boulder philharmonic fall 2014-2015, sept. 13-14, oct. 11 & nov. 8

MICHAEL BUTTERMAN, MUSIC DIRECTOR

BOULDERPHILHARMONICORCHESTRA

2014-2015 SEASON

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20142015SEASON

www.boulderballet.org

BOULDERBALLET

BOUL D E R B A L L E T S C HOO LClasses for all ages and levels.

303.443.0028www.boulderballet.org

• The Nutcracker with full orchestra

• Stepping Out 2015 world premiere ballets

• Storybook Ballet a student performance

• The Firebird a special event for Mother’s Day

• Ballet in the Park free outdoor concerts

Photos by Sue Daniels


WelcomeDear Friends,

We humans are storytellers by nature. Through tales and parables we have passed along important life lessons and elements of cultural identity from one generation to the next. And we have done so not only with spoken and written words, but with our iconography, art, dance, drama and music, as well.

Our 2014-15 Boulder Phil season provides myriad examples of composers who used the expansive tonal palette of the symphony orchestra to bring classic legends to sonic life. We’ll enjoy four creation stories presented in highly varied styles, and explore avian characters from Nordic and Russian lore. Our Valentine’s program brings us musical portraits of two legendary couples, and we’ll celebrate our new concertmaster as he helps us weave the tale of 1001 Nights in Scheherazade.

We continue our interest in natural inspiration as we hear (and see) the world premiere of Gates of the Arctic and the misty Enchanted Lake. We’re also celebrating the 150th anniversary of Richard Strauss with his exquisite Four Last Songs—always on my list of most deeply moving pieces. We’re proud of the musicians in our great orchestra, and will shine the

spotlight on their virtuosity in Bartók’s brilliant Concerto for Orchestra. Along the way, we’ll be joined by marvelous guest artists with an impressive array of unique qualities perfectly matched to the works they’re presenting. Our sincere thanks to you for joining us, and to our ever-increasing family of

subscribers and patrons. Your passion, curiosity, and enthusiasm sustain and inspire us as we continue to refl ect and enhance The Spirit of Boulder.Enjoy!

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20142015SEASON

www.boulderballet.org

BOULDERBALLET

BOUL D E R B A L L E T S C HOO LClasses for all ages and levels.

303.443.0028www.boulderballet.org

• The Nutcracker with full orchestra

• Stepping Out 2015 world premiere ballets

• Storybook Ballet a student performance

• The Firebird a special event for Mother’s Day

• Ballet in the Park free outdoor concerts

Photos by Sue Daniels

12 Boulder Philharmonic Orchestra 2014-2015

MICHAEL BUTTERMAN, MUSIC DIRECTOR

BOULDERPHILHARMONICORCHESTRA

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

MUSIC DIRECTOR Michael Butterman

OFFICERS

BOARD

ADVISORY COUNCIL

ADMINISTRATION

DIRECTOR EMERITUSKim Coupounas China Leonard Dan Sher

ORDER OF THE BATON

Kyle Heckman, PresidentRudolfo Perez,

Vice President

Patricia Butler, Secretary

Christopher BrauchliJoan BrettClaire FigelDavid FulkerLin HawkinsDeborah HollandErma Mantey

Yoriko MoritaEleanor PoehlmannKaryn SawyerJennifer StachniakLynn StreeterMarion Thurnauer

Barbara BrentonRoberta BrenzaPamela DennisKent HansenRuth KahnSusan Olenwine

Joan RingoenMary StreetDick Van PeltBetty Van ZandtBrenda Zellner

Kevin Shuck, Executive Director

Teresa Myrwang Holum, Development Director

Shelley Sampson, Patron Services Manager & Artistic Administrator

Michael Allen, Orchestra Librarian

Janet Braccio, Publicity Consultant

Holly Hickman, Marketing Consultant

Kim Peoria, Orchestra Manager

Glenn Ross, Production Manager

Betty Woon, Bookkeeper

Ryan Foley, Development Intern

Michelle Sheridan, Education Coordinator

Carolyn Richardson, Volunteer

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

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

To Our SupportersAs I begin my fifth full season with this

thriving and vibrant orchestra, I can’t help but marvel at the growth that has occurred and continues with each performance of the Boulder Phil.

We watched with excitement as this year’s subscriptions hit yet another high point – a clear indication of how all that we are doing is resonating with you, our community. We also hear the evolution of our fine orchestra continuing with each new member who wins a coveted position, most prominently with the recent appointment of Chas Wetherbee as concertmaster.

It’s no secret that building support for classical music today is challenging. Yet we are succeeding, thanks to more and more of you helping us realize the vision of a dynamic orchestra that “reflects and fosters all that makes our community unique.” There are no shortcuts or silver bullets, just the right combination of creativity, persistence, joy, and hard work.

While Boulder is a beautiful place, without local organizations like the Phil to bring people together and give expression to all that is worth celebrating in life, our city simply would not measure up. As someone who recognizes this truth, I invite you to join us in building the future of the Boulder Phil and nurturing a vital musical life for ourselves and our community.

Kevin Shuck

Executive Director Kevin Shuck

This program is produced for the Boulder Philharmonic

Orchestra by The Publishing House, Westminster, CO.

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About the Boulder PhilAs one of Colorado’s premier

ensembles, the Boulder Philharmonic Orchestra is creating a new model for American orchestras through dynamic performances that reflect our community’s own values, creativity, and sense of place. Voted “Best of Boulder” yet again in 2014, today’s Boulder Phil is bucking national trends with growing, enthusiastic audiences under the vision and leadership of Music Director Michael Butterman.

The Boulder Phil’s main concert series—broadcast state-wide on Colorado Public Radio—is presented at Macky Auditorium, a historic jewel on the University of Colorado campus. From multi-genre productions featuring dance, choral and visual elements to concerts with a unique hometown flavor, the Phil’s imaginative programming has resulted in increasing numbers of sold-out concerts and nationwide notice in Symphony Magazine. In recent seasons the Phil has collaborated with an impressive 45 local organizations, encompassing arts, science, nature, youth, social services and more. By going beyond simply performing great music, we strive to connect ever more people to the inspiring power of orchestral music.

Recognized as “Boulder’s premier orchestra” (Boulder Weekly), the Boulder Phil is comprised of the top freelance musicians from Colorado’s Front Range and beyond. Founded in 1958, the Boulder Phil became a fully professional ensemble under the leadership of Theodore Kuchar, whose tenure as music director began in 1996. Today the Boulder Phil reaches audiences of over 20,000, with performances from Arvada to Highlands Ranch as well as regular invitations to perform at the prestigious Vilar Performing Arts Center in Beaver Creek.

The Boulder Phil strives to inspire the next generation of music-lovers through Discovery Concerts that have reached thousands of 4th and 5th grade students in 28 schools across three counties. For decades the Phil has also fostered new talent with the annual Young Artist Concerto Competition, and Boulder Phil musicians provide mentorship through side-by-side concerts with the Greater Boulder Youth Orchestras and Front Range Youth Orchestras. In all these ways, the Boulder Phil strives to be at the center of our community’s cultural fabric.

