Denver Philharmonic Orchestra April 4, 2014 Concert Program

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NEW FORMATIONS & MYSTERIOUS MOUNTAINSLawrence Golan, conductorJoshua Sawicki, pianoMussorgsky/Rimsky-Korsakov: Night on Bald Mountaind’Indy: Symphony on a French Mountain AirHovhaness: Mysterious Mountain; Symphony No. 2Nytch: Symphony No. 1: Formations — Denver premiere

performance, co-commissioned by the DPO

O C T O B E R 4N O V E M B E R 1 5D E C E M B E R 2 0F E B R U A R Y 1 4

A P R I L 4M A Y 2 2

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

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

www.newberrybrothers.com

N E W B E G I N N I N G S 3

With our 2013–14 Season, we celebrate 66 years of providing high-quality symphonic concerts and outreach.

Our orchestra was founded in 1948 as the

Denver Businessmen’s Orchestra by Dr.

Antonia Brico, the first woman to conduct

the Berlin Philharmonic, the New York

Philharmonic and several other major

orchestras. The two major issues driving

establishment of the orchestra were a

need for affordable classical music con-

certs in the Denver area and the need for

an organization that would nurture, devel-

op and showcase the talents of classically

trained musicians, many of whom had

relocated to Denver following World War

II. The orchestra quickly became known

for its ambitious collaborations and per-

formances. In 1968, to honor its founder,

the name of the orchestra was changed to

the Brico Symphony, and the tradition of

musical excellence and community service

continued.

Following Antonia’s retirement in 1986,

the orchestra selected Julius Glaihengauz

as its second Music Director. Julius

was a talented Russian immigrant who

recently graduated from the Tchaikovsky

Conservatory. Under his new leadership,

the name of the orchestra was changed

to the Centennial Philharmonic and

performed for eleven seasons, followed by

a season under interim director Kirk Smith.

In 1999 Dr. Horst Buchholz, Professor of

Music at the University of Denver and an

acclaimed musician and conductor, was

selected as the orchestra’s new Music

Director. This began a period of growth

and success that continues today. To more

accurately reflect our Denver roots, the

Centennial Philharmonic was renamed the

Denver Philharmonic Orchestra in 2004.

Horst remained Music Director/Conductor

through the 2008–09 Season, after which

he was appointed the orchestra’s first

Conductor Laureate.

Adam Flatt was appointed the orchestra’s

fourth Music Director/Conductor in June

2010. Adam’s dynamic and inspiring

leadership over the next three years

further increased the artistic quality of the

orchestra.

In spring of 2013, award-winning conduc-

tor Dr. Lawrence Golan was selected as our

orchestra’s fifth Music Director. Lawrence

first led the DPO as a guest conductor in

November 2009.

WELCOME!

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Concerts begin at 7:30 pm at

KPOF Hall, 1340 Sherman Street, Denver, CO 80203

OCTOBER 4NEW BEGINNINGSLawrence Golan, conductorDaniel Morris, bass tromboneBoyer: New BeginningsBrubeck: Concerto for Bass Trombone

and OrchestraDvorak: Symphony No. 9 “New World”

NOVEMBER 15INAUSPICIOUS BEGINNINGSLawrence Golan, conductorJames Buswell, violinBeethoven: Fidelio OvertureBarber: Violin ConcertoTchaikovsky: Symphony No. 5 in E Minor

DECEMBER 20NOELS & NEW YEARAdam Flatt, guest conductorMarcia Ragonetti, mezzo-soprano Rimsky-Korsakov: Suite from

The Snow MaidenProkofiev: “Tröika” from Lieutenant KijéKuzma: “Against the Winter Wind” —

World premiere performanceHandel: Messiah “But who may abide

the day of his coming?” Hayen: Maltese WinterHoliday favorites and sing-alongs!

FEBRUARY 14 YOUNG LOVELawrence Golan, conductorLinda Wang, violinTchaikovsky: Sleeping Beauty SuiteChen and He: The Butterfly Lovers

Violin ConcertoProkofiev: Romeo and Juliet Suite No. 2

APRIL 4 NEW FORMATIONS &MYSTERIOUS MOUNTAINSLawrence Golan, conductorJoshua Sawicki, pianoMussorgsky/Rimsky-Korsakov:

Night on Bald Mountaind’Indy: Symphony on a French Mountain AirHovhaness: Mysterious Mountain;

Symphony No. 2Nytch: Symphony No. 1: Formations —

Denver premiere performance, co-commissioned by the DPO

MAY 22 NEW FRONTIERSLawrence Golan, conductorDaugherty: KryptonHovhaness: Celestial FantasyHolst: The Planets


FRIDAY, APRIL 4, 2014NEW FORMATIONS & MYSTERIOUS MOUNTAINSKPOF Concert Hall · Denver, Colorado · 7:30 pm

Lawrence Golan, conductorJoshua Sawicki, piano

Modest Mussorgsky, arr. Nikolai Rimsky-Korsakov(1839–1881) Night on Bald Mountain

Vincent d’Indy Symphony on a(1851–1931) French Mountain Air, Op. 25 Assez Lent – Modérément Animé

(Rather Slowly – Animated Moderately)

Assez Modéré, Mais Lenteur

(Rather Moderate, but without dragging)

Animé (Animated)

Featuring Joshua Sawicki, piano

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


MEET THE MUSICIANSJoin us for a reception on the lower level after the concert.

