Denver Philharmonic Orchestra April 8, 2016 Concert Program

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april 8the one ringFEATURING THE LORD OF RINGS SYMPHONY

S. MORDECAI FUHRMANconductor

AARON WILLEflute

BERLIOZ

Les Franc-Juges (Judges of the Secret Court)

BLOCH

Suite Modale

DE MEIJ, ORCH. VLIEGER

Symphony No. 1 “Lord of the Rings”

2 0 1 5 – 1 6 O C T O B E R 2

N O V E M B E R 2 0D E C E M B E R 1 9F E B R U A R Y 1 9

A P R I L 8J U N E 3

Welcome to tonight’s Denver Philharmonic Orchestra concert! With all the events, theatre, music and festivals that Denver has to offer, we’re honored you are spending your evening with us.

We hope to create a wonderful memory and feeling that stays

with you long after the music has ended, and sometimes even

before the music has begun.

Tonight, I’ll be thinking about wise words from Henry David

Thoreau, who said, “When I hear music, I fear no danger. I am

invulnerable. I see no foe. I am related to the earliest times,

and to the latest.” Thoreau must have been to a DPO concert!

Listening to our passionate musicians fill this hall with music, we

hope that you “see no foe,” but instead find opportunities to

meet your neighbors, mingle with musicians, and take part in

the community offerings hosted by the DPO all season long!

Please, sit back, relax, silence (but do not put away) your phone

and experience the music! If you have any questions, or would

like to share your personal DPO story, please feel free to talk

with us: look for anyone with a blue name tag, or come and find

me — we love getting to know all of you, and hope you will

continue to make the Denver Philharmonic Orchestra a part of

your story now and in the future!

DEAR FRIENDS,

Sincerely,

Jon Olafson

President of the Board, DPO

Welcome and happy

spring! Tweet along with

me @denverphilorch

for insight into tonight’s

program.

3

OCTOBER 2 NATURE’S REALMLAWRENCE GOLAN, conductor and violin

VIVALDI “Autumn” from The Four SeasonsDVORÁK In Nature’s RealmTCHAIKOVSKY The Tempest; Fantasy-Overture, Op. 18SIBELIUS Symphony No. 5

NOVEMBER 20 INEXTINGUISHABLELAWRENCE GOLAN, conductorJAY CAMPBELL, cello

LOCKLAIR Phoenix for Orchestra (Colorado premiere)ELGAR Cello ConcertoNIELSEN Symphony No. 4 “Inextinguishable”

DECEMBER 19 HOLIDAY CHEER!SCOTT O’NEIL, guest conductorSYDNEY HARPER, sopranoand featuring COLORADO REPERTORY SINGERS, KYLE FLEMING, artistic director

Holiday favorites including:

CORELLI Excerpts from “Christmas Concerto”HANDEL Selections from MessiahTCHAIKOVSKY Selections from The Nutcracker

Full repertoire available at denverphilharmonic.org

FEBRUARY 19 SMASH HITS!LAWRENCE GOLAN, conductorSTEVEN LIN, piano

MOZART Symphony No. 40 in G MinorRACHMANINOFF Rhapsody on a Theme of PaganiniSTRAVINSKY The Firebird Suite

APRIL 8 THE ONE RING FEATURING THE LORD OF THE RINGS SYMPHONYS. MORDECAI FUHRMAN, conductorAARON WILLE, flute

BERLIOZ Les Franc-Juges (Judges of the Secret Court)BLOCH Suite ModaleDE MEIJ, ORCH . VLIEGER Symphony No. 1 “Lord of the Rings”

JUNE 3 EUROTRIPLAWRENCE GOLAN, conductor and violin

LI, CHUNLAI Ode to the Red FlagFRANCK Symphony in D MinorGERSHWIN , ARR. WHITNEY An American in Paris SuiteSMETANA The MoldauSTRAUSS JR. On the Beautiful Blue DanubeKREISLER, ARR. MCALISTER LiebesleidMONTI Czardas

BUY TICKETS ATdenverphilharmonic.org

2015–16season.

4 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N

Keeping you connected with in-depth news and music discovery.

Inform. Enlighten. Entertain.

5

FRIDAY, APRIL 8, 2016THE ONE RINGCentral Presbyterian Church · Denver, Colorado · 7:30 pm

S. Mordecai Fuhrman, conductorAaron Wille, flute

Hector Berlioz Overture to “Les Francs Juges”(1803 – 1869)

Ernest Bloch Suite Modale (1873 – 1943) featuring Aaron Wille, flute

I. Moderato

II. L’istesso Tempo

III. Allegro giocoso

IV. Adagio

∙ 1 5 - M I N U T E I N T E R M I S S I O N ∙

Johan de Meij Symphony No. 1b. 1953 “The Lord of the Rings” I. Gandalf (The Wizard)

II. Lothlórien (The Elvenwood)

III. Gollum (Sméagol)

featuring Tom Myer, saxophone

IV. Journey in the Dark

a. The Mines of Moria

b. The Bridge of Khazad-Dûm

V. Hobbits

MEET THE MUSICIANSReception Following the concert, meet & mingle in the lobby!


with atwist

Introducingclassical music

An intimate concert series at Dazzle Jazz featuring small ensembles, dinner and cocktails.

MIXED DRINK APRIL 27 @ 7PM

DA ZZ L E JA ZZ 93 0 L I N CO L N ST

Seating is limited. Buy now at denverphilharmonic.org or dazzlejazz.com.

