denver philharmonic orchestra april 4, 2014 concert program
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A P R I L 4
NEW FORMATIONS & MYSTERIOUS MOUNTAINSLawrence Golan, conductorJoshua Sawicki, pianoMussorgsky/Rimsky-Korsakov: Night on Bald Mountaind’Indy: Symphony on a French Mountain AirHovhaness: Mysterious Mountain; Symphony No. 2Nytch: Symphony No. 1: Formations — Denver premiere
performance, co-commissioned by the DPO
O C T O B E R 4N O V E M B E R 1 5D E C E M B E R 2 0F E B R U A R Y 1 4
A P R I L 4M A Y 2 2
2 0 1 3 – 1 4
T H E S I X T Y - S I X T H S E A S O N
201 Garfield Street | Denver, CO 80206 | 303.322.0443www.facebook.com/newberrybros
www.newberrybrothers.com
N E W B E G I N N I N G S 3
With our 2013–14 Season, we celebrate 66 years of providing high-quality symphonic concerts and outreach.
Our orchestra was founded in 1948 as the
Denver Businessmen’s Orchestra by Dr.
Antonia Brico, the first woman to conduct
the Berlin Philharmonic, 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.
WELCOME!
4 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
2 013–14
N E W B E G I N N I N G S 5
2 013–14
Concerts begin at 7:30 pm at
KPOF Hall, 1340 Sherman Street, Denver, CO 80203
OCTOBER 4NEW BEGINNINGSLawrence Golan, conductorDaniel Morris, bass tromboneBoyer: New BeginningsBrubeck: Concerto for Bass Trombone
and OrchestraDvorak: Symphony No. 9 “New World”
NOVEMBER 15INAUSPICIOUS BEGINNINGSLawrence Golan, conductorJames Buswell, violinBeethoven: Fidelio OvertureBarber: Violin ConcertoTchaikovsky: Symphony No. 5 in E Minor
DECEMBER 20NOELS & NEW YEARAdam Flatt, guest conductorMarcia Ragonetti, mezzo-soprano Rimsky-Korsakov: Suite from
The Snow MaidenProkofiev: “Tröika” from Lieutenant KijéKuzma: “Against the Winter Wind” —
World premiere performanceHandel: Messiah “But who may abide
the day of his coming?” Hayen: Maltese WinterHoliday favorites and sing-alongs!
FEBRUARY 14 YOUNG LOVELawrence Golan, conductorLinda Wang, violinTchaikovsky: Sleeping Beauty SuiteChen and He: The Butterfly Lovers
Violin ConcertoProkofiev: Romeo and Juliet Suite No. 2
APRIL 4 NEW FORMATIONS &MYSTERIOUS MOUNTAINSLawrence Golan, conductorJoshua Sawicki, pianoMussorgsky/Rimsky-Korsakov:
Night on Bald Mountaind’Indy: Symphony on a French Mountain AirHovhaness: Mysterious Mountain;
Symphony No. 2Nytch: Symphony No. 1: Formations —
Denver premiere performance, co-commissioned by the DPO
MAY 22 NEW FRONTIERSLawrence Golan, conductorDaugherty: KryptonHovhaness: Celestial FantasyHolst: The Planets
6 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
FRIDAY, APRIL 4, 2014NEW FORMATIONS & MYSTERIOUS MOUNTAINSKPOF Concert Hall · Denver, Colorado · 7:30 pm
Lawrence Golan, conductorJoshua Sawicki, piano
Modest Mussorgsky, arr. Nikolai Rimsky-Korsakov(1839–1881) Night on Bald Mountain
Vincent d’Indy Symphony on a(1851–1931) French Mountain Air, Op. 25 Assez Lent – Modérément Animé
(Rather Slowly – Animated Moderately)
Assez Modéré, Mais Lenteur
(Rather Moderate, but without dragging)
Animé (Animated)
Featuring Joshua Sawicki, piano
∙ 1 5 - M I N U T E I N T E R M I S S I O N ∙
N E W B E G I N N I N G S 7
MEET THE MUSICIANSJoin us for a reception on the lower level after the concert.
Alan Hovhaness Symphony No. 2;(1911–2000) Mysterious Mountain Andante
Double Fugue: Moderato maestoso
Double Fugue: Allegro vivo
Andante espressivo
Jeffery Nytch Symphony No. 1; Formations(b. 1964) Orogenies
Rush!
