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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

201 GarďŹ eld Street | Denver, CO 80206 | 303.322.0443

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

formances. In 1968, to honor its founder,

Conductor Laureate.

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

Adam Flatt was appointed the orchestra’s

musical excellence and community service

fourth Music Director/Conductor in June


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


as its second Music Director. Julius was a talented Russian immigrant who

In spring of 2013, award-winning conduc-

recently graduated from the Tchaikovsky

tor Dr. Lawrence Golan was selected as our

Conservatory. Under his new leadership,

orchestra’s fifth Music Director. Lawrence

the name of the orchestra was changed

first led the DPO as a guest conductor in

to the Centennial Philharmonic and

November 2009.




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013 –1 4 OCTOBER 4


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



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



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!




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


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


FRIDAY, APRIL 4, 2014 NEW FORMATIONS & MYSTERIOUS MOUNTAINS KPOF Concert Hall · Denver, Colorado · 7:30 pm

Lawrence Golan, conductor Joshua Sawicki, piano

Modest Mussorgsky, arr. Nikolai Rimsky-Korsakov (1839–1881) Night on Bald Mountain Vincent d’Indy (1851–1931)

Symphony on a French Mountain Air, Op. 25

Assez Lent – Modérément Animé (Rather Slowly – Animated Moderately) Assez Modéré, Mais Lenteur (Rather Moderate, but without dragging) Animé (Animated)

Featuring Joshua Sawicki, piano



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Alan Hovhaness (1911–2000)

Symphony No. 2; Mysterious Mountain

Andante Double Fugue: Moderato maestoso Double Fugue: Allegro vivo Andante espressivo

Jeffery Nytch

Symphony No. 1; Formations

(b. 1964) Orogenies

Rush! Requiems Majesties D E N V E R P R E M I E R E P E R F ORMA NCE, CO - CO MMI S S I O NED BY T H E DP O


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





Katherine Thayer, concertmaster Patsy Aronstein Yaniv Gutman* Thomas Jatko Nasiha Khalil Chelsea Morden Emmy Reid Beth Schoening Vanessa Vari

SECOND VIOLIN Yiran Li, principal Albert Ting Rachel Bradford Niccolo Werner Casewit Pauline Dallenbach Terri Gonzales Miki Heine Annie Laury Alyssa Oland Anne Silvas


William Hinkie, III; principal Andrew Grishaw* Lori Hanson Lindsey Hayes* Ben Luey Travis Rollins*


Bryan Scafuri, principal Naftari Burns Rebecca Coy Ausra Mollerud Annastasia Psitos Monica Sáles Mark Stanton Amanda Thall Andreas Werle Rachel Yanovitch


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


Aaron Wille, principal Catherine Ricca Lanzano Whitney Kelley

PICCOLO Whitney Kelley


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Kimberly Brody, principal Loren Meaux, assistant principal Chloe Veltman



Ryan Spencer, principal Tyler Van Dam Ryan Stutzman* Chris Shwayka*


Loren Meaux

Bryan Gannon, principal Wallace Orr


Claude Wilbur, acting principal Brooke Hengst




Emilie Helms*

Darren DeLaup



Ken Greenwald, principal Nicholas Lengyel Leigh Townsend*

Steve Bulota, principal



PERCUSSION Collin Constance Chris Lundberg* Jackson Stevens*


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

Suzanne Moulton-Gertig

CELESTE Margo Hanschke*

* guest performers


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 eleven years and has appeared as 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 or


JOSHUA SAWICKI PIANO Joshua was born and raised in Connecticut where he began piano lessons at age 4. During high school, he studied at the Hartt School of Music and won awards in various piano competitions. Since then, Joshua has studied at the Royal College of Music (London), Boston University, University of South Florida, the Aspen Music Festival, the Chautauqua International Piano Festival, and is currently an Artist Diploma candidate at Denver University, where he studies with New York-based pianist Steven Mayer. Among numerous other awards, Joshua’s recent honors include first place in concerto competitions with the Grand Junction and Lamont Symphony Orchestras. He has played around the world with recent performances including Aspen; Tampa; Novi Sad, Serbia; Paris, France; Utrecht, Netherlands; and Cambridge, Mass. Besides performing, Joshua is an avid teacher. While in Tampa, he taught piano at the University of South Florida, at the Tampa Piano Academy and at the Patel Conservatory. Currently he teaches privately in Denver and at the Colorado Music Quest in Centennial. Joshua’s major teachers include Rebecca Penneys, Steven Mayer, John O’Conor, and Svetozar Ivanov.


