Denver Philharmonic Orchestra May 21, 2015 Concert Program

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PLANES, TRAINS & AUTOMOBILESLawrence Golan, conductorFei-Fei Dong, pianoAdams: Short Ride in a Fast MachineGershwin: Rhapsody in BlueProkofiev: Symphony No. 5

O C T O B E R 3N O V E M B E R 1 4D E C E M B E R 2 0F E B R U A R Y 1 3

A P R I L 3M A Y 2 1

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T H E S I X T Y - S E V E N T H S E A S O N

201 Garfield Street | Denver, CO 80206 | 303.322.0443www.facebook.com/newberrybros

www.newberrybrothers.com

Welcome to this exciting night of music... and more! Here in Denver we are spoiled with so many great options for entertainment, and we are so thankful that you have chosen to spend your night with us.

At the Denver Phil, we do things just a tad differently from what

you may be used to. While we ask you to silence your phone,

we don’t ask you to put it away. In fact, we encourage you to

tweet along with us and to engage with other patrons while

you enjoy the music. We don’t ask you to hold your applause

until the end of a piece — if you feel moved by what you’ve just

heard, we welcome you to show your appreciation to our very

talented musicians. We also encourage interaction between

our patrons and our musicians. Please, feel free to introduce

yourself to your favorite players after the concert at our

reception on the lower level.

Most importantly, we want you to have a great experience and to

come back. Our musicians are extraordinarily passionate about

performing quality live music and our volunteers have an equal

passion for creating a meaningful and unique experience. We

think this excitement will be felt by all that attend. Again, thank

you very much for joining us tonight — and we look forward to

meeting you and seeing you over and over again!

DEAR FRIENDS,

Sincerely,

Jon Olafson

President of the Board, DPO

pho

to b

y Ja

mie

Co

tten

Thank you for being part

of a third record-break-

ing season of audience

growth with us! See you

in October to kick off

another great season!

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2014–15

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

2014–15OCTOBER 3REVOLUTION!Kornel Thomas, Guest ConductorElizabeth Baldwin, SopranoShostakovich: OctoberStrauss: Four Last SongsBeethoven: Symphony No. 7

NOVEMBER 14A TALE OF THREE SYMPHONIESLawrence Golan, ConductorKimberly Brody, OboeKenneth Greenwald, BassoonKatherine Thayer, ViolinBryan Scafuri, CelloHaydn: Sinfonia concertante in B-flat Major, Hob. I: 105Britten: Sinfonia da RequiemDvořák: Symphony No. 8

DECEMBER 20HOLIDAY CHEER!*Lawrence Golan, Conductor and ViolinElizabeth Montgomery, SopranoColorado Repertory Singers; Mark Stamper, DirectorWilliams: “Merry Christmas, Merry Christmas” from Home AloneSnesrud: Christmas TraditionsHolcombe, arr.: Festive Sounds of HanukkahPola & Wyle: It’s the Most Wonderful Time of the YearJohnson & Pelcer: Merry Christmas, BabyMontgomery & Johnson: Fill Your Heart with ChristmasTchaikovsky: “Waltz of the Flowers” from The NutcrackerVivaldi: “Winter” from The Four SeasonsHandel: “Hallelujah Chorus” from The MessiahClifton, arr.: Carol of the BellsHayes, arr.: Variations on Deck the HallAnderson: Sleigh RideTormé & Wells: The Christmas SongAdam: Oh Holy NightStephenson: A Holly Jolly Sing-Along!

FEBRUARY 13FROM RUSSIA WITH LOVELawrence Golan, ConductorJeffrey LaDeur, PianoTchaikovsky: Symphony No. 1 “Winter Reveries”Tchaikovsky: Piano Concerto No. 1

APRIL 3REFORMATIONSWes Kenney, Guest ConductorPeter Sommer, Alto SaxophoneBach/Stokowski: Toccata and Fugue in D minor Ellington, orch. Peress: Three Black KingsWilliams: “Escapades” from Catch Me if You CanMendelssohn: Symphony No. 5 “Reformation”

MAY 21PLANES, TRAINS & AUTOMOBILESLawrence Golan, ConductorFei-Fei Dong, PianoAdams: Short Ride in a Fast MachineGershwin: Rhapsody in BlueProkofiev: Symphony No. 5

Concerts begin at 7:30 pm atKPOF Hall1340 Sherman StreetDenver, CO 80203

Holiday Cheer!will be performed atCentral Presbyterian Church1660 Sherman StDenver, CO 80203

*

D E N V E R P H I L H A R M O N I C . O R G

SPONSORED BY

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THURSDAY, MAY 21, 2015PLANES, TRAINS & AUTOMOBILESKPOF Hall · Denver, Colorado · 7:30 pm

Lawrence Golan, conductorFei-Fei Dong, piano

John Adams Short Ride in a Fast Machineb. 1947

George Gershwin Rhapsody in Blue (1898 – 1937) featuring Fei-Fei Dong

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

Sergei Prokofiev Symphony No. 5, op. 100(1891 – 1953) I. Andante

II. Allegro marcato

III. Adagio

IV. Allegro giocoso

MEET THE MUSICIANSReception Following the concert, meet & mingle on the lower level.Nightcap After the reception, raise a glass with us at Oblio’s Cap Hill, 1225 Logan St.


