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WITH
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WILLKOMMEN! Welcome to our sixth collaboration of our transatlantic partnership with the Bavarian Philharmonic! With a proclamation from Governor John Hickenlooper in hand proclaiming April 7, 2017 “Denver and Bavarian Philharmonic Day,” we officially launched a multi-year partnership with the Bavarian Philharmonic (Bayerische Philharmonie) at a sold-out concert here on the Antonia Brico Stage. Based in Munich, Germany, the leading European orchestra is led by Music Director Mark Mast, our guest conductor this evening. Through this groundbreaking international partnership, our organizations are focused on innovation in programming and performance, with additional emphasis on patron experience and audience engagement. In addition to musician and conductor exchanges, joint programming, and co-commissioned music, the partnership also leverages social media and original audience experience elements to engage and provide educational experiences for patrons in both cities. Past collaborative concerts include “Symphonic America” (July 4, 2018 in Munich), “Mozart Requiem” (October 21, 2017 in Munich), “Oktoberfest” (September 29, 2017 in Denver), “Prost!” (April 7, 2017 in Denver), and “The Grand Opening of the Antonia Brico Stage” (September 30, 2016 in Denver). Join me in welcoming more than 50 of our Bavarian friends to Colorado for Gloria!
Jon Olafson President of the Board
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HEROES GIANTS CHEER! VALOR GLORIA VICTORY BUY NOW AT DENVERPHILHARMONIC.ORG 4
2018–19 SEASON
ON THE MAIN STAGE SEPTEMBER 28, 2018
APRIL 20, 2019
Lawrence Golan, conductor Xiao Liu, violin
PRESENTED BY GERMAN CULTURAL FOUNDATION AND GACC OF COLORADO
HEROES
PAGANINI Violin Concerto No. 1 BEETHOVEN Symphony No. 3 “Eroica”
NOVEMBER 16, 2018
GIANTS
Lawrence Golan, conductor Ani Powell, piano GRIEG Piano Concerto BRAHMS Symphony No. 1
GLORIA
Mark Mast, guest conductor Bayerische Philharmonie Chorus With Lily Zhang, Jennifer DeDominici, Matthew Plenk and Edward Parks SCHUBERT “Unfinished” Symphony MOZART Ave verum corpus DURMASHKIN & FORSTER Won’t Be Silent
(U.S. Premiere) MOZART Mass in C Minor
MAY 17, 2019
DECEMBER 21 & 22, 2018
VICTORY!
PRESENTED BY MOO
Lawrence Golan, conductor Laurence Kaptain, cimbalom
HOLIDAY CHEER!
Lawrence Golan, conductor Colorado Chorale; Kevin Padworski, artistic director Pan Nation; Tom Miller, director HOLIDAY FAVORITES!
Full repertoire available at denverphilharmonic.org
MARCH 1, 2019
VALOR
Lawrence Golan, conductor
PRESENTED BY LIGATURE CREATIVE
SAINT-SAËNS Marche héroïque KODÁLY Háry János Suite BEETHOVEN Wellington’s Victory TCHAIKOVSKY 1812 Overture
Antonia Brico Stage Central Presbyterian Church 1660 Sherman Street, Denver
GALBRAITH A Festive Violet Pulse (1997) BRUCKNER Symphony No. 4 “Romantic”
Guest artists and programming subject to change.
CHAMBER MUSIC SERIES OCTOBER 19, 2018 & FEBRUARY 1, 2019
DPO WITH A TWIST PRESENTED BY LIGATURE CREATIVE
Katherine Thayer & William Combs, artistic advisors Now in its fourth season, we’re breakin’ out of the concert hall into Denver’s bustling downtown nightlife. Our DPO With a Twist series transforms the chamber concert experience into a night of intimate music, dinner & drinks at the award-winning downtown venue, Dazzle at Baur’s.
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APRIL 20, 2019
GLORIA
PRESENTED BY GERMAN CULTURE FOUNDATION AND GACC OF COLORADO Antonia Brico Stage at Central Presbyterian Church · Denver, Colorado · 7:30 pm
Mark Mast, guest conductor Bayerische Philharmonie Chorus Lily Zhang, soprano; Jennifer DeDominici, mezzo-soprano; Matthew Plenk, tenor; Edward Parks, bass FRANZ SCHUBERT
“Unfinished” Symphony No. 8 in B minor Allegro moderato Andante con molto WOLFGANG AMADEUS MOZART
Ave verum corpus Featuring the Bayerische Philharmonie Chorus WOLF DURMASHKIN & TOBIAS FORSTER
Won’t Be Silent (U.S. Premiere) Featuring the Bayerische Philharmonie Chorus ∙ 20-MINUTE INTERMISSION ∙
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2018–19 SEASON
WOLFGANG AMADEUS MOZART
“Great” Mass in C Minor Featuring the Bayerische Philharmonie Chorus with Lily Zhang, Jennifer DeDominici, Matthew Plenk and Edward Parks I. Kyrie II. Gloria Gloria in excelsis Deo Laudamus te Gratias Domine Qui tollis Quoniam tu solus Jesu Christe Cum sancto spiritu III. Credo Credo in unum Deo Et incarnatus est IV. Sanctus V. Benedictus
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LAWRENCE GOLAN MUSIC DIRECTOR
We are delighted to welcome our overseas
Acclaimed for his vibrant, inspired performances, imaginative programming and evocative command of different styles and composers, American conductor Lawrence Golan has developed a reputation as a dynamic, charismatic communicator.
partners and friends
He has conducted throughout the United States and in Bulgaria,
from Munich for this
Canada, China, Czech Republic, El Salvador, England, Georgia,
wonderful transatlantic
Germany, Italy, Mexico, Poland, Portugal, Romania, Russia, South
collaboration!
