Boulder Philharmonic, April 23-24, 2016

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2015 -16 SEASON Gordon and Grace Gamm

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Welcome The exciting times co Philharmonic in 20 ntinue for your Boulder 16—we follow ou r opening night live broadc ast with a second on on Colorado Public Radio e th a prestigious gran is spring. We make use of t from New Music USA and celebrate our firstev Endowment for th er award from the National e Ar ts. And, of co begin preparatio urse, we ns to bring our un ique approach to programming and to the Kennedy Ce community engagement nter for their ina ugural SHIFT Festival in 2017!

This fall featured exciting collabora tio concer tmaster Ch arles Wetherbee, ns with pianist Gabriela Montero, composer Charles John Fielder, the Denler, photogra Boul pher Nutcracker, and th der Chorale, singer Josh Ritter, a ne re Our steadily incre e performances of our popular ‘C w production of The hristmas with the asin Phil.’ our appeal and au g sales numbers suggest that we co di community special ence base by embracing the spirit ntinue to broaden of what makes ou . r In the new year, we look forward to a second colla at Boulder Ballet boration with ou in Copland’s iconi r friends c Rodeo. We we violinist Anne Ak lcom iko Meyers and cu tting edge compo e world-renowned (“Brooklyn’s postser Missy Mazzoli millennial Mozar t”) fo The sensational pe rformers of Cirque r a week-long residency in Februa performances, an ry. de la Symphonie d our season reac return in April fo r two hes a stirring culm Denver performan ination with Boul ces of Bach’s imm der or staged setting pr esented in collabo tal St. Matthew Passion in a dram and ration with Centra atic Bach Festival and l City Opera, the the CU College of Boulder Music.

We continue to ex pand the breadth as we add a seco and depth of our nd ed elementary school performance of our annual Discov ucational efforts, ery Concer t for students, preced ed by school visits musicians and m e. from Boulder Phil All year long, we can count on our superb musicians and impassioned to deliver polishe performances. W d e enthusiastic audi ences in a beautif simply love what we do. Playing for ul hall in one of th communities in th e most remarkable e country is a grea t privilege, and we us your orchestra ! thank you for mak ing Enjoy,

RENE PALMER

Dear Friends,

Michael

Boulder Philharmonic Orchestra 2015-2016

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To Our Supporters

BOULDER PHILHARMONIC ORCHESTRA

MICHAEL BUTTERMAN, MUSIC DIRECTOR

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

ADAM RIGGS

MUSIC DIRECTOR Michael Butterman PRINCIPAL GUEST CONDUCTOR Gary Lewis

Boulder Phil staff members

COVER CONDUCTORS Andrew Crust Rafael Rodriguez Christopher Tran OFFICERS Kyle Heckman, President Rodolfo Perez, Vice President BOARD Christopher Brauchli Joan Brett Claire Figel David Fulker Lin Hawkins Deborah Holland ADMINISTRATION Kevin Shuck, Executive Director Eve Orenstein, Director of Development Shelley Sampson, Patron Services Manager & Artistic Administrator Cynthia Sliker, Director of Community Engagement Hitomi Tsuchiya Sipher, Orchestra Librarian Janet Braccio, Publicity Consultant Holly Hickman, Marketing Consultant

Patricia Butler, Secretary Joel Kiesey, Treasurer

Erma Mantey Eleanor Poehlmann Karyn Sawyer Jennifer Stachniak Lynn Streeter Yenlik Weiss Chris Martin, Production Manager Kim Peoria, Orchestra Manager Betty Woon, Bookkeeper Michelle Binzel, Development Consultant Greta Parks, Marketing Intern Adam Riggs, Education Intern Matthew Dillon, Operations Intern

ADVISORY COUNCIL Barbara Brenton Joan Ringoen Pamela Dennis Mary Street Kent Hansen Dick Van Pelt TARGETED MARKETING Ruth Kahn Betty Van Zandt Susan Olenwine Brenda Zellner

We’re on our way!

Thanks to your support, we are on track for a record-setting 2015-2016 season in numerous respects. This past fall, we achieved yet another record for season subscribers, multiple sold-out performances, our highest ever ticket sales for The Nutcracker with Boulder Ballet, and a record number of supporters on Colorado Gives Day! And our accolades beyond Boulder continue to accumulate. We were selected to open Colorado Public Radio’s live broadcast series this season, and we were one of only two orchestras nationally to be awarded a prestigious “Imagine Your Parks” grant from the National Endowment for the Arts.

As we gear up for our 2016-2017 season – which promises to be one of the most eventful in Boulder’s cultural history – we invite you to join us on our journey.

Join us as we reinvent what is possible for American orchestras today, and help us discover new ways to connect with our audiences and our community.

WITH EVERY PERFORMANCE

— Kevin Shuck, Executive Director

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About the Boulder Phil

GLEN 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 2015, today’s Boulder Phil is bucking national trends with growing, enthusiastic audiences under the vision and leadership of Music Director Michael Butterman.

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 Michael Butterman, Music Director 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.

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-byside 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.

12 Boulder Philharmonic Orchestra 2015-2016

GLEN ROSS

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.

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 serves as Music Director for the Boulder Philharmonic Orchestra, with whom he will appear at the Kennedy Center’s inaugural SHIFT Festival in 2017. He is also the Music Director of the Shreveport Symphony Orchestra and the Pennsylvania Philharmonic, as well as the Resident Conductor of the Jacksonville Symphony Orchestra. In addition, he is in his 16th 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 makes his debut with both the Philadelphia Orchestra and the National Symphony Orchestra in the 15-16 season. His recent appearance with the Cleveland Orchestra resulted in immediate reengagement for two concerts the following season. Other recent appearances include performances 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, Santa Fe Symphony, California Symphony, Louisiana Philharmonic, Spokane Symphony, El Paso Symphony, Mobile Symphony, Winston-Salem Symphony, Pensacola Opera, Asheville Lyric Opera and Canada’s Victoria Symphony. Summer appearances include Tanglewood, the Bravo! Vail Valley 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, and shared the podium with Ozawa to lead the season’s opening concert. Earlier, Mr. Butterman was sponsored by UNESCO to lead the National Philharmonic Orchestra of Moldova in a concert of music by great American masters.

For six seasons, Mr. Butterman served as Music Director of Opera Southwest in Albuquerque, NM. 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. 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 2015-2016

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Education and Community “Mr. Butterman’s energetic spirit and great sense of humor really make the concerts come alive.” - BVSD teacher 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.

• Discovery Concerts introduce young students 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 Thursday, February 11, 2016.

• “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. New this year, with support from the Noris Foundation, Boulder Phil chamber groups will also be visiting schools!

• 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.

• $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 support of Boulder Phil education programs is critical to our success in enriching our community through music. For more information on becoming involved as a sponsor or participating in Education Partners, please contact Cynthia Sliker, Director of Community Engagement, at 303-443-9203 or cynthia@boulderphil.org.

Wish you could see more of Boulder’s talented youth sitting in the seats around you?

So do we – that’s why we’re launching Education Partners to provide Boulder private music teachers and community music schools with FREE tickets for their music students to attend select Boulder Phil concerts.

What better way to inspire the musicians of tomorrow than by giving them the experience of sitting right here in Macky Auditorium today hearing great live orchestral music and world-class guest artists! Find out more at www.BoulderPhil.org Boulder Philharmonic Orchestra 2015-2016

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St. Matthew Passion BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Saturday, April 23, 2016 Macky Auditorium, CU Boulder 6:00pm Pre-Concert Talk 7:00pm Performance Sunday, April 24, 2016 Central Presbyterian Church, Denver 2:00pm Performance Boulder Bach Festival Chorus Zachary Carrettin, Artistic Director Jason St. Clair, Guest Chorus Master The University of Colorado Boulder University Choir Dr. Andrea Ramsey, Associate Director of Choral Studies The University of Colorado Boulder University Singers Dr. Gregory Gentry, Director of Choral Studies Boulder Children’s Chorale Kate Klotz, Artistic Director Central City Opera Robert Neu, Stage Director Derek Chester, Evangelist Stephen Morscheck, Jesus Jennifer Bird-Arvidsson, Soprano Abigail Nims, Alto Kyle Stegall, Tenor Ryan Kuster, Bass Johann Sebastian Bach

St. Matthew Passion

Part I (Duration: ca. 1 hr, 10 min) — Intermission —

Part II (Duration: ca. 1 hr, 30 min)

Subscribers and guests are invited to our Season Finale Subscriber Appreciation Party at the Dushanbe Tea House immediately following the performance, sponsored by Rocky Mountain Wealth Management Program and artists subject to change.

The use of cameras and electronic devices is strictly prohibited.

