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Wes Kenney, guest conductor Peter Sommer, 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”

201 GarďŹ eld Street | Denver, CO 80206 | 303.322.0443

DEAR FRIENDS, photo by Jamie Cotten

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 differently from what you may be used to. While we ask you to silence your phone, we don’t ask you to put it away. In fact, we encourage you to From Martin Luther

tweet along with us and to engage with other patrons while

to Martin Luther King,

you enjoy the music. We don’t ask you to hold your applause

Jr., tonight’s concert

until the end of a piece — if you feel moved by what you’ve just

honors people that have

heard, we welcome you to show your appreciation to our very

changed the face of our world.

talented musicians. We also encourage interaction between our patrons and our musicians. Please, feel free to introduce yourself to your favorite players after the concert at our reception on the lower level. Most importantly, we want you to have a great experience and to come back. Our musicians are extraordinarily passionate about performing quality live music and our volunteers have an equal passion for creating a meaningful and unique experience. We think this excitement will be felt by all that attend. Again, thank you very much for joining us tonight — and we look forward to meeting you and seeing you over and over again!


Jon Olafson President of the Board, DPO  3

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 Deck the Hall Anderson: Sleigh Ride Tormé & Wells: The Christmas Song Adam: Oh Holy Night Stephenson: A Holly Jolly Sing-Along!


Lawrence Golan, Conductor Jeffrey LaDeur, Piano Tchaikovsky: Symphony No. 1 “Winter Reveries” Tchaikovsky: Piano Concerto No. 1


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 Fei-Fei Dong, 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, APRIL 3, 2015 REFORMATIONS KPOF Hall  ·  Denver, Colorado  ·  7:30 pm

Wes Kenney, guest conductor Peter Sommer, saxophone Johann Sebastian Bach Leopold Stokowski

Toccata and Fugue in D minor

(1685 – 1750)  (1882 – 1977)

Duke Ellington & Three Black Kings
 Mercer Ellington 1. King of the Magi (1899 – 1974)  (1919 – 1996) 2. King Solomon

3. Martin Luther King featuring Peter Sommer John Williams “Escapades” from Catch Me if You Can
 b. 1932 1. Closing in 2. Reflections 3. Joy Ride featuring Peter Sommer ∙ 15-MINUTE INTERMISSION ∙ Felix Mendelssohn (1809 – 1847)

Symphony No. 5, Op. 107 “Reformation”


I. Andante — Allegro con fuoco II. Allegro vivace III. Andante IV. Andante con moto — Allegro maestoso

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


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 Wilmington Get out your phone and

Community Orchestra in Delaware, Center City Opera Theater

tweet along with me

in Pennsylvania, Cleveland Pops Orchestra in Ohio, and Newark

@denverphilorch! Ask

Symphony Orchestra in Delaware, where he directed their inau-

questions and learn

gural Family Series in 2010.

more about the music — in real time. Tag your posts with #dpotweets

Founder of the Reading Orchestra of North Wilmington,

to join the conversation.

Samuel received his undergraduate degree in music in percussion/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 Kiev Chamber Orchestra and 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.

THANK YOU, KOLACNY MUSIC for providing the instruments for our Petting Zoo. 10

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WES KENNEY GUEST CONDUCTOR The 2007 Grand Prize Winner of the Varna International Conducting Competition in Bulgaria, Wes is now in his 12th season as music director of the Fort Collins Symphony and director of orchestras at Colorado State University. Named as music director of Opera Fort Collins in 2004, he conducts three professional operatic productions as well as orchestra and dance performances throughout northern Colorado each year. In 2013, he became the music director of the Denver Young Artist Orchestra and toured Europe with them last summer. Named Educator of the Year by the Colorado Chapter of the American String Teachers Association in 2008, Wes enjoys working with talented young people in his positions at Colorado State University and with Denver Young Artist Orchestra. This past summer he was a guest lecturer at the Conductor’s Institute held at Bard College in upstate New York, teaching alongside founder Harold Farberman and American Symphony Orchestra Music Director Leon Botstein. Wes is a past president of the Conductors Guild, a 2000-member service organization to the conducting profession, and he serves on the Guild’s advisory board. He’s a graduate of the University of Southern California and San Francisco State University. Additional studies include three years as a fellow at the Conductors Institute, several American Symphony Orchestra League and Conductors Guild Workshops, and the Sandpoint Festival.


