Musicians in their Lairs III: Michael Butterman

Busier than ever, and figuring it all out as he goes

By Peter Alexander May 1 at 9:40 p.m.

“The biggest difference is that I’m not traveling,” says Michael Butterman, conductor of the Boulder Philharmonic.

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Michael Butterman, speaking by Zoom from his home office in Shreveport, La.

He is speaking from his home in Shreveport, La., where he is spending his time with his wife and daughter during the COVID-19 pandemic. During a normal year, the Shreveport Symphony, with the Boulder Phil, is one of three orchestras he leads. He is also conductor of the Pennsylvania Philharmonic, a regional orchestra that presents educational programs and concerts in central and southeastern Pennsylvania. When you add in guest conducting gigs, that creates a lot of travel.

“Typically about 10% of my time is spent performing and in rehearsals, and the other 90% is divided between administrative details, phone calls and emails,” Butterman says. “And studying scores, which I do at home. That’s what you do as a conductor, more than wave your arms around: look at dots on the page and try to figure out what they’re all about.”

When he first found himself at home full time, Butterman thought he would have lots of time for new musical projects. “When this first started, I thought, this is going to be a blessing in disguise,” he says.

“There’s so many scores that I haven’t cracked the code of yet, or things that are coming up that I want to get a jump on. And there’s all these other things, like practice piano—two hours a day even, which would be about 1 hour and 45 minute more than I had been doing for the past 10 years. All of that sounded like I could make good use of the time.”

The reality turned out differently, as all three orchestras had planning to do for the post-pandemic world. Since no one knows what to expect, or when, the planning had to encompass various scenarios. “I have found myself occupied with re-inventing what we do in these orchestras,” Butterman says.

“First dealing with the immediate fallout of all of this. How we’re going to re-budget for the rest of the season. Then there’ve been issues of how to reschedule next season, how many plan Bs and Cs and Ds do we need.”

The planning had to encompass several unknowns: when and under what conditions will they be able to invite people back into concert halls? Will there be a maximum occupancy imposed? And when will their audience be willing to gather in a full auditorium? Performing arts groups are grappling with those questions world-wide, the Boulder Phil as much as the Chicago Symphony or the Metropolitan Opera.

“More immediately, how can we continue to be a presence in our communities and in the lives of our patrons?” Butterman asks. The obvious answer is through the sharing of performances online, but most American orchestras were not well prepared for that possibility, both because of the lack of archival material in hand and because of union contracts that limit how electronic material can be shared.

“Most European orchestras were video recording all of their concerts, for archival purposes or for broadcast,” he explained. “But most American orchestras—no.”

The Boulder Phil has a few performances on video, and eventually those will be made available one way or another. And going forward, the possibility of streaming concerts is something that almost every orchestra and performer is thinking about. But it takes serious equipment for that to work above a very rudimentary level.

In the meantime, Butterman is doing what he can to keep the orchestras alive online. For all three he has already posted some combination of conversation and performance. You can see these posts for the Boulder Phil, Shreveport Symphony and the Pennsylvania Philharmonic online. Numerous posts are available on Butterman’s Youtube channel.

Negotiating this new world has taken more of Butterman’s time and energy than the familiar world of rehearsals and concerts. “I find myself busier now than I was before,” he says. “I knew how to do everything before. I knew how to study scores, I know how to plan rehearsals, I knew where to be at what time. And now we’re just figuring it out.”

Like everyone else these days, he is facing new tasks at home, too. “I do a lot more laundry than I ever did before,” he says, laughing. “Taking more walks, riding my bike—that’s all good.”

His daughter is in high school, so he does not find himself facing the homeschooling challenges that parents of younger children do. “I don’t think in some ways my role has changed much,” he says. “In fact, in many of the classes she’s studying now I’m not going to be much help, other than I’m a decent proofreader of English sentences.”

He and his wife, violinist Jennifer Carsillo, have already posted one performance on Youtube, and he hopes to post more performances. Making music is important for him.

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Michael Butterman and violinist Jennifer Carsillo, performing on Youtube from their home in Shreveport, La. 

“I really do hope to play more piano, because it allows me to create,” he says. “I’m never able to produce sound as a conductor, but at least I’m around sound that I have some influence over. But now nothing. So I have to get back to pressing keys and making sound myself. There is joy in that, of course, and that will make me a better musician the more I do “

The current crisis has led Butterman, like many musicians around the world, to think about the place of music in our culture, both in the current situation and beyond. “To put it bluntly, does it matter that we’re not able to get together and play a Beethoven symphony right now?” he asks.

“I think it does to some extent, but I also understand the larger context in which all of this is taking place.”

UPDATE: Cancellations of CU Performances; statement from Boulder Phil

Eklund Opera, Takács Quartet are included in the latest round of cancelations

By Peter Alexander March 11 at 3:57 p.m.

