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T H E S I X T Y- S E V E N T H S E A S O N OCTOBER 3 NOVEMBER 14 DECEMBER 20 FEBRUARY 13 APRIL 3 M AY 21 2014–15

OCTOBER 3

REVOLUTION!

Kornel Thomas, guest conductor Elizabeth Baldwin, soprano Shostakovich: October Strauss: Four Last Songs Beethoven: Symphony No. 7


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

www.newberrybrothers.com


WELCOME! With our 2014–15 Season, we celebrate 67 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

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.

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4 –15 OCTOBER 3 REVOLUTION!

Kornel Thomas, Guest Conductor Elizabeth Baldwin, Soprano Shostakovich: October Strauss: Four Last Songs Beethoven: Symphony No. 7

NOVEMBER 14 A TALE OF THREE SYMPHONIES Lawrence Golan, Conductor Kimberly Brody, Oboe Kenneth Greenwald, Bassoon Katherine Thayer, Violin Bryan Scafuri, Cello Haydn: Sinfonia concertante in B-flat Major, Hob. I: 105 Britten: Sinfonia da Requiem Dvořák: Symphony No. 8

DECEMBER 20 HOLIDAY CHEER!*

Lawrence Golan, Conductor and Violin Elizabeth Montgomery, Soprano Colorado Repertory Singers; Mark Stamper, Director Williams: “Merry Christmas, Merry Christmas” from Home Alone Snesrud: Christmas Traditions Holcombe, arr.: Festive Sounds of Hanukkah Pola & Wyle: It’s the Most Wonderful Time of the Year Johnson & Pelcer: Merry Christmas Baby Montgomery & Johnson: Fill Your Heart with Christmas Tchaikovsky: “Waltz of the Flowers” from The Nutcracker Vivaldi: “Winter” from The Four Seasons Handel: “Hallelujah Chorus” from The Messiah Clifton, arr.: Carol of the Bells Hayes, arr.: Variations on Jingle Bells Anderson: Sleigh Ride Tormé & Wells: The Christmas Song Adam: Oh Holy Night Stephenson: A Holly Jolly Sing-Along!

FEBRUARY 13 FROM RUSSIA WITH LOVE Lawrence Golan, Conductor Jeffrey LaDeur, Piano

Tchaikovsky: Piano Concerto No. 1 Tchaikovsky: Symphony No. 1 “Winter Reveries”

APRIL 3 REFORMATIONS

Wes Kenney, Guest Conductor Peter Sommer, Alto Saxophone Bach/Stokowski: Toccata and Fugue in D minor Ellington, orch. Peress: Three Black Kings Williams: “Escapades” from Catch Me if You Can Mendelssohn: Symphony No. 5 “Reformation”

MAY 21 PLANES, TRAINS & AUTOMOBILES Lawrence Golan, Conductor Daria Rabotkina, Piano Adams: Short Ride in a Fast Machine Gershwin: Rhapsody in Blue Prokofiev: Symphony No. 5

Concerts begin at 7:30 pm at KPOF Hall 1340 Sherman Street Denver, CO 80203 * Holiday Cheer! will be performed at Central Presbyterian Church 1660 Sherman St Denver, CO 80203

SPONSORED BY

DENVERPHILHARMONIC.ORG

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FRIDAY, OCTOBER 3, 2014 REVOLUTION! KPOF Concert Hall  ·  Denver, Colorado  ·  7:30 pm

Kornel Thomas, guest conductor Elizabeth Baldwin, soprano

Dmitri Shostakovich

October, Op. 131

(1906 – 1975)

Richard Strauss (1864 – 1949)

Four Last Songs

Frühling September Beim Schlafengehn Im Abendrot (See English translation on page 28)

∙ 15-MINUTE INTERMISSION ∙ Ludwig van Beethoven Symphony No. 7 (1770 – 1827) Poco sostenuto – Vivace Allegretto Presto, assai meno presto Allegro con brio

MEET THE MUSICIANS

Reception  Immediately following the concert, meet & mingle on the lower level. Nightcap  Following the reception, raise a glass with us at Oblio’s Cap Hill. 6

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Your community resource for in-depth news and music discovery.

