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T H E S I X T Y- S I X T H S E A S O N OCTOBER 4 NOVEMBER 15 DECEMBER 20 FEBRUARY 14 APRIL 4 M AY 2 2 2013–14

DECEMBER 20

NOELS & NEW YEAR

Adam Flatt, guest conductor Marcia Ragonetti, mezzo-soprano Bryan Scafuri, cello Rimsky-Korsakov: Suite from The Snow Maiden Prokofiev: “Tröika” from Lieutenant Kijé Kuzma: “Against the Winter Wind” Handel: Messiah “But who may abide the day of his coming?” Hayen: Maltese Winter Holiday favorites and sing-alongs!


201 GarďŹ eld Street | Denver, CO 80206 | 303.322.0443 www.facebook.com/newberrybros

www.newberrybrothers.com


WELCOME! With our 2013–14 Season, we celebrate 66 years of providing high-quality symphonic concerts and outreach. Our orchestra was founded in 1948 as the

performed for eleven seasons, followed by

Denver Businessmen’s Orchestra by Dr.

a season under Interim Director Kirk Smith.

Antonia Brico, the first woman to conduct the Berlin Philharmonic, the New York

In 1999 Dr. Horst Buchholz, Professor of

Philharmonic and several other major

Music at the University of Denver and an

orchestras. The two major issues driving

acclaimed musician and conductor, was

establishment of the orchestra were a

selected as the orchestra’s new music

need for affordable classical music con-

director. This began a period of growth

certs in the Denver area and the need for

and success that continues today. To more

an organization that would nurture, devel-

accurately reflect our Denver roots, the

op and showcase the talents of classically

Centennial Philharmonic was renamed the

trained musicians, many of whom had

Denver Philharmonic Orchestra in 2004.

relocated to Denver following World War

Horst remained music director/conductor

II. The orchestra quickly became known

through the 2008–09 Season, after which

for its ambitious collaborations and per-

he was appointed the orchestra’s first con-

formances. In 1968, to honor its founder,

ductor laureate.

the name of the orchestra was changed to the Brico Symphony, and the tradition of

Adam Flatt was appointed the orchestra’s

musical excellence and community service

fourth music director/conductor in June

continued.

2010. Adam’s dynamic and inspiring leadership over the next three years

Following Antonia’s retirement in 1986,

further increased the artistic quality of the

the orchestra selected Julius Glaihengauz

orchestra.

as its second music director. Julius was a talented Russian immigrant who

In spring of 2013, award-winning conduc-

recently graduated from the Tchaikovsky

tor Dr. Lawrence Golan was selected as our

Conservatory. Under his new leadership,

orchestra’s fifth music director. Lawrence

the name of the orchestra was changed

first led the DPO as a guest conductor in

to the Centennial Philharmonic and

November 2009.

NEW BEGINNINGS  3


FRIDAY, DECEMBER 20, 2013 NOELS & NEW YEAR KPOF Concert Hall · Denver, Colorado · 7:30 pm

Adam Flatt, guest conductor Marcia Ragonetti*, mezzo-soprano Bryan Scafuri†, cello

Leroy Anderson

A Christmas Festival

(1908 – 1975)

Nikolai Rimsky-Korsakov Suite from The Snow Maiden (1844 – 1908) Prelude Dance of the Birds Dance of the Buffoons Sergei Prokofiev

“Tröika” from Lieutenant Kijé

(1891 – 1953)

John Kuzma (1946 –   )

“Against the Winter Wind”† A world premiere performance!

George Frideric Handel from Messiah* (1685 – 1759) No. 6 But who may abide the day of his coming?

∙ 15-MINUTE INTERMISSION ∙

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Leroy Anderson

Sleigh Ride

(1908 – 1975)

With special guest conductors!

Arr. by

Calvin Custer

Winter Wonderland

Todd Hayen

Maltese Winter

Johann Strauss II

Champagne Polka

(1825 – 1899)

Georges Bizet

Farandole from “L’Arlésienne”

(1838 – 1875)

Mel Torme & Robert Wells The Christmas Song* Arr. by James Stephenson (Torme 1925 – 1999) ∙ (Wells 1922 – 1998) ∙ (Stephenson 1969 –   )

Gene Scheer

Christmas Once More*

(1958 –   ) Arr. by

James Stephenson A Holly and Jolly Sing Along*

Arr. by

Sing along with us! Lyrics begin on page 28.

James Stephenson I Saw Three Ships/Bring a Torch*

MEET THE MUSICIANS!

Join us for a bake-sale reception on the lower level after the concert.

