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WECOME! This season is very special. As I look through every concert, I notice an overall celebratory theme. Together, we will celebrate our epic adventures, our heroes, and our victories. This season, we’ll celebrate the adventure that has been the Denver Philharmonic Orchestra. Over the past few years, we’ve had many adventures, including our trips to China and Germany. We also find ways to make each concert its own adventure, and we are excited that you are part this one tonight. We will also celebrate our heroes. Heroes come in many forms. From our families to our role models, we will celebrate those that have had a profound positive impact on our lives. For me, I’ll celebrate my parents — because they are both my heroes and my role models. Finally, we will celebrate our victories. At the Denver Philharmonic, we will celebrate that you’ve joined us and have become part of our family. Because, for us, our greatest victory is bringing together those that experience and engage with classical music together as one community. Thank you for joining us this season and let’s celebrate!
Jon Olafson President of the Board
3
MAY 17, 2019
VICTORY
PRESENTED BY LIGATURE CREATIVE
Antonia Brico Stage at Central Presbyterian Church · Denver, Colorado · 7:30 pm
Lawrence Golan, conductor Laurence Kaptain, cimbalom CAMILLE SAINT-SAËNS
Marche héroïque, Op. 34 ZOLTÁN KODÁLY
Háry János Suite Featuring Laurence Kaptain Prelude; the Fairy Tale Begins Viennese Musical Clock Song The Battle and Defeat of Napoleon Intermezzo Entrance of the Emperor and His Court
∙ 20-MINUTE INTERMISSION ∙ LUDWIG VAN BEETHOVEN
Wellington’s Victory, Op. 91 PYOTR ILYICH TCHAIKOVSKY
1812 Overture, Op. 49
4
2018–19 SEASON
20192020 SAVE 35% WITH A SEASON PASS! BUY N OW AT D E N V E RP H I L H A RM O NIC.O RG
OCTOBER 4, 2019
FIRST IMPRESSIONS: THE MUSIC OF MONET Lawrence Golan, conductor Stephanie Cheng, piano
SHH! IT’S A SECRET! BOULANGER D’un matin de printemps
CONCERT DETAILS TO BE ANNOUNCED (One Spring Morning) DEBUSSY Prelude to the Afternoon of a Faun RAVEL Piano Concerto in G Major DEBUSSY La Mer RAVEL Boléro
NOVEMBER 15 & 16, 2019
MOZART REQUIEM
A SPECIAL COLLABORATION NOPE. NOT GONNA TELL YOU. WITH CENTRAL CITY OPERA CONCERT DETAILS TO BE ANNOUNCED Lawrence Golan, conductor MOZART Requiem
DECEMBER 20 & 21, 2019
FEBRUARY 22, 2020
ROULETTE
Lawrence Golan, conductor MOVE ALONG. NOTHIN’ TO SEE HERE. DPO International Conducting Workshop participants CONCERT DETAILS TO BE ANNOUNCED TCHAIKOVSKY Symphony No. 6 “Pathétique” MUSSORGSKY Pictures at an Exhibition
MARCH 21, 2020
¡OLÉ!
José Miguel Rodilla, guest conductor Rebecca Mortizky, harp
REDACTED. FALLA La vida breve; Spanish Dance No. 1 CONCERT DETAILS TO BE HENSON-CONANT Soñado enANNOUNCED español GRANADOS Three Spanish Dances FALLA The Three-Cornered Hat Suite No. 2
MAY 15, 2020
BEETHOVEN CELEBRATION Lawrence Golan, conductor
HOLIDAY CHEER!
WITTRY Ode to Joy Fanfare
Lawrence Golan, conductor WOULDN’T YOU LIKE TO KNOW? Cherry Creek Dance
BEETHOVEN Symphony No. 9 CONCERT DETAILS TO BE ANNOUNCED
CONCERT DETAILS TO BE ANNOUNCED HOLIDAY FAVORITES! FEATURING SUITES FROM THE NUTCRACKER
Full repertoire available at denverphilharmonic.org
BEETHOVEN Choral Fantasy WE’VE BEEN SWORN
TO SECRECY!
