Denver Philharmonic Orchestra October 2, 2015 Concert Program

october 2nature’s realmLAWRENCE GOLANconductor and violin

VIVALDI

“Autumn” from The Four Seasons

DVORÁK

In Nature’s Realm

TCHAIKOVSKY

The Tempest; Fantasy-Overture, op. 18

SIBELIUS

Symphony No. 5

2 0 1 5 – 1 6 O C T O B E R 2

N O V E M B E R 2 0D E C E M B E R 1 9F E B R U A R Y 1 9

A P R I L 8J U N E 3

Welcome to tonight’s Denver Philharmonic Orchestra concert! With all the events, theatre, music and festivals that Denver has to offer, we’re honored you are spending your evening with us.

We hope to create a wonderful memory and feeling that stays

with you long after the music has ended, and sometimes even

before the music has begun.

Tonight, I’ll be thinking about wise words from Henry David

Thoreau, who said, “When I hear music, I fear no danger. I am

invulnerable. I see no foe. I am related to the earliest times,

and to the latest.” Thoreau must have been to a DPO concert!

Listening to our passionate musicians fill this hall with music, we

hope that you “see no foe,” but instead find opportunities to

meet your neighbors, mingle with musicians, and take part in

the community offering’s hosted by the DPO all season long!

Please, sit back, relax, silence (but do not put away) your phone

and experience the music! If you have any questions, or would

like to share your personal DPO story, please feel free to talk

with us: look for anyone with a blue name tag, or come and find

me — we love getting to know all of you, and hope you will

continue to make the Denver Philharmonic Orchestra a part of

your story now and in the future!

DEAR FRIENDS,

Sincerely,

Jon Olafson

President of the Board, DPO

Fall to me means

college football and

the start of a great new

season at DPO!

What’s your favorite

thing about fall?

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OCTOBER 2 NATURE’S REALMLAWRENCE GOLAN, conductor and violin

VIVALDI “Autumn” from The Four SeasonsDVORÁK In Nature’s RealmTCHAIKOVSKY The Tempest; Fantasy-Overture, Op. 18SIBELIUS Symphony No. 5

NOVEMBER 20 INEXTINGUISHABLELAWRENCE GOLAN, conductorJAY CAMPBELL, cello

LOCKLAIR Phoenix for Orchestra (Colorado premiere)ELGAR Cello ConcertoNIELSEN Symphony No. 4 “Inextinguishable”

DECEMBER 19 HOLIDAY CHEER!SCOTT O’NEIL, guest conductorSYDNEY HARPER, sopranoand featuring COLORADO REPERTORY SINGERS, KYLE FLEMING, artistic director

Full repertoire to be announced.

FEBRUARY 19 SMASH HITS!LAWRENCE GOLAN, conductorSTEVEN LIN, piano

MOZART Symphony No. 40 in G MinorRACHMANINOFF Rhapsody on a Theme of PaganiniSTRAVINSKY The Firebird Suite

APRIL 8 THE ONE RING FEATURING THE LORD OF THE RINGS SYMPHONYS. MODECAI FUHRMAN, guest conductorAARON WILLE, flute

BERLIOZ Les Franc-Juges (Judges of the Secret Court)BLOCH Suite ModaleDE MEIJ, ORCH . VLIEGER Symphony No. 1 “Lord of the Rings”

JUNE 3 EUROTRIPLAWRENCE GOLAN, conductor

CHABRIER EspañaSMETANA The MoldauELGAR Cockaigne, Op. 40 (In London Town)FRANCK Symphony in D Minor

BUY TICKETS ATdenverphilharmonic.org

2015–16season.

4 2 0 1 5 – 1 6 T H E S I X T Y - E I G H T H S E A S O N

LAWRENCE GOLANconductor

JAY CAMPBELLcello

LOCKLAIR

Phoenix for Orchestra (2007)Colorado premiere

ELGAR

Cello Concerto

NIELSEN

Symphony No. 4 “Inextinguishable”

up next: november 20

inextinguishable“ Adventurous cellist” (New York Times) Jay Campbell

performs Edward Elgar’s cello concerto, written in the ashes of the first World War. The evening also features Danish composer Carl Nielsen’s Fourth Symphony “Inextinguishable” which represents the will to live, and the Colorado premiere of Dan Locklair’s Phoenix for Orchestra.

