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O C T O B E R 4
NEW BEGINNINGSLawrence Golan, conductorDaniel Morris, bass tromboneBoyer: New BeginningsBrubeck: Concerto for Bass Trombone and OrchestraDvorak: Symphony No. 9 “New World”
O C T O B E R 4N O V E M B E R 1 5D E C E M B E R 2 0F E B R U A R Y 1 4
A P R I L 4M A Y 2 2
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T H E S I X T Y - S I X T H S E A S O N
201 Garfield Street | Denver, CO 80206 | 303.322.0443www.facebook.com/newberrybros
www.newberrybrothers.com
N E W B E G I N N I N G S 3
With our 2013–14 Season, we celebrate 66 years of providing high-quality symphonic concerts and outreach.
Our orchestra was founded in 1948 as the
Denver Businessmen’s Orchestra by Dr.
Antonia Brico, the first woman to conduct
the Berlin Philharmonic and the New York
Philharmonic. The two major issues driving
establishment of the orchestra were a need
for affordable classical music concerts in the
Denver area and the need for an organization
that would nurture, develop and showcase the
talents of classically trained musicians, many
of whom had relocated to Denver following
World War II. The orchestra quickly became
known for its ambitious collaborations and
performances. In 1968, to honor its founder,
the name of the orchestra was changed to the
Brico Symphony, and the tradition of musical
excellence and community service continued.
Following Antonia’s retirement in 1986, the
orchestra selected Julius Glaihengauz as its
second Music Director. Julius was a talented
Russian immigrant who recently graduated
from the Tchaikovsky Conservatory. Under his
new leadership, the name of the orchestra was
changed to the Centennial Philharmonic and
performed for eleven seasons, followed by a
season under interim director Kirk Smith.
In 1999 Dr. Horst Buchholz, Professor of
Music at the University of Denver and an
acclaimed musician and conductor, was
selected as the orchestra’s new Music
Director. This began a period of growth
and success that continues today. To more
accurately reflect our Denver roots, the
Centennial Philharmonic was renamed the
Denver Philharmonic Orchestra in 2004.
Horst remained Music Director/Conductor
through the 2008–09 Season, after which
he was appointed the orchestra’s first
Conductor Laureate.
Adam Flatt was appointed the orchestra’s
fourth Music Director/Conductor in June
2010. Adam’s dynamic and inspiring lead-
ership over the next three years further in-
creased the artistic quality of the orchestra.
In spring of 2013, award-winning conductor
Dr. Lawrence Golan was selected as our
orchestra’s fifth Music Director. Lawrence
first led the DPO as a guest conductor in
November 2009.
WELCOME!
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FRIDAY, OCTOBER 4, 2013NEW BEGINNINGSKPOF Concert Hall · Denver, Colorado · 7:30 pm
Lawrence Golan, conductorDaniel Morris, bass trombone
Peter Boyer New Beginnings (written in 2000)
(1970 – )
Chris Brubeck Concerto for Bass Trombone(1952 – ) and Orchestra (written in 1991)
Paradise Utopia Sorrow Floats James Brown In The Twilight Zone
∙ 1 5 - M I N U T E I N T E R M I S S I O N ∙
Antonín Dvořák Symphony No. 9 in E Minor, Op. 95(1841 – 1904) “From the New World” Adagio – Allegro molto Largo Scherzo (Molto vivace) Allegro con fuoco
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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. Over the past five decades, the Pillar of Fire Church has generously accommodated our orchestra rehearsals and many perfor-mances. Since 1963, Dr. Robert B. Dallenbach, and more recently his son, Joel Dallenbach, have meticulously recorded and broadcast our concerts as the “Denver Businessmen’s Orchestra,” “The Brico Symphony,” “The Centennial Philharmonic,” and now “The Denver Philharmonic Orchestra.” For the 2013 – 14 Concert Season, please tune to KPOF 910 AM broadcast Classical Spotlight from 7 to 10 pm every Sunday.
SUNDAY CLASSICAL MUSIC7:00 – 10:00 PMKPOF — 910 AM
Tune in to radio station KPOF (AM 910)from 7 – 10 pm on Sunday, Oct. 13 for an encore of
tonight’s Denver Philharmonic performance!
