boulder philharmonic winter/spring 2013-2014, jan. 11 & feb. 22

MICHAEL BUTTERMAN, MUSIC DIRECTOR

BOULDERPHILHARMONICORCHESTRA

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• Appalachian Spring a unique collaboration November 2

• The Nutcracker with full orchestra November 29–December 8

• Stepping Out 2014 world premiere ballets February 21–23

• 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

Rachel Barton Pine, violin

Saturday, January 11, 2014Macky Auditorium, CU Boulder

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

J.S. Bach (arr. Stokowski) Komm, süsser Tod, BWV 478(1685 – 1750)

Gustav Mahler Blumine (Bouquet of Flowers) (1860 – 1911)

Alban Berg Violin Concerto(1885 – 1935) I. a) Andante (Prelude) b) Allegretto (Scherzo) II. a) Allegro (Cadenza) b) Adagio (Chorale Variations)

- Intermission -

Johannes Brahms Symphony No. 4 in E Minor, Op 98 (1833 – 1897) I. Allegro non troppo II. Andante moderato III. Allegro giocoso IV. Allegro energico e passionato

This program sponsored in part by Sydney & Robert Anderson

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

Millennium Harvest House is the exclusive hotel for Boulder Philharmonic guest artists

Program 2 Boulder Philharmonic Orchestra 2013-2014

ProgramRACHEL BARTON PINE, VIOLIN

In both art and life, violinist Rachel Barton Pine has an extraordinary ability to connect with people. Celebrated as a leading interpreter of great classical works, her performances combine her innate gift for

emotional communication and her scholarly fascination with historical research. She plays with passion and conviction across an extensive repertoire. Audiences are thrilled by her dazzling technique, lustrous tone, and infectious joy in music-making.

Ms. Pine’s 2013-2014 season includes performances with orchestras from Alaska to New Mexico and Vancouver to Montreal. In March 2014, she will premiere a new concerto by the Arab-American composer Mohammed Fairouz with the Alabama Symphony. Ms. Pine will offer recitals at Cultura Artistica Itaim in Sao Paulo, Brazil and a performance of the complete Paganini Caprices at the Northwest Bach Festival.

In fall of 2013, Cedille Records issued her album of the Mendelssohn and Schumann Violin Concertos and the Beethoven Romances with the Göttinger Symphonie Orchester. In 2014, Sir Neville Marriner, the Academy of St Martin in the Fields and Ms. Pine will celebrate the release of their recording of the five Mozart Violin concertos, as well as Mozart’s Sinfonia Concertante for Violin, Viola and Orchestra with Matthew Lipman.

Ms. Pine has appeared as soloist with many of the world’s most prestigious ensembles, including the Chicago, Montreal, Baltimore, and Vienna Symphonies; the Philadelphia Orchestra; and the Mozarteum, Scottish, and Israel Chamber Orchestras.

Ms. Pine’s prolific discography of 25 recordings includes the Glazunov Violin Concerto with the Russian National Orchestra on Warner Classics. Her Violin Lullabies with pianist Matthew Hagle on Cedille Records debuted at number one on the Billboard classical chart. For Beethoven & Clement Violin Concertos, recorded with The Royal Philharmonic conducted by José Serebrier, Ms. Pine presented the world-premiere recording of Clement’s Violin Concerto. Her Brahms and Joachim Violin Concertos was recorded with the Chicago Symphony Orchestra and

conductor Carlos Kalmar. The author of her own cadenzas to many of

the works she performs, Ms. Pine became the only living artist to join musicians like Fritz Kreisler and Jascha Heifetz in Carl Fischer’s Masters Collection series with a collection of original compositions, arrangements, and cadenzas.

The Rachel Elizabeth Barton Foundation assists young artists through projects including the Instrument Loan Program, Grants for Education and Career, Global HeartStrings (supporting musicians in developing countries), and a curricular series in development with the University of Michigan.

Ms. Pine resides in Chicago. She performs on the Joseph Guarnerius del Gesu (Cremona 1742), known as the “ex-Soldat,” on loan from her patron. rachelbartonpine.com

PROGRAM NOTESJ.S. BACH (1685 – 1750)Komm, süsser Tod, arr. Leopold Stokowski

Johann Sebastian Bach derived his unique style from the musical forms and idioms that he respected. The German contrapuntal art is perhaps the most evident, but the Italian concerto forms used by Corelli, Vivaldi, and Albinoni are as noticeable as any other element in Bach’s music. For an artist who never strayed away from the eastern provinces of Germany, his approach was amazingly cosmopolitan.

