SEPTEMBER 30, 2016
GRAND OPENING OF THE ANTONIA BRICO STAGE LAWRENCE GOLAN, CONDUCTOR MARK MAST, GUEST CONDUCTOR RYAN SPENCER, TRUMPET BEE THOV E N
Leonore Overture No. 3 HU M M E L
Trumpet Concerto in E-flat Major WAG NE R
Overture to Die Meistersinger von NÃ¼rnberg BEE THOV E N
Symphony No. 5
HONORING BRICO I do not call myself a woman conductor. I call myself a conductor who happens to be a woman.
Maestro Antonia Brico, born in Rotterdam, Netherlands in 1902, moved to California with her foster parents at age 6 and endured a self-described miserable childhood. Though with talent and determination, Brico rose to the heights of the conducting world. WILHELMINA WOLTHIUS The maestro was born Antonia Brico but raised as Wilhelmina Wolthius. Suffering abuse by foster parents who never formally adopted her, Wilhelmina found solace at the piano, crying, “Music doesn’t hurt little girls.” It wasn’t until college that she knew the true story of her illegitimate birth to a Dutch teenager and Italian nightclub pianist by the name of Brico.
A RISING CAREER Reclaiming ‘Antonia Brico,’ the aspiring conductor moved to Europe in 1923 and studied under world-famous musicians Zygmunt Stojowski, Karl Muck and Richard Wagner’s son, Siegfried Wagner. Composer Jean Sibelius came to know Brico as a “sixth daughter” after she arrived at his home and proved her ability to conduct his work as he intended. While studying in Germany, she made her debut as a conductor in 1930. At age 28, Brico led the Berlin Philharmonic earning a glowing review which stated that she “possesses more ability, cleverness and musicianship than certain of her male colleagues who bore us in Berlin.”
In 1934, she founded the Women’s Symphony Orchestra in New York to “prove that women could play in every category.“ The successful orchestra garnered support from the likes of Eleanor Roosevelt. July 25, 1938, Brico conducted the New York Philharmonic — the first woman to do so. Ms. Brico, age 36, impressed the crowd at Lewisohn Stadium, the Philharmonic’s then outdoor summer venue in Upper Manhattan. She conducted works by Tchaikovsky, Liszt, Sibelius and two pieces you’ll hear tonight in her honor — Beethoven’s Leonore Overture No. 3 and Wagner’s Overture to Die Meistersinger von Nürnberg.
was a guest conductor at concerts in Red
The New York Philharmonic archive de-
Rocks amphitheater but was never hired.
partment writes, ”Tickets [to Brico’s debut]
The handsome, debonair — and male —
cost 50 cents and [stadium] crowds could
Saul Caston won the job.
grow to over 15,000.“
“She told me it was the greatest disap-
The New York Times reported of Brico’s
pointment in her life,“ Dallenbach told the
performance that she ”impressed” with the
Westword in 1995.
“life [and] color of her readings,” expressed with “verve and intensity,” and ended with resounding applause. “She was the first woman to achieve national acclaim as an orchestra conductor,” long-time Denver Philharmonic violinist Pauline A. Dallenbach said.
A NEW HOME Lured to Denver in the early 1940s with
Despite her talent and drive, Brico seemed to only have conducting opportunities during World War II when most men were serving. She said that she was born 50 years too early. Brico settled in Denver in 1942 and made her home here. Legions of Denver musicians took piano and voice lessons with her. Sometimes she enlisted students to walk her dog before or after a session. A
the possibility of becoming the principal
busy woman with no relatives, she was
conductor of the Denver Symphony, Brico
known for asking favors.
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Her next position was as the founder
The broader music world’s interest in Brico
and first music director of the Denver
was rekindled in 1974 when her former
Businessmen’s Symphony in 1948. At the
Denver piano student (and later famed
premiere performance, Brico received a
folk singer) Judy Collins and director Jill
telegram from Sibelius wishing the new
Godmilow made a documentary film
orchestra luck. The orchestra’s name later
Antonia: A Portrait of a Woman. The fol-
was changed to the Brico Symphony in
lowing year, she was invited to conduct at
the 1960s, Centennial Philharmonic in the
New York’s Mostly Mozart Festival and in
1990s and finally — you guessed it — the
1977 at the Brooklyn Philharmonia.
Denver Philharmonic in 2004.
The event was sold out immediately and
As a child, Greeley Chamber Orchestra conductor Dan Frantz described seeing the maestro conduct the then-Brico Symphony, “She wore this huge, black, flowing velvet
a second performance was added. It was captured on LP recording.
gown. … It just absorbed light and drew
Brico retired in 1985 and passed away
your attention right to her. And she had
in 1989. There are still people involved
this stern look on her face that could have
with the Denver Philharmonic like Pauline
melted parts of Greenland.“
Dallenbach and her husband Robert, who knew Antonia personally.