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2013–14
N E W B E G I N N I N G S 7
OCTOBER 4NEW BEGINNINGSLawrence Golan, conductorDaniel Morris, bass tromboneBoyer: New BeginningsBrubeck: Concerto for Bass Trombone
and OrchestraDvorak: Symphony No. 9 “New World”
NOVEMBER 15INAUSPICIOUS BEGINNINGSLawrence Golan, conductorJames Buswell, violinBeethoven: Fidelio OvertureBarber: Violin ConcertoTchaikovsky: Symphony No. 5 in E Minor
DECEMBER 20NOELS & NEW YEARAdam Flatt, guest conductorMarcia Ragonetti, mezzo-soprano Handel: Messiah “But who may abide
the day of his coming”Rimsky-Korsakov: Suite from The Snow
Maiden Hayen: Maltese Winter Prokofiev: Troika from Lt. Kije SuiteHoliday favorites and singalongs
FEBRUARY 14 YOUNG LOVELawrence Golan, conductorLinda Wang, violinTchaikovsky: Sleeping Beauty SuiteChen and He: The Butterfly Lovers
Violin ConcertoProkofiev: Romeo and Juliet Suite No. 2
APRIL 4 NEW FORMATIONS &MYSTERIOUS MOUNTAINSLawrence Golan, conductorJoshua Sawicki, pianoMussorgsky/Rimsky-Korsakov:
Night on Bald Mountaind’Indy: Symphony on a French Mountain AirHovhaness: Mysterious Mountain;
Symphony No. 2Nytch: Formations; Symphony No. 1
Denver premiere performance, co-commissioned by the DPO
MAY 22 NEW FRONTIERSLawrence Golan, conductorDaugherty: KryptonHovhaness: Celestial FantasyHolst: The Planets
2013–14
Concerts begin at 7:30 pm at
KPOF Hall, 1340 Sherman Street, Denver, CO 80203.
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MUSIC DIRECTORLawrence Golan
FIRST VIOLINKatherine Thayer, concertmasterThomas Jatko
Nasiha Khalil
Tenley Mueller
Emmy Reid
Beth Schoening
Vanessa Vari
Elizabeth Wall
SECOND VIOLINYiran Li, principalNiccolo Werner Casewit
Pauline Dallenbach
Loribeth Gregory
Terri Gonzales
Miki Heine
Annie Laury
Callista Medland
Alyssa Oland
Roger Powell
Albert Ting
VIOLAWilliam Hinkie, III; principalCalvin Green *
Andrew Grishaw *
Lori Hanson
Lindsey Hayes *
Ben Luey
Elizabeth O’Brian
Maura Sullivan *
Kathleen Torkko
CELLOBryan Scafuri, principalNaftari Burns
Rebecca Coy
Annastasia Psitos
Monica Sáles
Mark Stanton
Amanda Thall
Andreas Werle
Tara Yoder
BASSMark Stefaniw, principalLucy Bauer
Josh Filley
Joey Pearlman
Taryn Galow
FLUTEAaron Wille, principalCatherine Ricca
Whitney Kelley
PICCOLOWhitney Kelley
OBOEKimberly Brody, principalLoren Meaux, assistant principalAlexis Junker
Michael Vigliotti *
OUR MUSICIANS
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ENGLISH HORNMichael Vigliotti *
CLARINETBrooke Hengst, acting principalClaude Wilbur
Elsbeth Williams *
BASS CLARINETClaude Wilbur
BASSOONKen Greenwald, principalNicholas Lengyel
CONTRABASSOONKaori Uno *
FRENCH HORN David Wallace, principalJeanine Wallace
Kelli Hirsch
Melissa Ciener
Mary Brauer
TRUMPETRyan Spencer, principalRandy Runyan
Tyler Van Dam
TROMBONEBryan Gannon, principalWallace Orr
BASS TROMBONEMike Danforth *
TUBADarren DeLaup
TIMPANISteve Bulota, principal
PERCUSSIONSusie Carroll
Ross Coons *
Joey Glassman *
Chris Lundberg *
HARPSuzanne Moulton-Gertig
PIANO/CELESTEMargo Hanschke *
* guest performers
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DR. LAWRENCE GOLANMUSIC DIRECTOR, CONDUCTOR
It is also his first year as Principal Conductor of the Seoul
Philharmonic in South Korea. He continues as Music Director of the
Yakima Symphony Orchestra in Washington State and the Lamont
Symphony Orchestra & Opera Theatre at the University of Denver.
Lawrence has garnered considerable international recognition
for his work as a conductor. He has won nine ASCAP Awards, five
Global Music Awards, three American Prize awards, three Downbeat
Magazine Awards, and two Prestige Music Awards. Lawrence’s
appointment in Yakima came on the heels of a very successful four-
year term as Resident Conductor of The Phoenix Symphony. In 2012,
Lawrence was named the Grand Prize Winner of The American Prize
for Orchestral Programming. Several of the concerts that Lawrence
programmed, conducted, and narrated with The Phoenix Symphony
turned out to be the most financially successful and well-attended
performances in the history of the orchestra, completely selling out
triple concert sets in a 2200-seat hall. Lawrence continues to guest
conduct professional orchestras, opera, and ballet companies in
the United States and around the world. Having conducted in 25
states and 16 countries, recent engagements include performances
in Boulder, Macon, Memphis, and Tucson as well as the Czech
Republic, Italy, Korea, Taiwan, and a three-week tour of China with
the American Festival Orchestra.
