InTune — The Houston Symphony Magazine — April 2018 by Houston Symphony

THE HOUSTON SYMPHONY MAGAZINE

APRIL 2018

TCHAIKOVSKYâ&#x20AC;&#x2122;S SLEEPING BEAUTY 18

NEW WORLDS: BILL MURRAY, 22 JAN VOGLER AND FRIENDS

THE BEST OF JOHN WILLIAMS 30

ALSO SPRACH ZARATHUSTRA 32

April 6, 7, 8

April 16

April 20, 21, 22

April 26, 28, 29

introducing

JOHN MANGUM

Get to know the Houston Symphony's new Executive Director/CEO and Margaret Alkek Williams Chair on page 7.

InTUNE | A P R I L

2018

Programs

Tchaikovsky’s Sleeping Beauty April 6, 7, 8 �� 18 New Worlds: Bill Murray, Jan Vogler and Friends April 16 ��22 The Best of John Williams April 20, 21, 22 ��30 Also sprach Zarathustra April 26, 28, 29 ��32

Features

Letter to Patrons ��2 Introducing John Mangum ��7 Recap: The Houston Symphony European Tour ��8 Developing the Whole Child �� 14 The 2018 Ima Hogg Competition �� 16 Backstage Pass with Anne Leek ��48

Events

Upcoming Broadcasts . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 2018 Houston Symphony Ball . . . . . . . . . . . . . . . . . . . . . . 17

Your Houston Symphony

Andrés Orozco-Estrada, Music Director . . . . . . . . . . . . . . . 4 Orchestra Roster ��5 Staff Listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Our Supporters

New Century Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Leadership Council . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Vision 2025 Implementation Fund . . . . . . . . . . . . . . . . . . 13 Houston Symphony Donors . . . . . . . . . . . . . . . . . . . . . . . . 38 Young Associates Council . . . . . . . . . . . . . . . . . . . . . . . . . 40 Society Board of Trustees �� 41 Corporate, Foundation and Government Partners ��42 Chorus Endowment ��43 Sustainability Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Legacy and Memoriam. . . . . . . . . . . . . . . . . . . . . . . . . . . 44 In-Kind Donors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Education and Community Engagement Donors . . . . . . . . . 46

The Houston Symphony returns home from its triumphant European Tour.

InTune is produced by the Houston Symphony’s Marketing and Communications department. Trazanna Moreno. . . . . . . . . . . . . . Chief Marketing Officer Vanessa Astros-Young. . . . . . . . . Senior Director, Communications Calvin Dotsey. . . . . . . . . . . . . . . . . . . Publications Editor Melanie O'Neill. . . . . . . . . . . . . . . . . Publications Designer Editorial Contributors Vanessa Astros-Young, Senior Director, Communications Emily Nelson, Associate Director, Education and Community Programming Elaine Reeder Mayo. . . . . . . . . . . . . . . . . . . . . . . . . . Editorial Consultant Shweiki Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Printing Ventures Marketing Group. . . . . . . . . . . . . . . . . . . Advertising 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 also are 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.

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InTUNE

In THE HOUSTON SYMPHONY

APRIL 2018

The incredible musicians of the Houston Symphony are off to an amazing start in 2018. Last month, we completed a triumphant tour of some of Europe’s great music capitals with Music Director Andrés Orozco-Estrada, a journey you can learn more about on page 8. We also released two new recordings and won our first Grammy® for our recording of Berg’s opera Wozzeck. These impressive accomplishments would not be possible without the remarkable support of you, our patrons, and for that, I thank you. This incredible group of musicians, our inspiring Music Director and the spirit of generosity I sense from all of you are just a few of the reasons I’m honored and excited to begin my tenure as Executive Director/CEO and Margaret Alkek Williams Chair of the Houston Symphony. I’m looking forward to getting to know this vibrant city better and to doing everything I can to help our Symphony achieve new heights. In April, the Symphony continues our string of artistic successes with programs focused on musical storytelling, including Tchaikovsky’s Sleeping Beauty, Strauss’ Also sprach Zarathustra and The Best of John Williams with former Principal POPS Conductor Michael Krajewski. Plus, we’ll celebrate our city’s heritage with ¡Fiesta!, a family-friendly program showcasing the music and culture of Latin America. In this edition of InTune, you’ll also preview our exciting, multimedia presentation of Stravinsky’s The Rite of Spring coming this May (page 12) —a must-see event. I look forward to greeting you at Jones Hall soon, and I wish you a month filled with music.

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ANDRÉS OROZCO-ESTRADA

M U S I C D I R E C T O R ROY AND LILLIE CULLEN CHAIR

Houston Symphony Music Director Andrés Orozco-Estrada began his tenure in the 2014–15 season. He immediately established a dynamic presence on the podium and a deep bond with the musicians of the orchestra. He carefully curates his programs to feature engaging combinations of classical masterworks paired with the music of today, significant artistic collaborations with composers and guest artists, and innovative use of multimedia and visual effects, all in order to make meaningful connections with the audience. In the 2017–18 season, Orozco-Estrada continues to engage with audiences both with casual commentary from the stage and discussions with guests in “Behind the Scenes with Andrés” videos. Upon the commercial release of the critically acclaimed Dvořák series featuring the composer’s last four symphonies, he and the orchestra recently released a Music of the Americas disc featuring Gershwin’s An American in Paris, Revueltas’ Sensemayá, Piazzolla’s Tangazo and Bernstein’s Symphonic Dances from West Side Story. An additional recording project on the Pentatone label, Haydn—The Creation, will be released this month. Born in Medellín, Colombia, Andrés began his musical studies on the violin and started conducting at age 15. At 19, he entered the renowned Vienna Music Academy, where he studied with Uroš Lajovic (pupil of the legendary Hans Swarowsky), and completed his degree with distinction conducting the Vienna Radio Symphony Orchestra at the Musikverein. Andrés burst onto the international scene with two substitutions with the Vienna Philharmonic: the first, his debut in 2010, standing in for Esa-Pekka Salonen, and then in 2012, substituting for Riccardo Muti at the Musikverein. Andrés now regularly appears with many of the world’s leading orchestras, including the Vienna Philharmonic, the Santa Cecilia Orchestra in Rome, the Orchestre National de France, the Staatskapelle Dresden, the Leipzig Gewandhaus Orchestra and the Mahler Chamber Orchestra. His engagements for the 2016-17 season featured debuts with the San Francisco Symphony in April and the Berlin Philharmonic in May. Orozco-Estrada and the Frankfurt Radio Symphony gave a series of concerts as orchestra-inresidence in Vienna and Salzburg, in addition to undertaking tours to Budapest, Warsaw, Monte Carlo, the Dresden Music Festival and across Spain. He also accompanied Colombia's outstanding youth orchestra, the Filarmónica Joven de Colombia, on its first European tour, conducting eight concerts in Berlin and Stuttgart, at the Rheingau Musik Festival, at the Mecklenburg-Vorpommern Festival and at the styriarte in Graz. Andrés led the Houston Symphony on a four-country, eight-city European Tour last month, taking the orchestra through some of Europe’s most prestigious concert halls and festivals. World-renowned violinist and three-time Grammy Award®-winner Hilary Hahn joined Andrés and orchestra for all performances. In addition to his post in Houston, Andrés is chief conductor of the Frankfurt Radio Symphony Orchestra and principal guest conductor of the London Philharmonic Orchestra.

4 | Houston Symphony

ROSTER

ORCHESTRA Andrés Orozco-Estrada Music Director Roy and Lillie Cullen Chair FIRST VIOLIN 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 Jenna Barghouti*

DOUBLE BASS Robin Kesselman, Principal David Malone, Associate Principal Mark Shapiro Eric Larson Andrew Pedersen Burke Shaw Donald Howey Michael McMurray FLUTE Aralee Dorough, Principal General Maurice Hirsch Chair Matthew Roitstein, Associate Principal Judy Dines Kathryn Ladner PICCOLO Kathryn Ladner

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 Lindsey Baggett* Katrina Bobbs Savitski*

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

Community-Embedded Musicians David Connor, double bass Rainel Joubert, violin Anthony Parce, viola Hellen Weberpal, cello

HORN William VerMeulen, Principal Robert Johnson, Associate Principal Jesse Clevenger*, Assistant Principal Brian Thomas Nancy Goodearl Ian Mayton TRUMPET Mark Hughes, Principal George P. and Cynthia Woods Mitchell Chair John Parker, Associate Principal Robert Walp, Assistant Principal Richard Harris* TROMBONE Allen Barnhill, Principal Bradley White, Associate Principal Phillip Freeman BASS TROMBONE Phillip Freeman TUBA Dave Kirk, Principal TIMPANI Position Vacant, Principal Brian Del Signore, Associate Principal

ENGLISH HORN 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 CELLO Brinton Averil Smith, Principal Janice and Thomas Barrow Chair Christopher French, Associate Principal Anthony Kitai Louis-Marie Fardet Jeffrey Butler Kevin Dvorak Xiao Wong Maki Kubota Myung Soon Lee** James R. Denton** Yewon Ahn*

Steven Reineke Principal POPS Conductor Robert Franz Associate Conductor, Sponsor, Ms. Marie Taylor Bosarge 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 Eric Arbiter, Associate Principal Elise Wagner

PERCUSSION Brian Del Signore, Principal Mark Griffith Matthew Strauss HARP Megan Conley, Principal** KEYBOARD Scott Holshouser, Principal *Contracted Substitute ** On Leave

CONTRABASSOON Position Vacant

Orchestra Personnel Manager Michael Gorman

Librarian Thomas Takaro

Assistant Orchestra Personnel Manager Shana Bey

Assistant Librarians Hae-a Lee Michael McMurray

Stage Manager Mark Grady

Stage Technicians Ritaban Ghosh Jose Rios Ryan Samuelsen David Stennis InTUNE — April 2018 | 5

STAFF

ADMINISTRATIVE

The Houston Symphony Administrative Staff is made up of 75 full-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 Programming Elizabeth S. Condic, Chief Financial Officer Amanda T. Dinitz, Chief of Strategic Initiatives Vicky Dominguez, Chief Operating Officer Trazanna Moreno, Chief Marketing Officer Mary Beth Mosley, Interim Co-Chief Development Officer/ Director, Institutional Giving and Stewardship Molly Simpson, Interim Co-Chief Development Officer/ Director, Individual Giving and Major Gifts

Lucy Alejandro, Senior Accountant Angela Alfred, Director of Planning and Analysis Caitlin Boake, IT Associate Brittany Eckert, Support Engineer Joel James, Senior HR Manager Mateo Lopez, Accounting Clerk Anthony Stringer, IT Associate Christian Swearingen, Payroll and Accounts Payable Analyst Justine Townsend, Director of Finance Darya Trapeznikova, Senior Budget Manager Ariela Ventura, Office Manager/HR Coordinator

Gregg Gleasner, Senior Artistic Advisor David Hyslop, Senior Advisor Christine Kelly-Weaver, Executive Assistant/Board Liaison

MARKETING/COMMUNICATIONS

DEVELOPMENT Michael Arlen, Associate Director, Individual Giving and Major Gifts Liam Bonner, Manager, Annual Giving Groups Tiffany Bourgeois, Development Associate, Annual Fund Julie Busch, Development Associate, Special Projects & Liaison to the Chief Development Officer Irma M. Carrillo, Development Manager, Gifts and Records Timothy Dillow, Director, Special Events Noureen Faizullah, Development Director, Strategic Initiatives and Special Projects Denise Furlough, Manager, Special Events Vickie Hamley, Director, Volunteer Services Sydnee E. Houlette, Development Associate, Institutional Giving Rachel Klaassen, Special Events Associate Leticia Konigsberg, Director, Corporate Relations Michelle Montabana, Development Assistant, Gifts, Records and Planned Giving Patrick Quinn, Director, Planned Giving Martin Schleuse, Development Communications Manager Sarah Slemmons, Patron Donor Relations Manager Christina Trunzo, Associate Director, Foundation & Government Grants EDUCATION AND COMMUNITY PROGRAMMING Keisha Cassel, Manager, Education Allison Conlan, Director, Education Emily Nelson, Associate Director, Education and Community Programming Ragan Rhodes, Manager of Education and Community Programming Garrett Shaw, Education & Community Programming Assistant 6 | Houston Symphony

Vanessa Astros-Young, Senior Director, Communications Calvin Dotsey, Communications Specialist Heather Fails, Manager, Ticketing Database Elizabeth Faulkinberry, Front of House Manager Brian Glass, Marketing & Group Sales Specialist Kathryn Judd, Director, Marketing Jason Landry, Senior Manager, Patron Services Melanie O'Neill, Creative Specialist Sarah Rendón, Assistant Manager, Patron Services Mireya Reyna, Public Relations Coordinator Vanessa Rivera, Digital Marketing Manager Katie Sejba, Senior Director, Marketing & Sales Marylu Treviño, Digital Communications Manager Linsey Whitehead, Director, Creative Services Jenny Zuniga, Director, Patron Services OPERATIONS/ARTISTIC Shana Bey, Assistant Orchestra Personnel Manager Carlos Andrés Botero, Musical Ambassador Becky Brown, Director, Operations Anna Diemer, Chorus Manager Jessica Fertinel, Assistant to the Music Director Michael Gorman, Orchestra Personnel Manager Mark Grady, Stage Manager Hae-A Lee, Assistant Librarian Michael McMurray, Assistant Librarian Karoline Melstveit, Artistic Assistant Lauren Moore, Operations Manager Lesley Sabol, Director, Popular Programming Brad Sayles, Recording Engineer Thomas Takaro, Librarian Meredith Williams, Associate Director, Operations Rebecca Zabinski, Artistic Administrator

introducing

JOHN MANGUM EXECUTIVE DIRECTOR /CEO MARGARET ALKEK WILLIAMS CHAIR BY VANESSA ASTROS-YOUNG SENIOR DIRECTOR, COMMUNICATIONS

On April 16, 19-year veteran arts administrator John Mangum becomes the new Executive Director and Chief Executive Officer of the Houston Symphony. Most recently, John served as president and artistic director of the Philharmonic Society of Orange County, overseeing all aspects of the Society’s operations. He has also held important artistic planning positions with the San Francisco Symphony and the New York Philharmonic and holds a Ph.D. in history with a concentration in musicology from UCLA. He looks forward to moving to Houston this spring with his wife, Regina, and their son. John’s appointment concludes a six-month nationwide search conducted by a leading search firm and a 10-member search committee populated by members of the board, orchestra and administrative staff and chaired by David Pruner. Some accomplishments at the Philharmonic Society of Orange County that impressed the committee included a $10 million campaign that is expected to raise $20 million upon completion; residencies with the Monteverdi Choir, John Eliot Gardiner, the Mark Morris Dance Group and the Kronos Quartet; visits from the Berlin and the New York Philharmonics; a concert series featuring non-Western and contemporary music; and an extensive education program. “We are looking forward to welcoming John to the Houston Symphony family. I am particularly excited about collaborating with him as the Houston Symphony continues to realize the artistic vision we have been working so hard to achieve,” said Music Director Andrés Orozco-Estrada. “With John’s partnership, as well as his enthusiasm and wealth of knowledge he brings from his years of experience with other great orchestras, I know that together we will continue to raise the profile of the Houston Symphony.” “I’m thrilled and honored to be joining the Houston Symphony at a time when the organization is boldly looking to the future and charting a dynamic course for what an orchestra can be in the 21st century,” John said. “The Symphony’s impressive artistic partnership with Andrés Orozco-Estrada, one of the most exciting music directors before the public today, and its commitment to being relevant and accessible to everyone in its community resonated powerfully with me. I look forward to working with the Symphony’s outstanding musicians, board and staff to bring unforgettable musical experiences to everyone in this great city.”