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JEFFREY NYTCH COMPOSER, FORMATIONS Jeffrey enjoys a rich and diverse career as a composer, performer, educator and advocate — but it hasn’t been a straight line getting there. He spent much of his teen years dreaming of someday going to Wall Street and conquering the world; then there was his study of geology, which encompassed a bachelors degree from Franklin & Marshall College and graduate work at Binghamton University before he realized that the path of professional geologist was not for him. Through it all, music has been the abiding passion of his heart; in the end, it won out with his career as well. What followed has been a professional odyssey of sorts. His compositional career has resulted in works commissioned and performed by a wide range of major artists, including Richard Stoltzman and the Seattle Symphony, the New York Chamber Symphony, the Ahn Trio, Verge Ensemble, the National Repertory Orchestra, and many others. He earned Master’s and Doctoral degrees at Rice University’s Shepherd School of Music. These disparate pursuits have coalesced in his current position as Director of the Entrepreneurship Center for Music at The University of Colorado-Boulder. As director of the ECM, he draws on the full range of his professional experiences, equipping music students with the tools they need for professional careers in the arts and speaking nationwide as one of the leading voices in arts entrepreneurship… all with the stunning geology of the Colorado Front Range as the backdrop. It’s nice when things come together, isn’t it?


ROCK ON! How is music like a mountain? Let’s learn about pitch to find out!


Pitch is the highness or lowness of a note. The long, fat strings

trumpet, flute, oboe,

of the double bass make low

clarinet, violin

notes. Short, thin strings on the violin make high notes. When


all orchestra instruments play together, the different pitches, or layers, create a

French horn, alto saxophone, viola

Musical Mountain.

TENOR cello, trombone, tenor saxophone

BARITONE bassoon

BASS tuba, bass clarinet, baritone saxophone, alto clarinet, double bass

THANK YOU, KOLACNY MUSIC for providing the instruments for our Petting Zoo. 14

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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. He majored in composition at the St. Stephen King Music What should you listen for? What is the music’s historic and cultural context? Join me before

Conservatory and High School. He holds a master’s degree in orchestral conducting from the University of Music and Performing Arts Vienna.

each performance for a pre-concert chat. Get

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

insight into the music

gious Pierre Monteux School for Conductors and Orchestral

and music-makers you

Musicians with the Quimby Family Foundation Scholarship. In

will hear during the

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 2004–2006, 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.





Anna Schultz Jän Schultz

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

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

CONCERT NOTES Dr. Suzanne Moulton-Gertig



Joel Dallenbach

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

FUNDRAISING Gil Clausen Eleanor Glover Allison Lausten Jon Olafson


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Callista Medland Alyssa Oland, assistant

Alex Thomas Ligature Creative Group


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

Annie Laury

OUTREACH Alixandra Feeley Katherine Fitzgerald Lok Jacobi Maureen Keil Linda Lebsack Katherine Thayer



PARKING ADVISOR Hugh Pitcher Doug Gragg


Gil Clausen Lok Jacobi Allison Lausten Roger Powell Robert Schoenrock

WEBMASTER Ligature Creative Group Nick Croope

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



Night on Bald Mountain Modest Mussorgsky  (1839 – 1881) Undoubtedly Mussorgsky’s his best-known orchestral work, Night on Bald Mountain was not originally composed as an independent tone poem. This work was composed for the opera Mlada, which was to be a group effort compiled from separate contributions of Cesar Cui, Alexander Borodin, Nikolai Rimsky-Korsakov and Mussorgsky. One of the sections assigned to

an orchestral intermezzo in his own opera

Mussorgsky was “The Sacrifice of the Black

Sorotchinsk Fair. Regrettably, this was

Goat on Bald Mountain,” and for this

not to come to pass, either, for he died

portion, the composer revised sketches

before finishing that opera. It remained to

for a previous work, which he called St.

his colleague Rimsky-Korsakov to put into

John’s Night on the Bald Mountain. When

final shape what became, in the end, this

the grand project of Mlada fell through,

extraordinary orchestral tone poem.

