boulder philharmonic fall 2013

MICHAEL BUTTERMAN, MUSIC DIRECTOR

BOULDERPHILHARMONICORCHESTRA

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• Appalachian Spring a unique collaboration November 2

• The Nutcracker with full orchestra November 29–December 8

• Stepping Out 2014 world premiere ballets February 21–23

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• Coppélia a family-friendly ballet for Mother’s Day May 11

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Welcome

Dear Friends,

From crisp, open air to abundant wildlife, crystal-clear streams and dramatic mountain vistas, Colorado’s natural beauty is breathtaking. It’s simply impossible not to feel deeply a part of nature or to be inspired by the stunning environment in and around Boulder. I invite you to join us this season, as the Boulder Phil explores and celebrates the inspiration that our natural world provides. We’ll hear impressions of water (La Mer, The Moldau), mountains (From the Blue Ridge, Appalachian Spring), fl ora (Blumine) and fauna (Ghosts of the

Grasslands—think “prairie dogs”). We’ll also explore the essential relationship between mankind and nature (Pastoral Symphony, Rusty Air in Carolina and The Tender Land).

Alongside these “natural” works, we’ll present some all-time favorites by Tchaikovsky, Brahms, Gershwin, Bach and Bernstein. We’ll welcome world-class guest artists like pianists Simone Dinnerstein and Inon Barnatan, violinist Rachel Barton Pine, and bluegrass mandolinist Jeff Midkiff . We’ll also present unique collaborations with Frequent Flyers® Aerial Dance, Boulder Ballet, CU University Singers, Boulder International Film Festival, and the Geological Society of America, whose 125th anniversary is being celebrated by the world premiere of CU composer Jeff rey Nytch’s Symphony No. 1, “Formations.”

All season long, we’ll be working with Boulder Open Space and Mountain Parks to provide opportunities for you to “go beyond” the concert experience and enjoy guided nature hikes, lectures, outdoor performances and art exhibitions.

It all adds up to a very “Boulder” season for your Boulder Phil. I hope that you will join our ever-increasing family of season subscribers who guarantee themselves priority seating, discounted prices, and invitations to special events. We look forward to sharing with you what promises to be a year of remarkable and memorable artistic experiences.

Enjoy!

Michael Butterman

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2590 Walnut Street • Boulder, CO 80302303-449-1343www.BoulderPhil.org

MUSIC DIRECTOR Michael ButtermanASSOCIATE CONDUCTOR Travis Jürgens

OFFICERS

BOARD

ADVISORY COUNCIL

ADMINISTRATION

DIRECTOR EMERITUSKim Coupounas China Leonard Dan Sher

ORDER OF THE BATON

Kyle Heckman, PresidentRudolfo Perez,

Vice President

Patricia Butler, SecretaryErma Mantey, Treasurer

Christopher BrauchliJoan BrettClaire FigelDavid FulkerDeborah Holland

Teresa Myrwang HolumYoriko MoritaEleanor PoehlmannLynn Streeter

Barbara BrentonRoberta BrenzaPamela DennisKent HansenRuth KahnTed Manning

Susan OlenwineJoan RingoenMary StreetDick Van PeltBetty Van ZandtBrenda Zellner

Kevin Shuck, Executive Director

Shelley Sampson, Patron Services Manager & Artistic Administrator

Cynthia Sliker, Development Director

Michael Allen, Orchestra Librarian

Janet Braccio, Publicity Consultant

Holly Hickman, Marketing Consultant

Kim Peoria, Orchestra Manager

Glenn Ross, Concert Manager

Betty Woon, Bookkeeper

Sarah Alm, Development Intern

Sarah Harrison, Education Intern

Carolyn Richardson, Volunteer

Sydney AndersonAmy BatchelorBarbara BrentonKurt BurghardtAmy ClarkFrank DayKitty deKiefferUrsula DickinsonBrad FeldRay FrommerDiane GreenleeAaron HarberYvonne HaunRay HauserSharon Hunter Ruth KahnBonnie KarlsrudSandra Karpuk

Joan KnappOswald LehnertCindy LefkoffKyle LefkoffJo Ann MaysMartha McGavinFrank McGuirkJ. Nold MidyetteEdith MorrisBarbara NissenBill ObermeierJoan RingoenRebecca RoserBarbara RumseyArthur SmootCarol SmootRobert WilsonEd Wolff

To Our SupportersNature and music... two of my favorite

things! That’s why this season at the Phil is perhaps the one I’ve most been looking forward to since I arrived in early 2010.

No fewer than a dozen local collaborations are helping to bring to life this most “Boulder” of seasons, furthering the Phil’s commitment to present programming that reflects and fosters all that makes our community special. In particular, this season’s theme has inspired some very surprising partnerships including with the Geological Society of America and City of Boulder Open Space and Mountain Parks. Join us for one of our guided “musical hikes” with Open Space naturalists connecting nature-inspired works the Phil is performing with the great outdoors!

Of course, none of this would be possible without our most important collaborators of all: YOU! It is extremely gratifying to see our number of ticket-buyers continue to grow and our number of subscribers hit yet another high. It is my hope that you might also consider becoming part of an equally important increase in the number of donors to the Phil’s artistic and education programs. Perhaps you would like to sponsor a musician as part of our new “Friends of the Phil” program!

Thank you for your support. See you at Macky... and on the trail!

Kevin Shuck

Executive DirectorKevin Shuck

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About the Boulder Phil

Under the vision and leadership of Music Director Michael Butterman, the Boulder Philharmonic Orchestra is celebrating its 57th year of providing outstanding orchestral music highlighting the creative talents of our own unique community. The Boulder Phil is a critically acclaimed professional orchestra, presenting performances nine months out of the year and employing a core of 72 of our region’s most highly trained musicians.

Voted “Best Classical Music” multiple times by the readers of Boulder Weekly, the Boulder Phil’s main performance venue is Macky Auditorium on the CU-Boulder campus, a historic concert hall which recently celebrated its 100th anniversary. The Boulder Phil’s Masterworks series—broadcast across the state on Colorado Public Radio—features a dynamic mix of masterpieces and promising new works, highlighting both accomplished and emerging guest artists with a special emphasis on Boulder’s own creative community.

The orchestra’s broad reach in the community includes special events such as the annual co-production of The Nutcracker with the Boulder Ballet and “Café Phil” open rehearsal nights at the Dairy Center for the Arts. The Boulder Phil also works to inspire the next generation of music-lovers through its Discovery Concerts reaching 4th and 5th grade students across multiple counties.

Founded in 1958, the Boulder Phil became a fully professional ensemble under the leadership of Theodore Kuchar, who began his tenure as music director in 1996. Michael Butterman was named music director in 2006, bringing a strong emphasis on education and outreach, as well as a creative approach to programming that includes a focus on collaborations with other local artists. Under his direction, the Boulder Philharmonic Orchestra reflects and fosters all that makes Boulder special—its creativity, spirit, beauty and quest for knowledge. By connecting people to orchestral music, the Boulder Phil strives to be an essential part of our community's cultural fabric.


Michael Butterman, ConductorMaking 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 is in his eighth season as Music Director for both the Boulder Philharmonic Orchestra and the Shreveport Symphony Orchestra, and is in his 14th season as Principal Conductor for Education and Outreach for the Rochester Philharmonic Orchestra, the first position of its kind in the United States. He is also the Resident Conductor of the Jacksonville Symphony Orchestra, a post he has held since 2009.

As a guest conductor, Mr. Butterman made his debut with the Cleveland Orchestra in the spring of 2012, and was immediately reengaged for two concerts the following season. Other recent engagements include appearances with the Detroit Symphony, Houston Symphony, Colorado Symphony, Oregon Symphony, Kansas City Symphony, Hartford Symphony, San Antonio Symphony, Syracuse Symphony, New Mexico Symphony, California Symphony, Louisiana Philharmonic, Spokane Symphony, El Paso Symphony, Santa Fe Symphony, Mobile Symphony, Peoria Symphony, Winston-Salem Symphony, Pensacola Opera and Asheville Lyric Opera. Summer appearances include Tanglewood, the Bravo! Vail Valley Music Festival in Colorado and the Wintergreen Music Festival in Virginia. In the 13-14 season, he will make his debut with the Charleston Symphony.

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 1999 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. In 1997, Mr. Butterman was sponsored by UNESCO to lead the National Philharmonic Orchestra of Moldova in a concert of music by great American masters.

