Denver Philharmonic Orchestra November 14, 2014 Concert Program

N O V E M B E R 1 4

A TALE OF THREE SYMPHONIESLawrence Golan, conductorKimberly Brody, oboeKenneth Greenwald, bassoonKatherine Thayer, violinBryan Scafuri, celloHaydn: Sinfonia concertante in B-flat Major, Hob. I: 105Britten: Sinfonia da RequiemDvořák: Symphony No. 8

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

A P R I L 3M A Y 2 1

2 0 1 4 – 1 5

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

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

www.newberrybrothers.com

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

At the Denver Phil, we do things just a tad

differently from what you may be used to.

While we ask you to silence your phone,

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

we encourage you to tweet along with us

and to engage with other patrons while

you enjoy the music. We don’t ask you

to hold your applause until the end of a

piece — if you feel moved by what you’ve

just heard, we welcome you to show your

appreciate to our very talented musicians.

We also encourage interaction between

our patrons and our musicians. Please, feel

free to introduce yourself to your favorite

players after the concert at our reception

on the lower level.

Most importantly, however, we want you

to have a great experience and to come

back. Our musicians are extraordinarily

passionate about performing quality live

music and our volunteers have an equal

passion for creating a meaningful and

unique experience. We think this excite-

ment will be felt by all that attend. Again,

thank you very much for joining us tonight

— and we look forward to meeting you

and seeing you over and over again!

DEAR FRIENDS,

Sincerely,

Jon Olafson

President of the Board, DPO

3

2014–15

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

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FRIDAY, NOVEMBER 14, 2014A TALE OF THREE SYMPHONIESKPOF Concert Hall · Denver, Colorado · 7:30 pm

Lawrence Golan, conductorKimberly Brody, oboeKenneth Greenwald, bassoonKatherine Thayer, violinBryan Scafuri, cello

Franz Joseph Haydn Sinfonia concertante in B-flat major 1732–1809 for oboe, bassoon, violin, cello and orchestra, Hob. I:105 Allegro

Andante

Allegro con spirito

Benjamin Britten Sinfonia da Requiem1913–1949 Lacrymosa

Dies irae

Requiem aeternam

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

Antonín Dvořák Symphony No. 8 in G major, Op. 88 1841–1904 Allegro con brio

Adagio

Allegretto grazioso – Molto vivace

Allegro ma non troppo

MEET THE MUSICIANSReception Immediately following the concert, meet & mingle on the lower level.Nightcap Following the reception, raise a glass with us at Oblio’s Cap Hill, 1225 Logan Street — just three blocks away!


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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.


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

What should you listen

for? What is the music’s

historic and cultural

context? Join me before

each performance for

a pre-concert chat. Get

insight into the music

and music-makers you

will hear during the

performance.

Samuel has performed with and conducted the Wilmington

Community Orchestra in Delaware, Center City Opera Theater

in Pennsylvania, the Cleveland Pops Orchestra in Ohio, and the

Newark Symphony Orchestra in Newark, Del., where he directed

the inaugural Family Series in 2010.

Founder of the Reading Orchestra of North Wilmington,

Samuel received his undergraduate degree in music in percus-

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

University of Delaware Concerto Competition, performing Eric

Bryce’s Concerto for Marimba / Vibraphone and Orchestra with

the University of Delaware Symphony.

Samuel studied conducting at the Cleveland Institute of Music,

where he led multiple performances and received a master of

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

Kiev Chamber Orchestra and the National Philharmonic Orchestra

of Ukraine in a performance of Aaron Copland’s Appalachian

Spring as part of the U Artist Music Festival.

In addition to music, Samuel enjoys studying and contemplating

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

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

1 0 2 0 1 4 – 1 5 T H E S I X T Y - S E V E N T H S E A S O N

KIMBERLY BRODYOBOE

She grew up in Minnesota and studied with the principal oboist

of the Minnesota Orchestra. She graduated with a degree in

Oboe Performance from St. Olaf College and then went on to

study at Northwestern University.

After a summer performing in the American Wind Symphony

Orchestra, she moved to Ohio and began studying with John

Mack, former principal oboist of the Cleveland Orchestra —

her true mentor. While in Ohio, Kim played oboe and English

horn with the Youngstown Symphony, Canton Symphony, and

Erie Philharmonic. She later returned to Chicago and began a

freelance career that encompassed the vast Chicago area from

Milwaukee to Valparaiso, Ind., and orchestras including the

Northwest Indiana Symphony, Chicago Sinfonietta, Lake Forest

Symphony, Music of the Baroque, Ravinia Festival Orchestra,

Milwaukee Ballet, Kenosha Symphony, Chicago String Ensemble,

and Ars Viva Orchestra.

Kim regularly attended the John Mack Oboe Camp in Little

Switzerland, N.C., and it’s there that she met her husband,

Jim Brody. Kim moved with her children to Boulder in 2001.

