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BOULDER BALLET SCHOOL
Boulder Ballet is a strong platform for dancers who want to attain a professional career or simply to enjoy the art of dance. — Amy Earnest, Assistant School Director
• Largest ballet program in the region • Ages 3-adult, beginnerprofessional
• Many student performance opportunities including The Nutcracker at Macky Auditorium
www.boulderballet.org The Dairy ARTS Center | 2590 Walnut St. Boulder, CO 80302 | 303.443.0028
Welcome! One of life’s greatest pleasures is the process of discovery. Being truly open to new experiences fosters a sense of adventure about the everyday. The open space that we so cherish in Boulder is about more than physical surroundings. It extends to open minds and open hearts—qualities broadly shared within our community. The Boulder Phil’s 2018-19 season embraces a sense of expansiveness that will take you on a journey of artistic discovery and spiritual renewal. Our expanded season includes well-loved masterpieces, brilliant music of our time, innovative concert enhancements, family favorites and a new Special Events Series that offers something for everyone. Earlier this season, we welcomed superstar violinist Midori in partnership with our friends at the Greater Boulder Youth Orchestras for an immersive residency focused on arts education advocacy. We also marked the 100th anniversary of Holst’s groundbreaking The Planets and celebrated our community’s aerospace ties with NASA images, music about astronomers from James Stephenson, and a partnership with Fiske Planetarium. In the new year, we’ll explore Mahler’s Fourth, Prokofiev’s Fifth, and music of Beethoven, Rachmaninoff, and Elgar. We are thrilled to welcome international stars Garrick Ohlsson, Mary Wilson, and Astrid Schween to the Macky stage, along with Boulder native Kristin Kuster, whose Dune Acres was made possible in part by the Phil’s commissioning partnership. And we will close our season with Dvořák’s beloved New World Symphony paired with a stunning blend of music and theater in Peter Boyer’s Ellis Island: The Dream of America, featuring actors and projected images. After sharing the music of incomparable film composer John Williams in the fall, our Special Events Series continues to make connections to ever wider segments of our community through evenings devoted to the animation magic of Pixar Studios and the life and legacy of the great David Bowie. And this spring, we will welcome thousands more students to Macky for our annual Discovery Concerts.
JIAH KYUN
Whether it’s the openness of the central Asian steppes, the vast emptiness of outer space, or the open-ended opportunities sought by immigrants in a new land, our season offers thought-provoking takes on what it means to be “open.” The concept is even woven into our institutional DNA―the core of our mission is to open the experience of live orchestral music to more and more people in ever more diverse and impactful ways. We invite you to join us on a journey of discovery this season!
MIC H A EL B UTTER M A N M US I C D I R EC TO R
K AT H E RIN E L E H M AN E X E C U T IV E D IR E C T OR
About the Boulder Phil “The power of music cannot be underestimated.” – audience member As one of Colorado’s premier ensembles, the Boulder Phil is a critically acclaimed professional orchestra serving Boulder and the greater metroDenver region. Known for innovative concert programming presented at the highest artistic level and a growing commitment to authentic community engagement, the Boulder Phil continues to push the boundaries of what it means to be Boulder’s orchestra. We are defined by the artistry of our talented musicians, the support of our extraordinary patrons, and ongoing creative collaborations with partner organizations encompassing the arts, sciences, nature, youth, and social services. We strive to present once-in-a-lifetime performances, inspire the next generation with school-age education programs, and pioneer community-focused projects that bring music to all.
“It was a treat from start to finish, loved everything. The energy in Macky was so wonderful and uplifting.” “One of the most touching and memorable concerts I’ve attended – engaged the mind, soul, and senses in a magical way!”
BoulderPhil.org
Community Engagement Music has the power to inspire and connect us, to heal our bodies and replenish our souls, to bridge our differences and change the way we see the world. Serving the community has been at the heart of the Boulder Phil’s mission for more than 60 years. The Boulder Phil is a leader in community engagement, helping to write the next chapter in the story of the American orchestra by touching lives and creating opportunity. Through our growing education and outreach programs, we bring the power of music to all corners of our community. • Discovery Concerts reach 5,000+ students annually • In-School Visits bring music alive in the classroom • Meet the Maestro inspires the next generation • Side-by-Side Events pair students with professionals • Music Mentoring helps students attain potential • $5 Student Tickets affordable concert attendance • Free Community Concerts celebrate music for all • Musical Hikes bring nature and music together • Pre-Concert Talks expand our musical horizons For more information about Boulder Phil education and youth programs, equity and inclusiveness priorities, and regional outreach, please contact the Director of Community Engagement at community@boulderphil.org or 303-443-9203.
Photos by Lauren Click
BOULDER PHILHARMONIC ORCHESTRA
MICHAEL BUTTERMAN, MUSIC DIRECTOR Mailing address: 1600 Range Street, Suite 200 • Boulder, CO 80301 303-449-1343 www.BoulderPhil.org
MUSIC DIRECTOR Michael Butterman PRINCIPAL GUEST CONDUCTOR Gary Lewis OFFICERS Karyn Sawyer, President Rodolfo Perez, Vice President
Lynn Streeter, Secretary Tom Abraham, Treasurer
BOARD Christopher Brauchli Michael Butterman, ex officio Heather Dupré Bruce Fest Claire Figel David Fulker Lin Hawkins Steve Knapp
Katherine Lehman, ex officio Erma Mantey Marla Meehl Sharon Park Eleanor Poehlmann Leslie Scarpino Ronny Wells
ADMINISTRATION Katherine Lehman, Executive Director Eve Orenstein, Director of Development Shelley Sampson, Patron Services Manager & Artistic Administrator Cynthia Sliker, Director of Community Engagement Caleb Bradley, Production Manager, Orchestra Librarian
ADVISORY COUNCIL Barbara Brenton Pamela Dennis Ruth Kahn
Nancy Headlee, Personnel Manager Holly Hickman, Marketing Consultant / Up Tempo Marketing Michelle Edwards, Bookkeeper / Trailhead Accounting Solutions Breanna McCaughey, Education Associate
Susan Olenwine Dick Van Pelt Brenda Zellner
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To Our Supporters Dear Boulder residents and visitors— What a treat we are in for! Not only is our city blessed to have an unparalleled professional orchestra in the Boulder Philharmonic, but their 2018-19 season promises to be one of their most memorable. When your spirit needs uplifting, what two things leap to mind? Soaring music and enjoying the great outdoors, two elements that the Boulder Philharmonic deftly combines in an entire season dedicated to the concept of Open Space. While Bouldercentric nature and music programming are included in every season, this year is a culmination of an incredible partnership with Boulder’s Open Space and Mountain Parks department – a highlight of which has been five years of guided musical hikes led by naturalist Dave Sutherland. Another major theme is the Philharmonic’s commitment to community engagement: the orchestra strives to make live music relevant and accessible for all. This intention is reflected in their Discovery Concerts, a partnership with Boulder Valley Schools, which inspire over 5,000 young students each year. Also, in the five-day immersive residency of internationallyknown violinist and educator Midori in November—a cultural milestone for Boulder—who engaged with a wide spectrum of the community and perform with the Greater Boulder Youth Orchestras. At 60 years old, the Boulder Philharmonic is just getting started —with dynamic performances every season that give life to our community’s values, creativity, and sense of place. Enjoy! Suzanne Jones, Mayor Aaron Brockett, Mayor Pro Tem for the entire City Council
2019 SPECIAL EVENTS
SATURDAY, MAR 23 7:30 PM at Macky Music & clips from Toy Story, Finding Nemo, A Bug’s Life, The Incredibles, Brave, Inside Out, Cars, WALL-E & more Tickets start at $15 Pixar in Concert Presentation licensed by Disney Concerts. © All rights reserved.
TONY VINCENT from “The Voice”
SATURDAY, MAY 4, 7:30 PM at Macky Join the Boulder Phil with conductor Brent Havens, vocalist Tony Vincent and a full rock band on this symphonic odyssey by Windborne Music featuring David Bowie’s top hits: Space Oddity, Changes, Under Pressure, Heroes, Fame, China Girl & more!
