T H E S I X T Y- S I X T H S E A S O N OCTOBER 4 NOVEMBER 15 DECEMBER 20 FEBRUARY 14 APRIL 4 M AY 2 2 2013–14
DECEMBER 20
NOELS & NEW YEAR
Adam Flatt, guest conductor Marcia Ragonetti, mezzo-soprano Bryan Scafuri, cello Rimsky-Korsakov: Suite from The Snow Maiden Prokofiev: “Tröika” from Lieutenant Kijé Kuzma: “Against the Winter Wind” Handel: Messiah “But who may abide the day of his coming?” Hayen: Maltese Winter Holiday favorites and sing-alongs!
201 GarďŹ eld Street | Denver, CO 80206 | 303.322.0443 www.facebook.com/newberrybros
www.newberrybrothers.com
WELCOME! With our 2013–14 Season, we celebrate 66 years of providing high-quality symphonic concerts and outreach. Our orchestra was founded in 1948 as the
performed for eleven seasons, followed by
Denver Businessmen’s Orchestra by Dr.
a season under Interim Director Kirk Smith.
Antonia Brico, the first woman to conduct the Berlin Philharmonic, the New York
In 1999 Dr. Horst Buchholz, Professor of
Philharmonic and several other major
Music at the University of Denver and an
orchestras. The two major issues driving
acclaimed musician and conductor, was
establishment of the orchestra were a
selected as the orchestra’s new music
need for affordable classical music con-
director. This began a period of growth
certs in the Denver area and the need for
and success that continues today. To more
an organization that would nurture, devel-
accurately reflect our Denver roots, the
op and showcase the talents of classically
Centennial Philharmonic was renamed the
trained musicians, many of whom had
Denver Philharmonic Orchestra in 2004.
relocated to Denver following World War
Horst remained music director/conductor
II. The orchestra quickly became known
through the 2008–09 Season, after which
for its ambitious collaborations and per-
he was appointed the orchestra’s first con-
formances. In 1968, to honor its founder,
ductor laureate.
the name of the orchestra was changed to the Brico Symphony, and the tradition of
Adam Flatt was appointed the orchestra’s
musical excellence and community service
fourth music director/conductor in June
continued.
2010. Adam’s dynamic and inspiring leadership over the next three years
Following Antonia’s retirement in 1986,
further increased the artistic quality of the
the orchestra selected Julius Glaihengauz
orchestra.
as its second music director. Julius was a talented Russian immigrant who
In spring of 2013, award-winning conduc-
recently graduated from the Tchaikovsky
tor Dr. Lawrence Golan was selected as our
Conservatory. Under his new leadership,
orchestra’s fifth music director. Lawrence
the name of the orchestra was changed
first led the DPO as a guest conductor in
to the Centennial Philharmonic and
November 2009.
NEW BEGINNINGS 3
FRIDAY, DECEMBER 20, 2013 NOELS & NEW YEAR KPOF Concert Hall · Denver, Colorado · 7:30 pm
Adam Flatt, guest conductor Marcia Ragonetti*, mezzo-soprano Bryan Scafuri†, cello
Leroy Anderson
A Christmas Festival
(1908 – 1975)
Nikolai Rimsky-Korsakov Suite from The Snow Maiden (1844 – 1908) Prelude Dance of the Birds Dance of the Buffoons Sergei Prokofiev
“Tröika” from Lieutenant Kijé
(1891 – 1953)
John Kuzma (1946 – )
“Against the Winter Wind”† A world premiere performance!
George Frideric Handel from Messiah* (1685 – 1759) No. 6 But who may abide the day of his coming?
∙ 15-MINUTE INTERMISSION ∙
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2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
Leroy Anderson
Sleigh Ride
(1908 – 1975)
With special guest conductors!
Arr. by
Calvin Custer
Winter Wonderland
Todd Hayen
Maltese Winter
Johann Strauss II
Champagne Polka
(1825 – 1899)
Georges Bizet
Farandole from “L’Arlésienne”
(1838 – 1875)
Mel Torme & Robert Wells The Christmas Song* Arr. by James Stephenson (Torme 1925 – 1999) ∙ (Wells 1922 – 1998) ∙ (Stephenson 1969 – )
Gene Scheer
Christmas Once More*
(1958 – ) Arr. by
James Stephenson A Holly and Jolly Sing Along*
Arr. by
Sing along with us! Lyrics begin on page 28.
James Stephenson I Saw Three Ships/Bring a Torch*
MEET THE MUSICIANS!
Join us for a bake-sale reception on the lower level after the concert.
