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Boulder Philharmonic Orchestra 2015-2016 9

WelcomeDear Friends,

The exciting times continue for your Boulder Philharmonic in 2016—we follow our opening night live broadcast on Colorado Public Radio with a second one this spring. We make use of a prestigious grant from New Music USA and celebrate our first-ever award from the National Endowment for the Arts. And, of course, we begin preparations to bring our unique approach to programming and community engagement to the Kennedy Center for their inaugural SHIFT Festival in 2017!

This fall featured exciting collaborations with pianist Gabriela Montero, concertmaster Charles Wetherbee, composer Charles Denler, photographer John Fielder, the Boulder Chorale, singer Josh Ritter, a new production of The Nutcracker, and three performances of our popular ‘Christmas with the Phil.’ Our steadily increasing sales numbers suggest that we continue to broaden our appeal and audience base by embracing the spirit of what makes our community special.

In the new year, we look forward to a second collaboration with our friends at Boulder Ballet in Copland’s iconic Rodeo. We welcome world-renowned violinist Anne Akiko Meyers and cutting edge composer Missy Mazzoli (“Brooklyn’s post-millennial Mozart”) for a week-long residency in February. The sensational performers of Cirque de la Symphonie return in April for two performances, and our season reaches a stirring culmination with Boulder and Denver performances of Bach’s immortal St. Matthew Passion in a dramatic staged setting presented in collaboration with Central City Opera, the Boulder Bach Festival and the CU College of Music. We continue to expand the breadth and depth of our educational efforts, as we add a second performance of our annual Discovery Concert for elementary school students, preceded by school visits from Boulder Phil musicians and me.

All year long, we can count on our superb musicians to deliver polished and impassioned performances. We simply love what we do. Playing for enthusiastic audiences in a beautiful hall in one of the most remarkable communities in the country is a great privilege, and we thank you for making us your orchestra!

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We’re on our way! Thanks to your support, we are on

track for a record-setting 2015-2016 season in numerous respects. This past fall, we achieved yet another record for season subscribers, multiple sold-out performances, our highest ever ticket sales for The Nutcracker with Boulder Ballet, and a record number of supporters on Colorado Gives Day!

And our accolades beyond Boulder continue to accumulate. We were selected to open Colorado Public Radio’s live broadcast series this season, and we were one of only two orchestras nationally to be awarded a prestigious “Imagine Your Parks” grant from the National Endowment for the Arts.

As we gear up for our 2016-2017 season – which promises to be one of the most eventful in Boulder’s cultural history – we invite you to join us on our journey. Join us as we reinvent what is possible for American orchestras today, and help us discover new ways to connect with our audiences and our community.

— Kevin Shuck, Executive Director

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To Our SupportersMICHAEL BUTTERMAN, MUSIC DIRECTOR

BOULDERPHILHARMONICORCHESTRA

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

MUSIC DIRECTOR Michael Butterman

PRINCIPAL GUEST CONDUCTOR Gary Lewis

COVER CONDUCTORS Andrew Crust Rafael RodriguezChristopher Tran

Kyle Heckman, PresidentRodolfo Perez,

Vice President

Patricia Butler, SecretaryJoel Kiesey, Treasurer

OFFICERS

Christopher BrauchliJoan BrettClaire FigelDavid FulkerLin HawkinsDeborah Holland

Erma ManteyEleanor PoehlmannKaryn SawyerJennifer StachniakLynn StreeterYenlik Weiss

BOARD

Kevin Shuck, Executive Director

Eve Orenstein, Director of Development

Shelley Sampson, Patron Services Manager & Artistic Administrator

Cynthia Sliker, Director of Community Engagement

Hitomi Tsuchiya Sipher, Orchestra Librarian

Janet Braccio, Publicity Consultant

Holly Hickman, Marketing Consultant

Chris Martin, Production Manager

Kim Peoria, Orchestra Manager

Betty Woon, Bookkeeper

Michelle Binzel, Development Consultant

Greta Parks, Marketing Intern

Adam Riggs, Education Intern

Matthew Dillon, Operations Intern

ADMINISTRATION

Barbara BrentonPamela DennisKent HansenRuth KahnSusan Olenwine

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Mary LennoxAmber MorrisJennifer MurpheyMarti OetzelCarolyn RichardsonBob RotheJay TaylorKathy VanestVictoria VanestPamela WalkerMonica Want

VOLUNTEERS

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Thank You!SEASON PRESENTING SPONSORS

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About the Boulder PhilAs one of Colorado’s premier

ensembles, the Boulder Philharmonic Orchestra is creating a new model for American orchestras through dynamic performances that reflect our community’s own values, creativity, and sense of place. Voted “Best of Boulder” yet again in 2015, today’s Boulder Phil is bucking national trends with growing, enthusiastic audiences under the vision and leadership of Music Director Michael Butterman.

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

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

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

GLEN

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Michael Butterman, Music Director

GLEN

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

conductors, Michael Butterman is recognized for his commitment to creative artistry, innovative programming, and to audience and community engagement. He serves as Music Director for the Boulder Philharmonic Orchestra, with whom he will appear at the Kennedy Center’s inaugural SHIFT Festival in 2017. He is also the Music Director of the Shreveport Symphony Orchestra and the Pennsylvania Philharmonic, as well as the Resident Conductor of the Jacksonville Symphony Orchestra. In addition, he is in his 16th season as Principal Conductor for Education and Community Engagement for the Rochester Philharmonic Orchestra, the first position of its kind in the United States.

As a guest conductor, Mr. Butterman makes his debut with both the Philadelphia Orchestra and the National Symphony Orchestra in the 15-16 season. His recent appearance with the Cleveland Orchestra resulted in immediate reengagement for two concerts the following season. Other recent appearances include performances with the Detroit Symphony, Houston Symphony, Colorado Symphony, Oregon Symphony, Phoenix Symphony, Kansas City Symphony, Colorado Music Festival Orchestra, Charleston Symphony, Hartford Symphony, San Antonio Symphony, Syracuse Symphony, New Mexico Symphony, Santa Fe Symphony, California Symphony, Louisiana Philharmonic, Spokane Symphony, El Paso Symphony, Mobile Symphony, Winston-Salem Symphony, Pensacola Opera, Asheville Lyric Opera and Canada’s Victoria Symphony. Summer appearances include Tanglewood, the Bravo! Vail Valley Music Festival and the Wintergreen Music Festival in Virginia.

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

For six seasons, Mr. Butterman served as Music Director of Opera Southwest in Albuquerque, NM. During much of that time, he was also Director of Orchestral Studies at the LSU School of Music and was Principal Conductor of the LSU Opera Theater. Previously, he held the post of Associate Conductor of the Columbus Pro Musica Orchestra, and served as Music Director of the Chamber Opera, Studio Opera, and Opera Workshop at the Indiana University School of Music. For two seasons, he was also the Associate Music Director of the Ohio Light Opera, conducting over 35 performances each summer.

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

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

www.MichaelButterman.com

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“Mr. Butterman’s energetic spirit and great sense of humor really make the concerts come alive.” - BVSD teacher

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

• Discovery Concerts introduce young students throughout the Boulder Valley School District and beyond to live symphonic music. Using a tailored Curriculum Guide that complements their core music curriculum, educators prepare students for the 50-minute interactive performance at Macky Auditorium – an experience that many students describe as “the best field trip of the year!” Sign up your school today for our next Discovery Concert at Macky on Thursday, February 11, 2016.

• “Michael Butterman Goes to School” Visits are a key part of the Phil’s Discovery Concert program, as our Music Director visits classrooms to introduce students to musical concepts, instrument families, music appreciation skills, and more. New this year, with support from the Noris Foundation, Boulder Phil chamber groups will also be visiting schools!

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

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

Your financial support of Boulder Phil education programs is critical to our success in enriching our community through music. For more information on becoming involved as a sponsor or participating in Education Partners, please contact Cynthia Sliker, Director of Community Engagement, at 303-443-9203 or [email protected].

Wish you could see more of Boulder’s talented youth sitting in the seats around you?

So do we – that’s why we’re launching Education Partners to provide Boulder private music teachers and community music schools with FREE tickets for their music students to attend select Boulder Phil concerts.

What better way to inspire the musicians of tomorrow than by giving them the experience of sitting right here in Macky Auditorium today hearing great live orchestral music and world-class guest artists! Find out more at www.BoulderPhil.org

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Boulder Philharmonic Orchestra 2015-2016 Program 1

St. Matthew PassionBOULDER PHILHARMONIC ORCHESTRA

Michael Butterman, conductor

Saturday, April 23, 2016Macky Auditorium, CU Boulder

6:00pm Pre-Concert Talk7:00pm Performance

Sunday, April 24, 2016Central Presbyterian Church, Denver

2:00pm Performance

Boulder Bach Festival ChorusZachary Carrettin, Artistic Director

Jason St. Clair, Guest Chorus Master

The University of Colorado Boulder University Choir Dr. Andrea Ramsey, Associate Director of Choral Studies

The University of Colorado Boulder University Singers Dr. Gregory Gentry, Director of Choral Studies

Boulder Children’s ChoraleKate Klotz, Artistic Director

Central City OperaRobert Neu, Stage Director

Derek Chester, EvangelistStephen Morscheck, Jesus

Jennifer Bird-Arvidsson, SopranoAbigail Nims, AltoKyle Stegall, TenorRyan Kuster, Bass

Johann Sebastian Bach St. Matthew Passion Part I (Duration: ca. 1 hr, 10 min)

— Intermission —

Part II (Duration: ca. 1 hr, 30 min)

Subscribers and guests are invited to our Season Finale Subscriber Appreciation Party

at the Dushanbe Tea House immediately following the performance, sponsored by Rocky Mountain Wealth Management

