Boulder Philharmonic Winter/Spring 2013-2014, Mar. 22 & Apr. 26

MICHAEL BUTTERMAN, MUSIC DIRECTOR

BOULDERPHILHARMONICORCHESTRA

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2013-2014 SEASON

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• Appalachian Spring a unique collaboration November 2

• The Nutcracker with full orchestra November 29–December 8

• Stepping Out 2014 world premiere ballets February 21–23

• Storybook Ballet a student performance March 7–9

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

• Ballet in the Park free outdoor concerts June 22–29

BOULDERBALLET

Amy Fogarty & Oliver Shock. Photo by Sue Daniels

20132014 SEASON


Welcome

Dear Friends,

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

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

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

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

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

Enjoy!

Michael Butterman

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B O U L D E R B A L L E T S C H O O LClasses for children & adults, beginners to professionals.

303.443.0028boulderballet.org

• Appalachian Spring a unique collaboration November 2

• The Nutcracker with full orchestra November 29–December 8

• Stepping Out 2014 world premiere ballets February 21–23

• Storybook Ballet a student performance March 7–9

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

• Ballet in the Park free outdoor concerts June 22–29

BOULDERBALLET

Amy Fogarty & Oliver Shock. Photo by Sue Daniels

20132014 SEASON




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

MUSIC DIRECTOR Michael ButtermanASSOCIATE CONDUCTOR Travis Jürgens

OFFICERS

BOARD

ADVISORY COUNCIL

ADMINISTRATION

DIRECTOR EMERITUSKim Coupounas China Leonard Dan Sher

ORDER OF THE BATON

Kyle Heckman, PresidentRodolfo Perez,

Vice President

Patricia Butler, SecretaryErma Mantey, Treasurer

Christopher BrauchliJoan BrettClaire FigelDavid FulkerLin Hawkins

Deborah HollandTeresa Myrwang HolumYoriko MoritaEleanor PoehlmannLynn Streeter

Barbara BrentonRoberta BrenzaPamela DennisKent HansenRuth KahnTed Manning

Susan OlenwineJoan RingoenMary StreetDick Van PeltBetty Van ZandtBrenda Zellner

Kevin Shuck, Executive Director

Shelley Sampson, Patron Services Manager & Artistic Administrator

Cynthia Sliker, Development Director

Michael Allen, Orchestra Librarian

Janet Braccio, Publicity Consultant

Holly Hickman, Marketing Consultant

Kim Peoria, Orchestra Manager

Glenn Ross, Production Manager

Betty Woon, Bookkeeper

Sarah Alm, Development Intern

Sarah Harrison, Education Intern

Carolyn Richardson, Volunteer

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

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

To Our SupportersPerhaps you’ve heard the good news —

Boulder Phil ticket sales have increased 40% since Michael Butterman joined us as Music Director in 2006! In fact, we performed for a record six sold-out houses in 2013, a clear indication that our community is excited about our programming, including our current season, “Nature & Music.”

No fewer than a dozen collaborations are helping to bring to life this most “Boulder” of seasons, furthering the Phil’s commitment to present programming that reflects and fosters all that makes our community special. To experience one of our more surprising partnerships first-hand, I invite you to join us for one of our guided “musical hikes” with Boulder Open Space and Mountain Parks this spring!

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

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

Kevin Shuck

Executive DirectorKevin Shuck

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About the Boulder Phil

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

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

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

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


Michael Butterman, ConductorMaking his mark as a model for today’s conductors, Michael

Butterman is recognized for his commitment to creative artistry, innovative programming, and to audience and community engagement. He is in his eighth season as Music Director for both the Boulder Philharmonic Orchestra and the Shreveport Symphony Orchestra, and is in his 14th season as Principal Conductor for Education and Outreach for the Rochester Philharmonic Orchestra, the first position of its kind in the United States. He is also the Resident Conductor of the Jacksonville Symphony Orchestra, a post he has held since 2009.

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

Mr. Butterman gained international attention as a diploma laureate in the Prokofiev International Conducting Competition and as a finalist in the prestigious Besançon International Conducting Competition. As the 1999 recipient of the Seiji Ozawa Fellowship, he studied at Tanglewood with Robert Spano, Jorma Panula, and Maestro Ozawa, and shared the podium with Ozawa to lead the season’s opening concert. In 1997, Mr. Butterman was sponsored by UNESCO to lead the National Philharmonic Orchestra of Moldova in a concert of music by great American masters.

From 2000 to 2007, Mr. Butterman held the post of Associate Conductor for the Jacksonville Symphony in Florida. For six seasons, he also served as Music Director of Opera Southwest in Albuquerque, NM. Prior to joining the Jacksonville Symphony, Mr. Butterman was Director of Orchestral Studies at the LSU School of Music for five years, and was Principal Conductor of the LSU Opera Theater. Previously, he held the post of Associate Conductor of the Columbus Pro Musica Orchestra, and served as Music Director of the Chamber Opera, Studio Opera, and Opera Workshop at the Indiana University School of Music. For two seasons, he was also the Associate Music Director of the Ohio Light Opera, conducting over 35 performances each summer.

At Indiana University, Mr. Butterman conducted a highly acclaimed production of Leonard Bernstein’s little-known 1600 Pennsylvania Avenue in a series of performances at the Kennedy Center in Washington, DC, receiving unanimous praise from such publications as The New York Times, Washington Post, Variety, and USA Today. He was subsequently invited to New York at the request of the Bernstein estate to prepare a performance of a revised version of the work.

Michael Butterman’s work has been featured in five nationwide broadcasts on public radio's Performance Today, and can be heard on two CDs recorded for the Newport Classics label and on a new disc in which he conducts the Rochester Philharmonic and collaborates with actor John Lithgow.

www.MichaelButterman.com

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Educational Outreach

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

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

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

• 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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Boulder Philharmonic Orchestra 2013-2014 Program 1

ProgramBOULDER PHILHARMONIC ORCHESTRA

Michael Butterman, conductor

Simone Dinnerstein, piano

Saturday, March 22, 2014 Macky Auditorium, CU Boulder

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

Monday, March 24, 2014Vilar Center for the Performing Arts, Beaver Creek

6:30 pm Performance

Dedicated to David Burge, Music Director of the Boulder Philharmonic Orchestra (1965-1972)

Steve Heitzeg "Ghosts of the Grasslands" (b. 1959) From Symphony to the Prairie Farm

Philip Lasser The Circle and the Child: Piano Concerto(b. 1963) I. Poco Allegro II. In a cold, steady tempo III. Poco Allegro - Moderato

- Intermission -

Claude Debussy La mer (1862 – 1918) I. De l’aube à midi sur la mer (From dawn to noon on the sea) II. Jeux de vagues (Play of the waves) III. Dialogue du vent et de la mer (Dialogue of the wind and the sea)

George Gershwin Rhapsody in Blue (1898 – 1937)

Simone Dinnerstein will be signing CDs in the lobby after the concert.

Millennium Harvest House is the exclusive hotel for Boulder Philharmonic guest artistsProgram and artists subject to change. Use of electronic devices prohibited.

Program 2 Boulder Philharmonic Orchestra 2013-2014

ProgramSIMONE DINNERSTEIN, PIANO

American pianist Simone Dinnerstein is a searching and inventive artist who is motivated by a desire to find the musical core of every work she approaches. The Independent praises the “majestic originality of her vision” and NPR reports,

“She compels the listener to follow her in a journey of discovery filled with unscheduled detours... She’s actively listening to every note she plays, and the result is a wonderfully expressive interpretation.”