NEW BEGINNINGS  5


2

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013 –1 4 OCTOBER 4

FEBRUARY 14

Lawrence Golan, conductor Daniel Morris, bass trombone Boyer: New Beginnings Brubeck: Concerto for Bass Trombone and Orchestra Dvorak: Symphony No. 9 “New World”

Lawrence Golan, conductor Linda Wang, violin Tchaikovsky: Sleeping Beauty Suite Chen and He: The Butterfly Lovers Violin Concerto Prokofiev: Romeo and Juliet Suite No. 2

NEW BEGINNINGS

NOVEMBER 15

INAUSPICIOUS BEGINNINGS Lawrence Golan, conductor James Buswell, violin Beethoven: Fidelio Overture Barber: Violin Concerto Tchaikovsky: Symphony No. 5 in E Minor

DECEMBER 20

NOELS & NEW YEAR

Adam Flatt, guest conductor Marcia Ragonetti, mezzo-soprano Rimsky-Korsakov: Suite from The Snow Maiden Prokofiev: “Tröika” from Lieutenant Kijé Kuzma: “Against the Winter Wind” — World premiere performance Handel: Messiah “But who may abide the day of his coming?” Hayen: Maltese Winter Holiday favorites and sing-alongs!

YOUNG LOVE

APRIL 4

NEW FORMATIONS & MYSTERIOUS MOUNTAINS

Lawrence Golan, conductor Joshua Sawicki, piano Mussorgsky/Rimsky-Korsakov: Night on Bald Mountain d’Indy: Symphony on a French Mountain Air Hovhaness: Mysterious Mountain; Symphony No. 2 Nytch: Symphony No. 1: Formations — Denver premiere performance, co-commissioned by the DPO

MAY 22

NEW FRONTIERS

Lawrence Golan, conductor Daugherty: Krypton Hovhaness: Celestial Fantasy Holst: The Planets

Concerts begin at 7:30 pm at KPOF Hall, 1340 Sherman Street, Denver, CO 80203

NEW BEGINNINGS  7


OUR MUSICIANS MUSIC DIRECTOR Lawrence Golan

ASSOCIATE CONDUCTOR Kornel Thomas

GUEST CONDUCTOR Adam Flatt

FIRST VIOLIN

Katherine Thayer, concertmaster Patsy Aronstein Matthew Grove Thomas Jatko Nasiha Khalil Tenley Mueller Emmy Reid Beth Schoening Vanessa Vari Elizabeth Wall

SECOND VIOLIN

Loribeth Gregory, acting principal Melissa Barru Niccolo Werner Casewit Pauline Dallenbach Terri Gonzales Miki Heine Annie Laury Callista Medland Alyssa Oland Roger Powell Albert Ting

VIOLA

William Hinkie, III, principal Lori Hanson Lindsay Hayes * Ben Luey Elizabeth O’Brien Maura Sullivan *

CELLO

Bryan Scafuri, principal Rebecca Coy Linda Lebsack Ausra Mollerud Annastasia Psitos Monica Sáles Mark Stanton Andreas Werle Rachel Yanovitch Tara Yoder

BASS

Mark Stefaniw, principal Lucy Bauer Josh Filley Joey Pearlman Taryn Galow

FLUTE

Catherine Ricca Lanzano, acting principal Starla Doyal Whitney Kelley

PICCOLO Whitney Kelley

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OBOE

TROMBONE

ENGLISH HORN

BASS TROMBONE

Michael Vigliotti *

Daniel Morris

CLARINET

TUBA

Loren Meaux, acting principal Chloe Veltman *

Brooke Hengst, acting principal Claude Wilbur

Bryan Gannon, principal Wallace Orr

Darren DeLaup

TIMPANI

BASS CLARINET

Steve Bulota, principal

Claude Wilbur

PERCUSSION

BASSOON

Susie Carroll Colin Constance Chris Lundberg * Kevin Matthews *

Ken Greenwald, principal Nicholas Lengyel

FRENCH HORN David Wallace, principal Mark Denekas Jeanine Wallace Kelli Hirsch Mary Brauer

SAXOPHONE

TRUMPET

PIANO/KEYBOARD

Arthur Bouton *

HARP Rebecca Moritzky *

Ryan Spencer, principal Randy Runyan Tyler Van Dam Joe Smith *

Margo Hanschke *

* guest performers

NEW BEGINNINGS  9


DR. LAWRENCE GOLAN MUSIC DIRECTOR, CONDUCTOR The 2013–14 Season marks the beginning of Lawrence Golan’s tenure as music director of the Denver Philharmonic Orchestra. It is also his first year as principal conductor of the Seoul Philharmonic in South Korea. He continues as music director of the Yakima Symphony Orchestra in Washington State and the Lamont Symphony Orchestra & Opera Theatre at the University of Denver. Lawrence has garnered considerable international recognition for his work as a conductor. He has won nine ASCAP Awards, five Global Music Awards, three American Prize awards, three Downbeat Magazine Awards, and two Prestige Music Awards. Lawrence’s appointment in Yakima came on the heels of a very successful four-year term as Resident Conductor of The Phoenix Symphony. In 2012, Lawrence was named the Grand Prize Winner of The American Prize for Orchestral Programming. Several of the concerts that Lawrence programmed, conducted, and narrated with The Phoenix Symphony turned out to be the most financially successful and well-attended performances in the history of the orchestra, completely selling out triple concert sets in a 2200-seat hall. Lawrence continues to guest conduct professional orchestras, opera, and ballet companies in the United States and around the world. Having conducted in 25 states and 16 countries, recent engagements include performances in Boulder, Macon, Memphis, and Tucson as well as the Czech Republic, Italy, Korea, Taiwan, and a three-week tour of China with the American Festival Orchestra.