Mussorgsky decided to use his music as


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The following program Mussorgsky himself

Glorification of Satan and celebration of

indicated which Rimsky-Korsakov retained:

the Black Mass, The Sabbath Revels. At the

“Subterranean sounds of supernatural

height of the orgies, the bell of the village

voices. Appearance of the spirits of dark-

church, sounding in the distance, disperses

ness, followed by that of Satan himself.

the spirits of darkness. Daybreak.”



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Symphony on a French Mountain Air, Op. 25 Vincent d’Indy  (1851 – 1931) Although d’Indy completed well over a hundred works, only a few of them are played frequently today. From this handful of works is his most popular, Symphonie sur un chant montagnard français, or Symphony on a French Mountain Air, composed in 1886. The composer took his theme for the work

Wagnerian leitmotivs. Two other melodies

from a folksong he heard at Périers in low-

also play prominent roles, both individu-

er Normandy overlooking the Cévennes

ally and in combination. The exposition,

Mountains. The symphony is unusual in

development and recapitulation of these

that it features a prominent piano part

themes reveal an almost Brahmsian ability

that is highly virtuosic in nature; d’Indy

to mold musical materials to a desired

conceived the work as a fantasy for piano

form – rather than adjust the formal struc-

and orchestra.

ture to accommodate the ideas.” Writer Laurie Shulman provides a more detailed

Writer Michael Kelly describes the work


briefly: “The main theme, announced im-

The first movement of the symphony is

mediately by the English horn, reappears

in sonata form, with a classic opposition

periodically throughout the work, both

of two principal themes. English horn

as a complete statement of the song as

introduces the French mountain air.

well as in fragmentary forms resembling

The piano plays in a concertante role:


mostly decorative, but weaving textures

The finale is an animated rondo that

that merge seamlessly with those in the

captures the energy of an open air festival.

orchestra. It frequently leads, but does

Ostinati and the feeling of a tarantella

not dominate. In several places, harp joins

drive the rhythmic pulse, but metric chang-

piano for a brief duet.

es are frequent and phrases irregular. As in the first movement, piano and harp join in

Piano introduces the transformed theme

an occasional duet. The finale unfolds in a

in the second movement. The structure

gradual crescendo with a steady increase

is a song form (A-B-A), with each of the

in power. At the end, d’Indy brings back

three sections a miniature binary form.

the original tune, now with piano and

The writing is proto-impressionist, sug-

trumpet. His cyclic re-use and transforma-

gesting waterfalls and mountain streams.

tion of the French mountain air reflect the

D’Indy loved the mountains and felt

influence of his teacher César Franck, but

energized by them. This slow movement

the fusion of romanticism with classical

was his paean to nature and the silent

process is entirely his own.

grandeur of the Cévennes.

A SPECIAL THANK YOU TO SCHMITT MUSIC for providing the beautiful Steinway piano for tonight’s concert.


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Tune in to radio station KPOF (AM 910) from 7 – 10 pm on Sunday, April 13 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.