The 2013–14 season marks the beginning of Lawrence Golan’s tenure as Music Director of the Denver Philharmonic Orchestra.
N E W B E G I N N I N G S 1 1
A native of Chicago, Lawrence holds degrees in both conducting
and violin performance from Indiana University’s Jacobs School of
Music (B.M. and M.M.) and the New England Conservatory of Music
(D.M.A.). In addition, he studied at all of the major conducting
festivals including Aspen and Tanglewood, where in 1999 he was
awarded the Leonard Bernstein Conducting Fellowship. Following
in the footsteps of his father Joseph Golan, longtime Principal
Second Violinist of the Chicago Symphony Orchestra, Lawrence was
Concertmaster of the Portland Symphony Orchestra for eleven years
and has appeared as soloist with numerous orchestras, including the
Chicago Symphony.
Lawrence has made several critically acclaimed recordings, both as
a conductor and a violinist. He has also been published as a writer,
composer, editor and arranger.
Lawrence and his wife Cecilia have been married since 2003. They
have a wonderful little girl named Giovanna. For more information,
please visit LawrenceGolan.com or WilliamReinert.com.
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DANIEL MORRISBASS TROMBONE
He gained valuable experience while playing in varied ensembles,
including jazz, concert, marching, youth orchestras, and musicals.
After a four-year scholastic break, Daniel began studies at Colorado
Mesa University working on trombone performance degree. There
he studied trombone and tuba with Dr. Sean Flanigan, jazz studies
with Dr. Darin Kamstra, and conducting with Dr. Calvin Hofer. His
studies at CMU afforded him the chance to play in master classes
and performances with many guest artists, including Dr. Eric Ewazen,
The Memphis Brass Quintet, Dr. Robert Spring, Lisa Pegher, Patrick
Sheridan, The Brubeck Brothers Quartet, Dr. Brian Bowman, Larry
Zalkind, Dr. John Tuinstra, and The Boston Brass Quintet. Annual
studies with John Rojak of the American Brass Quintet refined his
bass trombone techniques.
Daniel is currently principal bass trombone for the Denver
Philharmonic, principal trombone of The Loveland Orchestra, and
the principal bass trombone of the Colorado Mahlerfest orchestra.
This past summer he attended the prestigious Gene Pokorny Low
Brass seminar in Redlands, California, where he studied with mem-
bers of the Chicago, Detroit, and San Francisco symphonies, and the
Los Angeles Philharmonic, and was chosen as one of four to play on
the participants’ recital.
When he is not practicing, performing, or driving to rehearsals,
Daniel enjoys hiking and biking with his wife Emily.
Daniel began playing trombone at age 11 in sixth grade in Fruita, Colo., switching to bass trombone his freshman year of high school.
I would like to thank the
DPO and Dr. Golan for
this amazing opportunity
to share this exciting
work for bass trombone
with you. A huge thank
you to my friends and
family for your support.
Enjoy!
N E W B E G I N N I N G S 1 3
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N E W B E G I N N I N G S 1 5
KORNEL THOMASASSOCIATE CONDUCTOR
Kornel was a semi-finalist at the Sao Luiz Teatro Municipal and the
Orquestra Metropolitana de Lisboa Young Conductors Competition
in 2013. In 2012, he had his debut in the Vienna Musikverein with the
ORF Radio Symphony Orchestra Vienna.
For the past three summers, he attended the prestigious Pierre
Monteux School for Conductors and Orchestral Musicians with the
Quimby Family Foundation Scholarship. Has participated in the
London Conducting Workshop and the Conductors Institute in South
Carolina. In 2010, he conducted the Vienna Chamber Orchestra
in a master class with Daniel Harding and has had several other
master classes with such well-known conductors as Betrand de Billy,
Alexander Polishuk and Niclolas Pasquet.
Kornel was selected as music director for the 2010 Opera Project of
the Media Composers from the University of Music and Performing
Arts Vienna. From 2004–2006, he served as Assistant Conductor of
the St. Stephen King Youth Symphony Orchestra. In 2006, Kornel won
second prize at the Bela Bartok Hungarian National Competition in
Composition.