CU Presents and the University of Colorado, Boulder. have just announced the cancellation of all Spring 2020 College of Music events. Their statement specifies that:

This includes Eklund Opera, Artist Series, Takacs Quartet, ensemble performances and all other events. We will be in touch with ticketholders soon regarding next steps.

Please note that this includes the Eklund Opera production of  The Marriage of Figaro (scheduled for March 13–15) and the performance by the Kronos Quartet (March 19) previously covered in Boulder Weekly and on this blog.

The following is also posted on the CU Presents Web page:

We are currently working with the university to understand the impact this has on our events and will update patrons with more information as soon as possible. . . . CU Presents is committed to the health, safety and wellbeing of everyone at our events. We are actively monitoring the global coronavirus or COVID-19 situation and would like to point you to updates and resources from the University of Colorado Boulder and Boulder County Health.

The Boulder Philharmonic has sent a statement to its patrons and ticket buyers concerning the cancelation of its upcoming concerts March 21 and 22. This information will be shortly available on the Boulder Phil Web page.  Here is the message that has been sent to patrons:

We regret to report that the Boulder Phil will be unable to proceed with concerts scheduled for March 21 at Macky Auditorium and March 22 at Pinnacle Performing Arts Center. CU announced today the suspension of all campus classes and gatherings, and we are supporting public health and safety by suspending our concerts until the virus threat has passed. We hope these preventative measures will be effective as our community does its part to protect our citizens.
We view this change as a postponement, and we will reschedule the concert if at all possible. We will keep you informed of developments as we have information.
For all ticket holders, your tickets is valid for a rescheduled performance of this program, or for exchange to a future concert. If you prefer you may donate the value of your ticket to the Phil, or request a refund, by calling the box office, 303-449-1343 starting Monday.
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NOTE: As much as possible, I will attempt to keep updates concerning cancellations due to the novel coronavirus/COVID-19 current on the Web page. Anyone with further information is encouraged to contact this site at alex.peterm@gmail.com.

Boulder Phil announces 2020–21 Season

High drama from Hollywood to Peter Schaefer’s Amadeus to Wagner’s Ring Cycle

By Peter Alexander March 9 at  3 p.m.

The Boulder Philharmonic’s recently announced 2020–21 season will feature a full production of Peter Schaeffer’s Tony-winning play Amadeus, with live actors and orchestra; the return to Boulder of popular soloists Rachel Barton Pine (violin) and Jake Shimabukuro (ukulele); and two new works that were co-commissioned by the Boulder Phil.

Boulder Philharmonic in Macky

Boulder Philharmonic

Other highlights of the season will include concert music by Hollywood composers, an orchestral compilation of the most popular music from Richard Wagner’s epic four-opera cycle, The Ring of the Nibelungen, and a quirky 10-minute mashup of all nine Beethoven symphonies by Dutch composer Louis Andriessen.

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Charlie Chaplin in “Modern Times”

The orchestra’s 63rd season opens Oct. 3 with “From Vienna to Hollywood,” a concert featuring music by Charlie Chaplin, written for the film Modern Times; a violin concerto by Erich Wolfgang Korngold, a transplanted Austrian composer of film and concert music who lived in United States in the 1930, ‘40s and ‘50s, performed by violinist Philippe Quint; and Brahms’s First Symphony.

The remainder of the season comprises five further main season concerts, including the live performance of Amadeus Jan. 23, 2021, plus the annual performances of Nutcracker with Boulder Ballet Nov. 27 and 29, and “Jake Shimabukuro & the Boulder Phil” Feb. 6. (See the full listing of concerts and dates, below.)

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Rachel Barton Pine

The first of the two co-commissions will be performed Feb. 3, as part of a program titled “Ravishing Rachmaninoff.” Rachel Barton Pine, who was last in Boulder in 2014, will play the new Violin Concerto written for her by jazz pianist/arranger Billy Childs, which was commissioned by a number of orchestras around the country. The concerto is one of several projects Pine has undertaken to amplify African-American voices in classical music.

The season’s other new piece, Drew Hemenger’s Ozymandias, was initiated by the Boulder Phil and commissioned together with the Rogue Valley Symphony of Ashland, Medford and Grants Pass, Ore. A musical response to climate change, Ozymandias will feature tenor Matthew Plenk, faculty member at the University of Denver, and the University of Colorado Festival Chorus.

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Scenic design from the 1876 first performance of Wagner’s Ring Cycle

Ozymandias will be part of a program titled “Epic Tales,” although it might as well have been titled “Downfalls.” In addition to Hemenger’s score about climate change, the concert will include two other works that illustrate tales about bad choices that lead to bad results: Richard Strauss’ epic tone poem Don Juan, whose protagonist ends up in hell; and a 45-minute compilation of orchestral highlights from Wagner’s Ring Cycle, which ends with Brunnhilde’s fiery immolation and the collapse of Valhalla.