BoulderPhil.org · 303.449.1343
Thank You to Our Sponsors ◆ SEASON PRESENTING SPONSORS
Patricia Butler Erma and John Mantey Margaret and Rodolfo Perez Lynn Streeter Nicky Wolman and Dave Fulker
◆ SEASON SPONSORS
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◆ PERFORMANCE SPONSORS Leadership Circle Audrey and Andrew Franklin Doree Hickman Holly and Grant Hickman Suzanne and David Hoover Marti and George Oetzel Beatriz and Juan Roederer Luana Rubin Stephanie and R. Alan Rudy Marjorie and Bob Schaffner Betty Van Zandt Rena and Ronny Wells
Silver Circle Anonymous Gail Aweida in memoriam Nancy Clairmont and Bob Braudes Pam Dennis and Jim Semborski Bronze Circle Anonymous Beverly and Bruce Fest Sara and David Harper Emily and John Koechel Christine Yoshinaga-Itano and Wayne Itano
◆ BUSINESS AND COMMUNITY SPONSORS BOULDER’S BOUTIQUE RETIREMENT COMMUNITY
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Your IMPACT—Measure by Measure! 42% of our annual budget comes from you, our generous community. Your donation to your Boulder Phil will make all of this possible:
45,000 Boulderites reached 15 mainstage concerts 1,800 attendees at our
free Community Concert at Macky
5,000 students at our
Discovery Concerts at Macky
2,000 free tickets donated to Photo by Lauren Click
local social service agencies
70 professional Phil musicians performing in each concert
40 in-school ensemble visits reaching 6,000+ children
300 participants at free
Boulder Public Library concerts We appreciate your support! For more information or to make a donation, visit BoulderPhil.org/support.
The Boulder Philharmonic Orchestra is a 501(c)3 nonprofit organization. All contributions are tax-deductible as allowed by law.
Season Supporters TWENTY years
2018 19 8 9
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Music Director Michael Butterman
Artistry. Innovation. Engagement. Making his mark as a model for today’s conductors, Michael Butterman is recognized for his commitment to creative artistry, innovative programming, and to audience and community engagement. He serves as Music Director for the Boulder Philharmonic Orchestra, whom he has led to national prominence, resulting in an invitation to open the Kennedy Center’s inaugural SHIFT Festival of American Orchestras in 2017. He is also the Music Director of the Shreveport Symphony Orchestra and the Pennsylvania Philharmonic, an orchestra uniquely focused on music education. He just completed his 18th season as Principal Conductor for Education and Community Engagement for the Rochester Philharmonic Orchestra and also recently completed a 15-year tenure with the Jacksonville Symphony, first as Associate, and then as Resident Conductor. As a guest conductor, Mr. Butterman has led many of the country’s preeminent ensembles, including the Cleveland Orchestra, Philadelphia Orchestra, National Symphony, Detroit Symphony and Houston Symphony. “Butterman has – above all – integrated the Phil into the community, stressing that it is no way an elite enterprise only for initiates, but a group out to attract a new audience with interests that reach beyond music. He has worked successfully with local dance, theater, and film projects, and also with visual artists...the excitement that Butterman has brought to the Phil is attracting audience and critics from the entire region. He’s an energetic and charismatic man as well as a gifted musician. One can count on him to exert himself to the limit to make an endeavor work.” —Boulder Daily Camera
2018-2019 Season Highlights Boulder Philharmonic Orchestra Music Director and Conductor Oct 13-14 | Nov 4 | Jan 19-20 | Feb 9 | Mar 2 | Apr 27 National Symphony Orchestra Education Concerts Oct 15-18 | Jan 11-12 |Mar 19-22 Rochester Philharmonic Orchestra Conductor Nov 21-25 | Jan 27 | Feb 12-13 | May 4 | May 19 Shreveport Symphony Orchestra Music Director and Conductor Sep 22 | Oct 27 | Nov 17 | Dec 16 | Feb 2 | Mar 16 | Apr 14
www.michaelbutterman.com
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Ohlsson Plays Rachmaninoff BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Saturday, January 19, 2019 Macky Auditorium, CU Boulder 6:30 pm Pre-Concert Talk 7:30 pm Performance Sunday, January 20, 2019 Pinnacle Performing Arts Complex 2:00 pm Performance Garrick Ohlsson, piano Aleksandr Borodin (1833 – 1887)
In the Steppes of Central Asia
Sergei Rachmaninoff Piano Concerto No.1 in F-sharp minor (1873 – 1943) I. Vivace II. Andante cantabile III. Allegro scherzando —Intermission— Sergei Prokofiev Symphony No. 5 in B-flat Major, Op. 100 (1891 – 1953) I. Andante II. Allegro marcato III. Adagio IV. Allegro giocoso 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.
Gold Circle Concert Sponsor Sydney and Robert Anderson
Bronze Circle Concert Sponsor Beverly and Bruce Fest
Silver Circle Concert Sponsors Pam Dennis and Jim Semborski
Garrick Ohlsson Sponsor Rena and Raymond Wells Sergei Rachmaninoff Sponsors Doree Hickman Betty Van Zandt
Boulder Philharmonic Orchestra 2018-2019 Program 1
Ohlsson Plays Rachmaninoff GARRICK OHLSSON, piano
Photo: Dario Acosta
Since his triumph as winner of the 1970 Chopin International Piano Competition, pianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess. Although long regarded as one of the world’s leading exponents of the music of Frédéric Chopin, Mr. Ohlsson commands an enormous repertoire, which ranges over the entire piano literature. A student of the late Claudio Arrau, Mr. Ohlsson has come to be noted for his masterly performances of the works of Mozart, Beethoven and Schubert, as well as the Romantic repertoire. To date he has at his command more than 80 concertos, ranging from Haydn and Mozart to works of the 21st century, many commissioned for him. This season that vast repertoire can be sampled in concerti ranging from Rachmaninoff’s popular Third and rarely performed Fourth, to Brahms Nos. 1 and 2, Beethoven, Mozart, Grieg and Copland in cities including Philadelphia, Atlanta, Detroit, Dallas, Miami, Toronto, Vancouver, San Francisco, Liverpool, and Madrid ending with a spring US West Coast tour with the St. Petersburg Philharmonic. In recital he can be heard in LA’s Walt Disney Concert Hall, New York, New Orleans, Hawaii and Prague. A frequent guest with the orchestras in Australia, Mr. Ohlsson has recently visited Perth, Brisbane, Melbourne, Sydney, Adelaide and Hobart as well as the New Zealand Symphony in Wellington and Auckland. An avid chamber musician, Mr. Ohlsson has collaborated with the Takács, Cleveland, Emerson, and Tokyo string quartets, among other ensembles. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio. Passionate about singing and singers, Mr. Ohlsson has appeared in recital with such legendary artists as Magda Olivero, Jessye Norman, and Ewa Podles. Mr. Ohlsson can be heard on the Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, Hyperion and Virgin Classics labels. His ten-disc set of
the complete Beethoven Sonatas, for Bridge Records, has garnered critical acclaim, including a GRAMMY® for Vol. 3. A native of White Plains, NY, Garrick Ohlsson began his piano studies at the age of 8, at the Westchester Conservatory of Music; at 13 he entered The Juilliard School, in New York City. His musical development has been influenced in completely different ways by a succession of distinguished teachers, most notably Claudio Arrau, Olga Barabini, Tom Lishman, Sascha Gorodnitzki, Rosina Lhévinne and Irma Wolpe. Although he won First Prizes at the 1966 Busoni Competition in Italy and the 1968 Montréal Piano Competition, it was his 1970 triumph at the International Chopin Competition in Warsaw, where he won the Gold Medal (and remains the single American to have done so), that brought him worldwide recognition as one of the finest pianists of his generation. Since then he has made nearly a dozen tours of Poland, where he retains immense personal popularity. Mr. Ohlsson was awarded the Avery Fisher Prize in 1994 and received the 1998 University Musical Society Distinguished Artist Award in Ann Arbor, MI. He is also the 2014 recipient of the Jean Gimbel Lane Prize in Piano Performance from the Northwestern University Bienen School of Music. He makes his home in San Francisco.
ALEKSANDR BORODIN: In the Steppes of Central Asia
After Glinka’s successes in the 1840s as the first Russian composer of consequence, many musical amateurs began to take an interest in Russian subjects. Although Glinka’s music was flavored with some folk elements, nowhere does it truly emulate the true music of the Russian countryside. The idea of a real Russian musical style created by and for real Russians was too attractive to dismiss. However, the Germanic musical forms that Glinka brought back from his studies in Berlin were clearly not satisfactory for these purposes. Likewise, any true reform would not come from the musical establishment that had fully espoused Glinka’s style. The answer would come from a motley crew of musical amateurs whose leader was a minor composer of meager successes. Mily Balakirev, a protégé and student of Glinka, had once held great promise as a pianist and composer, but a bout with encephalitis had stolen his career. However, his influence
Program 2 Boulder Philharmonic Orchestra 2018-2019
Ohlsson Plays Rachmaninoff drew four young followers into his circle of influence that would change Russian music forever. Nikolai Rimsky-Korsakov was a naval bandmaster who would later teach the composers Stravinsky and Glazunov. The group was completed by César Cui, an army officer; Modeste Mussorgsky, an alcoholic civil servant; and Aleksandr Borodin, a physician and a lecturer in chemistry at the Academy of Medicine. Together they were known as Mogushaya Kuchka, or “Mighty Handful” (sometimes called “The Russian Five”). Although this loose-knit group revered true musical ability, they were even more enthusiastic about the possibility of producing original music drawn from the folk traditions of Russia. They provided support and advice for each other as they each worked toward higher goals. This group was able to explore Russian folk material largely because they were not mired by Germanic traditions and could compose without restrictions. Aleksandr Borodin described himself to musical acquaintances as “a Sunday composer who tries to remain obscure.” His duties as a doctor of medicine and a lecturer in chemistry at the Academy of Medicine kept Borodin from musical endeavors during the work week. Although he had little time for composition, his colleagues managed to encourage him to compose many important works, including pieces for piano, art songs, and chamber works. However, Borodin’s most important legacy is heard in his three operas and three symphonies. In The Steppes of Central Asia was composed as part of an intended celebration for the silver anniversary of the reign of Tsar Alexander II. As he had expanded the Russian Empire into the Asian realm, the subject was entirely appropriate. However, before the celebration could take place, an assassination attempt against the Tsar caused the event to be cancelled. Borodin presented the piece as a concert work, instead. Unfortunately, less than a year later on March 13, 1881, Alexander was attacked by another assassin, this time successfully.
