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Welcome Dear Friends, Can it really be ten years? A decade has flown by as we have embraced the spirit of Boulder and worked to reflect everything that makes this community so remarkable. We’ve known for a while that the Phil is something special, and this season, your orchestra is being presented as a model of civic engagement and artistic excellence through our invitation to the Kennedy Center’s inaugural SHIFT Festival in March. We’re tremendously excited by this honor and hope that many of you will join us in Washington! Music is all about togetherness—it’s the essence of the word “ensemble,” after all—and our 16-17 season doubles down on this principle as it brings together fascinating combinations of guest artists and unique repertoire pairings. Teamwork is front and center as we feature duos in nearly every concert. Local gems Edward Dusinberre, Geraldine Walther, Charles Wetherbee and Nicolo Spera will shine along with husband-and-wife partners Jennifer Frautschi and Eric Ruske, and classical music’s new dynamic duo—pianists Anderson and Roe, who are media sensations in addition to being brilliant musicians. Along with repertoire staples by Tchaikovsky, Beethoven, Schumann and Rachmaninoff, we are sharing some unusual and provocative works, including two world premieres. “Adventurer-composer” Stephen Lias unveils his tribute to Rocky Mountain National Park in March (complete with photos choreographed to the music), and British composer Stephen Goss presents a unique concerto for violin and guitar, written specifically for our hometown soloists. In March, nature-and-music favorites return, with Jeff Midkiff’s bluegrass-infused mandolin concerto, the cinematic Ghosts of the Grasslands and Frequent Flyers’s inimitable take on Copland’s Appalachian Spring. And our season comes to a dramatic conclusion with an Italianate program highlighted by the sonic splendor of The Pines of Rome. The Phil is also teaming up with Boulder favorite, Jake Shimabukuro, for some high-energy ukulele excitement that has to be seen and heard to be believed. We’re also a part of your holidays, with our ever-popular Nutcracker performances with Boulder Ballet AND A Wicked Good Christmas featuring the fabulous Dee Roscioli, one of Broadway’s biggest stars, in an evening of holiday favorites along with memorable hits from Wicked and many others. All season long, your Phil will also be busy sharing the magic of music with young people through our school visits and Discovery Concerts for elementary students, as well as two sensory-friendly chamber concerts at the Boulder Public Library specifically designed for children with autism and their families. Of all the pairings we’ll enjoy this season, the most important, by far, is the partnership between our orchestra and you. The Phil plays an invaluable role in our community, and YOU, our patrons and supporters, are the engines of our success. I feel uniquely privileged to have shared this journey with you for the past ten years. I look forward to many more, and I thank you for joining us as we celebrate a season of musical togetherness! Enjoy,

Michael

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 four years in a row, today’s Boulder Phil is bucking national trends with growing, enthusiastic audiences under the vision and leadership of Music Director Michael Butterman. This season, we are proud to be one of four orchestras nationally to be featured in the 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. In recent seasons the Phil has collaborated with an impressive 45 local organizations, encompassing arts, science, nature, youth, social services and more. By going beyond simply performing great repertoire, we strive to connect ever more people to the inspiring power of orchestral music. 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 1958, the Boulder Phil’s recent history was shaped by notable music directors Oswald (Ozzi) Lehnert (1972-1996) and Theodore Kuchar (1996-2006), under whose leadership the Boulder Phil became a fully professional ensemble. Today the Boulder Phil reaches audiences of over 20,000, with performances from Arvada to Highlands Ranch as well as regular invitations to perform at the prestigious Vilar Performing Arts Center in Beaver Creek. The Boulder Phil strives to inspire the next generation of music-lovers through Discovery Concerts that have reached thousands of 4th and 5th grade students in 28 schools across three counties. For decades the Phil has also fostered new talent with the annual Young Artist Concerto Competition, and Boulder Phil musicians provide mentorship through side-by-side concerts with the Greater Boulder Youth Orchestras and Front Range Youth Orchestras. In all these ways, the Boulder Phil strives to be at the center of our community’s cultural fabric.

ADAM RIGGS

GLENN ROSS

About the Boulder Phil

Community Engagement The Boulder Philharmonic believes that live orchestral music is for everyone. We are committed to providing a wide array of opportunities for people throughout our community to encounter the life-enriching power of classical music. Whether here at Macky or out in the wider community, our programs are bringing more music to more people in more ways than ever before.

EDUCATION “Mr. Butterman’s energetic spirit and great sense of humor really make the concerts come alive.”

• Discovery Concert 2017 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 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.

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.

ADAM RIGGS

– BVSD teacher

OUTREACH A series of sensory-friendly concerts created especially 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.

To Our Supporters

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

Boulder Phil staff and interns

COVER CONDUCTORS Rafael Rodriguez Christopher Tran OFFICERS Kyle Heckman, President Rodolfo Perez, Vice President

Patricia Butler, Secretary Joel Kiesey, Treasurer

BOARD Christopher Brauchli Claire Figel David Fulker Lin Hawkins Deborah Holland Steve Knapp Erma Mantey

Marla Meehl Eleanor Poehlmann Karyn Sawyer Lynn Streeter Yenlik Weiss Ronny Wells

ADMINISTRATION Kevin Shuck, Executive Director Eve Orenstein, Director of Development Shelley Sampson, Patron Services Manager & Artistic Administrator Cynthia Sliker, Director of Community Engagement Chris Martin, Production Manager Kim Peoria, Personnel Manager Stephanie Mientka, Orchestra Librarian

Obviously, it’s a tremendous honor to be chosen from a competitive national field to represent “the vitality, identity, and extraordinary artistry of American orchestras.” An honor for the Phil, an honor for Boulder – and an honor for YOU.

Holly Hickman, Marketing Consultant / Up Tempo Marketing Janet Braccio, Publicity & Media Relations / Bella Voce Communications Jane Roach, Bookkeeper Laken Emerson, Communications Intern Megan Gore, Artistic & Development Intern Charles Lovell, Education Intern

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By now, you’ve probably heard the exciting news that your Boulder Phil will travel to Washington, D.C. this spring to perform at the Kennedy Center during the SHIFT Festival of American Orchestras – and you’ll be hearing more throughout the season.

Specifically, SHIFT celebrates orchestras of all sizes that are succeeding in forging new connections to their communities in innovative and effective ways. There is a sense of urgency to connect and diversify, and to build programs that present the profound richness of the orchestral experience in new ways – ensuring our place in a changing cultural landscape. Performing in the national spotlight this March will be both a culmination of past achievements and a new beginning, providing us with the opportunity to continue writing the next chapter in the storied history of the American orchestra. Join us on the journey!

– Cynthia Sliker WITH EVERY PERFORMANCE Director of Community Engagement

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March to DC with the Boulder Phil

The Boulder Phil is honored to be one of only four orchestras selected to perform at the Kennedy Center in Washington, DC, in March 2017. The concert is part of the inaugural SHIFT Festival, which celebrates orchestras that have demonstrated artistry, creativity and excellence in civic engagement. Following our Kick-Off Concert in Boulder on March 25, we will repeat our “Nature & Music” program at the Kennedy Center on Tuesday, March 28 with special guests, Frequent Flyers Aerial Dance. Other DC residency activities include musical hikes in Rock Creek Park led by naturalist Dave Sutherland from Boulder’s Open Space & Mountain Parks and “stroll-to” outdoor performances by Boulder Phil ensembles during the National Cherry Blossom Festival. The Greater Boulder Youth Orchestras will also be performing on the Millennium Stage in the Kennedy Center lobby as our guests. We invite you to join us in DC! Travel package details will be posted on our website this fall.

