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Welcome Dear Friends, This year, we welcome you as your new Executive Director, Mimi Kruger, and Board President, Judy Knapp. We are grateful for this opportunity to build upon the amazing work of those before us. We will remain mission-focused and continue to offer a stellar product created by a high level of talent and commitment.There is nothing quite like the magic of live orchestral music. We know firsthand that music can transform lives, and you are on that journey with us. This season, we are featuring works from across the orchestral spectrum – from masterworks by Beethoven, Brahms, Mozart, and Tchaikovsky to world premieres and extraordinary guest artists. Whether you are seeing the mastery of Anne-Marie McDermott, the vivid imagery and rhythms of pianist and composer Aldo López-Gavilán or taking in a holiday concert with loved ones, the Boulder Philharmonic continues to be one of Boulder’s most celebrated musical, educational, and innovative arts organizations. The Boulder Phil presents concerts and events to educate, enlighten and entertain more than 20,000 residents and visitors each year, successfully expanding its programming beyond the traditional concert format. These include innovative and educational events such as Nature & Music, guided hikes with naturalist Dave Sunderland and musicians from the orchestra; Stories & Music, chamber music programs at local libraries; and Early Explorers at Boulder County Head Start. Over two days and four exciting performances, our Discovery Concert will welcome over 3,000 students at Macky Auditorium. As we continue to expand the community we serve, a new collaboration with music therapist Bonnie Houpt will bring music to the residents of FRIENDS of Broomfield. We invite you to learn more about our programs on and off the stage. A special thank you to our donors and sponsors who help to make possible each and every performance. We also thank you, our patrons, for supporting great music here in Boulder. Without your support and presence at each concert our wonderful organization would not exist. Music can change lives – thank you for your part in making that possible. It is a privilege to serve the incredible asset that is the Boulder Phil and to serve alongside the staff and the Board to ensure the orchestra has a solid future in the Boulder community.
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About the Boulder Phil
As one of Colorado’s premier ensembles, the Boulder Phil is a critically acclaimed professional orchestra serving Boulder and the Greater MetroDenver region. Known for innovative concert programming presented at the highest artistic level and a growing commitment to authentic community engagement, the Boulder Phil continues to push the boundaries of what it means to be Boulder’s orchestra. We are defined by the artistry of our talented musicians, the support of our extraordinary patrons, and ongoing creative collaborations with partner organizations encompassing the arts, sciences, nature, and social services. We strive to present once-in-a-lifetime performances, inspire the next generation with school-age education programs, and pioneer community-focused projects that bring music to all. 8 Boulder Phil 23-24 Season
It is the mission of the Boulder Philharmonic Orchestra to enhance the Boulder region’s artistic and educational cultures through orchestral excellence, embracing diversity, and connecting people to music, music to ideas, and people to people.
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Boulder Phil Staff and Board A N SWERS FO R BU SINESS
MUSIC DIRECTOR Michael Butterman
PRINCIPAL GUEST CONDUCTOR Gary Lewis
ASSISTANT CONDUCTOR Renee Gilliland
ADMINISTRATIVE STAFF
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Mimi Kruger, Executive Director Jesse Gilday, Director of Development Aspen McArthur, Director of Artistic Administration & Librarian Fernanda Nieto, Director of Education & Community Engagement Rosie Harris, Marketing & Communications Manager Nicholas Lussier, Sales & Communications Manager Sam Macken, Development Assistant Adam Snider & Chris Martin, Production Managers
Boulder, Colorado | (303) 449-9950
FACI L IT I ES T H AT FAC I LI TAT E
OFFICERS
Judy Knapp, President Steve Miller, Vice President
Tom Kinder, Treasurer Charlotte Roehm, Secretary
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Erma Mantey Jessica Bauters Harry Poehlmann Michael Butterman, ex officio David Rothman Claire Figel Karyn Sawyer David Fulker Phyllis Wise Marilyn Gallant RGETED MARKETING WITH EVERY Bron Wright Mimi Kruger, ex PERFORMANCE officio
, the magazine of the Lone Tree Arts Center, res performing arts highlights and information1600 about the Range Street, Suite 200 • Boulder, CO 80301 -of-the-art facility that serves the south metro community.
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Music Director Michael Butterman Music Director of four American orchestras and a sought-after guest conductor, Michael Butterman is acclaimed for his creative artistry and innovative programming. Foundational to his dynamic career is a deep commitment to audience development and community engagement. He is the Music Director of the Boulder Philharmonic Orchestra, which he has led to national prominence, resulting in an invitation to open the Kennedy Center’s inaugural SHIFT Festival of American Orchestras in 2017, as well as the Shreveport Symphony, which has experienced an unprecedented era of artistic growth under his leadership. Last year, Mr. Butterman assumed the role of Music Director of the Williamsburg Symphony and Lancaster Symphony orchestras. As a guest conductor, Mr. Butterman has led many of the country’s preeminent ensembles, including the Cleveland Orchestra, Philadelphia Orchestra, National Symphony, Detroit Symphony, and Houston Symphony. Other recent appearances include performances with the Fort Worth Symphony, Colorado Symphony, Oregon Symphony, Phoenix Symphony, Kansas City Symphony, Louisiana Philharmonic, and Victoria Symphony (British Columbia). Summer appearances include Tanglewood, the Bravo! Vail Valley Music Festival, Colorado Music Festival, and the Wintergreen Music Festival in Virginia.
PHOTO BY MOLLY SCHLACHTER.
A passionate advocate for music education, Mr. Butterman was the founding Music Director of the Pennsylvania Philharmonic and recently completed a 19-year association with the Rochester Philharmonic Orchestra as its Principal Conductor for Education and Community Engagement. Concurrently he enjoyed a 15-year tenure with the Jacksonville Symphony, first as Associate, then as Resident Conductor. 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. Michael Butterman’s prolific work has been featured in more than a dozen nationwide broadcasts on public radio’s Performance Today. He can be heard on two CDs recorded for the Newport Classics label and on an album in which he conducts the Rochester Philharmonic and collaborates with actor John Lithgow.