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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 ninth season as Music Director for both the Boulder Philharmonic Orchestra and the Shreveport Symphony Orchestra, and is the new Music Director of the Pennsylvania Philharmonic, celebrating its inaugural season in 2014-2015. He is also the Resident Conductor of the Jacksonville Symphony Orchestra, and is in his 15th season as Principal Conductor for Education and Community Engagement for the Rochester Philharmonic Orchestra, the first position of its kind in the United States.

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, Phoenix Symphony, Kansas City Symphony, Colorado Music Festival Orchestra, Charleston Symphony, Hartford Symphony, San Antonio Symphony, Syracuse Symphony, New Mexico Symphony, California Symphony, Louisiana Philharmonic, Spokane Symphony, El Paso 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 14-15 season, he will make his debut with the Victoria Symphony in Canada and return to the podium of the Santa Fe 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

Season Supporters

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Educational OutreachThe 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!” Sign up your school today for our next Discovery Concert at Macky on Friday, April 24, 2015.

• “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.

• 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.

The Boulder Phil performs for 4th and 5th grade students each year in Macky Auditorium.

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members of Greater Boulder Youth Orchestras

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Boulder Philharmonic Orchestra 2014-2015 Program 1

ProgramBOULDER PHILHARMONIC ORCHESTRA

Michael Butterman, conductor

Gabriela Martinez, piano

Saturday, September 13, 2014St. Luke’s Methodist Church, Highlands Ranch

7:30pm PerformanceFeaturing Aris Doike, 2014 Young Artist Concerto Competition Winner

Sunday, September 14, 2014Macky Auditorium, CU Boulder

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

Stephen Lias Gates of the Arctic World Premiere (b. 1966) Celebrating the 50th Anniversary of America’s

Wilderness Act

Camille Saint-Saëns Piano Concerto No. 2 in g minor, op. 22, (1835 – 1921) I. Andante sostenuto II. Allegro scherzando III. Presto

- Intermission -

Nikolai Rimsky-Korsakov Scheherazade(1844 – 1908) I. The Sea and Sinbad’s Ship II. The Story of Prince Kalendar III. The Young Prince and the Princess IV. The Festival in Baghdad; The Sea;

The Ship Goes to Pieces on a Rock

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

Partner Organization

Program 2 Boulder Philharmonic Orchestra 2014-2015

ProgramSTEPHEN LIAS, COMPOSER

The music of adventurer-composer Stephen Lias is regularly performed throughout the United States and abroad by soloists and ensembles including the Louisiana Sinfonietta, NYU New Music Ensemble, East Texas

Symphony, XPlorium Ensemble, Fairbanks Summer Arts Festival Orchestra, and Chamber Orchestra Kremlin. Recently, his passion for wilderness and outdoor pursuits has led to a growing series of works about the national parks of the US. He has had residencies at Rocky Mountain, Glacier, Denali, Glacier Bay, and Gates of the Arctic National Parks, and has written over a dozen park-related pieces that have been premiered at conferences and festivals in such places as Colorado, Texas, Australia, and Taiwan.

Mr. Lias is the founder and leader of the annual “Composing in the Wilderness” field seminar offered jointly by Alaska Geographic and the Fairbanks Summer Arts Festival. He is the Texas delegate to the International Society of Contemporary Music and serves as the Chair of the judging panel for the ISCM-IAMIC Young Composers Award. He currently resides in Nacogdoches, Texas where he is Professor of Composition at Stephen F. Austin State University.

GABRIELA MARTINEZ, PIANOLauded by The New

York Times as “compelling, elegant, and incisive,” Venezuelan pianist Gabriela Martinez is quickly establishing a reputation and earning praise as a versatile artist who combines

“panache and poetry” (Dallas Morning News) with a “sense of grace and clarity” (The Star Ledger).

Since making her orchestral debut at age 7, Ms. Martinez has appeared as soloist with orchestras such as the Chicago, Houston, New Jersey, Fort Worth, Pacific and San Francisco Symphonies; with the Stuttgarter Philharmoniker, MDR Rundfunkorchester,

Nurnberger Philharmoniker, and Symphonisches Staatsorchester Halle in Germany; and regularly performs with the Simon Bolivar Symphony Orchestra. She has performed with conductors Gustavo Dudamel, James Gaffigan, Lawrence Foster, James Conlon, and Charles Dutoit, among many others.

Ms. Martinez has appeared at such venues as Carnegie Hall, Avery Fisher Hall, and Alice Tully Hall (New York); Grosses Festspielhaus (Salzburg); Semperoper (Dresden); Tivoli Gardens (Copenhagen); Palace of Versailles (Paris); Festival dei Due Mondi (Spoleto); Verbier Festival (Switzerland); Mostly Mozart, Ravinia, and Rockport festivals (U.S.); Festival de Radio France et Montpellier; and Tokyo International Music Festival.

An avid chamber musician, Ms. Martinez has collaborated with numerous musicians and ensembles including Itzhak Perlman, Carter Brey, and the Takács and Calder quartets. Passionate about contemporary music, she regularly includes performances and world premieres by living composers. This season, Ms. Martinez will premiere a solo piano piece by Mason Bates.

ARIS DOIKE, CELLO2014 Winner, Boulder Philharmonic Young Artist Concerto Competition

Aris Doike, born and raised in Honolulu, Hawaii, started playing the cello at age 10. He recently graduated from the University of Colorado at Boulder with a Bachelors of Music Degree in Cello Performance. His

accomplishments include: performing on National Public Radio’s From the Top as well as being a recipient of the Jack Kent Cooke Scholarship, Garth Newel Music Center’s Summer Fellowship Scholarship, Theodore Presser Academic/Performance Scholarship, CU-Boulder’s Most Outstanding Junior Award, and more. Aris’s mentors and teachers include Andrew Eckard, Judith Glyde, and Andres Diaz of Southern Methodist University, where he is presently pursuing a Performance Diploma in Cello Performance. Aris would like to dedicate this performance to his high school teacher, Andrew Eckard, who recently passed away due to brain cancer.


ProgramPROGRAM NOTES

STEPHEN LIAS (b. 1966)Gates of the Arctic

In August of 2012, I had the amazing honor of serving as Artist-in-Residence for Gates of the Arctic National Park. My residency involved backpacking for ten days with a park ranger as we followed the migration of the caribou and explored the headwaters of the Alatna River. It was, in every way, a life-changing and inspiring experience, and I extend my deepest thanks to those that made this happen. As I considered how I might best translate that experience into a piece of music, I decided that the clearest and most compelling approach was to simply tell the story through sound. Any long backpacking trip is inevitably comprised of singular moments of awe, fear, beauty, or challenge - separated by long (and often grueling) stretches of hiking. This composition follows that model in much the same way that Rimsky-Korsakov did in his famous “Pictures”. Although we begin and end the piece in fl ight over the majestic Brooks Range, the body of the piece includes sections about wolves, caribou, snow, bears, etc. separated by a hiking theme that undergoes numerous transformations before fi nally building to a grand climax.

