The Spirit of Boulder
2017-2018 SEASON
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Welcome Dear Friends, The audience was on its feet at the Kennedy Center as the Boulder Phil completed its stunning performance in March. They had experienced a program that had it all: a celebration of the natural word, visual elements that deepened the music’s impact, a novel presentation of a familiar masterwork, and the birth of a new piece, a welcome addition to the orchestral repertoire. Along with musical hikes, outdoor chamber performances, and discussions with composers and performers, a national audience had embraced the spirit of Boulder with open arms. That same spirit and vision enlivens our exciting 60th Anniversary season. This season, the Boulder Phil shares the stage with some of the greatest soloists in the world. Van Cliburn Gold Medalist Jon Nakamatsu joins us for Schumann, violinist Stefan Jackiw plays Prokofiev, and the brilliant Simone Dinnerstein returns to play her signature Bach along with a new work written for her (and co-commissioned by the Phil) by Philip Glass. Collaborations once again figure prominently, as we welcome collegiate choirs for works by Beethoven and Britten, along with Metropolitan Opera tenor Matthew Plenk and Boulder pianist David Korevaar. Cleo Parker Robinson Dance Ensemble brings a gorgeous new setting of The Lark Ascending, and we close our season with Central City Opera in a rare “in concert” presentation of West Side Story in honor of the 100th anniversary of Leonard Bernstein’s birth. Along with symphonic staples by Dvořák, Sibelius, and Shostakovich, we’ll hear some less familiar masterpieces by Beethoven, Bach, and Britten, and a beautiful tone poem by Schoenberg. Music inspired by literature, nature, politics, and spirituality dots the landscape, and we introduce a new work (another Boulder Phil co-commission) by Christopher Theofanidis. We have something for everyone as Cirque de la Symphonie returns with an all-new program celebrating the magic of cinema and featuring the extraordinary aerial violinist, Janice Martin. We help you kick off your holidays with our annual Nutcracker performances with Boulder Ballet. And all season long, the Phil will be busy sharing the joy of music with young people through our school visits and Discovery Concerts for elementary students, as well as a sensory-friendly chamber concert at the Boulder Public Library designed for children with autism and their families. For 60 years, the Boulder Phil has brought the world of music to Boulder. Today, with national recognition and recording projects in the works, we are helping to bring Boulder to the world. The spirit of Boulder starts with you—our patrons, subscribers, and supporters. We are proud to be your orchestra, and we thank you for joining us for another season of musical adventures. Enjoy!
Michael Butterman, Music Director
As one of Colorado’s premier ensembles, the Boulder Philharmonic Orchestra is creating a new model for American orchestras through dynamic performances that reflect our community’s own values, creativity, and sense of place. Voted “Best of Boulder” for the past five years in a row, today’s Boulder Phil is bucking national trends with growing, enthusiastic audiences under the vision and leadership of Boulder Phil at the Kennedy Center, Music Director Michael Butterman. Last March 25, 2017 season, we were proud to be one of four orchestras nationally to be featured in the prestigious SHIFT Festival of American Orchestras at the Kennedy Center in Washington, D.C. The Boulder Phil’s main concert series—broadcast state-wide on Colorado Public Radio—is presented at Macky Auditorium, a historic jewel on the University of Colorado campus. From multi-genre productions featuring dance, choral and visual elements to concerts with a unique hometown flavor, the Phil’s imaginative programming has resulted in increasing numbers of sold-out concerts and nationwide notice in Symphony Magazine and other publications. In recent seasons the Phil has collaborated with an impressive 50+ local organizations, encompassing arts, science, nature, youth, social services and more. By going beyond simply performing great music, we strive to connect the wider community more deeply with the live orchestral experience of today. Recognized as “Boulder’s premier orchestra” (Boulder Weekly) and “Boulder’s superb local professional orchestra” (Daily Camera), the Boulder Phil is comprised of the top freelance musicians from Colorado’s Front Range and beyond. Founded in 1957, the Boulder Phil’s recent history was shaped by notable music directors Ozzi Lehnert (1972-1996) and Theodore Kuchar (1996-2006), under whose leadership the Boulder Phil became a fully professional ensemble. Now celebrating our 60th Anniversary Season, the Boulder Phil of today reaches over 40,000 audience members each year, offering performances across the Front Range from Federal Heights to Highlands Ranch as well as regular invitations to perform at the Discovery Concert 2017 prestigious Vilar Performing Arts Center in Beaver Creek. The Boulder Phil strives to inspire the next generation of music-lovers through Discovery Concerts that reach thousands of 4th and 5th grade students in over 40 schools across four counties. This year’s Reach for the Stars program offers an exciting space exploration theme in honor of NASA’s – and the Boulder Phil’s – 60th anniversary. For decades the Phil has also fostered new talent with the annual Young Artist Concerto Competition, side-by-side concerts with the Greater Boulder Youth Orchestras and other school and youth orchestras, as well as performance opportunities for school groups and youth choirs. In all of these ways, the Boulder strives to be at the center of our community’s vibrant cultural life.
ADAM RIGGS
JATI LINDSAY
About the Boulder Phil
Community Engagement Music has the power to inspire and connect us, to bridge our differences and change the way we see the world. Serving the community has been at the heart of the Boulder Phil’s mission for 60 years - now more than ever before. The Boulder Phil is a recognized leader in community engagement, helping to write the next chapter in the story of the American orchestra by touching lives and creating opportunity through our growing education and outreach programs.
EDUCATION
“Mr. Butterman’s energetic spirit and great sense of humor really make the concerts come alive.” – BVSD teacher
• Discovery Concert 2018 takes students in grades 3-6 on a journey to explore orchestral music in a fun, interactive format featuring nationally-acclaimed Music Director Michael Butterman. • In-school visits with a Boulder Phil chamber ensemble highlight instrument families, composers, interdisciplinary themes, and plenty of time for student questions. • Meet the Maestro! Through his classroom visits, Maestro Butterman becomes a resource for area music educators, sharing his infectious enthusiasm and musical expertise with students. • Side-by-side concerts with Greater Boulder Youth Orchestras and school-based music programs pair our professional musicians with student musicians, providing them with a valuable in-concert mentorship experience. • $5 student tickets to every Masterworks concert make attendance affordable and increase access for students from Kindergarten age through college. Phone and walk-up sales only.
OUTREACH
NEW this year, free family concerts offered in September and March bring together audiences of all ages to share the joy of live performances. Sensory-friendly concerts for families of children on the autism spectrum provide a safe environment to experience the joy of live arts performances in a welcoming setting.
Through partnership with Boulder Open Space & Mountain Parks, we offer guided musical hikes and “stroll-to” chamber music performances that complement our programming and connect the community with the natural world through music. Pre-concert talks before every performance offer insights on the evening’s program, featuring a variety of presenters including our Guest Artists, collaborators and Music Director Michael Butterman.
ADAM RIGGS
Through our education programs, we’re committed to taking community-specific action to improve access and provide resources for music education through performances, partnerships and advocacy.
BOULDER PHILHARMONIC ORCHESTRA
MICHAEL BUTTERMAN, MUSIC DIRECTOR Mailing address: 2590 Walnut Street • Boulder, CO 80302 303-449-1343 www.BoulderPhil.org
MUSIC DIRECTOR Michael Butterman PRINCIPAL GUEST CONDUCTOR Gary Lewis COVER CONDUCTORS Silas Huff Johannes Krohn OFFICERS Karyn Sawyer, President Rodolfo Perez, Vice President BOARD Christopher Brauchli Patricia Butler Michael Butterman, ex officio Heather Dupré Claire Figel David Fulker Lin Hawkins
Lynn Streeter, Secretary Joel Kiesey, Treasurer
Deborah Holland Steve Knapp Erma Mantey Marla Meehl Eleanor Poehlmann Leslie Scarpino Yenlik Weiss Ronny Wells
ADMINISTRATION Steve Knapp, Interim Executive Director Eve Orenstein, Director of Development Shelley Sampson, Patron Services Manager & Artistic Administrator Cynthia Sliker, Director of Community Engagement Zachary Patten, Production Manager Kim Peoria, Personnel Manager
Stephanie Mientka, Orchestra Librarian Holly Hickman, Marketing Consultant / Up Tempo Marketing Janet Braccio, Publicity & Media Relations / Bella Voce Communications Michelle Edwards, Bookkeeper / Trailhead Accounting Solutions
ADVISORY COUNCIL Barbara Brenton Pamela Dennis Kent Hansen Ruth Kahn Susan Olenwine
Mary Street Dick Van Pelt Betty Van Zandt Brenda Zellner
To Our Supporters Dear Friends of the Boulder Phil, It is with real pride and a sense of forward direction that I welcome you to our 60th Anniversary season! The Boulder Phil has been a cultural treasure in our community for 60 years – now more than ever. As incoming President of the Board of Directors, I am so pleased and honored to be leading the next phase in this organization’s development — building on our many past successes and moving us onward to new heights of artistic achievement, cultural connection and community impact. This season marks the beginning of Music Director Michael Butterman’s second decade in Boulder, and we are indeed fortunate to have his unique vision and tremendous enthusiasm for the orchestral experience shaping every performance we present and guiding the strategic vision of our future. Whether concerts include well-loved masterworks, world premieres by exciting contemporary composers, innovative visual elements, or groundbreaking collaborations – you are assured that each of Maestro Butterman’s programs will be an event to remember. Our orchestra depends entirely on the continued generosity of our patrons, and our 60th Anniversary season would not be possible without YOU. Thank you for being here with us tonight, and I hope to see you at future events. Karyn Sawyer President, Boulder Philharmonic Board of Directors
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Boulder Phil at 60 1958
Antonia Brico (1958-1964) first Boulder Phil music director, and first woman to conduct the New York Phil.
1970
David Burge in 1970 (1965-1972) noted pianist and composer, pictured with the Boulder Phil in concert.
1994
Ozzi Lehnert in 1994 (1972-1996) “Father” of the Boulder Phil, pictured at right with Boulder Phil musicians outside Macky Auditorium.