Your community resource for in-depth news and music discovery.

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LAWRENCE GOLANMUSIC DIRECTOR & CONDUCTOR

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 2014–15 Season marks Lawrence’s second 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.

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http://www.LawrenceGolan.com

http://www.WilliamReinert.com

S. MORDECAI FUHRMANASSOCIATE CONDUCTOR

Get out your phone and

tweet along with me

@denverphilorch! Ask

questions and learn

more about the music

— in real time. Tag your

posts with #dpotweets

to join the conversation.

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.

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 4 – 1 5 T H E S I X T Y - S E V E N T H S E A S O N

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, May 31 for an encore of

tonight’s Denver Philharmonic performance!

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FEI-FEI DONGPIANO

Praised for her ”bountiful gifts and passionate immersion into the music she touches” (The Plain Dealer), Chinese pianist Fei-Fei Dong is a winner of the 2014 CAG Victor Elmaleh Competition and a top six finalist at the 14th Van Cliburn International Piano Competition.

She continues to build a reputation for her poetic interpreta-

tions, charming audiences with her “passion, piquancy and ten-

derness” and “winning stage presence” (Dallas Morning News).

Fei-Fei’s Spring 2015 calendar features the Cliburn’s Chopin

Festival in Fort Worth and concerto engagements with the Austin

Symphony, Fort Collins Symphony and the Denver Philharmonic

orchestras. Her summer festival appearances in 2015 include

Bravo! Vail Valley, the Highlands Chamber Music and Lake

George Music Festivals. She is also showcased prominently in

the new documentary film about the 2013 Cliburn Competition,

Virtuosity, which will premiere on PBS in June 2015.

Fei Fei’s burgeoning career includes a number of prominent

engagements in the 2015–16 season, including New York City

debut recitals at Weill Recital Hall at Carnegie Hall (CAG Winners

Series), and at Merkin Concert Hall (Tuesday matinees series).

Additional featured recitals include the Gilmore Rising Stars

Series in Kalamazoo, Michigan, and St. Vincent College College

Concert series near Pittsburgh, where she will receive the Father

Joseph Bronder Memorial Piano Prize. Concerto engagements

in ’15–16 include the Lexington, Kentucky, and Northeastern

Pennsylvania Philharmonic orchestras.


Fei-Fei has performed at Alice Tully Hall in recital as the winner

of Juilliard’s 33rd Annual William Petscheck Recital Award and

as a soloist with the Juilliard Orchestra under the baton of

Jeffrey Kahane. She has appeared as a soloist with the Aspen

Music Festival Orchestra, Corpus Christi Symphony, Fort Worth

Symphony, Hong Kong Philharmonic Orchestra, Hudson Valley

Philharmonic, and the Shanxi, Shenzhen, and Youngstown

Symphony Orchestras, working with conductors such as Leonard

Slatkin, Randall Craig Fleisher, and John Giordano. Notable

recitals include those at Warsaw Philharmonic Concert Hall and

the Louvre, and she has been featured numerous times on New

York’s WQXR radio.

She is a member of the Aletheia Piano Trio, which debuted

at the Kennedy Center in February 2014 as part of its

Conservatory Project. Deeply committed to sharing her joy for

music and connecting with communities, Fei-Fei also engages

students and audiences through school and outreach concerts

and master classes.

Born in Shenzhen, China, Fei-Fei began piano lessons at the age

of 5. She moved to New York to study at The Juilliard School,

where she earned her Bachelor and Master of Music degrees

under the guidance of Yoheved Kaplinsky.

1 3

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 left 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 67-year history in

Denver, our mission is to continually rede-

fine the way our community experiences

and engages with classical music.

denverphilharmonic.org

OUR HISTORY


• 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

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…

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We’ve had a lot of fun this season — we live-tweeted every concert, held lively pre-concert

chats, mingled over great eats at food truck tailgates, sipped local wine at Holiday Cheer!,

sampled (and devoured) Glaze cake shop’s A Taste of Three Cakes, welcomed over 80

students from El Sistema Colorado as our opening act, hosted a Bond-themed Valentine’s

Day photo booth, enjoyed handmade truffles made with love by students from the Johnson

& Wales University culinary program, brought in an instrument petting zoo, and more!