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A native of Chicago, Lawrence holds degrees in both conducting and violin performance from Indiana University’s Jacobs School of Music (B.M. and M.M.) and the New England Conservatory of Music (D.M.A.). In addition, he studied at all of the major conducting festivals including Aspen and Tanglewood, where in 1999 he was awarded the Leonard Bernstein Conducting Fellowship. Following in the footsteps of his father Joseph Golan, longtime Principal Second Violinist of the Chicago Symphony Orchestra, Lawrence was Concertmaster of the Portland Symphony Orchestra for 11 years and has appeared as a soloist with numerous orchestras, including the Chicago Symphony. Lawrence has made several critically acclaimed recordings, both as a conductor and a violinist. He has also been published as a writer, composer, editor and arranger. Lawrence and his wife Cecilia have been married since 2003. They have two wonderful children, Giovanna and Joseph. For more information, please visit LawrenceGolan.com or WilliamReinert.com.

NEW BEGINNINGS  11


ADAM FLATT GUEST CONDUCTOR Tonight marks Adam’s first return to the DPO since his tenure as music director from 2010–13. He made his debut as guest conductor with the Denver Philharmonic in 2009 with music by Schubert, Shostakovich and Brahms. This concert is called Noels & New Year. For me, it might as well

Adam is a presence on the musical stages of three different regions of the United States. He serves as music director of

also bear the title ‘Home

the Tuscaloosa Symphony in Alabama and of the Newport

for the Holidays.’

Symphony on the Oregon Coast. And here in Denver, he’s music director of the Colorado Ballet. He has been part of Colorado’s musical life since 2001 when Marin Alsop invited him to join the Colorado Symphony as associate conductor. During his five-year tenure, he conducted over 250 performances with the orchestra. From 2001–07, he served as music director of the Denver Young Artists Orchestra, leading the orchestra in acclaimed concerts at home and on tours to central Europe and South America. Adam has guest-conducted orchestras and led performances with major ballet and opera companies across the U.S. He has his bachelor’s degree with honors in music from the University of California at Berkeley and his master’s degree in conducting from the Indiana University School of Music. Read more online at www.adamflatt.com.

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MARCIA RAGONETTI MEZZO-SOPRANO Marcia is recognized as one of the Rocky Mountain region’s most celebrated singing actresses, hailed by critics as a “perfectly splendid mezzo.” She has been associated with Opera Colorado since its inception After 30 years of

in 1982, having performed over 20 leading and featured roles

myriad Colorado stage

including the gala inauguration of the Ellie Caulkins Opera

appearances, I’m thrilled to collaborate with the DPO for the

House, followed by its acclaimed production of Carmen. She has also frequently appeared with Central City Opera,

very first time… and

Colorado Symphony Orchestra, Colorado Springs Philharmonic,

hope to return soon!

San  Antonio and Utah Symphonies, and in summer festivals in Vail, Chautauqua-Boulder and Crested Butte. Last year she portrayed Maria Callas in the virtuoso speaking role in Terrence McNally’s Master Class, for which she earned a “Best Diva 2012” award from Westword and a Denver “Henry” nomination for “Best Actress in a Play.” Last season she sang Desiree in A Little Night Music with Opera Theatre of the Rockies, Katisha in The Mikado with the University of Wyoming, and in August 2013, Augusta Tabor in The Ballad of Baby Doe with Opera Fort Collins. She was most recently seen with Opera Colorado as Gertrude in Romeo et Juliette. She is a Phi Beta Kappa graduate of Cornell University with degrees in English literature and psycholinguistics.

NEW BEGINNINGS  13


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JOHN KUZMA COMPOSER, “AGAINST THE WINTER WIND” John learned music reading and beginning keyboard skills on his own, using a reed organ. He began writing simple keyboard pieces early on, along with arrangements, church pieces and the like. He studied at the Cincinnati Conservatory of Music, Eastman School of Music, the University of Copenhagen (Fulbright scholar) and the University of Illinois. John has written scores for the Colorado Symphony Orchestra, the Denver Brass, Colorado Children’s Chorale, and last December, he wrote “Noels for Harp & Orchestra” for the Denver Philharmonic Orchestra. In 1993, he composed and arranged music for Pope John Paul  II’s Denver visit at World Youth Day. His cantata “A Balm in Gilead” was performed at Carnegie Hall in 2002, and John’s commissioned composition “Circles of O” was performed at the 2008 Democratic National Convention in collaboration with noted installation artist Ann Hamilton. In collaboration with librettist Thomas H. Troeger, John completed a fulllength opera, An Island of Sand. He was a 1999 Colorado Council on the Arts Music Composition Fellow and has been Minister of Music at Denver’s Montview Presbyterian Church since 1987. John lives in Denver with his wife, Bess.