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LAWRENCE GOLAN MUSIC DIRECTOR & CONDUCTOR The 2014–15 Season marks Lawrence’s second season as music director of the Denver Philharmonic Orchestra. In high demand across the United States and internationally, Lawrence is also currently Music Director of the Yakima Symphony Orchestra in Washington state, the York Symphony Orchestra in Pennsylvania, and the Lamont Symphony Orchestra & Opera Theatre at the University of Denver. In addition, he is the Principal Conductor of the Seoul Philharmonic in South Korea. Lawrence continues to guest conduct professional orchestras, opera, and ballet companies in the U.S. and around the world. He has conducted in 26 states and 17 countries. Lawrence has garnered considerable international recognition for his work as a conductor. He has won 10 ASCAP Awards, five Global Music Awards, three American Prize awards, three Downbeat Magazine Awards, and two Prestige Music Awards. Following a highly successful four-year term as Resident Conductor of The Phoenix Symphony, Music Director Michael Christie said that Lawrence “is a programmer of virtually unprecedented creativity and scope.” That sentiment was confirmed in 2012 when Lawrence was named the Grand Prize Winner of The American Prize for Orchestral Programming.

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Lawrence is known for his inspired performances, imaginative programming, passion for developing new audiences, and excellent public speaking skills—entertaining and educating the audience from both on and off the podium. He is also recognized for his expertise in the complete spectrum of musical styles and periods. He has worked with artists ranging from Leonard Bernstein, Marilyn Horne, Daniel Barenboim and Joshua Bell to Frank Sinatra, Kenny G and ShaNaNa. 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. Lawrence and his wife Cecilia, who is from Buenos Aires, Argentina, have been married since 2003. They have two wonderful children: Giovanna and Joseph. Lawrence is represented by William Reinert Associates in New York. For more information, please visit LawrenceGolan.com or WilliamReinert.com.

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S. MORDECAI FUHRMAN ASSOCIATE CONDUCTOR Conductor, percussionist, timpanist, and arranger, Samuel Mordecai Fuhrman is a graduate of the University of Delaware and the Cleveland Institute of Music. Samuel has performed with and conducted the Wilmington What should you listen

Community Orchestra in Delaware, Center City Opera Theater

for? What is the music’s

in Pennsylvania, the Cleveland Pops Orchestra in Ohio, and the

historic and cultural

Newark Symphony Orchestra in Newark, Del., where he directed

context? Join me before each performance for a pre-concert chat. Get

the inaugural Family Series in 2010.

insight into the music

Founder of the Reading Orchestra of North Wilmington,

and music-makers you

Samuel received his undergraduate degree in music in percus-

will hear during the

sion/timpani at the University of Delaware. In 2007, he won the

performance.

University of Delaware Concerto Competition, performing Eric Bryce’s Concerto for Marimba / Vibraphone and Orchestra with the University of Delaware Symphony. Samuel studied conducting at the Cleveland Institute of Music, where he led multiple performances and received a master of music degree in 2014. In August 2013, Samuel led members of the Kiev Chamber Orchestra and the National Philharmonic Orchestra of Ukraine in a performance of Aaron Copland’s Appalachian Spring as part of the U Artist Music Festival. In addition to music, Samuel enjoys studying and contemplating cosmology and the evolution of the universe with his wife, Emily.

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KORNEL THOMAS GUEST CONDUCTOR Hungarian-American conductor Kornel Thomas returns to the Denver Philharmonic after his season as associate conductor with the orchestra. Kornel is the conductor and a teaching artist at El Sistema Colorado and is the conductor of the contemporary music group, Nebula Ensemble. He was previously associate conductor of the Lamont Symphony Orchestra and assistant conductor of the St. Stephen King Youth Orchestra. In fall 2013, Kornel was acting music director of the Lamont Symphony Orchestra where he conducted multiple sold-out performances of the musical, Oklahoma! He attended the Cabrillo Festival Conductor Training Workshop, the Pierre Monteux School for Conductors and the London Conducting Workshop. Kornel was a semi-finalist at the Orquestra Metropolitana de Lisboa Young Conductors Competition in 2013. In 2012, he debuted at the Vienna Musikverein with the ORF Radio Symphony Orchestra Vienna. Kornel won second prize at the 2006 Béla Bartok Hungarian National Competition in Composition. He holds a master’s degree in orchestral conducting from the University of Music and Performing Arts Vienna and an artist diploma in orchestral conducting from the Lamont School of Music, University of Denver. Kornel’s mentors include Mark Stringer, Yuji Yuasa, Ervin Ortner, Konrad Leitner, Lawrence Golan, Betrand de Billy, Niclolas Pasquet, Daniel Harding and Maron Alsop.