I write music about the national parks because they challenge me, teach me, and provide me with an unending source of inspiration. It is my deepest hope that through my music, audiences may experience just a little taste of what it felt like to be there, and that it may serve as a “call of the wild” and awaken everyone’s dormant sense of adventure.

CAMILLE SAINT-SAËNS (1835-1921)Concerto No. 2 for Piano and Orchestra, in g minor, Op. 22

The eighty-six years of Camille Saint-Saëns’s life comprise one of the longest of any composer. Born in 1835 only eight years after Beethoven’s death, he lived until 1921 three years after Leonard Bernstein’s birth. However, it was not his longevity that makes him memorable, but the enormously creative music he composed during the eighty-two productive years of his musical life, beginning at age four.

Saint-Saëns described music as “a formal combination of pleasing sounds, purity of style and perfection of form.... elegant lines, tasteful coloration, and beautiful succession of

harmonies.” This was not idle pontifi cation, but a perfect description of Saint-Saëns’ musical style. His works fi t into a strict formal structure, sometimes innovative but never avant-garde. His approach is direct, but never harsh. A distinct French fl avor is ever-present with a melodic and harmonic frivolity. As a strict French nationalist in musical matters, Saint-Saëns became one of the leaders in what would become a French musical renaissance in the 1870s.

This eminently important composer directly infl uenced several generations of musicians, not only through his own music, but also through his contact with young composers throughout his life, spanning from Berlioz to Stravinsky. Perhaps his most infl uential institutional association began in 1871 when he co-founded the Société Nationale de Musique, an organization devoted to fostering the composition and performance of music by young French composers. In his fi fteen years with the Société, Saint-Saëns helped promote the music of Cesar Franck, Edouard Lalo, and Claude Debussy.

In the years before his short-lived teaching career, Saint-Saëns had become known as a formidable pianist. His situation was very similar to that of the Russian composer-conductor Anton Rubinstein. The two composers had forged a friendship in the 1850s and often performed on the same programs. They gave a successful series of concerts in 1868, of which Saint-Saëns wrote:

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Program“After that magnificent season we

happened to be at some concert or other in the Salle Pleyel, when he [Rubinstein] said to me, ‘I haven’t conducted an orchestra in Paris yet. Let’s put on a concert that will give me an opportunity of taking up the baton.’ ‘With pleasure.’ We asked when the Salle Pleyel would be free and were told we should have to wait three weeks. ‘Very well,’ I said, ‘in those three weeks I will write a concerto for the occasion.’ And I composed the G Minor Concerto, which accordingly had its first performance under such distinguished patronage.”

This concerto is full of soloistic fireworks, but is unique in its reversal of tradition, placing the slow movement first. Saint-Saëns’ opening andante sostenuto begins with a dazzling cadenza that lends a lyrically rhapsodic air to this most unusual of first movements. Atmospheric and pensive, there is no hint of the fireworks to come. The orchestra finally enters and the threat of storminess is never far away. Arpeggios and runs are heard throughout, including a second cadenza in the usual position near the end of the movement before a final fortissimo flourish.

The allegro scherzando second movement is nimble, light, and virtuosic. Saint-Saëns infuses it with his typically dry humor by opening the proceedings with solo timpani. Fleet-footed and mercurial, the movement features the soloist in alternation with the orchestra. The second theme begins with a rollicking left-hand pattern that gives way to a tantalizing melody in the right hand.

Perhaps the most difficult for the soloist is the presto finale – a brisk tarantella that features a compendium of dazzling pianistic devices. Calculated touch and exacting precision are required to master the fiery passages of this movement. Saint-Saëns’ second theme is less florid, but the development section focuses almost exclusively on its dotted rhythms. After a triumphant return of the opening material in the recapitulation, an extended coda erupts with pianistic fireworks. The final measures are among in the most enthralling in the repertoire.

NIKOLAI RIMSKY-KORSAKOV(1844-1908)Scheherazade, Op. 35

European musical fashion was slow in its eastward exodus into Russian culture. It was not until Mikhail Glinka’s works combined Russian themes and Germanic musical forms in the mid

19th century that European musical fashion took hold in Russia.

Perhaps it was this delayed acceptance that explains why nearly all of Glinka’s most noted disciples came from non-musical professions. Called moguchaya kuchka (the “Mighty Handful”), this group of talented armchair composers was comprised of Alexander Borodin (a chemist), Cesar Cui (an engineer), Modest Mussorgsky (a government clerk), Mily Balakirev (the leader and only professional musician), and Nikolai Rimsky-Korsakov (a naval officer).

Upon Balakirev’s urging in 1861, the untrained Rimsky-Korsakov taught himself composition and produced some of the most advanced orchestrations of his day – Capriccio Espagnol, Russian Easter Overture, and Scheherazade. The most successful of the “Mighty Handful,” Rimsky-Korsakov mastered every aspect of the musical arts so completely that he was awarded a position as Professor of Composition at the St. Petersburg Conservatory just ten years after he began composing.

Scheherazade (1888) celebrates the exotic locale of Arabia. The tales of the 1001 Arabian Nights date to as early as the 10th Century and give us the stories of Sinbad, Ali Baba, and Aladdin. In order to link several of these together into one unified symphony, Rimsky-Korsakov prefaced the published score as follows:

“The Sultan Shakriar, convinced of the falsehood and inconstancy of all women, had sworn an oath to put to death each of his wives after the first night. However, the Sultana Scheherazade saved her life by arousing his interest in the tales which she told during the 1001 nights. Driven by curiosity the Sultan postponed her execution from day to day and at last abandoned his sanguinary design.”

“Scheherazade told miraculous stories to the Sultan. For her tales she borrowed verses from the poets and words from folksongs combining fairy tales with adventure.”

Insisting that listeners form their own unique narrative, Rimsky-Korsakov provided only fragmentary titles for the four exotic and evocative movements. Individual demands on each player are extreme. The score is filled with strikingly original orchestration using creative and subtle combinations of instruments. It has been noted that Scheherazade sounds amazingly Eastern – no mean feat for an ensemble comprising only Western instruments.

