ROULETTE FEBRUARY 22, 2020
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WELCOME! Beethoven once said, “To play without passion is inexcusable!” We agree! 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 group of volunteers that, outside of their professional lives, firmly believe in bringing quality live music to our region and creating a special You made a safe bet joining us tonight!
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 joining 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 Alpine Chorale; David Farwig, Artistic Director 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 and transforming the chamber concert experience. Now in its fifth season, our DPO With a Twist series will be held at Dazzle at Baur’s, the University Club, and a yoga studio. More information to be annouced soon at denverphilharmonic.org.
5
¡Olé! MARCH
21,
2020
We’re off to Spain, and yes, we packed the castanets! José Miguel Rodilla, guest conductor; Rebecca Moritzky, harp
TICKETS ON SALE NOW! DENVERPHILHARMONIC.ORG
6
2019–20 SEASON
DENVER PHILHARMONIC INTERNATIONAL CONDUCTING WORKSHOP Welcome to the culmination of the first-annual DPO International Conducting Workshop, Concert and Competition! Having received dozens of applications from all over the world, our Music Director Lawrence Golan selected these 14 conductors to participate in this intensive workshop. Arriving last weekend from all corners of the globe, they have spent the week in professional development classes, rehearsing with the orchestra and getting on-the-spot feedback from Maestro Golan and guest faculty member Donald Portnoy. This experience helps to further develop the orchestra’s watching, listening and ensemble skills as they adjust to a variety of different conductors—all during the same concert! At the discretion of the faculty, one workshop conductor will be selected to return to Denver next season to conduct a piece on one of our main stage concerts. Will your favorite conductor return?
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FEBRUARY 22, 2020
SERENADE FOR STRINGS
Antonia Brico Stage at Central Presbyterian Church · Denver, Colorado · 6:00 & 6:30 pm
2020 International Conducting Workshop Participants: Junyuan Chen, Simona Grossi, Christopher Ramaekers, Emanuel Cohen, Joseph Lerangis, Diego Guerra, Evgeny Shcherbakov, Joseph Cieslak PYOTR ILYICH TCHAIKOVSKY
Serenade for Strings Pezzo in forma di sonatina. Andante non troppo— Allegro moderato conducted by Joseph Lerangis at 6:00pm conducted by Joseph Cieslak at 6:30pm Valse. Moderato conducted by Simona Grossi at 6:00pm conducted by Evgeny Shcherbakov at 6:30pm Élégie. Larghetto elegiaco conducted by Junyuan Chen at 6:00pm conducted by Emanuel Cohen at 6:30pm Finale (Tema russo). Andante—Allegro con spirito conducted by Christopher Ramaekers at 6:00pm conducted by Diego Guerra at 6:30pm
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2019–20 SEASON
 9
FEBRUARY 22, 2020
ROULETTE
Antonia Brico Stage at Central Presbyterian Church · Denver, Colorado · 7:30 pm
Lawrence Golan, conductor Donald Portnoy, guest conductor 2020 International Conducting Workshop Participants: Francesco Attardi, Wesley J. Broadnax, Paul Hansen, John Jihwan Lee, June-Sung Park, M.D. van Vliet PYOTR ILYICH TCHAIKOVSKY
Symphony No. 6 “Pathétique” Adagio – Allegro non troppo conducted by Donald Portnoy Allegro con grazia conducted by John Jihwan Lee Allegro molto vivace conducted by Paul Hansen Finale: Adagio lamentoso conducted by Francesco Attardi
∙ 20-MINUTE INTERMISSION ∙
10
2019–20 SEASON
MODEST MUSSORGSKY, ORCH. MAURICE RAVEL
Pictures at an Exhibition Promenade Gnomus Promenade Il vecchio castello (The old castle) conducted by Wesley J. Broadnax Promenade Tuileries (Children’s Quarrel after Games) Bydlo (Cattle) Promenade Ballet des poussins dans leurs coques (Ballet of unhatched chicks) conducted by M.D. van Vliet Samuel Goldenberg and Schmuÿle Promenade Limoges – Le Marché. (The Market) Catacombs (Roman tomb) conducted by June-Sung Park The Hut on Hen’s Legs (Baba Yaga) The Great Gate of Kiev conducted by Lawrence Golan
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LAWRENCE GOLAN MUSIC DIRECTOR
To our visiting conductors from around
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.
the world: welcome
He has conducted throughout the United States and in Bulgaria,
to Denver! And to our
Canada, China, Czech Republic, El Salvador, England, Georgia,
wonderful audience:
Germany, Italy, Mexico, Poland, Portugal, Romania, Russia, South
welcome to this exciting
Korea, Spain, Taiwan, Ukraine and Uzbekistan, and continues to
and unique concert
develop relationships with orchestras nationally and abroad.
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.
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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.
