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Concert Date February 7, 2015
Citation preview
2014 - 2015 Season
It’s NEVER too soon to begin…You MIGHT end up in
The Bozeman Symphony Orchestra
Mike & Eve ArtChico Hot Springs Resort & Day Spa
406-333-4933 | www.chicohotsprings.com
Saturday, March 7, 7:30 p.m. Sunday, March 8, 2:30 p.m.
At the newly renovated Willson Auditorium
Featuring Kenneth Fuchs,
Composer
Festive Overture, Op. 96 Shostakovich Glacier (Concerto for Electric Guitar and Orchestra) Fuchs Romeo and Juliet: Suite No. 2 Prokofiev
Call the Bozeman Symphony Office at 585-9774
or reserve tickets online at www.bozemansymphony.org
Featuring Douglas Maher,
Guitar
Saturday Concert Sponsored by Big Sky Western Bank Reception follows the concert atFerraro’s Fine Italian & Steak726 North 7th Avenue
Sunday Concert Sponsored by Langlas and Associates and Indian Uprising GalleryReception follows the concert atPlonk Wine29 E. Main Street
Meet the Composer ReceptionWednesday, March 4, 5:30 p.m.Fin, 211 E Main St.
Instrument Petting
Provided by Eckroth Music
Now in his 21st season as Music Director of the Bozeman Symphony Orchestra and Symphonic Choir and continuing in his 7th season as Music Director of the Wyoming Symphony Orchestra, MATTHEW SAVERY enjoys an expanding reputation for his multi-faceted career as an electrifying performer, dedicated orchestra builder and charismatic teacher.
Along with his regular duties with the Bozeman Symphony, where his innovative subscription, family and children’s programming earns consistent praise – and sold-out houses, Matthew Savery has established an active commissioning program, bringing compelling new compositional voices to his orchestra and its audiences, among them: Kenneth Fuchs – Glacier (Concerto for Electric Guitar and Orchestra); Erik Santos – Karnak, …in the Mines of Desire, Sun Road (Five Sym-phonic Dances for Orchestra); Elodie Lauten – Symphony 2001; James M. Stephenson, III – Concer-tino and Fanfare for Orchestra; Lowell Liebermann – Concerto for Clarinet. During his years with the orchestra, Mr. Savery has also presided over a ten-fold rate of financial growth, while regularly attracting over 4.3% of Bozeman’s population to its concerts. For several seasons, Matthew Savery offered Montana’s schools a “Conductor in Residency” program that accounted for dozens of hours per school year. He is much in demand as both a competition adjudicator and an in-school clinician. Mr. Savery is a recipient of the Eugene and Sadie Power Award for the Performing Arts. In October 1998, he and the Bozeman Symphony Orchestra were the subjects of a special feature on “CBS Sunday Morning.”
Since his 2008 appointment to the Wyoming Symphony Orchestra, Matthew Savery and his notable artistic and organizational skills have refocused the greater Casper area’s attention on the orchestra with gratifying results, among them a dramatic elevation of the orchestra’s artistic achievement and the quality of its guest artists, a broadening of the scope of the performance repertoire, a 30% increase in attendance and a 35% increase in the budget. With enthusiastic Board support, he introduced children’s and family concerts during the 2013-2014 season, while introducing “Music on the Move,” an outreach program, featuring chamber ensembles who serve as ambassadors from the orchestra to the community at large and “Conductor in Residency” – both programs offered to all educational levels, from primary to college. Of special pride to the entire organization are the plans to tour throughout the State of Wyoming, beginning with the 2013-2014 season.
A native of Western Massachusetts, just “down the road” from the famed Tanglewood Music Festival, Matthew Savery graduated from the New England Conservatory of Music and received his Master of Music Degree from the University of Michigan, where he was the recipient of a Teaching Assistantship to the prestigious studio of Gustav Meier and to which he returned in 2001 and 2006 as a Visiting Guest Lecturer. In addition to Mr. Meier, his principal teachers have been Pascal Verrot and Frank Battisti.
While at the University of Michigan, Matthew Savery was the founding Music Director of the University Campus Chamber Orchestra; subsequently, he served as Music Director of the Comic Opera Guild of Ann Arbor. He has also led performances with the Boise, Dayton, Fort Wayne, Long Island and Naples philharmonics, East Texas, El Paso, Greater Bridgeport (16 performances), Greater Lansing, Lake St. Clair, New Haven, Quad City, Saginaw Bay, Sioux City, Springfield (MA, MO and OH), South Dakota and Virginia symphony orchestras, Missouri Chamber Orchestra, Cape May Music Festival, Canada’s Victoria Symphony, Italy’s Orchestra Sinfonica di Bari and Turkey’s Presidential Symphony Orchestra. In 2001 he made a notable debut with the Indianapolis Symphony Orchestra, opening its acclaimed summer series at Conner Prairie. Mr. Savery was a member of the first class of the International Institute for Conductors in Kiev, Ukraine, and has led that country’s National Symphony Orchestra in public performance.
Matthew Savery—Music Director and Conductor
A Letter from the Music Director and Conductor
Dear Friends,
Happy New Year and welcome back! 2015 is going to be a very exciting year for us. We’ll return to a newly refurbished Willson Auditorium, offer the world premiere of Kenneth Fuchs Glacier (Concerto for Electric Guitar and Orchestra) commissioned by the Bozeman Symphony, perform Beethoven’s 9th Symphony with over 150 singers on stage, and much, much more. We’re filled with optimism for the future, and we hope you’ll be with us for every minute.
