Events

BRIAN RAPHAEL NABORS (b. 1991)
Pulse (2019)

In the composer’s words: My conception of Pulse began as a long contemplation of daily life as we know it, combined with thoughts of life in nature. The universe seems to have this natural rhythm to it. It is as if every living and moving thing we are aware and unaware of is being held together by a mysterious, resolute force. Pulse is an episodic rhapsody that explores several phases and colorful variants of rhythm all held together by an unwavering pulse.

Each episode is meant to symbolize a different scenario of life for the listener, be it a buzzing modern metropolis, a deep wilderness abundant with animalia, or the scenic endless abyss of the ocean. All of these worlds and their philosophical meanings are then brought together in a contemplative theme of “unification” in the strings that symbolizes our deep connection as living beings to everything within, over, under, and around us.

MAX BUNCH (1838–1920)
Violin Concerto No. 1 (1865-1868)

Bruch's contemporaries expected him to be remembered for his large-scale choral works, but it is his music for violin and orchestra that is most often heard nowadays. His First Violin Concerto and Scottish Fantasy appear regularly on concert programs. His Kol Nidrei for cello and orchestra is occasionally performed, as well. He wrote a great deal of music, including two more violin concertos, but it is seldom heard.

Bruch began jotting ideas for his First Violin Concerto in 1857, but did not seriously set to work on it until 1865. A trial performance was given in the spring of 1866, but that summer the composer made extensive revisions and sent the score to the great violinist Joseph Joachim for criticism. Joachim suggested numerous changes, and eventually gave the first performance of the final version in 1867. The concerto begins with a freely-structured movement labeled "Prelude." Because of this, Bruch originally planned to call the whole work a fantasy rather than a concerto, but Joachim said that the sonata-form structure of the second and third movements merited the more formal title. The second movement exploits the violin's songfulness, while the final alternates dance rhythms with broad, grandiose passages.

PYOTR ILYICH TCHAIKOVSKY (1840–1993)
Symphony No. 4 (1877-1878)

Musicologist Susan Keys eloquently comments on the composer's words: "Tchaikovsky's often uneasy balances are well-known: between a profoundly Russian spirit and European training, between heartfelt romanticism and reverence for Mozart's classicism, and, most painfully, between homosexuality and society's intolerance. His Fourth Symphony is the first full expression of his artistic voice and represents a turning point on multiple levels: as a composer, toward mastery of technique; as a human, toward confronting his demons; as an artist, toward a more cosmopolitan idiom. he wrote much of the work in Italy, and a sense of warm lyricism balances the work's dramatic and fantastical elements."

Tchaikovsky's work on the Symphony coincided with two relationships: with his wife in a short-lived and disastrous marriage and with his patroness Nadezhda von Meck in a long-term and productive association that, although they never actually met, went beyond the financial to become an emotional outlet for both. To her he penned a detailed description of the Symphony, which is both candid and elusive, often staying on a level of suggestion rather than narrative:

I. Andante sostenuto-Moderato con anima-Moderato assai, quasi andante-Allegro vivo. "Destiny, that fateful force which impedes that impulse toward fulfilment, which jealously ensures that prosperity and peace are never complete and cloudless, which hangs overhead like a sword of Damocles. It is invincible and you will never vanquish it. All that we can do is subject ourselves and vainly lament."

II. Andantino in modo di canzone. "How sad to think that so much has been, so much is gone! We regret the past, yet we have neither the courage nor the desire to begin life afresh. We are weary of existence."

III. Scherzo (Pizzicato ostinato). Allegro. "Suddenly arises the memory of a drunken peasant and a ribald song, and military music in the distance. Such disconnected images flit through the brain as one sinks into a tipsy slumber. They have nothing to do with reality; they are incomprehensible, bizarre and fragmentary."

IV. Finale. Allegro con fuoco. "Go among the people. See how they understand how to be happy. But no sooner have you forgotten yourself in contemplation of the joys of other than Fate returns to remind you..."

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.