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

Program 2 Boulder Philharmonic Orchestra 2015-2016

ProgramDEREK CHESTER, Evangelist

Derek Chester has quickly established himself as a preeminent interpreter of oratorio repertoire and a teacher of the vocal arts. Chester received his bachelor’s degree in Vocal Performance from the University of

Georgia and his Master’s Degree in Vocal Performance of Oratorio, Early Music, Song, and Chamber Music on full scholarship from the Yale School of Music and Institute of Sacred Music. As a Fulbright Scholar, he spent a year in Germany working as a freelance musician and furthering his training. While maintaining an active performing career, Chester received his DMA in Voice Performance and Opera Studies from the University of North Texas, with a dissertation on the juvenile song compositions of Samuel Barber. Recent concert appearances include Handel’s Messiah with the Colorado Symphony Orchestra; a reconstruction of Bach’s St. Markus Passion with Barokksolistene of Norway; Monteverdi’s Vespers of 1610 with Boston Baroque; Beethoven’s Missa Solemnis at the Berkshire Choral Festival; Britten’s War Requiem with the Korean Broadcasting System Symphony Orchestra; Mendelssohn’s Symphony No.2 the “Lobgesang” with the Buffalo Philharmonic; and all of the major works of Bach with American Bach Soloists. Though his career is concentrated primarily in concert work, Chester is also passionate about opera and opera history, with theater credits including Ferrando in Cosi fan tutte, Nemorino in L’Elisir d’Amore, Peter Quint in Turn of the Screw, Oronte in Alcina, and Acis in Acis and Galatea. He currently serves as Assistant Professor of Voice at the University of Northern Colorado and is a featured soloist at the Staunton Music Festival and the Colorado Bach Festival. He continues his worldwide career as a sought after lyric tenor.

STEPHEN MORSCHECK, JesusBass-baritone Stephen Morscheck is widely respected for the dignity he brings in both concert and operatic performances. “Stephen Morscheck’s Leporello was genuinely funny, as well as solidly sung. His

catalogue aria was almost too effective, drawing applause before its conclusion,” says Opera News of a recent Don Giovanni performance. Known for his stunning interpretations of oratorio repertoire, Mr. Morsheck is highly sought after on concert and recital stages. Recent engagements include Bach’s St. John’s Passion with both Laudated Deum Chamber Choir in Switzerland and Soli Deo Gloria under John Nelson, and a gala concert with Lexington Bach Festival. This season, he will sing the role of Jesus in Bach’s St. Matthew’s Passion with Central City Opera and Boulder Philharmonic Orchestra.

JENNIFER BIRD, SopranoAmerican soprano Jennifer Bird enjoys a busy and varied singing career in the US and Europe, having built a reputation as a charismatic, intelligent and versatile performer of more than 50 roles in opera, operetta and

musical theater, as well as much of the standard oratorio and concert literature. As the recipient of a Rotary International Ambassadorial Scholarship, Jennifer studied in Germany in the Opernklasse of the Hamburg Musikhochschule, where she joined the vocal studio of renowned soprano Judith Beckmann. Engagements followed at the Landestheater Coburg, Bremer Theater, Vienna Volksoper, Nationaltheater Mannheim, and Theater Bonn, among others. Highlights have included the title roles in Lulu and Lucia di Lammermoor, Violetta in La traviata, and Konstanze in Die Entfuhrung aus dem Serail. Jennifer has been the soprano soloist with the Berlin Symphony Orchestra, the US Army Band at Carnegie Hall, the Stuttgart Philharmonic and with the Orchestra of the Warsaw Teatr Wielki. In 2010 she made her Alice Tully Hall debut in Orff’s Carmina Burana with the Riverside Choral Society. In 2012 Jennifer was the soprano soloist in the world premiere performances of Ticheli’s Songs of Love and Life, which have been recorded and released on the Klavier label. The 2015-2016 season will include Messiah with the Boulder Philharmonic, Mozart’s Requiem with the Midland Odessa Symphony and Chorus, and a return to Lincoln Center for Poulenc’s Gloria. Jennifer has been a prizewinner in several international competitions, including First Prizes in the Sylvia Geszty Competition


Programand the Robert Stolz Competition. She is a member of the voice faculty at the University of Colorado Boulder.

ABIGAIL NIMS, AltoMezzo-soprano Abigail Nims has quickly established herself as a musician of integrity and versatility through her performances of repertoire spanning from Bach, Handel, and Mozart to Crumb,

Ligeti, and contemporary premieres. Ms. Nims’ engagements during the 2014-15 season included Beethoven’s Mass in C and Choral Fantasy with the San Francisco Symphony; Beethoven’s Symphony No. 9 with the Indianapolis Symphony Orchestra; and the Messiah with the Portland Baroque Orchestra and the Colorado Bach Ensemble. Engagements during the 2015-16 season include Mozart’s Requiem with the Midland-Odessa Symphony; and the Messiah and Bach’s St. Matthew Passion with the Boulder Philharmonic Orchestra.

Abigail Nims is particularly praised for her expressive interpretations and tonal beauty in the concert repertoire. Recent performances include Bach’s Mass in B-minor with the San Francisco Symphony; de Falla’s Three Cornered Hat at the Colorado Music Festival; Bach’s St. John Passion with the Orquesta Sinfónica Nacional de Mexico; Stravinky’s Pulcinella, Haydn’s Harmoniemesse, and Crumb’s Night of the Four Moons with the Saint Paul Chamber Orchestra; Mahler’s Rückert Lieder at the Colorado MahlerFest; and Handel’s Messiah with the Virginia Symphony Orchestra, the Baltimore Symphony, the Masterwork Chorus at Carnegie Hall, and the ProMusica Chamber Orchestra.

KYLE STEGALL, TenorKyle Stegall, tenor, has garnered praise worldwide for his “lovely tone and ardent expression” (NY Times), as well as his “blemish-free production” (Sydney Morning Herald). Mr. Stegall has performed as soloist

under the direction of some of the world’s most celebrated conductors. A versatile artist with a reputation for intimate and genuine

vocalism, his repertoire spans the early baroque to the most contemporary of works with many world-premier performances to his credit. A specialist in music of the baroque, Mr. Stegall’s interpretations of the Bach evangelists and the leading roles of Handel and Charpentier are characterized by an unfailing attention to style and detail. Mr. Stegall is often heard in the Passions and Cantatas of J.S. Bach, the oratorios of Handel, the great masses of Mozart, Haydn, and Beethoven, and many others. He made his Lincoln Center debut as the evangelist in Bach’s St. John Passion, under Maestro Masaaki Suzuki, and is featured as soloist on the ABS Blu-Ray recording of Handel’s Messiah. Upcoming performances include appearances with St. Louis Bach Society and with the Australian International Opera Company. When not performing, Mr. Stegall commits his time to voice instruction, maintaining a private voice studio year-round.

RYAN KUSTER, Bass-BaritoneRyan Kuster is gaining national recognition for his recent appearances in Carmen, with Virginia Opera, Opera Colorado, Opera Grand Rapids, and Knoxville Opera. This season’s engagements include Angelotti in Tosca

with Dallas Opera, Masetto in Don Giovanni at Arizona Opera, Bartolo in Le nozze di Figaro with On Site Opera, Escamillo in Carmen with Arizona Opera, and will sing the bass solo in St. Matthew’s Passion with Central City Opera and Boulder Philharmonic. In recent seasons, Mr. Kuster made his symphonic début with the Los Angeles Philharmonic singing the role of Masetto in their highly acclaimed production of Don Giovanni; sang Alidoro in La Cenerentola for Nashville Opera and Opera Saratoga; Masetto in Don Giovanni with Cincinnati Opera; appeared in Dallas Opera’s production of Turandot.

ROBERT NEU, Stage DirectorKnown for his “distinctive staging style” and for being “the most inventive opera director in town” (St Paul Pioneer Press), Robert Neu is challenging the norms by becoming a pioneer in the field of

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Programsemi-staged operas and oratorios with symphony orchestras. Sought after for his highly theatrical and musically sensitive work, Neu has directed more than eighty productions of opera, musical theater, and plays throughout the country. This season’s productions include Neu’s début with Central City Opera and Boulder Philharmonic in a staging of St. Matthew’s Passion, La bohème with the Gulf Coast Symphony, a début with Emerald City Opera for Florencia en el Amazonas, and a début with Jacksonville Symphony for a remounting of Hänsel und Gretel. Neu will also be leading an exciting new site-specific production of Le nozze di Figaro set in the James J. Hill House in St. Paul, MN involving immersive theater where the audience members follow the story through different rooms of the historic home.

PROGRAM NOTESJOHANN SEBASTIAN BACH (1685-1750)Matthäus-Passion (St. Matthew Passion), BWV 244

Johann Sebastian Bach’s Saint Matthew Passion is one of the revered monuments of music that stands in the pantheon that includes a mere handful of works that are culturally, historically, and musically honored as cornerstones of western society. On one level, it is a religious choral work that was first used as part of the Good Friday celebration of 1727 in Leipzig, but it is far more. Simply put, it is snapshot of grand festival music at the largest church in Leipzig in the early eighteenth century and is perhaps the greatest work by one of the giants of music history.

Bach was a working musician in the Lutheran Church and the Saint Matthew Passion had a purpose. The Lutheran liturgy was rigid in its musical content. A weekly cantata would be interspersed throughout the service, which lasted about four hours. In all, Bach composed around 250 sacred cantatas of which almost 200 have survived. Most of these works were composed for the Lutheran Sunday service, but religious feast days demanded additional cantatas. Bach had to provide music for about sixty church performances each year. In addition to providing enough music, each work had to use an appropriate text to reflect the sermon of the day. Fortunately, these were outlined in the structure of the church year.