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Boulder Phil 23-24 Season
13
Boulder Phil's
Education & Community Engagement Programming
We bring new and diverse musical experiences to more than 10,000 people from across Boulder County and beyond. Our robust educational programs continue to connect, inspire and enrich people of all ages through music. Boulder Phil is grateful for the generous support of individuals, organizations and communities that make these programs possible.
DISCOVERY CONCERTS
Providing an exhilarating field trip opportunity for 3rd-6th graders at Macky Auditorium
IN-PERSON CHAMBER MUSIC VISITS Presenting dynamic visits from our string quartet and brass quintet to local schools
MEET THE MAESTRO
Creating learning opportunities within our schools with music director and conductor Michael Butterman
MUSIC FOR OUR FRIENDS
Making music with individuals with intellectual and developmental disabilities, in collaboration with Music Therapist Bonnie Houpt
EARLY EXPLORERS
Promoting music learning through movement in preschools, kindergarten, first and second grades
MUSICAL HIKES
Bringing music and nature together with naturalist David Sutherland in Boulder and Lafayette
SIDE-BY-SIDES
Mentoring high school and youth orchestra students on stage
LIBRARY CONCERTS
Fostering connection and engaging audiences through music & stories
AND MORE!
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VIGNETTES AND PROMENADES with Aldo López-Gavilán and Ricardo Morales BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, Music Director January 7th, 2024 Macky Auditorium • 4:00 pm Performance Aldo López-Gavilán, Piano Ricardo Morales, clarinet Aldo López-Gavilán
Clarinet Concerto
25’’
Aldo López-Gavilán
Emporium
27’
(B. 1979)
(B. 1979) I. Allegretto Spiritoso II. Liberamente III. Presto
— INTERMISSION — Modest Mussorgsky
Pictures at an Exhibition (orch. Ravel)
(1839-1881)
Promenade Gnomus The Old Castle Tuileries Bydlo Ballet of the Unhatched Chicks in Their Shells
36’ Samuel Goldenberg and Schmuÿle Limoges: The Marketplace Catacombs The Hut on Fowl’s Legs (Baba Yaga) The Great Gate of Kiev
Total performance duration 02:05 • There will be one 15-minute intermission. Program and artists are subject to change. There may be professional photographers and recording crew present during our performances. All other photography or recording of any kind is strictly prohibited.
This concert is made possible by the generosity of the following donors: Jan Burton Jennifer Carsillo & Michael Butterman Robert Dixon Kathleen Fry
Dave Fulker & Nicky Wollman Marilyn Gallant Laurie Hathorn Judy & Stephen Knapp Anjali & Stefan Maus
Margaret & Rodolfo Perez Thomas Riis Michele & Michael Ritter Becky Roser & Ron Stewart
Boyce & Daniel Sher Lynn Streeter Jeannie & Jack Thompson Celia & John Waterhouse
With additional thanks to: Neil Birnbaum Susan Olenwine & Frank Palermo Reference Recordings
Boulder Phil 23-24 Season
PROGRAM 1
Vignettes and Promenades SOLOISTS ALDO LÓPEZ-GAVILÁN Praised for his “dazzling technique and rhythmic fire” in the Seattle Times and dubbed a “formidable virtuoso” by The Times of London, Cuban pianist and composer Aldo López-Gavilán excels in both the classical and jazz worlds as a recitalist, concerto soloist, chamber-music collaborator, and performer of his own electrifying jazz compositions. He has appeared in such prestigious concert halls as Carnegie Hall, the Amadeo Roldán (Cuba), Teresa Careño (Venezuela), Bellas Artes (Mexico), Royal Festival Hall (U.K.), Nybrokajen 11 (Sweden), The Hall of Music (Russia), and Duc de Lombard et Petit Journal Montparnasse (France). Aldo made his professional debut in Cuba at the age of 12. In 2009 López-Gavilán was invited by Carlos Varela to join his band for a tour of Argentina, Chile, and Uruguay. In 2010 he joined the São Paulo Jazz Symphonic Orchestra to perform his music in a concert that was recorded and broadcast on national television in Brazil. His first album won the Grand Prix at Cubadisco. He has recorded seven albums since, and scored the documentary film Los Hermanos/The Brothers. RICARDO MORALES Ricardo Morales is one of the most sought after clarinetists of today. He joined The Philadelphia Orchestra as principal clarinet in 2003. Prior to this he was principal clarinet of the Metropolitan Opera Orchestra, a position he assumed at the age of 21. His virtuosity and artistry as a soloist, chamber, and orchestral musician has been hailed and recognized in concert halls around the world. He has been asked to perform as principal clarinet with the New York Philharmonic, the Chicago Symphony, and at the invitation of Sir Simon Rattle, performed as guest principal clarinet with the Berlin Philharmonic. He also performs as principal clarinet with the Saito Kinen Festival Orchestra and the Mito Chamber Orchestra, at the invitation of Maestro Seiji Ozawa. A native of San Juan, Puerto Rico, Mr. Morales began his studies at the Escuela Libre de Musica along with his five siblings, who are all distinguished musicians. He continued his studies at the Cincinnati Conservatory of Music and PROGRAM 2 Boulder Phil 23-24 Season
Indiana University, where he received his Artist Diploma. He made his solo debut with The Philadelphia Orchestra in 2004 and has since performed as soloist on numerous occasions. Ricardo performed the world premiere of the Clarinet Concerto by Jonathan Leshnoff, commissioned for him by the Philadelphia Orchestra.
