O C T O B E R 3
REVOLUTION!Kornel Thomas, guest conductor
Elizabeth Baldwin, sopranoShostakovich: OctoberStrauss: Four Last SongsBeethoven: Symphony No. 7
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
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.
WELCOME!
3
2014–15
4 2 0 1 4 – 1 5 T H E S I X T Y - S E V E N T H S E A S O N
2014–15OCTOBER 3REVOLUTION!Kornel Thomas, Guest ConductorElizabeth Baldwin, SopranoShostakovich: OctoberStrauss: Four Last SongsBeethoven: Symphony No. 7
NOVEMBER 14A TALE OF THREE SYMPHONIESLawrence Golan, ConductorKimberly Brody, OboeKenneth Greenwald, BassoonKatherine Thayer, ViolinBryan Scafuri, CelloHaydn: Sinfonia concertante in B-flat Major, Hob. I: 105Britten: Sinfonia da RequiemDvořák: Symphony No. 8
DECEMBER 20HOLIDAY CHEER!*Lawrence Golan, Conductor and ViolinElizabeth Montgomery, SopranoColorado Repertory Singers; Mark Stamper, DirectorWilliams: “Merry Christmas, Merry Christmas” from Home AloneSnesrud: Christmas TraditionsHolcombe, arr.: Festive Sounds of HanukkahPola & Wyle: It’s the Most Wonderful Time of the YearJohnson & Pelcer: Merry Christmas BabyMontgomery & Johnson: Fill Your Heart with ChristmasTchaikovsky: “Waltz of the Flowers” from The NutcrackerVivaldi: “Winter” from The Four SeasonsHandel: “Hallelujah Chorus” from The MessiahClifton, arr.: Carol of the BellsHayes, arr.: Variations on 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, OCTOBER 3, 2014REVOLUTION!KPOF Concert Hall · Denver, Colorado · 7:30 pm
Kornel Thomas, guest conductorElizabeth Baldwin, soprano
Dmitri Shostakovich October, Op. 131(1906 – 1975)
Richard Strauss Four Last Songs(1864 – 1949) Frühling
September
Beim Schlafengehn
Im Abendrot
(See English translation on page 28)
∙ 1 5 - M I N U T E I N T E R M I S S I O N ∙
Ludwig van Beethoven Symphony No. 7(1770 – 1827) Poco sostenuto – Vivace
Allegretto
Presto, assai meno presto
Allegro con brio
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.
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
Your community resource for in-depth news and music discovery.
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
KORNEL THOMASGUEST CONDUCTOR
Kornel is the conductor and a teaching artist at El Sistema
Colorado and is the conductor of the contemporary music
group, Nebula Ensemble. He was previously associate conduc-
tor of the Lamont Symphony Orchestra and assistant conductor
of the St. Stephen King Youth Orchestra. In fall 2013, Kornel
was acting music director of the Lamont Symphony Orchestra
where he conducted multiple sold-out performances of the
musical, Oklahoma!
He attended the Cabrillo Festival Conductor Training
Workshop, the Pierre Monteux School for Conductors and
the London Conducting Workshop. Kornel was a semi-finalist
at the Orquestra Metropolitana de Lisboa Young Conductors
Competition in 2013. In 2012, he debuted at the Vienna
Musikverein with the ORF Radio Symphony Orchestra Vienna.
Kornel won second prize at the 2006 Béla Bartok Hungarian
National Competition in Composition.
He holds a master’s degree in orchestral conducting from the
University of Music and Performing Arts Vienna and an artist
diploma in orchestral conducting from the Lamont School of
Music, University of Denver. Kornel’s mentors include Mark
Stringer, Yuji Yuasa, Ervin Ortner, Konrad Leitner, Lawrence
Golan, Betrand de Billy, Niclolas Pasquet, Daniel Harding and
Maron Alsop.
Hungarian-American conductor Kornel Thomas returns to the Denver Philharmonic after his season as associate conductor with the orchestra.
1 1
ELIZABETH BALDWINSOPRANO
Elizabeth’s recent engagements include a debut with the Boston
Youth Symphony Orchestra singing the title role in Puccini’s
Tosca and with the Toledo Opera in the “Ladies In Red” Opera
Gala Concert. She will also be representing America in the Marie
Kraja International Singing Competition in Tirana, Albania and
the Stella Maris International Vocal Competition on board the
MS EUROPA. Upcoming engagements include Ariadne aud
Naxos with Opera Theater of Pittsburgh, her return to Boston
Youth Symphony Orchestra in Un Ballo in Maschera, as well as
Opera San Jose’s production of Die Zauberflöte.