Bach’s musical output depended on the needs of his job at the time. In 1723 the Bach family moved to Leipzig where Sebastian took on the grueling duties of Kantor at the Thomasschule. He was in charge of all music at four Leipzig churches and answered to city council, which had the authority to demand music for any occasion they saw fit. Bach was also choir director at all four churches – three of which sang polyphonic music. In 1729 Bach assumed the duties of directing the collegium musicum, a group of university students and professional musicians who gave public concerts on a weekly basis, some of them at the local coffee house. Bach’s last years in Leipzig were marked by worsening eyesight, probably due to diabetes. He died in late July of 1750 in total blindness. Besides his widow, Bach left an estate of much less value than would befit a person of his musical and cultural importance.


ProgramTwo centuries later, the English conductor

Leopold Stokowski (1882 – 1977) was becoming increasingly aware of a major problem in attendance at orchestral concerts. This dynamic personality was as talented as a media figure as he was as a conductor and would go to great lengths to make classical music a part of daily life. Stokowski was at ease in front of the camera and made great strides toward the popularization of the orchestra when he appeared as the conductor in Walt Disney’s Fantasia in 1940. Warner Brothers’ animated series, Looney Tunes, enshrined his image in their cartoon Long-Haired Hare, as the audience at the animated Hollywood Bowl mutters, “Leopold! Leopold!” Of course, Stokowski was also an extremely talented conductor and held positions with the Philadelphia Orchestra, NBC Symphony Orchestra, and New York Philharmonic, among others. He championed new music and programmed it regularly. Stokowski also wrote transcriptions of older works, including his adaptation of Johann Sebastian Bach’s chorale Komm, süsser Tod.

Komm, süsser Tod, komm selge Ruh (Come, sweet death, come, blessed rest) dates from 1736 as part of Georg Christian Schmelli’s Gesangbuch (BWV 478). Although Bach contributed about sixty sacred songs to that volume, most of the songs are based on old Lutheran chorales. Komm süsser Tod, however, is a wholly original composition that has entered the pantheon of that tradition and surpassed its companion pieces in popularity and reverence. Stokowski’s transcription, which features a solo cello, dates from sometime before 1926. The original text expresses a longing for the eternal rest that can only be attained by dying.

GUSTAV MAHLER (1860 – 1911)Blumine (Bouquet of Flowers)

Gustav Mahler’s symphonies are among the most grandiose works ever composed for orchestra. Although the composer’s detractors claim that the works are longwinded, each of the symphonies provides a glimpse of the grandeur of fin-de-siècle Vienna. Building upon the musical advances of Richard Wagner, Mahler’s music usually deals with profound subjects – religious crises, redemption through love, and the spiritual (almost Zen-like) elements that too often go unnoticed in daily life.

The work called Symphony No. 1 was begun

in Leipzig. Conceived initially as a symphonic poem in two parts, the symphony follows an elaborate outline tracing the life of a Bohemian peasant hero – the “Titan.”

First Part: From the Days of Youth I. Spring II. Flora III. Under Full Sail Second Part: Human Comedy IV. Funeral March V. From Inferno to Paradise

Mahler eventually entitled the “Flora” movement, “Blumine,” however he never felt comfortable with its inclusion and eventually dropped it from the symphony. The resulting four-movement work is equally balanced into two halves – the first part expressing the joy of youth, while the second part examines death. The dilemma for modern performers and audiences is that “Blumine,” all by itself as a stand-alone work, is worthy of performance.

Although it was part of the original version of the First Symphony, “Blumine” had an earlier history that makes it unique among Mahler’s works. It was originally composed for an 1884 presentation in Kassel, Germany, of a series of tableaux representing scenes from a comic poem entitled Der Trompeter von Säckingen (The Trumpeter of Säckingen). Although the score is lost, Mahler’s writings verify that much of the music of “Blumine” was included in the production. After it was excised from the First Symphony, Mahler continued to revise the movement as late as 1906. Shortly thereafter, he gave the score to a student, whose family sold it through auction to Mrs. James M. Osborn. She donated it to the New Haven Symphony, which kept it in the Yale University Library. Publication finally took place in 1968.