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FRIDAY, OCTOBER 2, 2015NATURE’S REALMKPOF Hall · Denver, Colorado · 7:30 pm

Lawrence Golan, conductor and violin

Antonio Vivaldi “Autumn” from The Four Seasons, (1678–1741) op. 8, no. 3 featuring Lawrence Golan I. Allegro

II. Adagio

III. Allegro

Antonín Dvořák In Nature’s Realm, op. 91 (1841–1904)

Pyotr Ilyich Tchaikovsky The Tempest; Fantasy-Overture, (1840–1893) op. 18

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

Jean Sibelius Symphony No. 5, in E-flat(1865–1957) I. Tempo molto moderato –

Largamente – Allegro moderato

(ma poco a poco stretto) –

Presto – Più Presto

II. Andante mosso, quasi allegretto

III. Allegro molto – Largamente assai

MEET THE MUSICIANSReception Following the concert, meet & mingle on the lower level.


Keeping you connected with in-depth news and music discovery.

Inform. Enlighten. Entertain.

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LAWRENCE GOLANMUSIC DIRECTOR,CONDUCTOR AND VIOLIN

In high demand across the United States and internationally,

Lawrence is also currently Music Director of the Yakima

Symphony Orchestra in Washington state, the York Symphony

Orchestra in Pennsylvania, and the Lamont Symphony

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

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

South Korea. Lawrence continues to guest conduct professional

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

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

Lawrence has garnered considerable international recognition

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

five Global Music Awards, three American Prize awards, three

Downbeat Magazine Awards, and two Prestige Music Awards.

Following a highly successful four-year term as Resident

Conductor of The Phoenix Symphony, Music Director Michael

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

edented creativity and scope.” That sentiment was confirmed in

2012 when Lawrence was named the Grand Prize Winner of The

American Prize for Orchestral Programming.

The 2015–16 Season marks Lawrence’s third season as music director of the Denver Philharmonic Orchestra.


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.

This is his second season as associate conductor of the Denver

Philharmonic Orchestra.

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

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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 departed in

2013. Lawrence, a professor and music

director at the University of Denver’s

Lamont School of Music, continues to pro-

duce innovative and quality programming,

challenging our musicians and delighting

our audiences.

And while we have a 68-year history in

Denver, our mission is to continually rede-

fine the way our community experiences

and engages with classical music.

denverphilharmonic.org

OUR HISTORY


• PHONES ON — SOUND OFF! We know

you want to participate, but let’s leave

the music to the pros

• ALL THUMBS Tweet tweet tweet all the

night through, but remember, no talking

during the concert

• Add the hashtag #DPOtweets to your

posts so your neighbors can follow along

• You don’t need a Twitter account to

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

tweet along with us, you need an account

• “PG” tweets only —

C’mon, there are kids here

TWEET YOUR HEART OUT

#DPOTweets@DenverPhilOrch

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

A FEW RULES…

1 3

We have a lot of fun at our concerts — we live-tweet performances, hold lively pre-concert

chats, and we’ve mingled over great eats at food truck tailgates, hiked South Table Mountain

in Golden, sipped local wine, welcomed over 80 students from El Sistema Colorado as our

opening act, hosted Valentine’s Day photo booths, enjoyed handmade truffles, brought in an

instrument petting zoo, partnered with the Denver Museum of Nature and Science to bring

the Gates Planetarium (and the entire universe) into the hall Hall, and more!

Here’s a taste of what’s in store for this season —

PRE-CONCERT CHATS, 6:30PM

EVERY CONCERT (EXCEPT HOLIDAY CHEER!)

Join us for informal pre-concert chats about

the music you’ll be hearing hosted by DPO

Associate Conductor S. Mordecai Fuhrman.

He’ll give you insights into the music and

music-makers you’ll be listening to.

RECEPTION, POSTCONCERT

EVERY CONCERTSay hello! Come downstairs after the concert

for refreshments, meet the soloists, buy a

t-shirt — and have fun!

DYAO PRELUDE, PRECONCERT

DECEMBER 19: HOLIDAY CHEER!Arrive early to Holiday Cheer! to get into the

mood with holiday music from Denver Young

Artists Orchestra.

BAKE SALE, POSTCONCERT

DECEMBER 19: HOLIDAY CHEER!Enjoy homemade treats at our annual bake

sale after Holiday Cheer!

INSTRUMENT PETTING ZOO, PRECONCERT

FEBRUARY 19: SMASH HITS!Honk! Buzz! Toot! Pick up a trombone or a

violin and give it a go!

SELFIE CORNER, PRECONCERT

APRIL 8: THE ONE RINGYou shall not pass up this opportunity to snap

a selfie with the White Wizard!

