InTune — The Houston Symphony Magazine — October 2019 by Houston Symphony

THE HOUSTON SYMPHONY MAGAZINE

OCTOBER 2019

MENDELSSOHN & MAHLER 20

RICK STEVES’ EUROPE: 26 A SYMPHONIC JOURNEY

WAGNER + BEETHOVEN 2 30

October 4, 5 & 6

October 11, 12 & 13

October 25, 26 & 27

Bass Trombonist Phillip Freeman shares his memories of John Williams’s unforgettable music on page 16. The Houston Symphony performs this masterful score live to film November 7–10.

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InTUNE | O C T O B E R

2019

Programs

Mendelssohn & Mahler October 4, 5 & 6 ��20 Rick Steves’ Europe: A Symphonic Journey October 11, 12 & 13 ��26 Wagner + Beethoven 2 October 25, 26 & 27 ��30

Features

Letter to Patrons �� 4 A Letter From Steven Reineke �� 14 Leaving a Musical Legacy �� 15 Star Wars Generation �� 16 Almost Like Flying: Miah Persson �� 18 Backstage Pass with Charles Seo �� 44

Your Houston Symphony

Your Symphony Experience . . . . . . . . . . . . . . . . . . . . . . . . . 5 Andrés Orozco-Estrada, Music Director . . . . . . . . . . . . . . . . 6 Upcoming Broadcasts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Orchestra Roster ��8 Society Board of Trustees ��9 Houston Symphony Chorus �� 10 Staff Listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Our Supporters

Houston Symphony Donors . . . . . . . . . . . . . . . . . . . . . . . . 35 Young Associates Council . . . . . . . . . . . . . . . . . . . . . . . . . 37 Corporate, Foundation, and Government Partners ��38 In-Kind Donors ��39 Houston Symphony Endowment . . . . . . . . . . . . . . . . . . . 40 Legacy Society & In Memoriam . . . . . . . . . . . . . . . . . . . . 41 Education and Community Engagement Donors . . . . . . . . 42 Musician Sponsorships . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Learn how The Empire Strikes Back inspired a generation of musicians.

LETTER TO PATRONS OCTOBER 2019

As the weather turns crisp and trick-or-treaters begin planning their costumes, the Houston Symphony is as busy as ever with a thrilling lineup of spectacular October concerts. The month begins with Music Director Andrés Orozco-Estrada leading the Houston Symphony Chorus and guest soloists in a program of thrilling masterpieces sure to get you into the Halloween spirit. Mahler’s Das klagende Lied is a spine-chilling ghost story inspired by a Grimm brothers’ fairytale, while Mendelssohn’s more light-hearted Die erste Walpurgisnacht depicts the costumed mischief of medieval pagans.

InTune is produced by the Houston Symphony’s Marketing and Communications department. Calvin Dotsey. . . . . . . . . . . . . . . . . . . Publications Editor Melanie O’Neill. . . . . . . . . . . . . . . . . Publications Designer Elaine Reeder Mayo. . . . . . . . . . . . . . . . . . . . . . . . . . Editorial Consultant Shweiki Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Printing Ventures Marketing Group. . . . . . . . . . . . . . . . . . . Advertising The Houston Symphony is a non-profit organization that relies on the support of our generous donors. Presenting nearly

170 concerts annually with an ensemble of 88 full-time professional musicians, the Symphony is Houston’s largest performing arts organization. We enrich the lives of hundreds of thousands through more than 1,000 annual community-based performances and inspiring classroom visits. Your support enables us to continue creating innovative and commanding musical experiences. The activities and projects of the Houston Symphony are funded in part by grants from the City of Houston, the National Endowment for the Arts, and the Texas Commission on the Arts. The Houston Symphony currently records under its own label, Houston Symphony Media Productions, and for Pentatone and Naxos. Houston Symphony recordings are also available on the Telarc, RCA Red Seal, Virgin Classics, and Koch International Classics labels. Cameras, Recorders, Cell Phones & Pagers

Cameras and recorders are not permitted in the hall. Patrons may not use any device to record or photograph performances. Please silence cell phones, pagers, and alarm watches and refrain from texting during performances. All content © 2019. Contents cannot be reproduced in any manner, whole or in part, without written permission from the Houston Symphony or InTune Magazine.

The next weekend, Michael Krajewski, the Houston Symphony’s beloved former principal pops conductor, returns to Jones Hall with special guest Rick Steves, who leads a multimedia tour of Europe complete with performances of orchestral favorites from around the continent. The same weekend, our BBVA Family Series begins with Wands & Wizards: Music from Harry Potter & More, the perfect introduction to the magical world of the orchestra for music lovers of all ages. The month concludes with Wagner + Beethoven, a powerful orchestral program led by world-renowned guest conductor Marek Janowski. Next month features one of the most anticipated concerts of our POPS Series, Star Wars: The Empire Strikes Back—In Concert. Turn to page 16 to read how this iconic score inspired Houston Symphony Bass Trombonist Phillip Freeman. Piano fans are also in for a treat with concerts featuring virtuosos Emanuel Ax and Daniil Trifonov. Andrés also returns to lead our All-Strauss Thanksgiving, a sumptuous orchestral showcase for the holiday weekend. Get to know Miah Persson, the silvery-voiced soprano for Strauss’s gorgeous Four Last Songs, on page 18. Thank you for joining us for this performance, and we look forward to seeing you at Jones Hall again soon.

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HOUSTON symphony JONES HALL FOR THE PERFORMING ARTS 615 Louisiana St. Suite 102 Houston, TX 77002

PATRON SERVICES

713.224.7575 Mon–Sat | 12p.m.–6 p.m. patronservices@houstonsymphony.org

GROUP SALES

713.238.1435 Mon–Fri | 9 a.m.–5 p.m. groupsales@houstonsymphony.org

ADMINISTRATIVE OFFICES 713.238.1420 Mon–Fri | 9 a.m.–5 p.m.

YOUR SYMPHONY EXPERIENCE JONES HALL

ETIQUETTE

Sixty-six foot ceilings, scarlet carpet, teakwood, and travertine marble greet visitors to Jones Hall, the home of the Houston Symphony. Opened in 1966, Jones Hall has a uniquely designed movable ceiling that enables the auditorium to shrink or expand from approximately 2,150 to 2,900 seats.

For Classical concerts, if a work has several movements it is traditional to hold applause until the end of the last movement. If you are unsure when a piece ends, check the program or wait for the conductor to face the audience. If you feel truly inspired, however, do not be afraid to applaud! Brief applause between movements after an exceptional performance is always appreciated.

PRELUDE PRE-CONCERT CONVERSATIONS Led by Musical Ambassador Carlos Andrés Botero, Prelude Pre-Concert Conversations are held 45 minutes in advance of each Classical Series performance and provide interesting insights into composers and their works.

DEVICES Please silence all electronic devices before the performance. Photography and audio/video recordings of these performances are strictly prohibited.

FOOD & DRINK POLICY Encore Café offers a selection of food and drink options before performances and during intermission; we also have several bars located throughout the concert hall where you may purchase beer, wine, and mixed drinks. However, food or drinks are prohibited in the auditorium for Classical Series performances. Drinks (in plastic containers) are allowed for POPS concerts and some Symphony Specials.

LOST AND FOUND For lost and found inquiries, please contact Front of House Manager Sarah Rendón during the performance. She also can be reached at sarah.rendon@houstonsymphony.org. You also may contact Houston First after the performances at 832.487.7050.

CONNECT WITH US |

CHILDREN Children ages 6 and up are welcome to all Classical, POPS, and Symphony Special concerts. Children of all ages are welcome at BBVA Compass Family Series performances. Children must have a ticket for all ticketed events.

LATE SEATING Each performance typically allows for late seating, which is scheduled in intervals and determined by the conductor. Our ushers and front of house manager will instruct you on when late seating is allowed.

TICKETS Subscribers to six or more Classical or POPS concerts, as well as BBVA Family Subscribers, may exchange their tickets at no cost. Tickets to Symphony Specials or single ticket purchases are ineligible for exchange or refund. If you are unable to make a performance, your ticket may be donated prior to the concert for a tax-donation receipt. Donations and exchanges may be made in person, over the phone, or online.

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InTUNE — October 2019 | 5

OROZCO-ESTRADA MUSIC DIRECTOR

ROY AND LILLIE CULLEN CHAIR Energy, elegance, and spirit—these are the qualities that distinguish Andrés Orozco-Estrada as a musician. Since the 2014–15 season, he has been music director of the Houston Symphony and principal conductor of the Frankfurt Radio Symphony Orchestra. Beginning in the 2020–21 season, he will be chief conductor of the Vienna Symphony. Andrés conducts many of the world's leading orchestras, including the Vienna Philharmonic, the Staatskapelle Dresden, the Leipzig Gewandhaus Orchestra, the Royal Concertgebouw Orchestra, the Orchestra dell'Accademia Nazionale di Santa Cecilia, the Orchestre National de France, and American orchestras in Philadelphia, Pittsburgh, Cleveland, and Chicago. He has also directed successful concerts and opera performances at the Glyndebourne and Salzburg festivals. Highlights of the 2019–20 season include performances with the Vienna Philharmonic at the BBC Proms and the Lucerne Festival, as well as tours to China, South Korea, and Japan. In the spring, Andrés Orozco-Estrada conducts his debut concert with the New York Philharmonic and returns as a guest to the rostrum of the Leipzig Gewandhaus Orchestra. In May 2020, the Dutch National Opera Amsterdam premieres a new production of Carmen under his direction. With the Houston Symphony, he presents a new two-week Schumann Festival in February featuring the composer’s symphonies, concertos, choral works, and chamber music. The same month, he conducts three concerts at the Wiener Musikverein, leading the Vienna Symphony as principal conductor designate. Andrés is particularly committed to new concert formats in which spoken commentary and visual elements complement the music as he rediscovers known repertoire together with the audience—be it a Spotlight concert with the Frankfurt Radio Symphony Orchestra or a Leipzig Gewandhaus Orchestra family concert. His CD releases at Pentatone have attracted critical praise. His Dvořák cycle with the Houston Symphony was praised by Pizzicato as a “vital Dvořák with warm colors.” With the Frankfurt Radio Symphony Orchestra, recordings of Stravinsky's Firebird and The Rite of Spring were hailed as “beguiling” by Gramophone, and the same publication recently described him as “a fine Straussian” in a review of their recent recording of the Alpine Symphony from his Richard Strauss cycle. In addition, his interpretations of all the Brahms and Mendelssohn symphonies are available on recordings. Born in Medellín, Colombia, Andrés began his musical education with the violin. He received his first conducting lessons at 15 and began study in Vienna in 1997, where he was accepted at the prestigious University of Music and Performing Arts in the conducting class of Uroš Lajovic, a student of the legendary Hans Swarowsky. Andrés has since lived in Vienna. 6 | Houston Symphony

Tune in to Houston Public Media News 88.7 FM Sunday nights at 8 p.m. to hear great performances from past Houston Symphony concerts. You can also listen Wednesday nights at 8 p.m. online through Houston Public Media's digital Classical station.

OCTOBER 2019 BROADCAST SCHEDULE ALL BROADCASTS AIR AT 8 P.M. October 6 | News 88.7 October 9 | Classical RECORDED: February 2 & 3, 2017

Andrés Orozco-Estrada, conductor Robin Kesselman, double bass Revueltas: Sensemayá Koussevitzky: Bass Concerto Piazzolla: Tangazo Bernstein: Symphonic Dances from West Side Story Jeffrey Kahane, conductor and piano Mozart: Piano Concerto No. 24 Mozart: Symphony No. 38, Prague Mozart: Piano Concerto No. 21

Edo de Waart, conductor Garrick Ohlsson, piano Beethoven: Piano Concerto No. 3 Elgar: Symphony No. 1

Andrés Orozco-Estrada, conductor Daniil Trifonov, piano Schumann: Piano Concerto Rachmaninoff: Symphony No. 2

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ROSTER

ORCHESTRA Andrés Orozco-Estrada Music Director Roy and Lillie Cullen Chair FIRST VIOLIN Yoonshin Song, Concertmaster Max Levine Chair Eric Halen, Co-Concertmaster Ellen E. Kelley Chair Qi Ming, Assistant Concertmaster Fondren Foundation Chair Marina Brubaker Tong Yan MiHee Chung Sophia Silivos Rodica Gonzalez Ferenc Illenyi Si-Yang Lao Kurt Johnson Christopher Neal Sergei Galperin Boson Mo* SECOND VIOLIN MuChen Hsieh, Principal Hitai Lee Mihaela Frusina Annie Kuan-Yu Chen Jing Zheng Martha Chapman Tianjie Lu Anastasia Sukhopara Tina Zhang Jordan Koransky Katrina Bobbs Savitski* Amy Semes*

HORN William VerMeulen, Principal Mr. and Mrs. Alexander K. McLanahan Endowed Chair Robert Johnson, Associate Principal Jesse Clevenger*, Assistant Principal Brian Thomas Nancy Goodearl Ian Mayton

FLUTE Aralee Dorough, Principal General Maurice Hirsch Chair Matthew Roitstein, Associate Principal Judy Dines Kathryn Ladner

TRUMPET Mark Hughes, Principal George P. and Cynthia Woods Mitchell Chair John Parker, Associate Principal Robert Walp, Assistant Principal Richard Harris

PICCOLO Kathryn Ladner

TROMBONE Allen Barnhill, Principal Bradley White, Associate Principal Phillip Freeman

ENGLISH HORN Adam Dinitz

CELLO Brinton Averil Smith, Principal Janice and Thomas Barrow Chair Christopher French, Associate Principal Anthony Kitai Louis-Marie Fardet Jeffrey Butler Maki Kubota Xiao Wong Charles Seo Annamarie Reader* James R. Denton**

8 | Houston Symphony

DOUBLE BASS Robin Kesselman, Principal Timothy Dilenschneider, Associate Principal Mark Shapiro Eric Larson Andrew Pedersen Burke Shaw Donald Howey Michael McMurray

OBOE Jonathan Fischer, Principal Lucy Binyon Stude Chair Anne Leek, Associate Principal Colin Gatwood Adam Dinitz

VIOLA Wayne Brooks, Principal Mr. & Mrs. Jesse B. Tutor Legacy Society Chair Joan DerHovsepian, Associate Principal George Pascal, Assistant Principal Wei Jiang Linda Goldstein Sheldon Person Fay Shapiro Daniel Strba Jarita Ng Phyllis Herdliska

Community-Embedded Musicians David Connor, double bass Rainel Joubert, violin Patricia Quintero Garcia, violin Alexa Sangbin Thomson, viola

Steven Reineke Principal POPS Conductor Robert Franz Associate Conductor Betsy Cook Weber Director, Houston Symphony Chorus

CLARINET Mark Nuccio, Principal Thomas LeGrand, Associate Principal Christian Schubert Alexander Potiomkin E-FLAT CLARINET Thomas LeGrand BASS CLARINET Alexander Potiomkin Tassie and Constantine S. Nicandros Chair BASSOON Rian Craypo, Principal Issac Schultz*, Associate Principal Elise Wagner Adam Trussell

BASS TROMBONE Phillip Freeman TUBA Dave Kirk, Principal TIMPANI Leonardo Soto, Principal Matthew Strauss, Associate Principal PERCUSSION Brian Del Signore, Principal Mark Griffith Matthew Strauss HARP Megan Conley, Principal** KEYBOARD Scott Holshouser, Principal *Contracted Substitute ** On Leave

CONTRABASSOON Adam Trussell

Orchestra Personnel Manager Michael Gorman

Librarian Thomas Takaro

Stage Manager Stefan Stout

Assistant Orchestra Personnel Manager Josh Hall

Assistant Librarians Aspen McArthur Michael McMurray

Assistant Stage Manager José Rios

Stage Technicians Nick DiFonzo Justin Herriford Armando Rodriguez

TRUSTEES

2019–20 SEASON

SOCIETY BOARD of

PAST PRESIDENTS OF THE HOUSTON SYMPHONY SOCIETY

Executive Committee Janet F. Clark President John Rydman President-Elect Steven P. Mach Chairman Immediate Past President

Robert A. Peiser* Honorary Chairman Paul Morico General Counsel Mike S. Stude Chairman Emeritus

Barbara McCelvey Secretary John Mangum^ Executive Director/CEO

Evan B. Glick Chair, Popular Programming Barbara J. Burger Chair, Finance Miles O. Smith Chair, Artistic & Orchestra Affairs Brad W. Corson Chair, Governance & Leadership Viviana Denechaud Chair, Development Tracy Dieterich Chair, Community Partnerships Bobby Tudor At Large Immediate Past Chair,

Mary Lynn Marks Chair, Volunteers & Special Events Billy McCartney Chair, Education William J. Toomey II President, Houston Symphony Endowment Robert Orr Chair, Strategic Planning Manolo Sánchez Chair, Marketing & Communications Jesse B. Tutor Chair, Audit

Maureen Higdon^ President, Houston Symphony League Andrés Orozco-Estrada^ Music Director Adam Dinitz^ Musician Representative Mark Hughes^ Musician Representative Mark Nuccio^ Musician Representative Christine Kelly-Weaver^ Assistant Secretary ^Ex-Officio *In Memoriam

GOVERNING DIRECTORS Farida Abjani Michael W. Adler Marcia Backus Janice Barrow ** Gary Beauchamp Bill Bullock Barbara J. Burger Janet F. Clark Brad W. Corson Viviana Denechaud Michael Doherty Terry Everett Sippi Khurana, M.D.

