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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 52 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 Federal Heights 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 42 schools across four counties. 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 numerous school and youth choirs. 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 and other local school and 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 Charles Lovell, Education Intern

ADVISORY COUNCIL Barbara Brenton Joan Ringoen Pamela Dennis Mary Street Kent Hansen Dick Van Pelt TARGETED MARKETING Ruth Kahn Betty Van Zandt Susan Olenwine Brenda Zellner

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 travel along with us to Washington, D.C! Check our website for travel package options, special Boulder Phil patron events during the festival, and tickets to the performance on March 28, 2017

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

Thank You to our Sponsors SEASON PRESENTING SPONSORS

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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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Nature & Music BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Jeff Midkiff, mandolin Frequent Flyers® Aerial Dance Nancy Smith, choreographer Saturday, March 25, 2017 Macky Auditorium, CU Boulder 2:00 pm Community Concert • 7:30 pm Performance Tuesday, March 28, 2017 John F. Kennedy Center for the Performing Arts, Washington, D.C. 8:00 pm Performance The Saturday evening concert is being broadcast live on Colorado Public Radio, KVOD 99.9 FM, hosted by David Rutherford. Please limit ambient noise. Stephen Lias (b. 1966)

All the Songs that Nature Sings WORLD PREMIERE

Jeff Midkiff Mandolin Concerto, From the Blue Ridge (b. 1963) Allegro Andante Allegro – Intermission – Steve Heitzeg (b. 1959)

Ghosts of the Grasslands from “Symphony to the Prairie Farm”

Aaron Copland (1900 – 1990)

Appalachian Spring

Program and artists subject to change. The use of cameras and electronic devices is strictly prohibited. Hotel Boulderado is the exclusive hotel sponsor for Boulder Philharmonic guest artists.

World Premiere Sponsor:

Concert Sponsor:

Soloist Sponsor:

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Boulder Philharmonic Orchestra 2016-2017 Program 1

Program STEPHEN LIAS, composer (b. 1966) “The natural world and going on an adventure inspire me… The music will try to capture some of the grandeur of the scenery…and a thousand smaller, more precious items of inspiration: the wildlife, rare flowers, the alpine tundra, those amazing trees.” –Stephen Lias, on his world premiere about Rocky Mountain National Park, commemorating the 100th anniversary of the National Park Service Based on his passion for wilderness and outdoor pursuits, Stephen Lias has composed a growing series of works about the national parks of the U.S. With his increasing focus on being an “adventurer-composer,” Lias has had residencies at Rocky Mountain, Glacier, Denali, Glacier Bay, Bering Land Bridge, and Gates of the Arctic National Parks, and has written over a dozen park-related pieces that have been premiered at conferences and festivals in Colorado, Texas, Sydney, and Taiwan, among others. He is the founder and leader of Alaska Geographic’s annual “Composing in the Wilderness” field seminar. The music of Stephen Lias is regularly performed in concert and recital throughout the U.S. and abroad by soloists and ensembles including the Louisiana Sinfonietta, East Texas Symphony, NYU New Music Ensemble, Oasis Quartet, Fairbanks Summer Arts Festival Orchestra, Ensamble de Trompetas Simón Bolívar, and Russian String Orchestra. His music is published by ALRY Publications, Brassworks 4, Cimarron Music Press, Alias Press, and Warwick Music and appears on compact discs from Centaur Records, Teal Creek Music, Mark Records, and Parma Records. His pieces are regularly featured at major national and international conferences including the International Trumpet Guild, the North American Saxophone Alliance, and the ISCM World Music Days. Lias is also active as a composer of theatrical incidental music and served as composer in residence and music director at the Texas Shakespeare Festival for 11 years. As a teacher, Mr. Lias strives to lead his composition students to genuine and artistic musical expression, while incorporating a strong emphasis on contemporary media and cross-disciplinary collaboration. His students have scored films, been commissioned and

published, and are the recipients of regional, national, and international awards. Stephen Lias received degrees from Messiah College, Stephen F. Austin State University, and Louisiana State University. His teachers have included Dinos Constantinides, Dan Beatty, and Darrell Holt. He is a distinguished arts associate of Sigma Alpha Iota International Music Fraternity and a member of ASCAP, NACUSA, College Music Society, Society of Composers, Inc., and American Composers Forum. He is the Texas delegate to the International Society of Contemporary Music and serves as the chair of the judging panel for the ISCM-IAMIC Young Composers Award. He currently resides in Nacogdoches, Texas, where he is professor of composition at Stephen F. Austin State University. When not composing and teaching, Mr. Lias enjoys reading, backpacking, kayaking, skiing, travel, and photography. www.stephenlias.com JEFF MIDKIFF, mandolinist and composer (b. 1963) “I feel at home in the Blue Ridge Mountains playing fiddle tunes, but then again, I feel at home in a professional orchestra as well.” -Jeff Midkiff A composer, mandolinist, and clarinetist, Jeff Midkiff is a musician who feels comfortable in more than one musical setting. Mr. Midkiff grew up in Roanoke, Virginia, where bluegrass music thrived. Given his first mandolin at the age of seven, he moved quickly into the world of fiddlers’ conventions and contests, winning his first mandolin competition before reaching his teens. In 1981 Mr. Midkiff began studies at Virginia Tech, eventually earning a degree in music education. While immersing himself in the classical repertoire, he continued to gain attention as a mandolin and fiddle player. In 1983 he joined the Lonesome River Band, which would eventually become one of bluegrass’s most acclaimed groups. After performing, touring, and recording two albums, he left the band to pursue and earn a Master’s degree in clarinet performance from Northern Illinois University. Mr. Midkiff has spent the last 30 years balancing both musical loves. He has played clarinet in Chicago area orchestras as well as

Program 2 Boulder Philharmonic Orchestra 2016-2017

Program the Roanoke Symphony Orchestra, and has performed several times with the Milwaukee Symphony Orchestra on mandolin. His solo CD “Partners In Time” has gained international acclaim. He is a dedicated music educator and is the Orchestra Director at Patrick Henry High School in the Roanoke City Schools. Midkiff’s Concerto for Mandolin and Orchestra, “From the Blue Ridge,” was composed in 2011 in a commission from Music Director David Stewart Wiley and the Roanoke Symphony Orchestra. It was premiered in November of that year. He has performed the work with the Rochester Philharmonic, Williamsburg Symphony (VA), Shreveport Symphony, Virginia’s Blue Ridge Music Festival, Northwest Florida Symphony, Atlantic Chamber Ensemble, Boulder Philharmonic, Symphony of Southeast Texas (Beaumont), Champaign-Urbana Symphony (IL), Carpe Diem String Quartet (OH), Jacksonville Symphony, Ohio Northern Symphony, and the Knoxville Symphony. He will also perform the piece with the South Arkansas Symphony in May. Jeff is proud to be performing the concerto at the Kennedy Center with the Boulder Philharmonic as part of the 2017 SHIFT Festival! Mr. Midkiff’s “Double Concerto” for Mandolin, Violin and Orchestra was premiered with violinist Akemi Takayama, conductor David Stewart Wiley and the Roanoke Symphony in November 2014 and was subsequently performed with the Williamsburg Symphony in April 2016. His new Mandolin Quintet was premiered in February 2017 by the Carpe Diem String Quartet. www.jeffmidkiff.com

