Expect the Unexpected Anne Harrigan, Music Director 2013 | 2014 Ravel Mendelssohn Rossini Strauss Rachmaninoff Tchaikovsky Prokofiev Orff
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2013-14 Season Series September 21, 2013 Opening Night Anne Harrigan, conductor Rachel Lee, violin
October 12, 2013 Enchanted Italy Anne Harrigan, conductor Stephanie Anderson, trumpet Emily Walker, piano
November 9, 2013 Sixties Revolution Anne Harrigan, conductor Clinton Curtis, vocalist Lakisha Jones, vocalist Colin McAdoo, vocalist
February 8, 2014 Piano Romance Anne Harrigan, conductor Andrew von Oeyen, piano
Voice Specialist
March 15, 2014 Russian Days & Arabian Nights Anne Harrigan, conductor
April 26, 2014 Carmina Burana Billings Symphony Chorale Anne Harrigan, conductor Steven Hart, chorale director Paul Bork, countertenor Christine Steyer, soprano Andrew Wilkowske, baritone
Special Events Nov. 30 & Dec. 1, 2013 Nutcracker with San Diego Ballet Dec. 7, 2013: Holiday Tour of Homes Dec. 14 & 15, 2013 Christmas with the Chorale
Billings Clinic welcomed Dr. Jennifer G. Andrus to the Department of Otolaryngology – Head & Neck Surgery in 2010. She received her fellowship training in Laryngology Jennifer G. (the study of voice and Andrus, MD, FACS swallowing disorders) at Massachusetts Eye & Ear Infirmary, Harvard Medical School, Boston, Massachusetts. Dr. Andrus is experienced in treating vocalists of all ages, as well as voice loss and swallowing disorders. She also provides diagnosis and treatment of disorders of the ears, nose and throat in children and adults.
Dec. 31, 2013: 50s Dance Party Jan. 25, 2014: Family Concert Flat Stanley & the Symphony June 29, 2014: Symphony in the Park
To schedule an appointment, call (406) 238-2501 or visit www.billingsclinic.com for more information.
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Meet the Music & Chorale Directors Anne Harrigan, Music Director of the Billings Symphony Orchestra & Chorale and the Battle Creek Symphony Orchestra, has earned a reputation throughout the country for her innovative programming, commitment to artistic excellence and community engagement. Her commitment to innovation in programming has resulted in groundbreaking multi-disciplinary programs that have attracted national attention. These include the United States premiere of Shaun Davey’s “A Brendan Voyage,” a concerto for uilleann pipes and orchestra with the renowned piper Christopher Layer; collaborations with Alexander Streltsov, aerialist; silent movies with live orchestra; live video projections of performances; Peter Boyer’s “Ellis Island: Dream of America, ” a chronicle of the journey of seven immigrants through Ellis Island; and collaborations with Montana photographer, Michael Sample. Ms. Harrigan began her career at the age of 19 when she founded the Johns Hopkins University Chamber Orchestra while still a violin student at the Peabody Institute of Music. She received her Master’s degree in conducting at Yale University under the tutelage of Otto Werner Mueller. In 1983, Ms. Harrigan formed the Baltimore Chamber Orchestra and developed it from a fledgling organization to one of the finest chamber orchestras in the country. Her interactive, multi-disciplinary family concert, “Colors of the World”, produced for television by Maryland Public Television, was recognized with an Emmy award in 1998. In addition, the BCO’s first compact disc recording, “Baltimore Chamber Orchestra Live,” received rave reviews. Ms. Harrigan resides in Rockford, Michigan with her husband, Eric Hudson and daughter, Erin. When not conducting, she enjoys bicycling and cross-country skiing. Steven Hart, now in his eighth season as the Billings Symphony Chorale Director, is a professor of music at Rocky Mountain College in Billings. He conducts choral ensembles and teaches conducting, vocal pedagogy and private voice. He completed his PhD at the University of Colorado, his MM at the University of South Dakota, and his BM at Western Michigan University. Dr. Hart is active as a guest conductor and has presented master classes and clinics in California, Michigan, Indiana, Iowa, Montana, Utah, Wisconsin, and Wyoming. He was a guest conductor at the Annual International Conducting Workshop in Varna, Bulgaria. He is the conductor and founder of the High Plains Chamber Singers and conductor of the Billings Symphony Chorale. His research interests draw from neuroscience, with specific focus on the physical manifestations of mental activity through the mind-body connection. He is the Collegiate Repertoire and Standards Chair for the Montana Music Educators Association and publishes articles for choral professionals. In preparing music ensembles for performance, Hart combines theater, sports psychology, neurolinguistics, music history and vocal pedagogy, to create the conditions for peak aesthetic experience. Hart comes from a family of professional musicians. He began his performing career at age 9 in the title role of Oliver and at age 10 performed the title role of the Menotti opera Amahl and the Night Visitors. Hart enjoys rock climbing, hiking, skiing, and tennis.
Denny & Linda Menholt proudly sponsor Since the first performance of the Billings Symphony Society in May of 1951, the organization’s mission has been to enhance the quality of life in this part of the Rocky Mountain Northwest by offering musical enlightenment and intellectual stimulation to traditional audiences, as well as those who are geographically isolated, economically challenged and culturally underserved. Today that mission remains the driving force behind the Billings Symphony Orchestra & Chorale (BSO&C). This season, Music Director Anne Harrigan, along with the 135+ members of the BSO&C will present an annual season from September through June, featuring six subscription concerts, two performances of Tchaikovsky’s Nutcracker, a New Year’s Eve concert, two Chorale Concerts, our annual Family Concerts, and our free Symphony in the Park concert. Each season, the BSO&C perform for nearly 40,000 people throughout south central and eastern Montana and northeastern Wyoming, and help introduce music to children, youth, adults, and seniors through Explore Music!, the BSO&C’s music education and community engagement programs.
Expect the Unexpected 2013-14 Season
2013-2014 Season at a Glance ..................................................3 About the Music & Chorale Directors .................................5 BSO&C Rosters ...........................................................................9 BSO&C Board & Staff .............................................................11 Audience Information .............................................................13 Sept. 21: Opening Night .........................................................15 Oct. 12: Enchanted Italy ..........................................................25 Nov. 9: Sixties Revolution ......................................................39 Nov. 30 & Dec. 1: Nutcracker with San Diego Ballet ......47 Dec. 7: Holiday Tour of Homes ............................................16 Dec. 14 & 15: Christmas with the Chorale .........................16 Dec. 31: New Year’s Eve .........................................................51 Sponsor-A-Chair ......................................................................34 Supporting your Symphony .................................................55 Benefits of Symphony Membership..................................56 Contributors ............................................................................58 Explore Music! ..........................................................................61 Ticket Information ...................................................................66
The BSO&C is supported, in part, by a grant from the Montana Arts Council, an agency of the state government, and the National Endowment for the Arts.
Expect the Unexpected! Welcome to the 63rd season with your Billings Symphony Orchestra and Chorale (BSO&C). I’ve programmed my ninth season with brilliant guest artists and colorful music from around the world that promises to take you on an adventure! Experience the glamour and excitement of Hollywood with Symphonic Classics from the Silver Screen and take a stay-cation Anne Harrigan to Enchanted Italy this fall with Mendelssohn’s Italian Symphony. Music Director Travel back in time with Sixties Revolution, as American Idol finalist, Lakisha Jones, and friends rock the Alberta Bair Theater. We are thrilled to welcome back internationally acclaimed pianist Andrew von Oeyen for Rhapsody on a Theme of Paganini and Tchaikovsky’s Romeo and Juliet. Russian Days & Arabian Nights, will transport you to exotic lands, illustrated with children’s interpretations in art. Concluding the season, the Orchestra and Chorale unite performing Carl Orff’s popular Carmina Burana! Visit our website for detailed concert information. Throughout the year, our performances tie into Explore Music!, our education and community engagement program, which reaches nearly 40,000 people! I am honored to be a part of the Billings Symphony Orchestra & Chorale, and I hope you enjoy our 2013-14 season as much as we will enjoy sharing the experience with you.
Billings Symphony Orchestra VIOLIN Randy Tracy,* concertmaster Kathy Griffen,*† assistant concertmaster Lisa Bollman,* principal second violin Betsy Rivers,*† assistant principal second violin Maurine Akin, Laura Blond, Laura Dalbey,* Tamara Farr, Jennifer J. Frye, Harmony Hoover, Julie Johnson, Kristi Kazmierski, Barbara Kirk,* Rachel Lesnik, Lisa Lombardy,* Sally Lynam,* Emily Paris-Martin, Vikki Payne,* Susan Platt, Cathy Pomeroy,* Melanie Pozdol, Lindsey Selman, Rosie Weiss** VIOLA Amy Letson,* principal Ken Gilstrap,* assistant principal Brian Bell,* Lauren Carr, Diane Fossen,* Katie Krumdieck, Taylor Shea** CELLO David Heinzen,* principal Mary McCullough,* assistant principal Angela Andrikopoulos, Karla Carr,* Maria Fulton,** David Kirk, Rebeca Strong,** Teal Zickefoose* BASS Richele Sitton,* principal Robin Martinez,* assistant principal Kathy Beagle, Don Beller, Dale Bohren, Rich Gonzales** FLUTE Sue Makeever,* principal Lynette Larson,* Megan Makeever, Michelle Maurer
OBOE Sue Logan,* principal Kristin Ostwalt,* Sandy Stimson CLARINET Laurel Linde,* principal Jolane Jones,* Mary Jacobson, Amy Logan SAXOPHONE Paul Gates, Brent Koch BASSOON Elizabeth Crawford, principal Paul Gates,* Brad Steorts, contrabassoon; Susan Wadsworth HORN John Dutton,* principal Caleb Lande,* Dan Lande, Mike Nelson, Mary Robertson,* TRUMPET Mark Fenderson,* principal Michael Flynn, Jerry Makeever, Matt Makeever, Emily Prouty, Sal Scrano TROMBONE Mark Soueidi,* principal Larry Lynam,* Steve Patton* TUBA Ben Kirby TIMPANI Jeff Vick* PERCUSSION Luke Kestner,* principal Kyle Melugin,* Rebekah Reger* HARP Angela Espinosa, Melody Lindsay KEYBOARD Jennifer Bratz, Lee Hancock
*Tenured **Intern †Leave of Absence String seating changes within the section each concert.