SERGEI RACHMANINOFF: Concerto No. 1 in F-sharp minor for Piano and Orchestra, Op. 1 Sergei 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.” He composed in nearly every musical genre, but it is primarily because of his works for piano that audiences know him today. 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. One particularly effective aspect of his music is his infallible ability to create surging and poignant melodies, along with captivating orchestral textures. Of Rachmaninoff’s four concertos for piano and orchestra, the second has become the most popular. This beloved work is characterized by its rich beauty – as well as great technical brilliance and difficulty. However, it was a particularly difficult work for Rachmaninoff, who suffered from writer’s block. His Symphony No.1 (1897) was a complete failure. Despite his great potential as the most promising leader of a new generation of Russian composers, the harsh reception could not have been more brutal. César Cui declared that the work sounded like the product of “a conservatory in Hell.” The depression that ensued caused an unusually dry period in Rachmaninoff’s compositional output. After three years, friends convinced the composer to seek help from Dr. Nicolai Dahl, who had used alternative therapies with his patients. The composer received considerable relief after four months of hypnosis and was so grateful to Dr. Dahl that he dedicated the Second Piano Concerto to him. It was this work that caused interest in Rachmaninoff’s other music. His first piano concerto, Rachmaninoff’s earliest large-scale composition, is a brilliant work that has received somewhat of a resurrection as of late. Begun at the tender age of seventeen, the concerto was composed in two creative spurts – the first movement in the summer of 1890, and the remainder in a mere two and a half days in July of 1891. He was the star pupil at the Moscow Conservatory and had his earliest works programmed on the same concerts as Tchaikovsky’s. The concerto’s premiere on March 17, 1892, featured the composer at the piano, but was hardly a success. Rachmaninoff shelved the work for twenty-five years, only to revise it during the height of Russia’s October Revolution in 1917. Brought up in Imperial
Boulder Philharmonic Orchestra 2018-2019 Program 3
Ohlsson Plays Rachmaninoff Russia, the composer did not support the Bolshevik cause that placed Lenin in the seat of power. Rachmaninoff left his homeland forever, only to settle in the United States after a brief stay in Finland. Rachmaninoff’s first piano concerto opens with the typical sonata form found in the first movements of most concertos. However, breaking somewhat with tradition, but certainly not unprecedented, the soloist enters quite early in the work instead of waiting for the exposition of the principal themes. With the typical lushness that listeners expect from Rachmaninoff, the movement is filled with an overriding emotion of deep melancholy. Perhaps most impressive is the fiery virtuoso cadenza near the end of the movement. The rhapsodic and tender slow movement includes many expressive sweeping figures for the soloist. Opening with a distant horn figure, which passes to woodwind instruments, the movement soon gives way to the soloist. A bassoon solo ushers in a long section that passes the theme throughout the woodwinds as the pianist provides emotive figurations above. Rachmaninoff’s finale is quite assertive—at times downright aggressive—with a central section of contrasting quietness. Rhythmic energy propels the movement forward through many virtuosic sections and a few tender passages. The final surge to a climax is a blazing showcase of pianistic possibilities.
SERGEI PROKOFIEV: Symphony No. 5 in B-flat Major, Opus 100
Having been exiled from his homeland by the Russian Revolution of 1917, Sergei Prokofiev took up residence in Paris. As the Mecca for artists in the 1920s, Paris allowed for the composer’s modernistic experimentation. As years passed, the charm of Paris waned, so in 1936 Prokofiev returned home to Russia. The political climate had cooled and Prokofiev the man would be welcome, however Prokofiev the composer was a bit revolutionary for Soviet tastes. After returning to Russia, he remained quite successful, due in part to his almost total avoidance of politics. Prokofiev knew of Stalin’s purges and did everything he could to evade controversy. However, he contributed many works to the growing genre of Soviet nationalistic music. Prokofiev’s Fifth Symphony dates from the summer of 1944. The Red Army had advanced in its campaign against Nazi Germany and
Soviet citizens began to realize that, although the war was far from over, hope was not futile. Prokofiev’s Fifth Symphony became quite popular in America after its first performance in January of 1945. Serge Koussevitzky led the charge to introduce the work to American audiences, but its popularity waned in the decade following its premiere. In subsequent decades it has become respected as one of the composer’s supreme masterpieces. This powerful work is a musical commentary on life in the Soviet Union during World War II. The first movement is constructed from four themes, each of which is little more than a fragment. However, conflict arises from this melodic diversity. Martial elements are present from the first few measures, but grow more pronounced as friction develops between themes. Brass and percussion instruments, almost silent at the beginning, are a major part of the brilliant orchestral fabric by the end of the movement. With the recapitulation, the music becomes grandiose and dissonant as the themes are reintroduced. A final coda brings the movement to a diabolical conclusion. Prokofiev’s sardonic second movement opens with a sinister clarinet solo supported by pizzicato strings. Machine-like and propulsive, the movement marches on to a breathtaking central trio that is pompous and menacing, yet strangely refreshing. The broad sweep of Prokofiev’s orchestration is particularly effective at the return of the opening material, this time in the brasses. The final measures are reminiscent of fellow Soviet composer Dmitri Shostakovich’s Eighth Symphony (1943) in its depiction of the machine of war. The three-part Adagio brings no respite from the bellicose mood. Soaring woodwind themes sing over gently undulating strings, but strife is palpable. No joy is heard in the troubled middle section, a thinly-shrouded cortege with eerily funereal percussion. With a return to the opening material, the movement ends in quiet resignation. Prokofiev’s finale begins with a recollection of music from the first movement. Before long, a joyful clarinet theme is heard. The development section includes many strongly contrasting passages with sudden shifts in rhythm and unusual harmonies. With a short coda, the work ends on a jubilant note.
©2018 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com
Program 4 Boulder Philharmonic Orchestra 2018-2019
The Heavenly Life BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Saturday, February 9, 2019 Macky Auditorium, CU Boulder 6:30 pm Pre-Concert Talk 7:30 pm Performance Mary Wilson, soprano Mark O’Connor From Strings & Threads Suite (b. 1961) V. Pilgrim’s Waltz VI. Road to Appalachia VII. Shine On Charles Wetherbee, violin Samuel Barber Knoxville: Summer of 1915 (1910 – 1981)
—Intermission— Gustav Mahler Symphony No. 4 in G Major (1860 – 1911) I. Moderately, not rushed II. Leisurely moving, without haste III. Peacefully, somewhat slowly IV. Very comfortably
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.
