Boulder Philharmonic Orchestra, Fall 2019

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

Mailing address: 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

BOARD Erma Mantey Steve Miller Sharon Park Eleanor Poehlmann Leslie Scarpino Lynn Streeter

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

ADMINISTRATION

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

ADVISORY COUNCIL Barbara Brenton Pamela Dennis Ruth Kahn

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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

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LET’S PLAY TOGETHER - NO AUDITION NECESSARY! On November 9, 2019, explore your playful side as the Boulder Philharmonic creates a lighthearted, imaginative evening featuring performances by members of the Boulder Philharmonic, auctions, and a delicious gourmet dinner by Three Leaf Concepts.

Each ticket sold will support the orchestra’s commitment to providing engaging, inclusive concerts for our community.

Tickets at BoulderPhil.org

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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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Gritty/Pretty BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Saturday, October 12, 2019 Macky Auditorium, CU Boulder 6:30 pm Pre-Concert Talk 7:30 pm Performance Sunday, October 13, 2019 Pinnacle Performing Arts Complex 2:00 pm Performance Elizabeth Sadilek-Labenski, flute Jonny Greenwood Suite from There Will be Blood (b. 1971)

I. Open Spaces

II. Future Markets III. HW/Hope of New Fields IV. Henry Plainview

V. Proven Lands VI. Oil Jon Lord To Notice Such Things (1941 – 2012)

I. As I Walked Out One Evening

II. At Court III. Turville Heath IV. The Stick Dance

V. The Winter of a Dormouse VI. Afterwards -INTERMISSIONFranz Schubert Symphony No. 5 in B flat Major D.485 (1797-1828) I. Allegro

I. Andante con moto III. Menuetto allegro molto IV. Allegro vivace

Boulder Philharmonic Orchestra 2019-2020 Program Page 1

Gritty/Pretty Biography ELIZABETH SADILEK-LABENSKI Elizabeth SadilekLabenski has been a member of the Boulder Philharmonic Orchestra since 2002. She is also a member of the Colorado Ballet and Opera Colorado orchestras. During her tenure as Associate Professor of Flute at Iowa State University, she received ISU’s prestigious University Foundation Award for Early Achievement in Teaching and was a winner of the National Flute Association’s Performers Competition.

Dr. Sadilek- Labenski holds a DMA from the Peabody Institute of the Johns Hopkins University, an MM from Northwestern University, and a BM with Teacher Certification from the University of Iowa. Her primary teachers include Robert Willoughby, Walfrid Kujala, Bonnie Lake, and Betty Bang Mather. Dr. Sadilek-Labenski has performed, lectured, and held master classes throughout the United States, Europe, and Russia, and has been heard on numerous radio broadcasts across North America. Her publications include transcriptions for flute ensemble and woodwind quintet (Southern Music). Most recently she co-authored the book Johann Sebastian Bach’s Partita in A Minor

for Solo Flute BWV 1013 with Emphasis on the Allemande: Historical Clues and New Discoveries for Performance (Theodore Presser) with UI Professor Emeritus Betty Bang Mather. Dr. Sadilek-Labenski lives in Edwards with her husband, John, and three musical sons, Stefan, Adam and Marek.

Program Notes JONNY GREENWOOD Suite from There Will Be Blood Jonny Greenwood is the lead guitarist of the band Radiohead but has quickly established himself as a fresh new voice in the classical music world. To date he has a catalog of 15 works for ensembles ranging from solo piano to full orchestra and often uses electronics to produce refreshingly unique timbres and textures. Among these are smear for two ondes martenots and ensemble, Popcorn Superhet Receiver for string orchestra, Doghouse for string trio and large orchestra, and 48 Responses to Polymorphia for 48 strings. He has served as Composer in Residence with the BBC Concert Orchestra.

His score for the Oscar-winning Paul Thomas Anderson film There Will Be Blood is partially drawn from Popcorn Superhet Receiver but was controversially declared ineligible for an Oscar as “the majority of the music was not composed specifically

Program Page 2 Boulder Philharmonic Orchestra 2019-2020

Gritty/Pretty for the film.” The score won the award for Best Film Score at the 2007 Evening Standard British Film Awards, and Critics’ Choice Award for Best Composer by the Broadcast Film Critics Association of the USA. Greenwood has stated that he is influenced by Polish composer Krzysztof Penderecki, which is apparent in sections of this score.

However, it is far from derivative and is more an homage to one of the greatest composers of our time.

The Internet Movie Database describes the plot of the film very succinctly: “Ruthless silver miner, turned oil prospector, Daniel Plainview moves to oil-rich California. Using his adopted son HW to project a trustworthy, family-man image, Plainview cons local landowners into selling him their valuable properties for a pittance. However, local preacher Eli Sunday suspects Plainview’s motives and intentions, starting a slow-burning feud that threatens both their lives.”