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ELIZABETH BALDWIN SOPRANO American lyric soprano Elizabeth Baldwin has been praised by the San Francisco Examiner as being “ferociously talented” and is in equal demand on both operatic and concert stages across the country. I have had the great pleasure of performing title roles in many of Strauss’ operatic works

Elizabeth’s recent engagements include a debut with the Boston Youth Symphony Orchestra singing the title role in Puccini’s Tosca and with the Toledo Opera in the “Ladies In Red” Opera

and know there is

Gala Concert. She will also be representing America in the Marie

nothing like becoming

Kraja International Singing Competition in Tirana, Albania and

an instrument in his

the Stella Maris International Vocal Competition on board the

luscious orchestrations.

MS EUROPA. Upcoming engagements include Ariadne aud

I hope you have a

Naxos with Opera Theater of Pittsburgh, her return to Boston

wonderful experience and enjoy this gorgeous music as much as I do!

Youth Symphony Orchestra in Un Ballo in Maschera, as well as Opera San Jose’s production of Die Zauberflöte. In the 2012–13 season, she debuted with the Kentucky Opera singing the title role in Puccini’s Tosca and debuted at Avery Fisher Hall at Lincoln Center as Viclinda in Verdi’s I Lombardi with The Opera Orchestra of New York under Eve Queler. She also debuted the role of Ellen Orford in Britten’s Peter Grimes at the Chautauqua Opera. In the 2011–12 season, she covered the role of Arminda in Mozart’s La finta giardiniera at the San Francisco Merola Opera Program and performed the role of Margherita in Boito’s Mefistofele at the Merola Schwabacher Concert under Giuseppe Finzi. She also debuted with the Virginia Opera singing the Dew Fairy in Humperdinck’s Hänsel und Gretel while covering the role of Gretel, along with covering the role of La Princesse in Philip Glass’ Orphée.

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On the concert stage, Elizabeth performed in Mendelssohn’s Elijah at Boston’s Symphony Hall with the Boston University Orchestra and Chorus in 2011. Additional credits include Vivaldi’s Gloria, Fauré’s Requiem, Schubert’s Der Hirt auf dem Felsen, Aaron Copland’s As It Fell Upon A Day, John William’s Seven For Luck, William Schuman’s In Sweet Music, Ivan Fedele’s Maja, and many others. In competitions, Elizabeth is a 2013 International Finalist in the Francisco Viñas Singing Competition in Barcelona, 2012 National Semi-Finalist in the Metropolitan Opera Council Auditions (winning through the Central Region and Illinois District), and 2011 Grand Prize winner in The William Matheus Sullivan Musical Foundation competition. She won First Place in the National Opera Association Artist Division, The Schuyler Foundation for Career Bridges, National Orpheus Vocal Competition, and The Heida Hermanns International Voice Competition. The Tanglewood Music Center Festival awarded her with the Grace B. Jackson Prize for Singers after her summer apprenticeships. Elizabeth studied with renowned American Mozart soprano Carol Vaness while obtaining her master of music degree in opera performance from the Indiana University Jacobs School of Music, as well as a bachelor of music degree in vocal performance from Bowling Green State University where she studied with Myra Merritt. She currently works with Martin Katz.  13


MORE THAN Attending a concert with us goes beyond an evening of high-calibur classical music. Last season, we had a lot of fun — we live-tweeted concerts, held lively pre-concert chats, produced a Super Bowl video mashup with the Seattle Philharmonic Orchestra, hosted a Valentine’s Day photo booth, projected your Rocky Mountain pics above the musicians, brought in an instrument petting zoo, set up a selfie corner with a cardboard Buzz Aldrin, and partnered with the Denver Museum of Nature and Science to bring the Gates Planetarium (and the entire universe) into KPOF Hall.

Here’s a taste of what’s in store for our next concert — A Tale of Three Symphonies on November 14. PRE-CONCERT CHAT, 6:30PM

POST-CONCERT RECEPTION

Join Associate Conductor S. Mordecai Fuhrman for a pre-concert chat about the music. We’ll give you insights into the music and music-makers you’ll be listening to.

Say hello! Come downstairs after the concert for coffee or punch and homemade cookies, meet the soloists, get a t-shirt — have fun!

A TASTE OF THREE CAKES EL SISTEMA INTERLUDE, 7:00PM If you missed the elementary school students from El Sistema Colorado perform last May, here’s your chance! (They rock!)

At the post-concert reception, DPO partner Glaze by Sasa will present three baum cakes for your tasting delight!

NIGHTCAP, 10PM BOOK SWAP Got some extra books lying around the house? Bring ’em in, and pick up a new one! Maybe leave a note about a favorite passage for another patron to find!

