denver philharmonic orchestra october 4, 2013 concert program

O C T O B E R 4

NEW BEGINNINGSLawrence Golan, conductorDaniel Morris, bass tromboneBoyer: New BeginningsBrubeck: Concerto for Bass Trombone and OrchestraDvorak: Symphony No. 9 “New World”

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 and the New York

Philharmonic. The two major issues driving

establishment of the orchestra were a need

for affordable classical music concerts in the

Denver area and the need for an organization

that would nurture, develop 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

performances. 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 lead-

ership over the next three years further in-

creased the artistic quality of the orchestra.

In spring of 2013, award-winning conductor

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, OCTOBER 4, 2013NEW BEGINNINGSKPOF Concert Hall · Denver, Colorado · 7:30 pm

Lawrence Golan, conductorDaniel Morris, bass trombone

Peter Boyer New Beginnings (written in 2000)

(1970 – )

Chris Brubeck Concerto for Bass Trombone(1952 – ) and Orchestra (written in 1991)

Paradise Utopia Sorrow Floats James Brown In The Twilight Zone

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

Antonín Dvořák Symphony No. 9 in E Minor, Op. 95(1841 – 1904) “From the New World” Adagio – Allegro molto Largo Scherzo (Molto vivace) Allegro con fuoco


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 our concerts as the “Denver Businessmen’s Orchestra,” “The Brico Symphony,” “The Centennial Philharmonic,” and now “The Denver Philharmonic Orchestra.” For the 2013 – 14 Concert Season, please tune to KPOF 910 AM broadcast Classical Spotlight from 7 to 10 pm every Sunday.

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

Tune in to radio station KPOF (AM 910)from 7 – 10 pm on Sunday, Oct. 13 for an encore of

tonight’s Denver Philharmonic performance!


2013–14


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 Handel: Messiah “But who may abide

the day of his coming”Rimsky-Korsakov: Suite from The Snow

Maiden Hayen: Maltese Winter Prokofiev: Troika from Lt. Kije SuiteHoliday favorites and singalongs

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

2013–14

Concerts begin at 7:30 pm at

KPOF Hall, 1340 Sherman Street, Denver, CO 80203.


MUSIC DIRECTORLawrence Golan

FIRST VIOLINKatherine Thayer, concertmasterThomas Jatko

Nasiha Khalil

Tenley Mueller

Emmy Reid

Beth Schoening

Vanessa Vari

Elizabeth Wall

SECOND VIOLINYiran Li, principalNiccolo Werner Casewit

Pauline Dallenbach

Loribeth Gregory

Terri Gonzales

Miki Heine

Annie Laury

Callista Medland

Alyssa Oland

Roger Powell

Albert Ting

VIOLAWilliam Hinkie, III; principalCalvin Green *

Andrew Grishaw *

Lori Hanson

Lindsey Hayes *

Ben Luey

Elizabeth O’Brian

Maura Sullivan *

Kathleen Torkko

CELLOBryan Scafuri, principalNaftari Burns

Rebecca Coy

Annastasia Psitos

Monica Sáles

Mark Stanton

Amanda Thall

Andreas Werle

Tara Yoder

BASSMark Stefaniw, principalLucy Bauer

Josh Filley

Joey Pearlman

Taryn Galow

FLUTEAaron Wille, principalCatherine Ricca

Whitney Kelley

PICCOLOWhitney Kelley

OBOEKimberly Brody, principalLoren Meaux, assistant principalAlexis Junker

Michael Vigliotti *

OUR MUSICIANS


ENGLISH HORNMichael Vigliotti *

CLARINETBrooke Hengst, acting principalClaude Wilbur

Elsbeth Williams *

BASS CLARINETClaude Wilbur

BASSOONKen Greenwald, principalNicholas Lengyel

CONTRABASSOONKaori Uno *

FRENCH HORN David Wallace, principalJeanine Wallace

Kelli Hirsch

Melissa Ciener

Mary Brauer

TRUMPETRyan Spencer, principalRandy Runyan

Tyler Van Dam

TROMBONEBryan Gannon, principalWallace Orr

BASS TROMBONEMike Danforth *

TUBADarren DeLaup

TIMPANISteve Bulota, principal

PERCUSSIONSusie Carroll

Ross Coons *

Joey Glassman *

Chris Lundberg *

HARPSuzanne Moulton-Gertig

PIANO/CELESTEMargo 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 narrated with The Phoenix Symphony

turned out to be the most financially 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 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. 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 a wonderful little girl named Giovanna. For more information,

please visit LawrenceGolan.com or WilliamReinert.com.