In the 2012–13 season, she debuted with the Kentucky Opera
singing the title role in Puccini’s Tosca and debuted at Avery
Fisher Hall at Lincoln Center as Viclinda in Verdi’s I Lombardi with
The Opera Orchestra of New York under Eve Queler. She also
debuted the role of Ellen Orford in Britten’s Peter Grimes at the
Chautauqua Opera.
In the 2011–12 season, she covered the role of Arminda in
Mozart’s La finta giardiniera at the San Francisco Merola Opera
Program and performed the role of Margherita in Boito’s
Mefistofele at the Merola Schwabacher Concert under Giuseppe
Finzi. She also debuted with the Virginia Opera singing the Dew
Fairy in Humperdinck’s Hänsel und Gretel while covering the role
of Gretel, along with covering the role of La Princesse in Philip
Glass’ Orphée.
American lyric soprano Elizabeth Baldwin has been praised by the San Francisco Examiner as being “ferociously talented” and is in equal demand on both operatic and concert stages across the country.
I have had the great
pleasure of performing
title roles in many of
Strauss’ operatic works
and know there is
nothing like becoming
an instrument in his
luscious orchestrations.
I hope you have a
wonderful experience
and enjoy this gorgeous
music as much as I do!
1 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
On the concert stage, Elizabeth performed in Mendelssohn’s
Elijah at Boston’s Symphony Hall with the Boston University
Orchestra and Chorus in 2011. Additional credits include Vivaldi’s
Gloria, Fauré’s Requiem, Schubert’s Der Hirt auf dem Felsen,
Aaron Copland’s As It Fell Upon A Day, John William’s Seven For
Luck, William Schuman’s In Sweet Music, Ivan Fedele’s Maja, and
many others.
In competitions, Elizabeth is a 2013 International Finalist in the
Francisco Viñas Singing Competition in Barcelona, 2012 National
Semi-Finalist in the Metropolitan Opera Council Auditions
(winning through the Central Region and Illinois District), and
2011 Grand Prize winner in The William Matheus Sullivan Musical
Foundation competition. She won First Place in the National
Opera Association Artist Division, The Schuyler Foundation
for Career Bridges, National Orpheus Vocal Competition, and
The Heida Hermanns International Voice Competition. The
Tanglewood Music Center Festival awarded her with the Grace
B. Jackson Prize for Singers after her summer apprenticeships.
Elizabeth studied with renowned American Mozart soprano Carol
Vaness while obtaining her master of music degree in opera
performance from the Indiana University Jacobs School of Music,
as well as a bachelor of music degree in vocal performance from
Bowling Green State University where she studied with Myra
Merritt. She currently works with Martin Katz.
1 3
MORE THAN MUSIC.Attending a concert with us goes beyond an evening of high-calibur 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 — A Tale of Three Symphonies on November 14.
PRE-CONCERT CHAT, 6:30PMJoin Associate Conductor S. Mordecai
Fuhrman for a pre-concert chat about the
music. We’ll give you insights into the music
and music-makers you’ll be listening to.
EL SISTEMA INTERLUDE, 7:00PMIf you missed the elementary school students
from El Sistema Colorado perform last May,
here’s your chance! (They rock!)
BOOK SWAPGot some extra books lying around the
house? Bring ’em in, and pick up a new one!
Maybe leave a note about a favorite passage
for another patron to find!
POST-CONCERT RECEPTIONSay hello! Come downstairs after the concert
for coffee or punch and homemade cookies,
meet the soloists, get a t-shirt — have fun!
A TASTE OF THREE CAKESAt the post-concert reception, DPO partner
Glaze by Sasa will present three baum cakes
for your tasting delight!
NIGHTCAP, 10PMEnjoy a late-night happy hour — concert-
themed cocktails or a glass of wine are $3 and
draft beer is just $1 with your ticket at Oblio’s
Cap Hill, 1225 Logan, after the reception.
Meet, mingle and connect with musicians and
friends — just three blocks away!
Visit denverphilharmonic.org for concert tickets and info on all of our upcoming events.
