T H E S I X T Y- S E V E N T H S E A S O N OCTOBER 3 NOVEMBER 14 DECEMBER 20 FEBRUARY 13 APRIL 3 M AY 21 2014–15
OCTOBER 3
REVOLUTION!
Kornel Thomas, guest conductor Elizabeth Baldwin, soprano Shostakovich: October Strauss: Four Last Songs Beethoven: Symphony No. 7
201 GarďŹ eld Street | Denver, CO 80206 | 303.322.0443 www.facebook.com/newberrybros
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WELCOME! With our 2014–15 Season, we celebrate 67 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.
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2 0 1 4 – 1 5 T H E S I X T Y- S E V E N T H S E A S O N
4 –15 OCTOBER 3 REVOLUTION!
Kornel Thomas, Guest Conductor Elizabeth Baldwin, Soprano Shostakovich: October Strauss: Four Last Songs Beethoven: Symphony No. 7
NOVEMBER 14 A TALE OF THREE SYMPHONIES Lawrence Golan, Conductor Kimberly Brody, Oboe Kenneth Greenwald, Bassoon Katherine Thayer, Violin Bryan Scafuri, Cello Haydn: Sinfonia concertante in B-flat Major, Hob. I: 105 Britten: Sinfonia da Requiem Dvořák: Symphony No. 8
DECEMBER 20 HOLIDAY CHEER!*
Lawrence Golan, Conductor and Violin Elizabeth Montgomery, Soprano Colorado Repertory Singers; Mark Stamper, Director Williams: “Merry Christmas, Merry Christmas” from Home Alone Snesrud: Christmas Traditions Holcombe, arr.: Festive Sounds of Hanukkah Pola & Wyle: It’s the Most Wonderful Time of the Year Johnson & Pelcer: Merry Christmas Baby Montgomery & Johnson: Fill Your Heart with Christmas Tchaikovsky: “Waltz of the Flowers” from The Nutcracker Vivaldi: “Winter” from The Four Seasons Handel: “Hallelujah Chorus” from The Messiah Clifton, arr.: Carol of the Bells Hayes, arr.: Variations on Jingle Bells Anderson: Sleigh Ride Tormé & Wells: The Christmas Song Adam: Oh Holy Night Stephenson: A Holly Jolly Sing-Along!
FEBRUARY 13 FROM RUSSIA WITH LOVE Lawrence Golan, Conductor Jeffrey LaDeur, Piano
Tchaikovsky: Piano Concerto No. 1 Tchaikovsky: Symphony No. 1 “Winter Reveries”
APRIL 3 REFORMATIONS
Wes Kenney, Guest Conductor Peter Sommer, Alto Saxophone Bach/Stokowski: Toccata and Fugue in D minor Ellington, orch. Peress: Three Black Kings Williams: “Escapades” from Catch Me if You Can Mendelssohn: Symphony No. 5 “Reformation”
MAY 21 PLANES, TRAINS & AUTOMOBILES Lawrence Golan, Conductor Daria Rabotkina, Piano Adams: Short Ride in a Fast Machine Gershwin: Rhapsody in Blue Prokofiev: Symphony No. 5
Concerts begin at 7:30 pm at KPOF Hall 1340 Sherman Street Denver, CO 80203 * Holiday Cheer! will be performed at Central Presbyterian Church 1660 Sherman St Denver, CO 80203
SPONSORED BY
DENVERPHILHARMONIC.ORG
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FRIDAY, OCTOBER 3, 2014 REVOLUTION! KPOF Concert Hall · Denver, Colorado · 7:30 pm
Kornel Thomas, guest conductor Elizabeth Baldwin, soprano
Dmitri Shostakovich
October, Op. 131
(1906 – 1975)
Richard Strauss (1864 – 1949)
Four Last Songs
Frühling September Beim Schlafengehn Im Abendrot (See English translation on page 28)
∙ 15-MINUTE INTERMISSION ∙ Ludwig van Beethoven Symphony No. 7 (1770 – 1827) Poco sostenuto – Vivace Allegretto Presto, assai meno presto Allegro con brio
MEET THE MUSICIANS
Reception Immediately following the concert, meet & mingle on the lower level. Nightcap Following the reception, raise a glass with us at Oblio’s Cap Hill. 6
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Your community resource for in-depth news and music discovery.