For more information on how you can get involved, visit www.BoulderPhil.org/ kennedycenter or call 303.449.1343.

“The SHIFT Festival showcases how America’s orchestras have shifted their visions to reflect the music and programming that is unique to their own communities. We couldn’t be more honored to share our vision with other orchestras across the country.” — Michael Butterman, Music Director

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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, with whom he will appear at the Kennedy Center’s inaugural SHIFT Festival in 2017. He is also the Music Director of the Shreveport Symphony Orchestra and the Pennsylvania Philharmonic. In addition, he is in his 17th 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.

GLENN ROSS

Meet Michael Butterman

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. In the 16-17 season, he will return to conduct the National Symphony for three weeks of concerts at the Kennedy Center, as well as to conduct Canada’s Victoria Symphony in the fall. 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, WinstonSalem 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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Opening Night with Anderson & Roe BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Greg Anderson and Elizabeth Joy Roe, Piano Saturday, October 8, 2016 Macky Auditorium, CU Boulder 6:30 pm Pre-Concert Talk 7:30 pm Performance Sunday, October 9, 2016 Pinnacle Performing Arts Complex 2:00 pm Performance Francis Poulenc Concerto for Two Pianos (1899–1963) I. Allegro ma non troppo II. Larghetto III. Allegro molto Sergei Rachmanninoff Rhapsody on a Theme by Paganini (1873–1943) Theme and 24 Variations - Intermission Pyotr Ilyich Tchaikovsky Symphony No.2 (“Little Russian”) (1840–1893) I. Andante sostenuto—Allegro vivo II. Andantino marziale, quasimoderato III. Scherzo. Allegro molto vivace IV. Finale. Moderato assai—Allegro vivo Program and artists subject to change. The use of cameras and electronic devices is strictly prohibited.

Soloists sponsored by DAVID AND SARA HARPER

Poulenc Concerto sponsored by BEATRIZ AND JUAN ROEDERER Rachmaninoff Sponsor

Boulder Philharmonic Orchestra 2016-2017 Program 1

Program GREG ANDERSON AND ELIZABETH JOY ROE Known for their adrenalized performances, original compositions, and notorious music videos, Greg Anderson and Elizabeth Joy Roe are revolutionizing the piano duo experience for the 21st century. Described as “the intense synchronization of genius” (Third Coast Digest) and “the most dynamic duo of this generation” (San Francisco Classical Voice), the Anderson & Roe Piano Duo aims to make classical music a relevant and powerful force around the world. Their recent albums on the Steinway Label (When Words Fade, An Amadeus Affair, and The Art of Bach) were all released to critical acclaim and have spent dozens of weeks at the top of the Billboard Classical Charts, while their Emmy-nominated, self-produced music videos have been viewed by millions on YouTube. Since forming their dynamic musical partnership in 2002 as students at The Juilliard School, the Anderson & Roe Piano Duo has appeared on NPR and MTV, toured extensively worldwide as recitalists and orchestral soloists, and presented at numerous international leader symposiums. A performance by the Anderson & Roe Piano Duo was handpicked to appear on the Sounds of Juilliard CD celebrating the school’s centenary. Highlights of the 2015/16 season include tours throughout North America, Asia, and Europe; performances of Brahms’ Double Concerto in their arrangement for two pianos and orchestra; recitals in Lincoln Center’s Avery Fisher Hall at the Mostly Mozart Festival; and the premiere of their ambitious—and literally explosive— music film, The Rite of Spring, at the Wine Country Film Festival.

PROGRAM NOTES FRANCIS POULENC (1899-1963) Concerto in D minor for Two Pianos and Orchestra, FP 61. Francis Poulenc’s upbringing was one of privilege. His father was the head of a multinational pharmaceutical company which resulted in the family’s comfortable wealth. Francis adored childhood piano lessons and decided early on that his career would be in the field. His father insisted on a highly regimented classical education at an elite Parisian academy followed by entrance into the Conservatorie, however the early deaths of both his parents thwarted these plans. Instead of entering the famed Conservatoire, Poulenc studied privately with the Spanish pianist Ricardo Viñes. In the discipline of composition, the young composer was largely self-taught. Through Viñes, Poulenc met several prominent figures in the Parisian arts scene. In the years surrounding 1920, Paris was an artistic melting pot with the debauchery of the cabarets existing alongside the most respected poets, painters, and composers of the day. Poulenc absorbed every available influence, as the sardonic wittiness of his music attests. Igor Stravinsky took notice of the teenage composer and convinced the publishing firm of J. W. Chester in London to issue several of his works. Shortly thereafter, Poulenc was accepted into the group of composers known as Les Six (‘The Six’) – also including Georges Auric, Germaine Tailleferre, Louis Durey, and Arthur Honegger – who gathered as friends at a bar called La Gaya to drink and discuss music. It was from this group that the most significant French works of the period were written. Over the next four decades, Poulenc created works in nearly every genre, including three operas, a handful of ballets, several orchestra works, chamber music, and numerous pieces for piano and chorus. He is recognized as the most important composer of French art songs in the twentieth century. Poulenc’s Concerto for Two Pianos dates from 1932 and is dedicated to one of the most colorful characters in the multi-hued spectrum of 1920’s and ‘30s Paris. The Princess de Polignac was born in Yonkers, New York,

Program 2 Boulder Philharmonic Orchestra 2016-2017

Program as Winnaretta Singer and was the heir to the sewing machine fortune. When the Civil War broke out in the U.S., the family relocated to France. In 1893 she wed Prince Edmond de Polignac, thirty years her senior, in a marriage of convenience. She remained with him until his death in 1901. Having inherited her father’s fortune in 1875 and now the Polignac riches, “Princess Winnie” occupied her time by supporting the most promising writers, dancers, actors, artists, musicians, and composers in Paris. Poulenc’s association with the Princess began in 1923 when he played one of the four piano parts in the private premiere of Stravinsky’s Les Noces in her home. The concerto is delightful in its lighthearted rhythmic interplay and witty melodies. Its opening movement, allegro non troppo, begins with a burst of sound, followed by quick scales played by the soloists. After this brief introduction, Poulenc presents three themes in rapid succession: a chromatic scale that ends with a four-note motif that plays an important role throughout the movement, a second theme filled with childish innocence, and a third melody that includes a witty castanet part. With an extroverted flourish, the movement ends. Poulenc’s second movement, larghetto, begins almost like a slow movement by Mozart. This is music of placid repose, but the mood soon changes as colorful dissonances creep into the texture. The Mozartian music returns, followed by a more Romantic passage, before the movement ends with a quiet gesture. With a bang reminiscent of the first movement’s opening measures, Poulenc launches headlong into the finale. The theme is almost banjo-like with its quick repetition of notes creating a strumming sound. With his typical tongue-in-cheek satire, Poulenc takes the theme through several variations, which he accomplishes by twisting the melody into several unrelated styles, including those of a marching band, the vaudeville theatre, and a children’s playground. A grandiose climax follows and then returns to the Balinese texture. A dazzling flurry of descending scales brings the concerto to a thrilling conclusion. ©2016 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com