The movements of the Suite are not arranged chronologically but paint a masterfully evocative picture of the movie’s atmosphere. The first movement, “Open Spaces,” uses wide intervals to show the vastness of the American West. This sense of loneliness and foreboding builds to a feeling of danger at the end. “Future Markets,” with its mechanistic eighth-

note pizzicato ends with long tones that build in intensity. “HW/Hope of New Fields” returns to the atmosphere of the opening, but the open intervals transform into closely spaced clusters.

“Henry Plainview” is a direct homage to Penderecki with the string section divided into 34 different parts. Sliding pitches and short melodies emerge from the dense block of sound much as a sculpture surfaces from blocks of stone. “Proven Lands” uses guitar techniques on the bowed strings through the use of picks and snap pizzicato. “Oil” presents a long-spun melody shared between the first and second violins. The viola provides an irregular heartbeat. It grows into a warm ensemble piece for strings.

JON LORD To Notice Such Things Those familiar with Jon Lord will most likely not associate him with classical music at first thought. He was active in the rock music field from 1963 until his death in 2012. Audiences know him best as the keyboard player for Deep Purple and Whitesnake. However, throughout his career he wrote several works for the concert hall, including his Concerto for Group and Orchestra and the Gemini Suite, both premiered by Sir Malcolm Arnold.

Lord composed his To Notice Such Things in 2009 in memory of his friend Sir John Mortimer, QBE, QC,

Boulder Philharmonic Orchestra 2019-2020 Program Page 3

Gritty/Pretty who served as a barrister, novelist, and creator of Rumpole of the Bailey.

Mortimer gave frequent shows entitled Mortimer’s Miscellany in which he reflected on life through stories and readings with the help of two actresses, a flutist, and a pianist.

Mortimer asked Lord to come aboard as pianist and to compose a few pieces for the occasion. Lord agreed and was a regular at these soirees for nearly a decade until Mortimer’s death in January of 2009.

Just a month later, Andrew Bernardi, artistic director of the Shipley Arts Festival, offered Lord a commission for a piece for flute and string quartet.

Lord was still mourning his friend and decided to return to the music he composed for the shows. What began as a short piece turned into a multimovement work with added piano, and the original string quartet was augmented into a string orchestra.

Lord explains: “I wanted to give the flute the job of ‘speaking’ for John throughout the Suite; his laughter and his sighs, his wistfulness and occasional mild cantankerousness, his playfulness, and also the anguish and then the acceptance of his final days. So those odds and ends became the genesis of this Suite, and I hope they make this a very personal voyage around Sir John Mortimer.”

The first movement, As I Walked Out One Evening, is based on the music that preceded a W. H. Auden poem by the same name that Mortimer read to open his shows. Lord provided elegant and insightful notes for the remainder of the work: At Court “Now John is in his glory: the late 1960s, the 70s, and the early 80s, when he bestrode the Strand and the law courts, and the Old Bailey like a hilarious, brilliant, and cutting colossus, resolutely defending the right of free speech, but with a quick wit and quietly devastating humour and pure joy in his love of debate. I remember him telling me once, when we heard it on the radio, that Bach’s Brandenburg Concerto No.3 had always sounded to him like London music, so it makes a couple of brief (sorry) appearances here.

The ghost of Horace Rumpole also flickers gently near the end. John was also an inveterate admirer of the female of the species, so he is heard here a-courting too.”

Turville Heath “This is the music that began Act 2 of Mortimer’s Miscellany. John grew up, worked, and lived his life in the house that his father built in Turville in the Chilterns, and here I imagined him walking round the garden that his father loved, and that he loved too, smiling and humming quietly

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Gritty/Pretty to himself, murmuring ideas, remembering, and then wandering thoughtfully back towards the house. Nostalgic yes – but it ends with a wink.”

The Stick Dance *“We are now in the later years.

John’s legs became less and less reliable and he took to using a stick and then a wheelchair. But here Sir John dances. He hauls himself to his feet, muttering incantations, and with one hand on his trusty walking stick, the other holding the hand of a compliant young lady who does all the jiving, he smiles and enjoys the view.

The Sir John in Love music from the second movement makes a triumphant return but eventually, and reluctantly, he has to be seated again, and the music subsides. A final flourish, then a quiet sad smile at the passing of time.”

The Winter of a Dormouse *“A picture of his last winter. A hard enough time for those who knew and loved him, but for John himself – one hardly dare imagine. Here the flute becomes his voice; sighing, crying, pleading, and maybe screaming out in frustration and loss. Then comes peace and the beginning of the end of a journey.”

Afterwards *“The title is that of the poem

by Thomas Hardy, with which Mortimer’s Miscellany ended, while Clive [Conway, the original flutist] and I played quietly in the background and the poem cast its bitter-sweet spell. I have expanded that music into this farewell and au revoir to my dear friend. John used to close his show by saying that he would be reading the poem in memory of his father, or perhaps as an epitaph for himself, but certainly, he said, for all those who spend their best days in the country and notice the things that matter.”

FRANZ SCHUBERT Symphony No. 5 in B-flat major, D. 485 In Franz Schubert’s day, just like in modern times, the instrumentation of a composer’s music was dictated by availability. Since many of Schubert’s friends were chamber musicians, the vast majority of his works were composed for this tight-knit group of artists who gathered regularly for informal evenings of music-making. The Schubertiad, as this event was called, combined piano pieces, chamber music, and art song into an intimate concert experience.