Bronze Circle Concert Sponsor
Boulder Philharmonic Orchestra 2018-2019 Program 5
The Heavenly Life
MARY WILSON, soprano
Soprano Mary Wilson has been hailed as one of today’s most exciting artists, receiving critical acclaim for a voice that is “lyrical and triumphant, a dazzling array of legato melodies and ornate coloratura” (San Francisco Chronicle). Opera News heralded her first solo recording, Mary Wilson Sings Handel. Stating “Wilson’s luminous voice contains so much charisma,” they dubbed her recording one of their “Best of the Year.” In consistent high demand on the concert stage, she has appeared with the Los Angeles Philharmonic, Boston Symphony Orchestra, Philadelphia Orchestra, Cleveland Orchestra, St. Louis Symphony Orchestra, Singapore Symphony, Cincinnati Symphony Orchestra, St. Paul Chamber Orchestra, Los Angeles Master Chorale, Detroit Symphony, Pacific Symphony, National Symphony of Costa Rica, Nashville Symphony, Delaware Symphony Orchestra, San Antonio Symphony, Jacksonville Symphony, Virginia Symphony, Eugene Symphony, Buffalo Philharmonic, Colorado Symphony, Rhode island Philharmonic, Dayton Philharmonic, Boulder Philharmonic, Memphis Symphony, Colorado Music Festival, IRIS Chamber Orchestra, VocalEssence, Berkshire Choral Festival, and at Carnegie Hall and the Hollywood Bowl. She has frequently worked with conductors Jeffrey Thomas, Nicholas McGegan, Bernard Labadie, Martin Pearlman, Martin Haselböck, Robert Moody, JoAnn Falletta, Carl St. Clair, Giancarlo Guerrero, Michael Stern, John Sinclair, Anton Armstrong, and Leonard Slatkin. With the IRIS Chamber Orchestra, she sang the World Premiere of the song cycle “Songs Old and New” written especially for her by Ned Rorem. She was named an Emerging Artist by Symphony Magazine in the publication’s first ever presentation of promising classical soloists on the rise. An exciting interpreter of Baroque repertoire, “with a crystal clear and agile soprano voice perfectly suited to Handel’s music” (Early Music America), she has repeatedly appeared with American Bach
Soloists, Philharmonia Baroque, Musica Angelica, Boston Baroque, Portland Baroque Orchestra, Grand Rapids Bach Festival, Bach Society of St. Louis, Chatham Baroque, Musica Sacra Festival de Quito Ecuador, Baltimore Handel Choir, Florida Bach Festival Society of Winter Park, Colorado Bach Festival, the Brooklyn Academy of Music, the Casals Festival in Puerto Rico, and the Carmel Bach Festival. Equally at home on the opera stage, she is especially noted for her portrayals of Zerbinetta in Ariadne auf Naxos, Susannah in Le Nozze di Figaro, and Gilda in Rigoletto. She has created leading roles in North American and World Premiere performances of Dove’s Flight, Glass’ Galileo Galilei, and Petitgirard’s Joseph Merrick dit L’Elephant Man. A National Finalist of the 1999 Metropolitan Opera National Council Auditions, she has appeared with Opera Theatre of St. Louis, Minnesota Opera, Boston Lyric Opera, Dayton Opera, Arizona Opera, Tulsa Opera, Opera Memphis, Opera Southwest, the Brooklyn Academy of Music and the Goodman Theatre. An accomplished pianist, Ms. Wilson holds vocal performance degrees from St. Olaf College in Northfield, Minnesota, and Washington University in St. Louis, Missouri. She is an Assistant Professor of Voice at the University of Memphis, and resides in Bartlett, Tennessee, with her husband, son, and two dogs.
MARK O’CONNOR: Strings & Threads Suite
A product of America’s rich aural folk tradition as well as classical music, Mark O’Connor’s creative journey began at the feet of a pair of musical giants. The first was the folk fiddler and innovator who created the modern era of American fiddling, Benny Thomasson; the second, French jazz violinist, considered one of the greatest improvisers in the history of the violin, Stephane Grappelli. Along the way, between these marvelous musical extremes, Mark O’Connor absorbed knowledge and influence from the multitude of musical styles and genres he studied. Now he has melded and shaped these influences into a new American Classical music, and a vision of an entirely American school of string playing. As The Los Angeles Times recently noted, he has “crossed over so many boundaries, that his style is purely personal.” Mr. O’Connor
Program 6 Boulder Philharmonic Orchestra 2018-2019
The Heavenly Life
has won three Grammys, seven CMA awards as well as several national fiddle, guitar and mandolin champion titles. Strings & Threads Suite is a piece comprising thirteen tunes composed by Mr. O’Connor. In 1986, the Tennessee Dance Theater commissioned the suite from O’Connor to be performed at Nashville’s Summer Lights Festival. The individual tunes are in various folk styles appearing in a chronological form which O’Connor says not only represents the evolution of American folk music, but also mirrors his own family’s migration from Ireland and Holland to America. It traces the family’s route through the thirteen colonies initially, and then eventually out West during World War I nearly 300 hundred years later. O’Connor wrote the pieces in a manner and style in which he felt his family could have heard along the way. The suite begins with Irish music, perhaps similar to what O’Connor’s family brought with them. Then in a thoughtful progression, the piece reveals music they must have encountered while living in early America. Strings & Threads musically describes how folk music styles hundreds of years apart are interconnected – possessing a common thread from an Irish reel all the way to jazz. Tonight’s performance includes three selections from the suite.
SAMUEL BARBER: Knoxville: Summer of 1915
Although he first came to the public’s attention in the 1930s, it was a period of transition for Samuel Barber. He spent the school year as a student at the Curtis Institute of Music in Philadelphia, and summers in Cadegliano, Italy, with his partner and fellow composer, Gian Carlo Menotti. Summers there allowed Barber to escape the tensions of his studies and a city that he felt was musically confining. He spent a large portion of his time swimming, bicycling, shopping, playing tennis, and composing, which came much more readily to him when combined with leisure activities. With his career well underway, due largely to Artur Rodzinski’s performance of his Symphony No.1 at the 1937 Salzburg Festival, Barber tried to cement his reputation by finding notable conductors to introduce his newest works. Arturo Toscanini, the esteemed maestro who had premiered Puccini’s final operas, was in Salzburg during the Festival. Barber sent Toscanini the
scores of his newest works, the first Essay for Orchestra (he would compose a second such work in 1942 and a third in 1978) and Adagio for Strings (Barber’s own arrangement of the slow movement from his String Quartet), knowing that a premiere under the baton of the legendary conductor would bode well for his career. Within six months, Toscanini sent the scores back with no explanation. Assuming that the maestro was not interested in the pieces, Barber begrudgingly began a search for another conductor. On vacation with Menotti in 1938, the two discussed visiting Toscanini at his island home in Lake Maggiore, but Barber could not bring himself to visit the man who had refused his music. Little did he realize that Toscanini had memorized both scores and would premiere them on the same program before the year ended. Barber’s close association with Toscanini brought him recognition as one of the leading young composers of his generation. After a stint in the U.S. Army Air Corps during World War II, Barber returned to his home in upstate New York. By this point, he was a respected composer and it seemed that everyone of consequence in the music world wanted to commission a new work. In 1946-47 Barber composed Knoxville: Summer of 1915 for soprano Eleanor Steber, and the ballet Medea for Martha Graham. More masterpieces followed over the next decade, culminating in his Pulitzer Prize-winning opera Vanessa in 1958. Barber’s other Pulitzer Prize came in 1963 for his Piano Concerto. This magnificent work is one of three commissioned from Barber by Lincoln Center for the opening of its various facilities – the others being Andromache’s Farewell for soprano and orchestra, which, like the Piano Concerto, was composed for the opening of Philharmonic Hall, and the opera Antony and Cleopatra, written for the inaugural festivities of the new Metropolitan Opera House. Barber was so unsatisfied with the opera that he sank into a deep depression, compounded by alcoholism, which threatened his future as a composer. It was his last major work. He died in 1981 after a long illness. Knoxville: Summer of 1915 was inspired by a 1938 lyrical prose work of James Agee who grew up in Knoxville, Tennessee. Born in 1909, Agee had a difficult childhood. His father was killed in an auto accident in 1916 and this early loss informed nearly all his
Boulder Philharmonic Orchestra 2018-2019 Program 7
The Heavenly Life
work, including his novel A Death in the Family. Knoxville: Summer of 1915 looks back fondly on the days when the family was together and happy. Barber was attracted to Agee’s work, as West Chester, Pennsylvania, was not that different from Knoxville in 1915. He wrote, “It reminded me so much of summer evenings in West Chester, now very far away …” The work is a captured moment in time. It depicts a lazy summer evening outside the house. It remembers those priceless moments of family togetherness where nothing is said or done, and the importance of which is never grasped at the time. Barber said: “Agee’s poem was vivid and moved me deeply, and my musical response that summer of 1947 was immediate and intense. I think I must have composed Knoxville within a few days.” Barber used the second half of Agee’s text and made only few scant edits. His setting is largely through-composed, but the introduction and opening section repeat just before the final coda. Barber’s music is reflective of the text. The rocking theme so prevalent in the work is no doubt the rocking chair on the porch. Soprano Leontyne Price, one of the best performers of the piece, stated: “Everything I know about my roots and about my Mum and Daddy and my hometown … it’s like a painting, and I think he set it perfectly. You can hear the streetcar, the horns, and everything, you can smell the strawberries.” The overall atmosphere is one of relaxation and the wonder of twilight through the eyes of a child. It is dedicated to Barber’s father.