Antonia Brico Stage Central Presbyterian Church 1660 Sherman Street, Denver
5
LAWRENCE GOLAN MUSIC DIRECTOR
Thank you for joining us on our heroic journey this
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.
season. We hope you
He has conducted throughout the United States and in Bulgaria,
enjoyed it and we look
Canada, China, Czech Republic, El Salvador, England, Georgia,
forward to seeing each
Germany, Italy, Mexico, Poland, Portugal, Romania, Russia, South
and every one of you
Korea, Taiwan, Ukraine, and Uzbekistan, and continues to develop
again in the fall. Victory!
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
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2018–19 SEASON
Jiaojiao Zhou’s theatrical symphonic poem Ode to Nature with Lamont Symphony Orchestra. He has recorded three CDs with the Moravian Philharmonic: “Tchaikovsky 6 & Tchaikovsky 6.1” featuring the composer’s Symphony No. 6 and the recording premiere of Tchaikovsky 6.1 by Peter Boyer (commissioned by Golan); “Funky Little Crustaceans” featuring orchestral music by composer William Hill; and “Visions, Dreams & Memories” featuring flutist James Pellerite. Other CDs include Beethoven’s Symphony No. 7 & William Hill’s Beethoven 7.1, and “Fantasia” and “Indian Summer: The Music of George Perlman,” the last two with Golan as violinist. A native of Chicago, Lawrence’s previous positions include Resident Conductor, Phoenix Symphony (2006–2010), Music Director, Phoenix Youth Symphony (2006–2009), Music Director, Colorado Youth Symphony Orchestras (2002–2006), founder and Artistic Director, Atlantic Chamber Orchestra (1998–2003), Music Director, Portland Ballet Company (1997–2013), and Music Director, Southern Main Symphony Orchestra (1990–2001). Lawrence and his wife Cecilia have two young children. www.lawrencegolan.com
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LAURENCE KAPTAIN CIMBALOM Laurence Kaptain, DMA and FRSA, is Dean, of the College of Arts & Media (CAM), and Professor of Music, Entertainment and Industry Studies, University of Colorado Denver. He brings 18 years of higher education leadership experience at leading public and private universities to this position. In his time at CU Denver, has been named to the National Advisory Board of the Strategic National Arts Alumni Project (SNAAP), the Board of the Denver School of the Arts Friends Foundation, the Board of Opera Colorado and is a voting member of The Recording Academy (the Grammy Awards). Laurence Kaptain appears regularly with major orchestras, including the New York Philharmonic, The Chamber Music Society of Lincoln Center, the Philadelphia Orchestra, the San Francisco Symphony, Pittsburgh Symphony and has recorded with the Chicago Symphony, St. Louis Symphony, St. Paul Chamber Orchestra and the Czech National Symphony. He has also appeared, collaborated or recorded with artists such as Elvis Costello, Yo-Yo Ma, Karlheinz Stockhausen, Robert Altman, Rudolf Nureyev, Suzanne Farrell, Isaac Stern, Pierre Boulez, Elliot Carter, Gil Shaham, Suzanne Farrell, Kurt Masur, Henry Mancini, Donna McKechnie, Carol Channing and others. His recording of Stravinsky works with New York’s famed Orpheus ensemble won the 2001 Grammy Award for Small Classical Ensemble. He received the first doctorate in percussion instruments at the University of Michigan, where he was a Fulbright Scholar to Mexico and received the prestigious Rackham Graduate School Pre-Doctoral Fellowship. His other degrees are from the University of Miami and Ball State University.
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2018–19 SEASON
BEHIND THE ART Each spring, we at Ligature Creative get a sneak preview of the coming DPO season in order to create the key artwork you see on the website and social media, as well as in print on posters and on the cover of this program. Working within the theme of the concert,
led troops to victory in Spain against
we create images that help tell the
Napoleon’s army. The London monument
concert’s story in DPO’s bold and contem-
features a statue of Achilles, the Greek
porary brand.
hero of the Trojan war.