13
DONALD PORTNOY GUEST CONDUCTOR Dr. Donald Portnoy is universally recognized as one of America’s dynamic and inspiring symphony orchestra conductors. He brings to music a unique awareness and appreciation for the audience and a refreshing sensitivity toward the musicians with whom he works. He has earned fame as guest conductor with the major orchestras of Pittsburgh, Baltimore, and Buffalo, as well as other major regional orchestras throughout the United States, Argentina, Brazil, China, England, France, Germany, Poland, Russia, Taiwan, South Korea, Italy, Romania, Switzerland and Spain. Donald has served as music director and conductor of the Pittsburgh Opera Theater and the Pittsburgh Civic Symphony. In March 2004, Donald received Columbia University’s 2004 Ditson Conductor’s Award for his commitment to the performance of works by American composers. In June 2004, he was awarded the Greater Augusta Arts Council’s “Artist of the Year” Award. From 1991 until 2009, Donald was music director and conductor of the Augusta Symphony in Georgia. In 2006, he was appointed music director and conductor of the Brevard Philharmonic in North Carolina. In 2016, Donald helped found the Aiken Symphony Orchestra and continues to be its music director and conductor.
14
2019–20 SEASON
Donald held the Ira McKissick Koger Endowed Chair for the Fine Arts at the University of South Carolina, where he was director of orchestral studies and conductor of the USC Symphony and Chamber Orchestra, and professor of violin. He is also founder and director of the renowned Conductors Institute, whose participants come from all parts of the United States and abroad to study orchestral conducting. This past summer, the Institute celebrated its 40th anniversary as one of America’s premier summer training programs for conductors. In December 2012, Donald was guest conductor of the National Symphony in Beijing. He also held masterclasses in conducting and violin at the Central Conservatory in Beijing, the Conservatory in Wuhan, and Nanchang University. In October 2013, he conducted orchestras in Kunming and Shenzhen, China. In July 2014, he was guest conductor for two concerts in Kunming. In January 2015 and 2018, he held conducting masterclasses in China. In 2019, he was guest faculty member of the Conductor’s Workshop at Queens College in New York City. In 2015, Donald was the recipient of the Elizabeth O’Neill Verner Award, South Carolina’s highest arts award. In May 2016, he was awarded the South Carolina Order of the Palmetto.
15
MEET THE CONDUCTORS Hailing from Italy, Korea, The Netherlands, Mexico, Russia, China, and the United States, meet the participants of our First-Annual International Conducting Workshop:
Francesco Attardi
Wesley J. Broadnax
Simona Grossi
Joseph Lerangis
16
Junyuan Chen
Diego Guerra
June-Sung Park
Joseph Cieslak
Paul Hansen
Christopher Ramaekers
Emanuel Cohen
John Jihwan Lee
Evgeny Alexeevich Shcherbakov
M.D. van Vliet
2019–20 SEASON
FRANCESCO ATTARDI CONDUCTING SYMPHONY #6
JUNYUAN CHEN
Francesco Attardi is a musicologist-con-
CONDUCTING SERENADE FOR STRINGS
ductor based in Milan, Italy. He has
Junyuan Chen was born in China and is
conducted symphonic and operatic
currently a graduate student of music
repertoire in Europe, Japan and North
education at Colorado State University-
America. One of his goals is to promote
Pueblo. Attending conducting classes
Italian symphonic music from Sgambati to
piqued his interest in the profession and
Respighi.
he hopes to further increase his conducting skills at the Denver Philharmonic
WESLEY J. BROADNAX CONDUCTING PICTURES AT AN EXHBITION
Conducting Workshop.
JOSEPH CIESLAK
associate professor of music/director
CONDUCTING SERENADE FOR STRINGS
of bands at the University of Northern
Joseph Cieslak is a conductor-composer
Colorado. Prior positions included
from Boise, Idaho. The co-founder of the
similar appointments at Drexel University,
New Orleans Volunteer Orchestra and
University of Delaware, California State
Voices of New Orleans Choir, Joseph
University-East Bay, and Michigan State
relishes the communal aspects of mu-
University. He is also assistant conductor
sic-making and loves sharing the beauty of
of the Newark Symphony Orchestra in
the symphonic repertoire.
Wesley J. Broadnax is in his first year as
Delaware.
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 17
EMANUEL COHEN
resumed two years ago and graduated in
CONDUCTING SERENADE FOR STRINGS
piano performance from the Conservatory
Emanuel Cohen is a senior music major
Recently she started studying conducting
at the University of Rochester where he
with Miguel Harth-Bedoya. Simona lives in
assists as student conductor of orchestras
Los Angeles, where she’s also a law profes-
and choirs. This year he has conducted
sor at Loyola Law School Los Angeles and
Beethoven’s Symphony No. 5 and excerpts
a fiction writer.
from Handel’s Messiah.
SIMONA GROSSI
CONDUCTING SERENADE FOR STRINGS
of Frosinone, Italy, in October 2019.