NEW BEGINNINGS 5
2
6
2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
013 –1 4 OCTOBER 4
FEBRUARY 14
Lawrence Golan, conductor Daniel Morris, bass trombone Boyer: New Beginnings Brubeck: Concerto for Bass Trombone and Orchestra Dvorak: Symphony No. 9 “New World”
Lawrence Golan, conductor Linda Wang, violin Tchaikovsky: Sleeping Beauty Suite Chen and He: The Butterfly Lovers Violin Concerto Prokofiev: Romeo and Juliet Suite No. 2
NEW BEGINNINGS
NOVEMBER 15
INAUSPICIOUS BEGINNINGS Lawrence Golan, conductor James Buswell, violin Beethoven: Fidelio Overture Barber: Violin Concerto Tchaikovsky: Symphony No. 5 in E Minor
DECEMBER 20
NOELS & NEW YEAR
Adam Flatt, guest conductor Marcia Ragonetti, mezzo-soprano Rimsky-Korsakov: Suite from The Snow Maiden Prokofiev: “Tröika” from Lieutenant Kijé Kuzma: “Against the Winter Wind” — World premiere performance Handel: Messiah “But who may abide the day of his coming?” Hayen: Maltese Winter Holiday favorites and sing-alongs!
YOUNG LOVE
APRIL 4
NEW FORMATIONS & MYSTERIOUS MOUNTAINS
Lawrence Golan, conductor Joshua Sawicki, piano Mussorgsky/Rimsky-Korsakov: Night on Bald Mountain d’Indy: Symphony on a French Mountain Air Hovhaness: Mysterious Mountain; Symphony No. 2 Nytch: Symphony No. 1: Formations — Denver premiere performance, co-commissioned by the DPO
MAY 22
NEW FRONTIERS
Lawrence Golan, conductor Daugherty: Krypton Hovhaness: Celestial Fantasy Holst: The Planets
Concerts begin at 7:30 pm at KPOF Hall, 1340 Sherman Street, Denver, CO 80203
NEW BEGINNINGS 7
OUR MUSICIANS MUSIC DIRECTOR Lawrence Golan
ASSOCIATE CONDUCTOR Kornel Thomas
GUEST CONDUCTOR Adam Flatt
FIRST VIOLIN
Katherine Thayer, concertmaster Patsy Aronstein Matthew Grove Thomas Jatko Nasiha Khalil Tenley Mueller Emmy Reid Beth Schoening Vanessa Vari Elizabeth Wall
SECOND VIOLIN
Loribeth Gregory, acting principal Melissa Barru Niccolo Werner Casewit Pauline Dallenbach Terri Gonzales Miki Heine Annie Laury Callista Medland Alyssa Oland Roger Powell Albert Ting
VIOLA
William Hinkie, III, principal Lori Hanson Lindsay Hayes * Ben Luey Elizabeth O’Brien Maura Sullivan *
CELLO
Bryan Scafuri, principal Rebecca Coy Linda Lebsack Ausra Mollerud Annastasia Psitos Monica Sáles Mark Stanton Andreas Werle Rachel Yanovitch Tara Yoder
BASS
Mark Stefaniw, principal Lucy Bauer Josh Filley Joey Pearlman Taryn Galow
FLUTE
Catherine Ricca Lanzano, acting principal Starla Doyal Whitney Kelley
PICCOLO Whitney Kelley
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2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
OBOE
TROMBONE
ENGLISH HORN
BASS TROMBONE
Michael Vigliotti *
Daniel Morris
CLARINET
TUBA
Loren Meaux, acting principal Chloe Veltman *
Brooke Hengst, acting principal Claude Wilbur
Bryan Gannon, principal Wallace Orr
Darren DeLaup
TIMPANI
BASS CLARINET
Steve Bulota, principal
Claude Wilbur
PERCUSSION
BASSOON
Susie Carroll Colin Constance Chris Lundberg * Kevin Matthews *
Ken Greenwald, principal Nicholas Lengyel
FRENCH HORN David Wallace, principal Mark Denekas Jeanine Wallace Kelli Hirsch Mary Brauer
SAXOPHONE
TRUMPET
PIANO/KEYBOARD
Arthur Bouton *
HARP Rebecca Moritzky *
Ryan Spencer, principal Randy Runyan Tyler Van Dam Joe Smith *
Margo Hanschke *
* guest performers
NEW BEGINNINGS 9
DR. LAWRENCE GOLAN MUSIC DIRECTOR, CONDUCTOR The 2013–14 Season marks the beginning of Lawrence Golan’s tenure as music director of the Denver Philharmonic Orchestra. It is also his first year as principal conductor of the Seoul Philharmonic in South Korea. He continues as music director of the Yakima Symphony Orchestra in Washington State and the Lamont Symphony Orchestra & Opera Theatre at the University of Denver. Lawrence has garnered considerable international recognition for his work as a conductor. He has won nine ASCAP Awards, five Global Music Awards, three American Prize awards, three Downbeat Magazine Awards, and two Prestige Music Awards. Lawrence’s appointment in Yakima came on the heels of a very successful four-year term as Resident Conductor of The Phoenix Symphony. In 2012, Lawrence was named the Grand Prize Winner of The American Prize for Orchestral Programming. Several of the concerts that Lawrence programmed, conducted, and narrated with The Phoenix Symphony turned out to be the most financially successful and well-attended performances in the history of the orchestra, completely selling out triple concert sets in a 2200-seat hall. Lawrence continues to guest conduct professional orchestras, opera, and ballet companies in the United States and around the world. Having conducted in 25 states and 16 countries, recent engagements include performances in Boulder, Macon, Memphis, and Tucson as well as the Czech Republic, Italy, Korea, Taiwan, and a three-week tour of China with the American Festival Orchestra.