The Boulder Philharmonic Orchestra began as a community orchestra with its 1957-1958 season, during which it performed in local public school auditoriums. Macky Auditorium became the orchestra’s permanent home in 1975, and, in 1998, the Phil became a fully professional ensemble. This season, the Boulder Phil is proud to be celebrating its 60th anniversary. Voted “Best of Boulder” for the past five years in a row, the Phil now reaches audiences of more than 20,000 each year through various performances across the Front Range and beyond. From multi-genre productions featuring dance, choral and visual elements to concerts with a unique hometown flavor, the Phil’s imaginative programming has resulted in increasing numbers of sold-out concerts and nationwide recognition. The orchestra also achieved national prominence by being selected to perform for a packed house at the Kennedy Center’s inaugural SHIFT Festival of American Orchestras in March 2017. In recent seasons the Phil has collaborated with an impressive 50+ local organizations, encompassing arts, science, nature, youth, social services, and more. By going beyond simply performing great music, our orchestra strives to connect ever more people to the inspiring power of symphonic music. For a comprehensive history of the Boulder Phil, and to find out how you can support our mission, visit BoulderPhil.org.
1999
2017
Theodore Kuchar in 1999 (1996-2006) when the Boulder Phil became fully professional, pictured with Itzak Perlman.
Michael Butterman in 2017 (2006-present) pictured at the Kennedy Center with the Boulder Phil for the SHIFT Festival of American Orchestras
Thank You to our Sponsors ◆ SEASON PRESENTING SPONSORS Patricia Butler
Lynn Streeter
◆ SEASON SPONSORS
Sydney and Robert Anderson
Rodolfo and Margaret Perez
◆ PERFORMANCE SPONSORS
Silver Circle Nancy Clairmont and Bob Braudes Steve and Jayne Miller Bronze Circle Sara and David Harper Wayne Itano and Christine Yoshinaga-Itano Judy and Steve Knapp Marla and Jerry Meehl Eleanor and Harry Poehlmann
Leadership Circle Andy and Audrey Franklin Bob and Francine Myers Peter A Gilman and Margaret A. LeMone Betty Van Zandt Jerry and Heidi Lynch Russell and Ann Hayes Ursula Dickinson
◆ BUSINESS AND COMMUNITY SPONSORS BOULDER’S BOUTIQUE RETIREMENT COMMUNITY
Noris Foundation
Virginia Hill Charitable Foundation
◆ IN-KIND SPONSORS BOULDER PIANO GALLERY
BOULDER PHILHARMONIC ORCHESTRA
60
TH
ANNIVERSARY
SATURDAY, OCTOBER 21, 2017 5:30 PM 3975 28TH STREET, BOULDER INDIVIDUAL TICKETS $160 TABLES OF 10 $1,600 Tickets available at boulderphil.org Contact Eve Orenstein at eve@boulderphil.org or 303.443.0542 for more information.
60
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Season Supporters S E NI O R L I V I NG
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Meet Michael Butterman
JATI LINDSAY
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 serves as Music Director for the Boulder Philharmonic Orchestra, whom he has led to national prominence, resulting in an invitation to open the Kennedy Center’s inaugural SHIFT Festival of American Orchestras in 2017. He is also the Music Director of the Shreveport Symphony Orchestra and the Pennsylvania Philharmonic. In addition, he is in his 18th season as Principal Conductor for Education and Community Engagement for the Rochester Philharmonic Orchestra, and just completed a 15-year tenure with the Jacksonville Symphony, first as Associate, and then as Resident Conductor. As a guest conductor, Mr. Butterman has led many of the country’s preeminent ensembles, including the Cleveland Orchestra, Philadelphia Orchestra, National Symphony, Detroit Symphony and Houston Symphony. Other recent appearances include performances with the Colorado Symphony, Oregon Symphony, Phoenix Symphony, Kansas City Symphony, Colorado Music Festival Orchestra, Charleston Symphony, Hartford Symphony, San Antonio Symphony, Syracuse Symphony, New Mexico Symphony, Santa Fe Symphony, California Symphony, Louisiana Philharmonic, Spokane Symphony, El Paso Symphony, Mobile Symphony, Winston-Salem Symphony, Pensacola Opera, Asheville Lyric Opera and Victoria Symphony (British Columbia). Summer appearances include Tanglewood, the Bravo! Vail Valley Music Festival and the Wintergreen Music Festival in Virginia. 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 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. Earlier, Mr. Butterman was sponsored by UNESCO to lead the National Philharmonic Orchestra of Moldova in a concert of music by great American masters. For six seasons, Mr. Butterman served as Music Director of Opera Southwest in Albuquerque, NM. During much of that time, he was also Director of Orchestral Studies at the LSU School of Music 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 six 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
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Boulder Phil at 60 BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Jon Nakamatsu, piano Sunday, September 24, 2017 Pinnacle Performing Arts Complex 2:00 pm Performance Sunday, September 24, 2017 Macky Auditorium, CU Boulder 6:00 pm Pre-Concert Talk 7:00 pm Performance Christopher Theofanidis Dreamtime Ancestors (b. 1967) I. Songlines II. Rainbow Serpent III. Each Stone Speaks a Poem Robert Schumann Piano Concerto in A minor, Op. 54 (1810 – 1856) I. Allegro affettuoso II. Intermezzo: Andantino grazioso III. Allegro vivace — Intermission — Antonín Dvořák Symphony No. 7 in D minor, Op. 70 (1841 – 1904) I. Allegro maestoso II. Poco adagio III. Scherzo: Vivace – Poco meno mosso IV. Finale: Allegro Program and artists subject to change. The use of cameras and electronic devices is strictly prohibited. Tonight’s Steinway piano provided by Schmitt Music, exclusive Steinway dealership for Colorado
Silver Circle Concert Sponsors Rodolfo & Margaret Perez
John Nakamatsu Sponsors Beatriz & Juan Roederer
Bronze Circle Concert Sponsors Sara & David Harper Boulder Philharmonic Orchestra 2017-2018 Program 1
Program JON NAKAMATSU, piano
American pianist Jon Nakamatsu continues to draw unanimous praise as a true aristocrat of the keyboard, whose playing combines elegance, clarity, and electrifying power. A native of California, Mr. Nakamatsu came to international attention in 1997 when he was named Gold Medalist of the Tenth Van Cliburn International Piano Competition, the only American to have achieved this distinction since 1981. Mr. Nakamatsu has performed widely in North and South America, Europe, and the Far East, collaborating with such conductors as James Conlon, Marek Janowski, Raymond Leppard, Stanislaw Skrowaczewski, Osmo Vänskä and Hans Vonk. He also performed at a White House concert hosted by President and Mrs. Clinton. Mr. Nakamatsu’s extensive recital tours throughout the U.S. and Europe have featured appearances in New York’s Carnegie Hall and Lincoln Center, Washington D.C.’s Kennedy Center, and in Boston, Chicago, Cincinnati, Paris, London and Milan. He has worked with various chamber ensembles - among them the Brentano, Tokyo, Kuss, Jupiter, Cypress, Prazak and Ying String Quartets — and has toured repeatedly with the Berlin Philharmonic Wind Quintet. Together with clarinetist Jon Manasse, Mr. Nakamatsu tours continually as a member of the Manasse/Nakamatsu Duo. The Duo also serves as Artistic Directors of the esteemed Cape Cod Chamber Music Festival in Massachusetts. Mr. Nakamatsu records exclusively for harmonia mundi usa, which has released thirteen CDs to date. His all-Gershwin recording with Jeff Tyzik and the Rochester Philharmonic featuring Rhapsody in Blue and the Concerto in F rose to number three on Billboard’s classical music charts, earning extraordinary critical praise. Other acclaimed releases include an all-Liszt disc featuring the “Dante Sonata;” a recording of Brahms’ Piano Sonata in F minor; and Rachmaninoff’s Piano Concerto No. 3 and the Rhapsody on a Theme of Paganini. Mr. Nakamatsu’s 2008 recording of Brahms’ Clarinet Sonatas with Jon Manasse
was chosen by The New York Times as one of its top releases for the year; his latest disc with Mr. Manasse, released in August 2012, includes both the Brahms Clarinet Quintet and the Piano Quintet with the Tokyo String Quartet. Of his most recent release on the label, a 2014 solo disc of the piano works of Robert Schumann, BBC Music Magazine states that “Nakamatsu clarifies Schumann’s mid-range saturated textures to a remarkable degree, reveling in its fantastic imaginings with rapier-like precision and effortless command.” Since 1997, Mr. Nakamatsu has served on multiple international piano competition juries and has also been invited as a guest speaker at numerous institutions including the Van Cliburn Foundation, Stanford University and the Juilliard School. Mr. Nakamatsu studied privately with Marina Derryberry and has worked with Karl Ulrich Schnabel, son of the great pianist Artur Schnabel. He is a graduate of Stanford University with a bachelor’s degree in German Studies and a master’s degree in Education.
CHRISTOPHER THEOFANIDIS, composer
Born December 18, 1967 in Dallas, Texas, Christopher Theofanidis has had performances by many leading orchestras from around the world, including the London Symphony, the New York Philharmonic, the Philadelphia Orchestra, the Atlanta Symphony, the Moscow Soloists, the National, Baltimore, St. Louis, and Detroit Symphonies, among many others. He has also served as Composer of the Year for the Pittsburgh Symphony during their 2006-07 season, for which he wrote a violin concerto for Sarah Chang. Mr. Theofanidis holds degrees from Yale, the Eastman School of Music, and the University of Houston, and has been the recipient of the International Masterprize, the Rome Prize, a Guggenheim fellowship, a Fulbright fellowship to France to study with Tristan Mural at IRCAM, a Tanglewood fellowship, and two fellowships from the American Academy of Arts and Letters. In 2007 he was nominated for a Grammy award for best composition for
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his chorus and orchestra work, The Here and Now, based on the poetry of Rumi, and in 2017 for his bassoon concerto. His orchestral work, Rainbow Body, has been one of the most performed new orchestral works of the new millennium, having been performed by over 150 orchestras internationally. Mr. Theofanidis’ has written a ballet for the American Ballet Theatre, a work for the Orpheus Chamber Orchestra as part of their ‘New Brandenburg’ series, and two operas for the San Francisco and Houston Grand Opera companies. Thomas Hampson sang the lead role in the San Francisco opera. His work for Houston, The Refuge, features six sets of international non-Western musicians alongside the opera musicians. He has a longstanding relationship with the Atlanta Symphony and Maestro Robert Spano, and has just four recordings with them, including his concert length oratorio, Creation/Creator, which was featured at the SHIFT festival at the Kennedy Center in Washington, D.C. this year with the ASO, chorus, and soloists. His work, Dreamtime Ancestors, for the orchestral consortium, New Music for America, has been played by over fifty orchestras over the past two seasons. He has served as a delegate to the US-Japan Foundation’s Leadership Program, and he is a former faculty member of the Peabody Conservatory of Johns Hopkins University as well as the Juilliard School. Mr. Theofanidis is currently a professor at Yale University, and composer-in-residence and co-director of the composition program at the Aspen Music Festival.
