BOULDER PHILHARMONIC ORCHESTRA
MICHAEL BUTTERMAN, MUSIC DIRECTOR
2013-2014 SEASON
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BOULDERBALLET
20132014 S E A S O N • Appalachian Spring a unique collaboration
November 2
• The Nutcracker with full orchestra
November 29–December 8
• Stepping Out 2014 world premiere ballets
February 21–23
• Storybook Ballet a student performance
March 7–9
• Coppélia
a family-friendly ballet for Mother’s Day
May 11
• Ballet in the Park free outdoor concerts
June 22–29
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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 rld e Di violinist Rachel Ba nnerstein and In on 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 ul de r International Fil Geological Socie m Festival, and th ty of America, wh e ose 125th annive by the world prem rsary is being celeb iere of CU compo rated 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 rie nce re s, exhibitions. outdoor perform ances 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 Rudolfo Perez, Vice President
Patricia Butler, Secretary Erma Mantey, Treasurer
BOARD Christopher Brauchli Joan Brett Claire Figel David Fulker 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 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
Susan Olenwine Joan Ringoen Mary Street Dick Van Pelt Betty Van Zandt Brenda Zellner
Kim Peoria, Orchestra Manager Glenn Ross, Concert 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 Nature and music... two of my favorite things! That’s why this season at the Phil is perhaps the one I’ve most been looking forward to since I arrived in early 2010. No fewer than a dozen local 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. In particular, this season’s theme has inspired some very surprising partnerships including with the Geological Society of America and City of Boulder Open Space and Mountain Parks. Join us for one of our guided “musical hikes” with Open Space naturalists connecting nature-inspired works the Phil is performing with the great outdoors! 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
For advertising, please call (303) 428-9529 www.coloradoartspubs.com
Sponsors SEASON PRESENTING SPONSORS
CONCERT AND PROGRAM SPONSORS
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SPONSORS The Campbell Foundation Fund
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IN-KIND SPONSORS BOULDER PIANO GALLERY
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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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Educational Outreach The Boulder Philharmonic believes that live orchestral music is for everyone and is committed to providing a wide array of opportunities for people throughout our community to encounter the life-enriching power of classical music.
• Discovery Concerts introduce 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. • Family Concerts provide an opportunity to enjoy the live orchestra at a special matinee performance suitable for elementary-age children (NEW! check website for details). • 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.
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Ars Nova Singers 28th Season _ Connections ^ 2013-2014
The Violin and the Voice: In Concert with Edward Dusinberre Ars Nova Singers welcomes the first violinist of the Takacs Quartet in a special one-night-only collaboration at Macky Auditorium. Join us for this rare opportunity to hear one of the great violinists of our time, performing with Ars Nova Singers in contemporary works by Knut Nystedt, Rudi Tas, and Reed Criddle, as well as Edward’s first Boulder performance of the famous Chaconne (from Partita No. 2 in D minor) by Johann Sebastian Bach.
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Program BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Inon Barnatan, piano Saturday, September 7, 2013 St. Luke’s Methodist Church, Highlands Ranch 7:30pm Performance Featuring Kelcey Howell, 2013 Young Artist Concerto Competition Winner Sunday, September 8, 2013 Macky Auditorium, CU Boulder 6:00 pm Pre-Concert Talk 7:00 pm Performance Benjamin Britten (1913 – 1976)
Four Sea Interludes from “Peter Grimes”
Jeffrey Nytch Symphony No. 1, “Formations” World Premiere (b. 1964) I. Orogenies II. Rush! III. Requiems IV. Majesties Co-Commissioned by the Boulder Philharmonic Orchestra and the Geological Society of America to commemorate the Society’s 125th Anniversary, with support from ExxonMobil
- Intermission Piotr Ilyich Tchaikovsky Piano Concerto No. 1 in b-flat minor, Op 23 (1840 – 1893) I. Allegro non troppo e molto maestoso II. Andantino semplice III. Allegro con fuoco Following the concert, Inon Barnatan will be signing CDs in the lobby. Programs and artists are subject to change. The use of cameras and electronic devices is strictly prohibited.
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Boulder Philharmonic Orchestra 2013-2014 Program 1
Program INON BARNATAN, PIANO Pianist Inon Barnatan is widely recognized for refined, communicative, insightful playing that combines an extraordinary depth of musicianship and an impeccable, virtuosic technique. Mr. Barnatan has performed with many of the country’s most esteemed orchestras and worked with many of the world’s leading conductors. In 2009, Mr. Barnatan was awarded the prestigious Avery Fisher Career Grant, an honor reflecting the strong impression he has made on the American music scene in such a short period of time. Highlights for the 2013-14 season include engagements with the Atlanta Symphony Orchestra, Bangor Symphony Orchestra, Fresno Philharmonic, and Oregon Symphony Orchestra. In September Mr. Barnatan will give the world premiere performance of a new work for solo piano by Matthias Pintscher at London’s Wigmore Hall. He will again join Mr. Pintscher in a performance of Beethoven’s fourth piano concerto with the Utah Symphony. Mr. Barnatan will give recitals at the Concertgebouw in Amsterdam and at The Frederic Chopin Society in St. Paul, Minnesota. He will perform chamber music at The Hague in Amsterdam, the Santa Fe Chamber Music Society, and will perform with the Jerusalem Quartet in Vancouver, Canada. Mr. Barnatan will also tour Europe with cellist Alisa Weilerstein with recitals in Italy, Turkey, Germany, and London. Mr. Barnatan’s second solo recording, Darknesse Visible, was named one of the top classical recordings by The New York Times as well as BBC Music Magazine’s Instrumentalist CD of the Month. In his review of the CD, Anthony Tommasini from The New York Times wrote, “The thoughtful programming is typical for this insightful musician. But Mr. Barnatan’s extraordinary playing is what makes this release so rewarding.” Mr. Barnatan’s debut solo recording of Schubert piano works was recommended by Gramophone in its November 2006 award issue, calling Mr. Barnatan “a born Schubertian” and praising the CD’s “sensitivity, poise and focus.” Born in Tel Aviv in 1979, Inon Barnatan started playing the piano at the age of three after his parents discovered he had perfect pitch, and he made his orchestral debut at eleven. In 1997 he moved to London to study at the Royal
Academy of Music and in 2004 pianist Leon Fleisher invited Mr. Barnatan to study and perform Schubert sonatas as part of a Carnegie Hall workshop. In 2006 Mr. Barnatan moved to New York City, where he currently resides in a converted warehouse in Harlem. JEFFREY NYTCH, COMPOSER Jeffrey Nytch enjoys a rich and diverse career as a composer, performer, educator and advocate – but it hasn’t been a straight line getting there. He spent much of his teen years dreaming of someday going to Wall Street and conquering the world; then there was his study of geology, which nearly took him down a different path altogether. But throughout it all, music has been the abiding passion of his heart; in the end, it won out with his career as well. What followed has been a professional odyssey of sorts. His compositional career has resulted in works commissioned and performed by a wide range of major artists, including clarinetist Richard Stoltzman and the Seattle Symphony, the New York Chamber Symphony, the Ahn Trio, Verge Ensemble, the National Repertory Orchestra, and many others. He has also co-founded a social-service non-profit in Houston, run a small business, held teaching posts at Carnegie Mellon University and his alma mater Franklin & Marshall College, and served as Managing Director of Pittsburgh New Music Ensemble, one of the nation’s leading professional chamber groups devoted to the music of our time. He nearly completed a Masters in geology at Binghamton University before making the switch and earning Masters and Doctoral degrees at Rice University’s Shepherd School of Music. These disparate pursuits have coalesced in his current position as Director of the Entrepreneurship Center for Music at The University of ColoradoBoulder. As Director of the ECM he draws on the full range of his professional experiences, equipping music students with the tools they need for professional careers in the arts and speaking nationwide as one of the leading voices in arts entrepreneurship…all with the stunning geology of the Colorado Front Range as the backdrop. It’s nice when things come together, isn’t it?