Boulder Philharmonic Orchestra 2015-2016 Program 1

Program

DEREK CHESTER, Evangelist Derek Chester has quickly established himself as a preeminent interpreter of oratorio repertoire and a teacher of the vocal arts. Chester received his bachelor’s degree in Vocal Performance from the University of Georgia and his Master’s Degree in Vocal Performance of Oratorio, Early Music, Song, and Chamber Music on full scholarship from the Yale School of Music and Institute of Sacred Music. As a Fulbright Scholar, he spent a year in Germany working as a freelance musician and furthering his training. While maintaining an active performing career, Chester received his DMA in Voice Performance and Opera Studies from the University of North Texas, with a dissertation on the juvenile song compositions of Samuel Barber. Recent concert appearances include Handel’s Messiah with the Colorado Symphony Orchestra; a reconstruction of Bach’s St. Markus Passion with Barokksolistene of Norway; Monteverdi’s Vespers of 1610 with Boston Baroque; Beethoven’s Missa Solemnis at the Berkshire Choral Festival; Britten’s War Requiem with the Korean Broadcasting System Symphony Orchestra; Mendelssohn’s Symphony No.2 the “Lobgesang” with the Buffalo Philharmonic; and all of the major works of Bach with American Bach Soloists. Though his career is concentrated primarily in concert work, Chester is also passionate about opera and opera history, with theater credits including Ferrando in Cosi fan tutte, Nemorino in L’Elisir d’Amore, Peter Quint in Turn of the Screw, Oronte in Alcina, and Acis in Acis and Galatea. He currently serves as Assistant Professor of Voice at the University of Northern Colorado and is a featured soloist at the Staunton Music Festival and the Colorado Bach Festival.

He continues his worldwide career as a sought after lyric tenor.

STEPHEN MORSCHECK, Jesus Bass-baritone Stephen Morscheck is widely respected for the dignity he brings in both concert and operatic performances. “Stephen Morscheck’s Leporello was genuinely funny, as well as solidly sung. His

catalogue aria was almost too effective, drawing applause before its conclusion,” says Opera News of a recent Don Giovanni performance.

Known for his stunning interpretations of oratorio repertoire, Mr. Morsheck is highly sought after on concert and recital stages.

Recent engagements include Bach’s St. John’s Passion with both Laudated Deum Chamber Choir in Switzerland and Soli Deo Gloria under John Nelson, and a gala concert with Lexington Bach Festival. This season, he will sing the role of Jesus in Bach’s St. Matthew’s Passion with Central City Opera and Boulder Philharmonic Orchestra.

JENNIFER BIRD, Soprano American soprano Jennifer Bird enjoys a busy and varied singing career in the US and Europe, having built a reputation as a charismatic, intelligent and versatile performer of more than 50 roles in opera, operetta and musical theater, as well as much of the standard oratorio and concert literature. As the recipient of a Rotary International Ambassadorial Scholarship, Jennifer studied in Germany in the Opernklasse of the Hamburg Musikhochschule, where she joined the vocal studio of renowned soprano Judith Beckmann. Engagements followed at the Landestheater Coburg, Bremer Theater, Vienna Volksoper, Nationaltheater Mannheim, and Theater Bonn, among others.

Highlights have included the title roles in Lulu and Lucia di Lammermoor, Violetta in La traviata, and Konstanze in Die Entführung aus dem Serail. Jennifer has been the soprano soloist with the Berlin Symphony Orchestra, the US Army Band at Carnegie Hall, the Stuttgart Philharmonic and with the Orchestra of the Warsaw Teatr Wielki. In 2010 she made her Alice Tully Hall debut in Orff’s Carmina Burana with the Riverside Choral Society. In 2012 Jennifer was the soprano soloist in the world premiere performances of Ticheli’s Songs of Love and Life, which have been recorded and released on the Klavier label. The 20152016 season will include Messiah with the Boulder Philharmonic, Mozart’s Requiem with the Midland Odessa Symphony and Chorus, and a return to Lincoln Center for Poulenc’s Gloria. Jennifer has been a prizewinner in several international competitions, including First Prizes in the Sylvia Geszty Competition

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Program vocalism, his repertoire spans the early baroque to the most contemporary of works with many world-premier performances to his credit. A specialist in music of the baroque, Mr. Stegall’s interpretations of the Bach evangelists and the leading roles of Handel and Charpentier are characterized by an unfailing attention to style and detail. Mr. Stegall is often heard in the Passions and Cantatas of J.S. Bach, the oratorios of Handel, the great masses of Mozart, Haydn, and Beethoven, and many others. He made his Lincoln Center debut as the evangelist in Bach’s St. John Passion, under Maestro Masaaki Suzuki, and is featured as soloist on the ABS Blu-Ray recording of Handel’s Messiah. Upcoming performances include appearances with St. Louis Bach Society and with the Australian International Opera Company. When not performing, Mr. Stegall commits his time to voice instruction, maintaining a private voice studio year-round.

ABIGAIL NIMS, Alto Mezzo-soprano Abigail Nims has quickly established herself as a musician of integrity and versatility through her performances of repertoire spanning from Bach, Handel, and Mozart to Crumb, Ligeti, and contemporary premieres. Ms. Nims’ engagements during the 2014-15 season included Beethoven’s Mass in C and Choral Fantasy with the San Francisco Symphony; Beethoven’s Symphony No. 9 with the Indianapolis Symphony Orchestra; and the Messiah with the Portland Baroque Orchestra and the Colorado Bach Ensemble. Engagements during the 2015-16 season include Mozart’s Requiem with the Midland-Odessa Symphony; and the Messiah and Bach’s St. Matthew Passion with the Boulder Philharmonic Orchestra.

Abigail Nims is particularly praised for her expressive interpretations and tonal beauty in the concert repertoire. Recent performances include Bach’s Mass in B-minor with the San Francisco Symphony; de Falla’s Three Cornered Hat at the Colorado Music Festival; Bach’s St. John Passion with the Orquesta Sinfónica Nacional de Mexico; Stravinky’s Pulcinella, Haydn’s Harmoniemesse, and Crumb’s Night of the Four Moons with the Saint Paul Chamber Orchestra; Mahler’s Rückert Lieder at the Colorado MahlerFest; and Handel’s Messiah with the Virginia Symphony Orchestra, the Baltimore Symphony, the Masterwork Chorus at Carnegie Hall, and the ProMusica Chamber Orchestra.

KYLE STEGALL, Tenor Kyle Stegall, tenor, has garnered praise worldwide for his “lovely tone and ardent expression” (NY Times), as well as his “blemish-free production” (Sydney Morning Herald). Mr. Stegall has performed as soloist under the direction of some of the world’s most celebrated conductors. A versatile artist with a reputation for intimate and genuine

RYAN KUSTER, Bass-Baritone Ryan Kuster is gaining national recognition for his recent appearances in Carmen, with Virginia Opera, Opera Colorado, Opera Grand Rapids, and Knoxville Opera. This season’s engagements include Angelotti in Tosca with Dallas Opera, Masetto in Don Giovanni at Arizona Opera, Bartolo in Le nozze di Figaro with On Site Opera, Escamillo in Carmen with Arizona Opera, and will sing the bass solo in St. Matthew’s Passion with Central City Opera and Boulder Philharmonic. In recent seasons, Mr. Kuster made his symphonic début with the Los Angeles Philharmonic singing the role of Masetto in their highly acclaimed production of Don Giovanni; sang Alidoro in La Cenerentola for Nashville Opera and Opera Saratoga; Masetto in Don Giovanni with Cincinnati Opera; appeared in Dallas Opera’s production of Turandot.

VERA MARINER

CHRIS_CARROLL

and the Robert Stolz Competition. She is a member of the voice faculty at the University of Colorado Boulder.

ROBERT NEU, Stage Director Known for his “distinctive staging style” and for being “the most inventive opera director in town” (St Paul Pioneer Press), Robert Neu is challenging the norms by becoming a pioneer in the field of

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Program semi-staged operas and oratorios with symphony orchestras. Sought after for his highly theatrical and musically sensitive work, Neu has directed more than eighty productions of opera, musical theater, and plays throughout the country. This season’s productions include Neu’s début with Central City Opera and Boulder Philharmonic in a staging of St. Matthew’s Passion, La bohème with the Gulf Coast Symphony, a début with Emerald City Opera for Florencia en el Amazonas, and a début with Jacksonville Symphony for a remounting of Hänsel und Gretel. Neu will also be leading an exciting new site-specific production of Le nozze di Figaro set in the James J. Hill House in St. Paul, MN involving immersive theater where the audience members follow the story through different rooms of the historic home.

PROGRAM NOTES JOHANN SEBASTIAN BACH (1685-1750) Matthäus-Passion (St. Matthew Passion), BWV 244 Johann Sebastian Bach’s Saint Matthew Passion is one of the revered monuments of music that stands in the pantheon that includes a mere handful of works that are culturally, historically, and musically honored as cornerstones of western society. On one level, it is a religious choral work that was first used as part of the Good Friday celebration of 1727 in Leipzig, but it is far more. Simply put, it is snapshot of grand festival music at the largest church in Leipzig in the early eighteenth century and is perhaps the greatest work by one of the giants of music history.

Bach was a working musician in the Lutheran Church and the Saint Matthew Passion had a purpose. The Lutheran liturgy was rigid in its musical content. A weekly cantata would be interspersed throughout the service, which lasted about four hours. In all, Bach composed around 250 sacred cantatas of which almost 200 have survived. Most of these works were composed for the Lutheran Sunday service, but religious feast days demanded additional cantatas. Bach had to provide music for about sixty church performances each year.

In addition to providing enough music, each work had to use an appropriate text to reflect the sermon of the day. Fortunately, these were outlined in the structure of the church year.

