boulder philharmonic winter 2015-2016, jan. 16-feb. 12, 2016

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Boulder Philharmonic Orchestra 2015-2016 9

WelcomeDear Friends,

The exciting times continue for your Boulder Philharmonic in 2016we follow our opening night live broadcast on Colorado Public Radio with a second one this spring. We make use of a prestigious grant from New Music USA and celebrate our first-ever award from the National Endowment for the Arts. And, of course, we begin preparations to bring our unique approach to programming and community engagement to the Kennedy Center for their inaugural SHIFT Festival in 2017!

This fall featured exciting collaborations with pianist Gabriela Montero, concertmaster Charles Wetherbee, composer Charles Denler, photographer John Fielder, the Boulder Chorale, singer Josh Ritter, a new production of The Nutcracker, and three performances of our popular Christmas with the Phil. Our steadily increasing sales numbers suggest that we continue to broaden our appeal and audience base by embracing the spirit of what makes our community special.

In the new year, we look forward to a second collaboration with our friends at Boulder Ballet in Coplands iconic Rodeo. We welcome world-renowned violinist Anne Akiko Meyers and cutting edge composer Missy Mazzoli (Brooklyns post-millennial Mozart) for a week-long residency in February. The sensational performers of Cirque de la Symphonie return in April for two performances, and our season reaches a stirring culmination with Boulder and Denver performances of Bachs immortal St. Matthew Passion in a dramatic staged setting presented in collaboration with Central City Opera, the Boulder Bach Festival and the CU College of Music. We continue to expand the breadth and depth of our educational efforts, as we add a second performance of our annual Discovery Concert for elementary school students, preceded by school visits from Boulder Phil musicians and me.

All year long, we can count on our superb musicians to deliver polished and impassioned performances. We simply love what we do. Playing for enthusiastic audiences in a beautiful hall in one of the most remarkable communities in the country is a great privilege, and we thank you for making us your orchestra!

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track for a record-setting 2015-2016 season in numerous respects. This past fall, we achieved yet another record for season subscribers, multiple sold-out performances, our highest ever ticket sales for The Nutcracker with Boulder Ballet, and a record number of supporters on Colorado Gives Day!

And our accolades beyond Boulder continue to accumulate. We were selected to open Colorado Public Radios live broadcast series this season, and we were one of only two orchestras nationally to be awarded a prestigious Imagine Your Parks grant from the National Endowment for the Arts.

As we gear up for our 2016-2017 season which promises to be one of the most eventful in Boulders cultural history we invite you to join us on our journey. Join us as we reinvent what is possible for American orchestras today, and help us discover new ways to connect with our audiences and our community.

Kevin Shuck, Executive Director

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To Our SupportersMICHAEL BUTTERMAN, MUSIC DIRECTOR

BOULDERPHILHARMONICORCHESTRA

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

MUSIC DIRECTOR Michael Butterman

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About the Boulder PhilAs one of Colorados premier

ensembles, the Boulder Philharmonic Orchestra is creating a new model for American orchestras through dynamic performances that reflect our communitys own values, creativity, and sense of place. Voted Best of Boulder yet again in 2015, todays Boulder Phil is bucking national trends with growing, enthusiastic audiences under the vision and leadership of Music Director Michael Butterman.

The Boulder Phils main concert seriesbroadcast state-wide on Colorado Public Radiois 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 Phils 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 Boulders premier orchestra (Boulder Weekly), the Boulder Phil is comprised of the top freelance musicians from Colorados 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 communitys cultural fabric.

GLEN

ROSS

Michael Butterman, Music Director

GLEN

ROSS


Michael Butterman, ConductorMaking his mark as a model for todays

conductors, Michael Butterman is recognized for his commitment to creative artistry, innovative programming, and to audience and community engagement. He serves as Music Director for the Boulder Philharmonic Orchestra, with whom he will appear at the Kennedy Centers inaugural SHIFT Festival in 2017. He is also the Music Director of the Shreveport Symphony Orchestra and the Pennsylvania Philharmonic, as well as the Resident Conductor of the Jacksonville Symphony Orchestra. In addition, he is in his 16th 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 makes his debut with both the Philadelphia Orchestra and the National Symphony Orchestra in the 15-16 season. His recent appearance with the Cleveland Orchestra resulted in immediate reengagement for two concerts the following season. Other recent appearances include performances 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, Santa Fe Symphony, California Symphony, Louisiana Philharmonic, Spokane Symphony, El Paso Symphony, Mobile Symphony, Winston-Salem Symphony, Pensacola Opera, Asheville Lyric Opera and Canadas Victoria Symphony. Summer appearances include Tanglewood, the Bravo! Vail Valley Music Festival and the Wintergreen Music Festival in Virginia.

Mr. Butterman gained international attention as a diploma laureate in the Prokofiev International Conducting Competition and as a finalist in the prestigious Besanon International Conducting Competition. As the recipient of the Seiji Ozawa Fellowship, he studied at Tanglewood with Robert Spano, Jorma Panula, and Maestro Ozawa, and shared the podium with Ozawa to lead the seasons opening concert. Earlier, Mr. Butterman was sponsored by UNESCO to lead the National Philharmonic Orchestra of Moldova in a concert of music by great American masters.

For six seasons, Mr. Butterman served as Music Director of Opera Southwest in Albuquerque, NM. During much of that time, he was also Director of Orchestral Studies at the LSU School of Music and was Principal Conductor of the LSU Opera Theater. Previously, he held the post of Associate Conductor of the Columbus Pro Musica Orchestra, and served as Music Director of the Chamber Opera, Studio Opera, and Opera Workshop at the Indiana University School of Music. For two seasons, he was also the Associate Music Director of the Ohio Light Opera, conducting over 35 performances each summer.

At Indiana University, Mr. Butterman conducted a highly acclaimed production of Leonard Bernsteins 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 Buttermans work has been featured in five nationwide broadcasts on public radios 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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Mr. Buttermans energetic spirit and great sense of humor really make the concerts come alive. - BVSD teacher

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 young students 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 Thursday, February 11, 2016.

Michael Butterman Goes to School Visits are a key part of the Phils Discovery Concert program, as our Music Director visits classrooms to introduce students to musical concepts, instrument families, music appreciation skills, and more. New this year, with support from the Noris Foundation, Boulder Phil chamber groups will also be visiting schools!

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.

$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 support of Boulder Phil education programs is critical to our success in enriching our community through music. For more information on becoming involved as a sponsor or participating in Education Partners, please contact Cynthia Sliker, Director of Community Engagement, at 303-443-9203 or [email protected].

Wish you could see more of Boulders talented youth sitting in the seats around you?

So do we thats why were launching Education Partners to provide Boulder private music teachers and community music schools with FREE tickets for their music students to attend select Boulder Phil concerts.

