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2015–16

OCTOBER 2 NOVEMBER 20 DECEMBER 19 FEBRUARY 19 APRIL 8 JUNE 3

october 2 nature’s realm LAWRENCE GOLAN conductor and violin

VIVALDI

“Autumn” from The Four Seasons ˇ ÁK DVOR

In Nature’s Realm TCHAIKOVSKY

The Tempest; Fantasy-Overture, op. 18 SIBELIUS

Symphony No. 5


DEAR FRIENDS, Welcome to tonight’s Denver Philharmonic Orchestra concert! With all the events, theatre, music and festivals that Denver has to offer, we’re honored you are spending your evening with us. We hope to create a wonderful memory and feeling that stays with you long after the music has ended, and sometimes even before the music has begun. Fall to me means college football and

Tonight, I’ll be thinking about wise words from Henry David

the start of a great new

Thoreau, who said, “When I hear music, I fear no danger. I am

season at DPO!

invulnerable. I see no foe. I am related to the earliest times,

What’s your favorite

and to the latest.” Thoreau must have been to a DPO concert!

thing about fall?

Listening to our passionate musicians fill this hall with music, we hope that you “see no foe,” but instead find opportunities to meet your neighbors, mingle with musicians, and take part in the community offering’s hosted by the DPO all season long! Please, sit back, relax, silence (but do not put away) your phone and experience the music! If you have any questions, or would like to share your personal DPO story, please feel free to talk with us: look for anyone with a blue name tag, or come and find me — we love getting to know all of you, and hope you will continue to make the Denver Philharmonic Orchestra a part of your story now and in the future! Sincerely,

Jon Olafson President of the Board, DPO  3


2015–16 season. OCTOBER 2 NATURE’S REALM

FEBRUARY 19 SMASH HITS!

LAWRENCE GOLAN, conductor and violin

LAWRENCE GOLAN, conductor STEVEN LIN, piano

VIVALDI   “Autumn” from The ˇ ÁK   In Nature’s Realm DVOR

Four Seasons

Symphony No. 40 in G Minor Rhapsody on a Theme of Paganini STRAVINSKY   The Firebird Suite MOZART  

TCHAIKOVSKY  

The Tempest; Fantasy-Overture, Op. 18 SIBELIUS   Symphony No. 5

RACHMANINOFF  

NOVEMBER 20 INEXTINGUISHABLE

APRIL 8 THE ONE RING

LAWRENCE GOLAN, conductor JAY CAMPBELL, cello Phoenix for Orchestra (Colorado premiere) ELGAR   Cello Concerto NIELSEN   Symphony No. 4 “Inextinguishable” LOCKLAIR  

DECEMBER 19 HOLIDAY CHEER! SCOTT O’NEIL, guest conductor SYDNEY HARPER, soprano and featuring COLORADO REPERTORY SINGERS, KYLE FLEMING, artistic director Full repertoire to be announced.

FEATURING THE LORD OF THE RINGS SYMPHONY S. MODECAI FUHRMAN, guest conductor AARON WILLE, flute Les Franc-Juges (Judges of the Secret Court) Suite Modale DE MEIJ, ORCH. VLIEGER   Symphony No. 1 “Lord of the Rings” BERLIOZ   BLOCH  

JUNE 3 EUROTRIP LAWRENCE GOLAN, conductor España The Moldau ELGAR   Cockaigne, Op. 40 (In London Town) FRANCK   Symphony in D Minor CHABRIER   SMETANA  

BUY TICKETS AT denverphilharmonic.org 4

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up next: november 20

inextinguishable “Adventurous cellist” (New York Times) Jay Campbell performs Edward Elgar’s cello concerto, written in the ashes of the first World War. The evening also features Danish composer Carl Nielsen’s Fourth Symphony “Inextinguishable” which represents the will to live, and the Colorado premiere of Dan Locklair’s Phoenix for Orchestra.

LAWRENCE GOLAN conductor

JAY CAMPBELL cello

LOCKLAIR

Phoenix for Orchestra (2007) Colorado premiere ELGAR

Cello Concerto NIELSEN

Symphony No. 4 “Inextinguishable”

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FRIDAY, OCTOBER 2, 2015 NATURE’S REALM KPOF Hall · Denver, Colorado · 7:30 pm

Lawrence Golan, conductor and violin Antonio Vivaldi “Autumn” from The Four Seasons, (1678–1741) op. 8, no. 3 featuring Lawrence Golan I. Allegro II. Adagio III. Allegro

Antonín Dvořák

In Nature’s Realm, op. 91


(1841–1904)

Pyotr Ilyich Tchaikovsky (1840–1893)

The Tempest; Fantasy-Overture, op. 18

∙ 15-MINUTE INTERMISSION ∙ Jean Sibelius Symphony No. 5, in E-flat (1865–1957)  I. T  empo molto moderato – Largamente – Allegro moderato (ma poco a poco stretto) – Presto – Più Presto II. Andante mosso, quasi allegretto III. Allegro molto – Largamente assai

MEET THE MUSICIANS

Reception  Following the concert, meet & mingle on the lower level. 6

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Inform. Enlighten. Entertain. Keeping you connected with in-depth news and music discovery.

