Denver Philharmonic Orchestra November 14, 2014 Concert Program
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Transcript of Denver Philharmonic Orchestra November 14, 2014 Concert Program
N O V E M B E R 1 4
A 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
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
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
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
appreciate 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, however, 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 excite-
ment 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
3
2014–15
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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 Jingle BellsAnderson: Sleigh RideTormé & Wells: The Christmas SongAdam: Oh Holy NightStephenson: A Holly Jolly Sing-Along!
FEBRUARY 13FROM RUSSIA WITH LOVELawrence Golan, ConductorJeffrey LaDeur, Piano
Tchaikovsky: Piano Concerto No. 1Tchaikovsky: Symphony No. 1 “Winter Reveries”
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, ConductorDaria Rabotkina, 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
5
FRIDAY, NOVEMBER 14, 2014A TALE OF THREE SYMPHONIESKPOF Concert Hall · Denver, Colorado · 7:30 pm
Lawrence Golan, conductorKimberly Brody, oboeKenneth Greenwald, bassoonKatherine Thayer, violinBryan Scafuri, cello
Franz Joseph Haydn Sinfonia concertante in B-flat major 1732–1809 for oboe, bassoon, violin, cello and orchestra, Hob. I:105 Allegro
Andante
Allegro con spirito
Benjamin Britten Sinfonia da Requiem1913–1949 Lacrymosa
Dies irae
Requiem aeternam
∙ 1 5 - M I N U T E I N T E R M I S S I O N ∙
Antonín Dvořák Symphony No. 8 in G major, Op. 88 1841–1904 Allegro con brio
Adagio
Allegretto grazioso – Molto vivace
Allegro ma non troppo
MEET THE MUSICIANSReception Immediately following the concert, meet & mingle on the lower level.Nightcap Following the reception, raise a glass with us at Oblio’s Cap Hill, 1225 Logan Street — just three blocks away!
6 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
1160 Madison Street, Denver, CO 80206Open 7 days a week, 9am - 9pm
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concentric circles, Baumkuchen (“Baum Cake”) originated hundreds of years ago in Germany, made its way to Japan, and
landed right here in Denver.
Visit Glaze. Meet our one-of-a-kind rotisserie, spit oven. Experience a
moment of happiness that goes around and around just like our fabulous cake.
Oh, and be sure to get a free sample. We won’t tell Sloane.
7
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.
8 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
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
S. MORDECAI FUHRMANASSOCIATE CONDUCTOR
What should you listen
for? What is the music’s
historic and cultural
context? Join me before
each performance for
a pre-concert chat. Get
insight into the music
and music-makers you
will hear during the
performance.
Samuel has performed with and conducted the Wilmington
Community Orchestra in Delaware, Center City Opera Theater
in Pennsylvania, the Cleveland Pops Orchestra in Ohio, and the
Newark Symphony Orchestra in Newark, Del., where he directed
the inaugural 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 the
Kiev Chamber Orchestra and the 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
KIMBERLY BRODYOBOE
She grew up in Minnesota and studied with the principal oboist
of the Minnesota Orchestra. She graduated with a degree in
Oboe Performance from St. Olaf College and then went on to
study at Northwestern University.
After a summer performing in the American Wind Symphony
Orchestra, she moved to Ohio and began studying with John
Mack, former principal oboist of the Cleveland Orchestra —
her true mentor. While in Ohio, Kim played oboe and English
horn with the Youngstown Symphony, Canton Symphony, and
Erie Philharmonic. She later returned to Chicago and began a
freelance career that encompassed the vast Chicago area from
Milwaukee to Valparaiso, Ind., and orchestras including the
Northwest Indiana Symphony, Chicago Sinfonietta, Lake Forest
Symphony, Music of the Baroque, Ravinia Festival Orchestra,
Milwaukee Ballet, Kenosha Symphony, Chicago String Ensemble,
and Ars Viva Orchestra.
Kim regularly attended the John Mack Oboe Camp in Little
Switzerland, N.C., and it’s there that she met her husband,
Jim Brody. Kim moved with her children to Boulder in 2001.
Since coming to Colorado, Kim has enjoyed performing in the
Boulder Bach Festival, Colorado MahlerFest, Boulder Chamber
Orchestra, the Colorado Music Festival, the Denver Philharmonic
among other ensembles.