Requiems
Majesties
DENVER PREMIERE PERFORMANCE, CO-COMMISSIONED BY THE DPO
8 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
MUSIC DIRECTOR Lawrence Golan
ASSOCIATE CONDUCTORKornel Thomas
FIRST VIOLINKatherine Thayer, concertmasterPatsy AronsteinYaniv Gutman*Thomas JatkoNasiha KhalilChelsea MordenEmmy ReidBeth SchoeningVanessa Vari
SECOND VIOLINYiran Li, principalAlbert TingRachel BradfordNiccolo Werner CasewitPauline DallenbachTerri GonzalesMiki HeineAnnie LauryAlyssa OlandAnne Silvas
VIOLAWilliam Hinkie, III; principalAndrew Grishaw*Lori HansonLindsey Hayes*Ben LueyTravis Rollins*
CELLOBryan Scafuri, principalNaftari BurnsRebecca CoyAusra MollerudAnnastasia PsitosMonica SálesMark StantonAmanda ThallAndreas WerleRachel Yanovitch
BASSMark Stefaniw, principalLucy BauerJosh FilleyJoey PearlmanTaryn Galow
FLUTEAaron Wille, principalCatherine Ricca Lanzano Whitney Kelley
PICCOLOWhitney Kelley
OUR MUSICIANS
N E W B E G I N N I N G S 9
OBOEKimberly Brody, principalLoren Meaux, assistant principalChloe Veltman
ENGLISH HORNLoren Meaux
CLARINETClaude Wilbur, acting principalBrooke Hengst
BASS CLARINETEmilie Helms*
BASSOONKen Greenwald, principalNicholas LengyelLeigh Townsend*
CONTRABASSOONLeigh Townsend*
FRENCH HORN David Wallace, principalMark DenekasJeanine WallaceKelli HirschMary Brauer
TRUMPETRyan Spencer, principalTyler Van DamRyan Stutzman*Chris Shwayka*
TROMBONEBryan Gannon, principalWallace Orr
BASS TROMBONEDaniel Morris
TUBADarren DeLaup
TIMPANISteve Bulota, principal
PERCUSSIONCollin ConstanceChris Lundberg*Jackson Stevens*
HARPSuzanne Moulton-Gertig
CELESTEMargo Hanschke*
* guest performers
1 0 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
LAWRENCE GOLANMUSIC DIRECTOR, CONDUCTOR
It is also his first year as principal Conductor of the Seoul
Philharmonic in South Korea. He continues as Music Director of
the Yakima Symphony Orchestra in Washington State and the
Lamont Symphony Orchestra & Opera Theatre at the University
of Denver.
Lawrence has garnered considerable international recognition
for his work as a conductor. He has won nine ASCAP Awards,
five Global Music Awards, three American Prize awards, three
Downbeat Magazine Awards, and two Prestige Music Awards.
Lawrence’s appointment in Yakima came on the heels of a very
successful four-year term as Resident Conductor of The Phoenix
Symphony. In 2012, Lawrence was named the Grand Prize Winner
of The American Prize for Orchestral Programming. Several of
the concerts that Lawrence programmed, conducted, and narrat-
ed with The Phoenix Symphony turned out to be the most finan-
cially successful and well-attended performances in the history
of the orchestra, completely selling out triple concert sets in a
2200-seat hall. Lawrence continues to guest conduct professional
orchestras, opera, and ballet companies in the United States
and around the world. Having conducted in 25 states and 16
countries, recent engagements include performances in Boulder,
Macon, Memphis, and Tucson as well as the Czech Republic,
Italy, Korea, Taiwan, and a three-week tour of China with the
American Festival Orchestra.
The 2013–14 Season marks the beginning of Lawrence Golan’s tenure as Music Director of the Denver Philharmonic Orchestra.
N E W B E G I N N I N G S 1 1
A native of Chicago, Lawrence holds degrees in both con-
ducting and violin performance from Indiana University’s
Jacobs School of Music (B.M. and M.M.) and the New England
Conservatory of Music (D.M.A.). In addition, he studied at
all of the major conducting festivals including Aspen and
Tanglewood, where in 1999 he was awarded the Leonard
Bernstein Conducting Fellowship. Following in the footsteps
of his father Joseph Golan, longtime principal Second
Violinist of the Chicago Symphony Orchestra, Lawrence was
Concertmaster of the Portland Symphony Orchestra for eleven
years and has appeared as soloist with numerous orchestras,
including the Chicago Symphony.
Lawrence has made several critically acclaimed recordings, both
as a conductor and a violinist. He has also been published as a
writer, composer, editor and arranger.
Lawrence and his wife Cecilia have been married since 2003.
They have two wonderful children, Giovanna and Joseph.
For more information, please visit LawrenceGolan.com or
WilliamReinert.com.
1 2 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
JOSHUA SAWICKIPIANO
Since then, Joshua has studied at the Royal College of Music
(London), Boston University, University of South Florida, the
Aspen Music Festival, the Chautauqua International Piano
Festival, and is currently an Artist Diploma candidate at Denver
University, where he studies with New York-based pianist
Steven Mayer.
Among numerous other awards, Joshua’s recent honors include
first place in concerto competitions with the Grand Junction and
Lamont Symphony Orchestras. He has played around the world
with recent performances including Aspen; Tampa; Novi Sad,
Serbia; Paris, France; Utrecht, Netherlands; and Cambridge, Mass.
