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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

201 GarďŹ eld Street | Denver, CO 80206 | 303.322.0443

DEAR FRIENDS, Welcome to this exciting night of music...and more! Here in Denver we are spoiled with so many great options for entertainment, and we are so thankful that you have chosen to spend your night with us. At the Denver Phil, we do things just a tad

players after the concert at our reception

differently from what you may be used to.

on the lower level.

While we ask you to silence your phone, we don’t ask you to put it away. In fact,

Most importantly, however, we want you

we encourage you to tweet along with us

to have a great experience and to come

and to engage with other patrons while

back. Our musicians are extraordinarily

you enjoy the music. We don’t ask you

passionate about performing quality live

to hold your applause until the end of a

music and our volunteers have an equal

piece — if you feel moved by what you’ve

passion for creating a meaningful and

just heard, we welcome you to show your

unique experience. We think this excite-

appreciate to our very talented musicians.

ment will be felt by all that attend. Again,

We also encourage interaction between

thank you very much for joining us tonight

our patrons and our musicians. Please, feel

— and we look forward to meeting you

free to introduce yourself to your favorite

and seeing you over and over again!


Jon Olafson President of the Board, DPO


201 4

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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


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”


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




FRIDAY, NOVEMBER 14, 2014 A TALE OF THREE SYMPHONIES KPOF Concert Hall  ·  Denver, Colorado  ·  7:30 pm

Lawrence Golan, conductor Kimberly Brody, oboe Kenneth Greenwald, bassoon Katherine Thayer, violin Bryan Scafuri, cello Franz Joseph Haydn 1732–1809

Sinfonia concertante in B-flat major for oboe, bassoon, violin, cello and orchestra, Hob. I:105

Allegro Andante Allegro con spirito

Benjamin Britten

Sinfonia da Requiem


Lacrymosa Dies irae Requiem aeternam

∙ 15-MINUTE INTERMISSION ∙ Antonín Dvořák 1841–1904

Symphony No. 8 in G major, Op. 88

Allegro con brio Adagio

Allegretto grazioso – Molto vivace Allegro ma non troppo


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, 1225 Logan Street — just three blocks away! 6

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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 or


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


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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KIMBERLY BRODY OBOE Kimberly Brody was inspired by her mother to begin playing the oboe and was encouraged to continue by her seventh grade art teacher. She grew up in Minnesota and studied with the principal oboist of the Minnesota Orchestra. She graduated with a degree in Oboe Performance from St. Olaf College and then went on to study at Northwestern University. After a summer performing in the American Wind Symphony Orchestra, she moved to Ohio and began studying with John Mack, former principal oboist of the Cleveland Orchestra — her true mentor. While in Ohio, Kim played oboe and English horn with the Youngstown Symphony, Canton Symphony, and Erie Philharmonic. She later returned to Chicago and began a freelance career that encompassed the vast Chicago area from Milwaukee to Valparaiso, Ind., and orchestras including the Northwest Indiana Symphony, Chicago Sinfonietta, Lake Forest Symphony, Music of the Baroque, Ravinia Festival Orchestra, Milwaukee Ballet, Kenosha Symphony, Chicago String Ensemble, and Ars Viva Orchestra. Kim regularly attended the John Mack Oboe Camp in Little Switzerland, N.C., and it’s there that she met her husband, Jim Brody. Kim moved with her children to Boulder in 2001. Since coming to Colorado, Kim has enjoyed performing in the Boulder Bach Festival, Colorado MahlerFest, Boulder Chamber Orchestra, the Colorado Music Festival, the Denver Philharmonic among other ensembles. In addition to performing, Kim also teaches private oboe lessons, works part time in administration for the Colorado Music Festival, and is an avid Colorado Rockies fan!  11

KENNETH GREENWALD BASSOON Kenneth first discovered the bassoon during his freshman year of high school and began studying the instrument with Colorado Symphony bassoonists Jonathan Sherwin and Joanne Goble. At age 5, he began studying violin, and he would later also study piano and flute. Kenneth attended the University of Denver’s Lamont School of Music, earning his bachelor’s and master’s in music performance while studying with Chad Cognata, principal bassoonist with the Colorado Symphony Orchestra. Over the years, Kenneth has performed with many other organizations including the Denver Young Artists Orchestra, the Arapahoe Philharmonic Orchestra, the Colorado Wind Ensemble, the Musica Sacra Chamber Orchestra and the Colorado Symphony Orchestra. He joined the Denver Philharmonic Orchestra as principal bassoonist in 2008.


