Denver Philharmonic Orchestra October 2, 2015 Concert Program
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Transcript of Denver Philharmonic Orchestra October 2, 2015 Concert Program
october 2nature’s realmLAWRENCE GOLANconductor and violin
VIVALDI
“Autumn” from The Four Seasons
DVORÁK
In Nature’s Realm
TCHAIKOVSKY
The Tempest; Fantasy-Overture, op. 18
SIBELIUS
Symphony No. 5
2 0 1 5 – 1 6 O C T O B E R 2
N O V E M B E R 2 0D E C E M B E R 1 9F E B R U A R Y 1 9
A P R I L 8J U N E 3
Welcome to tonight’s Denver Philharmonic Orchestra concert! With all the events, theatre, music and festivals that Denver has to offer, we’re honored you are spending your evening with us.
We hope to create a wonderful memory and feeling that stays
with you long after the music has ended, and sometimes even
before the music has begun.
Tonight, I’ll be thinking about wise words from Henry David
Thoreau, who said, “When I hear music, I fear no danger. I am
invulnerable. I see no foe. I am related to the earliest times,
and to the latest.” Thoreau must have been to a DPO concert!
Listening to our passionate musicians fill this hall with music, we
hope that you “see no foe,” but instead find opportunities to
meet your neighbors, mingle with musicians, and take part in
the community offering’s hosted by the DPO all season long!
Please, sit back, relax, silence (but do not put away) your phone
and experience the music! If you have any questions, or would
like to share your personal DPO story, please feel free to talk
with us: look for anyone with a blue name tag, or come and find
me — we love getting to know all of you, and hope you will
continue to make the Denver Philharmonic Orchestra a part of
your story now and in the future!
DEAR FRIENDS,
Sincerely,
Jon Olafson
President of the Board, DPO
Fall to me means
college football and
the start of a great new
season at DPO!
What’s your favorite
thing about fall?
3
OCTOBER 2 NATURE’S REALMLAWRENCE GOLAN, conductor and violin
VIVALDI “Autumn” from The Four SeasonsDVORÁK In Nature’s RealmTCHAIKOVSKY The Tempest; Fantasy-Overture, Op. 18SIBELIUS Symphony No. 5
NOVEMBER 20 INEXTINGUISHABLELAWRENCE GOLAN, conductorJAY CAMPBELL, cello
LOCKLAIR Phoenix for Orchestra (Colorado premiere)ELGAR Cello ConcertoNIELSEN Symphony No. 4 “Inextinguishable”
DECEMBER 19 HOLIDAY CHEER!SCOTT O’NEIL, guest conductorSYDNEY HARPER, sopranoand featuring COLORADO REPERTORY SINGERS, KYLE FLEMING, artistic director
Full repertoire to be announced.
FEBRUARY 19 SMASH HITS!LAWRENCE GOLAN, conductorSTEVEN LIN, piano
MOZART Symphony No. 40 in G MinorRACHMANINOFF Rhapsody on a Theme of PaganiniSTRAVINSKY The Firebird Suite
APRIL 8 THE ONE RING FEATURING THE LORD OF THE RINGS SYMPHONYS. MODECAI FUHRMAN, guest conductorAARON WILLE, flute
BERLIOZ Les Franc-Juges (Judges of the Secret Court)BLOCH Suite ModaleDE MEIJ, ORCH . VLIEGER Symphony No. 1 “Lord of the Rings”
JUNE 3 EUROTRIPLAWRENCE GOLAN, conductor
CHABRIER EspañaSMETANA The MoldauELGAR Cockaigne, Op. 40 (In London Town)FRANCK Symphony in D Minor
BUY TICKETS ATdenverphilharmonic.org
2015–16season.
4 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N
LAWRENCE GOLANconductor
JAY CAMPBELLcello
LOCKLAIR
Phoenix for Orchestra (2007)Colorado premiere
ELGAR
Cello Concerto
NIELSEN
Symphony No. 4 “Inextinguishable”
up next: november 20
inextinguishable“ Adventurous cellist” (New York Times) Jay Campbell
performs Edward Elgar’s cello concerto, written in the ashes of the first World War. The evening also features Danish composer Carl Nielsen’s Fourth Symphony “Inextinguishable” which represents the will to live, and the Colorado premiere of Dan Locklair’s Phoenix for Orchestra.
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FRIDAY, OCTOBER 2, 2015NATURE’S REALMKPOF Hall · Denver, Colorado · 7:30 pm
Lawrence Golan, conductor and violin
Antonio Vivaldi “Autumn” from The Four Seasons, (1678–1741) op. 8, no. 3 featuring Lawrence Golan I. Allegro
II. Adagio
III. Allegro
Antonín Dvořák In Nature’s Realm, op. 91 (1841–1904)
Pyotr Ilyich Tchaikovsky The Tempest; Fantasy-Overture, (1840–1893) op. 18
∙ 1 5 - M I N U T E I N T E R M I S S I O N ∙
Jean Sibelius Symphony No. 5, in E-flat(1865–1957) I. Tempo molto moderato –
Largamente – Allegro moderato
(ma poco a poco stretto) –
Presto – Più Presto
II. Andante mosso, quasi allegretto
III. Allegro molto – Largamente assai
MEET THE MUSICIANSReception Following the concert, meet & mingle on the lower level.