In addition to performing, Kim also teaches private oboe lessons,
works part time in administration for the Colorado Music Festival,
and is an avid Colorado Rockies fan!
Kimberly Brody was inspired by her mother to begin playing the oboe and was encouraged to continue by her seventh grade art teacher.
1 1
KENNETH GREENWALDBASSOON
At age 5, he began studying violin, and he would later also study
piano and flute.
Kenneth attended the University of Denver’s Lamont School of
Music, earning his bachelor’s and master’s in music performance
while studying with Chad Cognata, principal bassoonist with the
Colorado Symphony Orchestra.
Over the years, Kenneth has performed with many other
organizations including the Denver Young Artists Orchestra,
the Arapahoe Philharmonic Orchestra, the Colorado Wind
Ensemble, the Musica Sacra Chamber Orchestra and the
Colorado Symphony Orchestra.
He joined the Denver Philharmonic Orchestra as principal bas-
soonist in 2008.
Kenneth first discovered the bassoon during his freshman year of high school and began studying the instrument with Colorado Symphony bassoonists Jonathan Sherwin and Joanne Goble.
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KATHERINE THAYERVIOLIN
Along with her Denver Philharmonic Orchestra concertmas-
ter duties, she is concertmaster of the Evergreen Chamber
Orchestra.
Katherine performs with Inside the Orchestra bringing classical
music to elementary and pre-school children. She has been a
member of the Colorado Music Festival and Grand Teton Music
Festival orchestras for five years each. Katherine was principal
second violin and soloist with the former Denver Chamber
Orchestra for 12 years under the baton of JoAnne Falletta, and
served as concertmaster of the Orchestra of the Archdiocese of
Denver under the direction of Horst Buchholz.
Prior to moving to Denver, Katherine was an Assistant Professor
of violin and Chamber Music at Eastern New Mexico University
where she was also violinist of the Raphael Piano Trio.
Katherine studied in Europe in master classes of Zino
Francescatti, and Christian Ferras. She was a member of
the Camerata Lysy, touring Europe and the Phillipines, the
Wurttembergishes Kammer Orkestr, and the Mozarteum
Orchestra of Salzburg. She returned to the States to earn a mas-
ter’s of music from Michigan State University, where the Julliard
Quartet was in residence.
Katherine enjoys playing chamber music with friends and watch-
ing her daughter Ayla’s dance performances.
Katherine Thayer has been a freelance violinist in the Denver metropolitan area for 30 years.
1 3
BRYAN SCAFURICELLO
He received his bachelor’s degree in music performance from
Western Michigan University studying with Bruce Uchimura.
Continuing his studies at Miami University, Bryan also earned his
master’s degree in music performance learning from Pansy Chang.
In addition to performing with DPO, he is the principal cellist
of the Pueblo Symphony and a member of the Cheyenne
Symphony and the Greeley Philharmonic Orchestra. Bryan has
also performed with many Front Range orchestras including
the Fort Collins Symphony, the Colorado Ballet, the Boulder
Philharmonic and the Colorado Springs Philharmonic.
Bryan has performed in many master classes for such individuals
as Stephen Geber and Hans Jorgen Jensen. He has also taken
lessons from such artists as Keith Robinson, Richard Weiss, Silver
Ainomae, Thomas Heinrich and Jurgen de Lemos. One of his
greatest musical experiences remains performing in a side-
by-side concert with the Cleveland Orchestra in 2008 playing
Berlioz’s Symphonie Fantastique.
Recently, Bryan decided he wasn’t busy enough and went back
to school for engineering. He sincerely wants to thank his family
and friends for their continued support of his crazy endeavors.
Bryan Scafuri is in his fifth season as the principal cellist of the Denver Philharmonic Orchestra.
1 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
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
1 5
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With our 2014–15 Season, we celebrate 67 years of providing high-quality symphonic concerts and outreach.
Our orchestra was founded in 1948 as the
Denver Businessmen’s Orchestra by Dr.
Antonia Brico, the first woman to conduct
the Berlin Philharmonic, the New York
Philharmonic and several other major
orchestras. The two major issues driving
establishment of the orchestra were a
need for affordable classical music con-
certs in the Denver area and the need for
an organization that would nurture, devel-
op and showcase the talents of classically
trained musicians, many of whom had
relocated to Denver following World War
II. The orchestra quickly became known
for its ambitious collaborations and per-
formances. In 1968, to honor its founder,
the name of the orchestra was changed to
the Brico Symphony, and the tradition of
musical excellence and community service
continued.