Billings Symphony Chorale SOPRANO Miranda Ainslie, Susan Betz, Deb Brown, Jennine Budge,* Pat Burg, Nancy Downer, Vivica Fischer, Rosalie Foster, Barbara Gulick, Kaylene Hall, Pam Havig, Jodi Jones, Ruth Kosche, Becci Larson, Jane Milder, Kathy Munson, Sheri Olsen, Sarah Rachac, Karen Simmons, Norma Sitton, Carol Tasset, Teresa Wagner ALTO Robin Aalseth, Carolyn Barnett, Laura Blodgett, Judy Burnam, Kathleen Cochrane,* Nancy Downing, Shelley Ellis, Marilyn Franklin, Joan Fritz, Kate Hart, Teri Hammerquist, Jewel Hanson, Karen Haughey, Jan Hawk, Carrie House, Alison Howard, Rebecca Hunter, Trish Kirk, Tibby Lyngby, Janet Martin, Carol Metzler, Terri Normand,Jenifer Parks, Loween Peterson, Janine Piper, Barb Seago, Lorraine Ware * Section Leaders
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TENOR Ryker Anderson, David Barnett II, David Barnett III, Todd Chakos, Mike Downing, Mike Geurin, Ed Gulick, Lance Hanson, Hub Hart, Randy Kraai, Mike Metzler, Alan Muskett, Greg Piper,* Shaun Rasch, Matt Redinger, Tom Wagner BASS Ron Burnam, Jay Dudik, Don Havig, Charlie Hendricks, Ron Hendricks, Doug Johnson, JC McCann, Jim Normand, Leonard Orth, David Otey, Bob Quam, Mark Reynolds, Cas Seago,Tom Singer, Don Sommerfeld, Ed Stickney, Daniel Struckman, Gary Treglown, Bret Weston,* Dale Wicks, Steve Zediker
Chorale Representative on BSO&C Board of Directors
Board of Directors Lynn Marquardt President Lorraine Gallinger Vice President Gary Oakland Secretary Fay Ellis Co-Secretary David Hummel Treasurer Paul Cook Past President Hewes Agnew Martha Arguelles Susan Barrow Linda Baugh Cheryl Bentley Andrew Billstein Pat Burg Mark Fenderson* George Haddenhorst Edward Hammer Robin Hanel Tom Hohn Val Jeffries Laurel Linde* Lorraine Marsh Sheri Smith McCurdy Linda Menholt Bill Mercer Tina Nelson Heather Rosenfeld Barbara Sample
A Note of Welcome Welcome to Expect the Unexpected, the 63rd season of the Billings Symphony Orchestra & Chorale. Anticipate exciting and uplifting concerts from Maestra Anne Harrigan and the talented musicians of the orchestra and chorale as they, along with outstanding guest artists, take us on a musical journey through Lynn Marquardt the magic of inspired composers. Board President From Italy and Russia to the Sixties and the Silver Screen, from Piano Romance to the powerful Carmina Burana, the BSO&C offers memorable performances. We invite you to include the Nutcracker Ballet, our Holiday Tour of Homes, Christmas with the Chorale, and the New Year’s Eve tribute to Buddy Holly as part of your holiday celebration; and to join us for the January family concert and Symphony in the Park. The success of our mission, to provide quality symphonic music for traditional and new audiences, depends upon an entire team: the musicians, the staff, the Board of Directors, and the numerous volunteers who make our events possible. Thank you for your dedication, time, and effort; it is an honor to represent you. You, our loyal supporters and concert-goers, are an integral part of our organization. On behalf of the Board, the staff, and the musicians, I thank you for your continuing enthusiasm and generosity and wish you many unforgettable evenings at the Symphony. Enjoy our 2013-2014 season: Expect the Unexpected.
Administration Darren Rich Executive Director
Richele Sitton Orchestra Personnel Manager
Robin Aalseth Chorale Librarian
Michelle Tracy Director of Marketing & PR
Lisa Bollman Orchestra Librarian
Aimee Waddingham Operations Manager
John Stewart Shelley Van Atta Jane Van Dyk Scott Wetzel * Orchestra representative # Chorale representative
Candy Holzer Director of Education 2721 2nd Ave N, Suite 350 | Billings, MT 59101 (406) 252-3610 | fax (406) 252-3353 www.billingssymphony.org
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Straight No Chaser 7:30pm, Tuesday, October 22
Vivaldi’s Four Seasons with Piers Adams & Gut Reaction 7:30pm, Wednesday, November 20
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Music of the Sun featuring Ethel with Robert Mirabal 7:30pm, Tuesday, January 21 Sponsored by
BILLINGS SYMPHONY ORCHESTRA & CHORALE
Audience Information To ensure that each patron has the best concert experience possible, please take a moment to read the following information. SEATING POLICY Please plan to arrive on time. If you do arrive after the performance has begun, ushers will wait to seat you until a break in the program. Seat numbers are on the left chair arm. “CONCERT CUES” Each season concert is preceded at 6:45 p.m. by a brief interactive discussion led by Marvin Granger, formerly of Yellowstone Public Radio. Please sit near the front of the main-floor area for an insightful conversation related to the evening’s music, composers and guest artists. Patrons must return to their reserved seats after the session. This program is made possible through the generous support of Gary and Melissa Oakland. CELL PHONES, BEEPERS AND OTHER ELECTRONIC DEVICES Please turn off all electronic devices that are not medically necessary. This includes but is not limited to cell phones, beepers, Blackberries, etc. If you wear a hearing device, please turn down the volume so that it doesn’t squeal during the performance. CAMERAS AND VIDEOTAPING No cameras, video or audio recording devices are allowed in the Alberta Bair Theater. SOUND TOO LOUD? Depending on where you are sitting, you may feel that the volume is too loud. We offer complimentary soft foam earplugs for your comfort. Please ask the ushers for a pair. SOUND NOT LOUD ENOUGH? To assist those who can’t hear the performance well enough, the ABT offers complimentary infrared listening devices. Please exchange your driver’s license or ID for a set at the Coat Check counter.
LARGE PRINT CONCERT NOTES AND CONCERT SPECIFIC ROSTERS At each performance the Symphony provides large print concert notes and concert-specific orchestra rosters. Please inquire at Coat Check. ACCESSIBLE SEATING There are nine wheelchair spaces available on the main floor. These spaces, plus an adjoining seat, are withheld from general sale until the day of the performance or until the event is otherwise sold out. RESTROOMS Men’s and women’s restrooms are located on the mezzanine level. Handicapped access restrooms are located on the north side of the main lobby. Please keep handicapped restrooms on the main floor free for those who are unable to climb stairs. SMOKING The Alberta Bair Theater is smoke free. Smoking is not permitted in the building. INTERMISSION Billings Symphony season series concerts have a 20-minute intermission, unless otherwise noted. CONCESSIONS Candy, nuts, soft drinks, juices, wine and beer are available for purchase in both the main lobby and mezzanine before the performance and during intermission. Please be courteous of those sitting around you should you bring food or drink into the auditorium. PLAYBILL INFORMATION The BSO&C publishes playbills twice a season and distributes them at each season series concert as well as at The Nutcracker, New Year’s Eve, and Family Concerts. For advertising information, please contact Michelle Tracy at the Symphony office at (406) 294-3712.
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September 21, 2013
Symphonic Classics from the Silver Screen Anne Harrigan, music director Rachel Lee, violin
Erich Korngold
The Sea Hawk (Suite for Orchestra)
Max Steiner
Tara: A Short Tone Poem for Orchestra
Erich Korngold
Violin Concerto in D major, op. 35 I. Moderato nobile II. Romance. Andante III. Finale. Allegro assai vivace Rachel Lee, violin
Intermission Richard Strauss
Also sprach Zarathustra, op. 30 Theme from 2001: A Space Odyssey
Johann Strauss, Jr.
On the Beautiful Blue Danube, op. 314
Samuel Barber
Adagio for Strings, op. 11
Bernard Herrmann
Psycho Prelude
Maurice Ravel
Bolero
Thank You to our concert sponsor!
Guest Artist Rachel Lee Violinist Rachel Lee is one of today’s most captivating artists, and “already commands an impressive musical profile,” according to the Chicago Tribune. She is noted for her compelling stage presence and a unique ability to “make the music sing” (The Baltimore Sun), as well as her commitment to a wide-ranging repertoire. Born in Chicago in 1988, Rachel began her violin studies at the age of four, and in 1996 moved to New York to study with the late Dorothy DeLay. At just nine years of age, she was the youngest musician selected to give a recital as part of the 1998 La Jolla Chamber Music Society’s Prodigy Series. Rachel has been featured in the Los Angeles Times, The New Yorker, Family Circle Magazine, and The Strad Magazine, as well as on radio and television, including a broadcast on PBS with Itzhak Perlman and an “American Masters” documentary about the Juilliard School. She has also appeared on the Disney Channel, performing in Avery Fisher Hall with Disney’s Young Musicians Symphony Orchestra, and performed at the 2000 Grammy Awards ceremony in Los Angeles. In May 2010 she received a B.A. in English from Harvard University, and this year received a master’s degree, studying with Miriam Fried at the New England Conservatory through its joint five-year program with Harvard College.
Billings Symphony’s Ninth Annual
Holiday Tour of Homes Gather your friends and family and usher in the holiday season on a self-guided tour of four extraordinary homes lavishly decorated to reflect the charm of the holidays while enjoying seasonal music, holiday cheer and cookies.
Dec. 7 | 12 - 4 p.m.
Christmas with the Chorale Steven Hart, Chorale Director Billings Symphony Chorale This festive concert of seasonal hits and popular favorites, including Vivaldi’s Magnificat, is a delight for the entire family during this magical time of year!
