Boulder Phil -- October/November 2023 by The Publishing House

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Welcome Dear Friends, This year, we welcome you as your new Executive Director, Mimi Kruger, and Board President, Judy Knapp. We are grateful for this opportunity to build upon the amazing work of those before us. We will remain mission-focused and continue to offer a stellar product created by a high level of talent and commitment.There is nothing quite like the magic of live orchestral music. We know firsthand that music can transform lives, and you are on that journey with us. This season, we are featuring works from across the orchestral spectrum – from masterworks by Beethoven, Brahms, Mozart, and Tchaikovsky to world premieres and extraordinary guest artists. Whether you are seeing the mastery of Anne-Marie McDermott, the vivid imagery and rhythms of pianist and composer Aldo López-Gavilán or taking in a holiday concert with loved ones, the Boulder Philharmonic continues to be one of Boulder’s most celebrated musical, educational, and innovative arts organizations. The Boulder Phil presents concerts and events to educate, enlighten and entertain more than 20,000 residents and visitors each year, successfully expanding its programming beyond the traditional concert format. These include innovative and educational events such as Nature & Music, guided hikes with naturalist Dave Sunderland and musicians from the orchestra; Stories & Music, chamber music programs at local libraries; and Early Explorers at Boulder County Head Start. Over two days and four exciting performances, our Discovery Concert will welcome over 3,000 students at Macky Auditorium. As we continue to expand the community we serve, a new collaboration with music therapist Bonnie Houpt will bring music to the residents of FRIENDS of Broomfield. We invite you to learn more about our programs on and off the stage. A special thank you to our donors and sponsors who help to make possible each and every performance. We also thank you, our patrons, for supporting great music here in Boulder. Without your support and presence at each concert our wonderful organization would not exist. Music can change lives – thank you for your part in making that possible. It is a privilege to serve the incredible asset that is the Boulder Phil and to serve alongside the staff and the Board to ensure the orchestra has a solid future in the Boulder community.

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About the Boulder Phil

As one of Colorado’s premier ensembles, the Boulder Phil is a critically acclaimed professional orchestra serving Boulder and the Greater MetroDenver region. Known for innovative concert programming presented at the highest artistic level and a growing commitment to authentic community engagement, the Boulder Phil continues to push the boundaries of what it means to be Boulder’s orchestra. We are defined by the artistry of our talented musicians, the support of our extraordinary patrons, and ongoing creative collaborations with partner organizations encompassing the arts, sciences, nature, and social services. We strive to present once-in-a-lifetime performances, inspire the next generation with school-age education programs, and pioneer community-focused projects that bring music to all. 8 Boulder Phil 23-24 Season

It is the mission of the Boulder Philharmonic Orchestra to enhance the Boulder region’s artistic and educational cultures through orchestral excellence, embracing diversity, and connecting people to music, music to ideas, and people to people.

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Boulder Phil Staff and Board A N SWERS FO R BU SINESS

MUSIC DIRECTOR Michael Butterman

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ASSISTANT CONDUCTOR Renee Gilliland

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Music Director Michael Butterman Music Director of four American orchestras and a sought-after guest conductor, Michael Butterman is acclaimed for his creative artistry and innovative programming. Foundational to his dynamic career is a deep commitment to audience development and community engagement. He is the Music Director of the Boulder Philharmonic Orchestra, which he has led to national prominence, resulting in an invitation to open the Kennedy Center’s inaugural SHIFT Festival of American Orchestras in 2017, as well as the Shreveport Symphony, which has experienced an unprecedented era of artistic growth under his leadership. Last year, Mr. Butterman assumed the role of Music Director of the Williamsburg Symphony and Lancaster Symphony orchestras. As a guest conductor, Mr. Butterman has led many of the country’s preeminent ensembles, including the Cleveland Orchestra, Philadelphia Orchestra, National Symphony, Detroit Symphony, and Houston Symphony. Other recent appearances include performances with the Fort Worth Symphony, Colorado Symphony, Oregon Symphony, Phoenix Symphony, Kansas City Symphony, Louisiana Philharmonic, and Victoria Symphony (British Columbia). Summer appearances include Tanglewood, the Bravo! Vail Valley Music Festival, Colorado Music Festival, and the Wintergreen Music Festival in Virginia.

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A passionate advocate for music education, Mr. Butterman was the founding Music Director of the Pennsylvania Philharmonic and recently completed a 19-year association with the Rochester Philharmonic Orchestra as its Principal Conductor for Education and Community Engagement. Concurrently he enjoyed a 15-year tenure with the Jacksonville Symphony, first as Associate, then as Resident Conductor. 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. Michael Butterman’s prolific work has been featured in more than a dozen nationwide broadcasts on public radio’s Performance Today. He can be heard on two CDs recorded for the Newport Classics label and on an album in which he conducts the Rochester Philharmonic and collaborates with actor John Lithgow.

12 Boulder Phil 23-24 Season

Boulder Phil 23-24 Season

Boulder Phil's

Education & Community Engagement Programming

We bring new and diverse musical experiences to more than 10,000 people from across Boulder County and beyond. Our robust educational programs continue to connect, inspire and enrich people of all ages through music. Boulder Phil is grateful for the generous support of individuals, organizations and communities that make these programs possible.