DANIEL MORRISBASS TROMBONE

He gained valuable experience while playing in varied ensembles,

including jazz, concert, marching, youth orchestras, and musicals.

After a four-year scholastic break, Daniel began studies at Colorado

Mesa University working on trombone performance degree. There

he studied trombone and tuba with Dr. Sean Flanigan, jazz studies

with Dr. Darin Kamstra, and conducting with Dr. Calvin Hofer. His

studies at CMU afforded him the chance to play in master classes

and performances with many guest artists, including Dr. Eric Ewazen,

The Memphis Brass Quintet, Dr. Robert Spring, Lisa Pegher, Patrick

Sheridan, The Brubeck Brothers Quartet, Dr. Brian Bowman, Larry

Zalkind, Dr. John Tuinstra, and The Boston Brass Quintet. Annual

studies with John Rojak of the American Brass Quintet refined his

bass trombone techniques.

Daniel is currently principal bass trombone for the Denver

Philharmonic, principal trombone of The Loveland Orchestra, and

the principal bass trombone of the Colorado Mahlerfest orchestra.

This past summer he attended the prestigious Gene Pokorny Low

Brass seminar in Redlands, California, where he studied with mem-

bers of the Chicago, Detroit, and San Francisco symphonies, and the

Los Angeles Philharmonic, and was chosen as one of four to play on

the participants’ recital.

When he is not practicing, performing, or driving to rehearsals,

Daniel enjoys hiking and biking with his wife Emily.

Daniel began playing trombone at age 11 in sixth grade in Fruita, Colo., switching to bass trombone his freshman year of high school.

I would like to thank the

DPO and Dr. Golan for

this amazing opportunity

to share this exciting

work for bass trombone

with you. A huge thank

you to my friends and

family for your support.

Enjoy!


KORNEL THOMASASSOCIATE CONDUCTOR

Kornel was a semi-finalist at the Sao Luiz Teatro Municipal and the

Orquestra Metropolitana de Lisboa Young Conductors Competition

in 2013. In 2012, he had his debut in the Vienna Musikverein with the

ORF Radio Symphony Orchestra Vienna.

For the past three summers, he attended the prestigious Pierre

Monteux School for Conductors and Orchestral Musicians with the

Quimby Family Foundation Scholarship. Has participated in the

London Conducting Workshop and the Conductors Institute in South

Carolina. In 2010, he conducted the Vienna Chamber Orchestra

in a master class with Daniel Harding and has had several other

master classes with such well-known conductors as Betrand de Billy,

Alexander Polishuk and Niclolas Pasquet.

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. In 2006, Kornel won

second prize at the Bela Bartok Hungarian National Competition in

Composition.

Kornel was born in Pittsburgh, and grew up in Budapest where he

began his musical education studying the violin, piano and com-

position. He majored in composition at the St. Stephen King Music

Conservatory and High School. He holds a master’s degree in or-

chestral conducting from the University of Music and Performing Arts

Vienna. His mentors include Mark Stringer, Yuji Yuasa, Konrad Leitner,

Ervin Ortner and Gabor Horvath. He lives in Denver where he is also

pursuing an Artistic Diploma in Orchestral Conducting.

In addition to the DPO, Kornel is also the assistant conductor and orchestral manager of the Lamont Symphony Orchestra and Opera Theater in Denver.


EXECUTIVE DIRECTORValerie Clausen

BOARD OF DIRECTORSPRESIDENT Jon OlafsonVICE-PRESIDENT Eleanor GloverSECRETARY Maureen KeilTREASURER Allison LaustenPauline Dallenbach

Honorary Member

Robert Dallenbach

Amanda Hand

Linda Lebsack

Russell Klein

Tenley Oldak

Roger Powell

DENVER PHILHARMONIC FOUNDATION BOARD Michael P. Barry

Keith Fisher

Allison Lausten

Roger Powell

PUBLICITYNiccolo Casewit

Valerie Clausen

Dr. Robert Dallenbach

Eleanor Glover

Amanda Hand

FUNDRAISINGGil Clausen

Valerie Clausen

Eleanor Glover

Allison Lausten

Jon Olafson

WEBMASTERNick Croope

PERSONNEL MANAGERRoger Powell

LIBRARIANCallista Medland

Alyssa Oland, assistant

ADMINISTRATIVE VOLUNTEERS

We’re into connections.LigCreative.com


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 Valerie Clausen (Executive Director) at 303–653–2407 or email at vclausen@

denverphilharmonic.org.

