Denver Philharmonic Orchestra November 20, 2015 Concert Program

november 20inextinguishable

2 0 1 5 – 1 6 O C T O B E R 2

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

A P R I L 8J U N E 3

LAWRENCE GOLANconductor

JAY CAMPBELLcello

LOCKLAIR

Phoenix for Orchestra (2007)Colorado premiere

ELGAR

Cello Concerto

NIELSEN

Symphony No. 4 “Inextinguishable”

musicconnects ourcommunity.

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

We hope to create a wonderful memory and feeling that stays

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

before the music has begun.

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

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

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

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

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

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

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

the community offerings hosted by the DPO all season long!

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

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

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

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

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

continue to make the Denver Philharmonic Orchestra a part of

your story now and in the future!

DEAR FRIENDS,

Sincerely,

Jon Olafson

President of the Board, DPO

Thanks for joining us to-

night — have a safe and

happy Thanksgiving!

3

OCTOBER 2 NATURE’S REALMLAWRENCE GOLAN, conductor and violin

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

NOVEMBER 20 INEXTINGUISHABLELAWRENCE GOLAN, conductorJAY CAMPBELL, cello

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

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

Holiday favorites including:

CORELLI Excerpts from “Christmas Concerto”HANDEL Selections from MessiahTCHAIKOVSKY Selections from The Nutcracker

Full repertoire available at denverphilharmonic.org

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

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

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

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

JUNE 3 EUROTRIPLAWRENCE GOLAN, conductor

BERLIOZ Hungarian March from The Damnation of FaustSMETANA The MoldauSTRAUSS JR. On the Beautiful Blue DanubeFRANCK Symphony in D Minor

BUY TICKETS ATdenverphilharmonic.org

2015–16season.

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

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

Inform. Enlighten. Entertain.

5

FRIDAY, NOVEMBER 20, 2015INEXTINGUISHABLEKPOF Hall · Denver, Colorado · 7:30 pm

Lawrence Golan, conductorJay Campbell, cello

Dan Locklair Phoenix for Orchestrab. 1949 Colorado Premiere!

Edward Elgar Cello Concerto in E Minor, Op. 85(1857 – 1934) featuring Jay Campbell I. Adagio – Moderato

II. Lento – Allegro molto

III. Adagio

IV. Allegro – Moderato – Allegro,

ma non troppo – Poco più lento –

Adagio

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

Carl Nielsen Symphony No. 4(1865 – 1931) “The Inextinguishable” I. Allegro

II. Poco allegretto

III. Poco adagio quasi andante

IV. Allegro

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


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LAWRENCE GOLANMUSIC DIRECTOR,CONDUCTOR AND VIOLIN

In high demand across the United States and internationally,

Lawrence is also currently Music Director of the Yakima

Symphony Orchestra in Washington state, the York Symphony

Orchestra in Pennsylvania, and the Lamont Symphony

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

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

South Korea. Lawrence continues to guest conduct professional

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

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

Lawrence has garnered considerable international recognition

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

five Global Music Awards, three American Prize awards, three

Downbeat Magazine Awards, and two Prestige Music Awards.

Following a highly successful four-year term as Resident

Conductor of The Phoenix Symphony, Music Director Michael

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

edented creativity and scope.” That sentiment was confirmed in

2012 when Lawrence was named the Grand Prize Winner of The

American Prize for Orchestral Programming.

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


Lawrence is known for his inspired performances, imaginative

programming, passion for developing new audiences, and

excellent public speaking skills—entertaining and educating the

audience from both on and off the podium. He is also recog-

nized for his expertise in the complete spectrum of musical styles

and periods. He has worked with artists ranging from Leonard

Bernstein, Marilyn Horne, Daniel Barenboim and Joshua Bell to

Frank Sinatra, Kenny G and ShaNaNa.

A native of Chicago, Lawrence holds degrees in both conducting

and violin performance from Indiana University’s Jacobs School

of Music (B.M. and M.M.) and the New England Conservatory

of Music (D.M.A.). In addition, he studied at all of the major

conducting festivals including Aspen and Tanglewood, where

in 1999 he was awarded the Leonard Bernstein Conducting

Fellowship.

Lawrence and his wife Cecilia, who is from Buenos Aires,

Argentina, have been married since 2003. They have two won-

derful children: Giovanna and Joseph. Lawrence is represented

by William Reinert Associates in New York. For more information,

please visit LawrenceGolan.com or WilliamReinert.com.