DISCOVERY CONCERTS

Providing an exhilarating field trip opportunity for 3rd-6th graders at Macky Auditorium

IN-PERSON CHAMBER MUSIC VISITS Presenting dynamic visits from our string quartet and brass quintet to local schools

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Creating learning opportunities within our schools with music director and conductor Michael Butterman

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Making music with individuals with intellectual and developmental disabilities, in collaboration with Music Therapist Bonnie Houpt

EARLY EXPLORERS

Promoting music learning through movement in preschools, kindergarten, first and second grades

MUSICAL HIKES

Bringing music and nature together with naturalist David Sutherland in Boulder and Lafayette

SIDE-BY-SIDES

Mentoring high school and youth orchestra students on stage

LIBRARY CONCERTS

Fostering connection and engaging audiences through music & stories

AND MORE!

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Transformation

OPENING NIGHT: TRANSFORMATION BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, Music Director October 15th, 2023 Macky Auditorium, CU Boulder • 4:00 pm Performance Anne-Marie McDermott, Piano Pärt

Cantus in Memory of Benjamin Britten

8’

Beethoven

Piano Concerto No. 4 in G Major, Op. 58

36’

(B. 1935)

(1770-1827)

I. Allegro moderato II. Andante con moto III. Rondo

INTERMISSION Britten

(1913-1976)

Sponsored by Suzanne and David Hoover

Variations on a Theme by Purcell, Op. 34

17’

Hindemith

Symphonic Metamorphosis of Themes by Carl Maria von Weber

26’

(1895-1963)

I. Allegro II. Scherzo III. Andantino IV. Marsch

Total performance duration 01:30 • There will be one 15-minute intermission. Program and artists are subject to change. There may be professional photographers and recording crew present during our performances. All other photography or recording of any kind is strictly prohibited.

Special Thanks to our Featured Sponsor:

Boulder Phil 23-24 Season

PROGRAM 1

Transformation SOLOIST Anne-Marie McDermott Pianist Anne-Marie McDermott is a consummate artist who balances a versatile career as a soloist and collaborator. She performs over 100 concerts a year in a combination of solo recitals, concerti, and chamber music. Her repertoire choices are eclectic, spanning from Bach and Haydn to Prokofiev and Scriabin to Kernis, Hartke, Tower, and Wuorinen. With over 50 concerti in her repertoire, Ms. McDermott has performed with many leading orchestras including the New York Philharmonic, Minnesota Orchestra, Dallas Symphony, Seattle Symphony, National Symphony, Houston Symphony, Colorado Symphony, Pittsburgh Symphony, St. Louis Symphony, Atlanta Symphony, and Hong Kong Philharmonic, among others. In the recent seasons, Ms. McDermott performed with the Philadelphia Orchestra, Buffalo Philharmonic, North Carolina Symphony, Charlotte Symphony, San Diego Symphony, the Oregon Mozart Players, and the New Century Chamber Orchestra. Anne-Marie McDermott has curated and performed in a number of intense projects including: the Complete Prokofiev Piano Sonatas and Chamber Music, a Three Concert Series of Shostakovich Chamber Music, as well as a recital series of Haydn and Beethoven Piano Sonatas. Ms. McDermott regularly performs at Festivals across the United States including, Spoleto, Mainly Mozart, Sante Fe, La Jolla Summerfest, Mostly Mozart, Newport, Caramoor, Chamber Music Northwest, Aspen, Music from Angelfire, and the Festival Casals in Puerto Rico, among others. In addition to her many achievements, Anne-Marie McDermott has been named the Artistic Director of the Bravo! Vail Music Festival in Colorado, in addition to two new Festivals: The Ocean Reef Chamber Music Festival and The PROGRAM 2 Boulder Phil 23-24 Season

Avila Chamber Music Celebration in Curacao. Anne-Marie McDermott was named an artist member of the Chamber Music Society of Lincoln Center in 1995 and performs and tours extensively with CMS each season. She continues a long standing collaboration with the highly acclaimed violinist, Nadja Salerno Sonnenberg. As a duo, they have released a CD titled “Live” on the NSS label and plan to release the Complete Brahms Violin and Piano Sonatas in the future. Ms. McDermott is also a member of the renowned piano quartet, Opus One, with colleagues Ida Kavafian, Steven Tenenbom and Peter Wiley. Ms. McDermott studied at the Manhattan School of Music with Dalmo Carra, Constance Keene and John Browning. She was a winner of the Young Concert Artists auditions and was awarded an Avery Fisher Career Grant.