Korea, Taiwan, Ukraine, and Uzbekistan, and continues to develop relationships with orchestras nationally and abroad. Music Director of the Denver Philharmonic since 2013, Golan is also Music Director of Colorado’s Lamont Symphony Orchestra and Opera Theatre at the University of Denver, the Yakima Symphony Orchestra in Washington state and Pennsylvania’s York Symphony Orchestra. Recent season highlights included guest conducting debuts with Germany’s Bayerische Philharmonie, Italy’s Orchestra Sinfonica Città di Grosseto, Mexico’s Orquesta de Cámara de Bellas Artes, China’s Wuhan Philharmonic and the music festivals of Colorado and Batumi (Georgia, Eastern Europe); a 14-city tour of China with the Denver Philharmonic, and return engagements with the Tucson Symphony Orchestra and Portland Ballet Company. Lawrence records for Albany Records. His latest release is the 2018 world premiere Blu-ray disc and audio CD of composer Jiaojiao Zhou’s theatrical symphonic poem Ode to Nature with Lamont Symphony Orchestra. Lawrence and his wife Cecilia have two young children. www.lawrencegolan.com
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2018–19 SEASON
BUILDING BRIDGES The German Cultural Foundation and the German American Chamber of Commerce – Colorado Chapter (GACC) are excited and honored to sponsor “Gloria,” featuring the Bavarian Philharmonic’s conductor Mark Mast and 43-member choir. The German Cultural Foundation promotes cultural exchanges Paul Maricle, Honorary
between students, artists and young professionals from
Consul for Germany and
Colorado and German-speaking countries. We believe that giv-
Chair, German Cultural
ing young people the opportunity to discover different cultures
Foundation
and different ways of thinking and viewpoints through mutual interest in language, music, and academics is a key element in expanding their understanding of the world. The GACC’s mission is to promote business relationships and trade between Germany and Colorado. One of the best ways to expand business is through cultural exchange and the Chamber is proud to have helped forge the partnership between the Bavarian Philharmonic Orchestra and the Denver Philharmonic Orchestra.
Peter Einsle, President, German American
For more information go to gacc-co.org and germanculturalfoundation.org.
Chamber of Commerce
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MARK MAST GUEST CONDUCTOR Born in 1963 in Freudenstadt, Black Forest, Germany, Mark Mast studied music in Heidelberg, Paris and Munich. Early in his career, he had the great fortune to meet and study with Leonard Bernstein, who provided a major impetus for his professional development and confidence as a conductor. Soon thereafter, Mast had the opportunity to interact closely with the renowned Sergiu Celibidache, who became the central influence in Mark’s development as conductor. Mark completed Master Studies under Celibidache’s tutelage during the years 1987–1992. He is consistently invited to conduct orchestras across Germany and internationally such as the Athens Chamber Orchestra, Greece, the Latvian National Orchestra of Riga, the Slovenian National Orchestra, the Swedish Radio Symphony Orchestra, the Slovenian Theatre Orchestra, the Ensemble Kanazawa of Japan and the Enescu Philharmony Bucharest. Mark has been intendant and artistic director of the Bayerische Philharmonie (BayPhil, or Bavarian Philharmonic) since 1994. As a part of his passion for encouraging and protecting high professional standards in the music world, Mark is a regular jury member at international music competitions. From 1998–2009, he was musical director of the music theatre festival Orff-in-Andechs. Since 1998, he is also intendant and artistic director of the Schwarzwald Musikfestival. In May 2010, he founded Orff-Tage der Bayerischen Philharmonie in the Prinzregententheater Munich.
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2018–19 SEASON
In 2001, he was appointed director of the
performing in Pueblo, Boulder, Denver and
Sergiu Celibidache Foundation, initiating
at the official dedication of the then-new
the Sergiu Celibidache Festival in 2002;
Denver International Airport. In 1996, he
in 2004, the festival took place in Munich;
returned as orchestra-in-residence of the
and in 2006, in Iasi, Romania. From
Colorado Music Festival with concerts
2005–2009, he was principal guest conduc-
in Estes Park, Breckenridge, Denver and
tor of the Moldavian State Philharmony,
Boulder.
Iasi. In 2012, he also became the artistic director of the Sergiu Celibidache 2012 International Festival, which took place in Bucharest and included a series of events: master classes, concerts, exhibits, film screenings, etc. As closing highlight of the Festival he conducted the world premiere of Romanian Suite ‘Haz de necaz‘ of Sergiu Celibidache. In 2008, he received the “Werner-Egk-Preis Donauwörth” for his contributions to cultural life in Bavaria, especially for his engagement of Bavarian composers, such as Werner Egk, Carl Orff, Karl Amadeus Hartmann and Richard Strauss. From 2011–2016, he was president of Jeunesses Musicales Bayern.
In 2016, he returned to Colorado with the Denver Philharmonic to guest conduct Wagner’s Die Meistersinger Overture at The Grand Opening of the Antonia Brico Stage and again in spring 2017 to guest conduct Prost. In autumn 2017, the first German concert of the transatlantic partnership between the Denver Philharmonic and the Bayerische Philharmonie took place in the Herkulessaal in Munich. On May 10, 2018, the Chamber Orchestra of the Bayerische Philharmonie under the direction of Mark Mast performed at the memorial concert as part of the JewishGerman Festival Week at the Stadttheater Landsberg. This concert took place on the occasion of the 70th anniversary of the
Mark first toured Colorado in 1993 with the
Leonard Bernstein concert with Holocaust
Young Philharmonic Orchestra of Munich
survivors in Landsberg in 1948.
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LILY ZHANG SOPRANO Dr. Lily Zhang is voice professor in residence at Colorado State University-Pueblo, past Chair of Opera and Chorus Department of Sichuan Conservatory of Music in China and the first soprano to win the grand title “Top Ten Singers in China” three times. She is also the first Chinese voice professors to receive honorable doctorate degrees from three American universities. Lily sings in seven languages for both Eastern and Western opera performing a wide range of repertoire including most the heroines. She has performed at venues throughout the world including Carnegie Hall, Lincoln Center, Hollywood Bowl, Smetana Hall, Czech Palace in Prague, The Great Wall, China National Grand Theater, Shanghai Opera House, Tianjin Opera House and Taipei Zhong Shan Music Hall.