Major church holidays – Christmas, Good Friday, Easter, and feast days – required larger, more elaborate works. Bach’s Saint Matthew Passion is the largest and most elaborate of his holiday works.

Although Bach wrote at least four settings of various passion texts based on the Crucifixion accounts in the Gospels of Matthew, John, Luke, and Mark, only the Matthew and John versions survive. The St. Matthew Passion was composed while Bach was Cantor and Director of Choral Music in Leipzig where he composed the music for the two largest Lutheran churches in town – Thomaskirche and Nikolaikirche.

It was the unique characteristics of the Thomaskirche that allowed for the original structure of the St. Matthew Passion. The two organ lofts in the church allowed the use of two separated choirs, which is one of the most striking features of the structure. The 1742 revision was interesting in that the second organ part was changed to harpsichord continuo, because the organ in that loft was being repaired at the time.

This work draws its text from three sources. The primary text is based on chapters 26 and 27 of the Gospel According to St. Matthew. Other texts were drawn from the poetry of Christian Friedrich Henrici, who wrote under the pen name of Picander, and traditional Lutheran chorales, which would have been familiar to the congregations that first heard this music. Picander’s verses were widely available for purchase in Leipzig in the 1720s and 1730s.

One must remember that the Passions were not conceived as concert works. This is liturgical music divided into two halves between which the sermon was heard. The first half of the work preceded the sermon, but the second half commented on its subject. However, many of the work’s more creative and interesting moments are deserving of mention. At the time of Bach’s setting, the Leipzig Opera House had been closed for six years and the town council had set strict guidelines to prevent church music from becoming too theatrical. Bach ignored these regulations. In fact, as the illustrious conductor John Eliot Gardiner points out in his monumental book Bach: Music in the Castle of Heaven, Bach structured the work as an implied opera, but without staging, scenery, or costumes. A simplified version of Gardiner’s interpretation of the format is listed below:


ProgramIntroduction: Opening chorusPrologue: “Preparation of the Passion” From Jesus foretelling his Crucifixion to the

Last SupperAct I: “The Garden Act” From the Mount of Olives to Jesus’ Arrest

-SERMON-Introduction: Aria: “Ach nun ist mein Jesus hin”Act II: “The High Priests’ Act” From Jesus appearing befoe Caiaphas to

Peter’s denialAct III: “Pilate’s Act” Judas’ remorse to Jesus’ convictionAct IV: “The Act of the Cross” From the Via Dolorosa to the death of JesusAct V: “The Act of the Sepulchre” Earthquake to EntombmentConclusion: Final Recitative and Chorus

Of course, the above framework is not something that Bach ever expressed, but, compared to opera of his time, the influence is clear.

Perhaps the most striking feature of the St. Matthew Passion is the variety of textures that Bach created in immediate juxtaposition to each other. Listeners encounter the narrative from the Gospels sung by the tenor soloist as secco recitative (with just continuo and voice), the voice of Jesus surrounded by a halo of strings (except during his last words), two choirs spaced on either side of the congregation, the words of the apostles sung by a unified choir, and the familiar chorales performed in the same manner. While the narrative is told in recitative, commentary on the story is provided in the arioso movements and prayers are presented as arias.

Much attention has been paid over the years to the use of numerology in this work. Probably the most noticeable instance is the eleven repetitions of the words “Lord, not I” in the Last Supper scene. Of course, the twelfth apostle, Judas, does not sing this line.All of the above features are important, but it is crucial to hear the music primarily as a statement of Bach’s deep faith in both the teachings of his church and the immense power of music.

PART ONEChorus I & II and Chorale(Daughters of Zion and Faithful Souls)Come, daughters, help me lament,behold! - Whom? - the Bridegroom!Behold Him! - How? - As a Lamb.Behold! - What? - behold the patience,look! - Where? - at our guilt.See Him, out of love and graciousnessbear the wood for the Cross Himself.O innocent Lamb of God,slaughtered on the trunk of the Cross,patient at all times,however You were scorned.You have borne all sins,otherwise we would have to despair.Have mercy on us, o Jesus. Chorale:

2a. EvangelistWhen Jesus had finished this speech, He said to His disciples:

JesusYou know that in two days it will be Passover, and the Son of Man will be handed over to be crucified.

3. ChoraleHeart’s beloved Jesus, how have You transgressed,that such a harsh sentence has been pronounced?What is the crime, of what kind of misdeedare You accused?

4a. EvangelistThen the high priests and the scribes and the elders of the people gathered in the palace of the high priest, who was named Caiaphas, and took council how with deception they could seize Jesus and kill Him. They said, however:

4b. Chorus I & IINot, indeed, during the festival, so that there will not be an uproar among the people.

4c. EvangelistNow when Jesus was in Bethany, in the house of Simon the leper, a woman came to Him with a cup filled with valuable water; and she poured it upon His head as he sat at the table. When His disciples saw this, they were against it and said:

Chorus IWhat purpose does this foolishness serve? This water could have been sold for a high price and given to the poor.

4e. EvangelistWhen Jesus heard this, He said to them:

St Matthew Passion


ProgramJesusWhy do you trouble this woman? She has done a good deed for Me. You will have the poor with you always, but you will not always have Me. She has poured this water on My body because I will be buried. Truly I say to you: wherever this Gospel will be preached in the whole world they will tell, in her memory, what she has done.

5. Recitative A (Chorus I)O You dear Savior,when Your disciples foolishly protestthat this virtuous womanprepares Your bodywith ointment for the grave,in the meantime let me,with the flowing tears from my eyes,pour a water upon Your head!

6. Aria A (Chorus I)Repentance and regret, repentance and regretrips the sinful heart in two.Thus the drops of my tears,desirable spices,are brought to You, loving Jesus.

EvangelistThen one of the twelve, named Judas Iscariot, went to the high priests and said:

JudasWhat will you give me? I will betray Him to you.

EvangelistAnd they offered him thirty silver pieces. And from then on he sought opportunity to betray Him

7. EvangelistThen one of the twelve, named Judas Iscariot, went to the high priests and said:

JudasWhat will you give me? I will betray Him to you.

EvangelistAnd they offered him thirty silver pieces. And from then on he sought opportunity to betray Him.

8. Aria S (Chorus II)Bleed out, You loving heart!Alas! A child that You raised,that nursed at Your breast,threatens to murder its caretaker,since it has become a serpent.Evangelist

9a. EvangelistBut on the first day of unleavened bread the disciples came to Jesus and said to Him:

9b. Chorus IWhere do You want us to prepare to eat the Passover lamb?

9c. EvangelistHe said:

JesusGo into the city to a certain person and say to him: the Master says to you: My time is here, I will hold Passover in your house with my disciples.

EvangelistAnd the disciples did as Jesus had commanded them, and prepared the Passover lamb. And in the evening He sat at dinner with the twelve. And as they ate, He said:

JesusTruly I say to you: one among you will betray Me

9d. EvangelistAnd they were very troubled and began, each one among them, to say to Him:

9e. Chorus ILord, is it I?

10. ChoraleIt is I, I should atone,bound hand and footin hell.The scourges and the bondsand what you endured,my soul has earned.

11. EvangelistHe answered and said:

JesusHe who has dipped his hand in the bowl with Me will betray Me. The Son of Man will indeed pass away as it stands written of Him; yet woe to the man through whom the Son of Man is betrayed! It would be better for him if this man had never been born.

EvangelistThen Judas, who betrayed Him, answered and said:

JudasIs it I, Rabbi?

EvangelistHe said to him:

JesusYou say it.

EvangelistWhile they ate, however, Jesus took the bread, blessed and broke it and gave it to the disciples and said:

JesusTake, eat, this is My body.

EvangelistAnd He took the cup and blessed it, gave it to them and said:


ProgramJesusDrink from this, all of you; this is My blood of the new covenant, which is poured out for many for the forgiveness of sins. I say to you: from now on I will not drink again from this fruit of the vine until the day when I drink again with you in My Father’s kingdom.

12. Recitative S (Chorus I)Although my heart is swimming in tears,since Jesus takes leave of me,yet His Testament brings my joy:His flesh and blood, o preciousness,He bequeaths to my hands.Just as in the world, among His own,He could not wish them harm,just so He loves them to the end.

13. Aria S (Chorus I)I will give You my heart;sink within, My Savior!I will sink into You;although the world is too small for You,ah, You alone shall be for memore than heaven and earth.

14. EvangelistAnd when they had spoken the benediction, they went out to the Mount of Olives. Then Jesus said to them:

JesusTonight you will all be angry at Me. For it is written: “I will strike the shepherd, and the sheep of the flock will be scattered.” When, however, I rise again, I shall go before you into Galilee.

15. ChoraleAcknowledge me, my Guardian,my Shepherd, take me in!From You, source of all goodness,has much good come to me.Your mouth has nourished mewith milk and sweet sustenance,Your spirit has lavished upon memuch heavenly joy.

16. EvangelistPeter answered, however, and said to him:

PeterEven though everyone will be angry at You, yet I will never be angry.

EvangelistJesus said to him:

JesusTruly, I say to you: tonight, before the cock crows, you will deny Me three times.

EvangelistPeter said to him:

PeterEven if I must die with You, I will not deny You.

EvangelistAll the other disciples also said the same.

17. ChoraleI will stay here with You,do not scorn me!I will not leave You,even as Your heart breaks.When Your heart grows paleat the last stroke of death, Then I will hold You fastIn my arm and bosom.

18. EvangelistThen Jesus came with them to a garden, which was called Gethsemane, and spoke to His disciples:

JesusSit here while I go over there and pray.

