denver philharmonic orchestra november 15, 2013 concert program
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N O V E M B E R 1 5
INAUSPICIOUS BEGINNINGSLawrence Golan, conductorJames Buswell, violinBeethoven: Fidelio OvertureBarber: Violin ConcertoTchaikovsky: Symphony No. 5
O C T O B E R 4N O V E M B E R 1 5D E C E M B E R 2 0F E B R U A R Y 1 4
A P R I L 4M A Y 2 2
2 0 1 3 – 1 4
T H E S I X T Y - S I X T H S E A S O N
201 Garfield Street | Denver, CO 80206 | 303.322.0443www.facebook.com/newberrybros
www.newberrybrothers.com
N E W B E G I N N I N G S 3
With our 2013–14 Season, we celebrate 66 years of providing high-quality symphonic concerts and outreach.
Our orchestra was founded in 1948 as the
Denver Businessmen’s Orchestra by Dr.
Antonia Brico, the first woman to conduct
the Berlin Philharmonic, the New York
Philharmonic and several other major
orchestras. The two major issues driving
establishment of the orchestra were a
need for affordable classical music con-
certs in the Denver area and the need for
an organization that would nurture, devel-
op and showcase the talents of classically
trained musicians, many of whom had
relocated to Denver following World War
II. The orchestra quickly became known
for its ambitious collaborations and per-
formances. In 1968, to honor its founder,
the name of the orchestra was changed to
the Brico Symphony, and the tradition of
musical excellence and community service
continued.
Following Antonia’s retirement in 1986,
the orchestra selected Julius Glaihengauz
as its second Music Director. Julius
was a talented Russian immigrant who
recently graduated from the Tchaikovsky
Conservatory. Under his new leadership,
the name of the orchestra was changed
to the Centennial Philharmonic and
performed for eleven seasons, followed by
a season under interim director Kirk Smith.
In 1999 Dr. Horst Buchholz, Professor of
Music at the University of Denver and an
acclaimed musician and conductor, was
selected as the orchestra’s new Music
Director. This began a period of growth
and success that continues today. To more
accurately reflect our Denver roots, the
Centennial Philharmonic was renamed the
Denver Philharmonic Orchestra in 2004.
Horst remained Music Director/Conductor
through the 2008–09 Season, after which
he was appointed the orchestra’s first
Conductor Laureate.
Adam Flatt was appointed the orchestra’s
fourth Music Director/Conductor in June
2010. Adam’s dynamic and inspiring
leadership over the next three years
further increased the artistic quality of the
orchestra.
In spring of 2013, award-winning conduc-
tor Dr. Lawrence Golan was selected as our
orchestra’s fifth Music Director. Lawrence
first led the DPO as a guest conductor in
November 2009.
WELCOME!
4 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
FRIDAY, NOVEMBER 15, 2013INAUSPICIOUS BEGINNINGSKPOF Concert Hall · Denver, Colorado · 7:30 pm
Lawrence Golan, conductorJames Buswell, violin
Ludwig van Beethoven Fidelio Overture, Op. 72c(1770 – 1827)
Samuel Barber Violin Concerto, Op. 14(1910 – 1981) Allegro
Andante
Presto in moto perpetuoso
∙ 1 5 - M I N U T E I N T E R M I S S I O N ∙
Pyotr Ilyich Tchaikovsky Symphony No. 5 in E Minor, Op. 64(1840 – 1893) Andante – Allegro con anima
Andante cantabile, con alcuna licenza
Valse. Allegro moderato
Finale. Andante maestoso –
Allegro vivace
MEET THE MUSICIANSJoin us for a reception on the lower level after the concert.
N E W B E G I N N I N G S 5
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, Nov. 24 for an encore of
tonight’s Denver Philharmonic performance!
