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

THE HOUSTON SYMPHONY MAGAZINE

FEBRUARY 2018

RAVEL’S DAPHNIS AND CHLOÉ 20

ANDRÉS CONDUCTS DVORˇ ÁK 7 26

HILARY HAHN CELEBRATES BERNSTEIN 32

February 2, 3, 4

February 15, 17, 18

February 23, 24, 25

The Houston Symphony celebrates the centennial of Leonard Bernstein throughout the month of February.

InTUNE | F E B R U A R Y

2018

Programs

Ravel’s Daphnis and Chloé February 2, 3, 4 ��20 Tour Preview: Andrés Conducts Dvořák 7 February 15, 17, 18 ��26 Tour Preview: Hilary Hahn Celebrates Bernstein February 23, 24, 25 ��32

Features

Letter to Patrons ��2 The Houston Symphony European Tour ��8 Concert Preview: And the Oscar Goes to... �� 12 Social Impact through Music �� 14 Backstage Pass with Donald Howey �� 44

Events

Upcoming Broadcasts . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 2018 Houston Symphony Ball . . . . . . . . . . . . . . . . . . . . . . 18

Your Houston Symphony

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

Our Supporters

The Houston Symphony European Tour Donors . . . . . . . . . 10 New Century Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Leadership Council . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Vision 2025 Implementation Fund . . . . . . . . . . . . . . . . . . 17 Houston Symphony Donors . . . . . . . . . . . . . . . . . . . . . . . . 36 Young Associates Council . . . . . . . . . . . . . . . . . . . . . . . . . 38 Vintage Virtuoso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Society Board of Trustees ��39 Corporate, Foundation and Government Partners �� 40 Chorus Endowment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Sustainability Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Legacy and Memoriam. . . . . . . . . . . . . . . . . . . . . . . . . . . 42 In-Kind Donors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Education and Community Engagement Donors . . . . . . . . . 43

The Houston Symphony packs its bags for its eight-city European Tour in March.

InTune is produced by the Houston Symphony’s Marketing and Communications department. Trazanna Moreno. . . . . . . . . . . . . . Chief Marketing Officer Vanessa Astros. . . . . . . . . . . . . . . . . Senior Director, Communications Calvin Dotsey. . . . . . . . . . . . . . . . . . . Publications Editor Melanie O'Neill. . . . . . . . . . . . . . . . . Publications Designer Editorial Contributors Carlos Andrés Botero, Musical Ambassador Brian Glass, Marketing Coordinator 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

FEBRUARY 2018

February is always an exciting time at the Houston Symphony; the new season has just been announced, and music lovers throughout the city are discovering the great music we have in store for them next season. With guest artists like Itzhak Perlman, Joshua Bell and Yuja Wang and special presentations like Star Wars Episode IV: A New Hope—in Concert to look forward to, next season promises to be one of the Houston Symphony’s best. Whether you are a longtime subscriber or a new fan, we hope you’ll join us for an exciting 2018-19 Season! We also have plenty of great music to enjoy this month with three exciting classical concerts featuring music of the 20th and 21st centuries. A gorgeous French-American program features one of our favorite conductors, Fabien Gabel, along with percussion rock star Colin Currie for John Corigliano’s riveting percussion concerto. At our two European Tour Preview Concerts—Andrés Conducts Dvořák 7 (Feb. 15, 17 & 18) and Hilary Hahn Celebrates Bernstein (Feb. 23, 24 & 25)—audiences can get a sneak peek of the upcoming four-country, eight-city European Tour. Join us to wish your Houston Symphony bon voyage! Before they leave, our musicians will join Principal POPS Conductor Steven Reineke for a red-carpet night at Jones Hall with The Oscars®: Best Original Songs. Follow the orchestra across Europe on social media with #HSinEurope. We look forward to coming back with fresh inspiration and more great music for you.

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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. Andrés 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, Andrés continues to engage with audiences both with casual commentary from the stage and discussions with guests in “Behind the Scenes with Andrés” videos. On the recording front, he and the orchestra will soon release 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, recorded in early 2017. Additional projects with Pentatone include Haydn’s The Creation. In the 2016–17 season, Andrés and the Symphony released the third disc in their critically acclaimed series featuring Dvořák’s last four symphonies, his first commercial recording project with the orchestra. 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 débuts with the San Francisco Symphony in April and the Berlin Philharmonic in May. Andrés and the Frankfurt Radio Symphony gave a series of concerts as orchestra-in-residence 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 Music Festival, at the Mecklenburg-Vorpommern Festival and at Styriarte in Graz. Andrés will lead the Houston Symphony on a four-country, eight-city European tour in March 2018, 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 will join 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 Position Vacant

Stage Technicians Ritaban Ghosh Jose Rios Ryan Samuelsen David Stennis

InTUNE — February 2018 | 5

STAFF

ADMINISTRATIVE

The Houston Symphony Administrative Staff is made up of 71 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

Pam Blaine, Chief of Education and Community Programming Elizabeth S. Condic, Chief Financial Officer Amanda T. Dinitz, Interim Executive Director/ 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 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 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 Coordinator James Grant, Graphic Designer 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 Michael Gorman, Orchestra Personnel Manager Hae-A Lee, Assistant Librarian Michael McMurray, Assistant Librarian 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

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From left: Tom Williams, Leah Bennett, Allen Lewis, Bill Cunningham, Susan Wedelich, Maureen Phillips, Donnie Roberts

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EUROPEAN TOU

the Houston Symphony

8 | Houston Symphony

BY CARLOS ANDRÉS BOTERO, MUSICAL AMBASSADOR Orchestra musicians love touring. The notion that the orchestra is building bridges, making connections and drawing together a diversity of people through music—while also enjoying ovations, sightseeing, history and culture—makes tours a memorable part of any musician’s career. For a while, every musician is removed from everyday concerns—laundry, dishes, what's for dinner, traffic—and can really focus on the music, leading to bonding and morale-building among orchestra members. You might wonder, however, how the Houston Symphony’s upcoming tour of Europe next month benefits concertgoers here in Jones Hall. A great orchestra like ours must always keep challenging itself, and the artistic challenge of performing in concert halls where the classical repertoire has been played since its creation is significant, to say the least. The ever-changing acoustics of the different concert halls the orchestra visits will require all the attention musicians can muster. For starters, rehearsal time prior to each concert is limited. Our musicians must listen closely to each other in these unfamiliar settings while also responding to many variables, such as whether the hall is dry or booming or if it favors high frequencies over low ones. Based on what they hear, the musicians must instantly evaluate the sound and make minute corrections. These concentrated efforts raise the level of the ensemble and, by extension, performances back at home. As Houston Symphony horn player Nancy Goodearl explained, “We learn to hear each other in different ways, bringing new insights to the music and flexibility to our playing, which makes us better musicians. We return to Houston a more refined ensemble, presenting better concerts for our home audiences.” An American orchestra on tour can also be one of the most effective ambassadors of the United States. Our sold-out concerts indicate that European audiences are eager to hear what Houston audiences experience at Jones Hall on a weekly basis. Even so, every time an American orchestra visits Europe, it must prove it can play at the highest musical level. It’s not just enthusiastic music lovers who will hear our orchestra play the socks off a very challenging set of pieces, but international critics, administrators, agents and other musicians. Playing abroad helps build our orchestra’s reputation, which can lead to guest artists becoming more eager to visit us and orchestra musicians more excited to audition when vacancies open in the orchestra. Music lovers abroad may also become more aware of the amazing artistry they can experience in our city, making them more likely to visit or even move here if the opportunity arises. In the words of Music Director Andrés Orozco-Estrada, “It is very special for me to take the orchestra to some of the most distinguished halls in the world with major works that are essential to the classical repertoire…Touring is an important part of our artistic growth that helps us connect with audiences in other parts of the world and represent our city of Houston well.” Most importantly, touring shows us how symphonic music can help people from all over the world come together, realizing human harmony and timeless beauty. Preview the music featured on the tour at Andrés Conducts Dvořák 7 (February 15, 17, 18) and Hilary Hahn Celebrates Bernstein (February 23, 24, 25).