From 2000 to 2007, Mr. Butterman held the post of Associate Conductor for the Jacksonville Symphony in Florida. For six seasons, he also served as Music Director of Opera Southwest in Albuquerque, NM. Prior to joining the Jacksonville Symphony, Mr. Butterman was Director of Orchestral Studies at the LSU School of Music for five years, 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 five 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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Educational Outreach

The Boulder Philharmonic believes that live orchestral music is for everyone and is committed to providing a wide array of opportunities for people throughout our community to encounter the life-enriching power of classical music.

• Discovery Concerts introduce 4th and 5th graders throughout the Boulder Valley School District and beyond to live symphonic music. Using a tailored Curriculum Guide that complements their core music curriculum, educators prepare students for the 50-minute interactive performance at Macky Auditorium – an experience that many students describe as “the best field trip of the year!” To sign up your school for the next Discovery Concert at Macky on April 24, 2014, contact Sarah at [email protected].

• “Michael Butterman Goes to School” Visits are a key part of the Phil’s Discovery Concert program, as our Music Director visits classrooms to introduce students to musical concepts, instrument families, music appreciation skills, and more.

• Family Concerts provide an opportunity to enjoy the live orchestra at a special matinee performance suitable for elementary-age children (NEW! check website for details).

• Side-by-Side Youth Concerts feature talented young musicians from Greater Boulder Youth Orchestras and Front Range Youth Symphony alongside professional musicians from the Boulder Phil, who provide valuable mentorship to these students as they rehearse and perform together.

• Young Artist Concerto Competition is open to all young musicians in Colorado, who compete for an opportunity to perform as a soloist with the Phil.

• $5 Student Tickets to every Masterworks concert make attendance easy for young people, up to and including college students! Phone or walk-up sales only.

Your financial gift or volunteer work in support of our education programs is critical to our success in enriching our community through music. For more information on becoming involved, please contact Kevin Shuck at 303-449-1343, ext. 3.

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Boulder Philharmonic Orchestra 2013-2014 Program 1

ProgramBOULDER PHILHARMONIC ORCHESTRA

Michael Butterman, conductor

Inon Barnatan, piano

Saturday, September 7, 2013St. Luke’s Methodist Church, Highlands Ranch

7:30pm Performance Featuring Kelcey Howell, 2013 Young Artist Concerto Competition Winner

Sunday, September 8, 2013 Macky Auditorium, CU Boulder

6:00 pm Pre-Concert Talk7:00 pm Performance

Benjamin Britten Four Sea Interludes from “Peter Grimes”(1913 – 1976)

Jeffrey Nytch Symphony No. 1, “Formations” World Premiere (b. 1964) I. Orogenies II. Rush! III. Requiems IV. Majesties

Co-Commissioned by the Boulder Philharmonic Orchestra and the Geological Society of

America to commemorate the Society’s 125th Anniversary, with support from ExxonMobil

- Intermission -

Piotr Ilyich Tchaikovsky Piano Concerto No. 1 in b-flat minor, Op 23 (1840 – 1893) I. Allegro non troppo e molto maestoso II. Andantino semplice III. Allegro con fuoco

Following the concert, Inon Barnatan will be signing CDs in the lobby.

Programs and artists are subject to change.The use of cameras and electronic devices is strictly prohibited.

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Program 2 Boulder Philharmonic Orchestra 2013-2014

ProgramINON BARNATAN, PIANO

Pianist Inon Barnatan is widely recognized for refi ned, communicative, insightful playing that combines an extraordi-nary depth of musician-ship and an impeccable, virtuosic technique. Mr. Barnatan has performed with many of the coun-

try’s most esteemed orchestras and worked with many of the world’s leading conductors. In 2009, Mr. Barnatan was awarded the pres-tigious Avery Fisher Career Grant, an honor refl ecting the strong impression he has made on the American music scene in such a short period of time.

Highlights for the 2013-14 season include engagements with the Atlanta Symphony Orchestra, Bangor Symphony Orchestra, Fresno Philharmonic, and Oregon Symphony Orchestra. In September Mr. Barnatan will give the world premiere performance of a new work for solo piano by Matthias Pintscher at London’s Wigmore Hall. He will again join Mr. Pintscher in a performance of Beethoven’s fourth piano concerto with the Utah Sympho-ny. Mr. Barnatan will give recitals at the Con-certgebouw in Amsterdam and at The Frederic Chopin Society in St. Paul, Minnesota. He will perform chamber music at The Hague in Am-sterdam, the Santa Fe Chamber Music Society, and will perform with the Jerusalem Quartet in Vancouver, Canada. Mr. Barnatan will also tour Europe with cellist Alisa Weilerstein with recitals in Italy, Turkey, Germany, and London.

Mr. Barnatan’s second solo recording, Dark-nesse Visible, was named one of the top classi-cal recordings by The New York Times as well as BBC Music Magazine’s Instrumentalist CD of the Month. In his review of the CD, Anthony Tommasini from The New York Times wrote, “The thoughtful programming is typical for this insightful musician. But Mr. Barnatan’s extraor-dinary playing is what makes this release so rewarding.” Mr. Barnatan’s debut solo recording of Schubert piano works was recommended by Gramophone in its November 2006 award issue, calling Mr. Barnatan “a born Schubertian” and praising the CD’s “sensitivity, poise and focus.”

Born in Tel Aviv in 1979, Inon Barnatan started playing the piano at the age of three af-ter his parents discovered he had perfect pitch, and he made his orchestral debut at eleven. In 1997 he moved to London to study at the Royal

Academy of Music and in 2004 pianist Leon Fleisher invited Mr. Barnatan to study and per-form Schubert sonatas as part of a Carnegie Hall workshop. In 2006 Mr. Barnatan moved to New York City, where he currently resides in a con-verted warehouse in Harlem.

JEFFREY NYTCH, COMPOSER Jeffrey Nytch enjoys

a rich and diverse career as a composer, performer, educator and advocate – but it hasn’t been a straight line getting there. He spent much of his teen years dreaming of someday going to Wall Street

and conquering the world; then there was his study of geology, which nearly took him down a different path altogether. But throughout it all, music has been the abiding passion of his heart; in the end, it won out with his career as well. What followed has been a professional odyssey of sorts. His compositional career has resulted in works commissioned and performed by a wide range of major artists, including clarinetist Richard Stoltzman and the Seattle Symphony, the New York Chamber Symphony, the Ahn Trio, Verge Ensemble, the National Repertory Orchestra, and many others. He has also co-founded a social-service non-profi t in Houston, run a small business, held teaching posts at Carnegie Mellon University and his alma mater Franklin & Marshall College, and served as Managing Director of Pittsburgh New Music Ensemble, one of the nation’s leading professional chamber groups devoted to the music of our time. He nearly completed a Masters in geology at Binghamton University before making the switch and earning Masters and Doctoral degrees at Rice University’s Shepherd School of Music. These disparate pursuits have coalesced in his current position as Director of the Entrepreneurship Center for Music at The University of Colorado-Boulder. As Director of the ECM he draws on the full range of his professional experiences, equipping music students with the tools they need for professional careers in the arts and speaking nationwide as one of the leading voices in arts entrepreneurship…all with the stunning geology of the Colorado Front Range as the backdrop. It’s nice when things come together, isn’t it?


ProgramPROGRAM NOTES

BENJAMIN BRITTEN (1913 – 1976) “Four Sea Interludes” from Peter Grimes, Op. 33a

Henry Purcell, England’s first great composer, died in 1695. It was not until 1913 that Great Britain would produce another composer of such broad musical accomplishment. Some may argue in favor of Handel, but, although most of his music was written in England, he was a German writing in the Italian style. Others will be quick to mention Edward Elgar, and rightly so, but his output was largely in oratorio and symphonic music. Even Vaughan Williams and Walton were slow to become internationally-known composers. In Benjamin Britten, England had a composer of all musical genres, from opera to symphony and from chamber music to a short-lived Broadway show, who was viewed as an innovator on the world stage. Of supreme influence over Britten’s music was the voice of Peter Pears. It was for Pears that Britten composed nearly every major tenor role in his catalog, including Peter Grimes. It was also with Pears that Britten found domestic bliss, as life partners for over three decades.