N E W B E G I N N I N G S 7
OCTOBER 4NEW BEGINNINGSLawrence Golan, conductorDaniel Morris, bass tromboneBoyer: New BeginningsBrubeck: Concerto for Bass Trombone
and OrchestraDvorak: Symphony No. 9 “New World”
NOVEMBER 15INAUSPICIOUS BEGINNINGSLawrence Golan, conductorJames Buswell, violinBeethoven: Fidelio OvertureBarber: Violin ConcertoTchaikovsky: Symphony No. 5 in E Minor
DECEMBER 20NOELS & NEW YEARAdam Flatt, guest conductorMarcia Ragonetti, mezzo-soprano Rimsky-Korsakov: Suite from
The Snow MaidenProkofiev: Troika from Lt. Kije SuiteKuzma: “Against the winter wind”Handel: Messiah “But who may abide
the day of his coming” Hayen: Maltese WinterHoliday favorites and sing-alongs
FEBRUARY 14 YOUNG LOVELawrence Golan, conductorLinda Wang, violinTchaikovsky: Sleeping Beauty SuiteChen and He: The Butterfly Lovers
Violin ConcertoProkofiev: Romeo and Juliet Suite No. 2
APRIL 4 NEW FORMATIONS &MYSTERIOUS MOUNTAINSLawrence Golan, conductorJoshua Sawicki, pianoMussorgsky/Rimsky-Korsakov:
Night on Bald Mountaind’Indy: Symphony on a French Mountain AirHovhaness: Mysterious Mountain;
Symphony No. 2Nytch: Formations; Symphony No. 1
Denver premiere performance, co-commissioned by the DPO
MAY 22 NEW FRONTIERSLawrence Golan, conductorDaugherty: KryptonHovhaness: Celestial FantasyHolst: The Planets
2 013–14
Concerts begin at 7:30 pm at
KPOF Hall, 1340 Sherman Street, Denver, CO 80203
8 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
MUSIC DIRECTOR Lawrence Golan
ASSOCIATE CONDUCTORKornel Thomas
FIRST VIOLINKatherine Thayer, concertmasterPatsy AronsteinMatthew GroveThomas JatkoNasiha KhalilTenley MuellerEmmy ReidBeth SchoeningVanessa VariElizabeth Wall
SECOND VIOLINYiran Li, principalNiccolo Werner CasewitPauline DallenbachLoribeth GregoryTerri GonzalesMiki HeineAnnie LauryAlyssa OlandRoger PowellAnne SilvasAlbert Ting
VIOLAWilliam Hinkie, III, principalAndrew Grishaw *Lori HansonLindsay Hayes *Ben LueyElizabeth O’BrianMaura Sullivan *Travis Rollins *
CELLOAnnastasia Psitos, acting principalNaftari BurnsRebecca CoyLinda LebsackAusra MollerudMonica SálesMark StantonAmanda ThallAndreas WerleTara Yoder
BASSMark Stefaniw, principalLucy BauerJosh FilleyTaryn Galow Joey Pearlman
OUR MUSICIANS
N E W B E G I N N I N G S 9
FLUTEAaron Wille, principalStarla DoyalWhitney Kelley
PICCOLOWhitney Kelley
OBOEKimberly Brody, principalLoren Meaux, assistant principal
CLARINETBrooke HengstClaude Wilbur
BASSOONKen Greenwald, principalNicholas Lengyel
FRENCH HORN David Wallace, principalMark DenekasJeanine WallaceKelli HirschMary Brauer
TRUMPETRyan Spencer, principalJoe Smith*, assistant principalRandy RunyanTyler Van Dam
TROMBONEBryan Gannon, principalWallace Orr
BASS TROMBONEDaniel Morris
TUBADarren DeLaup
TIMPANISteve Bulota, principal
PERCUSSIONSusie Carroll
PIANOMargo Hanschke *
* guest performers
1 0 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
DR. LAWRENCE GOLANMUSIC DIRECTOR, CONDUCTOR
It is also his first year as Principal Conductor of the Seoul
Philharmonic in South Korea. He continues as Music Director of
the Yakima Symphony Orchestra in Washington State and the
Lamont Symphony Orchestra & Opera Theatre at the University
of Denver.
Lawrence has garnered considerable international recognition
for his work as a conductor. He has won nine ASCAP Awards,
five Global Music Awards, three American Prize awards, three
Downbeat Magazine Awards, and two Prestige Music Awards.
Lawrence’s appointment in Yakima came on the heels of a very
successful four-year term as Resident Conductor of The Phoenix
Symphony. In 2012, Lawrence was named the Grand Prize Winner
of The American Prize for Orchestral Programming. Several of
the concerts that Lawrence programmed, conducted, and narrat-
ed with The Phoenix Symphony turned out to be the most finan-
cially successful and well-attended performances in the history
of the orchestra, completely selling out triple concert sets in a
2200-seat hall. Lawrence continues to guest conduct professional
orchestras, opera, and ballet companies in the United States
and around the world. Having conducted in 25 states and 16
countries, recent engagements include performances in Boulder,
Macon, Memphis, and Tucson as well as the Czech Republic,
Italy, Korea, Taiwan, and a three-week tour of China with the
American Festival Orchestra.
The 2013–14 Season marks the beginning of Lawrence Golan’s tenure as Music Director of the Denver Philharmonic Orchestra.
