2017
70 SEASON TH
2018
APRIL 14, 2018 • 14 DE ABRIL DE 2018
¡GOOOOAL! JOSÉ LUIS CASTILLO, GUEST CONDUCTOR • DIRECTOR INVITADO M O N CAYO
Huapango REV U E LTAS
Redes (Original Concert Version • Versión original del concierto) CO PL AND
El Salón México FA L L A
Three-Cornered Hat Suite No. 1 • Sombrero de tres picos Suite No. 1 VIL L A-LO BOS , A RR. K RA N C E
“Ária” from Bachianas brasileiras No. 5 PIA ZZO L L A , A RR. M A RT U RE T
Oblivion GI NASTE RA
Four Dances from Estancia • Cuatro danzas de Estancia
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©KEVIN FRICKE PHOTOGRAPHY
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 don’t need a Twitter account to
you want to participate, but let’s leave
read our tweets (just visit twitter.com/
the music to the pros.
DenverPhilOrch), but if you’d like to
• ALL THUMBS Tweet tweet tweet all the night through, but remember, no talking during the concert.
tweet along with us, you need an account. • “PG” tweets only — C’mon, there are kids here.
• Add the hashtag #DPOtweets to your posts so your neighbors can follow along.
#DPOTweets @DenverPhilOrch 3
¡SALUDOS! Remember when a house cost $6,600 and gas was 14 cents a gallon? When kitty litter was invented, aliens were landing in Roswell and major league baseball was first integrated? That’s a slice of our world 70 years ago when famed conductor Antonia Brico founded the Denver Philharmonic Orchestra (known then as Denver Businessmen’s Orchestra). Just as the world around us has changed over the past 70 years, so has the overall DPO concert experience. ¡Bienvenidos! Tonight, we venture to Mexico,
We now tweet with you during concerts, host our signature More
Spain, Brazil and
than Music events, and engage with our community through
Argentina to celebrate
social media. The DPO’s average concert attendance has sky-
Latin and Hispanic music
rocketed from 350 people per concert in 2011 to a record-break-
and culture. Thanks for joining us on our journey!
ing 987 last season! No doubt, Maestro Brico and the people of Denver could never have imagined the DPO touring China, building a stage, winning two Emmys®, placing first in the Ictus International Music Competition, or partnering with the Bavarian Philharmonic in Munich, Germany — but, we have! While times and the trappings of the concert experience have changed, some things have remained the same — most important, the music. We have never lost focus on providing our community’s musicians a quality place to showcase their talents and an outstanding live musical performance for people like you! We are excited that you are part of our 70th Season. Enjoy •
4
THE 70TH SEASON
¿Recuerda cuando una casa costaba $6,600 y la gasolina era a 14 centavos el galón? ¿Se acuerda también cuando se inventó la arena para gatos, los alienígenas aterrizaron en Roswell y cuando se dio por primera vez la integración del Béisbol de Grandes Ligas? Esa es una parte de lo que era nuestro
imaginado que DPO viajaría por China,
mundo hace 70 años cuando la afamada
construiría un escenario, ganaría dos
directora Antonia Brico fundó la Denver
Emmys®, se ubicaría en el primer lugar en
Philharmonic Orchestra, DPO, (conocida
el Concurso Internacional de Música Ictus,
en ese entonces como la Orquesta de
o que llegaría a asociarse con la Bavarian
Empresarios de Denver). Así como el
Philharmonic Orchestra en Munich,
mundo que nos rodea ha cambiado en
Alemania — ¡Pues logramos todo eso!
los últimos 70 años, del mismo modo ha ocurrido con DPO y la manera en que se viven los conciertos.
Si bien los tiempos y los arreglos parte de la experiencia del concierto han cambiado, algunas cosas han permanecido
Ahora tuiteamos durante los conciertos,
igual; entre ellas, lo más importante: la
presentamos nuestros eventos exclusivos
música. ¡Nunca hemos perdido de vista la
de More than Music y nos relacionamos
necesidad de proporcionarle a los músicos
con nuestra comunidad a través de las
de nuestra comunidad un lugar de calidad
redes sociales. La asistencia promedio de
para mostrar sus talentos y, con ello, poder
los conciertos de DPO se ha disparado
brindar una presentación musical excepcio-
de 350 personas por concierto en 2011, a
nal en vivo para personas como ustedes!
un récord de 987 personas en la última temporada. Sin duda, la maestra Brico y la gente de Denver nunca se hubiesen
Nos alegra enormemente que ustedes hagan parte de nuestra 70ª temporada. ¡Disfruten! •
Sincerely,
Jon Olafson President of the Board • Presidente de la junta directiva, DPO 5
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Our 70th season packs adventure into every note. From fall festivals & Christmas magic to four-leaf clovers & fútbol matches, we’ll take you on a journey around the globe through traditional and contemporary symphonic works.
BUY NOW AT DENVERPHILHARMONIC.ORG 6
THE 70TH SEASON
ON THE MAIN STAGE SEPTEMBER 29, 2017
MARCH 2, 2018
OKTOBERFEST
SMILIN’ ISLES
Lawrence Golan, conductor Katherine Thayer, violin; Hideki Machida, oboe Colorado Repertory Singers; Dr. Kyle Fleming, director Emily Morris, soprano; Jennifer DeDominici, mezzosoprano; Kevin Gwinn, tenor; Nicholas Navarre, bass
Lawrence Golan, conductor Dirk Mewes, uilleann pipes
BACH Concerto for Violin & Oboe in C Minor SCHUBERT Magnificat BRAHMS Symphony No. 2
NOVEMBER 17, 2017
O BEAUTIFUL
MENDELSSOHN Symphony No. 3 “Scottish” DAVEY The Brendan Voyage
APRIL 14, 2018
¡GOOOOAL!
PRESENTED BY MARKETO
José Luis Castillo, guest conductor MONCAYO Huapango REVUELTAS Redes
PRESENTED BY DAVID SHERMAN CREATIVE
COPLAND El Salón México
Lawrence Golan, conductor Cherry Creek Theatre, actors
VILLA-LOBOS, ARR. KRANCE “Ária” from
COPLAND Fanfare for the Common Man GERSHWIN, ARR. BENNETT Porgy and Bess;
A Symphonic Picture BOYER Ellis Island; The Dream of America
DECEMBER 15 & 16, 2017
HOLIDAY CHEER! PRESENTED BY TRACE3
Lawrence Golan, conductor Colorado Repertory Singers; Dr. Kyle Fleming, director Young Voices of Colorado; Jena Dickey, director HOLIDAY FAVORITES!
Full repertoire available at denverphilharmonic.org
FALLA Three-Cornered Hat Suite No. 1
Bachianas brasileiras No. 5 PIAZZOLLA, ARR. MARTURET Oblivion GINASTERA Four Dances from Estancia
MAY 24, 2018
RUSS-KEYS Lawrence Golan, conductor Fei-Fei Dong, piano RACHMANINOFF Piano Concerto No. 2 SHOSTAKOVICH Symphony No. 5
Antonia Brico Stage Central Presbyterian Church 1660 Sherman Street, Denver
CHAMBER MUSIC SERIES NOVEMBER 8, 2017; JANUARY 12, MARCH 9 & 10, MAY 4, 2018
DPO WITH A TWIST PRESENTED BY LIGATURE CREATIVE
Katherine Thayer & William Combs, artistic advisors For a third season, we’re breakin’ out of the concert hall into Denver’s bustling downtown nightlife. Our chamber music series DPO With a Twist brings you small ensembles over dinner and drinks in a nightclub setting. More info at denverphilharmonic.org.
