Denver Philharmonic Orchestra May 17, 2019 Concert Program

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WECOME! 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 our trips to China and Germany. We also find ways to make each concert its own adventure, and we are excited that you are part this one tonight. We will also celebrate our heroes. Heroes come in many forms. From our families to our role models, we will celebrate those that have had a profound positive impact on our lives. For me, 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!

Jon Olafson President of the Board


MAY 17, 2019



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

Lawrence Golan, conductor Laurence Kaptain, cimbalom CAMILLE SAINT-SAËNS

Marche héroïque, Op. 34 ZOLTÁN KODÁLY

Háry János Suite Featuring Laurence Kaptain Prelude; the Fairy Tale Begins Viennese Musical Clock Song The Battle and Defeat of Napoleon Intermezzo Entrance of the Emperor and His Court


Wellington’s Victory, Op. 91 PYOTR ILYICH TCHAIKOVSKY

1812 Overture, Op. 49


2018–19 SEASON


OCTOBER 4, 2019

FIRST IMPRESSIONS: THE MUSIC OF MONET Lawrence Golan, conductor Stephanie Cheng, piano

SHH! IT’S A SECRET! BOULANGER   D’un matin de printemps

CONCERT DETAILS TO BE ANNOUNCED (One Spring Morning) DEBUSSY   Prelude to the Afternoon of a Faun RAVEL   Piano Concerto in G Major DEBUSSY   La Mer RAVEL   Boléro

NOVEMBER 15 & 16, 2019



DECEMBER 20 & 21, 2019

FEBRUARY 22, 2020


Lawrence Golan, conductor MOVE ALONG. NOTHIN’ TO SEE HERE. DPO International Conducting Workshop participants CONCERT DETAILS TO BE ANNOUNCED TCHAIKOVSKY   Symphony No. 6 “Pathétique” MUSSORGSKY   Pictures at an Exhibition

MARCH 21, 2020


José Miguel Rodilla, guest conductor Rebecca Mortizky, harp

REDACTED. FALLA   La vida breve; Spanish Dance No. 1 CONCERT DETAILS TO BE HENSON-CONANT   Soñado enANNOUNCED español GRANADOS   Three Spanish Dances FALLA   The Three-Cornered Hat Suite No. 2

MAY 15, 2020

BEETHOVEN CELEBRATION Lawrence Golan, conductor


WITTRY   Ode to Joy Fanfare

Lawrence Golan, conductor WOULDN’T YOU LIKE TO KNOW? Cherry Creek Dance



Full repertoire available at



Antonia Brico Stage Central Presbyterian Church 1660 Sherman Street, Denver



Thank you for joining us on our heroic journey this

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.

season. We hope you

He has conducted throughout the United States and in Bulgaria,

enjoyed it and we look

Canada, China, Czech Republic, El Salvador, England, Georgia,

forward to seeing each

Germany, Italy, Mexico, Poland, Portugal, Romania, Russia, South

and every one of you

Korea, Taiwan, Ukraine, and Uzbekistan, and continues to develop

again in the fall. Victory!

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


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.


LAURENCE KAPTAIN CIMBALOM Laurence Kaptain, DMA and FRSA, is Dean, of the College of Arts & Media (CAM), and Professor of Music, Entertainment and Industry Studies, University of Colorado Denver. He brings 18 years of higher education leadership experience at leading public and private universities to this position. In his time at CU Denver, has been named to the National Advisory Board of the Strategic National Arts Alumni Project (SNAAP), the Board of the Denver School of the Arts Friends Foundation, the Board of Opera Colorado and is a voting member of The Recording Academy (the Grammy Awards). Laurence Kaptain appears regularly with major orchestras, including the New York Philharmonic, The Chamber Music Society of Lincoln Center, the Philadelphia Orchestra, the San Francisco Symphony, Pittsburgh Symphony and has recorded with the Chicago Symphony, St. Louis Symphony, St. Paul Chamber Orchestra and the Czech National Symphony. He has also appeared, collaborated or recorded with artists such as Elvis Costello, Yo-Yo Ma, Karlheinz Stockhausen, Robert Altman, Rudolf Nureyev, Suzanne Farrell, Isaac Stern, Pierre Boulez, Elliot Carter, Gil Shaham, Suzanne Farrell, Kurt Masur, Henry Mancini, Donna McKechnie, Carol Channing and others. His recording of Stravinsky works with New York’s famed Orpheus ensemble won the 2001 Grammy Award for Small Classical Ensemble. He received the first doctorate in percussion instruments at the University of Michigan, where he was a Fulbright Scholar to Mexico and received the prestigious Rackham Graduate School Pre-Doctoral Fellowship. His other degrees are from the University of Miami and Ball State University.