ADMINISTRATIVE VOLUNTEERSORCHESTRA ROSTERAnnie Laury

CONCERT PROGRAMLigature Creative Group, design

Valerie Clausen, editing

Walker Burns, editing

USHERS & RECEPTION COORDINATORSGil Clausen

Doug Gragg

Lok Jacobi

Allison Lausten

Hugh Pitcher

Roger Powell

Robert Schoenrock

OUTREACH Lok Jacobi

Maureen Keil

Linda Lebsack

CONCERT RECORDINGJoel Dallenbach

BOX OFFICE/ TICKET SALESGil Clausen

Carla Cody

Amanda Hand

Venus Klein

Annie Laury

Jon Olafson

Anna Schultz

BACKSTAGE COORDINATORSDoug Gragg

Anna Schultz

Jän Schultz

PARKING ADVISORAllison Lausten


With regard to New Beginnings, the work:

while its composition in 2000 coincided

fittingly with the Millennium, it was actually

composed on commission by the Bronson

Hospital in Kalamazoo, Michigan. To observe

the opening of the hospital’s new 200 million

dollar facility, the Kalamazoo Symphony

played the première of this work by com-

poser Peter Boyer. Boyer has won numerous

national competitions and has received many

commissions and performances of his works.

Committed to higher education as well as

to composition, Boyer was appointed in

1996 to the faculty at Claremont Graduate

University when he was 26. At age 29, he was

named the inaugural appointee of the Helen

M. Smith Chair in Music, and became a Full

Professor there at 39. In addition, Boyer was

appointed as the 2012–13 Composer-in-

Residence for the Pasadena Symphony, which

commissioned his Symphony No. 1.

The composer writes of his New Beginnings:

New Beginnings is in one movement, which

falls into four clearly delineated sections. The

first section, in a fast tempo, is dominated

by a fanfare which begins immediately in the

trumpets and horns. This fanfare leads to a

percussion flourish, and a swell of sound in

OCTOBER 4 ∙ NEW BEGINNINGSby DR. SUZANNE L. MOULTON-GERTIG

New BeginningsPeter Boyer (1970 – )

New Beginnings is an appropriate title for both the first work on this evening’s program and the DPO’s new season with our conductor, Dr. Lawrence Golan.


which the entire orchestra gradually enters. A

relentlessly repeated rhythmic figure begins

in the strings (here divided into twelve parts

instead of the customary five), and continues

for some time, while the brass punch out

figures derived from the fanfare, and the

flutes and clarinets add a busy filigree.

“Pyramids” of sound, built up from bottom

to top, appear in the brass, and the energy of

the first section begins to subside, ushering

in the second section. This is in a slow tempo

(exactly half that of the first), and is domi-

nated by a melody which is first played by a

solo oboe. This simple, “folk-like” tune is the

most important melody in the work. After the

oboe, it is played by a solo trumpet, followed

by the strings and horns in canon, while

the fanfare motive is tossed around above

it by the piccolos. A short duet for English

horn and flute follows. The flute plays the

beginning of the melody, then introduces a

rhythmic idea which accelerates into the third

section, which is in a moderate tempo. The

horns introduce a new melody here, while the

rest of the orchestra provides a busy accom-

paniment. The energy of this third section

gradually dissipates, until all that remains

is the flute and a few violins. This leads to

the fourth and largest section of the piece,

which is characterized by mixed meters. Two

prominent mixed meters used here are 7/8

(always 3+2+2), introduced by shaker, triangle

and congas; and later, 10/8 (always 3+3+2+2),

introduced by flutes. In this section, both

the opening fanfare motive and the previous

horn melody recur, in new rhythmic guises.

Percussion features prominently in this

section. There is a gradual buildup of energy,

which leads to a return of the formerly “folk-

like” tune, now played in grand fashion by

the trumpets and strings, with a number of

busy accompanying figures in the rest of

the orchestra. This leads to the return of the

complete opening fanfare, now in a new,

brighter key, following which the percussion

punctuate the orchestra’s final flourish.