Dec. 14 | 7:30 p.m. Dec. 15 | 3 p.m. St. Patrick Co-Cathedral
Tickets On Sale NOW! | 252-3610 or www.billingssymphony.org
About the Music The Sounds of the Silver Screen The silent movie era (1894-1929) was not silent. Tradition almost demanded that this new form of entertainment be accompanied by music. Performed live at the movie theatre, music not only covered projector noise, but humanized the images on the screen and provided continuity between scenes. Popular music played an important role, but concert and operatic music provided an even larger, immediately-available library of recognizable and memorable material. While the fledgling industry and world waited for technology to catch up with artistic vision – the method of recording synchronized sound wouldn’t be introduced until 1922 – live film music progressed from a single piano player to a 50-piece orchestra and chorale performing Joseph Carl Breil’s pastiche of a score, filled with original, classical, folk and popular selections for 1915’s The Birth of a Nation. Eventually, pre-existing music – popular or classic – was deemed a distraction to an audience familiar with it, and, in 1916, Victor Herbert composed the first entirely-original film score for The Fall of a Nation, encouraging former cue sheet and photoplay music compilers, arrangers and editors to turn to film Also sprach Zarathustra composing. From these early days Richard Strauss | 1864-1949 well through the 70s (even today), film On the Beautiful Blue Danube composers were considered “hacks,” Johann Strauss, Jr. | 1825-1899 inferior in skill and artistry to “serious” composers. Most film composers were At the April 6, 1968 premiere, no one actually serious musicians, like Gaston in the audience was more surprised than composer Alex North by the odd Borch who studied composition with assortment of famous classical pieces Massenet and played in and conducted undercoring Stanley Kubrick’s symphonies across Europe and the U.S. 2001: A Space Odyssey. Kubrick, Ironically, classical composers, such as who had commissioned North early Stravinsky, who tried motion picture in production to write the score, explained his post-production decision scoring often did as poorly as famous to use what had been temporary novelists did with screen writing. By “guide” tracks: “However good our the time The Jazz Singer (1927) ushered best film composers may be, they are in the Golden Age of Hollywood (an not a Beethoven, a Mozart or a Brahms. Why use music which is less good era which would last into the early when there is such a multitude of great 60s), film scores were mostly original orchestral music available from the material and world events would breed past and from our own time?” a new generation of film composers.
About the Music Max Steiner A child prodigy, Austrian Max Steiner received piano instruction from Johannes Brahms and, while enrolled in The Imperial Academy Of Music at age 16, was taught by Gustav Mahler. Emigrating to the United States, he worked for eleven years in New York as a Broadway musical director, arranger, orchestrator and conductor for operettas composed by Victor Herbert, Jerome Kern, and George Gershwin. 41-year-old Steiner’s ambitions brought him to Hollywood in 1929 as the motion picture studios were beginning to feel somewhat more comfortable with the experimental transition from silence to sound. Composing seemed a natural progression from orchestrating the works of others, and Steiner adapted to his new challenges with both skill and ease at the fledgling Radio Pictures Studio. In 1933, film maker Merian C. Cooper turned to the man who had written the themes for his earlier adventure thriller, The Most Dangerous Game, to write an original score to help bring his latest fable to life. Steiner’s thunderous themes for King Kong became the first profoundly important and influential underscore of the sound era, and revolutionized the manner in which motion picture music would be written and performed for Tara Theme from “Gone with the Wind” the next seventy eight years. Max Steiner | 1888-1971
Max Steiner continued as a major force in motion picture scoring during the 1940s, making up for his late start with a prodigious output of over 300 film scores. Among his masterpieces are Gone With the Wind (1938), The Informer (1935), and Now Voyager (1942). Steiner’s music can be not only heroic, but light and urbane (Little Women, 1933, or Roberta, 1935), or darkly dramatic: the Wagnerian leitmotifs in King Kong (1933), as well as the memorable “cowboy” music in The Treasure of the Sierra Madre (1948).
Steiner’s work on Gone with the Wind is a landmark in the history of film music; a score not just perfectly matched to the visuals, but one that truly contributed to the story’s epic sweep and largerthan-life drama. Curiously, producer David O. Selznick, who would consider no other composer but Steiner for the film, going to considerable expense to borrow him from Warner Brothers, was reluctant to allow Steiner to compose original music, asking rather for a score consisting mostly of existing classical music. Steiner however insisted that the lavish epic would only be properly served by an original score. Produced in only three months, the three-hoursplus score was the longest ever composed for a film, a record that held for 20 years until Miklos Rósza’s Ben Hur.
About the Music Erich Korngold Born in what is now Brno in The Czech Republic, Erich Wolfgang Korngold (1897-1957) is another Austrian prodigy who would make his way to Hollywood. At age nine, he played his cantata Gold to Gustav Mahler, who declared him a “musical genius,” and his ballet Der Schneemann (The Snowman), composed at age 11, became a sensation at the Vienna Court Opera in 1910. By the time he completed his opera Die tote Stadt (The Dead City) in 1920, 23-year-old Korngold had reached the zenith of his international fame as a composer of opera and concert music, with works in a wide range of genres. Korngold was invited to Hollywood in 1934 to orchestrate the music of Felix Mendelssohn for the Warner Brothers film production of A Midsummer’s Night Dream. He discovered that his neo-romantic idiom was perfectly suited for film and with the rise of the Nazis in Europe, Korngold moved his family to Hollywood, where for the next decade he would write some of the most exciting music ever written for the cinema, including Captain Blood, The Sea Hawk, and the Continues to next page
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About the Music unforgettable Adventures of Robin Hood. While his output of 21 film scores was far fewer than Steiner’s, Korngold is generally credited with inventing the syntax of orchestral film music, and his influence can be heard in the music of his modern successors, particularly John Williams and James Horner. In 1937, the violinist Bronislaw Huberman first suggested that Korngold write a violin concerto. But by the time Korngold got around to composing that concerto, Huberman had passed out of the picture, so Korngold turned to the violinist who was one of his neighbors in Los Angeles, Jascha Heifetz. Completed in the summer of 1945, Korngold’s Violin Concerto was written with Heifetz’s silky tone and breathtaking virtuosity in mind, and it was Heifetz who gave the premiere in Saint Louis on June 15, 1947. The New York Times dismissed it as a “Hollywood concerto,” but Heifetz continued to champion the work, and his 1953 recording of it has become a classic, cementing the concerto’s place in the violin repertory. Korngold felt that some of his film music was too good to lose to studio archives, so he used it as the basis of his Violin Concerto. The concerto is in the usual Boléro three-movement form, with the solo Maurice Ravel | 1875-1937 violin immediately entering on a “I have written only one masterpiece. theme drawn from Another Dawn, That is the Boléro. Unfortunately, it an Errol Flynn film released in 1937. contains no music.” One of the last This theme arcs grandly upward and pieces he composed before illness then soars dramatically – it is a theme forced his retirement, Boléro is as Ravel wrote, “an experiment in a very special perfectly suited to show off the violin. and limited direction, and should not The second subject of this movement be suspected of aiming at achieving is taken from Korngold’s music from anything different from, or anything Juarez (1939), a poignant historical more than, it actually does achieve” drama starring Paul Muni in the - one very long, gradual crescendo. Despite critical misgivings, Boléro was title role, Brian Aherne as the tragic an immediate public favorite. In the Habsburg Emperor of Mexico and Bette 1980 movie, 10, Bo Derek’s character Davis as his Empress. The movement is asks, “Did you ever do it to Ravel’s written in the classical form, complete Boléro?” While certainly not the first time Ravel’s most popular piece with development and recapitulation was scored in film, the four-minute of these ideas, a cadenza, and a grand excerpt of Boléro in the scene which close. followed significantly increased sales of Korngold titled the second movement Romance, a title which suggests music of an expressive atmosphere. The main
recording of the work and catapulted Boléro into the American public’s psyche.
About the Music theme here comes from the film Anthony Adverse (1936), for which Korngold won an Oscar. The contrasting Misterioso middle section is the only major theme which appears to have no film derivation. The energetic finale is a rondo marked Allegro assai vivace, which was undoubtedly written specifically for Heifetz’s talents. Beginning with a dizzying jig, the movement is built on music from yet another Errol Flynn film, The Prince and the Pauper (1937). In the movie, this theme accompanied the hunt for the royal seal – here it becomes the basis for a brilliant concluding movement, full of violinistic fireworks.
Bernard Hermann The man behind the low woodwinds that open Citizen Kane (1941), the shrieking violins of Psycho (1960), and the plaintive saxophone of Taxi Driver (1976), Bernard Herrmann, once said of the function of music in film: “Music on screen can seek out and intensify the inner thoughts of the character. It can invest a scene with terror, grandeur, gaiety or misery. It often lifts mere Adagio for Strings dialogue into the realms of poetry. It Samuel Barber | 1910-1981 is the communicating link between screen and audience, reaching out Originally written for string quartet, and enveloping all into one single Arturo Toscanini led the NBC Symphony Orchestra in the 1938 string orchestra experience.” premiere, which was broadcasted from New York to a radio audience of millions across America. Adagio for Strings begins softly, with a single note, a B-flat, played by the first violins. Two beats later the lower strings enter, creating an uneasy, shifting suspension as the melody begins a stepwise motion, like the hesitant climbing of stairs. In around eight minutes the piece is over, harmonically unresolved, never coming to rest. Arts journalist Johanna Keller remarks, “If any music can come close to conveying the effect of a sigh, or courage in the face of tragedy, or hope, or abiding love, it is this.” Oliver North used Adagio for Strings throughout his 1986 Academy Awardwinning film, Platoon, introducing Barber’s masterpiece to a new generation of admirers.
In 1939, Hermann was among the creative team Orson Welles brought with him to Hollywood, ready to take the world of cinema by storm, as they had done previously at the CBS Radio studios in New York with their acclaimed radio dramatizations (culminating with 1938’s notorious The War of the Worlds). Breaking away from the the lush orchestrations and European traditionalism that had set the mood of the previous decade, the score for Kane was dark, brooding, decidedly unromantic, and entirely modern, announcing Bernard Herrmann as a new force to be reckoned with, and quickly raising
About the Music him to the ranks of the most influential screen composers. Herrmann composed both in Hollywood and abroad – most notably collaborating on nine films with Alfred Hitchcock – and completed the innovative jazz score for Martin Scorcese’s Taxi Driver only hours before his death in 1975. Such was the profound respect and influence commanded by Bernard Herrmann during his remarkable career that, upon its release, Scorcese dedicated his film to the late composer. Despite his talent, Herrmann was at his happiest conducting, and often championed the work of composers whose work
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Psycho Prelude Bernard Herrmann 1911-1975 In the history of film and of film music, the names of Bernard Herrmann and Alfred Hitchcock are inextricably bound together. Their eleven-year collaboration produced a run of masterpieces including The Man Who Knew Too Much, Vertigo, North by Northwest and the controversial 1960 suspense classic, Psycho. Having postproduction doubts, Hitchcock wanted to cut it down to an hour for television. Herrmann suggested he instead wait until after the holidays. Hitchcock acquiesced, his only instruction that Herrmann write nothing for the murder in the shower. “That must be without music.” Herrmann, of course, ignored those instructions and wrote his most famous bars of music for the now-iconic scene. Hitchcock surprisingly admitted that the composer’s instincts were right and showed his appreciation for by almost doubling Herrmann’s salary to $34,501. (Ironically, similar defiance for the score of Torn Curtain, resulted in Herrmann’s immediate removal from the film and the abrupt end to the pair’s relationship.)
may not have been in vogue at the time. Like Korngold, he believed that music for the cinema carried the same significance as music written for the concert hall. “Music was music,” he said, and he gave unsparingly of his talent to films, television, radio, opera and the concert stage.