2018–19 SEASON

BEHIND THE ART Each spring, we at Ligature Creative get a sneak preview of the coming DPO season in order to create the key artwork you see on the website and social media, as well as in print on posters and on the cover of this program. Working within the theme of the concert,

led troops to victory in Spain against

we create images that help tell the

Napoleon’s army. The London monument

concert’s story in DPO’s bold and contem-

features a statue of Achilles, the Greek

porary brand.

hero of the Trojan war.

We start with conversations with Music

To match the season art style, we colorized

Director Lawrence Golan and begin our

the image and illustrated an artillery-shell

own historical research to understand the

firework explosion to add energy and

context of each concert. With classical

excitement to the statue frozen in time.

playlists streaming in our studio, we craft lists of possible options for each concert’s key art.

Since leading a rebrand of the orchestra in 2013, we’re proud to be continued sponsors of the Denver Philharmonic

For the tonight’s Victory concert, the

and of tonight season’s finale. Enjoy

Napoleonic empire is certainly the through

the concert, and check out the 2019–2020

line connecting all four pieces on the

Season artwork at

program. However, most of the music is in celebration of his defeat — the emperor is not this evening’s hero. So if not depictions of Napoleon, then what should the concert image be? Soldiers? Cannons? Fireworks?

Ligature Creative designs brands, publications, key art, interfaces and experiences

Our research on Beethoven’s Wellington’s

for people and organizations that do good

Victory led to the discovery of a

work. We focus on areas of education,

memorial to Arthur Wellesley, First Duke

arts & culture, community and health &

of Wellington — the very Wellington who

recreation. Connect at


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.


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.




Lawrence Golan

Silvana Ferrarin, principal Natasia Boyko Naomi Croghan Lori Hanson Jessica Hitt Kaylin Jarriel Beth Remming Julie Rooney Gail Sindelair Vince Vuong


ASSISTANT CONDUCTOR Jorge Alejandro Salazar

FIRST VIOLIN Katherine Thayer, concertmaster Anna Katherine Barnett-Hart, associate concertmaster Katherine Thayer, concertmaster Melissa Barru Matthew Grove Thomas Jatko Beth Letendre Alexander Raab Emmy Reid Vanessa Vari

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

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

DOUBLE BASS Lucy Bauer, acting principal Zachary Antonio Megan Gore Brazell Josh Filley Taryn Galow Kurt Henning

FLUTE Whitney Kelley, principal Catherine Ricca Lanzano Joshua Hall

Section strings and percussion are listed alphabetically 14

2018–19 SEASON



Joshua Hall

Evan King Melinda Ho Luke Finaldi Samuel Milam

OBOE Loren Meaux, acting principal Michael Sax



Loren Meaux

Kiel Lauer, acting principal Benjamin Garcia



Kwami Barnett, principal Claude Wilbur Jessica Clark

Benjamin Garcia



BASSOON Ken Greenwald, principal Nicholas Lengyel

HORN Zach Maupin, principal Kim George Kelli Hirsch Jeanine Branting

TRUMPET Ryan Spencer, principal Ariel Van Dam

TUBA Darren DeLaup, principal

TIMPANI Steve Bulota, principal

PERCUSSION Ross Coons, principal Colin Constance Justin Elks John Garvin Derek Sawyer Jackson Stevens

HARP Rebecca Moritzky, principal

PIANO Ani Powell, principal James Wehe


MUSICIAN MILESTONES We gratefully acknowledge and thank the following Denver Philharmonic musicians for their 10-plus years of volunteer service to the orchestra! 10+ SEASONS


Jeanine Branting, horn Kimberly Brody, principal oboe Naftari Burns, cello Kenneth Greenwald, principal bassoon Matthew Grove, violin Kelli Hirsch, horn Beth Letendre, violin Ben Luey, viola Alyssa Oland, violin Emmy Reid, violin Katherine Thayer, concertmaster