JENNIFER DEDOMINICI MEZZO-SOPRANO Jennifer was a soloist with the Denver Philharmonic in 2017 and is thrilled to be back! Some favorite opera roles: Dorabella (Così fan Tutte), Carmen (Carmen), Second Lady (Die Zauberflöte), Siebel (Faust), Third Secretary (Nixon in China), Hänsel (Hänsel und Gretel), Guinevere (Camelot), Mary Poppins (Mary Poppins), Judy (9 to 5), Nellie Forbush (South Pacific), Maria (The Sound of Music), Petra (A Little Night Music) and Aldonza (Man of La Mancha). She has sung with the Milwaukee Symphony, North Carolina Symphony, Cleveland Pops, National Repertory Orchestra, Chamber Orchestra of the Springs; Fresno, Colorado Springs and Arapahoe Philharmonics. She was an apprentice artist at Santa Fe and Anchorage Opera companies and has performed at Opera Colorado and Intermountain, Indianapolis, San Diego, Central City, Piedmont Opera companies. 12
2018–19 SEASON
MATTHEW PLENK TENOR This is Matthew’s inaugural year as director of opera at the University of Denver’s Lamont School of Music, where he is also an assistant professor of voice. A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, he has performed in Tristan und Isolde, The Magic Flute, The Makropolous Case, Il Tabarro and Hamlet at The Met. He has also performed with the Los Angeles Opera, Opera Theatre of St. Louis, Central City Opera, Virginia Opera, Atlanta Opera, Boston Lyric Opera, Lyric Opera of Kansas City, Des Moines Metro Opera, RAI Torino, University Musical Society, Houston Symphony, Minnesota Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, Boston Symphony, Philadelphia Orchestra, Baltimore Symphony, Boulder Philharmonic and Oratorio Society of New York in Carnegie Hall.
EDWARD PARKS BASS Edward has been hailed by Opera News for his “warm, velvety baritone” and The New York Times for providing “precision, sensitivity and nuance in abundance” and a “robust, earthy voice.” Recent opera credits include Cold Mountain (North Carolina Opera); L’elisir d’Amore (Opera Oviedo, Spain); Faust (Lyric Opera of Chicago, Portland Opera); Carmen (Atlanta Opera); Le Nozze di Figaro, Il Barbiere di Siviglia, La bohème, Die Zauberflöte, Don Carlo (Metropolitan Opera); Silent Night, La bohème (Minnesota Opera); Carmen (Seiji Ozawa Matsumoto Festival, Japan); The (R)evolution of Steve Jobs (Santa Fe Opera); Roméo et Juliette (Opera de Monte Carlo, Oman); Tobias Picker’s Thérèse Raquin (Chicago Opera Theater/Long Beach Opera); Central City Opera, Lyric Opera of Kansas City, Nashville Opera, PORT Opera, Michigan Opera Theater and Opera Theatre of St. Louis. 13
RENEE NOEL GILLILAND ASSOCIATE CONDUCTOR In addition to her role as associate conductor for the Denver Philharmonic, Renee is the music director of the Anschutz Medical Campus Symphony Orchestra and cover conductor of the Boulder Philharmonic. 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.
She is also the assistant conductor of the University of Denver Lamont School of Music Symphony Orchestra and Opera Theater where she is completing an Artist Diploma in Orchestral Conducting under Lawrence Golan. In August 2018, Renee made her international conducting debut with the Lviv Philharmonic (Ukraine). As guest conductor, Renee has led performances with Boulder Concert Band and Cleveland Pops in Cleveland, Tennessee. She has participated in workshops with the New Symphony Orchestra (Bulgaria), the Martinu Philharmonic (Czech Republic), and ensembles in Chicago, Connecticut and New York. Renee holds a Master of Music in Viola Performance with an outside area in Conducting from Indiana University. She received a Bachelor of Music in Music Education and Certificate of Violin Performance from the University of Texas. As a violinist and violist, Renee has performed with Ars Nova Chamber Orchestra (Washington, D.C.); Richmond and Columbus Orchestras (Indiana); Las Cruces Orchestra (New Mexico); and Brazos Valley and El Paso Symphony Orchestras (Texas). She was selected to perform with the first International YouTube Symphony Orchestra at Carnegie Hall under the direction of Michael Tilson Thomas and performed as a Young Artist Competition Winner with the El Paso Symphony Orchestra under the direction of Gürer Aykal.
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2018–19 SEASON
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2018–19 SEASON
JORGE ALEJANDRO SALAZAR ASSISTANT CONDUCTOR Jorge received his Master of Music degree in Orchestral Conducting from the National University of Colombia and is pursuing the Artist Diploma in Orchestral Conducting at the University of Denver’s Lamont School of Music. Jorge reached the semifinal round in the Cadaqués International Conducting Competition 2010, won the best conductor prize in the VI International Choir Festival in Santander and obtained a silver medal in the Seventh World Choir Games in Cincinnati in the champion’s competition category. Jorge is headmaster of conducting studies, and principal conductor of the symphony orchestra and choir at Corpas University in Bogotá since 2003. From 2004–2013, he served as artistic director of the Orchestral and Choral Corporation of Colombia. He was the artistic coordinator for the “America Cantat” International Choral Festival 2013. He recently attended the International Conducting Masterclass with Guerassim Voronkov and the Saint Petersburg Symphony Orchestra in Russia. As a guest conductor he has worked with several orchestras in the U.S., Russia, Colombia, Chile and Argentina. Jorge is also a multi award-winning composer.
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OUR MUSICIANS MUSIC DIRECTOR Lawrence Golan
ASSOCIATE CONDUCTOR Renee Noel Gilliland
ASSISTANT CONDUCTOR Jorge Alejandro Salazar
FIRST VIOLIN Katherine Thayer, concertmaster Anna Katherine Barnett-Hart, associate concertmaster Melissa Barru Matthew Grove Melissa Herzog Thomas Jatko Beth Letendre Lubia Montenegro* Emmy Reid Julia Taylor Elizabeth Wall Isabelle Wong
SECOND VIOLIN Yiran Li, principal Niccolo Werner Casewit Valerie Clausen Terri Gonzales Christina Goode Miki Heine Annie Laury Callista Medland Alyssa Oland Roger Powell
Brian Ross Erica Secor Anne Silvas
VIOLA Silvana Ferrarin, principal Natasia Boyko Naomi Croghan Lori Hanson Jessica Hitt Kaylin Jarriel Samantha Lichtin Ben Luey Beth Remming Julie Rooney Vince Vuong
CELLO Katie Burns, principal Naftari Burns Sarah Frederick Mike Marecak Shirley Marecak Monica Sáles Council Amanda Thall Jeffrey Westcott Rachel Yanovitch
DOUBLE BASS Colton Kelley, principal Zachary Antonio Megan Gore Brazell Lucy Bauer Josh Filley Taryn Galow Kurt Henning
* on leave; string musicians are listed in alphabetical order 18
2018–19 SEASON
FLUTE
HORN
Whitney Kelley, principal Catherine Ricca Lanzano Joshua Hall
Zach Maupin, principal Jeanine Branting Kelli Hirsch Kim George
PICCOLO Joshua Hall
TRUMPET
OBOE
Ryan Spencer, principal Ariel Van Dam Colton Crandell
Kimberly Brody, principal Loren Meaux, assistant principal Michael Sax
ENGLISH HORN Loren Meaux
CLARINET
TROMBONE William Combs, principal Wallace Orr
BASS TROMBONE Daniel Morris
Kwami Barnett, principal Claude Wilbur Jessica Clark
TUBA
E-FLAT CLARINET
TIMPANI
Jessica Clark
Steve Bulota, principal
BASS CLARINET
PERCUSSION
Claude Wilbur
Ross Coons, principal Colin Constance John Garvin Ani Powell
BASSOON Ken Greenwald, principal Nicholas Lengyel
Darren DeLaup, principal
HARP Rebecca Moritzky, principal
PIANO Ani Powell, principal
 19
A VISIT TO REMEMBER The Bayerische Philharmonie (BayPhil) and the state of Colorado have enjoyed a close transatlantic partnership since 1993. For this performance, Music Director Mark Mast and more than 40 BayPhil singers traveled to Colorado. This visit sends a strong message of friendship and connection that goes far beyond the relationship between the two orchestras — something that is particularly important in the current phase of transatlantic relations. It represents a link between Munich and Denver, between The encounters between
Bavaria and Colorado, and even between Germany and America.