NEW BEGINNINGS  15


KORNEL THOMAS ASSOCIATE CONDUCTOR Kornel was born in Pittsburgh and grew up in Budapest where he began his musical education studying the violin, piano and composition. Join me at 6:45 pm for a pre-concert chat prior to each of our three remaining

He majored in composition at the St. Stephen King Music Conservatory and High School. He holds a master’s degree in orchestral conducting from the University of Music and Performing Arts Vienna.

concerts of the season. Get insight into the

For the past three summers, Kornel has attended the presti-

music and music-makers

gious Pierre Monteux School for Conductors and Orchestral

you’ll hear during the

Musicians with the Quimby Family Foundation Scholarship. In

performances.

2013, he was a semi-finalist at the Sao Luiz Teatro Municipal and the Orquestra Metropolitana de Lisboa Young Conductors Competition, and he had his debut in the Vienna Musikverein with the ORF Radio Symphony Orchestra Vienna in 2012. Kornel was selected as music director for the 2010 Opera Project of the Media Composers from the University of Music and Performing Arts Vienna. From 2004–06, he served as assistant conductor of the St. Stephen King Youth Symphony Orchestra. And in 2006, Kornel won second prize at the Bela Bartok Hungarian National Competition in Composition. In addition to the DPO, Kornel is also the assistant conductor and orchestral manager of the Lamont Symphony Orchestra and Opera Theater in Denver. He lives in Denver where he is also pursuing an Artistic Diploma in Orchestral Conducting.

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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, December 29 for an encore of tonight’s Denver Philharmonic performance! Our Board of Directors gratefully acknowledges the vital contributions made by the Pillar of Fire Ministries / KPOF 910 AM to our orchestra and Denver’s classical music community. Over the past five decades, the Pillar of Fire Church has generously accommodated our orchestra rehearsals and many performances. Since 1963, Dr. Robert B. Dallenbach, and more recently his son, Joel Dallenbach, have meticulously recorded and broadcast all of the orchestra’s concerts.

NEW BEGINNINGS  17


OUR ADMIN VOLUN EXECUTIVE DIRECTOR Valerie Clausen

BOARD OF DIRECTORS

PRESIDENT  Jon Olafson VICE-PRESIDENT  Eleanor Glover SECRETARY  Maureen Keil TREASURER  Allison Lausten Pauline Dallenbach, Honorary Member Robert Dallenbach Amanda Hand Linda Lebsack Russell Klein Tenley Oldak Roger Powell

DENVER PHILHARMONIC FOUNDATION BOARD

BACKSTAGE COORDINATORS Doug Gragg Anna Schultz Jän Schultz

BOX OFFICE/ TICKET SALES Gil Clausen Carla Cody Amanda Hand Annie Laury Jon Olafson Anna Schultz

CONCERT NOTES Dr. Suzanne Moulton-Gertig

Michael P. Barry Keith Fisher Allison Lausten Roger Powell

CONCERT RECORDING

CONDUCTOR LAUREATE

Ligature Creative Group, design Walker Burns, editing Elizabeth Wall, editing

Joel Dallenbach

CONCERT PROGRAM

Dr. Horst Buchholz

FUNDRAISING Gil Clausen Eleanor Glover Allison Lausten Jon Olafson

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TEERS LIBRARIAN

PUBLICITY

Callista Medland Alyssa Oland, assistant

Niccolo Casewit Dr. Robert Dallenbach Eleanor Glover Amanda Hand Matt Meier Jeff Paul David Sherman

ORCHESTRA ROSTER Annie Laury

OUTREACH Lok Jacobi Maureen Keil Linda Lebsack Katherine Thayer

USHERS & RECEPTION COORDINATORS

PARKING ADVISOR Hugh Pitcher Doug Gragg

PERSONNEL MANAGER Roger Powell Annie Laury, assistant

Gil Clausen Lok Jacobi Allison Lausten Roger Powell Robert Schoenrock

WEBMASTER Ligature Creative Group Nick Croope

PRE-CONCERT SLIDES Gil Clausen Ligature Creative Group

VOLUNTEERING OPPORTUNITIES Our orchestra is run by volunteers, with no paid administrative staff. We would greatly appreciate help from more volunteers in the areas of publicity, fundraising, concert production, receptions, personnel, and outreach. If you would like to participate in any of these activities, please contact Executive Director Valerie Clausen at 303.653.2407 or email at vclausen@denverphilharmonic.org.

NEW BEGINNINGS  19


THANK YOU, ROGER! After 21 seasons with the DPO, second violinist Roger Powell is taking a well-earned sabbatical from the orchestra after this concert. The board and musicians of the DPO wish to thank him for his long and extraordinary service to our orchestra. Along with his duties as a musician, Roger has devoted countless hours (and many a sleepless night!) volunteering his time behind the scenes, both in leadership and administrative roles. He has truly been the glue that holds our orchestra together and played a big role in laying the groundwork needed to bring the orchestra to the level it is today. Roger has served on the Board of the

Roger has served 21 seasons with us, both playing as a violinist and volunteering behind the scenes. (Photo by Jamie Cotten).