6 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N
Keeping you connected with in-depth news and music discovery.
Inform. Enlighten. Entertain.
7
LAWRENCE GOLANMUSIC DIRECTOR,CONDUCTOR AND VIOLIN
In high demand across the United States and internationally,
Lawrence is also currently Music Director of the Yakima
Symphony Orchestra in Washington state, the York Symphony
Orchestra in Pennsylvania, and the Lamont Symphony
Orchestra & Opera Theatre at the University of Denver. In addi-
tion, he is the Principal Conductor of the Seoul Philharmonic in
South Korea. Lawrence continues to guest conduct professional
orchestras, opera, and ballet companies in the U.S. and around
the world. He has conducted in 26 states and 17 countries.
Lawrence has garnered considerable international recognition
for his work as a conductor. He has won 10 ASCAP Awards,
five Global Music Awards, three American Prize awards, three
Downbeat Magazine Awards, and two Prestige Music Awards.
Following a highly successful four-year term as Resident
Conductor of The Phoenix Symphony, Music Director Michael
Christie said that Lawrence “is a programmer of virtually unprec-
edented creativity and scope.” That sentiment was confirmed in
2012 when Lawrence was named the Grand Prize Winner of The
American Prize for Orchestral Programming.
The 2015–16 Season marks Lawrence’s third season as music director of the Denver Philharmonic Orchestra.
8 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N
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
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.
This is his second season as associate conductor of the Denver
Philharmonic Orchestra.
Conductor, percussionist, timpanist, and arranger, Samuel Mordecai Fuhrman is a graduate of the University of Delaware and the Cleveland Institute of Music.
1 0 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N
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1 1
We may be one of Denver’s oldest orchestras, but we certainly don’t act our age.
Dr. Antonia Brico, the first woman to con-
duct the Berlin and New York Philharmonic
Orchestras, founded our organization
in 1948 as the Denver Businessmen’s
Orchestra. Antonia settled in Denver
after conducting professional orchestras
across Europe and the U.S. She debuted
our orchestra to a packed auditorium
explaining the need for a classical music
venue to showcase the talents of local,
classically trained musicians “with no place
to play.” Twenty years later, we’d be known
as the Brico Symphony, and Antonia would
remain at the helm of the orchestra until
her retirement in the mid-1980s.
After nearly 40 years under Antonia’s
baton, the orchestra chose Russian-
American conductor Julius Glaihengauz
as its second music director. A graduate of
the Tchaikovsky Conservatory in Moscow,
Julius led the newly renamed Centennial
Philharmonic for 11 seasons.
In 1999, Professor of Music at the
University of Denver Dr. Horst Buchholz
took the baton. Our most recent name
change came in 2004, and we became
the Denver Philharmonic Orchestra. Horst
served as music director and conductor
through 2009, after which he was appoint-
ed the orchestra’s first Conductor Laureate.
Adam Flatt came onboard as music
director in June 2010. Adam’s dynamic
and inspiring leadership over the next
three years continued Horst’s legacy and
further increased the artistic quality of the
orchestra.
We selected award-winning conductor
Dr. Lawrence Golan as our conductor and
music director when Adam departed in
2013. Lawrence, a professor and music
director at the University of Denver’s
Lamont School of Music, continues to pro-
duce innovative and quality programming,
challenging our musicians and delighting
our audiences.
And while we have a 68-year history in
Denver, our mission is to continually rede-
fine the way our community experiences
and engages with classical music.
denverphilharmonic.org
OUR HISTORY
1 2 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N
• PHONES ON — SOUND OFF! We know
you want to participate, but let’s leave
the music to the pros
• ALL THUMBS Tweet tweet tweet all the
night through, but remember, no talking
during the concert
• Add the hashtag #DPOtweets to your
posts so your neighbors can follow along
• You don’t need a Twitter account to
read our tweets (just visit twitter.com/DenverPhilOrch), but if you’d like to
tweet along with us, you need an account
• “PG” tweets only —
C’mon, there are kids here
TWEET YOUR HEART OUT
#DPOTweets@DenverPhilOrch
During the concert, we live-tweet photos, facts and tidbits about the music you’re listening to. Follow along, share and interact with us and other concert-goers on Twitter.
A FEW RULES…
1 3
We have a lot of fun at our concerts — we live-tweet performances, hold lively pre-concert
chats, and we’ve mingled over great eats at food truck tailgates, hiked South Table Mountain
in Golden, sipped local wine, welcomed over 80 students from El Sistema Colorado as our
opening act, hosted Valentine’s Day photo booths, enjoyed handmade truffles, brought in an
instrument petting zoo, partnered with the Denver Museum of Nature and Science to bring
the Gates Planetarium (and the entire universe) into the hall Hall, and more!