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LAWRENCE GOLAN MUSIC DIRECTOR, CONDUCTOR AND VIOLIN The 2015–16 Season marks Lawrence’s third season as music director of the Denver Philharmonic Orchestra. In high demand across the United States and internationally, Lawrence is also currently Music Director of the Yakima Symphony Orchestra in Washington state, the York Symphony Orchestra in Pennsylvania, and the Lamont Symphony Orchestra & Opera Theatre at the University of Denver. In addition, he is the Principal Conductor of the Seoul Philharmonic in South Korea. Lawrence continues to guest conduct professional orchestras, opera, and ballet companies in the U.S. and around the world. He has conducted in 26 states and 17 countries. Lawrence has garnered considerable international recognition for his work as a conductor. He has won 10 ASCAP Awards, five Global Music Awards, three American Prize awards, three Downbeat Magazine Awards, and two Prestige Music Awards. Following a highly successful four-year term as Resident Conductor of The Phoenix Symphony, Music Director Michael Christie said that Lawrence “is a programmer of virtually unprecedented creativity and scope.” That sentiment was confirmed in 2012 when Lawrence was named the Grand Prize Winner of The American Prize for Orchestral Programming.

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Lawrence is known for his inspired performances, imaginative programming, passion for developing new audiences, and excellent public speaking skills—entertaining and educating the audience from both on and off the podium. He is also recognized for his expertise in the complete spectrum of musical styles and periods. He has worked with artists ranging from Leonard Bernstein, Marilyn Horne, Daniel Barenboim and Joshua Bell to Frank Sinatra, Kenny G and ShaNaNa. A native of Chicago, Lawrence holds degrees in both conducting and violin performance from Indiana University’s Jacobs School of Music (B.M. and M.M.) and the New England Conservatory of Music (D.M.A.). In addition, he studied at all of the major conducting festivals including Aspen and Tanglewood, where in 1999 he was awarded the Leonard Bernstein Conducting Fellowship. Lawrence and his wife Cecilia, who is from Buenos Aires, Argentina, have been married since 2003. They have two wonderful children: Giovanna and Joseph. Lawrence is represented by William Reinert Associates in New York. For more information, please visit LawrenceGolan.com or WilliamReinert.com.

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S. MORDECAI FUHRMAN ASSOCIATE CONDUCTOR Conductor, percussionist, timpanist, and arranger, Samuel Mordecai Fuhrman is a graduate of the University of Delaware and the Cleveland Institute of Music. Samuel has performed with and conducted 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 more about the music — in real time. Tag your

gural Family Series in 2010.

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. This is his second season as associate conductor of the Denver Philharmonic Orchestra.

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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

orchestra.

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 departed in

After nearly 40 years under Antonia’s

2013. Lawrence, a professor and music

baton, the orchestra chose Russian-

director at the University of Denver’s

American conductor Julius Glaihengauz

Lamont School of Music, continues to pro-

as its second music director. A graduate of

duce 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 68-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.

denverphilharmonic.org 12

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

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

night through, but remember, no talking during the concert

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

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

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

#DPOTweets @DenverPhilOrch  13


MORE THAN Attending a concert with us goes beyond an evening of high-caliber classical music. We have a lot of fun at our concerts — we live-tweet performances, hold lively pre-concert chats, and we’ve mingled over great eats at food truck tailgates, hiked South Table Mountain in Golden, sipped local wine, welcomed over 80 students from El Sistema Colorado as our opening act, hosted Valentine’s Day photo booths, enjoyed handmade truffles, brought in an instrument petting zoo, partnered with the Denver Museum of Nature and Science to bring the Gates Planetarium (and the entire universe) into the hall Hall, and more!

Here’s a taste of what’s in store for this season — PRE-CONCERT CHATS, 6:30PM EVERY CONCERT (EXCEPT HOLIDAY CHEER!)

BAKE SALE, POSTCONCERT DECEMBER 19: HOLIDAY CHEER!

Join us for informal pre-concert chats about the music you’ll be hearing hosted by DPO Associate Conductor S. Mordecai Fuhrman. He’ll give you insights into the music and music-makers you’ll be listening to.

