louisiana Philharmonic, Spokane Symphony, El Paso Symphony, Mobile Symphony, Peoria Symphony, Winston-Salem Symphony, Pensacola Opera and Asheville Lyric Opera. Summer appearances include Tanglewood, the Bravo! Vail Valley Music Festival in Colorado and the Wintergreen Music Festival in Virginia. In the 14-15 season, he will make his debut with the Victoria Symphony in Canada and return to the podium of the Santa Fe Symphony.

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 1999 recipient of the Seiji Ozawa Fellowship, he studied at Tanglewood with Robert Spano, Jorma Panula, and Maestro Ozawa, and shared the podium with Ozawa to lead the season’s opening concert. In 1997, Mr. Butterman was sponsored by UNESCO to lead the National Philharmonic Orchestra of Moldova in a concert of music by great American masters.

From 2000 to 2007, Mr. Butterman held the post of Associate Conductor for the Jacksonville Symphony in Florida. For six seasons, he also served as Music Director of Opera Southwest in Albuquerque, NM. Prior to joining the Jacksonville Symphony, Mr. Butterman was Director of Orchestral Studies at the LSU School of Music for five years, 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. For two seasons, he was also the Associate Music Director of the Ohio Light Opera, conducting over 35 performances each summer.

At Indiana University, Mr. Butterman conducted a highly acclaimed production of Leonard Bernstein’s little-known 1600 Pennsylvania Avenue in a series of performances at the Kennedy Center in Washington, DC, receiving unanimous praise from such publications as The New York Times, Washington Post, Variety, and USA Today. He was subsequently invited to New York at the request of the Bernstein estate to prepare a performance of a revised version of the work.

Michael Butterman’s work has been featured in five nationwide broadcasts on public radio’s Performance Today, and 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. www.MichaelButterman.com Boulder Philharmonic Orchestra 2014-2015

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Season Supporters

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BOULDER PHILHARMONIC ORCHESTRA 1095 Canyon Blvd. Suite 100 Boulder, CO 80302 Phone: 303-530-4999

Educational Outreach

• Discovery Concerts introduce 4th and 5th graders throughout the Boulder Valley School District and beyond to live symphonic music. Using a tailored Curriculum Guide that complements their core music curriculum, educators prepare students for the 50-minute interactive performance at Macky Auditorium – an experience that many students describe as “the best field trip of the year!” Sign up your school today for our next Discovery Concert at Macky on Friday, April 24, 2015.

• “Michael Butterman Goes to School” Visits are a key part of the Phil’s Discovery Concert program, as our Music Director visits classrooms to introduce students to musical concepts, instrument families, music appreciation skills, and more.

GLENN ROSS

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 lifeenriching power of classical music.

The Boulder Phil performs for 4th and 5th grade students each year in Macky Auditorium.

Boulder Phil musicians rehearse alongside members of Greater Boulder Youth Orchestras

• Side-by-Side Youth Concerts feature talented young musicians from Greater Boulder Youth Orchestras and Front Range Youth Symphony alongside professional musicians from the Boulder Phil, who provide valuable mentorship to these students as they rehearse and perform together.

• Young Artist Concerto Competition is open to all young musicians in Colorado, who compete for an opportunity to perform as a soloist with the Phil.

• $5 Student Tickets to every Masterworks concert make attendance easy for young people, up to and including college students! Phone or walk-up sales only.

Your financial gift or volunteer work in support of our education programs is critical to our success in enriching our community through music. For more information on becoming involved, please contact Kevin Shuck at 303-449-1343, ext. 3.

Boulder Philharmonic Orchestra 2014-2015

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Program BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Conrad Tao, piano Saturday, January 17, 2015 Macky Auditorium, CU Boulder 6:30 pm Pre-Concert Talk 7:30 pm Performance Tonight’s concert is being broadcast live on Colorado Public Radio, KVOD 88.1 FM and 99.9 FM, hosted by Charley Samson. Please limit ambient noise.

Ludwig van Beethoven (1770 – 1827) Franz Josef Haydn (1732 – 1809)

Overture to The Creatures of Prometheus “Chaos” from The Creation

Darius Milhaud La création du monde (1892 – 1974) Conrad Tao Pángŭ (b. 1994) — Intermission — Ludwig van Beethoven Piano Concerto No. 5 (“Emperor”) I. Allegro II. Adagio un poco mosso III. Rondo: Allegro ma non troppo Conrad Tao will be signing CD’s in the lobby immediately following the performance.

This program sponsored in part by Sydney & Robert Anderson Millennium Harvest House is the exclusive hotel for Boulder Philharmonic guest artists Program and artists subject to change. Use of electronic devices prohibited.

Boulder Philharmonic Orchestra 2014-2015 Program 1

Program

RUIMING WANG

CONRAD TAO, PIANO Conrad Tao has appeared worldwide as a pianist and composer, and has been dubbed a musician of “probing intellect and openhearted vision” by the New York Times, a “thoughtful and mature composer” by NPR, and “ferociously talented” by TimeOut New York. In June 2011, the White House Commission on Presidential Scholars and the Department of Education named Conrad a Presidential Scholar in the Arts, and the National Foundation for Advancement in the Arts awarded him a YoungArts gold medal in music. Later that year, Conrad was named a Gilmore Young Artist, an honor awarded every two years highlighting the most promising American pianists of the new generation. In May 2012, he was awarded the prestigious Avery Fisher Career Grant.

During the 2014-15 season, Conrad serves as the Dallas Symphony Orchestra’s artist-in-residence. He continues his formidable globe-trotting career with performances with the Baltimore Symphony Orchestra, National Symphony Orchestra of Malaysia, San Diego Symphony, and Toronto Symphony, among others. In Europe, he will be returning to perform with the Swedish Radio Symphony Orchestra in Stockholm, and the Bern Symphony in Switzerland.

On his 19th birthday in June 2013, Tao kicked off the inaugural UNPLAY Festival at the powerHouse Arena in Brooklyn, which he curated and produced. The festival, designated a “critics’ pick” by Time Out New York and hailed by the New York Times for its “clever organization” and “endlessly engaging” performances, featured Tao with guest artists performing

a wide variety of new works. That month, Tao also released Voyages, his first fulllength recording for Warner Classics, declared a “spiky debut” by the New Yorker’s Alex Ross.

In November 2013, the Dallas Symphony Orchestra premiered Tao’s new orchestral composition, The World Is Very Different Now, commissioned in observance of the 50th anniversary of the assassination of President John F. Kennedy. Described by the New York Times as “shapely and powerful”, the work is the latest in his accomplished career as a composer, which has featured eight consecutive ASCAP Morton Gould Young Composer Awards, the Carlos Surinach Prize from BMI, and an oeuvre that already includes everything from symphonic music to string quartets to electroacoustic work to popular music.

Tao was born in Urbana, Illinois, in 1994. He currently attends the Columbia University/Juilliard School joint degree program and studies piano with Professors Yoheved Kaplinsky and Choong Mo Kang at Juilliard. He studies composition with Christopher Theofanidis.