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LAWRENCE GOLAN MUSIC DIRECTOR & CONDUCTOR The 2014–15 Season marks Lawrence’s second season as music director of the Denver Philharmonic Orchestra. In high demand across the United States and internationally, Lawrence is also currently Music Director of the Yakima Symphony Orchestra in Washington state, the York Symphony Orchestra in Pennsylvania, and the Lamont Symphony Orchestra & Opera Theatre at the University of Denver. In addition, he is the Principal Conductor of the Seoul Philharmonic in South Korea. Lawrence continues to guest conduct professional orchestras, opera, and ballet companies in the U.S. and around the world. He has conducted in 26 states and 17 countries. Lawrence has garnered considerable international recognition for his work as a conductor. He has won 10 ASCAP Awards, five Global Music Awards, three American Prize awards, three Downbeat Magazine Awards, and two Prestige Music Awards. Following a highly successful four-year term as Resident Conductor of The Phoenix Symphony, Music Director Michael Christie said that Lawrence “is a programmer of virtually unprecedented creativity and scope.” That sentiment was confirmed in 2012 when Lawrence was named the Grand Prize Winner of The American Prize for Orchestral Programming.
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Lawrence is known for his inspired performances, imaginative programming, passion for developing new audiences, and excellent public speaking skills—entertaining and educating the audience from both on and off the podium. He is also recognized for his expertise in the complete spectrum of musical styles and periods. He has worked with artists ranging from Leonard Bernstein, Marilyn Horne, Daniel Barenboim and Joshua Bell to Frank Sinatra, Kenny G and ShaNaNa. 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. Lawrence and his wife Cecilia, who is from Buenos Aires, Argentina, have been married since 2003. They have two wonderful children: Giovanna and Joseph. Lawrence is represented by William Reinert Associates in New York. For more information, please visit LawrenceGolan.com or WilliamReinert.com.
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S. MORDECAI FUHRMAN ASSOCIATE CONDUCTOR Conductor, percussionist, timpanist, and arranger, Samuel Mordecai Fuhrman is a graduate of the University of Delaware and the Cleveland Institute of Music. Samuel has performed with and conducted the Wilmington What should you listen
Community Orchestra in Delaware, Center City Opera Theater
for? What is the music’s
in Pennsylvania, the Cleveland Pops Orchestra in Ohio, and the
historic and cultural
Newark Symphony Orchestra in Newark, Del., where he directed
context? Join me before each performance for a pre-concert chat. Get
the inaugural Family Series in 2010.
insight into the music
Founder of the Reading Orchestra of North Wilmington,
and music-makers you
Samuel received his undergraduate degree in music in percus-
will hear during the
sion/timpani at the University of Delaware. In 2007, he won the
performance.
University of Delaware Concerto Competition, performing Eric Bryce’s Concerto for Marimba / Vibraphone and Orchestra with the University of Delaware Symphony. Samuel studied conducting at the Cleveland Institute of Music, where he led multiple performances and received a master of music degree in 2014. In August 2013, Samuel led members of the Kiev Chamber Orchestra and the National Philharmonic Orchestra of Ukraine in a performance of Aaron Copland’s Appalachian Spring as part of the U Artist Music Festival. In addition to music, Samuel enjoys studying and contemplating cosmology and the evolution of the universe with his wife, Emily.
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KORNEL THOMAS GUEST CONDUCTOR Hungarian-American conductor Kornel Thomas returns to the Denver Philharmonic after his season as associate conductor with the orchestra. Kornel is the conductor and a teaching artist at El Sistema Colorado and is the conductor of the contemporary music group, Nebula Ensemble. He was previously associate conductor of the Lamont Symphony Orchestra and assistant conductor of the St. Stephen King Youth Orchestra. In fall 2013, Kornel was acting music director of the Lamont Symphony Orchestra where he conducted multiple sold-out performances of the musical, Oklahoma! He attended the Cabrillo Festival Conductor Training Workshop, the Pierre Monteux School for Conductors and the London Conducting Workshop. Kornel was a semi-finalist at the Orquestra Metropolitana de Lisboa Young Conductors Competition in 2013. In 2012, he debuted at the Vienna Musikverein with the ORF Radio Symphony Orchestra Vienna. Kornel won second prize at the 2006 Béla Bartok Hungarian National Competition in Composition. He holds a master’s degree in orchestral conducting from the University of Music and Performing Arts Vienna and an artist diploma in orchestral conducting from the Lamont School of Music, University of Denver. Kornel’s mentors include Mark Stringer, Yuji Yuasa, Ervin Ortner, Konrad Leitner, Lawrence Golan, Betrand de Billy, Niclolas Pasquet, Daniel Harding and Maron Alsop.
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ELIZABETH BALDWIN SOPRANO American lyric soprano Elizabeth Baldwin has been praised by the San Francisco Examiner as being “ferociously talented” and is in equal demand on both operatic and concert stages across the country. I have had the great pleasure of performing title roles in many of Strauss’ operatic works
Elizabeth’s recent engagements include a debut with the Boston Youth Symphony Orchestra singing the title role in Puccini’s Tosca and with the Toledo Opera in the “Ladies In Red” Opera
and know there is
Gala Concert. She will also be representing America in the Marie
nothing like becoming
Kraja International Singing Competition in Tirana, Albania and
an instrument in his
the Stella Maris International Vocal Competition on board the
luscious orchestrations.