Enjoy a late-night happy hour — concertthemed cocktails or a glass of wine are $3 and draft beer is just $1 with your ticket at Oblio’s Cap Hill, 1225 Logan, after the reception. Meet, mingle and connect with musicians and friends — just three blocks away!

Visit denverphilharmonic.org for concert tickets and info on all of our upcoming events. 14

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MUSIC.

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OUR MUSICIANS MUSIC DIRECTOR

VIOLA

Lawrence Golan

ASSOCIATE CONDUCTOR S. Mordecai Fuhrman

FIRST VIOLIN

Katherine Thayer, concertmaster Patsy Aronstein
 Melissa Campbell
 Matthew Grove
 Thomas Jatko
 Nasiha Khalil
 Chelsea Morden
 Tenley Mueller
 Kristine Pordesimo
 Emmy Reid
 Beth Schoening
 Vanessa Vari
 Elizabeth Wall

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

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William Hinkie, III; principal
 Naomi Croghan
 Lori Hanson
 Ben Luey
 Ana Montenegro
 Elizabeth O’Brien
 Kathleen Torkko

CELLO

Bryan Scafuri, principal
 Naftari Burns
 Ausra Mollerud
 Annastasia Psitos
 Monica Sáles
 Amanda Thall
 Rachel Warbelow
 Andreas Werle
 Rachel Yanovitch
 Tara Yoder

BASS

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

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FLUTE

Aaron Wille, principal Whitney Kelley Catherine Ricca Lanzano

PICCOLO Whitney Kelley

OBOE

Kimberly Brody, principal
 Loren Meaux, assistant principal
 Alexis Junker

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

TRUMPET

Ryan Spencer, principal
 Nick Kenny
 Tyler Van Dam

TROMBONE

Loren Meaux

William Combs, principal
 Wallace Orr

CLARINET

BASS TROMBONE

ENGLISH HORN

Shaun Burley, principal
 Jessica Clark
 Claude Wilbur

Daniel Morris

TUBA Darren DeLaup

E-FLAT CLARINET Jessica Clark

BASS CLARINET Claude Wilbur

TIMPANI

Steve Bulota, principal

PERCUSSION Colin Constance

BASSOON

Ken Greenwald, principal
 Nicholas Lengyel

HARP Becky Moritzky

PIANO/KEYBOARD Madoka Asari

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OUR ADMIN VOLUNT EXECUTIVE DIRECTOR

CONCERT NOTES

Valerie Clausen

Kate Huffman

BOARD OF DIRECTORS

CONCERT RECORDING

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

Joel Dallenbach

CONCERT PROGRAM Ligature Creative Group, design Walker Burns, editing Alixandra Feeley, editing

EMBEDDED REPORTER Julia Compton Meg Satrom

DENVER PHILHARMONIC FOUNDATION BOARD Keith Fisher Russell Klein Allison Lausten

BOX OFFICE Carla Cody Eleanor Glover Russell Klein Venus Klein Annie Laury AllisonLausten Jon Olafson

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Callista Medland Alyssa Oland, assistant

OPERATIONS MANAGER Alixandra Feeley

CONDUCTOR LAUREATE Dr. Horst Buchholz

LIBRARIAN

ORCHESTRA ROSTER Annie Laury

OUTREACH Lok Jacobi Maureen Keil Katherine Thayer

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EERS PARKING ADVISOR

USHERS & RECEPTION

Matt Hogan Hugh Pitcher

Annie Laury

Gil Clausen Lok Jacobi Maureen Keil Allison Lausten Robert Schoenrock

PRE-CONCERT SLIDES

VENUE LOGISTICS

PERSONNEL MANAGER

Jake Romo Ligature Creative Group

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

Taryn Galow Loren Meaux Roger Powell

WEBMASTER 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.

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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, October 12 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.

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OCTOBER 3 ∙ REVOLUTION! by KATE HUFFMAN

October, Op. 131 (1967) Dmitri Shostakovich  (1906 – 1975) “Real music is always revolutionary, for it cements the ranks of the people; it arouses them and leads them onward.” — Dmitri Shostakovich Born in St. Petersburg in 1906 and ed-

Much of Shostakovich’s career was

ucated at the Petrograd Conservatory,

shaped by totalitarian oppression, which

Shostakovich was one of the most

dictated the music he could produce.

prominent composers of the 20th century.