ANDRÉS OROZCO-ESTRADA MUSIC DIRECTOR

HOUSTON SYMPHONY MUSICIANS

6 2

HILARY HAHN GUEST ARTIST

CONCERT ITINERARY

HAMBURG

ELBPHILHARMONIE HAMBURG

MARCH 17

ESSEN

BERLIN

KONZERTHAUS BERLIN

MARCH 12

PHILHARMONIE ESSEN

MARCH 11

BRUSSELS

WARSAW

FILHARMONIA NARODOWA

MARCH 14

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MARCH 9

7 8

MUNICH

GASTEIG MÜNCHEN

MARCH 19

HANNOVER

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MARCH 18

VIENNA

WIENER KONZERTHAUS

MARCH 15

100 ORCHESTRA MUSICIANS • 8 CITIES • 8 CONCERTS • 6 PIECES • 3 COMPOSERS • 1 GUEST ARTIST • 1 CONDUCTOR InTUNE — February 2018 | 9

DONOR

the Houston Symphony European Tour

Thanks to the generous support of our tour funders, we’ve raised more than $1.6 million toward the Houston Symphony’s first major European tour in 20 years! Led by Andrés Orozco-Estrada, and joined by renowned violinist Hilary Hahn, the orchestra will show audiences in Europe’s finest concert halls that one of the world’s great orchestras is right here in Houston. This is an important step toward realizing our vision for the Symphony, raising our city’s reputation for cultural excellence and showing the world we are #HoustonStrong after Hurricane Harvey. The Houston Symphony is pleased to recognize and thank the following donors for making this milestone possible. For more information on supporting this historic tour and our $2M fundraising goal, 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

Barbara J. Burger Janet F. Clark Rochelle & Max Levit Barbara & Pat McCelvey Anonymous The Brown Foundation, Inc. Drs. Dennis & Susan Carlyle Mr. John N. Neighbors Bobby & Phoebe Tudor Ron Franklin & Janet Gurwitch The Joan & Marvin Kaplan Foundation Carol & Michael Linn & The Michael C. Linn Family Foundation Beth Madison Nancy & Robert Peiser Dave & Alie Pruner John & Lindy Rydman / Spec's Wines, Spirits & Finer Foods / Spec's Charitable Foundation Mr. Jay Steinfeld & Mrs. Barbara Winthrop

10 | Houston Symphony

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Oh, dream maker, you heart breaker Wherever you’re goin’, I'm goin’ your way —Moon River

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12 | Houston Symphony

Songs are a many-splendored thing in motion pictures. They book-end films, serving as overture and coda, preparing canvases for directors and offering the audience a sense of ceremony as it enters and departs from the world of a film. The best original songs pull on us with lyrical hooks toward what really matters in a scene, distilling the essence of a film. To celebrate the legacy of song in film, the Houston Symphony presents The Oscars®: Best Original Songs just in time for this year’s awards ceremony. Since 1934, the Academy of Motion Picture Arts and Sciences® has issued recognition and gold statuettes for original songs in movies, “written specifically for the motion picture…the result of a creative interaction between the filmmaker(s) and the composer(s) and/or songwriter(s)…” Nearly from the award’s inception, directors and producers trained their sights on its prestige. The history of the James Bond film franchise exhibits a particularly serious case of Best Original Song Oscar® Fever. Though Paul McCartney secured a nomination for the franchise in 1974, it took Adele to win its first song Oscar® with “Skyfall” in 2013. Another heavy hitter in the category, the Walt Disney Company built a whole new world of original film songs during the company’s second golden age in the 1990s. With collaborators like composer Alan Menken, Disney won the category seven times over the course of the decade with songs like the beloved ballad “Tale as Old as Time” from Beauty and the Beast®. More recently, “Let it Go” from Frozen® won the category in 2013 and is still all the rage with would-be princesses. Sometimes, however, serendipity is responsible for the appearance of an Oscar®-winning song in a film. Paramount Pictures executive Martin Rackin pointedly suggested cutting “Moon River” from Breakfast at Tiffany’s (1961) following a preliminary screening, though Audrey Hepburn’s protests saved it. Tailored to Hepburn’s soft voice with a range barely wider than an octave, the song initially cost composer Henry Mancini some trouble; he took one month to write the first three notes and half an hour for the rest. In contrast, studio executives nudged director James Cameron to conclude his epic Titanic (1997) with “My Heart Will Go On.” Cameron didn’t want a song in the film, but James Horner, film composer and hopeless romantic, wrote one anyway. After carrying a cassette of the demo in his pocket for weeks, Horner made his pitch, and the director relented on first hearing. The result, as one producer put it, was “something you could take home.”

Tune in for a series of Miller Theatre concerts by the Houston Symphony This month’s broadcasts feature the 2017 ExxonMobil Summer Symphony Nights concerts, recorded under the stars at Miller Outdoor Theatre! Hear the orchestra perform audience favorites with rising young soloists and more—including concertos by Barber, Tchaikovsky and Haydn, plus Fiesta! by Composer-in-Residence Jimmy López.

FEBRUARY 2018 BROADCAST SCHEDULE ALL BROADCASTS AIR AT 8PM

February 4 News 88.7 February 7 Classical RECORDED:

Robert Franz, conductor Annelle Gregory, violin Willan: Overture to An Unwritten Comedy Barber: Violin Concerto Beethoven: Symphony No. 3, Eroica

June 23, 2017 (Miller)

February 11 News 88.7 February 14 Classical

David Danzmayr, conductor J. López: Fiesta! Dvoˇrák: Symphony No. 8

RECORDED:

June 24, 2017 (Miller)

February 18 News 88.7 February 21 Classical RECORDED:

Ben Gernon, conductor George Li, piano Glinka: Overture to Ruslan and Ludmila Tchaikovsky: Piano Concerto No. 1 Mendelssohn: Symphony No. 1

June 30, 2017 (Miller)

February 25 News 88.7 February 28 Classical RECORDED:

July 1, 2017 (Miller)

Alexander Prior, conductor Rainer Crosett, cello (Silver medal winner, 2017 Houston Symphony Ima Hogg Competition) Verdi: Overture to I Vespri Siciliani Haydn: Cello Concerto in C major Brahms: Symphony No. 4

These are just a few of the hits of the silver screen that audiences can look forward to at The Oscars®: Best Original Songs. Join conductor Steven Reineke and vocalists Ashley Brown and Hugo Panaro March 1, 2 and 3 for the songs that inspired filmmakers—and us.

InTUNE — February 2018 | 13

Social Impact

THROUGH

MUSIC Houston Symphony's New Community Partnership Program BY EMILY NELSON, ASSOCIATE DIRECTOR, EDUCATION & COMMUNITY PROGRAMMING

Community-Embedded Musician and cellist Hellen Weberpal interacts with members of The Brookwood Community after a quartet performance.

14 | Houston Symphony

As music lovers, we know the power music has to change lives, so the Houston Symphony, is always looking for new and unexpected ways to harness this power to make a real difference in our city. How can we respond to critical community needs like homelessness, social inclusion and child welfare through music? One way is to work with other non-profit organizations to enhance the quality of life of the people they serve. Over the past year, we have been building partnerships with more than 20 social service agencies, healthcare centers and senior centers throughout the Greater Houston area to present interactive chamber concerts in communities and provide their clients with opportunities to attend Jones Hall concerts free of charge. We work with our partners to identify common goals, helping both institutions forward our missions through music. For instance, the Salvation Army Harbor Light Center, a center dedicated to Houston's homeless and addicted men, uses donated Houston Symphony concert tickets as incentives in its drug and alcohol recovery program. As Harbor Light case worker

A member of Big Brothers Big Sisters tries out CommunityEmbedded Musician Anthony Parceâ&#x20AC;&#x2122;s viola during the annual Holiday Celebration at the Houston Symphony Family Concert.

Christopher Glaser observes, “The music helps the clients focus on something positive rather than their addiction or circumstances.” Across all cultures and walks of life, music is a common language that offers hope and healing to those who need it most. Certainly the clients of Bo’s Place, a non-profit bereavement center, fall into that category. “The families who attended the concert on Saturday have raved about their meaningful experience as a family unit and about the lasting memories they created as individuals. Thank you for providing a healing family experience...You help us heal hearts through music and art,” says Courtney Reynolds, Special Programs Manager at Bo’s Place. We are excited to continue to explore innovative ways to have a social impact through music by working with our current and new community partners in 2018. Please visit houstonsymphony. org to learn how you can help us improve the quality of life for all Houstonians through the power of music.

Women from Dress for Success attend a Houston Symphony BBVA Compass POPS concert and talk with CommunityEmbedded Musician and bassist David Connor before the show.

InTUNE — February 2018 | 15

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

16 | Houston Symphony

EARLY ADOPTERS Vision 2025 Implementation Fund Vision 2025, the Houston Symphony’s ten-year Strategic Plan, will allow the Houston Symphony to be America’s most relevant and accessible top-ten orchestra by 2025. Vision 2025 was kick-started by early adopters in 2015. The Houston Symphony recognizes and thanks the following Early Adopters for their initial investments in support of our ambitious vision. Vision 2025 Implementation Fund The Vision 2025 Implementation Fund will catalyze the transformative growth outlined within Vision 2025. The Houston Symphony recognizes and thanks the following supporters of the Vision 2025 Implementation Fund. OPERATING SUPPORT Rochelle & Max Levit Bobby & Phoebe Tudor Barbara J. Burger John & Lindy Rydman/ Spec’s Wines, Spirits & Finer Foods/ Spec’s Charitable Foundation Anonymous C. Howard Pieper Foundation Clare Attwell Glassell Janet F. Clark The Brown Foundation, Inc. The Joan & Marvin Kaplan Foundation Mr. John N. Neighbors Barbara & Pat McCelvey Ms. Marie Taylor Bosarge Joella & Steven P. Mach Clive Runnells in memory of Nancy Morgan Runnells Beauchamp Foundation Lisa & Jerry Simon League of American Orchestras' Futures Fund BBVA Compass Robin Angly & Miles Smith Drs. Dennis & Susan Carlyle LTR Lewis Cloverdale Foundation Jay & Shirley Marks Vivian L. Smith Foundation Nancy & Robert Peiser Dave & Alie Pruner

Mr. Jay Steinfield & Mrs. Barbara Winthrop Michael J. Shawiak

Spir Star, Ltd. Shirley Wolff Toomim Daisy S. Wong / JCorp

Mr. & Mrs. Alexander K. McLanahan The Boeing Company Justice Brett & Erin Busby Ron Franklin & Janet Gurwitch Carol & Michael Linn and The Michael C. Linn Family Foundation Beth Madison Rita & Paul Morico Ms. Ellen A. Yarrell, in memory of Virginia S. Anderson and in honor of Cora Sue Mach