10
2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
A native of Chicago, Lawrence holds degrees in both conducting and violin performance from Indiana University’s Jacobs School of Music (B.M. and M.M.) and the New England Conservatory of Music (D.M.A.). In addition, he studied at all of the major conducting festivals including Aspen and Tanglewood, where in 1999 he was awarded the Leonard Bernstein Conducting Fellowship. Following in the footsteps of his father Joseph Golan, longtime Principal Second Violinist of the Chicago Symphony Orchestra, Lawrence was Concertmaster of the Portland Symphony Orchestra for 11 years and has appeared as a soloist with numerous orchestras, including the Chicago Symphony. Lawrence has made several critically acclaimed recordings, both as a conductor and a violinist. He has also been published as a writer, composer, editor and arranger. Lawrence and his wife Cecilia have been married since 2003. They have two wonderful children, Giovanna and Joseph. For more information, please visit LawrenceGolan.com or WilliamReinert.com.
NEW BEGINNINGS  11
ADAM FLATT GUEST CONDUCTOR Tonight marks Adam’s first return to the DPO since his tenure as music director from 2010–13. He made his debut as guest conductor with the Denver Philharmonic in 2009 with music by Schubert, Shostakovich and Brahms. This concert is called Noels & New Year. For me, it might as well
Adam is a presence on the musical stages of three different regions of the United States. He serves as music director of
also bear the title ‘Home
the Tuscaloosa Symphony in Alabama and of the Newport
for the Holidays.’
Symphony on the Oregon Coast. And here in Denver, he’s music director of the Colorado Ballet. He has been part of Colorado’s musical life since 2001 when Marin Alsop invited him to join the Colorado Symphony as associate conductor. During his five-year tenure, he conducted over 250 performances with the orchestra. From 2001–07, he served as music director of the Denver Young Artists Orchestra, leading the orchestra in acclaimed concerts at home and on tours to central Europe and South America. Adam has guest-conducted orchestras and led performances with major ballet and opera companies across the U.S. He has his bachelor’s degree with honors in music from the University of California at Berkeley and his master’s degree in conducting from the Indiana University School of Music. Read more online at www.adamflatt.com.
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2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
MARCIA RAGONETTI MEZZO-SOPRANO Marcia is recognized as one of the Rocky Mountain region’s most celebrated singing actresses, hailed by critics as a “perfectly splendid mezzo.” She has been associated with Opera Colorado since its inception After 30 years of
in 1982, having performed over 20 leading and featured roles
myriad Colorado stage
including the gala inauguration of the Ellie Caulkins Opera
appearances, I’m thrilled to collaborate with the DPO for the
House, followed by its acclaimed production of Carmen. She has also frequently appeared with Central City Opera,
very first time… and
Colorado Symphony Orchestra, Colorado Springs Philharmonic,
hope to return soon!
San Antonio and Utah Symphonies, and in summer festivals in Vail, Chautauqua-Boulder and Crested Butte. Last year she portrayed Maria Callas in the virtuoso speaking role in Terrence McNally’s Master Class, for which she earned a “Best Diva 2012” award from Westword and a Denver “Henry” nomination for “Best Actress in a Play.” Last season she sang Desiree in A Little Night Music with Opera Theatre of the Rockies, Katisha in The Mikado with the University of Wyoming, and in August 2013, Augusta Tabor in The Ballad of Baby Doe with Opera Fort Collins. She was most recently seen with Opera Colorado as Gertrude in Romeo et Juliette. She is a Phi Beta Kappa graduate of Cornell University with degrees in English literature and psycholinguistics.
NEW BEGINNINGS 13
14
2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
JOHN KUZMA COMPOSER, “AGAINST THE WINTER WIND” John learned music reading and beginning keyboard skills on his own, using a reed organ. He began writing simple keyboard pieces early on, along with arrangements, church pieces and the like. He studied at the Cincinnati Conservatory of Music, Eastman School of Music, the University of Copenhagen (Fulbright scholar) and the University of Illinois. John has written scores for the Colorado Symphony Orchestra, the Denver Brass, Colorado Children’s Chorale, and last December, he wrote “Noels for Harp & Orchestra” for the Denver Philharmonic Orchestra. In 1993, he composed and arranged music for Pope John Paul II’s Denver visit at World Youth Day. His cantata “A Balm in Gilead” was performed at Carnegie Hall in 2002, and John’s commissioned composition “Circles of O” was performed at the 2008 Democratic National Convention in collaboration with noted installation artist Ann Hamilton. In collaboration with librettist Thomas H. Troeger, John completed a fulllength opera, An Island of Sand. He was a 1999 Colorado Council on the Arts Music Composition Fellow and has been Minister of Music at Denver’s Montview Presbyterian Church since 1987. John lives in Denver with his wife, Bess.