DIEGO GUERRA
CONDUCTING SERENADE FOR STRINGS Diego Guerra of Monterrey, Mexico, is a
Born in 1979, in Calabria, Italy, Simona
violist and conductor based in San Diego.
Grossi began studying piano at age 10.
He is currently pursuing a Bachelor of
She stopped playing when she was 16 but
Music in viola performance at San Diego
Cherry Creek Theatre
in association with the Mizel Arts and Culture Center PRESENTS
Apr. 17–May 10, 2020
303-800-6578 cherrycreektheatre.org
18
2019–20 SEASON
Music connects our community.
is proud to support the Denver Philharmonic. • • • • • • • • • • • • • • • • • • • •
ligcreative.com
• • • • • • • • • • • • • • • • • • • •
19
State University. Guerra stays active locally as assistant conductor with the City Ballet
JOHN JIHWAN LEE
CONDUCTING SYMPHONY #6
of San Diego and co-founder of the San
The Korean-born conductor John Jihwan
Diego Philharmonic. Most recently, he
Lee holds a Bachelor of Music degree
conducted the SDSU production of Peri/
in choral conducting from Keimyung
Gluck Euridice operas.
University in South Korea and is a graduate
PAUL HANSEN
CONDUCTING SYMPHONY #6
of the Conducting Program at California State University, Northridge working under Dr. John Roscigno. Jihwan led glee clubs
Paul Hansen is a composer and conductor
in South Korea for five years winning
based in Los Angeles, California. Most
numerous national competitions. He has
recently, he conducted the world premiere
recently been appointed music director
of his orchestral piece The Saint of Nivena
of Orange County Korean Symphony
with the Orquestra Filarmónica de Boca
Orchestra.
del Río in Veracruz, Mexico.
Be part of Denver’ s zero-waste movement. Sign up at scrapsmilehigh.com.
20
2019–20 SEASON
JOSEPH LERANGIS
orchestras at the University of Wisconsin-
CONDUCTING SERENADE FOR STRINGS
Whitewater, music director of the Lake
A native of New York City, Joseph Lerangis
of the Davis Theater Concert Series for
is a conductor and tenor currently pursuing
Access Contemporary Music.
his Doctor of Musical Arts degree at Yale School of Music, where he conducts the Yale Camerata, Chamber Orchestra, and
Forest Civic Orchestra, and artistic director
EVGENY ALEXEEVICH SHCHERBAKOV
Repertory Chorus.
CONDUCTING SERENADE FOR STRINGS
JUNE-SUNG PARK
Russian-Canadian Evgeny Shcherbakov
CONDUCTING PICTURES AT AN EXHBITION
composed and conducted a short piece
Born in Seoul, South Korea, June-Sung
was 9 years old; this moment was the
Park now lives in Berlin, Germany. June-
source of inspiration which marked the
Sung was assistant conductor at BBC
beginning of a life-long career in music.
Scottish Symphony Orchestra and the Leverhulme Conducting Fellow at the
during a concert performance when he
M.D. van VLIET
until 2019. June-Sung is the first-prize win-
CONDUCTING PICTURES AT AN EXHBITION
ner of the Aram Khachaturian International
M.D. van Vliet is a professional conductor
Conducting Competition 2016.
and music director from Rotterdam, The
Royal Conservatoire of Scotland from 2017
Netherlands. He transmits his love, respect
CHRISTOPHER RAMAEKERS
and knowledge of the score to musicians and audiences with stimulating energy.
CONDUCTING SERENADE FOR STRINGS
His efficient and friendly style creates an
Christopher Ramaekers is director of
can excel.
atmosphere in which orchestra and soloists
 21
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.
22
2019–20 SEASON
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
Adam Flatt came on board 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.
