denver philharmonic orchestra april 8, 2016 concert program
DESCRIPTION
S. Mordecai Fuhrman, conductor Aaron Wille, flute Berlioz: Les Franc-Juges (Judges of the Secret Court) Bloch: Suite Modale De Meij, orch. Vlieger: Symphony No. 1 “Lord of the Rings”TRANSCRIPT
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april 8the one ringFEATURING THE LORD OF RINGS SYMPHONY
S. MORDECAI FUHRMANconductor
AARON WILLEflute
BERLIOZ
Les Franc-Juges (Judges of the Secret Court)
BLOCH
Suite Modale
DE MEIJ, ORCH. VLIEGER
Symphony No. 1 “Lord of the Rings”
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
Welcome and happy
spring! Tweet along with
me @denverphilorch
for insight into tonight’s
program.
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OCTOBER 2 NATURE’S REALMLAWRENCE GOLAN, conductor and violin
VIVALDI “Autumn” from The Four SeasonsDVORÁK In Nature’s RealmTCHAIKOVSKY The Tempest; Fantasy-Overture, Op. 18SIBELIUS Symphony No. 5
NOVEMBER 20 INEXTINGUISHABLELAWRENCE GOLAN, conductorJAY CAMPBELL, cello
LOCKLAIR Phoenix for Orchestra (Colorado premiere)ELGAR Cello ConcertoNIELSEN Symphony No. 4 “Inextinguishable”
DECEMBER 19 HOLIDAY CHEER!SCOTT O’NEIL, guest conductorSYDNEY HARPER, sopranoand featuring COLORADO REPERTORY SINGERS, KYLE FLEMING, artistic director
Holiday favorites including:
CORELLI Excerpts from “Christmas Concerto”HANDEL Selections from MessiahTCHAIKOVSKY Selections from The Nutcracker
Full repertoire available at denverphilharmonic.org
FEBRUARY 19 SMASH HITS!LAWRENCE GOLAN, conductorSTEVEN LIN, piano
MOZART Symphony No. 40 in G MinorRACHMANINOFF Rhapsody on a Theme of PaganiniSTRAVINSKY The Firebird Suite
APRIL 8 THE ONE RING FEATURING THE LORD OF THE RINGS SYMPHONYS. MORDECAI FUHRMAN, conductorAARON WILLE, flute
BERLIOZ Les Franc-Juges (Judges of the Secret Court)BLOCH Suite ModaleDE MEIJ, ORCH . VLIEGER Symphony No. 1 “Lord of the Rings”
JUNE 3 EUROTRIPLAWRENCE GOLAN, conductor and violin
LI, CHUNLAI Ode to the Red FlagFRANCK Symphony in D MinorGERSHWIN , ARR. WHITNEY An American in Paris SuiteSMETANA The MoldauSTRAUSS JR. On the Beautiful Blue DanubeKREISLER, ARR. MCALISTER LiebesleidMONTI Czardas
BUY TICKETS ATdenverphilharmonic.org
2015–16season.
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Keeping you connected with in-depth news and music discovery.
Inform. Enlighten. Entertain.
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FRIDAY, APRIL 8, 2016THE ONE RINGCentral Presbyterian Church · Denver, Colorado · 7:30 pm
S. Mordecai Fuhrman, conductorAaron Wille, flute
Hector Berlioz Overture to “Les Francs Juges”(1803 – 1869)
Ernest Bloch Suite Modale (1873 – 1943) featuring Aaron Wille, flute
I. Moderato
II. L’istesso Tempo
III. Allegro giocoso
IV. Adagio
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Johan de Meij Symphony No. 1b. 1953 “The Lord of the Rings” I. Gandalf (The Wizard)
II. Lothlórien (The Elvenwood)
III. Gollum (Sméagol)
featuring Tom Myer, saxophone
IV. Journey in the Dark
a. The Mines of Moria
b. The Bridge of Khazad-Dûm
V. Hobbits
MEET THE MUSICIANSReception Following the concert, meet & mingle in the lobby!
