APRIL 7, 2017
PROST! MARKMASTGUESTCONDUCTOR JEREMYREYNOLDSCLARINET W E BE R
Overture to Der Freischütz W E BE R
Clarinet Concerto No. 1 in F Minor BAC H
Ein feste Burg BAC H
Jesu, joy of man’s desiring HI N D E M I TH
Symphonic Metamorphosis on Themes of Weber
A NEW PARTNERSHIP There couldn’t be a more appropriate title for tonight’s concert than Prost! ‘Prost’ is a celebratory German word, like our “Cheers!” Tonight’s concert features an all-German musical selection, and we have some HUGE news to celebrate. Tonight, we ask that you raise your glass
As a first step in this new partnership,
to the Denver Philharmonic Orchestra
tonight we welcome Maestro Mark Mast
and our new friends and partners at
as our guest conductor. Mark is the
the Bayerische Philharmonie (Bavarian
Bayerische Philharmonie’s esteemed
artistic director and conductor. You may
Based in Munich, Bayerische Philharmonie is a large and well-respected European symphonic juggernaut, with seven orchestras and choruses under its umbrella. We are embarking on a multi-year agreement with this orchestra to promote a transAtlantic exchange of conductors, musicians, ideas and music as well as the
recognized him from our opening concert of this season, where he conducted the overture to Wagner’s Die Meistersinger von Nürnberg. Please introduce yourself and welcome Maestro Mast to Colorado and show him the warm atmosphere of community we have at the DPO! Raise your glasses to this exciting new
overall promotion of symphonic music in
INTERNATIONAL chapter in the Denver
both Colorado and Bavaria — two places
Philharmonic’s mission to continually
with more similarities than differences.
redefine the way our community experi-
We are confident that through this partnership audiences and musicians from both sides of the Atlantic will be treated to new experiences, fresh sounds and an international perspective each season.
ences and engages with classical music. Cheers! Jon Olafson, DPO Board President
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 Scott O’Neil, guest conductor Matthew Zalkind, cello BRAHMS Double Concerto for Violin & Cello TCHAIKOVSKY Symphony No. 4
APRIL 7, 2017
Mark Mast, guest conductor Jeremy Reynolds, clarinet WEBER Overture to Der Freischütz WEBER Clarinet Concerto No. 1 in F Minor BACH Ein feste Burg BACH Jesu, joy of man’s desiring HINDEMITH Symphonic Metamorphosis on Themes of Weber
MAY 25, 2017
WHEN IN ROME
DECEMBER 16, 2016
Lawrence Golan, conductor Wei Luo, piano
Marc Moncusí, guest conductor Christiana McMullen, soprano
TCHAIKOVSKY Capriccio italien
HOLIDAY CHEER! HOLIDAY FAVORITES!
Full repertoire available at denverphilharmonic.org
MENDELSSOHN Piano Concerto No. 1 in G Minor RESPIGHI Fountains of Rome RESPIGHI Pines of Rome
BUY YOUR TICKETS NOW! DENVERPHILHARMONIC.ORG 4
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FRIDAY, APRIL 7, 2017
Antonia Brico Stage at Central Presbyterian Church · Denver, Colorado · 7:30 pm
Mark Mast, guest conductor Jeremy Reynolds, clarinet Carl Maria von Weber
Overture to Der Freischütz
(1786 – 1826)
Carl Maria von Weber Clarinet Concerto No. 1 in F Minor (1786 – 1826) Allegro Adagio ma non troppo Rondo – Allegretto Featuring Jeremy Reynolds
∙ 20-MINUTE INTERMISSION ∙ Johann Sebastian Bach
Ein feste Burg
(1685 – 1750) Arr. Leopold Stokowski (1882 – 1977)
Johann Sebastian Bach
Jesu, joy of man’s desiring
(1685 – 1750) Arr. Arthur Luck (1916 – 1987)
Paul Hindemith (1895 – 1963)
Symphonic Metamorphosis on Themes of Weber
Allegro Turandot Scherzo – Moderato – Lebhaft Andantino Marsch 6
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DPO with a
twist MIXED DRINK APRIL 26 @ 7PM
DAZZLE JAZZ 930 LINCOLN 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 7
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