Here’s a taste of what’s in store for this season —
PRE-CONCERT CHATS, 6:30PM
EVERY CONCERT (EXCEPT HOLIDAY CHEER!)
Join us for informal pre-concert chats about
the music you’ll be hearing hosted by DPO
Associate Conductor S. Mordecai Fuhrman.
He’ll give you insights into the music and
music-makers you’ll be listening to.
RECEPTION, POSTCONCERT
EVERY CONCERTSay hello! Come downstairs after the concert
for refreshments, meet the soloists, buy a
t-shirt — and have fun!
DYAO PRELUDE, PRECONCERT
DECEMBER 19: HOLIDAY CHEER!Arrive early to Holiday Cheer! to get into the
mood with holiday music from Denver Young
Artists Orchestra.
BAKE SALE, POSTCONCERT
DECEMBER 19: HOLIDAY CHEER!Enjoy homemade treats at our annual bake
sale after Holiday Cheer!
INSTRUMENT PETTING ZOO, PRECONCERT
FEBRUARY 19: SMASH HITS!Honk! Buzz! Toot! Pick up a trombone or a
violin and give it a go!
SELFIE CORNER, PRECONCERT
APRIL 8: THE ONE RINGYou shall not pass up this opportunity to snap
a selfie with the White Wizard!
FOOD TRUCK TAILGATE, PRECONCERT
JUNE 3: EUROTRIPDid you like tailgating the concert tonight?
They’ll be back! Enjoy food trucks eats in
June before your European travels.
MORE THAN MUSIC.Attending a concert with us goes beyond an evening of high-caliber classical music.
Visit denverphilharmonic.org for concert tickets and info on all of our upcoming events.
1 4 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N
MORE THAN MUSIC.
1 5
MUSIC DIRECTOR Lawrence Golan
ASSOCIATE CONDUCTORS. Mordecai Fuhrman
FIRST VIOLINKatherine Thayer, concertmasterAllison Kim, associate concertmasterCarrie BeederMelissa CampbellThomas JatkoTenley MuellerEmmy ReidVanessa Vari
SECOND VIOLINGwen Gravano, acting principal Niccolo Werner CasewitValerie ClausenChristina ColalanciaTerri GonzalesMiki HeineAnnie LauryCallista MedlandAnne Silvas
VIOLAWilliam Hinkie, principalNaomi CroghanLori HansonBen LueyElizabeth O’BrienKathleen TorkkoAnita Zerbe
CELLOBryan Scafuri, principalNaftari BurnsKyle LaneyMonica SálesRachel YanovitchTara Yoder
BASSMark Stefaniw, principalZach AntonioJosh FilleyTaryn GalowColton KellyJordan Walters, student intern
OUR MUSICIANS
1 6 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N
FLUTEAaron Wille, principal Starla DoyalCatherine Ricca Lanzano
OBOEKimberly Brody, principalLoren Meaux, assistant principalAlexis Junker
CLARINETShaun Burley, principalJessica ClarkClaude Wilbur
BASSOONKen Greenwald, principalNicholas Lengyel
FRENCH HORNDavid Wallace, principalJeanine BrantingMary BrauerKelli Hirsch
TRUMPETRyan Spencer, prinicpalRyan StutzmanAriel Van Dam
TROMBONETrevor Moore, acting principal Daniel MorrisWallace Orr
TUBAMike Horsford
PERCUSSIONSteve Bulota, prinicpalRoss CoonsJoey Glassman
HARPSICHORDAni Gyulamiryan
1 7
BOARD OF DIRECTORSPRESIDENT Jon OlafsonVICE-PRESIDENT Eleanor GloverSECRETARY Linda LebsackTREASURER Allison LaustenPauline Dallenbach, Honorary MemberRobert DallenbachAlixandra FeeleySarah HoganRussell KleinMaureen KeilMatt MeierTenley Oldak
DENVER PHILHARMONIC FOUNDATION BOARDKeith FisherRussell KleinAllison Lausten
EXECUTIVE DIRECTORValerie Clausen
OPERATIONS MANAGERAlixandra Feeley
PERSONNEL MANAGERAnnie Laury
STAGE MANAGERSTaryn GalowLoren Meaux
MUSIC LIBRARIANCallista MedlandAlyssa Oland, assistant
CONCERT PROGRAMLigature Creative Group, designWalker Burns, editingAlixandra Feeley, editingMaría Angélica Lasso, Spanish translationCallista Medland, editingLeigh Townsend, concert notes
CONCERT RECORDINGJoel DallenbachKyle Smith, advisor
WEBMASTERLigature Creative Group
EMBEDDED REPORTERJulia ComptonMeg Satrom, editor
PUBLICITY & DEVELOPMENTNiccolo CasewitDr. Robert DallenbachStephanie Gillman, photographerEleanor GloverKelli HirschAli McNallyMatt MeierJeff PaulDavid ShermanKarin Tate
OUR TEAM
1 8 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N
VOLUNTEERING OPPORTUNITIESOur orchestra is run by volunteers, with no paid administrative staff. We would greatly
appreciate help from more volunteers in the areas of publicity, fundraising, concert
production, receptions, personnel, and outreach. If you would like to participate in any
of these activities, please contact Executive Director Valerie Clausen at 303.653.2407 or
email at [email protected].
