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
FEBRUARY 14
YOUNG LOVE
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
201 GarďŹ eld Street | Denver, CO 80206 | 303.322.0443 www.facebook.com/newberrybros
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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
formances. In 1968, to honor its founder,
Conductor 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
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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 5
FRIDAY, FEBRUARY 14, 2014 YOUNG LOVE KPOF Concert Hall · Denver, Colorado · 7:30 pm
Lawrence Golan, conductor Linda Wang, violin
Pyotr Ilyich Tchaikovsky (1840–1893)
Sleeping Beauty Suite
Introduction. The Lilac Fairy Pas d’action. Adagio Pas de caractère. Puss in Boots Panorama Valse
Chen Gang & He Zhanhao The Butterfly Lovers Violin Concerto (b. 1935) (b.1933) Falling in Love Refusing to Marry Metamorphosis
Featuring Linda Wang, violin
HEY, GOOD LOOKIN’!
Grab your date (or make a new friend) and get in line for Pixel Perfect Photography’s Valentine’s Day photo booth. You’ll be able to download the photos for free — and we’ll be sure to post ’em on Facebook next week!
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∙ 15-MINUTE INTERMISSION ∙ Sergei Prokofiev Romeo and Juliet Suite No. 2 (1891–1953) Montagues and Capulets The Child Juliet Friar Laurence Dance Romeo at Juliet’s Before Parting Dance of the Antilles Giris Romeo at the Grave of Juliet
MEET THE MUSICIANS
Join us for a reception on the lower level after the concert.
NEW BEGINNINGS 7
OUR MUSICIANS MUSIC DIRECTOR Lawrence Golan
ASSOCIATE CONDUCTOR Kornel Thomas
FIRST VIOLIN
Katherine Thayer, concertmaster Matthew Grove Thomas Jatko Nasiha Khalil Kristine Pordesimo Chelsea Morden Emmy Reid Beth Schoening Vanessa Vari Elizabeth Wall
SECOND VIOLIN Yiran Li, principal Rachel Bradford Pauline Dallenbach Loribeth Gregory Terri Gonzales Miki Heine Annie Laury Callista Medland Alyssa Oland Anne Silvas Albert Ting
VIOLA
William Hinkie, III, principal Lori Hanson Lindsay Hayes* Ben Luey Elizabeth O’Brian Maura Sullivan*
CELLO
Bryan Scafuri, principal Naftari Burns Rebecca Coy Linda Lebsack Ausra Mollerud Annastasia Psitos Monica Sáles Mark Stanton Amanda Thall Rachel Yanovitch Tara Yoder
BASS
Mark Stefaniw, principal Lucy Bauer Josh Filley Taryn Galow
FLUTE
Aaron Wille, principal Catherine Ricca Lanzano
PICCOLO Whitney Kelley
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OBOE
Kimberly Brody, principal Loren Meaux, assistant principal Chloe Veltman
ENGLISH HORN
TRUMPET
Michael Hengst*, acting principal Randy Runyan Tyler Van Dam Carrie McCune*
TROMBONE
Loren Meaux
Bryan Gannon, principal Wallace Orr
CLARINET
Brooke Hengst, acting principal Claude Wilbur
BASS TROMBONE Daniel Morris
BASS CLARINET
TUBA
Emilie Helms*
Ross Woodzell*
BASSOON
Ken Greenwald, principal Nicholas Lengyel
TIMPANI
CONTRABASSOON
PERCUSSION
Leigh Townsend*
Susie Carroll Eric Harbeson Chris Lundberg*
Steve Bulota, principal
FRENCH HORN David Wallace, principal Mark Denekas Jeanine Wallace Kelli Hirsch Mary Brauer
TENOR SAX Sean Edwards*
HARP Suzanne Moulton-Gertig
PIANO/CELESTE Margo Hanschke*
* guest performers
NEW BEGINNINGS 9
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.