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Enchanted Italy Anne Harrigan, music director Stephanie Anderson, cornet Emily Walker, piano
Gioacchino Rossini
Overture to The Barber of Seville
Herbert L. Clarke
The Carnival of Venice Stephanie Anderson, cornet
Giacomo Puccini
I Crisantemi (The Chrysanthemums)
Camille Saint-SaĂŤns
Piano Concerto No. 2 in G minor, op.22 Andante Sostenuto Emily Walker, piano
Intermission Felix Mendelssohn
Symphony No. 4 in A Major, op. 90 I. Allegro vivace II. Andante con moto III. Con moto moderato IV. Saltarello. Presto
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Guest Artists Stephanie Anderson A junior at Bozeman High School, Stephanie plays trumpet in the Bozeman High School Band and Symphony Orchestra, and marches with the Hawks’ Marching Band. She was selected for the Montana All-State Band as a freshman and sophomore, and the 2013 All-Northwest Orchestra. As a result of her successful audition for the highly competitive National Association for Music Educators’ All-National Band, she traveled in June 2012 to Washington, D.C. to perform at the John F. Kennedy Center for the Performing Arts. The youngest of a trio of musically talented sisters, Stephanie enjoys sharing her instrument’s music with all types of audiences and hopes to have a career as a trumpet soloist. She won the Junior Division of the 2013 MASO Exergy Young Artists Competition with her performance of Arutunian’s Trumpet Concerto. While quickly contracted to perform the professional-level work in her hometown this December, Stephanie was asked by Maestra Harrigan to perform a piece even better suited to tonight’s program: Clarke’s The Carnival of Venice. She had already made a big impression with the piece at her high school’s 2012 Hawks Night Live talent show, winning the grand prize on the first night. Of her showstopping performance of this “rite of passage” for brass, Stephanie said, it has so many notes, “it sounds almost like two trumpets playing. I felt pretty happy because it made other people happy.” Let us help you find your L DREAM HOME. D
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Stephanie balances her musical endeavors with long distance running (on the cross country team), rock climbing, unicycling, and baking. Stephanie believes that music tells a story and she enjoys communicating something special with her audiences through her trumpet.
Guest Artists Emily Walker The first thing Emily’s father said when she was born, after observing her hands was “This girl is going to be a pianist.” She began taking piano lessons at the age of 6. In 2008 at the age of 14, as a student of Dorothea Cromley at Montana State University Billings, Emily won the Music Teachers National Association State Piano Competition and went on to compete in the Regional Division in Spokane, Washington. In 2013, at age 18, she took first place in the Senior Division of the Montana Association of Symphony Orchestras Exergy Young Artists Competition. It has been a dream of Emily’s for a number of years to perform with the symphony and she has worked tirelessly with her teacher, Dorothea Cromley, to accomplish this. Emily enjoys playing the piano in many different settings, including Skyview High School, Central High School, and Venture Theatre (now NOVA Center for the Performing Arts) where she accompanied various musicals such as Les Miserables, Grease, and Joseph and the Amazing Technicolor Dreamcoat.
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She also plays the organ and piano in her church and accompanies various school choirs, and district and state music festivals. She is a member of the Billings Music Teachers Association. She has studied piano with Jackie Weitz, Cheryl Sinz and has studied under Dorothea Cromley at Montana State University Billings for five years. She began teaching piano at the age of twelve and currently has a large piano studio. Emily plans on pursuing a career in piano performance, teaching and accompanying. She plans on making the world a better place by sharing her gifts.
Learn more about the MASO Exergy Young Artists Competition on page 36.
About the Music Mendelssohn’s Travels in Enchanted Italy Symphony No. 4, Op. 90, Italian Felix Mendelssohn | 1809-1847
“Italy at last! And what I have all my life considered as the greatest possible felicity is now begun.” – Mendelssohn, letter from Venice, 10 October 1830 In spring 1829, newly-graduated, 20-year-old Felix Mendelssohn set off from Berlin on his grand tour. Traveling first north to England, he wowed London audiences with piano performances and conducting of his and others’ works, before setting out on a walking tour of Scotland which inspired two of his most popular creations, the Hebrides Overture and Scottish Symphony. Mendelssohn headed south in May 1830 on the second leg of his journey; his destination was Italy. With an extended visit with his mentor in Weimar, Germany and other stops along the way, Mendelssohn finally reached Venice in October 1830 and considered his Italian tour begun.
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Over the next 16 months, Mendelssohn worked his way down the boot, taking his time exploring the riches of the region. He disdained the low quality of musicianship he found in the concert halls and opera houses, but readily found inspiration in the other arts, the streets, the people: “I cling to the ancient [master painters], and study how they worked. Often, after doing so, I feel a musical inspiration, and since I came here I have been busily engaged in composition.” Savoring, as he put it, “the supreme delight in life” displayed by the Italians, he vowed to pay symphonic homage to their vivacity, and soon began to write what he thought to be the “most cheerful piece” he had yet composed, his Italian Symphony.
About the Music “Two days ago I was in the morning theatre here, and was amused. There you can see more of the life of the people than in any other part of Italy.” – Mendelssohn, letter from Milan, 14 July 1831 The Italian Symphony opens with a burst of sound from the woodwinds and pizzicato strings. Irrepressible eighth notes soon become accompaniment to a jubilant string melody in thirds (see Rossini sidenote). The winds create a transparent, airy texture. Mendelssohn sets his symphony in “Italian blue sky in A major.”
The Barber of Seville Overture Gioacchino Rossini | 1792-1868 Mendelssohn’s string melody in closely-harmonized thirds is a trick borrowed from Italian opera. Listen for those thirds in the lively (famous) Rossini melody that follows the slow introduction. While it is tempting to have you listen to how the overture relates to themes of the opera, especially in the way the trills (of the melody in thirds) provide Spanish color, that would be a lie. Soon after the premiere, Rossini replaced the original overture with that from his earlier Aureliano in Palmyra.
“Just as Venice, with her past, reminded me of a vast monument: her crumbling modern palaces, and the perpetual remembrance of former splendor, causing sad and discordant sensations; so does the past of Rome suggest the impersonation of history; her monuments elevate the soul, inspiring solemn yet serene feelings, and it is a thought fraught with exultation that man is capable of producing creations, which, after the lapse of a thousand years, still renovate and animate others. When I have fairly I Crisantemi (The Chrysanthemums) Giacomo Puccini | 1858 –1924 imprinted an object like this on my mind, and each day a fresh one, twilight has Opera fans may identify this as usually arrived and the day is over.” – music from the final death scene Mendelssohn, letter from Rome, 8 of Puccini’s Manon Lescaut; however, this jewel, originally November 1830 Following such an effusive opening, the second movement of the Symphony is rather subdued. Mendelssohn indicates Andante con moto – literally, walking with motion – and the plodding bass that underscores the dusky minor-key melody of the oboes, clarinets, and Continues to page 32
for string quartet, predates the opera by three years. Like Rossini, Puccini would often recycle instrumental material and, in this instance, the new setting is fitting, as The Chrysanthemums is a funeral oration in music. Puccini composed it in one evening in memory of Amedeo di Savoia, Duke of Aosta, who died January 18, 1890.
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About the Music violas seems to depict a procession. Mendelssohn’s stay in Rome coincided with the death of Pope Pius VIII and subsequent election of Pope Gregory XVI, and the stately absolution and coronation ceremonies he witnessed may have been the subject of this solemn movement. “Why should Italy still insist on being the Land of Art, while it is in reality the Land of Nature, thus delighting every heart! … No lack of music [here]; it echoes and vibrates there on every side; not in the vapid, tasteless theatres. So we rambled about, chasing each other in the Campagna, and jumping over the fences, and when the sun went down we drove home, feeling so weary, and yet so self-satisfied and pleased, as if we had done great things; and so we have, if we rightly appreciated it all.” – Mendelssohn, letter from Rome, 17 January 1831 Of all the movements, the third seems the furthest removed from Italy…or is it? Labeled Con moto moderato, this flowing minuet – filled with exquisite legato writing for the strings and winds – is reminiscent of the slow movement of Beethoven’s Pastorale Symphony (performed last October by the BSO). Mendelssohn’s letters home are filled with his joys and wonders of the Italian countryside. The sunny A major of the minuet contrasts with the warm, romantic E major of the trio, in which horns and bassoons herald a vaguelymilitaristic fanfare figure. Piano Concerto No. 2 Camille Saint-Saëns | 1835 –1921 Born before the invention of the telegraph, the “French Mendelssohn” lived long enough to become the first major composer to write film music (in 1908). One of Saint-Saëns’ most popular works, the concerto begins with a Bach-like fantasiastyle cadenza that sets the stage for a dialog between virtuoso and orchestra that is by turns dramatic and lyrical. The main theme was appropriated from a sketch of a motet by his student, Gabriel Fauré, and marked Andante sostenuto, this first movement has much of the character of a traditional slow movement.
“Afterwards we danced, and I wish you could have seen Louisa Varnet dancing the Saltarella with her father. When at length she was forced to stop for a few moments, and snatched up a tambourine, playing with the utmost spirit, I wished I had been a painter, for what a superb picture she would have made.” – Mendelssohn, letter home during Roman Carnival, 17 January 1831. There is no mistaking the Italian influence in the final movement of the Symphony. Here Mendelssohn has crafted a saltarello, a Neapolitan court dance which became a favorite tradition during Roman Carnival. The tension of the driving triplets Continues to page 36
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About the Music The Carnival of Venice Herbert L. Clarke | 1867 –1945 Self-taught, Herbert L. Clarke was solo cornetist and assistant conductor for the Sousa Band for nearly 20 years, before retiring to a life of teaching and conducting in 1917. The Carnival of Venice is Clarke’s answer on cornet to Paganini’s original work for violin. A rite of passage for many brass musicians, this showstopper requires difficult tonguing and perfect fingering to successfully pull off the phrasing, arpeggios and intervals. Throughout the introduction, theme, two variations, and finale, the demands on the soloist never stop. Tonight, Paganini is quoted a second time in the finale of the Italian Symphony, when his Caprice No. 9 (La Chasse) is paraphrased by the flute. (Need more? Join us in February when pianist Andrew von Oeyen and the BSO perform Rachmaninoff’s Rhapsody on a Theme by Paganini).
never relaxes, hurtling towards the end with an A minor reiteration of the first movement’s opening theme. Whereas many symphonies begin in minor and end in major, Mendelssohn does just the opposite, clearly refuting the postulate that major-key music is happy and minor-key music is sad. The piece seems to have danced itself into exhaustion in the coda, reduced to little more than the first violins whispering, pianissimo, the rhythmic motif over the cellos and basses, when it suddenly rebounds with a huge crescendo for a punchy, forte, ending.