We start with conversations with Music
To match the season art style, we colorized
Director Lawrence Golan and begin our
the image and illustrated an artillery-shell
own historical research to understand the
firework explosion to add energy and
context of each concert. With classical
excitement to the statue frozen in time.
playlists streaming in our studio, we craft lists of possible options for each concert’s key art.
Since leading a rebrand of the orchestra in 2013, we’re proud to be continued sponsors of the Denver Philharmonic
For the tonight’s Victory concert, the
and of tonight season’s finale. Enjoy
Napoleonic empire is certainly the through
the concert, and check out the 2019–2020
line connecting all four pieces on the
Season artwork at denverphilharmonic.org.
program. However, most of the music is in celebration of his defeat — the emperor is not this evening’s hero. So if not depictions of Napoleon, then what should the concert image be? Soldiers? Cannons? Fireworks?
Ligature Creative designs brands, publications, key art, interfaces and experiences
Our research on Beethoven’s Wellington’s
for people and organizations that do good
Victory led to the discovery of a
work. We focus on areas of education,
memorial to Arthur Wellesley, First Duke
arts & culture, community and health &
of Wellington — the very Wellington who
recreation. Connect at ligcreative.com.
9
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.
10
2018–19 SEASON
Dream it. Print it. Hi, we’re MOO! We’re online printers of amazing quality paper products – and we’re right here in Colorado! If premium print is your jam (and we sure hope it is) let’s link up! Check us out at moo.com.
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12
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.
13
OUR MUSICIANS MUSIC DIRECTOR
VIOLA
Lawrence Golan
Silvana Ferrarin, principal Natasia Boyko Naomi Croghan Lori Hanson Jessica Hitt Kaylin Jarriel Beth Remming Julie Rooney Gail Sindelair Vince Vuong
ASSOCIATE CONDUCTOR Renee Noel Gilliland
ASSISTANT CONDUCTOR Jorge Alejandro Salazar
FIRST VIOLIN Katherine Thayer, concertmaster Anna Katherine Barnett-Hart, associate concertmaster Katherine Thayer, concertmaster Melissa Barru Matthew Grove Thomas Jatko Beth Letendre Alexander Raab Emmy Reid Vanessa Vari
SECOND VIOLIN Yiran Li, principal Niccolo Werner Casewit Valerie Clausen Erica Secor Terri Gonzales Christina Goode Miki Heine Annie Laury Callista Medland Alyssa Oland Brian Ross Anne Silvas
CELLO Katie Burns, principal Naftari Burns Sarah Frederick Mike Marecak Shirley Marecak Monica Sáles Council Amanda Thall Jeffrey Westcott Rachel Yanovitch
DOUBLE BASS Lucy Bauer, acting principal Zachary Antonio Megan Gore Brazell Josh Filley Taryn Galow Kurt Henning
FLUTE Whitney Kelley, principal Catherine Ricca Lanzano Joshua Hall
Section strings and percussion are listed alphabetically 14
2018–19 SEASON
PICCOLO
TRUMPET & CORNETS
Joshua Hall
Evan King Melinda Ho Luke Finaldi Samuel Milam
OBOE Loren Meaux, acting principal Michael Sax
ENGLISH HORN
TROMBONE
Loren Meaux
Kiel Lauer, acting principal Benjamin Garcia
CLARINET
BASS TROMBONE
Kwami Barnett, principal Claude Wilbur Jessica Clark
Benjamin Garcia
E-FLAT CLARINET Jessica Clark
BASS CLARINET Claude Wilbur
BASSOON Ken Greenwald, principal Nicholas Lengyel
HORN Zach Maupin, principal Kim George Kelli Hirsch Jeanine Branting
TRUMPET Ryan Spencer, principal Ariel Van Dam
TUBA Darren DeLaup, principal
TIMPANI Steve Bulota, principal
PERCUSSION Ross Coons, principal Colin Constance Justin Elks John Garvin Derek Sawyer Jackson Stevens
HARP Rebecca Moritzky, principal
PIANO Ani Powell, principal James Wehe
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MUSICIAN MILESTONES We gratefully acknowledge and thank the following Denver Philharmonic musicians for their 10-plus years of volunteer service to the orchestra! 10+ SEASONS
20+ SEASONS
Jeanine Branting, horn Kimberly Brody, principal oboe Naftari Burns, cello Kenneth Greenwald, principal bassoon Matthew Grove, violin Kelli Hirsch, horn Beth Letendre, violin Ben Luey, viola Alyssa Oland, violin Emmy Reid, violin Katherine Thayer, concertmaster
Niccolo Werner Casewit, violin Terri Gonzales, violin Wallace Orr, trombone Claude Wilbur, clarinet