9

http://www.LawrenceGolan.com

http://www.WilliamReinert.com

S. MORDECAI FUHRMANASSOCIATE CONDUCTOR

Get out your phone and

tweet along with me

@denverphilorch! Ask

questions and learn

more about the music

— in real time. Tag your

posts with #dpotweets

to join the conversation.

Samuel has performed with and conducted Wilmington

Community Orchestra in Delaware, Center City Opera Theater

in Pennsylvania, Cleveland Pops Orchestra in Ohio, and Newark

Symphony Orchestra in Delaware, where he directed their inau-

gural Family Series in 2010.

Founder of the Reading Orchestra of North Wilmington,

Samuel received his undergraduate degree in music in percus-

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

University of Delaware Concerto Competition, performing Eric

Bryce’s Concerto for Marimba / Vibraphone and Orchestra with

the University of Delaware Symphony.

Samuel studied conducting at the Cleveland Institute of Music,

where he led multiple performances and received a Master of

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

Kiev Chamber Orchestra and National Philharmonic Orchestra of

Ukraine in a performance of Aaron Copland’s Appalachian Spring

as part of the U Artist Music Festival.

In addition to music, Samuel enjoys studying and contemplating

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

This is his second season as associate conductor of the Denver

Philharmonic Orchestra.

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

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

• PHONES ON — SOUND OFF! We know

you want to participate, but let’s leave

the music to the pros

• ALL THUMBS Tweet tweet tweet all the

night through, but remember, no talking

during the concert

• Add the hashtag #DPOtweets to your

posts so your neighbors can follow along

• You don’t need a Twitter account to

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

tweet along with us, you need an account

• “PG” tweets only —

C’mon, there are kids here

TWEET YOUR HEART OUT

#DPOTweets@DenverPhilOrch

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

A FEW RULES…

1 1

JAY CAMPBELLCELLO

Combining eclectic musical interests and a diverse spectrum

of repertoire, he has collaborated with musicians ranging from

Elliott Carter, Pierre Boulez, David Lang and John Zorn, to mem-

bers of Radiohead and Einstürzende Neubauten.

Recent highlights include debuts with the New York

Philharmonic at Avery Fisher Hall, the New York Youth Symphony

at Carnegie Hall’s Stern Auditorium, and the Alabama Symphony.

Jay has premiered nearly 100 works to date, including concertos

by Chris Rogerson and Pulitzer Prize-winning composer David

Lang. Co-commissioned by the Human Rights Foundation, a

new cello concerto, Genus and Species, is being written for Jay

by American composer David Fulmer. His close association with

John Zorn has resulted in more than a half-dozen new works for

cello. Hen to Pan, a feature disc with all new compositions writ-

ten for him by Zorn, was released in February 2015; one of the

works, “The Aristos: Ten Metaphysical Ambiguities,” has been

named finalist for the Pulitzer.

Recipient of awards from the BMI and ASCAP foundation, Jay

is also the First Prize winner of the 2012 Concert Artist Guild

auditions. Born in Berkeley, California, he is currently an Artist

Diploma candidate at The Juilliard School studying with cele-

brated cellist Fred Sherry.

Praised by The New York Times for his “electrifying performances” which “conveyed every nuance,” American cellist Jay Campbell has already forged a reputation as a spellbinding artist.


1 3

We may be one of Denver’s oldest orchestras, but we certainly don’t act our age.

Dr. Antonia Brico, the first woman to con-

duct the Berlin and New York Philharmonic

Orchestras, founded our organization

in 1948 as the Denver Businessmen’s

Orchestra. Antonia settled in Denver

after conducting professional orchestras

across Europe and the U.S. She debuted

our orchestra to a packed auditorium

explaining the need for a classical music

venue to showcase the talents of local,

classically trained musicians “with no place

to play.” Twenty years later, we’d be known

as the Brico Symphony, and Antonia would

remain at the helm of the orchestra until

her retirement in the mid-1980s.

After nearly 40 years under Antonia’s

baton, the orchestra chose Russian-

American conductor Julius Glaihengauz

as its second music director. A graduate of

the Tchaikovsky Conservatory in Moscow,

Julius led the newly renamed Centennial

Philharmonic for 11 seasons.

In 1999, Professor of Music at the

University of Denver Dr. Horst Buchholz

took the baton. Our most recent name

change came in 2004, and we became

the Denver Philharmonic Orchestra. Horst

served as music director and conductor

through 2009, after which he was appoint-

ed the orchestra’s first Conductor Laureate.

Adam Flatt came onboard as music

director in June 2010. Adam’s dynamic

and inspiring leadership over the next

three years continued Horst’s legacy and

further increased the artistic quality of the

orchestra.