EvangelistAnd He took Peter and the two sons of Zebedee with Him, and began to mourn and despair. Then Jesus said to them:

JesusMy soul is troubled even to death; stay here and watch with Me!

19. Recitative T (Chorus I) and Chorus IIO pain!Here the tormented heart trembles;how it sinks down, how His face pales!

What is the cause of all this trouble?The Judge leads Him before judgment.No comfort, no helper is there.Alas! My sins have struck You down;He suffers all the torments of Hell,He must pay for the crimes of others.I, alas, Lord Jesus, have earned this,that you endure.Ah! Could my love for You,my Savior, diminish or bring aid to Your trembling and Your despair,how gladly would I stay here!

20. Aria T (Chorus I) and Chorus III will watch with my Jesus,- So our sins fall asleep. - My deathis atoned for by His soul’s anguish;His sorrow makes me full of joy.- Therefore His deserved sufferingmust be truly bitter and yet sweet to us. –

21. EvangelistAnd went away a bit, fell down on His face and prayed and said:

JesusMy Father, if it is possible, let this Cup pass from Me; yet not as I will it, rather as you wish.


Program22. Recitative B (Chorus II)The Savior falls down before His Father;through this He lifts up Himself and everyonefrom our fallto God’s grace again.He is ready,to drink the Cup ofdeath’s bitterness,in which the sins of this worldare poured and which stink horribly,since it is pleasing to our loving God.

23. Aria B (Chorus II)Gladly will I force myselfto take on the Cross and the Chalice,yet I drink after the Savior.For His mouth,which flows with milk and honey,has sweetened the groundsand the bitter taste of sorrow,through His first sip.

24. EvangelistAnd He came back to His disciples and found them sleeping, and said to them:

JesusCouldn’t you then remain awake with Me one hour? Stay awake, and pray, so that you do not fall into temptation! The spirit is willing, but the flesh is weak.

EvangelistFor a second time He went away, prayed and said:

JesusMy Father, if it is not possible that this Cup pass away from Me, then I will drink it; thus may Your will be done.

25. ChoraleWhat my God wills always occurs,His will is the best,He is ready to help thosewho believe firmly in Him.He gives aid in need, this righteous God,and punishes with measure.Who trusts in God, builds upon Him firmly,God will never abandon.

26. EvangelistAnd He came back and found them sleeping, nevertheless, and their eyes were full of sleep. And He left them and went away another time and prayed for the third time, and spoke the same words. Then He came back to His disciples and said to them:

JesusAlas! Do you wish to sleep and rest now? Behold, the hour has come, when the Son of Man is to be handed over into the hands of sinners. Get up, let us go; see, he who betrays me is here.

EvangelistAnd as He was speaking, behold, there came Judas, one of the twelve, and with him a large troop from the high priest and the elders of the people with swords and spears. And the betrayer had given them a sign and said: “The one that I will kiss is Him; seize Him!” And just then he stepped forward to Jesus and said: JudasGreetings to You, Rabbi!

EvangelistAnd kissed Him. However Jesus said to him:

JesusMy friend, why did you come?

EvangelistThen they stepped forward and laid hands on Jesus and seized Him.

Lay open thy fire’s raging chasm, O hell, then, Now ruin, demolish, devour, now shatter With sudden most wrath the lying betrayer, that murderous blood!

27a. Aria SA (Chorus I) and Chorus I & IIThus my Jesus is now captured.- Leave Him, stop, don’t bind Him! - Moon and lightfor sorrow have set,since my Jesus is captured.They take Him away, He is bound.

27b. - Are lightning and thunder extinguished in the clouds?Open the fiery abyss, o Hell,crush, destroy, devour, smashwith sudden ragethe false betrayer, the murderous blood! –

28. EvangelistAnd behold, one of those who were with Jesus stretched out his hand and struck a servant of the high priest, and cut off his ear. Then Jesus said to him:

JesusPut your sword back in its place; for whoever takes the sword will perish through the sword. Or do you think that I could not ask My Father to send Me more than twelve legions of angels? How would the scripture be fulfilled then? It must happen thus.

EvangelistAt the time Jesus said to the crowd:

JesusYou have come out as if to a murderer, with swords and spears to take me; yet I have daily sat among you and have taught in the Temple, and you did not arrest Me. However all of this has happened in order to fulfill the writings of the prophets.

EvangelistThen all the disciples deserted Him and fled.


Program29. ChoraleO mankind, mourn your great sins,for which Christ left His Father’s bosomand came to earth;from a virgin pure and tenderHe was born here for us,He wished to become our Intercessor,He gave life to the deadand laid aside all sicknessuntil the time approachedthat He would be offered for us,bearing the heavy burden of our sinsindeed for a long time on the Cross.

PART TWO

30. Aria A (Chorus I) and Chorus IIAlas, now my Jesus is gone!- Where, then, has your beloved gone,O most beautiful among women? -Is it possible, can I behold it?- Which way has your beloved turned? - Alas! My lamb in the claws of a tiger;Alas! Where has my Jesus gone?- We will seek Him with you. - Alas! What shall I say to the soul,when she asks me anxiously:Alas! Where has my Jesus gone?

31. EvangelistBut after they had arrested Jesus, they brought Him to the High Priest Caiaphas, where the scribes and the elders had gathered. Peter, however, followed Him from afar to the palace of the high priest, and went inside and sat with the servants, so he could see how it came out. The high priests, however, and the elders, and the entire council sought false witness against Jesus, so that they could put Him to death, and found none.

32. ChoraleThe world has judged me deceitfully,with lies and false statements,many traps and secret snares.Lord, perceive me truthfullyin this danger;protect me from malicious falsehoods!

33. EvangelistAnd although many false witnesses came forward, they found none. Finally two false witnesses came forward and said:

WitnessesHe has said: I can destroy the temple of God and in three days build it up again.

EvangelistAnd the high priest stood up and said to Him:

High PriestDo you answer nothing to this, that they say against You?

EvangelistBut Jesus was silent.

34. Recitative T (Chorus II)My Jesus is silentat false lies,in order to show usthat His merciful willis bent on suffering for us,and that we, in the same trouble,should be like Himand keep silent under persecution.

35. Aria T (Chorus II)Patience, patience!When false tongues pierce.Although I suffer, contrary to my guilt,shame and scorn,indeed, dear God shallrevenge the innocence of my heart.

36a. EvangelistAnd the high priest answered and said to Him:

High PriestI abjure You by the living God to tell us whether You are the Christ, the Son of God!

EvangelistJesus said to him:

JesusYou say it. Yet I say to you: from now on it will come to pass that you will see the Son of Man sitting at the right hand of Power, and approaching in the clouds of heaven.

EvangelistThen the high priest tore his garments and said:

High PriestHe has blasphemed God; what further witness do we need? Behold, now you have heard his blasphemy. What do you think?

EvangelistThey answered and said:v

36b. Chorus I & IIHe is worthy of death!

36c. EvangelistThen they spit in His face and struck Him with fists. Some of them, however, struck Him in the face and said:

36d. Chorus I & IIProphesy to us, Christ, who is it who strikes You?


Program37. ChoraleWho has struck you thus,my Savior, and with tormentsso evilly used You?You are not at all a sinnerlike us and our children,You know nothing of transgressions.

38a. EvangelistPeter, however, sat outside of the palace; and a maid came up to him and said:

Maid IAnd you were also with that Jesus of Galilee

EvangelistHe denied it however before them all and said:

PeterI don’t know what you are saying.

EvangelistAs he was going out of the door, however, another one saw him and said to those who were near:

Maid IIThis one was also with that Jesus from Nazareth.

EvangelistAnd He denied again, and swore to it:

PeterI do not know the man.

EvangelistAnd after a little while people standing around came up and said to Peter:

38b. Chorus IITruly you are also one of them; your speech gives you away.

38c. EvangelistThen he began to curse and swear:

PeterI do not know the man.

EvangelistAnd just then the cock crew. Then Peter remembered the words of Jesus, when He said to him: “before the cock crows, you will deny Me three times.” And he went out and wept bitterly.

39. Aria A (Chorus I)Have mercy, my God,for the sake of my tears!Look here, heart and eyesweep bitterly before You.Have mercy, have mercy!

40. ChoraleAlthough I have been separated from You,yet I return again;even so Your Son set the example for usthrough His anguish and mortal pain.I do not deny my guilt,but Your grace and mercyis much greater than the sinthat I constantly discover in me.

41a. EvangelistThe next day, however, all the high priests and the elders of the people held a council about Jesus so that they could put Him to death. And they bound Him, led Him out and turned Him over to the Governor, Pontius Pilate. When Judas, who betrayed Him, saw that He was condemned to death, he felt remorse and brought back the thirty silver pieces to the high priests and the elders and said:JudasI have done evil by betraying innocent blood.

EvangelistThey said:

41b. Chorus I & IIHow does that concern us? See to it yourself!

41c. EvangelistAnd He threw the silver pieces into the temple and left, and went away and hanged himself. However the high priests took the silver pieces and said:

High PriestsIt will not do to put them into the coffers of God, since it is blood money.

42. Aria B (Chorus II)Give me my Jesus back!See the money, the murderer’s fee,tossed at your feet by the lost son!

43. EvangelistThey held a council, however, and bought a potter’s field with them for the burial of pilgrims. Therefore this same field is called the Field of Blood to this very day. Thus was fulfilled what was spoken through the Prophet Jeremiah, who said: “They have taken thirty silver pieces, the price of Him who was bought from the children of Israel, and have given them for a potter’s field, as the Lord has commanded me.” Jesus, however, stood before the Governor; and the Governor questioned Him and said:PilateAre you the King of the Jews?