SERGEI RACHMANINOFF (1873-1943) Rhapsody on a Theme of Paganini, Opus 43 Born into an aristocratic family in Tsarist Russia, Sergei Rachmaninoff led a varied life. His first compositional successes were piano pieces he composed for his numerous recital appearances. The piano figures prominently in his output with four concertos, two sonatas, the Rhapsody on a Theme of Paganini and numerous smaller works for piano solo. As his fame as a soloist spread and his music reached a larger audience, his reputation as a composer grew. Rachmaninoff once told his editor that he did not know which was his “true calling – that of a composer, pianist, or conductor . . . I am constantly troubled by the misgiving that, in venturing into too many fields, I may have failed to make the best use of my life.” Always a proponent of the Romantic style, Rachmaninoff’s music is filled with longing melodies and lush harmonies – characteristics he retained long after more experimental techniques became the norm. Rachmaninoff developed a personal idiom of keyboard writing, patterned somewhat after Chopin and Liszt, but strongly individual and drawn from his own tendencies as a pianist. His large works for piano and orchestra are characterized by their rich beauty, as well as great technical brilliance and difficulty. The Rhapsody is a set of twenty-four variations on Nicolò Paganini’s Twenty-Fourth Caprice from 1805. Although the work is not designated as a piano concerto, it behaves like one with the variations organized in the customary three-movement fast-slow-fast concerto framework. Paganini’s theme appears only after a fleeting introduction and the first variation – itself a fragmented version of the theme. Rachmaninoff’s rapid-fire approach presents one variation after another, each exploring a different feature of the original melody. Perhaps the most notable occurrence is the use of the Dies irae (Day of wrath) chant from the Latin Requiem Mass of the Roman Catholic liturgy. For Rachmaninoff this theme represents the darker side of superstition and hearkens back to the many legends surrounding the lanky, dark, and mysterious figure of the devilishly virtuosic Paganini.

Boulder Philharmonic Orchestra 2016-2017 Program 3

Program The middle section of the Rhapsody begins with an ethereal cadenza, giving way to one of Rachmaninoff’s most beloved melodies. Lush and romantic, the eighteenth variation begins with the piano alone, but is joined by the orchestra and builds gradually to a breathtaking and emotional fortissimo. With the next variation comes a brisk tempo and the start of Rachmaninoff’s final movement. As in the early part of the work, the variations proceed quickly. As the theme gradually reassembles from its fragmentation, so returns the Dies irae chant in the brass, this time fortissimo. The Rhapsody ends with one final concise gesture, reminiscent of the very beginning. ©2016 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com PIOTR ILYICH TCHAIKOVSKY (1840-1893): Symphony No. 2 in C minor, Op. 17, “Little Russian” Between the composition of the First Symphony in 1866 and the Second Symphony in 1872, Tchaikovsky’s life changed drastically. Many of the patterns that would occupy the remainder of his life became established during this time. He traveled extensively, visiting Finland, Estonia, Paris, Switzerland, Munich, and Vienna. Romantically, he became involved in a short relationship with the opera singer Désirée Artôt in 1868, but found solace with the great love of his life, the conservatory student Eduard Zak, the following year. Zak would commit suicide four years later partially because of guilt associated with this relationship, reinforcing the depression with which Tchaikovsky already struggled. It was his struggle with homosexuality that would form the basis for many of his later works. Musically, the years between the Symphony No. 1 and No. 2 saw his first three operas, the overture-fantasy Romeo and Juliet, and his first string quartet. Opera, symphonic works, and chamber music would remain the three most important musical genres until Tchaikovsky’s death nearly three decades later. It was against this backdrop in the summer of 1872 that Tchaikovsky began composing his Symphony No. 2 at his brother-in-law’s estate in the Ukrainian town of Kamenka. The composer especially enjoyed the servants’

Program 4 Boulder Philharmonic Orchestra 2016-2017

Program singing at the estate and learned several Ukrainian folksongs from listening to them. Composition progressed quickly and only the finishing touches had to be added after he returned to Moscow that fall. On November 14, Tchaikovsky wrote his brother, Modeste: “This work of genius (as [his friend Nikolai] Kondratiev calls it) will be performed as soon as I can get the parts copied. It seems to me my best work, at least as regards correctness of form, a quality for which I have not so far distinguished myself …” It was February 4 before the symphony could be premiered by Nikolai Rubinstein and the Russian Musical Society. Decidedly a success, the work was repeated two months later to even more resounding praise. Tchaikovsky was called to the stage between each movement and received a laurel wreath and a silver goblet after the performance. Despite the adulation, the composer was unsatisfied, especially with the first movement, so he vowed to revise the symphony. However, it was 1879 before he undertook the revision. The composer wrote to his benefactor, Nadezhda von Meck, on December 15, 1879: “I have decided to rewrite the first and third movements, to alter the second, and just to shorten the last. So, if all goes well in Rome [he was about to vacation there], I should turn this immature and mediocre symphony into a good one.” The revision was complete within three weeks after he began work on December 30. Although Tchaikovsky had vowed to alter the second movement, only the tempo marking was changed. All other movements were revised, with the most extensive rewrites occurring in the first movement. The result is a more compact and streamlined work, in short “a good one.” A word of explanation is in order about the subtitle of this work, “Little Russian.” “Little Russian” does not imply a diminutive status or size, but refers to the Ukrainian folk songs quoted in three of the four movements. Ukraine was known at the time as “Little Russia.”

Tchaikovsky’s Symphony No. 2 begins with a slow Andante sostenuto introduction featuring melancholy horn and bassoon solos that are based on a Ukrainian song, “Down By Mother Volga.” Using an interesting and unusual sevenmeasure phrase length, Tchaikovsky gradually introduces a five-note motif – three repeated notes followed by two descending ones – that becomes the germ of the Allegro vivo main body of the movement. “Down By Mother Volga” returns in the stormy development section and again as a subdued coda. The slow march that makes up the second movement, Andantino marziale, quasi moderato, is typically Tchaikovskian. The march begins quietly, as if in the distance. The middle section quotes the Ukrainian song “Spin, O My Spinner.” Of particular interest is the rhythmic ostinato – a repeated pattern – that is played throughout the movement by the timpani. Tchaikovsky’s mastery of orchestration is in full view in the delightful scherzo. This triple-meter jaunt is an orchestral tour-de-force with its effervescent textures and delightful melodies. Although the scherzo does not quote any Ukrainian folk songs, its duple-meter trio section has the character of a folk dance. The lively opening returns to end the movement. Beginning with stately ceremonial chords played Moderato assai by the full orchestra, the finale almost immediately springs into the Allegro vivo tempo that dominates most of the remainder of the movement. Tchaikovsky used another Ukrainian folk song, “The Crane,” as the basis of this movement. As was often his practice, the composer repeats the short theme over changing accompaniment with only slight variation in the melody. The final measures, heralded by a gong, are a grandiose treatment of “The Crane” for full orchestra with brass and percussion dominating the texture. ©2016 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com

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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 see page 41. 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, Golden Leslie Sawyer, Longmont Takanori Sugishita, Boulder Harold & Joan Leinbach, Luana Rubin Malva Tarasewicz, Boulder Pamela Walker Yenlik Bodaubay Weiss, Superior VIOLIN 2 Leah Mohling,* Louisville Robert & Marilyn Mohling Sharon Park,** Boulder 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,* Wheatridge Patricia Butler Michael Brook,** Superior Matthew Hyatt Aniel Cabán, Boulder Matthew Diekman, Golden Megan Edrington, Lafayette Claire Figel, Boulder Teresa Myrwang Holum Nancy McNeill, Lafayette Stephanie Mientka, Boulder CELLO Charles Lee,* Boulder 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, Boulder Martha & George Oetzel BASS David Crowe,* Boulder Nyla & William Witmore Brian Knott,** Louisville Lin & Matthew Hawkins Jesse Fischer,+ Longmont Bob Orecchio, Westminster Matthew Pennington, Lafayette HARP Kathleen Wychulis,* Omaha, NE 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, Denver 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 Tenly Williams, Denver Max Soto, Denver CLARINET/BASS CLARINET Stephanie Zelnick,* Lawrence, KS Rodolfo & Margaret Perez Bronwyn Fraser, Longmont William & Ann Kellogg Michelle Orman, Denver