Major church holidays – Christmas, Good Friday, Easter, and feast days – required larger, more elaborate works. Bach’s Saint Matthew Passion is the largest and most elaborate of his holiday works.

Although Bach wrote at least four settings of various passion texts based on the Crucifixion accounts in the Gospels of Matthew, John, Luke, and Mark, only the Matthew and John versions survive. The St. Matthew Passion was composed while Bach was Cantor and Director of Choral Music in Leipzig where he composed the music for the two largest Lutheran churches in town – Thomaskirche and Nikolaikirche.

It was the unique characteristics of the Thomaskirche that allowed for the original structure of the St. Matthew Passion. The two organ lofts in the church allowed the use of two separated choirs, which is one of the most striking features of the structure. The 1742 revision was interesting in that the second organ part was changed to harpsichord continuo, because the organ in that loft was being repaired at the time.

This work draws its text from three sources.

The primary text is based on chapters 26 and 27 of the Gospel According to St. Matthew.

Other texts were drawn from the poetry of Christian Friedrich Henrici, who wrote under the pen name of Picander, and traditional Lutheran chorales, which would have been familiar to the congregations that first heard this music. Picander’s verses were widely available for purchase in Leipzig in the 1720s and 1730s.

One must remember that the Passions were not conceived as concert works. This is liturgical music divided into two halves between which the sermon was heard. The first half of the work preceded the sermon, but the second half commented on its subject.

However, many of the work’s more creative and interesting moments are deserving of mention.

At the time of Bach’s setting, the Leipzig Opera House had been closed for six years and the town council had set strict guidelines to prevent church music from becoming too theatrical. Bach ignored these regulations. In fact, as the illustrious conductor John Eliot Gardiner points out in his monumental book Bach: Music in the Castle of Heaven, Bach structured the work as an implied opera, but without staging, scenery, or costumes. A simplified version of Gardiner’s interpretation of the format is listed below:

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Program Introduction: Opening chorus Prologue: “Preparation of the Passion” From Jesus foretelling his Crucifixion to the Last Supper Act I: “The Garden Act” From the Mount of Olives to Jesus’ Arrest -SERMONIntroduction: Aria: “Ach nun ist mein Jesus hin” Act II: “The High Priests’ Act” From Jesus appearing befoe Caiaphas to Peter’s denial Act III: “Pilate’s Act” Judas’ remorse to Jesus’ conviction Act IV: “The Act of the Cross” From the Via Dolorosa to the death of Jesus Act V: “The Act of the Sepulchre” Earthquake to Entombment Conclusion: Final Recitative and Chorus Of course, the above framework is not something that Bach ever expressed, but, compared to opera of his time, the influence is clear.

Perhaps the most striking feature of the St. Matthew Passion is the variety of textures that Bach created in immediate juxtaposition to each other. Listeners encounter the narrative from the Gospels sung by the tenor soloist as secco recitative (with just continuo and voice), the voice of Jesus surrounded by a halo of strings (except during his last words), two choirs spaced on either side of the congregation, the words of the apostles sung by a unified choir, and the familiar chorales performed in the same manner. While the narrative is told in recitative, commentary on the story is provided in the arioso movements and prayers are presented as arias.

Much attention has been paid over the years to the use of numerology in this work.

Probably the most noticeable instance is the eleven repetitions of the words “Lord, not I” in the Last Supper scene. Of course, the twelfth apostle, Judas, does not sing this line.

All of the above features are important, but it is crucial to hear the music primarily as a statement of Bach’s deep faith in both the teachings of his church and the immense power of music.

St Matthew Passion PART ONE

Chorus I & II and Chorale (Daughters of Zion and Faithful Souls) Come, daughters, help me lament, behold! - Whom? - the Bridegroom!

Behold Him! - How? - As a Lamb.

Behold! - What? - behold the patience, look! - Where? - at our guilt.

See Him, out of love and graciousness bear the wood for the Cross Himself.

O innocent Lamb of God, slaughtered on the trunk of the Cross, patient at all times, however You were scorned.

You have borne all sins, otherwise we would have to despair.

Have mercy on us, o Jesus. Chorale: 2a. Evangelist When Jesus had finished this speech, He said to His disciples: Jesus You know that in two days it will be Passover, and the Son of Man will be handed over to be crucified.

4a. Evangelist Then the high priests and the scribes and the elders of the people gathered in the palace of the high priest, who was named Caiaphas, and took council how with deception they could seize Jesus and kill Him. They said, however: 4b. Chorus I & II Not, indeed, during the festival, so that there will not be an uproar among the people.

4c. Evangelist Now when Jesus was in Bethany, in the house of Simon the leper, a woman came to Him with a cup filled with valuable water; and she poured it upon His head as he sat at the table. When His disciples saw this, they were against it and said: Chorus I What purpose does this foolishness serve? This water could have been sold for a high price and given to the poor.

4e. Evangelist When Jesus heard this, He said to them:

3. Chorale Heart’s beloved Jesus, how have You transgressed, that such a harsh sentence has been pronounced?

What is the crime, of what kind of misdeed are You accused?

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Program Jesus Why do you trouble this woman? She has done a good deed for Me. You will have the poor with you always, but you will not always have Me. She has poured this water on My body because I will be buried. Truly I say to you: wherever this Gospel will be preached in the whole world they will tell, in her memory, what she has done.

5. Recitative A (Chorus I) O You dear Savior, when Your disciples foolishly protest that this virtuous woman prepares Your body with ointment for the grave, in the meantime let me, with the flowing tears from my eyes, pour a water upon Your head!

6. Aria A (Chorus I) Repentance and regret, repentance and regret rips the sinful heart in two.

Thus the drops of my tears, desirable spices, are brought to You, loving Jesus.

Evangelist Then one of the twelve, named Judas Iscariot, went to the high priests and said: Judas What will you give me? I will betray Him to you.

Evangelist And they offered him thirty silver pieces. And from then on he sought opportunity to betray Him 7. Evangelist Then one of the twelve, named Judas Iscariot, went to the high priests and said: Judas What will you give me? I will betray Him to you.

Evangelist And they offered him thirty silver pieces. And from then on he sought opportunity to betray Him. 8. Aria S (Chorus II) Bleed out, You loving heart!

Alas! A child that You raised, that nursed at Your breast, threatens to murder its caretaker, since it has become a serpent.

Evangelist 9a. Evangelist But on the first day of unleavened bread the disciples came to Jesus and said to Him: 9b. Chorus I Where do You want us to prepare to eat the Passover lamb?

9c. Evangelist He said: Jesus Go into the city to a certain person and say to him: the Master says to you: My time is here, I will hold Passover in your house with my disciples.

Evangelist And the disciples did as Jesus had commanded them, and prepared the Passover lamb. And in the evening He sat at dinner with the twelve. And as they ate, He said: Jesus Truly I say to you: one among you will betray Me 9d. Evangelist And they were very troubled and began, each one among them, to say to Him: 9e. Chorus I Lord, is it I? 10. Chorale It is I, I should atone, bound hand and foot in hell.

The scourges and the bonds and what you endured, my soul has earned.

11. Evangelist He answered and said: Jesus He who has dipped his hand in the bowl with Me will betray Me. The Son of Man will indeed pass away as it stands written of Him; yet woe to the man through whom the Son of Man is betrayed! It would be better for him if this man had never been born.

Evangelist Then Judas, who betrayed Him, answered and said: Judas Is it I, Rabbi?

Evangelist He said to him: Jesus You say it.

Evangelist While they ate, however, Jesus took the bread, blessed and broke it and gave it to the disciples and said: Jesus Take, eat, this is My body.

Evangelist And He took the cup and blessed it, gave it to them and said:

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Program Jesus Drink from this, all of you; this is My blood of the new covenant, which is poured out for many for the forgiveness of sins. I say to you: from now on I will not drink again from this fruit of the vine until the day when I drink again with you in My Father’s kingdom.

12. Recitative S (Chorus I) Although my heart is swimming in tears, since Jesus takes leave of me, yet His Testament brings my joy: His flesh and blood, o preciousness, He bequeaths to my hands.

Just as in the world, among His own, He could not wish them harm, just so He loves them to the end.

Evangelist All the other disciples also said the same.

17. Chorale I will stay here with You, do not scorn me!

I will not leave You, even as Your heart breaks.

When Your heart grows pale at the last stroke of death, Then I will hold You fast In my arm and bosom.

18. Evangelist Then Jesus came with them to a garden, which was called Gethsemane, and spoke to His disciples:

13. Aria S (Chorus I) I will give You my heart; sink within, My Savior!

I will sink into You; although the world is too small for You, ah, You alone shall be for me more than heaven and earth.

Jesus Sit here while I go over there and pray.

14. Evangelist And when they had spoken the benediction, they went out to the Mount of Olives. Then Jesus said to them:

Jesus My soul is troubled even to death; stay here and watch with Me!

Jesus Tonight you will all be angry at Me. For it is written: “I will strike the shepherd, and the sheep of the flock will be scattered.” When, however, I rise again, I shall go before you into Galilee.

19. Recitative T (Chorus I) and Chorus II O pain!

Here the tormented heart trembles; how it sinks down, how His face pales!

