Denver Philharmonic Orchestra September 28, 2018 Concert Program

S E PT E M B E R

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L AW R E N C E G O L A N , C O N D U C T O R X I AO L I U, V I O L I N

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David Villafuerte, MBA Herman Tiemens II, MBA, CFP® Krista M. Picco, MBA, CIMA®

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DEAR FRIENDS, This season is very special. As I look through every concert, I notice an overall celebratory theme. Together, we will celebrate our epic adventures, our heroes, and our victories.

This season, we’ll celebrate the adventure that has been the Denver Philharmonic Orchestra. Over the past few years, we’ve had many adventures, including multiple international trips to China and Germany. We also find ways to make each concert its own adventure, and we are excited that you are While we officially kicked

part this one tonight.

off our 71st Season in Munich on the Fourth of

We will also celebrate our heroes. Heroes come in many forms.

July, we’re thrilled to have

From our families to our role models, we will celebrate those

you here for our stateside

that have had a profound positive impact on our lives. For me,

season premiere!

I’ll celebrate my parents — because they are both my heroes and my role models.

Finally, we will celebrate our victories. At the Denver Philharmonic, we will celebrate that you’ve joined us and have become part of our family. Because, for us, our greatest victory is bringing together those that experience and engage with classical music together as one community.

Thank you for joining us this season and let’s celebrate!

Sincerely,

Jon Olafson President of the Board

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HEROES GIANTS CHEER! VALOR GLORIA VICTORY BUY NOW AT DENVERPHILHARMONIC.ORG 4

2018–19 SEASON

ON THE MAIN STAGE SEPTEMBER 28, 2018

APRIL 20, 2019

Lawrence Golan, conductor Xiao Liu, violin

Mark Mast, guest conductor Bavarian Philharmonic Orchestra Chorus With Jennifer DeDominici, Ed Parks, Matthew Plenk and Lily Zhang

HEROES

PAGANINI Violin Concerto No. 1 BEETHOVEN Symphony No. 3 “Eroica”

NOVEMBER 16, 2018

GIANTS

Lawrence Golan, conductor Ani Powell, piano GRIEG Piano Concerto BRAHMS Symphony No. 1

DECEMBER 21 & 22, 2018

HOLIDAY CHEER! PRESENTED BY MOO

Lawrence Golan, conductor Colorado Chorale; Kevin Padworksi, artistic director Pan Nation; Tom Miller, director HOLIDAY FAVORITES!

Full repertoire available at denverphilharmonic.org

GLORIA

SCHUBERT “Unfinished” Symphony MOZART Ave verum corpus MOZART Mass in C Minor

MAY 17, 2019

VICTORY!

PRESENTED BY LIGATURE CREATIVE

Lawrence Golan, conductor Laurence Kaptain, cimbalom SAINT-SAËNS Marche héroïque KODÁLY Háry János Suite BEETHOVEN Wellington’s Victory TCHAIKOVSKY 1812 Overture

Antonia Brico Stage Central Presbyterian Church 1660 Sherman Street, Denver

MARCH 1, 2019

VALOR

Lawrence Golan, conductor GALBRAITH A Festive Violet Pulse (1997) BRUCKNER Symphony No. 4 “Romantic”

Guest artists and programming subject to change.

CHAMBER MUSIC SERIES OCTOBER 19, 2018 & FEBRUARY 1, 2019

DPO WITH A TWIST PRESENTED BY LIGATURE CREATIVE

Katherine Thayer & William Combs, artistic advisors Now in its fourth season, we’re breakin’ out of the concert hall into Denver’s bustling downtown nightlife.

Our DPO With a Twist series transforms the chamber concert experience into a night of intimate music, dinner & drinks at the award-winning downtown venue, Dazzle at Baur’s.

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SEPTEMBER 28, 2018

HEROES

Antonia Brico Stage at Central Presbyterian Church · Denver, Colorado · 7:30 pm

Lawrence Golan, conductor Xiao Liu, violin NICCOLÒ PAGANINI

Violin Concerto No. 1, Op. 6 featuring Xiao Liu Allegro maestoso Adagio Rondo: Allegro spirituoso

∙ 20-MINUTE INTERMISSION ∙ LUDWIG VAN BEETHOVEN

Symphony No. 3 “Eroica”in E Flat, Op. 55 Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace – Trio Finale: Allegro molto – Poco Andante – Presto

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Thoughtfully curated classical music to captivate the soul.

Enrich your life here.

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LAWRENCE GOLAN MUSIC DIRECTOR

I’m glad that I’m only conducting the Paganini

Acclaimed for his vibrant, inspired performances, imaginative programming and evocative command of different styles and composers, American conductor Lawrence Golan has developed a reputation as a dynamic, charismatic communicator.

and not playing the solo

He has conducted throughout the United States and in Bulgaria,

violin part!