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
MORE THAN MUSIC.
1 5
MUSIC DIRECTOR Lawrence Golan
ASSOCIATE CONDUCTORS. Mordecai Fuhrman
FIRST VIOLINKatherine Thayer, concertmasterPatsy Aronstein Melissa 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 Lucy Bauer Josh Filley Taryn Galow Joey Pearlman
OUR MUSICIANS
1 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
FLUTEAaron Wille, principalWhitney KelleyCatherine Ricca Lanzano
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
FRENCH HORNDavid Wallace, principal Jeanine Branting Mary Brauer Mark Denekas Kelli Hirsch
TRUMPETRyan Spencer, principal Nick Kenny Tyler Van Dam
TROMBONEWilliam Combs, principal Wallace Orr
BASS TROMBONEDaniel Morris
TUBADarren DeLaup
TIMPANISteve Bulota, principal
PERCUSSIONColin Constance
HARPBecky Moritzky
PIANO/KEYBOARDMadoka Asari
1 7
EXECUTIVE DIRECTORValerie Clausen
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
CONDUCTOR LAUREATEDr. Horst Buchholz
BOX OFFICECarla CodyEleanor GloverRussell KleinVenus KleinAnnie LauryAllisonLausten Jon Olafson
CONCERT NOTESKate Huffman
CONCERT RECORDINGJoel Dallenbach
CONCERT PROGRAMLigature Creative Group, designWalker Burns, editingAlixandra Feeley, editing
EMBEDDED REPORTERJulia ComptonMeg Satrom
LIBRARIANCallista MedlandAlyssa Oland, assistant
OPERATIONS MANAGERAlixandra Feeley
ORCHESTRA ROSTERAnnie Laury
OUTREACHLok JacobiMaureen KeilKatherine Thayer
OUR ADMIN VOLUNT EERS
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
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 ADMIN VOLUNT EERSPARKING ADVISORMatt HoganHugh Pitcher
PERSONNEL MANAGERAnnie Laury
PRE-CONCERT SLIDESJake RomoLigature Creative Group
PUBLICITYNiccolo CasewitDr. Robert DallenbachEleanor Glover Matt MeierJeff PaulDavid Sherman
USHERS & RECEPTIONGil ClausenLok Jacobi Maureen KeilAllison Lausten Robert Schoenrock
VENUE LOGISTICSTaryn GalowLoren MeauxRoger Powell
WEBMASTERLigature Creative Group
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 12 for an encore of
tonight’s Denver Philharmonic performance!
2 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
OCTOBER 3 ∙ REVOLUTION!by KATE HUFFMAN
October, Op. 131 (1967)
Dmitri Shostakovich (1906 – 1975)
Real music is always revolutionary, for it cements the ranks of the people; it arouses them and leads them onward.”
— Dmitri Shostakovich
Born in St. Petersburg in 1906 and ed-
ucated at the Petrograd Conservatory,
Shostakovich was one of the most
prominent composers of the 20th century.
As required under Communist rule,
Shostakovich was a member of the Union
of Soviet Composers and forced to ad-
here to the ideals of Socialist Realism. All
art, including literature, drama, painting,
and music, needed to portray socialism in
a positive light, and music was expected
to be tonal, accessible, and folk-inspired.
Much of Shostakovich’s career was
shaped by totalitarian oppression, which
dictated the music he could produce.
Though he had to comply for his safety
and his career, the regime’s restrictive
rules elicited Shostakovich’s disapproval
and constant fight against them.
The composer’s stormy symphonic poem,
October, was written for the 50th anniver-
sary of the Russian October Revolution.
Nominally October commemorates
“
2 1
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
the Bolshevik overthrow of the Russian
government, but upon careful listening
Shostakovich reveals his disapproval of the
event and his doubts about Communism.
The symphonic poem is full of tangible
heroism, thick orchestral textures, and
heart-racing climaxes, all of which were
expected and loved by Soviet audiences.
Unexpected, however, was the slow intro-
duction opening the piece: a quote from
his 10th Symphony which was written as
an emotional reflection of Stalin’s tyranny
and partial celebration of his death.
Shostakovich further quotes his own
works in the main Allegro which closely
resembles the scherzos of his Fifth and
Seventh Symphonies written in response
to his condemnation by the Communist
Party and to Stalin’s campaign of political
repression, know as the Great Terror, of
the 1930s.