LIVING COMPOSERS: Arvo Pärt As an active and productive composer, Pärt has composed a profuse number of compositions that are played around the world. Vocal works, often based on liturgical texts or other Christian prayers, comprise a large part of his oeuvre. Among them there are many large-scale compositions for choir and orchestra, as well as choral pieces with organ accompaniment or a cappella. It was in Germany, where the lasting collaboration with Manfred Eicher, founder and producer of the renowned ECM Records, began. In 1984, ECM released Tabula rasa, launching a whole new, highly successful series of recordings under the ECM New Series title, which brought Pärt to the world. His music was soon included in the programs of many renowned festivals, orchestras, and ensembles as well as television and radio broadcasts. Since this debut album, all the first recordings of Pärt’s major works have been released under ECM. During the last decade, Pärt has rearranged approximately

Transformation 30 of his earlier works, as well as having composed around 10 new pieces, including Silhouette, hommage à Gustave Eiffel (commissioned by Orchestre de Paris in 2009/2010), Adam’s Lament (2010) commissioned for the European Capitals of Culture Istanbul 2010 and Tallinn 2011 premiering in Istanbul, Swansong (commissioned by the Mozarteum Foundation Salzburg and premiering at the Mozartwoche 2014), and Greater Antiphons (2015), commissioned by the Los Angeles Philharmonic and premiered by the same orchestra under the baton of Gustavo Dudamel. Arvo Pärt was born on 11 September 1935 in Paide, where he also spent his first years. In 1938, the Pärt family moved to Rakvere, where he began to study piano at Rakvere Music School under Ille Martin. Having graduated from Rakvere Secondary School No 1, he continued studying music at the Tallinn Music School under Veljo Tormis. His studies were interrupted by mandatory military service in the Soviet Army, after which, in 1957, he continued at the Tallinn State Conservatoire under Heino Eller graduating in 1963.

PROGRAM NOTES: Arvo Pärt: Cantus in Memory of Benjamin Britten Estonian composer Arvo Pärt never met his elder contemporary, the English composer Benjamin Britten, though he had long wished to do so. When Britten passed on, Pärt felt a deep sense of loss, and was moved to compose this memorial, a short work for string orchestra with the addition of a bell. The steady tolling of that deep-voiced instrument— together with the serene lyricism of the string writing, flowing ever and again from high to low—evokes a memorial mood. Dynamics build, bringing fullness to the score, despite the simplicity of its orchestration. “Cantus” is an old word of Latin root referring to a melody, usually a song. Here, there are no human voices to sing, but the poignancy of Pärt’s writing bears the essence of a mourning hymn.

Beethoven: Piano Concerto No. 4 in G major, op. 58 Any music lover with access to a time machine should set their sights on Vienna’s Theater an der Wien on December 22, 1808. The concert that evening consisted entirely of premieres of Beethoven’s works, beginning with the Symphony no. 6 “Pastorale,” followed by the concert aria, “Ah, perfido,” two movements from the Mass in C major, the Piano Concerto no. 4, the Symphony no. 5, a bit more of the Mass, and—last but not least—the Choral Fantasy. It was four hours of music; new music to their ears, though now largely familiar to ours. This concert would become one of Beethoven’s last public appearances as a piano soloist. By 1808, his hearing was already seriously compromised. Having completed the concerto two years earlier, he had not managed to find a willing soloist who could meet his expectations. Despite not being able to hear clearly enough to truly mesh his tempos with those of the orchestra, Beethoven himself took on the soloist’s role. Interestingly, the opening of that initial piano solo has a rhythm not dissimilar to the ever-so-famous opening of Beethoven’s Symphony No. 5: three short notes and one long one. Sotto voce here, though thundered there. As the two works were played back-to-back on that premiere concert, some may have observed the connection and marveled at how Beethoven—despite his failed hearing— had managed to imagine and execute two starkly contrasting ways to use a single rhythmic fragment. That ability was part of what made him Beethoven, and part of what has ensured that his music is still admired over two centuries later.

Britten: Variations and Fugue on a Theme of Purcell, op. 34 Written in 1946, Variations and Fugue on a Theme of Purcell—known as the Young Person’s Guide to the Orchestra, when performed with narration—was intended for the British Ministry of Education, which had requested something Boulder Phil 23-24 Season

PROGRAM 3

Transformation for inclusion in the educational film Instruments of the Orchestra. The intent was to have a work that would serve to introduce new listeners to the varying voices within the orchestra: that an oboe sounds like this, whereas a clarinet sounds like this, and so on. To accomplish this task, Britten chose a stately dance theme from Elizabethan composer Henry Purcell’s stage music for Abdelazer (1676). In doing so, Young Person’s Guide not only allows listeners to hear the contrasting voices of the instruments but also offers a peek into musical techniques of earlier centuries, showing how a melody can bounce from one instrument to another in sequence while other melodic ideas occupy the background. While the familiar title may refer to “young persons,” it is a work that can be enjoyed by all, even those who are musically knowledgeable, as there is delight in following the melodies in their motion.