N E W B E G I N N I N G S 1 1
A native of Chicago, Lawrence holds degrees in both con-
ducting and violin performance from Indiana University’s
Jacobs School of Music (B.M. and M.M.) and the New England
Conservatory of Music (D.M.A.). In addition, he studied at
all of the major conducting festivals including Aspen and
Tanglewood, where in 1999 he was awarded the Leonard
Bernstein Conducting Fellowship. Following in the footsteps
of his father Joseph Golan, longtime Principal Second
Violinist of the Chicago Symphony Orchestra, Lawrence was
Concertmaster of the Portland Symphony Orchestra for eleven
years and has appeared as soloist with numerous orchestras,
including the Chicago Symphony.
Lawrence has made several critically acclaimed recordings, both
as a conductor and a violinist. He has also been published as a
writer, composer, editor and arranger.
Lawrence and his wife Cecilia have been married since 2003.
They have two wonderful children, Giovanna and Joseph.
For more information, please visit LawrenceGolan.com or
WilliamReinert.com.
1 2 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
JAMES BUSWELLVIOLIN
His regular professional activities also include solo and chamber
music recitals, conducting, teaching, lecturing, and writing.
James is well known for championing new music, including
neglected masterpieces from the 20th century. On the Naxos
label, he recorded award-winning CDs of the Samuel Barber
concerto — which he will be performing with the DPO
November 15 — and the concerti of Walter Piston and received
a Grammy nomination for his recording of the Samuel Barber
violin concerto. World premiere performances include works by
Charles Wuorinen, Donald Erb, Ned Rorem, Leon Kirchner, John
Harbison, and Yehudi Wyner.
James’ early training was at the Juilliard School where he was a
pupil of Ivan Galamian, and he continued his studies at Harvard
University where he majored in Renaissance Art. He and his wife,
cellist, Carol Ou, reside in Boston where he is Professor of Violin
at New England Conservatory.
James has performed as a solo violinist with virtually all of the major orchestras in North America, and throughout Europe, Asia, South America, and Australia.
N E W B E G I N N I N G S 1 3
100% goes to charity
Support us on Colorado Gives Day!Tuesday, December 10online at ColoradoGives.org
24 hours to give where you live
Learn more at ColoradoGivesDay.org
#COGivesDay
N E W B E G I N N I N G S 1 5
KORNEL THOMASASSOCIATE CONDUCTOR
He majored in composition at the St. Stephen King Music
Conservatory and High School. He holds a master’s degree
in orchestral conducting from the University of Music and
Performing Arts Vienna.
For the past three summers, Kornel has attended the presti-
gious Pierre Monteux School for Conductors and Orchestral
Musicians with the Quimby Family Foundation Scholarship. In
2013, he was a semi-finalist at the Sao Luiz Teatro Municipal
and the Orquestra Metropolitana de Lisboa Young Conductors
Competition, and he had his debut in the Vienna Musikverein
with the ORF Radio Symphony Orchestra Vienna in 2012.
Kornel was selected as music director for the 2010 Opera
Project of the Media Composers from the University of Music
and Performing Arts Vienna. From 2004–2006, he served as
Assistant Conductor of the St. Stephen King Youth Symphony
Orchestra. And in 2006, Kornel won second prize at the Bela
Bartok Hungarian National Competition in Composition.
In addition to the DPO, Kornel is also the assistant conductor
and orchestral manager of the Lamont Symphony Orchestra and
Opera Theater in Denver. He lives in Denver where he is also
pursuing an Artistic Diploma in Orchestral Conducting.
Kornel was born in Pittsburgh and grew up in Budapest where he began his musical education studying the violin, piano and composition.
What should you listen
for? What is the music’s
historic and cultural con-
text? Join me at 6:45 pm
for a pre-concert chat
for insights into the
music and music-makers
you will hear during the
performance.
1 6 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
GOLDEN ANNIVERS ARYFOR A GOLDEN MUSICIAN
PAULINE A. DALLENBACHVIOLINFIFTIETH DPO SEASON. In 1928, at age
2, Pauline first sang on KPOF Radio and
continues to participate in the station’s
broadcasting. Since 1963, Pauline and
her husband, Dr. Robert Dallenbach,
have served the orchestra, ranging from
recording and broadcasting DPO con-
certs to maintaining extensive orchestra
archives. Dr. Dallenbach was president of
the Board for many years and broadcasts
our concerts on KPOF 910 AM. Pillar of
Fire has provided facilities for concerts,
rehearsals, storage of the orchestra’s
music library, instruments and equipment
since the orchestra began using the space
in 1964. As a former teacher in K-12 and
college, Pauline has written numerous
school plays and musical productions,
produced the Symphony of Words, and
authored the book Dear Friends. She
enjoys writing and extensive reading
which fortifies and contributes to the
ministries of the Pillar of Fire. In 1949,
she received her Bachelor’s degree in
Mathematics from Alma White College
in New Jersey and her Master’s degree
PAULINE DALLENBACH CELEBRATES50 AMAZING SEASONS WITH OUR ORCHESTRA!
