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
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
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
2
4
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 5
FRIDAY, APRIL 4, 2014 NEW FORMATIONS & MYSTERIOUS MOUNTAINS KPOF Concert Hall · Denver, Colorado · 7:30 pm
Lawrence Golan, conductor Joshua Sawicki, piano
Modest Mussorgsky, arr. Nikolai Rimsky-Korsakov (1839–1881) Night on Bald Mountain Vincent d’Indy (1851–1931)
Symphony on a French Mountain Air, Op. 25
Assez Lent – Modérément Animé (Rather Slowly – Animated Moderately) Assez Modéré, Mais Lenteur (Rather Moderate, but without dragging) Animé (Animated)
Featuring Joshua Sawicki, piano
∙ 15-MINUTE INTERMISSION ∙
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Alan Hovhaness (1911–2000)
Symphony No. 2; Mysterious Mountain
Andante Double Fugue: Moderato maestoso Double Fugue: Allegro vivo Andante espressivo
Jeffery Nytch
Symphony No. 1; Formations
(b. 1964) Orogenies
Rush! Requiems Majesties D E N V E R P R E M I E R E P E R F ORMA NCE, CO - CO MMI S S I O NED BY T H E DP O
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 Patsy Aronstein Yaniv Gutman* Thomas Jatko Nasiha Khalil Chelsea Morden Emmy Reid Beth Schoening Vanessa Vari
SECOND VIOLIN Yiran Li, principal Albert Ting Rachel Bradford Niccolo Werner Casewit Pauline Dallenbach Terri Gonzales Miki Heine Annie Laury Alyssa Oland Anne Silvas
VIOLA
William Hinkie, III; principal Andrew Grishaw* Lori Hanson Lindsey Hayes* Ben Luey Travis Rollins*
CELLO
Bryan Scafuri, principal Naftari Burns Rebecca Coy Ausra Mollerud Annastasia Psitos Monica Sáles Mark Stanton Amanda Thall Andreas Werle Rachel Yanovitch
BASS
Mark Stefaniw, principal Lucy Bauer Josh Filley Joey Pearlman Taryn Galow
FLUTE
Aaron Wille, principal Catherine Ricca Lanzano Whitney Kelley
PICCOLO Whitney Kelley
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OBOE
Kimberly Brody, principal Loren Meaux, assistant principal Chloe Veltman
ENGLISH HORN
TRUMPET
Ryan Spencer, principal Tyler Van Dam Ryan Stutzman* Chris Shwayka*
TROMBONE
Loren Meaux
Bryan Gannon, principal Wallace Orr
CLARINET
Claude Wilbur, acting principal Brooke Hengst
BASS TROMBONE Daniel Morris
BASS CLARINET
TUBA
Emilie Helms*
Darren DeLaup
BASSOON
TIMPANI
Ken Greenwald, principal Nicholas Lengyel Leigh Townsend*
Steve Bulota, principal
CONTRABASSOON Leigh Townsend*
FRENCH HORN
PERCUSSION Collin Constance Chris Lundberg* Jackson Stevens*
HARP
David Wallace, principal Mark Denekas Jeanine Wallace Kelli Hirsch Mary Brauer
Suzanne Moulton-Gertig
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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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 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
JOSHUA SAWICKI PIANO Joshua was born and raised in Connecticut where he began piano lessons at age 4. During high school, he studied at the Hartt School of Music and won awards in various piano competitions. Since then, Joshua has studied at the Royal College of Music (London), Boston University, University of South Florida, the Aspen Music Festival, the Chautauqua International Piano Festival, and is currently an Artist Diploma candidate at Denver University, where he studies with New York-based pianist Steven Mayer. Among numerous other awards, Joshua’s recent honors include first place in concerto competitions with the Grand Junction and Lamont Symphony Orchestras. He has played around the world with recent performances including Aspen; Tampa; Novi Sad, Serbia; Paris, France; Utrecht, Netherlands; and Cambridge, Mass. Besides performing, Joshua is an avid teacher. While in Tampa, he taught piano at the University of South Florida, at the Tampa Piano Academy and at the Patel Conservatory. Currently he teaches privately in Denver and at the Colorado Music Quest in Centennial. Joshua’s major teachers include Rebecca Penneys, Steven Mayer, John O’Conor, and Svetozar Ivanov.