The New York-based pianist gained an international following because of the remarkable success of her recording of Bach’s Goldberg Variations, which she raised the funds to record. Released in 2007 on Telarc, it ranked No. 1 on the US Billboard Classical Chart in its first week of sales and was named to many “Best of 2007” lists including those of The New York Times, The Los Angeles Times, and The New Yorker.

The albums Ms. Dinnerstein has released since then — The Berlin Concert (Telarc), Bach: A Strange Beauty (Sony), and Something Almost Being Said (Sony) — have also topped the classical charts, with Bach: A Strange Beauty making the Billboard Top 200, which compiles the entire music industry’s sales of albums in all genres. Ms. Dinnerstein was the bestselling instrumentalist of 2011 on the U.S. Billboard Classical Chart and was included in NPR’s 2011 100 Favorite Songs from all genres.

In spring 2013, Simone Dinnerstein and singer-songwriter Tift Merritt released an album together on Sony called Night, a unique collaboration uniting classical, folk, and rock worlds, exploring common terrain and uncovering new musical landscapes. Other recent highlights include Ms. Dinnerstein’s debuts in Sydney and Melbourne, Australia; her debuts in Leipzig at the Gewandhaus; the world premiere of Nico Muhly’s You Can’t Get There From Here at Symphony Hall in Boston; and her third return engagement at the Berlin Philharmonie.

Dedicated to her community, in 2009 Ms. Dinnerstein founded Neighborhood Classics,

a concert series open to the public hosted by New York City public schools. The series features musicians Ms. Dinnerstein has met throughout her career, and raises funds for the schools. The musicians performing donate their time and talent to the program. Neighborhood Classics began at PS 321, the Brooklyn public elementary school that her son attended and where her husband teaches fourth grade. In addition, Ms. Dinnerstein has staged two all-school happenings at PS 321 — a Bach Invasion and a Renaissance Revolution — which immersed the school in music, with dozens of musicians performing in all of the school’s classrooms throughout the day.

Ms. Dinnerstein is a graduate of The Juilliard School where she was a student of Peter Serkin. She was a winner of the Astral Artist National Auditions, and has received the National Museum of Women in the Arts Award and the Classical Recording Foundation Award. She also studied with Solomon Mikowsky at the Manhattan School of Music and in London with Maria Curcio. For more information, visit www.simonedinnerstein.com.

STEVE HEITZEG, COMPOSER Emmy Award-winning composer Steve

Heitzeg is recognized for his orchestral, choral and chamber music written in celebration of the natural world, with evocative and lyrical scores frequently including naturally-found instruments such as stones, manatee and beluga whale bones, sea shells, and driftwood.

Addressing social and environmental justice issues, Heitzeg’s music includes Nobel Symphony, Voice of the Everglades, Wounded Fields, Aqua (Homage to Jacques Cousteau), Earthshaker, I Pray to the Birds, Peace Cranes, Wild Songs, and World Piece.

In 2008 the Daedalus Quartet premiered his Song Without Borders at the United Nations in New York City. Other recent works include Civil Rights Movements for solo piano and toy piano, 13 Variations on Nonviolence for solo piano, To A Better Place (text: Barack Obama) for chorus and piano, VOTE (Fanfares for Democracy) for solo trumpet, and SING (to change the world) for the 2013 ACDA Children’s Honor Choir. www.steveheitzeg.com

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ProgramPHILIP LASSER, COMPOSER

Philip Lasser’s music blends the subtle colors of French Impressionism with the crisp, direct sounds and rhythms of America’s musical palette. Standing apart from modernist trends and experiments, Lasser has devoted himself to the refinement of personal expression through economy of gesture and colorful harmony.

Named 2012-2013 Composer of the Year by the Classical Recording Foundation, Philip Lasser’s works are being performed by orchestras, soloists and chamber ensembles around the world. Distinguished member of the faculty of The Juilliard School since 1994, Lasser also directs the European American Musical Alliance Summer Music Programs in Paris.

Lasser’s recent book, The Spiraling Tapestry: An inquiry into the Contrapuntal Fabric of Music, offers a pioneering view on Bach’s compositional world. More information on Lasser is available at www.philiplasser.com

PROGRAM NOTES

STEVE HEITZEG (b. 1959)“Ghosts of the Grasslands” from Symphony to the Prairie Farm

Heitzeg grew up on his family’s dairy farm (Breezy Hill Farm) in south central Minnesota near Kiester, just on the border with Iowa. This work is his tribute to a vanishing way of life – the family farm on the prairie. With fewer than one million farms left in the United States, Heitzeg “felt compelled to compose a work honoring the farm.” The score is dedicated to Breezy Hill Farm, to the Des Moines Symphony and its music director Joseph Giunta.

Following is the composer’s description of the movement, Ghosts of the Grasslands:

This movement portrays the prairie in winter, and is a sonic reference to the tragedies of the prairie, including the Native American genocide and ecocide. The tension between homesteader and indigenous people, as well as the melancholy of the prairie, is evoked through soaring string lines, acoustic guitar and percussion sounds involving gourd rattles, native prairie grass bundles, powwow-style

bass drum effects, lone whistling and clattering buffalo bones. At the close of this movement, each percussionist plays squeaky toys to create prairie dog barks – a symbolic protest against the systematic destruction of the prairie dog.

I feel fortunate to have grown up on a dairy farm and to have been among the grace and beauty of the land. As the Iowa poet Michael Carey so poignantly writes in his poem “Amen:”

And the field itself, no matter how we abuse it, it loves us and feeds us, and asks us to return.

PHILIP LASSER (b. 1963)The Circle and the Child – Concerto for Piano and Orchestra

Cast in three movements, my concerto The Circle and the Child speaks of memory, inner voyage and closeness.

The circle is a powerful metaphor for life. For me, music, like life, travels on a circle of time from a beginning, back to the beginning, through memory. My concerto travels along such paths, revisiting memories colored by the experience of living. Hence, the image of the child who represents the repeating cycles of life, that ceaseless circle from life to life.”

At the core of my concerto is a chorale by Bach Ihr Gestirn,’ Ihr hohlen Lüfte (You stars in heaven, you vaulted sky). It is a rare example of a chorale unaffiliated to a Cantata. Bach weaves a profound harmonization through its small frame. Like an exquisite perfume, his chorale emanates from every passage of my Concerto. One hears the chorale as an intimate confession from the piano dialoguing with itself and its orchestral double through the fears and loves of a child.

The concerto begins with a simple 5-note C-major scale and takes this motive into domains strange and far. This scale, found deep in the Bach chorale, morphs and bends throughout the entire concerto and acts in a sense like a ruler, measuring how far we have travelled from our point of origin.

The relationship between the orchestra and the piano is rather unusual for a concerto. Rather than having distinct parts as in a play, the orchestra and piano share the same role and travel together through the same soundscape. I


Programfeel the orchestra serves as a holograph for the piano. Like in a holograph, the orchestra casts a three dimensional world around the piano, refracting and coloring the piano voices and inner lines.

The composer also shared the following regarding his collaboration with soloist Simone Dinnerstein:

Working with Simone is like entering onto a musical journey which takes me beyond the beauty of the notes to a place where sound is color and music is pure poetry. Writing the concerto for her made me discover how far my own musical utterance can go when in the hands of a musical sybil like Simone.