Brad & Joan Corson Mr. & Mrs. Jesse B. Tutor Estate of Freddie L. Anderson Mr. & Mrs. Marvy A. Finger Eugene Fong Dr. Gary L. Hollingsworth & Dr. Kenneth J. Hyde Mr. Jackson D. Hicks Mr. & Mrs. U. J. LeGrange Gary Mercer Mike Stude Stephen & Kristine Wallace Texas Commission on the Arts

Robert G. Weiner & Toni Blankmann Stephen & Mariglyn Glenn Evan B. Glick Viviana & David Denechaud Christina & Mark C. Hanson Debbie & Frank G. Jones Dr. Stewart Morris Donna & Tim Shen Tad & Suzanne Smith Judith Vincent

PLANNED AND ENDOWMENT GIFTS

Vicki West & Mrs. Liv Estrada Albert & Ethel Herzstein Charitable Foundation BB&T / Courtney & Bill Toomey Marzena & Jacek Jaminski Cora Sue & Harry Mach Catherine & Bob Orr Mrs. Sybil F. Roos

Dr. & Mrs. George J. Abdo Robin Angly James Barton Paul M. Basinski Mr. & Mrs. Alexander K. McLanahan Michael J. Shawiak C. Howard Pieper Foundation Dr. James E. & Betty W. Key The Hon. Stella G. & Richard C. Nelson Tad & Suzanne Smith Susan Gail Wood The Estate of Dorothy H. Grieves The Estate of David L. Hyde

EARLY ADOPTERS Margaret Alkek Williams Janice Barrow The Brown Foundation, Inc. Cora Sue & Harry Mach Albert & Ethel Herzstein Charitable Foundation Joella & Steven P. Mach Rochelle & Max Levit Steven & Nancy Williams Robin Angly & Miles Smith Carol & Michael Linn & The Michael C. Linn Family Foundation The Hearst Foundation, Inc. Mr. & Mrs. Jesse B. Tutor Bobby & Phoebe Tudor Baker Botts L.L.P. Nancy & Robert Peiser Barbara & Pat McCelvey The Robert & Janice McNair Foundation / Palmetto Partners, Ltd. John & Lindy Rydman / Spec’s Wines, Spirits & Finer Foods/ Spec’s Charitable Foundation Mr. & Mrs. Rodney H. Margolis Billy & Christie McCartney Mr. & Mrs. Jim R. Smith Danielle & Josh Batchelor BBVA Compass Dave & Alie Pruner

For more information or to pledge your support for Vision 2025, please contact: Amanda T. Dinitz, Interim Executive Director/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 — February 2018 | 17

S AV E THE DATE 2018 HOUSTON SYMPHONY BALL

THE

BALINESE ROOM S AT U R D AY, M AY 1 2 , 2 0 1 8 T H E P O S T O A K H O T E L AT U P T O W N H O U S T O N R O B I N A N G LY A N D M I L E S S M I T H , C H A I R S D A R R I N D AV I S A N D M A R I O G U D M U N D S S O N , C O - C H A I R S ENT ERTA I NM ENT PROV IDE D BY T HE DAVI D CACE RES BAND A ND DJ K A LK UTTA

Robin Angly & Miles Smith FOR FURTHER INFORMATION, CONTACT RACHEL KLAASSEN, ASSOCIATE, SPECIAL EVENTS, AT RACHEL.KLAASSEN@HOUSTONSYMPHONY.ORG OR 713.337.8520 WWW.HOUSTONSYMPHONY.ORG/SYMPHONY-BALL

Darrin Davis & Mario Gudmundsson

InTUNE â&#x20AC;&#x201D; February 2018 | 19

FEATURED PROGRAM

RAVEL'S DAPHNIS AND CHLOÉ Friday Saturday Sunday

February 2, 2018 February 3, 2018 February 4, 2018

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

Jones Hall

Fabien Gabel, conductor Colin Currie, percussion

Bernstein

Overture to Candide

ca. 5

Corigliano

Conjurer: Concerto for Percussionist and String Orchestra (with optional Brass)

ca. 35

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

Ibert

L. Aubert Ravel

Escales (Ports of Call) I Calme II Modére très rythmé III Animé

ca. 15

Habanera

ca. 9

Suite No. 2 from Daphnis et Chloé

ca. 16

This program is part of our Bernstein at 100 celebration. 20 | Houston Symphony

Did you know? • Leonard Bernstein conducted the Houston Symphony in his Overture to Candide at Miller Outdoor Theatre on June 21, 1983, as part of the Houston Symphony’s 70th Anniversary Gala Concert. • The ending of Daphnis and Chloé gave Ravel a lot of trouble. At one point, he became so discouraged he asked Louis Aubert (who wrote the Habanera on this program) to write it for him. Aubert wisely refused.

Ravel’s Daphnis and Chloé | Program Biographies

Program BIOGRAPHIES SHELL FAVORITE MASTERS SERIES

These performances are generously supported in part by:

Fabien Gabel | conductor

Diamond Guarantor Houston Symphony Endowment

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

GAETAN BERNARD

Underwriter Susan & Dennis Carlyle in honor of John Corigliano

Fabien Gabel has been music director of the Quebec Symphony Orchestra since September 2013 and was recently appointed music director of the Orchestre Français des Jeunes (French Youth Orchestra). His 2017-18 season includes performances here and with the National, Bournemouth, Detroit and Milwaukee Symphony Orchestras; Frankfurt’s Hessischer Rundfunk Orchester; the Orchestre de Paris; the San Diego Symphony and the Helsinki and Antwerp Philharmonic Orchestras. He has conducted many other leading orchestras, including the Cleveland Orchestra; the London Philharmonic Orchestra; London, Danish National, BBC and City of Birmingham Symphony Orchestras; the Mahler Chamber Orchestra; the NDR Elbphilharmonie Orchester in Hamburg; the Deutsches Symphonie-Orchester Berlin; Staatskappelle Dresden; Oslo Philharmonic; Seoul Philharmonic Orchestra and the Orchestra dell’Accademia Nazionale di Santa Cecilia. Fabien has worked with Emanuel Ax, Gidon Cremer, Christian Tetzlaff, Jean-Yves Thibaudet, Julian Steckel, Johannes Moser, Antônio Meneses, Marc-André Hamelin, Beatrice Rana, Gautier Capuçon, Simone Lamsma, Jennifer Larmore, Measha Brueggergosman, Danielle de Niese and Natalie Dessay. Fabien first attracted international attention in 2004 by winning the Donatella Flick Conducting Competition, which led to his appointment as the London Symphony Orchestra’s assistant conductor for two seasons. He made his professional conducting debut in 2003 with the Orchestre National de France and now regularly conducts that orchestra in subscription concerts at the Théâtre des Champs-Élysées. He and the orchestra recently created a recording with mezzo Marie-Nicole Lemieux (Naïve). Born in Paris to a family of accomplished musicians, Fabien Gabel began studying trumpet at 6. He studied at the Conservatoire National Supérieur de Musique de Paris (which awarded him a First Prize in trumpet in 1996) and at the Hochschule für Musik Karlsruhe. As a trumpet player, he performed in several Parisian orchestras under the direction of Pierre Boulez, Sir Colin Davis, Riccardo Muti, Seiji Ozawa, Simon Rattle and Bernard Haitink. In 2002, Fabien studied conducting at the Aspen Summer Music Festival with David Zinman, who invited him to appear as a guest conductor at the Festival in 2009. He has served as assistant to Haitink and Davis.

InTUNE — February 2018 | 21

Program BIOGRAPHIES , continued

Colin Currie | percussion Hailed as “the world’s finest and most daring percussionist” (The Spectator), Colin Currie regularly performs with the world’s leading orchestras and conductors. From his earliest years, Colin forged a pioneering path in commissioning and creating new music for percussion. In recognition of this commitment, he received the Royal Philharmonic Society Young Artist Award in 2000, a Borletti-Buitoni Trust Award in 2005 and the Royal Philharmonic Society Instrumentalist Award in 2015. He has premiered works by Steve Reich, Elliott Carter, Louis Andriessen, HK Gruber, James MacMillan, Anna Clyne, Einojuhani Rautavaara, Jennifer Higdon, Kalevi Aho, Rolf Wallin, Kurt Schwertsik, Alexander Goehr, Andrew Norman, Mark-Anthony Turnage, Julia Wolfe and Nico Muhly. His 2017-18 season includes premieres of works by Andy Akiho, Sir Harrison Birtwistle, Brett Dean, Joe Duddell and Dave Maric. In the coming seasons, he will premiere works by Helen Grime and Simon Holt. Colin currently serves as artist-in-association at London’s Southbank Centre, where he was the focus of a major percussion festival in 2014; and this season, he completes his three-year term as artist-in-residence with the Oregon Symphony. This season also features a series of solo recitals at The Schubert Club, Budapest’s Liszt Academy, Lawrence University and Sir James MacMillan’s The Cumnock Tryst music festival. Orchestral engagements include performances here and with the Antwerp Symphony Orchestra, BBC Philharmonic, Arnhem Philharmonic Orchestra, National Youth Orchestra of Scotland and the Scottish Chamber and Brno Contemporary Orchestras. The Colin Currie Group was formed in 2006 to celebrate the music of Steve Reich and made its five-star debut at the BBC Proms. With Reich’s endorsement, the ensemble has become ambassadors for Reich’s Drumming, a work they have performed many times. The group’s debut recording of Drumming is scheduled for release this season. Currie has recorded many concertos, solos and chamber works, including works by Carter (Ondine) and Holt (NMC). His recording of Rautavaara’s Incantations with the Helsinki Philharmonic Orchestra and John Storgårds (Ondine) won a 2012 Gramophone Award, and his recording of Higdon’s Percussion Concerto with the London Philharmonic Orchestra and Marin Alsop won a 2010 Grammy Award. Colin Currie plays Zildjan cymbals and is a MarimbaOne Artist. To learn more, visit www.colincurrie.com. 22 | Houston Symphony