OUTREACHTenley OldakKatherine ThayerDavid Wallace
BOX OFFICECarla CodySarah HoganVenus KleinAnnie LauryAllison LaustenJon Olafson
FRONT OF HOUSEGil ClausenCris Diaz, habla españolEleanor GloverMaureen KeilRussell KleinMaría Angélica Lasso, habla españolLinda LebsackAli McNally
RECEPTIONGil ClausenAllison Lausten
VENUE LOGISTICSBrian McGuireRoger Powell
PARKING ADVISORSMatt HoganLinda LebsackHugh Pitcher
MORE THAN MUSICPARTNERSAikopopsBiker Jim’s Gourmet DogsOG Burger
1 9
Our Board of Directors gratefully acknowledges the vital contributions made by the Pillar of Fire Ministries / KPOF 910 AM to our orchestra and Denver’s classical music community. Over the past five decades, the Pillar of Fire Church has generously accommodated our orchestra rehearsals and many perfor-mances. Since 1963, Dr. Robert B. Dallenbach, and more recently his son, Joel Dallenbach, have meticulously recorded and broadcast all of the orchestra’s concerts.
SUNDAY CLASSICAL MUSIC7:00 – 10:00 PMKPOF — 910 AM
Tune in to radio station KPOF (AM 910)from 7 – 10 pm on Sunday, October 11 for an encore of
tonight’s Denver Philharmonic performance!
2 0 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N
The popularity of The Four Seasons knows no bounds. Found everywhere from the traditional concert stage to commercials for cars and computers, these pieces are known as quintessential Vivaldi.
ABOUT VIVALDIAntonio Vivaldi was an influential composer whose contributions
of style and technique set the standard for the mature Baroque
concerto. Prior to his fame, he was just a boy who played the
violin with his dad, the eldest of nine children, and the only musi-
cian among them.
In 1693, when he was only 15, Vivaldi began his training for the
priesthood in Venice, where his family lived. Shortly after his
ordination, he was exempted from delivering mass. It is rumored
that Vivaldi was censured because of conduct unbecoming of
a priest: he’d reportedly left mass to write down a fugue that
had particularly inspired him, though it was more likely due to
his chronic asthma. Despite this, he remained within the church
for many years carrying out the unconventional dual careers of
composer and priest.
OCTOBER 2 ∙ NATURE’S REALMby LEIGH TOWNSEND
Vivaldi wrote over 500
concertos in his life, all
as a second job while he
was a Catholic priest.
Duration: 10 minutes
“ Autumn” from The Four Seasons Antonio Vivaldi (1678 – 1741)
2 1
THE FOUR SEASONS Vivaldi wrote roughly 350 concertos for
solo instrument, and over 230 of them are
for solo violin. Opus 8 (1725), titled
Il cimento dell’armonica e dell’inventione
translates as “daring experiments with
harmony and invention.” It’s a set of 12
concerti, of which the Seasons are rep-
resented in the first four. The works are
considered early program music, which
means they are supposed to evoke a
feeling of extra-musical narrative
through sound.
Vivaldi set each season to a sonnetto
dimonstrativo, or illustrative sonnet: a
descriptive kind of poem meant to evoke a
specific mood. Although there is no defini-
tive proof Vivaldi wrote the sonnets himself,
it’s widely acknowledged that he did write
the poetry and then set the music.
Like the other concertos in the series,
“Autumn” is composed in three move-
ments. The first movement hurries along
at a lively tempo, eliciting the happy
farmer drinking and dancing at harvest
time. The opening strings repeat the same
theme several times before the solo violin
entrance, much like the farmer finishing up
his day’s work before the party can start.
The second movement is slow and haunt-
ingly delicate, reflecting the pleasurable
sleep that comes after hard work and
hard dancing.
The final movement is again fast; hunting
horns and barking dogs chase a deer
through the woods until she falls, exhaust-
ed. “Autumn” is the perfect piece for a fall
evening when colorful sunsets give way
to crisp evening air, and we look around
again for that jacket we took off hours ago.
2 2 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N
ABOUT DVOŘÁKAntonín Dvořák was born in a fertile valley on the Vltava River in
Bohemia, near Prague. His parents worked as innkeepers and
raised a large family; Antonín was the first of 14 children! By age
13, young Dvořák showed a talent for music, and his father sent
him to live with an uncle to study music and German language.