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with atwist
Introducingclassical music
An intimate concert series at Dazzle Jazz featuring small ensembles, dinner and cocktails.
MIXED DRINK APRIL 27 @ 7PM
DA ZZ L E JA ZZ 93 0 L I N CO L N ST
Seating is limited. Buy now at denverphilharmonic.org or dazzlejazz.com.
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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.
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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.
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S. MORDECAI FUHRMANCONDUCTOR
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.
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• 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.
• Free WiFi? Now, that’s fly.
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Password: welcomecentral
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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AARON WILLEFLUTE
Aaron is a flutist, saxophonist and a freelance musician in his 13th season with the DPO.
As a Denver native, Aaron started playing flute and jazz/classical
saxophone in sixth grade. While at Englewood High School,
he won numerous awards and was selected as piccoloist of All
State Orchestra and Colorado All State Band, playing lead alto
in Colorado State University Honor Band and Honor Jazz Band.
Aaron also played piccolo/flute with the Denver Young Artist
Orchestra and Colorado Youth Symphony Orchestra.
He is a graduate of Lamont School of Music with a Bachelor’s
degree in Flute Performance under Pamela Endsley. At Lamont,
Aaron studied jazz and classical saxophone with Art Bouton,
and he played in the Lamont Symphony Orchestra and various
ensembles. He has also studied jazz with Denver’s own Rich
Chiaraluce and Laura Newman. While at Lamont, Aaron won
outstanding piccoloist from Downbeat magazine.
He has had the privilege to be a performer in masterclasses by
James Walker, Carol Wincenc and Walfrid Kujala. Aaron has
played with composer and musician David Amram and jazz
artist, author and composer Jerry Bergonzi, professor at the New
England Conservatory of Music.
As a freelance musician, Aaron has enjoyed playing with the
Denver Municipal Band under Gerald Endsley and the Denver
Feast Band under the direction of Dr. Jess Gerardi, and he plays
as a pit orchestra member as lead reed in numerous musicals.
Outside of music, Aaron is a computer technician and feels
privileged to play with Lawrence Golan and the fine musicians
of the Denver Philharmonic.
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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 3
We have a lot of fun at our concerts — we live-tweet performances, hold lively pre-concert
chats, and we’ve mingled over great eats at food truck tailgates, hiked South Table Mountain
in Golden, sipped local wine, welcomed over 80 students from El Sistema Colorado as our
opening act, hosted Valentine’s Day photo booths, enjoyed handmade truffles, brought in an
instrument petting zoo, partnered with the Denver Museum of Nature and Science to bring
the Gates Planetarium (and the entire universe) into the hall, and more!
Here’s a taste of what’s in store for season finale —
EUROTRIPJUNE 3, 2016
FOOD TRUCK TAILGATE, 5:30–7:15PM
Our signature symphony tailgating is not to
be missed! Starting at 5:30pm. Sorry friends,
no booze at this family-friendly tailgate!
CHEERS!, STARTING AT 6:15PM
Clink a glass of craft beer from Ursula
Brewery! Sorry kids, this More than Music
event is 21+ only. $5.
COFFEE STATION, STARTING AT 6:15PM
Our friends at Purple Door Coffee will be
brewing java for you to enjoy.
PRE-CONCERT CHAT, 6:30PM
Join Associate Conductor S. Mordecai
Fuhrman for an informal preconcert chat
that will give you insights into the music and
music-makers you’ll be listening to.
RECEPTION, POSTCONCERT
Say hello! Join us in the lobby after the
concert for refreshments, meet the soloists,
buy a t-shirt — and have fun!
MORE THAN MUSIC.Attending a concert with us goes beyond an evening of high-caliber classical music.
Visit denverphilharmonic.org for concert tickets and info on all of our upcoming events.
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MORE THAN MUSIC.