DAVID ANDREWS

FREQUENT FLYERS® PRODUCTIONS Frequent Flyers® Productions was founded in Boulder, Colorado, in 1988 by artistic director, Nancy Smith, incorporated as a non-profit in 1990, and has been pioneering the art form of aerial dance through teaching and performance for over 28 years. FFP’s critically acclaimed performances have reached over 185,000 audience members and classes have reached over 18,000 students. We’ve turned people’s perceptions of what’s possible literally upside-down, by experiencing the strength, beauty, and power of aerial dance. Frequent Flyers’ two main thrusts,

education and performance, are at the forefront of international recognition through the company’s Aerial Dance Festival, now in its 19th year. The Festival brings together artists, students, and audiences from around the globe for two weeks of immersion in workshops, gatherings, classes and performances each August in Boulder, Colorado. The Professional Company has performed for Cirque du Soleil, in the Bahamas, for a variety of corporate clients, as well as toured around the U.S. with its stunning performances. The education program provides aerial classes at our dedicated facility 11 months a year for ages five through adult, a nine-month Professional Training Program, private lessons, team building, and outreach to youth-at-risk. We are the only aerial education program approved by the Colorado Dept. of Higher Ed, Div. of Occupational Schools and the only program in the U.S. where Dance MFA students can graduate with an emphasis in Aerial Dance through the University of Colorado in conjunction with our Professional Training Program. Our dedicated facility opened in 2010 and expanded in August 2015 into a second studio. www.frequentflyers.org FREQUENT FLYERS® PRODUCTIONS DANCERS Laura Burgamy Allyson Fleck Amanda Hackman Danielle Hendricks Jessica Loisel Nancy McNeill Valerie Morris Alysha Perrin NANCY SMITH, Founder and Artistic Director of Frequent Flyers® Productions Nancy Smith is the founder and artistic director of Frequent Flyers® Productions, a 501(c)3 non-profit, since its inception in 1988 and the international Aerial Dance Festival since 1999. Ms. Smith has developed the Aerial Release Technique (A.R.T.), which she has taught around the U.S. Ms. Smith’s A.R.T. is the foundation for the Frequent Flyers’ teaching method. Dancers training with Ms. Smith gain mastery in the air and beautiful transitions from the ground to the air and back again. Ms. Smith has received numerous awards and honors including “Women Who Light

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the Community,” the “Cutting Edge” Award from the Colorado Dance Alliance, the Boulder County “Pacesetters Award for Arts and Entertainment,” a Neodata Endowment Fellowship in Dance, and the “Arts Innovation Award” from the Colorado Federation of the Arts. Ms. Smith and colleague Jayne Bernasconi co-authored the first book on aerial dance, Aerial Dance, available from Human Kinetics.

PROGRAM NOTES STEPHEN LIAS (b. 1966) All the Songs that Nature Sings Rocky Mountain National Park is an old friend to me. Having visited many times, I was incredibly fortunate to serve as an Artistin-Residence there in 2010—an honor which provided me the opportunity to explore all its secret and inspiring corners, and deepen my relationship with this magical place. So it was with great excitement that I accepted a commission in 2015 from the Boulder Philharmonic to write a new orchestral piece about Rocky as part of the celebration of the centennial anniversary of the National Park Service. The resulting piece frames melodies written during my residency in 2010 with undulating and hypnotic textures reminiscent of rippling water, wind-swept grasses, and fluttering aspen leaves. The entire piece is accompanied by animated landscape photography carefully selected from the park’s archives, and

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synchronized to perfectly complement the dramatic shape of the composition. The title of the piece comes from this marvelous quote from the founder of the park, Enos Mills (from his 1924 book The Rocky Mountain National Park): The trail is the short Northwest passage to nature’s wonderland. With all its curves and windings it is essentially poetic; it knows the beauty of flowing lines; it is ever in the midst of those things that charm and cheer. It seeks out all the beauty spots and, like a great character, finds only that which is the best. We think of it accompanying the clear and fern-fringed brooks, and in the imagination follow it through mountain passes, curving along narrow vistas across which fall the shadows of the pines. We know it will frequently feel the rapture of silent scenes and often go close to the wild cataracts that leap in glory; at all times it is enlivened with the melody of the wild, ever charmed with echoes far and dim, ever bathed in the aroma of the wilderness, and it is in the heart of all the songs that nature sings. —Enos Mills – known as the “Father of Rocky Mountain National Park” It is my hope that the listeners will have a vicarious wilderness experience through this work, and that those who know the park well will recognize the voice of a familiar friend. Many thanks to the Boulder Philharmonic, the National Endowment for the Arts, and the National Park Service for making this collaboration possible. Written by the composer JEFF MIDKIFF (b. 1963) Mandolin Concerto, From the Blue Ridge My love for playing the mandolin, and a lifetime of doing so, began to take on new meaning and motivation just a few years ago. After decades of performing as a professional clarinetist in numerous orchestral concerts, I felt a deep-seated desire to bring my favorite instrument in line with those experiences. I truly enjoy the amazing color, language and structure of the symphony, and my years as a clarinetist made me familiar with it from the inside of the orchestra. I have worked to develop a highly improvisational approach to the mandolin, and I knew in my heart that I could say something with it on a symphonic scale. My excitement and motivation for this piece started with the idea that I could bring my most natural companion to the symphonic