Peter Grimes, composed in 1944-1945, was the first British opera since Purcell’s Dido and Aeneas (1689) to be deemed of international quality. Britten composed the work for the reopening of London’s Sadler’s Wells Theater after World War II. Much has been made of Britten’s status as a conscientious objector during the war, leaving Britain for a time to avoid conscription. The character of Peter Grimes, a rough-hewn sailor who is accused in the disappearance at sea of a string of apprentices, undergoes a psychological breakdown when faced with the scrutiny of his peers. Nonetheless, the audience feels sympathy for this far from perfect character. Perhaps some of Britten’s wartime emotions found a home in an unlikely place.

The opera is punctuated by six orchestral interludes, four of which Britten assembled into a concert suite. The first, “Dawn,” paints the gray ocean, its gentle waves, and the rising sun. “Sunday Morning,” heavily influenced by Indonesian gamelan music, presents the sounds of church bells and the townspeople on the way to worship. “Moonlight,” with its lengthy phrases in the low strings, represents the reflection of the moon on the quiet harbor, but a

feeling of disquiet is palpable. Finally, “Storm” depicts two tempests – one meteorological and one within Grimes’s tortured psyche.

©2013 Orpheus Music Prose & Craig Doolin

JEFFREY NYTCH (b. 1964) Symphony No. 1, “Formations”Co-commissioned by the Boulder Philharmonic Orchestra and the Geological Society of America in celebration of the Society’s 125th anniversary, with support from ExxonMobil. This work was funded in part by the Composer Assistance Program of New Music USA.

One of the interesting things about the geology of the Rocky Mountains is how musical the history is: rocks that are formed at the very beginning continually reappear, just as musical themes do in a composition; components of those rocks – motives, if you will – are modified, varied, and transformed over the course of the work; and patterns and repetition are at the core of our geologic history, just as they are at the core of most Western music.

This allowed me to form four guiding principles that helped me shape this symphony: 1) I was not going to attempt a complete telling of the geologic history of the Rocky Mountains – such an undertaking would require many symphonies! 2) I would find musical ways to express geologic processes so that the symphony would not just be a reflection of the landscape but of the processes that formed that landscape. 3) When one views a modern feature such as a mountain, one sees the many different events that have shaped that feature in the aggregate. This compression of perception, and of time, gave me the freedom to superimpose or rearrange geologic events according to the best musical outcome, even if it took geologic events out of the order in which they occurred. 4) There would be some portion of the work that would explore the relationship between humans and the geology that has such enormous influence on our lives and history.

Each movement explores a different episode in the geologic story of the Rocky Mountains:

The first movement describes the ancient accumulation of crust that would eventually form the whole of southwestern North America. The three climaxes represent three major mountain-building events (“Orogenies”) that were the culminations of these accretion episodes, with a suddenly calm coda representing the roughly 500 million years of geologic quiet that followed – a vast gap of


Programgeologic time for which we have almost no record.

The second movement depicts the gold rush era of the 19th century, with its sudden bursts of frenetic activity that usually played out almost as quickly as eager prospectors arrived. We hear a rustic fiddle tune such as what one might have heard in a mining camp, but the tune keeps going awry and fizzling out – just as each rush failed to fulfill its promise. A middle section superimposes the sounds of miners panning for gold with a depiction of the geologic process that formed most of the mineral deposits in the region: super-heated hydrothermal veins that shot up from the earth’s mantle, cooled, and deposited veins of gold, silver, and other precious metals. The “intrusion” music is interrupted by the thundering of the Cripple Creek Diatreme, an explosive volcano that created Colorado’s richest deposit of precious metals. This geologic event is in turn interrupted by a human one: the labor strife between miners and mine owners, accompanied by the sounds of gun shots that brought the rush era – and bring this movement – to a crushing conclusion.

The third movement evokes the late Cretaceous, a period in which a vast tropical sea flooded central North America and where huge amounts of organic material accumulated to create coal, oil, and natural gas. As I contemplated this chapter in geologic history I was struck by two things. The first was the realization that the fuels that make our modern society possible are derived from the remains of plants and animals – creatures that were previously alive, and whose death provided the material for the very thing our modern world depends on. I found this thought worthy of contemplation, and it inspired the title “Requiems” as well as the bulk of the music for this movement. The more animated music

towards the end of the movement provides a contrast to the dark world of buried organic sediment: a sunny evocation of what must have been a tranquil and beautiful region, with warm lagoons and rich, tropical forests. Marine reptiles such as plesiosaurs arched gracefully in clear, tropical waters, while pterosaurs and early bird species soared through the air.

The final movement depicts the long and complex history

behind the modern Rocky Mountains. First we hear a brooding tuba solo dissolve into a slow, climbing chorale for brass: the steady uplift of the Laramide Orogeny, approximately 67 million years ago. But this uplift didn’t result in the mountains we see today. In fact, those highlands were buried by their own debris and that of an extended period of volcanic activity that showered thousands of meters of ash, lava, and pyroclastic flows upon the region. It was not until about 5 million years ago that either climate change, renewed uplift, or some combination of the two caused sudden and rapid erosion of the Laramide highlands – carving out the majestic mountains we see today. As the erosion picks up pace, we hear snippets of motives from the entire symphony culminating in a grand chorale of joyous celebration for the magnificent region we know today as the Rocky Mountains.

Of course, it’s every composer’s desire that the music work on its own terms, without the benefit of any outside narrative. This is precisely what I found to be so satisfying about writing this symphony: while developing the connecting points between geologic principles and musical ones I was not forced to compromise either: the music was already in the geology, making it easy to bring the geology into the music.

Artwork by Boulder artist Steve Lowtwait


ProgramPIOTR ILYICH TCHAIKOVSKY (1840-1893)Concerto No. 1 for Piano and Orchestra in B-flat minor, Op. 23

On December 24, 1874, the young composer Piotr Ilyich Tchaikovsky played his new piano concerto for Nicolai Rubinstein, head of the St. Petersburg Conservatory and brother of the world-renowned pianist Anton Rubinstein. The director spoke not a word until the end of the work. Tchaikovsky described the evening in a letter to his benefactress Nadezhda von Meck:

“Then there burst from Rubinstein’s mouth a mighty torrent of words. He spoke quietly at first, then he waxed hot, and finally resembled Zeus hurling thunderbolts. It seems that my concerto was utterly worthless, absolutely unplayable... I had stolen this from somebody and that from somebody else, so that only two or three pages were good for anything . . .”Tchaikovsky’s hopes of having his concerto

premiered in St. Petersburg were dashed. In anger, he changed the dedication of the work from Nicolai Rubinstein to Hans von Bülow. The German conductor/pianist, married to Liszt’s daughter Cosima (before she accepted Richard Wagner’s romantic advances), was already a great admirer of Tchaikovsky’s music. The timing was perfect. Bülow was about to set out on a piano tour of North America and was searching for new repertoire. A fresh modern work by an up-and-coming composer, dedicated to the performer, fit the bill better than the pianist could have expected.

In Boston and New York alone, Bülow performed the work twenty-one times in a month with myriad other performances at locations throughout North America in the following weeks, causing international interest in what was to become one of the most beloved of Tchaikovsky’s works.

As is often the case with Tchaikovsky’s larger works, this concerto suffers from a puzzling structure – often drawing criticism for its seeming lack of cohesive form. The opening theme – instantly recognizable to nearly everyone – disappears completely after 110 measures and never recurs. It serves merely as an introduction. The rest of the movement is a dazzling display of pianistic devices. The second movement, andantino semplice, begins with flute, oboe, and viola cradling the gentle opening theme. The second theme, prestissimo, is a delicate adaptation of the French song “Il faut s’amuser, danser et rire” (“One must

amuse oneself with dancing and laughing”) that flutters back into a short reprise of the lyrical opening melody. The fiery finale includes two contrasting themes, the first of which is taken from a Ukrainian folk song and treated with syncopation and rhythmic interplay. The lyrical second theme is the perfect foil, leading the work to a climax of Tchaikovskian grandeur.


NATURE & MUSIC The Boulder Phil is partnering with the City of Boulder Open Space and Mountain Parks for a year-long collaboration connecting the worlds of music and nature!

Musical Geology Hike: Symphony in Stone

Sat., September 14, 12:30 – 3:30 PM1850 Table Mesa Drive, Boulder

Following the world premiere of Jeffrey Nytch’s First Symphony, “Formations,” visit some of those rock formations—and meet the composer in person—with Open Space and Mountain Parks naturalist Dave Sutherland. Take a journey into Boulder’s past with wild stories that include dinosaurs, glaciers, vast swamps, oceans and ancient mountain ranges now vanished into the dust of time. As an added bonus, we’ll play some excerpts from the orchestral work. Meet on the north side of NCAR at the Walter Orr Roberts trailhead. 2.5 miles, 400 feet elevation gain.