7

LAWRENCE GOLANMUSIC DIRECTOR

In high demand across the United States and internationally,

Lawrence is also currently Music Director of the Yakima

Symphony Orchestra in Washington state, the York Symphony

Orchestra in Pennsylvania, and the Lamont Symphony

Orchestra & Opera Theatre at the University of Denver. In addi-

tion, he is the Principal Conductor of the Seoul Philharmonic in

South Korea. Lawrence continues to guest conduct professional

orchestras, opera, and ballet companies in the U.S. and around

the world. He has conducted in 26 states and 17 countries.

Lawrence has garnered considerable international recognition

for his work as a conductor. He has won 10 ASCAP Awards,

five Global Music Awards, three American Prize awards, three

Downbeat Magazine Awards, and two Prestige Music Awards.

Following a highly successful four-year term as Resident

Conductor of The Phoenix Symphony, Music Director Michael

Christie said that Lawrence “is a programmer of virtually unprec-

edented creativity and scope.” That sentiment was confirmed in

2012 when Lawrence was named the Grand Prize Winner of The

American Prize for Orchestral Programming.

The 2015–16 Season marks Lawrence’s third season as music director of the Denver Philharmonic Orchestra.


Lawrence is known for his inspired performances, imaginative

programming, passion for developing new audiences, and

excellent public speaking skills—entertaining and educating the

audience from both on and off the podium. He is also recog-

nized for his expertise in the complete spectrum of musical styles

and periods. He has worked with artists ranging from Leonard

Bernstein, Marilyn Horne, Daniel Barenboim and Joshua Bell to

Frank Sinatra, Kenny G and ShaNaNa.

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.

Lawrence and his wife Cecilia, who is from Buenos Aires,

Argentina, have been married since 2003. They have two won-

derful children: Giovanna and Joseph. Lawrence is represented

by William Reinert Associates in New York. For more information,

please visit LawrenceGolan.com or WilliamReinert.com.

9

http://www.LawrenceGolan.com

http://www.WilliamReinert.com

S. MORDECAI FUHRMANCONDUCTOR

Samuel has performed with and conducted Wilmington

Community Orchestra in Delaware, Center City Opera Theater

in Pennsylvania, Cleveland Pops Orchestra in Ohio, and Newark

Symphony Orchestra in Delaware, where he directed their inau-

gural Family Series in 2010.

Founder of the Reading Orchestra of North Wilmington,

Samuel received his undergraduate degree in music in percus-

sion/timpani at the University of Delaware. In 2007, he won the

University of Delaware Concerto Competition, performing Eric

Bryce’s Concerto for Marimba / Vibraphone and Orchestra with

the University of Delaware Symphony.

Samuel studied conducting at the Cleveland Institute of Music,

where he led multiple performances and received a Master of

Music degree in 2014. In August 2013, Samuel led members of

Kiev Chamber Orchestra and National Philharmonic Orchestra of

Ukraine in a performance of Aaron Copland’s Appalachian Spring

as part of the U Artist Music Festival.

In addition to music, Samuel enjoys studying and contemplating

cosmology and the evolution of the universe with his wife, Emily.

This is his second season as associate conductor of the Denver

Philharmonic Orchestra.

Conductor, percussionist, timpanist, and arranger, Samuel Mordecai Fuhrman is a graduate of the University of Delaware and the Cleveland Institute of Music.

1 0 2 0 1 5 – 1 6 T H E S I X T Y - E I G H 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, there are kids here.

• Free WiFi? Now, that’s fly.

Name: cpcwireless

Password: welcomecentral

TWEET YOUR HEART OUT

#DPOTweets@DenverPhilOrch

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…

1 1

AARON WILLEFLUTE

Aaron is a flutist, saxophonist and a freelance musician in his 13th season with the DPO.

As a Denver native, Aaron started playing flute and jazz/classical

saxophone in sixth grade. While at Englewood High School,

he won numerous awards and was selected as piccoloist of All

State Orchestra and Colorado All State Band, playing lead alto

in Colorado State University Honor Band and Honor Jazz Band.

Aaron also played piccolo/flute with the Denver Young Artist

Orchestra and Colorado Youth Symphony Orchestra.

He is a graduate of Lamont School of Music with a Bachelor’s

degree in Flute Performance under Pamela Endsley. At Lamont,

Aaron studied jazz and classical saxophone with Art Bouton,

and he played in the Lamont Symphony Orchestra and various

ensembles. He has also studied jazz with Denver’s own Rich

Chiaraluce and Laura Newman. While at Lamont, Aaron won

outstanding piccoloist from Downbeat magazine.

He has had the privilege to be a performer in masterclasses by

James Walker, Carol Wincenc and Walfrid Kujala. Aaron has

played with composer and musician David Amram and jazz

artist, author and composer Jerry Bergonzi, professor at the New

England Conservatory of Music.

As a freelance musician, Aaron has enjoyed playing with the

Denver Municipal Band under Gerald Endsley and the Denver

Feast Band under the direction of Dr. Jess Gerardi, and he plays

as a pit orchestra member as lead reed in numerous musicals.

Outside of music, Aaron is a computer technician and feels

privileged to play with Lawrence Golan and the fine musicians

of the Denver Philharmonic.