What better way to inspire the musicians of tomorrow than by giving them the experience of sitting right here in Macky Auditorium today hearing great live orchestral music and world-class guest artists! Find out more at www.BoulderPhil.org

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Boulder Philharmonic Orchestra 2015-2016 Program 1

Dance, American StyleBOULDER PHILHARMONIC ORCHESTRA

Michael Butterman, conductor

Boulder Ballet Ana Claire, Artistic Director

Saturday, January 16, 2016Macky Auditorium, CU Boulder

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

William Schuman New England Triptych (1910 1992) Three Pieces for Orchestra after William Billings I. Be Glad, Then, America II. When Jesus Wept III. Chester Leonard Bernstein Symphonic Dances from West Side Story (1918 1990) I. Prologue II. Somewhere III. Scherzo IV. Mambo V. Cha-cha VI. Meeting Scene VII. Cool, Fugue VIII. Rumble IX. Finale

Intermission

Aaron Copland Billy the Kid(1900 1990) I. Prairie Night II. Waltz III. Celebration Dance

Aaron Copland Rodeo: Ballet in One Act(1900 1990) I. Buckaroo Holiday II. Corral Nocturne III. Ranch House Party IV. Saturday Night Waltz V. Hoe Down

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

Program 2 Boulder Philharmonic Orchestra 2015-2016

ProgramPROGRAM NOTESWILLIAM SCHUMAN (1910-1992)New England Triptych

William Billings (1746-1800), though still not well known in his native land, is an important figure in the history of American music. His works reflect better perhaps than any others the rugged spirit, religious faith, and patriotic fervor of the Revolutionary War period. Despite some technical shortcomings, his music is impressive even today. William Schuman once said, I am not alone among American composers who feel an identity with Billings and it is this sense of identity which accounts for my use of his music as a point of departure.

As Schuman points out, the three parts of his work do not constitute a fantasy on themes of Billings, nor variations on his themes, but rather a fusion of style and musical language.

I. BE GLAD, THEN, AMERICA. This section is based on an anthem by Billings which includes the following lines:

Yea, the Lord will answerAnd say unto his people behold!I will send you corn and wine and oilAnd ye shall be satisfied therewith.

Be glad, then, America,Shout and rejoice,Fear not, O land,Be glad and rejoice.Hallelujah!

There is a strong introduction, beginning with solo timpani and developed chiefly in the strings. The main section opens in the trombones and trumpets, reflecting the words, Be glad, then, America, shout and rejoice. Timpani, played solo, also lead to a fugal section, expressing And we shall be satisfied. After a combination of themes built up to a climax, we hear a free adaptation of the Hallelujah music from the original Billings score and a closing reference to the Shout and rejoice music.

II. WHEN JESUS WEPTWhen Jesus wept the falling tearIn mercy flowed beyond all boundsWhen Jesus groaned, a trembling fearSeized all the guilty world around.

Here the music of Billings is used both in its original form and in Schumans melodic and

contrapuntal settings. The text is adapted to the musical form of a round.

III. CHESTER. Billings composed this music as a hymn, and the Continental Army later adopted the music and words for use as a marching song. Schumans score reflects the spirit both of the hymn and march.

The following is a selection from the words of the marching song:

Let tyrants shake their iron rods,And slavery clank her galling chains,We fear them not, we trust in God.New Englands God forever reigns.

The foe comes on with haughty stride,Our troops advance with martial noise,Their vetrans flee before our youth,And genrals yield to beardless boys.

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LEONARD BERNSTEIN (1918-1990)Symphonic Dances from West Side Story

An American composer of Russian-Jewish parentage, Leonard Bernstein worked his way from a middle-class suburb of Boston to become Americas greatest musical figure. Equally adept as a pianist, conductor, teacher, and composer, Bernstein became Americas ambassador of music. Before his successes, students were often turned away from study in the great European music conservatories because they were American and, therefore, incapable of artistic ability. Such was the opinion in Europe. In short, it was Leonard Bernstein who made it acceptable for a world-class musician to be American.

In any given concert season, new music comes and goes. Regardless of the genre, audiences have a way of filtering new works into one of two categories those they approve, and those they reject. There has probably been no work in the past fifty years that has enjoyed more adulation than Leonard Bernsteins West Side Story, a Broadway musical that transcended its genre.

Conceived in 1949, West Side Story was a miraculous collaboration by three artists perfectly suited to work together composer Leonard Bernstein, playwright Arthur Laurents, and lyricist Stephen Sondheim. Their task was simple, at least in concept write an update of Shakespeares Romeo and Juliet, featuring


Programethnic rivalry between street gangs, consisting of native New Yorkers fighting against Puerto Rican immigrants. Foreshadowing the civil rights struggles of the late 1950s and 1960s, the show boasts musical numbers ranging from the light and airy I Feel Pretty to the vehement A Boy Like That. Jerome Robbins choreographed the dancing street gangs. Opening to mixed reviews on September 26, 1957, the show played 732 performances, closing on June 27, 1959, less than two years after opening. Only after a tour and subsequent productions in New York and other large cities did West Side Story attain any semblance of stature. The 1961 film version, shot on location in New Yorks Upper West Side, near the site of Lincoln Center, won eleven Academy Awards, including Best Picture. Finally, success had come to this most innovative musical.

Bernsteins Symphonic Dances from West Side Story dates from 1961. With the popularity of the film, Bernstein decided that extracting a suite from the numerous dance sequences would be a logical step. He hired Sid Ramin and Irwin Kostal, orchestrators of the film version of Bernsteins score. The Symphonic Dances outlines the plays action, but does not present the excerpts in chronological order. Opening with the anxious Prologue, the work progresses through the hopeful Somewhere; a lively Scherzo; the Caribbean-tinged Mambo; a Cha-Cha based on the song Maria; the seething and abstract Cool fugue; the rhythmically charged Rumble; and the resigned tragedy of the finale.


AARON COPLAND (1900-1990)Suite from the Ballet Billy the Kid

In 1938, the noted ballet impresario Lincoln Kirstein commissioned Aaron Copland to write a new work for his Ballet Caravan, a company that toured the country and took ballet to many places that would not otherwise have experienced the art of dance. Kirstein envisioned a work based on the American West. The subject would be Billy the Kid.

The notorious cowboy-killer, Billy the Kid, was William Bonney, who was born in New York City at the close of the Civil War and, in childhood, moved west with his parents. He killed his first man at the age of twelve, supposedly to avenge the killing of his mother. Before he reached the age of twenty-one he

had shot a man for each year of his life. A handsome man, and at times a courteous man, a fine dancer, and a great favorite of Mexican girls and ranchers daughters, Billy could never submit to the rule of law. When his friend, Pat Garrett, became a sheriff, Billy knew that one of them must die. After a number of captures and escapes, he was ambushed by Garrett while asleep in the home of his Mexican sweetheart.