Kornel was born in Pittsburgh, and grew up in Budapest where he
began his musical education studying the violin, piano and com-
position. He majored in composition at the St. Stephen King Music
Conservatory and High School. He holds a master’s degree in or-
chestral conducting from the University of Music and Performing Arts
Vienna. His mentors include Mark Stringer, Yuji Yuasa, Konrad Leitner,
Ervin Ortner and Gabor Horvath. He lives in Denver where he is also
pursuing an Artistic Diploma in Orchestral Conducting.
In addition to the DPO, Kornel is also the assistant conductor and orchestral manager of the Lamont Symphony Orchestra and Opera Theater in Denver.
1 6 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
EXECUTIVE DIRECTORValerie Clausen
BOARD OF DIRECTORSPRESIDENT Jon OlafsonVICE-PRESIDENT Eleanor GloverSECRETARY Maureen KeilTREASURER Allison LaustenPauline Dallenbach
Honorary Member
Robert Dallenbach
Amanda Hand
Linda Lebsack
Russell Klein
Tenley Oldak
Roger Powell
DENVER PHILHARMONIC FOUNDATION BOARD Michael P. Barry
Keith Fisher
Allison Lausten
Roger Powell
PUBLICITYNiccolo Casewit
Valerie Clausen
Dr. Robert Dallenbach
Eleanor Glover
Amanda Hand
FUNDRAISINGGil Clausen
Valerie Clausen
Eleanor Glover
Allison Lausten
Jon Olafson
WEBMASTERNick Croope
PERSONNEL MANAGERRoger Powell
LIBRARIANCallista Medland
Alyssa Oland, assistant
ADMINISTRATIVE VOLUNTEERS
We’re into connections.LigCreative.com
N E W B E G I N N I N G S 1 7
VOLUNTEERING OPPORTUNITIESOur orchestra is run by volunteers, with no paid administrative staff. We greatly appreciate
help from more volunteers in the areas of publicity, fundraising, concert production,
receptions, personnel, and outreach. If you would like to participate in any of these activities,
please contact Valerie Clausen (Executive Director) at 303–653–2407 or email at vclausen@
denverphilharmonic.org.
ADMINISTRATIVE VOLUNTEERSORCHESTRA ROSTERAnnie Laury
CONCERT PROGRAMLigature Creative Group, design
Valerie Clausen, editing
Walker Burns, editing
USHERS & RECEPTION COORDINATORSGil Clausen
Doug Gragg
Lok Jacobi
Allison Lausten
Hugh Pitcher
Roger Powell
Robert Schoenrock
OUTREACH Lok Jacobi
Maureen Keil
Linda Lebsack
CONCERT RECORDINGJoel Dallenbach
BOX OFFICE/ TICKET SALESGil Clausen
Carla Cody
Amanda Hand
Venus Klein
Annie Laury
Jon Olafson
Anna Schultz
BACKSTAGE COORDINATORSDoug Gragg
Anna Schultz
Jän Schultz
PARKING ADVISORAllison Lausten
1 8 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
With regard to New Beginnings, the work:
while its composition in 2000 coincided
fittingly with the Millennium, it was actually
composed on commission by the Bronson
Hospital in Kalamazoo, Michigan. To observe
the opening of the hospital’s new 200 million
dollar facility, the Kalamazoo Symphony
played the première of this work by com-
poser Peter Boyer. Boyer has won numerous
national competitions and has received many
commissions and performances of his works.
Committed to higher education as well as
to composition, Boyer was appointed in
1996 to the faculty at Claremont Graduate
University when he was 26. At age 29, he was
named the inaugural appointee of the Helen
M. Smith Chair in Music, and became a Full
Professor there at 39. In addition, Boyer was
appointed as the 2012–13 Composer-in-
Residence for the Pasadena Symphony, which
commissioned his Symphony No. 1.
The composer writes of his New Beginnings:
New Beginnings is in one movement, which
falls into four clearly delineated sections. The
first section, in a fast tempo, is dominated
by a fanfare which begins immediately in the
trumpets and horns. This fanfare leads to a
percussion flourish, and a swell of sound in
OCTOBER 4 ∙ NEW BEGINNINGSby DR. SUZANNE L. MOULTON-GERTIG
New BeginningsPeter Boyer (1970 – )
New Beginnings is an appropriate title for both the first work on this evening’s program and the DPO’s new season with our conductor, Dr. Lawrence Golan.
N E W B E G I N N I N G S 1 9
which the entire orchestra gradually enters. A
relentlessly repeated rhythmic figure begins
in the strings (here divided into twelve parts
instead of the customary five), and continues
for some time, while the brass punch out
figures derived from the fanfare, and the
flutes and clarinets add a busy filigree.