Knoxville: Summer of 1915 Text
It has become that time of evening when people sit on their porches, rocking gently and talking gently and watching the street and the standing up into their sphere of possession of the trees, of birds hung havens, hangars. People go by; things go by. A horse, drawing a buggy, breaking his hollow iron music on the asphalt; a loud auto; a quiet auto; people in pairs, not in a hurry, scuffling, switching their weight of aestival body, talking casually, the taste hovering over them of vanilla, strawberry, pasteboard and starched
milk, the image upon them of lovers and horsemen, squared with clowns in hueless amber. A street car raising its iron moan; stopping, belling and starting; stertorous; rousing and raising again its iron increasing moan and swimming its gold windows and straw seats on past and past and past, the bleak spark crackling and cursing above it like a small malignant spirit set to dog its tracks; the iron whine rises on rising speed; still risen, faints; halts, the faint stinging bell; rises again, still fainter, fainting, lifting, lifts, faints forgone: forgotten. Now is the night one blue dew. Now is the night one blue dew, my father has drained, he has coiled the hose. Low on the length of lawns, a frailing of fire who breathes… Parents on porches: rock and rock: From damp strings morning glories: hang their ancient faces. The dry and exalted noise of the locusts from all the air at once enchants my eardrums. On the rough wet grass of the back yard my father and mother have spread quilts. We all lie there, my mother, my father, my uncle, my aunt, and I too am lying there. They are not talking much, and the talk is quiet, of nothing in particular, of nothing at all in particular, of nothing at all. The stars are wide and alive, they seem each like a smile of great sweetness, and they seem very near. All my people are larger bodies than mine, with voices gentle and meaningless like the voices of sleeping birds. One is an artist, he is living at home. One is a musician, she is living at home. One is my mother who is good to me. One is my father who is good to me. By some chance, here they are, all on this earth; and who shall ever tell the sorrow of being on this earth, lying, on quilts, on the grass, in a summer evening, among the sounds of the night. May god bless my people, my uncle, my aunt, my mother, my good father, oh, remember them kindly in their time of trouble; and in the hour of their taking away. After a little I am taken in and put to bed. Sleep, soft smiling, draws me unto her: and those receive me, who quietly treat me, as one familiar and well-beloved in that home: but will not, oh, will not, not now, not ever; but will not ever tell me who I am.
Program 8 Boulder Philharmonic Orchestra 2018-2019
The Heavenly Life
GUSTAV MAHLER: Symphony No. 4 in G Major
Gustav Mahler’s symphonies are difficult to categorize. One of the most perplexing dilemmas is discerning how many he wrote. There are nine numbered symphonies and a fragment of a tenth. However, his majestic Das Lied von der Erde (Song of the Earth) is also a symphony, even if not numbered. More troublesome for scholars is the evidence that Mahler composed at least four symphonies prior to the one he designated as Symphony No.1. These works, destroyed by Allied forces during the bombings of World War II, were never published. Collectively, the first five symphonies are known as the Wunderhorn Symphonies because of their use of musical ideas drawn from Mahler’s own settings of Clemens Brentano and Achim von Arnim’s poetry published in 1808 under the title Des Knaben Wunderhorn (The Youth’s Magic Horn). Mahler found an existential quality to these folk-infused verses that seemed to reach into the very soul of his own musical and personal philosophy. The extent of this self-borrowing is far too involved to explain fully in this forum, but one of the most successful instances is found in Mahler’s Fourth Symphony. Composed just after Mahler was hired as conductor of the Vienna Court Opera, the Fourth is the sunniest of his orchestra works. The first sketches of Mahler’s Fourth Symphony date from the summer of 1899 during a visit to the lake at Altaussee. He would complete it the following summer. Crafted as a look at life’s most difficult moments as viewed from the perspective of an innocent child, this piece has the reputation of being one of Mahler’s ‘easiest’ pieces. Nowhere does one find the heavy brass chorales and the angst-ridden brooding of the first three symphonies. This is not to say that there is no sturm und drang in the work, but much of it is tempered by the lighter textures and smaller orchestration (trombone and tuba are absent). To complicate matters Mahler stated that the entire work is presented in reverse, with the final movement setting the tone for everything that came before. The first movement is in sonata form. A child’s world is revealed in the first measure with the playful sounds of sleigh bells and
flutes, taking the listener as far away from the composer’s earlier symphonies as possible. Even though the work is scored for a large orchestra, Mahler seldom uses the group as a tutti ensemble, opting instead for a series of chamber groups assembled from the whole. In this movement there is a sense of classical balance, but every new formal division is punctuated by the sleigh bells, representing the almost supernatural sounds of the child’s dream world. Mahler’s second movement is a scherzo with a central trio section that is reminiscent of the Ländler, an Austrian folk dance. Beginning with a solo horn, the focus soon shifts to a mysterious solo violin. Using a technique called scordatura, the instrument is tuned in an unusual manner (in this case, each string is a whole-step higher than usual). Mahler wrote in a letter to a friend that this represents “Freund Hein,” a sinister mythological character of German childhood akin to the ‘bogeyman’ in American and British society. Perhaps this dark view of youth stems from the fact that several of Mahler’s siblings died in childhood. He would lose a daughter of his own within a few years of the Fourth Symphony’s premiere. Modeled after the adagio of Beethoven’s Ninth Symphony, Mahler’s third movement is in double variation form and represents the emotional core of the symphony. This is the bittersweet side of Mahler’s music at its best. In the composer’s words, “a divinely serene and deeply sad melody runs throughout, at which you will both smile and weep.” Innocent and wise, the final movement represents a child’s view of heaven. Originally conceived as a solo for boy soprano to have been included in the Third Symphony, the finale was eventually scored for female soprano in order to ensure performances. Drawn from his own 1892 setting of “Das himmlische Leben” from Des Knaben Wunderhorn, which presents details of life in heaven from a child’s viewpoint, Mahler refers to several saints and martyrs and the ease of existence in the afterlife. Interestingly, Mahler begins each new stanza of the text with the same sleigh bell music that represented the childhood dream world of the first movement.
© 2018 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com
Boulder Philharmonic Orchestra 2018-2019 Program 9
The Heavenly Life The Heavenly Life Text Das himmlische Leben (aus Des Knaben Wunderhorn)
The Heavenly Life (from Des Knaben Wunderhorn)
Wir geniessen die himmlischen Freuden, D’rum tun wir das Irdische meiden. Kein weltlich’ Getümmel Hört man nicht im Himmel! Lebt alles in sanftester Ruh’. Wir führen ein englisches Leben, Sind dennoch ganz lustig daneben. Wir tanzen und springen, Wir hüpfen und singen, Sankt Peter im Himmel sieht zu.
We enjoy heavenly pleasures and therefore avoid earthy ones. No worldly tumult is to be heard in heaven. All live in greatest peace. We lead angelic lives, yet have a merry time of it besides. We dance and we spring, We hop and we sing. Saint Peter in heaven looks on.
Johannes das Lämmlein auslasset, Der Metzger Herodes drauf passet, Wir führen ein geduldig’s, Unschuldig’s, geduldig’s, Ein liebliches Lämmlein zu Tod! Sankt Lukas, der Ochsen tät schlachten Ohn’ einig’s Bedenken und Achten, Der Wein kost’ kein’ Heller Im himmlischen Keller, Die Englein, die backen das Brot.
John lets the lamb out, and Herod the Butcher lies in wait for it. We lead a patient, an innocent, patient, dear little lamb to its death. Saint Luke slaughters the ox without any thought or concern. Wine doesn’t cost a penny in the heavenly cellars; The angels bake the bread.
Gut’ Kräuter von allerhand Arten, Die wachsen im himmlischen Garten, Gut’ Spargel, Fisolen Und was wir nur wollen! Ganze Schüsseln voll sind uns bereit! Gut’ Äpfel, gut’ Birn’ und gut’ Trauben, Die Gärtner, die alles erlauben. Willst Rehbock, willst Hasen, Auf offenen Straßen Sie laufen herbei! Sollt’ ein Fasttag etwa kommen, Alle Fische gleich mit Freuden angeschwommen! Dort läuft schon Sankt Peter Mit Netz und mit Köder Zum himmlischen Weiher hinein, Sankt Martha die Köchin muss sein.
Good greens of every sort grow in the heavenly garden, good asparagus, string beans, and whatever we want. Whole dishfuls are set for us! Good apples, good pears and good grapes, and gardeners who allow everything! If you want roebuck or hare, on the public streets they come running right up. Should a day of fasting come along, all the fishes at once come swimming with joy. There goes Saint Peter running with his net and his bait to the heavenly pond. Saint Martha must be the cook.
Kein’ Musik ist ja nicht auf Erden. Die uns’rer verglichen kann werden, Elftausend Jungfrauen Zu tanzen sich trauen! Sankt Ursula selbst dazu lacht! Kein Musik ist ja nicht auf Erden, Die unsrer verglichen kann werden. Cäcilie mit ihren Verwandten, Sind treffliche Hofmusikanten. Die englischen Stimmen Ermuntern die Sinnen, Dass alles für Freuden erwacht.
There is just no music on earth that can compare to ours. Even the eleven thousand virgins venture to dance! Saint Ursula herself has to laugh! There is just no music on earth that can compare to ours. Cecelia and all her relations make excellent court musicians. The angelic voices gladden our senses, so that all awaken for joy.
