Denver Philharmonic Orchestra April 3, 2015 Concert Program

A P R I L 3

REFORMATIONSWes Kenney, guest conductorPeter Sommer, 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”

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

A P R I L 3M A Y 2 1

2 0 1 4 – 1 5

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

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

www.newberrybrothers.com

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

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

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

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

tweet along with us and to engage with other patrons while

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

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

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

talented musicians. We also encourage interaction between

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

yourself to your favorite players after the concert at our

reception on the lower level.

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

come back. Our musicians are extraordinarily passionate about

performing quality live music and our volunteers have an equal

passion for creating a meaningful and unique experience. We

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

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

meeting you and seeing you over and over again!

DEAR FRIENDS,

Sincerely,

Jon Olafson

President of the Board, DPO

pho

to b

y Ja

mie

Co

tten

From Martin Luther

to Martin Luther King,

Jr., tonight’s concert

honors people that have

changed the face of

our world.

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 Deck the HallAnderson: Sleigh RideTormé & Wells: The Christmas SongAdam: Oh Holy NightStephenson: A Holly Jolly Sing-Along!

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

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

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

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

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

*

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

SPONSORED BY

5

FRIDAY, APRIL 3, 2015REFORMATIONSKPOF Hall · Denver, Colorado · 7:30 pm

Wes Kenney, guest conductorPeter Sommer, saxophone

Johann Sebastian Bach Toccata and Fugue in D minor Leopold Stokowski(1685 – 1750) (1882 – 1977)

Duke Ellington & Three Black Kings Mercer Ellington 1. King of the Magi

(1899 – 1974) (1919 – 1996) 2. King Solomon

3. Martin Luther King

featuring Peter Sommer

John Williams “Escapades” from Catch Me if You Can b. 1932 1. Closing in

2. Reflections

3. Joy Ride

featuring Peter Sommer

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

Felix Mendelssohn Symphony No. 5, Op. 107(1809 – 1847) “Reformation” I. Andante — Allegro con fuoco

II. Allegro vivace

III. Andante

IV. Andante con moto —

Allegro maestoso


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

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LAWRENCE GOLANMUSIC DIRECTOR & CONDUCTOR

In high demand across the United States and internationally,

Lawrence is also currently Music Director of the Yakima

Symphony Orchestra in Washington state, the York Symphony

Orchestra in Pennsylvania, and the Lamont Symphony

Orchestra & Opera Theatre at the University of Denver. In addi-

tion, he is the Principal Conductor of the Seoul Philharmonic in

South Korea. Lawrence continues to guest conduct professional

orchestras, opera, and ballet companies in the U.S. and around

the world. He has conducted in 26 states and 17 countries.

Lawrence has garnered considerable international recognition

for his work as a conductor. He has won 10 ASCAP Awards,

five Global Music Awards, three American Prize awards, three

Downbeat Magazine Awards, and two Prestige Music Awards.

Following a highly successful four-year term as Resident

Conductor of The Phoenix Symphony, Music Director Michael

Christie said that Lawrence “is a programmer of virtually unprec-

edented creativity and scope.” That sentiment was confirmed in

2012 when Lawrence was named the Grand Prize Winner of The

American Prize for Orchestral Programming.

The 2014–15 Season marks Lawrence’s second season as music director of the Denver Philharmonic Orchestra.


Lawrence is known for his inspired performances, imaginative

programming, passion for developing new audiences, and

excellent public speaking skills—entertaining and educating the

audience from both on and off the podium. He is also recog-

nized for his expertise in the complete spectrum of musical styles

and periods. He has worked with artists ranging from Leonard

Bernstein, Marilyn Horne, Daniel Barenboim and Joshua Bell to

Frank Sinatra, Kenny G and ShaNaNa.

A native of Chicago, Lawrence holds degrees in both conducting

and violin performance from Indiana University’s Jacobs School

of Music (B.M. and M.M.) and the New England Conservatory

of Music (D.M.A.). In addition, he studied at all of the major

conducting festivals including Aspen and Tanglewood, where

in 1999 he was awarded the Leonard Bernstein Conducting

Fellowship.

Lawrence and his wife Cecilia, who is from Buenos Aires,

Argentina, have been married since 2003. They have two won-

derful children: Giovanna and Joseph. Lawrence is represented

by William Reinert Associates in New York. For more information,

please visit LawrenceGolan.com or WilliamReinert.com.

9

http://www.LawrenceGolan.com

http://www.WilliamReinert.com

S. MORDECAI FUHRMANASSOCIATE CONDUCTOR

Get out your phone and

tweet along with me

@denverphilorch! Ask

questions and learn

more about the music

— in real time. Tag your

posts with #dpotweets

to join the conversation.

