2014 - 2015 Season
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,
We’re so pleased you decided to join us for this most gorgeous concert of music, all by French composers.
At our previous concert, I spoke of Maurice Ravel’s gift for orchestrating piano pieces (almost a game to him) and that his work with Mussorgsky’s Pictures at an Exhibition was a splendid example. Le Tombeau de Couperin is widely considered his finest achievement in this regard, displaying amazing finesse. Borrowing from the Baroque Suite, Ravel presents the orchestra at its most graceful, and provides a wonderful showcase for our wonderful woodwind section.
Next we are happy to introduce cellist Jolyon Pegis, currently Associate Principal Cello for the Dallas Symphony and Principal Cello for the Chautauqua Symphony. Jolyon is an interpreter of true depth and it’s my great pleasure to once again share a stage with him. Although Lalo was a French composer, his Spanish ancestry shines through brilliantly in this concerto which ends with a wild Spanish dance that may make you want to jump out of your seats and dance in the aisles.
We conclude tonight’s program with a piece I’ve always wanted to conduct, and many Bozemanites have for years now mentioned they would like to hear. César Franck was something of a one-hit-wonder when it came to composing in the form of a Symphony. While he tried his hand at the form early in his career, the Symphony in D was his only real success, and what a success it was. This piece is universally cherished and we are thrilled to have a go at it for you tonight. (And Evie--this one’s for you!)
Please be sure not to miss Jon Harney and our Symphonic Choir, joined by Tobin Stewart and the MSU Symphony Orchestra on November 16th at Holy Rosary Church for a beautiful performance titled of Heaven and Earth. And also mark your calendar for our next party, BSO ON TAP, on November 7th at the Copper Spring Ranch. Call the office or visit us online at www.bozemansymphony.org for more information, and join us as we raise a glass to symphonic music and the Bozeman Symphony.
Enjoy!
Matthew Savery Music Director and Conductor
Denis Prager, President Renée Westlake, Vice PresidentPat Ellis, TreasurerAudrey Cromwell, SecretaryJenny Beard
Sharon BeehlerVirginia BrattonBridget CavanaughPatricia Gates, Orchestra Representative Paul Gates J. David Penwell
Stephen SchachmanCliff Schutter Kyle Tannehill, Student RepresentativeStuart WhitehairWalter Wunsch
2014 – 2015 Board of directors:
2014 - 2015 BOZEMAN SYMPHONY VOLUNTEERS:
Gary BachmanCarol BarmoreJenny BeardBeth BoysonKathy BraunRoger BreedingNoreen BreedingApril BuonamiciJames BuonamiciErica BurrellConnie CadeJohn & Mary Ann ChildsCindy ChristinBrian CloseCarol CodeHuguette CoghlanVida CoulterPatricia DeWittKendall DittmarPat DonehooMarie DoubravaIris DriscollJoanna Ellison Erik EmeryErik EmoryKenje FehlbergStephany FlakkerJaime & Keith FosterNate FrylingJennifer Funk
Kate GardnerDave & Sandra GaskinDavid GentholtsJane GentholtsKen GreenJames GuglielmoEdy HarringtonIris HarringtonElizabeth HarrisElliot HarrisonEileen HoskingAndria HuntsingerTracie JenkinsChelsa JensenBeth JohnsonEmily JohnsonMichelina KazeminejadJessica KellyMadie KellyDavid KingLynn KinnamanCheryl LarsonAnnika Lawrence Erick LawrenceMartin LawrenceVerena LawrenceMichele LetendreChandra LindScott LinneroothMyriah Marsh
Charlie MartinPaul MartinMarlene MazuranichSusan McCauleyCarole McCleanSusan McConnellChrista MerzdorfJenna MilcotConnie MurrayJoyce OlsonRick & Nancy OjalaSammylu ParsonsEve ParryLeona PoritzNeil PoulsenPam PoulsenLynda & Richard ReileyEdie RennerRoseAnn Revel Allison ReynoldsCharles RichardsonCindy RichardsonGretchen RuppMartin RyanVicki RyanElaine SamuelsonKippy SandsAlyce SchultzElly Schwarzkopf
Joyce ShepardGonnie SiebelCarla SmithRaha SovereignWilla Jean SpeegleEllen 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) Lamont 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 OperationsKristina Edsall, 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 BelgradMerton BellKay and Tom BergslandPaul BertelliBobby BjorkSherry Keller BrownChris and Mary Ann BulgerJanel Carino and Richard WolffJerry and Jan CashmanJon ChaneyRon and Judy ClarkDavid M. Cook, M.D.Bruce and Christie CopelandRichard and Anna DamonFred and Paula DeigertElise R. DonohueSusan L. EckertPat and Susan EllisOrville and Robyn Erlenbush, ERA LandmarkPaul and Patricia GatesKlein and Karen Gilhousen
Jerome R. and Barbara GlickmanJohn Jr. and Kiku HanesEric and Jean HastingsDennis and Katherine HoffmannJohn and Donna HuntIleana Indreland and Michael DelaneyDon and Sharon Tudor IslerBruce JodarJerrold and Margaret JohnsonMr. and Mrs. Brian KingKelly and Shirley KingSal 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 Prager
Weldon RashDorothy ReflingGene and Edie RennerJoAnne and Lloyd ReynoldsDr. 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 WebsterJames and Cathy WhiteStuart Whitehair &
Lee StadtlanderJohn and Vickie WilkinsonElaine Williamson
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
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
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 WineJune 2015
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.