MARK MAST GUEST CONDUCTOR Born in 1963 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, Mast 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 during the years 1987–1992. He is consistently invited to conduct orchestras in Germany like the South-West German Chamber Orchestra Pforzheim, the Philharmonic Orchestra of Baden-Baden, the Stuttgart Chamber Orchestra, the Wurtemberg Chamber Orchestra Heilbronn, the Symphonic Orchestras of Munich, Nurnberg and Hof, but also international orchestras such as the Athens Chamber Orchestra, Greece, the Latvian National Orchestra of Riga, the Slovenian National Orchestra, the Swedish Radio Symphony Orchestra, the Slovenian Theatre Orchestra, the Ensemble Kanazawa of Japan and the Enescu Philharmony Bucharest. Mark Mast has been intendant and artistic director of the Bayerische Philharmonie (Bavarian Philharmonic) since 1994 where he has worked with such greats as Zubin Mehta, Sir Colin Davis and Esa-Pekka Salonen. As a part of his passion for encouraging and protecting high professional standards in the music world, Mark is a regular jury member at international music competitions. From 1998–2009, he was musical director of the music theatre festival Orff-in-Andechs. Since 1998, he is also intendant and artistic director of the Schwarzwald Musikfestival. In May 2010,
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he founded Orff-Tage der Bayerischen Philharmonie in the Prinzregententheater Munich. In 2001, he was appointed director of the Sergiu Celibidache Foundation, initiating the Sergiu Celibidache Festival in 2002; in 2004, the festival took place in Munich; and in 2006, in Iasi, Romania. From 2005–2009, he was principal guest conductor of the Moldavian State Philharmony, Iasi. In 2012, he also became the artistic director of the Sergiu Celibidache 2012 International Festival, which took place in Bucharest and included a series of events: masterclasses, concerts, exhibits, film screenings, etc. As closing highlight of the Festival he conducted the world premiere of Romanian Suite ‘Haz de necaz‘ of Sergiu Celibidache. In 2008, he received the “Werner-Egk-Preis Donauwörth” for his contributions to cultural life in Bavaria, especially for his engagement of Bavarian composers, such as Werner Egk, Carl Orff, Karl Amadeus Hartmann and Richard Strauss. From 2011–2016, he was president of Jeunesses Musicales Bayern. Mark first toured Colorado in 1993 with the Young Philharmonic Orchestra of Munich performing in Pueblo, Boulder, Denver and at the official dedication of the then-new Denver International Airport. In 1996, he returned as orchestra-in-residence of the Colorado Music Festival with concerts in Estes Park, Breckenridge, Denver and Boulder. Last fall, he returned to the Colorado stage with the Denver Philharmonic Orchestra guest conducting Wagner’s Die Meistersinger Overture at The Grand Opening of the Antonia Brico Stage and of the 2016–2017 Season.
JEREMY REYNOLDS CLARINET Internationally renowned artist, Jeremy Reynolds has performed on six continents making his Carnegie Hall debut in 2015. He joined the faculty of the University of Denver Lamont School of Music after performing as principal clarinetist with the Tucson Thank you for coming to this concert and your continued support of the Denver Philharmonic!
Symphony Orchestra. In addition, Jeremy currently holds the position of assistant principal clarinet with the Colorado Springs Philharmonic Orchestra. He has performed for the International Clarinet Association’s ClarFest, Clarimania (Poland), ClariBogota (Colombia), Australian Clarinet and Saxophone Festival, One Month Festival (South Korea), International Alliance for Women in Music, University of Oklahoma Clarinet Symposium, International Double Reed Society and the National Flute Association. Jeremy has performed with the Colorado Symphony Orchestra, Colorado Music Festival, Des Moines Metro Opera, Hyogo Performing Arts Center Orchestra, New World Symphony, National Repertory Orchestra, National Orchestral Institute and the Aspen Music Festival. He has won awards at the Coleman and Carmel National Chamber Music Competitions additionally collaborating with Itzhak Perlman, Don Weilerstein, Paul Katz, Ronald Leonard, Stefan Milenkovich and Merry Peckham. He has been invited to teach in some of the world’s most renowned music conservatories including the Versailles Conservatory of Music, Seoul National University, Sydney Conservatorium of Music, Escola Superior de Música de Catalunya in Spain as well as Soochow University and Tainan University of the Arts in Taiwan. Jeremy is a Buffet Group performing artist/clinician and Lomax Classic Mouthpiece performing artist.
