Events

BSYO Repertory Orchestra

Randy Tracy | BSYO Repertory Orchestra Director

Jimmy Chan | Percussionist

Danny Barsetti-Nerland | Percussionist

Eric Stoss | Percussionist

Billings Symphony Chorale Women

Wolfgang Amadeus Mozart (1756–1791)
Overture to La clemenza di Tito

Written in the final months of Mozart’s life, La clemenza di Tito (The Clemency of Titus) celebrated the coronation of Emperor Leopold II as King of Bohemia, and premiered at the Estates Theater in Prague on September 6, 1791—the same theater that had witnessed the premiere of Don Giovanni in 1787. The commission had originally been offered to Antonio Salieri, who was too busy to accept. Mozart’s earliest biographer Niemetschek alleged that the opera was completed in just 18 days, and in such haste that the recitatives were supplied by his student and copyist, Franz Xaver Süssmayr (who later completed February’s Requiem).

Mozart called this his “true opera,” referring to its noble subject and its vivid, colorful music. The opera’s hero, Titus, is a compelling portrait of a populist leader who learns the personal cost of political power. When his one friend, Sextus, is corrupted by a tough-minded beauty and driven to an act of terrorism, Titus forgives all, teaching a lesson in mercy as he himself gives up hope of happiness.

As befitted the stature of the commission and the opera’s place in the composer’s canon, the overture is one of the most brilliant and festive that Mozart ever wrote, with trumpets and drums adding a sense of pomp and grandeur, and scurrying string writing propelling the music forward with tremendous verve and energy.

While Mozart’s overtures have been a mainstay on BSO programs, this particular overture has only been performed once, for the 1991 Symphony in the Park, under the baton of Maestro Uri Barnea.

Russell Peck (1945–2009)

The Glory and the Grandeur

As a composer, Russell Peck worked to win a more prominent role for today’s symphony orchestra in our society’s musical life. “I think it’s very possible for people to be excited by what the orchestra has to offer—its great natural sound, the serious training and virtuosity of its musicians, the variety of instruments, the long history of tremendous masterpieces from which its tradition is shaped… For me, the orchestra offers transportation to heights, depths, mysteries, and revelations that simply are not accessible by other means.”

The Glory and the Grandeur was commissioned by the Greensboro (North Carolina) Symphony in 1988. The first performance was given with The Percussion Group/Cincinnati and conducted by Paul Anthony McRae. The title, taken from Edgar Allan Poe, does not imply monumentality, but rather celebrates the natural glitter of percussion. The three soloists and the orchestra combine for a variety of sounds including intricate passage work, transparent tranquility, antiphonal dueling, lighthearted humor, and powerful climaxes.

Peck’s “thirteen minutes of percussion dynamite” (Fanfare Magazine) previously thrilled Billings Symphony audiences in October 1993 with The Percussion Group and 2007 with The North Texas Percussion Trio.

Gustav Holst (1874–1934)

The Planets

Holst composed The Planets between 1914 and 1916. A private performance for an invited audience was given in 1918. The following year some of the movements were given a public performance, and the entire work received its premiere in 1920. For that performance, Holst provided the following remarks:

“These pieces were suggested by the astrological significance of the planets. There is no program music in them, neither have they any connection with the deities of classical mythology bearing the same names. If any guide to the music is required, the subtitle to each piece will be found sufficient, especially if it is used in a broad sense. For instance, Jupiter brings jollity in the ordinary sense, and also the more ceremonial kind of rejoicing associated with religious or national festivities. Saturn brings not only physical decay, but also a vision of fulfillment. Mercury is the symbol of the mind.” Holst pictured the seven planets (excluding Earth) known in his day. Pluto’s existence had been postulated, but it was not confirmed nor given a name until 1930.