7
APRIL 14, 2018 • 14 DE ABRIL DE 2018
¡GOOOOAL! • ¡GOOOOL! P R E SE N TE D BY MA RKET O • PRESENTA DO PO R MA RK E TO
Antonia Brico Stage at Central Presbyterian Church · Denver, Colorado · 7:30 pm
José Luis Castillo, guest conductor • director invitado José Pablo Moncayo
Huapango
Silvestre Revueltas
Redes (Original Concert Version)
Introducción (Introduction) Funeral Fiesta de Trabajo (Work Party)
Aaron Copland
El Salón México
Allegro vivace Moderato Allegro vivace
∙ 20-MINUTE INTERMISSION ∙ ∙ ENTREACTO DE 20 MINUTOS ∙ Manuel de Falla
Three-Cornered Hat Suite No. 1
Introducción (Introduction) La Tarde (Afternoon) Danza de la molinera (Fandango) (Dance of the Miller’s Wife) El corregidor (The Magistrate) La molinera (The Miller’s Wife) Las uvas (The Grapes)
8
THE 70TH SEASON
Heitor Villa-Lobos Arr. Krance
“Ária” from Bachianas brasileiras No. 5
Astor Piazzolla Arr. Marturet
Oblivion
Alberto Ginastera Four Dances from Estancia Los trabajadores agrícolas (The Land Workers) Danza del trigo (Wheat Dance) Los peones de hacienda (The Cattle Men) Danza final (Malambo)
9
LAWRENCE GOLAN MUSIC DIRECTOR • DIRECTOR MUSICAL Conductor Lawrence Golan is in high demand across the United States and internationally. In addition to his position as music director of the Denver Philharmonic, he is also music director of the York Symphony Orchestra in Pennsylvania, the Yakima Symphony Orchestra in Washington state, and the Lamont Symphony Orchestra & Opera Theatre at the University of Denver. Lawrence continues to guest conduct professional orchestras, opera, and ballet companies in the U.S. and around the world. A staunch supporter of music education, Golan is a tenured full professor at the University of Denver’s Lamont School of Music where he leads one of the most distinguished and highly sought after graduate conducting programs in the United States. Highlights of Lawrence’s 2017–18 season include debuts with the Bavarian Philharmonic in Munich, Germany; the Orchestra Sinfonica di Sanremo in Italy, and the Orquesta de Cámara de Bellas Artes (Fine Arts Chamber Orchestra) in Mexico City. Additionally, his latest recording will be released by Albany Records: the world premiere of Ode to Nature by Jiaojiao Zhou: A 3D Dance Oratorio based on the Chinese concept of the five forces of nature, with the Lamont Symphony Orchestra. A native of Chicago, Lawrence holds degrees in both conducting and violin performance from Indiana University’s Jacobs School of Music (BM and MM) and the New England Conservatory of Music (DMA). Lawrence and his wife Cecilia have been married since 2003. They have two wonderful children: Giovanna and Joseph. More at LawrenceGolan.com. •
10
THE 70TH SEASON
Lawrence Golan es un director de orquesta de alta acogida a lo largo de los Estados Unidos e internacionalmente. Además de desempeñar el cargo de di-
debuts con la Bavarian Philharmonic de
rector musical de la Denver Philharmonic
Munich, Alemania; la Orquesta Sinfónica di
(DPO), también es director musical
Sanremo en Italia y la Orquesta de Cámara
de la Orquesta Sinfónica de York en
de Bellas Artes en Ciudad de México.
Pensilvania, la Orquesta Sinfónica de
Adicionalmente, su última grabación —
Yakima en el estado de Washington, y la
lanzada por Albany Records — será la
Orquesta Sinfónica y Teatro de la Ópera
premier mundial de “Oda a la naturaleza”
Lamont de la Universidad de Denver.
de Jiaojiao Zhou: Un Baile Oratorio 3D
Lawrence continúa siendo director invit-
basado en el concepto chino de las cinco
ado de orquestas profesionales, óperas
fuerzas de la naturaleza, con la Orquesta
y compañías de ballet en los Estados
Sinfónica de Lamont.
Unidos y alrededor del mundo.
Lawrence, originario de Chicago,
Golan, como partidario acérrimo de la
cuenta con títulos en Dirección Musical
educación musical, es profesor titular de
y Violinista de Jacobs School of Music
Lamont School of Music de la Universidad
(BM y MM) de la Universidad de Indiana,
de Denver, donde dirige uno de los pro-
y del Conservatorio de música de New
gramas de posgrado en dirección musical
England (DMA).
más distinguidos y de mayor acogida en los Estados Unidos.
Lawrence y su esposa Cecilia han estado casados desde el 2003. Tienen dos her-
Entre lo más destacado de las temporadas
mosos hijos: Giovanna y Joseph. Más en
2017–2018 para Lawrence se encuentran
LawrenceGolan.com •
11
HISHAM BRAVO GROOVER ASSOCIATE CONDUCTOR • DIRECTOR ASOCIADO
Get out your phone and tweet along with me @denverphilorch! Ask questions and learn more about the music — in real time. Tag your posts with #dpotweets to join the conversation.
Hisham is in his second season as associate conductor of the Denver Philharmonic Orchestra. He also serves as assistant conductor of the Lamont Symphony Orchestra while pursuing an artist diploma at the Lamont School of Music studying under the tutelage of Dr. Lawrence Golan. Before coming to Colorado, Hisham graduated from The University of Iowa with a Master’s Degree in Orchestral Conducting studying under Dr. William LaRue Jones. In Iowa, he conducted various university ensembles, including the UI Chamber Orchestra, All-University String Orchestra, Opera Scenes, and the Center for New Music. Other previous professional engagements include Adjunct Instructor of Music at Ripon College, Wisconsin, where he served as the conductor of the Ripon College Orchestra. Besides conducting, Hisham’s violin studies have also taken him to the Jacobs School of Music at Indiana University as well as the New Zealand School of Music. He received his Bachelor Degree in Violin Performance from Loyola University in New Orleans. He also holds a Master’s Degree in Violin Pedagogy from Western Kentucky University where he studied with Dr. Ching-Yi Lin. As associate conductor for the Denver Philharmonic Orchestra, Hisham is proud to serve during its 70th season. •
12
THE 70TH SEASON
Hisham está en su segunda temporada como director asociado de la Denver Philharmonic Orchestra (DPO). También se desempeña como asistente de dirección de la Orquesta Sinfónica de Lamont mientras busca obtener un diploma de artista en Lamont School of Music, bajo la guía del Dr. Lawrence Golan. Antes de llegar a Colorado, Hisham se
Además de dirigir orquestas, Hisham
graduó de la Universidad de Iowa con una
logró que sus estudios de violín le abri-
Maestría en Dirección Orquestal bajo la
eran puertas en Jacobs School of Music
guía del Dr. William LaRue Jones. Dirigió
de la Universidad de Indiana, así como en
varios ensambles universitarios mientras
New Zealand School of Music. Recibió su
estaba en Iowa; entre ellos, la Orquesta de
Licenciatura en Interpretación de violín
Cámara de la UI, la Orquesta de Cuerdas
en la Universidad de Loyola en Nueva
de toda la Universidad, Escenas de Ópera
Orleans. De igual manera, cuenta una
y el Center for New Music.
Maestría en Pedagogía de Violín de la
Entre otros compromisos profesionales previos, Hisham cuenta con haber sido
Universidad de Western Kentucky donde estudió con el Dr. Ching-Yi Lin.
Instructor Adjunto de Música en Ripon
Es un orgullo para Hisham poder partic-
College, Wisconsin, donde se desem-
ipar como director asociado de la DPO
peñó como director de la Orquesta del
durante su 70ª temporada. •
Ripon College.