PROGRAM NOTES ALDO LÓPEZ-GAVILÁN: Homage to the Juncos: Clarinet Concerto Composed: 2023. This is the world premiere. The Clarinet Concerto is not just a musical composition but a narrative woven through time, connecting generations and cultures. It’s a celebration of heritage, a nod to the transformative power of jazz, and a testament to the enduring legacy of a family deeply rooted in the world of music. The concerto invites the audience into a world where classical meets jazz, tradition meets innovation, and the past harmonizes with the present. Inspired by Juan Jorge Junco, an eminent Cuban clarinetist renowned for his solo performances across Europe and his impactful teaching career, the concerto is a reflection of his artistic spirit and cultural identity. Juan Jorge Junco is remembered for his exceptional interpretation of classics like Gershwin’s “Rhapsody in Blue.” The concerto is dedicated to ‘Coqui Calzadilla’, the nephew of the composer, who studied under the guidance of Juan Jorge Junco’s student and son, Arnoldo Junco. This dedication underlines a strong familial lineage in music, connecting generations through the clarinet. Arnoldo, a distinguished musician himself, continues the legacy of his father, blending traditional teachings with contemporary styles. The concerto opens with a vibrant celebration of AfroCuban heritage, infused with rhythmic patterns and melodic contours that pay homage to the island’s rich musical history. This movement sets the stage with its energetic and culturally resonant themes. The second movement, inspired by Coqui’s prowess in jazz, is a jazz ballad at heart. Emerging from the idea of
Vignettes and Promenades intertwining jazz with classical elements, it showcases lyrical melodies, subtle improvisation, and a deeply expressive quality, reminiscent of Juan Jorge Junco’s jazz inclinations. In the concluding part of the concerto, the music returns to its Afro-Cuban roots, incorporating traditional rhythms and melodies. It’s a vibrant celebration, a fitting tribute to the musical journey of the Junco family, and a representation of their enduring influence on the Cuban musical landscape. ALDO LÓPEZ-GAVILÁN: Emporium Composed: 2017 First performed by the Boulder Phil: Nov. 3, 2019, Michael Butterman, conductor Emporium is Aldo López-Gavilán’s first concerto for piano and orchestra, dedicated to his twin 11-year-old daughters Andrea and Adriana. The piece was premiered in July 2017. A recording of the live performance was subsequently broadcast by American Public Media’s Performance Today. Mr. Gavilán writes: “The first movement is based on a melody I composed for my twin daughters as a birthday present, obviously inspired by my feelings about them. I named it Emporium because I wanted to describe a place where you could find many different things from all over the planet. Later I learned that this word has several different meanings, and I liked the fact that all of them were linked to the spirit of the piece. The second movement is a tribute to the postrevolutionary Cuban songs known as La Nueva Trova and to American country music songs, unified in one melody as a symbol of peace and love. The third and final movement opens in a new vein: dynamic, rhythmic and polytonal music that recreates the first’s movement main theme with hints of Cuban modern music. The development section knits together themes from each movement, again emphasizing the idea of world unity. A brief yet intense cadenza leads to the optimistic Grand Finale, with a majestic tutti stating of the main theme.”
MUSSORGSKY: Pictures at an Exhibition, orchestrated by Maurice Ravel Composed: 1874, Ravel’s orchestration 1922 First performed by the Boulder Phil: Oct. 3, 1980, Oswald Lehnert, conductor Last performed by the Boulder Phil (Ravel orchestration): Dec. 16, 2000, Shinik Hahm, conductor The grand orchestral version of Pictures at an Exhibition began as a ten movement piano suite written in 1874 “in remembrance of Viktor Hartmann,” an architect and artist who happened to be a personal friend of Mussorgsky’s. They had met in 1862 and both shared a commitment to Russian nationalism. After Hartmann’s sudden death at the age of 39, Critic Vladimir Stasov organized an exhibition in St. Petersburg in his honor that featured over 400 of the artists’ drawings and other creations. Mussorgksy completed his musical tribute six weeks after visiting the exhibit. Conductor Serge Koussevitsky later heard the piece and was inspired by its vivid programmatic storytelling and commissioned Ravel to create an orchestral version, which is the version widely played by orchestras today.
To read more on this piece and others in this program, please scan the QR code below:
Boulder Phil 23-24 Season
PROGRAM 3
Visions of a Brighter Tomorrow THE BEST OF BOULDER Presented by the Grace and Gordon Gamm Fund BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, Music Director February 11th, 2024 Macky Auditorium • 4:00 pm Performance David Requiro, cello Sara Bierhaus, oboe Max Soto, oboe
Caroline Shaw
Entr’acte
11’
Extra(ordinarily) Fancy
10’
Variations on a Rococo Theme
19’
(B. 1982)
Viet Cuong (B. 1990)
Pyotr Illyich Tchaikovsky (1840-1893)
— INTERMISSION — Wolfgang Amadeus Mozart
Symphony No. 41, “Jupiter”
31’
(1756-1791) I. Allegro vivace II. Andante cantabile III. Menuetto: Allegretto-Trio IV. Molto allegro Total performance duration 01:35 • There will be one 15-minute intermission. Program and artists are subject to change. There may be professional photographers and recording crew present during our performances. All other photography or recording of any kind is strictly prohibited.
