2022/23 CONCERT SEASON MAGAZINE

C oncert S eason M agazine

Season Sponsored by Stephen Schachman & Ritva Porter

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Hello Everyone,

How many of you are here for the first time? If so, then welcome to the world of live symphonic music. You are surrounded by a community who loves this orchestra and enjoys the music that we play. To our seasoned concert goers, welcome back! This season we have a palette of music that will inspire, illuminate, and enrich your soul.

The core of what we do, is the Classical Series. This is the series where composers like Beethoven, Mozart, and Tchaikovsky are featured, along with music by living composers. For each classical concert, we welcome talented guest artists from around the world to perform with the orchestra. Among these artists is our concertmaster, Carrie Krause, playing Mozart’s Violin Concerto No. 5. The Bozeman Symphony believes in the endless pursuit of discovering and facilitating the creation of new music. This season, we commissioned our Composer-in-Residence Scott Lee to compose a piece of music celebrating Yellowstone National Park’s 150th Anniversary. In addition, we are performing beloved Bozeman composer Eric Funk’s world premiere piece.

Outside of the Classical Series, we continue with our wildly successful Bozeman Symphony Presents. The concerts under this series represent a wide range of musical genres. Holiday Spectacular enters its second year of building a new tradition, and by popular demand, we have added a third performance! Each year, we aim to make this concert more “spectacular” with gorgeous decorations, dazzling lighting, and of course, music that will uplift your spirit to ring in the holiday season.

It has been close to three years since we presented our annual family concert. These concerts hold a special place in my heart because I believe that it is these performances, where we capture the imagination of young ones with the life-changing magic of the orchestra - they are, after all, our future audience. We are ecstatic to be bringing this concert back with Benjamin Britten’s The Young Person’s

Guide to the Orchestra . Concert goers will also experience a movement of Beethoven’s 5th Symphony, and music from Stravinsky’s Firebird! If you are between the age of 4-104, this is a concert for you.

Speaking of being ecstatic ... on November 19, Bozeman will be one of the few places in the world to witness one of the greatest compositions of the decade. Through our experimental series, Current Commotion, we will be presenting Andy Akiho’s Grammy and Pulitzer Prizenominated composition Seven Pillars, featuring Sandbox Percussion. Ladies and Gentlemen, this is NOT an experience you will want to miss. We are thrilled to be showcasing this stellar work at The ELM on 7th Ave. I look forward to seeing you there.

We have curated this magazine to share information on a variety of topics. Within, you will find articles on our musicians and guest artists, program notes about the story behind the music, infographics, and biographies. The advertisements are a snapshot of local businesses who understand that a healthy symphony orchestra is vital to the pulse of a local economy.

It takes a village to bring to life the music that you are hearing today. This performance is a culmination of years of planning and support from every name that you see within this program. To the staff, musicians, donors, board of directors, and you, our audience, thank you.

And now...sit back, relax (or focus), and let the power of music feed your soul.

Sincerely,

N orman H uynh MUSIC DIRECTOR

Supporting the Bozeman Symphony is an investment in connecting our community through exceptional musical experiences. That’s why we’re proud to be a sponsor.

Dear Friends,

Thank you for joining us on a vibrant musical journey as we embark on the 55 th concert season of the Bozeman Symphony Orchestra. We’ve accomplished a great deal over the decades thanks to the countless individuals who have contributed to our success.

Looking to the future, a remarkable transformation is on the horizon as we aspire to grow the organization in terms of the number and type of performances we offer, and in our leadership as an organization among the community and beyond. It is the support demonstrated by our loyal musicians, Board of Directors, donors, patrons, community partners, staff, and volunteers, along with the change and evolution Bozeman is experiencing propelling us forward.

There have been several major milestones over the past year. I want to acknowledge the incredible tenure of two musicians who recently retired, Alan Leech and Sharon Eversman , who combined contributed 105 years of graciously sharing their time and talents with Bozeman. Bravo to each of them! We introduced the expansion of our season by offering more performances than ever before, but also more dates and times to enjoy the music. This success was marked by multiple sold-out performances, and across the nation, we are defying the odds with concert attendance at an all-time high. Way to go for Bozeman arts and culture!

We regularly enrich the lives and souls of our listeners through live performance, education, and community partnerships. It is our aim to connect, educate, and uplift through exceptional musical experiences, to reach new audiences and establish the Gallatin Valley as Montana’s center of artistic excellence. We will lead a creative and vibrant future for all of Montana and beyond.

The Bozeman Symphony has a special meaning for each of us. This season marks a special milestone for me personally, as I’m celebrating 20 years with the Bozeman Symphony. I am grateful for the connections I’ve made, for the opportunity to perform and experience the music with you, and for those musical moments that have the ability to transcend us.

I want to pay tribute to each of you for the important role you play in supporting the orchestra, choir, and being a vital part of all that we achieve together. The Bozeman Symphony is a treasure, a mainstay of our community, and a key part of the cultural fabric that makes our region such a special place to live.

With sincere gratitude,

Emily Paris-Martin EXECUTIVE DIRECTOR

5

A Letter from Norman Huynh, Music Director

7 A Letter from Emily Paris-Martin, Executive Director

9 Table of Contents

10 About the Symphony

11 The Symphony Wishes to Thank

12 2022/23 Classical Series Musical Timeline

14

Feature Story: “Debunking the Classical Concert Experience” with Norman

18 Board & Staff

19 Feature Story: “Celebrating Stephen Schachman, Board Chair”

21 Season Concert Sponsors

24 Classical Series 01: Beethoven’s 5th Symphony & Akiho

26 Guest Artist Bio: Andy Akiho, Steel Pan

27 Program Notes

32 Classical Series 02: Tchaikovksy’s Fifth Symphony and Bartók

34 Guest Artist Bio: Michael Sheppard, Piano

35 Program Notes

38 BSO Presents: Current Commotion

40 Guest Artist: Sandbox Percussion

44 BSO Presents: Holiday Spectacular

46 Guest Artist Bio: Tamar Greene, Tenor

48 BSO Presents: The Young Person’s Guide to the Orchestra – Free Family Concert

50 Your Brain on Music

54 Classical Series 03: Firebird & Mozart’s Violin Concerto No. 5

56 Guest Artist Bio: Carrie Krause, Violin

58 Feature Story: Composer-in-Residence Scott Lee

60 Program Notes

64 Classical Series 04: Poulenc’s Gloria & A Funk World Premiere

66 Guest Artist Bio: Janai Brugger, Soprano

67 Program Notes

70 Feature Story: Composer Eric Funk

72 Classical Series 05: Postcards from Spain: Pablo Sáinz-Villegas plays Rodrigo

74 Guest Artist Bio: Pablo Sáinz-Villegas

76 Program Notes

80 Classical Series 06: Mahler’s “Titan” Symphony No. 1 & Violinist Simone Porter

82 Guest Artist Bio: Simone Porter, Violin

84 Program Notes

88 This is Your Symphony Orchestra

90 Orchestra Roster

91 Choir Roster

94 Feature Story: Why I give to the Bozeman Symphony

96 2022/23 Season Underwriters

97 2022/23 Season Donors

100 Support the Music You Love

104 Volunteers

Each concert season the Bozeman Symphony and Symphonic Choir presents a repertoire of symphonic and choral music performed for the benefit of individuals, students, and musicians in south-central Montana. Performances and events include a series of classical subscription concerts, performances aimed at engaging and attracting new audiences under the umbrella of “Bozeman Symphony Presents,” and Current

Commotion – an experimental music series that allows the Bozeman Symphony to be on the cutting edge of our industry. The Bozeman Symphony Orchestra and Symphonic Choir have established themselves as significant cultural icons in Montana, whose history is marked by artistic excellence. Our future is dependent upon maintaining a skilled and motivated orchestra whose members bring symphonic music to life.

The Bozeman Symphony Wishes to Thank

Bozeman Symphony extends its gratitude to David Ross & Risi for generously sponsoring the orchestra during the 2022/23 season. Thank you for supporting the exceptional musicians who make each Bozeman Symphony concert possible!

The Bozeman Symphony is grateful for the support of a record-breaking nearly 1,000 season subscribers. Season subscribers provide stability to our concert season, and we rely on their attendance throughout the year. Season subscribers save more than 10% on single ticket prices, receive waived handling fees for the rest of the season,* and have the first chance to purchase tickets to special events.

The Bozeman Symphony is extremely grateful to our advertisers, sponsors, underwriters, and patrons whose support makes this concert season possible.

We would not be able to present high quality musical performances to our community without the continued help of our dedicated volunteers. It truly takes a “volunteer village,” and the Symphony is tremendously grateful to everyone who has volunteered and continues to volunteer.

The Bozeman Symphony would like to recognize businesses and individuals who provide goods and services to the Symphony. The Symphony would not be able to flourish without their continued generosity.

We would like to thank the following community businesses who invest in the Bozeman Symphony as members of our new Growth Council:

Audio Artisans Brickhouse Creative ERA Landmark Real Estate Opportunity Bank Printing For Less

*Waived handling fees are only available for purchases made through the Symphony Office.

406-585-9774

WOLFGANG

LUDWIG VAN BEETHOVEN

GUSTAV MAHLER

PYOTR ILYICH TCHAIKOVSKY

Violin Symphony No. 5 in

Symphony No. 5 in E Minor

JEAN SIBELIUS

Finlandia

CLAUDE DEBUSSY

ANDY AKIHO

Concerto for Steel Pans and Orchestra (Montana Premiere)

BÉLA BARTÓK

20101899 2022 This infographic displays years on a timeline that each piece of music was composed. You will discover the breadth of repertoire that we cover throughout our season as well as each individual concert. Use this as a tool to listen for how western orchestral music has evolved throughout history.

MAURICE RAVEL

Piano Concerto No. 3 in E Major

SCOTT LEEIGOR STRAVINSKY

Firebird Suite (1945)

JOAQUÍN RODRIGO

Images for Orchestra Concierto de Aranjuez

Boléro SAMUEL BARBER 1912 1928 1939 1945 1945 1959 1939 2000 Concerto for Violin and Orchestra

World Premiere Celebrating Yellowstone’s 150th

FRANCIS POULENC

Gloria Symphony No. 6 “ApocalypsePhoenix Rising”

ERIC FUNK MISSY MAZZOLI These Worlds in Us (Montana Premiere)

2006

Debunking the Classical Concert Experience with Norman

If you ask the average person what they think about classical music, chances are they will tell you it’s stuffy or pompous or “not their thing.” There are many stereotypes and negative assumptions associated with classical music: you have to know a lot about music to enjoy it; it’s boring; classical music is “better” or “more important” than popular music; only old people listen to it; you have to dress up to attend concerts; all conductors are monstrously egotistical and rule their orchestras with an iron rod; and even that it’s “dead white man” music, because so much programming for classical concerts features works by, well, dead white men.

In fact, classical music is none of these things, and Music Director Norman Huynh is part of a younger generation of conductors who are working hard to change these outof-date perceptions. “Nine out of ten concertgoers who go to a performance for the first time don’t come back because we don’t make it welcoming for them, or they feel intimidated,” Huynh explains. “I think it’s important to make this experience as accessible and fun as possible, and I want to make the concert experience in Bozeman entertaining and exciting.”

Huynh is unusual among conductors in that he did not grow up immersed in classical music, nor did he play a violin or piano as a child. His first musical experiences were in his high school and college marching bands, where he played euphonium, which looks like a small tuba and plays in a tenor range. “I was a band geek,” Huynh acknowledges. “I came to classical music as entertainment, and I also understand the mindset of people who aren’t familiar with this music, like my parents or my fiancé and her friends. When they come to the concert hall, I want to hear what they have to say.”

Huynh has plenty of ideas for engaging classical neophytes, like programming music that isn’t “purely” classical: movie scores, or crossover concerts that bring together pop musicians singing their music in orchestral arrangements.

Pops concerts are also a good entry point, as they present familiar music in symphonic settings. “My mom loves John Williams’ music,” says Huynh.

Concert program books provide opportunities to learn more about the music. “Our program books have a timeline graph, which puts the music in a historical context,” Huynh explains. “We also provide a glossary of common musical terms. No one should feel lost.” At intermission and before concerts, the Bozeman Symphony presents slideshows featuring mini-trivia quizzes with questions like “How many symphonies did Beethoven write?” “These kinds of small changes can make a huge difference in the audience’s experience,” says Huynh. “If people have a bit of foreknowledge, it makes their listening experience better.”

Huynh always talks to the audience before a concert, a practice that is becoming more common in orchestras around the country. “I think taking time before the concert starts, giving insight into what the experience is going to be, is really important. If there’s a living composer present, I invite them to comment on their work and talk about what to listen for. I welcome people, express gratitude, guide them to the program notes, and give them a sense of what’s going to happen.” When he programs a concert, Huynh tries to include at least one work that is familiar to most people, and juxtaposes it with newer or less wellknown works.

Huynh also supports people who clap during the concert, even before a piece is over. “It’s unique in Bozeman,” he says. “If I hear people applauding, I usually turn around and give a thumbs up. That immediately puts people at ease and allays anxiety or shyness or feeling embarrassed. When I’m curating the concert experience, one thing that’s always front of mind is the new concertgoer, or someone who’s never heard an orchestra concert before.”

Classical Concert FAQs and Basic Etiquette

Many people new to classical music are unsure or even intimidated about when to clap while listening to a multi-movement work, like a Beethoven symphony. The unwritten “rules” about clapping have changed over time. In Beethoven’s era (late 18th century to early 19th century), audiences often clapped in between movements if they particularly liked what they heard. For example, when Beethoven premiered his Symphony No. 7 in 1813, the audience demanded an immediate encore of the second movement. From the mid-19th century through the 20th, the convention of remaining silent until the end of the entire work became the norm. Today, more conductors and ensembles are encouraging people to clap when they feel moved to do so, although some audience members may prefer to remain silent until the end.

However, sometimes the pause between movements is an important component of the music and should not be interrupted; in those instances, the conductor will often keep their arms raised before continuing. You can’t go wrong with this basic rule of thumb: clap when the conductor lowers their arms.

patrons and even the musicians if you are sitting close enough. Live music should be experienced in real time, and deserves your full attention. You can text about it or take pictures afterwards.

Gum: Don’t chew gum during a concert; the sound can disturb people around you.

Cough drops: If you need to unwrap a cough drop, do it before the music begins, or during a particularly loud moment to cover the sound. If you must unwrap it while the music is playing, do it as quickly as possible, rather than drawing out the sound of the wrapper crinkling (which can be surprisingly loud).

Sneezing: Try to muffle any sneezes as best you can. If you have allergies, take meds before the concert to keep the sneezes to a minimum. Obviously, stay home if you are actually sick.

Coughing: See sneezing.

Talking: Once the music starts, don’t, even in a whisper. It’s very distracting. Talk before or afterwards. If you are bringing kids with you, explain the importance of remaining quiet and sitting still before you arrive.

Clothes. Wear clothes. If you check out any given audience’s sartorial splendor, you will probably see everything from jeans and cowboy boots to traditional evening attire. Many people enjoy dressing up for concerts, but others prefer a more casual look. If the concert is outdoors, take weather and temperature into account, and as a matter of courtesy, don’t wear a large hat that will obstruct the view of people sitting behind you. In general, when it comes to clothes, wear what you like.

Arrive early so you can find your seat, read the program, use the bathroom if necessary, and answer any lastminute texts or messages before the concert begins.

