Boulder Philharmonic, January-February 2018 by The Publishing House

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Dear Friends,

Welcome

The packed house was on its feet at the Kennedy Center as your Boulder Phil completed its stunning performance last 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 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. Your Boulder Phil shares the stage with some of the greatest soloists in the world. In September, you heard Van Cliburn Gold Medalist Jon Nakamatsu’s elegant performance of the Schumann concerto. This spring, renowned 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 welcomed collegiate choirs for works by Beethoven and Britten, along with Metropolitan Opera tenor Matthew Plenk and Boulder favorite, David Korevaar. In April, Cleo Parker Robinson Dance brings a stunning new setting of The Lark Ascending in April, and we close our season later that month in conjunction with Central City Opera in a rare “in concert” presentation of West Side Story in honor of the 100th anniversary of Bernstein’s birth. Along with symphonic staples by Dvořák, Sibelius, and Shostakovich, we’ll hear some less familiar masterpieces by Beethoven, Bach, Britten and a lushly beautiful tone poem by Schoenberg. Music inspired by literature, nature, politics and spirituality dots the landscape, and, in September, we introduced a new work (another Boulder Phil cocommission) 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 aerialist and violinist, Janice Martin. Our annual Nutcracker performances with Boulder Ballet welcomed record crowds in November. And all season long, your Phil is busy sharing the joy of music with young people through our school visits and Discovery Concerts for elementary students, as well as sensory-friendly chamber concerts at the Boulder Public Library specifically designed for families living with autism and other disabilities. I’m filled with optimism as we welcome Katherine Lehman as our new Executive Director, beginning in January. Katie brings a track record of success and a compelling vision of orchestral relevance in the 21st century. For 60 years, your 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 Cynthia Katsarelis Johannes Krohn OFFICERS Karyn Sawyer, President Rodolfo Perez, Vice President BOARD Christopher Brauchli Patricia Butler Michael Butterman, ex officio Heather Dupré Bruce Fest Claire Figel David Fulker Lin Hawkins ADMINISTRATION Katherine Lehman, 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 ADVISORY COUNCIL Barbara Brenton Pamela Dennis Kent Hansen Ruth Kahn Susan Olenwine

Lynn Streeter, Secretary Joel Kiesey, Treasurer

Steve Knapp Katherine Lehman, ex officio Erma Mantey Marla Meehl Eleanor Poehlmann Leslie Scarpino Yenlik Weiss Ronny Wells 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 Interns: Emily Eck, Paden Gatlin, Jay Million, Daniel O’Connor Mary Street Dick Van Pelt Betty Van Zandt Brenda Zellner

ING WITH EVERY PERFORMANCE

Arts Center, nformation about the outh metro community.

Angie Flachman Johnson, Publisher

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This program is produced for the Boulder Philharmonic Orchestra by The Publishing House, Westminster, CO. For advertising information, please call (303) 428-9529 or e-mail sales@pub-house.com ColoradoArtsPubs.com

Tod Cavey, Director of Sales Stacey Krull, Production Manager Mark Fessler, Press Manager Sandy Birkey, Graphic Designer Wilbur E. Flachman, President

To Our Supporters Dear Boulder Philharmonic Friends, What an exciting time to be part of the Boulder Phil! I am honored and delighted to join your wonderful community as the orchestra’s new Executive Director. I believe in the transformative power of music in our communities. Nowhere is that happening more than right here in Boulder. Whether performing for the nation at the SHIFT Festival in Washington D.C., dazzling us with West Side Story at Macky Auditorium (April 28—buy your tickets before they sell out!), or Reaching for the Stars with a lively group of third graders, Maestro Michael Butterman and the brilliantly talented musicians of the Boulder Philharmonic are making music that inspires us, connects us, and reminds us of the best parts of our humanity. As we launch into the second half of our 60th anniversary season, we have a great history to remember and an even greater future to put into motion. Whether you and I are performing, volunteering, donating, or being thrilled by sound as we listen, we are all part of the music; we are all music makers. Together, we will create new music and innovative collaborations, open our doors to more people, and bring music to every child in our region. Thank you for joining us tonight, and all through our season. Please reach out and say hello—to our musicians, Maestro Butterman, and to me. Now, more than ever, music brings us together, transcends barriers, and reminds us of our capacity for hope and joy. Have a wonderful evening with the Boulder Philharmonic. Katherine Lehman, Executive Director

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 Ursula Dickinson Andy and Audrey Franklin Russell and Ann Hayes Holly and Grant Hickman Peter A Gilman and Margaret A. LeMone Jerry and Heidi Lynch Bob and Francine Myers Joan and Ronald Nordgren Beatriz and Juan Roederer Betty Van Zandt

◆ BUSINESS AND COMMUNITY SPONSORS BOULDER’S BOUTIQUE RETIREMENT COMMUNITY

Virginia Hill Charitable Foundation Noris Foundation

◆ IN-KIND SPONSORS BOULDER PIANO GALLERY

Gala

SAVE THE DATE

NOVEMBER 3, 2018 After wowing attendees at Wings & Strings and kicking up our heels at the 60th Anniversary Hoedown the question is...

What will next season's Boulder Philharmonic Orchestra Gala theme be?

Details to be revealed soon. www.BoulderPhil.org

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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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Bach Transfigured BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Simone Dinnerstein, piano Saturday, January 13, 2018 Macky Auditorium, CU Boulder 6:30 pm Pre-Concert Talk 7:30 pm Performance

Sunday, January 14, 2018 Pinnacle Performing Arts Complex 2:00 pm Performance

Carl Philipp Emanuel Bach Symphony in C major, Wq. 182, no. 3 (1714 – 1788) I. Allegro assai II. Adagio III. Allegretto Arnold Schoenberg (1874 – 1951)

Verklärte Nacht (Transfigured Night), Op. 4 -Intermission -

Johann Sebastian Bach Keyboard Concerto No. 7 in G minor, BWV 1058 (1685 – 1750) I. [no tempo marking] II. Andante III. Allegro assai Philip Glass Piano Concerto No. 3 (b. 1937) Colorado premiere, a Boulder Phil co-commission I. =120 II. =72 III. (for Arvo Pärt) =80 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.