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BASSOON/CONTRABASSOON Charles Hansen,* Greeley Joan Ringoen Kim Peoria, Louisville Wendy La Touche, Boulder HORN Michael Yopp,* Colorado Springs Jeffrey Rubin, Longmont Alan & Tessa Davis Devon Park, associate principal, Broomfield 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 Michael Allen,* Northglenn ADDITIONAL MUSICIANS Euridice Alvarez, oboe Anne Beer, violin Becky Burchfield, violin Laura Chang, violin Alaunde Copley-Woods, flute Michael Dunn, tuba Alexandra Eddy, violin Elizabeth Galvan, percussion Janet Harriman, harp Ryan Jacobsen, violin Lucia Kern, violin Carrol Lee, viola Chris Martin, percussion Ruxandra Marquardt, guest concertmaster Sue McCullough, horn Heidi Mendenhall, clarinet Renee Patten, violin Ingrid Peoria, violin David Short, cello Susan Townsend, flute Tori Woodrow, violin Ian Wisekal, oboe Nena Wright, percussion * Principal ** Assistant Principal + New members, fall 2016

Mozart & Beethoven BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Edward Dusinberre, violin Geraldine Walther, viola Sunday, November 6, 2016 Pinnacle Performing Arts Complex 2:00 pm Performance Sunday, November 6, 2016 Macky Auditorium, CU Boulder 6:00 pm Pre-Concert Talk 7:00 pm Performance Thomas Adès Three Studies from Couperin (b. 1971) I. Les Amusemens II. Les Tours de Passe-passe III. L’Âme-en-Peine Wolfgang Amadeus Mozart Sinfonia Concertante for Violin and Viola (1756–1791) I. Allegro maestoso II. Andante III. Presto - Intermission Ludwig van Beethoven Symphony No. 8 (1770–1827) I. Allegro vivace e con brio II. Allegretto scherzando III. Tempo di Menuetto IV. Allegro vivace Program and artists subject to change. The use of cameras and electronic devices is strictly prohibited.

Concert sponsored by JOHN HEDDERICH

Soloists sponsored by RODOLFO AND MARGARET PEREZ Beethoven’s Symphony No. 8 sponsored by SALLY AND SANDY BRACKEN BARBARA AND IRWIN NEULIGHT

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Program EDWARD DUSINBERRE, VIOLIN Edward Dusinberre was born in 1968 in Leamington Spa, England, and has enjoyed playing the violin from a young age. His early experiences as concertmaster of the National Youth Orchestra of Great Britain encouraged him to choose music as a profession. He studied with the Ukrainian violinist Felix Andrievsky at the Royal College of Music in London and at the Juilliard School with Dorothy DeLay and Piotr Milewski. In 1990 he won the British Violin Recital Prize and gave his debut recital in London at the Purcell Room, South Bank Centre. Upon completion of his studies at Juilliard, Dusinberre auditioned for the Takács Quartet, which he joined in 1993 as first violinist. In July 2010 Mr. Dusinberre released a recording of Beethoven’s violin sonatas no. 9 and 10 with pianist David Korevaar on the Decca label. Andrew Clements wrote in the Guardian newspaper; “Edward Dusinberre brings the same wonderfully subtle and intensely musical qualities to these two violin sonatas as he does to Beethoven’s quartets…” Mr. Dusinberre enjoys writing about music. His book, Beethoven For a Later Age: The Journey of a String Quartet, was published by Faber and Faber in January 2016 and by the University of Chicago Press in May, 2016. The book takes the reader inside the life of a string quartet, melding music history and memoir as it explores the circumstances surrounding the composition of Beethoven’s quartets and the Takács Quartet’s experiences rehearsing and performing this music. He has written articles for the Guardian, Financial Times and Strad Magazine. Mr. Dusinberre lives in Boulder, Colorado with his wife Beth, an archeologist who teaches at the University of Colorado, and their son Sam. He enjoys hiking in the mountains near Boulder and going to the theatre.

GERALDINE WALTHER, VIOLA Geraldine Walther, violist of the Takács String Quartet, was Principal Violist of the San Francisco Symphony for 29 years, having previously served as assistant principal of the Pittsburgh Symphony, the Baltimore Symphony and the Miami Philharmonic. A native of Florida, she first picked up the viola in a public school music program in Tampa. She went on to study at the Manhattan School of Music with Lillian Fuchs and at the Curtis Institute with Michael Tree of the Guarneri Quartet. In 1979 she won first prize at the William Primrose International Competition. Among the many works Ms. Walther performed as soloist with the San Francisco Symphony are Mozart’s Sinfonia concertante, Telemann’s Concerto in G major, Berlioz’s Harold in Italy, Hindemith’s Trauermusik, Der Schwanendreher, and Kammermusiken Nos. 5 and 6, Tippett’s Triple Concerto, Martinu’s Rhapsody-Concerto, and the viola concertos of Walton, Piston, Henze, Musgrave, Bartók, Schnittke, and Penderecki. She performed the US premieres of several important works with the Orchestra, including Takemitsu’s A String Around Autumn in 1990, Lieberson’s Viola Concerto in 1999, Holloway Viola Concerto, and Benjamin’s Viola, Viola (together with SFS Associate Principal Violist Yun Jie Liu), also in 1999. In May 2002 she was soloist in William Schuman’s Concerto on Old English Rounds and the Britten Double Concerto for violin and viola. In 1995 Ms. Walther was selected by Sir Georg Solti as a member of his Musicians of the World, an orchestra composed of leading musicians from around the globe, for concerts in Geneva to celebrate the 50th anniversary of the United Nations. She has also served as principal violist with the Mainly Mozart Festival in San Diego and has performed as soloist with other Bay Area orchestras. She has participated in leading chamber music festivals, including Marlboro, Santa Fe, Tanglewood,

Program 8 Boulder Philharmonic Orchestra 2015-2016

Program Bridgehampton, Cape Cod, Amelia Island, the Telluride, Seattle, and Green Music Festivals, and Music@Menlo. She has collaborated with such artists as Isaac Stern, Pinchas Zukerman, and Jaime Laredo, and has appeared as a guest artist with some of the world’s most renowned string quartets, including the Tokyo, Vermeer, Guarneri, Lindsay, Cypress, and St. Lawrence quartets. She joined the Takács Quartet as a regular member in the fall of 2005. In addition to her recordings for Hyperion with the Takács Quartet, Ms. Walther has released two MSR Classics recordings: Johannes Brahms Viola Sonatas and the Trio in A Minor with pianist David Korevaar and cellist Andras Fejer and Hindemith Viola Sonatas with pianist David Korevaar. Other recordings include Hindemith’s Trauermusik and Der Schwanendreher with the San Francisco Symphony (both on London/Decca), Paul Chihara’s Golden Slumbers with the San Francisco Chamber Singers (Albany), and Lou Harrison’s Threnody (New Albion) and as a member of the Volkert Trio, Delectable Pieces (Con Brio). Ms. Walther is the mother of two grown daughters: Argenta, a soprano living in Los Angeles, and Julia, a ceramicist in Washington D.C., and she lives in Longmont, Colorado with her husband Tom.

