boulder philharmonic winter/spring 2014-2015, april 25, 2015

MICHAEL BUTTERMAN, MUSIC DIRECTOR

BOULDERPHILHARMONICORCHESTRA

2014-2015 SEASON

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20142015SEASON

www.boulderballet.org

BOULDERBALLET

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

303.443.0028www.boulderballet.org

• The Nutcracker with full orchestra

• Stepping Out 2015 world premiere ballets

• Storybook Ballet a student performance

• The Firebird a special event for Mother’s Day

• Ballet in the Park free outdoor concerts

Photos by Sue Daniels


WelcomeDear Friends,

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

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

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

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

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

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12 Boulder Philharmonic Orchestra 2014-2015

MICHAEL BUTTERMAN, MUSIC DIRECTOR

BOULDERPHILHARMONICORCHESTRA

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

MUSIC DIRECTOR Michael Butterman

OFFICERS

BOARD

ADVISORY COUNCIL

ADMINISTRATION

DIRECTOR EMERITUSKim Coupounas China Leonard Dan Sher

ORDER OF THE BATON

Kyle Heckman, PresidentRudolfo Perez,

Vice President

Patricia Butler, Secretary

Christopher BrauchliJoan BrettClaire FigelDavid FulkerLin HawkinsDeborah HollandErma Mantey

Yoriko MoritaEleanor PoehlmannKaryn SawyerJennifer StachniakLynn StreeterMarion Thurnauer

Barbara BrentonRoberta BrenzaPamela DennisKent HansenRuth KahnSusan Olenwine

Joan RingoenMary StreetDick Van PeltBetty Van ZandtBrenda Zellner

Kevin Shuck, Executive Director

Teresa Myrwang Holum, Development Director

Shelley Sampson, Patron Services Manager & Artistic Administrator

Michael Allen, Orchestra Librarian

Janet Braccio, Publicity Consultant

Holly Hickman, Marketing Consultant

Kim Peoria, Orchestra Manager

Glenn Ross, Production Manager

Betty Woon, Bookkeeper

Ryan Foley, Development Intern

Michelle Sheridan, Education Coordinator

Carolyn Richardson, Volunteer

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

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

To Our SupportersHave you heard the wonderful news?

Michael Butterman recently signed a 5-year extension as Music Director of the Boulder Philharmonic!

We couldn’t be more thrilled – during Michael’s tenure, subscriptions have in-creased a stunning 80% and the Discovery Concert program he founded has grown to reach 28 elementary schools. The Boulder Phil has never sounded better, and our thrilling performances, guest artists and collaborations continue to build momen-tum and attract capacity audiences to Macky Auditorium.

“My partnership with the Phil over the past several years has been extremely satisfying and artistically stimulating,” Michael said. “With the help and support of our dedicated patrons, we have been able to hone an identity deeply rooted in the fabric of Boulder’s essence, while elevating our artistry to greater heights. I’m delighted by the opportunity to con-tinue our work together in the coming seasons as we affirm and strengthen our core values of artistry, innovation and engagement.”After reading of Michael’s enthusi-

asm and confidence in the future of our orchestra, may we ask what the Boulder Phil means to YOU? Please take a moment to think about how the Phil and our music have enriched your life, and consider making a gift to support our con-tinuing work. Thank you!

Kevin Shuck

Executive Director Kevin Shuck

This program is produced for the Boulder Philharmonic

Orchestra by The Publishing House, Westminster, CO.

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About the Boulder PhilAs one of Colorado’s premier

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

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

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

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

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

Michael Butterman is recognized for his commitment to creative artistry, innovative programming, and to audience and community engagement. He is in his ninth season as Music Director for both the Boulder Philharmonic Orchestra and the Shreveport Symphony Orchestra, and is the new Music Director of the Pennsylvania Philharmonic, celebrating its inaugural season in 2014-2015. He is also the Resident Conductor of the Jacksonville Symphony Orchestra, and is in his 15th season as Principal Conductor for Education and Community Engagement for the Rochester Philharmonic Orchestra, the first position of its kind in the United States.