15+ SEASONS
25+ SEASONS Steve Bulota, principal timpani Roger Powell, violin
30+ SEASONS Lucy Bauer, double bass Josh Filley, double bass Thomas Jatko, violin
Valerie Clausen, violin Annie Laury, violin Loren Meaux, assistant principal oboe/ English horn Catherine Ricca Lanzano, flute Elizabeth Wall, violin
16
2018–19 SEASON
The gift of timeless elegance. Cherry Creek 2nd & University Blvd. Arvada 6770 West 52nd Ave. www.enstrom.com  17
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
HALL MANAGER Joanna Watkins
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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 Rich Casson Gil Clausen Sarah Douglas Stephanie Gillman, photographer Eleanor Glover
Nileen Hart Sarah Hogan Stan Jewell Marty Jewell Brian McGuire Karen McGuire Claire McManus Evan Meaux Michael Meaux Krista Picco Hugh Pitcher Liza Ranftle David Sherman Bridget Smith Andy Solsvig Sheila Traister
MORE THAN MUSIC PARTNERS Big Dawg Barbecue Dude Bro Taco Purple Door Coffee Repicci’s Italian Ice & Gelato The University Club of Denver Ursula Brewery
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classical | explore
Thoughtfully curated classical music to captivate the soul.
Enrich your life here.
20
2018–19 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 21
Music connects our community.
is proud to support the Denver Philharmonic. • • • • • • • • • • • • • • • • • • • •
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ligcreative.com
• • • • • • • • • • • • • • • • • • • •
2018–19 SEASON
VICTORY • MAY 17 by ELIZABETH SCHWARTZ
March héroïque Camille Saint-Saëns
(1835–1921)
Camille Saint-Saëns was devastated when he received news of the death of his friend and colleague, Henri Regnault. Regnault was primarily known as a painter who had won the prestigious Prix de Rome in 1864. Also a talented amateur singer, Regnault had performed the title role of Saint-Saëns’ Samson et Dalila in a private performance prior to the opera’s official premiere. Saint-Saëns was the first famous composer
The uplifting Marche héroïque celebrates Regnault’s life
to score a film in 1908
and accomplishments with a combination of triumphant and
starting a trend that
heartfelt passages. This seven-minute march also captures the
continues today. You’re welcome, John Williams.
nobility of the French resistance to German forces during the 1870–71 siege of Paris.
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December 10, 1871, at the Cirque d’hiver
AT A GLANCE
in Paris.
• Composer: born October 9, 1835, Paris; died December 16, 1921, Algiers
• Instrumentation: 3 flutes (one doubling piccolo), 2 oboes, English horn, 2
• Work composed: 1870-71. Dedicated “à
clarinets, bass clarinet, 2 bassoons,
la Mémoire d’Henri Regnault,” a painter
contrabassoon, 4 horns, 3 trumpets, 3
and friend of Saint-Saëns’, who died
trombones, timpani, bass drum, cymbals,
fighting in the Franco-Prussian War
triangle, organ, piano (four hands) and
• World premiere: Jules Étienne Pasdeloup conducted the orchestral premiere on
strings. • Estimated duration: 7 minutes
COMING FALL 2019
Tuesdays With Morrie Tuesdays With Morrie By JEFFREY HATCHER and MITCH ALBOM Based on the book by MITCH ALBOM Directed by BILLIE MCBRIDE
24
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2018–19 SEASON
Háry János Suite Zoltán Kodály (1882–1967) “The voice of Kodály in music is the voice of Hungary.” – Sir Arthur Bliss In 1905–06, Zoltán Kodály traveled to the far corners of Hungary collecting and recording folk music on wax cylinders. During this time, he also became acquainted with Béla Bartók. The two men shared a passion for Hungarian folk idioms, and Kodály taught Bartók his methods for collecting and preserving their country’s indigenous music. The time both men spent immersed in this “I would advise my young
ethnomusicological work also had a profound influence on their
colleagues, the compos-
own compositions; Bartók tended to write original folk-inflected
ers of symphonies, to
music, while Kodály often combined a mixture of pre-existing
drop in sometimes at the kindergarten, too. It is there that it is decided whether there will be anybody to understand their works in twenty years’ time.”