MS EUROPA. Upcoming engagements include Ariadne aud
I hope you have a
Naxos with Opera Theater of Pittsburgh, her return to Boston
wonderful experience and enjoy this gorgeous music as much as I do!
Youth Symphony Orchestra in Un Ballo in Maschera, as well as Opera San Jose’s production of Die Zauberflöte. In the 2012–13 season, she debuted with the Kentucky Opera singing the title role in Puccini’s Tosca and debuted at Avery Fisher Hall at Lincoln Center as Viclinda in Verdi’s I Lombardi with The Opera Orchestra of New York under Eve Queler. She also debuted the role of Ellen Orford in Britten’s Peter Grimes at the Chautauqua Opera. In the 2011–12 season, she covered the role of Arminda in Mozart’s La finta giardiniera at the San Francisco Merola Opera Program and performed the role of Margherita in Boito’s Mefistofele at the Merola Schwabacher Concert under Giuseppe Finzi. She also debuted with the Virginia Opera singing the Dew Fairy in Humperdinck’s Hänsel und Gretel while covering the role of Gretel, along with covering the role of La Princesse in Philip Glass’ Orphée.
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On the concert stage, Elizabeth performed in Mendelssohn’s Elijah at Boston’s Symphony Hall with the Boston University Orchestra and Chorus in 2011. Additional credits include Vivaldi’s Gloria, Fauré’s Requiem, Schubert’s Der Hirt auf dem Felsen, Aaron Copland’s As It Fell Upon A Day, John William’s Seven For Luck, William Schuman’s In Sweet Music, Ivan Fedele’s Maja, and many others. In competitions, Elizabeth is a 2013 International Finalist in the Francisco Viñas Singing Competition in Barcelona, 2012 National Semi-Finalist in the Metropolitan Opera Council Auditions (winning through the Central Region and Illinois District), and 2011 Grand Prize winner in The William Matheus Sullivan Musical Foundation competition. She won First Place in the National Opera Association Artist Division, The Schuyler Foundation for Career Bridges, National Orpheus Vocal Competition, and The Heida Hermanns International Voice Competition. The Tanglewood Music Center Festival awarded her with the Grace B. Jackson Prize for Singers after her summer apprenticeships. Elizabeth studied with renowned American Mozart soprano Carol Vaness while obtaining her master of music degree in opera performance from the Indiana University Jacobs School of Music, as well as a bachelor of music degree in vocal performance from Bowling Green State University where she studied with Myra Merritt. She currently works with Martin Katz. 13
MORE THAN Attending a concert with us goes beyond an evening of high-calibur classical music. Last season, we had a lot of fun — we live-tweeted concerts, held lively pre-concert chats, produced a Super Bowl video mashup with the Seattle Philharmonic Orchestra, hosted a Valentine’s Day photo booth, projected your Rocky Mountain pics above the musicians, brought in an instrument petting zoo, set up a selfie corner with a cardboard Buzz Aldrin, and partnered with the Denver Museum of Nature and Science to bring the Gates Planetarium (and the entire universe) into KPOF Hall.
Here’s a taste of what’s in store for our next concert — A Tale of Three Symphonies on November 14. PRE-CONCERT CHAT, 6:30PM
POST-CONCERT RECEPTION
Join Associate Conductor S. Mordecai Fuhrman for a pre-concert chat about the music. We’ll give you insights into the music and music-makers you’ll be listening to.
Say hello! Come downstairs after the concert for coffee or punch and homemade cookies, meet the soloists, get a t-shirt — have fun!
A TASTE OF THREE CAKES EL SISTEMA INTERLUDE, 7:00PM If you missed the elementary school students from El Sistema Colorado perform last May, here’s your chance! (They rock!)
At the post-concert reception, DPO partner Glaze by Sasa will present three baum cakes for your tasting delight!
NIGHTCAP, 10PM BOOK SWAP Got some extra books lying around the house? Bring ’em in, and pick up a new one! Maybe leave a note about a favorite passage for another patron to find!
Enjoy a late-night happy hour — concertthemed cocktails or a glass of wine are $3 and draft beer is just $1 with your ticket at Oblio’s Cap Hill, 1225 Logan, after the reception. Meet, mingle and connect with musicians and friends — just three blocks away!
Visit denverphilharmonic.org for concert tickets and info on all of our upcoming events. 14
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MUSIC.