Germans and Americans on this trip will be
The singers will see for themselves how close the mutual ties
remembered by both
between Germans and Americans remain today. In fact, they
sides for many years to
might be surprised at how many Americans still have personal
come and leave a lasting
connections to Germany, whether they have traveled to Germany
impression on everyone
themselves, have German ancestry, or have friends or relatives
involved.
who lived there. At the same time, the German musicians gain a profound insight into the American way of life, more than they could ever achieve by reading or watching television. That’s exactly the point of a trip like this. There is no better way to bring about international understanding than through personal contact and face-to-face encounters. No matter how authentic social media might seem, people can only truly get to know one other by meeting in person, talking face to face and forming their own impressions of each other. On that note, I hope that the members of the BayPhil have a wonderful time in America and that it is a visit to remember. Viele Grüße, Friedrich Merz, Chairman of Atlantik-Brücke e.V., Berlin April 2019 Trip Sponsor, Bavarian Philharmonic Orchestra
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2018–19 SEASON
BAYERISCHE PHILHARMONIE CHORUS MUSIC DIRECTOR Mark Mast
SOPRANO Michaela Bauswein Micheline Burghardt-Sandoz Martina Doster Christine Gietl Heidi Gläsener Gerda Häußinger Judith Keller Ulrike Kempe Doris Linder Carin Meiler-Hemsing Andrea Pfannes Christine Pfenninger Jenni Seibel Irene Stolze Susanne Wagner Magdalena Wede
ALTO Barbara Bierling Agnes Duringer Regine Faust-Schröter Gaby Kerler Dorothea Klütsch
Kay Christiane Krause Linda Oppermann Claudia Schnauffer Marion Siefer Andrea Swanson Barbara Volkwein
TENOR Lars Brinkmann Eckehard Dettinger-Klemm Urs Hugentobler Andreas Mehl Ilari Pulli Dieter Weißbach
BASS Stefan Henning Jörg Hofmann Hilmar Ilgenfritz Rolf Jannsen Wolf Karres Alexander Protogerov Hans Schmidt Johannes Schröter Winfried Seibert Günter Weber
21
OUR TEAM BOARD OF DIRECTORS
STAGE
Jon Olafson, President Matt Meier, Vice-President Edward Smith, Secretary Erica Secor, Treasurer Tamara Arredondo Dr. Robert Dallenbach Linda Lebsack Tenley Oldak Esteban Romero Pauline Dallenbach, Honorary Member Maureen Keil, Honorary Member
Taryn Galow, co-manager Loren Meaux, co-manager Emmy Reid, co-manager Steve Bulota Michael Meaux New Genesis Transitional Community for the Homeless Hugh Pitcher
DENVER PHILHARMONIC FOUNDATION BOARD Erica Secor Keith Fisher Roger Powell
CENTRAL PRESBYTERIAN PRODUCTION TEAM Bryce Clark Nileen Hart Wil Smith
MUSIC LIBRARIAN
Valerie Clausen
Callista Medland Alyssa Oland, assistant Anne Silvas, bowings Katherine Thayer, bowings
PERSONNEL MANAGER
CONCERT PROGRAM
Annie Laury
Ligature Creative, design Walker Burns, editing Taryn Galow, Braille translation María Angélica Lasso, Spanish translation Callista Medland, editing Elizabeth Schwartz, program notes David Zuluaga, Spanish translation
EXECUTIVE DIRECTOR
MORE THAN MUSIC MANAGER Patricia Meaux
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2018–19 SEASON
AUDIO TECH Joel Dallenbach Jack Pelon
DPO WITH A TWIST William Combs, artistic advisor Katherine Thayer, artistic advisor
MUSICIAN COMMITTEE Daniel Morris, chair Niccolo Casewit Loren Meaux
IT TECH Henry Ammons
CONCERT NIGHT Stacie Carter Gil Clausen Stephanie Gillman, photographer Eleanor Glover
Nileen Hart Sarah Hogan Stan Jewell Marty Jewell Brian McGuire Karen McGuire Claire McManus Evan Meaux Michael Meaux Scott Merchant Joan Montezon Hugh Pitcher David Sherman Andy Solsvig Sheila Traister
MORE THAN MUSIC PARTNERS Kolacny Music Purple Door Coffee The University Club of Denver Ursula Brewery
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A MUCH-DESERVED LEGACY My uncle Wolf Durmashkin believed that music is life… music is freedom. Once a conductor in the Vilna Orchestra with a promising future, his life and legacy were cut short in the Holocaust — he was killed just hours before his camp’s liberation. His dedication to the healing power of music was astonishing. While captive in the Vilna Ghetto, he used his special work-dispensation to leave the camp as a chance to smuggle in enough Through music, Wolf brought hope and dignity and quiet resistance into the lives of everyone around him.