Since coming to Colorado, Kim has enjoyed performing in the

Boulder Bach Festival, Colorado MahlerFest, Boulder Chamber

Orchestra, the Colorado Music Festival, the Denver Philharmonic

among other ensembles.

In addition to performing, Kim also teaches private oboe lessons,

works part time in administration for the Colorado Music Festival,

and is an avid Colorado Rockies fan!

Kimberly Brody was inspired by her mother to begin playing the oboe and was encouraged to continue by her seventh grade art teacher.

1 1

KENNETH GREENWALDBASSOON

At age 5, he began studying violin, and he would later also study

piano and flute.

Kenneth attended the University of Denver’s Lamont School of

Music, earning his bachelor’s and master’s in music performance

while studying with Chad Cognata, principal bassoonist with the

Colorado Symphony Orchestra.

Over the years, Kenneth has performed with many other

organizations including the Denver Young Artists Orchestra,

the Arapahoe Philharmonic Orchestra, the Colorado Wind

Ensemble, the Musica Sacra Chamber Orchestra and the

Colorado Symphony Orchestra.

He joined the Denver Philharmonic Orchestra as principal bas-

soonist in 2008.

Kenneth first discovered the bassoon during his freshman year of high school and began studying the instrument with Colorado Symphony bassoonists Jonathan Sherwin and Joanne Goble.


KATHERINE THAYERVIOLIN

Along with her Denver Philharmonic Orchestra concertmas-

ter duties, she is concertmaster of the Evergreen Chamber

Orchestra.

Katherine performs with Inside the Orchestra bringing classical

music to elementary and pre-school children. She has been a

member of the Colorado Music Festival and Grand Teton Music

Festival orchestras for five years each. Katherine was principal

second violin and soloist with the former Denver Chamber

Orchestra for 12 years under the baton of JoAnne Falletta, and

served as concertmaster of the Orchestra of the Archdiocese of

Denver under the direction of Horst Buchholz.

Prior to moving to Denver, Katherine was an Assistant Professor

of violin and Chamber Music at Eastern New Mexico University

where she was also violinist of the Raphael Piano Trio.

Katherine studied in Europe in master classes of Zino

Francescatti, and Christian Ferras. She was a member of

the Camerata Lysy, touring Europe and the Phillipines, the

Wurttembergishes Kammer Orkestr, and the Mozarteum

Orchestra of Salzburg. She returned to the States to earn a mas-

ter’s of music from Michigan State University, where the Julliard

Quartet was in residence.

Katherine enjoys playing chamber music with friends and watch-

ing her daughter Ayla’s dance performances.

Katherine Thayer has been a freelance violinist in the Denver metropolitan area for 30 years.

1 3

BRYAN SCAFURICELLO

He received his bachelor’s degree in music performance from

Western Michigan University studying with Bruce Uchimura.

Continuing his studies at Miami University, Bryan also earned his

master’s degree in music performance learning from Pansy Chang.

In addition to performing with DPO, he is the principal cellist

of the Pueblo Symphony and a member of the Cheyenne

Symphony and the Greeley Philharmonic Orchestra. Bryan has

also performed with many Front Range orchestras including

the Fort Collins Symphony, the Colorado Ballet, the Boulder

Philharmonic and the Colorado Springs Philharmonic.

Bryan has performed in many master classes for such individuals

as Stephen Geber and Hans Jorgen Jensen. He has also taken

lessons from such artists as Keith Robinson, Richard Weiss, Silver

Ainomae, Thomas Heinrich and Jurgen de Lemos. One of his

greatest musical experiences remains performing in a side-

by-side concert with the Cleveland Orchestra in 2008 playing

Berlioz’s Symphonie Fantastique.

Recently, Bryan decided he wasn’t busy enough and went back

to school for engineering. He sincerely wants to thank his family

and friends for their continued support of his crazy endeavors.

Bryan Scafuri is in his fifth season as the principal cellist of the Denver Philharmonic Orchestra.


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

Music at MSU Denver

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

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

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

• Bachelor of Arts in Music (BA)

• Bachelor of Music (BM) in Classical Performance

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

• Bachelor of Music (BM) in Composition

• Bachelor of Music Education (BME)

• Music Minor

1 5

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With our 2014–15 Season, we celebrate 67 years of providing high-quality symphonic concerts and outreach.

Our orchestra was founded in 1948 as the

Denver Businessmen’s Orchestra by Dr.

Antonia Brico, the first woman to conduct

the Berlin Philharmonic, the New York

Philharmonic and several other major

orchestras. The two major issues driving

establishment of the orchestra were a

need for affordable classical music con-

certs in the Denver area and the need for

an organization that would nurture, devel-

op and showcase the talents of classically

trained musicians, many of whom had

relocated to Denver following World War

II. The orchestra quickly became known

for its ambitious collaborations and per-

formances. In 1968, to honor its founder,

the name of the orchestra was changed to

the Brico Symphony, and the tradition of

musical excellence and community service

continued.