NEW BEGINNINGS 15
KORNEL THOMAS ASSOCIATE CONDUCTOR Kornel was born in Pittsburgh and grew up in Budapest where he began his musical education studying the violin, piano and composition. Join me at 6:45 pm for a pre-concert chat prior to each of our three remaining
He majored in composition at the St. Stephen King Music Conservatory and High School. He holds a master’s degree in orchestral conducting from the University of Music and Performing Arts Vienna.
concerts of the season. Get insight into the
For the past three summers, Kornel has attended the presti-
music and music-makers
gious Pierre Monteux School for Conductors and Orchestral
you’ll hear during the
Musicians with the Quimby Family Foundation Scholarship. In
performances.
2013, he was a semi-finalist at the Sao Luiz Teatro Municipal and the Orquestra Metropolitana de Lisboa Young Conductors Competition, and he had his debut in the Vienna Musikverein with the ORF Radio Symphony Orchestra Vienna in 2012. Kornel was selected as music director for the 2010 Opera Project of the Media Composers from the University of Music and Performing Arts Vienna. From 2004–06, he served as assistant conductor of the St. Stephen King Youth Symphony Orchestra. And in 2006, Kornel won second prize at the Bela Bartok Hungarian National Competition in Composition. In addition to the DPO, Kornel is also the assistant conductor and orchestral manager of the Lamont Symphony Orchestra and Opera Theater in Denver. He lives in Denver where he is also pursuing an Artistic Diploma in Orchestral Conducting.
16
2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
SUNDAY CLASSICAL MUSIC 7:00 – 10:00 PM KPOF — 910 AM
Tune in to radio station KPOF (AM 910) from 7 – 10 pm on Sunday, December 29 for an encore of tonight’s Denver Philharmonic performance! Our Board of Directors gratefully acknowledges the vital contributions made by the Pillar of Fire Ministries / KPOF 910 AM to our orchestra and Denver’s classical music community. Over the past five decades, the Pillar of Fire Church has generously accommodated our orchestra rehearsals and many performances. Since 1963, Dr. Robert B. Dallenbach, and more recently his son, Joel Dallenbach, have meticulously recorded and broadcast all of the orchestra’s concerts.
NEW BEGINNINGS 17
OUR ADMIN VOLUN EXECUTIVE DIRECTOR Valerie Clausen
BOARD OF DIRECTORS
PRESIDENT Jon Olafson VICE-PRESIDENT Eleanor Glover SECRETARY Maureen Keil TREASURER Allison Lausten Pauline Dallenbach, Honorary Member Robert Dallenbach Amanda Hand Linda Lebsack Russell Klein Tenley Oldak Roger Powell
DENVER PHILHARMONIC FOUNDATION BOARD
BACKSTAGE COORDINATORS Doug Gragg Anna Schultz Jän Schultz
BOX OFFICE/ TICKET SALES Gil Clausen Carla Cody Amanda Hand Annie Laury Jon Olafson Anna Schultz
CONCERT NOTES Dr. Suzanne Moulton-Gertig
Michael P. Barry Keith Fisher Allison Lausten Roger Powell
CONCERT RECORDING
CONDUCTOR LAUREATE
Ligature Creative Group, design Walker Burns, editing Elizabeth Wall, editing
Joel Dallenbach
CONCERT PROGRAM
Dr. Horst Buchholz
FUNDRAISING Gil Clausen Eleanor Glover Allison Lausten Jon Olafson
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2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
TEERS LIBRARIAN
PUBLICITY
Callista Medland Alyssa Oland, assistant
Niccolo Casewit Dr. Robert Dallenbach Eleanor Glover Amanda Hand Matt Meier Jeff Paul David Sherman
ORCHESTRA ROSTER Annie Laury
OUTREACH Lok Jacobi Maureen Keil Linda Lebsack Katherine Thayer
USHERS & RECEPTION COORDINATORS
PARKING ADVISOR Hugh Pitcher Doug Gragg
PERSONNEL MANAGER Roger Powell Annie Laury, assistant
Gil Clausen Lok Jacobi Allison Lausten Roger Powell Robert Schoenrock
WEBMASTER Ligature Creative Group Nick Croope
PRE-CONCERT SLIDES Gil Clausen Ligature Creative Group
VOLUNTEERING OPPORTUNITIES Our orchestra is run by volunteers, with no paid administrative staff. We would greatly appreciate help from more volunteers in the areas of publicity, fundraising, concert production, receptions, personnel, and outreach. If you would like to participate in any of these activities, please contact Executive Director Valerie Clausen at 303.653.2407 or email at vclausen@denverphilharmonic.org.
NEW BEGINNINGS  19
THANK YOU, ROGER! After 21 seasons with the DPO, second violinist Roger Powell is taking a well-earned sabbatical from the orchestra after this concert. The board and musicians of the DPO wish to thank him for his long and extraordinary service to our orchestra. Along with his duties as a musician, Roger has devoted countless hours (and many a sleepless night!) volunteering his time behind the scenes, both in leadership and administrative roles. He has truly been the glue that holds our orchestra together and played a big role in laying the groundwork needed to bring the orchestra to the level it is today. Roger has served on the Board of the
Roger has served 21 seasons with us, both playing as a violinist and volunteering behind the scenes. (Photo by Jamie Cotten).