folk tunes and his own inventions. In 1926, Kodály featured this blend of original and indigenous music in his singspiel (operetta) about Háry János, a historical figure from the early 19th century. János, a foot soldier in the Austrian army’s fight against Napoleon, had a knack for embellishment, and later claimed the rank of general. After the war, János returned to his village and regaled his friends with a series of colorful tales about his “adventures.” “Day after day he sits in the tavern and recounts his incredible heroic feats,” wrote Kodály about János. “He is a true peasant, and his grotesque inventions are a touching mixture of realism and naiveté, of comedy and pathos. All the same, he is not just a Hungarian Baron Munchausen. On the surface, he may appear to be no more than an armchair hero, but in essence, he is a poet, carried away by his dreams and feelings. His tales are not true, but that is not the point. They are the fruits of his lively fantasy, which creates for himself and for others a beautiful world of dreams … We all dream of the great and impossible. Few of us master, like Háry, the courage to utter our dreams.”
25
Kodály chose six movements from the
The cimbalom returns in the Intermezzo, a
complete singspiel for the orchestral suite
verbunkos. This most popular Hungarian
he made in 1927. The Prelude, titled “The
dance is known for its offbeat accents, as
Fairy-tale Begins,” opens with a gigantic
well as contrasting slow (lassú) and fast
orchestral sneeze, indicating the fantastic
(friss) sections.
nature of what follows. The music features an expansive, heroic theme, suggestive of a 1930s film score. This ends abruptly with the chiming of
The march of the Entrance of the Emperor and His Court is appropriately gaudy, adorned with sparkle and brilliant colors that end the Suite with a dazzling flourish.
the Viennese Musical Clock and a jaunty march. For the Song, Kodály chose an existing folk melody, “Tiszán innen, Dunán túl” (This side of the Tisza), from Háry János’ birthplace, Tolna County. We first hear a solo viola, followed by several variations. The melody’s plaintive quality
AT A GLANCE • Composer: born December 16, 1882, Kecskemét, Hungary; died March 6, 1967, Budapest • Work composed: 1926-27
is enhanced by the inclusion of the cimbalom, an eastern European hammered dulcimer, in the accompaniment.
• World premiere: March 24, 1927, by the Pau Casals Orchestra in Barcelona, led by Antal Fleischer
The Battle and Defeat of Napoleon features military instruments, particularly brass
• Instrumentation: 3 flutes (all doubling
and percussion, to convey the epic conflict
piccolo), 2 oboes, 2 clarinets (1 doubling
between Napoleon’s army and that of
alto saxophone), 2 bassoons, 4 horns, 3
Holy Roman Emperor Franz II. The French
trumpets, 3 cornets, 3 trombones, tuba,
forces march to a distorted parody of “La
timpani, bass drum, celesta, chimes, cym-
Marseillaise,” and, in a revisionist version
bals, glockenspiel, tambourine, tam-tam,
of historical events, Kodály accompanies
triangle, xylophone, piano, cimbalom,
Napoleon’s “funeral” with a mournful
and strings
saxophone
26
• Estimated duration: 25 minutes
2018–19 SEASON
 27
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, May 26 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
Wellington’s Victory, Op. 91 Ludwig van Beethoven (1770–1827) The Viennese audience at the December 8, 1813 concert of music by Ludwig van Beethoven was in a celebratory mood. The performance, held at the University of Vienna and organized by Beethoven’s friend, inventor Johann Nepomuk Mälzel, was a benefit for Bavarian soldiers injured in battle against Napoleon and featured the premiere of Beethoven’s Wellington’s Victory, Op. 91, also known as the Battle Symphony. This triumphal work One of the most famous composers of all time, Ludwig van Beethoven broke the mold of the Classical-era style of music. The popularity of his music has never
commemorated Field Marshal Arthur Wellesley’s recent victory over the French at the Battle of Vitoria (Wellesley became the Duke of Wellington in 1814). Beethoven originally wrote Op. 91 for one of Mälzel’s inventions, a mechanical instrument known as the panharmonicon.