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JEFFREY NYTCH COMPOSER, FORMATIONS Jeffrey enjoys a rich and diverse career as a composer, performer, educator and advocate — but it hasn’t been a straight line getting there. He spent much of his teen years dreaming of someday going to Wall Street and conquering the world; then there was his study of geology, which encompassed a bachelors degree from Franklin & Marshall College and graduate work at Binghamton University before he realized that the path of professional geologist was not for him. Through it all, music has been the abiding passion of his heart; in the end, it won out with his career as well. What followed has been a professional odyssey of sorts. His compositional career has resulted in works commissioned and performed by a wide range of major artists, including Richard Stoltzman and the Seattle Symphony, the New York Chamber Symphony, the Ahn Trio, Verge Ensemble, the National Repertory Orchestra, and many others. He earned Master’s and Doctoral degrees at Rice University’s Shepherd School of Music. These disparate pursuits have coalesced in his current position as Director of the Entrepreneurship Center for Music at The University of Colorado-Boulder. As director of the ECM, he draws on the full range of his professional experiences, equipping music students with the tools they need for professional careers in the arts and speaking nationwide as one of the leading voices in arts entrepreneurship… all with the stunning geology of the Colorado Front Range as the backdrop. It’s nice when things come together, isn’t it?
NEW BEGINNINGS 13
ROCK ON! How is music like a mountain? Let’s learn about pitch to find out!
SOPRANO
Pitch is the highness or lowness of a note. The long, fat strings
trumpet, flute, oboe,
of the double bass make low
clarinet, violin
notes. Short, thin strings on the violin make high notes. When
ALTO
all orchestra instruments play together, the different pitches, or layers, create a
French horn, alto saxophone, viola
Musical Mountain.
TENOR cello, trombone, tenor saxophone
BARITONE bassoon
BASS tuba, bass clarinet, baritone saxophone, alto clarinet, double bass
THANK YOU, KOLACNY MUSIC for providing the instruments for our Petting Zoo. 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
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 before
Conservatory and High School. He holds a master’s degree in orchestral conducting from the University of Music and Performing Arts Vienna.
each performance for a pre-concert chat. Get
For the past three summers, Kornel has attended the presti-
insight into the music
gious Pierre Monteux School for Conductors and Orchestral
and music-makers you
Musicians with the Quimby Family Foundation Scholarship. In
will hear during the
2013, he was a semi-finalist at the Sao Luiz Teatro Municipal
performance.
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.
NEW BEGINNINGS 15
OUR ADMIN VOLUN EXECUTIVE DIRECTOR Valerie Clausen
BACKSTAGE COORDINATORS
BOARD OF DIRECTORS
Anna Schultz Jän Schultz
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
BOX OFFICE/ TICKET SALES Gil Clausen Carla Cody Amanda Hand Annie Laury Jon Olafson Anna Schultz
CONCERT NOTES Dr. Suzanne Moulton-Gertig
DENVER PHILHARMONIC FOUNDATION BOARD CONCERT RECORDING Michael P. Barry Keith Fisher Russell Klein Allison Lausten
CONDUCTOR LAUREATE Dr. Horst Buchholz
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
PRE-CONCERT SLIDES
Callista Medland Alyssa Oland, assistant
Alex Thomas Ligature Creative Group
ORCHESTRA ROSTER
Niccolo Casewit Dr. Robert Dallenbach Eleanor Glover Amanda Hand Matt Meier Jeff Paul David Sherman
Annie Laury
OUTREACH Alixandra Feeley Katherine Fitzgerald Lok Jacobi Maureen Keil Linda Lebsack Katherine Thayer
PUBLICITY
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
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
APRIL 4 ∙ NEW FORMATIONS & MYSTERIOUS MOUNTAINS by DR. SUZANNE MOULTON-GERTIG
Night on Bald Mountain Modest Mussorgsky (1839 – 1881) Undoubtedly Mussorgsky’s his best-known orchestral work, Night on Bald Mountain was not originally composed as an independent tone poem. This work was composed for the opera Mlada, which was to be a group effort compiled from separate contributions of Cesar Cui, Alexander Borodin, Nikolai Rimsky-Korsakov and Mussorgsky. One of the sections assigned to
an orchestral intermezzo in his own opera
Mussorgsky was “The Sacrifice of the Black
Sorotchinsk Fair. Regrettably, this was
Goat on Bald Mountain,” and for this
not to come to pass, either, for he died
portion, the composer revised sketches
before finishing that opera. It remained to
for a previous work, which he called St.
his colleague Rimsky-Korsakov to put into
John’s Night on the Bald Mountain. When
final shape what became, in the end, this
the grand project of Mlada fell through,
extraordinary orchestral tone poem.