Samuel has performed with and conducted Wilmington

Community Orchestra in Delaware, Center City Opera Theater

in Pennsylvania, Cleveland Pops Orchestra in Ohio, and Newark

Symphony Orchestra in Delaware, where he directed their inau-

gural Family Series in 2010.

Founder of the Reading Orchestra of North Wilmington,

Samuel received his undergraduate degree in music in percus-

sion/timpani at the University of Delaware. In 2007, he won the

University of Delaware Concerto Competition, performing Eric

Bryce’s Concerto for Marimba / Vibraphone and Orchestra with

the University of Delaware Symphony.

Samuel studied conducting at the Cleveland Institute of Music,

where he led multiple performances and received a Master of

Music degree in 2014. In August 2013, Samuel led members of

Kiev Chamber Orchestra and National Philharmonic Orchestra of

Ukraine in a performance of Aaron Copland’s Appalachian Spring

as part of the U Artist Music Festival.

In addition to music, Samuel enjoys studying and contemplating

cosmology and the evolution of the universe with his wife, Emily.

Conductor, percussionist, timpanist, and arranger, Samuel Mordecai Fuhrman is a graduate of the University of Delaware and the Cleveland Institute of Music.

THANK YOU, KOLACNY MUSICfor providing the instruments for our Petting Zoo.

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

WES KENNEYGUEST CONDUCTOR

The 2007 Grand Prize Winner of the Varna International Conducting Competition in Bulgaria, Wes is now in his 12th season as music director of the Fort Collins Symphony and director of orchestras at Colorado State University.

Named as music director of Opera Fort Collins in 2004, he conducts

three professional operatic productions as well as orchestra and

dance performances throughout northern Colorado each year. In

2013, he became the music director of the Denver Young Artist

Orchestra and toured Europe with them last summer.

Named Educator of the Year by the Colorado Chapter of the

American String Teachers Association in 2008, Wes enjoys

working with talented young people in his positions at Colorado

State University and with Denver Young Artist Orchestra.

This past summer he was a guest lecturer at the Conductor’s

Institute held at Bard College in upstate New York, teaching

alongside founder Harold Farberman and American Symphony

Orchestra Music Director Leon Botstein.

Wes is a past president of the Conductors Guild, a 2000-mem-

ber service organization to the conducting profession, and

he serves on the Guild’s advisory board. He’s a graduate of

the University of Southern California and San Francisco State

University. Additional studies include three years as a fellow

at the Conductors Institute, several American Symphony

Orchestra League and Conductors Guild Workshops, and the

Sandpoint Festival.

1 1

PETER SOMMERSAXOPHONE

Since establishing himself among the Denver area’s elite jazz musicians, Peter has contributed his energetic tenor playing and creative spirit to a wide variety of musical projects ranging from mainstream bebop to avant garde and beyond at venues across the nation and around the world.

Although rooted in the great jazz tradition of his heroes Duke

Ellington, Thelonious Monk, John Coltrane and Ornette Coleman,

he continues to search for the mystery in music making and takes

great joy in sharing the present moment with the listener.

Peter is a regular member of the Ken Walker Sextet, Ninth and

Lincoln, the Wil Swindler Elevenet, the Fred Hess Big Band, the

Colorado Jazz Orchestra, the New Third Stream Saxophone

Quartet and is an honorary member of the Russian Dragon Band.

He also performs often as a soloist, in duo with Art Lande, and as

a leader of his own quartet.

Peter has performed with the Dallas Symphony Orchestra, the

Colorado Symphony Orchestra and the Colorado Music Festival

Orchestra. He was a featured jazz soloist at North American

Saxophone Alliance Regional and Biennial Conferences, and has

performed at IAJE International Conferences in Anaheim and

Toronto, Canada, and at World Saxophone Congresses in Spain,

Thailand and Scotland.

Peter’s Associate Professor of Jazz Studies and Saxophone at

Colorado State University in Fort Collins. At CSU, he directs Jazz

Ensemble I and coordinates the Jazz Studies area.


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 12 for an encore of

tonight’s Denver Philharmonic performance!

1 3

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We may be one of Denver’s oldest orchestras, but we certainly don’t act our age.

Dr. Antonia Brico, the first woman to con-

duct the Berlin and New York Philharmonic

Orchestras, founded our organization

in 1948 as the Denver Businessmen’s

Orchestra. Antonia settled in Denver

after conducting professional orchestras

across Europe and the U.S. She debuted

our orchestra to a packed auditorium

explaining the need for a classical music

venue to showcase the talents of local,

classically trained musicians “with no place

to play.” Twenty years later, we’d be known

as the Brico Symphony, and Antonia would

remain at the helm of the orchestra until

her retirement in the mid-1980s.