FOOD TRUCK TAILGATE, PRECONCERT

JUNE 3: EUROTRIPDid you like tailgating the concert tonight?

They’ll be back! Enjoy food trucks eats in

June before your European travels.

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

Visit denverphilharmonic.org for concert tickets and info on all of our upcoming events.


MORE THAN MUSIC.

1 5

MUSIC DIRECTOR Lawrence Golan

ASSOCIATE CONDUCTORS. Mordecai Fuhrman

FIRST VIOLINKatherine Thayer, concertmasterAllison Kim, associate concertmasterCarrie BeederMelissa CampbellThomas JatkoTenley MuellerEmmy ReidVanessa Vari

SECOND VIOLINGwen Gravano, acting principal Niccolo Werner CasewitValerie ClausenChristina ColalanciaTerri GonzalesMiki HeineAnnie LauryCallista MedlandAnne Silvas

VIOLAWilliam Hinkie, principalNaomi CroghanLori HansonBen LueyElizabeth O’BrienKathleen TorkkoAnita Zerbe

CELLOBryan Scafuri, principalNaftari BurnsKyle LaneyMonica SálesRachel YanovitchTara Yoder

BASSMark Stefaniw, principalZach AntonioJosh FilleyTaryn GalowColton KellyJordan Walters, student intern

OUR MUSICIANS


FLUTEAaron Wille, principal Starla DoyalCatherine Ricca Lanzano

OBOEKimberly Brody, principalLoren Meaux, assistant principalAlexis Junker

CLARINETShaun Burley, principalJessica ClarkClaude Wilbur

BASSOONKen Greenwald, principalNicholas Lengyel

FRENCH HORNDavid Wallace, principalJeanine BrantingMary BrauerKelli Hirsch

TRUMPETRyan Spencer, prinicpalRyan StutzmanAriel Van Dam

TROMBONETrevor Moore, acting principal Daniel MorrisWallace Orr

TUBAMike Horsford

PERCUSSIONSteve Bulota, prinicpalRoss CoonsJoey Glassman

HARPSICHORDAni Gyulamiryan

1 7

BOARD OF DIRECTORSPRESIDENT Jon OlafsonVICE-PRESIDENT Eleanor GloverSECRETARY Linda LebsackTREASURER Allison LaustenPauline Dallenbach, Honorary MemberRobert DallenbachAlixandra FeeleySarah HoganRussell KleinMaureen KeilMatt MeierTenley Oldak

DENVER PHILHARMONIC FOUNDATION BOARDKeith FisherRussell KleinAllison Lausten

EXECUTIVE DIRECTORValerie Clausen

OPERATIONS MANAGERAlixandra Feeley

PERSONNEL MANAGERAnnie Laury

STAGE MANAGERSTaryn GalowLoren Meaux

MUSIC LIBRARIANCallista MedlandAlyssa Oland, assistant

CONCERT PROGRAMLigature Creative Group, designWalker Burns, editingAlixandra Feeley, editingMaría Angélica Lasso, Spanish translationCallista Medland, editingLeigh Townsend, concert notes

CONCERT RECORDINGJoel DallenbachKyle Smith, advisor

WEBMASTERLigature Creative Group

EMBEDDED REPORTERJulia ComptonMeg Satrom, editor

PUBLICITY & DEVELOPMENTNiccolo CasewitDr. Robert DallenbachStephanie Gillman, photographerEleanor GloverKelli HirschAli McNallyMatt MeierJeff PaulDavid ShermanKarin Tate

OUR TEAM


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

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

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

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

email at [email protected].

OUTREACHTenley OldakKatherine ThayerDavid Wallace

BOX OFFICECarla CodySarah HoganVenus KleinAnnie LauryAllison LaustenJon Olafson

FRONT OF HOUSEGil ClausenCris Diaz, habla españolEleanor GloverMaureen KeilRussell KleinMaría Angélica Lasso, habla españolLinda LebsackAli McNally

RECEPTIONGil ClausenAllison Lausten

VENUE LOGISTICSBrian McGuireRoger Powell

PARKING ADVISORSMatt HoganLinda LebsackHugh Pitcher

MORE THAN MUSICPARTNERSAikopopsBiker Jim’s Gourmet DogsOG Burger

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

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

Tune in to radio station KPOF (AM 910)from 7 – 10 pm on Sunday, October 11 for an encore of

tonight’s Denver Philharmonic performance!


The popularity of The Four Seasons knows no bounds. Found everywhere from the traditional concert stage to commercials for cars and computers, these pieces are known as quintessential Vivaldi.