PROGRAM NOTES CHRISTOPHER THEOFANIDIS Dreamtime Ancestors
Dreamtime Ancestors was commissioned by the New Music for America Consortium, for performance by 48 orchestras throughout the United States. Mr. Theofanidis dedicated Dreamtime Ancestors to fellow American composer Stephen Paulus (1949-2014). Dreamtime Ancestors was inspired by Australian aboriginal creations myths. According to these myths, we are all connected to each other via “dreamtime ancestors” of the
past, present, and future. This connection is referred to as “all-at-once time.” I. Songlines This movement starts with a meandering line in the cellos and basses, and it continues to weave throughout the movement, with melodies and shapes emerging from the line. II. Rainbow Serpent This is one of the central figures in the Aboriginal people’s creation stories, with cave art representing it going back tens of thousands of years. Rainbow Serpent was one of our ancestors who carved the surface of the earth with rivers and valleys, and left in its wake rainbows and stars. I tried to depict this with a long melodic and chromatic line in the string section and vibraphone that leaves harmonic resonances in its wake. III. Each Stone Speaks a Poem I liked the idea very much that even the most common object has poetry in it if we listen. The movement begins with an arid three-note motive that eventually opens up into something more majestic. The end of the piece recalls materials from all three of the movements. —Christopher Theofanidis
From the Australian Aboriginal Tradition What is the Dreaming?
If we close our eyes and leave our modern mind, if we remember our early childhood, with no awareness of passing time, when each day was full, really Full, the enormous and unquestioned sense of connection with our family, everything still untraumatized, then, can we begin to enter the Dreaming. This is “all--at-once” time-our past, present, and future, our connection to all things-in a seed. Baiame! Ancestor Maker of Many Things. Baiame! Bring forth! Bringforth other ancestors from the ground and send them over the seas. Rainbow Serpent Ancestor, carve rivers, leave stars! Flow blood, hurl lightning-bring life to empty space! Eagle Ancestor, burst Emu Ancestor’s egg in the air burst it into flame: the sun!
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Crocodile Man Ancestor, whose ridges carve the earth, leave a memory of your earthly pain! Valleys and peaks everywhere!
These remnants are the songlines of the earthevery event an ancestor, a connection, a record in the land. Nothing is apart. All we know, all we are, is accumulated. Before and after life, the spirit--child exists. When this spirit--child is born, it is one of these songlines calling the child to be a custodian of that placeto understand its connection, to stay.
There are whispers of animals yet to be, only the stirrings of faint breaths, souls of creatures deeply slumbering under the earth’s crust, in the human consciousness. Even each stone speaks a future poem. This is the Dreaming.
ROBERT SCHUMANN: Concerto in A Minor for Piano and Orchestra, Op. 54
This work was premiered on December 4, 1845, in Dresden, with Ferdinand Hiller conducting and Clara Schumann as soloist. Composer Robert Schumann died in an insane asylum, although some would believe that he belonged there from the beginning. Since he was a teenager, he had an irrational fear of going mad, probably due to the fact that his father and sister suffered mental disorders, which led to the latter’s suicide at nineteen. His music often dealt with such subjects, including his song cycle Dichterliebe, in which the singer’s persona skirts the boundaries of madness. As publisher and critic for the Neue Zeitschrift für Musik (New Musical Times), he wrote under three pseudonyms – Eusebius, the proponent of good taste; Florestan, an eager student who was “in a state of flowering;” and Raro, who related his controversial opinions. Schumann was a composer afraid of insanity, who often wrote on that very subject, and who published writings from his multiple personalities. After Schumann left an unsuccessful stint as a student of law at the University of Leipzig in 1828, he began piano lessons with Friedrich
Wieck. After a short break the following year, Schumann took a room in the teacher’s home and attempted to become a virtuoso pianist. Despite an almost debilitating anxiety problem, the twenty-five-year-old man found strength in one thing – his obsessive love for Wieck’s sixteen-year-old daughter, Clara. Naturally, Wieck objected to this unstable young man’s unnatural obsession with his underage daughter, but Schumann persevered to the point of taking Wieck to court in order to marry Clara. In what must have been an infuriating gesture, the couple wed on September 12, 1840 – one day before her twenty-first birthday. It was a long marriage with many trials, the most extreme of which was Schumann’s attempted suicide by jumping into the Rhine at Düsseldorf in the winter of 1854. Five days later, he committed himself to an institution near Bonn, where Clara was not permitted to visit. A family friend, Johannes Brahms, who Schumann had discovered a few years before, moved in as a long-term houseguest to help the young woman with the seven children, one of whom developed a mental disorder in later years. Despite numerous personal problems, Schumann was one of the most original compositional voices to emerge in the nineteenth century. His numerous lieder and chamber works are among the most revered and his symphonic works nearly all remain in the orchestral repertoire. However, it was his many pieces for the piano that brought him the most recognition in his lifetime. Clara was his tireless champion, often promoting his music in performance. She continued to champion Robert’s works until her death in 1896. One of the pieces she performed on a regular basis was Robert’s Piano Concerto. Begun eight months after their wedding as a Fantasy, Robert continued to labor over the piece until he decided four years later to expand it into a full-length concerto with the original Fantasy as the first movement. This piece does not concentrate just on flashy virtuosic writing, but it is monstrously difficult even though that aspect is not always apparent. The work opens with a rhythmic piano flourish, giving way to a pensive oboe solo, which provides the motto from which the work sprouts. Of particular note is the inventive development section, which journeys to remote keys and provides considerable unrest to the proceedings.
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Schumann’s climactic cadenza is written out as part of the published score, not allowing the practice of including performer-composed cadenzas, as was common practice only a few decades before this work was written.. Bearing the marking Intermezzo: Andantino grazioso, the second movement is a leisurely excursion through long and lyrical melodies with the piano providing interjections along the way. Near the end of the movement, clarinet and bassoon reprise material from the opening of the concerto. This provides a seamless transition to the finale, which begins without pause. Brilliant and waltz-like, the syncopated last movement is filled with the type of effervescent piano writing, tinged with moments of melancholy, which has endeared listeners and performers to Robert Schumann’s music for a century and a half.
ANTONIN DVOŘÁK: Symphony No.7 in D Minor, Opus 70
Dvořák’s friend and mentor, Johannes Brahms, had introduced him to the influential music publisher, Fritz Simrock, who boosted the popularity of the young composer. But, as his career progressed, Dvořák became dissatisfied with his monetary returns. Simrock paid Brahms 40,000 marks for his Fourth Symphony. But Simrock would offer Dvořák only 3,000 marks for his Second Symphony. While Dvořák did not put himself in the class of Brahms, musically or financially, he did think he should get at least 6,000 marks for the new work. When, after the London premiere, he informed Simrock that the symphony “had an exceptionally brilliant success,” he was stating fact, and was making a pointed reminder to the publisher. The London public and critics literally raved over it. Some listeners compared it to Schubert’s “Great C Major” Symphony. Others rated it above the symphonies of Brahms. These judgments, if somewhat on the extreme side, impressed Simrock and, when Dvořák insisted upon his 6,000 marks, he got them. Dvořák’s first London trip was in March of 1884, during which he conducted his Stabat mater, the Sixth Symphony and other works. His success was so great that the London Philharmonic Society commissioned him to compose a new symphony for them to premiere during their following season. In
addition, he was asked to write new choral works for the 1885 Birmingham Festival and the 1886 Leeds Festival. Birmingham was given the cantata, The Spectre’s Bride, and Leeds premiered the oratorio, St. Ludmilla. The London Philharmonic received Dvořák’s Seventh Symphony. The Seventh Symphony, one of his most adventurous works, has found an audience in every generation to come along since its composition. The first movement (Allegro maestoso) opens softly with a theme for violas and cellos over a pedal point in basses, horns, and timpani. Clarinets take up the phrase with a tremulous harmony in strings. There is also a more vigorous subsidiary theme, developed at length by the orchestra and leading to a fortissimo climax and the return of the first subject. A convoluted development section follows, full of stormy harmonic contrasts. The climax of this intricate and Brahmsian movement gives way to an elaborate coda. The poco adagio second movement, lyrical and dramatic by turns, opens with a folk tune in woodwinds accompanied by pizzicato strings. The first subject is given to the flutes and oboes. The first violins and cellos play an expressive second subject in octaves, leading to a free development that is not at all in the traditional style. A rich and warm section of cellos bring back the first theme, continuing the richness of orchestration heard throughout the entire movement. In the scherzo, Dvořák uses Czech rhythms in the opening theme. The Trio, with predominant woodwinds and strings, is an idyllic interlude before the return of the first section. With a stern opening phrase that supplies the germ for almost all of the thematic material of the movement, Dvořák launches into the finale. Essentially dramatic in character, the finale unfolds with the craftsmanship of a seasoned master. Program Notes ©2017 Orpheus Music Prose & Craig Doolin, www.orpheusnotes.com