Following Antonia’s retirement in 1986,

the orchestra selected Julius Glaihengauz

as its second Music Director. Julius

was a talented Russian immigrant who

recently graduated from the Tchaikovsky

Conservatory. Under his new leadership,

the name of the orchestra was changed

to the Centennial Philharmonic and

performed for eleven seasons, followed by

a season under interim director Kirk Smith.

In 1999 Dr. Horst Buchholz, Professor of

Music at the University of Denver and an

acclaimed musician and conductor, was

selected as the orchestra’s new Music

Director. This began a period of growth

and success that continues today. To more

accurately reflect our Denver roots, the

Centennial Philharmonic was renamed the

Denver Philharmonic Orchestra in 2004.

Horst remained Music Director/Conductor

through the 2008–09 Season, after which

he was appointed the orchestra’s first

Conductor Laureate.

Adam Flatt was appointed the orchestra’s

fourth Music Director/Conductor in June

2010. Adam’s dynamic and inspiring

leadership over the next three years

further increased the artistic quality of the

orchestra.

In spring of 2013, award-winning conduc-

tor Dr. Lawrence Golan was selected as our

orchestra’s fifth Music Director. Lawrence

first led the DPO as a guest conductor in

November 2009.

OUR HISTORY

1 7

MORE THAN MUSIC.Attending a concert with us goes beyond an evening of high-caliber classical music.

Last season, we had a lot of fun — we live-tweeted concerts, held lively pre-concert chats,

produced a Super Bowl video mashup with the Seattle Philharmonic Orchestra, hosted a

Valentine’s Day photo booth, projected your Rocky Mountain pics above the musicians,

brought in an instrument petting zoo, set up a selfie corner with a cardboard Buzz Aldrin,

and partnered with the Denver Museum of Nature and Science to bring the Gates

Planetarium (and the entire universe) into KPOF Hall.

Here’s a taste of what’s in store for our next concert — Holiday Cheer! on Saturday, December 20 at Central Presbyterian Church, 1660 Sherman Street.

ANNUAL BAKE SALE & HOLIDAY WINE RECEPTIONIMMEDIATELY FOLLOWING CONCERTJoin us in the lobby after the concert for a

cup of coffee or a glass of wine from Infinite

Monkey Theorem. Meet the soloist, let your

sweet tooth support the DPO with our annual

home-made bake sale — and have fun!

NIGHTCAPAROUND 10PMEnjoy a late-night happy hour with us! Concert-

themed cocktails are $3, and house wine and

draft beer are just $1 at Oblio’s Cap Hill, 1225

Logan, after the reception. Meet, mingle and

connect with musicians and friends — just

three blocks away!

Tickets are going fast! Visit denverphilharmonic.org for concert tickets and info on all of our upcoming events.


MORE THAN MUSIC.

1 9

MUSIC DIRECTOR Lawrence Golan

ASSOCIATE CONDUCTORS. Mordecai Fuhrman

FIRST VIOLINKatherine Thayer, concertmasterAllison Kim, associate concertmasterPatsy Aronstein Carrie BeederMelissa Campbell Matthew Grove Thomas Jatko Nasiha Khalil Chelsea Morden Tenley Mueller Kristine Pordesimo Emmy Reid Beth Schoening Vanessa Vari Elizabeth Wall

SECOND VIOLINYiran Li, principal Rachel Bradford Niccolo Werner Casewit Valerie Clausen Pauline Dallenbach Terri Gonzales Miki Heine Annie Laury Callista Medland Alyssa Oland Anne Silvas Albert Ting

VIOLAWilliam Hinkie, III; principal Naomi Croghan Lori Hanson Ben Luey Ana Montenegro Elizabeth O’Brien Kathleen Torkko

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

BASSMark Stefaniw, principal Zach Antonio Lucy Bauer Josh Filley Taryn Galow Joey Pearlman

FLUTEAaron Wille, principalWhitney KelleyCatherine Ricca Lanzano

OUR MUSICIANS


PICCOLOWhitney Kelley

OBOEKimberly Brody, principal Loren Meaux, assistant principal Alexis Junker

ENGLISH HORNLoren Meaux

CLARINETShaun Burley, principal Jessica Clark Claude Wilbur

E-FLAT CLARINETJessica Clark

BASS CLARINETClaude Wilbur

BASSOONKen Greenwald, principal Nicholas Lengyel

CONTRABASSOONLeigh Townsend

FRENCH HORNDavid Wallace, principal Jeanine Branting Mary BrauerRobyn Chauvin

FRENCH HORN (CONT.)Mark Denekas Kelli HirschCarey Martin

TRUMPETRyan Spencer, principalArnie Hernandez, acting principalNick Kenny Tyler Van Dam