13
JOSÉ LUIS CASTILLO GUEST CONDUCTOR • DIRECTOR INVITADO Conductor of the Bellas Artes Chamber Orchestra of Mexico, José Luis Castillo is one of the most outstanding and active conductor/ composers on the current music scene. Residing in Mexico since 1997, Castillo was born in Valencia, Spain, where he began his studies in composition, analysis, and orchestral conducting. Further studies took him to Salzburg, Luxembourg, and Paris with Manuel Galduf and Alexander Müllenbach. Director of the Center for the Experimentation and Production of Contemporary Music (Cepromusic), and Musical Director of Camerata de las Americas, Castillo has also conducted in Europe, Asia and in large parts of Latin America. He was principal conductor of the Symphonic Orchestra of the University of Guanajuato, Mexico. Due to his twin engagements as conductor and composer, he has emerged as a widely recognized specialist of modern and contemporary repertoire, from the second half of the 20th century until today. Castillo has conducted the premieres of over 150 compositions alongside the first auditions in Latin America of some of the main composers of the late 20th century. His compositions have been performed in prestigious festivals and venues of contemporary music around the world. In the field of musical education, he has been artistic director of Instrumenta and currently holds a chair in composition at the Superior School of Music. On two occasions he directed the Series of Contemporary Music of the Cervantino International Festival. Currently, he is compiling a critical edition of Silvestre 14
THE 70TH SEASON
Empowering CMOs around the world, and
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16
THE 70TH SEASON
Revueltas’ works, as a result of which he
la Orquesta Sinfónica de la Universidad de
has included in his album discography of
Guanajuato, México.
11 titles the unedited orchestral works of this composer.
Debido a la dualidad de compromisos como director y compositor, Castillo se ha
José Luis Castillo has received prizes
convertido en un reconocido especialista
and distinctions in Italy, Luxemburg and
en repertorio moderno y contemporáneo
Holland and on two occasions has been
desde la segunda mitad del siglo XX hasta
awarded the prize of the Unión Mexicana
la actualidad. De igual manera, ha dirigido
de Críticos de Teatro y Música (Mexican
los estrenos de más de 150 composiciones
Society of Critics in Theater and Music). •
junto a las primeras audiciones en América
El director de la Orquesta de Cámara de Bellas Artes de México, José Luis Castillo, es uno de los directores y compositores más destacados y activos de la escena musical actual. Castillo ha vivido en México desde 1997, pero nació en Valencia, España, donde comenzó sus estudios de composición, análisis y dirección de orquesta. Posteriormente, estudios adicionales lo llevaron también a Salzburgo, Luxemburgo y París con Manuel Galduf y Alexander Müllenbach. Castillo es el actual director del Centro de Experimentación y Producción de Música Contemporánea (Cepromusic) y Director Musical de la Camerata de las Américas. También se ha desempeñado como director en en Europa, Asia y en grandes partes de América Latina. Fue director titular de
Latina de algunos de los principales compositores de finales del siglo XX. Sus composiciones han sido interpretadas en prestigiosos festivales y escenarios de música contemporánea de todo el mundo. En el campo de la educación musical, se ha desempeñado como director artístico e instrumental y actualmente imparte una cátedra en composición en la Escuela Superior de Música. Ha dirigido también en dos ocasiones la Serie de Música Contemporánea del Festival Internacional Cervantino. Actualmente, está compilando una edición crítica de las obras de Silvestre Revueltas, como resultado de lo cual ha incluido en la discografía de su álbum de 11 títulos las obras orquestales inéditas de este compositor. José Luis Castillo ha recibido premios y distinciones en Italia, Luxemburgo y Holanda y, en dos ocasiones, ha recibido el premio de la Unión Mexicana de Críticos de Teatro y Música. •
17
MARKETO ¡GOOOOAL! PRESENTING SPONSOR • EL PATROCINADOR DE ¡GOOOOL! As a proud sponsor of the Denver Philharmonic Orchestra, we at Marketo would like to thank you for attending tonight’s concert. Marketo is committed to student success, as well as expanding access and participation in science, technology, engineering, art, and math in schools across the globe. To honor this commitment, Marketo is proud to sponsor the Denver Philharmonic Orchestra for their commitment to excellence in the art of music. So far, this year alone, Marketo has matched over $10k from Denver Marketo employees to further our mission to see students succeed in both college and careers. Through our partnership with Denver Public Schools and Denver Philharmonic, we have worked with over 100 students through our Innovative Academy and our Literacy Counts initiatives. We look forward to continuing our support of community members like the DPO for many years to come. •
18
THE 70TH SEASON
Como orgullosos patrocinadores de la Denver Philharmonic, Marketo le agradece su presencia al concierto de esta noche. Marketo está comprometido al éxito
con sus estudios universitarios y comple-
de los estudiantes, y a su vez ampliar el
tar sus metas profesionales.
acceso a las Ciencias, la Tecnología, la Ingeniería, las artes, y las Matemáticas en las escuelas alrededor del mundo. Y así afirmar nuestro compromiso, Marketo está orgulloso de promover la Denver Philharmonic por su entrega y excelencia en el arte de la música. Este año Marketo ha colaborado con más de 10 mil dólares por parte de los trabajadores de Denver Marketo, para así continuar con nuestra misión de ver a los estudiantes continuar
A través de nuestra alianza con las Escuelas Públicas de Denver y la Denver Philharmonic, hemos apoyado a más de 100 estudiantes por medio de nuestras iniciativas Innovative Academy y Literacy Counts. Estamos comprometidos a seguir apoyando a los miembros de la comunidad, así como a la DPO y por muchos años mas. •
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OUR MUSICIANS • NUESTROS MÚSICOS MUSIC DIRECTOR • DIRECTOR MUSICAL
SECOND VIOLIN • SEGUNDO VIOLÍN
Lawrence Golan
Yiran Li, principal Niccolo Werner Casewit Valerie Clausen Christina Colalancia Erica Secor Terri Gonzales Miki Heine Annie Laury Callista Medland* Wendy Montenegro* Alyssa Oland Roger Powell Brian Ross Anne Silvas
ASSOCIATE CONDUCTOR • DIRECTOR ASOCIADO Hisham Bravo Groover
FIRST VIOLIN • PRIMER VIOLÍN Katherine Thayer, concertmaster • concertina Anna Katherine BarnettHart, associate concertmaster • concertina asociada Patsy Aronstein Melissa Barru Carrie Beeder Rachel Bradford Barbara Casanova Matthew Grove Thomas Jatko Lubia Montenegro Tenley Mueller* Bonnie Murray Kristine Pordesimo Emmy Reid Beth Letendre Elizabeth Wall
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VIOLA Nicole Langford, principal Naomi Croghan Victoria DiMarzio Lori Hanson Samantha Lichtin Ben Luey Beth Remming