MaestroBrian & DeBra VanDyke king
Choir ConDuCtor
syMphoniC ChoirBobb BeehlerErin G. Pepus
(Mike & Sharon Beehler)
WooDWinDsDeborah Goltz
stringsDan & Toby Rieder
Brass
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 2John & Marilyn Ryley Mitchell
(Ian Nicklin)Jack & Barbara Kligerman
(Ian Nicklin)Patrick & Carol Flaherty
(Amy Leister)
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)
CelloMark Hernandez
(Chandra Lind)Victoria Ryan & Paul Martin
(Charlie Martin)Charles & Sharon Paris
(Charlie Martin)Your Fans, the Agafonov Family
(Charlie Martin)
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)
TrumpetJean Simkins
Trombone
Tuba
tiMpani/perCussionJack & Barbara Kligerman
(Jeff Vick)Jon Chaney
(Jeff Vick)
Harp
Piano
String BassJohn & Marilyn Ryley Mitchell
(John Ford)Weldon Rash
(Max Johnson)
FluteMarilyn Guggenheim
PiccoloAdelia Stewart & Hunter Devault
OboeCelia Wood
English HornCarol A. Denecke
ClarinetKerri BrownJoanne & Billy Berghold
(Mary Ann Jacobson and all Clarinet players)
Bass Clarinet
BassoonMembers of Livingston P.E.O. Chapter BW
(Paul Gates)Nancy & Tom Danaher
(Paul Gates)Dick & Val Monroe
(Paul Gates)
Up Close & Personal (continued) :
Special Guest – Jolyon Pegis, Cello
Jolyon Pegis, cellist, was born in Rochester, NY. He attended Indiana University and the University of Hartford, studying with Fritz Magg, Gary Hoffman, and David Wells. Mr. Pegis is a winner of the Artists International Award in New York City. He has appeared as soloist with the Virginia Symphony, Maui Symphony, San Antonio Symphony, Chautauqua Symphony, Dallas Symphony, and the West Virginia Symphony among others. He gave his formal recital debut in New York at Carnegie Recital Hall in 1990 and has since appeared as a recitalist across the country. As a champion of new works he has commissioned and premiered several works and has worked with composers such as Gunther Schuller, Lukas Foss, and Don Freund. Jolyon was a member of the contemporary ensemble “Voices of Change” from 2004-2010.
Mr. Pegis has served on the faculties of Southern Methodist University, the Hartt School of Music, and the D’Angelo School of Music at Mercyhurst College. In great demand as an audition coach, he has former students in the orchestras of Milwaukee and Memphis, TN. He was a member of the Arcadia Trio in residence at the Yellow Barn Chamber Music Festival and has also been featured at the Anchorage Festival of the Arts and the Roycroft Chamber Music Festival in Buffalo. He was the Principal Cellist of the San Antonio Symphony from 1995-2000.
Currently, Jolyon is the Associate Principal Cellist of the Dallas Symphony and Prinicipal Cellist of the Chautauqua Symphony. He also performs as a member of the newly formed Verlaine Trio and plays as a substitute with the Chicago Symphony. Recent performances include solo appearances with the Salina Symphony, Laredo Symphony, West Virginia Symphony, Abilene Philharmonic, and the Chautauqua Symphony as well as recitals in Texas, Georgia, Michigan, Pennsylvania, and New York. He has given recent masterclasses at Baylor University, Eastern Michigan University, the University of Georgia, Kansas Wesleyan University, SUNY Fredonia, and the University of Toronto.
