FIRST ImPRESSIONS mUSIC & mONET OCTOBER 4, 2019
Passionate about putting the right ensemble around every client
The Chapman Foundations Recital Hall • UCCSpresents.org
Jonathan D. Grant, CFP® David Villafuerte, MBA Herman Tiemens II, MBA, CFP®
Krista M. Picco, MBA, CIMA® Deron L. Hickman
Financial Advisors
Your passions are our passions Wells Fargo Advisors 1700 Lincoln Street, 50th Floor Denver, CO 80203 303-450-4906 • krista.picco@wellsfargoadvisors.com Investment and Insurance Products:
u NOT FDIC Insured
u NO Bank Guarantee
u MAY Lose Value
Wells Fargo Advisors is a trade name used by Wells Fargo Clearing Services, LLC, Member SIPC, a registered broker-dealer and non-bank affiliate of Wells Fargo & Company. ©2017 Wells Fargo Clearing Services, LLC. All rights reserved. CAR-0618-04970
WELCOME! Beethoven once said, “To play without passion is inexcusable!” At the Denver Philharmonic, we could not agree more. Our musicians are largely volunteers, devoting substantial time to our organization outside of their own careers — all for the love of music. Talk about playing with passion! Like our musicians, our organization is run by a bunch of volunteers that, outside of their professional lives, firmly believe in bringing quality live music to our region and creating a special community feeling on concert night. Talk about volunteering with passion! We also believe this passion extends to you, our patrons. Whether this is your first classical music concert or you have been to many, you’ve chosen to spend your time with us celebrating music and community. And for that, we are eternally grateful. Our mission is to continually redefine the way our community experiences and engages with classical music. We hope your concert experience today embodies that mission and that you have such a great time, we will see you again and again. Thank you for spending your time with us today. We know Denver has so many cultural gems and are thankful for your choice today. I invite you to meet our musicians, talk with our volunteers, and become part of our family and share our passion!
Jon Olafson President of the Board
3
EXCITING CULTURAL COLLABORATIONS,
THRILLING GUEST ARTISTS AND A
BIG OL’ BIRTHDAY PARTY! BUY NOW AT DENVERPHILHARMONIC.ORG 4
2019–20 SEASON
ON THE MAIN STAGE OCTOBER 4, 2019
FIRST IMPRESSIONS: MUSIC & MONET
FEBRUARY 22, 2020
ROULETTE
Lawrence Golan, conductor Donald Portnoy, guest conductor DPO International Conducting Workshop participants
Lawrence Golan, conductor Stephanie Cheng, piano David Sherman, projection design
TCHAIKOVSKY Symphony No. 6 “Pathétique”
BOULANGER D’un matin de printemps
MUSSORGSKY Pictures at an Exhibition
(Of a 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
THE mOZART REqUIEm
A SPECIAL COLLABORATION WITH CENTRAL CITY OPERA AND THE PERFORMING ARTS ACADEMY Lawrence Golan, conductor Featuring Anna Christy, Abigail Nims, Matthew Plenk and Eric J. McConnell ROSSINI La gazza ladra Overture PONCHIELLI “Dance of the Hours” from La Gioconda BORODIN “Polovetsian Dances” from Prince Igor MOZART Requiem
DECEMBER 20 & 21, 2019
HOLIDAY CHEER!
Lawrence Golan, conductor Arvada Chorale; Marla Wasson, Artistic Director Cherry Creek Dance; Stephanie Prosenjak, Artistic Director
MARCH 21, 2020
¡OLÉ!
José Miguel Rodilla, guest conductor Rebecca Mortizky, harp FALLA La vida breve; Spanish Dance No. 1 HENSON-CONANT Soñado en español GRANADOS Three Spanish Dances FALLA The Three-Cornered Hat Suite No. 2
MAY 15, 2020
BEETHOVEN CELEBRATION
Lawrence Golan, conductor Andrew Cooperstock, piano Featuring Christie Conover, Jennifer DeDominici, Matthew Plenk and Andrew Potter and members of the Denver Young Artists Orchestra WITTRY Ode to Joy Fanfare BEETHOVEN Choral Fantasy BEETHOVEN Symphony No. 9
Antonia Brico Stage Central Presbyterian Church 1660 Sherman Street, Denver
HOLIDAY FAVORITES! FEATURING SUITES FROM THE NUTCRACKER
Full repertoire available at denverphilharmonic.org
CHAMBER MUSIC SERIES JANUARY 24, 2020; MARCH 6, 2020; APRIL 2020
DPO WITH A TWIST
We’re breakin’ out of the concert hall into Denver’s bustling downtown nightlife. Now in its fifth season, our DPO With a Twist series transforms the chamber concert experience. Dates, venues and more information to be announced soon at denverphilharmonic.org.
5
OCTOBER 4, 2019
FIRST IMPRESSIONS: mUSIC & mONET
A SPECIAL COLLABORATION WITH THE DENVER ART MUSEUM PRESENTED BY LIGATURE CREATIVE Antonia Brico Stage at Central Presbyterian Church · Denver, Colorado · 7:30 pm
Lawrence Golan, conductor Stephanie Cheng, piano David Sherman, projection design LILI BOULANGER
D’un matin de printemps (Of a Spring Morning) CLAUDE DEBUSSY
Prélude à l’après-midi d’un faune (Prelude to the Afternoon of a Faun) MAURICE RAVEL
Piano Concerto in G Major featuring Stephanie Cheng Allegramente Adagio assai Presto
Tonight’s Steinway piano provided and sponsored by
6
2019–20 SEASON
∙ 20-MINUTE INTERMISSION ∙ DEBUSSY
La Mer (The Sea) 1. De l’aube à midi sur la mer (From dawn to noon on the sea) 2. Jeux de vagues (Play of the waves) 3. D ialogue du vent et de la mer (Dialogue between the wind and the sea) RAVEL
Boléro
Tonight’s lighting and video provided and sponsored by
7
LAWRENCE GOLAN MUSIC DIRECTOR
We are so excited to be partnering with the
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.