©Craig Doolin


Boulder Philharmonic Orchestra

VIOLIN 1Charles Wetherbee,

concertmaster, Lafayette Rebecca RoserAnnamaria Karacson,

assistant concertmaster, Boulder

Virginia NewtonDebra Holland, Boulder Brenda ZellnerGyongyver Petheo,

Highlands Ranch Todd & Gretchen SlikerVeronica Pigeon, GoldenTakanori Sugishita, Boulder Harold & Joan LeinbachMalva Tarasewicz, Boulder Pamela WalkerYenlik Bodaubay Weiss,

Superior

VIOLIN 2Leah Mohling,* Louisville Robert & Marilyn MohlingVacancy** Robert & Francine MyersSarah Delevoryas,

Broomfield Kristen WolfRegan Kane, BoulderSue Levine, BoulderMiriam Linschoten, BoulderRobyn Sosa, DenverPaul Trapkus, LongmontAzaduhi A. Vieira,+

Colorado SpringsLori Wolf Walker, Louisville

VIOLAMary Harrison,*+

Wheatridge Patricia ButlerMichael Brook,** SuperiorAniel Cabán, BoulderMatthew Diekman,

DenverMegan Edrington, LafayetteClaire Figel, Boulder Teresa Myrwang HolumNancy McNeill, LafayetteStephanie Mientka,

Boulder

CELLOCharles Lee,* BoulderMarcelo Sanches,** Boulder Anne WenzelGeorgia Blum, BoulderAnne Brennand, Boulder Joan ClelandSara Fierer, DenverYoriko Morita, Louisville Chris & Margot BrauchliGreta Parks, BoulderShirley Stephens-Mock,

GoldenEleanor Wells, Boulder Martha & George Oetzel

BASSDavid Crowe,* Boulder Nyla & William WitmoreBrian Knott,** LouisvilleBrock Chambers, DenverDale Day, Boulder Larry Day & Catherine

HaskinsBob Orecchio,+ WestminsterMatthew Pennington,

Lafayette

HARPKathleen Wychulis,*

Omaha, NE

PIANOArthur Olsen,* Boulder

TIMPANIDouglas William Walter,*

Louisville

PERCUSSIONHiroko Okada Hellyer,*

Centennial Virginia JonesPaul Mullikin,** LakewoodMike Tetreault, Denver Annyce Mayer

FLUTE/PICCOLOElizabeth Sadilek,* Edwards Pamela DennisCaitlyn Phillips,

New York, NY Olga Shylayeva, Lafayette Paul Weber

OBOE/ENGLISH HORNSarah Bierhaus,* GoldenTenly Williams, DenverMax Soto, Denver

CLARINET/BASS CLARINETStephanie Zelnick,*

Lawrence, KS Rodolfo & Margaret PerezBronwyn Fraser, LongmontMichelle Orman, Denver

BASSOON/CONTRABASSOON

Vacancy* Joan RingoenKim Peoria, LouisvilleWendy La Touche, Boulder

HORNMichael Yopp,*

Colorado SpringsJeffrey Rubin, Longmont Alan & Tessa DavisDevon Park, associate

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

utility, Sparks, NV

TRUMPETBrian Brown,* Fort Collins David Fulker &

Nicky WolmanKenneth Aikin, BoulderRoberta Asmus Goodall,

Centennial

TROMBONEBron Wright,*

Colorado SpringsOwen Homayoun,

Austin, TX Jeremy Van Hoy,

Colorado Springs

TUBAMichael Allen,* Northglenn

* Principal** Assistant Principal+ On Leave Welcome to our Newest

Members!

We thank our inaugural “Friends of the Phil” musician sponsors. For more information on sponsoring one of the Boulder Phil’s professional musicians, please see page 33.


ProgramBOULDER PHILHARMONIC ORCHESTRA

Michael Butterman, conductor

Twyla Robinson, sopranoBrian Jones, timpani

Saturday, October 11, 2014Macky Auditorium, CU Boulder

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

Charles Griffes The White Peacock(1884 – 1920)

Michael Udow Apparition (b. 1949) Tonight’s performance is being recorded for a CD

release of the composer’s works. Please limit ambient noise and unwrap cough drops in advance.

Igor Stravinsky Suite from The Firebird (1919)(1882 – 1971)

— Intermission —

Jean Sibelius The Swan of Tuonela(1865 – 1957)

Richard Strauss Vier letzte Lieder (Four Last Songs)(1864 – 1949) Frühling (Spring) September Beim Schlafengehen (Going to sleep) Im Abendrot (At sunset)


Tonight’s guest artists are staying at the Millennium Harvest House Hotel


ProgramMICHAEL UDOW, COMPOSER

Fulbright-Hayes Fellow, Michael Udow, has composed operas, film scores, orchestral and wind ensemble works as well as numerous chamber music and solo compositions. He is currently Composer-in-Residence

with the Colorado Chamber Orchestra. His distinctive compositional voice eludes categorization. His rhythmically engaging complex contrapuntal lines with dense timbres weave effortlessly with memorable melodic lines. Having retired after a distinguished career at the Santa Fe Opera (Principal Percussion 1968—2009) and the University of Michigan (1982—2011 Emeritus Professor), Mr. Udow devotes his full time energies towards composing while residing in Longmont, Colorado. He continues to provide short term composition and percussion residencies at conservatories and universities around the world, most recently in China, Japan, Korea and the USA. His inspiring composition teachers included Warren Benson, Herbert Brün, Edwin London, Thomas Fredrickson, Paul Steg, Wlodzimierz Kotoński and he credits Salvatore Martirano, Ben Johnston, Gordon Binkerd, Morgan Powell and Neely Bruce for their informative contributions. Mr. Udow’s exceptional percussion education began with Doc Meyer and continued with Bob Lee, F. Michael Combs, Jack McKenzie, Russell Hartenberger Michael Ranta, Alan Abel and Thomas Siwe.

BRIAN JONES, TIMPANIBrian Jones joined

the Dallas Symphony Orchestra as Principal Timpanist in 2011, after having served thirteen seasons as Principal Timpanist with the Detroit Symphony Orchestra. Mr. Jones has also performed as

guest principal timpanist with the orchestras of Chicago, Philadelphia, Boston, San Francisco, and Columbus, and has performed as a percussionist with the orchestras of Chicago, Boston, Houston, and the Grand Teton Music Festival. Mr. Jones has toured and recorded

with the Empire Brass Quintet, appeared as a performer on NBC’s The Today Show, and was featured in a command performance for Prince Rainier of Monaco. As an undergraduate at The University of North Texas, he was a member of the Grammy-nominated One O’clock Lab Band, playing drum set and bass trombone. Mr. Jones served as Adjunct Professor of Percussion at the University of Michigan from 2001 to 2011, and has been featured in clinics and master classes worldwide. Mr. Jones has been recorded in a wide variety of musical settings and has premiered solo works with the Detroit Symphony, the New World Symphony, and the University of Michigan.

TWYLA ROBINSON, SOPRANOTwyla Robinson’s

incisive musicianship, ravishing vocal beauty, and dramatic delivery have taken her to the leading concert halls and opera stages of Europe and North America. She has been heard in performance

with the London Symphony Orchestra, New York Philharmonic, Berlin Staatskapelle, The Cleveland Orchestra, Philadelphia Orchestra, and Los Angeles Philharmonic, among others. She has worked with conductors including Christoph Eschenbach, Alan Gilbert, Bernard Haitink, Pierre Boulez, Franz Welser-Möst, Donald Runnicles, Yannick Nézet-Séguin, Esa-Pekka Salonen, Hans Graf and Michael Tilson Thomas.