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We thank our “Friends of the Phil” musician sponsors. For more information on sponsoring one of the Boulder Phil’s professional musicians, please visit www.boulderphil.org. VIOLIN 1 Charles Wetherbee, concertmaster, Lafayette Rebecca Roser Annamaria Karacson, assistant concertmaster, Boulder Virginia Newton Debra Holland, Castle Valley, UT Jack & Brenda Zellner Susie Peek, Denver Gyongyver Petheo, Highlands Ranch Todd & Gretchen Sliker Veronica Sawarynski, Arvada Leslie Sawyer, Longmont Takanori Sugishita, Louisville Harold & Joan Leinbach, Luana Rubin Malva Tarasewicz, Boulder Pamela Walker Yenlik Bodaubay Weiss, Superior Charlotte Corbridge VIOLIN 2 Leah Mohling,* Louisville Robert & Marilyn Mohling Sharon Park,** Denver Robert & Francine Myers Sarah Delevoryas, Broomfield Kristen Wolf Regan Kane, Boulder Joan Brett & Edward Siegel Miriam Linschoten, Boulder Cyndi Mancinelli, Littleton Robyn Sosa, Denver Paul Trapkus, Longmont Azaduhi A. Vieira, Colorado Springs Lori Wolf Walker, Louisville VIOLA Mary Harrison,* Denver Patricia Butler Michael Brook,** Superior Matthew Hyatt Aniel Cabán, Boulder Matthew Diekman, Golden Bob Braudes & Nancy Clermont Megan Edrington, Lafayette Claire Figel, Boulder Nancy McNeill, Lafayette Stephanie Mientka, Westminster CELLO Charles Lee,* Longmont Albert & Rebecca Bates Marcelo Sanches,** Boulder Anne Wenzel Anne Brennand, Boulder Joan Cleland
Sara Fierer, Denver Penny & Robert Haws Yoriko Morita, Louisville Chris & Margot Brauchli Greta Parks, Boulder Carolyn Bradley Shirley Stephens-Mock, Golden Eleanor Wells, Longmont Martha & George Oetzel BASS David Crowe,* Boulder Nyla & William Witmore Brian Knott,** Louisville Lin & Matthew Hawkins Benjamin de Kock,+ Denver Jesse Fischer, Longmont Owen Levine, Wheat Ridge Jeremy Nicholas,+ Edgewater Matthew Pennington, Lafayette HARP Kathleen Wychulis,* Omaha, NE PIANO Arthur Olsen,* Boulder Eleanor & Harry Poehlmann TIMPANI Douglas William Walter,* Louisville PERCUSSION Hiroko Okada Hellyer,* Centennial Virginia Jones Paul Mullikin,** Lakewood Marion Thurnauer & Alexander Trifunac Mike Tetreault, Longmont Annyce Mayer FLUTE/PICCOLO Elizabeth Sadilek-Labenski,* Edwards Pamela Dennis Caitlyn Phillips, Austin, TX Olga Shilaeva, Lafayette Paul Weber OBOE/ENGLISH HORN Sarah Bierhaus,* Golden Max Soto, Denver CLARINET/BASS CLARINET Stephanie Zelnick,* Lawrence, KS Rodolfo & Margaret Perez Michelle Orman, Denver William & Ann Kellogg
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BASSOON/ CONTRABASSOON Charles Hansen,* Greeley in memory of 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 Tom and Susan Churchill Stuart R. Mock, Golden DeAunn Davis, assistant & utility, Sparks, NV TRUMPET Leslie Scarpino,* Wheat Ridge David Fulker & Nicky Wolman Kenneth Aikin, Boulder Roberta Asmus Goodall, Centennial Courtney Thomas TROMBONE Bron Wright,* Colorado Springs Owen Homayoun, Austin, TX Jeremy Van Hoy, Colorado Springs TUBA James Michael Dunn, Erie ADDITIONAL MUSICIANS Christina Boyer, bass Peter Cooper, timpani Michelle Davis, violin Kostadin Dyulgerski, viola Mark Hsieh, trombone Robyn Julyan, violin Trevor Minton, cello Brandon Norton, trumpet Renee Patten, violin Ingrid Peoria, violin JJ Sechan, bassoon Bill Stanley, trombone Jason Thompson, bass * Principal ** Assistant Principal + New Members, Fall 2017
Music of Resistance BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Saturday, October 14, 2017 Macky Auditorium, CU Boulder 6:30 pm Pre-Concert Talk 7:30 pm Performance The University of Colorado Boulder University Singers Dr. Gregory Gentry, Director of Choral Studies The University of Colorado Boulder University Choir Dr. Elizabeth Swanson, Associate Director of Choral Studies CU Festival Chorus Craig Robertson, Director Western Illinois University Singers Dr. James Stegal, Director of Choral Activities David Korevaar, piano Matthew Plenk, tenor Ludwig van Beethoven (1770 – 1827)
Choral Fantasy
Benjamin Britten Ballad of Heroes (1913 – 1976) I. Funeral march II. Scherzo – Dance of Death III. Recitative and Choral — Intermission — Dmitri Shostakovich Symphony No. 5 in D minor (1906 – 1975) I. Moderato: Allegro non troppo II. Allegretto III. Largo IV. Allegro non troppo Program and artists subject to change. The use of cameras and electronic devices is strictly prohibited.
Bronze Circle Concert Sponsors Eleanor & Harry Poehlmann Beethoven Sponsors Ursula Dickinson Peter Gilman & Margaret LeMone
David Korevaar Sponsors
Bob & Francine Myers Betty Van Zandt
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David Korevaar, whose playing has been called a “musical epiphany” by Gramophone Magazine, performs an extensive repertoire as a soloist and chamber musician around the US and internationally. In addition to his teaching at CU, where he holds the Peter and Helen Weil fellowship in piano and where he has been named Distinguished Research Lecturer (2016), he has been a regular participant as performer and teacher at Colorado’s Music in the Mountains summer festival and continues to teach and perform regularly in Japan under the auspices of The Music Center Japan. In the spring of 2016, Korevaar spent two weeks teaching in Kabul at the Afghanistan National Institute of Music (ANIM). In October 2016, he made his first tour to Brazil, performing and teaching around the country; he will return this coming May. Korevaar’s extensive discography includes numerous solo and chamber music recordings. Recent releases include a disc of chamber works by Tibor Harsányi with Charles Wetherbee (Naxos), and a Chopin recital on MSR, Hindemith’s three Piano Sonatas and Suite “1922” (MSR) and two Schubert Sonatas (MSR). In addition, his collaboration with members of the Takacs Quartet has resulted in a number of releases, including a disc of Brahms with violist Geraldine Walther and cellist Andras Fejer (MSR), two Beethoven Violin Sonatas with violinist Edward Dusinberre (Decca), and Hindemith’s music for Viola and Piano with Geraldine Walther (MSR). In addition to his performing activities, Korevaar writes on various musical topics, with a focus on French music.
MATTHEW PLENK, tenor
A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, tenor Matthew Plenk made his Metropolitan Opera debut in the 2007/2008 season as the Sailor’s Voice in Tristan und Isolde under the baton of Maestro James Levine, a role he repeated under the baton of Daniel Barenboim. He has since returned to the Met as Arturo, Janek in The Makropolous Case, the Song Seller in Il Tabarro and Marcellus in Hamlet, and appeared as Arturo in the Met’s 2011 tour of Japan. Other recent opera engagements have included Steuerman in Die fligende Holländer at the Los Angeles Opera, Frederic in The Pirates of Penzance and Macduff in Macbeth at the Opera Theatre of St. Louis, Tamino in Die Zauberflöte at the Virginia Opera, Ferrando in Cosí fan tutte at the Atlanta Opera, Don Ottavio at the Boston Lyric Opera, Lyric Opera of Kansas City, and the Des Moines Metro Opera; Nanki-Poo in The Mikada at the Virginia Opera, and Ferrando, Nanki-Poo, Rodolfo in La Bohème, Flute in Britten’s A Midsummer Night’s Dream, and Kudrjáš in Janáček’s Kat’a Kabanová with the Yale Opera. Mr. Plenk made his Carnegie Hall debut with the Metropolitan Opera Chamber Ensemble, singing the Brahms Liebeslieder Walzer and duets by Schumann. Other concert engagements have included Handel’s Messiah with the University Musical Society in Ann Arbor and with the Minnesota Orchestra, concert performances of Salome and Daphne with the Cleveland Orchestra in Cleveland and in New York, Borsa in a concert performance of Rigoletto with Gustavo Dudamel and the Los Angeles Philharmonic at the Hollywood Bowl, the Shepherd in Oedipus Rex with both the Boston Symphony Orchestra (with James Levine) and the Philadelphia Orchestra (with Charles Dutoit), his debut at the Tanglewood Festival as Iopas in Berlioz’ Les Troyens with James Levine conducting, Filas’ Requiem with the Oratorio Society of New York in Carnegie
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Hall, and appearances at the Aspen Music and La Jolla Summerfest festivals, and with the Orchestra Sinfonica di Milano Giuseppe Verdi, Hartford Symphony, Hudson Valley Philharmonic, Los Angeles based Musica Angelica Baroque, Connecticut Chamber Orchestra, University of North Carolina Symphony, and Yale Philharmonia, conducted by Sir Neville Marriner. In 2005 Mr. Plenk was one of sixteen singers invited to work with Naxos Records and Yale University in a collaborative project to record the complete songs of Charles Ives. Mr. Plenk has been appointed as Assistant Professor of Voice at The University of Denver’s Lamont School of music. He is a Samling Scholar, and holds a Bachelor’s degree from the Hartt School of Music and a Master’s degree from Yale University. His many awards include Grand Finalist in the 2007 Metropolitan Opera National Council Auditions, First Place winner of the Five Towns Music Competition, and Grand Prize winner at the Music Lovers Competition.
GREGORY GENTRY, conductor, University Singers
Gregory Gentry is Director of Choral Studies at the University of Colorado, and Artistic Director of CU’s annual Holiday Festival. His prior Boulder Philharmonic choral collaborations are Bach’s St. Matthew Passion (2016), Bernstein’s Chichester Psalms (2013), Copland’s The Tenderland Suite (2013). As Phoenix Symphony Chorus Master (2005– 2012), he prepared the Phoenix Symphony Chorus for Puccini’s Messa di Gloria (2012), In Principio by Arvo Pärt (2011), On the Transmigration of Souls and Nixon in China (2009) by John Adams, Mark Grey’s Enemy Slayer: A Navajo Oratorio (2008), Golijov’s Ainadamar (2008). Dr. Gentry is former Director of Choral Performance at Arizona State University, past president of Arizona ACDA, and founder of Southwest Liederkranz.