Program 10 Boulder Philharmonic Orchestra 2018-2019
Elgar & Beethoven BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, conductor Saturday, March 2, 2019 Macky Auditorium, CU Boulder 6:30 pm Pre-Concert Talk 7:30 pm Performance Astrid Schween, cello Kristin Kuster Dune Acres (Colorado premiere) (b. 1973) Sir Edward Elgar Cello Concerto in E minor, Op. 85 (1857 – 1934) I. Adagio – Moderato II. Lento – Allegro molto III. Adagio IV. Allegro – Moderato —Intermission— Ludwig van Beethoven Symphony No. 4 in B-flat Major, Op. 60 (1770 – 1827) I. Adagio – Allegro vivace II. Adagio III. Menuetto: Allegro vivace IV. Allegro ma non troppo 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.
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Boulder Philharmonic Orchestra 2018-2019 Program 11
Elgar & Beethoven
ASTRID SCHWEEN, cello
New York-born cellist Astrid Schween is an internationally recognized soloist, chamber artist, and teacher. This season marks her second year with the Juilliard String Quartet; in 2016, she succeeded Joel Krosnick as cellist of the Quartet and joined the Juilliard cello faculty. She made her debut as soloist with the New York Philharmonic under the direction of Zubin Mehta, and received her bachelor’s and master’s degrees from the Juilliard School, where her teachers included Harvey Shapiro, Leonard Rose, Channing Robbins and Ardyth Alton. She studied extensively with celebrated cellist Jacqueline Du Pré in London and later with Bernard Greenhouse in the DMA program at Rutgers University. Ms. Schween participated in the Marlboro Music Festival and William Pleeth Master Classes in Aldeburgh and, while a young professional, was mentored by members of the Juilliard, Guarneri, Borodin, La Salle, Amadeus, Alban Berg, Galimir, Paganini and Budapest Quartets. She served for many years on the faculty of the University of Massachusetts, the Hartt School of Music, Mount Holyoke College and the Interlochen Center for the Arts. As a longtime member of the Lark Quartet, Ms. Schween performed at major venues around the world and received many honors including the Naumburg Chamber Music Award and the Gold Medal at Russia’s Shostakovich International String Quartet Competition. During her tenure, the quartet produced critically acclaimed recordings for the Arabesque, Decca/Argo, New World, CRI and Point labels, commissioned numerous works and performed at international festivals including Mostly Mozart, Schleswig-Holstein and Lockenhaus. An active speaker and panelist, she has served on the juries of the Fischoff, Sphinx, and Concert Artist Guild competitions, serves on the artistic advisory board of the Global M-Prize Competition, and has been featured in Strings and Strad magazines, on “Living the Classical Life,” NPR interviews and as a guest speaker at the Library of Congress on the role of women in music. In addition to her work with the JSQ, Ms.
Schween remains active as a soloist with upcoming recitals in Washington DC, Boston, and at the International Cello Institute. She also appears this season in Quito, Ecuador, at the Seattle Chamber Music Festival, and has recently joined the cello faculty for the Summer Music School at the Perlman Music Program. In 2017, she released multiple recordings including Rhapsody for solo cello and electronics by Gordon Green, as well as new albums with the Boston Trio and the Juilliard String Quartet.
KRISTIN KUSTER: Dune Acres
Composer Kristin Kuster “writes commandingly for the orchestra,” and her music “has an invitingly tart edge” (The New York Times). Ms. Kuster’s compositions take inspiration from architectural space, the weather, and mythology. Her orchestral music “unquestionably demonstrates her expertise in crafting unique timbres” (Steve Smith, Night after Night). Recent premieres of Ms. Kuster’s music include works for the Baltimore Symphony Orchestra, the Cabrillo Festival of Contemporary Music, the Cincinnati Symphony Orchestra, the United States Air Force Heritage Brass Ensemble, Philadelphia-based Network for New Music, the Colorado Music Festival Orchestra, the Lisbon Summerfest Chamber Choir, multipercussionist Joseph Gramley, and the Donald Sinta Saxophone Quartet. Ms. Kuster’s music has received support from such organizations as Opera America, the American Academy of Arts and Letters (Charles Ives Fellowship), the Sons of Norway, American Composers Orchestra, League of American Orchestras, New Music USA, American Opera Projects, the Jerome Foundation, and the Jack L. Adams Foundation. Upcoming premieres include: Dune Acres with the Detroit Symphony Orchestra in February 2019; and When There Are Nine with mezzo-soprano Jamie Barton, Roomful of Teeth, and the Cabrillo Festival of Contemporary Music Orchestra, featuring poetry by Megan Levad, about the life of Associate Justice of the Supreme Court Ruth Bader Ginsburg, in August 2019. Based in Ann Arbor, she is an associate professor and chair of composition at the University of Michigan School of Music, Theatre & Dance.
Program 12 Boulder Philharmonic Orchestra 2018-2019
Elgar & Beethoven
SIR EDWARD ELGAR: Cello Concerto in E minor, Op. 85
Sir Edward Elgar is considered by many to have been the quintessential English composer. His music is filled with the stirring themes that bring to mind the pomp and circumstance of coronation, the beauty of the English countryside, and the reserved sophistication that represents all things British in the minds of many. However, he was nearly fifty years of age before the premiere of his Enigma Variations brought the fame he deserved. From that point on, he was recognized as the greatest British composer since Henry Purcell. Elgar represents the first peak of the English Musical Renaissance, a period of concentrated musical excellence in Britain that began in the last decade of the nineteenth century and flourished until World War II. Composers such as Hubert Parry, Herbert Howells, Charles Villiers Stanford, and Gustav Holst were among the first to champion the cause of British music with works based on native topics. Texts drawn from English folk tunes and poets, especially William Blake, served as the inspiration for these works. Elgar’s Cello Concerto was his last important work. While most of his music features colorful orchestrations for a large ensemble, this piece is more understated to allow the soloist to be heard. The concerto is in four movements. Most concerti begin with an extended orchestral section in which the main thematic material is first heard. Traditionally, the soloist enters afterward and either reintroduces the themes or provides reflective commentary. Elgar eschews tradition and opens his concerto with a meditative theme for cello alone. As a whole, the first movement is a lament for all that was lost in World War I – of course, the people but also the entire nineteenth-century way of life. Continuing without pause, the second movement is a quick interlude with a mood of merriment inspired by the respite he found during the war at his country home in Sussex. The adagio third movement has a lyrical air of nostalgia. Built on one theme, it is the most reflective of the four movements. Elgar’s finale is noble and ceremonial, but with tinges of the unrest that pervades much of this piece. Triumph is tempered with anguish, creating a work of great depth and meaning.
LUDWIG VAN BEETHOVEN: Symphony No. 4 in B-flat Major, Op. 60
Although Ludwig van Beethoven was rarely accused of being cheerful, the period during the composition of the Fourth Symphony, 1806-07, was among the least traumatic of his adult life. Beethoven spent the autumn of 1806 at the Czech estate of Prince Carl Lichnowsky. During his visit, he made the acquaintance of Count Franz von Oppersdorf, who commissioned Beethoven to write two symphonies for his ensemble. The lightness of this symphony, described by Robert Schumann as a “slender Greek maiden between two giants from the North,” is conspicuous between the monumental “Eroica” and the majestic Fifth Symphony. Although hardly a work of simple technical demands, the symphony is more joyful and nimble than most of Beethoven’s works. Beethoven’s first movement begins with a mysterious introduction, completely out of character as compared to the rest of the work. The listener’s expectation of a dark and somber symphony is thwarted when the playful allegro vivace suddenly enters. The mood is among the sunniest in all of Beethoven. The development section gradually envelops the orchestra in a musical mist, as the character slowly turns more serious. As gradually as it arrived, the fog dissipates as the recapitulation arrives. As with all of the movements in this symphony, it concludes with a masterful coda. The adagio is a broad, singing movement of sentimental melodies. Hector Berlioz called it “angelic and of irresistible tenderness.” The scherzo frolics with melodies that jump around the orchestra from one instrument to another. The trio relies heavily on woodwind instruments, often dividing them into small chamber groups within the orchestral textures. Beethoven repeats the scherzo and trio, as he would do later in the Sixth and Seventh Symphonies. The witty finale is lighthearted fun from beginning to end. Especially amusing is the bassoon solo, just before the recapitulation, in which the agile instrument seems to scurry back into the texture of the full orchestra as the new section begins.