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stage – two seemingly different worlds together. I hope you enjoy the fusion of these complementary musical worlds. The Roanoke Symphony Orchestra and their Music Director David Stewart Wiley commissioned the piece in November 2010 and it was then that the falling leaves, blowing in the wind, drew the opening musical scene. The first of three movements (Allegro) begins with the mandolin on swirling sixteenth notes, setting the stage for excitement and anticipation, as does the entire movement. Indeed, our Blue Ridge’s beauty and importance to me would form the piece. The middle of the first movement moves from D-minor to the relative key of B-flat Major with woodwinds in a waltz-like dance, before we return to the first (fast) theme. Although the movement ends quickly, there is a final unexpected fade with a long held single note in the clarinets. The lyrical and slow second movement draws on more typical and familiar bluegrass melodies. Having grown up in Roanoke, moved away, and returned, I wanted the concerto to echo the emotions associated with home, and with coming home. To get there, I looked no further than the Blue Ridge Mountains and the Roanoke Valley. “Wildwood Flower” by the Carter Family and Bill Monroe’s “Roanoke” are my thematic inspirations. A haunting fiddle tune from the mandolin (accompanied by the oboe) paints a picture of longing before the journey is complete. The end of the movement is “resolved” with major thirds returning from the “Roanoke” theme, and an improvisationalsounding piccolo solo, flowing without significant break to the final movement, after a brief mandolin utterance over a halo of strings. The third movement, “The Crooked Road,” is an upbeat, improvisational and dynamic affair. It draws strongly from jazz and bluegrass themes in a series of ideas in a “controlled jam session” with one idea leading to another. Every section of the orchestra has a virtuosic role to play, with percussion in particular setting up the different rhythmic grooves. A break in the action occurs with an extended cadenza for mandolin and concertmaster before a mixed-meter blues riff for full orchestra. Another somewhat brief cadenza for solo mandolin inserts and asserts itself just before a bright, upbeat and up-tempo conclusion ends the new work with a flourish upward. Thus ends our musical journey “From the Blue Ridge”! Written by the composer

STEVE HEITZEG (b. 1959) “Ghosts of the Grasslands” from Symphony to the Prairie Farm Steve Heitzeg grew up on his family’s dairy farm (Breezy Hill Farm) in south central Minnesota near Kiester, just on the border with Iowa. This work is his tribute to a vanishing way of life – the family farm on the prairie. With fewer than one million farms left in the United States, Heitzeg “felt compelled to compose a work honoring the farm.” The score is dedicated to Breezy Hill Farm, to the Des Moines Symphony and its music director Joseph Giunta. Following is the composer’s description of the movement, Ghosts of the Grasslands: This movement portrays the prairie in winter, and is a sonic reference to the tragedies of the prairie, including the Native American genocide and ecocide. The tension between homesteader and indigenous people, as well as the melancholy of the prairie, is evoked through soaring string lines, acoustic guitar and percussion sounds involving gourd rattles, native prairie grass bundles, powwowstyle bass drum effects, lone whistling and clattering buffalo bones. At the close of this movement, each percussionist plays squeaky toys to create prairie dog barks – a symbolic protest against the systematic destruction of the prairie dog. I feel fortunate to have grown up on a dairy farm and to have been among the grace and beauty of the land. As the Iowa poet Michael Carey so poignantly writes in his poem “Amen”: And the field itself, no matter how we abuse it, it loves us and feeds us, and asks us to return. Written by the composer AARON COPLAND (1900 – 1990) Ballet for Martha (Appalachian Spring) Described by Leonard Bernstein as the “Dean of American Music,” Aaron Copland delighted in his role as its elder statesman in the later years of his life. Perhaps this is due to the 70 years he was involved in various musical endeavors. Before launching his compositional career with his resounding Organ Symphony in a 1925 New York concert, he had studied at the American Conservatory at Fontainebleau in Paris. Barely in his twenties, Copland’s reputation rested as a renegade among

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Program composers, using harmonies that were often dissonant and abrasive. In the late 1930s, the composer began to face the reality of shrinking audiences at orchestral concerts. He knew there must be a way to draw people back into the concert hall and to energize orchestral music. Copland’s new “simple” style, which often quoted folk music, used an approachable musical language in an effort to remedy the problem. He often incorporated jazz-inspired rhythms and elements of popular music to express his ideas, while drawing listeners closer to his music. Having composed several works for the stage and screen in the 1930s, among them his captivating scores for the film versions of Steinbeck’s Of Mice and Men and Wilder’s Our Town, Copland became well established in those circles. In 1939 Copland composed the incidental music for Irwin Shaw’s Quiet City. Four years later in 1943, he was in Hollywood writing the music for his fourth film, The North Star, when Elizabeth Sprague Coolidge contacted him with a commission for a new ballet for the renowned dancer-choreographer Martha Graham. Copland agreed to compose what would be his fourth ballet.

Once Coolidge, Copland, and Graham agreed on the terms, all that remained to be determined was the subject. In time, the two collaborators settled on the story, as told by a program note in the published score: “… a pioneer celebration in spring around a newly-build farmhouse in the Pennsylvania hills in the early part of the last century. The bride-to-be and the young farmer-husband enact the emotions, joyful and apprehensive, their new domestic partnership invites. An older neighbor suggests now and then the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end the couple [is] left quiet and strong in their new house.” Copland was aware of the small stage and pit in the Coolidge Auditorium at Washington’s Library of Congress. Because of these limitations, the work was scored for a compact chamber ensemble of just 13 instruments. The version most often performed today is the suite that Copland arranged a few months later to be played by full orchestra. For this version, the composer removed just one 10-minute block of music from a single location in the score, resulting in a sense of continuity seldom found in such suites. Despite the rural atmosphere often attributed to this music, Copland used only one preexisting melody – the familiar “Simple Gifts” – heard near the end of the ballet. Perhaps most interesting of all is that the title of the work did not come about until the day before the performance. Martha Graham stumbled across the exhortation “O Appalachian Spring!” in Hart Crane’s epic poem “The Bridge,” and it seemed to fit perfectly. The official title of the score remains “Ballet for Martha.” Copland wrote: “I have been amused that people so often have come up to me to say, ‘When I listen to that ballet of yours, I can just feel spring and see the Appalachians.’ But when I wrote the music, I had no idea what Martha was going to call it! Even after people learn that I didn’t know the ballet title when I wrote the music, they still tell me they see the Appalachians and feel spring. Well, I’m willing if they are!”

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Pines of Rome BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Charles Wetherbee, violin Nicolò Spera, guitar Saturday, April 22, 2017 6:30 pm Pre-Concert Talk, 7:30 pm Performance Igor Stravinsky Monumentum pro Gesualdo (1882 – 1971) Asciugate i begli occhi Ma tu, cagion di quella Beltà poi che t’assenti Luciano Berio (1925 – 2003)

Four Original Versions of Boccherini’s Return of the Nightwatch from Madrid

Stephen Goss (b. 1964)

Invisible Cities WORLD PREMIERE Double Concerto for violin, guitar, strings and percussion

1 Cities & Memory 2 dialogue 1 3 Cities & Desire 4 dialogue 2 5 Cities & Eyes 6 dialogue 3 7 Continuous Cities 8 dialogue 4 9 Hidden Cities -Intermission Giuseppe Verdi (1813 – 1901)

Overture to Nabucco

Giacomo Puccini (1858 – 1924)

The Chrysanthemums

Ottorino Respighi Pines of Rome (1879 – 1936) I. The Pines of the Villa Borghese II. Pines Near a Catacomb: Lento III. The Pines of the Janiculum IV. The Pines of the Appian Way Program and artists subject to change. The use of cameras and electronic devices is strictly prohibited. Concert Sponsor:

