Boulder Philharmonic Winter 2015-2016, Jan. 16-Feb. 12, 2016

Reflections: The Spirit of Boulder

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

9

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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Dance, American Style BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Boulder Ballet Ana Claire, Artistic Director Saturday, January 16, 2016 Macky Auditorium, CU Boulder 6:30 pm Pre-Concert Talk 7:30 pm Performance William Schuman New England Triptych (1910 – 1992) Three Pieces for Orchestra after William Billings

I. Be Glad, Then, America

II. When Jesus Wept

III. Chester

Leonard Bernstein Symphonic Dances from West Side Story (1918 – 1990) I. Prologue

II. “Somewhere”

III. Scherzo

IV. Mambo

V. Cha-cha

VI. Meeting Scene

VII. “Cool”, Fugue VIII. Rumble

IX. Finale — Intermission — Aaron Copland Billy the Kid (1900 – 1990) I. Prairie Night

II. Waltz

III. Celebration Dance Aaron Copland Rodeo: Ballet in One Act (1900 – 1990) I. Buckaroo Holiday

II. Corral Nocturne

III. Ranch House Party

IV. Saturday Night Waltz

V. Hoe Down Program and artists subject to change.

The use of cameras and electronic devices is strictly prohibited.

Boulder Philharmonic Orchestra 2015-2016 Program 1

Program PROGRAM NOTES WILLIAM SCHUMAN (1910-1992) New England Triptych William Billings (1746-1800), though still not well known in his native land, is an important figure in the history of American music. His works reflect better perhaps than any others the rugged spirit, religious faith, and patriotic fervor of the Revolutionary War period. Despite some technical shortcomings, his music is impressive even today. William Schuman once said, “I am not alone among American composers who feel an identity with Billings and it is this sense of identity which accounts for my use of his music as a point of departure.”

As Schuman points out, the three parts of his work “do not constitute a ‘fantasy’ on themes of Billings, nor ‘variations’ on his themes, but rather a fusion of style and musical language.”

I. BE GLAD, THEN, AMERICA. This section is based on an anthem by Billings which includes the following lines: “Yea, the Lord will answer And say unto his people – behold!

I will send you corn and wine and oil And ye shall be satisfied therewith.

“Be glad, then, America, Shout and rejoice, Fear not, O land, Be glad and rejoice.

Hallelujah!”

There is a strong introduction, beginning with solo timpani and developed chiefly in the strings. The main section opens in the trombones and trumpets, reflecting the words, “Be glad, then, America, shout and rejoice.” Timpani, played solo, also lead to a fugal section, expressing “And we shall be satisfied.” After a combination of themes built up to a climax, we hear a free adaptation of the “Hallelujah” music from the original Billings score and a closing reference to the “Shout and rejoice” music.

II. WHEN JESUS WEPT “When Jesus wept the falling tear In mercy flowed beyond all bounds When Jesus groaned, a trembling fear Seized all the guilty world around.”

Here the music of Billings is used both in its original form and in Schuman’s melodic and

contrapuntal settings. The text is adapted to the musical form of a round.

III. CHESTER. Billings composed this music as a hymn, and the Continental Army later adopted the music and words for use as a marching song. Schuman’s score reflects the spirit both of the hymn and march.

The following is a selection from the words of the marching song: “Let tyrants shake their iron rods, And slavery clank her galling chains, We fear them not, we trust in God. New England’s God forever reigns.

“The foe comes on with haughty stride, Our troops advance with martial noise, Their vet’rans flee before our youth, And gen’rals yield to beardless boys.” ©2015 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com LEONARD BERNSTEIN (1918-1990) Symphonic Dances from West Side Story An American composer of Russian-Jewish parentage, Leonard Bernstein worked his way from a middle-class suburb of Boston to become America’s greatest musical figure.

Equally adept as a pianist, conductor, teacher, and composer, Bernstein became America’s ambassador of music. Before his successes, students were often turned away from study in the great European music conservatories because they were American and, therefore, incapable of artistic ability. Such was the opinion in Europe. In short, it was Leonard Bernstein who made it acceptable for a worldclass musician to be American.

In any given concert season, new music comes and goes. Regardless of the genre, audiences have a way of filtering new works into one of two categories – those they approve, and those they reject. There has probably been no work in the past fifty years that has enjoyed more adulation than Leonard Bernstein’s West Side Story, a Broadway musical that transcended its genre.

Conceived in 1949, West Side Story was a miraculous collaboration by three artists perfectly suited to work together – composer Leonard Bernstein, playwright Arthur Laurents, and lyricist Stephen Sondheim. Their task was simple, at least in concept – write an update of Shakespeare’s Romeo and Juliet, featuring

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Program ethnic rivalry between street gangs, consisting of native New Yorkers fighting against Puerto Rican immigrants. Foreshadowing the civil rights struggles of the late 1950s and 1960s, the show boasts musical numbers ranging from the light and airy “I Feel Pretty” to the vehement “A Boy Like That.” Jerome Robbins choreographed the dancing street gangs.

Opening to mixed reviews on September 26, 1957, the show played 732 performances, closing on June 27, 1959, less than two years after opening. Only after a tour and subsequent productions in New York and other large cities did West Side Story attain any semblance of stature. The 1961 film version, shot on location in New York’s Upper West Side, near the site of Lincoln Center, won eleven Academy Awards, including Best Picture. Finally, success had come to this most innovative musical.