Hindemith: Symphonic Metamorphosis Carl Maria von Weber (1786 – 1826) was a well-regarded German composer; as was Paul Hindemith, though of a much later musical generation. Hindemith had been toying with fragments of Weber compositions as material for a ballet on which he was collaborating. When that project fell through, he decided to make a concert work of it. The resulting Symphonic Metamorphosis on Themes of Weber premiered in New York City in 1944. The first movement juxtaposes stern and forthright moods with quieter, mellower ones, before highlighting winds and xylophone in a march-like theme. Woodwinds again earn the spotlight in the middle movements, especially flute, clarinet, and even bassoon. The first of those middle movements, the Scherzo, uses music from Weber’s Turandot (not to be confused with Puccini’s much later one). The setting—much like the opera it references—is Asianinspired, as suggested by Weber’s pentatonic theme and inclusion of Chinese gong. By contrast, the third movement Andantino is more restful of character; restful, that is, for

PROGRAM 4 Boulder Phil 23-24 Season

all but the principal flutist, whose lines are of impressive complexity. The final movement Marsch is—as one might expect—a propulsive march, complete with snare drum to drive it forward. It makes for a dramatic conclusion to the work, Hindemith’s most frequently performed score, and one that showcases his fine hand with balancing orchestral resources.

To read more on this piece and others in this program, please scan the QR code below:

Visions of a Brighter Tomorrow

VISIONS OF A BRIGHTER TOMORROW BOULDER PHILHARMONIC ORCHESTRA Michael Butterman, Music Director with 3rd LAW DANCE/THEATRE Katie Elliott, Artistic Director November 12th, 2023 Macky Auditorium, CU Boulder • 7:00 pm Performance Richard Scofano, Bandoneon Mr. Scofano’s appearance is supported by Ruth and Rich Irvin

Nytch

Beacon | World Premiere Commissioned by the Boulder Chamber

8’

(B. 1964)

Scofano

La Tierra Sin Mal

15’

(B.1976)

INTERMISSION Brahms

Symphony No. 1 in C Minor, Op. 68

(1833-1897)

I. Un poco sostenuto - Allegro - Meno Allegro II. Andante sostenuto III. Un poco allegretto e grazioso IV. Adagio - Più andante - Allegro non troppo - Più Allegro

46’

Special Thanks to our Featured Sponsor:

Boulder Phil 23-24 Season

PROGRAM 5

Visions of a Brighter Tomorrow SOLOISTS

Richard Scofano Beyond his renowned virtuosity on the bandoneon, musicality and sensibility, Richard Scofano is also an accomplished composer, arranger, and musical director. With forty years of professional work, Scofano has taken his music literally throughout the world and is held in high esteem by fellow musicians and audiences alike. In 2014/15 he toured China as director of the show Identidad, which included some of his music in the program. In 2015, he composed the music for ‘Carmen de Buenos Aires’, a Tango and Flamenco inspired adaptation of the opera Carmen, which premiered in Boston in November of that year. Still in 2015, he created a duo with pianist Alfredo Minetti and they toured extensively throughout the US and Puerto Rico, as well as Argentina and Brazil. The year of 2016 marked the release of his CD ‘Estaciones’ with his original compositions. In this recording Scofano debuted his original contribution to his native genre. In 2018 he was invited by Yamandú Costa to perform with him at the Guitar Salon International, in Santa Monica, CA. He performed again with Yamandu in 2019, in New York at the Sony Hall Concert; in Montreal, Canada, at the Montreal Jazz Festival; and at the Vail Jazz Festival; and once again in 2022 to perform at Yamandu’s American tour. His music has been featured in radio broadcasts, including on Performance Today, and he has made numerous TV appearances through interviews and shows. In September 2022 he performed his concert for bandoneon and orchestra, Ibera, and his symphonic poem, La Tierra Sin Mal, with the Orquestra Sinfônica Brasileira (OSB) under the direction of Lanfranco Marcelleti. In November of the same year he performed his symphonic poem and Astor Piazzolla

PROGRAM 6 Boulder Phil 23-24 Season

“Concerto for Bandoneon” (Aconcagua) with New Mexico Philarmonic under the direction of Roberto Minczuk. Richard Scofano was born in Paso de los Libres, Argentina, and is the descendant of three generations of bandoneonists. He began his studies at age five, with his father, Ricardo Scofano, himself a landmark in the Argentine musical genre of the Chamamé. He grew up in the center of the folk traditions and culture of Northeast Argentina in a home constantly filled with musicians and singers and, nowadays, his artistry is a testimony to his mastering of the genre, to his musical craft, and to his ability to combine both through an exceptional creative genius. Scofano always nurtured interest for the music of neighboring Brazil, and is passionate about the study of concert music. 3rd Law Dance/Theater 3rd Law Dance/Theater is an award-winning contemporary dance company that has been creating original theatrical and site-specific work for over two decades. 3rd Law began with a collaboration between choreographers Susan Alkaitis and Katie Elliott. In 2000, 3rd Law transitioned to the artistic direction of Katie Elliott and dance ethnologist, Jim LaVita. Partners in life and art, Elliott and LaVita incorporated 3rd Law on 01/01/01, the first day of the new millennium. The Company professes a creative vision that merges a powerful, energetic bodily idiom with a thoughtful and personal spirit where the voice of every artist is honored in the process. To learn more about 3rd Law Dance/Theater and their visionary work, visit their website at www.3rdlaw.org