ABOUT VIVALDIAntonio Vivaldi was an influential composer whose contributions

of style and technique set the standard for the mature Baroque

concerto. Prior to his fame, he was just a boy who played the

violin with his dad, the eldest of nine children, and the only musi-

cian among them.

In 1693, when he was only 15, Vivaldi began his training for the

priesthood in Venice, where his family lived. Shortly after his

ordination, he was exempted from delivering mass. It is rumored

that Vivaldi was censured because of conduct unbecoming of

a priest: he’d reportedly left mass to write down a fugue that

had particularly inspired him, though it was more likely due to

his chronic asthma. Despite this, he remained within the church

for many years carrying out the unconventional dual careers of

composer and priest.

OCTOBER 2 ∙ NATURE’S REALMby LEIGH TOWNSEND

Vivaldi wrote over 500

concertos in his life, all

as a second job while he

was a Catholic priest.

Duration: 10 minutes

“ Autumn” from The Four Seasons Antonio Vivaldi (1678 – 1741)

2 1

THE FOUR SEASONS Vivaldi wrote roughly 350 concertos for

solo instrument, and over 230 of them are

for solo violin. Opus 8 (1725), titled

Il cimento dell’armonica e dell’inventione

translates as “daring experiments with

harmony and invention.” It’s a set of 12

concerti, of which the Seasons are rep-

resented in the first four. The works are

considered early program music, which

means they are supposed to evoke a

feeling of extra-musical narrative

through sound.

Vivaldi set each season to a sonnetto

dimonstrativo, or illustrative sonnet: a

descriptive kind of poem meant to evoke a

specific mood. Although there is no defini-

tive proof Vivaldi wrote the sonnets himself,

it’s widely acknowledged that he did write

the poetry and then set the music.

Like the other concertos in the series,

“Autumn” is composed in three move-

ments. The first movement hurries along

at a lively tempo, eliciting the happy

farmer drinking and dancing at harvest

time. The opening strings repeat the same

theme several times before the solo violin

entrance, much like the farmer finishing up

his day’s work before the party can start.

The second movement is slow and haunt-

ingly delicate, reflecting the pleasurable

sleep that comes after hard work and

hard dancing.

The final movement is again fast; hunting

horns and barking dogs chase a deer

through the woods until she falls, exhaust-

ed. “Autumn” is the perfect piece for a fall

evening when colorful sunsets give way

to crisp evening air, and we look around

again for that jacket we took off hours ago.


ABOUT DVOŘÁKAntonín Dvořák was born in a fertile valley on the Vltava River in

Bohemia, near Prague. His parents worked as innkeepers and

raised a large family; Antonín was the first of 14 children! By age

13, young Dvořák showed a talent for music, and his father sent

him to live with an uncle to study music and German language.

He played violin and organ professionally and began writing

music in earnest in his early 20s. He was influenced strongly by

his faith and his love of his Bohemian heritage.

Dvořák wasn’t widely known as a composer outside of the

Prague area until 1874 when he won the Austrian State Prize for

composition, which he won again in 1876. These prizes brought

him to the attention of well-known composer, Johannes Brahms,

and music critic, Eduard Hanslick, who never stopped champion-

ing the deeply rooted, nationalistic, Bohemian composer.

ROMANTIC ERARomanticism was an artistic and intellectual movement that

originated in Europe in partial reaction to the Industrial

Revolution. The Romantic Era peaked between 1800 and 1850,

as Dvořák was in his formative composing years. The move-

ment emphasized intense emotion and the sublime beauty of

Dvořák was an adept

violin player by age 6.


In Nature’s Realm Antonín Dvořák (1841 – 1904)

“ The music of the people is like a rare and lovely flower growing amidst encroaching weeds. Thousands pass it, while others trample it under foot, and thus the chances are that it will perish before it is seen by the one discriminating spirit who will prize it above all else.”— ANTONÍN DVOŘÁK, 1895

2 3

nature, including its darker aspects of

death and decay.

Acknowledged for their dramatic com-

positions, Weber, Beethoven, Schumann,

and Wagner are all well-known Romantic

German composers of the era. A central

theme of Romanticism is Nationalism —

the focus on national language and folk-

lore. Think of The Brothers Grimm, a prime

example of Romanticism and Nationalism:

they collected and published local folk

tales as nationalistic literature, preserving

the culture of the common folk in the face

of rapid industrialization.