DPO for 15 years, five of them as president. He’s had a hand in every facet of

parking coordinator, usher and receptions

our organization and has worked tirelessly

coordinator, website administrator, per-

to help ensure our orchestra runs smooth-

sonnel manager and all around go-to guy.

ly. His contributions have included: head backstage coordinator, concert program

Thank you Roger, you are a true gem!

and concert ticket designer, fundraising,

We will miss you.

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DECEMBER 20 ∙ NOELS & NEW YEAR by DR. SUZANNE MOULTON-GERTIG

Suite from The Snow Maiden (Snegurochka) Nikolai Rimsky-Korsakov  (1844–1908) Rimsky-Korsakov’s suite from The Snow Maiden comes from the opera he composed by the same name during 1880–81. The opera is based on a play by Alexander Ostrovsky who fashioned his stage work on a Russian folktale of ancient paganism. Fascinated by the story, Rimsky-Korsakov began work on the opera in the summer of 1880 and it had its première in February of 1882 in St. Petersburg. The opera tells of the Snow Maiden who

endowed on that side of her “fairy DNA”

is safe from the power of her father’s

with nearly mortal characteristics. With a

enemy, the Sun-God Yarilo, so long as

choice now, she decides to live a mortal

she never succumbs to the power of love.

life and falls in love with a merchant.

As the daughter of the cold Winter Fairy,

Disaster follows, as she falls victim to the

this constitutes no peril. As her mother is

sun and her lover subsequently commits

the warmer Spring Fairy, however, she is

suicide.

NEW BEGINNINGS  21


Rimsky-Korsakov fashioned a four section

female chorus, solo soprano and orchestra

suite from the opera, which is played

(but rarely performed that way in most

more often today than the original opera

concert performances). The performance

is staged. This evening, the orchestra will

this evening ends with the fourth section,

perform three of the four sections. The first

the most familiar section of the suite, the

is the “Prelude”, an atmospheric introduc-

“Dance of the Buffoons” (also known as

tion replete with abundant bird songs. Bird

the “Dance of the Tumblers” — in Russian,

songs continue as a major theme during

skomorokhi — troupes of outdoor enter-

the second section, “Dance of the Birds”,

tainers), a real orchestral showpiece that

which is a song originally orchestrated for

bursts with energy and excitement.

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“Tröika” from Lieutenant Kijé, Op. 60 Sergei Prokofiev  (1891–1953) Following his return to Russia after a 15-year absence, Prokofiev composed some of his most engaging and attractive works. During those early years following his return, he composed his second violin concerto, the ballet Romeo and Juliet, and the children’s favorite, Peter and the Wolf. The first composition that he composed, however, was the film music to Lieutenant Kijé. The plot of the film is based on a misinter-

As he would with his music for the film

pretation of a phrase from a military report

Alexander Nevsky, Prokofiev set some of

received by Tsar Nicholas I who thinks

the Kijé film score for performance in the

that it pertains to the bravery of a certain

concert hall. In the case of Lieutenant Kijé,

lieutenant he believes is named Lieutenant

he constructed a concert suite. Performed

Kijé. Realizing the mistake, but anxious not

this evening, the “Tröika” is the fourth sec-

to embarrass their tsar, his officers begin

tion of the five-movement suite. Following

to invent exploits of the “brave Kijé” to

the section, “Kijé’s Wedding”, the “Tröika”

report to him. No deception can go on

depicts the couple riding off in that three-

forever, so eventually they also are forced

horse sleigh. A tavern song is sung to the

to fabricate Kijé’s death.

couple by the Tröika driver, accompanied by sleigh bells and a cracking whip.

NEW BEGINNINGS  23


“Against the Winter Wind” John Kuzma  (1946 –   ) “Against the Winter Wind” a “Lullaby for Cello & Orchestra” was written at maestro Adam Flatt’s request for tonight’s concert. It is a song without words that uses a simple harmonic language of juxtaposed hexachords after the manner of modal compositions — “dissonance as texture” as I call it. The cello “voice” part has the main

With tears He fights, and wins the field,

melody punctuated by conversational

His naked breast stands for a shield.

writing in repeated notes imitative of

All hell doth at His presence quake,

human speech. At the tactical level, this

Though He himself for cold do shake.

music holds up the struggle of the Christ

And in this weak unarmed wise,

child standing alone against the forces

The gates of hell He will surprise.

that would defeat the good. Excerpts from the famous poem “This Little Babe”

This little babe, a few days old

by Robert Southwell (1561–1595), helped

Has come to rifle Satan’s fold.

inspire the mood of the music.

