Boulder Philharmonic Winter/Spring 2013-2014, Mar. 22 & Apr. 26

BOULDER PHILHARMONIC ORCHESTRA

MICHAEL BUTTERMAN, MUSIC DIRECTOR

2013-2014 SEASON

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Welcome Dear Friends,

GLEN ROSS

From crisp, open air to abundant wildlife, crystal-clea r streams and dram atic mountain vistas, Colorado’s natura l beauty is breathtaking. It ’s simply impossibl e not to feel deeply a part of nature or to be inspired by the stunning en vironment in and around Boulder. I invite yo u to join us this se ason, as the Boulder Phil explores and celeb rates the inspiration that ou r natural world pr ovides.

We’ll hear impres sions of water (La Mer, The Moldau ), mountains (From the Blue Ridge, Appa lachian Spring), fl ora (Blumine) an Grasslands—think d fauna (Ghosts of “prairie dogs”). W the e’ll also explore th between mankin e essential relatio d and nature (Pas nship toral Symphony, The Tender Land Rusty Air in Caro ). lina and Alongside these “natural” works, we’ll present som Tchaikovsky, Brah e all-time favorites ms, Gershwin, Ba by ch and Bernstein class guest ar tists . We’ll welcome wo like pianists Simon rlde Dinnerstein an violinist Rachel Ba d Inon Barnatan rton Pine, and bl , uegrass mandolin present unique co ist Jeff Midkiff. W llaborations with e’ll also Frequent Flyers® Ballet, CU Unive Aerial Dance, Bo rsity Singers, Bo ulder ulder Internationa Geological Socie l Film Festival, an ty of America, wh d the os e 125th anniversary by the world prem is being celebrate iere of CU compo d ser Jeffrey Nytch “Formations.” ’s Symphony No. 1, All season long, we ’ll be working wi th Boulder Open Parks to provide Space and Mount opportunities for ain you to “go beyond and enjoy guided ” the concer t expe nature hikes, lectu rience res, outdoor perfo exhibitions. rmances and ar t It all adds up to a very “Boulder” se ason for your Bo you will join our ulder Phil. I hope ever-increasing fa that mily of season su themselves priorit bscribers who gu y seating, discount arantee ed prices, and inv events. We look itations to special forward to sharin g with you what remarkable and m promises to be a emorable ar tistic year of experiences.

Enjoy!

Michael Butterm an

Boulder Philharmonic Orchestra 2013-2014 9

BOULDER PHILHARMONIC ORCHESTRA

MICHAEL BUTTERMAN, MUSIC DIRECTOR

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

MUSIC DIRECTOR Michael Butterman ASSOCIATE CONDUCTOR Travis Jürgens OFFICERS Kyle Heckman, President Rodolfo Perez, Vice President

Patricia Butler, Secretary Erma Mantey, Treasurer

BOARD Christopher Brauchli Joan Brett Claire Figel David Fulker Lin Hawkins

Deborah Holland Teresa Myrwang Holum Yoriko Morita Eleanor Poehlmann Lynn Streeter

ADVISORY COUNCIL Barbara Brenton Roberta Brenza Pamela Dennis Kent Hansen Ruth Kahn Ted Manning

Susan Olenwine Joan Ringoen Mary Street Dick Van Pelt Betty Van Zandt Brenda Zellner

ADMINISTRATION Kevin Shuck, Executive Director Shelley Sampson, Patron Services Manager & Artistic Administrator Cynthia Sliker, Development Director Michael Allen, Orchestra Librarian Janet Braccio, Publicity Consultant Holly Hickman, Marketing Consultant

Kim Peoria, Orchestra Manager Glenn Ross, Production Manager Betty Woon, Bookkeeper Sarah Alm, Development Intern Sarah Harrison, Education Intern Carolyn Richardson, Volunteer

DIRECTOR EMERITUS Kim Coupounas China Leonard ORDER OF THE BATON Sydney Anderson Amy Batchelor Barbara Brenton Kurt Burghardt Amy Clark Frank Day Kitty deKieffer Ursula Dickinson Brad Feld Ray Frommer Diane Greenlee Aaron Harber Yvonne Haun Ray Hauser Sharon Hunter Ruth Kahn Bonnie Karlsrud Sandra Karpuk

Dan Sher

To Our Supporters Perhaps you’ve heard the good news — Boulder Phil ticket sales have increased 40% since Michael Butterman joined us as Music Director in 2006! In fact, we performed for a record six sold-out houses in 2013, a clear indication that our community is excited about our programming, including our current season, “Nature & Music.”

No fewer than a dozen collaborations are helping to bring to life this most “Boulder” of seasons, furthering the Phil’s commitment to present programming that reflects and fosters all that makes our community special. To experience one of our more surprising partnerships first-hand, I invite you to join us for one of our guided “musical hikes” with Boulder Open Space and Mountain Parks this spring!

Of course, none of this would be possible without our most important collaborators of all: YOU! It is extremely gratifying to see our number of ticket-buyers continue to grow and our number of subscribers hit yet another high. It is my hope that you might also consider becoming part of an equally important increase in the number of donors to the Phil’s artistic and education programs. Perhaps you would like to sponsor a musician as part of our new “Friends of the Phil” program!

Thank you for your support. See you at Macky... and on the trail!

Kevin Shuck

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

10 Boulder Philharmonic Orchestra 2013-2014

Executive Director

The Boulder Philharmonic program is produced for the Boulder Philharmonic Orchestra by The Publishing House.

Kevin Shuck

Angie Flachman Johnson, Publisher Annette Allen, Art Director and Production Coordinator Sandy Birkey, Graphic Design and Layout Wilbur E. Flachman, President and Founder

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Sponsors SEASON PRESENTING SPONSORS Gordon and Grace Gamm

CONCERT AND PROGRAM SPONSORS

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SPONSORS The Campbell Foundation Fund

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About the Boulder Phil

Under the vision and leadership of Music Director Michael Butterman, the Boulder Philharmonic Orchestra is celebrating its 57th year of providing outstanding orchestral music highlighting the creative talents of our own unique community. The Boulder Phil is a critically acclaimed professional orchestra, presenting performances nine months out of the year and employing a core of 72 of our region’s most highly trained musicians.

Voted “Best Classical Music” multiple times by the readers of Boulder Weekly, the Boulder Phil’s main performance venue is Macky Auditorium on the CU-Boulder campus, a historic concert hall which recently celebrated its 100th anniversary. The Boulder Phil’s Masterworks series—broadcast across the state on Colorado Public Radio—features a dynamic mix of masterpieces and promising new works, highlighting both accomplished and emerging guest artists with a special emphasis on Boulder’s own creative community.

The orchestra’s broad reach in the community includes special events such as the annual co-production of The Nutcracker with the Boulder Ballet and “Café Phil” open rehearsal nights at the Dairy Center for the Arts. The Boulder Phil also works to inspire the next generation of music-lovers through its Discovery Concerts reaching 4th and 5th grade students across multiple counties.

Founded in 1958, the Boulder Phil became a fully professional ensemble under the leadership of Theodore Kuchar, who began his tenure as music director in 1996. Michael Butterman was named music director in 2006, bringing a strong emphasis on education and outreach, as well as a creative approach to programming that includes a focus on collaborations with other local artists. Under his direction, the Boulder Philharmonic Orchestra reflects and fosters all that makes Boulder special—its creativity, spirit, beauty and quest for knowledge. By connecting people to orchestral music, the Boulder Phil strives to be an essential part of our community's cultural fabric.

12 Boulder Philharmonic Orchestra 2013-2014

Michael Butterman, Conductor Making his mark as a model for today’s conductors, Michael Butterman is recognized for his commitment to creative artistry, innovative programming, and to audience and community engagement. He is in his eighth season as Music Director for both the Boulder Philharmonic Orchestra and the Shreveport Symphony Orchestra, and is in his 14th season as Principal Conductor for Education and Outreach for the Rochester Philharmonic Orchestra, the first position of its kind in the United States. He is also the Resident Conductor of the Jacksonville Symphony Orchestra, a post he has held since 2009.

As a guest conductor, Mr. Butterman made his debut with the Cleveland Orchestra in the spring of 2012, and was immediately reengaged for two concerts the following season.

Other recent engagements include appearances with the Detroit Symphony, Houston Symphony, Colorado Symphony, Oregon Symphony, Kansas City Symphony, Hartford Symphony, San Antonio Symphony, Syracuse Symphony, New Mexico Symphony, California Symphony, Louisiana Philharmonic, Spokane Symphony, El Paso Symphony, Santa Fe Symphony, Mobile Symphony, Peoria Symphony, Winston-Salem Symphony, Pensacola Opera and Asheville Lyric Opera. Summer appearances include Tanglewood, the Bravo!

Vail Valley Music Festival in Colorado and the Wintergreen Music Festival in Virginia. In the 13-14 season, he will make his debut with the Charleston Symphony.

