Denver Philharmonic Orchestra October 3, 2014 Concert Program

O C T O B E R 3

REVOLUTION!Kornel Thomas, guest conductor

Elizabeth Baldwin, sopranoShostakovich: OctoberStrauss: Four Last SongsBeethoven: Symphony No. 7

O C T O B E R 3N O V E M B E R 1 4D E C E M B E R 2 0F E B R U A R Y 1 3

A P R I L 3M A Y 2 1

2 0 1 4 – 1 5

T H E S I X T Y - S E V E N T H S E A S O N

201 Garfield Street | Denver, CO 80206 | 303.322.0443www.facebook.com/newberrybros

www.newberrybrothers.com

With our 2014–15 Season, we celebrate 67 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!

3

2014–15

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

2014–15OCTOBER 3REVOLUTION!Kornel Thomas, Guest ConductorElizabeth Baldwin, SopranoShostakovich: OctoberStrauss: Four Last SongsBeethoven: Symphony No. 7

NOVEMBER 14A TALE OF THREE SYMPHONIESLawrence Golan, ConductorKimberly Brody, OboeKenneth Greenwald, BassoonKatherine Thayer, ViolinBryan Scafuri, CelloHaydn: Sinfonia concertante in B-flat Major, Hob. I: 105Britten: Sinfonia da RequiemDvořák: Symphony No. 8

DECEMBER 20HOLIDAY CHEER!*Lawrence Golan, Conductor and ViolinElizabeth Montgomery, SopranoColorado Repertory Singers; Mark Stamper, DirectorWilliams: “Merry Christmas, Merry Christmas” from Home AloneSnesrud: Christmas TraditionsHolcombe, arr.: Festive Sounds of HanukkahPola & Wyle: It’s the Most Wonderful Time of the YearJohnson & Pelcer: Merry Christmas BabyMontgomery & Johnson: Fill Your Heart with ChristmasTchaikovsky: “Waltz of the Flowers” from The NutcrackerVivaldi: “Winter” from The Four SeasonsHandel: “Hallelujah Chorus” from The MessiahClifton, arr.: Carol of the BellsHayes, arr.: Variations on Jingle BellsAnderson: Sleigh RideTormé & Wells: The Christmas SongAdam: Oh Holy NightStephenson: A Holly Jolly Sing-Along!

FEBRUARY 13FROM RUSSIA WITH LOVELawrence Golan, ConductorJeffrey LaDeur, Piano

Tchaikovsky: Piano Concerto No. 1Tchaikovsky: Symphony No. 1 “Winter Reveries”

APRIL 3REFORMATIONSWes Kenney, Guest ConductorPeter Sommer, Alto SaxophoneBach/Stokowski: Toccata and Fugue in D minor Ellington, orch. Peress: Three Black KingsWilliams: “Escapades” from Catch Me if You CanMendelssohn: Symphony No. 5 “Reformation”

MAY 21PLANES, TRAINS & AUTOMOBILESLawrence Golan, ConductorDaria Rabotkina, PianoAdams: Short Ride in a Fast MachineGershwin: Rhapsody in BlueProkofiev: Symphony No. 5

Concerts begin at 7:30 pm atKPOF Hall1340 Sherman StreetDenver, CO 80203

Holiday Cheer!will be performed atCentral Presbyterian Church1660 Sherman StDenver, CO 80203

*

D E N V E R P H I L H A R M O N I C . O R G

SPONSORED BY

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FRIDAY, OCTOBER 3, 2014REVOLUTION!KPOF Concert Hall · Denver, Colorado · 7:30 pm

Kornel Thomas, guest conductorElizabeth Baldwin, soprano

Dmitri Shostakovich October, Op. 131(1906 – 1975)

Richard Strauss Four Last Songs(1864 – 1949) Frühling

September

Beim Schlafengehn

Im Abendrot

(See English translation on page 28)

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

Ludwig van Beethoven Symphony No. 7(1770 – 1827) Poco sostenuto – Vivace

Allegretto

Presto, assai meno presto

Allegro con brio

MEET THE MUSICIANSReception Immediately following the concert, meet & mingle on the lower level.Nightcap Following the reception, raise a glass with us at Oblio’s Cap Hill.