Turn off your cell phone. Even if you are just texting or reading, the light from the screen can distract other

Introducing kids to classical music can be a wonderful experience for you and them. Use your common sense and good judgment when deciding which concerts to attend with kids. Some concerts are especially designed for families with young children; they tend to be shorter and less formal. Since most young children have brief attention spans and may experience difficulty sitting still for long periods, these family-friendly concerts are a good choice. Many older children and pre-teens are developmentally ready to experience a standard classical concert (e.g., they can sit quietly and focus on the music). All kids are different, and you know yours best; if you think they are ready, they probably are.

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Stephen Schachman Chair

Ben Phinney Vice Chair

Gary Kachadurian Treasurer

Tamara Havenhill-Jacobs Secretary

Diane Dwyer Choir Representative

Stephen Versaevel Orchestra Representative

Thomas Bray

Jecyn Bremer

Donald Gimbel

Gary Kunis

Kenneth May Charles Rinker

Robert Ritchie

Lee Selby Heather White

Norman Huynh Music Director

Ryan Tani Interim Symphonic Choir Conductor

Emily Paris-Martin Executive Director

Jennah Applebaum Concert Manager

Jacob Blaser General Manager

Abby Bradford Marketing & Communications Manager

Mary Landeen Librarian

Cherí Ladd LeCain Development Associate

Daniel Omer Orchestra Personnel Manager

Michael Wainwright Director of Development

Cierra Wallace Box Office Manager

Amy Wright Bookkeeper Robyn L. Erlenbush

Mike Delaney & Ileana Indreland Sal & Carol Lalani

Kippy Sands

Cliff & Laura Schutter Renée Westlake

William A. Wilson

Walter Wunsch

by

Celebrating Stephen Schachman

Board Chair

Stephen Schachman grew up in Philadelphia, but that was just the start of what became a very diverse life path.

“I was a Marine Corps officer, later I was given the opportunity to run a natural gas distribution company at a relatively young age, and I have worked with the federal government and did some lobbying for the subsidiary of an international law firm. You could say, I’ve had quite a varied career.”

Schachman brought that diverse experience in communication and collaboration to the Bozeman Symphony and Symphonic Choir in 2018, when he began serving as Chairman of the Board.

“As Board Chair for the Symphony, my job is not to set policy — it’s to ensure that we can come to conclusions and get everybody involved and working toward our decisions.”

Arriving in Bozeman in 2011 with a longtime love and appreciation for symphonic music, Stephen didn’t know what to expect when he first volunteered with the Bozeman Symphony leadership. What he found was an organization more dedicated to excellence than he could have imagined, let alone one in a relatively small community in Montana.

“I’ve served on a number of nonprofit boards, and I think this is probably one of the best boards of directors I’ve ever been involved with,” says Schachman. “There are a lot of type A personalities, but they seem to have the ability not to have to put their personal stamp on things. If our staff brings something to the board that’s well thought-out and well-presented, the board will say, ‘yes, let’s do it.’”

Schachman also points out that the board is more than just manager types, they are people who get involved. “When we need somebody on the board to do something, there’s always someone who steps up and says ‘well, I’ll do that.’ They’re giving of their money, their time, and their wisdom.”

2022 marks Schachman’s last year as Board Chair. He will forever look back on his time with the Bozeman Symphony as an incredibly gratifying experience, but for him, it all comes back to the music.

“To watch these musicians who devote so much time and energy to what they do, and to experience the fantastic music they produce, it’s truly wonderful,” points out Schachman. “And the love our community has for this Symphony — I could walk out on stage before they played a note and say ‘Why don’t we give these musicians a standing ovation?’ and the audience would do exactly that, because they love them so much.”

For Stephen Schachman, to be able to help cultivate such a positive force for his community, through leadership and collaboration, is clearly something he’ll always look back on with a deep fondness.

“It’s incredibly gratifying to watch the growth of all of this and be part of the positive change. The healing and the bringing people together through symphonic music, is, to me extraordinary.”

The Bozeman Symphony Orchestra and Symphonic Choir performances are made possible by the following businesses, foundations, and individuals who have generously provided support toward concert sponsorship. Please join us in showing your appreciation for the following concert sponsors.

Kimberlie & Bruce Jodar Gary Kunis & Connie Wong Robert & Donna Ritchie

Opportunity Bank of Montana Robyn L. Erlenbush, ERA Landmark Real Estate

Michael & Sharon Beehler Donald B. Gimbel Kate Hansen Gary & Margaret Kachadurian

Skye Raiser & David Perlin

David & Kippy Sands The Utzinger Family, in memory of Robert Utzinger Yellowstone Theological Institute

Douglas C. & Jeanie Badenoch Joanne & Billy Berghold Mike Delaney & Ileana Indreland Sharon Eversman First Security Bank Sal & Carol G. Lalani Ken & Mary May Rob & Lynn Maher Iris M.L. Model Ben & Barbara Phinney Richard & Denise Sheehy, Sheehy Family Foundation Drs. Dennis & Anne Wentz Renée & Stuart Westlake

David Ross & Risi

Stephen Schachman & Ritva Porter

CARING FOR YOU AT EVERY AGE AND STAGE OF LIFE.

At Bozeman Health, we know your life is busy and staying well is important to you. And because women often care for others before themselves, we've committed special time and attention to anticipating and meeting your ever-changing needs—from adolescence to menopause and beyond. We’re here to answer your questions along the way.

Visit BozemanHealth.org/womens-specialists or call 414-5150 to find your provider, today.

Jereco Studios

is proud to partner with the Bozeman Symphony

Follow us Fonline ollow us online to learn tabout o learn about our world oof ur world of entertainment etechnology ntertainment technology and aintegration. nd integration.

N orman H uynh CONDUCTOR

Jean Sibelius FINLANDIA

Andy Akiho

CONCERTO FOR STEEL PANS AND ORCHESTRA

Montana Premiere INTERMISSION

Ludwig van Beethoven

SYMPHONY NO. 5 IN C MINOR, OP. 67

I. Allegro con brio

II. Andante con moto

III. Scherzo: Allegro

IV. Allegro – Presto

A ndy A kiho STEEL PAN

C ONCERT P ROGRAM

Andy Akiho is a “trailblazing” ( Los Angeles Times) GRAMMY-nominated composer whose bold works unravel intricate and unexpected patterns while surpassing preconceived boundaries of classical music. Known as “an increasingly in-demand composer” ( The New York Times ), Akiho has earned international acclaim for his large-scale works that emphasize the natural theatricality of live performance.

The 2021-2022 season features the NYC premiere of Akiho’s double GRAMMY nominated work Seven Pillars for Sandbox Percussion and the world-premiere of a new commission for Imani Winds. Equally at home writing chamber music and symphonies, Akiho is the Oregon Symphony Orchestra’s 2022-2023 composer-in-residence.

Recent engagements include commissioned premieres by the New York Philharmonic, National Symphony Orchestra, Shanghai Symphony, China Philharmonic, Guangzhou Symphony, Oregon Symphony Orchestra, American Composers Orchestra Music@Menlo, LA Dance Project and The Industry.

Akiho has been recognized with many prestigious awards and organizations including the Rome Prize, Lili Boulanger Memorial Prize, Harvard University Fromm Commission, Barlow Endowment, New Music USA, and Chamber Music America. His compositions have been featured by organizations such as Bang on a Can, American Composers Forum, The Intimacy of Creativity in Hong Kong, and the Heidelberg Festival.

BIO

An active steel pannist, Akiho has performed his works with the LA Philharmonic’s Green Umbrella Series, the Berlin Philharmonic’s Scharoun Ensemble, the International Drum Festival in Taiwan, and more. Akiho’s recordings No One To Know One and The War Below features brilliantly crafted compositions inspired by his primary instrument, the steel pan.

The physicality of playing that Akiho experiences as a steel pannist is an embedded aspect of his musical practice and naturally extends itself into his compositional output. Music making is inextricably linked to shared human experience for Akiho from inception to performance. Akiho’s compositional trajectory has been an untraditional one, he spent most of his 20s playing steel pan by ear in Trinidad and began composing at 28, and these social roots laid the foundation for his current practice.

Akiho was born in 1979 in Columbia, SC, and is currently based in Portland, OR and New York City.

C lassical S eries 01 PROGRAM NOTES

Finlandia: triumphant hymn/chorale celebrating Finland’s independence

Concerto for Steel Pans and Orchestra: contrasting timbres (colors) between soloist and orchestra

Beethoven’s Fifth Symphony: the opening rhythm of the first four notes (da-da-da-DA) in each movement

Sibelius: Violin Concerto; Symphony No. 5

Akiho: Percussion Concerto; In/Exchange for Steel Pan and String Quartet

Beethoven: Seventh Symphony; Piano Concerto No. 3

FINLANDIA , Op. 26

Composer: born December 8, 1865, Hämeenlinna, Finland; died September 20, 1957, Järvenpää, Finland

Work composed: 1899, rev. 1900

World premiere: Finland Awakes was first performed on December 14, 1899, in Helsinki, with Sibelius conducting. A year later, Sibelius revised the tone poem and changed its name to Finlandia. The revised version was premiered by Robert Kajanus at the Philharmonic Society in Helsinki on July 2, 1900.

Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, triangle, and strings.

Estimated duration: 8 minutes

By November 1899, the citizens of Finland had endured almost a century of heavy-handed rule by Russia, which included severe censorship of the press. That month, a group of artists in Finland’s capital, Helsinki, organized a series of “Press Celebrations,” which were actually political demonstrations on behalf of the growing movement for Finnish independence. Jean Sibelius wrote and conducted Finland Awakes for one of these gatherings. The following year, Sibelius reworked the score and changed its title to Finlandia for the Helsinki Philharmonic to perform on its first major tour of Europe. Audiences everywhere responded to Finlandia, and it quickly established Sibelius as a composer of significance.

The oppressive Russian presence growls through the low brasses and timpani as Finlandia begins. Sibelius follows this with a gentle statement in the winds, which grows into a defiant, heroic anthem heralded by brasses, horns and strings. Interestingly, the most memorable theme of Finlandia does not make its appearance until more than halfway through the work. This hymn-like melody, inspired by folk tunes but invented by Sibelius, sounds quietly in the winds, and eventually becomes an impassioned cry of freedom as Finlandia comes to its triumphal conclusion.

CONCERTO FOR STEEL PANS AND ORCHESTRA

Composer: born February 7, 1979, Columbia, SC

Work composed: 2010

World premiere: Adrian Slywotzky led soloist Andy Akiho and the Yale Philharmonia at Woolsey Hall at Yale University on January 21, 2011

Instrumentation: solo tenor steel pan, double 2nds pans, piccolo, flute, 2 oboes, 2 clarinets, bass clarinet, bassoon, contrabassoon, 2 horns, 2 trumpets, trombone, tuba, timpani, bass drum, glockenspiel, F-sharp chime, marimba, snare drum, kick drum, brake drum, puilis sticks, tam tam, vibraphone, piano, harp, and strings

Estimated duration: 11 minutes

Critics often use the word “eclectic” to describe composer Andy Akiho, and for good reason. Akiho’s music embodies

eries

PROGRAM NOTES

the diverse sound world of his percussion experiences: high school marching bands, elite-level drum corps, west African marimba ensembles, Trinidadian steel pan music, and the contemporary classical music scene of New York City.

The Concerto for Steel Pans and Orchestra is a dynamic composition, originally written for and performed by Akiho and the Yale Philharmonia. The round metallic shimmer of the steel pans weaves in and out of the orchestra’s fuller textures, creating an unusual sonic palette. Akiho’s use of the lower range instruments – bass clarinet, contrabassoon, trombone, and tuba in particular –provides a strong anchor to the rippling treble range of the pans. The music is, by turns, almost violently energetic, authoritative, reflective, and dreamy.

Akiho writes, “The steel pan was the catalyst that led me to become a composer. I was first introduced to the instrument at the University of South Carolina in 1997, where I studied percussion performance under Jim Hall. After I finished my studies in 2001, I made four extensive visits to Trinidad to immerse myself in the culture of the music. I returned several times in subsequent years to study and perform with two pioneers of the instrument, Len ‘Boogsie’ Sharpe and Ray Holman. Encouraged by my experiences in Trinidad, I moved to the Caribbean community in Brooklyn, NY, in 2003. While in New York City, I had the opportunity to perform and learn from some of the most inspirational pan innovators including Scipio Sargeant, Eddie Quarless, Clive Bradley, and Freddy Harris III. Their positive influences ultimately led me to the Manhattan School of Music in 2007, where I began to compose new art music that often integrated the steel pan in combination with traditional classical instruments.

“My goal with this piece, and with my other pieces involving the steel pan in combination with traditional classical instruments, is to create sonorous textures that explore the frontiers of the instrument. I often find that compositions incorporating the steel pan outside of the pure Calypso and Soca genres use the instrument as a novelty gimmick without realizing the instrument’s full potential. I believe that the steel pan is an extremely versatile instrument capable of producing both an extraordinarily unique timbre and contributing to a homogenous orchestral texture.”

SYMPHONY NO. 5 IN C MINOR, OP. 67

Composer: born December 16, 1770, Bonn; died March 26, 1827, Vienna

Work composed: 1804-08, commissioned by Count Franz von Oppersdorff for 500 florins. Beethoven eventually dedicated the Fifth to Prince Franz Joseph Lobkowitz and Count Andreas Kyrillovitsch Razumovsky.

World premiere: Beethoven conducted the premiere on December 22, 1808, in a subscription concert that also included his Sixth Symphony and the Piano Concerto No. 4, in the Theater-an-der-Wien.

Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani and strings.

Estimated duration: 36 minutes

“This symphony invariably wields its power over men of every age like those great phenomena of nature … [it] … will be heard in future centuries, as long as music and the world exist.”

– Robert Schumann on Beethoven’s Fifth Symphony

Beethoven’s Fifth Symphony is arguably one of the most iconic pieces of classical music ever composed, as well as one of the most iconoclastic. It has also come to represent the very essence of classical music itself. Music lovers know it backwards and forwards, and even those who have never attended an orchestra concert nonetheless recognize the opening notes of Beethoven’s Fifth, as it is informally known, immediately.

Since the Fifth’s premiere on a cold December night in Vienna, it has become a lens through which we have viewed music, society, and culture. Early audiences heard in its notes an exhortation of victory and triumph, whether literal or of a more internal, personal kind. As the 19th century progressed, Beethoven’s music, particularly the symphonies, became the standard against which every subsequent composer’s music was measured. During WWII, the Allies used the famous four-note opening as a signal in radio broadcasts of victory over the Axis powers. The Fifth Symphony also became an unforgettable part of

PROGRAM NOTES

the 1970s with Walter Murphy and the Big Apple Band’s disco version, A Fifth of Beethoven.

Beethoven supposedly likened the four opening notes to the hand of Fate knocking at the door. In all likelihood, however, this description was fabricated by Anton Schindler, one of Beethoven’s early biographers, known both for his poor memory and his penchant for invention. Whether a representation of Fate or not, these four notes are the rhythmic seed from which the rest of the symphony develops. The short da-da-da-DA fragment recurs in each movement, as a unifying device. Beethoven, who left few clues as to his compositional process for the Fifth Symphony, did mention the creation of a theme that “begins in my head the working-out in breadth, height, and depth. Since I am aware of what I want, the fundamental idea never leaves me. It mounts, it grows. I see before my mind the picture in its whole extent, as if in a single grasp.”