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MUSIC DIRECTOR Lawrence Golan
ASSOCIATE CONDUCTORS. Mordecai Fuhrman
FIRST VIOLINKatherine Thayer, concertmasterAllison Kim, associate concertmasterPatsy AronsteinCarrie BeederMatt GroveThomas JatkoLubia MontenegroWendy Montenegro Autumn PepperEmmy ReidElizabeth Wall
SECOND VIOLINYiran Li, principal Niccolo Werner CasewitValerie ClausenChristina ColalanciaTerri GonzalesAnnie LauryCallista MedlandFrancisca PretoriusAnne SilvasAlbert Ting
VIOLAWilliam Hinkie III, principalNaomi CroghanVictoria DiMarzioLori HansonBen LueyKathleen TorkkoAnita Zerbe
CELLOBryan Scafuri, principalNaftari BurnsKyle LaneyAnnastasia PsitosMonica SálesAmanda ThallRachel WarbelowRachel Yanovitch
BASSMark Stefaniw, principalLucy BauerJosh FilleyTaryn GalowColton KellyJordan Walters, student intern
FLUTEAaron Wille, principal Catherine Ricca Lanzano
PICCOLOWhitney Kelley
OUR MUSICIANS
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OBOEKimberly Brody, principalLoren Meaux, assistant principalAlexis Junker
ENGLISH HORNLoren Meaux
CLARINETShaun Burley, principalClaude Wilbur
E-FLAT CLARINETJessica Clark
BASSOONKen Greenwald, principalNicholas Lengyel
CONTRABASSOONLeigh Townsend
HORNKatie Glassman, acting principal Jeanine BrantingKelli HirschMary Brauer
TRUMPETRyan Spencer, principalAriel Van DamNick Kenny
TROMBONEWilliam Combs, principal Wallace Orr
BASS TROMBONEDaniel Morris
TUBADarren DeLaupHeather Ewer
SAXOPHONE Tom Myer
TIMPANISteve Bulota, principal
PERCUSSIONHeather ChurchRoss CoonsScott HedleyJackson Stevens
HARPRebecca Moritzky, principalJenilee Elsbernd
KEYBOARDAni Gyulamiryan
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BOARD OF DIRECTORSPRESIDENT Jon OlafsonVICE-PRESIDENT Eleanor GloverSECRETARY Linda LebsackTREASURER Allison LaustenPauline Dallenbach, Honorary MemberDr. Robert DallenbachAlixandra FeeleySarah HoganRussell KleinMaureen KeilMatt MeierTenley Oldak
DENVER PHILHARMONIC FOUNDATION BOARDKeith FisherRussell KleinAllison Lausten
EXECUTIVE DIRECTORValerie Clausen
OPERATIONS MANAGERAlixandra Feeley
PERSONNEL MANAGERAnnie Laury
STAGE MANAGERSTaryn GalowLoren Meaux
MUSIC LIBRARIANCallista MedlandAlyssa Oland, assistant
CONCERT PROGRAMLigature Creative Group, designWalker Burns, editingAlixandra Feeley, editingMaría Angélica Lasso, Spanish translationCallista Medland, 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
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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 ClausenEleanor GloverMaureen KeilRussell KleinLinda LebsackBrian McGuire Karen McGuireStephen O’RourkeKali Sheldon
RECEPTIONAmy AndersonAllison Lausten
PARKING ADVISORSLinda LebsackHugh Pitcher
MORE THAN MUSICPARTNERSPurple Door CoffeeUrsula Brewing
1 9
PRESS PLAY!
davidshermancreative.com
“Playing Out” is created in part by
local filmmaker David Sherman. David
specializes in arts marketing, media
literacy and education.
The latest episode in our “Playing Out” webseries, Playing Out with S. Mordecai Fuhrman, premiered this week on YouTube.com/DenverPhilharmonic.
“Playing Out” takes musicians out on the
town performing in and around Denver.
Watch pianist Fei-Fei Dong play Gershwin’s
Rhapsody in Blue on a 16th Street Mall
piano, 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 or pianist Steven Lin flip
records at Wax Trax II.