EvangelistJesus, however, said to him:

JesusYou say it.


ProgramEvangelistAnd to the accusations from the high priests and the elders he answered nothing. Then Pilate said to him:

PilateDo you not hear how harshly they accuse You?

EvangelistAnd He answered him not even one word thus, to which even the Governor was greatly amazed.

44. ChoraleCommit your path,and whatever troubles your heart,to the most faithful caretaker,He, who directs the heavens,who to the clouds, air, and windsgives path, course, and passage,He will also find waysfor your feet to follow.

45a. EvangelistAt the festival, however, the Governor had a custom of releasing a prisoner to the people, whichever they wanted. He had, however, at the time a most unusual prisoner named Barabbas. And as they were gathered together, Pilate said to them:

PilateWhich one do you want me to release to you? Barabbas or Jesus, of whom it is said, He is the Christ?

EvangelistFor he knew well that they had handed him over out of envy. And while he sat upon the judgment seat, his wife sent to him and her message said:

Pilate’s WifeHave nothing to do with this righteous man; I have suffered much in a dream today on His account!

EvangelistBut the high priests and the elders convinced the people that they should ask for Barabbas and convict Jesus. So when the Governor answered and said to them:

PilateWhich one between the two do you want me to release to you?

EvangelistThey said:

Chorus I & IIBarabbas!

EvangelistPilate said to them:

PilateWhat shall I do then with Jesus, of whom it is said, He is the Christ?

EvangelistNevertheless the chief priests and the elders had now persuaded the crowd, that they should ask for Barabbas and destroy Jesus. And in answer now, the governor said unto them:

(Pilate) Which one would ye have of these two men here, who I set free to you?

(Evangelist) And they said:

(Crowd) 45b. Chorus I & IILet Him be crucified!

46. Chorale How strange is this punishment!The Good Shepherd suffers for the sheep.The Lord, the righteous One, atones for the crimeon His servant’s behalf.

47. EvangelistThe Governor said:

PilateWhat evil has He done then?

48. Recitative S (Chorus I)He has done good things for all of us;He gave sight to the blind,He made the lame to walk,He told us His Father’s word,He drove out the devil,He has strengthened the troubled.He took sinners in and embraced them,other than that, my Jesus has done nothing!

49. Aria S (Chorus I)Out of love my Savior wants to die,He knows nothing of a single sin,so that the eternal destructionand the punishment of judgmentwould not remain upon my soul.

50a. EvangelistThey screamed even more and said:

50b. Chorus I & IILet Him be crucified!

50c. EvangelistWhen Pilate saw, however, that he achieved nothing, rather that a much greater riot occurred, he took water and washed his hands before the people and said:

PilateI am innocent of the blood of this righteous man, see to it yourselves!

EvangelistThen all the people answered and said:


Program50d. Chorus I & IILet His blood be on us and on our children.

50e. EvangelistThen he released Barabbas to them; but Jesus he had scourged and handed Him over to be crucified.

51. Recitative A (Chorus II)Forgive this, God!Here stands the Savior bound.O scourging, o blows, o wounds!You hangmen, stop!Doesn’t the soul’s anguish,the sight of such horror soften you?Alas indeed! You have such heartsthat are like the whipping posts themselvesand even much harder.Have mercy, stop!

52. Aria A (Chorus II)If the tears on my cheekscan do nothing,o then take my heart as well!Yet let it, for the flow,when the wounds gently bleed,be the offering-bowl as well.

53a. EvangelistThen the soldiers of the Governor took Jesus with them into the courthouse and gathered around Him the entire troop; and undressed Him and put a purple mantle on Him; and they wove a crown of thorns and set it upon His head, and a reed in His right hand, and they bowed before Him and mocked Him, saying:

53b. Chorus I & IIHail to You, King of the Jews!

53c. EvangelistAnd they spit on Him and took the reed and struck His head with it.

54. ChoraleO Head, full of blood and wounds,full of suffering and shame!O Head, bound in mockerywith a crown of thorns!O Head, once beautifully adornedwith the highest honor and beauty,now rather supremely defiled:be greeted by me!

You noble countenance,before which rather should tremble and cowerthe great powers of the world,how spat upon are You,How ashen You have become!Who has treated the light of Your eyes,which is like no other light,so shamefully?

55. EvangelistAnd when they had mocked Him, they took off the mantle and put His clothes back on; and led Him out to be crucified. And as they were going out, they found a man from Cyrene named Simon; they compelled him to carry His cross for Him.

56. Recitative B (Chorus I)Yes, willingly are flesh and bloodcompelled to the Cross;The better it is for our souls,the bitterer it feels.

57. Aria B (Chorus I)Come, sweet Cross, this I want to say:My Jesus, give it always to me!If my suffering becomes too heavy one day,You Yourself will help me bear it.

58a. EvangelistAnd when they had come to the place named Golgatha, which is translated the place of the Skull, they gave Him vinegar to drink mixed with gall; and when He tasted it, He would not drink it. When they had crucified Him, however, they divided up His clothing and tossed lots over them, so that what was spoken through the Prophets was fulfilled: “They have divided my clothing among them, and over my robe they have cast lots.” And they sat around and kept watch. And over His head they lifted up a written sentence of death, namely: “This is Jesus, the King of the Jews.” And there were two murderers crucified with Him, one to His left and one to His right. But those who passed by cursed at Him and shook their heads, saying:

58b. Chorus I & IIYou who destroy the temple of God and build it up again in three days, help Yourself! If You are the Son of God, climb down from the Cross!

58c. EvangelistIn the same way the high priests also mocked Him, together with the scribes and the elders, saying:

58d. Chorus I & IIHe has helped others and He cannot help Himself. If He is the King of Israel, let Him climb down now from the Cross, and we will believe in Him. He has trusted in God to rescue Him now; He lied, because He has said: “I am the Son of God.”

58e. EvangelistIn the same way He was reviled by the murderers who were crucified with Him.


Program59. Recitative A (Chorus I)Alas, Golgatha, unhappy Golgatha!The Lord of glorymust shamefully perish here,the blessing and salvation of the worldis placed on the Cross as a curse.From the Creator of heaven and earthearth and air shall be withdrawn.The innocent must die here guilty;this touches my soul deeply;Alas, Golgatha, unhappy Golgatha!

60. Aria A (Chorus I) and Chorus IILook, Jesus has stretched out His handsto embrace us,come! - where? - in Jesus’ armsseek redemption, receive mercy,seek it! - where? - in Jesus’ arms.Live, die, rest here,you forsaken chicks,stay! - where? - in Jesus’ arms.

61a. EvangelistAnd from the sixth hour there was a darkness over the entire land until the ninth hour. And at the ninth hour Jesus cried out loudly and said:

JesusEli, Eli, lama sabachtani?

EvangelistThat is: “My God, my God, why have you forsaken Me?” Some of those, however, who were standing by, when they heard this, said:

61b. Chorus IHe is calling Elijah!

61c. EvangelistAnd some of them quickly ran, took a sponge and filled it with vinegar, and put it on a reed for Him to drink. But the others said:

61d. Chorus IIStop! Let’s see whether Elijah comes and helps Him.

61e. EvangelistBut Jesus cried out loudly once again and died.

62. ChoraleWhen I must depart one day,do not part from me then,when I must suffer death,come to me then!When the greatest anxietywill constrict my heart,then wrest me out of the horrorby the power of your anguish and pain.

63a. EvangelistAnd behold, the veil of the temple was torn in two pieces from top to bottom. And the earth shook, and the cliffs were rent, and the graves opened up, and many bodies of saints arose, who were sleeping, and came out of their graves after His resurrection and came into the Holy City and appeared to many people. The Captain, however, and those with him who were guarding Jesus, when they saw the earthquake and what happened then, they were terrified and said:

63b. Chorus I & IITruly, this was the Son of God.

63c. EvangelistAnd there were many women there, watching from a distance, who had followed Him from Galilee and had served Him, among whom were Mary Magdalene, and Mary the mother of James and Joseph, and the mother of the sons of Zebedee. In the evening however, came a rich man from Arimathea, named Joseph, who was also a disciple of Jesus; he went to Pilate and asked him for Jesus’ body. Then Pilate ordered that it be given to him.

64. Recitative B (Chorus I)In the evening, when it was cool,Adam’s fall was made apparent;in the evening the Savior bowed Himself down.In the evening the dove came back,bearing an olive leaf in its mouth.O lovely time! O evening hour!The pact of peace with God has now been made,since Jesus has completed His Cross.His body comes to rest,Ah! dear soul, ask,go, have them give you the dead Jesus,O salutary, o precious remembrance!

65. Aria B (Chorus I)Make yourself pure, my heart,I want to bury Jesus myself.For from now on He shall have in me,forever and ever,His sweet rest.World, get out, let Jesus in!

66a. EvangelistAnd Joseph took the body, and wrapped it in a pure shroud, and laid it in his own new tomb, which he had carved out of a single rock, and rolled a large stone before the opening of the tomb and went away. But Mary Magdalene and the other Marys were there, and they sat opposite the tomb. On the next day, that followed after the Sabbath day, the high priests and Pharisees came all together to Pilate and said:

66b.Chorus I & IILord, we have remembered that this deceiver said, when He was still alive: “I will rise again after three days.” Therefore order that the tomb be guarded until the third day, so that His disciples do not come and steal Him, and say to the people, “He has arisen from the dead;” and the newest fraud would be worse than the first one!


Program66c. EvangelistPilate said to them:

PilateYou have guards there; go and guard it as you see fit!

EvangelistThey went forth and protected the tomb with guards and put a seal on the stone.