For our last subscription performance at The Commons, we offer our annual chamber orchestra performance. Tonight you’ll hear Mozart’s playful Ballet Music from Idomeneo, Dvorak’s gorgeous serenade, featuring our fantastic wind section, and Haydn’s most innovative Symphony 102. I love this program for its perfect blend of the joyful and the serene. I hope you will enjoy it as well!
Lastly, I want to thank you on behalf of all of us at the Bozeman Symphony for continuing to support us and attend our concerts during the past few months. Changing venues, even temporarily, is a scary thing to do for any performing arts organization, and having to take away our Sunday matinee performances for this period of displacement could have been devastating to us. Thanks to you and your loyal support, we’ve managed just fine. Thank you Bozeman!
Enjoy tonight, and we’ll see you back at the Willson next month. Oh, and don’t forget our free family concerts next Saturday. Bring the entire family and explore the wonderment of the symphony orchestra together.
With every good wish,
Matthew Savery Music Director and Conductor
Denis Prager, President Renée Westlake, Vice PresidentPat Ellis, TreasurerAudrey Cromwell, SecretaryJenny BeardSharon BeehlerVirginia Bratton
Bridget CavanaughPatricia Gates, Orchestra Representative Paul Gates J. David PenwellStephen SchachmanCliff Schutter
Kyle Tannehill, Student RepresentativeStuart WhitehairJacob Wittkopp, Choir RepresentativeWalter Wunsch
2014 – 2015 Board of directors:
2014 - 2015 BOZEMAN SYMPHONY VOLUNTEERS:
Gary BachmanCarol BarmoreJenny BeardJanelle BoothChelsea BourqueBeth BoysonKathy BraunRoger & Noreen BreedingApril & James BuonamiciErica BurrellConnie CadeLoni CarrJohn & Mary Ann ChildsCindy ChristinBrian CloseCarol CodeHuguette CoghlanVida CoulterColleen CurryPatricia DeWittPat DonehooMarie DoubravaIris DriscollJoanna Ellison Erik EmeryKenje FehlbergStephany FlakkerJaime & Keith FosterNate FrylingJennifer FunkKate Gardner
Dave & Sandra GaskinJane & David GentholtsKen GreenMary Jo GregoryJames GuglielmoEdy HarringtonIris HarringtonElizabeth HarrisElliot HarrisonEileen HoskingAndria HuntsingerTracie JenkinsChelsa JensenBeth JohnsonEmily JohnsonMichelina KazeminejadJessica & Madie KellyDavid KingLynn KinnamanCheryl LarsonAnnika Lawrence Erick LawrenceMartin LawrenceVerena LawrenceMichele LetendreChandra LindScott LinneroothMyriah MarshCharlie MartinPaul Martin & Vicki RyanMarlene Mazuranich
Susan McCauleyCarole McCleanSusan McConnellDoris McTigueChrista MerzdorfJenna MilcotConnie MurrayJoyce OlsonRick & Nancy OjalaSammylu ParsonsEve ParryLeona PoritzNeil PoulsenPam PoulsenJosie QuinonesLynda & Richard ReileyEdie RennerRoseAnn Revel Allison ReynoldsCindy & Charles RichardsonGretchen RuppMartin RyanElaine SamuelsonAlyce SchultzElly SchwarzkopfJoyce ShepardGonnie SiebelCarla SmithRaha SovereignWilla Jean Speegle
Ellen StephensonLisa Storey David Summerfield Barbara SummersRusty SwingleLucille TeselleKaren TinnesGinny TraegerSandy UnderwoodKristina UrbandKathy VanDykeRachel VanKempen FrylingColeman VickKarla VisserMary WaltersLeslie WoodlandJanet ZimmermanLevi ZimmermanAnderson SchoolChief Joseph Middle School (CJMS) LaMotte SchoolPetra AcademyWhittier ElementaryMOMS Club
Beth Boyson & James Gugliemo, Head UshersReneé Westlake, Dress Rehearsal Treats CoordinatorPat Jennings, Mailings Chair
Jennifer Funk & Kathy VanDyke, ConcessionsKendall Dittmar & Kippy Sands, Musician Treats
DIRECTORS: Matthew Savery, Music Director and Conductor Jon Harney, Symphonic Choir Conductor Alan Leech, Cover Conductor Sherry Linnerooth, Executive Director
COMMUNITY ADVISORY COUNCIL:Mike and Eve ArtPeter Bogy Robyn ErlenbushHelori Graff
John Jr. & Kiku HanesIleana Indreland & Mike DelaneySal & Carol Glenn LalaniMrs. Robert W. Martin, Jr.
STAFF:Emily Paris-Martin, Director of Marketing and OperationsAmy Leister, Administrative Assistant and Patron Manager Dia Johnson, Event and Volunteer Coordinator D. Clay Hospodor, BookkeeperBriana Gillet, Intern
Josey Quinones, Photography Intern Jack Kligerman, Program Notes Jen Grace, Live Video Director David Frank, Equipment Manager Kappa Kappa Psi, Equipment Moving
The Bozeman Symphony Wishes to Thank
Season Subscribers: The Bozeman Symphony is grateful for the support of our almost 900 season ticket holders. Season ticket holders provide stability to our concert season and we appreciate their attendance throughout the year. Season ticket holders receive almost a 40% savings over single ticket prices, priority seating, ticket delivery, replacement of lost tickets and the ability to exchange tickets for a different performance.