After nearly 40 years under Antonia’s

baton, the orchestra chose Russian-

American conductor Julius Glaihengauz

as its second music director. A graduate of

the Tchaikovsky Conservatory in Moscow,

Julius led the newly renamed Centennial

Philharmonic for 11 seasons.

In 1999, Professor of Music at the

University of Denver Dr. Horst Buchholz

took the baton. Our most recent name

change came in 2004, and we became

the Denver Philharmonic Orchestra. Horst

served as music director and conductor

through 2009, after which he was appoint-

ed the orchestra’s first Conductor Laureate.

Adam Flatt came onboard as music

director in June 2010. Adam’s dynamic

and inspiring leadership over the next

three years continued Horst’s legacy and

further increased the artistic quality of the

orchestra.

We selected award-winning conductor

Dr. Lawrence Golan as our conductor and

music director when Adam left in 2013.

Lawrence, a professor and music director

at the University of Denver’s Lamont

School of Music, continues to produce

innovative and quality programming,

challenging our musicians and delighting

our audiences.

And while we have a 67-year history in

Denver, our mission is to continually rede-

fine the way our community experiences

and engages with classical music.

denverphilharmonic.org

OUR HISTORY

1 5

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 — Reformations on Thursday, May 21 at KPOF Hall.

FOOD TRUCK TAILGATE, 5:30–7:15PMBack by popular demand—our symphony

tailgate! Starting at 5:30pm in the parking lot

on the south side of KPOF, enjoy food trucks

Rolling Smoke BBQ, Mikes2Kitchen and Ba-

NOM-a-NOM. Sorry friends, no booze at this

family-friendly tailgate!

PRE-CONCERT CHAT, 6:30PMJoin us for an informal pre-concert chat

about the music you’ll be hearing hosted by

DPO Associate Conductor Samuel Fuhrman.

Sam will give you insights into the music and

music-makers you’ll be listening to.

PLANES!Ladies and gentlemen, please fasten your seat

belts and prepare for take off at our paper

airplane runway. The farthest flight could win a

pair of 2015–16 season tickets!

TRAINS!Check out DPO Timpanist Steve Bulota’s 1950s

American Flyer complete freight train set —

from a smoking steam engine to the caboose!

AUTOMOBILES!Take a selfie or a test drive with the all-electric

award-winning Tesla Model S before the

concert. These amazing automobiles come

with an “Insane Mode” button!

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.


MORE THAN MUSIC.

1 7

MUSIC DIRECTOR Lawrence Golan

ASSOCIATE CONDUCTORS. Mordecai Fuhrman

FIRST VIOLINKatherine Thayer, concertmasterPatsy Aronstein Rachel BradfordMelissa Campbell Matthew Grove Thomas Jatko Nasiha Khalil Chelsea Morden Tenley Mueller Kristine Pordesimo Emmy Reid Beth Schoening Vanessa Vari Elizabeth Wall

SECOND VIOLIN Yiran Li, principal Niccolo Werner CasewitValerie 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 Elizabeth O’Brien Vineet SatheKathleen TorkkoChue Vue

CELLOBryan Scafuri, principal Naftari Burns Ausra Mollerud Monica Sáles Amanda Thall Rachel Warbelow Rachel Yanovitch Tara Yoder

BASSMark Stefaniw, principalZach Antonio Lucy Bauer Josh Filley Taryn Galow Colton Kelly

FLUTEAaron Wille, principalCatherine Ricca Lanzano, acting principal Starla DoyalWhitney Kelley

PICCOLOWhitney Kelley

OUR MUSICIANS


OBOEKimberly Brody, principal Loren Meaux, assistant principal Alexis Junker

ENGLISH HORNLoren Meaux

CLARINETShaun Burley, principalJessica Clark, acting principal Emilie HelmsClaude Wilbur

E-FLAT CLARINETJessica Clark

BASS CLARINETClaude Wilbur

BASSOONKen Greenwald, principal Nicholas Lengyel

CONTRABASSOONLeigh Townsend

FRENCH HORN David Wallace, principal Jeanine Branting Mary Brauer Robyn ChauvinKelli HirschCarey Martin

TRUMPETRyan Spencer, principal Nick KennyMichael ShobeMatthew M. Smith Tyler Van Dam