Mahler described the piece as “a sentimentally indulgent movement, a love episode,” which seems to be a fitting description. The work begins with a murmur in the strings from which a trumpet solo emerges. As is typical with Mahler’s slow movements, the overall atmosphere is one of reverence and increasing emotional intensity. A contrasting middle section relies more heavily on woodwind solos. True to the standard ABA structure of symphonic second movements, the work ends with a return to the opening material. A short coda provides a suitable conclusion with a final gesture of the violins reaching upward into their highest range.


ProgramALBAN BERG (1885 – 1935) Violin ConcertoTonight’s soloist has provided the following:

The Alban Berg Violin Concerto is one of my absolute favorites. I first studied it in 1992, reading every article about it that I could find in the library. I had the privilege of studying it both with Pierre Boulez and with Richard Hoffman, who knew Berg personally and is the last living student of Schoenberg (Berg’s teacher) from Schoenberg’s Vienna circle.

The Berg Violin Concerto is not only very intense and beautiful, but it is also an extremely personal work by the composer. Some information about the history of the piece and its meaning may aid you in your listening experience.

The Austrian composer Alban Berg composed his violin concerto in 1935 in a summer house just a few miles from where Brahms had written his glorious violin concerto many years earlier. The inspiration for the piece came from the death of a young woman to whom he was very close, Manon Gropius. Manon was the daughter of Berg’s friend Alma Mahler (Gustav’s widow) and her husband, Walter Gropius, the famous architect. Gropius had died shortly after Manon’s birth. Manon was 18 when she died of poliomyelitis, and Berg titled his concerto for her, “To the memory of an angel.”

The concerto is written in two parts, each with two continuous movements. Part One describes the beautiful young girl. The first movement, often tender, shows her as charming and graceful, and it ends with musical sighs. The second movement alternates different sections of music, depicting her in a variety of a young girl’s moods: the teasing, lightly flirtatious scherzando; the elegant, waltz-like wienerish; the earthy rustico; and the unrestrained vivacity of “Trio 1.” Towards the end of the movement, we hear a Carinthian melody, a yodelling folksong, which the solo violin plays in duet with the French horn.

Part Two is much darker. It opens with the sounds of suffering, agony, and torment. Soon, an inexorable death-march rhythm takes over and continues until the end of the movement, when we hear the girl’s screams for help. The fourth movement is the aftermath of the catastrophe. It begins with a quote from a Bach Chorale, with the wind section imitating a church organ. Then Berg introduces the lament (Klagegesang), an extended section where first one violin, then two, and finally the entire

violin section joins the soloist in grieving. As the movement ends, we hear the old Carinthian folksong as though from a distance, and then peace and transfiguration at last.

Such is the official story of the Berg Violin Concerto. However, this extraordinary piece exists in multiple layers. Berg was a strong believer in numerology, including certain special numbers such as “23” for men and “28” for women. Berg therefore believed that it was no coincidence that his first asthma attack had occurred on July 23, at the age of 23. After Berg’s death (on December 23), researchers found a score to his Lyric Suite in which he had written many notes in the margins. These notes showed how he had carefully used certain numbers of measures to add up to multiples of 23, 28, and 10, the number he associated with his mistress, Hanna Fuchs. His note pitches also had extra meaning. He combined his own initials, AB, with his mistress’s initials, HF (H is German for B-flat), and he made sure that these notes appeared at key moments in the Lyric Suite. After this discovery, musicologists took the formulas found in the Lyric Suite and applied them to the Violin Concerto! 10s, 23s, and ABHFs turned up far too frequently to be anything less than a careful plan.

You might be thinking to yourself that this academically interesting information doesn’t really enhance the musical experience for listeners. But all of these secret symbols led people to look closer at the story running through the Violin Concerto. If Berg was hiding 10s and 23s, what else was he hiding?

Remember that yodelling Carinthian folktune which occurs prominently in both Parts? Berg was careful to cover any traces of the original source of the melody, but researchers unearthed it, and it turned out to have some pretty risque lyrics. “A bird on a plum tree has wakened me, Otherwise I would have overslept in Mizzi’s bed. The girl is Catholic and I am Protestant. She will surely put away the rosary in bed!” Berg’s pet name for Manon Gropius was “Mutzi,” meaning “beautiful.” Musicologists initially reasoned that Berg had suppressed these lyrics because they were inappropriate for the innocent Manon. As it turned out, Berg tried to hide the source of the song because it was all too revealing of a different young girl. When Berg was 17, he had fathered a child with a girl named Marie Scheuchl who worked in the kitchen of his family’s Carinthian vacation home. Marie’s nickname? Mitzi! Suddenly, we discover that the first part of the concerto


Programis simultaneously remembering and describing Manon and another young girl from long ago.