Mussorgsky decided to use his music as
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The following program Mussorgsky himself
Glorification of Satan and celebration of
indicated which Rimsky-Korsakov retained:
the Black Mass, The Sabbath Revels. At the
“Subterranean sounds of supernatural
height of the orgies, the bell of the village
voices. Appearance of the spirits of dark-
church, sounding in the distance, disperses
ness, followed by that of Satan himself.
the spirits of darkness. Daybreak.”
NEW BEGINNINGS 19
20
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Symphony on a French Mountain Air, Op. 25 Vincent d’Indy (1851 – 1931) Although d’Indy completed well over a hundred works, only a few of them are played frequently today. From this handful of works is his most popular, Symphonie sur un chant montagnard français, or Symphony on a French Mountain Air, composed in 1886. The composer took his theme for the work
Wagnerian leitmotivs. Two other melodies
from a folksong he heard at Périers in low-
also play prominent roles, both individu-
er Normandy overlooking the Cévennes
ally and in combination. The exposition,
Mountains. The symphony is unusual in
development and recapitulation of these
that it features a prominent piano part
themes reveal an almost Brahmsian ability
that is highly virtuosic in nature; d’Indy
to mold musical materials to a desired
conceived the work as a fantasy for piano
form – rather than adjust the formal struc-
and orchestra.
ture to accommodate the ideas.” Writer Laurie Shulman provides a more detailed
Writer Michael Kelly describes the work
description:
briefly: “The main theme, announced im-
The first movement of the symphony is
mediately by the English horn, reappears
in sonata form, with a classic opposition
periodically throughout the work, both
of two principal themes. English horn
as a complete statement of the song as
introduces the French mountain air.
well as in fragmentary forms resembling
The piano plays in a concertante role:
NEW BEGINNINGS 21
mostly decorative, but weaving textures
The finale is an animated rondo that
that merge seamlessly with those in the
captures the energy of an open air festival.
orchestra. It frequently leads, but does
Ostinati and the feeling of a tarantella
not dominate. In several places, harp joins
drive the rhythmic pulse, but metric chang-
piano for a brief duet.
es are frequent and phrases irregular. As in the first movement, piano and harp join in
Piano introduces the transformed theme
an occasional duet. The finale unfolds in a
in the second movement. The structure
gradual crescendo with a steady increase
is a song form (A-B-A), with each of the
in power. At the end, d’Indy brings back
three sections a miniature binary form.
the original tune, now with piano and
The writing is proto-impressionist, sug-
trumpet. His cyclic re-use and transforma-
gesting waterfalls and mountain streams.
tion of the French mountain air reflect the
D’Indy loved the mountains and felt
influence of his teacher César Franck, but
energized by them. This slow movement
the fusion of romanticism with classical
was his paean to nature and the silent
process is entirely his own.
grandeur of the Cévennes.
A SPECIAL THANK YOU TO SCHMITT MUSIC for providing the beautiful Steinway piano for tonight’s concert.
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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, April 13 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 23
Symphony no. 2 “Mysterious Mountain” Alan Hovhaness (1911 – 2000) Alan Hovhaness wrote, “I named the symphony for the mysterious feeling that one has in the mountains — not for any special mountain, but for the whole idea of mountains.” Of Hovhaness, Michael Kelly writes, “His
Hovhaness composed his second sympho-
fascination with Eastern philosophies
ny, which is one of his most frequently per-
and meditation carries over to his music.
formed works, at the bidding of conductor
Almost all of his works have a spiritual
Leopold Stokowski for the latter’s inau-
character. Although it is sometimes reli-
gural concert in October of 1955 as the
gious, it is seldom liturgical. Frequently
new conductor of the Houston Symphony
his works invoke spirituality rather than
Orchestra. To add to the importance of the
overtly representing it. It is as if he wants
occasion for both conductor and compos-
the listener to explore his inner self rather
er, the concert that was broadcast across
than participate in the formal beliefs of
the nation on NBC television.
others. Many of his works are inspired by natural subjects, and cross over the meta-
The work is in three movements; the outer
physical boundary between the universe
movements feature hymn-like melodies
of perception and the universe of mystical
that are liberated rhythmically by frequent-
imagination. He was especially fasci-
ly changing meters. The middle movement
nated by the solitary mountain, whose
has two prominent attributes: a string choir
rise toward its peak was a metaphor for
theme that is flowing in nature, and an
ascent toward something unknown, but
exuberant theme, both of which are devel-
transcendentally great.”
oped and ultimately presented together toward the conclusion of the movement.