Visions of a Brighter Tomorrow LIVING COMPOSERS

PHOTO: JOSH BROWN

Jeffery Nytch Jeffery Nytch enjoys a diverse career as a composer, performer, educator, and thought leader. His compositions have been performed in venues throughout North America, including Lincoln Center, the Smithsonian, the SoHo Arts Festival, MoMA, and Carnegie Hall, and by such artists as Richard Stoltzman, the Seattle Symphony, the Ahn Trio, NY Chamber Symphony, and many others. As Director of the Entrepreneurship Center for Music at The University of Colorado - Boulder, he is a leading figure in the field of arts entrepreneurship, and is in frequent demand as a speaker, workshop facilitator, and consultant, bringing entrepreneurship to an ever-growing list of university music schools and conservatories nationwide. His groundbreaking book, The Entrepreneurial Muse: Inspiring Your Career in Classical Music (Oxford, 2018), has helped define a theory of entrepreneurship in a performing arts setting. In 2020, he was recognized for his contributions to the field by the Society for Arts Entrepreneurship Education with their highest honor, the Sharon T. Alpi Award for innovative pedagogy.

PROGRAM NOTES Beacon “Beacon” was inspired by the Boulder Star, a fixture that is familiar to everyone in the Boulder area and has graced the side of Flagstaff Mountain for more than 75 years. In researching the Star and its history, I realized that its significance runs much deeper than simply a sign of the holiday season. The Star has also been lit at times of community tragedy, stress, or challenge: after 9/11, in the wake of the Marshall Fire, during the Covid-19 lockdown,

and after the King Soopers shooting. In recent years, the lighting ceremony has also corresponded with Veterans Day observances to honor those who have faithfully served our country. As I was considering how I might celebrate the Boulder Star, I found it impossible to separate the hopeful light of the holidays from those times when the Star has been a symbol of collective mourning and solidarity—a powerful beacon for the entire community. As such, this piece is about more than our local tradition; it’s about the beacons of hope that exist in every community, group, and even within ourselves, and how hope itself has no meaning if we don’t also experience its opposite. Looking back on the last four years of strife, loss, and social disruption, I believe we could all use an occasion to contemplate our own beacons, and perhaps find a little healing—a little hope—for ourselves. In the somber and reflective middle section of the piece, you’ll hear a snippet of a very familiar tune: the Prelude to the first of Bach’s Cello Suites. In the days following the King Soopers shooting in 2021, University of Colorado music student Louis Saxton sat down with his cello and played at the makeshift memorial that had sprung up at the scene. One of the pieces he played was the Bach. (Louis and his parents are with us today for this performance.) As I was composing “Beacon,” I kept getting pulled back to this powerful statement about the ability of art to bring people together, to give expression to the depths of human experience that words cannot fathom. Eventually I realized that the Bach would serve as the key pivot of the entire work, the moment when we turn away from darkness and despair… and return to the light. Profound thanks go to the Boulder Chamber, who commissioned this work, the generous donors who funded the commission, and the extraordinary artists of the Boulder Philharmonic who are bringing the piece to life this evening. (Notes by Jeff Nytch)

Boulder Phil 23-24 Season

PROGRAM 7

Visions of a Brighter Tomorrow Scofano: La Tierra Sin Mal This piece is inspired by the Guaraní account of the ‘land without evil’ (la tierra sin malyvy marãhey). The South American indigenous peoples called the Guaraní occupied vast areas of such continent before the arrival of the Europeans. Today their descendants inhabit parts of Bolivia, Brazil, Paraguay and Argentina. Their ‘land without evil’ is a place where everything thrives, where there is no suffering, no illnesses, no death…where everything is in harmony. According to their beliefs, this land could be reached in life, and it should be found somewhere at the center of earth, where their hero Ñanderuvuçú had built his house in time immemorial. This place was to be found towards East, beyond the seas, and this belief justified population movements and displacements for centuries. They tackled the unknown, faced enemy groups, crossed forests, rivers, waterfalls, and endured suffering and illnesses so that they could reach their yvy marãhey. Growing up I took this myth as testimony of the Guaraní courage, endurance and resilience, but above all, of the enthralling and overwhelming beauty of their culture, of their ways. I remember envisioning mysterious and dangerous places and situations every time the search for ‘la tierra sin mal’ was recounted. Dense forests, wetlands, vast grasslands, darkness and light, the anticipation, the challenges and dangers, the unknown, and above all, the moments of peace and rest, their settlements, their rituals, their dances and festivities. I could almost taste their mbeyús with honey while sipping mate. And I was fascinated by their profound spirituality, the transcendent and redemptive character of their myths, as well as with their symbiosis with the Environment. In this piece I have drawn musical landscapes and commented on many of those elements, sometimes intentionally, mostly unconsciously. The piece is filled with human emotions, with sensorial experiences: sights, smells and sounds of the forest, the rivers and of the Guaraní settlements, their celebrations and their people. But I prefer to leave it to musicians and audiences to find them PROGRAM 8 Boulder Phil 23-24 Season