15. Chorale Acknowledge me, my Guardian, my Shepherd, take me in!

From You, source of all goodness, has much good come to me.

Your mouth has nourished me with milk and sweet sustenance, Your spirit has lavished upon me much heavenly joy.

16. Evangelist Peter answered, however, and said to him: Peter Even though everyone will be angry at You, yet I will never be angry.

Evangelist Jesus said to him: Jesus Truly, I say to you: tonight, before the cock crows, you will deny Me three times.

Evangelist Peter said to him: Peter Even if I must die with You, I will not deny You.

Evangelist And He took Peter and the two sons of Zebedee with Him, and began to mourn and despair. Then Jesus said to them:

What is the cause of all this trouble?

The Judge leads Him before judgment.

No comfort, no helper is there.

Alas! My sins have struck You down; He suffers all the torments of Hell, He must pay for the crimes of others.

I, alas, Lord Jesus, have earned this, that you endure.

Ah! Could my love for You, my Savior, diminish or bring aid to Your trembling and Your despair, how gladly would I stay here!

20. Aria T (Chorus I) and Chorus II I will watch with my Jesus, - So our sins fall asleep. My death is atoned for by His soul’s anguish; His sorrow makes me full of joy.

- Therefore His deserved suffering must be truly bitter and yet sweet to us. – 21. Evangelist And went away a bit, fell down on His face and prayed and said: Jesus My Father, if it is possible, let this Cup pass from Me; yet not as I will it, rather as you wish.

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Program 22. Recitative B (Chorus II) The Savior falls down before His Father; through this He lifts up Himself and everyone from our fall to God’s grace again.

He is ready, to drink the Cup of death’s bitterness, in which the sins of this world are poured and which stink horribly, since it is pleasing to our loving God. 23. Aria B (Chorus II) Gladly will I force myself to take on the Cross and the Chalice, yet I drink after the Savior.

For His mouth, which flows with milk and honey, has sweetened the grounds and the bitter taste of sorrow, through His first sip.

24. Evangelist And He came back to His disciples and found them sleeping, and said to them: Jesus Couldn’t you then remain awake with Me one hour?

Stay awake, and pray, so that you do not fall into temptation! The spirit is willing, but the flesh is weak.

Evangelist For a second time He went away, prayed and said: Jesus My Father, if it is not possible that this Cup pass away from Me, then I will drink it; thus may Your will be done.

25. Chorale What my God wills always occurs, His will is the best, He is ready to help those who believe firmly in Him. He gives aid in need, this righteous God, and punishes with measure.

Who trusts in God, builds upon Him firmly, God will never abandon.

26. Evangelist And He came back and found them sleeping, nevertheless, and their eyes were full of sleep. And He left them and went away another time and prayed for the third time, and spoke the same words. Then He came back to His disciples and said to them: Jesus Alas! Do you wish to sleep and rest now? Behold, the hour has come, when the Son of Man is to be handed over into the hands of sinners. Get up, let us go; see, he who betrays me is here.

Evangelist And as He was speaking, behold, there came Judas, one of the twelve, and with him a large troop from the high priest and the elders of the people with swords and spears. And the betrayer had given them a sign and said: “The one that I will kiss is Him; seize Him!” And just then he stepped forward to Jesus and said: Judas Greetings to You, Rabbi!

Evangelist And kissed Him. However Jesus said to him: Jesus My friend, why did you come?

Evangelist Then they stepped forward and laid hands on Jesus and seized Him. Lay open thy fire’s raging chasm, O hell, then, Now ruin, demolish, devour, now shatter With sudden most wrath the lying betrayer, that murderous blood!

27a. Aria SA (Chorus I) and Chorus I & II Thus my Jesus is now captured.

- Leave Him, stop, don’t bind Him! Moon and light for sorrow have set, since my Jesus is captured.

They take Him away, He is bound.

27b. - Are lightning and thunder extinguished in the clouds?

Open the fiery abyss, o Hell, crush, destroy, devour, smash with sudden rage the false betrayer, the murderous blood! – 28. Evangelist And behold, one of those who were with Jesus stretched out his hand and struck a servant of the high priest, and cut off his ear. Then Jesus said to him: Jesus Put your sword back in its place; for whoever takes the sword will perish through the sword. Or do you think that I could not ask My Father to send Me more than twelve legions of angels? How would the scripture be fulfilled then? It must happen thus.

Evangelist At the time Jesus said to the crowd: Jesus You have come out as if to a murderer, with swords and spears to take me; yet I have daily sat among you and have taught in the Temple, and you did not arrest Me. However all of this has happened in order to fulfill the writings of the prophets.

Evangelist Then all the disciples deserted Him and fled.

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Program 29. Chorale O mankind, mourn your great sins, for which Christ left His Father’s bosom and came to earth; from a virgin pure and tender He was born here for us, He wished to become our Intercessor, He gave life to the dead and laid aside all sickness until the time approached that He would be offered for us, bearing the heavy burden of our sins indeed for a long time on the Cross.

PART TWO 30. Aria A (Chorus I) and Chorus II Alas, now my Jesus is gone!

- Where, then, has your beloved gone, O most beautiful among women? Is it possible, can I behold it?

- Which way has your beloved turned? Alas! My lamb in the claws of a tiger; Alas! Where has my Jesus gone?

- We will seek Him with you. Alas! What shall I say to the soul, when she asks me anxiously: Alas! Where has my Jesus gone?

31. Evangelist But after they had arrested Jesus, they brought Him to the High Priest Caiaphas, where the scribes and the elders had gathered. Peter, however, followed Him from afar to the palace of the high priest, and went inside and sat with the servants, so he could see how it came out. The high priests, however, and the elders, and the entire council sought false witness against Jesus, so that they could put Him to death, and found none.

32. Chorale The world has judged me deceitfully, with lies and false statements, many traps and secret snares.

Lord, perceive me truthfully in this danger; protect me from malicious falsehoods!

33. Evangelist And although many false witnesses came forward, they found none. Finally two false witnesses came forward and said: Witnesses He has said: I can destroy the temple of God and in three days build it up again.

Evangelist And the high priest stood up and said to Him:

Evangelist But Jesus was silent.

34. Recitative T (Chorus II) My Jesus is silent at false lies, in order to show us that His merciful will is bent on suffering for us, and that we, in the same trouble, should be like Him and keep silent under persecution.

35. Aria T (Chorus II) Patience, patience!

When false tongues pierce.

Although I suffer, contrary to my guilt, shame and scorn, indeed, dear God shall revenge the innocence of my heart.

36a. Evangelist And the high priest answered and said to Him: High Priest I abjure You by the living God to tell us whether You are the Christ, the Son of God! Evangelist Jesus said to him: Jesus You say it. Yet I say to you: from now on it will come to pass that you will see the Son of Man sitting at the right hand of Power, and approaching in the clouds of heaven.

Evangelist Then the high priest tore his garments and said: High Priest He has blasphemed God; what further witness do we need? Behold, now you have heard his blasphemy.

What do you think?

Evangelist They answered and said:v 36b. Chorus I & II He is worthy of death!

36c. Evangelist Then they spit in His face and struck Him with fists.

Some of them, however, struck Him in the face and said: 36d. Chorus I & II Prophesy to us, Christ, who is it who strikes You?

High Priest Do you answer nothing to this, that they say against You?

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Program 37. Chorale Who has struck you thus, my Savior, and with torments so evilly used You? You are not at all a sinner like us and our children, You know nothing of transgressions.

38a. Evangelist Peter, however, sat outside of the palace; and a maid came up to him and said: Maid I And you were also with that Jesus of Galilee Evangelist He denied it however before them all and said: Peter I don’t know what you are saying.

Evangelist As he was going out of the door, however, another one saw him and said to those who were near:

40. Chorale Although I have been separated from You, yet I return again; even so Your Son set the example for us through His anguish and mortal pain.

I do not deny my guilt, but Your grace and mercy is much greater than the sin that I constantly discover in me.

41a. Evangelist The next day, however, all the high priests and the elders of the people held a council about Jesus so that they could put Him to death. And they bound Him, led Him out and turned Him over to the Governor, Pontius Pilate. When Judas, who betrayed Him, saw that He was condemned to death, he felt remorse and brought back the thirty silver pieces to the high priests and the elders and said: Judas I have done evil by betraying innocent blood.

Evangelist They said:

Maid II This one was also with that Jesus from Nazareth.

41b. Chorus I & II How does that concern us? See to it yourself!

Evangelist And He denied again, and swore to it:

41c. Evangelist And He threw the silver pieces into the temple and left, and went away and hanged himself. However the high priests took the silver pieces and said:

Peter I do not know the man.

Evangelist And after a little while people standing around came up and said to Peter: 38b. Chorus II Truly you are also one of them; your speech gives you away.

38c. Evangelist Then he began to curse and swear: Peter I do not know the man.

Evangelist And just then the cock crew. Then Peter remembered the words of Jesus, when He said to him: “before the cock crows, you will deny Me three times.” And he went out and wept bitterly.

39. Aria A (Chorus I) Have mercy, my God, for the sake of my tears!

Look here, heart and eyes weep bitterly before You. Have mercy, have mercy!

High Priests It will not do to put them into the coffers of God, since it is blood money.