Concerto for Bass Trombone and OrchestraChristopher Brubeck (1952 – )

The third son of noted jazz pianist and composer Dave Brubeck, Christopher Brubeck was born on March 19, 1952 in Los Angeles. He is a performing musician and composer of both jazz and classical music.

In 2003, Brubeck played the concerto per-

formed this evening with the Czech National

Symphony Orchestra. A year later, he com-

posed a second concerto entitled The Prague Concerto for Bass Trombone and Orchestra.

The first concerto for bass trombone and or-

chestra has received multiple performances at

the International Trombone Festival and with

the Boston Pops, the Pittsburgh Symphony,

the Baltimore Symphony and the Royal

Philharmonic Orchestra. To date, he has com-

posed three concerti for this instrument.

The origin of the concerto is a little unusual.

The composer explains:

Having spent many years of my adolescence

playing in youth orchestras, counting endless

measures, playing trombone for only a few

passages, and then frustratingly having to

count more measures of rest yet again, I

resorted to frequent musical daydreams.

In fact, I used to have musical nightmares

about not being able to contain myself any

longer, and would visualize myself jumping

up from the back of the orchestra to unleash


improvisations much to the conductor’s horror.

So imagine how my wheels began turning

when in 1991 I was approached by the Greater

Bridgeport Symphony Youth Orchestra (in my

home State of Connecticut) to compose a

work utilizing their high school aged students.

Being a veteran of that scene, and a strong

advocate for the arts in our schools, I couldn’t

resist the chance to compose for these forces.

My goal was to write a challenging work

that would keep all sections of the orchestra

on their toes, expose them to odd time

signatures, polytonality, and above all, remind

them that music was supposed to be joyous,

energetic, beautiful, adventurous, powerful,

and even humorous!

The composer describes the work’s three

movements:

“Paradise Utopia” (mov. 1) is sizzling with

American expansionist energy. I imagine a

Donald Trump-like figure maniacally rebuild-

ing the New York skyline. A jazz element was

inescapable and, realizing my old nightmare/

dream, quite a bit of the trombone solo is

meant to be improvised.

The second movement, “Sorrow Floats,” is a

reflective Adagio; I must admit I was inspired

to name the movement after a chapter title

from one of my favorite novels by John Irving

[The Hotel New Hampshire].

The name of the third movement, “James

Brown in The Twilight Zone,” might benefit

from a note of explanation. The title refers

to dual compositional elements used

throughout; two bars from the “turn around”

of the Godfather of Soul’s “I Feel Good,”

and an ascending chromatic passage (orig-

inating in the piano and pizzicato strings)

which is reminiscent of the music used in

Rod Serling’s innovative TV anthology. In

addition to these very American cultural

influences, the First Gulf War was being

waged and Middle Eastern threads started

to weave through the music.


Her vision was a non-profit conservatory

that would be open to all without regard

to race or ability to pay. Set up on the

general plan of the Paris Conservatoire, it

received its charter by Congress. It was not

smooth sailing for the school, however. Its

first director, a Belgian baritone quitted the

school in 1891 to return to Europe. Upon

advice, Thurber approached Dvořák about

becoming its head. At the time she offered

the composer an attractive two-year con-

tract with a salary of $15,000 per year, along

with four months off during that period.

Initially, Dvořák refused, having a contract

already with the Prague Conservatory. Not

to be gainsaid, Thurber continued her

offers and even sent him a contract. Finally

the authorities at the Prague Conservatory

granted Dvořák a leave of absence to make

the move possible and the composer, with

Symphony No. 5 in E Minor, Op.95“From the New World”Antonin Dvořák (1841 – 1904)

In 1885, Jeanette M. Thurber, the spouse of an affluent wholesale grocer in New York City, abandoned her attempts to compete with the Metropolitan Opera by producing operatic performances in English to start a new project: to establish a National Conservatory of Music.


his wife, two of his six progeny and his friend

and secretary, Joseph Kovarik, travelled

aboard the steamship Scale to New York in

September of 1892.

While serving as director, Dvořák was, of

course, actively composing. Meanwhile,

Jeanette Thurber (along with Dvořák’s

students) became virtual evangelists for

American music. As a result, the composer

was introduced to Negro Spirituals, to the

writings of Longfellow, and particularly to

the writer’s Song of Hiawatha in the hope

that Dvořák would use the poem as text for

an opera. In addition, Thurber went to the

extent of offering a prize for the best opera

by an American-born composer with Dvořák

selected to be the judge.