according to their imagination, as the “poem” unfolds…as it is performed. In the process of writing this piece the myth was evermore present, it became personal, resonating with the current challenges that we all have been experiencing… another challenge, one more threshold to be crossed, and the new beginning that will follow as we continue the search for our ‘land without evil’. I think that this search may have to be directed towards our inner selves…as ‘la tierra sin mal’ may very well be hidden deep inside each and every one of us…it may have been there from time immemorial. (Notes by Richard Scofano) Brahms: Symphony No. 1 Deeply wary of risking a comparison to Beethoven, Johannes Brahms kept his Symphony No. 1 on his desk for nearly twenty years, working on it from time to time and wanting to be sure it was utterly perfect before letting it out into the world. Apparently, Vienna’s music critics were no less intimidating than Beethoven. Determined to testrun the new symphony before a less opinionated audience, he arranged for the work to premiere in the German city of Karlsruhe on November 4, 1876. That performance went well enough that Brahms then scheduled a premiere in Imperial Vienna. There, the influential critic Eduard Hanslick (1825 – 1904) pointed out every similarity between Brahms’ new symphony and those of Beethoven. Conductor/pianist Hans von Bülow (1830 – 1894) even went so far as to dub it “Beethoven’s Tenth.” One hopes that Brahms was able to take their comments more with a smirk than a tear. No one had said Brahms’s music was not worthy of standing alongside Beethoven’s.

To read more on this piece and others in this program, please scan the QR code below:

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Boulder Phil Orchestra Roster VIOLIN 1 Vacant, Concertmaster Becky Roser & Ron Stewart Annamaria Karacson, Assistant Concertmaster Virginia Newton Gyöngyvér Petheö Heidi & Jerry Lynch Veronica Sawarynski Marion Thurnauer & Alex Trifunac Takanori Sugishita Harold & Joan Leinbach Luana Rubin Malva Tarasewicz Pamela Walker Yenlik Weiss VIOLIN 2 Vacant, Principal Leah Mohling, Assistant Principal Marilyn & Robert Mohling Stephanie Bork Ryan Jacobsen Laurie Hathorn Regan Kane Susie Peek Robyn Sosa VIOLA Margaret Dyer Harris, Principal Patricia Butler Michael Brook, Assistant Principal Aniel Cabán Matthew Diekman Nancy Clairmont & Bob Braudes Claire Figel Nancy McNeill Stephanie Mientka CELLO Charles Lee, Principal Christine & Wayne Itano Andrew Kolb, Assistant Principal Charles Barnard Sara Fierer Amanda Laborete Yoriko Morita Margot & Chris Brauchli Eleanor Wells

18 Boulder Phil 23-24 Season

BASS David Crowe, Principal Brian Knott, Assistant Principal Lin & Matthew Hawkins Ernie Glock Isaiah Holt Matthew Pennington FLUTE Elizabeth Sadilek, Principal Pamela Dennis & Jim Semborski Vacant, Flute II Olga Shilaeva, Piccolo Paul Weber OBOE Sarah Bierhaus, Principal Eleanor & Harry Poehlmann Vacant, Oboe II Kristin Weber, English Horn CLARINET Vacant, Principal Margaret & Rodolfo Perez Michelle Orman Vacant, Bass Clarinet BASSOON Francisco Delgado, Principal in memory of Joan Ringoen Joshua Sechan* Wendy La Touche, Contrabassoon HORN Michael Yopp, Principal Ruth & Rich Irvin Devon Park, Associate Principal DeAunn Davis, Assistant & Utility Andrew Miller Jeffrey Rubin Alan Davis Vacant, Horn IV TRUMPET Leslie Scarpino, Principal Nicky Wolman & David Fulker Noah Lambert Vacant, Trumpet III

TROMBONE Bron Wright, Principal Owen Homayoun Jeremy Van Hoy, Bass Trombone Martha Oetzel TUBA James Andrus, Principal TIMPANI Douglas William Walter, Principal PERCUSSION Mike Tetreault, Principal Vacant, Assistant Principal Nena Lorenz Wright HARP Kathleen Wychulis, Principal Dana Strong PIANO Vacant In memory of Ruth C. Kahn PERSONNEL MANAGER N. Samantha Headlee ORCHESTRA LIBRARIAN Aspen McArthur Members of string sections are listed alphabetically following titled players. * On leave this season

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Serving the Front Range for 66 years and counting We have more unforgettable concerts for you to enjoy. Visit BoulderPhil.org for details and tickets.

Our 2023/24 Season continues

VISIONS OF A BRIGHTER TOMORROW

VIGNETTES AND PROMENADES

THE BEST OF BOULDER

Aldo López-Gavilán, piano and Ricardo Morales, clarinet

David Requiro, cello and Sara Bierhaus & Max Soto, oboists

SPRING ROMANCE

HOLIDAY BRASS

CIRQUE RETURNS

Francisco Fullana, violin

at Mountain View United Methodist Church

with Cirque de la Symphonie

Sunday, November 12, 7PM Richard Scofano, bandoneon and 3rd Law Dance/Theater

Saturday, April 27, 7PM

Sunday, January 7, 4PM

Sunday, December 17, 4PM

Sunday, February 11, 4PM

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Thank You to Our Partners The Boulder Philharmonic Orchestra wishes to thank our generous, loyal donors for your commitment to our work. Your gifts are instrumental to our mission to enhance the Boulder Valley community through music. More than 400 individuals and institutions annually provide financial support for our performances, education programs, and community events. Contributions from businesses, government agencies, foundations, and community members like you account for over 60 percent of our annual budget. We express our deepest gratitude to all who made contributions or pledges from August 15, 2022 through August 31, 2023.