We selected award-winning conductor

Dr. Lawrence Golan as our conductor and

music director when Adam departed in

2013. Lawrence, a professor and music

director at the University of Denver’s

Lamont School of Music, continues to pro-

duce innovative and quality programming,

challenging our musicians and delighting

our audiences.

And while we have a 68-year history in

Denver, our mission is to continually rede-

fine the way our community experiences

and engages with classical music.

denverphilharmonic.org

OUR HISTORY


1 5

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

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

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

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

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

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

Here’s a taste of what’s in store for upcoming concerts —

HOLIDAY CHEER!DECEMBER 19, 2015

DYAO PRELUDE, PRECONCERT

Arrive early to get into the mood with holiday

music from Noteworthy String Quartet, a

group of four musicians from the Denver

Young Artists Orchestra.

BAKE SALE, POSTCONCERT

Enjoy homemade treats at our annual bake

sale after Holiday Cheer!

SMASH HITS!FEBRUARY 19, 2016

PRECONCERT CHAT, 6:30PM

Join Associate Conductor S. Mordecai

Fuhrman for an informal preconcert chat

that will give you insights into the music and

music-makers you’ll be listening to.

INSTRUMENT PETTING ZOO, 6:50–7:15PM

Honk! Buzz! Toot! Find out about the

different orchestra instruments. Pick up a

trombone or a violin and give it a go! Fun for

kids of any age!

RECEPTION, POSTCONCERT

Say hello! Come downstairs after the concert

for refreshments, meet the soloists, buy a

t-shirt — and have fun!

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

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


MORE THAN MUSIC.

1 7

MUSIC DIRECTOR Lawrence Golan

ASSOCIATE CONDUCTORS. Mordecai Fuhrman

FIRST VIOLINKatherine Thayer, concertmasterAllison Kim, associate concertmasterPatsy AronsteinMelissa CampbellMatt GroveThomas JatkoTenley MuellerKristine PordesimoEmmy ReidBeth SchoeningVanessa VariElizabeth Wall

SECOND VIOLINYiran Li, principal Niccolo Werner CasewitValerie ClausenChristina ColalanciaTerri GonzalesMiki HeineAnnie LauryCallista MedlandAlyssa OlandAlbert Ting

VIOLAWilliam Hinkie, principalLori HansonLindsay HayesBen LueyKathleen TorkkoAnita Zerbe

CELLOBryan Scafuri, principalNaftari BurnsKyle LaneyAnna PsitosMonica SálesAmanda ThallRachel WarbelowRachel YanovitchTara Yoder

BASSMark Stefaniw, principalZach AntonioOzzie Backus Lucy BauerJosh FilleyTaryn GalowColton KellyJordan Walters, student intern

OUR MUSICIANS


FLUTEAaron Wille, principal Whitney KelleyCatherine Ricca Lanzano

OBOEKimberly Brody, principalLoren Meaux, assistant principalAlexis Junker

CLARINETShaun Burley, principalJessica ClarkClaude Wilbur

BASSOONKen Greenwald, principalNicholas Lengyel

CONTRABASSOONLeigh Townsend

FRENCH HORNKelli Hirsch, acting principalJeanine BrantingMary BrauerRobyn Chauvin

TRUMPETRyan Spencer, prinicpalAriel Van DamRyan Stutzman

TROMBONEWilliam Combs, principal Trevor MooreWallace Orr

BASS TROMBONEDaniel Morris

TUBAMichael McLean

TIMAPNISteve Bulota, prinicpalRoss Coons

PERCUSSIONRoss CoonsJoey Glassman

HARPRebecca Moritzky

ORGANAni Gyulamiryan

1 9

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

DENVER PHILHARMONIC FOUNDATION BOARDKeith FisherRussell KleinAllison Lausten

EXECUTIVE DIRECTORValerie Clausen

OPERATIONS MANAGERAlixandra Feeley

PERSONNEL MANAGERAnnie Laury

STAGE MANAGERSTaryn GalowLoren Meaux

MUSIC LIBRARIANCallista MedlandAlyssa Oland, assistant

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

CONCERT RECORDINGJoel DallenbachKyle Smith, advisor

WEBMASTERLigature Creative Group

EMBEDDED REPORTERJulia ComptonMeg Satrom, editor

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

OUR TEAM


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

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

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

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

email at [email protected].

OUTREACHTenley OldakKatherine ThayerDavid Wallace

DATA WRANGLERCallista Medland

BOX OFFICECarla CodySarah HoganVenus KleinAnnie LauryAllison LaustenJon Olafson

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

RECEPTIONGil ClausenAllison Lausten

VENUE LOGISTICSBrian McGuireRoger Powell

PARKING ADVISORSMatt HoganLinda LebsackHugh Pitcher

MORE THAN MUSICPARTNERSDenver Fire Department

2 1

PRESS PLAY!

davidshermancreative.com

“Playing Out” is created in part by

local filmmaker David Sherman. David

specializes in arts marketing, media

literacy and education.