Besides performing, Joshua is an avid teacher. While in Tampa, he
taught piano at the University of South Florida, at the Tampa Piano
Academy and at the Patel Conservatory. Currently he teaches pri-
vately in Denver and at the Colorado Music Quest in Centennial.
Joshua’s major teachers include Rebecca Penneys, Steven Mayer,
John O’Conor, and Svetozar Ivanov.
Joshua was born and raised in Connecticut where he began piano lessons at age 4. During high school, he studied at the Hartt School of Music and won awards in various piano competitions.
N E W B E G I N N I N G S 1 3
JEFFREY NYTCHCOMPOSER, FORMATIONS
He spent much of his teen years dreaming of someday going
to Wall Street and conquering the world; then there was his
study of geology, which encompassed a bachelors degree from
Franklin & Marshall College and graduate work at Binghamton
University before he realized that the path of professional geol-
ogist was not for him. Through it all, music has been the abid-
ing passion of his heart; in the end, it won out with his career as
well. What followed has been a professional odyssey of sorts.
His compositional career has resulted in works commissioned
and performed by a wide range of major artists, including
Richard Stoltzman and the Seattle Symphony, the New York
Chamber Symphony, the Ahn Trio, Verge Ensemble, the
National Repertory Orchestra, and many others.
He earned Master’s and Doctoral degrees at Rice University’s
Shepherd School of Music. These disparate pursuits
have coalesced in his current position as Director of the
Entrepreneurship Center for Music at The University of
Colorado-Boulder. As director of the ECM, he draws on the
full range of his professional experiences, equipping music
students with the tools they need for professional careers in
the arts and speaking nationwide as one of the leading voices
in arts entrepreneurship… all with the stunning geology of the
Colorado Front Range as the backdrop. It’s nice when things
come together, isn’t it?
Jeffrey enjoys a rich and diverse career as a composer, performer, educator and advocate — but it hasn’t been a straight line getting there.
1 4 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
ROCK ON!
THANK YOU, KOLACNY MUSICfor providing the instruments for our Petting Zoo.
SOPRANOtrumpet, flute, oboe,
clarinet, violin
ALTOFrench horn,
alto saxophone, viola
TENORcello, trombone,
tenor saxophone
BARITONEbassoon
BASStuba, bass clarinet, baritone
saxophone, alto clarinet,
double bass
Pitch is the highness or lowness
of a note. The long, fat strings
of the double bass make low
notes. Short, thin strings on the
violin make high notes. When
all orchestra instruments
play together, the different
pitches, or layers, create a
Musical Mountain.
How is music like a mountain?Let’s learn about pitch to find out!
N E W B E G I N N I N G S 1 5
KORNEL THOMASASSOCIATE CONDUCTOR
He majored in composition at the St. Stephen King Music
Conservatory and High School. He holds a master’s degree
in orchestral conducting from the University of Music and
Performing Arts Vienna.
For the past three summers, Kornel has attended the presti-
gious Pierre Monteux School for Conductors and Orchestral
Musicians with the Quimby Family Foundation Scholarship. In
2013, he was a semi-finalist at the Sao Luiz Teatro Municipal
and the Orquestra Metropolitana de Lisboa Young Conductors
Competition, and he had his debut in the Vienna Musikverein
with the ORF Radio Symphony Orchestra Vienna in 2012.
Kornel was selected as music director for the 2010 Opera
Project of the Media Composers from the University of Music
and Performing Arts Vienna. From 2004–2006, he served as
Assistant Conductor of the St. Stephen King Youth Symphony
Orchestra. And in 2006, Kornel won second prize at the Bela
Bartok Hungarian National Competition in Composition.
In addition to the DPO, Kornel is also the assistant conductor
and orchestral manager of the Lamont Symphony Orchestra and
Opera Theater in Denver. He lives in Denver where he is also
pursuing an Artistic Diploma in Orchestral Conducting.
Kornel was born in Pittsburgh and grew up in Budapest where he began his musical education studying the violin, piano and composition.
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.
1 6 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
EXECUTIVE DIRECTORValerie Clausen
BOARD OF DIRECTORSPRESIDENT Jon OlafsonVICE-PRESIDENT Eleanor GloverSECRETARY Maureen KeilTREASURER Allison LaustenPauline Dallenbach, Honorary MemberRobert DallenbachAmanda HandRussell KleinLinda LebsackMatt MeierTenley Oldak
DENVER PHILHARMONIC FOUNDATION BOARD Michael P. Barry
Keith Fisher
Russell Klein
Allison Lausten
CONDUCTORLAUREATEDr. Horst Buchholz
BACKSTAGE COORDINATORSAnna SchultzJän Schultz
BOX OFFICE/ TICKET SALESGil ClausenCarla CodyAmanda HandAnnie LauryJon OlafsonAnna Schultz
CONCERT NOTESDr. Suzanne Moulton-Gertig
CONCERT RECORDINGJoel Dallenbach
CONCERT PROGRAMLigature Creative Group, designWalker Burns, editingElizabeth Wall, editing
FUNDRAISINGGil ClausenEleanor GloverAllison LaustenJon Olafson
OUR ADMIN VOLUN TEERS
N E W B E G I N N I N G S 1 7
VOLUNTEERING OPPORTUNITIESOur orchestra is run by volunteers, with no paid administrative staff. We 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 vclausen@denverphilharmonic.org.