Bozeman Symphony Contributors: Ticket sales cover less than 40% of our annual operating expenses. The Bozeman Symphony is extremely grateful to our advertisers, our patrons who donate to our annual fund, Underwriter’s campaign, Endowment and Up Close & Personal: Sponsor a Player campaign.
Symphony Volunteers: We would not be able to present high quality musical performance to our community without our dedicated volunteers. Volunteers assist with ushering at concerts, providing refreshments to our musicians, selling tickets and concessions and assisting in the office.
In-Kind Sponsors: The Bozeman Symphony would like to recognize businesses and individuals who provide goods and services to the Symphony. The Symphony would not be able to flourish without their continued generosity.
The Bozeman Symphony Society1001 West Oak, Ste. 201
Bozeman, MT 59715bozemansymphony.org • 406-585-9774
The Bozeman Symphony Society presents a repertoire of symphonic and choral music performed for the benefit of individuals, students, and musicians residing in south-central Montana. Established in 1968, the Society supports the Bozeman Symphony Orchestra and Symphonic Choir. Under the direction of Music Director and Conductor Matthew Savery, the Bozeman Symphony has experienced tremendous growth over the last twenty years. In addition to a wide variety of orchestral programming, the Bozeman Symphony supports Far Afield, a highly accessible community outreach program, donates thousands of dollars’ worth of tickets to local nonprofits, awards scholarships to promising young musicians, and provides employment opportunities for nearly 100 people. The Bozeman Symphony and Symphonic Choir have established themselves as significant cultural icons in Montana, whose history is marked by artistic excellence. Its future is dependent upon maintaining a skilled and motivated orchestra whose members bring symphonic music to life.
About the Symphony
Support the Symphony
The support of the community, businesses, and individuals is vital to the livelihood and success of the Bozeman Symphony. Ticket sales cover less than 40% of our annual operating budget and we rely upon contributions in order to continue to present high quality musical presentations to Bozeman and surrounding areas. To ensure the continued vitality of the Bozeman Symphony we encourage you to become a Bozeman Symphony Supporter! There are many ways to become involved:
• Annual Fund Support: Any amount is helpful and appreciated to support our annual operating expenses.
• Symphony Underwriters Program: Symphony Underwriters commit to a minimum annual contribution of $1200 ($100/month). In addition to a variety of benefits, our Underwriters are invited to use our Hospitality Room at Concerts and are invited to our annual Underwriter’s Appreciation Party and Season Sneak Preview.
• Up Close & Personal: Sponsor A Player: Each year our Symphony embarks on a campaign to support all of our dedicated Bozeman Symphony Musicians. Look for the Up Close & Personal: Sponsor A Player Campaign posters and information in the program and in the lobby.
• Concert and Event Sponsorship: This is the perfect opportunity for businesses and individuals to show support for a specific Concert or event. Sponsors receive many benefits such as complimentary tickets and advertising.
• Bozeman Symphony Endowment: Build a legacy of inspiring symphonic music by contributing to the permanent endowment fund. This fund will accumulate through the years to provide permanent operating support for the Bozeman Symphony and Symphonic Choir. Your gift will be preserved forever in this fund, leaving a lasting memory of music.
• Planned Giving: Bozeman Symphony’s Mrs. Robert W. Martin, Jr. Legacy Society: Provide for the future of the Bozeman Symphony and Symphonic Choir and keep music alive for generations to come through a bequest, gift of securities, gift of retirement plan assets or a gift of life insurance. Call the Bozeman Symphony Office to request a brochure which describes the ways in which you can remember the Bozeman Symphony in your planned giving.
• Volunteer: We would never be able to accomplish all that we do without our amazing volunteers who support the Symphony with ushering and assisting at Concerts, providing refreshments to the musicians, providing event support and assisting the office staff.
We are fortunate to live in the beauty of the valleys and mountains that surround us. We are doubly blessed to have in our small community the magnificent music brought to us by the Bozeman Symphony Orchestra and Choir. This remarkable achievement is due to the unusual number of highly talented musicians living among us, and to their selfless dedication to the orchestra and choir. We all benefit in some way from our orchestra and choir. Those who hear them benefit the most, but all of us benefit from the way they enrich the entire community.
We, in turn, owe our orchestra and choir our generous and continuing support. For this reason, our Underwriters have committed to contributing a minimum of $1,200 to the Bozeman Symphony this year (the equivalent of $100 each month, exclusive of tickets or other benefits) and, if circumstances permit, in future years as well.
Please join the Bozeman Symphony Society in thanking the Underwriters for their ongoing commitment to the Symphony and its wellbeing, and consider becoming a member of our Underwriters Group to help provide a stable and secure base of funding for our orchestra for years to come.
Please contact us at 585-9774 for information about becoming an Underwriter.