InTUNE — April 2018 | 7

Andrés Orozco-Estrada conducts in Brussels, Belgium

Wiener Konzerthaus

Rehearsal at Elbphiharmonie Hamburg

the houston symphony RECAP

EUROPEAN TOUR

The Houston Symphony is back from its first major European tour in 20 years, which took place last month with triumphant concerts in Brussels, Belgium; Warsaw, Poland; Vienna, Austria; and Essen, Berlin, Hamburg, Hannover and Munich, Germany. This monumental undertaking put our musicians to the test. “For many of these audiences, it’s going to be the one-and-only time they hear us live, so we want to leave them with an incredible impression,” said Associate Principal Trombone Bradley White. John Mangum, the Houston Symphony’s new CEO, explained: “The musicians have to get on a plane every morning, arrive in a new city each afternoon, and then do a rehearsal and a concert that night. The focus the musicians have to have is even a level beyond what they have to do for a week in Jones Hall.” “It’s very intense music making, but at the same time it’s very rewarding,” said First Violin Rodica Gonzalez after performing in Berlin. “I loved the curtain calls. They just wouldn’t end!” Throughout the tour, normally reserved European audiences rose to their feet again and again after the Houston Symphony’s performances. The tour was filled with many such special moments, including the Houston Symphony’s debut at the Elbphilharmonie, Hamburg’s new, state-of-the-art concert hall. For many, the highlight of the tour was the concert at Vienna’s prestigious Konzerthaus. Once the home of Mozart, Beethoven, Schubert and Brahms, the storied musical capital was where our music director, Andrés Orozco-Estrada, went to study conducting after leaving his hometown of Medellín, Colombia at 19. 8 | Houston Symphony

Hannover Congress Centrum Konzerthaus Berlin

Gasteig München

The Percussion section poses in Berlin.

Filharmonia Narodowa

It’s also where he had his first big breaks as a conductor, filling in for Esa-Pekka Salonen and Ricardo Muti with the Vienna Philharmonic at the Musikverien. During his time as the music director of Vienna’s Tonkünstler Orchestra, the city’s musical connoisseurs got to know his passionate music making well. “The musicians just wanted to do their absolute best in Vienna, so that the audience could see the wonderful work he’s done in Houston in the last four years,” John Mangum explained. “Viennese people are very formal and honest people, and if they don’t care for the performance, they simply leave,” observed Principal Clarinet Mark Nuccio. “Fortunately, they loved it! They demanded an encore followed by at least six curtain calls for Andrés, who was brought to tears, which moved us all.” Critics, too, were generous with their accolades. “No, they do not number amongst the classic ‘Big Five,’” wrote Ruhr Nachrchten, referring to the traditional grouping of the major American orchestras in New York, Boston, Chicago, Cleveland and Philadelphia. “But after the brilliant performance of the Houston Symphony on Sunday at the Philharmonie Essen, one might wonder, why not?” The Berliner Morgenpost observed that “A German orchestra would not play this music with such a brilliant sound and clear colors. Everything was precise, passionate.” Der Tagesspiegel noted the “enormous quality” of “the splendid orchestra,” ending its review with “Berlin calls Houston: ‘Please come back soon!’” continued  InTUNE — April 2018 | 9

Matthew Roitstein, associate flute

Double Basses in Vienna

Viola power in Warsaw! Site-seeing in Brussels

Ian Mayton & Robert Johnson

Second Violins rehearsing in Essen Andrew Pedersen, double bass

John Mangum & Houston Symphony donors in Berlin

Phillip Freeman, trombone, bass trombone

“It’s been thrilling to see Europeans, who have some of the greatest orchestras in the world playing in these halls day-in, day-out, really embrace the Houston Symphony,” said John Mangum. Houstonians can look forward to sharing in the excitement now that the orchestra has returned home. “When you come back from a tour, you have this new, supercharged orchestra, and I think you’ll hear that in the performances,” John continued. “There’ll be an electricity that they bring back with them that will infuse their performances in Houston.” After a rollercoaster season that has included Hurricane Harvey, a Grammy Award® and the release of two new recordings, the success of this tour is more proof that the Symphony is #HoustonStrong. This great achievement was made possible by more than 80 donors who generously contributed nearly $1.8 million for the tour, including 12 who traveled to support and celebrate the Symphony in Berlin, Vienna and Hamburg; it meant a lot to Andrés and the musicians to see familiar faces cheering them on in the audience. The Houston Symphony thanks all of our supporters for making this milestone possible. In the words of Board President Janet F. Clark, “It creates a stardust that’s going to last for a long, long time.” —Calvin Dotsey Visit houstonsymphony.org or follow us on Facebook, Twitter and Instagram to learn more. Support this historic tour and help us meet our $2M fundraising goal at houstonsymphony.org/donate. 10 | Houston Symphony

Hear the Grammy Award®-winning Houston Symphony on HPM This month, we feature exciting concerts from the 2016-17 season, including performances by two recent Grammy® winners – Daniil Trifonov (Best Classical Instrumental Solo) and the Houston Symphony itself (Best Opera Recording)! You’ll hear masterworks by Bruckner, Rachmaninoff, Mozart, Brahms, Beethoven, Mussorgsky and more.

APRIL 2018 BROADCAST SCHEDULE ALL BROADCASTS AIR AT 8PM

April 1 News 88.7 April 4 Classical RECORDED:

Christoph Eschenbach, conductor Houston Symphony Chorus Betsy Cook Weber, director Bruckner: Te Deum Bruckner: Symphony No. 1

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March 3-5, 2017

April 8 News 88.7 April 11 Classical

Leonidas Kavakos, violin & leader Bach: Violin Concerto in A minor Mozart: Symphony No. 36, Linz Brahms: Symphony No. 4

RECORDED:

October 28-30, 2016

April 15 News 88.7 April 18 Classical

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

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November 3, 5 & 6, 2016

April 22 News 88.7 April 25 Classical RECORDED:

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April 29 News 88.7 May 2 Classical RECORDED:

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New Century Society FOR ARTISTIC EXCELLENCE AND INNOVATION The New Century Society for Artistic Excellence and Innovation recognizes the Houston Symphony’s most committed and loyal supporters who have pledged their leadership support over a three-year period to help secure the orchestra’s financial future. For more information or to pledge your support for New Century Society, please contact: Mary Beth Mosley, Interim Co-Chief Development Officer /Director, Institutional Giving and Stewardship, 713.337.8521 Molly Simpson, Interim Co-Chief Development Officer /Director, Individual Giving and Major Gifts, 713.337.8526 Ms. Marie Taylor Bosarge Margaret Alkek Williams Janice Barrow Rochelle & Max Levit Cora Sue & Harry Mach John & Lindy Rydman / Spec’s Wines, Spirits & Finer Foods/ Spec’s Charitable Foundation Bobby & Phoebe Tudor Clare Attwell Glassell Albert & Ethel Herzstein Charitable Foundation Mr. & Mrs. Jim R. Smith Mike Stude Mr. & Mrs. Jesse B. Tutor

Robin Angly & Miles Smith Gary & Marian Beauchamp Barbara J. Burger The Hearst Foundation, Inc. The Joan and Marvin Kaplan Foundation Joella & Steven P. Mach Mr. & Mrs. J. Stephen Marks Barbara & Pat McCelvey Houston Methodist Ron Franklin & Janet Gurwitch Carol & Michael Linn & The Michael C. Linn Family Foundation Rand Group Mr. & Mrs. William K. Robbins Jr. / The Robbins Foundation Steven & Nancy Williams

Baker Botts L.L.P. Beauchamp Foundation Mr. & Mrs. Edward F. Blackburne Jr. Viviana & David Denechaud/ Sidley Austin LLP Stephen & Mariglyn Glenn Dignity Memorial Funeral Homes and Cemetaries of the Greater Houston Area Dave & Alie Pruner Mr. & Mrs. James A. Shaffer Wells Fargo

Leadership COUNCIL Leadership Council donors have committed $45,000 or more in support of the Annual Fund, special projects and fundraising events over a three-year period ($15,000+ annually). Danielle & Josh Batchelor Mr. & Mrs. Walter V. Boyle Justice Brett & Erin Busby Billy & Christie McCartney Mr. Richard Danforth Gene & Linda Dewhurst The Elkins Foundation

Mr. & Mrs. Fred L. Gorman Christina & Mark C. Hanson Mr. & Mrs. U. J. LeGrange Mr. & Mrs. Rodney H. Margolis The Melbern G. and Susanne M. Glasscock Foundation Rita & Paul Morico

Mr. John N. Neighbors Susan & Edward Osterberg Gloria & Joe Pryzant Ken* & Carol Lee Robertson Michael J. Shawiak Lisa & Jerry Simon Stephen & Kristine Wallace

Mr. & Mrs. Fredric A. Weber Robert G. Weiner & Toni Blankmann Mr. & Mrs. C. Clifford Wright Jr. *deceased

For more information or to pledge your support for the Leadership Council, please contact: Mary Beth Mosley, Interim Co-Chief Development Officer /Director, Institutional Giving and Stewardship, 713.337.8521 Molly Simpson, Interim Co-Chief Development Officer /Director, Individual Giving and Major Gifts, 713.337.8526

12 | Houston Symphony

EARLY ADOPTERS Vision 2025 Implementation Fund Vision 2025, the Houston Symphony’s ten-year Strategic Plan, describes our vision to be America’s most relevant and accessible top ten orchestra by 2025. Since the plan was launched in 2015, the Houston Symphony has received generous contributions from hundreds of donors in support of the Vision 2025 Implementation Fund. The fund includes support of specific initiatives that advance the goals of the Strategic Plan, such as: • The orchestra’s first multi-city European Tour in 20 years. • New and expanded education and community programming like the industry-leading Community-Embedded Musicians initiative. • Commissioning and recording initiatives like our cycle of late Dvořák symphonies, Music of the Americas, and Berg: Wozzeck, which recently earned the Houston Symphony’s first Grammy Award. In addition, in the wake of Hurricane Harvey, donors have also supported the Symphony’s Harvey Recovery Fund, allowing us to continue to work toward our vision during a challenging time. The Houston Symphony recognizes and thanks the following Vision 2025 Implementation Fund donors for their generosity and support of our ambitious vision, including the Early Adopters for their initial investments. OPERATING SUPPORT Margaret Alkek Williams Anonymous ••••••••

The Brown Foundation, Inc. Rochelle & Max Levit Bobby & Phoebe Tudor Cora Sue & Harry Mach Janet F. Clark Albert & Ethel Herzstein Charitable Foundation Barbara J. Burger Mike Stude ••••••••

John & Lindy Rydman/Spec's Wines, Spirits & Finer Foods/ Spec's Charitable Foundation Joella & Steven P. Mach Shirley W. Toomim C. Howard Pieper Foundation Clare Attwell Glassell Barbara & Pat McCelvey The Robert and Janice McNair Foundation / Palmetto Partners Ltd. ••••••••

Robin Angly & Miles Smith Carol and Michael Linn & The Michael C. Linn Family Foundation The Hearst Foundation, Inc. Steven & Nancy Williams The Joan and Marvin Kaplan Foundation Nancy & Robert Peiser Mr. John N. Neighbors Katie & Bob Orr / Oliver Wyman Mr. & Mrs. Jesse B. Tutor

Ms. Marie Taylor Bosarge The Elkins Foundation Mr. & Mrs. Alexander K. McLanahan Clive Runnells in memory of Nancy Morgan Runnells Baker Botts L.L.P. Lisa & Jerry Simon Beauchamp Foundation Mr. & Mrs. Rodney H. Margolis League of American Orchestras' Futures Fund M. D. Anderson Foundation Dave & Alie Pruner Billy & Christie McCartney BBVA Compass ••••••••

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For more information or to pledge your support for Vision 2025, please contact: Amanda T. Dinitz, Chief of Strategic Initiatives, 713.337.8541 Mary Beth Mosley, Interim Co-Chief Development Officer /Director, Institutional Giving and Stewardship, 713.337.8521 Molly Simpson, Interim Co-Chief Development Officer /Director, Individual Giving and Major Gifts, 713.337.8526 InTUNE — April 2018 | 13

Developing the Whole Child THE HOUSTON SYMPHONY ELEMENTARY RESIDENCY

BY EMILY NELSON, ASSOCIATE DIRECTOR, EDUCATION AND COMMUNITY PROGRAMMING

After three years of transformative educational experiences at Crespo Elementary, the Houston Symphony is planning to transition our intensive Elementary Residency to a new Houston ISD school for the 2018-19 through 2020-21 school years. As we embark on this transition, we have the opportunity to reflect on all we’ve accomplished at Crespo. According to Crespo Fine Arts Magnet Coordinator Eugene Ramirez, “the residency gives students exposure to opportunities they would never have otherwise. Many of these students wouldn’t know that Jones Hall is just five miles away from their apartments.” Since the fall of 2015, the Symphony has provided more than 650 classroom lessons led by Community-Embedded Musicians, 16 chamber ensemble concerts at Crespo and tickets to Houston Symphony Family Concerts for 700 students and family members. Throughout this intensive residency, the Symphony has boosted students’ confidence, perseverance and focus, life skills that will provide benefits for years to come. Mayra Ramon, Crespo Elementary principal, remarks that “students are more articulate and more confident” as a result of the Houston Symphony residency, which has inspired them to “dream big.” The Houston Symphony is honored to have been a part of the Crespo community for the past three years and will stay connected with the school for years to come. Visit houstonsymphony.org for updates on the next chapter of the Houston Symphony Elementary Residency initiative. The Houston Symphony Elementary Residency is presented by BBVA Compass.