Denver Art Museum and
He has conducted throughout the United States and in Bulgaria,
their fabulous Monet
Canada, China, Czech Republic, El Salvador, England, Georgia,
exhibit. Bringing these
Germany, Italy, Mexico, Poland, Portugal, Romania, Russia, South
two beautiful art forms
Korea, Spain, Taiwan, Ukraine and Uzbekistan, and continues to
together makes for an
develop relationships with orchestras nationally and abroad.
amazing experience.
Lawrence has served as Music Director of Denver Philharmonic Orchestra since 2013, the Yakima Symphony Orchestra in Washington state since 2010 and Pennsylvania’s York Symphony Orchestra since 2014. He is also Music Director of Colorado’s Lamont Symphony Orchestra and Opera Theatre at the University of Denver. Highlights from recent seasons include return engagements with Italy’s Orchestra Sinfonica Città di Grosseto, the Tucson Symphony Orchestra, the Portland Ballet Company and the Colorado Music Festival as well as debuts with Italy’s Orchestra Sinfonica di Sanremo, Mexico’s Orquesta de Cámara de Bellas Artes, China’s Wuhan Philharmonic, the Maui Pops Orchestra,the Batumi Music Festival in Georgia, Eastern Europe, and a 14-city tour of China with the Denver Philharmonic.
8
2019–20 SEASON
Lawrence records for Albany Records. His latest release is the 2018 world premiere Blu-ray disc and audio CD of composer Jiaojiao Zhou’s theatrical symphonic poem Ode to Nature with the Lamont Symphony Orchestra and producer Dennis Law. He has recorded three CDs with the Moravian Philharmonic: “Tchaikovsky 6 & Tchaikovsky 6.1;”“Funky Little Crustaceans;” and “Visions, Dreams & Memories. 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 Maine Symphony Orchestra (1990–2001). Lawrence and his wife Cecilia have two young children.
9
STEPHANIE CHENG PIANO Taiwanese-American pianist Dr. Stephanie Shih-yu Cheng has performed at major music centers across the world to critical acclaim, including Weill Recital Hall at Carnegie Hall in New York, Dame Myra Hess Concert Series in Chicago, Opera City Hall of Tokyo, National Gallery of Art in Washington D.C., and National Concert Hall of Taipei. She frequently appears in recitals with pianist Sara Davis Buechner and has collaborated with conductor Leon Fleisher, and has been featured on National Public Radio, WFMT in Chicago, Chicago Loop Cable Channel 25, Radio Video Mediterraneo in Italy, Living & Travel Section of msnbc.com, and Nippon Television in Japan. Her latest collaborative CD, titled License to Thrill, was released on the Summit label. Stephanie studied under Gilbert Kalish at the State University of New York at Stony Brook, where she earned her Doctor of Musical Arts. Before that, she studied under Ann Schein and was a teaching assistant for Early Carlyss, at the Peabody Conservatory. She was awarded the Rose Marie Milholland Award in Piano at Peabody, and has distinguished herself in several international competitions. She was the recipient of PrixVille de Fontainebleau in France, personally presented to her by Philippe Entremont.
10
2019–20 SEASON
Much sought-after for master classes and as an adjudicator, Stephanie has mentored many award-winning students in competitions such as the Young Artists Piano Showcase, the American Fine Arts Festival, and the Golden Era of Romantic Music International Competition. Her students have consequently been featured in the winner’s concerts at Weill Recital Hall at Carnegie Hall. Stephanie served on the faculties of the City University of New York and the Manhattan School of Music Precollege before moving to Kuwait in 2012 to join the newly-established Department of Music at the American University of Kuwait. In Kuwait, she became the first person there to conduct a Piano Concerto from the piano, and she quickly gained renown throughout the Middle East. In 2015, Stephanie returned to the U.S. to join the faculty at the Lamont School of Music of the University of Denver as a Teaching Assistant Professor and serves as Chair of the Keyboard Department. Stephanie Cheng is a Steinway Artist.
 11
OCTOBER 21, 2019–FEBRUARY 2, 2020
Claude Monet: The Truth of Nature is co-organized by the Denver Art Museum and the Museum Barberini, Potsdam. It is presented with generous support from PNC Bank. Additional funding is provided by Barbara Bridges, Keith and Kathie Finger, Lauren and Geoff Smart, Fine Arts Foundation, the donors to the Annual Fund Leadership Campaign, and the citizens who support the Scientific and Cultural Facilities District (SCFD). This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Promotional support is provided by 5280 Magazine, CBS4, Comcast Spotlight, and The Denver Post. IMAGE: Monet in his studio, 1920. Private collection/Roger-Viollet, Paris/Bridgeman Images
12
PRESENTED BY
2019–20 SEASON
DAVID SHERMAN PROJECTION DESIGN David is the co-creator, editor and producer of the Denver Philharmonic’s Emmy Award-winning webseries, Playing Out. He has designed projections for several large-scale musicals and concerts and created six curriculum-based, multimedia shows that he toured through middle and high schools. David is also the creator of The Big Adventures of Little Ioda, a six-part children’s series developed for PBS. The series won five Emmy Awards in 2016, two of which were awarded to David for Best Writer and Best Editor of a Children’s Program.