TROMBONE William Combs, principalBryan GannonTrevor Moore

BASS TROMBONEDaniel Morris

TUBADarren DeLaupChris Krueger

TIMPANISteve Bulota, principal

PERCUSSION Colin Constance Ross Coons Justin ElksScott Headly

HARPBecky Moritzky, principalJenilee Elsbernd

KEYBOARDMargo Hanschke

1 9

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

DENVER PHILHARMONIC FOUNDATION BOARDKeith Fisher Russell KleinAllison Lausten

EXECUTIVE DIRECTORValerie Clausen

OPERATIONS MANAGERAlixandra Feeley

PERSONNEL MANAGERAnnie Laury

STAGE MANAGERSTaryn GalowLoren Meaux

MUSIC LIBRARIANCallista MedlandAlyssa Oland, assistant

CONCERT PROGRAMLigature Creative Group, designWalker Burns, editingAlixandra Feeley, editingCallista Medland, editing

CONCERT NOTESLeigh Townsend

CONCERT RECORDINGJoel DallenbachKyle Smith, advisor

WEBMASTERLigature Creative Group

EMBEDDED REPORTERJulia ComptonMeg Satrom, editor

PUBLICITYNiccolo CasewitDr. Robert DallenbachStephanie Gillman, photographerEleanor Glover Matt MeierJeff PaulDavid Sherman

OUTREACHLok JacobiMaureen KeilKatherine Thayer

OUR TEAM


VOLUNTEERING OPPORTUNITIESOur orchestra is run by volunteers, with no paid administrative staff. We would greatly

appreciate help from more volunteers in the areas of publicity, fundraising, concert

production, receptions, personnel, and outreach. If you would like to participate in any

of these activities, please contact Executive Director Valerie Clausen at 303.653.2407 or

email at [email protected].

BOX OFFICECarla CodySarah HoganVenus KleinAnnie LauryAllison Lausten Jon Olafson

FRONT OF HOUSEGil ClausenEleanor GloverMaureen KeilRussell KleinMaría Angélica Lasso, Spanish translationLinda LebsackAli McNally

RECEPTIONGil ClausenAllison LaustenRobert Schoenrock

VENUE LOGISTICSBrian McGuireRoger Powell

PRE-CONCERT SLIDESGil ClausenJake RomoLigature Creative Group

PARKING ADVISORSMatt HoganHugh Pitcher

MORE THAN MUSIC PARTNERSDazzle JazzKolacny MusicOblio’s Cap Hill

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

2 1

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

Music at MSU Denver

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

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

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

• Bachelor of Arts in Music (BA)

• Bachelor of Music (BM) in Classical Performance

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

• Bachelor of Music (BM) in Composition

• Bachelor of Music Education (BME)

• Music Minor


Transcribing old music for modern instruments and modern audiences is essential for keeping classical music alive. From obscurity to Fantasia, the Toccata and Fugue in D minor is a splendid showpiece of orchestral potential.

WHAT’S A TOCCATA? WHAT’S A FUGUE? Like peanut butter and jelly, the toccata and fugue of the late

baroque period made a satisfying (and sticky) pair. The toccata

was traditionally a fantasy in the style of a cadenza; a virtuosic

flourish of technical and chromatic brilliance. A bright and tangy

APRIL 3 ∙ REFORMATIONSby LEIGH TOWNSEND

* Run time: 9 minutes

* Bach had 20 children.

One of them was

Mozart’s music teacher!

Toccata and Fugue in D minor 1708J.S. Bach/ Leopold Stokowski (1685 – 1750) (1882 – 1977)

2 3

marmalade, if you will. The fugue was

grounded, predictable, and seamless. A

nice smooth and creamy peanut butter to

hold the parts together.

The Toccata and Fugue in D minor, BWV

565, was originally composed for organ

sometime before 1708, written when Bach

was younger than 20 years old, although

it was never published in his lifetime. Fast

forward over 100 years later, and thanks

to performances of the work by Felix

Mendelssohn, the Toccata and Fugue

in D minor was published in 1833 and is

now one of the most recognizably famous

works in the organ repertoire.

ORCHESTRATIONThe now standard orchestral arrangement

by Leopold Stokowski of the Philadelphia

Orchestra was made famous in the 1940

Disney film Fantasia. Stokowski’s orchestra-

tion went beyond a simple transcription;

he calls for a very large orchestra with

extended instrument ranges across the

winds and brass:

Two flutes plus two piccolos; three oboes

plus English horn; three clarinets plus

bass clarinet; 3 bassoons plus contra-

bassoon; six horns; three trumpets; four

trombones; one tuba; timpani; two harps;

celeste; strings.

Bernard Herrmann once wrote: “We

admit that Bach never heard the Toccata

and Fugue in D minor in the way that

Stokowski has realized it but Bach must

have had that kind of sound in his mind.