CELLO Katie Burns, principal Naftari Burns Sarah Frederick Tara Gedvilas Kyle Laney Mike Marecak Shirley Marecak Monica Sáles Council Amanda Thall Jeffrey Westcott Rachel Yanovitch
DOUBLE BASS • VIOLÓN Colton Kelley, principal Zachary Antonio Megan Gore Brazell Lucy Bauer Josh Filley Taryn Galow Benjamin Hornacek Keith Lokey
FLUTE • FLAUTA Aaron Wille, principal Catherine Ricca Lanzano Whitney Kelley
PICCOLO Whitney Kelley
THE 70TH SEASON
OBOE Kimberly Brody, principal Loren Meaux, assistant principal • principal asistente Michael Sax
ENGLISH HORN • CORNO INGLÉS Loren Meaux
CLARINET • CLARINETE Kwami Barnett, principal Claude Wilbur Jessica Clark
E-FLAT CLARINET • CLARINETE EN MI BEMOL Jessica Clark
BASS CLARINET • CLARINETE BAJO Claude Wilbur
BASSOON • FAGOT Ken Greenwald, principal Stephen McCarty
HORN • CORNO FRANCÉS
PERCUSSION • PERCUSIÓN
Zach Maupin, principal Jeanine Branting Kelli Hirsch Kim George
Ross Coons, principal Colin Constance Ani Gyulamiryan
TRUMPET • TROMPETA
Becky Moritzky, principal
Ryan Spencer, principal Ariel Van Dam Colton Crandell
HARP • ARPA PIANO Ani Gyulamiryan, principal
TROMBONE • TROMBÓN William Combs, principal Wallace Orr
BASS TROMBONE • TROMBÓN BAJO Daniel Morris
TUBA Darren DeLaup, principal
TIMPANI • TÍMPANOS Steve Bulota, principal
*on leave; string musicians are listed in alphabetical order 21
OUR TEAM • NUESTRO EQUIPO BOARD OF DIRECTORS • LA JUNTA DIRECTIVA
PERSONNEL MANAGER • JEFE DE PERSONAL
PRESIDENT • PRESIDENTE Jon Olafson VICE-PRESIDENT • VICEPRESIDENTE Sarah Hogan SECRETARY • SECRETARIO Matt Meier ACTING TREASURER • TESORERA INTERINA Tamara Arredondo Amy Anderson Rich Casson Pauline Dallenbach, Honorary Member • miembro honorario Dr. Robert Dallenbach Maureen Keil, Honorary Member • miembro honorario Linda Lebsack Tenley Oldak Dennis Stevens
Annie Laury
DENVER PHILHARMONIC FOUNDATION BOARD • JUNTA DIRECTIVA DE LA FUNDACIÓN DE LA DENVER PHILHARMONIC Tamara Arredondo Keith Fisher Roger Powell
EXECUTIVE DIRECTOR • DIRECTORA EJECUTIVA Valerie Clausen
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STAGE • ESCENARIO Taryn Galow, manager • directora Patsy Aronstein Lucy Bauer Steve Bulota Michael Meaux Patricia Meaux Daniel Morris New Genesis Transitional Community for the Homeless Ken Greenwald Pink Pitcher Emmy Reid Beth Remming Erica Secor
CENTRAL PRESBYTERIAN PRODUCTION TEAM • EQUIPO DE PRODUCCIÓN DE CENTRAL PRESBYTERIAN Bryce Clark Wil Smith
MUSIC LIBRARIAN • BIBLIOTECA MUSICAL Callista Medland Alyssa Oland, assistant • asistente Anne Silvas, bowings • arcadas Katherine Thayer, bowings • arcadas THE 70TH SEASON
CONCERT PROGRAM • PROGRAMA DEL CONCIERTO
FUNDRAISING • CAPTACIÓN DE FONDOS
Ligature Creative, design diseño gráfico Walker Burns, editing • edición María Angélica Lasso, Spanish translation • traducción al español Callista Medland, editing • edición Betsy Schwarm, program notes • notas del programa Ed Smith, editing • edición •
AUDIO TECH • TÉCNICO DE AUDIO Joel Dallenbach Jack Pelon
MARKETING • PUBLICIDAD Matt Meier, chair • delegado Dr. Robert Dallenbach Stephanie Gillman, photographer • fotógrafa Ali McNally Katrina Niemisto David Sherman
Sarah Hogan, chair • delegada Ani Gyulamiryan Kelli Hirsch Barb Moritzky Jon Olafson
DPO WITH A TWIST • DPO CON UN GIRO William Combs Katherine Thayer
MUSICIAN COMMITTEE • COMITÉ DE MÚSICOS Loren Meaux, chair • delegado Rachel Bradford Niccolo Casewit Callista Medland Daniel Morris Catherine Ricca Lanzano
IT TECH • TÉCNICO TI Henry Ammons
BOX OFFICE • TAQUILLA Matt Hogan Sarah Hogan María Angélica Lasso, habla español Ali McNally Jon Olafson Mary Wills
FRONT OF HOUSE • RECEPCIÓN Amy Anderson, manager • directora Tamara Arredondo Stacie Carter Gil Clausen Marilyn Eaton Eleanor Glover Ani Gyulamiryan Nileen Hart Stan Jewell Marty Jewell Linda Lebsack Brian McGuire Karen McGuire Carolyn Medland Gary Medland Joan Montezon Hugh Pitcher Andy Solsvig Sheila Traister Greg Wills
MORE THAN MUSIC PARTNERS • MUCHO MÁS QUE SOCIOS DE LA MÚSICA Cultura Craft Chocolate El Sistema Colorado Marketo Purple Door Coffee The University Club of Denver Ursula Brewery
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MAY 24, 2018
RUSS-KEYS SPRINGTIME AT THE WINTER PALACE Charm yourself in the grandeur of RussKeys, our 70th Season’s finale on May 24. Returning to the DPO, pianist Fei-Fei Dong (Planes, Trains & Automobiles, 2015) warms things up with one of the greatest and most beloved works in the piano repertoire, Sergei Rachmaninoff’s enchanting Piano Concerto No. 2. Closing the season, Dmitri Shostakovich’s triumphant and ever-popular Symphony No. 5 will leave you breathless and on your feet. Lawrence Golan, conductor Fei-Fei Dong, piano
BUY YOUR TICKETS NOW! DENVERPHILHARMONIC.ORG Russ-Keys Thursday, May 23, 7:30pm Antonia Brico Stage Central Presbyterian Church
24
THE 70TH SEASON
APRIL 14 • ¡GOOOOAL! by BETSY SCHWARM
14 DE ABRIL • ¡GOOOOL!
MARÍA ANGÉLICA LASSO, traducción al español
Huapango José Pablo Moncayo
(1912 – 1958)
The huapango is a traditional Mexican dance/song performed on a raised wooden floor and featuring strummed accompaniment of guitars and violin. Brisk tempos and strong rhythms are the norm, as is the practice of two singers mimicking one another’s lines. In his orchestral recollection of the form, Guadalajara-born José Pablo Moncayo co-founded the radical ‘Group of Four’ to foster new Mexican
Moncayo evokes these characteristics through changeable meters, frequent echoing between instruments, and variations on dance melodies known along Mexico’s Gulf coast. The
music while rekindling its
work premiered in 1941 with the Mexico Symphony Orchestra,
nationalist spirit.
conducted by Moncayo’s composition teacher, the composer
Duration/duración: 9 min.
Carlos Chávez (1899–1978). •
25
“Huapango” es un baile/canción de tradición mexicana representado en una tarima de madera, junto con el rasgueo de guitarras y un violín. Los tempos enérgicos y los ritmos fuertes
variaciones entre las melodías del baile
son la norma, al igual que la práctica de
conocidas a lo largo de la costa del Golfo
dos cantores que se turnan los versos
de México. El estreno de esta obra fue
al cantar. El guadalajarense José Pablo
en 1941 con la Orquesta Sinfónica de
Moncayo, en su recolección orquestal
México, bajo la dirección del maestro de
de la forma, evoca estas características
composición de Moncayo, el compositor
a través de métricas intercambiables,
Carlos Chávez (1899–1978). •
eco frecuente entre instrumentos y
DONATE A VEHICLE W E LOVE OU R C ARS. We haul our instruments around in them, we eat in them between rehearsals and gigs, and sometimes we get stuck in them on I-25 on our way to a performance. If you love your car too, it can be hard to say goodbye when it’s driven its last mile or you’re ready for a change. We can help (and you’ll be helping DPO)! It’s easy to arrange free pick-up of donated vehicles in most (but not all) conditions. Find out how at denverphilharmonic.org
26
THE 70TH SEASON
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 22 for an encore of this 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. For more than 50 years, the Pillar of Fire Church 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.