67. Recitative BTAS (Chorus I) and Chorus IINow the Lord is brought to rest.- My Jesus, good night! -The weariness is over, that our sins have given Him.- My Jesus, good night! - O blessed bones,see, how I weep over You with repentance and regret,since my fall has brought such anguish upon You!

- My Jesus, good night! - Lifelong, thousand thanks to You for Your suffering,since You held my soul’s salvation so dear.- My Jesus, good night! –

68. Chorus I & IIWe sit down with tearsand call to You in the grave:rest gently, gently rest!Rest, you exhausted limbs!- Rest gently, rest well. - Your grave and headstoneshall, for the anxious conscience,be a comfortable pillowand the resting place for the soul.- rest gently, gently rest! -Highly contented,there the eyes fall asleep.

ORCHESTRA I ORCHESTRA IIVIOLIN I VIOLIN I Chas Wetherbee, co-concertmaster Zachary Carettin, co-concertmaster**Debra Holland Gyongyver Petheo Annamaria Karacson Veronica PigeonYenlik Bodaubay Weiss Malva Tarasewicz VIOLIN II VIOLIN II Sharon Park Regan KaneMiriam Linschoten Sarah DelevoryasSusie Peek Ingrid Peoria Paul Trapkus Lori Walker VIOLA VIOLA Mary Harrison* Michael BrookMatthew Diekman Aniel CabanStephanie Mientka Nancy McNeill CELLO CELLO Ben Hayek, viola da gamba** Marcelo SanchesCharles Lee* Eleanor Wells BASS BASS David Crowe* Brian Knott FLUTE FLUTE Elizabeth Sadilek* Caitlyn PhillipsAlaunde Copley-Woods Olga Shylayeva OBOE/OBOE D’AMORE OBOE/ENGLISH HORN Euridice Alvarez Max SotoKimberly Brody Tenly Williams BASSOON BASSOONCharles Hansen* Kim Peoria HARPSICHORD/ORGAN Thomas Jaber** * Principal ** Boulder Bach Festival Guest Artist

ORCHESTRA ROSTER

Central City Opera: Erin Joy Swank, Stage Manager


ProgramBOULDER BACH FESTIVAL CHORUS

For 35 years the Boulder Bach Chorus has been a major contributor both to the success of the Boulder Bach Festival and to the vital cultural scene of the Denver-Boulder region. The chorus comprises volunteer singers from all walks of life who share a love for the works of J. S. Bach and the desire to perform them meaningfully, with a variety of stylistic approaches and collaborating with both baroque period and modern instrument orchestras.SopranoPenny AndersonRisa BoozeMargot BrauchliJanet BrewerEvanne BrowneMarianne de AlwisVici DeHaanSophie Hernando

KofmanCathy LookAndrea LoveKamilla MacarToni Marinkovich

FormanJennifer MurpheyMary O’Brien

Shelley SampsonMadeline Smith

Ancilla IBaiba Sube Lennard

AltoLisa BoyumLynda EggersMolly HardmanJacqueline HooperMary JarrettLucy KellyDiana LoucksMelinda Mattingly Nina MeyersSara NeustadtlMelanie Reiff

Kerry ResseguieBonnie RichardsCathy Sparkman Linda WolpertDeanna Young

TenorPaul GibbTim GulsrudDavid NesbittTony PorterHerb RodriguezRon RoschkeDan SegerChuck SmythePaul Stuber

BassRick CollinsPete DawsonJoe de RaismesGreg DieterCharles Douthit

PetrusRichard EggersAndris Levensteins

Pontifix IAl LundellMark Meyer Paul MunschMark PersikoBruce RoseJim ToppingMatt Witherow

CU UNIVERSITY CHOIR AND UNIVERSITY SINGERSUniversity Choir of the University of Colorado Boulder is a highly select undergraduate

ensemble that has made numerous conference appearances and international tours over the years. University Singers is a highly select chamber ensemble from the University of Colorado

Boulder. The group is comprised of graduate and undergraduate student singers who have an extensive background in choral singing.

UNIVERSITY CHOIRSopranoAndie AnthonyKim BridgesNatalie BuchholzEmily EckTaylor GrahamSeana HarkerCassidy HempChloe MathisJulia WirthDiana Wohler

AltoAmbria BenavidesHannah Joy BloomElise DelawareJade EspinaLeigh FranciaJulieta GarciaRachel Garstang

Kamryn HollandSkye KiereGreta RiederKristin Schmitt

TenorKarl AllenBryant HakeCade HaleyPaul Reynerson

BassBrandon CottLogan FunderburkSam GirardeauDaniel KimAlexander LubarTimon MaternNicholas Renninger

UNIVERSITY SINGERS SopranoRebecca Knack Anne LonowskiMaggie MasciarelliGreta RiederAnna RoyerEmma Vawter

Ancilla II

AltoLia BendixNichol Elgin

Uxor PilatiElizabeth Gangware

Testis ISusanna JacobsonStacey LandesAllison Zema

TenorPaul AshourLane Melott

Testis IISeth OsbornJason St. ClairePaul Thompson

BassZachary Begley

JudasMatthew Brown

Pontifix IIJeffrey Dixon Erik JensenAaron Loeffler Kevin McKenzie

PilatusJack Skinner


BOULDER CHILDREN’S CHORALEThe Boulder Children’s Chorale serves students in first through eighth grade through three

performance ensembles: two Preparatory choirs for developing singers and Bel Canto, our top auditioned ensemble for experienced singers. Since it’s inaugural season in 2009, Boulder Children’s Chorale has collaborated with premier musical ensembles from across the Front Range including the Boulder Philharmonic Orchestra, Boulder Ballet, Boulder Chorale, Mahlerfest, Boulder Kids for Bach, the Baroque Chamber Orchestra of Colorado, Kutandara Marimba, CU Opera and CU Jazz.

BCC aims to achieve musical excellence while helping nurture and develop the musicianship and artistry of each child in our ensembles. Under the leadership of Artistic Director, Kate Klotz, the Boulder Children’s Chorale continues to grow in membership and provide musical education and enrichment to students from across Colorado’s Front Range. For more information on the Boulder Children’s Chorale, please visit www.boulderchildrenschorale.org

Madeline BeckerJulia CopeAnna EnssleEliana FeistnerIan FeistnerCelia GaitondeAllie Grasso

Nefeli HadjiyiannisKatie HartrickSarah HunterJuliana KrigsmanLouise LarsenAudrey MaloneyAnnaliese Markel

Corinne MenakerCaitlyn MitchellElla MitchellJaroldeen OvesonIñaki PalaciosAsa PreslerTessa Robinson

Lydia Soto RodriguezCoco RohdeScarlett SnyderPenelope VolkmarJonathan YenMichelle Zhang

CENTRAL CITY OPERACelebrating its 84th year in 2016, Central City Opera is the nation’s fifth-oldest opera company, located just 35 miles west of Denver in one of Colorado’s official National Landmark Historic Districts. The company continues to present artistically excellent professional opera in its annual summer festival; to offer career-entry training to young singers; to produce education and community service programs; and to preserve and maintain the Opera House and 30 other Victorian-era properties. Central City Opera’s 2016 Summer Festival runs July 9 to August 7 and features the 60th anniversary production of Douglas Moore’s The Ballad of Baby Doe and Puccini’s powerful thriller, Tosca, at the Central City Opera House. Two one-act operas will also be presented in Central City, Denver, Boulder and Colorado Springs: Mozart’s witty The Impresario and the story of Edward Hopper paintings that come to life, John Musto’s Later the Same Evening. Tickets start at just $31. Save 20% on The Ballad of Baby Doe or Tosca with code: BACH16.* Visit www.centralcityopera.org or call 303-292-6700. *Discount not valid of previous purchases.

Program

Contributions received in memory of

Tom Dickinson

Don & Alice AllenFrank ButcherKenneth & Lanoel CusterKathryn GoffCarol & George GrossmanBonnie & Quentin KarlsrudGlenn MoweryJim NeelyMarion PatonBarbara SableRosa & Allan ScottLynn Simonson

Richard & Jane BarkerBrewers AssociationJosephine BynderBill & Beth CarsilloBrook Reams &

Rochelle ChartierCollins FoundationCharles & Gail GrayLarry Day & Catherine

HaskinsJosie & Rollie HeathCherine & Mark HerrmannJohn HughesHolly Hultgren

Virginia JonesAnnlee LandmanCassidy & John LeeburgDave & Mary LeonardRichard & Linda LivingstonElizabeth MarrJulie & Tim MarshallJohn Dennis Hynes &

Virginia MedelmanMillstone/Evans Group

of Raymond James & Associates

Scott & Jean NelsonRonald & Joan Nordgren

Mary Ann O’LearyBeatriz & Juan RoedererDiane RosenthalRonald SintonDr. Courtland &

Carolyn SpicerJoyce & Rigomar ThurmerSusan West & Fred TobackVirginia Hill Charitable

FoundationDavid & Amy WeissAnne WenzelRick & Rebecca WhiteKeith Winton

We acknowledge donors who have given gifts of $100 or more since December 1, 2015 who are not already recognized elsewhere in the program:


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Knees Can Be Replaced.Moments Like This Can’t.

Don’t let chronic knee or hip pain take you away from the moments you enjoy most. Talk to the orthopedic experts at Boulder Community Health about the latest treatments available to help you get back to the activities you love, with the people you love—and sooner then you might think.

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BOULDER PHIL 2015-2016

Events of Note eWorks and Process: Choreography and Live Music Presented by the Boulder Philharmonic and Boulder Ballet

Tuesday, January 12, 2016 • 6 PM Shine Restaurant and Gathering Place 2027 13th Street, BoulderJoin us as we delve into how we bring collaborations between the Boulder Phil and Boulder Ballet to life! Music Director Michael Butterman and Artistic Director Ana Claire will discuss their inspiration and process for developing original choreography for Aaron Copland’s Rodeo, accompanied by live illustrations with dance and music.