42. Aria B (Chorus II) Give me my Jesus back!

See the money, the murderer’s fee, tossed at your feet by the lost son!

43. Evangelist They held a council, however, and bought a potter’s field with them for the burial of pilgrims. Therefore this same field is called the Field of Blood to this very day. Thus was fulfilled what was spoken through the Prophet Jeremiah, who said: “They have taken thirty silver pieces, the price of Him who was bought from the children of Israel, and have given them for a potter’s field, as the Lord has commanded me.”

Jesus, however, stood before the Governor; and the Governor questioned Him and said:Pilate Are you the King of the Jews?

Evangelist Jesus, however, said to him: Jesus You say it.

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Program Evangelist And to the accusations from the high priests and the elders he answered nothing. Then Pilate said to him: Pilate Do you not hear how harshly they accuse You? Evangelist And He answered him not even one word thus, to which even the Governor was greatly amazed.

44. Chorale Commit your path, and whatever troubles your heart, to the most faithful caretaker, He, who directs the heavens, who to the clouds, air, and winds gives path, course, and passage, He will also find ways for your feet to follow.

45a. Evangelist At the festival, however, the Governor had a custom of releasing a prisoner to the people, whichever they wanted. He had, however, at the time a most unusual prisoner named Barabbas. And as they were gathered together, Pilate said to them: Pilate Which one do you want me to release to you?

Barabbas or Jesus, of whom it is said, He is the Christ?

Evangelist For he knew well that they had handed him over out of envy. And while he sat upon the judgment seat, his wife sent to him and her message said: Pilate’s Wife Have nothing to do with this righteous man; I have suffered much in a dream today on His account!

Evangelist But the high priests and the elders convinced the people that they should ask for Barabbas and convict Jesus. So when the Governor answered and said to them: Pilate Which one between the two do you want me to release to you?

Evangelist Nevertheless the chief priests and the elders had now persuaded the crowd, that they should ask for Barabbas and destroy Jesus. And in answer now, the governor said unto them: (Pilate) Which one would ye have of these two men here, who I set free to you?

(Evangelist) And they said: (Crowd) 45b. Chorus I & II Let Him be crucified!

46. Chorale How strange is this punishment!

The Good Shepherd suffers for the sheep.

The Lord, the righteous One, atones for the crime on His servant’s behalf.

47. Evangelist The Governor said: Pilate What evil has He done then?

48. Recitative S (Chorus I) He has done good things for all of us; He gave sight to the blind, He made the lame to walk, He told us His Father’s word, He drove out the devil, He has strengthened the troubled.

He took sinners in and embraced them, other than that, my Jesus has done nothing!

49. Aria S (Chorus I) Out of love my Savior wants to die, He knows nothing of a single sin, so that the eternal destruction and the punishment of judgment would not remain upon my soul.

50a. Evangelist They screamed even more and said: 50b. Chorus I & II Let Him be crucified!

50c. Evangelist When Pilate saw, however, that he achieved nothing, rather that a much greater riot occurred, he took water and washed his hands before the people and said:

Evangelist They said: Chorus I & II Barabbas!

Evangelist Pilate said to them: Pilate What shall I do then with Jesus, of whom it is said, He is the Christ?

Pilate I am innocent of the blood of this righteous man, see to it yourselves!

Evangelist Then all the people answered and said:

Boulder Philharmonic Orchestra 2015-2016 Program 11

Program 50d. Chorus I & II Let His blood be on us and on our children.

50e. Evangelist Then he released Barabbas to them; but Jesus he had scourged and handed Him over to be crucified.

55. Evangelist And when they had mocked Him, they took off the mantle and put His clothes back on; and led Him out to be crucified. And as they were going out, they found a man from Cyrene named Simon; they compelled him to carry His cross for Him.

51. Recitative A (Chorus II) Forgive this, God! Here stands the Savior bound.

O scourging, o blows, o wounds!

You hangmen, stop!

Doesn’t the soul’s anguish, the sight of such horror soften you?

Alas indeed! You have such hearts that are like the whipping posts themselves and even much harder.

Have mercy, stop!

56. Recitative B (Chorus I) Yes, willingly are flesh and blood compelled to the Cross; The better it is for our souls, the bitterer it feels.

52. Aria A (Chorus II) If the tears on my cheeks can do nothing, o then take my heart as well!

Yet let it, for the flow, when the wounds gently bleed, be the offering-bowl as well.

58a. Evangelist And when they had come to the place named Golgatha, which is translated the place of the Skull, they gave Him vinegar to drink mixed with gall; and when He tasted it, He would not drink it. When they had crucified Him, however, they divided up His clothing and tossed lots over them, so that what was spoken through the Prophets was fulfilled: “They have divided my clothing among them, and over my robe they have cast lots.” And they sat around and kept watch. And over His head they lifted up a written sentence of death, namely: “This is Jesus, the King of the Jews.” And there were two murderers crucified with Him, one to His left and one to His right. But those who passed by cursed at Him and shook their heads, saying:

53a. Evangelist Then the soldiers of the Governor took Jesus with them into the courthouse and gathered around Him the entire troop; and undressed Him and put a purple mantle on Him; and they wove a crown of thorns and set it upon His head, and a reed in His right hand, and they bowed before Him and mocked Him, saying: 53b. Chorus I & II Hail to You, King of the Jews!

53c. Evangelist And they spit on Him and took the reed and struck His head with it.

54. Chorale O Head, full of blood and wounds, full of suffering and shame!

O Head, bound in mockery with a crown of thorns!

O Head, once beautifully adorned with the highest honor and beauty, now rather supremely defiled: be greeted by me!

You noble countenance, before which rather should tremble and cower the great powers of the world, how spat upon are You, How ashen You have become!

Who has treated the light of Your eyes, which is like no other light, so shamefully?

57. Aria B (Chorus I) Come, sweet Cross, this I want to say: My Jesus, give it always to me!

If my suffering becomes too heavy one day, You Yourself will help me bear it.

58b. Chorus I & II You who destroy the temple of God and build it up again in three days, help Yourself! If You are the Son of God, climb down from the Cross!

58c. Evangelist In the same way the high priests also mocked Him, together with the scribes and the elders, saying: 58d. Chorus I & II He has helped others and He cannot help Himself. If He is the King of Israel, let Him climb down now from the Cross, and we will believe in Him. He has trusted in God to rescue Him now; He lied, because He has said: “I am the Son of God.” 58e. Evangelist In the same way He was reviled by the murderers who were crucified with Him.

Program 12 Boulder Philharmonic Orchestra 2015-2016

Program 59. Recitative A (Chorus I) Alas, Golgatha, unhappy Golgatha!

The Lord of glory must shamefully perish here, the blessing and salvation of the world is placed on the Cross as a curse.

From the Creator of heaven and earth earth and air shall be withdrawn.

The innocent must die here guilty; this touches my soul deeply; Alas, Golgatha, unhappy Golgatha!

63a. Evangelist And behold, the veil of the temple was torn in two pieces from top to bottom. And the earth shook, and the cliffs were rent, and the graves opened up, and many bodies of saints arose, who were sleeping, and came out of their graves after His resurrection and came into the Holy City and appeared to many people. The Captain, however, and those with him who were guarding Jesus, when they saw the earthquake and what happened then, they were terrified and said:

60. Aria A (Chorus I) and Chorus II Look, Jesus has stretched out His hands to embrace us, come! - where? - in Jesus’ arms seek redemption, receive mercy, seek it! - where? - in Jesus’ arms.

Live, die, rest here, you forsaken chicks, stay! - where? - in Jesus’ arms.

63b. Chorus I & II Truly, this was the Son of God.

61a. Evangelist And from the sixth hour there was a darkness over the entire land until the ninth hour. And at the ninth hour Jesus cried out loudly and said: Jesus Eli, Eli, lama sabachtani?

Evangelist That is: “My God, my God, why have you forsaken Me?” Some of those, however, who were standing by, when they heard this, said: 61b. Chorus I He is calling Elijah!

61c. Evangelist And some of them quickly ran, took a sponge and filled it with vinegar, and put it on a reed for Him to drink. But the others said: 61d. Chorus II Stop! Let’s see whether Elijah comes and helps Him. 61e. Evangelist But Jesus cried out loudly once again and died.

62. Chorale When I must depart one day, do not part from me then, when I must suffer death, come to me then!

When the greatest anxiety will constrict my heart, then wrest me out of the horror by the power of your anguish and pain.

63c. Evangelist And there were many women there, watching from a distance, who had followed Him from Galilee and had served Him, among whom were Mary Magdalene, and Mary the mother of James and Joseph, and the mother of the sons of Zebedee. In the evening however, came a rich man from Arimathea, named Joseph, who was also a disciple of Jesus; he went to Pilate and asked him for Jesus’ body. Then Pilate ordered that it be given to him.

64. Recitative B (Chorus I) In the evening, when it was cool, Adam’s fall was made apparent; in the evening the Savior bowed Himself down.

In the evening the dove came back, bearing an olive leaf in its mouth.

O lovely time! O evening hour!

The pact of peace with God has now been made, since Jesus has completed His Cross.

His body comes to rest, Ah! dear soul, ask, go, have them give you the dead Jesus, O salutary, o precious remembrance!