Following Antonia’s retirement in 1986,
the orchestra selected Julius Glaihengauz
as its second Music Director. Julius
was a talented Russian immigrant who
recently graduated from the Tchaikovsky
Conservatory. Under his new leadership,
the name of the orchestra was changed
to the Centennial Philharmonic and
performed for eleven seasons, followed by
a season under interim director Kirk Smith.
In 1999 Dr. Horst Buchholz, Professor of
Music at the University of Denver and an
acclaimed musician and conductor, was
selected as the orchestra’s new Music
Director. This began a period of growth
and success that continues today. To more
accurately reflect our Denver roots, the
Centennial Philharmonic was renamed the
Denver Philharmonic Orchestra in 2004.
Horst remained Music Director/Conductor
through the 2008–09 Season, after which
he was appointed the orchestra’s first
Conductor Laureate.
Adam Flatt was appointed the orchestra’s
fourth Music Director/Conductor in June
2010. Adam’s dynamic and inspiring
leadership over the next three years
further increased the artistic quality of the
orchestra.
In spring of 2013, award-winning conduc-
tor Dr. Lawrence Golan was selected as our
orchestra’s fifth Music Director. Lawrence
first led the DPO as a guest conductor in
November 2009.
OUR HISTORY
1 7
MORE THAN MUSIC.Attending a concert with us goes beyond an evening of high-caliber classical music.
Last season, we had a lot of fun — we live-tweeted concerts, held lively pre-concert chats,
produced a Super Bowl video mashup with the Seattle Philharmonic Orchestra, hosted a
Valentine’s Day photo booth, projected your Rocky Mountain pics above the musicians,
brought in an instrument petting zoo, set up a selfie corner with a cardboard Buzz Aldrin,
and partnered with the Denver Museum of Nature and Science to bring the Gates
Planetarium (and the entire universe) into KPOF Hall.
Here’s a taste of what’s in store for our next concert — Holiday Cheer! on Saturday, December 20 at Central Presbyterian Church, 1660 Sherman Street.
ANNUAL BAKE SALE & HOLIDAY WINE RECEPTIONIMMEDIATELY FOLLOWING CONCERTJoin us in the lobby after the concert for a
cup of coffee or a glass of wine from Infinite
Monkey Theorem. Meet the soloist, let your
sweet tooth support the DPO with our annual
home-made bake sale — and have fun!
NIGHTCAPAROUND 10PMEnjoy a late-night happy hour with us! Concert-
themed cocktails are $3, and house wine and
draft beer are just $1 at Oblio’s Cap Hill, 1225
Logan, after the reception. Meet, mingle and
connect with musicians and friends — just
three blocks away!
Tickets are going fast! Visit denverphilharmonic.org for concert tickets and info on all of our upcoming events.
1 8 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
MORE THAN MUSIC.
1 9
MUSIC DIRECTOR Lawrence Golan
ASSOCIATE CONDUCTORS. Mordecai Fuhrman
FIRST VIOLINKatherine Thayer, concertmasterAllison Kim, associate concertmasterPatsy Aronstein Carrie BeederMelissa Campbell Matthew Grove Thomas Jatko Nasiha Khalil Chelsea Morden Tenley Mueller Kristine Pordesimo Emmy Reid Beth Schoening Vanessa Vari Elizabeth Wall
SECOND VIOLINYiran Li, principal Rachel Bradford Niccolo Werner Casewit Valerie Clausen Pauline Dallenbach Terri Gonzales Miki Heine Annie Laury Callista Medland Alyssa Oland Anne Silvas Albert Ting
VIOLAWilliam Hinkie, III; principal Naomi Croghan Lori Hanson Ben Luey Ana Montenegro Elizabeth O’Brien Kathleen Torkko
CELLOBryan Scafuri, principal Naftari Burns Ausra Mollerud Annastasia Psitos Monica Sáles Amanda Thall Rachel Warbelow Andreas Werle Rachel Yanovitch Tara Yoder
BASSMark Stefaniw, principal Zach Antonio Lucy Bauer Josh Filley Taryn Galow Joey Pearlman
FLUTEAaron Wille, principalWhitney KelleyCatherine Ricca Lanzano
OUR MUSICIANS
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PICCOLOWhitney Kelley