Ms. Robinson begins this season with her return to the Indianapolis Symphony singing the Verdi Requiem, a work she will reprise later in the season with the Seattle Symphony Orchestra. She will also make her debut singing Dvorak’s Te Deum with the Dallas Symphony Orchestra and Music Director Jaap van Zweeden. Recent performances for Ms. Robinson include debuts with the BBC Scottish Symphony Orchestra, Seoul Philharmonic Orchestra, Toronto Symphony Orchestra, and the Bavarian Radio Orchestra. She also made her Opera Colorado debut as the Countess in Le nozze di Figaro last season. In 2010, she was seen in a performance of Mahler’s Symphony No. 8 at the opening night of the BBC Proms, broadcast worldwide on BBC television. She made her Carnegie Hall debut with Robert Spano and the Atlanta Symphony


Programin performances of Leoš Janáček’s Glagolitic Mass and was heard in Zemlinsky’s Lyric Symphony with Christoph Eschenbach and the National Symphony, and with Yannick Nézet-Séguin and the Rotterdam Philharmonic.

As an opera singer, Ms. Robinson has won particular acclaim for her portrayal of Mozart heroines. She has sung Donna Anna in Don Giovanni for New York City Opera and Florida Grand Opera, and sang Donna Elvira for San Francisco Opera, which was later broadcast in movie theaters throughout the United States.

PROGRAM NOTESCHARLES TOMLINSON GRIFFES (1884-1920) “The White Peacock” from Roman Sketches, Op. 7

American composer, Charles Tomlinson Griffes, like nearly all of the composers of his day, was trained in Europe. In August of 1903, he arrived in Berlin and one of his first stops was at the Zoological Garden. He was especially captivated by a white peacock and soon developed a personal fascination with this animal.

The peacock holds a unique position in history. Romans felt that the bird was a symbol for immortality. The late-Victorian aesthetic movement revered the bird because of the multi-hued beauty of it plumage. It became a symbol for sensory hedonism and was celebrated as part of a new obsession with the Orient. However, the white peacock was different. It represented the very Victorian ideal of restraint, because of lack of the usual radiant color in its pure white plumage.

Griffes returned to New York in 1907 and became very interested in the music of the Impressionist composers and exoticism in general. In 1915 he composed a set of piano works entitled Roman Sketches, of which “The White Peacock” is the first piece. He claimed that the first musical phrase occurred to him as he saw a colorful sunset on a train ride out of Manhattan. He orchestrated the work in 1919 for a solo ballet performance at New York’s Rivoli Theater. Stokowski conducted the work later that year with the Philadelphia Orchestra.

Exoticism abounds in this music. There are subtle changes in tone color and rhythms that expand and contract, much like the unfolding of the peacock’s tail. A sense of nobility is palpable. Along with all of this is a harmonic

palette that is vividly chromatic. The result is a compelling work that combines many influences – impressionistic, Asian, and conventional – to create a work of unusual beauty, just like the white peacock.

©Craig Doolin

MICHAEL UDOW (b. 1949)ApparitionThe composer has provided the following notes:

Apparition begins with a five-note theme based on the initial four intervals from the principal trumpet part in Dimitri Shostakovich’s Symphony No. 11. The work also pays homage to Johann Sebastian Bach’s contrapuntal genius, quoting four successive intervals from The Art of the Fugue. These two thematic motives are intertwined throughout the work. The heroic virtuosity required of the soloist melds adept precise melodic pedal tuning of the feet while the melodic phrase contours demand sensitive, lyrically flowing lines produced by the hands.

IGOR STRAVINSKY (1882-1971)Suite from The Firebird (1919)

Igor Stravinsky’s first major success was The Firebird from 1910, an exotic ballet that he wrote for the Russian impresario Sergei Diaghilev’s Ballets Russes. Diaghilev had discovered Stravinsky’s music and began to promote him. This partnership brought the young composer’s works to the ears of European listeners and was responsible for elevating Stravinsky’s music to the world stage.

The action of the ballet tells the story of Ivan and Tsarevna and their fantastic adventures with the ogre Kastchei. Ivan has discovered a marvelous golden bird picking golden apples from a silver tree. He seeks to capture the bird but releases her after much pleading. In return the bird leaves one of her feathers. Ivan finds himself at Kastchei’s palace where he discovers thirteen lovely princesses who warn him to leave before Kastchei turns him to stone. But he falls in love with the thirteenth princess and will not leave. He opens the gates of the castle and confronts a grotesque throng of monsters, slaves, and Kastchei himself. The golden feather prevails against Kastchei’s black magic, and after the Firebird advises Ivan of Kastchei’s secret – he keeps an egg which, if broken, will destroy him – Ivan rescues the princess, the castle comes tumbling down, and the captive knights who have been turned to stone are restored.

The Firebird started Stravinsky on his international career. The success of the


Programproduction led Stravinsky to subsequently extract three suites from the score for concert performance. It is the 1919 version that is performed most frequently today.

A brief outline follows:I. Introduction. Muted strings glide back

and forth over a thematic fragment. Bass drum, trombones, woodwinds, and horns add soft fragments. An eerie passage for strings, in harmonics, a repeat of the gliding theme and the introduction is over.

II. Kastchei’s Enchanted Garden and Dance of the Firebird. The dance at first is rapid but a variation slows the tempo for a while. The ballet at this point found the Firebird pecking at the golden fruit, frightened away, but caught by Ivan.

III. Round of the Princesses. Three melodies are used, the first by woodwinds over a sustained sound in horns; the second by oboe over harp arpeggios and the third by the strings.

IV. Infernal Dance of Kastchei and His Subjects. This, the longest section of the suite, is one of Stravinsky’s most characteristic masterpieces of his early style. It abounds in ferocious and dazzling effects of melody, harmony, and rhythm. The main dance figure is driven forward, interrupted by a secondary subject, returned more insistently, again interrupted by a second dance figure which is treated half lyrically, half percussively, and finally returned for a shattering close.

V. Berceuse. Bassoon sings a plaintive tune over a persistently repeated sequence in harp and muted violas. The section comes to a shimmering close.

VI. Finale. Horns begin the theme, a haunting, dirge-like melody over tremolo strings. It is built up to an impassioned, full statement then altered rudely by a squarely rhythmed presentation that is supposed to suggest victory over the evil Kastchei. The ending broadens out with a series of tremendous, slashing chords.

JEAN SIBELIUS (1865-1957)“The Swan of Tuonela” from Lemminkäinen Legends, Op. 22

Jean Sibelius was an adult before he decided to concentrate on a musical career. Although

he began to study piano at age nine and composition at ten, his first intention was to become a lawyer. In 1885 he enrolled in the University of Helsinki to study law. Within a year, he decided to become a musician. He would write for just a few decades before abruptly abandoning his compositional career in 1927 to live in retirement, refusing to even discuss his music.

Sibelius was drawn to folklore and many of his numerous works for orchestra, stage, chamber ensembles, and voice and piano were inspired by stories from the Kalevala, the Finnish epic poem of native legends. Although he lived well beyond the middle of the twentieth century, the spirit of Sibelius belonged to the nineteenth. His music reflects the two great driving forces of his public career – he was a Romantic as a composer and an intense nationalist as a citizen. Sibelius was the authentic voice of Finland, not only to his countrymen, but also to the world. Even his works of absolute music express a combination of pastoral moods and rare outbursts of passionate emotion that seem typical of his native land.