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APRIL 8 ∙ THE ONE RINGby NATALIE PIONTEK
In addition to his compositional talents, Hector Berlioz was a highly respected conductor, writer and critic. His Treatise on Instrumentation serves as one of the leading resources for composers on how to write compelling and evocative music for full orchestra.
HISTORYHector Berlioz’s rise to fame follows an unusual trajectory. Unlike
the vast majority of composers, Berlioz never learned to play
the piano, and he was frequently discouraged from learning
music by his father. However, he had a passion for composition
at an early age, teaching himself how to write proper melody
and harmony from textbooks alone. Similarly, without any formal
instruction, he learned to play flute and guitar, the latter at which
After seeing actress
Harriet Smithson
perform Shakespeare,
Berlioz fell in love. After
writing her many impas-
sioned love letters, the
two eventually married.
Smooth move, Hector!
Duration: 12 minutes
Overture to Les Francs Juges Hector Berlioz (1803 – 1869)
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he was considered quite proficient.
Instead of going to a conservatory in his
late teens, the composer entered medical
school. He did so to please his parents,
but he unfortunately soon found himself
rather bored and disgusted by medicine
(a sentiment which was largely brought
on when he witnessed the dissection of a
corpse in class). In 1824, he left medical
school. He began his formal studies at the
renowned Paris Conservatory in 1826.
ABOUT THE COMPOSERBerlioz is a French Romantic composer.
He was chiefly inspired by the work of
Christoph Willibald Gluck and Ludwig van
Beethoven, and he is perhaps best known
for shepherding the tradition of program
music: music that follows an external narra-
tive or story. His most famous composition
is the Symphonie Fantastique, an orches-
tral composition about a poet whose un-
requited love leads him into deep delirium
and despair (based on his own love for
actress Harriet Smithson!).
ABOUT THE PIECELes Francs Juges was originally intended
to be the overture to an opera. Berlioz
was going to write the accompanying
music to the libretto by his friend Humbert
Ferrand, but he never completed the work.
Les Francs Juges exists as a standalone
composition in its own right, and it is also
the first work that Berlioz ever composed
for full orchestra.
The title, Les Francs Juges, literally means
“The Free Judges.” It refers to the Vehmic
courts, assemblies of vigilante crime fight-
ers that existed in Germany in the Middle
Ages (they were also called the “secret
courts” or “silent courts”).
The piece opens in the sinister key of F
minor, with small exchanges of two-note
motives between the strings. Snappy
flourishes and abrupt runs in the strings
throughout the piece give the work its
propulsive energy. Soon, the brass enters
on a bombastic and militant B-flat minor
chord, luring us deeper into the ominous
atmosphere. However, the mood is soon
lightened again, with the violins playing a
cheerful theme in F major, and the trum-
pets engaging in a sprightly dance. The
movement concludes with woodwinds,
brass, and strings coming together for a
joyous and raucous fanfare.
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Ernest Bloch had a fascination with exploring inventive chromaticism, low sonorities, and rich tone colors. Perhaps because of his interest in the deeper sonorities, he made significant contributions to the viola repertoire — a lower-voiced instrument rarely composed for as a solo instrument. Among these works are his Suite for Viola and Orchestra and Works for Viola and Piano.
ABOUT ERNEST BLOCHErnest Bloch was born in 1880 in Geneva, Switzerland. His music
carries with it distinct influence from his Jewish heritage along
with a number of post-Romantic influences, specifically from
composers Claude Debussy and Richard Strauss. In 1916, Bloch
moved to the United States, where he first toured as conductor
of the Maud Allen dance company, and eventually settled in
New York.
Bloch was as passionate an instructor as he was a composer. He
taught theory and composition at New York’s Mannes College
of Music from 1917 to 1920, was founding director of the
Cleveland Institute of Music from 1920 to 1925, directed the San
Francisco Conservatory of Music from 1925 to 1930, and taught
at the University of California at Berkeley from 1940 until his
retirement in 1952. His students include such notable composers
as Douglas Moore and Frederick Jacobi. He was also a talented
student himself, having studied with master violinist and famed
composer Eugene Ysaÿe in Brussels.