Top: Crespo students join the Houston Symphony on stage for Stravinsky's Petrushka, led by Andrés Orozco-Estrada, in 2017. Middle: Community-Embedded Musicians David Connor and Rainel Joubert perform for the Crespo community at a family engagement concert at the school. Bottom: Community-Embedded Musician Hellen Weberpal brings Beethoven's 5th Symphony to life at a classroom visit. 14 | Houston Symphony

MAY UPCOMING CONCERTS

A German Brahms &

REQUIEM SIBELIUS MAY 4-6, 2018

MAY 10, 11 & 13, 2018

Andrés Orozco-Estrada, conductor Mark Nuccio, clarinet Nicole Heaston, soprano Russell Braun, baritone Houston Symphony Chorus Betsy Cook Weber, director MOZART Clarinet Concerto BRAHMS A German Requiem

Andrés Orozco-Estrada, conductor Augustin Hadelich, violin Program to Include: BRAHMS Symphony No. 3 SIBELIUS Violin Concerto BRAHMS Variations on a Theme of Haydn

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Emanuel Ax plus The Rite of Spring MAY 18-20, 2018

MAY 25-27, 2018 Andrés Orozco-Estrada, conductor Emanuel Ax, piano Klaus Obermaier, conception, artistic direction, choreography Ars Electronica Futurelab, interactive design and technical development Yuka Oishi, dancer MOZART Quintet in E-flat major MOZART Piano Concerto No. 27 STRAVINSKY The Rite of Spring

Steven Reineke, conductor Storm Large, vocalist Matt Doyle, vocalist You know them. You love them. But you have no idea who sang them. Our final program of the season showcases those familiar songs from artists of the past century who disappeared, but nonetheless left a mark on radio air play and in our hearts.

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InTUNE — April 2018 | 15

ANTHONY RATHBUN

Heidi Massin; Barbara McCelvey; Joseph Morris, 2017 Ima Hogg Competition Winner; Beth Wolff, President, Houston Symphony League

the 2018 IMA HOGG COMPETITION

On May 31 and June 2, ten extraordinary young musicians will compete in the exciting Semi-finals and Finals concerts of the 2018 Ima Hogg Competition. What makes these concerts so special? Competition Chair Barbara McCelvey and Underwriting Chairs Heidi and David Massin share what they love about this Houston Symphony tradition.

Ima Hogg COMPETITION

S a t u r d a y, J u n e 2 , 2 0 1 8

Barbara McCelvey, 2018 Competition Chair

What makes the Ima Hogg Competition Semi-finals and Finals concerts different from the Symphony's normal classical concerts? Located in Rice University's acoustically astounding Stude Hall, the Ima Hogg Competition Semi-finals are free to the public throughout the day. Ten semi-finalists have about 25 minutes each to wow our three judges by playing from two prepared concerti of their choosing, usually from two completely different musical periods. They play with only a piano accompanist, so listeners can really hear their performances. There is a lot of variety because the competition is open to all traditional symphony instruments. Finally, as a last incentive, the Houston Symphony League provides a delicious breakfast, snacks and lunch for our listeners. The Ima Hogg Competition Finals is like no other performance because you hear four concerti at one concert. With four soloists, it is a very unique program. All of the pieces feature virtuoso playing by our finalists accompanied by our fabulous Houston Symphony. At the end of the concert, audience members vote for their favorite competitor and enjoy a “sweet or savory” late night bite as they await the judges’ decision.

Heidi & David Massin, 2018 Underwriting Chairs What is your favorite thing about the Ima Hogg Competition?

It’s difficult to come up with just one. The event creates such buzz and excitement, beginning well in advance of the actual competition itself. So many wonderful events surround the competition, making this an extraordinary experience for both the contestants and the supporting patrons. If we had to choose one favorite thing about the competition, it would probably be the joy and pride these young contestants show through their music. It gives us great satisfaction to know this competition provides a platform for young aspiring musicians to add to their credentials and opens new doors for them as they pursue their passion and dreams. Tickets for the Ima Hogg Competition Finals concert are just $25! Buy yours today at www.houstonsymphony.org. For more information and to donate to the Ima Hogg Competition, please contact Liam Bonner at liam.bonner@houstonsymphony.org or 713.337.8536. To donate online visit houstonsymphony.org/donate and select from the drop down menu "2018 Ima Hogg Competition." The Ima Hogg Competition is sponsored in part by: 16 | Houston Symphony

Mr. John N. Neighbors Honorary Chair

Official Airline

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FEATURED PROGRAM

TCHAIKOVSKY’S SLEEPING BEAUTY Friday Saturday Sunday

April 6, 2018 April 7, 2018 April 8, 2018

8:00pm 8:00pm 2:30pm

Jones Hall

Andrey Boreyko, conductor *Benjamin Beilman, violin *Houston Symphony debut

Schreker

Nachtstück from Der ferne Klang (The Distant Sound)

ca. 14

Did you know?

Mendelssohn

Violin Concerto in E minor, Opus 64 I Allegro molto appassionato—Presto— II Andante— III Allegretto non troppo—Allegro molto vivace

ca. 27

• Franz Schreker was a leading composer of German-language opera in the years between WWI and WWII. Unfortunately, the Nazis objected to his father’s Jewish ancestry and destroyed his career in 1933; Schreker died of a stroke soon after. His music was all but forgotten until the late 20th century, when sympathetic musicians began to rediscover his lost masterpieces.

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

Tchaikovsky

Selections from Sleeping Beauty, Opus 66 Introduction: Allegro vivo— 1 Marche: Moderato 2 Scène dansante: Moderato con moto—Tempo di Valse 4 Finale: Andantino—Allegro vivo 9 Finale I (La fée des lilas paraît): Allegro giusto 5 Scène (The Palace Garden): Allegro vivo 6 Valse: Allegro (Tempo di valse) 15c Coda: Presto 18 Entr’acte: Andante sostenuto 19 Entr’acte symphonique (le sommeil) et scène: Andante misterioso 20 Finale: Allegro agitato 8a Pas d’action: Adagio: Andante—Adagio maestoso

18 | Houston Symphony

ca. 35

Tchaikovsky’s Sleeping Beauty | Program Biographies

SHELL FAVORITE MASTERS SERIES

Program BIOGRAPHIES

These performances are generously supported in part by: Underwriter Mr. & Mrs. Jesse B. Tutor Sponsor

Partner

Anonymous Supporter Nancy & Walter Bratic

Principal Corporate Guarantor

A special Salute to Educators presentation on Friday night is made possible by Spec's Charitable Foundation.

The Classical Season is endowed by The Wortham Foundation, Inc. in memory of Gus S. and Lyndall F. Wortham. 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. This concert is being recorded for future broadcasts on Houston Public Media News 88.7 airing on Sundays at 8pm and streaming online at houstonpublicmedia.org.

Andrey Boreyko | conductor Andrey Boreyko has been music director of Artis— Naples in Naples, Florida, since September 2014. The driving force behind the continued artistic growth of Artis—Naples and the Naples Philharmonic, Andrey engages soloists of the highest calibre and balances traditional repertoire with new commissions and the imaginative, diverse programming that has gained him a distinguished reputation worldwide. In addition to these performances, Andrey’s recent and upcoming engagements include performances with the Konzerthausorchester Berlin; Royal Stockholm and Helsinki Philharmonic Orchestras; Rundfunk-Sinfonieorchester Berlin; Bamberger Symphoniker; Orchestra Sinfonica Nazionale della Rai; National Arts Centre Orchestra, Ottawa; San Francisco Symphony; and the Gothenburg, Indianapolis and Cincinnati Symphony Orchestras. This season, he champions compositions by Victoria Borisova-Ollas in an extensive concert and recording project with the Royal Stockholm Philharmonic Orchestra. Andrey has conducted the Berlin and Munich Philharmonics; Deutsches Symphonie-Orchester Berlin; Staatskapelle Dresden; Gewandhausorchester Leipzig; Wiener Symphoniker; Filharmonica della Scala; Orchestra del Maggio Musicale Fiorentino; Royal Concertgebouw Orchestra; Orchestre de Paris; Orchestre Philharmonique de Radio France; Tonhalle Orchester Zürich; Philharmonia Orchestra; New York, Los Angeles Philharmonic and Rotterdam Philharmonic Orchestras; Cleveland and Philadelphia Orchestras; and the London, Toronto, Chicago, Boston, Baltimore, Detroit and Pittsburgh Symphony Orchestras. His discography includes Pärt's Lamentate and Silvestrov’s Symphony No. 6 with the Radio-Sinfonieorchester Stuttgart des SWR (ECM Records); Shostakovich’s Symphonies Nos. 1, 4, 6, 8, 9 and 15 and the premiere recording of the original version of the Suite from Lady Macbeth of Mtsensk (Hänssler Classics); Tchaikovsky’s Manfred Symphony with the Düsseldorfer Symphoniker and Lutosławski’s Chain 2 with the Los Angeles Philharmonic (Yarling); and the world-premiere recording of Górecki’s Symphony No. 4 with the London Philharmonic Orchestra (Nonesuch Records). Andrey Boreyko has served as music director of the Orchestre National de Belgique (2012-2017) and the Düsseldorf Symphoniker (2009-14). He has also served as chief conductor of the Jenaer Philharmonie, the Winnipeg Symphony Orchestra and the Berner Sinfonieorchester. He received awards for the most innovative concert programming in three consecutive seasons from the Deutscher Musikverleger-Verband—a first in the history of the prize.

InTUNE — April 2018 | 19

Program BIOGRAPHIES , continued

GIORGIA BERTAZZI

Benjamin Beilman | violin Benjamin Beilman is recognized as one of the fastest rising stars of his generation, winning praise both for his passionate performances and deep, rich tone, which the Washington Post called “mightily impressive.” The New York Times has praised his “handsome technique, burnished sound, and quiet confidence…”

Program NOTES Nachtstück from Der ferne Klang (The Distant Sound) Franz Schreker (1878-1934)

Franz Schreker’s first major success was his second opera, Der ferne Klang (The Distant Sound), which tells the story of a composer who abandons a woman he loves to go in search of the mysterious “distant sound” of the title. He only finds it many years later when he is reunited with her, but dies before he can commit it to paper. The Nachtstück (“night piece”) is an extended version of the music that accompanies the scene change in Act III before the composer and woman are reunited. Schreker prepared it for performance in Highlights of Benjamin’s 2017-18 season 1909 while his opera was still unfinished, and its success inspired include performances here and with the him to complete the work. The Nachtstück features Schreker’s Oregon and North Carolina Symphonies, characteristically luminous orchestrations, rich harmonies and Indianapolis Symphony Orchestra and Orchestra of St. Luke’s, as cinematic, “stream of consciousness” style of composition. well as a multi-city tour of California play-conducting the New Century Chamber Orchestra in a program including music by Bach, The Instruments: 3 flutes, piccolo, 3 oboes (one doubling English Stravinsky and Andrew Norman. In recital, he will premiere a new horn), 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, work written for him by Frederic Rzewski and commissioned by 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, celesta Music Accord. Abroad, Benjamin debuts with the Scottish Chamber and strings Orchestra and Trondheim Symphony Orchestra. He makes his Violin Concerto in E minor, Opus 64 Australian concerto debut with the Sydney Symphony Orchestra Felix Mendelssohn (1809-1847) playing Jennifer Higdon’s Violin Concerto. In past seasons, Benjamin has performed with the Philadelphia Orchestra; the San Francisco, San Diego and Grand Rapids Symphonies; Frankfurt Radio and City of Birmingham Symphony Orchestras; the London, Rotterdam and Malaysian Philharmonic Orchestras; the Tonhalle Orchester Zürich; the Orchestre National du Capitole de Toulouse; the Orchestre Métropolitain de Montréal; and the Detroit and Atlanta Symphony Orchestras. He has worked with conductors, including Yannick Nézet-Séguin, Juraj Valčuha, Krzysztof Urbański, Vassily Sinaisky, Rafael Payare, Sir Neville Marriner and Hans Graf. He has given recitals in many of the most prestigious venues throughout the world. A champion of new music, he has premiered works by Elizabeth Oganek and David Ludwig and has appeared as soloist on the Chicago Symphony Orchestra's new music series. Benjamin has received several prestigious awards, including a Borletti-Buitoni Trust Fellowship, an Avery Fisher Career Grant and a London Music Masters Award. His recordings include Prokofiev's complete sonatas for violin (Analekta) and Spectrum, which features works by Stravinsky, Janáček and Schubert (Warner Classics).

During the summer of 1838, Felix Mendelssohn wrote to his longtime friend Ferdinand David: “I should like to write a violin concerto for you next winter. One in E minor runs through my head, the beginning of which gives me no peace.” Indeed, it would not give him peace for another six years, when he at last found time and inspiration to complete it. Ever the perfectionist, Mendelssohn consulted David throughout the concerto's composition regarding violin technique, making adjustments to the solo part until its premiere in Leipzig on March 13, 1845. Composed at the height of Mendelssohn’s career, the concerto became an instant classic. The first movement, marked Allegro molto appassionato (fast and very passionate), begins with a haunting melody that builds to a tempestuous transitional passage. This subsides, allowing flutes and clarinets to introduce a gentle, lyrical melody while the soloist plays a long note on the violin’s lowest string. While most composers create intensity with a fortissimo, Mendelssohn often makes the most crucial moments of his pieces the quietest. The climax of this movement is an extended solo (called a cadenza) for the violinist. Normally, a cadenza appears at the end of a movement, but Mendelssohn placed it just after the middle, an innovation that inspired many later composers to do the same. After the cadenza, the main themes reappear, leading to a stormy coda.

Benjamin studied with Almita and Roland Vamos at the Music Institute of Chicago, Ida Kavafian and Pamela Frank at the Curtis Institute of Music, and Christian Tetzlaff at the Kronberg Academy. He plays the 1790 "Engleman" Stradivarius generously on loan from To create continuity throughout the concerto, Mendelssohn the Nippon Music Foundation. composed passages that link one movement to another without pause. After the final chord of the first movement, a bassoon leads a magical transition to the tranquil world of the slow second movement. The 20 | Houston Symphony

Tchaikovsky’s Sleeping Beauty | Program Notes

soloist then plays what many have described as a beautiful song without words. A contrasting, passionate melody appears in the middle of the movement, but ultimately serenity prevails.

Princess Aurora’s christening. The following Scène dansante features the corps de ballet and the good fairies who bestow their blessings on her.

Transitioning to the finale, the soloist poses a series of musical questions, which it answers with the orchestra. This moody atmosphere is soon banished by playful brass fanfares that lead to a sunny, puckish theme for the soloist. This theme alternates with contrasting episodes, including one in which the the soloist introduces an ingenious countertheme of the main melody. Soon after, the violin and orchestra play the two themes simultaneously, leading to a thrilling conclusion.

In the dramatic finale of the Prologue, Carabosse curses Aurora to prick her finger on a needle and die. Soon after, the Lilac Fairy saves Aurora by altering the curse, causing the princess to sleep until awoken by the kiss of a handsome prince. Maestro Boreyko has seamlessly linked this music to the magical finale of Act I, in which the Lilac Fairy’s spell descends on the royal court, causing all to fall into a deep slumber.