Program NOTES Overture to Candide

Leonard Bernstein (1918-1990) Leonard Bernstein’s Candide had a long and troubled genesis. The playwright Lillian Hellman first suggested adapting Voltaire’s classic novella to Bernstein in 1953, but it took three years of fitful work before the show was presented to the public. The ever distractible Bernstein was busy with a multitude of projects as part of his jet-setting career, not to mention more frivolous pursuits. For instance, Tyrone Guthrie, the show’s director, once chided him, “Lenny, we know you weren’t working yesterday. We know you were waterskiing all day at Piggy Warburg’s. Now will you please sit down and write this music?” Despite critical praise, Candide’s initial Broadway run as a musical comedy was a flop, and Bernstein would rework it many times over the following 30 years as it morphed into an operetta. The overture, however, quickly became a concert hall staple. Its concise fourand-a-half minutes are jam-packed with virtuoso passagework for every instrument. At its core, however, is one of Bernstein’s most beautiful melodies, a lyrical tune in septuple time. The Instruments: 2 flutes, piccolo, 2 oboes, 2 clarinets, bass clarinet, E-flat clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp and strings

Conjurer: Concerto for Percussionist and String Orchestra (with optional Brass)

John Corigliano (b. 1938)

In the 1990s, John Corigliano’s star was on the rise as he won major awards and commissions. Around this time, the worldrenowned percussionist Evelyn Glennie first approached Corigliano with a request for a concerto. “When asked…my only reaction was horror,” he later recalled. Because percussionists play dozens of very different instruments, he felt that most percussion concertos sounded like orchestra pieces with an extra-large percussion section, rather than true concertos featuring a soloist with a distinct voice. Glennie was very persistent, however, and by the late 2000s conductor Marin Alsop and the Pittsburgh Symphony Orchestra were also clamoring for a percussion concerto. Hoping to dissuade them once and for all, Corigliano demanded an exorbitant fee. To his dismay, they scraped together the necessary funds. Corigliano thus had to come up with solutions to his musical problems. To heighten the focus on the soloist, he omitted woodwinds from the orchestra, and to provide unity to the sound of the soloist, he divided the piece into three movements based on what percussion instruments are made of: wood, metal and skin. Further honing his ideas, he decided to begin each movement with a cadenza, an extended passage without orchestral accompaniment. “The effect in performance is that the soloist

Ravel’s Daphnis and Chloé | Program Notes

doesn’t so much introduce material as conjure it, as if by magic,” Corigliano realized after he completed the score. He thus named his concerto Conjurer.

These travels provided the inspiration for Escales (Ports of Call), although he was at first hesitant to reveal this: “It was from the beginning a suite in three movements, which I ingeniously titled 1, 2 and 3. People found, not without reason, that this was not very expressive. I was kindly asked to ‘explain’ further, so I did…”

The first movement, “Wood,” features a variable assortment of wooden percussion instruments, although the focus is on the marimba and xylophone. Skittering, staccato sounds abound, and “The first movement, in which from time to time the rhythms of a tarantella appear between the swells of the sea, became when the strings enter, they imitate the percussion instruments Palermo without much trouble…” Indeed, the central section, with non-traditional techniques. An uneasy stillness reigns near the middle of the movement, after which the skittering gradually returns. which features lively tarantella rhythms, is surrounded by a calm, beautifully orchestrated depiction of the sea, which seems to glint This is suddenly cut off by theatrical crashes from the chimes in the Mediterranean sunlight. and tam tam, signaling the beginning of the second movement,

“Metal,” the emotional core of the work. After a cadenza for the chimes, the cellos introduce a lyrical, cathartic melody. The soloist elaborates on this theme with the vibraphone. Near the middle of the movement, a frightening crescendo leads to a dramatic climax. After, the lyrical melody returns in a unique way; for this moment, Corigliano invented a new way of playing the vibraphone in which it is simultaneously bowed and struck, creating a sustained melodic line. The final movement, “Skin,” begins with a cadenza for the talking drum, a West African instrument known for its ability to mimic human speech. This cadenza, which has some light accompaniment from the strings, ends when the orchestra introduces an accelerating, rising-scale motif punctuated by pregnant pauses. Here, the brass instruments enter for the first time to balance the power of the soloist’s timpani, bass drum, tom toms, congas and kick drum. The calmer central section features bird-like, trilling strings, but the more dramatic music soon returns. In the hair-raising finale, the soloist’s part is completely improvised as the concerto races to its powerful conclusion.

Though the second movement is called Tunis, it was in fact inspired by music Ibert heard in Naftah, a remote oasis town in southern Tunisia which he and his wife reached after a four-hour journey by mule. “When I travel, I am interested in everything,” he said, including “snake charmers…” Indeed, many listeners have interpreted the movement’s extended oboe solo as an imitation of a Tunisian snake charmer’s music. The “marked Iberianism” of the last movement earned it the name Valenica. Sure enough, after a brief introduction, castanets introduce a vibrant Spanish theme. A slower, lushly-scored middle section builds to a boisterous finale, bringing the musical voyage to an exuberant conclusion. The Instruments: 2 flutes (one doubling piccolo), piccolo, 2 oboes, English horn, 2 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps , celesta and strings continued 

The Instruments: 4 horns, 3 trumpets, 3 trombones, tuba and strings

Escales (Ports of Call)

Jacques Ibert (1890-1962)

Jacques Ibert can be considered one of the most successful of the generation of French composers who followed in the footsteps of Debussy and Ravel. His studies at the Paris Conservatory were interrupted by the First World War, during which he served in the French navy. After the war, he won the 1919 Prix de Rome, France’s most prestigious award for young composers. The award, which came with an extended residency in Rome, was not his only good fortune that year; he also married the sculptor Rosette Verber, and they honeymooned in Spain. At the end of his residency in Rome in 1922, they traveled to Sicily and Tunisia so that he could study North African music.

ConocoPhillips has been a proud supporter of the Houston Symphony for more than four decades. It applauds the Symphony’s efforts to promote music education, cultural awareness and Houston’s vibrant arts community. As one of the world’s largest independent exploration and production companies, ConocoPhillips is committed to being a great neighbor and responsible citizen in the communities in which we live and work. The company's support of the Houston Symphony is just one example of how it gives back to the community.

InTUNE — February 2018 | 23

Program NOTES , continued

Habanera

Louis Aubert (1877-1968) As a boy soprano, Louis Aubert sang the treble solos in the premiere of Gabriel Fauré’s Requiem, and went on to become one of Fauré’s best composition students. He was also friends with Maurice Ravel, and as a pianist, he gave the premiere of Ravel’s Valses nobles et sentimentales. As one might expect, his musical style is akin to those of Fauré, Debussy and Ravel. Ever since Bizet included a habanera in his opera Carmen, the Cuban dance had become popular with French composers. Aubert’s Habanera begins with a languid melody in the violas. Then, through subtle and delicate orchestration, it gradually builds to a passionate climax before fading away in a dreamy, extended coda. Aubert prefaced his Habanera with an excerpt from Baudelaire’s prose poem, A Hemisphere in a Lock of Hair, in which the narrator imagines an exotic paradise in his beloved’s hair. Let me breathe long, long the scent of your hair, and dive headlong into it like a man thirsty for the water of a spring, and run my hand through it like a fragrant handkerchief, shaking memories in the air. If you could know all that I see! all that I feel! all that I hear in your hair! My soul travels on its perfume as the souls of other men on music. The Instruments: 3 flutes (one doubling piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, sarrusophone, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps and strings

Suite No. 2 from Daphnis et Chloé

Maurice Ravel (1875-1937)

The idea for a ballet based on Daphnis and Chloé (an ancient Greek love story attributed to Longus) originated with the Russian choreographer Michel Fokine; when he became involved with the groundbreaking Ballets russes in Paris the idea became a reality. Maurice Ravel, one of France’s leading composers, was sought out as a collaborator. Fokine recalled, “I was delighted that a musician of such talent was going to write music for my Daphnis ballet, and I felt that the music would be unusual, colorful and, most important, what I sincerely wished—totally unlike any other ballet music.” Shortly after talks began in 1909, Ravel wrote to a friend, “…I’ve just had an insane week: preparation of a ballet libretto for the next Russian season. Almost every night, work until 3 a.m. What complicates things is that Fokine doesn’t know a word of French, and I only know how to swear in Russian. In spite of interpreters, you can imagine the savor of these meetings.” The project was beset with a number of problems and delays, and at one point was nearly cancelled. Despite a troubled genesis, Daphnis is now recognized as Ravel’s greatest masterpiece. 24 | Houston Symphony