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Michael Butterman

The selection includes the most popular excerpts from Wagner’s four-opera cycle, presented in order: “The Entry of the Gods into Valhalla,” “The Ride of the Valkyries,” “Magic Fire Music,” “Forest Murmurs,” “Siegfried’s Rhine Journey” and “Brunnhilde’s Immolation Scene.” “It runs about 45 minutes, so we’ve cut out about 14 hours,” writes Boulder Phil music director Michael Butterman by email.

“Come to think of it, “ he adds, “We’re doing a lot of distilling this season: Mozart’s life in one evening, all of The Ring Cycle in 45 minutes; and Beethoven’s Nine Symphonies in 10 minutes.”

The “Season Finale” will take place May 2, 2021, with Andriessen’s 10-minute mashup of all nine Beethoven symphonies, The Nine Symphonies of Beethoven; Beethoven’s full, unexpurgated Third Symphony, the “Eroica”; and new Takacs Quartet member Richard O’Neill playing William Walton’s Viola Concerto.

Richard O'Neill Music Stand

Violist Richard O’Neill

“Our goal is to create programs and experiences that resonate with the artistic and intellectual pulse of our audience,” Butterman writes. “A work about our changing planet, a hybrid concert-play, a quirky condensation of Beethoven’s symphonies in 10 minutes—these are experiences that I believe Boulderites will enjoy.”

Additional events in the 2020-2021 season include concerts at Boulder Public Library, “Events of Note” featuring guest artists in intimate venues, pre-concert talks with Butterman, the #nophilter Happy Hour series with a string quartet of Boulder Phil musicians playing pop, rock, and metal, and the continuation of the “Nature & Music” guided hikes with Boulder Open Space & Mountain Parks naturalist Dave Sutherland.

Subscription packages are now available,. For more information, call 303-449-1343 or click here. Single tickets will go on sale June 1.

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Boulder Philharmonic: 2020–21 Season
(All performances in Macky Auditorium unless otherwise indicated)

B.Phil

“From Vienna to Hollywood”
7:30 p.m. Saturday, Oct. 3
2 p.m. Sunday, Oct. 4, Pinnacle PAC
Michael Butterman, conductor
Philippe Quint, violin

Charlie Chaplin: “Smile” from the film Modern Times
Erich Wolfgang Korngold: Violin Concerto
Brahms: Symphony No. 1 in C Minor, pp. 68

“Royal Fireworks!”
2 p.m. Sunday, Nov. 8, Pinnacle PAC
7 p.m. Sunday, Nov. 8 (note early start time)
Michael Butterman, conductor

Francis Poulenc: Suite française
Kurt Weill: Suite from The Threepenny Opera
Gounod: Petite Symphonie
Handel: Music for the Royal Fireworks

Tchaikovsky: The Nutcracker
With Boulder Ballet
Gary Lewis, conductor
2 & 7 p.m. Friday, Nov. 27
2 p. m Sunday, Nov. 29

Amadeus by Peter Schafer
With CU Department of Theater and Dance, Boulder Chamber Chorale
Michael Butterman, conductor
Bud Coleman, Director
7:30 p.m. Saturday, Jan. 23

Jake Shimabukuro & the Boulder Phil
7:30 p.m. Saturday, Feb. 6
Program TBA

“Ravishing Rachmaninoff”
7:30 p.m. Saturday, Feb. 13
Michael Butterman, conductor
Rachel Barton Pine, violin

Sergei Rachmaninoff: Vocalise
Billy Childs: Concerto for Violin and Orchestra
Rachmaninoff: Symphony No. 2 in E Minor, op. 27

“Epic Tales: Music to Honor the Earth”
7:30 p.m. Saturday, March 20
Michael Butterman, conductor
Matthew Plenk, tenor, and the CU Festival Chorus

Richard Strauss: Don Juan
Drew Hemenger: Ozymandias: To Sell a Planet
Richard Wagner: The Symphonic Ring

“Season Finale: Eroica”
7 p.m. Sunday, May 2 (note early start time)
Michael Butterman, conductor
Richard O’Neill, viola

Louis Andriessen: The Nine Symphonies of Beethoven
William Walton: Viola Concerto
Beethoven: Symphony No. 3 in E-flat Major (“Eroica”)

Boulder Philharmonic Statement on COVID-19

By Peter Alexander March 6 at 9 p.m.