PROGRAM NOTES LUDWIG VAN BEETHOVEN (1770 – 1827) Overture to The Creatures of Prometheus, Op. 43 Despite the common belief that Ludwig van Beethoven was a leading proponent of the Classical idiom of balance and symmetry, quite early in his career his music began to display the full-fledged Romantic tumult and storminess that would spark the creativity of more than a century of composers. Beethoven’s style of orchestration, with its use of string tremolos, shocking dynamic contrasts, and solo lines for wind instruments, displays the revolutionary spark he gained, as a

Program 2 Boulder Philharmonic Orchestra 2014-2015

Program teenager, from hearing music of French political refugees passing through his hometown of Bonn. Nowhere is this more evident than in his music for the stage.

Beethoven’s overtures were mostly for use in theatrical productions, with four of them – Fidelio and Leonore No. 1-3 – composed at various times for different productions of his opera Fidelio.

Other overtures were from stage plays – Coriolanus, Ruins of Athens, and Egmont.

These miniature masterpieces are filled with intense drama in their brief ten to fifteen minutes. However, Beethoven’s music for the dance was quite limited with only one ballet to his credit – The Creatures of Prometheus.

Prometheus was the result of a commission from the Italian dancer and choreographer Salvatore Vigano, who would dance the premiere with his wife, Josepha Maria Medina. Both dancers had been at the Viennese court since 1793, specializing in a new style of dance that dispensed with the French traditions of meaningless elegant movement. Their new approach was emotional and dramatic.

The appeal of the ballet’s story, dealing with universal harmony and the power of the arts, must have been irresistible for Beethoven. Although the printed program from the premiere on March 28, 1801, no longer exists, a handbill advertising the event describes the ballet in grand terms: “This allegorical ballet is based on the myth of Prometheus. The Greek philosophers who knew him tell the story in the following manner: they depict Prometheus as a lofty spirit who, finding the human beings of his time in a state of ignorance, refined them through art and knowledge and gave them laws of right conduct. In accordance with this source, the ballet presents two animate statues that, by the power of harmony, are made susceptible to all the passions of human existence. Prometheus takes them to

Parnassus to receive instruction from Apollo, god of the arts, who commands Amphion, Arion and Orpheus to teach them music, Melpomene and Thalia tragedy and comedy. Terpsichore aids Pan who introduces them to the Pastoral Dance which he has invented, and from Bacchus they learn his invention – the Heroic Dance.”

Among the music in the ballet is the finale’s main theme that Beethoven would incorporate three more times – in a set of contradances, in his Variations for piano, Op. 35, and in the finale of his monumental Eroica Symphony.

Beethoven’s Overture is unrelated to the rest of the ballet’s music. After a dramatic adagio introduction, the mood lightens as the tempo shifts to Allegro molto con brio with rapid staccato eighth notes in the strings. Woodwinds and brass provide sustained accented chords, and solo woodwinds assume the spotlight as the triadic second theme gives a rather curious, almost comic tinge to the proceedings.

There is no full-scale development section, but a short transition section connects directly to the recapitulation. Beethoven’s signature, although unmistakable throughout, is especially clear in the extended coda, where the heroic spirit is especially strong.

FRANZ JOSEPH HAYDN (1732 – 1809) “Die Vorstellung des Chaos” (“The Representation of Chaos”) from Die Schöpfung (The Creation) Franz Joseph Haydn lived in a quickly changing world. Musically, he lived from just after the composition of Bach’s Brandenburg Concerti until just after Beethoven’s “Pastoral” Symphony. On May 1, 1761, Haydn signed a contract with the Hungarian Esterházy family requiring him to lead all orchestra and chamber music rehearsals and performances at their palace in Eisenstadt, Austria. They would

Boulder Philharmonic Orchestra 2014-2015 Program 3

Program later build the luxurious Esterhaza estate in Hungary. Although Haydn sacrificed much of his personal and artistic freedom, he found the position to be a priceless opportunity to build widespread fame as a composer.

In 1790 after the death of Prince Nicolaus I, who he had served for twentynine years, Haydn was suddenly free to travel. He made his two celebrated journeys to London during this time.

Haydn’s final years were spent in Vienna, experiencing life in the city after nearly thirty years at the rural retreat of Esterhaza.

He concentrated on composing the String Quartets Op. 76 and 77, but after the Trumpet Concerto of 1796, he wrote no more instrumental music. All of his efforts went into sacred choral music – Lord Nelson Mass, Mass in Time of War, Theresienmesse, and Harmoniemesse.

Also from the period are the oratorios The Creation and The Seasons, after a few years of increasing frailty.

The Creation dates from 1798 when Haydn was securely ensconced in Vienna’s musical community. On his second London visit, the impresario Johann Peter Salomon had suggested the first section of Genesis as the subject for an oratorio.

Salomon showed Haydn an earlier libretto that also included references to Milton’s Paradise Lost and had never been set to music, but the composer passed on it. A few years later, he revisited the subject when Baron Gottfried van Swieten, a dignitary and librarian at the Viennese Court, agreed to take the English libretto and refine it. Van Swieten wrote that he “recognized at once that such an exalted subject would give Haydn the opportunity I had long desired, to show the whole compass of his exalted accomplishments and to express the full power of his inexhaustible genius; I therefore encouraged him to take the work in hand, and in order that our fatherland might be the first to enjoy

it, I resolved to clothe the English poem in German garb. In this way my translation came about. It is true that I followed the plan of the original faithfully as a whole, but I diverged from it in details as often as musical progress and expression, of which I already had an ideal conception in my mind, seemed to demand.”

The result is a full-scale oratorio with vocal solos, choruses, and orchestral pieces. The Creation opens with a “Representation of Chaos,” which depicts the state of the universe before creation. Haydn achieves his chaos in a very organized manner – by avoiding harmonic and melodic expectation.

DARIUS MILHAUD (1892 – 1974) La création du monde (The Creation of the World), Opus 81a Darius Milhaud’s childhood in Aix-enProvence was filled with music. He heard the singing of the women who worked in his father’s almond shop and became familiar with their Provencal songs. This, along with the music of his ancestral Judaism, flavored his music with an incisive edge that is fresh and memorable.

He realized early on that the Impressionism he so dearly loved would only shroud him in the shadow of Debussy if he adopted its compositional language.

Entering the Paris Conservatoire at the age of seventeen, Milhaud began studies in counterpoint and orchestration, both of which would color his music profoundly.

The turning point in the composer’s life coincided with World War I. Exempt from combat for medical reasons, he joined the propaganda department of the French foreign ministry. Because of this position, when his friend Paul Claudel was appointed minister to Brazil, Milhaud secured a post in South America for almost two years. Brazilian music had a profound effect on Milhaud and he began

Program 4 Boulder Philharmonic Orchestra 2014-2015

Program to experiment with its rhythms and unique melodic patterns.

In 1919 Milhaud decided to study jazz music. On a 1922 visit to New York, he heard the Paul Whiteman and Leo Reisman Orchestras and visited jazz clubs in Harlem. The following year, Milhaud received a commission from the Ballets Suédois, which focused on presenting ethnically diverse work. For his new ballet, the composer decided to draw upon the creation myth of the Fang culture of the rain forests of Gabon. The music would be highly influenced by jazz.

Milhaud wrote: “At last in La Création du monde I had the opportunity I had been waiting for to use those elements of jazz to which I had devoted so much study. I adopted the same orchestra as used in Harlem, seventeen solo instruments, and I made wholesale use of the jazz style to convey a purely classical feeling.”