Niccolo Werner Casewit, violin Terri Gonzales, violin Wallace Orr, trombone Claude Wilbur, clarinet


25+ SEASONS Steve Bulota, principal timpani Roger Powell, violin

30+ SEASONS Lucy Bauer, double bass Josh Filley, double bass Thomas Jatko, violin

Valerie Clausen, violin Annie Laury, violin Loren Meaux, assistant principal oboe/ English horn Catherine Ricca Lanzano, flute Elizabeth Wall, violin


2018–19 SEASON

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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 Emmy Reid, co-manager Steve Bulota Michael Meaux New Genesis Transitional Community for the Homeless Hugh Pitcher




Valerie Clausen

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



Annie Laury

Ligature Creative, design Walker Burns, editing Taryn Galow, Braille translation María Angélica Lasso, Spanish translation Callista Medland, editing Elizabeth Schwartz, program notes David Zuluaga, Spanish translation



HALL MANAGER Joanna Watkins


2018–19 SEASON

AUDIO TECH Joel Dallenbach Jack Pelon

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

MUSICIAN COMMITTEE Daniel Morris, chair Niccolo Casewit Loren Meaux

IT TECH Henry Ammons

CONCERT NIGHT Stacie Carter Rich Casson Gil Clausen Sarah Douglas Stephanie Gillman, photographer Eleanor Glover

Nileen Hart Sarah Hogan Stan Jewell Marty Jewell Brian McGuire Karen McGuire Claire McManus Evan Meaux Michael Meaux Krista Picco Hugh Pitcher Liza Ranftle David Sherman Bridget Smith Andy Solsvig Sheila Traister

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2018–19 SEASON

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  21

Music connects our community.

is proud to support the Denver Philharmonic. • • • • • • • • • • • • • • • • • • • •


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

2018–19 SEASON


March héroïque Camille Saint-Saëns


Camille Saint-Saëns was devastated when he received news of the death of his friend and colleague, Henri Regnault. Regnault was primarily known as a painter who had won the prestigious Prix de Rome in 1864. Also a talented amateur singer, Regnault had performed the title role of Saint-Saëns’ Samson et Dalila in a private performance prior to the opera’s official premiere. Saint-Saëns was the first famous composer

The uplifting Marche héroïque celebrates Regnault’s life

to score a film in 1908

and accomplishments with a combination of triumphant and

starting a trend that

heartfelt passages. This seven-minute march also captures the

continues today. You’re welcome, John Williams.

nobility of the French resistance to German forces during the 1870–71 siege of Paris.


December 10, 1871, at the Cirque d’hiver


in Paris.

• Composer: born October 9, 1835, Paris; died December 16, 1921, Algiers

• Instrumentation: 3 flutes (one doubling piccolo), 2 oboes, English horn, 2

• Work composed: 1870-71. Dedicated “à

clarinets, bass clarinet, 2 bassoons,

la Mémoire d’Henri Regnault,” a painter

contrabassoon, 4 horns, 3 trumpets, 3

and friend of Saint-Saëns’, who died

trombones, timpani, bass drum, cymbals,

fighting in the Franco-Prussian War

triangle, organ, piano (four hands) and

• World premiere: Jules Étienne Pasdeloup conducted the orchestral premiere on

strings. • Estimated duration: 7 minutes


Tuesdays With Morrie Tuesdays With Morrie By JEFFREY HATCHER and MITCH ALBOM Based on the book by MITCH ALBOM Directed by BILLIE MCBRIDE



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2018–19 SEASON

Háry János Suite Zoltán Kodály  (1882–1967) “The voice of Kodály in music is the voice of Hungary.” – Sir Arthur Bliss In 1905–06, Zoltán Kodály traveled to the far corners of Hungary collecting and recording folk music on wax cylinders. During this time, he also became acquainted with Béla Bartók. The two men shared a passion for Hungarian folk idioms, and Kodály taught Bartók his methods for collecting and preserving their country’s indigenous music. The time both men spent immersed in this “I would advise my young

ethnomusicological work also had a profound influence on their

colleagues, the compos-

own compositions; Bartók tended to write original folk-inflected

ers of symphonies, to

music, while Kodály often combined a mixture of pre-existing

drop in sometimes at the kindergarten, too. It is there that it is decided whether there will be anybody to understand their works in twenty years’ time.”