Bernstein’s Symphonic Dances from West Side Story dates from 1961. With the popularity of the film, Bernstein decided that extracting a suite from the numerous dance sequences would be a logical step. He hired Sid Ramin and Irwin Kostal, orchestrators of the film version of Bernstein’s score. The Symphonic Dances outlines the play’s action, but does not present the excerpts in chronological order. Opening with the anxious Prologue, the work progresses through the hopeful “Somewhere;” a lively Scherzo; the Caribbean-tinged Mambo; a ChaCha based on the song “Maria;” the seething and abstract “Cool” fugue; the rhythmically charged “Rumble;” and the resigned tragedy of the finale. ©2015 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com AARON COPLAND (1900-1990) Suite from the Ballet Billy the Kid In 1938, the noted ballet impresario Lincoln Kirstein commissioned Aaron Copland to write a new work for his Ballet Caravan, a company that toured the country and took ballet to many places that would not otherwise have experienced the art of dance. Kirstein envisioned a work based on the American West. The subject would be Billy the Kid. The notorious cowboy-killer, Billy the Kid, was William Bonney, who was born in New York City at the close of the Civil War and, in childhood, moved west with his parents.

He killed his first man at the age of twelve, supposedly to avenge the killing of his mother.

Before he reached the age of twenty-one he

had shot a man for each year of his life. A handsome man, and at times a courteous man, a fine dancer, and a great favorite of Mexican girls and ranchers’ daughters, Billy could never submit to the rule of law. When his friend, Pat Garrett, became a sheriff, Billy knew that one of them must die. After a number of captures and escapes, he was ambushed by Garrett while asleep in the home of his Mexican sweetheart.

Copland’s ballet suite for orchestra, extracted in 1940, is in seven episodes. “The Open Prairie” is an orchestral portrait of the vast and empty plains, with a sauntering pace and prominent woodwind parts. The second episode, “Street in a Frontier Town,” recreates the spirit of the pioneer West. Cowboys mosey into town. Mexican women dance a Jarabe, interrupted by a fight between drunk men. The music is colorful, lively, and at times agitated.

“Prairie Night” (Card Game) is a quiet interlude. An atmospheric melody for woodwinds and muted strings depicts Billy and his outlaw friends quietly playing cards under the stars.

In the fourth movement, “Gun Battle,” crashing drums and dramatic music for winds accompany the capture of Billy.

“Celebration” (After Billy’s Capture) used phrases from authentic cowboy songs. The music begins quietly, but happily. Eventually a drunken brawl erupts.

The sixth movement is entitled “Billy’s Death.” In a short but sorrowful episode, Mexican women lament the passing of their hero, an enemy of law and order in the Wild West but always a friend to them. Copland’s suite ends with an epilogue, “The Open Prairie Again,” and a return to the initial theme in the horns. The work culminates in a stirring climax for full orchestra.

Copland quotes from familiar cowboy songs with great ingenuity but never literally.

Expect to hear “Git Along Little Dogies,” “Old Chisholm Trail,” “Goodbye, Old Paint,” and others. However, he does not refer to “Home on the Range,” because, as Copland explained with his usual succinctness, “I had to draw the line somewhere.” © 2015 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com AARON COPLAND (1900-1990) Rodeo: Ballet in One Act Described by Leonard Bernstein as the “Dean of American Music,” Aaron Copland

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Program delighted in his role as its elder statesman in the later years of his life. Before launching his compositional career with the resounding flourish of his Organ Symphony in a 1925 New York concert, he had studied at the American Conservatory at Fontainebleau in Paris. Among the distinguished faculty, noted

UPCOMING EVENTS SPHERES OF INFLUENCE With Anne Akiko Meyers, violin Friday, February 12 • 7:30pm

MUSIC ALIVE! COMPOSER RESIDENCY Special events featuring Missy Mazzoli in person: Café Phil Rehearsal - Tuesday, February 9 • 7:30pm Soundscape at the Dairy - Wednesday, February 10 • 2:00pm Guided Musical Hike - Wednesday, February 10 • 6:30pm Final Concert - Friday, February 12 • 7:30

Season Finale: ST. MATTHEW PASSION with Central City Opera, Boulder Bach Festival & CU Choruses Saturday, April 23, 2016 • 7:00pm (Macky) Sunday, April 24, 2016 • 2:00pm (Denver)

ORDER TICKETS NOW! www.BoulderPhil.org 303.449.1343 ext. 2

GLENN ROSS PHOTO

CIRQUE DE LA SYMPHONIE Saturday, April 2 2:00pm and 7:30pm

pedagogue Nadia Boulanger’s reputation stood out above all others, teaching generations of American composers from Copland to Philip Glass. Copland enjoyed a reputation as a renegade among composers, using harmonies that were often dissonant and abrasive.

In the late 1930s, the composer began to face the reality of shrinking audiences at orchestral concerts. He knew there must be a way to draw people back into the concert hall and to energize orchestral music. Copland’s new “simple” style, which often quoted folk music, uses an approachable musical language in an effort to remedy the problem. He often incorporated jazz-inspired rhythms and elements of popular music to express his ideas, while drawing listeners closer to his music.