Alan Hovhaness Symphony No. 2;(1911–2000) Mysterious Mountain Andante

Double Fugue: Moderato maestoso

Double Fugue: Allegro vivo

Andante espressivo

Jeffery Nytch Symphony No. 1; Formations(b. 1964) Orogenies

Rush!

Requiems

Majesties

DENVER PREMIERE PERFORMANCE, CO-COMMISSIONED BY THE DPO


MUSIC DIRECTOR Lawrence Golan

ASSOCIATE CONDUCTORKornel Thomas

FIRST VIOLINKatherine Thayer, concertmasterPatsy AronsteinYaniv Gutman*Thomas JatkoNasiha KhalilChelsea MordenEmmy ReidBeth SchoeningVanessa Vari

SECOND VIOLINYiran Li, principalAlbert TingRachel BradfordNiccolo Werner CasewitPauline DallenbachTerri GonzalesMiki HeineAnnie LauryAlyssa OlandAnne Silvas

VIOLAWilliam Hinkie, III; principalAndrew Grishaw*Lori HansonLindsey Hayes*Ben LueyTravis Rollins*

CELLOBryan Scafuri, principalNaftari BurnsRebecca CoyAusra MollerudAnnastasia PsitosMonica SálesMark StantonAmanda ThallAndreas WerleRachel Yanovitch

BASSMark Stefaniw, principalLucy BauerJosh FilleyJoey PearlmanTaryn Galow

FLUTEAaron Wille, principalCatherine Ricca Lanzano Whitney Kelley

PICCOLOWhitney Kelley

OUR MUSICIANS


OBOEKimberly Brody, principalLoren Meaux, assistant principalChloe Veltman

ENGLISH HORNLoren Meaux

CLARINETClaude Wilbur, acting principalBrooke Hengst

BASS CLARINETEmilie Helms*

BASSOONKen Greenwald, principalNicholas LengyelLeigh Townsend*

CONTRABASSOONLeigh Townsend*

FRENCH HORN David Wallace, principalMark DenekasJeanine WallaceKelli HirschMary Brauer

TRUMPETRyan Spencer, principalTyler Van DamRyan Stutzman*Chris Shwayka*

TROMBONEBryan Gannon, principalWallace Orr

BASS TROMBONEDaniel Morris

TUBADarren DeLaup

TIMPANISteve Bulota, principal

PERCUSSIONCollin ConstanceChris Lundberg*Jackson Stevens*

HARPSuzanne Moulton-Gertig

CELESTEMargo Hanschke*

* guest performers

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LAWRENCE GOLANMUSIC DIRECTOR, CONDUCTOR

It is also his first year as principal Conductor of the Seoul

Philharmonic in South Korea. He continues as Music Director of

the Yakima Symphony Orchestra in Washington State and the

Lamont Symphony Orchestra & Opera Theatre at the University

of Denver.

Lawrence has garnered considerable international recognition

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

five Global Music Awards, three American Prize awards, three

Downbeat Magazine Awards, and two Prestige Music Awards.

Lawrence’s appointment in Yakima came on the heels of a very

successful four-year term as Resident Conductor of The Phoenix

Symphony. In 2012, Lawrence was named the Grand Prize Winner

of The American Prize for Orchestral Programming. Several of

the concerts that Lawrence programmed, conducted, and narrat-

ed with The Phoenix Symphony turned out to be the most finan-

cially successful and well-attended performances in the history

of the orchestra, completely selling out triple concert sets in a

2200-seat hall. Lawrence continues to guest conduct professional

orchestras, opera, and ballet companies in the United States

and around the world. Having conducted in 25 states and 16

countries, recent engagements include performances in Boulder,

Macon, Memphis, and Tucson as well as the Czech Republic,

Italy, Korea, Taiwan, and a three-week tour of China with the

American Festival Orchestra.

The 2013–14 Season marks the beginning of Lawrence Golan’s tenure as Music Director of the Denver Philharmonic Orchestra.

N E W B E G I N N I N G S 1 1

A native of Chicago, Lawrence holds degrees in both con-

ducting and violin performance from Indiana University’s

Jacobs School of Music (B.M. and M.M.) and the New England

Conservatory of Music (D.M.A.). In addition, he studied at

all of the major conducting festivals including Aspen and

Tanglewood, where in 1999 he was awarded the Leonard

Bernstein Conducting Fellowship. Following in the footsteps

of his father Joseph Golan, longtime principal Second

Violinist of the Chicago Symphony Orchestra, Lawrence was

Concertmaster of the Portland Symphony Orchestra for eleven

years and has appeared as soloist with numerous orchestras,

including the Chicago Symphony.

