N OV E M B E R
1 6,
2 01 8
L AW R E N C E G O L A N , C O N D U C T O R ANI POWELL , PIANO
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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 We are thrilled to present
part this one tonight.
one of our own musicians as a featured soloist
We will also celebrate our heroes. Heroes come in many forms.
tonight — enjoy DPO
From our families to our role models, we will celebrate those
Principal Pianist Ani
that have had a profound positive impact on our lives. For me,
Powell’s performance!
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, Edward 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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NOVEMBER 16, 2018
GIANTS
Antonia Brico Stage at Central Presbyterian Church · Denver, Colorado · 7:30 pm
Lawrence Golan, conductor Ani Powell, piano EDVARD GRIEG
Piano Concerto featuring Ani Powell Allegro molto moderato Adagio Allegro moderato molto e marcato – Quasi presto – Andante maestoso
∙ 20-MINUTE INTERMISSION ∙ JOHANNES BRAHMS
Symphony No. 1 Un poco sostenuto – Allegro – Meno allegro Andante sostenuto Un poco allegretto e grazioso Adagio – Più Andante – Allegro non troppo, ma con brio – Più allegro
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2018–19 SEASON
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LAWRENCE GOLAN MUSIC DIRECTOR
What an honor to be a part of this performance
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.
of two of the greatest
He has conducted throughout the United States and in Bulgaria,
works of art ever created.
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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2018–19 SEASON
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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ANI POWELL PIANO Armenian-born American pianist Ani Powell was born in 1988. She began her studies at the age of 6 at Sayat-Nova School of Music in Yerevan, Armenia. When I play Grieg’s piano concerto, I imagine the places, the people and their
She received accolades for performance and composition under the supervision of pianist Jemma Surenovna and famous Armenian composer Vartan Adjemian. In 2001, Ani moved to the United States with her family and continued her studies in
lives, as well as the
Colorado. She was accepted at the University of Denver, Lamont
young spirited Grieg
School of Music as a Daniel L. Ritchie endowed full scholarship
at a significant turning
student in 2006.
point in his life.
While completing her undergraduate studies, Ani served as the principal pianist for the Denver Chorale and taught at a number of music studios. She also collaborated in premiering works by composers Chip Clark and Daniel Brito, and was a laureate of competitions in Colorado and New York. While attending the International Keyboard Institute and festival in New York in 2011, Ani met pianist and conductor Eduard Zilberkant. She continued her studies under his tutelage at the University of Alaska Fairbanks, and discovered a fresh and profound connection to orchestral repertoire. After completing her master’s degree, she returned to Colorado in 2014, and not long after, became the principal pianist with the Denver Philharmonic Orchestra.
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2018–19 SEASON
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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 participated in 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 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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2018–19 SEASON
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2018–19 SEASON
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 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 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
 17
OUR TEAM BOARD OF DIRECTORS
STAGE
Jon Olafson, President Matt Meier, Vice-President Edward Smith, Secretary Erica Secor, Treasurer Tamara Arredondo Dr. Robert Dallenbach Linda Lebsack Tenley Oldak Esteban Romero Pauline Dallenbach, Honorary Member Maureen Keil, Honorary Member
Taryn Galow, co-manager Loren Meaux, co-manager Linda Lebsack Michael Meaux New Genesis Transitional Community for the Homeless Hugh Pitcher Emmy Reid
FINANCE
DENVER PHILHARMONIC FOUNDATION BOARD
Erica Secor, chair Linda Lebsack Tenley Mueller Ed Smith
Erica Secor Keith Fisher Roger Powell
CENTRAL PRESBYTERIAN PRODUCTION TEAM
EXECUTIVE DIRECTOR
Bryce Clark Wil Smith
Valerie Clausen
PERSONNEL MANAGER Annie Laury
MORE THAN MUSIC MANAGER Patricia Meaux
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 David Zuluaga, Spanish translation
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2018–19 SEASON
AUDIO TECH
CONCERT NIGHT
Joel Dallenbach Jack Pelon
DPO WITH A TWIST
Tamara Arredondo Gil Clausen Eleanor Glover Nileen Hart Stan Jewell Marty Jewell Linda Lebsack Brian McGuire Karen McGuire Evan Meaux Joan Montezon Jon Olafson Hugh Pitcher David Sherman Edward Smith Roderick Smith Sheila Traister
William Combs, artistic advisor Katherine Thayer, artistic advisor
MORE THAN MUSIC PARTNERS
MARKETING Matt Meier, chair Dr. Robert Dallenbach Stephanie Gillman, photographer Katrina Niemisto David Sherman
FUNDRAISING Kelli Hirsch Barb Moritzky Jon Olafson Dennis Stevens
MUSICIAN COMMITTEE Loren Meaux Niccolo Casewit Daniel Morris
Horizon Marching Band, Sax Section Purple Door Coffee The University Club of Denver Ursula Brewery
IT TECH Henry Ammons
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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
DECEM BER
2 1
&
2 2 ,
2 018
PRESENTED BY MOO
L AW R E N C E G O L A N , C O N D U C T O R C O L O R A D O C H O R A L E A N D PA N N AT I O N
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
GIANTS • NOVEMBER 16 by ELIZABETH SCHWARTZ
Piano Concerto in A minor, Op. 16 Edvard Grieg (1843–1907) Edvard Grieg had beginner’s luck with his piano concerto. Written when he was 25, it is one of the most performed piano concertos in the repertoire, and, along with the Peer Gynt suites, Grieg’s most popular work. Grieg’s concerto is often compared with Robert Schumann’s Piano Concerto in A minor, and the similarities between them are “Keep on, I tell you.