The Allegro is also based on the song
“To the Partisan,”used in the film
Volochaayevka Days, which tells of in-
dividuals fighting for freedom against a
repressive regime.
Shostakovich’s use of self-quotation
from politically critical works in this piece
appearing to celebrate the October
Revolution is a credit to his skill as a
composer and his dedication to freedom
of expression despite the restrictions of
Soviet Realism.
Linda M. Lebsack Books(out-of-print, rare, unusual, locally published)
Specializing in Colorado & the West, Architecture,American Art & Artists, Photography, Railroading,General subjects, Postcards and Paper Ephemera
Local History a specialty
7030 E. 46th Ave. Dr. Unit H - Denver(near I-70 and Quebec)
Open Monday, Tuesday, Friday & Saturdaynoon - 6 p.m.
Other times by appointment or chance.
Free printed cataloguesand E-Mail lists of interesting new arrivals.
Send a postcard, call or email to get on the mailing list.
[email protected] 303-832-7190
n n nNeed Sheet Music?
Used & Out of Print in very good condition!All instruments & thousands of songs
Shop TJ’s Music in the Broadway Book Mall200 S. Broadway, Denver
Tuesday - Saturday 10 a.m. - 6 p.m. Sunday 11 a.m. - 5 p.m. & Monday 2-6 p.m.
303-744-2665
2 3
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
2 5
Four Last Songs (1948)
Richard Strauss (1864 – 1949)
In Four Last Songs, Richard Strauss assures listeners, and perhaps himself, that death does not have to be feared, rather embraced as a final journey after life’s many adversities and adventures.
Indeed, Strauss himself faced many ad-
versities and undertook adventures in his
own life. Living through the devastation of
both World War I and II deeply affected
the German composer long after the
wars’ conclusions. He also witnessed
huge musical changes happening around
him: Hindemith’s “New Objectivity,” the
intensely aggressive rhythms of Stravinsky,
Arnold Schoenberg and the Second
Viennese School. The world, it seemed,
was spinning out of control, and Strauss
was left feeling helpless and jaded.
Captured in Four Last Songs, with its
soaring melodies and lush tonal harmonies
in the rich, Romantic style, is a time and
world Strauss knew was gone forever.
Composed near the end of his life,
Strauss did not know the four songs
written for soprano voice and orchestra
would be his last. He had come across
poems that had special meaning to him in
the works of Hermen Hesse and Joseph
von Eichendorff.
Hesse’s Frühling (Spring), September, and
Biem Schlafengehen (Time to Sleep), and
von Eichendorff’s Im Abendrot (At Dusk)
were set to music in 1948. Strauss com-
pleted the works later that year and died
2 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
shortly thereafter, never having heard
them performed.
The composer left no indication that he
intended the songs to be performed
together, and thus left no sequence
of presentation. It was his publishing
company, Boosey & Hawkes, that put the
songs in the song cycle in which they are
most often performed today (I. Frühling, II.
September, III. Beim Schlafengehen, and
IV. Im Abendrot).
In the first song, Frühling (Spring), the
composer pays nostalgic tribute to this
hopeful time of year, which follows the chill
of winter. Woodwinds frame and interact
with the soprano’s low opening lines, be-
fore her phrases, mirrored by the strings,
soar upwards.
The cycle of seasons continues in
September when summer fades and
autumn inevitably approaches. The text
and atmosphere darken and decay as the
poet accepts the end of summer and,
thereby, of all things. A powerful solo for
horn — the instrument of Strauss’ father
— can be heard in the final moments of
the movement.
In Beim Schlafengehen, the poet continues
on the journey toward the afterlife, letting
go of life’s hardships and toil. Strauss then
features another favorite instrumental
voice, the violin, to play powerfully be-
tween the lines of the soprano.
The final song, Im Abendrot, completes
the voyage of the poet’s soul quoting
the “transfiguration” theme from Death
and Transfiguration, a tone poem he
had composed 60 years earlier. It can be
heard just after the soprano sings “ist
dies etwa der Tod?” (Can this, perhaps,
be death?), symbolizing the fulfillment of
the soul into death.
As stated by Herbert Glass, “It is music
so bewitchingly sensuous, so achingly
nostalgic, so subtle in its interweaving of
vocal and instrumental textures as to defy
description. To more than one observer,
Strauss saved his best for the very end.”