Lawrence has made several critically acclaimed recordings, both

as a conductor and a violinist. He has also been published as a

writer, composer, editor and arranger.

Lawrence and his wife Cecilia have been married since 2003.

They have two wonderful children, Giovanna and Joseph.

For more information, please visit LawrenceGolan.com or

WilliamReinert.com.


JOSHUA SAWICKIPIANO

Since then, Joshua has studied at the Royal College of Music

(London), Boston University, University of South Florida, the

Aspen Music Festival, the Chautauqua International Piano

Festival, and is currently an Artist Diploma candidate at Denver

University, where he studies with New York-based pianist

Steven Mayer.

Among numerous other awards, Joshua’s recent honors include

first place in concerto competitions with the Grand Junction and

Lamont Symphony Orchestras. He has played around the world

with recent performances including Aspen; Tampa; Novi Sad,

Serbia; Paris, France; Utrecht, Netherlands; and Cambridge, Mass.

Besides performing, Joshua is an avid teacher. While in Tampa, he

taught piano at the University of South Florida, at the Tampa Piano

Academy and at the Patel Conservatory. Currently he teaches pri-

vately in Denver and at the Colorado Music Quest in Centennial.

Joshua’s major teachers include Rebecca Penneys, Steven Mayer,

John O’Conor, and Svetozar Ivanov.

Joshua was born and raised in Connecticut where he began piano lessons at age 4. During high school, he studied at the Hartt School of Music and won awards in various piano competitions.


JEFFREY NYTCHCOMPOSER, FORMATIONS

He spent much of his teen years dreaming of someday going

to Wall Street and conquering the world; then there was his

study of geology, which encompassed a bachelors degree from

Franklin & Marshall College and graduate work at Binghamton

University before he realized that the path of professional geol-

ogist was not for him. Through it all, music has been the abid-

ing passion of his heart; in the end, it won out with his career as

well. What followed has been a professional odyssey of sorts.

His compositional career has resulted in works commissioned

and performed by a wide range of major artists, including

Richard Stoltzman and the Seattle Symphony, the New York

Chamber Symphony, the Ahn Trio, Verge Ensemble, the

National Repertory Orchestra, and many others.

He earned Master’s and Doctoral degrees at Rice University’s

Shepherd School of Music. These disparate pursuits

have coalesced in his current position as Director of the

Entrepreneurship Center for Music at The University of

Colorado-Boulder. As director of the ECM, he draws on the

full range of his professional experiences, equipping music

students with the tools they need for professional careers in

the arts and speaking nationwide as one of the leading voices

in arts entrepreneurship… all with the stunning geology of the

Colorado Front Range as the backdrop. It’s nice when things

come together, isn’t it?

Jeffrey enjoys a rich and diverse career as a composer, performer, educator and advocate — but it hasn’t been a straight line getting there.


ROCK ON!

THANK YOU, KOLACNY MUSICfor providing the instruments for our Petting Zoo.

SOPRANOtrumpet, flute, oboe,

clarinet, violin

ALTOFrench horn,

alto saxophone, viola

TENORcello, trombone,

tenor saxophone

BARITONEbassoon

BASStuba, bass clarinet, baritone

saxophone, alto clarinet,

double bass

Pitch is the highness or lowness

of a note. The long, fat strings

of the double bass make low

notes. Short, thin strings on the

violin make high notes. When

all orchestra instruments

play together, the different

pitches, or layers, create a

Musical Mountain.

How is music like a mountain?Let’s learn about pitch to find out!


KORNEL THOMASASSOCIATE CONDUCTOR

He majored in composition at the St. Stephen King Music

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

in orchestral conducting from the University of Music and

Performing Arts Vienna.

For the past three summers, Kornel has attended the presti-

gious Pierre Monteux School for Conductors and Orchestral

Musicians with the Quimby Family Foundation Scholarship. In

2013, he was a semi-finalist at the Sao Luiz Teatro Municipal

and the Orquestra Metropolitana de Lisboa Young Conductors

Competition, and he had his debut in the Vienna Musikverein

with the ORF Radio Symphony Orchestra Vienna in 2012.

Kornel was selected as music director for the 2010 Opera

Project of the Media Composers from the University of Music

and Performing Arts Vienna. From 2004–2006, he served as

Assistant Conductor of the St. Stephen King Youth Symphony

Orchestra. And in 2006, Kornel won second prize at the Bela

Bartok Hungarian National Competition in Composition.

In addition to the DPO, Kornel is also the assistant conductor

and orchestral manager of the Lamont Symphony Orchestra and

Opera Theater in Denver. He lives in Denver where he is also

pursuing an Artistic Diploma in Orchestral Conducting.