Guest Artist Sponsors: Jan Burton Louise and Grant Robert and Francine Myers

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Program CHARLES WETHERBEE, violin Violinist Charles Wetherbee has performed throughout the world, including Europe, Asia, the Middle East, Canada, Mexico, and the United States. A native of Buffalo, New York, Charles gave his first performances at age six. He made his debut with the Buffalo Philharmonic Orchestra under Symon Bychkov, and since then has performed with the National Symphony under Mstislav Rostropovitch, as well as the Japan Philharmonic, the Kyoto Symphony, the Concerto Soloists of Philadelphia, the Philharmonic Orchestra of Bogota (Columbia), the National Repertory Orchestra, the Orchestra Nacional de Mexico, the Symphony Orchestra of the Curtis Institute, the Buffalo Philharmonic, the Long Beach Symphony, and the Virginia Symphony, among others. Mr. Wetherbee is an artist dedicated to the music of today, as well as to the great literature of the past. He gave the Russian premiere of Grammy Award winning composer John Corigliano’s Violin Concerto, and was subsequently invited back to perform the Beethoven concerto in the famous Shostakovich Philharmonic Hall. He also gave the Mid-West premiere of the Penderski Violin Concerto in Columbus, Ohio, with the composer conducting. Charles has been heard throughout the US on the NPR program “Performance Today,” featuring his performance of the Red Violin by Mr. Corigliano with Joanne Falletta and the Buffalo Philharmonic Orchestra. Other premieres include: the Leshnoff Violin Concerto with the Columbus Symphony, the Leshnoff Double Concerto for Violin and Viola with Michael Stern and the IRIS Chamber Orchestra, and the Story Teller Concerto by Korine Fujiwara in, Washington, DC, as part of the 100th Anniversary of the Cherry Blossom Festival. A devoted chamber musician, Mr. Wetherbee is the first violinist of the Carpe Diem String Quartet, with whom he tours and performs regularly, and is an assistant professor of violin at the College of Music - University of Colorado at Boulder. As a recording artist, he is represented on Naxos, Seize the Music Records, Weasel Records, Vienna Modern Classics, as well as the Cascade labels. Mr. Wetherbee has been the recipient of numerous honors, including the Ashworth Artist and the George Hardesty awards. In 2002 Charles was able to acquire one of the world’s great violins, the Widenhouse 44.

NICOLÒ SPERA, guitar Italian guitarist Nicolò Spera brings to his teaching and performing a unique synthesis of European and American traditions. Mr. Spera is one of the few guitarists in the world to perform on both six-string and tenstring guitars, as well as on theorbo. His wideranging repertoire includes the extraordinary music of the Franco-Andalusian composer Maurice Ohana. He has given lecture-recitals on the music of Ohana at different institutions and festivals, and his CD of Ohana’s complete works for solo guitar (Soundset Recordings), presenting the world première recording of Estelas, was awarded the 5-stars “Disco del mese” review by Seicorde, the major Italian classical guitar magazine. With Soundset Recordings, Nicolò has also published his own transcriptions of Bach’s Cello Suites 4, 5, and 6, for the ten-string guitar. Mr. Spera is equally at home in outreach concerts for the young, masterclasses for all ages, solo recitals and concerti with orchestra. As a soloist, he has performed in the US and Europe with conductors Andrés Cárdenes, Alejandro Gómez Guillén, Cynthia Katsarelis, René Knetsch, and Michael Summers. He has won top prizes at several Italian and international competitions and is regularly invited to play in music festivals such as the Strings Music Festival in Steamboat Springs, the Tangents Guitar Series in San Francisco, the Mediterranean Guitar Festival in Italy, and the Sauble Beach Festival in Canada. A versatile chamber musician, in 2012 Nicolò co-founded the ensemble Duo Chagall with violinist Jenny Diaz. Mr. Spera holds degrees from the Claudio Monteverdi Conservatory in Bolzano and the prestigious Accademia Musicale Chigiana in Siena, an Artist Diploma in Guitar Performance at the University of Denver, and a Doctor of Musical Arts degree from the University of Colorado Boulder. In 2011, Mr. Spera was appointed to the faculty at the University of Colorado Boulder, where he is professor of Classical Guitar. He is also on the faculty of the study abroad program Renaissance in the XXI Century in Florence, Italy. In 2013, he founded the University of Colorado International Guitar Festival and Competition, an unprecedented event that attracts prestigious guests, guitar performers, and students from all over the world.

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Program STEPHEN GOSS, composer Stephen Goss’s music receives hundreds of performances worldwide each year and has been recorded on over 60 CDs by more than a dozen record labels, including EMI, Decca, Telarc, Virgin Classics, Naxos, and Deutsche Grammophon. His varied output includes orchestral and choral works, chamber music, and solo pieces. Mr. Goss writes communicative music that draws freely on a number of styles and genres. Recent work includes several projects with the guitarist John Williams, who has recorded and toured Mr. Goss’ Guitar Concerto (2012) with the Royal Philharmonic Orchestra. He has also recently collaborated with Andrew Lloyd Webber, arranging his music for guitar. As composer-in-residence for the Orpheus Sinfonia, Mr. Goss wrote the Piano Concerto (2013) and the Concerto for Five (2013). He has also had his music performed by The Russian National Orchestra, The China National Symphony Orchestra, The Royal Liverpool Philharmonic Orchestra, The RTÉ National Symphony Orchestra, and the Barcelona Symphony Orchestra. His Albéniz Concerto (2009) for guitar and orchestra was released to great critical acclaim on EMI Classics in 2010. Mr. Goss is Chair of Composition at the University of Surrey, UK, and a Professor of Guitar at the Royal Academy of Music in London. As a guitarist, he has worked with Takemitsu, Henze, Peter Maxwell Davies and Elliott Carter and toured and recorded extensively with the Tetra Guitar Quartet, various other ensembles and as a soloist.