©2018 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com
Boulder Philharmonic Orchestra 2018-2019 Program 13
Remembering Kim Peoria, Boulder P Kim was a consummate professional whose love of music, the orchestra, and his family motivated everything he did. No one is more responsible for the Phil’s ascendance than he. I am deeply grateful to have known him as a colleague and to have called him a friend. — Michael Butterman Kim’s skill as a player, his uncompromisingly high standards and his extraordinary musicianship served as an example for me. He let me lean on him constantly, and that support allowed me to grow as a musician and human. We were a fabulous pair. I miss my dear colleague, partner and friend so very much. — Chuck Hansen Kim took care of people. Musicians came first. Often funny, always honest, his uncompromising integrity came from his love of music and people. — Katherine Lehman Kim Peoria was a consummate musician and professional. Rarely can one person wear both the hats of business and artistry, and rarer still to do both well. Kim was such a person, a brilliant musician and player, and a personnel manager who treated everyone with kindness, fairness and integrity. — Charles Wetherbee Kim was one of the most capable and dependable people I have ever met. He had a unique intelligence that allowed him to see what needed to change and find the most efficient way to fix it, in addition to being a beautiful bassoon player. He left us far too soon, and I miss him terribly. — Sarah Bierhaus I will always remember Kim for his professionalism and dry sense of humor that would always show up at precisely the right time. He is and will be dearly missed. — Aniel Caban I knew Kim as an unfailingly kind and wonderfully professional musician, and I miss him! — Leslie Sawyer Kim made me feel like a welcome musician in the Denver/Boulder area. His professional but somehow easygoing nature made for smooth services, and his sense of humor stuck with me the most in the short time I knew him. I will miss him, and all that he provided for me as a musician. — Veronica Sawarynski I will remember Kim for his wonderful sense of humor and his ability to tell a joke with a completely straight face which could instantly brighten anyone’s day. He was a wonderful musician and a great administrator and his humor and compassion will be missed by everybody who knew him. — Olga Shilaeva We are all mourning the loss of the personal and musical voice of Kim in our organization. He was a beloved colleague and is missed terribly. — Stephanie Zelnick
Program 14 Boulder Philharmonic Orchestra 2018-2019
Phil Musician & Personnel Manager Kim was one of my favorite people in the orchestra. His excellent musicianship shone through at every performance. As personnel manager, he was both kind and straightforward, making sure things ran smoothly, a no-fuss person who always made me smile just by being himself. He is much missed. — Malva Tarasewicz Kim was a first rate musician and a bassoonist as well as Photo: Glenn Ross an expert administrator and manager, but most importantly, a dear friend. All those years of putting up his famously stubborn facade never fooled us —he was a man of great affection and pride, uncompromising in his standards and sense of duty to the art. We miss him. — Charles Lee and Eleanor Wells Kim will be missed by all who knew him. He put a lot of work and heart into our orchestra and we will always remember him. — Yenlik Weiss Kim was an incredibly brave soul and an inspiration to me. I miss him very much. — Cyndi Mancinelli Kim was honest and kind and a man of integrity. He made the music scene in Denver a better place. Kim was a good friend and a fine musician. He will be greatly missed. — Michelle Orman Kim was so instrumental in the music scene here in Colorado in every possible way, and he truly helped shape our community to what it is today. It is an honor to have known and worked with Kim, and he will truly be missed. — Sharon Park Kim Peoria was a terrific bassoonist. He had a very important voice in the orchestra and he always sounded great. He was also a good friend and kind person at all times. His musicianship and generous spirit are missed very much. — Sarah Delevoryas Kim never wore his heart on his sleeve, but I’m pretty sure that’s because it wouldn’t fit there. He is missed by us all. — Michael Yopp With all his other sterling qualities, I admire Kim’s work, support and love for the Boy Scouts, especially his own Eagle Scout, Joe. — Doug Walter
Read more at boulderphil.org Boulder Philharmonic Orchestra 2018-2019 Program 15
Boulder Philharmonic Orchestra We thank our “Friends of the Phil” sponsors, who are listed below their sponsored musician. For more information on supporting one of the Boulder Phil’s professional musicians, please visit www.boulderphil.org/ways-to-support-us VIOLIN 1 Charles Wetherbee, concertmaster Rebecca Roser Annamaria Karacson, assistant concertmaster Virginia Newton Debra Holland Brenda & Jack Zellner Susie Peek Randy Long Gyongyver Petheo Veronica Sawarynski Gretchen & Todd Sliker Leslie Sawyer Takanori Sugishita Joan & Harold Leinbach, Luana Rubin Malva Tarasewicz Pamela Walker Yenlik Bodaubay Weiss Charlotte Corbridge VIOLIN 2 Leah Mohling,* principal Robert & Marilyn Mohling Sharon Park, assistant principal Francine & Robert Myers Sarah Delevoryas Kristen Wolf Regan Kane Miriam Linschoten Cyndi Mancinelli Robyn Sosa Paul Trapkus Azaduhi A. Vieira Lori Wolf Walker VIOLA Mary Harrison, principal Patricia Butler Michael Brook, assistant principal Matthew Hyatt Aniel Cabán Matthew Diekman Nancy Clairmont & Bob Braudes Megan Edrington Claire Figel Nancy McNeill Stephanie Mientka CELLO Charles Lee, principal Rebecca & Albert Bates, Sophia Garrett Zachary Reaves,+ assistant principal Anne Wenzel Charles Barnard,+ Sara Fierer Penny & Robert Haws
Yoriko Morita Margot & Chris Brauchli Greta Parks Carolyn Bradley Shirley Stephens-Mock Eleanor Wells,* Joan Cleland BASS David Crowe, principal Nyla & William Witmore Brian Knott, assistant principal Lin & Matthew Hawkins Benjamin de Kock Jesse Fischer* Jeremy Nicholas Matthew Pennington HARP Kathleen Wychulis, principal PIANO Arthur Olsen, principal Ellie & Harry Poehlmann TIMPANI Douglas William Walter, principal PERCUSSION Mike Tetreault, principal Virginia Jones, Annyce Mayer Paul Mullikin, assistant principal Marion Thurnauer & Alexander Trifunac Nena Lorenz Wright+ FLUTE/PICCOLO Elizabeth Sadilek-Labenski, principal Pamela Dennis Caitlyn Phillips Olga Shilaeva Paul Weber OBOE/ENGLISH HORN Sarah Bierhaus, principal Max Soto CLARINET/BASS CLARINET Stephanie Zelnick, principal Margaret & Rodolfo Perez Bronwyn Fraser Michelle Orman Ann & William Kellogg BASSOON/CONTRABASSOON Charles Hansen, principal in memory of Joan Ringoen Wendy La Touche
HORN Michael Yopp, principal Ruth & Rich Irvin Devon Park, associate principal Susan & Tom Churchill DeAunn Davis, assistant & utility Stuart R. Mock Jeffrey Rubin Tessa & Alan Davis TRUMPET Leslie Scarpino, principal Nicky Wolman & David Fulker Kenneth Aikin Andrew Miller Roberta Asmus Goodall TROMBONE Bron Wright, principal Owen Homayoun Jeremy Van Hoy Marti & George Oetzel TUBA James Andrus,+ principal ADDITIONAL MUSICIANS Garrett Aman, percussion Christine Binzel, violin Christina Boyer, bass Timothy Chen, bass Nicole Christian, viola Alaunde Copley-Woods, flute Cora Crisman, flute Kostadin Dyulgorski, viola Mark Foster, percussion Nina Fronjian, violin Megan Healy, violin Nancy Headlee, viola Marisa Ishikawa, violin April Johanssen, clarinet Heidi Mendenhall, clarinet Chris Menter, violin Trevor Minton, cello Colin Oldberg, trumpet Anne Paulu, violin Adam Riggs, cello Beth Rosbach, cello Karoly Schranz, guest concertmaster (March 2) JJ Sechan, bassoon Jason Thompson, bass Kristin Weber, English horn Andy Wolfe, trombone * On Leave during 2018-2019 + New Members, Fall 2018
Program 16 Boulder Philharmonic Orchestra 2018-2019
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Supporters The Boulder Philharmonic Orchestra is able to provide high-quality artistic and education programming thanks to its growing number of season subscribers, and the annual support of individuals, corporations, foundations, and government agencies. We take this opportunity to express our appreciation of those who made contributions or pledges from September 1, 2017 through December 14, 2018. FOUNDERS CIRCLE ($30,000+) Patricia Butler+# David Fulker & Nicky Wolman+# Erma & John Mantey Margaret & Rodolfo Perez+ SCFD Lynn Streeter# GOLD CIRCLE ($10,000+) Anonymous (1) AEC Trust Sydney & Robert Anderson Margot & Christopher Brauchli+ Boulder Arts Commission Colorado Creative Industries Judy & Stephen Knapp Marla & Jerry Meehl Susan Olenwine & Frank Palermo Eleanor & Harry Poehlmann+ SeiSolo Foundation SILVER CIRCLE ($5,000+) Anonymous (1) Lari & Thomas Abraham Academy Senior Living* Gail Aweida (in memoriam)* Rebecca & Albert Bates+ Boulder Convention & Visitors Bureau Nancy Clairmont & Bob Braudes*+# Willem De Froy Pamela Dennis and Jim Semborski*+# Alexandra & Paul Dujardin Heather Dupre Beverly & Bruce Fest* Grace & Gordon Gamm Jacqulynn Geister Virginia W. Hill Charitable Foundation Annyce Mayer Jayne & Stephen Miller Anita & Arthur Polner Patricia Read Karyn Sawyer Taddiken Tree Company* Tebo Properties Vermilion Design + Digital* BRONZE CIRCLE ($2,500+) Anonymous (1) Boulder Marriott* Virginia & Thomas Carr
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2018-19 SEASON—OUR STORY
A VERY BOULDER MARDI GRAS Boulder Concert Chorale with the Guerrilla Fanfare Brass Band March 9 & 10 at 4 PM First United Methodist
OUR STORY: BOULDER CHILDREN’S CHORALE 10TH ANNIVERSARY
April 27 at 2 PM Longmont Museum April 28 at 4 PM Boulder Church
SPIRIT WITH DVOŘÁK’S STABAT MATER
Boulder Concert Chorale with the Boulder Symphony May 11 at 7 PM May 12 at 2:30 PM First Presbyterian Church
2018-19 SEASON
Musical Journeys
FAMILY CONCERT TCHAIKOVSKY Jan. 19, 4 PM VIOLIN CONCERTO Apr. 6, 7:30 PM SOUNDS OF Sharon Roffman AMERICA Feb. 23, 7:30 PM POPS CONCERT: Christie Conover, THE LSO IN SPACE! soprano May 11, 7:30 PM
Concerts are held at Vance Brand Civic Auditorium, Longmont
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Korngold’s Violin Concerto performed by MahlerFest Concertmaster Zoë Beyers Chamber music and masterclasses featuring our Festival Artists Day-long symposium …and more!