Although he had sketched out the entire symphony in Italy, Mendelssohn was unable to finish it, being torn between two artistic ideals: using music to express the poetic and extra-musical (Romanticism) and creating a taut, pure symphony that could be deemed worthy of a successor to Beethoven (Classicism). A commission by the London Philharmonic Society spurred completion on March 13, 1833 and Mendelssohn conducted the premiere in London exactly two months later. -Lisa Bollman
The MASO Exergy Young Artists Competition Since 1989, the Montana Association of Symphony Orchestras (MASO) has held its biennial Young Artists Competition to recognize and encourage the musical talent of young Montanans. Selected from a blind recorded round in the fall, this year’s semifinalists competed live in January before an audience of independent judges and the public. The winners in three divisions – Junior, Senior, and College – received a cash prize and an invitation to perform with at least one of the seven MASO symphonies. In addition to the long-time support of the Exergy Development Group, the event is made possible through grants from the state agency Montana Arts Council, National Endowment for the Arts, and a Montana Cultural Trust legislative grant.
November 9, 2013
Sixties Revolution Anne Harrigan, music director Featuring Guest Soloists: Clinton Curtis Lakisha Jones Colin McAdoo Chris Smith Susan Sommerfeld
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Guest Artists Clinton Curtis Clinton Curtis is a singer, songwriter, multi-instrumentalist, educator and passionate student of American musical heritage and history. He was raised between the islands of Key West and Jamaica and formed “The Remaining Ten” at age twelve: a ten-piece rhythm and blues band comprised of Key West students and local gigging pros. In 2002, he moved to New York City to study at New York University, focusing on musical performance and American Musicology. He made his Carnegie Hall choral debut in 2008, with the San Francisco Symphony and has since appeared with a list of New York-based groups.
Lakisha Jones Best known to millions of TV viewers as a top four finalist during the 2007 season of American Idol, LaKisha Jones is ready to reclaim center stage in music, theatre and television. Her last album, So Glad I’m Me was full of her expressive, full-bodied and arresting vocals, the same voice that electrified American Idol viewers. She segued from American Idol to the Broadway stage for The Color Purple where she played the character Sophia. She alternated in that role with R&B icon Chaka Khan, who became her mentor. Jones participated in Khan’s 35th Anniversary Tour. Following her Broadway stint, Jones provided vocal coaching on MTV’s reality competition Legally Blonde: The Search for Elle Woods, a show designed to find and hone Broadway’s next star. A Flint Michigan native and a Houston resident, Lakisha is a frequent soloist with symphonies around the world.
Colin McAdoo Colin McAdoo is grateful to be back on stage with The Billings Symphony. Before the age of sixteen, Colin sang all over the world from Carnegie Hall to The Sydney Opera House with The Philadelphia Boys Choir and Choral. He went on to attend New York University’s TISCH School Of The Arts where he received a B.F.A. in Musical Theatre, studying voice under
Guest Artists Doug Labrecque. Now a New York City-based actor, Colin’s Off-Broadway credits include: Pre-Broadway run of Soul Doctor at New York Theatre Work Shop, The Great Unknown at the Theatre Of Saint Clemons, and We The People: America Rocks at the Lucille Lortell Theatre as George Washington. Other Credits include: Woody in Disney’s Toy Story the Musical (The Disney Wonder of Disney Cruise lines), Link Larkin in Hairspray, Benny in the Regional premier of Rent, and featured vocalist in Hart to Hart. Colin has appeared with numerous other symphonies and has a one man show called The American Revolution in 45 Minutes.
Chris Smith Chris Smith is a local singer/songwriter who has lived in Billings for 17 years. Smith released his latest album (under CR Smith), The Waiting, which features the song, This Way Home. Home was recently chosen as the theme song for the national promotional campaign for HGTV’s hit show House Hunters International. His latest musical endeavor was playing the role of Marius for 22 performances in Billings Studio Theater’s production of Les Miserables this September. Smith currently serves as Music/Creative Director at Faith Chapel.
Susan Sommerfeld Susan has been active in the Billings theatre and music community for many years as an actor, performer, director, and choreographer. Most recently she was seen as Frau Blucher in Venture Theatre’s production of Young Frankenstein, the Musical at the Nova Performing Arts Center. She also recently co-directed Les Miserable at Billings Studio Theatre. She is a member of the “Dancing on the Edge” collaboration with Darin Niebuhr and Krista Marshal, which presents a concert performance that combines classical piano and movement. Susan teaches acting at Rocky Mountain College and at the Nova Performing Arts Center. She has been a guest artist with the Billings Symphony on several occasions. Susan is also an art glass artist who spends a lot of time at her studio, Kennedy’s Stained Glass, in downtown Billings.
About the Music The Sixties Revolution Despite passionate disagreements about its significance and legacy, few dispute that popular music was a powerful cultural, social, and economic force of the 1960s. It is easy to forget, though, that much popular music of the 1960s dealt with traditional themes of good and bad romance, and was often driven more by the demands of the dance floor than of the protest rally. Keeping in mind the perils of over-generalizing, what follows is a flagrantly over-generalized stomp through some of the music to illustrate the major issues of the decade, including civil rights and race relations; technology; the counterculture and New Left; drugs, affluence and consumerism; the Cold War; Vietnam and the peace movement; the sexual revolution; and ecological and environmental concerns. Aretha Franklin, “Respect” (1967) The Civil Rights movement galvanized many other “rights” campaigns during the 1960s and spawned a remarkable outpouring of powerful and enduring music: “A Change Is Gonna Come” by Sam Cooke; “Say it Loud, I’m Black and I’m Proud” by James Brown, and countless freedom songs from the frontline of protest such as “We Shall Overcome,” which spoke directly of the struggle for racial justice. In her own mind, Aretha Franklin’s performance of Otis Redding’s “Respect” was not a political statement but a very personal shout for domestic respect from her then husband, and illustrates the central 1960’s idea that “the personal is political.” Beach Boys, “Good Vibrations” (1966) The changing times are reflected by the stylistic transformation of the Beach Boys—from sub-Chuck Berry rock and roll with unusually rich harmonies and an obsession with California surfing culture (“Surfin’ USA”; “I Get Around”) to the intricate symphonic pop of the Pet Sounds album and the “Good Vibrations” single, with its distinctive “space-age” electro-theremin sonic hook. Jefferson Airplane, “White Rabbit” (1967) The ninety hours of recording tape it took to put together “Good Vibrations” has much to tell us, not only about technological advances and the evolving musical vision of the Beach Boys’ chief composer Brian Wilson, but also about the creative-destructive influences of drugs in the 1960s. Wilson’s drug intake may have helped him imagine and produce some astonishing music, but left him psychologically damaged and clinically depressed for years. Chemical excess caused or contributed to the early deaths of major talents like Janis Joplin, Jim Morrison, and Jimi Hendrix. Nevertheless, there is no denying that drugs, LSD and marijuana in particular, were a major factor in 1960s youth
About the Music culture and music, inspiring and offering subject matter for some of the most innovative music of the era. Jefferson Airplane’s heady “White Rabbit” offers a look into the Haight-Ashbury hippie scene of the mid-to-late 1960s in which drugs, music, visual culture, and the pursuit of alternative lifestyles mingled. The Monkees, “Pleasant Valley Sunday” (1967) One of the favorite targets for 1960s countercultural and New Left scorn was mass consumerism, which was itself a by-product of widespread abundance. For many Americans, unprecedented material well being, yoked to seemingly limitless economic growth, was a hallmark of the decade. A potent symbol of this affluence, the suburbs also symbolized the spiritual and moral vacuity of contemporary America. Malvina Reynold’s “Little Boxes,” is a tale of interchangeable houses and people, while Simon and Garfunkel’s “The Big Bright Green Pleasure Machine” made a similar point about the faddishness of conspicuous consumption. Ironically, the Monkees’ 1967 hit “Pleasant Valley Sunday” is arguably more revealing. Formed specifically to star in a zany television show for teenagers, the Monkees are usually dismissed as exemplars of a prefabricated mass culture: shiny, bright, easily digested, but ultimately superficial and disposable. Yet the Monkees were never quite the musical novices of legend and quickly began to mock and then subvert their status as a manufactured product. 1967’s “Pleasant Valley Sunday” anchored a deceptively jaunty guitar riff to barbed lyrical disdain for suburbia (“rows of houses that are all the same”), where outward appearances (“the weekend squire . . . just came out to mow his lawn”), and relentless materialism (“a TV in every room”) served to “numb” the singer’s soul. Joni Mitchell, “Woodstock” (1969) The dream in “Pleasant Valley Sunday” to escape the sterility of “status symbol land” to “new scenery” introduces another conspicuous aspect of the
1960s: a “back-to-the-land” trend which intersected with broader ecological concerns and a quest for eco-friendlier technologies. In “Woodstock,” Canadian folk-emigré Joni Mitchell’s sang, “I’m going to camp out on the land; I’m going to try and get my soul free.” The Byrds (Sweetheart of the Rodeo), the Grateful Dead (American Beauty) and the Band (Music from Big Pink)—also tapped into this rural nostalgia, offering a stripped-down musical alternative to the ever more baroque sounds of psychedelic and progressive rock. Bob Dylan, “Talkin’ John Birch Paranoid Blues” (1963) The war in Vietnam – and Cold War issues more generally – cast a long and deep shadow over American life in the 1960s. Right wing groups like the John Birch Society and the Ku Klux Klan saw Moscow’s influence in most of the major progressive social movements of the day. In the mid-1960s, Rev. David Noebel of the Christian Crusade used a cavalier approach to evidence and logic to argue that most popular music, in particular the music of Bob Dylan, was linked to communist efforts to undermine the moral fiber of American youth. By mid-decade, Dylan was widely hailed as the most important musical voice of a generation eager to distance itself from parents and traditional authority, from conventional values, and from the kinds of politics that fueled the Cold War, the arms race, and the conflict in Vietnam. Early acoustic Dylan songs read as a checklist of the important social and cultural issues of the day. “The Times They Are a-Changing” announced generational schisms; “A Hard Rain’s A-Gonna Fall” envisioned a nuclear winter; “Masters of War” excoriated the military build-up; “A Pawn in Their Game” and “Oxford Town” attacked racial injustice. For conservatives like Noebel, however, these kinds of criticisms and the relentless challenges to traditional authority and practices were evidence of communist subversion. In “Talkin’ John Birch Paranoid Blues” Dylan wittily parodied this attitude, succumbing to the paranoia and launching an investigation of himself. The Beatles, “I Want to Hold Your Hand” (1964) At the 1965 Newport Folk Festival, Bob Dylan famously plugged in an electric guitar and scandalized the folk community who had been his biggest fans. Thereafter, he largely abandoned acoustic protest songs for a highly influential brand of kinetic electric music. Dylan’s embrace of rock was influenced by the work of other folk-revivalists like the Byrds, who themselves had been drawn to the British beat group invasion that started with the Beatles in 1964. Throughout the decade the Beatles exerted a tremendous influence on American music, as the band moved rapidly beyond the relatively simple, if infectious, pop of their early hits (“All My Loving”; “She Loves You”) to the more experimental, psychedelic innovations of the 1966 Revolver and 1967 Sgt Pepper’s Lonely Hearts Club Band albums. The Beatles’ debut on the nationally syndicated Ed Sullivan Show on February 9, 1964, ranks with other momentous events like the moon landing and much grimmer ones like the assassinations of