PROGRAM 4 Boulder Phil 23-24 Season
The Best of Boulder SOLOISTS Sara Bierhaus, oboe Sarah Mellander Bierhaus was born and raised in upstate New York. Bierhaus is the principal oboist of the Boulder Philharmonic and Fort Collins Symphony Orchestras and plays second oboe and English horn in the Central City Opera orchestra. Her extensive orchestral experience has also included performances with the Colorado Symphony, Colorado Springs Philharmonic, Greeley Philharmonic, Binghamton Philharmonic and Cayuga Chamber orchestras. As a member of the Antero Winds (formerly Arundo Winds), winners of the Plowman Chamber Music Competition and silver medalists at the Fischoff Chamber Music Competition, Bierhaus has performed recitals and educational outreach events across the nation. She has also appeared as a soloist with the Finger Lakes Symphony, Rochester Philharmonic Youth Orchestra, the Carleton College Orchestra and the CU Boulder Symphony Orchestra. Bierhaus received her BA in music from Carleton College, where she graduated magna cum laude and with honors in musical performance. She holds her MM in oboe performance from the Eastman School of Music and her doctorate of musical arts from the University of Colorado at Boulder, where she received honorable mention in the 2006 Honors Competition. While a student, Bierhaus participated in summer festivals at the Brevard Music Center, Round Top and the National Repertory Orchestra. Her teachers have included Peter Cooper, Richard Killmer, Merilee Klemp, Andreas Lorenz, Laura Griffiths and Cindy Watson. She currently maintains an active private teaching studio and teaches oboe and chamber music at the Lamont School of Music and Regis University. Max Soto, oboe Soto began his musical education with the Orquesta Sinfonica Juvenil of Costa Rica. He studied with Principal Oboist Jorge Rodriguez and cultivated a passion for Classical Music and the Oboe. He arrived in the USA in 1996 at the Loyola University of New Orleans, where he received his Bachelor of Arts in Music Performance. His professional
career began when he performed an entire season with the Louisiana Philharmonic Orchestra. He then moved to Denver in 2002 to attend the Lamont School of Music and pursue his Master’s in Music Degree, which he attained in 2004. Shortly thereafter, Max went on a whirlwind tour of the United States and Canada performing The Pirates of Penzance with the London-based Carl Rosa Opera Company in 2007. Soto has performed with the Colorado Symphony Orchestra, Colorado Ballet, Opera Colorado, Colorado Springs Philharmonic, Steamboat Springs Orchestra, Central City Opera, and Cheyenne Symphony Orchestra. He also performs with small ensembles all over the state of Colorado and recently participated in the Boulder Bach Festival and the Colorado Bach Ensemble. Max is Principal Oboe with the Boulder Chamber Orchestra, Fort Collins Symphony Orchestra, and Greeley Philharmonic Orchestra. He also appears with the Boulder Philharmonic Orchestra. David Requiro, cello First Prize winner of the 2008 Naumburg International Violoncello Competition, David Requiro has emerged as one of today’s finest American cellists. After winning First Prize in both the Washington International and Irving M. Klein International String Competitions, he also captured a top prize at the Gaspar Cassadó International Violoncello Competition in Hachioji, Japan, coupled with the prize for the best performances of works by Cassadó. Mr. Requiro has made concerto appearances with the National Symphony Orchestra, Seattle Symphony, Tokyo Philharmonic, and several orchestras from California including the Marin, Oakland East Bay, Peninsula, Santa Cruz, Santa Rosa, and Stockton Symphonies. He also has been featured as soloist with the Ann Arbor, Breckenridge, Canton, Edmonton, Lansing, Olympia, Pine Bluff, and Santa Fe Symphony Orchestras as well as with the Northwest Sinfonietta, Symphony ProMusica, and Naples Philharmonic. His Carnegie Hall debut recital at Weill Hall was followed by a critically acclaimed San Francisco Performances recital at the Herbst Theatre. Soon after making his Kennedy Center debut, Mr. Requiro also completed the cycle of Beethoven’s Sonatas for Piano and Cello at the Phillips Collection Boulder Phil 23-24 Season
PROGRAM 5
The Best of Boulder in Washington, D.C. Actively involved in contemporary music, Mr. Requiro appeared as a guest artist at the 2010 Amsterdam Cello Biennale where he gave the Dutch premiere of Pierre Jalbert’s Sonata for Cello and Piano. He has collaborated with composers such as Krzysztof Penderecki and Bright Sheng, as well as with members of the Aspen Percussion Ensemble, giving the Aspen Music Festival premiere of Tan Dun’s concerto, Elegy: Snow in June, for cello and percussion. An avid chamber musician, Mr. Requiro is a founding member of the Baumer String Quartet and frequently performs with the Chamber Music Society of Lincoln Center, Takács String Quartet, Seattle Chamber Music Society, Concertante Chamber Players, ECCO (East Coast Chamber Orchestra), and the Alexander String Quartet. For over seven seasons, he has served as a frequent performing artist of the Jupiter Symphony Chamber Players Series in New York City. The Chamber Music Society of Lincoln Center recently appointed Mr. Requiro to its prestigious Bowers Program (formerly CMS Two) beginning in 2018. In 2015, Mr. Requiro was appointed Assistant Professor at the University of Colorado Boulder. He previously served as Artist-in-Residence at the University of Puget Sound as well as Guest Lecturer at the University of Michigan. His artist faculty appointments include the Music@Menlo Festival, Bowdoin International Music Festival, Seattle Chamber Music Society Summer Festival, Giverny Chamber Music Festival, Icicle Creek Chamber Music Festival and Institute, Innsbrook Music Festival and Institute, Maui Classical Music Festival, and Olympic Music Festival. Along with duo partner Meta Weiss, he co-founded the Boulder Cello Festival in 2020. A native of Oakland, California, Mr. Requiro began cello studies at age six and his teachers have included Milly Rosner, Bonnie Hampton, Mark Churchill, Michel Strauss, and Richard Aaron.