Enjoy homemade treats at our annual bake sale after Holiday Cheer!

RECEPTION, POSTCONCERT EVERY CONCERT Say hello! Come downstairs after the concert for refreshments, meet the soloists, buy a t-shirt — and have fun!

DYAO PRELUDE, PRECONCERT DECEMBER 19: HOLIDAY CHEER! Arrive early to Holiday Cheer! to get into the mood with holiday music from Denver Young Artists Orchestra.

INSTRUMENT PETTING ZOO, PRECONCERT FEBRUARY 19: SMASH HITS! Honk! Buzz! Toot! Pick up a trombone or a violin and give it a go!

SELFIE CORNER, PRECONCERT APRIL 8: THE ONE RING You shall not pass up this opportunity to snap a selfie with the White Wizard!

FOOD TRUCK TAILGATE, PRECONCERT JUNE 3: EUROTRIP Did you like tailgating the concert tonight? They’ll be back! Enjoy food trucks eats in June before your European travels.

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

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MUSIC.

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OUR MUSICIANS MUSIC DIRECTOR Lawrence Golan

ASSOCIATE CONDUCTOR S. Mordecai Fuhrman

FIRST VIOLIN

Katherine Thayer, concertmaster Allison Kim, associate concertmaster Carrie Beeder Melissa Campbell Thomas Jatko Tenley Mueller Emmy Reid Vanessa Vari

SECOND VIOLIN

Gwen Gravano, acting principal Niccolo Werner Casewit Valerie Clausen Christina Colalancia Terri Gonzales Miki Heine Annie Laury Callista Medland Anne Silvas

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VIOLA

William Hinkie, principal Naomi Croghan Lori Hanson Ben Luey Elizabeth O’Brien Kathleen Torkko Anita Zerbe

CELLO

Bryan Scafuri, principal Naftari Burns Kyle Laney Monica Sáles Rachel Yanovitch Tara Yoder

BASS

Mark Stefaniw, principal Zach Antonio Josh Filley Taryn Galow Colton Kelly Jordan Walters, student intern

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FLUTE

TRUMPET

OBOE

TROMBONE

CLARINET

TUBA

Aaron Wille, principal Starla Doyal Catherine Ricca Lanzano

Kimberly Brody, principal Loren Meaux, assistant principal Alexis Junker

Shaun Burley, principal Jessica Clark Claude Wilbur

BASSOON

Ken Greenwald, principal Nicholas Lengyel

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

Ryan Spencer, prinicpal Ryan Stutzman Ariel Van Dam

Trevor Moore, acting principal Daniel Morris Wallace Orr

Mike Horsford

PERCUSSION

Steve Bulota, prinicpal Ross Coons Joey Glassman

HARPSICHORD Ani Gyulamiryan

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OUR TEAM BOARD OF DIRECTORS

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

DENVER PHILHARMONIC FOUNDATION BOARD Keith Fisher Russell Klein Allison Lausten

MUSIC LIBRARIAN Callista Medland Alyssa Oland, assistant

CONCERT PROGRAM

Ligature Creative Group, design Walker Burns, editing Alixandra Feeley, editing María Angélica Lasso, Spanish translation Callista Medland, editing Leigh Townsend, concert notes

CONCERT RECORDING Joel Dallenbach Kyle Smith, advisor

WEBMASTER

Ligature Creative Group

EXECUTIVE DIRECTOR

EMBEDDED REPORTER

OPERATIONS MANAGER

PUBLICITY & DEVELOPMENT

Valerie Clausen

Alixandra Feeley

PERSONNEL MANAGER Annie Laury

STAGE MANAGERS Taryn Galow Loren Meaux

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Julia Compton Meg Satrom, editor

Niccolo Casewit Dr. Robert Dallenbach Stephanie Gillman, photographer Eleanor Glover Kelli Hirsch Ali McNally Matt Meier Jeff Paul David Sherman Karin Tate

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OUTREACH Tenley Oldak Katherine Thayer David Wallace

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

FRONT OF HOUSE

Gil Clausen Cris Diaz, habla español Eleanor Glover Maureen Keil Russell Klein María Angélica Lasso, habla español Linda Lebsack Ali McNally

RECEPTION Gil Clausen Allison Lausten

VENUE LOGISTICS Brian McGuire Roger Powell

PARKING ADVISORS Matt Hogan Linda Lebsack Hugh Pitcher

MORE THAN MUSIC PARTNERS Aikopops Biker Jim’s Gourmet Dogs OG Burger

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

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SUNDAY CLASSICAL MUSIC 7:00 – 10:00 PM KPOF — 910 AM

Tune in to radio station KPOF (AM 910) from 7 – 10 pm on Sunday, October 11 for an encore of tonight’s Denver Philharmonic performance! Our Board of Directors gratefully acknowledges the vital contributions made by the Pillar of Fire Ministries / KPOF 910 AM to our orchestra and Denver’s classical music community. Over the past five decades, the Pillar of Fire Church has generously accommodated our orchestra rehearsals and many performances. Since 1963, Dr. Robert B. Dallenbach, and more recently his son, Joel Dallenbach, have meticulously recorded and broadcast all of the orchestra’s concerts.