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KATHERINE THAYER VIOLIN Katherine Thayer has been a freelance violinist in the Denver metropolitan area for 30 years. Along with her Denver Philharmonic Orchestra concertmaster duties, she is concertmaster of the Evergreen Chamber Orchestra. Katherine performs with Inside the Orchestra bringing classical music to elementary and pre-school children. She has been a member of the Colorado Music Festival and Grand Teton Music Festival orchestras for five years each. Katherine was principal second violin and soloist with the former Denver Chamber Orchestra for 12 years under the baton of JoAnne Falletta, and served as concertmaster of the Orchestra of the Archdiocese of Denver under the direction of Horst Buchholz. Prior to moving to Denver, Katherine was an Assistant Professor of violin and Chamber Music at Eastern New Mexico University where she was also violinist of the Raphael Piano Trio. Katherine studied in Europe in master classes of Zino Francescatti, and Christian Ferras. She was a member of the Camerata Lysy, touring Europe and the Phillipines, the Wurttembergishes Kammer Orkestr, and the Mozarteum Orchestra of Salzburg. She returned to the States to earn a master’s of music from Michigan State University, where the Julliard Quartet was in residence. Katherine enjoys playing chamber music with friends and watching her daughter Ayla’s dance performances.


BRYAN SCAFURI CELLO Bryan Scafuri is in his fifth season as the principal cellist of the Denver Philharmonic Orchestra. He received his bachelor’s degree in music performance from Western Michigan University studying with Bruce Uchimura. Continuing his studies at Miami University, Bryan also earned his master’s degree in music performance learning from Pansy Chang. In addition to performing with DPO, he is the principal cellist of the Pueblo Symphony and a member of the Cheyenne Symphony and the Greeley Philharmonic Orchestra. Bryan has also performed with many Front Range orchestras including the Fort Collins Symphony, the Colorado Ballet, the Boulder Philharmonic and the Colorado Springs Philharmonic. Bryan has performed in many master classes for such individuals as Stephen Geber and Hans Jorgen Jensen. He has also taken lessons from such artists as Keith Robinson, Richard Weiss, Silver Ainomae, Thomas Heinrich and Jurgen de Lemos. One of his greatest musical experiences remains performing in a sideby-side concert with the Cleveland Orchestra in 2008 playing Berlioz’s Symphonie Fantastique. Recently, Bryan decided he wasn’t busy enough and went back to school for engineering. He sincerely wants to thank his family and friends for their continued support of his crazy endeavors.


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Music at

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The fully-accredited Department of

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MSU Denver, Department of Music offers the following Degree Programs: • Bachelor of Arts in Music (BA) • Bachelor of Music (BM) in Classical Performance • Bachelor of Music (BM) in Jazz and American Improvised Music • Bachelor of Music (BM) in Composition • Bachelor of Music Education (BME) • Music Minor

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OUR HISTORY 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


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.


MORE THAN Attending a concert with us goes beyond an evening of high-caliber 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 — Holiday Cheer! on Saturday, December 20 at Central Presbyterian Church, 1660 Sherman Street. ANNUAL BAKE SALE & HOLIDAY WINE RECEPTION IMMEDIATELY FOLLOWING CONCERT


Join us in the lobby after the concert for a cup of coffee or a glass of wine from Infinite Monkey Theorem. Meet the soloist, let your sweet tooth support the DPO with our annual home-made bake sale — and have fun!