23
OUR MUSICIANS MUSIC DIRECTOR Lawrence Golan
ASSOCIATE CONDUCTOR Taylor Gonzales
ASSISTANT CONDUCTOR Kurt Henning
FIRST VIOLIN Katherine Thayer, concertmaster Anna Katherine Barnett-Hart, associate concertmaster Ximena Calderon Matthew Grove Thomas Jatko Beth Letendre Chad MacDonald Ylana Padgett Emmy Reid Elizabeth Wall
SECOND VIOLIN Yiran Li, principal Niccolo Werner Casewit Valerie Clausen Terri Gonzales Miki Heine Callista Medland Alyssa Oland Roger Powell Brian Ross
Erica Secor Anne Silvas
VIOLA Annie Zagorski, acting principal Natasia Boyko Chris Costello Lori Hanson Kaylin Jarriel Samantha Lichtin Ben Luey Beth Remming Julie Rooney Vince Vuong
FLUTE Whitney Kelley, principal Catherine Flinchum Joshua Hall
PICCOLO Joshua Hall
OBOE Kimberly Brody, principal Loren Meaux, assistant principal Laura Jansen
ENGLISH HORN
CELLO
Loren Meaux
Katie Burns, principal Kierra Aiello Naftari Burns Sarah Frederick Mike Marecak Shirley Marecak Monica Sáles Council Dana Shin Daniel Tobin Jeffrey Westcott Rachel Yanovitch
CLARINET
DOUBLE BASS
BASSOON
Lucy Bauer, acting principal Xadie Antonio Megan Gore Brazell Josh Filley Kurt Henning Keith Lokey
CONTRABASSOON
Kwami Barnett, principal Claude Wilbur Jessica Clark
E-FLAT CLARINET Jessica Clark
BASS CLARINET Claude Wilbur
Ken Greenwald, principal Sara Laupp
Adam Lusk
Section strings and percussion are listed alphabetically. 24
2019–20 SEASON
HORN Zach Maupin, principal Jeanine Branting Kelli Hirsch Kim George
TRUMPET Ryan Spencer, principal Ariel Van Dam Colton Crandell
TROMBONE David Ellis, principal Louis DeScala
BASS TROMBONE
SERENADE FOR STRINGS ENSEMBLE FIRST VIOLIN Katherine Thayer, concertmaster Anna Katherine Barnett-Hart, associate concertmaster Ylana Padgett Emmy Reid
SECOND VIOLIN Yiran Li, principal Niccolo Werner Casewit Feliza Estrada Brian Ross
Daniel Morris
VIOLA
TUBA Darren DeLaup, principal
Ezgi Icellioglu, principal Chris Costello Diego Guerra
TIMPANI
CELLO
Steve Bulota, principal
Katie Burns, principal Monica Sáles Council Dana Shin Daniel Tobin
PERCUSSION Ross Coons, principal Colin Constance Justin Elks John Garvin
DOUBLE BASS Lucy Bauer, principal Kurt Henning
HARP Rebecca Moritzky, principal
PIANO Ani Powell, principal
25
OUR TEAM BOARD OF DIRECTORS
MARKETING
Jon Olafson, President Matt Meier, Vice-President Tamara Arredondo, Secretary Erica Secor, Treasurer Heather Alcott Moritz Dr. Robert Dallenbach Sean Murphy Tenley Oldak Krista Picco Esteban Romero Mark Rossman Edward Smith
Stephanie Gillman Brandon Kinsey Matt Meier David Sherman
DENVER PHILHARMONIC FOUNDATION BOARD Erica Secor Keith Fisher Roger Powell
EXECUTIVE DIRECTOR Valerie Clausen
PERSONNEL MANAGER
DPO WITH A TWIST Katherine Thayer, artistic advisor
IT TECH Henry Ammons
SPECIAL PROJECTS Jerry Brindisi
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
Annie Laury
AUDIO TECH
MUSICIAN COMMITTEE
Joel Dallenbach Jack Pelon
Daniel Morris, chair Niccolo Casewit Loren Meaux
MUSIC LIBRARY Alyssa Oland, librarian Callista Medland, assistant librarian Anne Silvas, bowings Katherine Thayer, bowings
26
2019–20 SEASON
CONCERT NIGHT MANAGERS Patricia Meaux, More Than Music manager Richard Pollock, concession manager Carrie Tremblatt, lobby manager Joanna Watkins, hall manager
STAGE 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
CENTRAL PRESBYTERIAN PRODUCTION TEAM Bryce Clark Wil Smith Nileen Hart
CONCERT NIGHT VOLUNTEERS Fernando Campos Stacie Carter Rich Casson Gil Clausen Katie Coler Phyllis Covey Ron Covey Sarah Douglas Jessica Edens John Fisher Stephanie Gillman, photographer
Eleanor Glover Annie Ha Jim Hart Sarah Hogan Pamela Jarmen Marty Jewell Mary June Linda Lebsack Brian McGuire Karen McGuire Claire McManus Ali McNally Evan Meaux Michael Meaux Jason Meherg Hugh Pitcher Liza Potter Liza Ranftle Sherry Richardson David Sherman Andy Solsvig Natalie Thomas Elin Towler Sheila Traister Bill Urban Cassie Wenger
MORE THAN MUSIC PARTNERS Art Students League of Denver Chalet Dancers, featuring Sasha the Russian Bear Fun Services Purple Door Coffee Spring 44 Distillery The University Club of Denver Total Wine
 27
DPO with a Twist
MA RCH
6,
2 02 0
School Spirits Two DU professors, DPO Music Director Lawrence Golan and Steven Mayer, team up for an extracurricular night of violin and piano duets in our popular chamber music series. Hosted across the street at the University Club, ticket includes way-better-than-cafeteria buffet dinner, tax & gratuity. Full bar available for purchase.