If you would like to become more deeply involved with the Phil, please reach out to Jesse Gilday, Director of Development, to discuss the benefits of supporting our musicians, performances, and outreach programs. jesse@boulderphil.org • 303.443.0542

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Supporters $30,000+ Anonymous SeiSolo Foundation Nicky Wolman & David Fulker $10,000-29,999 Sydney & Robert Anderson Margot & Christopher Brauchli Patricia Butler Jayne & Stephen Miller Ellie & Harry Poehlmann $5,000-9,999 AEC Trust Anonymous Gail Aweida (in memoriam) Caruthers Family Foundation Nancy Clairmont & Bob Braudes Marilyn Gallant The Virginia W. Hill Foundation Judy & Steve Knapp Erma Mantey Marla & Jerry Meehl Margaret & Rodolfo Perez Karyn Sawyer Lynn Streeter Marion Thurnauer & Alex Trifunac Adrianne Tracy Phyllis Wise $2,500-4,999 Anonymous Jennifer Carsillo & Michael Butterman Pamela Dennis & Jim Semborski

Audrey Fishman & Andrew Franklin Ruth & Carl Forsberg Sara & David Harper John Hedderich Suzanne & David Hoover Ruth & Rich Irvin Joan & Harold Leinbach Heidi & Jerry Lynch Metropolitan Football Stadium District Fund Charlotte Roehm Nancy & Gary Rosenthal Christine Yoshinaga-Itano & Wayne Itano $1,000-2,499 Anonymous Rebecca & Albert Bates The Britton Family Frances Burton Jan Burton Jenny & Terry Cloudman Tessa & Alan Davis Lorri DeLaney Beverly & Bruce Fest Randy & Bill Ganter The Hansson Family Chuck Hardesty Lin & Matthew Hawkins Janet Hendricks Karen & Stewart Hoover Carolyn & Sam Johnson Ruth Jordan Bonnie Kirschenbaum Margot & Ray LaPanse George Lichter / in memoriam Susan Litt Barbara & Peter Loris

Anjali & Stefan Maus Pam & Ed McKelvey Virginia Medelman & John Dennis Hynes Francine & Robert Myers Martha Oetzel Molly Parrish Richard and Joan Ringoen Family Foundation Patricia Read & Bill Shunk Beatriz & Juan Roederer David Rothman Jane & Ross Sheldon Frederick Simms & The Simms Family Foundation Carol & Arthur Smoot Becky Roser & Ron Stewart Rena & Raymond Wells Ken & Ruth Wright $500-999 Roshmi & Jaydip Bhaumik Sally & Alexander Bracken Family Fund Bright Funds Foundation Debra Brindis Tom Bugnitz Warren DeHaan Anne Dyni Elyse Grasso Joanna Grasso Peggy Lemone & Peter Gilman Judy & Alan Megibow Cindy & Mark Meyer Andrew Miller Jean & Scott Nelson New Music for America The Newton Family Fund James Pendleton

Charles Samson Marjorie & Bob Schaffner Jane & Leo Schumacher Norman Taylor Ellen Vale & Buddy Kring Pamela Walker Paul Weber Wittman Family Charitable Fund A special thank you to the following supporters who provided transportation and housing to our Guest Artists, Orchestra Musicians, and Music Director: Alan Davis Tom Kinder Bonnie Kirschenbaum Anjali & Stefan Maus Susan Olenwine & Frank Palermo Margaret & Rudy Perez Ellie & Harry Poehlmann Lynn Streeter Pamela Walker The Boulder Phil also expresses its deep appreciation for the donors who supported us with financial and in-kind contributions under $500.

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Takács Quartet: Sept.-April Christmas with the Canadian Brass: Dec. 13 Joyce Yang, piano with the Takács Quartet: Jan. 12 (pictured) Ray Chen, violin and Julio Elizalde, piano: March 21 Asleep at the Wheel with the CU Symphony Orchestra: April 5 Tickets and more at cupresents.org. CU Presents is the home of performing arts on the beautiful University of Colorado Boulder campus.

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More cities answer crises with civilian teams