If thou would foil thy foes with joy, Then flit not from this heav’nly boy. — John Kuzma, December 2013

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NEW BEGINNINGS  25


“But who may abide the day of his coming?” from Messiah George Frideric Handel  (1685–1759) Set by Handel as a counter tenor aria, “But who shall abide…” is found in Part 1, the Christmas portion of the Messiah, as the sixth section, just before the familiar chorus, “And He shall purify.” The text is identified as coming from the

the basso continuo. The second section, in

Book of Malachi, written by that prophet

common time (4/4), reveals why the ques-

sometime between 440 and 400 BCE. It

tions cannot be answered. It is noteworthy

appears at the beginning of the book and

for its scoring: prestissimo strings which

prophesizes salvation and the appearance

underscore the agile, yet compelling vocal

of a Savior.

solo who sings the text, “for he is like a refiner’s fire…” Then, the beginning ques-

The music itself is divided into very dis-

tions are posed once more in the same 3/8

tinctive and contrasting sections. In the

meter as in the opening, to be answered

first, questions are proffered in the gentle

in the final section again in 4/4 with its

flowing Larghetto 3/8 meter in a duet with

accompanying text.

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Farandole from “L’arlésienne” Georges Bizet  (1838 – 1875) Yet another work that had its naissance in another musical genre, the two “L’arlésienne” suites come from the incidental music that Bizet composed for Alphonse Daudet’s play of the same title in 1872. Sadly, Daudet’s play received poor

Performed this evening is the last of the

reviews at its première, but Bizet was

four sections from the second suite, the

able to rescue part of his brilliant musical

“Farandole.” It begins with the motif

work on the project by creating a four

that Bizet used to open his first suite, the

movement suite for orchestra known

Provençal Christmas song, “March of the

today as “L’arlésienne Suite No. 1.” Four

Kings.” Following that, a new melody, a

years following Bizet’s death in 1875,

“farandole” (a Provençal dance), is intro-

his friend Ernest Guiraud, constructed

duced. The two melodies alternate and

a second suite from Bizet’s original

subsequently are combined at the end to

incidental music.

bring the movement, as well as the suite, to a dazzling close.

NEW BEGINNINGS  27


SING ALONG! DECK THE HALLS Deck the halls with boughs of holly,

See the blazing yule before us,

Fa la la la la la la la la.

Fa la la la la la la la la.

’Tis the season to be jolly,

Strike the harp and join the chorus.

Fa la la la la la la la la.

Fa la la la la la la la la.

Don we now our gay apparel

Follow me in merry measure,

Fa la la la la la la la la.

Fa la la la la la la la la.

Troll the ancient Yule tide carol,

While I tell of Christmas treasure,

Fa la la la la la la la la.

Fa la la la la la la la la.

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JINGLE BELLS Dashing through the snow

Jingle bells, jingle bells

In a one horse open sleigh

Jingle all the way!

O’er the fields we go

Oh what fun it is to ride

Laughing all the way.

In a one horse open sleigh!

Bells on bobtail ring Making spirits bright.

Jingle bells, jingle bells

What fun it is to laugh and sing

Jingle all the way!

A sleighing song tonight! Oh!

Oh what fun it is to ride

Jingle bells, jingle bells

In a one horse open sleigh!

Jingle all the way!

Jingle bells, jingle bells

Oh what fun

Jingle all the way!

it is to ride

Oh what fun it is to ride

In a one horse open sleigh!

In a one horse open sleigh!

Learn more about upcoming events from local, community-based organizations at thescen3.org! The Scen3 features the events and performances of SCFD-funded Tier III organizations.

NEW BEGINNINGS  29


THE HOLLY AND THE IVY

He was made of snow but the children know

The holly and the ivy, when they are both

How he came to life one day

well grown, Of all the trees that are in the wood, the

There must have been some magic

holly bears the crown.

In that old silk hat they found, For when they placed it on his head

O, the rising of the sun and the running of

He began to dance around

the deer, The playing of the merry organ, sweet

Oh, Frosty the snowman

singing in the choir.

Had to hurry on his way But he waved goodbye saying,

FROSTY THE SNOWMAN

“Don’t you cry, I’ll be back again some day.”

Frosty the snowman Was a jolly happy soul,

Thumpety thump thump

With a corncob pipe and a button nose

Thumpety thump thump

And two eyes made out of coal

Look at frosty go Thumpety thump thump

Frosty the snowman

Thumpety thump thump

is a fairy tale, they say

Over the hills of snow.

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NEW BEGINNINGS  31


RUDOLPH Rudolph the Red-Nosed Reindeer

WE WISH YOU A MERRY CHRISTMAS

Had a very shiny nose,

We wish you a Merry Christmas

And if you ever saw it,

We wish you a Merry Christmas

You would even say it glows.

We wish you a Merry Christmas and a Happy New Year.

All of the other reindeer Used to laugh and call him names;

Good tidings we bring to you and your kin,

They never let poor Rudolph

Good tidings for Christmas and a Happy

Join in any reindeer games.

New Year.

Then one foggy Christmas Eve, Santa came to say,

We wish you a Merry Christmas

Rudolph with your nose so bright,

We wish you a Merry Christmas

Won’t you guide my sleigh tonight?

We wish you a Merry Christmas and a Happy New Year.

Then all the reindeer loved him As they shouted out with glee, Rudolph the Red-Nosed Reindeer, You’ll go down in history.

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NEW BEGINNINGS  33


TWEET YOUR HEART OUT CLASSICAL MUSIC, MEET THE 21ST CENTURY During the concert, we live-tweet photos, facts and tidbits about the music you’re listening to. Follow along, share and interact with us and other concert-goers on Twitter.