65. Aria B (Chorus I) Make yourself pure, my heart, I want to bury Jesus myself.

For from now on He shall have in me, forever and ever, His sweet rest.

World, get out, let Jesus in!

66a. Evangelist And Joseph took the body, and wrapped it in a pure shroud, and laid it in his own new tomb, which he had carved out of a single rock, and rolled a large stone before the opening of the tomb and went away. But Mary Magdalene and the other Marys were there, and they sat opposite the tomb. On the next day, that followed after the Sabbath day, the high priests and Pharisees came all together to Pilate and said: 66b.Chorus I & II Lord, we have remembered that this deceiver said, when He was still alive: “I will rise again after three days.” Therefore order that the tomb be guarded until the third day, so that His disciples do not come and steal Him, and say to the people, “He has arisen from the dead;” and the newest fraud would be worse than the first one!

Boulder Philharmonic Orchestra 2015-2016 Program 13

66c. Evangelist Pilate said to them:

Program

Pilate You have guards there; go and guard it as you see fit!

Evangelist They went forth and protected the tomb with guards and put a seal on the stone.

67. Recitative BTAS (Chorus I) and Chorus II Now the Lord is brought to rest.

- My Jesus, good night! The weariness is over, that our sins have given Him. - My Jesus, good night! O blessed bones, see, how I weep over You with repentance and regret, since my fall has brought such anguish upon You!

- My Jesus, good night! Lifelong, thousand thanks to You for Your suffering, since You held my soul’s salvation so dear.

- My Jesus, good night! – 68. Chorus I & II We sit down with tears and call to You in the grave: rest gently, gently rest!

Rest, you exhausted limbs!

- Rest gently, rest well. Your grave and headstone shall, for the anxious conscience, be a comfortable pillow and the resting place for the soul.

- rest gently, gently rest! Highly contented, there the eyes fall asleep.

ORCHESTRA ROSTER ORCHESTRA I ORCHESTRA II VIOLIN I VIOLIN I Chas Wetherbee, co-concertmaster Zachary Carettin, co-concertmaster** Debra Holland Gyongyver Petheo Annamaria Karacson Veronica Pigeon Yenlik Bodaubay Weiss Malva Tarasewicz

VIOLIN II VIOLIN II Sharon Park Regan Kane Miriam Linschoten Sarah Delevoryas Susie Peek Ingrid Peoria Paul Trapkus Lori Walker

VIOLA VIOLA Mary Harrison* Michael Brook Matthew Diekman Aniel Caban Stephanie Mientka Nancy McNeill

CELLO CELLO Ben Hayek, viola da gamba** Marcelo Sanches Charles Lee* Eleanor Wells

BASS BASS David Crowe* Brian Knott

FLUTE FLUTE Elizabeth Sadilek* Caitlyn Phillips Alaunde Copley-Woods Olga Shylayeva

OBOE/OBOE D’AMORE OBOE/ENGLISH HORN Euridice Alvarez Max Soto Kimberly Brody Tenly Williams

BASSOON BASSOON Charles Hansen* Kim Peoria

HARPSICHORD/ORGAN Thomas Jaber** * Principal

** Boulder Bach Festival Guest Artist

Central City Opera: Erin Joy Swank, Stage Manager

Program 14 Boulder Philharmonic Orchestra 2015-2016

Program BOULDER BACH FESTIVAL CHORUS For 35 years the Boulder Bach Chorus has been a major contributor both to the success of the Boulder Bach Festival and to the vital cultural scene of the Denver-Boulder region. The chorus comprises volunteer singers from all walks of life who share a love for the works of J. S. Bach and the desire to perform them meaningfully, with a variety of stylistic approaches and collaborating with both baroque period and modern instrument orchestras.

Soprano Penny Anderson Risa Booze Margot Brauchli Janet Brewer Evanne Browne Marianne de Alwis Vici DeHaan Sophie Hernando Kofman Cathy Look Andrea Love Kamilla Macar Toni Marinkovich Forman Jennifer Murphey Mary O’Brien

Shelley Sampson Madeline Smith Ancilla I Baiba Sube Lennard Alto Lisa Boyum Lynda Eggers Molly Hardman Jacqueline Hooper Mary Jarrett Lucy Kelly Diana Loucks Melinda Mattingly Nina Meyers Sara Neustadtl Melanie Reiff

Kerry Resseguie Bonnie Richards Cathy Sparkman Linda Wolpert Deanna Young Tenor Paul Gibb Tim Gulsrud David Nesbitt Tony Porter Herb Rodriguez Ron Roschke Dan Seger Chuck Smythe Paul Stuber

Bass Rick Collins Pete Dawson Joe de Raismes Greg Dieter Charles Douthit Petrus Richard Eggers Andris Levensteins Pontifix I Al Lundell Mark Meyer Paul Munsch Mark Persiko Bruce Rose Jim Topping Matt Witherow

CU UNIVERSITY CHOIR AND UNIVERSITY SINGERS

University Choir of the University of Colorado Boulder is a highly select undergraduate ensemble that has made numerous conference appearances and international tours over the years.

University Singers is a highly select chamber ensemble from the University of Colorado Boulder. The group is comprised of graduate and undergraduate student singers who have an extensive background in choral singing.

UNIVERSITY CHOIR Soprano Andie Anthony Kim Bridges Natalie Buchholz Emily Eck Taylor Graham Seana Harker Cassidy Hemp Chloe Mathis Julia Wirth Diana Wohler Alto Ambria Benavides Hannah Joy Bloom Elise Delaware Jade Espina Leigh Francia Julieta Garcia Rachel Garstang

Kamryn Holland Skye Kiere Greta Rieder Kristin Schmitt Tenor Karl Allen Bryant Hake Cade Haley Paul Reynerson Bass Brandon Cott Logan Funderburk Sam Girardeau Daniel Kim Alexander Lubar Timon Matern Nicholas Renninger

UNIVERSITY SINGERS Soprano Rebecca Knack Anne Lonowski Maggie Masciarelli Greta Rieder Anna Royer Emma Vawter Ancilla II Alto Lia Bendix Nichol Elgin Uxor Pilati Elizabeth Gangware Testis I Susanna Jacobson Stacey Landes Allison Zema

Tenor Paul Ashour Lane Melott Testis II Seth Osborn Jason St. Claire Paul Thompson Bass Zachary Begley Judas Matthew Brown Pontifix II Jeffrey Dixon Erik Jensen Aaron Loeffler Kevin McKenzie Pilatus Jack Skinner

Boulder Philharmonic Orchestra 2015-2016 Program 15

Program BOULDER CHILDREN’S CHORALE

The Boulder Children’s Chorale serves students in first through eighth grade through three performance ensembles: two Preparatory choirs for developing singers and Bel Canto, our top auditioned ensemble for experienced singers. Since it’s inaugural season in 2009, Boulder Children’s Chorale has collaborated with premier musical ensembles from across the Front Range including the Boulder Philharmonic Orchestra, Boulder Ballet, Boulder Chorale, Mahlerfest, Boulder Kids for Bach, the Baroque Chamber Orchestra of Colorado, Kutandara Marimba, CU Opera and CU Jazz.

BCC aims to achieve musical excellence while helping nurture and develop the musicianship and artistry of each child in our ensembles. Under the leadership of Artistic Director, Kate Klotz, the Boulder Children’s Chorale continues to grow in membership and provide musical education and enrichment to students from across Colorado’s Front Range. For more information on the Boulder Children’s Chorale, please visit www.boulderchildrenschorale.org Madeline Becker Julia Cope Anna Enssle Eliana Feistner Ian Feistner Celia Gaitonde Allie Grasso

Nefeli Hadjiyiannis Katie Hartrick Sarah Hunter Juliana Krigsman Louise Larsen Audrey Maloney Annaliese Markel

Corinne Menaker Caitlyn Mitchell Ella Mitchell Jaroldeen Oveson Iñaki Palacios Asa Presler Tessa Robinson

Lydia Soto Rodriguez Coco Rohde Scarlett Snyder Penelope Volkmar Jonathan Yen Michelle Zhang

CENTRAL CITY OPERA Celebrating its 84th year in 2016, Central City Opera is the nation’s fifth-oldest opera company, located just 35 miles west of Denver in one of Colorado’s official National Landmark Historic Districts. The company continues to present artistically excellent professional opera in its annual summer festival; to offer career-entry training to young singers; to produce education and community service programs; and to preserve and maintain the Opera House and 30 other Victorian-era properties. Central City Opera’s 2016 Summer Festival runs July 9 to August 7 and features the 60th anniversary production of Douglas Moore’s The Ballad of Baby Doe and Puccini’s powerful thriller, Tosca, at the Central City Opera House. Two one-act operas will also be presented in Central City, Denver, Boulder and Colorado Springs: Mozart’s witty The Impresario and the story of Edward Hopper paintings that come to life, John Musto’s Later the Same Evening. Tickets start at just $31. Save 20% on The Ballad of Baby Doe or Tosca with code: BACH16.* Visit www. centralcityopera.org or call 303-292-6700. *Discount not valid of previous purchases.