Kornel was born in Pittsburgh and grew up in Budapest where he began his musical education studying the violin, piano and composition.

What should you listen

for? What is the music’s

historic and cultural

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.


EXECUTIVE DIRECTORValerie Clausen

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

DENVER PHILHARMONIC FOUNDATION BOARD Michael P. Barry

Keith Fisher

Russell Klein

Allison Lausten

CONDUCTORLAUREATEDr. Horst Buchholz

BACKSTAGE COORDINATORSAnna SchultzJän Schultz

BOX OFFICE/ TICKET SALESGil ClausenCarla CodyAmanda HandAnnie LauryJon OlafsonAnna Schultz

CONCERT NOTESDr. Suzanne Moulton-Gertig

CONCERT RECORDINGJoel Dallenbach

CONCERT PROGRAMLigature Creative Group, designWalker Burns, editingElizabeth Wall, editing

FUNDRAISINGGil ClausenEleanor GloverAllison LaustenJon Olafson

OUR ADMIN VOLUN TEERS


VOLUNTEERING OPPORTUNITIESOur orchestra is run by volunteers, with no paid administrative staff. We 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 VOLUN TEERSLIBRARIANCallista MedlandAlyssa Oland, assistant

ORCHESTRA ROSTERAnnie Laury

OUTREACH Alixandra FeeleyKatherine FitzgeraldLok JacobiMaureen KeilLinda LebsackKatherine Thayer

PARKING ADVISORHugh PitcherDoug Gragg

PERSONNEL MANAGERAnnie Laury

PRE-CONCERT SLIDESAlex Thomas Ligature Creative Group

PUBLICITYNiccolo CasewitDr. Robert DallenbachEleanor GloverAmanda HandMatt MeierJeff PaulDavid Sherman

USHERS & RECEPTION COORDINATORSGil ClausenLok JacobiAllison LaustenRoger PowellRobert Schoenrock

WEBMASTERLigature Creative GroupNick Croope


APRIL 4 ∙ NEW FORMATIONS & MYSTERIOUS MOUNTAINS

by DR. SUZANNE MOULTON-GERTIG

Night on Bald MountainModest Mussorgsky (1839 – 1881)

Undoubtedly Mussorgsky’s his best-known orchestral work, Night on Bald Mountain was not originally composed as an independent tone poem. This work was composed for the opera Mlada, which was to be a group effort compiled from separate contributions of Cesar Cui, Alexander Borodin, Nikolai Rimsky-Korsakov and Mussorgsky.

One of the sections assigned to

Mussorgsky was “The Sacrifice of the Black

Goat on Bald Mountain,” and for this

portion, the composer revised sketches

for a previous work, which he called St.

John’s Night on the Bald Mountain. When

the grand project of Mlada fell through,

Mussorgsky decided to use his music as

an orchestral intermezzo in his own opera

Sorotchinsk Fair. Regrettably, this was

not to come to pass, either, for he died

before finishing that opera. It remained to

his colleague Rimsky-Korsakov to put into

final shape what became, in the end, this

extraordinary orchestral tone poem.


The following program Mussorgsky himself

indicated which Rimsky-Korsakov retained:

“Subterranean sounds of supernatural

voices. Appearance of the spirits of dark-

ness, followed by that of Satan himself.

Glorification of Satan and celebration of

the Black Mass, The Sabbath Revels. At the

height of the orgies, the bell of the village

church, sounding in the distance, disperses

the spirits of darkness. Daybreak.”



Symphony on a French Mountain Air, Op. 25Vincent d’Indy (1851 – 1931)

Although d’Indy completed well over a hundred works, only a few of them are played frequently today. From this handful of works is his most popular, Symphonie sur un chant montagnard français, or Symphony on a French Mountain Air, composed in 1886.

The composer took his theme for the work

from a folksong he heard at Périers in low-

er Normandy overlooking the Cévennes

Mountains. The symphony is unusual in

that it features a prominent piano part

that is highly virtuosic in nature; d’Indy

conceived the work as a fantasy for piano

and orchestra.

Writer Michael Kelly describes the work

briefly: “The main theme, announced im-

mediately by the English horn, reappears

periodically throughout the work, both

as a complete statement of the song as

well as in fragmentary forms resembling

Wagnerian leitmotivs. Two other melodies

also play prominent roles, both individu-

ally and in combination. The exposition,

development and recapitulation of these

themes reveal an almost Brahmsian ability

to mold musical materials to a desired

form – rather than adjust the formal struc-

ture to accommodate the ideas.” Writer

Laurie Shulman provides a more detailed

description:

The first movement of the symphony is

in sonata form, with a classic opposition

of two principal themes. English horn

introduces the French mountain air.

The piano plays in a concertante role:


mostly decorative, but weaving textures

that merge seamlessly with those in the

orchestra. It frequently leads, but does

not dominate. In several places, harp joins

piano for a brief duet.