What do you want more of? Tell us how we’re doing! Type this link into your browser to give

us your feedback in our end-of-season survey: goo.gl/96rioO

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

Visit denverphilharmonic.org for more info.


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MUSIC DIRECTOR Lawrence Golan

ASSOCIATE CONDUCTORS. Mordecai Fuhrman

FIRST VIOLINKatherine Thayer, concertmasterAllison Kim, associate concertmasterNatalie Hill, acting associate concertmasterPatsy AronsteinCarrie BeederRachel BradfordMelissa CampbellMatthew GroveThomas JatkoNasiha KhalilChelsea MordenTenley MuellerKristine PordesimoEmmy ReidBeth SchoeningVanessa VariElizabeth Wall

SECOND VIOLINYiran Li, principalGwen Gravagno, acting principalNiccolo Werner CasewitValerie ClausenPauline DallenbachTerri GonzalesMiki HeineAnnie LauryCallista Medland

SECOND VIOLIN (CONT.)Alyssa OlandAnne SilvasAlbert Ting

VIOLAWilliam Hinkie III, principalNaomi CroghanLori HansonBen LueyElizabeth O’BrienVineet SatheMaura SullivanKathleen TorkkoChue Vue

CELLOBryan Scafuri, principalNaftari BurnsAusra MollerudAnnastasia PsitosMonica SálesAmanda ThallRachel WarbelowRachel YanovitchTara Yoder

BASSMark Stefaniw, principalZach AntonioLucy BauerJosh FilleyTaryn GalowColton Kelly

OUR MUSICIANS


FLUTEAaron Wille, principalMiriam FreundtWhitney KelleyCatherine Ricca Lanzano

PICCOLOWhitney Kelley

OBOEKimberly Brody, principalLoren Meaux, assistant principalAlexis Junker

ENGLISH HORNLoren Meaux

CLARINETShaun Burley, principal Jessica Clark Emilie HelmsClaude Wilbur

E-FLAT CLARINETBrooke Hengst

BASS CLARINETEmilie Helms

BASSOONKen Greenwald, principalNicholas Lengyel

CONTRABASSOONLeigh Townsend

FRENCH HORNDavid Wallace, principalJeanine Branting

FRENCH HORN (CONT.)Mary BrauerKelli Hirsch

TRUMPETRyan Spencer, principalArnie HernandezNick KennyTyler Van Dam

TROMBONEWilliam Combs, principalJordon CraigKiel LauerWallace Orr

BASS TROMBONEDaniel Morris

TUBADarren DeLaup, principal

TIMPANISteve Bulota, principal

PERCUSSIONColin ConstanceJoey GlassmanScott HeadleyRoss CoonsCollin Sitgreaves

HARPBecky Moritzky, principalJenilee Elsbernd

KEYBOARDMargo Hanschke

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BOARD OF DIRECTORSPRESIDENT Jon OlafsonVICE-PRESIDENT Eleanor GloverSECRETARY Maureen KeilTREASURER Allison LaustenPauline Dallenbach, Honorary MemberRobert DallenbachSarah HoganRussell KleinLinda LebsackMatt MeierTenley Oldak

DENVER PHILHARMONIC FOUNDATION BOARDKeith Fisher Russell 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, editingLeigh Townsend, concert notes

CONCERT RECORDINGJoel DallenbachKyle Smith, advisor

WEBMASTERLigature Creative Group

EMBEDDED REPORTERJulia ComptonMeg Satrom, editor

PUBLICITY & DEVELOPMENTNiccolo CasewitDr. Robert DallenbachStephanie Gillman, photographerEleanor Glover Kelli HirschAli McNallyMatt MeierJeff PaulDavid Sherman

OUTREACHLok JacobiMaureen KeilKatherine Thayer

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].

BOX OFFICECarla CodySarah HoganVenus KleinAnnie LauryAllison Lausten Jon Olafson

FRONT OF HOUSEGil ClausenCris Diaz, habla españolPatrick EddieEleanor GloverMaureen KeilRussell KleinMaría Angélica Lasso, habla españolLinda LebsackAli McNally

RECEPTIONGil ClausenAllison LaustenLinda Lebsack

VENUE LOGISTICSBrian McGuireRoger Powell

PRE-CONCERT SLIDESDavid ShermanLigature Creative Group

PARKING ADVISORSMatt HoganLinda LebsackHugh Pitcher

MORE THAN MUSIC PARTNERSBa-NOM-A-NOMTesla MotorsMikes2KitchenOblio’s Cap HillRolling Smoke BBQ