TICKETS ON SALE NOW! DENVERPHILHARMONIC.ORG
28
2019–20 SEASON
ROULETTE • FEBRUARY 22 by ELIZABETH SCHWARTZ
Serenade in C major for Strings, Op. 48 Pyotr Ilyich Tchaikovsky (1840–1893) Pyotr Ilyich Tchaikovsky, who once dubbed Mozart “the Christ of music,” composed the Serenade for Strings as a tribute to his favorite composer. “It is intended to be an imitation of his style,” Tchaikovsky wrote, “and I should be delighted if I thought I had in any way approached my model.” Tchaikovsky was a known
Tchaikovsky worked on the Serenade at the same time as
hypochondriac and
the 1812 Overture, and his feelings about the two works
literally thought his
could not have contrasted more strongly. “You can imagine,
head was going to fall
beloved friend, that my muse has been benevolent of late
off while conducting. He
when I tell you that I have written two long works very rapidly,”
went so far as to hold his head up with one hand while on the podi-
Tchaikovsky wrote to his patron, Nadezhda von Meck, “the festival Overture [the 1812] and a Serenade in four movements
um. Let’s hope none of
for string orchestra. The Overture will be very noisy; I wrote it
our conductors tonight
without much warmth or enthusiasm and therefore it has no
have the same affliction.
great artistic value. The Serenade, on the contrary, I wrote from inner conviction. It is a heartfelt piece and so, I dare to think, is not without artistic qualities.” Indeed, Tchaikovsky was so pleased with his Serenade that upon its completion he wrote his publisher, “I am violently in love with this work and cannot wait for it to be played.” At its 29
premiere, the audience responded in a
is indeed a Russian folk tune, paired with
similar fashion, calling for an encore of
another Russian folksong full of hustle and
the second movement.
bustle. The hymn melody from the first
The opening Pezzo in forma di Sonatina (Piece in the form of a Sonatina) begins with a slow introduction, in the manner of an 18th-century string serenade. This full
movement concludes the Serenade.
AT A GLANCE • Composer: born May 7, 1840, Kamsko-
hymn-like melody gives way to an energet-
Votinsk, Viatka province, Russia; died
ic tune that suggests the buoyancy and joy
November 6, 1893, St. Petersburg
of Mozart. The lilting Waltz has delighted audiences since its first performance. Tchaikovsky succeeding in capturing the essential Viennese flavor of this dance,
• Work composed: 1880 • World premiere: October 30, 1881 in St. Petersburg
which shimmers and sparkles. In the Elegie, we hear hints of the brooding qual-
• Instrumentation: string orchestra.
ity most suggestive of Tchaikovsky’s style,
Tchaikovsky added a note to the score:
but the overall mood is meditative rather
“The larger the string orchestra, the
than melancholy. In the final movement,
better will the composer’s desires be
Tchaikovsky indicates a Russian theme
fulfilled.”
(Tema Russo) and the slow introduction
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• Estimated duration: 28 minutes
2019–20 SEASON
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Symphony No. 6 in B minor, Op. 74, “Pathétique” Pyotr Ilyich Tchaikovsky (1840–1893) “I love it as I have never loved any one of my musical offspring before.” — Tchaikovsky on his Sixth Symphony Tchaikovsky’s Sixth Symphony, his most controversial work, continues to spark debate more than 100 years after its composition. Although Tchaikovsky declined to articulate the specifics of the program he attached to this symphony — “Let them guess at it!” he wrote to his nephew Vladimir Davidov — many scholars and critics agree that this passionate, highly emotional music is I have put my whole soul
a declaration of forbidden love; specifically, that of Tchaikovsky
into this work … You
for Davidov.
cannot imagine what joy I feel at the thought
Tchaikovsky’s title for the symphony supports this idea.
that my days are not yet
According to scholar Alexander Poznansky, Tchaikovsky’s
over and that I may still
title, ‘Pateticheskaya simfoniya,’ is “roughly equivalent to the
accomplish much.
title that Beethoven gave to his Sonata in F minor, Op. 57 — ‘Apassionata.’ The passionate overtones of the Russian title are not adequately conveyed in its better-known French equivalent — ‘Symphonie pathétique,’ with its connotations of suffering
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2019–20 SEASON
 33
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, March 1 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.
34
2019–20 SEASON
and sorrow.” Biographer John Warrack
with a strong sense of sadness and hints
agrees: “The Russian word … carries more
of romantic despair. The vigorous march
feeling of ‘passionate’ or ‘emotional’ in it
of the Allegro molto vivace offsets the
than the English ‘pathetic,’ and perhaps an
melancholy of the first two movements.
overtone, which has largely vanished from
This powerful, vigorous music boldly
our world … of ‘suffering.’” The Adagio-Allegro ma non troppo begins with a forbidding bassoon solo sounding the primary theme. After the slow Adagio, the strings burst in with an agitated restatement of the bassoon solo, followed by a contrasting theme of melancholy nostalgia. The movement descends into chaos as the themes are developed, ripped apart, and jumbled in a tempest of sound. A
proclaims itself with an insouciant swagger. Anguished cries from the strings begin the Adagio lamentoso-Andante. This music succumbs to its own beautifully crafted fatalism, laden with pain and lamentation. The strings are interrupted by a blast from the brass, after which the strings continue on their mournful way to a subdued conclusion, in which there is no hint of a happy ending.