The Boulder Philharmonic released the following statement from Executive Director Katherine Lehman at 4:30 p.m. this afternoon:

The Boulder Philharmonic is committed to the health and safety of everyone who attends our events. We are closely monitoring the global coronavirus situation and are in daily contact with our local, state, and federal partners. With cases now appearing in Colorado we will respond with all due caution to any potential health threat in our community. We are working with our partners at Macky Auditorium to take all appropriate safety precautions.
Currently there have been no scheduling changes to our events. We will update all patrons if any changes occur. Please be aware that we will not hesitate to postpone or cancel events if the situation warrants.
We know our patrons are thinking carefully about purchasing tickets for upcoming performances. To offer increased planning flexibility during this time, we are waiving all single ticket exchange fees for performances through April 30, 2020.
We also highly encourage those who feel unwell or who may be at increased risk to stay home, and we are happy to exchange any existing tickets for future events. You may call the Ticket Office at 303-449-1343 if you need to exchange tickets.
Again, all concerts are currently happening as scheduled. If we receive the recommendation to cancel events, we will prioritize the health of our audience, musicians and staff by implementing and communicating appropriate changes that ensure a safe environment. In the event of a cancellation, we will notify all ticketholders by email, phone and/or text at least 2-3 hours before the concert.
Sincerely,
Katherine Lehman
Executive Director
B.Phil

 

Boulder Phil guest pianist/composer López-Gavilán elicits cheers and applause

Butterman flavors an intriguing program with fiery expression

By Peter Alexander Nov. 4 at 12:15 a.m.

Last night (Nov. 3), conductor Michael Butterman and the Boulder Philharmonic brought their audience a remarkable piece of music that is likely unlike anything they had heard before.

Lopez Gavilan

Aldo López-Gavilán

The piece in question is Emporium: Concerto for Piano and Orchestra by the Cuban composer/pianist Aldo López-Gavilán. Butterman first heard Emporium on the radio and was captivated. His description of the piece as having bits and pieces of Philip Glass, Queen’s “Bohemian Rhapsody,” Prokofiev, and the Downton Abbey theme music, among other things, is both intriguing and apt.

As the title suggests, Emporium contains many things, all presented with a Cuban accent. With so much going on, it expands most listeners’ understanding of what a piano concerto might sound like. Last night it was performed by Phil with the composer as the engaging soloist.

The opening movement is dramatic and powerfully scored for both orchestra and piano. At one point I was thinking, ‘are we supposed to hear the piano?’ As the music built to a crashing climax, López-Gavilán, for all his obvious strength as a pianist, disappeared into the overall sound, only to emerge again as the music subsided toward a gentle close.

The impressionistic second movement blends, according to the composer’s notes, a Cuban revolutionary song with American country music as a symbol of peace between peoples. It is a beautiful, impressionistic movement and was beautifully played with lyrical exchanges between pianist and orchestra. The driven, exciting finale got an incisive performance from orchestra and soloist, and elicited raucous approval.

López-Gavilán is an exciting and energetic performer of stunning technical ability, and he is a composer of imagination. He returned to hold the audience spellbound with an astonishing, dense, intricately rhythmic encore that again was unlike anything you are I have likely heard. More cheers, whistles and shouts followed.

The concert opened with Ryan Alaniz, a 9-year-old 4th-grader, delighting the audience as guest conductor while the orchestra played “America the Beautiful.” The audience was invited to sing along, but no one in my section took up the invitation.

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Michael Butterman

Next was Astor Piazzolla’s Tangazo, a piece that Butterman likes to perform. It is one of the few pieces he has repeated with the Phil, but this time there was a twist: dancers Gustavo Naveira and Giselle Anne of the Boulder Tango Studio performed their own choreography in the narrow space between the orchestra and the edge of the stage.

Their performance was a free dance that responded to the changing moods and tempos of Piazzolla’s music. Like the score, the dance had tango elements throughout. I am not a dance critic, and I am not going to prove it by writing more, except that it was fun to see how artists from another medium responded to Piazzolla’s music. I and the rest of the audience enjoyed their dramatic flair.

After intermission, the orchestra performed Argentinian composer Alberto Ginastera’s Variaciones Concertantes. With each variation devoted to specific solo instruments, it gives the orchestra’s section leaders an opportunity to display their virtuoso skills.

From the opening soulful theme presented by harp and solo cello, through the sequence of variations for woodwinds, strings and brass soloists, the players responded to the challenge. Every solo dazzled. The final variation for full orchestra, set in the style of the high-voltage gaucho dance the malambo, was particularly dynamic.

The concert concluded with Ravel’s ubiquitous Bolèro. Everyone has heard this, in concert, in films and TV, in ice-skating competitions, and almost anywhere else music is used. The Phil’s performance provided what it is called for: a long, slow, carefully controlled crescendo, from the whisper of snare drum at the beginning until the sudden key change that is now so familiar it no longer surprises. Butterman and the players paced the performance nicely, never letting tempo or volume get out of control.

After the appropriately noisy conclusion, Butterman brought forward the snare drummer—who was stationed center stage throughout—for his own bow. After alternating two variations of the same one-measure rhythmic pattern for 15 minutes (or 16 or 17 depending on tempo), he deserved to be applauded.

The Boulder Philharmonic sounded as good last night as I have heard. The strings sound was smooth and warm and at times glossy. The winds played with precision and all the necessary flair in their solos. Butterman brought out the colors and the fiery expression of this intriguing program, which made for a fascinating and enjoyable evening.