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

Tickets are going fast! Visit for concert tickets and info on all of our upcoming events. 18

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Lawrence Golan



Katherine Thayer, concertmaster Allison Kim, associate concertmaster Patsy Aronstein
 Carrie Beeder 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 20

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


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


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


Aaron Wille, principal Whitney Kelley Catherine Ricca Lanzano

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Whitney Kelley

Mark Denekas
 Kelli Hirsch Carey Martin


Kimberly Brody, principal
 Loren Meaux, assistant principal
 Alexis Junker


Loren Meaux

Ryan Spencer, principal Arnie Hernandez, acting principal Nick Kenny
 Tyler Van Dam




Shaun Burley, principal
 Jessica Clark
 Claude Wilbur

William Combs, principal
 Wallace Orr


Daniel Morris

Jessica Clark



Ken Greenwald, principal
 Nicholas Lengyel



Steve Bulota, principal


Leigh Townsend

Colin Constance Ross Coons Scott Headley




David Wallace, principal
 Jeanine Branting
 Mary Brauer Robyn Chauvin

Becky Moritzky

PIANO/KEYBOARD Madoka Asari  21



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

Valerie Clausen



LIBRARIAN Callista Medland Alyssa Oland, assistant

DENVER PHILHARMONIC FOUNDATION BOARD Keith Fisher Russell Klein Allison Lausten

CONCERT PROGRAM Ligature Creative Group, design Walker Burns, editing Alixandra Feeley, editing María Angélica Lasso, Spanish translation

CONCERT RECORDING Joel Dallenbach Kyle Smith, advisor

WEBMASTER Ligature Creative Group

EMBEDDED REPORTER Julia Compton Meg Satrom, editor


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

Robert Schoenrock



Lok Jacobi Maureen Keil Katherine Thayer

BOX OFFICE Carla Cody Sarah Hogan Venus Klein Annie Laury Allison Lausten Jon Olafson

FRONT OF HOUSE Gil Clausen Eleanor Glover Maureen Keil Linda Lebsack

VENUE LOGISTICS Taryn Galow Loren Meaux Roger Powell

Jake Romo Ligature Creative Group

PARKING ADVISOR Matt Hogan Hugh Pitcher

MORE THAN MUSIC PARTNERS El Sistema Colorado Glaze Oblio’s Cap Hill Purple Door Coffee Tattered Cover


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


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


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Sinfonia concertante in B-flat major for oboe, bassoon, violin, cello and orchestra, Hob. I:105 Franz Joseph Haydn  (1732 – 1809)

* Run Time: 22 minutes * Four soloists make

The ‘Sinfonia concertante’ that opens this evening’s program is one of a kind. When Haydn first traveled to London, arriving in January 1791, his agreement with the violinist and impresario Johann Peter Salomon was that he would write an opera, six symphonies, and unspecified further works. Haydn would also make concert appearances.

this a multiple concerto, with links to the

The ‘Sinfonia concertante’ appears to have been Salomon’s


idea. In February and March 1792, Haydn’s former student Ignaz

* Watch the interaction among the four soloists: almost like chamber music

Pleyel caused a sensation with a new work for multiple soloists at the rival Professional Concert series. Not to be outdone, Salomon apparently urged Haydn to compose one as well. According to Haydn’s biographer H.C. Robbins Landon, the autograph score indicates that Haydn wrote it at great speed and probably under stressful circumstances. On March 2, 1792, presumably racing to finish the new composition, Haydn wrote to his  25

friend Marianne von Genzinger in Vienna.

do feel it. My eyes suffer the most, and

His letter reflects both anxiety and the toll

I have many sleepless nights, though

that the intense pace of work was taking.

with God’s help I shall overcome it all.