PEW CUSHIONSSusan Cochran, lead seamstressUte DuvenhageMarty MartinezWith thanks to Xcel Energy

2 1

51 YEARSPauline Dallenbach, Second Violin

25+ YEARSLucy Bauer, String Bass

Steve Bulota, Timpani

Josh Filley, String Bass

Thomas Jatko, First Violin

20+ YEARSKathleen Torrko, Viola

15+ YEARSNiccolo Casewit, Second Violin

Terri Gonzales, Second Violin

Annie Laury, Second Violin

Wallace Orr, Trombone

10+ YEARSValerie Clausen, Second Violin

Catherine Ricca Lanzano, Flute

Loren Meaux, Oboe/English Horn

Claude Wilbur, Clarinet

MUSICIANMILESTONESThis isn’t just an orchestra, it’s a community. We want to give a huge shout-out to our musicians who have been with us for more than 10 years. Thank you!!

A SPECIAL THANK YOUTO SCHMITT MUSICfor providing the beautiful Steinway piano for tonight’s concert.


Adams describes his own music as “post-minimalist”. His compositions tend to be more directional and dramatic than the traditional minimalists such as Philip Glass or Steve Reich.

Short Ride in a Fast Machine is, as the title suggests, a whirling

dervish of a piece, where a huge orchestra is launched into

four minutes of high-speed thrills by the driving insistence of

a wood block. Composed as a companion piece to a slow,

anti-fanfare, Short Ride is a breathtaking acceleration of

open-throttle, engines-roaring momentum. A concert opener if

there ever was one.

The piece was first performed in 1986 by the young conductor

Michael Tilson Thomas, who would go on to become music

director of the San Francisco Symphony, where Adams is cur-

rently the composer-in-residence.

MAY 21 ∙ PLANES, TRAINS & AUTOMOBILESby LEIGH TOWNSEND

John Adams is consid-

ered one of the most

frequently performed

living composers.

Duration – 4 minutes

Short Ride in a Fast MachineJohn Adams b. 1947

2 3

The distinctive opening clarinet glissando of Gershwin’s Rhapsody in Blue was once thought to be impossible to play. Now that Rhapsody is a standard orchestral piece, the signature slide is practiced by young clarinetists everywhere.

ABOUT GERSHWIN Gershwin’s parents, Moshe and Rose Gershovitz emigrated from

Russia to the United States in the 1890s and settled in New York.

George was one of four children, his older brother Ira was often

his musical collaborator and lyricist. In 1910 the family bought

their first piano, which George immediately mastered.

Gershwin’s piano playing, like his later compositions, was char-

acterized by an unerring rhythmic drive, a creative harmonic

sense and an almost metronomic precision of tempo. When he

improvised, the flow of ideas was unlimited.

In 1914 Gershwin dropped out of school and began playing

piano as a music publisher salesman on Tin Pan Alley, playing

and singing to promote the current Broadway hits to performers.

The endless time at the keyboard greatly improved his playing

and gave him the skills and confidence he needed to jump into

composing like his friend, the successful Jerome Kern.

Between 1924 and 1934

Gershwin received more

than a quarter of a mil-

lion dollars from perfor-

mances, recordings, and

rental fees of Rhapsody

in Blue.


Rhapsody in BlueGeorge Gershwin (1898 – 1937)


2015 Audition Days: January 10 | April 4 | August 8

Music at MSU Denver

To schedule an audition please call 303-556-3180 or visit www.msudenver.edu/music

The fully-accredited Department of Music at Metropolitan State University of Denver serves as a leader in the education of professional performers, teachers, composers, and scholars. Our location in vibrant Downtown Denver places MSU Denver’s emerging student musicians in the heart of the city’s rich and diverse cultural district. The King Center features state-of-the-art performance venues which host our 200+ concerts per year. Our internationally-recognized faculty are among the finest performers, scholars, and educators in the nation. We offer an innovative curriculum, vast performing opportunities on and off campus, music scholarships, and the best higher education value in Colorado.

MSU Denver, Department of Music offers the following Degree Programs:

• Bachelor of Arts in Music (BA)

• Bachelor of Music (BM) in Classical Performance

• Bachelor of Music (BM) in Jazz and American Improvised Music

• Bachelor of Music (BM) in Composition

• Bachelor of Music Education (BME)

• Music Minor

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JAZZ AND CLASSICAL, WHEN WORLDS COLLIDEThe February 12, 1924 premiere concert

featuring Rhapsody in Blue was organized

by dance band leader (and Denver

native!) Paul Whiteman. Whiteman had

begun advertising the New York City

concert on January 3, which was when

George Gershwin first heard that he was

writing a piece for the concert billed as

‘An Experiment of Modern Music.’