instruments (including a piano!) to form the Ghetto Orchestra. He also formed a 100-voice choir and a children’s music school. Sadly, it seemed that his work didn’t survive him, his legacy nearly lost to the ashes of the Holocaust. So, it is with gratitude and astonishment to now share the U.S. premiere of one of his compositions, Won’t Be Silent. Originally written as Stay Silent in Klooga Concentration Camp, my uncle’s music was just discovered last year. Thanks to the brilliant Mark Mast and with an expanded composition by Tobias Forster and updated lyrics by Kara DioGuardi, audiences will hear “new” music from Wolf Durmashkin 75 years after his death. Remarkably, members of the choir are themselves descendants of the Third Reich, and they shared with me how healing it is for them to be able to breathe new life into my uncle’s music. Together tonight, sharing this extraordinary piece of music, we give my uncle back his much-deserved legacy. Sincerely, Abe Gurko, nephew of composer Wolf Durmashkin
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2018–19 SEASON
M AY
1 7,
2019
VICTORY PRESENTED BY LIGATURE CREATIVE
L AW R E N C E G O L A N , C O N D U C T O R L A U R E N C E K A P TA I N , C I M B A L O M
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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 26
2018–19 SEASON
GLORIA • APRIL 20 by ELIZABETH SCHWARTZ
Symphony No. 7 in B minor, D. 759, [formerly No. 8] “Unfinished” Franz Schubert (1797–1828) Franz Schubert’s most popular symphony remained unfinished and did not receive its first performance until more than 35 years after his death. It is interesting that Schubert, who composed eight other symphonies, a number of additional orchestral works, dramatic music, more than 600 songs, and innumerable chamber pieces, Schubert was among the earliest composers to assign meaning to specific tonal centers. He called B minor the key “of the quiet expectation of fate and its acceptance.”
should be so renowned for a piece he failed to complete. Why did Schubert leave this symphony unfinished? There are no surviving documents to explain why Schubert began composing this symphony: no commission, no letters, no specific event or person for whom the work was intended. At the age of 25, as he worked on the B minor Symphony, Schubert was diagnosed with syphilis, the disease that killed him six years later. He was ill, understandably depressed, and financially strapped. When he was able to work again, Schubert turned his attention to theatrical music, which, he hoped, would provide some much-needed income. Some scholars have also suggested that Schubert, whose personal standards for 27
symphonic writing were very high, had
Society, perhaps in the hope they would
reached a creative impasse with the B
perform it. However, for reasons unknown,
minor Symphony, based on the surviving
Anselm kept the manuscript; it remained in
sketches of an incomplete third movement
his possession, and unknown to the rest of
scherzo, which do not match the quality of
the world, for the next 40 years.
the first two movements. In addition, there are no extant sketches for a finale. Rather than present an incomplete work, it has been suggested, Schubert put it aside, probably intending to finish it at a later time.
The two movements of the B minor Symphony are unique in Schubert’s output. Both are larger and more complex than any others Schubert wrote, and they transcend the conventions of symphonic writing of Schubert’s time. Musicologist
Although there is no official dedication on
Richard Freed suggests that Schubert
the manuscript of the B minor Symphony,
chose to let these two movements stand
Schubert may have intended it as a
alone: “It is not too much to imagine that
thank-you to the Styrian Music Society in
the genius who created this music might
Graz, which had elected him an honorary
have recognized it at the time, as the
member. In the fall of 1822, Schubert was
world does now, as material so exalted
informed of the award through a friend,
that it could not be followed by anything
Anselm Hüttenbrenner, a member of the
without great risk of anticlimax.”
Society. This corresponds with the October 30, 1822 date on Schubert’s manuscript of the B minor Symphony. Whether or not wrote the B minor Symphony specifically for the Styrian Society, Schubert did intend to send them a score, as he indicated in his thank you letter.
Viennese critic Eduard Hanslick described the Allegro moderato as “a melodic stream so crystal clear, despite its force and genius, that one can see every pebble on the bottom.” It opens with a restless theme for oboe and clarinet, accompanied by dark murmurings in the low strings.
He wrote, “In order to give musical
Before this theme is fully developed,
expression to my sincere gratitude as
Schubert abruptly switches to a gentle
well, I shall take the liberty before long
cello melody, but this too is interrupted
of presenting your honorable Society
by fragments of the first theme. There is a
with one of my symphonies in full score.”
sense of barely contained impatience, as if
In 1823, Schubert gave the unfinished
Schubert were so full of melodic ideas that
manuscript to Anselm’s brother Josef,
he couldn’t take the time to fully explore
and asked Josef to pass it on to Anselm.
any of them. The fragmentary nature of
Schubert probably expected Anselm to
this music is unusual in an early 19th cen-
turn over the manuscript to the Styrian
tury symphony; there is no reconciliation
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2018–19 SEASON
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2018–19 SEASON
or final statement in which all the musical
in so doing he moves through a bewilder-
ideas are developed and transformed.
ing variety of harmonic key areas, with a
Instead, Schubert juxtaposes the brooding
restlessness bordering on irritation. The
agitation of the first melody with the
lyricism of the string/horn theme is tinged
calm serenity of the cello theme without
with a longing that remains unresolved as
any grand summation. The result is stark,
the movement ends.
innovative and unsettling. As Schubert scholar Arnold Feil noted, “Here one can see for the first time that not everything is as lovely as is generally assumed … these are in fact among the harshest and most implacable movements ever produced by Viennese Classicism in general and by Franz Schubert in particular.”
AT A GLANCE • Work composed: 1822. Presumably completed on October 30 of that year, according to the date on the manuscript. It remained unpublished until 1867, and was virtually unknown for 37 years following Schubert’s death.
By contrast, the Andante con moto is gentleness personified … or is it? It features a lyrical conversation between the strings and a chorus of horns. As in the first movement, Schubert contrasts this music
• World premiere: December 17, 1865. Johann Herbeck conducted the Gesellschaft die Musikfreunde [Society of Friends of Music] in Vienna
with a melody of different character, heard
• Instrumentation: 2 flutes, 2 oboes, 2 clar-
first in the clarinet, which is amplified by a
inets, 2 bassoons, 2 horns, 2 trumpets, 3
powerful statement by the full orchestra.
trombones, timpani, and strings
In this movement, Schubert begins to explore and develop these two ideas, and
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SUNDAY CLASSICAL MUSIC 7:00 – 10:00 PM KPOF — 910 AM
Tune in to radio station KPOF (AM 910) from 7 – 10 pm on Sunday, April 28 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.