Program 2 Boulder Philharmonic Orchestra 2013-2014
Program PROGRAM NOTES BENJAMIN BRITTEN (1913 – 1976) “Four Sea Interludes” from Peter Grimes, Op. 33a Henry Purcell, England’s first great composer, died in 1695. It was not until 1913 that Great Britain would produce another composer of such broad musical accomplishment. Some may argue in favor of Handel, but, although most of his music was written in England, he was a German writing in the Italian style. Others will be quick to mention Edward Elgar, and rightly so, but his output was largely in oratorio and symphonic music. Even Vaughan Williams and Walton were slow to become internationally-known composers. In Benjamin Britten, England had a composer of all musical genres, from opera to symphony and from chamber music to a short-lived Broadway show, who was viewed as an innovator on the world stage. Of supreme influence over Britten’s music was the voice of Peter Pears. It was for Pears that Britten composed nearly every major tenor role in his catalog, including Peter Grimes. It was also with Pears that Britten found domestic bliss, as life partners for over three decades. Peter Grimes, composed in 1944-1945, was the first British opera since Purcell’s Dido and Aeneas (1689) to be deemed of international quality. Britten composed the work for the reopening of London’s Sadler’s Wells Theater after World War II. Much has been made of Britten’s status as a conscientious objector during the war, leaving Britain for a time to avoid conscription. The character of Peter Grimes, a rough-hewn sailor who is accused in the disappearance at sea of a string of apprentices, undergoes a psychological breakdown when faced with the scrutiny of his peers. Nonetheless, the audience feels sympathy for this far from perfect character. Perhaps some of Britten’s wartime emotions found a home in an unlikely place. The opera is punctuated by six orchestral interludes, four of which Britten assembled into a concert suite. The first, “Dawn,” paints the gray ocean, its gentle waves, and the rising sun. “Sunday Morning,” heavily influenced by Indonesian gamelan music, presents the sounds of church bells and the townspeople on the way to worship. “Moonlight,” with its lengthy phrases in the low strings, represents the reflection of the moon on the quiet harbor, but a
feeling of disquiet is palpable. Finally, “Storm” depicts two tempests – one meteorological and one within Grimes’s tortured psyche. ©2013 Orpheus Music Prose & Craig Doolin JEFFREY NYTCH (b. 1964) Symphony No. 1, “Formations” Co-commissioned by the Boulder Philharmonic Orchestra and the Geological Society of America in celebration of the Society’s 125th anniversary, with support from ExxonMobil. This work was funded in part by the Composer Assistance Program of New Music USA. One of the interesting things about the geology of the Rocky Mountains is how musical the history is: rocks that are formed at the very beginning continually reappear, just as musical themes do in a composition; components of those rocks – motives, if you will – are modified, varied, and transformed over the course of the work; and patterns and repetition are at the core of our geologic history, just as they are at the core of most Western music. This allowed me to form four guiding principles that helped me shape this symphony: 1) I was not going to attempt a complete telling of the geologic history of the Rocky Mountains – such an undertaking would require many symphonies! 2) I would find musical ways to express geologic processes so that the symphony would not just be a reflection of the landscape but of the processes that formed that landscape. 3) When one views a modern feature such as a mountain, one sees the many different events that have shaped that feature in the aggregate. This compression of perception, and of time, gave me the freedom to superimpose or rearrange geologic events according to the best musical outcome, even if it took geologic events out of the order in which they occurred. 4) There would be some portion of the work that would explore the relationship between humans and the geology that has such enormous influence on our lives and history. Each movement explores a different episode in the geologic story of the Rocky Mountains: The first movement describes the ancient accumulation of crust that would eventually form the whole of southwestern North America. The three climaxes represent three major mountain-building events (“Orogenies”) that were the culminations of these accretion episodes, with a suddenly calm coda representing the roughly 500 million years of geologic quiet that followed – a vast gap of
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Program towards the end geologic time for of the movement which we have provides a contrast almost no record. to the dark world The second of buried organic movement depicts sediment: a sunny the gold rush era evocation of what of the 19th century, must have been with its sudden a tranquil and bursts of frenetic beautiful region, activity that usually with warm lagoons played out almost and rich, tropical as quickly as forests. Marine eager prospectors reptiles such as arrived. We hear a plesiosaurs arched rustic fiddle tune gracefully in clear, such as what one tropical waters, might have heard while pterosaurs and in a mining camp, early bird species but the tune keeps soared through the going awry and air. fizzling out – just as The final each rush failed to movement depicts fulfill its promise. Artwork by Boulder artist Steve Lowtwait the long and A middle section complex history superimposes behind the modern Rocky Mountains. First we the sounds of miners panning for gold with a hear a brooding tuba solo dissolve into a slow, depiction of the geologic process that formed climbing chorale for brass: the steady uplift most of the mineral deposits in the region: of the Laramide Orogeny, approximately 67 super-heated hydrothermal veins that shot up million years ago. But this uplift didn’t result from the earth’s mantle, cooled, and deposited in the mountains we see today. In fact, those veins of gold, silver, and other precious metals. highlands were buried by their own debris and The “intrusion” music is interrupted by the that of an extended period of volcanic activity thundering of the Cripple Creek Diatreme, that showered thousands of meters of ash, an explosive volcano that created Colorado’s richest deposit of precious metals. This geologic lava, and pyroclastic flows upon the region. It was not until about 5 million years ago that event is in turn interrupted by a human one: the either climate change, renewed uplift, or some labor strife between miners and mine owners, combination of the two caused sudden and rapid accompanied by the sounds of gun shots that erosion of the Laramide highlands – carving brought the rush era – and bring this movement out the majestic mountains we see today. As – to a crushing conclusion. the erosion picks up pace, we hear snippets of The third movement evokes the late motives from the entire symphony culminating Cretaceous, a period in which a vast tropical in a grand chorale of joyous celebration for the sea flooded central North America and where magnificent region we know today as the Rocky huge amounts of organic material accumulated Mountains. to create coal, oil, and natural gas. As I Of course, it’s every composer’s desire that contemplated this chapter in geologic history the music work on its own terms, without I was struck by two things. The first was the the benefit of any outside narrative. This is realization that the fuels that make our modern precisely what I found to be so satisfying society possible are derived from the remains about writing this symphony: while developing of plants and animals – creatures that were the connecting points between geologic previously alive, and whose death provided principles and musical ones I was not forced to the material for the very thing our modern compromise either: the music was already in world depends on. I found this thought worthy the geology, making it easy to bring the geology of contemplation, and it inspired the title into the music. “Requiems” as well as the bulk of the music for this movement. The more animated music