[Pleyel] arrived here with a lot of new

The ‘Sinfonia concertante’ is Haydn’s

compositions, but they had been

sole work for four soloists and orchestra.

composed long ago; he therefore

The unusual quartet of stars presumably

promised to present a new work every

reflects the strengths of players in

evening. As soon as I saw this … I an-

Salomon’s London ensemble. The violin

nounced publicly that I would likewise

part, of course, would have been played

produce 12 different new pieces. In

by Salomon himself; numerous other

order to keep my word, and to support

concertmaster solos in the 12 “London”

poor Salomon, I must be the victim

Symphonies were also intended for him.

and work the whole time. But I really

Only the other three soloists’ surnames


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Tune in to radio station KPOF (AM 910) from 7 – 10 pm on Sunday, November 23 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.



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

have come down to us through con-

has three brief recitatives that interrupt the

temporary press reports: the oboist Mr.


Harrington, the bassoonist Mr. Holmes, and the cellist Mr. Menel. Salomon and

Appealing and memorable themes

his cohorts introduced the new S’’infonia

abound. The elegant Andante has won-

concertante’ at the fourth concert of his

derful pizzicato string accompaniment;

1792 season, on March 7.

orchestral winds play only the most subtle


supportive role, leaving rhythmic and linear intricacy to the quartet of soloists.

The music is a delightful synthesis of

Haydn is at his most playful in the finale,

chamber music and symphony. Haydn

with stops and starts that will keep you

writes wonderfully for his four soloists,

guessing right to the end.

giving each one several moments in the spotlight in each movement. The violin is


first among equals, having a slight edge

Haydn’s score calls for flute, two oboes,

in virtuosity, presumably the composer’s

two bassoons, two horns, timpani, solo

salute to Salomon. This dominance is most

oboe, solo bassoon, solo violin, solo

evident in the finale, where the solo violin

cello, and strings.

IN MEMORIAM MILTON J. LEBSACK (NOV. 11, 1917 – DEC. 15, 2013)

He loved music and he loved the Denver Philharmonic  29


Benjamin Britten received this Western Union cablegram message from his publisher, Ralph Hawkes, on September 22, 1939. The commission was welcome — particularly the generous fee, which turned out to exceed £500 — a princely sum at the time. Gradually details emerged: the commissioning entity was a foreign state that had contacted composers in several other western countries. They asked for a work that would honor a significant milestone anniversary for that country. The country turned out to be Japan, and the event was the 2,600th Anniversary Celebration of the Japanese Emperor’s dynasty. The new work was to be delivered to Tokyo by May 1940.


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

Wes Kenney, Music Director


Hear the future!

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


Clearly the assignment was politically

In retrospect, it seems astounding that the

charged. Hawkes warned Britten, “In the

Japanese authorities accepted Britten’s

event of Great Britain and Japan falling

proposal for the piece. Britten’s outer

out before May 1940, the British Council

movements were somber; the central

could not accept any responsibility and

movement frenetic and at times violent,

with this I quite agree.”

with no celebratory character. Although Britten received his commission fee, the


Japanese committee ultimately decided

Britten was adamant that he would write

his piece was inappropriate for the occa-

“no jingo” — his words to Hawkes — and

sion, citing its failure to express congratu-

proposed instead a Sinfonia da Requiem

lations for the 2,600th anniversary and also

with pacifist overtones. In April 1940, he

observing that it was “purely a religious

wrote to his sister Beth, “It is a Sinfonia da

music of Christian nature.” No Japanese

Requiem, combining my ideas on war &

performance would take place.

a memorial for Mum and Pop.” Britten’s father had died in 1934 and his mother

Their loss was western music’s gain. The

in 1937. This work was a way to honor his

first performance took place in New York

parents’ memory and express his grief. At

at Carnegie Hall on March 30, 1941, with

the same time, he conceived the turbulent

Sir John Barbirolli conducting the New

second movement, a Dies Irae, as an an-

York Philharmonic. Serge Koussevitzky led

ti-war expression.

the Boston Symphony in the work’s Boston premiere in January 1942.


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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

ABOUT THE MUSIC The Sinfonia’s three movements are performed without pause between sections.

and focused, the Sinfonia is a stunning achievement for a composer still in his 20s.