TROMBONEWilliam Combs, principal Wallace Orr

BASS TROMBONEDaniel Morris

TUBADarren DeLaup

TIMPANISteve Bulota, principal

PERCUSSIONColin ConstanceRoss CoonsScott Headley

HARPBecky Moritzky

PIANO/KEYBOARDMadoka Asari

2 1

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

DENVER PHILHARMONIC FOUNDATION BOARDKeith Fisher Russell KleinAllison Lausten

EXECUTIVE DIRECTORValerie Clausen

OPERATIONS MANAGERAlixandra Feeley

PERSONNEL MANAGERAnnie Laury

LIBRARIANCallista MedlandAlyssa Oland, assistant

CONCERT PROGRAMLigature Creative Group, designWalker Burns, editingAlixandra Feeley, editingMaría Angélica Lasso, Spanish translation

CONCERT RECORDINGJoel DallenbachKyle Smith, advisor

WEBMASTERLigature Creative Group

EMBEDDED REPORTERJulia ComptonMeg Satrom, editor

OUR TEAM


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

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

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

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

email at [email protected].

OUR TEAMPUBLICITYNiccolo CasewitDr. Robert DallenbachEleanor Glover Matt MeierJeff PaulDavid Sherman

OUTREACHLok JacobiMaureen KeilKatherine Thayer

BOX OFFICECarla CodySarah HoganVenus KleinAnnie LauryAllison Lausten Jon Olafson

FRONT OF HOUSEGil ClausenEleanor GloverMaureen KeilLinda Lebsack

RECEPTIONRobert Schoenrock

VENUE LOGISTICSTaryn GalowLoren MeauxRoger Powell

PRE-CONCERT SLIDESJake RomoLigature Creative Group

PARKING ADVISORMatt HoganHugh Pitcher

MORE THAN MUSIC PARTNERSEl Sistema ColoradoGlazeOblio’s Cap HillPurple Door CoffeeTattered Cover

CONDUCTOR LAUREATEDr. Horst Buchholz

2 3

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


The ‘Sinfonia concertante’ that opens this evening’s program is one of a kind. When Haydn first traveled to London, arriving in January 1791, his agreement with the violinist and impresario Johann Peter Salomon was that he would write an opera, six symphonies, and unspecified further works. Haydn would also make concert appearances.

The ‘Sinfonia concertante’ appears to have been Salomon’s

idea. In February and March 1792, Haydn’s former student Ignaz

Pleyel caused a sensation with a new work for multiple soloists

at the rival Professional Concert series. Not to be outdone,

Salomon apparently urged Haydn to compose one as well.

According to Haydn’s biographer H.C. Robbins Landon, the

autograph score indicates that Haydn wrote it at great speed and

probably under stressful circumstances. On March 2, 1792, pre-

sumably racing to finish the new composition, Haydn wrote to his

NOVEMBER 14 ∙ A TALE OF THREE SYMPHONIESby LAURIE SHULMAN, © 2014

* Run Time: 22 minutes

* Four soloists make

this a multiple con-

certo, with links to the

symphony

* Watch the interaction

among the four

soloists: almost like

chamber music

Sinfonia concertante in B-flat major for oboe, bassoon, violin, cello and orchestra, Hob. I:105Franz Joseph Haydn (1732 – 1809)

2 5

friend Marianne von Genzinger in Vienna.

His letter reflects both anxiety and the toll

that the intense pace of work was taking.

[Pleyel] arrived here with a lot of new

compositions, but they had been

composed long ago; he therefore

promised to present a new work every

evening. As soon as I saw this … I an-

nounced publicly that I would likewise

produce 12 different new pieces. In

order to keep my word, and to support

poor Salomon, I must be the victim

and work the whole time. But I really

do feel it. My eyes suffer the most, and

I have many sleepless nights, though

with God’s help I shall overcome it all.

The ‘Sinfonia concertante’ is Haydn’s

sole work for four soloists and orchestra.

The unusual quartet of stars presumably

reflects the strengths of players in

Salomon’s London ensemble. The violin

part, of course, would have been played

by Salomon himself; numerous other

concertmaster solos in the 12 “London”

Symphonies were also intended for him.

Only the other three soloists’ surnames


Our Board of Directors gratefully acknowledges the vital contributions made by the Pillar of Fire Ministries / KPOF 910 AM to our orchestra and Denver’s classical music community. Over the past five decades, the Pillar of Fire Church has generously accommodated our orchestra rehearsals and many perfor-mances. Since 1963, Dr. Robert B. Dallenbach, and more recently his son, Joel Dallenbach, have meticulously recorded and broadcast all of the orchestra’s concerts.

SUNDAY CLASSICAL MUSIC7:00 – 10:00 PMKPOF — 910 AM

Tune in to radio station KPOF (AM 910)from 7 – 10 pm on Sunday, November 23 for an encore of

tonight’s Denver Philharmonic performance!