folk tunes and his own inventions. In 1926, Kodály featured this blend of original and indigenous music in his singspiel (operetta) about Háry János, a historical figure from the early 19th century. János, a foot soldier in the Austrian army’s fight against Napoleon, had a knack for embellishment, and later claimed the rank of general. After the war, János returned to his village and regaled his friends with a series of colorful tales about his “adventures.” “Day after day he sits in the tavern and recounts his incredible heroic feats,” wrote Kodály about János. “He is a true peasant, and his grotesque inventions are a touching mixture of realism and naiveté, of comedy and pathos. All the same, he is not just a Hungarian Baron Munchausen. On the surface, he may appear to be no more than an armchair hero, but in essence, he is a poet, carried away by his dreams and feelings. His tales are not true, but that is not the point. They are the fruits of his lively fantasy, which creates for himself and for others a beautiful world of dreams … We all dream of the great and impossible. Few of us master, like Háry, the courage to utter our dreams.”


Kodály chose six movements from the

The cimbalom returns in the Intermezzo, a

complete singspiel for the orchestral suite

verbunkos. This most popular Hungarian

he made in 1927. The Prelude, titled “The

dance is known for its offbeat accents, as

Fairy-tale Begins,” opens with a gigantic

well as contrasting slow (lassú) and fast

orchestral sneeze, indicating the fantastic

(friss) sections.

nature of what follows. The music features an expansive, heroic theme, suggestive of a 1930s film score. This ends abruptly with the chiming of

The march of the Entrance of the Emperor and His Court is appropriately gaudy, adorned with sparkle and brilliant colors that end the Suite with a dazzling flourish.

the Viennese Musical Clock and a jaunty march. For the Song, Kodály chose an existing folk melody, “Tiszán innen, Dunán túl” (This side of the Tisza), from Háry János’ birthplace, Tolna County. We first hear a solo viola, followed by several variations. The melody’s plaintive quality

AT A GLANCE • Composer: born December 16, 1882, Kecskemét, Hungary; died March 6, 1967, Budapest • Work composed: 1926-27

is enhanced by the inclusion of the cimbalom, an eastern European hammered dulcimer, in the accompaniment.

• World premiere: March 24, 1927, by the Pau Casals Orchestra in Barcelona, led by Antal Fleischer

The Battle and Defeat of Napoleon features military instruments, particularly brass

• Instrumentation: 3 flutes (all doubling

and percussion, to convey the epic conflict

piccolo), 2 oboes, 2 clarinets (1 doubling

between Napoleon’s army and that of

alto saxophone), 2 bassoons, 4 horns, 3

Holy Roman Emperor Franz II. The French

trumpets, 3 cornets, 3 trombones, tuba,

forces march to a distorted parody of “La

timpani, bass drum, celesta, chimes, cym-

Marseillaise,” and, in a revisionist version

bals, glockenspiel, tambourine, tam-tam,

of historical events, Kodály accompanies

triangle, xylophone, piano, cimbalom,

Napoleon’s “funeral” with a mournful

and strings



• Estimated duration: 25 minutes

2018–19 SEASON



Tune in to radio station KPOF (AM 910) from 7 – 10 pm on Sunday, May 26 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.


2018–19 SEASON

Wellington’s Victory, Op. 91 Ludwig van Beethoven  (1770–1827) The Viennese audience at the December 8, 1813 concert of music by Ludwig van Beethoven was in a celebratory mood. The performance, held at the University of Vienna and organized by Beethoven’s friend, inventor Johann Nepomuk Mälzel, was a benefit for Bavarian soldiers injured in battle against Napoleon and featured the premiere of Beethoven’s Wellington’s Victory, Op. 91, also known as the Battle Symphony. This triumphal work One of the most famous composers of all time, Ludwig van Beethoven broke the mold of the Classical-era style of music. The popularity of his music has never

commemorated Field Marshal Arthur Wellesley’s recent victory over the French at the Battle of Vitoria (Wellesley became the Duke of Wellington in 1814). Beethoven originally wrote Op. 91 for one of Mälzel’s inventions, a mechanical instrument known as the panharmonicon.

waned, influencing

Essentially a mechanized military band, a bellows powered

musicians from Billy Joel

the panharmonicon (the instruments were played by means of

to Nas and appearing in

keys attached to pins on a revolving drum, like a music box). In

such films as “Die Hard.”