Program 4 Boulder Philharmonic Orchestra 2013-2014
Program PIOTR ILYICH TCHAIKOVSKY (1840-1893) Concerto No. 1 for Piano and Orchestra in B-flat minor, Op. 23 On December 24, 1874, the young composer Piotr Ilyich Tchaikovsky played his new piano concerto for Nicolai Rubinstein, head of the St. Petersburg Conservatory and brother of the world-renowned pianist Anton Rubinstein. The director spoke not a word until the end of the work. Tchaikovsky described the evening in a letter to his benefactress Nadezhda von Meck: “Then there burst from Rubinstein’s mouth a mighty torrent of words. He spoke quietly at first, then he waxed hot, and finally resembled Zeus hurling thunderbolts. It seems that my concerto was utterly worthless, absolutely unplayable... I had stolen this from somebody and that from somebody else, so that only two or three pages were good for anything . . .” Tchaikovsky’s hopes of having his concerto premiered in St. Petersburg were dashed. In anger, he changed the dedication of the work from Nicolai Rubinstein to Hans von Bülow. The German conductor/pianist, married to Liszt’s daughter Cosima (before she accepted Richard Wagner’s romantic advances), was already a great admirer of Tchaikovsky’s music. The timing was perfect. Bülow was about to set out on a piano tour of North America and was searching for new repertoire. A fresh modern work by an up-and-coming composer, dedicated to the performer, fit the bill better than the pianist could have expected. In Boston and New York alone, Bülow performed the work twenty-one times in a month with myriad other performances at locations throughout North America in the following weeks, causing international interest in what was to become one of the most beloved of Tchaikovsky’s works. As is often the case with Tchaikovsky’s larger works, this concerto suffers from a puzzling structure – often drawing criticism for its seeming lack of cohesive form. The opening theme – instantly recognizable to nearly everyone – disappears completely after 110 measures and never recurs. It serves merely as an introduction. The rest of the movement is a dazzling display of pianistic devices. The second movement, andantino semplice, begins with flute, oboe, and viola cradling the gentle opening theme. The second theme, prestissimo, is a delicate adaptation of the French song “Il faut s’amuser, danser et rire” (“One must
amuse oneself with dancing and laughing”) that flutters back into a short reprise of the lyrical opening melody. The fiery finale includes two contrasting themes, the first of which is taken from a Ukrainian folk song and treated with syncopation and rhythmic interplay. The lyrical second theme is the perfect foil, leading the work to a climax of Tchaikovskian grandeur. ©2013 Orpheus Music Prose & Craig Doolin
NATURE & MUSIC
The Boulder Phil is partnering with the City of Boulder Open Space and Mountain Parks for a year-long collaboration connecting the worlds of music and nature!
Musical Geology Hike: Symphony in Stone Sat., September 14, 12:30 – 3:30 PM 1850 Table Mesa Drive, Boulder Following the world premiere of Jeffrey Nytch’s First Symphony, “Formations,” visit some of those rock formations—and meet the composer in person—with Open Space and Mountain Parks naturalist Dave Sutherland. Take a journey into Boulder’s past with wild stories that include dinosaurs, glaciers, vast swamps, oceans and ancient mountain ranges now vanished into the dust of time. As an added bonus, we’ll play some excerpts from the orchestral work. Meet on the north side of NCAR at the Walter Orr Roberts trailhead. 2.5 miles, 400 feet elevation gain. If this concert has piqued your interest in our local geology but you can’t make the guided hike, geology self-tours are available for download at: bouldercolorado. gov/osmp/geology
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Boulder Philharmonic Orchestra VIOLIN 1 Charles Wetherbee, September guest concertmaster, Lafayette Mark Rush, November guest concertmaster, Boulder Annamaria Karacson, assistant concertmaster, Boulder Désirée Cedeño-Suárez, Arvada Debra Holland, Boulder Gyongyver Petheo, Highlands Ranch Veronica Pigeon, Golden Takanori Sugishita, Boulder Malva Tarasewicz, Boulder Yenlik Bodaubay Weiss, Glendale, CA Sarah Wood, Boulder VIOLIN 2 Leah Mohling, principal, Louisville Xu Duo, assistant principal, Muncie, IN Sarah Delevoryas, Broomfield 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, principal, Wheatridge Aniel Cabán, Boulder Megan Edrington, Lafayette Claire Figel, Boulder Nancy McNeill, Lafayette Isaac White, Arvada CELLO Charles Lee, principal, Boulder Marcelo Sanches, assistant principal, Boulder Georgia Blum, Boulder Anne Brennand, Boulder Sara Fierer, Denver
Yoriko Morita, Louisville Shirley Stephens-Mock, Golden Eleanor Wells, Boulder BASS David Crowe, principal, Boulder Brian Knott, assistant principal, Louisville Brock Chambers, Denver Dale Day, Boulder Bob Orecchio, Westminster Matthew Pennington, Lafayette HARP Kathleen Wychulis, principal, Omaha, NE
CLARINET Stephanie Zelnick, principal, Lawrence, KS Bronwyn Fraser, Longmont Michelle Orman, Denver BASS CLARINET Michelle Orman BASSOON Charles Hansen, principal, Greeley Kim Peoria, Louisville Wendy La Touche, Boulder CONTRABASSOON Wendy La Touche
TIMPANI Douglas William Walter, principal, Louisville
HORN Michael Yopp, principal, Colorado Springs Jeffrey Rubin, Longmont Devon Park, associate principal, Broomfield Stuart R. Mock, Golden DeAunn Davis, assistant and utility, Salt Lake City, UT
PERCUSSION Hiroko Okada Hellyer, principal, Centennial Paul Mullikin, assistant principal, Lakewood Mike Tetreault, Denver
TRUMPET Brian Brown, principal, Fort Collins Kenneth Aikin, Boulder Roberta Asmus Goodall, Centennial
FLUTE Elizabeth Sadilek, acting principal, Edwards Olga Shylayeva, Lafayette
TROMBONE Bron Wright, principal, Colorado Springs Pete Vriesenga, Denver
PICCOLO Olga Shylayeva
TUBA Michael Allen, principal, Arvada
PIANO Arthur Olsen, principal, Boulder
OBOE Sarah Bierhaus, principal, Golden Tenly Williams, Denver Max Soto, Denver ENGLISH HORN Tenly Williams
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PERSONNEL MANAGER Kim Peoria Members of string sections are listed alphabetically following titled players.