2 7


have come down to us through con-

temporary press reports: the oboist Mr.

Harrington, the bassoonist Mr. Holmes,

and the cellist Mr. Menel. Salomon and

his cohorts introduced the new S’’infonia

concertante’ at the fourth concert of his

1792 season, on March 7.

ABOUT THE MUSICThe music is a delightful synthesis of

chamber music and symphony. Haydn

writes wonderfully for his four soloists,

giving each one several moments in the

spotlight in each movement. The violin is

first among equals, having a slight edge

in virtuosity, presumably the composer’s

salute to Salomon. This dominance is most

evident in the finale, where the solo violin

has three brief recitatives that interrupt the

proceedings.

Appealing and memorable themes

abound. The elegant Andante has won-

derful pizzicato string accompaniment;

orchestral winds play only the most subtle

supportive role, leaving rhythmic and

linear intricacy to the quartet of soloists.

Haydn is at his most playful in the finale,

with stops and starts that will keep you

guessing right to the end.

INSTRUMENTATIONHaydn’s score calls for flute, two oboes,

two bassoons, two horns, timpani, solo

oboe, solo bassoon, solo violin, solo

cello, and strings.

He loved music and he loved the Denver Philharmonic

MILTON J. LEBSACK(NOV. 11, 1917 – DEC. 15, 2013)

IN MEMORIAM

2 9

Sinfonia da RequiemBenjamin Britten (1913 – 1976)


BRITISH COUNCIL ASK IF YOU ARE INTERESTED IN COMMISSION FOR FULL SCALE ORCHESTRAL WORK SYMPHONIC POEM SYMPHONY SUITE OVERTURE UNDERSTAND FEE SUBSTANTIAL EVEN HUNDREDS. I SAID YES PLEASE CONFIRM”

Benjamin Britten received this Western Union cablegram mes-

sage from his publisher, Ralph Hawkes, on September 22, 1939.

The commission was welcome — particularly the generous

fee, which turned out to exceed £500 — a princely sum at the

time. Gradually details emerged: the commissioning entity

was a foreign state that had contacted composers in several

other western countries. They asked for a work that would

honor a significant milestone anniversary for that country. The

country turned out to be Japan, and the event was the 2,600th

Anniversary Celebration of the Japanese Emperor’s dynasty. The

new work was to be delivered to Tokyo by May 1940.

“


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3 1

Clearly the assignment was politically

charged. Hawkes warned Britten, “In the

event of Great Britain and Japan falling

out before May 1940, the British Council

could not accept any responsibility and

with this I quite agree.”

WAR AND MEMORIALBritten was adamant that he would write

“no jingo” — his words to Hawkes — and

proposed instead a Sinfonia da Requiem

with pacifist overtones. In April 1940, he

wrote to his sister Beth, “It is a Sinfonia da

Requiem, combining my ideas on war &

a memorial for Mum and Pop.” Britten’s

father had died in 1934 and his mother

in 1937. This work was a way to honor his

parents’ memory and express his grief. At

the same time, he conceived the turbulent

second movement, a Dies Irae, as an an-

ti-war expression.

In retrospect, it seems astounding that the

Japanese authorities accepted Britten’s

proposal for the piece. Britten’s outer

movements were somber; the central

movement frenetic and at times violent,

with no celebratory character. Although

Britten received his commission fee, the

Japanese committee ultimately decided

his piece was inappropriate for the occa-

sion, citing its failure to express congratu-

lations for the 2,600th anniversary and also

observing that it was “purely a religious

music of Christian nature.” No Japanese

performance would take place.

Their loss was western music’s gain. The

first performance took place in New York

at Carnegie Hall on March 30, 1941, with

Sir John Barbirolli conducting the New

York Philharmonic. Serge Koussevitzky led

the Boston Symphony in the work’s Boston

premiere in January 1942.


3 3

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ABOUT THE MUSICThe Sinfonia’s three movements are per-

formed without pause between sections.

Thus the opening Lacrymosa takes on

the sense of a dark introduction, with its

powerful timpani strokes suggesting the

sounds of battle as much as they do a

funeral procession. The atmosphere is

ominous, hinting at the frenzied Dies Irae

that follows. This whirlwind scherzo feels

dangerous, almost unhinged, nightmarish.

Only in the concluding Requiem aeternam

do we hear hints of Britten’s characteristic

lyricism. In its harmonies and instrumental

handling, this closing segment looks

forward to some of the painfully lovely pas-

sages in his opera Peter Grimes. Powerful

and focused, the Sinfonia is a stunning

achievement for a composer still in his 20s.