CORRECTED Nov. 4 to add the name of the guest conductor, Ryan Alaniz.

‘Bamboozling’ piece anchors Boulder Phil concert

Cuban composer Aldo López-Gavilán performs his ‘Emporium’

By Peter Alexander Oct. 31 at 3:15 p.m.

Michael Butterman, conductor of the Boulder Philharmonic, was sitting in his driveway, thinking “What on earth is going on?”

“It was just an amazing mix,” he says of the music he was hearing on American Public Media’s radio program Performance Today. “I was trying to guess what it was. Whatever it was, it was exciting and intriguing.”

Lopez Gavilan

Aldo Lopez-Gavilán

It turned out to be Emporium for piano and orchestra by Cuban pianist/composer Aldo López-Gavilán, and Butterman decided he wanted to perform the piece with the composer on the Boulder Phil’s season.

The title gave Butterman the key to the wildly eclectic style of the piece. “When they said that the title was Emporium,” he says, “I thought, OK, it’s a cornucopia. It has influences from every possible genre and place that I could imagine.”

The title also suggested to Butterman that one could play almost anything with it, but he settled on music that had a stylistic relationship to López-Gavilán’s Latin American roots: Tangazo by Astor Piazzolla, the Variaciones Concertantes by Alberto Ginastera and Ravel’s Boléro.

Read more in Boulder Weekly.

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“Latin Fire and Boléro”
Boulder Philharmonic, Michael Butterman, conductor
With Aldo Lopez-Gavilán, pianist/composer
Gustavo Naveira and Giselle Anne, tango dancers

Astor Piazzolla: Tangazo
Lopez-Gavilán: Emporium for piano and orchestra
Alberto Ginastera: Variaciones concertantes
Ravel: Boléro

7 p.m. Sunday, Nov. 3 [PLEASE NOTE: SUNDAY AT 7, not Saturday]
Macky Auditorium
Tickets

 

Unexpected and unfamiliar

Boulder Phil opens with music by Rock & Roll Hall of Famers

By Peter Alexander

The Boulder Philharmonic Orchestra somewhat unexpectedly opens its 2019-20 season Saturday, Oct. 12, with music by two members of the Rock & Roll Hall of Fame, Jonny Greenwood of Radiohead and Jon Lord of Deep Purple.

Michael Butterman conducts the Boulder Phil - Glenn Ross Photo

Michael Butterman with the Boulder Phil. Photo by Glenn Ross.

Or maybe it’s not unexpected. “That sense of experimentation, of providing something offbeat — that is part of our identity,” Boulder Phil music director Michael Butterman says. “This program adheres to the approach that we’ve taken of presenting well-known works from the classical canon along with pieces likely to be a surprise.”

The work from the classical canon in this case is Schubert’s Fifth Symphony. Written when the composer was only 19, it is a lively and pleasant work that reflects Schubert’s admiration for Mozart.

In other words, it is worlds away from the Rock & Roll Hall of Fame.

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Flutist Elizabeth Sadilek-Labenski

The program is titled “Gritty/Pretty,” of which the gritty part is the suite from Greenwood’s score for the brutal film epic There Will Be Blood. “I didn’t come up with the [“Gritty/Pretty” title], Butterman says. “That’s marketing, but I kind of like it. I think it’s appropriate.”

If Greenwood is gritty, Lord’s suite for flute, strings and piano, To Notice Such Things, is pretty. The suite comprises six movements that range from sweetly lyrical to fast and virtuosic in the flute part, which will be played by the Boulder Phil’s principal flutist, Elizabeth Sadilek-Labenski.

Read more in Boulder Weekly.

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“Gritty/Pretty”
B.Phil logoBoulder Philharmonic Orchestra, Michael Butterman, director
With Elizabeth Sadilek-Labenski, flute

Johnny Greenwood: Suite from There Will Be Blood
Jon Lord: To Notice Such Things, Suite for flute, piano and strings
Schubert: Symphony No. 5 in B-flat major

7:30 p.m. Saturday, Oct. 12, Macky Auditorium

Tickets

Boulder Phil unveils new season, new motto, new logos

2019–20 season, labelled “Let’s play,” features pop elements throughout

By Peter Alexander April 7 at 3 p.m.

The Boulder Philharmonic Orchestra—now officially aka “Boulder Phil”—unveiled their coming season, a new logo, and a new motto at an event for friends and supporters of orchestra Thursday evening, April 4.

B.Phil logoAcknowledging popular practice, the name “Boulder Phil” has been incorporated into the official logo. The logo itself is actually three related symbols, all of them playfully swirling swoops and curls. And in the same spirit, the new motto, for the orchestra and for the season, is “Let’s play.”

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Jonny Greenwood of Radiohead

All of that reflects the 2019–20 season’s programming, which includes some familiar classical masterpieces and also elements popular in the culture at large and with Boulder audiences: Music by Jonny Greenwood of the alt-rock band Radiohead and by Jon Lord of Deep Purple; the return to the Boulder Phil of the piano duo Anderson & Roe, a Boulder audience favorite since their 2016 performance with the orchestra; a screening of the popular film Raiders of the Lost Ark with the John Williams score performed live onstage; and a concert of “The Music of Queen.”