solemn brass chorale with pizzicato string
Despite Tchaikovsky’s status as the
accompaniment draws the movement
preeminent Russian composer of his time,
to a close. In the Allegro con grazia, the
the premiere of the Sixth Symphony, which
strings present a graceful waltz in the
he conducted, was not an instant success.
unusual meter 5/4. Although the overall
In a letter to his publisher, Tchaikovsky
mood of this movement is lighter than that
wrote, “It is very strange about this
of the first, Tchaikovsky infuses the music
symphony. It was not exactly a failure, but
35
it was received with some hesitation.” Symphonies that end quietly often leave audiences puzzled or unsettled (Brahms’ Third has the same problem). After the second performance, which took place just days after Tchaikovsky’s death, the Sixth
AT A GLANCE • Work composed: 1893; dedicated to Tchaikovsky’s nephew Vladimir “Bob” Davidov • World premiere: Tchaikovsky conducted
received an overwhelmingly positive ova-
the first performance on October 28,
tion. The unconventional ending became
1893, at the Hall of the Nobles in St.
indelibly associated with the composer’s
Petersburg
death — as if Tchaikovsky had written his own demise. The Sixth soon came to be regarded as a symphonic masterpiece
• Instrumentation: 3 flutes (1 doubling piccolo) 2 oboes, 2 clarinets, (1 doubling
and remains Tchaikovsky’s most popular
bass clarinet), 2 bassoons, 4 horns, 2
symphony.
trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, tam tam, and strings. • Estimated duration: 44 minutes
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2019–20 SEASON
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 37
Tomorrow is on Stage Right Now!
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2019–20 SEASON
Pictures at an Exhibition Modest Mussorgsky (orch. Ravel)
(1839–1881)
Modest Mussorgsky’s most popular composition owes its reputation to its orchestrator, Maurice Ravel. Before Ravel arranged this obscure piano suite for orchestra in 1922, it was virtually unknown. Pictures at an Exhibition is Mussorgsky’s musical portrayal of a memorial exhibit of artwork by Victor Hartmann, an artist, deMussorgsky was inspired by his friend’s artwork to write this piece, but another of his own works,
signer, architect, and close friend. In the spring of 1874, Russian critic Vladimir Stasov organized an exhibition of Hartmann’s work in St. Petersburg, which Mussorgsky attended. By June 22, Mussorgsky transformed 10 of Hartmann’s works into music as
Night on Bald Mountain,
a further tribute to his friend. Mussorgsky also inserted his own
inspired one of the
presence into Pictures through the music of the Promenade,
scariest Disney villain
which recurs periodically throughout.
of all-time: Fantasia’s Chernabog.
The Promenade’s irregular rhythm portrays Mussorgsky, a man of considerable size, ambling through the exhibit, sometimes pausing before a particular picture that caught his interest. It
39
leads directly to the first picture, Gnomus
between children at play). Here in the
(Gnome), Hartmann’s design for a
famous Tuileries Gardens in Paris, children
nutcracker. Unlike the princely Nutcracker
attended by nannies sing out the universal
of Tchaikovsky, however, Hartmann’s
childhood taunt, “Nyah-nyah.”
nutcracker is a macabre, wizened creature. The return of the Promenade, in shortened form, brings us to Il vecchio castello (The Old Castle), which Stasov says depicts a troubadour singing and strumming a guitar in front of a medieval castle. Ravel’s mournful saxophone sounds the troubadour’s song. The Promenade returns with the majestic brass and winds of the opening, but stops abruptly in front of the next picture, Tuileries (Dispute d’enfants après jeux) (Tuileries-Dispute
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Bydlo (Cattle) portrays plodding oxen drawing a heavy cart. A brief Promenade leads us to the oddly named Balet nevylupivshikhsya ptentsov (Ballet of the Unhatched Chicks). Hartmann’s costume designs for a ballet called Trilby inspired this whimsical music, in which child dancers wear egg costumes with their legs sticking out. In “Samuel” Goldenberg und “Schmuÿle,” Mussorgsky combined two of Hartmann’s pictures of Jews in the
2019–20 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 centraldenver.com/time-to-grow
centraldenver.com 41
Sandomierz ghetto of Poland. Samuel
cage full of skulls. Mussorgsky wrote of this
Goldenberg is a rich, self-important man
piece, “The creative genius of Hartmann
(represented by measured phrases of the
leads me to the skulls and invokes them;
strings), while Schmuÿle, (characterized by
the skulls begin to glow.” Con mortuis in
insistent bleatings of a muted trumpet) is
lingua morta (With the Dead in a Dead
portrayed as a whining, cowering beggar.