Program BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor CU University Singers Gregory Gentry, Director of Choral Studies CU University Choir David Kates, conductor Boulder Ballet Alex Davidson, choreographer Frequent Flyers® Aerial Dance Nancy Smith, choreographer Saturday, November 2, 2013 Macky Auditorium, CU Boulder 6:30 pm Pre-Concert Talk 7:30 pm Performance Mason Bates (b. 1977)
Rusty Air in Carolina
Leonard Bernstein (1918 – 1990)
Chichester Psalms
- Intermission Aaron Copland Suite from “The Tender Land” (1900 – 1990) Aaron Copland
Appalachian Spring
Programs and artists are subject to change. The use of cameras and electronic devices is strictly prohibited.
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Program CU UNIVERSITY CHOIR AND UNIVERSITY SINGERS University Choir of the University of Colorado at Boulder is a highly select undergraduate ensemble that has made numerous conference appearances and international tours over the years. The group has been invited to perform at the 2014 Colorado Music Educators Conference. University Singers is a highly select chamber ensemble from the University of Colorado at Boulder. The group is comprised of graduate and undergraduate student singers who have an extensive background in choral singing. Gregory Gentry is Director of Choral Studies at the University of Colorado where he administers the doctoral, masters and undergraduate choral conducting programs. As Phoenix Symphony Chorus Master (2005-2012), Dr. Gentry prepared the Phoenix Symphony Chorus for pieces including Puccini’s Messa di Gloria, the North American premiere of In Principio by Arvo Pärt, On the Transmigration of Souls and Nixon in China by John Adams, the world premiere of Mark Grey’s Enemy Slayer: A Navajo Oratorio and Golijov’s Ainadamar in collaboration with Dawn Upshaw and Kelley O’Connor. His collegiate choirs have performed at conferences for the American Choral Directors Association, National Collegiate Choral Organization, Society for American Music, Music Educators National Conference and College Music Society. David Kates conducts the University Singers and teaches Choral Conducting at the University of Colorado, Boulder. Over his career, Dr. Kates has conducted choralorchestral works with the Colorado Chamber Orchestra, the Boulder Philharmonic, the Littleton Symphony Orchestra and the New Mexico Symphony Orchestra. Recent performances of major works include Honegger’s King David, Vivaldi’s Gloria and Dvořák’s Te Deum. BOULDER BALLET The origins of Boulder Ballet begin with the Ballet Arts Studio, founded by former American Ballet Theatre dancer Larry Boyette
and British dancer Barbara Demaree. The first performing company, Boulder City Ballet, was founded in 1982 by Barbara Demaree and Wanda Tierney. In 1985 the company changed its name to Boulder Ballet Ensemble, and in 1995 to Boulder Ballet. Since 1989, Boulder Ballet has enjoyed a partnership with the Boulder Philharmonic Orchestra in presenting classical ballets complete with professional scenery, costumes, lighting designs, and casts of up to 100 dancers. The organization’s rich history includes bringing classic, contemporary, and uniquely theatrical ballet to an audience that stretches from Estes Park to Highlands Ranch, in venues from the 2,000-seat Macky Auditorium, to historic Boulder Theater in downtown Boulder, to outdoor amphitheaters throughout the Denver-metro area. Artistic Directors since 2004, Ana Claire and Peter Davison have continued to build on the proud tradition of artistic excellence through innovation. They have challenged their dancers and enlightened their audiences with the versatile productions from the contemporary Stepping Out, to the classic The Nutcracker, to the timeless tale of Cinderella. Peter Davison’s own creative choreography is a mesmerizing synergy of dancers and unusual props. Peter’s innovation was recognized with the 2009 New York Ballet Builders Award, which resulted in Boulder Ballet’s New York premiere of his critically acclaimed Cirque D’Amour. With a profound respect for their art, the duo has expanded and refined the company’s season to over 20 performances reaching over 20,000 in the Denver-metro area and beyond. Alex Davison, choreographer, began dance training at age seven in his father’s Boyz Dance classes, and the love he discovered for dance, juggling, mime, theater, and object manipulation has influenced his life ever since. Boyz Dance soon led to ballet with his mother, and the opportunity to spend summers studying on full scholarship at Pacific Northwest Ballet in Seattle and American Ballet Theatre in New York City. After winning the regional Grand Prix award in the Youth America Grand Prix competition, Davison would later return to New York and dance as one of the top ten male finalists from around the world. After graduating from Boulder High School, Davison attended the Miami City Ballet Summer Course at the personal invitation of
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Program the company’s artistic director, renowned New York City Ballet dancer Edward Villella. While at the summer course, Davison was offered a full scholarship to study at the school’s year round program, which culminated in performances of Balanchine’s Serenade and Four Temperaments. Davison was then offered a spot in the Miami City Ballet as a company apprentice, performing in different cities around Florida and joining the company for a three-week tour to Paris in which he danced at the Théâtre du Châtelet. After returning to the States, Davison headed home to Boulder to take a break and heal from what had become a chronic back injury. Davison is pleased to be choreographing again for Boulder Ballet. FREQUENT FLYERS AERIAL DANCE Frequent Flyers® Aerial Dance is a professional performing arts company and school located in Boulder. Celebrating their 25th anniversary in 2013, Frequent Flyers’ critically acclaimed performances have reached over 150,000 audience members since 1988. In 2010, Frequent Flyers® opened a beautiful aerial studio for classes, private lessons, the Professional Training program, camps, rehearsals, Student Company, and outreach programs. Frequent Flyers’ youth programs include: Kids Who Fly for at-risk youth; the Student Company pre-professional program for ages 8- adult; lecture/demonstrations for schools; and Aerial Sci-Arts: Physics and the Low-Flying Trapeze for high school students. Frequent Flyers® is also home to the worldrenowned Aerial Dance Festival bringing people from all over the globe to Boulder for a two-week immersion each August. Now in its 15th year, Frequent Flyers’ Festival was the first of its kind and is still the largest in the world. Frequent Flyers® has the only Aerial Dance Professional Training program in the country. Students wishing to pursue an M.F.A. in dance at the University of Colorado, Boulder, also have the opportunity to focus on aerial as part of their degree. Nancy Smith is the founder and artistic director of Frequent Flyers® Productions, a 501(c)3 non-profit, since its inception in 1988 and the international Aerial Dance Festival since 1999. Ms. Smith has developed the
Aerial Release Technique (A.R.T.), which she has taught around the U.S. Ms. Smith’s A.R.T. is the foundation for the Frequent Flyers’ teaching method. Dancers training with Ms. Smith gain mastery in the air and beautiful transitions from the ground to the air and back again. Ms. Smith has received numerous awards and honors including “Women Who Light the Community,” the “Cutting Edge” Award from the Colorado Dance Alliance, the Boulder County “Pacesetters Award for Arts and Entertainment,” a Neodata Endowment Fellowship in Dance, and the “Arts Innovation Award” from the Colorado Federation of the Arts. Ms. Smith and colleague Jayne Bernasconi co-authored the first book on aerial dance, Aerial Dance, available from Human Kinetics. For more information: www. frequentflyers.org