LIVING COMPOSERS: Caroline Shaw Caroline is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship. This year’s projects include the score to “Fleishman is in Trouble” (FX/Hulu), vocal work PROGRAM 6 Boulder Phil 23-24 Season
with Rosalía (MOTOMAMI), the score to Josephine Decker’s “The Sky Is Everywhere” (A24/Apple), music for the National Theatre’s production of “The Crucible” (dir. Lyndsey Turner), Justin Peck’s “Partita” with NY City Ballet, a new stage work “LIFE” (Gandini Juggling/Merce Cunningham Trust), the premiere of “Microfictions Vol. 3” for NY Philharmonic and Roomful of Teeth, a live orchestral score for Wu Tsang’s silent film “Moby Dick” co-composed with Andrew Yee, two albums on Nonesuch (“Evergreen” and “The Blue Hour”), the score for Helen Simoneau’s dance work “Delicate Power”, tours of Graveyards & Gardens (co-created immersive theatrical work with Vanessa Goodman), and tours with So Percussion featuring songs from “Let The Soil Play Its Simple Part” (Nonesuch), amid occasional chamber music appearances as violist (Chamber Music Society of Minnesota, La Jolla Music Society). Caroline has written over 100 works in the last decade, for Anne Sofie von Otter, Davóne Tines, Yo Yo Ma, Renée Fleming, Dawn Upshaw, LA Phil, Philharmonia Baroque, Seattle Symphony, Cincinnati Symphony, Aizuri Quartet, The Crossing, Dover Quartet, Calidore Quartet, Brooklyn Rider, Miro Quartet, I Giardini, Ars Nova Copenhagen, Ariadne Greif, Brooklyn Youth Chorus, Britt Festival, and the Vail Dance Festival. She has contributed production to albums by Rosalía, Woodkid, and Nas. Her work as vocalist or composer has appeared in several films, tv series, and podcasts including The Humans, Bombshell, Yellowjackets, Maid, Dark, Beyonce’s Homecoming, Tár, Dolly Parton’s America, and More Perfect. Viet Cuong Called “alluring” and “wildly inventive” by The New York Times, the music of American composer Viet Cuong has been performed on six continents by musicians and ensembles such as the New York Philharmonic, Eighth Blackbird, Saint Paul Chamber Orchestra, Sō Percussion, Alarm Will Sound, Atlanta Symphony, Sandbox Percussion, Albany Symphony, PRISM Quartet, and Dallas Winds, among many others. Cuong’s music has been featured in venues such as Carnegie Hall, Lincoln Center, and the Kennedy Center, and his works for wind ensemble have amassed several hundreds of performances worldwide. Passionate about bringing these different facets of the contemporary music community together, his recent projects include a concerto for Eighth Blackbird with the United States Navy
The Best of Boulder Band. Cuong also enjoys exploring the unexpected and whimsical, and he is often drawn to projects where he can make peculiar combinations and sounds feel enchanting or oddly satisfying. His works thus include a snare drum solo, percussion quartet concerto, and double oboe concerto. He is currently the Pacific Symphony’s Composer-in-Residence and serves as Assistant Professor of Music Composition at The University of Nevada, Las Vegas. Cuong holds degrees from Princeton University (MFA/PhD), the Curtis Institute of Music (AD), and Peabody Conservatory (BM/MM).
PROGRAM NOTES SHAW: Entr’acte Composed: 2011 This is the first performance by the Boulder Phil Caroline Shaw writes: Entr’acte was composed in 2011 after hearing the Brentano Quartet play Haydn’s Op. 77, No. 2 in F major — with its spare and soulful shift to an unexpected key for the central trio in the minuet. Entr’acte is structured like a minuet and trio, riffing on that classical form but taking it a little further. I love the way some music (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle transition. CUONG: Extra(ordinarily) Fancy Composed: 2019 Duration: 10 min. This is the first performance by the Boulder Phil Cuong writes “During the Baroque era the double oboe concerto was somewhat of a genre, especially among Italian composers. Alessandro Marcello wrote two, Antonio Vivaldi wrote four, and Tomaso Albinoni—who seemed really taken by oboe—wrote eight. Over the last few years, I too have grown to adore the instrument. In fact, I’ve become such an admirer of the oboe and other double reed instruments that in 2017 I wrote a piece for double reed sextet called Extra Fancy. The sextet is an exploration of “extra fancy” techniques that these instruments can produce, particularly multiphonics. Multiphonics are produced when the performer uses a technically incorrect fingering to create a distorted, complex sound with two or more pitches. Multiphonics can sound bizarre (if not foul) to some listeners,
but I’ve always found them to be enchanting and, for lack of a better term, misunderstood. Though the pieces don’t share any musical material, I think of Extra(ordinarily) Fancy as a bigger and better sequel to the sextet. In addition to similarly exploring the melodic potential of various multiphonics, the concerto also works as a whimsical exploration of duality; while one oboist is focused on sounding ordinarily fancy, the other oboist is determined to prove the extra fancy virtues of multiphonics. After a short Vivaldi-esque introduction that establishes the main melodic ideas of the piece, the oboists go at it. They mock each other, squawk at each other, and even talk over each other. The orchestra observes and joins in as the oboists continually bicker back and forth, all culminating in a reconciliation where the once-hesitant oboist learns (and even enthusiastically performs) a few multiphonics alongside the other oboist. This piece was commissioned in 2019 by the Kaleidoscope Chamber Orchestra and is dedicated to oboists Robert Walker and Laura Arganbright.