He certainly did not have the sound

of some baroque church organ with a

couple of tired little boys trying to pump

air in at the back — but rather he must

have imagined a great cosmic sound and

Stokowski’s transcription is a metamor-

phosis of that sound.”

2014/2015 Concert Season

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

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

Haydn Go Seek with The Orchestra! Madison Oh, Piano

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

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

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

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

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


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* Duke Ellington played

the El Patio Ballroom

at Lakeside Park in

Denver in 1942

Three Black KingsDuke Ellington, Mercer Ellington (1899 – 1974) (1919 – 1996)

A master beyond the big band, Duke Ellington originally sketched Three Black Kings as a ballet. The orchestrated version on this program paints a vibrant and joyful picture through sounds.

Three Black Kings was the last major work written by Duke

Ellington. As he lay dying in his hospital bed in 1974, he gave

his son, Mercer, final instructions on how it was to be complet-

ed and orchestrated.

The first movement with its African rhythmic motifs depicts

Balthazar, the Black king of the Nativity. The wistful and lush

strings are interrupted in a rhythmic punctuation that will re-

mind listeners of a Stravinsky ballet.

The second movement is concerned with Solomon, King of

Israel. The mysterious opening bars give way to a lonely violin

solo, followed by other lone instruments before settling into a

typical Ellington ballroom dance feel.

The third movement celebrates Martin Luther King, Jr. with a

warm and comfortable feeling. The solo clarinet, capable of

sounding so sorrowful, is instead celebratory. The civil rights

activist was Ellington’s good friend; his inspiring triumphs are

memorialized in the uplifting and bluesy finale.

From: “About Three Black Kings.” Alvin Ailey American Dance Theatre website.

2 7

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



* Catch Me If You Can

was the 20th collabo-

ration between com-

poser John Williams

and director Steven

Spielberg.

“ Escapades” from Catch Me If You Can John Williams b. 1932

Catch Me If You Can is set in a nostalgically tinged version of the 1960s. Williams’ music was written as an impressionistic postcard of the progressive jazz movement, which was so popular at that time.

THE PLOT“Escapades” was composed by John Williams for the movie

Catch Me If You Can in 2002. It was based on the true story

of Frank Abagnale Jr., who drops out of school and within a

few years poses as an airline pilot, a doctor and a lawyer, and

passes millions in bad checks before being jailed through the

persistent pursuit of the FBI agent Carl Hanratty.

SAX 101The saxophone was named after the Belgian instrument mak-

er Adolphe Sax, who invented it in about 1840 and had it pat-

ented in 1846. Whether as a solo instrument or as part of the

orchestra, it seldom appears in traditional concert halls, other

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2 9

than in a wind ensemble. Nonetheless,

before the instrument found its true

home — the world of jazz — it was to be

heard in classical music. Its first promi-

nent appearance was in Bizet’s incidental

music to Daudet’s “L’Arlésienne” in 1872,

yet it failed to become an established

member of the orchestra. There are,

however, countless chamber works which

include the saxophone and many concer-

tos for saxophone and orchestra.

THE CONCERTO“Escapades” is considered as a concerto

for alto saxophone and orchestra. It

bridges the worlds of film and concert

music. It was written in three movements:

The first movement is titled Closing In.

It consists of fast repetitions of triplet

motifs with an interval of a 3rd. The

light-hearted and slinky music relates to

the often humorous sleuthing; the FBI

always one step behind Frank. The addi-

tion of finger snapping and hissing from

the members of the orchestra give this

movement a touch of mystery.

Reflections is the title of the second

movement. It is a slow movement with

lyrical solo lines from the saxophone,

supported by the quiet strings and

interjections from the marimba. It

refers to the fragile relationships of the

Abagnale’s broken family.

The third movement is titled Joy Ride,

and it is! A playful and mischievous

theme accompanies Frank’s wild flights

of fantasy that took him around the world

before the law finally reined him in.


3 1


* Composer factoid:

Mendelssohn deeply

disliked this symphony;

he declared he would

rather burn it than see

it published.

Symphony No. 5 “Reformation”Felix Mendelssohn (1809 – 1847)

Only performed once in his lifetime, Mendelssohn’s “Reformation” Symphony is as close to programmatic as any of his works get. Chorale tunes and snippets abound in this soaring and subtle symphony.

MENDELSSOHN: THE MIDDLEMANFriedrich Nietzsche described Felix Mendelssohn as a

Zwischenfall, or that which falls between. He was speaking

about his place in time, between the musical giants of

Beethoven and Wagner. But it can also describe Mendelssohn

the man. He is well known as the 19th century’s most famous

Jewish composer, and also as one of the most profoundly

Christian ones. Born Jewish and baptized Protestant at age 7,

he lived somewhere between the two ideas. As an artist, he

waffled between conservative and progressive.