PROGRAM NOTES IGOR STRAVINSKY (1882 – 1971) Monumentum pro Gesualdo di Venosa ad CD annum: Three madrigals recomposed for instruments Nearly all music aficionados know of Igor Stravinsky, the iconoclast who studied with Rimsky-Korsakov and went on to become one of the most revered composers of the twentieth – or any – century. After his shortlived primitivist period in the 1910s, he turned to neoclassicism for forty years, but spent the rest of his life as a serialist. In 1960 Stravinsky composed a work in honor of a nearly forgotten

sixteenth-century composer named Carlo Gesualdo, whose story is at least as interesting as Stravinsky’s. Gesualdo was born in 1566 and was Prince of Venosa and Count of Conza. He was an extremely powerful and wealthy man who was able to control people with his influence. He was also a murderer whose salacious story has become legendary, though he was not charged for his brutal crimes. Like most nobles at the time, part of Gesualdo’s education included music. He was a noted composer who published six books of madrigals, which often include unprepared and unresolved dissonances. His boldness in music was as well developed as his brazenness in murder. Igor Stravinsky became a devotee of Gesualdo’s music and composed Monumentum pro Gesualdo di Venosa ad CD annum in 1960. The work’s title translates roughly as Tribute on the Four Hundredth Anniversary of Gesualdo of Venosa. Stravinsky’s subtitle is “Three madrigals recomposed for instruments,” which is exactly what the composer did. Each of the madrigals is completely reworked to bring out Gesualdo’s musical quirks – the dissonances and cross-rhythms – by altering which instruments are used from chord to chord. This produces subtle shadings that were impossible in Gesualdo’s original five-voice compositions. It is not an arrangement, but is a completely new and original work as viewed through Gesualdo’s very twisted prism. LUCIANO BERIO (1925 – 2003) Four Original Versions of “Return of the Night Watch from Madrid” Luciano Berio was born to a family that had been musicians since the 1700s. His interest in music of the past likely stemmed from family interest, but the rise of Mussolini led to a rift. His father supported the dictator, but Luciano deplored the way Mussolini suppressed new music. He simply could not hear the newest musical innovations, which impacted his education. Instead, he studied much older music of the Renaissance and Baroque periods and developed a thorough understanding of that aesthetic and the techniques used to create these magnificent works. After World War II, Berio was able to immerse himself in the newest developments and produced several works of electronic music. Along with the innovative new techniques used by Berio and others on the forefront of modern music (Boulez, Maderna, and Nono among them) came resistance from traditionalists among composers and audiences. Before long, Berio became recognized for his

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Program innovations. However, he always remembered the early music and returned to it often. His Quattro versioni originali della “Ritirata notturna di Madrid,” sometimes translated as Four Original Versions of “Return of the Night Watch from Madrid,” interacts with a work by Luigi Boccherini, an illustrious composer at the Spanish Court of Madrid in the seventeenth century. Boccherini’s Opus 30, Number 6, is entitled La musica notturna delle strade di Madrid. It is one of his most familiar works and ends with a movement called “Ritirata,” or “Retreat.” It represents the officers of the night watch returning to the city center as midnight chimes are sounded. As they get closer, the music grows louder, but dies away after they pass. Berio layered four different versions of Boccherini’s final movement (he wrote eleven versions) to create a captivating miniature that captures the excitement of the daily changing of the guard. STEPHEN GOSS (b. 1964) Invisible Cities (2016) Double concerto for violin, guitar, strings, and percussion Italo Calvino’s 1972 novel, Invisible Cities, has no plot or character development. It is a meticulously structured collection of 55 prosepoem descriptions of cities, framed by a dialogue between the Venetian explorer Marco Polo and the Mogul emperor Kublai Khan. At Khan’s court, Polo is instructed to travel through the emperor’s kingdom and report on the places he has visited. As the novel progresses it becomes clear that Polo’s narrations are often exaggerated or entirely fanciful. My concerto takes structural and thematic ideas from Calvino’s novel. Five main movements evoke particular categories of fantastical cities: these are separated by dialogues between the two soloists. Cities & Memory: ‘Memory’s images, once they are fixed in words, are erased.’ Cities & Desire: ‘Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else.’ Cities & Eyes: ‘Marco Polo describes a bridge, stone by stone. “But which is the stone that supports the bridge?” Kublai Khan asks. “The bridge is not supported by one stone or another,” Marco answers, “but by the line of the arch that they form.” Kublai Khan remains silent, reflecting. Then he adds: “Why do you speak to me of the stones? It is the arch that matters to me.” Polo answers: “Without stones there is no arch.”

Continuous Cities: ‘It is not so much by the things that each day are manufactured, sold, bought, that you can measure Leonia’s opulence, but rather by the things that each day are thrown out to make room for the new.’ Hidden Cities: ‘The inferno of the living is not something that will be; if there is one, it is what is already here, the inferno where we live every day, that we form by being together. There are two ways to escape suffering it. The first is easy for many: accept the inferno and become such a part of it that you can no longer see it. The second is risky and demands constant vigilance and apprehension: seek and learn to recognize who and what, in the midst of inferno, are not inferno, then make them endure, give them space.’

GIUSEPPE VERDI (1813 – 1901) Nabucco Overture In the 1840s there was no unified country of Italy. Instead, Italian geography was divided into several city-states, with much of Northern Italy controlled by Austria. Across Europe, in the wake of Napoleon’s conquests and the collapse of the French monarchy, nationalist interest grew as many areas strove to embrace their local identities. In Italy, a movement called the Risorgimento sought to unify all Italians under the only native Italian King, Vittorio Emanuele, of the small Northern Italian country of Piedmont. Because of Verdi’s political bent, supporters of the cause took up the rallying cry of “Viva VERDI.” The composer’s name here became an acronym for “Vittorio Emanuele, Re D’ Italia” (Victor Emanuel, King of Italy). Verdi composed nearly all of his operas for stages in his native Italy. His music, perhaps more than any other composer, has come to personify all that is Italian. Verdi’s first success, Nabucco, came at the age of twenty-nine. A fanciful retelling of the famous story of Jewish exile in Babylon under King Nebuchadnezzar, the opera spoke to those in favor of the Risorgimento. The popular chorus “Va pensiero” attained overnight fame, sung on the streets the day after the opera’s premiere, and came to represent the cause. Verdi’s overture opens with a stirring chorale (representing the Hebrews) heard in the low brass. Before long the mood becomes dramatic and intense as the strings enter with a foreboding figure, which acts as an introduction to the quicker main section of the overture. Another chorale, this time heard in the higher brass instruments, leads to a statement of the

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Program “Va pensiero” theme first played by the oboe. The bustling finale is more lighthearted, and is reminiscent of Rossini’s brilliant overtures from just a few decades earlier. Throughout, there are snippets of themes from within the opera, combined and adapted to set the tone for the drama to come. GIACOMO PUCCINI (1858 – 1924) I crisantemi (The Chrysanthemums) At the turn of the century, opera composers searched for ways to provide realism in their works. Operas began to include many prominent characters from common working class backgrounds. Nowhere was this more prevalent than in the compositions of the Italian verismo composers. Although most often seen in the operas of Ruggiero Leoncavallo (Pagliacci) and Pietro Mascagni (Cavalleria rusticana) in the early 1890s, the same spirit was passed down to Giacomo Puccini. Puccini shines not only as a skilled composer, but also as a dramatist of the first order with a finely tuned sense of human nature. Born in Lucca in 1858, Puccini’s early development as a church musician is often recounted, but this is no surprise when one considers that his family had been musicians in the same Church for over two hundred years. The Puccini family was surprised when young Giacomo broke away from family tradition to compose primarily for the operatic stage. The turning point came in his eighteenth year, when he heard Verdi’s Aida in Pisa. It was not until 1893 that Puccini’s first major success, Manon Lescaut was written, but then the masterpieces began to flow – La Bohème (1896), Tosca (1900), Madama Butterfly (1904), The Girl of the Golden West (1910), and La Rondine (1917). Although he is not primarily remembered for orchestral music, Puccini wrote a handful of works that are infrequently performed. One of them, the Capriccio sinfonico, is essentially a sketch for La Bohème, as it appears in the opera almost intact. Another orchestral work sometimes heard is his Crisantemi (Chrysanthemums), which was composed in a single night in 1890 after the composer learned of the death of his friend, Amadeo di Savoia, the Duke of Aosta. The chrysanthemum represents mourning in Italy, much as lilies do in the United States. Puccini’s work, originally for string quartet, is in ABA form and is mournful and elegiac. Both sections A and B were used later in his opera Manon Lescaut.