Ernest Bloch was also
an avid photographer
and had a strange,
lifelong hobby of
collecting mushrooms.
Duration: 13 minutes
Suite Modale Ernest Bloch (1880 – 1959)
2 5
ABOUT THE WORKThe Suite Modale for flute and orchestra is
an archetypal example of Bloch’s interest
in chromaticism and evocative tone colors.
It begins ambiguously on the dominant
chord in the key of A minor, with the flute
weaving in and out of the sustained chords
in the orchestra, giving the first movement
a sentiment of wandering, of never quite
wanting to settle down. By opening with
the dominant chord, the movement
already feels unsteady, as by nature we are
inclined to hear the dominant chord want-
ing to resolve to the tonic, or the chord of
the home key. Also notable is that the flute
rarely reaches to a note above a high D;
the writing is concentrated on the flute’s
lower register, which is arguably the realm
for the flute that is capable of the most
variations in tone color. Slight alterations in
technique can change the sound from light
to dark, hollow to dense, smooth to gritty,
wispy to clear.
Bloch wrote this work for the flutist Elaine
Shaffer in 1956. It was written as he was
battling cancer toward the end of his life,
which explains the brooding, thoughtful
sentiment that pervades the first and
second movements. However, the last
movement is much brighter than the first
two movements, with the flute finally be-
ginning to explore the jubilant sonorities
in the higher register. It closes in the same
haunting yet mysterious way it began, yet
this time with a feeling of resolution.
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
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
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2 7
Johan de Meij wrote his “The Lord of the Rings” Symphony from 1984 to 1988 — long before Peter Jackson began his wildly successful film franchise based on Tolkien’s novels in 2001. It is structured in five movements, with each movement depicting a particular character.
ABOUT THE COMPOSERBorn in 1953 in South Holland, de Meij is a revered conductor,
composer, and trombonist. He has written primarily for the
orchestration of wind ensemble, with four symphonies com-
posed for wind ensemble to date. Each of his symphonies has a
programmatic title. The Symphony No. 1 is commonly referred
to as his “Lord of the Rings” Symphony and is based on the
internationally celebrated novels by J.R.R. Tolkien; his Symphony
No. 2 he called “The Big Apple” (based on New York City); the
De Meij holds the presti-
gious position of being a
regular guest conductor
with the Simón Bolívar
Youth Wind Orchestra
in Caracas, Venezuela, a
division of the successful
El Sistema educational
system.
Duration: 42 minutes
Symphony No. 1, “The Lord of the Rings”Johan de Meij b. 1953
Linda M. Lebsack Books(out-of-print, rare, unusual, locally published)
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Symphony No. 3 is his “Planet Earth”
Symphony; and the most recent Symphony
No. 4 has the nickname of “Sinfonie der
Lieder,” or “Symphony of Songs.”
ABOUT THE MUSICThe opening of the first movement,
“Gandalf,” is a clear nod to de Meij’s
training as a trombonist: it begins with a
brilliant fanfare in the brass, followed by
lightning-fast 16th-note runs in the upper
register of the flutes. The low strings intro-
duce the theme, accompanied by subdued
tones in the French horn. A solo trumpet
then adopts the theme which is countered
by pensive yearnings in the strings.
Eventually the violins take up the melody
as well, with the entire orchestra singing
at a proud fortissimo. An abrupt flourish in
the strings, an ominous heartbeat in the
timpani, and foreboding murmurs in the
tubas and low brass suggest that trouble
lies ahead. A rapid chase begins, with the
strings ushering the movement forward
with off-beat 16th-note motives. These
motives eventually climax into the brass
singing a noble, hymnal tune, and the
violins recalling the opening theme.
The second movement opens with a mys-
terious call in the E-flat clarinet — a small-
er, higher-pitched clarinet — supported
by sustained tones in the low strings.