The Violin Concerto turned out to be the last work that Berg ever composed. He died of a bee sting before ever hearing the premiere. Thus, the first performance of the concerto, although intended as a requiem for Manon Gropius, turned out to be a requiem for Berg himself. Did he have a premonition of his death that affected the writing of the dramatic second part of the concerto? The facts are compelling. “AB”s and “23”s occur at key moments during the unfolding of the tragedy in the third movement. For example, the death-march begins at the 23rd measure. The Bach Chorale of movement four is especially interesting. It comes from Bach’s Cantata #60 of 1732, Dialogue between Fear and Hope. “It is enough! Lord, when it pleases Thee, Relieve me of my yoke! My Jesus comes: So goodnight now, O world! I’m going to my Heavenly home. I’ll surely journey there in peace, My great distress will stay below. It is enough. It is enough.” With these words, it seems out of place that Berg would indicate to the musicians to play amorously, dolorous, decided, sweet, resolute. If we think of this music as looking towards Berg’s own death, we realize that by dying he will join his beloved Hanna Fuchs in the afterlife. Our theory gains momentum when a prominent “ABHF” occurs right at the moment of transfiguration at the end of the concerto.

So now we have two stories superimposed: a requiem for Manon, and an autobiographical account of Berg’s own life. (Well, most of his life anyway. In case you didn’t notice, Berg’s actual wife never is mentioned once in the music.)

— Rachel Barton Pine

JOHANNES BRAHMS (1833 – 1897)Symphony No. 4 in E Minor, Opus 98

Johannes Brahms’s first three symphonies owe a debt of musical gratitude to Beethoven, as each follows formal examples set forth by that giant. Brahms’s Fourth Symphony is different. Composed in the scenic Alpine resort of Mürzzuschlag, it does not reflect the lighter character of the previous two symphonies or the epic majesty of his first. In this work, perhaps more than any other, the listener can hear the great artistic argument of the day.

Critics liked to compare the approaches of Brahms and Richard Wagner, and succeeded in creating adversarial feelings among the followers of each of the composers. After

all, Brahms was conservative and preferred a traditional approach to musical form. He created symphonies and concertos, string quartets and sonatas. Wagner was overtly innovative and did not compose in the traditional forms. Brahms wanted to be a successful composer while Wagner hoped to cause social revolution through his operas.

Because of the stern character of Brahms’s Fourth Symphony, certain contemporary critics dismissed it as too pedantic—too Wagnerian. Having the advantage of over a century of retrospect, a fairer assessment would be that the symphony is meticulously crafted with every musical idea calculated to the finest detail. The motivic first movement is constructed from a rhythmic germ – short-long – and is cast in the traditional sonata form. This is pure Brahms with his lovely use of intervals of the third and sixth accompanying nearly every melody. Because of this, each theme seems to be gently cradled by the rest of the ensemble.

The sorrowful second movement is a perfect example of how Brahms could make even a major key sound dark and brooding. Mournful and moving, this is the movement Richard Strauss described as a “funeral procession moving across moonlit heights.” Brahms’ third-movement scherzo is a rapid-tempo respite from the introspection of the second movement. Listen for the metallic interjections of the triangle and its sparkling contrast to the brooding textures.

The finale is perhaps Brahms’s most supreme masterpiece of orchestral composition. Set in the form of a passacaglia (a Baroque form consisting of a repeated melodic pattern upon which melodic and harmonic variations are anchored), Brahms looks backward instead of forward. The creative process is laid bare before our eyes and ears, and we can follow the composer’s thought processes very closely. The movement opens with a harmonized statement of the passacaglia theme, which Brahms borrowed from J. S. Bach’s Cantata 150. Many scholars have speculated on Brahms’s intention, however we cannot forget that he composed this movement in the bicentennial year of Bach’s birth. Despite its meaning, the movement progresses through more than thirty variations that flow organically from one to the next. Despite this almost mechanical approach, the music is a transcendent and supremely emotional “mighty assertion of the spirit of man.”