Your community resource for in-depth news and music discovery.

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LAWRENCE GOLANMUSIC DIRECTOR & CONDUCTOR

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 2014–15 Season marks Lawrence’s second 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

What should you listen

for? What is the music’s

historic and cultural

context? Join me before

each performance for

a pre-concert chat. Get

insight into the music

and music-makers you

will hear during the

performance.

Samuel has performed with and conducted the Wilmington

Community Orchestra in Delaware, Center City Opera Theater

in Pennsylvania, the Cleveland Pops Orchestra in Ohio, and the

Newark Symphony Orchestra in Newark, Del., where he directed

the inaugural 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 the

Kiev Chamber Orchestra and the 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.

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 4 – 1 5 T H E S I X T Y - S E V E N T H S E A S O N

KORNEL THOMASGUEST CONDUCTOR

Kornel is the conductor and a teaching artist at El Sistema

Colorado and is the conductor of the contemporary music

group, Nebula Ensemble. He was previously associate conduc-

tor of the Lamont Symphony Orchestra and assistant conductor

of the St. Stephen King Youth Orchestra. In fall 2013, Kornel

was acting music director of the Lamont Symphony Orchestra

where he conducted multiple sold-out performances of the

musical, Oklahoma!

He attended the Cabrillo Festival Conductor Training

Workshop, the Pierre Monteux School for Conductors and

the London Conducting Workshop. Kornel was a semi-finalist

at the Orquestra Metropolitana de Lisboa Young Conductors

Competition in 2013. In 2012, he debuted at the Vienna

Musikverein with the ORF Radio Symphony Orchestra Vienna.

Kornel won second prize at the 2006 Béla Bartok Hungarian

National Competition in Composition.

He holds a master’s degree in orchestral conducting from the

University of Music and Performing Arts Vienna and an artist

diploma in orchestral conducting from the Lamont School of

Music, University of Denver. Kornel’s mentors include Mark

Stringer, Yuji Yuasa, Ervin Ortner, Konrad Leitner, Lawrence

Golan, Betrand de Billy, Niclolas Pasquet, Daniel Harding and

Maron Alsop.

Hungarian-American conductor Kornel Thomas returns to the Denver Philharmonic after his season as associate conductor with the orchestra.

1 1

ELIZABETH BALDWINSOPRANO

Elizabeth’s recent engagements include a debut with the Boston

Youth Symphony Orchestra singing the title role in Puccini’s

Tosca and with the Toledo Opera in the “Ladies In Red” Opera

Gala Concert. She will also be representing America in the Marie

Kraja International Singing Competition in Tirana, Albania and

the Stella Maris International Vocal Competition on board the

MS EUROPA. Upcoming engagements include Ariadne aud

Naxos with Opera Theater of Pittsburgh, her return to Boston

Youth Symphony Orchestra in Un Ballo in Maschera, as well as

Opera San Jose’s production of Die Zauberflöte.

In the 2012–13 season, she debuted with the Kentucky Opera

singing the title role in Puccini’s Tosca and debuted at Avery

Fisher Hall at Lincoln Center as Viclinda in Verdi’s I Lombardi with

The Opera Orchestra of New York under Eve Queler. She also

debuted the role of Ellen Orford in Britten’s Peter Grimes at the

Chautauqua Opera.

In the 2011–12 season, she covered the role of Arminda in

Mozart’s La finta giardiniera at the San Francisco Merola Opera

Program and performed the role of Margherita in Boito’s

Mefistofele at the Merola Schwabacher Concert under Giuseppe

Finzi. She also debuted with the Virginia Opera singing the Dew

Fairy in Humperdinck’s Hänsel und Gretel while covering the role

of Gretel, along with covering the role of La Princesse in Philip

Glass’ Orphée.

American lyric soprano Elizabeth Baldwin has been praised by the San Francisco Examiner as being “ferociously talented” and is in equal demand on both operatic and concert stages across the country.

I have had the great

pleasure of performing

title roles in many of

Strauss’ operatic works

and know there is

nothing like becoming

an instrument in his

luscious orchestrations.