INSTRUMENTATIONBritten’s score calls for three flutes (second

doubling piccolo, third doubling alto flute),

three oboes (two doubling English horns),

three clarinets (one doubling E-flat clari-

net, one doubling bass clarinet), three bas-

soons (two doubling contrabassoon), six

horns, three trumpets, three trombones,

tuba, optional alto saxophone, timpani,

percussion [xylophone, side drum, whip,

tambourine, suspended cymbal, crash

cymbals, bass drum, second timpani], two

harps, piano, and strings.

After tonight’s concert, join us at

Oblio’s Cap Hill (1225 Logan)for a late-night happy hourl! Enjoy concert-themed cocktails and beer & wine drink specials. We’ll see you there! CHEERS!

KPO

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Capitol

14th Ave >

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3 5

After the “New World” Symphony, the G major is the best loved of Dvořák’s large orchestral works. While it shares with the “New World” an intensely Czech flavor and a wealth of melodies, the G major focuses on the transparent and wholesome simplicity of the Bohemian countryside.

Part of the symphony’s appeal is the folk-like character of the

melodies in all four movements. Another asset is Dvořák’s

magnificent, imaginative writing for woodwinds. Virtually every

instrument has its chance for solos. That stated, flute emerges as

first among equals.

Most of the sketches for the G major symphony date from

August 1889. Dvořák completed the orchestration by early

November, and the premiere took place in Prague under the

composer’s direction in February 1890.

Symphony No. 8 in G major, Op. 88 Antonín Dvořák (1841 – 1904)


* The Eighth is Dvořák’s

“pastoral” Symphony

* Bird calls and a wistful

calm in the Adagio

suggest the atmo-

sphere of the compos-

er’s country house

* Dvořák conducted

this symphony at

Cambridge when he

was awarded an honor-

ary doctorate


CHILDLIKE WONDER AND THE APPEAL OF RUSTIC BOHEMIABy allowing Bohemian songs and dance

tunes to dominate, Dvořák gave the Eighth

Symphony a celebratory, almost childlike

spirit that permeates all four movements.

The first and final movements both have

themes based on a simple G major triad,

which helps the consistency of mood.

Dvořák relies on variation technique in

both movements.

The inner two movements provide contrast

and emotional depth. The rhapsodic

Adagio, with its birdcalls and wistful

character, could be a musical portrait of

Vysoká, the composer’s beloved summer

home. Dvořák’s biographer Alec Robertson

calls this slow movement:

. . . completely original from start to

finish. It could stand as a miniature

tone-poem of Czech village life de-

scribed by a highly sensitive man. There

is a touch of pain in the opening harmo-

nies that becomes pronounced later on.

The predominant atmosphere, neverthe-

less, remains resolutely positive. Czech

conductor Rafael Kubelik, rehearsing the

finale’s opening fanfare, is said to have

remarked to an orchestra, “Gentlemen,

3 7

in Bohemia the trumpets never call to

battle — they always call to the dance.”

The characteristic, lighthearted rhythms

invite foot-tapping and bright smiles.

Essentially the finale is an introduction (the

fanfare), theme and variations, and a coda.

What you will remember are the blazing

trumpet, the exuberant horn trills, and a

spellbinding variation for solo flute.

INSTRUMENTATIONDvořák scored his Eighth Symphony for

two flutes (second doubling piccolo); two

oboes, two clarinets, two bassoons; four

horns, two trumpets, three trombones,

tuba, timpani, and strings.


• PHONES ON — SOUND OFF! We know

you want to participate, but let’s leave

the music to the pros

• ALL THUMBS Tweet tweet tweet all the

night through, but remember, no talking

during the concert

• Add the hashtag #DPOtweets to your

posts so your neighbors can follow along

• You don’t need a Twitter account to

read our tweets (just visit twitter.com/DenverPhilOrch), but if you’d like to

tweet along with us, you need an account

• “PG” tweets only —

C’mon, we’ve got kids here

TWEET YOUR HEART OUT

#DPOTweets@DenverPhilOrch

During the concert, we live-tweet photos, facts and tidbits about the music you’re listening to. Follow along, share and interact with us and other concert-goers on Twitter.

A FEW RULES

3 9

CONCERT ETIQUETT E

BE COMFORTABLEThere’s no dress code. From jeans to

suits, you’ll see it all! Wear what you’d

like — you’ll fit in. We love you just the

way you are.

COUGHINGAhem… Try to ‘bury’ your cough in a loud

passage of music. If you can’t, or you

begin to cough a lot, don’t worry — it’s

perfectly acceptable and appropriate to

quietly exit the concert hall. Remember to

unwrap cough drops before the concert so

you don’t create crackling noises.

CRY ROOMChild feelin’ fidgety? We have a designat-

ed cry room at the back of the hall on the

right side of the lower level (as you enter

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

APPLAUSE 101Many concertgoers are confused about

when to clap during an orchestra’s perfor-

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

diences would routinely applaud between

movements to show their joy for the mu-

sic they just heard. Around the mid-19th

century, it became tradition in Germany

for audiences to wait until the end of the

piece to clap, sitting silently between

movements. That tradition spread and is

now commonly accepted and taught.