Piano introduces the transformed theme

in the second movement. The structure

is a song form (A-B-A), with each of the

three sections a miniature binary form.

The writing is proto-impressionist, sug-

gesting waterfalls and mountain streams.

D’Indy loved the mountains and felt

energized by them. This slow movement

was his paean to nature and the silent

grandeur of the Cévennes.

The finale is an animated rondo that

captures the energy of an open air festival.

Ostinati and the feeling of a tarantella

drive the rhythmic pulse, but metric chang-

es are frequent and phrases irregular. As in

the first movement, piano and harp join in

an occasional duet. The finale unfolds in a

gradual crescendo with a steady increase

in power. At the end, d’Indy brings back

the original tune, now with piano and

trumpet. His cyclic re-use and transforma-

tion of the French mountain air reflect the

influence of his teacher César Franck, but

the fusion of romanticism with classical

process is entirely his own.

A SPECIAL THANK YOUTO SCHMITT MUSICfor providing the beautiful Steinway piano for tonight’s concert.


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

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

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

tonight’s Denver Philharmonic performance!


Symphony no. 2 “Mysterious Mountain”Alan Hovhaness (1911 – 2000)

Alan Hovhaness wrote, “I named the symphony for the mysterious feeling that one has in the mountains — not for any special mountain, but for the whole idea of mountains.”

Of Hovhaness, Michael Kelly writes, “His

fascination with Eastern philosophies

and meditation carries over to his music.

Almost all of his works have a spiritual

character. Although it is sometimes reli-

gious, it is seldom liturgical. Frequently

his works invoke spirituality rather than

overtly representing it. It is as if he wants

the listener to explore his inner self rather

than participate in the formal beliefs of

others. Many of his works are inspired by

natural subjects, and cross over the meta-

physical boundary between the universe

of perception and the universe of mystical

imagination. He was especially fasci-

nated by the solitary mountain, whose

rise toward its peak was a metaphor for

ascent toward something unknown, but

transcendentally great.”

Hovhaness composed his second sympho-

ny, which is one of his most frequently per-

formed works, at the bidding of conductor

Leopold Stokowski for the latter’s inau-

gural concert in October of 1955 as the

new conductor of the Houston Symphony

Orchestra. To add to the importance of the

occasion for both conductor and compos-

er, the concert that was broadcast across

the nation on NBC television.

The work is in three movements; the outer

movements feature hymn-like melodies

that are liberated rhythmically by frequent-

ly changing meters. The middle movement

has two prominent attributes: a string choir

theme that is flowing in nature, and an

exuberant theme, both of which are devel-

oped and ultimately presented together

toward the conclusion of the movement.


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As I began work on this symphony I made

two decisions that were critical. The first was

that it was impossible to depict the entire

geologic history of the mountain west —

and therefore I wouldn’t even try. Instead

I would select key episodes in that history

that I thought would also make good music.

The second decision is that I would explore

the relationship between geology and hu-

man experience, a relationship that has not

always been a harmonious one.

This allowed me to form four guiding

principles that helped me shape this sym-

phony: 1) I was not going to attempt a com-

plete telling of the geologic history of the

Rocky Mountains — such an undertaking

would require many symphonies! 2) I would

find musical ways to express geologic

processes so that the symphony would not

just be a reflection of the landscape but of

the processes that formed that landscape.

3) When one views a modern feature such

as a mountain, one sees the many different

events that have shaped that feature in the

Symphony No. 1, FormationsJeffrey Nytch (b. 1964)

One of the interesting things about the geology of the Rocky Mountains is how musical the history is: rocks that are formed at the very beginning continually reappear, just as musical themes do in a composition; components of those rocks — motives, if you will — are modified, varied, and transformed over the course of the work; patterns and repetition are at the core of our geologic history, just as they are at the core of most Western music.

NOTES by COMPOSER JEFFREY NYTCH



aggregate. This compression of perception,

and of time, gave me the freedom to super-

impose or rearrange geologic events ac-

cording to the best musical outcome, even

if it took geologic events out of the order

in which they occurred. 4) There would

be some portion of the work that would

explore the relationship between humans

and the geology that has such enormous

influence on our lives and history.

Each movement explores a different

episode in the geologic story of the Rocky

Mountains:

I. Orogenies Dark, primal q = 54

II. Rush! Scampering, becoming progressively

more manic q = 120

III. Requiems Larghetto q = 58

IV. Majesties Dark, unsettled q = 54; Furiously

churning; Gradually building

momentum; Jubilant

The first movement describes the

Precambrian formation of the crust that

would eventually form the majority of

southwestern North America. I thought of

this as the laying of both geological foun-

dations and musical ones, so that just as the

Precambrian basement keeps appearing

throughout the regions geologic history, so

do the motives and harmonies presented

in this movement play out over the course

of the symphony. The three climaxes corre-

spond to three major orogenic events while

a suddenly calm coda represents the Great

Unconformity and the enormous gap in

time it embodies.