Coplands ballet suite for orchestra, extracted in 1940, is in seven episodes. The Open Prairie is an orchestral portrait of the vast and empty plains, with a sauntering pace and prominent woodwind parts. The second episode, Street in a Frontier Town, recreates the spirit of the pioneer West. Cowboys mosey into town. Mexican women dance a Jarabe, interrupted by a fight between drunk men. The music is colorful, lively, and at times agitated.

Prairie Night (Card Game) is a quiet interlude. An atmospheric melody for woodwinds and muted strings depicts Billy and his outlaw friends quietly playing cards under the stars.

In the fourth movement, Gun Battle, crashing drums and dramatic music for winds accompany the capture of Billy.

Celebration (After Billys Capture) used phrases from authentic cowboy songs. The music begins quietly, but happily. Eventually a drunken brawl erupts.

The sixth movement is entitled Billys Death. In a short but sorrowful episode, Mexican women lament the passing of their hero, an enemy of law and order in the Wild West but always a friend to them. Coplands suite ends with an epilogue, The Open Prairie Again, and a return to the initial theme in the horns. The work culminates in a stirring climax for full orchestra.

Copland quotes from familiar cowboy songs with great ingenuity but never literally. Expect to hear Git Along Little Dogies, Old Chisholm Trail, Goodbye, Old Paint, and others. However, he does not refer to Home on the Range, because, as Copland explained with his usual succinctness, I had to draw the line somewhere.


AARON COPLAND (1900-1990)Rodeo: Ballet in One Act

Described by Leonard Bernstein as the Dean of American Music, Aaron Copland


Programdelighted in his role as its elder statesman in the later years of his life. Before launching his compositional career with the resounding flourish of his Organ Symphony in a 1925 New York concert, he had studied at the American Conservatory at Fontainebleau in Paris. Among the distinguished faculty, noted

pedagogue Nadia Boulangers reputation stood out above all others, teaching generations of American composers from Copland to Philip Glass. Copland enjoyed a reputation as a renegade among composers, using harmonies that were often dissonant and abrasive.

In the late 1930s, the composer began to face the reality of shrinking audiences at orchestral concerts. He knew there must be a way to draw people back into the concert hall and to energize orchestral music. Coplands new simple style, which often quoted folk music, uses an approachable musical language in an effort to remedy the problem. He often incorporated jazz-inspired rhythms and elements of popular music to express his ideas, while drawing listeners closer to his music.

On the heels of his enormously popular 1938 ballet Billy the Kid, Copland was ready to compose more works for the dance. In 1942, dancer/choreographer Agnes DeMille asked the composer to provide music for a cowboy ballet she had been hired to choreograph for the Ballet Russe de Monte Carlo, an offshoot of the Ballets Russes the legendary ensemble for which Stravinsky composed The Rite of Spring. Copland demurred, saying that he had already composed his cowboy ballet and would rather write on a different subject. However, DeMilles argument was convincing and Copland agreed to write the score for $1000. As in Billy the Kid, his use of traditional western ballads and fiddle tunes is extensive, drawn here from musicologist Alan Lomaxs songbook Our Singing Country.

Originally entitled The Courting at Burnt Ranch, its name was shortened to Rodeo (pronounced as in Spanish with emphasis on the second syllable, as in Rodeo Drive). Premiering at New Yorks Metropolitan Opera House, the ballet was a rousing success. As is often the case, the composer decided to extract a ballet suite for performance on orchestra programs, thereby gaining a much more widespread audience for his music. Coplands editing was quite sparing, as only six minutes, mainly interludes, were trimmed from the original twenty-four minute ballet.

The first movement, Buckaroo Holiday, is boisterous and energetic, and features an extensive trombone solo that is both comical and delightful. Representing the opening action of the ballet, it sets the tone for the remainder of the work. Corral Nocturne follows with its quiet stillness reminiscent of the Western night sky. Saturday Night Waltz reflects the clumsy

SPHERES OF INFLUENCEWith Anne Akiko

Meyers, violinFriday, February 12 7:30pm

MUSIC ALIVE! COMPOSER RESIDENCY

Special events featuring Missy Mazzoli in person:

Caf Phil Rehearsal - Tuesday, February 9 7:30pmSoundscape at the Dairy - Wednesday, February 10 2:00pm

Guided Musical Hike - Wednesday, February 10 6:30pmFinal Concert - Friday, February 12 7:30

CIRQUE DE LA SYMPHONIESaturday, April 2

2:00pm and 7:30pm

Season Finale:ST. MATTHEW PASSION

with Central City Opera, Boulder Bach Festival &

CU Choruses Saturday, April 23, 2016 7:00pm (Macky)Sunday, April 24, 2016 2:00pm (Denver)

UPCOMING EVENTS

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303.449.1343 ext. 2

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Programattempts of the ranch dancers (and fiddlers) at a weekend party. A cowgirl leads the entire ranch in the final Hoedown in a celebration of growing up.


ANA CLAIRE (Boulder Ballet Artistic Director)

Although born in Boulder, Ana grew up on a ranch near Fairplay, Colorado. At the age of eight she saw American Ballet Theatre perform Swan Lake and fell in love with the art of ballet. In an extraordinary

gift of support, Anas mother then drove her to ballet classes in Denver throughout her childhood. Ana has studied ballet with Maxine Williamson, Fernando Schaffenberg, Milenko Banovich, Barbara Demaree, and Larry Boyette. She performed with Fort Worth Ballet, Fort Worth Opera, David Taylor Dance Theater, Aladdin Theater, Boulders Dinner Theatre, Jan Justis Dance Company, 3rd Law Dance/Theater and was principal ballerina with Boulder Ballet for many years. Ana studied dance pedagogy at Texas Christian University and attended the teacher training workshop with former New York City Ballet principal Jillana. Ana originated Boulder Ballets acclaimed outreach program Steps in Time which has been performed at numerous schools throughout the Boulder/Denver area. A passionate teacher for over 25 years, she is dedicated to helping students achieve technical excellence while nurturing their individual artistry. She has produced, directed, and choreographed the annual Storybook Ballet for over 20 years, each with original music, scenery, and costumes. Co-artistic director since 2004, Ana assumed the role of sole Artistic Director this season. She has choreographed numerous classical and contemporary pieces for the Boulder Ballet company over her tenure, and co-choreographed the 1998, 1999, and all productions since 2001 of Boulder Ballets The Nutcracker.

Rodeo: Ballet in One ActChoreography: Ana ClaireChoreographers note: The work is influenced

by my childhood growing up on a ranch, near a small town.