PROGRAM NOTES THOMAS ADÈS (B. 1971): Three Studies from Couperin (2006) François Couperin (1668-1733) filled four big volumes with music to scurry, leap, swoon or tease under the fingers. Adès had a first brush with this great encyclopedia of wit, passion and intelligence in 1994, when he arranged “Les Barricades mistérieuses,” a strange instance of Baroque minimalism, for instrumental septet. Last year he returned for more, in response to a commission from the Basle Chamber Orchestra, and produced this triptych, in which the keyboard originals are reconfigured for dual ensembles of strings with seven woodwind and brass soloists plus a percussion player. The adaptation is extremely subtle. Couperin’s style involves a lot of repetition, which Adès varies by

delicately altering the orchestration or by adding shadows or haloes to the parts, so imitating and extending the techniques of touch and registration a performer at the harpsichord would use. Similarly, he scrupulously notates the kind of languourously drawn rhythm Couperin might have expected for the last piece here. “Les Amusemens,” done with the strings and brass muted throughout, becomes a study in felted sonorities. ‘Les Tours de passepasse’ (Conjuring Tricks) deceives the ear with ideas staggered between instruments; here Adès overlaps in his choice with Richard Strauss, who also made a suite of Couperin arrangements for chamber orchestra (his Divertimento of 1940-41). ‘L’Âme-en-peine’ (The Soul in Torment) provides the finale. —Paul Griffiths WOLFGANG AMADEUS MOZART (1756-1791): Sinfonia Concertante in E-flat Major for Violin, Viola and Orchestra, K. 364 In the Baroque period, the word concerto referred to three different types of pieces – a solo concerto for one instrument and orchestra, or a concerto grosso for a group of solo instruments and orchestra. On rare instances, one might encounter an orchestral concerto (some of Bach’s Brandenburg Concertos fall into this category). Composers built upon the tradition of multiple solo instruments with orchestra to produce double and triple concertos in the Romantic period. In Mozart’s Classical era, the genre was known as the Sinfonia Concertante – usually a three-movement work for just a few soloists balanced carefully with an orchestra. It is essentially a hybrid of the symphony and the concerto grosso. Mozart actually completed three works in the genre, all of which he began composing during a trip from Mannheim to Paris in 17781779. Mannheim was known for its excellent orchestra, while Paris was the city of masterful wind instrument virtuosos. The combination of the two no doubt inspired Mozart to compose the Sinfonia Concertante (K. 297b) for oboe, clarinet, horn, bassoon and orchestra, as well as the Concerto for flute and harp. The Sinfonia Concertante (K. 364) for violin, viola and orchestra, heard on this program, is the most

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Program significant work of the bunch, and is generally viewed as a seminal composition marking the beginning of Mozart’s mature style. Mozart’s orchestra was most likely that of Prince Archbishop Hieronymous von Colloredo of Salzburg. The meager instrumentation lacks flutes, clarinets, bassoons and trumpets. It is interesting to note that Mozart compensates for the lack of midrange woodwinds by subdividing the violas into two sections. Mozart’s Sinfonia Concertante begins with a majestic first movement, marked allegro maestoso. His themes are more symphonic in scope, but fit the soloists well with added ornaments in the interest of elaboration. Both instruments are equals and share in the decoration and filigree. Beginning in a minor key, the andante is profoundly meaningful. Particularly poignant is the tender moment when Mozart gently shifts from minor to major. The presto finale is a lively rondo. Jubilantly skirting along, the soloists dance in and out of several themes, always returning to the joyous rondo melody. ©2016 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 8 in F Major, Op.93 Early in a composer’s career, his or her musical works are often untraditional. Composers naturally attempt to cut a niche into which they and they alone fit as an original voice. Ludwig van Beethoven had done just that with his earliest symphonies in the first years of the nineteenth century. With each successive work, he pushed the standard further – the expanse of the Eroica, the motivic integration of the Fifth, and the sheer power of the Seventh. Imagine the surprise of the audience at the premier of the Eighth Symphony – a work rooted in the Classical traditions of Mozart and Haydn, yet totally Beethovenian and Romantic in its compositional techniques. The Eighth Symphony, apart from a private reading for Archduke Rudolph in April of 1813, was first heard publicly in February of 1814. The concert, held in the Redoutensaal ballroom of Schönbrunn palace, was an allBeethoven affair featuring the mighty Seventh

Symphony, followed by the Eighth, and ending with the premiere the Battle Symphony “Wellington’s Victory.” The final work, using artillery and orchestral effects to create a sonic portrait of the battlefield, served as a sort of 1812 Overture in its day, quickly gaining immense popularity because of the current Napoleonic Wars in Europe. Comparatively, the Eighth Symphony seemed small and unimportant. This work is a wonderful example of how a composer can honor past musical styles while continuing to forge ahead and make progress in the musical arts. The brilliant allegro vivace e con brio that opens the work is filled with many trademarks of Beethoven’s style. The themes are varied and full of ingenious melodic twists. Beethoven’s harmonies are adventurous, often sidestepping from expected resolutions to open new tonal areas. The lengthy coda is not a mere closing section, but develops the thematic material even further than in the earlier development section. The second movement of an early nineteenth century symphony is usually an introspective slow movement. Ironically, in this work that hearkens back to the Classical period Beethoven replaced the traditional adagio with a sprightly allegretto scherzando. Then, to embrace the period he commemorates, the composer presents a minuet as his third movement – a tradition he left behind over a decade before in his first symphony by using a scherzo in its place. The finale, cast in a hybrid combination of sonata and rondo forms, explores rhythm and dynamics. The pianissimo opening theme draws the listener in, only to explode in volume as a welcome surprise. The coda concludes with over twenty ‘final’ chords before allowing the delightful and humorous work to come to a brilliant close. ©2016 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com

Program 10 Boulder Philharmonic Orchestra 2016-2017

UPCOMING EVENTS November 25-27, 2016, at Macky A holiday tradition for all ages!

A Wicked Good Christmas

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Lisa-Marie Mazzucco

Saturday, December 10, 2016 7:30 PM at Macky Celebrate the holiday season with the Boulder Phil and Broadway star Dee Roscioli!

Brahms & His World

Saturday, January 14, 2017 7:30 PM at Macky Sunday, January 15, 2017 2:00 PM at Pinnacle PAC Michael Butterman, conductor BRAHMS Tragic Overture SMYTH Concerto for Violin and Horn Jennifer Frautschi, violin; Eric Ruske, horn SCHUMANN Symphony No. 4

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Saturday, February 4, 2017 7:30 PM at Macky Gary Lewis, conductor This fiercely talented musician has collaborated with an array of artists and orchestras around the world.

Kennedy Center Kick-Off Concert! This program to be repeated at the inaugural SHIFT Festival in Washington, DC, on Tuesday, March 28, 2017 Saturday, March 25, 2017 7:30 PM at Macky Michael Butterman, conductor LIAS World Premiere commemorating the 100th anniversary of the National Park Service with choreographed visuals MIDKIFF Mandolin Concerto, From the Blue Ridge Jeff Midkiff, mandolin HEITZEG Ghosts of the Grasslands COPLAND Appalachian Spring with Frequent Flyers® Aerial Dance

Season Finale: The Pines of Rome Saturday, April 22, 2017 7:30 PM at Macky Michael Butterman, conductor

STRAVINSKY Monumentum pro Gesualdo BERIO Four Original Versions of Boccherini’s Return of the Nightwatch from Madrid GOSS Double Concerto for Violin and Guitar (World Premiere) Charles Wetherbee, violin; Nicolò Spera, guitar VERDI Overture to Nabucco PUCCINI The Chrysanthemums RESPIGHI The Pines of Rome

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Celebrate the holiday season with the Boulder Phil and Broadway star Dee Roscioli at this festive concert featuring songs from Wicked and Frozen, favorite Christmas classics (It’s the Most Wonderful Time of the Year, We Need A Little Christmas and more), carols and medleys. Dee rose to fame for her portrayal of Elphaba in the smash Broadway hit Wicked. She holds the distinction of having played the role of Elphaba in more performances than any other actress.