ELIZABETH SWANSON, conductor University Choir
Dr. Elizabeth Swanson is Associate Director of Choral Studies and Assistant Professor of
Music at the University of Colorado Boulder. She is the conductor of the University Choir and teaches courses in conducting. Swanson also serves as Secretary on the Executive Board of the National Collegiate Choral Organization (NCCO). Prior to her appointment at CU Boulder, Swanson was Associate Professor of Music at Nyack College in New York City and served as Manager of New York Citybased professional choir, Manhattan Chorale. Swanson has also been the conductor of ensembles at University of Chicago, North Park University, Roosevelt University, Northwestern University, and Ithaca College. Swanson is an active guest conductor, presenter, and has been published in The Choral Journal. She earned degrees from Northwestern University (DM Conducting), Ithaca College (MM Conducting) and St. Olaf College (BM Vocal Education).
JAMES STEGALL, conductor The Western Illinois University Singers James Stegall, Professor of Music, was named The Distinguished Faculty Lecturer at Western Illinois University in 2013. In addition to his role as Director of Choral Activities, he conducts the Western Illinois University Singers, Madrigal Singers and teaches graduate and undergraduate choral conducting and literature. He also serves on WIU President Jack Thomas’ Faculty Roundtable. Through juried application, his University Singers have achieved significant recognition through state, regional and national convention performances including the Illinois Music Educators Association, the National Association for Music Education and the American Choral Directors Association. They have appeared on professional venues with the Dallas Brass, Kansas City Symphony, Peoria Symphony, Phoenix Symphony and University of Colorado Symphony. Additionally, Dr. Stegall has presented for national and international conferences including the College Music Society, The International Conference on Arts and Humanities, The Phenomenon of Singing International Symposium, the National Association for Music Education, the National American Choral Directors Association and the International Symposium on Singing and
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Song in St. John’s, Newfoundland. On a personal note, James Stegall’s wife Erin is an accomplished junior high choral director and his son Evan is a nationally ranked USA swimmer.
PROGRAM NOTES LUDWIG VAN BEETHOVEN: Fantasy in C Minor for Piano, Chorus, and Orchestra, Op. 80
Ludwig van Beethoven’s works are grouped into three periods. The Early Period ends about 1802 and includes his works from his hometown of Bonn (up to 1792) and his first decade in Vienna (1792-1802). Music from the Early Period is largely classical in structure, much like the later works of Haydn and Mozart. Even though this music rarely approaches the storminess of his later works, it often sounds as if dark clouds are on the horizon. The Second Period (1802-1812), often called the Heroic Period, includes the first eight symphonies, all of the concerti, and his opera Fidelio. This music features bold contrasts and often deals with revolutionary subjects. It was during this time that Beethoven faced impending deafness, progressing from a gifted young composer to a totally deaf middle-aged genius. The Late Period (18121827) produced fewer works, but the ones Beethoven did compose were of the most profound nature and were often misunderstood by his audiences. Perhaps most notable of these were the Missa Solemnis and the Ninth Symphony. Beethoven faced many personal demons in the Late Period, especially his long battle to gain guardianship of his nephew that led to his increasingly reclusive lifestyle. Seldom in the world of music is an audience permitted to see a work in progress, taking its shape over time only to reemerge later in a more refined and final form. Almost without exception, the music we hear in the concert hall is complete in every way – tightly-wrought and unchangeable. Beethoven’s Choral Fantasy is a glorious exception. Music scholars all agree that this majestic work from the Heroic Period is the precursor to the mammoth Ninth Symphony. It was here that Beethoven
experimented with many ideas, including the melody to his “Ode to Joy,” that would find their way into the finale of his later work. Amazingly the Choral Fantasy was composed in less than two weeks in December of 1808. Conceived as an afterthought for a benefit concert, the work was meant to be the finale. It is important to realize that this mammoth four-hour event consisted entirely of new music for the Viennese audience, including world premieres of the Fifth and Sixth Symphonies, and the Fourth Piano Concerto. Viennese premieres of sections of the Mass in C, the dramatic concert aria Ah! Perfido, and a piano improvisation by the composer filled out the program. The Choral Fantasy included all of the participants, beginning as an improvised piano cadenza, then adding orchestra and finally the chorus. Beethoven originally conceived the work as a strictly instrumental piece, but decided to use the chorus only in the last few days of composition, scrambling at the last minute to find a poet, Christoph Kuffner, to write a text to the pre-written parts for chorus and soloists. German text Schmeichelnd hold und lieblich klingen unseres Lebens Harmonien, und dem Schönheitssinn entschwingen Blumen sich, die ewig blühn. Fried und Freude gleiten freundlich wie der Wellen Wechselspiel. Was sich drängte rauh und feindlich, ordnet sich zu Hochgefühl. Wenn der Töne Zauber walten und des Wortes Weihe spricht, muss sich Herrliches gestalten, Nacht und Stürme werden Licht. Äuss’re Ruhe, inn’re Wonne herrschen für den Glücklichen. Doch der Künste Frühlingssonne lässt aus beiden Licht entstehn. Großes, das ins Herz gedrungen, blüht dann neu und schön empor. Hat ein Geist sich aufgeschwungen, hallt ihm stets ein Geisterchor. Nehmt denn hin, ihr schönen Seelen,
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froh die Gaben schöner Kunst Wenn sich Lieb und Kraft vermählen, lohnt den Menschen Göttergunst.
English translation Graceful, charming and sweet is the sound Of our life’s harmonies, and from a sense of beauty arise Flowers which eternally bloom. Peace and joy advance in perfect concord, like the changing play of the waves. All that was harsh and hostile, has turned into sublime delight. When music’s enchantment reigns, speaking of the sacred word, Magnificence takes form, The night and the tempest turns to light: Outer peace and inner bliss Reign o’er the fortunate ones. All art in the spring’s sun Lets light flow from both. Greatness, once it has pierced the heart, Then blooms anew in all its beauty. Once one’s being has taken flight, A choir of spirits resounds in response. Accept then, you beautiful souls, Joyously the gifts of high art. When love and strength are united, Divine grace is bestowed upon Man.
BENJAMIN BRITTEN: Ballad of Heroes, Op. 14
Much has been made of Benjamin Britten’s status as a conscientious objector during World War II, leaving Britain for a time to avoid conscription. However, it is important to remember that Britten saw his fair share of war’s horrors. His ties to Spain, largely through his friend, the illustrious writer W. H. Auden, were rather close. Britten visited the Iberian Peninsula in 1936 when Auden enlisted in the Spanish Republican Army to fight against Francisco Franco. His later Sinfonia da Requiem (1940) and War Requiem (1960) would expand upon the subject in unmistakable pacifist detail. Britten was certainly aware of increasing tensions across Europe. In 1937 Nazi airplanes had bombed Spanish civilians at Guernica. Italy
and Japan joined Germany as allies. The next year the German army invaded Sudetenland and annexed Austria. In November of 1938, the Nazi army carried out its Kristallnacht attacks on Jewish businesses and synagogues in Germany. After the invasion of Poland and Czechoslovakia in 1939, Britain and France declared war on Germany. Benjamin Britten understood that it was only a matter of time before the entire continent would erupt. In April of 1939 Britten’s Ballad of Heroes received its premiere at a most unusual festival in London. The libretto is drawn from poems by W. H. Auden and Randall Swingler, a flautist, member of literary circles in 1930s England, and the editor of The Daily Worker, the leading Communist newspaper. Auden was a pacifist who had fought anyway, but Swingler, far from pacifistic, was very critical of English citizens who did not fight fascism. Ballad of Heroes was composed to honor the British Battalion of the International Brigade and their sacrifices in Spain. The choir at the premiere was composed of the combined choruses of the Co-Operative and Labour organizations of London. They represent the massed voices of the dead and suffering victims of the Spanish Civil War, but it is evident that Britten, Auden, and Swingler were also referring to the upcoming continental threat from Germany. By the time of the premiere, Auden and his partner, novelist Christopher Isherwood, had already fled Britain as conscientious objectors and settled into exile in New York. Just a month after the April premiere, Britten and his partner, tenor Peter Pears, followed, because of the intolerance in England of pacifist attitudes. Because of this, the work can be seen as a series of intertwining goodbyes—to the fallen of Spain, to friends, to England and its musical establishment, and to those 451,000 British soldiers and civilians who would die in the next six years during World War II. Auden eventually became an American citizen. Britten returned to England in April of 1942. Ballad of Heroes begins with a text by Swingler. Trumpets and snare drum play threatening martial fanfares in the distance, but are interrupted by English horn and strings playing a slow funeral march. The chorus enters on a low C representing the solidarity of the
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British Brigade in Spain. That note suddenly skips up an octave and becomes a strident plea for all Englishmen to hear the distant guns and oppose fascism. Dissonant brass chords reinforce the urgency of the coming conflict, but soon die away. The opening fanfare returns, but is now much closer. The second movement begins without pause. Britten chose a text by Auden that the poet inscribed in one of the composer’s personal copies of an earlier score. The later published version of the same poem appears in one of Auden’s books in a very different form. Subtitled “Dance of Death,” this movement is Britten’s rendition of Auden’s farewell to all aspects of civilized life. Musically, it is a Shostakovich-like march that, like the Soviet master’s Eighth Symphony, gives voice to the demonic machine of war. Auden’s goodbyes in the final stanza are particularly effective. Britten’s third movement is a tenor recitative superimposed over a chorale. The soloist sings of the gunfire at night and of otherwise good people doing nothing to stop its spread. Like a staid and almost apathetic voice, the chorus sings of people going about their everyday existence. The full orchestra enters on the line, “Pardon them their mistakes,” and the urgent plea soon recedes into quietness. The text, “Honor them all,” is accompanied by consonant rising brass chords. The Epilogue returns to the same music and text as the opening. Again on a unison C, the choir intones with the tenor soloist singing above: To you we speak, you numberless Englishmen, To remind you of the greatness still among you Created by these men who go from your towns To fight for peace, for liberty, and for you. Familiar threatening brass fanfares return. The war is not over.