This movement depicts the gold and silver

rushes of the 19th century. We hear a rustic

fiddle tune such as what one might have

heard in a mining camp, but the tune keeps

going awry and fizzling out — just as each

rush failed to fulfill its promise. A middle

section superimposes the sounds of miners

panning for gold with the hiss of hydrother-

mal veins and the thundering of the Cripple

Creek Diatreme. This geologic event is in


turn interrupted by a human one: the labor

strife between miners and mine owners,

accompanied by the sounds of gun shots

that brought the rush era — and bring this

movement — to a crushing conclusion.

The third movement evokes the Cretaceous

Seaway of North America and the huge

amounts of organic material accumulated

there to create coal, oil, and natural gas.

As I contemplated this chapter in geologic

history I was struck by two things. The first

was the realization that the fuels that make

our modern society possible are derived

from the remains of plants and animals —

creatures that were previously alive, and

whose death provided the material for the

very thing our modern world depends on.

I found this thought worthy of contempla-

tion, and it inspired the title Requiems as

well as the bulk of the music for this move-

ment. The more animated music towards



the end of the movement provides a

contrast to the dark world of buried organic

sediment: a sunny evocation of what must

have been a tranquil and beautiful region,

with warm lagoons and rich, tropical forests.

Marine reptiles such as plesiosaurs arched

gracefully in clear, tropical waters, while

pterosaurs and early bird species soared

through the air.

The final movement depicts the long

and complex history behind the mod-

ern Rocky Mountains. First we hear a

brooding tuba solo dissolve into a slow,

climbing chorale for brass: the steady

uplift of the Laramide Orogeny, approx.

65 million years ago. But this uplift didn’t

result in the mountains we see today.

In fact, those highlands were buried by

their own debris and that of an extended

period volcanic activity that showered

thousands of meters of ash, lava, and py-

roclastic flows upon the region. It was not

until about 5 million years ago that either

climate change, renewed uplift, or some

combination of the two caused sudden


and rapid erosion of the Laramide high-

lands — carving out the majestic moun-

tains we see today. As the erosion picks

up pace, we hear snippets of motives

from the entire symphony culminating in

a grand chorale of joyous celebration for

the magnificent region we know today as

the Rocky Mountains.

Of course, it’s every composer’s desire that

the music work on its own terms, without

the benefit of any outside narrative. This is

precisely what I found to be so satisfying

about writing this symphony: while de-

veloping the connecting points between

geologic principles and musical ones I was

not forced to compromise either: the music

was already in the geology, making it easy

to bring the geology into the music.

— Jeffrey Nytch, September 2013

Co-commissioned by the Boulder Philharmonic Orchestra and the Geological Society of America in celebration of the Society’s 125th anniversary, with support from ExxonMobil. This work was funded in part by the Composer Assistance Program of New Music USA.

Learn more about upcoming events from local,

community-based organizations at thescen3.org!

The Scen3 features the events and performances

of SCFD-funded Tier III organizations.


• PHONES ON — SOUND OFF! We know

you want to participate, but let’s leave

the music to the pros

• ALL THUMBS Tweet tweet tweet all the

night through, but remember, no talking

during the concert

• Add the hashtag #DPOtweets to your

posts so your neighbors can follow along

• You don’t need a Twitter account to

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

tweet along with us, you need an account

• “PG” tweets only —

C’mon, we’ve got kids here

TWEET YOUR HEART OUT

#DPOTweets@DenverPhilOrch

CLASSICAL MUSIC, MEET THE 21ST CENTURY

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

A FEW RULES



CONCERT ETIQUET TE

BE COMFORTABLEThere’s no dress code. From jeans to

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

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

way you are.

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

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

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

perfectly acceptable and appropriate to

quietly exit the concert hall. Remember to

unwrap cough drops before the concert so

you don’t create crackling noises.

CRY ROOMChild feelin’ fidgety? We have a designat-

ed cry room at the back of the hall on the

right side of the lower level (as you enter

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

APPLAUSE 101Many concertgoers are confused about

when to clap during an orchestra’s perfor-

mance. Before the mid-19th century, 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 ETIQUET TE

ELECTRONICSPlease turn the sound off on your cell

phones, pagers, and any other noise-

making device, including vibrate mode.

SOCIAL MEDIAFeel free to tweet, post to Facebook or

take photos without flash. Upload your

pics and comments online — and be sure

to tag us! @denverphilorch #dpotweets

We’re into connections.LigCreative.com


ORCHESTRA SPOTLI GHT

PATSY ARONSTEINVIOLINTHIRD DPO SEASON. Patsy started

violin lessons in 4th 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. As a child, Patsy

studied piano as a child and still enjoys

playing from time to time. Patsy received

her B.A. in French from Colorado

College 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 professor and

teaching assistant respectively. The past

10 years, she has been a member of

Friends of Chamber Music’s Board and

has served as President of the Board for

the past 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. With her husband, Jim, we

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!