Beethoven conducted the Fifth’s premiere on December 22, 1808, as part of a massive subscription concert that also included the Sixth Symphony and the Piano Concerto No. 4. Count Franz von Oppersdorff commissioned the Fifth, as he had the Fourth Symphony, and paid Beethoven a substantial sum for each work. Despite Oppersdorff’s generous benefaction, Beethoven eventually dedicated

the Fifth Symphony to Prince Franz Joseph Lobkowitz and Count Andreas Kyrillovitsch Razumovsky, patrons with whom he had a longer, more substantial relationship.

At the premiere, in addition to the two symphonies and the piano concerto, Beethoven also presented his Choral Fantasy, plus the concert aria “Ah, perfido,” and the “Gloria” and “Sanctus” sections from the Mass in C major. The resulting four-hour concert challenged the endurance of even the most ardent Beethoven fans. To make matters worse, the orchestra was badly under-rehearsed and the hall spottily heated. Composer Johann Friedrich Reichardt, who attended the premiere, later wrote, “There we sat from 6:30 till 10:30, in the most bitter cold, and found by experience that one might have too much even of a good thing.”

The Fifth Symphony generated little comment at its premiere, but 18 months later, composer and critic E. T. A. Hoffmann wrote a lengthy review, in which he called it “one of the most important works of the master whose stature as a first-rate instrumental composer probably no one will now dispute … the instrumental music of Beethoven open[s] the realm of the colossal and the immeasurable for us.”

© Elizabeth Schwartz

PHOTO BY JASON SAVAGE

SATURDAY, OCTOBER 29, 2022 @ 7:30PM | SUNDAY, OCTOBER 30, 2022 @ 2:30PM PERFORMED AT WILLSON AUDITORIUM

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GARY & MARGARET KACHADURIAN AND DONALD B. GIMBEL

Béla Bartók

C ONCERT P ROGRAM

N orman H uynh CONDUCTOR M ichael S heppard PIANO

PIANO CONCERTO NO. 3 IN E MAJOR, SZ. 119, BB 127

I. Allegretto

II. Adagio religioso

III. Allegro vivace

INTERMISSION

Pyotr Ilyich Tchaikovsky

SYMPHONY NO. 5 IN E MINOR, OP. 64

I. Andante – Allegro con anima – Molto più tranquillo

II. Andante cantabile, con alcuna licenza

III. Valse. Allegro moderato

IV. Finale: Andante maestoso – Allegro vivace –Meno mosso

Known as “a virtuosic soloist possessed of power, sensitivity, earthiness, and humor” (Whitney Smith, Indianapolis Star) with the “power to make an audience sit up and pay attention...thought-provoking for performers and listeners alike” (James Manheim, All Music Guide), Michael Sheppard trained with the legendary Leon Fleisher at the Peabody Conservatory. He was selected by the American Pianists Association as a Classical Fellow, which designation led to the recording of his Harmonia Mundi CD of 2007. In 2015, another recording will be released by Azica, a Cleveland-based label distributed worldwide by Naxos Records.

He has performed solo recitals and concertos around the world, as well as across the USA, including several solo Weill (Carnegie) Hall recitals and a solo Kennedy Center debut. He gives master classes, teaches regularly and plays with some of the top singers and instrumentalists around; he also coaches singers, instrumentalists, and conductors.

Michael Sheppard today stands at a crossroads, spending large amounts of time writing as well as performing and teaching. He has worked closely with fellow composers John Corigliano, Christopher Theofanidis, Michael Hersch, Robert Sirota and with the late Nicholas Maw, demonstrating a deep love of new music; his eclectic tastes also led him recently to musical-direct

performances of Jason Robert Brown’s Broadway show “The Last Five Years”.

Michael Sheppard is a native of Philadelphia and resides in Baltimore, where he works at both the Peabody Conservatory and the Baltimore School for the Arts, sharing his love and understanding of music and the artistic process with future generations.

Bartók: unusual rhythms, sharp accents, range of timbres (colors), dialog between soloist and orchestra

Tchaikovsky: opening clarinet theme which returns in some form in each movement

Bartók: Concerto for Orchestra; Piano Concerto No. 2

Tchaikovsky: Symphony No. 4; Symphony No. 6

PIANO CONCERTO NO. 3 IN E MAJOR, SZ. 119

Composer: born March 25, 1881, Nagyszentmiklós, Hungary (now Sînnicolau Mare, Romania); died September 26, 1945, New York City

Work composed: Summer 1945. Bartók continued working on this concerto until four days before his death. He was able to finish all but the last 17 bars, for which he had left rough sketches. The final measures were completed by Bartók’s friend and piano student Tibor Serly.

World premiere: Eugene Ormandy led the Philadelphia Orchestra with György Sándor at the piano on February 8, 1946, in Philadelphia.

Instrumentation: solo piano, 2 flutes (one doubling piccolo), 2 oboes (one doubling English horn), 2 clarinets (one doubling bass clarinet), 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, snare drum, tam tam, triangle, xylophone, and strings.

Estimated duration: 23 minutes

The last five years of Béla Bartók’s life were especially difficult. In December 1939, Bartók’s mother died; ten months later, Bartók and his wife Ditta fled Nazi-occupied Hungary for America. Grief-stricken over his mother’s death and overwhelmed by the cultural and logistical obstacles confronting a newly-arrived immigrant, Bartók fell into a deep depression. Life in America also posed significant financial challenges; Bartók’s music generated little interest among American concert producers and

audiences, and neither he nor Ditta, both accomplished pianists, found much work performing others’ music.

The ultimate blow came in 1942, when Bartók was diagnosed with leukemia. When word of Bartók’s illness became public, friends and colleagues began commissioning new music from the ailing composer. Among these was the Concerto for Orchestra for Serge Koussevitzky, arguably Bartók’s most famous composition. The prospect of work cheered Bartók immensely and his health likewise improved. In the summer of 1945 he was in remission and spent time in Asheville, North Carolina, writing a piano concerto for Ditta, which he intended as a surprise for her birthday in October. In August, however, Bartók’s health took a turn for the worse. He returned to New York where he continued writing the piano concerto, which he completed – save for the final 17 measures –four days before his death.

The sound of this concerto may surprise listeners accustomed to associating Bartók with thorny dissonances and harsh rhythms. The Allegretto’s primary theme, introduced by the piano, has a lilting, almost whimsical quality atypical for Bartók, as if the piano were musing half-formed thoughts aloud. The central Adagio religioso features a series of bird calls (Bartók transcribed the birdsong he heard in Asheville) sprinkled throughout what Bartók described as “night” or “nature music.” The title of this movement – Bartók considered himself an atheist for much of his adult life – also implies a profound shift in the composer’s thoughts on faith. In the concluding Allegro vivace, Bartók unleashes virtuosity and raw energy in both piano and orchestra.

SYMPHONY NO. 5 IN E MINOR, OP. 64

Composer: born May 7, 1840, Kamsko-Votinsk, Viatka province, Russia; died November 6, 1893, St. Petersburg

Work composed: between May and August 26, 1888

World premiere: Tchaikovsky conducted the premiere on November 17, 1888, in St. Petersburg.

Instrumentation: 3 flutes (1 doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings.

Estimated duration: 47 minutes

“I desperately want to prove, not only to others, but also to myself, that I am not yet played out as a composer,” wrote Pyotr Ilyich Tchaikovsky to his patron Nadezhda von Meck in the spring of 1888. With the benefit of hindsight, the idea that Tchaikovsky could think himself “played out” is puzzling; after he completed the Fifth Symphony he went on to write Sleeping Beauty, The Nutcracker, and the “Pathétique” Symphony. All artists go through periods of self-doubt, however; and Tchaikovsky was plagued by creative insecurity more than most.

If you ask a Tchaikovsky fan to name their favorite symphony, they’ll most likely choose either the Fourth, with its dramatic “Fate” motif blaring in the brasses, or the Sixth (“Pathétique”). Sandwiched in between is the Fifth Symphony, often overlooked or undervalued when compared to its more popular neighbors. But the Fifth is a monument in its own right, showcasing Tchaikovsky’s undisputed mastery of melody; indeed, the Fifth rolls out one unforgettable tune after another. Over time, the Fifth Symphony has earned its place in the canon of orchestral repertoire itself, but Tchaikovsky, along with several 19th century music critics, wavered in his opinion of its worth. At the end of the summer in 1888, Tchaikovsky wrote to von Meck, “It seems to me that I have not blundered, that it has turned out well,” and to his nephew Vladimir Davidov after a concert in Hamburg, “The Fifth Symphony was magnificently played and I like it far better now, after having held a bad opinion of it for some time.” After a performance in Prague, however, Tchaikovsky wrote to von

Meck, “I have come to the conclusion that it is a failure. There is something repellent in it, some over-exaggerated color, some insincerity of fabrication which the public instinctively recognizes.”

Critics dismissed the new symphony as beneath Tchaikovsky’s abilities, and one American critic damned the composer with faint praise when he opined, “[Tchaikovsky] has been criticized for the occasionally excessive harshness of his harmony, for now and then descending to the trivial and tawdry in his ornamental figuration, and also for a tendency to develop comparatively insignificant material to inordinate length. But, in spite of the prevailing wild savagery of his music, its originality and the genuineness of its fire and sentiment are not to be denied.”

The Fifth Symphony features a theme that recurs in all four movements. We hear it first in the lowest chalumeau register of the clarinet, which conveys an air of foreboding. The late critic and scholar Michael Steinberg described the theme’s effects in all the movements: “It will recur as a catastrophic interruption of the second movement’s love song, as an enervated ghost that approaches the languid dancers of the waltz, and … in majestic and blazing E major triumph.”

Tchaikovsky’s gift for melody reached beyond the classical music world in 1939, when the poignantly wistful horn solo in the Andante cantabile morphed into the popular song Moon Love , which became a hit for big band leader and trombonist Glenn Miller.

© Elizabeth Schwartz

Described as “exhilarating” by The New York Times , and “utterly mesmerizing” by The Guardian , GRAMMY®nominated ensemble Sandbox Percussion has established themselves as a leading proponent of this generation of contemporary percussion chamber music. Brought together by their love of chamber music and the simple joy of playing together, Sandbox Percussion captivates audiences with performances that are both visually and aurally stunning. Through compelling collaborations with composers and performers, Jonathan Allen, Victor Caccese, Ian Rosenbaum, and Terry Sweeney seek to engage a wider audience for classical music.

Sandbox Percussion’s 2021 album Seven Pillars was nominated for two GRAMMY® awards – Best Chamber Music/Small Ensemble Performance and Best Contemporary Classical Composition. This eveninglength work by Andy Akiho with stage direction and lighting design by Michael Joseph McQuilken is Sandbox’s largest commission to date. In addition to the album, Sandbox commissioned 11 films that accompany each movement of the work.

In addition to the world premiere of Seven Pillars at Emerald City Music in Seattle, the 2021/2022 season includes many highlights – Sandbox Percussion will perform concertos with the Albany Symphony and UMKC Conservatory Orchestra, travel to Northern Ireland,

Lithuania and many cities across the United States, perform at the Percussive Arts Society International Convention, and premiere new works by David Crowell, Molly Joyce, Loren Loiacono, Jessica Meyer, Tawnie Olson, and Tyshawn Sorey.

In addition to maintaining a busy concert schedule, Sandbox was appointed ensemble-in-residence and percussion faculty at the University of Missouri-Kansas City in 2021, where they have created a curriculum with entrepreneurship and chamber music at its core. Sandbox has led masterclasses and coachings all around the United States, at institutions such as the Peabody Conservatory, Curtis Institute, the Juilliard School, the University of Southern California, and Cornell University.

In 2016, Sandbox Percussion founded the annual NYU Sandbox Percussion Seminar – a week-long seminar that invites percussion students from across the globe to rehearse and perform some of today’s leading percussion chamber music repertoire at the iconic Brooklyn venue National Sawdust.

In 2020, Sandbox Percussion released their debut album And That One Too on Coviello Classics. The album features works by longtime collaborators Andy Akiho, David Crowell, Amy Beth Kirsten, and Thomas Kotcheff.

Bozeman Film Festival, Inc dba Bozeman Film Society is a MT 501c3

SATURDAY, DECEMBER 10, 2022 @ 2:30PM

DECEMBER 10, 2022 @ 7:30PM

SUNDAY, DECEMBER 11, 2022 @ 2:30PM

AT WILLSON AUDITORIUM

ONCERT P ROGRAM

orman H uynh CONDUCTOR

amar G reene TENOR ozeman S ymphonic C hoir

Anderson A Christmas Festival

Amundson On Christmas Day

Lauridsen (arr. Dackow) O Magnum Mysterium

Schubert Ave Maria

Tyzik Twelve Gifts of Christmas

INTERMISSION

Rutter Here We Come A’Wassailing

Williams Harry’s Wondrous World

Debney (arr. Pesavento) Elf Suite

I. Main Title

II. Buddy’s Theme

III. Santa’s Flight

Adam (arr. Dragon) Oh Holy Night

Handel “Hallelujah” from The Messiah

Anderson Sleigh Ride

Finnegan Christmas Carol Singalong

Tamar Greene is the current George Washington in the Broadway company of Hamilton . Prior to joining the Broadway company, Tamar played the role of George Washington in the Chicago company of Hamilton for a year and a half through its closing. From 2017 to 2018, he toured with the First National Tour and North American premiere of Love Never Dies , Andrew Lloyd Webber’s spellbinding sequel to Phantom of the Opera He has also performed as Crab Man in Porgy and Bess at Spoleto Festival USA. Tamar played the Quartet Leader in the inaugural cast of After Midnight on the Norwegian Escape. He played the role of Charlie in the NY Philharmonic Orchestra’s production of Show Boat at Lincoln Center, which was broadcast on PBS. He performed the role of Fisherman in the Broadway First National Tour of The Gerschwins’ Porgy AND Bess. Just this year, Tamar has filmed a Christmas commercial on WEtv, recorded a new promo song for Netflix Jr Jams, and released a new single, “Soaring”, now available on all streaming platforms. Tamar has graced stages worldwide having led several wedding bands and performed at venues in Italy, Germany, England, and the Caribbean.

As a proud first-generation American, born of Jamaican and British parents, Tamar is a versatile artist whose musical passions mirror his eclectic background. As a writer, arranger, classical pianist and an opera singer, he combines much of his inspiration from Classical music, Reggae, Hip-Hop, R&B, Blues, and Jazz.

Tamar is an accomplished voice teacher. He leads a robust studio and frequently presents masterclasses and guest lectures at high schools, universities, and major corporations around the country. His passion for performance and teaching is matched by his

passion for social and racial justice. Tamar is one of two representatives from the Broadway company nominated to serve on the Hamilton Racial Justice Task Force. Through his work on the task force, Tamar has helped to organize company-wide efforts to raise census awareness, increase national voter registration, and amplify the importance of financially investing in communities of color. Tamar proudly holds his Master of Music from the Eastman School of Music in Vocal Performance and Literature and a B.A. in Music with a focus in Vocal and Piano Performance and a B.A. in Computer Information Systems from SUNY Oswego. Learn more about Tamar on Instagram @tamar.greene.