On the heels of his enormously popular 1938 ballet Billy the Kid, Copland was ready to compose more works for the dance. In 1942, dancer/choreographer Agnes DeMille asked the composer to provide music for a “cowboy ballet” she had been hired to choreograph for the Ballet Russe de Monte Carlo, an offshoot of the Ballets Russes – the legendary ensemble for which Stravinsky composed The Rite of Spring. Copland demurred, saying that he had already composed his “cowboy ballet” and would rather write on a different subject. However, DeMille’s argument was convincing and Copland agreed to write the score for $1000. As in Billy the Kid, his use of traditional western ballads and fiddle tunes is extensive, drawn here from musicologist Alan Lomax’s songbook Our Singing Country.

Originally entitled The Courting at Burnt Ranch, its name was shortened to Rodeo (pronounced as in Spanish with emphasis on the second syllable, as in Rodeo Drive).

Premiering at New York’s Metropolitan Opera House, the ballet was a rousing success. As is often the case, the composer decided to extract a ballet suite for performance on orchestra programs, thereby gaining a much more widespread audience for his music. Copland’s editing was quite sparing, as only six minutes, mainly interludes, were trimmed from the original twenty-four minute ballet.

The first movement, Buckaroo Holiday, is boisterous and energetic, and features an extensive trombone solo that is both comical and delightful. Representing the opening action of the ballet, it sets the tone for the remainder of the work. Corral Nocturne follows with its quiet stillness reminiscent of the Western night sky. Saturday Night Waltz reflects the clumsy

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Program attempts of the ranch dancers (and fiddlers) at a weekend party. A cowgirl leads the entire ranch in the final Hoedown in a celebration of growing up. ©2015 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com

Rodeo: Ballet in One Act

ANA CLAIRE (Boulder Ballet Artistic Director) Although born in Boulder, Ana grew up on a ranch near Fairplay, Colorado.

At the age of eight she saw American Ballet Theatre perform Swan Lake and fell in love with the art of ballet.

In an extraordinary gift of support, Ana’s mother then drove her to ballet classes in Denver throughout her childhood. Ana has studied ballet with Maxine Williamson, Fernando Schaffenberg, Milenko Banovich, Barbara Demaree, and Larry Boyette. She performed with Fort Worth Ballet, Fort Worth Opera, David Taylor Dance Theater, Aladdin Theater, Boulder’s Dinner Theatre, Jan Justis Dance Company, 3rd Law Dance/Theater and was principal ballerina with Boulder Ballet for many years. Ana studied dance pedagogy at Texas Christian University and attended the teacher training workshop with former New York City Ballet principal Jillana. Ana originated Boulder Ballet’s acclaimed outreach program Steps in Time which has been performed at numerous schools throughout the Boulder/ Denver area. A passionate teacher for over 25 years, she is dedicated to helping students achieve technical excellence while nurturing their individual artistry. She has produced, directed, and choreographed the annual Storybook Ballet for over 20 years, each with original music, scenery, and costumes.

Co-artistic director since 2004, Ana assumed the role of sole Artistic Director this season.

She has choreographed numerous classical and contemporary pieces for the Boulder Ballet company over her tenure, and cochoreographed the 1998, 1999, and all productions since 2001 of Boulder Ballet’s The Nutcracker.

Buckaroo Holiday Cowboys: Matthew Helms (featured cowboy), Martin Gonzalo Justo Bernardez, Cory Goei, Dionysios Mitsios

Choreography: Ana Claire Choreographer’s note: The work is influenced by my childhood growing up on a ranch, near a small town.

Tomboy: Melissa Heslep City Girls: Julianna Bicki, Kelsey Byrne, Rania Charalambidou, Kathryn Wagner Corral Nocturne Julianna Bicki and Cory Goei, with Melissa Heslep and Matthew Helms Piano Interlude Saloon Ladies: Kelsey Byrne, Rania Charalambidou, Kathryn Wagner Bartender: Lance Hardin Cowboys: Martin Gonzalo Justo Bernardez, Cory Goei, Matthew Helms, Dionysios Mitsios Tomboy: Melissa Heslep Hoedown Martin Gonzalo Justo Bernardez, Julianna Bicki, Kelsey Byrne, Rania Charalambidou, Cory Goei, Lance Hardin, Matthew Helms, Melissa Heslep, Dionysios Mitsios, Kathryn Wagner

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Boulder Philharmonic Orchestra We thank our “Friends of the Phil” musician sponsors. For more information on sponsoring one of the Boulder Phil’s professional musicians, please see page 39.