Ravel referred to Daphnis as a “choreographic symphony” explaining that “My intention in writing it was to compose a vast musical fresco in which I was less concerned with archaism than with faithfully reproducing the Greece of my dreams...” Indeed, the opulent orchestrations and sensuous melodies of Daphnis create a dream-like atmosphere of unsurpassed beauty. In the first two acts of the ballet, Daphnis and Chloé fall in love, and Chloé is abducted by a band of unsavory pirates. When Daphnis discovers Chloé has been kidnapped, he collapses near a grotto sacred to the god Pan. Nymphs entreat Pan to rescue Chloé, which he does. The music of the Suite No. 2 comes from the final scene of the ballet. After one of music’s most famous sunrises, shepherds appear to wake Daphnis, who is still mourning the loss of Chloé. From their midst, Chloé emerges. The shepherds throw the couple into each other’s arms as the sunrise music returns even more resplendent than before. The following oboe solo represents an old shepherd who tells them that Pan was moved to help them because he once loved the nymph Syrinx. Daphnis and Chloé then reenact the myth. A trio of two oboes and English horn accompany Chloé as Syrinx, and the strings represent Daphnis as Pan. Syrinx rejects Pan’s advances and transforms herself into reeds. From them, Pan fashions a flute and begins to play. The following flute solo accompanies a dance by Chloé. The dance becomes faster and faster until Chloé, spinning out of control, falls into the arms of Daphnis. After a violin solo, Daphnis makes an offering at Pan’s altar accompanied by a solemn figure in the trumpets. Suddenly, a group of young women dressed as bacchantes enters playing tambourines. A group of young men follows, exhorting all gathered to rejoice. A whirling celebration of love, the finale is a triumph of wild, Dionysian rhythms. —Calvin Dotsey The Instruments: 2 flutes (one doubling piccolo), piccolo, alto flute, 2 oboes, English horn, 2 clarinets, bass clarinet, E-flat clarinet, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, celesta, and strings

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ANDRÉS CONDUCTS ˇ 7 DVORÁK Thursday Saturday Sunday

February 15, 2018 February 17, 2018 February 18, 2018

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

Jones Hall

Andrés Orozco-Estrada, conductor *Sami Junnonen, flute * Houston Symphony debut

Bernstein

J. López

Three Dance Episodes from On the Town I The Great Lover Displays Himself: Allegro pesante II Lonely Town, Pas de deux: Andante III Times Square, 1944: Allegro

ca. 10

Lago de Lágrimas (Lake of Tears), Concerto for Flute I Suplicio: Tempo I, L = 48 II Transmutación: Tempo I, L = 144

ca. 20

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

Dvoˇrák

Symphony No. 7 in D minor, Opus 70 I Allegro maestoso II Poco adagio III Scherzo: Vivace IV Finale: Allegro

This program is part of our Bernstein at 100 celebration. 26 | Houston Symphony

ca. 38

Did you know? • Dvořák was an avid locomotive enthusiast and would often visit the Prague train station to examine different models of trains and check the train schedules. It was during one of these visits that the opening theme of his Seventh Symphony came to him.

Andrés Conducts Dvořák 7 | Program Biographies

Program BIOGRAPHIES FROST BANK GOLD CLASSICS

These performances are generously supported in part by: Underwriter The Joan and Marvin Kaplan Foundation Mr. John N. Neighbors Katie & Bob Orr/Oliver Wyman Sponsor Robert G. Weiner & Toni Blankmann

The Houston Symphony's Composer-inResidence and commissioning initiatives are supported in part by Robin Angly & Miles Smith Barbara J. Burger Michael J. Shawiak 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.

Andrés Orozco-Estrada | conductor

Please see Andrés Orozco-Estrada's biography on page 4.

Sami Junnonen | flute Praised by Berlin Philharmonic principal flute Emmanuel Pahud for his “remarkable mastery of his instrument throughout the whole range of expression,” Sami Junnonen (born 1977 in Tampere, Finland) has established a versatile international career by performing as a flute soloist with a wide repertoire that ranges from early music to contemporary works. Sami collaborates frequently with many of the most significant composers of our time, and his 2012 debut recital at Finland’s Helsinki Music Centre received outstanding reviews. Sami has worked as principal flutist in various orchestras, including the Hong Kong Sinfonietta, the Auckland Philharmonia Orchestra and the UK’s Royal Northern Sinfonia. He has taught flute performance and chamber music at the University of Auckland in New Zealand. Since 2017, he has served as artistic director of The Sea Lapland International Flute Festival of Finland. Sami releases music through Resonus Classics, Alba Records and SibaRecords. He has recorded for the Finnish Broadcasting Company, Radio Television Hong Kong and Radio New Zealand, as well as for Sony BMG, Bayerische Rundfunk, Naxos and Ondine. He is a multiple prize winner in international music competitions, and his artistic work has been sponsored by several cultural institutions. Sami Junnonen studied at the Sibelius Academy, the Conservatoire national supérieur de musique et de danse de Lyon, the Royal Danish Academy of Music and various masterclasses. He holds a Master of Music with Distinction from the Sibelius Academy, completed in 2008. He performs on 24-carat and 14-carat gold flutes, handcrafted by his sponsor, Muramatsu Flute.

InTUNE — February 2018 | 27

Program BIOGRAPHIES , continued

FRANCIEL BRAGA

Jimmy López | composer-in-residence Award-winning composer Jimmy López Bellido is considered "one of the most interesting young composers anywhere today" (Chicago Sun-Times), and an “expert in orchestration” (New York Times) with a distinct voice that is “adventurous and winning” (Denver Post). His works have been performed by the Chicago, Boston and Sydney Symphony Orchestras; Philadelphia Orchestra; Helsinki Philharmonic Orchestra; and the National Symphony Orchestras of Argentina, Chile, Ecuador, Peru and Spain, among others. His music has been heard in prestigious venues such as Carnegie Hall, Sydney Opera House, Leipzig Gewandhaus and during the Youth Olympic Games in Singapore. It has been featured in numerous festivals, including Tanglewood, Aspen, Grant Park, Darmstadt and Donaueschingen. As part of the Renée Fleming initiative, the Lyric Opera of Chicago commissioned him to write a full-length opera based on the bestselling novel Bel Canto, which premiered in 2015 to wide critical acclaim. Bel Canto became the bestselling opera of Lyric’s 2015-16 season and went on to earn a nomination to the 2016 International Opera Awards. It was recently broadcast throughout the United States on PBS’ Great Performances. His work Fiesta! has been performed more than 80 times worldwide, making it one of the most performed contemporary orchestral works. Jimmy has been awarded numerous prizes: TUMI USA Award 2016; Musician of the Year 2015 by Opera Peru and El Comercio; 2013 Prince Prize from the Prince Charitable Trusts; and Kranichsteiner Musikpreis at the 2008 Darmstadt International Summer Course for New Music, among many others. He is a member of Suomen Säveltäjät ry (Society of Finnish Composers), ASCAP (American Society of Composers, Authors and Publishers), Circomper (Circle of Composers of Peru) and the San Francisco Chapter of the Recording Academy (Grammy). An album dedicated entirely to his orchestral works was released in 2015 (Harmonia Mundi). All works were recorded by conductor Miguel Harth-Bedoya, the Norwegian Radio Orchestra and cellist Jesús Castro-Balbi. Jimmy studied with Enrique Iturriaga (1998-2000) at the National Conservatory of Music in Lima, and with Veli-Matti Puumala and Eero Hämeenniemi (2000-2007) at the Sibelius Academy in Helsinki, where he obtained his Master of Music degree. He completed his PhD in Music at the University of California, Berkeley in 2012 with Edmund Campion. He is published by Filarmonika Music Publishing. For more information, please visit www.jimmylopez.com. 28 | Houston Symphony

Program NOTES Three Dance Episodes from On the Town

Leonard Bernstein (1918-1990)

The year following Leonard Bernstein’s legendary debut as a conductor with the New York Philharmonic was one of seemingly miraculous success for the 25-year-old musician. After filling in for an ailing Bruno Walter on November 14, 1943, he became one of America’s most sought-after guest conductors, and by April he was conducting the premiere of Fancy Free, his new, jazzy ballet with choreography by Jerome Robbins. Centering on three sailors who compete for the attentions of two women in a bar in New York, it became the hit of the American Ballet Theatre’s season. Eager to expand on this success, Bernstein and Robbins decided to turn Fancy Free into a Broadway musical called On the Town. Ultimately only the three sailors made it into the musical; the plot and music were completely new. When the show opened in New York in December 1944, it was a smash. As Robbins’ participation would imply, dance played a major role in the musical. Bernstein thus extracted some of the dance numbers to create Three Dance Episodes from On the Town, which has remained a popular concert work since its premiere in 1946. The piece begins with “The Great Lover Displays Himself.” In the musical, this was a dream sequence in which a sailor imagines dancing with “Miss Turnstiles,” a young woman featured on a poster in the subway. The Coplandesque second movement was a pas de deux (a dance for a man and a woman) based on the song “Lonely Town” from the musical. The dancers played the roles of a young woman and a sailor who seduces and abandons her. The finale includes the tune from “New York, New York” and depicts a lively gathering of adventure-seeking sailors in Times Square. Throughout, the score captures the joi de vivre of a young genius suddenly catapulted to stardom. —Calvin Dotsey The Instruments: flute (doubling piccolo), oboe (doubling English horn), 3 clarinets (one doubling E-flat clarinet, one doubling alto saxophone), 2 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, piano and strings