DPO for 15 years, five of them as president. He’s had a hand in every facet of
parking coordinator, usher and receptions
our organization and has worked tirelessly
coordinator, website administrator, per-
to help ensure our orchestra runs smooth-
sonnel manager and all around go-to guy.
ly. His contributions have included: head backstage coordinator, concert program
Thank you Roger, you are a true gem!
and concert ticket designer, fundraising,
We will miss you.
20
2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
DECEMBER 20 ∙ NOELS & NEW YEAR by DR. SUZANNE MOULTON-GERTIG
Suite from The Snow Maiden (Snegurochka) Nikolai Rimsky-Korsakov (1844–1908) Rimsky-Korsakov’s suite from The Snow Maiden comes from the opera he composed by the same name during 1880–81. The opera is based on a play by Alexander Ostrovsky who fashioned his stage work on a Russian folktale of ancient paganism. Fascinated by the story, Rimsky-Korsakov began work on the opera in the summer of 1880 and it had its première in February of 1882 in St. Petersburg. The opera tells of the Snow Maiden who
endowed on that side of her “fairy DNA”
is safe from the power of her father’s
with nearly mortal characteristics. With a
enemy, the Sun-God Yarilo, so long as
choice now, she decides to live a mortal
she never succumbs to the power of love.
life and falls in love with a merchant.
As the daughter of the cold Winter Fairy,
Disaster follows, as she falls victim to the
this constitutes no peril. As her mother is
sun and her lover subsequently commits
the warmer Spring Fairy, however, she is
suicide.
NEW BEGINNINGS 21
Rimsky-Korsakov fashioned a four section
female chorus, solo soprano and orchestra
suite from the opera, which is played
(but rarely performed that way in most
more often today than the original opera
concert performances). The performance
is staged. This evening, the orchestra will
this evening ends with the fourth section,
perform three of the four sections. The first
the most familiar section of the suite, the
is the “Prelude”, an atmospheric introduc-
“Dance of the Buffoons” (also known as
tion replete with abundant bird songs. Bird
the “Dance of the Tumblers” — in Russian,
songs continue as a major theme during
skomorokhi — troupes of outdoor enter-
the second section, “Dance of the Birds”,
tainers), a real orchestral showpiece that
which is a song originally orchestrated for
bursts with energy and excitement.
22
2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
“ Tröika” from Lieutenant Kijé, Op. 60 Sergei Prokofiev (1891–1953) Following his return to Russia after a 15-year absence, Prokofiev composed some of his most engaging and attractive works. During those early years following his return, he composed his second violin concerto, the ballet Romeo and Juliet, and the children’s favorite, Peter and the Wolf. The first composition that he composed, however, was the film music to Lieutenant Kijé. The plot of the film is based on a misinter-
As he would with his music for the film
pretation of a phrase from a military report
Alexander Nevsky, Prokofiev set some of
received by Tsar Nicholas I who thinks
the Kijé film score for performance in the
that it pertains to the bravery of a certain
concert hall. In the case of Lieutenant Kijé,
lieutenant he believes is named Lieutenant
he constructed a concert suite. Performed
Kijé. Realizing the mistake, but anxious not
this evening, the “Tröika” is the fourth sec-
to embarrass their tsar, his officers begin
tion of the five-movement suite. Following
to invent exploits of the “brave Kijé” to
the section, “Kijé’s Wedding”, the “Tröika”
report to him. No deception can go on
depicts the couple riding off in that three-
forever, so eventually they also are forced
horse sleigh. A tavern song is sung to the
to fabricate Kijé’s death.
couple by the Tröika driver, accompanied by sleigh bells and a cracking whip.
NEW BEGINNINGS 23
“ Against the Winter Wind” John Kuzma (1946 – ) “ Against the Winter Wind” a “Lullaby for Cello & Orchestra” was written at maestro Adam Flatt’s request for tonight’s concert. It is a song without words that uses a simple harmonic language of juxtaposed hexachords after the manner of modal compositions — “dissonance as texture” as I call it. The cello “voice” part has the main
With tears He fights, and wins the field,
melody punctuated by conversational
His naked breast stands for a shield.
writing in repeated notes imitative of
All hell doth at His presence quake,
human speech. At the tactical level, this
Though He himself for cold do shake.
music holds up the struggle of the Christ
And in this weak unarmed wise,
child standing alone against the forces
The gates of hell He will surprise.
that would defeat the good. Excerpts from the famous poem “This Little Babe”
This little babe, a few days old
by Robert Southwell (1561–1595), helped
Has come to rifle Satan’s fold.
inspire the mood of the music.