A couple of chirps in the piccolo, brief
soliloquys in the oboes, and then a unified
dance in the woodwinds suggest different
woodland creatures. We are clearly in the
forested setting of the Elvenwood.
The third movement, “Gollum,” based on
the demented and personality-switching
creature from the novel, is depicted by a
variety of woodwinds and some unusual
techniques. One of these techniques is
flutter-tonguing in the woodwinds, a stut-
tering sound created by rapidly firing one’s
tongue while blowing air into the instru-
ment. Another technique that depicts
Gollum’s mentally deteriorating character
are the glissandi — slides between notes
— and the rapid tremolos in the strings, in
which the bow is rapidly moved back and
forth on a string.
The fourth movement, “Journey in the
Dark,” depicts Frodo wandering through
darkened forests, again signaled by omi-
nous tones and outbursts in the low brass.
The fifth and final movement, “Hobbits,”
recalls the heroic theme from the first
movement in full glory, and a dance is
introduced by the piano and percussion,
bringing the work to a light-hearted,
cheerful conclusion.
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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.
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.
3 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
CONCERT ETIQUETT E
SIT TIGHTThe rumors are true — we’re pretty
informal. But we do ask that you sit tight
and quiet during the performance and
only get up between pieces or during in-
termission as to not distract the musicians
or concert-goers around you.
PACK IT IN, PACK IT OUTYou’re welcome to bring a water bottle
into the hall, but remember “Trail Rules”
— pack it in, pack it out. (This goes for
trash too!)
ELECTRONICSPlease turn the sound off on your cell
phones, pagers, and any other noise-
making device, including vibrate mode.
SOCIAL MEDIAFeel free to tweet, post to Facebook or
take photos without flash. Upload your
pics and comments online — and be sure
to tag us! We’re on Facebook, Twitter and
Instagram @denverphilorch #dpotweets
HAVE FUN!Rules, rules, rules — we know, it can be
overwhelming. The most important rule of
all is to have fun and enjoy yourself. And
then tell all your friends and come back
again and again!
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ORCHESTRA SPOTLIG HT
NAFTARI BURNSCELLOSIXTH DPO SEASON. Naftari started play-
ing piano at age 6 and picked up the cello
at age 9. When she first started playing
the cello, she had no idea what it was and
had to ask the kid next to her. Though her
first choice was the violin, Naftari brought
home a cello and her mother asked, “Why
couldn’t you get a smaller instrument?”
She has played with the Metro State
Symphony and Jefferson Symphony under
William Morse. She works at Kolacny Music
where she sells and services band and
orchestra instruments and harps. Naftari
attended Metropolitan State College of
Denver for a degree in music performance.
ANI GYULAMIRYANKEYBOARDFIRST DPO SEASON. Ani has been study-
ing music for two decades. She always
focused on one instrument — the piano
— but also studied composition for some
time. She has had the privilege of playing
with Fairbanks Symphony, UAF Wind
Symphony, Fairbanks Youth Symphony,
and Lamont Symphony Orchestras.
With a Master of Music in Piano
Performance from University of Alaska
Fairbanks and Bachelor of Music in Piano
Performance from University of Denver,
Ani is a pianist and teacher and spends
her time working with music students and
collaborating with other musicians.
There are many musical members in Ani’s
family, and she is grateful that they are
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 Naftari, Ani, Kelli, Whitney, Yiran, Ryan and Tara —
3 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
ORCHESTRA SPOTLIG HT
oct 11 | nov 14 | nov 15 | nov 21 | jan 24 | mar 06apr 24 | may 15 | jun 10 | dyao.org or 303.433.2420
Visit www.DYAO.org for more details, venues, times and programs!
Join Us and Hear the Future!
2015-2016
extremely accepting of her practicing at all
hours of the day! She enjoys the similarity
of Colorado weather and geography to
Armenia, where she grew up. Ani goes
mushroom picking every year, and has
grown fond of the proximity of the moun-
tains to the city.