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OUR MUSICIANS MUSIC DIRECTOR
VIOLA
Lawrence Golan
ASSOCIATE CONDUCTOR S. Mordecai Fuhrman
FIRST VIOLIN
Katherine Thayer, concertmaster Patsy Aronstein Melissa Campbell Matthew Grove Thomas Jatko Nasiha Khalil Chelsea Morden Tenley Mueller Kristine Pordesimo Emmy Reid Beth Schoening Vanessa Vari Elizabeth Wall
SECOND VIOLIN Yiran Li, principal Rachel Bradford Niccolo Werner Casewit Valerie Clausen Pauline Dallenbach Terri Gonzales Miki Heine Annie Laury Callista Medland Alyssa Oland Anne Silvas Albert Ting
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William Hinkie, III; principal Naomi Croghan Lori Hanson Ben Luey Ana Montenegro Elizabeth O’Brien Kathleen Torkko
CELLO
Bryan Scafuri, principal Naftari Burns Ausra Mollerud Annastasia Psitos Monica Sáles Amanda Thall Rachel Warbelow Andreas Werle Rachel Yanovitch Tara Yoder
BASS
Mark Stefaniw, principal Lucy Bauer Josh Filley Taryn Galow Joey Pearlman
2 0 1 4 – 1 5 T H E S I X T Y- S E V E N T H S E A S O N
FLUTE
Aaron Wille, principal Whitney Kelley Catherine Ricca Lanzano
PICCOLO Whitney Kelley
OBOE
Kimberly Brody, principal Loren Meaux, assistant principal Alexis Junker
FRENCH HORN David Wallace, principal Jeanine Branting Mary Brauer Mark Denekas Kelli Hirsch
TRUMPET
Ryan Spencer, principal Nick Kenny Tyler Van Dam
TROMBONE
Loren Meaux
William Combs, principal Wallace Orr
CLARINET
BASS TROMBONE
ENGLISH HORN
Shaun Burley, principal Jessica Clark Claude Wilbur
Daniel Morris
TUBA Darren DeLaup
E-FLAT CLARINET Jessica Clark
BASS CLARINET Claude Wilbur
TIMPANI
Steve Bulota, principal
PERCUSSION Colin Constance
BASSOON
Ken Greenwald, principal Nicholas Lengyel
HARP Becky Moritzky
PIANO/KEYBOARD Madoka Asari
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OUR ADMIN VOLUNT EXECUTIVE DIRECTOR
CONCERT NOTES
Valerie Clausen
Kate Huffman
BOARD OF DIRECTORS
CONCERT RECORDING
PRESIDENT Jon Olafson VICE-PRESIDENT Eleanor Glover SECRETARY Maureen Keil TREASURER Allison Lausten Pauline Dallenbach, Honorary Member Robert Dallenbach Sarah Hogan Russell Klein Linda Lebsack Matt Meier Tenley Oldak
Joel Dallenbach
CONCERT PROGRAM Ligature Creative Group, design Walker Burns, editing Alixandra Feeley, editing
EMBEDDED REPORTER Julia Compton Meg Satrom
DENVER PHILHARMONIC FOUNDATION BOARD Keith Fisher Russell Klein Allison Lausten
BOX OFFICE Carla Cody Eleanor Glover Russell Klein Venus Klein Annie Laury AllisonLausten Jon Olafson
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Callista Medland Alyssa Oland, assistant
OPERATIONS MANAGER Alixandra Feeley
CONDUCTOR LAUREATE Dr. Horst Buchholz
LIBRARIAN
ORCHESTRA ROSTER Annie Laury
OUTREACH Lok Jacobi Maureen Keil Katherine Thayer
2 0 1 4 – 1 5 T H E S I X T Y- S E V E N T H S E A S O N
EERS PARKING ADVISOR
USHERS & RECEPTION
Matt Hogan Hugh Pitcher
Annie Laury
Gil Clausen Lok Jacobi Maureen Keil Allison Lausten Robert Schoenrock
PRE-CONCERT SLIDES
VENUE LOGISTICS
PERSONNEL MANAGER
Jake Romo Ligature Creative Group
PUBLICITY Niccolo Casewit Dr. Robert Dallenbach Eleanor Glover Matt Meier Jeff Paul David Sherman
Taryn Galow Loren Meaux Roger Powell
WEBMASTER 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.
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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, October 12 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.
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OCTOBER 3 ∙ REVOLUTION! by KATE HUFFMAN
October, Op. 131 (1967) Dmitri Shostakovich (1906 – 1975) “Real music is always revolutionary, for it cements the ranks of the people; it arouses them and leads them onward.” — Dmitri Shostakovich Born in St. Petersburg in 1906 and ed-
Much of Shostakovich’s career was
ucated at the Petrograd Conservatory,
shaped by totalitarian oppression, which
Shostakovich was one of the most
dictated the music he could produce.
prominent composers of the 20th century.
Though he had to comply for his safety
As required under Communist rule,
and his career, the regime’s restrictive
Shostakovich was a member of the Union
rules elicited Shostakovich’s disapproval
of Soviet Composers and forced to ad-
and constant fight against them.
here to the ideals of Socialist Realism. All art, including literature, drama, painting,
The composer’s stormy symphonic poem,
and music, needed to portray socialism in
October, was written for the 50th anniver-
a positive light, and music was expected
sary of the Russian October Revolution.
to be tonal, accessible, and folk-inspired.