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Program 12 Boulder Philharmonic Orchestra 2016-2017

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Move Up to Markel Homes

St. Aidan’s Episcopal Church and Canterbury Colorado is proud to support 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 See our website for special Holiday services.

www.saintaidans.org

IN THE VILLAGE SHOPPING CENTER 2525 ARAPAHOE AVE., SUITE 23 BOULDER CO 80302 303.447.0210

WE’LL BE SEEING YOU!

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You’re cordially invited to attend

Wings & Strings Saturday, November 5, 2016

Rocky Mountain Metropolitan Airport 5:30 pm Cocktails, Dinner & Entertainment 8:30 pm Dancing

A gala event benefiting the Boulder Philharmonic and our March 2017 trip with Frequent Flyers® Aerial Dance to perform at the Kennedy Center in Washington, DC

Join the Boulder Phil and Frequent Flyers Aerial Dance for a can’t-miss evening of entertainment, dinner, and dancing to the 18-piece Flatirons Jazz Orchestra. The funds we raise will propel the Phil and Frequent Flyers to DC next year. The airplane hangar backdrop will host a live auction, a livelier band, a hot dance floor and first-class cuisine.

Come aboard―Wings & Strings promises the finest flight you can board without checking a bag! With thanks to our event sponsors: Christopher and Margot Brauchli Exit Signs by Pamela Dennis • Fidelity Investments Flatirons Jazz Orchestra • David Fulker and Nicky Wolman Lin and Matthew Hawkins • Jess Jones • Lisa McClellan Marla & Jerry Meehl Family and Friends Jayne and Steve Miller The Millstone Evans Group of Raymond James Mullin/Chinowsky Family & Karen Shanley Rodolfo and Margaret Perez The Polner Wealth Management Group Sopher Sparn Architects LLC • Three Leaf Catering • Zayo

www.BoulderPhil.org

$30 Economy Plus (dancing) $150 First Class (dining & entertainment)

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 May 1, 2015 through September 15, 2016.

FOUNDERS CIRCLE ($40,000+)

SCFD Nyla & Gerry Witmore

GOLD CIRCLE ($10,000+)

Sydney & Robert Anderson Boulder Arts Commission Patricia Butler Colorado Creative Industries Flatirons Bank David Fulker & Nicky Wolman Gordon & Grace Gamm National Endowment for the Arts Noris Foundation Rodolfo & Margaret Perez Harry & Eleanor Poehlmann Lynn Streeter

SILVER CIRCLE ($5,000+)

Anonymous (2) Albert & Rebecca Bates Brewers Association Jacqulynn Geister John Hedderich Virginia Hill Charitable Foundation Erma & John Mantey Marla & Jerry Meehl Micro Motion/Emerson Steve & Jayne Miller New Music USA Karyn Sawyer Tebo Properties

BRONZE CIRCLE ($2,500+)

The Academy Albert & Nancy Boggess Christopher & Margot Brauchli Joan Brett & Edward Siegel Thomas & Virginia Carr Joan Cleland Pamela Dennis & Jim Semborski Eide Bailly, LLP

Carl & Ruth Forsberg Jerry & Janet Gilland David & Sara Harper Kyle & Stephanie Heckman Teresa Myrwang Holum Matthew Hyatt IBM Wayne Itano & Christine Yoshinaga-Itano Ruth Carmel Kahn Stephen & Judy Knapp Harold & Joan Leinbach George Lichter (in memoriam) Frank Palermo & Susan Olenwine Alan & Martha Stormo Dick & Caroline Van Pelt

LEADERSHIP CIRCLE ($1,000+)

Anonymous (3) Gail Aweida (in memoriam) Boulder County Arts Alliance Bennie & Jannette Balke Alexander & Sally Bracken Barbara Brenton Lindley Brenza Amy & Terry Britton Jan Burton Michael Butterman & Jennifer Carsillo Carob Gift Fund Toni & Nelson Chen Terry & Jenny Cloudman Collins Foundation The Community Foundation Serving Boulder County Scott & Paula Deemer Louise & Grant Elyse Grasso Ralph & Joanna Grasso Margaret Hansson Lin & Matthew Hawkins Russell & Ann Hayes Cherine & Mark Herrmann Grant & Holly Hickman David & Suzanne Hoover Samuel & Carolyn Johnson

Annlee Landman Paul & Nancy Levitt Bruce Kahn & Susan Litt Richard & Linda Livingston Frances MacAnally Annyce Mayer Millennium Harvest House The Millstone Evans Group of Raymond James & Associates Robert & Marilyn Mohling Edith Morris Trust Barbara & Irwin Neulight The Polner Wealth Management Group Susan & Paul Roberts Janet & David Robertson Juan & Alicia Rodriguez Beatriz & Juan Roederer Luana Rubin R. Alan & Stephanie Rudy TK Smith & Constance Holden Arthur & Carol Smoot Taddiken Tree Company Marion Thurnauer & Alexander Trifunac Betty Van Zandt

ARTIST CIRCLE ($500+)

Anonymous Boulder Public Library Foundation, Inc. Carolyn Bradley Jean-Pierre & Glenna Briant Bill & Beth Carsillo Michael & Stephanie Carter Ben & Gale Chidlaw Richard Collins & Judy Reid Colorado Financial Management Alan & Tessa Davis Larry Day & Catherine Haskins Warren & Vici DeHaan Andrew & Audrey Franklin Ellen Friedlander Hans & Jeri Friedli

Donors Greg Ginocchio & Kevin Shuck Kent & Cathy Hansen James & Gayle Heckman Gerald & Doree Hickman Stewart & Karen Hoover Kathy & Randy Hungate Joel Kiesey Ray & Margot LaPanse Robert & Francine Myers The Newton Family Fund Martha & George Oetzel James Pendleton Dayna & Robert Roane Diane Rosenthal Ross & Jane Sheldon Ronald Sinton Andrew & Margrit Staehelin Jack & Sophie Walker Anne Wenzel Jack & Brenda Zellner

PARTNERS ($250+)

Anonymous (3) Richard Bailey (in memorium) Karen Bernardi Helen Bosley Anne Burkholder & Stephen Eisenberg Susan & Tom Churchill Peter & Joan Dawson Joe & Alice Doyle Robert & Juliette Ford Ann Garstang Gerald & Anita Gershten Julie Ginocchio Susan & Gustavo Grampp Charles & Gail Gray Mary Greenwald Ken & Dianne Hackett Charles & Patricia Hadley Robert & Penny Haws Jeannette Hillery Mark Holdbrooks Dixie Hutchinson John Dennis Hynes & Virginia Medelman Richard & Ruth Irvin Eileen & Walter Kintsch Annette & Thomas Kissenger Peter & Judith Kleinman Cassidy Leeburg Jerry & Heidi Lynch Donna Meckley