TRUSTEES

Jonathan Ayre James M. Bell Jr. Devinder Bhatia, M.D. Nancy Shelton Bratic Terry Ann Brown** Ralph Burch Justice Brett Busby Dougal Cameron John T. Cater** Michael H. Clark Virginia Clark Evan D. Collins, M.D., MBA Andrew Davis, Ph.D. Tracy Dieterich Kelli Cohen Fein, M.D. Jeffrey B. Firestone Eugene A. Fong Aggie L. Foster Julia Anderson Frankel Ron Franklin Betsy Garlinger

Rochelle Levit, Ph.D. Cora Sue Mach ** Steven P. Mach Paul M. Mann, M.D. Rodney Margolis** Jay Marks ** Mary Lynn Marks Billy McCartney Barbara McCelvey Alexander K. McLanahan ** Paul R. Morico Robert Orr John Rydman**

Kafi Slaughter Ex-Officio Miles O. Smith Tracy Dieterich Mike S. Stude ** Evan B. Glick William J. Toomey II Maureen Higdon Bobby Tudor ** Nina McGlashan Betty Tutor ** Gloria G. Pryzant Jesse B. Tutor ** Manolo Sánchez Judith Vincent Andrés Orozco-Estrada Margaret Alkek Williams ** John Mangum Scott Wulfe Mark Nuccio David Wuthrich Adam Dinitz Mark Hughes Christine Kelly-Weaver

Evan B. Glick Susan A. Hansen Gary L. Hollingsworth Brian James Joan Kaplan I. Ray Kirk, M.D. Ulyesse J. LeGrange** Carlos J. López Michael Mann, M.D. Jack Matzer Jackie Wolens Mazow Gary Mercer Marilyn Miles Shane A. Miller Janet Moore Leslie Nossaman Scott Nyquist Edward Osterberg Jr. Gloria G. Pryzant David Pruner Tadd Pullin

Richard Robbins, M.D. J. Hugh Roff Jr.** Miwa Sakashita Manolo Sánchez Ed Schneider Helen Shaffer ** Michael E. Shannon** Robert B. Sloan, D.D. Theol. Jim R. Smith Tad Smith Ishwaria Subbiah, M.D. L. Proctor (Terry) Thomas III Shirley W. Toomim Margaret Waisman, M.D. Fredric A. Weber Mrs. S. Conrad Weil Robert Weiner Vicki West Steven J. Williams Frank Wilson

Ellen A. Yarrell Robert Yekovich Frank Yonish Ex-Officio Ann Ayre Jessie Woods David Flores **Lifetime Trustee *Deceased

Mrs. Edwin B. Parker Miss Ima Hogg Mrs. H. M. Garwood Joseph A. Mullen, M.D. Joseph S. Smith Walter H. Walne H. R. Cullen Gen. Maurice Hirsch Charles F. Jones Fayez Sarofim John T. Cater Richard G. Merrill Ellen Elizardi Kelley John D. Platt

E.C. Vandagrift Jr. J. Hugh Roff Jr. Robert M. Hermance Gene McDavid Janice H. Barrow Barry C. Burkholder Rodney H. Margolis Jeffrey B. Early Michael E. Shannon Ed Wulfe Jesse B. Tutor Robert B. Tudor III Robert A. Peiser Steven P. Mach

PAST PRESIDENTS OF THE HOUSTON SYMPHONY LEAGUE Miss Ima Hogg Mrs. John F. Grant Mrs. J. R. Parten Mrs. Andrew E. Rutter Mrs. Aubrey Leno Carter Mrs. Stuart Sherar Mrs. Julian Barrows Ms. Hazel Ledbetter Mrs. Albert P. Jones Mrs. Ben A. Calhoun Mrs. James Griffith Lawhon Mrs. Olaf LaCour Olsen Mrs. Ralph Ellis Gunn Mrs. Leon Jaworski Mrs. Garrett R. Tucker Jr. Mrs. M. T. Launius Jr. Mrs. Thompson McCleary Mrs. Theodore W. Cooper Mrs. Allen W. Carruth Mrs. David Hannah Jr. Mary Louis Kister Mrs. Edward W. Kelley Jr. Mrs. John W. Herndon Mrs. Charles Franzen Mrs. Harold R. DeMoss Jr. Mrs. Edward H. Soderstrom

Mrs. Lilly Kucera Andress Ms. Marilou Bonner Mrs. W. Harold Sellers Mrs. Harry H. Gendel Mrs. Robert M. Eury Mrs. E. C. Vandagrift Jr. Mrs. J. Stephen Marks Terry Ann Brown Nancy Strohmer Mary Ann McKeithan Ann Cavanaugh Mrs. James A. Shaffer Lucy H. Lewis Catherine McNamara Shirley McGregor Pearson Paula Jarrett Cora Sue Mach Kathi Rovere Norma Jean Brown Barbara McCelvey Lori Sorcic Jansen Nancy B. Willerson Jane Clark Nancy Littlejohn Donna Shen Dr. Susan Snider Osterberg Dr. Kelli Cohen Fein Vicki West Mrs. Jesse Tutor Darlene Clark Beth Wolff

PAST PRESIDENTS OF THE HOUSTON SYMPHONY LEAGUE BAY AREA Fran Strong Selma Neumann Julia Wells Dagmar Meeh Priscilla Heidbreder Harriett Small Nina Spencer Elizabeth Glenn Ebby Creden Charlotte Gaunt Norma Brady Cindy Kuenneke Helen Powell Sharon Dillard Diane McLaughlin Roberta Liston Suzanne Hicks Sue Smith

Shirley Wettling Jo Anne Mills Phyllis Molnar Pat Bertelli Emyre B. Robinson Dana Puddy Angela Buell Pat Brackett Joan Wade Yvonne Herring Deanna Lamoreux Glenda Toole Carole Murphy Patience Myers James Moore Mary Voigt Martha McWilliams

FRIENDS OF JONES HALL REPRESENTATIVES Ronald G. Franklin

Steven P. Mach

Barbara McCelvey

Robert Orr InTUNE — October 2019 | 9

CHORUS

HOUSTON SYMPHONY Betsy Cook Weber Director

Anna Diemer Chorus Manager Scott Holshouser Accompanist Tony Sessions Librarian/Stage Manager

The Houston Symphony Chorus, under the direction of Betsy Cook Weber since 2014, is the official choral unit of the Houston Symphony and consists of highly skilled and talented volunteer singers. Over the years, members of this historic ensemble have learned and performed the world’s great choral-orchestral masterworks under the batons of Andrés Orozco-Estrada, Hans Graf, Christoph Eschenbach, Robert Shaw, and Helmut Rilling, among many others. In addition, the Chorus enjoys participating in the Houston Symphony’s popular programming under the batons of conductors such as Steven Reineke and Michael Krajewski. Recently, the ensemble sang the closing subscription concerts with the Prague Symphony Orchestra in the Czech Republic. Singers are selected for specific programs for which they have indicated interest. A singer might choose to perform in all 45 concerts, as was the case in a recent season, or might elect to participate in a single series.

Betsy Cook Weber | Houston Symphony Chorus, Director Dr. Betsy Cook Weber, Director of the Houston Symphony Chorus since 2014, also serves as Madison Endowed Professor of Music and Director of Choral Studies at the University of Houston’s Moores School of Music. Choirs under her direction have won important international prizes and have been featured at numerous state, regional, and national conferences. Betsy is in high demand as a conductor, clinician, adjudicator, and lecturer and has conducted performances in more than half the states in this country; internationally, she has conducted concerts in the Czech Republic, France, Germany, Hungary, Italy, Poland, and Wales. Betsy is editor of the Betsy Cook Weber Choral Series with Alliance Music Publishing. In 2013, she became the 13th person and first woman to receive the Texas Choral Directors Association’s coveted Texas Choirmaster Award. She holds degrees from the University of North Texas, Westminster Choir College, and the University of Houston.

CHORUS ROSTER | Rehearsal Conductor Janwin Overstreet-Goode Section Leaders Brianna Fernandez Jillian Hughes Douglas Rodenberger Stephen James Chorus Council Ramona Alms Joe Anzaldua Jonathan Bordelon Randy Eckman Brianna Fernandez Julia FitzGerald Michael Gilbert Susan Hall Jillian Hughes Stephen James Ken Mathews Janwin Overstreet-Goode 10 | Houston Symphony

Jennifer Paulson Bill Parker Douglas Rodenberger Tony Sessions Lee Williams Chorus Roster Mary Ann Addis Josh Adler Bob Alban Ramona Alms Kelli Amick Lauren Andersen Keith Anthis Joe Anzaldua Ellis Bardin Justin Becker Claude Bitner Randy Boatright Criselda Bocanegra Abby Boone

Mendelssohn & Mahler • October 4, 5 & 6 Jonathan Bordelon Janene Bostwick Emily Boudreaux Timothy Boyer Sara Brannon Nancy Bratic Jennifer Breneman Kristen Bullock Brandon Bulls Troy Burnett Kimberly Butler James Calvert William Cheadle Wei-Huan Chen Jennifer Christian Nancy Christopherson Swatara Collins Brian Cook Nancy Crownover Paul Dabney Nicolas Dell'Anno

Anna Diemer Michael Dorn Steve Dukes Emily Eads Randy Eckman Raul Enriquez Brianna Fernandez Amanda Fetter-Matthys Julia FitzGerald Rachel Fly Jim Friedhofer Katie Fry Chase Gaines Rachel Gehman Michael Gilbert Rex Gillit Robert Gomez Daniel Gorelick John-Alan Gourdine Hannah Gronseth Sandra Haggray

Julia Hall Scott Hassett Matthew Hazzard Matthew Henderson Holly Hinski Kathleen Holder MaryKate Hotaling Catherine Howard George Howe Laura Howey Jillian Hughes Sylvia Hysong Stephen James La'Netha Jefferson Emily Jenkins Brionne Kelly Michael Kessler Nobuhide Kobori David Kolacny Elizabeth Kragas Kat Kunz Justin Langham Yoka Larasati Brian Lassinger Doreen Lee Benjamin Luss

Relana Luss Solange Mainer Jordan March Andrew Markus Lisa Marut-Shriver Ken Mathews Nathan McCarty Sarah McConnell Renesha McNeal Melissa Medina Scott Mermelstein Travis Mohle Jim Moore Robert Nash Benedict Nguyen Eliza Nicholson Theresa Olin David Opheim Alyssa Orlando Janwin Overstreet-Goode Bill Parker Jayna Parker Queen Noah Peak Sydney Peltier Alex Perez Ariella Perlman

Houston Youth Symphony

Edward Elgar’s Enigma Variations Fall Concert, featuring the 2 most advanced orchestras

Sunday, November 3 • 7:00 pm Stude Concert Hall, Rice University Shepherd School of Music

Allison Poe Lauren Price Greg Railsback Jessica Rangel Joseph Ray Linda Renner Graeme Richmond Douglas Rodenberger Carolyn Rogan Grace Roman James Roman Missy Roth Scott Roth Emily Sanders Paloma Santamaría Gary Scullin Angela Seaman Ben Seligson Tony Sessions Jessica Simmons Christopher Song Dewell Springer Mark Standridge Carol Strawn Cecilia Sun Rebekah Terwilliger

Suzy Thacker Alisa Tobin James Tolles Lisa Trewin Paul Van Dorn Abby Veliz Mary Voigt Christine Voss Heidi Walton Beth Weidler Alex Weldy Kat White Lee Williams Vanessa Winslow Carol Yip Richard Zwelling

Italian Style Wine TEXAS SIZED SAVINGS available at

HoustonYouthSymphony.org • 713.785.2422 InTUNE — October 2019 | 11

STAFF

ADMINISTRATIVE

The Houston Symphony Administrative Staff is made up of 71 full-time and part-time professionals who work diligently behind the scenes to ensure all operations within the organization are run effectively and efficiently. This inspiring team is dedicated to bringing the great music of the Houston Symphony to our community. SENIOR MANAGEMENT GROUP

FINANCE | ADMINISTRATION | IT | HR

John Mangum, Executive Director/CEO, Margaret Alkek Williams Chair Pam Blaine, Chief of Education and Community Engagement Elizabeth S. Condic, Chief Financial Officer Vicky Dominguez, Chief Operating Officer Nancy Giles, Chief Development Officer Gwen Watkins, Chief Marketing Officer

Brittany Basden, Support Engineer Robert Boyd, Budget Manager Henry Cantu, Accountant II Kimberly Cegielski, Staff Accountant Joel James, Senior HR Manager Jessica Jelinek, Database Manager Tanya Lovetro, Director, Finance Morgana Rickard, Controller Gabriela Rivera, Senior Accountant Anthony Stringer, Director, IT Ariela Ventura, Office Manager/HR Coordinator Lee Whatley, Senior Director, IT and Analytics

Christine Kelly-Weaver, Executive Assistant/Board Liaison DEVELOPMENT Michael Arlen, Associate Director, Individual Giving and Major Gifts Julie Busch, Manager, League Relations and Fundraising J. Steven Covington, Director, Endowment and Planned Giving Timothy Dillow, Director, Special Events Amanda T. Dinitz, Major Gifts Officer Samuel García, Development Associate Amber Jones, Manager, Donor Stewardship Mary Beth Mosley, Director, Institutional Giving and Stewardship Tyler Murphy, Development Officer, Major Giving Groups Shane L. Platt, Development Associate, Individual Giving Martin Schleuse, Development Communications Manager Molly Simpson, Director, Individual Giving and Major Gifts Jennifer Staples, Manager, Special Events Christine Ann Stevens, Major Gifts Officer Lena Streetman, Research Analyst Christina Trunzo, Associate Director, Foundation and Government Grants EDUCATION AND COMMUNITY ENGAGEMENT Allison Conlan, Director, Education Anna Dean, Education and Community Engagement Coordinator Emily Nelson, Associate Director, Education and Community Engagement Ana Rodriguez, Education and Community Engagement Manager

12 | Houston Symphony

MARKETING | COMMUNICATIONS | PATRON SERVICES Mark Bailes, Marketing Coordinator Shelby Banda, Patron Services Representative Joshua Chavira, Patron Services Representative Calvin Dotsey, Communications Specialist Heather Fails, Manager, Ticketing Database BreeAngela Hamilton, Digital Marketing Coordinator Kerry Ingram, Director, Digital Marketing Edgar Ivan-Morales, Patron Services Representative Kathryn Judd, Director, Marketing Mateo Lopez, Assistant Manager, Patron Services Center Melanie O’Neill, Creative Specialist Sarah Rendón, Front of House Manager Mireya Reyna, Publicist Vanessa Rivera, Digital Marketing Manager Ashley Rodriguez, Patron Services Senior Representative Eric Skelly, Senior Director, Communications Melissa Taylor, Graphic Designer Jenny Zuniga, Director, Patron Services OPERATIONS | ARTISTIC Carlos Andrés Botero, Musical Ambassador Becky Brown, Director, Operations Stephanie Calascione, Artistic Operations Assistant Anna Diemer, Chorus Manager Jessica Fertinel, Assistant to the Music Director Michael Gorman, Orchestra Personnel Manager Josh Hall, Assistant Orchestra Personnel Manager Aspen McArthur, Assistant Librarian Michael McMurray, Assistant Librarian Lesley Sabol, Director, Popular Programming Brad Sayles, Recording Engineer Thomas Takaro, Librarian Meredith Williams, Associate Director, Operations Rebecca Zabinski, Director, Artistic Planning