Mr. Butterman gained international attention as a diploma laureate in the Prokofiev International Conducting Competition and as a finalist in the prestigious Besançon International Conducting Competition. As the 1999 recipient of the Seiji Ozawa Fellowship, he studied at Tanglewood with Robert Spano, Jorma Panula, and Maestro Ozawa, and shared the podium with Ozawa to lead the season’s opening concert. In 1997, Mr. Butterman was sponsored by UNESCO to lead the National Philharmonic Orchestra of Moldova in a concert of music by great American masters.

From 2000 to 2007, Mr. Butterman held the post of Associate Conductor for the Jacksonville Symphony in Florida. For six seasons, he also served as Music Director of Opera Southwest in Albuquerque, NM. Prior to joining the Jacksonville Symphony, Mr. Butterman was Director of Orchestral Studies at the LSU School of Music for five years, and was Principal Conductor of the LSU Opera Theater. Previously, he held the post of Associate Conductor of the Columbus Pro Musica Orchestra, and served as Music Director of the Chamber Opera, Studio Opera, and Opera Workshop at the Indiana University School of Music. For two seasons, he was also the Associate Music Director of the Ohio Light Opera, conducting over 35 performances each summer.

At Indiana University, Mr. Butterman conducted a highly acclaimed production of Leonard Bernstein’s little-known 1600 Pennsylvania Avenue in a series of performances at the Kennedy Center in Washington, DC, receiving unanimous praise from such publications as The New York Times, Washington Post, Variety, and USA Today. He was subsequently invited to New York at the request of the Bernstein estate to prepare a performance of a revised version of the work.

Michael Butterman’s work has been featured in five nationwide broadcasts on public radio's Performance Today, and can be heard on two CDs recorded for the Newport Classics label and on a new disc in which he conducts the Rochester Philharmonic and collaborates with actor John Lithgow. www.MichaelButterman.com

Boulder Philharmonic Orchestra 2013-2014 13

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The Boulder Philharmonic believes that live orchestral music is for everyone and is committed to providing a wide array of opportunities for people throughout our community to encounter the life-enriching power of classical music.

GLENN ROSS

Educational Outreach

The Boulder Phil performs for 4th and 5th grade students each year in Macky Auditorium.

• Discovery Concerts introduce 4th and 5th graders throughout the Boulder Valley School District and beyond to live symphonic music. Using a tailored Curriculum Guide that complements their core music curriculum, educators prepare students for the 50-minute interactive performance at Macky Auditorium – an experience that many students describe as “the best field trip of the year!” To sign up your school for the next Discovery Concert at Macky on April 24, 2014, contact Sarah at sharrison@boulderphil.org.

• “Michael Butterman Goes to School” Visits are a key part of the Phil’s Discovery Concert program, as our Music Director visits classrooms to introduce students to musical concepts, instrument families, music appreciation skills, and more.

• Side-by-Side Youth Concerts feature talented young musicians from Greater Boulder Youth Orchestras and Front Range Youth Symphony alongside professional musicians from the Boulder Phil, who provide valuable mentorship to these students as they rehearse and perform together.

• Young Artist Concerto Competition is open to all young musicians in Colorado, who compete for an opportunity to perform as a soloist with the Phil.

• $5 Student Tickets to every Masterworks concert make attendance easy for young people, up to and including college students! Phone or walk-up sales only.

Your financial gift or volunteer work in support of our education programs is critical to our success in enriching our community through music. For more information on becoming involved, please contact Kevin Shuck at 303-449-1343, ext. 3.

Boulder Philharmonic Orchestra 2013-2014 15

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Program BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Simone Dinnerstein, piano Saturday, March 22, 2014 Macky Auditorium, CU Boulder 6:30 pm Pre-Concert Talk 7:30 pm Performance Monday, March 24, 2014 Vilar Center for the Performing Arts, Beaver Creek 6:30 pm Performance Dedicated to David Burge, Music Director of the Boulder Philharmonic Orchestra (1965-1972)

Steve Heitzeg (b. 1959)

"Ghosts of the Grasslands" From Symphony to the Prairie Farm

Philip Lasser The Circle and the Child: Piano Concerto (b. 1963) I. Poco Allegro II. In a cold, steady tempo III. Poco Allegro - Moderato

- Intermission Claude Debussy La mer (1862 – 1918) I. De l’aube à midi sur la mer (From dawn to noon on the sea) II. Jeux de vagues (Play of the waves) III. Dialogue du vent et de la mer (Dialogue of the wind and the sea) George Gershwin (1898 – 1937)

Rhapsody in Blue

Simone Dinnerstein will be signing CDs in the lobby after the concert.

Millennium Harvest House is the exclusive hotel for Boulder Philharmonic guest artists Program and artists subject to change. Use of electronic devices prohibited.

Boulder Philharmonic Orchestra 2013-2014 Program 1

LISA MARIE MAZZUCCO

Program SIMONE DINNERSTEIN, PIANO American pianist Simone Dinnerstein is a searching and inventive artist who is motivated by a desire to find the musical core of every work she approaches.

The Independent praises the “majestic originality of her vision” and NPR reports, “She compels the listener to follow her in a journey of discovery filled with unscheduled detours... She’s actively listening to every note she plays, and the result is a wonderfully expressive interpretation.”

The New York-based pianist gained an international following because of the remarkable success of her recording of Bach’s Goldberg Variations, which she raised the funds to record. Released in 2007 on Telarc, it ranked No. 1 on the US Billboard Classical Chart in its first week of sales and was named to many “Best of 2007” lists including those of The New York Times, The Los Angeles Times, and The New Yorker.

The albums Ms. Dinnerstein has released since then — The Berlin Concert (Telarc), Bach: A Strange Beauty (Sony), and Something Almost Being Said (Sony) — have also topped the classical charts, with Bach: A Strange Beauty making the Billboard Top 200, which compiles the entire music industry’s sales of albums in all genres. Ms. Dinnerstein was the bestselling instrumentalist of 2011 on the U.S. Billboard Classical Chart and was included in NPR’s 2011 100 Favorite Songs from all genres.

In spring 2013, Simone Dinnerstein and singer-songwriter Tift Merritt released an album together on Sony called Night, a unique collaboration uniting classical, folk, and rock worlds, exploring common terrain and uncovering new musical landscapes. Other recent highlights include Ms. Dinnerstein’s debuts in Sydney and Melbourne, Australia; her debuts in Leipzig at the Gewandhaus; the world premiere of Nico Muhly’s You Can’t Get There From Here at Symphony Hall in Boston; and her third return engagement at the Berlin Philharmonie.

Dedicated to her community, in 2009 Ms. Dinnerstein founded Neighborhood Classics,

a concert series open to the public hosted by New York City public schools. The series features musicians Ms. Dinnerstein has met throughout her career, and raises funds for the schools. The musicians performing donate their time and talent to the program.

Neighborhood Classics began at PS 321, the Brooklyn public elementary school that her son attended and where her husband teaches fourth grade. In addition, Ms. Dinnerstein has staged two all-school happenings at PS 321 — a Bach Invasion and a Renaissance Revolution — which immersed the school in music, with dozens of musicians performing in all of the school’s classrooms throughout the day.

Ms. Dinnerstein is a graduate of The Juilliard School where she was a student of Peter Serkin.

She was a winner of the Astral Artist National Auditions, and has received the National Museum of Women in the Arts Award and the Classical Recording Foundation Award. She also studied with Solomon Mikowsky at the Manhattan School of Music and in London with Maria Curcio. For more information, visit www. simonedinnerstein.com.

STEVE HEITZEG, COMPOSER Emmy Award-winning composer Steve Heitzeg is recognized for his orchestral, choral and chamber music written in celebration of the natural world, with evocative and lyrical scores frequently including naturally-found instruments such as stones, manatee and beluga whale bones, sea shells, and driftwood.

Addressing social and environmental justice issues, Heitzeg’s music includes Nobel Symphony, Voice of the Everglades, Wounded Fields, Aqua (Homage to Jacques Cousteau), Earthshaker, I Pray to the Birds, Peace Cranes, Wild Songs, and World Piece.

In 2008 the Daedalus Quartet premiered his Song Without Borders at the United Nations in New York City. Other recent works include Civil Rights Movements for solo piano and toy piano, 13 Variations on Nonviolence for solo piano, To A Better Place (text: Barack Obama) for chorus and piano, VOTE (Fanfares for Democracy) for solo trumpet, and SING (to change the world) for the 2013 ACDA Children’s Honor Choir. www.steveheitzeg. com

Program 2 Boulder Philharmonic Orchestra 2013-2014

Program PHILIP LASSER, COMPOSER Philip Lasser’s music blends the subtle colors of French Impressionism with the crisp, direct sounds and rhythms of America’s musical palette. Standing apart from modernist trends and experiments, Lasser has devoted himself to the refinement of personal expression through economy of gesture and colorful harmony.

Named 2012-2013 Composer of the Year by the Classical Recording Foundation, Philip Lasser’s works are being performed by orchestras, soloists and chamber ensembles around the world. Distinguished member of the faculty of The Juilliard School since 1994, Lasser also directs the European American Musical Alliance Summer Music Programs in Paris.