A FEW RULES • PHONES ON — SOUND OFF! We know you want to participate, but let’s leave the music to the pros • ALL THUMBS Tweet tweet tweet all the

night through, but remember, no talking during the concert

• Add the hashtag #DPOtweets to your

posts so your neighbors can follow along • You don’t need a Twitter account to read our tweets (just visit twitter.com/ DenverPhilOrch), but if you’d like to

tweet along with us, you need an account • “PG” tweets only — C’mon, we’ve got kids here

#DPOTweets @DenverPhilOrch 34

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NEW BEGINNINGS  35


CONCERT ETIQUET If you are attending your first classical music concert, below are some frequently asked questions to help make your experience more enjoyable.

BE COMFORTABLE

APPLAUSE 101

There’s no dress code. From jeans to

Many concertgoers are confused about

suits, you’ll see it all! Wear what you’d

when to clap during an orchestra’s perfor-

like — you’ll fit in. We love you just the

mance. Before the mid-19th century, au-

way you are.

diences would routinely applaud between

COUGHING

movements to show their joy for the music they just heard. Around the mid-19th

Ahem… Try to ‘bury’ your cough in a loud

century, it became tradition in Germany

passage of music. If you can’t, or you

for audiences to wait until the end of the

begin to cough a lot, don’t worry — it’s

piece to clap, sitting silently between

perfectly acceptable and appropriate to

movements. That tradition spread and is

quietly exit the concert hall. Remember to

now commonly accepted and taught.

unwrap cough drops before the concert so

At the DPO, we welcome both traditions.

you don’t create crackling noises.

If you prefer to wait for the end of a piece, that is fine. If you want to respectfully

CRY ROOM Child feelin’ fidgety? We have a designated cry room at the back of the hall on the right side of the lower level (as you enter the hall). The room is marked with a sign.

36

show your appreciation between movements, we welcome that too. Regardless, we want you to feel comfortable and focus on the performance, not confusing applause rules!

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TE ELECTRONICS

SOCIAL MEDIA

Please turn the sound off on your cell

Feel free to tweet, post to Facebook or

phones, pagers, and any other noise-

take photos without flash. Upload your

making device, including vibrate mode.

pics and comments online — and be sure to tag us! @denverphilorch #dpotweets

We’re into connections. LigCreative.com

NEW BEGINNINGS  37


ORCHESTRA SPOTLIGHT Who are the hard-working men and women behind those music stands? Get to know your orchestra! Each concert, we spotlight a few of our talented musicians here in the program. Tonight, meet Kelli, Annie and Roger—

KELLI HIRSCH

plays an occasional musical and special

FRENCH HORN

music for various churches and ladies clubs

SIXTH DPO SEASON. Kelli received her

throughout the Denver area. Outside of

Bachelor of Music from Hastings College

her music life, Annie is the director of

in Nebraska. She’s been playing the French

regulatory affairs for a manufacturer of

horn for more than 20 years, is a member

Veterinary Biologicals. The rest of her time

of the Gossamer Wind Quintet and plays

is filled up with children’s choir, golf and the

the piano. Kelli is a fundraiser for the Dumb

occasional softball game.

Friends League. Outside of work and the DPO, Kelli spends as much time as possi-

ROGER POWELL

ble with her two beautiful young daughters

VIOLIN

and husband. They listen to a lot of music

TWENTY-FIRST DPO SEASON. Roger

together, read books and take lots of walks

has been playing violin for 40 years. He

to the park.

has played with Brazos Valley Symphony

ANNIE LAURY

in College Station, Texas and with the Florence Symphony Orchestra in South

VIOLIN

Carolina when he was in high school.

FIFTEENTH DPO SEASON. Annie began

Outside of the DPO, Roger is a biomedical

taking violin lessons in 7th grade. While

researcher and enjoys camping, skiing,

earning her Bachelor of Science degree

biking, golf, tennis, photography and

in psychology, she played in the orchestra

painting. He’s very thankful for his family’s

at Kansas State University, but didn’t play

support of his pursuit of music. He has a BA

again for over 20 years until a local church

in Zoology from UNC, Greeley and a MS

orchestra invited her to join them. Annie

from the University of Idaho.

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NEW BEGINNINGS  39


QUICK DONATE! Text “dpo” to 50155

INDIVIDUAL GIVING since January 2013

ORCHESTRA’S CIRCLE

CONTRIBUTOR

Gil and Valerie Clausen

Anonymous

($20,000+)

CONDUCTOR’S CIRCLE

($100 – $299) Anonymous

Phil and Jennifer Barru

($5,000+)

Mary Brauer

SCFD

Carla Cody

CONCERTMASTER’S CIRCLE ($2,500 – $4,999)

Eleanor Glover Nancy Hart Lok Jacobi Maureen Keil Allison Lausten

MUSICIANS’ CIRCLE

Brian Lucius

($1,000 – $2,499)

Alyssa Oland

Linda M. Lebsack Books

Phil Pearlman and Betty Bona

Venus and Russell Klein

Wolcott F. Rice

PATRON

Thomas James Merry

($500 – $999) Jon Olafson MeeAe Nam Hugh R. Pitcher

BENEFACTOR ($300 – $499)

Patricia Aronstein Eleanor Glover and Eugene Advincula Russell Klein

Catherine and Ted Lanzano Douglas and Mary Meeusen Constance Mortell Judy Morton Drs. Mark and Maxine Rossman Robert J. Smith TATE+BURNS Architects LLC John and Carol Tate Karin Tate Naioma and Brad Walberg Gary Wooley

Lisa and Vik Patel Roger Powell 40

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FRIEND

FRIEND 

(UP TO $99)

(CONT.)