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Boulder Philharmonic Orchestra 2017-2018 Program 1

Program SIMONE DINNERSTEIN, piano

American pianist Simone Dinnerstein is a searching and inventive artist who is motivated by a desire to find the musical core of every work she approaches. The New York-based pianist gained an international following with the remarkable success of her recording of Bach’s Goldberg Variations, which she independently raised the funds to record. Released in 2007 on Telarc, it ranked No. 1 on the U.S. Billboard Classical Chart in its first week of sales and was named to many “Best of 2007” lists including those of The New York Times, The Los Angeles Times, and The New Yorker. Dinnerstein’s performance schedule has taken her around the world since her acclaimed New York recital debut at Carnegie Hall’s Weill Recital Hall in 2005, to venues including the Kennedy Center for the Performing Arts, Vienna Konzerthaus, Berlin Philharmonie, Sydney Opera House, Seoul Arts Center, and London’s Wigmore Hall; festivals that include the Lincoln Center Mostly Mozart Festival, the Aspen, Verbier, and Ravinia festivals; and performances with the Vienna Symphony Orchestra, Dresden Philharmonic, Staatskapelle Berlin, RAI National Symphony Orchestra, Royal Scottish National Orchestra, Czech Philharmonic, Danish National Symphony Orchestra, New York Philharmonic, Minnesota Orchestra, Atlanta Symphony, Baltimore Symphony, Montreal Symphony Orchestra, Melbourne Symphony Orchestra, Orquestra a Sinfonica Brasileira, and the Tokyo Symphony. Dinnerstein has played concerts throughout the U.S. for the Piatigorsky Foundation, an organization dedicated to bringing classical music to non-traditional venues. She gave the first classical music performance in the Louisiana state prison system at the Avoyelles Correctional Center, and performed at the Maryland Correctional Institution for Women in a concert organized by the Baltimore Symphony Orchestra. Dedicated to her community, in 2009 Dinnerstein founded Neighborhood Classics, a concert series open to the public hosted by New York public schools which raises funds

for their music education programs. Dinnerstein is a graduate of The Juilliard School where she was a student of Peter Serkin. She also studied with Solomon Mikowsky at the Manhattan School of Music and in London with Maria Curcio. She is on the faculty of the Mannes School of Music and is a Sony Classical artist. She is managed by Andrea Troolin at Ekonomisk Mgmt with booking representation through Helen Henson at Blu Ocean Arts.

PHILIP GLASS, composer

Through his operas, his symphonies, his compositions for his own ensemble, and his wideranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg, Woody Allen to David Bowie, Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times. The operas – “Einstein on the Beach,” “Satyagraha,” “Akhnaten,” and “The Voyage,” among many others – play throughout the world’s leading houses, and rarely to an empty seat. Glass has written music for experimental theater and for Academy Award-winning motion pictures such as “The Hours” and Martin Scorsese’s “Kundun,” while “Koyaanisqatsi,” his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble, may be the most radical and influential mating of sound and vision since “Fantasia.” His associations, personal and professional, with leading rock, pop and world music artists date back to the 1960s, including the beginning of his collaborative relationship with artist Robert Wilson. Indeed, Glass is the first composer to win a wide, multi-generational audience in the opera house, the concert hall, the dance world, in film and in popular music – simultaneously. He was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud. Finding himself dissatisfied with much of what then passed for modern music, he moved to Europe,

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where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland, Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar. He returned to New York in 1967 and formed the Philip Glass Ensemble – seven musicians playing keyboards and a variety of woodwinds, amplified and fed through a mixer. The new musical style that Glass was evolving was eventually dubbed “minimalism.” Glass himself never liked the term and preferred to speak of himself as a composer of “music with repetitive structures.” Much of his early work was based on the extended reiteration of brief, elegant melodic fragments that wove in and out of an aural tapestry. Or, to put it another way, it immersed a listener in a sort of sonic weather that twists, turns, surrounds, develops. There has been nothing “minimalist” about his output. In the past 25 years, Glass has composed more than twenty operas, large and small; ten symphonies (with others already on the way); two piano concertos and concertos for violin, piano, timpani, and saxophone quartet and orchestra; soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morris’s documentary about former defense secretary Robert McNamara; string quartets; a growing body of work for solo piano and organ. He has collaborated with Paul Simon, Linda Ronstadt, Yo-Yo Ma, and Doris Lessing, among many others. He presents lectures, workshops, and solo keyboard performances around the world, and continues to appear regularly with the Philip Glass Ensemble.

PROGRAM NOTES CARL PHILIPP EMANUEL BACH Symphony No. 3 in C major, Wq. 182/3

Carl Philipp Emanuel Bach was the most famous son of Johann Sebastian Bach. Born during his father’s employment at the Weimar Court, he was the godson of Georg Philipp Telemann. C.P.E. was not originally intended for a career in music, but studied law in Leipzig and Frankfurt-an-der-Oder.

However, his life changed forever when he was hired at the age of 24 by Frederick II “The Great” of Prussia. C.P.E.’s duties consisted almost entirely of performing on the harpsichord, but Berlin was a vibrant musical center and he became acquainted with some of the greatest musicians and composers in Europe, including Quantz and Graun. After nearly thirty years, a new position opened in Hamburg. Telemann died in 1767 and his position passed to C.P.E. Bach on April 8, 1768. Duties in Hamburg were far more extensive than those in Berlin. He was in charge of all music at the city’s five churches. He had to provide new music for all civic activities, including births, deaths, installation of priests, and official visits by political and religious dignitaries. It was a busy life for the composer, but he held the job until his death in 1788. Bach, like his father, wrote in virtually all genres except opera. He is known primarily for his hundreds of pieces for harpsichord, but C.P.E. left eighteen symphonies, although a few dozen spurious orchestral works have been erroneously credited to him over the past couple of centuries. Of the eighteen, eight are from his Berlin years. These works are usually based on the established style of Graun, a composer who wrote in an Italian style, but was part of the Dresden School of composition. The violin parts are often in unison and the music is pleasant, but no real innovation was happening within the Berlin symphonies. When Bach moved to Hamburg, his remaining ten symphonies began to show some real inventiveness. Musical textures suddenly became richer, timbres became an important element, and dynamic contrasts started to appear more frequently. C. P. E. Bach anticipated the 1770s Sturm und Drang movement by over a decade. His works were catalogued by Alfred Wodquenne, the Belgian musicologist who also enumerated the works of Baldasare Galuppi, Luigi Rossi, and André Grétry. The Wq number found after the title of C. P. E.’s works are those assigned by Wodquenne. The Symphony No. 3 in C major, Wq. 182/3, is the third of a set of six pieces for string orchestra published in 1773. The first movement is comprised of three themes.

