Boulder Phil Concertmaster Charles Wetherbee brightens the stage with his spirited rendition of a Mozart classic and cornerstone in violin repertoire. Then transcend into the spiritual lyricism of Bruckner’s Symphony No. 7, justifiably considered one of the greatest symphonies ever written.


Sunday, January 22, 4:00PM


Macky Auditorium – Boulder, CO


Boulder Philharmonic Orchestra
Michael Butterman, conductor
Charles Wetherbee, violin
Violin Concerto No. 5
Symphony No. 7

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For $10 Student/Youth Tickets and personalized assistance with your ticket order, call the Boulder Phil Box Office at 303.449.1343 or email chris@boulderphil.org.

Beyond the Performance

Charles Wetherbee returns to Macky

Violinist Charles Wetherbee has performed throughout the world, including Europe, Asia, the Middle East, Canada, Mexico, and the United States. A devoted chamber musician, he is the first violinist of the Carpe Diem String Quartet. Mr. Wetherbee has been the recipient of numerous honors, including the Ashworth Artist and the George Hardesty awards. The Washington Post called Wetherbee “a consummate artist… with flawless technique”. The Virginia Pilot said that he “… gave a performance of great conviction and emotion”. The Columbus Dispatch wrote “… a first rate showman… his double-stops, harmonics, and beautiful sound kept the audience spellbound”

Bruckner’s Symphony No. 7 receives a 15-minute standing ovation

Anton Bruckner (1824-1896) composed his ever-popular Seventh Symphony between the years 1881-1883. It was then subject to further revisions in 1885. The premiere was given by the Gewandhaus Orchestra under the baton of Arthur Nikisch in Lepizig in December 1884. The symphony bought the composer great success, and at the age of sixty, this was the most public fame that Bruckner had experienced. The standing ovations that followed the finale movement of the Seventh Symphony reportedly lasted a whole 15 minutes. From ClassicalAlexBurns.com | Written by Alex Burns

How Mozart’s No. 5 became known as the “Turkish Concerto”

It is the third movement that gives this concerto its nickname, the “Turkish Concerto.”  In the middle of a graceful minuet movement, the music suddenly switches to an Allegro in the minor mode, and the meter changes from 3/4 to 2/4, as the violin and orchestra take up what is meant to suggest wild Turkish music.  Turkish culture enjoyed a considerable fashion in eighteenth-century Europe with Turkish coffee, Turkish subjects in dramas and paintings, popular stories about Turkey in many operas, and many rulers creating janissary bands for their armies.  Those janissary bands included not only loud wind instruments (e.g. fifes and shawms) but also “exotic” percussion (cymbals, triangles, and various drums), effects that many European composers imitated for special effects. From Boston Baroque | Written by Martin Pearlman