Canada, China, Czech Republic, China, El Salvador, England, Georgia, Germany, Italy, Mexico, Poland, Portugal, Romania, Russia, South Korea, Taiwan, Ukraine, and Uzbekistan, and continues to develop relationships with orchestras nationally and abroad.

Music Director of the Denver Philharmonic since 2013, Golan is also Music Director of Colorado’s Lamont Symphony Orchestra and Opera Theatre at the University of Denver, the Yakima Symphony Orchestra in Washington state and Pennsylvania’s York Symphony Orchestra.

Recent season highlights included guest conducting debuts with Germany’s Bayerische Philharmonie, Italy’s Orchestra Sinfonica Città di Grosseto, Mexico’s Orquesta de Cámara de Bellas Artes, China’s Wuhan Philharmonic and the music festivals of Colorado and Batumi (Georgia, Eastern Europe); a 14-city tour of China with the Denver Philharmonic, and return engagements with the Tucson Symphony Orchestra and Portland Ballet Company.

Lawrence records for Albany Records. His latest release is the 2018 world premiere Blu-ray disc and audio CD of composer

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Jiaojiao Zhou’s theatrical symphonic poem Ode to Nature with Lamont Symphony Orchestra. He has recorded three CDs with the Moravian Philharmonic: “Tchaikovsky 6 & Tchaikovsky 6.1” featuring the composer’s Symphony No. 6 and the recording premiere of Tchaikovsky 6.1 by Peter Boyer (commissioned by Golan); “Funky Little Crustaceans” featuring orchestral music by composer William Hill; and “Visions, Dreams & Memories” featuring flutist James Pellerite. Other CDs include Beethoven’s Symphony No. 7 & William Hill’s Beethoven 7.1, and “Fantasia” and “Indian Summer: The Music of George Perlman,” the last two with Golan as violinist.

A native of Chicago, Lawrence’s previous positions include Resident Conductor, Phoenix Symphony (2006–2010), Music Director, Phoenix Youth Symphony (2006–2009), Music Director, Colorado Youth Symphony Orchestras (2002–2006), founder and Artistic Director, Atlantic Chamber Orchestra (1998–2003), Music Director, Portland Ballet Company (1997–2013), and Music Director, Southern Main Symphony Orchestra (1990–2001).

Lawrence and his wife Cecilia have two young children. www.lawrencegolan.com

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XIAO LIU VIOLIN As one of China’s most renowned emerging violinists, Xiao Liu became the youngest violin professor at Central Conservatory of Music, the country’s top music academy, at just 24 years old. Two years later, Xiao took gold at the prestigious First CCTV Violin TV Competition, cementing his star status in China.

When he was 17, Xiao took first place of the First “MIDO” International Violin Competition. Later that year, he won the grand prize in three other competitions including the Sumner Redstone prize and National Outstanding Music Achievement Award. He studied under internationally renowned violinist Midori and Professor Lin Yaoji. After earning a master’s degree from the Central Conservatory of Music, Xiao furthered his studies at the Conservatoire National Superieur de Musique et de Danse de Paris and the Thornton School of Music in the University of Southern California.

As a soloist, he has performed on concert stages around the world. He has traveled extensively throughout China holding recitals and masterclasses, always to enthusiastic audiences.

He has worked with many renowned orchestras and conductors including Lahti Symphony Orchestra, Colombia National Symphony Orchestra, Bogota Philharmonic Orchestra, Beijing Symphony Orchestra, Okko Kamu, Irwin Hoffman, Alejandro Posada, Steve Davis, Zhu Hui, Tan Lihua, Zhang Guoyong, Hu Yongyan, Fan Tao and Zhang Yi. In recent years, Xaio’s distinctive interpretations of modern musical works have received the attention of many international

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contemporary composers. Master composers such as Du Mingxin, Xiaogang Ye, Tan Dun, Chen Yi and Huang Anlun seek Xaio out to debut their new works at home and abroad.

In 2006, he performed in the Palais des Nations, the United Nations European Headquarters in Geneva, Switzerland, for an audience of thousands including ambassadors from more than 190 countries. His playing was hailed by many, including UN Under-Secretary-General Mr. Sha Zukang.

At the 30th Anniversary Celebration Festival of the famous Japanese Chaconne Violin Company, he was invited to try out many valuable Stradivarius violins and was awarded the use of the Guarneri del Gesù violin at his solo concerts.

French State TV once recorded a documentary feature film of Xiao’s performance in France and broadcast it to the whole country. Colombian State TV has shown a live performance of his to the nation. Xiao has also been interviewed by the well known Beijing TV program Love Music.