ABOUT THE MUSICIn early 1892, Dvořák became interested

in the idea of a three-movement sym-

phonic work depicting nature, life, and

love. His intention was to deeply explore

each idea and the effect they had on the

soul of mankind. Originally intended to

be played together, the three movements

are now often performed separately un-

der the given names of In Nature’s Realm,

Carnival, and Othello.

To provide unity between the three works,

Dvořák wrote a theme that appears in all

three pieces and is the principle theme

of In Nature’s Realm — listen for a “yoo-

hoo” type call out throughout the music.

Reminiscent of a bird call, it actually de-

rives from a Moravian folk yodel.

Dvořák was a master of the pastoral

setting; the light and airy instrumentation

of In Nature’s Realm features lots of reedy

woodwinds and little percussion other than

the triangle.

The piece opens with a quiet breath

of fresh air in the low horn and clarinet

before the pastoral bassoons and violas

enter with a walking theme. Trilling birds

and dappled sunlight are punctuated by

majestic horns, building drama as the walk

continues down a winding path.

The light gives way to darkness and

Dvořák hurries the listener along with fast

string passages and dramatic brass inter-

jections before the flute and clarinet come

out again as birds in the sunshine and end

the piece quietly, with an air of satisfied

contemplation.

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ABOUT TCHAIKOVSKYBecause there was no formal music school in St. Petersburg,

Russian composer Pyotr Il’yich Tchaikovsky attended law school at

the St. Petersburg School of Jurisprudence. He had always been

drawn to music, and when the St. Petersburg Conservatory of

Music was founded in 1860, Tchaikovsky immediately enrolled to

study theory and composition, as well as piano, flute and organ.

Tchaikovsky was recruited as a music theory teacher when the

Moscow Conservatory of Music opened in 1865. We know from

his letters and his students’ recollections that Tchaikovsky wasn’t

a very good teacher. He certainly enjoyed, however, an active and

varied social life in Moscow, perhaps even a bit more than his

teacher’s salary allowed for, since he was known to supplement his

income during this time with translations and arrangements.

A LITTLE RUSSIAN HISTORYWhen he ascended to the throne in 1855, Czar Alexander II vowed

to reform both the government and the industries of Mother

Russia without sacrificing her culture. Nationalistic roots and

tendencies have always run deep in Russia — Tchaikovsky adored

the Russian folk tunes of his childhood. But rural life was harsh; the

ancient feudal laws had been abandoned in the rest of Europe

in the previous century, but Russian serfs were still completely at

the mercy of the wealthy landowner class. The Proclamation Law

of 1861 freed the serfs from dependence on the landowners and

granted them both the land and their freedom.

Tchaikovsky wrote

several pieces based on

Shakespeare’s works,

including his famous

ballet Romeo and Juliet.


The Tempest; Fantasy-Overture, Op.18 Pyotr Il’yich Tchaikovsky (1840 – 1893)

“ Now I want Spirits to enforce, art to enchant; And my ending is despair, Unless I be relieved by prayer”— WILLIAM SHAKESPEARE, THE TEMPEST

2 7

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This liberal reform by Alexander II gave

approximately 23 million peasants the

right to own property, own businesses, and

marry without consent. The Russian people

were cautiously optimistic that life was

about to get a lot better as they jumped

head-first into the modern era.

ABOUT THE MUSICTchaikovsky, like other artists and com-

posers of the 19th century, found a ready

source of inspiration in Shakespeare. The

suggestion for a musical treatment of The

Tempest came from Vladimir Stasov, a men-

tor to many Russian nationalist composers.

Tchaikovsky wrote the work quickly, over

a period of only 11 days in the autumn of

1873. The premiere took place in December

1873, at a Russian Music Society concert.

The program of Tchaikovsky’s The

Tempest, described as a fantasia for

orchestra, is derived from Stasov and was

printed with the published score. The

sections are as follows:

· The sea

· Ariel, spirit of the air, obeying the will of

the magician Prospero, raises a storm

· Wreck of the ship bringing Ferdinand

· The enchanted isle

· First timid feelings of love of Miranda

and Ferdinand

· Ariel, Caliban

· The lovers succumb to their passion

· Prospero deprives himself of his magic

power and leaves the island

· The sea.

Listen to how the sea changes, from the

placid arpeggios of the opening sea

section, to the timpani furiously rolling in

the energetic storm, and finally the relief

felt at the end as the brass surges away

and the survivors. In between, you will hear

the beautiful Tchaikovsky love themes he

perfected with Romeo and Juliet.

2 9


ABOUT SIBELIUSFinnish composer Jean Sibelius, known primarily for his orches-

tral works, had a great talent for orchestral color and structure.