The latest episode in our “Playing Out” webseries, Playing Out with Jay Campbell, premiered this week on YouTube.com/DenverPhilharmonic.

“Playing Out” takes soloists and guest

artists out on the town performing in and

around Denver. Watch pianist Fei-Fei

Dong play Gershwin’s Rhapsody in Blue

on a 16th Street Mall piano, or see Music

Director and October soloist Lawrence

Golan in the serene Denver Botanic

Gardens with Vivaldi’s “Autumn.”


Working from Winston-Salem, North Carolina, Dr. Dan Locklair is a composer and educator currently serving as Composer-in-Residence and Professor of Music at Wake Forest University.

In an article from 2007, Locklair describes the origin and evolu-

tion, as well as some listening notes, of Phoenix for Orchestra:

Phoenix for Orchestra began its life as a three-minute

fanfare entitled, Phoenix Fanfare. It was commissioned in

1979 … for the 3 February 1980 reopening and dedication

of Union’s renovated James Memorial Chapel. Since the

Chapel had been virtually gutted and rebuilt, a title evoking

the mythological bird that rose from the ashes seemed most

appropriate. From the beginning, the piece was conceived

as an antiphonal composition, with the original brass sextet

placed in a rear balcony, while the organ and percussion were

located in the front of James Chapel. …

In the autumn of 2006, Winston-Salem Symphony Music

Director, Robert Moody, heard a concert performance of the

NOVEMBER 20 ∙ INEXTINGUISHABLEby LEIGH TOWNSEND

Dr. Locklair, perhaps

most known for his

sacred music, was a

professional organist by

age 14.

Duration: 10 minutes

Phoenix for Orchestra Dan Locklair (b. 1949)

2 3

original version of Phoenix Fanfare

and Processional and, soon afterwards,

phoned to ask if I would consider

creating a version of it for orchestra.

… I then agreed to transcribe the work

for orchestra, with work on the piece

spanning December 2006 to early

March 2007. … Phoenix for Orchestra

is warmly dedicated to the Winston-

Salem Symphony and its conductor,

Robert Moody.

Phoenix for Orchestra is approximately

ten minutes in length. As in the original

Phoenix Fanfare, an antiphonal brass

ensemble (here two trumpets and

two trombones) is a vital part of the

composition, with this ensemble being

placed either in the rear or to both

sides of the performance space. … As

the opening bars progress, the activity

of this dialoguing quickly grows to

include the entire orchestra, which

eventually leads to the composition’s

processional-like main section. The

primary, stately melodic material is

first presented by the strings alone,

then handed over to the antiphonal

brass quartet just before all forces

join together as the section regally

builds. After a large climax is reached,

a contrasting and delicately colored

middle section for the orchestra alone

emerges. After this section reaches its

zenith, a variant of the opening fanfare

section between the antiphonal brass

and orchestral brass emerges. This

section leads to a return of the primary

processional-like section of the piece

and, ultimately, to the piece’s majestic

conclusion.1

1 Locklair, D. (2007, May). Phoenix for Orchestra.

Retrieved November 3, 2015, www.locklair.com


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Sir Edward Elgar felt himself to be an outsider. A Roman Catholic in Protestant England; a self-taught composer in academically dominated music circles: he struggled to find success, but persevered to eventually rise to acclaim.

ABOUT THE COMPOSERBorn near Worcester, England in 1857, Edward Elgar received

much of his early music training from his father who worked

as a piano technician and shopkeeper selling sheet music and

instruments. Despite never receiving formal composition train-

ing, he developed masterly and unconventional techniques in

composition and orchestration. Elgar continually jotted down

short themes and phrases, which he’d then scrap together into

a larger composition. Over time, his orchestral skills improved

greatly, providing finessed technique to support the creative

genius elemental to his early works.

ABOUT THE MUSICElgar’s Cello Concerto, written in 1919, was influenced by his

desire for a return to simplicity as contemporary music trended

towards the modernism of Stravinsky and Hindemith. Elgar was

ever true to his roots — using a beautiful melody above all else.

The four-movement work opens slowly: an almost improvisatory

solo cello part gives way to winds and strings, ebbing and flow-

ing alongside the cello, and building in trajectory to the first full

statement of the main theme by the entire ensemble, while the

cello climbs into the stratosphere.