Mrs. Dallenbach, who began with the
She had an enduring friendship with
orchestra in 1964, remembers Brico saying
Dr. Albert Schweitzer, the organ-playing
she “taught and inspired many musicians.“
doctor who practiced medicine in the wilds of Africa. The two shared a love of Bach’s music, and she detoured home from an engagement in Europe to visit Schweitzer in Africa in 1950. He had inscribed to her “with love,” a copy of Stravinsky: His Life and Work, which is now in a private collection. Denver Philharmonic Board Member Eleanor Glover even recalls how Brico transported autographed photos of Schweitzer and Sibelius for one another between Africa and Finland.
“In honor of Antonia Brico, the first woman to conduct the New York Philharmonic, in 1938,” the symphony orchestra writes, ”[we] salute the Denver Philharmonic as they inaugurate the Antonia Brico Stage. … We wish the Denver Philharmonic many such nights from their newly dedicated stage.” Thank you for being part of our history tonight as we honor Brico and inaugurate the Antonia Brico Stage at Central Presbyterian Church! By Linda Lebsack and Matt Meier 5
FRIDAY, SEPTEMBER 30, 2016
GRAND OPENING OF THE ANTONIA BRICO STAGE
Antonia Brico Stage at Central Presbyterian Church · Denver, Colorado · 7:30 pm
Lawrence Golan, conductor Mark Mast, guest conductor Ryan Spencer, trumpet Ludwig van Beethoven
Leonore Overture No. 3
(1770 – 1827)
Johann Nepomuk Hummel Trumpet Concerto in E-Flat Major (1778 – 1837) I. Allegro con spirito II. Andante III. Allegro molto Featuring Ryan Spencer, trumpet
∙ 15-MINUTE INTERMISSION ∙ Richard Wagner (1813 – 1883)
Overture to Die Meistersinger von Nürnberg
Featuring Mark Mast, guest conductor
Ludwig Van Beethoven
Symphony No. 5
(1770 – 1827) I. Allegro con brio
II. Andante con moto III. Scherzo. Allegro IV. Allegro
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LAWRENCE GOLAN MUSIC DIRECTOR Conductor Lawrence Golan is in high demand across the United States and internationally. In addition to his position as music director of the Denver Philharmonic Orchestra, Lawrence is the 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. Highlights of Lawrence’s 2016–17 season include a 14-city tour of China with the Denver Philharmonic, an appearance on National Public Radio’s “From the Top” with the York Symphony Orchestra, and the world premiere production, recording and subsequent CD/DVD release on Albany Records of Ode to Nature by Jiaojiao Zhou with the Lamont Symphony Orchestra and producer Dennis Law. Lawrence continues to guest conduct professional orchestras, opera, and ballet companies in the U.S. and around the world. Having conducted in 26 states and 17 countries, recent engagements include performances in Boulder, Macon, Memphis and Tucson as well as the Czech Republic, Italy, Georgia, Korea, Taiwan and China. A staunch supporter of music education, Lawrence is a tenured full professor at the University of Denver’s Lamont School of Music where he conducts the Lamont Symphony Orchestra & Opera Theatre and leads one of the most distinguished and highly sought after graduate conducting programs in the U.S. Lawrence Golan is known for his inspired performances, imaginative programming, passion for developing new audiences, and excellent public speaking skills—entertaining and/or educating 8
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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 Golan holds degrees in both conducting and violin performance from Indiana Universityâ€™s Jacobs School of Music (B.M. and M.M.) and the New England Conservatory of Music (D.M.A.). In addition, he studied at all of the major conducting festivals including Aspen and Tanglewood, where in 1999 he was awarded the Leonard Bernstein Conducting Fellowship. Following in the footsteps of his father Joseph Golan, longtime principal second violinist of the Chicago Symphony Orchestra, Lawrence Golan is also an accomplished violinist. He was concertmaster of the Portland Symphony Orchestra for 11 years, has appeared as soloist with numerous orchestras, including the Chicago Symphony, and has made several commercially available recordings as a violinist. 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. Visit www.LawrenceGolan.com or www.WilliamReinert.com. â€‚9
A POWERHOUSE SEASON. SEPTEMBER 30, 2016