No pressure, right?

The purpose of the concert was to

introduce classical audiences to a new

kind of American popular music — rhyth-

mically vivacious dance music called jazz.

Gershwin said of this new kind of music:

“The rhythms of American popular music

are more or less brittle; they should be

made to snap, and at times to crackle.

The more sharply the music is played, the

more effective it sounds.”

One of the most obvious differences be-

tween traditional concert music and the

popular jazz movement, was improvisa-

tion: the ability of the player to integrate

their own melodic and rhythmic ideas

within a set harmonic framework and then

play with them.

The original manuscript score for

Rhapsody in Blue had several blank pages

in the solo piano part, where Gershwin

showed off his prolific piano talent and

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showcased the potential of jazz by im-

provising the solo during the premiere

concert. He later wrote down what he

had played, from memory, and it’s now

performed as the permanent solo part.

ABOUT THE WORKLong before Fantasia 2000 or United

Airlines’ commercials, Rhapsody in Blue

had been painting a vivid urban picture

for audiences. The vibrant tones and

lively rhythms reflect the bustling pace of

American life Gershwin saw every day.

He conceived of the piece on his way to

the Boston premiere of his new musical,

Sweet Little Devil. “It was on the train,

with its steely rhythms, its rattely-bang

that is often so stimulating to a composer.

I frequently hear music in the very heart

of noise, and there I suddenly heard and

even saw on paper, the complete construc-

tion of the Rhapsody, from beginning to

end. I heard it as a sort of musical kaleido-

scope of America, of our vast melting pot,

of our unduplicated national pep, of our

blues, of our metropolitan madness.”

Although Rhapsody in Blue broke away

from the formality of the great classical

showcase concertos for piano and orches-

tra, the departure was not at the expense

of virtuosic depth, but simply style: take

the rhythms and momentum of jazz and

infuse them into the style of a traditional

concerto. From the familiar deep trill of

the opening clarinet to the punchy B-flat

chord at the end, the jazzy style is tart and

true, with lyricism and virtuosity served up

full-speed ahead.


According to those who knew him best, Prokofiev led an impulsive and impetuous life. He was smitten with the technological advances of the modern age and took full advantage of high-speed communication and transcontinental travel.

ABOUT PROKOFIEVSergey Prokofiev was born in 1891 in the Ukraine, the son of a

prosperous estate manager. An only child, his musical talents

were fostered by his mother, an amateur pianist herself. Prokofiev

began composing by the age of 5, and was eventually tutored at

home by the composer Reinhold Glière.

In 1904, on the advice of Alexander Glazunov, his parents al-

lowed him to enter the St. Petersburg Conservatory (he was 13),

where he continued his studies as a pianist and as a composer

until 1914. At the conservatory, he was influenced more by his

fellow students than he was by the older generation of teachers

such as Nikolai Rimsky-Korsakov.

Prokofiev died on the

same day in 1953 as

his artistic oppressor,

Joseph Stalin.


Symphony No. 5 Op. 100Sergey Prokofiev (1891 – 1953)

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2014/2015 Concert Season

Friday, October 17, 2014 | 7:30 pm Mahan and the “Emperor” Katie Mahan, Piano

Saturday, November 15, 2014 | 2:30 pm (FREE Children’s Caoncert)

Haydn Go Seek with The Orchestra! Madison Oh, Piano

Friday, December 12, 2014 | 7:30 pm Classics, Choirs & Holiday Cheer Simon Su, Piano & Young Voices of Colorado

Friday, February 13, 2015 | 7:30 pm Rachmaninoff to Ragtime Hsing-Av Hsu, Piano

Friday, March 27, 2015 | 7:30 pm Tchaikovsky in Spring Kevin Ahfat, Piano

Friday, May 15, 2015 | 7:30 pmAn American in Paris Lori Sims, Piano

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

After the Russian Revolution of 1917,

Prokofiev left Russia for the next 14 years,

performing as a concert pianist and

producing his works across most of the

Western world. While abroad he com-

posed his first opera, three symphonies,

three piano concertos, and a piano sonata.

He returned to the grim Soviet Russia of

Lenin and Stalin in 1933 and settled his

family permanently in Moscow, where he

continued to compose and perform for

the rest of his life.

Prokofiev died at the age of 61 on March

5, 1953 — the same day as Joseph Stalin.

Prokofiev had lived near Red Square, and

for three days as masses of people gath-

ered to mourn Stalin, it was impossible

to carry Prokofiev’s body out for his own

funeral service at the headquarters of

the Soviet Composer’s Union. He is bur-

ied in Moscow.