OBOEKimberly Brody, principal Loren Meaux, assistant principal Alexis Junker
ENGLISH HORNLoren Meaux
CLARINETShaun Burley, principal Jessica Clark Claude Wilbur
E-FLAT CLARINETJessica Clark
BASS CLARINETClaude Wilbur
BASSOONKen Greenwald, principal Nicholas Lengyel
CONTRABASSOONLeigh Townsend
FRENCH HORNDavid Wallace, principal Jeanine Branting Mary BrauerRobyn Chauvin
FRENCH HORN (CONT.)Mark Denekas Kelli HirschCarey Martin
TRUMPETRyan Spencer, principalArnie Hernandez, acting principalNick Kenny Tyler Van Dam
TROMBONEWilliam Combs, principal Wallace Orr
BASS TROMBONEDaniel Morris
TUBADarren DeLaup
TIMPANISteve Bulota, principal
PERCUSSIONColin ConstanceRoss CoonsScott Headley
HARPBecky Moritzky
PIANO/KEYBOARDMadoka Asari
2 1
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
LIBRARIANCallista MedlandAlyssa Oland, assistant
CONCERT PROGRAMLigature Creative Group, designWalker Burns, editingAlixandra Feeley, editingMaría Angélica Lasso, Spanish translation
CONCERT RECORDINGJoel DallenbachKyle Smith, advisor
WEBMASTERLigature Creative Group
EMBEDDED REPORTERJulia ComptonMeg Satrom, editor
OUR TEAM
2 2 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
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].
OUR TEAMPUBLICITYNiccolo CasewitDr. Robert DallenbachEleanor Glover Matt MeierJeff PaulDavid Sherman
OUTREACHLok JacobiMaureen KeilKatherine Thayer
BOX OFFICECarla CodySarah HoganVenus KleinAnnie LauryAllison Lausten Jon Olafson
FRONT OF HOUSEGil ClausenEleanor GloverMaureen KeilLinda Lebsack
RECEPTIONRobert Schoenrock
VENUE LOGISTICSTaryn GalowLoren MeauxRoger Powell
PRE-CONCERT SLIDESJake RomoLigature Creative Group
PARKING ADVISORMatt HoganHugh Pitcher
MORE THAN MUSIC PARTNERSEl Sistema ColoradoGlazeOblio’s Cap HillPurple Door CoffeeTattered Cover
CONDUCTOR LAUREATEDr. Horst Buchholz
2 3
Your community resource for in-depth news and music discovery.
2 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
The ‘Sinfonia concertante’ that opens this evening’s program is one of a kind. When Haydn first traveled to London, arriving in January 1791, his agreement with the violinist and impresario Johann Peter Salomon was that he would write an opera, six symphonies, and unspecified further works. Haydn would also make concert appearances.
The ‘Sinfonia concertante’ appears to have been Salomon’s
idea. In February and March 1792, Haydn’s former student Ignaz
Pleyel caused a sensation with a new work for multiple soloists
at the rival Professional Concert series. Not to be outdone,
Salomon apparently urged Haydn to compose one as well.
According to Haydn’s biographer H.C. Robbins Landon, the
autograph score indicates that Haydn wrote it at great speed and
probably under stressful circumstances. On March 2, 1792, pre-
sumably racing to finish the new composition, Haydn wrote to his
NOVEMBER 14 ∙ A TALE OF THREE SYMPHONIESby LAURIE SHULMAN, © 2014
* Run Time: 22 minutes
* Four soloists make
this a multiple con-
certo, with links to the
symphony
* Watch the interaction
among the four
soloists: almost like
chamber music
Sinfonia concertante in B-flat major for oboe, bassoon, violin, cello and orchestra, Hob. I:105Franz Joseph Haydn (1732 – 1809)
2 5
friend Marianne von Genzinger in Vienna.
His letter reflects both anxiety and the toll
that the intense pace of work was taking.
[Pleyel] arrived here with a lot of new
compositions, but they had been
composed long ago; he therefore
promised to present a new work every
evening. As soon as I saw this … I an-
nounced publicly that I would likewise
produce 12 different new pieces. In
order to keep my word, and to support
poor Salomon, I must be the victim
and work the whole time. But I really
do feel it. My eyes suffer the most, and
I have many sleepless nights, though
with God’s help I shall overcome it all.