27
Redes Silvestre Revueltas
(1899 – 1940)
A semi-documentary film from 1938, Redes (The Wave) dealt with the lives of actual Mexican fishermen. Its score by Silvestre Revueltas draws on the rhythms and instruments of his nation’s folk music to capture the scenes at hand. He does this so vividly that the score was well-suited to adaptation as an orchestral concert suite. Even though Redes was
The opening scene is of the fishermen themselves, alternately
the first film Revueltas
bold, anxious, and even pensive: it seems a fisherman’s life
ever scored, he received
is not always a happy one. Plaintive moods arrive next, with
critical acclaim for his
a child’s funeral; then, as the fishermen set out on the ocean,
work on the documentary. Duration/duración: 16 min.
high spirits return with much danceable energy. A subsequent fight scene seems to end badly, since the suite’s final scene is sorrowful, with gently pulsing background rhythms supporting moods of increasing anxiety. Throughout, Revueltas turns to the trumpet — sometimes muted — for solo roles; he likely was thinking of that instrument’s prominence in the folk music of the coastal regions. •
“Redes” es una película semidocumental de 1938 que narra la vida real de pescadores mexicanos. La música estuvo a cargo del compositor Silvestre Revueltas, quien se basó en los ritmos e instrumentos de la música folclórica de su país para capturar la esencia de cada escena. Revueltas logró hacer ésto tan vívidamente, que las partituras lograron ser adaptadas como suite de concierto orquestal. La escena de apertura es la de los propios pescadores, con vidas volubles, pasando de ser audaces a ansiosos, e incluso pensativos: parece ser que la vida de un pescador no es 28
THE 70TH SEASON
siempre una vida feliz. Después se inicia
que le dan fuerza a una atmósfera de
una evocación ambiental lastimera,
creciente ansiedad. A lo largo de la obra,
empezando con el funeral de un niño, y seguido de la partida de pescadores al
Revueltas se enfoca en las trompetas —algunas veces silenciadas— para roles
océano; espíritus elevados regresan con
solistas; probablemente estaba pensando
mucha energía danzante. La escena de
en la prominencia de ese instrumento
pelea posterior parece terminar mal pues
en la música folclórica de las regiones
la escena final de suite es melancólica,
costeras. •
con sutiles ritmos pulsantes de fondo
29
El Salón México Aaron Copland
(1900 – 1990)
American composer Aaron Copland once observed, “Other tourists will pull out their snapshots to show you what a country looks like, but a composer wants to show you what a country sounds like.” The statement sums up the inspiration for his El Salón México: we were not traveling with him on that visit, but that fact does Copland’s first visit to
not prevent us from enjoying his musical reminiscence. The
Mexico was for a concert
title was borrowed from the name of a dance hall Copland
of his music at the
visited on a trip to Mexico City, where he remembered seeing
Conservatorio Nacional
cautionary placards asking guests, for the sake of barefooted
de Music in 1932.
women visitors, not to throw lighted cigarette butts on the floor.
Duration/duración:
The composer admitted that he borrowed many of the themes
11 min.
30
THE 70TH SEASON
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THE 70TH SEASON
from a collection of Mexican folk songs,
no tuvimos que estar con él durante su
hence the work’s authentic flavor. El Salón
visita a México para poder disfrutar de su
México premiered August 1937, with the
reminiscencia musical. El nombre de su
Mexico Symphony Orchestra and conduc-
obra es el mismo del salón de baile que
tor Carlos Chávez (1899–1978). •
él visitó en su viaje a Ciudad de México,
El compositor norteamericano Aaron Copland comentó alguna vez que “Otros turistas sacarán sus fotos instantáneas para mostrarte cómo es un país, pero un compositor quiere mostrarte en cambio cómo suena un país.”
donde recordó haber visto carteles de advertencia en los que se les pedía a los visitantes, por el bien de las mujeres que visitaban descalzas, no arrojar colillas de cigarrillos encendidas al piso. El compositor admitió que tomó prestado muchos de los temas de una colección de canciones del folclore mexicano; de ahí el auténtico sabor de la obra. “El Salón México” se estrenó en agosto de 1937, con la Orquesta Sinfónica de México
Esta afirmación resume la inspiración que
a cargo del conductor Carlos Chávez
Copland tuvo para “El Salón México”:
(1899–1978). •
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TOTAL BODY APPROACH TO LEARNING MUSIC: stretching, dancing, gesture, drawing, and singing to release body tension, increase body awareness, and facilitate independent musicianship and optimal technique for the instrument. All ages welcome.
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33
The Three-Cornered Hat Ballet Suite no. 1 • Ballet Sombrero de tres picos Suite no. 1 Manuel de Falla (1876–1946) The Three-Cornered Hat by Spanish composer Manuel de Falla is a ballet telling of a local politician, the corregidor whose determined pursuit of the miller’s pretty young wife leads to him being out of power and in prison. The hat of the title alludes to the corregidor’s traditional The ballet was first
uniform. Just as the ballet’s story is Spanish in character, so its
performed in London
melodies and rhythms reflect Falla’s heritage.
in 1919 with sets and costumes created by
Suite no. 1 from The Three-Cornered Hat has a short and
famed Spanish artist
brassy opening, leading to sultry themes suggestive of a hot
Pablo Picasso.
and humid day in the sunshine. The brief bassoon solo late
Duration/duración:
in this movement is apparently suggestive of the corregidor
12 min.
himself, as the spotlight often comes to the bassoon when that character is on stage. The second movement Dance of the Miller’s Wife is a vibrant fandango with brilliant splashes of color from the percussion. The third movement represents a brief encounter between the miller’s wife and the corregidor, he represented by the bassoon, she by graceful flute and strings. For the closing movement, The Grapes, it’s easy to imagine the “grapes” may actually be wine, as the music is exuberant in character. There are many solo spotlights for woodwinds and, most frequently, for trumpet, and all charge excitedly to a close. •
34
THE 70TH SEASON
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La obra del compositor español Manuel de Falla, “El sombrero de tres picos”, es un ballet que cuenta la historia de un político local, el corregidor, cuyo incesante cortejo hacia la joven y bella esposa del molinero lo lleva a perder el poder y a terminar en prisión. El sombrero del título de la obra alude al
vibrante con brillantes toques de color de
uniforme tradicional del corregidor. Así como
la percusión.
la historia narrada en el ballet es española en su carácter, del mismo modo los ritmos y melodías reflejan la herencia de Falla.
El tercer movimiento representa un breve encuentro entre la esposa del molinero y el corregidor, él representado por el
La Suite No. 1 de “El sombrero de tres picos”
fagot y ella representada gracilmente por
tiene una apertura corta y estridente, con-
la flauta y las cuerdas.
duciendo a temas sofocantes que insinúan un día caluroso y húmedo bajo los rayos del sol. El breve solo de fagot al final de este movimiento es aparentemente sugerente del propio corregidor, ya que el fagot es frecuentemente el centro de atención cuando el corregidor entra en escena.
Para el movimiento de cierre, “Las uvas”, es fácil imaginar que las uvas en realidad pueden ser vino, ya que la música tiene un carácter exuberante. Hay muchos momentos en los que los solos para instrumentos de viento de madera son los protagonistas y la trompeta es frecuentemente el centro
El segundo movimiento, “Baile de la
de atención entre éstos. Llegando al cierre,
esposa del molinero”, es un fandango
todos se llenan de entusiasmo. •
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THE 70TH SEASON
 37
Bachianas Brasileiras No. 5 – Aria Heitor Villa-Lobos (1887–1959) Arr. John Krance (1934–1989)
“I learned music from a bird in the jungles of Brazil, not from academies.” Duration/duración: 6 min.