Most of Schubert’s orchestral music was composed for a second type of informal gathering. As Schubert developed as a composer, he began to

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Gritty/Pretty gain more interest in larger works. So he could compose for these ensembles, a somewhat extended group of family and friends gathered to play his larger works. When the group started in 1814, they met in the home of the merchant Franz Frischling, but they soon outgrew that venue. Violinist Otto Hatwig offered his large home for rehearsals in 1815 and the group began meeting on a weekly basis. Although the group had a full string section of twenty-one players (small by today’s standards, but typical in Schubert’s day), wind players came and went. In 1816 Schubert’s orchestra had pairs of oboes, bassoons, and horns, but only one flute player. It was for this orchestra that he composed his Symphony No. 5.

Schubert’s Fifth Symphony is remarkably conservative in its musical language.

His carefully-crafted melodies are remarkably similar to those of Mozart in their directness and simplicity.

The one area in which Schubert hints at a progressive approach is in his harmonies. While a traditional harmonic approach of the time would have the composer staying within closely-related keys, Schubert sometimes strayed to more distant areas, foreshadowing the approach of Schumann and Liszt a generation later. Considering that this is the work of a nineteen year old, this fresh and warm symphony is nothing short of amazing.

The symphony begins with a fresh and graceful Allegro. A simple four-measure introduction, consisting of two long notes and a flurry of short ones, gives way to the first theme in the violins. This melody rises and then falls in a simple arch, decorated with echoes by the flute. When the second theme occurs, also played by the violins, it falls and then rises, like a negative image of the first theme. Although this music might seem simple and innocent, Schubert’s craftsmanship is readily apparent.

The short development section is especially remarkable because Schubert completely ignores both themes and opts instead to develop the two short ideas from the fourmeasure introduction. A return to the sunny opening material closes the movement.

Some elements of unrest creep into the Andante con moto second movement. After its opulent 6/8 opening section that is quite reminiscent of the slow movements of Mozart’s later symphonies, a stormy middle section brings the first tinges of conflict with an excursion into distant harmonic areas.

However, Schubert leads the music back to the opening material at the end.

Instead of writing a scherzo, which was commonplace by 1816, Schubert provides a backward-looking Menuetto as found in Classical-period symphonies.

Written in the stark key of G minor, the minuet is a pompous dance with heavy accents, contrasted here by brief

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Gritty/Pretty sections scored for strings alone. The central trio shifts to the bright key of G major and opens with strings and bassoons, saving the remaining winds to emphasize the ends of phrases. As is customary, the initial minuet returns to close the movement.

development section magnifies the storminess of the second movement, the overall character is lyrical and charming. Š2019 Orpheus Music Prose & Craig Doolin www. orpheusnotes.com

Schubert’s finale is a sparkling sonata form that begins with an endearing scalar theme. Although the

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Latin Fire & Boléro BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Sunday, November 3, 2019 Macky Auditorium, CU Boulder 6 pm Pre-Concert Talk 7 pm Performance Aldo López-Gavilán, piano Astor Piazzolla Tangazo: Variaciones de Buenos Aires (1921 - 1992) Dancers: Gustavo Naveira & Giselle Anne Aldo López-Gavilán Emporium – Concerto for Piano and Orchestra (b. 1979)

I. Allegretto spiritoso

II. Liberamente III. Presto -INTERMISSIONAlberto Ginastera Variaciones Concertantes, Op. 23 (1916 - 1983) I. Tema per Violoncello ed Arpa

II. Interludio per Corde III. Variazione giocosa per Flauto IV. Variazione in modo di Scherzo per Clarinetto

V. Variazione drammatica per Viola VI. Variazione canonica per Oboe e Fagotto VII. Variazione ritmica per trombe e trombone VIII. Variazione in modo di Moto perpetuo per Violino IX. Variazione pastorale per Corno

X. Interludio per Fiati XI. Ripresa dal Tema per Contrabasso XII. Variazione finale in modo di Rondo per Orchestra Maurice Ravel Bolèro (1875 – 1937)

Silver Circle Concert Sponsor Rebecca & Al Bates

Astor Pizzola Sponsor Ruth and Richard Irvin

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Maurice Ravel Sponsor Suzanne and David Hoover Francine and Bob Myers

Latin Fire & Boléro Varela, for whom he wrote all the string arrangements for an award-winning documentary that was broadcast by HBO Latino in the U.S.

Biography ALDO LÓPEZ-GAVILÁN Praised for his “dazzling technique and rhythmic fire” in the Seattle Times, and dubbed a “formidable virtuoso” by The Times of London, Cuban pianist and composer Aldo López-Gavilán excels in both the classical and jazz worlds as a recitalist, concerto soloist, chamber-music collaborator, and performer of his own electrifying jazz compositions. He has appeared in such prestigious concert halls as the Amadeo Roldán (Cuba), Teresa Careño (Venezuela), Bellas Artes (Mexico), Carnegie Hall and Jordan Hall (U.S.), Royal Festival Hall (U.K.), Nybrokajen 11 (Sweden), The Hall of Music (Russia), and Duc de Lombard et Petit Journal Montparnasse (France), as well as venues in Canada, Santo Domingo, Colombia, Spain, Greece, Hong Kong, Burkina Faso, Germany, and Austria.