Welcome to Central Presbyterian Church,an enthusiastic partner of the Denver Philharmonic and a dedicated supporter of the downtown arts and music communities. The historic sanctuary, the third in the church’s history, was designed by renowned Denver architect Frank Edbrooke and built in 1891. Though the pipe organ has been replaced several times throughout the church’s history, most recently by the Reuter Organ Company in 1962, the hand-painted organ facade pipes are original to the space. On Sunday mornings at Central, the

music of the classical masters lives

comfortably next to gospel music

and spirituals, shape-note hymns

performed in the Sacred Harp tradition,

performances by our folk-rock youth

band, medieval chant, and everything in

between. A founding member of many

successful nonprofits that serve the

downtown community, Central houses

the New Genesis Transitional Shelter in

the basement just below your feet, the

Central Visitation Program on the third

floor of this building, and is closely

involved with the Metro Caring hunger

relief center and the Colfax Community

Network.

We hope you enjoy tonight’s concert,

and hope you’ll come back for more!

www.centraldenver.com/music

1 3

We have a lot of fun at our concerts — we live-tweet performances, hold lively pre-concert

chats, and we’ve mingled over great eats at food truck tailgates, hiked South Table Mountain

in Golden, sipped local wine, welcomed over 80 students from El Sistema Colorado as our

opening act, hosted Valentine’s Day photo booths, enjoyed handmade truffles, brought in an

instrument petting zoo, partnered with the Denver Museum of Nature and Science to bring

the Gates Planetarium (and the entire universe) into the hall, and more!

Here’s a taste of what’s in store for season finale —

EUROTRIPJUNE 3, 2016

FOOD TRUCK TAILGATE, 5:30–7:15PM

Our signature symphony tailgating is not to

be missed! Starting at 5:30pm. Sorry friends,

no booze at this family-friendly tailgate!

CHEERS!, STARTING AT 6:15PM

Clink a glass of craft beer from Ursula

Brewery! Sorry kids, this More than Music

event is 21+ only. $5.

COFFEE STATION, STARTING AT 6:15PM

Our friends at Purple Door Coffee will be

brewing java for you to enjoy.

PRE-CONCERT CHAT, 6:30PM

Join Associate Conductor S. Mordecai

Fuhrman for an informal preconcert chat

that will give you insights into the music and

music-makers you’ll be listening to.

RECEPTION, POSTCONCERT

Say hello! Join us in the lobby after the

concert for refreshments, meet the soloists,

buy a t-shirt — and have fun!

MORE THAN MUSIC.Attending a concert with us goes beyond an evening of high-caliber classical music.

Visit denverphilharmonic.org for concert tickets and info on all of our upcoming events.


MORE THAN MUSIC.

1 5

MUSIC DIRECTOR Lawrence Golan

ASSOCIATE CONDUCTORS. Mordecai Fuhrman

FIRST VIOLINKatherine Thayer, concertmasterAllison Kim, associate concertmasterPatsy AronsteinCarrie BeederMatt GroveThomas JatkoLubia MontenegroWendy Montenegro Autumn PepperEmmy ReidElizabeth Wall

SECOND VIOLINYiran Li, principal Niccolo Werner CasewitValerie ClausenChristina ColalanciaTerri GonzalesAnnie LauryCallista MedlandFrancisca PretoriusAnne SilvasAlbert Ting

VIOLAWilliam Hinkie III, principalNaomi CroghanVictoria DiMarzioLori HansonBen LueyKathleen TorkkoAnita Zerbe

CELLOBryan Scafuri, principalNaftari BurnsKyle LaneyAnnastasia PsitosMonica SálesAmanda ThallRachel WarbelowRachel Yanovitch

BASSMark Stefaniw, principalLucy BauerJosh FilleyTaryn GalowColton KellyJordan Walters, student intern

FLUTEAaron Wille, principal Catherine Ricca Lanzano

PICCOLOWhitney Kelley

OUR MUSICIANS


OBOEKimberly Brody, principalLoren Meaux, assistant principalAlexis Junker

ENGLISH HORNLoren Meaux

CLARINETShaun Burley, principalClaude Wilbur

E-FLAT CLARINETJessica Clark

BASSOONKen Greenwald, principalNicholas Lengyel

CONTRABASSOONLeigh Townsend

HORNKatie Glassman, acting principal Jeanine BrantingKelli HirschMary Brauer

TRUMPETRyan Spencer, principalAriel Van DamNick Kenny

TROMBONEWilliam Combs, principal Wallace Orr

BASS TROMBONEDaniel Morris

TUBADarren DeLaupHeather Ewer

SAXOPHONE Tom Myer

TIMPANISteve Bulota, principal

PERCUSSIONHeather ChurchRoss CoonsScott HedleyJackson Stevens

HARPRebecca Moritzky, principalJenilee Elsbernd

KEYBOARDAni Gyulamiryan

1 7

BOARD OF DIRECTORSPRESIDENT Jon OlafsonVICE-PRESIDENT Eleanor GloverSECRETARY Linda LebsackTREASURER Allison LaustenPauline Dallenbach, Honorary MemberDr. Robert DallenbachAlixandra FeeleySarah HoganRussell KleinMaureen KeilMatt MeierTenley Oldak

DENVER PHILHARMONIC FOUNDATION BOARDKeith FisherRussell KleinAllison Lausten

EXECUTIVE DIRECTORValerie Clausen

OPERATIONS MANAGERAlixandra Feeley

PERSONNEL MANAGERAnnie Laury

STAGE MANAGERSTaryn GalowLoren Meaux

MUSIC LIBRARIANCallista MedlandAlyssa Oland, assistant

CONCERT PROGRAMLigature Creative Group, designWalker Burns, editingAlixandra Feeley, editingMaría Angélica Lasso, Spanish translationCallista Medland, editingNatalie Piontek, program notes

AUDIO TECHJoel Dallenbach

WEBMASTERLigature Creative Group

EMBEDDED REPORTERJulia ComptonMeg Satrom, editor

PUBLICITY & DEVELOPMENTNiccolo CasewitDr. Robert DallenbachStephanie Gillman, photographerEleanor GloverAli McNallyMatt MeierKatrina NiemistoJeff PaulDavid Sherman

OUR TEAM


VOLUNTEERING OPPORTUNITIESOur orchestra is run by volunteers, with no paid administrative staff. We would 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 Executive Director Valerie Clausen at 303.653.2407 or

email at [email protected].