GRAND OPENING OF THE ANTONIA BRICO STAGE Lawrence Golan, conductor Mark Mast, guest conductor Ryan Spencer, trumpet BEETHOVEN Leonore Overture No. 3, Op. 72b HUMMEL Trumpet Concerto in E-flat Major WAGNER Overture to Die Meistersinger von Nürnberg BEETHOVEN Symphony No. 5
NOVEMBER 18, 2016
PULLING OUT ALL THE STOPS Lawrence Golan, conductor Joseph Galema, organ RAVEL Le Tombeau de Couperin POULENC Organ Concerto in G Minor SAINT-SAËNS Symphony No. 3 in C Minor “Organ Symphony”
FEBRUARY 10, 2017
Lawrence Golan, conductor and violin Matthew Zalkind, cello BRAHMS Double Concerto for Violin & Cello TCHAIKOVSKY Symphony No. 4
APRIL 7, 2017
Günther Stegmüller, guest conductor Jeremy Reynolds, clarinet MENDELSSOHN Calm Sea and Prosperous Voyage HINDEMITH Symphonic Metamorphosis on
Themes of Weber WEBER Clarinet Concerto No. 1 in F Minor LISZT Les Preludes
MAY 25, 2017
WHEN IN ROME Lawrence Golan, conductor Wei Luo, piano
DECEMBER 16, 2016
TCHAIKOVSKY Capriccio italien
Marc Moncusí, guest conductor Christiana McMullen, soprano
RESPIGHI Fountains of Rome
MENDELSSOHN Piano Concerto No. 1 in G Minor RESPIGHI Pines of Rome
Full repertoire available at denverphilharmonic.org
BUY YOUR TICKETS NOW! DENVERPHILHARMONIC.ORG 10
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HISHAM BRAVO GROOVER ASSOCIATE CONDUCTOR
Get out your phone and tweet along with me
Hisham Bravo Groover serves as the Assistant Conductor and Orchestra Manager of the Lamont Symphony Orchestra while pursuing an Artist Diploma at the Lamont School of Music under the direction and tutelage of Dr. Lawrence Golan.
Hisham graduated from The University of Iowa with a Masters in
questions and learn
Orchestral Conducting studying under Dr. William LaRue Jones.
more about the music
In Iowa, he conducted various university ensembles, including
— in real time. Tag your
the UI Chamber Orchestra, All-University String Orchestra, Opera
posts with #dpotweets
Scenes, and the Center for New Music.
to join the conversation.
Other previous professional engagements include Adjunct Instructor of Music at Ripon College, Wisconsin, where he served as the conductor of the Ripon College Orchestra. Besides conducting, Hisham’s violin studies have also taken him to the Jacobs School of Music at Indiana University, as well as the New Zealand School of Music. He received his Bachelor Degree in Violin Performance from Loyola University in New Orleans. He also holds a Master’s in Violin Pedagogy from Western Kentucky University where he studied with Dr. Ching-Yi Lin. As the newly appointed Associate Conductor of the Denver Philharmonic Orchestra, Hisham is eager to work with the musicians to bring performances of the highest quality to the Colorado community.
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RYAN SPENCER TRUMPET Ryan is a professional trumpet player, composer, arranger and educator. He’s in his fourth season as principal with the Denver Philharmonic and has played for 19 years. A member of Cheyenne Symphony Orchestra, Stratus Chamber Thanks to my fellow
Orchestra and Pikes Peak Brass Band, he also regularly performs
DPO members for their
with the Denver Brass and was a member of the Colorado Wind
musicianship, time, and efforts in preparing this concert, and express
Ensemble for several years. A student of Alan Hood, Ryan recently graduated from the University of Denver’s Lamont School
my sincere gratitude to
of Music with his Master’s of Music in Trumpet Performance.
Maestro Golan for giving
Other trumpet teachers include the Colorado Symphony’s Justin
me this opportunity to
Bartels and Terry Sawchuk of CU-Boulder; Ryan has studied
perform for you.
composition with Dr. Chris Malloy, John Drumheller, Richard Toensing, Daniel Kellogg and Carter Pann. Ryan maintains an active teaching schedule in the Denver metro area and beyond. He has a growing private studio, where he teaches trumpet, music theory and aural skills. He has been instructor of high brass at the Bluecoats Drum and Bugle Corps (Canton, Ohio) since 2012, and recently celebrated the 2016 Bluecoats’ first-ever DCI championship title in Indianapolis. Throughout Colorado, he works with several marching bands as well as elementary through high school concert music programs. Ryan was a marching member of the Santa Clara Vanguard Drum and Bugle Corps (Santa Clara, California) from 2007–2008 where he was also a soloist.
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Ryan has won several awards, includ-
and won the 2015 Rafael Méndez Brass
ing the CU-Boulder Undergraduate
Institute Mock Audition competition.