If thou would foil thy foes with joy, Then flit not from this heav’nly boy. — John Kuzma, December 2013
24
2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
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NEW BEGINNINGS  25
“But who may abide the day of his coming?” from Messiah George Frideric Handel (1685–1759) Set by Handel as a counter tenor aria, “But who shall abide…” is found in Part 1, the Christmas portion of the Messiah, as the sixth section, just before the familiar chorus, “And He shall purify.” The text is identified as coming from the
the basso continuo. The second section, in
Book of Malachi, written by that prophet
common time (4/4), reveals why the ques-
sometime between 440 and 400 BCE. It
tions cannot be answered. It is noteworthy
appears at the beginning of the book and
for its scoring: prestissimo strings which
prophesizes salvation and the appearance
underscore the agile, yet compelling vocal
of a Savior.
solo who sings the text, “for he is like a refiner’s fire…” Then, the beginning ques-
The music itself is divided into very dis-
tions are posed once more in the same 3/8
tinctive and contrasting sections. In the
meter as in the opening, to be answered
first, questions are proffered in the gentle
in the final section again in 4/4 with its
flowing Larghetto 3/8 meter in a duet with
accompanying text.
26
2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
Farandole from “L’arlésienne” Georges Bizet (1838 – 1875) Yet another work that had its naissance in another musical genre, the two “L’arlésienne” suites come from the incidental music that Bizet composed for Alphonse Daudet’s play of the same title in 1872. Sadly, Daudet’s play received poor
Performed this evening is the last of the
reviews at its première, but Bizet was
four sections from the second suite, the
able to rescue part of his brilliant musical
“Farandole.” It begins with the motif
work on the project by creating a four
that Bizet used to open his first suite, the
movement suite for orchestra known
Provençal Christmas song, “March of the
today as “L’arlésienne Suite No. 1.” Four
Kings.” Following that, a new melody, a
years following Bizet’s death in 1875,
“farandole” (a Provençal dance), is intro-
his friend Ernest Guiraud, constructed
duced. The two melodies alternate and
a second suite from Bizet’s original
subsequently are combined at the end to
incidental music.
bring the movement, as well as the suite, to a dazzling close.
NEW BEGINNINGS 27
SING ALONG! DECK THE HALLS Deck the halls with boughs of holly,
See the blazing yule before us,
Fa la la la la la la la la.
Fa la la la la la la la la.
’Tis the season to be jolly,
Strike the harp and join the chorus.
Fa la la la la la la la la.
Fa la la la la la la la la.
Don we now our gay apparel
Follow me in merry measure,
Fa la la la la la la la la.
Fa la la la la la la la la.
Troll the ancient Yule tide carol,
While I tell of Christmas treasure,
Fa la la la la la la la la.
Fa la la la la la la la la.
28
2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
JINGLE BELLS Dashing through the snow
Jingle bells, jingle bells
In a one horse open sleigh
Jingle all the way!
O’er the fields we go
Oh what fun it is to ride
Laughing all the way.
In a one horse open sleigh!
Bells on bobtail ring Making spirits bright.
Jingle bells, jingle bells
What fun it is to laugh and sing
Jingle all the way!
A sleighing song tonight! Oh!
Oh what fun it is to ride
Jingle bells, jingle bells
In a one horse open sleigh!
Jingle all the way!
Jingle bells, jingle bells
Oh what fun
Jingle all the way!
it is to ride
Oh what fun it is to ride
In a one horse open sleigh!
In a one horse open sleigh!
Learn more about upcoming events from local, community-based organizations at thescen3.org! The Scen3 features the events and performances of SCFD-funded Tier III organizations.
NEW BEGINNINGS  29
THE HOLLY AND THE IVY
He was made of snow but the children know
The holly and the ivy, when they are both
How he came to life one day
well grown, Of all the trees that are in the wood, the
There must have been some magic
holly bears the crown.
In that old silk hat they found, For when they placed it on his head
O, the rising of the sun and the running of
He began to dance around
the deer, The playing of the merry organ, sweet
Oh, Frosty the snowman
singing in the choir.
Had to hurry on his way But he waved goodbye saying,
FROSTY THE SNOWMAN
“Don’t you cry, I’ll be back again some day.”
Frosty the snowman Was a jolly happy soul,
Thumpety thump thump
With a corncob pipe and a button nose
Thumpety thump thump
And two eyes made out of coal
Look at frosty go Thumpety thump thump
Frosty the snowman
Thumpety thump thump
is a fairy tale, they say
Over the hills of snow.
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NEW BEGINNINGS 31
RUDOLPH Rudolph the Red-Nosed Reindeer
WE WISH YOU A MERRY CHRISTMAS
Had a very shiny nose,
We wish you a Merry Christmas
And if you ever saw it,
We wish you a Merry Christmas
You would even say it glows.
We wish you a Merry Christmas and a Happy New Year.
All of the other reindeer Used to laugh and call him names;
Good tidings we bring to you and your kin,
They never let poor Rudolph
Good tidings for Christmas and a Happy
Join in any reindeer games.
New Year.
Then one foggy Christmas Eve, Santa came to say,
We wish you a Merry Christmas
Rudolph with your nose so bright,
We wish you a Merry Christmas
Won’t you guide my sleigh tonight?