All during his first winter in New York,

Dvořák enjoyed the distractions of the city.

An avid fan of both trains and ships, the

composer spent many hours watching trains

at the station and going down to the docks

to “inspect” steamships prior to sailing.

Of course, he made a number of musical

sketches in his notebooks when not subject

to those diversions. Come spring, the

composer took his four-month leave to visit

a Czech settlement in Spillville, Iowa, and

cabled for his remaining four children to join

the family there. With all the family present,

including a sister, a maid, and the secretary,

the Dvořáks embraced the community.

During this time, Dvořák rendered significant

attention to a band of Iroquois (Kickapoo)

Indians in the area by studying their dance

and song and, interestingly, became inter-

ested in American birdsong, as well. At this

juncture, Dvořák had largely composed the

music that would become the New World

Symphony, orchestrating it while in Spillville.

Returning to New York, it had its première at

Carnegie Hall on December 15, 1893.

The symphony was wildly successful and

the performance was repeated in Vienna.

All was well; then the controversy erupted


about the origins of the melodies used in

the work. Some claimed the work was based

on American Indian melodies; others insist-

ed the melodies were Czech. Dvořák did not

help the confusion by statements he made

prior to the first performance:

I am satisfied that the future music of this

country must be founded upon what are

called the Negro melodies. These can be

the foundation of a serious and original

school of composition, to be developed in

the United States. When first I came here

I was impressed with this idea, and it has

developed into a settled conviction. These

beautiful and varied themes are the product

of the soil. They are American. They are the

folksongs of America, and your composers

must turn to them. All the great musicians

have borrowed from the songs of the com-

mon people.

Do note that the composer did not say that

he used these melodies. In fact, he later

wrote a colleague and said, “…omit that

nonsense about my having made use of

‘Indian’ and ‘American’ themes — that is a

lie, I tried to write only in the spirit of those

national American melodies.”

As to the music itself, the work opens with

an Adagio introduction, giving way to a

rhythmically lively Allegro molto. The Largo

second movement features a memorable

melody that took on a life of its own as a

popular song, “Goin’ Home.” The Scherzo

third movement, marked Molto vivace,

contains “disputed” melodies, heard either

as Czech, or as an American Indian dance

replete with chant and singing. The Allegro

con fuoco Finale presents not only its own

theme, but brings back some others from

the previous movements.


• 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


CONCERTETIQUETTE

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.

APPLAUSE 101Many concertgoers are confused about when

to clap during an orchestra’s performance.

Before the mid 19th century, audiences would

routinely applaud between movements to

show their joy for the music the just heard.

Around the mid 19th century, it became tra-

dition 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 movements, we

welcome that too. Regardless, we want you

to feel comfortable and focus on the perfor-

mance, not confusing applause rules!

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 designated

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.

ELECTRONICSPlease turn the sound off on your cell phones,

pagers, and any other noise-making device.

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!

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


ORCHESTRA SPOTLIGHT

NAFTARI BURNSCELLOFOURTH DPO SEASON. Naftari started play-

ing piano at age 6, and picked up the cello

at age 9. When she first started playing the

cello, she had no idea what it was and had

to ask the kid next to her. Though her first

choice was the violin, Naftari brought home

a cello and her mother asked, “why couldn’t

you get a smaller instrument?” She has

played with the Metro State Symphony and

with the Jefferson Symphony under William

Morse. She works at Kolacny Music where

she sells and services band and orchestra

instruments and harps. Naftari graduated

Metropolitan State College of Denver with a

degree in music performance.

TARYN GALOWDOUBLE BASSSECOND DPO SEASON. Taryn has been

playing Bass and Piano since she was 9. She

has played in Aurora’s Varsity Orchestra,

Colorado Youth Symphony, Denver Young

Artists Orchestra, University of Northern

Colorado Symphony & Chamber Orchestra,

Greeley Chamber Orchestra, Greeley

Philharmonic, Loveland Friends of Chamber

Music, Lone Tree Symphony Orchestra,

Central Michigan University Symphony, and

Midland Symphony. She is a Literary Braillist

for the public schools transcribing print into

Braille for visually impaired students so they

have the same access to materials as sighted

children. She composes contemporary Neo-

Avante-Garde and other pieces of music, and

teaches beginning piano and bass. Taryn is

the former Entertainment Coordinator for

the American Heart Association HeartWalk.