“Pyramids” of sound, built up from bottom
to top, appear in the brass, and the energy of
the first section begins to subside, ushering
in the second section. This is in a slow tempo
(exactly half that of the first), and is domi-
nated by a melody which is first played by a
solo oboe. This simple, “folk-like” tune is the
most important melody in the work. After the
oboe, it is played by a solo trumpet, followed
by the strings and horns in canon, while
the fanfare motive is tossed around above
it by the piccolos. A short duet for English
horn and flute follows. The flute plays the
beginning of the melody, then introduces a
rhythmic idea which accelerates into the third
section, which is in a moderate tempo. The
horns introduce a new melody here, while the
rest of the orchestra provides a busy accom-
paniment. The energy of this third section
gradually dissipates, until all that remains
is the flute and a few violins. This leads to
the fourth and largest section of the piece,
which is characterized by mixed meters. Two
prominent mixed meters used here are 7/8
(always 3+2+2), introduced by shaker, triangle
and congas; and later, 10/8 (always 3+3+2+2),
introduced by flutes. In this section, both
the opening fanfare motive and the previous
horn melody recur, in new rhythmic guises.
Percussion features prominently in this
section. There is a gradual buildup of energy,
which leads to a return of the formerly “folk-
like” tune, now played in grand fashion by
the trumpets and strings, with a number of
busy accompanying figures in the rest of
the orchestra. This leads to the return of the
complete opening fanfare, now in a new,
brighter key, following which the percussion
punctuate the orchestra’s final flourish.
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N E W B E G I N N I N G S 2 1
Concerto for Bass Trombone and OrchestraChristopher Brubeck (1952 – )
The third son of noted jazz pianist and composer Dave Brubeck, Christopher Brubeck was born on March 19, 1952 in Los Angeles. He is a performing musician and composer of both jazz and classical music.
In 2003, Brubeck played the concerto per-
formed this evening with the Czech National
Symphony Orchestra. A year later, he com-
posed a second concerto entitled The Prague Concerto for Bass Trombone and Orchestra.
The first concerto for bass trombone and or-
chestra has received multiple performances at
the International Trombone Festival and with
the Boston Pops, the Pittsburgh Symphony,
the Baltimore Symphony and the Royal
Philharmonic Orchestra. To date, he has com-
posed three concerti for this instrument.
The origin of the concerto is a little unusual.
The composer explains:
Having spent many years of my adolescence
playing in youth orchestras, counting endless
measures, playing trombone for only a few
passages, and then frustratingly having to
count more measures of rest yet again, I
resorted to frequent musical daydreams.
In fact, I used to have musical nightmares
about not being able to contain myself any
longer, and would visualize myself jumping
up from the back of the orchestra to unleash
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improvisations much to the conductor’s horror.
So imagine how my wheels began turning
when in 1991 I was approached by the Greater
Bridgeport Symphony Youth Orchestra (in my
home State of Connecticut) to compose a
work utilizing their high school aged students.
Being a veteran of that scene, and a strong
advocate for the arts in our schools, I couldn’t
resist the chance to compose for these forces.
My goal was to write a challenging work
that would keep all sections of the orchestra
on their toes, expose them to odd time
signatures, polytonality, and above all, remind
them that music was supposed to be joyous,
energetic, beautiful, adventurous, powerful,
and even humorous!
The composer describes the work’s three
movements:
“Paradise Utopia” (mov. 1) is sizzling with
American expansionist energy. I imagine a
Donald Trump-like figure maniacally rebuild-
ing the New York skyline. A jazz element was
inescapable and, realizing my old nightmare/
dream, quite a bit of the trombone solo is
meant to be improvised.
The second movement, “Sorrow Floats,” is a
reflective Adagio; I must admit I was inspired
to name the movement after a chapter title
from one of my favorite novels by John Irving
[The Hotel New Hampshire].
The name of the third movement, “James
Brown in The Twilight Zone,” might benefit
from a note of explanation. The title refers
to dual compositional elements used
throughout; two bars from the “turn around”
of the Godfather of Soul’s “I Feel Good,”
and an ascending chromatic passage (orig-
inating in the piano and pizzicato strings)
which is reminiscent of the music used in
Rod Serling’s innovative TV anthology. In
addition to these very American cultural
influences, the First Gulf War was being
waged and Middle Eastern threads started
to weave through the music.
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Her vision was a non-profit conservatory
that would be open to all without regard
to race or ability to pay. Set up on the
general plan of the Paris Conservatoire, it
received its charter by Congress. It was not
smooth sailing for the school, however. Its
first director, a Belgian baritone quitted the
school in 1891 to return to Europe. Upon
advice, Thurber approached Dvořák about
becoming its head. At the time she offered
the composer an attractive two-year con-
tract with a salary of $15,000 per year, along
with four months off during that period.