24
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NEW BEGINNINGS  25
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NOTES by COMPOSER JEFFREY NYTCH
Symphony No. 1, Formations Jeffrey Nytch (b. 1964) One of the interesting things about the geology of the Rocky Mountains is how musical the history is: rocks that are formed at the very beginning continually reappear, just as musical themes do in a composition; components of those rocks — motives, if you will — are modified, varied, and transformed over the course of the work; patterns and repetition are at the core of our geologic history, just as they are at the core of most Western music. As I began work on this symphony I made
principles that helped me shape this sym-
two decisions that were critical. The first was
phony: 1) I was not going to attempt a com-
that it was impossible to depict the entire
plete telling of the geologic history of the
geologic history of the mountain west —
Rocky Mountains — such an undertaking
and therefore I wouldn’t even try. Instead
would require many symphonies! 2) I would
I would select key episodes in that history
find musical ways to express geologic
that I thought would also make good music.
processes so that the symphony would not
The second decision is that I would explore
just be a reflection of the landscape but of
the relationship between geology and hu-
the processes that formed that landscape.
man experience, a relationship that has not
3) When one views a modern feature such
always been a harmonious one.
as a mountain, one sees the many different
This allowed me to form four guiding
events that have shaped that feature in the
NEW BEGINNINGS 27
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
aggregate. This compression of perception,
The first movement describes the
and of time, gave me the freedom to super-
Precambrian formation of the crust that
impose or rearrange geologic events ac-
would eventually form the majority of
cording to the best musical outcome, even
southwestern North America. I thought of
if it took geologic events out of the order
this as the laying of both geological foun-
in which they occurred. 4) There would
dations and musical ones, so that just as the
be some portion of the work that would
Precambrian basement keeps appearing
explore the relationship between humans
throughout the regions geologic history, so
and the geology that has such enormous
do the motives and harmonies presented
influence on our lives and history.
in this movement play out over the course of the symphony. The three climaxes corre-
Each movement explores a different
spond to three major orogenic events while
episode in the geologic story of the Rocky
a suddenly calm coda represents the Great
Mountains:
Unconformity and the enormous gap in time it embodies.
I. Orogenies Dark, primal q = 54
This movement depicts the gold and silver
II. Rush!
rushes of the 19th century. We hear a rustic
Scampering, becoming progressively
fiddle tune such as what one might have
more manic q = 120
heard in a mining camp, but the tune keeps
III. Requiems
going awry and fizzling out — just as each
Larghetto q = 58
rush failed to fulfill its promise. A middle
IV. Majesties
section superimposes the sounds of miners
Dark, unsettled q = 54; Furiously
panning for gold with the hiss of hydrother-
churning; Gradually building
mal veins and the thundering of the Cripple
momentum; Jubilant
Creek Diatreme. This geologic event is in
NEW BEGINNINGS 29
turn interrupted by a human one: the labor
history I was struck by two things. The first
strife between miners and mine owners,
was the realization that the fuels that make
accompanied by the sounds of gun shots
our modern society possible are derived
that brought the rush era — and bring this
from the remains of plants and animals —
movement — to a crushing conclusion.
creatures that were previously alive, and whose death provided the material for the
The third movement evokes the Cretaceous
very thing our modern world depends on.
Seaway of North America and the huge
I found this thought worthy of contempla-
amounts of organic material accumulated
tion, and it inspired the title Requiems as
there to create coal, oil, and natural gas.
well as the bulk of the music for this move-
As I contemplated this chapter in geologic
ment. The more animated music towards
30
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 31
the end of the movement provides a
brooding tuba solo dissolve into a slow,
contrast to the dark world of buried organic
climbing chorale for brass: the steady
sediment: a sunny evocation of what must
uplift of the Laramide Orogeny, approx.
have been a tranquil and beautiful region,
65 million years ago. But this uplift didn’t
with warm lagoons and rich, tropical forests.
result in the mountains we see today.