Each Keller Williams Office Is Independently Owned And Operated

Benjamin Britten

F elix G uggenheim VIOLIN

Scott Lee

THE YOUNG PERSON’S GUIDE TO THE ORCHESTRA

WORLD PREMIERE CELEBRATING YELLOWSTONE’S 150TH

Ludwig van Beethoven SYMPHONY NO. 5 IN C MINOR, OP. 67

I. Allegro con brio

Igor Stravinsky FIREBIRD SUITE (1919)

5. Infernal Dance of King Kashchei

Finale

This is your brain On Music

THE FRONTAL LOBE

manages executive functions such as solving problems, planning, and making decisions. This is also the emotional center of the brain. Listening to music can enhance the decision-making and analytical abilities of the frontal lobes.

THE TEMPORAL LOBE

processes sounds such as music and speech and also plays a strong role in memory and emotional management. This part of the brain is constantly engaged as we listen to music.

THE PARIETAL LOBE

processes sensory input and assign meaning to visual, tactile, and auditory sensations. They are also key to mathematical processing and fine motor control. The parietal lobe plays a strong role in learning to play a musical instrument.

THE OCCIPITAL LOBE performs all processing of visual information from the eyes. This part of the brain is especially activated in professional musicians listening to music as they are trained to read musical scores as they play.

THE CEREBELLUM/BRAIN STEM

maintains balance and posture and controls motor function. The brain stem controls basic functions such as heartbeat and breathing. The cerebellum may help with the interpretation of rhythm in music.

Bozeman Symphony volunteer Christina Reynolds, Lead Data Scientist at Portland Veterans Affairs Research Foundation and Science Faculty Instructor at Gallatin College, works with neurology departments in hospitals all over the country. She says that, “Every month during the Symphony’s performance season, I look forward to the Saturday night concert as a defined break from everything. The rhythms and patterns in the music refocuse the mathematical parts of my brain away from work and onto something new and beautiful in an entirely different manner than the math and physics I am usually working on. I always come away from the performances refreshed and ready to tackle the challenges of the upcoming week.”

South Willson, Bozeman,

C ONCERT P ROGRAM

N orman H uynh CONDUCTOR

C arrie K rause VIOLIN

Scott Lee WORLD PREMIERE CELEBRATING YELLOWSTONE’S 150TH

Wolfgang Amadeus Mozart

VIOLIN CONCERTO NO. 5 IN A MAJOR, K. 219 “TURKISH”

I. Allegro aperto – Adagio – Allegro aperto

II. Adagio

III. Rondeau – Tempo di minuetto

INTERMISSION

Igor Stravinsky FIREBIRD SUITE (1945)

1. Introduction – The Firebird and its Dance –The Firebird’s Variation

2. Pantomime I

3. Pas de deux: Firebird and Ivan Tsarevich

4. Pantomime II

5. Scherzo: Dance of the Princesses

6. Pantomime III

7. The Princesses’ Khorovod

8. Infernal Dance of King Kashchei

9. Berceuse

10. Finale

Violinist Carrie Krause’s “elegant, sparkling performance brought audience cheers” - Seattle Post Intelligencer. Raised in Fairbanks, Alaska, Carrie serves as concertmaster of the Bozeman Symphony. Carrie has performed as concerto soloist with the Fairbanks Symphony, Casper Symphony, String Orchestra of the Rockies, and the Bozeman Symphony, and most recently with the Billings Symphony in performance of Vivaldi’s Four Seasons . She has appeared as guest concertmaster of Bravo Big Sky, Helena Symphony, and Billings Symphony, as guest artistic director of String Orchestra of the Rockies, and with the Montana Chamber Music Society and Strings Festival in Steamboat. She has four times been featured in the Grammy Awardwinning TV series, 11th and Grant . She founded and directs the Second String Orchestra for amateur players and the Bozeman Chamber Ensembles for youth. Carrie maintains a studio of thirty students, including award winners at the Music Teachers National Association and American String Teachers Association competitions.

Carrie Krause performs as a baroque violinist with ensembles across the country and on numerous international series, serving as was guest artistic director and concerto soloist with Seattle Baroque. She has performed as concertmaster of New Trinity Baroque in Atlanta and Musikanten Montana, as guest concertmaster of Pacific Baroque in Vancouver and the San Francisco Bach Choir, as associate concertmaster of Apollo’s Fire in Cleveland, and as principal with the Oregon Bach Festival and Spire in Kansas City. Carrie has also appeared with Chatham Baroque, New York State Baroque, Portland Baroque, Passamezzo Moderno, Baroque Chamber Orchestra of Colorado, Clarion, The American

Classical Orchestra, and Concert Royale in New York. Festival engagements include the Leipzig Bach Festival, Salish Sea Early Music Festival, and Montana Baroque Festival as soloist, the Belgrade Early Music Festival in Serbia and Sastamalla Gregoriana in Finland as concertmaster, and the Utrecht Early Music Festival, Festival Dan les Jardins de William Christie in Nante, France, and the BBC Proms in London. Carrie has worked under such conductors as Jordi Savall, Ton Koopman, Richard Egarr, Nic McGegan, and Masaaki Suzuki.

Carrie founded Baroque Music Montana, a presenting organization for a series of concerts, events, and annual Period Performance Workshop serving the multi-state region, providing employment and learning engagement for local, national, and international musicians.

Carrie received degrees from Carnegie Mellon under Andres Cardenes, the Cleveland Institute of Music in violin performance and Suzuki Pedagogy, and The Juilliard School in Historical Performance.

This fall 2022, Carrie joins her partner, Paul Lachapelle, on sabbatical in Europe, studying concertmaster solos and 17th century music. Returning, she is thrilled to contribute to the Bozeman arts scene with a new violin, a 1972 Kinberg from Chicago, and a fine Louis Gillet bow. An avid adventurer, Carrie placed first in her age group in the Springfield Missouri Marathon, and third overall female in the Old Gabe 50k Trail race, and occasionally loves to Nordic ski even more than practicing the violin.

Composer-in-Residence

Scott Lee

“Composer-in-Residence” is a somewhat vague umbrella title, in that it can cover pretty much everything. Interestingly though, most composers who work in that capacity with an ensemble are only in physical residence for a brief –albeit extremely intensive – period of time. Case in point: Scott Lee, whose three-year residency with the Bozeman Symphony began last year and wraps up at the end of the 2023-24 season, will be physically in Montana for about one week per season. While he’s in town, Lee will work with composition students at Montana State University, and cocurate a brand-new contemporary music series, Current Commotion , with Music Director Norman Huynh. Lee will also spend time with the orchestra as they rehearse his newest work, written to celebrate the 150th anniversary of Yellowstone National Park.

As of this writing, Lee, who was born and raised in St. Petersburg and now teaches composition at the University of Florida in Gainesville, had never been to Yellowstone. He was scheduled to visit in June, but had to cancel after epic rains and flooding closed the park. Lee has rescheduled his trip for September; in the meantime, he is immersing himself in the sounds of Yellowstone via a massive free online sound archive created and maintained by the National Park Service. The archive contains all kinds of sounds: bears growling, birds singing, wolves howling, but also the sounds of the park itself: burping paint pots, the roar of Yellowstone Falls, and the hiss of erupting geysers.

Last season, Lee composed The Last Best Place , a sixminute evocation of Bozeman. Lee has prior experience writing about specific places; his first full-length album, Through the Mangrove Tunnels, released in the fall of 2020, captures the distinctive qualities of Weedon Island Preserve, a park he visited often when he was growing up.

How does Lee write about a location? “For me it’s a process of finding out what’s most important for me to say about a

place,” he says. This involves tapping into energy of a place and then transforming it into music. He doesn’t transcribe actual sounds from the natural world, like birdsong, as some composers have done. For Lee the process is more elusive, almost like alchemy: how to engineer a metamorphosis from the unique atmosphere inherent in all places into pitches, rhythms, harmonies, colors, and structures.

Last season, in preparation for writing The Last Best Place, Lee spent a week in Bozeman. “I talked to different people: politicians, artists, writers, Symphony board and audience members,” he explains. “I went to every coffee shop in Bozeman. I got this feeling from everyone that what they loved about Bozeman was changing and they were afraid of losing what they had.” These changes affect every aspect of life in Bozeman, as the economy evolves from farming and ranching to an emerging tech hub. “The ‘honest work’ blue-collar town was becoming a magnet attracting a lot of wealthy people,” Lee continues, “and changes to the landscape. The area from Bozeman to Yellowstone is known as the Serengeti because it’s an open corridor for wildlife. The growing population is threatening that with sprawl.” In the music, Lee captured the evolving dynamic interactions between humans and nature, as well as changes in the demographics, economics, and attitudes of the residents.

So how did a native Floridian become the first Composerin-Residence for a Montana orchestra? Lee and Huynh are friends from school; they met as graduate students at the Peabody Conservatory in Baltimore. “We’ve worked together for a while,” said Lee.

After Huynh became Bozeman’s music director two years ago, he set about creating a composer-in-residency program with Lee in mind as the orchestra’s first musicsmith. At 34, Lee already has an impressive resume, which includes collaborations with some of the top orchestras and ensembles in the country, and several prestigious awards.

by Elizabeth Schwartz

The Philadelphia Inquirer hails Lee’s music as “colorful” and “engaging,” as he marries classical forms with popular contemporary music genres.

Ideas for Lee’s Yellowstone piece, as yet unnamed, are gestating in his creative consciousness as he contemplates his upcoming sojourn to the park. “For me it’s about trying

to discover the character of a place, and finding the right music to fit that character. Contrasts are important; different components of the natural space will define the structure of the work. I can tell you this much: the Yellowstone piece will be celebratory, written for a joyous occasion, and hopefully capturing the beauty of the place.”

For me it’s a process of finding out what’s most important for me to say about a place. S cott L ee, COMPOSER-IN-RESIDENCE

PROGRAM NOTES

Lee: contrasting timbres, dynamics, moods

Mozart: clear, singable melodies, balanced phrases, bravura solo passages

Stravinsky: episodic quality as the story unfolds, wide range of orchestral timbres (colors)

Lee: Through the Mangrove Tunnels

Mozart: Violin concertos Nos. 1-4

Stravinsky: Petrouchka, The Rite of Spring

WORLD PREMIERE CELEBRATING YELLOWSTONE’S 150TH

Composer: born December 1, 1988, St. Petersburg, FL

Work Composed: 2022

World premiere: Norman Huynh will lead the Bozeman Symphony on February 25, 2023, in Bozeman, MT

Instrumentation:

Estimated duration : 6 minutes

Composer in Residence Scott Lee’s music has been praised as “colorful” and “engaging” by the Philadelphia Enquirer . In his work, Lee often takes inspiration from popular genres. His music marries the traditional intricacy of classical forms with the more body-centered and visceral language of contemporary popular music, creating a complex music of the present with broad appeal. Active as a music educator, Lee is currently Assistant Professor of Composition at the University of Florida School of Music in Gainesville, FL.

Last season, the Bozeman Symphony presented the world premiere of The Last Best Place , Lee’s homage to Bozeman. This season, Lee has written a piece to celebrate the 150 th anniversary of Yellowstone National Park. Lee had not previously visited the park, and his initial trip had to be postponed when the park was inundated by major floods in June 2022. Lee has since spent time exploring the park’s iconic geysers and wild places, absorbing

Yellowstone’s distinctiveness. As he wrote, Lee immersed himself in the sounds of the park through the National Park Service’s extensive sound archive of Yellowstone. While Scott did not literally transcribe these sounds into music, they informed his music and his ideas about capturing Yellowstone in a musical framework

“For me, it’s about trying to find the character of a place, finding the right music to fit that character,” Lee explains. “Contrasts are important; different components of the natural space define the structure of a work. The Yellowstone piece will be celebratory, a joyous occasion capturing the beauty of the place, but contrasting that beauty with the alien environment of the geysers.”

VIOLIN CONCERTO NO. 5 IN A MAJOR, K. 219 “TURKISH”

Composer: born January 27, 1756, Salzburg, Austria; died December 5, 1791, Vienna

Work Composed: Mozart wrote all five of his violin concertos between April and December 1775, probably for violinist Antonio Brunetti, who took over as concertmaster for the Archbishop of Salzburg’s court orchestra after Mozart resigned his post there in 1776.

World premiere: December 1775 in Salzburg

Instrumentation: solo violin, 2 oboes, 2 horns, and strings

Estimated duration: 28 minutes

Today, we think of Wolfgang Amadeus Mozart as a composer and virtuoso pianist, but he was also a prodigally skilled violinist. When Mozart was a boy, he traveled throughout Europe displaying his virtuosity on both violin and keyboard; he also absorbed the musical styles of Italy, with its emphasis on lyricism and bravura technique. Both qualities infuse Mozart’s music for violin, particularly his five violin concertos, most of which he wrote over a few months in 1775.

The A Major Violin Concerto is the most mature of the five; the overall mood, even in the Adagio, is one of optimism and joyous expression. In the first movement, the soloist explores the violin’s highest notes in graceful arabesques. In the tender, intimate E major Adagio, both orchestra and soloist play passages of exquisite transparency. The closing Rondeau combines Mozart’s deceptively simple melodies with adventures in minor keys and folk music flourishes; these account for its “Turkish” nickname (in Mozart’s time, any vaguely Eastern-sounding music was referred to as Turkish, although in the case of this concerto, Mozart’s inspiration was actually Hungarian folk music).

S eries 03 PROGRAM NOTES

SUITE FROM THE FIREBIRD (1945)

Composer: born June 17, 1882, Oranienbaum (now Lomonosov), Russia; died April 6, 1971, New York City

Work composed: November 1909 – May 1910 for Sergei Diaghilev’s Ballets Russes

World premiere: The Firebird ballet was first performed by the Ballets Russes at the Paris Opéra on June 25, 1910

Instrumentation: 2 flutes (1 doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, snare drum, tambourine, triangle, xylophone, piano, harp, and strings

Estimated duration: 28 minutes

The Firebird was the first of several ground-breaking collaborations between Igor Stravinsky and Serge Diaghilev, head of the Ballets Russes. It also became the young and then unknown composer’s letter of introduction to the musical world. Before contacting Stravinsky, Diaghilev had approached five other composers about writing music for The Firebird, including the notoriously lazy Anatoly Liadov, who couldn’t (or didn’t) finish the music in time for

Diaghilev to rehearse the dancers. Desperate, Diaghilev turned to Stravinsky, who jumped at the opportunity to work with the renowned Russian impresario and his equally famous ballet troupe. Stravinsky completed the music relatively quickly, during the winter and spring of 1909-1910. The Firebird was an instant success for both impresario and composer from the moment of its premiere. The orchestral suites Stravinsky later created are equally popular with symphony audiences. Stravinsky’s inventive, virtuosic use of orchestral colors and abrupt, repetitive rhythms took audiences on a sound journey unlike any they had previously experienced. The music, combined with Michel Fokine’s innovative choreography and the dazzling sets and costumes of Alexander Golovin, made The Firebird a unified creation, not simply a ballet with interesting music and costumes. It had been Diaghilev’s aim to present a work that synthesized all its elements, and critics were duly impressed. Henri Ghéon thought the work ‘the most exquisite marvel of equilibrium that we have ever imagined between sounds, movements and forms.’

The Firebird is a patchwork tale, whose story and characters are drawn from several sources in Russian folklore. In the Introduction, Prince Ivan, while hunting, discovers an enchanted garden wherein dwells the magical Firebird, and captures her. The murky opening notes, intoned by strings, low winds and brasses, establish the mythic nature of the story. In exchange for her freedom, the Firebird gives Ivan one of her magic feathers in the Dance of the Firebird (agitated strings alternating with pensive winds).