As a guest conductor, Mr. Butterman made his debut with the Cleveland Orchestra in the spring of 2012, and was immediately reengaged for two concerts the following season. Other recent engagements include appearances with the Detroit Symphony, Houston Symphony, Colorado Symphony, Oregon Symphony, Phoenix Symphony, Kansas City Symphony, Colorado Music Festival Orchestra, Charleston Symphony, Hartford Symphony, San Antonio Symphony, Syracuse Symphony, New Mexico Symphony, California Symphony, Louisiana Philharmonic, Spokane Symphony, El Paso Symphony, Mobile Symphony, Peoria Symphony, Winston-Salem Symphony, Pensacola Opera and Asheville Lyric Opera. Summer appearances include Tanglewood, the Bravo! Vail Valley Music Festival in Colorado and the Wintergreen Music Festival in Virginia. In the 14-15 season, he will make his debut with the Victoria Symphony in Canada and return to the podium of the Santa Fe Symphony.

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

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

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

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

www.MichaelButterman.com

Season Supporters

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Educational OutreachThe Boulder Philharmonic

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

• Discovery Concerts introduce 4th and 5th graders throughout the Boulder Valley School District and beyond to live symphonic music. Using a tailored Curriculum Guide that complements their core music curriculum, educators prepare students for the 50-minute interactive performance at Macky Auditorium – an experience that many students describe as “the best field trip of the year!” Sign up your school today for our next Discovery Concert at Macky on Friday, April 24, 2015.

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

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

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

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

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

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

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members of Greater Boulder Youth Orchestras

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Boulder Philharmonic Orchestra 2014-2015 Program 1

BOULDER PHILHARMONIC ORCHESTRAMichael Butterman, conductor

Zuill Bailey, cello

Saturday, April 25, 2015 Macky Auditorium, CU Boulder

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

Anatoli Liadov The Enchanted Lake, op. 62(1855 – 1914)

Antonín Dvorák Concerto for Cello and Orchestra, op. 104(1841 – 1904) I. Allegro II. Adagio, ma non troppo III. Allegro moderato – Andante – Allegro vivo

— Intermission —

Béla Bartók Concerto for Orchestra (1881 – 1945) I. Andante non troppo – Allegro vivace II. Allegro scherzando III. Andante non troppo IV. Allegretto V. Presto

Tonight is Subscriber Appreciation Night!

We thank our nearly 1,000 subscribers and invite you to join us following tonight’sperformance for our annual celebration at the Boulder Dushanbe Teahouse.

Sponsored by Kent Hansen / Rocky Mountain Wealth Management

Zuill Bailey will be signing CDs at intermission.

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

Program and artists subject to change. Use of electronic devices prohibited.

Program

Program 2 Boulder Philharmonic Orchestra 2014-2015

Boulder Philharmonic OrchestraVIOLIN 1Charles Wetherbee,

concertmaster, Lafayette Rebecca RoserAnnamaria Karacson,

assistant concertmaster, Boulder

Virginia NewtonDebra Holland, Boulder Jack & Brenda ZellnerGyongyver Petheo,

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

Superior

VIOLIN 2Leah Mohling,* Louisville Robert & Marilyn MohlingSharon Park,** Boulder Robert & Francine MyersSarah Delevoryas, Broomfield Kristen WolfRegan Kane, BoulderMiriam Linschoten, BoulderRobyn Sosa, DenverPaul Trapkus, LongmontAzaduhi A. Vieira,

Colorado SpringsLori Wolf Walker, LouisvilleTori Woodrow, Glendale

VIOLAMary Harrison,*

Wheat Ridge Patricia ButlerMichael Brook,** Superior Matthew HyattAniel Cabán, BoulderMatthew Diekman, DenverMegan Edrington, LafayetteClaire Figel, Boulder Teresa Myrwang HolumNancy McNeill, LafayetteStephanie Mientka, Boulder