Composition Commission Prize, Kappa Kappa Psi Sophomore Honorarium Scholarship, and most recently DU’s award for Outstanding Graduate Student in Performance. He is a member of the Pi Kappa Lambda Honorary Music Fraternity,
Outside of music, Ryan enjoys snowboarding, hiking, camping, sushi and coffee. He plans to remain in Denver long-term to perform and teach music while experiencing all that Colorado has to offer.
WHAT’RE YOU DOING AFTER THE SHOW?
LET’S HAVE A NIGHTCAP! Join us up the street at Blueprint Bar for our official Nightcap after the concert. Enjoy delicious food & drink specials — including a celebratory Brico 48, Blueprint’s twist on the French 75 in honor of the Grand Opening of the Antonia Brico Stage.
450 E. 17th Avenue (17th & Pennsylvania) 9:30–11ish
MARK MAST GUEST CONDUCTOR Born in Freudenstadt / Black Forest, Germany, Mark Mast studied music in Heidelberg, Paris and Munich. Early in his career he had the great fortune to meet and study with Leonard Bernstein, who provided a major impetus for his professional development and confidence as a conductor. Soon thereafter, he had the opportunity to interact closely with the renowned Sergiu Celibidache, who became the central influence in Mark’s development as conductor. Mark completed Master Studies under Celibidache’s tutelage from 1987 to 1992. Since 1994, Mark has acted as intendant and artistic director of the Bayerische Philharmonie (Bavarian Philharmonic). From 1998 to 2009, he was musical director of the music theatre festival, Orff-in-Andechs. Since 1998, he has acted as intendant and artistic director of the Schwarzwald Musikfestival. In 2001, he was appointed director of the Sergiu Celibidache Foundation, initiating and organizing for Sergiu Celibidache Festivals in 2002, 2004 and 2006. From 2005 until 2009, he was principal guest conductor of the Moldavian State Philharmony, Iasi. In May 2010, he founded Orff-Tage der Bayerischen Philharmonie in the Prinzregententheater Munich. In 2012, he also became the artistic director of the Sergiu Celibidache 2012 International Festival. In 2008, Mark received the Werner-Egk-Preis Donauwörth for his contributions to cultural life in Bavaria, especially for his engagement for Bavarian composers, such as Werner Egk, Carl Orff, Karl Amadeus Hartmann and Richard Strauss.
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Our webseries “Playing Out” takes musicians out on the town performing in and around Denver. Get to know trumpeter Ryan Spencer at YouTube.com/DenverPhilharmonic. Binge-watch pianist Fei-Fei Dong play
“Playing Out” is created in part by local
Gershwin’s Rhapsody in Blue on a 16th
filmmaker David Sherman. David special-
Street Mall piano, Music Director Lawrence
izes in arts marketing, media literacy and
Golan on violin at the Botanic Gardens
with Vivaldi’s “Autumn,” cellist Jay Campbell explore downtown and perform Elgar’s Cello Concerto, Sydney Harper carol at The Brown Palace, pianist Steven Lin flip records at Wax Trax II or conductor S. Mordecai Fuhrman FaceTime with Dutch-American composer Johan de Meij.
OUR MUSICIANS MUSIC DIRECTOR
Kostadin Dyulgerski, acting principal Victoria DiMarzio Lori Hanson Ben Luey Ana Montenegro Elizabeth O’Brien Anita Zerbe
ASSOCIATE CONDUCTOR Hisham Bravo Groover
FIRST VIOLIN Katherine Thayer, concertmaster Melissa Barru Carrie Beeder Rachel Bradford Barbara Casanova Matthew Grove Thomas Jatko Lubia Montenegro Beth Schoening Elizabeth Wall Grace Wills
CELLO Bryan Scafuri, principal Katie Burns Naftari Burns Sarah Frederick Kyle Laney Monica Sáles Amanda Thall Rachel Yanovitch
Yiran Li, principal Niccolo Werner Casewit Valerie Clausen Christina Colalancia Terri Gonzales Miki Heine Annie Laury Callista Medland Wendy Montenegro Roger Powell Anne Silvas Albert Ting
Mark Stefaniw, principal Zach Antonio Lucy Bauer Josh Filley Taryn Galow Colton Kelly
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Aaron Wille, principal Catherine Ricca Lanzano Whitney Kelley
Ryan Spencer, principal Ariel Van Dam Ryan Stutzman
William Combs, principal Wallace Orr
OBOE Kimberly Brody, principal Loren Meaux, assistant principal
Jessica Clark, acting principal Claude Wilbur
Steve Bulota, principal Heather Church
Ken Greenwald, principal Stephen McCarty
Heather Church Ani Gyulamiryan
Ron Torp, acting principal Robyn Chauvin, assistant principal Jeanine Branting Kelli Hirsch Mary Brauer