©2013 Orpheus Music Prose & Craig Doolin


Boulder Philharmonic Orchestra

VIOLIN 1Annamaria Karacson,

January guest concertmaster, Boulder Virginia Newton

Charles Wetherbee, February guest concertmaster, Lafayette

Désirée Cedeño-Suárez, Arvada

Debra Holland, Boulder Brenda ZellnerGyongyver Petheo,

Highlands Ranch Todd & Gretchen Sliker

Veronica 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 Wolf

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

Colorado SpringsLori Wolf Walker, Louisville

VIOLAMary Harrison,*

Wheat RidgeAniel Cabán, BoulderMegan Edrington, LafayetteClaire Figel, Boulder

Teresa Myrwang HolumNancy McNeill, LafayetteIsaac White, Arvada

CELLOCharles Lee,* Boulder

Joan KnappMarcelo Sanches,** BoulderGeorgia Blum, BoulderAnne Brennand, BoulderSara Fierer, DenverYoriko Morita, Louisville

Chris & Margot BrauchliShirley Stephens-Mock,

GoldenEleanor Wells, Boulder

Martha & George Oetzel

BASSDavid Crowe,* Boulder

Nyla & William WitmoreBrian Knott,** LouisvilleBrock Chambers, DenverDale Day, Boulder

Larry Day & Catherine Haskins

Bob Orecchio, WestminsterMatthew Pennington,

Lafayette

HARPKathleen Wychulis,*

Omaha, NE

PIANOArthur Olsen,* Boulder

TIMPANIDouglas William Walter,*

Louisville

PERCUSSIONHiroko Okada Hellyer,*

Centennial Virginia Jones

Paul Mullikin,** LakewoodMike Tetreault, Denver

FLUTEElizabeth Sadilek, acting

principal, Edwards Pamela Dennis

Olga Shylayeva, Lafayette Paul Weber

OBOESarah Bierhaus,* GoldenTenly Williams, DenverMax Soto, Denver

CLARINETStephanie Zelnick,*

Lawrence, KS Rodolfo & Margaret Perez

Bronwyn Fraser, LongmontMichelle Orman, Denver

BASSOONCharles 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 and

utility, Salt Lake City, UT

TRUMPETBrian Brown,* Fort Collins

David Fulker & Nicky Wolman

Kenneth Aikin, BoulderRoberta Asmus Goodall,

Centennial

TROMBONEBron Wright,*

Colorado SpringsOwen Homayoun,***

Austin, TXJeremy Van Hoy,***

Colorado Springs

TUBAMichael Allen,* Arvada

* Principal** Assistant Principal*** Welcome New

Members

We thank our inaugural “Friends of the Phil” musician sponsors, as of December 31. “Friends of the Phil” sponsors are invited to the stage for a meet-and-greet following the January 11 performance. For more information on sponsoring one of our professional musicians, please see page 39 or visit the Welcome Table in the outer lobby during tonight’s Intermission.


ProgramBOULDER PHILHARMONIC ORCHESTRA

Michael Butterman, conductor

Josh Ralph, composer & vocalist

Saturday, February 22, 2014Macky Auditorium, CU Boulder

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

In Celebration of the 10th Anniversary of the Boulder International Film Festival

Arr. Tyzik Great Westerns Suite

Erich Korngold/Mauceri The Adventures of Robin Hood

Harold Arlen/Tyzik The Wizard of Oz: Orchestral Suite

Anatoly Liadov Baba Yaga

John Hunter The Numberlys

- Intermission -

John Williams Harry Potter: Harry’s Wondrous World

Lai, Legrand/Mancini The French Collection

Grusin/Lowden On Golden Pond: Main Theme

J. S. Bach Suite No. 3: Air

J. Ralph/Baird “Before My Time” from Chasing Ice

J. Ralph/Baird “The Cove” and “Dolphins and Mandy” from The Cove

Badlet/Rickets Pirates of the Caribbean

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

Millennium Harvest House is the exclusive hotel for Boulder Philharmonic guest artists


ProgramJOSH RALPH, COMPOSER

Josh Ralph is a self-taught composer, singer, songwriter and producer whose career began at 22 with signing to Atlantic Records as a Recording Artist. He is the founder of the award-winning production company The Rumor Mill and has

written and produced the music for numerous Grammy-winning artists, Oscar®-winning films, and President Barrack Obama.