Hector Berlioz described Mendelssohn as “an admirable boy; his

skill as a performer is as great as his musical genius, and that’s

really saying a lot.” It seems, however, that posterity has trouble

accepting the happiness of Felix. Should not a real Romantic be

poor, ill, unhappy, and misunderstood? Wagner, the anti-Semite,

never forgave Mendelssohn his Jewish roots; Debussy saw him

as an “elegant and facile notary;” and for many musicologists he

was but a pale and vapid representative of musical Romanticism.

Felix was a middleman, a man who fell between.

REFORMATION AND RECEPTIONComposed in 1830, Mendelssohn’s fifth symphony, the

Reformation, was actually the composer’s second in the order

of composition (aside from the 12-string symphonies written


between the ages of 12 and 14). It was

originally intended as a commission for

the 300-year anniversary of the Augsburg

Confession of 1530, the principal de-

mands of the Reformation written by

Melanchthon and Luther and presented

to Emperor Charles V. Mendelssohn,

who had converted to Protestantism in

1816, gave the work the provisional title

Reformation, and although he never pub-

lished the work, the name stuck.

Mendelssohn only published two sym-

phonies in his lifetime. Perhaps he was

too busy performing, perhaps he could

not commit to formalizing his completed

pieces, or more likely — perhaps he was

too filled with anxiety to follow on the

3 3

heels of Beethoven’s Ninth Symphony.

This symphony was originally conceived

following Mendelssohn’s success with a

set of concert overtures, however, the

more Classical styling and approach to

the subject gave both musicians and

audiences pause. The piece never even

made it out of rehearsals in Paris, where it

was supposed to be premiered.

Mendelssohn’s sister Fanny was clearly

dissatisfied with the work, calling it “the

beast” — a view her brother ultimately

came to share when he described it as

“a fat, bristly animal; an effective cure

for a weak stomach.” Ten years later, he

reaffirmed his negative opinion of the

work, calling it “a complete misfit.” He

explicitly denied publication of the work.

Mendelssohn’s friend Julius Rietz and his

son Paul eventually had it published after

the composer’s death in 1868.

THE SYMPHONYThe symphony opens with a slow intro-

duction in D major, focusing on the wood-

winds after the brief awakening section.

A declamatory fanfare introduces the

first statement of the “Dresden Amen,” a

nod towards Luther. Full of contrapuntal

motion, the key of D minor is firmly es-

tablished, reversing the Classical expec-

tations of introduction in minor keys and

body in major.

The second movement, entitled Allegro

vivace, is a fleeting scherzo somewhere

between a march and a dance, that

appears to break with the solemn char-

acter of the work; and yet, the “Dresden

Amen” appears once again in fragments.

The very brief third movement, marked

Andante, is a mournful, nostalgic lament

for strings which leads directly into the

finale, an Andante con moto based on

the Lutheran hymn Ein’ feste Burg ist

unser Gott. Like the opening movement,

the hymn tune is delicately played only

by the woodwinds, adding in more and

more instruments with each statement for

an organ-like effect. The chorale sounds

develop in to a fugue-like section which

breaks like waves before the entire cho-

rale melody returns as a cantus firmus in

the trombones. Mendelssohn’s frequent

use of counterpoint and fugato passages,

in combination with direct references

of chorale melodies, lends the work its

dignified, solemn character.


• 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 main level (as you enter

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

APPLAUSE 101Many concertgoers are confused about

when to clap during an orchestra’s perfor-

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

diences would routinely applaud between

movements to show their joy for the mu-

sic they just heard. Around the mid-19th

century, it became tradition in Germany

for audiences to wait until the end of the

piece to clap, sitting silently between

movements. That tradition spread and is

now commonly accepted and taught.

At the DPO, we welcome both traditions.

If you prefer to wait for the end of a piece,

that’s fine. If you want to respectfully show

your appreciation between movements,

we welcome that too. Regardless, we

want you to feel comfortable and focus

on the performance, not confusing ap-

plause rules!

If you are attending your first (or 300th) classical music concert, below are some frequently asked questions to help make your experience more enjoyable.


CONCERT ETIQUETT E

SIT TIGHTThe rumors are true — we’re pretty

informal. But we do ask that you sit tight

and quiet during the performance and

only get up between pieces or during in-

termission as to not distract the musicians

or concert-goers around you.

PACK IT IN, PACK IT OUTYou’re welcome to bring a water bottle

into the hall, but remember “Trail Rules”

— pack it in, pack it out. (This goes for

trash too!)

ELECTRONICSPlease turn the sound off on your cell

phones, pagers, and any other noise-

making device, including vibrate mode.