Though he had to comply for his safety

As required under Communist rule,

and his career, the regime’s restrictive

Shostakovich was a member of the Union

rules elicited Shostakovich’s disapproval

of Soviet Composers and forced to ad-

and constant fight against them.

here to the ideals of Socialist Realism. All art, including literature, drama, painting,

The composer’s stormy symphonic poem,

and music, needed to portray socialism in

October, was written for the 50th anniver-

a positive light, and music was expected

sary of the Russian October Revolution.

to be tonal, accessible, and folk-inspired.

Nominally October commemorates  21


the Bolshevik overthrow of the Russian

to his condemnation by the Communist

government, but upon careful listening

Party and to Stalin’s campaign of political

Shostakovich reveals his disapproval of the

repression, know as the Great Terror, of

event and his doubts about Communism.

the 1930s.

The symphonic poem is full of tangible heroism, thick orchestral textures, and

The Allegro is also based on the song

heart-racing climaxes, all of which were

“To the Partisan,”used in the film

expected and loved by Soviet audiences.

Volochaayevka Days, which tells of individuals fighting for freedom against a

Unexpected, however, was the slow intro-

repressive regime.

duction opening the piece: a quote from his 10th Symphony which was written as

Shostakovich’s use of self-quotation

an emotional reflection of Stalin’s tyranny

from politically critical works in this piece

and partial celebration of his death.

appearing to celebrate the October

Shostakovich further quotes his own

Revolution is a credit to his skill as a

works in the main Allegro which closely

composer and his dedication to freedom

resembles the scherzos of his Fifth and

of expression despite the restrictions of

Seventh Symphonies written in response

Soviet Realism.

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Four Last Songs (1948) Richard Strauss  (1864 – 1949) In Four Last Songs, Richard Strauss assures listeners, and perhaps himself, that death does not have to be feared, rather embraced as a final journey after life’s many adversities and adventures. Indeed, Strauss himself faced many ad-

in the rich, Romantic style, is a time and

versities and undertook adventures in his

world Strauss knew was gone forever.

own life. Living through the devastation of both World War I and II deeply affected

Composed near the end of his life,

the German composer long after the

Strauss did not know the four songs

wars’ conclusions. He also witnessed

written for soprano voice and orchestra

huge musical changes happening around

would be his last. He had come across

him: Hindemith’s “New Objectivity,” the

poems that had special meaning to him in

intensely aggressive rhythms of Stravinsky,

the works of Hermen Hesse and Joseph

Arnold Schoenberg and the Second

von Eichendorff.

Viennese School. The world, it seemed, was spinning out of control, and Strauss

Hesse’s Frühling (Spring), September, and

was left feeling helpless and jaded.

Biem Schlafengehen (Time to Sleep), and von Eichendorff’s Im Abendrot (At Dusk)

Captured in Four Last Songs, with its

were set to music in 1948. Strauss com-

soaring melodies and lush tonal harmonies

pleted the works later that year and died

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shortly thereafter, never having heard

horn — the instrument of Strauss’ father

them performed.

— can be heard in the final moments of the movement.

The composer left no indication that he intended the songs to be performed

In Beim Schlafengehen, the poet continues

together, and thus left no sequence

on the journey toward the afterlife, letting

of presentation. It was his publishing

go of life’s hardships and toil. Strauss then

company, Boosey & Hawkes, that put the

features another favorite instrumental

songs in the song cycle in which they are

voice, the violin, to play powerfully be-

most often performed today (I. Frühling, II.

tween the lines of the soprano.

September, III. Beim Schlafengehen, and The final song, Im Abendrot, completes

IV. Im Abendrot).

the voyage of the poet’s soul quoting In the first song, Frühling (Spring), the

the “transfiguration” theme from Death

composer pays nostalgic tribute to this

and Transfiguration, a tone poem he

hopeful time of year, which follows the chill

had composed 60 years earlier. It can be

of winter. Woodwinds frame and interact

heard just after the soprano sings “ist

with the soprano’s low opening lines, be-

dies etwa der Tod?” (Can this, perhaps,

fore her phrases, mirrored by the strings,

be death?), symbolizing the fulfillment of

soar upwards.

the soul into death.

The cycle of seasons continues in

As stated by Herbert Glass, “It is music

September when summer fades and

so bewitchingly sensuous, so achingly

autumn inevitably approaches. The text

nostalgic, so subtle in its interweaving of

and atmosphere darken and decay as the

vocal and instrumental textures as to defy

poet accepts the end of summer and,

description. To more than one observer,

thereby, of all things. A powerful solo for

Strauss saved his best for the very end.”

