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june 3eurotripLAWRENCE GOLANconductor & violin
LU
Ode to the Red Flag
FRANCK
Symphony in D Minor
GERSHWIN, ARR. WHITNEY
An American in Paris Suite
SMETANA
Die Moldau
STRAUSS JR.
On the Beautiful Blue Danube
KREISLER, ARR. MCALISTER
Liebesleid
MONTI
Czárdás
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
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
Join me in sending
the orchestra off on our
first international tour!
The DPO will perform
all over China for a
month this summer!
3
FRIDAY, JUNE 3, 2016EUROTRIPCentral Presbyterian Church · Denver, Colorado · 7:30 pm
Lawrence Golan, conductor & violin
Lu Qiming Ode to the Red Flagb. 1930
Cesar Franck Symphony in D Minor(1822 – 1890) I. Lento; Allegro ma non troppo
II. Allegretto
III. Finale: Allegro non troppo
∙ 1 5 - M I N U T E I N T E R M I S S I O N ∙
George Gershwin, An American in Paris Suitearr. Whitney (1898 – 1937)
Bedřich Smetana Die Moldau(1824 – 1884)
Johann Strauss Jr. On the Beautiful Blue Danube(1825 – 1899)
Fritz Kreisler, Liebesleid arr. McAlister(1875 – 1962)
Vittorio Monti Czárdás(1868 – 1922)
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
LAWRENCE GOLANMUSIC DIRECTOR
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.
6 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
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.
7
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.
8 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…
9
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
Welcome to Central Presbyterian Church,an enthusiastic partner of the Denver Philharmonic and a dedicated supporter of the downtown arts and music communities. The historic sanctuary, the third in the church’s history, was designed by renowned Denver architect Frank Edbrooke and built in 1891. Though the pipe organ has been replaced several times throughout the church’s history, most recently by the Reuter Organ Company in 1962, the hand-painted organ facade pipes are original to the space. On Sunday mornings at Central, the
music of the classical masters lives
comfortably next to gospel music
and spirituals, shape-note hymns
performed in the Sacred Harp tradition,
performances by our folk-rock youth
band, medieval chant, and everything in
between. A founding member of many
successful nonprofits that serve the
downtown community, Central houses
the New Genesis Transitional Shelter in
the basement just below your feet, the
Central Visitation Program on the third
floor of this building, and is closely
involved with the Metro Caring hunger
relief center and the Colfax Community
Network.
We hope you enjoy tonight’s concert,
and hope you’ll come back for more!
www.centraldenver.com/music
1 1
MUSIC DIRECTOR Lawrence Golan
ASSOCIATE CONDUCTORS. Mordecai Fuhrman
FIRST VIOLINKatherine Thayer, concertmasterMelissa BarruKezia BauerXimena CalderoMelissa CampbellBarbara CasanovaErika ChinanderNadya HillLubia MontenegroKristine PordesimoAlexander RaabEmmy ReidBeth Schoening
SECOND VIOLINYiran Li, principal Natalie Hill, assistant principalNiccolo Werner CasewitValerie ClausenChristy ColalanciaTerri GonzalesMiki HeineWendy MontenegroRobert MurphyRoger PowellFrancisca PretoriusAlbert TingGrace Wills
VIOLAWilliam Hinkie III, principalBrian Hillyard, assistant principalVictoria DiMarzioJody GreveLori HansonLindsay HayesHeather Marie Rehwald
CELLOBryan Scafuri, principalMichael Marecak, assistant principalHeidi BauerKyle LaneyShirley MarecakMonica SalesKarin TateRachel WarbelowRachel YanovitchTara Yoder
BASSMark Stefaniw, principalOzzie Backus, assistant principalLucy BauerFrank FeliceJosh FilleyTaryn GalowBrian KnottJordan Walters, student intern
FLUTEElizabeth Erenberg, principalMichael Reichman Ginger Hedrick
OUR MUSICIANS
1 2 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
PICCOLOGinger Hedrick
OBOEKimberly Brody, principalLoren Meaux, assistant principalMariah JohnstonMadeline Winkler
ENGLISH HORNLoren MeauxMariah Johnston
CLARINETShaun Burley, principalClaude Wilbur
BASS CLARINETEmilie Helms
BASSOONKen Greenwald, principalNicholas LengyelBrian Rolette