Becky Moritzky, principal Jenilee Elsbernd
OUR TEAM BOARD OF DIRECTORS
PRESIDENT Jon Olafson VICE-PRESIDENT Sarah Hogan SECRETARY Matt Meier TREASURER Allison Lausten Amy Anderson Pauline Dallenbach, Honorary Member Dr. Robert Dallenbach Eleanor Glover Maureen Keil, Honorary Member Linda Lebsack Tenley Oldak
Callista Medland Alyssa Oland, assistant
DENVER PHILHARMONIC FOUNDATION BOARD
Keith Fisher Allison Lausten
EXECUTIVE DIRECTOR Valerie Clausen
PERSONNEL MANAGER Annie Laury
FRONT OF HOUSE MANAGER Amy Anderson
STAGE Taryn Galow, co-manager Loren Meaux, co-manager Stephen O’Rourke New Genesis Transitional Community for the Homeless
CONCERT PROGRAM Ligature Creative Group, design Walker Burns, editing María Angélica Lasso, Spanish translation Callista Medland, program notes & editing
AUDIO TECH Joel Dallenbach
Ligature Creative Group
MARKETING Matt Meier, chair Niccolo Casewit Dr. Robert Dallenbach Stephanie Gillman, photographer Ali McNally Katrina Niemisto Jeff Paul David Sherman
FUNDRAISING Sarah Hogan, chair Megan Camp Ani Gyulamiryan Kelli Hirsch Barb Moritzky Jon Olafson
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DPO WITH A TWIST
FRONT OF HOUSE
William Combs Katherine Thayer
Tamera Arredondo Taylor Broderick Gil Clausen Alixandra Feeley Linda Lebsack Brian McGuire Karen McGuire Carolyn Medland Gary Medland Joan Montezon
DATA WRANGLERS Callista Medland Henry Ammons
PARKING ADVISORS Linda Lebsack Hugh Pitcher
BOX OFFICE Peter Dearth Cris Diaz, habla español Matt Hogan Sarah Hogan María Angélica Lasso, habla español Annie Laury Allison Lausten Ali McNally Jon Olafson Mary Wills
MORE THAN MUSIC PARTNERS Gigi’s Cupcakes Lawson Adventure Park Mikes² Kitchen Purple Door Coffee Rolling Smoke BBQ Ursula Brewing
VOLUNTEERING OPPORTUNITIES Our orchestra is run by volunteers. We are always looking for fun, energetic and dedicated people who are interested in joining our team. We could use help in the following areas: concert night hosting, fundraising, concert production, receptions, 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.
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.
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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SEPTEMBER 30 • GRAND OPENING OF THE ANTONIA BRICO STAGE by CALLISTA MEDLAND
Leonore Overture No. 3, Op 72b Ludwig van Beethoven (1770–1827) Beethoven was born in Bonn, Germany in 1770. His father, who struggled with alcoholism his whole life, was a sometimes brutal task-master when it came to Beethoven’s musical teachings. Beethoven’s first public recital was at age 7.5 — although his father announced him as only 6, thus causing some confusion Beethoven met an
for Beethoven later in life about his own age. His first published
composition of a set of piano variations came at age 12. And his
Liszt, who went on to
first paid position was at at age 14 as the assistant court organist
write versions of all of
of the Electorate of Cologne.
Beethoven’s symphonies for piano solo.
In 1792, he went to Vienna, where he studied with Haydn, Salieri, and Albrechtsberger. By the turn of the century at the age of 30, Beethoven confessed to close friends that he was going deaf. Despite what may seem 23
impossible odds, his most famous works
years to develop. He wrote a total of four
were composed during the last 10 years
different overtures; the third emerged as
of his life, when he was completely deaf.
a standalone work that is often performed
These works included his Ninth Symphony,
by symphony orchestras, as we are doing
one of the most widely recognized pieces
of classical music to this day. While he had many personal struggles leaving him miserable and alone for much of his adult life, Beethoven is widely accepted as the most important musical figure in the transition between the Classical and Romantic eras.
The opera’s story centers around Leonore, who disguises herself as a young man to rescue her husband from prison where he has been held for political reasons. After the final version of Fidelio was released, Beethoven is known to have
ABOUT THE MUSIC
revealed to colleagues that he was
Beethoven’s only opera, Leonore (later
dissatisfied with it. Audiences, however,
re-worked and re-titled Fidelio), took 10
continue to love Fidelio and Leonore’s third overture.