Language) follows, a mournful, eerie
However, Mussorgsky’s title suggests
reworking of the Promenade. The ominous
the two men are really the same person
music of The Hut on Fowls’ Legs depicts
(Samuel is the Germanized form of the
the witch Baba Yaga (not to be confused
Yiddish Schmuÿle), and the movement has
with Baby Yoda) of Russian folklore, whose
been generally viewed as an anti-Semitic
house stood on chicken’s feet.
stereotype.
In the final movement, Ravel and
In Limoges le marchè (La grande nouvelle)
Mussorgsky capture the grandeur of The
(The Market: The Big News), market-wom-
Great Gate of Kiev, Hartmann’s design for
en share the latest gossip. Abruptly we are
the reconstruction of the ancient stone
plunged into the Catacombae (Sepulcrum
gates of Kiev. Although the actual gates
romanum) (Catacombs: Roman sepulcher).
were never built, The Great Gate of Kiev
This watercolor shows Hartmann and
remains a permanent musical tribute to the
several others inspecting the Parisian cata-
city and its rich history.
combs by lantern light, which illuminates a
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2019–20 SEASON
AT A GLANCE • Composer: born March 21, 1839, Karevo, Pskov district; died March 28, 1881, St. Petersburg • Work composed: June 2–22, 1874.
ABOUT THE AUTHOR Elizabeth Schwartz is a freelance writer, musician, and music historian based in Portland. She provides notes for ensembles across the United States and around the world, including the Oregon
Maurice Ravel orchestrated it in the
Symphony and Chamber Music Northwest.
summer of 1922.
Elizabeth has also contributed to the nationally syndicated radio program
• World premiere: Serge Koussevitzky led
“Performance Today,” produced by
the first performance of Ravel’s version
American Public Media. Elizabeth also
on October 22, 1922, in Paris
writes artist profiles, program previews,
• Instrumentation: 3 flutes (2 doubling piccolo), 3 oboes (1 doubling English horn), 2 clarinets, bass clarinet,
and other features for InSymphony Magazine and other publications. © 2020 Elizabeth Schwartz
2 bassoons, contrabassoon, alto saxophone, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, celesta, chimes, cymbals, glockenspiel, ratchet, snare drum, tam-tam, triangle, whip, xylophone, harp, and strings • Estimated duration: 35 minutes
43
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
SIT TIGHT The rumors are true — we’re pretty informal. But we do ask that you sit tight and quiet during the performance and only get up between pieces or during in-
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!
termission as to not distract the musicians
CRY ROOM
or concert-goers around you.
Child feelin’ fidgety? We have a designated cry room in the back of the lobby on the right side of the main level.
44
2019–20 SEASON
PACK IT IN, PACK IT OUT
SOCIAL MEDIA
You’re now welcome to bring drinks into
Feel free to take photos without flash and
the hall with a lid, but remember “trail
to post to your favorite social media ac-
rules” — pack it in, pack it out. Then
count. When you upload your pics, be sure
find the right bin in the lobby — trash,
to tag us! We’re on Facebook, Twitter and
recycling or compost!
Instagram @denverphilorch #dpotweets
ELECTRONICS
HAVE FUN! !
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!
45
THANK YOU!
Donations since January 1, 2019
We would like to acknowledge the generous support of the following individuals, businesses and corporations. ORCHESTRA CIRCLE ($10,000+) Valerie & Gil Clausen
Rich Casson & Liza Ranftle Mark & Maxine Rossman James Stegman Amanda Thall Jack & Winona Moritz
CONDUCTOR CIRCLE
BENEFACTOR
($5,000–$9,999)
Esmeralda Colfax Eleanor Glover & Eugene Advincula Matt & Allison Lausten Barb & Rand Moritzky Barbara G Schlein James Stegman
The Keil Family, in honor of Maureen Keil Linda Lebsack & Hugh Pitcher
CONCERTMASTER CIRCLE ($2,500–$4,999) Don & Bonnie Walls
MUSICIAN CIRCLE ($1,000–$2,499) Daniel R. Burns & Lorraine Diaz Paula Elmers Michelle, in honor of Heather Alcott Moritz Nora Morgenstern & Michael Lyster Heather & Karl Moritz Jon Olafson Ben & Katherine Vagher
PATRON ($500–$999) Kira van Lil & Christoph Heinrich Lisa Peloso & Vik Patel 46
($300–$499)
CONTRIBUTOR ($100–$299) Aeolian Music Club, in memory of Maureen Keil Keri Agnes Anonymous (7) Anna Barnett-Hart Ronald & Margaret Berg, in memory of Maureen Keil Kim & Jim Brody Raymonda Burgman Janice Burley Jessica Clark Kevin & Naomi Croghan Charlie & Jean Curlee Jim Gillman Lawrence & Cecilia Golan Donna Good, in honor of Linda Lebsack Rob & Celeste Habiger