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

Shirley Stephens-Mock, Golden

Eleanor Wells, Boulder Martha & George Oetzel

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

Haskins; Jon BondBob Orecchio, WestminsterMatthew Pennington,

Lafayette

HARPKathleen Wychulis,*

Omaha, NE

PIANOArthur Olsen,* Boulder

TIMPANIDouglas William Walter,*

Louisville

PERCUSSIONHiroko Okada Hellyer,*

Centennial Virginia JonesPaul Mullikin,** Lakewood Marion Thurnauer &

Alexander TrifunacMike Tetreault, Denver Annyce Mayer

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

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

CLARINET/BASS CLARINETStephanie Zelnick,*

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

BASSOON/CONTRABASSOON Charles Hansen, guest principal Joan Ringoen

Kim Peoria, LouisvilleWendy La Touche, Boulder

HORNMichael Yopp,*

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

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

utility, Sparks, NV

TRUMPETBrian Brown,* Fort Collins David Fulker & Nicky

WolmanKenneth Aikin, BoulderRoberta Asmus Goodall,

Centennial Courtney Thomas, in

memory of Jim Thomas

TROMBONEBron Wright,*

Colorado SpringsOwen Homayoun, Austin, TX Jeremy Van Hoy,

Colorado Springs

TUBAMichael Allen,* Northglenn

ADDITIONAL MUSICIANSRobyn Julyan, violinCyndi Mancinelli, violinSusie Peek, violinIngrid Peoria, violinAdrienne Short, violinChristine Short, violinNathan Southwick, violinBrian Cook, violaCarrol Lee, violaAlex Vittal, violaTrevor Minton, celloBeth Rosbach, celloAlaunde Copley-Woods, fluteAndrew Jacobson, oboeApril Johannesen, clarinetMark Hyams, trumpetScott Bean, tromboneJeff Craig, tromboneAndy Wolfe, tromboneTonya Jilling, harp

* Principal** Assistant Principal

For information on becoming a “Friends of the Phil” musician sponsor, please see page 33.


ProgramZUILL BAILEY, CELLO

Zuill Bailey, widely considered one of the premiere cellists in the world, is a distinguished soloist, recitalist, artistic director and teacher. His rare combination of

celebrated artistry, technical wizardry and engaging personality has secured his place as one of the most sought after and active cellists today.

A consummate concerto soloist, Mr. Bailey has been featured with the symphony orchestras of Los Angeles, Chicago, San Francisco, Detroit, Indianapolis, Dallas, Louisville, Honolulu, Milwaukee, Nashville, Toronto, Minnesota, Utah, Israel, Cape Town, and the Bruckner Orchestra in Linz, Austria. He has collaborated with such conductors as Itzhak Perlman, Alan Gilbert, Andrew Litton, James DePriest, Jun Markl, Carlos Kalmar, Jacques Lacombe, Grant Llewellyn and Stanislav Skrowaczewski. He also has been featured with musical luminaries Leon Fleisher, Jaime Laredo, the Juilliard String Quartet, Lynn Harrell, and Janos Starker.

Mr. Bailey has appeared at Disney Hall, the Kennedy Center, the United Nations, Alice Tully Hall, the 92nd St. Y, and Carnegie Hall, where he made his concerto debut performing the U.S. premiere of Miklos Theodorakis’ Rhapsody for Cello and Orchestra. In addition, he made his New York recital debut in a sold-out performance of the complete Beethoven Cello Sonatas at the Metropolitan Museum of Art. Mr. Bailey also presented the U.S. premiere of the Nico Muhly Cello Concerto with the Indianapolis Symphony Orchestra.

His international appearances

include notable performances with the Moscow Chamber Orchestra in its 50th anniversary tour of Russia, as well as concerts in Australia, the Dominican Republic, France, Israel, Spain, South Africa, Hong Kong, Jordan, Mexico, South America, and the United Kingdom. Festival appearances include Ravinia, the Interlochen Center for the Arts, Manchester Cello Festival (UK), Wimbledon (UK), Consonances (France), Australian Festival of Chamber Music, Deia Music Festival (Spain), Montreal (Canada), Santa Fe, Caramoor, Chautauqua, Bravo! Vail Valley, Maverick Concert Series, Brevard, and the Music Academy of the West. In addition, he was the featured soloist performing the Elgar Cello Concerto at the Bard Festival in the world premiere of the Doug Varrone Dance Company performance of Victorious.