Fifty years ago today, Pauline played her first concert with this orchestra, then known as the Denver Businessmen’s Orchestra. Since 1963, she’s played and served the orchestra under each of its five conductors, including founder Antonia Brico. DPO board president Jon Olafson says it best: ”Pauline embodies one of our core principles, performing music for the joy of it.” Pauline, thank you for donating 50 years of your time and talent to our Orchestra. You’re truly a treasure to our entire community.
N E W B E G I N N I N G S 1 7
Pauline Dallenbach flips her sheet music as she rehearses with the Denver Philharmonic Orchestra at the KPOF Hall in Denver, Colorado on November 4, 2013. Pauline Dallenbach is celebrating her 50th year in the Denver Philharmonic Orchestra. Even in her late 80s, she still at-tends every rehearsal, concert and board meeting. (Photo by Seth McConnell/The Denver Post)
GOLDEN ANNIVERS ARYFOR A GOLDEN MUSICIAN
in Communications and Theatre in 1982
from the University of Colorado. Over
82 years of playing violin, Pauline has
performed with Westminster Symphony
Orchestra, Brown University Orchestra,
Denver Businessmen’s Orchestra, Brico
Symphony, Centennial Philharmonic
Orchestra and the Denver Philharmonic
Orchestra. Granddaughter of Alma White,
founder of the Pillar of Fire, Pauline is an
ordained elder in the Church. She also
plays piano, organ, and saxaphone.
1 8 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
EXECUTIVE DIRECTORValerie Clausen
BOARD OF DIRECTORSPRESIDENT Jon OlafsonVICE-PRESIDENT Eleanor GloverSECRETARY Maureen KeilTREASURER Allison LaustenPauline Dallenbach, Honorary MemberRobert DallenbachAmanda HandLinda LebsackRussell KleinTenley OldakRoger Powell
DENVER PHILHARMONIC FOUNDATION BOARD Michael P. Barry
Keith Fisher
Allison Lausten
Roger Powell
CONDUCTORLAUREATEDr. Horst Buchholz
BACKSTAGE COORDINATORSDoug GraggAnna SchultzJän Schultz
BOX OFFICE/ TICKET SALESGil ClausenCarla CodyAmanda HandAnnie LauryJon OlafsonAnna Schultz
CONCERT NOTESDr. Suzanne Moulton-Gertig
CONCERT RECORDINGJoel Dallenbach
CONCERT PROGRAMLigature Creative Group, designWalker Burns, editingElizabeth Wall, editing
FUNDRAISINGGil ClausenEleanor GloverAllison LaustenJon Olafson
OUR ADMIN VOLUN TEERS
N E W B E G I N N I N G S 1 9
VOLUNTEERING OPPORTUNITIESOur orchestra is run by volunteers, with no paid administrative staff. We greatly
appreciate help from more volunteers in the areas of publicity, fundraising, concert
production, receptions, personnel, and outreach. If you would like to participate in any
of these activities, please contact executive director Valerie Clausen at 303.653.2407 or
email at vclausen@denverphilharmonic.org.
OUR ADMIN VOLUN TEERSLIBRARIANCallista MedlandAlyssa Oland, assistant
ORCHESTRA ROSTERAnnie Laury
OUTREACH Lok JacobiMaureen KeilLinda Lebsack
PARKING ADVISORHugh Pitcher
PERSONNEL MANAGERRoger PowellAnnie Laury, assistant
PRE-CONCERT SLIDESAmanda HandAlex Thomas
PUBLICITYNiccolo CasewitDr. Robert DallenbachEleanor GloverAmanda HandMatt MeierJeff PaulDavid Sherman
USHERS & RECEPTION COORDINATORSGil ClausenDoug GraggLok JacobiAllison LaustenRoger PowellRobert Schoenrock
WEBMASTERNick Croope
2 0 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
NOVEMBER 15 ∙ INAUSPICIOUS BEGINNINGSby DR. SUZANNE MOULTON-GERTIG
Fidelio Overture, Opus 72cLudwig van Beethoven (1770 – 1827)
Dateline Vienna. November 20, 1805. How could anything go correctly? One week after Napoleon and his troops entered Vienna, the Theater an der Wien presented the première of the first version of Leonore, which would eventually become Fidelio by 1814 in its final version.
This was incredibly poor timing; opera
goers (and anyone else with any sense)
had fled the city, leaving virtually only the
French soldiers to attend (who possibly
took umbrage with the plot of a man’s
struggle for liberty against tyranny). Is
there any question why the opera was can-
celed after only three performances?