In 1895 Sibelius decided to compose an opera based on the Kalevala. The project was never completed, but Sibelius organized his sketches into a suite of four movements entitled Lemminkäinen Legends. Individual movements may be played independently of the others, and they are often performed as such.

The most famous of the Lemminkäinen Legends is “The Swan of Tuonela,” the second of the symphonic poems. While the other three movements tell of the hero Lemminkäinen’s journeys and adventures, “The Swan of Tuonela” provides a musical portrait of one of the settings of the abandoned opera. In the composer’s words, “Tuonela, the Kingdom of Death, the Hades of Finnish mythology, is surrounded by a broad river of black water and rapid current, on which the Swan of Tuonela glides in majestic fashion and sings.” In the Kalevala, Lemminkäinen must kill the swan in order to win the love of a maiden. The dark sonorities of the bass clarinet and the low strings provide a shadowy texture that supports the English horn’s swan song.

RICHARD STRAUSS (1864-1949)Four Last Songs

Richard Strauss had an illustrious career as a master of almost every imaginable musical genre. His expressive lieder, with and without


Programorchestral accompaniment, are arguably the best of their generation. His many operas took the world by storm, especially Salome, which caused global controversy, and Der Rosenkavalier, which was beloved from the beginning.

In his final years, Strauss became concerned that his early triumphs had overshadowed his later, more contemplative works. He was correct, but came up with a way he felt would guarantee that his legacy was balanced and complete. His reworking in 1946 and 1947 of his scores for Josephs-Legende and Die Frau ohne Schatten into compact tone poems that highlight integral moments from the original scores succeeded in bringing that music to wider audiences.

Strauss also returned to familiar territory with new forays into art song. In 1948, just a year before his death, he became interested in setting Joseph von Eichendorff’s “Im Abendrot” and three poems by the German novelist and poet Hermann Hesse, but never thought of them as being an integrated set.

The result, and likely the purpose of this composition, was a meditation and acceptance of the inevitability of death. Strauss was eighty-four at the time and in failing health. However, he had witnessed another kind of death in the years leading up to World War II with the destruction of his beloved Germany – ideologically by the Third Reich and literally by Allied forces. His youth and the world of his younger days were no more.

Although Strauss would not live to hear the work’s premiere, he provided some of his most evocative orchestration. The very large orchestra provides a puzzling intimacy and heartbreaking poignancy in the deftness of his skill.

The ultimate gesture is in the final song when two larks (depicting Strauss and his wife), represented in the orchestra as two flutes, soar upward until one disappears. The final measures include the Transfiguration theme from Strauss’s 1889 tone poem Death and Transfiguration, over which the soprano sings the line, “Is this perhaps - Death?” This is music that reveals the power of art to touch the emotions overwhelmingly and completely.

©Craig Doolin

1. “Frühling” (“Spring”) by Hermann HesseI dreamt longof your trees and blue skies,of your fragrance and birdsong.Now you appear

in all your finery,drenched in lightlike a miracle before me.You recognize me,you entice me tenderly.All my limbs tremble atyour blessed presence!

2. “September” by Hermann HesseThe garden is in mourning.Cool rain seeps into the flowers.Summertime shudders,quietly awaiting his end.Golden leaf after leaf fallsfrom the tall acacia tree.Summer smiles, astonished and feeble,at his dying dream of a garden.For just a while he tarriesbeside the roses, yearning for repose.Slowly he closeshis weary eyes.

3. “Beim Schlafengehen” (“Going to sleep”) by Hermann Hesse Now that I am wearied of the day,my ardent desire shall happily receivethe starry nightlike a sleepy child.Hands, stop all your work.Brow, forget all your thinking.All my senses nowyearn to sink into slumber.And my unfettered soulwishes to soar up freelyinto night’s magic sphereto live there deeply and thousandfold.

4. “Im Abendrot” (“At sunset”) by Joseph von EichendorffWe have through sorrow and joygone hand in hand;From our wanderings, let’s now restin this quiet land.Around us, the valleys bowas the sun goes down.Two larks soar upwardsdreamily into the light air.Come close, and let them fly.Soon it will be time for sleep.Let’s not lose our wayin this solitude.O vast, tranquil peace,so deep in the evening’s glow!How weary we are of wandering---Is this perhaps death?


Program

In dämmrigen Grüftenträumte ich langvon deinen Bäumen und blauen Lüften,Von deinem Duft und Vogelsang.Nun liegst du erschlossenIn Gleiß und Ziervon Licht übergossenwie ein Wunder vor mir.Du kennst mich wieder,du lockst mich zart,es zittert durch all meine Gliederdeine selige Gegenwart!In shadowy crypts

BOULDER PHILHARMONIC ORCHESTRADonald J. McKinney, guest conductor

Back to Back: The Music of Billy Joel and Elton John

With special guests Jeans ’n Classics:Jean Meilleur - Lead Vocals / Acoustic Guitar

Katalin Kiss - VocalsKathryn Rose - Vocals

John Regan - Piano / VocalsDarryl Stacey - Bass

Steve Heathcote - Drums

Saturday, November 8, 2014Macky Auditorium, CU Boulder

7:30 pm Performance

Ballad of Billy the KidMovin’ Out

She’s Got A WayBig Shot

Say Good Bye to HollywoodAlways a Woman

My LifeScenes from an Italian Restaurant

Piano ManYou May Be Right

— Intermission —

Funeral for a FriendLove Lies Bleeding

Philadelphia FreedomI Guess That’s Why They Call It the Blues

Tonight: PreludeSomeone Saved My Life Tonight

Circle of LifeDon’t Let the Sun Go Down On Me


Tonight’s guest artists are staying at the Millennium Harvest House Hotel


ProgramDONALD J. MCKINNEY, GUEST CONDUCTOR

Donald J. McKinney is Director of Bands and Associate Professor at the University of Colorado-Boulder. He conducts the CU Wind Symphony, guides the graduate wind-conducting program, and oversees the university band

program. His previous faculty appointments include Louisiana State University, Interlochen Arts Academy, and Duquesne University Mary Pappert School of Music. While teaching at Duquesne University, Dr. McKinney worked as the Assistant Conductor to violinist Sidney Harth and assisted him with the preparation of orchestral and opera performances. In addition to his work at the University of Colorado, McKinney has conducted at Interlochen Arts Camp since 2010 and is currently the Coordinator of Bands. During the 2013-14 season, he was the interim conductor for the Greater Boulder Youth Orchestra. As a guest conductor he has appeared with various honor ensembles and the Dallas Wind Symphony.

McKinney has participated in numerous conducting festivals including the South Carolina Conductors Institute, New England Conservatory, and University of North Texas. After participating in the Second Frederick Fennell Conducting Masterclass, he was named a finalist for the Thelma A. Robinson Award by the Conductors Guild. He holds degrees from Duquesne University, Indiana University of Pennsylvania, and a Doctor of Musical Arts in Conducting from the University of Michigan.