Marine reptiles such as plesiosaurs arched
In fact, those highlands were buried by
gracefully in clear, tropical waters, while
their own debris and that of an extended
pterosaurs and early bird species soared
period volcanic activity that showered
through the air.
thousands of meters of ash, lava, and pyroclastic flows upon the region. It was not
The final movement depicts the long
until about 5 million years ago that either
and complex history behind the mod-
climate change, renewed uplift, or some
ern Rocky Mountains. First we hear a
combination of the two caused sudden
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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
and rapid erosion of the Laramide high-
about writing this symphony: while de-
lands — carving out the majestic moun-
veloping the connecting points between
tains we see today. As the erosion picks
geologic principles and musical ones I was
up pace, we hear snippets of motives
not forced to compromise either: the music
from the entire symphony culminating in
was already in the geology, making it easy
a grand chorale of joyous celebration for
to bring the geology into the music.
the magnificent region we know today as the Rocky Mountains.
— Jeffrey Nytch, September 2013
Of course, it’s every composer’s desire that
Co-commissioned by the Boulder Philharmonic Orchestra and the Geological Society of America in celebration of the Society’s 125th anniversary, with support from ExxonMobil. This work was funded in part by the Composer Assistance Program of New Music USA.
the music work on its own terms, without the benefit of any outside narrative. This is precisely what I found to be so satisfying
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 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 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 Patsy, Rachel, William, Whitney, Yiran, Annastasia, Albert and another Rachel —
PATSY ARONSTEIN VIOLIN THIRD DPO SEASON. Patsy started violin lessons in 4th grade and has played ever since — well, you can TRY to do the math. As a young adult, Patsy studied with Harold Wippler here in Denver, played in the Colorado Springs Symphony when she was a student at Colorado College and later joined the Arapahoe Philharmonic where she played for 27 years. As a child, Patsy studied piano as a child and still enjoys playing from time to time. Patsy received her B.A. in French from Colorado
10 years, she has been a member of Friends of Chamber Music’s Board and has served as President of the Board for the past three years. She is an avid tennis player, skier and enjoys traveling. Patsy also enjoys playing chamber music with friends and is partial to the repertoire for piano trio. With her husband, Jim, we have three sons — Will, Tyler and Reid — and a handsome golden retriever, Champ. She’s a true Francophile right down to the violin and bow that she is playing with tonight!
RACHEL BRADFORD
College 1980 and a Master’s degree in
VIOLIN
French Literature from the University
SEVENTH DPO SEASON. Playing the
of Colorado in 1985. Now retired, she
violin since 1988, Rachel began by
taught high school French at Colorado
performing in a variety of youth en-
Academy for the majority of her career,
sembles in the Denver area under the
but spent several years teaching at the
instruction of Barbara Rino, including
University of Denver and the University
the Denver Young Artists Orchestra and
of Colorado as an adjunct professor and
the Colorado Youth Pops Orchestra.
teaching assistant respectively. The past
She attended the University of Northern
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
GHT Colorado, where she studied music
Orchestra under the direction of Dr.
performance under the guidance of Dr.
Brandon Matthews. She considers herself
Richard Fuchs and Dr. Russell Guyver.
lucky to have the privilege of continu-
Rachel earned her Bachelor of Science
ing her private studies with the very
in accounting from Metropolitan State
talented CSO violinist and MSU violin
University of Denver. In addition to
instructor, Bradley Watson. Rachel fills
performing with us, she’s had the honor
her weekdays with a full-time job in tax
of playing with the Littleton Symphony
auditing and compliance for the State of
Orchestra under conductor and former
Colorado. Rachel lives in Denver with her
Colorado Symphony Orchestra princi-
husband Patrick, their brand new baby
pal cellist, Jurgen de Lemos, and the
girl, and two furry dachshunds.
Metropolitan State University Symphony
NEW BEGINNINGS  39
DR. WILLIAM H. HINKIE, III VIOLA SEVENTH DPO SEASON. William’s been playing music since the age of 9 when he started playing the violin in his public school music program in Louisiana. He has performed with the Baton Rouge Symphony, the Akron Symphony,
40
the Aspen Music Festival Orchestra, the Colorado Ballet and the Boulder Philharmonic. He received his bachelor in Music Education and Violin Performance from Louisiana State University, a Master of Music in Viola Performance from the Cleveland Institute of Music and a Doctor of Musical Arts from the University of Minnesota. William is a freelance musician and teaches private lessons.