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music connects our community.
is proud to support the Denver Philharmonic .
• • • • • • • • • • • • • • • • • • • •
• • • • • • • • • • • • • • • • • • • •
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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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 don’t need a Twitter account to
you want to participate, but let’s leave
read our tweets (just visit twitter.com/
the music to the pros.
DenverPhilOrch), but if you’d like to
• ALL THUMBS Tweet tweet tweet all the night through, but remember, no talking during the concert.
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 15
Binge-watch all episodes of our webseries “Playing Out” taking musicians out on the town performing in and around Denver at YouTube.com/DenverPhilharmonic. See pianist Fei-Fei Dong play Gershwin on
“Playing Out” is created in part by Emmy
a 16th Street Mall piano, Music Director
Award-winning local filmmaker David
Lawrence Golan on violin at the Botanic
Sherman. David specializes in arts market-
Gardens, cellist Jay Campbell perform
ing, media literacy and education.
and explore downtown, Sydney Harper carol at The Brown Palace, pianist Steven Lin flip records at Wax Trax II, conductor S. Mordecai Fuhrman FaceTime with composer Johan de Meij, DPO’s own Ryan Spencer trumpeting over Highlands Bridge, climb inside Central Presbyterians’
pipe organ with Wil Smith and dream of a white Christmas with Christiana McMullen. 16
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OUR MUSICIANS MUSIC DIRECTOR
Samantha Wilson, principal Naomi Croghan Victoria DiMarzio Lori Hanson Ben Luey Anita Zerbe
GUEST CONDUCTOR Mark Mast
ASSOCIATE CONDUCTOR Hisham Bravo Groover
FIRST VIOLIN Katherine Thayer, concertmaster Anna Katherine Barnett-Hart, associate concertmaster Carrie Beeder Hisham Bravo Groover Natalie Hill Thomas Jatko Lubia Montenegro Emmy Reid Beth Schoening Grace Wills
CELLO Katie Burns, acting principal Naftari Burns Amanda Thall Rachel Yanovitch Tara Yoder
DOUBLE BASS Colton Kelly, principal Zach Antonio Lucy Bauer Josh Filley Taryn Galow
Yiran Li, principal Niccolo Werner Casewit Christina Colalancia Erica Getz Annie Laury Callista Medland Wendy Montenegro Anne Silvas Albert Ting
Aaron Wille, principal Catherine Ricca Lanzano Whitney Kelley
PICCOLO Whitney Kelley
String musicians are listed in alphabetical order 18
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Loren Meaux, acting principal Michael Sax
Ryan Spencer, principal Ariel Van Dam Colton Crandell Ryan Stutzman
ENGLISH HORN Michael Vigliotti
CLARINET Kwami Barnett, principal Jessica Clark
BASS CLARINET Claude Wilbur
BASSOON Ken Greenwald, principal Stephen McCarty
CONTRABASSOON Adam Lusk
HORN Zach Maupin, principal Jeanine Branting Kelli Hirsch Ron Torp
TROMBONE William Combs, principal Wallace Orr
BASS TROMBONE Daniel Morris
TUBA Darren DeLaup
TIMPANI Steve Bulota, principal
PERCUSSION Heather Church Kevin Keith Ani Gyulamiryan Jackson Stevens Mike Stobie
OUR TEAM BOARD OF DIRECTORS
New Genesis Transitional Community for the Homeless Stephen O'Rourke Emmy Reid Albert Ting
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
CENTRAL PRESBYTERIAN PRODUCTION TEAM
DENVER PHILHARMONIC FOUNDATION BOARD
Keith Fisher Allison Lausten Roger Powell
EXECUTIVE DIRECTOR Valerie Clausen
PERSONNEL MANAGER Annie Laury
FRONT OF HOUSE MANAGER Amy Anderson
STAGE Taryn Galow, co-manager Loren Meaux, co-manager Zach Antonio Thomas Jatko Colton Kelly Michael Meaux Patricia Meaux 20
Bryce Clark Wil Smith
MUSIC LIBRARIAN Callista Medland
Ligature Creative Group, design Walker Burns, editing Taryn Galow, Braille translation María Angélica Lasso, Spanish translation Callista Medland Betsy Schwarm
AUDIO TECH Joel Dallenbach Jack Pelon
MARKETING Matt Meier, chair Niccolo Casewit Dr. Robert Dallenbach Stephanie Gillman, photographer Hisham Bravo Groover Zoë Gulliver Ali McNally Katrina Niemisto David Sherman
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FRONT OF HOUSE
Sarah Hogan, chair Robert Cleve Ani Gyulamiryan Kelli Hirsch Barb Moritzky Jon Olafson
Tamara Arredondo Taylor Broderick Gil Clausen Joey de la Cruz Marilyn Eaton Alixandra Feeley Nileen Hart Stan Jewell Marty Jewell Linda Lebsack Brian McGuire Karen McGuire Carolyn Medland Gary Medland Joan Montezon Stephen O’Rourke Hugh Pitcher Greg Wills
DPO WITH A TWIST William Combs Katherine Thayer
MUSICIANS COMMITTEE Loren Meaux, chair Rachel Bradford Niccolo Casewit Callista Medland Daniel Morris Catherine Ricca Lanzano
DATA WRANGLER Henry Ammons
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 Blueprint Bar Chalet Dancers Purple Door Coffee Safeway University Club Ursula Brewery
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.