HORNKathryn Krubsack, principal Jeanine Branting, assistant principalMichael TrueStephenie OsmanRobyn Chauvin
TRUMPETRyan Spencer, principalEvan KingAriel Van DamLeonard FahrniZak RuffertNick Kenny
TROMBONEBen Garcia, principal Louis DeScala
BASS TROMBONEDaniel MorrisHeather Ewer
TUBAHeather Ewer
TIMPANIWilliam Hill, principal
PERCUSSIONHeather ChurchColin ConstanceColin HillRebecca Moritzky
HARPRebecca Moritzky, principalJenilee Elsbernd
KEYBOARDAni Gyulamiryan
1 3
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
PERSONNEL MANAGERAnnie Laury
FRONT OF HOUSE MANAGERAmy Anderson
STAGE MANAGERSTaryn GalowLoren MeauxStephen O’Rourke
MUSIC LIBRARIANCallista MedlandAlyssa Oland, assistant
CONCERT PROGRAMLigature Creative Group, designWalker Burns, editingAlixandra Feeley, editingMaría Angélica Lasso, Spanish translationCallista Medland, editingNatalie Piontek, program notes
AUDIO TECHJoel Dallenbach
WEBMASTERLigature Creative Group
EMBEDDED REPORTERJulia ComptonMeg Satrom, editor
PUBLICITY & DEVELOPMENTNiccolo CasewitDr. Robert DallenbachStephanie Gillman, photographerEleanor GloverAli McNallyMatt MeierKatrina NiemistoJeff PaulDavid Sherman
OUR TEAM
1 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
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 OFFICECris Diaz, habla españolSarah HoganVenus KleinMaría Angélica Lasso, habla españolAnnie LauryAllison LaustenAli McNallyJon Olafson
FRONT OF HOUSEGil ClausenAlixandra FeeleyEleanor GloverMaureen KeilRussell KleinLinda LebsackBrian McGuire Karen McGuire
RECEPTIONAllison Lausten
PARKING ADVISORSLinda LebsackHugh Pitcher
MORE THAN MUSICPARTNERSBa-NOM-a-NOMFire Truck CrepesShephen O’Rourke, flamenco guitarPierogies FactoryPurple Door CoffeeUrsula Brewing
1 5
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
1 6 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
JUNE 3 ∙ EUROTRIPby NATALIE PIONTEK
Ode to the Red Flag brought Lu Qiming international acclaim when it was performed by the Israeli Philharmonic Orchestra in 2008 under the baton of Zubin Mehta.
It was composed and initially performed in 1965 in Shanghai
under the baton of esteemed Chinese conductor Chen Chuanxi.
The nationalistic overture is a tribute to the Republic of China.
It opens with a sprightly fanfare in the trumpets, bolstered by
strong chords in the low brass and trombones. The fanfare is
reminiscent of the Chinese national anthem, in that both open
with a major key arpeggio. The trumpets then repeat the fanfare,
this time in a different key, and the French horns offer their own
iteration of the theme, followed by a soaring melody in the strings.
Virtuosic flourishes in the flutes, which are heard throughout the
movement, make Ode a particularly thrilling and celebratory piece.
Lu is a recognized
composer of scores
for Chinese film and
television.
Duration: 7 minutes
Ode to the Red FlagLu Qiming b. 1930
1 7
1 8 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
César Franck is a 19th-century Belgian composer known for his career as an organist and composer. He composed in a post-Romantic style that was largely influenced by the music of Beethoven, Debussy, and Richard Strauss.
The Symphony in D minor, composed in 1888, is Franck’s only
symphony, written two years before his death.
ABOUT THE MUSICFranck’s Symphony in D Minor is reminiscent of the large-scale
Germanic compositions of Brahms and Wagner. It has all the
drama of Wagner’s operas, and opens with a foreboding three-
note motif in the low strings. This motif takes various forms and
appears many times throughout the duration of the symphony.
The violins then enter in a low register, enriching the sound-
scape, and each of the woodwinds takes on a distinct character,
making the music seem programmatic in nature.
A dedicated teacher,
Franck once said that,
“Real education should
consist of drawing the
goodness and the best
out of our own students.
What better books can
there be than the book
of humanity?”
Duration: 37 minutes
Symphony in D minorCésar Franck (1822–1890)
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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
George Gershwin single-handedly ushered the 1920s era of jazz into concert halls.