If this concert has piqued your interest in our local geology but you can’t make the guided hike, geology self-tours are avail-able for download at: bouldercolorado.gov/osmp/geology


Boulder Philharmonic OrchestraVIOLIN 1Charles Wetherbee,

September guest concertmaster, Lafayette

Mark Rush, November guest concertmaster, Boulder

Annamaria Karacson, assistant concertmaster, Boulder

Désirée Cedeño-Suárez, Arvada

Debra Holland, BoulderGyongyver Petheo,

Highlands RanchVeronica Pigeon, GoldenTakanori Sugishita, BoulderMalva Tarasewicz, BoulderYenlik Bodaubay Weiss,

Glendale, CASarah Wood, Boulder

VIOLIN 2Leah Mohling, principal,

LouisvilleXu Duo, assistant principal,

Muncie, INSarah Delevoryas,

BroomfieldRegan Kane, BoulderSue Levine, BoulderMiriam Linschoten, BoulderRobyn Sosa, DenverPaul Trapkus, LongmontAzaduhi A. Vieira,

Colorado SpringsLori Wolf Walker, Louisville

VIOLAMary Harrison, principal,

WheatridgeAniel Cabán, BoulderMegan Edrington, LafayetteClaire Figel, BoulderNancy McNeill, LafayetteIsaac White, Arvada

CELLOCharles Lee, principal,

BoulderMarcelo Sanches, assistant

principal, BoulderGeorgia Blum, BoulderAnne Brennand, BoulderSara Fierer, Denver

Yoriko Morita, LouisvilleShirley Stephens-Mock,

GoldenEleanor Wells, Boulder

BASSDavid Crowe, principal,

BoulderBrian Knott, assistant

principal, LouisvilleBrock Chambers, DenverDale Day, BoulderBob Orecchio, WestminsterMatthew Pennington,

Lafayette

HARPKathleen Wychulis,

principal, Omaha, NE

PIANOArthur Olsen, principal,

Boulder

TIMPANIDouglas William Walter,

principal, Louisville

PERCUSSIONHiroko Okada Hellyer,

principal, CentennialPaul Mullikin, assistant

principal, LakewoodMike Tetreault, Denver

FLUTEElizabeth Sadilek, acting

principal, EdwardsOlga Shylayeva, Lafayette

PICCOLOOlga Shylayeva

OBOESarah Bierhaus, principal,

GoldenTenly Williams, DenverMax Soto, Denver

ENGLISH HORNTenly Williams

CLARINETStephanie Zelnick, principal,

Lawrence, KSBronwyn Fraser, LongmontMichelle Orman, Denver

BASS CLARINETMichelle Orman

BASSOONCharles Hansen, principal,

GreeleyKim Peoria, LouisvilleWendy La Touche, Boulder

CONTRABASSOONWendy La Touche

HORNMichael Yopp, principal,

Colorado SpringsJeffrey Rubin, LongmontDevon Park, associate

principal, BroomfieldStuart R. Mock, GoldenDeAunn Davis, assistant and

utility, Salt Lake City, UT

TRUMPETBrian Brown, principal,

Fort CollinsKenneth Aikin, BoulderRoberta Asmus Goodall,

Centennial

TROMBONEBron Wright, principal,

Colorado SpringsPete Vriesenga, Denver

TUBAMichael Allen, principal,

Arvada

PERSONNEL MANAGERKim Peoria

Members of string sections are listed alphabetically following titled players.


ProgramBOULDER PHILHARMONIC ORCHESTRA

Michael Butterman, conductor

CU University Singers Gregory Gentry, Director of Choral Studies

CU University Choir

David Kates, conductor

Boulder Ballet Alex Davidson, choreographer

Frequent Flyers® Aerial Dance Nancy Smith, choreographer

Saturday, November 2, 2013 Macky Auditorium, CU Boulder

6:30 pm Pre-Concert Talk7:30 pm Performance

Mason Bates Rusty Air in Carolina (b. 1977)

Leonard Bernstein Chichester Psalms (1918 – 1990)

- Intermission -

Aaron Copland Suite from “The Tender Land” (1900 – 1990)

Aaron Copland Appalachian Spring

Programs and artists are subject to change.The use of cameras and electronic devices is strictly prohibited.


ProgramCU UNIVERSITY CHOIR AND UNIVERSITY SINGERS

University Choir of the University of Colorado at Boulder is a highly select undergraduate ensemble that has made numerous conference appearances and international tours over the years. The group has been invited to perform at the 2014 Colorado Music Educators Conference.

University Singers is a highly select chamber ensemble from the University of Colorado at Boulder. The group is comprised of graduate and undergraduate student singers who have an extensive background in choral singing.

Gregory Gentry is Director of Choral Studies at the University of Colorado where he administers the doctoral, masters and undergraduate choral conducting programs. As Phoenix Symphony Chorus Master (2005-2012),

Dr. Gentry prepared the Phoenix Symphony Chorus for pieces including Puccini’s Messa di Gloria, the North American premiere of In Principio by Arvo Pärt, On the Transmigration of Souls and Nixon in China by John Adams, the world premiere of Mark Grey’s Enemy Slayer: A Navajo Oratorio and Golijov’s Ainadamar in collaboration with Dawn Upshaw and Kelley O’Connor. His collegiate choirs have performed at conferences for the American Choral Directors Association, National Collegiate Choral Organization, Society for American Music, Music Educators National Conference and College Music Society.

David Kates conducts the University Singers and teaches Choral Conducting at the University of Colorado, Boulder. Over his career, Dr. Kates has conducted choral-orchestral works with the Colorado Chamber Orchestra, the Boulder Philharmonic,

the Littleton Symphony Orchestra and the New Mexico Symphony Orchestra. Recent performances of major works include Honegger’s King David, Vivaldi’s Gloria and Dvořák’s Te Deum.

BOULDER BALLETThe origins of Boulder Ballet begin with

the Ballet Arts Studio, founded by former American Ballet Theatre dancer Larry Boyette

and British dancer Barbara Demaree. The first performing company, Boulder City Ballet, was founded in 1982 by Barbara Demaree and Wanda Tierney. In 1985 the company changed its name to Boulder Ballet Ensemble, and in 1995 to Boulder Ballet. Since 1989, Boulder Ballet has enjoyed a partnership with the Boulder Philharmonic Orchestra in presenting classical ballets complete with professional scenery, costumes, lighting designs, and casts of up to 100 dancers. The organization’s rich history includes bringing classic, contemporary, and uniquely theatrical ballet to an audience that stretches from Estes Park to Highlands Ranch, in venues from the 2,000-seat Macky Auditorium, to historic Boulder Theater in downtown Boulder, to outdoor amphitheaters throughout the Denver-metro area.

Artistic Directors since 2004, Ana Claire and Peter Davison have continued to build on the proud tradition of artistic excellence through innovation. They have challenged their dancers and enlightened their audiences with the versatile productions from the contemporary Stepping Out, to the classic The Nutcracker, to the timeless tale of Cinderella. Peter Davison’s own creative choreography is a mesmerizing synergy of dancers and unusual props. Peter’s innovation was recognized with the 2009 New York Ballet Builders Award, which resulted in Boulder Ballet’s New York premiere of his critically acclaimed Cirque D’Amour. With a profound respect for their art, the duo has expanded and refined the company’s season to over 20 performances reaching over 20,000 in the Denver-metro area and beyond.

Alex Davison, choreographer, began dance training at age seven in his father’s Boyz Dance classes, and the love he discovered for dance, juggling, mime, theater, and object manipulation has influenced his life ever since.

Boyz Dance soon led to ballet with his mother, and the opportunity to spend summers studying on full scholarship at Pacific Northwest Ballet in Seattle and American Ballet Theatre in New York City. After winning the regional Grand Prix award in the Youth America Grand Prix competition, Davison would later return to New York and dance as one of the top ten male finalists from around the world.