JEAN MEILLEUR, LEAD VOCALIST / ACOUSTIC GUITAR

“Passionate, provocative and distinctive” – three words that best describe Jean Meilleur’s vocal style. While performing the music of artists including Elton John, The Beatles, Blood Sweat & Tears, and David Bowie, as well

as his own compositions, he paints the lyrics and the melody with a thick, robust timbre that is immediately recognizable as his own. Despite the recent proliferation of clone acts

and mimics, Jean Meilleur’s voice stands as a true original.

Mr. Meilleur hails from Madison, Wisconsin, and he moved to Detroit, Michigan at a young age. Living in the Motor City helped shape his penchant for the Motown, Soul and R&B sounds of the early seventies. He is a prolific songwriter who has been performing professionally for over twenty-five years. He is thrilled to be involved with Jeans ‘n Classics, a Canadian-based orchestral rock act that tours North American concert halls. Now in his sixteenth year as a Jeans ‘n Classics headliner, Mr. Meilleur has performed with scores of major orchestras. He plans to release an album of his original songs in the near future.

JOHN REGAN, PIANO / VOCALS Originally spotted by Jeans ‘n Classics boss Peter Brennan while performing solo in a London, Ontario nightclub, John Regan has been part of the Jeans ‘n Classics Band for almost two decades.

Mr. Regan mixes classical training with an ear for the pop and rock music of the last six decades. Influenced early on by the piano work of Elton John, Joe Jackson, Bruce Hornsby, Roy Bittan and even Tom Waits, John played as a solo artist around Ontario, offering a vast repertoire of material for listeners. He mixed in some time with London’s Second City Dinner Theatre, and then caught on with Jean ‘n Classics.

Since joining Jeans ‘n Classics, he has played with orchestras across North America, including the Detroit Symphony, Colorado Symphony, Calgary Philharmonic, Ft. Worth Symphony, Cincinnati Pops and Cleveland Pops Orchestra, to name a few.

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

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Thomas & Virginia CarrToni & Nelson ChenJoan ClelandColorado State Bank & TrustThe Community Foundation

Serving Boulder CountyThe Louise & Grant

Charitable FundJames Tailer & Donna DavisTom & Ursula DickinsonJohn & Jacqulynn GeisterRobert Krenz & Carolyn

GrantElyse GrassoLewis & Susan GuthrieGrant & Holly HickmanTeresa Myrwang HolumDavid & Suzanne HooverHutchinson Black & Cook,

LLCVirginia JonesDavid & Randi KalishRobert & Margaret KaufmanRichard & Linda LivingstonLotus FundFrances MacAnallyAnnyce MayerPatricia McCarthyMillstone/Evans Group

of Raymond James & Associates

Robert & Marilyn MohlingJanet & David RobertsonLuana RubinR. Alan & Stephanie RudyTK Smith & Constance

HoldenArthur & Carol SmootAlan & Martha StormoTaddiken Tree CompanyU.S. Bancorp FoundationDick & Caroline Van PeltKristen WolfJack & Brenda ZellnerArt Zirger & Mary Rowe


DonorsARTIST CIRCLE ($500+)Randall & Jill AndersonPeter & Patricia AngellRichard BaileyCity Of BoulderCollins FoundationAlan & Tessa DavisAndrew & Audrey FranklinHans & Jeri FriedliRalph & Joanna GrassoRobert & Diane GreenleeGerald & Doree HickmanMatthew HyattKiplund KolkmeierAngelyn Konugres CouponasRay & Margot LaPanseBruce Kahn & Susan LittRichard & Donna MeckleyAlan & Judy MegibowRobert & Francine MyersMary NakashianBarbara & Irwin NeulightThe Newton Family FundJames PendletonDayna & Robert RoaneSusan & Paul RobertsJuan & Alicia RodriguezRonald SintonJack & Sophie WalkerAnne Wenzel & Anthony

RaymondVivian WilsonThe Winston Family

Foundation

PARTNERS ($250+)Joyce AlbersheimAnonymousFrank BarrettTom & Currie BarronVincent BatesAnne & Harry BeerLes & Barbara BerryJon & Helene BondBen & Gale ChidlawClaude Weil & Carolie CoatesSara-Jane & Bill CohenRichard Collins & Judy ReidCharlotte CorbridgeLynne DannenholdLarry Day & Catherine

HaskinsJoe & Alice DoyleJeffrey & RoseMarie Foster

Ron & Ellen GagerAnn GarstangGerald & Anita GershtenGreg Ginocchio & Kevin

ShuckKathryn GoffSusan & Gustavo GramppCharles & Gail GrayMary GreenwaldKen & Dianne HackettCharles & Patricia HadleyRobert & Penny HawsMark & Cherine HerrmannCaroline HimesRandy & Debbie HollidayDixie HutchinsonWayne ItanoArnie Jacobson & Victoria

Johns-JacobsonColman & Marcia KahnMatthew & Diana KaroweDerek & Eileen Kiernan-

JohnsonAnn KileyDon & Eleanor KingPeter & Judith KleinmanAnnlee LandmanPaul & Nancy LevittWilliam & Susan MarineRichard Nishikawa &

Kathleen MillerRobert MorehouseMartha & George OetzelMolly ParrishDorothy ReadBrook Reams & Rochelle

ChartierWilliam RoettkerMarjorie & Bob SchaffnerJane & Leo SchumacherNanette SchunkZdenka & Dean SmithAndrew & Margrit StaehelinPeter & Laura TerpenningEd & Lynn TrumbleNicholas & Shelby

VanderborghPamela WalkerPaul WeberRaymond & Rena Wells

FRIENDS ($100+)Richard & Alma AlberSuzanne & Robert AndersonAnonymous

Peggy ArchibaldJudith Auer & George

LawrenceRichard & Jane BarkerGwyn BarleyJanet BartschPierrette BarutCynthia BettsCatherine & William BickellRex & Helen BosleyRichard BowmanBob Bunting & Gigi ReynoldsKurt & Alison BurghardtStephen Eisenberg & Anne

BurkholderMartha BushnellCynthia CareyMadison & Mary CaseyBob & Judy CharlesHelen CheneryDion & Alekie CheronisAndrew & Lois CherringtonRoger & Norma CichorzFrank CiskovskyWallace & Beryl ClarkCarol CogswellMax & Barbara CoppomBonnie Crissey & Richar OyeJames & Beth DavisJeffrey DavisJo DavisPeter & Joan DawsonWarren & Vici DeHaanDan & Nancy D’IppolitoDavid & Susan DonaldsonDavid DowellLeslie & Donald DreyerHeather DupreMegan EdringtonPaul EklundLee EllwoodSusan Ely & James HartmannFrances EvansMartha Coffin EvansJohn FaheyDeidre FarrellBarbara FernieWayne & Anne FischerNeil FishmanRobert & Juliette FordMichael Fried & Cynthia

GrossmanEllen FriedlanderStephen & Sandy Friedman


DonorsNeil Ashby & Marcie

GeissingerPeter Gilman & Peggy

LemoneJulie GinocchioDorothea & Ronald GreyElissa GuralnickChris & Linda HansenMargaret HanssonJanice HarveySpencer & Valerie HavlickPeter Hellyer & Hiroko