Initially, Dvořák refused, having a contract
already with the Prague Conservatory. Not
to be gainsaid, Thurber continued her
offers and even sent him a contract. Finally
the authorities at the Prague Conservatory
granted Dvořák a leave of absence to make
the move possible and the composer, with
Symphony No. 5 in E Minor, Op.95“From the New World”Antonin Dvořák (1841 – 1904)
In 1885, Jeanette M. Thurber, the spouse of an affluent wholesale grocer in New York City, abandoned her attempts to compete with the Metropolitan Opera by producing operatic performances in English to start a new project: to establish a National Conservatory of Music.
N E W B E G I N N I N G S 2 5
his wife, two of his six progeny and his friend
and secretary, Joseph Kovarik, travelled
aboard the steamship Scale to New York in
September of 1892.
While serving as director, Dvořák was, of
course, actively composing. Meanwhile,
Jeanette Thurber (along with Dvořák’s
students) became virtual evangelists for
American music. As a result, the composer
was introduced to Negro Spirituals, to the
writings of Longfellow, and particularly to
the writer’s Song of Hiawatha in the hope
that Dvořák would use the poem as text for
an opera. In addition, Thurber went to the
extent of offering a prize for the best opera
by an American-born composer with Dvořák
selected to be the judge.
All during his first winter in New York,
Dvořák enjoyed the distractions of the city.
An avid fan of both trains and ships, the
composer spent many hours watching trains
at the station and going down to the docks
to “inspect” steamships prior to sailing.
Of course, he made a number of musical
sketches in his notebooks when not subject
to those diversions. Come spring, the
composer took his four-month leave to visit
a Czech settlement in Spillville, Iowa, and
cabled for his remaining four children to join
the family there. With all the family present,
including a sister, a maid, and the secretary,
the Dvořáks embraced the community.
During this time, Dvořák rendered significant
attention to a band of Iroquois (Kickapoo)
Indians in the area by studying their dance
and song and, interestingly, became inter-
ested in American birdsong, as well. At this
juncture, Dvořák had largely composed the
music that would become the New World
Symphony, orchestrating it while in Spillville.
Returning to New York, it had its première at
Carnegie Hall on December 15, 1893.
The symphony was wildly successful and
the performance was repeated in Vienna.
All was well; then the controversy erupted
2 6 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
about the origins of the melodies used in
the work. Some claimed the work was based
on American Indian melodies; others insist-
ed the melodies were Czech. Dvořák did not
help the confusion by statements he made
prior to the first performance:
I am satisfied that the future music of this
country must be founded upon what are
called the Negro melodies. These can be
the foundation of a serious and original
school of composition, to be developed in
the United States. When first I came here
I was impressed with this idea, and it has
developed into a settled conviction. These
beautiful and varied themes are the product
of the soil. They are American. They are the
folksongs of America, and your composers
must turn to them. All the great musicians
have borrowed from the songs of the com-
mon people.
Do note that the composer did not say that
he used these melodies. In fact, he later
wrote a colleague and said, “…omit that
nonsense about my having made use of
‘Indian’ and ‘American’ themes — that is a
lie, I tried to write only in the spirit of those
national American melodies.”
As to the music itself, the work opens with
an Adagio introduction, giving way to a
rhythmically lively Allegro molto. The Largo
second movement features a memorable
melody that took on a life of its own as a
popular song, “Goin’ Home.” The Scherzo
third movement, marked Molto vivace,
contains “disputed” melodies, heard either
as Czech, or as an American Indian dance
replete with chant and singing. The Allegro
con fuoco Finale presents not only its own
theme, but brings back some others from
the previous movements.
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2 8 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
• PHONES ON — SOUND OFF! We know
you want to participate, but let’s leave the
music to the pros
• ALL THUMBS Tweet tweet tweet all the
night through, but remember, no talking
during the concert
• Add the hashtag #DPOtweets to your posts
so your neighbors can follow along
• You don’t need a Twitter account to
read our tweets (just visit twitter.com/DenverPhilOrch), but if you’d like to tweet
along with us, you need an account
• “PG” tweets only —
C’mon, we’ve got kids here
TWEET YOUR HEART OUT
#DPOTweets@DenverPhilOrch
CLASSICAL MUSIC, MEET THE 21ST CENTURY
During the concert, we live-tweet photos, facts and tidbits about the music you’re listening to. Follow along, share and interact with us and other concert-goers on Twitter.
A FEW RULES
N E W B E G I N N I N G S 2 9
CONCERTETIQUETTE
BE COMFORTABLEThere’s no dress code. From jeans to suits,
you’ll see it all! Wear what you’d like — you’ll
fit in. We love you just the way you are.