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Initially, the work begins with a rhythmic pattern in unison that starts in tonic and is restated at the dominant. The second pattern is a series of scales that explore many harmonic shadings. Bach’s final pattern is a short figure that includes suspensions reminiscent of the sighing figure that is prominent in works from Mannheim. Bach’s second movement is a beautiful adagio. Violins are largely figured in thirds throughout. Most notable here is the use of severe dynamic contrasts. The finale is a dainty allegretto that relies on the sighing figure from the first movement. It is in binary form with two repeated halves. The first half begins in C major and modulates to G. As expected, the second half begins in G and travels back to C. However, the journey back to the tonic is a rather bumpy one with numerous exits to seldom visited keys along the way. This symphony is immensely rewarding for both performer and audience.

ARNOLD SCHOENBERG Verklärte Nacht, Op. 4 (Transfigured Night) There is probably no composer as feared by audiences as Arnold Schoenberg. Although his most famous pieces are admittedly challenging for the casual listener, Schoenberg composed many works in his early years that are among the most expressive and romantic music of any composer in turn-of-the-century Vienna. Born in the Austrian capital to an impoverished Hungarian-Czech family, Schoenberg’s life was practically devoid of music, except that of the synagogue, until he began cello studies at age eight. By the time he turned twenty, he had already joined an amateur orchestra, conducted by the composer Alexander von Zemlinsky, and composed a string quartet. Zemlinsky guided the young composer’s development to the point where he was capable of standing on his own. Little did anyone realize that Schoenberg would soon change the way future composers would think about music. Most of the composer’s works in this early period were short pieces for small ensembles that made little impact on the musical world. They made even less of an impact on Schoenberg’s finances, forcing

him to take up teaching. Along with other highly competent, but virtually unknown composers, he founded a society for the performance of new music – an institution whose very concept flew in the face of the impossibly conservative Viennese musical tastes. It was through this organization that Schoenberg and his pupils – most notably Alban Berg and Anton Webern – heard many of their works for the first time. Schoenberg considered himself to be the heir of Brahms’s mantle as a progressive romanticist with solid ideological roots reaching back to Beethoven. As time passed, he embraced the progressive side of this role and began experimenting with a systematic approach to composition. In this way, he could free the compositional process from audience expectations. His ultimate goal was to find an organic and totally natural method of composition in which deep subconscious emotions find expression. Schoenberg’s use of dissonance increased and the public, except for a small group of followers, resisted his efforts. In his exhaustive search for his personal musical voice, he discovered the artistic movement called expressionism in which there was an emphasis on a frequently disturbing “inner truth,” as described by the painter Wassily Kandinsky. Conventional concepts of beauty were considered by expressionists to be artificial constructs of society. During the early 1920s, Schoenberg developed a system in which strict mathematical relationships dictated musical pitches. In this system, the composer selects a unique ordering of the twelve pitches of the chromatic scale, called the “tone row,” which provides a substitute for the musical scale and releases composers from the fetters of tonality. Each work has its own unique tone row and its pitches must be used in the order of occurrence, not to be repeated until the row has been exhausted. More pitch variety is generated by using transpositions of the original row, as well as inversions (upsidedown mirror images of the row), retrogrades (backward statements), and retrograde inversions (backward and upside-down). It

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is from these mathematical operations that all pitches used in each work are generated. All other music elements – instrumentation, dynamics, tempo, and rhythm – remain under the discretion of the composer. However, later serialists, most notably Luciano Berio and Pierre Boulez, found a way to serialize these elements. Schoenberg’s first success was the 1899 string sextet called Verklärte Nacht, based on a dramatic and semi-autobiographical poem by Richard Dehmel and composed in just three weeks. The musical language of the work is post-Romantic, much like Gustav Mahler or Alexander von Zemlinsky. Schoenberg had long been drawn to the music of both Brahms and Wagner, although their supporters went to great lengths to tout their choice to the detriment of the other. He saw merit in Brahms’s promotion of absolute music (without a narrative or story to reflect in the notes), but also saw Wagner’s concept of a gesamtkunstwerk (a “total artwork” in which the composer controlled the story as well as the music) as a beautiful concept. Dehmel was concerned with the fusion of polar opposites in his poems as a way of rationalizing the concept of structure vs. artistic inspiration. Both composer and poet believed that life and art are forms of continuous variation. Dehmel’s poem describes a couple’s quiet evening walk. She reveals that she is carrying another man’s baby. He accepts her anyway and forgives her infidelity. Love conquers all.

Two people walk through a bare, cold grove; The moon races along with them, they look into it. The moon races over tall oaks, No cloud obscures the light from the sky, Into which the black points of the boughs reach. A woman’s voice speaks: I’m carrying a child, and not yours, I walk in sin beside you. I have committed a great offense against myself. I no longer believed I could be happy

And yet I had a strong yearning For something to fill my life, for the joys of Motherhood And for duty; so I committed an effrontery, So, shuddering, I allowed my sex To be embraced by a strange man, And, on top of that, I blessed myself for it. Now life has taken its revenge: Now I have met you, oh, you. She walks with a clumsy gait, She looks up; the moon is racing along. Her dark gaze is drowned in light. A man’s voice speaks: May the child you conceived Be no burden to your soul; Just see how brightly the universe is gleaming! There’s a glow around everything; You are floating with me on a cold ocean, But a special warmth flickers From you into me, from me into you. It will transfigure the strange man’s child. You will bear the child for me, as if it were mine; You have brought the glow into me, You have made me like a child myself. He grasps her around her ample hips. Their breath kisses in the breeze. Two people walk through the lofty, bright night. Dehmel’s 1896 poem outlined his affair with Ida Auerbach, the wife of Consul Auerbach, a prominent diplomat. She was carrying her husband’s child during the affair. The work is in five continuous sections, each representing an element of the poem. Its ABACA form will be familiar to some as a standard five-part classical rondo. In this work, ‘A’ reflects the couple walking together, ‘B’ is the announcement of pregnancy, and ‘C’ represents the man’s acceptance and forgiveness. The concept of redemption through personal sacrifice is famously a central element in the music dramas of Wagner. Musicologist Steven Lacoste has a challenging interpretation of the work as a “musical impregnation.” Although certainly controversial, Lacoste says the piece represents the “interpenetration of a human

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Program warmth from the woman into the man and vice-versa.” He continues, “woman and man have radically transfigured the artificiality of societal convention to merge with a radiantly confluent universe.” Verklärte Nacht is a revolutionary work of programmatic chamber music with social impact, but it could easily stand alone as a masterful piece of absolute music if no program were attached. Schoenberg liked the piece so much that he expanded the orchestration in 1918 and revised it in 1943.