Ivan continues his hunt and finds a castle in which the evil King Kashchei is holding 13 princesses captive. To amuse themselves, the princesses dance in the castle courtyard to a lyrical oboe solo while playing with golden apples. The princesses tell Ivan that the green-clawed Kashchei (in some versions a sorcerer-king, in others a terrifying ogre) turns people into stone. Ivan, protected by the Firebird’s magic feather, provokes Kashchei. Suddenly the Firebird appears and enchants Kashchei and his hideous ogres, causing them to dance themselves into exhaustion in the Infernal Dance of King Kashchei . After they collapse, the Firebird’s gentle lullaby (Berceuse), an ethereal bassoon melody, lulls them to an eternal sleep. The princesses and all of Kaschchei’s stone victims are freed and the Finale captures their joy with dazzling, triumphant chords.

© Elizabeth Schwartz

THE ONE WITH ALL THE MONTANA

The historic Big Yellow Barn, located just north of Bozeman, boasts stunning mountain views, an inspired country setting, and easy access. It’s the perfect place for your Montana wedding, concert, or private event.

Photo by: Sarah Notarius Photography

WWW.BIGYELLOWBARN.COM BOZEMAN, MONTANA

C ONCERT P ROGRAM

N orman H uynh CONDUCTOR J anai B rugger SOPRANO B ozeman S ymphonic C hoir

Missy Mazzoli THESE WORLDS IN US

Montana Premiere

Eric Funk SYMPHONY NO. 6 “APOCALYPSE — PHOENIX RISING”

World Premiere INTERMISSION

Francis Poulenc GLORIA

1. Gloria in excelsis Deo

2. Laudamus te

3. Domine Deus, Rex caelestis

4. Domine Fili unigenite

5. Domine Deus, Agnus Dei

6. Qui sedes ad dexteram Patris

Wolfgang Amadeus Mozart

AVE VERUM CORPUS

American soprano, Janai Brugger, the 2012 winner of Operalia and of the Metropolitan Opera National Council Auditions, made her television debut last season when she sang a specially-written requiem composed by Laura Karpman for an episode of HBO’s renowned ‘Lovecraft Country.’ She returned to Mahler’s Fourth Symphony with Yannick Nézet-Séguin and The Philadelphia Orchestra, and revived a favourite role, Pamina Die Zauberflote for performances at Palm Beach Opera’s first Outdoor Opera Festival. More recently she appeared as Michaela Carmen at Cincinnati Opera and returned to Dutch National Opera for their acclaimed Missa in tempore Belli (Haydn) conducted by Lorenzo Viotti and directed by Barbora Horáková.

In a recent season, the artist appeared at the Metropolitan Opera in the role of Clara in their celebrated new production of Porgy and Bess in which she’d previously appeared at Dutch National Opera. At Lyric Opera of Chicago she sang the role of Ilia Idomeneo and at Cincinnati Opera she appeared as Susanna Le nozze di Figaro. In her artistic home at Los Angeles Opera, she sang the role of Servilia La Clemenza di Tito, a role she previously sang at Dutch National Opera. Miss Brugger travelled to the Royal Opera House Covent Garden for revival performances of Pamina Die Zauberflöte and sang the role of Liù Turandot at Lyric Opera of Chicago.

C lassical S eries 04 PROGRAM NOTES

Mazzoli: listen (and watch) carefully for the percussionists playing melodicas (mouth keyboards) at the beginning and end; hear the way the opening violin theme weaves in and out of the texture

Funk: listen for the threnody (lament) in the first movement; the repeating ominous rhythm in the second; the chorale in the third; and the poetic images of the texts in the fourth that signal the phoenix’s rebirth

Poulenc: Hear the contrasts of mood and tempo among the six movements; listen for the unison Gregorian chantlike writing for the chorus, and the dialog amongst the different voice parts in the faster sections

Mozart: listen for the clarity of the text and the slow gradual crescendo (increase in volume) as the music reaches its emotional high point

Mazzoli: Sinfonia (for Orbiting Spheres)

Funk: Symphony No. 2 “Montana”

Poulenc: Stabat Mater

Mozart: Solemn Vespers; Requiem

THESE WORLDS IN US

Composer: born October 27, 1980, Landsdale, PA

Work composed: 2006; dedicated “to my father”

World premiere: The Yale Philharmonia gave the first performance in 2006 in New Haven, CT

Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, tuba, bass drum, tuned cowbells, suspended cymbal, hi-hat, 2 melodicas, snare drum, vibraphone, harp, and strings

Estimated duration: 9 minutes

Award-winning composer Missy Mazzoli, whom Alex Ross of the New Yorker praised for her “apocalyptic imagination,” became one of the first two women, along with Jeanine Tesori, to receive a main stage commission from the Metropolitan Opera in 2018. An active pianist/composer, Mazzoli writes in a wide variety of genres, including opera, orchestral, chamber music, and scores for both television and film.

These Worlds in Us , Mazzoli’s first work for large orchestra, won the 2007 ASCAP Young Composers Award. The title

comes from James Tate’s poem, “The Lost Pilo”. Mazzoli included an excerpt of Tate’s poem and the following comments in the score:

My head cocked towards the sky, I cannot get off the ground, and you, passing over again, fast, perfect and unwilling to tell me that you are doing well, or that it was a mistake that placed you in that world, and me in this; or that misfortune placed these worlds in us.

“This piece is dedicated to my father, who was a soldier during the Vietnam War. In talking to him it occurred to me that, as we grow older, we accumulate worlds of intense memory within us, and that grief is often not far from joy. I like the idea that music can reflect painful and blissful sentiments in a single note or gesture, and sought to create a sound palette that I hope is at once completely new and strangely familiar to the listener.

“The theme of this work, a mournful line first played by the violins, collapses into glissandos almost immediately after it appears, giving the impression that the piece has been

eries

04 PROGRAM NOTES

submerged under water or played on a turntable that is grinding to a halt. The melodicas (mouth organs) played by the percussionists in the opening and final gestures mimic the wheeze of a broken accordion, lending a particular vulnerability to the bookends of the work. The rhythmic structures and cyclical nature of the piece are inspired by the unique tension and logic of Balinese music, and the march-like figures in the percussion bring to mind the militaristic inspiration for the work as well as the relentless energy of electronica drum beats.”

as a “fear trigger,” he scores it for bassoon, contrabassoon, low basses and piano. At one point, Funk writes a low A for the contrabassoon that can only be played by attaching an extension to the instrument.

SYMPHONY NO. 6 APOCALYPSE: PHOENIX RISING

Composer: born September 28, 1949, Deer Lodge, MT

Work composed: 2001

World premiere: at these concerts

Instrumentation: SATB chorus, 2 oboes, 2 bassoons, 2 horns, 3 trumpets, 2 trombones, bass trombone, tuba, timpani, 3 bass drums, cymbals, tam-tam, tom toms, piano, and strings

Estimated duration: 36 minutes

Montana-born composer Eric Funk’s Symphony No. 6 Apocalypse: Phoenix Rising mirrors the story of the mythical phoenix, a bird which renews itself from chaos and is reborn in fire. “The idea is that things fall apart in the first three movements, and in the last movement I pull it back together – that’s the phoenix rising section,” says Funk. “It has to do with human impacts on the earth.”

Funk began writing this symphony as a response to the September 11, 2001 attacks. While watching the events unfold on television that sunny September morning, Funk began to hear music in his head. That music became the basis for a threnody, or a lament, what Funk describes as the “tragic section” in the first movement.

“The second movement is kind of eerie and haunting in a threatening way,” Funk continues. Its second half of this movement features a spiky ostinato (repeating rhythm), which signals an impending apocalypse. To emphasize the ominous quality of the spiky ostinato, which Funk describes

The third movement features a chorale for oboes, bassoons, and brasses, followed by a series of variations on that original chorale theme. The closing movement, Phoenix Rising , features a chorus singing James Agee’s poem “Sure On This Shining Night,” which Funk interprets as a description of Elysium, the Greek concept of Paradise. Funk pairs the expressive nature imagery of Agee’s poem with English Renaissance composer John Dryden’s Hymn to St. Cecilia , the patron saint of music. Funk said he was particularly drawn to Dryden’s words, “And music shall untune the sky.” The symphony concludes triumphantly as the phoenix slowly rises from the ashes.

GLORIA

Composer: born January 7, 1899, Paris; died January 30, 1963, Paris

Work composed: May 1959 – July 1960; dedicated “à la mémoire de Serge et Nathalie Koussevitzky,” and commissioned by the Koussevitzky Foundation in their honor

World premiere: Charles Munch led the Boston Symphony and the Chorus Pro Musica in Symphony Hall in Boston on January 21, 1961

Instrumentation: solo soprano, SATB chorus, piccolo, 2 flutes (1 also doubling piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, harp, and strings

Estimated duration: 25 minutes

Francis Poulenc came of age musically and chronologically in the jazz-saturated, post-WWI frenzied culture of Roaring 20s Paris. His music from this time demonstrates a biting wit, and carefree (or care-less) attitudes to prewar conventions, musical and otherwise. The elegance and style of Poulenc’s music from this time mirror the larger cultural trends of the hectic society in which he

C lassical S eries 04 PROGRAM NOTES

lived. By the mid-1930s, however, as Fascist movements in Germany and Italy grew stronger, Poulenc took a deeper, more reflective approach to his work.

In 1936, Poulenc learned of the tragic accidental death of a close friend and colleague. Devastated, Poulenc embraced Catholicism in his personal religious practice and his music. From 1936 until his own death in 1963, Poulenc focused on religious music. Some of these pieces were intended for liturgical use, while other works, like his opera Dialogue of the Carmelites , are based on religious themes.

The six sections of Poulenc’s Gloria, whose text comes from the liturgy of the Catholic mass, reflects both Poulenc’s youthful impish humor and profound statements of belief. Poulenc modeled his Gloria on that of Italian Baroque composer Antonio Vivaldi, and the two works, though separated by several hundred years, share the same structure, resources – soloist, mixed chorus, and orchestra – and distinct movements with specific emotional arcs.

Poulenc employed an overall structure of a symmetrical arch form in which each of the movements is paired with another: the first and last movements are the longest and most epic in scope (Poulenc described them as “majestic”), contrasted with the shorter, faster, and buoyant music of movements II and IV, and the stately solemnity of movements III and V.

“The colors are very clear, primary colors – rude and violent like the Provence chapel of Matisse,” Poulenc said when describing the Gloria. He added, “The second movement caused a scandal. I wonder why? While writing it, I had in mind those Gozzoli frescoes with angels sticking out their tongues, and also some solemn-looking Benedictine monks I saw playing football one day.”

AVE VERUM CORPUS, K. 618

Composer: born January 27, 1756, Salzburg, Austria; died December 5, 1791, Vienna

Work composed: 1791. Dedicated to Mozart’s friend Anton Stoll

World premiere: June 23, 1791, in Baden, a spa town near Vienna

Instrumentation: SATB chorus, organ, and strings

Estimated duration: 3 minutes

One of the hallmarks of Wolfgang Amadeus Mozart’s music is its simplicity, which the pianist Artur Schnabel famously characterized as “too simple for children and too difficult for adults.” Nowhere is this more evident than in his exquisite setting of the liturgical text Ave verum corpus . Mozart completed this short choral work (only 46 measures total) on June 17, 1791 and it was first presented as a Eucharistic hymn in Baden at the Feast of Corpus Christi that year. Mozart dedicated the work to his friend, Anton Stoll, who was chorus master of the parish church in Baden, where Mozart was visiting with his wife Constanze.

The simplicity of the work may have its roots in practicality; the singers in Stoll’s parish choir were probably not firstrate musicians, and thus Mozart wrote an accessible piece of music they could learn quickly and easily. Or perhaps the plain language of the text itself suggested a more basic approach. The orchestra provides the barest introduction and functions mostly as a support to the chorus, which presents the text in a manner designed to focus on the words set like jewels into glimmering harmonies.

The original text of Ave verum corpus is based on a poem found in a 14th century manuscript from Reichenau, Switzerland. It praises the Catholic belief in transubstantiation, in which the boy and blood of Jesus are transformed into the bread and wine of the Eucharist, and reaffirms Catholic concepts of the redemptive power of suffering.

© Elizabeth Schwartz

FEATURE STORY by Elizabeth Schwartz

An Interview with

Eric Funk

For a classical composer, writing an opera or symphony is considered a pinnacle of achievement. A large multimovement work that can last up to – and sometimes more than – an hour, is a significant undertaking, requiring months or even years. Most composers wouldn’t normally take on a project of that scope without financial backing or a commission from an ensemble. So the fact that Eric Funk has composed ten symphonies without any commissions is remarkable in itself. Without an external prompt, what drives him to compose these large-scale works?

“I wanted to start digging into symphonic form,” Funk explains. “I love symphonic writing. I’ve written 172 works – five operas, 10 symphonies, concertos, etc. I love the fullness of a large orchestra and all the options you have with that many players.” Working within the form and structure of a typical 19th century symphony’s four contrasting movements, Funk explores the sonic possibilities of timbre (orchestral color) and dramatic arc, choosing from an almost endlessly variable array of sounds and colors. “I think if you call something a symphony you have a responsibility to attend to the forms that were used,” he explains.

Funk, who was born in Deer Lodge, MT in 1948, grew up in a large and formidably talented musical family. In a 2018 interview, he recalled, “My parents were both professional musicians, so all of us kids were also. We really didn’t have a choice … we were like the von Trapp family. We had uniforms, we sang as a choir, each of us played three instruments in different combinations, and we’d do these fundraiser concerts for my dad’s professional choir who was touring in Europe.” As a young man, Funk studied composition with Czech composer Tomas Svoboda at Portland State University, where he earned an undergraduate degree and worked on a doctorate. Funk later studied privately with composers Sandor Veress and Krzysztof Penderecki, the latter chosen specifically and somewhat paradoxically because Funk

admired him greatly as a composer but didn’t especially care for his music.

After teaching in in Oregon and Texas, Funk came home to Montana in 1985, and has been presenting a wide range of courses on music and creativity at Montana State University’s School of Music since 2002. In addition to his busy teaching and composing activities, Funk is the artistic director and host for Montana PBS-TV “11th & Grant with Eric Funk,” the Emmy Award-winning showcase for Montana musicians from all genres.

In March 2023, the Bozeman Symphony will present the world premiere of Funk’s Symphony No. 6 “Apocalypse: Phoenix Rising,” which grew out of Funk’s response to the September 11 attacks in 2001. “The idea is that things

fall apart in the first three movements, and in the last movement I pull it back together – that’s the phoenix rising section,” says Funk. “It has to do with human impacts on the earth.”

Funk, who is currently working on his tenth symphony, says all his symphonies are connected; the first five form a pentalogy called “Beyond Time.” “I’m suggesting life on earth is incomplete without humans on it, but we need to live consciously,” says Funk. Although the initial impetus for “Apocalypse: Phoenix Rising” came from a specific terrorist attack at a specific moment in time, the overall themes of destruction and rebirth continue the conceptual ideas Funk explored in “Beyond Time.”