Fast forward to May 23, 1814, when,
under the new title Fidelio (the name that
Leonore uses as a disguised male while
aiding her political prisoner husband to
escape from prison), the opera reopens at
the Kärtnertortheater in Vienna to great
success and immense relief to its com-
poser. This final triumph was no mundane
accomplishment, however. Between the
original première and the 1814 opening,
Beethoven revised the opera twice, com-
posed three more overtures, and was most
likely swindled by the Theater an der Wien
N E W B E G I N N I N G S 2 1
management in an 1806 revival of the
production.
With the Fidelio overture, Beethoven
abandons the musical principles of the
three Leonore overtures and composes
a completely unique offering which
is simpler and more succinct than its
predecessors. In addition, unlike the
Leonores, this overture is set in the key of
E, the same key as the character Leonore’s
main aria, which represents the hope and
heroism of her role. The overture contains
no thematic material from the opera itself,
but musically attempts to portray the ide-
als of heroism, hope, and freedom.
N E W B E G I N N I N G S 2 3
In the spring of 1939, Samuel Barber,
who had just returned to the United
States after spending three years abroad
as a result of winning the Prix de Rome
in composition, received a commission
from a wealthy Philadelphia industrialist
named Samuel Fels to compose a violin
concerto for one of Barber’s Curtis
Institute classmates (and Fels’ ward)
Iso Briselli. This is where truth ends in
the 1950s story of the work and fiction
begins. According to early Barber
biographer Nathan Broder, “When the
movement was submitted, the violinist
declared it too difficult … and Barber,
who had already spent [his advance] in
Europe, called in another violinist … who
performed the work for the merchant
Concerto for Violin and Orchestra, Opus 14Samuel Barber (1910–1981)
Once in print, erroneous information dies a very slow death. Such is the case with the commission and debut of the Barber violin concerto. First, the old story which, if true, would have made this work one of very inauspicious beginning. For many years the following narrative was thought to be true:
2 4 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
and his protégé, to prove that the finale
was not unplayable.”
Enter musicological primary source re-
search in the twenty-first century: In 2010,
correspondence from the Samuel Fels
Papersat Papers in the Historical Society
of Pennsylvania refutes the Broder biogra-
phy claim that violinist Iso Briselli rejected
the concerto because he found the third
movement too difficult. Barber gave
Briselli the first two movements in the
fall of 1939 and Briselli was pleased with
them. In late November, Briselli received
the final movement from the composer
but, unlike the previous two movements,
it was not well received. Far from being
“too difficult,” as the Broder biography
asserts, the movement, in particular, did
not please Briselli’s violin coach, Albert
Meiff who found it “unviolinistic.” At this
juncture, Meiff proposes to have all three
of them meet and have both first and
second movements “in the violin part
altered” (Meiff found fault with these, as
well) and Barber to receive “advice” from
Meiff on the third movement to make it
more “violinistic” (which did not mean
that it was not playable — even Briselli
admitted to such). In the end, under
considerable pressure from Meiff not to
give the premiere at the insistence that it
N E W B E G I N N I N G S 2 5
would hurt his career, Briselli relinquished
the première. Subsequently, the work
was enthusiastically embraced by violinist
Albert Spaulding, who gave the first per-
formance with the Philadelphia Orchestra
in February 1940.
Describing the concerto, British writer
Richard Thompson says the following:
“The concerto is quite clearly divided
between the first two lyrical movements
and the explosively energetic finale. The
opening allegro, in G major, is dominated
by the long expansive melody which the
soloist unfolds right at the outset, without
any sort of orchestral introduction. The
most important subsidiary idea is a clar-
inet melody with a short-long rhythmic
stress, sounding almost Scottish in its in-
flections. These two themes feature in the
central development section, and after a
full recapitulation and short accompanied
cadenza, (Barber is known to have had an
aversion to conventional cadenzas), both
melodies also appear in the quiet coda.
The long, beautiful, and dark toned prin-
cipal melody of the second movement is
given in turn to oboe, cello, clarinet, vio-
lins and horn before the solo violin makes
its first entry. The soloist dominates the
more agitated middle section, which ends
with another accompanied cadenza, and
then remains in the foreground during the
impassioned return of the first section.
“Barber’s own program note for the first
performance in 1941 contains something
of an understatement: “The last move-
ment, a perpetual motion, exploits the
more brilliant and virtuoso characteristics
of the violin.” In fact, what the listener
hears are racing triplet figures which
are maintained for page after page by
the soloist, only interrupted by driving
off-beat accents or cross-rhythms in the
orchestra. The movement is all rhythmic
drive, with the soloist’s final gear change
from triplets into semiquavers near the
end significantly increasing the excite-
ment and impetus.”