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
Four Last SongsGerman Text
FRÜHLINGby Hermann Hesse
In dämmrigen Grüften
träumte ich lang
von deinen Bäumen und blauen Lüften,
Von deinem Duft und Vogelsang.
Nun liegst du erschlossen
In Gleiß und Zier
von Licht übergossen
wie ein Wunder vor mir.
Du kennst mich wieder,
du lockst mich zart,
es zittert durch all meine Glieder
deine selige Gegenwart!
Four Last SongsEnglish Translation
SPRINGTranslation by Michael Hamburger
In half-light I waited,
Dreamed all too long
Of trees in blossom,
Those flowing breezes,
That fragrant blue
And thrushes’ song.
Now streaming and glowing
From sky to field
With light overflowing
All these charms are revealed.
Light gilds the river,
Light floods the plain;
Spring calls me: and through me there
quiver
Life’s own loveliness,
Life’s own sweetness returned again!
SEPTEMBERby Hermann Hesse
Der Garten trauert,
kühl sinkt in die Blumen der Regen.
Der Sommer schauert
still seinem Ende entgegen.
Golden tropft Blatt um Blatt
nieder vom hohen Akazienbaum.
Sommer lächelt erstaunt und matt
In den sterbenden Gartentraum.
Lange noch bei den Rosen
bleibt er stehn, sehnt sich nach Ruh.
Langsam tut er
die müdgeword‘nen Augen zu.
SEPTEMBER Translation by Michael Hamburger
These mournful flowers,
Rain-drenched in the coolness are
bending,
While Summer cowers,
Mute as he waits for his ending.
Gravely each golden leaf
Falls from the tallest Acacia tree;
Summer marvels and smiles to see
His own garden grow faint with grief.
Ling’ring still, near the roses long he stays,
Longs for repose;
Languid, slow to the last,
His weary eyelids close.
2 9
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 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
3 1
BEIM SCHLAFENGEHENby Hermann Hesse
Nun der Tag mich müd gemacht,
soll mein sehnliches Verlangen
freundlich die gestirnte Nacht
wie ein müdes Kind empfangen.
Hände, laßt von allem Tun
Stirn, vergiß du alles Denken,
Alle meine Sinne nun
wollen sich in Schlummer senken.
Und die Seele unbewacht
will in freien Flügen schweben,
um im Zauberkreis der Nacht
tief und tausendfach zu leben.
TIME TO SLEEP Translation by Michael Hamburger
Now the day has wearied me,
All my gain and all my longing
Like a weary child’s shall be
Night whose many stars are thronging.
Hands, now leave your work alone;
Brow, forget your idle thinking,
All my thoughts, their labor done,
Softly into sleep are sinking.
High the soul will rise in flight,
Freely gliding, softly swaying,
In the magic realm of night,
Deeper laws of life obeying.
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
IM ABENDROTby Joseph von Eichendorff
Wir sind durch Not und Freude
gegangen Hand in Hand;
vom Wandern ruhen wir
nun überm stillen Land.
Rings sich die Täler neigen,
es dunkelt schon die Luft.
Zwei Lerchen nur noch steigen
nachträumend in den Duft.
Tritt her und laß sie schwirren,
bald ist es Schlafenszeit.
Daß wir uns nicht verirren
in dieser Einsamkeit.
O weiter, stiller Friede!
So tief im Abendrot.
Wie sind wir wandermüde--
Ist dies etwa der Tod?
AT DUSK Translation by Michael Hamburger
Here both in need and gladness
We wandered hand in hand;
Now let us pause at last
Above the silent land.
Dusk comes the vales exploring,
The darkling air grows still,
Alone two skylarks soaring
In song their dreams fulfill.
Draw close and leave them singing,
Soon will be time to sleep,
How lost our way’s beginning!
This solitude, how deep.
O rest so long desired!
We sense the night’s soft breath
Now we are tired, how tired!
Can this perhaps be death?
Symphony No. 7 (in A Major, 1812)
Ludwig van Beethoven (1770 – 1827)
Applause rose to the point of ecstasy,” wrote one newspaper of a performance of Ludwig Van Beethoven’s Symphony No. 7. This reception was not common for Beethoven’s music, as it was often viewed as too cryptic and progressive for late Classical-era audiences and critics.