Born to Swedish-speaking parents in Finland, Jean was exposed

to music from an early age. His father died when he was quite

young, leaving behind a large debt that Jean’s mother strug-

gled to pay off. Jean and his siblings were shipped around the

country to different family members, including his Uncle Pehr, a

violinist, and Aunt Julia, who instructed Jean in piano.

Though a skillful violinist, Sibelius felt hew would never be a vir-

tuoso, and instead focused on his other passion — composition.

He studied composition in Helsinki, Berlin, and Vienna, where he

was exposed to the music of Strauss, Bruckner, and Wagner.

After an extensive career filled with many well-received works,

such as Finlandia and The Swan of Tuonela, Sibelius eventually

retired to the country. In 1939, at age 74, Sibelius invited a young

American woman named Antonia Brico to conduct the Helsinki

Sibelius mentored

Denver Philharmonic

Founder Antonia Brico,

and he describe her as

his “sixth daughter,”

the only conductor who

interpreted his work the

way he intended it to be

performed.


Symphony No. 5 Jean Sibelius (1865 – 1957)

“ Even by Nordic standards, Sibelius responded with exceptional intensity to the moods of nature and the changes in the seasons: he scanned the skies with his binoculars for the geese flying over the lake ice, listened to the screech of the cranes, and heard the cries of the curlew echo over the marshy grounds just below Ainola. He savoured the spring blossoms every bit as much as he did autumnal scents and colours.”— ERIK TAWASTSTJERNA, SIBELIUS BIOGRAPHER

3 1

Symphony Orchestra. Less than 10 years

later, Antonia became the conductor of a

local Colorado group called the Denver

Businessman’s Orchestra, which was

later re-named the Denver Philharmonic

Orchestra!

FINNISH NATIONAL IDENTITYIn the second half of the 19th century,

Finland was stirring with economic and

cultural changes having gained autonomy

from Sweden after seven centuries under

their control. The Finnish War, fought

between the Kingdom of Sweden and the

Russian Empire, ended in 1809 resulting in

an autonomous and independent cultural

region governed by Russia.

The population of this new Finnish

dukedom was now divided by rival lan-

guages: Finnish and Swedish. Although

the Swedish-speaking population was a

minority, they were considered culturally

elite. The Finnish-speaking majority tradi-

tionally wielded no social power, although

a movement was under way to legitimize

the language and to embrace it as an

authentic, assertive self-identity. Sibelius

spoke Swedish as his first language and

learned Finnish at school when he was still

an adolescent.

The cultures articulated by these unrelated

languages were substantially different:

Scandinavian culture was seen to be more

sophisticated and international, while the

Finnish culture was rooted in the rugged

peasantry of the land, uncompromisingly

idiosyncratic, and inscrutable to the

outside world. Sibelius had a knack for

blending the elements of both to high art,

recognized around the world as a uniquely

Finnish music.

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ABOUT THE MUSICSibelius had contemplated a Fifth

Symphony as early as 1912. The first ver-

sion, written largely in 1915, was premiered

in December of that year in a celebration

of the composer’s 50th birthday, with

Sibelius himself conducting.

The first movement opens with the horns

in expansive mood, followed by the

woodwind in thirds, the entry of the strings

delayed. The dramatic tension of tremolo

strings leads to a second theme.The mid-

dle section of the movement is a scherzo;

with a solo trumpet hinting at the theme of

the last movement.

The placid second movement contains sev-

eral variations on the main theme set at the

beginning by the flute and plucked strings.

The massive finale starts with the busy, un-

dulating activity of the strings, after which

the well-known theme that dominates the

movement emerges in all its strength, with

a secondary, theme from the woodwinds,

as the trumpets declare what had become

known to Sibelius as the “swan-theme.”

Sibelius was inspired by the sight and

sound of migrating swans circling above

him in the haze of early spring sunshine. It

remains the most familiar and popular of

all Sibelius themes.

3 3

CONCERT ETIQUETT E

BE COMFORTABLEThere’s no dress code. From jeans to

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

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

way you are.

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

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

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

perfectly acceptable and appropriate to

quietly exit the concert hall. Remember to

unwrap cough drops before the concert so

you don’t create crackling noises.

CRY ROOMChild feelin’ fidgety? We have a designat-

ed cry room at the back of the hall on the

right side of the main level (as you enter

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

APPLAUSE 101In earlier times, audiences would routinely

applaud between movements to show

their joy for the music they just heard.