Symphony no. 2 “Mysterious Mountain” Alan Hovhaness  (1911 – 2000) Alan Hovhaness wrote, “I named the symphony for the mysterious feeling that one has in the mountains — not for any special mountain, but for the whole idea of mountains.” Of Hovhaness, Michael Kelly writes, “His

Hovhaness composed his second sympho-

fascination with Eastern philosophies

ny, which is one of his most frequently per-

and meditation carries over to his music.

formed works, at the bidding of conductor

Almost all of his works have a spiritual

Leopold Stokowski for the latter’s inau-

character. Although it is sometimes reli-

gural concert in October of 1955 as the

gious, it is seldom liturgical. Frequently

new conductor of the Houston Symphony

his works invoke spirituality rather than

Orchestra. To add to the importance of the

overtly representing it. It is as if he wants

occasion for both conductor and compos-

the listener to explore his inner self rather

er, the concert that was broadcast across

than participate in the formal beliefs of

the nation on NBC television.

others. Many of his works are inspired by natural subjects, and cross over the meta-

The work is in three movements; the outer

physical boundary between the universe

movements feature hymn-like melodies

of perception and the universe of mystical

that are liberated rhythmically by frequent-

imagination. He was especially fasci-

ly changing meters. The middle movement

nated by the solitary mountain, whose

has two prominent attributes: a string choir

rise toward its peak was a metaphor for

theme that is flowing in nature, and an

ascent toward something unknown, but

exuberant theme, both of which are devel-

transcendentally great.”

oped and ultimately presented together toward the conclusion of the movement.


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Symphony No. 1, Formations Jeffrey Nytch  (b. 1964) One of the interesting things about the geology of the Rocky Mountains is how musical the history is: rocks that are formed at the very beginning continually reappear, just as musical themes do in a composition; components of those rocks — motives, if you will — are modified, varied, and transformed over the course of the work; patterns and repetition are at the core of our geologic history, just as they are at the core of most Western music. As I began work on this symphony I made

principles that helped me shape this sym-

two decisions that were critical. The first was

phony: 1) I was not going to attempt a com-

that it was impossible to depict the entire

plete telling of the geologic history of the

geologic history of the mountain west —

Rocky Mountains — such an undertaking

and therefore I wouldn’t even try. Instead

would require many symphonies! 2) I would

I would select key episodes in that history

find musical ways to express geologic

that I thought would also make good music.

processes so that the symphony would not

The second decision is that I would explore

just be a reflection of the landscape but of

the relationship between geology and hu-

the processes that formed that landscape.

man experience, a relationship that has not

3) When one views a modern feature such

always been a harmonious one.

as a mountain, one sees the many different

This allowed me to form four guiding

events that have shaped that feature in the



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aggregate. This compression of perception,

The first movement describes the

and of time, gave me the freedom to super-

Precambrian formation of the crust that

impose or rearrange geologic events ac-

would eventually form the majority of

cording to the best musical outcome, even

southwestern North America. I thought of

if it took geologic events out of the order

this as the laying of both geological foun-

in which they occurred. 4) There would

dations and musical ones, so that just as the

be some portion of the work that would

Precambrian basement keeps appearing

explore the relationship between humans

throughout the regions geologic history, so

and the geology that has such enormous

do the motives and harmonies presented

influence on our lives and history.

in this movement play out over the course of the symphony. The three climaxes corre-

Each movement explores a different

spond to three major orogenic events while

episode in the geologic story of the Rocky

a suddenly calm coda represents the Great


Unconformity and the enormous gap in time it embodies.

I. Orogenies Dark, primal q = 54

This movement depicts the gold and silver

II. Rush!

rushes of the 19th century. We hear a rustic

Scampering, becoming progressively

fiddle tune such as what one might have

more manic q = 120

heard in a mining camp, but the tune keeps

III. Requiems

going awry and fizzling out — just as each

Larghetto q = 58

rush failed to fulfill its promise. A middle

IV. Majesties

section superimposes the sounds of miners

Dark, unsettled q = 54; Furiously

panning for gold with the hiss of hydrother-

churning; Gradually building

mal veins and the thundering of the Cripple

momentum; Jubilant

Creek Diatreme. This geologic event is in


turn interrupted by a human one: the labor

history I was struck by two things. The first

strife between miners and mine owners,

was the realization that the fuels that make

accompanied by the sounds of gun shots

our modern society possible are derived

that brought the rush era — and bring this

from the remains of plants and animals —

movement — to a crushing conclusion.

creatures that were previously alive, and whose death provided the material for the

The third movement evokes the Cretaceous

very thing our modern world depends on.