not coincidental. Both concertos share the same key, and open
You have what is needed,
with a grand orchestral chord, followed immediately by virtuosic
and don’t let them
flourishes up and down the keyboard. Grieg’s and Schumann’s A
frighten you.”
minor piano concertos are also the only piano concertos either
— Franz Liszt to Edvard
man wrote, a puzzling fact given that both were also skilled
Grieg, during a meeting
pianists. Grieg was an admirer of Schumann’s music, and was
in the spring of 1870
familiar with Schumann’s concerto, having heard Clara Schumann play it in Leipzig. Grieg always remembered this performance as a major highlight of his Leipzig student days. Appreciation for Schumann’s music notwithstanding, Grieg’s piano concerto is his own. In describing his style of composition, Grieg wrote, “Composers with the stature of a Bach or Beethoven have erected grand churches and temples. I have always wished to build villages: places where people can feel 23
happy and comfortable … the music of
reported several eminent music critics had
my own country has been my model.” To
“applauded with all their might.” Three
that end, Grieg deliberately tapped into
days later, Neupert also told Grieg that
the colors of Norwegian folk songs and
Anton Rubenstein, the famed Russian
the rhythms of his country’s folk dances,
composer, virtuoso pianist, and founder
although, like Antonín Dvořák, Grieg
of the St. Petersburg Conservatory, had
preferred creating his own folk-inspired
attended the premiere and said he was
melodies rather than using pre-existing
“astounded to have heard a composition
music. The lively rhythms featured in
of such genius.”
the final movement, for example, are borrowed from the halling, a popular rural folk dance. The bold opening statement seems tailor-made for virtuosity; Grieg pairs it with a contrasting lyrical second theme. The music of the Adagio ruminates quietly, even in its most assertive moments, and features occasional solo passages for cello and winds. The piano tosses off brilliant
AT A GLANCE • Composer: born June 15, 1843, Bergen, Norway; died September 4, 1907, Bergen • Work composed: Grieg wrote his piano concerto in 1868 in Søllerød, Denmark. He revised it a number of times between 1872 and 1907. • World premiere: Holger Simon Paulli
flashes of color, like a sonic aurora borealis,
lead the orchestra of the Royal Theater
in the closing Allegro moderato. Grieg
in Copenhagen, with pianist Edmund
gives the second theme to solo flute; this
Neupert, on April 3, 1869.
graceful melody returns later, in a different key, to herald the majestic finale.
• Instrumentation: solo piano, 2 flutes (1 doubling piccolo), 2 oboes, 2 clarinets,
Grieg was unable to attend the premiere
2 bassoons, 4 horns, 2 trumpets, 3
in Copenhagen, due to prior obligations
trombones, timpani, and strings.
with the Oslo orchestra, but he was gratified when pianist Edmund Neupert
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• Estimated duration: 30 minutes
2018–19 SEASON
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Binge-watch all 10 episodes of our Emmy Award-winning webseries “Playing Out” at YouTube.com/DenverPhilharmonic See pianist Fei-Fei play Gershwin on a 16th Street Mall piano, Music Director
“Playing Out” is created in part by Emmy Award-winning local filmmaker David
Lawrence Golan on violin at the Botanic
Sherman. David specializes in education,
Gardens, cellist Jay Campbell perform
arts marketing and media literacy.
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 Presbyterian’s
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pipe organ with Wil Smith, dream of a white Christmas with Christiana McMullen and explore Denver’s Romanesque parks with prodigy pianist Wei Luo.