OUTREACHTenley OldakKatherine ThayerDavid Wallace

DATA WRANGLERCallista Medland

BOX OFFICECris Diaz, habla españolSarah HoganVenus KleinMaría Angélica Lasso, habla españolAnnie LauryAllison LaustenAli McNallyJon Olafson

FRONT OF HOUSEGil ClausenEleanor GloverMaureen KeilRussell KleinLinda LebsackBrian McGuire Karen McGuireStephen O’RourkeKali Sheldon

RECEPTIONAmy AndersonAllison Lausten

PARKING ADVISORSLinda LebsackHugh Pitcher

MORE THAN MUSICPARTNERSPurple Door CoffeeUrsula Brewing

1 9

PRESS PLAY!

davidshermancreative.com

“Playing Out” is created in part by

local filmmaker David Sherman. David

specializes in arts marketing, media

literacy and education.

The latest episode in our “Playing Out” webseries, Playing Out with S. Mordecai Fuhrman, premiered this week on YouTube.com/DenverPhilharmonic.

“Playing Out” takes musicians out on the

town performing in and around Denver.

Watch pianist Fei-Fei Dong play Gershwin’s

Rhapsody in Blue on a 16th Street Mall

piano, Music Director Lawrence Golan

on violin at the Botanic Gardens with

Vivaldi’s “Autumn,” cellist Jay Campbell

explore downtown and perform Elgar’s

Cello Concerto, Sydney Harper carol at

The Brown Palace or pianist Steven Lin flip

records at Wax Trax II.


APRIL 8 ∙ THE ONE RINGby NATALIE PIONTEK

In addition to his compositional talents, Hector Berlioz was a highly respected conductor, writer and critic. His Treatise on Instrumentation serves as one of the leading resources for composers on how to write compelling and evocative music for full orchestra.

HISTORYHector Berlioz’s rise to fame follows an unusual trajectory. Unlike

the vast majority of composers, Berlioz never learned to play

the piano, and he was frequently discouraged from learning

music by his father. However, he had a passion for composition

at an early age, teaching himself how to write proper melody

and harmony from textbooks alone. Similarly, without any formal

instruction, he learned to play flute and guitar, the latter at which

After seeing actress

Harriet Smithson

perform Shakespeare,

Berlioz fell in love. After

writing her many impas-

sioned love letters, the

two eventually married.

Smooth move, Hector!

Duration: 12 minutes

Overture to Les Francs Juges Hector Berlioz (1803 – 1869)

2 1

he was considered quite proficient.

Instead of going to a conservatory in his

late teens, the composer entered medical

school. He did so to please his parents,

but he unfortunately soon found himself

rather bored and disgusted by medicine

(a sentiment which was largely brought

on when he witnessed the dissection of a

corpse in class). In 1824, he left medical

school. He began his formal studies at the

renowned Paris Conservatory in 1826.

ABOUT THE COMPOSERBerlioz is a French Romantic composer.

He was chiefly inspired by the work of

Christoph Willibald Gluck and Ludwig van

Beethoven, and he is perhaps best known

for shepherding the tradition of program

music: music that follows an external narra-

tive or story. His most famous composition

is the Symphonie Fantastique, an orches-

tral composition about a poet whose un-

requited love leads him into deep delirium

and despair (based on his own love for

actress Harriet Smithson!).

ABOUT THE PIECELes Francs Juges was originally intended

to be the overture to an opera. Berlioz

was going to write the accompanying

music to the libretto by his friend Humbert

Ferrand, but he never completed the work.

Les Francs Juges exists as a standalone

composition in its own right, and it is also

the first work that Berlioz ever composed

for full orchestra.

The title, Les Francs Juges, literally means

“The Free Judges.” It refers to the Vehmic

courts, assemblies of vigilante crime fight-

ers that existed in Germany in the Middle

Ages (they were also called the “secret

courts” or “silent courts”).

The piece opens in the sinister key of F

minor, with small exchanges of two-note

motives between the strings. Snappy

flourishes and abrupt runs in the strings

throughout the piece give the work its

propulsive energy. Soon, the brass enters

on a bombastic and militant B-flat minor

chord, luring us deeper into the ominous

atmosphere. However, the mood is soon

lightened again, with the violins playing a

cheerful theme in F major, and the trum-

pets engaging in a sprightly dance. The

movement concludes with woodwinds,

brass, and strings coming together for a

joyous and raucous fanfare.


Ernest Bloch had a fascination with exploring inventive chromaticism, low sonorities, and rich tone colors. Perhaps because of his interest in the deeper sonorities, he made significant contributions to the viola repertoire — a lower-voiced instrument rarely composed for as a solo instrument. Among these works are his Suite for Viola and Orchestra and Works for Viola and Piano.

ABOUT ERNEST BLOCHErnest Bloch was born in 1880 in Geneva, Switzerland. His music

carries with it distinct influence from his Jewish heritage along

with a number of post-Romantic influences, specifically from

composers Claude Debussy and Richard Strauss. In 1916, Bloch

moved to the United States, where he first toured as conductor

of the Maud Allen dance company, and eventually settled in

New York.