Seaway of North America and the huge

I found this thought worthy of contempla-

amounts of organic material accumulated

tion, and it inspired the title Requiems as

there to create coal, oil, and natural gas.

well as the bulk of the music for this move-

As I contemplated this chapter in geologic

ment. The more animated music towards


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the end of the movement provides a

brooding tuba solo dissolve into a slow,

contrast to the dark world of buried organic

climbing chorale for brass: the steady

sediment: a sunny evocation of what must

uplift of the Laramide Orogeny, approx.

have been a tranquil and beautiful region,

65 million years ago. But this uplift didn’t

with warm lagoons and rich, tropical forests.

result in the mountains we see today.

Marine reptiles such as plesiosaurs arched

In fact, those highlands were buried by

gracefully in clear, tropical waters, while

their own debris and that of an extended

pterosaurs and early bird species soared

period volcanic activity that showered

through the air.

thousands of meters of ash, lava, and pyroclastic flows upon the region. It was not

The final movement depicts the long

until about 5 million years ago that either

and complex history behind the mod-

climate change, renewed uplift, or some

ern Rocky Mountains. First we hear a

combination of the two caused sudden


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and rapid erosion of the Laramide high-

about writing this symphony: while de-

lands — carving out the majestic moun-

veloping the connecting points between

tains we see today. As the erosion picks

geologic principles and musical ones I was

up pace, we hear snippets of motives

not forced to compromise either: the music

from the entire symphony culminating in

was already in the geology, making it easy

a grand chorale of joyous celebration for

to bring the geology into the music.

the magnificent region we know today as the Rocky Mountains.

— Jeffrey Nytch, September 2013

Of course, it’s every composer’s desire that

Co-commissioned by the Boulder Philharmonic Orchestra and the Geological Society of America in celebration of the Society’s 125th anniversary, with support from ExxonMobil. This work was funded in part by the Composer Assistance Program of New Music USA.

the music work on its own terms, without the benefit of any outside narrative. This is precisely what I found to be so satisfying

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


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



There’s no dress code. From jeans to

Many concertgoers are confused about

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

when to clap during an orchestra’s perfor-

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

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

way you are.

diences would routinely applaud between


movements to show their joy for the 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.


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!

2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N



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.


ORCHESTRA SPOTLI 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 Patsy, Rachel, William, Whitney, Yiran, Annastasia, Albert and another Rachel —

PATSY ARONSTEIN VIOLIN THIRD DPO SEASON. Patsy started violin lessons in 4th grade and has played ever since — well, you can TRY to do the math. As a young adult, Patsy studied with Harold Wippler here in Denver, played in the Colorado Springs Symphony when she was a student at Colorado College and later joined the Arapahoe Philharmonic where she played for 27 years. As a child, Patsy studied piano as a child and still enjoys playing from time to time. Patsy received her B.A. in French from Colorado

10 years, she has been a member of Friends of Chamber Music’s Board and has served as President of the Board for the past three years. She is an avid tennis player, skier and enjoys traveling. Patsy also enjoys playing chamber music with friends and is partial to the repertoire for piano trio. With her husband, Jim, we have three sons — Will, Tyler and Reid — and a handsome golden retriever, Champ. She’s a true Francophile right down to the violin and bow that she is playing with tonight!


College 1980 and a Master’s degree in


French Literature from the University


of Colorado in 1985. Now retired, she

violin since 1988, Rachel began by

taught high school French at Colorado

performing in a variety of youth en-

Academy for the majority of her career,

sembles in the Denver area under the

but spent several years teaching at the

instruction of Barbara Rino, including

University of Denver and the University

the Denver Young Artists Orchestra and

of Colorado as an adjunct professor and

the Colorado Youth Pops Orchestra.

teaching assistant respectively. The past

She attended the University of Northern


2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N

GHT Colorado, where she studied music

Orchestra under the direction of Dr.

performance under the guidance of Dr.