Lasser’s recent book, The Spiraling Tapestry: An inquiry into the Contrapuntal Fabric of Music, offers a pioneering view on Bach’s compositional world. More information on Lasser is available at www.philiplasser.com

PROGRAM NOTES STEVE HEITZEG (b. 1959) “Ghosts of the Grasslands” from Symphony to the Prairie Farm Heitzeg grew up on his family’s dairy farm (Breezy Hill Farm) in south central Minnesota near Kiester, just on the border with Iowa.

This work is his tribute to a vanishing way of life – the family farm on the prairie. With fewer than one million farms left in the United States, Heitzeg “felt compelled to compose a work honoring the farm.” The score is dedicated to Breezy Hill Farm, to the Des Moines Symphony and its music director Joseph Giunta.

Following is the composer’s description of the movement, Ghosts of the Grasslands: This movement portrays the prairie in winter, and is a sonic reference to the tragedies of the prairie, including the Native American genocide and ecocide. The tension between homesteader and indigenous people, as well as the melancholy of the prairie, is evoked through soaring string lines, acoustic guitar and percussion sounds involving gourd rattles, native prairie grass bundles, powwow-style

bass drum effects, lone whistling and clattering buffalo bones. At the close of this movement, each percussionist plays squeaky toys to create prairie dog barks – a symbolic protest against the systematic destruction of the prairie dog.

I feel fortunate to have grown up on a dairy farm and to have been among the grace and beauty of the land. As the Iowa poet Michael Carey so poignantly writes in his poem “Amen:” And the field itself, no matter how we abuse it, it loves us and feeds us, and asks us to return.

PHILIP LASSER (b. 1963) The Circle and the Child – Concerto for Piano and Orchestra Cast in three movements, my concerto The Circle and the Child speaks of memory, inner voyage and closeness.

The circle is a powerful metaphor for life.

For me, music, like life, travels on a circle of time from a beginning, back to the beginning, through memory. My concerto travels along such paths, revisiting memories colored by the experience of living. Hence, the image of the child who represents the repeating cycles of life, that ceaseless circle from life to life.”

At the core of my concerto is a chorale by Bach Ihr Gestirn,’ Ihr hohlen Lüfte (You stars in heaven, you vaulted sky). It is a rare example of a chorale unaffiliated to a Cantata. Bach weaves a profound harmonization through its small frame. Like an exquisite perfume, his chorale emanates from every passage of my Concerto. One hears the chorale as an intimate confession from the piano dialoguing with itself and its orchestral double through the fears and loves of a child.

The concerto begins with a simple 5-note C-major scale and takes this motive into domains strange and far. This scale, found deep in the Bach chorale, morphs and bends throughout the entire concerto and acts in a sense like a ruler, measuring how far we have travelled from our point of origin.

The relationship between the orchestra and the piano is rather unusual for a concerto.

Rather than having distinct parts as in a play, the orchestra and piano share the same role and travel together through the same soundscape. I

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Program feel the orchestra serves as a holograph for the piano. Like in a holograph, the orchestra casts a three dimensional world around the piano, refracting and coloring the piano voices and inner lines.

The composer also shared the following regarding his collaboration with soloist Simone Dinnerstein: Working with Simone is like entering onto a musical journey which takes me beyond the beauty of the notes to a place where sound is color and music is pure poetry. Writing the concerto for her made me discover how far my own musical utterance can go when in the hands of a musical sybil like Simone.

CLAUDE DEBUSSY (1862 – 1918) La mer (The Sea) In the late nineteenth century, the music of Richard Wagner was generally regarded as the newest and most progressive in Europe. In Vienna, Paris, and a few other cities, a younger generation of composers began to write in reaction to Wagner’s music — some following his model, and others rejecting it and producing newer styles. One of the newer fashions in music was that of Impressionism, which presents a dream-like atmosphere, loose flowing rhythms, diffuse textures, and mysterious tone colors.

The first composer to gain prominence writing in this style was Claude Debussy.

However, he should not be grouped solely with the Impressionists. Debussy had a varied career, beginning with his admission to the Paris Conservatoire at the age of ten, in lieu of ordinary school. In the early years, Debussy lived in Paris with little money and almost no critical notice. The Prelude to the Afternoon of a Faun, the piece in which Debussy introduced his mature impressionistic style, would achieve slight success in 1894.

Debussy’s largest work, the opera Pelléas et Mélisande, began when he befriended the play’s author, Maurice Maeterlinck. In 1902 the work was premiered and Debussy was finally granted the popularity he deserved. However, critics simply could not be convinced that Debussy’s impressionism held real musical merits.

With fame came adjustments, among them Debussy’s 1904 abandonment of his wife, Lilly,

for his married mistress, Emma Bardac. The two eventually married in 1908, but many friendships were destroyed as casualties of the scandalous affair. Scholars believe that the turmoil is chronicled in Debussy’s La mer. On the surface, this three-movement aquatic monument is a portrait of the undulation and mystery of the ocean. However, the tumultuous underpinning likely reflects some of the emotional unrest of marital strife. When La mer was first heard in 1905 the critics were less than complimentary.

The critics likely saw this as an opportunity to punish Debussy for his marital indiscretions.

To modern ears, La mer is a brilliant portrait of the ocean, complete with its many nuances – the breaking of waves, the sparkle of sunlight on the surface, and the unfathomable and mysterious power of the depths – all portrayed through impeccable orchestration. The first movement, evocatively entitled “De l’aube à midi sur la mer” (“From Dawn to Noon on the Sea”), uses short motives that eventually combine in an ingenious manner to reveal a sun-drenched ocean in its full glory. Near the end of this movement, a majestic brass chorale brings to mind the swell of the sea, surging in its natural ebb and flow, before receding to a restrained, yet powerful, pianissimo ending.

“Jeux de vagues” (“Play of the Waves”) acts as the scherzo for La mer. Emphasis is placed upon the fluid motion of the waves as they crash upon the shore and fragment into innumerable droplets. Swirling textures prevail with prominent roles for the harp and xylophone.

In “Dialogue du vent et de la mer” (“Dialogue of the Wind and the Sea”) Debussy conjures the stormy majesty and power of the ocean. It is here that he uses musical techniques that he heard played by an Indonesian Gamelan, consisting of drums and metallic percussion instruments, at the Paris World Exposition of 1889. Much gamelan music is composed using a colotomic structure, in which instruments producing the lower pitches play notes of longer duration, while the highest instruments play a flurry of many short notes. Debussy found this to be an especially effective device when writing about the sea. In the last few minutes of La mer, the music rises in volume and intensity to provide a glorious climax seldom heard in Impressionistic music. ©2014 Craig Doolin

Program 4 Boulder Philharmonic Orchestra 2013-2014

Program GEORGE GERSHWIN (1898 – 1937) Rhapsody in Blue George Gershwin was a first generation American of Russian-Jewish parents. By his late teens, he had learned the piano and became a “song-plugger’ in New York’s Tin Pan Alley – the area where the popular music publishing trade was centered. Gershwin would sit at the piano in the Remick showroom playing the latest sheet music for customers. From this experience, he became keenly aware of popular musical styles and began to compose his own songs, often with his younger brother, Ira, as lyricist. Over the course of only eight years, the Gershwins became established as the leading creative team on Broadway.

It was this background that George Gershwin brought with him when he decided to write works for the concert hall, beginning with a grand experiment in 1924 that brought the world the Rhapsody in Blue as a work in the jazz idiom that changed the course of American music. Scholars often equate its impact to that of Stravinsky’s Rite of Spring eleven years earlier.

Gershwin showed that many popular musicians are talented in many ways – in response to the accusation that has been hurled by an elitist musical establishment since vernacular music was first marketed in this country in the eighteenth century. The Rhapsody is refined and structured, and pays allegiance more to the piano showpieces of Liszt and Tchaikovsky than to more popular forms, such as Joplin’s ragtime and W. C. Handy’s blues.

The popular story behind the composition of the Rhapsody is that the famous bandleader Paul Whiteman approached Gershwin about composing a jazz-flavored work for the composer to play with Whiteman’s band.

The bandleader believed that jazz music had made great progress since its beginnings and wanted to show that its influence was a positive addition to America’s multi-hued musical palette. Gershwin agreed, but became too busy to act on the idea and eventually forgot the conversation. When Whiteman discovered that a rival bandleader was planning a concert featuring symphonic works in the jazz idiom, he booked his band in New York’s Aeolian Hall and planned a similar concert of his own – at an earlier date. Most versions of the story have Gershwin hearing of the upcoming premiere

from a newspaper advertisement before he had written a single note of the work. In a letter to a friend a few years later, Gershwin details a much more plausible version: “I was summoned to Boston for the promotion of Sweet Little Devil. I had already done some work on the rhapsody. It was on that train, with its steely rhythms, its rattlety bang that is so often stimulating to a composer – I frequently hear music in the very heart of noise – I suddenly heard – and even saw on paper – the complete construction of the rhapsody, from beginning to end. No new themes came to me, but I worked on the thematic material already in my mind, and tried to conceive of the composition as a whole.

I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our national pep, of our blues, our metropolitan madness.

By the time I reached Boston, I had a definite plot of the piece, as distinguished from its actual substance.”