Xiao Liu performs on a Joseph Gagliano violin made in Napoli, Italy in 1774.

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RENEE NOEL GILLILAND ASSOCIATE CONDUCTOR In addition to her role as associate conductor for the Denver Philharmonic, Renee is the music director of the Anschutz Medical Campus Symphony Orchestra and cover conductor of the Boulder Philharmonic.

Get out your phone and tweet along with me @denverphilorch! Ask questions and learn more about the music — in real time. Tag your posts with #dpotweets to join the conversation.

She is also the assistant conductor of the University of Denver Lamont School of Music Symphony Orchestra and Opera Theater where she is completing an Artist Diploma in Orchestral Conducting under Lawrence Golan.

In August 2018, Renee made her international conducting debut with the Lviv Philharmonic (Ukraine). As guest conductor, Renee has led performances with Boulder Concert Band and Cleveland Pops in Cleveland, Tennessee. She has taught workshops with the New Symphony Orchestra (Bulgaria), the Martinu Philharmonic (Czech Republic), and ensembles in Chicago, Connecticut and New York.

Renee holds a Master of Music in Viola Performance with an outside area in Conducting from the Indiana University. She received a Bachelor of Music in Music Education and Certificate of Violin Performance from the University of Texas.

As a violinist and violist, Renee has performed with Ars Nova Chamber Orchestra (Washington, D.C.); Richmond and Columbus Orchestras (Indiana); Las Cruces Orchestra (New Mexico); and Brazos Valley and El Paso Symphony Orchestras (Texas). She was selected to perform with the first International YouTube Symphony Orchestra at Carnegie Hall under the direction of Michael Tilson Thomas and performed as a Young Artist Competition Winner with the El Paso Symphony Orchestra under the direction of Gürer Aykal.

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JORGE ALEJANDRO SALAZAR ASSISTANT CONDUCTOR Jorge received his Master of Music degree in Orchestral Conducting from the National University of Colombia and is pursuing the Artist Diploma in Orchestral Conducting at the University of Denver’s Lamont School of Music.

Jorge reached the semifinal round in the Cadaqués International Conducting Competition 2010, won the best conductor prize in the VI International Choir Festival in Santander and obtained a silver medal in the Seventh World Choir Games in Cincinnati in the champion’s competition category.

Jorge is headmaster of conducting studies, and principal conductor of the symphony orchestra and choir at Corpas University in Bogotá since 2003. From 2004–2013, he served as artistic director of the Orchestral and Choral Corporation of Colombia.

He was the artistic coordinator for the “America Cantat” International Choral Festival 2013.

He recently attended the International Conducting Masterclass with Guerassim Voronkov and the Saint Petersburg Symphony Orchestra in Russia.

As a guest conductor he has worked with several orchestras in the U.S., Russia, Colombia, Chile and Argentina.

Jorge is also a multi award-winning composer.

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OUR MUSICIANS MUSIC DIRECTOR

SECOND VIOLIN

Lawrence Golan

Yiran Li, principal Niccolo Werner Casewit Valerie Clausen Erica Secor Terri Gonzales Christina Goode Miki Heine Annie Laury Callista Medland Wendy Montenegro Alyssa Oland Roger Powell Brian Ross Anne Silvas

ASSOCIATE CONDUCTOR Renee Noel Gilliland

ASSISTANT CONDUCTOR Jorge Alejandro Salazar

FIRST VIOLIN Katherine Thayer, concertmaster Anna Katherine Barnett-Hart, associate concertmaster Patsy Aronstein Melissa Barru Barbara Casanova Julia Che Matthew Grove Melissa Herzog Thomas Jatko Lubia Montenegro* Bonnie Murray Laura Pianowski Kristine Pordesimo Emmy Reid Beth Letendre Elizabeth Wall

* on leave; string musicians are listed in alphabetical order 16

VIOLA Silvana Ferrarin, principal Naomi Croghan Victoria DiMarzio Lori Hanson Jessica Hitt Samantha Lichtin Ben Luey Beth Remming Julie Rooney

CELLO Katie Burns, principal Naftari Burns Sarah Frederick Mike Marecak Shirley Marecak Monica Sáles Council Amanda Thall Jeffrey Westcott Rachel Yanovitch 2018–19 SEASON

DOUBLE BASS

HORN

Colton Kelley, principal Zachary Antonio Megan Gore Brazell* Lucy Bauer Josh Filley Taryn Galow Benjamin Hornacek