OUR ADMIN VOLUN TEERSLIBRARIANCallista MedlandAlyssa Oland, assistant
ORCHESTRA ROSTERAnnie Laury
OUTREACH Alixandra FeeleyKatherine FitzgeraldLok JacobiMaureen KeilLinda LebsackKatherine Thayer
PARKING ADVISORHugh PitcherDoug Gragg
PERSONNEL MANAGERAnnie Laury
PRE-CONCERT SLIDESAlex Thomas Ligature Creative Group
PUBLICITYNiccolo CasewitDr. Robert DallenbachEleanor GloverAmanda HandMatt MeierJeff PaulDavid Sherman
USHERS & RECEPTION COORDINATORSGil ClausenLok JacobiAllison LaustenRoger PowellRobert Schoenrock
WEBMASTERLigature Creative GroupNick Croope
1 8 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
APRIL 4 ∙ NEW FORMATIONS & MYSTERIOUS MOUNTAINS
by DR. SUZANNE MOULTON-GERTIG
Night on Bald MountainModest Mussorgsky (1839 – 1881)
Undoubtedly Mussorgsky’s his best-known orchestral work, Night on Bald Mountain was not originally composed as an independent tone poem. This work was composed for the opera Mlada, which was to be a group effort compiled from separate contributions of Cesar Cui, Alexander Borodin, Nikolai Rimsky-Korsakov and Mussorgsky.
One of the sections assigned to
Mussorgsky was “The Sacrifice of the Black
Goat on Bald Mountain,” and for this
portion, the composer revised sketches
for a previous work, which he called St.
John’s Night on the Bald Mountain. When
the grand project of Mlada fell through,
Mussorgsky decided to use his music as
an orchestral intermezzo in his own opera
Sorotchinsk Fair. Regrettably, this was
not to come to pass, either, for he died
before finishing that opera. It remained to
his colleague Rimsky-Korsakov to put into
final shape what became, in the end, this
extraordinary orchestral tone poem.
N E W B E G I N N I N G S 1 9
The following program Mussorgsky himself
indicated which Rimsky-Korsakov retained:
“Subterranean sounds of supernatural
voices. Appearance of the spirits of dark-
ness, followed by that of Satan himself.
Glorification of Satan and celebration of
the Black Mass, The Sabbath Revels. At the
height of the orgies, the bell of the village
church, sounding in the distance, disperses
the spirits of darkness. Daybreak.”
2 0 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
N E W B E G I N N I N G S 2 1
Symphony on a French Mountain Air, Op. 25Vincent d’Indy (1851 – 1931)
Although d’Indy completed well over a hundred works, only a few of them are played frequently today. From this handful of works is his most popular, Symphonie sur un chant montagnard français, or Symphony on a French Mountain Air, composed in 1886.
The composer took his theme for the work
from a folksong he heard at Périers in low-
er Normandy overlooking the Cévennes
Mountains. The symphony is unusual in
that it features a prominent piano part
that is highly virtuosic in nature; d’Indy
conceived the work as a fantasy for piano
and orchestra.
Writer Michael Kelly describes the work
briefly: “The main theme, announced im-
mediately by the English horn, reappears
periodically throughout the work, both
as a complete statement of the song as
well as in fragmentary forms resembling
Wagnerian leitmotivs. Two other melodies
also play prominent roles, both individu-
ally and in combination. The exposition,
development and recapitulation of these
themes reveal an almost Brahmsian ability
to mold musical materials to a desired
form – rather than adjust the formal struc-
ture to accommodate the ideas.” Writer
Laurie Shulman provides a more detailed
description:
The first movement of the symphony is
in sonata form, with a classic opposition
of two principal themes. English horn
introduces the French mountain air.
The piano plays in a concertante role:
2 2 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
mostly decorative, but weaving textures
that merge seamlessly with those in the
orchestra. It frequently leads, but does
not dominate. In several places, harp joins
piano for a brief duet.
Piano introduces the transformed theme
in the second movement. The structure
is a song form (A-B-A), with each of the
three sections a miniature binary form.
The writing is proto-impressionist, sug-
gesting waterfalls and mountain streams.
D’Indy loved the mountains and felt
energized by them. This slow movement
was his paean to nature and the silent
grandeur of the Cévennes.
The finale is an animated rondo that
captures the energy of an open air festival.