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

Selections from Sleeping Beauty, Opus 66

Pyotr Ilyich Tchaikovsky (1840-1893)

“For three hours I lived in a magic dream, intoxicated by fairies and princesses, by splendid palaces, streaming with gold, by the enchantment of fairy-tale…All my being was in cadence with those rhythms, with the radiant and fresh waves of beautiful melodies, already my friends.” Thus wrote the young artist Léon Bakst after the dress rehearsal of the 1890 premiere of Sleeping Beauty. Tchaikovsky himself wrote that ”…the music from this ballet will be amongst my best works […] in composing it I was utterly absorbed, and wrote with a fervor and passion which always result in work of merit.” That Tchaikovsky would consider a ballet his best work was remarkable; ballet had long been something of a neglected stepchild in the musical world. Ballet masters expected composers to create scores to order that could be revised at a moment’s notice during rehearsals; the resulting music was usually simple and formulaic. As a rule, ambitious composers avoided ballet. Tchaikovsky was the rare exception: a composer of genius who was also a passionate ballet lover. Far from imposing limitations on Tchaikovsky's imagination, the requirements of the Mariinsky’s legendary ballet master Marius Petipa inspired him. Tchaikovsky would bring new complexity to ballet music, leading Stravinsky, Prokofiev and others to compose their own ballets. Though Sleeping Beauty is often heard at ballet performances, only a few excerpts are usually played at concerts. Conductor Andrey Boreyko has felicitously chosen more extensive selections and arranged them to create a satisfying symphonic arc. We begin with the introduction, which contains two melodic ideas that recur throughout the ballet: the music of the evil fairy Carabosse and that of the good Lilac Fairy. The introduction transitions to the processional march of guests who have come to celebrate

The Scène that begins Act I depicts the busy preparations for Aurora’s 20th birthday, until some peasants are caught with a needle near the palace. Furious, the king delivers a harsh punishment, but Aurora’s suitors implore him to be lenient. The famous waltz accompanies a village dance in celebration of Aurora’s birthday. A brief, scherzando coda from Act II then transitions to the Entr’acte, which features a virtuoso part for solo violin. We then hear the end of Act II, in which the prince kisses Aurora, awakening the court to general rejoicing. The selections end with the famous Rose Adagio, which accompanies Aurora in Act I as her suitors present her with roses. The Instruments: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 cornets, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp and strings —Calvin Dotsey

Norton Rose Fulbright is a global law firm that provides the world’s preeminent corporations and financial institutions with a full business law service. It has more than 4,000 lawyers and legal staff based in Europe, the United States, Canada, Latin America, Asia, Australia, Africa and the Middle East. Everywhere, they adhere to global business principles of quality, unity and integrity. Recognized for its industry focus, it is strong across all key industry sectors: financial institutions; energy; infrastructure; mining and commodities; transport; technology and life sciences and healthcare. The firm’s U.S. practice was established more than 95 years ago in Houston. Since then, its transactional scope has expanded exponentially, including a major international energy practice, while its roots in litigation have grown into a large, diversified disputes practice, respected both nationally and internationally. From corporate law, healthcare, intellectual property, public finance and tax, it regularly assists clients with U.S. and international transactions, infrastructure projects, disputes and regulatory matters. InTUNE — April 2018 | 21

FEATURED PROGRAM

NEW WORLDS BILL MURRAY, JAN VOGLER AND FRIENDS Monday

April 16, 2018

7:30pm

Jones Hall

*Bill Murray, actor *Jan Vogler, cello *Mira Wang, violin *Vanessa Perez, piano *Houston Symphony debut Note: The orchestra will not perform during this event.

Hemingway J.S. Bach Whitman J.F. Cooper Schubert Hemingway Ravel Hemingway Piazzolla/J. Bragato Gershwin/Heifetz Piazzolla B. Collins Foster Van Morrison/S. Buck Twain Mancini/M. Grafe Shostakovich J. Thurber Bernstein/S. Buck

Did You Even Play a Musical Instrument? from The Art of Fiction No. 21 from Paris Review Prelude from Cello Suite No. 1 in G Major, BWV 1007 From Song of the Open Road and Song of Myself From The Deerslayer Andante un poco mosso from Piano Trio in B-flat major, D. 989 Group Feeling from The Art of Fiction No. 21 from Paris Review Blues from Violin Sonata No. 2 With Pascin at the Dome from A Moveable Feast La muerte del Ángel It Ain’t Necessarily So from Porgy & Bess Oblivion Forgetfulness Jeanie with the Light Brown Hair When Will I Ever Learn to Live in God From Adventures of Huckleberry Finn M oon River Allegro from Cello Sonata in D minor, Opus 40 If Grant Had Been Drinking at Appomattox from Writings and Drawings, The Library of America Somewhere, I Feel Pretty and America from West Side Story

THERE WILL BE NO INTERMISSION. 22 | Houston Symphony

New Worlds: Bill Murray, Jan Vogler and Friends | Program Biographies

Program BIOGRAPHIES Bill Murray | actor

Jan Vogler | cello Raised in a large Irish family in Wilmette, Illinois, Bill Murray made his first comedic mark on the nation by appearing on television in Saturday Night Live in 1976 along with his National Lampoon Radio Hour pals Dan Ackroyd, John Belushi and Gilda Radner. His memorable and offbeat comic skills earned him an Emmy Award® for Outstanding Writing in a Comedy Series. Apparently, he made the right choice in giving up medical school.

Bill went on to star in a slew of highly successful comedic films, consistently creating anti-heroes who resonated with audiences in America and the world over. His bold, irreverent brand of humor became emblematic of Hollywood comedies of the 1980s, and his leading roles in Meatballs (1979), Caddyshack (1980), Stripes (1981), Tootsie (1982), Ghostbusters (1984), Ghostbusters II (1989), Scrooged (1988), What About Bob? (1991) and Groundhog Day (1993) became part of the American comic vernacular. In 1998, Bill began a long and fruitful collaboration with writerdirector Wes Anderson, creating a long list of unique, genrebending films, including Rushmore (1998), The Royal Tenenbaums (2001), The Life Aquatic with Steve Zissou (2005), Fantastic Mr. Fox (2009), Moonrise Kingdom (2012) and The Grand Budapest Hotel (2014). His role in Sofia Coppola’s Lost in Translation (2003) garnered Golden Globe® and BAFTA Awards as well as an Academy Award® nomination for Best Actor. Bill also received Golden Globe® nominations for Ghostbusters (1984), Rushmore (1998), Hyde Park on Hudson (2012), St. Vincent (2014) and the HBO miniseries Olive Kitteridge (2014), for which he later won his second Primetime Emmy Award®. Beyond acting, Bill was recognized in 2016 as a Humorist with the prestigious Mark Twain Prize for American Humor.

One of today’s most renowned soloists, Jan Vogler has been praised for his “soulful, richly hued playing” (New York Times) and his “spiralling virtuosity” (Gramophone magazine). A prolific and multi-award-winning recording artist, Jan records exclusively for Sony Classical. He performs with leading international orchestras, including the New York Philharmonic; the Boston, Montreal and Bavarian Radio Symphony Orchestras; the Deutsche Symphonie-Orchester Berlin; the Mariinsky Theatre Orchestra and the Orchestra dell'Accademia Nazionale di Santa Cecilia, and collaborates with conductors such as Andris Nelsons, Fabio Luisi, Sir Antonio Pappano, Valery Gergiev, Thomas Hengelbrock, Manfred Honeck and Kent Nagano. In the 2017-18 season, he serves as artist-in-residence with the Royal Scottish National Orchestra. He also performs with the London Philharmonic Orchestra with conductor Vladimir Jurowski, the Philharmonia Zurich and the Orchestra del Maggio Musicale Fiorentino with Luisi; and the Toronto Symphony Orchestra with Peter Oundjian for a performance of Wolfgang Rihm’s Double Concerto for Violin and Cello. Jan frequently appears in recitals with his duo partners Hélène Grimaud, Martin Stadtfeld and Lise de la Salle. He is also the creative mind and key player of the project Bill Murray, Jan Vogler & Friends—New Worlds, which aims to intertwine American literature with European music. This season sees two major U.S. tours with the project. The New Worlds album was released by Decca Gold in 2017. Jan Vogler plays the 1707 Stradivari “Ex Castelbarco/Fau” cello. He is represented worldwide by Tanja Dorn at Dorn Music.

Bill Murray's accessible everyman characters, his embodiment of both comedy and tragedy and his renowned ability for turning every moment into art have earned him the moniker of comic genius. But his ability to share those gifts off-screen with his audience and his passions for the American pastimes of baseball and golf have elevated him in recent years to American folk hero.

InTUNE — April 2018 | 23

New Worlds: Bill Murray, Jan Vogler and Friends | Program Biographies

Program BIOGRAPHIES , continued

Mira Wang | violin Mira Wang has built a remarkable bridge from her time as a child prodigy in Beijing, China, to her career as an acclaimed soloist on the world stage. She has appeared as a soloist with many of the world’s prestigious orchestras, including the Boston Symphony Orchestra, Staatskapelle Dresden, Royal Liverpool Philharmonic, Orchestre de la Suisse Romande, Saarbrücken Radio Orchestra, New Zealand Symphony Orchestra, Singapore Symphony Orchestra, Hong Kong Philharmonic and NDR Philharmonic Hannover. An avid chamber musician, Mira’s partners include Hélène Grimaud, Oli Mustonen, Alice Sara Ott, Lise de la Salle, Louis Lortie, Jeremy Denk, Heinrich Schiff, Daniel Müller-Schott, Gautier Capuçon, Jan Vogler, Roberto Díaz, Lawrence Power, Lars Anders Tomter and Naoko Shimizu. An enthusiastic exponent of contemporary music, she premiered the violin concerto Spring in Dresden by ChineseAmerican composer Chen Yi with the Staatskapelle Dresden conducted by Iván Fischer and John Harbison’s Double Concerto for Violin and Cello with the Boston Symphony Orchestra conducted by Carlos Kalmar. In 2015, she premiered the Double Concerto by Wolfgang Rihm with Jan Vogler and the Orpheus Chamber Orchestra at Carnegie Hall. Mira has recorded extensively for many labels including Sony Classical and Edel Classics. Her discography includes Prokofiev’s Violin Concerto No. 2 with the Saarbrücken Radio Symphony; SaintSaëns’ Violin Concerto No. 3 with the NDR Philharmonic Hannover; a duo album with Vogler; and several chamber music recordings with artists of the Moritzburg Festival. She has been artistic director of the Model Room Musicales concert series in New York City since 2005; and in 2013, she became director of the Moritzburg Festival Academy in Germany, a training program for young musicians that is part of the annual Festival. Born in China, Mira studied at Central Conservatory of Music in Beijing. She was sponsored by the renowned violin teacher Roman Totenberg to further her studies at Boston University, where she graduated summa cum laude and received the prestigious Kahn Award. She has won first prizes in several international violin competitions, including the Geneva Competition. Mira plays a violin by Antonio Stradivari that once belonged to Joseph Joachim.

24 | Houston Symphony

Vanessa Perez | piano Venezuelan-American pianist Vanessa Perez has been praised for a bold, passionate performing style allied to musicianship of keen sensitivity. According to The Washington Post, “Vanessa Perez is not to be taken lightly.” Vanessa has performed internationally with musicians such as pianists Gabriela Montero and Ingrid Fliter; cellist Jan Vogler; violinist Daniel Hope; and conductors Gustavo Dudamel, John Axelrod, Enrique Bátiz, Gustav Meier, James Judd, David Giménez Carreras and Diego Matheuz. In the studio, she joined violinist Joshua Bell for his At Home with Friends album, released by Sony Classical in 2009. She also teamed up with Vogler for the cellist’s 2008 Sony album, Tango! As a solo artist, she has received high praise for her Telarc recording of Chopin: The Complete Preludes. The Washington Post wrote: “Perez dove into the Preludes as if discovering them for the first time, flinging them out into the hall with a kind of wild intensity that was often breathtaking.” Her most recent recording, Spain, was released by Steinway & Sons in 2016. Fanfare magazine noted, “the piano is stunningly played and extremely well recorded…this is an enjoyable program, the music making vital, and Perez is clearly a musician of distinction.” Performance highlights have included appearances at the International Keyboard Institute & Festival in New York, the Gilmore International Keyboard Festival, a recent tour of North America with violinist Daniel Hope and concerts with the Orquesta Sinfónica de la Juventud Venezolana Simón Bolívar under Dudamel in Caracas. She was guest soloist on a tour with the YOA Orchestra of the Americas with conductors Carlos Miguel Prieto and JeanPhilippe Tremblay. Vanessa has been featured on such radio stations as WQXR New York, WFMT Chicago, Sirius XM, WGBH Boston, Minnesota Public Radio, Texas Public Radio, NPR‘s All Things Considered and American Public Media’s Performance Today. Vanessa Perez is a Steinway Artist.

continued 

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APOLLO 13

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Program NOTES The idea for a program entitled New Worlds originated when actor Bill Murray and cellist Jan Vogler met and decided to make a project of their mutual love of music and literature. The program showcases American values in both art forms, and it demonstrates how American writers, actors and musicians have built bridges between America and Europe. New Worlds is celebrated in 2018 with performances around the world. The world premiére took place on June 4, 2017, at Germany’s Dresden Festival and the American premiere at the Napa Valley Festival on July 20, 2017.

Did You Even Play a Musical Instrument? from The Art of Fiction No. 21 from Paris Review

Ernest Hemingway (1899-1961)

In two readings on this program, Bill Murray treats passages from The Paris Review’s historic interviews with famous writers—in this case Ernest Hemingway—in a series entitled The Art of Fiction No. 21. The interview “Did You Even Play a Musical Instrument?” was Hemingway’s final one with the magazine’s editor, George Plimpton. Hemingway’s answer to the question posed in the title was especially appropriate for this program. Yes, Hemingway played the cello. He admitted to not having great talent for it, but also spoke of playing in an amateur chamber music ensemble at his mother’s insistence.

Prelude from Cello Suite No. 1 in G major, BWV 1007

Johann Sebastian Bach (1685-1750)

With their monumental position in the repertoire today, it is difficult to imagine that Bach’s six suites for unaccompanied cello were virtually unknown before 1900. In 1889, at the age of 13, Pablo Casals discovered a manuscript of the suites in a Barcelona thrift shop and set to work on them. He did not dare to perform one publicly until after at least a decade of study and was reported to have practiced them daily for the rest of his life. Along with its companion pieces, the Suite No. 1 in G major was probably composed between 1717 and 1723 when Bach was Kapellmeister in Köthen. Like all the suites, No. 1 is a challenge in both technical prowess and emotional content. Among the six suites, it is the most often performed. The Prelude to Suite No. 1 is a strong musical introduction to the six movements of the Suite. It also serves the musical and literary aspects of this program entitled New Worlds since few composers have crossed the musical world as lavishly as Bach.