Buckaroo HolidayCowboys: Matthew Helms (featured cowboy),

Martin Gonzalo Justo Bernardez, Cory Goei, Dionysios Mitsios

Tomboy: Melissa Heslep

City Girls: Julianna Bicki, Kelsey Byrne, Rania Charalambidou, Kathryn Wagner

Corral NocturneJulianna Bicki and Cory Goei, with Melissa

Heslep and Matthew Helms

Piano InterludeSaloon Ladies: Kelsey Byrne, Rania

Charalambidou, Kathryn Wagner

Bartender: Lance Hardin

Cowboys: Martin Gonzalo Justo Bernardez, Cory Goei, Matthew Helms, Dionysios Mitsios

Tomboy: Melissa Heslep

HoedownMartin Gonzalo Justo Bernardez, Julianna

Bicki, Kelsey Byrne, Rania Charalambidou, Cory Goei, Lance Hardin, Matthew Helms, Melissa Heslep, Dionysios Mitsios, Kathryn Wagner


Boulder Philharmonic Orchestra

VIOLIN 1Charles Wetherbee,

concertmaster, Lafayette Rebecca RoserAnnamaria Karacson, assistant

concertmaster, Boulder Virginia NewtonDebra Holland, Boulder Jack & 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 MohlingSharon Park,** Boulder Robert & Francine MyersSarah Delevoryas, Broomfield

Kristen WolfRegan Kane, Boulder Joan Brett & Edward SiegelMiriam Linschoten, BoulderRobyn Sosa, DenverPaul Trapkus, LongmontAzaduhi A. Vieira,

Colorado SpringsLori Wolf Walker, Louisville

VIOLAMary Harrison,* Wheat Ridge Patricia ButlerMichael Brook,** Superior Matthew HyattAniel Cabn, Boulder

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

CELLOCharles Lee,* Boulder Albert & Rebecca BatesMarcelo Sanches,** Boulder Anne WenzelAnne Brennand, Boulder Joan ClelandSara Fierer, Denver Penny & Robert HawsYoriko Morita, Louisville Chris & Margot BrauchliGreta Parks, Boulder Carolyn Bradley

Shirley Stephens-Mock, Golden

Eleanor Wells, Boulder Martha & George Oetzel

BASSDavid Crowe,* Boulder Nyla & William WitmoreBrian Knott,** Louisville Lin & Matthew HawkinsBrock Chambers, DenverDale Day, Boulder Larry Day & Catherine

Haskins, John BondBob Orecchio, WestminsterMatthew Pennington,

Lafayette

HARPKathleen Wychulis,*

Omaha, NE

PIANO and CELESTEArthur Olsen,* Boulder

TIMPANIDouglas William Walter,*

Louisville

PERCUSSIONHiroko Okada Hellyer,*

Centennial Virginia JonesPaul Mullikin,** Lakewood Marion Thurnauer &

Alexander TrifunacMike Tetreault, Denver Annyce Mayer

FLUTE/PICCOLOElizabeth Sadilek,* Edwards Pamela Dennis Caitlyn Phillips, NorthglennOlga Shylayeva, Lafayette Paul Weber

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

CLARINET/BASS CLARINETStephanie Zelnick,*

Lawrence, KS Rodolfo & Margaret PerezBronwyn Fraser, Longmont William & Ann KelloggMichelle Orman, Denver

BASSOON/CONTRABASSOONCharles Hansen,* Greeley 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 Courtney Thomas

TROMBONEBron Wright,*

Colorado SpringsOwen Homayoun, Austin, TX Jeremy Van Hoy,

Colorado Springs

TUBAMichael Allen,* Northglenn

ADDITIONAL MUSICIANSChris Jusell, violinCyndi Mancinelli, violinSusie Peek, violinIngrid Peoria, violinLeslie Sawyer, violinChristine Short, violinCarol Lee, violaCarl Dixon, percussionNena Lorenz, percussionIan Wisekal, oboeLiz Telling, English hornHeidi Mendenhall, clarinetDeborah Marshall,

E-flat clarinetApril Johannesen,

bass clarinetJD Little, alto saxophoneDeb Torp, contrabassoonLauren Varley, hornDawn Kramer, trumpetDerek McDonald, trumpetScott Bean, trombone

* Principal** Assistant Principal

We thank our Friends of the Phil musician sponsors. For more information on sponsoring one of the Boulder Phils professional musicians, please see page 39.


Spheres of InfluenceBOULDER PHILHARMONIC ORCHESTRA

Michael Butterman, conductor

Anne Akiko Meyers, violinMissy Mazzoli, Music Alive: New Partnerships Composer-in-Residence

Friday, February 12, 2016Macky Auditorium, CU Boulder

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

Tonights performance is being taped for broadcast on March 23 on Colorado Public Radios classical service (CPR Classical), 88.1 FM and 99.9 FM,

hosted by Charley Samson. Please limit ambient noise.

Missy Mazzoli Sinfonia (for Orbiting Spheres)(b. 1980) Part I Part II Part III Dmitri Shostakovich Symphony No. 9, op. 70 (1906 1975) I. Allegro II. Moderato III. Presto IV. Largo V. Allegretto- Allegro

Intermission

Piotr Ilyich Tchaikovsky Suite No. 4, Op. 61 (Mozartiana)(1900 1990) I. Gigue II. Menuet III. Pregheira IV. Theme et variations Felix Mendelssohn Concerto for Violin, Op. 64(1809 1847) I. Allegro molto appassionato II. Andante III. Allegretto non troppo- Allegro molto vivace

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

Tonights guest artists are staying at the Millennium Harvest House Hotel

ProgramANNE AKIKO MEYERS, violin

Known for her passionate performances, purity of sound, poetic interpretations, innovative programming and commitment to commissioning new works, Anne Akiko Meyers is one of the

most celebrated violinists embraced around the world today. Possessing a rare ability to connect with audiences from the concert stage, online, in television, and radio broadcasts, Ms. Meyers has actively maintained an extensive touring schedule for close to 30 years, and regularly performs in recital and as guest soloist with many of the worlds top orchestras. She is a best-selling recording artist who has released 32 albums and was the top-selling traditional classical instrumental soloist on Billboards charts in 2014.

2015 fall highlights include a nationwide PBS broadcast special and Naxos DVD release of the world premiere of Samuel Jones Violin Concerto with the All-Star Orchestra led by Gerard Schwarz as well as the French premiere Mason Bates Violin Concerto with Leonard Slatkin and the Orchestre de Lyon. Ms. Meyers will also perform recital and solo appearances throughout the Americas and Europe.

This past spring, on 24 hours notice, Ms. Meyers stepped in to lead the conductor-less Orpheus Chamber Orchestra with the Mendelssohn Violin Concerto at Carnegie Hall and in Pennsylvania to rave reviews. Ms. Meyers also released Four Seasons: The Vivaldi Album, which debuted at #1 on the classical Billboard charts. The Vivaldi Album was the recording debut of the Ex-Vieuxtemps Guarneri del Gesu violin, dated 1741, recently awarded to Ms. Meyers for her lifetime use. This instrument is considered by many to be the finest sounding violin in existence.