PETER SOMMER SAXOPHONE Since establishing himself among the Denver area’s elite jazz musicians, Peter has contributed his energetic tenor playing and creative spirit to a wide variety of musical projects ranging from mainstream bebop to avant garde and beyond at venues across the nation and around the world. Although rooted in the great jazz tradition of his heroes Duke Ellington, Thelonious Monk, John Coltrane and Ornette Coleman, he continues to search for the mystery in music making and takes great joy in sharing the present moment with the listener. Peter is a regular member of the Ken Walker Sextet, Ninth and Lincoln, the Wil Swindler Elevenet, the Fred Hess Big Band, the Colorado Jazz Orchestra, the New Third Stream Saxophone Quartet and is an honorary member of the Russian Dragon Band. He also performs often as a soloist, in duo with Art Lande, and as a leader of his own quartet. Peter has performed with the Dallas Symphony Orchestra, the Colorado Symphony Orchestra and the Colorado Music Festival Orchestra. He was a featured jazz soloist at North American Saxophone Alliance Regional and Biennial Conferences, and has performed at IAJE International Conferences in Anaheim and Toronto, Canada, and at World Saxophone Congresses in Spain, Thailand and Scotland. Peter’s Associate Professor of Jazz Studies and Saxophone at Colorado State University in Fort Collins. At CSU, he directs Jazz Ensemble I and coordinates the Jazz Studies area.


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


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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OUR HISTORY We may be one of Denver’s oldest orchestras, but we certainly don’t act our age. Dr. Antonia Brico, the first woman to con-

change came in 2004, and we became

duct the Berlin and New York Philharmonic

the Denver Philharmonic Orchestra. Horst

Orchestras, founded our organization

served as music director and conductor

in 1948 as the Denver Businessmen’s

through 2009, after which he was appoint-

Orchestra. Antonia settled in Denver

ed the orchestra’s first Conductor Laureate.

after conducting professional orchestras across Europe and the U.S. She debuted

Adam Flatt came onboard as music

our orchestra to a packed auditorium

director in June 2010. Adam’s dynamic

explaining the need for a classical music

and inspiring leadership over the next

venue to showcase the talents of local,

three years continued Horst’s legacy and

classically trained musicians “with no place

further increased the artistic quality of the

to play.” Twenty years later, we’d be known


as the Brico Symphony, and Antonia would remain at the helm of the orchestra until

We selected award-winning conductor

her retirement in the mid-1980s.

Dr. Lawrence Golan as our conductor and music director when Adam left in 2013.

After nearly 40 years under Antonia’s

Lawrence, a professor and music director

baton, the orchestra chose Russian-

at the University of Denver’s Lamont

American conductor Julius Glaihengauz

School of Music, continues to produce

as its second music director. A graduate of

innovative and quality programming,

the Tchaikovsky Conservatory in Moscow,

challenging our musicians and delighting

Julius led the newly renamed Centennial

our audiences.

Philharmonic for 11 seasons. And while we have a 67-year history in In 1999, Professor of Music at the

Denver, our mission is to continually rede-

University of Denver Dr. Horst Buchholz

fine the way our community experiences

took the baton. Our most recent name

and engages with classical music.  15

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 — Reformations on Thursday, May 21 at KPOF Hall. FOOD TRUCK TAILGATE, 5:30–7:15PM


Back by popular demand—our symphony tailgate! Starting at 5:30pm in the parking lot on the south side of KPOF, enjoy food trucks Rolling Smoke BBQ, Mikes2Kitchen and BaNOM-a-NOM. Sorry friends, no booze at this family-friendly tailgate!

Ladies and gentlemen, please fasten your seat belts and prepare for take off at our paper airplane runway. The farthest flight could win a pair of 2015–16 season tickets!