In 2014 López-Gavilán toured the U.S., appearing at Florida’s Miami Dade County Auditorium, the Kennedy Center in Washington, D.C., and the San Francisco Jazz Festival, and he completed an ASCAP film music workshop under the direction of Robert Kraft at New York University.

He also toured extensively in Europe, South America, Canada, and the U.S. with Cuban singer-songwriter Carlos

A milestone in López-Gavilán’s professional and personal life came in early 2015, when he joined the New York-based Harlem Quartet—co-founded by his brother Ilmar, the quartet’s first violinist—for concerts in Calgary, Seattle, and Phoenix. That same year he was invited to play with his Jazz Quintet at the Centro Cultural Kirchner in Buenos Aires, Argentina; performed Rhapsody in Blue with the Orquesta Filarmónica de Bogotá, Colombia; and closed the year with a sold-out concert at the Teatro del Museo de Bellas Artes in Havana.

His partnership with Harlem Quartet continues in summer and fall 2016 with a U.S. tour that includes concerts and residency activities at the Rockport Chamber Music Festival, Chautauqua Institution, Santa Fe College, Las Vegas’s Smith Center for the Performing Arts, the Chamber Music Society of Detroit, and the Wallis Annenberg Center for the Arts in Beverly Hills. Additional tour concerts by the quintet are in the works for fall 2017 and spring 2018.

During the past decade, López-Gavilán’s collaborators have included some of the greatest artists in the classical, popular music, and jazz fields. The late Claudio Abbado, one of the world’s most celebrated and respected conductors, invited him to perform with the Simón Bolívar Youth Orchestra of Venezuela

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Latin Fire & Boléro in 2006, in a special concert dedicated to the 250th anniversary of Mozart’s birth. Maestro Abbado subsequently invited him to perform Prokofiev’s Concerto No. 1 in Caracas and Havana.

In 2009 López-Gavilán was invited by Carlos Varela to join his band for a tour of Argentina, Chile, and Uruguay; his acoustic arrangements of the music won many accolades from critics and fans. In 2010 he joined the São Paulo Jazz Symphonic Orchestra to perform his music in a concert that was recorded and broadcast on national television in Brazil.

López-Gavilán’s Carnegie Hall debut took place in November of 2012, when he was invited to participate in the hall’s prestigious “Voces de Latino América” festival. That same month he played a two-piano concert with his colleague Harold López-Nussa in Miami.

Aldo López-Gavilán was born in Cuba to a family of internationally acclaimed classical musicians, his father a conductor and composer, his mother a concert pianist. At the age of two, he had written his first musical composition. By four, his mother introduced the budding prodigy to the piano, and he began formal piano studies at the age of seven. His first international triumph was at the age of eleven when he won a Danny Kaye International Children’s Award, organized by UNICEF. López-Gavilán made his professional debut at age twelve with the Matanzas Symphony Orchestra. He later went on to perform

Prokofiev’s Third Concerto with the National Symphonic Orchestra of Cuba. Parallel to his classical abilities, López-Gavilán developed remarkable skills in improvisation. He was invited to perform in the world-famous Havana Jazz Festival with the legendary Chucho Valdés, who called him “simply a genius, a star.”

Since December 2014, when a new era in the relationship between the U.S. and Cuba was announced, a lot has happened in the cultural exchange between the two countries. LópezGavilán has played a very active role in this development. In April 2016, through Obama’s President’s Committee on the Arts and the Humanities, he was part of the group of Cuban musicians who collaborated in Cuba with such renowned U.S. artists as Joshua Bell, Usher, Dave Matthews, and Smokey Robinson, A few weeks later LópezGavilán’s music was used to accompany Chanel’s Cruise 2017 Collection—the first fashion show to take place in Havana in recent times—and he partnered with American trumpet virtuoso Byron Stripling in a concert at Havana’s Teatro del Museo de Bellas Artes.

Under the lead of renowned Grammy Award-winning violinist Joshua Bell, Aldo aided in the organization of “Seasons of Cuba”, a PBS Special that took place at the Lincoln Center on December 2016, celebrating a new era of cultural diplomacy with a vibrant program that spanned from Vivaldi classics to Piazzolla tangos and beyond.

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Latin Fire & Boléro Some of the prestigious artists joining Bell and López-Gavilán were: Dave Matthews, the Chamber Orchestra of Havana, singer-songwriter Carlos Varela, and soprano Larisa Martínez.

During 2016 and 2017 Aldo continued headlining sold-out North American performances in various venues all over the United States, both as a solo artist and with the Grammy winner Harlem Quartet. In the prestigious Napa Festival in July 2016 Aldo rejoined with popular violinist Joshua Bell for his Seasons of Cuba concert at Far Niente Winery and that same month he premiered “Emporium”, his first concerto for piano and orchestra, at the Tahoe Classic Festival.