He entered the world of music by working as a song plug-
ger—someone who performs and advertises the works of music
publishing companies—for Jerome H. Remick & Co., located in
the famous Tin Pan Alley.
He played the piano constantly, becoming a highly skilled pianist
as well as a talented vocal accompanist. He soon began com-
posing and improvising his own songs along with his brother,
lyricist, Ira Gershwin. It wasn’t long before he brought his talents
to Broadway, composing scores for three Broadway shows.
He broke into the esteemed venue of the concert hall with his
Rhapsody in Blue, Piano Concerto in F, and An American in Paris.
Gershwin was also a tal-
ented painter and tennis
player. He famously
painted a portrait of one
of his musical contem-
poraries, the composer
Arnold Schoenberg.
Duration: 7 minutes
An American in Paris SuiteGeorge Gershwin (1898–1937)
2 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
T R A I N I N G / STA RT U P S U P P O RT / M I S S I O N O P E R AT I O N S
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2 1
ABOUT THE MUSICOf An American in Paris, Gershwin said
that his goal was “to portray the impres-
sion of an American visitor in Paris as he
strolls about the city and listens to various
street noises and absorbs the French
atmosphere.”
It is composed for the instrumentation
of a typical orchestra, plus a few unusual
additions: celesta, saxophone, and auto-
mobile horns (the automobile horns and
celesta are, however, removed from John
Whitney’s arrangement that we’re perform-
ing tonight).
Gershwin wrote the work following the
enormous success of his Rhapsody in
Blue, from which he made an astonishing
quarter of a million dollars between 1924
and 1934. When Gershwin took his trip
to Paris, he was already a recognized
celebrity, and he met with such famous
composers as Sergei Prokofiev, Maurice
Ravel, and Darius Milhaud.
The An American in Paris Suite opens with
a jaunty theme presented by the violins,
brightened by expressive chirpings in the
flutes. This upbeat character is largely
created by Gershwin’s use of grace notes,
extra embellishing notes that come right
before the downbeat. They imbue the
work with a jazzy mood.
The work concludes with a restating of the
main theme, with the orchestra crescendo-
ing brilliantly to the finish.
Bedřich Smetana was a nationalistic Czech composer who was also revered for his work as a conductor and critic.
Much of his music is richly pastoral in nature, as Smetana sought
to capture the beauty of the Czech countryside in his composi-
tions. His set of symphonic poems, Ma Vlast, “My Homeland,” is
perhaps the best representation of this compositional style.
ABOUT THE MUSICMa Vlast is divided into six movements, each of which charac-
terizes a different aspect of the Czech countryside. Die Moldau,
the movement being performed today, refers to the Vltava River,
which vividly flows past peasant celebrations, through tumbling
rapids, and eventually past the royal palace in Prague.
The movement opens with E minor scales in the flute section. In
this passage, the flutes seamlessly exchange the motif every oth-
er measure, creating the effect of only one instrument playing.
The violins then come in to sing the main theme, a sweeping,
dancing melody, underneath which the rest of the strings play a
rippling accompaniment.
Despite the fact that
Smetana’s music is
deeply entrenched in
Czech heritage, the
composer did not
actually learn Czech as
a language until he was
40 years old.
Duration: 12 minutes
Die MoldauBedřich Smetana (1824–1884)
2 3
2 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
Johann Strauss Jr. was born in Vienna, Austria, where he received his musical training under the tutelage of violinist Franz Armon, and learned music theory and composition from Joachim Hoffman and Joseph Dresler.
Strauss’s father did not intend for the young Strauss Jr. to take up
a musical career, but he pursued it nonetheless. His music was
often disregarded for being too frivolous, yet many great com-
posers still recognized Strauss Jr.’s genius in compositional tech-
nique. He composed more than 500 waltzes, polkas, quadrilles,
and other dances, in addition to a few operettas and a ballet.
ABOUT THE MUSICOn the Beautiful Blue Danube is one of Strauss’s most famous
waltzes; some may recognize it from Stanley Kubrick’s film 2001:
A Space Odyssey, in which it was featured prominently. It has
been used countless times in cartoons, parodies, and television.