♫ MSU School of Music faculty
The Bozeman Symphony Orchestra Musicians
Violin 1 Megan Karls, ConcertmasterEmily Paris-Martin, Assistant ConcertmasterJames Olson Sharon EversmanShannon SmithHannah MooreTrevor Ostenson Cami Kohler
Violin 2Ian Nicklin, PrincipalAmy Leister, Assistant Principal Millie OlsenRebekah MohrJill RobertsJessica KellyLisa BollmanSpencer Doerksen
ViolaAnna Jesaitis, PrincipalBina Peters, Assistant PrincipalCaitlyn PaffordPatricia GatesAndrew SniderTamara Farr Lauren Carr
CelloChandra Lind, PrincipalJulia Cory Slovarp, Assistant Principal ♫ Charlie Martin Susie Frawley Bärbel Pafford Cayley Hunt Morgan Araujo Lisa Woidtke
BassJon Ford, Principal ♫ April Cooper Samantha Vetter Scott Stebbins Max Johnson Cortney Bury Kezia Vernon
FluteSue Makeever, Principal ♫Kerri Brown
OboeSandra Stimson, PrincipalBeth Antonopulos ♫Laurel Clayton
English HornBeth Antonopulos ♫
ClarinetMary Ann Jacobson, PrincipalGreg Young ♫
Bass ClarinetBruce Kenney
BassoonAlan Leech, PrincipalPaul Gates
French HornSherry Linnerooth, Principal ♫ Jamie Des Enfants Greg NotessMelissa Smith
TrumpetJerry Makeever, PrincipalDan Wood Natalie Fuller ♫Briana Gillet
TromboneKyle Tannehill, Principal Virginia Bratton Andrew Scruggs
TubaDon Kronenberger
HarpAngela Espinosa
TimpaniJeff Vick, Principal ♫
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
Matthew SaveryMusic Director & Conductor
Le Tombeau de Couperin Maurice Ravel (1875-1937) I. Prélude II. Forlane III. Menuet IV. Rigaudon
Concerto, Violoncello, D minor Édouard Lalo (1823-1892) I. Prelude: Lento – Allegro maestoso II. Intermezzo: Andantino con moto – Allegro – Presto III. Introduction: Andante – Allegro vivace
I N T E R M I S S I O N
Symphony, D minor César Franck (1822-1890) I. Lento – Allegro non troppo II. Allegretto III. Allegro non troppo
Saturday, October 25, 2014, 7:30 p. m.Concert Sponsored by Chico Hot Springs Resort & Day Spa, Mike & Eve Art
Please join Maestro Matthew Savery, Jolyon Pegis and the Bozeman Symphony Musicians
following the concert: John Bozeman’s Bistro – 125 West Main Street
Unauthorized use of cameras or recording devices during performances is strictly forbidden
featuring special guest Jolyon Pegis, cello
bozeman
Orchestra
A Night in Paris
Maurice ravel (1875-1937): Le Tombeau de Couperin
On first hearing, Le Tombeau de Couperin might seem to belie its title. “Le tombeau,” French for “tomb” but musically used as a synonym for “lament,” strikes one as hardly appropriate for a piece that is neither mournful nor dirge-like. And, except for borrowing the form of a French suite by François Couperin (1668-1733) and two dances, the forlane and rigaudon, there is no specific reference to any one work by the eighteenth-century court composer. Begun in 1914 and completed as a suite for piano in 1917 and fully orchestrated by Ravel by June, 1919 (the piano version premiered in April, 1919 and the orchestral in 1920), Le Tombeau de Couperin nonetheless memorializes friends or acquaintances of Ravel’s who had died in World War I. The suite for piano had six parts, the orchestrated version four, with the original second part, Fugue, and the last part, Toccata, eliminated. In addition, to round out his changes, Ravel switched the order of the Rigaudon, originally fourth, with the Menuet, originally fifth. The effect of this shift was to exchange the slower, more stately, Menuet with the Rigaudon in order to end with a lively, more affirmative dance. By eliminating the Fugue and Toccata, he removed two parts that had a much quicker tempo than the others and were thematically more unlike, thus tightening the form and making it more congenial for the oboe, the lead woodwind, as well as other wind instruments. What remains,
PROGRAM NOTES
by Jack Kligerman
then, in order, is a Prélude or overture, very much in the classical tradition; a Forlane (a peasant folk dance from the northeast region of Italy, where it was known as the furlana); a Menuet (originally quicker in tempo until it became all the rage in the court of Louis XIV); and a Rigaudon (taken north from Provence to court, from thence to Germany and England), a moderately fast country dance.