At the outset, the three masters of creation – Nzame, Medere, and N’kva – form the primordial mass, as depicted by a saxophone solo. Blues elements may be heard in a fugue in the double bass, saxophone, trombone, trumpet, and clarinet.

Act II shows the growth of the tree of life, from which plants and animals grow. Blues figures continue in the horn, cello, oboe, and flute. Act III sees the creation of man and woman from a different primordial mass.

Trumpet, trombone, piano and clarinet present what sounds like improvisation – in reality, it is meticulously notated – complete with brass interjections. The blues theme returns. Act IV involves a mating dance that includes pairs of all animals and humans.

This is accompanied by a complicated improvisatory clarinet solo followed a highly contrapuntal section that imitates Dixieland style. A final section reprises the opening saxophone solo, as well as the blues theme. ©Craig Doolin

CONRAD TAO (b. 1994) Pángǔ (2012) The composer has provided the following notes: The story of Pángǔ is a creation myth of charm and philosophical weight. The universe begins concentrated inside an egg, in which the great Pángǔ himself sleeps for 18,000 years. Upon awakening, he finds himself in this endlessly dark space and proceeds to cut through it with his enormous limbs. For another 18,000 years, the persistent god goes about separating heaven and earth from one another. After this mountainous act is completed, Pángǔ is laid to rest – his left eye becomes the sun, his right eye the moon, his breath the wind and his voice the thunder, his body the great geographic regions of the world, his blood the rivers of the earth, and so on.

In this myth are the fundamental ideas of yin and yang, which are perfectly balanced at the beginning of the tale and become distinct as the dark yin becomes the earth and the pristine yang becomes the sky. Additionally, Pángǔ is known as the one who broke free from darkness and embraced the light. And so Pángǔ, for full orchestra, aims to capture the whirling claustrophobia of the egg, the enormous weight of earth and heaven separating, and the thrilling world left behind as Pángǔ ends his journey. The piece’s opening flurry of notes conveys an anxious excitement, and the sharp melodic figures that offset it reflect Pángǔ’s attempts to break through his shell. As he begins to slowly widen the gap between land and sky, ponderous chords move “like molasses”, evolving slowly and methodically.

And then, of course, there is the transformation of Pángǔ’s body into the earth we know today; the opening swirl of sound returns, more confident this time around. We survey the newly created landscape: its peaks and valleys, its beds of water, its resplendent diversity. In this

Boulder Philharmonic Orchestra 2014-2015 Program 5

Program heterogeneity is a beautiful unity, a cohesion made up by contrasting parts. The earth and the sky need each other, and so Pángǔ ends with a series of chords encompassing the entire sonic spectrum of the orchestra.

LUDWIG VAN BEETHOVEN (1770 – 1827) Concerto No. 5 in E-flat Major for Piano and Orchestra, Op. 73, “Emperor” When Ludwig van Beethoven left his hometown of Bonn and relocated to the famed musical capital of Vienna in 1792, his entire reputation was at stake. Franz Joseph Haydn had invited the twenty-one year old composer to make a pilgrimage to Vienna as his student. Bonn’s biggest musical fish suddenly found himself engulfed by the sprawling ocean of Vienna.

Beethoven felt immense pressure to prove himself if he was ever to become recognized in a town so full of famous musicians. It seemed natural that his pianistic virtuosity, the most visible of his talents, should be his ticket to success. So it was as a pianist that Beethoven made his first inroads into Viennese society by playing in the homes of aristocrats. It was against this background that the first four piano concertos arose as showcases for his skills as pianist and composer.

During the Emperor Concerto’s composition, the French army invaded Austria for the fourth time in eighteen years. According to an often quoted story, the composer huddled in the basement of his brother’s suburban Vienna home with pillows over his ears. At this moment in time, it is clear to even a casual observer that whatever respect the composer once held for Napoleon, if it had not already dissipated, was blasted away by the cannons invading the neighborhood. It is often assumed that the moniker Emperor refers to Napoleon, but this cannot be true.

Likewise, it probably does not derive from the heroic character of the music. The answer is quite simple, but only recently

proposed after nearly two centuries of speculation – the premiere occurred on the Austrian holiday commemorating Emperor Joseph II’s accession of the throne (as father of the sitting Emperor, this day was celebrated with great fervor).

Beethoven’s Fifth Piano Concerto must be considered the pinnacle of his Heroic Period and is without doubt a full-fledged masterpiece of the Romantic Period. The first movement begins with three bold chords, each of which is embellished by extended cadenza-like passages for the soloist. Taking the place of the usual slow introduction, this preparatory filigree leads directly to the martial main theme of the allegro. As the movement progresses through the usual sonata form, march-like rhythms remain a crucial element. The opening chords return just before the recapitulation with its usual restatement of the movement’s themes.

Beethoven’s second movement (adagio un poco mosso) begins with a devotional theme, followed by piano triplets and figurations throughout. When everything seems to be complete, the texture thins to a lone B-natural in the bassoon. It is with only this one pitch that Beethoven brilliantly sets up a transition by simply lowering that pitch by a half-step, thereby allowing a seamless transition to the key of the final movement. The piano plays tentative, short fragments that coagulate into the main theme of the finale, connecting the movements without pause.

Beethoven’s brilliant finale incorporates elements of sonata form into its structure.

However, since the rollicking main theme returns between contrasting episodes, it must be classified as a rondo. One especially noteworthy moment is near the end when the rest of the orchestra drops out of the texture, leaving only the soloist and timpanist in an unusual duet. A brisk coda provides an exhilarating conclusion to this monumental work. ©Craig Doolin

Program 6 Boulder Philharmonic Orchestra 2014-2015

Boulder Philharmonic Orchestra We thank our inaugural “Friends of the Phil” musician sponsors. For more information on sponsoring one of the Boulder Phil’s professional musicians, please see page 33.

VIOLIN 1 Charles Wetherbee, concertmaster, Lafayette Rebecca Roser Annamaria Karacson, assistant concertmaster, Boulder Virginia Newton Debra Holland, Boulder Brenda Zellner Gyongyver Petheo, Highlands Ranch Todd & Gretchen Sliker Veronica Pigeon, Golden Takanori Sugishita, Boulder Harold & Joan Leinbach Malva Tarasewicz, Boulder Pamela Walker Yenlik Bodaubay Weiss, Superior VIOLIN 2 Leah Mohling,* Louisville Robert & Marilyn Mohling Sharon Park,**  Boulder Robert & Francine Myers Sarah Delevoryas, Broomfield Kristen Wolf Regan Kane, Boulder Sue Levine, Boulder Miriam Linschoten, Boulder Robyn Sosa, Denver Paul Trapkus, Longmont Azaduhi A. Vieira,+ Colorado Springs Lori Wolf Walker, Louisville Tori Woodrow, Glendale VIOLA Mary Harrison,* Wheatridge Patricia Butler Michael Brook,** Superior Aniel Cabán, Boulder Matthew Diekman, Denver Megan Edrington, Lafayette Claire Figel, Boulder Teresa Myrwang Holum Nancy McNeill, Lafayette Stephanie Mientka, Boulder * Principal ** Assistant Principal + On Leave  New Member