“Baroque in Mirror” (premiere)
Bach Harpsichord Concerto in D minor Haydn Symphony No. 22, the Philosopher
Handel & Purcell - The London Connection OCTOBER 6 & 7
Jory Vinikour, harpsichordist
Feb r u ar y 2 2 , 23, a n d 24, 2019 De n v e r, B ou lder, Lo ngm o nt Tickets $5 - $35 For more information, call or visit: 720-443-0565 www.ProMusicaColorado.org
Bach for the Holidays with Selections from Handel’s Messiah NOVEMBER 29, DECEMBER 1 & 2
A Taste for Baroque FEBRUARY 21, 23, 24
Monteverdi’s Orfeo MAY 11 & 12 Ralph L. and Florence R. Burgess Trust
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PLAYGROUND ENSEMBLE ‘8 SONGS FOR A MAD KING’ BY PETER MAXWELL DAVIES Sunday, February 17, 2 p.m.
GERALDINE WALTHER, DAVID KOREVAAR & HARUMI RHODES ‘MOSTLY MOZART’ Sunday, April 14, 2 p.m.
3RD TUESDAY LUNCHTIME CONCERT SERIES CU’S ‘ON THE ROCKS’ ACAPELLA CHOIR Tuesday, February 19, 12 noon-1 p.m.
ALTIUS QUARTET WITH HSING-AY HSU
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Saturday, March 2, 3 p.m.
COLCANNON IRISH ENSEMBLE
Tuesday, March 19, 12 noon-1 p.m.
ALTIUS QUARTET FEATURING HSING-AY HSU, PIANO
Tuesday, April 16, 12 noon-1 p.m.
MIDDAY MUSIC MEDITATION—IN THE CANYON THEATER
2nd Wednesdays of each month February 13, March 13, April 10, 12 noon-1 p.m.
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Events of Note Support your Phil and experience music in intimate settings through this unique series of fundraising events. Each Event of Note features a food and wine reception for a chance to mingle with artists.
Mary Wilson, American Soprano
Thursday, February 7, 7-9 PM The Chapel at The Academy Mary Wilson’s crystalline, coloratura soprano has been described as “ethereal and otherworldly.” This recital with piano will feature Mozart and Handel arias as well as songs by Bernstein, Schubert, Schumann, and more. $60/person
An Intimate Evening With Astrid Schween
Thursday, February 28, 7-9 PM Private home A world-class performer, cellist Astrid Schween debuted as a soloist with the New York Philharmonic at age 16. She will perform solo works by Debussy, Bach, Cassado and more and talk about her experience as the newest member of the Juilliard String Quartet. $60/person
Progressive Pairings
Thursday, April 18, 7-9 PM Lee Hill Drive Wineries Two players + two wineries = one exceptional evening! Bookcliff Vineyards and Settembre Cellars will each host a pairing of music, delicious bites from Three Leaf Concepts, and handcrafted wine―and you will experience all of them at this multisensory pairing event featuring Boulder Phil musicians. $60/person
IMAGINE POP, ROCK, AND METAL PLAYED BY A VIRTUOSIC STRING QUARTET. NOW MEET....
Boulder Philharmonic musicians play music you definitely know in a way you have never heard before. Saturday, March 9, 5:30pm Upslope Brewing Company 1898 S. Flatiron Court, Boulder, CO Upslope brewers will design a flight of their handcrafted beers to create a multi-sensory pairing with this #nophilter performance. $10/person Thursday, April 25, 5:30pm Boulder Marriott 2660 Canyon Boulevard, Boulder, CO Author Jason Heller will read from his book Strange Stars David Bowie, Pop Music, and the Decade Sci-Fi Exploded with excerpts brought to life by #nophilter. Tickets include one free drink. Music-themed happy hour menu items available for purchase. $10/person
Tickets for Events of Note and #nophilter can be purchased online at BoulderPhil.org or by calling 303.449.1343.
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To make a donation, visit BoulderPhil.org/support. The Boulder Philharmonic Orchestra is a 501(c)3 nonprofit organization. All contributions are tax-deductible as allowed by law. Photo by Lauren Click
Sponsor a Boulder Phil Musician! Hiring the most qualified musicians requires a significant investment — in fact, musician salaries represent the largest commitment in the Phil’s annual budget. Your participation in Friends of the Phil helps support these talented artists in our community and ensures the artistic quality of the concerts you hear. Friends of the Phil sponsors are given the opportunity to forge a special connection with 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! Support a Boulder Philharmonic musician with a pledge of $250 or more!
Friends of the Phil pledge levels* Principal Chair Sponsor $1,000 Assistant Principal Chair Sponsor $500 Section Chair Sponsor $250
Show your support of a Boulder Phil musician by joining the Friends of the Phil pledge program today! For more information please contact our Director of Development at 303-443-0542 or development@boulderphil.org. *In order to provide support we can count on, we hope that you will commit to a multi-year pledge of two years or more.
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LONGMONT MUSEUM STEWART AUDITORIUM UPCOMING EVENTS OCTOBER 21
Longmont Symphony Orchestra: Haydn & Mozart
DECEMBER 15 & 16 Holiday Showcase
FEBRUARY 10
Cantabile Chorale Ensemble
FEBRUARY 16 The Longmont Museum’s 250-seat Stewart Auditorium is a multi-disciplinary performing arts venue dedicated to providing the people of Boulder County and beyond with dynamic programs and special events including theater, music, dance, film, talks, and more.
Boulder Bach Festival: From London with Love
FEBRUARY 24
Boulder Bach Festival: Young Artist Competition
FEBRUARY 28 - MARCH 3 15th Annual Boulder International Film Festival
MARCH 8 & 9
Buntport Theater: The Rembrandt Room
MARCH 24
Seicento Baroque Ensemble: In Your Court, A Royal Tour
APRIL 14
Longmont Symphony Orchestra: Beethoven Cycle
APRIL 27
Boulder Children’s Chorale
FRIDAY AFTERNOON CONCERTS
October 19, November 16, December 14, January 18, February 15, March 15, April 19
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TICKETS START UNDER $20. for most concerts!
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Dare to explore – across time across cultures Dance of Life: Mass in B Minor
Obstinate Pearl – Venice On Fire with 3rd Law Dance/Theater
Vocal soloists Jennifer Bird-Arvidsson, Abigail Nims, Peter Scott Drackley, and Ashraf Sewailam sing with the BBF Orchestra and Chorus in a memorable Veterans Day performance
Choreographer Katie Elliott explores the internal and external worlds in a performance that features exquisite musical works by Barbara Strozzi, Robert de Visée, Heinrich Biber, and Nicola Matteis
Sunday, November 11, 2018 2:00pm at Macky Auditorium
Friday, April, 5, 2019 at 7:30pm Saturday, April 6, 2019 at 3:00pm and 7:30pm Sunday, April 7, 2019 at 3:00pm All shows at Dairy Arts Center
From London With Love Songs by Purcell and concertos by Vivaldi and Valentino! Guest-directed from the harpsichord by Maestro Nicholas Carthy Thursday, February 14, 2019 7:30pm at Broomfield Auditorium Saturday, February 16, 2019 7:30pm at Longmont Museum
The Sound of Romanticism A Brahms motet is followed by Haydn’s stormy Symphony La Passione performed dramatically on original instruments. Piano soloist Mina Gajić performs Chopin’s Concerto #2 in F Minor on an Érard concert grand built in Paris, 1845. Thursday, May 23, 2019 7:30pm at Boulder Adventist Church 345 Mapleton Avenue
Subscriptions and individual tickets available at: boulderbachfestival.org/tickets For those requiring assistance, call our Bach’s Office (720) 507-5052