After graduating from Boulder High School, Davison attended the Miami City Ballet Summer Course at the personal invitation of


Programthe company’s artistic director, renowned New York City Ballet dancer Edward Villella. While at the summer course, Davison was offered a full scholarship to study at the school’s year round program, which culminated in performances of Balanchine’s Serenade and Four Temperaments. Davison was then offered a spot in the Miami City Ballet as a company apprentice, performing in different cities around Florida and joining the company for a three-week tour to Paris in which he danced at the Théâtre du Châtelet. After returning to the States, Davison headed home to Boulder to take a break and heal from what had become a chronic back injury. Davison is pleased to be choreographing again for Boulder Ballet.

FREQUENT FLYERS AERIAL DANCEFrequent Flyers® Aerial Dance is a

professional performing arts company and school located in Boulder. Celebrating their 25th anniversary in 2013, Frequent Flyers’ critically acclaimed performances have reached over 150,000 audience members since 1988. In 2010, Frequent Flyers® opened a beautiful aerial studio for classes, private lessons, the Professional Training program, camps, rehearsals, Student Company, and outreach programs. Frequent Flyers’ youth programs include: Kids Who Fly for at-risk youth; the Student Company pre-professional program for ages 8- adult; lecture/demonstrations for schools; and Aerial Sci-Arts: Physics and the Low-Flying Trapeze for high school students.

Frequent Flyers® is also home to the world-renowned Aerial Dance Festival bringing people from all over the globe to Boulder for a two-week immersion each August. Now in its 15th year, Frequent Flyers’ Festival was the first of its kind and is still the largest in the world. Frequent Flyers® has the only Aerial Dance Professional Training program in the country. Students wishing to pursue an M.F.A. in dance at the University of Colorado, Boulder, also have the opportunity to focus on aerial as part of their degree.

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 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. For more information: www.frequentflyers.org

PROGRAM NOTESMASON BATES (b. 1977)Rusty Air in Carolina The composer has provided the following notes:

To begin with: I’m a Virginian. Perhaps to anyone in the Carolinas, the task of conjuring up the rich summer noise of the South and pairing it with orchestral textures should be a job for an authentic Carolinian. But the memories are so vivid from that summer in Brevard—where I spent several months at the music festival there as a teenager—that some sort of homage seemed necessary, so state pride will have to take a back seat.

Not only did the thick buzzing of cicadas and katydids always accompany the concerts there, but sometimes it was the music itself: on more than one occasion, I remember sitting on the porch of 100-year-old Nan Burt and listening to the sounds of summer while she told stories from her long life. This venerable lady was introduced to me by the assistant conductor at the festival, Robert Moody—who, a mere ten years older than me, would become a dear friend and collaborator. When Bob took the helm at The Winston-Salem Symphony and asked if I might write a new piece for him, perhaps his own return to the Carolinas inspired Rusty Air. Though he travels the world, he’s a Greenville boy.

The work uses electronics to bring the white noise of the Southern summer into the concert


Programhall, pairing these sounds with fluorescent orchestra textures that float gently by. “Nan’s Porch” begins at dusk, while the katydids make their chatter. Three orchestral clouds—each inhabiting a different harmony, register, and orchestration—hover in the heavy air, and they ultimately begin to meld together when the cicadas start their singing. The climax of this movement sends us into “Katydid Country,” when the ambience of the first movement evolves into a bluesy, rhythmic tune. The clicks of the katydids become a beat track over which the orchestra, in a smaller, more chamber setting, riffs on a simple tune inspired by old-time blues. It is said that katydids are loudest at midnight, and as the work reaches its central point, the rhythmic katydid music at last finds its melody.

Soaring in the strings over the last breaths of the blues tune, this long-lined melody moves us into “Southern Midnight.” The three distinct textures from the opening return, but now each is brought to life by a phrase of the melody. At the close of this lyrical section, we hover in that strange space between night and day, when only the singing of the first bird alerts us to the approaching dawn. But it is a hot, Southern dawn, both sparkling and heavy, with the air made rusty again by the buzzing cicadas. The bluesy tune begins to creep back into the middle register, while above and below figuration buzzes about in different tonalities.

LEONARD BERNSTEIN (1918 – 1990) Chichester Psalms

Undoubtedly, Leonard Bernstein’s greatest popular success was the musical West Side Story, written in collaboration with lyricist Stephen Sondheim and choreographer Jerome Robbins. In 1964, riding on the wave that had followed West Side Story (and Candide a few years earlier), the composer decided to create a new musical based on Thornton Wilder’s play, The Skin of Our Teeth. He took a year-long sabbatical from his conducting duties with the New York Philharmonic to devote his energies to this project. Working from June until December, Bernstein and his collaborators (lyricists Betty Comden and Adolph Green, along with Jerome Robbins) eventually decided to abandon the project and Lenny lamented the wasting of such valuable time. Much of the play’s music was quite good, so the composer returned to these melodies when a surprise project arose to occupy the second half of his sabbatical.

Bernstein’s friend Cyril Solomon convinced Dr. Walter Hussey, the dean of Chichester

Cathedral, that Lenny would be willing to compose a work for the 1965 Three Choirs Festival in which Chichester’s choir was joined with those of Winchester and Salisbury to form a festival chorus as they had done annually since about 1700. Hussey agreed that a new choral work by Bernstein would be a welcome addition to the festival, but warned that the seventy-five men and boys of the chorus occupied most of the stage area, leaving little space for an accompanying ensemble. As a result, Bernstein utilized diminished forces of strings, percussion, two harps, and added trios of trumpets and trombones. There was literally no space for a woodwind section. Lenny had just one request – the text must be in Hebrew.

Musically, Chichester Psalms is almost completely derived from Bernstein’s music to Wilder’s play, with the notable exception of the bellicose second section of the middle movement, which was drawn from music he scrapped from the “Rumble” scene in West Side Story. The work is cast in three movements, each of which states the complete text of a Hebrew Psalm, interrupted by lines of commentary drawn from another Psalm.

Chichester Psalms opens with festive and sober music to summon the revelry and awake the celebrants. The familiar Psalm 108, “Make a joyful noise unto the Lord,” springs forth with a Broadway-tinged brazenness that displays the chorus and orchestra to great advantage. This feeling of jollity prevails throughout most of the remainder of the first movement. Perhaps most touching is the poignant juxtaposition of texts in the second movement. Bernstein sets Psalm 23, “The Lord is my Shepherd,” as a solo for boy alto – a sound as beautiful as it is innocent. Chorus sopranos and altos join, only to be interrupted by the tenors and basses singing a bellicose verse from Psalm 2, “Why do the nations rage?” Eventually the two combine in a chilling counterpoint before the boy alto returns to complete his Psalm. The final movement reintroduces the motto theme in a dissonant string meditation. The texts, Psalms 131 and 133, are expectant pleas for peace and contentment. Reminiscent of Mahler in its intensity, the work ends with a feeling of careful optimism, not to a future without strife, but one beaming with hope.

©2013 Orpheus Music Prose & Craig Doolinwww.orpheusnotes.com


ProgramTEXT TRANSLATION

Part IPsalm 108, verse 2Awake, psaltery and harp!I will rouse the dawn!

Psalm 100, entireMake a joyful noise unto the Lord all ye lands.Serve the Lord with gladness.Come before his presence with singing.Know ye that the Lord, He is God.It is He that hath made us, and not we ourselvesWe are His people and the sheep of His pasture.Enter into His gates with thanksgiving,And into His courts with praise.Be thankful unto Him, and bless His name.For the Lord is good, His mercy is everlasting.And His truth endureth to all generations.

Part IIPsalm 23, entireThe Lord is my shepherd, I shall not want.He maketh me to lie down in green pastures,He leadeth me beside the still waters,He restoreth my soul,He leadeth me in the paths of righteousness,For His name’s sake.Yea, though I walkThrough the valley of the shadow of death,I will fear no evil,For Thou art with me.Thy rod and Thy staffThey comfort me.Thou preparest a table before meIn the presence of mine enemies,Thou annointest my head with oil,My cup runneth over.Surely goodness and mercyShall follow me all the days of my life,And I will dwell in the house of the LordForever.

Psalm 2, verses 1-4Why do the nations rage,And the people imagine a vain thingThe kings of the earth set themselves,And the rulers take counsel togetherAgainst the Lord and against His annointed.Saying, let us break their bonds asunder,He that sitteth in the heavensShall laugh, and the LordShall have them in derision!

Part IIIPsalm 131, entireLord, Lord,My heart is not haughty,Nor mine eyes lofty,Neither do I exercise myselfIn great matters or in thingsToo wonderful for me to understand.Surely I have calmedAnd quieted myself,As a child that is weaned of his mother,My soul is even as a weaned child.Let Israel hope in the LordFrom henceforth and forever.