In early 2018 Aldo continued his lengthy tour in the US and made his debut with the Florida Orchestra with three amazing concerts on February 23, 24 and 25 in the Florida cities of Tampa, St. Petersburg, and Clearwater, celebrating the 50thanniversary of the symphony and making these his first collaboration with prominent British conductor Michael Francis. A few weeks later Aldo returned to Florida, this time to play the Concert for Piano in G major by Ravel during four concerts with The South Florida Orchestra conducted by Maestra Sebrina María Alfonso.

Aldo is featured in the upcoming public television documentary Los Hermanos/ The Brothers produced by PatchWorks Films.

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Latin Fire & Boléro Program Notes ASTOR PIAZZOLLA Tangazo: Variaciones de Buenos Aires Argentine by birth, Astor Piazzolla grew up in the melting pot of New York City’s lower east side. At sixteen he moved back to Argentina, taking along a great deal of experience. Since receiving a bandoneon – the accordionlike instrument of the tango at age eight, Piazzolla slowly mastered the instrument and the vast repertory of Argentine tangos. By his early twenties, he was playing in various Buenos Aires tango orchestras, but soon grew dissatisfied artistically and began to search for satisfaction through composing new tangos. It was during this time that he moved to Paris to study with Nadia Boulanger, teacher of composers from Copland to Glass and Argentinean composer Alberto Ginastera. This led to his revolutionary concept of the Nuevo Tango in the 1960s. The resulting rupture within the Argentine Tango community caused it to split into two factions. Meanwhile, Piazzolla continued to compose in the Nuevo Tango style, incorporating social aspects in the music, as well as purely musical ones. In Piazzolla’s words “Nuevo Tango = tango + tragedy + comedy + brothel.” This is music of refined decadence – similar in this sense to American Ragtime.

Within Nuevo Tango, Piazzolla experimented with new instrumentation, sometimes using symphony orchestra.

Tangazo was composed in 1970 for the Ensemble Musical de Buenos Aires.

After the premiere in Washington, DC, the composer reflected that classically trained musicians, although Argentineans, lacked some of the zest, “the salt and pepper” needed for truly heartfelt performances of this music. Piazzolla believed that the rift between classical music and popular music was the cause. Since then, this rift has narrowed and performances of orchestral works by popular composers have become commonplace.

Tangazo: Variaciones de Buenos Aires begins with a contrapuntal section, led by the low strings playing in octaves.

The upper strings join in with tinges of exotic Argentine flavor. Increasingly rich harmonies unfold as each entry layers on top of the previous one. The tempo grows brisk, with woodwinds joining. A sprightly oboe solo is soon taken over by the flute, only to be passed throughout the woodwind section. Piano and percussion enter, and all eventually have a voice in this series of variations. A sensuous slow middle section begins with a captivatingly delicious horn solo.

The orchestra gradually crescendos to fortissimo as the solo horn reaches the climax of the work. The tango grows softer, but also springs back to a fast tempo with woodwind solos. Another crescendo ushers in a soaring string section, but soon the music becomes hushed as the festivities fade into a warm Argentine night.

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Latin Fire & Boléro ALDO LÓPEZ-GAVILÁN Emporium Emporium is Aldo López-Gavilán’s first concerto for piano and orchestra, dedicated to his twin 11-year-old daughters Andrea and Adriana. The piece was premiered in July 2017

by Mr. Gavilán and the orchestra of Classical Tahoe under the baton of that festival’s artistic director, Joel Revzen.

A recording of the live performance was subsequently broadcast by American Public Media’s Performance Today.

The composer has won many plaudits for Emporium, as well as invitations to perform it with prominent orchestras in Cuba, Colombia, France, and the United States.

Mr. Gavilán writes: “The first movement is based on a melody I composed for my twin daughters as a birthday present, obviously inspired by my feelings about them. I named it Emporium because I wanted to describe a place where you could find many different things from all over the planet. Later I learned that this word has several different meanings, and I liked the fact that all of them were linked to the spirit of the piece.

The second movement is a tribute to the post-revolutionary Cuban songs known as La Nueva Trova and to American country music songs, unified in one melody as a symbol of peace and love.

The third and final movement opens in a new vein: dynamic, rhythmic and polytonal music that recreates the first’s

movement main theme with hints of Cuban modern music. The development section knits together themes from each movement, again emphasizing the idea of world unity. A brief yet intense cadenza leads to the optimistic Grand Finale, with a majestic tutti stating of the main theme.”

ALBERTO GINASTERA Variaciones Concertantes Argentinean composer Alberto Ginastera was one of the most important composers to emerge from the Western Hemisphere in the twentieth century. As part of a worldwide nationalist trend among composers that included William Walton in England, Ottorino Respighi in Italy, and a host of American composers including Aaron Copland and Leonard Bernstein, Ginastera incorporated folk elements – sometimes actual folk tunes – in his many scores from the 1930s until the 1950s. His final three decades featured forays into more experimental techniques, including serialism.