Program Notes ©2017 Orpheus Music Prose & Craig Doolin; www.orpheusnotes.com
Ballad of Heroes I. Funeral March Chorus You who stand at your doors, wiping hands on aprons, You who lean at the corner saying ‘We have done our best’, You who shrug your shoulders and you who smile To conceal your life’s despair and its evil taste, To you we speak, you numberless Englishmen, To remind you of the greatness still among you Created by these men who go from your towns To fight for peace, for liberty, and for you. They were men who hated death and loved life, Who were afraid, and fought against their fear. Men who wish’d to create and not to destroy, But knew the time must come to destroy the destroyer. For they have restored your power and pride, Your life is yours, for which they died. (Randall Swingler) II. Dance of Death Chorus It’s farewell to the drawing room’s civilised cry, The professors’ sensible where-to and why, The frock-coated diplomat’s social aplomb, Now matters are settled with gas and bomb. The works for two pianos, the brilliant stories Of reasonable giants and remarkable fairies, The pictures, the ointments, the frangible wares, And the branches of olive are stored upstairs. For the Devil has broken parole and arisen, He has dynamited his way out of prison; Out of the well where his Papa throws The rebel angel, the outcast rose. The behaving of man is a world of horror, A sedent’ry Sodom and slick Gomorrah, I must take charge of the liquid fire, And storm the cities of human desire. Charge fire – storm desire. For it’s order and trumpet. And anger. And drum! And power and glory command you to come. Come. Come. Come. The fishes are silent deep in the sea, The skies are lit up like a Christmas tree, The star in the west shoots its warning cry
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‘Mankind is alive but mankind must die.’ So good-bye to the house with its wallpaper red, Good-bye to the sheets on the warm double bed, Good-bye to the beautiful birds on the wall, It’s good-bye, dear heart, good-bye to you all. (W.H. Auden)
III. Recitative and Choral Tenor Still though the scene of possible Summer recedes, And the guns can be heard across the hills Like waves at night: though crawling suburbs fill Their valleys with the stench of idleness like rotting weeds, And desire unacted breeds its pestilence. Yet still below the soot the roots are sure And beyond the guns there is another murmur, Like pigeons flying unnotic’d over continents With secret messages of peace: and at the centre Of the wheeling conflict the heart is calmer, The promise nearer than ever it came before, than ever before. Honour, honour them all. (W.H. Auden) Chorus Europe lies in the dark. City and flood and tree; Thousands have work’d and work To master necessity. To build a city where The will of love is done And brought to its full flower The dignity of man. Pardon them their mistakes, The impatient and wavering will. They suffer for our sakes, Honour, honour them all. Dry their imperfect dust, The wind blows it back and forth, They die to make man just And worthy of the earth.
Epilogue Tenor and Chorus To you we speak, you numberless Englishmen, To remind you of the greatness still among you Created by these men who go from your towns To fight for peace, for liberty, and for you. (Randall Swingler)
DMITRI SHOSTAKOVICH: Symphony No. 5 in D minor, Op. 47
Dmitri Shostakovich was the wunderkind of Soviet Music. His first symphony was well known before he turned 20, after which he was a regular fixture in Russian musical circles. His youthful appearance – outlined by a fresh face and round glasses reminiscent of silent film star Harold Lloyd — betrayed no indication that, just ten years later, Shostakovich would become the subject of a fierce political battle. His opera Lady Macbeth of Mtsensk District had become wildly popular in Leningrad and Moscow between 1934 and 1936. Suddenly, on the day after Stalin attended, Pravda published a review ridiculing the opera as “Muddle Instead of Music.” Stalin was offended by the portrayal of Russian police as inept fools and effectively ended the opera’s run in both cities. Furthermore, Shostakovich was labeled an “Enemy of the People.” In the months that followed, leading into the spring and summer of 1937, Stalin purged the country of thousands of dissenters, intellectuals, and other unpatriotic sorts. During the same period, Shostakovich prepared his musical response – the Fifth Symphony. Described as “a Soviet artist’s practical, creative reply to just criticism” (a description Shostakovich later denied appending to the official title), the work’s meaning has been interpreted in different ways. Perhaps it was Shostakovich’s sincere wish to conform to official Soviet doctrines, as some believe. But the Fifth Symphony could also be the composer’s documentation of the resilience of the human spirit under the yoke of adversity. In the controversial book, Testimony, which the composer reportedly dictated to Solomon Volkov, Shostakovich states:
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“I think that it is clear to everyone what happened in the Fifth. The rejoicing is forced, created under threat, as in Boris Godunov. It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaking, and go marching off, muttering, ‘Our business is rejoicing, our business is rejoicing.’ “What king of apotheosis is that? You have to be a complete oaf not to hear that.” The first movement, moderato, opens with a theme consisting of wide leaps in the cellos and basses with the violins entering antiphonally. A long and lyrical theme in the violins leads to a passage in the horns and woodwinds. The dissonant climax builds and then subsides to a rhythmic figure in the low strings and harp with the first violins high above. A rousing horn melody leads to a martial theme in the brass and woodwinds, and leads onward to a climax. After a return of the second theme in the flute and horn, the movement ends quietly. Flute, violin, and bassoon solos are featured in the second movement. This allegretto takes
the guise of an Austrian ländler with horns and xylophone also playing prominent roles. The third movement, a riveting largo, dispenses with the brasses. String parts are subdivided with the violins in three sections instead of the normal two and violas and cellos split into two sections each. Harp, piano, and celesta provide occasional glints of brightness through the string texture. A quiet intensity pervades the beginning and ending of the largo. Probably the most famous episode in Shostakovich’s entire body of work opens the finale. This Allegro non troppo is a stirring march-like movement with a relentless timpani pounding ominously in the foreground. There are moments of repose, most notably in the lovely horn solo near the middle of the movement, but the march always returns. The ending is a quick coda with ever-increasing power. Program Notes ©2017 Orpheus Music Prose & Craig Doolin; www.orpheusnotes.com
NEW! “Reach for the Stars” Free Community Concert Sunday, March 4–2 PM
Join Michael Butterman and the Boulder Phil for this free family-friendly concert. Featuring a space exploration theme in honor of NASA’s–and the Boulder Phil’s–60th Anniversary, the program explores concepts of history, courage, and innovation while featuring some of the most engaging orchestral music ever written. The concert will also feature an instrument petting zoo, provided by HB Woodsongs.
Visit www.BoulderPhil.org to reserve your free tickets! Program 14 Boulder Philharmonic Orchestra 2017-2018
Choir Rosters UNIVERSITY SINGERS Dr. Gregory Gentry, conductor
SOPRANO Maura Riley Elise Schauer Rebecca Ramsey Julia Worth Emmi Linsey Misty Dupuis Emilie Bertram Dominique Grogan
ALTO Hannah Joy Bloom Rebecca Myers Allison Zema Jade Espina Liz Olson Jackie Pennell Casey Klopp Corie Brown
TENOR Brian Stone Daniel Thompson Patrick Bessenbacher Brenden Griffiths Jordan Hugh Sam Paul Reynerson Craig Robertson Karl Allen
BASS Keenan Brown Nathan Payant Kevin Padworski Nicholas Renniger Aaron Harp Joe Lopez Max Askari Erik Jensen
UNIVERSITY CHOIR
Dr. Elizabeth Swanson, conductor • Nathan Payant, assistant conductor SOPRANO Natalie Buchholz Elizabeth Bowersox Alexis Cairy Berenice Carrera Bianca Dancy Emily Eck Sophie Engerman Madison Hershiser Gabrielle Knopp Megan Mackey Chloe Mathis Diana McCaslin Megan Pryor Helena Regan Tyler Vinnola Julia Wirth
ALTO Rachel Carollo Julieta Garcia Kason Hall Cassidy Hemp Kamryn Holland Batya King Emily Majluf Melissa MorenoMarquez Olivia Morton Kristin Schmitt Nicole Schneckenburger Sarah Sweet Morgan Wahlin
TENOR Abdullah Alhashash Michael Britten Michael Crone Dallas Evans Cade Haley Noah Hood Jordan Hugh Sam Chris Kerr Craig Robertson Ryan Sullivan Evan Stark Ben Thompson
BASS Joe Agger Alan Balfe Grant Bowman Dylan Brown Grant Bybee Maggie Friesen Jack Gaffney Justin Gill Prince Jeylani Patrick Johnesee Brendan Lutes Chance Lytle Habib Mohammad Mason Owens Nathan Payant Phillip Prager Zachariah Smith Kenny Wilson
CU Festival Chorus Craig Robertson, director
SOPRANO Megan Flaherty Anna Gentry Betsy Noecker Shelley Sampson
ALTO Susan Bennett Nichole Elgin Debra Freeman Melinda Mattingly Alyssa Prouix
TENOR Scott Anderson Tim Gulsrud
BASS Mark Meyer Paul Munsch Bal Patterson Bruce Rose Donald Schumann
The Western Illinois University Singers
Dr. James Stegall, conductor • Dr. Po-chuan Chiang, pianist SOPRANO I Parker Carls Amanda Ensign *Alison Huntley Abigayle Pedigo Ally Wiacek SOPRANO II Angela Cabreza Isabelle DeBold Erika Gonzalez Victoria Harmon Mara McClintock Claire Ryterski
ALTO I Elise Cangro Emma Kovachevich Taylor Marshall Brittney McDaniel Gracelynn Norgaard Morgan Sarber ALTO II Brianna Blake Heather Johnson Emily Kreiman Melliza Malabanan Megan Riley Jodie Tan Qiu Yu
TENOR I Tyler Bryant Wesley Hunt Aaron Mendenall Nathan Miner TENOR II Ignacio Carrillo *Torren Friberg Jordan Mance Shea Perry Leonel Villarreal
BASS I Tucker Lee Ethan Nueva Chris Reyes *Jon Snyder John Venneri BASS II Chris Marigomen Zach Palmer Gabe Rackers Spensor Randolph Ben Rogers * denotes choral graduate assistants
Boulder Philharmonic Orchestra 2017-2018 Program 15
Photo: Eli Akerstein
UPCOMING EVENTS
The Nutcracker with Boulder Ballet
Bach Transfigured
Saturday, January 13 7:30 PM at Macky Sunday, January 14 2:00 PM at Pinnacle PAC
Photo: Lisa-Marie Mazzucco
November 24-26 at Macky A holiday tradition for all ages!
A Song for Swans
Saturday, April 7, 2018 7:30 PM at Macky Michael Butterman, conductor VAUGHAN WILLIAMS The Lark Ascending Charles Wetherbee, violin Cleo Parker Robinson Dance Ensemble
SIBELIUS Symphony No. 5 PROKOFIEV Violin Concerto No. 2 Stefan Jackiw, violin
C.P.E. BACH Symphony in C Major J.S. BACH Keyboard Concerto in G minor Simone Dinnerstein, piano
PHILIP GLASS Piano Concerto No. 3 olorado premiere, a Boulder Phil C co-commission Simone Dinnerstein, piano
SCHOENBERG Transfigured Night
Cirque Goes to the Movies Saturday, February 3 2:00 PM and 7:30 PM at Macky Michael Butterman, conductor
Join us for a spectacular family experience featuring the dazzling magic of the circus with aerialists, acrobats, contortionists, and more!