From Song of the Open Road and Song of Myself

Walt Whitman (1819-1892)

Walt Whitman’s freedom of style and thought earned him the title of America’s “first poet of democracy.” Fine examples of this are “Song of the Open Road” and “Song of Myself.” They are both part of 26 | Houston Symphony

Whitman’s monumental collection of poems, Leaves of Grass, that was published in various editions over 40 years of his life. “Song of the Open Road,” from the second edition in 1856, pictures the outdoors as a utopia where all men can come together. “Song of Myself,” from the first edition in 1855, is not a self-portrayal as the title suggests, but rather a description of Whitman’s vision of common people’s role in society. Passages critical of the slavery rampant at the time brought criticism from conservatives. In 1882, Boston’s district attorney threatened action against Leaves of Grass for violating Massachusetts’ obscenity laws with specific references to “Song of Myself.” Gone from both poems are the rhyme, stylized format and flowery descriptions we associate with much traditional 19th-century poetry. Here is sterner stuff pointing to the language of Hemingway and the 20th century. With that, the poems also have a distinct and moving sense of poetry and song.

From The Deerslayer

James Fenimore Cooper (1789-1851) Bill reads from James Fenimore Cooper’s classic American novel, The Deerslayer of 1841, the last of Cooper’s famous series of five novels called Leatherstocking Tales. The novels tell the story of Natty Bumppo (also known as Hawkeye, Deerslayer, Pathfinder, Leatherstocking and Trapper), an 18th-century Anglo-American raised in part by Native Americans. The story is a complicated one resting on Natty Bumppo’s objection to the then common practice of taking scalps. A central issue of the story is the conflict between the forces that draw Natty Bumppo to the woods and those that seek to attach him to other human beings. The setting is Otsego Lake in upstate New York where Natty Bumppo and his friend Chingachgook plot a rescue of Chingachgook’s betrothed who has been abducted by the hostile Huron Indians. Natty Bumppo is conflicted when his manhood is tested by his choice of whether or not to shoot another human being. The novel has been treated in film, radio and television.

Andante un poco mosso from Piano Trio in B-flat major, D. 989 Franz Schubert (1797-1828)

Written probably within a year of his death, Schubert’s B-flat Piano Trio marks a period of enormous creative output despite his steadily weakening health. There is some question of whether or not the B-flat Trio was performed at the March 26, 1828, concert of Schubert’s music, the only public performance of his works during his lifetime. When it was published in 1836, Robert Schumann said of it in his Neue Zeitschrift für Musik, “A glance at Schubert’s trio and all miserable human commotion vanishes, and the world shines in a new splendor.” The second movement Andante un poco mosso is a beautiful song unmatched in its expressiveness. The cello sings out over a piano

New Worlds: Bill Murray, Jan Vogler and Friends | Program Notes

accompaniment. The violin and piano each restate the theme with countermelodies offered by the other instruments, a fine example of Schubert’s ability to create what seems to be an endless melody generating within a continuously evolving structure. While Beethoven and Brahms also did this in their building of musical ideas from one kernel, Schubert employed the device so naturally in his music that we hear it there only in terms of emotional effectiveness. Beneath the expressiveness of the movement lies perfect Classical sonata form.

Group Feeling from The Art of Fiction No. 21 from Paris Review

Ernest Hemingway (1899-1961)

This reading is taken from The Paris Review’s interview with Hemingway when he was asked if he had a “group feeling” with other writers and artists in Paris during the 1920s. Hemingway’s response was negative about any “group feeling,” but he described the respect the famous group had for one another and specifically mentioned notable figures such as Gris, Picasso, Braque, Monet, Joyce, Pound and Stein.

Blues from Violin Sonata No. 2

Maurice Ravel (1875-1937)

The second movement, “Blues,” from Ravel’s Sonata No. 2 for Violin and Piano serves as a scherzo in true Classical spirit despite its obvious bow to American jazz. When on tour in the United States, Ravel once commented that the “blues” was one of the great American musical discoveries. Ravel achieves the “blues” effect by assigning a saxophone-like wail to the violin, achieved by slides from one note to the next while the piano imitates the strumming of a guitar. For the premiere of the Sonata, Ravel was pianist with violinist and composer George Enesco.

With Pascin at the Dome from A Moveable Feast Ernest Hemingway (1899-1961)

Hemingway’s A Moveable Feast is a memoir of his years as a young expatriate journalist and writer in Paris of the 1920s. The book was published posthumously in 1964 by Charles Scribner’s Sons. A restored edition was published in 2009 by Seán Hemingway, an assistant curator at the Metropolitan Museum of Art and grandson of Hemingway. Woody Allen’s 2011 film, Midnight in Paris, is reminiscent of Hemingway’s memoir as the main character interacts with Hemingway, Gertrude Stein and F. Scott and Zelda Fitzgerald. After the Paris attacks of November 13, 2015, A Moveable Feast became a best-seller in Paris bookstores as a symbol of defiance and a celebration of Paris.

The 1964 edition of the book consists of a series of 20 chapters that can each stand on its own as a story. The 11th chapter, “With Pascin at the Dome,” treats Hemingway’s friendship with Jules Pascin, a Bulgarian painter and fellow Parisian expatriate, with whom he regularly meets at the Dome Cafe—this time with two models who are sisters.

La muerte del Ángel

Astor Piazzolla (1921-1992) Piazzolla’s studies with Alberto Ginastera led him to studies in Paris with the legendary Nadia Boulanger. Piazzolla gives a wonderful account of his reluctance to admit to her that he played the bandoneon rather than the piano. He presented to her what he called his “kilos of symphonies and sonatas.” She responded that they were “well-written,” but that she could not find Piazzolla in them. Finally, he played his tangos for her to which she responded, “You idiot, that’s Piazzolla!” He commented, “And I took all the music I composed, 10 years of my life, and sent it to hell in two seconds.” Despite this, Piazzolla maintained his dedication to classical chamber music and symphonic works even though they retain his native Argentinian instincts leading to his evolution of traditional tango style to what is now called nuevo tango. “La muerte del ángel” (The Death of the Angel), composed in 1962, is part of Piazzolla’s incidental music to Alberto Rodriguez Muñoz’ play Tango del ángel in which an angel heals the spirits of residents of a poor Buenos Aires neighborhood, but is ultimately killed in a knife fight. In addition to its nationalistic qualities, the vibrant and delicious work uses classic fugue form evident in its opening passages. A lyrical middle section intervenes before a return to the fugue, which ends with a dramatic piano glissando.

It Ain’t Necessarily So from Porgy and Bess

George Gershwin (1898-1937)

Despite its humor, “It Ain’t Necessarily So” is still within the overarching serious theme of this program, which is the expression of American values in music and literature. It also expresses the integration of popular and classical art forms in a uniquely American way. This brief and delicious moment in American music is based on the famous song from George and Ira Gershwin’s 1935 opera, Porgy and Bess. It is sung by the character, Sportin’ Life, a drug dealer who expresses his cynical doubts about several biblical statements. Since then, the song has moved through many permutations, including one by the great violin virtuoso, Jascha Heifetz. The racially-charged theme of the opera brought initial unpopular reception, but since the 1976 Houston Grand Opera production, Porgy and Bess has come into its own as one of the most frequently performed operas. “It Ain’t Necessarily So” remains one of its gems. InTUNE — April 2018 | 27

Program NOTES , continued

Oblivion

Astor Piazzolla (1921-1992) “Oblivion,” composed in 1982, is one of Piazzolla’s most popular tangos, but not for reasons of gaiety. Its mysterious and forbidding opening leads to a sad lyricism movingly expressed by the cello while the piano keeps things in order. Bill and Mira Wang bring sadness to their dancing. “Oblivion” was used in the soundtrack for Marco Bellochio’s 1984 film Henry IV, the Mad King.

Forgetfulness

Billy Collins (b. 1941) American poet William James “Billy” Collins was appointed Poet Laureate of the United States from 2001 to 2003 and was New York State Poet from 2004 to 2006. On September 6, 2002, he was invited to read his poem “The Names” at a special joint session of the U.S. Congress held in memory of the victims of 9/11. His acclaimed “Fishing on the Susquehanna in July” was added to the preserved works of the United States Native American literary registry. Among his many awards is the 2014 Norman Mailer Prize for Poetry. His 16 volumes of poetry include The Art of Drowning, The Trouble with Poetry, Horoscopes for the Dead, Aimless Love and The Rain in Portugal. Collin’s poem Forgetfulness gives warning about the nature of forgetting things as one grows older.

Jeanie with the Light Brown Hair Stephen Foster (1826-1864)

Stephen Foster’s some 200 songs have gained him the title of “the father of American music.” You can probably hum many of them such as “Oh, Susanna,” “Old Folks at Home” and certainly “Jeanie with the Light Brown Hair” treated on this program. That song, first published in 1854, was inspired by Foster’s separation from his wife Jennie who is surely the source of longing and dreaming that pervades the song. Despite its lasting fame, it was not successful at the time of its publication and brought Foster only $200 in royalties for its 10,000 copies sold. Such is the sad tale of the beautiful song “floating, like a vapor, on the soft summer air.” Some of us may remember other versions such as Spike Jones’ humorous treatment “I Dream of Brownie with the Light Blue Jeans” or Jascha Heifetz’ violin transcription that became one of his signature pieces and is still performed by many violinists today. Tonight’s artists give us a unique version for narrator, violin, cello and piano.

When Will I Ever Learn to Live in God (arr. Stephen Buck)

Van Morrison (b. 1945)

With the music of Irish singer, songwriter and instrumentalist Van Morrison, we cross the sometimes narrow bridge from classical music to a form we loosely call “soul” or R&B. On a broader level, Morrison’s music has been described as “spiritually-inspired musical journeys that show the influence of Celtic tradition, jazz and stream-of-consciousness narrative.” One of the world’s best-known and prolific producers of such music, Morrison was knighted in 2016 and now bears the title Sir George Ivan “Van” Morrison, although he is still known informally as “Van the Man.” He has received two Grammy Awards® and the Brit Award for Outstanding Contribution to Music. As suggested in his song, “When Will I Ever Learn to Live in God,” Morrison’s lyrics are reflective of such poets as William Blake and William Butler Yeats. Biographer Brian Hinton states that Morrison “is returning poetry to its roots...to form a new reality.”

From Adventures of Huckleberry Finn

Mark Twain (1835-1910)

Bill reads from the great American novel that satirizes racism in the South before the Civil War. Told in the first person by “Huck” Finn, the novel was one of the first to use English in the vernacular that portrayed regional life. As portrayed by Twain, Huck is an innocent who tries to do the right thing by helping Jim escape slavery, even though he believes he will go to hell for it—a swipe at Christian views on slavery at the time.

Moon River

Henry Mancini (1924-1994) Henry Mancini’s famous song with lyrics by Johnny Mercer received an Academy Award® for Best Original Song when it was performed by Audrey Hepburn in the 1961 film Breakfast at Tiffany’s based on Truman Capote’s 1958 novel. Since then, it has received numerous arrangements, including this one for cello and piano performed by Jan Vogler and Vanessa Perez. The song’s popularity has caused it to be used as a test sample in a study on people’s memories of popular songs.

Allegro from Cello Sonata in D minor, Opus 40 Dmitri Shostakovich (1906-1975)

The personal situation that surrounded the composition of the D minor Cello Sonata cannot explain its excellence, but surely it contributed to the anguished mood of the work. Written in the late summer of 1934, the Sonata coincides with the strains on

28 | Houston Symphony

New Worlds: Bill Murray, Jan Vogler and Friends | Program Notes

Shostakovich’s marriage caused by his love for a young translator, despite their different backgrounds. Much violence marks the Elena Konstantinovskaya. He began composing the Sonata story, but Bernstein manages wonderful lyrical and even amusing moments in such songs as “Somewhere,” “I Feel Pretty” and when his wife, Nina, left him. Soon after its first performance in Leningrad on Christmas 1934, he asked for a divorce. When “America” treated for the closing moments of tonight’s program. Shostakovich learned that Nina was pregnant with their first child, “Somewhere,” from Act II, is sung by Maria and Tony as they dream the couple reconciled. about fleeing to a peaceful place. Strangely enough, the theme While the emotional factors were significant, so were the musical of the song is borrowed from the slow movement of Beethoven’s Emperor Concerto, an uncanny borrowing which Alex Ross ones that affected the work. At the time, Shostakovich referred describes in his The Rest is Noise as “Beethoven Americanized.” to what he called his “struggle for a simple language.” This may explain the Neoclassical structure of the work, which caused The opening statement also resounds from the trains in the New Prokofiev to comment that Shostakovich was following bourgeois York subway, something this writer heard for years and was happy to have confirmed by The New York Times in 2009. “I Feel Pretty,” trends, a dangerous thing for a composer to do in 1934. Yet Shostakovich’s personal war between Western Neoclassicism and from an earlier moment in Act II, occurs as Maria innocently Socialist Realism was a struggle with which he would contend discovers her love for Tony and daydreams about seeing him. many times during his career. “America,” from Act I, is a hilarious, but provocative, moment as Shark girls discuss the differences between Puerto Rico and the The second movement Allegro of the D minor Sonata bursts United States. One longs for her home country of Puerto Rico and forth with the force of a Russian peasant dance. It ends abruptly, another defends life in America. All three songs are unforgettable but not before we catch moments of humor. The Sonata was moments in West Side Story. —© 2017 Lucy Miller Murray written for cellist Viktor Kubatsky who premiered the work with Shostakovich reportedly playing the piano part from memory. Lucy Miller Murray is the author of Chamber Music: An Extensive Guide for Listeners published by Rowman and Littlefield.

If Grant Had Been Drinking at Appomattox from Writings and Drawings, The Library of America

James Thurber (1894-1961)

James Thurber’s hilarious tale paints Ulysses S. Grant, a notorious drinker, as being confused about who was surrendering when Robert E. Lee showed up at the McLean house in Appomattox for the surrendering proceedings. The story was first published in The New Yorker on December 6, 1930, and was later included in Thurber’s collection of short stories entitled The Middle-Aged Man on the Flying Trapeze.