Trained solely in Argentina, Ginastera remained in his homeland until he was nearly thirty. After a series of successes with his ballet scores, he received a Guggenheim Grant to study in the United States with Copland, among others. In 1948 he became the founding director of the conservatory at the National University of La Plata. However, the oppression of intellectuals and the harboring of Nazi war criminals during President Juan Peron’s regime (19461955), led Ginastera to travel extensively.

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Latin Fire & Boléro As a result, his music gained regular performances in Europe and the United States.

Variaciones Concertantes dates from 1953, just after Ginastera was forced to resign his position at the Conservatory because of political pressure. Ginastera begins the work with an expressive theme for harp and cello, which opens with a six-note arpeggio in the lowest range of the harp. This “symbolic chord” outlines the tuning of the open strings of the guitar (E, A, D, G, B, E), an instrument closely associated with Latin music.

By way of introduction, the composer wrote: “These variations have a subjective Argentine character. Instead of using folkloristic material, I try to achieve an Argentine atmosphere through the employment of my own thematic and rhythmic elements.

The work begins with an original theme followed by eleven variations, each one reflecting the distinctive character of the instrument featured.

All the instruments of the orchestra are treated soloistically...”

Ginastera’s meticulous craftsmanship is apparent throughout as each solo instrument adds its unique voice to the proceedings. However, particular notice is due to the final two sections of the work, as they provide a particularly masterful conclusion. After a reprise of the theme, this time for harp and double bass, Ginastera’s finale assembles the entire orchestra in a virtuoso finale bustling with the feral polyrhythms of an Argentine dance.

MAURICE RAVEL Bolèro Maurice Ravel was born thirteen years after Claude Debussy but, despite ardent admiration for his elder colleague’s music, followed his own path. His dealings with authority figures were never pleasant, as Ravel worked at his own pace, not conforming to deadlines set by others. Having entered the Paris Conservatoire at age fourteen, he would be dismissed from the institution three times before ending his quest for a degree. Students were required to win the school’s competitions in order to gain approval for further studies. First as a pianist, then as a composer, Ravel failed to win.

Then in 1905, upon reaching the thirty year age limit for competing, he was eliminated in the first round.

By this time in his career, he was already active with the Société Nationale de Musique, having composed several works that still appear on concerts.

As unseemly as it might be, all of the finalists were students of the same teacher, who also served as a judge. In what was called the Affaire Ravel, the French newspapers published reports of these new indiscretions at the Conservatoire, forcing the resignation of the director, and placing Gabriel Faure at the school’s helm.

Ravel’s interest in American jazz led to a deep friendship with George Gershwin, who famously treated him to several nights of jazz sessions in Harlem during a 1928 trip to the United States. The impact of this experience was profound,

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Latin Fire & Boléro and is apparent in several works, including the ballet Bolèro from 1928 and the two piano concertos he composed in 1929 and 1930.

Another influential factor in Ravel’s life at the time was the unfortunate onset of Pick’s disease, a degenerative brain disorder that first affected the composer in 1927 at the relatively young age of fifty-two. By 1929 he first noticed muscle control problems and aphasia (difficulty with language, affecting reading, writing, and speaking). By the mid-1930s Ravel was unable to communicate at all. He died in 1937 after an unsuccessful attempt to correct his disease through surgery.

Just before the American tour, Ravel was approached by the famed Russian dancer Ida Rubinstein about composing a new work for her to premiere. He first thought of making a quick arrangement of music from Iberia by Spanish composer Isaac Albéniz, but he could not obtain the rights. As a replacement, Ravel eventually decided upon an experimental approach. He would write an insistent melody and repeat it unchanged many times while making colorful adaptations to the orchestration. Through this technique, he would be able to keep the interest of the listener and allow for Bronislava Nijinska, Rubinstein’s choreographer and sister of Vaclav Nijinski, to create an exciting staging. At first he called the work Fandango, but changed the title to Bolèro before the premiere.

Ravel was true to his concept, and described his piece as,

“...consisting wholly of orchestral tissue without music — of one very long, very gradual crescendo. The themes are impersonal — folk tunes of the usual Spanish-Arabian kind.”

The result is much more thrilling than Ravel would have us believe. Bolèro begins almost inaudibly with its signature rhythm played by the snare drum. Layered onto the texture is also a harmonic pattern – little more than a slow rhythmic C major arpeggio – that acts as a foundation upon which the work’s melody is constructed. However, the heart of this work is the melody, first introduced in the low register of the flute. As the piece advances, this tune passes from one instrument to the next until it moves throughout the orchestra.

Often it is presented by small groups of instruments playing simultaneous harmonizations of the theme – one of these is a convincing imitation of a steam calliope, the characteristic organ used in circuses. Meanwhile, the rhythmic and harmonic elements begin a crescendo that progresses through the entire length of the work, an effect achieved by the gradual addition of instruments. Near the end, the hypnotic atmosphere is broken by a sudden transition from the C major tonality that has been present for about fifteen minutes to a bright E major chord that is breathtaking in its simplistic grandeur.