Mr. Ralph is well known for his documentary work including the scores to the back to back Academy Award®-winning films The Cove and Man on Wire as well as the autism documentary Wretches and Jabberers by Oscar®-winning director Gerrardine Wurzburg. In addition to writing the score for Wretches & Jabberers, Mr. Ralph also wrote and produced 20 original songs featuring collaborations with Antony (of Antony and the Johnsons), Devendra Banhart, Paul Brady, Bonnie Bramlett, Vashti Bunyan, Martin Carthy, Judy Collins, Lila Downs, Vincent Gallo, David Garza, Ben Harper, Scarlett Johannson, Nic Jones, Norah Jones, Leah Siegel, Carly Simon, Stephen Stills, Ben Taylor and Bob Weir. His most recent film projects include 2011’s Sundance Grand Jury Prize-winning documentary Hell and Back Again, for which Mr. Ralph wrote and produced the score, sound design and end title song “Hell and Back” performed by Willie Nelson.

Mr. Ralph wrote the score for Chasing Ice which premiered at the 2012 Sundance Film Festival. The documentary follows Boulder resident and National Geographic photographer James Balog as he uses revolutionary time-lapse photography to capture for the first time ever, groundbreaking visual evidence of the world’s melting glaciers and global climate crisis. In addition to the score for Chasing Ice, Mr. Ralph also wrote and produced the original end title song “Before My Time” performed by Scarlett Johansson and violinist Joshua Bell.

Mr. Ralph’s music encompasses a wide variety of genres and mediums. He is a fellow of Yale University and the only composer ever to win two consecutive A.I.C.P. awards. Several of his works are included in the Museum of Modern Art’s permanent collection of film and media in New York City.

BOULDER INTERNATIONAL FILM FESTIVAL – February 13 – 16, 2014 Named one of the “25 Coolest Film Festivals” in the world by MovieMaker Magazine, the Boulder International Film Festival brings films and filmmakers from around the world to Boulder every President’s Day weekend for a four-day celebration of the art of cinema. BIFF has developed a reputation as one of the most influential young film festivals in the U.S., with an extraordinary number of new-but-unknown feature films, documentaries and shorts that have gone on from early screenings at BIFF to significant box-office success and multiple Oscar nominations.

BIFF is an entirely community supported event. This year over 400 Boulder folks will volunteer, hundreds of local businesses and non-profits will help support, and over 20,000 film enthusiasts, media, and industry will attend. BIFF has been proud to host some of film’s most talented artists, including actors like Alec Baldwin, Martin Sheen, William H. Macy, Blythe Danner, Maria Bello, James Franco, Peter Fonda, and Chevy Chase. This year we celebrate BIFF’s 10th Anniversary of bringing world culture, inspiration, and entertainment to the Boulder community.

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

Ghosts of the GrasslandsSat., March 15 & 22, 9:30–11:30 am On March 22, the Boulder Phil will perform Ghosts of the Grasslands by Steven Heitzeg, a work that celebrate the life of the American prairie. Prepare for the concert with an easy morning hike to a prairie dog town to learn about the plants and animals of our native grasslands. Meet at Marshall Mesa Trailhead, near Highway 93 and Eldorado Springs Drive.

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.

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PRO MUSICA COLORADO CHAMBER ORCHESTRA

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2013-14 Season of Epics

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

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

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

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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

Bill & Marilyn Reichenberg

Thomas RiisJo & Anna Marie

RobbJuan & Alicia

RodriguezJames & Rebecca

RoserJack & Lynne

RummelJodie RuthrauffRon & Margaret

SaariMerle & Rught

SachnoffJody SarbaughWayne ScottElizabeth ShannonArt & Carol SmootMark & Mickey

StevensonAlan & Marty

StormoJoan TalbotLyman TaylorGeorge & Caroline

ThompsonDouglas & Patricia

VidulichDiane VivasAlice Dodge WallaceJeffrey & Renee

WhitePaul & Patricia

WhiteRoe & Helene WillisCharles & Marjorie

WilsonRobert & Lawrie

WilsonNyla WitmoreEd WolffRuth Yearns

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Listen Locally

1/17 Chick Corea & Béla Fleck 2/13 Venice Baroque Orchestra 2/24 TAO Phoenix Rising 3/19 Fahrenheit 451 by Aquila Theatre 4/5 Eddie Palmieri Salsa Orchestra 4/29 CU Symphony Orchestra

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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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Boulder’s Upstart Crow Theatre Company

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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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boulder philharmonic winter/spring 2013-2014, jan. 11 & feb. 22

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