Ostinati and the feeling of a tarantella
drive the rhythmic pulse, but metric chang-
es are frequent and phrases irregular. As in
the first movement, piano and harp join in
an occasional duet. The finale unfolds in a
gradual crescendo with a steady increase
in power. At the end, d’Indy brings back
the original tune, now with piano and
trumpet. His cyclic re-use and transforma-
tion of the French mountain air reflect the
influence of his teacher César Franck, but
the fusion of romanticism with classical
process is entirely his own.
A SPECIAL THANK YOUTO SCHMITT MUSICfor providing the beautiful Steinway piano for tonight’s concert.
N E W B E G I N N I N G S 2 3
Our Board of Directors gratefully acknowledges the vital contributions made by the Pillar of Fire Ministries / KPOF 910 AM to our orchestra and Denver’s classical music community. Over the past five decades, the Pillar of Fire Church has generously accommodated our orchestra rehearsals and many perfor-mances. Since 1963, Dr. Robert B. Dallenbach, and more recently his son, Joel Dallenbach, have meticulously recorded and broadcast all of the orchestra’s concerts.
SUNDAY CLASSICAL MUSIC7:00 – 10:00 PMKPOF — 910 AM
Tune in to radio station KPOF (AM 910)from 7 – 10 pm on Sunday, April 13 for an encore of
tonight’s Denver Philharmonic performance!
2 4 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
Symphony no. 2 “Mysterious Mountain”Alan Hovhaness (1911 – 2000)
Alan Hovhaness wrote, “I named the symphony for the mysterious feeling that one has in the mountains — not for any special mountain, but for the whole idea of mountains.”
Of Hovhaness, Michael Kelly writes, “His
fascination with Eastern philosophies
and meditation carries over to his music.
Almost all of his works have a spiritual
character. Although it is sometimes reli-
gious, it is seldom liturgical. Frequently
his works invoke spirituality rather than
overtly representing it. It is as if he wants
the listener to explore his inner self rather
than participate in the formal beliefs of
others. Many of his works are inspired by
natural subjects, and cross over the meta-
physical boundary between the universe
of perception and the universe of mystical
imagination. He was especially fasci-
nated by the solitary mountain, whose
rise toward its peak was a metaphor for
ascent toward something unknown, but
transcendentally great.”
Hovhaness composed his second sympho-
ny, which is one of his most frequently per-
formed works, at the bidding of conductor
Leopold Stokowski for the latter’s inau-
gural concert in October of 1955 as the
new conductor of the Houston Symphony
Orchestra. To add to the importance of the
occasion for both conductor and compos-
er, the concert that was broadcast across
the nation on NBC television.
The work is in three movements; the outer
movements feature hymn-like melodies
that are liberated rhythmically by frequent-
ly changing meters. The middle movement
has two prominent attributes: a string choir
theme that is flowing in nature, and an
exuberant theme, both of which are devel-
oped and ultimately presented together
toward the conclusion of the movement.
N E W B E G I N N I N G S 2 5
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2 6 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
N E W B E G I N N I N G S 2 7
As I began work on this symphony I made
two decisions that were critical. The first was
that it was impossible to depict the entire
geologic history of the mountain west —
and therefore I wouldn’t even try. Instead
I would select key episodes in that history
that I thought would also make good music.
The second decision is that I would explore
the relationship between geology and hu-
man experience, a relationship that has not
always been a harmonious one.
This allowed me to form four guiding
principles that helped me shape this sym-
phony: 1) I was not going to attempt a com-
plete telling of the geologic history of the
Rocky Mountains — such an undertaking
would require many symphonies! 2) I would
find musical ways to express geologic
processes so that the symphony would not
just be a reflection of the landscape but of
the processes that formed that landscape.
3) When one views a modern feature such
as a mountain, one sees the many different
events that have shaped that feature in the
Symphony No. 1, FormationsJeffrey Nytch (b. 1964)
One of the interesting things about the geology of the Rocky Mountains is how musical the history is: rocks that are formed at the very beginning continually reappear, just as musical themes do in a composition; components of those rocks — motives, if you will — are modified, varied, and transformed over the course of the work; patterns and repetition are at the core of our geologic history, just as they are at the core of most Western music.
NOTES by COMPOSER JEFFREY NYTCH
2 8 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
N E W B E G I N N I N G S 2 9
aggregate. This compression of perception,
and of time, gave me the freedom to super-
impose or rearrange geologic events ac-
cording to the best musical outcome, even
if it took geologic events out of the order
in which they occurred. 4) There would
be some portion of the work that would
explore the relationship between humans
and the geology that has such enormous
influence on our lives and history.
Each movement explores a different
episode in the geologic story of the Rocky
Mountains:
I. Orogenies Dark, primal q = 54
II. Rush! Scampering, becoming progressively
more manic q = 120
III. Requiems Larghetto q = 58
IV. Majesties Dark, unsettled q = 54; Furiously
churning; Gradually building
momentum; Jubilant
The first movement describes the
Precambrian formation of the crust that
would eventually form the majority of
southwestern North America. I thought of
this as the laying of both geological foun-
dations and musical ones, so that just as the
Precambrian basement keeps appearing
throughout the regions geologic history, so
do the motives and harmonies presented
in this movement play out over the course
of the symphony. The three climaxes corre-
spond to three major orogenic events while
a suddenly calm coda represents the Great
Unconformity and the enormous gap in
time it embodies.