The work opens with tremolos in the violins, and the horns inton-
ing excerpts of the main theme alongside accompaniment by
the flutes. It is classified as a typical Viennese waltz, meaning that
there is always a slight hesitation before the third beat of each
bar. In the percussion, there is frequent use of the cymbals and
the snare drum, which keep the orchestra perfectly in time.
Because of the enor-
mous number of waltzes
he produced during his
career, Johann Strauss
Jr. was widely known as
“The Waltz King.”
Duration: 9 minutes
On the Beautiful Blue DanubeJohann Strauss, Jr. (1825–1899)
2 5
Fritz Kreisler’s Liebesleid, “Love’s Sorrow,” is one in a set of three Viennese dances called Alt-Wiener Tanzweisen.
Kreisler, one of the most acclaimed and virtuosic violinists of his
time, often performed these short pieces as encores. The other
two pieces from these Viennese dances are Liebesfreud, “Love’s
Joy,” and Schön Rosmarin, “Lovely Rosemary.”
Written in the key of A minor, Liebesleid is the most subdued of
the three short pieces. The piece is based on intervals of a fourth
between the dominant chord (the fifth note in the minor key
scale) and the tonic (the note A). This interval is then repeated a
number of times until the piece modulates into the happier key
of C major, and finally to a peaceful close back in A major.
Fritz Kreisler was the
violin prodigy of his
time. At the age of 7,
he was accepted to
the prestigious Vienna
Conservatory, making
him the youngest per-
son to have been admit-
ted to the institution.
Duration: 4 minutes
LiebesleidFritz Kreisler (1875–1962)
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].
2 6 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
Vittorio Monti is a lesser-known Italian composer, violinist, and conductor from the late-19th and early-20th century, whose primary claim to fame is his rhapsodic concert piece Czárdás.
The work has a lilting, gypsy-like quality, and was originally
composed for violin, mandolin, and piano. Since that time it
has been arranged for a myriad of different ensembles: violin
and piano; piano and orchestra; saxophones, percussion, and
piano; and many more. The work is divided into seven different
sections, by turn mournful and exuberant, content and agitated,
relaxed and virtuosic.
“Don’t call my name,
don’t call my name…”
Lady Gaga uses part
of Czárdás in her 2009
song “Alejandro.”
Duration: 4 minutes
CzárdásVittorio Monti (1868–1922)
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
2 7
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.
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.
2 8 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
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!
2 9
ORCHESTRA SPOTLIG HT
KENNETH GREENWALDPRINCIPAL BASSOONEIGHTH DPO SEASON. Kenneth discov-
ered the bassoon during his freshman
year of high school and began studying
the instrument with Colorado Symphony
bassoonists Jonathan Sherwin and
Joanne Goble.
At age 5, he began studying violin, and
he would later also study piano and
flute. Kenneth attended the University of
Denver’s Lamont School of Music, earning
his Bachelor’s and Master’s in Music
Performance while studying with Chad
Cognata, principal bassoonist with the
Colorado Symphony Orchestra.
Over the years, Kenneth has performed
with many other organizations including
the Denver Young Artists Orchestra,
Arapahoe Philharmonic Orchestra,
Colorado Wind Ensemble, Musica Sacra
Chamber Orchestra and Colorado
Symphony Orchestra.
DR. WILLIAM H. HINKIE, IIIPRINCIPAL VIOLANINTH DPO SEASON. William has been
playing music since the age of 9 when
he started violin in his public school
music program in Louisiana. He has
played with the Baton Rouge Symphony,
Akron Symphony, Shreveport Symphony,
Boulder Symphony, Colorado Springs
Philharmonic, Colorado Ballet orchestra
and was assistant principal viola of the
Aspen Festival Orchestra. In the summer
of 2015, he was a member of AIMS festi-
val orchestra in Graz, Austria.
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. Tonight, meet Kenneth, William, Alexis, Annie, Albert and Jordan —
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ORCHESTRA SPOTLIG HT
William received his Bachelor of Music
Education and Violin Performance from
Louisiana State University, a Master
of Music in Viola Performance from
the Cleveland Institute of Music and
a Doctorate of Musical Arts from the
University of Minnesota. His teachers
include Sally O’Reilly, Heidi Castleman,
Victoria Chiang and Ellen Rose. Dr. Hinkie
currently teaches violin, viola and cello at
Fuzz Music Studios in Longmont.