Zach Maupin, principal Jeanine Branting Kelli Hirsch Kim George

TRUMPET

FLUTE

Ryan Spencer, principal Ariel Van Dam Colton Crandell

Whitney Kelley, principal Catherine Ricca Lanzano

TROMBONE

OBOE

William Combs, principal Wallace Orr

Kimberly Brody, principal Loren Meaux, assistant principal Michael Sax

BASS TROMBONE

ENGLISH HORN

TUBA

Loren Meaux

Darren DeLaup, principal

CLARINET

TIMPANI

Kwami Barnett, principal Claude Wilbur Jessica Clark

Steve Bulota, principal

Daniel Morris

PERCUSSION

Jessica Clark

Ross Coons, principal Colin Constance Ani Powell

BASS CLARINET

HARP

Claude Wilbur

Rebecca Moritzky, principal

BASSOON

PIANO

Ken Greenwald, principal Nicholas Lengyel

Ani Powell, principal

E-FLAT CLARINET

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OUR TEAM BOARD OF DIRECTORS

STAGE

Jon Olafson, President Matt Meier, Vice-President Edward Smith, Secretary Erica Secor, Treasurer Tamara Arredondo Pauline Dallenbach, honorary member Dr. Robert Dallenbach Maureen Keil, honorary member Linda Lebsack Tenley Oldak Esteban Romero Dennis Stevens

Taryn Galow, co-manager Loren Meaux, co-manager Linda Lebsack Michael Meaux New Genesis Transitional Community for the Homeless Hugh Pitcher Emmy Reid

DENVER PHILHARMONIC FOUNDATION BOARD Erica Secor Keith Fisher Roger Powell

EXECUTIVE DIRECTOR Valerie Clausen

PERSONNEL MANAGER Annie Laury

MORE THAN MUSIC MANAGER Patricia Meaux

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FINANCE Erica Secor, chair Linda Lebsack Tenley Mueller Ed Smith

CENTRAL PRESBYTERIAN PRODUCTION TEAM Bryce Clark Wil Smith

MUSIC LIBRARIAN Callista Medland Alyssa Oland, assistant Anne Silvas, bowings Katherine Thayer, bowings

CONCERT PROGRAM Ligature Creative, design Walker Burns, editing Taryn Galow, Braille translation María Angélica Lasso, Spanish translation Callista Medland, editing Edward Smith, editing Elizabeth Schwartz, program notes

2018–19 SEASON

AUDIO TECH Joel Dallenbach Jack Pelon

MARKETING Matt Meier, chair Dr. Robert Dallenbach Stephanie Gillman, photographer Katrina Niemisto David Sherman

FUNDRAISING Kelli Hirsch Barb Moritzky Jon Olafson Dennis Stevens

DPO WITH A TWIST William Combs, artistic advisor Katherine Thayer, artistic advisor

MUSICIAN COMMITTEE Loren Meaux Niccolo Casewit Daniel Morris

IT TECH Henry Ammons

CONCERT NIGHT Stacie Carter Gil Clausen Alixandra Feeley

Eleanor Glover Nileen Hart Matt Hogan Sarah Hogan Stan Jewell Marty Jewell Maureen Keil María Angélica Lasso, habla español Brian McGuire Karen McGuire Ali McNally Carolyn Medland Gary Medland Joan Montezon Barbara Moritzky Hugh Pitcher David Sherman Roderick Smith Andy Solsvig Kelly Stephenson Dennis Stevens Sheila Traister Greg Wills Mary Wills

MORE THAN MUSIC PARTNERS GameOn Drones Mikes2Kitchen Purple Door Coffee Repicci’s Italian Ice & Gelato Rolling Smoke BBQ The University Club of Denver Ursula Brewery

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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

change came in 2004, and we became

conduct the New York Philharmonic

the Denver Philharmonic Orchestra. Horst

Orchestra, 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

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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 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 70-year history in Denver, our mission is to continually redefine the way our community experiences and engages with classical music.

2018–19 SEASON

NOVEM BER

16,

2018

L AW R E N C E G O L A N , C O N D U C T O R ANI POWELL , PIANO

TICKETS ON SALE NOW! D ENV ER PHILHAR MONIC.O RG  21

TWEET YOUR HEART OUT During the concert, we live-tweet photos, facts and tidbits about the music you’re hearing. 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 22

2018–19 SEASON

HEROES • SEPTEMBER 28

by ELIZABETH SCHWARTZ

Violin Concerto No. 1 In D Major, Op. 6 Niccolò Paganini (1782–1840) The emerging romanticism we associate with 19th-century music changed both composers and performers alike.