THE DEATH OF THE RUSSIAN EMPIREWhen Prokofiev was born, the Ukraine

was a part of the czarist Russian Empire,

and remained so for all of his formative

years. Tsar Nicholas II or, Tsar Nicholas II

Emperor and Autocrat of All the Russias,

had a job as complicated as his title.

His royal family extended throughout

Europe: his older cousin George was bet-

ter known as King George V of England,

and the ruling monarchs of Denmark,

Norway, Greece, and Germany were also

family. As the beginning rumblings of the

First World War began, one could imag-

ine an uncomfortable family reunion as

nations began to take sides and alliances

were tested.

As head of state, Nicholas approved

of Russia’s involvement in the First

World War, a war in which 3.3 million

Russians were killed. The Imperial Army’s

severe losses and the High Command’s

3 1

incompetent handling of the war, along

with other doomed policies directed by

Nicholas during his reign, are often cited

as the leading causes of the fall of the

Romanov dynasty.

When Prokofiev left Russia in 1918, Nicholas

had been forced to abdicate his throne

and the Bolsheviks had taken control of

government. Politics and policies leading

up to the 1930s included rapid industrial-

ization, collectivization of agriculture, and

state-sponsored starvation and terror.

The Communist Party of the Soviet Union

had final say in all arts and cultural events.

Prokofiev’s music was now censored, and

he was forced to accept his music was

written in partial consultation with the

authorities. Once Stalin had made his

pact with Nazi Germany in 1939, Prokofiev

was even banned from travel outside the

Soviet Union.

Harold Williams, an English journalist work-

ing in Moscow at the time, wrote: “There

are moments when one would prefer to be

silent about what is happening in Russia.

The bright hopes of the revolution are

being darkened, the collective energy of

the people paralyzed, and the whole life of

the nation entangled in a network of almost

insoluble contradictions.” It was not a good

time to be an artistic person in Russia.

SYMPHONY 5Prokofiev’s Fifth Symphony was written

in 1944, at the end of a long creative

period in his life. It is composed in

four grandiose movements. The first

performance of Symphony 5 coincided

with the advance of Russian troops

over the Vistula into Germany and,

the first symphony that Prokofiev had

written since his return to Russia. The

work proved acceptable to both the

concert audience, who greeted it with

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enthusiasm, and to the authorities who

could suppress it.

The first movement couples considerable

strength with unexpected twists of melody

that are highly characteristic of Prokofiev’s

orchestral writing. The second movement,

a Scherzo, has an equally characteristic

melody over a constant repetitive pattern

which moves between string parts. The

third movement, Adagio, is a movement of

sustained lyricism, with a fiercely dramatic

middle section, and the final movement,

with its initial reminiscence of the opening

of the symphony, brings the work to an

ebullient and triumphant close.

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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.

CRY ROOMChild feelin’ fidgety? We have a designat-

ed cry room at the back of the hall on the

right side of the main level (as you enter

the hall). The room is marked with a sign.

APPLAUSE 101Many concertgoers are confused about

when to clap during an orchestra’s perfor-

mance. Before the mid-19th century, au-

diences would routinely applaud between

movements to show their joy for the mu-

sic they just heard. Around the mid-19th

century, it became tradition 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’s 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 performance, not confusing ap-

plause 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!

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ORCHESTRA SPOTLIG HT

MELISSA CAMPBELLFIRST VIOLINFIRST DPO SEASON. Melissa began

playing the violin at the age of 5 and was

trained in the Suzuki method in Placerville,

California. While living there, she was

one of the youngest members of the

Sacramento Youth Symphony. Her family

moved to Fort Collins when she was 13,

and she spent time as concertmaster of

her junior high and high school orchestras.

Melissa began her college career at

Colorado State University and played in

the Symphonic and Chamber Orchestras

as well as quartets. She plans to continue

her education very soon at one of the

great schools nearby to pursue a dual

degree in violin performance and business.

After a few years of only playing violin in

church, she joined the Loveland Symphony

Orchestra for one season before relocating

to Denver and joined the DPO last year.

It’s pretty easy to see where Melissa devel-

oped a love of music at such a young age

— her mom has a degree in music educa-

tion and has taught in schools throughout

California and Colorado. Her dad is an

architect by day and an opera singer by

night who has been in many church choirs

that her mom directed.

Melissa married her high school sweet-

heart and her primary “day job” is staying

home with their three kids Dillon, 7, Cade,

4, and Ellise, 2. She also wakes up early to

deliver newspapers so she can continue

to raise their children, and soon be able

to further her education during the day.

She’s also started Suzuki Teacher Training

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 Melissa, Jessica, Lori, Annie, Mark and Tara—


ORCHESTRA SPOTLIG HT

and one day hopes to have a successful

violin studio.