The Underwriters
The Bozeman Symphony Society 2014-2015 Underwriters
Mike and Eve ArtClyde Aspevig and Carol GuzmanLes and Susan AuCoinJohn Baden and
Ramona Marotz-BadenDoug and Jeanie Badenoch, The Wine GalleryBobb BeehlerMichael and Sharon BeehlerDr. and Mrs. Richard and Carol BelgradTom BergslandPaul BertelliBobby BjorkJanel Carino and Richard WolffJerry and Jan CashmanBridget Cavanaugh and
Arnie DuncanJon ChaneyRon and Judy ClarkDavid M. Cook, M.D.Bruce and Christie CopelandRichard and Anna DamonFred and Paula DeigertJoe and Kendall DittmarElise R. DonohueSusan L. EckertPat and Susan EllisOrville and Robyn Erlenbush, ERA LandmarkPaul and Patricia GatesSusan Gibb and Ric TiemanKlein and Karen GilhousenJerome R. and Barbara GlickmanJohn Jr. and Kiku Hanes
Eric and Jean HastingsDennis and Katherine HoffmannJohn and Donna HuntIleana Indreland and Michael DelaneyDon and Sharon Tudor IslerBruce JodarJerrold and Margaret JohnsonAlan and Jean KahnMr. and Mrs. Brian KingKelly and Shirley King“i” and Beau KitaharaSal and Carol Glenn LalaniTom and Dee Ann LangelDr. Mick and Holly LifsonRobert C. Maher and Lynn Peterson-MaherPeter Rieke and Sally MaisonMrs. Robert W. Martin, Jr.Heidi McLoughlinDori McTigueDr. William and Carol MealerJames and Bernie MitchellIris M. L. ModelMike and Marsha MontgomeryMarilyn and Don MurdockKeith and Markie NathanBrad and Pauline NussbaumTom and Celia O’ConnorPamela OlyphantJ. David and Rose Ann PenwellDenis and Barbara PragerWeldon RashDorothy ReflingGene and Edie Renner
JoAnne and Lloyd ReynoldsTom RossDr. Richard and Melanie SaboKippy and David SandsMr. and Mrs. Matthew SaveryThomas J. ScanlinStephen SchachmanCliff and Laura SchutterElizabeth and Worth SmithScot and Judy SmithLarry SpringerRabbi Ed Stafman and Beth LeeJohn and Carolyn SteeleRay and Sandy StrotherMr. and Mrs. Carl TangeJim and Bea TaylorMarjie Toepffer and Roger SchwerFred and Ginny TraegerRobert and Karin UtzingerAnn Van Balen and Marvin MorgensteinWayne and Lou VinjeCharles and Eleanor Von Stade Gwen WagnerLee WagnerJim and Valerie WebsterAnne and Dennis WentzJames and Cathy WhiteStuart Whitehair and
Lee StadtlanderJohn and Vickie WilkinsonElaine WilliamsonWalter and Regina WunschWilliam Ziegler
The Bozeman Symphony Orchestra and Symphonic Choir Concerts are made possible through the generosity of our business, foundation and individual sponsors, as ticket sales cover only 40%of production costs. Please show our appreciation through your continued patronage and thanks.Let them know that you recognize their generous contributions.
SEASON CONCERT SERIES
Discover the WildSaturday, September 27th
Dress Rehearsal 10:30 a.m. Concert 7:30 p.m. The Commons at Baxter & Love
Mrs. Robert W. Martin, Jr. and Solid Rock Foundation
A Night in ParisSaturday, October 25th
Dress Rehearsal 10:30 a.m. Concert 7:30 p.m. The Commons at Baxter & Love
Chico Hot Springs Resort & Day Spa, Mike & Eve Art
A Brasstacular ChristmasSaturday, December 13th
Dress Rehearsal 10:30 a.m. Concert 7:30 p.m. The Commons at Baxter & Love
First Security Bank, ERA Landmark & Allegra Bozeman
A Winter Serenade Saturday, February 7th
Dress Rehearsal 10:30 a.m. Concert 7:30 p.m. The Commons at Baxter & Love
Bruce Jodar & Kimberlie Birdwell,Mountain Hot Tub
Electric PremierSaturday, March 7th, Concert 7:30 p.m.
Willson AuditoriumBig Sky Western Bank
Sunday, March 8th, Concert 2:30 p.m. Willson Auditorium
Langlas & Associates & Iris M.L. Model
Ode To JoySaturday, April 11th, Concert 7:30 p.m.
Willson AuditoriumWalter & Regina Wunsch, Spectec/TIC
Sunday, April 12th, Concert 2:30 p.m. Willson Auditorium
Michael & Sharon Beehler
Concert Sponsors 2014-2015
Concert Sponsors 2014-2015: Special Events
Celebrate the Harvest with BSO on Tap Friday, November 7, 2014 7:00-10:00 p.m.
Copper Spring Ranch, 601 S. Pine Butte Rd. Bridger Brewing
of Heaven and Earth Choir Concert
Sunday, November 16, 2014 - 3:00 p.m. Holy Rosary Church, 220 West Main
Dave & Kippy Sands
Compose Yourself — Free Family Concert Saturday, February 14, 2015 - 10:30 a.m. & 1:00 p.m.