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InTUNE — October 2019 | 13

DEAR SYMPHONY FAMILY MEMBER, As Principal POPS Conductor, I’m honored to join with the musicians of your Houston Symphony, and our incredible guest musicians to bring you a 2019–20 Season to remember! This season showcases music that makes personal connections to our lives. Soundtracks like The Empire Strikes Back—which I can’t wait to lead in November—evoke indelible moviegoing memories. The music of European composers encourages us to explore their home countries, as Rick Steves reminds us this month. And of course, this season celebrates popular music that brings generations together, from the 1940s (Nat King Cole) to the 1960s (Aretha Franklin) to today (hip-hop legend Common’s breathtaking performance with the Symphony in September). It’s a joy as well to bring some of my favorite artists to Houston to perform for you. It was a dream come true to work with Houstonian Renée Elise Goldsberry in front of her appreciative hometown audience, and I hope you were able to be a part of it. We will also bring back Houston Symphony favorites like Tony DeSare, Ryan Shaw, and Dave Bennett. Capathia Jenkins, who brought the house down in The Ella Fitzgerald Songbook, returns this season in a tribute to the iconic Aretha Franklin conducted by my good friend Lucas Waldin. And I’m thrilled to reunite with the amazing Houston Symphony Chorus under the direction of Betsy Cook Weber to cap off the season with The Best of John Williams—Star Wars and More! If you enjoy the POPS Series, I hope you’ll consider a financial contribution to help us attract outstanding artists like these to perform with your orchestra. This year, the Symphony is bringing back POPS memberships, with special benefits and incentives just for POPS fans like you. As a non-profit organization, the Symphony relies on the generosity of its donors. If you’re supporting the POPS Series already, thank you so much! If you haven’t yet, I encourage you to contact Molly Simpson, Director of Individual Giving and Major Gifts, at 713.337.8526 or molly.simpson@houstonsymphony.org, or give a gift at houstonsymphony.org/donate. Thanks for letting us inspire and entertain you. I can’t wait to see you soon at Jones Hall! Warm regards,

Steven Reineke Principal POPS Conductor

14 | Houston Symphony

Margaret Waisman and Rita Justice  Legacy Society Members

LEAVE A MUSICAL

LEGACY When you include the Houston Symphony Endowment in your will or other estate plan, we celebrate your generosity by inviting you to join the Legacy Society. Along with approximately 170 people who share your passion for the Symphony, you’ll enjoy special events and extra touches that make your Symphony experience more special and meaningful. The Society was established in 1996 by two visionary board members, Stewart Orton and Walter W. Sapp, who understood the importance of a strong endowment to the orchestra’s future. An estate gift of any size benefitting the Houston Symphony will qualify you for membership. As a Legacy Society member, you will be recognized in our monthly InTUNE magazine as well as the Legacy Society website. You also will receive an invitation to the exclusive annual Legacy Society Luncheon and admission to the Houston Symphony’s Patron Donor Lounge throughout the season.

HOW YOUR GIFT WILL HELP THE HOUSTON SYMPHONY • A gift through your will or other estate plan helps secure the future of the Houston Symphony while allowing you to express your values in a highly meaningful way. •

Your gift will be placed in the Houston Symphony Endowment where it will be invested along with similar donations from many other foresighted patrons. A portion of the earnings will support the Symphony’s performances as well as education and community engagement every year.

•

Realized gifts from Legacy Society members help the Symphony right now, every single day. Bequests and other estate gifts received by the Endowment support more than 130 concerts in Jones Hall each season, send Symphony musicians into schools and other area organizations, and allow more than 200,000 Houstonians to enjoy free low-cost concerts at Miller Outdoor Theatre and other venues each year.

To join the Legacy Society, we ask that you complete a Legacy Society Gift Intention Letter. You may request a copy from Steven Covington, Director of Endowment and Planned Giving, 713.337.8532 or steven.covington@houstonsymphony.org. Please return the letter to Steven Covington by email, or by postal mail: 615 Louisiana Street, Suite 102, Houston, TX, 77002.

InTUNE — October 2019 | 15

GENERATION On November 7, 8, 9, and 10, the Houston Symphony continues to explore John Williams’s iconic music with performances of the score to Star Wars Episode V: The Empire Strikes Back live to picture. Many Houston Symphony musicians are also big Star Wars fans, including Phillip Freeman, the Houston Symphony’s bass trombonist. Here, Phillip shares how this soundtrack inspired a generation of musicians. For countless fans, nostalgia is the lens through which we perceive Star Wars. With its simply-drawn characters from a long time ago and far, far away, the original 1977 film was itself a throwback that shared more in common with adventure movies of the 1930s than contemporary science fiction. Equally anachronistic was John Williams’s score for large orchestra, written in a neo-romantic style more akin to Korngold and Wagner than the experimental electronic music of other space films (Stanley Kubrick’s 2001: A Space Odyssey notwithstanding). After eight further installments over four decades, everyone from teens to retirees would have wistful Star Wars memories frozen in carbonite, but perhaps no generation would claim to feel that nostalgia more keenly than mine.

16 | Houston Symphony

My first exposure to Star Wars was shortly after my third birthday during its original theatrical run. While I have few recollections of that viewing, my memories of seeing The Empire Strikes Back in the theater are crystal clear. The continuation of the unlikely hero’s journey in outer space— combined with the explosion of themed merchandise—would have a profound impact on not just me, but every friend I had. For the next several years, our playtime was spent in the universe we saw onscreen, and accompanying every leap, tumble, and lightsaber battle was the music of John Williams. Williams cut his teeth in television, scoring shows throughout the 1960s. He had built an impressive resumé of movie soundtracks by the early ’70s, but it was later that decade with films like Jaws, Star Wars, Close Encounters of the Third Kind, and Superman, that his melodies would be cemented in America’s collective consciousness. The Empire Strikes Back built on Williams’s Oscar-winning Star Wars score, continuing his use of leitmotifs by adding themes for Yoda and Boba Fett, plus new music to underscore Han and Leia’s burgeoning romance. The most famous addition, the menacing Imperial March, provided the perfect musical embodiment of Darth Vader.

By the time I picked up an instrument, the original trilogy had long been completed, and my Star Wars toys were gone. I would spend much of my adolescence practicing and listening to records. One of the first orchestral recordings I owned, and my very first soundtrack, was the score to Empire. In my Walkman, that cassette provided the musical backdrop for hours of homework, hundreds of miles behind a lawnmower, and the squandering of thousands of quarters (mostly on Atari’s 3D vector-graphic Star Wars game) at the arcade. While those hours might not be considered critical listening, they did help shape my early idea of what an orchestra should sound like. Those of us able to realize our youthful dreams of performing his soundtracks have learned the physical demands of Williams’s music are extraordinary. One of the most exhausting musical cues I have ever played was from Raiders of the Lost Ark, and that one is several minutes shorter than the longest cue in Empire. But difficulty of performance is always mitigated by the quality of composition, and just as large numbers of fans consider Empire the best of the Star Wars movies, many musicians deem it the best-scored. Meeting its challenges, while enveloped by the sonic force only a large orchestra can generate, more than compensates for the arduousness of its execution. Between his Hollywood fame and his TV presence as conductor of the Boston Pops Orchestra, Williams became a legendary figure to the musicians my age; it would take both hands to count my music school classmates—particularly

brass players—who claimed the music of Star Wars was the single reason they picked up an instrument. Yet for a man with more than 50 Oscar nominations (second only to Walt Disney), he is very approachable. I first met him at Tanglewood nearly 20 years ago. He was walking the grounds alone, his appearance suggesting he had just awoken from a nap on the lawn. Unhurried and remarkably gracious, he posed for pictures with anyone who asked, a demeanor that was just as evident in 2013 when he led our orchestra in a concert of his music with cellist Yo-Yo Ma. Among all of the great themes representing a lifetime of translating moving pictures into sound, the highlights of the show, for me, remained the cues from the Star Wars films. My generation is not the only one to claim ownership of the Star Wars universe: the fantasy world George Lucas and Williams created certainly captured the imaginations of those older than us, and generations after ours would inhabit that world as readily as we. But those of us who witnessed all three original films in the theater as children; who first learned about Luke’s paternity on the playground from kids lucky enough to see Empire before we did; who have yellowing photos of ourselves in rebel flight suit Underoos, unwrapping Boba Fett’s ship on Christmas morning; we may always feel that Star Wars most belongs to us. —Phillip Freeman

Left: Meeting John Williams, Tanglewood 2002 Above: With my younger brother, always Luke to my Han. circa 1980

almost

LIKE FLYING MIAH PERSSON SINGS STRAUSS This Thanksgiving weekend, Music Director Andrés Orozco-Estrada leads an all-Strauss program that showcases the virtuoso abilities of our fabulous musicians. Joining Andrés and the orchestra is world-renowned Swedish soprano Miah Persson, who sings Strauss’s Four Last Songs, the composer’s gorgeous final masterpiece. Get to know this golden-voiced artist as she discusses Strauss, new music, Texas, and more with the Houston Symphony’s Eric Skelly. Eric Skelly: Richard Strauss was in love with the soprano voice, and his writing for sopranos certainly shows that. Can you describe what it is like to sing Richard Strauss and what distinguishes his writing from other composers? Miah Persson: Singing his music feels almost like flying! Sometimes I even get dizzy when I sing his long, high phrases. There is a lightness but also a gravity to his way of writing for the voice. It is always with the words of the poet or librettist in mind, so text and music are very intimately connected. I find it takes a bit longer for me to find the key to his music, but once it is done, it is so well written for the voice that you can sing his music for hours without getting tired! ES: Are there any Strauss roles you are looking at for the future? MP: Marschallin! [One of the lead roles in Strauss’s opera Der Rosenkavalier] ES: You have admirably managed to balance standard repertoire and new works in your career to date. Is that by design? Can you talk about how your artistic partnership with composer Michel van der Aa came about? MP: I have had the pleasure to be able to mix all genres throughout my career, and I have always wanted it to be that way. I’m lucky enough to have a voice that suits many styles and I enjoy lieder, concerts, and operas equally. My collaboration with Michel van der Aa started off with him calling me to ask if I wanted to sing in a 3D opera he was composing (Blank Out). Who can resist such offer? It is by far the most challenging thing I’ve ever done!!

concert PREVIEW NOVEMBER 29 & 30, DECEMBER 1 JONES HALL

18 | Houston Symphony

ES: Is this your first time to perform in Houston? I know you have been to Dallas, so I’m wondering if you have any impressions of Texas so far. MP: Yes, this will be my debut, and I’m very much looking forward to it! I really enjoyed singing in Dallas and was amazed by all the different things there were to do and see—like beautiful gardens, amazing museums, AND rodeo! Don’t miss our All-Strauss Thanksgiving November 29, 30, and December 1! Visit houstonsymphony.org for tickets and more information.

Celebrating over 50 years

of supporting the Houston Symphony. ConocoPhillips is committed to being a great neighbor and responsible citizen in the communities where we live and work. This is especially true in our hometown of Houston, where our sponsorship of the Houston Symphony is just one example of how we help give back to the community. We applaud the Houston Symphony's efforts to promote music education and cultural awareness and for their continued leadership in advancing Houstonâ&#x20AC;&#x2122;s vibrant arts community. To learn more, visit www.conocophillips.com.

FEATURED PROGRAM

MENDELSSOHN & MAHLER Friday Saturday Sunday

October 4 October 5 October 6

8:00 p.m. 8:00 p.m. 2:30 p.m.

Andrés Orozco-Estrada, conductor *Melody Moore, soprano Sasha Cooke, mezzo-soprano Toby Spence, tenor

Jones Hall

*Günter Haumer, baritone *Scott Connor, bass Houston Symphony Chorus Betsy Cook Weber, conductor

*Houston Symphony debut

Mahler

Das klagende Lied (revised 1899) I Der Spielmann (The Minstrel): Sehr gehalten II Hochzeitstück (Wedding Piece): Heftig bewegt

ca. 41

I N T E R M I S S I O N

Mendelssohn

Die erste Walpurgisnacht, Opus 60 ca. 35 Overture I Das schlechte Wetter (Bad weather): Allegro con fuoco— II Der Übergan zum Frühling (The transition to springtime): Allegro vivace non troppo— 1. Tenor Solo and Chorus: Es lacht der Mai (Now May again): Allegro vivace non troppo—Allegro assai vivace— 2. Alto Solo: Könnt ihr so verwegen handeln (Know ye not a deed so daring): Allegretto non troppo— 3. Baritone Solo and Chorus: Wer Opfer heut zu bringen scheut (The man who flies our sacrifice): Andante maestoso— 4. Chorus: Verteilt euch, wackre Männer hier! (Disperse, ye gallant men!): Allegro leggiero— 5. Bass Solo: Diese dumpfen Pfaffenchristen (Should our Christian foes assail us): Andante—Allegro moderato— 6. Chorus: Kommt mit Zacken und mit Gabeln (Come with flappers, fire, and clappers): Allegro molto— 7. Baritone Solo: So weit gebracht, dass wir bei Nacht (Restrained by might, we now by night): L’istesso tempo— Andante maestoso— 8. Tenor Solo: Hilf, ach hilf mir, Kriegsgeselle! (Help, my comrades, see a legion!): Allegro non troppo— 9. Chorus: Die flamme reinigt sich vom Rauch (Unclouded now, the f lame is bright): Andante maestoso

20 | Houston Symphony

Did you know? • Mahler’s Das klagende Lied is notable for a passage in which an offstage wind band clashes with the mainstage orchestra and chorus. Perhaps it is apropos that after one outing to a fair, Mahler’s friend Natalie BauerLechner reported that “[…] innumerable barrel organs blaring out from merry-gorounds, swings, shooting galleries and puppet shows […] a military band and a men’s choral society had established themselves there as well. All these groups, [...] were creating an incredible musical pandemonium [...] Mahler exclaimed: ‘You hear? That’s polyphony, and that’s where I get it from!’”

Mendelssohn & Mahler | Program Biographies

Program BIOGRAPHIES FROST BANK GOLD CLASSICS

Andrés Orozco-Estrada | conductor

The Classical Season is endowed by The Wortham Foundation, Inc. in memory of Gus S. and Lyndall F. Wortham.

Please see Andrés Orozco-Estrada's biography on page 6.

Melody Moore | soprano

These concerts are part of the Margaret Alkek Williams Sound + Vision Series, which is also supported by The Cullen Trust for the Performing Arts Endowed Fund for Creative Initiatives.

CHIP GILLESPIE

Video enhancement of Houston Symphony concerts is made possible by the Albert and Ethel Herzstein Charitable Foundation through a special gift celebrating the foundation’s 50th anniversary in 2015.

Soprano Melody Moore enjoys a thriving career on the world’s leading stages, prompting Opera News to label her “a revelation,” and of her recent sold-out appearance at Carnegie Hall to rave, “As I left the auditorium, I could only think: more of Moore, please.” The current season marks the release of her first solo album entitled An American Song Album with pianist Bradley Moore on Pentatone Records. In the 2019–20 season, Melody makes her role and house debut as the Foreign Princess in Rusalka at Cincinnati Opera. She revisits her acclaimed portrayal of Senta in Die fliegende Holländer in a return to the Teatro Municipal de Santiago and joins the roster of the Metropolitan Opera, covering the role in a new production. Concert highlights include her debut here in Mahler’s Das klagende Lied under the baton of Music Director Andrés Orozco-Estrada and a solo recital at Lawrence University. In the 2018–19 season, Melody returned to Houston Grand Opera to reprise the roles of Senta in the season opening production of Die fliegende Holländer led by Music Director Patrick Summers and Donna Elvira in Mozart’s Don Giovanni in a new production by Kasper Holten. She also returned to Los Angeles Opera for a role debut as Gertrude in Hänsel and Gretel under the baton of Music Director James Conlon. On the concert stage, she debuted with the Dresdner Philharmonie in the roles of Giorgetta in Puccini’s Il tabarro and Santuzza in Mascagni’s Cavalleria rusticana, both of which were recorded for commercial release by Pentatone Records. Melody also sang Senta with the Milwaukee Symphony Orchestra under the baton of Music Director Edo de Waart, debuted Delius’s A Mass of Life at the Grant Park Music Festival, and sang the title role in Salome in Daegu, South Korea. Other recording projects included Minnie in La Fanciulla del West in Cluj, Romania, and the title role in Madama Butterfly in Lisbon, both recorded for commercial release by Pentatone Records. A graduate of the University of Cincinnati – College-Conservatory of Music, Melody Moore is a former Adler Fellow of San Francisco Opera and a participant of the Merola Opera Program.