The masterful and climactic coda returns to C major with brusque horn calls outlining the interval of a tritone.

Bolèro ends in an unforgettably brilliant blaze of Spanish incandescence. ©2019 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com

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VIOLIN 1 Charles Wetherbee, concertmaster Rebecca Roser Annamaria Karacson, assistant concertmaster Debra Holland Brenda & Jack Zellner Susie Peek Randy Long Gyongyver Petheo 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 Clermont & Bob Braudes Megan Edrington Claire Figel Nancy McNeill Stephanie Mientka CELLO Charles Lee, principal Rebecca & Albert Bates Zachary Reaves, assistant principal Anne Wenzel

Charles Barnard Sara Fierer Penny & Robert Haws Yoriko Morita Margot & Chris Brauchli Greta Parks Shirley Stephens-Mock Eleanor Wells

CLARINET Stephanie Zelnick, principal Margaret & Rodolfo Perez Michelle Orman Ann & William Kellogg

BASS David Crowe, principal Nyla & William Witmore Brian Knott, assistant principal Lin & Matthew Hawkins Benjamin de Kock Jeremy Nicholas Matthew Pennington

BASSOON Charles Hansen, principal in Memory of Joan Ringoen Wendy La Touche

HARP Kathleen Wychulis, principal PIANO Arthur Olsen, principal Ellie & Harry Poehlmann 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 Kristin Weber ENGLISH HORN Kristin Weber

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BASS CLARINET To be filled

CONTRABASSOON Wendy La Touche HORN Michael Yopp, principal Ruth and Rich Irvin Devon Park, associate principal Susan and Tom Churchill DeAunn Davis, assistant & utility Stuart R. Mock Jeffrey Rubin Tessa & Alan Davis TRUMPET Leslie Scarpino, principal Nicky Wolman & David Fulker Kenneth Aikin Andrew Miller TROMBONE Bron Wright, principal Owen Homayoun (on leave) Jeremy Van Hoy Martha Oetzel TUBA James Andrus, principal PERSONNEL MANAGER N. Samantha Headlee ORCHESTRA LIBRARIAN N. Samantha Headlee

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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

ORDER TICKETS TODAY!

BOULDERPHIL.ORG/E VENTS OR CALL 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 September 1, 2019.

FOUNDERS CIRCLE ($30,000+) BRONZE CIRCLE ($2,500+) Anonymous Boulder Arts Commission Erma Mantey SCFD SeiSolo Foundation Lynn Streeter # Nicky Wolman & David Fulker +#

GOLD CIRCLE ($10,000+)

Anonymous AEC Trust Margot & Christopher Brauchli + Patricia Butler +# Colorado Creative Industries Grace & Gordon Gamm Jayne & Stephen Miller Margaret & Rodolfo Perez + Eleanor & Harry Poehlmann + Karyn Sawyer Westland Development Services *

SILVER CIRCLE ($5,000+)

Anonymous(2) Rebecca & Albert Bates *+ Nancy Clairmont & Bob Braudes *+# The Community Foundation Serving Boulder County Willem De Froy Pamela Dennis +# Ruth & Carl Forsberg Sophia Garrett + Virginia W. Hill Charitable Foundation Judy & Stephen Knapp # Marla & Jerry Meehl Janet & David Robertson Taddiken Tree Company Trevor Valdez Vermilion Design + Digital

Lari & Thomas Abraham Academy Senior Living * Arc Thrift Stores Heather Dupre Stathis Edel Beverly & Bruce Fest Lisa & Mark Galvin Sara & David Harper Lin & Matthew Hawkins + John Hedderich *# Constance Holden & TK Smith * IBM Ruth & Richard Irvin *+ Christine Yoshinaga-Itano & Wayne Itano * Ruth Carmel Kahn # George Lichter (in memoriam) Maihaugen Foundation Susan Olenwine & Frank Palermo Kathey Pear Anita & Arthur Polner Patricia Read & William Shunk * Martha & Alan Stormo Caroline & Dick Van Pelt Vivian Wilson Nyla & Gerry Witmore +

LEADERSHIP CIRCLE ($1,000+) Anonymous(2) Suzanne & James Balog Boulder Office of Arts + Culture Boulder Piano Gallery Fred Bratman Barbara Brenton Amy & Terry Britton Jan Burton Jennifer Carsillo & Michael Butterman Nelson Chen Jenny & Terry Cloudman

Alison Craig & Stephen Trainor Tessa & Alan Davis + Ursula Dickinson Kristin Dura eQuilter Bradley Fernandez Fisher Honda Frasier Elyse Grasso Joanna & Ralph Grasso Carol Grever The Hansson Family Ann & Russell Hayes Ann Hayes Holly & Grant Hickman Karen & Stewart Hoover Suzanne & David Hoover * Robert Huffaker Midge Korczak * Buddy Kring Joan & Harold Leinbach *+ Peggy Lemone & Peter Gilman * Nancy & Paul Levitt Susan Litt * The Lockwood Foundation Heidi & Jerry Lynch Millstone/Evans Group of Raymond James & Associates Marilyn & Robert Mohling + Francine & Robert Myers *+ Richard & Joan Ringoen Family Foundation + Cynthia & Dave Rosengren R. Alan & Stephanie Rudy Marjorie & Bob Schaffner * Jane & Neal Sliker Arthur & Carol Smoot Ivonka & Greg Sobeich Marion Thurnauer & Alexander Trifunac + James Walker Rena & Raymond Wells