VIOLIN 1 Charles Wetherbee, concertmaster, Lafayette Rebecca Roser Annamaria Karacson, assistant concertmaster, Boulder Virginia Newton Debra Holland, Boulder Jack & Brenda Zellner Gyongyver Petheo, Highlands Ranch Todd & Gretchen Sliker Veronica Pigeon, Golden Takanori Sugishita, Boulder Harold & Joan Leinbach Malva Tarasewicz, Boulder Pamela Walker Yenlik Bodaubay Weiss, Superior VIOLIN 2 Leah Mohling,* Louisville Robert & Marilyn Mohling Sharon Park,** Boulder Robert & Francine Myers Sarah Delevoryas, Broomfield

Kristen Wolf Regan Kane, Boulder Joan Brett & Edward Siegel Miriam Linschoten, Boulder Robyn Sosa, Denver Paul Trapkus, Longmont Azaduhi A. Vieira, Colorado Springs Lori Wolf Walker, Louisville VIOLA Mary Harrison,* Wheat Ridge Patricia Butler Michael Brook,** Superior Matthew Hyatt Aniel Cabán, Boulder Matthew Diekman, Denver Megan Edrington, Lafayette Claire Figel, Boulder Teresa Myrwang Holum Nancy McNeill, Lafayette Stephanie Mientka, Boulder CELLO Charles Lee,* Boulder Albert & Rebecca Bates Marcelo Sanches,** Boulder Anne Wenzel Anne Brennand, Boulder Joan Cleland Sara Fierer, Denver Penny & Robert Haws Yoriko Morita, Louisville Chris & Margot Brauchli Greta Parks, Boulder Carolyn Bradley

Shirley Stephens-Mock, Golden Eleanor Wells, Boulder Martha & George Oetzel BASS David Crowe,* Boulder Nyla & William Witmore Brian Knott,** Louisville Lin & Matthew Hawkins Brock Chambers, Denver Dale Day, Boulder Larry Day & Catherine Haskins, John Bond Bob Orecchio, Westminster Matthew Pennington, Lafayette HARP Kathleen Wychulis,* Omaha, NE PIANO and CELESTE Arthur Olsen,* Boulder TIMPANI Douglas William Walter,* Louisville PERCUSSION Hiroko Okada Hellyer,* Centennial Virginia Jones Paul Mullikin,** Lakewood Marion Thurnauer & Alexander Trifunac Mike Tetreault, Denver Annyce Mayer FLUTE/PICCOLO Elizabeth Sadilek,* Edwards Pamela Dennis Caitlyn Phillips, Northglenn Olga Shylayeva, Lafayette Paul Weber OBOE/ENGLISH HORN Sarah Bierhaus,* Golden Tenly Williams, Denver Max Soto, Denver CLARINET/BASS CLARINET Stephanie Zelnick,* Lawrence, KS Rodolfo & Margaret Perez Bronwyn Fraser, Longmont William & Ann Kellogg Michelle Orman, Denver

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BASSOON/CONTRABASSOON Charles Hansen,* Greeley Joan Ringoen Kim Peoria, Louisville Wendy La Touche, Boulder HORN Michael Yopp,* Colorado Springs Jeffrey Rubin, Longmont Alan & Tessa Davis Devon Park, associate principal, Broomfield Stuart R. Mock, Golden DeAunn Davis, assistant & utility, Sparks, NV TRUMPET Brian Brown,* Fort Collins David Fulker & Nicky Wolman Kenneth Aikin, Boulder Roberta Asmus Goodall, Centennial Courtney Thomas TROMBONE Bron Wright,* Colorado Springs Owen Homayoun, Austin, TX Jeremy Van Hoy, Colorado Springs TUBA Michael Allen,* Northglenn ADDITIONAL MUSICIANS Chris Jusell, violin Cyndi Mancinelli, violin Susie Peek, violin Ingrid Peoria, violin Leslie Sawyer, violin Christine Short, violin Carol Lee, viola Carl Dixon, percussion Nena Lorenz, percussion Ian Wisekal, oboe Liz Telling, English horn Heidi Mendenhall, clarinet Deborah Marshall, E-flat clarinet April Johannesen, bass clarinet JD Little, alto saxophone Deb Torp, contrabassoon Lauren Varley, horn Dawn Kramer, trumpet Derek McDonald, trumpet Scott Bean, trombone * Principal ** Assistant Principal

Spheres of Influence BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Anne Akiko Meyers, violin Missy Mazzoli, Music Alive: New Partnerships Composer-in-Residence Friday, February 12, 2016 Macky Auditorium, CU Boulder 6:30 pm Pre-Concert Talk 7:30 pm Performance Tonight’s performance is being taped for broadcast on March 23 on Colorado Public Radio’s classical service (CPR Classical), 88.1 FM and 99.9 FM, hosted by Charley Samson. Please limit ambient noise.

Missy Mazzoli Sinfonia (for Orbiting Spheres) (b. 1980) Part I

Part II

Part III

Dmitri Shostakovich Symphony No. 9, op. 70 (1906 – 1975) I. Allegro II. Moderato III. Presto IV. Largo V. Allegretto- Allegro — Intermission — Piotr Ilyich Tchaikovsky Suite No. 4, Op. 61 (“Mozartiana”) (1900 – 1990) I. Gigue II. Menuet III. Pregheira IV. Theme et variations

Felix Mendelssohn Concerto for Violin, Op. 64 (1809 – 1847) I. Allegro molto appassionato II. Andante III. Allegretto non troppo Allegro molto vivace Program and artists subject to change.

The use of cameras and electronic devices is strictly prohibited.

Tonight’s guest artists are staying at the Millennium Harvest House Hotel

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Program ANNE AKIKO MEYERS, violin Known for her passionate performances, purity of sound, poetic interpretations, innovative programming and commitment to commissioning new works, Anne Akiko Meyers is one of the most celebrated violinists embraced around the world today. Possessing a rare ability to connect with audiences from the concert stage, online, in television, and radio broadcasts, Ms. Meyers has actively maintained an extensive touring schedule for close to 30 years, and regularly performs in recital and as guest soloist with many of the world’s top orchestras.