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2018–19 SEASON
Ave verum corpus, K. 618 Wolfgang Amadeus Mozart
(1756–1791)
Simplicity is a hallmark of Wolfgang Amadeus Mozart’s music, which pianist Artur Schnabel famously characterized as “too simple for children and too difficult for adults.” Nowhere is this more evident than in Mozart’s exquisite setting of the liturgical text Ave verum corpus. Mozart completed this short choral work (46 measures) on June 17, 1791, and it was first Move over Honey Boo Boo — Wolfie was a child star of monolithic proportions. Having written his first 30 symphonies by the age
presented as a Eucharistic hymn in Baden at the Feast of Corpus Christi that year. Mozart dedicated the work to his friend, Anton Stoll, who was chorus master of the parish church in Baden, where Mozart was visiting with his wife Constanze. The uncomplicated nature of the music may be based in
of 18, he was the most
practicality; the singers in Stoll’s parish choir were probably not
well-known composer in
first-rate musicians, so Mozart wrote music they could learn
all of Europe by his 20th
quickly and sing well. The plain language of the text may have
birthday.
also suggested a more basic approach. The orchestra provides the barest introduction and functions mostly as a support to the chorus, which presents the text in a manner designed to focus on the words set like jewels into shining harmonic phrases.
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The original text of Ave verum corpus is
AT A GLANCE
based on a poem found in a 14th century
• Work composed: Mozart completed Ave
manuscript from Reichenau, Switzerland.
verum corpus on June 17, 1791
It praises the Catholic doctrine of transubstantiation, in which the body and blood
• World premiere: in Baden at the Feast of
of Jesus are transformed into the bread
Corpus Christi on June 23, 1791
and wine of the Eucharist. The words also • Instrumentation: soprano, mezzo-
affirm the central Catholic belief in the
soprano, tenor, bass, chorus, organ,
redemptive power of suffering.
and strings • Estimated duration: 3 minutes
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2018–19 SEASON
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2018–19 SEASON
Won’t Be Silent Wolf Durmashkin (1914–1944), Tobias Forster (b. 1973) by composer TOBIAS FORSTER translated from German by KARIN TATE
While detained in the Vilna Ghetto, Wolf smuggled in instruments — including a piano! —
Wolf Durmashkin’s song, composed in a concentration camp, was performed at normal volume by fellow prisoners and then sung quietly in Yiddish. “We are silent, say not one word, mumble a prayer, nothing and no one can forbid us to weep quietly;” this is the sad, original text of the song. The piece is in a minor key and has a unique style. The new
and started the Ghetto
translation by Kara DioGuardi, “We won’t be silent,” seeks to
Orchestra.
say the opposite: We will not be silent, in order to make sure that a catastrophe such as the Holocaust can not ever come to pass again. I try to bring two extremes: sadness & pain and hope & joy into harmony in my transcription for orchestra and chorus. The introductory measures in the strings depict the hopelessness of the situation in the camp at that time. Throughout the composition, the melody is repeated numerous times, although each time in a different musical context.
Classical and jazz, as
While composing, I let myself be led by my emotions which
well as their fusion, play
illuminated the original song. A sad melody set against a tragic
an essential role in Forster’s work.
background… to express this in a somewhat more hopeful mood was a challenge. In taking the melody apart into separate pieces, some associations became apparent. It contains, barely hidden, the “dies irae” motif, a part of Chopin’s “Funeral March,” and elements of Beethoven’s “Ode to Joy.” The harmony expressed in the first two measures is exactly that of the first four measures of Franz Schubert’s “Death and the Maiden.” In the 37
development of the original melody, I used these elements, combining and transforming them. The clarinet solo is an homage to Ashkenazi Jewish klezmer music. After the broad but somewhat ironic climax in a major key, the original melody returns to be embraced and remembered.
We won’t be silent, won’t be silent, not for one more day. We’ll speak out so future generations will be saved. Won’t close our eyes in fear and hide, we’ll let our beauty reign. Nothing stands between us and a world we dream to know. We were made to love, no matter
AT A GLANCE • Work composed: c. 1943–1944, 2019
how much hate we face. We will fight for those who cannot fight and need our strength.
• World premiere: The Bavarian Philharmonic performed the world premiere March 17, 2019 in Hercules Hall in Munich, Germany. Tonight is the U.S.
Won’t close our eyes in fear, we want to be the light of change. Nothing stands between us and a world we dream to know.
premiere. • Instrumentation: chorus, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, 1 tuba, piano, and strings
We’ll break the silence, break the silence, Screaming words of hope! We won’t be silent, won’t be silent, Not for one more day!
• Estimated duration: 8 minutes
From now on we’re healing
LYRICS: “LOMIR SHVAYGN” WON’T BE SILENT
We will fight for those who cannot fight
with the truth in what we say.
Lomir shvaygn, lomir shvaygn,
and need our strength. Nothing stands between us and a world we dream to know.
un keyn vort geredt. Lomir mit farmakhte oygn vurmlen a gebet.
We’ll break the silence, break the silence,
Nisht di tsoymen, nisht di drotn,
Screaming words of hope!
nisht di vakh vos shteyt, keyner ken undz nisht varbotn veynen shtilerheyt.
We will break the silence, break the silence, Screaming words of hope!
Eyn zakh iz undz nisht varbotn, veynen shtilerheyt. (2x) 38
2018–19 SEASON
classical | explore
Thoughtfully curated classical music to captivate the soul.
Enrich your life here.
 39
APRIL
TOMORROW! 21, 2019 @ 1:00P M
OH, SAY CAN YOU SEE? P H I L A D E L P H I A P H I L L I E S VS . CO LO RA D O R O C K I E S
N AT I O N A L A N T H E M P E R F O R M E D B Y D E N V E R A N D B AVA R I A N P H I L H A R M O N I C M U S I C I A N S
YOU CAN SIT WITH US! G E T T I C K E TS AT DENV ER PHILHAR M O N I C .O RG 40
2018–19 SEASON
Mass in C minor, K. 427 (K. 417a), “The Great” Wolfgang Amadeus Mozart (1756–1791) It is a romantic notion that the finest music is always created from some profound wellspring of inspiration, while music written for a commission is, by definition, inferior. In fact, Mozart wrote some of his best works for money. Most of Mozart’s music, including all but one of his religious compositions, were written for the Archbishop of Salzburg, or patrons Mozart used both oldstyle Baroque counterpoint and the dramatic intimacy of Classical
in Vienna, or (like his piano concertos), for subscription concerts he presented in hopes of attracting large paying audiences. Mozart’s Mass in C minor is the exception. Mozart had a
opera when composing
strong personal motivation for composing it, but his impetus is
the C minor Mass.