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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 eleven years and has appeared as 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
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LINDA WANG VIOLIN Since her debut with Zubin Mehta and the New York Philharmonic at the age of 9, Linda has performed as soloist with countless orchestras throughout the U.S. and all over the world. Linda’s solo engagements have taken her to Carnegie Hall, Amsterdam’s Beurs van Berlage and the Berlin Schauspielhaus. Domestic and international audiences have seen Linda’s televised performances on PBS, Arts and Entertainment, Germany’s ZDF and Japan’s NHK, while radio broadcasts include NPR’s “Performance Today, WQXR (NYC), WFMT (Chicago), KMZT and KKGO (L.A.), MDR (Germany), Leipzig Rundfunk and Deutschland Radio, Berlin. A native of New York City, Linda studied at The Juilliard School the Colburn School and the University of Southern California. Awarded a Fulbright Scholarship, she pursued advanced studies at the famed Salzburg Mozarteum. Her principal teachers have been Dorothy DeLay, Hyo Kang, Alice Schoenfeld and Ruggiero Ricci. A dedicated teacher herself, Linda is Associate Professor of Violin at University of Denver’s Lamont School of Music and is currently on the Fulbright Specialists Roster for teaching at overseas institutions.
NEW BEGINNINGS 13
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. He majored in composition at the St. Stephen King Music What should you listen for? What is the music’s historic and cultural context? Join me at 6:45 pm
Conservatory and High School. He holds a master’s degree in orchestral conducting from the University of Music and Performing Arts Vienna.
for a pre-concert chat for insights 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 will hear during the
Musicians with the Quimby Family Foundation Scholarship. In
performance.
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 2004–2006, 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.
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NEW BEGINNINGS 15
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 Russell Klein Linda Lebsack Matt Meier Tenley Oldak
BACKSTAGE COORDINATORS Doug Gragg Anna Schultz Jän Schultz
BOX OFFICE/ TICKET SALES Gil Clausen Carla Cody Alix Feeley Amanda Hand Annie Laury Jon Olafson Anna Schultz
DENVER PHILHARMONIC CONCERT NOTES FOUNDATION BOARD Dr. Suzanne Moulton-Gertig Michael P. Barry Keith Fisher Russell Klein Allison Lausten
CONDUCTOR LAUREATE Dr. Horst Buchholz
CONCERT RECORDING Joel Dallenbach
CONCERT PROGRAM Ligature Creative Group, design Walker Burns, editing Elizabeth Wall, editing
FUNDRAISING Gil Clausen Eleanor Glover Allison Lausten Jon Olafson
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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 Annie Laury
Gil Clausen Lok Jacobi Allison Lausten Roger Powell Robert Schoenrock
WEBMASTER Ligature Creative Group Nick Croope
PRE-CONCERT SLIDES Alex Thomas 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  17
THANK YOU, BAUERS A tremendous thank you to the Bauer family for performing at their fourth annual fundraiser! In December, four of the talented Bauer siblings — Alex, Marieke, Heidi and Jonas — performed a brilliant recital raising nearly $700 for the Orchestra. We’re honored to have the Bauers as part of our own DPO family. Thank you!!
UP NEXT: FEBRUARY 22 CHAMBER MUSIC RECITAL 7:30pm at Cameron Church, 1600 S. Pearl St., Denver Musicians and friends of the DPO perform chamber music in this annual fundraiser for the Denver Philharmonic Orchestra. Small groups of musicians perform a variety of classical pieces in an intimate setting. What a lovely way to support your favorite orchestra! Buy tickets online at www.denverphilharmonic.org.