OCT. 31–NOV. 24
Tuesdays With Morrie Tuesdays With Morrie By JEFFREY HATCHER and MITCH ALBOM Based on the book by MITCH ALBOM Directed by BILLIE MCBRIDE
BUY TICKETS
Call 303-800-6578 Visit cherrycreektheatre.org
13
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 14
2019–20 SEASON
TAYLOR GONZALES ASSOCIATE CONDUCTOR Taylor also serves as the assistant conductor for the Lamont School of Music Symphony Orchestra at the University of Denver, where he is completing his Master’s Degree in Orchestral Conducting under Lawrence Golan. Taylor graduated from the University of Puget Sound with a Bachelor of Music in Music Education. He is the co-founder and former music director of the Puget Sound Concerto Orchestra. Taylor has attended numerous conducting workshops, including the Cascade Conducting Masterclass with Sarah Ioannides and the University of British Columbia Wind Conducting Symposium with Mallory Thompson. His primary conducting mentors include Gerard Morris, Brett Mitchell and Lawrence Golan.
KURT HENNING ASSISTANT CONDUCTOR Kurt holds a Bachelor’s Degree in Double Bass Performance and a Master’s in Orchestral Conducting, both from Northwestern University. He led the orchestra and bands at Loyola University Chicago for 10 years and has conducted many musical theatre and opera performances. Having grown up in Denver, Kurt moved back from his 30-year adventure in Chicago only a year ago and joined the DPO double bass section in January of 2019 after hearing the orchestra’s wonderful Holiday Cheer! concert. Kurt has two grown sons who are busy pursuing music degrees back in Chicago. He just started teaching music full time at a JeffCo K–8 charter school; he has run his own piano tuning business for 20 years and has been a Navy Reservist for the past 15 years as an aviation mechanic.
15
OUR MUSICIANS MUSIC DIRECTOR
VIOLA
Lawrence Golan
Ezgi Pikayzen, acting principal Natasia Boyko Chris Costello Naomi Croghan Lori Hanson Kaylin Jarriel Samantha Lichtin Ben Luey Beth Remming Julie Rooney Vince Vuong
ASSOCIATE CONDUCTOR Taylor Gonzales
ASSISTANT CONDUCTOR Kurt Henning
FIRST VIOLIN Katherine Thayer, concertmaster Ximena Calderon Gwen Gravano Matthew Grove Thomas Jatko Chad MacDonald Emmy Reid Chloe Schans Julia Taylor Vanessa Vari Joy Yamaguchi
SECOND VIOLIN Yiran Li, principal Niccolo Werner Casewit Valerie Clausen Terri Gonzales Miki Heine Annie Laury Callista Medland Alyssa Oland Roger Powell Brian Ross Anne Silvas Section strings and percussion are listed alphabetically. 16
CELLO Katie Burns, principal Naftari Burns Sarah Frederick Mike Marecak Shirley Marecak Monica Sáles Council Amanda Thall Jeffrey Westcott Rachel Yanovitch
DOUBLE BASS Colton Kelley, principal Lucy Bauer Megan Gore Brazell Josh Filley Taryn Galow Kurt Henning
FLUTE Whitney Kelley, principal Catherine Ricca Lanzano Joshua Hall
2019–20 SEASON
PICCOLO
TRUMPET
Joshua Hall
Max McNutt, acting principal Ariel Van Dam Colton Crandell Jacob Howard
OBOE Kimberly Brody, principal Loren Meaux, assistant principal Laura Jansen
ENGLISH HORN Loren Meaux
CLARINET
TROMBONE David Ellis, principal Louis DeScala
BASS TROMBONE Daniel Morris
Kwami Barnett, principal Claude Wilbur Jessica Clark
TUBA
E-FLAT CLARINET
SAXOPHONE
Jessica Clark
Danny Sweet, tenor Rachel Anderson, soprano
BASS CLARINET Claude Wilbur
BASSOON Ken Greenwald, principal Sara Laupp
Darren DeLaup, principal
TIMPANI Steve Bulota, principal
PERCUSSION
Blaine Lee
Joey Glassman, acting principal John Garvin Jackson Stevens James Nickell
HORN
HARP
Zach Maupin, principal Jeanine Branting Kelli Hirsch Kim George
Rebecca Moritzky, principal Tashianna Merryman
CONTRABASSOON
PIANO/CELESTA Ani Powell, principal Celesta provided by the Colorado Symphony.  17
OUR TEAM BOARD OF DIRECTORS
STAGE
Jon Olafson, President Matt Meier, Vice-President Tamara Arredondo, Secretary Erica Secor, Treasurer Dr. Robert Dallenbach Heather Alcott Moritz Tenley Oldak Krista Picco Esteban Romero Edward Smith Pauline Dallenbach, Honorary Member Maureen Keil, Honorary Member
Taryn Galow, co-manager Loren Meaux, co-manager Emmy Reid, co-manager Steve Bulota Linda Lebsack Michael Meaux New Genesis Transitional Community for the Homeless Hugh Pitcher
DENVER PHILHARMONIC FOUNDATION BOARD Erica Secor Keith Fisher Roger Powell
EXECUTIVE DIRECTOR Valerie Clausen
PERSONNEL MANAGER Annie Laury
CONCERT NIGHT MANAGERS Patricia Meaux, More Than Music Manager Layne Perkins, Concession Manager Carrie Tremblatt, Lobby Manager Joanna Watkins, Hall Manger
18
CENTRAL PRESBYTERIAN PRODUCTION TEAM Wil Smith Nileen Hart
MUSIC LIBRARIAN Alyssa Oland Callista Medland, 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 Elizabeth Schwartz, program notes David Zuluaga, Spanish translation
2019–20 SEASON
AUDIO TECH Joel Dallenbach Jack Pelon
DPO WITH A TWIST Katherine Thayer, artistic advisor
MUSICIAN COMMITTEE Daniel Morris, chair Niccolo Casewit Loren Meaux
IT TECH Henry Ammons
CONCERT NIGHT Fernando Campos Stacie Carter Rich Casson Gil Clausen Phyllis Covey Ron Covey Sarah Douglas Stephanie Gillman, photographer Eleanor Glover Lindsay Genshaft Annie Ha Jim Hart Sarah Hogan
Pamela Jarmen Stan Jewell Marty Jewell Linda Lebsack Brian McGuire Karen McGuire Claire McManus Ali McNally Evan Meaux Michael Meaux Hugh Pitcher Richard Pollock Liza Ranftle Sherry Richardson David Sherman Andy Solsvig Natalie Thomas Elin Towler Sheila Traister Bill Urban
MORE THAN MUSIC PARTNERS Denver Art Museum, Family & Community Programs Leopold Bros French American School of Denver Purple Door Coffee Total Wine The University Club of Denver
 19
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
20
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.