JOHANN SEBASTIAN BACH Keyboard Concerto in G minor, BWV 1058 In his music Bach was objective, according to the way of his time. He derived his unique musical style from musical forms and idioms that he respected. The German contrapuntal art is perhaps the most evident, but the Italian concerto forms used by Corelli, Vivaldi, and Albinoni are as noticeable as any other element. For an artist who never strayed outside the borders of the eastern provinces of Germany, his approach was amazingly cosmopolitan. For example, in Bach’s two violin concertos (and his similar work for two violins), demands on the solo instrument are not unreasonable. Both the E major and the A minor violin concertos are cast in the Italian mold, a quick first and last movement, and a slow second movement. Bach reserves the emotional weight of each of these works for the second movement. Bach found time to cultivate violin playing from childhood and when he left school at Lüneburg he played well enough to join the orchestra of Johann Ernst, brother of the Duke of Warsaw. In chamber music he preferred to play the viola, and he undoubtedly possessed a working knowledge of the technique of all the string instruments. However, it was as a keyboard virtuoso that Bach built his career and legacy as a performer. Organ was his primary instrument, but his works for harpsichord reveal an equal mastery. The authentic performance practice aficionados in today’s world perform these works on copies of harpsichords from the composer’s day, but many other performances take place on modern pianos.

Bach’s keyboard concertos date from between 1733 and 1739. The earliest possible date of composition is likely in July of 1733 when the Leipzig Collegium musicum, of which Bach was director, bought a new harpsichord. The latest possibility is in 1739 when the seven extant keyboard concertos were published in two volumes. To narrow the date even further, musicologists sometimes use the paper upon which a manuscript is written as a clue. Certain watermarks and production methods were found only in certain places and during a very narrow span of time. Watermarks on the manuscripts of the keyboard concertos suggest that the paper was made in Leipzig only in 1738 and 1739. These revolutionary works are believed to be arrangements of earlier pieces originally composed for other instruments. They give us a clue to the nature of several earlier works now lost in their original versions. Self-borrowing was not uncommon in Bach’s day and his Keyboard Concerto in G minor, BWV 1058, is no exception. It is based on his Violin Concerto in A minor, BWV 1046, which likely dates from the 1720s. Unlike the modern concerto, the concertos of Bach’s day were not showpieces for a single instrument with subsidiary accompaniment from the orchestra. The accompanimental figures bear as much musical importance as the solo parts. All of the seven concertos in the two-volume publication of 1739 (there was likely an eighth such work planned for the set, but was abandoned by the composer) are in the three-movement Italian style with alternating sections for the soloist and orchestra. BWV 1058 begins in that guise, but the usual restatement of the opening material by the soloist is adapted to be more of a commentary on the themes. Both the soloist and orchestra are integrated into a unified musical fabric. The second movement is built upon an ostinato bass line. Of course, the lion’s share of the melody falls to the soloist who introduces and builds upon the lyrical theme over the skeletal accompaniment. Bach’s finale is a 9/8 allegro assai gigue that begins and ends with a lively fugue. ©2017 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com

Program 6 Boulder Philharmonic Orchestra 2017-2018

PHILIP GLASS Piano Concerto No. 3

Program

A note from the composer “Several years ago, Simone Dinnerstein visited me at my home in New York City and played a short program of Schubert and Glass. She played with a complete mastery of technique, depth of emotion, and understanding. Right away I knew I would someday compose music for her. The opportunity presented itself soon after when she asked for a new piano concerto. About a year later I heard a rehearsal of the new work - Piano Concerto #3. I am very pleased with the result of our work and hope our audiences will enjoy our work together.” — Philip Glass A note from the performer “The idea for the commission first germinated over breakfast at Philip Glass’s garden, where we met one beautiful sunny morning in the fall of 2014. I had been a fan of Glass since my tweens. In fact, his music drama “The Photographer” was the first live event I attended without an adult, when I was twelve. As a result, I have always associated his music with coming of age. I was thrilled and honored when invited to breakfast by Glass. There are almost no concertos written for piano and strings since Bach’s time. Both Glass and I have a strong interest in Bach and how his music impacts us today. The pairing of the Bach concerto with his own composition will create myriad strands of connectivity enabling the listener to create bridges between the old and new.” — Simone Dinnerstein The idea for Philip Glass’s Third Piano Concerto came after that fateful meeting between pianist Dinnerstein and Philip Glass at the composer’s home on the Lower East Side of Manhattan in September 2014. The following spring, on March 27, Dinnerstein had her first interaction with A Far Cry (the ensemble that premiered the work on September 22, 2017) and immediately found a special artistic spark with the orchestra. Glass was aware of Dinnerstein’s interpretations of Bach on recording and had the occasion to hear Dinnerstein play

privately at his home the music of Schubert as well as Glass, and he first heard her perform live at the end of 2016, when the composer was awarded the Eleventh Glenn Gould Prize in Ottawa. It was on that program that Glass finally heard Dinnerstein play his music in front of the public, and he instantly recognized the rapport between the pianist and her audience. Concurrently, A Far Cry had been diving head-first into Glass’s music with performances in Boston of his Third Symphony for Strings as well as his Company for String Orchestra. The stars had aligned, and this all led directly into the composition period for Piano Concerto No. 3 in the spring of 2017, culminating in tonight’s Colorado premiere performance. — Richard Guérin

This commission and Colorado premiere made possible in part by contributions from the following supporters: Dave Fulker and Nicky Wolman Ruth and Rich Irvin Wayne Itano and Christine Yoshinaga-Itano Steve and Judy Knapp Cassidy and John Leeburg Joan and Bill Nagel Rodolfo and Margaret Perez

Boulder Philharmonic Orchestra 2017-2018 Program 7

Boulder Philharmonic Orchestra

We thank our “Friends of the Phil” musician sponsors. For more information on sponsoring one of the Boulder Phil’s professional musicians, please visit boulderphil.org/support/friends-of-the-phil

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

OBOE/ENGLISH HORN Sarah Bierhaus,* Golden Max Soto, Denver

BASS David Crowe,* Boulder Nyla & William Witmore Benjamin de Kock,+ Denver Brian Knott,** Louisville Lin & Matthew Hawkins Jesse Fischer, Longmont Owen Levine, Wheat Ridge Jeremy Nicholas,+ Edgewater Matthew Pennington, Lafayette

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

HARP Kathleen Wychulis,* Omaha, NE

TRUMPET Leslie Scarpino,* Wheat Ridge David Fulker & Nicky Wolman Kenneth Aikin, Boulder Roberta Asmus Goodall, Centennial Courtney Thomas

PIANO Arthur Olsen,* Boulder Ellie and 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