We wish you a Merry Christmas and a Happy New Year.
Then all the reindeer loved him As they shouted out with glee, Rudolph the Red-Nosed Reindeer, You’ll go down in history.
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NEW BEGINNINGS 33
TWEET YOUR HEART OUT CLASSICAL MUSIC, MEET THE 21ST CENTURY During the concert, we live-tweet photos, facts and tidbits about the music you’re listening to. Follow along, share and interact with us and other concert-goers on Twitter.
A FEW RULES • PHONES ON — SOUND OFF! We know you want to participate, but let’s leave the music to the pros • ALL THUMBS Tweet tweet tweet all the
night through, but remember, no talking during the concert
• Add the hashtag #DPOtweets to your
posts so your neighbors can follow along • You don’t need a Twitter account to read our tweets (just visit twitter.com/ DenverPhilOrch), but if you’d like to
tweet along with us, you need an account • “PG” tweets only — C’mon, we’ve got kids here
#DPOTweets @DenverPhilOrch 34
2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
NEW BEGINNINGS 35
CONCERT ETIQUET If you are attending your first classical music concert, below are some frequently asked questions to help make your experience more enjoyable.
BE COMFORTABLE
APPLAUSE 101
There’s no dress code. From jeans to
Many concertgoers are confused about
suits, you’ll see it all! Wear what you’d
when to clap during an orchestra’s perfor-
like — you’ll fit in. We love you just the
mance. Before the mid-19th century, au-
way you are.
diences would routinely applaud between
COUGHING
movements to show their joy for the music they just heard. Around the mid-19th
Ahem… Try to ‘bury’ your cough in a loud
century, it became tradition in Germany
passage of music. If you can’t, or you
for audiences to wait until the end of the
begin to cough a lot, don’t worry — it’s
piece to clap, sitting silently between
perfectly acceptable and appropriate to
movements. That tradition spread and is
quietly exit the concert hall. Remember to
now commonly accepted and taught.
unwrap cough drops before the concert so
At the DPO, we welcome both traditions.
you don’t create crackling noises.
If you prefer to wait for the end of a piece, that is fine. If you want to respectfully
CRY ROOM Child feelin’ fidgety? We have a designated cry room at the back of the hall on the right side of the lower level (as you enter the hall). The room is marked with a sign.
36
show your appreciation between movements, we welcome that too. Regardless, we want you to feel comfortable and focus on the performance, not confusing applause rules!
2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
TE ELECTRONICS
SOCIAL MEDIA
Please turn the sound off on your cell
Feel free to tweet, post to Facebook or
phones, pagers, and any other noise-
take photos without flash. Upload your
making device, including vibrate mode.
pics and comments online — and be sure to tag us! @denverphilorch #dpotweets
We’re into connections. LigCreative.com
NEW BEGINNINGS 37
ORCHESTRA SPOTLIGHT Who are the hard-working men and women behind those music stands? Get to know your orchestra! Each concert, we spotlight a few of our talented musicians here in the program. Tonight, meet Kelli, Annie and Roger—
KELLI HIRSCH
plays an occasional musical and special
FRENCH HORN
music for various churches and ladies clubs
SIXTH DPO SEASON. Kelli received her
throughout the Denver area. Outside of
Bachelor of Music from Hastings College
her music life, Annie is the director of
in Nebraska. She’s been playing the French
regulatory affairs for a manufacturer of
horn for more than 20 years, is a member
Veterinary Biologicals. The rest of her time
of the Gossamer Wind Quintet and plays
is filled up with children’s choir, golf and the
the piano. Kelli is a fundraiser for the Dumb
occasional softball game.
Friends League. Outside of work and the DPO, Kelli spends as much time as possi-
ROGER POWELL
ble with her two beautiful young daughters
VIOLIN
and husband. They listen to a lot of music
TWENTY-FIRST DPO SEASON. Roger
together, read books and take lots of walks
has been playing violin for 40 years. He
to the park.
has played with Brazos Valley Symphony
ANNIE LAURY
in College Station, Texas and with the Florence Symphony Orchestra in South
VIOLIN
Carolina when he was in high school.
FIFTEENTH DPO SEASON. Annie began
Outside of the DPO, Roger is a biomedical
taking violin lessons in 7th grade. While
researcher and enjoys camping, skiing,
earning her Bachelor of Science degree
biking, golf, tennis, photography and
in psychology, she played in the orchestra
painting. He’s very thankful for his family’s
at Kansas State University, but didn’t play
support of his pursuit of music. He has a BA
again for over 20 years until a local church
in Zoology from UNC, Greeley and a MS
orchestra invited her to join them. Annie
from the University of Idaho.