Bloch was as passionate an instructor as he was a composer. He

taught theory and composition at New York’s Mannes College

of Music from 1917 to 1920, was founding director of the

Cleveland Institute of Music from 1920 to 1925, directed the San

Francisco Conservatory of Music from 1925 to 1930, and taught

at the University of California at Berkeley from 1940 until his

retirement in 1952. His students include such notable composers

as Douglas Moore and Frederick Jacobi. He was also a talented

student himself, having studied with master violinist and famed

composer Eugene Ysaÿe in Brussels.

Ernest Bloch was also

an avid photographer

and had a strange,

lifelong hobby of

collecting mushrooms.


Suite Modale Ernest Bloch (1880 – 1959)

2 5

ABOUT THE WORKThe Suite Modale for flute and orchestra is

an archetypal example of Bloch’s interest

in chromaticism and evocative tone colors.

It begins ambiguously on the dominant

chord in the key of A minor, with the flute

weaving in and out of the sustained chords

in the orchestra, giving the first movement

a sentiment of wandering, of never quite

wanting to settle down. By opening with

the dominant chord, the movement

already feels unsteady, as by nature we are

inclined to hear the dominant chord want-

ing to resolve to the tonic, or the chord of

the home key. Also notable is that the flute

rarely reaches to a note above a high D;

the writing is concentrated on the flute’s

lower register, which is arguably the realm

for the flute that is capable of the most

variations in tone color. Slight alterations in

technique can change the sound from light

to dark, hollow to dense, smooth to gritty,

wispy to clear.

Bloch wrote this work for the flutist Elaine

Shaffer in 1956. It was written as he was

battling cancer toward the end of his life,

which explains the brooding, thoughtful

sentiment that pervades the first and

second movements. However, the last

movement is much brighter than the first

two movements, with the flute finally be-

ginning to explore the jubilant sonorities

in the higher register. It closes in the same

haunting yet mysterious way it began, yet

this time with a feeling of resolution.

BCOCOLORADO.ORG

Encore! Audience Favorites OCT 16,17,18

Mystery and Joy DEC 4 & 6

Bach Times Three FEB 26,27,28

Fanfares and Flourishes MAY 20,21,22

10TH ANNIVERSARY SEASON 2015/16


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Johan de Meij wrote his “The Lord of the Rings” Symphony from 1984 to 1988 — long before Peter Jackson began his wildly successful film franchise based on Tolkien’s novels in 2001. It is structured in five movements, with each movement depicting a particular character.

ABOUT THE COMPOSERBorn in 1953 in South Holland, de Meij is a revered conductor,

composer, and trombonist. He has written primarily for the

orchestration of wind ensemble, with four symphonies com-

posed for wind ensemble to date. Each of his symphonies has a

programmatic title. The Symphony No. 1 is commonly referred

to as his “Lord of the Rings” Symphony and is based on the

internationally celebrated novels by J.R.R. Tolkien; his Symphony

No. 2 he called “The Big Apple” (based on New York City); the

De Meij holds the presti-

gious position of being a

regular guest conductor

with the Simón Bolívar

Youth Wind Orchestra

in Caracas, Venezuela, a

division of the successful

El Sistema educational

system.


Symphony No. 1, “The Lord of the Rings”Johan de Meij b. 1953

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Symphony No. 3 is his “Planet Earth”

Symphony; and the most recent Symphony

No. 4 has the nickname of “Sinfonie der

Lieder,” or “Symphony of Songs.”

ABOUT THE MUSICThe opening of the first movement,

“Gandalf,” is a clear nod to de Meij’s

training as a trombonist: it begins with a

brilliant fanfare in the brass, followed by

lightning-fast 16th-note runs in the upper

register of the flutes. The low strings intro-

duce the theme, accompanied by subdued

tones in the French horn. A solo trumpet

then adopts the theme which is countered

by pensive yearnings in the strings.

Eventually the violins take up the melody

as well, with the entire orchestra singing

at a proud fortissimo. An abrupt flourish in

the strings, an ominous heartbeat in the

timpani, and foreboding murmurs in the

tubas and low brass suggest that trouble

lies ahead. A rapid chase begins, with the

strings ushering the movement forward

with off-beat 16th-note motives. These

motives eventually climax into the brass

singing a noble, hymnal tune, and the

violins recalling the opening theme.

The second movement opens with a mys-

terious call in the E-flat clarinet — a small-

er, higher-pitched clarinet — supported

by sustained tones in the low strings.

A couple of chirps in the piccolo, brief

soliloquys in the oboes, and then a unified

dance in the woodwinds suggest different

woodland creatures. We are clearly in the

forested setting of the Elvenwood.

The third movement, “Gollum,” based on

the demented and personality-switching

creature from the novel, is depicted by a

variety of woodwinds and some unusual

techniques. One of these techniques is

flutter-tonguing in the woodwinds, a stut-

tering sound created by rapidly firing one’s

tongue while blowing air into the instru-

ment. Another technique that depicts

Gollum’s mentally deteriorating character

are the glissandi — slides between notes

— and the rapid tremolos in the strings, in

which the bow is rapidly moved back and

forth on a string.

The fourth movement, “Journey in the

Dark,” depicts Frodo wandering through

darkened forests, again signaled by omi-

nous tones and outbursts in the low brass.

The fifth and final movement, “Hobbits,”

recalls the heroic theme from the first

movement in full glory, and a dance is

introduced by the piano and percussion,

bringing the work to a light-hearted,

cheerful conclusion.

3 1

CONCERT ETIQUETT E

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.

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.