Thus the opening Lacrymosa takes on


the sense of a dark introduction, with its

Britten’s score calls for three flutes (second

powerful timpani strokes suggesting the

doubling piccolo, third doubling alto flute),

sounds of battle as much as they do a

three oboes (two doubling English horns),

funeral procession. The atmosphere is

three clarinets (one doubling E-flat clari-

ominous, hinting at the frenzied Dies Irae

net, one doubling bass clarinet), three bas-

that follows. This whirlwind scherzo feels

soons (two doubling contrabassoon), six

dangerous, almost unhinged, nightmarish.

horns, three trumpets, three trombones,

Only in the concluding Requiem aeternam

tuba, optional alto saxophone, timpani,

do we hear hints of Britten’s characteristic

percussion [xylophone, side drum, whip,

lyricism. In its harmonies and instrumental

tambourine, suspended cymbal, crash

handling, this closing segment looks

cymbals, bass drum, second timpani], two

forward to some of the painfully lovely pas-

harps, piano, and strings.

sages in his opera Peter Grimes. Powerful

14th Ave >

Logan St > < 13th Ave


< Grant St

(1225 Logan) for a late-night happy hourl! Enjoy concert-themed cocktails and beer & wine drink specials. We’ll see you there! CHEERS!


Oblio’s Cap Hill 


Sherman St

After tonight’s concert, join us at


Symphony No. 8 in G major, Op. 88 Antonín Dvořák  (1841 – 1904) After the “New World” Symphony, the G major is the best loved of Dvořák’s large orchestral works. While it shares with the “New World” an intensely Czech flavor and a wealth of melodies, the G major focuses on the transparent and wholesome simplicity of the Bohemian countryside. * Run Time: 34 minutes * The Eighth is Dvořák’s “pastoral” Symphony * Bird calls and a wistful

Part of the symphony’s appeal is the folk-like character of the melodies in all four movements. Another asset is Dvořák’s magnificent, imaginative writing for woodwinds. Virtually every

calm in the Adagio

instrument has its chance for solos. That stated, flute emerges as

suggest the atmo-

first among equals.

sphere of the composer’s country house * Dvořák conducted this symphony at Cambridge when he was awarded an honor-

Most of the sketches for the G major symphony date from August 1889. Dvořák completed the orchestration by early November, and the premiere took place in Prague under the composer’s direction in February 1890.

ary doctorate


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

CHILDLIKE WONDER AND THE APPEAL OF RUSTIC BOHEMIA By allowing Bohemian songs and dance tunes to dominate, Dvořák gave the Eighth Symphony a celebratory, almost childlike spirit that permeates all four movements. The first and final movements both have themes based on a simple G major triad, which helps the consistency of mood. Dvořák relies on variation technique in both movements. The inner two movements provide contrast and emotional depth. The rhapsodic Adagio, with its birdcalls and wistful

character, could be a musical portrait of Vysoká, the composer’s beloved summer home. Dvořák’s biographer Alec Robertson calls this slow movement: . . . completely original from start to finish. It could stand as a miniature tone-poem of Czech village life described by a highly sensitive man. There is a touch of pain in the opening harmonies that becomes pronounced later on. The predominant atmosphere, nevertheless, remains resolutely positive. Czech conductor Rafael Kubelik, rehearsing the finale’s opening fanfare, is said to have remarked to an orchestra, “Gentlemen,



in Bohemia the trumpets never call to battle — they always call to the dance.”

Dvořák scored his Eighth Symphony for

The characteristic, lighthearted rhythms

two flutes (second doubling piccolo); two

invite foot-tapping and bright smiles. Essentially the finale is an introduction (the fanfare), theme and variations, and a coda. What you will remember are the blazing

oboes, two clarinets, two bassoons; four horns, two trumpets, three trombones, tuba, timpani, and strings.

trumpet, the exuberant horn trills, and a spellbinding variation for solo flute.