CLARINET/BASS CLARINET Stephanie Zelnick,* Lawrence, KS Rodolfo & Margaret Perez Michelle Orman, Denver William & Ann Kellogg BASSOON/ CONTRABASSOO Charles Hansen,* Greeley in memory of Joan Ringoen Kim Peoria, Louisville Wendy La Touche, Boulder

TROMBONE Bron Wright,* Colorado Springs Owen Homayoun, Austin, TX Jeremy Van Hoy, Colorado Springs

* Principal ** Assistant Principal + New Members, Fall 2017

FLUTE/PICCOLO Elizabeth Sadilek-Labenski,* Edwards Pamela Dennis Caitlyn Phillips, Austin, TX Olga Shilaeva, Lafayette Paul Weber

Program 8 Boulder Philharmonic Orchestra 2017-2018

Cirque Goes to the Movies BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Cirque de la Symphonie Saturday, February 3, 2018 Macky Auditorium, CU Boulder 2:00 pm Performance 7:30 pm Performance MERCER/Williams Hooray for Hollywood KANDER All That Jazz from Chicago Irina Burdetsky & Aleksandr Deev MORRICONE Cinema Paradiso Janice Martin STEINER/Campbell-Watson Tara from Gone with the Wind WILLIAMS The Witches Of Eastwick - The Devils Dance Aleksandr Deev HORNER My Heart Will Go On from Titanic Enkhgerel Gantumur WILLIAMS Main Title from Superman Max Torandell - Intermission – BADELT/Ricketts Pirates of the Caribbean VIVALDI The Four Seasons - L’Inverno, Movements 1 & 3 Janice Martin SCHIPRIN/Custer Theme from Mission Impossible Aleksandr Deev GARDEL-WENDEL Por Una Cabeza Goulia Rozyeva & Nelson Pivaral BERNSTEIN/ M. Peress Overture from West Side Story Irina Burdetsky BARRY/Custer Theme from Somewhere in Time WILLIAMS Across the Stars from Star Wars: Episode II, Attack of the Clones Enkhgerel Gantumur & Max Torandell KANDER Theme from New York, New York (Reprise) Ensemble Programs and artists are subject to change. The use of cameras and electronic devices is strictly prohibited.

Bronze Circle Concert Sponsors Marla and Jerry Meehl Emerson/Micro Motion Boulder Philharmonic Orchestra 2017-2018 Program 9

Program CIRQUE DE LA SYMPHONIE Cirque de la Symphonie is an exciting production designed to bring the magic of cirque to the music hall. It is an elegant adaptation of some of the most amazing cirque acts performed on a stage shared with the full symphony orchestra, showcasing many of the best artists in the world. The audience is thrilled and bedazzled by aerial flyers, acrobats, contortionists, dancers, jugglers, balancers, and strongmen. These accomplished veterans include world record holders, gold-medal winners of international competitions, Olympians and some of the most original talent ever seen. Each performance is perfectly choreographed to classical masterpieces, raising cirque artistry to a fine arts level. Adding a stunning visual element to the concert experience, these aerialists and acrobats provide a threedimensional entertainment extravaganza. Orchestras play with enhanced enthusiasm, while patrons marvel at the jaw-dropping spectacle of aerialists flying overhead and astonishing acrobatic feats. Fusing the power and majesty of the live orchestra with the best of cirque artistry, Cirque de la Symphonie is the only cirque company in the world that performs exclusively with symphony orchestras. Over one hundred orchestras worldwide have featured Cirque de la Symphonie in sold-out venues, adding energy and excitement to the concert experience. Join us on Facebook and explore our website for images, video, schedule, reviews, and more: www.cirquedelasymphonie.com CIRQUE DE LA SYMPHONIE PERFORMERS:

JANICE MARTIN, acrobatic aerial violinist Janice Martin is a multi-talent on violin, piano, voice, and most uniquely, the World’s Only Acrobatic Aerial Violinist. She has toured the world over with her onewoman shows and as featured guest soloist /entertainer with orchestras, her 5-piece band and with the internationally acclaimed troupe Cirque de la Symphonie. In 2017, Janice opened her own show at the Americana Theatre in Branson, MO called The Janice Martin Cirque Show and was awarded “2017 Best New Show”, “2017 Best Matinee Show” and “2017 Female Entertainer of the Year.” Janice has won numerous competitions including top prizes at both the Washington International Competition, the Young Artist International Competition, and the Career Award Grant by National Endowment for the Arts. For her accomplishments, The Stradivari Society awarded her the honorary use of the 1708 Burstein/Bagshawe Stradivarius Violin. Janice is a Juilliard Music School and Indiana University Graduate, an Army Veteran, and has made various television appearances including America’s Got Talent and This Old House. Janice was a headlining act at the Showboat Branson Belle in Branson for 6 years. In addition, Ms. Martin has created DVDs, CDs and most recently authored a children’s inspirational book entitled: “How I Learned to Fly.” www.janicemartin.com

Irina Burdetsky Aleksandr Deev Enkhgerel Gantumur Nelson Pivaral Goulia Rozyeva Max Torandell

Program 10 Boulder Philharmonic Orchestra 2017-2018

NEW! “Reach for the Stars” Free Community Concert Sunday, March 4 at 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!

VOLUNTEER WITH THE PHIL!

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.

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Boulder Philharmonic Orchestra 2017-2018 Program 11

UPCOMING EVENTS 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

Renowned choreographer Cleo Parker Robinson unveils her vision of serenity in a gorgeous setting of Vaughan Williams’ The Lark Ascending, featuring concertmaster Charles Wetherbee. The 5th Symphony of Sibelius, inspired by the sight of swans in flight, conjures the stark beauty of Finnish tundra and the northern lights. And violin sensation Stefan Jackiw thrills with his approach to Prokofiev’s famous Violin Concerto No. 2, full of both stunning virtuosity and sublime lyricism.