PROGRAM NOTES MASON BATES (b. 1977) Rusty Air in Carolina The composer has provided the following notes: To begin with: I’m a Virginian. Perhaps to anyone in the Carolinas, the task of conjuring up the rich summer noise of the South and pairing it with orchestral textures should be a job for an authentic Carolinian. But the memories are so vivid from that summer in Brevard—where I spent several months at the music festival there as a teenager—that some sort of homage seemed necessary, so state pride will have to take a back seat. Not only did the thick buzzing of cicadas and katydids always accompany the concerts there, but sometimes it was the music itself: on more than one occasion, I remember sitting on the porch of 100-year-old Nan Burt and listening to the sounds of summer while she told stories from her long life. This venerable lady was introduced to me by the assistant conductor at the festival, Robert Moody—who, a mere ten years older than me, would become a dear friend and collaborator. When Bob took the helm at The Winston-Salem Symphony and asked if I might write a new piece for him, perhaps his own return to the Carolinas inspired Rusty Air. Though he travels the world, he’s a Greenville boy. The work uses electronics to bring the white noise of the Southern summer into the concert
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Program hall, pairing these sounds with fluorescent orchestra textures that float gently by. “Nan’s Porch” begins at dusk, while the katydids make their chatter. Three orchestral clouds—each inhabiting a different harmony, register, and orchestration—hover in the heavy air, and they ultimately begin to meld together when the cicadas start their singing. The climax of this movement sends us into “Katydid Country,” when the ambience of the first movement evolves into a bluesy, rhythmic tune. The clicks of the katydids become a beat track over which the orchestra, in a smaller, more chamber setting, riffs on a simple tune inspired by old-time blues. It is said that katydids are loudest at midnight, and as the work reaches its central point, the rhythmic katydid music at last finds its melody. Soaring in the strings over the last breaths of the blues tune, this long-lined melody moves us into “Southern Midnight.” The three distinct textures from the opening return, but now each is brought to life by a phrase of the melody. At the close of this lyrical section, we hover in that strange space between night and day, when only the singing of the first bird alerts us to the approaching dawn. But it is a hot, Southern dawn, both sparkling and heavy, with the air made rusty again by the buzzing cicadas. The bluesy tune begins to creep back into the middle register, while above and below figuration buzzes about in different tonalities. LEONARD BERNSTEIN (1918 – 1990) Chichester Psalms Undoubtedly, Leonard Bernstein’s greatest popular success was the musical West Side Story, written in collaboration with lyricist Stephen Sondheim and choreographer Jerome Robbins. In 1964, riding on the wave that had followed West Side Story (and Candide a few years earlier), the composer decided to create a new musical based on Thornton Wilder’s play, The Skin of Our Teeth. He took a year-long sabbatical from his conducting duties with the New York Philharmonic to devote his energies to this project. Working from June until December, Bernstein and his collaborators (lyricists Betty Comden and Adolph Green, along with Jerome Robbins) eventually decided to abandon the project and Lenny lamented the wasting of such valuable time. Much of the play’s music was quite good, so the composer returned to these melodies when a surprise project arose to occupy the second half of his sabbatical. Bernstein’s friend Cyril Solomon convinced Dr. Walter Hussey, the dean of Chichester
Cathedral, that Lenny would be willing to compose a work for the 1965 Three Choirs Festival in which Chichester’s choir was joined with those of Winchester and Salisbury to form a festival chorus as they had done annually since about 1700. Hussey agreed that a new choral work by Bernstein would be a welcome addition to the festival, but warned that the seventy-five men and boys of the chorus occupied most of the stage area, leaving little space for an accompanying ensemble. As a result, Bernstein utilized diminished forces of strings, percussion, two harps, and added trios of trumpets and trombones. There was literally no space for a woodwind section. Lenny had just one request – the text must be in Hebrew. Musically, Chichester Psalms is almost completely derived from Bernstein’s music to Wilder’s play, with the notable exception of the bellicose second section of the middle movement, which was drawn from music he scrapped from the “Rumble” scene in West Side Story. The work is cast in three movements, each of which states the complete text of a Hebrew Psalm, interrupted by lines of commentary drawn from another Psalm. Chichester Psalms opens with festive and sober music to summon the revelry and awake the celebrants. The familiar Psalm 108, “Make a joyful noise unto the Lord,” springs forth with a Broadway-tinged brazenness that displays the chorus and orchestra to great advantage. This feeling of jollity prevails throughout most of the remainder of the first movement. Perhaps most touching is the poignant juxtaposition of texts in the second movement. Bernstein sets Psalm 23, “The Lord is my Shepherd,” as a solo for boy alto – a sound as beautiful as it is innocent. Chorus sopranos and altos join, only to be interrupted by the tenors and basses singing a bellicose verse from Psalm 2, “Why do the nations rage?” Eventually the two combine in a chilling counterpoint before the boy alto returns to complete his Psalm. The final movement reintroduces the motto theme in a dissonant string meditation. The texts, Psalms 131 and 133, are expectant pleas for peace and contentment. Reminiscent of Mahler in its intensity, the work ends with a feeling of careful optimism, not to a future without strife, but one beaming with hope. ©2013 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com
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Program TEXT TRANSLATION Part I Psalm 108, verse 2 Awake, psaltery and harp! I will rouse the dawn! Psalm 100, entire Make a joyful noise unto the Lord all ye lands. Serve the Lord with gladness. Come before his presence with singing. Know ye that the Lord, He is God. It is He that hath made us, and not we ourselves We are His people and the sheep of His pasture. Enter into His gates with thanksgiving, And into His courts with praise. Be thankful unto Him, and bless His name. For the Lord is good, His mercy is everlasting. And His truth endureth to all generations. Part II Psalm 23, entire The Lord is my shepherd, I shall not want. He maketh me to lie down in green pastures, He leadeth me beside the still waters, He restoreth my soul, He leadeth me in the paths of righteousness, For His name’s sake. Yea, though I walk Through the valley of the shadow of death, I will fear no evil, For Thou art with me. Thy rod and Thy staff They comfort me. Thou preparest a table before me In the presence of mine enemies, Thou annointest my head with oil, My cup runneth over. Surely goodness and mercy Shall follow me all the days of my life, And I will dwell in the house of the Lord Forever. Psalm 2, verses 1-4 Why do the nations rage, And the people imagine a vain thing The kings of the earth set themselves, And the rulers take counsel together Against the Lord and against His annointed. Saying, let us break their bonds asunder, He that sitteth in the heavens Shall laugh, and the Lord Shall have them in derision!