PRE-CONCERT CHAT, 6:30PM Join us for an informal pre-concert chat about the music you’ll be hearing hosted by DPO Associate Conductor Samuel Fuhrman. Sam will give you insights into the music and music-makers you’ll be listening to.

TRAINS! Check out DPO Timpanist Steve Bulota’s 1950s American Flyer complete freight train set — from a smoking steam engine to the caboose!

AUTOMOBILES! Take a selfie or a test drive with the all-electric award-winning Tesla Model S before the concert. These amazing automobiles come with an “Insane Mode” button!

Visit for concert tickets and info on all of our upcoming events. 16

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Lawrence Golan



Katherine Thayer, concertmaster Patsy Aronstein
 Rachel Bradford 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 Niccolo Werner Casewit Valerie Clausen Pauline Dallenbach Terri Gonzales Miki Heine Annie Laury Callista Medland Alyssa Oland Anne Silvas Albert Ting

William Hinkie III, principal
 Naomi Croghan
 Lori Hanson
 Ben Luey
 Elizabeth O’Brien
 Vineet Sathe Kathleen Torkko Chue Vue

CELLO Bryan Scafuri, principal Naftari Burns Ausra Mollerud Monica Sáles Amanda Thall Rachel Warbelow Rachel Yanovitch Tara Yoder

BASS Mark Stefaniw, principal Zach Antonio Lucy Bauer Josh Filley Taryn Galow Colton Kelly


Aaron Wille, principal Catherine Ricca Lanzano, acting principal Starla Doyal Whitney Kelley

PICCOLO Whitney Kelley 18

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Kimberly Brody, principal
 Loren Meaux, assistant principal
 Alexis Junker


CLARINET Shaun Burley, principal Jessica Clark, acting principal Emilie Helms Claude Wilbur




Ken Greenwald, principal
 Nicholas Lengyel


FRENCH HORN David Wallace, principal Jeanine Branting Mary Brauer Robyn Chauvin Kelli Hirsch Carey Martin


Ryan Spencer, principal
 Nick Kenny Michael Shobe Matthew M. Smith
 Tyler Van Dam

TROMBONE William Combs, principal Bryan Gannon Trevor Moore



Darren DeLaup Chris Krueger


Steve Bulota, principal

PERCUSSION Colin Constance Ross Coons Justin Elks Scott Headly


Becky Moritzky, principal Jenilee Elsbernd

KEYBOARD Margo Hanschke




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

Ligature Creative Group, design Walker Burns, editing Alixandra Feeley, editing Callista Medland, editing

CONCERT NOTES Leigh Townsend

CONCERT RECORDING Joel Dallenbach Kyle Smith, advisor

DENVER PHILHARMONIC FOUNDATION BOARD Keith Fisher Russell Klein Allison Lausten




STAGE MANAGERS Taryn Galow Loren Meaux



Ligature Creative Group

EMBEDDED REPORTER Julia Compton Meg Satrom, editor


Niccolo Casewit Dr. Robert Dallenbach Stephanie Gillman, photographer Eleanor Glover Matt Meier Jeff Paul David Sherman

OUTREACH Lok Jacobi Maureen Keil Katherine Thayer

Callista Medland Alyssa Oland, assistant


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


PRE-CONCERT SLIDES Gil Clausen Jake Romo Ligature Creative Group

PARKING ADVISORS Matt Hogan Hugh Pitcher

Gil Clausen Eleanor Glover Maureen Keil Russell Klein María Angélica Lasso, Spanish translation Linda Lebsack Ali McNally



Susan Cochran, lead seamstress Ute Duvenhage Marty Martinez With thanks to Xcel Energy

Gil Clausen Allison Lausten Robert Schoenrock

Dazzle Jazz Kolacny Music Oblio’s Cap Hill


VENUE LOGISTICS Brian McGuire Roger Powell

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


Music at

MSU Denver

The fully-accredited Department of

Music at Metropolitan State University of Denver serves as a leader in the education of professional performers, teachers, composers, and scholars. Our location in vibrant Downtown Denver places MSU Denver’s emerging student musicians in the heart of the city’s rich and diverse cultural district. The King Center features state-ofthe-art performance venues which host our 200+ concerts per year. Our internationally-recognized faculty are among the finest performers, scholars, and educators in the nation. We offer an innovative curriculum, vast performing opportunities on and off campus, music scholarships, and the best higher education value in Colorado.