Ms. Meyerss recent appearances included recital and concerto engagements in North and South America, Europe and Asia, including performances with the Chicago, Detroit, Nashville, and Richmond Symphony Orchestras of the Mason Bates Violin Concerto. A champion building the repertoire for the violin by living composers, Ms. Meyers has also commissioned and premiered works

by composers such as Mason Bates, Jakub Ciupinski, John Corigliano, Brad Dechter, Jennifer Higdon, Samuel Jones, Wynton Marsalis, Akira Miyoshi, Arvo Prt, Gene Pritsker, Einojuhani Rautavaara, J.A.C. Redford, Somei Satoh and Joseph Schwantner.

Ms. Meyers has collaborated with a diverse array of artists outside of traditional classical, including jazz icons, Chris Botti and Wynton Marsalis, avant-garde musician, Ryuichi Sakamoto, electronic music pioneer, Isao Tomita, and Il Divo and singer, Michael Bolton. Recently, Ms. Meyers was featured on CBS Sunday Morning, CBS The Good Wife, NPRs Morning Edition with Linda Wertheimer and All Things Considered with Robert Siegel, among many other press appearances. Best-selling novelist, J.Courtney Sullivan, consulted with Ms. Meyers for The Engagements, and based one of the main characters loosely on Ms. Meyerss career. Ms. Meyers also collaborated with childrens book author and illustrator, Kristine Papillon, on Crumpet the Trumpet. A beautiful story and recording about a baby trumpet with Ms. Meyers portraying the violinist, Violetta.

Ms. Meyers was born in San Diego, California and grew up in Southern California. Her teachers include Alice and Eleonore Schoenfeld at the Colburn School of Performing Arts, Josef Gingold at Indiana University, and Felix Galimir, Masao Kawasaki and Dorothy DeLay at the Juilliard School. She received the Avery Fisher Career Grant and serves on the advisory board of Composers Concordance and Young Concert Artists. Ms. Meyers lives with her husband and two young daughters in Austin, Texas.

MISSY MAZZOLI, Composer-in-ResidenceMissy Mazzoli

was recently deemed one of the more consistently inventive, surprising composers now working in New York (The New York Times), Brooklyns post-millennial Mozart (Time Out New York)

and one of the new wave of scarily smart young composers (sequenza21.com). Her music has been performed all over the world by the Kronos Quartet, eighth blackbird, pianist Emanuel Ax, the Detroit Symphony,



Programthe LA Philharmonic, the Minnesota Orchestra, the American Composers Orchestra, JACK Quartet, Opera Philadelphia, New York City Opera, and many others. She is currently Composer-in-Residence with Opera Philadelphia, Gotham Chamber Opera and Music Theatre-Group. Ms. Mazzoli recently joined the composition faculty at the Mannes College of Music, a division of the New School.

The 2015/16 season will include many new projects and collaborations, including a premiere by acclaimed chamber ensemble yMusic, a residency with the Boulder Philharmonic sponsored by New Music USAs Music Alive Program, a performance of her multimedia chamber opera Song from the Uproar at LA Opera and other performances of her work by the Phoenix Symphony, the Cabrillo Festival Orchestra, and Grammy-winning vocal group Roomful of Teeth. Along with librettist Royce Vavrek, Missy is also working on Breaking the Waves, a chamber opera based on Lars von Triers 1996 film, commissioned by Opera Philadelphia. Recent seasons included the Carnegie Hall premiere of Missys Vespers for a New Dark Age. Vespers was released in March 2015 on New Amsterdam Records along with Missys own remixes of the work and a remix of her piece A Thousand Tongues by longtime collaborator Lorna Dune. The New York Times called Vespers for a New Dark Age ravishing and unsettling, and the album was praised on NPRs First Listen, All Things Considered and Pitchfork. Missy also recently created new works commissioned and premiered by the LA Philharmonic, the Young Peoples Chorus of New York, ETHEL, Roomful of Teeth and pianist Emanuel Ax, who has performed Missys Brahms-inspired Bolts of Loving Thunder on tour around the country. Other recent projects include the Carnegie Hall premiere of You Know Me From Here, a string quartet commissioned for the Kronos Quartet, performances by the Britten Sinfonia at Londons Barbican Centre, and scores to accompany films by Alice Guy Blach, commissioned by the Whitney Museum of Art. Ms. Mazzoli is an active pianist and keyboardist, and often performs with Victoire, a band she founded in 2008 dedicated to her own compositions. Their debut full-length CD, Cathedral City, was named one of 2010s best classical albums by Time Out New York,

NPR, the New Yorker and the New York Times. Their second album was released in March, 2015. Pitchfork praised Victoire for condensing moments of focused beauty and quiet conviction from the pandemic distractions of modern life, WNYC dubbed the group consuming and arresting, and NPRs First Listen asks Is Victoires music post-rock, post-mimimalist or pseudo-post-pre-modernist indie-chamber-electronica? It doesnt particularly matter. Its just good music.

Ms. Mazzoli is the recipient of a 2015 Foundation for Contemporary Arts Award, four ASCAP Young Composer Awards, a Fulbright Grant to The Netherlands, the Detroit Symphonys Elaine Lebenbom Award, and grants from the Jerome Foundation, American Music Center, and the Barlow Endowment. She has been awarded fellowships from the MacDowell Colony, Yaddo, Ucross, VCCA, the Blue Mountain Center and the Hermitage. She is also active as an educator and a mentor to young composers; in 2006 she taught composition in the Music Department of Yale University, and from 2007-2010 was Executive Director of the MATA Festival in New York City, an organization dedicated to promoting the work of young composers.

Ms. Mazzoli attended the Yale School of Music, the Royal Conservatory of the Hague and Boston University. She has studied with (in no particular order) David Lang, Louis Andriessen, Martin Bresnick, Aaron Jay Kernis, Martijn Padding, Richard Ayres, John Harbison, Charles Fussell, Martin Amlin, Marco Stroppa, Ladislav Kubik, Louis DeLise and Richard Cornell.

PROGRAM NOTES

MISSY MAZZOLI (b. 1980)Sinfonia (for Orbiting Spheres)

Sinfonia (for Orbiting Spheres) is music in the shape of a solar system, a collection of rococo loops that twist around each other within a larger orbit. The word sinfonia refers to baroque works for orchestra but also to the old Italian term for a hurdy-gurdy, a medieval stringed instrument with constant, wheezing drones that are cranked out under melodies played on an attached keyboard. The three movements of this piece, played without pause,


Programchurn and roil through a series of fast-changing moods and tempi. Over the course of fourteen minutes the orchestra is transformed into a makeshift hurdy-gurdy, flung recklessly into space. Sinfonia (for Orbiting Spheres) was originally composed for chamber orchestra and was commissioned and premiered by the Los Angeles Philharmonic, conducted by John Adams. The Boulder Philharmonic will perform the world premiere of a new arrangement for full orchestra, as part of composer Missy Mazzolis Music Alive: New Partnerships residency.

Missy Mazzoli is the Music Alive: New Partnerships Composer-in-Residence with the Boulder Philharmonic. Music Alive: New Partnerships is a national residency program of New Music USA and the League of American Orchestras.