Elgar was one of the

first composers to take

advantage of the early

gramophone recording

technology. He recorded

the cello concerto in 1920.


Cello Concerto in E Minor Edward Elgar (1857 – 1934)


The first movement ends as quietly as

it began and proceeds directly into the

second, jauntier, movement. The bouncing

accompaniment of the orchestra perfectly

frames the virtuosic cello, alternately soar-

ing and moving blisteringly fast through

the high register of the instrument.

The third movement, again slow, is a

continuous lamenting solo for the cello.

It echoes the longing themes of the first

movement, perhaps with even more

poignancy.

The final movement begins with a

suggestion of the first theme, but is inter-

rupted by the solo cello. In brilliant Elgar

style, the natural exuberance and joy of

both orchestra and soloist are tempered

by introspection and melancholy interjec-

tions. This longest of the four movements

ends abruptly.

2 7

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

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

Tune in to radio station KPOF (AM 910)from 7 – 10 pm on Sunday, November 29 for an encore of

tonight’s Denver Philharmonic performance!


Carl Nielsen metaphorically rose from the ashes many times in his life.

ABOUT THE COMPOSERBorn into a large, impoverished family in Denmark, Carl

gravitated towards music. In his autobiography, he wrote, “I

had heard music before, heard father play the violin and cornet,

heard mother singing, and, when in bed with the measles, I had

tried myself out on the little violin”.2

Yet, his musical career almost didn’t happen. His parents

decided he should apprentice as a cobbler, but the shop went

bankrupt, and he returned home. Having learned to play brass

instruments, he joined the 16th Battalion army band. Despite

these potential hurdles along the way to a career in music, he

continued to practice and perform violin in his free time and

began studying with an instructor in 1881.

After his release from the military in 1884, he enrolled at

Copenhagen Conservatory. By 1889, his skills markedly improved

through his dedication and training, and he was hired by the Royal

Theater Orchestra as a section second violinist. He held the post

Symphony No. 4: “The Inextinguishable” Carl Nielsen (1865 – 1931)


Music is Life, and, like it,

Inextinguishable.

2 9

for 16 years, although his career aspirations

were always higher.

Only one year later, in 1890, he was

awarded a scholarship that allowed him to

travel throughout Europe seeking artistic

inspiration, which he found in Anne Marie

Brodersen. She was a truly modern wom-

an, also from Denmark but studying sculp-

ture and art in Paris. The two fell madly in

love and married almost immediately.

Carl Nielsen is recognized as Denmark’s

greatest composer.

ABOUT THE MUSICThe title of the Fourth Symphony, “The

Inextinguishable,” was chosen to express

what Nielsen saw as the elemental will

of life explaining that music, like life, is

inextinguishable. The symphony should be

understood in these terms, rather than the

presence of specific programmatic elements.

The symphony is scored for large wood-

wind and brass sections, with a double set

of timpani set opposite each other as if

to battle. Nielsen was attempting a more

modern style to embody the fractured

continuity of Denmark in 1916 and his own

soul at that moment.

The first of the four linked movements

opens forcefully, yet ambiguous in tonal

center. All grows quieter with a passage for

solo cello and the three flutes, followed by

the three clarinets, leading in ascending

scales from violas and muted second vio-

lins, to a passage in which the strings and

woodwinds are happily joined.

Nevertheless, the harmonic ambiguity con-

tinues, and the instability is unquestion-

able from the opening in D minor/major to

the end in E major. An exultant passage for

full orchestra, marked pesante e glorioso

is followed by the introduction of a new

rhythmic element: a leaping phrase heard

first from the flute. The music continues in

a traditional 3-part form, with a return of

the initial material to mark the beginning

of a triumphant recapitulation section.

The violins introduce the third movement

with a strong and definitive melodic line,

seemingly striving towards the eventual

key of E major. This intense music is

joined to the final movement by a rapid

change of mood. Before the last fast sec-

tion, the strings come to a sudden rest,

and there is a movement of struggle and

conflict as the timpani battle it out. The

opposing forces are eventually resolved;

proclaiming music and the will to live as

inextinguishable, although contemporary

events in Europe might too easily have

suggested only despair.

2 Nielsen, Carl (1953). My Childhood. Translated

from the Danish by Reginald Spink.

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CONCERT ETIQUETT E

BE COMFORTABLEThere’s no dress code. From jeans to

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

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

way you are.

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

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

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

perfectly acceptable and appropriate to

quietly exit the concert hall. Remember to

unwrap cough drops before the concert so

you don’t create crackling noises.