He played violin and organ professionally and began writing
music in earnest in his early 20s. He was influenced strongly by
his faith and his love of his Bohemian heritage.
Dvořák wasn’t widely known as a composer outside of the
Prague area until 1874 when he won the Austrian State Prize for
composition, which he won again in 1876. These prizes brought
him to the attention of well-known composer, Johannes Brahms,
and music critic, Eduard Hanslick, who never stopped champion-
ing the deeply rooted, nationalistic, Bohemian composer.
ROMANTIC ERARomanticism was an artistic and intellectual movement that
originated in Europe in partial reaction to the Industrial
Revolution. The Romantic Era peaked between 1800 and 1850,
as Dvořák was in his formative composing years. The move-
ment emphasized intense emotion and the sublime beauty of
Dvořák was an adept
violin player by age 6.
Duration: 14 minutes
In Nature’s Realm Antonín Dvořák (1841 – 1904)
“ The music of the people is like a rare and lovely flower growing amidst encroaching weeds. Thousands pass it, while others trample it under foot, and thus the chances are that it will perish before it is seen by the one discriminating spirit who will prize it above all else.”— ANTONÍN DVOŘÁK, 1895
2 3
nature, including its darker aspects of
death and decay.
Acknowledged for their dramatic com-
positions, Weber, Beethoven, Schumann,
and Wagner are all well-known Romantic
German composers of the era. A central
theme of Romanticism is Nationalism —
the focus on national language and folk-
lore. Think of The Brothers Grimm, a prime
example of Romanticism and Nationalism:
they collected and published local folk
tales as nationalistic literature, preserving
the culture of the common folk in the face
of rapid industrialization.
ABOUT THE MUSICIn early 1892, Dvořák became interested
in the idea of a three-movement sym-
phonic work depicting nature, life, and
love. His intention was to deeply explore
each idea and the effect they had on the
soul of mankind. Originally intended to
be played together, the three movements
are now often performed separately un-
der the given names of In Nature’s Realm,
Carnival, and Othello.
To provide unity between the three works,
Dvořák wrote a theme that appears in all
three pieces and is the principle theme
of In Nature’s Realm — listen for a “yoo-
hoo” type call out throughout the music.
Reminiscent of a bird call, it actually de-
rives from a Moravian folk yodel.
Dvořák was a master of the pastoral
setting; the light and airy instrumentation
of In Nature’s Realm features lots of reedy
woodwinds and little percussion other than
the triangle.
The piece opens with a quiet breath
of fresh air in the low horn and clarinet
before the pastoral bassoons and violas
enter with a walking theme. Trilling birds
and dappled sunlight are punctuated by
majestic horns, building drama as the walk
continues down a winding path.
The light gives way to darkness and
Dvořák hurries the listener along with fast
string passages and dramatic brass inter-
jections before the flute and clarinet come
out again as birds in the sunshine and end
the piece quietly, with an air of satisfied
contemplation.
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2 4 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N
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2 6 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N
ABOUT TCHAIKOVSKYBecause there was no formal music school in St. Petersburg,
Russian composer Pyotr Il’yich Tchaikovsky attended law school at
the St. Petersburg School of Jurisprudence. He had always been
drawn to music, and when the St. Petersburg Conservatory of
Music was founded in 1860, Tchaikovsky immediately enrolled to
study theory and composition, as well as piano, flute and organ.
Tchaikovsky was recruited as a music theory teacher when the
Moscow Conservatory of Music opened in 1865. We know from
his letters and his students’ recollections that Tchaikovsky wasn’t
a very good teacher. He certainly enjoyed, however, an active and
varied social life in Moscow, perhaps even a bit more than his
teacher’s salary allowed for, since he was known to supplement his
income during this time with translations and arrangements.
A LITTLE RUSSIAN HISTORYWhen he ascended to the throne in 1855, Czar Alexander II vowed
to reform both the government and the industries of Mother
Russia without sacrificing her culture. Nationalistic roots and
tendencies have always run deep in Russia — Tchaikovsky adored
the Russian folk tunes of his childhood. But rural life was harsh; the
ancient feudal laws had been abandoned in the rest of Europe
in the previous century, but Russian serfs were still completely at
the mercy of the wealthy landowner class. The Proclamation Law
of 1861 freed the serfs from dependence on the landowners and
granted them both the land and their freedom.
Tchaikovsky wrote
several pieces based on
Shakespeare’s works,
including his famous
ballet Romeo and Juliet.