unknown. From letters Mozart wrote to his father Leopold, we know that the Mass was written to fulfill a promise Mozart had made; the nature of that promise, however, is not clear. Some scholars suggest the Mass is Mozart’s expression of joy upon his marriage to Constanze Weber. Others say Mozart made a vow to his father that he and Constanze would visit Salzburg, and the Mass is proof of Mozart’s intention to fulfill that vow. According to Constanze, Mozart composed the Mass as a thanksgiving offering for Constanze’s safe delivery of their first child, Raimund. Whatever the reason, the Mass clearly meant a great deal to Mozart. In a letter dated January 3, 1783, Mozart wrote to Leopold, “It is quite true about my moral obligation, and indeed I let the word flow from my pen on purpose. I made the promise in my heart of hearts and hope to be able to keep it … the score of half of a mass, which is still lying here waiting to be finished, is the best proof that I really made the promise.” And yet, for all its personal significance, Mozart did not complete the Mass in C minor. When it was first performed in October 1783, only the Kyrie, Gloria, parts of the Credo and Sanctus 41
were finished. Since the Mass was being
work’s completion.” There is also the con-
presented as part of a regular church
tention of Alfred Einstein, one of Mozart’s
service, and not as a concert piece, Mozart
biographers, that all the music Mozart
would have had to fill in the missing
wrote for Constanze is incomplete, with its
sections (most of the Credo and the Agnus
misogynist inference that Constanze was
Dei) with other music, possibly his own, or
somehow responsible for that fact.
perhaps with plainchant from the Catholic liturgy.
Austrian composer Helmut Eder, who adhered to Mozart’s sketches and instructions
Stylistically, the Mass in C minor is a
closely when he realized the unfinished
mixture of old and new, liturgical and
sections of the Mass, completed the
secular. In 1782, Mozart, under the
Barenreiter Edition of the Mass used in
influence of one of his patrons, Baron
tonight’s performance.
Gottfried van Swieten, immersed himself in the music of Handel, J. S., and C.P.E. Bach. The Baroque contrapuntal style of these earlier masters found its way into Mozart’s religious music, particularly the Kyrie and the “Qui tollis” and “Cum Sancto Spiritu”
AT A GLANCE • Work composed: Summer 1782 – October 1783 • World premiere: The Kyrie, Gloria, parts
in the Gloria. Other sections, most notably
of the Credo, and the Sanctus of the
the “Et incarnatus est” from the Credo, are
Mass were first performed at the Church
clearly operatic, incorporating the vocal
of St. Peter’s Abbey in Salzburg on Oct.
agility and intimacy of Italian opera.
26, 1783. Mozart’s wife Constanze sang
Theories abound as to why Mozart left this Mass unfinished. Annotator Nick Jones
the soprano solos. • Instrumentation: 2 soprano soloists, solo
noted, somewhat wryly, “Of all [Mozart’s]
tenor, solo bass, SATB choir, 2 flutes, 2
religious works, the C minor Mass is the
oboes, 2 clarinets, 2 bassoons, 2 horns, 2
only one not written in response to a
trumpets, 3 trombones, timpani, organ,
commission or request. Its commissioner
and strings
was Mozart himself, and he was not a sufficiently insistent patron to compel the
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• Estimated duration: 80 minutes
2018–19 SEASON
Music connects our community.
is proud to support the Denver Philharmonic. • • • • • • • • • • • • • • • • • • • •
ligcreative.com
• • • • • • • • • • • • • • • • • • • •
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CONCERT ETIQUETTE If you are attending your first (or 300th) 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
In earlier times, audiences would routinely
suits, you’ll see it all! Wear what you’d
applaud between movements to show
like — you’ll fit in. We love you just the
their joy for the music they just heard.
way you are.
Then around the mid-19th century, it became tradition to wait until the end of
COUGHING Ahem… Try to ‘bury’ your cough in a loud
the piece to clap, with the audience sitting silent between movements.
passage of music. If you can’t, or you
At the DPO, we welcome both traditions.
begin to cough a lot, don’t worry — it’s
If you prefer to wait for the end of a piece
perfectly acceptable and appropriate to
to clap, please do. Some movements are
quietly exit the concert hall. Remember to
fiery and end in such a flare that you may
unwrap cough drops before the concert so
feel compelled to clap — go for it! After
you don’t create crackling noises.
a quiet movement, you may want to enjoy the feeling of transfixion and wait; there’s no need to applaud if you’re not feelin’ it. Regardless, we want you to feel comfortable and focus on the performance, not confusing applause rules!
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2018–19 SEASON
SIT TIGHT
CRY ROOM
The rumors are true — we’re pretty
Child feelin’ fidgety? We have a designat-
informal. But we do ask that you sit tight
ed cry room in the back of the lobby on
and quiet during the performance and
the right side of the main level. The room
only get up between pieces or during in-
is marked with a sign.
termission as to not distract the musicians or concert-goers around you.
PACK IT IN, PACK IT OUT
SOCIAL MEDIA Feel free to tweet along with us @denverphilorch, post to Facebook or
You’re welcome to bring a water bottle
take photos without flash. Upload your
into the hall, but remember “Trail Rules”
pics and comments online — and be sure
— pack it in, pack it out. (This goes for
to tag us! We’re on Facebook, Twitter and
trash too!)
Instagram @denverphilorch #dpotweets
ELECTRONICS
HAVE FUN! !
Please turn the sound off on your cell
Rules, rules, rules — we know, it can be
phones, pagers, and any other noise-
overwhelming. The most important rule of
making device, including vibrate mode.
all is to have fun and enjoy yourself. And then tell all your friends and come back again and again!
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THANK YOU!