InTUNE — October 2019 | 21

Program BIOGRAPHIES , continued

During the 2019–20 season, twotime Grammy Award-winning mezzo-soprano Sasha Cooke returns to the San Francisco Opera to reprise the title role in Humperdinck's Hansel and Gretel and Laurene Jobs in Mason Bates’ The (R)evolution of Steve Jobs. On the concert stage, she reunites with Jaap van Zweden and the New York Philharmonic for concerts of Mahler’s Symphony No. 2, Resurrection at David Geffen Hall, Barbican Centre, and The Royal Concertgebouw. She also sings Mahler’s Symphony No. 3 with Myung-whun Chung at the Accademia Nazionale di Santa Cecilia, Beethoven’s Missa Solemnis with the Atlanta Symphony Orchestra under Robert Spano in Atlanta and at Carnegie Hall, Ravel’s Shéhérazade with Radio Filharmonisch Orkest under conductor James Gaffigan, Rilke Songs with composer and conductor Michael Tilson Thomas with The Cleveland Orchestra, as well as a concert version of Mascagni’s Cavalleria Rusticana with the Chicago Symphony Orchestra under the baton of Riccardo Muti. After a decade of collaborating with the San Francisco Symphony, she undertakes an artist-in-residency that encompasses concerts with the orchestra, educational events, and a solo recital in Davies Hall. Additional recitals include Sasha’s return to London’s Wigmore Hall with pianist Malcolm Martineau, New York’s 92nd Street Y and Kennedy Center's Terrace Theater with pianist Julius Drake, and a solo recital for Santa Fe Chamber Music Festival with pianist Pei-Yao Wang. She also sings the world premiere of Jake Heggie and Gene Scheer’s Violins of Hope with violinist Daniel Hope for Music at Kohl Mansion in California. Sasha has sung at the Metropolitan Opera, English National Opera, Opéra National de Bordeaux, and Gran Teatre del Liceu, among others, and with more than 60 symphony orchestras worldwide under leading conductors Yannick Nézet-Séguin, Gustavo Dudamel, Franz Welser-Möst, Sir Andrew Davis, Bernard Haitink, James Levine, Edo de Waart, and more. Her recordings can be found on Hyperion, BIS, Chandos, and more. Sasha studied at Rice University, The Juilliard School, and the Metropolitan Opera’s Lindemann Young Artist Development Program.

22 | Houston Symphony

Toby Spence | tenor An honors graduate and choral scholar from New College, Oxford, Toby Spence pursued Opera Studies at the Guildhall School of Music and Drama. He was the winner of the Royal Philharmonic Society 2011 Singer award. MITCH JENKINS

STEPHANIE GIRARD

Sasha Cooke | mezzo-soprano

In concert, Toby has sung with some of the most renowned orchestras such as the Berlin Philharmonic, Vienna Philharmonic, Bavarian Radio Symphony Orchestra, San Francisco Symphony, London Symphony Orchestra, London Philharmonic Orchestra, Los Angeles Philharmonic, The Cleveland Orchestra, Rotterdam Philharmonic Orchestra, and Accademia Nazionale di Santa Cecilia. He has appeared as a guest soloist at the Salzburg Easter Festival and the Edinburgh International Festival. He has worked with an impressive array of conductors such as Christoph von Dohnányi, Sir Simon Rattle, Michael Tilson Thomas, Sir Antonio Pappano, Valery Gergiev, Colin Davis, Yannick Nézet-Séguin, Gustavo Dudamel, Edward Gardner, Roger Norrington, and Sir Charles Mackerras. A prolific recitalist, Toby has given numerous solo recitals for BBC Radio 3 and at London’s Wigmore Hall and has appeared at LSO St. Luke’s, Opéra de Lille, Northern Ireland Opera’s Festival of Voice, Janáček Brno International Music Festival, and Aldeburgh Festival. He has made numerous recordings for Deutsche Grammophon, Decca, BMG, Philips, Collins, Linn Records, Hyperion, and EMI. Highlights of the 2019–20 season include Pylades Iphigénie with the Orchestra of the Age of Enlightenment, the title role of Lazarus at the Kammerakademie Potsdam, Florestan in Fidelio at the Stavanger Concert Hall and Garsington Opera, and Janáček’s Osud at the National Theatre Brno. On the concert platform, Toby performs these Houston Symphony concerts, Mahler’s Symphony No. 8 at Atlanta Symphony Hall, Das Lied von der Erde at the Teatro Nacional de São Carlos, The Dream of Gerontius with the Slovak Philharmonic, and Beethoven’s Missa Solemnis with the NFM Wrocław Philharmonic. In 2020, he performs Britten’s Serenade for Tenor, Horn and Strings at the Prague Rudolfinum, the Auditorium de l'Orchestre National de Lyon, and the Ishikawa Ongakudō concert hall, as well as Haydn’s Creation at the Barbican.

Mendelssohn & Mahler | Program Biographies

Günter Haumer | baritone The up-and-coming Austrian baritone Günter Haumer has sung for conductors Andrés OrozcoEstrada, Christian Thielemann, Fabio Luisi, Gustavo Dudamel, Jesús López-Cobos, Ivor Bolton, Sylvain Cambreling, and Philippe Herreweghe, among others, at venues such as the Musikverein and Konzerthaus (Vienna), the Cité de la Musique (Paris), the Kulturpalast (Dresden), the Auditorio Nacional de Música (Madrid), the National Philharmonic (Warsaw), and the Salzburg Festival. Günter has been a member of the Ensemble of the Volksoper in Vienna since 2012. He has performed the title role in Don Giovanni, Almaviva in The Marriage of Figaro, Giorgio Germont in La traviata, Ping in Turandot, Danilo in The Merry Widow, Malatesta in Don Pasquale, Dr. Falke in Die Fledermaus, and the tile roles in Zar und Zimmermann and Gasparone in Europe and South America. He is most wellknown for his performances of contemporary repertoire. Günter has worked with stage directors such as Rolando Villazón, Deborah Warner, Otto Schenk, Christiane Lutz, and Christoph Schlingensief. As a lieder singer, Günter is recognized as one of the best performers of the genre, often accompanied by Roger Vignoles, Julius Drake, and James Baillieu. He has been featured in several CD and DVD recordings and is often broadcast on TV and radio, including a Christmas in Vienna special seen in more than 40 countries. In addition to his busy performing schedule, Günter Haumer teaches singing at the University of Music and Performing Arts in Vienna.

Scott Conner | bass A Kansas native, young bass Scott Conner has been lauded by critics and audiences as a major talent on the rise. Scott’s 2019–20 season begins with Opera Philadelphia, where he performs the role of the King in The Love for Three Oranges. He then returns to the Metropolitan Opera to sing the Police Commissioner in Der Rosenkavalier and cover Colline in La bohème. He was also invited back to Santa Fe Opera to sing Basilio in Il Barbiere di Siviglia. Last season, Scott returned to the Metropolitan Opera, singing Pinellino in Gianni Schicchi and covering Bello in La fanciulla del West. He made his house debut with San Diego Opera singing Escamillo in Carmen, and with Opéra de Dijon as Jupiter/Vulcano in La finta pazza. During the 2017–18 season, he sang Nerbulone in Eliogabalo with Dutch National Opera, Sparafucile in Rigoletto with both Semperoper Dresden and Portland Opera, and Angelotti in Tosca for his debut with Palm Beach Opera. He joined Lyric Opera of Chicago to cover Mephistopheles in Faust and returned to Santa Fe Opera to sing Mustafà in L’italiana in Algeri. Previous seasons took Scott to Opéra National de Paris to sing Nerbulone in Eliogabalo, to Royal Opera House Covent Garden for the Police Commissioner in Der Rosenkavalier, and to San Francisco Opera to perform Colline in La bohème and Angelotti in Tosca. With Zürich Opera, he performed Don Profondo in Il viaggio a Reims; with Bayerische Staatsoper, he sang Tom in Verdi’s Un ballo in Maschera; with Dutch National Opera, he sang Bernardino in Benvenuto Cellini; and with Festival d’Aix-en-Provence, he sang Theseus in Robert Carsen’s production of A Midsummer Night’s Dream. Scott received a 2012 Sara Tucker Study Grant from the Richard Tucker Foundation, and the 1st Prize Award in both the 2012 Gerda Lissner Foundation International Vocal Competition and the 2012 Loren L. Zachary National Vocal Competition for Young Opera Singers.

InTUNE — October 2019 | 23

Program NOTES Das klagende Lied (revised 1899) Gustav Mahler (1860–1911)

Scholars have identified several possible written sources for the chilling ghost story told in Mahler’s Das klagende Lied (usually translated as The Song of Lamentation), including the Grimm brothers’ The Singing Bone, but Mahler’s version is unique. A proud queen declares she will marry the man who can bring her a flower that grows deep in the forest, and two brothers set out to find it. The virtuous younger brother naturally succeeds, and he places the flower in his cap and falls asleep beneath a tree. The elder brother finds him, and in a fit of jealousy, kills him and takes the flower for himself. Later, a minstrel unknowingly stumbles across the bleached bones of the younger brother and fashions one of them into a flute. When he begins to play it, the voice of the younger brother sings of his grisly fate. Determined to bring this injustice to light, the minstrel appears at the royal court on the day of the elder brother’s wedding to the queen. When he is invited to perform, he plays the flute and the dead brother’s voice pours forth. Shocked, the would-be king grabs the flute and plays it himself, only to have his brother’s spirit confront him directly. Horrified, the knights and ladies flee, the queen collapses, and the castle sinks into the earth. In later years, Mahler’s childhood friend, Theodor Fischer, recalled that the two boys would listen to Fischer’s nursemaid tell traditional stories such as this one. Whether this is the version Mahler heard as a boy or his own creation is impossible to say, but as an 18-year-old student at Vienna’s Conservatory, he decided to make it the basis of what would become his first major work. Likely inspired by the example of Wagner (who wrote both the words and music for his operas), Mahler wrote the poems that would serve as the foundation of Das klagende Lied himself. He then plunged into an intense, all-consuming phase of composition, completing the work by November 1880. Mahler himself described it as “The first work in which I really came into my own as ‘Mahler,’” and it already bears many of his unmistakable hallmarks: a fine-tuned orchestral palette, evocations of nature and folksong, an uncanny sense of irony, and a theatrical, dramatic intensity. Psychologizing biographers have speculated that in composing this piece Mahler was processing feelings of survivor’s guilt over the death of his younger brother, Ernst, who had succumbed to heart disease in 1875, aged only 13. Alternatively, others contend the story is fundamentally about the ability of music to expose injustice. Did Mahler see himself as a victim? Mahler’s wife, Alma, would paint a picture of a violent home life for the young Mahler, although her accounts have not always proved 24 | Houston Symphony

accurate. More certain is that as a man of Jewish birth, Mahler faced increasingly virulent anti-Semitism throughout the course of his life—indeed, simply pursuing a career as a composer during this era challenged antiSemites who believed people of Jewish ancestry were incapable of composing great music. Whatever the cause, Fischer reported that even as a child, Mahler possessed “a superior sense of justice, which could neither commit nor condone unfairness, while at the same time demonstrating forbearance, philanthropy, and sympathy with people suffering from poverty and distress.” Unfortunately, the piece’s fate was almost as tragic as the story it told. A sprawling cantata for soloists, chorus, an enormous orchestra, and an offstage wind band, the piece was initially divided into three parts: the first narrating the hunt for the flower up until the moment of the murder; the second the minstrel’s discovery; and the third the wedding. Altogether, this original version lasts over an hour, and the time and expense necessary for a performance likely seemed over-ambitious to those considering programming a work by an as yet unknown 20-year-old. Furthermore, the piece was quite progressive for its time, full of adventurous harmonies and a sui generis formal structure. Perhaps the most original moment in the score occurs during the wedding scene, when the offstage band continues to play celebratory music as the elder brother’s crime is revealed—a moment of echtMahlerian theatrical irony. The offstage and main stage ensembles play in different keys, looking forward to the harmonic language of the 20th century. The work would only receive its premiere in 1901, 21 years after it was first completed. During that time, Mahler would make significant revisions to the piece, including cutting the entire first part and refining the orchestration and choral writing. While both versions have their admirers, the revision is clearly the work of a more mature composer. In addition to shortening the work’s run time, omitting the first part of the piece creates an air of mystery as we discover the story along with the minstrel, intensifying its dramatic impact. Whichever version one prefers, there can be no question that Das klagende Lied held great personal significance for Mahler. It is the piece in which he became himself—a feast for the senses and a powerful musical drama. The Instruments: 3 flutes (all doubling piccolo), 3 oboes (1 doubling English horn), 3 clarinets (2 doubling E-flat clarinet, 1 doubling bass clarinet), 3 bassoons (1 doubling contrabassoon), 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings, with an offstage ensemble of 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 E-flat clarinets, 4 horns, 2 trumpets, timpani, and percussion

Mendelssohn & Mahler | Program Notes

Die erste Walpurgisnacht, Opus 60 Felix Mendelssohn (1809–1847)

To this day, people throughout Northern and Eastern Europe continue to frighten away witches and demons on the evening of April 30 with bonfires, gunshots, and the cracking of whips. Officially, these festivities occur on the eve of the feast of St. Walpurga, an 8th-century missionary venerated for her kindness during Charlemagne’s bloody wars to conquer and convert much of what is now Germany, but the church may well have chosen this day to supplant a more ancient, pagan holiday that hailed the coming of springtime. Indeed, these Walpurgis Night traditions are predicated on the belief that this night is the most unholy of the year; it is then that witches fly to mountaintops to worship Satan with blasphemous orgies. The consequences of such fanciful beliefs proved all too real as the madness of witch hunting climaxed in the 1600s; in the following century, belief in witches was finally condemned as superstition. This turn to science and rationality—a movement known today as the Enlightenment—also gave rise to a fad for speculative “rational explanations” of all sorts of myths and legends, including those surrounding Walpurgis Night. In 1796, for instance, the Berlin Archive of Time and Taste theorized there were no lurid witches’ sabbaths, merely noble pagans attempting to avoid persecution in the aftermath of Charlemagne’s forced conversions. The Saxons, “free peoples filled with strength and courage,” had “clung to the religion of their fathers all the more diffidently (as do all who are persecuted for their beliefs)” and “turned to guile so that they would be able to participate in their sacrificial ceremonies. They wrapped themselves in horrifying disguises and cleared the path to their idols at night by scaring the [Christian] sentinels […]” Johann Wolfgang von Goethe would famously include an orgiastic Walpurgis Night in Part I of his verse drama Faust, but he was also intrigued by these revisionist theories. In 1799, he published a poem inspired by them: Die erste Walpurgisnacht (The First Walpurgis Night). He soon began encouraging his friend, the composer Carl Friedrich Zelter, to set it to music. Zelter never completed a setting, but decades later, his star pupil would.

by virtue of not only his skill, but also his originality; in particular, he had invented a completely new style of “fairy music” with his Overture to A Midsummer Night’s Dream that redefined the sound of the supernatural. As he began composing Die erste Walpurgisnacht in 1831, he wrote to his sister that he had “a particular fondness” for the poem's “prongs and pitchforks and owls [...].” Though he corresponded with Mendelssohn as the piece was written, Goethe sadly did not live to hear the work, as he passed away the year before its public premiere in 1833. Despite its success, Mendelssohn, a compulsive reviser and perfectionist, tinkered with the piece periodically until 1843, when it reached its final form. Mendelssohn’s friend, the French composer Hector Berlioz, summed up the enthusiastic critical response when he called it “the finest thing that Mendelssohn has done.” After the horrors of Nazism and the Holocaust, many began to wonder if the persecuted pagans in Mendelssohn’s Die erste Walpurgisnacht were thinly veiled stand-ins for Jews, who faced increasing anti-Semitism as the 19th century wore on; indeed, despite his sincere Lutheran faith, Mendelssohn himself faced anti-Semitism throughout his career. His contemporaries, however, did not seem to read Die erste Walpurgisnacht as having anything to do with Judaism; in fact, they generally saw the pagans (their ancestors) as proto-Protestant Germans. What Mendelssohn himself might have thought is likely impossible to know; Mendelssohn rarely committed his feelings about his Jewish heritage to writing, and his relationship to Judaism has been the subject of intense scholarly debate. Still, as Goethe himself said, Die erste Walpurgisnacht is “highly symbolic”; the pagans’ situation echoes that of many oppressed peoples throughout history. Beneath the playfulness of pitchforks and owls, Mendelssohn’s provocative masterpiece still has the power to encourage audiences to embrace tolerance and see the world through the eyes of others. — Calvin Dotsey The Instruments: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, percussion, and strings

One of the greatest musical prodigies of all time, Felix Mendelssohn was born to an illustrious German-Jewish family that had converted to Lutheranism when he was just a boy. Through his teacher Zelter, the young Felix met Goethe on several occasions and impressed the elder poet deeply. Goethe even declared him more gifted than the child Mozart (the long-lived Goethe was one of the few people who had seen them both perform live). Mendelssohn astonished InTUNE — October 2019 | 25

FEATURED PROGRAM

RICK STEVES’ EUROPE: A SYMPHONIC JOURNEY Friday Saturday Sunday

October 11 October 12 October 13

8:00 p.m. 8:00 p.m. 2:30 p.m.