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2018–19 SEASON
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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 28
2018–19 SEASON
Symphony No. 1 in C minor, Op. 68 Johannes Brahms (1833–1897) In 1853, Robert Schumann wrote a laudatory article about a 20-year-old composer from Hamburg named Johannes Brahms, whom, Schumann declared, was the heir to Beethoven’s musical legacy. Schumann wrote, “If [Brahms] directs his magic wand where the massed power in chorus and orchestra might lend him their “There are fewer things
strength, we can look forward to even more wondrous glimpses
heavier than the burden
into the secret world of the spirits.” At the time Schumann’s
of a great potential.”
piece was published, Brahms had composed several chamber
— Linus van Pelt, Peanuts
pieces and works for piano, but nothing for orchestra. The article brought Brahms to the attention of the musical world, but it also dropped a crushing weight of expectation onto his young shoulders. “I shall never write a symphony! You have no idea how it feels to hear behind you the tramp of a giant like Beethoven,” Brahms grumbled.
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Because Brahms took almost 20 years
of experience composing for an orchestra.
to complete what became his Op. 68,
Over the next 19 years, as he continued
one might suppose its long gestation
working on Op. 68, Brahms wrote several
stemmed from Brahms’ possible
other orchestral works, including the 1868
trepidation about producing a symphony
German Requiem and the popular 1873
worthy of the Beethovenian ideal. This
Variations on a Theme by Haydn (aka the
assumption, on its own, does Brahms
St. Anthony Variations). The enthusiastic
a disservice. Daunting though the task
response that greeted both works bol-
might have been, Brahms also wanted to
stered Brahms’ confidence in his ability
take his time. This measured approach
to handle orchestral writing. In 1872,
reflects the high regard Brahms had
Brahms was offered the conductor’s post
for the symphony as a genre. “Writing
at Vienna’s Gesellschaft der Musikfreunde
a symphony is no laughing matter,” he
(Society of Friends of Music). This opportunity to work directly with an orchestra
remarked. Brahms began sketching the first movement when he was 23, but soon realized he was handicapped by his lack
gave Brahms the invaluable first-hand experience he needed. 23 years after Schumann’s article first appeared, Brahms
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2018–19 SEASON
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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, November 25 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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2018–19 SEASON
premiered his Symphony No. 1 in C minor.
compositional thought processes
It was worth the wait.
throughout, especially his decision to
Brahms’ friend, the influential music critic Eduard Hanslick, summed up the feelings of many: “Seldom, if ever, has the entire musical world awaited a composer’s first symphony with such tense anticipation … The new symphony is so earnest and complex, so utterly unconcerned with common effects, that it hardly lends itself to quick understanding … [but] even the layman will immediately recognize it as one of the most distinctive and magnificent works of the symphonic literature.”
complexity was a polite way of saying the music was too serious to appeal to the average listener, but Brahms was unconcerned; he was not trying to woo the public with pretty sounds. “My symphony is long and not exactly lovable,” he acknowledged. The symphony is carefully crafted; one can hear Brahms’
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atmosphere of the first movement, and the short thematic fragments from which Brahms spins out seemingly endless developments, are all hallmarks of Beethoven’s style. Brahms also references Beethoven by choosing the key of C minor, which is closely associated with several of Beethoven’s major works, including the Fifth Symphony, Egmont Overture, and Piano Concerto No. 3. And yet, despite all these deliberate nods
Hanslick’s reference to the symphony’s
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incorporate several overt references to Beethoven. The moody, portentous
to Beethoven, this symphony is not, as conductor Hans von Bülow dubbed it, “Beethoven’s Tenth.” The voice is distinctly Brahms’, especially in the inner movements. The tender, wistful Andante sostenuto contrasts the brooding power of the opening movement. Brahms weaves
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a series of dialogues among different
• World premiere: Otto Dessoff led the
sections of the orchestra, and concludes
Badische Staatskapelle in Karlsruhe, on
with a duet for solo violin and horn.
November 4, 1876.
In the Allegretto, Brahms relaxes Beethoven’s frantic scherzo tempos. The pace is relaxed, easy, featuring lilting themes for strings and woodwinds. The finale’s strong, confident horn solo proclaims Brahms’ victory over the doubts that beset him during Op. 68’s long incubation. Here Brahms also pays his most direct homage to Beethoven,
• Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani and strings. • Estimated duration: 42 minutes
ABOUT THE AUTHOR
with a majestic theme, first heard in the
Elizabeth Schwartz is a free-lance writer,
strings, that closely resembles the “Ode
musician, and music historian based
to Joy” melody from Beethoven’s Ninth
in Portland. She provides notes for
Symphony. When a listener remarked
ensembles across the United States and
on this similarity, Brahms snapped, “Any
around the world, including the Oregon
jackass could see that!”