waned, influencing
Essentially a mechanized military band, a bellows powered
musicians from Billy Joel
the panharmonicon (the instruments were played by means of
to Nas and appearing in
keys attached to pins on a revolving drum, like a music box). In
such films as “Die Hard.”
addition to his score for the panharmonicon, Beethoven also arranged Op. 91 for orchestra with additional brasses and a large percussion battery. Wellington’s Victory is a quasi-literal musical interpretation of the famous battle and features several well-known melodies representing the opposing forces. It opens with a snare drum, which crescendos into a defiant trumpet declaring the British
29
readiness for battle. The orchestra launches
1813 premiere might have been surprised
into “Rule Britannia,” whereupon the
to find that it was the other main work
French, heralded by a similar snare drum/
on the program, Beethoven’s Seventh
trumpet fanfare, arrive. Beethoven skips
Symphony, which is today considered one
“The Marseillaise,” the playing of which
of Beethoven’s masterpieces.
was a treasonous act in Vienna at the time, and instead sounds the tune best known in French as “Marlborough s’en va-t-en guerre” (Marlborough has left for the war), aka “For He’s A Jolly Good Fellow.” After
AT A GLANCE • Composer: born December 16, 1770, Bonn; died March 26, 1827, Vienna
this musical posturing, Beethoven gives
• Work composed: August–October 1813.
us a full-on musical battle, complete with
Dedicated to Johann Nepomuk Mälzel.
cannon fire, and multiple ratchets providing the rat-a-tat sound of gunfire. The defeated
• World premiere: Beethoven conducted
French abandon the field to a funereally
the first performance on December 8,
slow reprise of “Marlborough.” The closing
1813, in Vienna.
victory music includes the tune “God Save the King,” which Beethoven transforms into a series of jubilant variations.
• Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 6 trumpets, 3 trombones, timpani, 2
Although Wellington’s Victory was
bass drums, cymbals, 4 ratchets, 2 snare
understandably popular in its time, today
drums, triangle, and strings
it is seldom performed and has largely faded into obscurity. The audience at the
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30
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2018–19 SEASON
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2018–19 SEASON
1812 Overture Pyotr Ilyich Tchaikovsky
(1840–1893)
Although the 1812 Overture is one of Pyotr Ilyich Tchaikovsky’s best-known compositions, he thought little of it. He wrote it for his friend and colleague Nikolai Rubenstein, director of the Moscow Conservatory, who wanted music to commemorate the consecration of the Cathedral of Christ the Savior in Moscow, built to mark the Russian victory in 1812 over Napoleon and the 25th-anniversary celebration of Alexander II Tchaikovsky was a known hypochondriac and literally thought his head was going to fall off while conducting. He went so far as to hold his head up with one hand while on the podium.
as czar. Rubenstein envisioned a grand outdoor aural spectacle for the audience, and Tchaikovsky was subsequently inspired to score the work for cannons, a military band, and church bells, in addition to the orchestra. The premiere of The Year 1812 (the formal title of the 1812 Overture) was actually held in a concert hall, minus cannons and bells. Despite the lack of firepower, it was an immediate success and has since become a summer staple of orchestras and a perennial audience favorite. Throughout the 1812 Overture, Tchaikovsky interjects fragments of the French national anthem “La Marseillaise” to represent Napoleon. Tchaikovsky also quotes the Russian national anthem, “God Save the Czar;” a hymn from the Russian Orthodox Church, “God Save Thy People,” and fragments of a Russian folk song in the opening theme. These musical quotations symbolize the heart and soul of the Russian people. Regarding the 1812 Overture, Tchaikovsky complained to his patron Nadezhda von Meck, “The ‘Overture’ will be very loud
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and noisy, but I wrote it without any warm feelings of love and so it will probably be of no artistic worth.” While critics have argued over the years about the “artistic worth” of Tchaikovsky’s music, audiences have remained his staunchest supporters,
AT A GLANCE • Composer: born May 7, 1840, KamskoVotinsk, Viatka province, Russia; died November 6, 1893, St. Petersburg • Work composed: 1880
and his music is consistently among the most requested and performed by symphony orchestras around the world.