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

2015 Audition Days: January 10 | April 4 | August 8 To schedule an audition please call 303-556-3180 or visit 22

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Toccata and Fugue in D minor 1708 J.S. Bach/ Leopold Stokowski  (1685 – 1750)  (1882 – 1977) Transcribing old music for modern instruments and modern audiences is essential for keeping classical music alive. From obscurity to Fantasia, the Toccata and Fugue in D minor is a splendid showpiece of orchestral potential.

WHAT’S A TOCCATA? WHAT’S A FUGUE? Like peanut butter and jelly, the toccata and fugue of the late * Run time: 9 minutes

baroque period made a satisfying (and sticky) pair. The toccata

* Bach had 20 children.

was traditionally a fantasy in the style of a cadenza; a virtuosic

One of them was Mozart’s music teacher!

flourish of technical and chromatic brilliance. A bright and tangy


marmalade, if you will. The fugue was

he calls for a very large orchestra with

grounded, predictable, and seamless. A

extended instrument ranges across the

nice smooth and creamy peanut butter to

winds and brass:

hold the parts together. Two flutes plus two piccolos; three oboes The Toccata and Fugue in D minor, BWV

plus English horn; three clarinets plus

565, was originally composed for organ

bass clarinet; 3 bassoons plus contra-

sometime before 1708, written when Bach

bassoon; six horns; three trumpets; four

was younger than 20 years old, although

trombones; one tuba; timpani; two harps;

it was never published in his lifetime. Fast

celeste; strings.

forward over 100 years later, and thanks to performances of the work by Felix

Bernard Herrmann once wrote: “We

Mendelssohn, the Toccata and Fugue

admit that Bach never heard the Toccata

in D minor was published in 1833 and is

and Fugue in D minor in the way that

now one of the most recognizably famous

Stokowski has realized it but Bach must

works in the organ repertoire.

have had that kind of sound in his mind. He certainly did not have the sound


of some baroque church organ with a

The now standard orchestral arrangement

couple of tired little boys trying to pump

by Leopold Stokowski of the Philadelphia

air in at the back — but rather he must

Orchestra was made famous in the 1940

have imagined a great cosmic sound and

Disney film Fantasia. Stokowski’s orchestra-

Stokowski’s transcription is a metamor-

tion went beyond a simple transcription;

phosis of that sound.”

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


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Linda M. Lebsack Books (out-of-print, rare, unusual, locally published)

Specializing in Colorado & the West, Architecture, American Art & Artists, Photography, Railroading, General subjects, Postcards and Paper Ephemera Local History a specialty

7030 E. 46th Ave. Dr. Unit H - Denver (near I-70 and Quebec) Open Monday, Tuesday, Friday & Saturday noon - 6 p.m. Other times by appointment or chance. Free printed catalogues and E-Mail lists of interesting new arrivals. Send a postcard, call or email to get on the mailing list. 303-832-7190




Need Sheet Music?

Used & Out of Print in very good condition! All instruments & thousands of songs Shop TJ’s Music in the Broadway Book Mall 200 S. Broadway, Denver Tuesday - Saturday 10 a.m. - 6 p.m. Sunday 11 a.m. - 5 p.m. & Monday 2-6 p.m. 303-744-2665



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Three Black Kings Duke Ellington, Mercer Ellington

(1899 – 1974)

(1919 – 1996)

A master beyond the big band, Duke Ellington originally sketched Three Black Kings as a ballet. The orchestrated version on this program paints a vibrant and joyful picture through sounds. Three Black Kings was the last major work written by Duke Ellington. As he lay dying in his hospital bed in 1974, he gave * Run time: 15 minutes

his son, Mercer, final instructions on how it was to be complet-

* Duke Ellington played

ed and orchestrated.