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
WHITNEY KELLEY
in the Airde Ensemble, a woodwind
FLUTE/PICCOLO
addition to her orchestral and chamber
sextet based in Boulder, Colorado. In
FIRST DPO SEASON. Whitney re-
pursuits, Whitney currently serves
ceived her D.M.A and M.M. in Flute
as president of the Colorado Flute
Performance and Pedagogy from the
Association, staffs teacher training with
University of Colorado with Christina
the Suzuki Association of the Americas
Jennings, and completed her B.M. with
at their headquarters in Boulder, and
Tadeu Coelho at the University of North
maintains a thriving private studio across
Carolina School of the Arts. Once begin-
the Denver metro area. Whitney lives
ning to play the flute at age four through
outside of Denver with her husband and
the Suzuki Method, music has played an
energetic puppy. She enjoys photogra-
integral part throughout Whitney’s life.
phy, hiking in the Rockies, and cheering
Acclaimed for her “considerable tech-
on the Denver Broncos.
nique” by the Winston-Salem Journal, she has appeared as soloist in numerous orchestral and recital settings, including
YIRAN LI
guest appearances with Hollywood
VIOLIN
film composer Dave Grusin, jazz flutist
SECOND DPO SEASON. Since she starting
Nestor Torres, and performances in the
playing the violin at age 3, Yiran took
Ravinia Summer Music Festival, Texas
violin as her major in middle school and
Music Festival, Denver Pops, Jefferson
has played with symphony orchestras and
Symphony, and Longmont Symphony
philharmonic orchestras in China. She is
Orchestras. In addition to the Denver
working on her Master’s of Music degree at
Philharmonic, Whitney performs as flutist
University of Denver Lamont Music School
NEW BEGINNINGS 41
and is the violin graduate teaching assis-
in music performance for cello. She
tant. Yiran teaches private violin lessons and
obtained her bachelor’s degree at the
has a classical duet with her boyfriend Travis
University of Maryland, College Park and
Rollins called The Duality Duet. Together,
her master’s degree at the University of
they perform for all kinds of special occa-
Colorado, Boulder. She has been studying
sions, which includes everything from wed-
cello for 24 years and has played with a
dings to Solheim Cup opening and closing
wide variety of orchestras — both through
ceremonies. And she has a kitty!
school and as a freelance musician. In
ANNASTASIA PSITOS CELLO THIRD DPO SEASON. Annastasia has both Bachelor’s and Master’s degrees
42
addition to the Denver Philharmonic, she currently also plays full time with the Boulder Symphony and is a substitute cellist with the Fort Collins and Cheyenne Symphony Orchestras. She works as an accounts-payable assistant at an oil and gas company.
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
ALBERT TING VIOLIN SECOND DPO SEASON. Albert has played music on and off for 48 years. The last orchestra he played with was the Metro State Orchestra. After receiving his undergrad degree from Stanford, Albert pursued his Master’s from University of Texas Southwestern and his PhD from Baylor College of Medicine. Albert works as a Nursing Home Provider.
RACHEL YANOVITCH CELLO FIRST DPO SEASON. Rachel began studying piano at age 5, cello at age 9, guitar at 15, and in her free time, she has enjoyed singing and songwriting for several years. She has played with Thames Valley Youth Orchestra in Connecticut, and the Rhode Island Philharmonic youth orchestra when she was in High School. She has performed three solo recitals, and since college, she’s played regularly with worship bands for churches and get-togethers. Rachel has her Associate’s degree in Theology from Calvary Chapel Bible College in Murrieta, Calif., works as a nanny, and plays cello for Pilgrim City Church on Sundays.
SEASON FINALE! THURSDAY, MAY 22 NEW FRONTIERS Lawrence Golan, conductor Daugherty: Krypton Hovhaness: Celestial Fantasy Holst: The Planets
NEW BEGINNINGS 43
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
44
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
CONTRIBUTOR
(CONT.)
FRIEND
(CONT.)
Robert J. Smith
SJ Hudson
TATE+BURNS Architects LLC
Arash Jahanian
Karin Tate
Annie Laury
Naioma and Brad Walberg
Ligature Creative Group
Marcia Whitcomb
Susan McGinley
Gary Wooley
Janet Mizelle and Michael Hope Loren Meaux
FRIEND
Suzanne Mueller and Mark McCarron
(UP TO $99)
in honor of Valerie Clausen
Keri Rose Agnes
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
THANK YOU!
Karin Hensel
NEW BEGINNINGS 45
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
46
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 47
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.
48
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 49
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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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