One basic aspect of Romanticism is its emphasis on individual experience. Early romantic composers like Ludwig van Beethoven, and later Franz Schubert and Robert Schumann, embraced opportunities for particular self-expression that were unique to their lived experiences. In Schubert’s case, his exploPaganini never allowed anyone to listen to him practice heightening the mystique surrounding his persona and fed the rumors that he sold his soul to the Devil in exchange for mad skillz.

ration of harmonically unusual tonalities gave voice to emotions and moods never before heard in music.

Romanticism allowed composers to prioritize their individual artistic explorations, but the interest in personal expression also gave rise to an entirely new type of performer: the superstar virtuoso.

Of all the outstanding instrumentalists who emerged in the 19th century, none could match the sheer technical brilliance or the commanding ego of Niccolò Paganini, the first of this new breed.

There were other great violinists before Paganini, but the musical and artistic aesthetics of their time limited their ability for self-expression. Before Paganini, performers, no matter how skilled, played in the service of their music. They were the interpreters, and it was the music that took center stage.

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From his debut performance at age 11 in

of personality and mystery to accompany

Genoa, Italy, Paganini exploded the idea

his virtuoso playing.

that the performer should take a back seat to the music he played. For more than 30 years, Paganini cultivated a new kind of musician: a superstar, with a devoted following who came to hear him play, regardless of repertoire.

Everything Paganini did in performance — his penchant for performing all in black,

Today superstars are common enough in both music and art, and some trade on their charisma to cover up less-than-firstrate skills. His manufactured mystique notwithstanding — Paganini never allowed anyone to hear him practice — Paganini lived up to his own hype. There seemed no limit to his facility on the

his carefully disheveled hair and clothes,

violin — nothing too difficult or technically

and especially his over-the-top stage

unconventional that he could not master.

mannerisms — was deliberately planned so as to achieve a certain effect: the creation of Paganini the Romantic artist.

He was one of the first artists to craft a cult

Paganini became known for his left-handed pizzicato notes, and a technique he called the “ricochet,” where he bounced the bow quickly across the strings. Most

DONATE A VEHICLE W E LOVE OU R C ARS. We haul our instruments around in them, we eat in them between rehearsals and gigs, and sometimes we get stuck in them on I-25 on our way to a performance. If you love your car too, it can be hard to say goodbye when it’s driven its last mile or you’re ready for a change.

We can help (and you’ll be helping DPO)! It’s easy to arrange free pick-up of donated vehicles in most (but not all) conditions.

Find out how at denverphilharmonic.org

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2018–19 SEASON

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dazzling of all, Paganini executed flawless

emphasis on the soloist — the orchestra

runs of double-stop harmonics at lightning

takes a secondary role as accompanist.

speed, a skill that left other violinists

Additionally, as in the central Adagio, the

shaking their heads in admiration.

After he had run through all the suitably virtuoso works in his repertoire — and after a request for a piece by Hector Berlioz resulted in Harold in Italy, which Paganini deemed insufficiently virtuosic for his style of playing, Paganini began composing his own music to create showpieces for his skill. The Violin Concerto No. 1, originally written in E-flat, required the soloist to tune his violin up a half step. The higher pitch allowed for a more brilliant tone, but over time most musicians and orchestras have chosen to perform it in D, a more natural key for the violin (and easier to keep in tune).

Concerto provides everything a virtuoso would want: plenty of dazzling runs and other lightning-fast tricks, and a clear

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Paganini wanted to dazzle his audience, but he also wanted to move them. He succeeded with Schubert, who, having heard Paganini in Vienna, described his playing as “the singing of an angel.”

AT A GLANCE • Work composed: 1816–18 • World premiere: March 31, 1819, in Naples, Italy, with Paganini performing the solo part • Instrumentation: solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons (1

As a vehicle for Paganini, the Violin

Business

music gives the soloist an opportunity to demonstrate lyricism and refined tone.

doubling contrabassoon), 2 horns, 2 trumpets, 3 trombones, timpani, bass drum, cymbals, and strings • Duration: 35 minutes

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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 7 for an encore of this 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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Symphony No. 3 in E-flat major, Op. 55, “Eroica” Ludwig van Beethoven (1770–1827) Ludwig van Beethoven was an early admirer of Napoleon Bonaparte, whose early exploits as First Consul of France reaffirmed the motto of the French Revolution, “Liberty, Equality, Fraternity.”

It had been Beethoven’s intention to dedicate his third symphony to Napoleon, but when Beethoven heard that Napoleon Beethoven nearly came

had declared himself Emperor in May 1804, he was outraged. So

to blows with one of

vehement was Beethoven’s desire to rid his third symphony of

his students at the first

any association with the French general that he erased the words

rehearsal of this piece.

“intitulata Bonaparte” from the title page with a knife, which left

(We’ve had a much

a hole in the paper. When the score was first printed in 1806,

more peaceful rehearsal

the title page read only, “A heroic symphony … composed to

process.)

celebrate the memory of a great man.”