Brazilian-born Heitor Villa-Lobos grew up with a fascination for the folk music of his native land, but had enough formal training in composition to observe that the ways in which melodic lines are combined in folk music were sometimes similar to techniques used by the Baroque master Johann Sebastian Bach. This synchronicity of stylistic features led Villa-Lobos to imagine a series of works combining elements of both ideas under a title meant to evoke that pairing: Bachianas Brasileiras = Bach in the style of Brazil. Villa-Lobos would compose nine different Bachianas Brasileiras suites, each for a different combination of performers. The fifth of the nine suites usually requires soprano soloist and a string ensemble solely of cellos; Villa-Lobos himself played the cello. Occasionally, the cello parts are rearranged to a full string ensemble with music for each of the different sections. Some of these arrangements also bring the soprano part into instrumental form, and that is the case here. Its graceful moods are meant to suggest a lady gazing into the moonlight as the birds fall silent: even without participation of a singer, the instrumental parts do a fine job of suggesting that nocturnal scene. •
38
THE 70TH SEASON
El brasileño Heitor Villa-Lobos creció con una fascinación por la música folclórica de su tierra natal, pero tenía suficiente educación formal en composición para observar que las maneras en que se combinan las líneas melódicas en la música popular eran a veces similares a las técnicas utilizadas por el el maestro del barroco, Johann Sebastian Bach. Esta sincronicidad de características es-
tocó el chelo. Ocasionalmente, las partes
tilísticas llevó a Villa-Lobos a imaginar una
del violonchelo se reorganizan en un ens-
serie de obras que combinaban elementos
amble de cuerdas completo con música
de ambas ideas bajo un título destinado
para cada una de las diferentes secciones.
a evocar ese emparejamiento: Bachianas
Algunos de estos arreglos también traen
Brasileiras = Bach al estilo de Brasil. Villa-Lobos compuso nueve suites Bachianas Brasileiras diferentes, cada una para una combinación diferente de artistas. La quinta de las nueve suites generalmente requiere un soprano solista y un ensamble de cuerdas exclusivamente de chelos; el propio Villa-Lobos
la parte del soprano en forma instrumental; ese es el caso aquí. Sus delicadas ambientaciones pretenden sugerir a una dama mirando a la luz de la luna mientras los pájaros se quedan en silencio: incluso sin la participación de un cantante, las partes instrumentales hacen un muy buen trabajo al sugerir esa escena nocturna. •
39
Oblivion Astor Piazzolla (1921–1992) Arr. Eduardo Marturet
(b./nac. en 1953)
Born in Buenos Aires but raised in the Little Italy neighborhood of New York City, Astor Piazzolla grew up to become an expert in the art of tango. That Piazzolla himself played the accordion-like bandoneon, so crucial to the spirit of tango, helped him to understand its moods; that he had studied in France with Nadia Boulanger Early tango, played by immigrants like Piazzolla’s parents in
(1887–1979), who also numbered Copland and Bernstein amongst her students, gave his works a greater degree of finesse than they might have had if he had stayed home. Tango
Buenos Aires, was the
purists insist that Piazzolla took too many liberties with their
favorite music of thugs
art form, but concert audiences continue to be intrigued and
and gangsters who
enraptured by the sultry flavor of Piazzolla’s compositions.
visited the brothels. Duration/duración: 4 min.
Composed in 1982 for director Marco Bellocchio’s film Enrico IV, Oblivion is Piazzolla’s most often heard work. You may not hear it exactly as he originally wrote it, for a genuine tango ensemble; however, even in orchestral form Oblivion’s sensuous building of anticipation readily communicates with audiences. •
Astor Piazzolla nació en Buenos Aires, pero fue criado en el vecindario Little Italy de la ciudad de Nueva York. Piazzolla creció hasta convertirse en un experto en el arte del tango. El hecho de haber tocado el bandoneón tipo acordeón, tan crucial para el espíritu del tango, lo ayudó a comprender el talante del instrumento; y el haber estudiado en Francia con Nadia Boulanger (1887–1979), quien también contaba con Copland y Bernstein entre sus alumnos, le dio a sus obras un mayor grado de finura de la que podrían haber tenido si se 40
THE 70TH SEASON
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 41
para la película Enrico IV del director
hubiera quedado en casa. Los puristas del tango insisten en que Piazzolla tomó
Marco Bellocchio. Puede que esta noche
demasiadas libertades con sus vformas
no escuche la obra exactamente como lo
de arte, pero el público de los conciertos
escribió Piazzola, esto es, originalmente
sigue intrigado y extasiado por el gusto
para un genuino conjunto de tango; no
seductor de sus composiciones.
obstante, incluso en forma orquestal,
Piazzolla compuso “Oblivion”, probablemente su obra más escuchada, en 1982
el edificio sensual de anticipación de “Oblivion” es algo que las audiencias logran captar con facilidad. •
Truths are revealed, and tensions rise when art, politics, sex and lies collide.
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THROUGH APRIL 29
BUY TICKETS
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A Picasso is presented by special arrangement with DRAMATISTS PLAY SERVICE
42
THE 70TH SEASON
WELCOME TO CENTRAL PRESBYTERIAN CHURCH, an enthusiastic partner of the Denver Philharmonic and a dedicated supporter of the downtown arts and music communities.
Join us Sunday at 10:30 for a vibrant, multi-generational service where everyone is welcome. Whether you’re with us for the first time or the thousandth time, whether you’re doubting or are devout, no matter who you are, what experience you bring, or what questions you have, you are welcome here.
We are excited to embark on an ambitious package of building improvements aimed at investing in Central's ability to engage our community, including additional restrooms, improved stage lighting, and greater accessibility. Central has already raised $1.5 million from our membership. Find out more about our ‘It’s Time to Grow’ campaign at centraldenver.com/time-to-grow
centraldenver.com 43
Estancia ballet suite Alberto Ginastera (1916–1983) An estancia is an Argentine ranch, and who better to compose a ballet set at such a place than Argentine composer Alberto Ginastera? The ballet tells the story of a city boy in love with a rancher’s daughter. At first, the love affair is only one-sided — she finds the intrepid gauchos, or cowboys, far more interesting. Yet by When one of his operas was censored by the Onganía dictatorship, Ginastera banned his music across Buenos Aires. Duration/duración: 13 min.
the final scene, the hero wins her heart by beating the gauchos at their own game. The one-act ballet was commissioned in 1941 by the American Ballet Caravan, though by the time Ginastera finished the music, that dance company had disbanded. It took until 1952 for the work to reached the stage complete with dancers and choreography. Meantime, Ginastera had crafted four dances from the score for use as a concert suite which premiered May 12, 1943, in Buenos Aires. The suite’s first movement opens with the driving rhythms that characterize much of the work, as repetitive motifs rise in pitch and intensity. Although the emphasis is on strings and brass, woodwinds add occasional decorative phrases. The far gentler second movement begins with lyrical flute phrases floating over string accompaniment, with a high violin solo of similar mood later in the movement. For the third movement, the powerfully rhythmic energy returns, driven along by strings, brass, and percussion. Woodwinds become more prominent in the final movement, with a sense of frenetic urgency. As the movement nears its conclusion, a repetitive rising phrase with irregular accents takes charge and dominates into the utterly exuberant closing bars. •
44
THE 70TH SEASON
Una Estancia es un rancho Argentino, y ¿quién mejor para componer un set de ballets en tal lugar que el compositor argentino Alberto Ginastera? El ballet cuenta la historia de un chico
que los temas repetitivos aumentan en
de ciudad enamorado de la hija de un
tono e intensidad. Aunque el énfasis sea
ranchero. Al principio, el enamoramiento
en cuerdas e instrumentos de cobre, los
viene únicamente del lado de él —ella
vientos de madera ocasionalmente agre-
encuentra más interesantes los intrépidos
gan frases ornamentales.
gauchos o vaqueros—. Aun así, al final de la escena, el héroe gana el corazón de la chica al derrotar a los gauchos en su propio juego.