The ‘Sinfonia concertante’ is Haydn’s
sole work for four soloists and orchestra.
The unusual quartet of stars presumably
reflects the strengths of players in
Salomon’s London ensemble. The violin
part, of course, would have been played
by Salomon himself; numerous other
concertmaster solos in the 12 “London”
Symphonies were also intended for him.
Only the other three soloists’ surnames
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Our Board of Directors gratefully acknowledges the vital contributions made by the Pillar of Fire Ministries / KPOF 910 AM to our orchestra and Denver’s classical music community. Over the past five decades, the Pillar of Fire Church has generously accommodated our orchestra rehearsals and many perfor-mances. Since 1963, Dr. Robert B. Dallenbach, and more recently his son, Joel Dallenbach, have meticulously recorded and broadcast 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, November 23 for an encore of
tonight’s Denver Philharmonic performance!
2 7
2 8 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
have come down to us through con-
temporary press reports: the oboist Mr.
Harrington, the bassoonist Mr. Holmes,
and the cellist Mr. Menel. Salomon and
his cohorts introduced the new S’’infonia
concertante’ at the fourth concert of his
1792 season, on March 7.
ABOUT THE MUSICThe music is a delightful synthesis of
chamber music and symphony. Haydn
writes wonderfully for his four soloists,
giving each one several moments in the
spotlight in each movement. The violin is
first among equals, having a slight edge
in virtuosity, presumably the composer’s
salute to Salomon. This dominance is most
evident in the finale, where the solo violin
has three brief recitatives that interrupt the
proceedings.
Appealing and memorable themes
abound. The elegant Andante has won-
derful pizzicato string accompaniment;
orchestral winds play only the most subtle
supportive role, leaving rhythmic and
linear intricacy to the quartet of soloists.
Haydn is at his most playful in the finale,
with stops and starts that will keep you
guessing right to the end.
INSTRUMENTATIONHaydn’s score calls for flute, two oboes,
two bassoons, two horns, timpani, solo
oboe, solo bassoon, solo violin, solo
cello, and strings.
He loved music and he loved the Denver Philharmonic
MILTON J. LEBSACK(NOV. 11, 1917 – DEC. 15, 2013)
IN MEMORIAM
2 9
Sinfonia da RequiemBenjamin Britten (1913 – 1976)
* Run Time: 21 minutes
BRITISH COUNCIL ASK IF YOU ARE INTERESTED IN COMMISSION FOR FULL SCALE ORCHESTRAL WORK SYMPHONIC POEM SYMPHONY SUITE OVERTURE UNDERSTAND FEE SUBSTANTIAL EVEN HUNDREDS. I SAID YES PLEASE CONFIRM”
Benjamin Britten received this Western Union cablegram mes-
sage from his publisher, Ralph Hawkes, on September 22, 1939.
The commission was welcome — particularly the generous
fee, which turned out to exceed £500 — a princely sum at the
time. Gradually details emerged: the commissioning entity
was a foreign state that had contacted composers in several
other western countries. They asked for a work that would
honor a significant milestone anniversary for that country. The
country turned out to be Japan, and the event was the 2,600th
Anniversary Celebration of the Japanese Emperor’s dynasty. The
new work was to be delivered to Tokyo by May 1940.
“
3 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
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
3 1
Clearly the assignment was politically
charged. Hawkes warned Britten, “In the
event of Great Britain and Japan falling
out before May 1940, the British Council
could not accept any responsibility and
with this I quite agree.”
WAR AND MEMORIALBritten was adamant that he would write
“no jingo” — his words to Hawkes — and
proposed instead a Sinfonia da Requiem
with pacifist overtones. In April 1940, he
wrote to his sister Beth, “It is a Sinfonia da
Requiem, combining my ideas on war &
a memorial for Mum and Pop.” Britten’s
father had died in 1934 and his mother
in 1937. This work was a way to honor his
parents’ memory and express his grief. At
the same time, he conceived the turbulent
second movement, a Dies Irae, as an an-
ti-war expression.
In retrospect, it seems astounding that the
Japanese authorities accepted Britten’s
proposal for the piece. Britten’s outer
movements were somber; the central
movement frenetic and at times violent,
with no celebratory character. Although
Britten received his commission fee, the
Japanese committee ultimately decided
his piece was inappropriate for the occa-
sion, citing its failure to express congratu-
lations for the 2,600th anniversary and also
observing that it was “purely a religious
music of Christian nature.” No Japanese
performance would take place.