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Four Last Songs German Text

Four Last Songs English Translation

FRÜHLING

SPRING

by Hermann Hesse

Translation by Michael Hamburger

In dämmrigen Grüften

In half-light I waited,

träumte ich lang

Dreamed all too long

von deinen Bäumen und blauen Lüften,

Of trees in blossom,

Von deinem Duft und Vogelsang.

Those flowing breezes, That fragrant blue

Nun liegst du erschlossen

And thrushes’ song.

In Gleiß und Zier von Licht übergossen

Now streaming and glowing

wie ein Wunder vor mir.

From sky to field With light overflowing

Du kennst mich wieder,

All these charms are revealed.

du lockst mich zart, es zittert durch all meine Glieder

Light gilds the river,

deine selige Gegenwart!

Light floods the plain; Spring calls me: and through me there quiver Life’s own loveliness, Life’s own sweetness returned again!

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SEPTEMBER

SEPTEMBER

by Hermann Hesse

Translation by Michael Hamburger

Der Garten trauert,

These mournful flowers,

kühl sinkt in die Blumen der Regen.

Rain-drenched in the coolness are

Der Sommer schauert

bending,

still seinem Ende entgegen.

While Summer cowers, Mute as he waits for his ending.

Golden tropft Blatt um Blatt nieder vom hohen Akazienbaum.

Gravely each golden leaf

Sommer lächelt erstaunt und matt

Falls from the tallest Acacia tree;

In den sterbenden Gartentraum.

Summer marvels and smiles to see His own garden grow faint with grief.

Lange noch bei den Rosen bleibt er stehn, sehnt sich nach Ruh.

Ling’ring still, near the roses long he stays,

Langsam tut er

Longs for repose;

die müdgeword‘nen Augen zu.

Languid, slow to the last, His weary eyelids close.

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Wes Kenney, Music Director

2014-2015

Hear the future!

oct 19 | nov 09-10 | nov 22-23 | jan 25-26 | feb 08 mar 08 | may 03-04 | apr 26 | dyao.org or 303.433.2420

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BEIM SCHLAFENGEHEN

TIME TO SLEEP

by Hermann Hesse

Translation by Michael Hamburger

Nun der Tag mich müd gemacht,

Now the day has wearied me,

soll mein sehnliches Verlangen

All my gain and all my longing

freundlich die gestirnte Nacht

Like a weary child’s shall be

wie ein müdes Kind empfangen.

Night whose many stars are thronging.

Hände, laßt von allem Tun

Hands, now leave your work alone;

Stirn, vergiß du alles Denken,

Brow, forget your idle thinking,

Alle meine Sinne nun

All my thoughts, their labor done,

wollen sich in Schlummer senken.

Softly into sleep are sinking.

Und die Seele unbewacht

High the soul will rise in flight,

will in freien Flügen schweben,

Freely gliding, softly swaying,

um im Zauberkreis der Nacht

In the magic realm of night,

tief und tausendfach zu leben.

Deeper laws of life obeying.

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IM ABENDROT

AT DUSK

by Joseph von Eichendorff

Translation by Michael Hamburger

Wir sind durch Not und Freude

Here both in need and gladness

gegangen Hand in Hand;

We wandered hand in hand;

vom Wandern ruhen wir

Now let us pause at last

nun überm stillen Land.

Above the silent land.

Rings sich die Täler neigen,

Dusk comes the vales exploring,

es dunkelt schon die Luft.

The darkling air grows still,

Zwei Lerchen nur noch steigen

Alone two skylarks soaring

nachträumend in den Duft.

In song their dreams fulfill.

Tritt her und laß sie schwirren,

Draw close and leave them singing,

bald ist es Schlafenszeit.

Soon will be time to sleep,

Daß wir uns nicht verirren

How lost our way’s beginning!

in dieser Einsamkeit.

This solitude, how deep.

O weiter, stiller Friede!

O rest so long desired!

So tief im Abendrot.

We sense the night’s soft breath

Wie sind wir wandermüde--

Now we are tired, how tired!

Ist dies etwa der Tod?

Can this perhaps be death?