2019–20 SEASON
Music connects our community.
is proud to support the Denver Philharmonic. • • • • • • • • • • • • • • • • • • • •
ligcreative.com
• • • • • • • • • • • • • • • • • • • •
21
The
NOVEMBER
15
&
16,
2 019
mOZART REqUIEm TICKETS ON SALE NOW! DENVERPHILHARMONIC.ORG
22
OR
CENTRALCITYOPERA .ORG
2019–20 SEASON
FIRST IMPRESSIONS • OCTOBER 4 by ELIZABETH SCHWARTZ
D’un matin de printemps (Of a Spring Morning) Lili Boulanger (1893–1918) Women composers, like other female creative artists, have to fight battles their male counterparts do not. Even today, a female visual artist, writer, or composer is sometimes evaluated on criteria that have little or nothing to do with her work, and everything to do with her gender, her appearance, or her life circumstances. Lili Boulanger was no exception. The Prix de Rome was
The younger sister of composer and pedagogue Nadia Boulanger,
established in 1663
who taught composition to many of the 20th century’s most
as a scholarship for
distinguished composers, Lili Boulanger revealed her enormous
French painters and
talent at a very young age. She was a musical prodigy born into a
sculptors. The prize was
musical family; in 1913, at age 20, she became the first woman to
extended to other art
win the coveted Prix de Rome, France’s most prestigious compo-
forms including music
sition prize. Boulanger’s compositional style, while grounded in
in 1803; 110 years later, Boulanger would be the first woman to win the prestigious award.
the prevailing impressionistic aesthetics associated with Claude Debussy, is nonetheless wholly her own. Her music features rich harmonic colors, hollow chords (open fifths and octaves), ostinato figures, running arpeggios, and static rhythms. Along with her tremendous musical ability, Boulanger was born with a chronic, debilitating intestinal illness, probably Crohn’s disease. Today there are drugs and other therapies to manage this condition, but in Boulanger’s time the illness itself had neither 23
name nor cure, and its treatment was
Boulanger’s de facto musical obituary, and
likewise little understood. Throughout her
an elegy for the soldiers lost in World War
short life, Boulanger suffered from acute
I, while D’un matin printemps sparkles with
abdominal pain, bouts of uncontrollable
effervescence and youthful joy.
diarrhea, and constant fatigue; all these symptoms naturally impacted her stamina and her ability to write. Contemporary reviews of Boulanger’s work always emphasized her physical fragility, often in lieu of a thoughtful assessment of her music. Despite illness, Boulanger continued composing, even on her deathbed. D’un matin printemps, the second half of a diptych that includes its shorter counterpart D’un soir triste (From a Sad Evening) are two of
AT A GLANCE • Composer: born August 21, 1893, Paris; died March 15, 1918, Mézy-sur-Seine • Work(s) composed: 1917–18. Boulanger made arrangements in multiple versions: for violin and piano, string trio, and full orchestra; premiere: undocumented • Instrumentation: piccolo, 2 flutes, 2
the last works she wrote. Both pieces treat
oboes, English horn, 2 clarinets, bass
the same opening melodic and rhythmic
clarinet, 2 bassoons, contrabassoon,
theme in different ways: in D’un soir triste,
4 horns, 2 trumpets, 3 trombones,
the tempo is slow and the mood elegiac,
tuba, bass drum, castanets, cymbals,
while the same melodic/rhythmic fragment
tambourine, tam-tam, timbales, triangle,
receives a cheerful, puckish treatment in
celeste, harp, and strings
D’un matin printemps. Given the timing of its composition, D’un soir triste is both
24
• Estimated duration: 5 minutes
2019–20 SEASON
Prélude à l’après-midi d’un faune (Prelude to “The Afternoon of a Faun”) Claude Debussy (1862–1918) When Prélude à l’après-midi d’un faune was first performed in Paris in December 1894, it sent musical shock waves around the world. Some 50 years after its premiere, conductor/composer Pierre Boulez wrote, “The flute of the Faun brought new breath to the art of music; what was overthrown was not so much the art of development as the very concept of form itself.” Like Boulanger, Debussy
Claude Debussy’s revolutionary music is based on Symbolist writ-
also won the Prix de
er Stéphane Mallarmé’s poem, Afternoon of a Faun, published
Rome at age 21 and
in 1876. Both poem and music unfold without clear narrative; the
received a multi-year
kaleidoscopic nature of the text and music creates a succession
residency at the
of shifting moods and impressions, rather than a straightforward,
art-filled Renaissance
linear tale. In Prélude à l’après-midi d’un faune and much of
palace, the Villa Medici, in Rome.