the El Patio Ballroom at Lakeside Park in Denver in 1942

The first movement with its African rhythmic motifs depicts Balthazar, the Black king of the Nativity. The wistful and lush strings are interrupted in a rhythmic punctuation that will remind listeners of a Stravinsky ballet. The second movement is concerned with Solomon, King of Israel. The mysterious opening bars give way to a lonely violin solo, followed by other lone instruments before settling into a typical Ellington ballroom dance feel. The third movement celebrates Martin Luther King, Jr. with a warm and comfortable feeling. The solo clarinet, capable of sounding so sorrowful, is instead celebratory. The civil rights activist was Ellington’s good friend; his inspiring triumphs are memorialized in the uplifting and bluesy finale. From: “About Three Black Kings.” Alvin Ailey American Dance Theatre website.


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


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“Escapades” from Catch Me If You Can John Williams  b. 1932 Catch Me If You Can is set in a nostalgically tinged version of the 1960s. Williams’ music was written as an impressionistic postcard of the progressive jazz movement, which was so popular at that time.

THE PLOT “Escapades” was composed by John Williams for the movie * Run time: 15 minutes

Catch Me If You Can in 2002. It was based on the true story

* Catch Me If You Can

of Frank Abagnale Jr., who drops out of school and within a

was the 20th collaboration between composer John Williams and director Steven Spielberg.

few years poses as an airline pilot, a doctor and a lawyer, and passes millions in bad checks before being jailed through the persistent pursuit of the FBI agent Carl Hanratty.

SAX 101 The saxophone was named after the Belgian instrument maker Adolphe Sax, who invented it in about 1840 and had it patented in 1846. Whether as a solo instrument or as part of the orchestra, it seldom appears in traditional concert halls, other


For additional information and to purchase tickets, visit or call

303 -789 -5920  29

than in a wind ensemble. Nonetheless,

motifs with an interval of a 3rd. The

before the instrument found its true

light-hearted and slinky music relates to

home — the world of jazz — it was to be

the often humorous sleuthing; the FBI

heard in classical music. Its first promi-

always one step behind Frank. The addi-

nent appearance was in Bizet’s incidental

tion of finger snapping and hissing from

music to Daudet’s “L’Arlésienne” in 1872,

the members of the orchestra give this

yet it failed to become an established

movement a touch of mystery.

member of the orchestra. There are, however, countless chamber works which

Reflections is the title of the second

include the saxophone and many concer-

movement. It is a slow movement with

tos for saxophone and orchestra.

lyrical solo lines from the saxophone, supported by the quiet strings and


interjections from the marimba. It

“Escapades” is considered as a concerto

refers to the fragile relationships of the

for alto saxophone and orchestra. It

Abagnale’s broken family.

bridges the worlds of film and concert music. It was written in three movements:

The third movement is titled Joy Ride, and it is! A playful and mischievous

The first movement is titled Closing In.

theme accompanies Frank’s wild flights

It consists of fast repetitions of triplet

of fantasy that took him around the world before the law finally reined him in.


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Symphony No. 5 “Reformation” Felix Mendelssohn  (1809 – 1847) Only performed once in his lifetime, Mendelssohn’s “Reformation” Symphony is as close to programmatic as any of his works get. Chorale tunes and snippets abound in this soaring and subtle symphony.

MENDELSSOHN: THE MIDDLEMAN Friedrich Nietzsche described Felix Mendelssohn as a * Run time: 27 minutes

Zwischenfall, or that which falls between. He was speaking

* Composer factoid:

about his place in time, between the musical giants of

Mendelssohn deeply disliked this symphony; he declared he would

Beethoven and Wagner. But it can also describe Mendelssohn the man. He is well known as the 19th century’s most famous

rather burn it than see

Jewish composer, and also as one of the most profoundly

it published.

Christian ones. Born Jewish and baptized Protestant at age 7, he lived somewhere between the two ideas. As an artist, he waffled between conservative and progressive. Hector Berlioz described Mendelssohn as “an admirable boy; his skill as a performer is as great as his musical genius, and that’s really saying a lot.” It seems, however, that posterity has trouble accepting the happiness of Felix. Should not a real Romantic be poor, ill, unhappy, and misunderstood? Wagner, the anti-Semite, never forgave Mendelssohn his Jewish roots; Debussy saw him as an “elegant and facile notary;” and for many musicologists he was but a pale and vapid representative of musical Romanticism. Felix was a middleman, a man who fell between.