The premiere on February 12, 1924, was one of the most anticipated events of the New York concert season. Attendees included dignitaries from a cross-section of the music industry – from Broadway, Fred and Adele Astaire; from the classical field, violinists Fritz Kreisler and Jascha Heifetz, conductor Leopold Stokowski, composers Leopold Godowsky, Igor Stravinsky, and Sergei Rachmaninoff; and bandmaster John Philip Sousa. Billed as “An Experiment in Modern Music,” the concert featured nearly two dozen works and lasted about three hours.

Rhapsody in Blue was the next-to-last work on the program, representing a culmination of influences and serving as the musical focus.

Rhapsody in Blue opens with one of the most familiar moments in music – a sultry slide of over two octaves played by a lone clarinet.

Although Gershwin wrote this as a seventeennote scale, the clarinetist of the Whiteman band, Ross Gorman, played it as the now-famous slide. Gershwin liked Gorman’s interpretation and changed his score. The remainder of the work is segmented into many sections constructed from five major themes, most of which feature the piano in a tour-de-force of popular and romantic techniques. A difficult cadenza, improvised by Gershwin at the premiere from a blank page in his piano part, lies at the heart of the work. ©2014 Craig Doolin

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Program BOULDER PHIL ANNOUNCES CHARLES WETHERBEE AS CONCERTMASTER Charles (Chas) Wetherbee is a faculty member at the University of ColoradoBoulder and first violinist of the Carpe Diem String Quartet. For sixteen years he served as concertmaster of the Columbus (Ohio) Symphony Orchestra, and began his orchestral career at the National Symphony Orchestra.

Wetherbee is a graduate of the Curtis Institute of Music in Philadelphia.

“Chas is not only a first-rate violinist, but also a tremendously experienced orchestral musician, and the combination of artistry and ensemble expertise that he brings will have an enormous and positive impact on the Boulder Phil's performance quality. We look forward to sharing a bright future together,” said Music Director Michael Butterman.

NATURE & MUSIC A Year-Long Collaboration with Open Space & Mountain Parks!

Symphony in Stone Sat., April 12, 12:30–3:30 pm (rescheduled) The Boulder Phil opened our current season with the world premiere of Jeffrey Nytch’s First Symphony, “Formations,” which draws inspiration from Colorado’s fascinating geology. Visit some of those rock formations in the company of both naturalist Dave Sutherland and the composer, while listening to musical excerpts. Meet at NCAR at the Walter Orr Roberts trailhead.

Ribbons of Life Sat., April 19, 9:30–11:30 am Fri., April 25, 6–8 pm On April 26, the Boulder Phil will perform two works inspired by brooks and rivers: The Moldau by Smetana, and the Pastoral Symphony by Beethoven. Enjoy an easy walk along one of our local creeks to enjoy its gentle sounds, along with musical excerpts. Meet at the Bobolink Trailhead on Baseline Road near Cherryvale Road. For more info, visit www.naturehikes.org.

DAVID BURGE (1930 – 2013) David Burge served as Music Director of the Boulder Philharmonic Orchestra from 19651972. Our March 22 concert, featuring his loves of both piano and contemporary music, is dedicated to his memory. Following is an excerpt from his obituary in The New York Times: David Burge was an American pianist and composer known as an indefatigable champion of 20th-century music. A longtime faculty member of the Eastman School of Music in Rochester, Mr. Burge performed from the 1950s onward on some of the world’s most renowned concert stages. From his earliest appearances, his recital programs — novel, ambitious and technically rigorous — consisted almost entirely of contemporary works.

Mr. Burge was most closely associated with the work of Mr. Crumb, a longtime friend who wrote several compositions for him. Among them were Makrokosmos, Vol. I, a set of 12 fantasy pieces for amplified piano, composed in 1972 and dedicated to Mr. Burge, who gave the work its New York premiere the next year.

Writing in The New York Times in 1961, Allen Hughes reviewed Mr. Burge’s New York debut, in a program that included music

by Bartok, Schoenberg, Ben Weber and Luigi Dallapiccola: “A recital to shame the army of pianists who play and replay the same safe pieces year in and year out was given in Carnegie Recital Hall late yesterday afternoon by David Burge,” Mr. Hughes wrote. He added, “The persuasiveness of his programming and playing was notable, and he certainly deserves a medal of some sort.”

David Russell Burge was born on March 25, 1930, in Evanston, Ill. He earned bachelor’s and master’s degrees in music from Northwestern University and afterward served with the Army during the Korean War. After earning a Doctor of Musical Arts degree and an artist’s diploma from Eastman in 1956, he studied as a Fulbright fellow at the Cherubini Conservatory of Music in Florence, Italy.

Mr. Burge was a professor of piano at several colleges and universities, notably the University of Colorado, where he taught from 1962 until he joined the Eastman faculty in 1975. He is survived by his wife, the former Evon Banning, and by his son, Rusty, who teaches percussion at Cincinnati Conservatory.

Program 6 Boulder Philharmonic Orchestra 2013-2014

Boulder Philharmonic Orchestra We thank our inaugural “Friends of the Phil” musician sponsors, as of March 1. For more information on sponsoring one of the Boulder Phil’s professional musicians, please see page 39.

VIOLIN 1 Charles Wetherbee,  concertmaster, Lafayette Annamaria Karacson, assistant concertmaster, Boulder Virginia Newton Désirée Cedeño-Suárez, Arvada Pamela Walker Debra Holland, Boulder Brenda Zellner Gyongyver Petheo, Highlands Ranch Todd & Gretchen Sliker Veronica Pigeon, Golden Takanori Sugishita, Boulder Harold & Joan Leinbach Malva Tarasewicz, Boulder Yenlik Bodaubay Weiss, Glendale, CA Sarah Wood, Boulder VIOLIN 2 Leah Mohling,* Louisville Robert & Marilyn Mohling Natasha Colkett,**  Denver Robert & Francine Myers Sarah Delevoryas, Broomfield Kristen Wolf Regan Kane, Boulder Sue Levine, Boulder Miriam Linschoten, Boulder Robyn Sosa, Denver Paul Trapkus, Longmont Azaduhi A. Vieira, Colorado Springs Lori Wolf Walker, Louisville VIOLA Mary Harrison,* Wheatridge Patricia Butler Michael Brook,**  Superior Aniel Cabán, Boulder Matthew Diekman,  Denver Megan Edrington,+ Lafayette Claire Figel, Boulder Teresa Myrwang Holum Nancy McNeill, Lafayette Stephanie Mientka,  New York, NY

CELLO Charles Lee,* Boulder Joan Knapp Marcelo Sanches, assistant* Boulder Anne Wenzel Georgia Blum, Boulder Anne Brennand, Boulder Joan Cleland Sara Fierer, Denver Yoriko Morita, Louisville Chris & Margot Brauchli Greta Parks,  Boulder Shirley Stephens-Mock, Golden Eleanor Wells, Boulder Martha & George Oetzel BASS David Crowe,* Boulder Nyla & William Witmore Brian Knott,** Louisville Brock Chambers, Denver Dale Day, Boulder Larry Day & Catherine Haskins Bob Orecchio, Westminster Matthew Pennington,+ Lafayette HARP Kathleen Wychulis,* Omaha, NE PIANO Arthur Olsen,* Boulder TIMPANI Douglas William Walter,* Louisville PERCUSSION Hiroko Okada Hellyer,* Centennial Virginia Jones Paul Mullikin,** Lakewood Mike Tetreault, Denver Annyce Mayer FLUTE/PICCOLO Elizabeth Sadilek,*  Edwards Pamela Dennis Olga Shylayeva, Lafayette Paul Weber

OBOE/ENGLISH HORN Sarah Bierhaus,* Golden Tenly Williams, Denver Max Soto, Denver CLARINET/BASS CLARINET Stephanie Zelnick,*+ Lawrence, KS Rodolfo & Margaret Perez Bronwyn Fraser, Longmont Michelle Orman, Denver BASSOON/ CONTRABASSOON Charles Hansen,* Greeley Joan Ringoen Kim Peoria, Louisville Wendy La Touche, Boulder HORN Michael Yopp,* Colorado Springs Jeffrey Rubin, Longmont Alan & Tessa Davis Devon Park, associate principal, Broomfield Stuart R. Mock, Golden DeAunn Davis, assistant & utility, Salt Lake City, UT TRUMPET Brian Brown,* Fort Collins David Fulker & Nicky Wolman Kenneth Aikin,+ Boulder Roberta Asmus Goodall, Centennial TROMBONE Bron Wright,*+ Colorado Springs Owen Homayoun,  Austin, TX Jeremy Van Hoy,  Colorado Springs TUBA Michael Allen,* Arvada * Principal ** Assistant Principal + On Leave  Welcome to our New Members!  Congratulations to Newly Promoted Members!