APPLAUSE 101In earlier times, audiences would routinely

applaud between movements to show

their joy for the music they just heard.

Then around the mid-19th century, it

became tradition to wait until the end of

the piece to clap, with the audience sitting

silent between movements.

At the DPO, we welcome both traditions.

If you prefer to wait for the end of a piece

to clap, please do. Some movements are

fiery and end in such a flare that you may

feel compelled to clap — go for it! After

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 comfort-

able and focus on the performance, not

confusing applause rules!

If you are attending your first (or 300th) classical music concert, below are some frequently asked questions to help make your experience more enjoyable.


CONCERT ETIQUETT E

SIT TIGHTThe 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-

termission as to not distract the musicians

or concert-goers around you.

PACK IT IN, PACK IT OUTYou’re welcome to bring a water bottle

into the hall, but remember “Trail Rules”

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

trash too!)

ELECTRONICSPlease turn the sound off on your cell

phones, pagers, and any other noise-

making device, including vibrate mode.

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! We’re on Facebook, Twitter and

Instagram @denverphilorch #dpotweets

HAVE FUN!Rules, rules, rules — we know, it can be

overwhelming. The most important rule of

all is to have fun and enjoy yourself. And

then tell all your friends and come back

again and again!

3 3

ORCHESTRA SPOTLIG HT

NAFTARI BURNSCELLOSIXTH 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 Jefferson Symphony under

William Morse. She works at Kolacny Music

where she sells and services band and

orchestra instruments and harps. Naftari

attended Metropolitan State College of

Denver for a degree in music performance.

ANI GYULAMIRYANKEYBOARDFIRST DPO SEASON. Ani has been study-

ing music for two decades. She always

focused on one instrument — the piano

— but also studied composition for some

time. She has had the privilege of playing

with Fairbanks Symphony, UAF Wind

Symphony, Fairbanks Youth Symphony,

and Lamont Symphony Orchestras.

With a Master of Music in Piano

Performance from University of Alaska

Fairbanks and Bachelor of Music in Piano

Performance from University of Denver,

Ani is a pianist and teacher and spends

her time working with music students and

collaborating with other musicians.

There are many musical members in Ani’s

family, and she is grateful that they are

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. Tonight, meet Naftari, Ani, Kelli, Whitney, Yiran, Ryan and Tara —


ORCHESTRA SPOTLIG HT

oct 11 | nov 14 | nov 15 | nov 21 | jan 24 | mar 06apr 24 | may 15 | jun 10 | dyao.org or 303.433.2420

Visit www.DYAO.org for more details, venues, times and programs!

Join Us and Hear the Future!

2015-2016

extremely accepting of her practicing at all

hours of the day! She enjoys the similarity

of Colorado weather and geography to

Armenia, where she grew up. Ani goes

mushroom picking every year, and has

grown fond of the proximity of the moun-

tains to the city.

KELLI HIRSCHFRENCH HORNEIGHTH DPO SEASON. Kelli received her

Bachelor of Music from Hastings College

in Nebraska. She’s been playing the French

horn for more than 20 years, is a member

of the Gossamer Wind Quintet and plays

3 5

the piano. Kelli is a fundraiser for Energy

Outreach Colorado.

Outside of work and the DPO, Kelli spends

her time with her husband and two beau-

tiful young daughters. They listen to a lot

of music together, read books and like to

enjoy nature.

WHITNEY KELLEYTHIRD FLUTE/PICCOLOTHIRD DPO SEASON. Whitney received

her D.M.A and M.M. in Flute Performance

and Pedagogy from the University of

Colorado with Christina Jennings, and

completed her B.M. with Tadeu Coelho at

the University of North Carolina School of

the Arts. She began to study flute at age 4

through the Suzuki Method, and music has

since played an integral part throughout

Whitney’s life.

Acclaimed for her “considerable tech-

nique” by the Winston-Salem Journal,

she has appeared as soloist in numerous

orchestral and recital settings, including

guest appearances with Hollywood film

composer Dave Grusin, jazz flutist Nestor

Torres and performances in the Ravinia

Summer Music Festival, Texas Music

Festival, Denver Pops, Jefferson Symphony

and Longmont Symphony Orchestras.


In addition to the Denver Philharmonic,

Whitney performs regularly with the

Cheyenne Symphony Orchestra and

presents recitals and masterclasses across

the country. Whitney maintains a thriving

private studio in the Denver metro area

where she lives with her husband and new-

ly welcomed daughter. Aside from music,

she enjoys photography, hiking in the

Rockies and cheering on the Broncos.

YIRAN LIPRINCIPAL SECOND VIOLINFOURTH DPO SEASON. Yiran started

playing the violin at at age 3, took violin as

her major in middle school and has played

with symphony orchestras and philharmon-

ic orchestras in China.

Yiran was offered full scholarship and

graduate teaching assistant position from

University of Denver Lamont Music School,

where she received her Master of Music de-

gree. She teaches private violin lessons and

has a classical duet with her husband Travis

Rollins called The Duality Duet. Together,

they perform for all kinds of special occa-

sions, which includes everything from wed-

dings to Solheim Cup opening and closing

ceremonies. And Yiran has a kitty!

3 7

2014/2015 Concert Season

Friday, October 16, 2015 | 7:30 pm water Günther Stegmüller, guest conductor Linda Wang, violin

Saturday, November 14, 2015 | 2:30 pm (FREE Children’s Concert)

oh, the music you’ll hear! Friday, December 4, 2015 | 7:30 pm a lso family christmas

Friday, February 12, 2016 | 7:30 pm wind Jason Shafer, clarinet

Friday, April 1, 2016 | 7:30 pm fire Matthew Zalkind, cello

Friday, May 13, 2016 | 7:30 pm earth Abigail Nims, mezzo-soprano

to purchase tickets: Visit LittletonSymphony.org, call 303-933-6824, or email [email protected].