I hope you have a

wonderful experience

and enjoy this gorgeous

music as much as I do!


On the concert stage, Elizabeth performed in Mendelssohn’s

Elijah at Boston’s Symphony Hall with the Boston University

Orchestra and Chorus in 2011. Additional credits include Vivaldi’s

Gloria, Fauré’s Requiem, Schubert’s Der Hirt auf dem Felsen,

Aaron Copland’s As It Fell Upon A Day, John William’s Seven For

Luck, William Schuman’s In Sweet Music, Ivan Fedele’s Maja, and

many others.

In competitions, Elizabeth is a 2013 International Finalist in the

Francisco Viñas Singing Competition in Barcelona, 2012 National

Semi-Finalist in the Metropolitan Opera Council Auditions

(winning through the Central Region and Illinois District), and

2011 Grand Prize winner in The William Matheus Sullivan Musical

Foundation competition. She won First Place in the National

Opera Association Artist Division, The Schuyler Foundation

for Career Bridges, National Orpheus Vocal Competition, and

The Heida Hermanns International Voice Competition. The

Tanglewood Music Center Festival awarded her with the Grace

B. Jackson Prize for Singers after her summer apprenticeships.

Elizabeth studied with renowned American Mozart soprano Carol

Vaness while obtaining her master of music degree in opera

performance from the Indiana University Jacobs School of Music,

as well as a bachelor of music degree in vocal performance from

Bowling Green State University where she studied with Myra

Merritt. She currently works with Martin Katz.

1 3

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

Last season, we had a lot of fun — we live-tweeted concerts, held lively pre-concert chats,

produced a Super Bowl video mashup with the Seattle Philharmonic Orchestra, hosted a

Valentine’s Day photo booth, projected your Rocky Mountain pics above the musicians,

brought in an instrument petting zoo, set up a selfie corner with a cardboard Buzz Aldrin,

and partnered with the Denver Museum of Nature and Science to bring the Gates

Planetarium (and the entire universe) into KPOF Hall.

Here’s a taste of what’s in store for our next concert — A Tale of Three Symphonies on November 14.

PRE-CONCERT CHAT, 6:30PMJoin Associate Conductor S. Mordecai

Fuhrman for a pre-concert chat about the

music. We’ll give you insights into the music

and music-makers you’ll be listening to.

EL SISTEMA INTERLUDE, 7:00PMIf you missed the elementary school students

from El Sistema Colorado perform last May,

here’s your chance! (They rock!)

BOOK SWAPGot some extra books lying around the

house? Bring ’em in, and pick up a new one!

Maybe leave a note about a favorite passage

for another patron to find!

POST-CONCERT RECEPTIONSay hello! Come downstairs after the concert

for coffee or punch and homemade cookies,

meet the soloists, get a t-shirt — have fun!

A TASTE OF THREE CAKESAt the post-concert reception, DPO partner

Glaze by Sasa will present three baum cakes

for your tasting delight!

NIGHTCAP, 10PMEnjoy a late-night happy hour — concert-

themed cocktails or a glass of wine are $3 and

draft beer is just $1 with your ticket at Oblio’s

Cap Hill, 1225 Logan, after the reception.

Meet, mingle and connect with musicians and

friends — just three blocks away!

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


MORE THAN MUSIC.

1 5

MUSIC DIRECTOR Lawrence Golan

ASSOCIATE CONDUCTORS. Mordecai Fuhrman

FIRST VIOLINKatherine Thayer, concertmasterPatsy Aronstein Melissa Campbell Matthew Grove Thomas Jatko Nasiha Khalil Chelsea Morden Tenley Mueller Kristine Pordesimo Emmy Reid Beth Schoening Vanessa Vari Elizabeth Wall

SECOND VIOLINYiran Li, principal Rachel Bradford Niccolo Werner Casewit Valerie Clausen Pauline Dallenbach Terri Gonzales Miki Heine Annie Laury Callista Medland Alyssa Oland Anne Silvas Albert Ting