CRY ROOMChild feelin’ fidgety? We have a designat-

ed cry room at the back of the hall on the

right side of the main level (as you enter

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

APPLAUSE 101In earlier times, audiences would routinely

applaud between movements to show

their joy for the music they just heard.

Then around the mid-19th century, it

became tradition to wait until the end of

the piece to clap, with the audience sitting

silent between movements.

At the DPO, we welcome both traditions.

If you prefer to wait for the end of a piece

to clap, please do. Some movements are

fiery and end in such a flare that you may

feel compelled to clap — go for it! After

a quiet movement, you may want to enjoy

the feeling of transfixion and wait; there’s

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

Regardless, we want you to feel comfort-

able and focus on the performance, not

confusing applause rules!

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


CONCERT ETIQUETT E

SIT TIGHTThe rumors are true — we’re pretty

informal. But we do ask that you sit tight

and quiet during the performance and

only get up between pieces or during in-

termission as to not distract the musicians

or concert-goers around you.

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

into the hall, but remember “Trail Rules”

— pack it in, pack it out. (This goes for

trash too!)

ELECTRONICSPlease turn the sound off on your cell

phones, pagers, and any other noise-

making device, including vibrate mode.

SOCIAL MEDIAFeel free to tweet, post to Facebook or

take photos without flash. Upload your

pics and comments online — and be sure

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

Instagram @denverphilorch #dpotweets

HAVE FUN!Rules, rules, rules — we know, it can be

overwhelming. The most important rule of

all is to have fun and enjoy yourself. And

then tell all your friends and come back

again and again!

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ORCHESTRA SPOTLIG HT

PATSY ARONSTEINFIRST VIOLINFIFTH DPO SEASON. Patsy started violin

lessons in fourth grade and has played

ever since — well, you can try to do the

math. As a young adult, Patsy studied with

Harold Wippler here in Denver, played in

the Colorado Springs Symphony when she

was a student at Colorado College and later

joined the Arapahoe Philharmonic where she

played for 27 years.

Patsy received her B.A. in French from

Colorado College in 1980 and a Master’s

degree in French Literature from the

University of Colorado in 1985. Now

retired, she taught high school French at

Colorado Academy for the majority of her

career, but spent several years teaching

at the University of Denver and the

University of Colorado as an adjunct pro-

fessor and teaching assistant respectively.

The past 11 years, she has been a member

of Friends of Chamber Music’s Board and

served as President of the Board for three

years. She is an avid tennis player, skier

and enjoys traveling. Patsy also enjoys

playing chamber music with friends and

is partial to the repertoire for piano trio.

Patsy and her husband, Jim, have three

sons, Will, Tyler and Reid, and a handsome

golden retriever, Champ. She’s a true

Francophile right down to the violin and

bow that she is playing with tonight!

STEVE BULOTATIMPANITWENTY-SIXTH DPO SEASON. Steve

received his first musical instruction in

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 Patsy, Steve, Melissa, Lori, Kyle and Claude —


ORCHESTRA SPOTLIG HT

oct 11 | nov 14 | nov 15 | nov 21 | jan 24 | mar 06apr 24 | may 15 | jun 10 | dyao.org or 303.433.2420

Visit www.DYAO.org for more details, venues, times and programs!

Join Us and Hear the Future!

2015-2016

piano and theory from his grandmother

at an early age. In sixth grade, he began

taking drum lessons and started playing

timpani in high school at the suggestion

of his band director. Steve taught himself

how to play the accordion in 1981.

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 tim-

panist of the Colorado Wind Ensemble.

3 5

He has a B.S. 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. As a native of South Bend,

Indiana, Steve’s an avid Notre Dame

football fan.

MELISSA CAMPBELL FIRST VIOLINSECOND DPO SEASON. Melissa began

her college education at Colorado State

University studying violin with Dr. Ron

Francois before becoming a full time wife

and mother. She in currently attending

school again to become a real estate

broker, and is also working towards a dual

degree in violin performance and business

finance.

Melissa began playing the violin at the age

of 5 and was trained in the Suzuki method

in Placerville, California. While living there

she was one of the youngest members


of the Sacramento Youth Symphony. Her

family moved to Fort Collins when she was

13, and she spent time as concertmaster of

her junior high and high school orchestras.

She was the concertmaster and a scholar-

ship recipient at the CSU summer music

camp, as well as a NOCO string quartet

scholarship recipient. She was also a part

of Western States Honor Orchestra and All

State Orchestra throughout high school.

Melissa began her college career at

Colorado State University and played in

the Symphonic and Chamber Orchestras

as well as quartets. After marrying her

high school sweetheart, she devoted her

days to being a full-time wife and mom.