RYAN SPENCERPRINCIPAL TRUMPETTHIRD DPO SEASON. Ryan is a

second-year graduate student at the

University of Denver's Lamont School of

Music. In pursuit of his Master’s degree

in Trumpet Performance, he plays in or-

chestra, wind ensemble, jazz band, faculty

and graduate brass quintets and other

chamber ensembles. Ryan is in his first

season as third trumpet with the Cheyenne

Symphony and as a member of Stratus

Chamber Orchestra (formerly Musica

Sacra). On occasion, Ryan performs with

Denver Brass, Colorado Wind Ensemble,

and Boulder Symphony.

Ryan has been composing and arranging

for various large and small ensembles for

over a decade. He studies with Dr. Chris

Malloy of DU and has studied with other

renowned composers such as Daniel

Kellogg, John Drumheller and Carter

Pann. He was the sound engineer for the

Santa Clara Vanguard Drum and Bugle

Corps (’09–’10), and marched with the

corps for two years prior (’07–’08), perform-

ing as a soloist and upper lead trumpet.

Ryan has been teaching brass at the

Bluecoats Drum and Bugle Corps since

2012, teaches private lessons on trumpet

and music theory, teaches with various

high school concert and marching band

programs across the state and regularly

participates in elementary school outreach

performances.

Ryan received dual Bachelor of Music

degrees from the CU-Boulder in 2008 for

trumpet performance and composition

with a Certificate in Music Technology. He

played in a wide variety of instrumental

ensembles and sang in choirs, received a

composition commission award in 2007,


and the Kappa Kappa Psi Honorarium

Scholarship in 2006. While attending high

school in Cobb County, Georgia, he per-

formed in All-State, district and regional

jazz and honor bands.

Ryan lives in Southeast Denver and enjoys

snowboarding, hiking, running, cycling,

reading, coffee and sushi.

TARA YODERCELLOFIFTH DPO SEASON. Tara started playing

cello at the age of 9 in her school orches-

tra. She has played with the South Bend

Youth Symphony, South Bend Side-by-Side

concerts, Donald A. Dake Chamber Music

Camp, and Goshen College Orchestra. At

Goshen College in Indiana, Tara received

her Bachelor of Arts in Chemistry and

Biology, with a minor in music perfor-

mance. Her mom came to nearly every

concert she ever played while she was in

Indiana (which was a lot!), and her mom’s

support was definitely appreciated.

Tara earned her Ph.D. in Applied

Chemistry from Colorado School of Mines

in December 2014 and currently works at

New Sky Energy in Boulder, CO. Beyond

playing cello, she also enjoys playing ulti-

mate frisbee, hiking, cycling, bouldering,

skiing and pretty much anything else that

is active and outdoors.

3 9

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 all of the orchestra’s concerts.

SUNDAY CLASSICAL MUSIC7:00 – 10:00 PMKPOF — 910 AM

Tune in to radio station KPOF (AM 910)from 7 – 10 pm on Sunday, April 17 for an encore of

tonight’s Denver Philharmonic performance!


We may be one of Denver’s oldest orchestras, but we certainly don’t act our age.

Dr. Antonia Brico, the first woman to con-

duct the Berlin and New York Philharmonic

Orchestras, founded our organization

in 1948 as the Denver Businessmen’s

Orchestra. Antonia settled in Denver

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 Russian-

American 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

change came in 2004, and we became

the Denver Philharmonic Orchestra. Horst

served as music director and conductor

through 2009, after which he was appoint-

ed the orchestra’s first Conductor Laureate.

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

Dr. 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 pro-

duce innovative and quality programming,

challenging our musicians and delighting

our audiences.

And while we have a 68-year history in

Denver, our mission is to continually rede-

fine the way our community experiences

and engages with classical music.

OUR HISTORY

4 1

ORCHESTRACIRCLE($20,000+)Valerie & Gil Clausen

CONDUCTORCIRCLE($5,000+)Linda Lebsack & Hugh

Pitcher

CONCERTMASTER CIRCLE($2,500 – $4,999)

MUSICIANCIRCLE($1,000 – $2,499)Charles & Joan Albi

Jon Olafson

Wallace Orr

Xcel Energy

PATRON($500 – $999)Patricia Aronstein

Brownstein Hyatt Farber Schreck

CoBank on behalf of Brian Lucius

Sarah Hogan

Russell Klein

Brian Lucius

Don & Bonnie Walls

US Bank Foundation

BENEFACTOR($300 – $499)Anonymous

Nancy Asdigia & Joseph Pompei

CoBank on behalf of Brian Lucius

Eleanor Glover & Eugene Advincula

Susan Cochran

Robert Greene & James Harvey

Allison & Matthew Lausten

Drs. Mark & Maxine Rossman

CONTRIBUTOR($100 – $299)Anonymous

Anonymous

Anonymous

Keri Rose Agnes

Penny Alles

Jean & Michael Artin

Barefoot Public Relations, LLC

Donna & Pierre Bastien

Helen Bauer

Mary Brauer

Dave

Karin Hensel

Joey Hogan

Hospital Corporation of America

Callista & Patrick Medland

Carolyn & Gary Medland

Douglas & Mary Meeusen, in honor of Callista Medland

Kathy & Larry Meier

Montezon Family, in memory of Ronald Montezon

Jill Mueller

Norman Mueller & Christine Murphy

Brenda & Peter Oldak

Phil Pearlman & Betty Bona

Sandra Rothenberg

Robert J. Smith

James A. Stegman

Cori Streetman

TATE+BURNS Architects LLC

Karin Tate

THANK YOU!We would like to acknowledge the generous support of the following individuals, businesses and corporations.