Then around the mid-19th century, it

became tradition to wait until the end of

the piece to clap, with the audience sitting

silent between movements.

At the DPO, we welcome both traditions.

If you prefer to wait for the end of a piece

to clap, please do. Some movements are

fiery and end in such a flare that you may

feel compelled to clap — go for it! After

a quiet movement, you may want to enjoy

the feeling of transfixion and wait; there’s

no need to applaud if you’re not feelin’ it.

Regardless, we want you to feel comfort-

able and focus on the performance, not

confusing applause rules!

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


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 5

ORCHESTRA SPOTLIG HT

NICCOLO WERNER CASEWITSECOND VIOLINEIGHTEENTH DPO SEASON. Niccolo

“Nico” Casewit starting playing the violin

at Denver’s Barmum Elementary School

when he was 9 years old. In Germany,

Niccolo served as concertmaster of the

Eichwald Gymnasium Orchester and as

a principal violinist with the New World

Orchestra. He was co-principal second

violinist of the MIT Symphony Orchestra,

and received his Master of Architecture

degree from MIT.

Niccolo has performed with a number of

other chamber groups, Denver bands, and

ensembles playing in a variety of musical

styles including symphonic-heavy metal,

alternative rock and free-jazz.

In 2014, Nico composed and performed

some of the original music set to the

documentary film “A Beautiful Equation”

directed by Robin Truesdale. The film high-

lights the humanistic stories from the lives

of the scientists Albert Einstein and Neils

Bohr as told by eight grandmothers. The

film follows the rehearsals and the eventual

theater piece performance written and

directed by Boulder educator Len Barron.

The film is scheduled to be released as a

DVD with educational materials this fall.

Niccolo’s day job is an architect and plan-

ner and owns an architectural consultancy

specializing in historic preservation, mixed-

use and education projects. Niccolo is a

past member of the board of the Denver

Philharmonic Orchestra and currently

volunteers as administrator of the DPO’s

Facebook page.

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


ORCHESTRA SPOTLIG HT

Niccolo enjoys skiing, hiking and climbing

the Flatirons above Boulder. He hopes to

start painting landscapes with watercolors

as he did at a young age hiking with his

father the late Curtis. W. Casewit, a widely

published travel journalist and author.

NICK KENNY THIRD TRUMPETSECOND DPO SEASON. Nick received his

Bachelor’s degree in Trumpet Performance

from Manchester University in 2011 under

the study of Tim Zimmerman. He is cur-

rently pursuing a Master’s degree in Music

Education from the University of Northern

Colorado. Nick lives in northern Colorado

and is on the Loveland High School Band

staff as the trumpet technician and has a

successful trumpet studio. Nick continues

to perform professionally in pit orchestras,

chamber ensembles and for weddings.

BEN LUEYVIOLANINTH DPO SEASON. Ben has been

playing in school or community orchestras

continuously for 20 years. He started on

the viola in sixth grade in his middle school

orchestra in California and soon joined the

Oakland Youth Orchestra.

While studying physics at Carleton

College in Minnesota, he played with

the Carleton Orchestra. After college, he

moved to Boulder where he played with

the Longmont Symphony Orchestra, and

joined the DPO after moving to Denver.

In addition to his undergraduate de-

gree from Carleton, Ben has a Master

of Science degree in Physics from the

University of Colorado Boulder. Outside

of the DPO, Ben is a physicist at a small

3 7

company in Denver where he works on

lasers and electronics to support the laser

cooling and trapping research community.

ARIEL VAN DAMSECOND TRUMPETTHIRD DPO SEASON Ariel has been

playing trumpet for 18 years. She has had

the great fortune of performing with the

Blue Knights Drum and Bugle Corps from

Denver, Santa Clara Vanguard Drum and

Bugle Corps from Santa Clara, California,

with Musica Sacra Chamber Orchestra,

Littleton Symphony Orchestra, Jefferson

County Symphony Orchestra, and

Colorado Wind Ensemble.

Aside from being a full-time student, Ariel

works for Starbucks and assists area high

school marching bands in the summer and

fall. She enjoys spending as much time as

she can in the mountains — be it driving,

hiking or photographing. She is also active

in the community supporting transgender

rights and equality.

Ariel studied trumpet for three years at

University of Colorado, and also studies

at Metropolitan State University of

Denver and Arizona State University’s

online program in the fields of music and

engineering.

RACHEL WARBELOWCELLOSECOND DPO SEASON. Rachel has been

playing the cello since she was 5 years old.