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

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 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  39

CONCERT ETIQUETT 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 mu-


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


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.


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



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! We’re on Facebook, Twitter and Instagram @denverphilorch #dpotweets

You’re welcome to bring a water bottle into the hall, but remember “Trail Rules” — pack it in, pack it out.

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


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 Madoka, Colin, Nick, Loren, Annastasia, Claude, and Rachel — MADOKA ASARI

and now teaches private piano lessons


and tutors written and aural music theory.

FIRST DPO SEASON. Madoka began her

Making and sharing music is her passion

musical training at Yamaha Music School

and joy. When not making music, Madoka

at age 4, and piano lessons at age 5 in

loves to bake, cook and swim. Since

Japan. She received her bachelor of music

returning to Colorado this summer, she’s

in piano performance from University of

looking forward to utilizing the maximum

Denver master of music in piano perfor-

value of her Rocky Mountain National Park

mance from Indiana University. Madoka

Annual Pass.

played in Lamont Symphony, Lamont Wind Ensemble, IU University Orchestra and


IU Concert Orchestra as a keyboardist.

SECOND DPO SEASON. Colin received

She also performed Beethoven Concerto

a Bachelor’s in Music Education from

No. 1 with Lamont Symphony, Littleton Symphony Orchestra and Philharmonia of Greater Kansas City as a soloist. As a performer, Madoka works as a collaborative

the University of Kansas in 2007 and a Master’s in Music Performance from Colorado State University in 2012. This is his 18th year playing percussion, with

pianist with various instruments including

an emphasis in orchestral style, drum

conductors, and gives recitals as a solo

set, four-mallet keyboard, and steel

pianist. As an educator, she taught music theory and aural skills at Indiana University, 42


drum. Colin has performed with many

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

HT regional orchestras including the Fort

it has helped shape his life. He received

Collins Symphony, Cheyenne Symphony,

his bachelor’s degree in instrumental

Greeley Philharmonic, National Repertory

performance from Manchester University

Orchestra, Pro Musica (Boulder) Chamber

in 2011 and will be soon pursue a mas-

Orchestra, Larimer Chorale, Denver Young

ter’s degree in conducting and music

Artists Orchestra, and San Juan (Durango)

education. Throughout his career, Nick

Symphony. He is actively involved with

has played with many honor bands and

many area high school programs as

professional orchestras, including the

a percussion instructor and private

Manchester Symphony Orchestra, the

lessons teacher. Colin is a proud native

Loveland Symphony Orchestra, and two

of Lawrence, Kan., and in his free time

intercollegiate honor bands. Nick is a full

enjoys traveling throughout the great state

time artist and musician. He spends his

of Colorado. He also spends countless

days working for a visual effects company

hours following football and basketball

called Far Away Creations in Loveland.

and participating in online fantasy sports

He also works with Loveland High School


as their brass technician and has his own


FIRST DPO SEASON. Nick has been playing the trumpet for 15 years and says

trumpet studio. He also volunteers for the National Park Service and does a large amount of charity work across the state. Nick enjoys everything from sports to comic conventions. He likes to hike,  43

ski, play hockey, teach, and be an active

Health by day, Loren has a wonderful wife,

member of the community. He thanks his

Jade, and beautiful 4-year-old boy, Avery,

parents for being supportive of his pursuit

who often come to concerts and who

of a musical career as well as his private

Loren would like to thank for putting up

teachers who have demanded the finest

with him making reeds for his instruments

of Nick from a young age. One of his fa-

all hours of the morning.

vorite quotes is “Music…my life wouldn’t be the same without it.”