Donations since Dec. 10, 2017
We would like to acknowledge the generous support of the following individuals, businesses and corporations. ORCHESTRA CIRCLE ($10,000+) Valerie & Gilmour Clausen
CONDUCTOR CIRCLE ($5,000–$9,999) Linda Lebsack & Hugh Pitcher
CONCERTMASTER CIRCLE ($2,500–$4,999) Barb & Kip Kolkmeier Wallace Orr Don & Bonnie Walls
MUSICIAN CIRCLE ($1,000–$2,499) John David Alley Daniel R. Burns & Lorraine Diaz Paula Elmers Mark Johnson Jon Olafson John & Carol Tate Ben & Katherine Vagher
PATRON ($500–$999) Anonymous 46
Patricia Aronstein Sarah & Matt Hogan Marianne & Ed Marvez Matt Meier & David Sherman Lisa Peloso & Vik Patel Mark & Maxine Rossman Edward Smith, in memory of Geralda Smith
BENEFACTOR ($300–$499) Anonymous (11) Rich Casson & Liza Ranftle Jessica Clark Eleanor Glover & Eugene Advincula Barbara & Rand Moritzky, in memory of Vernetta Dunn James Stegman Mr. & Mrs. Kevin Williams
CONTRIBUTOR ($100–$299) Anonymous (21) Manuel & Avis Araujo John Bardeen & Sharon Adams Jennifer & Phil Barru Fred Beisser Janice Burley Gabriela Chavarria Stacey & Bob Collins Charlie & Jean Curlee
Thomas W. Filaerdo & Nora L. Zorich Tom Gleason and Ann Gardner Eleanor Glover and Eugene Advincula Lawrence & Cecilia Golan Stephen and Donna Good Rob and Celeste Habiger Judy & Ed Hagerman Janet Hehn Karin Hensel HCA Caring for the Cummunity Kelli & Geoff Hirsch, in honor of Jim & Cathy Krebsbach Jacobi Gifting Fund Thomas Jatko, in honor of Harry Heskett Annie Laury Matt & Allison Lausten Michael D. & Patricia Meaux Callista & Patrick Medland Carolyn & Gary Medland Claudia & Jim Miller Tenley Mueller Marianne & Jeff Orkin Pamela Parker Shari Regenbogen Ross Robert & Barbara Metzger Ann Schock Edward Smith Merriam Spurgeon James Stegman
2018–19 SEASON
Cori & Tyler Streetman Karin Tate Sherry and Andy Kenney Mike & Amanda Tine Whitney Walpole Steven Wetmore
FRIEND (UP TO $99) Keri Rose Agnes Leonard Allen Penny Alles Henry Ammons, in memory of Ginny Ammons Anonymous (2) Anonymous, in memory of Charlotte Casewit-Fischer-Lamberg Tamara Arredondo Charles Aschwanden Jennifer Barangan Paul Behrhorst & Jenna Bainbridge Bill C. Berger Philip Pearlman and Betty Bona Jeanine Branting Kimberly and James Brody, in honor of Peggy Lemmon Raymonda Burgman Esmeralda Colfax Stacey & Bob Collins Naomi and Kevin Croghan Mitch Davis Doug and Mary Jodi Faley Larry Armstrong & Carol Farnsworth The Gintchin Family Terri Gonzales Kenneth Greenwald Lori Hanson Jennifer Heglin
Michael Hoffman S J Hudson Scott Huffman Genna and Torin Marty Jewell Terry Kargel Kitty Mande Knowles Ben & Edalin Koziol David Kurth William Lacy Monty Lambie Catherine and Ted Lanzano Matthew LeMay Judy & Dan Lichtin Regan Linton Anita Lopez Nick Martin Susan McGinley Loren Meaux Michael & Patricia Meaux Ron Mison Todd Misk & John Reid Edward Moss Nora Morgenstern Nancy & Paul Oberman Diana Padgett Pat & Jessica Payne Krista M. Picco, MBA, CIMA Peter Plowshay Bruce & Sharron Regenthal Charlotte Rocha Karin Schantz Gail & Joe Sindelar Bruce Smith Christie Smith Bruce Snyder Erik Tharalson Katherine Thayer Kathryn Weathers Louise Westfall Patricia White
FOUNDATIONS & BUSINESS PARTNERS $10,000+ Ligature Creative MOO Scientific and Cultural Facilities District
$5,000–$9,999 Colorado Creative Industries
$2,500–$4,999 Access The German Cultural Foundation Ireland Stapleton Pryor & Pascoe, PC Ogletree, Deakins, Nash, Smoak & Stewart, P.C. Wells Fargo Advisors
$1,000–$2,499 Brownstein Hyatt Farber Schreck Cottrell Printing David Sherman Creative
UP TO $999 ColoradoGives Community First Foundation Kolacny Music New Genesis Transitional Community for the Homeless Newberry Brothers Greenhouse & Florist Purple Door Coffee Schmitt Music The Pillar of Fire Church TATE+BURNS Architects LLC Ursula Brewery Vineyard Vines Retail, LLC
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IT TAKES A COMMUN Help us continually redefine the way our community experiences and engages with classical music with a tax-deductible contribution tonight. CORPORATE PARTNERS
AMAZON SMILES
We offer community-engagement
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The difference is that when you shop on AmazonSmile, the AmazonSmile
DONATE YOUR CAR! It’s easy to arrange free pick up of donated vehicles at a time and place convenient to you. We accept vehicles in most — but not all — conditions.
Foundation will donate 0.5% of the purchase price of eligible products to the charitable organization of your choice.
PLANNED GIVING Planned gifts provide the resources that have made it possible for us to provide high-quality, affordable classical music to the people of Metro Denver since 1948. With a gift to us in your estate or financial plans, you help to preserve the orchestra’s future for the next 70 years.
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2018–19 SEASON
ITY SHARE THE LOVE
CONTACT US
Celebrate your music-lover’s birthday or
Visit denverphilharmonic.org/contribute,
anniversary with a gift in their honor. You
email info@denverphilharmonic.org or
can also keep a loved one’s memory alive
visit the “Ask Me” table in the lobby for a
with a gift in their name.
donation card and more details on how to support us.
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
49
CONTACT US! 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. 50
2018–19 SEASON
FLORAL & DÉCOR 5301 Leetsdale Drive • Denver, CO 80246 303-322-0443 www.newberrybrothers.com
Instrument Petting Zoo, Russ-Keys, May 2018; Photo by Stephanie Gillman
SAVE THIS SEAT
I’M ENJOYING MORE THAN MUSIC!
RECEPTION
Wake up with a cuppa joe. Compliments of Purple Door Coffee.
COFFEE CORNER
Associate Conductor Renee Noel Gilliland will give you insights into tonight’s music and music-makers.
6:30–7:00PM, CHAPEL
PRE-CONCERT CHAT
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 Gloria.
WINE & CRAFT BEER
Clink a glass from Ursula Brewery! Cheers! (21+)
INSTRUMENT PETTING ZOO
Honk! Buzz! Toot! Learn about the different orchestra instruments. Pick up a trombone or a violin and give it a
Say hello! Join us in the lobby
after the concert for refreshments, meet the musicians and have fun!
go! Instruments generously provided by Kolacny Music.
MASS MUNCHIES
After the concert, join us for a
drink just across the street at The University Club.
NIGHTCAP
Snack attack! Something in the air is making us feel a little hungry. Chow down on some munchies to curb those cravings.