OTTORINO RESPIGHI (1879 – 1936) Pini di Roma (Pines of Rome) Though he later appeared both as a conductor and a pianist, Respighi began his career as a violinist shortly after he graduated from the Liceo Musicale Rossini in Bologna in 1901. Around 1905 Respighi turned his attention to the historic viola d’amore and he became quite adept at the performance of early Italian scores for the instrument. In time, his interest was extended to the arrangement of a considerable amount of Renaissance and early Baroque music. His trilogy Fountains of Rome, Pines of Rome, and Roman Festivals, however, are original works not based in antiquity, and are probably his most popular pieces, holding important positions in the concert repertoire to this day. A sequel to Fountains of Rome (1917), Pines of Rome is a magnificent exercise in colorful orchestration that represents four arboreal scenes in the city of Rome. The majestic trees are treated as ancient, silent witnesses to the scenes, activities, and states of mind depicted in the four connected movements. The composer provided the following outline in the published score: Pines of the Villa Borghese. Children are at play in the pine groves of Villa Borghese. They dance round in circles; they play at soldiers, marching and fighting; they are wrought up by their own cries like swallows at evening; they rush about. Suddenly the scene changes. Pines near a Catacomb. We see the shades of pine trees fringing the entrance to a catacomb. From the depth rises the sound of mournful psalms, floating through the air like a solemn hymn, and gradually and mysteriously dispersing. Pines of the Janiculum. A shudder runs through the air: the pine trees of the Janiculum stand distinctly outlined in the clear light of a full moon. A nightingale sings. Pines of the Appian Way. Misty dawn on the Appian Way: solitary pine trees guarding the magic landscape; the muffled, ceaseless rhythm of unending footsteps. The poet has a fantastic vision of bygone glories: trumpets sound, and, in the brilliance of the newly risen sun, a consular army bursts forth towards the Sacred Way, mounting in triumph to the Capitol. Program Notes ©2016 Orpheus Music Prose & Craig Doolin, www.orpheusnotes.com, unless otherwise noted.

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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 visit www.boulderphil.org/support/friends-of-the-phil VIOLIN 1 Charles Wetherbee, concertmaster, Lafayette Rebecca Roser Annamaria Karacson, assistant concertmaster, Boulder Virginia Newton Debra Holland, Boulder 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 Charlotte Corbridge

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

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

PIANO Arthur Olsen,* Boulder Ellie and Harry Poehlmann

VIOLA Mary Harrison,* Wheat Ridge Patricia Butler Michael Brook,** Superior Matthew Hyatt Aniel Cabán, Boulder Matthew Diekman, Denver 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

BASS David Crowe,* Boulder Nyla & William Witmore Brian Knott,** Louisville Lin & Matthew Hawkins Jesse Fischer,+ Longmont Owen Levine, Wheat Ridge Jeremy Nicholas,+ Edgewater Matthew Pennington, Lafayette HARP Kathleen Wychulis,* Omaha, NE

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, Northglenn 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

Program 12 Boulder Philharmonic Orchestra 2016-2017

BASSOON/CONTRABASSOON Charles Hansen,* Greeley in memory of Joan Ringoen Kim Peoria, Louisville Wendy La Touche, Boulder HORN Michael Yopp,* Colorado Springs Jeffrey Rubin, Longmont Alan & Tessa Davis Devon Park, associate principal, Broomfield Tom and Susan Churchill Stuart R. Mock, Golden DeAunn Davis, assistant & utility, Sparks, NV TRUMPET Leslie Scarpino,*+ Wheat Ridge David Fulker & Nicky Wolman Kenneth Aikin, Boulder Roberta Asmus Goodall, Centennial Courtney Thomas TROMBONE Bron Wright,* Colorado Springs Owen Homayoun, Austin, TX Jeremy Van Hoy, Colorado Springs TUBA Michael Allen,* Northglenn ADDITIONAL MUSICIANS Jennifer Carsillo, violin Allyson Fleck, viola Chris Jusell, violin Alex Komodore, guitar Chris Martin, percussion Heidi Mendenhall, clarinet Trevor Minton, cello Summer Rhodes, viola Joshua Sechan, bassoon Ann Shoemaker, bassoon Tori Woodrow, violin Nena Lorenz Wright, percussion * Principal ** Assistant Principal + New Members

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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.

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Wings & Strings Sponsors

RAISED $154,000 to support the Boulder Phil and Frequent Flyers, selected to perform at the Kennedy Center in Washington, D.C. at the 2017 SHIFT Festival of American Orchestras.

SOLD OUT all 300+ tickets to the event, which featured performances by Frequent Flyers Aerial Dance, a Boulder Phil String Quartet, and Flatirons Jazz Orchestra. INTRODUCED guests to local businesses and raised $71,500 at the event through live auction and mystery balloon sales.

RECEIVED in-kind donations from more than 60 local businesses that were featured at the event and will be acknowledged in concert programs throughout the year.

Margot & Christopher Brauchli Virginia & Thomas Carr Exit Signs by Pamela Dennis Nicky Wolman & David Fulker Lin & Matthew Hawkins Terry & Noel Hefty/Peak Asset Management Carolyn & Sam Johnson Jess Jones Lisa McClellan Marla & Jerry Meehl Family & Friends Jayne & Steve Miller Mullin/Chinowsky Family & Karen Shanley Susan Olenwine & Frank Palermo Margaret & Rodolfo Perez Eleanor & Harry Poehlmann The Polner Wealth Management Group

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 October 1, 2015 through December 15, 2016.