SOCIAL MEDIAFeel free to tweet, post to Facebook or

take photos without flash. Upload your

pics and comments online — and be sure

to tag us! We’re on Facebook, Twitter and

Instagram @denverphilorch #dpotweets

HAVE FUN!Rules, rules, rules — we know, it can be

overwhelming. The most important rule of

all is to have fun and enjoy yourself. And

then tell all your friends and come back

again and again!

3 7

ORCHESTRA SPOTLIG HT

PATSY ARONSTEINFIRST VIOLINFOURTH DPO SEASON. Patsy started vio-

lin lessons in fourth 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. Patsy

received her B.A. in French from Colorado

College in 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 assis-

tant respectively. The past 10 years, she

has been a member of Friends of Chamber

Music’s Board and 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. Patsy and

her husband, Jim, 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!

NICCOLO WERNER CASEWITSECOND VIOLINSEVENTEENTH DPO SEASON. Niccolo

“Nico” Casewit starting playing the violin

at Denver’s Barmum Elementary School

when he was 9 years old. He was co-princi-

pal second violinist of the MIT symphony,

and received his Master of Architecture

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, Niccolo, William, William, Yiran and Rachel—


ORCHESTRA SPOTLIG HT

degree from MIT in 1987. Niccolo

served as concertmaster of the Eichwald

Gymnasium Orchester in Germany and as

a principal violinist with the New World

Orchestra, also in Germany.

Niccolo plays in the second violin section

and this year marks his 17th season with

the Denver Philharmonic. He has per-

formed with a number of other chamber

groups, Denver bands, and ensembles

playing in a variety of musical styles includ-

ing alternative, rock, and jazz.

Nico recently composed original “folk”

music for the documentary film A

Beautiful Equation, a film directed and

produced by Boulder filmmaker Robin

Truesdale. The film documents the cre-

ation and performance of a theater piece

highlighting the humanistic stories from

the lives of the scientists Albert Einstein

and Neils Bohr as told by eight grand-

mothers; the theater piece was written

and directed by Len Barron. The film is

scheduled for a Fall 2014 release and will

be shown at film festivals.

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

3 9

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.

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

late father Curtis W. Casewit who was

the widely published travel journalist and

author.

WILLIAM COMBSPRINCIPAL TROMBONEFIRST DPO SEASON. William has been

playing trombone for 15 years. He

received his Performance Certificate in

Trombone from the University of Denver

in 2014, his Master’s of Music in Trombone

Performance in 2013, also from the

University of Denver and his Bachelor’s

of Music in Trombone Performance

and Music Education from Texas Tech

University in 2011.

In addition to alto and tenor trombone,

he also play the didgeridoo. William has

performed with the Lubbock Symphony,

Denver Municipal Band, Colorado Wind

Ensemble, Metropolitan Jazz Orchestra,

and the Denver Brass in addition to the

Denver Philharmonic Orchestra. On top

of his classical playing, William has been

featured as the “brass bass” for the stage

show, “Dancing at the Crossroads.”

When his work is something other than

playing trombone, it is usually based

around teaching and arranging. Both of

those pursuits are a love of his life. William

feels that nothing is better than the joy in

leading a student to a new place in their

musicianship or the creation of a new

piece of music.

Definitely a foodie and a cook, one of his

favorite things about moving to Denver

has been finding all of the little home

run restaurants and trying new foods and

dishes. William also enjoy driving through

the mountains and spending time at home

with his family.

DR. WILLIAM H. HINKIE, IIIPRINCIPAL VIOLAEIGHTH DPO SEASON. William’s been

playing music since the age of 9 when he

started violin in his public school music

program in Louisiana. He has played with

the Baton Rouge Symphony, the Akron

Symphony, the Shreveport Symphony,

the Boulder Symphony, the Colorado

Springs Philharmonic, the Colorado Ballet

orchestra and was assistant principal

viola of the Aspen Festival Orchestra. 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


After tonight’s concert, join us at

Oblio’s Cap Hill (1225 Logan)for a late-night happy hour with drink specials! We’ll see you there! CHEERS!

KPO

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of Music and a Doctor of Musical Arts from

the University of Minnesota. Dr. Hinkie cur-

rently teaches at the Denver World Music

Studio and at Miller Music in Longmont.

YIRAN LIPRINCIPAL SECOND VIOLINTHIRD 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 and is the violin graduate

teaching assistant. 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 occasions, which includes

everything from weddings to Solheim Cup

opening and closing ceremonies. And she

has a kitty!

RACHEL WARBELOWCELLOFIRST 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.