Melissa’s family is really into sports—they

like to ski, hike, and spend time at the

library. But most of all, the whole family

bleeds orange and blue! Go Broncos!

JESSICA CLARKCLARINETFIRST DPO SEASON. Jessica started

playing piano when she was 5 and

clarinet beginning at age 9. She studied

privately with Laurie DeLuca of the Seattle

Symphony until college in 2000. Jessica

also started playing trombone in seventh

grade so she could participate in Jazz

Band. She played both clarinet and

trombone all through high school. In

college, she played with both University

of Michigan bands and after graduating

and moving back to Seattle, played first

clarinet with the Cascade Symphony. While

living on Long Island and attending NYU,

Cascade Symphony invited Jessica to per-

form Copland’s Clarinet Concerto.

Learn more about upcoming events from local, community-based organizations at thescen3.org! The Scen3 features the events and per-formances of SCFD-funded Tier III organizations.

3 7

Jessica received her Bachelor’s in Music

Education from the University of Michigan

in 2004. She also holds a Master’s Degree

in Clarinet Performance from NYU where

she studied with Pascual Martinez-Forteza

of the New York Philharmonic.

Jessica is a stay-at-home mom to Mariko,

2.5 and Yuna, 1 month. It’s a busy job and

everyday is an adventure!! Jessica loves

being home with her girls and watching

them grow. Her free time is filled running

in Central Park and exploring Denver, their

new home as of July 2014.

Jessica and her husband Toshi are origi-

nally from Seattle and say they were lucky

enough to spend the last year there, living

with Jessica’s mom. Before that, they spent

four years on Long Island while Toshi did

his Radiology Residency. They are glad to

be back in the West and are learning all

about Denver!

LORI HANSONVIOLASECOND DPO SEASON. Lori began

playing viola in fourth grade after seeing

a presentation of instruments from the

school music teachers. She selected the

viola because no one else did!

Lori played in school orchestra all the

way through high school. She was also a

member of the Colorado Springs Youth

Symphony and played with the Colorado

College Chamber Orchestra during high

school. Lori continued viola in college

at the University of Kansas studying with

Dr. Michael Kimber and also performed

with the University of Kansas Symphony

Orchestra under the direction of Brian

Priestman (former Denver Symphony

Orchestra Music Director). As part of the

university orchestra she performed in sev-

eral pit orchestras for the University Opera,

Choir and Dance Company.

Lori has a Bachelor of Architecture from the

University of Kansas School of Architecture

and Urban Design. After graduation, Lori

moved to Denver and performed with the

Aurora Symphony Orchestra for 12 seasons.

She was also a member of the ASO String

Quartet, and performed with the John

Adams Band for several concerts. She’s

recently started taking guitar and ukulele

lessons at Swallow Hill Music.

Lori’s a registered architect in Colorado

and partner at Eidos Architects, a commer-

cial design firm specializing in religious,

education, office and municipal projects.

She’s in her 13th season as a volunteer

with patron services for the Denver Center

Theater Company, so Lori spends most

of her weekends at the theater. She

also volunteers with the Colorado New

Play Summit and the Swallow Hill Music

Association. Lori enjoys traveling and hik-

ing the mountains around Colorado.


ANNIE LAURYSECOND VIOLINSIXTEENTH DPO SEASON. Before gradu-

ating from high school, Annie took piano

lessons for 10 years, flute for two years,

and violin for six years.

While earning her Bachelor of Science

degree in psychology, she played in

the Kansas State University and Ottawa

University orchestras, then didn’t play

again for over 20 years. This time was

largely spent showing Quarter Horses on

a professional level. Annie plays school

musicals and special music for various

churches and ladies clubs throughout the

Denver area.

Outside of her music life, Annie is Director

of Regulatory Affairs for a manufacturer

of Veterinary Biologicals. When not in

the office, she prepares purified Tetanus

Antitoxin, West Nile Virus Antibody, and

other specialized products made from

horse serum. The rest of her time is filled

up with golf, church activities, and various

volunteer efforts.

Hear the future!2014-2015oct 19 | nov 09-10 | nov 22-23 | jan 25-26 | feb 08mar 08 | may 03-04 | apr 26 | dyao.org or 303.433.2420

Wes Kenney, Music Director

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MARK STEFANIWPRINCIPAL DOUBLE BASSFOURTH DPO SEASON. Mark grew up

playing accordion in elementary school

and picked up the double bass after col-

lege in 1984, while managing a first career

in the computer industry. Now retired

from technology, Mark returned to school

and earned his double bass performance

degree (BM) from MSU Denver in 2011.

Now embarked on a second career as a

professional musician, Mark is principal

bassist with the DPO (since 2011), and for

several years prior, Mark had performed

with the Jefferson and Lakewood symphony

orchestras, as well as with Musica Sacra.