Previous teaching appointments include
artist teacher at the Interlochen Center
for the Arts, orchestra director at Arvada
West High School, music director of the
Commerce City Youth Orchestra and lead
teaching artist for El Sistema Colorado.
ALEXIS JUNKERSECOND OBOEFIFTH DPO SEASON. A life in music was
unavoidable for Alexis — with a high
school band teacher for a mother and a
high school choir director for a father, she
started playing piano when she was 4 years
old and began on the oboe in fifth grade.
Alexis grew up in the Twin Cities playing in
the Minnesota Youth Symphonies.
Since receiving her Bachelor’s of Music
degree from the University of Denver
(under Lawrence Golan’s baton), Alexis
has performed with the Colorado Wind
Ensemble, Boulder Symphony, and
Greeley Philharmonic. By day, Alexis
is a Digital Media Buyer for an online
marketing company. Between work and
orchestra rehearsals, she plays tennis all
summer and skis all winter.
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ANNIE LAURYSECOND VIOLINSEVENTEENTH DPO SEASON. Before
graduating from high school, Annie
took piano lessons for 10 years, flute for
two years, and violin for six years. While
earning her Bachelor of Science degree
in Psychology, she played in the Kansas
State University and Ottawa University
orchestras, and then didn’t play again for
more than 20 years. This time was largely
spent showing Quarter Horses on a pro-
fessional level.
Annie plays high school musicals, special
music for area churches and for ladies’
clubs throughout the Denver area. She
recently joined a “rock band” and is ex-
cited about arranging violin music for this
new endeavor.
Outside of her music life, Annie is director
of regulatory affairs for a manufacturer
of veterinary biologicals. When not in
the office, she prepares purified tetanus
antitoxin, West Nile virus antibody, and
other specialized products made from
horse serum. The rest of her time is filled
up with golf, church activities, and various
volunteer efforts.
ALBERT TINGSECOND VIOLINFOURTH DPO SEASON. Albert Ting start-
ed 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.
Outside interests including 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 sum-
mer together building robots from little
Arduino boards. His family also treasured
the homeschooling experience.
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PRESS PLAY!
davidshermancreative.com
“Playing Out” is created in part by
local filmmaker David Sherman. David
specializes in arts marketing, media
literacy and education.
Our webseries “Playing Out” takes musicians out on the town performing in and around Denver. Bingewatch all six episodes at YouTube.com/DenverPhilharmonic.
Watch pianist Fei-Fei Dong play Gershwin’s
Rhapsody in Blue on a 16th Street Mall
piano, Music Director Lawrence Golan
on violin at the Botanic Gardens with
Vivaldi’s “Autumn,” cellist Jay Campbell
explore downtown and perform Elgar’s
Cello Concerto, Sydney Harper carol at
The Brown Palace, pianist Steven Lin flip
records at Wax Trax II or conductor S.
Mordecai Fuhrman FaceTime with Dutch-
American composer Johan de Meij.
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Albert first joined DPO in 2010 and has
immensely enjoyed playing with all the
friendly and energetic folks at DPO. He
is currently recognized as the best chair
stacker in the orchestra.
JORDAN WALTERSDOUBLE BASS, STUDENT INTERNFIRST DPO SEASON. DPO Student Intern
Jordan Walters is a music major graduate
of Denver School of the Arts (DSA) (2009–
2016), where he has held the principal
bass chair for the last two years.
During his seven years at DSA, he studied
with University of Colorado double
bass professor, Dr. Paul Erhard and won
auditions for Western States Honor
Orchestra (2013, 2014, 2015), Colorado All
State Orchestra (2014, 2015), Denver City-
Wide Orchestra (2013, 2014, 2015), Denver
Young Artists’ Orchestra (2014–2015), and
Colorado Pop Rock Band (2014–2016).
He is passionate about musicals and
has played bass in DSA productions of
Hairspray, Oliver! and Red Riding Hood.
This fall, Jordan will be attending CU
Boulder, double majoring in aerospace
engineering and music (double bass per-
formance). He gratefully acknowledges
the loving guidance and support received
from his family, mentors, and friends as he
embarks upon his new path towards the
unknown.
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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, June 12 for an encore of
tonight’s Denver Philharmonic performance!
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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.