CELLO Charles Lee,* Boulder Marcelo Sanches,** Boulder Anne Wenzel Anne Brennand, Boulder Joan Cleland Sara Fierer, Denver Penny & Robert Haws Yoriko Morita, Louisville Chris & Margot Brauchli Greta Parks, Boulder Shirley Stephens-Mock, Golden Eleanor Wells, Boulder Martha & George Oetzel BASS David Crowe,* Boulder Nyla & William Witmore Brian Knott,** Louisville Brock Chambers, Denver Dale Day, Boulder Larry Day & Catherine Haskins; Jon Bond Bob Orecchio,+ Westminster Matthew Pennington, Lafayette HARP Kathleen Wychulis,* Omaha, NE PIANO Arthur Olsen,* Boulder TIMPANI Douglas William Walter,* Louisville PERCUSSION Hiroko Okada Hellyer,* Centennial Virginia Jones Paul Mullikin,** Lakewood Mike Tetreault, Denver Annyce Mayer FLUTE/PICCOLO Elizabeth Sadilek,* Edwards Pamela Dennis Caitlyn Phillips, Northglenn Olga Shylayeva, Lafayette Paul Weber

CLARINET/BASS CLARINET Stephanie Zelnick,* Lawrence, KS Rodolfo & Margaret Perez Bronwyn Fraser, Longmont Ann & Bill Kellogg Michelle Orman, Denver BASSOON/ CONTRABASSOON Vacancy* Joan Ringoen Kim Peoria, Louisville Wendy La Touche, Boulder HORN Michael Yopp,* Colorado Springs Jeffrey Rubin, Longmont Alan & Tessa Davis Devon Park, associate principal, Broomfield Stuart R. Mock, Golden DeAunn Davis, assistant & utility, Sparks, NV TRUMPET Brian Brown,* Fort Collins David Fulker & Nicky Wolman Kenneth Aikin, Boulder Roberta Asmus Goodall, Centennial TROMBONE Bron Wright,* Colorado Springs Owen Homayoun, Austin, TX Jeremy Van Hoy, Colorado Springs TUBA Michael Allen,* Northglenn ADDITIONAL MUSICIANS Susie Peek, Violin Ingrid Peoria, Violin Joyce Fleck, Bassoon Lauren Varley, Horn Andy Wolfe, Trombone JD Little, Alto Saxophone Carl Dixon, Percussion

OBOE/ENGLISH HORN Sarah Bierhaus,* Golden Tenly Williams, Denver Max Soto, Denver

Boulder Philharmonic Orchestra 2014-2015 Program 7

Program BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Philippe Quint, violin Saturday, February 14, 2015 Macky Auditorium, CU Boulder 6:30 pm Pre-Concert Talk 7:30 pm Performance

John Corigliano

Concerto for violin and orchestra (The Red Violin) (b. 1938) I. Chaconne II. Pianissimo Scherzo III. Andante flautando IV. Accelerando Finale — Intermission — Richard Wagner (1813 – 1883)

Prelude and Liebestod from Tristan und Isolde

Piotr Ilyich Tchaikovsky Romeo and Juliet Fantasy-Overture (1840 – 1893)

Millennium Harvest House is the exclusive hotel for Boulder Philharmonic guest artists Program and artists subject to change. Use of electronic devices prohibited.

Program 8 Boulder Philharmonic Orchestra 2014-2015

LISA MARIE MAZZUCCO

Program PHILIPPE QUINT, VIOLIN Award-winning American violinist Philippe Quint is a multifaceted artist whose wide range of interests has led to several Grammy nominations, performances with major orchestras throughout the world at venues ranging from the Gewandhaus in Leipzig to Carnegie Hall in New York, a leading role in a major independent film Downtown Express, and explorations of Astor Piazzolla’s music and Nuevo Tango with his band The Quint Quintet.

Philippe Quint plays the magnificent 1708 “Ruby” Antonio Stradivari violin on loan to him through the generous efforts of The Stradivari Society®.

A recent winner of an “Ambassador of Arts” award presented at the United Nations, his 2013-14 season included debuts with the London Philharmonic, Rochester Philharmonic, Phoenix Symphony, and San Antonio Symphony.

This season’s highlights include debuts with the Los Angeles Philharmonic, Seattle Symphony, and Vancouver Symphony.

His recording of the Tchaikovsky Violin Concerto with the Sofia Philharmonic led by conductor Martin Panteleev was released in 2014 on AvantiClassic.

In 2014, Quint hosted an evening presented by the Russian American Foundation at the New York Times Center that featured John Corigliano, Joshua Bell, Michael Bacon, J. Ralph and Emily Bergl.

Along with Lou Diamond Phillips, Darren Criss and Lea Salonga, Quint appeared at the Kennedy Center’s “After the Storm” Benefit Concert for the Philippines and debuted at the Hollywood Bowl in a special “Joshua Bell & Friends” evening alongside the Los Angeles Philharmonic and actress Glenn Close.

Philippe Quint is the first classical artist to star in the lead role of a major independent film, Downtown Express co-starring Nellie McKay, from producer Michael Hausmann (Gangs of New York, Brokeback Mountain and Amadeus) and multi-Emmy winning director David Grubin.

Always searching and exploring with genres outside of classical music, in 2015 Quint will release yet another exciting project of creative arrangements titled “Bach XXI” with Matt Herskowitz’s Jazz Trio as well as a first recording with his Quint Quintet.

Quint’s live performances and interviews have been broadcast by CBS, CNN, ABC, BBC World News, NBC, Reuters and Bloomberg.

Philippe Quint was born in Leningrad, Soviet Union and studied at Moscow’s Special Music School for the Gifted with the famed Russian violinist Andrei Korsakov. After moving to the United States in 1991, he earned both Bachelor’s and Master’s degrees from Juilliard where his distinguished pedagogues and mentors included Dorothy Delay, Cho-Liang Lin, Masao Kawasaki, Isaac Stern, Itzhak Perlman, Arnold Steinhardt and Felix Galimir.

PROGRAM NOTES JOHN CORIGLIANO (b. 1938) Concerto for violin and orchestra (“The Red Violin”), 2003 The composer has provided the following notes: My third film score (“The Red Violin”) gave me an opportunity to visit my own past, for my father, John Corigliano (I was a “jr.”) was a great solo violinist and the concertmaster of the New York Philharmonic for more than a quarter of a century. Every year, he played a concerto with the Philharmonic, and I vividly remember the solo preparation, violin and

Boulder Philharmonic Orchestra 2014-2015 Program 9

Program piano rehearsals, orchestral rehearsals and the final tension-filled concerts (where I would sit backstage in the Carnegie Hall green room, listening to my father over a small speaker).

It is no wonder that the concerto form, and the violin concerto in particular, has a deep place in my heart. This is my first one for my first love, the violin. It is an “in the great tradition” kind of concerto, because I wrote it in an attempt to write the piece my father would love to play. Because he inspired it, it is dedicated to his memory.

The event that galvanized my energies into composing this concerto was, of course, the scoring of the film “The Red Violin”, directed by Francois Girard, and featuring the sublime young virtuoso, Joshua Bell as the voice of the violin.

The story of “The Red Violin” is perfect for a lover of the repertoire and the instrument. It spans three centuries in the life of a magnificent but haunted violin in its travels through time and space. A story this episodic needed to be tied together with a single musical idea. For this purpose I used the Baroque device of a chaconne: a repeated pattern of chords upon which the music is built.