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APRIL 7 • PROST! by BETSY SCHWARM
Der Freischütz Overture Carl Maria von Weber (1786 – 1826) Contrary to frequent opinion, Richard Wagner (1813 – 1883) did not invent the idea of grand German-language opera presenting grand German-flavored tales. That honor belongs to Carl Maria von Weber. Weber was composing, conducting, and promoting German opera when Wagner was just an infant, and of his nine completed dramatic Unlike some boisterous politicians, Weber had HUGE hands and enjoyed writing complicated piano music for them. Duration: 10 minutes
scores, the most successful was Der Freischütz (The Freeshooter). Premiering in Berlin June 18, 1821, Der Freischütz is a darkly romantic tale of a young huntsman who finds himself, unknowingly, in league with the devil as he attempts to win a shooting contest. Good fortune saves both Max and his beloved Agathe. The work was an instant triumph. Its supernatural elements were much
in vogue at the time and its struggle be-
Most obvious of these is the leading lady’s
tween good and evil seized the emotions
Act Two prayer and subsequent song of
of listeners. The work was so popular that
joy that her sweetheart is well. As such,
it achieved the notable tribute of being
the overture offers a fine perspective on
parodied by other composers!
the opera’s changeable moods, from
The opera’s overture, opening tonight’s concert, features musical themes borrowed from the body of the drama itself.
the ominous drama of the opening lines through ebullient delight, culminating in the ever-popular happy ending.
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 specialty pomegranate juice and PBR cocktail, POMBR, to celebrate Prost!
450 E. 17th Avenue (17th & Pennsylvania) 9:30–11ish
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 TJâ€™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
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 sanctuary, the third in the churchâ€™s history, was designed by renowned Denver architect Frank Edbrooke and built in 1891. Central houses the New Genesis Transitional Shelter in the basement just below your feet, the Central Visitation Program on the third floor of this building, and is closely involved with the Metro Caring hunger relief center and the Colfax Community Network.
We seek to welcome all with gracious hospitality. In these times of uncertainty, our faith calls us to stand up for the oppressed no matter the national origin, religion, race, color, sex, gender identity, sexual orientation, disability, or age. Join us on Sunday mornings at 10:30.
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Clarinet Concerto no. 1 in f minor, op. 73 Carl Maria von Weber (1786 – 1826) The three works for clarinet and orchestra of Carl Maria von Weber were all composed for Heinrich Joseph Bärmann, clarinetist of the Court Orchestra in Munich. In March of 1811, Weber met Bärmann while in Munich on tour, and was immediately impressed. Since a concert of Weber's works was planned for early April, the composer decided to write Weber’s musical cousin Constanze was biographer & publisher of, and wife to Wolfgang Amadeus Mozart! Duration: 18 minutes
a short concertino for Bärmann to perform. The two concertos followed afterward, undertaken at the specific request of the Bavarian king, Maximilian I. Weber’s Clarinet Concerto no. 1 opens determinedly in the minor key of its title, with much suspense and tension. Mindful of expectations of the day, Weber lets the orchestra set the scene before the soloist joins the action. Here, the most dramatic statements are generally for the orchestra, the soloist providing
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, April 16 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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more poignant commentary with quick
For the final movement, Weber lets the
runs and trills to punctuate the action.
sunshine in, with a bright and bouncy
The slow second movement is sweetly lyrical. Melancholy in mood, its long legato phrases test the soloist’s breath control.
rondo of lively energy briskly propelled through a sequence of ever-changeable melodies. Thus, he ends the concerto far from the dark moods of its opening pages.