VIOLAWilliam Hinkie, III; principal Naomi Croghan Lori Hanson Ben Luey Ana Montenegro Elizabeth O’Brien Kathleen Torkko

CELLOBryan Scafuri, principal Naftari Burns Ausra Mollerud Annastasia Psitos Monica Sáles Amanda Thall Rachel Warbelow Andreas Werle Rachel Yanovitch Tara Yoder

BASSMark Stefaniw, principal Lucy Bauer Josh Filley Taryn Galow Joey Pearlman

OUR MUSICIANS


FLUTEAaron Wille, principalWhitney KelleyCatherine Ricca Lanzano

PICCOLOWhitney Kelley

OBOEKimberly Brody, principal Loren Meaux, assistant principal Alexis Junker

ENGLISH HORNLoren Meaux

CLARINETShaun Burley, principal Jessica Clark Claude Wilbur

E-FLAT CLARINETJessica Clark

BASS CLARINETClaude Wilbur

BASSOONKen Greenwald, principal Nicholas Lengyel

FRENCH HORNDavid Wallace, principal Jeanine Branting Mary Brauer Mark Denekas Kelli Hirsch

TRUMPETRyan Spencer, principal Nick Kenny Tyler Van Dam

TROMBONEWilliam Combs, principal Wallace Orr

BASS TROMBONEDaniel Morris

TUBADarren DeLaup

TIMPANISteve Bulota, principal

PERCUSSIONColin Constance

HARPBecky Moritzky

PIANO/KEYBOARDMadoka Asari

1 7

EXECUTIVE DIRECTORValerie Clausen

BOARD OF DIRECTORSPRESIDENT Jon OlafsonVICE-PRESIDENT Eleanor GloverSECRETARY Maureen KeilTREASURER Allison LaustenPauline Dallenbach, Honorary MemberRobert DallenbachSarah HoganRussell KleinLinda LebsackMatt MeierTenley Oldak

DENVER PHILHARMONIC FOUNDATION BOARDKeith Fisher Russell KleinAllison Lausten

CONDUCTOR LAUREATEDr. Horst Buchholz

BOX OFFICECarla CodyEleanor GloverRussell KleinVenus KleinAnnie LauryAllisonLausten Jon Olafson

CONCERT NOTESKate Huffman

CONCERT RECORDINGJoel Dallenbach

CONCERT PROGRAMLigature Creative Group, designWalker Burns, editingAlixandra Feeley, editing

EMBEDDED REPORTERJulia ComptonMeg Satrom

LIBRARIANCallista MedlandAlyssa Oland, assistant

OPERATIONS MANAGERAlixandra Feeley

ORCHESTRA ROSTERAnnie Laury

OUTREACHLok JacobiMaureen KeilKatherine Thayer

OUR ADMIN VOLUNT EERS


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].

OUR ADMIN VOLUNT EERSPARKING ADVISORMatt HoganHugh Pitcher

PERSONNEL MANAGERAnnie Laury

PRE-CONCERT SLIDESJake RomoLigature Creative Group

PUBLICITYNiccolo CasewitDr. Robert DallenbachEleanor Glover Matt MeierJeff PaulDavid Sherman

USHERS & RECEPTIONGil ClausenLok Jacobi Maureen KeilAllison Lausten Robert Schoenrock

VENUE LOGISTICSTaryn GalowLoren MeauxRoger Powell

WEBMASTERLigature Creative Group

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

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

Tune in to radio station KPOF (AM 910)from 7 – 10 pm on Sunday, October 12 for an encore of

tonight’s Denver Philharmonic performance!


OCTOBER 3 ∙ REVOLUTION!by KATE HUFFMAN

October, Op. 131 (1967)

Dmitri Shostakovich (1906 – 1975)

Real music is always revolutionary, for it cements the ranks of the people; it arouses them and leads them onward.”

— Dmitri Shostakovich

Born in St. Petersburg in 1906 and ed-

ucated at the Petrograd Conservatory,

Shostakovich was one of the most

prominent composers of the 20th century.

As required under Communist rule,

Shostakovich was a member of the Union

of Soviet Composers and forced to ad-

here to the ideals of Socialist Realism. All

art, including literature, drama, painting,

and music, needed to portray socialism in

a positive light, and music was expected

to be tonal, accessible, and folk-inspired.