At the DPO, we welcome both traditions.

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

that is fine. If you want to respectfully

show your appreciation between move-

ments, we welcome that too. Regardless,

we want you to feel comfortable and

focus on the performance, not confusing

applause rules!

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


CONCERT ETIQUETT E

ELECTRONICSPlease turn the sound off on your cell

phones, pagers, and any other noise-

making device, including vibrate mode.

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

into the hall, but remember “Trail Rules”

— pack it in, pack it out.

SOCIAL MEDIAFeel free to tweet, post to Facebook or

take photos without flash. Upload your

pics and comments online — and be sure

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

Instagram @denverphilorch #dpotweets

Learn more about upcoming events from local,

community-based organizations at thescen3.org!

The Scen3 features the events and performances

of SCFD-funded Tier III organizations.

4 1

ORCHESTRA SPOTLIG HT

MADOKA ASARIPIANO/KEYBOARDFIRST DPO SEASON. Madoka began her

musical training at Yamaha Music School

at age 4, and piano lessons at age 5 in

Japan. She received her bachelor of music

in piano performance from University of

Denver master of music in piano perfor-

mance from Indiana University. Madoka

played in Lamont Symphony, Lamont Wind

Ensemble, IU University Orchestra and

IU Concert Orchestra as a keyboardist.

She also performed Beethoven Concerto

No. 1 with Lamont Symphony, Littleton

Symphony Orchestra and Philharmonia of

Greater Kansas City as a soloist. As a per-

former, Madoka works as a collaborative

pianist with various instruments including

conductors, and gives recitals as a solo

pianist. As an educator, she taught music

theory and aural skills at Indiana University,

and now teaches private piano lessons

and tutors written and aural music theory.

Making and sharing music is her passion

and joy. When not making music, Madoka

loves to bake, cook and swim. Since

returning to Colorado this summer, she’s

looking forward to utilizing the maximum

value of her Rocky Mountain National Park

Annual Pass.

COLIN CONSTANCEPERCUSSIONSECOND DPO SEASON. Colin received

a Bachelor’s in Music Education from

the University of Kansas in 2007 and

a Master’s in Music Performance from

Colorado State University in 2012. This

is his 18th year playing percussion, with

an emphasis in orchestral style, drum

set, four-mallet keyboard, and steel

drum. Colin has performed with many

Who are the hard-working men and women behind those music stands? Get to know your orchestra! Each concert, we spotlight a few of our talented musicians here in the program. Tonight, meet Madoka, Colin, Nick, Loren, Annastasia, Claude, and Rachel —


ORCHESTRA SPOTLIG HT

regional orchestras including the Fort

Collins Symphony, Cheyenne Symphony,

Greeley Philharmonic, National Repertory

Orchestra, Pro Musica (Boulder) Chamber

Orchestra, Larimer Chorale, Denver Young

Artists Orchestra, and San Juan (Durango)

Symphony. He is actively involved with

many area high school programs as

a percussion instructor and private

lessons teacher. Colin is a proud native

of Lawrence, Kan., and in his free time

enjoys traveling throughout the great state

of Colorado. He also spends countless

hours following football and basketball

and participating in online fantasy sports

competitions.

NICK KENNYTRUMPETFIRST DPO SEASON. Nick has been

playing the trumpet for 15 years and says

it has helped shape his life. He received

his bachelor’s degree in instrumental

performance from Manchester University

in 2011 and will be soon pursue a mas-

ter’s degree in conducting and music

education. Throughout his career, Nick

has played with many honor bands and

professional orchestras, including the

Manchester Symphony Orchestra, the

Loveland Symphony Orchestra, and two

intercollegiate honor bands. Nick is a full

time artist and musician. He spends his

days working for a visual effects company

called Far Away Creations in Loveland.

He also works with Loveland High School

as their brass technician and has his own

trumpet studio. He also volunteers for

the National Park Service and does a

large amount of charity work across the

state. Nick enjoys everything from sports

to comic conventions. He likes to hike,

4 3

ski, play hockey, teach, and be an active

member of the community. He thanks his

parents for being supportive of his pursuit

of a musical career as well as his private

teachers who have demanded the finest

of Nick from a young age. One of his fa-

vorite quotes is “Music…my life wouldn’t

be the same without it.”

LOREN MEAUXOBOE/ENGLISH HORNFOURTEENTH DPO SEASON. Loren has

been with the Denver Philharmonic since

2001 and is a graduate of the University

of Northern Colorado with a bachelor’s

degree in music performance where he

studied with Peter Cooper. Loren has

been playing the Oboe since the fourth

grade, which is a rarity as most oboists

start on clarinet or flute then move over to

oboe later. An IT professional for Denver

Health by day, Loren has a wonderful wife,

Jade, and beautiful 4-year-old boy, Avery,

who often come to concerts and who

Loren would like to thank for putting up

with him making reeds for his instruments

all hours of the morning.