addition to his score for the panharmonicon, Beethoven also arranged Op. 91 for orchestra with additional brasses and a large percussion battery. Wellington’s Victory is a quasi-literal musical interpretation of the famous battle and features several well-known melodies representing the opposing forces. It opens with a snare drum, which crescendos into a defiant trumpet declaring the British


readiness for battle. The orchestra launches

1813 premiere might have been surprised

into “Rule Britannia,” whereupon the

to find that it was the other main work

French, heralded by a similar snare drum/

on the program, Beethoven’s Seventh

trumpet fanfare, arrive. Beethoven skips

Symphony, which is today considered one

“The Marseillaise,” the playing of which

of Beethoven’s masterpieces.

was a treasonous act in Vienna at the time, and instead sounds the tune best known in French as “Marlborough s’en va-t-en guerre” (Marlborough has left for the war), aka “For He’s A Jolly Good Fellow.” After

AT A GLANCE • Composer: born December 16, 1770, Bonn; died March 26, 1827, Vienna

this musical posturing, Beethoven gives

• Work composed: August–October 1813.

us a full-on musical battle, complete with

Dedicated to Johann Nepomuk Mälzel.

cannon fire, and multiple ratchets providing the rat-a-tat sound of gunfire. The defeated

• World premiere: Beethoven conducted

French abandon the field to a funereally

the first performance on December 8,

slow reprise of “Marlborough.” The closing

1813, in Vienna.

victory music includes the tune “God Save the King,” which Beethoven transforms into a series of jubilant variations.

• Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 6 trumpets, 3 trombones, timpani, 2

Although Wellington’s Victory was

bass drums, cymbals, 4 ratchets, 2 snare

understandably popular in its time, today

drums, triangle, and strings

it is seldom performed and has largely faded into obscurity. The audience at the

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2018–19 SEASON



2018–19 SEASON

1812 Overture Pyotr Ilyich Tchaikovsky


Although the 1812 Overture is one of Pyotr Ilyich Tchaikovsky’s best-known compositions, he thought little of it. He wrote it for his friend and colleague Nikolai Rubenstein, director of the Moscow Conservatory, who wanted music to commemorate the consecration of the Cathedral of Christ the Savior in Moscow, built to mark the Russian victory in 1812 over Napoleon and the 25th-anniversary celebration of Alexander II Tchaikovsky was a known hypochondriac and literally thought his head was going to fall off while conducting. He went so far as to hold his head up with one hand while on the podium.

as czar. Rubenstein envisioned a grand outdoor aural spectacle for the audience, and Tchaikovsky was subsequently inspired to score the work for cannons, a military band, and church bells, in addition to the orchestra. The premiere of The Year 1812 (the formal title of the 1812 Overture) was actually held in a concert hall, minus cannons and bells. Despite the lack of firepower, it was an immediate success and has since become a summer staple of orchestras and a perennial audience favorite. Throughout the 1812 Overture, Tchaikovsky interjects fragments of the French national anthem “La Marseillaise” to represent Napoleon. Tchaikovsky also quotes the Russian national anthem, “God Save the Czar;” a hymn from the Russian Orthodox Church, “God Save Thy People,” and fragments of a Russian folk song in the opening theme. These musical quotations symbolize the heart and soul of the Russian people. Regarding the 1812 Overture, Tchaikovsky complained to his patron Nadezhda von Meck, “The ‘Overture’ will be very loud


and noisy, but I wrote it without any warm feelings of love and so it will probably be of no artistic worth.” While critics have argued over the years about the “artistic worth” of Tchaikovsky’s music, audiences have remained his staunchest supporters,

AT A GLANCE • Composer: born May 7, 1840, KamskoVotinsk, Viatka province, Russia; died November 6, 1893, St. Petersburg • Work composed: 1880

and his music is consistently among the most requested and performed by symphony orchestras around the world.

• World premiere: Nikolai Rubenstein led the Moscow Conservatory on August 20, 1882, in Moscow

The enduring popularity of the 1812 Overture has never diminished, thanks in part to the advent of recording technology.

• Instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 2

In 1958 conductor Antal Doráti and the

bassoons, 4 horns, 2 cornets, 2 trumpets,

Minneapolis Symphony (now the Minnesota

3 trombones, tuba, timpani, bass drum,

Orchestra) made the first high-fidelity

bells, cannon, chimes, cymbals, snare

recording of the 1812 Overture for the

drum, tambourine, triangle, and strings

Mercury “Living Presence” label. This innovative recording includes separate tracks for the cannons and church bells, as well as

• Estimated duration: 15 minutes

a voice-over narration, which explained the


new recording technique. The recording

Elizabeth Schwartz is a freelance writer,

also features a 1775 bronze cannon used in

musician, and music historian based

the Napoleonic wars.

in Portland. She provides notes for

Staging this work presents unusual chal-

around the world, including the Oregon

lenges because of the inclusion of cannons in the finale. The timing of the cannon bursts is crucial, as Tchaikovsky indicated in his score that they were to sound on specific beats. Determining the length of the fuse and lighting it at the precise moment to fire on cue requires an expert.

ensembles across the United States and Symphony and Chamber Music Northwest. Elizabeth has also contributed to the nationally syndicated radio program “Performance Today,” produced by American Public Media. Elizabeth also writes artist profiles, program previews, and other features for InSymphony Magazine and other publications. © 2019 Elizabeth Schwartz


2018–19 SEASON

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. 303-832-7190




Need Sheet Music?

Used & Out of Print in very good condition! All instruments & thousands of songs Shop TJ’s Music in the Broadway Book Mall 200 S. Broadway, Denver Tuesday - Saturday 10 a.m. - 6 p.m. Sunday 11 a.m. - 5 p.m. & Monday 2-6 p.m. 303-744-2665


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


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!


2018–19 SEASON



The rumors are true — we’re pretty

Child feelin’ fidgety? We have a designat-

informal. But we do ask that you sit tight

ed cry room in the back of the lobby on

and quiet during the performance and

the right side of the main level. The room

only get up between pieces or during in-

is marked with a sign.

termission as to not distract the musicians or concert-goers around you.


SOCIAL MEDIA Feel free to tweet along with us @denverphilorch, post to Facebook or

You’re welcome to bring a water bottle

take photos without flash. Upload your

into the hall, but remember “Trail Rules”

pics and comments online — and be sure

— pack it in, pack it out. (This goes for

to tag us! We’re on Facebook, Twitter and

trash too!)

Instagram @denverphilorch #dpotweets



Please turn the sound off on your cell

Rules, rules, rules — we know, it can be

phones, pagers, and any other noise-

overwhelming. The most important rule of

making device, including vibrate mode.

all is to have fun and enjoy yourself. And then tell all your friends and come back again and again!



Donations since Dec. 10, 2017

We would like to acknowledge the generous support of the following individuals, businesses and corporations. ORCHESTRA CIRCLE ($10,000+) Valerie & Gilmour Clausen

CONDUCTOR CIRCLE ($5,000–$9,999) Linda Lebsack & Hugh Pitcher

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

MUSICIAN CIRCLE ($1,000–$2,499) John David Alley Daniel R. Burns & Lorraine Diaz Paula Elmers Mark Johnson Jon Olafson John & Carol Tate Ben & Katherine Vagher

PATRON ($500–$999) Anonymous Patricia Aronstein


Kira van Lil & Christoph Heinrich Sarah & Matt Hogan Marianne & Ed Marvez Matt Meier & David Sherman Lisa Peloso & Vik Patel Mark & Maxine Rossman Edward Smith, in memory of Geralda Smith

BENEFACTOR ($300–$499) Anonymous (11) Rich Casson & Liza Ranftle Jessica Clark Eleanor Glover & Eugene Advincula Barbara & Rand Moritzky, in memory of Vernetta Dunn James Stegman Mr. & Mrs. Kevin Williams

CONTRIBUTOR ($100–$299) Anonymous (21) Manuel & Avis Araujo John Bardeen & Sharon Adams Jennifer & Phil Barru Fred Beisser Janice Burley Gabriela Chavarria Stacey & Bob Collins Charlie & Jean Curlee