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Ein feste Burg and Jesu, joy of man’s desiring Johann Sebastian Bach (1685 – 1750) That most revered of composers, Johann Sebastian Bach never composed for the standard symphony orchestra. Some of its instruments had yet to be invented, while others existed only in less refined forms. Moreover, in Bach’s own time, instrumental ensembles were much smaller than the grand orchestras to which modern audiences have become accustomed. Bach never imagined
Bach began to lose his eyesight and endured
having more than a dozen or so instruments in a single place.
not one, but two, 18th
Today, even six dozen musicians only make for an ensemble of
century eye surgeries.
Those facts have not prevented orchestral conductors from Ein feste Burg duration:
including Bach’s works in their concerts. They simply have to
use transcriptions. In a transcription, all the melodies and har-
Jesu, joy of man’s
monies of the original piece are transferred to different instru-
desiring duration: 3
mental choices. The original creative vision is given new, likely
richer colors, even as the basic concept and overall shape remain recognizably the same. A keyboard work may become an
PREFERRED CONCERT NIGHT PARKING VENDOR Large surface lot directly across the street EVENING RATE
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orchestral work, but the original creative
Tonight’s concert includes two transcrip-
vision is still there at its heart.
tions of Bach compositions: English-born
As Bach himself occasionally transcribed his own works to suit different performing resources, it seems likely that he would have approved such transcriptions being made of his works by others, presuming that those “others” treated his original creations in a respectful fashion.
conductor Leopold Stokowski’s reimagining of the old Lutheran hymn Ein feste Burg (A Mighty Fortress), which Bach had featured in his Cantata no. 80, as well as American Arthur Luck’s transcription of Jesu bleibet mein Freude (Jesu Joy of Man’s Desiring), from the Cantata no. 147.
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Symphonic Metamorphosis on Themes of Weber Paul Hindemith (1895 – 1963) Paul Hindemith was German born, but, like many of his countrymen left his troubled homeland in the 1930s. By 1940 he had made his way to New York City. There, he took a score that he’d originally intended as a ballet and reshaped it into an orchestral suite. Thematic material for each of the four movements was borrowed from music by In 1934, in Nazi-occupied Berlin, Germany’s Minister of Propaganda
Carl Maria von Weber: the second movement scherzo from Weber’s theatrical music for Turandot, the other three from various works for piano four-hands (two musicians play on
Joseph Goebbels deni-
a single piano). Given the inspiration, and the fact that, in
grated Hindemith as an
Hindemith’s care, all the melodies undergo a certain amount of
development and evolution, the final work was given the title Symphonic Metamorphosis on Themes of Weber. It premiered
Duration: 21 minutes
in New York City in 1944. The first movement sets stern and forthright moods in contrast to quieter, mellower ones, with a march-like theme for woodwinds and xylophone occupying the center pages. Woodwinds again earn the spotlight in the two middle movements, especially flute, clarinet, and even bassoon. The second movement Scherzo sparkles with chimes and gong to create an Oriental sound. By comparison, the third movement finds most of the orchestra in restful mood, though not the principal flutist, whose lines are of virtuosic complexity. The final movement is a propulsive march, complete with snare drum to drive it forward. Hindemith’s most frequently performed work, the Symphonic Metamorphosis showcases his fine touch for balancing orchestral resources.
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!
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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 Naftari, Kelli, Thomas and Tara — NAFTARI BURNS
Season with DPO: 5+
Season with DPO: 9
Other Instruments: Piano
Other Instruments: Piano, but sadly I’ve
FRENCH HORN/3RD HORN
Day Job: Kolacny Music “Music Peddler”
fallen out of practice
Loves To Hate: Reality TV, tomatoes,
Undergrad: Hastings College, Bachelor of
Hates To Love: Kirsten Stewart, Safeway
Day Job: Part-time fundraiser & full-time
chocolate cakes, sappy young adult books
Pop Culture Obsession: Kitten videos
Loves To Hate: Cats
Favorite Composer: Arvo Pärt, Jean
Hates To Love: Cats
Favorite Composer: Dead: Gustav Mahler;
Favorite Classical Piece: Peteris Vasks
Living: Eric Ewazen
Symphony No. 2
Favorite Classical Piece: I cannot be limit-
Musical Guilty Pleasure: Massive Attack,
ed to just one
James Blake, Ray Charles
Musical Guilty Pleasure: Harry Connick, Jr.