OkadaDavid & Joan HillJeannette HilleryStewart & Karen HooverJohn HynesRichard & Ruth IrvinJackie W. JimmersonDan Johnson & Star WaringWesley & Joanne JohnsonWilliam & Martha JonesJo Ann JoselynJosh & Lori KahnDavid & Carol KampertAnnamaria KaracsonRobert KehoeWilliam & Ann KelloggBonnie KirschenbaumBarry KnappJon & Helena KottkeWesley & Heather Le

MasurierDave & Mary LeonardDouglas LernerSteven & Marcia LernerSue & Rick LevineAl Gasiewski & Rachel LumJerry & Heidi LynchKamilla MacarSusan MagruderCharles & Marian MathesonSteven & Susan MaxwellJ. Hunter & Janet McDanielZoe McFarlandMartha McGavinMarla & Jerry MeehlJames NeelyScott & Jean NelsonRonald & Joan NordgrenAlison & Graham OddieEileen O’NeillBob OrecchioChristopher & Linda ParisDavid Paulson

Robert & Marilyn PeltzerPaul & Margaret PreoMaiah QuishFrancelyn ReederRobert & Judy RotheThe Sakson Mark FamilyJudith SchillingPeter & Barbara SchumacherDaniel & Boyce SherLynn SherretzMax & Nelda ShuckHoward & Valerie SingerBetty SkippRandy StevensThomas & Nancy StormGregory & Diane StreveyDiane SullivanJoyce ThurmerElizabeth & John TiltonJames ToppingVirgil & Margaret TuckerRex VedderRick & Rebecca WhiteJonathan & Hayden

WilliamsonMary WinstonRichard & Wendy WolfBetty WoonCharles Zabel

SUPPORTERS ($50+)Anonymous (2)Casey BackesElizabeth BeckerDavid BlackburnVirginia BoucherJanet BrewerDavid BurnsJosephine & James BushJulianne CassadyJoseph & Elizabeth CirelliEleanor CrowRobert & Kitty DeKiefferCharles & Jean DinwiddieCaroline & Preston DouglasRuth FeiertagWilliam & Ann FordJohannah & O. Lehn FrankeDavid GatesAllan & Joan GrahamLinda HaertlingChuck HardestyNatalie Hedberg & Thomas

Van Zandt

James & Judith HeinzeDebra HollandAna HopperstadMichael & Florence JonesEileen & Walter KintschHenry Wheeler & Andrea

Kinzey-WheelerDiane KnudsenC. Nicholas & Mollie LeeMarjorie LeidigJoy LinfieldBruce MacKenzieJean & Megan MacMillanDon & Jane MartinJ. Ramon McCarusJill McIntyreDoris & Peter McManamonMarilyn MilhousJoan MulcahyJeffrey NytchMargaret OakesLisa & Kyle O’BrienPricilla PritchardLester RonickBarbara SableShelley SampsonCarol SaundersKaren ShayChristine ShieldsRebecca SnethenRobert & Julie StuenkelRev. Virginia TaylorKaren UtleyAmy L. VandersallNancy & Manly WeidmanRonald & Marlies West

The Boulder Phil also thanks the 95 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 Teresa Myrwang Holum 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

KilpatrickJoan Knapp Harold & 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:

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Listen Locally

Sept. 19 Step Afrika!Oct. 8 Kronos Quartet “Beyond Zero: 1914–1918”Nov. 7 Mummenschanz Dec. 11 Christmas with The King’s SingersJan. 22 Bill T. Jones and Arnie Zane Dance CompanyFeb. 6 Medeski, Martin and Wood with

Alarm Will SoundFeb. 19 The Assad Brothers with Romero LubamboApril 2 Natalie Merchant with the

University Symphony Orchestra

Plus CU Opera, Takács Quartet and Holiday Festival All performances are on the CU-Boulder Campus

Tickets on

sale now!2014–2015 Seasoncupresents.org 303-492-8008

September 19, 20, & 21October 3 & 4

November 7 & 8 December 19 & 20

December 31

2014 FALL CONCERTSFALL CONCERTSFALL CONCERTS

CHAMBER ORCHESTRA

Boulder

2014 2014 FALL CONCERTSFALL CONCERTSFALL CONCERTSFALL CONCERTS

TICKETS & INFORMATION303-583-1278

www.boulderchamberorchestra.org

Bahman SalessBahman SalessMUSIC DIRECTOR

FREE open rehearsals with the Boulder Phil

7:30-10 PM each Wednesday. Come and go as you please!

Sept. 10 & Oct. 8, 2014Jan. 14, Feb. 11 & April 22, 2015

The Dairy Center for the Arts2590 Walnut St., Boulder

Watch up-close as Michael Butterman works with the musicians of the Boulder Phil to bring the music to life! A variety of alcoholic and non-alcoholic drinks are available for purchase and may be

brought with you into the Performance Space, or hang out in the gallery seating

areas and enjoy the art on display.


Friends of the PhilThe Boulder Phil’s NEW musician chair sponsorship program

By making a pledge of two or more years as a Friends of the Phil sponsor, you provide critical ongoing support to the orchestra by directly underwriting a portion of a professional musician’s salary.

Hiring the most qualified musicians requires a substantial investment on our part—in fact, musician salaries represent the single largest expense in the Phil’s annual budget. Your participation in Friends of the Phil helps support these talented artists in our community.

In addition, chair sponsorship expands 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 with special events and activities that bring sponsors and musicians together throughout the season.

Pledge levels:SECTION CHAIR SPONSOR – A multi-year pledge of $250+ annuallyASSISTANT PRINCIPAL CHAIR SPONSOR – A multi-year pledge of $500+ annuallyPRINCIPAL CHAIR SPONSOR – A multi-year pledge of $1,000+ annually

We thank our inaugural program sponsors, who are listed alongside the names of their sponsored musicians on the orchestra roster page in this program.

For more information about Friends of the Phil, please visit our website at www.BoulderPhil.org/friends-of-the-phil, or contact Director of Development Teresa Myrwang Holum at 303-449-1343 x4

Marcelo Sanches, assistant principal cello (above)

Wendy La Touche, bassoon/contrabassoon (left)


Patron InformationTICKET EXCHANGESTo make an exchange for another performance, we need to receive your ticket(s) at the Boulder Phil offices at least 24 hours prior to the concert you are unable to attend. For subscribers, we gladly waive the $5 exchange fee. Exchanges are subject to availability and any price difference. All sales are non-refundable.

TICKET 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 office at least 24 hours prior to the concert.

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

PARKING AT 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 office. 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.

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Voices of Light: The Passion of Joan of ArcOratorio with Silent FilmMarch 13 & 14, 2015

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The Center Stage Club offers online versions of Boulder Philharmonic Magazine for patrons to read before performances. And, check out upcoming metro-area performing arts events in the calendar.

CenterStageClub.com

The Center Stage Club is produced by Colorado’s Performing Arts Publications


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boulder philharmonic fall 2014-2015, sept. 13-14, oct. 11 & nov. 8

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