Part III Psalm 131, entire Lord, Lord, My heart is not haughty, Nor mine eyes lofty, Neither do I exercise myself In great matters or in things Too wonderful for me to understand. Surely I have calmed And quieted myself, As a child that is weaned of his mother, My soul is even as a weaned child. Let Israel hope in the Lord From henceforth and forever. Psalm 133, verse 1 Behold how good, And how pleasant it is, For brethren to dwell Together in unity. AARON COPLAND (1900 – 1990) Suite from The Tender Land Described by Leonard Bernstein as the “Dean of American Music,” Aaron Copland was approached in 1953 by Richard Rodgers and Oscar Hammerstein II about writing an opera to celebrate the thirtieth anniversary of the League of Composers. They told the composer that his new work was to be broadcast live on NBC Television – a part of the agreement that was never honored. Copland agreed and the resulting work would become his only full-length opera. For The Tender Land, Copland collaborated with Erik Johns, a dancerturned-librettist who also served as Copland’s secretary. The two men admired the strikingly stark photographs of Depression-era farmers taken by Walker Evans and published in James Agee’s book, Let Us Now Praise Famous Men. It was from these images that they created the simple story that drives the opera. In short, the plot involves the Moss family, farmers in a small Midwestern town. Laurie, the oldest daughter, is a senior in high school and wants to escape her meager upbringing. When two drifters suddenly appear in the community, the Moss family has no idea how much two strangers can change their lives. Laurie immediately falls for one of them. Not realizing that there are rumors of a pair of troublemaking outsiders in the area, Grandpa Moss hires the men as farm workers. Laurie
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Program prepares to elope with her newfound love. However, even though the two laborers are quickly cleared of any wrongdoing, they sneak out of town without her to avoid scrutiny. At the end of the opera, the heartbroken and determined Laurie leaves the farm alone, realizing that she cannot hope for a better life unless she actively seeks opportunities. After the 1954 premiere, Copland compiled a three-movement suite from his score, but was careful to point out that “it does not represent a digest of the dramatic action of the opera, but proceeds from the second act to the first in a three-movement sequence.” The first movement, “Introduction and Love Music,” is some of Copland’s most affecting music, with its interweaving string and woodwind lines interspersed with wistful comments from the horn. Copland’s second movement, “Party Scene,” is drawn from Laurie’s graduation party. It opens with a rapid, dissonant orchestral outburst in 2/4 time. The lively, happy music is marked by the fiddling of square dance music, including the famous excerpt entitled “Stomp Your Foot Upon the Floor.” A stirring finale, “The Promise of Living,” combines Copland’s hymn-like music with a folk song entitled “Zion’s Walls” and ends the suite in a soaring anthem to simple life and family devotion. ©2013 Orpheus Music Prose & Craig Doolin AARON COPLAND (1900 – 1990) Ballet for Martha (Appalachian Spring) In 1943 Aaron Copland was in Hollywood writing the music for his fourth film, The North Star—an irresistible piece of wartime propaganda with a stellar cast and a screenplay by Lillian Hellman, created to build a sense of trust among the American people for our Soviet allies—when Elizabeth Sprague Coolidge contacted him with a commission for a new ballet for the renowned dancer-choreographer
Martha Graham. Copland agreed to compose what would be his fourth ballet. Once Coolidge, Copland, and Graham agreed on the terms, all that remained to be determined was the subject. In time, the two collaborators settled on the story, as told by a program note in the published score: “…a pioneer celebration in spring around a newly-built farmhouse in the Pennsylvania hills in the early part of the last century. The bride-to-be and the young farmer-husband enact the emotions, joyful and apprehensive, their new domestic partnership invites. An older neighbor suggests now and then the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end the couple [is] left quiet and strong in their new house.” Copland was aware of the small stage and pit in the Coolidge Auditorium at Washington’s Library of Congress. Because of these limitations, the work was scored for a compact chamber ensemble of just thirteen instruments. The version performed this evening is the suite that Copland arranged a few months later to be played by full orchestra. For this version, the composer removed just one ten-minute block of music from a single location in the score, resulting in a sense of continuity seldom found in such suites. Despite the rural atmosphere often attributed to this music, Copland used only one preexisting melody – the familiar “Simple Gifts,” heard near the end of the ballet. Perhaps most interesting of all is that the title of the work did not come about until the day before the performance. Martha Graham stumbled across the exhortation “O Appalachian Spring!” in Hart Crane’s epic poem “The Bridge,” and it seemed to fit perfectly. The official title of the score remains Ballet for Martha. ©2013 Orpheus Music Prose & Craig Doolin
Program 12 Boulder Philharmonic Orchestra 2013-2014
For a quick preview of our community, consult your wildest dreams.
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innovation, performance, style, and versatility IN A LIGHT? WHY NOT. think outside the big box stop by our lighting showroom
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PRO MUSICA COLORADO CHAMBER ORCHESTRA CYNTHIA KATSARELIS, MUSIC DIRECTOR AND CONDUCTOR
2013-14 Season of Epics Epic Beethoven Padme Massage Studio Carol Thornton 5757 Central Avenue, Suite #206 Boulder, CO • 720.495.6713
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November 22 & 23, 2013 Ludvig van Beethoven Symphony No. 7 Rodrigo and Daugherty Nicolo Spera, Guitar
Epic Mozart
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
Epic Seasons
April 4 & 5, 2014 Vivaldi 4 Seasons Piazolla The Four Seasons of Buenos Aires Lina Bahn, violinist Fridays in Denver, Saturdays in Boulder. Information and tickets are available online at www.promusicacolorado.org, or call 720-443-0565. Check out our reviews in OpusColorado!
A History of Helping
Boulder Philharmonic Orchestra 2013-2014 29
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Boulder Phil Fanfare
Friday, October 4, 6-9 PM
Rembrandt Yard, 1301 Spruce Street, Downtown Boulder Please join us for the Boulder Phil Fanfare, the not-to-be missed annual gala fundraiser in support of the artistic and education programs of the Boulder Phil. This year’s event at the elegant Rembrandt Yard features a sizzling tribute to the Great American Songbook! Boulder’s own Patrick Mason joins forces with six-time Grammy Award-winner Ralph Sharon and his trio to serenade guests as they indulge in an evening of fabulous food and wines, arts-inspired auction bidding, and mingling with fellow Boulder music lovers. For tickets, please inquire at the lobby information table, visit www.BoulderPhil.org, or call 303-449-1343 x2. We thank the following Fanfare supporters as of August 23: FANFARE SPONSORS
Joan Brett Chris & Margot Brauchli Patricia Butler Pamela Dennis & Jim Semborski
John Goldsmith & Amy Kern David & Sara Harper Teresa Myrwang Holum Bruce Kahn & Susan Litt
Steve & Jane Miller Sacha Millstone Barbara & Irwin Neulight Rudy & Margaret Perez
CU Presents The Dairy Center for the Arts Grand Teton Music Festival Teresa Myrwang Holum Hotel Boulderado Japango
Moab Music Festival St Julien Hotel & Spa Sturtz and Copeland Sushi Zanmai Wallaroo Hat Company
Teresa Myrwang Holum Rudy Perez Eleanor Poehlman Luana Rubin
Kevin Shuck Cynthia Sliker Nanette Schunk, Event Coordinator
RESTAURANT SPONSORS
IN-KIND DONORS African Eyes Tours Arvada Center Boulder Ballet Boulder Museum of Contemporary Art Colorado Music Festival
FANFARE COMMITTEE Christopher Brauchli Joan Brett Patricia Butler David Fulker
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 May 1, 2012 to August 5, 2013.