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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, Nov. 24 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 19
FEBRUARY 14 ∙ YOUNG LOVE by DR. SUZANNE MOULTON-GERTIG
Selections from The Sleeping Beauty (Spyashchaya krasavitsa) Pyotr Ilyich Tchaikovsky (1840 – 1893) Tchaikovsky had mixed success with staged works. In 1888, however, Tchaikovsky’s fortunes in the theatre were about to change. His mentor, Ivan Vsevolozhsky, a gifted creator of collaborations who was both a graphic artist and balletomane, as well as the Director of the Imperial Theatres, assembled a collaborative group that insured success. Vsevolozhsky dreamed of the perfect
Petipa. Thus began the greatest collabora-
ballet, with music elevated to the level of
tion of Tchaikovsky’s career.
artistry his dancers and choreographers had already achieved. When his last
Based on the fairytale “La belle au
official ballet composer retired in 1886, he
bois dormant” by Charles Perrault,
seized the moment, calling a meeting with
Tchaikovsky’s Sleeping Beauty was com-
Tchaikovsky and first ballet master Marius
posed in the months between Dec. 1888
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Linda M. Lebsack Books (out-of-print, rare, unusual, locally published)
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NEW BEGINNINGS  21
and Sept.1889 and had its premiere in St.
fairies. The Adagio: Pas d’action, more pop-
Petersburg’s famous Mariinsky Theatre on
ularly known as the Rose Adagio, follows. In
January 15, 1890.
the original ballet, Aurora dances with the four Princes in turn, accepting from each
The orchestral suite after the ballet is com-
the rose he offers her. The Panorama from
prised of five movements from sections of
Act 2 represents Prince Désiré’s journey in
Acts 1 and 2. The Introduction and La fée
the Lilac Fairy’s boat through the enchanted
des lilas (The Lilac Fairy) are the first and last
wood to the palace where Princess Aurora
sections of the Pas de six from Act. 1. The
is sleeping. The orchestral suite concludes
entire scene represents the presentation of
with a return to Act 1 for the Waltz, one of
gifts to the baby Aurora at her cradle by the
Tchaikovsky’s best known and loved waltzes.
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The Butterfly Lovers Concerto Chen Gang and He Zhanhao  (b. 1935) (b.1933) The Butterfly Lovers Concerto displays a musical synthesis of Eastern and Western musical traditions. Co-composed by He Zhan-hao and Chen Gang back in 1959 when both were students in the Shanghai Conservatory, it remains China’s most beloved violin concerto even today. While the original work from 1959 was
Liang Shanbo had been studying with Zhu
more traditional in oriental color, over
Yingtai, disguised as a boy, for many years
the years the work was revised by Chen
during which Ting-tai had fallen in love with
for dramatic purposes by way of greater
Shanbo who was ignorant of her true gen-
contrasting tempi and dynamics to the
der. One day, Yingtai received the news that
melodies and predominant style that was
her family had arranged for her to marry
taken from Shanghai opera.
a wealthy neighbor and she was forced to leave Shanbo. After a time, Shanbo, greatly
The title itself belies the programmatic in-
missing his companion, attempted to visit
tent of the concerto. The story has its base
Yingtai house where he found out from a
in Chinese folklore from the Ming Dynasty.
servant that Yingtai was a girl and about to
The tragic lovers are Liang Shanbo and
be married. Only then did he understand
Zhu Yingtai. The writer for the Yan Huang
what Yingtai had so often tried to tell him,
Performing Arts tells the tale and ties the
and in his bitter despair he fell ill and died.
events to the music further:
On learning of the death of Shanbo, Yingtai visited his grave and in her grief begged
NEW BEGINNINGS  23
his tomb to open. There was a clap of
homes. An Adagio utters their reluctance
thunder, the tomb broke open and Yingtai
to part. The development opens with
leapt into the grave, from which the two
ominous foreshadows on the gong, cellos
lovers emerged as butterflies and flew away
and bassoons. Brasses break in with a
together, finally reunited.
fierce and malicious theme, the theme of feudal forces. The violin pours out first
The exposition begins with a flute solo
the anxieties of Yingtai in free rhythm and
against a background of soft tremolo
then her protest in powerful syncopated
on the strings, followed by a beautiful
chords. The two themes-the protest
melody on the oboe which represents
theme and the feudal forces theme-are
a peaceful, sunny spring day. The solo
woven into a climax of conflict. Yingtai
violin, accompanied by the harp, sings a
protests against an undesired marriage.