We’re into connections.LigCreative.com
2 6 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
Symphony No. 5 in E Minor, Op. 64 Peter Ilyich Tchaikovsky (1840 – 1893)
After the first performances of his fifth symphony, Tchaikovsky wrote to his patroness, Madame Nadejda von Meck in November of 1888,
“I find the symphony a failure. There is
in it something repellent, something
superfluous, patchy and insincere. Am I
really played out, as they say? Can I merely
repeat and ring the changes on my earlier
idiom? Last night I looked through our
Symphony [the fourth]. What a difference!
How immeasurably superior it is! It is very,
very sad.”
From this statement, it is clear that here is
an individual plagued by self-doubt who is
convinced that he is out of musical ideas.
It is interesting that one of the composer’s
most revered symphonic works should be
so defamed by its creator. It is little wonder
that this symphony mirrors all the powerful
and contradictory emotions the composer
was suffering at the time of its composition,
and greater wonder that Tchaikovsky did
not recognize those emotions as they are
played out so poignantly in his symphony.
Although he fashioned no special program
for the Fifth Symphony, Tchaikovsky’s
sketchbooks indicate an overall plan with a
N E W B E G I N N I N G S 2 7
recurring theme to resemble a continuing
struggle with Fate that wrestles from
despair (in the minor key) to a major-key
release. This Fate theme plays an essential
role in each of the four movements and
changes in spirit throughout the symphony.
Writer Richard Rodda explains the four
movements linked by the Fate theme:
“The “Fate” motto theme [is] given
immediately at the beginning by unison
clarinets as the brooding introduction to
the first movement. The sonata form proper
starts with a melancholy melody intoned
by bassoon and clarinet over a stark string
accompaniment. The woodwinds enter
with wave-form scale patterns followed by a
stentorian passage for the brass that leads
to a climax. Several themes are presented
to round out the exposition: a romantic
tune, filled with emotional swells, for the
strings; an aggressive strain given as a
dialogue between winds and strings; and a
languorous, sighing string melody. Again,
the brasses are brought forth to climax this
2 8 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
section. All of the themes are treated in the
development section. The solo bassoon
ushers in the recapitulation, and the themes
from the exposition are heard again,
though with changes of key and instrumen-
tation. After a final climax in the coda, the
movement fades, softer and slower, and
sinks, finally, into the lowest reaches of the
orchestra.
“At the head of the manuscript of the
second movement Tchaikovsky is said to
have written, “Oh, how I love … if you love
me…,” a sentiment that calls to mind an
operatic love scene. (Tchaikovsky, it should
be remembered, was a master of the musi-
cal stage who composed more operas than
he did symphonies.) The expressiveness
of the opening theme, hauntingly played
by the solo horn, is heightened as the
movement proceeds through enriched con-
trapuntal lines and instrumental sonorities.
Twice, the imperious Fate motto intrudes
upon the starlit mood of this romanza.
“If the second movement derives from
opera, the third grows from ballet. A
flowing waltz melody (inspired by a street
song Tchaikovsky had heard in Italy
a decade earlier) dominates much of
the movement. The central trio section
exhibits a scurrying figure in the strings
which shows the influence of Léo Delibes,
the French master of ballet music whom
Tchaikovsky deeply admired. Quietly
and briefly, the Fate motto returns in the
movement’s closing pages.
“The finale begins with a long intro-
duction based on the Fate theme cast
in a heroic rather than a sinister or mel-
ancholy mood. A vigorous exposition,
a concentrated development and an
intense recapitulation follow. The long
coda uses the motto theme in a ma-
jor-key, victory-won setting. This stirring
work ends with a final statement from the
trumpets and horns, and closing chords
from the full orchestra.”
Learn more about upcoming events from local,
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The Scen3 features the events and performances
of SCFD-funded Tier III organizations.
3 0 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
• PHONES ON — SOUND OFF! We know
you want to participate, but let’s leave
the music to the pros
• ALL THUMBS Tweet tweet tweet all the
night through, but remember, no talking
during the concert
• Add the hashtag #DPOtweets to your
posts so your neighbors can follow along
• You don’t need a Twitter account to
read our tweets (just visit twitter.com/DenverPhilOrch), but if you’d like to
tweet along with us, you need an account
• “PG” tweets only —
C’mon, we’ve got kids here
TWEET YOUR HEART OUT
#DPOTweets@DenverPhilOrch
CLASSICAL MUSIC, MEET THE 21ST CENTURY
During the concert, we live-tweet photos, facts and tidbits about the music you’re listening to. Follow along, share and interact with us and other concert-goers on Twitter.