While watching the attacks unfold on television that sunny September morning more than 20 years ago, Funk began to hear music emerging in his mind’s ear. That music became the basis for a threnody, or a lament, what Funk describes as the “tragic section” in the first movement. “The second movement is kind of eerie and haunting in a threatening way,” Funk continues. “It has a spiky ostinato underneath, the intention being to create the foreboding nature of an impending apocalypse.” The closing movement, “Phoenix Rising,” features a chorus singing James Agee’s poem “Sure On This Shining Night,” which Funk says is a description of Elysium, the ancient Greek mythological concept of Paradise. Paired with the expressive nature imagery of Agee’s poem, Funk also includes the English Renaissance composer John Dryden’s Hymn to St. Cecilia , the patron saint of music. Funk was particularly drawn to the words, “And music shall untune the sky.”

Like many composers, Funk thinks and feels most intuitively through music. “Music is my language; I’ve been hearing music in my head – that I was aware of –since I was about three.” This inner music is not triggered by an outside stimulus, nor is it an earworm (repeating fragment) of pre-existing music that gets stuck in your

head, something most people experience at one time or another. Funk’s inner music is unique to him. “Once you realize that what you’re hearing isn’t a signal that’s external, you start trying to figure out a way to grab it, poke it out on the piano or guitar or something,” he explained in a 2017 interview with Steven Harris-Weiel on the podcast You Are Admirable . “I think every one of us is born an iPod, and we’re full of original information. If you can tap into it, it’s just there.”

Montana itself is an essential component in the sound of Funk’s music. In 2012, Funk remarked, “In Europe they tell me, ‘Your music is so big.’ I couldn’t compose the music I do if I didn’t live here.” Montana’s expansiveness – physically, biologically, and spiritually – gives Funk the creative room he needs to express the music inside him.

“My music reflects this landscape, all the way from the subtle lighting of eastern Montana over by Miles City, and the Hi-Line, where I lived from 8th grade through the junior year of high school,” said Funk in 2018. “So those subtle places of Glacier Park, which I just love, to this beautiful Gallatin Valley, the space, the altitude – it’s just magical. Every time you look around, you’re like, ‘Wow, and I live here.’”

The Bozeman Symphony will perform the world premiere of Eric Funk’s Symphony No. 6 “Apocalypse: Phoenix Rising” in Willson Auditorium on March 25 and 26, 2023. For more information, go to www.bozemansymphony. org/poulencsgloria

My music reflects this landscape ... every time you look around, you’re like, ‘Wow, and I live here.’”

E ric F unk, COMPOSER

C ONCERT P ROGRAM

N orman H uynh CONDUCTOR Pablo Sáinz-Villegas GUITAR

Isaac Albéniz THE MAGIC OPAL: OVERTURE

Joaquín Rodrigo CONCIERTO DE ARANJUEZ

I. Allegro con spirito

II. Adagio

III. Allegro gentile

INTERMISSION

Claude Debussy

IMAGES FOR ORCHESTRA , L. 122:2. IBÉRIA

I. Par les rues et les chemins

II. Les parfums de la nuit

III. Le matin d’un jour de fête

Maurice Ravel BOLÉRO

Pablo Sáinz-Villegas has been acclaimed by the international press as the successor of Andrés Segovia and an ambassador of Spanish culture in the world. Since his debut with the New York Philharmonic under the baton of Rafael Frühbeck de Burgos at the Lincoln Center, he has played in more than 40 countries and invited to play with orchestras such as the Berlin Philharmonic, Chicago Symphony, Philharmonic of Israel, Los Angeles Philharmonic, and the National Orchestra of Spain, making him a benchmark for the symphonic guitar.

Plácido Domingo has described him as “the master of the guitar” and with him he has had the privilege of recording his new duo album, as well as participating in the tribute held in his honor at the Santiago Bernabéu stadium in Madrid to an audience of over 85,000 and also in a concert on a floating stage on the Amazon River, televised for millions of people in the world.

His “… virtuosic playing characterized by irresistible exuberance” ( The New York Times) make him one of the most acclaimed soloists by prestigious directors,

orchestras, and festivals. Highlights of his international tours with orchestras include Amsterdam Sinfonietta, the National Orchestra of Spain or the New Zealand Symphony. Last season, Sáinz Villegas made his debut at Chicago’s Grant Park Music Festival to an audience of 11,000 people and at Praça do Comercio in Lisbon with the Gulbenkian Orchestra.

Pablo has already appeared on some of the world’s most prestigious stages including Carnegie Hall in New York, the Philharmonie in Berlin, Tchaikovsky Concert Hall in Moscow, the Musikverein in Vienna or the National Arts Center in Beijing. The success of his performances translates into repeated invitations from directors such as Miguel Harth-Bedoya, Carlos Kalmar, Juanjo Mena and Alondra de la Parra. Habitual performer in concerts of institutional and business representation, he has had the privilege of playing before members of the Spanish Royal Family as well as other heads of state and international leaders.

YORK

NOTES

Albéniz: merry mood, lilting melodies

Rodrigo: English horn solo in second movement; dialog between soloist and orchestra

Debussy: celesta and English horn solo in the “Perfumes of the Night” section; upper strings played like guitars

Ravel: As the melody repeats, listen for the changes in timbre (color) among the strings, winds, and brasses

Albéniz: The Magic Opal (complete operetta); San Antonio de la Florida

Rodrigo: Fantasía para un Gentilhombre

Debussy: La mer

Ravel: nothing else Ravel wrote sounds anything like Boléro, but his Piano Concerto In G and the Piano Concerto for the Left Hand are terrific

OVERTURE TO THE MAGIC OPAL

Composer: born May 29, 1860, Camprodón, in the province of Gerona, Spain; died May 18, 1909, Cambo-les-Bains, France

Work composed: 1892, from a libretto by Arthur Law. After its premiere, Albéniz revised and retitled it The Magic Ring, which was staged on April 11, 1893, at the Prince of Wales Theater, London.

World premiere: January 19, 1893, at London’s Lyric Theatre.

Instrumentation: 2 flutes (1 doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, trombone, timpani, percussion, harp, and strings

Estimated duration: 9 minutes

Composer Isaac Albéniz is best known for Iberia, a four volume collection of solo piano music that reflects both his prodigious virtuosity as a pianist and his mastery of Spanish musical idioms. Given his enduring association with Spanish music, it is interesting that Albéniz lived most of his life outside his native country. He began concertizing as a child, and spent much of his life traveling through Europe and America.

From 1890-93, Albéniz lived in London, where he composed several operettas for English music halls. The most successful of these, The Magic Opal , is a comic opera in two acts, based on a libretto by English playwright and actor Arthur Law. The story revolves around the title gem, which causes its wearer to fall in love with whomever gives her the ring. The usual operatic hijinks – convoluted plot twists, dramatic reversals, and elaborate schemes to possess the opal predominate. Albéniz’s music reflects the styles and conventions of Victorian operettas of the time. The Magic Opal received positive reviews and was favorably compared with the operettas of Albéniz’s English contemporaries, Gilbert and Sullivan.

CONCIERTO DE ARANJUEZ

Composer: born November 22, 1901, Sagunto, Spain; died July 6, 1999, Madrid

Work composed: 1939. Dedicated to guitarist Regino Sáinz de la Maza.

World premiere: November 9, 1940. César Mendoza Lasalle led the Orquesta Filarmónica de Barcelona with soloist Regino Sáinz de la Maza at the Palau de la Música Catalana (Palace of Catalan Music) in Barcelona.

Instrumentation: solo guitar, 2 flutes (one doubling piccolo), 2 oboes (one doubling English horn), 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, and strings.

Estimated duration: 22 minutes

Joaquín Rodrigo’s inspiration for the Concierto de Aranjuez came from the Palacio Real de Aranjuez, the palace and gardens built by Philip II in the 16th century, not far from Madrid, and rebuilt two centuries later by Ferdinand VI; only the gardens survive today. Rodrigo lost his sight at age three after contracting diphtheria, and therefore could not perceive the visual beauty of the gardens. Instead he sought, in his words, to depict “the fragrance of magnolias, the singing of birds and the gushing of fountains.” Rodrigo added that the concerto “is meant to sound like the hidden breeze that stirs the treetops in the parks; it should be as agile as a butterfly, and as tightly controlled as a veronica [a term from bullfighting referring to a pass with a cape]; a suggestion of times past.” Rodrigo’s emphasis on “times past” may have been a conscious effort on his part to avoid associations with Spain’s present: the turbulent aftermath of the Spanish Civil War, and the rise of Hitler across Europe.

In the Concierto , Rodrigo pays particular attention to orchestration, insuring that the solo guitar is not overwhelmed by the orchestra. Much of the accompaniment has the quality of chamber music, as when a single instrument or section partners the soloist. Rodrigo only unleashes the full orchestra when the soloist is silent.

The Allegro con spirito features the fandango, an aristocratic dance of the Spanish court, characterized by rhythmic shifts between 3/4 and 6/8 time. Victoria Rodrigo’s biography of her husband notes that the Adagio reflects both happy memories of the couple’s honeymoon, and Rodrigo’s heartbreak over the miscarriage, at seven months, of their first child. The yearning beauty of the main theme, heard first in the English horn, expresses both Rodrigo’s wistfulness and his pain; Rodrigo once said of the Adagio, “If nostalgia could take form, the second movement would be its tightest mold.” Like the opening movement, the Allegro gentile showcases Baroque-style dances with shifting meters and Spanish folk songs.

“IBÉRIA” FROM IMAGES POUR ORCHESTRA

Composer: born August 22, 1862, St. Germain-en-Laye, near Paris; died March 25, 1918, Paris

Work composed: between 1905 and 1909

World premiere: Gabriel Pierné conducted the Orchestre Colonne at the Châtelet Theater in Paris on February 20, 1910.

Instrumentation: piccolo, 3 flutes (3rd flute also doubling piccolo), 2 oboes, English horn, 3 clarinets, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, castanets, celesta, chimes, cymbals, snare drum, tambour de basque, tambourin provençal, tambourine, xylophone, 2 harps, and strings

Estimated duration: 21 minutes

Claude Debussy’s Images pour Orchestra evolved over several years, and should not be confused with Debussy’s three Images for solo piano.

“Ibéria,” the best-known of the three Images, is itself divided into three separate sections, each with its own title. Par les rues et par les chemins (By streets and by paths) incorporates the rhythm of the sevillana, a popular dance from Seville featuring castanets and a Basque drum. The sensuous mystery of Parfums de la nuit (Perfumes of the night), particularly the featured celesta, recalls the opening of Gigues . The strings are divided into multiple sections (the first violins alone play seven different parts at one point), creating a lush texture that demands the utmost precision from each player. We hear a sinuous habañera featuring another solo for English horn. The dance’s rhythm notwithstanding, the overall feeling is of floating, disembodied, through the air, like a beguiling scent wafting over the evening breeze. Le matin d’un jour de fête (The Morning of a Festival), captures all the anticipatory bustle of preparations for the holiday. In the score, Debussy instructs half the violins and violas to hold and play their instruments like guitars; he also provides specific direction for the clarinets’ solo (“very cheerfully, exaggerating the accents”); the violin solo should sound “free and whimsical.” The trombones’ rowdy ascending glissando concludes the festivities.

PROGRAM NOTES

Critics and audiences alike were bewildered by and dismissive of Images , but Debussy’s colleagues Maurice Ravel and Manuel de Falla were moved by its rich evocations. De Falla wrote that “Ibéria,” in particular, captured “the intoxicating spell of Andalusian nights, the joyous strains of guitars and bandurrias … all whirling in the air.”

even fruit peddlers will whistle it in the street.” Originally a ballet commission from Ida Rubenstein, formerly of Serge Diaghilev’s Ballets Russes, Boléro was choreographed by Bronislava Nijinska, sister of Vaslav Nijinsky, and featured a Gypsy woman dancing on a table in a Spanish tavern, who whips her audience into uncontrolled sexual frenzy.

BOLÉRO

Composer: born March 7, 1875, Ciboure, France; died December 28, 1937, Paris

Work composed: 1928

World premiere: Originally written as a ballet for Ida Rubenstein, which premiered November 22, 1928, at the Paris Opèra, conducted by Walter Straram. Ravel first presented Boléro as a concert work with the Lamoreux Orchestra in Paris on January 11, 1930.

Instrumentation: piccolo, 2 flutes, 2 oboes, oboe d’amore, English horn, 3 clarinets, bass clarinet, 2 bassoons, contrabassoon, soprano saxophone, tenor saxophone, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, celesta, cymbals, snare drum, tam tam, harp, and strings.

Estimated duration: 14 minutes

From the snare drum’s opening notes, even before the infamous melody begins, we instantly recognize Boléro. This oddly compelling music has entered popular culture through various media: the 1979 film 10 ; numerous television commercials; the sci-fi television show Dr. Who , and the gold medal-winning performance by ice dancers Jayne Torvill and Christopher Dean at the 1984 Sarajevo Olympics.

Maurice Ravel would not have been surprised by Boléro’s enduring popularity; while he worked on it, the composer commented, “The piece I am working on will be so popular,

Rubenstein’s ballet was successful, but Boléro’s lasting fame came in the concert hall, most notably from a controversial performance conducted by Arturo Toscanini in 1930. Not all listeners were seduced, however. One critic described Boléro as “... the most insolent monstrosity ever perpetrated in the history of music … it is simply the incredible repetition of a single rhythm ... and above it is the blatant recurrence of an overwhelmingly vulgar cabaret tune.”

In response, Ravel wrote a letter in 1931 to the London Daily Telegraph: “It [ Boléro ] is an experiment in a very special and limited direction, and it should not be suspected of aiming at achieving anything different from, or anything more than, it actually does achieve. Before the first performance, I issued a warning to the effect that what I had written was a piece … consisting wholly of orchestral texture without music – of one long, very gradual crescendo ... I have done exactly what I have set out to do, and it is for listeners to take it or leave it.”

In 2012, the award-winning science podcast Radiolab presented an episode titled “Unraveling Bolero,” which suggested that Ravel might have been experiencing early symptoms of frontotemporal dementia (a degenerative brain disease involving the frontal lobe of the brain), as he wrote Boléro . One aspect of this disease manifests as an obsessive need for repetition, which is reflected in Boléro’s complete lack of thematic or rhythmic musical development. Six years after finishing Boléro , Ravel began to forget words and lose short-term memory. By 1935, two years before his death, he could no longer write or speak.

© Elizabeth Schwartz

SATURDAY, JUNE 10, 2023 @ 7:30PM | SUNDAY, JUNE 11, 2023 @ 2:30PM PERFORMED AT WILLSON AUDITORIUM

Sponsored by

DRS. DENNIS & ANNE WENTZ, STEPHEN SCHACHMAN & RITVA PORTER, AND JOANNE & BILLY BERGHOLD

C ONCERT P ROGRAM

N orman H uynh CONDUCTOR S imone P orter VIOLIN

Samuel Barber

CONCERTO FOR VIOLIN AND ORCHESTRA

I. Allegro

II. Andante

III. Presto in moto

INTERMISSION

Gustav Mahler SYMPHONY NO. 1

I. Langsam. Schleppend – Immer sehr gemächlich

II. Kräftig bewegt, doch nicht zu schnell

III. Feierlich und gemessen, ohne zu schleppen

IV. Stürmisch bewegt

Violinist Simone Porter has been recognized as an emerging artist of impassioned energy, interpretive integrity, and vibrant communication. In the past few years she has debuted with the New York Philharmonic, the Philadelphia Orchestra, the Los Angeles Philharmonic; and with a number of renowned conductors, including Stéphane Denève, Gustavo Dudamel, Yannick NézetSéguin, Nicholas McGegan, Ludovic Morlot, and Donald Runnicles. Born in 1996, Simone made her professional solo debut at age 10 with the Seattle Symphony and her international debut with the Royal Philharmonic Orchestra in London at age 13. In March 2015, Simone was named a recipient of an Avery Fisher Career Grant.