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

As a gifted composer, conductor, pianist, author, educator, advocate and communicator, Leonard Bernstein could do it all. His West Side Story stands as one of the signal achievements of American musical theater. Its melding of sophisticated formal construction with toe-tapping rhythms and irresistible melodic turns makes it one of the enduring treasures of the 20th century. Join us as we present a rare opportunity to hear the entire score in dramatic concert with full symphony orchestra and soloists. There’s no better way to celebrate the 100th birthday of this American musical legend, or to bring our 60th anniversary season to a triumphant conclusion. Lorem ipsum

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Events of Note SIMONE DINNERSTEIN House Recital Thursday, January 11, 2018 Simone Dinnerstein is a thoughtful, inventive pianist with a thing for Bach. She spearheaded the Philip Glass co-commission, which brings her back to Boulder, and her house recital will reflect her style and passion. PROGRESSIVE PAIRINGS Lee Hill Drive Wineries Thursday, March 22, 2018 Two players, three wineries, one exceptional evening! Each of the three Lee Hill Drive Wineries will host a pairing of music, delicious bites, and handcrafted wine – and you will experience all of them at this multisensory pairing event featuring Boulder Philharmonic cellists Charles Lee and Eleanor Wells. DAIRY ARTS CENTER: ONE NIGHT ONLY - COLORADO CLASSICS Thursday, April 5, 7:30 PM, Dairy Arts Center, 2590 Walnut Street $40/person In a special evening in collaboration with the Dairy Arts Center, this One Night Only program presents a trifecta of internationally renowned artists on the Dairy stage, including Avery Fisher Career Grant recipient and violinist Stefan Jackiw, Boulder’s favorite pianist, David Korevaar, and Denver’s Cleo Parker Robinson Dance Ensemble! You’ll experience a worldclass music and dance performance, paired with a talkback from the artists and Boulder Phil’s Music Director, Michael Butterman, concluding with a complimentary post-show catered reception to get to know the performers over delicious eats and drinks! BERNSTEIN AT 100: LEONARD BERNSTEIN TRIBUTE CONCERT Monday, April 23, 7 PM  Levin Hall at the Boulder JCC 6007 Oreg Ave., Boulder, CO 80301 $36 in advance; $40 at the door Join the Boulder Phil and musicians from the local musical community, including the CU College of Music, to celebrate Leonard Bernstein with piano solos, vocal works, chamber pieces, and a preview of songs from the Boulder Phil’s upcoming production of “West Side Story.” The community concert includes a tribute to Bernstein in word and image. Tickets for all events may be purchased at www.boulderphil.org Contact Director of Development Eve Orenstein at eve@boulderphil.org or 303.443.0542 for more information.

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 December 15, 2017. FOUNDERS CIRCLE ($30,000+) Anonymous (1) Boulder Arts Commission Patricia Butler *# David Fulker and Nicky Wolman *# SCFD Lynn Streeter # GOLD CIRCLE ($10,000+) Sydney and Robert Anderson + Christopher and Margot Brauchli * Boulder Convention and Visitors Bureau Gordon and Grace Gamm Erma and John Mantey Stephen and Jayne Miller + National Endowment for the Arts Noris Foundation Rodolfo and Margaret Perez +* Harry and Eleanor Poehlmann +* SILVER CIRCLE ($5,000+) Anonymous (1) Albert and Rebecca Bates * Albert and Nancy Boggess Nancy Clairmont and Bob Braudes +*# Thomas and Virginia Carr Pamela Dennis *# Alexandra Dujardin Eide Bailly, LLP David and Sara Harper + John Hedderich # Stephen and Judy Knapp +# George Lichter (in memoriam) Annyce Mayer * Marla and Jerry Meehl + Frank Palermo and Susan Olenwine Janet and David Robertson Karyn Sawyer BRONZE CIRCLE ($2,500+) The Academy Gail Aweida (in memoriam) Shari Bohn Terry and Jenny Cloudman The Community Foundation Serving Boulder County Beverly and Bruce Fest Flatirons Bank Carl and Ruth Forsberg Jeffrey and RoseMarie Foster Jerry and Janet Gilland Lin and Matthew Hawkins * Wayne Itano and Christine Yoshinaga-Itano + Ruth Carmel Kahn Harold and Joan Leinbach * Paul and Nancy Levitt Richard and Linda Livingston The Lockwood Foundation

Jerry and Heidi Lynch Micro Motion/Emerson + Millstone/Evans Group of Raymond James and Associates Robert and Francine Myers +* TK Smith and Constance Holden Alan and Martha Stormo Stephen Tebo Dick and Caroline Van Pelt Vivian Wilson Nyla and Gerry Witmore * Zayo Group, LLC LEADERSHIP CIRCLE ($1,000+) Anonymous (3) Lari and Thomas Abraham Barbara Brenton Lindley Brenza Joan Brett * Amy and Terry Britton Tony and Maria Busalacchi Michael Butterman and Jennifer Carsillo Toni and Nelson Chen The Louise & Grant Charitable Fund Alan and Tessa Davis * Davis-Tailer Foundation Ursula Dickinson + Heather Dupre Andrew and Audrey Franklin + Elyse Grasso Ralph and Joanna Grasso Robert and Diane Greenlee Carol Grever Hansson Family Russell and Ann Hayes + Kyle and Stephanie Heckman Cherine and Mark Herrmann Gerald and Doree Hickman Holly and Grant Hickman + David and Suzanne Hoover Stewart and Karen Hoover Neva and Milton Huffaker Richard and Ruth Irvin Samuel and Carolyn Johnson Virginia Jones * Matthew and Diana Karowe Charles Knight Emily Koechel Buddy Kring Peter Gilman and Peggy Lemone + Frances MacAnally Julie and Tim Marshall Robert and Marilyn Mohling * Ronald and Joan Nordgren + Outdoor Craftsmen + James Pendleton Carl and Kathy Polhemus Anita and Arthur Polner Susan and Paul Roberts Helen Roe

Beatriz and Juan Roederer # Cynthia Rosengren Luana Rubin * Ross and Jane Sheldon Gerald Shioshita Ronald Sinton Jane and Neal Sliker Arthur and Carol Smoot Greg Sobeich Sopher Sparn Architects, LLC Taddiken Tree Company + Marion Thurnauer and Alexander Trifunac * Alison Craig and Stephen Trainor Betty Van Zandt + Jack and Sophie Walker Andy Walls Welch Financial Planning + Raymond and Rena Wells The Winston Family Foundation Jack and Brenda Zellner * ARTIST CIRCLE ($500+) Anonymous (1) Dr. Richard and Michelle Binzel Brian Bishop Helen Bosley Alexander and Sally Bracken Carolyn Bradley * Jean-Pierre and Glenna Briant Aaron Brockett Frances Burton Jan Burton Bill and Beth Carsillo Ben and Gale Chidlaw The Rebecca Clarke Society, Inc. Richard Collins and Judy Reid Colorado Financial Management Charlotte Corbridge * Sylvia and Burt Darmour Ball Corporation Larry Day and Catherine Haskins Claire and Art Figel Hans and Jeri Friedli Bill and Randy Ganter Robert Krenz and Carolyn Grant Ann Hayes Judene Hendricks Jeannette Hillery Kaye Howe Matthew Hyatt * William and Ann Kellogg * Joel Kiesey Ray and Margot LaPanse Bruce Kahn and Susan Litt Deborah Malden Tracy Mayo Barbara and Irwin Neulight The Newton Family Fund * Martha and George Oetzel * Juan and Alicia Rodriguez