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Program BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Jeff Midkiff, mandolin Saturday, April 26, 2014 Macky Auditorium, CU Boulder 6:30 pm Pre-Concert Talk 7:30 pm Performance Bedřich Smetana (1824 – 1884)

The Moldau

Jeff Midkiff Mandolin Concerto, From the Blue Ridge (b. 1963) I. Allegro II. Andante III. Allegro — Intermission — Ludwig van Beethoven Symphony No. 6, op 68, in F major, Pastoral (1770 – 1827) I. Allegro ma non troppo (Awakening of cheerful feelings on arriving in the country) II. Andante molto mosso (Scene at the Brook) III. Allegro (Merry Gathering of Country Folk) IV. Allegro (Thunderstorm) V. Allegretto (Shepherd’s Song, Happy and Thankful Feelings after the Storm) Season subscribers are invited to a post-concert reception at the Dushanbe Teahouse, sponsored by Kent Hansen / Rocky Mountain Wealth Management This concert is sponsored in part by Albert and Rebecca Bates

Millennium Harvest House is the exclusive hotel for Boulder Philharmonic guest artists Program and artists subject to change. Use of electronic devices prohibited.

BOULDER’S BOUTIQUE RETIREMENT COMMUNITY

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Program JEFF MIDKIFF, COMPOSER AND MANDOLINIST A mandolinist and fiddler raised on bluegrass and a professional clarinetist, Jeff Midkiff is an outstanding musician who feels comfortable in more than one setting— musically and personally.

“I feel at home in the Blue Ridge Mountains playing fiddle tunes,” Jeff Midkiff says, “but then again, I feel at home in a professional orchestra as well.”

Jeff grew up where bluegrass and traditional string band music thrived. Given his first mandolin at the age of 7 by a neighbor, he moved quickly into the world of fiddlers’ conventions and contests, winning his first mandolin competition before reaching his teens.

As he grew older, he added the fiddle to his instrumental arsenal and joined the New Grass Revue—yet at the same time, he took up the clarinet and began to perform with his high school’s symphonic band.

In 1981 Midkiff began studies at Virginia Tech, eventually earning a degree in music education and performance. Yet even as he was immersing himself in the classical repertoire, he continued to gain attention as a mandolin and fiddle player with the McPeak Brothers, a widely respected bluegrass group with whom he made his first serious recording in 1982.

In 1983 he joined the Lonesome River Band, which would eventually become one of bluegrass’s most acclaimed groups. For the next five years, as he completed his education and started working as a music instructor, he performed with the LRB, recording two albums with the group. Shortly after that, he enrolled in graduate school at Northern Illinois University, earning his Master’s degree in clarinet—but though the move meant leaving the LRB, he continued to perform with an Illinois bluegrass band, Bluegrass Express.

During the 1990s, Jeff lived in Florida and performed clarinet with the Naples Philharmonic and later moved to the northern Virginia area to be an orchestra director in the Fairfax County schools. “I went a good five years without opening my mandolin case,”

he notes, “and as a full-time teacher, I wasn’t playing much clarinet, either.” An appearance with the Annapolis Chamber Orchestra at Carnegie Hall reawakened his passion for the latter, and in 1995 he moved to the Chicago area to revive his performance career — on the clarinet only, he thought, but ultimately on the mandolin and fiddle, too. Busy as a clarinetist with area ensembles and as a youth orchestra conductor and educator, he was drafted in 1998

by The Schankman Twins, a California-based bluegrass duo now signed to Rounder Records.

He was writing a lot, too. “All of the sudden I was getting these ideas for tunes, and as soon as I started getting creative, I thought, I need to start recording.” He has appeared several times with the Milwaukee Symphony Orchestra on mandolin, and likewise in the Roanoke Symphony Orchestra’s clarinet section since 1980. In 2006, Jeff moved back to his hometown of Roanoke, Virginia. Jeff is an orchestra director in the Roanoke City Schools.

PROGRAM NOTES BEDŘICH SMETANA (1824 – 1884) Vltava (The Moldau) from Má Vlast (My Fatherland) The subject of composers who produced memorable music despite physical challenges always begins with one name – Beethoven.

True, his deafness gradually robbed him of the sense that composers use most. Bach and Handel were both blind in their final years, undergoing unsuccessful (and no doubt excruciating) surgery at the hands of the same doctor. However, the name of Bedřich Smetana is unjustly excluded from this unique group of composers.

Smetana was one of the foremost Nationalist composers to come from Bohemia. True to his homeland, he took up arms against the invading Austrian army in 1848, at the age of twenty-four. Because of this, he found that his music became even more Nationalist in nature, celebrating the folk songs and dances of his homeland. Unfortunately, Bohemia’s loss to the Austrians led to a severe lack of support for Smetana’s music. Fleeing the oppressive atmosphere, he settled for six years in Sweden,

Boulder Philharmonic Orchestra 2013-2014 Program 9

Program all the while composing new Bohemian works.

In 1862, he was able to return to Bohemia and its now active Nationalist arts community.

Settling in Prague, he became a vital part of the city’s musical life, accepting the position of Conductor of the National Theater in 1866.

It was there that he premiered his opera, The Bartered Bride. Smetana was forty-two and recognized as Bohemia’s leading composer. For eight more years, he remained active in every aspect of Prague’s musical community. In 1874, at the age of fifty, Smetana noticed a ringing in his ears – an alarm of impending deafness.

Due to syphilis, the progress was rapid, leaving him in a world of silence in a very short time.

After a series of futile and painfully frustrating electric shock treatments, Smetana was forced to grapple with his condition as a permanent disability. In 1883, he suffered a debilitating nervous breakdown, entering an institution the next year. He never left the asylum, and died a month later.

Despite the tragic consequences of his illness, Smetana continued to compose after deafness took hold.

His six separate tone poems collectively entitled Má Vlast (My Fatherland), of which The Moldau is most popular, date from this period, as does the String Quartet in E Minor.

Má Vlast covers the salient points of Czech history and culture. Picturesque and descriptive details, far too numerous to list, are depicted in the music – from the joining of two rivulets to form the mighty Moldau River in Vltava, to the quotation of an ancient Hussite chorale in Tabor.

Smetana provided the following description, which is the best introduction to the piece.

Vltava (The Moldau) – “The river springs from two sources, splashing merrily over the rocks and glistening in the sunshine. As it broadens, the banks re-echo with the sound of the hunting-horns and country dances – moonlight – gathering of the nymphs. See now the Rapids of St. John, on whose rocks the foaming waves are dashed in spray. Again, the stream broadens towards Prague, where it is welcomed by the old and venerable Vyšehrad [the famous Czech castle fortress].” ©2014 Craig Doolin

JEFF MIDKIFF (b. 1963) Mandolin Concerto, From the Blue Ridge My love for playing the mandolin, and a lifetime of doing so, began to take on new meaning and motivation just a few years ago.

After decades of performing as a professional clarinetist in numerous orchestral concerts, I felt a deep-seated desire to bring my favorite instrument in line with those experiences. I truly enjoy the amazing color, language and structure of the symphony, and my years as a clarinetist made me familiar with it from the inside of the orchestra. I have worked to develop a highly improvisational approach to the mandolin, and I knew in my heart that I could say something with it on a symphonic scale. My excitement and motivation for this piece started with the idea that I could bring my most natural companion to the symphonic stage – two seemingly different worlds together. I hope you enjoy the fusion of these complementary musical worlds.

The Roanoke Symphony Orchestra and their Music Director David Stewart Wiley commissioned the piece in November of 2010 and it was then that the falling leaves, blowing in the wind, drew the opening musical scene. The first of three movements (Allegro) begins with the mandolin on swirling sixteenth notes, setting the stage for excitement and anticipation, as does the entire movement.

Indeed, our Blue Ridge’s beauty and importance to me would form the piece. The middle of the first movement moves from D-Minor to the relative key of B-Flat Major with woodwinds in a waltz-like dance, before we return to the first (fast) theme. Although the movement ends quickly, there is a final unexpected fade with a long held single note in the clarinets.

The lyrical and slow second movement draws on more typical and familiar bluegrass melodies. Having grown up in Roanoke, moved away, and returned, I wanted the concerto to echo the emotions associated with home, and with coming home. To get there, I looked no further than the Blue Ridge Mountains and the Roanoke Valley.“Wildwood Flower” by the Carter Family and Bill Monroe’s “Roanoke” are my thematic inspirations. A haunting fiddle tune from the mandolin (accompanied by the oboe) paints a picture of longing before the journey is complete. The end of the movement

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Program is “resolved” with major thirds returning from the “Roanoke” theme, and an improvisationalsounding piccolo solo, flowing without significant break to the final movement, after a brief mandolin utterance over a halo of strings.

The third movement, “The Crooked Road,” is an upbeat, improvisational and dynamic affair. It draws strongly from jazz and bluegrass themes in a series of ideas in a “controlled jam session” with one idea leading to another. Every section of the orchestra has a virtuosic role to play, with percussion in particular setting up the different rhythmic grooves. A break in the action occurs with an extended cadenza for mandolin and concertmaster before a mixedmeter blues riff for full orchestra. Another somewhat brief cadenza for solo mandolin inserts and asserts itself just before a bright, upbeat and up-tempo conclusion ends the new work with a flourish upward. Thus ends our musical journey “From The Blue Ridge”!