CLAUDE DEBUSSY (1862 – 1918) La mer (The Sea)

In the late nineteenth century, the music of Richard Wagner was generally regarded as the newest and most progressive in Europe. In Vienna, Paris, and a few other cities, a younger generation of composers began to write in reaction to Wagner’s music — some following his model, and others rejecting it and producing newer styles. One of the newer fashions in music was that of Impressionism, which presents a dream-like atmosphere, loose flowing rhythms, diffuse textures, and mysterious tone colors.

The first composer to gain prominence writing in this style was Claude Debussy. However, he should not be grouped solely with the Impressionists. Debussy had a varied career, beginning with his admission to the Paris Conservatoire at the age of ten, in lieu of ordinary school. In the early years, Debussy lived in Paris with little money and almost no critical notice. The Prelude to the Afternoon of a Faun, the piece in which Debussy introduced his mature impressionistic style, would achieve slight success in 1894.

Debussy’s largest work, the opera Pelléas et Mélisande, began when he befriended the play’s author, Maurice Maeterlinck. In 1902 the work was premiered and Debussy was finally granted the popularity he deserved. However, critics simply could not be convinced that Debussy’s impressionism held real musical merits.

With fame came adjustments, among them Debussy’s 1904 abandonment of his wife, Lilly,

for his married mistress, Emma Bardac. The two eventually married in 1908, but many friendships were destroyed as casualties of the scandalous affair. Scholars believe that the turmoil is chronicled in Debussy’s La mer. On the surface, this three-movement aquatic monument is a portrait of the undulation and mystery of the ocean. However, the tumultuous underpinning likely reflects some of the emotional unrest of marital strife. When La mer was first heard in 1905 the critics were less than complimentary. The critics likely saw this as an opportunity to punish Debussy for his marital indiscretions.

To modern ears, La mer is a brilliant portrait of the ocean, complete with its many nuances – the breaking of waves, the sparkle of sunlight on the surface, and the unfathomable and mysterious power of the depths – all portrayed through impeccable orchestration. The first movement, evocatively entitled “De l’aube à midi sur la mer” (“From Dawn to Noon on the Sea”), uses short motives that eventually combine in an ingenious manner to reveal a sun-drenched ocean in its full glory. Near the end of this movement, a majestic brass chorale brings to mind the swell of the sea, surging in its natural ebb and flow, before receding to a restrained, yet powerful, pianissimo ending.

“Jeux de vagues” (“Play of the Waves”) acts as the scherzo for La mer. Emphasis is placed upon the fluid motion of the waves as they crash upon the shore and fragment into innumerable droplets. Swirling textures prevail with prominent roles for the harp and xylophone.

In “Dialogue du vent et de la mer” (“Dialogue of the Wind and the Sea”) Debussy conjures the stormy majesty and power of the ocean. It is here that he uses musical techniques that he heard played by an Indonesian Gamelan, consisting of drums and metallic percussion instruments, at the Paris World Exposition of 1889. Much gamelan music is composed using a colotomic structure, in which instruments producing the lower pitches play notes of longer duration, while the highest instruments play a flurry of many short notes. Debussy found this to be an especially effective device when writing about the sea. In the last few minutes of La mer, the music rises in volume and intensity to provide a glorious climax seldom heard in Impressionistic music.

©2014 Craig Doolin


ProgramGEORGE GERSHWIN (1898 – 1937)Rhapsody in Blue

George Gershwin was a first generation American of Russian-Jewish parents. By his late teens, he had learned the piano and became a “song-plugger’ in New York’s Tin Pan Alley – the area where the popular music publishing trade was centered. Gershwin would sit at the piano in the Remick showroom playing the latest sheet music for customers. From this experience, he became keenly aware of popular musical styles and began to compose his own songs, often with his younger brother, Ira, as lyricist. Over the course of only eight years, the Gershwins became established as the leading creative team on Broadway.

It was this background that George Gershwin brought with him when he decided to write works for the concert hall, beginning with a grand experiment in 1924 that brought the world the Rhapsody in Blue as a work in the jazz idiom that changed the course of American music. Scholars often equate its impact to that of Stravinsky’s Rite of Spring eleven years earlier. Gershwin showed that many popular musicians are talented in many ways – in response to the accusation that has been hurled by an elitist musical establishment since vernacular music was first marketed in this country in the eighteenth century. The Rhapsody is refined and structured, and pays allegiance more to the piano showpieces of Liszt and Tchaikovsky than to more popular forms, such as Joplin’s ragtime and W. C. Handy’s blues.

The popular story behind the composition of the Rhapsody is that the famous bandleader Paul Whiteman approached Gershwin about composing a jazz-flavored work for the composer to play with Whiteman’s band. The bandleader believed that jazz music had made great progress since its beginnings and wanted to show that its influence was a positive addition to America’s multi-hued musical palette. Gershwin agreed, but became too busy to act on the idea and eventually forgot the conversation. When Whiteman discovered that a rival bandleader was planning a concert featuring symphonic works in the jazz idiom, he booked his band in New York’s Aeolian Hall and planned a similar concert of his own – at an earlier date. Most versions of the story have Gershwin hearing of the upcoming premiere

from a newspaper advertisement before he had written a single note of the work. In a letter to a friend a few years later, Gershwin details a much more plausible version:

“I was summoned to Boston for the promotion of Sweet Little Devil. I had already done some work on the rhapsody. It was on that train, with its steely rhythms, its rattlety bang that is so often stimulating to a composer – I frequently hear music in the very heart of noise – I suddenly heard – and even saw on paper – the complete construction of the rhapsody, from beginning to end. No new themes came to me, but I worked on the thematic material already in my mind, and tried to conceive of the composition as a whole. I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our national pep, of our blues, our metropolitan madness. By the time I reached Boston, I had a definite plot of the piece, as distinguished from its actual substance.”

The premiere on February 12, 1924, was one of the most anticipated events of the New York concert season. Attendees included dignitaries from a cross-section of the music industry – from Broadway, Fred and Adele Astaire; from the classical field, violinists Fritz Kreisler and Jascha Heifetz, conductor Leopold Stokowski, composers Leopold Godowsky, Igor Stravinsky, and Sergei Rachmaninoff; and bandmaster John Philip Sousa. Billed as “An Experiment in Modern Music,” the concert featured nearly two dozen works and lasted about three hours. Rhapsody in Blue was the next-to-last work on the program, representing a culmination of influences and serving as the musical focus.

Rhapsody in Blue opens with one of the most familiar moments in music – a sultry slide of over two octaves played by a lone clarinet. Although Gershwin wrote this as a seventeen-note scale, the clarinetist of the Whiteman band, Ross Gorman, played it as the now-famous slide. Gershwin liked Gorman’s interpretation and changed his score. The remainder of the work is segmented into many sections constructed from five major themes, most of which feature the piano in a tour-de-force of popular and romantic techniques. A difficult cadenza, improvised by Gershwin at the premiere from a blank page in his piano part, lies at the heart of the work.

©2014 Craig Doolin


ProgramBOULDER PHIL ANNOUNCES CHARLES WETHERBEE AS CONCERTMASTER

Charles (Chas) Wetherbee is a faculty member at the University of Colorado-Boulder and first violinist of the Carpe Diem String Quartet. For sixteen years he served as concertmaster of the Columbus (Ohio) Symphony Orchestra, and began his orchestral career at the National Symphony Orchestra. Wetherbee is a graduate of the Curtis Institute of Music in Philadelphia.