Duration: 20 minutes
The Tempest; Fantasy-Overture, Op.18 Pyotr Il’yich Tchaikovsky (1840 – 1893)
“ Now I want Spirits to enforce, art to enchant; And my ending is despair, Unless I be relieved by prayer”— WILLIAM SHAKESPEARE, THE TEMPEST
2 7
BCOCOLORADO.ORG
Encore! Audience Favorites OCT 16,17,18
Mystery and Joy DEC 4 & 6
Bach Times Three FEB 26,27,28
Fanfares and Flourishes MAY 20,21,22
10TH ANNIVERSARY SEASON 2015/16
This liberal reform by Alexander II gave
approximately 23 million peasants the
right to own property, own businesses, and
marry without consent. The Russian people
were cautiously optimistic that life was
about to get a lot better as they jumped
head-first into the modern era.
ABOUT THE MUSICTchaikovsky, like other artists and com-
posers of the 19th century, found a ready
source of inspiration in Shakespeare. The
suggestion for a musical treatment of The
Tempest came from Vladimir Stasov, a men-
tor to many Russian nationalist composers.
Tchaikovsky wrote the work quickly, over
a period of only 11 days in the autumn of
1873. The premiere took place in December
1873, at a Russian Music Society concert.
The program of Tchaikovsky’s The
Tempest, described as a fantasia for
orchestra, is derived from Stasov and was
printed with the published score. The
sections are as follows:
· The sea
· Ariel, spirit of the air, obeying the will of
the magician Prospero, raises a storm
· Wreck of the ship bringing Ferdinand
· The enchanted isle
· First timid feelings of love of Miranda
and Ferdinand
· Ariel, Caliban
· The lovers succumb to their passion
· Prospero deprives himself of his magic
power and leaves the island
· The sea.
Listen to how the sea changes, from the
placid arpeggios of the opening sea
section, to the timpani furiously rolling in
the energetic storm, and finally the relief
felt at the end as the brass surges away
and the survivors. In between, you will hear
the beautiful Tchaikovsky love themes he
perfected with Romeo and Juliet.
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ABOUT SIBELIUSFinnish composer Jean Sibelius, known primarily for his orches-
tral works, had a great talent for orchestral color and structure.
Born to Swedish-speaking parents in Finland, Jean was exposed
to music from an early age. His father died when he was quite
young, leaving behind a large debt that Jean’s mother strug-
gled to pay off. Jean and his siblings were shipped around the
country to different family members, including his Uncle Pehr, a
violinist, and Aunt Julia, who instructed Jean in piano.
Though a skillful violinist, Sibelius felt hew would never be a vir-
tuoso, and instead focused on his other passion — composition.
He studied composition in Helsinki, Berlin, and Vienna, where he
was exposed to the music of Strauss, Bruckner, and Wagner.
After an extensive career filled with many well-received works,
such as Finlandia and The Swan of Tuonela, Sibelius eventually
retired to the country. In 1939, at age 74, Sibelius invited a young
American woman named Antonia Brico to conduct the Helsinki
Sibelius mentored
Denver Philharmonic
Founder Antonia Brico,
and he describe her as
his “sixth daughter,”
the only conductor who
interpreted his work the
way he intended it to be
performed.
Duration: 30 minutes
Symphony No. 5 Jean Sibelius (1865 – 1957)
“ Even by Nordic standards, Sibelius responded with exceptional intensity to the moods of nature and the changes in the seasons: he scanned the skies with his binoculars for the geese flying over the lake ice, listened to the screech of the cranes, and heard the cries of the curlew echo over the marshy grounds just below Ainola. He savoured the spring blossoms every bit as much as he did autumnal scents and colours.”— ERIK TAWASTSTJERNA, SIBELIUS BIOGRAPHER
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Symphony Orchestra. Less than 10 years
later, Antonia became the conductor of a
local Colorado group called the Denver
Businessman’s Orchestra, which was
later re-named the Denver Philharmonic
Orchestra!
FINNISH NATIONAL IDENTITYIn the second half of the 19th century,
Finland was stirring with economic and
cultural changes having gained autonomy
from Sweden after seven centuries under
their control. The Finnish War, fought
between the Kingdom of Sweden and the
Russian Empire, ended in 1809 resulting in
an autonomous and independent cultural
region governed by Russia.
The population of this new Finnish
dukedom was now divided by rival lan-
guages: Finnish and Swedish. Although
the Swedish-speaking population was a
minority, they were considered culturally
elite. The Finnish-speaking majority tradi-
tionally wielded no social power, although
a movement was under way to legitimize
the language and to embrace it as an
authentic, assertive self-identity. Sibelius
spoke Swedish as his first language and
learned Finnish at school when he was still
an adolescent.
The cultures articulated by these unrelated
languages were substantially different:
Scandinavian culture was seen to be more
sophisticated and international, while the
Finnish culture was rooted in the rugged
peasantry of the land, uncompromisingly
idiosyncratic, and inscrutable to the
outside world. Sibelius had a knack for
blending the elements of both to high art,
recognized around the world as a uniquely
Finnish music.
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3 2 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N
ABOUT THE MUSICSibelius had contemplated a Fifth
Symphony as early as 1912. The first ver-
sion, written largely in 1915, was premiered
in December of that year in a celebration
of the composer’s 50th birthday, with
Sibelius himself conducting.