DMITRI SHOSTAKOVICH (1906-1975)Symphony No. 9 in E-flat major, Op. 70

The infamous Soviet leader Joseph Stalin sought to control all aspects of Russian society during his reign from 1922 to 1953. He demanded a new Russia that embraced conservative and nationalistic principles. Anything that was not aligned with his carefully-proscribed doctrine was viewed as anti-Soviet. Most of Stalins enemies were simply eliminated. Nowhere was this more noticeable than in the Great Purge that began in 1934, during which the Party expelled those they viewed as opportunists and infiltrators. Before Stalins death in 1953 slowed the bloodshed, over 700,000 people had been killed and millions of others had been sent to forced labor camps in Siberia.

After Dmitri Shostakovich ran afoul of Stalin with the opera Lady Macbeth of the Mtsensk District, the composers life was changed forever. He was labeled an Enemy of the People and his works were banned. In an attempt to regain his career, most historians believe that Shostakovich feigned repentance by subtitling his 1937 Fifth Symphony An Artists Reply to Just Criticism. Filled with grandiose flourishes, the symphony served its purpose and Shostakovich was taken back into the fold. All things considered, Shostakovich was lucky since he was allowed to live, unlike thousands of other artists, composers, and creative figures who were killed during Stalins purges.

After the incident in the 1930s, his music became bold in the face of adversity, proving that the Soviet government could not break the spirit of one of their greatest composers. Shostakovich was careful not to reveal the true meanings of his newest works, keeping some of them secretly locked away until late in life. Shostakovichs five-movement Ninth Symphony was composed in 1945. Originally intended as a grandiose work for chorus, vocal soloists, and orchestra to celebrate the surrender of the Germans at the end of World War II, the symphonys scope changed drastically before it was completed. The final result is best described as neo-classical in its approach or, to use Shostakovichs words, a joyful little piece. The last word belonged to the composer, who confessed a few years before his death:

I doubt that Stalin ever questioned his own genius or greatness Everyone always praised Stalin, and now I was supposed to join in this unholy affair. There was an appropriate excuse. We had ended the war victoriously; no matter the cost, the important thing was that we won, the empire had expanded. And they demanded that Shostakovich use quadruple winds, choir and soloists to hail the leader Stalin assumed that the symphony in his honor would be a quality piece of music. He would be able to say There it is, our national Ninth.

I confess that I gave hope to the leader and teachers dreams. I announced that I was writing an apotheosis. I was trying to get them off my back, but it turned against me. When my Ninth was performed, Stalin was incensed. He was deeply offended, because there was no chorus, no soloists. And no apotheosis. There wasnt even a paltry dedication. It was just music, which Stalin didnt understand very well and which was of dubious content. I couldnt write an apotheosis for Stalin, I simply couldnt. I knew what I was in for when I wrote the Ninth.

Shostakovichs first movement, marked allegro, begins in a pseudo-classical-period style, reminiscent of Prokovievs Classical Symphony. However, Shostakovichs brand of satiric biting wit is ever-present. A second theme for piccolo solo is delightful in its


Programcarnival atmosphere, accompanied by snare drum and a boorish trombone. A compact development section leads to a rather creative recapitulation in which the order of themes is reversed and the former piccolo solo becomes a delightful turn for the concertmaster.

The moderato second movement begins with an extended melody for solo clarinet over a tense accompaniment by pizzicato strings. A second clarinet enters, and then other woodwinds join until Shostakovich conjures a dreamy atmosphere. A central section for strings provides contrast, but tension builds until the opening theme returns, this time played by a solo flute. Themes pass through the orchestra before the movement ends with a whisper.

Bold and aggressive, the presto third movement is a showpiece for orchestra. Woodwind runs at the beginning set the stage for a feeling of strife that always seems to be hiding just below the surface of this three-minute test of virtuosity. Puzzlingly, the ending seems to lose its steam and acts as a transition to the equally short largo fourth movement. Opening with a threatening brass fanfare, the movement soon gives way to high bassoon solo, almost like an operatic recitative in its style.

Shostakovichs finale is divided into two parts. The beginning allegretto is really a continuation of the bassoon solo, but at a quicker tempo and with the return of the composers tongue-in-cheek sensibility. As the movement progresses, the tempo becomes a quick allegro that first takes up the bassoon theme, but soon moves to other areas. Shostakovich provides ample opportunities for all sections of the orchestra to be in the spotlight. A tightly-wrought development returns to the bassoon theme, fragmenting and scattering it all over the ensemble. Finally it returns in a mock-martial setting played by the low brass, passing through variations in the trumpets, and is finally transformed into a breathlessly rapid coda for the full orchestra.


PIOTR ILYICH TCHAIKOVSKY (1840-1893)Suite No. 4 in G major, Op. 61 (Mozartiana)

Concert life in Imperial Russia during Tchaikovskys youth was inextricably linked

to the court. When the Russian Musical Society was formed in 1859 to bring concert music to the public, young composers discovered new opportunities. Entertainment and art, formerly confined to aristocratic salons, were now accessible to the public. Music classes and learning institutions offered instruction to students of all skill levels. One of the most notable schools was the St. Petersburg Conservatory, which opened in 1862 with Piotr Ilyich Tchaikovsky as one of its first students.

Mily Balakirev, most memorable as a member of the composers collective called the Russian Five, became a close friend of Tchaikovsky. It was largely through Balakirevs informal tutelage that Tchaikovsky began to shape a distinct musical voice. His early works were far from seamless and often rambled on with no discernible direction. Over the next decade, Tchaikovsky developed into one of western musics undisputed masters.

After the success of his Suite No. 1 in 1878, Tchaikovsky went on to compose three more over the next decade. The final suite is subtitled Mozartiana and is a reworking of four short pieces by the Viennese master. The original idea came in 1884, but several other projects and the usual bouts of self-doubt delayed the project until the summer of 1887.

The first movement is based on Mozarts Gigue, K. 574. As the movement proceeds, the cross-rhythms those charming little ambiguities become more pronounced in the orchestral arrangement than they were in Mozarts original.

Mozarts Minuet in D, K. 355, follows as the second movement. The sumptuous string writing here is anachronistic to Mozarts time, but this feature makes it even more interesting. This is far from the heavy-footed minuets of the late eighteenth century.

The third movement, entitled Preghiera (Prayer), is based on the famous Ave verum corpus, K. 618. Composed as a choral piece, the work was known to Tchaikovsky through Franz Liszts piano paraphrase one of many virtuoso treatments Liszt did of music by other composers.

Although it is not heard on this program, the finale is an arrangement of Mozarts Variations for Piano, K. 455, which uses an aria by Christoph Willibald Gluck as its theme.



FELIX MENDELSSOHN (1809-1847)Concerto in E Minor for Violin and Orchestra, Op.64

The most intensely Romantic music is often represented as having been written by composers whose personal lives were fraught with misfortune. Any number of Romantic composers may be plugged into a similar formula and, in a few cases, the paradigm even holds true but not in the case of Felix Mendelssohn.