She is a best-selling recording artist who has released 32 albums and was the top-selling traditional classical instrumental soloist on Billboard’s charts in 2014.

2015 fall highlights include a nationwide PBS broadcast special and Naxos DVD release of the world premiere of Samuel Jones Violin Concerto with the All-Star Orchestra led by Gerard Schwarz as well as the French premiere Mason Bates’ Violin Concerto with Leonard Slatkin and the Orchestre de Lyon. Ms. Meyers will also perform recital and solo appearances throughout the Americas and Europe.

This past spring, on 24 hours’ notice, Ms. Meyers stepped in to lead the conductorless Orpheus Chamber Orchestra with the Mendelssohn Violin Concerto at Carnegie Hall and in Pennsylvania to rave reviews.

Ms. Meyers also released Four Seasons: The Vivaldi Album, which debuted at #1 on the classical Billboard charts. The Vivaldi Album was the recording debut of the ‘ExVieuxtemps’ Guarneri del Gesu violin, dated 1741, recently awarded to Ms. Meyers for her lifetime use. This instrument is considered by many to be the finest sounding violin in existence.

Ms. Meyers’s recent appearances included recital and concerto engagements in North and South America, Europe and Asia, including performances with the Chicago, Detroit, Nashville, and Richmond Symphony Orchestras of the Mason Bates Violin Concerto. A champion building the repertoire for the violin by living composers, Ms. Meyers has also commissioned and premiered works

by composers such as Mason Bates, Jakub Ciupinski, John Corigliano, Brad Dechter, Jennifer Higdon, Samuel Jones, Wynton Marsalis, Akira Miyoshi, Arvo Pärt, Gene Pritsker, Einojuhani Rautavaara, J.A.C. Redford, Somei Satoh and Joseph Schwantner.

Ms. Meyers has collaborated with a diverse array of artists outside of traditional classical, including jazz icons, Chris Botti and Wynton Marsalis, avant-garde musician, Ryuichi Sakamoto, electronic music pioneer, Isao Tomita, and Il Divo and singer, Michael Bolton. Recently, Ms. Meyers was featured on “CBS Sunday Morning,” CBS’ “The Good Wife”, NPR’s Morning Edition with Linda Wertheimer and All Things Considered with Robert Siegel, among many other press appearances. Best-selling novelist, J.Courtney Sullivan, consulted with Ms. Meyers for The Engagements, and based one of the main characters loosely on Ms. Meyers’s career.

Ms. Meyers also collaborated with children’s book author and illustrator, Kristine Papillon, on Crumpet the Trumpet. A beautiful story and recording about a baby trumpet with Ms. Meyers portraying the violinist, Violetta.

Ms. Meyers was born in San Diego, California and grew up in Southern California. Her teachers include Alice and Eleonore Schoenfeld at the Colburn School of Performing Arts, Josef Gingold at Indiana University, and Felix Galimir, Masao Kawasaki and Dorothy DeLay at the Juilliard School. She received the Avery Fisher Career Grant and serves on the advisory board of Composers Concordance and Young Concert Artists. Ms. Meyers lives with her husband and two young daughters in Austin, Texas.

MISSY MAZZOLI, Composer-in-Residence Missy Mazzoli was recently deemed “one of the more consistently inventive, surprising composers now working in New York” (The New York Times), “Brooklyn’s post-millennial Mozart” (Time Out New York) and “one of the new wave of scarily smart young composers” (sequenza21.com). Her music has been performed all over the world by the Kronos Quartet, eighth blackbird, pianist Emanuel Ax, the Detroit Symphony,

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Program the LA Philharmonic, the Minnesota Orchestra, the American Composers Orchestra, JACK Quartet, Opera Philadelphia, New York City Opera, and many others. She is currently Composer-in-Residence with Opera Philadelphia, Gotham Chamber Opera and Music Theatre-Group. Ms. Mazzoli recently joined the composition faculty at the Mannes College of Music, a division of the New School.

The 2015/16 season will include many new projects and collaborations, including a premiere by acclaimed chamber ensemble yMusic, a residency with the Boulder Philharmonic sponsored by New Music USA’s Music Alive Program, a performance of her multimedia chamber opera Song from the Uproar at LA Opera and other performances of her work by the Phoenix Symphony, the Cabrillo Festival Orchestra, and Grammywinning vocal group Roomful of Teeth. Along with librettist Royce Vavrek, Missy is also working on Breaking the Waves, a chamber opera based on Lars von Trier’s 1996 film, commissioned by Opera Philadelphia. Recent seasons included the Carnegie Hall premiere of Missy’s Vespers for a New Dark Age. Vespers was released in March 2015 on New Amsterdam Records along with Missy’s own remixes of the work and a remix of her piece A Thousand Tongues by longtime collaborator Lorna Dune. The New York Times called Vespers for a New Dark Age “ravishing and unsettling,” and the album was praised on NPR’s First Listen, All Things Considered and Pitchfork. Missy also recently created new works commissioned and premiered by the LA Philharmonic, the Young People’s Chorus of New York, ETHEL, Roomful of Teeth and pianist Emanuel Ax, who has performed Missy’s Brahms-inspired Bolts of Loving Thunder on tour around the country.