Jones Hall

Michael Krajewski, conductor *Rick Steves, presenter *Houston Symphony debut

J. Moross Grofé Arr. R. A. Bass Arr. R. Wendel

Main Title from The Big Country Grand Canyon Suite

3. On the Trail: Andantino moderato—Allegretto poco mosso

Shenandoah From Sea to Shining Sea

I N T E R M I S S I O N

J. S. Smith/Bass J. Strauss Jr. Wagner Smetana Verdi Elgar Grieg Saint-Saëns Beethoven/ H. von Karajan

The Star-Spangled Banner An der schönen blauen Donau (On the Beautiful Blue Danube), Opus 314 Prelude to Act III of Lohengrin Má vlast (My Fatherland)

2. Vltava (The Moldau): Allegro commodo non agitato

Triumphal March from Aida Pomp and Circumstance March in D major, Opus 39, No. 1 Suite No. 1 from Peer Gynt, Opus 46

I Morning Mood: Allegretto pastorale

Suite algérienne, Opus 60

IV Marche militaire française: Allegro giocoso

The European Anthem

26 | Houston Symphony

Did you know? • “When people ask me now where I travel for a vacation, I like to say, ‘Home…playing my piano while enjoying my view of the Olympic Mountains.’ While I’m not an accomplished pianist, I enjoy playing Scarlatti, Schumann, Schubert, Bartók, Mozart, and Ginastera. My most dog-eared book of music is my big black Beatles Complete, which I’ve owned for about 40 years.” —Rick Steves

Rick Steves’ Europe: A Symphonic Journey | Program Biographies

These performances are generously supported in part by: Underwriter

Video enhancement of Houston Symphony concerts is made possible by the Albert and Ethel Herzstein Charitable Foundation through a special gift celebrating the foundation’s 50th anniversary in 2015.

Program BIOGRAPHIES Michael Krajewski | conductor Known for his entertaining programs and clever humor, Michael Krajewski is a much sought after conductor of symphonic pops. He is principal pops conductor of the Jacksonville Symphony and previously served as principal pops conductor of the Houston Symphony and Atlanta Symphony Orchestra as well as music director of The Philly Pops. As a guest conductor, Michael has performed with The Cleveland and Philadelphia Orchestras; the Boston and Cincinnati Pops; the San Francisco, Baltimore, Detroit, Indianapolis, Seattle, Dallas, St. Louis, Pittsburgh, and National symphony orchestras; and numerous other orchestras across the United States. In Canada, he has led Ottawa’s National Arts Centre Orchestra, the Toronto Symphony Orchestra, the Calgary Philharmonic Orchestra, the Kitchener-Waterloo Symphony, and the Edmonton and Winnipeg Symphony Orchestras. Other international appearances include performances in Dublin and Belfast with the Ulster Orchestra as well as performances with the Hong Kong Philharmonic, the Malaysian Philharmonic Orchestra, the Iceland Symphony Orchestra, and Spain’s Bilbao Symphony Orchestra. Michael is the conductor of the video Silver Screen Serenade with violinist Jenny Oaks Baker that aired worldwide on BYU Broadcasting. On recordings, he has led the Houston Symphony on two holiday albums: Glad Tidings and Christmas Festival. His collaborative programs have included such artists as flutist James Galway, mezzo Marilyn Horne, pianist Alicia de Larrocha, guitarist Ángel Romero, and pop artists Rufus Wainwright, Jason Alexander, Roberta Flack, Judy Collins, Art Garfunkel, Wynonna Judd, Kenny Loggins, Ben Folds, Doc Severinsen, Patti Austin, Sandi Patty, Ann Hampton Callaway, Chicago, Preservation Hall Jazz Band, The Chieftains, Pink Martini, Rockapella, Cirque de la Symphonie, The Doo Wop Project, Classical Mystery Tour, Big Bad Voodoo Daddy, and The Midtown Men. With degrees from Wayne State University in Detroit and the University of Cincinnati College-Conservatory of Music, Michael furthered his training at the Pierre Monteux Domaine School for Conductors. He was a Dorati Fellowship Conductor with the Detroit Symphony Orchestra and later served as that orchestra’s assistant conductor. He was resident conductor of the Florida Orchestra, and for 11 years, served as music director of the Modesto Symphony Orchestra. Michael lives in Orlando, Florida, with his wife, Darcy. When not conducting, he enjoys travel, photography, and solving crossword puzzles.

InTUNE — October 2019 | 27

Program BIOGRAPHIES , continued

Rick Steves | presenter Guidebook author and travel TV host Rick Steves is America’s most respected authority on European travel. He took his first trip to Europe in 1969, visiting piano factories with his father, a piano importer. As an 18-year-old, Rick began traveling on his own, funding his trips by teaching piano lessons. In 1976, he started his business, Rick Steves’ Europe, which has grown from a one-man operation to a company with a staff of 100 full-time, well-travelled employees at its headquarters in Edmonds, Washington. There he produces a best-selling guidebook series on European travel, America’s most popular travel series on public television, a weekly hour-long national public radio show, a weekly syndicated column, and free travel information available through ricksteves.com and his travel center. Rick Steves’ Europe also runs a successful European tour program organizing small-group tours that annually take more than 30,000 travelers to Europe. His mission is to empower Americans to have European trips that are fun, affordable, and culturally broadening.

Over the past 20 years, Rick has hosted more than 100 travel shows for public television and numerous pledge specials, raising millions of dollars for local stations. His Rick Steves' Europe TV series is carried by more than 300 stations, reaching 95 percent of U.S. markets. Rick has also created two award-winning specials for public television: Rick Steves' European Christmas and the groundbreaking Rick Steves' Iran, both of which he wrote and co-produced through his company Back Door Productions. Rick hosts the weekly public radio program Travel with Rick Steves, which airs across the country and has spawned a popular podcast. He has also created a series of audio walking tour podcasts for museums and neighborhoods in Paris, Rome, Florence, Venice, London, and Athens. Rick self-published the first edition of his travel skills book Europe Through the Back Door (now updated annually) in 1980. He has also written more than 50 other guidebooks, phrase books, and “snapshot” guides. For several years, Rick Steves' Italy has been the best-selling international guidebook sold in the United States. In 2009, he tackled a new genre of travel writing with Travel as a Political Act, reflecting on how travel can be a significant force for peace and understanding in the world. When not on the road, Rick is active in his church and with advocacy groups focused on economic and social justice, drug policy reform, and ending hunger. He lives and works in his hometown of Edmonds.

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28 | Houston Symphony

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FEATURED PROGRAM

WAGNER + BEETHOVEN 2 Friday Saturday Sunday

October 25 October 26 October 27

8:00 p.m. 8:00 p.m. 2:30 p.m.

Jones Hall

Marek Janowski, conductor

Beethoven

Symphony No. 2 in D major, Opus 36 I Adagio—Allegro con brio II Larghetto III Scherzo and Trio: Allegro IV Allegro molto

ca. 34

I N T E R M I S S I O N

Wagner Wagner Wagner

Overture and Venusberg Music from Tannhäuser Prelude to Act III of Die Meistersinger von Nürnberg Prelude to Act I of Die Meistersinger von Nürnberg

30 | Houston Symphony

ca. 24 ca. 7 ca. 10

Did you know? • For the Paris premiere of Tannhäuser, Wagner added a ballet to the beginning of Act I. Traditionally, ballet came in Act II, and ballet fans only arrived then. The placement of the ballet led some to disrupt performances— even with fist fights!

Wagner + Beethoven 2 | Program Biography

Program BIOGRAPHY

RAND G ROUP

GREAT PERFORMERS SERIES

Marek Janowski | conductor

FELIX BROEDE

The Classical Season is endowed by The Wortham Foundation, Inc. in memory of Gus S. and Lyndall F. Wortham.

Marek Janowski is recognized throughout the world for his interpretation of Wagner, Strauss, Bruckner, Brahms, Hindemith, and the Second Viennese School and has an extensive and distinguished discography in the repertoire. This season, he becomes chief conductor of the Dresden Philharmonic. From 2002–2016, he was artistic director of the Berlin Radio Symphony Orchestra, with whom he gave a critically acclaimed Wagner opera cycle in Berlin’s Philharmonie in 2012 and 2013. The complete cycle was recorded live on Pentatone and released in 2016. In the 2018–19 season, he conducted the Dresden Philharmonic, Berlin Philharmonic, WDR Symphony Orchestra Cologne, Frankfurt Radio Symphony Orchestra, NDR Elbphilharmonie Orchestra, MDR Leipzig Radio Symphony Orchestra, Orchestre de la Suisse Romande, Oslo Philharmonic, NHK Symphony Orchestra, and San Francisco Symphony. In both 2016 and 2017, he conducted Wagner’s Ring Cycle at Bayreuth. Marek has been a regular visitor to North America since his 1983 U.S. debut with the San Francisco Opera. In the three decades since, he has forged lasting relationships with many top orchestras, including those of Boston, Pittsburgh, Minnesota, and San Francisco. He has also conducted The Cleveland Orchestra, The Philadelphia Orchestra, Metropolitan Opera, and the Lyric Opera of Chicago.

Rand Group is the proud sponsor of the Houston Symphony’s Classical Series, “Rand Group Great Performers.”

RAND G ROUP

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Born in Warsaw and educated in Germany, Marek’s artistic path led him from assistant positions in Aachen, Cologne, Düsseldorf, and Hamburg to his appointment as general music director in Freiburg im Breisgau (1973–75) and Dortmund (1975–79). While in Dortmund, his reputation rapidly grew, and he began conducting in many of the leading opera houses in Europe and North America, where he continued to be a regular guest, including at the Metropolitan Opera, San Francisco Opera, Bavarian State Opera Munich, Hamburg State Opera, Vienna State Opera, Deutsche Oper Berlin, and Paris National Opera, among others. In the 1990s, Marek Janowski stepped back from opera and began to concentrate on symphonic repertoire. He now enjoys an outstanding reputation among the premier orchestras of Europe and North America and is acknowledged for his ability to create orchestras of international standing. His extensive and acclaimed discography includes complete symphonic cycles and operas, many of which have been awarded international prizes. His recording of Wagner’s complete Ring Cycle with the Staatskapelle Dresden (1980–83) remains one of the most esteemed offerings in a crowded field.

InTUNE — October 2019 | 31

Program NOTES Symphony No. 2 in D major, Opus 36

turvy development, and after a reprise of the main themes, the symphony ends with uproarious laughter.

Perhaps as early as 1796, Beethoven began to experience the slow, progressive hearing loss that would eventually render him deaf. He began to seek medical advice in 1802; one doctor prescribed applying almond oil in his ears; another cold-water baths; others pills, potions and other infusions, but nothing helped. That summer, Beethoven rested his ears at Heiligenstadt, a small town outside Vienna. There, he completed his Second Symphony. Given the circumstances, one might expect foreboding music, but as George Grove noted, “On the contrary, there is not a single desponding bar in the whole work.” The symphony’s energy, comedy, and even swagger can be heard as a kind of bravado—Beethoven showing off his musical imagination, perhaps even trying to hide his inner turmoil. At the same time, the music bristles with an intensity that is perhaps never fully resolved.

The Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings

Ludwig van Beethoven (1770–1827)

The symphony begins with a slow introduction whose harmonies wander from a secure opening in D major to a powerful statement in D minor. The sound of major juxtaposed with minor returns throughout the movement, giving it a wild, unstable energy. In light of the historical context of the Napoleonic age, some have detected a military character; Hector Berlioz, for instance, remarked on the movement’s “warlike sallies.” After the introduction, the tempo picks up with an energetic main theme for low strings; clarinets and bassoons introduce a second theme that playfully contrasts soft and loud dynamics. After a repeat of the two main themes, an eventful development fragments and transforms them. A reprise of the main themes leads to a thrilling coda.

Overture and Venusberg Music from Tannhäuser Richard Wagner (1813–1883)

Richard Wagner completed the original version of his opera Tannhäuser in 1845, but thanks to the urging of one Princess Metternich, Emperor Napoleon III invited Wagner to present Tannhäuser at the Paris Opera in 1861. To adapt the work for Paris, Wagner made a number of changes to the score, the most notable of which is the extended ballet that connects the overture to the first scene. Unlike most composers, Wagner wrote both the words and the music of his operas, and the plot of Tannhäuser is a unique creation that combines elements of two medieval legends. It centers on the eponymous hero Tannhäuser, a singer torn between sacred and profane love. The overture juxtaposes these conflicting forces: it begins with a slow, solemn introduction that uses the melody of the “Pilgrim’s Chorus” that recurs throughout the opera, a prayer for salvation through repentance.

The following Larghetto seems to deal more with matters of the heart. Strings and woodwinds politely alternate the phrases of the opening melody, but the following operatic duet between clarinets and violins leads to a tense moment. A yearning second theme appears soon after in the violins, leading to a simple, songlike third theme introduced by second violins and cellos. After an emotional development, the movement concludes with a reprise of the three main themes.

The flickering, faster music that ensues is associated with the mythical realm of the Venusberg, a mountain beneath which the goddess Venus has hidden since the advent of Christianity. The fragmentary ideas of the Venusberg soon coalesce in a forceful tune for the violins. This melody is used throughout the opera as Tannhäuser’s “Hymn to Venus,” in which he sings, “My heart yearned, oh my senses thirsted after pleasure, after delicious gratification […] Forever envied is he who, with ardent passion, has shared the godlike glow in your embrace!” The music then slows, and a solo clarinet plays the music of “Venus’s Call,” her seductive entreaty: “Come, beloved, see yonder grotto, filled with rosy fragrance gently wafting! That abode of sweetest delight would offer enchantment even to a god.” This tranquil interlude gradually builds to a reprise of Tannhäuser’s hymn, and the ensuing Venusberg music leads directly into the ballet that begins the opera.

The final movements display Beethoven’s broad sense of humor. In the third movement, Beethoven casts tradition aside by writing a mischievous Scherzo—Italian for “joke”—instead of a stately minuet. With its unexpected accents, harmonies, and dynamics, this movement is full of surprises. In the finale, Beethoven discards every trace of 18th-century decorum as the music hurtles at breakneck speed, full of squeaks and guffaws. The woodwinds attempt a more graceful mien with a second theme, but they are soon overrun. A false return to the beginning of the movement then veers off course into a topsy-

Wagner provided detailed choreographic instructions in the score; as the curtain rises, nymphs entice youths to dance with them. Woodwind fanfares announce “a swarm of Bacchantes, who break through the ranks of the amorous couples, inciting them to wilder delights.” The music builds as “The revelers embrace each other with the most ardent passion,” and castanets signal the appearance of “Satyrs and Fauns,” who “thrust themselves with their dance between the Bacchantes and the pairs of lovers” until “the general tumult rises to the maddest climax.”