Contributions received We acknowledge donors who have given gifts of $100 or more since December 1, 2015 who are not already recognized elsewhere in the program: in memory of Tom Dickinson Virginia Jones Richard & Jane Barker Mary Ann O’Leary Annlee Landman Brewers Association Beatriz & Juan Roederer Don & Alice Allen Josephine Bynder Cassidy & John Leeburg Diane Rosenthal Frank Butcher Dave & Mary Leonard Bill & Beth Carsillo Ronald Sinton Kenneth & Lanoel Custer Richard & Linda Livingston Brook Reams & Dr. Courtland & Kathryn Goff Elizabeth Marr Rochelle Chartier Carolyn Spicer Carol & George Grossman Julie & Tim Marshall Collins Foundation Joyce & Rigomar Thurmer Bonnie & Quentin Karlsrud Charles & Gail Gray John Dennis Hynes & Susan West & Fred Toback Glenn Mowery Larry Day & Catherine Virginia Medelman Virginia Hill Charitable Jim Neely Millstone/Evans Group Haskins Foundation Marion Paton Josie & Rollie Heath of Raymond James & David & Amy Weiss Barbara Sable Associates Cherine & Mark Herrmann Anne Wenzel Rosa & Allan Scott John Hughes Scott & Jean Nelson Rick & Rebecca White Lynn Simonson Holly Hultgren Ronald & Joan Nordgren Keith Winton

Program 16 Boulder Philharmonic Orchestra 2015-2016

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Works and Process: Choreography and Live Music Presented by the Boulder Philharmonic and Boulder Ballet

Tuesday, January 12, 2016 • 6 PM Shine Restaurant and Gathering Place 2027 13th Street, Boulder Join us as we delve into how we bring collaborations between the Boulder Phil and Boulder Ballet to life! Music Director Michael Butterman and Artistic Director Ana Claire will discuss their inspiration and process for developing original choreography for Aaron Copland’s Rodeo, accompanied by live illustrations with dance and music.

6 PM - Hors d’oeuvres and mingling 6:45 PM - Discussion and presentation Tickets: $60

Meet the Artists Progressive Luncheon with violinist Anne Akiko Meyers, composer Missy Mazzoli, and Music Director Michael Butterman Thursday, February 11, 2016 • 1 pm The Academy 970 Aurora Street, Boulder CO Get to know Billboard’s top-selling classical artist of 2014, one of the most up-and-coming composers of our time, and the Boulder Phil’s innovative conductor at this unique event!

Following a chat among the artists and a Q&A, they will each join you at your table for a course during this luncheon at The Academy.

1pm - Meet the artists 1:30pm - Lunch with the artists Tickets: $75

Making the Masterworks at Macky: St. Matthews Passion Thursday, April 21, 2016 5:30pm Macky Auditorium CU Boulder Campus Join us for an intimate performance, seated on stage at Macky Auditorium! Bach specialists will discuss and demonstrate the composition and vision of one of the most grandiose pieces of early music.

5:30pm - Discussion and performance 6pm - Cocktail reception Tickets: $60

Boulder Philharmonic Orchestra 2015-2016

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KEITH BOBO

Events of Note

Donors 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 October 1, 2014 through December 1, 2015.

FOUNDERS CIRCLE ($30,000+) SCFD Nyla & Gerry Witmore

GOLD CIRCLE ($10,000+)

Anonymous Patricia Butler Colorado Creative Industries Flatirons Bank David Fulker & Nicky Wolman Gordon & Grace Gamm Wayne Itano & Christine Yoshinaga-Itano National Endowment for the Arts Noris Foundation Rodolfo & Margaret Perez Lynn Streeter Marion Thurnauer & Alexander Trifunac

SILVER CIRCLE ($5,000+)

Anonymous (2) Albert & Rebecca Bates Boulder Arts Commission Thomas & Virginia Carr Eleanor Crow Jacqulynn Geister David & Sara Harper Micro Motion/Emerson Steve & Jayne Miller New Music USA Harry & Eleanor Poehlmann Tebo Properties

BRONZE CIRCLE ($2,500+)

The Academy Anonymous Albert & Nancy Boggess Christopher & Margot Brauchli Joan Brett Joan Cleland The Community Foundation Serving Boulder County Pamela Dennis Eide Bailly, LLP Carl & Ruth Forsberg Jerry & Janet Gilland Lin & Matthew Hawkins

Kyle & Stephanie Heckman Mark & Cherine Herrmann Teresa Myrwang Holum Matthew Hyatt IBM Samuel & Carolyn Johnson Ruth Carmel Kahn Stephen & Judy Knapp Kiplund Kolkmeier George Lichter (in memoriam) Erma & John Mantey The Newton Family Fund Frank Palermo & Susan Olenwine Carl & Kathy Polhemus Rocky Mountain Wealth Management Karyn Sawyer

LEADERSHIP CIRCLE

($1,000+) Anonymous (2) Gail Aweida (in memoriam) Bennie & Jannette Balke Berenbaum, Weinshienk, LC Boulder County Arts Alliance Alexander & Sally Bracken Barbara Brenton Lindley Brenza Amy & Terry Britton Michael Butterman & Jennifer Carsillo Michael & Stephanie Carter Toni & Nelson Chen Terry & Jenny Cloudman Alan & Tessa Davis James Tailer & Donna Davis Scott & Paula Deemer Tom & Ursula Dickinson The Louise & Grant Charitable Fund Elyse Grasso Margaret Hansson Russell & Ann Hayes John Hedderich Grant & Holly Hickman David & Suzanne Hoover Hutchinson Black & Cook, LLC Quentin & Bonnie Karlsrud Ray & Margot LaPanse Harold & Joan Leinbach

34 Boulder Philharmonic Orchestra 2015-2016

Richard & Linda Livingston Frances MacAnally Annyce Mayer Millennium Harvest House Edith Morris Trust Susan & Paul Roberts Janet & David Robertson Juan & Alicia Rodriguez Luana Rubin R. Alan & Stephanie Rudy 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 Jack & Brenda Zellner Art Zirger & Mary Rowe

ARTIST CIRCLE ($500+)

Randall & Jill Anderson Anonymous Helen Bosley Carolyn Bradley Jean-Pierre & Glenna Briant Joe Brienza Andrew & Audrey Franklin Hans & Jeri Friedli Ralph & Joanna Grasso James & Gayle Heckman Gerald & Doree Hickman Kathy & Randy Hungate Paul & Nancy Levitt Jerry & Heidi Lynch Patricia McCarthy Barbara & Irwin Neulight William Roettker Ross & Jane Sheldon Kevin Shuck & Greg Ginocchio Debra Vicharelli Jack & Sophie Walker Vivian Wilson The Winston Family Foundation

PARTNERS ($250)

Joyce Albersheim Sydney & Robert Anderson Anonymous Richard Bailey Janet Bartsch

Donors Vincent Bates Karen Bernardi Joan Bleacher Janet Braccio Carls Fund Ben & Gale Chidlaw Barry Clark First Sunday Nighters Richard Collins & Judy Reid Joe & Alice Doyle Ellen Friedlander Ann Garstang Gerald & Anita Gershten Julie Ginocchio Dr. Gilberto Gonzalez Susan & Gustavo Grampp Ken & Dianne Hackett Kent & Cathy Hansen Chuck Hardesty Jeannette Hillery Caroline Himes Mark Holdbrooks Stewart & Karen Hoover Dixie Hutchinson Richard & Ruth Irvin Colman & Marcia Kahn David & Carol Kampert Matthew & Diana Karowe William & Ann Kellogg Don & Eleanor King Annette & Thomas Kissenger Bruce Kahn & Susan Litt Mary Marlino & Greg Young Martha McGavin Richard & Donna Meckley Alan & Judy Megibow Robert & Marilyn Mohling Mary Nakashian Martha & George Oetzel Bob Orecchio Molly Parrish James Pendleton Marjorie & Bob Schaffner Jane & Leo Schumacher Robert & Elizabeth Shay Andrew & Margrit Staehelin Thomas & Nancy Storm Peter & Laura Terpenning Courtney Thomas Nicholas & Shelby Vanderborgh Pamela Walker Paul Weber Betty Woon

FRIENDS ($100+)

Roberts Ahrens Richard & Alma Alber Anonymous (3) Susan & Richard Anthes

Peggy Archibald Judith Auer & George Lawrence Mary Inga Backlund Richard & Jane Barker Anne & Harry Beer Les & Barbara Berry Catherine & William Bickell Alan Bloom & Sue Bohline Stephen Eisenberg & Anne Burkholder Josephine & James Bush Martha Bushnell Bob & Judy Charles Helen Chenery Dion & Alekie Cheronis Andrew & Lois Cherrington Dorothy Ciarlo Roger & Norma Cichorz Claude Weil & Carolie Coates Carol Cogswell Sara-Jane & Bill Cohen Max & Barbara Coppom Charlotte Corbridge Virginia Corsi Melinda Courtman Richard Bixby & Barbara Cox-Bixby Bonnie Crissey & Richar Oye Margot Crowe Dan & Nancy D’Ippolito Lynne Dannenhold Peter & Joan Dawson Larry Day & Catherine Haskins Warren & Vici DeHaan David & Susan Donaldson David Dowell Leslie & Donald Dreyer Norman & Muriel Eliot Lee Ellwood Susan Ely & James Hartman Jane Enterline Martha Coffin Evans Beverly Fest Claire & Art Figel Wayne & Anne Fischer Neil Fishman Robert & Juliette Ford Johannah & O. Lehn Franke Bill & Randy Ganter Neil Ashby & Marcie Geissinger Peter Gilman & Peggy Lemone Charles & Gail Gray Charles & Patricia Hadley Spencer & Valerie Havlick James & Judith Heinze Sondra & Randy Burton & Maxine Hobson John Dennis Hynes