Other recent projects include the Carnegie Hall premiere of You Know Me From Here, a string quartet commissioned for the Kronos Quartet, performances by the Britten Sinfonia at London’s Barbican Centre, and scores to accompany films by Alice Guy Blaché, commissioned by the Whitney Museum of Art. Ms. Mazzoli is an active pianist and keyboardist, and often performs with Victoire, a band she founded in 2008 dedicated to her own compositions. Their debut full-length CD, Cathedral City, was named one of 2010’s best classical albums by Time Out New York,

NPR, the New Yorker and the New York Times. Their second album was released in March, 2015. Pitchfork praised Victoire for “condensing moments of focused beauty and quiet conviction from the pandemic distractions of modern life,” WNYC dubbed the group “consuming and arresting,” and NPR’s First Listen asks “Is Victoire’s music post-rock, postmimimalist or pseudo-post-pre-modernist indiechamber-electronica? It doesn’t particularly matter. It’s just good music.”

Ms. Mazzoli is the recipient of a 2015 Foundation for Contemporary Arts Award, four ASCAP Young Composer Awards, a Fulbright Grant to The Netherlands, the Detroit Symphony’s Elaine Lebenbom Award, and grants from the Jerome Foundation, American Music Center, and the Barlow Endowment.

She has been awarded fellowships from the MacDowell Colony, Yaddo, Ucross, VCCA, the Blue Mountain Center and the Hermitage.

She is also active as an educator and a mentor to young composers; in 2006 she taught composition in the Music Department of Yale University, and from 2007-2010 was Executive Director of the MATA Festival in New York City, an organization dedicated to promoting the work of young composers.

Ms. Mazzoli attended the Yale School of Music, the Royal Conservatory of the Hague and Boston University. She has studied with (in no particular order) David Lang, Louis Andriessen, Martin Bresnick, Aaron Jay Kernis, Martijn Padding, Richard Ayres, John Harbison, Charles Fussell, Martin Amlin, Marco Stroppa, Ladislav Kubik, Louis DeLise and Richard Cornell.

PROGRAM NOTES MISSY MAZZOLI (b. 1980) Sinfonia (for Orbiting Spheres) Sinfonia (for Orbiting Spheres) is music in the shape of a solar system, a collection of rococo loops that twist around each other within a larger orbit. The word “sinfonia” refers to baroque works for orchestra but also to the old Italian term for a hurdy-gurdy, a medieval stringed instrument with constant, wheezing drones that are cranked out under melodies played on an attached keyboard. The three movements of this piece, played without pause,

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Program churn and roil through a series of fast-changing moods and tempi. Over the course of fourteen minutes the orchestra is transformed into a makeshift hurdy-gurdy, flung recklessly into space. Sinfonia (for Orbiting Spheres) was originally composed for chamber orchestra and was commissioned and premiered by the Los Angeles Philharmonic, conducted

by John Adams. The Boulder Philharmonic will perform the world premiere of a new arrangement for full orchestra, as part of composer Missy Mazzoli’s Music Alive: New Partnerships residency.

Missy Mazzoli is the Music Alive: New Partnerships Composer-in-Residence with the Boulder Philharmonic. Music Alive: New Partnerships is a national residency program of New Music USA and the League of American Orchestras.

DMITRI SHOSTAKOVICH (1906-1975) Symphony No. 9 in E-flat major, Op. 70 The infamous Soviet leader Joseph Stalin sought to control all aspects of Russian society during his reign from 1922 to 1953.

He demanded a new Russia that embraced conservative and nationalistic principles.

Anything that was not aligned with his carefully-proscribed doctrine was viewed as anti-Soviet. Most of Stalin’s enemies were simply eliminated. Nowhere was this more noticeable than in the Great Purge that began in 1934, during which the Party expelled those they viewed as opportunists and infiltrators.

Before Stalin’s death in 1953 slowed the bloodshed, over 700,000 people had been killed and millions of others had been sent to forced labor camps in Siberia.

After Dmitri Shostakovich ran afoul of Stalin with the opera Lady Macbeth of the Mtsensk District, the composer’s life was changed forever. He was labeled an “Enemy of the People” and his works were banned. In an attempt to regain his career, most historians believe that Shostakovich feigned repentance by subtitling his 1937 Fifth Symphony “An Artist’s Reply to Just Criticism.” Filled with grandiose flourishes, the symphony served its purpose and Shostakovich was taken back into the fold. All things considered, Shostakovich was lucky since he was allowed to live, unlike thousands of other artists, composers, and creative figures who were killed during Stalin’s purges.

After the incident in the 1930s, his music became bold in the face of adversity, proving that the Soviet government could not break the spirit of one of their greatest composers.

Shostakovich was careful not to reveal the true meanings of his newest works, keeping some of them secretly locked away until late in life. Shostakovich’s five-movement Ninth Symphony was composed in 1945. Originally intended as a grandiose work for chorus, vocal soloists, and orchestra to celebrate the surrender of the Germans at the end of World War II, the symphony’s scope changed drastically before it was completed. The final result is best described as neo-classical in its approach or, to use Shostakovich’s words, “a joyful little piece.” The last word belonged to the composer, who confessed a few years before his death: “I doubt that Stalin ever questioned his own genius or greatness … Everyone always praised Stalin, and now I was supposed to join in this unholy affair.