This movement depicts the gold and silver
rushes of the 19th century. We hear a rustic
fiddle tune such as what one might have
heard in a mining camp, but the tune keeps
going awry and fizzling out — just as each
rush failed to fulfill its promise. A middle
section superimposes the sounds of miners
panning for gold with the hiss of hydrother-
mal veins and the thundering of the Cripple
Creek Diatreme. This geologic event is in
3 0 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
turn interrupted by a human one: the labor
strife between miners and mine owners,
accompanied by the sounds of gun shots
that brought the rush era — and bring this
movement — to a crushing conclusion.
The third movement evokes the Cretaceous
Seaway of North America and the huge
amounts of organic material accumulated
there to create coal, oil, and natural gas.
As I contemplated this chapter in geologic
history I was struck by two things. The first
was the realization that the fuels that make
our modern society possible are derived
from the remains of plants and animals —
creatures that were previously alive, and
whose death provided the material for the
very thing our modern world depends on.
I found this thought worthy of contempla-
tion, and it inspired the title Requiems as
well as the bulk of the music for this move-
ment. The more animated music towards
N E W B E G I N N I N G S 3 1
3 2 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
the end of the movement provides a
contrast to the dark world of buried organic
sediment: a sunny evocation of what must
have been a tranquil and beautiful region,
with warm lagoons and rich, tropical forests.
Marine reptiles such as plesiosaurs arched
gracefully in clear, tropical waters, while
pterosaurs and early bird species soared
through the air.
The final movement depicts the long
and complex history behind the mod-
ern Rocky Mountains. First we hear a
brooding tuba solo dissolve into a slow,
climbing chorale for brass: the steady
uplift of the Laramide Orogeny, approx.
65 million years ago. But this uplift didn’t
result in the mountains we see today.
In fact, those highlands were buried by
their own debris and that of an extended
period volcanic activity that showered
thousands of meters of ash, lava, and py-
roclastic flows upon the region. It was not
until about 5 million years ago that either
climate change, renewed uplift, or some
combination of the two caused sudden
N E W B E G I N N I N G S 3 3
and rapid erosion of the Laramide high-
lands — carving out the majestic moun-
tains we see today. As the erosion picks
up pace, we hear snippets of motives
from the entire symphony culminating in
a grand chorale of joyous celebration for
the magnificent region we know today as
the Rocky Mountains.
Of course, it’s every composer’s desire that
the music work on its own terms, without
the benefit of any outside narrative. This is
precisely what I found to be so satisfying
about writing this symphony: while de-
veloping the connecting points between
geologic principles and musical ones I was
not forced to compromise either: the music
was already in the geology, making it easy
to bring the geology into the music.
— Jeffrey Nytch, September 2013
Co-commissioned by the Boulder Philharmonic Orchestra and the Geological Society of America in celebration of the Society’s 125th anniversary, with support from ExxonMobil. This work was funded in part by the Composer Assistance Program of New Music USA.
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.
3 4 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
• PHONES ON — SOUND OFF! We know
you want to participate, but let’s leave
the music to the pros
• ALL THUMBS Tweet tweet tweet all the
night through, but remember, no talking
during the concert
• Add the hashtag #DPOtweets to your
posts so your neighbors can follow along
• You don’t need a Twitter account to
read our tweets (just visit twitter.com/DenverPhilOrch), but if you’d like to
tweet along with us, you need an account
• “PG” tweets only —
C’mon, we’ve got kids here
TWEET YOUR HEART OUT
#DPOTweets@DenverPhilOrch
CLASSICAL MUSIC, MEET THE 21ST CENTURY
During the concert, we live-tweet photos, facts and tidbits about the music you’re listening to. Follow along, share and interact with us and other concert-goers on Twitter.
A FEW RULES
N E W B E G I N N I N G S 3 5
3 6 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
CONCERT ETIQUET TE
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.
N E W B E G I N N I N G S 3 7
CONCERT ETIQUET TE
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! @denverphilorch #dpotweets
We’re into connections.LigCreative.com
3 8 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
ORCHESTRA SPOTLI GHT
PATSY ARONSTEINVIOLINTHIRD DPO SEASON. Patsy started
violin lessons in 4th grade and has
played ever since — well, you can TRY
to do the math. As a young adult, Patsy
studied with Harold Wippler here in
Denver, played in the Colorado Springs
Symphony when she was a student
at Colorado College and later joined
the Arapahoe Philharmonic where she
played for 27 years. As a child, Patsy
studied piano as a child and still enjoys
playing from time to time. Patsy received
her B.A. in French from Colorado
College 1980 and a Master’s degree in
French Literature from the University
of Colorado in 1985. Now retired, she
taught high school French at Colorado
Academy for the majority of her career,
but spent several years teaching at the
University of Denver and the University
of Colorado as an adjunct professor and
teaching assistant respectively. The past
10 years, she has been a member of
Friends of Chamber Music’s Board and
has served as President of the Board for
the past three years. She is an avid tennis
player, skier and enjoys traveling. Patsy
also enjoys playing chamber music with
friends and is partial to the repertoire for
piano trio. With her husband, Jim, we
have three sons — Will, Tyler and Reid
— and a handsome golden retriever,
Champ. She’s a true Francophile right
down to the violin and bow that she is
playing with tonight!