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Symphony No. 7  (in A Major, 1812) Ludwig van Beethoven  (1770 – 1827) “Applause rose to the point of ecstasy,” wrote one newspaper of a performance of Ludwig Van Beethoven’s Symphony No.  7. This reception was not common for Beethoven’s music, as it was often viewed as too cryptic and progressive for late Classical-era audiences and critics. However, this particular symphony was so

A slow introduction of interweaving wood-

well received that it was performed four

winds, punctuated by chords from the

times in the 10 weeks after its premiere.

strings, opens the symphony. The transi-

The spirited symphony’s four movements

tion to the main part of the first movement

were premiered alongside patriotic pieces

is accomplished by the repetition of a

at a benefit concert for soldiers wounded

single pitch connecting the introduction to

in the Battle of Hanau.

the exposition. The Vivace is dominated by lively dance-like dotted rhythms and

Symphony No. 7 garnered positive at-

sudden dynamic changes.

tention from more than just enthusiastic audiences — German composer Richard

The second movement, the most famous

Wagner regarded it as “the apotheosis of

of the four, is often performed on its own,

the Dance in its highest aspect…the lofti-

and was immediately encored at its pre-

est deed of bodily motion incorporated in

miere; a phenomenon usually unheard of

an ideal world of tone.”

for a slow movement.  33


In the Allegretto, a repeated heartbeat-like

listeners will hear themes from the A and B

rhythmic pattern prevails amidst beautiful

sections return more than once.

melodies passed between the strings and the woodwinds. In the third movement,

The exuberant finale uses rhythmic en-

Beethoven expanded the typical ternary,

ergy to surpass all other climaxes in the

or ABA form, to ABABA. Ternary form is

symphony. Dr. Richard E. Rodda, program

used to describe three parts to a piece of

annotator and professor of music, wrote

music, with the first (A) section very similar

about the final movement, “So intoxicating

to the last (A) section, and a contrasting (B)

is this music that some of Beethoven’s con-

section in between. The expanded ABABA

temporaries were sure he had composed it

form of the third movement means that

in a drunken frenzy.”

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

A FEW RULES • PHONES ON — SOUND OFF! We know you 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

• 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

• Add the hashtag #DPOtweets to your posts so your neighbors can follow along

#DPOTweets @DenverPhilOrch  35


CONCERT ETIQUETT 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 movements to show their joy for the mu-

COUGHING

sic 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

show your appreciation between move-

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.

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ments, we welcome that too. Regardless, we want you to feel comfortable and focus on the performance, not confusing applause rules!

2 0 1 4 – 1 5 T H E S I X T Y- S E V E N T H S E A S O N


E 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

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.

 37


ORCHESTRA SPOTLIG 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 Pauline, Whitney and Albert — PAULINE A. DALLENBACH

Symphony of Words, and authored the

VIOLIN

book Dear Friends. She enjoys writing

FIFTY-FIRST DPO SEASON. In 1928,

and extensive reading which fortifies and

at age 2, Pauline first sang on KPOF

contributes to the ministries of the Pillar of

Radio and continues to participate in

Fire. In 1949, she received her bachelor’s

the station’s broadcasting. Since 1964,

degree in mathematics from Alma White

Pauline and her husband, Dr. Robert

College in New Jersey and her master’s

Dallenbach, have served the orchestra,

degree in communications and theatre in

ranging from recording and broadcasting

1982 from the University of Colorado. Over

DPO concerts to maintaining extensive

82 years of playing the violin, Pauline has

orchestra archives. Dr. Dallenbach was

performed with Westminster Symphony

president for the board for many years

Orchestra, Brown University Orchestra,

and broadcasts our concerts on KPOF

Denver Businessman’s Orchestra, Brico

91AM. Pillar of Fire has provided facilities

Symphony, Centennial Philharmonic

for concerts, rehearsals, storage of the

Orchestra and the Denver Philharmonic

orchestra’s music library, instruments and

Orchestra. Granddaughter of Alma White,

equipment in its beginning in 1948. As

founder of the Pillar of Fire, Pauline is an

a former teacher in K-12 and college,

ordained elder in the Church. She also

Pauline has written numerous school plays

plays piano, organ, and saxophone.

and musical productions, produced the

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HT WHITNEY KELLEY

performances in the Ravinia Summer Music

FLUTE/PICCOLO

Festival, Texas Music Festival, Denver

SECOND DPO SEASON. Whitney

Pops, Jefferson Symphony, and Longmont

received her D.M.A and M.M. in flute

Symphony Orchestras. In addition to the

performance and pedagogy from the

Denver Philharmonic, Whitney performs as

University of Colorado with Christina

flutist in the Airde Ensemble, a woodwind

Jennings, and completed her bachelor’s

sextet based in Boulder. In addition to her

degree of music with Tadeu Coelho at

orchestral and chamber pursuits, Whitney

the University of North Carolina School

currently serves as president of the

of the Arts. Once beginning to play

Colorado Flute Association, staffs teacher

the flute at age 4 through the Suzuki

training with the Suzuki Association of the

Method, music has played an integral

Americas at their headquarters in Boulder,

part throughout Whitney’s life. Acclaimed

and maintains a thriving private studio

for her “considerable technique” by the

across the Denver metro area. Whitney

Winston-Salem Journal, she has appeared

lives outside of Denver with her husband

as soloist in numerous orchestral and

and energetic puppy. She enjoys photog-

recital settings, including guest appear-

raphy, hiking in the Rockies, and cheering

ances with Hollywood film composer

on the Denver Broncos.