Zuill Bailey is an exclusive recording artist on Telarc International. His celebrated Bach Cello Suites and recently-released Britten Cello Symphony/Sonata CDs immediately soared to the number one spot on the Classical Billboard Charts. Other critically acclaimed recordings on Telarc include his live performances with the Indianapolis Symphony of the Elgar and Dvořák Cello Concertos, described by Gramophone magazine as one that “sweeps the board.” Additional Telarc releases include Brahms featuring the complete works for cello and piano with pianist Awadagin Pratt, and Russian Masterpieces showcasing the works of Tchaikovsky and Shostakovich performed with the San Francisco Ballet Orchestra. Mr. Bailey is featured on Concord Music’s chart-topping, Quincy Jones-produced Diversity with pianist/composer Emily Bear. Other releases include his innovative Spanish Masters CD for Zenph Studios, where he forms

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Programa unique duo blending with recordings of composer Manuel de Falla, and an all-American recital program with pianist Lara Downes on the Steinway and Sons label. His discography also includes a debut recital disc for Delos, Cello Quintets of Boccherini and Schubert with Janos Starker, Saint-Saen’s Cello Concertos No. 1 and 2, and the Korngold Cello Concerto with Kaspar Richter and the Bruckner Orchestra Linz for ASV.

Zuill Bailey was named the 2014 Johns Hopkins University Distinguished Alumni and was awarded the Classical Recording Foundation Award for 2006 and 2007 for Beethoven’s complete works for Cello and Piano. The highly touted two-disc set with pianist Simone Dinnerstein was released on Telarc worldwide. In celebration of his recordings and appearances, Kalmus Music Masters has released Zuill Bailey Performance Editions, which encompasses the core repertoire of cello literature.

Network television appearances include a recurring role on the HBO series Oz, NBC’s Homicide, A&E, NHK TV in Japan, a live broadcast and DVD release of the Beethoven Triple Concerto performed in Tel Aviv with Itzhak Perlman conducting the Israel Philharmonic, and a performance with the National Symphony Orchestra of Mexico City. Mr. Bailey is also featured in the televised production of the Cuban premiere of Victor Herbert’s Cello Concerto No. 2 with the National Orchestra of Cuba. He has been heard on NPR’s Morning Edition, Tiny Desk Concert, Performance Today, Saint Paul Sunday, BBC’s In Tune, XM Radio’s Live from Studio II, Sirius Satellite Radio’s Virtuoso Voices, the KDFC Concert Series, KUSC, Minnesota Public Radio, WFMT and RTHK Radio Hong Kong.

Mr. Bailey received his Bachelor’s and Master’s Degrees from the Peabody Conservatory and the Juilliard School.

His primary teachers include Loran Stephenson, Stephen Kates, and Joel Krosnick. Mr. Bailey performs on a 1693 Matteo Gofriller Cello, formerly owned by Mischa Schneider of the Budapest String Quartet. In addition to his extensive touring engagements, he is the Artistic Director of El Paso Pro-Musica (Texas), the Sitka Summer Music Festival and Series (Alaska), the Northwest Bach Festival (Spokane, Washington), guest Artistic Director of the Mesa Arts Center (Arizona), and Professor of Cello at the University of Texas at El Paso.

For more information please visit www.zuillbailey.com

PROGRAM NOTES

ANATOLI LIADOV (1855-1914) The Enchanted Lake

Anatoli Liadov was a composer with great talent and a big problem. In 1909 he was approached by the Russian ballet impresario Serge Diaghilev about writing music for the next season of the Ballets Russes de Monte Carlo. Although Liadov had already worked as an orchestrator for Diaghilev’s production of the ballet Les Sylphides, based on the music of Chopin, he did not feel ready to accept such a large task. Instead of refusing the project, he told Diaghilev that it would take at least a year to write the work. This precluded him from the 1910 project. The job went to the young Russian upstart, Igor Stravinsky, and the work that resulted was The Firebird, which was the piece that put Stravinsky’s name on the musical radar worldwide.