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NEW BEGINNINGS 39
QUICK DONATE! Text “dpo” to 50155
INDIVIDUAL GIVING since January 2013
ORCHESTRA’S CIRCLE
CONTRIBUTOR
Gil and Valerie Clausen
Anonymous
($20,000+)
CONDUCTOR’S CIRCLE
($100 – $299) Anonymous
Phil and Jennifer Barru
($5,000+)
Mary Brauer
SCFD
Carla Cody
CONCERTMASTER’S CIRCLE ($2,500 – $4,999)
Eleanor Glover Nancy Hart Lok Jacobi Maureen Keil Allison Lausten
MUSICIANS’ CIRCLE
Brian Lucius
($1,000 – $2,499)
Alyssa Oland
Linda M. Lebsack Books
Phil Pearlman and Betty Bona
Venus and Russell Klein
Wolcott F. Rice
PATRON
Thomas James Merry
($500 – $999) Jon Olafson MeeAe Nam Hugh R. Pitcher
BENEFACTOR ($300 – $499)
Patricia Aronstein Eleanor Glover and Eugene Advincula Russell Klein
Catherine and Ted Lanzano Douglas and Mary Meeusen Constance Mortell Judy Morton Drs. Mark and Maxine Rossman Robert J. Smith TATE+BURNS Architects LLC John and Carol Tate Karin Tate Naioma and Brad Walberg Gary Wooley
Lisa and Vik Patel Roger Powell 40
2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
FRIEND
FRIEND
(UP TO $99)
(CONT.)
Callista and Patrick Medland
Anonymous
Matthew McCleary
Anonymous
Kathleen Porter
Penny Alles
Roger Powell
James Brody
Marcia Ragonetti
Janice Burley
Dr. Herbert Riehl
Anna Castillo in honor of Terri Gonzales
Suzanne Sipos
Ginger Clausen
Mark Stanton
Sara Collyar
The Tine Family
Ray Ehrenstein
Walker Burns and Jennifer Tate
Adam Flatt
Dave Wallace
Steve and Beth Gannon
Jeanine and Dave Wallace
Terri Gonzales Bruce Haefner
IN-KIND SUPPORTERS
Amanda Hand
The Pillar of Fire Church
Allan and Carol Hanson
Ligature Creative Group
Lori Hanson
Newberry Brothers Greenhouse and Florist
Chris Harper Brooke Hengst Michael Hengst Karin Hensel SJ Hudson Arash Jahanian Annie Laury Ligature Creative Group Loren Meaux Suzanne Mueller and Mark McCarron in honor of Valerie Clausen
THANK YOU! NEW BEGINNINGS 41
QUICK DONATE! Text “dpo” to 50155
CORPORATE GIVING GOLD PARTNER ($10,000+)
SILVER PARTNER ($5,000–$9,999)
COPPER PARTNER ($1,000–$4,999) Fennemore Craig
CORPORATE SUPPORTERS (UP TO $500)
Alliance Data on behalf of Jonathan Fetherolf CoBank on behalf of Brian Lucius
42
2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
PUBLIC SUPPORT THE SCIENTIFIC & CULTURAL FACILITIES DISTRICT The Scientific and Cultural Facilities District (SCFD) is metro Denver’s unique commitment to its arts, cultural and scientific organizations. A penny sales tax on every $10 purchase within the sevencounty region (Adams, Arapahoe, Boulder, Broomfield, Denver, Douglas and Jefferson counties) supports nearly 300 institutions, including the DPO, that provide unique cultural and scientific experiences for millions of people each year. Many of the programs SCFD supports provide free and discounted access to citizens. For information on free days and organizations, visit www.scfd.org.
NEW BEGINNINGS 43
QUICK DONATE! Text “dpo” to 50155
IT TAKES A COMMU Great adventures stem from new beginnings. Together we can embark on a musical journey that inspires and impacts our entire community. But we can’t do it alone. Help us make music with a tax-deductible contribution today. We are your orchestra. INDIVIDUAL GIVING
DONATION AMOUNT
Orchestra’s Circle
$20,000 or above
Conductor’s Circle
$5,000 – $19,999
Concertmaster’s Circle
$2,500 – $4,999
Musicians’ Circle
$1,000 – $2,499
Patron
$500 – $999
Benefactor
$300 – $499
Contributor
$100 – $299
Friend
up to $99
The 66 Society*
$66 or above
CORPORATE GIVING
DONATION AMOUNT
Gold Partner
$10,000 and above
Silver Partner
$5,000 – $9,999
Copper Partner
$1,000 – $4,999
You may also consider a planned gift, or donating to the orchestra in honor of someone’s birthday, anniversary, or in memory of a loved one. * Celebrate our sixty-sixth season by joining THE 66 SOCIETY Any supporter who contributes $66 or more will receive a reusable, DPO-branded, Chico grocery bag as a thank-you gift.
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2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N
NITY If you would like to make a tax-deductible contribution to the Denver Philharmonic Orchestra, please complete this form and mail to:
PO Box 6074 Denver, CO 80206 or visit our website at DenverPhilharmonic.org and click on the DONATE link.
Contribution $
Check or Credit Card
Name Address City, State, Zip Code Telephone
Credit Card No.
Exp.
NEW BEGINNINGS 45
QUICK DONATE! Text “dpo” to 50155
CONTACT US! PO Box 6074 Denver, CO 80206 303.653.2407 fb.com/denverphilorch @denverphilorch DenverPhilharmonic.org
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