simple and graceful love theme and en-
In the Adagio that follows, a duet for
ters into a dialogue with the cello, which
violin and cello evokes the longing of
renders into music the first encounter of
Shanbo and Yingtai for each other when
Shanbo with the girl Yingtai at a wayside
they visit in the girl’s parlor. The music
arbor. A free cadenza leads to a lively
shifts abruptly into sari-ban (free rhythm)
rondo, in which the solo violin alternates
and kuai-ban (fast tempo). Yingtai pours
with the orchestra. Three happy years of
out her grief to the heavens at Shanbo’s
close affinity pass quickly, and the two
tomb after his forlorn death, The device
young students have to return to their
of jin-la-man-chang (singing freely upon a
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rushing accompaniment), borrowed from
sordino (muted). Out of the tomb fly a
Shaoxing and Beijing operas, ushers in
pair of butterflies, which are believed to
another climax. After the violin finishes
be the transfigurations of the deceased
its last plaintive phrase, the whole or-
lovers, whose true love was perpetuated
chestra bursts into a powerful tutti. The
in a verse:
tomb opens, and in plunges Yingtai. The music swells to the largest climax of the
A rainbow shines and flowers flourish.
concerto. The flute and harp imbue the
Amid the flowers butterflies flutter
recapitulation with a celestial bliss. The
In pairs that never sever.
love theme reappears on the violin con
The spirits of Liang and Zhu never perish.
NEW BEGINNINGS  25
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Romeo and Juliet, Suite No. 2, Op. 64 Sergei Prokofiev (1891 – 1953) While once deemed too modern for ballet, Prokofiev’s Romeo and Juliet was to become an enduring treasure of twentieth-century music. By the time the composer began work in 1935 on his ballet based on the great Shakespearean tragedy, other composers had already offered a number of successful compositions on the theme. Preceding Prokofiev’s ballet were at least fourteen operas, Berlioz’s symphony, and Tchaikovsky’s fantasy overture.
NEW BEGINNINGS 27
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Problems plagued Prokofiev in his quest to
so popular that the composer set about
stage the ballet. Originally slated for the
arranging a third orchestral suite in 1946.
Kirov Ballet, the company backed out of their contract with the composer. Prokofiev
The second of the three suites is
then approached theater director Sergei
comprised of seven sections, most of
Radlov of the Bolshoi Ballet to stage the
which are descriptive of scenes from
debut of the work. That relationship was
the Shakespearean play. No. 1 “The
not to bear fruit, for Radlov ultimately
Montagues and Capulets” depicts the
rejected the ballet, declaring the music
two Veronese noble houses, “both alike in
impossible for dancing. After another bro-
dignity”, but in constant turmoil due to a
ken contract with the Leningrad Ballet in
long-standing feud. The second section,
1937, and further political troubles for the
“The Young Juliet”, musically portrays
composer in the Soviet Union, the ballet
Lady Capulet summoning her very young
was accepted by Czechoslovakia’s Brno
daughter to tell her of young nobleman
Opera in 1938, where it had its debut on
Paris’ offer of marriage. In Friar Lawrence
30 December 1938. Eventually, in 1940, the
(No. 3), when Juliet’s father resolves that
work returned to the Soviet Union to the
she will marry Paris, Juliet turns to the friar
company for which it was originally in-
in despair, threatening to take her own
tended. The Kirov Ballet staged the work,
life unless Lawrence can help her. This
finally giving the ballet the critical acclaim
solemn section is followed by the sprightly
it deserved. In the interim, Prokofiev
“Dance” (No.4) with its lively oboe melody.