One should not get the idea that Liadov was lazy. Instead, it might be better to describe him as unmotivated, aloof, or perhaps a little afraid. He was far more interested in his own ideas than those of


Programothers. In 1909, instead of composing for Diaghilev, he was working on another work, The Enchanted Lake, which is a musical portrait of moonlight on the water. It is a contemplative miniature masterpiece that is programmed far too infrequently.

Liadov wrote to a friend:“How picturesque it is, how clear, the multitude of stars hovering over the mysteries of the deep. But above all no entreaties and no complaints; only nature — cold, malevolent, and fantastic as a fairy tale. One has to feel the change of the colors, the chiaroscuro, the incessantly changeable stillness and seeming immobility.”

Listeners will notice the stillness of the music. Long low notes are ornamented with major and minor thirds, as well as extended chords that reflect the newest Impressionistic developments happening at that time a thousand miles away in France. The use of colorful instruments, such as the celesta and harp, add to the atmospheric qualities in this work.

ANTONÍN DVOŘÁK (1841–1904)Concerto for Cello and Orchestra, Op. 104

Antonín Dvořák had a strong affinity for the music of common people. He collected and studied folk music, but, paradoxically, seldom incorporated authentic indigenous music into his works. Drawn to the simple beauty of African-American spirituals and Native American songs, Dvořák boldly suggested that American composers needed to cultivate a national identity in their music.

Dvořák’s suggestion came on the heels of his 1892 appointment as director of the American Conservatory of Music in New York. He would spend the next two summers in the small Czech community of Spillville, Iowa, where he would complete

his “American” string quartet and quintet. After only a few months in this country and before his summer trip, he began an experiment — a symphony blending stylized folk elements of his native Czech land with those of his temporary American home. He would entitle this work, his ninth in the genre, “From the New World” — a very specialized musical postcard from a Bohemian in America.

In the December 15, 1893, edition of the New York Herald — the day before the premiere of the symphony — Dvořák published an essay on national identity in music. He stated that American composers should be aware of all indigenous music. The composer had heard many spirituals from his student Harry T. Burleigh and found them to be beautifully expressive. Native American melodies were familiar to him from transcriptions and a visit to Buffalo Bill’s Wild West Show in New York. In the essay, Dvořák wrote of the similarity of the melodies of both cultures and suggested that there must be some way to incorporate such truly American music in new compositions. [In the following decade, a small musical ripple arose from the “Indianist” composers, led by Arthur Farwell, who adopted Dvořák’s technique of creating stylized exotic melodies as well as transcribing many authentic Native American songs.]

Dvořák’s last American work was his thoroughly Czech-flavored Cello Concerto. However, its inspiration was thoroughly American. The motivation came from Victor Herbert, later known as the composer of delightful operettas (Naughty Marietta and Babes in Toyland are the most popular of his more than fifty stage works), who performed his own Second Cello Concerto in 1894 to an audience that included Dvořák. The Czech composer, having been pressed for years by his countryman Hanuš Wihan to compose a


Programcello concerto, was duly impressed and decided to begin composing a new work. The result is more Czech than American, probably due to the homesickness he felt while vacationing in Spillville.

Dvořák’s first movement begins quietly with a woodwind passage. From this gentle whisper, the texture builds to a towering climax. Before the cellist enters, both of the main themes are introduced by the orchestra alone, as is the custom in traditional concertos. The soloist is finally heard with an ornamented version of the first theme, proceeding to a more straightforward reading of the second melody. One of the most interesting aspects of the first movement is the reversal of the two main themes when they return after the development section.

Marked Adagio non troppo, the second movement shows the Bohemian side of Dvořák’s work. First played by the clarinet, the first theme bears the hallmarks of Czech folk music. The second theme is derived from the composer’s own art song, “Let me wander alone in my dreams,” which was a favorite of his sister-in-law (and first love), Josefine Kauric. He decided to quote this work when he received word that she was ill. His treatment of the theme is almost that of a conversation between woodwind soloists and the cellist. The first theme returns, this time with a flute obbligato.