Against the chaconne chords I juxtaposed Anna’s theme, a lyrical yet intense melody representing the violin builder’s doomed wife. Then, from those elements, I wove a series of virtuosic etudes for the solo violin, which followed the instrument from country to county, century to century.

Then, during the summer of 1997 while the film was being shot all over the world, I remained at home and composed the 17-minute “The Red Violin: Chaconne for Violin and Orchestra,” a concert work based on the existing elements. The chaconne had given me the opportunity to strip away any inhibitions and write a passionate and romantic essay that I probably would not have written had it not been accompanying a film. I liked what I heard, and it came very naturally.

So I decided to add some movements to the existing chaconne and make it a fulllength concerto. In my case, that meant composing another three movements to balance the large first one.

The other movements are connected to the first (and the film) in different ways: the second movement is a fleet “Pianissimo Scherzo” in which the dynamics are soft, but the action wild and colorful. I wanted to break the romantic mood of the first movement with sonoric and timbral effects that create a sparkling, effervescent energy.

A central trio is distantly related to Anna’s theme, but here heard in knuckle-breaking double harmonics by the soloist – high, ethereal, and dance-like.

The third movement (“Andante flautando”) starts with an intense recitativo that is more closely related to the film’s main theme, but soon gives way to a gentle, rocking melody played by the soloist in an unusual manner that results in his sound changing to that of a flute (‘flautando’).

The soloist and the alto flute pair up as a complementary duo in this theme.

The final movement (“Accelerando Finale”), as the title suggests, is a rollicking race in which the opposed forces of soloist and orchestra vie with each other. They each accelerate at different times and speeds, providing a virtuoso climate befitting a last movement. Some other unusual techniques are used here: the violin (and orchestral strings) are asked to press so hard on their strings that there is no pitch at all, just a crunch. This percussive and unusual sound provides energy, especially during the races.

A major theme from the film was given to Moritz, the contemporary violin expert who discovers the mystery of the Red Violin.

It is a sadly romantic theme, and becomes the lyrical counterpoint to the high spirits of this final movement. Near the end of the work, the original chaconne from the first movement comes back to complete the journey of this violin concerto.

— John Corigliano

Program 10 Boulder Philharmonic Orchestra 2014-2015

Program RICHARD WAGNER (1813 – 1883) “Prelude” and “Liebestod” from Tristan und Isolde Richard Wagner’s first major success as a composer was in 1841 with his supernatural opera The Flying Dutchman. Many masterpieces followed – Tannhäuser, Lohengrin, the operas of The Ring of the Nibelungs, Tristan and Isolde, Die Meistersinger von Nürnberg, and Parsifal. Wagner was attracted to mythological subjects with his dramas featuring giants, dragons, and German gods, but he was also drawn to tales of love’s magical powers. Tristan and Isolde tells of emotional and spiritual redemption through love. Wagner described its subject in his usual elaborate fashion. “. . . endless yearning, longing, the bliss and wretchedness of love; world power, fame, honor, chivalry, loyalty and friendship all blown away like an insubstantial dream; one sole redemption: death, surcease, a sleep without wakening. . . . The exhausted heart sinks back, to pine away in a longing that can never attain its end, since each attainment brings in its wake only renewed desire, till in final exhaustion the breaking eye catches a glimpse of the attainment of the highest bliss—the bliss of dying, of ceasing to be, of final redemption into that wondrous realm from which we only stray the further the more we struggle to enter it by force. Shall we call it Death? Or is it not the wonder-world of Night, whence, as the story tells, ivy and a vine spring of old in inseparable embrace from the graves of Tristan and Isolde?”

As esoteric as this might be, the opera’s controversy lies not in its story, but in the revolutionary harmonies that pervade its music. Wagner’s “Prelude” begins with one of the most famous phrases in music.

Entire volumes have been written about the first chord, which defies common practice of establishing the work’s key. Instead of

clarifying, it purposely clouds the tonic key – unveiling the musical equivalent of Wagner’s “endless longing.” The remainder of the “Prelude” unfolds as a sensuous and exquisite cushion of sound with wave upon wave of emotion. After Tristan’s death, Isolde falls upon his body and sings the “Liebestod” (“Love Death”) in which she sacrifices her own life so their souls can mingle in eternal ecstasy.

PIOTR ILYICH TCHAIKOVSKY (1840 – 1893) Romeo and Juliet – Fantasy Overture Mily Balakirev, most memorable as a member of the composer’s collective called the “Russian Five,” became a close friend of Tchaikovsky, and he suggested the subject of Shakespeare’s fated lovers as a possible choice for the composer. Balakirev’s idea was perfect, as Tchaikovsky’s early and immature works were far from seamless and often rambled with no discernible direction. Balakirev’s suggestion would allow the young composer to write a musical representation of a familiar story, thereby forcing him to compose within a nearly inflexible narrative framework.

Another reason for Tchaikovsky’s attraction to this story stemmed from his recent infatuation with Desirée Artôt, a Belgian soprano who jilted the composer. With the sudden loss of a female companion, he was forced to face a renewed struggle to accept his own homosexuality – a monstrous taboo in Imperial Russian society, and a pernicious liability for a popular composer. He was secretly terrified that, without visible evidence to the contrary, his sexual orientation would be revealed, in effect destroying any chance of public success.

This no doubt made the subject of a love doomed by fate even more relevant to him.

The first draft of the overture was heard in 1870 at a Moscow concert conducted by Nikolai Rubinstein. Despite the premiere’s

Boulder Philharmonic Orchestra 2014-2015 Program 11

Program FREE open rehearsals with the Boulder Phil 7:30-10 PM each Wednesday.

Come and go as you please!

Jan. 14, Feb. 11 & April 22, 2015 The Dairy Center for the Arts 2590 Walnut St., Boulder Watch up-close as Michael Butterman works with the musicians of the Boulder Phil to bring the music to life! A variety of alcoholic and non-alcoholic drinks are available for purchase and may be brought with you into the Performance Space, or hang out in the gallery seating areas and enjoy the art on display.

Winter Intermezzo Dinner & Recital Event with Violinist Philippe Quint Thursday, February 12, 6 PM Jill’s Restaurant at the St Julien Hotel Join Music Director Michael Butterman on this winter evening for an intimate recital, elegant seated dinner with wine, and warm conversation with fellow Boulder Phil supporters. $100/person, portion tax-deductible.

Proceeds benefit the Boulder Phil’s Artists Fund.

www.BoulderPhil.org or call Shelley Sampson at 303.449.1343 ext. 2 to purchase tickets.

failure, Tchaikovsky felt compelled to rework the score, replacing the original opening measures with the ‘Friar Laurence’ theme that gives this section its dark and foreboding aura. After a re-premiere two years later, the piece satisfied the composer, but he was still insecure about the tumultuous ending. In 1880 he revised the final portion of Romeo and Juliet, polishing the finer points of his first major success as a composer.