Nominally October commemorates 21
the Bolshevik overthrow of the Russian
to his condemnation by the Communist
government, but upon careful listening
Party and to Stalin’s campaign of political
Shostakovich reveals his disapproval of the
repression, know as the Great Terror, of
event and his doubts about Communism.
the 1930s.
The symphonic poem is full of tangible heroism, thick orchestral textures, and
The Allegro is also based on the song
heart-racing climaxes, all of which were
“To the Partisan,”used in the film
expected and loved by Soviet audiences.
Volochaayevka Days, which tells of individuals fighting for freedom against a
Unexpected, however, was the slow intro-
repressive regime.
duction opening the piece: a quote from his 10th Symphony which was written as
Shostakovich’s use of self-quotation
an emotional reflection of Stalin’s tyranny
from politically critical works in this piece
and partial celebration of his death.
appearing to celebrate the October
Shostakovich further quotes his own
Revolution is a credit to his skill as a
works in the main Allegro which closely
composer and his dedication to freedom
resembles the scherzos of his Fifth and
of expression despite the restrictions of
Seventh Symphonies written in response
Soviet Realism.
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Linda M. Lebsack Books (out-of-print, rare, unusual, locally published)
Specializing in Colorado & the West, Architecture, American Art & Artists, Photography, Railroading, General subjects, Postcards and Paper Ephemera Local History a specialty
7030 E. 46th Ave. Dr. Unit H - Denver (near I-70 and Quebec) Open Monday, Tuesday, Friday & Saturday noon - 6 p.m. Other times by appointment or chance. Free printed catalogues and E-Mail lists of interesting new arrivals. Send a postcard, call or email to get on the mailing list.
LinLebBks@aol.com 303-832-7190
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Used & Out of Print in very good condition! All instruments & thousands of songs Shop TJ’s Music in the Broadway Book Mall 200 S. Broadway, Denver Tuesday - Saturday 10 a.m. - 6 p.m. Sunday 11 a.m. - 5 p.m. & Monday 2-6 p.m. 303-744-2665
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Four Last Songs (1948) Richard Strauss (1864 – 1949) In Four Last Songs, Richard Strauss assures listeners, and perhaps himself, that death does not have to be feared, rather embraced as a final journey after life’s many adversities and adventures. Indeed, Strauss himself faced many ad-
in the rich, Romantic style, is a time and
versities and undertook adventures in his
world Strauss knew was gone forever.
own life. Living through the devastation of both World War I and II deeply affected
Composed near the end of his life,
the German composer long after the
Strauss did not know the four songs
wars’ conclusions. He also witnessed
written for soprano voice and orchestra
huge musical changes happening around
would be his last. He had come across
him: Hindemith’s “New Objectivity,” the
poems that had special meaning to him in
intensely aggressive rhythms of Stravinsky,
the works of Hermen Hesse and Joseph
Arnold Schoenberg and the Second
von Eichendorff.
Viennese School. The world, it seemed, was spinning out of control, and Strauss
Hesse’s Frühling (Spring), September, and
was left feeling helpless and jaded.
Biem Schlafengehen (Time to Sleep), and von Eichendorff’s Im Abendrot (At Dusk)
Captured in Four Last Songs, with its
were set to music in 1948. Strauss com-
soaring melodies and lush tonal harmonies
pleted the works later that year and died
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shortly thereafter, never having heard
horn — the instrument of Strauss’ father
them performed.
— can be heard in the final moments of the movement.
The composer left no indication that he intended the songs to be performed
In Beim Schlafengehen, the poet continues
together, and thus left no sequence
on the journey toward the afterlife, letting
of presentation. It was his publishing
go of life’s hardships and toil. Strauss then
company, Boosey & Hawkes, that put the
features another favorite instrumental
songs in the song cycle in which they are
voice, the violin, to play powerfully be-
most often performed today (I. Frühling, II.
tween the lines of the soprano.
September, III. Beim Schlafengehen, and The final song, Im Abendrot, completes
IV. Im Abendrot).
the voyage of the poet’s soul quoting In the first song, Frühling (Spring), the
the “transfiguration” theme from Death
composer pays nostalgic tribute to this
and Transfiguration, a tone poem he
hopeful time of year, which follows the chill
had composed 60 years earlier. It can be
of winter. Woodwinds frame and interact
heard just after the soprano sings “ist
with the soprano’s low opening lines, be-
dies etwa der Tod?” (Can this, perhaps,
fore her phrases, mirrored by the strings,
be death?), symbolizing the fulfillment of
soar upwards.
the soul into death.