Somewhere, I Feel Pretty and America from West Side Story (arr. Stephen Buck) Leonard Bernstein (1918-1990)

Leonard Bernstein’s West Side Story, with lyrics by Stephen Sondheim and choreography by Jerome Robbins, retains an iconic place in American musical history. First produced on Broadway in 1957, it ran for 732 performances before going on tour and was nominated for six Tony Awards®. The 1961 film version starring Natalie Wood, Richard Beymer, Rita Moreno, George Chakiris and Russ Tamblyn won 10 Academy Awards®. The story, based on Shakespeare’s Romeo and Juliet, explores the rivalry between two teenage street gangs of different ethnic backgrounds, the Jets and the Sharks, on New York’s Upper West Side. Maria and Tony, members of the opposing forces, fall in love

Everyone at Mann Eye Institute is pleased to continue its support of the Houston Symphony. Dr. and Mrs. Mike Mann, Dr. and Mrs. Paul Mann and Dr. Dana Ondrias along with their respective teams support the Symphony’s vision for excellence in the arts and service to their community. The distinguished LASIK and cataract specialists at Mann Eye Institute have been at the forefront of vision correction for more than 40 years. They are committed to providing exemplary patient care, advanced surgical expertise and outstanding vision results. Mann Eye Institute’s eighteen locations in the Houston and Austin areas provide full service opticals, general ophthalmology and vision correction services including Blade-Free LASIK, comprehensive laser cataract surgery, Active Life Lens implants and dry eye treatment options. For more information visit www.manneye.com

InTUNE — April 2018 | 29

FEATURED PROGRAM

THE BEST OF JOHN WILLIAMS Friday Saturday Sunday Sunday

April 20, 2018 April 21, 2018 April 22, 2018 April 22, 2018

8:00pm 8:00pm 2:30pm 7:30pm

Jones Hall

Michael Krajewski, conductor

Williams

Suite from Harry Potter and the Sorcerer’s Stone

IV Harry’s Wondrous World: Broadly—Victoriously

Suite from Jaws

The Shark Theme: Menacingly—Deciso

Theme from Jurassic Park Excerpts from Close Encounters of the Third Kind Flying Theme from E.T. The Extra-Terrestrial March from Superman I N T E R M I S S I O N

Williams

Suite from Star Wars

I Main Title: Maestoso II Princess Leia’s Theme: Andante

II Parade of the Ewoks: À la marcia

Music from The Star Wars Saga

Suite from The Phantom Menace

I The Flag Parade: Maestoso

Across the Stars from Attack of the Clones Suite from Star Wars

III The Imperial March (Darth Vader’s Theme): À la Marcia

Suite from Star Wars: The Force Awakens

30 | Houston Symphony

V The Jedi Steps and Finale: Andantino—À la Marcia

Did you know? • Star Wars: A New Hope was originally going to use a score of preexisting classical music, much like 2001: A Space Odyssey. This plan was ditched after Steven Spielberg introduced George Lucas to John Williams, who had written the score to Spielberg's Jaws. • Expecting Star Wars: A New Hope to flop, Lucas skipped the premiere and went on vacation to Hawaii with Steven Spielberg instead. During the trip, they hatched the idea for Raiders of the Lost Ark, which John Williams would also score.

The Best of John Williams | Program Biography

Program BIOGRAPHY These performances are generously supported in part by: Underwriter Barbara J. Burger

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.

For more than 100 years, the attorneys of Kirkland & Ellis LLP have been trusted advisers in corporate law, representing clients around the world in complex transactions. That tradition came to Houston in 2014 with the opening of Kirkland's local office. The office was established to complement and enhance the service provided to existing and prospective clients in Texas, the United States and abroad. It is Kirkland's seventh U.S. office and 12th worldwide. Kirkland's principal goals are to provide the highest quality legal services available anywhere; to be an instrumental part of each client's success; and to recruit, retain and advance the brightest legal talent. The firm seeks long-term, partnering relationships with clients, with the goal of providing the best total solution to the client's legal needs.

Mike Krajewski | conductor Known for his entertaining programs and clever humor, Michael Krajewski is a much sought after conductor of symphonic pops. He is music director of The Philly Pops and principal pops conductor of the Atlanta Symphony Orchestra and Jacksonville Symphony. He previously served as Principal Pops Conductor of the Houston Symphony for 16 seasons. As a guest conductor, Michael has performed with the Cleveland and Philadelphia Orchestras; the Boston and Cincinnati Pops Orchestras; the San Francisco, Seattle and St. Louis Symphonies; Baltimore, Detroit, Indianapolis, Dallas, Pittsburgh and National Symphony Orchestras; and numerous other orchestras across the United States. In Canada, he has led Ottawa’s National Arts Centre Orchestra; Toronto, Winnipeg and Edmonton Symphony Orchestras; Calgary Philharmonic Orchestra; and Kitchener-Waterloo Symphony. Other international appearances include performances in Dublin and Belfast with the Ulster Orchestra as well as performances with the Hong Kong Philharmonic, Malaysian Philharmonic Orchestra, 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. He has led the Houston Symphony on two holiday albums: Glad Tidings and Christmas Festival. Michael’s collaborative programs have included such artists as flutist James Galway; mezzo Marilyn Horne; pianist Alicia de Larrocha; guitarist Angel 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 — April 2018 | 31

FEATURED PROGRAM

ALSO SPRACH ZARATHUSTRA Thursday Saturday Sunday

April 26, 2018 April 28, 2018 April 29, 2018

8:00pm 8:00pm 2:30pm

Jones Hall

Juraj ValÄ?uha, conductor *Evgeni Bozhanov, piano *Houston Symphony debut

Nicolai

Overture to Die lustigen Weiber von Windsor (The Merry Wives of Windsor)

ca. 8

Chopin

Piano Concerto No. 2 in F minor, Opus 21 I Maestoso II Larghetto III Allegro vivace

ca. 30

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

R. Strauss

Also sprach Zarathustra (Thus Spake Zarathustra), Opus 30

32 | Houston Symphony

ca. 32

Did you know? â&#x20AC;˘ Ever since Stanley Kubrick used the opening of Also sprach Zarathustra in his 1968 film 2001: A Space Odyssey, it became a symbol of bombastic affirmation in popular culture. Elvis Presley, for instance, used it to open his concerts from 1971 to 1977.

Also sprach Zarathustra | Program Biographies

Program BIOGRAPHIES FROST BANK GOLD CLASSICS

These performances are generously supported in part by: Underwriter These performances include Berlioz bells donated by the Beauchamp Foundation Mr. John N. Neighbors Partner Mr. Michael H. Clark & Ms. Sallie Morian

Juraj Valčuha | conductor Juraj Valčuha began his service as music director of the Teatro di San Carlo, Naples in October 2016. He also serves as first guest conductor of the Konzerthausorchester Berlin. As chief conductor of the Orchestra Sinfonica Nazionale della Rai, Turin (2009-16), he had a significant impact on the orchestra’s national and international profile, touring Munich, Düsseldorf, Cologne, Basel, Zürich, Abu Dhabi, the Musikverein in Vienna and the Philharmonie in Berlin. His engagements in the 2017-2018 season bring him back to the American symphonic orchestras here and in San Francisco, Detroit, Cincinnati, Minnesota and Toronto. He also joins the Konzerthaus in Berlin, the Munich Philharmonic, the Swedish Radio Symphony Orchestra, the Orchestra dell´Accademia Nazionale di Santa Cecilia, the Orchestra Sinfonica Nazionale della Rai and the NDR Elbphilharmonie Orchestra in Hamburg and on an Italian tour. At the Teatro di San Carlo, he conducts Puccini´s The Girl of the Golden West, Shostakovich´s Lady Macbeth of Mtsensk, Tosca and symphonic concerts. In previous seasons, Juraj has led the Philharmonia Orchestra; the Berlin, Rotterdam and Czech philharmonic orchestras; the Orchestre de Paris and Orchestre national de France; the Maggio Musicale, Florence and Filarmonica della Scala, Milan; and the Leipzig Gewandhaus, Swedish Radio, Dresden Staatskapelle, Concertgebouw Amsterdam, Wiener Symphoniker, HR Frankfurt and Bamberg Symphony orchestras. In North America, he has conducted orchestras in Pittsburgh, Boston, St. Louis and Montreal; the Los Angeles and New York Philharmonics; and the National Symphony in Washington, D.C. He has also toured Japan with the NHK Symphony Orchestra. He has conducted operas at Teatro La Fenice (La bohème); Bayerische Staatsoper (Madama Butterfly and Le Nozze di Figaro); Teatro Comunale di Bologna (La bohème and Jenůfa); Rome Opera, Teatro di San Carlo, Naples and Deutsche Oper Berlin (Turandot); and Maggio Musicale, Florence (Madama Butterfly and The Love for Three Oranges). He recently conducted Parsifal in Budapest. Juraj Valčuha studied composition and conducting in Bratislava, St. Petersburg (with Ilya Musin) and Paris. He made his debut with the Orchestre National de France in 2005.

InTUNE — April 2018 | 33

Program BIOGRAPHIES , continued

Evgeni Bozhanov | piano

MARCO BORGGREVE

Evgeni Bozhanov’s international career started after he won prizes at several competitions, including the Sviatoslav Richter in Moscow, the Queen Elisabeth in Brussels and the Van Cliburn in Fort Worth. Of his Van Cliburn performance, the Dallas Morning News praised his ability to “produce more nuances of tone in a measure of music than most pianists find in a lifetime…” This season, he appears at the Royal Festival Hall in London with the Philharmonia under the baton of Juraj Valčuha; with the Tonkünstler Orchester and conductor Yutaka Sado at the Wiener Musikverein; with the Slovak Philharmonic in Bratislava; and with the Haydn Orchester in Bolzano. He also completes his fifth Japan tour and performs recitals in Milan, Palermo, Bratislava and Miami.

Program NOTES Overture to Die lustigen Weiber von Windsor (The Merry Wives of Windsor)

Otto Nicolai (1810-1849)

Otto Nicolai was born into a musical family, but his father’s attempts to turn him into a prodigy proved so unbearable that he ran away from home at 15. After eking out a meager existence for two years, a sympathetic Carl Friedrich Zelter (best remembered as Mendelssohn’s composition teacher) helped him complete his musical training. Eventually, he made his way to Italy and became a successful composer of Italian operas, but after a failed marriage engagement, he left for Vienna, where he founded the Vienna Philharmonic concerts. He later relocated to Berlin, where he replaced the recently deceased Mendelssohn as director of the cathedral choir. Unfortunately, the position seems to have been an unlucky one, as Nicolai himself died two years later.

Shortly before his untimely death, he completed his masterpiece, Die lustigen Weiber von Windsor, a German opera based on Shakespeare’s comedy, in which the knight Falstaff unsuccessfully attempts to woo two married women at once. In it he achieved his lifelong ambition of a synthesis of German and Italian styles, which is reflected in the Highlights of the 2016-2017 season included recitals in Munich, overture. After a slow, quiet introduction, the tempo accelerates, Lisbon, Milan, Palermo, Coimbra and at the International Piano leading to Mendelssohnian fairy music inspired by the nocturnal Festival of Brescia and Bergamo, as well as concerts with the Athens forest setting of the opera’s final act. A lively transition leads to a State Orchestra at the Ghent Festival of Flanders, the Bavarian lilting second theme and a rousing, Italianate tutti. After a brief Radio Chamber Orchestra, the Malmö Symphony Orchestra, the developmental passage featuring gypsy-style music, the themes Liverpool Philharmonic, the Filarmonica Toscanini in Parma, the return and the overture ends with a spirited coda. Haydn Orchester, and the Orchestra dell´Accademia Nazionale di Santa Cecilia in Rome. Other activity from recent seasons has The Instruments: 2 flutes (one doubling piccolo), 2 oboes, included concerts with Ensemble Wien (soloists of the Vienna 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, Philharmonic) at the Musikverein and with the National Orchestra percussion and strings of Belgium, as well as recitals in Oporto, Toulouse and Salzburg. He has performed at many other prestigious international venues, including the Berliner Philharmonie, Suntory Hall and the Tonhalle Düsseldorf. He has performed with the Swedish Radio Symphony Orchestra, the Lahti Symphony Orchestra, the Deutsches Symphonie-Orchester Berlin, the Orchestra Nazionale della RAI, the Orchestra del Maggio Musicale Fiorentino and the Hyogo Performing Arts Center Orchestra, collaborating with conductors such as Sado and Tugan Sokhiev. He has also given recitals in Essen, Aachen and Kraków as well as at the Schubertíade Vilabertran in Spain, the Calouste Gulbenkian Foundation Lisbon, the Sofia Festival, the Lille Pianos Festival, the Festival International de Piano de la Roque d´Anthéron and the Kissinger Sommer Music Festival. Evgeni Bozhanov was born in 1984 in Roussé, Bulgaria, and began piano lessons at age 6. He made his public debut in his hometown when he was 12, playing a Mozart piano concerto, and studied piano in Germany. 34 | Houston Symphony

Piano Concerto No. 2 in F minor, Opus 21

Fryderyk Franciszek Chopin (1810-1849)

Though he published it second, Chopin’s Piano Concerto in F minor was actually the first concerto he composed. After a successful impromptu debut in Vienna, the 19-year-old composer-pianist returned home to Warsaw to write a concerto he could play on future tours. He completed it during the fall of 1829 and gave the premiere in Warsaw the following March, where it was enthusiastically received. The first movement begins with a substantial orchestral passage that introduces its main themes: the first is a Romantic melody of stark dynamic contrasts in F minor; the second, a more lyrical one introduced by the woodwinds in A-flat major. When the piano enters, it reinterprets these themes with ornamentation inspired by the expressive embellishments of bel canto opera singers. Even though the piano is technically a percussion instrument, Chopin was a master of creating smooth, singing melodies for it. These lyrical themes are bridged by exquisitely crafted virtuoso passages that show Chopin’s sensitivity to the sonority of the piano. After a

Also sprach Zarathustra | Program Notes

developmental section builds to a fiery orchestral passage, the piano reprises the main melodies and the movement concludes with virtuoso passagework. In a letter to a friend, Chopin confessed that the slow second movement of the concerto was inspired by Konstancja Gladkowska, a young singer who was his classmate at the conservatory in Warsaw: “Perhaps to my misfortune, I have met my ideal and have served her faithfully for six months, without speaking to her about my feelings. I dream about it: under her inspiration, the adagio of my Concerto in F minor…[was] born….” Unfortunately for the shy composer, this music is all that came of his unspoken infatuation. Many critics continue to regard this movement as one of his loveliest creations, comparing it to the nocturnes he would compose later. After a brief orchestral introduction, the piano plays a long, poetic melody. This leads to a contrasting central section, which begins dramatically with tremolo strings. Above them the pianist imitates operatic recitative, as if speaking instead of playing music. The lyrical melody then reappears, and the movement ends as it began with the orchestral introduction. The finale begins with a melody in the style of a mazurka, a type of Polish dance. Virtuoso passagework then leads to a contrasting, rustic theme in A-flat major accompanied by strings playing col legno, with the wood of the bow. After the opening mazurka theme returns, a horn solo introduces a brilliant, F major coda. The Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings

Also sprach Zarathustra (Thus Spake Zarathustra), Opus 30 Richard Strauss (1864-1949)