The Commons at Baxter & Love 1794 Baxter Lane East
Tim & Mary Barnard, Dr. William & Carol Mealer, Montana Arts Council, Montana Cultural Trust,Target Foundation
Bozeman Symphony Piano Recital Series Friday, October 3, 2014 - 7:30 p.m. With Special Guest Soheil Nasseri Friday, January 23, 2015 - 7:30 p.m. With Special Guest Young Ah-Tak
MSU School of Music Reynolds Recital Hall Thomas J. Scanlin, Elise Donohue, Judith King, Denis & Barbara Prager
Meet the ComposerWednesday March 4, 2015 - 5:30 - 7:00 p.m.
Fin On Main, 211 East Main, Bozeman
Symphony At The Shane Concerts Thursday, November 13, 2014 - 7:30 p.m.
Thursday May 14, 2015 - 7:30 p.m. Shane Lalani Center, Livingston
Sal & Carol Lalani, Wild West Shirt Company, PayneWest Insurance, Jennifer Buchanan, Printing for Less
Symphony Of Wine Thursday June 25, 2015 - 5:00 - 8:00 p.m.
Story Mansion, Bozeman
Festival Of The FourthSaturday, July 4, 2015
Gallatin County Fairgrounds Barbeque 6:30 to 8:00 p.m.
Free Concert begins at 9:00 p.m. Free Fireworks to follow
American Bank Gianforte Family Foundation, Jodar Family Foundation,
Yellowstone Club Community Foundation, Tall Boys Catering, Gallatin Empire Lions Club
Sponsorship benefits include website links, program advertising and complimentary tickets. Please call the Bozeman Symphony office at 585-9774 for information about becoming a Sponsor.
All events at the Willson Auditorium unless otherwise specified.
The Bozeman Symphony Orchestra Musicians
Violin 1 Samuel Park ConcertmasterEmily Paris-Martin, Assistant ConcertmasterLilliana VaughnCami KohlerShannon SmithTrevor Ostenson James Olson Hannah Moore
Violin 2Ian Nicklin, PrincipalAmy Leister, Assistant Principal Rebekah MohrJill RobertsSarah LukesMillie OlsenSpencer Doerksen
ViolaAnna Jesaitis, PrincipalBina Peters, Assistant PrincipalCaitlyn PaffordTamara Farr Patricia GatesAndrew Snider
CelloChandra Lind, PrincipalJulia Cory Slovarp, Assistant Principal ♫ Charlie Martin Morgan Araujo
BassJon Ford, Principal ♫April Cooper
FluteSue Makeever, Principal ♫Kerri Brown
OboeSandra Stimson, PrincipalBeth Antonopulos ♫
ClarinetMary Ann Jacobson, PrincipalGreg Young ♫
BassoonAlan Leech, PrincipalPaul GatesSusan Wadsworth ♫
ContrabassoonPaul Gates
French HornSherry Linnerooth, Principal ♫ Greg NotessMelissa Smith
TrumpetJerry Makeever, PrincipalDan Wood
TimpaniJeff Vick, Principal ♫
♫ MSU School of Music faculty
MaestroBrian & Debra VanDyke King
Choir ConduCtorLes & Susan AuCoinDiana Blank
syMphoniC ChoirBobb BeehlerErin G. Pepus
(Mike & Sharon Beehler)Rich & Jill Brauss
Margo Janke(Dick Pohl)
Ralph & Gloria Zimmer
WoodWindsBobb Beehler
stringsDan & Toby RiederCaro Weaver
BrassRalph & Gloria ZimmerAnn W. Restvedt Deborah Goltz in memory of Neill Goltz
Violin 1Victoria Ryan & Paul Martin
(Emily Paris-Martin)Mary Ann NielsenCharles & Sharon Paris
(Emily Paris-Martin)Paul Visscher
(Sharon Eversman)Justin & Candice Lindh
(Emily Paris-Martin)Your Fans, the Agafonov Family
(Emily Paris-Martin)Julie Videon
(Sharon Eversman)Hugette R. Coghlan
(Sharon Eversman)
Violin 1 continued…Don Kauffman
(Sharon Eversman)George McClure, Jr.
(Sharon Eversman)Dave & Carolyn (Rusty) Swingle
(Samuel Park)Cathy Costakis
(Sam Park)Carson & Deborah Taylor
(Trevor Ostenson)
Violin 2John & Marilyn Ryley Mitchell
(Ian Nicklin)Jack & Barbara Kligerman
(Ian Nicklin)Patrick & Carol Flaherty
(Amy Leister)Lawrence & Linda Robin
(Ian Nicklin)Michael & Rebecca Nicklin
(Ian Nicklin)Karen Smalley
(Jessica Kelly)
ViolaDr. & Mrs. William & Carol Mealer
(Anna Jesaitis)Diane L. Brawner
(Anna Jesaitis)David & Deborah Peters
(Bina Peters)Members of Livingston P.E.O. Chapter BW
(Patricia Gates)Nancy & Tom Danaher
(Patricia Gates)Bliss & Marcia McCrum
(Patricia Gates)Pricilla & Richard Dysart
(Patricia Gates)Doris WardRudolf & Carol Dietrich
(Caitlynn Pafford)Cathy Costakis
(Anna Jesaitis)
CelloTristan (Mark Hernandez)
(Chandra Lind)Victoria Ryan & Paul Martin
(Charlie Martin)Charles & Sharon Paris
(Charlie Martin)Your Fans, the Agafonov Family
(Charlie Martin)Nancy HeymannAnne F. CooperInk Outside the Box
(Chandra Lind)Rob & Lynn Maher
(Julia Cory Slovarp)Stewart & Renee Westlake
(Chandra Lind & Bärbel Pafford)
Supporter’s names in bold. Designation towards an individual musician indicated by parenthesis.