John F. Kennedy, Martin Luther King, and Robert Kennedy as moments seared into popular memory. In many ways, the hysteria the Beatles generated among many American youths – and the equally intense incredulity they inspired among many adults – both expressed and intensified the generational divisions that shaped much of the decade’s history. Janis Joplin, “Women is Losers” (1967) Nowhere is the tendency to exaggerate the nature, intensity, and ubiquity of change in the 1960s more apparent than in simplistic notions of a sexual revolution. For example, most aspects of the so-called sexual revolution of the 1960s were already well underway by the 1950s, despite the avalanche of nostalgia which widely and misleadingly re-imagines the earlier decade as as a time of universal pre-marital chastity, post-marital fidelity, and heterosexual conformity. Of course, some things did change in terms of gender and sexuality in the 1960s. Listen to – or better still, watch clips of – the be-wigged, satin-dressed female singers from the early 1960s as they devoted themselves to their one true loves, and then fast-forward to the sounds and images of female stars from the later 1960s and early 1970s: it is like taking a crash course in the growth of feminist consciousness and new attitudes towards public displays of female sexuality. The Supremes’ chart-stopping “Stop! In the Name of Love” is a terrific example of the classic Motown sound, and its beseeching lyrics, as the woman begs for her cheating man to come back to her and make her life complete, capture the dominant mood of the female pop and soul songs from the early 1960s. In contrast, songs from later in the 1960s, such as country star Loretta Lynn’s “One’s on the Way,” Laura Lee’s soulful “Wedlock is Padlock,” and Janis Joplin’s progressive rock-blues “Try [Just a Little Bit Harder]” evoke the new female assertiveness and frankness in sexual matters. With its punning lament that “Men always seem to end up on top,” Joplin’s “Women is Losers” reminds us that for many women the much vaunted erotic liberation of the sexual revolution was something they experienced mainly via the news media and popular culture, while patterns of sexism and discrimination against women continued relatively unchecked. Joplin’s song, like the whole notion of a “sexual revolution,” helps us see how much really changed in the 1960s and for which Americans, as well as to distinguish between fleeting, superficial change that captured contemporary and subsequent media attention and lasting, substantial transformations in America political, social, and cultural history during that decade. Adapted from the article, What’s That Sound? Teaching the 1960s through Popular Music by Brian Ward, The Gilder Lehman Institute of American History
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The Nutcracker Billings Symphony Orchestra Anne Harrigan, music director San Diego Ballet Robin Sherertz Morgan, co-director Javier Velasco, co-director School of Classical Ballet Betty Loos, co-director Julia Marble, co-director
Act I
The Christmas Party The Dream The Kingdom of Snow
Intermission Act II
The Land of Sweets
Thank You to our concert sponsor!
Additional Support from the Montana Arts Council and the National Endowment for the Arts.
Guest Artists San Diego Ballet Robin Sherertz Morgan | Co-director Ms. Morgan began her dancing career with the original San Diego Ballet Company. She was awarded a full Ford Foundation Scholarship to the School of American Ballet. Later she danced with the New York City Ballet under the direction of George Balanchine and toured with Suki Schorer’s New York Lecture Ensemble. Returning to San Diego she developed her reputation as a teacher in local studios before opening the San Diego School of Ballet in 1989. She has choreographed for various theatre groups including a network TV movie. Ms. Morgan founded the new San Diego Ballet in 1990 which has received rave reviews for their performances and artistic excellence. Javier Velasco | Co-director Mr. Velasco has supplied dances for productions at the La Jolla Playhouse, Old Globe, and has a long-standing relationship with the San Diego Repertory Theatre. Mr. Velasco currently serves as artistic director of the San Diego Ballet, having created over 70 original pieces for the company since its inception, including 10 pieces in collaboration with composer David Burge to commissioned scores. School of Classical Ballet Betty Loos | Co-director Ms. Loos directed her own school for six years before co-founding the School of Classical Ballet with former business partner Jana Stockton. Betty received her early training from June Austin and Hungarian teachers Ildiko Perjessy and Angela Mc Alpin. She continued her training at the University of Utah under the direction of William Christiansen, and at the Teachers’ Training Program through the Royal Winnipeg Ballet. Former students have danced with the Royal Winnipeg Ballet, North Carolina Dance Theater, Smuin Ballet, Sacramento Ballet, David Taylor, and apprenticed with the National Ballet of Canada. Julia Marble | Co-director Ms. Marble attended the National Academy of the Arts in Champaign-Urbana, IL., a performing arts high school, and then attended Cornish Institute of the Allied Arts in Seattle, WA. She later continued her dance studies and performing in New York City. Marble danced professionally with MatthewsMasters Dance Company, Bernhardt and Dancers, and many other NY modern dance companies. Marble served as the Artistic Director of Dance Arts Los Alamos in NM., a non profit performing arts school, prior to teaching in Billings.
About the Music Act I Scene I
It is Christmas Eve and the Stahlbaum family decorates their splendid living room for the annual party. Their children, Clara and Fritz, rush in all aglow at the prospect of toys and magic and sweets. Soon the family is joined by all their friends and their beloved grandparents and a wonderful party commences. The children perform a dance with Christmas garlands and their parents follow with a Polka. Suddenly, at the height of the dancing, Herr Drosselmeyer, a Russian magician, appears. He brings three mechanical dolls who perform for the guests: a Ballerina doll, a mechanical Mouse, and a handsome Nutcracker. Little Clara falls in love with the Nutcracker soldier and Drosselmeyer gives her the doll as a gift. While Clara and her Nutcracker doll are dancing a pas de deux the mechanical Mouse suddenly goes out of control. There is a terrible scuffle with the Nutcracker doll, who is suddenly knocked out and broken by the Mouse. As the guests depart, Clara mourns her broken doll. Late into the night Clara creeps quietly back into the living room to console her Nutcracker and falls asleep by his side. Midnight strikes and the mysterious Drosselmeyer appears again. He casts a spell over Clara and puts her in a dream-like trance. Her dream turns into a nightmare as mice begin scurrying all over the living room and her house disappears and the Christmas tree grows to giant proportions. Clara runs to her Nutcracker doll and pleads with him to save her. He calls forth his army of toy soldiers and a huge battle rages with the mice, led by their Mouse King. The Nutcracker is about to be defeated when Clara distracts the Mouse King—just at that moment the Nutcracker runs him through with his sword and the battle is won! Scene II
For helping him win the battle, the Nutcracker offers to take Clara through the Kingdom of the Snow on the way to his home, the Land of Sweets. They encounter the Snow Queen and King and their Court, who dance the Waltz of the Snowflakes in a wintry scene.
Act II Angels dance at the gates of the Land of Sweets, followed by a team of Bakers who are working on a cake. Clara enters and is greeted by the Sugar Plum Fairy who dances a solo. Various confections then perform their characteristic dances for Clara: Spanish Chocolate, Chinese Tea, Arabian Coffee, Marzipan Shepherdesses, Russian Candycane, Salt Water Taffy Sailors and the Dewdrop Fairy and Flowers. The Sugar Plum Fairy and her Cavalier then dance a pas de deux. The entire Court then all dance together in a spirited finale celebrating Clara’s joy and happiness.
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December 31, 2013
Celebrate New Year’s Eve with John Mueller’s 50s Dance Party Selections announced from stage.
Thank You to our concert sponsors!
Diane Boyer Jerhoff
Guest Artists John Mueller as Buddy Holly John has had a successful professional acting career but his real passion has remained with Buddy Holly and rock and roll. John first appeared as Buddy Holly in the world stage premiere of Be Bop A Lula in Hollywood. Since 1999, John has toured the frozen U.S. Midwest to recreate The 50s Dance Party that was to be Buddy Holly, Ritchie Valens and the Big Bopper’s final tour. John has played in every remaining ballroom that the originals did over 44 years ago. John takes an authentic approach to Holly’s music. He plays songs true to their original form on a reissued 1957 Fender Stratocaster--the exact year and make of Buddy’s guitar and uses the same heavy flatwound guitar strings that Buddy used. John is indeed living proof that Buddy Holly lives on.
Ray Anthony as Ritchie Valens Ray is a veteran of the music industry. A talented musician, Ray is a self-taught guitar player, bass player, drummer, and songwriter. He has worked with legendary Elvis associates such as Charlie Hodge, and JD Sumner. Ironically, the Ritchie Valens tribute fell into Ray’s lap. While performing his 50s and 60s single act throughout Canada and the US, audience members began making reference to Ray’s uncanny resemblance to Lou Diamond Phillips in La Bamba and ever since he has become synonymous with Ritchie Valens.
J.P. Richardson, Jr. as The Big Bopper “J.P.”, the son of Big Bopper, was born just three months after the fateful plane crash that took his father’s life. He knew very little about his father growing up. It was during summers spent with his grandparents that J.P. learned that his father had been an outgoing radio personality and musician who wrote several pop and country hits. When J.P. started performing, he was initially concerned about filling his father’s shoes. J.P. no longer worries about that: “My father was a one of a kind original. I am not trying to be him. What I do is a tribute to my father and it seems to work out fine. Everywhere we go, we get great fan reaction and positive response.”