According to his novelist friend Romain Rolland, Richard Strauss once quipped that “In music one can say everything. People won’t understand you.” Strauss’ characteristically humorous remark seems particularly applicable to Also sprach Zarathustra, one of his most popular yet least understood works. Though many today associate the piece with Stanley Kubrick’s 1968 film 2001: A Space Odyssey, it was originally inspired by Nietzsche’s book of the same name, a philosophical novel that addressed what Nietzsche saw as the crisis of values that faced society as the advance of science led people to doubt traditional religions and cultural norms. Many artists and composers were influenced by Nietzsche’s Also sprach Zarathustra, but few took his philosophy to heart to the degree that Strauss did. Though the initial idea for Also sprach Zarathustra may have originated a few years before, Strauss began serious work on it in February 1896, composing the bulk of it in the summer while staying in the Austro-Italian Dolomites. Its opulent orchestrations, complex textures, daring harmonies

and controversial subject matter would provoke equally intense criticism and applause at its premiere the following November. He named the sections of his piece after different chapters in Nietzsche’s book, but needless to say, it was impossible to simply translate this abstract text into the equally abstract medium of instrumental music. Perhaps the clearest, most concise explanation he gave of the work is reported once again by Rolland: “in his mind, he really did want to express […] the hero’s inability to satisfy himself, either with religion or science or humor, when confronted by the enigma of nature.” Using ideas and images from Nietzsche’s book, the piece represents the quest to find what is popularly called “the meaning of life” when confronted by an indifferent, uncaring natural world. The famous opening depicts the mountaintop sunrise that opens Nietzsche’s book; the motif in the trumpets recurs throughout the piece and has been called the “Nature” or “World Riddle” motif, a symbol of nature’s indifference and mystery. After the emphatic opening, the next section is titled Von den Hinterweltlern. “Hinterweltlern” is an untranslatable Nietzschean neologism, but it can be approximated in English as “people of the world beyond.” In the corresponding chapter of Nietzsche’s book, the philosopher argues that the suffering and imperfections of life cause people to yearn for religious faith or a belief in an ideal “world beyond.” Out of dark, fragmentary ideas low in the orchestra emerges a horn call, which Strauss labeled with the words “Credo in unum deum” (Latin for “I believe in one God,” a phrase from the Roman Catholic mass). The horn is answered by a hymn-like melody that is brilliantly orchestrated for divisi strings. It begins softly, but grows in intensity, representing humankind’s yearning for a perfect, spiritual alternative to nature. The next section, Von der großen Sehnsucht (Of Great Longing), is essentially transitional and begins as the hymn-melody subsides. The World Riddle/Nature motif reappears, disturbing the increasingly fragmentary hymn melody. This struggle between faith and nature crescendos as upward-thrusting motifs rumble from the depths of the orchestra, leading to the next section: Von den Freuden und Leidenschaften (Of Joys and Passions). An intense, passionate melody appears in the violins over a turbulent orchestral accompaniment. This represents humanity’s natural, animal passions, which Nietzsche argues should be embraced: “Inexpressible and nameless is that which is torment and delight to my soul and is even the hunger of my entrails too.” These joys and passions soon collapse, however, leading to another transitional section: Das Grablied (The Grave Song). The corresponding chapter of Nietzsche’s book is not so much a meditation on death as a lament for lost “visions and apparitions” of youth. Musically, this is not a dirge or funeral march, but a decrescendo leading to the next section: Von der Wissenschaft InTUNE — April 2018 | 35

Program NOTES , continued

LIFE IS BETTER IN COLOR MAGAZINES | CATALOGS | POSTCARDS | CALENDARS | BROCHURES

(Of Science). This section begins quietly in the cellos and basses with a strange, chromatic melody. This theme becomes the subject of a fugue (the most learned of musical forms) as more instruments enter. This heavy, gloomy atmosphere is suddenly dispelled by light, high, cheerful music commonly interpreted as Zarathustra’s laughter; Nietzsche did not believe that science, with its methodical quest to understand nature, could provide the metaphysical knowledge he sought. The World Riddle/Nature motif, however, soon challenges the laughter. After an emotional outburst, the next section, Der Genesende (The Convalescent) begins with an energetic resumption of the science fugue, which builds in intensity until the World Riddle/Nature motif makes a climactic, powerful return in the full orchestra: nature is ultimately greater than human knowledge. A long, gradual crescendo full of strange orchestral effects ensues, featuring fragments of the Zarathustra’s laughter melody. This leads to the next section, Das Tanzlied (The Dance Song) in which a solo violin introduces a waltz. This is not a waltz from a glittering ballroom, however, but a more rustic cousin. Indeed, the accompaniment contains the World Riddle/Nature motif, suggesting that the waltz represents humankind in harmony with nature. Its lighthearted character is completely in keeping with Nietzsche’s philosophy, which praises “lightness” and describes Zarathustra as a dancer, suggesting that humanity should strive for a similar lighthearted affirmation of life and nature. Throughout the waltz, themes from earlier in the work reappear. The waltz builds to a passionate, but ultimately unstable climax that collapses. Twelve strokes of a bell signal midnight and transition to the final section of the piece, the Nachtwandlerlied (Night Wanderer Song). This essentially serves as a long decrescendo to the piece’s famous question mark ending: flutes, oboes, harps and violins come to rest on a B major chord, but the cellos and double basses repeat a dissonant, unresolved C-natural. Strauss explained that “C major is Nature, Man as being; B minor (at the end of the work B major) his metaphysical aspiration,” suggesting that ultimately the World Riddle remains unsolved. The Instruments: 3 flutes (one doubling piccolo), piccolo, 3 oboes, English horn, 2 clarinets, bass clarinet, E-flat clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 3 trombones, 2 tubas, timpani, percussion, 2 harps, organ and strings —Calvin Dotsey

36 | Houston Symphony

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40 | Houston Symphony

Society Board of TRUSTEES

(2017-18 SEASON)

Executive Committee Janet F. Clark President Steven P. Mach Immediate Past President

Bobby Tudor Chairman Paul R. Morico General Counsel

Mike S. Stude Chairman Emeritus Barbara McCelvey Secretary

Danielle Batchelor Chair, Popular Programming Barbara J. Burger Chair, Finance Justice Brett Busby Chair, Artistic & Orchestra Affairs Mary Kathryn Campion, Ph.D. Chair, Pension Brad W. Corson Chair, Governance & Leadership Viviana Denechaud Chair, Development Tracy Dieterich Chair, Community Partnerships Mary Lynn Marks Chair, Volunteers & Special Events

Billy McCartney Chair, Education Alexandra Pruner^ President, Houston Symphony Endowment David Pruner Chair, Strategic Planning Manolo Sánchez Chair, Marketing & Communications Jesse B. Tutor Immediate Past Chair, Chair, Audit Beth Wolff^ President, Houston Symphony League

Andrés Orozco-Estrada^ Music Director John Mangum^ Executive Director/CEO Sergei Galperin^ Musician Representative Mark Hughes^ Musician Representative Mark Nuccio^ Musician Representative Christine Kelly-Weaver^ Assistant Secretary ^Ex-Officio

GOVERNING DIRECTORS Farida Abjani Michael W. Adler Marcia Backus Janice Barrow** Danielle Batchelor Gary Beauchamp Marie Taylor Bosarge Ralph Burch Barbara J. Burger Justice Brett Busby Andrew Calder Janet F. Clark Michael H. Clark Brad W. Corson Viviana Denechaud Michael Doherty David Frankfort

Ronald G. Franklin Stephen Glenn Joan Kaplan Sippi Khurana, M.D. Rochelle Levit, Ph.D. Cora Sue Mach ** Steven P. Mach Paul M. Mann, M.D. Jay Marks ** Mary Lynn Marks David Massin Rodney Margolis** Billy McCartney Barbara McCelvey Alexander K. McLanahan ** Paul R. Morico Kevin O’Gorman

Robert Orr Cully Platt David Pruner Ron Rand John Rydman** Manolo Sánchez Helen Shaffer ** Jerry Simon Jim R. Smith Miles O. Smith Mike S. Stude ** William J. Toomey II Bobby Tudor ** Betty Tutor ** Jesse B. Tutor ** Judith Vincent Margaret Alkek Williams **

Scott Wulfe David Wuthrich

Julia Anderson Frankel Betsy Garlinger Evan B. Glick Susan Hansen Eric Haufrect, M.D. Gary L. Hollingsworth, M.D. Brian James Rita Justice I. Ray Kirk, M.D. Ulyesse LeGrange ** Carlos J. Lopez Michael Mann, M.D. Jack Matzer Jackie Wolens Mazow Gene McDavid ** Gary Mercer Marilyn Miles Janet Moore Jud Morrison

Bobbie Newman Scott Nyquist Edward Osterberg Jr. Robert A. Peiser** Gloria G. Pryzant Gabriel Rio Richard Robbins, M.D. J. Hugh Roff Jr. ** Miwa Sakashita Ed Schneider Michael E. Shannon ** Donna Shen Robert Sloan, Ph.D. Tad Smith David Stanard Ishwaria Subbiah, M.D. L. Proctor (Terry) Thomas Shirley W. Toomim Andrew Truscott

Margaret Waisman, M.D. Fredric Weber Mrs. S. Conrad Weil Robert Weiner Vicki West Steven J. Williams Beth Wolff Ed Wulfe ** Ellen A. Yarrell Robert Yekovich Frank Yonish

Ex-Officio Mary Kathryn Campion, Ph.D. Tracy Dieterich Sergei Galperin Mark Hughes Martha McWilliams Mark Nuccio Robert A. Peiser** Gloria Pryzant Donna Shen **Lifetime Trustee

TRUSTEES Philip Bahr Devinder Bhatia, M.D. James M. Bell Anthony Bohnert Nancy Shelton Bratic Terry Ann Brown** Cheryl Byington Dougal Cameron Mary Kathryn Campion, Ph.D. John T. Cater ** Evan Collins, M.D., MBA Andrew Davis, Ph.D. Tracy Dieterich Terry Elizabeth Everett Kelli Cohen Fein, M.D. Jeffrey B. Firestone Eugene Fong Craig Fox

Ex-Officio Alexandra Gottschalk Alexandra Pruner Art Vivar Jessie Woods

PAST PRESIDENTS OF HOUSTON SYMPHONY 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

THE SOCIETY 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 Mrs. W. Harold Sellers Miss Ima Hogg Mrs. John F. Grant Mrs. Harry H. Gendel Mrs. J. R. Parten Mrs. Robert M. Eury Mrs. Andrew E. Rutter Mrs. E. C. Vandagrift Jr. Mrs. Aubrey Leno Carter Mrs. J. Stephen Marks Mrs. Stuart Sherar Terry Ann Brown Nancy Strohmer Mrs. Julian Barrows Mary Ann McKeithan Ms. Hazel Ledbetter Ann Cavanaugh Mrs. Albert P. Jones Mrs. Ben A. Calhoun Mrs. James A. Shaffer Mrs. James Griffith Lawhon Lucy H. Lewis Mrs. Olaf LaCour Olsen Catherine McNamara Shirley McGregor Pearson Mrs. Ralph Ellis Gunn Paula Jarrett Mrs. Leon Jaworski Cora Sue Mach Mrs. Garrett R. Tucker Jr. Kathi Rovere Mrs. M. T. Launius Jr. Mrs. Thompson McCleary Norma Jean Brown Barbara McCelvey Mrs. Theodore W. Cooper Lori Sorcic Jansen Mrs. Allen W. Carruth Mrs. David Hannah Jr. Nancy B. Willerson Mary Louis Kister Jane Clark Nancy Littlejohn Mrs. Edward W. Kelley Jr. Donna Shen Mrs. John W. Herndon Mrs. Charles Franzen Dr. Susan Snider Osterberg Mrs. Harold R. DeMoss Jr. Dr. Kelli Cohen Fein Mrs. Edward H. Soderstrom Vicki West Mrs. Lilly Kucera Andress Mrs. Jesse Tutor Ms. Marilou Bonner Darlene Clark PAST PRESIDENTS OF THE HOUSTON SYMPHONY LEAGUE BAY AREA Sue Smith Fran Strong Shirley Wettling Selma Neumann Jo Anne Mills Julia Wells Phyllis Molnar Dagmar Meeh Pat Bertelli Priscilla Heidbreder Harriett Small Emyre B. Robinson Nina Spencer Dana Puddy Elizabeth Glenn Angela Buell Ebby Creden Pat Brackett Charlotte Gaunt Joan Wade Norma Brady Yvonne Herring Cindy Kuenneke Deanna Lamoreux Helen Powell Glenda Toole Sharon Dillard Carole Murphy Diane McLaughlin Patience Myers Roberta Liston James Moore Suzanne Hicks Mary Voigt

**Lifetime Trustee

FRIENDS OF JONES HALL REPRESENTATIVES Justice Brett Busby

Ronald G. Franklin

Steven P. Mach

Barbara McCelvey InTUNE — April 2018 | 41

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 foundation or government partner, please contact Mary Beth Mosley, Interim Co-Chief Development Officer/Director, Institutional Giving and Stewardship, at 713.337.8521 or marybeth.mosley@houstonsymphony.org. For more information on becoming a Houston Symphony corporate donor, please contact Leticia Konigsberg, Director, Corporate Relations, at 713.337.8522 or leticia.konigsberg@houstonsymphony.org.

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 Compass 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 Chevron *Houston Methodist Medistar Corporation PaperCity *Rand Group, LLC *Telemundo *United Airlines Underwriter  $50,000 and above *Baker Botts L.L.P. *BB&T *Cameron Management ENGIE *The Events Company Exxon Mobil Corporation Frost Bank Houston Baptist University Houston Livestock Show and Rodeo *Jackson and Company Kirkland & Ellis LLP

(as of March 1, 2018)

*The Lancaster Hotel Mann Eye Institute Occidental Petroleum Corporation Palmetto Partners Ltd./The Robert and Janice McNair Foundation Shell Oil Company Vinson & Elkins LLP Sponsor  $25,000 and above Bank of Texas *Bright Star EOG Resources Goldman, Sachs & Co. *Houston Chronicle *Houston First Corporation Kalsi Engineering KPMG LLP Marine Foods Express, Ltd. McGuireWoods, LLP *Neiman Marcus Northern Trust Norton Rose Fulbright Sidley Austin LLP *Silver Circle Audio SPIR STAR, Ltd. The University of Texas, MD Anderson Cancer Center Wells Fargo WoodRock & Co.