“Chas is not only a first-rate violinist, but also a tremendously experienced orchestral musician, and the combination of artistry and ensemble expertise that he brings will have an enormous and positive impact on the Boulder Phil's performance quality. We look forward to sharing a bright future together,” said Music Director Michael Butterman.

DAVID BURGE (1930 – 2013) David Burge served as Music Director of the Boulder Philharmonic Orchestra from 1965-1972. Our March 22 concert, featuring his loves of both piano and contemporary music, is dedicated to his memory. Following is an excerpt from his obituary in The New York Times:

David Burge was an American pianist and composer known as an indefatigable champion of 20th-century music. A longtime faculty member of the Eastman School of Music in Rochester, Mr. Burge performed from the 1950s onward on some of the world’s most renowned concert stages. From his earliest appearances, his recital programs — novel, ambitious and technically rigorous — consisted almost entirely of contemporary works.

Mr. Burge was most closely associated with the work of Mr. Crumb, a longtime friend who wrote several compositions for him. Among them were Makrokosmos, Vol. I, a set of 12 fantasy pieces for amplified piano, composed in 1972 and dedicated to Mr. Burge, who gave the work its New York premiere the next year.

Writing in The New York Times in 1961, Allen Hughes reviewed Mr. Burge’s New York debut, in a program that included music by Bartok, Schoenberg, Ben Weber and Luigi Dallapiccola:

“A recital to shame the army of pianists who play and replay the same safe pieces year in and year out was given in Carnegie Recital Hall late yesterday afternoon by David Burge,” Mr. Hughes wrote. He added, “The persuasiveness of his programming and playing was notable, and he certainly deserves a medal of some sort.”

David Russell Burge was born on March 25, 1930, in Evanston, Ill. He earned bachelor’s and master’s degrees in music from Northwestern University and afterward served with the Army during the Korean War. After earning a Doctor of Musical Arts degree and an artist’s diploma from Eastman in 1956, he studied as a Fulbright fellow at the Cherubini Conservatory of Music in Florence, Italy.

Mr. Burge was a professor of piano at several colleges and universities, notably the University of Colorado, where he taught from 1962 until he joined the Eastman faculty in 1975. He is survived by his wife, the former Evon Banning, and by his son, Rusty, who teaches percussion at Cincinnati Conservatory.

NATURE & MUSICA Year-Long Collaboration with Open Space & Mountain Parks!

Symphony in StoneSat., April 12, 12:30–3:30 pm (rescheduled)The Boulder Phil opened our current season with the world premiere of Jeffrey Nytch’s First Symphony, “Formations,” which draws inspiration from Colorado’s fascinating geology. Visit some of those rock formations in the company of both naturalist Dave Sutherland and the composer, while listening to musical excerpts. Meet at NCAR at the Walter Orr Roberts trailhead.

Ribbons of LifeSat., April 19, 9:30–11:30 am Fri., April 25, 6–8 pmOn April 26, the Boulder Phil will perform two works inspired by brooks and rivers: The Moldau by Smetana, and the Pastoral Symphony by Beethoven. Enjoy an easy walk along one of our local creeks to enjoy its gentle sounds, along with musical excerpts. Meet at the Bobolink Trailhead on Baseline Road near Cherryvale Road. For more info, visit www.naturehikes.org.


Boulder Philharmonic OrchestraWe thank our inaugural “Friends of the Phil” musician sponsors, as of March 1. For more information on sponsoring one of the Boulder Phil’s professional musicians, please see page 39.

VIOLIN 1Charles Wetherbee,

concertmaster, LafayetteAnnamaria Karacson,

assistant concertmaster, Boulder

Virginia NewtonDésirée Cedeño-Suárez,

Arvada Pamela WalkerDebra Holland, Boulder Brenda ZellnerGyongyver Petheo,

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

Glendale, CASarah Wood, Boulder

VIOLIN 2Leah Mohling,* Louisville Robert & Marilyn MohlingNatasha Colkett,** Denver 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,

New York, NY

CELLOCharles Lee,* Boulder Joan KnappMarcelo Sanches, assistant*

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 DennisOlga 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

Charles 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, Salt Lake City, UT

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,* Arvada

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

Members! Congratulations to Newly

Promoted Members!


ProgramBOULDER PHILHARMONIC ORCHESTRA

Michael Butterman, conductor

Jeff Midkiff, mandolin

Saturday, April 26, 2014Macky Auditorium, CU Boulder

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

Bedřich Smetana The Moldau (1824 – 1884)

Jeff Midkiff Mandolin Concerto, From the Blue Ridge (b. 1963) I. Allegro II. Andante III. Allegro

— Intermission —

Ludwig van Beethoven Symphony No. 6, op 68, in F major, Pastoral(1770 – 1827) I. Allegro ma non troppo (Awakening of cheerful

feelings on arriving in the country) II. Andante molto mosso (Scene at the Brook) III. Allegro (Merry Gathering of Country Folk) IV. Allegro (Thunderstorm) V. Allegretto (Shepherd’s Song, Happy and Thankful

Feelings after the Storm)

Season subscribers are invited to a post-concert reception at the Dushanbe Teahouse,sponsored by Kent Hansen / Rocky Mountain Wealth Management

This concert is sponsored in part by Albert and Rebecca Bates

Millennium Harvest House is the exclusive hotel for Boulder Philharmonic guest artistsProgram and artists subject to change. Use of electronic devices prohibited.

BOULDER’S BOUTIQUE RETIREMENT COMMUNITY


ProgramJEFF MIDKIFF, COMPOSER AND MANDOLINIST

A mandolinist and fiddler raised on bluegrass and a professional clarinetist, Jeff Midkiff is an outstanding musician who feels comfortable in more than one setting—musically and personally. “I feel at home in the

Blue Ridge Mountains playing fiddle tunes,” Jeff Midkiff says, “but then again, I feel at home in a professional orchestra as well.”

Jeff grew up where bluegrass and traditional string band music thrived. Given his first mandolin at the age of 7 by a neighbor, he moved quickly into the world of fiddlers’ conventions and contests, winning his first mandolin competition before reaching his teens.

As he grew older, he added the fiddle to his instrumental arsenal and joined the New Grass Revue—yet at the same time, he took up the clarinet and began to perform with his high school’s symphonic band.

In 1981 Midkiff began studies at Virginia Tech, eventually earning a degree in music education and performance. Yet even as he was immersing himself in the classical repertoire, he continued to gain attention as a mandolin and fiddle player with the McPeak Brothers, a widely respected bluegrass group with whom he made his first serious recording in 1982.

In 1983 he joined the Lonesome River Band, which would eventually become one of bluegrass’s most acclaimed groups. For the next five years, as he completed his education and started working as a music instructor, he performed with the LRB, recording two albums with the group. Shortly after that, he enrolled in graduate school at Northern Illinois University, earning his Master’s degree in clarinet—but though the move meant leaving the LRB, he continued to perform with an Illinois bluegrass band, Bluegrass Express.

During the 1990s, Jeff lived in Florida and performed clarinet with the Naples Philharmonic and later moved to the northern Virginia area to be an orchestra director in the Fairfax County schools. “I went a good five years without opening my mandolin case,”

he notes, “and as a full-time teacher, I wasn’t playing much clarinet, either.” An appearance with the Annapolis Chamber Orchestra at Carnegie Hall reawakened his passion for the latter, and in 1995 he moved to the Chicago area to revive his performance career — on the clarinet only, he thought, but ultimately on the mandolin and fiddle, too. Busy as a clarinetist with area ensembles and as a youth orchestra conductor and educator, he was drafted in 1998 by The Schankman Twins, a California-based bluegrass duo now signed to Rounder Records.