About the Music John Mueller’s 50s Dance Party John Mueller’s 50s Dance Party is the official live and authentic re-creation of Buddy Holly, Ritchie Valens and the Big Bopper’s final tour and the only show endorsed by the Holly, Valens and Richardson estates. John Mueller, the critically acclaimed former star of the U.S. touring version of the London/Broadway hit musical, Buddy...the Buddy Holly Story, performs as Buddy Holly and Jay P. Richardson, Jr. fills his legendary father’s footsteps as the Big Bopper. Jay is actually the Bopper’s son and brings with him “Flawless….rings as clear and true as a chord from a Fender Stratocaster.” the heritage and feeling that only he can offer. Ray Anthony performs as -The Chicago Tribune Ritchie Valens and is a renowned star “An air tight band with energy-packed of the Legends of Rock and Roll show execution of a long string of classics. at the Imperial Palace in Las Vegas. Rather than museum pieces or mere The very authentic and energetic four fodder for oldies radio, these songs piece band (guitar, drums, stand up had all the vitality and punch that they bass and sax) includes Grammy award carried 41 years ago.” winning Mike Acosta on saxaphone. -Springfield State Journal Register
The 50s Dance Party show has performed in front of over 2 million people on national TV for the Jerry Lewis Telethon, has toured extensively throughout the United States and Canada at theatres, performing arts centers, ballrooms, corporate events, casinos and even the Rock and Roll Hall of Fame along with John Mellencamp, Marshall Crenshaw and others.
“Winter Dance Party captures Holly era…a dead-on re-creation of the ‘59 show.” -Kalamazoo Gazette
“One of the best concerts I’ve ever seen.” -Larry Holly (Buddy’s brother)
“Watching Jay Richardson is just like watching his Dad.” -Dick Clark
“John Mueller(as Buddy Holly) gives a stunning portrayal. Highly recommended.” -Chicago Sun Times
Thank you Holiday Inn Grand Montana For your generous support of the Billings Symphony Orchestra & Chorale!
Holiday Inn Grand Montana 5500 Midland Road, Billings, Mt 59101 406-248-7701
Support Your Symphony As a patron of the Billings Symphony, there are several ways you can support the BSO&C throughout the year. Please consider making a tax-deductible donation this year in one or more of the following ways: ANNUAL FUND
Your donation to the Billings Symphony’s Annual Fund is far-reaching. Donations fund performances—from classical concerts to special presentations such as The Nutcracker—and BSO&C outreach efforts (see page 56 for more information about Explore Music! our music education and community engagement program). Your support also helps offset the organization’s administrative costs such as musician honoraria, facility rental, stage crew and production costs, guest artist fees, and more. ENDOWMENT
The Billings Symphony endowment ensures the organization’s future. Funds donated to the Billings Symphony endowment are invested for the organization’s ongoing sustainability and stability. Interest from these investments is used to support the organization’s annual operating expenses. For more information about making a planned or endowment gift, contact BSO&C Executive Director Darren Rich at (406) 252-3610. SPONSOR-A-CHAIR
This program helps keep our musicians on stage and allows the Billings Symphony to continue its mission of bringing quality symphonic music to traditional and new audiences. Contributions begin at $650 and are tax-deductible (see pages 34 and 35 for available chairs or please call the Symphony office). SPONSORSHIPS
Sponsor a season concert, sponsor a guest artist or sponsor a special event. Each performance of the Billings Symphony costs more than $40,000, including musicians’ compensation, guest artist fees, facility rental, production, marketing, and administration. Income for each concert is generated from the following sources: 30% ticket sales, 10% concert sponsorship, and 60% from the Annual Fund Drive, grants, and special events. VOLUNTEER
Not everything is about money. Sometimes the greatest gift you can give is your time. Call the Billings Symphony office and ask how you can get involved.
Membership Levels and Benefits Ticket sales cover less than half of the BSO&C’s operating expenses, making contributed income and volunteer time essential to the Symphony’s survival. In this way, the BSO&C is no different from any other American orchestra. The difference is that this orchestra and chorale is yours. As a valued BSO&C member, you receive a wide array of special benefits and privileges, designed to enhance your BSO&C experience and provide insider’s access to Billings’ orchestra.
PATRONS PROGRAM BENEFACTOR - $10,000 + One selected concert poster signed by Music Director Anne Harrigan and Guest Artist 1-hour chamber performance at private event All benefits listed below VIRTUOSO - $5,000 - $9,999 Four complimentary tickets to a BSO&C Season Concert Dinner with Music Director Anne Harrigan All benefits listed below COMPOSER - $2,500 - $4, 999 Two complimentary tickets to Holiday Tour of Homes VIP ticketing assistance for all BSO&C events All benefits listed below FRIENDS PROGRAM MAESTRO - $1,000 - $2,499 On-stage seating for open rehearsals All benefits listed below
SONATA - $800 - $999 2 complimentary beverages at Alberta Bair Theater cash bar All benefits listed below OPUS - $650 - $799 Invitation for two to members-only open rehearsals Invitation to Party in the Park exclusive party All benefits listed below FANS PROGRAM CONCERTO - $350 - $649 Special invitation to all BSO&C post-concert receptions All benefits listed below OVERTURE - $150 - $349 Advance ticket sales opportunities VIP membership card All benefits listed below Acknowledgement in Season Program PRELUDE - $50 - $149 Access to VIP Red-Rope area
Step Behind the Scenes and Enjoy the Benefits of Membership Enjoy your Billings Symphony experience to the fullest this season by becoming a member of our Friends or Patron program! With ticket sales covering less than half of the Billings Symphony’s operating budget, your support will make a significant difference. And, to thank you for your generosity, we are pleased to offer many exclusive privileges to take you behind the scenes and enhance your concert going experience. Benefits increase with each level of giving and include invitations to private chamber music concerts, tickets to selected open rehearsals, offers for VIP tickets at our Nutcracker and New Year’s Eve performances, opportunities to meet our artists, VIP patron ticket service, and so much more! Please Cut Here _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ JOIN OUR FAMILY OF FRIENDS AND PATRONS TO BEGIN ENJOYING EXCLUSIVE BENEFITS WHILE PROVIDING VITAL SUPPORT FOR THE BILLINGS SYMPHONY. Yes, I want to be part of the excitement. (Privileges increase with each level of support.) Patron Program: Benefactor $10,000+ Virtuoso $5,000+ Composer $2,500+
Friends Program: Maestro $1,000+ Sonata $800 + Opus $650+
Fans Program: Concerto $350+ Overture $150+ Prelude $50+
Donor names are listed in every concert program and in the BSO&C’s Symphony in the Park program (unless anonymous listing is requested). Name
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2013-2014 Billings Symphony Society Contributors The Billings Symphony Society gratefully acknowledges the following contributors for demonstrating their passion and commitment to the BSO&C through generous contributions, pledges, and endowment gifts made as of August 20, 2013. Benefactor $10,000+ Ajax Foundation Billings Gazette Communications Vincent Carpenter Virginia Cox Estate Sidney Frank Foundation Diane Boyer Jerhoff Denny Menholt Chevrolet/ Linda & Denny Menholt Montana Arts Council National Endowment for the Arts The Oakland Companies Wells Fargo Virtuoso $5,000 - $9,999 Dr. Hewes & Susan Agnew Charles M. Bair Family Trust Dr. John & Patricia Burg Crowne Plaza Billings Dude Rancher Lodge First Interstate Bank Holiday Inn Grand Montana Tom Nelson Catering/Tom & Tina Nelson Montana Cultural Trust St. Vincent Regional Neuroscience Center Stillwater Mining Stockman Bank Underriner Motors USBank Composer $2,500 - $4,999 Ossie Abrams & David Orser Randy & Cheryl Bentley DiA Events Cynthia Foster Gainan’s Dr. Guy Glenn Rita Heizer Montana Association of Symphony Orchestras (MASO)
Gary & Melissa Oakland The Sample Foundation Summers, McNea & Company, PC Wendy’s of Montana Yellowstone Electric Co./ George Haddenhorst Maestro $1,000 - $2,499 Virginia Allen Dr. Enrico & Martha Arguelles June Austin-Butler Brett & Daniela Bennion Rockwood Brown Dr. Douglas & Karla Carr Dr. Paul & Mary Cook William & Sandra Culhane Edward N. & Bonnie Z. Dean William & Sharon Dimich Larry Downer & Nancy Ferguson-Downer Mike & Nancy Downing Fay Ellis Employee Benefit Management Services/ Larson Family Bev Foster Fuddruckers Dr. James & Peggy Good John W. & Carol L.H. Green Jim Gutenkauf & Lynn Marquardt Mayor Tom & Robin Hanel Hohn Engineering, PLLC/Tom Hohn Justin & Susan Hohn Holiday Station Stores/Val Jeffries Eric Hudson & Anne Harrigan David & Cynthia Hummel Jeanne Johnson Ruth H. Kronmiller Estate KTVQ Bill & Amy Letson Jeff & Joan Lindenbaum
Joel & Andrea Long Dr. Benjamin & Mary Lou Marchello Laurence & Ruth Martin Kelly McCann Linda & Denny Menholt MOJO 92.5 Montague’s Pat Morledge Bill Oakey Walter & Mary Peet Dr. Dale & Judy Peterson Pizza Hut Dr. Mark & Chris Randak Sig & Bev Ross Sands Oil Company/Bill & Liz Fulton George & Olivia Sheckleton Dr. Ron & Karin Smith Staggering Ox David Stensrud Cy & Martha Tanner Target Stores Texas Roadhouse of Billings, LLC Ron & Audre Thom Patti Townsend David & Linnea Veeder Zonta Club of Billings Sonata $800 - $999 Aqua Systems of MT/Jon & Nancy Rutt Dennis & Kim Bar Larry & Susan Erickson Lorraine Gallinger & Ken Tolliver Stephen & Lorraine Marsh Rocky Mountain Health Network Torres Café, Inc./Josephina Quarnburg George & Heather Rosenfeld Dr. Neal & Gigi Sorensen Larry Van Atta Asset Management Group J.E. Williams Trucking/Bobby Williams Opus $650 - $799 Axilon Law Group, PLLC/Tom Singer Bruce & Susan Barrow Carole Baumann Teresa Bottrell Dr. Ralph & Sheryl Costanzo Bruce & Darlene Ellis Don & Marilyn Floberg Warren & Judy Frank