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Trumpet Concerto in E-Flat Major Johann Nepomuk Hummel (1778–1837) Johann Nepomuk Hummel was an Austrian composer first known for piano performance and compositions. Starting at age 8, he studied with Mozart, giving his first performance at one of Mozart’s concerts when he was 9 years old. He also studied with Haydn, who composed a piano sonata for him in 1791. During Beethoven’s time in Vienna, Hummel became a colleague and friend. Hummel is German for ‘bumblebee.’ Duration: 17 minutes
While Hummel has not made it into the group of composers very widely known today, he was very well regarded during his time, and held prestigious positions in the Esterhazy court, such as Konzertmeister (concertmaster) and Kapellmeister (the guy in charge of music-making), which he essentially took over for Haydn. Unlike Beethoven, who bridged the gap from the Classical into the Romantic era, Hummel was firmly rooted in the classical tradition for his compositions.
ABOUT THE MUSIC While the bulk of Hummel’s compositions were for piano, his Trumpet Concerto has continued to be quite popular. It was originally written for Anton Weidinger, the creator of the valved
trumpet — what we currently see as an
In form, the piece conforms to the
ordinary trumpet. This invention opened
standard three movement format of
up many possibilities, including the ability
most concertos. The majestic opening
to play chromatic scales throughout the
movement, Allegro, is in sonata form. The
instrument’s range, which was also extend-
middle movement, Andante, is slow and
ed by the additional of valves.
lyrical, and showcases the softer colors of
Premiered on New Year’s Day in 1804, the concerto was originally composed in E Major, but soon thereafter was transposed to E-Flat Major, thus making it easier for
the instrument. Allegro moto, the third and final movement, begins without a gap after the second movement (attaca), and is a fast, virtuosic ride to the end.
the soloist to play (although a bit more difficult for the accompanying strings!).
DPO with a
twist STRINGS STRAIGHT UP OCTOBER 26 @ 7PM
DAZZL E JAZZ 93 0 L INCOL N ST For a second season, we’ve partnered with “Denver’s Best Jazz Club” (Westword) Dazzle Jazz to present small musical ensembles over dinner & drinks.
Tickets at denverphilharmonic.org or dazzlejazz.com. 26
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Welcome to Central Presbyterian Church, an enthusiastic partner of the Denver Philharmonic and a dedicated supporter of the downtown arts and music communities. This historic building, the third in the church’s 150-year history, was designed by renowned Denver architect Frank Edbrooke and built in 1891. Though the pipe organ has been replaced several times throughout the church’s history, the hand-painted facade pipes are from the original organ built in 1892. On Sunday mornings at Central,
downtown community, including the
the music of the classical masters
New Genesis Transitional Shelter in
lives comfortably next to gospel
the basement just below your feet,
music and spirituals, shape-note
the Central Visitation Program on
hymns performed in the Sacred
the third floor of this building, and
Harp tradition, medieval chant, and
the Metro Caring hunger relief center
everything in between. With a strong
and the Colfax Community Network.
commitment to service, Central has been a founding member of many
We hope you enjoy tonight’s concert,
successful nonprofits that serve the
and hope you’ll join us for more!
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 9 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. For more than 50 years, the Pillar of Fire Church 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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Overture to Die Meistersinger von Nürnberg Richard Wagner (1813–1883) German composer Richard Wagner was born in Leipzig. During his youth, he was exposed to theatre by his stepfather and composed his first opera Die Feen (The Fairies) at age 20. Throughout his lifetime, he composed 13 full-length operas and authored all of his own libretti (which is the lyrics, like a screenplay for an opera). One of Wagner’s best-known compositional Wagner’s full Ring Cycle of four operas takes 17 hours to perform! If that
contributions to classical music is his use of the leitmotif. These small snippets are melodic themes representing characters, and recur throughout each opera. For a more modern example of
sounds long though,
the use of leitmotifs, check out the wildly popular PBS series
all six Hobbit and Lord
Downton Abbey — it’s full of them!
of the Rings films total about 20 hours. Duration: 9 minutes
ABOUT THE MUSIC The plot of the opera Die Meistersinger von Nürnberg (The Master-Singers of Nuremberg) is a lighthearted one, and Wagner’s only attempt at a comedic opera. A young woman is to be the prize of the winner of a contest by the mastersingers, and tells this to Walther, a young knight. Many hoped to win the contest with their song, drama and conflict ensues, but young love prevails when Walther wins Eva’s hand. The overture was composed before Wagner wrote the opera, which didn’t premiere until 1868. It was written during a train trip in 1862 and served as a sketch of what was to come. This optimistic and stately piece introduces themes for the mastersingers and apprentices, as well as Walther’s prize song. The thematic material is stitched together so seamlessly though, that the piece can stand alone without the opera, as most of Wagner’s overtures do.