He was writing a lot, too. “All of the sudden I was getting these ideas for tunes, and as soon as I started getting creative, I thought, I need to start recording.” He has appeared several times with the Milwaukee Symphony Orchestra on mandolin, and likewise in the Roanoke Symphony Orchestra’s clarinet section since 1980. In 2006, Jeff moved back to his hometown of Roanoke, Virginia. Jeff is an orchestra director in the Roanoke City Schools.

PROGRAM NOTES

BEDŘICH SMETANA (1824 – 1884) Vltava (The Moldau) from Má Vlast (My Fatherland)

The subject of composers who produced memorable music despite physical challenges always begins with one name – Beethoven. True, his deafness gradually robbed him of the sense that composers use most. Bach and Handel were both blind in their final years, undergoing unsuccessful (and no doubt excruciating) surgery at the hands of the same doctor. However, the name of Bedřich Smetana is unjustly excluded from this unique group of composers.

Smetana was one of the foremost Nationalist composers to come from Bohemia. True to his homeland, he took up arms against the invading Austrian army in 1848, at the age of twenty-four. Because of this, he found that his music became even more Nationalist in nature, celebrating the folk songs and dances of his homeland. Unfortunately, Bohemia’s loss to the Austrians led to a severe lack of support for Smetana’s music. Fleeing the oppressive atmosphere, he settled for six years in Sweden,


Programall the while composing new Bohemian works.

In 1862, he was able to return to Bohemia and its now active Nationalist arts community. Settling in Prague, he became a vital part of the city’s musical life, accepting the position of Conductor of the National Theater in 1866. It was there that he premiered his opera, The Bartered Bride. Smetana was forty-two and recognized as Bohemia’s leading composer. For eight more years, he remained active in every aspect of Prague’s musical community. In 1874, at the age of fifty, Smetana noticed a ringing in his ears – an alarm of impending deafness. Due to syphilis, the progress was rapid, leaving him in a world of silence in a very short time. After a series of futile and painfully frustrating electric shock treatments, Smetana was forced to grapple with his condition as a permanent disability. In 1883, he suffered a debilitating nervous breakdown, entering an institution the next year. He never left the asylum, and died a month later.

Despite the tragic consequences of his illness, Smetana continued to compose after deafness took hold.

His six separate tone poems collectively entitled Má Vlast (My Fatherland), of which The Moldau is most popular, date from this period, as does the String Quartet in E Minor. Má Vlast covers the salient points of Czech history and culture. Picturesque and descriptive details, far too numerous to list, are depicted in the music – from the joining of two rivulets to form the mighty Moldau River in Vltava, to the quotation of an ancient Hussite chorale in Tabor.

Smetana provided the following description, which is the best introduction to the piece.

Vltava (The Moldau) – “The river springs from two sources, splashing merrily over the rocks and glistening in the sunshine. As it broadens, the banks re-echo with the sound of the hunting-horns and country dances – moonlight – gathering of the nymphs. See now the Rapids of St. John, on whose rocks the foaming waves are dashed in spray. Again, the stream broadens towards Prague, where it is welcomed by the old and venerable Vyšehrad [the famous Czech castle fortress].”

©2014 Craig Doolin

JEFF MIDKIFF (b. 1963)Mandolin Concerto, From the Blue Ridge

My love for playing the mandolin, and a lifetime of doing so, began to take on new meaning and motivation just a few years ago. After decades of performing as a professional clarinetist in numerous orchestral concerts, I felt a deep-seated desire to bring my favorite instrument in line with those experiences. I truly enjoy the amazing color, language and structure of the symphony, and my years as a clarinetist made me familiar with it from the inside of the orchestra. I have worked to develop a highly improvisational approach to the mandolin, and I knew in my heart that I could say something with it on a symphonic scale. My excitement and motivation for this piece started with the idea that I could bring my most natural companion to the symphonic stage – two seemingly different worlds together. I hope you enjoy the fusion of these complementary musical worlds.

The Roanoke Symphony Orchestra and their Music Director David Stewart Wiley commissioned the piece in November of 2010 and it was then that the falling leaves, blowing in the wind, drew the opening musical scene. The first of three movements (Allegro) begins with the mandolin on swirling sixteenth notes, setting the stage for excitement and anticipation, as does the entire movement. Indeed, our Blue Ridge’s beauty and importance to me would form the piece. The middle of the first movement moves from D-Minor to the relative key of B-Flat Major with woodwinds in a waltz-like dance, before we return to the first (fast) theme. Although the movement ends quickly, there is a final unexpected fade with a long held single note in the clarinets.

The lyrical and slow second movement draws on more typical and familiar bluegrass melodies. Having grown up in Roanoke, moved away, and returned, I wanted the concerto to echo the emotions associated with home, and with coming home. To get there, I looked no further than the Blue Ridge Mountains and the Roanoke Valley.“Wildwood Flower” by the Carter Family and Bill Monroe’s “Roanoke” are my thematic inspirations. A haunting fiddle tune from the mandolin (accompanied by the oboe) paints a picture of longing before the journey is complete. The end of the movement


Programis “resolved” with major thirds returning from the “Roanoke” theme, and an improvisational-sounding piccolo solo, flowing without significant break to the final movement, after a brief mandolin utterance over a halo of strings.

The third movement, “The Crooked Road,” is an upbeat, improvisational and dynamic affair. It draws strongly from jazz and bluegrass themes in a series of ideas in a “controlled jam session” with one idea leading to another. Every section of the orchestra has a virtuosic role to play, with percussion in particular setting up the different rhythmic grooves. A break in the action occurs with an extended cadenza for mandolin and concertmaster before a mixed-meter blues riff for full orchestra. Another somewhat brief cadenza for solo mandolin inserts and asserts itself just before a bright, upbeat and up-tempo conclusion ends the new work with a flourish upward. Thus ends our musical journey “From The Blue Ridge”!

– Jeffrey Midkiff, September 2011

LUDWIG VAN BEETHOVEN (1770 – 1827) Symphony No. 6 in F Major, Op. 86, Pastoral

Ludwig van Beethoven’s Pastoral Symphony represents a different side of Romanticism than any of his other symphonies. The early Romantic poets, most notably Joseph Freiherr von Eichendorff, found a spiritual quality in nature and felt that mankind could experience happiness by reflecting upon the volatility and beauty of the natural world. Beethoven found Eichendorff’s speculation to be true, as he took many long walks around the parks and gardens of Vienna in order to clear his mind.

When he composed the Pastoral Symphony in 1808, Beethoven had many troubles that must have demanded especially long walks. His hearing continued to decline and Beethoven understood, even at the relatively young age of thirty-eight, that his eventual deafness was inevitable. To complicate matters, the political climate of Vienna was quite precarious, as the city had been occupied by Napoleon’s troops since 1805. Because of this, Beethoven occasionally left the city to find solace, sometimes travelling to Budapest or to his favorite resort town of Heiligenstadt.

Beethoven’s Sixth Symphony is unique in his

output, but is an example of a common genre called a “characteristic” symphony. Beethoven likely found inspiration in Justin Heinrich Knecht’s Le Portrait musical de la nature – a 1785 symphony that bears similar movement titles to Beethoven’s work.