– Jeffrey Midkiff, September 2011 LUDWIG VAN BEETHOVEN (1770 – 1827) Symphony No. 6 in F Major, Op. 86, Pastoral Ludwig van Beethoven’s Pastoral Symphony represents a different side of Romanticism than any of his other symphonies. The early Romantic poets, most notably Joseph Freiherr von Eichendorff, found a spiritual quality in nature and felt that mankind could experience happiness by reflecting upon the volatility and beauty of the natural world. Beethoven found Eichendorff’s speculation to be true, as he took many long walks around the parks and gardens of Vienna in order to clear his mind.

When he composed the Pastoral Symphony in 1808, Beethoven had many troubles that must have demanded especially long walks. His hearing continued to decline and Beethoven understood, even at the relatively young age of thirty-eight, that his eventual deafness was inevitable. To complicate matters, the political climate of Vienna was quite precarious, as the city had been occupied by Napoleon’s troops since 1805. Because of this, Beethoven occasionally left the city to find solace, sometimes travelling to Budapest or to his favorite resort town of Heiligenstadt.

Beethoven’s Sixth Symphony is unique in his

output, but is an example of a common genre called a “characteristic” symphony. Beethoven likely found inspiration in Justin Heinrich Knecht’s Le Portrait musical de la nature – a 1785 symphony that bears similar movement titles to Beethoven’s work.

Composed at the same time as the legendary Fifth Symphony, the Pastoral represents the emotional complement to that stormy and tense masterpiece. Instead, the Sixth is bucolic and placid. Although there is a fierce thunderstorm depicted within the work, it is a fleeting show of nature’s power and dominion over mankind, and the celebratory atmosphere resumes after the dark clouds dissipate. Beethoven’s complete title of the piece at its premiere was “Pastoral Symphony, Recollections of Country Life, More an Expression of Feeling that Painting.”

The overall impression of the work is akin to what Beethoven must have felt on his long therapeutic strolls.

The Pastoral Symphony opens with a movement entitled “Awakening of cheerful feelings on arriving in the country,” which is conspicuously lacking the propulsion and storminess that characterize most of Beethoven’s first movements. Inching along at a leisurely pace, the movement is dominated by the principal theme. “Scene at the Brook” is remarkable in its woodwind quotations of cuckoos, quail, and nightingale calls, while rippling string figurations are descriptive of the flowing brook. The final three movements are played without pause. “Merry Gathering of Country Folk” portrays a rustic festival in which the folk dancing becomes increasingly frenzied until it is interrupted by the “Thunderstorm” as the next movement begins. With timpani providing the thunder and the orchestra portraying blustery wind and lightning strikes, this is one of the most memorable musico-meterological depictions of a storm in history. As the weather clears, Beethoven’s finale begins with the translucent sound of the clarinet. “Shepherd’s Song, Happy and Thankful Feelings after the Storm” builds gradually as Beethoven’s hymn to the simple beauty of rural life comes to a poignant conclusion. ©2014 Craig Doolin

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Program THANK YOU TO THE BOULDER PHIL’S NEWEST DONORS! We thank the following donors not already acknowledged in the full listing found later in this program, for gifts received between December 11, 2013 and March 1, 2014.

BRONZE CIRCLE ($2,500+) Anonymous League of American Orchestras

Jackie W. Jimmerson* Steven & Susan Maxwell Rick & Rebecca White

LEADERSHIP CIRCLE ($1,000) Anonymous Robert Krenz & Carolyn Grant Lotus Fund

SUPPORTERS ($25+) Anonymous Karen Bernardi George Clements Tom & Ursula Dickinson* Nichole Ford Lisa Lund Brown Margaret Oakes David Plume* Lester Ronick Lin Rosen Rev. Virginia Taylor* Courtney Thomas Barbara Turner Darcy Varney

ARTIST CIRCLE ($500+) Anne Wenzel & Anthony Raymond The Winston Family Foundation PARTNERS ($250+) Anonymous Friends at Memorial Service for Ellen Vanden Broeck* Tom & Currie Barron FRIENDS ($100+) Anonymous Cynthia Carey Frank Ciskovsky* Paul Eklund Barbara Fernie*

* Recognizing gifts in memory of Ellen Vanden Broeck, a great friend to the Boulder Phil. Music was Ellen’s passion and sharing her love of piano with her children, friends and neighbors was her utmost delight.

The Boulder Public Library

Special Events

Concert Series Presents Free performances in the Canyon Theater

eTOWN HALL with JEFF MIDKIFF

Concert, Conversation and Earth Day Celebration Wednesday, April 23, 7-10 PM Join composer and mandolin virtuoso Jeff Midkiff, our own Michael Butterman, and eTown’s Nick Forster for an evening of great music, conversation and refreshments at eTown Hall in Downtown Boulder. You’ll hear traditional bluegrass favorites mixed in with Jeff’s own material.

Tickets are $15 per person, available at www.eTown.org.

SIDE-BY-SIDE CONCERT with GREATER BOULDER YOUTH ORCHESTRAS Prominent Pianist Gayle Martin Henry Featuring Schubert’s Wanderer Fantasy

Saturday, April 5, 4 p.m.

www.boulderlibrary.org/calendar/concerts.html

Mountain Range High School, Westminster Sunday, April 27, 2 PM

The professional musicians of the Boulder Phil perform alongside their student counterparts in an inspiring, family-friendly performance featuring works by Schubert, Tchaikovsky and Reinecke, led by CU Director of Bands Donald McKinney.

Info at www.BoulderPhil.org.

.org

Program 12 Boulder Philharmonic Orchestra 2013-2014

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PRO MUSICA COLORADO CHAMBER ORCHESTRA CYNTHIA KATSARELIS, MUSIC DIRECTOR AND CONDUCTOR

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November 22 & 23, 2013 Ludvig van Beethoven Symphony No. 7 Rodrigo and Daugherty Nicolo Spera, Guitar

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January 31 & February 1, 2014 Mozart Symphony No. 40 in G Minor, K. 550 Beethoven Piano Concerto No. 4 in G Major Hsing-Ay Hsu, piano

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oy s ter per pe tua l date jus t

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Boulder Phil Fanfare

A special thank you to the sponsors, donors and attendees who participated in our sold-out 2013 Fanfare event!

FANFARE SPONSORS

Chris & Margot Brauchli Joan Brett Patricia Butler Pete & Caroline Coggan Pamela Dennis & Jim Semborski

David Fulker & Nicky Wolman John Goldsmith & Amy Kern David & Sara Harper Teresa Myrwang Holum Bruce Kahn & Susan Litt

Steve & Jayne Miller Sacha Millstone Barbara & Irwin Neulight Rudy & Margaret Perez

RESTAURANT SPONSORS

IN-KIND DONORS Arvada Center Aspen Music Festival Barbador Black Angus Boulder Ballet Boulder Museum of Contemporary Art Boulder Wine Merchant Charleston Symphony Colorado Music Festival & Center for Musical Arts Colorado Symphony CU Presents Cured Dave Fulker Denver Center for the Performing Arts

eQuilter Geological Society of America Grand Teton Music Festival Hotel Boulderado Japango Jim Neely Joan Brett John Platt/Riff’s Urban Fare Legacy Connections Films Maggiano’s Moab Music Festival Opera Colorado Peter Barbieri Pizza Locale Rembrandt Yard Roberta and David Levin

Santa Fe Chamber Music Festival Shamane’s Bake Shop St Julien Hotel and Spa Strategic Solutions Marketing and Events Sturtz and Copeland Sushi Zanmai Teresa Myrwang Holum The Dairy Center for the Arts The Second Kitchen Vodka 14 Wallaroo Hat Company Whole Foods

Teresa Myrwang Holum Rudy Perez Eleanor Poehlman Luana Rubin

Kevin Shuck Cynthia Sliker Nanette Schunk, Event Coordinator

FANFARE COMMITTEE Christopher Brauchli Joan Brett Patricia Butler David Fulker

save the date

Don’t miss our next Fanfare event: Friday, October 3, 2014, 6-9 pm Rembrandt Yard, Downtown Boulder

Join us for this annual fundraising event next year benefitting the Phil’s artistic and education programs. The elegant Rembrandt Yard is a perfect setting for an evening of fabulous food and wines, arts-inspired auction bidding, and mingling with fellow Boulder music lovers. Come see why this event sells out every year!

For more information, call 303-449-1343 x4 or visit www.BoulderPhil.org.

Boulder Philharmonic Orchestra 2013-2014 33

Donors The Boulder Philharmonic Orchestra is able to provide high-quality artistic and education program thanks to its growing number of season subscribers, and the annual support of individuals, corporations, foundations, and government agencies. We take this opportunity to express our appreciation of those who made contributions or pledges from September 1, 2012 to December 10, 2013.