THIRD DPO SEASON. Annastasia has



both Bachelor’s and Master’s degrees in


music performance for cello. She obtained

been with the Denver Philharmonic since

her bachelor’s degree at the University of

2001 and is a graduate of the University

Maryland, College Park and her master’s

of Northern Colorado with a bachelor’s

degree at the University of Colorado,

degree in music performance where he

Boulder. She has been studying cello for

studied with Peter Cooper. Loren has

24 years and has played with a wide variety

been playing the Oboe since the fourth

of orchestras — both through school and

grade, which is a rarity as most oboists

as a freelance musician. In addition to

start on clarinet or flute then move over to

the Denver Philharmonic, she currently

oboe later. An IT professional for Denver

also plays full time with the Boulder

2014/2015 Concert Season Friday, October 17, 2014 | 7:30 pm Mahan and the “Emperor”

Friday, February 13, 2015 | 7:30 pm

Katie Mahan, Piano

Hsing-Av Hsu, Piano

Saturday, November 15, 2014 | 2:30 pm

Friday, March 27, 2015 | 7:30 pm

Rachmaninoff to Ragtime

(FREE Children’s Caoncert)

Haydn Go Seek with The Orchestra! Madison Oh, Piano

Friday, December 12, 2014 | 7:30 pm

Classics, Choirs & Holiday Cheer Simon Su, Piano & Young Voices of Colorado

Tchaikovsky in Spring Kevin Ahfat, Piano

Friday, May 15, 2015 | 7:30 pm An American in Paris Lori Sims, Piano

to purchase tickets: Visit, call 303-933-6824, or email


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

Symphony and is a substitute cellist with

drunk with the district attorney. Claude

the Fort Collins and Cheyenne Symphony

makes his living as a software engineer.

Orchestras. She works as an accounts-payable assistant at an oil and gas company.






studying piano at age 5, cello at age 9, guitar at 15, and in her free time, she has

has played with Denver Concert Band,

enjoyed singing and songwriting for sev-

Colorado Wind Ensemble, Denver

eral years. She has played with Thames

Municipal Band, Colorado Springs

Valley Youth Orchestra in Connecticut,

Symphony, Fort Collins Symphony,

and the Rhode Island Philharmonic youth

Cheyenne Symphony, Boulder

orchestra when she was in high school.

Philharmonic, Boulder Ballet, Fort Collins

She has performed three solo recitals,

Ballet and various small ensembles. He

and since college, she’s played regularly

holds a bachelor’s degree from Chapman

with worship bands for churches and

College, a master’s degree in music from

get-togethers. Rachel has her associate’s

Michigan State University and has done

degree in theology from Calvary Chapel

post-graduate work at UCD. He studied

Bible College in Murrieta, Calif., works as

Chinese with a language immersion

a nanny and at Starbucks, and plays cello

program at Three Gorges University and

for Pilgrim City Church on Sundays.

on his first visit to KaiXian, China, he got


For additional information and to purchase tickets, visit or call

303 -789 -5920  45

Since January 1, 2014

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



($300 – $499)

Lok and Jake Jacobi

Valerie and Gil Clausen

Russell Klein




John D. Faught

AIC Ventures, on behalf of Ben Luey

Sarah Hogan


Thomas James Merry

Linda M. Lebsack & Hugh R. Pitcher

Kathleen Porter

CONCERTMASTER’S CIRCLE  ($2,500 – $4,999) MUSICIANS’ CIRCLE ($1,000 – $2,499)


($100 – $299)

Drs. Mark and Maxine Rossman Robert J. Smith


(UP TO $99)

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

($500 – $999)

behalf of Janice Burley

IN-KIND SUPPORTERS The Pillar of Fire Church


Ligature Creative Group Newberry Brothers Greenhouse and Florist 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

PUBLIC SUPPORT THE SCIENTIFIC & CULTURAL FACILITIES DISTRICT The Scientific and Cultural Facilities District (SCFD) is metro Denverâ&#x20AC;&#x2122;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


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


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



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.


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 and click on the DONATE link.

Contribution  $ 

Check    or  Credit Card   

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

Email  Exp. 


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


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

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Denver Philharmonic Orchestra November 14, 2014 Concert Program  

November 14 A Tale of Three Symphonies Lawrence Golan, conductor Kimberly Brody, oboe Kenneth Greenwald, bassoon Katherine Thayer, violin Br...

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