“Mars, the Bringer of War” certainly sounds as if it had been inspired by World War I, but it was in fact completely sketched out before the first shots were fired. (Peaceful “Venus,” on the other had was written after hostilities were underway.) The ominous rhythms climaxing in fierce hammer blows and the writhing themes paint a vivid picture of war. Sir Adrian Boult, who conducted the initial private performance and recorded the work several times over the next half-century or more, wrote, “I well remember the composer’s insistence on the stupidity of war as well as all its other horrors, and I feel that the movement can easily be played so fast that it becomes too restless and energetic and loses some of its relentless, brutal, and stupid power.” (Others have written that Holst considered stupidity a sin against the Holy Spirit.)

“Venus, the Bringer of Peace,” according to one writer, “draws across the brazen throat of Mars a single thread of sound, a line of horn notes. At once the magic works and everything is as serene as before it was blatant.”

“Mercury, the Winged Messenger” speeds lightly through the orchestra, leaping from instrument to instrument with sparkling colors.

“Jupiter, the Bringer of Jollity” was seen by the composer as “one of those jolly fat people who enjoy life.” He presides over a very English folk festival. The broad tune in the middle of the movement was later appropriated for a patriotic hymn, much to the composer’s regret.

“Saturn, the Bringer of Old Age” begins somberly, proceeds on to a solemn procession, but ends in a calm depiction of the beauty and peace of old age.

“Uranus, the Magician” calls us to attention with brass and timpani. He is as much a comedian as a magician, displaying his tricks to a galloping rhythm which rises to a massive climax. There is a silence, then he quietly folds up his apparatus and slips away.

“Neptune, the Mystic” takes us to distant, icy infinities. At the end, offstage women’s voices sing a wordless chant that seems to have begun before the music and to continue after we can no longer consciously hear it.

The Planets has appeared on three Billings Symphony programs: October 1975 (under the baton of Maestro George Perkins), January 2001 (Maestro Uri Barnea), and March 2009 (Maestra Anne Harrigan). The above program notes for the 2001 program were written by former principal timpanist and librarian Jeffrey W. Edgmond.

The concert is just under 2 hours long, including a 20-minute intermission.

Whenever you want! Seriously, the tradition of clapping only at the end of pieces was only for a short time in the history of music. Typically, people like to clap after a great solo in a jazz tune, an impressive dance move, or after a great movement (section) in a symphony. If you really like a piece, clap at the end of the movement and yell "encore" if you want to hear more. (We love playing encores!)

Tickets start at $36 for adults and $15 for students and go up to $66 based on the seat location. The least expensive seats located in the back of the balcony and in the front row closest to the stage.

Here are some other helpful tips you should keep in mind:

• Interested in additional savings? Buy a subscription! Contact us at 406-252-3610 or visit our offices at 2820 2nd Avenue North and we'd be more than happy to find the best deal for you. While too late for this season, subscriptions for our 2023–2024 season are now available!
• If you’re a student, be sure to bring your student ID for great discounts!
• Area music teachers should enter special code here, or call the box office at 406-256-6052

More than anything, we want you to have fun and express your own style when you come to the Billings Symphony, so dress in a way that works for you. Some people love dressing up and going out—if that’s you, do it and you won’t be the only one, we promise. If you prefer to be more casual, then you probably won’t be the only one dressed casually, either. In short, you do you, and we’re just glad you’re joining us.

On-Street Parking

On City streets, there is both metered parking and posted parking. Metered parking times range from 2 hours to 10 hours and is free after 5 pm and on weekends.

There are two free handicap parking spots on the corner of North Broadway in front of U.S. Bank.

Garages

Park 1
Credit/Debit Cards Only. Located at 2912 Third Avenue North and is open to the public 24-hours per day – the office is open Monday through Friday, from 10:30am-6:30pm. There is free parking on Sundays.

Park 2
Credit/Debit Cards Only. Located at 2651 First Avenue North, Park 2 is open to patrons 24-hours per day – the office is open from 7:15am – 11:00pm, Monday through Saturday.

Park 3
Accepts Cash. Located adjacent to City Hall at 210 North 27th Street and is open 7am-11pm – the office is open Monday through Friday from 10:30am – 6:30pm. There is free parking on Sundays.

Park 4
Located at 515 North 31st Street. The garage and office are open only Monday through Friday from 5:30am – 9:30pm. After 9:30pm, parkers are unable to remove their vehicles from the garage.