Debussy’s other music from this period, color and texture are the essential structural components of the music. When Mallarmé heard Faune for the first time, he exclaimed, “I was not
25
expecting anything of this kind! This music
At the premiere, the audience reacted
prolongs the emotion of my poem, and
with such overwhelming enthusiasm that
sets the scene more vividly than color.”
conductor Gustave Doret was forced to
The compositional style Debussy employed in Faune came to be known as Impressionism, after the style of the Impressionist painters. Essentially French in its conception, Impressionistic music was a direct challenge to the Germanic tradition, which emphasized formal structure and movement generated by harmonic progression. In the poem, Mallarmé’s faun whiles away the languid torpor of a summer afternoon in half-conscious reverie. His thoughts circle around the memory of two nymphs; did he seduce them, or only dream it? He also ponders the alluring power of music. Unlike Mallarmé’s lengthy, ruminative
perform an encore. Unlike the audience, critics were slower to acknowledge the importance of Debussy’s innovations. “[The Afternoon of a Faun] has a pretty sound, but there is not the least truly musical idea in it; it is no more a piece of music than the palette on which a painter has been working is a picture,” scoffed the musically conservative Camille Saint-Saëns. In this instance, as in other revolutionary musical breakthroughs, the audiences’ intuitive embrace of Debussy’s radical sound proved prescient. From its premiere over 115 years ago to today, Prélude à l’après-midi d’un faune remains Debussy’s most popular and best-known orchestral work.
text, however, Debussy’s music is concise. At 10 minutes, it effectively distills and
AT A GLANCE
transforms Mallarmé’s dreamy imagery
• Composer: born August 22, 1862, St.
into subtle shadings of color and texture. Debussy explained that the music connected “the successive scenes in which
Germain-en-Laye, France; died March 25, 1918, Paris • Work composed: 1891–94
the longings and desires of the faun pass in the heat of the afternoon.” The closest
• World premiere: Gustave Doret conducted
Debussy comes to a direct depiction of
the premiere at the Société Nationale de
Mallarmé’s images is the opening solo
Musique in Paris on December 23, 1894
flute, a stand-in for the faun’s panpipes. Eighteen years after its premiere, Faune inspired dancer and choreographer Vaslav Nijinsky, who danced the title role in his iconic 1912 ballet, with Sergei Diaghilev’s
• Instrumentation: 3 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, antique cymbals, 2 harps, and strings • Estimated duration: 10 minutes
Ballets Russes.
26
2019–20 SEASON
 27
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 13 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.
28
2019–20 SEASON
Piano Concerto in G major Maurice Ravel (1875–1937) “[The Concerto in G major] is a concerto in the truest sense of the word: I mean that it is written very much in the same spirit as those of Mozart and Saint-Saëns.” — Maurice Ravel Maurice Ravel had an affinity for musical styles of bygone eras; this is reflected in several works, like his 1917 suite Le tombeau de Couperin, inspired by the music of French Baroque composer Maurice Ravel’s uncle, Edouard, was an artist whose many
François Couperin. For the Piano Concerto in G major, however, Ravel sought to capture in his own music something more indefinable: the “absolute beauty” Ravel found in Wolfgang
painting styles included
Amadeus Mozart’s music. “What Mozart created for the enjoy-
Impressionism.
ment of the ear is perfect,” said Ravel. “I believe that a concerto can be light-hearted and brilliant and that there is no necessity for it to aim at profundity or big dramatic effects.” Listeners might conclude from this remark that Ravel’s G major concerto is a superficial product, but it delivers in every sense, despite its author’s claims to the contrary. As biographer Madeleine Goss notes, “In none of his compositions is Ravel
29
more completely master of his art than in
orchestration of the first part, to be able to
this Concerto. It has been said to embrace
maintain the cantabile of the melody on
all the essentials of his music: brilliance,
the piano alone during such a long slow
clarity, elegance, originality; tenderness
flowing phrase …‘That flowing phrase!’
and simplicity in the middle part, and, in
Ravel responded. ‘How I worked over it
the last movement, daring vigor and brittle
bar by bar! It nearly killed me!’”
perfection.”
A snappy snare drum roll announces the
In 1928, after Ravel’s successful travels in
Presto, a return to the jazzy energy of the
America, he decided to write a concerto
Allegramente. At just under four minutes,
he could take on an upcoming European
the soloist drives the music forward
tour. Ravel intended to perform the solo
with a modo perpetuo full of vivacious
part himself, but soon realized his failing
power, and the music’s effect on the ear
health would keep him off the piano
is as crisp and effervescent as a sip of dry
bench. “The concerto is nearly finished
champagne.
and I am not far from being so myself,” Ravel acknowledged. To perform the solo part, Ravel recruited his friend, Marguerite Long, who thrilled at the opportunity to premiere Ravel’s concerto. The Allegramente begins with a slapstick snap and a jaunty piccolo, followed by an equally bright, bouncy trumpet. Although
AT A GLANCE • Composer: born March 7, 1875, Ciboure, Basses-Pyrénées, France; died December 28, 1937, Paris • Work composed: 1929–31 • World premiere: Ravel conducted the
present in the background from the
Lamoureux Orchestra at the Salon Pleyel
opening bars, the piano makes its first solo
in Paris on January 14, 1932, with pianist
declaration with a languid, bluesy melody.