APPLAUSE 101Many concertgoers are confused about when
to clap during an orchestra’s performance.
Before the mid 19th century, audiences would
routinely applaud between movements to
show their joy for the music the just heard.
Around the mid 19th century, it became tra-
dition in Germany for audiences to wait until
the end of the piece to clap, sitting silently
between movements. That tradition spread
and is now commonly accepted and taught.
At the DPO, we welcome both traditions.
If you prefer to wait for the end of a piece,
that is fine. If you want to respectfully show
your appreciation between movements, we
welcome that too. Regardless, we want you
to feel comfortable and focus on the perfor-
mance, not confusing applause rules!
COUGHINGAhem… Try to ‘bury’ your cough in a loud
passage of music. If you can’t or you begin
to cough a lot, don’t worry — it’s perfectly
acceptable and appropriate to quietly exit
the concert hall. Remember to unwrap cough
drops before the concert so you don’t create
crackling noises.
CRY ROOMChild feelin’ fidgety? We have a designated
cry room at the back of the hall on the right
side of the lower level (as you enter the hall).
The room is marked with a sign.
ELECTRONICSPlease turn the sound off on your cell phones,
pagers, and any other noise-making device.
SOCIAL MEDIAFeel free to tweet, post to Facebook or take
photos without flash. Upload your pics and
comments online — and be sure to tag us!
If you are attending your first classical music concert, below are some frequently asked questions to help make your experience more enjoyable.
3 0 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
ORCHESTRA SPOTLIGHT
NAFTARI BURNSCELLOFOURTH DPO SEASON. Naftari started play-
ing piano at age 6, and picked up the cello
at age 9. When she first started playing the
cello, she had no idea what it was and had
to ask the kid next to her. Though her first
choice was the violin, Naftari brought home
a cello and her mother asked, “why couldn’t
you get a smaller instrument?” She has
played with the Metro State Symphony and
with the Jefferson Symphony under William
Morse. She works at Kolacny Music where
she sells and services band and orchestra
instruments and harps. Naftari graduated
Metropolitan State College of Denver with a
degree in music performance.
TARYN GALOWDOUBLE BASSSECOND DPO SEASON. Taryn has been
playing Bass and Piano since she was 9. She
has played in Aurora’s Varsity Orchestra,
Colorado Youth Symphony, Denver Young
Artists Orchestra, University of Northern
Colorado Symphony & Chamber Orchestra,
Greeley Chamber Orchestra, Greeley
Philharmonic, Loveland Friends of Chamber
Music, Lone Tree Symphony Orchestra,
Central Michigan University Symphony, and
Midland Symphony. She is a Literary Braillist
for the public schools transcribing print into
Braille for visually impaired students so they
have the same access to materials as sighted
children. She composes contemporary Neo-
Avante-Garde and other pieces of music, and
teaches beginning piano and bass. Taryn is
the former Entertainment Coordinator for
the American Heart Association HeartWalk.
She is the proud auntie of two nieces and
two nephews and is sometimes lovingly
known as “Aunt Fuzzy.” She enjoys the
Denver Dining experiences, theatre, art,
photography, the many concerts at various
venues around Colorado, and an occa-
sional Rockies game. She has bachelor’s
degrees in Music Performance, and Theory
& Composition from the University of
Northern Colorado, and a master’s degree
in Music Composition from Central Michigan
University. Additionally, Taryn has a Colorado
State Certification in Literary Braille.
Who are the hard-working men and women behind those music stands? Get to know your orchestra! Each concert, we spotlight a few of our talented musicians here in the program. Tonight, meet Naftari, Taryn, and Tyler—
N E W B E G I N N I N G S 3 1
ORCHESTRA SPOTLIGHT
TYLER VAN DAMTRUMPETFIRST DPO SEASON. Starting his musical
career in elementary school, Tyler has been
playing trumpet for 16 years. He has had
the great fortune of playing with the Blue
Knights Drum and Bugle Corps from Denver,
the Santa Clara Vanguard Drum and Bugle
Corps from Santa Clara, California, with the
Musica Sacra Chamber Orchestra, Littleton
Symphony Orchestra, Jefferson County
Symphony Orchestra, and the Colorado Wind
Ensemble. Aside from being a full-time stu-
dent, Tyler works at Starbucks and assists area
high school marching bands in the summer
and fall. Tyler enjoys spending as much
time as he can have in the mountains—be it
driving, hiking, or taking pictures. He is also
active in the community supporting transgen-
der rights and equality. After studying trum-
pet for three years at University of Colorado,
he is now in his second year of studies at
Metropolitan State University where he is
majoring in music performance and will
graduate in 2014. His mother is timpanist for
Musica Sacra Chamber Orchestra, and his
father is second clarinetist for both Musica
Sacra Chamber Orchestra and Boulder
Symphony Orchestra; without their influence,
he would have chosen another path in life.