The finale is a fiery rondo built upon martial rhythms. Near the center of the movement, the tempo relaxes and a series of musical reminiscences begins. One account, probably accurate, claims that the return of Josefine’s theme, near the end of the sequence, was added after Dvořák’s eventual return to Prague, where he found that she had died. Regardless of the inspiration, the effect is one of exquisite beauty, occurring just before the final restatement of the march theme.

BÉLA BARTÓK (1881-1945)Concerto for Orchestra

Hungarian composer Béla Bartók had a dedication to music that rivals that of any composer. He had a burning interest in the folk music of Hungary, Romania, and the other countries of Eastern Europe. The area was so rich with folk music that Bartók felt the need to collect and codify it, so he set out in the early years of the twentieth century with a wax cylinder recorder to visit some of the world’s most remote villages. His recordings are still valuable to researchers today, as many of the traditions recorded therein have been lost to modern ideas of progress.

In his concert music, Bartók’s dedication reaches a new level. He believed that one of the prime indicators of musical worth is its structure, so he filled his works with structural elements that continue to amaze researchers. Many of his works reflect mathematical principles. For instance, the Golden Ratio (a ratio that can be distilled into the number 1.618) figures into some of his pieces in that major events — changes of keys, dynamics, or formal sections — often occur 61.8% of the way through a work. This often goes much further with the same ratio occurring within the resulting sections. Much has been written of these relationships for those who wish to pursue the fascinating subject even further.

Bartók’s output is vast and varied. For the piano, his own instrument, he composed three concerti and numerous solo works, including the multi-volume educational series entitled Mikrokosmos. There are numerous chamber works (his six string quartets are the most significant since Beethoven) and pieces for orchestra, culminating in the famous Concerto for Orchestra composed on his deathbed during the final stages of leukemia.

When World War II began its ravages of Europe, many artists fled the encroachment


Programof the Nazi army. A significant number came to America, including Bartók, who arrived in 1940. With the recent conservative wave that had overtaken the music world, he found that his music had suddenly gone out of style. When his financial situation became dire, Bartók was forced to give lectures. All the while, he was experiencing symptoms that led to a diagnosis of leukemia. In early 1943 the composer was hospitalized. Two of Bartók’s friends, conductor Fritz Reiner and violinist Joseph Szigeti, decided to help the ailing composer. Knowing that Bartók would never accept a charitable gift outright, they raised the funds to commission a new orchestral work. The well-known conductor of the Boston Symphony, Serge Koussevitzky, visited the composer in his hospital room and presented the commission, making no mention of Reiner and Szigeti. Bartók accepted and plunged headlong into composition of the Concerto for Orchestra, working throughout the year and finding a restorative quality in his labors. He attended the premiere in December of 1944, but died barely nine months later.

Bartók’s Concerto for Orchestra is an unusual work, but not only for its progressive and haunting musical language. Bartók’s approach is concerned as much with the creation of interesting musical textures as with the presentation of beautiful melodies. The term ‘concerto’ usually refers to a large-scale work that features a virtuoso soloist. However, in this case, the piece requires such a level of proficiency from all players that Bartók envisioned it as a concerto for the entire orchestra. Most solo concerti have three movements, but the composer provides five in this work. The reason for this is he wanted to build the piece around a weighty central movement, creating an arch with related second and fourth, and first and fifth movements.

The work begins with a somber introduction in the lowest reaches of the string section answered by mysterious music in the strings and flutes. After a powerful climax, the main body of the movement begins at a quicker tempo with an imposing theme in the violins. After significant development, the movement ends in a potent burst of orchestration combining all the themes.

Giuoco della copie, or “Game of Pairs,” is the heading of the delightful second movement. Beginning with a snare drum solo, the music unfolds gradually by presenting portions of the main theme in instrumental pairings, each written at a different musical interval. Beginning with bassoons (sixths), the listener then hears a progression of oboes in thirds, clarinets in sevenths, flutes in fifths, and trumpets in seconds. A chorale, made even more interesting by its delayed cadences, interrupts the proceedings before an ornamented version of the opening section returns. A lone snare drum closes the movement.