FOUNDERS CIRCLE ($35,000+)
Patricia Butler The Citizens of the Scientific & Cultural Facilities District
GOLD CIRCLE ($10,000+)
AEC Trust Anonymous Estate of Don Campbell ExxonMobil David Fulker & Nicky Wolman Flatirons Bank Gordon & Grace Gamm Geological Society of America Foundation Ted Manning Thomas Landauer & Lynn Streeter The Individual Donors to the Boulder Philharmonic Endowment XTO Energy
SILVER CIRCLE ($5,000+)
Sydney & Robert Anderson Anonymous (2) Albert & Rebecca Bates Boulder Arts Commission Boulder County Arts Alliance Raquel Cagan Peter & Caroline Coggan John Goldsmith & Amy Kern Rudolfo & Margaret Perez Harry & Eleanor Poehlmann Virginia Hill Charitable Foundation Nyla & Gerry Witmore
BRONZE CIRCLE ($2,500+)
The Academy Gail Aweida (in memoriam) Christopher & Margot Brauchli Joan Brett Caplan & Earnest, LLC Thomas & Virginia Carr The Community Foundation Serving Boulder County Pamela Dennis Carl & Ruth Forsberg Jerry & Janet Gilland Kent & Cathy Hansen Kyle & Stephanie Heckman Samuel & Carolyn Johnson Ruth Carmel Kahn Stephen & Judy Knapp Erma & John Mantey Micro Motion Steve & Jayne Miller Millstone/Evans Group of Raymond James and Associates Frank Palermo & Susan Olenwine Carl & Kathy Polhemus Sterling-Rice Group, Inc. Mary Street Stephanie & Horace Work
LEADERSHIP CIRCLE ($1,000) Anonymous (3) A Spice of Life Catering Bennie & Jannette Balke Alexander & Sally Bracken Barbara Brenton Lindley & Roberta Brenza Michael Butterman & Jennifer Carsillo The Campbell Foundation Fund
34 Boulder Philharmonic Orchestra 2013-2014
Joan Cleland Collins Foundation Colorado State Bank & Trust Tom & Ursula Dickinson eQuilter Betty Fischer Andrew & Audrey Franklin John & Jacqulynn Geister Elyse Grasso David & Sara Harper John & Gerda Hedderich James & Judith Heinze Grant & Holly Hickman David & Suzanne Hoover IBM Virginia Jones Quentin & Bonnie Karlsrud Joan Knapp Harold & Joan Leinbach Bruce Kahn & Susan Litt Richard & Linda Livingston The Louise & Grant Charitable Fund Frances MacAnally Annyce Mayer Robert & Marilyn Mohling Myra Monfort Barbara & Irwin Neulight Janet & David Robertson T. K. Smith & Constance Holden Arthur & Carol Smoot Alan & Martha Stormo Taddiken Tree Co. Target U.S. Bancorp Foundation Dick & Caroline Van Pelt Betty Van Zandt Jack & Sophie Walker Jack & Brenda Zellner
Donors ARTIST CIRCLE ($500+)
Randall & Jill Anderson Peter & Patricia Angell Richard Bailey Boulder Public Library Foundation, Inc. Jean-Pierre & Glenna Briant Toni & Nelson Chen Ben & Gale Chidlaw Francis & Jenny Cloudman James Tailer & Donna Davis Chris & Pat Finnoff Dr. Gilberto Gonzalez Ralph & Joanna Grasso Charles & Gail Gray Lewis & Susan Guthrie Caroline Himes Jane & Mel Holzman Ray & Margot LaPanse Alan & Judy Megibow Robert & Francine Myers The Newton Family Fund Martha & George Oetzel James Pendleton Premier Mortgage Group Dayna & Robert Roane Susan & Paul Roberts Juan & Alicia Rodriguez Luana Rubin R. Alan & Stephanie Rudy Todd & Gretchen Sliker Kristen Wolf Stu Wright/Wright Kingdom Real Estate Art Zirger & Mary Rowe
PARTNERS ($250+)
Joyce Albersheim Anonymous (2) Vincent Bates Janet Braccio Amy Britton Stephen Eisenberg & Anne Burkholder Wallace & Beryl Clark Claude Weil & Carolie Coates Alan & Tessa Davis Scott & Paula Deemer Joe & Alice Doyle
Tracy & Michael Ehlers Wayne & Anne Fischer Stephen & Sandy Friedman Ann Garstang Gerald & Anita Gershten Greg Ginocchio Susan & Gustavo Grampp Mary Greenwald Ken & Dianne Hackett Charles & Patricia Hadley Kim Hult & Robert Pasnau Colman & Marcia Kahn David & Carol Kampert Matthew Karowe Derek & Eileen KiernanJohnson Angelyn Konugres Couponas Richard & Barbara Kuchenrither Jerome & Regina Lapin Jerry & Heidi Lynch Mary McElderry Richard & Donna Meckley Robert Morehouse Mary Nakashian Dorothy Read William Roettker Jane & Leo Schumacher Ronald Sinton Dr. Judy Smetana Andrew & Margrit Staehelin Randy Stevens Stephen Tebo Nicholas & Shelby Vanderborgh Anne Vincent Vivian Wilson
FRIENDS ($100+)
Richard & Alma Alber Lawrence & Annette Anderson Anonymous (3) Peggy Archibald Jason & Beth Baldwin Les & Barbara Berry Cynthia Betts Catherine & William Bickell Georgia Blum Kurt & Alison Burghardt
Martha Bushnell Michael & Stephanie Carter Julianne Cassady Helen Chenery Andrew & Lois Cherrington Roger & Norma Cichorz Sara-Jane & Bill Cohen Richard Collins Community First Foundation Max & Barbara Coppom Lynne Dannenhold Peter & Joan Dawson Larry Day & Catherine Haskins Dan & Nancy D’Ippolito David & Susan Donaldson David Dowell Leslie & Donald Dreyer Lee Ellwood Julie Erich Martha Coffin Evans Deidre Farrell Jennifer Favell Nan Fogel Robert & Juliette Ford Ronald & Heulwen Franklin Ellen Friedlander Neil Ashby & Marcie Geissinger Carl & Judy Gelderloos Peter Gilman & Peggy Lemone Julie Ginocchio Garry & Barbara Gordon Smith & Griswold Designs, Ltd. Chris & Linda Hansen Margaret Hansson Penny Haws Natalie Hedberg & Thomas Van Zandt Gerald & Doree Hickman David & Joan Hill Jeannette Hillery Ana Hopperstad Thomas & Kristi Horst Dixie Hutchinson John Hynes Arnie Jacobson & Victoria Johns-Jacobson
Boulder Philharmonic Orchestra 2013-2014 35
Donors William & Martha Jones Jo Ann Joselyn Robert Kehoe William & Ann Kellogg Melissa & Jon Kilberg Ann Kiley Don & Eleanor King Bonnie Kirschenbaum Peter & Judith Kleinman Barry Knapp Jon & Helena Kottke Annlee Landman Wesley & Heather Le Masurier Douglas Lerner Sue & Rick Levine Kamilla Macar Susan Magruder William & Susan Marine Charles & Marian Matheson Priscilla McCutcheon 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 Bob Orecchio Brigette Paige Christopher & Linda Paris Molly Parrish David Paulson Ronald Pelrine Robert & Marilyn Peltzer Paul & Margaret Preo John & Mary Price Brook Reams & Rochelle Chartier Francelyn Reeder Bob & Judy Rothe Barbara Sable Judith Schilling Dan Seger Karen Shay Daniel & Boyce Sher Howard & Valerie Singer Betty Skipp