Contra BassoonJerry Makeever
French HornDick & Val Monroe
(Greg Notess)Ken & Judy WeaverDori McTigue
(Sherry Linnerooth)Tracy Sterling & Bob DesEnfants
(Jamie DesEnfants)Stewart & Renee Westlake(Melissa Smith)
TrumpetJean SimkinsCarolyn & Dan Hopper
(Jerry Makeever)Ralph & Gloria Zimmer
TromboneAnna Lee RoushNancy NewtonSal & Carol Lalani
(Kyle Tannehill)
TubaConnie Brooks
tiMpani/perCussionJack & Barbara Kligerman
(Jeff Vick)Jean SimkinsJon Chaney
(Jeff Vick)Mr. & Mrs. William H. BurrCharlie Hamp
(Jeff Vick)Loren & Evelyn Acton
(Jeff Vick)Thomas Scanlin
HarpJim & Inge Logar
PianoHelori Graff
String BassJohn & Marilyn Ryley Mitchell
(Jon Ford)Weldon Rash
(Max Johnson)Frank & Marilyn Carter
(Samantha Vetter)Cynthia S. Strobel
(Samantha Vetter)George McClure, Jr.
(Jon Ford)The Brian Rogers Family(Jon Ford)Tyler Baldwin
(Kezia Vernon)
FluteMarilyn GuggenheimEl’n Marie Brown
(Kerri Brown)Dennis & Marilyn Raffensperger
(Sue Makeever)Alisa Braun
(Sue Makeever)
PiccoloAdelia Stewart & Hunter DevaultPatricia Spurr
(Michelle Maurer)Anne Marie & Jeff Reider
OboeCelia WoodJerry & Sue Makeever
(Sandy Stimson)
English HornCarol A. Denecke
ClarinetJoanne & Billy Berghold
(Mary Ann Jacobson and all Clarinet players)
Mary Hektner & John Sacklin (Greg Young)
Bass ClarinetStephanie Alexander
BassoonMembers of Livingston P.E.O. Chapter BW
(Paul Gates)Nancy & Tom Danaher
(Paul Gates)Carolyn & Dan Hopper
(Alan Leech)Dick & Val Monroe
(Paul Gates)Pricilla & Richard Dysart
(Paul Gates)Richard Gillette & Susan HinkinsFrisby Family Fun-dation
Bruce Jodar and
Kimberlie Birdwell are delighted to support Maestro Savery
and the Bozeman Symphony Orchestra.
They enrich the lives of all who share their passion
for great music in our community.
Idomeneo: Ballet Music W.A. Mozart (1756-1791) Ia. Chaconne: Allegro Ib. Chaconne: Larghetto Ic. Chaconne: Allegro II. Pas Seul: Largo – Allegretto – Più Allegro Serenade, op. 44, D minor Antonin Dvořák (1841-1904) I. Moderato, quasi marcia II. Minuetto III. Andante con moto IV. Allegro molto
I N T E R M I S S I O N
Symphony No. 102, B-flat major Franz Joseph Haydn (1732-1809) I. Largo – Vivace II. Adagio III. Menuetto – Trio: Allegro IV. Finale: Presto
Saturday, February 7, 2015, 7:30 p. m.Concert Sponsored by Bruce Jodar & Kimberlie Birdwell, and Mountain Hot Tub
Please join Maestro Matthew Savery and the Bozeman Symphony Musicians following the concert: Ferraro’s Fine Italian & Steak- 726 North 7th Avenue
Unauthorized use of cameras or recording devices during performances is strictly forbidden
Wolfgang amadeus mozart (1756-1791): Idomeneo: Ballet musIc KV 367
At the end of Mozart’s eleventh opera, Idomeneo, which premiered January 29, 1781, at the Residenz Theatre in Munich, Idomeneo, the Cretan King, abdicates in favor of his son Idamante, whose wedding to Ilia, a daughter of Priam, the deceased King of Troy, is about to be celebrated. The back story is this: After leading the defense of the Greek ships in Book XIII of the Iliad and participating in the eventual fall of Troy, Idomeneo (Idomeneus in Homer’s epic poem) was shipwrecked within sight of shore on his return to Crete. He prayed to Poseidon, that, if he were saved, he would sacrifice the first person he saw when safe on land. Alas, this turned out to be his son. Not surprisingly, Idomeneo refuses to sacrifice Idamante. After many separations and a trial—Idamante slays a sea-monster sent by Poseidon to punish Crete because Idomeneo had not fulfilled his vow—and a final reunion, where Idamante offers himself up as the required sacrifice, but is saved by his betrothed, Ilia, who offers herself in turn, thus causing Poseidon to relent at the marvel of true love, the opera proper ends with the coronation of Idamante. The Chorus sings, “Descend, Love and Hymen,/ Descend, Juno, to the royal pair;/ Benign goddess, now instill/ The peace of your spirit in their breasts.” Yet what follows is not a final curtain but a ballet.