RACHEL BRADFORDVIOLINSEVENTH DPO SEASON. Playing the
violin since 1988, Rachel began by
performing in a variety of youth en-
sembles in the Denver area under the
instruction of Barbara Rino, including
the Denver Young Artists Orchestra and
the Colorado Youth Pops Orchestra.
She attended the University of Northern
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 Patsy, Rachel, William, Whitney, Yiran, Annastasia, Albert and another Rachel —
N E W B E G I N N I N G S 3 9
ORCHESTRA SPOTLI GHT
Colorado, where she studied music
performance under the guidance of Dr.
Richard Fuchs and Dr. Russell Guyver.
Rachel earned her Bachelor of Science
in accounting from Metropolitan State
University of Denver. In addition to
performing with us, she’s had the honor
of playing with the Littleton Symphony
Orchestra under conductor and former
Colorado Symphony Orchestra princi-
pal cellist, Jurgen de Lemos, and the
Metropolitan State University Symphony
Orchestra under the direction of Dr.
Brandon Matthews. She considers herself
lucky to have the privilege of continu-
ing her private studies with the very
talented CSO violinist and MSU violin
instructor, Bradley Watson. Rachel fills
her weekdays with a full-time job in tax
auditing and compliance for the State of
Colorado. Rachel lives in Denver with her
husband Patrick, their brand new baby
girl, and two furry dachshunds.
4 0 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
DR. WILLIAM H. HINKIE, IIIVIOLASEVENTH DPO SEASON. William’s been
playing music since the age of 9 when
he started playing the violin in his public
school music program in Louisiana. He
has performed with the Baton Rouge
Symphony, the Akron Symphony,
the Aspen Music Festival Orchestra,
the Colorado Ballet and the Boulder
Philharmonic. He received his bachelor in
Music Education and Violin Performance
from Louisiana State University, a Master
of Music in Viola Performance from the
Cleveland Institute of Music and a Doctor
of Musical Arts from the University of
Minnesota. William is a freelance musician
and teaches private lessons.
N E W B E G I N N I N G S 4 1
WHITNEY KELLEYFLUTE/PICCOLOFIRST DPO SEASON. Whitney re-
ceived her D.M.A and M.M. in Flute
Performance and Pedagogy from the
University of Colorado with Christina
Jennings, and completed her B.M. with
Tadeu Coelho at the University of North
Carolina School of the Arts. Once begin-
ning to play the flute at age four through
the Suzuki Method, music has played an
integral part throughout Whitney’s life.
Acclaimed for her “considerable tech-
nique” by the Winston-Salem Journal,
she has appeared as soloist in numerous
orchestral and recital settings, including
guest appearances with Hollywood
film composer Dave Grusin, jazz flutist
Nestor Torres, and performances in the
Ravinia Summer Music Festival, Texas
Music Festival, Denver Pops, Jefferson
Symphony, and Longmont Symphony
Orchestras. In addition to the Denver
Philharmonic, Whitney performs as flutist
in the Airde Ensemble, a woodwind
sextet based in Boulder, Colorado. In
addition to her orchestral and chamber
pursuits, Whitney currently serves
as president of the Colorado Flute
Association, staffs teacher training with
the Suzuki Association of the Americas
at their headquarters in Boulder, and
maintains a thriving private studio across
the Denver metro area. Whitney lives
outside of Denver with her husband and
energetic puppy. She enjoys photogra-
phy, hiking in the Rockies, and cheering
on the Denver Broncos.
YIRAN LIVIOLINSECOND DPO SEASON. Since she starting
playing the violin at age 3, Yiran took
violin as her major in middle school and
has played with symphony orchestras and
philharmonic orchestras in China. She is
working on her Master’s of Music degree at
University of Denver Lamont Music School
4 2 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
and is the violin graduate teaching assis-
tant. Yiran teaches private violin lessons and
has a classical duet with her boyfriend Travis
Rollins called The Duality Duet. Together,
they perform for all kinds of special occa-
sions, which includes everything from wed-
dings to Solheim Cup opening and closing
ceremonies. And she has a kitty!
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 Symphony and is a substitute
cellist with the Fort Collins and Cheyenne
Symphony Orchestras. She works as an
accounts-payable assistant at an oil and
gas company.
N E W B E G I N N I N G S 4 3
ALBERT TINGVIOLINSECOND DPO SEASON. Albert has
played music on and off for 48 years.