Prélude: A solo oboe dominates with “turns,” ornaments that circle around and then return to a main note (once heard in Le Tombeau de Couperin, never forgotten). To some extent, the main theme is hidden by the turns. Soon the oboe is joined by strings and other woodwinds with the main theme stated by the full orchestra and then handed over to a solo flute. The theme is varied, with crescendo and decrescendo runs on scales, typical of Ravel’s orchestration. The Prélude ends with a flourish by harp and woodwinds.
Forlane: A swift one-two rhythm, with a very brief or grace-note in between, typifies this part. (As a furlana it is danced in a circle with steps down followed by swift turns.) A flute states the theme, dominates, and is echoed by violins, oboe, other strings, and then by the full orchestra. The skipping rhythm and enunciation of the main theme are perfectly integrated. An interesting dissonant passage occurs near the end, leading to a recapitulation and close.
Menuet: At first the oboe predominates, its long stately theme echoed by the strings, often pizzicato, joined by a harp. The oboe turns the melody over to the flute, which leads up to a slow passage, the most mournful section of the entire suite, as the orchestra works with different thematic material. Then comes a mellifluous string and harp passage, itself echoed by horns. The Menuet ends with a return to the oboe, then the flute, and all quietens.
Rigaudon: The full orchestra opens, the pace quickens, and the dynamics grow into the loudest sustained passage of the suite, until the oboe then English horn interrupt, with pizzicato strings in the background. All slows to a recapitulation of the opening and a rather abrupt end.
Édouard lalo (1823-1892): ConCerTo, VioLonCeLLo, d minor
Édouard Lalo’s reputation has always been higher in his native France than on this side of the Atlantic. Here he is mostly known by his Violin Concerto in F (1874) and Symphonie espagnole (1875), both written for and premiered by the pre-eminent Pablo de Sarasate. His most famous opera, Le roi d’Ys, based on a Breton legend, premiered May 7, 1888, at the Opéra-comique in Paris, and within a year had been performed 100 times. It first was heard at the Metropolitan Opera in New York in 1922 but only ran for six performances. Recently there was a concert version presented at Carnegie Hall (April 14, 1985) and another in 2008. But the full
opera was staged once again just this Spring, 2014, at the Opéra de Marseille. His popularity in France, nevertheless, was slow in coming. Born in Lille near the Belgian border, he left home when he was sixteen and came to Paris intent on a musical career. He enrolled in the Paris Conservatory, began composing chamber music, and in 1855 became a founding member of the Armingaud Quartet, playing both second violin and viola. But his chamber music never took off, and it wasn’t until both his Violin Concerto and the Symphonie espagnole were praised that he sped into the interstellar regions of French music. The Concerto, Violoncello followed quickly, premiering December 9, 1877. The soloist was a Parisian, Adolph Fischer (1847-1891), whose career took him across the channel to play in the Crystal Palace Saturday Concerts in the 1880s. One last remark before moving to the concerto: Lalo, though French, came from a family with Spanish roots. Listen in the third movement for what are Spanish rhythms and melodies, especially in the first part of the rondo form. Some might have said that he was capitalizing on the popularity of Spanish themes that owed much to Georges Bizet’s opera Carmen, which first graced a Parisian stage in 1875. In fact, however, Lalo’s family background gave him the credentials.
The Concerto, Violoncello, has three movements, but because of its multiple tempo indications seems more complicated in form, therefore, than it is. Both within and between movements Lalo explores different moods, contrasting solo and orchestral
PROGRAM NOTES (CONTINUED):
passages, lyrical melodies and chordal “affirmations,” softer and louder passages, and, in development sections, complete and fragmented thematic material. The first movement opens with a Prélude marked lento (a slow introduction). Then, after the tempo changes to allegro maestoso (faster and majestic), two themes presented by solo cello follow in succession, are developed accordingly, then reappear towards the end, where they are played by the full orchestra, until the solo cello, in cadenza-like riffs punctuated by orchestral chords, brings the movement to a close. The second movement, an Intermezzo, contains four parts, differentiated by tempo, and two themes: andante con moto (moderately slow but with more motion), allegro presto (a bit quicker than fast), andantino (slower than the first tempo here), and another andante con moto part. The first theme is poignant, almost melancholy; the second, with pizzicato accompaniment, lively, with a Spanish, dance-like flavor. The third movement is a rondo, but not a straightforward ABA “ring” form. The first theme here sounds, once again, Spanish, contrasting with the second theme. The movement quickens towards the end, the themes punctuated by orchestral chords, and we are met finally by a cello that rises to what becomes the conclusion we have been waiting for.