Today, the Eroica is considered one of the groundbreaking musical events of the 19th century, but in Beethoven’s time it received a great deal of criticism. Its length alone challenged the audience (depending on the conductor’s tempos and observations of marked repetitions in the score, the Eroica runs 45–60 minutes). Beethoven acknowledged this, noting in the 1806 edition of the score, “This symphony being purposely written much longer than is usual, should be performed nearer the beginning rather than at the end of a concert … if it is heard

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too late it will lose for the listener, already

Similar in its impact to Igor Stravinsky’s

tired by previous performances, its own

Rite of Spring, the influence of Eroica reverberated in all the symphonic music of

proposed effect …”

One critic complained, “In this composi-

the century that followed it.

tion [there is] too much that is glaring and

Beginning with the one-two punch of the

bizarre, hindering greatly one’s grasp of

opening chords of the Eroica, Beethoven

the whole.” Another reviewer, using words

obliterated the concept of the Classical-

that today we would consider praiseworthy,

style symphony and earned for himself

criticized Beethoven’s “undesirable

the adjective “revolutionary.” Everything

originality.” The critic went on to say,

about this lengthy first movement

“Genius proclaims itself not in the unusual

confounds expectation: its unexpected and continuous development of melodic

and fantastic but in the beautiful and sublime” and further, that the symphony

fragments, its “wrong key” tonalities, and

as a whole was “unendurable to the

Beethoven’s idiosyncratic use of rhythm, which at times verges on the eccentric.

point at the beginning of the 21st century,

Certainly this was shocking to audiences

we can recognize Eroica’s importance.

accustomed to the more predictable pace

A prodigy artist must make a difficult choice between art and faith.

OCT 18–NOV 11 BUY TICKETS Call 303-800-6578 Visit cherrycreektheatre.org

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MY NAME IS ASHER LEV written by AARON POSNER adapted from the novel by CHAIM POTOK directed by BERNIE CARDELL

My Name is Asher Lev is presented by special arrangement with DRAMATISTS PLAY SERVICE

mere music-lover.” From our vantage

2018–19 SEASON

Music connects our community.

is proud to support the Denver Philharmonic.

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

ligcreative.com

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

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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.

Join us Sunday at 10:30 for a vibrant, multi-generational service where everyone is welcome. Whether you’re with us for the first time or the thousandth time, whether you’re doubting or are devout, no matter who you are, what experience you bring, or what questions you have, you are welcome here.

We are excited to embark on an ambitious package of building improvements aimed at investing in Central's ability to engage our community, including additional restrooms, improved stage lighting, and greater accessibility.

Central has already raised $1.5 million from our membership.

Find out more about our ‘It’s Time to Grow’ campaign at centraldenver.com/time-to-grow

centraldenver.com 32

2018–19 SEASON

of Wolfgang Amadeus Mozart and Joseph

The buoyant Scherzo and trio leaves the

Haydn. Of particular note is the notorious-

intensity of the previous two movements

ly “early” entrance of the horn towards the

behind. Here is Beethoven’s mocking

end of the first movement.

sense of humor at play, as when the

Beethoven’s student and biographer Ferdinand Ries recalled, “At the first rehearsal of the Symphony, which was terrible — but at which the horn player made his entry correctly — I stood beside Beethoven and, thinking that a blunder had been made I said: ‘Can’t the damned

strings return with their signature theme and stomp all over their previously playful rhythm. The insistent pulse of the strings and the incessant bounce of this movement continue the Eroica’s enormous reserves of energy; the music is like a puppy chasing its own tail.

hornist count? — it sounds horribly false!’ I

The final movement, a set of themes

think I came pretty close to getting a box

and variations, uses music from the

on the ear. Beethoven did not forgive that

Beethoven’s own Overture to The

little slip for a long time.”

The solemn, majestic Marcia funebre (funeral march) can be heard as Beethoven mourning his disappointment in Napoleon, and his vanished dreams of heroism.

Creatures of Prometheus from 1801 and an 1802 solo piano work, known today as the Eroica Variations. A virtuoso blast from the horn section signals the symphony’s conclusion, a glorious reaffirmation of Beethoven’s heroic ideals.

33

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34

2018–19 SEASON

AT A GLANCE

ABOUT THE AUTHOR

• Work composed: 1802–04. Dedicated to

Elizabeth Schwartz is a writer and music

Beethoven’s patron, Prince Franz Joseph

historian based in the Portland area.

Maximilian Lobkowitz.