Since 2012, Mark is bassist in the ballet pit

orchestra with the Longmont Ballet/Dance

Theater Company. Passionate about teach-

ing, he is now in his second year as guest

artist, chamber music coach and bass men-

tor, at the Denver School for the Arts (DSA).

He also maintains a successful private

teaching studio, and his students are begin-

ning to flow into music conservatories.

Mark performs year round with his trio

Blue Moon Bluegrass. Mark’s wife, Patti, is

a beekeeper, raises heritage breed turkeys,

and is an avid gardener. They enjoy hiking

local trails together and collecting seeds

from native wild flowers and grasses.

TARA YODERCELLOFOURTH DPO SEASON. Tara started

playing cello at the age of 9 in her school

orchestra. She has played with the South

Bend Youth Symphony, the South Bend

Side-by-Side concerts, the Donald A. Dake

Chamber Music Camp, and the Goshen

College Orchestra. At Goshen College in

Indiana, Tara received her Bachelor of Arts

in Chemistry and Biology, with a minor

in music performance. 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. Beyond playing cello,

she also enjoys playing ultimate frisbee,

hiking, cycling, bouldering, skiing and

pretty much anything else that is active

and outdoors.

4 1

ORCHESTRA’S CIRCLE($20,000+)

Valerie & Gil Clausen

CONDUCTOR’S CIRCLE($5,000+)

AIC Ventures on behalf of Ben Luey

FirstBank

Linda M. Lebsack & Hugh R. Pitcher

SCFD

CONCERTMASTER’S CIRCLE ($2,500 – $4,999)

MUSICIANS’ CIRCLE($1,000 – $2,499)

Xcel Energy

PATRON ($500 – $999)

Brownstein Hyatt Farber Shreck

on behalf of Tenley Oldak

Colorado Gives Day “Luck of the Draw”

Russell Klein

Donald Walls

BENEFACTOR ($300 – $499)

Patsy & Jim Aronstein

Helen Bauer

CoBank on behalf of Brian Lucius

Susan Cochran

Eleanor Glover

Sarah Hogan

Lok & Jake Jacobi

Lisa Peloso & Vik Patel

CONTRIBUTOR ($100 – $299)

Anonymous

Anonymous

Keri Rose Agnes

Penny Alles

Donna & Pierre Bastien

Mary Brauer

Adrienne Fasse

John D. Faught

Robert Green

Allan & Carol Hanson

Horns Rock

Matt & Allison Lausten

Brian Lucius

Callista and Patrick Medland

Douglas & Mary Meeusen

Thomas James Merry

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


Judy Morton

Tenley Mueller

Jon Olafson

Alyssa Oland

Brenda & Peter Oldak

Wallace Orr

Phil Pearlman & Betty Bona

Kathleen Porter

Ray & Jim in honor of Wayne Knox

Drs. Mark & Maxine Rossman

Sandra Rothenberg

Robert J. Smith

James A. Stegman

TATE+BURNS Architects LLC

Gina & Paul Todd

Gary Wooley

FRIEND (UP TO $99)

Amazon Smile Foundation

Anonymous

Anonymous

Charles Aschwanden

Phillip Barru

Fred Beisser

James & Kimberly Brody

in honor of the oboe section

Janice Burley

Sara Collyar

Robert and Pauline Dallenbach

AJ & Heidi Deets

Amaryllis Fletcher

Terri Gonzales

Bruce Haefner

Lori Hanson

David Harrington

Karin Hensel

Surilda Hudson

Arash Jahanian in honor of Tenley Mueller

Ligature Creative Group

Susan J. McGinley

McKesson Foundation, matching gift on

behalf of Janice Burley

Loren Meaux

Bert & Rosemary Melcher

Rand & Barb Moritzky in honor of

Rebecca Moritzky

Manijeh Taherynia

Elinor Towler

IN-KIND SUPPORTERSThe Pillar of Fire Church

Ligature Creative Group

Newberry Brothers Greenhouse & Florist

Since January 1, 2014

4 3

IT TAKES A COMMUN ITY

INDIVIDUAL GIVING DONATION AMOUNTOrchestra’s Circle $20,000 or above

Conductor’s Circle $5,000 – $19,999

Concertmaster’s Circle $2,500 – $4,999

Musicians’ 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 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.


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. Exp.

4 5

CONTACT US!PO Box 6074Denver, CO 80206303.653.2407

@denverphilorchDenverPhilharmonic.org

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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 information on free days

and organizations, visit www.scfd.org.


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Denver Philharmonic Orchestra May 21, 2015 Concert Program

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Transcript of Denver Philharmonic Orchestra May 21, 2015 Concert Program