arranged two orchestral suites, as well
In “Romeo and Juliet before Parting”, the
as ten solo piano pieces from the ballet,
Prince of Verona has ordered Romeo into
which were performed in Moscow during
exile after the death of Tybalt. Romeo and
1936–37. Eventually the ballet, along with
Juliet spend a final night together and,
its orchestral and solo offspring, became
as the dawn breaks, they take leave of
NEW BEGINNINGS 29
one another sadly, and Romeo leaves the
Lawrence’s message to Romeo is delayed,
city. No. 6 is another dance, this time an
and the latter is told by his servant that
elegant one where young girls bring lilies
Juliet is dead. Romeo procures a poison,
to Juliet’s window on the slated morning of
and consumes it at her side. Awakening to
her wedding to Paris.
find him dead, she grasps his dagger and kills herself. Discovered by both families
Finally, in “Romeo at Juliet’s Tomb”,
and Friar Lawrence, the heartbroken
having taken the drug given her by Friar
families, in light of their children’s tragedy,
Lawrence and in all semblance of death,
resolve their differences now having lost “a
Juliet is placed in the Capulet tomb.
brace of kinsmen.”
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NEW BEGINNINGS 31
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 32
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NEW BEGINNINGS 33
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.
34
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!
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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 35
ORCHESTRA SPOTLI 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 Miki, Ben, Loren and Tara—
MIKI HEINE
College and the University of Northern
VIOLIN
Colorado; at St. Olaf, she played with the
SECOND DPO SEASON. Miki was lucky
St. Olaf College Orchestra which toured
enough to play in the Front Range Youth
the U.S. and Spain. Outside of the DPO,
Symphony and Colorado Youth Symphony
Miki is earning her music education degree
Orchestras in high school and now has
at Metro State to become a high school
been playing violin for 15 years. Since
orchestra director. She works as a server at
high school, Miki has attended St. Olaf
Cinzzetti’s Italian Style Market Place and
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GHT enjoys running, hiking, camping, reading,
on the viola in sixth grade in his middle
crocheting, hanging out with her cat Cici,
school orchestra in California and soon
and going to concerts — electronic music,
joined the Oakland Youth Orchestra.
bluegrass, and jam bands are a few favor-
While studying physics at Carleton
ites. Though violin is the only instrument
College in Minnesota, he played with
she plays, she can play a mean “Wagon
the Carleton Orchestra. After college,
Wheel” on guitar!
he moved to Boulder where he played with the Longmont Symphony Orchestra,
BEN LUEY
and joined the DPO after moving to
VIOLA
Denver. In addition to his undergraduate
SEVENTH DPO SEASON. Ben has been
degree from Carleton, Ben has a Master
playing in school or community orches-
of Science degree in physics from the
tras continuously for 20 years. He started
University of Colorado Boulder. Outside
NEW BEGINNINGS 37
of the DPO, Ben is a physicist at a small
TARA YODER
company in Denver where he works on
CELLO
lasers and electronics to support the
THIRD DPO SEASON. Tara started playing
laser cooling and trapping research
cello at the age of 9 in her school orches-
community.
tra. She has played with the South Bend
LOREN MEAUX
Youth Symphony, the South Bend Sideby-Side concerts, the Donald A. Drake
OBOE/ENGLISH HORN
Chamber Music Camp, and the Goshen
THIRTEENTH DPO SEASON. A graduate
College Orchestra. At Goshen College in
of the University of Northern Colorado
Indiana, Tara received her Bachelor of Arts
with a Bachelor in Music Performance,
in Chemistry and Biology, with a minor in
Loren has been playing the oboe since he
music performance. Her mom came to
was 9 years old. He works as an IT profes-
nearly every concert she ever played while
sional for Siemens Healthcare USA. Loren
she was in Indiana (which was a lot!), and
has a wonderful wife and beautiful 2.5 year
her mom’s support was definitely appreci-
old boy who often come to concerts. One
ated. She’s currently in a Ph.D. program for
of the only performances Loren has missed
Applied Chemistry at the Colorado School
was the day after his son was born. It also
of Mines, does research in electrochemis-
meant that he had to play that concert on
try and is a teaching assistant for organic
less than two hours of sleep, but he says
chemistry. Beyond school and playing
he still wouldn’t trade that experience for
cello, Tara also enjoys playing ultimate
the world!
frisbee, hiking, cycling, bouldering, skiing and pretty much anything else that is active and outdoors.