After a few years of just playing violin in

church, she joined the Loveland Symphony

Orchestra in the fall of 2013. Following one

season with them, her husband Michael

was relocated south of Denver for work.

Melissa’s primary “day job” is staying

home their three kids Dillon, 8; Cade, 6;

and Ellise, 4. She also wakes up early and

delivers newspapers so she can continue

to raise their children during the day and

be able to continue her education in

the evening. She has also always had a

passion for teaching and currently has two

violin students.

3 7

Melissa comes from a very musical

family. Her mom has a Master’s in Music

Education and has taught in schools

and churches throughout California and

Colorado. Her dad is an architect by day

and an opera singer by night who has also

been in many church choirs. It’s pretty easy

to see where Melissa developed a love of

music at such a young age!

Her family is really into sports: their oldest

son loves to swim; their youngest son

enjoys playing soccer; and their daughter

likes to spend her days dancing. They like

to ski, hike, and spend time at the library.

But most of all, the whole family bleeds

orange and blue! Go Broncos!

LORI HANSONVIOLASECOND DPO SEASON. Lori has

a Bachelor of Architecture from

the University of Kansas School of

Architecture and Urban Design in

Lawrence, Kansas. She began playing vio-

la in fourth grade after seeing a presenta-

tion of instruments from the school music

teachers. She selected the viola because

no one else did!

Lori played in school orchestra all the

way through high school. She was also a

member of the Colorado Springs Youth

Symphony and played with the Colorado

College Chamber Orchestra during high

school. Lori continued viola in college

at the University of Kansas studying with

Dr. Michael Kimber and also performed

with the University of Kansas Symphony

Orchestra under the direction of the

late Brian Priestman (former Denver

Symphony Orchestra conductor). As part

of the university orchestra she performed

in several pit orchestras for the University

Opera, Theater, Choir and Dance

Company.

2014/2015 Concert Season

Friday, October 16, 2015 | 7:30 pm water Günther Stegmüller, guest conductor Linda Wang, violin

Saturday, November 14, 2015 | 2:30 pm (FREE Children’s Concert)

oh, the music you’ll hear! Friday, December 4, 2015 | 7:30 pm a lso family christmas

Friday, February 12, 2016 | 7:30 pm wind Jason Shafer, clarinet

Friday, April 1, 2016 | 7:30 pm fire Matthew Zalkind, cello

Friday, May 13, 2016 | 7:30 pm earth Abigail Nims, mezzo-soprano

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


After graduation, Lori moved to Denver

and performed as principal violist with the

Aurora Symphony Orchestra for 12 sea-

sons. She was also a member of the ASO

String Quartet, and performed with the

John Adams Band for several concerts.

Lori is a registered architect in Colorado

and Senior Associate at Eidos Architects,

PC, a commercial design firm specializing

in religious, education, office & municipal

projects.

She’s in her 15th season as a volunteer

with patron services for the Denver

Center Theater Company, and enjoys

traveling, biking and hiking the mountains

around Colorado.

KYLE LANEYCELLOFIRST DPO SEASON. Kyle has played

cello since he was 5 years old. He also

played the piano for a couple years.

He performed with in the Metropolitan

Symphony Youth Orchestra and Buckhead

Youth Symphony Orchestra throughout

middle school and ninth grade, Atlanta

Symphony Youth Orchestra in high

school, Frost Symphony and Henry

Mancini Institute Orchestras at the

University of Miami, Brevard Symphony

Orchestra, Interlochen Symphony

Orchestra, and a number of other or-

chestras at music festivals. Kyle also has

extensive chamber music experience.

3 9

Kyle earned a Bachelor of Music degree

from the University of Miami with a

minor in Business Administration. Kyle

currently works as an Emergency Medical

Technician. He’s starting a professional

string quartet, The Highland String

Quartet. He also plans to become a

Physician Assistant or an Occupational

Therapist and will take classes at UC

Denver starting Spring 2016.

With a father who is a business litigator, a

mother who’s a CPA, and an older brother

who’s a third-year student in medical

school, Kyle says he has a lot to live up to.

Kyle enjoys learning about preventative

medicine, doing CrossFit and many other

sports, and being outdoors.

CLAUDE G. WILBURCLARINET/BASS CLARINETTWELFTH DPO SEASON. Claude has

played with Denver Concert Band,

Colorado Wind Ensemble, Denver

Municipal Band, Colorado Springs

Symphony, Fort Collins Symphony,

Cheyenne Symphony, Boulder

Philharmonic, Boulder Ballet, Fort Collins

Ballet and various small ensembles. He

holds a bachelor’s degree from Chapman

College, a Master’s Degree in Music from

Michigan State University and has done

post-graduate work at UCD.