FOUNDERS CIRCLE ($35,000+)

Gordon & Grace Gamm The Citizens of the Scientific & Cultural Facilities District

GOLD CIRCLE ($10,000+)

Sydney & Robert Anderson Anonymous Patricia Butler Estate of Don Campbell Exxon Mobil David Fulker & Nicky Wolman Geological Society of America Foundation Flatirons Bank Ted Manning Thomas Landauer & Lynn Streeter XTO Energy

SILVER CIRCLE ($5,000+)

Albert & Rebecca Bates Boulder Arts Commission Boulder County Arts Alliance Christopher & Margot Brauchli Raquel Cagan Colorado Creative Industries John & Amy Goldsmith David & Sara Harper Kyle & Stephanie Heckman Samuel & Carolyn Johnson Micro Motion Rodolfo & Margaret Perez Harry & Eleanor Poehlmann Sterling-Rice Group, Inc. Virginia Hill Charitable Foundation

BRONZE CIRCLE ($2,500+) The Academy Anonymous

Gail Aweida (in memoriam) Lindley & Roberta Brenza Joan Brett Caplan & Earnest, LLC Thomas & Virginia Carr Joan Cleland Terry & Jenny Cloudman Peter & Caroline Coggan The Community Foundation Serving Boulder County Pamela Dennis Carl & Ruth Forsberg Jerry & Janet Gilland Kent & Cathy Hansen Lin & Matthew Hawkins James & Gayle Heckman John & Gerda Hedderich Grant & Holly Hickman Ruth Carmel Kahn Stephen & Judy Knapp Erma & John Mantey Steve & Jayne Miller Millstone/Evans Group of Raymond James & Associates Robert & Marilyn Mohling Robert & Francine Myers Frank Palermo & Susan Olenwine Norm & Kathy Ooms Carl & Kathy Polhemus Janet & David Robertson Dick & Caroline Van Pelt Nyla & Gerry Witmore Stephanie & Horace Work

LEADERSHIP CIRCLE ($1,000) Anonymous (5) Bennie & Jannette Balke Alexander & Sally Bracken Barbara Brenton Amy & Terry Britton Jan Burton Michael Butterman & Jennifer Carsillo Collins Foundation

34 Boulder Philharmonic Orchestra 2013-2014

Colorado State Bank & Trust The Louise & Grant Charitable Fund Alan & Tessa Davis Tom & Ursula Dickinson Betty Fischer Andrew & Audrey Franklin John & Jacqulynn Geister Elyse Grasso Lewis & Susan Guthrie David & Suzanne Hoover Hutchinson Black & Cook, LLC IBM Virginia Jones David & Randi Kalish Quentin & Bonnie Karlsrud Robert & Margaret Kaufman Joan Knapp Ray & Margot LaPanse Harold & Joan Leinbach Bruce Kahn & Susan Litt Richard & Linda Livingston Frances MacAnally Annyce Mayer Myra Monfort Barbara & Irwin Neulight Luana Rubin R. Alan & Stephanie Rudy T. K. Smith & Constance Holden Arthur & Carol Smoot Alan & Martha Stormo Taddiken Tree Company U.S. Bancorp Foundation Betty Van Zandt Jack & Sophie Walker Jack & Brenda Zellner

ARTIST CIRCLE ($500+)

Randall & Jill Anderson Peter & Patricia Angell Anonymous Richard Bailey Boulder Public Library Foundation, Inc.

Donors Jean-Pierre & Glenna Briant Toni & Nelson Chen Ben & Gale Chidlaw City Of Boulder Richard Collins & Judy Reid James Tailer & Donna Davis Larry Day & Catherine Haskins Chris & Pat Finnoff Dr. Gilberto Gonzalez Ralph & Joanna Grasso Charles & Gail Gray Robert & Diane Greenlee Gerald & Doree Hickman Caroline Himes Jane & Mel Holzman Matthew Hyatt Matthew & Diana Karowe Derek & Eileen Kiernan-Johnson Kiplund Kolkmeier Mary Nakashian The Newton Family Fund Martha & George Oetzel James Pendleton Premier Mortgage Group Dayna & Robert Roane Susan & Paul Roberts Juan & Alicia Rodriguez William Roettker Karyn Sawyer Ronald Sinton Todd & Gretchen Sliker Mary Street Paul Weber Kristen Wolf Stu Wright/Wright Kingdom Real Estate Art Zirger & Mary Rowe

PARTNERS ($250+)

Joyce Albersheim Frank Barrett Vincent Bates Anne & Harry Beer Cynthia Betts Janet Braccio Stephen Eisenberg & Anne Burkholder Wallace & Beryl Clark Claude Weil & Carolie Coates Sara-Jane & Bill Cohen Scott & Paula Deemer Joe & Alice Doyle

Tracy & Michael Ehlers Deidre Farrell Jeffrey & RoseMarie Foster Stephen & Sandy Friedman Ann Garstang Gerald & Anita Gershten Greg Ginocchio Susan & Gustavo Grampp Mary Greenwald Ken & Dianne Hackett Charles & Patricia Hadley Robert & Penny Haws Mark & Cherine Herrmann Randy & Debbie Holliday Kim Hult & Robert Pasnau Arnie Jacobson & Victoria Johns-Jacobson Colman & Marcia Kahn David & Carol Kampert Angelyn Konugres Couponas Richard & Barbara Kuchenrither Annlee Landman Jerome & Regina Lapin Paul & Nancy Levitt Jerry & Heidi Lynch Richard & Donna Meckley Alan & Judy Megibow Robert Morehouse Dorothy Read Jane & Leo Schumacher Nanette Schunk Betty Skipp Dr. Judy Smetana Zdenka & Dean Smith Andrew & Margrit Staehelin Randy Stevens Stephen Tebo Ed & Lynn Trumble Nicholas & Shelby Vanderborgh Anne Vincent Vivian Wilson Charles Zabel

FRIENDS ($100+)

Richard & Alma Alber Lawrence & Annette Anderson Anonymous (3) Jason & Beth Baldwin Janet Bartsch Pierrette Barut Les & Barbara Berry

Catherine & William Bickell Georgia Blum Rex & Helen Bosley Bob Bunting & Gigi Reynolds Kurt & Alison Burghardt Martha Bushnell Michael & Stephanie Carter Bob & Judy Charles Helen Chenery Andrew & Lois Cherrington Roger & Norma Cichorz Joseph & Elizabeth Cirelli Carol Cogswell Community First Foundation Max & Barbara Coppom Charlotte Corbridge Lynne Dannenhold Peter & Joan Dawson Dan & Nancy D’Ippolito David & Susan Donaldson Caroline & Preston Douglas David Dowell Leslie & Donald Dreyer Heather Dupre Megan Edrington Lee Ellwood Julie & Steven Erich Martha Coffin Evans Jennifer Favell Wayne & Anne Fischer Nan Fogel Robert & Juliette Ford Ronald & Heulwen Franklin Ellen Friedlander Ron & Ellen Gager Neil Ashby & Marcie Geissinger Carl & Judy Gelderloos Peter Gilman & Peggy Lemone Julie Ginocchio Garry & Barbara Gordon Allan & Joan Graham Elissa Guralnick Chris & Linda Hansen Margaret Hansson Chuck Hardesty Natalie Hedberg & Thomas Van Zandt David & Joan Hill Jeannette Hillery Stewart & Karen Hoover Ana Hopperstad Thomas & Kristi Horst

Boulder Philharmonic Orchestra 2013-2014 35

Donors Dixie Hutchinson John Hynes Richard & Ruth Irvin Wayne & Christine Itano Dan Johnson & Star Waring William & Martha Jones Jo Ann Joselyn Annamaria Karacson Robert Kehoe William & Ann Kellogg Melissa & Jon Kilberg Ann Kiley Don & Eleanor King Bonnie Kirschenbaum Peter & Judith Kleinman Barry Knapp Jon & Helena Kottke Wesley & Heather Le Masurier Douglas Lerner Sue & Rick Levine Al Gasiewski & Rachel Lum Kamilla Macar Jean & Megan MacMillan Susan Magruder William & Susan Marine Charles & Marian Matheson J. Ramon McCarus J. Hunter & Janet McDaniel Zoe McFarland Marla & Jerry Meehl Barry & Gloria Miller Richard Nishikawa & Kathleen Miller Yoriko Morita & Karl Grill James Neely Ronald & Joan Nordgren Eileen O’Neill Bob Orecchio Brigette Paige Christopher & Linda Paris Margaret Parker Molly Parrish David Paulson Robert & Marilyn Peltzer Paul & Margaret Preo John & Mary Price Maiah Quish Brook Reams & Rochelle Chartier Francelyn Reeder Barbara Sable Judith Schilling Peter & Barbara Schumacher

Dan Seger Karen Shay Daniel & Boyce Sher Lynn Sherretz Max & Nelda Shuck Howard & Valerie Singer Thomas & Nancy Storm Gregory & Diane Strevey Robert & Julie Stuenkel Peter & Laura Terpenning Elizabeth & John Tilton James Topping Virgil & Margaret Tucker Lorraine Volsky Pamela Walker David & Amy Weiss Raymond & Rena Wells Jonathan & Hayden Williamson Mary Winston Richard & Wendy Wolf Betty Woon

SUPPORTERS ($50+)

Charles & Cynthia Anderson Suzanne & Robert Anderson Anonymous (2) Charles Arnold Daniel & Elizabeth Ault Casey Backes Linda Beckert David Blackburn Carolyn Boggs Virginia Boucher David Burns Josephine & James Bush Joanne & Gene Simmon Julianne Cassady Desiree Cedeno-Suarez Laurie Clark Christine Coates & Howard Gordon Jeffrey Davis Jo Davis Charles & Jean Dinwiddie Ruth Feiertag Neil Fishman Patricia & Arnie Follendorf William & Ann Ford Johannah Franke Yaser & Mary Freij David Gates Kathryn Goff Luis & Ester Gonzalez

36 Boulder Philharmonic Orchestra 2013-2014

Dorothea & Ronald Grey Kathryn Strand & Eldon Haakinson Linda Haertling Janice Harvey Patricia Havekost Spencer & Valerie Havlick James & Judith Heinze Debra Holland Verenne Hyde Dan Julio Josh & Lori Kahn Joyce Larsen C. Nicholas & Mollie Lee Judith Lewis Joy Linfield Bruce MacKenzie Don & Jane Martin Robert Mayer Priscilla McCutcheon Jill McIntyre Joan Mulcahy Lisa & Kyle O’Brien Marion Paton Pricilla Pritchard Robert & Judy Rothe Shelley Sampson Joan Scott Christine Shields Kevin Shuck Rebecca Snethen John & Darrelyn Snyder Dr. Oakleigh Thorne, II Karen Utley Christine Waterbury Ronald & Marlies West Denise & Gary Williams The Boulder Phil also thanks the 90 households who made smaller gifts this past year, in addition to support received from numerous other businesses.