TCHAIKOVSKY: Variations on a Rococo Theme, Op.33 Composed: 1876 Duration: 18 min. Last performed by the Boulder Phil: Feb. 28-Mar. 1, 2019 It was winter when Tchaikovsky sat down to compose the Variations. A prolific letter writer in life, many of his missives have been preserved today, allowing us to get a peek into his creative process. In a letter from 1876 to his sister, Aleksandra Davydova, he declined an invitation to spend Christmas with her family, saying that he “had accumulated a great deal of work, some of which are paid commissions, that should be very straightforward to finish during the forthcoming holidays.” He later wrote, though, that apparently he was not able to get the work done that he had hoped. “Many people keep dropping in here unexpectedly—it seems that everyone in Petersburg is holding me back, when I had stupidly imagined that it would be possible to take advantage of the holidays to work.” he lamented. Despite his setbacks, he was able to get the work done and send it off to his collaborator for the original cello and piano work—cellist Willhelm Fitzenhagen (1848-1890). The cellist made huge changes to the work, mainly to the cello part. Boulder Phil 23-24 Season
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The Best of Boulder This version heavily edited by him was then orchestrated by Tchaikovsky and premiered in November 1877 in the third symphony concert of the Russian Musical Society in Moscow, conducted by Tchaikovsky’s friend, coworker, and one-time roommate—Nikolai Rubinstein. Tchaikovsky’s original manuscript contained eight variations, but the version that you will hear in this concert is Fitzenhagen’s, which omits a variation and changes the sequence of variations. The Rococo theme is in the style of a Gavotte, a French court dance popular in the 18th Century. It is made up of two complimentary musical ideas that are followed by a codetta. This theme is then built upon and explored thoroughly throughout the seven variations that follow its introduction. After an 1879 performance of the piece by Fitzenhagen in Germany, the cellist wrote to Tchaikovsky: “It gives me great pleasure to be able to report to you that I performed your Variations to a tremendous furore! I pleased them so much that I was called back three times, and even while performing the piece, there was a storm of applause after the Andante (D minor). Liszt told me: ‘You played magnificently. This is truly music!’, and it is a tremendous compliment that such a thing could be said by Liszt.” MOZART: Symphony No. 41, “Jupiter” Composed: 1788 Duration: 30 min. First performed by the Boulder Phil: Sep. 26, 1997, Theodore Kuchar, conductor Last performed by the Boulder Phil: Oct. 3, 2003, Theodore Kuchar, conductor The 41st Symphony was composed along with the 39th and 40th within a 9-week period in the summer of 1788, just three years before Mozart’s untimely death in 1791. It was to be his last symphony and considered one of his best symphonic works by many. It’s unknown if he ever heard the work performed due to other engagements he had at the time. The symphony contains four movements—An Allegro vivace, Andante cantabile, Menuetto: Allegretto - trio, and finally a Molto allegro. Despite the fast tempo marking of the first movement, its opening is stately in character. This initial exclamation is then answered by a silence and a soft PROGRAM 8 Boulder Phil 23-24 Season
answer by the violins. This stately theme carried through the development, before being counterbalanced by a graceful secondary theme. In typical sonata form, the main theme returns once again to finish out the movement. The next movement is a slow movement, augmented by the strings placing mutes on their instruments. Some scholars believe this movement shares characteristics with the French sarabande, a style of dance, though this connection is much contested and wasn’t likely on the composer’s mind. The third movement is a menuetto, which plays on a descending motif found in the previous two movements. Finally, the finale comes with a grand display of contrapuntal grandiosity. It introduces a simple four-note motif that has since been mulled over by many composers trying to uncover its secrets. These notes are played with, culminating in a stunning display of counterpoint—five-melodies introduced throughout the movement playing all at once. Perhaps the nickname was given to the symphony posthumously by another person, but this symphony is nonetheless impressive for its show of the composer’s incredible compositional talent and cements his legacy as one of the best known Western classical composers in the world. The work is nicknamed the Jupiter Symphony, given to the work long after its composition and premiere—likely by German composer, violinist, conductor, and impresario Johann Peter Salomon (1745-1815) after hearing the first three chords of the work and thinking them deific.
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Boulder Phil Orchestra Roster VIOLIN 1 Vacant, Concertmaster Becky Roser & Ron Stewart Annamaria Karacson, Assistant Concertmaster Virginia Newton Rinat Erlichmann Christopher Leonard Gyöngyvér Petheö Heidi & Jerry Lynch Veronica Sawarynski Marion Thurnauer & Alex Trifunac Takanori Sugishita Harold & Joan Leinbach Luana Rubin Malva Tarasewicz Pamela Walker Yenlik Weiss VIOLIN 2 Vacant, Principal Leah Mohling, Assistant Principal Marilyn & Robert Mohling Stephanie Bork Hilary Castle-Green Ryan Jacobsen Laurie Hathorn Regan Kane Kina Ono Susie Peek Autumn Pepper Robyn Sosa VIOLA Margaret Dyer Harris, Principal Patricia Butler Michael Brook, Assistant Principal Aniel Cabán Matthew Diekman Nancy Clairmont & Bob Braudes Claire Figel Nancy McNeill Stephanie Mientka Allyson Stibbards