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OCTOBER 2 ∙ NATURE’S REALM by LEIGH TOWNSEND

“Autumn” from The Four Seasons Antonio Vivaldi  (1678 – 1741) The popularity of The Four Seasons knows no bounds. Found everywhere from the traditional concert stage to commercials for cars and computers, these pieces are known as quintessential Vivaldi.

ABOUT VIVALDI Antonio Vivaldi was an influential composer whose contributions Vivaldi wrote over 500

of style and technique set the standard for the mature Baroque

concertos in his life, all

concerto. Prior to his fame, he was just a boy who played the

as a second job while he was a Catholic priest.

violin with his dad, the eldest of nine children, and the only musician among them.

Duration: 10 minutes

In 1693, when he was only 15, Vivaldi began his training for the priesthood in Venice, where his family lived. Shortly after his ordination, he was exempted from delivering mass. It is rumored that Vivaldi was censured because of conduct unbecoming of a priest: he’d reportedly left mass to write down a fugue that had particularly inspired him, though it was more likely due to his chronic asthma. Despite this, he remained within the church for many years carrying out the unconventional dual careers of composer and priest.

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THE FOUR SEASONS Vivaldi wrote roughly 350 concertos for solo instrument, and over 230 of them are for solo violin. Opus 8 (1725), titled Il cimento dell’armonica e dell’inventione translates as “daring experiments with harmony and invention.” It’s a set of 12 concerti, of which the Seasons are represented in the first four. The works are considered early program music, which means they are supposed to evoke a feeling of extra-musical narrative through sound. Vivaldi set each season to a sonnetto dimonstrativo, or illustrative sonnet: a descriptive kind of poem meant to evoke a specific mood. Although there is no definitive proof Vivaldi wrote the sonnets himself, it’s widely acknowledged that he did write the poetry and then set the music.

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Like the other concertos in the series, “Autumn” is composed in three movements. The first movement hurries along at a lively tempo, eliciting the happy farmer drinking and dancing at harvest time. The opening strings repeat the same theme several times before the solo violin entrance, much like the farmer finishing up his day’s work before the party can start. The second movement is slow and hauntingly delicate, reflecting the pleasurable sleep that comes after hard work and hard dancing. The final movement is again fast; hunting horns and barking dogs chase a deer through the woods until she falls, exhausted. “Autumn” is the perfect piece for a fall evening when colorful sunsets give way to crisp evening air, and we look around again for that jacket we took off hours ago.

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In Nature’s Realm Antonín Dvořák  (1841 – 1904) “The music of the people is like a rare and lovely flower growing amidst encroaching weeds. Thousands pass it, while others trample it under foot, and thus the chances are that it will perish before it is seen by the one discriminating spirit who will prize it above all else.” Dvořák was an adept

— ANTONÍN DVOŘÁK, 1895

violin player by age 6.

ABOUT DVOŘÁK

Duration: 14 minutes

Antonín Dvořák was born in a fertile valley on the Vltava River in Bohemia, near Prague. His parents worked as innkeepers and raised a large family; Antonín was the first of 14 children! By age 13, young Dvořák showed a talent for music, and his father sent him to live with an uncle to study music and German language. He played violin and organ professionally and began writing music in earnest in his early 20s. He was influenced strongly by his faith and his love of his Bohemian heritage. Dvořák wasn’t widely known as a composer outside of the Prague area until 1874 when he won the Austrian State Prize for composition, which he won again in 1876. These prizes brought him to the attention of well-known composer, Johannes Brahms, and music critic, Eduard Hanslick, who never stopped championing the deeply rooted, nationalistic, Bohemian composer.

ROMANTIC ERA Romanticism was an artistic and intellectual movement that originated in Europe in partial reaction to the Industrial Revolution. The Romantic Era peaked between 1800 and 1850, as Dvořák was in his formative composing years. The movement emphasized intense emotion and the sublime beauty of  23


nature, including its darker aspects of

To provide unity between the three works,

death and decay.