cÉsar Franck (1822-1890): Symphony, d minor
César Franck is one of those composers whose reputation today is much greater than it was during his lifetime. He was born in Liège, Belgium, and went to Paris only when his family moved there in 1835. His musical education began at the Liège Conservatory, where he studied piano, and continued at the Paris Conservatory, where his subjects expanded to composition, counterpoint, violin, and organ. It was with the organ that he soon felt most at home, both as a composer and performer. But his career was desultory until 1858, when he was appointed organist at the Basilica of Sainte-Clotilde in the Saint-Germain-des-Prés section of Paris. A second honor was to come fourteen years later: he became professor of organ at the Paris Conservatory. He composed partly for organ and otherwise in a mixture of genres, concentrating really in none of them, unlike other major composers, and his entire oeuvre was relatively small. Even today some histories of music give him scant reference. He is known today mainly for his Piano Quintet (1878-1879), Symphonic Variations for Piano and Orchestra (1885), Violin Sonata (1886), Symphony, D Minor (1886-1888), and his String Quartet (1889). And these all are from later in life. Yet, even though his contemporaries may not have valued him highly, just one work, his Symphony, D Minor, is enough to enshrine him in present musical heavens.
The Symphony premiered in February, 1889, from all contemporary accounts to a not very enthusiastic audience. Their expectations for a more traditional
PROGRAM NOTES (CONTINUED):
work may have caused them to miss the inherent cyclical and dramatic nature of the piece. “Cyclical” refers to the recurrence of short motifs or longer themes, a technique drawn from the work of Richard Wagner, a kind of “persistence of memory” that endures throughout a work, either in exact duplication or in echoic variations. The term “dramatic” here refers to constant struggles of various kinds that are not resolved until the very last note. To use Shakespeare’s Macbeth as an example, the main conflict of that play ends only after Macbeth says to his adversary Macduff when they meet in final individual combat, “Lay on, Macduff,/ And damned be him that first cries, ‘Hold, enough.” Though the struggle in Franck’s Symphony may not be one between evil and good, it does pit the angst of a three-note opening motif, a kind of musical “character,” against the last part of the opening phrase as well as against themes in the other two movements. What force will, at the conclusion, have mastery? Dramatic conflicts occur also in the piece’s dynamics, its alternations of loud and soft sections, both as sudden outbursts and diminutions and in the crescendos and decrescendos that lead into these changes. In addition, different orchestral sections come in opposition to each other, thus adding to the dramatic tension. The main conflict, however, is one between an emotional abyss (that opening motif and Franck’s use of a “mournful” English horn in the second movement, which so disturbed his contemporaries) and the triumph of the second part of the opening phrase. When, at the end of the third movement, the opening motif makes its final appearance, it is overwhelmed by
the strength of the movement’s main theme. All the forces that have been in conflict throughout cohere in a triumphant epiphany. The ending is more than, to borrow a phrase from Robert Frost, “a momentary stay against confusion.” It is a climax that leaves no doubt that the human spirit, at least in a musical form, will prevail.
PROGRAM NOTES (CONTINUED):
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Dr. Julia Cory Slovarp is the Assistant Teaching Professor of Cello at Montana State University. She is the principal cellist of the Intermountain Opera Company, Montana Ballet Company, Big Sky Classical Music Festival Orchestra, and Assistant Principal of the Bozeman Symphony Orchestra. Dr. Slovarp holds degrees from Indiana University (Bachelor and Masters) and the University of Texas at Austin (Doctor of Musical Arts), and has completed Suzuki and Mark O’Conner Teacher Training. She is the Artistic Director of Noon Notes at the Library (a chamber music series under the auspices of the Montana Chamber Music Society), Director of the annual MSU Cello Festival, Director of Strings at Flathead Lake Music Camp, and Director of the MSU Mountains and Minds summer music program. She has served as faculty for the Longhorn and Red Lodge Music Camps, performed with the Columbus, Laredo, Round Rock, Temple, Terre Haute, and Waco
Symphonies, and the String Orchestra of the Rockies. She is an active member of ASTA, NAfME, and the Suzuki Association, and is on the Arts Without Boundaries board of directors. Dr. Slovarp frequently performs chamber music, collaborates with dancers and painters, has worked with groups such as Cirque du Soleil and Willie Nelson, and in 2013 led the MSU Cello Ensemble on a concert tour of Spain and Morocco. Her principal teachers were Emilio Colón, Ilse-Mari Lee, Bion Tsang, and Tsuyoshi Tsutsumi.
Tuning into the Orchestra: Dr. Julia Cory Slovarp, cello
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