Lago de Lágrimas (Lake of Tears), Concerto for Flute

Jimmy López (b. 1978)

Long ago, at the base of Peru’s Cordillera Blanca there was a powerful king who promised his daughter, Huandi, to the son of a neighboring king; she, however, was secretly in love with Huascar, one of his soldiers. One night, a servant saw the princess go to meet her lover and told the king. Furious, the king wished to give an exemplary punishment. Before dawn the lovers ran away together, but the king sent warriors after them. They were captured and chained to the rocks, face to face, with their hands tied to their backs, unable to embrace one another. The couple, abandoned to the elements, cried and

Andrés Conducts Dvořák 7 | Program Notes

cried. The mountain gods took pity on them and transformed them into two mountains: Huandoy and Huascarán (the tallest mountain in Peru). Even now the mountains cry, and legend says that from so many tears the Lakes of Llanganuco were formed. As soon as I read this legend, I made it my mission to express it in music. It took me a little over a year to write this piece, and I spared no effort in conveying the range of emotions that this story awakened in me. The listener is welcome to use the story as a guideline, although the music evokes its emotions rather than specific events. The concerto is divided into two movements: the first can be associated with Huandi and her suffering, while the second could represent Huascar with his strength in the face of unbearable hardships. The beginning of the first movement, “Suplicio” (“Torment”), is marked by ambiguity, but once the main theme comes in, we are engulfed in a purely tonal world. Near the middle, an ascending fugue-like theme emerges from the lower regions of the orchestra. The introductory theme and main theme are combined into a single phrase at the movement’s climax. A coda ends the movement in a solemn, quasi-religious state. The second movement, “Transmutación” (“Transmutation”), begins with an energetic theme that reappears several times with musical episodes in between. The main theme of the first movement returns and is juxtaposed with that of the second, representing the union of the two lovers who will be transformed into mountains, perpetuating their love for eternity. This piece was commissioned by Miguel Harth-Bedoya, who conducted the premiere on November 20, 2009, with the Fort Worth Symphony Orchestra and the concerto’s dedicatee, Jessica Warren-Acosta. The revised version was premiered on April 2, 2011, in Helsinki, Finland, by my friend and longtime collaborator, Finnish flute virtuoso Sami Junnonen, who performs this work in Houston. —Jimmy López The Instruments: 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, percussion, harp and strings

Symphony No. 7 in D minor, Opus 70

Antonín Dvořák (1841-1904)

Culture wars, political dysfunction and rising ethnic tensions— such were the problems that plagued the Austro-Hungarian Empire in the 1880s. For centuries, Czechs within the empire had been relegated to second-class status, but by the late 19th century an organized political movement had arisen to fight against Austrian domination. After Czechs gained ground in the watershed election of 1879, the politicization of society increasingly extended to every facet of culture, including music. continued 

This photograph shows Lake Chinancocha, one of the two Llanganuco Lakes that lie between the mountains Huascarán and Huandoy. Celebrated for its natural beauty and biodiversity, Peru’s Huascarán National Park has been a UNESCO World Heritage Site since 1985. The son of a modest innkeeper, Dvořák had long made it his mission to help create a Czech style of classical music. There was a political dimension to his ambitions, as German-speaking Austrians of the time often pointed to their music as evidence of their supposed cultural superiority. Indeed, much of the Viennese music scene initially resisted Dvořák’s music, which was first introduced in the late 1870s. One critic remarked, “The Slavic folk school is not loved in Vienna…A rhapsody that is written by a Czech and proclaims itself Slavic will encounter a quiet opposition...” Sometimes the opposition was not so quiet; hostile critics introduced a nasty strain of racism into their reviews. Dvořák found more success in London where the public enthusiastically embraced his music, leading the London Philharmonic to commission a symphony in 1884. Dvořák believed if he could write a symphony as great as any by a German composer, it would be one more argument for Czech equality. He determined that his next symphony would be more perfect than any he had composed before, a symphony “capable of stirring the world, and may God grant that it will!” InTUNE — February 2018 | 29

Program NOTES , continued

On the first page of the manuscript, he left a cryptic note that hinted at his thoughts: “This main theme occurred to me upon the arrival at the station of the ceremonial train from Pest in 1884.” The train was carrying Czechs from Hungary to Prague for a performance at the National Theatre, which was followed by a pro-Czech political demonstration.

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This haunting theme emerges in the cellos and violas above a low rumbling from the basses, timpani and horns. Progressing haltingly, it builds to a dramatic statement for full orchestra. A more lyrical theme for flute and clarinets appears then fades away, only to be reinvigorated by fragments of the opening theme, which returns defiantly. After a tumultuous development, the movement climaxes with the return of the opening theme in a powerful, condensed form. After the return of the lyrical second theme, a violent coda dies away with a final appearance of the opening melody. The slow second movement begins with an introduction, a peaceful chorale led by a clarinet. The flutes and oboes then begin the main melody, a long, tender theme. It is interrupted, however, by a questioning soliloquy for strings that is met with an ominous, stern response. A warm melody for horns then appears, leading to a crescendo that takes an unexpectedly dark turn. After intense, searching developments, the main theme reappears in the cellos. This time, the string soliloquy leads to an emotional passage, but the ensuing crescendo now resolves in a glowing major chord. The movement ends softly with the return of the introductory chorale melody in the oboe. The third movement begins with two themes entwined in an uneasy dance: the violins play a Czech furiant, while the cellos and bassoons play a Viennese waltz beneath it. A contrasting middle section features passionate strings and sighing woodwinds above a rumbling bass, after which the opening dance returns. Near the end, the music dies away as the violas play a portentous, operatic melody before the dance resumes in an electrifying coda. The finale opens with an ominous melody with a strong Slavic character. It develops into an increasingly vigorous, march-like theme. A contrasting, gentle melody appears in the cellos before soaring in the violins. After a series of violent developments, the themes return, leading to a wild, dramatic coda. The music hurtles toward a rafter-shaking plagal cadence, harmonies traditionally used for the word “Amen,” ending with a resplendent D major chord that offers a glimmer of hope at the end of this intense musical journey. The London premiere in April 1885 proved one of the great triumphs of Dvořák’s career, but it would be many years more before his symphony would find acceptance in Vienna. —Calvin Dotsey The Instruments: 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani and strings 30 | Houston Symphony

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InTUNE — February 2018 | 31

FEATURED PROGRAM

European Tour Preview

HILARY HAHN CELEBRATES BERNSTEIN Friday Saturday Sunday

February 23, 2018 February 24, 2018 February 25, 2018

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

Jones Hall

Andrés Orozco-Estrada, conductor Hilar y Hahn, violin

Dvoˇrák Bernstein

The Noon Witch, Opus 108

ca. 17

Serenade for Violin, Strings, Harp and Percussion (after Plato's Symposium) I Phaedras, Pausanias: Lento—Allegro marcato II Aristophanes: Allegretto— III Eryximachus: Presto IV Agathon: Adagio V Socrates, Alcibiades: Molto tenuto—Allegro molto vivace

ca. 30

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

Shostakovich

Symphony No. 5 in D minor, Opus 47 I Moderato II Allegretto III Largo IV Allegro non troppo

This program is part of our Bernstein at 100 celebration. 32 | Houston Symphony

ca. 46

Did you know? • Leonard Bernstein first performed with the Houston Symphony during the 1947-48 season. He conducted and played Ravel’s Piano Concerto on a program that also included Mozart’s “Linz” Symphony and Schumann’s Symphony No. 2 on January 5, 1948.

Hilary Hahn Celebrates Bernstein | Program Biographies

Program BIOGRAPHIES SHELL FAVORITE MASTERS SERIES

Andrés Orozco-Estrada | conductor

These performances are generously supported in part by:

Please see Andrés Orozco-Estrada's biography on page 4.

Hilary Hahn | violin

Diamond Guarantor Houston Symphony Endowment

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.