KELLI HIRSCHFRENCH HORNEIGHTH DPO SEASON. Kelli received her
Bachelor of Music from Hastings College
in Nebraska. She’s been playing the French
horn for more than 20 years, is a member
of the Gossamer Wind Quintet and plays
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the piano. Kelli is a fundraiser for Energy
Outreach Colorado.
Outside of work and the DPO, Kelli spends
her time with her husband and two beau-
tiful young daughters. They listen to a lot
of music together, read books and like to
enjoy nature.
WHITNEY KELLEYTHIRD FLUTE/PICCOLOTHIRD 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 B.M. with Tadeu Coelho at
the University of North Carolina School of
the Arts. She began to study flute at age 4
through the Suzuki Method, and music has
since 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.
3 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
In addition to the Denver Philharmonic,
Whitney performs regularly with the
Cheyenne Symphony Orchestra and
presents recitals and masterclasses across
the country. Whitney maintains a thriving
private studio in the Denver metro area
where she lives with her husband and new-
ly welcomed daughter. Aside from music,
she enjoys photography, hiking in the
Rockies and cheering on the Broncos.
YIRAN LIPRINCIPAL SECOND VIOLINFOURTH DPO SEASON. Yiran started
playing the violin at at age 3, took violin as
her major in middle school and has played
with symphony orchestras and philharmon-
ic orchestras in China.
Yiran was offered full scholarship and
graduate teaching assistant position from
University of Denver Lamont Music School,
where she received her Master of Music de-
gree. She teaches private violin lessons and
has a classical duet with her husband 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 Yiran has a kitty!
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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].
RYAN SPENCERPRINCIPAL TRUMPETTHIRD DPO SEASON. Ryan is a
second-year graduate student at the
University of Denver's Lamont School of
Music. In pursuit of his Master’s degree
in Trumpet Performance, he plays in or-
chestra, wind ensemble, jazz band, faculty
and graduate brass quintets and other
chamber ensembles. Ryan is in his first
season as third trumpet with the Cheyenne
Symphony and as a member of Stratus
Chamber Orchestra (formerly Musica
Sacra). On occasion, Ryan performs with
Denver Brass, Colorado Wind Ensemble,
and Boulder Symphony.
Ryan has been composing and arranging
for various large and small ensembles for
over a decade. He studies with Dr. Chris
Malloy of DU and has studied with other
renowned composers such as Daniel
Kellogg, John Drumheller and Carter
Pann. He was the sound engineer for the
Santa Clara Vanguard Drum and Bugle
Corps (’09–’10), and marched with the
corps for two years prior (’07–’08), perform-
ing as a soloist and upper lead trumpet.
Ryan has been teaching brass at the
Bluecoats Drum and Bugle Corps since
2012, teaches private lessons on trumpet
and music theory, teaches with various
high school concert and marching band
programs across the state and regularly
participates in elementary school outreach
performances.
Ryan received dual Bachelor of Music
degrees from the CU-Boulder in 2008 for
trumpet performance and composition
with a Certificate in Music Technology. He
played in a wide variety of instrumental
ensembles and sang in choirs, received a
composition commission award in 2007,
3 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
and the Kappa Kappa Psi Honorarium
Scholarship in 2006. While attending high
school in Cobb County, Georgia, he per-
formed in All-State, district and regional
jazz and honor bands.
Ryan lives in Southeast Denver and enjoys
snowboarding, hiking, running, cycling,
reading, coffee and sushi.
TARA YODERCELLOFIFTH DPO SEASON. Tara started playing
cello at the age of 9 in her school orches-
tra. She has played with the South Bend
Youth Symphony, South Bend Side-by-Side
concerts, Donald A. Dake Chamber Music
Camp, and Goshen College Orchestra. At
Goshen College in Indiana, Tara received
her Bachelor of Arts in Chemistry and
Biology, with a minor in music perfor-
mance. Her mom came to nearly every
concert she ever played while she was in
Indiana (which was a lot!), and her mom’s
support was definitely appreciated.