32 | Houston Symphony

Wagner + Beethoven 2 | Program Notes

“At the outburst of the greatest delirium,” Wagner writes, “the three Graces rise to their feet, horror-stricken.” As the music dies down, the Graces “try to restrain the furious groups and drive them off.” They summon “sleeping Cupids” who “flutter upwards […] in battle array” and “rain down a ceaseless shower of arrows,” a scene vividly depicted by militant trumpet fanfares in the score. “The wounded, seized by a powerful yearning for love, quit the mad dance and sink down in exhaustion,” as the music fades and slows. At the end of the ballet, clarinets substitute for the female chorus of sirens who call, “Draw near the shore! Approach the land, where, in the arms of glowing love, let blissful warmth content your desires!” The Instruments: 3 flutes (1 doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, 2 timpani, percussion, harp, and strings

Preludes to Acts III and I from Die Meistersinger von Nürnberg Richard Wagner (1813–1883)

The idea for Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg) first came to Wagner in 1845 when he read about the Meistergesang (mastersong) tradition of 16th-century Germany; however, he would not seriously set to work on the opera until 1861, completing it in 1867. The eponymous mastersingers were amateur poet-musicians who cultivated a sophisticated style of song composition throughout the German renaissance era. Set in the mastersingers’ Nuremberg, the opera centers on a burgeoning romance between Walther, an inspired but untutored singer, and Eva, the daughter of one of Nuremberg’s mastersingers. Eva’s father declares the winner of a song contest will inherit his wealth and win Eva’s hand in marriage (provided she agrees), so Walther must discipline his natural talent by learning the intricate rules of the mastersingers’ musical style. After an initial failure, Walther and Eva plan to elope, but through a series of comic incidents, their plans are foiled. Instead, Walther seeks help from the kindly cobbler Hans Sachs, whose character was inspired by a real, historical mastersinger. With Sachs’s tutelage, Walther wins the contest. Throughout the opera, Wagner creates an atmosphere of long ago with contrapuntal textures—many independent voices that fit together simultaneously to create a harmonious whole—characteristic of renaissance and baroque music. The Prelude to Act III has an arch-shaped ABCBA structure, beginning with a somber passage for strings. It is based on what is known as the Wahn motif; the untranslatable German word “Wahn” encompasses both madness and illusion. Near the beginning of Act III the motif appears in Hans Sachs’ “Wahn monologue,” in which he meditates on the folly of

human strife. Wagner described it as a “cry from hidden depths.” This pained music for strings is soon supplanted by horns and bassoons, who intone a melody in the style of a Lutheran chorale. In Act IV, the same melody is sung to a poem written by the historical Hans Sachs: “Awake! the dawn is drawing near; I hear a blissful nightingale singing in the green grove […]” In the historical poem, the nightingale is Martin Luther, but in the opera, the townsfolk of Nuremberg sing the poem to honor the mastersinger Sachs himself. This hopeful strain gives way to a dreamy passage based on fragments of a song which Sachs sings in Act II. Wagner wrote that in the prelude, it is “as though the man were turning his gaze from his handiwork heavenwards and losing himself in tender reveries.” The chorale then resumes with new strength, but is suddenly interrupted by the return of the Wahn motif, “in a massive expression of the perturbation of a profoundlystirred soul,” Wagner explains. “[F]inally, allayed and calmed, it attains the utmost cheerfulness of a benign and blissful resignation” as the prelude fades away. Though the Prelude to Act I begins Die Meistersinger, many of its themes return at the opera’s jubilant conclusion; it thus follows the Act III prelude quite well. It begins with a grand theme associated with the proud mastersingers. A quieter transition features a motif in the woodwinds associated with Walther’s love for Eva and leads to a second grand theme in the brass: the mastersinger’s march. The music becomes quieter as we hear a series of yearning motifs associated with the young lovers, including what will become Walther’s winning Prize Song. Commentator Ernest Newman has suggested the following miniature version of the mastersinger’s march represents Nuremberg’s irreverent apprentices—mastersingers-in-training. Mischief ensues, but is soon swept aside by a return of the opening theme in the low strings and brass. A triangle signals one of Wagner’s most ingenious orchestral passages: the first violins play the Prize Song melody while the other instruments simultaneously play the mastersingers’ opening and march themes. Ecstatic versions of the mastersinger themes then bring the prelude to a majestic ending. —Calvin Dotsey The Instruments (Prelude to Act III): 2 flutes, oboe, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, and strings The Instruments (Prelude to Act I): 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings

InTUNE — October 2019 | 33

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Rebecca & Bobby Jee Dr. & Mrs. I. Ray Kirk Mr. & Mrs. U. J. LeGrange Mr. & Mrs. Stephen A. Lubanko Cindy Mao & Michael Ma John & Regina Mangum Michelle & Jack Matzer Marvin & Martha McMurrey Bobbie Nau Gloria & Joe Pryzant Ron & Demi Rand

Ken* & Carol Lee Robertson Hugh & Ann Roff Susan D. & Fayez Sarofim Drs. Carol & Michael Stelling Flor & Arturo Vivar Dede & Connie Weil Robert G. Weiner & Toni Blankmann Vicki West Mr. & Mrs. C. Clifford Wright Jr. Lorraine & Ed* Wulfe Scott & Lori Wulfe

$10,000–$14,999 Edward H. Andrews III Dr. Angela R. Apollo Ann & Jonathan Ayre John Barlow Karl H.* & Dr. Gudrun H. Becker Anne & George* Boss Mr. & Mrs. Michael E. Bowman James & Dale Brannon Mary Kathryn Campion, PhD Albert & Anne Chao Mr. & Mrs. Bernard F. Clark Jr. Dr. Evan D. Collins Coneway Family Foundation Consurgo Sunshine Brad & Joan Corson Roger & Debby Cutler Leslie Barry Davidson & W. Robins Brice J.R. & Aline Deming Vicky Dominguez

Mrs. Joan Duff Olivia Estrada Ms. Carolyn Faulk Mr. & Mrs. Jeffrey B. Firestone Mr. & Mrs. Russell M. Frankel Betsy Garlinger Maureen Y. Higdon Mrs. James E. Hooks Marzena & Jacek Jaminski Joan & Marvin Kaplan Lilia D. Khakimova & C. Robert Bunch Mrs. Hazel Leighton in memory of Gordon Leighton Marilyn G. Lummis Mr. & Dr. Quyen Frederick Lyons Jay & Shirley* Marks Dr. & Mrs. Malcolm L. Mazow Dr. Eric McLaughlin & Eliodoro Castillo

Mr. Gary Mercer Stephen & Marilyn Miles Bobbie Newman Ms. Leslie Nossaman Scott & Judy Nyquist Dr. Susan Osterberg & Mr. Edward C. Osterberg Jr. Mr. & Mrs. Jonathan E. Parker Kusum & K. Cody Patel Nancy & Robert* Peiser Jean & Allan Quiat Bradley L. Radoff & Monica Hoz De Vila Lila Rauch Linda & Jerry Rubenstein Mr. & Mrs. Manolo Sánchez Mr. & Mrs. Walter Scherr Toni Oplt & Ed Schneider Mr. & Mrs. Rufus S. Scott Mr. & Mrs. James A. Shaffer

Mr. & Mrs. Joel I. Shannon Michael J. Shawiak Dr. & Mrs. Robert B. Sloan / Houston Baptist University Mr. & Mrs. Jim R. Smith Tad & Suzanne Smith Mr. & Mrs. Robert R. Springob, Laredo Construction, Inc. Drs. Ishwaria & Vivek Subbiah Susan & Andrew Truscott Mr. De la Rey Venter Margaret Waisman, M.D. & Steven S. Callahan, Ph.D. Stephen & Kristine Wallace Mr. & Ms. Don Whitaker Mr. & Mrs. Tony Williford Doug & Kay Wilson Nina & Michael Zilkha Anonymous (3)

$7,500–$9,999 Dr. & Mrs. Jeffrey B. Aron Eric Brueggeman Mr. & Mrs. Byron Cooley Andrew Davis & Corey Tu The Ensell Family Aubrey & Sylvia Farb Mrs. Aggie L. Foster

Jo A. & Billie Jo Graves Mr. & Mrs. Jerry L. Hamaker Gwen & Dan Kellogg Ms. Nancey G. Lobb Billy & Christie McCartney William D. & Karinne McCullough Terry & Kandee McGill

Dr. Robert M. Mihalo Rita & Paul Morico Mr. & Mrs. Robert E. Nelson Tim Ong & Michael Baugh Mrs. Gloria Pepper & Dr. Bernard Katz Susan & King Pouw

Kathryn & Richard Rabinow Ed & Janet Rinehart Jill & Allyn Risley Mr. Glen A. Rosenbaum Donna & Tim Shen Mr. & Mrs. Karl Strobl Nancy B. Willerson

$5,000–$7,499 Lilly & Thurmon Andress Mr. & Mrs. Philip A. Bahr Dr. Saul & Ursula Balagura Eric & Shanna Bass Mr. & Mrs. David A. Boudreau Marilyn Caplovitz Ann M. Cavanaugh Donna M. Collins Mr. & Mrs. Samuel B. Condic Mr. & Mrs. Larry Corbin Lois & David Coyle Kathy & Frank Dilenschneider Connie & Byron Dyer Mr. William P. Elbel & Ms. Mary J. Schroeder Jenny & Wendell Erwin, M.D. Mr. Parrish N. Erwin Jr. Ms. Ursula H. Felmet Jerry E.* & Nanette B. Finger Mrs. Mary Foster-DeSimone & Mr. Don DeSimone Mr. & Mrs. Robert J. Franco Mr. Shane T. Frank Bill & Diana Freeman Wm. David George, Ph.D. Ms. Eugenia C. George Michael B. George

36 | Houston Symphony

Nancy D. Giles Mr. & Mrs. Eric J. Gongre The Greentree Fund Bill Grieves Dr. & Mrs. Carlos R. Hamilton Jr. James & Renee Hennessy Mark & Ragna Henrichs Mr. & Mrs. Frank Herzog Ann & Joe* Hightower Dr. & Mrs. Joseph Jankovic Stephen Jeu & Susanna Calvo Josephine & Phil John Beverly Johnson Mr. & Mrs. John F. Joity Debbie & Frank Jones Dr. Rita Justice Mary Louis Kister Mr. William L. Kopp John & Colleen Kotts Mr. & Mrs. Calvin Leeke Ms. Sylvia Lohkamp & Mr. Tucker Coughlen Sue Ann Lurcott Evi & Steve Marnoy Mr. & Mrs. Alexander Matiuk Mr. & Mrs. Michael McGuire Mr. & Mrs. William B. McNamara

Alice R. McPherson, M.D. Shane A. Miller Mr. & Mrs. Gerald Moynier Richard & Juliet Moynihan Rochelle & Sheldon Oster The Carl M. Padgett Family Katherine & Jonathan Palmer Mr. & Mrs. Robert Pastorek Mr. & Mrs. Raul Pavon Michael P. & Shirley Pearson Mr. David Peavy & Mr. Stephen McCauley Mr. Robert J. Pilegge Tim & Katherine Pownell Roland & Linda Pringle Mrs. Dana Puddy Darla & Chip Purchase Edlyn & David Pursell Vicky & Michael Richker Mr. & Mrs. George A. Rizzo Jr. Mr. Floyd W. Robinson Carole & Barry Samuels Gina & Saib Saour Mrs. Richard P. Schissler Jr. Donna Scott & Mitch Glassman Mr. & Mrs. Steven Sherman Dr. & Mrs. John Slater

Mr. & Mrs. William T. Slick Jr. Mr. David Stanard & Ms. Beth Freeman Stephanie & Bill Swingle Mr. Aaron J. Thomas & Mrs. Jennifer Chang Susan L. Thompson Eric & Carol Timmreck Nanako & Dale Tingleaf Pamalah & Stephen Tipps Mr. & Mrs. De La Rey Venter Ms. Joann E. Welton Ms. Barbara E. Williams Ms. Beth Wolff Cyvia & Melvyn* Wolff Woodell Family Foundation Sally & Denney Wright Robert & Michele Yekovich Edith & Robert Zinn Erla & Harry Zuber Anonymous (4)

$2,500–$4,999 Dr. & Mrs. George J. Abdo Mr. & Mrs. Michael Adler Mr. & Mrs. Roy Allice Ms. Adrienne Amin Pat & John Anderson Mr. Jeff Autor Ms. Marcia Backus Mrs. Bonnie Bauer Dr. & Mrs. Philip S. Bentlif Drs. Henry & Louise Bethea George & Florence Boerger Mr. & Mrs. John F. Bookout III Mr. & Mrs. Doug Bosch James & Judy Bozeman Robert & Gwen Bray Mr. Chester Brooke & Dr. Nancy Poindexter Ms. Barbara A. Brooks The Honorable Peter Hoyt Brown* Mr. & Mrs. Bruce G. Buhler Mr. Bill Bullock Anne H. Bushman Ms. Deborah Butler Cheryl & Sam Byington Dr. Robert N. Chanon Tatiana Chavanelle Rhoda & Allen Clamen Mr. & Mrs. William V. Conover II Ms. Jeanette Coon & Thomas Collins Ms. Miquel A. Correll Mr. & Mrs. Steven Dalicandro Mr. & Mrs. Rene Degreve Joseph & Rebecca Demeter Jeanette & John DiFilippo Ms. Cynthia Diller Mike & Debra Dishberger Mr. & Mrs. Michael Doherty Bob & Mary Doyle

Mrs. Edward N. Earle David & Carolyn Edgar Mr. David Elliott Mr. Roger Elswick Mr. & Mrs. J. Thomas Eubank Jr. Paula & Louis Faillace Christine Falgout / Island Operating Company Jo Lynn & Gregg Falgout / Island Operating Company Mrs. Ronald Fischer James H. & Beverly W. Fish Patrick & Jeannine Flynn Edwin Friedrichs & Darlene Clark Dr. & Mrs. Robert H. Fusillo Mr. & Mrs. Steven Gangelhoff Mr. & Mrs. Neil Gaynor Thomas & Patricia Geddy Ms. Margaret W. Germani Joan M. Giese Julius & Suzan Glickman Mr. & Mrs. Herb Goodman Julianne & David Gorte Alexandra & Daniel Gottschalk Eric & Angelea Halen Mr. & Mrs. Charles R. Hall Mr. & Mrs. Hunt Harper Marilyn & Bob Hermance Richard & Arianda Hicks Jeff & Elaine Hiller Susan Hodge & Mike Stocker Mr. & Mrs. Robert Humphries Mr. & Mrs. R. O. Hunton Steve & Kerry Incavo Arlene J. Johnson Stacy & Jason Johnson William & Cynthia Koch Jane & Kevin Kremer Mr. & Mrs. David B. Krieger

Mr. David Lee Golda Anne & Robert Leonard Mr. William W. Lindley Mr. Jeff H. Lippold Mr. & Ms. Brian Mann Mr. & Mrs. Michael L. Mason David & Heidi Massin Ms. B. Lynn Mathre & Mr. Stewart O'Dell Ms. Kathy McCraigh Ernie & Martha McWilliams Mr. Larry Miller Mrs. Suzanne Miller Ginni & Richard Mithoff Mr. & Mrs. Thomas L. Molloy Elizabeth K. Moore Janet Moore Ione & Sidney Moran Mary Beth Mosley Mr. John L. Nau III Mr. & Mrs. Geoffrey B. Newton Mrs. Kay Onstead John & Kathy Orton Capt. & Mrs. Kim Parker Mr. Tadd Pullin Clinton & Leigh Rappole Mrs. Janet Rhodes Mr. & Mrs. John T. Riordan Dr. & Mrs. Richard Robbins Doug Williams & Janice Robertson Dr. Douglas & Alicia Rodenberger Ms. Regina J. Rogers Mrs. Evie Ronald Drs. Alejandro & Lynn Rosas Mr. Reuben Rosof Rosemarie & Jeff Roth Mr. Morris Rubin Mr. & Mrs. Bryan Ruez Mr. & Mrs. John Ryder

Ahmed Saleh Laura Moore & Don Sanders Lawrence P. Schanzmeyer Mr. & Mrs. Dylan Seff Susan & Ed Septimus Mr. Don W. Shackelford Becky Shaw Arthur E. & Ellen Shelton Ms. Leslie Siller Hinda Simon Molly Simpson & Patrice Abivin Mr. Hilary Smith & Ms. Lijda Vellekoop Richard & Mary Spies Georgiana Stanley Richard P. Steele & Mary J. McKerall Mr. & Mrs. James R. Stevens Jr. Drs. James & Elizabeth Tang Georgeta Teodorescu & Bob Simpson Jean & Doug Thomas Paul Thomas & Jussi Thomas Ms. Laura Turley Mr. & Mrs. Timothy J. Unger Mr. & Mrs. David Vannauker Dean Walker H. Richard Walton Alton & Carolyn Warren Jay & Gretchen Watkins Dr. & Mrs. Richard T. Weiss Gene & Sandra Williams Jennifer R. Wittman Mr. & Mrs. Frank Yonish Anonymous (4)

Young Associates COUNCIL The Houston Symphony’s Young Associates Council (YAC) is a philanthropic membership group for young professionals, music aficionados, and performing arts supporters interested in exploring symphonic music within Houston’s flourishing artistic landscape. YAC members are afforded exclusive opportunities to participate in musically focused events that take place not only in Jones Hall, but also in the city’s most sought-after venues, private homes, and friendly neighborhood hangouts. From behind-the-scenes interactions with the musicians of the Houston Symphony to jaw-dropping private performances by world-class virtuosos, the Houston Symphony’s Young Associates Council offers incomparable insight and accessibility to the music and musicians that are shaping the next era of orchestral music.