Traditional sonata form was the perfect package in which to enfold Shakespeare’s tragedy and Tchaikovsky used it to remarkable advantage. A slow introduction represents the matchmaker Friar Laurence with somber woodwind chords. As the allegro giusto exposition begins, we hear the heavily accented martial theme depicting the feuding Montague and Capulet families. After the tension builds, the low woodwinds (the same voices that embodied the wellmeaning Friar Laurence) begin a clever transition to the famous second theme that depicts the two lovers. Quietly, almost secretively, the English horn and viola unfurl Tchaikovsky’s sensuous melody over a soft cushion of horn chords.

Tumultuous and aggressive, the development section shows the violence between the families, while the anxious Friar Laurence gives voice to nervous entreaties for a truce. In the recapitulation section, we hear the love theme in its glorious and most familiar dressing with passionate and breathless sighs in the horn. As the coda begins, Tchaikovsky returns to the mood of the development, but funereal drums interrupt the battle to focus on the tragic deaths of the two lovers. As life fades away, the woodwind chords are heard once again, but are transported to the symbolic higher register. ©Craig Doolin

Program 12 Boulder Philharmonic Orchestra 2014-2015

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RESTAURANT SPONSORS

IN-KIND DONORS Arvada Center Aspen Music Festival Barbador Black Angus Boulder Ballet Boulder Museum of Contemporary Art Boulder Wine Merchant Charleston Symphony Colorado Music Festival & Center for Musical Arts Colorado Symphony CU Presents Cured Dave Fulker Denver Center for the Performing Arts

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Don’t miss this year’s Fanfare event: Fall 2015 Rembrandt Yard, Downtown Boulder

Join us for this annual fundraising event benefiting the Phil’s artistic and education programs. The elegant Rembrandt Yard is a perfect setting for an evening of fabulous food and wines, arts-inspired auction bidding, and mingling with fellow Boulder music lovers. Come see why this event sells out every year!

For more information, call 303-449-1343 x4 or visit www.BoulderPhil.org.

Boulder Philharmonic Orchestra 2014-2015 27

Donors

The Boulder Philharmonic Orchestra is able to provide high-quality artistic and education program 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 October 1, 2013 to Colorado Gives Day on December 9, 2014.

FOUNDERS CIRCLE ($30,000+)

Anonymous Gordon & Grace Gamm The Citizens of the Scientific & Cultural Facilities District

GOLD CIRCLE ($10,000+)

The Individual Donors to the Boulder Philharmonic Endowment Fund Sydney & Robert Anderson Patricia Butler Flatirons Bank David Fulker & Nicky Wolman Harry & Eleanor Poehlmann SeiSolo Foundation (in memory of Hans & Dolores Thurnauer) Lynn Streeter

SILVER CIRCLE ($7,500+)

Boulder County Arts Alliance Colorado Creative Industries Carl & Ruth Forsberg Lin & Matthew Hawkins Rodolfo & Margaret Perez

SILVER CIRCLE ($5,000+)

Anonymous Albert & Rebecca Bates Boulder Arts Commission Eleanor Crow Exxon Mobil David & Sara Harper Kyle & Stephanie Heckman Virginia Hill Charitable Foundation Samuel & Carolyn Johnson Micro Motion Steve & Jayne Miller

BRONZE CIRCLE ($2,500+)

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Albert & Nancy Boggess Christopher & Margot Brauchli Joan Brett Caplan & Earnest, LLC Thomas & Virginia Carr Joan Cleland Terry & Jenny Cloudman Peter & Caroline Coggan Pamela Dennis Geological Society of America Foundation Jerry & Janet Gilland Kent Hansen / Rocky Mountain Wealth Management James & Gayle Heckman John & Gerda Hedderich IBM Ruth Carmel Kahn Quentin & Bonnie Karlsrud Joan Knapp Stephen & Judy Knapp Kiplund Kolkmeier League of American Orchestras Erma & John Mantey The Newton Family Fund Frank Palermo & Susan Olenwine Norm & Kathy Ooms Carl & Kathy Polhemus Jennifer & Nick Stachniak Sterling-Rice Group, Inc. Marion Thurnauer & Alexander Trifunac Nyla & Gerry Witmore

LEADERSHIP CIRCLE ($1,000+)

Anonymous (5) Bennie & Jannette Balke Alexander & Sally Bracken Barbara Brenton Lindley Brenza Joe Brienza / AllianceBernstein Amy & Terry Britton Jan Burton Michael Butterman & Jennifer Carsillo Michael & Stephanie Carter

28 Boulder Philharmonic Orchestra 2014-2015

Toni & Nelson Chen The Louise & Grant Charitable Fund Alan & Tessa Davis James Tailer & Donna Davis Tom & Ursula Dickinson Andrew & Audrey Franklin John & Jacqulynn Geister John & Amy Goldsmith Colorado State Bank & Trust Robert Krenz & Carolyn Grant Elyse Grasso Russell & Ann Hayes The Community Foundation Serving Boulder County Grant & Holly Hickman Teresa Myrwang Holum David & Suzanne Hoover Matthew Hyatt Virginia Jones David & Randi Kalish Robert & Margaret Kaufman Hutchinson Black & Cook, LLC Ray & Margot LaPanse Harold & Joan Leinbach Richard & Linda Livingston Lotus Fund Frances MacAnally Annyce Mayer Patricia McCarthy Janet & David Robertson Luana Rubin R. Alan & Stephanie Rudy Karyn Sawyer TK Smith & Constance Holden Arthur & Carol Smoot Ellen E. Stewart Alan & Martha Stormo Mary Street Taddiken Tree Company Dick & Caroline Van Pelt Betty Van Zandt The Winston Family Foundation Kristen Wolf Jack & Brenda Zellner Art Zirger & Mary Rowe

ARTIST CIRCLE ($500+)

Randall & Jill Anderson Peter & Patricia Angell Jean-Pierre & Glenna Briant Collins Foundation Richard Collins & Judy Reid Scott & Paula Deemer John Fahey Hans & Jeri Friedli Ralph & Joanna Grasso Robert & Diane Greenlee Robert & Penny Haws Gerald & Doree Hickman Caroline Himes Wayne Itano David & Carol Kampert Paul & Nancy Levitt Robert & Francine Myers Mary Nakashian Barbara & Irwin Neulight Martha & George Oetzel James Pendleton Dayna & Robert Roane Susan & Paul Roberts Juan & Alicia Rodriguez William Roettker Ross & Jane Sheldon Kevin Shuck & Greg Ginocchio Ronald Sinton Jack & Sophie Walker Paul Weber Anne Wenzel & Anthony Raymond Vivian Wilson

PARTNERS ($250+)

Joyce Albersheim Anonymous (2) Richard Bailey Frank Barrett Tom & Currie Barron Janet Bartsch Vincent Bates Anne & Harry Beer Les & Barbara Berry Joan Bleacher Jon & Helene Bond Helen Bosley Janet Braccio Ben & Gale Chidlaw Barry Clark Sara-Jane & Bill Cohen Charlotte Corbridge Lynne Dannenhold Larry Day & Catherine Haskins Warren & Vici DeHaan