The first movement opens with the horns
in expansive mood, followed by the
woodwind in thirds, the entry of the strings
delayed. The dramatic tension of tremolo
strings leads to a second theme.The mid-
dle section of the movement is a scherzo;
with a solo trumpet hinting at the theme of
the last movement.
The placid second movement contains sev-
eral variations on the main theme set at the
beginning by the flute and plucked strings.
The massive finale starts with the busy, un-
dulating activity of the strings, after which
the well-known theme that dominates the
movement emerges in all its strength, with
a secondary, theme from the woodwinds,
as the trumpets declare what had become
known to Sibelius as the “swan-theme.”
Sibelius was inspired by the sight and
sound of migrating swans circling above
him in the haze of early spring sunshine. It
remains the most familiar and popular of
all Sibelius themes.
3 3
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 101In earlier times, audiences would routinely
applaud between movements to show
their joy for the music they just heard.
Then around the mid-19th century, it
became tradition to wait until the end of
the piece to clap, with the audience sitting
silent between movements.
At the DPO, we welcome both traditions.
If you prefer to wait for the end of a piece
to clap, please do. Some movements are
fiery and end in such a flare that you may
feel compelled to clap — go for it! After
a quiet movement, you may want to enjoy
the feeling of transfixion and wait; there’s
no need to applaud if you’re not feelin’ it.
Regardless, we want you to feel comfort-
able and focus on the performance, not
confusing applause rules!
If you are attending your first (or 300th) classical music concert, below are some frequently asked questions to help make your experience more enjoyable.
3 4 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N
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
NICCOLO WERNER CASEWITSECOND VIOLINEIGHTEENTH DPO SEASON. Niccolo
“Nico” Casewit starting playing the violin
at Denver’s Barmum Elementary School
when he was 9 years old. In Germany,
Niccolo served as concertmaster of the
Eichwald Gymnasium Orchester and as
a principal violinist with the New World
Orchestra. He was co-principal second
violinist of the MIT Symphony Orchestra,
and received his Master of Architecture
degree from MIT.
Niccolo has performed with a number of
other chamber groups, Denver bands, and
ensembles playing in a variety of musical
styles including symphonic-heavy metal,
alternative rock and free-jazz.
In 2014, Nico composed and performed
some of the original music set to the
documentary film “A Beautiful Equation”
directed by Robin Truesdale. The film high-
lights the humanistic stories from the lives
of the scientists Albert Einstein and Neils
Bohr as told by eight grandmothers. The
film follows the rehearsals and the eventual
theater piece performance written and
directed by Boulder educator Len Barron.
The film is scheduled to be released as a
DVD with educational materials this fall.
Niccolo’s day job is an architect and plan-
ner and owns an architectural consultancy
specializing in historic preservation, mixed-
use and education projects. Niccolo is a
past member of the board of the Denver
Philharmonic Orchestra and currently
volunteers as administrator of the DPO’s
Facebook page.
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 Nico, Nick, Ben, Ariel, Rachel and Anita —
3 6 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N
ORCHESTRA SPOTLIG HT
Niccolo enjoys skiing, hiking and climbing
the Flatirons above Boulder. He hopes to
start painting landscapes with watercolors
as he did at a young age hiking with his
father the late Curtis. W. Casewit, a widely
published travel journalist and author.
NICK KENNY THIRD TRUMPETSECOND DPO SEASON. Nick received his
Bachelor’s degree in Trumpet Performance
from Manchester University in 2011 under
the study of Tim Zimmerman. He is cur-
rently pursuing a Master’s degree in Music
Education from the University of Northern
Colorado. Nick lives in northern Colorado
and is on the Loveland High School Band
staff as the trumpet technician and has a
successful trumpet studio. Nick continues
to perform professionally in pit orchestras,
chamber ensembles and for weddings.
BEN LUEYVIOLANINTH DPO SEASON. Ben has been
playing in school or community orchestras
continuously for 20 years. He started on
the viola in sixth grade in his middle school
orchestra in California and soon joined the
Oakland Youth Orchestra.
While studying physics at Carleton
College in Minnesota, he played with
the Carleton Orchestra. After college, he
moved to Boulder where he played with
the Longmont Symphony Orchestra, and
joined the DPO after moving to Denver.
In addition to his undergraduate de-
gree from Carleton, Ben has a Master
of Science degree in Physics from the
University of Colorado Boulder. Outside
of the DPO, Ben is a physicist at a small
3 7
company in Denver where he works on
lasers and electronics to support the laser
cooling and trapping research community.
ARIEL VAN DAMSECOND TRUMPETTHIRD DPO SEASON Ariel has been
playing trumpet for 18 years. She has had
the great fortune of performing with the
Blue Knights Drum and Bugle Corps from
Denver, Santa Clara Vanguard Drum and
Bugle Corps from Santa Clara, California,
with Musica Sacra Chamber Orchestra,
Littleton Symphony Orchestra, Jefferson
County Symphony Orchestra, and
Colorado Wind Ensemble.
