Events

EMILY COOLEY (b. 1990)
Argo (2016)

Philadelphia-based composer Emily Cooley’s work has been performed by a range of U.S. orchestral, chamber, and vocal ensembles. Also active as a concert producer and curator, she co-founded Kettle Corn New Music, a presenter of contemporary music in New York City.

Argo draws its title from the mythological Greek ship but does not present a literal narrative. Cooley explained the work’s evolving textures and shifting instrumental groupings in her notes for the 2016 premiere:

“In ancient mythology, the Argonauts gradually replaced every part of their ship the Argo over time, resulting in an entirely new ship, still named Argo. Many have pondered the ramifications of this story; namely, whether the ship remains the same if all its parts are replaced. I have thought about this as a metaphor for change: in people, in relationships, and in communities.

“Musically, the piece is led by the low strings. Their opening melody — two G’s sinking down to an F — pervades the whole piece, appearing in many guises. I’ve been very drawn to this simple musical gesture, and it is the origin of many of the piece’s ideas.”

Tonight’s performance is the Billings Symphony premiere of any Emily Cooley work.

WOLFGANG AMADEUS MOZART (1756–1791)
Violin Concerto No. 5, "Turkish" (1775)

Mozart was famous from his earliest childhood to the end of his life as a keyboard virtuoso, first on the harpsichord, later on the fortepiano. That he was also an excellent violinist is less well-known, though not surprising. His father was an outstanding violinist, author of a treatise on the art of violin playing which even today gives us important insights into eighteenth-century performing practice. It was only to be expected that the son would receive a thorough grounding in his father's instrument.

Four of Mozart's violin concertos were composed in 1775, when he was 19 years old. One was probably written a year or two earlier, and there are also two later ones of very doubtful authenticity, plus another which is an unquestionable forgery. Mozart wrote nothing more for solo violin and orchestra, except for isolated movements written as substitutes to use in these concertos, and some movements with important solo-violin parts included in orchestral serenades. His greatest concerted work involving the violin is the Sinfonia Concertante for violin and viola.

The A-major Violin Concerto, number 5, was completed in December of 1775, and probably performed soon thereafter. It begins with the usual orchestral setting-forth of the musical material. The soloist does not immediately re-state this, but enters with a brief, slow meditation. When tempo resumes, the soloist plays a new melody while the orchestra repeats its opening theme. Such imaginative touches continue throughout the movement.

William Hagen's performance will be the Billings Symphony's first complete performance of this piece.

JEAN SIBELIUS (1865–1957)
Symphony No. 2 (1901-1902)

Sibelius’ Second Symphony was conceived in the turbulent years at the turn of the 19th and 20th centuries when Finnish national identity was being forged.  It is not clear that the composer had an expressly nationalistic agenda here: the work was partly conceived during a stay in Italy and the episodic second movement is thought to have originated in sketches intended for a composition inspired by the Don Juan story. Later, Sibelius would only say that the music is "a struggle between death and salvation.”

The first movement begins with several short thematic ideas, some of which appear to be mere accompaniment although they will prove to have considerably more importance as the music progresses. Sibelius inverts the usual symphonic technique of presenting large themes, taking them apart and putting them back together. He tends to introduce fragments, then assembles them into longer statements and later returns them to their original state. The mysterious second movement is a series of paragraphs made even more dramatic through their powerful juxtapositions. A scurrying scherzo follows, relieved briefly by its more static trio. Without pause, the final movement, toward which the rest of the symphony seems to be building, begins gloriously after finally attaining D major, with colossal, loud, regal, and triumphant themes, often drawn from the first movement. Close friend and noted Sibelius interpreter, Robert Kajanus, wrote that the last movement “develops towards a triumphant conclusion intended to rouse in the listener a picture of lighter and confident prospects for the future.

The BSO previously performed Sibelius’ Symphony No. 2 in October 1981, under the baton of Maestro George Perkins, and in March 2004 and February 2017, under the baton of Anne Harrigan.

The concert will showcase 80 minutes of music and will include 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!)

Reserved Seating:

Tier 1 ticket - $80
Tier 2 ticket - $73
Tier 3 ticket - $64
Tier 4 ticket $48

Under 30/Student:

Tier 2 ticket - $42
Tier 3 ticket - $37
Tier 4 ticket - $27

*all ticket prices do not include box office fees

Tickets start at $48 for adults and go up to $80 based on the seat location. The least expensive seats are in the back of the balcony and the front row closest to the stage.

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

• New this year, we've introduced the Young Friends Program to eliminate barriers for younger audience members.
• 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. Subscriptions for our 2026–2027 season are available!
• If you’re a student, veteran, or active duty military, be sure to bring your student/VA/Military ID for great discounts!

Third-party tickets are not accepted. All tickets must be purchased through the Alberta Bair Theater Box Office.

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.