For more information about supporting the Boulder Phil or to report errors or omissions, please contact Director of Development Cynthia Sliker at 303-4491343 ext. 4.

The Gift that Keeps on Giving You can support the Boulder Philharmonic’s long-term health through a special gift during your lifetime as well as by designating a gift in your will. You may elect to contribute either to the Phil’s traditional endowment fund housed at the Community First Foundation, or to the Gamm Fund which was established through a major gift by Gordon and Grace Gamm and which affords the Phil even greater long-term financial security. For more information, please contact Kevin Shuck at 303-449-1343 x3.

Anonymous Robert & Sydney Anderson Jaime Arizaleta Bud & Anne Arnold Charles & Helen Aumiller Emma Barnsley Francesco Beuf Stanley & Marge Black Barbara Brenton Sandra Brodie Kurt & Alison Burghardt Wanee & Joe Butler Jancey Campbell Melvin Clark Polly Collier William Curtis

Rob & Kitty deKieffer Ursula & Tom Dickinson Charles & Jean Dinwiddie George & Sallie Duvall John & Elizabeth Dynes George & Peggy Earnest Maurine Eaton Olivia Edwards Sylvia Ellis Peter & Mary Jean Ewing Mac & Sandi Fraser Hans & Jeri Friedli Ray & Mary Lynd Frommer

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David Fulker & Nicky Wolman Gordon & Grace Gamm Lloyd D. Gelman Warren & Esther Goedert Stanley & Anni Goldberg Robert & Diane Greenlee William & Bonnie Hamilton Aaron & Doreen Harber Ronald & Elizabeth Harrington Ray & Connie Hauser Debora Haynes Catherine Jackson Mitchell & Laura Brenton Jacob Barbara Johnson Sam & Carolyn Johnson Peter & Tamara Jorde W. K. & Joanne Kilpatrick Joan Knapp Harold & Joan Leinbach Rick & Sue Levine William Lightfoot & May Chu John & Leslie Lovett Jane Mahoney Byron & Virginia May Carol May & Jim Saindon Denis & Judith Nock Richard & Dona Padrnos Marion Paton Penni Pearson Gary & Mhari Peschel Jim & Elsie Pettibone

Timothy Prout & Carol Dalager Dick & Kathryn Ralston Bill & Marilyn Reichenberg Thomas Riis Jo & Anna Marie Robb Juan & Alicia Rodriguez James & Rebecca Roser Jack & Lynne Rummel Jodie Ruthrauff Ron & Margaret Saari Merle & Rught Sachnoff Jody Sarbaugh Wayne Scott Elizabeth Shannon Art & Carol Smoot Mark & Mickey Stevenson Alan & Marty Stormo Joan Talbot Lyman Taylor George & Caroline Thompson Douglas & Patricia Vidulich Diane Vivas Alice Dodge Wallace Jeffrey & Renee White Paul & Patricia White Roe & Helene Willis Charles & Marjorie Wilson Robert & Lawrie Wilson Nyla Witmore Ed Wolff Ruth Yearns

Boulder Philharmonic Orchestra 2013-2014 37

Listen Locally

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303-492-8008 CUPRESENTS.ORG Global performance. World-class entertainment. You have to be here.

Support Professional Orchestral Music on the Front Range BOULDER PHILHARMONIC ORCHESTRA

MICHAEL BUTTERMAN, MUSIC DIRECTOR

BoulderPhil.org 303-449-1343

CheyenneSymphony.org 307-778-8561

FCSymphony.org 970-482-4823

GreeleyPhilharmonic.com 970-356-6406

Check out our season schedules online!

Friends of the Phil The Boulder Phil’s NEW musician chair sponsorship program By making a pledge of two or more years as a Friends of the Phil sponsor, you provide critical ongoing support to the orchestra by directly underwriting a portion of a professional musician’s salary.

Hiring the most qualified musicians requires a substantial investment on our part—in fact, musician salaries represent the single largest expense in the Phil’s annual budget. Your participation in Friends of the Phil helps support these talented artists in our community.

In addition, chair sponsorship expands your experience with the Boulder Phil in meaningful ways, giving you the chance to experience the orchestra from the inside out while forging a special connection between you and the performers on stage with special events and activities that bring sponsors and musicians together throughout the season.

Pledge levels: SECTION CHAIR SPONSOR – A multi-year pledge of $250+ annually ASSISTANT PRINCIPAL CHAIR SPONSOR – A multi-year pledge of $500+ annually PRINCIPAL CHAIR SPONSOR – A multi-year pledge of $1,000+ annually We thank our inaugural program sponsors, who are listed alongside the names of their sponsored musicians on the orchestra roster page in this program.

For more information about Friends of the Phil, please visit our website at www.BoulderPhil. org/friends-of-the-phil, or contact Director of Development Cynthia Sliker at 303-449-1343 x4 or csliker@boulderphil.org.

✦ All current Friends of the Phil sponsors are invited to attend an exclusive reception on the Macky stage with sponsored musicians immediately following the January 11, 2014 performance! ✦ Not yet signed up? New sponsors may pledge during intermission or following the performance – look for Friends of the Phil sign up materials at our Welcome Table in the outer lobby.

Join us!

Hiroko Okada Hellyer, Principal Percussion

Boulder Philharmonic Orchestra 2013-2014 39

Patron Information TICKET EXCHANGES To make an exchange for another performance, we need to receive your ticket(s) at the Boulder Phil offices at least 24 hours prior to the concert you are unable to attend. For subscribers, we gladly waive the $5 exchange fee. Exchanges are subject to availability and any price difference. All sales are non-refundable.

TICKET DONATIONS If you are unable to attend a concert and don’t wish to exchange your tickets, help us make sure no seat goes empty by donating back your tickets! You will receive an acknowledgment letter stating the value of your tickets as a tax-deductible donation, provided we receive your ticket(s) at the Boulder Phil office at least 24 hours prior to the concert.

LOST TICKETS If you lose your tickets, please contact us above immediately to arrange replacements. If you find your tickets missing on the day of the performance and the Boulder Phil offices are closed, please arrive at Will Call at least 45 minutes prior to the concert to have your tickets re-issued.

PARKING AT MACKY Parking is available for a small fee in the Euclid AutoPark, adjacent to the University Memorial Center east of Broadway. Please see the reverse side of your tickets for a map. If you arrive more than 30 minutes prior to the concert, limited free and metered parking is available along University and in signed CU lots accessed from 13th and 15th streets (“Grandview” zone). Please note that the lots adjacent to Macky are reserved

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LATE SEATING As a courtesy to other patrons, latecomers will be seated during an appropriate break at the discretion of the ushers.

USEFUL INFORMATION Listening devices are available at the Macky box office. The use of cameras, recording equipment and all other electronic devices is prohibited during performances.

Patrons with cell phones, beepers or electronic watches must silence them upon entering the auditorium.

Fire regulations require that everyone, regardless of age, have a ticket to enter the auditorium. Classical concerts are not recommended for children under age 5.

2014 SPRING CONCERTS Feb. 7 March 21 April 11 & 12 May 10 & 11

302 Open Sunday-Saturday 8:00a.m. to 11:45p.m.

40 Boulder Philharmonic Orchestra 2013-2014

MUSIC DIRECTOR

Bahman Saless 303.583.1278|www.boulderchamberorchestra.org

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Boulder’s Upstart Crow Theatre Company presents our 34th season: Bus Stop

The Tempest

by William Inge August 30 September 14, 2013

by William Shakespeare November 15 - 30, 2013

Blood Wedding

The Madwoman of Chaillot

by Federico Garcia-Lorca February 28 - March 15, 2014

by Jean Giraudoux May 9 - 24, 2014

Tickets available at http://www.theupstartcrow.org/tickets.php or call (303) 444-7328.

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Louder Than Words Dancetheatre, Jeffrey Nytch-Composer, and the Playground Ensemble present

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