MENTAL HEALTH

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calls last year and is often cited as million as of June, The AP found. a national model. Its funding has tal health crises with clinicians Funding sources vary. prayed: “Dear Lord, please, don’t $7 million since 2021. and EMTs or paramedics, instead “If someone is experiencing a totaled let them break the window.” In New York, a more than $40 police. health crisis, law enforceThey did, and the 22-year-old of The initiatives have spread rap- mentalis not what they need,” said million-a-year program dubbed ment grabbed a small knife. Then he 3,500 stun idly in recent years, particularly Tamara Lynn of the National De- B-HEARD answered about a ge- was hit with bean bag rounds, year, and mental health among the nation’s biggest cities. Training Center, a pri- calls last gun charges and, ultimately, bulcriticize it as anemic. Data gathered by The Associ- Escalation ology geek, a painter and a young that trains police to advocates lets that killed him and led to a show at least 14 of the vate group situations. Press Representatives from some ated man beset by a mental health crideputy one against handle such murder charge cities were frank about chal20 most populous U.S. cities are sis when he called 911 for help getThere’s no aggregate, compre- other — staffing shortages, accliand a criminally negligent homihosting or starting such programs, ting his car unstuck in a Colorado yet on the programs’ lenges against another. data charge hensive cide alternayear. civilian, last called mating 911 dispatchers to sending mountain town As part of a $19 million set- sometimes effects. Their scope varies considConvinced that supernatural out unarmed civilians, and more tive or non-police response teams. tlement this spring with Glass’ in Washington, from New York and Los erably. conference a span at — They beings were after him, he balked drive Creek hour’s Clear an In Denver, just parents, Colorado’s D.C., this spring. Angeles to Columbus, Ohio, and when sheriff’s deputies told him from where Glass was killed, a proCounty this month joined a growALTERNATIVES >> PAGE 2 Houston, and boast annual budto get out of his car. The officers gram called STAR answered 5,700 ing roster of U.S. communities gets that together topped $123 shouted, threatened and coaxed, that respond to nonviolent menbody camera video shows. Glass

By Jennifer Peltz and Jesse Bedayn The Associated Press

DENVER >> Christian Glass was

CU Boulder

SMILES AT THE STARTING LINE

City Council likely to wait until 2025 By Amber Carlson acarlson@prairiemountainmedia.com

MATTHEW JONAS — STAFF PHOTOGRAPHER

their parents during the Keona Rockwood take photos to send to From left: Seniors Sydney Stringer and Boulder on Monday. first day of classes at the University of Colorado CLEAN AIR INITIATIVES

BVSD, Boulder Prep Charter get grants

for electric buses

save on gas and cost less Boulder Valley’s grant is ex- fumes, was created by a state law apto maintain. pected to cover the cost for 10 proved last school year that’s Plus, because they’re so much electric buses at $394,497 each, bus drivers report betaimed at improving air quality. 10 charging stations at quieter, Grants in the first round plus each. The exact amount ter student behavior because The Boulder Valley School $5,500 were awarded to 13 projects for they’re not yelling over the District plans to double its fleet of the grant is still being determore than $24 million in comsound of the engine. of electric buses through a state mined. bined state and federal funding. “I’m excited,” said Rob Price, grant of up to $3.8 million as it After the purchase, Boulder bus pursupport grants Valley’s assistant suThe Boulder 19 clean of works toward climate and Valley will have a total operations. chases, conversions, charging which officials perintendent of air goals. and the cost of electric buses, GRANTS >> PAGE 2 don’t produce quieter, Colorado’s $65 million elec- infrastructure are say scrapping old buses. tric school bus grant program

By Amy Bounds boundsa@dailycamera.com

INDEX

Lottery ............A2

Obituaries .......A5

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After an emotional discussion late Thursday evening, a majority of Boulder City Council members said they leaned toward waiting until 2025 to implement a minimum wage increase in the city. Councilmember Nicole Speer had asked for the council to discuss of the issue in light of the Boulder County Commissioners’ announcement earlier this month that they planned to move toward increasing the hourly minimum wage to 15% above the statewide 2023 minimum effective Jan. 1. But the county’s wage increase will only apply in unincorporated parts of Boulder County. The question at hand was whether Boulder should follow the county’s suit and aim for a 2024 implementation or stick with the 2025 implementation that most councilmembers said they favored in a May 25 discussion. In the months since May, the council has heard increasingly urgent pleas to act quickly on the minimum wage from people struggling to make ends meet in Boulder. At an Aug. 17 meeting, the minimum wage was one of the most frequent topics that came up during open comment. Ana Casas Ibarra, community access and development coordinator at El Centro Amistad, said her organization serves immigrant families who “struggle to stay afloat, to pay rent and pay the bills.” She asked that the council act now and raise the minimum wage to $15 an hour, up from the current statewide minimum wage of $13.65 an hour. Indira Kumari, a Nepali immigrant, gave an emotional testimony, saying, “I know what it is like to live not knowing where the next meal is coming from and not having a roof over my head for six

COUNCIL >> PAGE 2

Index ............... ##

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OCT 21 | Chamber Music Night - Capturing the Folk Spirits DEC 16 | Beethoven Birthday Celebration and Holiday Concert JAN 20 | Chamber Music Night - Adam Zukiewicz and Friends FEB 3 | The Subtle and the Indisputable! FEB 17 | Chamber Music Night - Triptych of Trios MARCH 2 | Virtuosity! APRIL 6 | Chamber Music Night - Mixing Timbres Tickets are $13 - $30 at boulderchamberorchestra.org All concerts listed are in Boulder. Check website for location.

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NOVEMBER 10 , Rembrandt Yard A Night of Tango

with Richard Scofano, bandoneon and the Phil's own Fernanda Nieto, piano

o Intimate musical evenings in unique venues

JANUARY 4, private residence A Salon

with Aldo López-Gavilán, piano

Email Director of Development, Jesse Gilday, at jesse@boulderphil.org for details and limited ticket availability.

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