Psalm 133, verse 1Behold how good,And how pleasant it is,For brethren to dwellTogether in unity.

AARON COPLAND (1900 – 1990)Suite from The Tender Land

Described by Leonard Bernstein as the “Dean of American Music,” Aaron Copland was approached in 1953 by Richard Rodgers and Oscar Hammerstein II about writing an opera to celebrate the thirtieth anniversary of the League of Composers. They told the composer that his new work was to be broadcast live on NBC Television – a part of the agreement that was never honored. Copland agreed and the resulting work would become his only full-length opera. For The Tender Land, Copland collaborated with Erik Johns, a dancer-turned-librettist who also served as Copland’s secretary. The two men admired the strikingly stark photographs of Depression-era farmers taken by Walker Evans and published in James Agee’s book, Let Us Now Praise Famous Men. It was from these images that they created the simple story that drives the opera.

In short, the plot involves the Moss family, farmers in a small Midwestern town. Laurie, the oldest daughter, is a senior in high school and wants to escape her meager upbringing. When two drifters suddenly appear in the community, the Moss family has no idea how much two strangers can change their lives. Laurie immediately falls for one of them. Not realizing that there are rumors of a pair of troublemaking outsiders in the area, Grandpa Moss hires the men as farm workers. Laurie


Programprepares to elope with her newfound love. However, even though the two laborers are quickly cleared of any wrongdoing, they sneak out of town without her to avoid scrutiny. At the end of the opera, the heartbroken and determined Laurie leaves the farm alone, realizing that she cannot hope for a better life unless she actively seeks opportunities.

After the 1954 premiere, Copland compiled a three-movement suite from his score, but was careful to point out that “it does not represent a digest of the dramatic action of the opera, but proceeds from the second act to the first in a three-movement sequence.”

The first movement, “Introduction and Love Music,” is some of Copland’s most affecting music, with its interweaving string and woodwind lines interspersed with wistful comments from the horn.

Copland’s second movement, “Party Scene,” is drawn from Laurie’s graduation party. It opens with a rapid, dissonant orchestral outburst in 2/4 time. The lively, happy music is marked by the fiddling of square dance music, including the famous excerpt entitled “Stomp Your Foot Upon the Floor.”

A stirring finale, “The Promise of Living,” combines Copland’s hymn-like music with a folk song entitled “Zion’s Walls” and ends the suite in a soaring anthem to simple life and family devotion.


AARON COPLAND (1900 – 1990) Ballet for Martha (Appalachian Spring)

In 1943 Aaron Copland was in Hollywood writing the music for his fourth film, The North Star—an irresistible piece of wartime propaganda with a stellar cast and a screenplay by Lillian Hellman, created to build a sense of trust among the American people for our Soviet allies—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-built 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 thirteen instruments. The version performed this evening is the suite that Copland arranged a few months later to be played by full orchestra. For this version, the composer removed just one ten-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 pre-existing 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.


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A History of Helping

PRO MUSICA COLORADO CHAMBER ORCHESTRA

CYNTHIA KATSARELIS, MUSIC DIRECTOR AND CONDUCTOR

2013-14 Season of Epics

Epic BeethovenNovember 22 & 23, 2013 Ludvig van Beethoven Symphony No. 7 Rodrigo and Daugherty Nicolo Spera, Guitar

Epic MozartJanuary 31 & February 1, 2014 Mozart Symphony No. 40 in G Minor, K. 550 Beethoven Piano Concerto No. 4 in G Major Hsing-Ay Hsu, piano

Epic SeasonsApril 4 & 5, 2014 Vivaldi 4 Seasons Piazolla The Four Seasons of Buenos Aires Lina Bahn, violinist

Fridays in Denver, Saturdays in Boulder.

Information and tickets are available online at www.promusicacolorado.org,

or call 720-443-0565. Check out our reviews in OpusColorado!

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Traditional Hardware

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MLM CONSTRUCTION, INC.

303-886-5039 • [email protected]

Malcolm L. MorisonOwner

Exhibitions, programs workshops, events and more

303.492.6892 cumuseum.colorado.edu303.492.6892 cumuseum.colorado.edu

Always Free - Open Every Day

MuseumNatural History

of

U N I V E R S I T Y O F C O L O R A D O

Weekly private lessonand twice-monthly

group lessonAges 4 - High SchoolBeginner - AdvancedBaby/Toddler music

classes ages birth - 3

note reading,theory, orchestra,fiddling, chamber,

ensembles,concerts, recitals

For informationplease call

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Boulder Phil FanfareFriday, October 4, 6-9 PMRembrandt Yard, 1301 Spruce Street, Downtown Boulder

Please join us for the Boulder Phil Fanfare, the not-to-be missed annual gala fundraiser in support of the artistic and education programs of the Boulder Phil. This year’s event at the elegant Rembrandt Yard features a sizzling tribute to the Great American Songbook! Boulder’s own Patrick Mason joins forces with six-time Grammy Award-winner Ralph Sharon and his trio to serenade guests as they indulge in an evening of fabulous food and wines, arts-inspired auction bidding, and mingling with fellow Boulder music lovers.

For tickets, please inquire at the lobby information table, visit www.BoulderPhil.org, or call 303-449-1343 x2.

We thank the following Fanfare supporters as of August 23:

FANFARE SPONSORS

RESTAURANT SPONSORS

IN-KIND DONORS

FANFARE COMMITTEE

African Eyes ToursArvada CenterBoulder BalletBoulder Museum of Contemporary ArtColorado Music Festival

CU PresentsThe Dairy Center for the ArtsGrand Teton Music FestivalTeresa Myrwang HolumHotel BoulderadoJapango

Moab Music FestivalSt Julien Hotel & Spa Sturtz and CopelandSushi ZanmaiWallaroo Hat Company

Christopher BrauchliJoan BrettPatricia ButlerDavid Fulker

Teresa Myrwang HolumRudy PerezEleanor PoehlmanLuana Rubin

Kevin ShuckCynthia SlikerNanette Schunk, Event Coordinator

Joan BrettChris & Margot BrauchliPatricia ButlerPamela Dennis & Jim Semborski

John Goldsmith & Amy KernDavid & Sara Harper Teresa Myrwang HolumBruce Kahn & Susan Litt

Steve & Jane MillerSacha MillstoneBarbara & Irwin NeulightRudy & Margaret Perez

oyster perpetual datejust

rolex oyster perpetual and datejust are trademarks.


DonorsThe Boulder Philharmonic Orchestra is able to provide high-quality artistic and education

program thanks to its growing number of season subscribers, and the annual support of individuals, corporations, foundations, and government agencies. We take this opportunity to express our appreciation of those who made contributions or pledges from May 1, 2012 to August 5, 2013.

FOUNDERS CIRCLE ($35,000+)Patricia ButlerThe Citizens of the Scientific

& Cultural Facilities District GOLD CIRCLE ($10,000+)AEC TrustAnonymousEstate of Don CampbellExxonMobilDavid Fulker & Nicky

WolmanFlatirons BankGordon & Grace GammGeological Society of

America FoundationTed ManningThomas Landauer & Lynn

StreeterThe Individual Donors to

the Boulder Philharmonic Endowment

XTO Energy SILVER CIRCLE ($5,000+)Sydney & Robert AndersonAnonymous (2)Albert & Rebecca BatesBoulder Arts CommissionBoulder County Arts AllianceRaquel CaganPeter & Caroline CogganJohn Goldsmith & Amy KernRudolfo & Margaret PerezHarry & Eleanor PoehlmannVirginia Hill Charitable

FoundationNyla & Gerry Witmore

BRONZE CIRCLE ($2,500+)The AcademyGail Aweida (in memoriam)Christopher & Margot

BrauchliJoan BrettCaplan & Earnest, LLCThomas & Virginia CarrThe Community Foundation

Serving Boulder CountyPamela DennisCarl & Ruth ForsbergJerry & Janet GillandKent & Cathy HansenKyle & Stephanie HeckmanSamuel & Carolyn JohnsonRuth Carmel KahnStephen & Judy KnappErma & John ManteyMicro MotionSteve & Jayne MillerMillstone/Evans Group

of Raymond James and Associates

Frank Palermo & Susan Olenwine

Carl & Kathy PolhemusSterling-Rice Group, Inc.Mary StreetStephanie & Horace Work LEADERSHIP CIRCLE ($1,000)Anonymous (3)A Spice of Life CateringBennie & Jannette BalkeAlexander & Sally BrackenBarbara BrentonLindley & Roberta BrenzaMichael Butterman &