Donors Tom Rounds Art Zirger and Mary Rowe Charles Samson Mary Scarpino Marjorie and Bob Schaffner Gail and John Squires Mary Street Peter and Laura Terpenning PARTNERS ($250+) Anonymous (4) Joyce Albersheim Charles and Cynthia Anderson Peter and Patricia Angell Susan and Barry Baer Mark Bauer Sharon and Andrew Castro Cherilynn Cathey Thomas and Vivian Cecil Brook Reams and Rochelle Chartier Penny Chenery Dion and Alekie Cheronis Susan and Tom Churchill * Joan Cleland * Margot Crowe Jane and Stephen Dalrymple-Hollo Peter and Joan Dawson Joe and Jarid de Raismes Joe and Alice Doyle Geore and Sallie Duvall Janet and Robert Evans Richard and Marguertie Franklin Ann Garstang Gerald and Anita Gershten Susan and Gustavo Grampp Charles and Gail Gray Dorothea and Ronald Grey Fabian Guerrero Ken and Dianne Hackett Chris and Linda Hansen Chuck Hardesty Lewis Harvey Robert and Penny Haws * Russell & Ann Hayes John Dennis Hynes and Virginia Medelman Hans Jordan Colman and Marcia Kahn Colleen Keller and Dean Moore Ann Kiley Don and Eleanor King Eileen and Walter Kintsch Bonnie Kirschenbaum Peter and Judith Kleinman Mara Lehnert Douglas Lerner Joy Linfield Alan and Judy Megibow Richard Nishikawa and Kathleen Miller Dean Moore Joan Mulcahy Teresa Mywang Stephen Nash Scott and Jean Nelson David Oakley Taggart Insurance

Molly Parrish Michele and Michael Ritter Cynthia Schmidt Ruth Schoening Jane and Leo Schumacher Todd and Gretchen Sliker * Soyoung Lee and Jeremy Smith Pamela and Michael Sousa Linda and Stephen Sparn Sandra Bland and Robert Spencer Andrew and Margrit Staehelin Courtney Thomas * James Topping Marianne van Pelt Nicholas and Shelby Vanderborgh Pamela Walker * Stuart Waugh Paul Weber * Rebecca and Rick White Gregory Young Charles Zabel Marylee Zurick FRIENDS ($100+) Anonymous (5) Richard and Alma Alber Dr. Michael and Carol Altman Erika Altneu Ted Altshuler Cherry Anderson Neal Anderson Suzanne and Robert Anderson Susan and Richard Anthes Neil Ashby and Marcie Geissinger Judith Auer and George Lawrence Pierrette Barut Dara and Kit Beall Les and Barbara Berry Catherine and William Bickell Richard and Carol Bowman Phillip Bradley Debra and Charles Brindis Sarah Brock Anne and Don Burke Anne Burkholder and Stephen Eisenberg David Burns Martha Bushnell Richard and Linda Carbone Andrew and Lois Cherrington Roger and Norma Cichorz Joseph and Elizabeth Cirelli James and Amy Clark Claude Weil and Carolie Coates Martha Coffin Evans and Robert Trembly II Carol Cogswell Sara-Jane and Bill Cohen Michael Collins Karen Connolly Sheila Conroy Max and Barbara Coppom Robert Craig Dan and Nancy Dâ&#x20AC;&#x2122;Ippolito Meredith and Walter Dabberdt Megan Dawson Charles and Jean Dinwiddie

David and Susan Donaldson Caroline and Preston Douglas David Dowell Leslie and Donald Dreyer Megan Edrington Norman and Muriel Eliot Lee Ellwood Jennifer Favell Ruth Feiertag Neil Fishman Robert and Juliette Ford William and Ann Ford Johannah and O. Lehn Franke Richard Franklin Greg Ginocchio Julie Ginocchio Garry and Barbara Gordon Sally Grahn Mary Greenwald Suzan Grenier Michael Grote Kathryn Strand and Eldon Haakinson Charles and Patricia Hadley Diana Haskell Karly Haugen Spencer and Valerie Havlick Josie and Rollie Heath James and Gayle Heckman James and Judith Heinze Peter Hellyer and Hiroko Okada Susan Henderon Maribeth and Warren Hite Sondra and Randal Hittle Barbara and Robert Hoffman Amanda Hoffman Joan Manley Holly and Steven Hultgren Arnie Jacobson and Victoria Johns-Jacobson Wesley and Joanne Johnson Christopher Jones Hudson Jones Jo Ann Joselyn Darcy and Richard Juday Josh and Lori Kahn David and Carol Kampert Pat Karns Robert Kehoe Jonas Keller Kaley Klemp Jon Kogut Richard and Barbara Kuchenrither Gerald Kutchey Judy Lambert Frank Langen Wesley and Heather Le Masurier Peter Lerner Arthur Lieb Al Gasiewski and Rachel Lum Ellen Mahoney Elaine Maldin Elizabeth Marr Marian Matheson Steven and Susan Maxwell Jennifer McCallum J. Hunter and Janet McDaniel Doris and Peter McManamon

Donors Elizabeth Meyer Roger and Lily Moment Elliot Moore James Neely Paul Nigro Sharon Nishikawa Mary Ann O’Leary Mary Ann O’Rourke Christopher and Linda Paris Marion Paton David Paulson Robert and Marilyn Peltzer Paul and Patti Pigeon Polk Family Charitable Fund Mary and John Price Skippy Rolins Lester Ronick Alice Renouf and Jon Rush Barbara Sable Stephanie and Paul Scheffler Judith Schilling Elaine Schnabel Thomas Shallow Andrea Simmons Howard and Valerie Singer David Skaggs Betty Skipp Zdenka and Dean Smith Dr. Courtland and Carolyn Spicer

Jean Stahly Julie Stapleton Barbara Steinmetz Randy Stevens Jane Stockebrand Thomas and Nancy Storm Philip Straffin Glen Strand Gregory and Diane Strevey Roselyn Strommen and Kevin Berg Robert and Julie Stuenkel Nadya Sustache Elaine Taylor Joyce and Rigomar Thurmer Michael and Nancy Udow Rex Vedder Annemarie Voss Priscilla Walker David Walton Lucy Warner Boulder Weekly Yenlik Weiss David and Amy Weiss Anne Wenzel * Lisa Winton Richard and Wendy Wolf Kristen Wolf * Ruth Wright

The Boulder Phil also thanks the 227 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. LEGACY CIRCLE Bob Braudes and Nancy Claremont Patricia Butler Pamela Dennis David Fulker and Nicky Wolman John Hedderich Stephen and Judy Knapp Juan and Beatriz Roederer Lynn Streeter We recognize those Legacy Circle donors who have generously included the Boulder Phil in their estate plans. For more information about planned giving options, please contact Eve Orenstein, Director of Development, at 303-4430542 or eve@boulderphil.org. + Performance Sponsor * Friends of the Phil # Legacy Circle

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Listen Locally Where Boulder Sings

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BETWEEN HEAVEN & EARTH March 10, 7:30 PM March 11, 4 PM A concert for those who love pure, unadorned choral beauty, with Indian fusion ensemble Jam Key Jam

DUKE ELLINGTON’S SACRED CONCERTS May 19, 7:30 PM May 20, 4 PM The Cotton Club goes to church. We will bring our 110 voices and a jazz septet to this end of the season jazz extravaganza.