Edward R. & Cathy M. Hammer Mary Jo Johnson Deb Julien KSVI (ABC/Fox) KULR8 Kings Laurel/Ace Hardware Ted & Bess Lovec Bill & Marci Mercer Matovich, Keller & Murphy, P.C. Carol Mueller Roto-Rooter/Donna Frisby-Rambold Darren & Nikki Rich Computers Unlimited, PC/ Mike & Cara Schaer William & Suzanne Smoot John & Susan Stewart Drs. Thomas & Jane Van Dyk Aimee Waddingham Scott & Robin Wetzel/ Wetzel Quality Cleaners Concerto $350 - $649 Babcock Theatre/Don & Kim Olsen Ken & Heath Billingsley Andrew & Janelle Billstein Ron & Mary Beth Billstein Bill & Nancy Boyer C.H.S./Valerie Bruce Dr. J. Patrick & Mary Kay Byorth Robert Delk & Carey Matovich Thierry Louvet & Nancy Dimich Louvet JoAnn & Bert Eder Dr. Phillip & Barbara Griffin Julie Johnson Gareld & Barbara Krieg Mr. Leonard G. Malin Dave & Sheri McCurdy Paul & Ann McKean Wally & Mary McLane Bill & Marci Mercer Ty Nelson Construction/ Ty & Mendy Nelson Carolyn S. Ostby Jim Peters Robert Quam William & Beverly Ryan Clayton Stabnow Dr. Edwin & Jessica Stickney Robert & Kimera Saunders
Dr. Stewart & Mary Jane Taylor Larry & Shelley Van Atta Yellowstone Pathologists, P,C, Overture $150 - $349 Rebecca Adams Dewey Algaard Bill & Sandy Anderson Larry D. Baccari Dr. Randall & Judy Barthelmess Hon. G. Todd & Linda Baugh Jeffery & Lisa Bollman Dr. Brian Bross & Bonnie Daniels Carbon County Steakhouse Becky Copple John & Barbara Curry David & Mary Lee Darby Nancy Detrick Jean Duffey Billings Junior Woman’s Club John & Pat Eastman Mike & Helen Eastwood/ American Water Technologies EventsPro Consulting Karen Ferguson Angus & Marjorie Fulton Paul Grmoljez & Alice Gordon Roger Gordon Lew & Dianne Gumper Doug & Mary Ann Jenkins Royal Johnson Brian & Jolane Jones
Edward & Barbara Keller Eloise Kirk Jack Lawson Steven & Laurel Linde Lisa Malody Dr. Kevin McBride Jean McNally Elizabeth McNamer Donna Meyer Paul & Ann Miller Jay & Lynne Montague Pat Newbury Kris & Warren Ostwalt Dorothy Peete Duncan Peete Van & Cheryle Pittack The Pollard Jaq Quanbeck Dr. David & Anita Rawlinson The Rex/John Rogers Emile & Letitia Ruffier Vernon Sandrs Scheel’s Ted & Elda Schuman George & Patty Selover Vernon Sigl Ralph & Tancy Spence, Jr. Margaret Steckel Lou Taubert Ranch Outfitters James & Linda Thompson George & Jean Wallis Tracy & Pam Willett
Endowment Gifts Dr. Hewes & Susan Agnew, Randy & Cheryl Bentley, Dr. John & Patricia Burg, Dr. Phillip & Barbara Griffin, Dr. Wayne & Claire Hansen, Wally & Mary McLane, and Kris & Warren Ostwalt
Tribute Gifts In Memory of Tom Gormley Bruce & Susan Barrow Hon. G. Todd & Linda Baugh Dr. Phillip & Barbara Griffen David & Judy Johnson
In Memory of James “JR” Robertson Jeff Vick In Memory of Al Winegardner Thomas & Kim Hauptman
In Honor of David Stensrud’s retirement Marian French
Explore Music! programs reach more than 35,000 children, youth, adults and seniors every year. By eliminating price and bringing our programs to audiences, the Symphony reaches beyond the stage at the Alberta Bair Theater and into the community. Annual Family Concerts: Our Family Concert features an exciting guest artist, two free performances at the Alberta Bair Theater for local and area schools, and a family-priced concert. Symphony in the Park: Symphony in the Park is the most elaborate musical showcase staged by the BSO&C. More than 10,000 people attend the FREE annual outdoor concert at Pioneer Park. Along with light classical and pops-style music, the event offers picnic fare and an instrument petting zoo. Adventures in Music (AiM): The Billings Symphony works with area schools and cultural organizations to offer a half-day, hands-on, music education. Students learn about the orchestra and chorale through a series of round-robin demonstrations, an instrument petting zoo, and a Symphony dress rehearsal.
An Instrument Petting Zoo, like this one at Symphony in the Park, is fun for the whole family, giving kids a chance to try out dierent instruments.
Backstage with the Symphony: Throughout the year the Symphony offers the community a glimpse into the creative workings of the orchestra and chorale via a dress rehearsal. Concert Cues: Each season concert is preceded at 6:45 p.m. by a brief, interactive discussion related to the evening’s music, composers, and guest artist(s). Conductor in the Community: Music Director Anne Harrigan guest conducts a rehearsal of an area band and/or orchestra as well as visits with area organizations and civic groups. Internships: An internship with the orchestra or at the BSO&C office provides opportunities to gain experience in the field, determine career interests, and/or gain school credit. Master Classes: Special guest artists performing with the Billings Symphony share their talents and experiences with students from around the region through these free classes. Musicians in the Schools: Small ensembles of BSO&C musicians share their personal stories about why and how they became musicians and discuss how music can be a lifelong avocation or vocation. Musicians after Hours: More than 2,000 youth at after-school sites such as the Boys & Girls Clubs of Yellowstone County and the YMCA participate in this program and learn about symphonic music and about the commitment and dedication it takes to become a professional musician. Random Acts of Music: Small ensembles of BSO&C musicians are scheduled to perform in unusual and unexpected high-traffic locations such as at the airport, Rimrock Mall, or
MetraPark in an effort to increase community awareness of symphonic music as people go about their daily routines. Rural Rhythms: Through partnerships with local arts agencies, casual performances by small ensembles of BSO&C musicians are given in community spaces to residents of rural communities. Senior Series: Members of the BSO&C visit retirement homes, assisted-living facilities, and low-income meal sites to perform for elders in an environment that is comfortable and accessible to them. Side by Side: Students have the unique opportunity to share the stage with our professional orchestra and choral musicians and experience practicing and BSO&C musicians (left to right) performing alongside pros. Melyssa Ostler, Amy Letson, and Karla Rush Ticketing: In an effort to eliminate price as a Carr, play a variety of holiday favorites barrier, rush tickets may be purchased for a discount for the residents at Aspen Meadows on the evening of a season concert, from 6 p.m. to Retirement Home. 6:30 p.m., based on availability. Group Ticketing: Groups of 10 or more receive a 10% discount on concert tickets. Call the Symphony office at 252-3610 to reserve your group seating. It is important to note that outreach does not occur strictly as a result of an organized program. With 13% of our musicians traveling 100 miles or further to be a part of the BSO&C, our community engagement occurs informally on a daily basis around the region, as well as in Billings. Our musicians are teachers in their communities’ schools, private music teachers, and members of their churches’ choirs. This ripple effect makes the impact of the Billings Symphony exponentially greater than any estimate of people we think we are going to reach, and it helps us illustrate the intrinsic role the Symphony plays in creating the cultural fiber of the communities we serve.
Thank You to our Explore Music! sponsors! Ossie Abram & David Orser
Diane Boyer Jerho
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Sunday, June 29, 2014 Pioneer Park | Billings
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MUSIC EDUCATION & COMMUNITY ENGAGEMENT PROGRAM
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A program of...
Don’t miss the FALL EXHIBITIONS at the YAM! Hallowed Absurdities: Work by Theodore Waddell September 12, 2013 - January 5, 2014
The Elastic Past: Visual Interpretations of Life’s Early Lessons Continues through October 27, 2013
Transitions: Autumn in the Yellowstone River Valley November 7, 2013 - January 5, 2014
401 N. 27th St. · Billings, MT · 256-6804 · artmuseum.org
Ticket Information The Billings Symphony Orchestra & Chorale begins to sell season tickets each March prior to the next season. Season subscribers enjoy priority seating for regular season concerts as well as for BSO&C special event concerts. Season tickets are sold through the Billings Symphony office at 2721 2nd Ave N, Ste 350, Billings, MT or by calling (406) 252-3610. Single tickets for BSO&C concerts and events, including the Holiday Tour of Homes, are available beginning in August prior to the Opening Night concert through the Billings Symphony office (contact information above) or at www.billingssymphony.org. Tickets for the Nutcracker, the New Year's Eve 50s Dance Party, and the Family Concert: Flat Stanley & the Symphony, are sold through the Alberta Bair Theater box office by calling (406) 256-6052 or at www.albertabairtheater.org. RUSH TICKETS Rush tickets are sold for season series concerts from 6-6:30 p.m. (based on availability) the night of the performance at the ABT box office. Cash only, please. GROUP TICKETS The BSO&C gives a discount to groups of 10 or more...perfect for schools, houses of worship, or just a group of friends who wants to enjoy any one of our series or special events concerts. Discount available for one transaction by phone or in person at the Billings Symphony office. STUDENT TICKETS Student rates for season series concerts are available for those ages 18 and younger and for students with valid college IDs through the BSO&C office. No discount given for web orders. Discounted rates for the Nutcracker, the New Year's Eve 50s Dance Party, and the Family Concert: Flat Stanley & the Symphony are for children ages 12 and younger and are available through the ABT box office. Discounts are not offered for loge seating at any performance. RETURN-TICKET POLICY The BSO&C cannot refund the purchase price of a ticket if you cannot attend a performance. You may return the tickets to the Billings Symphony office prior to the concert for resale and a tax-deductible donation receipt. BILLINGS BOZEMAN BUTTE HELENA K ALISPELL MISSOULA BISMARCK WILLISTON CASPER CHEYENNE SHERIDAN
490 N. 31ST ST., SUITE 500 • BILLINGS, MT 59101 PHONE: (406) 252-3441 • FAX: (406) 252-5292 www.crowleyfleck.com
BSO&C Revenue: Giving is as Easy as Pie With ticket sales covering just a third of the Billings Symphony Orchestra and Chorale's operating budget, your support makes a significant difference. Please refer to Support Your Symphony: Membership Levels and Benefits for more information regarding benefits included with different levels of giving. Gifts can be made online, by phone, by mail or in person at our offices.
3%
3%
46%
48%
Performance Income Tax Supported Grants
Other Earned Income Private Support
Where we are. On the web: Visit www.billingssymphony.org and stay up-to-date on the current season.
On Facebook: Like us on Facebook and be the first to hear about ticket giveaways and the latest Symphony news!
Prefer a non-cyber rapport? Visit us at our offices at 2721 2nd Ave N, Suite 350 in Downtown Billings. Call us at (406) 252-3610.
Brad Steorts
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