Callista and Patrick Medland

Anonymous

Matthew McCleary

Anonymous

Kathleen Porter

Penny Alles

Roger Powell

James Brody

Marcia Ragonetti

Janice Burley

Dr. Herbert Riehl

Anna Castillo in honor of Terri Gonzales

Suzanne Sipos

Ginger Clausen

Mark Stanton

Sara Collyar

The Tine Family

Ray Ehrenstein

Walker Burns and Jennifer Tate

Adam Flatt

Dave Wallace

Steve and Beth Gannon

Jeanine and Dave Wallace

Terri Gonzales Bruce Haefner

IN-KIND SUPPORTERS

Amanda Hand

The Pillar of Fire Church

Allan and Carol Hanson

Ligature Creative Group

Lori Hanson

Newberry Brothers Greenhouse and Florist

Chris Harper Brooke Hengst Michael Hengst Karin Hensel SJ Hudson Arash Jahanian Annie Laury Ligature Creative Group Loren Meaux Suzanne Mueller and Mark McCarron in honor of Valerie Clausen

THANK YOU! NEW BEGINNINGS  41


QUICK DONATE! Text “dpo” to 50155

CORPORATE GIVING GOLD PARTNER ($10,000+)

SILVER PARTNER ($5,000–$9,999)

COPPER PARTNER ($1,000–$4,999) Fennemore Craig

CORPORATE SUPPORTERS (UP TO $500)

Alliance Data on behalf of Jonathan Fetherolf CoBank on behalf of Brian Lucius

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PUBLIC SUPPORT THE SCIENTIFIC & CULTURAL FACILITIES DISTRICT The Scientific and Cultural Facilities District (SCFD) is metro Denver’s unique commitment to its arts, cultural and scientific organizations. A penny sales tax on every $10 purchase within the sevencounty region (Adams, Arapahoe, Boulder, Broomfield, Denver, Douglas and Jefferson counties) supports nearly 300 institutions, including the DPO, that provide unique cultural and scientific experiences for millions of people each year. Many of the programs SCFD supports provide free and discounted access to citizens. For information on free days and organizations, visit www.scfd.org.

NEW BEGINNINGS  43


QUICK DONATE! Text “dpo” to 50155

IT TAKES A COMMU Great adventures stem from new beginnings. Together we can embark on a musical journey that inspires and impacts our entire community. But we can’t do it alone. Help us make music with a tax-deductible contribution today. We are your orchestra. INDIVIDUAL GIVING

DONATION AMOUNT

Orchestra’s Circle

$20,000 or above

Conductor’s Circle

$5,000 – $19,999

Concertmaster’s Circle

$2,500 – $4,999

Musicians’ Circle

$1,000 – $2,499

Patron

$500 – $999

Benefactor

$300 – $499

Contributor

$100 – $299

Friend

up to $99

The 66 Society*

$66 or above

CORPORATE GIVING

DONATION AMOUNT

Gold Partner

$10,000 and above

Silver Partner

$5,000 – $9,999

Copper Partner

$1,000 – $4,999

You may also consider a planned gift, or donating to the orchestra in honor of someone’s birthday, anniversary, or in memory of a loved one. * Celebrate our sixty-sixth season by joining THE 66 SOCIETY Any supporter who contributes $66 or more will receive a reusable, DPO-branded, Chico grocery bag as a thank-you gift.

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NITY If you would like to make a tax-deductible contribution to the Denver Philharmonic Orchestra, please complete this form and mail to:

PO Box 6074 Denver, CO 80206 or visit our website at DenverPhilharmonic.org and click on the DONATE link.

Contribution $ 

Check   or Credit Card   

Name  Address  City, State, Zip Code  Telephone 

Email 

Credit Card No. 

Exp. 

NEW BEGINNINGS  45


QUICK DONATE! Text “dpo” to 50155

CONTACT US! PO Box 6074 Denver, CO 80206 303.653.2407   fb.com/denverphilorch  @denverphilorch DenverPhilharmonic.org

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Denver Philharmonic Orchestra December 20, 2013 Concert Program  
Denver Philharmonic Orchestra December 20, 2013 Concert Program  

Adam Flatt, guest conductor Marcia Ragonetti, mezzo-soprano Rimsky-Korsakov: Suite from The Snow Maiden Prokofiev: “Troika” from Lieutenant...

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