Symphony No. 5 in C Major Ludwig van Beethoven (1770–1827) Premiered December 22, 1808, Beethoven’s Fifth Symphony was played during the second half of the concert; his Sixth was on the first half of the program. After the immense popularity of his Third Symphony, Eroica, the Fifth and Sixth had a lot to live up to. The premiere was with an underprepared orchestra that only rehearsed once, in a hall that Much of Beethoven's most famous repertoire was written after he went deaf. Duration: 31 minutes
was cold, for an audience that grew exhausted by the end of the lengthy program. As a result, the piece didn’t receive critical accolades. However, within the next few years, the piece received praise and developed a following. Today, Beethoven’s Fifth Symphony is often performed at inaugural concerts. We are keeping with this tradition by performing it for you tonight at our inaugural concert on the Antonia Brico Stage.
STRUCTURE AND THEORY Perhaps the most widely recognized motif in classical music today: Da-Da-Da-Dun! The short-short-short-long pattern appears all over the first movement, including through a technique known as inversion. 30
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The ‘long’ in the pattern is a lower pitch
restate a variation of the first theme. Keep
than the ‘short-short-short.’ Inversion
listening for the many different ways that
would use the same rhythmic pattern,
Beethoven writes each theme!
but have the shorts leading to a higher
In the third movement, Beethoven adds a
pitched ‘long.’ Listen closely — you will
fresh perspective to the more traditional
hear short-short-short-long examples throughout the entire symphony. The first movement is structured in Sonata Form, the predominant structure in instrumental music between the Classical and 20th Century eras of music. The second movement is a slower, lyrical contrast to the opening movement, and is of the Theme & Variation form (playing many variations of a central theme). Unlike a typical theme & variation, this movement actually contains variations on two themes. The first theme is stated by the low strings, who are soon joined by the upper strings, and accompanied by the winds. A short second theme follows, after which the winds and brass
Minuet & Trio form (ternary), implementing instead a Scherzo & Trio. Returning to our home key of C minor, you’ll certainly also notice a return of our short-shortshort-long motif. The final movement, also in a version of sonata form, follows the third without pause (attaca). Some have alluded to the short-shortshort-long motif representing fate knocking at the door. This triumphant movement is in C major (rather than the expected C minor of the first movement), and contains a long concluding passage making it exciting to the last note.
PREFERRED CONCERT NIGHT PARKING VENDOR Large surface lot directly across the street EVENING RATE
THE 69TH SEASON
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
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 became tradition to wait until the end of
COUGHING Ahem… Try to ‘bury’ your cough in a loud
the piece to clap, with the audience sitting silent between movements.
passage of music. If you can’t, or you
At the DPO, we welcome both traditions.
begin to cough a lot, don’t worry — it’s
If you prefer to wait for the end of a piece
perfectly acceptable and appropriate to
to clap, please do. Some movements are
quietly exit the concert hall. Remember to
fiery and end in such a flare that you may
unwrap cough drops before the concert so
feel compelled to clap — go for it! After
you don’t create crackling noises.
a quiet movement, you may want to enjoy 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!
THE 69TH SEASON
E SIT TIGHT
The rumors are true — we’re pretty
Feel free to tweet along with us
informal. But we do ask that you sit tight
@denverphilorch, post to Facebook or
and quiet during the performance and
take photos without flash. Upload your
only get up between pieces or during in-
pics and comments online — and be sure
termission as to not distract the musicians
to tag us! We’re on Facebook, Twitter and
or concert-goers around you.
Instagram @denverphilorch #dpotweets
PACK IT IN, PACK IT OUT
You’re welcome to bring a water bottle
Rules, rules, rules — we know, it can be
into the hall, but remember “Trail Rules”
overwhelming. The most important rule of
— pack it in, pack it out. (This goes for
all is to have fun and enjoy yourself. And
then tell all your friends and come back 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. Tonight, meet Melissa, Nico, Sarah, Annie and Albert — MELISSA BARRU
Day Job: Architect and Planner
Pop Culture Obsession: Bernie’s Birdie
Seasons with DPO: 4
Favorite Classical Piece: Bach Partitas
Undergrad: Music Education from
University of Northern Colorado
My First Musical Lesson Was… Twinkle
Master’s: Violin Performance University of
Twinkle Little Star at age 9
Musical Fantasy: Composing my own
Day Job: Lesson teacher, elementary
violin concerto and performing it in a
concert hall which I designed!
Favorite Classical Piece: Tchaikovsky violin concerto
Musical Guilty Pleasure: Taylor Swift
My First Musical Lesson Was…: On piano!
Seasons with DPO: 1
With my grandma :)
Other Instruments: Piano, ukulele, kazoo
Favorite thing to do in Denver: Ride my bike!