Young Associate Premium Farida Abjani Ann & Jonathan Ayre Mr. James M. Bell & Ms. Kimberly Lacher Eric Brueggeman Tatiana Chavanelle

Young Associate



$2,500 or more

Valerie Palmquist Dieterich & Tracy Dieterich Vicky Dominguez Terry Everett & Eric Cheyney Alexandra & Daniel Gottschalk Jeff & Elaine Hiller

$1,500–$2,499

Dr. Genevera Allen & Michael Weylandt Michael Arlen Drs. Laura & William Black Sverre & Carrie Brandsberg-Dahl Catherine Bratic & Mike Benza Divya & Chris Brown Megan Brown Garreth DeVoe Amanda & Adam Dinitz J.J. Gonzalez

Christine Falgout / Island Operating Company Emily & Matthew Fellows Jay Fields Laurel Flores Carolyn & Patrick Gaidos Rebecca & Andrew Gould Jennifer & Joshua Gravenor Claudio Gutierrez Ashley & John Horstman Stacy & Jason Johnson

Shane Miller Tim Ong & Michael Baugh Toni Oplt & Ed Schneider Kusum & K. Cody Patel Ahmed Saleh Becky Shaw

Drs. Ishwaria & Vivek Subbiah Georgeta Teodorescu & Bob Simpson Susan & Andrew Truscott

Kirby & David Lodholz Brian McCulloch & Jeremy Garcia Charyn McGinnis & Michelle Stair Emily & Joseph Morrel Porter Hedges LLP Aprill Nelson Blake Plaster Kimberly & Evan Scheele Liana & Andrew Schwaitzberg

Nadhisha & Dilanka Seimon Maggie Sheridan Molly Simpson & Patrice Abivin Aerin & Quentin Smith Mark Stadnyk & Amanda Hassler Katherine Thomasson & Michael Talbot Elise Wagner Gwen Watkins

For more information, please contact: Tyler Murphy, Development Officer, Major Giving Groups, 713.337.8536. InTUNE — October 2019 | 37

Corporate, Foundation, & Government PARTNERS The Houston Symphony is proud to recognize the leadership support of our corporate, foundation, and government partners that allow the orchestra to reach new heights in musical performance, education, and community engagement, for Greater Houston and the Gulf Coast Region. For more information on becoming a corporate foundation or government partner, please contact Mary Beth Mosley, Director, Institutional Giving and Stewardship, at marybeth.mosley@houstonsymphony.org or 713.337.8521.

CORPORATE PARTNERS Principal Corporate Guarantor  $250,000 and above *Spec’s Wines, Spirits & Finer Foods / Spec’s Charitable Foundation Grand Guarantor  $150,000 and above BBVA ConocoPhillips *Houston Public Media— News 88.7 FM; Channel 8 PBS *KTRK ABC-13 Phillips 66 *Oliver Wyman Guarantor  $100,000 and above Bank of America BB&T *Houston Methodist Kalsi Engineering *PaperCity Shell Oil Company *Tenenbaum Jewelers *United Airlines Underwriter  $50,000 and above *Baker Botts L.L.P. *Cameron Management Chevron ENGIE *The Events Company Exxon Mobil Corporation Frost Bank

(as of September 1, 2019)

Houston Baptist University Houston Livestock Show and Rodeo Kirkland & Ellis *The Lancaster Hotel Occidental Petroleum Palmetto Partners Ltd./The Robert and Janice McNair Foundation *Rand Group, LLC Vinson & Elkins LLP Sponsor  $25,000 and above *Bright Star EOG Resources H-E-B/H-E-B Tournament of Champions IberiaBank *Jackson and Company Marine Foods Express, Ltd. *Neiman Marcus Sidley Austin LLP SPIR STAR, Ltd. *Steinway & Sons The University of Texas, MD Anderson Cancer Center Wells Fargo

CORPORATE MATCHING GIFTS Aetna Foundation, Inc. Akzo Nobel Inc. Albemarle Corporation Allstate Insurance Company American International Group (AIG) Ameriprise Financial, Inc. Aon Foundation Bank of America BBVA BHP Billiton BP/Matching Fund Programs Caterpillar Matching Gifts Program Chevron Matching Gifts Program CITGO Petroleum Corporation ConocoPhillips Company Dominion Energy Foundation Matching Gift Program

38 | Houston Symphony

Partner  $15,000 and above Anadarko Petroleum Corporation *City Kitchen Fifth Third Bank *Glazier’s Distributors Gorman’s Uniform Service Heart of Fashion Independent Bank Laredo Construction, Inc. Locke Lord LLP Lockton Companies of Houston USI Southwest Supporter  $10,000 and above *Abraham’s Oriental Rugs CenterPoint Energy Emerson Greenberg Traurig, LLP *Houston First Corporation Macy’s Mitsubishi Corporation (Americas) Nordstrom *Silver Eagle Distributors Triten Corporation White & Case LLP *Zenfilm

Benefactor  $5,000 and above Barclay’s Wealth and Investment Management Beck Redden LLP Louis Vuitton Randalls Russell Reynolds Associates, Inc. *University of St. Thomas Wortham Insurance and Risk Management Patron  Gifts below $5,000 Amazon Baker Hughes Bering’s Beth Wolff Realtors Burberry Dolce & Gabbana USA, Inc. Kinder Morgan Foundation Mercantil ONEOK, Inc. *Quantum Bass Center SEI, Global Institutional Group Smith, Graham & Company Stewart Title Company TAM International, Inc. * Includes in-kind support

(as of September 1, 2019)

Eli Lilly and Company Emerson Electric Company, Inc. ExxonMobil Matching Gift Program Fannie Mae Corporation FMC Corporation Freeport-McMorRan Copper & Gold Inc. General Electric General Mills, Inc. Goldman Sachs Halliburton Company Hewlett Packard IAC Interactive IBM Corporation ING Financial Services Intermec Johnson & Johnson JPMorgan Chase & Co.

LyondellBasell Industries Macy's, Inc. (Macy's and Bloomingdale's) Merrill Lynch Microsoft Corporation Motiva Enterprises, LLC Murphy Oil Corporation NACCO Industries Neiman Marcus Group, Inc. Northern Trust Occidental Petroleum Phillips 66 Plains All American Pipeline PricewaterhouseCoopers Prudential Financial Inc. Regions Shell Oil Company Southwestern Energy Spectra Energy

SPX Corporation Texas Instruments The Boeing Company Matching Program The Coca-Cola Company Thomson Reuters TransCanada Pipelines Limited Transocean Offshore Deepwater Drilling Inc. Travelers Companies, Inc. UBS Union Pacific Walt Disney Company Westlake Chemical Williams Companies, Inc.

FOUNDATIONS & GOVERNMENT AGENCIES Diamond Guarantor  $1,000,000 and above The Brown Foundation, Inc. Houston Symphony Endowment Houston Symphony League The Wortham Foundation, Inc. Premier Guarantor  $500,000 and above City of Houston and Theater District Improvement, Inc. The Cullen Trust for the Performing Arts Albert and Ethel Herzstein Charitable Foundation The C. Howard Pieper Foundation Grand Guarantor  $150,000 and above City of Houston through the Miller Theatre Advisory Board The Cullen Foundation The Jerry C. Dearing Family Foundation The Hearst Foundations

IN-KIND DONORS A Fare Extraordinaire Alexander’s Fine Portrait Design Alpha-Lee Enterprises, Inc. Aspire Executive Coaching, LLC Bergner & Johnson Design Bering’s BKD, LLP Boat Ranch Burberry Cognetic Complete Eats Corinthian Houston Culinaire Carl R. Cunningham DLG Research & Marketing Solutions Elaine Turner Designs Elegant Events by Michael Elliot Marketing Group

(as of September 1, 2019)

Houston Endowment The Humphreys Foundation MD Anderson Foundation Texas Commission on the Arts

Sponsor  $25,000 and above Beauchamp Foundation National Endowment for the Arts The William Stamps Farish Fund

Guarantor  $100,000 and above The Elkins Foundation

Partner  $15,000 and above Edward H. Andrews Foundation Ruth & Ted Bauer Family Foundation The Melbern G. & Susanne M. Glasscock Foundation The Hood-Barrow Foundation Barbara Bush Literacy Foundation Houston Symphony League Bay Area The Schissler Foundation The Vivian L. Smith Foundation The Vaughn Foundation

Underwriter  $50,000 and above The Fondren Foundation Houston Symphony Chorus Endowment League of American Orchestras’ Futures Fund LTR Lewis Cloverdale Foundation John P. McGovern Foundation The Robert and Janice McNair Foundation / Palmetto Partners Ltd. The Powell Foundation The Robbins Foundation

Supporter  $10,000 and above The Carleen & Alde Fridge Foundation William E. & Natoma Pyle Harvey Charitable Foundation Petrello Family Foundation Radoff Family Foundation Anonymous Benefactor  $5,000 and above Leon Jaworski Foundation The Scurlock Foundation Keith & Mattie Stevenson Foundation Strake Foundation Patron  Gifts below $5,000 The WC Handy Foundation The Lubrizol Foundation

(as of September 1, 2019) Elsie Smith Design Festari Forja Designsz Foster Quan LLP Gucci Hermann Park Conservancy Hilton Americas – Houston Hotel Granduca Hotel Icon Hotel ZaZa Memorial City Houston Astros Houston Grand Opera Houston Texans InterContinental Hotel Houston Jim Benton of Houston, LLC JOHANNUS Organs of Texas John L. Worthan & Son, L.P. John Wright/Textprint JW Marriott Houston Downtown

Karbach Brewing Co. Kuhl-Linscomb LG Entertainers Limb Design Martha Turner Properties Meera Buck & Associates Michael’s Cookie Jar Minuteman Press – Post Oak Momentum Jaguar Music & Arts New Leaf Publishing, Inc. Nos Caves Vin The Parson Family in memory of Dorothy Anne Parson Prime Systems Pro/Sound Randalls Food Markets Rice University Richard Brown Orchestra

Saint Arnold’s Brewery Saks Fifth Avenue Shecky’s Media, Inc. Singapore Airlines Staging Solutions Stewart Title Tony’s Tootsies Valobra Jewelry & Antiques Versace Village Greenway VISION Yahama

InTUNE — October 2019 | 39

Houston Symphony ENDOWMENT The Houston Symphony Endowment is a separate non-profit organization that invests contributions to earn income for the benefit of the Houston Symphony Society. TRUSTEES

William J. Toomey II, President Gene Dewhurst

James Lee Lynn Mathre

Jerry Simon Scott Wise

An endowed fund can be permanently established within the Houston Symphony Society through a direct contribution or via a planned gift such as a bequest. The fund can be designated for general purposes or specific interests. For more information, please contact: Steven Covington, Director of Endowment and Planned Giving, at steven.covington@houstonsymphony.org or 713.337.8532. ENDOWMENT FUNDS $100,000 + Accenture (Andersen Consulting) Fund AIG American General Fund M.D. Anderson Foundation Fund Mr. & Mrs. Philip Bahr Fund Janice H. & Thomas D. Barrow Fund Ronald C. Borschow Fund The Brown Foundation Guest Pianist Fund The Brown Foundation’s Miller Outdoor Theatre Fund in memory of Hanni & Stewart Orton Margarett & Alice Brown Endowment Fund for Education Lawrence E. Carlton, M.D. Endowment Fund for Youth Programs Jane & Robert Cizik Fund The Janet Clark Fund Cooper Industries, Inc. Fund The Cullen Foundation Maestro’s Fund The Cullen Trust for the Performing Arts Fund for Creative Initiatives DuPont Corporation Fund Elkins Charitable Trust Agency Fund The Margaret & James A. Elkins Foundation Fund Virginia Lee Elverson Trust Fund William Stamps Farish Fund Dr. Kelli Cohen Fein & Martin J. Fein Fund Richard P. Garmany Fund for the Houston Symphony League Concerto Competition Jo A. & Billie Jo Graves Fund George & Mary Josephine Hamman Foundation Fund The William Randolph Hearst Endowed Fund for Education Programs General & Mrs. Maurice Hirsch Memorial Concert Fund in memory of Theresa Meyer and Jules Hirsch, beloved parents of General Maurice Hirsch, and Rosetta Hirsch Weil and Josie Hirsch Bloch, beloved sisters of General Maurice Hirsch Houston Arts Combined Endowment Fund The Houston Symphony Chorus Endowment Fund Mr. & Mrs. Marvin Kaplan Fund

Ann Kennedy & Geoffrey Walker Fund Rochelle & Max Levit Fund Mary R. Lewis Fund for Piano Performance Mach Family Audience Development Fund Mr. & Mrs. Rodney H. Margolis Fund Mr. & Mrs. J. Stephen Marks Fund/ The Marks Charitable Foundation Marian & Speros Martel Foundation Fund Speros P. Martel Fund Barbara & Pat McCelvey Fund The Menil Foundation Fund Monroe Mendelsohn Jr. Estate George P. & Cynthia Woods Mitchell Summer Concerts Fund Sue A. Morrison & Children Fund National Endowment for the Arts Fund Stewart Orton Fund Papadopoulos Fund C. Howard Pieper Foundation Nancy & Robert Peiser Fund Fayez Sarofim Guest Violinist Fund through The Cullen Trust for the Performing Arts Selma S. Neumann Fund Spec’s Charitable Foundation Salute to Educators Concert Fund The Micajah S. Stude Special Production Fund Estate of Mr. Walter W. Sapp Fund The Schissler Foundation Fund Mr. & Mrs. William T. Slick Jr. Fund Dorothy Barton Thomas Fund Bobby & Phoebe Tudor Fund Mr. & Mrs. Jesse B. Tutor Fund Dede & Connie Weil Fund The Wortham Foundation Classical Series Fund endowed in memory of Gus S. & Lyndall F. Wortham The Wortham Foundation Fund

Visit our website at houstonsymphony.org/endowment for a complete listing of Endowment Funds.

40 | Houston Symphony

Legacy SOCIETY The Legacy Society honors those who have included the Houston Symphony Endowment in their long-term estate plans through a bequest in a will, life-income gifts, or other deferred-giving arrangements.

CRESCENDO CIRCLE $100,000 + Dr. & Mrs. George J. Abdo Priscilla R. Angly Janice Barrow James Barton James Bell Joe Brazzatti Terry Ann Brown Drs. Dennis & Susan Carlyle Janet F. Clark Mr. William E. Colburn Darrin Davis & Mario Gudmundsson Harrison R.T. Davis Andria N. Elkins Jean & Jack* Ellis

The Aubrey & Sylvia Farb Family Eugene Fong Mrs. Aggie L. Foster Michael B. George Stephen & Mariglyn Glenn Evan B. Glick Jo A. & Billie Jo Graves Bill Grieves Jacquelyn Harrison & Thomas Damgaard Dr. Rita Justice Mr. & Mrs. U. J. LeGrange Ms. Nancey G. Lobb Joella & Steven P. Mach

Bill & Karinne McCullough Dr. & Mrs.* Robert M. Mihalo Sue A. Morrison & children in memory of Walter J. Morrison Mr. & Mrs. Marvin H. Mueller Drs. John & Dorothy Oehler Gloria G. Pryzant Donna Scott Charles & Andrea Seay Michael J. Shawiak Jule* & Albert Smith Mr. & Mrs. Louis J. Snyder Mr. Rex Spikes Mike & Anita* Stude

Mr. & Mrs. Jesse B. Tutor Elba L. Villarreal Margaret Waisman, M.D. & Steven S. Callahan, Ph.D. Mr. & Mrs. Fredric A. Weber Robert G. Weiner Vicki West in honor of Hans Graf Susan Gail Wood Jo Dee Wright Ellen A. Yarrell Anonymous (2)

Farida Abjani Mr. & Mrs. Jeffrey B. Aron Myra W. Barber Daniel B. Barnum George* & Betty Bashen Dr. Joan Hacken Bitar Dorothy B. Black Kerry Levine Bollmann Ermy Borlenghi Bonfield James & S. Dale Brannon Zu Broadwater Joan K. Bruchas & H. Philip Cowdin* Mr. Christopher & Mrs. Erin Brunner Eugene R. Bruns Cheryl & Sam Byington Sylvia J. Carroll Dr. Robert N. Chanon William J. Clayton & Margaret A. Hughes Mr. & Mrs. Byron Cooley The Honorable & Mrs. William Crassas Dr. Lida S. Dahm Leslie Barry Davidson Judge & Mrs.* Harold DeMoss Jr. Susan Feickert Ginny Garrett Mr. & Mrs. Harry H. Gendel Mauro H. Gimenez & Connie A. Coulomb Mr. Robert M. Griswold Randolph Lee Groninger