Dvořák wrote a theme that appears in all three pieces and is the principle theme

Acknowledged for their dramatic com-

of In Nature’s Realm — listen for a “yoo-

positions, Weber, Beethoven, Schumann,

hoo” type call out throughout the music.

and Wagner are all well-known Romantic

Reminiscent of a bird call, it actually de-

German composers of the era. A central

rives from a Moravian folk yodel.

theme of Romanticism is Nationalism — the focus on national language and folk-

Dvořák was a master of the pastoral

lore. Think of The Brothers Grimm, a prime

setting; the light and airy instrumentation

example of Romanticism and Nationalism:

of In Nature’s Realm features lots of reedy

they collected and published local folk

woodwinds and little percussion other than

tales as nationalistic literature, preserving

the triangle.

the culture of the common folk in the face The piece opens with a quiet breath

of rapid industrialization.

of fresh air in the low horn and clarinet

ABOUT THE MUSIC

before the pastoral bassoons and violas

In early 1892, Dvořák became interested

enter with a walking theme. Trilling birds

in the idea of a three-movement sym-

and dappled sunlight are punctuated by

phonic work depicting nature, life, and

majestic horns, building drama as the walk

love. His intention was to deeply explore

continues down a winding path.

each idea and the effect they had on the soul of mankind. Originally intended to

The light gives way to darkness and

be played together, the three movements

Dvořák hurries the listener along with fast

are now often performed separately un-

string passages and dramatic brass inter-

der the given names of In Nature’s Realm,

jections before the flute and clarinet come

Carnival, and Othello.

out again as birds in the sunshine and end the piece quietly, with an air of satisfied contemplation.

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The Tempest; Fantasy-Overture, Op.18 Pyotr Il’yich Tchaikovsky  (1840 – 1893) “Now I want Spirits to enforce, art to enchant; And my ending is despair, Unless I be relieved by prayer” — WILLIAM SHAKESPEARE, THE TEMPEST

ABOUT TCHAIKOVSKY Because there was no formal music school in St. Petersburg, Russian composer Pyotr Il’yich Tchaikovsky attended law school at Tchaikovsky wrote

the St. Petersburg School of Jurisprudence. He had always been

several pieces based on

drawn to music, and when the St. Petersburg Conservatory of

Shakespeare’s works,

Music was founded in 1860, Tchaikovsky immediately enrolled to

including his famous ballet Romeo and Juliet. Duration: 20 minutes

study theory and composition, as well as piano, flute and organ. Tchaikovsky was recruited as a music theory teacher when the Moscow Conservatory of Music opened in 1865. We know from his letters and his students’ recollections that Tchaikovsky wasn’t a very good teacher. He certainly enjoyed, however, an active and varied social life in Moscow, perhaps even a bit more than his teacher’s salary allowed for, since he was known to supplement his income during this time with translations and arrangements.

A LITTLE RUSSIAN HISTORY When he ascended to the throne in 1855, Czar Alexander II vowed to reform both the government and the industries of Mother Russia without sacrificing her culture. Nationalistic roots and tendencies have always run deep in Russia — Tchaikovsky adored the Russian folk tunes of his childhood. But rural life was harsh; the ancient feudal laws had been abandoned in the rest of Europe in the previous century, but Russian serfs were still completely at the mercy of the wealthy landowner class. The Proclamation Law of 1861 freed the serfs from dependence on the landowners and granted them both the land and their freedom.  27


This liberal reform by Alexander II gave

printed with the published score. The

approximately 23 million peasants the

sections are as follows:

right to own property, own businesses, and

·· The sea

marry without consent. The Russian people

·· Ariel, spirit of the air, obeying the will of the magician Prospero, raises a storm

were cautiously optimistic that life was about to get a lot better as they jumped

·· Wreck of the ship bringing Ferdinand

head-first into the modern era.

·· The enchanted isle ·· First timid feelings of love of Miranda

ABOUT THE MUSIC

and Ferdinand

Tchaikovsky, like other artists and com-

·· Ariel, Caliban

posers of the 19th century, found a ready

·· The lovers succumb to their passion

source of inspiration in Shakespeare. The

·· Prospero deprives himself of his magic power and leaves the island

suggestion for a musical treatment of The

·· The sea.

Tempest came from Vladimir Stasov, a mentor to many Russian nationalist composers. Tchaikovsky wrote the work quickly, over

Listen to how the sea changes, from the

a period of only 11 days in the autumn of

placid arpeggios of the opening sea

1873. The premiere took place in December

section, to the timpani furiously rolling in

1873, at a Russian Music Society concert.

the energetic storm, and finally the relief felt at the end as the brass surges away

The program of Tchaikovsky’s The

and the survivors. In between, you will hear

Tempest, described as a fantasia for

the beautiful Tchaikovsky love themes he

orchestra, is derived from Stasov and was

perfected with Romeo and Juliet.