Symphony and Chamber Music Northwest. Elizabeth has also contributed to the
AT A GLANCE • Composer: born May 7, 1833, Hamburg; died April 3, 1897, Vienna • Work composed: Brahms began working on his first symphony in 1856 and returned to it periodically over the next 19 years. He wrote the bulk of the music between 1874 and 1876.
nationally syndicated radio program “Performance Today,” produced by American Public Media. Ms. Schwartz also writes artist profiles, program previews, and other features for InSymphony Magazine and other publications. Classical Music Program Notes © 2018 Elizabeth Schwartz
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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
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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!
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THANK YOU!
Donations since Dec. 1, 2017
We would like to acknowledge the generous support of the following individuals, businesses and corporations. ORCHESTRA CIRCLE
PATRON
($10,000+)
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
Valerie & Gilmour Clausen
CONDUCTOR CIRCLE ($5,000–$9,999) Linda Lebsack & Hugh Pitcher
CONCERTMASTER CIRCLE ($2,500–$4,999) Barb & Kip Kolkmeier Don & Bonnie Walls
MUSICIAN CIRCLE ($1,000–$2,499) Paula Elmers Wallace Orr
($500–$999)
BENEFACTOR ($300–$499) Anonymous (11) Eleanor Glover & Eugene Advincula Barb & Rand Moritzky Mr. & Mrs. Kevin Williams
CONTRIBUTOR ($100–$299) Keri Rose Agnes Anonymous (16) Manuel & Avis Araujo Phil & Jennifer Barru Fred Beisser Kimberly & James Brody Janice Burley
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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 Cori & Tyler Streetman Sherry & Andy Kenney Mike & Amanda Tine Steven Wetmore Mr. & Mrs. Kevin Williams
2018–19 SEASON
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 & BUSINESS 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 David Sherman Creative
UP TO $999 Barefoot PR Kolacny Music New Genesis Transitional Community for the Homeless Newberry Brothers Greenhouse & Florist Purple Door Coffee Schmitt Music The Pillar of Fire Church TATE+BURNS Architects LLC Ursula Brewery
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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
AMAZON SMILES
We offer community-engagement
AmazonSmile is a website operated by
packages specifically tailored to meet your
Amazon with the same products, prices,
company’s philanthropic, marketing and
and shopping features as Amazon.com.
entertainment initiatives.
The difference is that when you shop on AmazonSmile, the AmazonSmile
COLORADO GIVES DAY SAVE THE DATE! DECEMBER 4, 2018 In addition to your Colorado Gives Day contribution, we also receive a percentage
Foundation will donate 0.5% of the purchase price of eligible products to the charitable organization of your choice.
of an Incentive Fund proportionate to the
PLANNED GIVING
amount of money raised on CGD. The
Planned gifts provide the resources that
Incentive Fund percentage is a great addi-
have made it possible for us to provide
tion to your already generous donation!
high-quality, affordable classical music to the people of Metro Denver since 1948.
DONATE YOUR CAR! It’s easy to arrange free pick up of donated vehicles at a time and place convenient to
With a gift to us in your estate or financial plans, you help to preserve the orchestra’s future for the next 70 years.
you. We accept vehicles in most — but not all — conditions.
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2018–19 SEASON
ITY SHARE THE LOVE
CONTACT US
Celebrate your music-lover’s birthday or
Visit denverphilharmonic.org/contribute,
anniversary with a gift in their honor. You
email info@denverphilharmonic.org or
can also keep a loved one’s memory alive
visit the “Ask Me” table in the lobby for a
with a gift in their name.
donation card and more details on how to support us.
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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
Learning “Jingle Bells,” Holiday Cheer!, December 2017 Photo by Stephanie Gillman
SAVE THIS SEAT
I’M ENJOYING MORE THAN MUSIC!
Associate Conductor Renee Noel Gilliland will give you insights into tonight’s music and music-makers.
6:30–7:00PM, CHAPEL
PRE-CONCERT CHAT
#DPOTWEETS
Did you save room for dessert? Take a bite of a monster-size home-made cookie baked by the Horizon High School Marching Band, Sax Section.
GIANT COOKIES
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 GIANTS.
WINE & CRAFT BEER
During the night, we live-tweet pics and tidbits. Follow, share and interact on Twitter. @denverphilorch #dpotweets
After the concert, join us for a drink just across the street at The University Club.
NIGHTCAP
Say hello! Join us in the lobby after the concert for refreshments.
RECEPTION
Clink a glass of wine or local craft beer from Ursula Brewery! Cheers! (21+)
GIANT GAMES
Win big in our game room featuring
giant Jenga, Connect 4 and more!
COFFEE CORNER
Warm up with a cuppa joe. Compliments of Purple Door Coffee.