Judy & Ed Hagerman Sara Hammond Lori Hanson Hanson Family HCA Caring for the Community Bruce & Judy Heagstedt Janet Hehn Cathy & Tim Heine Kelli & Geoff Hirsch Sarah & Matt Hogan Mimi Hull Jacobi Gifting Fund The Hester-Kenney Family Fund Koehler Family Ken & Barbara Laff Judy & Dan Lichtin Mike & Shirley Marecak Callista & Patrick Medland Gary & Carolyn Medland Matthew Meier, in memory of Pauline Dallenbach Barbara & Rand Moritzky, in memorgy of Vernetta Dunn Tenley Mueller M. Sean & Jocelyn M. Murphy Lauren O’Neill Crist-Fulk Daniel J ONeill Marianne Orkin Pam & Sonny Pam & Sonny Wiegand Pam Parker Roger Powell, in memory of Maureen Keil Nancy Rawls Maxine & Mark Rossman Ann Schock, in memory of Kathleen Justice
2019–20 SEASON
Karin Tate The Girls Mike & Amanda Tine Annie Trunkle Smart, in memory of Theresa Trunkle Thornburg
FRIEND (UP TO $99) Anonymous (12) Anonymous, in memory of Tyler Brown Sarah Ault Kristina Becker Jeanine Branting Janice Burley Elana Campbell Mary Campbell Zopf Lucy Caroso Augusto Gabriela Chavarria Gil & Valerie Clausen, in memory of Maureen Keil Valerie & Gil Clausen, in memory of Pauline Dallenbach Deborah Clendenning Louis DeScala Richard & Suzanne Discenza Kristin Erner Carol Finley Ortrud Fowler Genna & Torin Stephanie Gillman Jo Anne Goering Grace Note Studio (Rob & Anne Silvas) Jonathan Hoehn Michael Hoffman Surilda Hudson Scott & Beth Huffman Jon Icasas Nicole Iselin Tom Jatko, in honor of Harry Heskett Marty Jewell Catherine & Ted Lanzano Jill Levy Ben Luey
Garrett Marsilio Roger Mattison Loren Meaux Michael & Pat Meaux Johnny Milani John Miller Alyssa O Philip Pearlman & Betty Bona Richard Pollock Bruce & Sharron Regenthal The Reinprecht Family Bruce Rengers Laurie Rhoades Gail & Joe Sindelar Edward Smith, in honor of Geralda Smith Denise Soto Rob & Margie Stanford Cori & Tyler Streetman Denise Taylor Katherine Thayer Kevin Van Vleet Trevor Voeltz, in honor of Krista Picco Kathryn Weathers Patricia White Judy & Tom McWilliams Evan Williams Judith Zepelin
FOUNDATIONS & CORPORATE PARTNERS $10,000+
Foundation Ireland Stapleton Pryor & Pascoe, PC Ogletree, Deakins, Nash, Smoak & Stewart, P.C. Krista M. Picco MBA, CIMA®, Financial Advisor, Wells Fargo Advisors ProductAV
$1,000–$2,499 Brownstein Hyatt Farber Schreck Cottrell Printing Holiday Inn Express: Denver Downtown Scraps
UP TO $999 Amazon Smile The American Online Giving Foundation Barefoot PR, in honor of Sarah Hogan HCA Caring for the Coummity ColoradoGives Community First Foundation Mighty Fine Productions New Genesis, Inc. Newberry Brothers Greenhouse & Florist Purple Door Coffee Schmitt Music The Pillar of Fire Church The American Online Giving Foundation Taryn Galow, Braillist TATE+BURNS Architects LLC
Ligature Creative Scientific and Cultural Facilities District
$5,000–$9,999 Colorado Creative Industries David Sherman Creative
$2,500–$4,999 Access AM91 The German Cultural
47
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 SMILE
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.
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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
49
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.
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2019–20 SEASON
FLORAL & DÉCOR 5301 Leetsdale Drive • Denver, CO 80246 303-322-0443 www.newberrybrothers.com
Don’t miss Serenade for Strings at 6:00 and 6:30pm in the hall! Photo by Amanda Tipton.
SAVE THIS SEAT
I’M ENJOYING MORE THAN MUSIC!
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 tonight.
PICTURES BEFORE AN EXHIBITION
To celebrate Mussorgsky’s expressive Pictures at an Exhibition, observe artist Clyde Steadman of the Art
SERENADE FOR STRINGS
Enjoy two special performances of Tchaikovsky’s Serenade for Strings, 6–6:30pm and 6:30–7:00pm, conducted by eight different conductors!
Students League of Denver painting live in the lobby.
ZA ZDAROVJE!
SELFIES WITH SASHA
The Chalet Dancers brought the lovable bear for selfies and bear hugs.
Warm up with a vodka tasting from Spring44 Distillery. 21+
everyone’s a winner.
Take the roulette wheel for a spin! From high fives to concert tickets,
ROULETTE WHEEL
WINE & CRAFT BEER
Cheers! Spasibo, Total Wine. (21+)
COFFEE CORNER
Complimentary of Purple Door Coffee.