Dave Grusin, jazz flutist Nestor Torres, and

 39


ALBERT TING

Dolls, a Stanford Ramshead Production.

VIOLIN

He graduated from Baylor College of

THIRD DPO SEASON. Albert Ting started

Medicine with a PhD in cell biology, then

violin lesson at age 6 in Taiwan and

graduated from UT Southwestern Medical

moved to the U.S. with his family when he

School with a MD and finished a Family

was 9 years old. It was an exciting land of

Medicine Residency in the U.S. Air Force.

opportunities for his whole family. While

Albert has been a family medicine doctor

in high school, Albert was accepted at

for the last 28 years, mostly with Kaiser.

Interlochen Summer Music Camp and

He currently has a special interest in geri-

played in the first violin section of the

atric medicine and mainly treats nursing

World Youth Symphony Orchestra. It

home patients. Outside interests includ-

was truly exciting for him to play under

ing taking apart things including PCs and

conductors such as Aaron Copland and

Macs. His house is littered with carcasses

to accompany Van Cliburn. In college at

of computers unfortunate enough to fall

Stanford University, Albert played in the

into his hands. Albert and his son spent a

Stanford Symphony Orchestra and was

blissful summer together building robots

the first chair of the Stanford Glee Club

from the little Arduino board. His family

orchestra. He graduated from Stanford

also treasured the homeschooling experi-

University with Bachelor Degree in

ence. Albert first joined DPO in 2010 and

Physical Chemistry. During this period,

has immensely enjoyed playing with all

Albert was also the conductor for several

the friendly and energetic folks at DPO.

local church choirs; as well as the assistant

He currently recognized as the best chair

conductor for the musical Guys and

stacker in the orchestra.

PLEASE JOIN US FOR OUR

For additional information and to purchase tickets, visit

CherryCreekChorale.org or call

303 -789 -5920 40

2 0 1 4 – 1 5 T H E S I X T Y- S E V E N T H S E A S O N


WHAT?! I have to share my Baum Cake with the grown-ups? Known as the “tree of life” for its gorgeous, concentric circles, Baumkuchen (“Baum Cake”) originated hundreds of years ago in Germany, made its way to Japan, and landed right here in Denver. Visit Glaze. Meet our one-of-a-kind rotisserie, spit oven. Experience a moment of happiness that goes around and around just like our fabulous cake. Oh, and be sure to get a free sample. We won’t tell Sloane.

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 41


CONTRIBUTIONS We would like to acknowledge the generous support of the following individuals, businesses and corporations.

ORCHESTRA’S CIRCLE

BENEFACTOR

Valerie and Gil Clausen

Lok and Jake Jacobi

($20,000+)

CONDUCTOR’S CIRCLE ($5,000+)

($300 – $499) Russell Klein

CONTRIBUTOR

AIC Ventures, on behalf of Ben Luey

($100 – $299)

SCFD

Sarah Hogan

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

Thomas James Merry Drs. Mark and Maxine Rossman

FRIEND

(UP TO $99)

MUSICIANS’ CIRCLE ($1,000 – $2,499)

Keri Rose Agnes Amazon Smile Foundation McKesson Foundation, matching gift on

PATRON

($500 – $999)

behalf of Janice Burley

IN-KIND SUPPORTERS The Pillar of Fire Church

THANK YOU!

Ligature Creative Group Newberry Brothers Greenhouse and Florist Since January 1, 2014

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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.

 43


IT TAKES A COMMUN 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

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.

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2 0 1 4 – 1 5 T H E S I X T Y- S E V E N T H S E A S O N


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

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

Contribution $ 

Check   or Credit Card   

Name  Address  City, State, Zip Code  Telephone  Credit Card No. 

Email  Exp. 

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

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Denver Philharmonic Orchestra October 3, 2014 Concert Program  

October 3 Revolution! Kornel Thomas, guest conductor Elizabeth Baldwin, soprano Shostakovich: October Strauss: Four Last Songs Beethoven:...

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