10TH ANNIVERSARY SEASON 2015/16

Encore! Audience Favorites OCT 16,17,18

Bach Times Three

FEB 26,27,28

Mystery and Joy

Fanfares and Flourishes

MAY 20,21,22

DEC 4 & 6

BCOCOLORADO.ORG  29


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Symphony No. 5 Jean Sibelius  (1865 – 1957)

Sibelius mentored Denver Philharmonic Founder Antonia Brico, and he describe her as his “sixth daughter,” the only conductor who interpreted his work the way he intended it to be performed. Duration: 30 minutes

“Even by Nordic standards, Sibelius responded with exceptional intensity to the moods of nature and the changes in the seasons: he scanned the skies with his binoculars for the geese flying over the lake ice, listened to the screech of the cranes, and heard the cries of the curlew echo over the marshy grounds just below Ainola. He savoured the spring blossoms every bit as much as he did autumnal scents and colours.” — ERIK TAWASTSTJERNA, SIBELIUS BIOGRAPHER

ABOUT SIBELIUS Finnish composer Jean Sibelius, known primarily for his orchestral works, had a great talent for orchestral color and structure. Born to Swedish-speaking parents in Finland, Jean was exposed to music from an early age. His father died when he was quite young, leaving behind a large debt that Jean’s mother struggled to pay off. Jean and his siblings were shipped around the country to different family members, including his Uncle Pehr, a violinist, and Aunt Julia, who instructed Jean in piano. Though a skillful violinist, Sibelius felt hew would never be a virtuoso, and instead focused on his other passion — composition. He studied composition in Helsinki, Berlin, and Vienna, where he was exposed to the music of Strauss, Bruckner, and Wagner. After an extensive career filled with many well-received works, such as Finlandia and The Swan of Tuonela, Sibelius eventually retired to the country. In 1939, at age 74, Sibelius invited a young American woman named Antonia Brico to conduct the Helsinki  31


Symphony Orchestra. Less than 10 years

the Swedish-speaking population was a

later, Antonia became the conductor of a

minority, they were considered culturally

local Colorado group called the Denver

elite. The Finnish-speaking majority tradi-

Businessman’s Orchestra, which was

tionally wielded no social power, although

later re-named the Denver Philharmonic

a movement was under way to legitimize

Orchestra!

the language and to embrace it as an authentic, assertive self-identity. Sibelius

FINNISH NATIONAL IDENTITY

spoke Swedish as his first language and learned Finnish at school when he was still

In the second half of the 19th century,

an adolescent.

Finland was stirring with economic and cultural changes having gained autonomy

The cultures articulated by these unrelated

from Sweden after seven centuries under

languages were substantially different:

their control. The Finnish War, fought

Scandinavian culture was seen to be more

between the Kingdom of Sweden and the

sophisticated and international, while the

Russian Empire, ended in 1809 resulting in

Finnish culture was rooted in the rugged

an autonomous and independent cultural

peasantry of the land, uncompromisingly

region governed by Russia.

idiosyncratic, and inscrutable to the outside world. Sibelius had a knack for

The population of this new Finnish

blending the elements of both to high art,

dukedom was now divided by rival lan-

recognized around the world as a uniquely

guages: Finnish and Swedish. Although

Finnish music.

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ABOUT THE MUSIC

The placid second movement contains sev-

Sibelius had contemplated a Fifth

eral variations on the main theme set at the

Symphony as early as 1912. The first ver-

beginning by the flute and plucked strings.

sion, written largely in 1915, was premiered in December of that year in a celebration

The massive finale starts with the busy, un-

of the composer’s 50th birthday, with

dulating activity of the strings, after which

Sibelius himself conducting.

the well-known theme that dominates the movement emerges in all its strength, with

The first movement opens with the horns

a secondary, theme from the woodwinds,

in expansive mood, followed by the

as the trumpets declare what had become

woodwind in thirds, the entry of the strings

known to Sibelius as the “swan-theme.”

delayed. The dramatic tension of tremolo

Sibelius was inspired by the sight and

strings leads to a second theme.The mid-

sound of migrating swans circling above

dle section of the movement is a scherzo;

him in the haze of early spring sunshine. It

with a solo trumpet hinting at the theme of

remains the most familiar and popular of

the last movement.

all Sibelius themes.

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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.

BE COMFORTABLE

APPLAUSE 101

There’s no dress code. From jeans to

In earlier times, audiences would routinely

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

applaud between movements to show

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

their joy for the music they just heard.

way you are.