Composed at the same time as the legendary Fifth Symphony, the Pastoral represents the emotional complement to that stormy and tense masterpiece. Instead, the Sixth is bucolic and placid. Although there is a fierce thunderstorm depicted within the work, it is a fleeting show of nature’s power and dominion over mankind, and the celebratory atmosphere resumes after the dark clouds dissipate. Beethoven’s complete title of the piece at its premiere was “Pastoral Symphony, Recollections of Country Life, More an Expression of Feeling that Painting.” The overall impression of the work is akin to what Beethoven must have felt on his long therapeutic strolls.

The Pastoral Symphony opens with a movement entitled “Awakening of cheerful feelings on arriving in the country,” which is conspicuously lacking the propulsion and storminess that characterize most of Beethoven’s first movements. Inching along at a leisurely pace, the movement is dominated by the principal theme. “Scene at the Brook” is remarkable in its woodwind quotations of cuckoos, quail, and nightingale calls, while rippling string figurations are descriptive of the flowing brook. The final three movements are played without pause. “Merry Gathering of Country Folk” portrays a rustic festival in which the folk dancing becomes increasingly frenzied until it is interrupted by the “Thunderstorm” as the next movement begins. With timpani providing the thunder and the orchestra portraying blustery wind and lightning strikes, this is one of the most memorable musico-meterological depictions of a storm in history. As the weather clears, Beethoven’s finale begins with the translucent sound of the clarinet. “Shepherd’s Song, Happy and Thankful Feelings after the Storm” builds gradually as Beethoven’s hymn to the simple beauty of rural life comes to a poignant conclusion.

©2014 Craig Doolin


Program

The Boulder Public Library Concert Series PresentsFree performances in the Canyon Theater

Prominent Pianist Gayle Martin HenryFeaturing Schubert’s Wanderer Fantasy

Saturday, April 5, 4 p.m.

www.boulderlibrary.org/calendar/concerts.html

. o r g

THANK YOU TO THE BOULDER PHIL’S NEWEST DONORS!We thank the following donors not already acknowledged in the full listing found later in

this program, for gifts received between December 11, 2013 and March 1, 2014.

BRONZE CIRCLE ($2,500+)AnonymousLeague of American Orchestras

LEADERSHIP CIRCLE ($1,000)AnonymousRobert Krenz & Carolyn GrantLotus Fund

ARTIST CIRCLE ($500+)Anne Wenzel & Anthony RaymondThe Winston Family Foundation

PARTNERS ($250+)AnonymousFriends at Memorial Service for

Ellen Vanden Broeck*Tom & Currie Barron

FRIENDS ($100+)AnonymousCynthia CareyFrank Ciskovsky*Paul EklundBarbara Fernie*

Jackie W. Jimmerson*Steven & Susan MaxwellRick & Rebecca White

SUPPORTERS ($25+)AnonymousKaren BernardiGeorge ClementsTom & Ursula Dickinson*Nichole FordLisa Lund BrownMargaret OakesDavid Plume*Lester RonickLin RosenRev. Virginia Taylor*Courtney ThomasBarbara TurnerDarcy Varney

* Recognizing gifts in memory of Ellen Vanden Broeck, a great friend to the Boulder Phil. Music was Ellen’s passion and sharing her love of piano with her children, friends and neighbors was her utmost delight.

Special Events

eTOWN HALL with JEFF MIDKIFFConcert, Conversation and Earth Day CelebrationWednesday, April 23, 7-10 PM

Join composer and mandolin virtuoso Jeff Midkiff, our own Michael Butterman, and eTown’s Nick Forster for an evening of great music, conversation and refreshments at eTown Hall in Downtown Boulder. You’ll hear traditional bluegrass favorites mixed in with Jeff’s own material. Tickets are $15 per person, available at www.eTown.org.

SIDE-BY-SIDE CONCERT with GREATER BOULDER YOUTH ORCHESTRASMountain Range High School, WestminsterSunday, April 27, 2 PM

The professional musicians of the Boulder Phil perform alongside their student counterparts in an inspiring, family-friendly performance featuring works by Schubert, Tchaikovsky and Reinecke, led by CU Director of Bands Donald McKinney. Info at www.BoulderPhil.org.

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2013-14 Season of Epics

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Boulder Phil FanfareA special thank you to the sponsors, donors and attendees who participated in our sold-out 2013 Fanfare event!

FANFARE SPONSORS

RESTAURANT SPONSORS

IN-KIND DONORS

FANFARE COMMITTEE

Arvada CenterAspen Music FestivalBarbador Black AngusBoulder BalletBoulder Museum of

Contemporary ArtBoulder Wine MerchantCharleston SymphonyColorado Music Festival &

Center for Musical ArtsColorado SymphonyCU PresentsCuredDave FulkerDenver Center for the

Performing Arts

eQuilterGeological Society of AmericaGrand Teton Music FestivalHotel BoulderadoJapangoJim NeelyJoan BrettJohn Platt/Riff ’s Urban FareLegacy Connections FilmsMaggiano’sMoab Music FestivalOpera ColoradoPeter BarbieriPizza LocaleRembrandt YardRoberta and David Levin

Santa Fe Chamber Music Festival

Shamane’s Bake ShopSt Julien Hotel and SpaStrategic Solutions Marketing

and EventsSturtz and CopelandSushi ZanmaiTeresa Myrwang HolumThe Dairy Center for the ArtsThe Second KitchenVodka 14Wallaroo Hat CompanyWhole Foods

Christopher BrauchliJoan BrettPatricia ButlerDavid Fulker

Teresa Myrwang HolumRudy PerezEleanor PoehlmanLuana Rubin

Kevin ShuckCynthia SlikerNanette Schunk, Event Coordinator

Chris & Margot BrauchliJoan BrettPatricia ButlerPete & Caroline CogganPamela Dennis & Jim Semborski

David Fulker & Nicky WolmanJohn Goldsmith & Amy KernDavid & Sara HarperTeresa Myrwang HolumBruce Kahn & Susan Litt

Steve & Jayne MillerSacha MillstoneBarbara & Irwin NeulightRudy & Margaret Perez

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Join us for this annual fundraising event next year benefi tting the Phil’s artistic and education programs. The elegant Rembrandt Yard is a perfect setting for an evening of fabulous food and wines, arts-inspired auction bidding, and mingling with fellow Boulder music lovers. Come see why this event sells out every year!

For more information, call 303-449-1343 x4 or visit www.BoulderPhil.org.

save the date

Don’t miss our next Fanfare event:Friday, October 3, 2014, 6-9 pm

Rembrandt Yard, Downtown Boulder


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

program thanks to its growing number of season subscribers, and the annual support of individuals, corporations, foundations, and government agencies. We take this opportunity to express our appreciation of those who made contributions or pledges from September 1, 2012 to December 10, 2013.