Claudio J. Gutierrez Mr. & Mrs. Jerry L. Hamaker Mrs. Gloria Herman Marilyn & Robert M. Hermance Timothy Hogan & Elaine Anthony Dr. Gary L. Hollingsworth Dr. Edward J. & Mrs. Patti Hurwitz Dr. Kenneth Hyde Brian & Catherine James Barbara & Raymond Kalmans Dr. & Mrs. Ira Kaufman, M.D. John S. W. Kellett Ann Kennedy & Geoffrey Walker Dr. James E. & Betty W. Key Dr. & Mrs. I. Ray Kirk Mrs. Frances E. Leland Samuel J. Levine Mrs. Lucy Lewis E. W. Long Jr. Sandra Magers David Ray Malone & David J. Sloat Mr. & Mrs. Rodney H. Margolis Jay & Shirley* Marks James G. Matthews Mr. & Mrs. John H. Matzer III Dr. & Mrs. Malcolm L. Mazow Mary Ann & David McKeithan Mr. & Mrs. Alexander K. McLanahan Dr. Tracey Samuels & Mr. Robert McNamara Mr. & Mrs. D. Bradley McWilliams

Catherine Jane Merchant Dr. Georgette M. Michko Marilyn Ross Miles & Stephen Warren Miles Foundation Katherine Taylor Mize Ione Moran Sidney Moran Richard & Juliet Moynihan Gretchen Ann Myers Patience Myers Mr. John N. Neighbors, in memory of Jean Marie Neighbors Mr. & Mrs. Richard C. Nelson Bobbie Newman John & Leslie Niemand Leslie Nossaman Dave G. Nussmann John Onstott Macky Osorio Edward C. Osterberg Jr. Mr. & Mrs. Edmund & Megan Pantuliano Imogen “Immy” Papadopoulos Christine & Red Pastorek Peter & Nina Peropoulos Sara M. Peterson Darla Powell Phillips Geraldine Smith Priest Dana Puddy Patrick T. Quinn Lila Rauch

Ed & Janet Rinehart Mr. Floyd W. Robinson Evie Ronald Walter Ross Mr. & Mrs. James A. Shaffer Dr. & Mrs. Kazuo Shimada Lisa & Jerry Simon Tad & Suzanne Smith Sherry Snyder Marie Speziale Emily H. & David K. Terry Stephen G. Tipps Steve Tostengard, in memory of Ardyce Tostengard Jana Vander Lee Bill & Agnete Vaughan Dean B. Walker Stephen & Kristine Wallace David M. Wax* & Elaine Arden Cali Geoffrey Westergaard Nancy B. Willerson Jennifer R. Wittman Lorraine & Ed* Wulfe David & Tara Wuthrich Katherine & Mark Yzaguirre Edith & Robert Zinn Anonymous (6)

In MEMORIAM

*Deceased

We honor the memory of those who in life included the Houston Symphony Endowment in their estate plans. Their thoughtfulness and generosity will continue to inspire and enrich lives for generations to come. Mr. Thomas D. Barrow George Bashen Paul M. Basinski W. P. Beard Ronald C. Borschow Mrs. H. Raymond Brannon Anthony Brigandi Lawrence E. Carlton, M.D. Mrs. Albert V. Caselli Lee Allen Clark William J. & Patricia S. Cunningham Fredell Lack Eichhorn Jack Ellis Mrs. Robin A. Elverson Frank R. Eyler Dr. & Mrs. Larry L. Fedder Helen Bess Fariss Foster Christine E. George

Lila-Gene George Mr. & Mrs. Keith E. Gott John Wesley Graham Dorothy H. Grieves Mrs. Marcella Levine Harris Gen. & Mrs. Maurice Hirsch Miss Ima Hogg Burke & Octavia Holman David L. Hyde Dr. Blair Justice Mr. Max Levine Dr. Mary R. Lewis Mrs. L. F. McCollum Betty & Gene McDavid Mr. & Mrs. Charles E. McKerley Doretha Melvin Monroe L. Mendelsohn Jr. Mr. Ronald Mikita

Robert Austin Moody Mrs. Janet Moynihan Arthur Newman Constantine S. Nicandros Hanni Orton Stewart Orton, Legacy Society co-founder Dr. Michael Papadopoulos Robert A. Peiser Miss Louise Pearl Perkins Mary Anne H. Phillips Mr. Howard Pieper Clive Runnells, in memory of Nancy Morgan Runnells Ugo di Portanova Mr. Charles K. Sanders Walter W. Sapp, Legacy Society co-founder

J. Fred & Alma Laws Lunsford Schultz Ms. Jean R. Sides Lola Sinclair Blanche Stastny John K. & Fanny W. Stone Dorothy Barton Thomas Dr. Carlos Vallbona Mr. Harry C. Wiess Mrs. Edward Wilkerson Daisy S. Wong / JCorp Ed Wulfe Anonymous (1)

InTUNE — October 2019 | 41

Education & Community Engagement DONORS The Houston Symphony acknowledges those individuals, corporations, and foundations that support our education and community engagement initiatives. Each year, these activities impact the lives of more than 97,000 children and students and provide access to our world-class orchestra for more than 150,000 Houstonians free of charge.

Principal Guarantor $250,000+



John & Lindy Rydman / Spec’s Wines, Spirits & Finer Foods / Spec’s Charitable Foundation

Guarantor

$100,000+



BBVA The Jerry C. Dearing Family Foundation City of Houston through the Miller Theatre Advisory Board The Hearst Foundations, Inc. Houston Endowment Houston Symphony Endowment Mr. John N. Neighbors

Underwriter



$50,000+

The Elkins Foundation ENGIE Exxon Mobil Corporation League of American Orchestras’ Futures Fund Houston Livestock Show and Rodeo The John P. McGovern Foundation The Robert & Janice McNair Foundation The Powell Foundation Mr. & Mrs. William K. Robbins Jr./ The Robbins Foundation Shell Oil Company

Sponsor



$25,000+

Chevron Houston Symphony Hispanic Leadership Council Wells Fargo

Partner



$15,000+

Anadarko Petroleum Corporation Ruth and Ted Bauer Family Foundation Barbara Bush Literacy Foundation The Melbern G. and Susanne M. Glasscock Foundation H-E-B Tournament of Champions Houston Symphony League Houston Symphony League Bay Area Macy’s Occidental Petroleum Vivian L. Smith Foundation Mr. Jay Steinfeld & Mrs. Barbara Winthrop

42 | Houston Symphony

Texas Commission on the Arts Ellen A. Yarrell in memory of Virginia S. Anderson and in honor of Cora Sue Mach

Supporter



$10,000+

CenterPoint Energy George & Mary Josephine Hamman Foundation Mitsubishi Corporation (Americas) William E. & Natoma Pyle Harvey Charitable Trust Nancy & Robert* Peiser Nordstrom

Donor



$1,000+

Lilly & Thurmon Andress Diane & Harry Gendel Kinder Morgan Foundation Cora Sue & Harry Mach Karinne & Bill McCullough Tricia & Mark Rauch Hazel French Robertson Education & Community Residency Strake Foundation

Support by Endowed Funds Education and Community programs are also supported by the following endowed funds, which are a part of the Houston Symphony Endowment: Margarett & Alice Brown Endowment Fund for Education Spec’s Charitable Foundation Salute to Educators Concert Fund The Brown Foundation’s Miller Outdoor Theatre Fund in honor of Hanni & Stewart Orton The William Randolph Hearst Endowed Fund for Education Programs Lawrence E. Carlton, M.D. Endowment Fund for Youth Programs Richard P. Garmany Fund for Houston Symphony League Concerto Competition Houston Symphony Ima Hogg Competition Endowed Fund Selma S. Neumann Fund

Support for Symphony Scouts Cora Sue & Harry Mach in honor of Roger Daily’s 13 years of service as Director of the Houston Symphony’s Education and Community Programs

Support for the CommunityEmbedded Musicians Initiative The Community-Embedded Musicians Initiative is supported in part by a generous grant from the American Orchestras’ Futures Fund, a program of the League of American Orchestras made possible by funding from the Ann & Gordon Getty Foundation. The Houston Symphony residency at Lewis Elementary is presented by BBVA and the BBVA Foundation. We are also thankful to HISD and these lead supporters of the CommunityEmbedded Musician program: Robert and Janice McNair Foundation National Endowment for the Arts Spec’s Wines, Spirits and Finer Foods / Spec’s Charitable Foundation Mr. Jay Steinfeld & Mrs. Barbara Winthrop H-E-B Tournament of Champions

MUSICIAN SPONSORSHIPS Donors at the Conductor’s Circle Silver Baton level and above are provided the opportunity to be recognized as sponsoring a Houston Symphony Musician. For more information, please contact Tyler Murphy, Development Officer, Major Giving Groups, at tyler.murphy@houstonsymphony.org or 713.337.8536. Janice Barrow Sophia Silivos, First Violin

Drs. M.S. & Marie-Luise Kalsi Eric Halen, Co-Concertmaster

Susan & Edward Osterberg MiHee Chung, First Violin

Gary & Marian Beauchamp Martha Chapman, Second Violin

The Joan & Marvin Kaplan Foundation Mark Nuccio, Principal Clarinet

Mr. & Mrs. Jonathan E. Parker Nancy Goodearl, Horn

Nancy & Walter Bratic Christopher Neal, First Violin

Dr. & Mrs. I. Ray Kirk Linda Goldstein, Viola

Mr. Gordon J. Brodfuehrer Maki Kubota, Cello Ralph Burch Robin Kesselman, Principal Double Bass Barbara J. Burger Andrew Pedersen, Double Bass Dr. M.K. Campion Rodica Gonzalez, First Violin Drs. Dennis & Susan Carlyle Louis-Marie Fardet, Cello

Mr. & Mrs. U. J. LeGrange Thomas LeGrand, Associate Principal Clarinet Rochelle & Max Levit Sergei Galperin, First Violin Cora Sue & Harry Mach Joan DerHovsepian, Associate Principal Viola Joella & Steven P. Mach Eric Larson, Double Bass

Nancy & Robert* Peiser Jonathan Fischer, Principal Oboe Dave & Alie Pruner Matthew Strauss, Percussion Gloria & Joe Pryzant Matthew Strauss, Percussion Ron & Demi Rand Annie Chen, Second Violin Lila Rauch Christopher French, Associate Principal Cello

Mrs. Carolyn & Dr. Michael Mann Ian Mayton, Horn

Sybil F. Roos Mark Hughes, Principal Trumpet

Mr. & Mrs. Rodney H. Margolis Eric Halen, Co-Concertmaster

Mr. Glen A. Rosenbaum Aralee Dorough, Principal Flute

Janet F. Clark MuChen Hsieh, Principal Second Violin

Mr. & Mrs. J. Stephen Marks Brian Del Signore, Principal Percussion

Linda & Jerry Rubenstein Brian Del Signore, Principal Percussion

Mr. Michael H. Clark & Ms. Sallie Morian George Pascal, Assistant Principal Viola

Jay & Shirley* Marks Sergei Galperin, First Violin

John & Lindy Rydman / Spec’s Wines, Spirits & Finer Foods Anthony Kitai, Cello

Jane & Robert Cizik Qi Ming, Assistant Concertmaster

Roger & Debby Cutler Tong Yan, First Violin Leslie Barry Davidson & W. Robins Brice Colin Gatwood, Oboe Scott Ensell & Family Donald Howey, Double Bass Kelli Cohen Fein & Martin Fein Ferenc Illenyi, First Violin Mr. & Mrs. Russell M. Frankel Aralee Dorough, Principal Flute Stephen & Mariglyn Glenn Christian Schubert, Clarinet Evan B. Glick Tong Yan, First Violin Mr. & Mrs. Fred L. Gorman Christopher French, Associate Principal Cello Dr. Gary L. Hollingsworth & Dr. Kenneth J. Hyde Robert Walp, Assistant Principal Trumpet

Michelle & Jack Matzer Kurt Johnson, First Violin Dr. & Mrs. Malcolm L. Mazow Rodica Gonzalez, First Violin Barbara & Pat McCelvey Adam Dinitz, English Horn Mr. & Mrs. Alexander K. McLanahan William VerMeulen, Principal Horn Martha & Marvin McMurrey Rodica Gonzalez, First Violin Dr. Robert M. Mihalo Brian Thomas, Horn Rita & Paul Morico Elise Wagner, Bassoon Mr. & Mrs. Robert E. Nelson Mihaela Frusina, Second Violin Bobbie Newman Rodica Gonzalez, First Violin Scott & Judy Nyquist Sheldon Person, Viola

Mr. & Mrs. James A. Shaffer Eric Halen, Co-Concertmaster

Ms. Judith Vincent Matthew Roitstein, Associate Principal Flute Margaret Waisman, M.D. & Steven S. Callahan, Ph.D. Mark Griffith, Percussion Stephen & Kristine Wallace Allen Barnhill, Principal Trombone Mr. & Mrs. Fredric A. Weber Megan Conley, Principal Harp Robert G. Weiner & Toni Blankman Anastasia Sukhopara, Second Violin Vicki West Rodica Gonzalez, First Violin Steven & Nancy Williams MiHee Chung, First Violin Jeanie Kilroy Wilson & Wallace S. Wilson Xiao Wong, Cello Mr. & Mrs. C. Clifford Wright Jr. Jarita Ng, Viola Lorraine & Ed* Wulfe Dave Kirk, Principal Tuba Nina & Michael Zilkha Kurt Johnson, First Violin *deceased

Laura & Michael Shannon Rian Craypo, Principal Bassoon Tad & Suzanne Smith Marina Brubaker, First Violin Alana R. Spiwak & Sam L. Stolbun Wei Jiang, Viola Mr. & Mrs. Robert R. Springob, Laredo Construction, Inc. Mihaela Frusina, Second Violin Mike Stude Brinton Averil Smith, Principal Cello Susan H. Thompson George Pascal, Associate Principal Viola Bobby & Phoebe Tudor Bradley White, Associate Principal Trombone Mr. & Mrs. Jesse B. Tutor Daniel Strba, Viola

InTUNE — October 2019 | 43

Meet Charles Seo, cello Cellist Charles Seo was appointed cellist of the Houston Symphony in the summer of 2018 at age 22. Previously, he served as principal cellist in the Colburn Orchestra. Charles, who made his solo orchestral debut at age 10, has performed as guest soloist with the Houston Symphony, Dallas Symphony Orchestra, and San José Chamber Orchestra. He is silver medalist of the 2014 Irving M. Klein International String Competition and bronze medalist of the 2014 Stulberg International String Competition. In 2013, he was the gold medalist of the Houston Symphony League Concerto Competition, the Lynn Harrell Concerto Competition, the Schmidbauer International Competition, and the 30th Pasadena Showcase House Instrumental Competition. Charles performed Sarasate’s Zigeunerweisen with Christopher O’Riley on NPR’s From the Top. Charles has collaborated with cellists Lynn Harrell, Robert deMaine, Clive Greensmith, Wolfgang Emanuel Schmidt, David Geringas, Steven Isserlis, Jian Wang, Myung-wha Chung, Lluís Claret, Li-Wei Qin, Bion Tsang, and Laurence Lesser. He holds a Bachelor of Music degree from the Colburn School, where he studied with Ronald Leonard and Greensmith. What inspired you to become a musician? My mother tells me I was extremely sensitive at a young age. She thought it would be best for me to play a deep-sounding instrument, hoping it would calm me down. When I turned 9, she suggested the cello, and I instantly fell in love with the instrument. I decided to pursue music professionally at the end of my freshman year in high school after I came back from the Meadowmount School of Music summer camp. Everything we did there was related to music, and I’d never been happier. At first, my parents resisted, because they knew choosing music would be a difficult path, but music is literally embedded in my Korean name, Chan Young, which means “praise God with music.” I asked them, “Why did you name me Chan Young if you didn’t want me to pursue music?” After a long discussion, they finally gave in. To this day, I am glad I made this choice because music means the world to me, and my parents are extremely supportive and proud. Would you like to share a memorable moment or highlight from your career? In the spring of 2014, I got to perform Prokofiev’s Sinfonia Concertante with the Houston Symphony in this very hall. I was a senior in high school, and I had just won the Houston Symphony League Concerto Competition. It was my first time playing an entire concerto with a professional orchestra. It was particularly special for me because I got to perform with my mentor, Brinton Smith. I am reminded of all the musical journeys we have taken together every time I see him. What would you be if you weren’t a cellist? I want to say a KPOP star, but considering that I am the worst dancer you could possibly imagine, I think I have to give up that dream. I can’t imagine not being a musician, because I cannot imagine life without making music. What are your hobbies and interests outside of music? I love watching movies—especially Marvel films. I also like bowling, soccer, and snowboarding. Recently, I started taking drum lessons. And I absolutely love puppies! 44 | Houston Symphony

Top: My professional headshot Second: Houston Symphony 2014 performance Third: Myself and Houston Symphony Principal Cellist Brinton Averil Smith Fourth: Feeling great after my first Houston Youth Symphony concert at Rice University Bottom: Mini me

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