The mixture of popular and classical ingredients is obvious from the very first concert, titled “Gritty/Pretty” (Oct. 12–13). Two of the works on the program are by Greenwood and Lord, two successful rock musicians who have turned to classical composition. Greenwood has written several orchestral scores for film, including the Academy Award-winning There will be Blood. The Phil will perform a suite from Greenwood’s score for the film, which suggested the “Gritty” part of the concert’s title.

Jon-Lord

Jon Lord

Lord, who was both a Rock and Roll Hall of Fame inductee and honorary Doctor of Music, was a composer of orchestral scores for more than 30 years, alongside his work with Deep Purple. Boulder Phil music director Michael Butterman says that he heard Lord’s To Notice Such Things, a six-movement suite for solo flute, piano and strings, while driving, and was so taken with the music that he stopped to find out what it was.

Not being up on rock performers, he admits that he thought “who?” when the piece was announced, but he went on to learn about Lord, and the piece, which was written in memory of one of Lord’s close friends. The Phil performance will feature the orchestra’s principal flutist, Elizabeth Sadilek-Labenski.

Also on the same program is Schubert’s Fifth Symphony which, along with Lord’s score, suggested the “Pretty” part of the title.

AndersonRoe+by+Ken+Schles

Anderson & Roe. Photo by Ken Schles.

Other nods to popular music in the program will be obvious: “Raiders of the Lost Ark in Concert” (Oct. 27) and “The Music of Queen” (Feb. 15, 2020) from Windborne Music, the same organization that produced “The Music of David Bowie” for the current season (May 4). Not directly from the pop music canon, but certainly popular with Boulder audiences will be the return of the piano duo Anderson and Roe (Jan. 25), whose highly entertaining performance style captivated Boulder Phil audiences in 2016.

Two pieces on the program will be arrangements by Greg Anderson, half of the duo: Ragtime alla Turca, based on Mozart’s “Rondo all turca” for piano, and Danse macabre bacchanale, based on music by Saint-Saëns. The same program will see Butterman join Anderson and Roe for Mozart’s Concerto for Three pianos, and a performance of Mozart’s joyful “Haffner” Symphony.

Z.Bailey

Zuill Bailley

Other returning guest soloists during the season will be cellist Zuill Bailey, playing Michael Daugherty’s Tales of Hemingway for cello and orchestra (Feb. 22) and violinist Jennifer Koh, playing Beethoven’s Violin Concerto (April 25). The latter concert will feature two pieces with accompanying visuals. Circuits by Cindy McTee will have visuals by computer graphics artist Aleksi Moriarty; and Alan Hovhaness’ Symphony No. 2, Mysterious Mountain, will have visuals by adventurer-composer Stephen Lias, whose compositions Gates of the Arctic and All the Songs that Nature Sings were premiered by the Boulder Phil in past seasons.

F.FLyers (2013)

Frequent Flyers Aerial Dance with the Boulder Phil (2013)

Frequent Flyers Aerial Dance will appear with the Boulder Phil for the first time since their joint performance at the Kennedy Center in Washington, D.C. in 2017, providing aerial choreography for the Butterfly Lovers Concerto by Chinese composers He Zhanhao and Chen Gang. The violin solo will be played by the Phil’s concertmaster, Charles Wetherbee.

 

The concert—rather hopefully titled “Rebirth of Spring”—will be presented March 21 and 22. Other works on the program will be Resurrexit by Mason Bates, Rimsky-Korsakov’s Russian Easter Overture and Stravinsky’s Suite from The Firebird.

Lopez Gavilan

Aldo López Gavilan

“Latin Fire & Boléro,” the concert scheduled Nov. 3, will introduce a new soloist to Boulder audiences, Aldo López Gavilán. The Cuban-born composer/pianist will play his own Emporium, a concerto for piano and orchestra, on a program that also features two works by Argentinian composers: Astor Piazzolla’s Tangazo, and Alberto Ginastera’s virtuoso orchestral piece Variaciones concertantes, which assigns each of nine variations to a different solo instrument from the orchestra. Closing out the program will be Ravel’s Boléro.

Other events that will be part of the season will be the annual Nutcracker performances with Boulder Ballet, Nov. 29–Dec. 1; and a new Holiday concert, “Christmas with the Phil,” Dec. 21–23. The latter will feature the Christmas section of Handel’s Messiah, and other seasonal music. Performances will be in more intimate venues than Macky Auditorium, including Boulder’s Mountain View United Methodist Church.

The full 2019–20 season of the Boulder Phil is listed below. Season tickets are currently on sale here.