Much of Shostakovich’s career was

shaped by totalitarian oppression, which

dictated the music he could produce.

Though he had to comply for his safety

and his career, the regime’s restrictive

rules elicited Shostakovich’s disapproval

and constant fight against them.

The composer’s stormy symphonic poem,

October, was written for the 50th anniver-

sary of the Russian October Revolution.

Nominally October commemorates

“

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the Bolshevik overthrow of the Russian

government, but upon careful listening

Shostakovich reveals his disapproval of the

event and his doubts about Communism.

The symphonic poem is full of tangible

heroism, thick orchestral textures, and

heart-racing climaxes, all of which were

expected and loved by Soviet audiences.

Unexpected, however, was the slow intro-

duction opening the piece: a quote from

his 10th Symphony which was written as

an emotional reflection of Stalin’s tyranny

and partial celebration of his death.

Shostakovich further quotes his own

works in the main Allegro which closely

resembles the scherzos of his Fifth and

Seventh Symphonies written in response

to his condemnation by the Communist

Party and to Stalin’s campaign of political

repression, know as the Great Terror, of

the 1930s.

The Allegro is also based on the song

“To the Partisan,”used in the film

Volochaayevka Days, which tells of in-

dividuals fighting for freedom against a

repressive regime.

Shostakovich’s use of self-quotation

from politically critical works in this piece

appearing to celebrate the October

Revolution is a credit to his skill as a

composer and his dedication to freedom

of expression despite the restrictions of

Soviet Realism.

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2 5

Four Last Songs (1948)

Richard Strauss (1864 – 1949)

In Four Last Songs, Richard Strauss assures listeners, and perhaps himself, that death does not have to be feared, rather embraced as a final journey after life’s many adversities and adventures.

Indeed, Strauss himself faced many ad-

versities and undertook adventures in his

own life. Living through the devastation of

both World War I and II deeply affected

the German composer long after the

wars’ conclusions. He also witnessed

huge musical changes happening around

him: Hindemith’s “New Objectivity,” the

intensely aggressive rhythms of Stravinsky,

Arnold Schoenberg and the Second

Viennese School. The world, it seemed,

was spinning out of control, and Strauss

was left feeling helpless and jaded.

Captured in Four Last Songs, with its

soaring melodies and lush tonal harmonies

in the rich, Romantic style, is a time and

world Strauss knew was gone forever.

Composed near the end of his life,

Strauss did not know the four songs

written for soprano voice and orchestra

would be his last. He had come across

poems that had special meaning to him in

the works of Hermen Hesse and Joseph

von Eichendorff.

Hesse’s Frühling (Spring), September, and

Biem Schlafengehen (Time to Sleep), and

von Eichendorff’s Im Abendrot (At Dusk)

were set to music in 1948. Strauss com-

pleted the works later that year and died


shortly thereafter, never having heard

them performed.

The composer left no indication that he

intended the songs to be performed

together, and thus left no sequence

of presentation. It was his publishing

company, Boosey & Hawkes, that put the

songs in the song cycle in which they are

most often performed today (I. Frühling, II.

September, III. Beim Schlafengehen, and

IV. Im Abendrot).

In the first song, Frühling (Spring), the

composer pays nostalgic tribute to this

hopeful time of year, which follows the chill

of winter. Woodwinds frame and interact

with the soprano’s low opening lines, be-

fore her phrases, mirrored by the strings,

soar upwards.

The cycle of seasons continues in

September when summer fades and

autumn inevitably approaches. The text

and atmosphere darken and decay as the

poet accepts the end of summer and,

thereby, of all things. A powerful solo for

horn — the instrument of Strauss’ father

— can be heard in the final moments of

the movement.

In Beim Schlafengehen, the poet continues

on the journey toward the afterlife, letting

go of life’s hardships and toil. Strauss then

features another favorite instrumental

voice, the violin, to play powerfully be-

tween the lines of the soprano.