She received her Bachelor of Science in

Cello Performance and Journalism from

Indiana University in 2007 and her Master

of Curriculum and Instruction from the

University of Nevada Las Vegas in 2009.

Rachel is a Ruby on Rails Instructor at

Turing School of Software and Design.

ANITA ZERBEVIOLAFIRST DPO SEASON. Anita recently moved

to Colorado to be a little close to her niece

and the sun. She loves seeing the moun-

tains to the west and the city to the east!

Anita has played the viola since 1999; she

also plays the violin and sings. She majored

in music education and earned her Bachelor

of Music from the University of Wisconsin,

Stevens Point. Along with playing in pit

orchestras on the violin, viola and keyboard,

Anita performed with the Central Wisconsin

Symphony Orchestra for two years.

Currently seeking a music teaching po-

sition, Anita is a substitute teacher with

Denver Public Schools and a shuttle driver

with Sage Hospitality! She looks forward

to possibly busking and teaching private

lessons on many different musical instru-

ments, and she is excited to downhill ski.


ORCHESTRA CIRCLE($20,000+)

Valerie & Gil Clausen

CONDUCTOR CIRCLE($5,000+)

FirstBank

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

MUSICIAN CIRCLE($1,000 – $2,499)

Xcel Energy

PATRON ($500 – $999)

CoBank on behalf of Brian Lucius

Colorado Gives Day “Luck of the Draw”

US Bank Foundation

Donald Walls

BENEFACTOR ($300 – $499)

CoBank on behalf of Brian Lucius

Susan Cochran

Russell Klein

Drs. Mark & Maxine Rossman

CONTRIBUTOR ($100 – $299)

Anonymous

Kathi Rose Agnes

Penny Alles

TATE+BURNS Architects LLC

Donna & Pierre Bastien

Brenda & Peter Oldak

Sandra Rothenberg

James A. Stegman

Gina & Paul Todd

Robert Green

Helen Bauer

FRIEND (UP TO $99)

Amazon Smile Foundation

Richard Casson

Robert & Pauline Dallenbach

Amaryllis Fletcher

David Harrington

Surilda Hudson

Susan J. McGinley

Bert & Rosemary Melcher

IN-KIND DONORSDavid Sherman Creative

Ligature Creative

Newberry Brothers Greenhouse & Florist

The Pillar of Fire Church

Studio Hippo

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

Since January 1, 2015

3 9

IT TAKES A COMMUN ITYWe are a community-driven orchestra, and we survive with support from our patrons and local businesses. Help us make music with a tax-deductible contribution today. Give safely online at denverphilharmonic.org/contribute.

INDIVIDUAL GIVING DONATION AMOUNTOrchestra Circle $20,000 or above

Conductor Circle $5,000 – $19,999

Concertmaster Circle $2,500 – $4,999

Musician Circle $1,000 – $2,499

Patron $500 – $999

Benefactor $300 – $499

Contributor $100 – $299

Friend up to $99

CORPORATE GIVING DONATION AMOUNTGold Partner $10,000 and above

Silver Partner $5,000 – $9,999

Copper Partner $1,000 – $4,999

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

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


http://www.denverphilharmonic.org/contribute

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

PO Box 6074Denver, CO 80206

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

Contribution $ Check or Credit Card

Name

Address

City, State, Zip Code

Telephone Email

Credit Card No. Exp.

4 1

CONTACT US!PO Box 6074Denver, CO 80206303.653.2407

@denverphilorchDenverPhilharmonic.org

PUBLIC SUPPORTTHE SCIENTIFIC & CULTURAL FACILITIES DISTRICT

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

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

county region (Adams, Arapahoe, Boulder, Broomfield,

Denver, Douglas and Jefferson counties) supports nearly 300

institutions, including the DPO, that provide unique cultural

and scientific experiences for millions of people each year.

Many of the programs SCFD supports provide free and

discounted access to citizens. For information on free days

and organizations, visit www.scfd.org.


musicconnects ourcommunity.

is proud to support theDenver Philharmonic.

ligcreative.com • • • • • • • • • • • • • • • • • • • •• • • • • • • • • • • • • • • • • • • •

with atwist

An intimate concert series at Dazzle Jazz featuring small ensembles, dinner and cocktails.

STRINGS STRAIGHT UP OCTOBER 22 @ 7PM

DA ZZ L E JA ZZ 93 0 L I N CO L N ST

Seating is limited. Buy now at denverphilharmonic.org or dazzlejazz.com.

Introducingclassical music

Documents

Denver Philharmonic Orchestra October 2, 2015 Concert Program