Then around the mid-19th century, it

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

became tradition to wait until the end of the piece to clap, with the audience sitting silent between movements.

passage of music. If you can’t, or you begin to cough a lot, don’t worry — it’s

At the DPO, we welcome both traditions.

perfectly acceptable and appropriate to

If you prefer to wait for the end of a piece

quietly exit the concert hall. Remember to

to clap, please do. Some movements are

unwrap cough drops before the concert so

fiery and end in such a flare that you may

you don’t create crackling noises.

feel compelled to clap — go for it! After a quiet movement, you may want to enjoy

CRY ROOM 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.

34

the feeling of transfixion and wait; there’s no need to applaud if you’re not feelin’ it. Regardless, we want you to feel comfortable and focus on the performance, not confusing applause rules!

2 0 1 5 – 1 6 T H E S I X T Y- E I G H T H S E A S O N


E SIT TIGHT

SOCIAL MEDIA

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.

PACK IT IN, PACK IT OUT

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.

 35


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 Nico, Nick, Ben, Ariel, Rachel and Anita — NICCOLO WERNER CASEWIT

some of the original music set to the

SECOND VIOLIN

documentary film “A Beautiful Equation”

EIGHTEENTH DPO SEASON. Niccolo

directed by Robin Truesdale. The film high-

“Nico” Casewit starting playing the violin

lights the humanistic stories from the lives

at Denver’s Barmum Elementary School

of the scientists Albert Einstein and Neils

when he was 9 years old. In Germany,

Bohr as told by eight grandmothers. The

Niccolo served as concertmaster of the

film follows the rehearsals and the eventual

Eichwald Gymnasium Orchester and as

theater piece performance written and

a principal violinist with the New World

directed by Boulder educator Len Barron.

Orchestra. He was co-principal second

The film is scheduled to be released as a

violinist of the MIT Symphony Orchestra,

DVD with educational materials this fall.

and received his Master of Architecture degree from MIT.

Niccolo’s day job is an architect and planner and owns an architectural consultancy

Niccolo has performed with a number of

specializing in historic preservation, mixed-

other chamber groups, Denver bands, and

use and education projects. Niccolo is a

ensembles playing in a variety of musical

past member of the board of the Denver

styles including symphonic-heavy metal,

Philharmonic Orchestra and currently

alternative rock and free-jazz.

volunteers as administrator of the DPO’s Facebook page.

In 2014, Nico composed and performed 36

2 0 1 5 – 1 6 T H E S I X T Y- E I G H T H S E A S O N


HT Niccolo enjoys skiing, hiking and climbing

BEN LUEY

the Flatirons above Boulder. He hopes to

VIOLA

start painting landscapes with watercolors

NINTH DPO SEASON. Ben has been

as he did at a young age hiking with his

playing in school or community orchestras

father the late Curtis. W. Casewit, a widely

continuously for 20 years. He started on

published travel journalist and author.

the viola in sixth grade in his middle school

NICK KENNY

THIRD TRUMPET

orchestra in California and soon joined the Oakland Youth Orchestra.

SECOND DPO SEASON. Nick received his

While studying physics at Carleton

Bachelor’s degree in Trumpet Performance

College in Minnesota, he played with

from Manchester University in 2011 under

the Carleton Orchestra. After college, he

the study of Tim Zimmerman. He is cur-

moved to Boulder where he played with

rently pursuing a Master’s degree in Music

the Longmont Symphony Orchestra, and

Education from the University of Northern

joined the DPO after moving to Denver.

Colorado. Nick lives in northern Colorado and is on the Loveland High School Band

In addition to his undergraduate de-

staff as the trumpet technician and has a

gree from Carleton, Ben has a Master

successful trumpet studio. Nick continues

of Science degree in Physics from the

to perform professionally in pit orchestras,

University of Colorado Boulder. Outside

chamber ensembles and for weddings.

of the DPO, Ben is a physicist at a small  37


company in Denver where he works on

RACHEL WARBELOW

lasers and electronics to support the laser

CELLO

cooling and trapping research community.

SECOND DPO SEASON. Rachel has been

ARIEL VAN DAM

SECOND TRUMPET

playing the cello since she was 5 years old. She received her Bachelor of Science in Cello Performance and Journalism from

THIRD DPO SEASON Ariel has been

Indiana University in 2007 and her Master

playing trumpet for 18 years. She has had

of Curriculum and Instruction from the

the great fortune of performing with the

University of Nevada Las Vegas in 2009.

Blue Knights Drum and Bugle Corps from

Rachel is a Ruby on Rails Instructor at

Denver, Santa Clara Vanguard Drum and

Turing School of Software and Design.