The final song, Im Abendrot, completes

the voyage of the poet’s soul quoting

the “transfiguration” theme from Death

and Transfiguration, a tone poem he

had composed 60 years earlier. It can be

heard just after the soprano sings “ist

dies etwa der Tod?” (Can this, perhaps,

be death?), symbolizing the fulfillment of

the soul into death.

As stated by Herbert Glass, “It is music

so bewitchingly sensuous, so achingly

nostalgic, so subtle in its interweaving of

vocal and instrumental textures as to defy

description. To more than one observer,

Strauss saved his best for the very end.”

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Four Last SongsGerman Text

FRÜHLINGby Hermann Hesse

In dämmrigen Grüften

träumte ich lang

von deinen Bäumen und blauen Lüften,

Von deinem Duft und Vogelsang.

Nun liegst du erschlossen

In Gleiß und Zier

von Licht übergossen

wie ein Wunder vor mir.

Du kennst mich wieder,

du lockst mich zart,

es zittert durch all meine Glieder

deine selige Gegenwart!

Four Last SongsEnglish Translation

SPRINGTranslation by Michael Hamburger

In half-light I waited,

Dreamed all too long

Of trees in blossom,

Those flowing breezes,

That fragrant blue

And thrushes’ song.

Now streaming and glowing

From sky to field

With light overflowing

All these charms are revealed.

Light gilds the river,

Light floods the plain;

Spring calls me: and through me there

quiver

Life’s own loveliness,

Life’s own sweetness returned again!

SEPTEMBERby Hermann Hesse

Der Garten trauert,

kühl sinkt in die Blumen der Regen.

Der Sommer schauert

still seinem Ende entgegen.

Golden tropft Blatt um Blatt

nieder vom hohen Akazienbaum.

Sommer lächelt erstaunt und matt

In den sterbenden Gartentraum.

Lange noch bei den Rosen

bleibt er stehn, sehnt sich nach Ruh.

Langsam tut er

die müdgeword‘nen Augen zu.

SEPTEMBER Translation by Michael Hamburger

These mournful flowers,

Rain-drenched in the coolness are

bending,

While Summer cowers,

Mute as he waits for his ending.

Gravely each golden leaf

Falls from the tallest Acacia tree;

Summer marvels and smiles to see

His own garden grow faint with grief.

Ling’ring still, near the roses long he stays,

Longs for repose;

Languid, slow to the last,

His weary eyelids close.

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Hear the future!2014-2015oct 19 | nov 09-10 | nov 22-23 | jan 25-26 | feb 08mar 08 | may 03-04 | apr 26 | dyao.org or 303.433.2420

Wes Kenney, Music Director


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BEIM SCHLAFENGEHENby Hermann Hesse

Nun der Tag mich müd gemacht,

soll mein sehnliches Verlangen

freundlich die gestirnte Nacht

wie ein müdes Kind empfangen.

Hände, laßt von allem Tun

Stirn, vergiß du alles Denken,

Alle meine Sinne nun

wollen sich in Schlummer senken.

Und die Seele unbewacht

will in freien Flügen schweben,

um im Zauberkreis der Nacht

tief und tausendfach zu leben.

TIME TO SLEEP Translation by Michael Hamburger

Now the day has wearied me,

All my gain and all my longing

Like a weary child’s shall be

Night whose many stars are thronging.

Hands, now leave your work alone;

Brow, forget your idle thinking,

All my thoughts, their labor done,

Softly into sleep are sinking.

High the soul will rise in flight,

Freely gliding, softly swaying,

In the magic realm of night,

Deeper laws of life obeying.


IM ABENDROTby Joseph von Eichendorff

Wir sind durch Not und Freude

gegangen Hand in Hand;

vom Wandern ruhen wir

nun überm stillen Land.

Rings sich die Täler neigen,

es dunkelt schon die Luft.

Zwei Lerchen nur noch steigen

nachträumend in den Duft.

Tritt her und laß sie schwirren,

bald ist es Schlafenszeit.

Daß wir uns nicht verirren

in dieser Einsamkeit.

O weiter, stiller Friede!

So tief im Abendrot.

Wie sind wir wandermüde--

Ist dies etwa der Tod?