Aside from being a full-time student, Ariel
works for Starbucks and assists area high
school marching bands in the summer and
fall. She enjoys spending as much time as
she can in the mountains — be it driving,
hiking or photographing. She is also active
in the community supporting transgender
rights and equality.
Ariel studied trumpet for three years at
University of Colorado, and also studies
at Metropolitan State University of
Denver and Arizona State University’s
online program in the fields of music and
engineering.
RACHEL WARBELOWCELLOSECOND DPO SEASON. Rachel has been
playing the cello since she was 5 years old.
She received her Bachelor of Science in
Cello Performance and Journalism from
Indiana University in 2007 and her Master
of Curriculum and Instruction from the
University of Nevada Las Vegas in 2009.
Rachel is a Ruby on Rails Instructor at
Turing School of Software and Design.
ANITA ZERBEVIOLAFIRST DPO SEASON. Anita recently moved
to Colorado to be a little close to her niece
and the sun. She loves seeing the moun-
tains to the west and the city to the east!
Anita has played the viola since 1999; she
also plays the violin and sings. She majored
in music education and earned her Bachelor
of Music from the University of Wisconsin,
Stevens Point. Along with playing in pit
orchestras on the violin, viola and keyboard,
Anita performed with the Central Wisconsin
Symphony Orchestra for two years.
Currently seeking a music teaching po-
sition, Anita is a substitute teacher with
Denver Public Schools and a shuttle driver
with Sage Hospitality! She looks forward
to possibly busking and teaching private
lessons on many different musical instru-
ments, and she is excited to downhill ski.
3 8 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N
ORCHESTRA CIRCLE($20,000+)
Valerie & Gil Clausen
CONDUCTOR CIRCLE($5,000+)
FirstBank
CONCERTMASTER CIRCLE ($2,500 – $4,999)
MUSICIAN CIRCLE($1,000 – $2,499)
Xcel Energy
PATRON ($500 – $999)
CoBank on behalf of Brian Lucius
Colorado Gives Day “Luck of the Draw”
US Bank Foundation
Donald Walls
BENEFACTOR ($300 – $499)
CoBank on behalf of Brian Lucius
Susan Cochran
Russell Klein
Drs. Mark & Maxine Rossman
CONTRIBUTOR ($100 – $299)
Anonymous
Kathi Rose Agnes
Penny Alles
TATE+BURNS Architects LLC
Donna & Pierre Bastien
Brenda & Peter Oldak
Sandra Rothenberg
James A. Stegman
Gina & Paul Todd
Robert Green
Helen Bauer
FRIEND (UP TO $99)
Amazon Smile Foundation
Richard Casson
Robert & Pauline Dallenbach
Amaryllis Fletcher
David Harrington
Surilda Hudson
Susan J. McGinley
Bert & Rosemary Melcher
IN-KIND DONORSDavid Sherman Creative
Ligature Creative
Newberry Brothers Greenhouse & Florist
The Pillar of Fire Church
Studio Hippo
THANK YOU!We would like to acknowledge the generous support of the following individuals, businesses and corporations.
Since January 1, 2015
3 9
IT TAKES A COMMUN ITYWe are a community-driven orchestra, and we survive with support from our patrons and local businesses. Help us make music with a tax-deductible contribution today. Give safely online at denverphilharmonic.org/contribute.
INDIVIDUAL GIVING DONATION AMOUNTOrchestra Circle $20,000 or above
Conductor Circle $5,000 – $19,999
Concertmaster Circle $2,500 – $4,999
Musician Circle $1,000 – $2,499
Patron $500 – $999
Benefactor $300 – $499
Contributor $100 – $299
Friend up to $99
CORPORATE GIVING DONATION AMOUNTGold Partner $10,000 and above
Silver Partner $5,000 – $9,999
Copper Partner $1,000 – $4,999
You may also consider a planned gift, or donating to the orchestra in honor of someone’s
birthday, anniversary, or in memory of a loved one.
4 0 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N
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 1
CONTACT US!PO Box 6074Denver, CO 80206303.653.2407
@denverphilorchDenverPhilharmonic.org
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 2 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N
musicconnects ourcommunity.
is proud to support theDenver Philharmonic.
ligcreative.com • • • • • • • • • • • • • • • • • • • •• • • • • • • • • • • • • • • • • • • •
with atwist
An intimate concert series at Dazzle Jazz featuring small ensembles, dinner and cocktails.
STRINGS STRAIGHT UP OCTOBER 22 @ 7PM
DA ZZ L E JA ZZ 93 0 L I N CO L N ST
Seating is limited. Buy now at denverphilharmonic.org or dazzlejazz.com.
Introducingclassical music