A FEW RULES
3 2 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
CONCERT ETIQUET TE
BE COMFORTABLEThere’s no dress code. From jeans to
suits, you’ll see it all! Wear what you’d
like — you’ll fit in. We love you just the
way you are.
COUGHINGAhem… Try to ‘bury’ your cough in a loud
passage of music. If you can’t or you begin
to cough a lot, don’t worry — it’s perfectly
acceptable and appropriate to quietly exit
the concert hall. Remember to unwrap
cough drops before the concert so you
don’t create crackling noises.
CRY ROOMChild feelin’ fidgety? We have a designat-
ed cry room at the back of the hall on the
right side of the lower level (as you enter
the hall). The room is marked with a sign.
APPLAUSE 101Many concertgoers are confused about
when to clap during an orchestra’s perfor-
mance. Before the mid 19th century, audi-
ences would routinely applaud between
movements to show their joy for the mu-
sic they just heard. Around the mid 19th
century, it became tradition in Germany
for audiences to wait until the end of the
piece to clap, sitting silently between
movements. That tradition spread and is
now commonly accepted and taught. At
the DPO, we welcome both traditions. If
you prefer to wait for the end of a piece,
that is fine. If you want to respectfully
show your appreciation between move-
ments, we welcome that too. Regardless,
we want you to feel comfortable and
focus on the performance, not confusing
applause rules!
If you are attending your first classical music concert, below are some frequently asked questions to help make your experience more enjoyable.
N E W B E G I N N I N G S 3 3
CONCERT ETIQUET TE
ELECTRONICSPlease turn the sound off on your cell
phones, pagers, and any other noise-
making device, including vibrate mode.
SOCIAL MEDIAFeel free to tweet, post to Facebook or
take photos without flash. Upload your
pics and comments online — and be sure
to tag us! @denverphilorch #dpotweets
3 4 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
ORCHESTRA SPOTLI GHT
STEVE BULOTATIMPANITWENTY-FOURTH DPO SEASON. Steve
received his first musical instruction in
piano and theory from his grandmother at
an early age. In 6th grade, he began taking
drum lessons and started playing timpani in
high school at the suggestion of his band
director. And in 1981, Steve taught himself
how to play the accordion. Since moving
to Colorado in 1980, he’s played with the
Aurora Symphony, Lakewood Symphony,
Littleton Symphony, Brico Symphony,
Denver Concert Band, and he is the current
timpanist of the Colorado Wind Ensemble.
He has a BS in Music Education from the
University of Connecticut and an AOS in
Electronics Technology from the Electronic
Technical Institute of Denver. Steve
works as a Customer Support Technician
for Micro Motion in Boulder. Fluent in
Lithuanian, he serves on the Board of
the Lithuanian-American Community of
Colorado and is the editor of their bilingual
newsletter. He enjoys photography and has
been a transit buff for many years. And as a
native of South Bend, Indiana, he’s an avid
Notre Dame football fan.
REBECCA COYCELLOFIRST DPO SEASON. As a Miami native,
Rebecca is an advanced scuba diver and
loves adventurous activities. At 9 years
old, she began on the cello and has
now been playing for 13 years. During
high school, she had the opportunity to
perform at Carnegie Hall and in Prague.
She began college as a music major at
the University of South Florida. Under
the direction of Scott Kluksdahl, a former
student of Leonard Rose, she was an active
member of the cello studio, performed
with the orchestra and played in chamber
music groups. After studying abroad and
learning Arabic, she changed her major
and received her degree in International
Relations. Rebecca’s a recent nominee of
the Peace Corps, awaiting her invitation to
a country. In the meantime, she works at
Nordstrom, volunteers, hikes, climbs and
performs with us.
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 Steve, Rebecca and Ryan—
N E W B E G I N N I N G S 3 5
ORCHESTRA SPOTLI GHT
RYAN SPENCERTRUMPETFIRST DPO SEASON. Born in Georgia,
but now a Colorado transplant, Ryan
loves snowboarding, cycling, running,
and hiking, and — in true Boulder fash-
ion — recently started doing some yoga.
He’s been playing trumpet for over 14
years, and along with the DPO, Ryan also
performs with the Boulder Symphony
Orchestra and the Colorado Wind
Ensemble. He teaches high school march-
ing band, gives private lessons and teach-
es the Bluecoats Drum and Bugle Corps
in Canton, Ohio. Ryan composes for small
and large ensembles and arranges music
for high school and college marching
bands. In 2008, he earned his bachelor’s
degrees from CU-Boulder in composi-
tion and trumpet performance with a
certificate in music technology. When not
playing or teaching music, Ryan’s serving
at P.F. Chang’s China Bistro in Broomfield,
bartending performances at the 1stBank
Center, or running tech for Pine Street
Church in Boulder. He enjoys reading and
writing, and will be applying to graduate
school for trumpet performance next fall.