REFORMATION AND RECEPTION Composed in 1830, Mendelssohn’s fifth symphony, the Reformation, was actually the composer’s second in the order of composition (aside from the 12-string symphonies written


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between the ages of 12 and 14). It was

Reformation, and although he never pub-

originally intended as a commission for

lished the work, the name stuck.

the 300-year anniversary of the Augsburg Confession of 1530, the principal de-

Mendelssohn only published two sym-

mands of the Reformation written by

phonies in his lifetime. Perhaps he was

Melanchthon and Luther and presented

too busy performing, perhaps he could

to Emperor Charles V. Mendelssohn,

not commit to formalizing his completed

who had converted to Protestantism in

pieces, or more likely — perhaps he was

1816, gave the work the provisional title

too filled with anxiety to follow on the


heels of Beethoven’s Ninth Symphony.

motion, the key of D minor is firmly es-

This symphony was originally conceived

tablished, reversing the Classical expec-

following Mendelssohn’s success with a

tations of introduction in minor keys and

set of concert overtures, however, the

body in major.

more Classical styling and approach to the subject gave both musicians and

The second movement, entitled Allegro

audiences pause. The piece never even

vivace, is a fleeting scherzo somewhere

made it out of rehearsals in Paris, where it

between a march and a dance, that

was supposed to be premiered.

appears to break with the solemn character of the work; and yet, the “Dresden Amen” appears once again in fragments.

Mendelssohn’s sister Fanny was clearly dissatisfied with the work, calling it “the beast” — a view her brother ultimately

The very brief third movement, marked

came to share when he described it as

Andante, is a mournful, nostalgic lament

“a fat, bristly animal; an effective cure

for strings which leads directly into the

for a weak stomach.” Ten years later, he

finale, an Andante con moto based on

reaffirmed his negative opinion of the

the Lutheran hymn Ein’ feste Burg ist

work, calling it “a complete misfit.” He

unser Gott. Like the opening movement,

explicitly denied publication of the work.

the hymn tune is delicately played only

Mendelssohn’s friend Julius Rietz and his

by the woodwinds, adding in more and

son Paul eventually had it published after

more instruments with each statement for

the composer’s death in 1868.

an organ-like effect. The chorale sounds develop in to a fugue-like section which


breaks like waves before the entire cho-

The symphony opens with a slow intro-

rale melody returns as a cantus firmus in

duction in D major, focusing on the wood-

the trombones. Mendelssohn’s frequent

winds after the brief awakening section.

use of counterpoint and fugato passages,

A declamatory fanfare introduces the

in combination with direct references

first statement of the “Dresden Amen,” a

of chorale melodies, lends the work its

nod towards Luther. Full of contrapuntal

dignified, solemn character.


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  35

CONCERT ETIQUETT If you are attending your first (or 300th) 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’s fine. If you want to respectfully show


your appreciation between movements,

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


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



The rumors are true — we’re pretty

Feel free to tweet, post to Facebook or

informal. But we do ask that you sit tight

take photos without flash. Upload your

and quiet during the performance and

pics and comments online — and be sure

only get up between pieces or during in-

to tag us! We’re on Facebook, Twitter and

termission as to not distract the musicians

Instagram @denverphilorch #dpotweets

or concert-goers around you.


HAVE FUN! Rules, rules, rules — we know, it can be

You’re welcome to bring a water bottle

overwhelming. The most important rule of

into the hall, but remember “Trail Rules”

all is to have fun and enjoy yourself. And

— pack it in, pack it out. (This goes for

then tell all your friends and come back

trash too!)

again and again!

ELECTRONICS Please turn the sound off on your cell phones, pagers, and any other noisemaking device, including vibrate mode.