The last orchestra he played with
was the Metro State Orchestra. After
receiving his undergrad degree from
Stanford, Albert pursued his Master’s
from University of Texas Southwestern
and his PhD from Baylor College of
Medicine. Albert works as a Nursing
Home Provider.
RACHEL YANOVITCHCELLOFIRST DPO SEASON. Rachel began study-
ing piano at age 5, cello at age 9, guitar at
15, and in her free time, she has enjoyed
singing and songwriting for several 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 plays cello for
Pilgrim City Church on Sundays.
SEASON FINALE!THURSDAY, MAY 22NEW FRONTIERS
Lawrence Golan, conductor
Daugherty: KryptonHovhaness: Celestial FantasyHolst: The Planets
4 4 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
ORCHESTRA’S CIRCLE($20,000+)
Gil and Valerie Clausen
CONDUCTOR’S CIRCLE($5,000+)
SCFD
CONCERTMASTER’S CIRCLE($2,500 – $4,999)
MUSICIANS’ CIRCLE($1,000 – $2,499)
Linda M. Lebsack Books
Venus and Russell Klein
PATRON($500 – $999)
Jon Olafson
MeeAe Nam
Hugh R. Pitcher
Donald Walls
BENEFACTOR($300 – $499)
Patricia Aronstein
Eleanor Glover and Eugene Advincula
Russell Klein
Lisa and Vik Patel
BENEFACTOR (CONT.)
Roger Powell
CONTRIBUTOR($100 – $299)
Charles and Joan Albi
Anonymous
Anonymous
Phil and Jennifer Barru
Helen Bauer
Arthur and Jacinda Bouton
Mary Brauer
Carla Cody
Amaryllis Fletcher
Robert Greene
Nancy Hart
Lok Jacobi
Maureen Keil
Allison Lausten
Brian Lucius
Tenley Mueller
Alyssa Oland
Phil Pearlman and Betty Bona
Joseph Pompei
Wolcott F. Rice
Catherine and Ted Lanzano
Thomas James Merry
Douglas and Mary Meeusen
Constance Mortell
Judy Morton
INDIVIDUAL GIVING
QUICK DONATE!Text “dpo” to 50155
N E W B E G I N N I N G S 4 5
CONTRIBUTOR (CONT.)
Robert J. Smith
TATE+BURNS Architects LLC
Karin Tate
Naioma and Brad Walberg
Marcia Whitcomb
Gary Wooley
FRIEND(UP TO $99)
Keri Rose Agnes
Anonymous
Penny Alles
James Brody
Janice Burley
Anna Castillo in honor of Terri Gonzales
Ginger Clausen
Sara Collyar
Ray Ehrenstein
Adam Flatt
Steve and Beth Gannon
Terri Gonzales
Bruce Haefner
Amanda Hand
Allan and Carol Hanson
Lori Hanson
Chris Harper
Brooke Hengst
Michael Hengst
Karin Hensel
FRIEND (CONT.)
SJ Hudson
Arash Jahanian
Annie Laury
Ligature Creative Group
Susan McGinley
Janet Mizelle and Michael Hope
Loren Meaux
Suzanne Mueller and Mark McCarron
in honor of Valerie Clausen
Callista and Patrick Medland
Matthew McCleary
Kathleen Porter
Roger Powell
Marcia Ragonetti
Carol Rankin
Dr. Herbert Riehl
Suzanne Sipos
Mark Stanton
The Tine Family
Walker Burns and Jennifer Tate
Dave Wallace
Jeanine and Dave Wallace
IN-KIND SUPPORTERSThe Pillar of Fire Church
Ligature Creative Group
Newberry Brothers Greenhouse and Florist
THANK YOU!
4 6 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
GOLD PARTNER($10,000+)
SILVER PARTNER($5,000–$9,999)
COPPER PARTNER($1,000–$4,999)
Fennemore Craig
CORPORATE SUPPORTERS(UP TO $500)
Brownstein, Hyatt, Farber & Schreck
CoBank on behalf of Brian Lucius
Community First Foundation
Noble Energy
CORPORATE GIVING
QUICK DONATE!Text “dpo” to 50155
N E W B E G I N N I N G S 4 7
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 8 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
IT TAKES A COMMUNITY
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
The 66 Society* $66 or above
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.
QUICK DONATE!Text “dpo” to 50155
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.
* Celebrate our sixty-sixth season by joining THE 66 SOCIETYAny supporter who contributes $66 or more will receive a reusable, DPO-branded, Chico grocery bag as a thank-you gift.
N E W B E G I N N I N G S 4 9
IT TAKES A COMMUNITYIf 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
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Address
City, State, Zip Code
Telephone Email
Credit Card No. Exp.
5 0 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
CONTACT US!PO Box 6074Denver, CO 80206303.653.2407
fb.com/denverphilorch @denverphilorch
DenverPhilharmonic.org
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