Recent highlights include Mendelssohn with New Jersey Symphony, Brahms with Pacific Symphony and an extensive tour throughout the US including concerts with the Santa Rosa, Amarillo, Pasadena, Fairfax and Midland Symphonies; the Rochester, Westchester, Orlando and Great Bay Philharmonics; the Sarasota Orchestra and the Northwest Sinfonietta. With the cessation of live concerts Simone continued to record streamed events with Seattle, Pittsburgh, Charlotte and Greater Bridgeport Symphonies.

At the invitation of Esa-Pekka Salonen, Simone performed his work ‘Lachen verlernt’ (‘Laughing Unlearnt’), at the New York Philharmonic’s “Foreign Bodies,” a multi-sensory

celebration of the work of the composer and conductor. In recent seasons, she has also appeared at the Edinburgh Festival performing Barber under the direction of Stéphane Denève, and at the Mostly Mozart Festival performing Mozart under Louis Langrée. She has also performed with the Los Angeles Philharmonic at the Hollywood Bowl with both Nicholas McGegan and Ludovic Morlot, and at Walt Disney Concert Hall with Gustavo Dudamel.

Internationally, Simone has performed with the Simón Bolívar Symphony Orchestra with Gustavo Dudamel; the Orquestra Sinfônica Brasileira in Rio de Janeiro; the National Symphony Orchestra of Costa Rica; the City Chamber Orchestra of Hong Kong; the Royal Northern Sinfonia; the Milton Keynes City Orchestra in the United Kingdom; and the Opera de Marseilles.

Simone made her Carnegie Zankel Hall debut on the Emmy Award-winning TV show From the Top: Live from Carnegie Hall followed in November 2016 by her debut in Stern Auditorium. In June 2016, her featured performance of music from Schindler’s List with Maestro Gustavo Dudamel and members of the American Youth Symphony was broadcast nationally on the TNT Network as part of the American Film Institute’s Lifetime Achievement Award: A Tribute to John Williams.

NOTES

VIOLIN CONCERTO, OP. 14

Composer: born March 9, 1910, West Chester, PA; died January 23, 1981, New York City

Work composed: 1939, rev. 1948.

World premiere: Eugene Ormandy led the Philadelphia Orchestra, with violinist Albert Spalding, on February 7, 1941. The revised version was first performed by violinist Ruth Posselt, with Serge Koussevitzky leading the Boston Symphony Orchestra, on January 6, 1949.

Instrumentation: solo violin, 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, snare drum, piano and strings.

Estimated duration: 25 minutes

Samuel Barber wrote the Violin Concerto, his first major commission, for Samuel Fels, the inventor of Fels Naptha soap, on behalf Fels’ adopted son, violinist Iso Briselli. Barber began work on the concerto in Switzerland in the summer of 1939, but, due to what he described in a letter as “increasing war anxiety,” Barber left Europe in August and returned home with the final movement still unfinished.

At the end of summer 1939, Barber sent the first two movements to Briselli for comment. Briselli was unimpressed, describing them as “too simple and not brilliant enough for a concerto.” Taking these comments to heart, Barber resolved to write a final movement that would afford “ample opportunity to display the artist’s technical powers.” Briselli found fault with this movement as well, calling it “too lightweight” in comparison with

the other movements. In a letter to Fels, Barber wrote, “[I am] sorry not to have given Iso what he had hoped for, but I could not destroy a movement in which I have complete confidence, out of artistic sincerity to myself. So we decided to abandon the project, with no hard feelings on either side.” Barber later approached violinist Albert Spalding, who immediately agreed to premiere the work. Because of all the controversy generated by the third movement, Barber gave the concerto a humorous nickname, the “concerto del sapone,” or a “soap concerto,” a reference both to Fels Naptha and the melodrama of soap operas.

Reviews praised the concerto as “an exceptional popular success” and Barber for writing a concerto “refreshingly free from arbitrary tricks and musical mannerisms … straightforwardness and sincerity are among its most engaging qualities.” The late annotator Michael Steinberg called the opening of the first movement “magical,” and goes on to ask, “Does any other violin concerto begin with such immediacy and with so sweet and elegant a melody?” Few works, certainly few concertos, draw the listener in so quickly, and keep our attention focused so completely. The Andante semplice features a heartbreakingly beautiful oboe solo – classic Barber in its yearning – and the violinist answers it with an impassioned yet surprisingly intimate melody that suggests the violin musing aloud to itself in an empty room.

The controversial finale, a rondo theme and variations, is particularly impressive. In his program notes for the 1941 premiere, Barber wrote, with characteristic understatement, “The last movement, a perpetual motion, exploits the more brilliant and virtuoso characteristics of the violin.” But as biographer Barbara Heyman points

Barber: yearning melodies, oboe solo in second movement, virtuoso violin passages in third movement

Mahler: dance-like quality of second movement, Frére Jacques melody in third movement, triumphant ending

Barber: Souvenirs for Orchestra; Adagio for Strings

Mahler: Symphonies Nos. 4 and 5

out, “This is one of the few virtually nonstop concerto movements in the violin literature (the solo instrument plays for 110 measures without interruption).”

he later regretted). The Titan Symphony’s overall narrative describes, in Mahler’s words, “a strong, heroic man, his life and sufferings, his battles and defeat at the hands of Fate.”

SYMPHONY NO. 1 IN D MAJOR, “TITAN”

Composer: Born July 7, 1860, Kalischt, [now Kalište, Jihlava in the Czech Republic], Bohemia; died May 18, 1911, Vienna

Work composed: 1884-8, revised 1893-6

World premiere: Mahler conducted the Budapest Philharmonic in Budapest on November 20, 1889

Instrumentation: 4 flutes (three doubling piccolo), 4 oboes (one doubling English horn), 4 clarinets (one doubling bass clarinet), 3 bassoons (one doubling contrabassoon), 7 horns, 5 trumpets, 4 trombones, tuba, 2 sets of timpani, bass drum, cymbals, gong, triangle, harp, and strings.

Estimated duration: 56 minutes

Like many composers, Gustav Mahler was both drawn to and wary of the notion of program music. Mahler wrestled with the idea of linking his musical ideas with non-musical inspirations, fearing that his first symphony would not be as well received as a piece of “absolute” music. At the same time, the attraction of an underlying narrative as a unifying structure held great appeal for Mahler.

The argument for the Symphony No. 1 as program music is strengthened by the fact that much of its musical material was borrowed from other sources. In the first two movements, Mahler used melodies from two of his Songs of a Wayfarer as the basis for elaborate thematic development. In the third movement, he set the folk song “Brother Martin,” better known as “Frère Jacques,” in a somber minor key. In the final movement, Mahler wanders further afield, repurposing material from Liszt’s Dante Symphony and Wagner’s Parsifal. “Composing is like playing with building blocks, where new buildings are created again and again, using the same blocks,” wrote Mahler to a friend. Finally, despite Mahler’s ambivalence about associating his music with a specific program, he did provide one to music critic Ludwig Karpath (something

During the 1880s, as Mahler worked on the Symphony No. 1, he made his living as an opera conductor in various regional theatres. Mahler’s demanding performance schedule left him neither time nor energy to compose his own music during the concert season. During his summer vacations, free from theatrical engagements, Mahler devoted himself to composition. Mahler’s use of previously composed music may have also been a practical choice dictated by his limited composing time.

At the premiere, in Budapest on November 20, 1889, audiences were disturbed by the third movement, with its ghostly reworking of a children’s folksong in the tempo of a funeral march. Mahler indicated this music was full of “biting irony,” in which “all the coarseness, the mirth and the banality of the world are heard in the sound of a Bohemian village band, together with the hero’s terrible cries of pain.” The loutish parody of the band, complete with oom-pahs, mingles with music taken from another of Mahler’s Wayfarer songs, “Die zwei blauen Augen” (Your Two Blue Eyes), which resembles a melody from Jewish liturgy.

In the finale, according to Mahler’s narrative, “the hero is exposed to the most fearful combats and to all the sorrows of the world. He and his triumphant motifs are hit on the head again and again by Destiny…Only when he has triumphed over death, and when all the glorious memories of youth have returned with themes from the first movement, does he get the upper hand, and there is a great victorious chorale!” Destiny intervenes with pounding brasses and timpani, full of Sturm und Drang (storm and stress), but a triumphant brass choir hints at the hero’s ultimate victory, even as he continues to struggle with the forces bent on his destruction. Finally, the chorale bursts forth (some listeners have discerned traces of the Hallelujah Chorus from Handel’s Messiah in it) and concludes the symphony, with the horns standing to play their final triumphant notes.

“It’s the most spontaneous and daringly composed of my works,” said Mahler of his first symphony. “Naively, I imagined that it … would have … immediate appeal … How

C

S eries 06 PROGRAM NOTES

great was my surprise and disappointment when it turned out quite differently. In Budapest, where I first performed it, my friends avoided me afterwards … I went about like a leper and an outlaw.” Both critics and audiences reacted negatively at the premiere, with one critic deriding it as a parody of a symphony. The influential Viennese critic Eduard Hanslick was equally harsh: “The new symphony is the kind of music which for me is not music.” Subsequent performances, even after Mahler made substantial revisions, provoked equally strong reactions. More than ten years after the Titan’s premiere, another critic

described the audience’s reaction: “There were startled faces all around and some hissing was heard.”

Leonard Bernstein did much to promote Mahler’s symphonies, which were largely unknown in the United States, and conducted them all over the world over the course of his long career. Today, the Symphony No. 1 is Mahler’s most popular and most frequently performed work.

© Elizabeth Schwartz

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This is a stage plot of the Bozeman Symphony Orchestra. As you listen, familiarize yourself with the sounds coming from each instrument and notice how we work together to bring the music to life.

The Bozeman Symphony extends its gratitude to David Ross & Risi for generously sponsoring the orchestra during the 2022/23 season.

Trumpets

Aromi Park

Acting Concertmaster

Claudia Albrecht

Jason Baide

Noah Certalic Hyeri Choi

Sarah Church Cherí Ladd LeCain Megan McFadden Jill McJunkin

Natalie Padilla Kaitlin Shaw Anna Jesaitis Principal Nathan Hallauer Kristina Otfinoski Ashleigh Snider Cindy Stone

Ryan Villahermosa Naomi Vliet

Chandra Lind Principal Morgan Araujo Cayley Hunt

Charlie Martin Bärbel Pafford

Julia Slovarp Lisa Woidtke

April Cooper

Tristyn Fleming

Max Johnson

Cortney Peres

W. Scott Stebbins

Samantha Vetter

Roster

Angela Espinosa

Principal Sue Makeever Principal Kerri Brown

Sandy Stimson Principal Kenny Bader Mateo Mendez

Wendy Bickford Principal Gregory Young

Bruce Kenney Nicholas Ober

Principal Sam Macken

Madeleine Folkerts Principal Elizabeth Schmidt Associate Principal Maria D’Ambrosio Michael Sgrecci

Sarah Stoneback Principal Daniel Wood Jerry Makeever Jeannie Little Principal Andrew Carrillo Lisa Stoneham

Donald Kronenberger Principal Jeffrey H. Vick Principal Dana Dominguez Principal Mark Brown Micah Jastram Christopher Naro Kristofer Olsen Stephen Versaevel Laurel Yost Principal

Strings

2022/23 Orchestra Brass Percussion

Woodwinds

String and Percussion sections are seated on a rotating basis

Suzy VanderVos

Section Leader

Karen Abelin

Amy Carlson

Katie Catlett Lila Cebulla Hallie Echols

Choir

Roster

Nicole Rosenleaf Ritter

Section Leader

Sharon Beehler

Janice Benham Laura Bennett McKayla Carlson Becky Catlett Vicki DeBoer Diane Dwyer

Kate Gardner Maria Griffing Beth Hilles

Maggie Kerr Morgan Kirk Dacia Luedtke Julie Nygren

Jeff Abelin

Section Leader Liam Aippersbach Webster Crist

Ashley George Barbara Good

Katherine Hezel Kayte Kaminski Michelina Kazeminjad Christa Merzdorf Nancy Ojala Margie Phillips Luka Samson

Sandy Osborne Hannah Rostocki Megan Sheufelt Tamilla Simpson Faith Suhre

John Derr Jacob Martin Reggie Mead Pedro Angel Pinardo

Kippy Sands

Elly Schwarzkopf Rachel Sigmundstad Ellen Stephenson Carolyn “Rusty” Swingle Sophia Thompson Sara Williams Melinda Yager

Chip Ritter

Section Leader

Michael Beehler

Mike Boyer

Brady Cool Tim Doerges

Riley Evans

Charles Franklin Justin Horak

Mitchell Larsson Jeff Marker Rick Ojala Marcus Pearson James A. Pritchard

Jake Reisig Wesley Rolle John W. Sheppard Matthew S. Sonnichsen

Kurt Prond Jesse Sheppard Quinn Sigler Jonathan Sutton Richard Wilbur Adam Williams Jason Yager

Judith Diana

Why I Give to the Bozeman Symphony

Music has always been a central part of Kippy Sands’ life. She moved to Bozeman in 1976, and not long after, took a position as music teacher at the Emerson School (now the Emerson Center for the Arts & Culture). She retired in 2003, but over those more than 25 years, she saw firsthand the power of music.

“I firmly believe that music education is very important. There are all sorts of studies that show that kids who are involved in music are much more likely to succeed and excel. Music can take the kid who’s the outlier, or who may not be the athlete or the most academically oriented, and help them find their place in the world.”

Like many Bozeman residents, Kippy feels strongly that music — and specifically the Symphony — is crucial for the ongoing cultural health of the Gallatin Valley. Whatever one’s background or beliefs, music can offer a common language and generate shared emotions through a uniquely dynamic medium.

Longtime supporter of the Symphony Bruce Joda r moved to Bozeman from San Francisco more than three decades ago, and at the time assumed the quality of classical music he enjoyed in the Bay Area would probably not be found in the mountains of Montana. But, it turns out, he discovered quite the opposite.

“Unless people have been to major cities and heard worldclass symphonies, I don’t think they can appreciate just how special what we have here in Bozeman really is — it’s extraordinary,” says Jodar. “The level of quality that our musicians produce is just amazing, especially for a community this size. Kimberlie and I are just thrilled with the direction the Bozeman Symphony is going and happy to be able to support what they’re doing.”

While the Bozeman Symphony’s current trajectory is exciting for audience members and supporters alike, Symphony leadership has also been thinking out front, having determined that a plan of action was needed to support a sustainable future that fit the vision.

“We recently launched the Bozeman Symphony Growth Council as a way for local business leaders to invest in Bozeman’s quality of life by championing the performing arts in the Greater Yellowstone community,” describes Ken May , Symphony board member who, along with Director of Development Michael Wainwright, helped create the Growth Council concept.

“We’re in a vibrant commercial community in which we have many entrepreneurs who’ve been successful and are enjoying more success as the economy grows. These forward-thinking employers want inspired, fruitful, happy employees who will stick around and add further value to their companies and to the community. The potential to partner with the business community in that role is a winwin-win, and exactly why we formed the Growth Council.”