CELLO Charles Lee, Principal Christine & Wayne Itano Andrew Kolb, Assistant Principal Charles Barnard Sara Fierer Joseph Howe Amanda Laborete Yoriko Morita Margot & Chris Brauchli Eleanor Wells BASS David Crowe, Principal Brian Knott, Assistant Principal Lin & Matthew Hawkins Ernie Glock Isaiah Holt Logan Nelson Matthew Pennington FLUTE Elizabeth Sadilek, Principal Pamela Dennis & Jim Semborski Vacant, Flute 2 Olga Shilaeva Olga Shilaeva, Piccolo Paul Weber OBOE Sarah Bierhaus, Principal Eleanor & Harry Poehlmann Brittany Bonner Brittany Bonner, English Horn CLARINET Lauren Jacobson+, Principal Margaret & Rodolfo Perez Michelle Orman Vacant, Bass Clarinet BASSOON Francisco Delgado, Principal in memory of Joan Ringoen Joshua Sechan* Gyungsun Im+ Wendy La Touche, Contrabassoon
HORN Michael Yopp, Principal Ruth & Rich Irvin Jeffrey Rubin Alan Davis Devon Park, Associate Principal Daniel Skib DeAunn Davis, Assistant & Utility Andrew Miller TRUMPET Leslie Scarpino, Principal Nicky Wolman & David Fulker Noah Lambert Rebecca Ortiz TROMBONE Bron Wright, Principal Owen Homayoun Jeremy Van Hoy, Bass Trombone Martha Oetzel TUBA James Andrus, Principal TIMPANI Douglas William Walter, Principal PERCUSSION Mike Tetreault, Principal Vacant, Assistant Principal Nena Lorenz Wright HARP Kathleen Wychulis, Principal Dana Strong PIANO Vacant In memory of Ruth C. Kahn PERSONNEL MANAGER N. Samantha Headlee ORCHESTRA LIBRARIAN Aspen McArthur Members of string sections are listed alphabetically following titled players. * On leave this season +One-year appointment
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Thank You to Our Partners The Boulder Philharmonic Orchestra recognizes those who have made or pledged transformative and lasting gifts. These people are planting seeds for the future that will sustain the music for future generations, at the same time enhancing and enriching our current programs. Thank you! Grace & Gordon Gamm Endowment Fund SeiSolo Foundation Sydney & Robert Anderson Eleanor & Harry Poehlmann Margot & Christopher Brauchli Margaret & Rodolfo Perez Patricia Butler Becky Roser & Ron Stewart Erma Mantey Lynn Streeter Jayne & Stephen Miller Nicky Wolman & David Fulker
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Supporters $30,000+ Grace & Gordon Gamm SeiSolo Foundation Nicky Wolman & David Fulker $10,000-29,999 Anonymous Sydney & Robert Anderson Margot & Christopher Brauchli Patricia Butler Jayne & Stephen Miller Ellie & Harry Poehlmann Phyllis Wise $5,000-9,999 AEC Trust Anonymous Jan Burton Caruthers Family Foundation Nancy Clairmont & Bob Braudes Robert Dixon Marilyn Gallant The Virginia W. Hill Foundation Judy & Steve Knapp Erma Mantey Marla & Jerry Meehl Margaret & Rodolfo Perez Becky Roser & Ron Stewart Rick Rosner in memoriam Ruth Kahn
Karyn Sawyer Lynn Streeter Marion Thurnauer & Alex Trifunac Adrianne Tracy Westland Development
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$2,500-4,999 Anonymous Boulder County’s Metropolitan Football Stadium District Fund
Jennifer Carsillo & Michael Butterman Pamela Dennis & Jim Semborski Audrey Fishman & Andrew Franklin Ruth & Carl Forsberg Sara & David Harper John Hedderich Suzanne & David Hoover Ruth & Rich Irvin Joan & Harold Leinbach Heidi & Jerry Lynch Margaret & Rodolfo Perez Charlotte Roehm Nancy & Gary Rosenthal Ken & Ruth Wright $1,000-2,499 Anonymous Rebecca & Albert Bates The Britton Family Frances Burton Caruthers Family Foundation Toni & Nelson Chen Jenny & Terry Cloudman Tessa & Alan Davis Lorri DeLaney Beverly & Bruce Fest Randy & Bill Ganter The Hansson Family Chuck Hardesty Laurie Hathorn Lin & Matthew Hawkins Janet Hendricks Constance Holden & TK Smith Karen & Stewart Hoover Carolyn & Sam Johnson Ruth Jordan Bonnie Kirschenbaum Margot & Ray LaPanse George Lichter Family Fund Susan Litt Barbara & Peter Loris Heidi and Jerry Lynch
Anjali & Stefan Maus Annyce Mayer Pam & Ed McKelvey Virginia Medelman & John Dennis Hynes Francine & Robert Myers Martha Oetzel Molly Parrish Richard and Joan Ringoen Family Foundation Michele and Michael Ritter Patricia Read & Bill Shunk James Repjar Juan Roederer David Rothman Jane & Ross Sheldon Frederick Simms & The Simms Family Foundation Ronald Sinton Carol & Arthur Smoot Rena & Raymond Wells Christine Yoshinaga-Itano & Wayne Itano $500-999 Roshmi & Jaydip Bhaumik Sally & Alexander Bracken Family Fund Bright Funds Foundation Debra Brindis Ellen Dale & Buddy Kring Warren DeHaan Anne Dyni Kathleen Fry Elyse Grasso Joanna Grasso Stephanie & Kyle Heckman Eileen & Walter Kintsch Peggy Lemone & Peter Gilman Anjali and Stefan Maus Janet and J. Hunter McDaniel Judy & Alan Megibow Cindy & Mark Meyer Andrew Miller
Jean & Scott Nelson New Music for America The Newton Family Fund Martha Oetzel Brook Reams & Rochelle Chartier Luana Rubin Charles Samson Marjorie & Bob Schaffner Jane & Leo Schumacher Norman Taylor Shelby and Nicholas Vanderborgh Pamela Walker Paul Weber Wittman Family Charitable Fund A special thank you to the following supporters who provided transportation and housing to our Guest Artists, Orchestra Musicians, and Music Director: Alan Davis Tom Kinder Bonnie Kirschenbaum Anjali & Stefan Maus Susan Olenwine & Frank Palermo Margaret & Rudy Perez Ellie & Harry Poehlmann Lynn Streeter Pamela Walker The Boulder Phil also expresses its deep appreciation for the donors who supported us with financial and in-kind contributions under $500.