Their loss was western music’s gain. The
first performance took place in New York
at Carnegie Hall on March 30, 1941, with
Sir John Barbirolli conducting the New
York Philharmonic. Serge Koussevitzky led
the Boston Symphony in the work’s Boston
premiere in January 1942.
3 2 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
3 3
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3 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
ABOUT THE MUSICThe Sinfonia’s three movements are per-
formed without pause between sections.
Thus the opening Lacrymosa takes on
the sense of a dark introduction, with its
powerful timpani strokes suggesting the
sounds of battle as much as they do a
funeral procession. The atmosphere is
ominous, hinting at the frenzied Dies Irae
that follows. This whirlwind scherzo feels
dangerous, almost unhinged, nightmarish.
Only in the concluding Requiem aeternam
do we hear hints of Britten’s characteristic
lyricism. In its harmonies and instrumental
handling, this closing segment looks
forward to some of the painfully lovely pas-
sages in his opera Peter Grimes. Powerful
and focused, the Sinfonia is a stunning
achievement for a composer still in his 20s.
INSTRUMENTATIONBritten’s score calls for three flutes (second
doubling piccolo, third doubling alto flute),
three oboes (two doubling English horns),
three clarinets (one doubling E-flat clari-
net, one doubling bass clarinet), three bas-
soons (two doubling contrabassoon), six
horns, three trumpets, three trombones,
tuba, optional alto saxophone, timpani,
percussion [xylophone, side drum, whip,
tambourine, suspended cymbal, crash
cymbals, bass drum, second timpani], two
harps, piano, and strings.
After tonight’s concert, join us at
Oblio’s Cap Hill (1225 Logan)for a late-night happy hourl! Enjoy concert-themed cocktails and beer & wine drink specials. We’ll see you there! CHEERS!
KPO
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3 5
After the “New World” Symphony, the G major is the best loved of Dvořák’s large orchestral works. While it shares with the “New World” an intensely Czech flavor and a wealth of melodies, the G major focuses on the transparent and wholesome simplicity of the Bohemian countryside.
Part of the symphony’s appeal is the folk-like character of the
melodies in all four movements. Another asset is Dvořák’s
magnificent, imaginative writing for woodwinds. Virtually every
instrument has its chance for solos. That stated, flute emerges as
first among equals.
Most of the sketches for the G major symphony date from
August 1889. Dvořák completed the orchestration by early
November, and the premiere took place in Prague under the
composer’s direction in February 1890.
Symphony No. 8 in G major, Op. 88 Antonín Dvořák (1841 – 1904)
* Run Time: 34 minutes
* The Eighth is Dvořák’s
“pastoral” Symphony
* Bird calls and a wistful
calm in the Adagio
suggest the atmo-
sphere of the compos-
er’s country house
* Dvořák conducted
this symphony at
Cambridge when he
was awarded an honor-
ary doctorate
3 6 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
CHILDLIKE WONDER AND THE APPEAL OF RUSTIC BOHEMIABy allowing Bohemian songs and dance
tunes to dominate, Dvořák gave the Eighth
Symphony a celebratory, almost childlike
spirit that permeates all four movements.
The first and final movements both have
themes based on a simple G major triad,
which helps the consistency of mood.
Dvořák relies on variation technique in
both movements.
The inner two movements provide contrast
and emotional depth. The rhapsodic
Adagio, with its birdcalls and wistful
character, could be a musical portrait of
Vysoká, the composer’s beloved summer
home. Dvořák’s biographer Alec Robertson
calls this slow movement:
. . . completely original from start to
finish. It could stand as a miniature
tone-poem of Czech village life de-
scribed by a highly sensitive man. There
is a touch of pain in the opening harmo-
nies that becomes pronounced later on.
The predominant atmosphere, neverthe-
less, remains resolutely positive. Czech
conductor Rafael Kubelik, rehearsing the
finale’s opening fanfare, is said to have
remarked to an orchestra, “Gentlemen,
3 7
in Bohemia the trumpets never call to
battle — they always call to the dance.”
The characteristic, lighthearted rhythms
invite foot-tapping and bright smiles.
Essentially the finale is an introduction (the
fanfare), theme and variations, and a coda.