Alan & Judy Megibow Richard Nishikawa & Kathleen Miller James Neely Bob Orecchio Nicole Rajpal Leslie & Gil Rudawsky Marjorie & Bob Schaffner Jane & Leo Schumacher Todd & Gretchen Sliker Zdenka & Dean Smith Stacey Steers & David Brunel Peter Strange Peter & Laura Terpenning Nicholas & Shelby Vanderborgh Rena & Raymond Wells Kristen Wolf Betty Woon

FRIENDS ($100+)

Anonymous (4) Susan & Richard Anthes Peggy Archibald Stanley Arlet Judith Auer & George Lawrence Richard & Jane Barker Janet Bartsch Mark Bauer Anne & Harry Beer Les & Barbara Berry Catherine & William Bickell Virginia Boucher Janet Brewer Debra & Charles Brindis Martha Bushnell Frank Butcher Josephine Bynder Bob & Judy Charles Helen Chenery Andrew & Lois Cherrington Roger & Norma Cichorz George Clements Claude Weil & Carolie Coates Carol Cogswell Sara-Jane & Bill Cohen Max & Barbara Coppom Richard Bixby & Barbara Cox-Bixby Bonnie Crissey & Richar Oye Margot Crowe Dan & Nancy Dâ&#x20AC;&#x2122;Ippolito David Donaldson David Dowell

Leslie & Donald Dreyer Paul Eklund Lee Ellwood Jane Enterline Martha Coffin Evans Jennifer Favell Claire & Art Figel Wayne & Anne Fischer Neil Ashby & Marcie Geissinger Peter Gilman & Peggy Lemone Kathryn Goff Garry & Barbara Gordon Carol & George Grossman Chuck Hardesty Spencer & Valerie Havlick Josie & Rollie Heath James & Judith Heinze Sondra & Randal Hittle Burton & Maxine Hobson John Hughes Holly Hultgren Arnie Jacobson & Victoria Johns-Jacobson Wesley & Joanne Johnson Hans Jordan Jo Ann Joselyn Josh & Lori Kahn Colman & Marcia Kahn David & Carol Kampert Quentin Karlsrud Robert Kehoe Don & Eleanor King Bonnie Kirschenbaum Howard & Barbara Klemme Diane Knudsen Jon & Lenna Kottke Frank Kreith Pam Leland Wesley & Heather Le Masurier Dave & Mary Leonard Douglas Lerner Joy Linfield Al Gasiewski & Rachel Lum William & Susan Marine Elizabeth Marr Julie & Tim Marshall Steven & Susan Maxwell Martha McGavin Claire McNamara Elizabeth Meyer Roger & Lily Moment Robert Morehouse

Donors Joan Mulcahy Scott & Jean Nelson Ronald & Joan Nordgren Mary Ann O’Leary Christopher & Linda Paris Angela Parkins David Paulson Robert & Marilyn Peltzer Mary & John Price Brook Reams & Rochelle Chartier Lester Ronick Barbara Sable Charles Samson Judith Schilling Daniel & Boyce Sher Howard & Valerie Singer Betty Skipp Robert & Joyce Spencer Dr. Courtland & Carolyn Spicer

Jean Stahly Randy Stevens Thomas & Nancy Storm Gregory & Diane Strevey Gail Tate Joyce & Rigomar Thurmer Elizabeth & John Tilton Susan West & Fred Toback James Topping Rex Vedder Pamela Walker David & Amy Weiss Rick & Rebecca White Keith Winton Richard & Wendy Wolf Bruce & Kathryn Woodruff Teresa Woodruff Charles Zabel

Boulder Public Library Concert Series held in the Canyon Theater of the Boulder Public Library MIDDAY MUSIC MEDITATION Every 2 nd Wednesday of the month from noon–1 p.m.

3RD TUESDAY LUNCHTIME CONCERTS Every 3 rd Tuesday of the month from noon–1 p.m.

SUNDAY AFTERNOON PERFORMANCES Sunday, November 20, 2 p.m. OPUS TWO Andrew Cooperstock & William Terwilliger Gershwin: Music for Violin and Piano Opus Two violin-piano duo, acclaimed for their recordings and performances worldwide of American classical music, present a multimedia performance of works from their newest CD—Gershwin: Music for Violin and Piano. Featured will be selections from the shows An American in Paris, Porgy & Bess, and Girl Crazy, and more! www.opustwo.org

For a full listing of forthcoming Concert Series events and performances: www.boulderlibrary.org/events/concert-series Concert Series performances are FREE thanks to the generous support of the Boulder Library Foundation

SUPPORTERS ($50+)

Anonymous (3) Amy & Tony Adams Andrea Adams Don & Alice Allen William & Mary Althauser Suzanne & Robert Anderson Cynthia Betts David Blackburn Jessma Blockwick Dr. Peter Bogenschutz Tom Bugnitz David Burns Cynthia Carey Julianne Cassady Joseph & Elizabeth Cirelli Wallace & Beryl Clark Deborah Crabbe Joann Crandall Lynne Dannenhold Janny Darby Michael & Joan Dardis Dale Day Jenny Devaud Charles & Jean Dinwiddie Beverly Fest Neil Fishman William & Ann Ford Johannah & O. Lehn Franke Richard Fraser Andrew Gaudette Rosalynn Gill Lotus Fund Kathryn Strand & Eldon Haakinson Martha Kayser William & Ann Kellogg Violetta Klimek Barry Knapp Lorraine Kroehl Erron Lacy C. Nicholas & Mollie Lee Judith Lewis Don & Jane Martin J. Ramon McCarus

Doris & Peter McManamon Joanne Meras Steven Miller Sara Milmoe William & Virgene Mitchell Glenn Mowery Joan & William Nagel Paul Nigro Judith Owens Patricia Read Ron Robeck Christopher Sarson Stephanie & Paul Scheffler Peter & Barbara Schumacher Karen Shay Christine Shields Barbara Steinmetz Philip Straffin Robert & Julie Stuenkel Elaine Taylor Jacqueline Trump Karen Utley Christine Valentini Thomas van Zandt Amy L. Vandersall James & Monica Want Ross Yeoman The Boulder Phil also thanks the 66 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

Special Events at the Phil FRIENDS OF THE PHIL Support a Boulder Philharmonic musician with a multi-year pledge of $250 or more! By making a pledge of two or more years as a Friends of the Phil sponsor, you provide critical support to the Phil by directly underwriting a portion of a professional musician’s salary. Our roster boasts some of the finest professional players in the region, and their artistry is at the heart of the concert experience that audiences thrill to season after season. Hiring the most qualified musicians requires a significant investment, and your participation in Friends of the Phil helps support the most talented artists in our community. And 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. Special events and activities are planned each season to bring sponsors and musicians together, building connections that transform each concert experience into a meeting with friends! For more information about Friends of the Phil, please contact Director of Development Eve Orenstein at 303-443-0542 or eve@boulderphil.org.

EVENTS OF NOTE   AN INTIMATE EVENING WITH ANDERSON AND ROE Thursday, October 6, 2016—Private Home  Whether or not you are already familiar with the passionate, exuberant, flirtatious performances of piano duo Anderson and Roe, you will not want to miss this house recital! With vibrant renditions of classical, contemporary and pops songs in their repertoire, they will no doubt thrill and surprise us. MEET THE ARTISTS LUNCHEON: FRAUTSCHI AND RUSKE Saturday, January 14, 2017—Location TBA  Violinist Jennifer Frautschi and horn player and husband Eric Ruske will perform a short recital followed by a Q&A that addresses their lives as a musical couple. WINE AND MUSIC PROGRESSIVE PAIRINGS Thursday, April 20, 2017—Lee Hill Wineries  Enjoy music performed by Boulder Phil concertmaster Charles Wetherbee and classical guitarist Nicolò Spera paired with wines from our favorite North Boulder wineries—Bookcliff, Settembre Cellars and What We Love— at this unique progressive concert/tasting experience.