There was an appropriate excuse. We had ended the war victoriously; no matter the cost, the important thing was that we won, the empire had expanded. And they demanded that Shostakovich use quadruple winds, choir and soloists to hail the leader Stalin assumed that the symphony in his honor would be a quality piece of music. He would be able to say ‘There it is, our national Ninth.’

“I confess that I gave hope to the leader and teacher’s dreams. I announced that I was writing an apotheosis. I was trying to get them off my back, but it turned against me. When my Ninth was performed, Stalin was incensed. He was deeply offended, because there was no chorus, no soloists. And no apotheosis. There wasn’t even a paltry dedication. It was just music, which Stalin didn’t understand very well and which was of dubious content. I couldn’t write an apotheosis for Stalin, I simply couldn’t. I knew what I was in for when I wrote the Ninth.”

Shostakovich’s first movement, marked allegro, begins in a pseudo-classical-period style, reminiscent of Prokoviev’s Classical Symphony. However, Shostakovich’s brand of satiric biting wit is ever-present. A second theme for piccolo solo is delightful in its

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Program carnival atmosphere, accompanied by snare drum and a boorish trombone. A compact development section leads to a rather creative recapitulation in which the order of themes is reversed and the former piccolo solo becomes a delightful turn for the concertmaster.

The moderato second movement begins with an extended melody for solo clarinet over a tense accompaniment by pizzicato strings. A second clarinet enters, and then other woodwinds join until Shostakovich conjures a dreamy atmosphere. A central section for strings provides contrast, but tension builds until the opening theme returns, this time played by a solo flute. Themes pass through the orchestra before the movement ends with a whisper.

Bold and aggressive, the presto third movement is a showpiece for orchestra.

Woodwind runs at the beginning set the stage for a feeling of strife that always seems to be hiding just below the surface of this threeminute test of virtuosity. Puzzlingly, the ending seems to lose its steam and acts as a transition to the equally short largo fourth movement.

Opening with a threatening brass fanfare, the movement soon gives way to high bassoon solo, almost like an operatic recitative in its style.

Shostakovich’s finale is divided into two parts. The beginning allegretto is really a continuation of the bassoon solo, but at a quicker tempo and with the return of the composer’s tongue-in-cheek sensibility.

As the movement progresses, the tempo becomes a quick allegro that first takes up the bassoon theme, but soon moves to other areas.

Shostakovich provides ample opportunities for all sections of the orchestra to be in the spotlight. A tightly-wrought development returns to the bassoon theme, fragmenting and scattering it all over the ensemble. Finally it returns in a mock-martial setting played by the low brass, passing through variations in the trumpets, and is finally transformed into a breathlessly rapid coda for the full orchestra. ©2015 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com PIOTR ILYICH TCHAIKOVSKY (1840-1893) Suite No. 4 in G major, Op. 61 (Mozartiana) Concert life in Imperial Russia during Tchaikovsky’s youth was inextricably linked

to the court. When the Russian Musical Society was formed in 1859 to bring concert music to the public, young composers discovered new opportunities. Entertainment and art, formerly confined to aristocratic salons, were now accessible to the public.

Music classes and learning institutions offered instruction to students of all skill levels.

One of the most notable schools was the St. Petersburg Conservatory, which opened in 1862 with Piotr Ilyich Tchaikovsky as one of its first students.

Mily Balakirev, most memorable as a member of the composer’s collective called “the Russian Five,” became a close friend of Tchaikovsky. It was largely through Balakirev’s informal tutelage that Tchaikovsky began to shape a distinct musical voice. His early works were far from seamless and often rambled on with no discernible direction. Over the next decade, Tchaikovsky developed into one of western music’s undisputed masters.

After the success of his Suite No. 1 in 1878, Tchaikovsky went on to compose three more over the next decade. The final suite is subtitled “Mozartiana” and is a reworking of four short pieces by the Viennese master. The original idea came in 1884, but several other projects and the usual bouts of self-doubt delayed the project until the summer of 1887.

The first movement is based on Mozart’s Gigue, K. 574. As the movement proceeds, the cross-rhythms – those charming little ambiguities – become more pronounced in the orchestral arrangement than they were in Mozart’s original.

Mozart’s Minuet in D, K. 355, follows as the second movement. The sumptuous string writing here is anachronistic to Mozart’s time, but this feature makes it even more interesting.

This is far from the heavy-footed minuets of the late eighteenth century.

The third movement, entitled Preghiera (Prayer), is based on the famous Ave verum corpus, K. 618. Composed as a choral piece, the work was known to Tchaikovsky through Franz Liszt’s piano paraphrase – one of many virtuoso treatments Liszt did of music by other composers.

Although it is not heard on this program, the finale is an arrangement of Mozart’s Variations for Piano, K. 455, which uses an aria by Christoph Willibald Gluck as its theme. ©2015 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com

Boulder Philharmonic Orchestra 2015-2016 Program 11

Program FELIX MENDELSSOHN (1809-1847) Concerto in E Minor for Violin and Orchestra, Op.64 The most intensely Romantic music is often represented as having been written by composers whose personal lives were fraught with misfortune. Any number of Romantic composers may be plugged into a similar formula and, in a few cases, the paradigm even holds true – but not in the case of Felix Mendelssohn.