3 2 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
DR. HORST BUCHHOLZCONDUCTOR LAUREATE
In the history of the orchestra, he is the first conductor awarded this
prestigious title.
Highlights of his tenure with the DPO include a dramatic improve-
ment in the artistic quality of the orchestra, original and rarely heard
programming, and increased visibility of the orchestra throughout
the community.
Horst’s strong communication skills endeared him to audiences and
helped to spread his passion for and commitment to the value of
outstanding community orchestras.
Horst is currently Executive & Music Artistic Director of St. Louis
Cathedral Concerts and Director of Music at the Cathedral Basilica of
Saint Louis and the Archdiocese of St. Louis.
Horst was appointed Conductor Laureate of the Denver Philharmonic Orchestra in August 2009 following his distinguished, decade-long tenure as the orchestra’s Conductor and Music Director.
N E W B E G I N N I N G S 3 3
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 & Saturdaynoon - 6 p.m.
Other times by appointment or chance.
Free printed cataloguesand 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 nNeed Sheet Music?
Used & Out of Print in very good condition!All instruments & thousands of songs
Shop TJ’s Music in the Broadway Book Mall200 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
3 4 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
PUBLIC SUPPORTTHE SCIENTIFIC & CULTURAL FACILITIES DISTRICT
Since 1989, The Scientific and Cultural Facilities District (SCFD) has distributed funds from a 1/10 of 1% sales and use tax to cultural facilities throughout the seven-county Denver metropolitan area.
The funds support cultural facilities, like the DPO,
whose primary purpose is to enlighten and entertain the
public through the production, presentation, exhibition,
advancement and preservation of art, music, theatre,
dance, zoology, botany, natural history and cultural history.
N E W B E G I N N I N G S 3 5
ORCHESTRA’S CIRCLE($20,000+)Gil and Valerie Clausen
CONDUCTOR’S CIRCLE($5,000+)SCFD
CONCERTMASTER’S CIRCLE($2,500 – $4,999)
MUSICIAN’S CIRCLE($1,000 – $2,499)Linda M. Lebsack Books
PATRON($500 – $999)Jon Olafson
MeeAe Nam
BENEFACTOR($300 – $499)Russell Klein
Roger Powell
CONTRIBUTOR($100 – $299)Eleanor Glover
Lok Jacobi
Wolcott F. Rice
Catherine Ricca
Drs. Mark and Maxine Rossman
Thomas James Merry
John and Carol Tate
FRIEND(UP TO $99)Anonymous
Suzanne Mueller
IN-KIND SUPPORTERSThe Pillar of Fire Church
Ligature Creative Group
Newberry Brothers Greenhouse and Florist
CORPORATESUPPORTERSAlliance Data on behalf of Jonathan Fetherolf
CoBank on behalf of Brian Lucius
THANK YOU!
SUPPORTERS since January 2013
3 6 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
IT TAKES A COMMUNITY
INDIVIDUAL CONTRIBUTION DONATION AMOUNTOrchestra Circle $20,000 or above
Conductor Circle $5,000 – $19,999
Concertmaster Circle $2,500 – $4,999
Musician Circle $1,000 – $2,499
Patron $500 – $999
Benefactor $300 – $499
Contributor $100 – $299
Friend up to $99
Great adventures stem from new beginnings. Together we can embark on a musical journey that inspires and impacts our entire community. But we can’t do it alone. Help us make music with a tax-deductible contribution today. We are your orchestra.
CORPORATE CONTRIBUTION DONATION AMOUNTGold Partner $10,000 and above
Silver Partner $5,000 – $9,999
Copper Partner $1,000 – $4,999
You may also consider a planned gift, or donating to the orchestra in honor of someone’s
birthday, anniversary, or in memory of a loved one.
N E W B E G I N N I N G S 3 7
IT TAKES A COMMUNITYIf you would like to make a tax-deductible contribution to the Denver Philharmonic, please complete this form and mail to:
PO Box 6074Denver, CO 80206
or visit our website at DenverPhilharmonic.org and click on the DONATE link.
Contribution $ Check or Credit Card
Name
Address
City, State, Zip Code
Telephone Email
Credit Card No. Exp.
3 8 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
CONTACT US!PO Box 6074, Denver, CO 80206 303.653.2407
facebook.com/denverphilorch @denverphilorch DenverPhilharmonic.org