Through financial commitment to the Symphony, businesses receive tickets and special opportunities, along with brand recognition in publications and online. But for some businesspeople, council membership is motivated from a more inward-focused perspective.

“In this day and age, jobs are not all about just the paycheck. At the end of the day, I think a lot of people are looking for things to believe in when it comes to their place of employment,” explains Bert Bartle , VP/Regional President of Opportunity Bank, and a Growth Council member.

“We’ve had a couple of employees attend concerts last year who otherwise probably wouldn’t have really considered it, but took advantage of our company tickets and just loved the experience — and now they’ll be going back, with their friends and families. Supporting the arts is part of Opportunity Bank’s culture and who we want to be as an organization.”

Robyn L. Erlenbush , longtime Bozeman resident and owner of ERA Landmark Real Estate, has been a personal supporter of the Symphony over the years, and now she’s brought ERA Landmark to the Growth Council as well.

“The arts are an integral part of our well-being, and Bozeman is very, very lucky to have a vibrant performing arts community that not only draws tourism but also attracts new families along with new commerce to our town,” Erlenbush points out.

“Personally, I’ve always felt that live music feeds the soul and the intellect. And, in a world that is very digitally oriented these days, I still believe that nothing replaces the feeling one gets from live performance.”

Forty-some years after landing in Bozeman, Kippy Sands is excited for what the future of the symphony has in store —

but at the same time, she holds a fondness for the roots on which it’s been built.

“I would hope that, like it is today, the Bozeman Symphony ten or twenty years from now will somewhat be the same — just in the sense that some of the people we see on stage would still be our friends and neighbors. I think it’s a wonderful quality of the Bozeman Symphony that, along with exceptional musicians from all over, we get to enjoy performances by locals who love it here and love making music together.”

Personally, I’ve always felt that live music feeds the soul and the intellect. And, in a world that is very digitally oriented these days, I still believe that nothing replaces the feeling one gets from live performance.”

R obyn L E rlenbush, ERA LANDMARK REAL ESTATE

The Underwriters have committed to annual contributions supporting the remarkable achievements of the highly talented musicians living among us, their selfless dedication, and enriching our entire community through music. Please join in thanking the Underwriters for providing a stable and secure base of funding now and for the future.

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Montana Association of Symphony Orchestras (MASO)

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Beth Kaeding, in honor of the Cello Section Don Kauffman

Kozubal Family

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Dr. Cindy Sharp

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Anonymous

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The Cello Section

Christine Bredberg

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John Heidke, in memory of Barbara Hays Wayne O. & Marilyn R. Hill

Susan Hodapp John & Joyce Kamp Ann Kieffaber

Jack & Barbara Kligerman

Larry & Gail Larson

Jack & Tawnie Lehman

James Martin

Kenneth May & Angela Chenier

Susan McCune & Ron McAdams

Nan Newton & Dave Grusin

Deborah & David Peters

Marilyn & Dennis Raffensperger

Larry Raffety

Chip & Nicole Ritter

John & Kathy Ross

Leslie Spencer & Jim Huffman

Timothy Sullivan

Dan & Beverly Triemstra Kathy VanDyke

Donna West

Peg Wherry

Ralph Williams, in memory of Kris Williams Scott Wolf

Judy Worley Steve & Mary Lourdes Young

Carol & Dave Elliott

Helen Flath

Janet & Jeff Fox Charles & Tani Fritz

Jim Fullan Jim & Bunny Gaffney Carolyn Gilbertson Marilyn & Dan Guggenheim Drewry Hanes

Christine & Henry Happel Edith Harrington

Bob & Jane Hawks

Sarah Helfrich

Bob & Marjorie Hickman

Linda Hodges

Kathleen Hoffman

Katherine Hubbard

Jon & Berkley Hudson Neil & Debra K. Jamieson

Fern Jarmulnek

Stacy & Bob Jovick

Karro Family

Michelina Kazeminejad

Kathryn Kelly

Steve & Colette Kirchhoff Tom & Jill Kirk

Marilyn Kjellen-Rogers

Kristina Klaas

Richard & Marilyn Klein

Angella Ahn Gina Albini Ivan Albrecht Nasim Aleagha Dennis Allen

Allison Family, in honor of Cheri Ladd LeCain Anonymous Dustin Aschenbeck

Shawna Biegel

Barbara Bishop Bozeman Brewing Co. Michael & Lisa Burgard

Patrick & Susan Byorth

Jim Chandler, in honor of Sarah Stoneback Tara Chesley-Preston Rodger Clingman

Brian Close

Joan & Philip Cory

Helena Crawford

Jill Cunningham

Martha Daiello

Tom & Nancy Danaher Sharon Ditterline

Diane L. Donnelly

Douglas Easterling Edge Construction, LLC

Paul & Lynne Elder

Julie Kunen Michael Logan Mary Lutgen Connie & Hugh McFadden James W. & Sandra A. McGrath Jill McJunkin

Caryle Merrill Kirk & Connie Michels

Sylvia & Robb Miller Dick & Val Monroe

Mary Ann Nielsen

Nordic Brew Works, Inc. Persifor S. Oliver

Sandy Osborne Susan Ottsen

Charles Paris

Michelle Paris

Robin Parkinson

Erich Pessl & Patricia Cosgrove Charles & Maureen Poremba

Randall & Debra Rauh

Leslie Reardon & Christopher Crowder

Robert Roush

Hallie Rugheimer

Angela C. Rutherford

Michael Ryan

Rita Ryan

Jeff Sacklin & Mary Hektner

Valerie Samii

Craig & Morwenna Schifter

Lee & Mary Schulz

Evelyn Sheehan

Sherry Sims Beach

Dick & Jennifer Smith

The Spice & Tea Exchange

David & Patti Steinmuller Ellen Stephenson

Tobin Stewart

Jeffrey H. Strickler

Randy & Sally Sullivan, in honor of the Trumpet Section

Carson & Deborah Taylor Markand Thakar

Lisa Trankley

James & Pamela Van Lopik

Abby Turner M. Vinje

Lee Wagner

Michael Wainwright & Dr. Chiachi Hwang

Gail Weingart & Ed Sedivy

Christine & Matt Weinheimer

Lynda Williamson & John Hindman

Libby & Kegan Wise

Robin & Richard Wolcott

Jeff & Lauran Yates

Richard & Janet Young

Michael & Bonnie Zell

Caroline Zimmerman

Carolyn Albrecht

John Allen

Ric Almendinger

Zana Anderson Anonymous

Steve Atkin

John Baden & Ramona Marotz-Baden

Sonja Ervin Bahr

Charles Bailey

Nancy Bailey

Samantha Baker

Anne Banks

John Belshaw

Harry & Janice Benham

Lisa Bennett

Jacob Blaser

Gregory Bodwell

Jason & Barb Bolte

Abigail Bradford

Duane & Jane Bradford

Libby Bradford

Megan & Matt Bradford

Sean Bradford

Stephanie Breen

Sharon Brodie

Donna Bullock

Frank Carter

Cindi Clingner

Ashley Cohen

Patricia & Fred Cornelious

Linda Curtis Curtis Darrah Mindy DeCosse Judith Diana Heather Doerges LeeAnne French Christine Gandel Wren Garverick

Kelsye Gould & Corey Getchell Mike & Gail Hannon Deanna Hanson

Connie Harder & John Luth Howard & Susan Heahlke Howard L. Helfman Roxanne Hoblitt Jeff & Bev Hollander Anna Holstrom Emily Hook Pebbles Hwang Daniel & Joleen Ireland Allie Johnson Debra Juretus

Kayte Kaminski & Adam Johnson Karon Kelly, in honor of Gary Kunis Warren & Diane Knipfer Carol Koepcke Marvin & Kay Lansverk Deborah Lee Phyllis Lewis Judith Locker Lockhorn Hard Cider Karen Lorance Adam Makhluf James Mannning Myriah Marsh Robin Blanc Mascari Merrilyn Mattson Michelle Maurer Megan McFadden Michael McNeil Larry & Rita Merkel

Susan Miller Chris Montano Wendy Morical Roberta Nagan Linda Nallick Bruce Nelson Gerald & LaVonne Nielsen Rick & Nancy Ojala Tina Ovnic Emily & Charlie Martin Colleen Paynich Evelyn Paz Naomi Peterson Linda Pierce Leslie Piercy

Dick & Mary Pohl Kathleen Rabel Charles & Marcia Raches Heidi Reilly Ann Restvedt Christina Reynolds Irene Reynolds Rick Riess Jessica Richards Dario Rodriguez Steinhardt Pamela Ryan

Same Page Capital

Jason P. Schein / Bighorn Basin Paleo. Institute, in honor of Dr. Sharon Eversman Max Schultz Theresa Schuster Nick Shull

Anna Smith Frank Smith Steve Smith Thomas & Donna Smith Haley Solomon Albert & Catherine Spottke Allison Stewart Claudia Streichan Joy Strizich Gretchen Sultzer Mariah Summers Zariah Tolman Florence Van Volkom May Vaughan Karen Vinton Barbara G. Warwood Rosanna Watson Carol Weaver Andria Weber Matthew Wenger Mollie Whisler Sarah White Bob & Phyllis Wiersma Richard Wilbur Heather Williams Sara Williams Kasia Wittie Shana Wold Thyrza Zabriskie

We make every effort to list each of our contributors accurately. If you find errors or omissions, please contact us so that we may correct our future listings. Donations reflect gifts and pledges from July 1, 2021-August 29, 2022.

Driven by your support, the Bozeman Symphony this year celebrates our 55 th season ! Access to vibrant music is a key part of the cultural fabric that makes Southwest Montana a special place to live, work, and play. Led by Music Director Norman Huynh, the Bozeman Symphony is honored to grow and evolve with our community, reaching new demographics, and establishing Bozeman as Montana’s center of artistic excellence.

When you give to the Bozeman Symphony, you elevate, inspire, and enrich our community in numerous ways by investing in exceptional musicians, supporting an expanded concert season, and enabling the Bozeman Symphony to creatively

engage audiences of all ages. Your generous support allows the Bozeman Symphony to share the joy of music with over 15,000 people each year, fosters artistic creativity, builds community collaborations, and inspires young minds through educational engagement.

This season’s vibrant musical journey is only the start of our shared voyage into the Bozeman Symphony’s future: a future marked by creative growth, world-class performances, and new opportunities for the community to experience the wonder of live music in unexpected ways. We hope you will join us on this journey by supporting your Bozeman Symphony this season.

Make a one-time donation or monthly pledge to the Bozeman Symphony today! Ticket sales cover less than 35% of Bozeman Symphony’s annual budget, and we rely on gifts of all sizes to sustain and grow our presence in the community. Donate online at www. bozemansymphony.org/donate, or by calling 406585-9774.

arts destination and Montana’s center of artistic excellence. Participating businesses receive customized acknowledgement and engagement opportunities throughout the concert season.

Underwriters provide sustaining support for Bozeman Symphony’s future through an annual commitment of $1,200 per month. Underwriter benefits include access to our hospitality room at performances with complimentary coat check, beverages, appetizers, invitations to private annual receptions, and more!

Including the Bozeman Symphony in your estate plans is a great way to leave an enduring legacy that ensures our community’s cultural vibrancy in decades to come. Planned gifts may be allocated to the Bozeman Symphony’s Endowment Fund or directed to an area of programming you most cherish. Additional planned gift options, such as IRA rollovers or gifts of tangible assets, ensure the music we treasure today is enjoyed long into the future.

Concert Sponsors bring world-class performances to Bozeman by supporting one or more concerts in the Bozeman Symphony’s season. Concert sponsors commit $5,000 or more to support the orchestra, choir, and guest soloists who make each performance an unforgettable experience. Sponsorship benefits are customizable to meet the unique needs of each individual or business.

We offer a variety of fun volunteer opportunities all year-long. Contact us to become a Symphony volunteer today!

Call the Symphony office at 406-585-9774 or email Michael Wainwright, Director of Development, at michael@bozemansymphony.org

Bozeman Symphony’s Growth Council is composed of business leaders who invest in Bozeman’s quality of life by championing the performing arts in our community. Acting as vital thought partners and community liaisons, Growth Council members make an annual pledge of $10,000 or more, and are dedicated to establishing Bozeman as a national

All gifts receive a tax receipt and are acknowledged in our concert season magazine. Bozeman Symphony is a registered 501(C)3 nonprofit organization. Tax ID #81-6019534.

Jessica Allred

Joni Bailan

Ashley Boar

Roger Breeding

Tina Buckingham Bethany Caball

Connie Cade

Annette Carson

Sara Christensen Kyrie Dawson

Joy Dowell

Sarah Freedwoman Mary Ellen Freeman Jane Gentholts

Hannah Giese

Kendra Gillespie Kayla Gnerer

Ava Graham Mary Jo Gregory Maya Gotzshe Julia Horst

Arleen “Tiny” Hutchinson Amber Ikeman Michelina Kazeminejad

Temia Keel

Amy Kinman

Lynn Kinnaman Teri Knutson

Martin Lawrence Annika Lawrence Phyllis Lewis

Paul Martin

Steve Marty Hayden Meynders Christa Merzdorf Lawrence Robin Morris Christine Nilsson Patrick O’Neil Barbara Phinney Neil Poulsen Pam Poulsen

Christina Reynolds Victoria Ryan Teri Sinopoli Summer Slevin Gonnie Siebel Sarah Sobek Durward Sobek

Judy Sorg Mackenzie Spence Ellen Stephenson

Carolyn “Rusty” Swingle Kristina Matthews Marielle Walker BB Webb David Weinstein Carol Weaver Jen Wendel Suzanne Winchester Jill Zergarski

Ray and Kay Campeau Ben and Barbara Phinney

Karol Pollok Denis and Barabra Prager

Jorie Ready Christina Reynolds David and Kippy Sands Sarah and Durward Sobek Kathy VanDyke

The Bozeman Symphony wishes to thank the following volunteers for their past support, and to new volunteers that join throughout the concert season.

Volunteer with the Bozeman Symphony

Bozeman Symphony volunteers support the activities of the orchestra, symphonic choir, administrative team, and other outreach programs such as Symphony at the Shane Livingston and other special events. A Bozeman Symphony concert season consists of 20-plus events each year that rely on volunteer support for success. The Symphony’s concert performances at Willson Auditorium engage the help

of 30-60 volunteers over the course of a weekend!

It truly takes a “volunteer village” and the Symphony is tremendously grateful to all of you that have volunteered and continue to volunteer. If you would like to become a Bozeman Symphony volunteer, please visit the Bozeman Symphony website here: bozemansymphony.org/volunteer or contact the office at 406-585-9774.

I began volunteering with the Bozeman Symphony about 12 years ago and Neil joined me a few years later. We originally began volunteering simply as a way to watch performances free of charge but very quickly found a wonderful team of volunteers and a dedicated staff that made us want to return season after season. We continue to volunteer with the Bozeman Symphony because of the amazing quality of music it brings to our community and because we feel enriched by our efforts—and because it is so much FUN!!

I started volunteering for the Symphony in 2021 after I attended my first concert and fell in love with the Symphony’s mission and music. I wanted to find a way to help others do the same and it’s a bonus getting to attend each concert they put on. They make it so easy and enjoyable to volunteer and show so much gratitude to their volunteers. It’s always a pleasure to interact with each guest and every month I look forward to the next time I get to help out. I will continue to volunteer for as long as I am in Bozeman.”

406-585-9774

S ummer A. S levin

P am and N eil P oulson