FOUNDERS CIRCLE ($35,000+) David Fulker & Nicky Wolman Mellon Foundation Scientific and Cultural Facilities District

GOLD CIRCLE ($10,000+)

Sydney & Robert Anderson Boulder Arts Commission Boulder Convention & Visitors Bureau Patricia Butler Colorado Creative Industries Gordon & Grace Gamm John F. Kennedy Center for the Performing Arts National Endowment for the Arts Harry & Eleanor Poehlmann Lynn Streeter Noris Foundation Washington Performing Arts Society

SILVER CIRCLE ($5,000+)

Anonymous (2) Albert & Rebecca Bates Albert & Nancy Boggess Christopher & Margot Brauchli Brewers Association Patricia Butler Thomas & Virginia Carr Pamela Dennis Flatirons Bank Jacqulynn Geister David & Sara Harper John Hedderich Virginia Hill Charitable Foundation Stephen & Judy Knapp George Lichter (in memoriam) Erma & John Mantey Marla & Jerry Meehl Micro Motion/Emerson Stephen & Jayne Miller

New Music USA Rodolfo & Margaret Perez Karyn Sawyer Tebo Properties

BRONZE CIRCLE ($2,500+)

The Academy Shari Bohn Nancy Clairmont & Bob Braudes Joan Cleland Terry & Jenny Cloudman Scott & Paula Deemer Eide Bailly, LLP Carl & Ruth Forsberg Jerry & Janet Gilland Lin & Matthew Hawkins Kyle & Stephanie Heckman Gerald & Doree Hickman IBM Wayne Itano & Christine Yoshinaga-Itano Samuel & Carolyn Johnson Ruth Carmel Kahn Richard & Linda Livingston Millstone/Evans Group of Raymond James & Associates Frank Palermo & Susan Olenwine TK Smith & Constance Holden Alan & Martha Stormo Dick & Caroline Van Pelt Jack & Sophie Walker Vivian Wilson Nyla & Gerry Witmore Zayo Group, LLC

LEADERSHIP CIRCLE ($1,000+)

Anonymous (2) Lari & Thomas Abraham Gail Aweida (in memoriam) Boulder County Arts Alliance Alexander & Sally Bracken Barbara Brenton Lindley Brenza

Joan Brett Amy & Terry Britton Jan Burton Michael Butterman & Jennifer Carsillo Toni & Nelson Chen Ben & Gale Chidlaw Collins Foundation The Community Foundation Serving Boulder County The Louise & Grant Charitable Fund Dairy Arts Center Ursula Dickinson Fidelity Investments Elyse Grasso Robert & Diane Greenlee Margaret Hansson Russell & Ann Hayes Cherine & Mark Herrmann Grant & Holly Hickman Teresa Myrwang Holum David & Suzanne Hoover Matthew Hyatt Virginia Jones Annlee Landman Harold & Joan Leinbach Paul & Nancy Levitt Heidi & Jerry Lynch Frances MacAnally Julie & Tim Marshall Robert & Marilyn Mohling Edith Morris Trust Robert & Francine Myers Barbara & Irwin Neulight James Pendleton Carl & Kathy Polhemus Anita Polner Susan & Paul Roberts Janet & David Robertson Juan & Alicia Rodriguez Beatriz & Juan Roederer Luana Rubin Ronald Sinton Jane & Neal Sliker Arthur & Carol Smoot Sopher Sparn Architects, LLC Taddiken Tree Company

Donors Marion Thurnauer & Alexander Trifunac Betty Van Zandt Andy Walls Jack & Brenda Zellner

ARTIST CIRCLE ($500+)

Anonymous (3) Dr. Richard & Michelle Binzel Carolyn Bradley Jean-Pierre & Glenna Briant Aaron Brockett Tony & Maria Busalacchi Bill & Beth Carsillo Sharon & Andrew Castro The Rebecca Clarke Society, Inc. Richard Collins & Judy Reid Colorado Financial Management Alan & Tessa Davis Larry Day & Catherine Haskins Warren & Vici DeHaan Jeffrey & RoseMarie Foster Andrew & Audrey Franklin Ellen Friedlander Hans & Jeri Friedli Greg Ginocchio & Kevin Shuck Robert & Penny Haws James & Gayle Heckman Jeannette Hillery Stewart & Karen Hoover Kathy & Randy Hungate Joel Kiesey Buddy Kring Ray & Margot LaPanse Annyce Mayer Tracy Mayo The Newton Family Fund David Oakley Martha & George Oetzel Dayna & Robert Roane Diane Rosenthal R. Alan & Stephanie Rudy Ross & Jane Sheldon Gail & John Squires Mary Street Peter & Laura Terpenning Nicholas & Shelby Vanderborgh Paul Weber Raymond & Rena Wells Anne Wenzel

The Winston Family Foundation Womenâ&#x20AC;&#x2122;s Philharmonic Advocacy Art Zirger & Mary Rowe

PARTNERS ($250+)

Anonymous Susan & Barry Baer Helen Bosley Anne Burkholder & Stephen Eisenberg Michael & Stephanie Carter Susan & Tom Churchill Charlotte Corbridge Margot Crowe Peter & Joan Dawson Joe & Alice Doyle Janet & Robert Evans Gerald & Anita Gershten Susan & Gustavo Grampp Charles & Gail Gray Mary Greenwald Ken & Dianne Hackett Charles & Patricia Hadley Kent & Cathy Hansen Chris & Linda Hansen Dixie Hutchinson John Dennis Hynes & Virginia Medelman Richard & Ruth Irvin William & Ann Kellogg Eileen & Walter Kintsch Peter & Judith Kleinman Cassidy Leeburg Joy Linfield Bruce Kahn & Susan Litt Joan Mulcahy Richard Nishikawa & Kathleen Miller James Neely Scott & Jean Nelson Bob Orecchio Brook Reams & Rochelle Chartier Tom Rounds Leslie & Gil Rudawsky Charles Samson Marjorie & Bob Schaffner Mary Scarpino Jane & Leo Schumacher Betty Skipp Todd & Gretchen Sliker Pamela & Michael Sousa Andrew & Margrit Staehelin

Thomas & Nancy Storm Courtney Thomas James Topping Stephen Trainor Pamela Walker Stuart Waugh Rick & Rebecca White Kristen Wolf Betty Woon Charles Zabel Marylee Zurick

FRIENDS ($100+)

Anonymous (6) Richard & Alma Alber Joyce Albersheim Dr. Michael & Carol Altman Erika Altneu Ted Altshuler Charles & Cynthia Anderson Cherry Anderson Richard Anthes Stanley Arlet Judith Auer & George Lawrence Richard & Jane Barker Janet Bartsch Mark Bauer Dara & Kit Beall Anne & Harry Beer Les & Barbara Berry Catherine & William Bickell Brian Bishop Sandra Bland & Robert Spencer Jessma Blockwick Boulder Weekly Richard Bowman Phillip Bradley Diane Brewer Debra & Charles Brindis Martha Bushnell Frank Butcher Josephine Bynder Bob & Judy Charles Penny Chenery Andrew & Lois Cherrington Roger & Norma Cichorz George Clements Claude Weil & Carolie Coates Carol Cogswell Sara-Jane & Bill Cohen Max & Barbara Coppom Robert Craig Bonnie Crissey & Richar Oye