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 Patsy, Niccolo, William, William, Yiran and Rachel— PATSY ARONSTEIN

has been a member of Friends of Chamber


Music’s Board and served as President

FOURTH DPO SEASON. Patsy started vio-

of the Board for the past three years.

lin lessons in fourth grade and has played

She is an avid tennis player, skier and

ever since — well, you can try to do the

enjoys traveling. Patsy also enjoys playing

math. As a young adult, Patsy studied with

chamber music with friends and is partial

Harold Wippler here in Denver, played in

to the repertoire for piano trio. Patsy and

the Colorado Springs Symphony when she

her husband, Jim, have three sons — Will,

was a student at Colorado College and

Tyler and Reid — and a handsome golden

later joined the Arapahoe Philharmonic

retriever, Champ. She’s a true Francophile

where she played for 27 years. Patsy

right down to the violin and bow that she

received her B.A. in French from Colorado

is playing with tonight!

College in 1980 and a Master’s degree in


French Literature from the University of Colorado in 1985. Now retired, she taught


high school French at Colorado Academy


for the majority of her career, but spent

“Nico” Casewit starting playing the violin

several years teaching at the University of

at Denver’s Barmum Elementary School

Denver and the University of Colorado as

when he was 9 years old. He was co-princi-

an adjunct professor and teaching assis-

pal second violinist of the MIT symphony,

tant respectively. The past 10 years, she

and received his Master of Architecture


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 degree from MIT in 1987. Niccolo

Nico recently composed original “folk�

served as concertmaster of the Eichwald

music for the documentary film A

Gymnasium Orchester in Germany and as

Beautiful Equation, a film directed and

a principal violinist with the New World

produced by Boulder filmmaker Robin

Orchestra, also in Germany.

Truesdale. The film documents the creation and performance of a theater piece

Niccolo plays in the second violin section

highlighting the humanistic stories from

and this year marks his 17th season with

the lives of the scientists Albert Einstein

the Denver Philharmonic. He has per-

and Neils Bohr as told by eight grand-

formed with a number of other chamber

mothers; the theater piece was written

groups, Denver bands, and ensembles

and directed by Len Barron. The film is

playing in a variety of musical styles includ-

scheduled for a Fall 2014 release and will

ing alternative, rock, and jazz.

be shown at film festivals.

Learn more about upcoming events from local, community-based organizations at! The Scen3 features the events and performances of SCFD-funded Tier III organizations.  39

Niccolo’s day job is an architect and plan-

of his classical playing, William has been

ner and owns an architectural consultancy

featured as the “brass bass” for the stage

specializing in historic preservation, mixed

show, “Dancing at the Crossroads.”

use and education projects. Niccolo is a past member of the board of the Denver

When his work is something other than

Philharmonic Orchestra, and currently

playing trombone, it is usually based

volunteers as administrator of the DPO’s

around teaching and arranging. Both of

Facebook page.

those pursuits are a love of his life. William feels that nothing is better than the joy in

Niccolo enjoys skiing, hiking and climbing

leading a student to a new place in their

the Flatirons above Boulder. He hopes to

musicianship or the creation of a new

start painting landscapes with watercolors

piece of music.

as he did at a young age hiking with his late father Curtis W. Casewit who was

Definitely a foodie and a cook, one of his

the widely published travel journalist and

favorite things about moving to Denver


has been finding all of the little home run restaurants and trying new foods and


dishes. William also enjoy driving through


the mountains and spending time at home

FIRST DPO SEASON. William has been

with his family.

playing trombone for 15 years. He


received his Performance Certificate in Trombone from the University of Denver


in 2014, his Master’s of Music in Trombone

EIGHTH DPO SEASON. William’s been

Performance in 2013, also from the

playing music since the age of 9 when he

University of Denver and his Bachelor’s

started violin in his public school music

of Music in Trombone Performance

program in Louisiana. He has played with

and Music Education from Texas Tech

the Baton Rouge Symphony, the Akron

University in 2011.