Marguerite Long
Throughout the first movement, Ravel alternates these rapid-fire bursts of energy with rhapsodic, jazz-inflected episodes.
• Instrumentation: solo piano, piccolo, flute, oboe, English horn, clarinet, E-flat clarinet, 2 bassoons, 2 horns, trumpet,
The exquisite serenity of the Adagio assai
trombone, timpani, bass drum, cymbals,
belies the tremendous effort it required
slapstick, snare drum, triangle, wood
from both composer and pianist. Long
block, harp, and strings
wrote, “I told Ravel one day how anxious I was, after all the fantasy and brilliant
30
• Estimated duration: 21 minutes
2019–20 SEASON
 31
Tomorrow is on Stage Right Now!
32
2019–20 SEASON
La mer (The Sea) Claude Debussy
(1862–1918)
“You’re unaware, maybe, that I was intended for the noble career of a sailor and have only deviated from that path thanks to the quirks of fate. Even so, I’ve retained a sincere devotion to the sea,” wrote Claude Debussy to a friend in 1903, as he began work on La mer. Debussy’s connection to the ocean began in his childhood when One of Debussy’s piano
he made several extended visits to Cannes. Interestingly, when
students recalled that
he commenced the writing of La mer, the sea’s allure worked so
“He loved to visit muse-
powerfully on Debussy that he took himself off to the mountains
ums and exhibitions of
near Burgundy, safe from ocean’s siren call. “I have innumerable
paintings, and he had a special predilection for […] Claude Monet.”
memories,” Debussy continued in his letter, “and those, in my view, are worth more than a reality which, charming as it may be, tends to weigh too heavily on the imagination.” Debussy’s publisher, Jacques Durand, when describing Debussy’s study, recalled, “I … remember a certain colored engraving by Hokusai [a renowned Japanese artist; Durand is
33
referring to Hokusai’s famous woodblock
ends with a burst of sunlight. Debussy’s
print, The Great Wave Off Kanagawa], rep-
penchant for Asian pentatonic (five-note)
resenting the curl of a giant wave. Debussy
scales, rather than the conventional
was particularly enamored of this wave. It
Western scales of European music of
inspired him while he was composing La mer, and he asked us to reproduce it on the cover of the printed score.”
the time, provides an additional layer of “otherness” to the sound world he created. Although considered a standard of
“From dawn to noon on the sea” reveals the effects of sunrise over the ocean.
the orchestral repertoire today, La mer received decidedly mixed reactions at
Despite the linear quality suggested in the
its 1905 premiere. The negative reaction
title, Debussy’s interest was in evoking the
of the audience, however, had little to
changes of light as the sun grows stronger,
do with the music; rather; they hissed
rather than a depiction of time passing. In
and booed Debussy in outrage over his
“Play of the waves,” we see/hear the ocean in different guises: calm and glassy, with
scandalous private life, which had resulted in the very public suicide attempt of his
sunlight shimmering on its surface; and a
wife. Camille Chevillard, who conducted
sudden, mercurial shift to turbulence, as
the premiere, was also responsible for its
whitecaps churn the water. The “Dialogue
poor reception. Although praised by many,
of the wind and the sea” illuminates the
including Debussy, for his abilities with
two natural forces of wind and water
established works, such as the music of
and how they interact; the movement
Beethoven, Chevillard had little interest in
Business Taxation Litigation Real Estate
Attorneys in tune with the Denver Philharmonic
Employment Environmental Energy Bankruptcy Estate Planning Special Districts Government Relations & Regulatory Affairs
34
LEGAL ADVICE WITH PERSPECTIVE irelandstapleton.com
|
303.623.2700
2019–20 SEASON
or aptitude for new music. (During rehearsal for La mer, according to Simon Tresize, “Debussy complained of [Chevillard’s] lack of artistry and suggested he should have been ‘a wild beast tamer.’”) To make matters worse, bad weather on the day of the premiere kept many concertgoers away. Critical reception also varied; La mer’s rich sonorities captivated some, while others were baffled by its lack of traditional form. Debussy subtitled the work “Three Symphonic Sketches,” but they are clearly finished movements, each with its own character. One critic wrote, “For the first time in listening to a descriptive work of Debussy’s I have the impression of beholding not nature, but a reproduction of nature, marvelously subtle, ingenious and skillful, no doubt, but a reproduction for all that … I neither hear, nor see, nor feel the sea.” In contrast, an admirer wrote, “Never was music so fresh, spontaneous,
AT A GLANCE • Composer: born August 22, 1862, St. Germain-en-Laye, near Paris; died March 25, 1918, Paris • Work composed: 1903–05; Debussy wrote the date he completed La mer on the manuscript, “Sunday, March 5, 1905, at 6 o’clock in the evening.” He also arranged La mer for piano four-hands in 1905 and later revised the orchestral version in 1909. Debussy originally dedicated La mer to his lover, Emma Bardac, “For la petite mienne (small mine), whose eyes laugh in the shade.” The scandal surrounding Debussy’s private life, and his desire to shield both himself and Emma from public scrutiny, may explain why he ultimately chose to dedicate the score to his publisher, Jacques Durand. • World premiere: La mer was first performed in Paris on October 15, 1905,
unexpected, novel rhythms; never were
with Camille Chevillard conducting the
harmonies richer or more original; never
Concerts Lamoureux
has an orchestra possessed more voices and sonorities with which to interpret compositions overflowing with such a wealth of fantasy.”
• Instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 3 bassoons, contrabassoon, 4 horns, 2 cornets, 3 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, orchestra bells, tamtam, triangle, 2 harps, and strings. • Estimated duration: 23 minutes
35
Boléro Maurice Ravel
(1875–1937)
From the snare drum’s opening pulses, even before its infamous melody begins, we instantly recognize Boléro. It has entered modern pop culture through various media: the 1979 film 10, numerous television commercials, and figure skating, via the gold medal-winning performance by ice dancers Jayne Torvill and Christopher Dean at the 1984 Sarajevo Olympics. I don’t particularly care about this ‘sincerity.’ I try to make art.
Maurice Ravel himself would not have been surprised by Boléro’s popularity outside the concert hall; while he worked on it, he commented, “The piece I am working on will be so popular, even fruit peddlers will whistle it in the street.” This is an interesting contrast to Ravel’s initial fear that orchestras would never program Boléro because of its “musico-sexual” elements. Boléro was originally a ballet commission from Ida Rubenstein, formerly of Serge Diaghilev’s Ballets Russes. Choreographed by Bronislava Nijinska, sister of Vaslav Nijinsky, Boléro featured a Gypsy woman dancing on a table in a Spanish tavern, who gradually works her audience into a sexual frenzy. Ravel’s melody, which he described as having “an insistent quality,” is sinuous, while the snare drum lays down a repeating “come hither” rhythm underneath it. The ballet was successful, but Boléro’s lasting fame came in the concert hall, most notably in a controversial performance conducted by Arturo Toscanini in 1930. Not all were seduced by it, however. One critic described Boléro as “… the most insolent monstrosity ever perpetrated in the history of music … it is simply the incredible repetition of a single rhythm … and above it is the blatant recurrence of an overwhelmingly vulgar cabaret tune.” In response, Ravel wrote a letter in 1931 to the London Daily Telegraph: “It [Boléro] is an
36
2019–20 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 1 - 5 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.
LinLebBks@aol.com 303-832-7190
n
n
n
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
 37
experiment in a very special and limited direction, and it should not be suspected of aiming at achieving anything different from, or anything more than, it actually does achieve. Before the first performance,
AT A GLANCE • Composer: born March 7, 1875, Ciboure, France; died December 28, 1937, Paris • Work composed: 1928
I issued a warning to the effect that what I had written was a piece … consisting whol-
• World premiere: Originally written as
ly of orchestral texture without music – of
a ballet for Ida Rubenstein, which pre-
one long, very gradual crescendo … I have
miered November 22, 1928, at the Paris
done exactly what I have set out to do, and
Opèra, conducted by Walter Straram.
it is for listeners to take it or leave it.”
Ravel first presented Boléro as a concert work with the Lamoreux Orchestra in
In 2012, the science podcast Radiolab
Paris on January 11, 1930
presented an episode titled “Unraveling Bolero,” which posits an intriguing idea:
• Instrumentation: piccolo, 2 flutes, 2
Ravel might have been experiencing early
oboes, oboe d’amore, English horn, 3
symptoms of frontotemporal dementia,
clarinets, bass clarinet, 2 bassoons,
a degenerative brain disease involving
contrabassoon, soprano saxophone,
the frontal lobe of the brain, when he
tenor saxophone, 4 horns, 4 trumpets, 3
composed Boléro. One aspect of this
trombones, tuba, timpani, cymbals, snare
disease manifests as an obsessive need
drum, tam-tam, celesta, harp and strings.
for repetition; this would explain the total lack of development of both the melody
• Estimated duration: 14 minutes
and rhythm of the music. Six years after he wrote Boléro, Ravel began to forget words and lose short-term memory. By 1935, two years before his death, he could no longer write or speak.
38
2019–20 SEASON
 39
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 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!
40
2019–20 SEASON
SIT TIGHT
CRY ROOM
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.
only get up between pieces or during intermission as to not distract the musicians or concert-goers around you.
PACK IT IN, PACK IT OUT
SOCIAL MEDIA Feel free to take photos without flash and to post to your favorite social media account. When you upload your pics, be sure
You’re welcome to bring a water bottle
to tag us! We’re on Facebook, Twitter and
into the hall, but remember “Trail Rules”
Instagram @denverphilorch #dpotweets
— pack it in, pack it out. (This goes for trash too!)
ELECTRONICS
HAVE FUN! ! Rules, rules, rules — we know, it can be overwhelming. The most important rule of
Please turn the sound off on your cell
all is to have fun and enjoy yourself. And
phones, pagers, and any other noise-
then tell all your friends and come back
making device, including vibrate mode.
again and again!
41
THANK YOU!