The cycle of seasons continues in
As stated by Herbert Glass, “It is music
September when summer fades and
so bewitchingly sensuous, so achingly
autumn inevitably approaches. The text
nostalgic, so subtle in its interweaving of
and atmosphere darken and decay as the
vocal and instrumental textures as to defy
poet accepts the end of summer and,
description. To more than one observer,
thereby, of all things. A powerful solo for
Strauss saved his best for the very end.”
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Four Last Songs German Text
Four Last Songs English Translation
FRÜHLING
SPRING
by Hermann Hesse
Translation by Michael Hamburger
In dämmrigen Grüften
In half-light I waited,
träumte ich lang
Dreamed all too long
von deinen Bäumen und blauen Lüften,
Of trees in blossom,
Von deinem Duft und Vogelsang.
Those flowing breezes, That fragrant blue
Nun liegst du erschlossen
And thrushes’ song.
In Gleiß und Zier von Licht übergossen
Now streaming and glowing
wie ein Wunder vor mir.
From sky to field With light overflowing
Du kennst mich wieder,
All these charms are revealed.
du lockst mich zart, es zittert durch all meine Glieder
Light gilds the river,
deine selige Gegenwart!
Light floods the plain; Spring calls me: and through me there quiver Life’s own loveliness, Life’s own sweetness returned again!
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SEPTEMBER
SEPTEMBER
by Hermann Hesse
Translation by Michael Hamburger
Der Garten trauert,
These mournful flowers,
kühl sinkt in die Blumen der Regen.
Rain-drenched in the coolness are
Der Sommer schauert
bending,
still seinem Ende entgegen.
While Summer cowers, Mute as he waits for his ending.
Golden tropft Blatt um Blatt nieder vom hohen Akazienbaum.
Gravely each golden leaf
Sommer lächelt erstaunt und matt
Falls from the tallest Acacia tree;
In den sterbenden Gartentraum.
Summer marvels and smiles to see His own garden grow faint with grief.
Lange noch bei den Rosen bleibt er stehn, sehnt sich nach Ruh.
Ling’ring still, near the roses long he stays,
Langsam tut er
Longs for repose;
die müdgeword‘nen Augen zu.
Languid, slow to the last, His weary eyelids close.
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Wes Kenney, Music Director
2014-2015
Hear the future!
oct 19 | nov 09-10 | nov 22-23 | jan 25-26 | feb 08 mar 08 | may 03-04 | apr 26 | dyao.org or 303.433.2420
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BEIM SCHLAFENGEHEN
TIME TO SLEEP
by Hermann Hesse
Translation by Michael Hamburger
Nun der Tag mich müd gemacht,
Now the day has wearied me,
soll mein sehnliches Verlangen
All my gain and all my longing
freundlich die gestirnte Nacht
Like a weary child’s shall be
wie ein müdes Kind empfangen.
Night whose many stars are thronging.
Hände, laßt von allem Tun
Hands, now leave your work alone;
Stirn, vergiß du alles Denken,
Brow, forget your idle thinking,
Alle meine Sinne nun
All my thoughts, their labor done,
wollen sich in Schlummer senken.
Softly into sleep are sinking.
Und die Seele unbewacht
High the soul will rise in flight,
will in freien Flügen schweben,
Freely gliding, softly swaying,
um im Zauberkreis der Nacht
In the magic realm of night,
tief und tausendfach zu leben.
Deeper laws of life obeying.
31
IM ABENDROT
AT DUSK
by Joseph von Eichendorff
Translation by Michael Hamburger
Wir sind durch Not und Freude
Here both in need and gladness
gegangen Hand in Hand;
We wandered hand in hand;
vom Wandern ruhen wir
Now let us pause at last
nun überm stillen Land.
Above the silent land.
Rings sich die Täler neigen,
Dusk comes the vales exploring,
es dunkelt schon die Luft.
The darkling air grows still,
Zwei Lerchen nur noch steigen
Alone two skylarks soaring
nachträumend in den Duft.
In song their dreams fulfill.
Tritt her und laß sie schwirren,
Draw close and leave them singing,
bald ist es Schlafenszeit.
Soon will be time to sleep,
Daß wir uns nicht verirren
How lost our way’s beginning!
in dieser Einsamkeit.
This solitude, how deep.
O weiter, stiller Friede!
O rest so long desired!
So tief im Abendrot.
We sense the night’s soft breath
Wie sind wir wandermüde--
Now we are tired, how tired!
Ist dies etwa der Tod?
Can this perhaps be death?