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The key to our future is your generosity. Your support today will enable us to emerge stronger, more vibrant, and more creative than ever before. Use our QR code for secure online donations
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Takács Quartet: Sept.-April Christmas with the Canadian Brass: Dec. 13 Joyce Yang, piano with the Takács Quartet: Jan. 12 (pictured) Ray Chen, violin and Julio Elizalde, piano: March 21 Asleep at the Wheel with the CU Symphony Orchestra: April 5 Tickets and more at cupresents.org. CU Presents is the home of performing arts on the beautiful University of Colorado Boulder campus.
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calls last year and is often cited as million as of June, The AP found. a national model. Its funding has tal health crises with clinicians Funding sources vary. prayed: “Dear Lord, please, don’t $7 million since 2021. and EMTs or paramedics, instead “If someone is experiencing a totaled let them break the window.” In New York, a more than $40 police. health crisis, law enforceThey did, and the 22-year-old of The initiatives have spread rap- mentalis not what they need,” said million-a-year program dubbed ment grabbed a small knife. Then he 3,500 stun idly in recent years, particularly Tamara Lynn of the National De- B-HEARD answered about a ge- was hit with bean bag rounds, year, and mental health among the nation’s biggest cities. Training Center, a pri- calls last gun charges and, ultimately, bulcriticize it as anemic. Data gathered by The Associ- Escalation ology geek, a painter and a young that trains police to advocates lets that killed him and led to a show at least 14 of the vate group situations. Press Representatives from some ated man beset by a mental health crideputy one against handle such murder charge cities were frank about chal20 most populous U.S. cities are sis when he called 911 for help getThere’s no aggregate, compre- other — staffing shortages, accliand a criminally negligent homihosting or starting such programs, ting his car unstuck in a Colorado yet on the programs’ lenges against another. data charge hensive cide alternayear. civilian, last called mating 911 dispatchers to sending mountain town As part of a $19 million set- sometimes effects. Their scope varies considConvinced that supernatural out unarmed civilians, and more tive or non-police response teams. tlement this spring with Glass’ in Washington, from New York and Los erably. conference a span at — They beings were after him, he balked drive Creek hour’s Clear an In Denver, just parents, Colorado’s D.C., this spring. Angeles to Columbus, Ohio, and when sheriff’s deputies told him from where Glass was killed, a proCounty this month joined a growALTERNATIVES >> PAGE 2 Houston, and boast annual budto get out of his car. The officers gram called STAR answered 5,700 ing roster of U.S. communities gets that together topped $123 shouted, threatened and coaxed, that respond to nonviolent menbody camera video shows. Glass
By Jennifer Peltz and Jesse Bedayn The Associated Press
DENVER >> Christian Glass was
CU Boulder
SMILES AT THE STARTING LINE
City Council likely to wait until 2025 By Amber Carlson acarlson@prairiemountainmedia.com
MATTHEW JONAS — STAFF PHOTOGRAPHER
their parents during the Keona Rockwood take photos to send to From left: Seniors Sydney Stringer and Boulder on Monday. first day of classes at the University of Colorado CLEAN AIR INITIATIVES
BVSD, Boulder Prep Charter get grants
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save on gas and cost less Boulder Valley’s grant is ex- fumes, was created by a state law apto maintain. pected to cover the cost for 10 proved last school year that’s Plus, because they’re so much electric buses at $394,497 each, bus drivers report betaimed at improving air quality. 10 charging stations at quieter, Grants in the first round plus each. The exact amount ter student behavior because The Boulder Valley School $5,500 were awarded to 13 projects for they’re not yelling over the District plans to double its fleet of the grant is still being determore than $24 million in comsound of the engine. of electric buses through a state mined. bined state and federal funding. “I’m excited,” said Rob Price, grant of up to $3.8 million as it After the purchase, Boulder bus pursupport grants Valley’s assistant suThe Boulder 19 clean of works toward climate and Valley will have a total operations. chases, conversions, charging which officials perintendent of air goals. and the cost of electric buses, GRANTS >> PAGE 2 don’t produce quieter, Colorado’s $65 million elec- infrastructure are say scrapping old buses. tric school bus grant program
By Amy Bounds boundsa@dailycamera.com
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After an emotional discussion late Thursday evening, a majority of Boulder City Council members said they leaned toward waiting until 2025 to implement a minimum wage increase in the city. Councilmember Nicole Speer had asked for the council to discuss of the issue in light of the Boulder County Commissioners’ announcement earlier this month that they planned to move toward increasing the hourly minimum wage to 15% above the statewide 2023 minimum effective Jan. 1. But the county’s wage increase will only apply in unincorporated parts of Boulder County. The question at hand was whether Boulder should follow the county’s suit and aim for a 2024 implementation or stick with the 2025 implementation that most councilmembers said they favored in a May 25 discussion. In the months since May, the council has heard increasingly urgent pleas to act quickly on the minimum wage from people struggling to make ends meet in Boulder. At an Aug. 17 meeting, the minimum wage was one of the most frequent topics that came up during open comment. Ana Casas Ibarra, community access and development coordinator at El Centro Amistad, said her organization serves immigrant families who “struggle to stay afloat, to pay rent and pay the bills.” She asked that the council act now and raise the minimum wage to $15 an hour, up from the current statewide minimum wage of $13.65 an hour. Indira Kumari, a Nepali immigrant, gave an emotional testimony, saying, “I know what it is like to live not knowing where the next meal is coming from and not having a roof over my head for six
COUNCIL >> PAGE 2
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OCT 21 | Chamber Music Night - Capturing the Folk Spirits DEC 16 | Beethoven Birthday Celebration and Holiday Concert JAN 20 | Chamber Music Night - Adam Zukiewicz and Friends FEB 3 | The Subtle and the Indisputable! FEB 17 | Chamber Music Night - Triptych of Trios MARCH 2 | Virtuosity! APRIL 6 | Chamber Music Night - Mixing Timbres Tickets are $13 - $30 at boulderchamberorchestra.org All concerts listed are in Boulder. Check website for location.
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