Donations since Nov. 28, 2018
We would like to acknowledge the generous support of the following individuals, businesses and corporations. ORCHESTRA CIRCLE
PATRON
($10,000+)
Patsy & Jim Aronstein Kira van Lil & Christoph Heinrich Sarah & Matt Hogan The Marvez Family Fund Lisa Peloso & Vik Patel Rich Casson & Liza Ranftle Mark & Maxine Rossman Edward Smith
Valerie and Gil Clausen
CONDUCTOR CIRCLE ($5,000–$9,999) Linda Lebsack & Hugh Pitcher
CONCERTMASTER CIRCLE ($2,500–$4,999)
($500–$999)
BENEFACTOR ($300–$499)
Wallace Orr Don & Bonnie Walls
Anonymous (2) Jessica Clark James Stegman
MUSICIAN CIRCLE
CONTRIBUTOR
($1,000–$2,499) John David Alley Daniel R. Burns & Lorraine Diaz Paula Elmers Jon Olafson John & Carol Tate Ben & Katherine Vagher
42
($100–$299) Anonymous (7) Eleanor Glover & Eugene Advincula John Bardeen Jennifer & Phil Barru Fred Beisser Lauren O’Neill Crist-Fulk Charlie & Jean Curlee
Lawrence & Cecilia Golan Rob & Celeste Habiger Judy & Ed Hagerman HCA Caring for the Community Janet Hehn Karin Hensel Kelli & Geoff Hirsch, in honor of Jim & Cathy Krebsbach The Girls Thomas Jatko Annie Laury Matt & Allison Lausten Callista & Patrick Medland Barbara & Rand Moritzky, in memory of Vernetta Dunn Tenley Mueller Marianne Orkin Pamela Parker Cori & Tyler Streetman Karin Tate Mike & Amanda Tine Whitney Walpole
2019–20 SEASON
FRIEND (UP TO $99) Anonymous (2) Anonymous, in memory of Charlotte Casewit-Fischer-Lamberg Keri Rose Agnes Henry Ammons Tamara Arredondo Lucy Caroso Augusto Bill C Berger Philip Pearlman & Betty Bona Jeanine Branting Janice Burley Elana Campbell Esmeralda Colfax Stacey & Bob Collins Naomi & Kevin Croghan Richard & Suzanne Discenza Doug & Mary Jodi Faley The Gintchin Family Terri Gonzales Lori Hanson HCA Caring for the Community Michael Hoffman
Surilda Hudson Scott Huffman Marty Jewell Terry Kargel Kitty Catherine & Ted Lanzano Matthew LeMay Kimberly & James Brody, in honor of Peggy Lemmon Judy & Dan Lichtin Regan Linton Nick Martin Loren Meaux Michael & Patricia Meaux Nancy & Paul Oberman Krista M. Picco, MBA, CIMA Peter Plowshay Bruce & Shron Regenthal Karin Schantz Matt Meier & David Sherman Gail & Joe Sindelar Christie Smith Bruce Snyder Katherine Thayer Kathryn Weathers Patricia White
FOUNDATIONS & CORPORATE PARTNERS $10,000+ Ligature Creative SCFD
$5,000–$9,999 Colorado Creative Industries
$2,500–$4,999 Access German Cultural Foundation Ireland Stapleton Pryor & Pascoe, PC Ogletree, Deakins, Nash, Smoak & Stewart, P.C. ProductAV Wells Fargo Advisors
$1,000–$2,499 Brownstein Hyatt Farber Schreck Cottrell Printing David Sherman Creative Holiday Inn Express: Denver Downtown
UP TO $999 Barefoot Public Relations New Genesis, Inc. Newberry Brothers Greenhouse & Florist Purple Door Coffee Schmitt Music The Pillar of Fire Church Total Wine 43
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
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
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.
44
2019–20 SEASON
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.
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
45
CONTACT US! PO Box 6074, Denver, CO 80206 720.440.0818
@denverphilorch info@denverphilharmonic.org DenverPhilharmonic.org
PUBLIC SUPPORT Bolder and brighter. Thanks to SCFD. Inclusion, equity, and diversity are critical values in the mission of SCFD. Residents pay this tax and it is then infused back into nearly 300 diverse cultural organizations in our seven-county metro region. This funding makes culture in our community available and affordable to all children and adults. You may have noticed that ticket prices at our cultural venues are more affordable than at similar institutions in other states. SCFD reduces the operating expenses of the organizations it supports and allows them to offer lower-cost pricing. There are more than 100 free days offered across the spectrum of cultural organizations each year. Awe and wonder are not only available, but accessible to all. Learn more at scfd.org.
46
2019–20 SEASON
FLORAL & DÉCOR 5301 Leetsdale Drive • Denver, CO 80246 303-322-0443 www.newberrybrothers.com
Make a Waterlily with the Denver Art Museum!
SAVE THIS SEAT
I’M ENJOYING MORE THAN MUSIC!
PRE-CONCERT CHAT
Cheers! Merci, Total Wine. (21+)
WINE & CRAFT BEER
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 First Impressions.
6:30–7:00PM
MAKE A WATERLILY!
Complimentary of Purple Door Coffee.
Say hello! Join us in the lobby after the concert for refreshments, meet the musicians and have fun!
RECEPTION
Boost your French skills with fun mini language lessons from the French American School of Denver and take home your own French phrasebook.
PARLEZ-VOUS FRANÇAIS?
Create your own paper flowers with the Learning & Engagement department from the Denver Art Museum!
NIGHTCAP
Associate Conductor Taylor Gonzales will give you insights into tonight’s music and music-makers.
ABSINTHE TASTING
After the concert, join us for a drink just across the street at The University Club.
COFFEE CORNER
Get a taste of La Belle Époque when absinthe was the Parisian artists’ cafe spirit of choice. (21+)