Jennifer CarsilloThe Campbell Foundation

Fund

Joan ClelandCollins FoundationColorado State Bank & TrustTom & Ursula DickinsoneQuilterBetty FischerAndrew & Audrey FranklinJohn & Jacqulynn GeisterElyse GrassoDavid & Sara HarperJohn & Gerda HedderichJames & Judith HeinzeGrant & Holly HickmanDavid & Suzanne HooverIBMVirginia JonesQuentin & Bonnie KarlsrudJoan KnappHarold & Joan LeinbachBruce Kahn & Susan LittRichard & Linda LivingstonThe Louise & Grant

Charitable FundFrances MacAnallyAnnyce MayerRobert & Marilyn MohlingMyra MonfortBarbara & Irwin NeulightJanet & David RobertsonT. K. Smith & Constance

HoldenArthur & Carol SmootAlan & Martha StormoTaddiken Tree Co.TargetU.S. Bancorp FoundationDick & Caroline Van PeltBetty Van ZandtJack & Sophie WalkerJack & Brenda Zellner


DonorsARTIST CIRCLE ($500+)Randall & Jill AndersonPeter & Patricia AngellRichard BaileyBoulder Public Library

Foundation, Inc.Jean-Pierre & Glenna BriantToni & Nelson ChenBen & Gale ChidlawFrancis & Jenny CloudmanJames Tailer & Donna DavisChris & Pat FinnoffDr. Gilberto GonzalezRalph & Joanna GrassoCharles & Gail GrayLewis & Susan GuthrieCaroline HimesJane & Mel HolzmanRay & Margot LaPanseAlan & Judy MegibowRobert & Francine MyersThe Newton Family FundMartha & George OetzelJames PendletonPremier Mortgage GroupDayna & Robert RoaneSusan & Paul RobertsJuan & Alicia RodriguezLuana RubinR. Alan & Stephanie RudyTodd & Gretchen SlikerKristen WolfStu Wright/Wright Kingdom

Real EstateArt Zirger & Mary Rowe PARTNERS ($250+)Joyce AlbersheimAnonymous (2)Vincent BatesJanet BraccioAmy BrittonStephen Eisenberg & Anne

BurkholderWallace & Beryl ClarkClaude Weil & Carolie CoatesAlan & Tessa DavisScott & Paula DeemerJoe & Alice Doyle

Tracy & Michael EhlersWayne & Anne FischerStephen & Sandy FriedmanAnn GarstangGerald & Anita GershtenGreg GinocchioSusan & Gustavo GramppMary GreenwaldKen & Dianne HackettCharles & Patricia HadleyKim Hult & Robert PasnauColman & Marcia KahnDavid & Carol KampertMatthew KaroweDerek & Eileen Kiernan-

JohnsonAngelyn Konugres CouponasRichard & Barbara

KuchenritherJerome & Regina LapinJerry & Heidi LynchMary McElderryRichard & Donna MeckleyRobert MorehouseMary NakashianDorothy ReadWilliam RoettkerJane & Leo SchumacherRonald SintonDr. Judy SmetanaAndrew & Margrit StaehelinRandy StevensStephen TeboNicholas & Shelby

VanderborghAnne VincentVivian Wilson FRIENDS ($100+)Richard & Alma AlberLawrence & Annette

AndersonAnonymous (3)Peggy ArchibaldJason & Beth BaldwinLes & Barbara BerryCynthia BettsCatherine & William BickellGeorgia BlumKurt & Alison Burghardt

Martha BushnellMichael & Stephanie CarterJulianne CassadyHelen CheneryAndrew & Lois CherringtonRoger & Norma CichorzSara-Jane & Bill CohenRichard CollinsCommunity First FoundationMax & Barbara CoppomLynne DannenholdPeter & Joan DawsonLarry Day & Catherine

HaskinsDan & Nancy D’IppolitoDavid & Susan DonaldsonDavid DowellLeslie & Donald DreyerLee EllwoodJulie ErichMartha Coffin EvansDeidre FarrellJennifer FavellNan FogelRobert & Juliette FordRonald & Heulwen FranklinEllen FriedlanderNeil Ashby & Marcie

GeissingerCarl & Judy GelderloosPeter Gilman & Peggy

LemoneJulie GinocchioGarry & Barbara GordonSmith & Griswold Designs,

Ltd.Chris & Linda HansenMargaret HanssonPenny HawsNatalie Hedberg & Thomas

Van ZandtGerald & Doree HickmanDavid & Joan HillJeannette HilleryAna HopperstadThomas & Kristi HorstDixie HutchinsonJohn HynesArnie Jacobson & Victoria

Johns-Jacobson


DonorsWilliam & Martha JonesJo Ann JoselynRobert KehoeWilliam & Ann KelloggMelissa & Jon KilbergAnn KileyDon & Eleanor KingBonnie KirschenbaumPeter & Judith KleinmanBarry KnappJon & Helena KottkeAnnlee LandmanWesley & Heather Le

MasurierDouglas LernerSue & Rick LevineKamilla MacarSusan MagruderWilliam & Susan MarineCharles & Marian MathesonPriscilla McCutcheonJ. Hunter & Janet McDanielZoe McFarlandMarla & Jerry MeehlBarry & Gloria MillerRichard Nishikawa &

Kathleen MillerYoriko Morita & Karl GrillJames NeelyRonald & Joan NordgrenBob OrecchioBrigette PaigeChristopher & Linda ParisMolly ParrishDavid PaulsonRonald PelrineRobert & Marilyn PeltzerPaul & Margaret PreoJohn & Mary PriceBrook Reams & Rochelle

ChartierFrancelyn ReederBob & Judy Rothe Barbara SableJudith SchillingDan SegerKaren ShayDaniel & Boyce SherHoward & Valerie SingerBetty Skipp

Zdenka & Dean SmithThomas & Nancy StormGregory & Diane StreveyPeter & Laura TerpenningJames ToppingEd & Lynn TrumbleVirgil & Margaret TuckerLorraine VolskyPamela WalkerDavid & Amy WeissRaymond & Rena WellsJonathan & Hayden

WilliamsonMary WinstonRichard & Wendy WolfHelen E. WyattCharles Zabel SUPPORTERS ($50+)Charles & Cynthia AndersonSuzanne & Robert AndersonAnonymous (3)Charles ArnoldDaniel & Elizabeth AultJanet BartschDavid BlackburnCarolyn BoggsStanley & Virginia BoucherDavid BurnsJosephine & James BushJoanne & Gene SimmonDesiree Cedeno-SuarezJoseph & Elizabeth CirelliGeorge Clements & Anna

BellChristine Coates & Howard

GordonCharlotte CorbridgeCharles & Jean DinwiddieCaroline & Preston DouglasRuth FeiertagNeil FishmanWilliam & Ann FordJeffrey & RoseMarie FosterJohannah FrankeYaser & Mary FreijDavid GatesKathryn GoffLuis & Ester GonzalezAllan & Joan Graham

Dorothea & Ronald GreyChuck HardestyJanice HarveyPatricia HavekostSpencer & Valerie HavlickJames & Judith HeinzeVerenne HydeWayne & Christine ItanoJosh & Lori KahnJoyce LarsenC. Nicholas & Mollie LeePaul & Nancy LevittJudith LewisJoy LinfieldJean & Megan MacMillanDon & Jane MartinRobert MayerJ. Ramon McCarusJoan MulcahyPeter & Barbara SchumacherJoan ScottChristine ShieldsMarcella ShykulaJohn SnyderRobert & Julie StuenkelDr. Oakleigh Thorne, IIKaren UtleyChristine WaterburyDenise & Gary Williams

The Boulder Phil also thanks the 73 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 Cynthia Sliker at 303-449-1343 ext. 4.


The Gift that Keeps on GivingYou can support the Boulder Philharmonic’s long-term health through a special gift

during your lifetime as well as by designating a gift in your will. You may elect to contribute either to the Phil’s traditional endowment fund housed at the Community First Foundation, or to the Gamm Fund which was established through a major gift by Gordon and Grace Gamm and which affords the Phil even greater long-term financial security. For more information, please contact Kevin Shuck at 303-449-1343 x3.