Coming from a wealthy family, Mendelssohn had no financial worries. Felix, along with his sister Fanny, received the best musical education money could buy. As an adult, the composers personal life was the model of domestic bliss with his joyful marriage to Cecile Jeanrenaud. An undisputed giant in Europes musical community, Mendelssohn was much sought-after as both composer and conductor. Every aspect of his life was nearly perfect, but such a shining star could only burn out quickly. Mendelssohn died at the age of thirty-eight, probably from a stroke the same malady that killed Fanny a year before.

Mendelssohns Violin Concerto in E minor is a late work, dating from the end of 1844. By

1835 he had resolved to compose a work for his friend, the virtuoso violinist Ferdinand David. However, the composers many conducting obligations and extensive travels forced him to shelve the project for nine years.

The resulting work is a gem of the solo repertoire. Opening immediately with the soloist and completely foregoing the customary orchestral exposition, the piece begins with a charming melody that has become the signature of this concerto. Traditionally cast in sonata form, the movement shows Mendelssohns expertise at paring down the orchestral fabric, allowing smaller groups of instruments to accompany the soloist. The first movement is fused to the second by a single sustained note in the bassoon, leading to a lyrical Andante theme. In this middle movement, Mendelssohn skillfully exploits the legato capabilities of the violin while accompanying these passages with multiple stops of considerable difficulty all played simultaneously by the soloist. The finale is a brilliant and elegant romp a clear gesture of homage to the virtuoso tradition of solo violinists.


Program


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BOULDER PHIL 2015-2016

Events of Note eWorks and Process: Choreography and Live Music Presented by the Boulder Philharmonic and Boulder Ballet

Tuesday, January 12, 2016 6 PM Shine Restaurant and Gathering Place 2027 13th Street, BoulderJoin us as we delve into how we bring collaborations between the Boulder Phil and Boulder Ballet to life!Music Director Michael Butterman and Artistic Director Ana Claire will discuss their inspiration and process for developing original choreography for Aaron Coplands Rodeo, accompanied by live illustrations with dance and music.

6PM - Hors doeuvres and mingling6:45PM - Discussion and presentationTickets: $60

Meet the ArtistsProgressive Luncheon with violinist Anne Akiko Meyers, composer Missy Mazzoli, and Music Director Michael Butterman

Thursday, February 11, 2016 1 pmThe Academy970 Aurora Street, Boulder CO

Get to know Billboards top-selling classical artist of 2014, one of the most up-and-coming composers of our time, and the Boulder Phils innovative conductor at this unique event! Following a chat among the artists and a Q&A, they will each join you at your table for a course during this luncheon at The Academy.

1pm - Meet the artists1:30pm - Lunch with the artistsTickets: $75

Making the Masterworks at Macky: St. Matthews PassionThursday, April 21, 2016 5:30pmMacky AuditoriumCU Boulder Campus

Join us for an intimate performance, seated on stage at Macky Auditorium! Bach specialists will discuss and demonstrate the composition and vision of one of the most grandiose pieces of early music.

5:30pm - Discussion and performance6pm - Cocktail receptionTickets: $60


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

programming thanks to its growing number of season subscribers, and the annual support of individuals, corporations, foundations, and government agencies. We take this opportunity to express our appreciation of those who made contributions or pledges from October 1, 2014 through December 1, 2015.

FOUNDERS CIRCLE ($30,000+)SCFDNyla & Gerry Witmore

GOLD CIRCLE ($10,000+)AnonymousPatricia ButlerColorado Creative IndustriesFlatirons BankDavid Fulker & Nicky WolmanGordon & Grace Gamm Wayne Itano &

Christine Yoshinaga-ItanoNational Endowment for the

ArtsNoris FoundationRodolfo & Margaret PerezLynn StreeterMarion Thurnauer & Alexander

Trifunac

SILVER CIRCLE ($5,000+)Anonymous (2)Albert & Rebecca BatesBoulder Arts CommissionThomas & Virginia CarrEleanor CrowJacqulynn GeisterDavid & Sara HarperMicro Motion/EmersonSteve & Jayne MillerNew Music USAHarry & Eleanor PoehlmannTebo Properties

BRONZE CIRCLE ($2,500+)The AcademyAnonymousAlbert & Nancy BoggessChristopher &

Margot BrauchliJoan BrettJoan ClelandThe Community Foundation

Serving Boulder CountyPamela DennisEide Bailly, LLPCarl & Ruth ForsbergJerry & Janet GillandLin & Matthew Hawkins

Kyle & Stephanie HeckmanMark & Cherine HerrmannTeresa Myrwang HolumMatthew HyattIBMSamuel & Carolyn JohnsonRuth Carmel KahnStephen & Judy KnappKiplund KolkmeierGeorge Lichter (in memoriam)Erma & John ManteyThe Newton Family FundFrank Palermo & Susan

OlenwineCarl & Kathy PolhemusRocky Mountain Wealth

ManagementKaryn Sawyer

LEADERSHIP CIRCLE ($1,000+)Anonymous (2)Gail Aweida (in memoriam)Bennie & Jannette BalkeBerenbaum, Weinshienk, LCBoulder County Arts AllianceAlexander & Sally BrackenBarbara BrentonLindley BrenzaAmy & Terry BrittonMichael Butterman & Jennifer

CarsilloMichael & Stephanie CarterToni & Nelson ChenTerry & Jenny CloudmanAlan & Tessa DavisJames Tailer & Donna DavisScott & Paula DeemerTom & Ursula DickinsonThe Louise & Grant Charitable

FundElyse GrassoMargaret HanssonRussell & Ann HayesJohn HedderichGrant & Holly HickmanDavid & Suzanne HooverHutchinson Black &

Cook, LLCQuentin & Bonnie KarlsrudRay & Margot LaPanseHarold & Joan Leinbach

Richard & Linda LivingstonFrances MacAnallyAnnyce MayerMillennium Harvest HouseEdith Morris TrustSusan & Paul RobertsJanet & David RobertsonJuan & Alicia RodriguezLuana RubinR. Alan & Stephanie RudyTK Smith & Constance HoldenArthur & Carol SmootEllen E. StewartAlan & Martha StormoMary StreetTaddiken Tree CompanyDick & Caroline Van PeltBetty Van ZandtJack & Brenda ZellnerArt Zirger & Mary Rowe

ARTIST CIRCLE ($500+)Randall & Jill AndersonAnonymousHelen BosleyCarolyn BradleyJean-Pierre & Glenna BriantJoe BrienzaAndrew & Audrey FranklinHans & Jeri FriedliRalph & Joanna GrassoJames & Gayle HeckmanGerald & Doree HickmanKathy & Randy HungatePaul & Nancy LevittJerry & Heidi LynchPatricia McCarthyBarbara & Irwin NeulightWilliam RoettkerRoss & Jane SheldonKevin Shuck & Greg GinocchioDebra VicharelliJack & Sophie WalkerVivian WilsonThe Winston Family Foundation