The core of the Concerto for Orchestra is the third movement, an elegy that is a haunting recollection of Bartók’s native Hungary. Filled with the abrupt snapping rhythms (short-long) that are abundant in Magyar folk music, this movement unfolds slowly and with great effect. Passionate string and brass outbursts contrast with the eerie nocturnal sounds of the woodwinds and percussion — a mysterious approach that Bartók called “night music” and is found in several of his works.

Bartók’s fourth movement is entitled Intermezzo interrotto, or “Interrupted Intermezzo.” Beginning with a folk-like melody in the oboe, the unusual odd-number meter gives the music a decidedly Eastern European feel. A sumptuous string theme is heard, only to be interrupted by a quotation from Shostakovich’s Leningrad


ProgramSymphony — a new work at the time that was heard on numerous radio broadcasts during Bartók’s convalescence. It is here that Bartók expressed his dissatisfaction with his colleague’s work, providing musical ‘raspberries’ in this parody. The lovely string theme resumes and ends the movement.

The finale is an orchestral tour-de-force opening with an audacious horn call. A swirling string pattern begins, reminiscent of a peasant dance, and grows wilder as it unfolds. Several themes emerge from the fray, ranging from graceful woodwind melodies to martial trumpet calls. A quieter central section brings back the “night music” of the third movement. The peasant dance returns with bright trumpet calls leading to a fugal section that develops the martial interjection into strange new shapes. After several surprises, Bartók ends the work by bringing the peasant elements together with some of the fugal ideas in a brilliant coda that is at once dazzling and life-affirming.

©2015 Orpheus Music Prose & Craig Doolin

We thank the following new and returning donors not already listed on pages 28-30, for gifts made between December 10, 2014 and April 6, 2015.

Debra & Charles Brindis Stacey Steers & David Brunel Carls Fund Corinne Effinger-Owen First Sunday Nighters Dr. Gilberto Gonzalez Garry & Barbara Gordon Burton & Maxine Hobson Frank Kreith David & Elisa Locke Roger & Lily Moment Raymond & Mary Roble Charles Samson Todd & Gretchen Sliker Robert & Joyce Spencer Elaine Taylor Debra Vicharelli

SAVE THE DATE!UPCOMING EVENTS OF NOTE

GABRIELA MONTERO RECITAL ◆ Thursday, September 10, 2015Join us for an intimate recital and reception with our Opening Night guest artist, pianist Gabriela Montero, in a beautiful private home in east Boulder. ($75)

BOULDER PHIL FANFARE ◆ Thursday, November 12, 2015Our signature Friends and Fundraising Gala benefits the artistic and education programs of the Boulder Philharmonic. The event will take place downtown at the elegant Rembrandt Yard, a perfect setting for an evening of fabulous food and wines, world-class music with Concertmaster Chas Wetherbee in a solo performance, and mingling with fellow music lovers! ($150)

Tickets & Sponsorship Opportunities: 303.449.1343 x2 or www.BoulderPhil.org/fanfare

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Join us for this annual fundraising event benefi ting 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.

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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 October 1, 2013 to Colorado Gives Day on December 9, 2014.

FOUNDERS CIRCLE ($30,000+)AnonymousGordon & Grace GammThe Citizens of the Scientific

& Cultural Facilities District

GOLD CIRCLE ($10,000+)The Individual Donors to

the Boulder Philharmonic Endowment Fund

Sydney & Robert AndersonPatricia ButlerFlatirons BankDavid Fulker & Nicky

WolmanHarry & Eleanor PoehlmannSeiSolo Foundation (in

memory of Hans & Dolores Thurnauer)

Lynn Streeter

SILVER CIRCLE ($7,500+)Boulder County Arts AllianceColorado Creative IndustriesCarl & Ruth ForsbergLin & Matthew HawkinsRodolfo & Margaret Perez