Symphony, the Shreveport Symphony, the Boulder Symphony, the Colorado

In addition to alto and tenor trombone,

Springs Philharmonic, the Colorado Ballet

he also play the didgeridoo. William has

orchestra and was assistant principal

performed with the Lubbock Symphony,

viola of the Aspen Festival Orchestra. He

Denver Municipal Band, Colorado Wind

received his Bachelor in Music Education

Ensemble, Metropolitan Jazz Orchestra,

and Violin Performance from Louisiana

and the Denver Brass in addition to the

State University, a Master of Music in Viola

Denver Philharmonic Orchestra. On top

Performance from the Cleveland Institute


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

of Music and a Doctor of Musical Arts from

Duality Duet. Together, they perform for all

the University of Minnesota. Dr. Hinkie cur-

kinds of special occasions, which includes

rently teaches at the Denver World Music

everything from weddings to Solheim Cup

Studio and at Miller Music in Longmont.

opening and closing ceremonies. And she


has a kitty!



THIRD DPO SEASON. Since she starting


playing the violin at age 3, Yiran took

FIRST DPO SEASON. Rachel has been

violin as her major in middle school and

playing the cello since she was 5 years old.

has played with symphony orchestras

She received her Bachelor of Science in

and philharmonic orchestras in China.

Cello Performance and Journalism from

She is working on her Master’s of Music

Indiana University in 2007 and her Master

degree at University of Denver Lamont

of Curriculum and Instruction from the

Music School and is the violin graduate

University of Nevada Las Vegas in 2009.

teaching assistant. Yiran teaches private violin lessons and has a classical duet with

Rachel is a Ruby on Rails Instructor at

her boyfriend Travis Rollins called The

Turing School of Software and Design.


Oblio’s Cap Hill 

14th Ave >

Logan St > < 13th Ave


Sherman St


(1225 Logan) for a late-night happy hour with drink specials! We’ll see you there! CHEERS!

< Grant St

After tonight’s concert, join us at


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



($300 – $499)

Patsy & Jim Aronstein

Valerie & Gil Clausen


Helen Bauer CoBank on behalf of Brian Lucius Susan Cochran Eleanor Glover

AIC Ventures on behalf of Ben Luey

Sarah Hogan


Lok & Jake Jacobi

Linda M. Lebsack & Hugh R. Pitcher

Lisa Peloso & Vik Patel




($100 – $299)

Anonymous Anonymous Keri Rose Agnes Penny Alles

($1,000 – $2,499)

Donna & Pierre Bastien

Xcel Energy

Mary Brauer Adrienne Fasse


($500 – $999)

Brownstein Hyatt Farber Shreck on behalf of Tenley Oldak Colorado Gives Day “Luck of the Draw” Russell Klein Donald Walls

John D. Faught Robert Green Allan & Carol Hanson Horns Rock Matt & Allison Lausten Brian Lucius Callista and Patrick Medland Douglas & Mary Meeusen Thomas James Merry


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

Judy Morton

Robert and Pauline Dallenbach

Tenley Mueller

AJ & Heidi Deets

Jon Olafson

Amaryllis Fletcher

Alyssa Oland

Terri Gonzales

Wallace Orr

Bruce Haefner

Phil Pearlman & Betty Bona

Lori Hanson

Kathleen Porter

David Harrington

Ray & Jim in honor of Wayne Knox

Karin Hensel

Drs. Mark & Maxine Rossman

Surilda Hudson

Sandra Rothenberg

Arash Jahanian in honor of Tenley Mueller

Robert J. Smith

Ligature Creative Group

James A. Stegman

Susan J. McGinley


McKesson Foundation, matching gift on

Gina & Paul Todd


behalf of Janice Burley Loren Meaux

Gary Wooley

Bert & Rosemary Melcher

(UP TO $99)

Amazon Smile Foundation

Rand & Barb Moritzky in honor of Rebecca Moritzky


Manijeh Taherynia


Elinor Towler

Charles Aschwanden Phillip Barru


Fred Beisser

The Pillar of Fire Church

James & Kimberly Brody

Ligature Creative Group

in honor of the oboe section

Newberry Brothers Greenhouse & Florist

Janice Burley Sara Collyar

Since January 1, 2014


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 CONTRIBUTE 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

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


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 April 3, 2015 Concert Program  

April 3 Reformations Wes Kenney, guest conductor Peter Sommer, saxophone Bach/Stokowski: Toccata and Fugue in D minor Ellington, orch. Peres...

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