Supporters ARTIST CIRCLE ($500+)

Anonymous(2) Alpenhof Lodge Patricia Angell Sally & Alexander Bracken Anne Burkholder & Stephen Eisenberg Frances Burton Cherilynn Cathey Vivian & Thomas Cecil Amy Clay Nancy Colburn Karen Connolly Sylvia & Burt Darmour Vici & Warren DeHaan Jeri & Hans Friedli Kathleen Fry Greater Boulder Youth Orchestra Harris Foundaion Jacobs Audio Diana & Matthew Karowe Eileen & Walter Kintsch Margot & Ray LaPanse Tracy Mayo Judy & Alan Megibow Karen & Steve Meyers Robert Myers Barbara & Irwin Neulight Molly Parrish James Pendleton Judy Reid & Richard Collins Alicia & Juan Rodriguez Jane & Leo Schumacher Ronald Sinton Linda & Stephen Sparn Gail & John Squires Jonathan Steinberg Randy Stevens Jack Walker Wines For Humanity The Winston Family Foundation Brenda & Jack Zellner + Kim & Paul Zilis

PARTNERS ($250+)

Anonymous(3) Nancy Berman Catherine & William Bickell Cinnamon Bidwell Kovalev Blanc Canvas Interiors Joan Bleacher Helen Bosley Boulder Ensemble Theatre Company Debbie & Yan Cardineau Norma & Roger Cichorz Lyn Ciocca McCaleb & Rob McCaleb Charlotte Corbridge + Alice & Joe Doyle Alexandra & Paul Dujardin Michelle Edwards Martha Coffin Evans & Robert Trembly II Nancy & Robert Fierer Claire & Art Figel Marj & Dean Fowler Anita & Gerald Gershten Suzan Grenier Dianne & Ken Hackett Chuck Hardesty Catherine Haskins & Larry Day Jeannette & David Hillery Sondra & Randal Hittle Neva & Milton Huffaker It’s Just Stuff Marcia & Colman Kahn Ann & William Kellogg + Bonnie Kirschenbaum Robert Krenz Douglas Lerner Randy Long + Pamela McKelvey Andrew Miller + Jean & Scott Nelson Muriel & David Olsen Martha Olson Jan Osburn Overnight Prints Publishing House Beatriz & Juan Roederer # Thomas Rounds Charles Samson Savory Spice Shop

Mary Scarpino Ruth Schoening Gerald Shioshita Deann & Bill Snider The Stanley Hotel Glen Strand Kathryn Strand Shelby & Nicholas Vanderborgh Tami Wakeman Pamela Walker + Celia & John Waterhouse Paul Weber + Tron Welch

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 335 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 303-4430542 or development@ boulderphil.org *Performance Sponsor +Friends of the Phil #Legacy Circle

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

Beethoven Cycle at the Museum

Serving the Front Range music community for over 40 years.

A Fanfare for All

BAND & ORCHESTRA RENTALS

FEB 29, 7 PM MAR 1, 4 PM

APR 4, 7:30 PM COPLAND Symphony No. 3

GUITARS, UKES & MORE LESSONS & WORKSHOPS

Handel’s Messiah LSO at the Movies!

DEC 15, 4 PM

BOOKS & ACCESSORIES

MAY 9, 7:30 PM

See website for venues and full details

longmontsymphony.org · 303.772.5796

3101 28th St., Boulder 303.449.0516 hbwoodsongs.com

B O U L D E R ’ S O N LY M U LT I - D I S C I P L I N A R Y ARTS CENTER

SOMETHING FOR E V E RYO N E Music — including folk, bluegrass, jazz, classical and more Film— at the Boedecker Cinema, Boulder’s only year-round art house cinema Comedy—we partner with Denver Comedy “MODERN HABITAT” | SEPT. 6-OCT. 13

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Works, bringing nationally recognized comics

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PEEK—our largest fundraiser, and a rare chance to indulge in all of the art under our roof Visual Arts — four award-winning galleries, free and open to the public

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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.

Tickets

BCOcolorado.org

St. Aidan’s Episcopal Church & Canterbury Campus Ministry 2425 Colorado Avenue

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

www.saintaidans.org office@saintaidans.org

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

www.GreaterBoulderYO.org

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

BoulderChorale.org • 303.554.7692

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

MAHLERFEST.ORG

“One of the boldest musical initiatives of modern times...” ~ Norman Lebrecht

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.

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

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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

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

Marin Alsop Conducts MAR 20-22 FRI-SAT 7:30 n SUN 1:00 R I L

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Season Sweet Sixteen 2019-2020

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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

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