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Boulder Phil 2019–20 Season
All concerts at Macky Auditorium unless otherwise specified

B.Phil logo.3

“Gritty/Pretty”
Michael Butterman, conductor, with Elizabeth Sadilek-Labenski, flute

Jonny Greenwood: Suite from There Will Be Blood
Jon Lord: To Notice Such Things
Schubert: Symphony No. 5

2 p.m. Saturday, Oct. 12, 7:30 p.m.
Sunday, Oct. 13, 2 p.m. at Pinnacle PAC

51K8ouYrHeL._SY445_“Raiders of the Lost Ark in Concert”
Film screening with live orchestral performance of John Williams’s score
Gary Lewis, conductor
4 p.m. Sunday, Oct. 27

“Latin Fire & Boléro”
Michael Butterman, conductor, with Aldo López Gavilán, piano

Astor Piazzolla: Tangazo
Aldo López Gavilán: Emporium
Alberto Ginastera: Variaciones concertantes
Ravel: Boléro

7 p.m. Sunday, Nov. 3

Nutcracker Ballet by Tchaikovsky
With Boulder Ballet
Gary Lewis, conductor

Photo-by-Eli-Akerstein

Boulder Ballet’s Nutcacker. Photo by Eli Akerstein

2 p.m. Friday, Nov.29
2 and 7 p.m. Saturday, Nov. 30,
2 p.m. Sunday, Dec. 1

“Christmas with the Phil”
Gary Lewis, conductor

Handel: Messiah (Part I: Christmas section) and other works

7 p.m. Saturday, Dec. 21, Vilar Performing Arts Center, Beaver Creek, Colo.
2 p.m. Sunday, Dec. 22, Mountain View United Methodist Church, Boulder
7:30 p.m. Monday, Dec. 23, Lone Tree Arts Center, Lone Tree, Colo.

“Anderson & Roe Return!”
Michael Butterman, conductor, with Greg Anderson and Elizabeth Joy Roe, duo-pianists

Gabriel Fauré: Masques et Bergamasques
Mozart: Concerto for Three Pianos, K242
Mozart/Anderson: Ragtime alla Turca
Mozart: Symphony No. 35 (“Haffner”)
Saint-Saëns/Anderson: Danse macabre bacchanale

Saturday, Jan. 25, 7:30 p.m.

“The Music of Queen”
Brent Havens, conductor
7:30 p.m. Saturday, Feb. 15

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Michael Daugherty

“Hemingway Portraits & Sibelius”
Michael Butterman, conductor, with Zuill Bailey, cello

Michael Daugherty: Tales of Hemingway
Sibelius: Symphony No. 2

Saturday, February 22, 7:30 p.m.

“Rebirth of Spring”
Michael Butterman, conductor, with Frequent Flyers Aerial Dance and Charles Wetherbee, violin

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Mason Bates. Photo by Lydia Danmiller

Mason Bates: Resurrexit,
He Zhanhao and Chen Gang: Butterfly Lovers Concerto
Rimsky-Korsakov: Russian Easter Overture
Stravinsky: Suite from The Firebird (1919)

7:30 p.m. Saturday, March 21
2 p.m. Sunday, March 22, at Pinnacle PAC

“Beethoven & Beyond”
Michael Butterman, conductor, with Jennifer Koh, violin

B.Phil logo.2Cindy McTee: Circuits, with visuals by Aleksi Moriarty
Alan Hovhaness: Symphony No. 2, Mysterious Mountain, with visuals by Stephen Lias
Beethoven: Violin Concerto

7:30 p.m. Saturday, April

Tickets and more information: Five- and six-concert subscription packages are now available; click here or call 303-449-1343. Single tickets go on sale June 1, 2019.

 

Gary Lewis and Boulder Philharmonic perform live to popular film scenes

“Pixar in Concert” features music from Toy Story, Incredibles, Finding Nemo and more

By Peter Alexander March 21 at 4:15 p.m.

You have probably seen the films, even if you don’t know who composed the music.

pixarinconcert_previewThe Boulder Philharmonic is presenting “Pixar in Concert” Saturday (March 23), with music from a baker’s dozen films, including Toy Story, Cars, The Incredibles and Finding Nemo, among others. The composers of these well known film scores are Randy Newman, Michael Giacchino and Thomas Newman.

Recognize those names?

Only the first of them is well known, as much for his career as a recording artist as for his numerous film scores, including Toy Story, A Bug’s Life, Monsters, Inc. and Cars. Giacchino and Thomas Newman, however, are much less known by name, even though they have scored some of the most popular films of recent times, including Cars 2, The Incredibles and Finding Nemo.

The music will be performed live with clips from these Pixar films. Principal guest conductor Gary Lewis will conduct the Philharmonic.

Orchestral concerts of film music are more and more common. That is partly because of the quality of the composers writing today, and also the popularity that their music has achieved. “John Williams and others like him have really brought symphonic music to the masses, in a way,” Lewis says. “Now that has sort of turned around where symphony orchestras are latching onto that popularity to help bring people into the concert hall.”