6 PM - Hors d’oeuvres and mingling6:45 PM - Discussion and presentationTickets: $60

Meet the ArtistsProgressive Luncheon with violinist Anne Akiko Meyers, composer Missy Mazzoli, and Music Director Michael Butterman

Thursday, February 11, 2016 • 1 pmThe Academy970 Aurora Street, Boulder CO

Get to know Billboard’s top-selling classical artist of 2014, one of the most up-and-coming composers of our time, and the Boulder Phil’s innovative conductor at this unique event! Following a chat among the artists and a Q&A, they will each join you at your table for a course during this luncheon at The Academy.

1pm - Meet the artists1:30pm - Lunch with the artistsTickets: $75

Making the Masterworks at Macky: St. Matthews PassionThursday, April 21, 2016 5:30pmMacky AuditoriumCU Boulder Campus

Join us for an intimate performance, seated on stage at Macky Auditorium! Bach specialists will discuss and demonstrate the composition and vision of one of the most grandiose pieces of early music.

5:30pm - Discussion and performance6pm - Cocktail receptionTickets: $60


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DonorsThe Boulder Philharmonic Orchestra is able to provide high-quality artistic and education

programming thanks to its growing number of season subscribers, and the annual support of individuals, corporations, foundations, and government agencies. We take this opportunity to express our appreciation of those who made contributions or pledges from October 1, 2014 through December 1, 2015.

FOUNDERS CIRCLE ($30,000+)SCFDNyla & Gerry Witmore

GOLD CIRCLE ($10,000+)AnonymousPatricia ButlerColorado Creative IndustriesFlatirons BankDavid Fulker & Nicky WolmanGordon & Grace Gamm Wayne Itano &

Christine Yoshinaga-ItanoNational Endowment for the

ArtsNoris FoundationRodolfo & Margaret PerezLynn StreeterMarion Thurnauer & Alexander

Trifunac

SILVER CIRCLE ($5,000+)Anonymous (2)Albert & Rebecca BatesBoulder Arts CommissionThomas & Virginia CarrEleanor CrowJacqulynn GeisterDavid & Sara HarperMicro Motion/EmersonSteve & Jayne MillerNew Music USAHarry & Eleanor PoehlmannTebo Properties

BRONZE CIRCLE ($2,500+)The AcademyAnonymousAlbert & Nancy BoggessChristopher &

Margot BrauchliJoan BrettJoan ClelandThe Community Foundation

Serving Boulder CountyPamela DennisEide Bailly, LLPCarl & Ruth ForsbergJerry & Janet GillandLin & Matthew Hawkins

Kyle & Stephanie HeckmanMark & Cherine HerrmannTeresa Myrwang HolumMatthew HyattIBMSamuel & Carolyn JohnsonRuth Carmel KahnStephen & Judy KnappKiplund KolkmeierGeorge Lichter (in memoriam)Erma & John ManteyThe Newton Family FundFrank Palermo & Susan

OlenwineCarl & Kathy PolhemusRocky Mountain Wealth

ManagementKaryn Sawyer

LEADERSHIP CIRCLE ($1,000+)Anonymous (2)Gail Aweida (in memoriam)Bennie & Jannette BalkeBerenbaum, Weinshienk, LCBoulder County Arts AllianceAlexander & Sally BrackenBarbara BrentonLindley BrenzaAmy & Terry BrittonMichael Butterman & Jennifer

CarsilloMichael & Stephanie CarterToni & Nelson ChenTerry & Jenny CloudmanAlan & Tessa DavisJames Tailer & Donna DavisScott & Paula DeemerTom & Ursula DickinsonThe Louise & Grant Charitable

FundElyse GrassoMargaret HanssonRussell & Ann HayesJohn HedderichGrant & Holly HickmanDavid & Suzanne HooverHutchinson Black &

Cook, LLCQuentin & Bonnie KarlsrudRay & Margot LaPanseHarold & Joan Leinbach

Richard & Linda LivingstonFrances MacAnallyAnnyce MayerMillennium Harvest HouseEdith Morris TrustSusan & Paul RobertsJanet & David RobertsonJuan & Alicia RodriguezLuana RubinR. Alan & Stephanie RudyTK Smith & Constance HoldenArthur & Carol SmootEllen E. StewartAlan & Martha StormoMary StreetTaddiken Tree CompanyDick & Caroline Van PeltBetty Van ZandtJack & Brenda ZellnerArt Zirger & Mary Rowe

ARTIST CIRCLE ($500+)Randall & Jill AndersonAnonymousHelen BosleyCarolyn BradleyJean-Pierre & Glenna BriantJoe BrienzaAndrew & Audrey FranklinHans & Jeri FriedliRalph & Joanna GrassoJames & Gayle HeckmanGerald & Doree HickmanKathy & Randy HungatePaul & Nancy LevittJerry & Heidi LynchPatricia McCarthyBarbara & Irwin NeulightWilliam RoettkerRoss & Jane SheldonKevin Shuck & Greg GinocchioDebra VicharelliJack & Sophie WalkerVivian WilsonThe Winston Family Foundation

PARTNERS ($250)Joyce AlbersheimSydney & Robert AndersonAnonymousRichard BaileyJanet Bartsch


DonorsVincent BatesKaren BernardiJoan BleacherJanet BraccioCarls FundBen & Gale ChidlawBarry ClarkFirst Sunday NightersRichard Collins & Judy ReidJoe & Alice DoyleEllen FriedlanderAnn GarstangGerald & Anita GershtenJulie GinocchioDr. Gilberto GonzalezSusan & Gustavo GramppKen & Dianne HackettKent & Cathy HansenChuck HardestyJeannette HilleryCaroline HimesMark HoldbrooksStewart & Karen HooverDixie HutchinsonRichard & Ruth IrvinColman & Marcia KahnDavid & Carol KampertMatthew & Diana KaroweWilliam & Ann KelloggDon & Eleanor KingAnnette & Thomas KissengerBruce Kahn & Susan LittMary Marlino & Greg YoungMartha McGavinRichard & Donna MeckleyAlan & Judy MegibowRobert & Marilyn MohlingMary NakashianMartha & George OetzelBob OrecchioMolly ParrishJames PendletonMarjorie & Bob SchaffnerJane & Leo SchumacherRobert & Elizabeth ShayAndrew & Margrit StaehelinThomas & Nancy StormPeter & Laura TerpenningCourtney ThomasNicholas & Shelby VanderborghPamela WalkerPaul WeberBetty Woon

FRIENDS ($100+)Roberts AhrensRichard & Alma AlberAnonymous (3)Susan & Richard Anthes

Peggy ArchibaldJudith Auer & George LawrenceMary Inga BacklundRichard & Jane BarkerAnne & Harry BeerLes & Barbara BerryCatherine & William BickellAlan Bloom & Sue BohlineStephen Eisenberg &

Anne BurkholderJosephine & James BushMartha BushnellBob & Judy CharlesHelen CheneryDion & Alekie CheronisAndrew & Lois CherringtonDorothy CiarloRoger & Norma CichorzClaude Weil & Carolie CoatesCarol CogswellSara-Jane & Bill CohenMax & Barbara CoppomCharlotte CorbridgeVirginia CorsiMelinda CourtmanRichard Bixby &

Barbara Cox-BixbyBonnie Crissey & Richar OyeMargot CroweDan & Nancy D’IppolitoLynne DannenholdPeter & Joan DawsonLarry Day & Catherine HaskinsWarren & Vici DeHaanDavid & Susan DonaldsonDavid DowellLeslie & Donald DreyerNorman & Muriel EliotLee EllwoodSusan Ely & James HartmanJane EnterlineMartha Coffin EvansBeverly FestClaire & Art FigelWayne & Anne FischerNeil FishmanRobert & Juliette FordJohannah & O. Lehn FrankeBill & Randy GanterNeil Ashby &

Marcie GeissingerPeter Gilman & Peggy LemoneCharles & Gail GrayCharles & Patricia HadleySpencer & Valerie HavlickJames & Judith HeinzeSondra & RandyBurton & Maxine HobsonJohn Dennis Hynes

Arnie Jacobson & Victoria Johns-Jacobson

Wesley & Joanne JohnsonJo Ann JoselynJosh & Lori KahnRobert KehoeJoel KieseyAnn KileyEileen & Walter KintschBonnie KirschenbaumPeter & Judith KleinmanHoward & Barbara KlemmeBarry KnappJon & Lenna KottkeRichard KraftFrank KreithWesley & Heather Le MasurierDouglas LernerJoy LinfieldLeslie Lubovich &

Bruce WilsonAl Gasiewski & Rachel LumKamilla MacarSusan MagruderWilliam & Susan MarineMarian MathesonSteven & Susan MaxwellJ. Hunter & Janet McDanielMarla & Jerry MeehlElizabeth MeyerBarry & Gloria MillerRichard Nishikawa &

Kathleen MillerMillie & Ivan MillerSara MilmoeRoger & Lily MomentJoan MulcahyRobert & Francine MyersJames NeelyScott & Jean NelsonRonald & Joan NordgrenAlison & Graham OddieJan OsburnCorinne Effinger-OwenChristopher & Linda ParisDavid PaulsonRobert & Marilyn PeltzerMary & John PricePriscilla PritchardNicole RajpalRaymond & Mary RobleLester RonickCharles SamsonJudith SchillingDaniel & Boyce SherEdward SiegelCynthia Sliker & Robert SchallerTodd & Gretchen SlikerZdenka & Dean Smith