PROGRAM NOTES
by Jack Kligerman
A ballet? At the end of the opera proper? Well, yes. The custom had earlier been established by Jean-Baptiste Lully (1632-1687) and Jean-Phillippe Rameau (1683-1764) and was still à la mode in French opera during Mozart’s time, especially after the more recent triumphs of Christoph Gluck, whose Iphigénie en Aulide (1774) and Iphigénie en Tauride (1779) had both ended with ballets. It had not been the fashion of opera since the end of the eighteenth century to include ballets, however. Nonetheless, last Fall’s production of Idomeneo by the Royal Ballet Covent Garden did conclude with the ballet music intact, accompanying not dancers, however, but actors en tableaux. There were originally five parts to the ballet, though tonight’s selection features the first, the Chaconne, and the fifth, the Pas Seul de Monsieur Le Grand (a solo for the ballet master or lead male dancer during Mozart’s time).
The Chaconne, the shorter of the two pieces (which are played in concert style without a pause between them), is rondo in form, as was the French fashion. Mozart took his main motif from the choral music at the end of the opera, thereby bridging its action and the start of the ballet. The Chaconne is marked allegro—larghetto (slower than largo)--allegro. Although there is no pause between the sections, you will be alerted by four softer, slower chords that end this piece and transition to the Pas Seul. This part is longer and more complex in form than the Chaconne, but because of changes in tempo is not difficult to follow.
Antonin Dvořák (1841-1904): serenade In d-mInor for WInds, cello, and douBle-Bass, op. 44
It might be considered sacrilegious to call Dvořák’s Wind Serenade “easy-listening music,” yet this, precisely and in the best sense of the phrase, is what it is. Its form is apparent, posing no problems for the audience: four movements plainly differentiated by tempo and theme, with the divisions within each movement equally apparent. The Serenade was “easy composing” for Dvorak, since it took less than two weeks in January 1878, for him to indite from start to finish. It premiered on November 17, 1878, in Prague, the composer himself conducting. Such quick work was not unusual for Dvořák. He had earlier composed his String Serenade, Opus 22, in just two weeks in May, 1875. Perhaps he could compose rapidly in this case because the forms which he utilized were ready to hand. The term “serenade” at that time in the nineteenth century referred to a piece more open in form than a symphony, and its mellifluousness, especially here in Dvorak’s Opus 44, can be traced to earlier uses describing a song offered up to one’s lover at her open window in the evening. A wicked example is that sung by Don Giovanni, in Mozart’s opera of that name, to Donna Elvira’s maid as he attempts to seduce her (after having seduced Donna Elvira herself and uncountable other women). Dvorak’s Wind Serenade is seductive in its own way, especially, as indicated above, in the main melodies of each of its four movements, although the contrasting other themes have their own sweetness or charm.
The first movement, moderato quasi marcia, derives its tone color from outdoor band concerts in Mozart’s time known as harmoniemusik. It has an ABA structure with much repetition of the main themes. Repetition in Dvořák’s hands never cloys, however, because of the way he varies instrumental combinations, tempi, and keys. Melodies may be introduced by one instrument, but soon you will hear them broken into parts and passed among the various instruments. And remember the opening theme, since it will circle back and close the Serenade. In fact, there is a passage in T.S.Eliot’s poem Four Quartets, in the section titled “Little Gidding,” that can be seen to perfectly describe both the overall form of the Wind Serenade and the way Dvořák works with his material:
What we call the beginning is often the end And to make an end is to make a beginning.
The end is where we start from. And every phrase and sentence that is right where every word is at home,
Taking its place to support the others, The word neither diffident nor ostentatious, An easy commerce of the old and the new, The common word exact without vulgarity, The formal word precise but not pedantic, The complete consort dancing together.
The second movement, Menuetto, has an ABA form. It is built out of two Czech folk melodies, familiar to Dvořák’s audience though more than likely unknown to us. The first part, a sousedská, is slower and stately, much like a minuet from which the tempo is borrowed. The middle section is a furiant, a much quicker Bohemian folk dance. This movement closes with a repeat of the sousedská. The form, however, is readily apparent, and no special knowledge of the original dances is needed to respond to it.
PROGRAM NOTES (CONTINUED):
Andante con moto: slow but with more movement or motion (con moto) than one would expect. This third movement is especially noteworthy for the way various instruments, especially the oboe and clarinet, share its main theme, which is often repeated. The lyricism of the melody is characteristic of Dvořák’s “voice.” There is greater tension in this movement than in the others, due in part to long passages in one tempo that yield to another, and in part to the way the horn echoes fragments of the melody with an unexpected tone color. There are many unanticipated changes, but once they appear they are found in retrospect to have been just right.
The last movement, allegro molto, is the most complex in form, but it circles around at the end to the theme of the march that opened the Serenade. It is more exuberant than the first three, affording a fine contrast with the slower more intense third. In the way the Wind Serenade has led us to anticipate, melodies are shared and completed by different instruments, yet in unexpected ways. One more quote from “Little Gidding” brings a resolution:
We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time.