Coming from a wealthy family, Mendelssohn had no financial worries. Felix, along with his sister Fanny, received the best musical education money could buy. As an adult, the composer’s personal life was the model of domestic bliss with his joyful marriage to Cecile Jeanrenaud. An undisputed giant in Europe’s musical community, Mendelssohn was much sought-after as both composer and conductor. Every aspect of his life was nearly perfect, but such a shining star could only burn out quickly. Mendelssohn died at the age of thirty-eight, probably from a stroke – the same malady that killed Fanny a year before.

Mendelssohn’s Violin Concerto in E minor is a late work, dating from the end of 1844. By

1835 he had resolved to compose a work for his friend, the virtuoso violinist Ferdinand David.

However, the composer’s many conducting obligations and extensive travels forced him to shelve the project for nine years.

The resulting work is a gem of the solo repertoire. Opening immediately with the soloist and completely foregoing the customary orchestral exposition, the piece begins with a charming melody that has become the signature of this concerto. Traditionally cast in sonata form, the movement shows Mendelssohn’s expertise at paring down the orchestral fabric, allowing smaller groups of instruments to accompany the soloist. The first movement is fused to the second by a single sustained note in the bassoon, leading to a lyrical Andante theme. In this middle movement, Mendelssohn skillfully exploits the legato capabilities of the violin while accompanying these passages with multiple stops of considerable difficulty – all played simultaneously by the soloist. The finale is a brilliant and elegant romp – a clear gesture of homage to the virtuoso tradition of solo violinists. ©2015 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com

Program 12 Boulder Philharmonic Orchestra 2015-2016

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BOULDER PHIL 2015-2016

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

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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

35

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

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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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An Internationally Accredited Curriculum Taught By Early Childhood Education Experts CHAMBER ORCHESTRA Cynthia Katsarelis, Music Director

2015-16 SEASON OF REMEMBRANCE

Toddler (12 months-3 years)

Mozart & Larry Graham November 20 & 21, 2015

Primary (2½-6 years)

Shostakovich: Dedication January 22 & 23, 2016

Mozart Requiem w/St. Martin’s Chamber Choir April 8 & 9, 2016

Concerts at 7:30 pm, Pre-Concert Talks at 6:30 pm Fridays at First Baptist Church of Denver Saturdays at First United Methodist Church

Elementary (6-12 years)

Season Pass $67.50 Adult Single $25 Student Single $5

NOW ENROLLING

Phone: 720.443.0565 Email: info@promusicacolorado.org

63rd Street at Jay Road, Boulder 303.530.5353 www.mountainshadows.org

Boulder Piano Gallery proudly supports The Boulder Philharmonic Orchestra!

Boulder Piano Gallery is a hub of musical activity in Boulder County and the premier place to purchase a �ine quality new or used piano.

We offer full line of Kawai accoustic and digital pianos, German handmade Schimmel pianos, Yamaha Clavinova and Arius digital pianos and their new hybrid Avant Grands as well as a current selection of over 50 rebuilt/reconditioned pianos in all shapes and sizes.

Now carrying the gorgeous hand-built Shigeru Kawai grand pianos!

BOULDER PIANO GALLERY 3111 Walnut Street • Boulder, CO 80301 303.449.3177 • www.boulderpianogallery.com Boulder Philharmonic Orchestra 2015-2016 45

Math, Myths or Music?

TM

9035 Wadsworth Pkwy, Ste. 2500 Westminster, Colorado 80021

720-872-9000

chapelofpeacefh@yahoo.com www.shannonmalonefuneralhome.net

Your child can choose it all at Shepherd Valley Waldorf School with strong academics & the arts.

303-652-0130 enrollment@shepherdvalley.org

“We believe in relationships, every Life has purpose and should be CELEBRATED!”

Funerals Pre-Need Cremations Military Services U.S. and International Shipping Services State to State Shipping Services Social Services Crime Victims Infants and Children

Funerales La planificacíon previa Cremaciones Servicios Militares Servicios De Transporte En E.E. U.U. E Internacionales Servicios De Transporte De Estado A Estado Servicios Sociales Victimas De Criminales Infantes y Niňos

We are here to assist and render exclusive, Economical and sincere services to all.

Estamos aquí para ayudar y prestar servicios exclusivos, económicos y sinceros a todos.

Copyright © Shannon & Malone Chapel Of Peace Funeral Home

Shepherd Valley Waldorf School

Massage • Skin Care • Therapeutic Foot Baths • Waxing • Acupuncture • Hand Crafted Bath and Body Products

46 Boulder Philharmonic Orchestra 2015-2016

FREE PARKING: Available on all four sides in the Village at Arapahoe & Canyon

STORE OPEN 7 DAYS A WEEK: Visit MCGUCKIN.COM for store hours

PUBLIC TRANSIT: RTD stops on Folsom, Arapahoe, & Canyon

VISIT US: 2525 Arapahoe Ave. Boulder, CO 80302 GIVE US A RING: (303) 443-1822 OR CHECK US OUT ONLINE: WWW.MCGUCKIN.COM