Claude studied Chinese with a language

immersion program at Three Gorges

University. Claude makes his living as a

software engineer.

BCOCOLORADO.ORG

Encore! Audience Favorites OCT 16,17,18

Mystery and Joy DEC 4 & 6

Bach Times Three FEB 26,27,28

Fanfares and Flourishes MAY 20,21,22

10TH ANNIVERSARY SEASON 2015/16


4 1

ORCHESTRA CIRCLE($20,000+)

Valerie & Gil Clausen

CONDUCTOR CIRCLE($5,000+)

FirstBank

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

MUSICIAN CIRCLE($1,000 – $2,499)

Xcel Energy

PATRON ($500 – $999)

CoBank on behalf of Brian Lucius

Colorado Gives Day “Luck of the Draw”

US Bank Foundation

Donald Walls

BENEFACTOR ($300 – $499)

CoBank on behalf of Brian Lucius

Susan Cochran

Russell Klein

Drs. Mark & Maxine Rossman

CONTRIBUTOR ($100 – $299)

Anonymous

Kathi Rose Agnes

Penny Alles

TATE+BURNS Architects LLC

Donna & Pierre Bastien

Norman Mueller & Christine Murphy

Brenda & Peter Oldak

Sandra Rothenberg

Robert J. Smith

James A. Stegman

Gina & Paul Todd

Robert Green

Helen Bauer

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


Since January 1, 2015

FRIEND (UP TO $99)

Amazon Smile Foundation

Richard Casson

Robert & Pauline Dallenbach

Amaryllis Fletcher

David Harrington

Surilda Hudson

Susan J. McGinley

Bert & Rosemary Melcher

Shari Ross

IN-KIND DONORSStudio Hippo

SEASON SUPPORTERSAccess

David Sherman Creative

Ligature Creative Group

Newberry Brothers Greenhouse & Florist

The Pillar of Fire Church

4 3

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

INDIVIDUAL GIVING DONATION AMOUNTOrchestra Circle $20,000 or above

Conductor Circle $5,000 – $19,999

Concertmaster Circle $2,500 – $4,999

Musician Circle $1,000 – $2,499

Patron $500 – $999

Benefactor $300 – $499

Contributor $100 – $299

Friend up to $99

CORPORATE GIVING DONATION AMOUNTGold Partner $10,000 and above

Silver Partner $5,000 – $9,999

Copper Partner $1,000 – $4,999

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

anniversary, or in memory of a loved one.


http://www.denverphilharmonic.org/contribute

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

PO Box 6074Denver, CO 80206

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

Contribution $ Check or Credit Card

Name

Address

City, State, ZIP Code

Telephone Email

Credit Card No.

Expiration Date CVV Code

4 5

CONTACT US!PO Box 6074Denver, CO 80206303.653.2407

@denverphilorchDenverPhilharmonic.org

PUBLIC SUPPORTTHE SCIENTIFIC & CULTURAL FACILITIES DISTRICT

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

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

region (Adams, Arapahoe, Boulder, Broomfield, Denver, Douglas

and Jefferson counties) supports nearly 300 institutions, including

the DPO, that provide unique cultural and scientific experiences

for millions of people each year. Many of the programs SCFD

supports provide free and discounted access to citizens. For infor-

mation on free days and organizations, visit www.scfd.org.


SCOTT O’NEILguest conductor

COLORADO REPERTORY SINGERSKyle Fleming, artistic director

CORELLI

Excerts from “Christmas Concerto”

HANDEL

Selections from Messiah

TCHAIKOVSKY

Selections from The Nutcracker

AND MORE OF YOUR HOLIDAY FAVORITESINCLUDING OUR ANNUAL HOLLY JOLLY SING-ALONG!

SYDNEY HARPERsoprano

december 19holiday cheer!AN ANNUAL FAMILY-FRIENDLY TRADITION, Holiday Cheer! has a little something for everyone. Kyle Fleming and the Colorado Repertory Singers again join the Denver Philharmonic for a second artistic collaboration. Soprano Sydney Harper sings your holiday favorites and a world premiere arranged by guest conductor and former Resident Conductor of the Colorado Symphony Scott O’Neil.

Presented at Central Presbyterian, 1660 Sherman St.

BUY TICKETS AND VIEW THE FULL REPERTOIRE AT

DENVERPHILHARMONIC.ORG

musicconnects ourcommunity.

is proud to support theDenver Philharmonic.

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

Documents

Denver Philharmonic Orchestra November 20, 2015 Concert Program