However, this particular symphony was so
well received that it was performed four
times in the 10 weeks after its premiere.
The spirited symphony’s four movements
were premiered alongside patriotic pieces
at a benefit concert for soldiers wounded
in the Battle of Hanau.
Symphony No. 7 garnered positive at-
tention from more than just enthusiastic
audiences — German composer Richard
Wagner regarded it as “the apotheosis of
the Dance in its highest aspect…the lofti-
est deed of bodily motion incorporated in
an ideal world of tone.”
A slow introduction of interweaving wood-
winds, punctuated by chords from the
strings, opens the symphony. The transi-
tion to the main part of the first movement
is accomplished by the repetition of a
single pitch connecting the introduction to
the exposition. The Vivace is dominated
by lively dance-like dotted rhythms and
sudden dynamic changes.
The second movement, the most famous
of the four, is often performed on its own,
and was immediately encored at its pre-
miere; a phenomenon usually unheard of
for a slow movement.
“
3 3
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
In the Allegretto, a repeated heartbeat-like
rhythmic pattern prevails amidst beautiful
melodies passed between the strings and
the woodwinds. In the third movement,
Beethoven expanded the typical ternary,
or ABA form, to ABABA. Ternary form is
used to describe three parts to a piece of
music, with the first (A) section very similar
to the last (A) section, and a contrasting (B)
section in between. The expanded ABABA
form of the third movement means that
listeners will hear themes from the A and B
sections return more than once.
The exuberant finale uses rhythmic en-
ergy to surpass all other climaxes in the
symphony. Dr. Richard E. Rodda, program
annotator and professor of music, wrote
about the final movement, “So intoxicating
is this music that some of Beethoven’s con-
temporaries were sure he had composed it
in a drunken frenzy.”
• 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 5
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.
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
CONCERT ETIQUETT E
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
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 7
ORCHESTRA SPOTLIGHT
PAULINE A. DALLENBACHVIOLINFIFTY-FIRST DPO SEASON. In 1928,
at age 2, Pauline first sang on KPOF
Radio and continues to participate in
the station’s broadcasting. Since 1964,
Pauline and her husband, Dr. Robert
Dallenbach, have served the orchestra,
ranging from recording and broadcasting
DPO concerts to maintaining extensive
orchestra archives. Dr. Dallenbach was
president for the board for many years
and broadcasts our concerts on KPOF
91AM. Pillar of Fire has provided facilities
for concerts, rehearsals, storage of the
orchestra’s music library, instruments and
equipment in its beginning in 1948. As
a former teacher in K-12 and college,
Pauline has written numerous school plays
and musical productions, produced the
Symphony of Words, and authored the
book Dear Friends. She enjoys writing
and extensive reading which fortifies and
contributes to the ministries of the Pillar of
Fire. In 1949, she received her bachelor’s
degree in mathematics from Alma White
College in New Jersey and her master’s
degree in communications and theatre in
1982 from the University of Colorado. Over
82 years of playing the violin, Pauline has
performed with Westminster Symphony
Orchestra, Brown University Orchestra,
Denver Businessman’s Orchestra, Brico
Symphony, Centennial Philharmonic
Orchestra and the Denver Philharmonic
Orchestra. Granddaughter of Alma White,
founder of the Pillar of Fire, Pauline is an
ordained elder in the Church. She also
plays piano, organ, and saxophone.
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 Pauline, Whitney and Albert —
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
ORCHESTRA SPOTLIGHT
WHITNEY KELLEYFLUTE/PICCOLOSECOND DPO SEASON. Whitney
received her D.M.A and M.M. in flute
performance and pedagogy from the
University of Colorado with Christina
Jennings, and completed her bachelor’s
degree of music with Tadeu Coelho at
the University of North Carolina School
of the Arts. Once beginning to play
the flute at age 4 through the Suzuki
Method, music has played an integral
part throughout Whitney’s life. Acclaimed
for her “considerable technique” by the
Winston-Salem Journal, she has appeared
as soloist in numerous orchestral and
recital settings, including guest appear-
ances 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. 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 photog-
raphy, hiking in the Rockies, and cheering
on the Denver Broncos.