Brandon Matthews. She considers herself

Richard Fuchs and Dr. Russell Guyver.

lucky to have the privilege of continu-

Rachel earned her Bachelor of Science

ing her private studies with the very

in accounting from Metropolitan State

talented CSO violinist and MSU violin

University of Denver. In addition to

instructor, Bradley Watson. Rachel fills

performing with us, she’s had the honor

her weekdays with a full-time job in tax

of playing with the Littleton Symphony

auditing and compliance for the State of

Orchestra under conductor and former

Colorado. Rachel lives in Denver with her

Colorado Symphony Orchestra princi-

husband Patrick, their brand new baby

pal cellist, Jurgen de Lemos, and the

girl, and two furry dachshunds.

Metropolitan State University Symphony


DR. WILLIAM H. HINKIE, III VIOLA SEVENTH DPO SEASON. William’s been playing music since the age of 9 when he started playing the violin in his public school music program in Louisiana. He has performed with the Baton Rouge Symphony, the Akron Symphony,


the Aspen Music Festival Orchestra, the Colorado Ballet and the Boulder Philharmonic. He received his bachelor in Music Education and Violin Performance from Louisiana State University, a Master of Music in Viola Performance from the Cleveland Institute of Music and a Doctor of Musical Arts from the University of Minnesota. William is a freelance musician and teaches private lessons.

2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N


in the Airde Ensemble, a woodwind


addition to her orchestral and chamber

sextet based in Boulder, Colorado. In


pursuits, Whitney currently serves

ceived her D.M.A and M.M. in Flute

as president of the Colorado Flute

Performance and Pedagogy from the

Association, staffs teacher training with

University of Colorado with Christina

the Suzuki Association of the Americas

Jennings, and completed her B.M. with

at their headquarters in Boulder, and

Tadeu Coelho at the University of North

maintains a thriving private studio across

Carolina School of the Arts. Once begin-

the Denver metro area. Whitney lives

ning to play the flute at age four through

outside of Denver with her husband and

the Suzuki Method, music has played an

energetic puppy. She enjoys photogra-

integral part throughout Whitney’s life.

phy, hiking in the Rockies, and cheering

Acclaimed for her “considerable tech-

on the Denver Broncos.

nique” by the Winston-Salem Journal, she has appeared as soloist in numerous orchestral and recital settings, including


guest appearances with Hollywood


film composer Dave Grusin, jazz flutist

SECOND DPO SEASON. Since she starting

Nestor Torres, and performances in the

playing the violin at age 3, Yiran took

Ravinia Summer Music Festival, Texas

violin as her major in middle school and

Music Festival, Denver Pops, Jefferson

has played with symphony orchestras and

Symphony, and Longmont Symphony

philharmonic orchestras in China. She is

Orchestras. In addition to the Denver

working on her Master’s of Music degree at

Philharmonic, Whitney performs as flutist

University of Denver Lamont Music School


and is the violin graduate teaching assis-

in music performance for cello. She

tant. Yiran teaches private violin lessons and

obtained her bachelor’s degree at the

has a classical duet with her boyfriend Travis

University of Maryland, College Park and

Rollins called The Duality Duet. Together,

her master’s degree at the University of

they perform for all kinds of special occa-

Colorado, Boulder. She has been studying

sions, which includes everything from wed-

cello for 24 years and has played with a

dings to Solheim Cup opening and closing

wide variety of orchestras — both through

ceremonies. And she has a kitty!

school and as a freelance musician. In

ANNASTASIA PSITOS CELLO THIRD DPO SEASON. Annastasia has both Bachelor’s and Master’s degrees


addition to the Denver Philharmonic, she currently also plays full time with the Boulder Symphony and is a substitute cellist with the Fort Collins and Cheyenne Symphony Orchestras. She works as an accounts-payable assistant at an oil and gas company.

2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N

ALBERT TING VIOLIN SECOND DPO SEASON. Albert has played music on and off for 48 years. The last orchestra he played with was the Metro State Orchestra. After receiving his undergrad degree from Stanford, Albert pursued his Master’s from University of Texas Southwestern and his PhD from Baylor College of Medicine. Albert works as a Nursing Home Provider.