FrAnz Joseph hAyDn (1732-1809): symphony #102, B-flat major
On a hill at Segesta in northwest Sicily stands an austere ruin, one of the most well-preserved Greek temples of all antiquity. In its spare, unadorned Doric columns, six columns on the ends by fourteen on the sides, it represents the best characteristics of classicism in architecture: rhythm, balance, proportion, symmetry, restraint, and harmony. One looks in vain for any kind of extravagance or unnecessary ornamentation. A better symbol cannot be found for those classical values that reappear later in the villas designed by the Italian architect Andrea Palladio in the Renaissance in Europe in the sixteenth century and in neo-classical facades of the eighteenth, when a fad for Greek and Roman architecture flourished during the Enlightenment on the continent, in England, and in the fledgling United States. It is within this latter intellectual and artistic climate that Franz Joseph Haydn grew to maturity as a composer, writing, among many other works, his one hundred and four symphonies. His first had been written, it is assumed, in 1759. But classicism in Haydn’s hands, especially in the twelve symphonies he composed in London on two visits between 1791 and 1795—his last, as it would turn out—was never just a formula.
To be sure, in outward respects, his later symphonies do conform to a rational ideal: a fast first movement followed by a slow second, then a minuet as the third, with a concluding fast movement, much faster in tempo than the others, especially in Symphony #102. But predictability
PROGRAM NOTES (CONTINUED):
vanishes within the movements, where asymmetry reigns and surprises lurk. By February 2, 1795, when Symphony #102 was premiered at the King’s Theatre, in London, with Haydn himself conducting, he had for some time been dissatisfied with the expected. And, since he was no longer employed as Kappelmeister by his long-time patron, Prince Nikolaus Esterházy, who had died in 1790 (Nikolaus having been succeeded by a son, Anton, who was no lover of music), the composer felt driven to experiment within formal restraints that tradition had kept in check.
True, he did not invent a slow introduction, the largo of the first movement, sonata-allegro in form, but he was innovative in how he works with his main theme, dividing it in two in the restatement of the exposition at the faster allegro tempo, and fragments it in the development passages. And, as the convention dictated, the second movement, at a slow tempo, is, to be sure, theme and variations in form; but Haydn astonishes the listener in the unexpected ways he moves the variations around the sections of the orchestra, with changes in dynamics, tone color, and tempo—including crescendos--being more abrupt than one might expect. Then comes the third movement, the Menuetto, that three-part form that formerly had a trio of woodwind instruments in the middle to contrast with the opening and closing sections. His audience might have been anticipating a stately, courtly dance, a minuet one could dance to without mussing up one’s wig or formal attire, but, instead, it gets a rousing, almost
raucous shout from the orchestra and totally engages in spite of its many repetitions. Haydn, a master of suspense, builds up tension by delaying both the entrance of the trio section, one dominated by the woodwinds (but more than three!), and subsequently postponing the—somewhat altered—recapitulation. The finale, marked presto, or faster than fast, is rondo in form, but not the formulaic ABA, since it has development passages similar to those in a sonata-allegro movement. It is both playful and humorous, characterized by repetition with a difference. There are subtle variations in the repeats and tension-building delays, especially toward the end, where a clamorous, powerful conclusion brings this innovative symphony to a close.
PROGRAM NOTES (CONTINUED):
The Bozeman Symphony 2014 - 2015 Season Donors
Conductor’s Circle($25,000 & up)
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Members of Livingston P.E.O. Chapter BW
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Supporter ($100 to $249)
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Sheryl DettmannKate & Greg Fornasiero, in memory of Sharon Paris
Patricia GamblePete & Julie GeddesGill & Nancy Geesey
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in memory of Sharon ParisJudy Kuhl
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Round House/Chalet SportsCon Metro
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Edward Sheehan
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True North Steel,in memory of Sharon Paris
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in memory of Sharon ParisDiane Donnelly
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Marjorie EricksonMary C. FellenzDr. Richard Flor
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Christine Gagnier, in memory of Sharon Paris
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in memory of Sharon ParisD J Kominsky
Alan & Karen LeechJustin & Chandra Lind
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Ann RestvedtJoan Ryshavy
Florence SaveryMarjorie SmithRachel Soulek,
in memory of Pat HansenBill UnderrinerHenry Vankooy,
in memory of Elizabeth M. McClurePaul Vonseggern Melissa L. Ward
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James Olson’s passion for playing the violin began at the age of three. He is in his sixth season with the Bozeman Symphony Orchestra. James also plays for Intermountain Opera Bozeman and the Montana Ballet Company. Originally from Billings, he graduated in 2010 with a Bachelor’s of Art at the School of Film and Photography at Montana State University. As a student, James was concertmaster and toured Asia with the MSU Symphony. James currently works for McLee’s Inc. (HVAC) and has worked in construction in the past. He enjoys many outdoor activities including: hunting, fishing, hiking, and camping. James resides in Bozeman with his two dogs and wife, Laurynn Olson, Program Coordinator at the MSU Office of Activities and Engagement.
Tuning into the Orchestra: James Olson, Violin
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Saturday Concert Sponsored by Walter & Regina Wunsch, Spectec/TIC Sunday Concert Sponsored by Michael & Sharon Beehler
Ode to Joy!Saturday, April 11, 7:30 p.m. and Sunday, April 12, 2:30 p.m.
Willson AuditoriumSymphony No. 9, op. 125, D minor (Choral) Beethoven
Christine Lombardozzi,soprano
Daniel Weeks, tenor
Anton Belov, baritone
Claire Shackleton, mezzo-soprano
Also featuring the Bozeman Symphonic Choir and the MSU University Chorus
Featuring Special Guests:
The Wine Gallery 2320 West Main Street,
Bozeman, MT 586-8828
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Is it any wonder that Music and Wine share the same vocabulary?