3 6 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
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.
N E W B E G I N N I N G S 3 7
Linda M. Lebsack Books(out-of-print, rare, unusual, locally published)
Specializing in Colorado & the West, Architecture,American Art & Artists, Photography, Railroading,General subjects, Postcards and Paper Ephemera
Local History a specialty
7030 E. 46th Ave. Dr. Unit H - Denver(near I-70 and Quebec)
Open Monday, Tuesday, Friday & Saturdaynoon - 6 p.m.
Other times by appointment or chance.
Free printed cataloguesand E-Mail lists of interesting new arrivals.
Send a postcard, call or email to get on the mailing list.
LinLebBks@aol.com 303-832-7190
n n nNeed Sheet Music?
Used & Out of Print in very good condition!All instruments & thousands of songs
Shop TJ’s Music in the Broadway Book Mall200 S. Broadway, Denver
Tuesday - Saturday 10 a.m. - 6 p.m. Sunday 11 a.m. - 5 p.m. & Monday 2-6 p.m.
303-744-2665
3 8 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
ORCHESTRA’S CIRCLE($20,000+)
Gil and Valerie Clausen
CONDUCTOR’S CIRCLE($5,000+)
SCFD
CONCERTMASTER’S CIRCLE($2,500 – $4,999)
MUSICIANS’ CIRCLE($1,000 – $2,499)
Linda M. Lebsack Books
PATRON($500 – $999)
Jon Olafson
MeeAe Nam
BENEFACTOR($300 – $499)
Russell Klein
Roger Powell
CONTRIBUTOR($100 – $299)
Eleanor Glover
Lok Jacobi
Wolcott F. Rice
Catherine Ricca
Drs. Mark and Maxine Rossman
Thomas James Merry
Robert J. Smith
John and Carol Tate
FRIEND(UP TO $99)
Anonymous
Suzanne Mueller
IN-KIND SUPPORTERSThe Pillar of Fire Church
Ligature Creative Group
Newberry Brothers Greenhouse and Florist
INDIVIDUAL GIVING
THANK YOU!
QUICK DONATE!Text “dpo” to 50155
since January 2013
N E W B E G I N N I N G S 3 9
GOLD PARTNER($10,000+)
SILVER PARTNER($5,000–$9,999)
COPPER PARTNER($1,000–$4,999)
Fennemore Craig
CORPORATE SUPPORTERS(UP TO $500)
Alliance Data on behalf of Jonathan Fetherolf
CoBank on behalf of Brian Lucius
CORPORATE GIVING
4 0 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
IT TAKES A COMMUNITY
INDIVIDUAL GIVING DONATION AMOUNTOrchestra’s Circle $20,000 or above
Conductor’s Circle $5,000 – $19,999
Concertmaster’s Circle $2,500 – $4,999
Musicians’ Circle $1,000 – $2,499
Patron $500 – $999
Benefactor $300 – $499
Contributor $100 – $299
Friend up to $99
The 66 Society* $66 or above
Great adventures stem from new beginnings. Together we can embark on a musical journey that inspires and impacts our entire community. But we can’t do it alone. Help us make music with a tax-deductible contribution today. We are your orchestra.
QUICK DONATE!Text “dpo” to 50155
CORPORATE GIVING DONATION AMOUNTGold Partner $10,000 and above
Silver Partner $5,000 – $9,999
Copper Partner $1,000 – $4,999
You may also consider a planned gift, or donating to the orchestra in honor of someone’s
birthday, anniversary, or in memory of a loved one.
* Celebrate our sixty-sixth season by joining THE 66 SOCIETYAny supporter who contributes $66 or more will receive a reusable, DPO-branded, Chico grocery bag as a thank-you gift.
N E W B E G I N N I N G S 4 1
IT TAKES A COMMUNITYIf you would like to make a tax-deductible contribution to the Denver Philharmonic Orchestra, please complete this form and mail to:
PO Box 6074Denver, CO 80206
or visit our website at DenverPhilharmonic.org and click on the DONATE link.
Contribution $ Check or Credit Card
Name
Address
City, State, Zip Code
Telephone Email
Credit Card No. Exp.
4 2 2 0 1 3 – 1 4 T H E S I X T Y - S I X T H S E A S O N
CONTACT US!PO Box 6074Denver, CO 80206303.653.2407
fb.com/denverphilorch @denverphilorch
DenverPhilharmonic.org
QUICK DONATE!Text “dpo” to 50155
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