What you will remember are the blazing
trumpet, the exuberant horn trills, and a
spellbinding variation for solo flute.
INSTRUMENTATIONDvořák scored his Eighth Symphony for
two flutes (second doubling piccolo); two
oboes, two clarinets, two bassoons; four
horns, two trumpets, three trombones,
tuba, timpani, and strings.
3 8 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
• 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
3 9
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 lower 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 is fine. If you want to respectfully
show your appreciation between move-
ments, we welcome that too. Regardless,
we want you to feel comfortable and
focus on the performance, not confusing
applause rules!
If you are attending your first classical music concert, below are some frequently asked questions to help make your experience more enjoyable.
4 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
CONCERT ETIQUETT E
ELECTRONICSPlease turn the sound off on your cell
phones, pagers, and any other noise-
making device, including vibrate mode.
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.
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
Learn more about upcoming events from local,
community-based organizations at thescen3.org!
The Scen3 features the events and performances
of SCFD-funded Tier III organizations.
4 1
ORCHESTRA SPOTLIG HT
MADOKA ASARIPIANO/KEYBOARDFIRST DPO SEASON. Madoka began her
musical training at Yamaha Music School
at age 4, and piano lessons at age 5 in
Japan. She received her bachelor of music
in piano performance from University of
Denver master of music in piano perfor-
mance from Indiana University. Madoka
played in Lamont Symphony, Lamont Wind
Ensemble, IU University Orchestra and
IU Concert Orchestra as a keyboardist.
She also performed Beethoven Concerto
No. 1 with Lamont Symphony, Littleton
Symphony Orchestra and Philharmonia of
Greater Kansas City as a soloist. As a per-
former, Madoka works as a collaborative
pianist with various instruments including
conductors, and gives recitals as a solo
pianist. As an educator, she taught music
theory and aural skills at Indiana University,
and now teaches private piano lessons
and tutors written and aural music theory.
Making and sharing music is her passion
and joy. When not making music, Madoka
loves to bake, cook and swim. Since
returning to Colorado this summer, she’s
looking forward to utilizing the maximum
value of her Rocky Mountain National Park
Annual Pass.
COLIN CONSTANCEPERCUSSIONSECOND DPO SEASON. Colin received
a Bachelor’s in Music Education from
the University of Kansas in 2007 and
a Master’s in Music Performance from
Colorado State University in 2012. This
is his 18th year playing percussion, with
an emphasis in orchestral style, drum
set, four-mallet keyboard, and steel
drum. Colin has performed with many
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 Madoka, Colin, Nick, Loren, Annastasia, Claude, and Rachel —
4 2 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
ORCHESTRA SPOTLIG HT
regional orchestras including the Fort
Collins Symphony, Cheyenne Symphony,
Greeley Philharmonic, National Repertory
Orchestra, Pro Musica (Boulder) Chamber
Orchestra, Larimer Chorale, Denver Young
Artists Orchestra, and San Juan (Durango)
Symphony. He is actively involved with
many area high school programs as
a percussion instructor and private
lessons teacher. Colin is a proud native
of Lawrence, Kan., and in his free time
enjoys traveling throughout the great state
of Colorado. He also spends countless
hours following football and basketball
and participating in online fantasy sports
competitions.
NICK KENNYTRUMPETFIRST DPO SEASON. Nick has been
playing the trumpet for 15 years and says
it has helped shape his life. He received
his bachelor’s degree in instrumental
performance from Manchester University
in 2011 and will be soon pursue a mas-
ter’s degree in conducting and music
education. Throughout his career, Nick
has played with many honor bands and
professional orchestras, including the
Manchester Symphony Orchestra, the
Loveland Symphony Orchestra, and two
intercollegiate honor bands. Nick is a full
time artist and musician. He spends his
days working for a visual effects company
called Far Away Creations in Loveland.
He also works with Loveland High School
as their brass technician and has his own
trumpet studio. He also volunteers for
the National Park Service and does a
large amount of charity work across the
state. Nick enjoys everything from sports
to comic conventions. He likes to hike,
4 3
ski, play hockey, teach, and be an active
member of the community. He thanks his
parents for being supportive of his pursuit
of a musical career as well as his private
teachers who have demanded the finest
of Nick from a young age. One of his fa-
vorite quotes is “Music…my life wouldn’t
be the same without it.”