SILVER CIRCLE ($5,000+)AnonymousAlbert & Rebecca BatesBoulder Arts CommissionEleanor CrowExxon MobilDavid & Sara HarperKyle & Stephanie HeckmanVirginia Hill Charitable

FoundationSamuel & Carolyn JohnsonMicro MotionSteve & Jayne Miller

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America FoundationJerry & Janet GillandKent Hansen / Rocky

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GrossmanEllen FriedlanderNeil Ashby & Marcie

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DonorsPeter Gilman & Peggy

LemoneJulie GinocchioCharles & Gail GrayDorothea & Ronald GreyElissa GuralnickChris & Linda HansenMargaret HanssonJanice HarveySpencer & Valerie HavlickDavid & Joan HillJeannette HilleryStewart & Karen HooverJohn HynesJackie W. JimmersonDan Johnson & Star WaringWesley & Joanne JohnsonWilliam & Martha JonesJo Ann JoselynJosh & Lori KahnRobert KehoeAnn KileyBonnie KirschenbaumBarry KnappJon & Helena KottkeRichard KraftWesley & Heather Le

MasurierDave & Mary LeonardDouglas LernerSteven & Marcia LernerSue & Rick LevineJoy LinfieldAl Gasiewski & Rachel LumLisa Lund BrownKamilla MacarJean & Megan MacMillanSusan MagruderTed ManningWilliam & Susan MarineCharles & Marian MathesonSteven & Susan MaxwellJ. Ramon McCarusJ. Hunter & Janet McDanielZoe McFarlandMartha McGavinMarla & Jerry MeehlElizabeth MeyerBarry & Gloria MillerMillie & Ivan MillerMillstone/Evans Group

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SUPPORTERS ($50+)Andrea AdamsAnonymous (5)Elizabeth BeckerDavid BlackburnVirginia BoucherJanet BrewerDavid BurnsJosephine & James BushJane ByersJulianne CassadyThomas & Vivian CecilJoseph & Elizabeth CirelliLaurie ClarkGeorge ClementsJeffrey Davis

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Van ZandtJames & Judith HeinzePeter Hellyer & Hiroko

OkadaDebra HollandMichael & Florence JonesEileen & Walter KintschHenry Wheeler & Andrea

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BallengerChristine ShieldsRebecca SnethenGail TateRev. Virginia TaylorCourtney ThomasJacqueline TrumpKaren UtleyAmy L. VandersallDeborah VinkNancy & Manly WeidmanPhillip Wong


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

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Listen Locally

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

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

University Symphony Orchestra

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

Tickets on

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

January 30 & 31

March 6 & 7

May 9 & 10

2015 SPRING CONCERTSSPRING CONCERTSSPRING CONCERTS

CHAMBER ORCHESTRA

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Bahman SalessBahman SalessMUSIC DIRECTOR

January 30 & 31January 30 & 31Romance

January 30 & 31

March 6 & 7Charm

May 9 & 10Character

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B O U L D E R

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ARTIST RECITALZachary Carrettin, violin Mina Gajić, piano

SAT., JUNE 6, 7:30 PMGrusin Hall, CU College of Music

ELECTRIC COMPASSJ.S. Bach Suites for Violoncello Zachary Carrettin, electric violinA COMPASS Series Event

FRI., FEB. 6, 7 PMThe Dairy Center for the Arts Performance Space, Boulder

MASS IN B MINOR Zachary Carrettin, conductorBoulder Bach Artists, Chorus and Orchestra

FRI., FEB. 27, 7:30 PMMontview Blvd. Presbyterian Church, Denver

SAT., FEB. 28, 7:30 PMFirst United Methodist Church, Boulder


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

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

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

In addition, chair sponsorship expands your experience with the Boulder Phil in meaningful ways, giving you the chance to experience the orchestra from the inside out while forging a special connection between you and the performers on stage with special events and activities that bring sponsors and musicians together throughout the season.

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

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

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

Eleanor Wells, cello (above), Michael Yopp, principal horn (left)


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

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

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

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

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

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

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

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boulder philharmonic winter/spring 2014-2015, april 25, 2015

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