She is the proud auntie of two nieces and

two nephews and is sometimes lovingly

known as “Aunt Fuzzy.” She enjoys the

Denver Dining experiences, theatre, art,

photography, the many concerts at various

venues around Colorado, and an occa-

sional Rockies game. She has bachelor’s

degrees in Music Performance, and Theory

& Composition from the University of

Northern Colorado, and a master’s degree

in Music Composition from Central Michigan

University. Additionally, Taryn has a Colorado

State Certification in Literary Braille.

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 Naftari, Taryn, and Tyler—


ORCHESTRA SPOTLIGHT

TYLER VAN DAMTRUMPETFIRST DPO SEASON. Starting his musical

career in elementary school, Tyler has been

playing trumpet for 16 years. He has had

the great fortune of playing with the Blue

Knights Drum and Bugle Corps from Denver,

the Santa Clara Vanguard Drum and Bugle

Corps from Santa Clara, California, with the

Musica Sacra Chamber Orchestra, Littleton

Symphony Orchestra, Jefferson County

Symphony Orchestra, and the Colorado Wind

Ensemble. Aside from being a full-time stu-

dent, Tyler works at Starbucks and assists area

high school marching bands in the summer

and fall. Tyler enjoys spending as much

time as he can have in the mountains—be it

driving, hiking, or taking pictures. He is also

active in the community supporting transgen-

der rights and equality. After studying trum-

pet for three years at University of Colorado,

he is now in his second year of studies at

Metropolitan State University where he is

majoring in music performance and will

graduate in 2014. His mother is timpanist for

Musica Sacra Chamber Orchestra, and his

father is second clarinetist for both Musica

Sacra Chamber Orchestra and Boulder

Symphony Orchestra; without their influence,

he would have chosen another path in life.


DR. HORST BUCHHOLZCONDUCTOR LAUREATE

In the history of the orchestra, he is the first conductor awarded this

prestigious title.

Highlights of his tenure with the DPO include a dramatic improve-

ment in the artistic quality of the orchestra, original and rarely heard

programming, and increased visibility of the orchestra throughout

the community.

Horst’s strong communication skills endeared him to audiences and

helped to spread his passion for and commitment to the value of

outstanding community orchestras.

Horst is currently Executive & Music Artistic Director of St. Louis

Cathedral Concerts and Director of Music at the Cathedral Basilica of

Saint Louis and the Archdiocese of St. Louis.

Horst was appointed Conductor Laureate of the Denver Philharmonic Orchestra in August 2009 following his distinguished, decade-long tenure as the orchestra’s Conductor and Music Director.


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


PUBLIC SUPPORTTHE SCIENTIFIC & CULTURAL FACILITIES DISTRICT

Since 1989, The Scientific and Cultural Facilities District (SCFD) has distributed funds from a 1/10 of 1% sales and use tax to cultural facilities throughout the seven-county Denver metropolitan area.

The funds support cultural facilities, like the DPO,

whose primary purpose is to enlighten and entertain the

public through the production, presentation, exhibition,

advancement and preservation of art, music, theatre,

dance, zoology, botany, natural history and cultural history.


ORCHESTRA’S CIRCLE($20,000+)Gil and Valerie Clausen

CONDUCTOR’S CIRCLE($5,000+)SCFD

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

MUSICIAN’S 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

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

CORPORATESUPPORTERSAlliance Data on behalf of Jonathan Fetherolf

CoBank on behalf of Brian Lucius

THANK YOU!

SUPPORTERS since January 2013


IT TAKES A COMMUNITY

INDIVIDUAL CONTRIBUTION 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

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 CONTRIBUTION DONATION AMOUNTGold Partner $10,000 and above

Silver Partner $5,000 – $9,999

Copper Partner $1,000 – $4,999

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

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


IT TAKES A COMMUNITYIf you would like to make a tax-deductible contribution to the Denver Philharmonic, 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 6074, Denver, CO 80206 303.653.2407

facebook.com/denverphilorch @denverphilorch DenverPhilharmonic.org

denver philharmonic orchestra october 4, 2013 concert program

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