4 1

ORCHESTRA’S CIRCLE($20,000+)

Valerie & Gil Clausen

CONDUCTOR’S CIRCLE($5,000+)

AIC Ventures on behalf of Ben Luey

FirstBank

Linda M. Lebsack & Hugh R. Pitcher

SCFD

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

MUSICIANS’ CIRCLE($1,000 – $2,499)

Xcel Energy

PATRON ($500 – $999)

Brownstein Hyatt Farber Shreck

on behalf of Tenley Oldak

Colorado Gives Day “Luck of the Draw”

Russell Klein

Donald Walls

BENEFACTOR ($300 – $499)

Patsy & Jim Aronstein

Helen Bauer

CoBank on behalf of Brian Lucius

Susan Cochran

Eleanor Glover

Sarah Hogan

Lok & Jake Jacobi

Lisa Peloso & Vik Patel

CONTRIBUTOR ($100 – $299)

Anonymous

Anonymous

Keri Rose Agnes

Penny Alles

Donna & Pierre Bastien

Mary Brauer

Adrienne Fasse

John D. Faught

Robert Green

Allan & Carol Hanson

Horns Rock

Matt & Allison Lausten

Brian Lucius

Callista and Patrick Medland

Douglas & Mary Meeusen

Thomas James Merry

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


Judy Morton

Tenley Mueller

Jon Olafson

Alyssa Oland

Wallace Orr

Phil Pearlman & Betty Bona

Kathleen Porter

Ray & Jim in honor of Wayne Knox

Drs. Mark & Maxine Rossman

Sandra Rothenberg

Robert J. Smith

James A. Stegman

TATE+BURNS Architects LLC

Gina & Paul Todd

Gary Wooley

FRIEND (UP TO $99)

Amazon Smile Foundation

Anonymous

Anonymous

Charles Aschwanden

Phillip Barru

Fred Beisser

James & Kimberly Brody

in honor of the oboe section

Janice Burley

Sara Collyar

Robert and Pauline Dallenbach

AJ & Heidi Deets

Amaryllis Fletcher

Terri Gonzales

Bruce Haefner

Lori Hanson

David Harrington

Karin Hensel

Surilda Hudson

Arash Jahanian in honor of Tenley Mueller

Ligature Creative Group

Susan J. McGinley

McKesson Foundation, matching gift on

behalf of Janice Burley

Loren Meaux

Bert & Rosemary Melcher

Rand & Barb Moritzky in honor of

Rebecca Moritzky

Manijeh Taherynia

Elinor Towler

IN-KIND SUPPORTERSThe Pillar of Fire Church

Ligature Creative Group

Newberry Brothers Greenhouse & Florist

Since January 1, 2014

4 3

IT TAKES A COMMUN ITY

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

Conductor’s Circle $5,000 – $19,999

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

Musicians’ Circle $1,000 – $2,499

Patron $500 – $999

Benefactor $300 – $499

Contributor $100 – $299

Friend up to $99

Great adventures stem from new beginnings. Together we can embark on a musical journey that inspires and impacts our entire community. But we can’t do it alone. Help us make music with a tax-deductible contribution today. We are your orchestra.

CORPORATE GIVING DONATION AMOUNTGold Partner $10,000 and above

Silver Partner $5,000 – $9,999

Copper Partner $1,000 – $4,999

You may also consider a planned gift, or donating to the orchestra in honor of someone’s

birthday, anniversary, or in memory of a loved one.


IT TAKES A COMMUN ITYIf you would like to make a tax-deductible contribution to the Denver Philharmonic Orchestra, please complete this form and mail to:

PO Box 6074Denver, CO 80206

or visit our website at DenverPhilharmonic.org and click on the CONTRIBUTE link.

Contribution $ Check or Credit Card

Name

Address

City, State, Zip Code

Telephone Email

Credit Card No. Exp.

4 5

CONTACT US!PO Box 6074Denver, CO 80206303.653.2407

@denverphilorchDenverPhilharmonic.org

PUBLIC SUPPORTTHE SCIENTIFIC & CULTURAL FACILITIES DISTRICT

The Scientific and Cultural Facilities District (SCFD) is metro Denver’s unique commitment to its arts, cultural and scientific organizations.

A penny sales tax on every $10 purchase within the seven-

county region (Adams, Arapahoe, Boulder, Broomfield,

Denver, Douglas and Jefferson counties) supports nearly 300

institutions, including the DPO, that provide unique cultural

and scientific experiences for millions of people each year.

Many of the programs SCFD supports provide free and

discounted access to citizens. For information on free days

and organizations, visit www.scfd.org.


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Documents

Denver Philharmonic Orchestra April 3, 2015 Concert Program