denver philharmonic orchestra november 15, 2013 concert program

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.


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!


2 013–14


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


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


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.


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.


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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.


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.


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.


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


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 [email protected].

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


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


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.


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:


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


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


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


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


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,

community-based organizations at thescen3.org!

The Scen3 features the events and performances

of SCFD-funded Tier III organizations.


• 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


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.


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


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—


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.


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.


Linda M. Lebsack Books(out-of-print, rare, unusual, locally published)

Specializing in Colorado & the West, Architecture,American Art & Artists, Photography, Railroading,General subjects, Postcards and Paper Ephemera

Local History a specialty

7030 E. 46th Ave. Dr. Unit H - Denver(near I-70 and Quebec)

Open Monday, Tuesday, Friday & Saturdaynoon - 6 p.m.

Other times by appointment or chance.

Free printed cataloguesand E-Mail lists of interesting new arrivals.

Send a postcard, call or email to get on the mailing list.

[email protected] 303-832-7190

n n nNeed Sheet Music?

Used & Out of Print in very good condition!All instruments & thousands of songs

Shop TJ’s Music in the Broadway Book Mall200 S. Broadway, Denver

Tuesday - Saturday 10 a.m. - 6 p.m. Sunday 11 a.m. - 5 p.m. & Monday 2-6 p.m.

303-744-2665


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


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


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.


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.


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.


CONTACT US!PO Box 6074Denver, CO 80206303.653.2407

fb.com/denverphilorch @denverphilorch

DenverPhilharmonic.org


denver philharmonic orchestra november 15, 2013 concert program

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