Donors

Joe & Alice Doyle Jeffrey & RoseMarie Foster Ron & Ellen Gager Ann Garstang Gerald & Anita Gershten Kathryn Goff Susan & Gustavo Grampp Mary Greenwald Ken & Dianne Hackett Charles & Patricia Hadley Mark & Cherine Herrmann Randy & Debbie Holliday Dixie Hutchinson Richard & Ruth Irvin Arnie Jacobson & Victoria Johns-Jacobson Colman & Marcia Kahn Matthew & Diana Karowe William & Ann Kellogg Derek Kiernan-Johnson Don & Eleanor King Peter & Judith Kleinman Angelyn Konugres Couponas Annlee Landman Bruce Kahn & Susan Litt Jerry & Heidi Lynch Mary Marlino & Greg Young Richard & Donna Meckley Alan & Judy Megibow Richard Nishikawa & Kathleen Miller Robert Morehouse James Neely Bob Orecchio Molly Parrish Priscilla Pritchard Dorothy Read Brook Reams & Rochelle Chartier Marjorie & Bob Schaffner Jane & Leo Schumacher Nanette Schunk Robert & Elizabeth Shay Zdenka & Dean Smith Andrew & Margrit Staehelin Peter & Laura Terpenning Ed & Lynn Trumble Nicholas & Shelby Vanderborgh Pamela Walker Raymond & Rena Wells Betty Woon Charles Zabel

FRIENDS ($100+)

Leslie Lubovich & Bruce Wilson Richard & Alma Alber Suzanne & Robert Anderson

Anonymous Peggy Archibald Judith Auer & George Lawrence Mary Inga Backlund Richard & Jane Barker Gwyn Barley Pierrette Barut Cynthia Betts Catherine & William Bickell Alan Bloom & Sue Bohline Richard Bowman Kurt & Alison Burghardt Stephen Eisenberg & Anne Burkholder Martha Bushnell Cynthia Carey Madison & Mary Casey Bob & Judy Charles Helen Chenery Dion & Alekie Cheronis Andrew & Lois Cherrington Dorothy Ciarlo Roger & Norma Cichorz Frank Ciskovsky Wallace & Beryl Clark Claude Weil & Carolie Coates Carol Cogswell Max & Barbara Coppom Virginia Corsi Bonnie Crissey & Richar Oye James & Beth Davis Jo Davis Peter & Joan Dawson Pauline Deir Yaghiayan Dan & Nancy D’Ippolito David & Susan Donaldson Caroline & Preston Douglas David Dowell Leslie & Donald Dreyer Megan Edrington Paul Eklund Lee Ellwood Susan Ely & James Hartmann Frances Evans Martha Coffin Evans Deidre Farrell Barbara Fernie Beverly Fest Claire & Art Figel Neil Fishman Robert & Juliette Ford Johannah & O. Lehn Franke Michael Fried & Cynthia Grossman Ellen Friedlander Neil Ashby & Marcie Geissinger

Boulder Philharmonic Orchestra 2014-2015

29

Peter Gilman & Peggy Lemone Julie Ginocchio Charles & Gail Gray Dorothea & Ronald Grey Elissa Guralnick Chris & Linda Hansen Margaret Hansson Janice Harvey Spencer & Valerie Havlick David & Joan Hill Jeannette Hillery Stewart & Karen Hoover John Hynes Jackie W. Jimmerson Dan Johnson & Star Waring Wesley & Joanne Johnson William & Martha Jones Jo Ann Joselyn Josh & Lori Kahn Robert Kehoe Ann Kiley Bonnie Kirschenbaum Barry Knapp Jon & Helena Kottke Richard Kraft Wesley & Heather Le Masurier Dave & Mary Leonard Douglas Lerner Steven & Marcia Lerner Sue & Rick Levine Joy Linfield Al Gasiewski & Rachel Lum Lisa Lund Brown Kamilla Macar Jean & Megan MacMillan Susan Magruder Ted Manning William & Susan Marine Charles & Marian Matheson Steven & Susan Maxwell J. Ramon McCarus J. Hunter & Janet McDaniel Zoe McFarland Martha McGavin Marla & Jerry Meehl Elizabeth Meyer Barry & Gloria Miller Millie & Ivan Miller Millstone/Evans Group of Raymond James & Associates Robert & Marilyn Mohling Joan Mulcahy Scott & Jean Nelson Ronald & Joan Nordgren Alison & Graham Oddie

Donors

Eileen O’Neill Christopher & Linda Paris David Paulson Robert & Marilyn Peltzer Paul & Margaret Preo Mary Price Maiah Quish Diane Rosenthal Robert & Judy Rothe The Sakson Mark Family Shelley Sampson Carol Saunders & Reed Bailey Judith Schilling Peter & Barbara Schumacher Daniel & Boyce Sher Lynn Sherretz Max & Nelda Shuck Edward Siegel Howard & Valerie Singer Betty Skipp Cynthia Sliker & Robert Schaller Pamela & Michael Sousa Courtland & Carolyn Spicer Randy Stevens Ron Stewart Thomas & Nancy Storm Gregory & Diane Strevey Robert & Julie Stuenkel Diane Sullivan Joyce Thurmer Elizabeth & John Tilton James Topping Virgil & Margaret Tucker Michael & Nancy Udow Rex Vedder Ronald & Marlies West Rick & Rebecca White Mary Winston Richard & Wendy Wolf

SUPPORTERS ($50+)

Andrea Adams Anonymous (5) Elizabeth Becker David Blackburn Virginia Boucher Janet Brewer David Burns Josephine & James Bush Jane Byers Julianne Cassady Thomas & Vivian Cecil Joseph & Elizabeth Cirelli Laurie Clark George Clements Jeffrey Davis

30 Boulder Philharmonic Orchestra 2014-2015

Robert & Kitty DeKieffer Jenny Devaud Charles & Jean Dinwiddie Ruth Feiertag William & Ann Ford David Gates Allan & Joan Graham Carla Graves Kathryn Strand & Eldon Haakinson Linda Haertling Chuck Hardesty Natalie Hedberg & Thomas Van Zandt James & Judith Heinze Peter Hellyer & Hiroko Okada Debra Holland Michael & Florence Jones Eileen & Walter Kintsch Henry Wheeler & Andrea Kinzey-Wheeler Annette & Thomas Kissenger Diane Knudsen Alice Kreinbring Brad Lam C. Nicholas & Mollie Lee Marjorie Leidig Kerry Lightenburger Bruce MacKenzie Don & Jane Martin Jill McIntyre Doris & Peter McManamon Marilyn Milhous Jeffrey Nytch Margaret Oakes Lisa & Kyle O’Brien Polk Family Charitable Fund Marilyn Powell Pricilla Pritchard Lester Ronick Barbara Sable Ann Schroeder & Mark Ballenger Christine Shields Rebecca Snethen Gail Tate Rev. Virginia Taylor Courtney Thomas Jacqueline Trump Karen Utley Amy L. Vandersall Deborah Vink Nancy & Manly Weidman Phillip Wong

The Gift that Keeps on Giving

You can support the Boulder Philharmonic’s long-term health through a special gift during your lifetime as well as by designating a gift in your will. You may elect to contribute either to the Phil’s traditional endowment fund housed at the Community First Foundation, or to the Gamm Fund which was established through a major gift by Gordon and Grace Gamm and which affords the Phil even greater long-term financial security. For more information, please contact Kevin Shuck at 303-449-1343 x3.