El segundo movimiento, mucho más suave, comienza con frases líricas de flautas flotando sobre acompañamientos de cuerda, y un solo de violin alto ambi-
El “ballet de un acto” fue un encargo
entado de manera similar más adelante
del American Ballet Caravan en 1941. Sin
en el movimiento.
embargo, para la fecha en que Ginastera terminó la música, aquella compañía de baile ya se había disuelto. Sólo hasta 1952 la obra logró su etapa de completitud con bailarines y coreógrafos. Antes de que esto sucediera, Ginastera había creado cuatro bailes a partir de las partituras que se usaron como una suite de conciertos presentados el 12 de mayo de 1943 en Buenos Aires. El primer movimiento de la suite abre con ritmos de gran arremetida, los cuales caracterizan en gran parte la obra, mientras
Para el tercer movimiento, la poderosa energía rítmica regresa, conducida por cuerdas, cobres y percusión. En el último movimiento, los vientos de madera se hacen más prominentes con un sentido de urgencia frenética. A medida que el movimiento se acerca a su cierre, una frase repetitiva en aumento con acentos irregulares toma el control y domina el movimiento llevándolo a los últimos compases, absolutamente exuberantes en sí. •
45
CONCERT ETIQUETTE • PAUTAS PARA EL CONCIERTO If you are attending your first (or 300th) classical music concert, below are some frequently asked questions to help make your experience more enjoyable. • En caso de que ésta sea la primera vez que asiste a un concierto de música clásica, a continuación encontrará algunas preguntas frecuentes que le ayudarán a hacer su experiencia más agradable. • BE COMFORTABLE • SIÉNTASE CÓMODO
COUGHING • TOSER
There’s no dress code. From jeans to
passage of music. If you can’t, or you
suits, you’ll see it all! Wear what you’d
begin to cough a lot, don’t worry — it’s
like — you’ll fit in. We love you just the
perfectly acceptable and appropriate to
way you are. •
quietly exit the concert hall. Remember to
No hay un código de vestimenta. Encontrará personas usando desde jeans
Ahem… Try to ‘bury’ your cough in a loud
unwrap cough drops before the concert so you don’t create crackling noises. •
hasta traje formal. Puede vestir como lo
Cough! Procure “esconder” la tos du-
desee y estará bien presentado. Lo más
rante algún pasaje en el que la música se
importante para nosotros es que usted se
encuentre alta. En caso de que no pueda
sienta cómodo. •
hacerlo o que no pueda parar de toser, no
46
THE 70TH SEASON
se preocupe. Es completamente aceptable
tradición en Alemania que las audiencias
y apropiado que se retire de la sala de
esperaran hasta el final de la pieza musical
conciertos rápidamente. No olvide desen-
para aplaudir, permaneciendo entonces en
volver los caramelos para la tos antes del
silencio entre movimientos. Esta tradición
concierto, de ese modo evitará ruidos de
fue expandida y hoy en día es común-
papel durante la presentación. •
mente aceptada y enseñada.
APPLAUSE 101 • LOS APLAUSOS
En DPO aceptamos con agrado ambas tradiciones. Así que si prefiere esperar
In earlier times, audiences would routinely
hasta el final de la pieza para aplaudir, está
applaud between movements to show
bien; o si desea mostrar respetuosamente
their joy for the music they just heard.
su apreciación entre movimientos, está
Then around the mid-19th century, it
perfecto también. De cualquier manera,
became tradition to wait until the end of
deseamos que usted se sienta cómodo
the piece to clap, with the audience sitting
y atento durante la presentación sin con-
silent between movements.
fundir las reglas de aplausos. •
At the DPO, we welcome both traditions. to clap, please do. Some movements are
SIT TIGHT • PERMANEZCA QUIETO
fiery and end in such a flare that you may
The rumors are true — we’re pretty
feel compelled to clap — go for it! After
informal. But we do ask that you sit tight
a quiet movement, you may want to enjoy
and quiet during the performance and
the feeling of transfixion and wait; there’s
only get up between pieces or during in-
no need to applaud if you’re not feelin’ it.
termission as to not distract the musicians
Regardless, we want you to feel comfort-
or concert-goers around you. Child feelin’
able and focus on the performance, not
fidgety or chatty? Feel free to step into the
confusing applause rules! •
lobby for a bit. •
Muchos de los asistentes a un concierto
Los rumores son ciertos —somos bastante
no están seguros en qué momento deben
informales. Pero sí pedimos que por favor
aplaudir durante la presentación de una
permanezca en su silla y en silencio duran-
orquesta. Antes de la primera mitad del
te la presentación, y que sólo se levante
siglo XIX, las audiencias aplaudían de
de su silla en los espacios que hay entre
manera rutinaria entre movimientos con
actos o durante el descanso con el fin de
el fin de mostrar el gozo que sentían
no distraer a los músicos o a los asistentes
por la música que acababan escuchar. A
al concierto que están a su alrededor. •
If you prefer to wait for the end of a piece
mediados del siglo XIX se convirtió en una 47
PACK IT IN, PACK IT OUT • SI LO TRAES, LLÉVATELO TAMBIÉN
SOCIAL MEDIA • REDES SOCIALES
You’re welcome to bring a water bottle
@denverphilorch, post to Facebook
into the hall, but remember “Trail Rules”
or take photos without flash. Upload
— pack it in, pack it out. (This goes for
your pics and comments online — and
trash too!) •
be sure to tag us! We’re on Facebook,
Es permitido entrar una botella de agua si lo desea, pero no olvide las “Reglas del
Feel free to tweet along with us
Twitter and Instagram @denverphilorch #dpotweets •
sendero” —Si lo traes, llévatelo también.
No hay ningún problema con publicar
Lo mismo cuenta para la basura. •
información en Twitter o Facebook, o con tomar fotos sin flash. ¡Suba sus fotos y co-
ELECTRONICS • DISPOSITIVOS ELECTRÓNICOS Please turn the sound off on your cell
mentarios online y asegúrese de etiquetarnos! @denverphilorch #dpotweets •
phones, pagers, and any other noise-
HAVE FUN! • ¡DIVIÉRTASE!
making device, including vibrate mode. •
Rules, rules, rules — we know, it can be
Por favor desactive el sonido de sus celulares, localizadores y cualquier otro dispositivo que haga ruido, incluyendo el modo de vibración. •
overwhelming. The most important rule of all is to have fun and enjoy yourself. And then tell all your friends and come back again and again! • Reglas, reglas, reglas — Sabemos que pueden ser agobiantes. Por eso, la regla más importante es que se divierta y disfrute; y entonces le cuente a todos sus amigos sobre DPO y nos acompañe de nuevo una y otra vez. •
48
THE 70TH SEASON
 49
THANK YOU!