West Side Story: Bernstein at 100
Saturday, April 28, 2018 7:30 PM at Macky Michael Butterman, conductor BERNSTEIN West Side Story in concert a collaboration with Central City Opera
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Events of Note JON NAKAMATSU HOUSE RECITAL Saturday, September 23 Private home Van Cliburn International Piano Competition Gold Medalist Jon Nakamatsu has toured and recorded extensively since his win in 1997. His famously elegant playing will be deeply felt in this intimate setting. “BACK TO SCHOOL” BRUNCH
Sunday, October 1, 1:30-3:30 PM
Private home NEW annual fundraiser supporting student participation in Boulder Phil education programs, featuring a performance by the Boulder Phil Education String Quartet and a delicious brunch by Three Leaf Catering. 60TH ANNIVERSARY HOEDOWN GALA Saturday, October 21, 2017 Boulder Elks Lodge Our 60th Anniversary celebration …a night of high-falutin’, heel-stompin’ hoedown music by the Boulder Phil under the baton of Michael Butterman featuring Boulder Ballet dancers. SIMONE DINNERSTEIN HOUSE RECITAL Thursday, January 11 Private home Simone Dinnerstein is a thoughtful, inventive pianist with a thing for Bach. She spearheaded the Philip Glass cocommission, which brings her back to Boulder, and her house recital will reflect her style and passion. PROGRESSIVE PAIRINGS Thursday, March 22, 2018 Lee Hill Drive Wineries Two players, three wineries, one exceptional evening! Each of the three Lee Hill Drive Wineries will host a pairing of music, delicious bites, and hand crafted wine – and you will experience all of them at this multi-sensory pairing event. Tickets for Events of Note can be purchased online at www.BoulderPhil.org or by calling 303.449.1343
Donors The Boulder Philharmonic Orchestra is able to provide high-quality artistic and education programming 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, 2016 through September 1, 2017. FOUNDERS CIRCLE ($30,000+) Anonymous Boulder Arts Commission Patricia Butler *# David Fulker & Nicky Wolman * SCFD Lynn Streeter # GOLD CIRCLE ($10,000+) Sydney & Robert Anderson Boulder Convention & Visitors Bureau Christopher & Margot Brauchli * Gordon & Grace Gamm Erma & John Mantey Stephen & Jayne Miller + National Endowment for the Arts Noris Foundation Rodolfo & Margaret Perez +* SILVER CIRCLE ($5,000+) Anonymous Albert & Rebecca Bates * Albert & Nancy Boggess Nancy Clairmont & Bob Braudes +*# John Hedderich Stephen & Judy Knapp +# George Lichter (in memoriam) Harry & Eleanor Poehlmann +* Janet & David Robertson Karyn Sawyer BRONZE CIRCLE ($2,500+) The Academy + Shari Bohn Outdoor Craftsmen + Pamela Dennis * Flatirons Bank Carl & Ruth Forsberg Jerry & Janet Gilland David & Sara Harper + Lin & Matthew Hawkins *
The Community Foundation Serving Boulder County Wayne Itano & Christine Yoshinaga-Itano + Ruth Carmel Kahn Micro Motion/Emerson + Harold & Joan Leinbach * Richard & Linda Livingston Marla & Jerry Meehl + Millstone/Evans Group of Raymond James & Associates Robert & Francine Myers +* Eide Bailly, LLP Alan & Martha Stormo Stephen Tebo + Dick & Caroline Van Pelt Vivian Wilson Nyla & Gerry Witmore * Zayo Group, LLC LEADERSHIP CIRCLE ($1,000+) Anonymous(2) Lari & Thomas Abraham Gail Aweida (in memoriam) Lindley Brenza Amy & Terry Britton Michael Butterman & Jennifer Carsillo Thomas & Virginia Carr Toni & Nelson Chen Terry & Jenny Cloudman Davis-Tailer Foundation Ursula Dickinson + Andrew & Audrey Franklin + Elyse Grasso Ralph & Joanna Grasso Robert & Diane Greenlee Hansson Family Russell & Ann Hayes + Kyle & Stephanie Heckman David & Suzanne Hoover Samuel & Carolyn Johnson Virginia Jones * Matthew & Diana Karowe + Charles Knight Emily Koechel Buddy Kring Peter A. Gilman & Margaret A. Lemone + Paul & Nancy Levitt
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Donors Barbara & Irwin Neulight Ronald & Joan Nordgren + Martha & George Oetzel * James Pendleton Juan & Alicia Rodriguez Art Zirger & Mary Rowe Marjorie & Bob Schaffner Ross & Jane Sheldon Ronald Sinton Gail & John Squires Mary Street Alison Craig & Stephen Trainor Raymond & Rena Wells The Winston Family Foundation The Rebecca Clarke Society, Inc. + Jack & Brenda Zellner * PARTNERS ($250+) Anonymous (1) Joyce Albersheim Peter & Patricia Angell Susan & Barry Baer Joan Brett * Sharon & Andrew Castro Brook Reams & Rochelle Chartier Penny Chenery Joan Cleland * Charlotte Corbridge * Peter & Joan Dawson Larry Day & Catherine Haskins Joe & Jarid de Raismes Joe & Alice Doyle Alexandra Dujardin Janet & Robert Evans Ann Garstang Gerald & Anita Gershten Susan & Gustavo Grampp Charles & Gail Gray Dorothea & Ronald Grey Fabian Guerrero Ken & Dianne Hackett Chris & Linda Hansen Chuck Hardesty Lewis Harvey Robert & Penny Haws * John Dennis Hynes & Virginia Medelman Richard & Ruth Irvin Colman & Marcia Kahn Colleen Keller & Dean Moore William & Ann Kellogg * Ann Kiley Eileen & Walter Kintsch Peter & Judith Kleinman Douglas Lerner
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Claude Weil & Carolie Coates Martha Coffin Evans & Robert Trembly II Carol Cogswell Sara-Jane & Bill Cohen Max & Barbara Coppom Robert Craig Margot Crowe Dan & Nancy D’Ippolito Meredith & Walter Dabberdt Susan & David Donaldson Caroline & Preston Douglas David Dowell Leslie & Donald Dreyer Heather Dupre Norman & Muriel Eliot Lee Ellwood Ruth Feiertag Beverly Fest Neil Fishman William & Ann Ford Johannah & O. Lehn Franke Richard & Marguertie Franklin Gordon & Grace Gamm Bill & Randy Ganter Greg Ginocchio Julie Ginocchio Garry & Barbara Gordon Mary Greenwald Suzan Grenier Carol Grever Charles & Patricia Hadley Diana Haskell Karly Haugen Josie & Rollie Heath James & Gayle Heckman James & Judith Heinze Maribeth & Warren Hite Sondra & Randal Hittle Amanda Hoffman Barbara & Robert Hoffman Joan Manley Holly & Steven Hultgren Arnie Jacobson & Victoria Johns-Jacobson Wesley & Joanne Johnson Hans Jordan Jo Ann Joselyn Darcy & Richard Juday Josh & Lori Kahn Pat Karns Robert Kehoe Jonas Keller Joel Kiesey Don & Eleanor King Bonnie Kirschenbaum Kaley Klemp
Donors Jon Kogut Richard & Barbara Kuchenrither Gerald Kutchey Judy Lambert Frank Langen Wesley & Heather Le Masurier Peter Lerner Joy Linfield Al Gasiewski & Rachel Lum Marian Matheson Steven & Susan Maxwell J. Hunter & Janet McDaniel Doris & Peter McManamon Elizabeth Meyer Roger & Lily Moment Joan Mulcahy James Neely Scott & Jean Nelson Paul Nigro Sharon Nishikawa Mary Ann O’Leary Mary Ann O’Rourke Christopher & Linda Paris David Paulson Robert & Marilyn Peltzer Paul & Patti Pigeon Mary & John Price
Skippy Rolins Lester Ronick Alice Renouf & Jon Rush Barbara Sable Boulder Weekly Stephanie & Paul Scheffler Judith Schilling Ruth Schoening Howard & Valerie Singer Betty Skipp Zdenka & Dean Smith Linda & Stephen Sparn Sandra Bland & Robert Spencer Dr. Courtland & Carolyn Spicer Julie Stapleton Randy Stevens Thomas & Nancy Storm Glen Strand Gregory & Diane Strevey Roselyn Strommen & Kevin Berg Nadya Sustache Elaine Taylor Joyce & Rigomar Thurmer Michael & Nancy Udow Marianne van Pelt Rex Vedder
Annemarie Voss David Walton David & Amy Weiss Rick & Rebecca White Lisa Winton Richard & Wendy Wolf The Boulder Phil also thanks the 167 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 Eve Orenstein at 303-443-0542
+ Performance Sponsor * Friends of the Phil # Legacy Circle
Community Play-In at Macky Auditorium Saturday, April 7 – 6PM
GLENN ROSS
New
Dust off your instrument and join Michael Butterman and Boulder Phil musicians for a performance on the Macky stage! Includes side-by-side rehearsals, a social event, and a ticket to the Phil’s April 7 concert following the Play-In.
Wednesday, April 4 – rehearsals and guest lecture Friday, April 6 – rehearsals and guest lecture Saturday, April 7 – rehearsal, dinner in the green room, final performance No audition required, all instruments accepted. Instrument sections will be filled on a first-come first-served basis. Visit www.BoulderPhil.org for additional program details, Play-In repertoire, and online registration.
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2017-18 SEASON
New Frontiers
Opening Night w/ Rachmaninoff Oct. 7, 7:30 PM Spencer Myer, piano
A Longmont World Premiere Feb. 24, 7:30 PM Matthew Zalkind, cello
American Frontier Tales from the Sea Nov. 11, 7:30 PM Apr. 7, 7:30 PM Andrew Sords, violin Sarah Barber, mezzo-soprano The Nutcracker with Boulder Ballet Dec. 2 & 3
Mozart & Beethoven Apr. 15, 4 PM
Candlelight Concert Dec. 17, 4 PM
Pops Concert: Divas
Family Concert Jan. 27, 4 PM
through the Decades
May 12, 7:30 PM
Visit our website for more details
www.longmontsymphony.org · 303.772.5796
Listen Locally
Joshua Bell Feb. 9
Quicksilver Baroque Ensemble April 20
Global performance. World-class entertainment. You have to be here.