MICHAEL PATRICK O'LEARY

Grand Guarantor Rochelle & Max Levit

Three-time Grammy® Award-winning violinist Hilary Hahn is renowned for her virtuosity, expansive interpretations and creative programming. Her 16 feature recordings have received every critical prize in the international press. Her 17th album will be a retrospective collection that also contains new live material and art from her fans, in keeping with a decades-long tradition of collecting fan art at concerts. Over the past two seasons, in recital tours across the United States, Europe and Japan, she premiered six new partitas for solo violin by composer Antón García-Abril. The works were Hilary's first commissioning project for solo violin and her first commission of a set of works from a single composer. García-Abril was also one of the composers for “In 27 Pieces: The Hilary Hahn Encores,” Hilary's multi-year commissioning project to revitalize the genre. In addition to joining the Houston Symphony on its European Tour, during this season Hilary performs violin concertos by Tchaikovsky, Dvořák and Prokofiev and Bernstein's Serenade for Violin, Strings, Harp and Percussion (after Plato's Symposium) for Bernstein's centennial season. As part of recent residencies at the Vienna Konzerthaus, Seattle Symphony and National Orchestra of Lyon, she piloted free—and sometimes surprise—concerts for parents with their babies, a knitting circle, a community dance workshop, a yoga class and art students. She will continue to create these community-oriented concerts as artist-in-residence at the Philadelphia Orchestra. She also plays a free concert to promote a college membership program and participates in the Philadelphia Orchestra's ongoing educational activities. Other 2017-18 engagements include a tour in Australia and New Zealand and sitting on the jury of the Bach Competition in Leipzig. An avid writer, Hilary has posted journal entries for two decades on her website (hilaryhahn.com) and published articles in mainstream media. She is also active on YouTube (youtube.com/hilaryhahnvideos), Twitter and Instagram (@violincase). In 2001, she was named “America’s Best Young Classical Musician” by Time magazine; and in 2010, she appeared on The Tonight Show with Conan O’Brien. She was featured in the Oscar-nominated soundtrack to The Village and has participated in a number of non-classical productions, collaborating on two records with the band ….And You Will Know Us By The Trail of Dead, on the album Grand Forks by Tom Brosseau, on tour with Josh Ritter and on the entirely improvised album Silfra with experimental prepared pianist Hauschka. Hilary Hahn appears by arrangement with IMG Artists, 7 W 54th St, New York, NY 10019. Ms. Hahn’s recordings are available on Deutsche Grammophon and on Sony Classical/Sony BMG Masterworks. InTUNE — February 2018 | 33

Program NOTES The Noon Witch, Opus 108

Antonín Dvořák (1841-1904)

At the end of his life, Dvořák composed a series of tone poems based on the works of one of his favorite Czech poets: Karel Jaromír Erben. The Noon Witch was one of the poems that sparked Dvořák’s imagination. All over the world, parents have long attempted to elicit good behavior from their children with scary stories of monsters that prey on naughty brats. The Noon Witch poses the question: what if the monsters were real? The piece begins idyllically enough as a mother prepares lunch for her husband while her son plays with his toys. The child however, begins to be rather noisy, as is depicted by the oboe. Represented by the strings, the mother becomes annoyed and scolds the child, warning that if he is bad the Noon Witch will come to get him. The child calms down, but soon enough resumes his games. The mother becomes exasperated, finally saying, “Come and get him, noon witch, come take him! I can bear no more!” An eerie calm descends as the noon sunlight filters into the house. The door opens, and the hideous witch, speaking with the voice of the bass clarinet, demands the child. Through the violins, the mother pleads for mercy, but to no avail. In the struggle, she falls unconscious, and the witch exults in her victory. After bells strike noon, the husband appears expecting his lunch, but discovers his wife and child collapsed in his home. He revives his wife, but the child is dead. The piece ends with the witch’s music, as if proclaiming the moral of the story: children, mind your parents; and parents, mind your children. The Instruments: 2 flutes, piccolo, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion and strings

Serenade for Violin, Strings, Harp and Percussion (after Plato’s Symposium)

Leonard Bernstein (1918-1990)

Leonard Bernstein composed his Serenade in 1953-54, simultaneously fulfilling a long-delayed commission from the Koussevitzky Music Foundation and violinist Isaac Stern’s dogged requests for a violin concerto. Bernstein was inspired by Plato’s Symposium, a dialogue in which a group of Athenians philosophize about the nature of love at a dinner party. Those familiar with Plato will find it interesting to compare Bernstein’s interpretation of Symposium with the original, but the work can also be enjoyed as a piece of concert music inspired by the theme of love. The first movement begins with the soloist alone playing a gently rocking figure from which nearly all of the Serenade’s melodies will evolve. When the strings enter, they reveal that the opening solo was actually the subject of a fugato, which builds in intensity until the music breaks into a faster tempo. This new section features two 34 | Houston Symphony

contrasting themes: the first is driving, athletic and impetuous; the second, marked “dolce con grazia” (“sweetly and gracefully”) is coy and playful. Bernstein described the atmosphere of the second movement as “one of quiet charm.” Indeed, it begins with a quiet, charming melody with a Mahlerian lilt. After a contrasting central section with a more angular, scherzando character, the opening melody returns, played by the soloist with airy harmonics (notes produced by barely touching the violin’s strings). For the next movement, Bernstein composed what he described as “an extremely short fugato-scherzo, born of a blend of mystery and humor” in which the soloist’s virtuoso passagework zigzags across the instrument. He described the ensuing slow movement as “a simple three-part song.” The emotional heart of the work, it begins with the gentle, rocking motif from the work’s opening in the orchestra, above which the soloist plays a long, intimate melody. An intense, extended passage for orchestra builds to a cadenza for soloist alone. The opening melody then returns, fading away on a high harmonic. The last movement begins with an austere opening for orchestra, in which the violin soloist engages in a dialogue with the principal cellist. A mysterious passage for the solo violin builds to a fast finale full of wild, Dionysian revelry and Bernstein’s trademark jazzy style. The Instruments: timpani, percussion, harp and strings

Symphony No. 5 in D minor, Opus 47

Dmitri Shostakovich (1906-1975)

In January 1934, Dmitri Shostakovich scored one of the biggest triumphs of his career with the premiere of Lady Macbeth of the Mtsensk District, which would play to full houses in Moscow and Leningrad for two years. Then on January 26, 1936, Stalin went to see it. Two days later, on page 3 of Pravda, Shostakovich found a damning, anonymous review of Lady Macbeth headlined Muddle Instead of Music, which declared that the opera “tickles the perverted tastes of the bourgeoisie with its fidgety, screaming, neurotic music…” Many have speculated that the review was written by Stalin himself. Shostakovich’s denunciation occurred in the wider context of Stalin’s purges, which began in late 1934 with the elimination of Communist Party leaders whose loyalty to Stalin was questionable, but later spread to every stratum of society. According to official Soviet records, 681,692 people would be executed as part of the purges in 1937-38 (although the real number is likely closer to one million). Among those who were executed or deported to Siberian labor camps would be a number of Shostakovich’s friends and colleagues. Performances of Shostakovich’s music soon ceased, and his income plummeted.

Hilary Hahn Celebrates Bernstein | Program Notes

The crisis could not have come at a worse time, as Shostakovich and his wife were expecting the birth of their first child. With public figures disappearing every day, Shostakovich knew that to survive, he would have to compose a work that would appear to glorify the state with grandeur, heroism and a happy ending. That work would be his Fifth Symphony. The symphony begins with a stark motto in the strings that leads to a bleak, wandering first theme in the violins. Gradually, more instruments enter as the music transitions to a new theme, which appears above a pulsing accompaniment. Despite glimmers of warmth, this second theme extends the atmosphere of profound melancholy created by the first. After this theme dies away, the music begins to accelerate with a new, short-short-long rhythm in the piano and pizzicato lower strings. Above it, the first theme takes on a more menacing guise in the horns. The music becomes faster and faster, until the first theme returns as a grotesque, militaristic march. The opening motto then returns in an extended passage of terror, climaxing with a brutal, condensed form of the first theme. After this violent passage, the second theme returns as a duet between a solo flute and horn. In the coda, the music becomes weaker and weaker, ending with the haunting sound of the celesta. After a brusque opening in the cellos and basses, the second movement launches into a parody of a waltz, featuring “wrong” note harmonies, unexpected turns and grotesque circus music. This movement features a multiplicity of instrumental colors, and it is easy to imagine different instruments caricaturing various types from Soviet society, some sincere, some sarcastic and some coercive. Composed in only three days, the third movement contains some of Shostakovich’s most affecting music; scholar Michael Mishra relates that, “What so moved the Leningrad audience, many of them to tears, at the premiere was this simple, naked outpouring of tragic meditation and lyricism” at a time when artistic expressions of grief were effectively banned. Many of those in the audience would have known people who had disappeared in the purges, people whose loss they were unable to mourn publically. Featuring divisi strings, the movement slowly builds to a powerful, cathartic climax before dying away. The finale roars into being with fiery woodwind trills before a bombastic theme appears in the trombones. The first four notes of the theme were taken from a secret, unpublished song Shostakovich had recently written to words by Pushkin: “With sleepy brush the barbarian artist/The master's painting blackens…” The notes are the same ones used to set the words “a barbarian artist,” suggesting that this theme symbolizes Stalin himself. The music races ahead relentlessly, building to a forced-celebratory theme that quickly disintegrates. This second theme then reemerges as a poignant horn solo, followed by a passage for strings that sounds choked by tears. The music becomes softer and softer

until the “barbarian artist” theme returns accompanied by timpani and snare drum. The theme builds to a violent episode punctuated by blows from the bass drum. Finally, the music breaks into a hollow, D major apotheosis of the “barbarian artist” theme with pounding timpani. The applause at the Leningrad premiere lasted more than half an hour, causing Shostakovich’s friends to caution him against taking too many bows, lest his success be seen as a demonstration. The state critics, who knew nothing of the symphony’s connection to Pushkin’s poem, hailed the symphony as “A work of such philosophical depth and emotional force [as] could only be created here in the USSR.” Shostakovich had given them their forced happy ending, and he was back in the party’s good graces—for the time being. The Instruments: 2 flutes, piccolo, 2 oboes, 2 clarinets, E-flat clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, piano (doubling celesta) and strings —Calvin Dotsey

OUR THANKS ROCHELLE & MAX LEVIT Rochelle and Max Levit have been members of the Houston Symphony family for more than 30 years and are current members of the New Century Society for Artistic Excellence and Innovation. Rochelle serves as a Governing Director of the Symphony’s Board of Trustees and is a member of the Artistic and Orchestra Affairs Committee. In recent seasons, Max and Rochelle have supported the orchestra’s concerts with Itzhak Perlman, Emanuel Ax and, last season, Daniil Trifonov. They also sponsor First Violinist Sergei Galperin, support the Symphony’s special events, and, in 2015, they generously helped complete the Five-Year Financial Plan. The Levits are especially excited by the Symphony’s artistic direction under the leadership of Andrés Orozco-Estrada. The Houston Symphony thanks the Levits for making these performances by Hilary Hahn and the orchestra possible.