Undergrad: Wheaton College, B.A. Music
NICCOLO ”NICO” CASEWIT
School, M.A.T. Education
Day Job: Teaching sixth grade math
Seasons with DPO: 20
Strange But True: I have an extra bone in
Undergrad: U.C. Boulder
my right foot
Loves To Hate: I-25 traffic
Master’s: Wheaton College Graduate
THE 69TH SEASON
HT Favorite Classical Piece: “Symphony
My First Musical Lesson Was… Piano in
No. 2” by Howard Hanson
Hometown: Huntsville, Alabama
My favorite song: Amazing Grace
Seasons with DPO: 17
Seasons with DPO: 4
Undergrad: B.A. Psychology, Sciences,
Undergrad: Stanford, BS in Chemistry
Doctoral: UT Southwestern Medical
Day Job: Manufacture large animal
School with MD; and Baylor College of
Medicine, PhD in Cell Biology
Strange But True: I come from a long line
Day Job: Retired Family Medicine Physician
Hates To Love: Practicing
Loves To Hate: Only good spider is a
Favorite Classical Piece: Dvorak
Hates To Love: Pokemon Go (On Level 2)
Musical Guilty Pleasure: Country Banjo
Pop Culture Obsession: Freddie Mercury
Birthplace: Taipei, Taiwan
Favorite Composer: Beethoven
Hometown: Arlington, Texas
Musical Guilty Pleasure: Love me some
I Wish I Was… Better at video games
Hillbilly music on occasion. Loud.
Favorite thing to do in Denver: Finding
Hometown: Ottawa, Kansas
the best cheap hole-in-the-wall restaurants 37
Donations since January 1, 2016
We would like to acknowledge the generous support of the following individuals, businesses and corporations. ORCHESTRA CIRCLE
Liza Ranftle & Richard Casson
Valerie & Gilmour Clausen
German American Chamber of Commerce & German Cultural Foundation
(UP TO $99)
Linda Lebsack & Hugh Pitcher
Brio Gold, Inc.
PATRON ($500–$999) Anonymous CoBank Sarah & Matthew Hogan Dan & Steph Lagerborg U.S. Bank Foundation Katherine & Ben Vagher
BENEFACTOR ($300–$499) Russell Klein
CONTRIBUTOR ($100–$299) Eleanor Glover Judy & Ed Hagerman Michael & Patricia Meaux Carolyn & Gary Medland Jon Olafson Kathleen Porter 38
Amazon Smile Foundation Robert Collins Stephen Dreher Kira van Lil James McCall Dorothy L. Nelson Lesley Reeder
GOLD PARTNERS David Sherman Creative Ligature Creative Group
SILVER PARTNERS Access Cottrell Printing Company, Inc. Ireland Stapleton Pryor & Pascoe, PC Newberry Brothers Greenhouse & Florist The Pillar of Fire Church
COMMUNITY PARTNERS New Genesis, Inc. Purple Door Coffee Ursula Brewery 16–17
THE 69TH SEASON
Music sounds better when you know more. Listen, study, enjoy—with CPR Classical.
“Music Forward” Saturdays at 7 p.m. on CPR Classical Explore music of the past century through musician interviews and discussion of Colorado’s contemporary performances.
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
$20,000 or above
$5,000 – $19,999
$2,500 – $4,999
$1,000 – $2,499
$500 – $999
$300 – $499
$100 – $299
up to $99
$10,000 and above
$5,000 – $9,999
$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
THE 69TH SEASON
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.
Check or Credit Card
Name Address City, State, ZIP Code Telephone
Credit Card No. Expiration Date
CVV Code 41
CONTACT US! PO Box 6074 Denver, CO 80206 303.653.2407
@denverphilorch firstname.lastname@example.org 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 seven-county 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.
THE 69TH SEASON
NOVEMBER 18, 2016
PULLING OUT ALL THE STOPS THE WALLS WILL SING. Originally installed in 1893, Central Presbyterian’s beautiful, hand-painted pipe organ is the centerpiece at Pulling Out All the Stops on November 18. Showcasing local organist Joseph Galema, the concert features the Organ Concerto by Francis Poulenc and Camille Saint-Saëns’ “Organ Symphony.” The evening opens with Maurice Ravel’s bright and lyrical celebration of life Le Tombeau de Couperin. Lawrence Golan, conductor Joseph Galema, organ
BUY YOUR TICKETS NOW! DENVERPHILHARMONIC.ORG Pulling Out All The Stops November 18, 7:30pm Antonia Brico Stage Central Presbyterian Church
music connects our community.
is proud to support the Denver Philharmonic .
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Published on Sep 21, 2016
Lawrence Golan, conductor Mark Mast, guest conductor Ryan Spencer, trumpet BEETHOVEN: Leonore Overture No. 3 HUMMEL: Trumpet Concerto in E-...