RACHEL YANOVITCH CELLO FIRST DPO SEASON. Rachel began studying piano at age 5, cello at age 9, guitar at 15, and in her free time, she has enjoyed singing and songwriting for several years. She has played with Thames Valley Youth Orchestra in Connecticut, and the Rhode Island Philharmonic youth orchestra when she was in High School. She has performed three solo recitals, and since college, she’s played regularly with worship bands for churches and get-togethers. Rachel has her Associate’s degree in Theology from Calvary Chapel Bible College in Murrieta, Calif., works as a nanny, and plays cello for Pilgrim City Church on Sundays.

SEASON FINALE! THURSDAY, MAY 22 NEW FRONTIERS Lawrence Golan, conductor Daugherty: Krypton Hovhaness: Celestial Fantasy Holst: The Planets


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Roger Powell

Gil and Valerie Clausen


CONTRIBUTOR ($100 – $299)


Charles and Joan Albi



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


Anonymous Phil and Jennifer Barru Helen Bauer Arthur and Jacinda Bouton Mary Brauer Carla Cody

($1,000 – $2,499)

Amaryllis Fletcher

Linda M. Lebsack Books

Robert Greene

Venus and Russell Klein

Nancy Hart


Lok Jacobi Maureen Keil

($500 – $999)

Allison Lausten

Jon Olafson

Brian Lucius

MeeAe Nam

Tenley Mueller

Hugh R. Pitcher

Alyssa Oland

Donald Walls

Phil Pearlman and Betty Bona Joseph Pompei


Wolcott F. Rice

($300 – $499)

Catherine and Ted Lanzano

Patricia Aronstein

Thomas James Merry

Eleanor Glover and Eugene Advincula

Douglas and Mary Meeusen

Russell Klein

Constance Mortell

Lisa and Vik Patel

Judy Morton


2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N





Robert J. Smith

SJ Hudson


Arash Jahanian

Karin Tate

Annie Laury

Naioma and Brad Walberg

Ligature Creative Group

Marcia Whitcomb

Susan McGinley

Gary Wooley

Janet Mizelle and Michael Hope Loren Meaux


Suzanne Mueller and Mark McCarron

(UP TO $99)

in honor of Valerie Clausen

Keri Rose Agnes

Callista and Patrick Medland


Matthew McCleary

Penny Alles

Kathleen Porter

James Brody

Roger Powell

Janice Burley

Marcia Ragonetti

Anna Castillo in honor of Terri Gonzales

Carol Rankin

Ginger Clausen

Dr. Herbert Riehl

Sara Collyar

Suzanne Sipos

Ray Ehrenstein

Mark Stanton

Adam Flatt

The Tine Family

Steve and Beth Gannon

Walker Burns and Jennifer Tate

Terri Gonzales

Dave Wallace

Bruce Haefner

Jeanine and Dave Wallace

Amanda Hand Allan and Carol Hanson


Lori Hanson

The Pillar of Fire Church

Chris Harper

Ligature Creative Group

Brooke Hengst

Newberry Brothers Greenhouse and Florist

Michael Hengst


Karin Hensel


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SILVER PARTNER ($5,000–$9,999)

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


Brownstein, Hyatt, Farber & Schreck CoBank on behalf of Brian Lucius Community First Foundation Noble Energy


2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N

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


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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


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


$500 – $999


$300 – $499


$100 – $299


up to $99

The 66 Society*

$66 or above



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.


2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N

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 and click on the DONATE link.

Contribution $ 

Check   or Credit Card   

Name  Address  City, State, Zip Code  Telephone 


Credit Card No. 



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CONTACT US! PO Box 6074 Denver, CO 80206 303.653.2407  @denverphilorch


2 0 1 3 – 1 4 T H E S I X T Y- S I X T H S E A S O N

Denver Philharmonic Orchestra April 4, 2014 Concert Program  

April 4 New Formations & Mysterious Mountains Lawrence Golan, conductor Joshua Sawicki, piano Mussorgsky/Rimsky-Korsakov: Night on Bald Moun...

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