Tickets for Events of Note can be purchased online at www.BoulderPhil.org or by calling 303-449-1343.

Listen Locally

CREATION

Joseph Haydn Creation

with Colorado Masterworks Chorus, soprano Amanda Balestrieri, and tenor Steven Soph

October 28 in Denver October 29 in Boulder Tickets and information at

ProMusicaColorado.org

Bach Meets Vivaldi Serenissima una Noche: Christmas in Spain and the New World

OCT 13, 16 DEC 2-4

Playing with Fire

MAR 17, 18

Mozart Among Friends

MAY 19-21

BCOCOLORADO.ORG

Listen Locally SEPTEMBER 2016

“THE AMERICANS” KAREN BENTLEY POLLICK , VIOLIN

Sept 23 | Broomfield | 7:30 pm Sept 24 | Boulder | 8:00 pm

Oct 1 | Boulder | 7:30 pm Oct 2 | Boulder | 2:00 pm

Nov 11 | Broomfield | 7:30 pm Nov 12 | Boulder | 7:30 pm

Works by: Saint - Saëns, Wieniawski, Brahms

Works by: Onslow, Dvorak

Works by: Barber, Copland, Jaffe

F E B R UA RY 2 0 1 7

MARCH 2017

“THE REFORMATION” N I C H O L A S C A R T H Y, CONDUCTOR & PIANO

“THE SONGWRITERS” L I N D S AY D E U T S C H , VIOLIN

“THE DUO” (MINI CHAMBER)

Dec 10 | Broomfield | 7:30 pm Dec 11 | Boulder | 7:30 pm

Feb 10 | Broomfield | 7:30 pm, Feb 11 | Boulder | 7:30 pm

Mar 4 | Boulder | 7:30 pm

Works by: Mendelssohn, Mozart, Dvorak

APRIL 2017

13TH SEASON 2016 - 2017 Season

NOV E M BE R 2 01 6

“ T H E P R I N C I PA L S” (MINI CHAMBER)

DECEMBER 2016

THE CURSE OF THE NINTH

OCTOBER 2016

“THE ELEPHANT IN THE R O O M ” YA B I N G TA N , VIOLIN

Works by: Ginastera, Saint-Saëns, Prokofiev

M AY 2 0 1 6 - S E A S O N F I N A L E

“THE BEAT” RONY BARRAK, PERCUSSION

“ODE TO JOY” BOULDER CHORALE, CHOIR

Works blending Classical, Arabic, Latin, and Jazz.

Work by: Beethoven: Symphony No. 9 in D Minor (“Ode to Joy”)

Go to boulderchamberorchestra. com or Call 303 - 583 - 1278 For Tickets

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Listen Locally

GREATER

BOULDER

ORCHESTRAS

Andres Lopera

GBYO Symphony conductor

Auditions throughout the year all instruments, all ages

GBYO & the Boulder Phil

Andres Lopera

October 23, 2pm, Pinnacle Performing Arts Complex Concerts November 6, February 6, April 30

www.GreaterBoulderYO.org

Ways to Support Your Phil DONATE TO THE PHIL

We rely on the generosity of our community to support the Boulder Philâ&#x20AC;&#x2122;s artistic, education, and outreach programming. In fact,â&#x20AC;¨ half of our budget each year is made up of donations from individuals, local businesses and Colorado foundations. Your support at any level has an impact and helps the Boulder Phil thrive as a cultural gem in Boulder County and beyond!

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 2017.

PLANNED GIVING

Planned giving is an effective way to integrate your personal, financial and estate planning by making charitable gifts that benefit you, your family and your designated charity. There are several ways you can make planned gifts to the Phil and enjoy tax and income benefits. Are we already in your estate plans? Let us know so we can recognize your generosity!

For more information, contact Eve Orenstein, Director of Development, at 303--443-0542 or eve@boulderphil.org. DIRECTOR EMERITUS Kim Coupounas

China Leonard

Dan Sher

ORDER OF THE BATON Sydney Anderson Amy Batchelor Barbara Brenton Kurt Burghardt Amy Clark Frank Day Kitty deKieffer Ursula Dickinson Brad Feld Ray Frommer

Diane Greenlee Aaron Harber Yvonne Haun Ray Hauser Sharon Hunter Ruth Kahn Bonnie Karlsrud in memoriam Sandra Karpuk Oswald Lehnert

Cindy Lefkoff Kyle Lefkoff Jo Ann Mays Martha McGavin Frank McGuirk J. Nold Midyette Edith Morris in memoriam Barbara Nissen Bill Obermeier

Joan Ringoen Rebecca Roser Barbara Rumsey Arthur Smoot Carol Smoot Robert Wilson Ed Wolff

Patron Information TICKET EXCHANGES To make an exchange for another performance, we need to receive your ticket(s) at the Boulder Phil offices at least 24 hours prior to the concert you are unable to attend. For subscribers, we gladly waive the $5 exchange fee. Exchanges are subject to availability and any price difference. All sales are non-refundable. TICKET DONATIONS If you are unable to attend a concert and don’t wish to exchange your tickets, help us make sure no seat goes empty by donating back your tickets! You will receive an acknowledgment letter stating the value of your tickets as a tax-deductible donation, provided we receive your ticket(s) at the Boulder Phil office at least 24 hours prior to the concert.

LOST TICKETS If you lose your tickets, please contact us above immediately to arrange replacements. If you find your tickets missing on the day of the performance and the Boulder Phil offices are closed, please arrive at Will Call at least 45 minutes prior to the concert to have your tickets re-issued. PARKING AT MACKY Parking is available for a small fee in the Euclid AutoPark, adjacent to the University Memorial Center east of Broadway. Please see the reverse side of your tickets for a map. Other options during Euclid AutoPark construction include surface lots south of Euclid as well as around Benson Hall, and the Folsom Field Parking Garage. If you arrive more than 30 minutes prior to the concert, limited free and metered parking is available

along University and in signed CU lots accessed from 13th and 15th streets (“Grandview” zone). Please note that the lots adjacent to Macky are reserved for handicapped and donor ($1,000+) parking. LATE SEATING As a courtesy to other patrons, latecomers will be seated during an appropriate break at the discretion of the ushers. USEFUL INFORMATION Listening devices are available at the Macky box office. The use of cameras, recording equipment and all other electronic devices is prohibited during performances. Fire regulations require that everyone, regardless of age, have a ticket to enter the auditorium. Classical concerts are not recommended for children under age 5.

VOLUNTEER WITH THE PHIL!

ADAM RIGGS

Get involved with one of Boulder’s most vibrant performing arts organizations as a valued volunteer! Every year, the Boulder Phil relies on substantial contributions of time and talent by members of our community to provide essential support across every area of our operations – including performances, education programs and outreach. The Boulder Phil offers a variety of volunteer opportunities throughout the season that make the most of your skills and interests, connect you with our dedicated volunteer community, and allow you to play a driving role in our continued success. Volunteer benefits include program recognition, free concert tickets, camaraderie and networking, exclusive volunteer appreciation events, and the satisfaction of a job well done! Ways YOU can make a difference as a Boulder Phil volunteer:

• Special Events Staffing • Office Volunteers • Concert Greeters and Ambassadors

• B ox Office Staffing • F undraising Support • D iscovery Concert / Education Hosts

• Café Phil Open Rehearsal 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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