COME TO MY GARDEN May 13, 4 PM Visit our website Children’s Chorale for full details Mother’s Day Concert

BoulderChorale.org • 303.554.7692

Elliot Moore, Music Director

2017-18 SEASON

New Frontiers

FAMILY CONCERT TALES FROM THE SEA Jan. 27, 4 PM Jack Prelutsky, author/narrator Behold the Bold Umbrellaphant

Apr. 7, 7:30 PM Sarah Barber, mezzo-soprano RIMSKY-KORSAKOV Scheherazade A LONGMONT Works by Elgar & WORLD PREMIERE Mendelssohn Feb. 24, 7:30 PM Matthew Zalkind, POPS CONCERT: DIVAS THROUGH cello THE DECADES SAINT-SAËNS Cello Concerto No. 1 & May 12, 7:30 PM a world premiere www.longmontsymphony.org · 303.772.5796

Listen Locally

COLORADO MAHLERFEST XXXI GUSTAV MAHLER - Das Lied von der Erde (The Song of the Earth) JEAN SIBELIUS - Symphony No. 7 in C, Op. 105

COLORADO MAHLERFEST ORCHESTRA - KENNETH WOODS

ORCHESTRAL AND CHAMBER CONCERTS, MASTERCLASS, SYMPOSIUM, AND MORE "[Mahler's 10th] was an amazing feat of brilliance... which Woods took to ethereal heights." Boulder Daily Camera. May 2017

MAY 14 - 20, 2018

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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 2018 Boulder Library Concert Series PLAYGROUND ENSEMBLE & VOICES OF LIGHT Sunday, January 28, 2 p.m.

BOULDER BACH FESTIVAL’S ‘BACH 4 KIDS’ Sunday, March 18, 2 p.m.

MIDDAY MUSIC MEDITATION Wednesday, February 14, noon-1 p.m.

MIDDAY MUSIC MEDITATION Wednesday, March 14, 12 noon-1 p.m.

3 TRIO AFTERNOON David Korevaar—piano, David Reguiro—cello, Harumi Rhodes--violin Sunday, February 18, 2 p.m.:

PAUL ERHARD & FRIENDS Sunday, April 8, 2 p.m.

3RD TUESDAY LUNCHTIME CONCERT Featuring Cantabile Singers “The Other Side of Love” Tuesday, February 20, 12-1 p.m.

MIDDAY MUSIC MEDIATION Wednesday, April 17, 12 noon-1 p.m. PIANIST LISA HARRINGTON Sunday, April 22, 2 p.m.

All Concert Series Performances take place in the Canyon Theater of the Boulder Public Library at 1000 Canyon Blvd. Admission is FREE—thanks to the Boulder Library Foundation and the George Lichter Family Fund

FO U RT E E N E R S

14TH SEASON | 2017-2018

BOULDER CHAMBER ORCHESTRA January 13 & 14 - Amicus Duo February 23 & 24 - Beethoven’s Egmont Carrettin Violin March 9 & 11 Zachary - AltiusMina Quartet Gajic Viola Maestro Bahman Saless Conductor March 30 & 31 - Mozart’s Requiem May 4 - The Music of Star Wars FRIDAY, NOVEMBER 10 SATURDAY, NOVEMBER 11 May 19 & 20 - Papa Haydn & Wolfgang WITH

BROOMFIELD AUDITORIUM

BOULDER ADVENTIST CHURCH

7:30 PM

FOR TICKETS AND INFORMATION

boulderchamberorchestra.com | 303-583-1278

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 All-Access Passes available

boulderbachfestival.org 720-502-5052

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The Muse Project Mozart and Scarlatti w/St. Martin’s Brandenburg Concertos

FEB 23 & 25 MAR 13 - 15 MAY 17 - 20

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YOUTH ORCHESTRAS Concerts FEBRUARY 12 MAY 6

AUDITIONS

ALL AGES, ALL INSTRUMENTS JANUARY • MAY

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Please join Boulder Symphony for a concert this season. Boulder Philharmonic Patrons receive 15% oﬀ tickets! Please use Discount Code: PHIL1718 Composing the End | Saturday, February 17 | Cody Garrison, piano Opera Night in Boulder: Verdi’s LA TRAVIATA Thursday, March 22 (PREVIEW) | Saturday, March 24 (OPERA)

The Sacrificial Youth | Saturday, May 5 | Phoenix Avalon, violin Boulder Symphony is dedicated to making symphonic music surprising, more accessible, and relevant to people of all ages and backgrounds.

TICKETS & DETAILS: BOULDERSYMPHONY.ORG Boulder Symphony Concert Hall is in First Presbyterian Church at 16th & Canyon in Boulder.

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 ensures 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.

OSWALD LEHNERT II ARTISTIC INNOVATION FUND

Oswald Lehnert II, known to most as Ozzi, led the Boulder Philharmonic for 24 years from 1972 to 1996. Under his baton, the orchestra was propelled to new heights. At the 60th Anniversary Gala in October 2017 we announced the creation of the Oswald Lehnert II Artistic Innovation

Fund. This will expand the Boulder Phil’s commitment to innovative orchestral music for its community. These funds will help realize Michael Butterman’s artistic vision by augmenting resources for activities such as: • Recording projects • Technological concert enhancements • Collaborations with high-demand artistic groups • Creative, mixed-style programming for expanded audiences • Commissioning of new works

ENDOWMENT FUND

We rely on an endowment held at the Community First Foundation for longterm, sustainable income. Additional gifts to the endowment will help maintain a reliable funding source for your Phil for years to come.

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 plans 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.

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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

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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

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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

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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 - Bachâ&#x20AC;&#x2122;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