Zdenka & Dean Smith Thomas & Nancy Storm Gregory & Diane Strevey Peter & Laura Terpenning James Topping Ed & Lynn Trumble Virgil & Margaret Tucker Lorraine Volsky Pamela Walker David & Amy Weiss Raymond & Rena Wells Jonathan & Hayden Williamson Mary Winston Richard & Wendy Wolf Helen E. Wyatt Charles Zabel Â
SUPPORTERS ($50+)
Charles & Cynthia Anderson Suzanne & Robert Anderson Anonymous (3) Charles Arnold Daniel & Elizabeth Ault Janet Bartsch David Blackburn Carolyn Boggs Stanley & Virginia Boucher David Burns Josephine & James Bush Joanne & Gene Simmon Desiree Cedeno-Suarez Joseph & Elizabeth Cirelli George Clements & Anna Bell Christine Coates & Howard Gordon Charlotte Corbridge Charles & Jean Dinwiddie Caroline & Preston Douglas Ruth Feiertag Neil Fishman William & Ann Ford Jeffrey & RoseMarie Foster Johannah Franke Yaser & Mary Freij David Gates Kathryn Goff Luis & Ester Gonzalez Allan & Joan Graham
36 Boulder Philharmonic Orchestra 2013-2014
Dorothea & Ronald Grey Chuck Hardesty Janice Harvey Patricia Havekost Spencer & Valerie Havlick James & Judith Heinze Verenne Hyde Wayne & Christine Itano Josh & Lori Kahn Joyce Larsen C. Nicholas & Mollie Lee Paul & Nancy Levitt Judith Lewis Joy Linfield Jean & Megan MacMillan Don & Jane Martin Robert Mayer J. Ramon McCarus Joan Mulcahy Peter & Barbara Schumacher Joan Scott Christine Shields Marcella Shykula John Snyder Robert & Julie Stuenkel Dr. Oakleigh Thorne, II Karen Utley Christine Waterbury Denise & Gary Williams
The Boulder Phil also thanks the 73 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
Caplan and Earnest’s Transactions Group can assist you with: Wills, Trusts and Probate • Real Estate Business Planning/Formation/Succession Celebrating Over
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Proud supporter of the Boulder Philharmonic Orchestra. Phone: 303-443-8010 • www.celaw.com One Boulder Plaza • 1800 Broadway, Suite 200 Boulder, CO 80302-5289
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 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
Artwork by Betsy Caplan
Boulder Philharmonic Orchestra 2013-2014 37
Listen Locally
thrill
feel the
nd on a Seas tickets ! le sing ale now on s
10/2 Armitage Gone! Dance Fables on Global Warming 11/8 Van Cliburn Gold Medalist Vadym Kholodenko 11/20 MOMIX Botanica 12/15 Turtle Island & Tierney Sutton A Solstice Celebration 1/17 Chick Corea & BĂŠla Fleck 2/13 Venice Baroque Orchestra 2/24 TAO Phoenix Rising 3/19 Fahrenheit 451 by Aquila Theatre 4/5 Eddie Palmieri Salsa Orchestra
CUPRESENTS.ORG 303-492-8008 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 Whether you have a passion for percussion or love to celebrate the strings, you know that the individual musicians that make up the Boulder Philharmonic Orchestra are what make the organization unique. Now you can highlight that connection and have a lasting impact on the Boulder Phil’s future by pledging your support to a musician in the orchestra through the new Friends of the Phil pledge initiative. By making a pledge of two or more years as a Friends of the Phil sponsor, you provide critical support to the Phil by directly underwriting a portion of a professional musician’s salary. In addition, special events and activities are being planned to expand 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.
Michael Yopp, Principal Horn
Leah Mohling Principal 2nd Violin
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 $1000+ annually
Our thanks to our very first Friends of the Phil sponsors: Joan Brett Alan & Tessa Davis Pamela Dennis David Fulker Teresa Myrwang Holum Virginia Jones Harold & Joan Leinbach Robert & Marilyn Mohling Robert & Francine Myers Martha & George Oetzel Rudy & Margaret Perez Todd & Gretchen Sliker Kristen Wolf Brenda & Jack Zellner
First time giving to the Phil? The multi-year pledge requirement to participate in Friends of the Phil is waived for new donors of $250+! For more information on how to participate in this new program, visit www.BoulderPhil.org or call Cynthia Sliker at 303-449-1343 x4.
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
A toast to the Boulder Philharmonic Orchestra...
oulder Philharmonic Orchestra...
1750 15th is a proud sponsor of Stthe Boulder, CO 80302 harmonic Orchestra. (303) 449-3374
for handicapped and donor ($1,000+) parking. LATE SEATING As a courtesy to other patrons, latecomers will be seated during an appropriate break at the discretion of the ushers. USEFUL INFORMATION Listening devices are available at the Macky box office. The use of cameras, recording equipment and all other electronic devices is prohibited during performances. Patrons with cell phones, beepers or electronic watches must silence them upon entering the auditorium. Fire regulations require that everyone, regardless of age, have a ticket to enter the auditorium. Classical concerts are not recommended for children under age 5.
2013 FALL CONCERTS Sept. 27 & 28 Nov. 8 & 9 Dec. 20, 21, & 22
02 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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Ellen plays the way she lives.
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At Frasier Meadows, each of our residents has a unique story to tell — just like you. Ellen has great memories from her days as a concert cellist. Come join our community and add your story to those of the other vibrant residents here. Learn more about our campus and our continuum of care at frasiermeadows.org, or call 303-499-4888.
44 Boulder Philharmonic Orchestra 2013-2014
Louder Than Words Dancetheatre, Jeffrey Nytch-Composer, and the Playground Ensemble present
Breath
A world premiere collaboration of dance, music and live performance June 2014, In the Byron Theatre at the University of Denver's Newman Center For more information, please visit www.louderthanwordsdance.com and sign up for our mailing list.
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