She has been a program annotator for

• World premiere: Beethoven conducted the premiere on April 7, 1805 in Vienna’s Theater an der Wien.

more than 20 years, and her clients include the Oregon Symphony, Chamber Music Northwest, and Portland Piano International, among others. Elizabeth

• Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani and strings.

has also contributed to NPR’s “Performance Today,” (now heard on American Public Media). www.classicalmusicprogramnotes.com

• Duration: 47 minutes

© 2018 Elizabeth Schwartz

DPO with a

twist OCTOBER 19 @ 6:30PM DAZZLE 1512 CU RTIS ST

Our DPO With a Twist series transforms the chamber concert experience into a night of intimate music, dinner & drinks at the award-winning downtown venue, Dazzle at Baur’s.

PRESENTED BY LIGATURE CREATIVE

Tickets at denverphilharmonic.org

Tickets and info at denverphilharmonic.org PRESENTED BY LIGATURE CREATIVE

35

CONCERT ETIQUETTE 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 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

36

2018–19 SEASON

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!

SIT TIGHT The rumors are true — we’re pretty informal. But we do ask that you sit tight and quiet during the performance and only get up between pieces or during intermission as to not distract the musicians or concert-goers around you. Child feelin’ fidgety or chatty? Feel free to step into the lobby for a bit.

PACK IT IN, PACK IT OUT You’re welcome to bring a water bottle into the hall, but remember “Trail Rules” — pack it in, pack it out. (This goes for trash too!)

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

SOCIAL MEDIA Feel free to tweet along with us @denverphilorch, post to Facebook or take photos without flash. Upload your pics and comments online — and be sure to tag us! We’re on Facebook, Twitter and Instagram @denverphilorch #dpotweets

HAVE FUN! !

Rules, rules, rules — we know, it can be overwhelming. The most important rule of all is to have fun and enjoy yourself. And then tell all your friends and come back again and again!

37

THANK YOU!

Donations since Dec. 1, 2017

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

CONDUCTOR CIRCLE

CONTRIBUTOR

($5,000+)

($100–$299)

Linda Lebsack & Hugh Pitcher

Keri Rose Agnes Anonymous (16) Manuel & Avis Araujo Phil & Jennifer Barru Fred Beisser Kimberly & James Brody Janice Burley Rich Casson & Liza Ranftle Gabriela Chavarria Stacey & Bob Collins Charlie & Jean Curlee Alixandra Feeley Steve & Beth Gannon Tom Gleason & Ann Gardner Stephen & Donna Good Judy & Ed Hagerman Karin Hensel Kelli & Geoff Hirsch Annie Laury Matt & Allison Lausten Michael D. & Patricia Meaux Callista & Patrick Medland Claudia & Jim Miller Barb & Rand Moritzky Tenley Mueller Claude & Laurie Pupkin Shari Regenbogen Ross Robert & Barbara Metzger Ann Schock Edward Smith James Stegman

CONCERTMASTER CIRCLE ($2,500–$4,999) Barb & Kip Kolkmeier Don & Bonnie Walls

MUSICIAN CIRCLE ($1,000–$2,499) Paula Elmers Wallace Orr

PATRON ($500–$999) Patricia Aronstein Daniel R. Burns & Lorraine Diaz Sarah & Matt Hogan Marianne & Ed Marvez Matt Meier & David Sherman Jon Olafson Lisa Peloso & Vik Patel Mark & Maxine Rossman

BENEFACTOR ($300–$499) Anonymous (11) Eleanor Glover & Eugene Advincula Barb & Rand Moritzky Mr. & Mrs. Kevin Williams

38

2018–19 SEASON

Cori & Tyler Streetman Sherry & Andy Kenney Mike & Amanda Tine Steven Wetmore Mr. & Mrs. Kevin Williams

FRIEND (UP TO $99) Leonard Allen Penny Alles Anonymous Tamara Arredondo Charles Aschwanden John Bardeen & Sharon Adams Paul Behrhorst & Jenna Bainbridge Philip Pearlman & Betty Bona Jeanine Branting Vincent Brindisi Eric Brindisi Rachel Brindisi Raymonda Burgman Naomi & Kevin Croghan Mitch Davis Larry Armstrong & Carol Farnsworth Terri Gonzales Kenneth Greenwald Lori Hanson Jennifer Heglin Michael Hoffman S J Hudson Genna & Torin Marty Jewell Mande Knowles Ben & Edalin Koziol Allison & Matt Lausten Judy & Dan Lichtin Anita Lopez Susan McGinley Ron Mison Todd Misk & John Reid

Nora Morgenstern Nancy & Paul Oberman Diana Padgett Pat & Jessica Payne Sharron Regenthal Catherine & Ted Lanzano Charlotte Rocha Karin Schantz Manijeh Taherynia Katherine Thayer Louise Westfall