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Listen Locally FALL 2017 Boulder Public Library Concert Series Presents: MIDDAY MUSIC MEDITATION: Wednesday, October 11 @ 12 noon 3RD TUESDAY LUNCHTIME CONCERT FEATURING POETRY & MUSIC Tuesday, October 17 @ 12 noon HAUNTED MUSIC WITH SOPRANO—EKATERINA KOTCHERGUINA Sunday, October 29 @ 12 noon MIDDAY MUSIC MEDITATION Wednesday, November 8 @ 12 noon
Admission to Concert Series performances is FREE— thanks to the support of the Boulder Library Foundation. Concerts take place in the Canyon Theater of the BPL @ 1000 Canyon Blvd.
CANTABILE SINGERS— SPECIAL SENSORY FRIENDLY PERFORMANCE Saturday, November 18 @ 2 p.m. 3RD TUESDAY LUNCHTIME CONCERT Tuesday, November 21 @ 12 noon HOLIDAY HARPS CONCERT Saturday, December 2 @ 11:30 a.m. BOULDER CHILDREN’S CHORALE “SONGS OF THE SEASON” Sunday, December 3 @ 2 p.m.
Listen Locally
An Evening of Neoclassical Works with Guitarist Nicolò Spera Oct. 20 in Denver | Oct. 21 in Boulder
Yearlong concerts & free educational events “noble....revelatory...an overwhelming experience...” - Daily Camera
From the Reformation to Haydn’s “La Reine” with St. Martin’s Chamber Choir Feb. 9 in Denver | Feb. 10 in Boulder
The Heart of Hungary with Violinist Edward Dusinberre
Apr. 13 in Denver | Apr. 14 in Boulder
Tickets and information at
ProMusicaColorado.org or call 720-443-0565
World-renowned dynamic solo artists
Programming distinct from any other in the State of Colorado
BE INSPIRED
2 0 1 7/ 2 0 1 8 S E A S O N
All-Access Passes available
boulderbachfestival.org 720-502-5052
The Glories of Venice Arcangelo’s Circle The Muse Project Brandenburg Concertos
OCT 13 - 15 JAN 6 & 7 FEB 23 & 25 MAY 17 - 20 BCOCOLORADO.ORG
Listen Locally
GREATER BOULDER YOUTH ORCHESTRAS Concerts
November 5, 2017 February 12, 2018 May 6, 2018 GBYO & the Boulder Phil – side-by-side chamber music performances in February
Auditions
Auditions for all ages throughout the year
www.GreaterBoulderYO.org
VOLUNTEER WITH THE PHIL!
Where Boulder Sings
Get involved with one of Boulder’s most vibrant performing arts organizations as a valued volunteer! Ways YOU can make a difference as a Boulder Phil volunteer: • Special Events Staffing • Office Volunteers • Concert Greeters and Ambassadors • Box Office Staffing • Fundraising Support • Discovery Concert / Education Hosts • Committee Membership (by invitation) For more information and to volunteer, please contact Cynthia Sliker, Director of Community Engagement at 303-443-9203 or csliker@boulderphil.org.
ALL
things
BRIGHT
& beautiful
Season Highlights: BETWEEN HEAVEN & EARTH CARNIVAL BRAZIL Mar. 10, 7:30 PM Oct. 28, 2 & 7:30 PM with Brazilian band Ginga & Bateria Alegria from the Boulder Samba School
Mar. 11, 4 PM with Indian fusion ensemble Jam Key Jam
DUKE ELLINGTON’S SACRED CONCERTS ALL THINGS BRIGHT May 19, 7:30 PM & BEAUTIFUL May 20, 4 PM Dec. 16 & 17, 4 PM A holiday concert for the whole family!
Visit our website for full details
BoulderChorale.org • 303.554.7692
Ways to Support Your Phil ◆ MAKE A 60TH ANNIVERSARY GIFT For 60 years we have relied on the generosity of our community to make music happen—on stage at Macky, in schools, libraries, open spaces, and more. Every contribution from our audience members makes an impact you can hear. A donation in support of our 60th Anniversary will ensure that Boulder County’s cultural gem will continue to thrive.
◆ FRIENDS OF THE PHIL
Make a pledge of two or more years as a Friends of the Phil sponsor to underwrite a portion of a professional musician’s salary. Your sponsorship will give you the chance to experience the orchestra from the inside out while forging a special connection between you and the performers on stage.
◆ BECOME A PERFORMANCE SPONSOR
Show your support by sponsoring a guest artist, individual piece, Masterworks concert, or even an entire concert season. Your sponsorship entitles you to recognition as a Boulder Phil sponsor, as well as exceptional benefits. If you are considering making a donation of $1,000 or more this season, this is a great way to be recognized for your support of the Phil and set an example for others to follow. Make your pledge at any time and we will acknowledge you throughout the season, with payment due anytime before the end of April of each year.
◆ IS THE PHIL IN YOUR WILL?
In our 60th Anniversary year we are looking back to honor our history, and, more importantly, moving forward to build a future that includes innovation, community engagement, and, of course, artistic excellence. While we rely on contributions that enable us to thrive today, knowing that our future is assured will strengthen the commitment to our mission going forward. If you have already included the Boulder Phil in your estate planning we would like to invite you to be recognized as a Legacy Circle supporter in our concert programs and at events during our 60th Anniversary season. If you have questions about including the Boulder Phil in your estate we would be happy to discuss the many options available for charitable planned giving.
For more information, contact Eve Orenstein, Director of Development, at 303-443-0542 or eve@boulderphil.org. Legacy Circle
Patricia Butler Steve and Judy Knapp Bob Braudes and Nancy Clermont Lynn Streeter
bvwaldorf.org With curiosity and wonder, children imagine, create, move and learn prepared for a lifetime of academic success and engagement.
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TICKETS START UNDER $20. for most concerts!
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Limitations, fees, and taxes apply.
COLORADOSYMPHONY.ORG
EXPLORE YOUR WORLD
Come Sing with Us!
Whether you’re hiking in the mountains or biking to work, BBW fashions are made to keep up with your active lifestyle.
We want to meet children in 2nd-5th grades who love to sing and perform! ChildrensChorale.org/Audition No previous musical experience is required and financial assistance is available.
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Join us in Boettcher Concert Hall at the Denver Performing Arts Complex CHRISTMAS WITH THE CHILDREN’S CHORALE Saturday, December 2 • 1:00 pm Sunday, December 3 • 6:00 pm SPRING WITH THE CHILDREN’S CHORALE Saturday, April 21 • 1:00 pm 303.428.9529 sales@pub-house.com ColoradoArtsPubs.com
Tickets $14 - $80 ChildrensChorale.org/Tickets
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GRANDINSCHOOL
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TEMPLEGRANDINSCHOOL Growth From Strengths Temple Grandin School is more than just a school – it’s a community. We provide a safe, supportive environment for students with Asperger’s syndrome and similar
music@the “More Than A Concert” $25/in advance. $30/at the door Purchase 4 or more concerts for $20/each To register, visit www.boulderjcc.org/music@theJ
learning profiles. Get to know us at
templegrandinschool.org.
NOW ENROLLING 6TH-12TH GRADE
September 24 Jazz Crossings October 22 Flexigrass: Bluegrass Fusion November 5 Tiki Beat Taboo: Not Your Grandmother’s Luau December 24 Klezmania: Christmas Eve Party January 21 Folk Roots Pioneers: A Hootenanny
6446 Jay Road, Boulder, CO 80301 303-554-7363 • info@templegrandinschool.org
February 11 Somewhere Over the Rainbow: Immigrant Dreams & the American Musical March 3 The Music & Culture of Sephardic Spain April 29 Classical, Traditional and Folk Music from Iran
Proudly supports the Boulder Philharmonic Orchestra and Boulder Ballet St. Aidan’s Episcopal Church & Canterbury Campus Ministry 2425 Colorado Avenue
Sundays 8am + 10am + 6pm Night Church Bread + Belonging Tuesdays 6pm CU Student Dinner and Fellowship
www.saintaidans.org
SAVE THE DATE
May 17 Kodachrome: A Paul Simon Tribute Concert
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BACHTOBERFEST
Thurs., Oct. 12, 7:30pm & Sat., Oct. 14, 2017, 7:30pm Violinist Elizabeth Blumenstock is joined by extraordinary colleagues from Amsterdam, Basel, and Boston. Works by Telemann, Handel, Vivaldi, J.S. Bach, and Mozart.
A WORLD TRANSFORMED Saturday, Dec. 9, 2017, 7:30pm
Mina Gajic, Richie Hawley, and Zachary Carrettin perform works by Berg, Antheil, Bartok, Ives, Bolcom, and Gottschalk-a world premiere. Erard piano 1895, Buffet clarinet 1919, gut-strung Kinberg violin 1948.
SCHWARZ-BOURNAKI DUO
Thurs., Feb. 8, 7:30pm & Sat., Feb. 10, 2018, 7:30pm New York-based cello/piano duo and 1st prize winners in the 2016 Boulder International Chamber Music Competition Art of Duo. Works by Bach, Beethoven, Brahms, and Bloch.
ETERNAL SPIRIT
Thursday, Mar. 15, 2018, 7:30pm Vocal soloists Josefien Stoppelenburg, Abigail Nims, Derek Chester, and Ashraf Sewailam join the BBF Chorus and Orchestra in four cantatas by J.S. Bach, each distinct, lyrical, and powerful.
LA VENEXIANA
Thursday, May 24, 2018, 7:30pm Carrettin and friends present chamber music for voices and strings by Antonio Lotti, Tarquinio Merulo, Giovanni Gabrieli, Antonio Vivaldi, and finally - Bach’s Orchestral Suite #2 in B Minor. Concerts: Thursdays at Seventh Day Church, Boulder & Saturdays at Longmont Museum
All-Access Passes and Tickets: boulderbachfestival.org/720-507-5052