Dan & Nancy D’Ippolito Charles & Jean Dinwiddie David Donaldson Caroline & Preston Douglas David Dowell Leslie & Donald Dreyer Alexandra Dujardin Paul Eklund Lee Ellwood Martha Coffin Evans Beverly Fest Wayne & Anne Fischer Robert & Juliette Ford Ann Garstang Neil Ashby & Marcie Geissinger Rosalynn Gill Peter Gilman & Peggy Lemone Kathryn Goff

Donors

Garry & Barbara Gordon Carol & George Grossman Fabian Guerrero Betsy Hand Chuck Hardesty Spencer & Valerie Havlick Josie & Rollie Heath James & Judith Heinze Sondra & Randal Hittle Burton & Maxine Hobson Amanda Hoffman Barbara & Robert Hoffman John Hughes Holly Hultgren Arnie Jacobson & Victoria JohnsJacobson Wesley & Joanne Johnson Hans Jordan

Boulder Public Library Concert Series held in the Canyon Theater of the Boulder Public Library

MIDDAY MIDDAYMUSIC MUSICMEDITATION MEDITATION

Every 2ndndWednesday of the month from noon–1 p.m. Every 2 Wednesday of the month from noon–1 p.m.

3RD TUESDAYLUNCHTIME LUNCHTIMECONCERTS CONCERTS 3RD TUESDAY Every 3rd3 rdTuesday p.m. Every Tuesdayofofthe themonth monthfrom fromnoon–1 noon–1 p.m.

SUNDAY AFTERNOON PERFORMANCES

THE BOULDER CHORALE GOES November 20, 2 p.m. TOSunday, THE LIBRARY OPUS TWO

Sunday, February 12, 2 p.m.

Andrew Cooperstock & William Terwilliger

Gershwin: Music for Violin and Piano GERALDINE WALTHER— Opus Two violin-piano duo, acclaimed VIOLA for their recordings and performances worldwide of American classical music, and present a multimedia performance of

MADOKA ASARI—PIANO works from their newest CD—Gershwin: Music for Violin and Piano. Featured

SONATAS BY HUMMEL will be selections from the shows An American in Paris, Porgy & Bess, and AND BRAHMS Girl Crazy, and more!

Sunday, February 26, 2 p.m. 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

Jo Ann Joselyn Josh & Lori Kahn Colman & Marcia Kahn David & Carol Kampert Quentin Karlsrud Pat Karns Matthew & Diana Karowe Robert Kehoe Don & Eleanor King Bonnie Kirschenbaum Kaley Klemp Brion Koprowski Jon & Lenna Kottke Frank Kreith Gerald Kutchey Frank Langen Pam Leland Wesley & Heather Le Masurier Dave & Mary Leonard Douglas Lerner Peter Lerner Joy Linfield Al Gasiewski & Rachel Lum Lisa Lund Brown William & Susan Marine Elizabeth Marr Steven & Susan Maxwell Martha McGavin Claire McNamara Alan & Judy Megibow Elizabeth Meyer Roger & Lily Moment Sharon Nishikawa Ronald & Joan Nordgren Mary Ann O’Leary Christopher & Linda Paris Angela Parkins David Paulson Robert & Marilyn Peltzer Nicole Rajpal Skippy Rolins Lester Ronick Barbara Sable

Stephanie & Paul Scheffler Judith Schilling Ruth Schoening Daniel & Boyce Sher Howard & Valerie Singer Zdenka & Dean Smith Linda & Stephen Sparn Robert & Joyce Spencer Dr. Courtland & Carolyn Spicer Jean Stahly Julie Stapleton Barbara Steinmetz Randy Stevens Gregory & Diane Strevey Roselyn Strommen & Kevin Berg Nadya Sustache Joyce & Rigomar Thurmer Elizabeth & John Tilton Susan West & Fred Toback Michael & Nancy Udow Marianne van Pelt David Walton David & Amy Weiss Keith Winton Richard & Wendy Wolf The Boulder Phil also thanks the 256 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 Friends of the Phil sponsors are invited to attend an exclusive reception onstage with sponsored musicians immediately following the concert on Saturday, Janaury 14, 2017! 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   MEET THE ARTISTS LUNCHEON: FRAUTSCHI AND RUSKE Friday, January 13, 2017—Leaf Vegetarian Restaurant  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

Join us for a musical journey. LOVE & DEATH:

Shostakovich Symphony No. 14

January 20 in Denver and January 21 in Boulder TRIUMPH:

Beethoven Symphony No. 3, Eroica April 7 in Denver and April 8 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”)

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Listen Locally

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 of each year.

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.

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F O R T

C O L L I N S

Boulder: 2460 Canyon Blvd, Next to McGuckins. Ph: 303.442.2742 Ft. Collins 1001 E. Harmony Rd. 80525 Ph: 970.204.9700

www.formafurniture.com

Exceptional Accelerated Creative 303-469-6449

7203 W 120th Ave. Broomfield www.broomfieldacademy.com

· Breast Enhancement · Body Contouring · Liposuction · Facial Cosmetic Surgery · Eyelid Surgery · ASPS Active Member Ask us about our financing options. Coal Creek Plastic Surgery Glenn E. Herrmann MD, FACS Board Certified Plastic Surgeon

CALL 303-664-9400

FOR YOUR FREE COSMETIC SURGERY CONSULTATION Serving Boulder County and the Front Range Since 2008

Lafayette, Colorado 80026 p. 303-664-9400 www.CoalcreekPlasticSurgery.com

We’re not getting older … We’re getting better. Best Real Estate Company/Office The Daily Camera’s Best of Boulder County 2015

CELEBRATING 40 YEARS OF EXCEPTIONAL PERSONAL SERVICE … IN STYLE

Best Real Estate Company & Best Customer Service The Times-Call Reader’s Choice Awards 2015 2015 Crown of Excellence Award Leading Real Estate Companies of the World

Wright Kingdom is WK Real Estate. What hasn’t changed is our proud tradition of helping our clients reach their residential and commercial real estate goals. Special thanks to our friends, neighbors and business partners for your unwavering support. We couldn’t have reached 40 without you. And here’s to another 40 years of creating relationships that last a lifetime. BOULDER OFFICE: 303.443.2240 LONGMONT OFFICE: 303.776.3344

wkre.com

BEN - Green Vest since 2009

Free Parking: AVAILABLE ON ALL FOUR SIDES IN THE VILLAGE AT ARAPAHOE & CANYON

Store Open 7 Days A Week: VISIT MCGUCKIN.COM FOR STORE HOURS

Public Transit: RTD STOPS ON FOLSOM, ARAPAHOE & CANYON

Click: MCGUCKIN.COM Visit: 2525 ARAPAHOE AVE. BOULDER, CO 80302 Call: (303) 443-1822

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