ANNASTASIA PSITOSCELLOTHIRD DPO SEASON. Annastasia has

both Bachelor’s and Master’s degrees in

music performance for cello. She obtained

her bachelor’s degree at the University of

Maryland, College Park and her master’s

degree at the University of Colorado,

Boulder. She has been studying cello for

24 years and has played with a wide variety

of orchestras — both through school and

as a freelance musician. In addition to

the Denver Philharmonic, she currently

also plays full time with the Boulder

2014/2015 Concert Season

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

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

Haydn Go Seek with The Orchestra! Madison Oh, Piano

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

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

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

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

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


Symphony and is a substitute cellist with

the Fort Collins and Cheyenne Symphony

Orchestras. She works as an accounts-pay-

able assistant at an oil and gas company.

CLAUDE G. WILBURCLARINET, BASS CLARINETELEVENTH DPO SEASON. Claude

has played with Denver Concert Band,

Colorado Wind Ensemble, Denver

Municipal Band, Colorado Springs

Symphony, Fort Collins Symphony,

Cheyenne Symphony, Boulder

Philharmonic, Boulder Ballet, Fort Collins

Ballet and various small ensembles. He

holds a bachelor’s degree from Chapman

College, a master’s degree in music from

Michigan State University and has done

post-graduate work at UCD. He studied

Chinese with a language immersion

program at Three Gorges University and

on his first visit to KaiXian, China, he got

drunk with the district attorney. Claude

makes his living as a software engineer.

RACHEL YANOVITCHCELLOSECOND DPO SEASON. Rachel began

studying piano at age 5, cello at age 9,

guitar at 15, and in her free time, she has

enjoyed singing and songwriting for sev-

eral years. She has played with Thames

Valley Youth Orchestra in Connecticut,

and the Rhode Island Philharmonic youth

orchestra when she was in high school.

She has performed three solo recitals,

and since college, she’s played regularly

with worship bands for churches and

get-togethers. Rachel has her associate’s

degree in theology from Calvary Chapel

Bible College in Murrieta, Calif., works as

a nanny and at Starbucks, and plays cello

for Pilgrim City Church on Sundays.

PLEASE JOIN US FOR OUR

For additional information and to purchase tickets, visit

CherryCreekChorale.org or call

303 -789 -5920

4 5

ORCHESTRA’S CIRCLE($20,000+)

Valerie and Gil Clausen

CONDUCTOR’S CIRCLE($5,000+)

AIC Ventures, on behalf of Ben Luey

SCFD

Linda M. Lebsack & Hugh R. Pitcher

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

MUSICIANS’ CIRCLE($1,000 – $2,499)

PATRON ($500 – $999)

BENEFACTOR ($300 – $499)

Lok and Jake Jacobi

Russell Klein

CONTRIBUTOR ($100 – $299)

John D. Faught

Sarah Hogan

Thomas James Merry

Kathleen Porter

Drs. Mark and Maxine Rossman

Robert J. Smith

FRIEND (UP TO $99)

Keri Rose Agnes

Amazon Smile Foundation

McKesson Foundation, matching gift on

behalf of Janice Burley

IN-KIND SUPPORTERSThe Pillar of Fire Church

Ligature Creative Group

Newberry Brothers Greenhouse and Florist

CONTRIBUTIONS

THANK YOU!

Since January 1, 2014

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


PUBLIC SUPPORTTHE SCIENTIFIC & CULTURAL FACILITIES DISTRICT

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

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

county region (Adams, Arapahoe, Boulder, Broomfield,

Denver, Douglas and Jefferson counties) supports nearly 300

institutions, including the DPO, that provide unique cultural

and scientific experiences for millions of people each year.

Many of the programs SCFD supports provide free and

discounted access to citizens. For information on free days

and organizations, visit www.scfd.org.

4 7

IT TAKES A COMMUN ITY

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

Conductor’s Circle $5,000 – $19,999

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

Musicians’ Circle $1,000 – $2,499

Patron $500 – $999

Benefactor $300 – $499

Contributor $100 – $299

Friend up to $99

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

CORPORATE GIVING DONATION AMOUNTGold Partner $10,000 and above

Silver Partner $5,000 – $9,999

Copper Partner $1,000 – $4,999

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

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


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

PO Box 6074Denver, CO 80206

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

Contribution $ Check or Credit Card

Name

Address

City, State, Zip Code

Telephone Email

Credit Card No. Exp.

4 9

CONTACT US!PO Box 6074Denver, CO 80206303.653.2407

@denverphilorchDenverPhilharmonic.org


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Documents

Denver Philharmonic Orchestra November 14, 2014 Concert Program