OUR HISTORY
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ORCHESTRACIRCLE($20,000+)Valerie & Gil Clausen
CONDUCTORCIRCLE($5,000+)Linda Lebsack & Hugh
Pitcher
MUSICIANCIRCLE($1,000 – $2,499)Charles & Joan Albi
Jon Olafson
Wallace Orr
Xcel Energy
PATRON($500 – $999)Anonymous
Patricia Aronstein
Brownstein Hyatt Farber Schreck
CoBank on behalf of Brian Lucius
Sarah Hogan
Russell Klein
Brian Lucius
Don & Bonnie Walls
US Bank Foundation
BENEFACTOR($300 – $499)Anonymous
Nancy Asdigia & Joseph Pompei
CoBank on behalf of Brian Lucius
Eleanor Glover & Eugene Advincula
Susan Cochran
Robert Greene & James Harvey
Allison & Matthew Lausten
Drs. Mark & Maxine Rossman
Karin Tate
CONTRIBUTOR($100 – $299)Anonymous
Anonymous
Anonymous
Keri Rose Agnes
Penny Alles
Jean & Michael Artin
Barefoot Public Relations, LLC
Donna & Pierre Bastien
Helen Bauer
Mary Brauer
Karin Hensel
Joey Hogan
Hospital Corporation of America
Callista & Patrick Medland
Carolyn & Gary Medland
Douglas & Mary Meeusen, in honor of Callista Medland
Kathy & Larry Meier
Montezon Family, in memory of Ronald Montezon
Jill Mueller
Norman Mueller & Christine Murphy
Brenda & Peter Oldak
Phil Pearlman & Betty Bona
Sandra Rothenberg
Robert J. Smith
James A. Stegman
Cori Streetman
TATE+BURNS Architects LLC
Gina & Paul Todd
Naioma Walberg
Dave Wallace
Gary Wooley
THANK YOU!We would like to acknowledge the generous support of the following individuals, businesses and corporations.
Since January 1, 2015
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FRIEND(UP TO $99)Anonymous
Anonymous
Anonymous
Anonymous
Anonymous
Anonymous
Anonymous
Amazon Smile Foundation
Tamara Arredondo
Carolyn Artin
Wendy Artin, in honor of Valerie Clausen
John Bardeen
Fred Beisser
Michael Bennett
Brio Gold Inc.
James & Kimberly Brody
Janice Burley, in memory of Jane Burley
Kenton & Carla Burns
Holli Campbell
Richard Casson
Nicole Chalas
Ginger T. Clausen
Justin Cohen
Esmeralda Colfax
Bob & Stacey Collins
Robert & Pauline Dallenbach
AJ & Heidi Deets
Stephen Dreher
Carol Finley
Amaryllis Fletcher
Forseth Family
Laurie Gaspar
Kelly Genois
Stephanie Gillman
Terri Gonzales
Bruce Haefner
Nancy Hart
Michael Hoffman
Allan & Carol Hanson
Lori Hanson
David Harrington
Kurt Harris
Sally Cade Holmes
Surilda Hudson
Michele Huston
I GET DOWN Clothing & Apparel
Jonathan Icasas
Emily Kent
Terry Kargel
Kréddle Chin Rests
Catherine & Ted Lanzano
Ligature Creative Group
Brian M.
Susan J. McGinley
Matt Meier & David Sherman
Bert & Rosemary Melcher
Douglas Merk
Barbara Moritzky, in honor of Rebecca Moritzky
Chiara Motley
Terry & Joyce Olafson
Alyssa Oland
Lesley Reeder
Shari Ross
Karin Schantz
Pauline Herrera Serianni
Annie & Roger Smart
Jane Templeton
Mike & Amanda Tine
Elinor Towler
Jim & Anne Trunkle
Pete Trunkle
IN-KINDDONORSStudio Hippo
University of Denver
HOTELSPONSORThe Curtis Hotel
FLORALSPONSORNewberry Brothers
Greenhouse & Florist
SEASONSUPPORTERSAccess
David Sherman Creative
Ligature Creative Group
The Pillar of Fire Church
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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.
4 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
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
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CONTACT US!PO Box 6074Denver, CO 80206303.653.2407
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.
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S E P T 3 0N OV 1 8D E C 1 6F E B 1 0A P R I L 7M AY 2 5
SAVE OUR DATES!
DON’T MISS OUT!We have even more music, activities and surprises in store for you throughout our 69th Season!
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