CORPORATE MATCHING GIFTS Aetna Aon Apache Corporation Bank of America BBVA Compass BHP Billiton The Boeing Company BP Foundation Caterpillar 42 | Houston Symphony

Partner  $15,000 and above Accenture Anadarko Petroleum Corporation *City Kitchen *Glazier’s Distributors Gorman’s Uniform Service H-E-B Tournament of Champions Heart of Fashion Independent Bank Laredo Construction, Inc. Locke Lord LLP Lockton Companies of Houston Macy's The Newfield Foundation USI Southwest Supporter  $10,000 and above *Abraham’s Oriental Rugs *Agua Hispanic Marketing CenterPoint Energy Emerson *Silver Eagle Distributors Star Furniture *Zenfilm

Patron  Gifts below $5,000 Adolph Locklar, Intellectual Property Law Firm Amazon Baker Hughes Bering's Beth Wolff Realtors Burberry Dolce & Gabbana USA, Inc. Intertek Kinder Morgan Foundation Quantum Bass Center* SEI, Global Institutional Group Smith, Graham & Company Stewart Title Company TAM International, Inc. The Webster * Includes in-kind support

Benefactor  $5,000 and above Barclay’s Wealth and Investment Management Beck Redden LLP Louis Vuitton Nordstrom Orrick, Herrington & Sutcliffe, L.L.P. *Randalls Food Markets Russell Reynolds Associates, Inc. *University of St. Thomas Wortham Insurance and Risk Management

(as of March 1, 2018)

Chevron Chubb Group Coca-Cola ConocoPhillips Eli Lilly and Company EOG Resources Exxon Mobil Corporation Freeport – McMoRan Oil & Gas General Electric

General Mills Goldman, Sachs & Company Halliburton Hewlett-Packard Houston Endowment IBM ING Financial Services Corporation KBR Merrill Lynch

NAACO Industries, Inc. Neiman Marcus Northern Trust Occidental Petroleum Corporation Phillips 66 Shell Oil Company Union Pacific Williams Companies, Inc.

FOUNDATIONS & GOVERNMENT AGENCIES Diamond Guarantor  $1,000,000 and above Houston Symphony Endowment Houston Symphony League The Wortham Foundation, Inc. Premier Guarantor  $500,000 and above The Brown Foundation, Inc. City of Houston and Theater District Improvement, Inc. 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 Cullen Trust for the Performing Arts MD Anderson Foundation Guarantor  $100,000 and above Houston Endowment

(as of March 1, 2018)

Underwriter  $50,000 and above The Elkins Foundation The William Stamps Farish Fund The Fondren Foundation The Hearst Foundations Houston Symphony Chorus Endowment The Humphreys Foundation League of American Orchestras' Futures Fund LTR Lewis Cloverdale Foundation John P. McGovern Foundation The Robert and Janice McNair Foundation / Palmetto Partners Ltd. The Robbins Foundation

Partner  $15,000 and above Ruth & Ted Bauer Family Foundation The Melbern G. & Susanne M. Glasscock Foundation The Hood-Barrow Foundation Houston Symphony League Bay Area National Endowment for the Arts The Vaughn Foundation Supporter  $10,000 and above The Carleen & Alde Fridge Foundation Petrello Family Foundation Radoff Family Foundation The Schissler Foundation The Vivian L. Smith Foundation Anonymous

Sponsor  $25,000 and above Beauchamp Foundation Ann & Gordon Getty Foundation The Powell Foundation Sterling-Turner Foundation Texas Commission on the Arts

Chorus ENDOWMENT A. Ann Alexander Mrs. Ramona Alms Mr. & Mrs. Richard M. Armes Janice Barrow Nancy & Walter Bratic Mr. & Mrs. Daniel Chavanelle Mr. Brent Corwin Roger & Debby Cutler Steve Dukes

DONORS



Benefactor  $5,000 and above William E. & Natoma Pyle Harvey Charitable Foundation The Scurlock Foundation Keith & Mattie Stevenson Foundation Strake Foundation Patron  Gifts below $5,000 The Cockrell Foundation Diamond Family Foundation The Helmle-Shaw Foundation Huffington Foundation Leon Jaworski Foundation Lillian Kaiser Lewis Foundation Robert W. & Pearl Wallis Knox Foundation The Lubrizol Foundation

$500 or more

Stephen & Mariglyn Glenn Robert Lee Gomez Terry L. & Karen G. Henderson Nobuhide Kobori David G. Nussman Mrs. Joan O'Conner Roland & Linda Pringle Natalia Rawle Gabriel & Mona Rio

Douglas & Alicia Rodenberger Ms. Carolyn Rogan Michael J. Shawiak Susan L. Thompson Mr. & Mrs. Frederic A. Weber Beth Weidler & Stephen James Anonymous (2)

Sustainability FUND The Houston Symphony pays special tribute to the 137 donors who made transformational gifts to complete the Sustainability Fund. On December 31, 2015, the Houston Symphony celebrated an extraordinary achievement: the completion of a five-year, $15 million Sustainability Fund, which has transformed the orchestra’s financial position. The Symphony was able to close out the campaign thanks to challenge grant funds totaling $1,050,000 provided by Bobby & Phoebe Tudor, Cora Sue & Harry Mach, Janice Barrow, Steve & Joella Mach and Robert & Jane Cizik. The Ciziks provided the final $500,000 to allow the Symphony to reach its $15 million Sustainability Fund goal. Houston Endowment Estate of Jean R. Sides Bobby & Phoebe Tudor Ms. Marie Taylor Bosarge Janice Barrow Margaret Alkek Williams Jane & Robert Cizik

Clare Attwell Glassell Mrs. Kitty King Powell* The Cullen Foundation The Cullen Trust for the Performing Arts The Brown Foundation, Inc. Cora Sue & Harry Mach The Wortham Foundation, Inc.

John & Lindy Rydman / Spec’s Wines, Spirits & Finer Foods / Spec’s Charitable Foundation MD Anderson Foundation Joella & Steven P. Mach Mr. & Mrs. Jesse B. Tutor

Barbara J. Burger Ron Franklin & Janet Gurwitch The Joan & Marvin Kaplan Foundation Carol & Michael Linn & The Michael C. Linn Family Foundation Barbara & Pat McCelvey Estate of Mary Ann Holloway Phillips Sybil F. Roos Steven & Nancy Williams

Robin Angly & Miles Smith Gary & Marian Beauchamp Laura & Michael Shannon Mr. & Mrs. Philip A. Bahr Nancy & Walter Bratic Janet F. Clark Linda & Gene Dewhurst Bert & Joan Golding Mr. & Mrs.* Robert M. Griswold

Marilyn & Robert Hermance C. Howard Pieper Foundation Tad & Suzanne Smith Alice & Terry Thomas Shirley W. Toomim Janet & Tom Walker *Deceased

InTUNE — April 2018 | 43

Legacy SOCIETY The Legacy Society honors those who have included the Houston Symphony Endowment in their long-term estate plans through bequests, lifeincome gifts or other deferred-giving arrangements. If you would like to learn more about ways to provide for the Houston Symphony Endowment in your estate plans, please contact Patrick T. Quinn, Director, Planned Giving, at 713.337.8532 or patrick.quinn@houstonsymphony.org. Mr. & Mrs. Jeffrey B. Aron Daniel B. Barnum George* & Betty Bashen Dr. Joan Hacken Bitar Dorothy B. Black Ermy Borlenghi Bonfield Kerry Levine Bollmann Zu Broadwater Joan K. Bruchas & H. Philip Cowdin Mr. Christopher & Mrs. Erin Brunner Eugene R. Bruns Sylvia J. Carroll Dr. Robert N. Chanon William J. Clayton & Margaret A. Hughes Mr. & Mrs. Byron Cooley The Honorable & Mrs. William Crassas Patricia Cunningham Dr. Lida S. Dahm Leslie Barry Davidson Judge & Mrs. Harold DeMoss Jr. 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 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 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 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 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 â&#x20AC;&#x153;Immyâ&#x20AC;? 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 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 Daisy S. Wong / JCorp Lorraine & Ed Wulfe David & Tara Wuthrich Katherine & Mark Yzaguirre Edith & Robert Zinn Anonymous (7)

Ione Moran Sidney Moran Sue A. Morrison & children in memory of Walter J. Morrison Robert A. Peiser Gloria G. Pryzant Clive Runnells, in memory of Nancy Morgan Runnells Mr. Charles K. Sanders Donna Scott Charles & Andrea Seay Mr. & Mrs. James A. Shaffer Michael J. Shawiak Jule* & Albert Smith Mr. & Mrs. Louis J. Snyder

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 Jo Dee Wright Susan Gail Wood Ellen A. Yarrell Anonymous (2)

CRESCENDO CIRCLE $100,000+ Dr. & Mrs. George J. Abdo Priscilla R. Angly Janice Barrow James Barton Paul M. Basinski Joe Brazzatti Terry Ann Brown Drs. Dennis & Susan Carlyle Janet F. Clark Mr. William E. Colburn Darrin Davis & Mario Gudmundsson Harrison R.T. Davis Jean & Jack* Ellis The Aubrey & Sylvia Farb Family Eugene Fong

In MEMORIAM

Michael B. George Stephen & Mariglyn Glenn Evan B. Glick Jo A. & Billie Jo Graves Jacquelyn Harrison & Thomas Damgaard Dr. Rita Justice Mr. & Mrs. U. J. LeGrange Ms. Nancey G. Lobb Joella & Steven P. Mach Bill & Karinne McCullough Betty & Gene McDavid Dr. & Mrs.* Robert M. Mihalo Mr. Ronald Mikita & Mr. Rex Spikes

*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 W. P. Beard Ronald C. Borschow Mrs. H. Raymond Brannon Anthony Brigandi Lawrence E. Carlton, M.D. Mrs. Albert V. Caselli Lee Allen Clark Jack Ellis Mrs. Robin A. Elverson Frank R. Eyler Dr. & Mrs. Larry L. Fedder Helen Bess Fariss Foster 44 | Houston Symphony

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

Mr. & Mrs. Charles E. McKerley Doretha Melvin Monroe L. Mendelsohn Jr. Robert Austin Moody Mrs. Janet Moynihan Terrence Murphree Arthur Newman Constantine S. Nicandros Hanni Orton Stewart Orton, Legacy Society co-founder Dr. Michael Papadopoulos Miss Louise Pearl Mary Anne H. Phillips

Mr. Howard Pieper Walter W. Sapp, Legacy Society co-founder J. Fred & Alma Laws Lunsford Schultz Ms. Jean R. Sides Blanche Stastny John K. & Fanny W. Stone Dorothy Barton Thomas Dr. Carlos Vallbona Mrs. Harry C. Weiss Mrs. Edward Wilkerson

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In-Kind DONORS 26 Daisies A Fare Extraordinaire Aker Imaging Alexander’s Fine Portrait Design Alpha-Lee Enterprises, Inc. Aspire Executive Coaching, LLC Barbara Davis Gallery Bergner & Johnson Design Bering’s BKD, LLP Boat Ranch Burberry Cognetic Complete Eats Cullnaire Carl R. Cunningham DLG Research & Marketing Solutions Elaine Turner Designs

(as of March 1, 2018)

Elegant Events by Michael Elliot Marketing Group Elsie Smith Design Festari Foster Quan LLP Gremillion Fine Art 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 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 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

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 Compass Ms. Marie Taylor Bosarge City of Houston through the Miller Theatre Advisory Board Houston Endowment Houston Symphony Endowment Mr. John N. Neighbors

Underwriter $50,000+



Chevron The Elkins Foundation ENGIE Exxon Mobil Corporation The Hearst Foundations, Inc. League of American Orchestras' Futures Fund Houston Livestock Show and Rodeo The John P. McGovern Foundation The Robert & Janice McNair Foundation Occidental Petroleum Corporation Mr. & Mrs. William K. Robbins Jr./ The Robbins Foundation Shell Oil Company

Sponsor



$25,000+

Mr. & Mrs. John P. Dennis III/ WoodRock & Co. The Powell Foundation Sterling-Turner Foundation Wells Fargo 46 | Houston Symphony

Partner



$15,000+

Anadarko Petroleum Corporation Ruth and Ted Bauer Family Foundation The Melbern G. and Susanne M. Glasscock Foundation H-E-B Tournament of Champions Macy's The Newfield Foundation Mr. Jay Steinfeld & Mrs. Barbara Winthrop 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 Houston Symphony League Nancy & Robert Peiser Vivian L. Smith Foundation TPG Capital

Benefactor



$5,000+

William E. & Natoma Pyle Harvey Charitable Trust Houston Symphony League Bay Area LTR Lewis Cloverdale Foundation Marathon Oil Corporation Nordstrom Randalls Food Markets Strake Foundation

Donor



$1,000+

Lilly & Thurmon Andress Diane & Harry Gendel Kinder Morgan Foundation Robert W. & Pearl Wallis Knox Foundation Lillian Kaiser Lewis Foundation Cora Sue & Harry Mach Karinne & Bill McCullough Tricia & Mark Rauch Hazel French Robertson Education & Community Residency

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

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Meet Anne Leek, associate principal oboe Anne Leek, oboe, was educated at Juilliard where she received her bachelors of music, masters of music and doctor of musical arts degrees. During her time in New York, she performed on a recital in Carnegie Hall sponsored by the Artists International Contest, which she won. During the 1980s, Anne was solo principal oboe of the Mannheim Orchestra in Germany. Before joining the Houston Symphony, she played a two-year position as principal oboe in the Pittsburgh Symphony Orchestra under the baton of Lorin Maazel. Along with her career as an orchestral musician, Anne has taught at Indiana University, Arizona State University and is currently teaching at the University of Houston. As a recital soloist and chamber musician, she has appeared in numerous major cities across the world. Are you particularly excited about an upcoming concert? I am looking forward to the Ella Fitzgerald POPS concerts next season. I simply love the music and interpretations she did and want to hear what the artists do to represent her. I am also looking forward to many of our upcoming soloists as the standards of the guests are inspiring and instructive. What inspired you to become a musician? I’m not sure there was a particular event. I started fiddling with my mom’s piano when I was 3 and never looked back! I was too small to become a pianist, so she guided me toward oboe. I went to Juilliard at 16. What would you be if you weren’t a professional musician? Probably a doctor or a history professor. Is there a notable performance or event in your career you’d like to share? Well, playing the Mozart concerto with the New York Philharmonic (which turned out to be a premier of that piece as no oboist had ever performed it with them) was pretty exciting. Playing a recital program with Christoph Eschenbach at the Ravinia Festival was great, too. In addition to performing, you also have a talent for organizing concerts. Tell us a bit about the Greenbriar Consortium. I formed the Greenbriar Consortium so that my Symphony colleagues and I could do creative, fun and informative chamber music concerts. All of us donate our time and talent to play music we love with our friends. We play about four to five concerts each year and present many premiers and rare pieces of music. The programs are all oriented to a theme and are free (donations accepted) to the public. You can see what we have coming up at www.greenbriarconsortium.com! Anne Leek is sponsored by Dr. Jim T. Willerson. 48 | Houston Symphony

Top: My Houston Symphony portrait Middle: Me performing at a Greenbriar Consortium concert Bottom: Me performing Dvořák's Noon Witch with the orchestra in Brussels last month

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