FOUNDERS CIRCLE ($35,000+)Gordon & Grace GammThe Citizens of the Scientific

& Cultural Facilities District GOLD CIRCLE ($10,000+)Sydney & Robert AndersonAnonymousPatricia ButlerEstate of Don CampbellExxon MobilDavid Fulker & Nicky

WolmanGeological Society of

America FoundationFlatirons BankTed ManningThomas Landauer &

Lynn StreeterXTO Energy

SILVER CIRCLE ($5,000+)Albert & Rebecca BatesBoulder Arts CommissionBoulder County Arts AllianceChristopher & Margot

BrauchliRaquel CaganColorado Creative IndustriesJohn & Amy GoldsmithDavid & Sara HarperKyle & Stephanie HeckmanSamuel & Carolyn JohnsonMicro MotionRodolfo & Margaret PerezHarry & Eleanor PoehlmannSterling-Rice Group, Inc.Virginia Hill Charitable

Foundation BRONZE CIRCLE ($2,500+)The AcademyAnonymous

Gail Aweida (in memoriam)Lindley & Roberta BrenzaJoan BrettCaplan & Earnest, LLCThomas & Virginia CarrJoan ClelandTerry & Jenny CloudmanPeter & Caroline CogganThe Community Foundation

Serving Boulder CountyPamela DennisCarl & Ruth ForsbergJerry & Janet GillandKent & Cathy HansenLin & Matthew HawkinsJames & Gayle HeckmanJohn & Gerda HedderichGrant & Holly HickmanRuth Carmel KahnStephen & Judy KnappErma & John ManteySteve & Jayne MillerMillstone/Evans Group

of Raymond James & Associates

Robert & Marilyn MohlingRobert & Francine MyersFrank Palermo & Susan

OlenwineNorm & Kathy OomsCarl & Kathy PolhemusJanet & David RobertsonDick & Caroline Van PeltNyla & Gerry WitmoreStephanie & Horace Work LEADERSHIP CIRCLE ($1,000)Anonymous (5)Bennie & Jannette BalkeAlexander & Sally BrackenBarbara BrentonAmy & Terry BrittonJan BurtonMichael Butterman &

Jennifer CarsilloCollins Foundation

Colorado State Bank & TrustThe Louise & Grant

Charitable FundAlan & Tessa DavisTom & Ursula DickinsonBetty FischerAndrew & Audrey FranklinJohn & Jacqulynn GeisterElyse GrassoLewis & Susan GuthrieDavid & Suzanne HooverHutchinson Black &

Cook, LLCIBMVirginia JonesDavid & Randi KalishQuentin & Bonnie KarlsrudRobert & Margaret KaufmanJoan KnappRay & Margot LaPanseHarold & Joan LeinbachBruce Kahn & Susan LittRichard & Linda LivingstonFrances MacAnallyAnnyce MayerMyra MonfortBarbara & Irwin NeulightLuana RubinR. Alan & Stephanie RudyT. K. Smith & Constance

HoldenArthur & Carol SmootAlan & Martha StormoTaddiken Tree CompanyU.S. Bancorp FoundationBetty Van ZandtJack & Sophie WalkerJack & Brenda Zellner ARTIST CIRCLE ($500+)Randall & Jill AndersonPeter & Patricia AngellAnonymousRichard BaileyBoulder Public Library

Foundation, Inc.


DonorsJean-Pierre & Glenna BriantToni & Nelson ChenBen & Gale ChidlawCity Of BoulderRichard Collins & Judy ReidJames Tailer & Donna DavisLarry Day & Catherine

HaskinsChris & Pat FinnoffDr. Gilberto GonzalezRalph & Joanna GrassoCharles & Gail GrayRobert & Diane GreenleeGerald & Doree HickmanCaroline HimesJane & Mel HolzmanMatthew HyattMatthew & Diana KaroweDerek & Eileen

Kiernan-JohnsonKiplund KolkmeierMary NakashianThe Newton Family FundMartha & George OetzelJames PendletonPremier Mortgage GroupDayna & Robert RoaneSusan & Paul RobertsJuan & Alicia RodriguezWilliam RoettkerKaryn SawyerRonald SintonTodd & Gretchen SlikerMary StreetPaul WeberKristen WolfStu Wright/Wright Kingdom

Real EstateArt Zirger & Mary Rowe PARTNERS ($250+)Joyce AlbersheimFrank BarrettVincent BatesAnne & Harry BeerCynthia BettsJanet BraccioStephen Eisenberg &

Anne BurkholderWallace & Beryl ClarkClaude Weil & Carolie CoatesSara-Jane & Bill CohenScott & Paula DeemerJoe & Alice Doyle

Tracy & Michael EhlersDeidre FarrellJeffrey & RoseMarie FosterStephen & Sandy FriedmanAnn GarstangGerald & Anita GershtenGreg GinocchioSusan & Gustavo GramppMary GreenwaldKen & Dianne HackettCharles & Patricia HadleyRobert & Penny HawsMark & Cherine HerrmannRandy & Debbie HollidayKim Hult & Robert PasnauArnie Jacobson & Victoria

Johns-JacobsonColman & Marcia KahnDavid & Carol KampertAngelyn Konugres CouponasRichard & Barbara

KuchenritherAnnlee LandmanJerome & Regina LapinPaul & Nancy LevittJerry & Heidi LynchRichard & Donna MeckleyAlan & Judy MegibowRobert MorehouseDorothy ReadJane & Leo SchumacherNanette SchunkBetty SkippDr. Judy SmetanaZdenka & Dean SmithAndrew & Margrit StaehelinRandy StevensStephen TeboEd & Lynn TrumbleNicholas & Shelby

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

AndersonAnonymous (3)Jason & Beth BaldwinJanet BartschPierrette BarutLes & Barbara Berry

Catherine & William BickellGeorgia BlumRex & Helen BosleyBob Bunting & Gigi ReynoldsKurt & Alison BurghardtMartha BushnellMichael & Stephanie CarterBob & Judy CharlesHelen CheneryAndrew & Lois CherringtonRoger & Norma CichorzJoseph & Elizabeth CirelliCarol CogswellCommunity First FoundationMax & Barbara CoppomCharlotte CorbridgeLynne DannenholdPeter & Joan DawsonDan & Nancy D’IppolitoDavid & Susan DonaldsonCaroline & Preston DouglasDavid DowellLeslie & Donald DreyerHeather DupreMegan EdringtonLee EllwoodJulie & Steven ErichMartha Coffin EvansJennifer FavellWayne & Anne FischerNan FogelRobert & Juliette FordRonald & Heulwen FranklinEllen FriedlanderRon & Ellen GagerNeil Ashby &

Marcie GeissingerCarl & Judy GelderloosPeter Gilman & Peggy

LemoneJulie GinocchioGarry & Barbara GordonAllan & Joan GrahamElissa GuralnickChris & Linda HansenMargaret HanssonChuck HardestyNatalie Hedberg &

Thomas Van ZandtDavid & Joan HillJeannette HilleryStewart & Karen HooverAna HopperstadThomas & Kristi Horst


DonorsDixie HutchinsonJohn HynesRichard & Ruth IrvinWayne & Christine ItanoDan Johnson & Star WaringWilliam & Martha JonesJo Ann JoselynAnnamaria KaracsonRobert KehoeWilliam & Ann KelloggMelissa & Jon KilbergAnn KileyDon & Eleanor KingBonnie KirschenbaumPeter & Judith KleinmanBarry KnappJon & Helena KottkeWesley & Heather

Le MasurierDouglas LernerSue & Rick LevineAl Gasiewski & Rachel LumKamilla MacarJean & Megan MacMillanSusan MagruderWilliam & Susan MarineCharles & Marian MathesonJ. Ramon McCarusJ. Hunter & Janet McDanielZoe McFarlandMarla & Jerry MeehlBarry & Gloria MillerRichard Nishikawa &

Kathleen MillerYoriko Morita & Karl GrillJames NeelyRonald & Joan NordgrenEileen O’NeillBob OrecchioBrigette PaigeChristopher & Linda ParisMargaret ParkerMolly ParrishDavid PaulsonRobert & Marilyn PeltzerPaul & Margaret PreoJohn & Mary PriceMaiah QuishBrook Reams &