AT DUSK Translation by Michael Hamburger

Here both in need and gladness

We wandered hand in hand;

Now let us pause at last

Above the silent land.

Dusk comes the vales exploring,

The darkling air grows still,

Alone two skylarks soaring

In song their dreams fulfill.

Draw close and leave them singing,

Soon will be time to sleep,

How lost our way’s beginning!

This solitude, how deep.

O rest so long desired!

We sense the night’s soft breath

Now we are tired, how tired!

Can this perhaps be death?

Symphony No. 7 (in A Major, 1812)

Ludwig van Beethoven (1770 – 1827)

Applause rose to the point of ecstasy,” wrote one newspaper of a performance of Ludwig Van Beethoven’s Symphony No. 7. This reception was not common for Beethoven’s music, as it was often viewed as too cryptic and progressive for late Classical-era audiences and critics.

However, this particular symphony was so

well received that it was performed four

times in the 10 weeks after its premiere.

The spirited symphony’s four movements

were premiered alongside patriotic pieces

at a benefit concert for soldiers wounded

in the Battle of Hanau.

Symphony No. 7 garnered positive at-

tention from more than just enthusiastic

audiences — German composer Richard

Wagner regarded it as “the apotheosis of

the Dance in its highest aspect…the lofti-

est deed of bodily motion incorporated in

an ideal world of tone.”

A slow introduction of interweaving wood-

winds, punctuated by chords from the

strings, opens the symphony. The transi-

tion to the main part of the first movement

is accomplished by the repetition of a

single pitch connecting the introduction to

the exposition. The Vivace is dominated

by lively dance-like dotted rhythms and

sudden dynamic changes.

The second movement, the most famous

of the four, is often performed on its own,

and was immediately encored at its pre-

miere; a phenomenon usually unheard of

for a slow movement.

“

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In the Allegretto, a repeated heartbeat-like

rhythmic pattern prevails amidst beautiful

melodies passed between the strings and

the woodwinds. In the third movement,

Beethoven expanded the typical ternary,

or ABA form, to ABABA. Ternary form is

used to describe three parts to a piece of

music, with the first (A) section very similar

to the last (A) section, and a contrasting (B)

section in between. The expanded ABABA

form of the third movement means that

listeners will hear themes from the A and B

sections return more than once.

The exuberant finale uses rhythmic en-

ergy to surpass all other climaxes in the

symphony. Dr. Richard E. Rodda, program

annotator and professor of music, wrote

about the final movement, “So intoxicating

is this music that some of Beethoven’s con-

temporaries were sure he had composed it

in a drunken frenzy.”

• 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

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

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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 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, au-

diences 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 ETIQUETT E

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

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.

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ORCHESTRA SPOTLIGHT

PAULINE A. DALLENBACHVIOLINFIFTY-FIRST DPO SEASON. In 1928,

at age 2, Pauline first sang on KPOF

Radio and continues to participate in

the station’s broadcasting. Since 1964,

Pauline and her husband, Dr. Robert

Dallenbach, have served the orchestra,

ranging from recording and broadcasting

DPO concerts to maintaining extensive

orchestra archives. Dr. Dallenbach was

president for the board for many years

and broadcasts our concerts on KPOF

91AM. Pillar of Fire has provided facilities

for concerts, rehearsals, storage of the

orchestra’s music library, instruments and

equipment in its beginning in 1948. 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 in communications and theatre in

1982 from the University of Colorado. Over

82 years of playing the violin, Pauline has

performed with Westminster Symphony

Orchestra, Brown University Orchestra,

Denver Businessman’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 saxophone.