• World premiere: Nikolai Rubenstein led the Moscow Conservatory on August 20, 1882, in Moscow
The enduring popularity of the 1812 Overture has never diminished, thanks in part to the advent of recording technology.
• Instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 2
In 1958 conductor Antal Doráti and the
bassoons, 4 horns, 2 cornets, 2 trumpets,
Minneapolis Symphony (now the Minnesota
3 trombones, tuba, timpani, bass drum,
Orchestra) made the first high-fidelity
bells, cannon, chimes, cymbals, snare
recording of the 1812 Overture for the
drum, tambourine, triangle, and strings
Mercury “Living Presence” label. This innovative recording includes separate tracks for the cannons and church bells, as well as
• Estimated duration: 15 minutes
a voice-over narration, which explained the
ABOUT THE AUTHOR
new recording technique. The recording
Elizabeth Schwartz is a freelance writer,
also features a 1775 bronze cannon used in
musician, and music historian based
the Napoleonic wars.
in Portland. She provides notes for
Staging this work presents unusual chal-
around the world, including the Oregon
lenges because of the inclusion of cannons in the finale. The timing of the cannon bursts is crucial, as Tchaikovsky indicated in his score that they were to sound on specific beats. Determining the length of the fuse and lighting it at the precise moment to fire on cue requires an expert.
ensembles across the United States and Symphony and Chamber Music Northwest. Elizabeth has also contributed to the nationally syndicated radio program “Performance Today,” produced by American Public Media. Elizabeth also writes artist profiles, program previews, and other features for InSymphony Magazine and other publications. © 2019 Elizabeth Schwartz
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2018–19 SEASON
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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 Patricia Aronstein
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Kira van Lil & Christoph Heinrich 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 Community 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 Lauren O’Neill Crist-Fulk Ann Schock Edward Smith Merriam Spurgeon James Stegman Cori & Tyler Streetman 2018–19 SEASON
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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PLEASE DON’T STOP THE MUSIC. 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
AmazonSmile is a website operated by
packages specifically tailored to meet your
Amazon with the same products, prices,
company’s philanthropic, marketing and
and shopping features as Amazon.com.
entertainment initiatives.
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
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
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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. 42
2018–19 SEASON
FLORAL & DÉCOR 5301 Leetsdale Drive • Denver, CO 80246 303-322-0443 www.newberrybrothers.com
Food Truck Tailgate, Russ-Keys, May 2018; Photo by Stephanie Gillman
SAVE THIS SEAT
I’M ENJOYING MORE THAN MUSIC!
WAR ROOM
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 Victory.
FOOD TRUCK TAILGATE
I declare WAR! Battle a friend with our War card-game tournament, or test your sea legs with Table Battleship.
After the concert, join us for a drink just across the street at The University Club.
NIGHTCAP
Say hello! Join us in the lobby after the concert for refreshments, meet the musicians and have fun!
RECEPTION
During the night, we live-tweet pics and tidbits. Follow, share and interact on Twitter. @denverphilorch #dpotweets
#DPOTWEETS
Grab a quick bite from Big Dawg Barbecue, Dude Bro Taco, and Repicci’s Italian Ice & Gelato food
trucks at our signature tailgate.
WINE & CRAFT BEER
Clink a glass from Ursula Brewery! Cheers! (21+)
PRE-CONCERT CHAT 6:30–7:00PM
Associate Conductor Renee Noel Gilliland will give you insights into tonight’s music and music-makers.
COFFEE CORNER
Complimentary of Purple Door Coffee.