Anonymous Robert & Sydney Anderson Jaime Arizaleta Bud & Anne Arnold Charles & Helen Aumiller Emma Barnsley Francesco Beuf Stanley & Marge Black Barbara Brenton Sandra Brodie Kurt & Alison Burghardt Wanee & Joe Butler Jancey Campbell Melvin Clark Polly Collier William Curtis

Rob & Kitty deKieffer Ursula & Tom Dickinson Charles & Jean Dinwiddie George & Sallie Duvall John & Elizabeth Dynes George & Peggy Earnest Maurine Eaton Olivia Edwards Sylvia Ellis Peter & Mary Jean Ewing Mac & Sandi Fraser Hans & Jeri Friedli Ray & Mary Lynd Frommer

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David Fulker & Nicky Wolman Gordon & Grace Gamm Lloyd D. Gelman Warren & Esther Goedert Stanley & Anni Goldberg Robert & Diane Greenlee William & Bonnie Hamilton Aaron & Doreen Harber Ronald & Elizabeth Harrington Ray & Connie Hauser Debora Haynes Catherine Jackson Mitchell & Laura Brenton Jacob Barbara Johnson Sam & Carolyn Johnson Peter & Tamara Jorde W. K. & Joanne Kilpatrick Joan Knapp Harold & Joan Leinbach Rick & Sue Levine William Lightfoot & May Chu John & Leslie Lovett Jane Mahoney Byron & Virginia May Carol May & Jim Saindon Denis & Judith Nock Richard & Dona Padrnos Marion Paton Penni Pearson Gary & Mhari Peschel Jim & Elsie Pettibone Timothy Prout & Carol Dalager

Dick & Kathryn Ralston Bill & Marilyn Reichenberg Thomas Riis Jo & Anna Marie Robb Juan & Alicia Rodriguez James & Rebecca Roser Jack & Lynne Rummel Jodie Ruthrauff Ron & Margaret Saari Merle & Rught Sachnoff Jody Sarbaugh Wayne Scott Elizabeth Shannon Art & Carol Smoot Mark & Mickey Stevenson Alan & Marty Stormo Joan Talbot Lyman Taylor George & Caroline Thompson Douglas & Patricia Vidulich Diane Vivas Alice Dodge Wallace Jeffrey & Renee White Paul & Patricia White Roe & Helene Willis Charles & Marjorie Wilson Robert & Lawrie Wilson Nyla Witmore Ed Wolff Ruth Yearns

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Listen Locally BOULDER

BACH F E S T I VA L

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ZACHARY CARRET TIN MUSIC DIREC TOR

CHAMBER ORCHE STRA

ELECTRIC COMPASS BACH UNCAGED J.S. Bach Suites for Violoncello Zachary Carrettin, electric violin A COMPASS Series Event

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2015 SPRING CONCERTS

Romance Charm

FRI., FEB. 27, 7:30 PM Montview Blvd. Presbyterian Church, Denver

March 6 & 7 May 9 & 10

MASS IN B MINOR Zachary Carrettin, conductor Boulder Bach Artists, Chorus and Orchestra

January 30 & 31

Character

The Dairy Center for the Arts Performance Space, Boulder

SAT., FEB. 28, 7:30 PM First United Methodist Church, Boulder

Bahman Saless MUSIC DIRECTOR

TICKETS & INFORMATION 303-583-1278 www.boulderchamberorchestra.org

cupresents.org 303-492-8008

Dec. 11 Jan. 22 Feb. 6 Feb. 19 April 2

Kronos Quartet “Beyond Zero: 1914–1918” Mummenschanz

Christmas with The King’s Singers

Bill T. Jones and Arnie Zane Dance Company Medeski, Martin and Wood with Alarm Will Sound

The Assad Brothers with Romero Lubambo

Natalie Merchant with the University Symphony Orchestra

Plus CU Opera, Takács Quartet and Holiday Festival All performances are on the CU-Boulder Campus

SAT., MAR. 28, 7 PM The Dairy Center for the Arts Performance Space, Boulder

In conjunction with BOULDER ARTS WEEK, March 27 - April 4, 2015

ARTIST RECITAL Zachary Carrettin, violin Mina Gajić, piano

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2014–2015 Season Oct. 8

A COMPASS Series Event

Friends of the Phil

The Boulder Phil’s NEW musician chair sponsorship program By making a pledge of two or more years as a Friends of the Phil sponsor, you provide critical ongoing support to the orchestra by directly underwriting a portion of a professional musician’s salary.

Hiring the most qualified musicians requires a substantial investment on our part—in fact, musician salaries represent the single largest expense in the Phil’s annual budget. Your participation in Friends of the Phil helps support these talented artists in our community.

In addition, chair sponsorship expands your experience with the Boulder Phil in meaningful ways, giving you the chance to experience the orchestra from the inside out while forging a special connection between you and the performers on stage with special events and activities that bring sponsors and musicians together throughout the season.

Pledge levels: SECTION CHAIR SPONSOR – A multi-year pledge of $250+ annually ASSISTANT PRINCIPAL CHAIR SPONSOR – A multi-year pledge of $500+ annually PRINCIPAL CHAIR SPONSOR – A multi-year pledge of $1,000+ annually We thank our inaugural program sponsors, who are listed alongside the names of their sponsored musicians on the orchestra roster page in this program.

For more information about Friends of the Phil, please visit our website at www.BoulderPhil. org/friends-of-the-phil, or contact Director of Development Teresa Myrwang Holum at 303-449-1343 x4

Eleanor Wells, cello (above), Michael Yopp, principal horn (left)

Boulder Philharmonic Orchestra 2014-2015

33

Patron Information

TICKET EXCHANGES To make an exchange for another performance, we need to receive your ticket(s) at the Boulder Phil offices at least 24 hours prior to the concert you are unable to attend. For subscribers, we gladly waive the $5 exchange fee. Exchanges are subject to availability and any price difference. All sales are non-refundable.

TICKET DONATIONS If you are unable to attend a concert and don’t wish to exchange your tickets, help us make sure no seat goes empty by donating back your tickets! You will receive an acknowledgment letter stating the value of your tickets as a tax-deductible donation, provided we receive your ticket(s) at the Boulder Phil office at least 24 hours prior to the concert.

LOST TICKETS If you lose your tickets, please contact us above immediately to arrange replacements. If you find your tickets missing on the day of the performance and the Boulder Phil offices are closed, please arrive at Will Call at least 45 minutes prior to the concert to have your tickets re-issued.

PARKING AT MACKY Parking is available for a small fee in the Euclid AutoPark, adjacent to the University Memorial Center east of Broadway. Please see the reverse side of your tickets for a map. If you arrive more than 30 minutes prior to the concert, limited free and metered parking is available along University and in signed CU lots accessed from 13th and 15th streets (“Grandview” zone). Please note that the lots adjacent to Macky are reserved

for handicapped and donor ($1,000+) parking.

LATE SEATING As a courtesy to other patrons, latecomers will be seated during an appropriate break at the discretion of the ushers.

USEFUL INFORMATION Listening devices are available at the Macky box office. The use of cameras, recording equipment and all other electronic devices is prohibited during performances.

Patrons with cell phones, beepers or electronic watches must silence them upon entering the auditorium.

Fire regulations require that everyone, regardless of age, have a ticket to enter the auditorium. Classical concerts are not recommended for children under age 5.

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The Center Stage Club offers online versions of Boulder Philharmonic Magazine for patrons to read before performances.

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