Hometown: Hastings, Nebraska
My First Musical Lesson Was… $3.00 an
My First Musical Lesson Was… on the
hour piano lesson
piano in second grade
I Wish I Was… richer and married to Idris
I Wish I Was… out exploring a national
park with my family
THE 69TH SEASON
HT Two bucket list items: See the Aurora
Volunteers at: Colorado Railroad Museum
Borealis and perform Beethoven’s
building repairing rolling stock and loco-
Symphony No. 9
motives and operating trains
Favorite thing to do in Colorado: Hiking
Loves To Hate: Going out of town Hates To Love: Road trips
THOMAS JATKO VIOLIN
Pop Culture Obsession: What? Favorite Classical Piece: Mahler’s Second
Season with DPO: 30
Musical Guilty Pleasure: Simon and
Undergrad: U.S. Military Academy, BS
Birthplace: Inglewood, California
Master’s: Univ. CO at Denver, MSCE, MBA
My First Musical Lesson Was…
Day Job: Engineering consulting
Englewood, Colorado public schools
Strange But True: Qualified expert at tank
I Wish I Was… better at understanding
gunnery, mortar gunnery, machine gun,
rifle and pistol.
Celebrity Look Alike: Dick Lamm
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THE 69TH SEASON
Favorite Composer: Tchaikovksy... he
wrote great cello melodies!
Season with DPO: 6
Favorite Classical Piece: David Popper,
Undergrad: Goshen College, BA in
Requiem Op 66
Chemistry and Biology
Musical Guilty Pleasure: Singing along to
Doctoral: Colorado School of Mines, Ph.D.
Miss Saigon in the car. Loudly.
in Applied Chemistry
Day Job: Senior Scientist at a Technology
Hometown: Middlebury, Indiana
My First Musical Lesson Was… Engine
Strange But True: I like brussels sprouts
engine number 9, driving down Chicago
and lima beans.
Loves To Hate: Triathletes who are 30
I Wish I Was… Five different people so I
years older than me but still kick my butt.
had enough time for all my hobbies
Hates To Love: Cheesy romcoms
Write Your Own Category and Response:
Pop Culture Obsession: Cello rock bands
Favorite thing to do in Denver: Play ulti-
like Apocalyptica and Two Cellos
mate frisbee with my friends/teammates
THE BABY DANCE What’s your next step?
MAR 30 – APR 23, 2017
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 our orchestra to a packed auditorium explaining the need for a classical music venue to showcase the talents of local, classically trained musicians “with no place to play.” Twenty years later, we’d be known as the Brico Symphony, and Antonia would remain at the helm of the orchestra until her retirement in the mid-1980s. After nearly 40 years under Antonia’s baton, the orchestra chose RussianAmerican conductor Julius Glaihengauz as its second music director. A graduate of the Tchaikovsky Conservatory in Moscow, Julius led the newly renamed Centennial Philharmonic for 11 seasons. In 1999, Professor of Music at the University of Denver Dr. Horst Buchholz took the baton. Our most recent name
Adam Flatt came onboard as music director in June 2010. Adam’s dynamic and inspiring leadership over the next three years continued Horst’s legacy and further increased the artistic quality of the orchestra. We selected award-winning conductor Dr. Lawrence Golan as our conductor and music director when Adam departed in 2013. Lawrence, a professor and music director at the University of Denver’s Lamont School of Music, continues to produce innovative and quality programming, challenging our musicians and delighting our audiences. And while we have a 69-year history in Denver, our mission is to continually redefine the way our community experiences and engages with classical music.