The composers for this program are some of the best, Lewis says. Randy Newman is “just one of the great talents of our generation—an amazing pianist and songwriter and composer, sort of all in one package.” And Giacchino and Thomas Newman “are the new generation that is writing and scoring these Pixar films. They’re quite talented, and it’s really interesting music.”

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Conductor Gary Lewis

Keeping live music synchronized with the film excerpts is not an easy task. “In fact this is one of the most challenging concerts or programs that I have conducted, and I do a lot of this kind of stuff,” Lewis says. “The tempos, the techniques required, the size of the orchestra with guitarists and rhythm section and saxophonists and a large percussion section, harp, piano, and synthesizers—it’s complex!”

We are all used to seeing these films and having the music flow seamlessly along with the action—the outcome of compositional skill and the technical magic that is applied in postproduction. Coordination between film and music can be achieved with great precision through digital editing. But it’s a different matter when 80 or 100 musicians sit down onstage and have to play live with film events that can be measured in fractions of a second.

“For me, that is just another aspect of [conducting] that I enjoy the challenge of,” Lewis says. He has been doing it for some time, and he has managed to deal with several different ways of achieving some degree of synchronization.

“The most challenging thing that I’ve ever conducted was a Wizard of Oz, which was before everything was digitized,” he says. “The synchronization of that was with a sweep hand on an analog clock. I had to be able to start and stop with no other method of synchronization.

“With things that have singing or musical accompaniment that you had to accompany with the orchestra, there were all sorts of little anomalies in the [film] editing process where they would rush or drag. It was like nailing Jello to the wall.”

Happily, those days are past. Today, there are several forms of synchronization of which the most precise are “click tracks”—a sort of digital metronome signal that is created to exactly match with the film. Performers wear headsets so they can hear the clicks to keep together with one another and the film.

“This show has click tracks, [which] will be exceptionally helpful,” Lewis says. “Some of the tempo changes are just immediate and not particularly organic.” In this case, Lewis and some of the percussionists will hear the click tract, while the rest of the orchestra players will follow Lewis in a more or less normal way.

But while it’s fascinating to know the details of how the performance comes about, and what’s going on when you are there, Lewis doesn’t want the audience to sit there thinking about the technical details. When there was singing, as in The Wizard of Ozˆ, “if you didn’t line up, it was quite obvious,” he says. But for “Pixar in Concert,” it will be “just the orchestra, so if something doesn’t quite line up, most people wouldn’t even notice.”

Apart from the technical aplomb that it takes to pull off the performance, Lewis has a slew of other reasons why you should go this concert. “The animation is brilliant, as with all Pixar productions,” he says. “And the music is engaging as well. There’s everything from hard driving jazz to Latin, to Americana.

“There’s a lot of variety and it’s all really, really fun stuff.”

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Boulder Philharmonic Orchestra

Pixar in Concert
Boulder Philharmonic, Gary Lewis, conductor

Randy Newman: Music from Toy Story, A Bug’s Life, Monsters, Inc., Monsters University and Cars
Michael Giacchino: music from Coco, Ratatouille, UP, The Incredibles, Cars 2 and Inside Out
Thomas Newman: music from Finding Nemo and WALL-E

7:30 p.m. Saturday, March 23
Macky Auditorium

Tickets

Boulder Philharmonic pairs ‘complementary’ composers Beethoven and Elgar

Program highlights cellist Astrid Schween, new work by Boulder native Kristin Kuster

By Peter Alexander Feb. 28 at 12:40 p.m.

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Astrind Schween will play the Elgar Cello Concerto with the Boulder Philharmonic. Photo by Steve Sherman

Michael Butterman, music director of the Boulder Philharmonic, thinks that Beethoven and the English composer Sir Edward Elgar go well together, but he’s not quite sure why.

“I always think of Beethoven and Elgar as complementary,” he says. “It’s a gut sense, and I can’t put my finger on it.”

Finger on it or not, when the guest soloist for Saturday’s concert, cellist Astrid Schween, was selected to play the Elgar Cello Concerto, Butterman picked Beethoven’s Fourth Symphony for the same program. Also on the program is the first Colorado performance of Dune Acres, a new work by Boulder native Kristin Kuster.

Read more in Boulder Weekly.

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“Elgar and Beethoven”
Boulder Philharmonic Orchestra, Michael Butterman, music director
With Astrid Schween, cello

Kristin Kuster_preview

Composer Kristin Kuster

Kristin Kuster: Dune Acres (Colorado premiere)
Edward Elgar: Cello Concerto
Beethoven: Symphony No. 4

7:30 p.m. Saturday, March 2, Macky Auditorium
Tickets

There will a free pre-performance program at 6:30 p.m. in Macky Auditorium, hosted by Marilyn Cooley of Colorado Public Radio, with Michael Butterman, Astrid Schween and Kristin Kuster.