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. 38
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
BATTLE OF THE BATONS
We’re honored to have collaborated with the Seattle Philharmonic Orchestra on our pre-Super Bowl mashup video, Battle of the Batons. Thank you to the Seattle Phil for the wonderful collaboration and to all of you for sharing the video on Facebook and Twitter with your friends! We have more than 5,500 views, and we’re proud of what can be accomplished when we all put our heads together. And if you still haven’t seen it, what’re you waitin’ for? Check it out at BattleoftheBatons.com.
NEW BEGINNINGS 39
QUICK DONATE! Text “dpo” to 50155
INDIVIDUAL GIVING ORCHESTRA’S CIRCLE ($20,000+)
BENEFACTOR
(CONT.)
Roger Powell
Gil and Valerie Clausen
CONDUCTOR’S CIRCLE
CONTRIBUTOR ($100 – $299)
($5,000+)
Charles and Joan Albi
SCFD
Anonymous
CONCERTMASTER’S CIRCLE ($2,500 – $4,999)
MUSICIANS’ CIRCLE
Anonymous Phil and Jennifer Barru Helen Bauer Arthur and Jacinda Bouton Mary Brauer Carla Cody
($1,000 – $2,499)
Amaryllis Fletcher
Linda M. Lebsack Books
Robert Greene
Venus and Russell Klein
Nancy Hart
PATRON
Lok Jacobi Maureen Keil
($500 – $999)
Allison Lausten
Jon Olafson
Brian Lucius
MeeAe Nam
Tenley Mueller
Hugh R. Pitcher
Alyssa Oland
Donald Walls
Phil Pearlman and Betty Bona Joseph Pompei
BENEFACTOR
Wolcott F. Rice
($300 – $499)
Catherine and Ted Lanzano
Patricia Aronstein
Thomas James Merry
Eleanor Glover and Eugene Advincula
Douglas and Mary Meeusen
Russell Klein
Constance Mortell
Lisa and Vik Patel
Judy Morton
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CONTRIBUTOR
(CONT.)
FRIEND
(CONT.)
Robert J. Smith
Arash Jahanian
TATE+BURNS Architects LLC
Annie Laury
Karin Tate
Ligature Creative Group
Naioma and Brad Walberg
Susan McGinley
Marcia Whitcomb
Janet Mizelle and Michael Hope
Gary Wooley
Loren Meaux Suzanne Mueller and Mark McCarron
FRIEND
in honor of Valerie Clausen
(UP TO $99)
Callista and Patrick Medland
Anonymous
Matthew McCleary
Penny Alles
Kathleen Porter
James Brody
Roger Powell
Janice Burley
Marcia Ragonetti
Anna Castillo in honor of Terri Gonzales
Carol Rankin
Ginger Clausen
Dr. Herbert Riehl
Sara Collyar
Suzanne Sipos
Ray Ehrenstein
Mark Stanton
Adam Flatt
The Tine Family
Steve and Beth Gannon
Walker Burns and Jennifer Tate
Terri Gonzales
Dave Wallace
Bruce Haefner
Jeanine and Dave Wallace
Amanda Hand Allan and Carol Hanson
IN-KIND SUPPORTERS
Lori Hanson
The Pillar of Fire Church
Chris Harper
Ligature Creative Group
Brooke Hengst
Newberry Brothers Greenhouse and Florist
Michael Hengst Karin Hensel
THANK YOU!
SJ Hudson
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)
Brownstein, Hyatt, Farber & Schreck CoBank on behalf of Brian Lucius Community First Foundation Noble Energy
42
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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.
44
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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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