THE 69TH SEASON
Donations since January 1, 2016
We would like to acknowledge the generous support of the following individuals, businesses and corporations. ORCHESTRA CIRCLE ($20,000+) Valerie & Gilmour Clausen
CONCERTMASTER CIRCLE ($2,500–$4,999) German American Chamber of Commerce Hugh Pitcher & Linda Lebsack Don & Bonnie Walls
MUSICIAN CIRCLE ($1,000–$2,499) Willard & Margaret Brown German American Chamber of Commerce & German Cultural Foundation Sarah & Matt Hogan Jon Olafson Wallace Orr John & Carol Tate
PATRON ($500–$999) Anonymous Patricia Aronstein Brownstein Hyatt Farber Schreck, on behalf of Tenley Oldak
CoBank Paula Elmers Dan & Steph Lagerborg Mark & Maxine Rossman U.S. Bank Foundation Katherine & Ben Vagher Matt Meier & David Sherman
BENEFACTOR ($300–$499) Jerry Brindisi Janice Burley Kelli & Geoff Hirsch Eleanor Glover and Eugene Advincula Russell Klein Lisa Peloso & Vik Patel
CONTRIBUTOR ($100–$299) 303 Software Kathleen Agnes Anonymous (2) Sharon Adams & John Bardeen Barefoot PR Fred Beisser Kimberly and James Brody, in memory of Carol Brody Raymonda L. Burgman Daniel R. Burns & Lorraine Diaz
Larry Chan, in memory of Roy Henry Stahlgren MD Robert Cleve Terry Collings Mike and Jonna Fitzgerald Stephen and Elizabeth Gannon Stephanie Gillman Eleanor Glover Judy & Ed Hagerman Rebecca Harris The HCA Foundation Karin Hensel Brian Hillyard Hank Innerfeld Eric Jones Jake & Lok Jacobi Annie Laury Matt & Allison Lausten Dana Houghland & William McCune Michael & Patricia Meaux Callista and Patrick Medland Carolyn & Gary Medland Claudia Miller Rand and Barb Moritzky, in honor of Rebecca Moritzky Judy Morton Tenley Mueller Kathleen Porter Claude and Laurie Pupkin Liza Ranftle & Richard Casson
THE 69TH SEASON
Barbara Schlein Robert J. Smith Cori Streetman Carolyn, Mark, Diana & Ryan Stutzman Mike & Amanda Tine Naioma Walberg Gary Wooley
FRIEND (UP TO $99) Anonymous (4) Linda Adams Penny Alles Amazon Smile Foundation Larry Armstrong & Carol Farnsworth Tamara Arredondo Meredith Badler Delon Beckett Blueprint Bar Phil Pearlman & Betty Bona Jeanine Branting Vincent, Eric, Rachel Brindisi Brio Gold, Inc. Paul Callahan Robert Collins
John Dowling Paula Elmers Genna and Torin Terri Gonzales Lori Hanson Jennifer Heglin Michael Hoffman Ms. Surilda Hudson Jonathan Icasas Marty & Stan Jewell Mande Knowles Catherine & Ted Lanzano Matthew Lemay James McCall Susan McGinley Dorothy L. Nelson Alyssa Oland Roger Powell Lesley Reeder Robert Rynerson Jessica Sanderson Karin Schantz Mary Schenk Miles Snyder Cori & Tyler Streetman Kira van Lil
GOLD PARTNERS ($10,000+) David Sherman Creative Ligature Creative Group
COPPER PARTNERS ($1,000–$4,999) Access Cottrell Printing Company, Inc. Ireland Stapleton Pryor & Pascoe, PC Newberry Brothers Greenhouse & Florist The Pillar of Fire Church Safeway
COMMUNITY PARTNERS New Genesis, Inc. Purple Door Coffee Ursula Brewery
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. 44
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 45
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
MAY 25, 2017
WHEN IN ROME BENVENUTI A ROMA! When In Rome concludes our 69th season May 25. Pianist Wei Luo, Gold Medal Winner of both the Chopin and Rachmaninoff International Piano Competitions, performs Mendelssohn’s Piano Concerto No. 1 in G Minor. The concerto, along with Tchaikovsky’s Capriccio italien and Respighi’s Fountains of Rome and Pines of Rome wrap our Italianthemed season finale. Lawrence Golan, conductor Wei Luo, piano
BUY YOUR TICKETS NOW! DENVERPHILHARMONIC.ORG When In Rome Thursday, May 25, 7:30pm Antonia Brico Stage Central Presbyterian Church
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Published on Apr 4, 2017
Prost! Mark Mast, guest conductor Jeremy Reynolds, clarinet Weber: Overture to Der Freischütz Weber: Clarinet Concerto No. 1 in F Minor Bac...