RACHEL BRADFORDVIOLINSEVENTH DPO SEASON. Playing the

violin since 1988, Rachel began by

performing in a variety of youth en-

sembles in the Denver area under the

instruction of Barbara Rino, including

the Denver Young Artists Orchestra and

the Colorado Youth Pops Orchestra.

She attended the University of Northern

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, Rachel, William, Whitney, Yiran, Annastasia, Albert and another Rachel —


ORCHESTRA SPOTLI GHT

Colorado, where she studied music

performance under the guidance of Dr.

Richard Fuchs and Dr. Russell Guyver.

Rachel earned her Bachelor of Science

in accounting from Metropolitan State

University of Denver. In addition to

performing with us, she’s had the honor

of playing with the Littleton Symphony

Orchestra under conductor and former

Colorado Symphony Orchestra princi-

pal cellist, Jurgen de Lemos, and the

Metropolitan State University Symphony

Orchestra under the direction of Dr.

Brandon Matthews. She considers herself

lucky to have the privilege of continu-

ing her private studies with the very

talented CSO violinist and MSU violin

instructor, Bradley Watson. Rachel fills

her weekdays with a full-time job in tax

auditing and compliance for the State of

Colorado. Rachel lives in Denver with her

husband Patrick, their brand new baby

girl, and two furry dachshunds.


DR. WILLIAM H. HINKIE, IIIVIOLASEVENTH DPO SEASON. William’s been

playing music since the age of 9 when

he started playing the violin in his public

school music program in Louisiana. He

has performed with the Baton Rouge

Symphony, the Akron Symphony,

the Aspen Music Festival Orchestra,

the Colorado Ballet and the Boulder

Philharmonic. He received his bachelor in

Music Education and Violin Performance

from Louisiana State University, a Master

of Music in Viola Performance from the

Cleveland Institute of Music and a Doctor

of Musical Arts from the University of

Minnesota. William is a freelance musician

and teaches private lessons.


WHITNEY KELLEYFLUTE/PICCOLOFIRST DPO SEASON. Whitney re-

ceived her D.M.A and M.M. in Flute

Performance and Pedagogy from the

University of Colorado with Christina

Jennings, and completed her B.M. with

Tadeu Coelho at the University of North

Carolina School of the Arts. Once begin-

ning to play the flute at age four through

the Suzuki Method, music has played an

integral part throughout Whitney’s life.

Acclaimed for her “considerable tech-

nique” by the Winston-Salem Journal,

she has appeared as soloist in numerous

orchestral and recital settings, including

guest appearances 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, Colorado. 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 photogra-

phy, hiking in the Rockies, and cheering

on the Denver Broncos.

YIRAN LIVIOLINSECOND DPO SEASON. Since she starting

playing the violin at age 3, Yiran took

violin as her major in middle school and

has played with symphony orchestras and

philharmonic orchestras in China. She is

working on her Master’s of Music degree at

University of Denver Lamont Music School


and is the violin graduate teaching assis-

tant. Yiran teaches private violin lessons and

has a classical duet with her boyfriend Travis

Rollins called The Duality Duet. Together,

they perform for all kinds of special occa-

sions, which includes everything from wed-

dings to Solheim Cup opening and closing

ceremonies. And she has a kitty!

ANNASTASIA PSITOSCELLOTHIRD DPO SEASON. Annastasia has

both Bachelor’s and Master’s degrees

in music performance for cello. She

obtained her bachelor’s degree at the

University of Maryland, College Park and

her master’s degree at the University of

Colorado, Boulder. She has been studying

cello for 24 years and has played with a

wide variety of orchestras — both through

school and as a freelance musician. In

addition to the Denver Philharmonic,

she currently also plays full time with the

Boulder Symphony and is a substitute

cellist with the Fort Collins and Cheyenne

Symphony Orchestras. She works as an

accounts-payable assistant at an oil and

gas company.


ALBERT TINGVIOLINSECOND DPO SEASON. Albert has

played music on and off for 48 years.

The last orchestra he played with

was the Metro State Orchestra. After

receiving his undergrad degree from

Stanford, Albert pursued his Master’s

from University of Texas Southwestern

and his PhD from Baylor College of

Medicine. Albert works as a Nursing

Home Provider.

RACHEL YANOVITCHCELLOFIRST DPO SEASON. Rachel began study-

ing piano at age 5, cello at age 9, guitar at

15, and in her free time, she has enjoyed

singing and songwriting for several years.

She has played with Thames Valley Youth

Orchestra in Connecticut, and the Rhode

Island Philharmonic youth orchestra when

she was in High School. She has performed

three solo recitals, and since college, she’s

played regularly with worship bands for

churches and get-togethers. Rachel has

her Associate’s degree in Theology from

Calvary Chapel Bible College in Murrieta,

Calif., works as a nanny, and plays cello for

Pilgrim City Church on Sundays.