32
2 0 1 4 – 1 5 T H E S I X T Y- S E V E N T H S E A S O N
Symphony No. 7 (in A Major, 1812) Ludwig van Beethoven (1770 – 1827) “Applause rose to the point of ecstasy,” wrote one newspaper of a performance of Ludwig Van Beethoven’s Symphony No. 7. This reception was not common for Beethoven’s music, as it was often viewed as too cryptic and progressive for late Classical-era audiences and critics. However, this particular symphony was so
A slow introduction of interweaving wood-
well received that it was performed four
winds, punctuated by chords from the
times in the 10 weeks after its premiere.
strings, opens the symphony. The transi-
The spirited symphony’s four movements
tion to the main part of the first movement
were premiered alongside patriotic pieces
is accomplished by the repetition of a
at a benefit concert for soldiers wounded
single pitch connecting the introduction to
in the Battle of Hanau.
the exposition. The Vivace is dominated by lively dance-like dotted rhythms and
Symphony No. 7 garnered positive at-
sudden dynamic changes.
tention from more than just enthusiastic audiences — German composer Richard
The second movement, the most famous
Wagner regarded it as “the apotheosis of
of the four, is often performed on its own,
the Dance in its highest aspect…the lofti-
and was immediately encored at its pre-
est deed of bodily motion incorporated in
miere; a phenomenon usually unheard of
an ideal world of tone.”
for a slow movement. 33
In the Allegretto, a repeated heartbeat-like
listeners will hear themes from the A and B
rhythmic pattern prevails amidst beautiful
sections return more than once.
melodies passed between the strings and the woodwinds. In the third movement,
The exuberant finale uses rhythmic en-
Beethoven expanded the typical ternary,
ergy to surpass all other climaxes in the
or ABA form, to ABABA. Ternary form is
symphony. Dr. Richard E. Rodda, program
used to describe three parts to a piece of
annotator and professor of music, wrote
music, with the first (A) section very similar
about the final movement, “So intoxicating
to the last (A) section, and a contrasting (B)
is this music that some of Beethoven’s con-
section in between. The expanded ABABA
temporaries were sure he had composed it
form of the third movement means that
in a drunken frenzy.”
34
2 0 1 4 – 1 5 T H E S I X T Y- S E V E N T H S E A S O N
TWEET YOUR HEART OUT 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
• 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
• Add the hashtag #DPOtweets to your posts so your neighbors can follow along
#DPOTweets @DenverPhilOrch 35
CONCERT ETIQUETT 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 movements to show their joy for the mu-
COUGHING
sic 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
show your appreciation between move-
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
ments, we welcome that too. Regardless, we want you to feel comfortable and focus on the performance, not confusing applause rules!
2 0 1 4 – 1 5 T H E S I X T Y- S E V E N T H S E A S O N
E 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
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.
 37
ORCHESTRA SPOTLIG 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 Pauline, Whitney and Albert — PAULINE A. DALLENBACH
Symphony of Words, and authored the
VIOLIN
book Dear Friends. She enjoys writing
FIFTY-FIRST DPO SEASON. In 1928,
and extensive reading which fortifies and
at age 2, Pauline first sang on KPOF
contributes to the ministries of the Pillar of
Radio and continues to participate in
Fire. In 1949, she received her bachelor’s
the station’s broadcasting. Since 1964,
degree in mathematics from Alma White
Pauline and her husband, Dr. Robert
College in New Jersey and her master’s
Dallenbach, have served the orchestra,
degree in communications and theatre in
ranging from recording and broadcasting
1982 from the University of Colorado. Over
DPO concerts to maintaining extensive
82 years of playing the violin, Pauline has
orchestra archives. Dr. Dallenbach was
performed with Westminster Symphony
president for the board for many years
Orchestra, Brown University Orchestra,
and broadcasts our concerts on KPOF
Denver Businessman’s Orchestra, Brico
91AM. Pillar of Fire has provided facilities
Symphony, Centennial Philharmonic
for concerts, rehearsals, storage of the
Orchestra and the Denver Philharmonic
orchestra’s music library, instruments and
Orchestra. Granddaughter of Alma White,
equipment in its beginning in 1948. As
founder of the Pillar of Fire, Pauline is an
a former teacher in K-12 and college,
ordained elder in the Church. She also
Pauline has written numerous school plays
plays piano, organ, and saxophone.
and musical productions, produced the
38
2 0 1 4 – 1 5 T H E S I X T Y- S E V E N T H S E A S O N
HT WHITNEY KELLEY
performances in the Ravinia Summer Music
FLUTE/PICCOLO
Festival, Texas Music Festival, Denver
SECOND DPO SEASON. Whitney
Pops, Jefferson Symphony, and Longmont
received her D.M.A and M.M. in flute
Symphony Orchestras. In addition to the
performance and pedagogy from the
Denver Philharmonic, Whitney performs as
University of Colorado with Christina
flutist in the Airde Ensemble, a woodwind
Jennings, and completed her bachelor’s
sextet based in Boulder. In addition to her
degree of music with Tadeu Coelho at
orchestral and chamber pursuits, Whitney
the University of North Carolina School
currently serves as president of the
of the Arts. Once beginning to play
Colorado Flute Association, staffs teacher
the flute at age 4 through the Suzuki
training with the Suzuki Association of the
Method, music has played an integral
Americas at their headquarters in Boulder,
part throughout Whitney’s life. Acclaimed
and maintains a thriving private studio
for her “considerable technique” by the
across the Denver metro area. Whitney
Winston-Salem Journal, she has appeared
lives outside of Denver with her husband
as soloist in numerous orchestral and
and energetic puppy. She enjoys photog-
recital settings, including guest appear-
raphy, hiking in the Rockies, and cheering
ances with Hollywood film composer
on the Denver Broncos.