Bugle Corps from Santa Clara, California, with Musica Sacra Chamber Orchestra,

ANITA ZERBE

Littleton Symphony Orchestra, Jefferson

VIOLA

County Symphony Orchestra, and

FIRST DPO SEASON. Anita recently moved

Colorado Wind Ensemble.

to Colorado to be a little close to her niece and the sun. She loves seeing the moun-

Aside from being a full-time student, Ariel

tains to the west and the city to the east!

works for Starbucks and assists area high school marching bands in the summer and

Anita has played the viola since 1999; she

fall. She enjoys spending as much time as

also plays the violin and sings. She majored

she can in the mountains — be it driving,

in music education and earned her Bachelor

hiking or photographing. She is also active

of Music from the University of Wisconsin,

in the community supporting transgender

Stevens Point. Along with playing in pit

rights and equality.

orchestras on the violin, viola and keyboard, Anita performed with the Central Wisconsin

Ariel studied trumpet for three years at

Symphony Orchestra for two years.

University of Colorado, and also studies at Metropolitan State University of

Currently seeking a music teaching po-

Denver and Arizona State University’s

sition, Anita is a substitute teacher with

online program in the fields of music and

Denver Public Schools and a shuttle driver

engineering.

with Sage Hospitality! She looks forward to possibly busking and teaching private lessons on many different musical instruments, and she is excited to downhill ski.

38

2 0 1 5 – 1 6 T H E S I X T Y- E I G H T H S E A S O N


THANK YOU!

Since January 1, 2015

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

ORCHESTRA CIRCLE ($20,000+)

CONTRIBUTOR 

($100 – $299)

Anonymous

Valerie & Gil Clausen

Kathi Rose Agnes

CONDUCTOR CIRCLE ($5,000+)

Penny Alles TATE+BURNS Architects LLC Donna & Pierre Bastien

FirstBank

Brenda & Peter Oldak

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

Sandra Rothenberg James A. Stegman Gina & Paul Todd Robert Green

MUSICIAN CIRCLE

Helen Bauer

Xcel Energy

FRIEND 

($1,000 – $2,499)

(UP TO $99)

Amazon Smile Foundation

PATRON 

($500 – $999)

CoBank on behalf of Brian Lucius Colorado Gives Day “Luck of the Draw” US Bank Foundation

Robert & Pauline Dallenbach Amaryllis Fletcher David Harrington Surilda Hudson

Donald Walls

BENEFACTOR 

Richard Casson

Susan J. McGinley

($300 – $499)

CoBank on behalf of Brian Lucius Susan Cochran Russell Klein Drs. Mark & Maxine Rossman

Bert & Rosemary Melcher

IN-KIND DONORS David Sherman Creative Ligature Creative Newberry Brothers Greenhouse & Florist The Pillar of Fire Church Studio Hippo  39


IT TAKES A COMMUN We are a community-driven orchestra, and we survive with support from our patrons and local businesses. Help us make music with a tax-deductible contribution today. Give safely online at denverphilharmonic.org/contribute. INDIVIDUAL GIVING

DONATION AMOUNT

Orchestra Circle

$20,000 or above

Conductor Circle

$5,000 – $19,999

Concertmaster Circle

$2,500 – $4,999

Musician Circle

$1,000 – $2,499

Patron

$500 – $999

Benefactor

$300 – $499

Contributor

$100 – $299

Friend

up to $99

CORPORATE GIVING

DONATION AMOUNT

Gold Partner

$10,000 and above

Silver Partner

$5,000 – $9,999

Copper Partner

$1,000 – $4,999

You may also consider a planned gift, or donating to the orchestra in honor of someone’s birthday, anniversary, or in memory of a loved one.

40

2 0 1 5 – 1 6 T H E S I X T Y- E I G H T H S E A S O N


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

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

Contribution $ 

Check   or Credit Card   

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

Email  Exp. 

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

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

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2 0 1 5 – 1 6 T H E S I X T Y- E I G H T H S E A S O N


music connects our community.

is proud to support the Denver Philharmonic .

• • • • • • • • • • • • • • • • • • • •

ligcreative.com

• • • • • • • • • • • • • • • • • • • •


Introducing

classical music

with a

twist An intimate concert series at Dazzle Jazz featuring small ensembles, dinner and cocktails.

STRINGS STRAIGHT UP OCTOBER 22 @ 7PM

DA ZZ LE JA ZZ   930 LI N CO LN ST

Seating is limited. Buy now at denverphilharmonic.org or dazzlejazz.com.

Denver Philharmonic Orchestra October 2, 2015 Concert Program  

LAWRENCE GOLAN, conductor and violin VIVALDI: “Autumn” from The Four Seasons DVORÁK: In Nature’s Realm TCHAIKOVSKY: The Tempest; Fantasy-Ove...

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