SEASON FINALE!THURSDAY, MAY 22NEW FRONTIERS

Lawrence Golan, conductor

Daugherty: KryptonHovhaness: Celestial FantasyHolst: The Planets


ORCHESTRA’S CIRCLE($20,000+)

Gil and Valerie Clausen

CONDUCTOR’S CIRCLE($5,000+)

SCFD

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

MUSICIANS’ CIRCLE($1,000 – $2,499)

Linda M. Lebsack Books

Venus and Russell Klein

PATRON($500 – $999)

Jon Olafson

MeeAe Nam

Hugh R. Pitcher

Donald Walls

BENEFACTOR($300 – $499)

Patricia Aronstein

Eleanor Glover and Eugene Advincula

Russell Klein

Lisa and Vik Patel

BENEFACTOR (CONT.)

Roger Powell

CONTRIBUTOR($100 – $299)

Charles and Joan Albi

Anonymous

Anonymous

Phil and Jennifer Barru

Helen Bauer

Arthur and Jacinda Bouton

Mary Brauer

Carla Cody

Amaryllis Fletcher

Robert Greene

Nancy Hart

Lok Jacobi

Maureen Keil

Allison Lausten

Brian Lucius

Tenley Mueller

Alyssa Oland

Phil Pearlman and Betty Bona

Joseph Pompei

Wolcott F. Rice

Catherine and Ted Lanzano

Thomas James Merry

Douglas and Mary Meeusen

Constance Mortell

Judy Morton

INDIVIDUAL GIVING

QUICK DONATE!Text “dpo” to 50155


CONTRIBUTOR (CONT.)

Robert J. Smith

TATE+BURNS Architects LLC

Karin Tate

Naioma and Brad Walberg

Marcia Whitcomb

Gary Wooley

FRIEND(UP TO $99)

Keri Rose Agnes

Anonymous

Penny Alles

James Brody

Janice Burley

Anna Castillo in honor of Terri Gonzales

Ginger Clausen

Sara Collyar

Ray Ehrenstein

Adam Flatt

Steve and Beth Gannon

Terri Gonzales

Bruce Haefner

Amanda Hand

Allan and Carol Hanson

Lori Hanson

Chris Harper

Brooke Hengst

Michael Hengst

Karin Hensel

FRIEND (CONT.)

SJ Hudson

Arash Jahanian

Annie Laury

Ligature Creative Group

Susan McGinley

Janet Mizelle and Michael Hope

Loren Meaux

Suzanne Mueller and Mark McCarron

in honor of Valerie Clausen

Callista and Patrick Medland

Matthew McCleary

Kathleen Porter

Roger Powell

Marcia Ragonetti

Carol Rankin

Dr. Herbert Riehl

Suzanne Sipos

Mark Stanton

The Tine Family

Walker Burns and Jennifer Tate

Dave Wallace

Jeanine and Dave Wallace

IN-KIND SUPPORTERSThe Pillar of Fire Church

Ligature Creative Group

Newberry Brothers Greenhouse and Florist

THANK YOU!


GOLD PARTNER($10,000+)

SILVER PARTNER($5,000–$9,999)

COPPER PARTNER($1,000–$4,999)

Fennemore Craig

CORPORATE SUPPORTERS(UP TO $500)

Brownstein, Hyatt, Farber & Schreck

CoBank on behalf of Brian Lucius

Community First Foundation

Noble Energy

CORPORATE GIVING



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.


IT TAKES A COMMUNITY

INDIVIDUAL GIVING DONATION AMOUNTOrchestra’s Circle $20,000 or above

Conductor’s Circle $5,000 – $19,999

Concertmaster’s Circle $2,500 – $4,999

Musicians’ Circle $1,000 – $2,499

Patron $500 – $999

Benefactor $300 – $499

Contributor $100 – $299

Friend up to $99

The 66 Society* $66 or above

Great adventures stem from new beginnings. Together we can embark on a musical journey that inspires and impacts our entire community. But we can’t do it alone. Help us make music with a tax-deductible contribution today. We are your orchestra.


CORPORATE GIVING DONATION AMOUNTGold Partner $10,000 and above

Silver Partner $5,000 – $9,999

Copper Partner $1,000 – $4,999

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

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

* Celebrate our sixty-sixth season by joining THE 66 SOCIETYAny supporter who contributes $66 or more will receive a reusable, DPO-branded, Chico grocery bag as a thank-you gift.


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

PO Box 6074Denver, CO 80206

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

Contribution $ Check or Credit Card

Name

Address

City, State, Zip Code

Telephone Email

Credit Card No. Exp.


CONTACT US!PO Box 6074Denver, CO 80206303.653.2407

fb.com/denverphilorch @denverphilorch

DenverPhilharmonic.org


Documents

Denver Philharmonic Orchestra April 4, 2014 Concert Program