LOREN MEAUXOBOE/ENGLISH HORNFOURTEENTH DPO SEASON. Loren has
been with the Denver Philharmonic since
2001 and is a graduate of the University
of Northern Colorado with a bachelor’s
degree in music performance where he
studied with Peter Cooper. Loren has
been playing the Oboe since the fourth
grade, which is a rarity as most oboists
start on clarinet or flute then move over to
oboe later. An IT professional for Denver
Health by day, Loren has a wonderful wife,
Jade, and beautiful 4-year-old boy, Avery,
who often come to concerts and who
Loren would like to thank for putting up
with him making reeds for his instruments
all hours of the morning.
ANNASTASIA PSITOSCELLOTHIRD DPO SEASON. Annastasia has
both Bachelor’s and Master’s degrees in
music performance for cello. She obtained
her bachelor’s degree at the University of
Maryland, College Park and her master’s
degree at the University of Colorado,
Boulder. She has been studying cello for
24 years and has played with a wide variety
of orchestras — both through school and
as a freelance musician. In addition to
the Denver Philharmonic, she currently
also plays full time with the Boulder
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].
4 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
Symphony and is a substitute cellist with
the Fort Collins and Cheyenne Symphony
Orchestras. She works as an accounts-pay-
able assistant at an oil and gas company.
CLAUDE G. WILBURCLARINET, BASS CLARINETELEVENTH DPO SEASON. Claude
has played with Denver Concert Band,
Colorado Wind Ensemble, Denver
Municipal Band, Colorado Springs
Symphony, Fort Collins Symphony,
Cheyenne Symphony, Boulder
Philharmonic, Boulder Ballet, Fort Collins
Ballet and various small ensembles. He
holds a bachelor’s degree from Chapman
College, a master’s degree in music from
Michigan State University and has done
post-graduate work at UCD. He studied
Chinese with a language immersion
program at Three Gorges University and
on his first visit to KaiXian, China, he got
drunk with the district attorney. Claude
makes his living as a software engineer.
RACHEL YANOVITCHCELLOSECOND DPO SEASON. Rachel began
studying piano at age 5, cello at age 9,
guitar at 15, and in her free time, she has
enjoyed singing and songwriting for sev-
eral years. She has played with Thames
Valley Youth Orchestra in Connecticut,
and the Rhode Island Philharmonic youth
orchestra when she was in high school.
She has performed three solo recitals,
and since college, she’s played regularly
with worship bands for churches and
get-togethers. Rachel has her associate’s
degree in theology from Calvary Chapel
Bible College in Murrieta, Calif., works as
a nanny and at Starbucks, and plays cello
for Pilgrim City Church on Sundays.
PLEASE JOIN US FOR OUR
For additional information and to purchase tickets, visit
CherryCreekChorale.org or call
303 -789 -5920
4 5
ORCHESTRA’S CIRCLE($20,000+)
Valerie and Gil Clausen
CONDUCTOR’S CIRCLE($5,000+)
AIC Ventures, on behalf of Ben Luey
SCFD
Linda M. Lebsack & Hugh R. Pitcher
CONCERTMASTER’S CIRCLE ($2,500 – $4,999)
MUSICIANS’ CIRCLE($1,000 – $2,499)
PATRON ($500 – $999)
BENEFACTOR ($300 – $499)
Lok and Jake Jacobi
Russell Klein
CONTRIBUTOR ($100 – $299)
John D. Faught
Sarah Hogan
Thomas James Merry
Kathleen Porter
Drs. Mark and Maxine Rossman
Robert J. Smith
FRIEND (UP TO $99)
Keri Rose Agnes
Amazon Smile Foundation
McKesson Foundation, matching gift on
behalf of Janice Burley
IN-KIND SUPPORTERSThe Pillar of Fire Church
Ligature Creative Group
Newberry Brothers Greenhouse and Florist
CONTRIBUTIONS
THANK YOU!
Since January 1, 2014
We would like to acknowledge the generous support of the following individuals, businesses and corporations.
4 6 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
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.
4 7
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.
4 8 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
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 DONATE link.
Contribution $ Check or Credit Card
Name
Address
City, State, Zip Code
Telephone Email
Credit Card No. Exp.
4 9
CONTACT US!PO Box 6074Denver, CO 80206303.653.2407
@denverphilorchDenverPhilharmonic.org
5 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
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