Dave Grusin, jazz flutist Nestor Torres, and
39
ALBERT TING
Dolls, a Stanford Ramshead Production.
VIOLIN
He graduated from Baylor College of
THIRD DPO SEASON. Albert Ting started
Medicine with a PhD in cell biology, then
violin lesson at age 6 in Taiwan and
graduated from UT Southwestern Medical
moved to the U.S. with his family when he
School with a MD and finished a Family
was 9 years old. It was an exciting land of
Medicine Residency in the U.S. Air Force.
opportunities for his whole family. While
Albert has been a family medicine doctor
in high school, Albert was accepted at
for the last 28 years, mostly with Kaiser.
Interlochen Summer Music Camp and
He currently has a special interest in geri-
played in the first violin section of the
atric medicine and mainly treats nursing
World Youth Symphony Orchestra. It
home patients. Outside interests includ-
was truly exciting for him to play under
ing taking apart things including PCs and
conductors such as Aaron Copland and
Macs. His house is littered with carcasses
to accompany Van Cliburn. In college at
of computers unfortunate enough to fall
Stanford University, Albert played in the
into his hands. Albert and his son spent a
Stanford Symphony Orchestra and was
blissful summer together building robots
the first chair of the Stanford Glee Club
from the little Arduino board. His family
orchestra. He graduated from Stanford
also treasured the homeschooling experi-
University with Bachelor Degree in
ence. Albert first joined DPO in 2010 and
Physical Chemistry. During this period,
has immensely enjoyed playing with all
Albert was also the conductor for several
the friendly and energetic folks at DPO.
local church choirs; as well as the assistant
He currently recognized as the best chair
conductor for the musical Guys and
stacker in the orchestra.
PLEASE JOIN US FOR OUR
For additional information and to purchase tickets, visit
CherryCreekChorale.org or call
303 -789 -5920 40
2 0 1 4 – 1 5 T H E S I X T Y- S E V E N T H S E A S O N
WHAT?! I have to share my Baum Cake with the grown-ups? Known as the “tree of life” for its gorgeous, concentric circles, Baumkuchen (“Baum Cake”) originated hundreds of years ago in Germany, made its way to Japan, and landed right here in Denver. Visit Glaze. Meet our one-of-a-kind rotisserie, spit oven. Experience a moment of happiness that goes around and around just like our fabulous cake. Oh, and be sure to get a free sample. We won’t tell Sloane.
Sloane, self-proclaimed cake guru
1160 Madison Street, Denver, CO 80206 Open 7 days a week, 9am - 9pm
720.387.7890 | glazebaumcakes.com
Specialty Baum cakeS, cuStom cakeS, French-Style macaronS, tiramiSu.
41
CONTRIBUTIONS We would like to acknowledge the generous support of the following individuals, businesses and corporations.
ORCHESTRA’S CIRCLE
BENEFACTOR
Valerie and Gil Clausen
Lok and Jake Jacobi
($20,000+)
CONDUCTOR’S CIRCLE ($5,000+)
($300 – $499) Russell Klein
CONTRIBUTOR
AIC Ventures, on behalf of Ben Luey
($100 – $299)
SCFD
Sarah Hogan
CONCERTMASTER’S CIRCLE ($2,500 – $4,999)
Thomas James Merry Drs. Mark and Maxine Rossman
FRIEND
(UP TO $99)
MUSICIANS’ CIRCLE ($1,000 – $2,499)
Keri Rose Agnes Amazon Smile Foundation McKesson Foundation, matching gift on
PATRON
($500 – $999)
behalf of Janice Burley
IN-KIND SUPPORTERS The Pillar of Fire Church
THANK YOU!
Ligature Creative Group Newberry Brothers Greenhouse and Florist Since January 1, 2014
42
2 0 1 4 – 1 5 T H E S I X T Y- S E V E N 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.
 43
IT TAKES A COMMUN 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
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.
44
2 0 1 4 – 1 5 T H E S I X T Y- S E V E N T H S E A S O N
ITY 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.
Email Exp.
45
CONTACT US! PO Box 6074 Denver, CO 80206 303.653.2407 @denverphilorch DenverPhilharmonic.org
46
2 0 1 4 – 1 5 T H E S I X T Y- S E V E N T H S E A S O N
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