DonorsPamela & Michael SousaRobert & Joyce SpencerCourtland & Carolyn SpicerRandy StevensRon StewartGregory & Diane StreveyJames ToppingMichael & Nancy UdowRex VedderRichard & Wendy WolfBruce & Kathryn WoodruffTeresa WoodruffCharles Zabel

SUPPORTERS ($50+)Andrea AdamsSuzanne & Robert AndersonAnonymous (4)Elizabeth BeckerCynthia BettsDavid BlackburnDr. Peter BogenschutzVirginia BoucherJanet BrewerDebra & Charles BrindisDavid BurnsJane ByersJulianne Cassady

Thomas & Vivian CecilDeborah CrabbeCharles & Jean DinwiddieCaroline & Preston DouglasRuth FeiertagWilliam & Ann FordMichael Fried &

Cynthia GrossmanAndrew GaudetteGarry & Barbara GordonLotus FundDorothea & Ronald GreyKathryn Strand &

Eldon HaakinsonLinda & Nick HattelRobert & Penny HawsNatalie Hedberg & Thomas Van

ZandtHans JordanDiane KnudsenAlice KreinbringBrad LamC. Nicholas & Mollie LeePam LelandDavid & Elisa LockeJean & Megan MacMillanJ. Ramon McCarusDoris & Peter McManamon

Joanne MerasPolk Family Charitable FundPaul & Margaret PreoDayna & Robert RoaneRon RobeckRobert & Judy RotheBarbara SableCarol Saunders & Reed BaileyStephanie SchefflerAnn Schroeder &

Mark BallengerPeter & Barbara SchumacherNanette SchunkChristine ShieldsBetty SkippJennifer & Nick StachniakStacey Steers & David BrunelRobert & Julie StuenkelElaine TaylorKaren UtleyAmy L. VandersallDeborah VinkKathleen & Dennis WellmanRonald & Marlies WestPhillip Wong

Your Phil Goes to DC...

The Boulder Philharmonic Orchestra has been chosen to participate

in the new weeklong SHIFT Festival, taking place at the Kennedy Center in

Washington, DC, from March 27 through April 2, 2017. This inaugural, high-profile music festival showcases four orchestras and

provides a national platform to celebrate creativity and community engagement. The Atlanta Symphony Orchestra, North Carolina Symphony, and

the Brooklyn-based ensemble, The Knights, chosen from a pool of submissions from orchestras across North America, will also be participating. More details on the Boulder Phil’s involvement in this signature event will be forthcoming.

“I am thrilled and honored that we’ve been selected to perform in our nation’s capital

alongside some of the finest orchestras in the country... By connecting people to

orchestral music, the Boulder Phil strives to be an essential part of our community's cultural fabric. We couldn’t be more delighted to share

what’s working so well in Boulder with those involved in the first SHIFT Festival.” ~Music Director Michael Butterman


The Gift that Keeps on GivingYou can support the Boulder Philharmonic’s long-term health through a special gift

during your lifetime as well as by designating a gift in your will. You may elect to contribute either to the Phil’s traditional endowment fund housed at the Community First Foundation, or to the Gamm Fund which was established through a major gift by Gordon and Grace Gamm and which affords the Phil even greater long-term financial security. For more information, please contact Eve Orenstein at 303.443.0542.

AnonymousRobert & Sydney

AndersonJaime ArizaletaBud & Anne ArnoldCharles & Helen AumillerEmma BarnsleyFrancesco BeufStanley & Marge BlackBarbara BrentonSandra BrodieKurt & Alison BurghardtWanee & Joe ButlerJancey CampbellMelvin ClarkPolly CollierWilliam CurtisRob & Kitty deKiefferUrsula & Tom DickinsonCharles & Jean

DinwiddieGeorge & Sallie DuvallJohn & Elizabeth DynesGeorge & Peggy EarnestMaurine EatonOlivia EdwardsSylvia EllisPeter & Mary Jean

Ewing

Mac & Sandi FraserHans & Jeri FriedliRay & Mary Lynd

FrommerDavid Fulker & Nicky

WolmanGordon & Grace Gamm Lloyd D. GelmanWarren & Esther

GoedertStanley & Anni GoldbergRobert & Diane

GreenleeWilliam & Bonnie

HamiltonAaron & Doreen HarberRonald & Elizabeth

HarringtonRay & Connie HauserDebora HaynesWayne Itano & Christine

Yoshinaga-Itano Catherine JacksonMitchell & Laura

Brenton JacobBarbara JohnsonSam & Carolyn JohnsonPeter & Tamara Jorde

W. K. & Joanne Kilpatrick

Joan Knapp Harold & Joan LeinbachRick & Sue LevineWilliam Lightfoot & May

ChuJohn & Leslie LovettJane MahoneyByron & Virginia MayCarol May & Jim SaindonDenis & Judith NockRichard & Dona PadrnosMarion PatonPenni PearsonGary & Mhari PeschelJim & Elsie PettiboneTimothy Prout & Carol

DalagerDick & Kathryn RalstonBill & Marilyn

ReichenbergThomas RiisJo & Anna Marie RobbJuan & Alicia RodriguezJames & Rebecca RoserJack & Lynne RummelJodie RuthrauffRon & Margaret Saari

Merle & Rught SachnoffJody SarbaughWayne ScottElizabeth ShannonArt & Carol SmootMark & Mickey

StevensonAlan & Marty StormoJoan TalbotLyman TaylorGeorge & Caroline

ThompsonDouglas & Patricia

VidulichDiane VivasAlice Dodge WallaceJeffrey & Renee WhitePaul & Patricia WhiteRoe & Helene WillisCharles & Marjorie

WilsonRobert & Lawrie WilsonNyla WitmoreEd WolffRuth Yearns

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

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

DIRECTOR EMERITUSKim Coupounas, China Leonard

Dan SherORDER OF THE BATON

Your support makes our work possible

By making a gift to our endowment, you can create a permanent source of income that will ensure the continuation of our programs far into the future. This type of meaningful gift can create a legacy for you while providing lasting support for our mission.

Ways to make an endowment gift: Charitable Gift AnnuityCharitable Remainder TrustBequest

For more information, to make an endowment gift, or to let us know that you have included the Boulder Phil in your estate planning, contact Director of Development Eve Orenstein at 303.443.0542

Listen Locally

Sept. 27 Twyla Tharp Dance 50th Anniversary Tour

Oct. 9 SFJAZZ Collective Tribute to Michael Jackson

Nov. 6 Irish Chamber Orchestra Gábor Takács-Nagy, conductor

Dec. 11 Soweto Gospel Choir Jan. 21 Diavolo Feb. 14 BODYTRAFFIC March 1 Rising Stars of the Metropolitan Opera March 31 Indigo Girls

with the CU Symphony Orchestra April 15 Pablo Ziegler and Lara St. John

Piazzolla Central Park Concert Redux Plus Eklund Opera, Takács Quartet, Holiday Festival and Spring Swing All performances are on the CU-Boulder Campus

2015–2016 Seasoncupresents.org 303-492-8008

Tickets on

sale now!

BCOCOLORADO.ORG

Encore! Audience Favorites OCT 16,17,18

Mystery and Joy DEC 4 & 6

Bach Times Three FEB 26,27,28

Fanfares and Flourishes MAY 20,21,22

lourishes10TH ANNIVERSARY SEASON 2015/16


Ways to Support Your PhilWe rely on our community’s support to offer our artistic and education programs. We appreciate any support you can provide!

Discovery Concerts Build the Next Generation of Music LoversThe Boulder Phil’s Discovery Concerts introduce students throughout Boulder County and beyond to the magic of orchestral music. Our goal is to inspire students to begin instrumental study through the public schools, which studies show lead to improved academic performance in other areas as well. You can make a donation to directly support our Discovery Concert programs.

Boulder Phil Artistry Fund Brings Bold Ideas to Life! With some of the region’s best professional musicians on the roster, and world-class guest artists like the Takács Quartet, Christopher Taylor and Sarah Chang taking the stage, the Boulder Phil is truly a cultural asset to the community. But Michael Butterman knows we can do even more. Increasing the number of Masterworks concerts, incorporating rich multimedia presentations, building the orchestra’s technical and artistic capacity by restoring a full rehearsal schedule, engaging top performers that audiences long to see on the Macky stage…these are just a few of the ways in which your contribution to the Artistry Fund will help Michael to more fully realize his artistic vision for the orchestra in the coming years.

Sponsor a Musician as a Friend of the PhilBy making a pledge of two or more years as a Friends of the Phil sponsor, you provide critical support to the Phil by directly underwriting a portion of a professional musician’s salary. Our roster boasts some of the finest professional players in the region, and their artistry is at the heart of the concert experience that audiences thrill to season after season. Hiring the most qualified musicians requires a significant investment, and your participation in Friends of the Phil helps support the most talented artists in our community.

JOIN US AFTER THE SHOW! All Friends of the Phil sponsors will be invited to attend an exclusive reception with sponsored musicians during the season, immediately following a performance! Friends of the Phil are also invited to attend special open rehearsals to get a behind the scenes look and a chance to meet and mingle with musicians. Show your support of a Boulder Phil musician by joining the Friends of the Phil pledge program today!

For more information about making a donation to any of these programs, please contact Director of Development Eve Orenstein at 303-443-0542 or [email protected]. Thank you, Boulder!


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

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

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

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

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

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

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


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Shostakovich: DedicationJanuary 22 & 23, 2016

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Concerts at 7:30 pm, Pre-Concert Talks at 6:30 pmFridays at First Baptist Church of Denver

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boulder philharmonic, april 23-24, 2016

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