Rochelle ChartierFrancelyn ReederBarbara SableJudith SchillingPeter & Barbara Schumacher

Dan SegerKaren ShayDaniel & Boyce SherLynn SherretzMax & Nelda ShuckHoward & Valerie SingerThomas & Nancy StormGregory & Diane StreveyRobert & Julie StuenkelPeter & Laura TerpenningElizabeth & John TiltonJames ToppingVirgil & Margaret TuckerLorraine VolskyPamela WalkerDavid & Amy WeissRaymond & Rena WellsJonathan & Hayden

WilliamsonMary WinstonRichard & Wendy WolfBetty Woon SUPPORTERS ($50+)Charles & Cynthia AndersonSuzanne & Robert AndersonAnonymous (2)Charles ArnoldDaniel & Elizabeth AultCasey BackesLinda BeckertDavid BlackburnCarolyn BoggsVirginia BoucherDavid BurnsJosephine & James BushJoanne & Gene SimmonJulianne CassadyDesiree Cedeno-SuarezLaurie ClarkChristine Coates &

Howard GordonJeffrey DavisJo DavisCharles & Jean DinwiddieRuth FeiertagNeil FishmanPatricia & Arnie FollendorfWilliam & Ann FordJohannah FrankeYaser & Mary FreijDavid GatesKathryn GoffLuis & Ester Gonzalez

Dorothea & Ronald GreyKathryn Strand &

Eldon HaakinsonLinda HaertlingJanice HarveyPatricia HavekostSpencer & Valerie HavlickJames & Judith HeinzeDebra HollandVerenne HydeDan JulioJosh & Lori KahnJoyce LarsenC. Nicholas & Mollie LeeJudith LewisJoy LinfieldBruce MacKenzieDon & Jane MartinRobert MayerPriscilla McCutcheonJill McIntyreJoan MulcahyLisa & Kyle O’BrienMarion PatonPricilla PritchardRobert & Judy RotheShelley SampsonJoan ScottChristine ShieldsKevin ShuckRebecca SnethenJohn & Darrelyn SnyderDr. Oakleigh Thorne, IIKaren UtleyChristine WaterburyRonald & Marlies WestDenise & Gary Williams The Boulder Phil also thanks the 90 households who made smaller gifts this past year, in addition to support received from numerous other businesses. For more information about supporting the Boulder Phil or to report errors or omissions, please contact Director of Development Cynthia Sliker at 303-449-1343 ext. 4.


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

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

AnonymousRobert & Sydney

AndersonJaime ArizaletaBud & Anne ArnoldCharles & Helen

AumillerEmma BarnsleyFrancesco BeufStanley & Marge

BlackBarbara BrentonSandra BrodieKurt & Alison

BurghardtWanee & Joe ButlerJancey CampbellMelvin ClarkPolly CollierWilliam Curtis

Rob & Kitty deKieffer

Ursula & Tom Dickinson

Charles & Jean Dinwiddie

George & Sallie Duvall

John & Elizabeth Dynes

George & Peggy Earnest

Maurine EatonOlivia EdwardsSylvia EllisPeter & Mary Jean

EwingMac & Sandi FraserHans & Jeri FriedliRay & Mary Lynd

Frommer

David Fulker & Nicky Wolman

Gordon & Grace Gamm

Lloyd D. GelmanWarren & Esther

GoedertStanley & Anni

GoldbergRobert & Diane

GreenleeWilliam & Bonnie

HamiltonAaron & Doreen

HarberRonald & Elizabeth

HarringtonRay & Connie

HauserDebora HaynesCatherine JacksonMitchell & Laura

Brenton JacobBarbara JohnsonSam & Carolyn

JohnsonPeter & Tamara

JordeW. K. & Joanne

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

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RobbJuan & Alicia

RodriguezJames & Rebecca

RoserJack & Lynne

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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

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Check out our season schedules online!


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 Cynthia Sliker at 303-449-1343 x4 or [email protected].

Hiroko Okada Hellyer, Principal Percussion

✦ All current Friends of the Phil sponsors are invited to attend an exclusive reception on the Macky stage with sponsored musicians immediately following the January 11, 2014 performance!

✦ Not yet signed up? New sponsors may pledge during intermission or following the performance – look for Friends of the Phil sign up materials at our Welcome Table in the outer lobby. Join us!


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

TICKET DONATIONSIf you are unable to attend a concert and don’t wish to exchange your tickets, help us make sure no seat goes empty by donating back your tickets! You will receive an acknowledgment letter stating the value of your tickets as a tax-deductible donation, provided we receive your ticket(s) at the Boulder Phil offi ce at least 24 hours prior to the concert.

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

PARKING AT MACKYParking is available for a small fee in the Euclid AutoPark, adjacent to the University Memorial Center east of Broadway. Please see the reverse side of your tickets for a map. If you arrive more than 30 minutes prior to the concert, limited free and metered parking is available along University and in signed CU lots accessed from 13th and 15th streets (“Grandview” zone). Please note that the lots adjacent to Macky are reserved

for handicapped and donor ($1,000+) parking.

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

USEFUL INFORMATIONListening devices are available at the Macky box offi ce. The use of cameras, recording equipment and all other electronic devices is prohibited during performances. Patrons with cell phones, beepers or electronic watches must silence them upon entering the auditorium. Fire regulations require that everyone, regardless of age, have a ticket to enter the auditorium. Classical concerts are not recommended for children under age 5.

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MUSIC DIRECTOR Bahman Saless

2014 SPRING CONCERTSFeb. 7March 21April 11 & 12May 10 & 11


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Boulder’s Upstart Crow Theatre Company

presents our 34th season:

Bus Stop by William Inge

August 30 - September 14, 2013

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

Blood Wedding by Federico Garcia-Lorca

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The Madwoman of Chaillot

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Ellen plays the way she lives. Carefree.


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For more information contact Temaat, PatGoldbranch Estates, Niwot (Boulder County), CO • 303.652.0510

www.GoldbranchEstates.com • [email protected]

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

Imagine waking up in the morning, pouring yourfirst steaming cup of coffee and stepping out fromyour spacious kitchen into your own private courtyard.The sun is rising and you hear the trickling waterfrom your fountain and the quiet sounds of naturebeginning the day. You nestle into your favoriteoutdoor chair, gaze into the beautiful clear skies,take a deep breath of the fresh Colorado air andappreciate being home.

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

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

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

Boulder County

Niwot, Colorado

761 Kalamath, Denver

303.629.0119

Zonavita ColoraDo is a showroom liKe no other, featuring multiple

KitChen Cabinet Displays with the most innovative, lifestyle-enhanCing

features imaginable. the Zonavita line offers a previously unKnown

level of CustomiZation anD Color ChoiCes. to Call it moDern just

might be an unDerstatement.

zonavitacolorado.com


303.629.0119

Zonavita Colorado is a showroom like no other,

featuring multiple kitChen Cabinet displays with

the most innovative, lifestyle-enhanCing features

imaginable. the Zonavita line offers a previously

unknown level of CustomiZation and Color ChoiCes.

to Call it modern just might be an understatement.


303.629.0119 zonavitacolorado.com

Boulder Philharmonic Winter/Spring 2013-2014, Mar. 22 & Apr. 26

Documents

Transcript of Boulder Philharmonic Winter/Spring 2013-2014, Mar. 22 & Apr. 26