Donations since January 1, 2017
We would like to acknowledge the generous support of the following individuals, businesses and corporations. Raymonda L. Burgman Rich Casson & Liza Ranftle Lawrence & Cecilia Golan ($20,000+) Paula Elmers Valerie & Gilmour Clausen Marianne and Ed Marvez Sarah & Matt Hogan CONDUCTOR Jon Olafson CIRCLE Lisa Peloso & Vik Patel ($5,000–$19,999) Mark & Maxine Rossman Linda Lebsack & Hugh Pitcher Renee & Dennis Stevens Scientific and Cultural Barefoot PR Facilities District Katherine & Ben Vagher
ORCHESTRA CIRCLE
CONCERTMASTER CIRCLE ($2,500–$4,999) Barb & Kip Kolkmeier Don & Bonnie Walls
MUSICIAN CIRCLE ($1,000–$2,499) Daniel R. Burns & Lorraine Diaz Community First Foundation Jeanette & William Hunter Matt Meier & David Sherman Wallace Orr John & Carol Tate
PATRON ($500–$999) Patricia Aronstein Beaver Builders, LLC
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BENEFACTOR ($300–$499) Eleanor Glover and Eugene Advincula Barb & Rand Moritzky, in honor of Rebecca Moritzky Barbara Schlein The University Club
CONTRIBUTOR ($100–$299) 303 Software Keri Rose Agnes Phil & Jennifer Barru Fred Beisser Boettcher Foundation Kimberly and James Brody, in honor of Carol Brody Janice Burley
Rich Casson & Liza Ranftle, in memory of Ron Casson Terry Collings Stacey & Bob Collins Kevin & Connie Corwin Alixandra Feeley Amanda Fein Gary & Janet Friedland Steve and Beth Gannon German American Chamber of Commerce Tom Gleason and Ann Gardner Stephen and Donna Good, in honor of Linda Lebsack Judy & Ed Hagerman Karin Hensel Kelli & Geoff Hirsch Mary Hogan, in honor of Sarah Hogan Lok & Jake Jacobi Joe and Val Eric Jones Jim and Patti Klika Annie Laury Matt & Allison Lausten Eric Marburger Patricia & Michael Meaux Gary & Carolyn Medland Callista and Patrick Medland Robert & Barbara Metzger Claudia Miller Joan Montezon Tenley Mueller
THE 70TH SEASON
Claude and Laurie Pupkin Shari Regenbogen Ross Laurie Sanderson-Wa Mary Schenk Edward Smith, in honor of Geralda Smith Cori & Tyler Streetman James Stegman The HCA Foundation Mike & Amanda Tine
FRIEND (UP TO $99) Heather Alcott Leonard Allen Penny Alles Amy Anonymous (7) Tamara Arredondo Charles Aschwanden Meredith Badler John Bardeen & Sharon Adams Talia Ballinger Gisella Lucy Bauer Paul Behrhorst & Jenna Bainbridge, in honor of Matt Meier Blueprint Bar Philip Pearlman and Betty Bona Jeanine Branting Vincent Brindisi Eric Brindisi Rachel Brindisi Jerry Brindisi Hugh Brown JP Butler Brian Cooper Naomi & Kevin Croghan
Judith Espinoza Larry Armstrong & Carol Farnsworth Peak Creative Stephanie Gillman Terri Gonzales Laura and Ben Charles Kenneth Greenwald Brad Hackworth Lori Hanson Lindsay Hartfiel Jennifer Heglin Bethany Hystad S J Hudson Jonathan Icasas Genna and Torin Marty Jewell, in memory of Stan Jewell Jake Johnson Cynthia Johnson Emily Kent Amy K Mande Knowles Ben & Edalin Koziol Annie Laury, in memory of Marie Lindvall Matthew Lemay Regan Linton Susan McGinley Esmerelda Colfax Loren Meaux Todd Misk & John Reid Chase Mohney Allyson Morgan Nora Morgenstern Suzi Neel Ktrain5 Nergis Numanoglu Nancy & Paul Oberman Diana Padgett Pat & Jessica Payne
Noel Pederson Lisa Pohlman Sharron Regenthal Claire Repass Catherine and Ted Lanzano Karin Schantz Manijeh Taherynia Katherine Thayer In memory of Charlotte Casewit-Fischer-Lamberg
CORPORATE PARTNERS $10,000+ David Sherman Creative Ligature Creative Marketo Trace3
$5,000–$9,999 German American Chamber of Commerce
$2,500–$4,999 Access Ireland Stapleton Pryor & Pascoe, PC
$1,000–$2,499 Brownstein Hyatt Farber Schreck Cainkade Corp Cottrel Printing Company, Inc. DayBlink Consulting LLC
COMMUNITY PARTNERS New Genesis, Inc. Newberry Brothers Greenhouse & Florist Purple Door Coffee The Pillar of Fire Church Ursula Brewery
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IT TAKES A COMMUN We are a community-driven orchestra, and we survive with support from our patrons and local businesses. Help us make music with a tax-deductible contribution today. Give safely online at denverphilharmonic.org/contribute. INDIVIDUAL GIVING
DONATION AMOUNT
Orchestra Circle
$20,000 or above
Conductor Circle
$5,000 – $19,999
Concertmaster Circle
$2,500 – $4,999
Musician 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. 52
THE 70TH SEASON
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 CONTRIBUTE link.
Contribution $
Check or Credit Card
Name Address City, State, ZIP Code Telephone
Credit Card No. Expiration Date
CVV Code 53
CONTACT US! • CONTACTO PO Box 6074, Denver, CO 80206 303.653.2407 @denverphilorch info@denverphilharmonic.org DenverPhilharmonic.org
PUBLIC SUPPORT The Scientific and Cultural Facilities District (SCFD) is metro Denver’s unique commitment to its arts, cultural and scientific organizations. For the past 30 years, the Scientific and Cultural Facilities District (SCFD) has been a catalyst for culture across the Denver metro region. With one powerful penny collected from every ten dollars spent in our seven counties, SCFD has provided invaluable financial resources, creating an ecosystem of unparalleled access, invaluable education, and above all, a sense of wonder that comes from experiencing arts, culture, and science. The diverse organizations funded by SCFD do more than educate and inspire. The nearly 300 cultural institutions that make up the SCFD family contribute more than $1.8 billion to the regional economy, employ more than 10,000 people, and reach approximately 4 million children each year. For 30 years, SCFD has secured a place for art, biology, music, zoology, dance, history, nature, botany in the fabric of our lives — ensuring nothing less than culture for all. 54
THE 70TH SEASON
Mini-Golf Tournament, March 2018 Photo by Stephanie Gillman
SAVE THIS SEAT
I’M ENJOYING MORE THAN MUSIC!
Get a taste of Mexican chocolate
CHOCOLATE MEXICANO
We host activities before, during and after each concert. More Than Music events are free to attend for all ticket holders. Here’s what we have lined up for ¡GOOOOAL!
PRE-CONCERT CHAT
Say hello! Join us in the lobby after the concert for refreshments, meet the musicians and have fun!
RECEPTION
During the concert, we live-tweet pics, facts and tidbits in English and Spanish. Follow along, share and interact on Twitter and Instagram. @denverphilorch #dpotweets
#DPOTWEETS
Young musicians from El Sistema Colorado perform in the lobby.
EL SISTEMA PRELUDE
based Cultura Craft Chocolate.
from the award-winning, Denver-
6:30–7:00PM, CHAPEL
Associate Conductor Hisham Bravo Groover will give you insights into tonight’s music and music-makers.
WINE & CRAFT BEER
Clink a glass of wine or local craft beer from Ursula Brewery! Cheers! (21+)
MAKE A MARACA!
Shake, rattle and shake! Create your own maraca, a percussion instrument commonly used in Latin and South America. Made possible by Marketo.
COFFEE CORNER
Purple Door Coffee is brewing complimentary java for you to enjoy.