FOUNDATIONS & CORPORATE PARTNERS $10,000+ Ligature Creative MOO Scientific and Cultural Facilities District

$5,000–$9,999 Colorado Creative Industries

$2,500–$4,999 Access Ireland Stapleton Pryor & Pascoe, PC Wells Fargo Advisors

$1,000–$2,499 Cottrell Printing

COMMUNITY PARTNERS (UP TO $999) Barefoot PR David Sherman Creative New Genesis, Inc. Newberry Brothers Greenhouse & Florist Purple Door Coffee The Pillar of Fire Church Tate+Burns Architects Ursula Brewery

39

IT TAKES A COMMUN Help us continually redefine the way our community experiences and engages with classical music with a tax-deductible contribution tonight.

CORPORATE PARTNERS

PLANNED GIVING

We offer community-engagement

Planned gifts provide the resources that

packages specifically tailored to meet your

have made it possible for us to provide

company’s philanthropic, marketing and

high-quality, affordable classical music to

entertainment initiatives.

the people of Metro Denver since 1948.

With a gift to us in your estate or financial

COLORADO GIVES DAY SAVE THE DATE! DECEMBER 4, 2018 In addition to your Colorado Gives Day

plans, you help to preserve the orchestra’s future for the next 70 years.

contribution, we also receive a percentage

SHARE THE LOVE

of an Incentive Fund proportionate to the

Celebrate your music-lover’s birthday or

amount of money raised on CGD. The

anniversary with a gift in their honor. You

Incentive Fund percentage is a great addi-

can also keep a loved one’s memory alive

tion to your already generous donation!

with a gift in their name.

DONATE YOUR CAR!

CONTACT US

It’s easy to arrange free pick up of donated

Visit denverphilharmonic.org/contribute

vehicles at a time and place convenient to

or email info@denverphilharmonic.org for

you. We accept vehicles in most — but not

details on how to support us.

all — conditions.

40

2018–19 SEASON

ITY Give safely online at denverphilharmonic.org/contribute or 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

$50

$100

$300

$500

$1,000

Other: $

Check or Credit Card Name Address City, State, ZIP Code Telephone

Email

Credit Card No. CVV Code

Expiration Date 41

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

@denverphilorch info@denverphilharmonic.org DenverPhilharmonic.org

PUBLIC SUPPORT The Scientific and Cultural Facilities District (SCFD) is metro Denver’s unique commitment to its arts, cultural and scientific organizations.

For the past 30 years, the Scientific and Cultural Facilities District (SCFD) has been a catalyst for culture across the Denver metro region. With one powerful penny collected from every ten dollars spent in our seven counties, SCFD has provided invaluable financial resources, creating an ecosystem of unparalleled access, invaluable education, and above all, a sense of wonder that comes from experiencing arts, culture, and science.

The diverse organizations funded by SCFD do more than educate and inspire. The nearly 300 cultural institutions that make up the SCFD family contribute more than $1.8 billion to the regional economy, employ more than 10,000 people, and reach approximately 4 million children each year. For 30 years, SCFD has secured a place for art, biology, music, zoology, dance, history, nature, botany in the fabric of our lives — ensuring nothing less than culture for all.

42

2018–19 SEASON

FLORAL & DÉCOR 5301 Leetsdale Drive • Denver, CO 80246 303-322-0443 www.newberrybrothers.com

Instrument Petting Zoo (for kids of all ages!) May 2018 Photo by Stephanie Gillman

SAVE THIS SEAT

I’M ENJOYING MORE THAN MUSIC!

Complimentary of Purple Door Coffee.

COFFEE CORNER

We host activities before, during and after each concert.

More Than Music events are free to attend for all ticket holders. Here’s what we have lined up for Heroes.

PRE-CONCERT CHAT

It’s a bird! It’s a plane! It’s… a drone?

Fly through the air like a superhero with GameOn Drones. (13+)

TAKE FLIGHT!

6:30–7:00PM, CHAPEL

Associate Conductor Renee Noel Gilliland will give you insights into tonight’s music and music-makers.

WINE & CRAFT BEER

#DPOTWEETS

During the concert, we live-tweet pics, facts and tidbits. Follow along, share and interact on Twitter and Instagram.

Clink a glass of wine or local craft beer from Ursula Brewery! Cheers! (21+)

@denverphilorch #dpotweets

FOOD TRUCK TAILGATE

Enjoy a fast and delicious meal from

RECEPTION

Mikes2Kitchen, Rolling Smoke BBQ

and Repicci’s Italian Ice & Gelato

food trucks at our signature tailgate.

Say hello! Join us in the lobby after the concert for refreshments.