AnonymousRobert & Sydney

AndersonJaime ArizaletaBud & Anne ArnoldCharles & Helen

AumillerEmma BarnsleyFrancesco BeufStanley & Marge

BlackBarbara BrentonSandra BrodieKurt & Alison

BurghardtWanee & Joe ButlerJancey CampbellMelvin ClarkPolly CollierWilliam Curtis

Rob & Kitty deKieffer

Ursula & Tom Dickinson

Charles & Jean Dinwiddie

George & Sallie Duvall

John & Elizabeth Dynes

George & Peggy Earnest

Maurine EatonOlivia EdwardsSylvia EllisPeter & Mary Jean

EwingMac & Sandi FraserHans & Jeri FriedliRay & Mary Lynd

Frommer

David Fulker & Nicky Wolman

Gordon & Grace Gamm

Lloyd D. GelmanWarren & Esther

GoedertStanley & Anni

GoldbergRobert & Diane

GreenleeWilliam & Bonnie

HamiltonAaron & Doreen

HarberRonald & Elizabeth

HarringtonRay & Connie

HauserDebora HaynesCatherine JacksonMitchell & Laura

Brenton JacobBarbara JohnsonSam & Carolyn

JohnsonPeter & Tamara

JordeW. K. & Joanne

KilpatrickHarold & Joan

LeinbachRick & Sue LevineWilliam Lightfoot &

May ChuJohn & Leslie LovettJane MahoneyByron & Virginia

MayCarol May & Jim

SaindonDenis & Judith NockRichard & Dona

PadrnosMarion PatonPenni PearsonGary & Mhari

PeschelJim & Elsie Pettibone

Timothy Prout & Carol Dalager

Dick & Kathryn Ralston

Bill & Marilyn Reichenberg

Thomas RiisJo & Anna Marie

RobbJuan & Alicia

RodriguezJames & Rebecca

RoserJack & Lynne

RummelJodie RuthrauffRon & Margaret

SaariMerle & Rught

SachnoffJody SarbaughWayne ScottElizabeth ShannonArt & Carol SmootMark & Mickey

StevensonAlan & Marty

StormoJoan TalbotLyman TaylorGeorge & Caroline

ThompsonDouglas & Patricia

VidulichDiane VivasAlice Dodge WallaceJeffrey & Renee

WhitePaul & Patricia

WhiteRoe & Helene WillisCharles & Marjorie

WilsonRobert & Lawrie

WilsonNyla WitmoreEd WolffRuth Yearns

Caplan and Earnest’s Transactions Group can assist you with:

Wills, TrusTs and ProbaTe • real esTaTe

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CelebratingOver

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Proud supporter of the Boulder Philharmonic Orchestra.

Phone: 303-443-8010 • www.celaw.comOne Boulder Plaza • 1800 Broadway, Suite 200

Boulder, CO 80302-5289Artwork by betsy CAplAn

Listen Locally

10/2 Armitage Gone! Dance Fables on Global Warming

11/8 Van Cliburn Gold Medalist Vadym Kholodenko

11/20 MOMIX Botanica 12/15 Turtle Island & Tierney Sutton

A Solstice Celebration 1/17 Chick Corea & Béla Fleck 2/13 Venice Baroque Orchestra 2/24 TAO Phoenix Rising 3/19 Fahrenheit 451 by Aquila Theatre 4/5 Eddie Palmieri Salsa Orchestra

feel thethrillSeason and

single tickets

on sale now!

Global performance. World-class entertainment. Global performance. World-class entertainment. Global performance. World-class entertainment. Global performance. World-class entertainment. You have to be here.You have to be here.

CUPRESENTS.ORG303-492-8008

Support Professional Orchestral Music

on the Front Range

BoulderPhil.org303-449-1343

CheyenneSymphony.org307-778-8561

FCSymphony.org970-482-4823

GreeleyPhilharmonic.com970-356-6406



Check out our season schedules online!


Friends of the PhilWhether you have a passion for

percussion or love to celebrate the strings, you know that the individual musicians that make up the Boulder Philharmonic Orchestra are what make the organization unique. Now you can highlight that connection and have a lasting impact on the Boulder Phil’s future by pledging your support to a musician in the orchestra through the new Friends of the Phil pledge initiative.

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. In addition, special events and activities are being planned to expand your experience with the Boulder Phil in meaningful ways, giving you the chance to experience the orchestra from the inside out while forging a special connection between you and the performers on stage.

SECTION CHAIR SPONSORA multi-year pledge of $250+ annually

ASSISTANT PRINCIPAL CHAIR SPONSORA multi-year pledge of $500+ annually

PRINCIPAL CHAIR SPONSORA multi-year pledge of $1000+ annually

Our thanks to our very first Friends of the Phil sponsors:Joan BrettAlan & Tessa DavisPamela DennisDavid FulkerTeresa Myrwang HolumVirginia JonesHarold & Joan LeinbachRobert & Marilyn MohlingRobert & Francine MyersMartha & George OetzelRudy & Margaret PerezTodd & Gretchen SlikerKristen WolfBrenda & Jack Zellner

First time giving to the Phil?

The multi-year pledge requirement to participate in Friends of the Phil is waived for new donors of $250+!

For more information on how to participate in this new program, visit www.BoulderPhil.org or call Cynthia Sliker at 303-449-1343 x4.

Leah MohlingPrincipal 2nd Violin

Michael Yopp, Principal Horn


Patron InformationTICKET EXCHANGESTo make an exchange for another performance, we need to receive your ticket(s) at the Boulder Phil offi ces 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 diff erence. All sales are non-refundable.

TICKET DONATIONSIf 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 offi ce at least 24 hours prior to the concert.

LOST TICKETSIf you lose your tickets, please contact us above immediately to arrange replacements. If you fi nd your tickets missing on the day of the performance and the Boulder Phil offi ces are closed, please arrive at Will Call at least 45 minutes prior to the concert to have your tickets re-issued.

PARKING AT MACKYParking 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. 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 SEATINGAs a courtesy to other patrons, latecomers will be seated during an appropriate break at the discretion of the ushers.

USEFUL INFORMATIONListening devices are available at the Macky box offi ce. The use of cameras, recording equipment and all other electronic devices is prohibited during performances. Patrons with cell phones, beepers or electronic watches must silence them upon entering the auditorium. 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.

A toast to theBoulder

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Open Sunday-Saturday8:00a.m. to 11:45p.m.

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MUSIC DIRECTOR Bahman Saless

2013 FALL CONCERTS Sept. 27 & 28 Nov. 8 & 9 Dec. 20, 21, & 22


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If you are planning to sell or buy a new home,

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Janet Thompson and Kirsty Daviau are a

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Boulder’s Upstart Crow Theatre Company

presents our 34th season:

Bus Stop by William Inge

August 30 - September 14, 2013

The Tempest by William Shakespeare - November 15 - 30, 2013

Blood Wedding by Federico Garcia-Lorca

February 28 - March 15, 2014

The Madwoman of Chaillot

by Jean GiraudouxMay 9 - 24, 2014

Tickets available at http://www.theupstartcrow.org/tickets.php

or call (303) 444-7328.

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At Frasier Meadows, each of our residents has a unique story to tell — just like you. Ellen has great memories from her days as a concert cellist. Come join our community and add your story to those of the other vibrant residents here. Learn more about our campus and our continuum of care at frasiermeadows.org, or call 303-499-4888.

Ellen plays the way she lives. Carefree.


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Homes starting at $1,500,000Exclusive 17 Lot Subdivision

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Later that day, you stroll down one of the scenicwalking trails within the Goldbranch community.You stop to say hello to your neighbors as they enjoya game of Bocce on one of the courts located inGoldbranch Village. You notice a red-tailed hawklanding in a towering blue spruce, and appreciatethe wildlife you’re able to see along the ripariancorridor that forms the northern properly line.

The sun is beginning to set, painting the Coloradoskies pink and gold. Your friends are about to arrivefor a leisurely evening of dinner and reminiscingabout your recent trip to Europe. There's no need toworry or stress; in this low-maintenance community,your yard work has already been done.

Just before your guests arrive, you light your outdoorfireplace, pour yourself a glass of wine from yourwine cellar, and watch the bright stars begin toemerge over the Rocky Mountains. After an enjoyableevening, as you rest comfortably in Goldbranch'sprivate enclave, you think, "Life doesn't get any betterthan this."

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boulder philharmonic fall 2013

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