Thomas W. Filaerdo & Nora L. Zorich Tom Gleason and Ann Gardner Eleanor Glover and Eugene Advincula Lawrence & Cecilia Golan Stephen and Donna Good Rob and Celeste Habiger Judy & Ed Hagerman Janet Hehn Karin Hensel HCA Caring for the Community Kelli & Geoff Hirsch, in honor of Jim & Cathy Krebsbach Jacobi Gifting Fund Thomas Jatko, in honor of Harry Heskett Annie Laury Matt & Allison Lausten Michael D. & Patricia Meaux Callista & Patrick Medland Carolyn & Gary Medland Claudia & Jim Miller Tenley Mueller Marianne & Jeff Orkin Pamela Parker Shari Regenbogen Ross Robert & Barbara Metzger Lauren O’Neill Crist-Fulk Ann Schock Edward Smith Merriam Spurgeon James Stegman Cori & Tyler Streetman 2018–19 SEASON

Karin Tate Sherry and Andy Kenney Mike & Amanda Tine Whitney Walpole Steven Wetmore

FRIEND (UP TO $99) Keri Rose Agnes Leonard Allen Penny Alles Henry Ammons, in memory of Ginny Ammons Anonymous (2) Anonymous, in memory of Charlotte Casewit-Fischer-Lamberg Tamara Arredondo Charles Aschwanden Jennifer Barangan Paul Behrhorst & Jenna Bainbridge Bill C. Berger Philip Pearlman and Betty Bona Jeanine Branting Kimberly and James Brody, in honor of Peggy Lemmon Raymonda Burgman Esmeralda Colfax Stacey & Bob Collins Naomi and Kevin Croghan Mitch Davis Doug and Mary Jodi Faley Larry Armstrong & Carol Farnsworth The Gintchin Family Terri Gonzales Kenneth Greenwald Lori Hanson Jennifer Heglin Michael Hoffman

S J Hudson Scott Huffman Genna and Torin Marty Jewell Terry Kargel Kitty Mande Knowles Ben & Edalin Koziol David Kurth William Lacy Monty Lambie Catherine and Ted Lanzano Matthew LeMay Judy & Dan Lichtin Regan Linton Anita Lopez Nick Martin Susan McGinley Loren Meaux Michael & Patricia Meaux Ron Mison Todd Misk & John Reid Edward Moss Nora Morgenstern Nancy & Paul Oberman Diana Padgett Pat & Jessica Payne Krista M. Picco, MBA, CIMA Peter Plowshay Bruce & Sharron Regenthal Charlotte Rocha Karin Schantz Gail & Joe Sindelar Bruce Smith Christie Smith Bruce Snyder Erik Tharalson Katherine Thayer Kathryn Weathers Louise Westfall Patricia White

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 The German Cultural Foundation Ireland Stapleton Pryor & Pascoe, PC Ogletree, Deakins, Nash, Smoak & Stewart, P.C. Wells Fargo Advisors

$1,000–$2,499 Brownstein Hyatt Farber Schreck Cottrell Printing David Sherman Creative

UP TO $999 ColoradoGives Community First Foundation 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 Vineyard Vines Retail, LLC


PLEASE DON’T STOP THE MUSIC. Help us continually redefine the way our community experiences and engages with classical music with a tax-deductible contribution tonight. CORPORATE PARTNERS


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

entertainment initiatives.

The difference is that when you shop on AmazonSmile, the AmazonSmile

DONATE YOUR CAR! It’s easy to arrange free pick up of donated vehicles at a time and place convenient to you. We accept vehicles in most — but not all — conditions.

Foundation will donate 0.5% of the purchase price of eligible products to the charitable organization of your choice.

PLANNED GIVING Planned gifts provide the resources that have made it possible for us to provide high-quality, affordable classical music to the people of Metro Denver since 1948. With a gift to us in your estate or financial plans, you help to preserve the orchestra’s future for the next 70 years.


2018–19 SEASON



Celebrate your music-lover’s birthday or


anniversary with a gift in their honor. You

email 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.

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


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


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

Food Truck Tailgate, Russ-Keys, May 2018; Photo by Stephanie Gillman




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 Victory.


I declare WAR! Battle a friend with our War card-game tournament, or test your sea legs with Table Battleship.

After the concert, join us for a drink just across the street at The University Club.


Say hello! Join us in the lobby after the concert for refreshments, meet the musicians and have fun!


During the night, we live-tweet pics and tidbits. Follow, share and interact on Twitter. @denverphilorch #dpotweets


Grab a quick bite from Big Dawg Barbecue, Dude Bro Taco, and Repicci’s Italian Ice & Gelato food

trucks at our signature tailgate.


Clink a glass from Ursula Brewery! Cheers! (21+)


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


Complimentary of Purple Door Coffee.

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