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 Pauline, Whitney and Albert —


ORCHESTRA SPOTLIGHT

WHITNEY KELLEYFLUTE/PICCOLOSECOND DPO SEASON. Whitney

received her D.M.A and M.M. in flute

performance and pedagogy from the

University of Colorado with Christina

Jennings, and completed her bachelor’s

degree of music with Tadeu Coelho at

the University of North Carolina School

of the Arts. Once beginning to play

the flute at age 4 through the Suzuki

Method, music has played an integral

part throughout Whitney’s life. Acclaimed

for her “considerable technique” by the

Winston-Salem Journal, she has appeared

as soloist in numerous orchestral and

recital settings, including guest appear-

ances with Hollywood film composer

Dave Grusin, jazz flutist Nestor Torres, and

performances in the Ravinia Summer Music

Festival, Texas Music Festival, Denver

Pops, Jefferson Symphony, and Longmont

Symphony Orchestras. In addition to the

Denver Philharmonic, Whitney performs as

flutist in the Airde Ensemble, a woodwind

sextet based in Boulder. In addition to her

orchestral and chamber pursuits, Whitney

currently serves as president of the

Colorado Flute Association, staffs teacher

training with the Suzuki Association of the

Americas at their headquarters in Boulder,

and maintains a thriving private studio

across the Denver metro area. Whitney

lives outside of Denver with her husband

and energetic puppy. She enjoys photog-

raphy, hiking in the Rockies, and cheering

on the Denver Broncos.

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ALBERT TINGVIOLINTHIRD DPO SEASON. Albert Ting started

violin lesson at age 6 in Taiwan and

moved to the U.S. with his family when he

was 9 years old. It was an exciting land of

opportunities for his whole family. While

in high school, Albert was accepted at

Interlochen Summer Music Camp and

played in the first violin section of the

World Youth Symphony Orchestra. It

was truly exciting for him to play under

conductors such as Aaron Copland and

to accompany Van Cliburn. In college at

Stanford University, Albert played in the

Stanford Symphony Orchestra and was

the first chair of the Stanford Glee Club

orchestra. He graduated from Stanford

University with Bachelor Degree in

Physical Chemistry. During this period,

Albert was also the conductor for several

local church choirs; as well as the assistant

conductor for the musical Guys and

Dolls, a Stanford Ramshead Production.

He graduated from Baylor College of

Medicine with a PhD in cell biology, then

graduated from UT Southwestern Medical

School with a MD and finished a Family

Medicine Residency in the U.S. Air Force.

Albert has been a family medicine doctor

for the last 28 years, mostly with Kaiser.

He currently has a special interest in geri-

atric medicine and mainly treats nursing

home patients. Outside interests includ-

ing taking apart things including PCs and

Macs. His house is littered with carcasses

of computers unfortunate enough to fall

into his hands. Albert and his son spent a

blissful summer together building robots

from the little Arduino board. His family

also treasured the homeschooling experi-

ence. Albert first joined DPO in 2010 and

has immensely enjoyed playing with all

the friendly and energetic folks at DPO.

He currently recognized as the best chair

stacker in the orchestra.

PLEASE JOIN US FOR OUR

For additional information and to purchase tickets, visit

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303 -789 -5920


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4 1

ORCHESTRA’S CIRCLE($20,000+)

Valerie and Gil Clausen

CONDUCTOR’S CIRCLE($5,000+)

AIC Ventures, on behalf of Ben Luey

SCFD

CONCERTMASTER’S CIRCLE

($2,500 – $4,999)

MUSICIANS’ CIRCLE($1,000 – $2,499)

PATRON($500 – $999)

BENEFACTOR($300 – $499)

Lok and Jake Jacobi

Russell Klein

CONTRIBUTOR($100 – $299)

Sarah Hogan

Thomas James Merry

Drs. Mark and Maxine Rossman

FRIEND(UP TO $99)

Keri Rose Agnes

Amazon Smile Foundation

McKesson Foundation, matching gift on

behalf of Janice Burley

IN-KIND SUPPORTERSThe Pillar of Fire Church

Ligature Creative Group

Newberry Brothers Greenhouse and Florist

CONTRIBUTIONS

THANK YOU!Since January 1, 2014

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


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.

4 3

IT TAKES A COMMUN ITY

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

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.


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 DONATE link.

Contribution $ Check or Credit Card

Name

Address

City, State, Zip Code

Telephone Email

Credit Card No. Exp.

4 5

CONTACT US!PO Box 6074Denver, CO 80206303.653.2407

@denverphilorchDenverPhilharmonic.org


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Documents

Denver Philharmonic Orchestra October 3, 2014 Concert Program