Since January 1, 2015


Gina & Paul Todd

Gary Wooley

FRIEND(UP TO $99)Anonymous

Anonymous

Anonymous

Anonymous

Anonymous

Anonymous

Anonymous

Amazon Smile Foundation

Tamara Arredondo

Carolyn Artin

Wendy Artin, in honor of Valerie Clausen

John Bardeen

Fred Beisser

Michael Bennett

Brio Gold Inc.

James & Kimberly Brody

Janice Burley, in memory of Jane Burley

Kenton & Carla Burns

Holli Campbell

Richard Casson

Nicole Chalas

Ginger T. Clausen

Justin Cohen

Esmeralda Colfax

Bob & Stacey Collins

Robert & Pauline Dallenbach

AJ & Heidi Deets

Carol Finley

Amaryllis Fletcher

Forseth Family

Laurie Gaspar

Kelly Genois

Terri Gonzales

Bruce Haefner

Nancy Hart

Michael Hoffman

Allan & Carol Hanson

Lori Hanson

David Harrington

Kurt Harris

Sally Cade Holmes

Surilda Hudson

Michele Huston

I GET DOWN Clothing & Apparel

Jonathan Icasas

Emily Kent

Terry Kargel

Kréddle Chin Rests

Catherine & Ted Lanzano

Ligature Creative Group

Brian M.

Susan J. McGinley

Matt Meier & David Sherman

Bert & Rosemary Melcher

Douglas Merk

Barbara Moritzky, in honor of Rebecca Moritzky

Chiara Motley

Terry & Joyce Olafson

Alyssa Oland

Shari Ross

Karin Schantz

Pauline Herrera Serianni

Annie & Roger Smart

Stephanie

Jane Templeton

Mike & Amanda Tine

Elinor Towler

Jim & Anne Trunkle

Pete Trunkle

IN-KINDDONORSStudio Hippo

HOTELSPONSORThe Curtis Hotel

FLORALSPONSORNewberry Brothers

Greenhouse & Florist

SEASONSUPPORTERSAccess

David Sherman Creative

Ligature Creative Group

The Pillar of Fire Church

4 3

IT TAKES A COMMUN ITYWe are a community-driven orchestra, and we survive with support from our patrons and local businesses. Help us make music with a tax-deductible contribution today. Give safely online at denverphilharmonic.org/contribute.

INDIVIDUAL GIVING 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

CORPORATE GIVING 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.


http://www.denverphilharmonic.org/contribute

IT TAKES A COMMUN ITYIf you would like to make a tax-deductible contribution to the Denver Philharmonic Orchestra, please complete this form and mail to:

PO Box 6074Denver, CO 80206

or visit our website at DenverPhilharmonic.org and click on the CONTRIBUTE link.

Contribution $ Check or Credit Card

Name

Address

City, State, ZIP Code

Telephone Email

Credit Card No.

Expiration Date CVV Code

4 5

CONTACT US!PO Box 6074Denver, CO 80206303.653.2407

@[email protected]

PUBLIC SUPPORTTHE SCIENTIFIC & CULTURAL FACILITIES DISTRICT

The Scientific and Cultural Facilities District (SCFD) is metro Denver’s unique commitment to its arts, cultural and scientific organizations.

A penny sales tax on every $10 purchase within the seven-county

region (Adams, Arapahoe, Boulder, Broomfield, Denver, Douglas

and Jefferson counties) supports nearly 300 institutions, including

the DPO, that provide unique cultural and scientific experiences

for millions of people each year. Many of the programs SCFD

supports provide free and discounted access to citizens. For infor-

mation on free days and organizations, visit www.scfd.org.


LAWRENCE GOLANconductor and violin

LI, CHUNLAI

Ode to the Red Flag

FRANCK

Symphony in D Minor

GERSHWIN, ARR. WHITNEY

An American in Paris Suite

SMETANA

The Moldau

STRAUSS JR.

On the Beautiful Blue Danube

KREISLER, ARR. MCALISTER

Liebesleid

MONTI

Czárdás

june 3eurotripPACK YOUR PASSPORTS for the season finale Eurotrip on June 3. Travel across the pond on a musical tour of the European continent (with a layover in China). First stop — France! Enjoy César Franck’s ever-popular Symphony in D Minor and George Gershwin’s lyrical jazz number An American in Paris. Sail down the Vltava River through the meadows of Bohemia with Czech composer Bedrich Smetana’s The Moldau. Waltz into Vienna with Johann Strauss, Jr.’s On the Beautiful Blue Danube and Fritz Kreisler’s Liebesleid. Our trip ends in Eastern Europe with the Hungarian folksong Czárdás by Vittorio Monti.

Presented at Central Presbyterian, 1660 Sherman St.

BUY TICKETS AND MORE AT

DENVERPHILHARMONIC.ORG

musicconnects ourcommunity.

is proud to support theDenver Philharmonic.

ligcreative.com • • • • • • • • • • • • • • • • • • • •• • • • • • • • • • • • • • • • • • • •

Denver Philharmonic Orchestra April 8, 2016 Concert Program

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Transcript of Denver Philharmonic Orchestra April 8, 2016 Concert Program