3 9
ALBERT TINGVIOLINTHIRD DPO SEASON. Albert Ting started
violin lesson at age 6 in Taiwan and
moved to the U.S. with his family when he
was 9 years old. It was an exciting land of
opportunities for his whole family. While
in high school, Albert was accepted at
Interlochen Summer Music Camp and
played in the first violin section of the
World Youth Symphony Orchestra. It
was truly exciting for him to play under
conductors such as Aaron Copland and
to accompany Van Cliburn. In college at
Stanford University, Albert played in the
Stanford Symphony Orchestra and was
the first chair of the Stanford Glee Club
orchestra. He graduated from Stanford
University with Bachelor Degree in
Physical Chemistry. During this period,
Albert was also the conductor for several
local church choirs; as well as the assistant
conductor for the musical Guys and
Dolls, a Stanford Ramshead Production.
He graduated from Baylor College of
Medicine with a PhD in cell biology, then
graduated from UT Southwestern Medical
School with a MD and finished a Family
Medicine Residency in the U.S. Air Force.
Albert has been a family medicine doctor
for the last 28 years, mostly with Kaiser.
He currently has a special interest in geri-
atric medicine and mainly treats nursing
home patients. Outside interests includ-
ing taking apart things including PCs and
Macs. His house is littered with carcasses
of computers unfortunate enough to fall
into his hands. Albert and his son spent a
blissful summer together building robots
from the little Arduino board. His family
also treasured the homeschooling experi-
ence. Albert first joined DPO in 2010 and
has immensely enjoyed playing with all
the friendly and energetic folks at DPO.
He currently recognized as the best chair
stacker in the orchestra.
PLEASE JOIN US FOR OUR
For additional information and to purchase tickets, visit
CherryCreekChorale.org or call
303 -789 -5920
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
1160 Madison Street, Denver, CO 80206Open 7 days a week, 9am - 9pm
720.387.7890 | glazebaumcakes.com
Specialty Baum cakeS, cuStom cakeS, French-Style macaronS, tiramiSu.
Sloane, self-proclaimed cake guru
WHAT?! I have to share my Baum Cake with the grown-ups?Known as the “tree of life” for its gorgeous,
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.
4 1
ORCHESTRA’S CIRCLE($20,000+)
Valerie and Gil Clausen
CONDUCTOR’S CIRCLE($5,000+)
AIC Ventures, on behalf of Ben Luey
SCFD
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)
Sarah Hogan
Thomas James Merry
Drs. Mark and Maxine Rossman
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 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
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 3
IT TAKES A COMMUN ITY
INDIVIDUAL GIVING DONATION AMOUNTOrchestra’s Circle $20,000 or above
Conductor’s Circle $5,000 – $19,999
Concertmaster’s Circle $2,500 – $4,999
Musicians’ Circle $1,000 – $2,499
Patron $500 – $999
Benefactor $300 – $499
Contributor $100 – $299
Friend up to $99
Great adventures stem from new beginnings. Together we can embark on a musical journey that inspires and impacts our entire community. But we can’t do it alone. Help us make music with a tax-deductible contribution today. We are your orchestra.
CORPORATE GIVING DONATION AMOUNTGold Partner $10,000 and above
Silver Partner $5,000 – $9,999
Copper Partner $1,000 – $4,999
You may also consider a planned gift, or donating to the orchestra in honor of someone’s
birthday, anniversary, or in memory of a loved one.
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
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 5
CONTACT US!PO Box 6074Denver, CO 80206303.653.2407
@denverphilorchDenverPhilharmonic.org
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
The new 55" BeoVision Avant.
An Ultra High-Definition,
4K Bang & Olufsen Smart TV
with iconic sound. Experience
it in store now. MSRP: $7,995*
For more information please visit us at:
Bang & Olufsen Cherry Creek
2445 E 3rd Ave # 2
Denver, Colorado 80206
PH: 303.393.6500
It takes 89 years to create movement this beautiful.
*MSRP for BeoVision Avant 55" includes BeoRemote One. Price excludes placement option on either wall, table or floor. Mounting options start at $895. Energy class C.
CIOMITColorado Institute Of Musical
Instrument Technology
651 Topkea WayCastle Rock, CO 80109
303-663-4084
www.ciomit.com
Instrument Sales - Rentals - Finest Repairs - Accessories Competitive Pricing and First Rate Customer Service
Just 25 minutes from Denver in Historic Castle Rock!
We help you to achieve your dream!