PARTNERS ($250)Joyce AlbersheimSydney & Robert AndersonAnonymousRichard BaileyJanet Bartsch


DonorsVincent BatesKaren BernardiJoan BleacherJanet BraccioCarls FundBen & Gale ChidlawBarry ClarkFirst Sunday NightersRichard Collins & Judy ReidJoe & Alice DoyleEllen FriedlanderAnn GarstangGerald & Anita GershtenJulie GinocchioDr. Gilberto GonzalezSusan & Gustavo GramppKen & Dianne HackettKent & Cathy HansenChuck HardestyJeannette HilleryCaroline HimesMark HoldbrooksStewart & Karen HooverDixie HutchinsonRichard & Ruth IrvinColman & Marcia KahnDavid & Carol KampertMatthew & Diana KaroweWilliam & Ann KelloggDon & Eleanor KingAnnette & Thomas KissengerBruce Kahn & Susan LittMary Marlino & Greg YoungMartha McGavinRichard & Donna MeckleyAlan & Judy MegibowRobert & Marilyn MohlingMary NakashianMartha & George OetzelBob OrecchioMolly ParrishJames PendletonMarjorie & Bob SchaffnerJane & Leo SchumacherRobert & Elizabeth ShayAndrew & Margrit StaehelinThomas & Nancy StormPeter & Laura TerpenningCourtney ThomasNicholas & Shelby VanderborghPamela WalkerPaul WeberBetty Woon

FRIENDS ($100+)Roberts AhrensRichard & Alma AlberAnonymous (3)Susan & Richard Anthes

Peggy ArchibaldJudith Auer & George LawrenceMary Inga BacklundRichard & Jane BarkerAnne & Harry BeerLes & Barbara BerryCatherine & William BickellAlan Bloom & Sue BohlineStephen Eisenberg &

Anne BurkholderJosephine & James BushMartha BushnellBob & Judy CharlesHelen CheneryDion & Alekie CheronisAndrew & Lois CherringtonDorothy CiarloRoger & Norma CichorzClaude Weil & Carolie CoatesCarol CogswellSara-Jane & Bill CohenMax & Barbara CoppomCharlotte CorbridgeVirginia CorsiMelinda CourtmanRichard Bixby &

Barbara Cox-BixbyBonnie Crissey & Richar OyeMargot CroweDan & Nancy DIppolitoLynne DannenholdPeter & Joan DawsonLarry Day & Catherine HaskinsWarren & Vici DeHaanDavid & Susan DonaldsonDavid DowellLeslie & Donald DreyerNorman & Muriel EliotLee EllwoodSusan Ely & James HartmanJane EnterlineMartha Coffin EvansBeverly FestClaire & Art FigelWayne & Anne FischerNeil FishmanRobert & Juliette FordJohannah & O. Lehn FrankeBill & Randy GanterNeil Ashby &

Marcie GeissingerPeter Gilman & Peggy LemoneCharles & Gail GrayCharles & Patricia HadleySpencer & Valerie HavlickJames & Judith HeinzeSondra & RandyBurton & Maxine HobsonJohn Dennis Hynes

Arnie Jacobson & Victoria Johns-Jacobson

Wesley & Joanne JohnsonJo Ann JoselynJosh & Lori KahnRobert KehoeJoel KieseyAnn KileyEileen & Walter KintschBonnie KirschenbaumPeter & Judith KleinmanHoward & Barbara KlemmeBarry KnappJon & Lenna KottkeRichard KraftFrank KreithWesley & Heather Le MasurierDouglas LernerJoy LinfieldLeslie Lubovich &

Bruce WilsonAl Gasiewski & Rachel LumKamilla MacarSusan MagruderWilliam & Susan MarineMarian MathesonSteven & Susan MaxwellJ. Hunter & Janet McDanielMarla & Jerry MeehlElizabeth MeyerBarry & Gloria MillerRichard Nishikawa &

Kathleen MillerMillie & Ivan MillerSara MilmoeRoger & Lily MomentJoan MulcahyRobert & Francine MyersJames NeelyScott & Jean NelsonRonald & Joan NordgrenAlison & Graham OddieJan OsburnCorinne Effinger-OwenChristopher & Linda ParisDavid PaulsonRobert & Marilyn PeltzerMary & John PricePriscilla PritchardNicole RajpalRaymond & Mary RobleLester RonickCharles SamsonJudith SchillingDaniel & Boyce SherEdward SiegelCynthia Sliker & Robert SchallerTodd & Gretchen SlikerZdenka & Dean Smith


DonorsPamela & Michael SousaRobert & Joyce SpencerCourtland & Carolyn SpicerRandy StevensRon StewartGregory & Diane StreveyJames ToppingMichael & Nancy UdowRex VedderRichard & Wendy WolfBruce & Kathryn WoodruffTeresa WoodruffCharles Zabel

SUPPORTERS ($50+)Andrea AdamsSuzanne & Robert AndersonAnonymous (4)Elizabeth BeckerCynthia BettsDavid BlackburnDr. Peter BogenschutzVirginia BoucherJanet BrewerDebra & Charles BrindisDavid BurnsJane ByersJulianne Cassady

Thomas & Vivian CecilDeborah CrabbeCharles & Jean DinwiddieCaroline & Preston DouglasRuth FeiertagWilliam & Ann FordMichael Fried &

Cynthia GrossmanAndrew GaudetteGarry & Barbara GordonLotus FundDorothea & Ronald GreyKathryn Strand &

Eldon HaakinsonLinda & Nick HattelRobert & Penny HawsNatalie Hedberg & Thomas Van

ZandtHans JordanDiane KnudsenAlice KreinbringBrad LamC. Nicholas & Mollie LeePam LelandDavid & Elisa LockeJean & Megan MacMillanJ. Ramon McCarusDoris & Peter McManamon

Joanne MerasPolk Family Charitable FundPaul & Margaret PreoDayna & Robert RoaneRon RobeckRobert & Judy RotheBarbara SableCarol Saunders & Reed BaileyStephanie SchefflerAnn Schroeder &

Mark BallengerPeter & Barbara SchumacherNanette SchunkChristine ShieldsBetty SkippJennifer & Nick StachniakStacey Steers & David BrunelRobert & Julie StuenkelElaine TaylorKaren UtleyAmy L. VandersallDeborah VinkKathleen & Dennis WellmanRonald & Marlies WestPhillip Wong

Your Phil Goes to DC...

The Boulder Philharmonic Orchestra has been chosen to participate

in the new weeklong SHIFT Festival, taking place at the Kennedy Center in

Washington, DC, from March 27 through April 2, 2017. This inaugural, high-profile music festival showcases four orchestras and

provides a nati

boulder philharmonic winter 2015-2016, jan. 16-feb. 12, 2016

Documents