Arnie Jacobson & Victoria Johns-Jacobson Wesley & Joanne Johnson Jo Ann Joselyn Josh & Lori Kahn Robert Kehoe Joel Kiesey Ann Kiley Eileen & Walter Kintsch Bonnie Kirschenbaum Peter & Judith Kleinman Howard & Barbara Klemme Barry Knapp Jon & Lenna Kottke Richard Kraft Frank Kreith Wesley & Heather Le Masurier Douglas Lerner Joy Linfield Leslie Lubovich & Bruce Wilson Al Gasiewski & Rachel Lum Kamilla Macar Susan Magruder William & Susan Marine Marian Matheson Steven & Susan Maxwell J. Hunter & Janet McDaniel Marla & Jerry Meehl Elizabeth Meyer Barry & Gloria Miller Richard Nishikawa & Kathleen Miller Millie & Ivan Miller Sara Milmoe Roger & Lily Moment Joan Mulcahy Robert & Francine Myers James Neely Scott & Jean Nelson Ronald & Joan Nordgren Alison & Graham Oddie Jan Osburn Corinne Effinger-Owen Christopher & Linda Paris David Paulson Robert & Marilyn Peltzer Mary & John Price Priscilla Pritchard Nicole Rajpal Raymond & Mary Roble Lester Ronick Charles Samson Judith Schilling Daniel & Boyce Sher Edward Siegel Cynthia Sliker & Robert Schaller Todd & Gretchen Sliker Zdenka & Dean Smith

Boulder Philharmonic Orchestra 2015-2016

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Donors Pamela & Michael Sousa Robert & Joyce Spencer Courtland & Carolyn Spicer Randy Stevens Ron Stewart Gregory & Diane Strevey James Topping Michael & Nancy Udow Rex Vedder Richard & Wendy Wolf Bruce & Kathryn Woodruff Teresa Woodruff Charles Zabel

SUPPORTERS ($50+)

Andrea Adams Suzanne & Robert Anderson Anonymous (4) Elizabeth Becker Cynthia Betts David Blackburn Dr. Peter Bogenschutz Virginia Boucher Janet Brewer Debra & Charles Brindis David Burns Jane Byers Julianne Cassady

Thomas & Vivian Cecil Deborah Crabbe Charles & Jean Dinwiddie Caroline & Preston Douglas Ruth Feiertag William & Ann Ford Michael Fried & Cynthia Grossman Andrew Gaudette Garry & Barbara Gordon Lotus Fund Dorothea & Ronald Grey Kathryn Strand & Eldon Haakinson Linda & Nick Hattel Robert & Penny Haws Natalie Hedberg & Thomas Van Zandt Hans Jordan Diane Knudsen Alice Kreinbring Brad Lam C. Nicholas & Mollie Lee Pam Leland David & Elisa Locke Jean & Megan MacMillan J. Ramon McCarus Doris & Peter McManamon

Joanne Meras Polk Family Charitable Fund Paul & Margaret Preo Dayna & Robert Roane Ron Robeck Robert & Judy Rothe Barbara Sable Carol Saunders & Reed Bailey Stephanie Scheffler Ann Schroeder & Mark Ballenger Peter & Barbara Schumacher Nanette Schunk Christine Shields Betty Skipp Jennifer & Nick Stachniak Stacey Steers & David Brunel Robert & Julie Stuenkel Elaine Taylor Karen Utley Amy L. Vandersall Deborah Vink Kathleen & Dennis Wellman Ronald & Marlies West Phillip Wong

Your Phil Goes to DC...

“I am thrilled and honored that we’ve been selected to perform in our nation’s capital alongside some of the finest orchestras in the country... By connecting people to orchestral music, the Boulder Phil strives to be an essential part of our community's cultural fabric. We couldn’t be more delighted to share what’s working so well in Boulder with those involved in the first SHIFT Festival.” ~Music Director Michael Butterman

The Boulder Philharmonic Orchestra has been chosen to participate in the new weeklong SHIFT Festival, taking place at the Kennedy Center in Washington, DC, from March 27 through April 2, 2017.

This inaugural, high-profile music festival showcases four orchestras and provides a national platform to celebrate creativity and community engagement. The Atlanta Symphony Orchestra, North Carolina Symphony, and the Brooklyn-based ensemble, The Knights, chosen from a pool of submissions from orchestras across North America, will also be participating. More details on the Boulder Phil’s involvement in this signature event will be forthcoming.

36 Boulder Philharmonic Orchestra 2015-2016

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 Eve Orenstein at 303.443.0542.

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 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 Wayne Itano & Christine Yoshinaga-Itano Catherine Jackson Mitchell & Laura Brenton Jacob Barbara Johnson Sam & Carolyn Johnson Peter & Tamara Jorde

Your support makes our work possible By making a gift to our endowment, you can create a permanent source of income that will ensure the continuation of our programs far into the future. This type of meaningful gift can create a legacy for you while providing lasting support for our mission.

Ways to make an endowment gift: Charitable Gift Annuity Charitable Remainder Trust Bequest For more information, to make an endowment gift, or to let us know that you have included the Boulder Phil in your estate planning, contact Director of Development Eve Orenstein at 303.443.0542

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

DIRECTOR EMERITUS Kim Coupounas, China Leonard Dan Sher

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

Oswald Lehnert Cindy Lefkoff Kyle Lefkoff Jo Ann Mays Martha McGavin Frank McGuirk J. Nold Midyette Edith Morris in memoriam Barbara Nissen Bill Obermeier Joan Ringoen Rebecca Roser Barbara Rumsey Arthur Smoot Carol Smoot Robert Wilson Ed Wolff

Boulder Philharmonic Orchestra 2015-2016

37

Listen Locally

lourishes

10TH ANNIVERSARY SEASON 2015/16

Encore! Audience Favorites Mystery and Joy Bach Times Three Fanfares and Flourishes

OCT 16,17,18 DEC 4 & 6 FEB 26,27,28 MAY 20,21,22

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Sept. 27 Twyla Tharp Dance 50th Anniversary Tour Oct. 9 SFJAZZ Collective Tribute to Michael Jackson Nov. 6 Irish Chamber Orchestra Gábor Takács-Nagy, conductor Dec. 11 Soweto Gospel Choir Jan. 21 Diavolo Feb. 14 BODYTRAFFIC March 1 Rising Stars of the Metropolitan Opera March 31 Indigo Girls with the CU Symphony Orchestra April 15 Pablo Ziegler and Lara St. John Piazzolla Central Park Concert Redux Plus Eklund Opera, Takács Quartet, Holiday Festival and Spring Swing All performances are on the CU-Boulder Campus

Ways to Support Your Phil We rely on our community’s support to offer our artistic and education programs. We appreciate any support you can provide!

Discovery Concerts Build the Next Generation of Music Lovers The Boulder Phil’s Discovery Concerts introduce students throughout Boulder County and beyond to the magic of orchestral music. Our goal is to inspire students to begin instrumental study through the public schools, which studies show lead to improved academic performance in other areas as well. You can make a donation to directly support our Discovery Concert programs.

Boulder Phil Artistry Fund Brings Bold Ideas to Life!

With some of the region’s best professional musicians on the roster, and world-class guest artists like the Takács Quartet, Christopher Taylor and Sarah Chang taking the stage, the Boulder Phil is truly a cultural asset to the community. But Michael Butterman knows we can do even more. Increasing the number of Masterworks concerts, incorporating rich multimedia presentations, building the orchestra’s technical and artistic capacity by restoring a full rehearsal schedule, engaging top performers that audiences long to see on the Macky stage…these are just a few of the ways in which your contribution to the Artistry Fund will help Michael to more fully realize his artistic vision for the orchestra in the coming years.

Sponsor a Musician as a Friend of the Phil By making a pledge of two or more years as a Friends of the Phil sponsor, you provide critical support to the Phil by directly underwriting a portion of a professional musician’s salary. Our roster boasts some of the finest professional players in the region, and their artistry is at the heart of the concert experience that audiences thrill to season after season. Hiring the most qualified musicians requires a significant investment, and your participation in Friends of the Phil helps support the most talented artists in our community.

JOIN US AFTER THE SHOW! All Friends of the Phil sponsors will be invited to attend an exclusive reception with sponsored musicians during the season, immediately following a performance! Friends of the Phil are also invited to attend special open rehearsals to get a behind the scenes look and a chance to meet and mingle with musicians. Show your support of a Boulder Phil musician by joining the Friends of the Phil pledge program today!

For more information about making a donation to any of these programs, please contact Director of Development Eve Orenstein at 303-443-0542 or eve@boulderphil.org.

Thank you, Boulder!

Boulder Philharmonic Orchestra 2015-2016

39

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

40 Boulder Philharmonic Orchestra 2015-2016

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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