Tara earned her Ph.D. in Applied
Chemistry from Colorado School of Mines
in December 2014 and currently works at
New Sky Energy in Boulder, CO. Beyond
playing cello, she also enjoys playing ulti-
mate frisbee, hiking, cycling, bouldering,
skiing and pretty much anything else that
is active and outdoors.
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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, April 17 for an encore of
tonight’s Denver Philharmonic performance!
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
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
CONCERTMASTER CIRCLE($2,500 – $4,999)
MUSICIANCIRCLE($1,000 – $2,499)Charles & Joan Albi
Jon Olafson
Wallace Orr
Xcel Energy
PATRON($500 – $999)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
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
Dave
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
Karin Tate
THANK YOU!We would like to acknowledge the generous support of the following individuals, businesses and corporations.
Since January 1, 2015
4 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
Gina & Paul Todd
Gary Wooley
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
Carol Finley
Amaryllis Fletcher
Forseth Family
Laurie Gaspar
Kelly Genois
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
Shari Ross
Karin Schantz
Pauline Herrera Serianni
Annie & Roger Smart
Stephanie
Jane Templeton
Mike & Amanda Tine
Elinor Towler
Jim & Anne Trunkle
Pete Trunkle
IN-KINDDONORSStudio Hippo
HOTELSPONSORThe Curtis Hotel
FLORALSPONSORNewberry Brothers
Greenhouse & Florist
SEASONSUPPORTERSAccess
David Sherman Creative
Ligature Creative Group
The Pillar of Fire Church
4 3
IT TAKES A COMMUN ITYWe are a community-driven orchestra, and we survive with support from our patrons and local businesses. Help us make music with a tax-deductible contribution today. Give safely online at denverphilharmonic.org/contribute.
INDIVIDUAL GIVING DONATION AMOUNTOrchestra Circle $20,000 or above
Conductor Circle $5,000 – $19,999
Concertmaster Circle $2,500 – $4,999
Musician Circle $1,000 – $2,499
Patron $500 – $999
Benefactor $300 – $499
Contributor $100 – $299
Friend up to $99
CORPORATE GIVING DONATION AMOUNTGold Partner $10,000 and above
Silver Partner $5,000 – $9,999
Copper Partner $1,000 – $4,999
You may also consider a planned gift, or donating to the orchestra in honor of someone’s birthday,
anniversary, or in memory of a loved one.
4 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
IT TAKES A COMMUN ITYIf you would like to make a tax-deductible contribution to the Denver Philharmonic Orchestra, please complete this form and mail to:
PO Box 6074Denver, CO 80206
or visit our website at DenverPhilharmonic.org and click on the CONTRIBUTE link.
Contribution $ Check or Credit Card
Name
Address
City, State, ZIP Code
Telephone Email
Credit Card No.
Expiration Date CVV Code
4 5
CONTACT US!PO Box 6074Denver, CO 80206303.653.2407
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.
4 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 GOLANconductor and violin
LI, CHUNLAI
Ode to the Red Flag
FRANCK
Symphony in D Minor
GERSHWIN, ARR. WHITNEY
An American in Paris Suite
SMETANA
The Moldau
STRAUSS JR.
On the Beautiful Blue Danube
KREISLER, ARR. MCALISTER
Liebesleid
MONTI
Czárdás
june 3eurotripPACK YOUR PASSPORTS for the season finale Eurotrip on June 3. Travel across the pond on a musical tour of the European continent (with a layover in China). First stop — France! Enjoy César Franck’s ever-popular Symphony in D Minor and George Gershwin’s lyrical jazz number An American in Paris. Sail down the Vltava River through the meadows of Bohemia with Czech composer Bedrich Smetana’s The Moldau. Waltz into Vienna with Johann Strauss, Jr.’s On the Beautiful Blue Danube and Fritz Kreisler’s Liebesleid. Our trip ends in Eastern Europe with the Hungarian folksong Czárdás by Vittorio Monti.
Presented at Central Presbyterian, 1660 Sherman St.
BUY TICKETS AND MORE AT
DENVERPHILHARMONIC.ORG
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