InTUNE — February 2018 | 35

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Silver Baton



Mrs. Nancy C. Allen Ann & Jonathan Ayre Dr. Saul & Ursula Balagura Mr. Paul M. Basinski Consurgo Sunshine Mrs. Bonnie Bauer Dr. & Mrs. Devinder Bhatia Drs. Laura & William Black Mr. Anthony W. Bohnert Mr. & Mrs. John F. Bookout III Mr. & Mrs. Michael E. Bowman Ruth Brodsky Mr. Ken D. Brownlee & Ms. Caroline Deetjen Dougal & Cathy Cameron Ann M. Cavanaugh Mr. & Mrs. Gerald F. Clark Virginia A. Clark Mr. William E. Colburn Mr. & Mrs. Byron Cooley Mr. & Mrs. Larry Corbin Ms. Miquel A. Correll Lois & David Coyle Mr. & Mrs. Gregory S. Curran Mr. Darrin Davis & Mr. Mario Gudmundsson Vicky Dominguez Bob & Mary Doyle

Margaret Waisman, M.D. & Steven S. Callahan, Ph.D. Stephen & Kristine Wallace Dede & Connie Weil Jeanie Kilroy Wilson & Wallace S. Wilson Ms. Vivian Wise Ms. Beth Wolff Daisy S. Wong / JCorp Scott & Lori Wulfe

Ms. Nancey G. Lobb Marilyn G. Lummis Dr. & Mrs. Malcolm L. Mazow Martha & Marvin McMurrey Mr. Gary Mercer Sami & Jud Morrison Bobbie Newman Scott & Judy Nyquist Toni Oplt & Ed Schneider John & Kathy Orton Susan & Edward Osterberg Radoff Family Lila Rauch Mr. & Mrs. T.R. Reckling III Brooke & Nathaniel Richards Carol & Kamal Sandarusi Mr. & Mrs. Walter Scherr Mr. & Mrs. James A. Shaffer

Mr. & Mrs. William T. Slick Jr. Tad & Suzanne Smith Carol & Michael Stamatedes Dr. John R. Stroehlein & Miwa Sakashita Courtney & Bill Toomey Ms. Hallie A. Vanderhider Shirley & Joel Wahlberg Cyvia & Melvyn* Wolff Lorraine & Ed Wulfe Mr. & Mrs. Frank Yonish Mr. & Mrs. Edward R. Ziegler Nina & Michael Zilkha Anonymous (3)

Dr. Robert M. Mihalo Mr. & Mrs. Robert E. Nelson Tim Ong & Michael Baugh Michael P. & Shirley Pearson Jean & Allan Quiat Kathryn & Richard Rabinow Douglas & Alicia Rodenberger Mr. Glen A. Rosenbaum Linda & Jerry Rubenstein Mr. & Mrs. Rufus S. Scott

Drs. Ishwaria & Vivek Subbiah Mrs. Jennifer Chang & Mr. Aaron J. Thomas Candace & Brian Thomas Dr. Robert Wilkins & Dr. Mary Ann Reynolds Wilkins Nancy B. Willerson Anonymous (1)

Jim & Amy Lee Sue Ann Lurcott Barbara J. Manering Mr. William McDugald Alice R. McPherson, M.D. Mr. Ronald A. Mikita & Mr. Rex Spikes Dr. Cameron Mitchell Mr. & Mrs. Harvin Moore IV Ione & Sidney Moran Mr. & Mrs. Gerald Moynier Richard & Juliet Moynihan Ms. Leslie Nossaman Rochelle & Sheldon Oster Mr. & Mrs. C. Robert Palmer Christine & Robert Pastorek Mr. David Peavy & Mr. Stephen McCauley Mr. Robert J. Pilegge Mr. Thomas C. Platt Mr. & Mrs. King Pouw Mr. & Mrs. C. N. Powell Tim & Katherine Pownell Ms. Emily Reaser Vicky & Michael Richker Mr. & Mrs. Claud D. Riddles Ed & Janet Rinehart Allyn & Jill Risley Mr. & Mrs. George A. Rizzo Jr.

Mr. Robert T. Sakowitz Carole & Barry Samuels Susan D. & Fayez Sarofim Mrs. Richard P. Schissler Jr. Mr. Wolfgang Schmidt & Ms. Angelika Schmidt-Lange Mr. & Ms. Steven Sherman Mr. David Stanard & Ms. Beth Freeman Kimberly & David Sterling Pamalah & Stephen Tipps Saula & Paolo Valente Dr. & Mrs. Carl V. Vartian Mr. & Ms. Luciano Vasconcellos Mrs. Ibolya E. Weyler & Mr. Philip Limon Mrs. Nelda Wilkomirski Ms. Barbara Williams Mr. & Mrs. Tony Williford Doug & Kay Wilson Woodell Family Foundation Sally & Denney Wright Robert & Michele Yekovich Edith & Robert Zinn Erla & Harry Zuber Anonymous (3)

$7,500-$9,999



Hon. & Mrs. John D. Ellis The Ensell Family Angel & Craig Fox Ms. Darlene Clark & Mr. Edwin C. Friedrichs Ms. Emily Keeton David & Heidi Massin Gene & Betty McDavid Terry & Kandee McGill Mr. & Mrs. William B. McNamara

Bronze Baton

The Estate of Terence Murphree Mr. & Mrs. Jonathan E. Parker Gloria & Joe Pryzant Ron & Demi Rand Ken* & Carol Lee Robertson Hugh & Ann Roff Mr. & Mrs. Manolo Sánchez Alana R. Spiwak & Sam L. Stolbun Mr. & Mrs. Alan Stein Drs. Carol & Michael Stelling Mr. & Mrs. Paul S. Thomas Susan & Andrew Truscott

$10,000-$14,999



Leslie Barry Davidson & W. Robins Brice J.R. & Aline Deming Archie & Linda Dunham Terry Everett & Eric Cheyney Mr. & Mrs. Jeffrey B. Firestone Betsy Garlinger Dr. Nan Garrett Michael B. George Mr. & Mrs. Eric J. Gongre Mr. Robert M. Griswold Mr. & Mrs. Jerry L. Hamaker Susan & Dick Hansen Maureen Y. Higdon Mrs. James E. Hooks Catherine & Brian James Jacek & Marzena Jaminski Mr.* & Mrs. Gordon Leighton

Lilly & Thurmon Andress Dr. & Mrs. Jeffrey B. Aron Beth & Jim Barton Mr. & Mrs. Charles G. Black Lilia Khakimova & C. Robert Bunch David Chambers & Alex Steffler Brad & Joan Corson Roger & Debby Cutler Andrew Davis & Corey Tu Mr. Stephen Elison

Conductor’s Circle

$15,000-$24,999

Allen & Almira Gelwick Lockton Companies Lila-Gene George* Mr. & Mrs. Fred L. Gorman Rebecca & Bobby Jee Debbie & Frank Jones Mrs. Gloria Pepper & Dr. Bernard Katz Dr. & Mrs. I. Ray Kirk Mr. & Mrs. Rodney H. Margolis Michelle & Jack Matzer Stephen & Marilyn Miles/ Steven Warren Miles & Marilyn Ross Miles Foundation

Frances & Ira Anderson Edward H. Andrews III Nina Andrews & David Karohl Dr. Angela R. Apollo Sr. Judge Mary Bacon Anne Morgan Barrett Mr. & Dr. Karl-Heinz Becker Mr. & Mrs. Astley Blair Anne & George Boss Dr. & Mrs. Meherwan P. Boyce Nancy & Walter Bratic Terry Ann Brown Cheryl & Sam Byington Mr. & Mrs. Andrew Calder Marilyn Caplovitz Dr. Evan D. Collins Dr. Scott Cutler

Conductor’s Circle



$5,000-$7,499

Connie & Byron Dyer Mr. William P. Elbel & Ms. Mary J. Schroeder Mr. Parrish N. Erwin Jr. Mrs. William Estrada Aubrey & Sylvia Farb Ms. Carolyn Faulk Ms. Ursula H. Felmet Jerry E.* & Nanette B. Finger Mr. & Mrs. Peter Fluor Mrs. Elizabeth B. Frost Mr. & Mrs. James E. Furr Wm. David George, Ph.D. Bill Grieves Mr. & Mrs. Stanley Haas Dr. & Mrs. Carlos R. Hamilton Jr. Marilyn & Bob Hermance Mr. & Mrs. Frank Herzog Mr. Jackson Hicks Stephen Jeu & Susanna Calvo Beverly Johnson Mr. & Mrs. John F. Joity Gwen & Dan Kellogg Mary Louis Kister William & Cynthia Koch Mr. William L. Kopp Mr. & Mrs. John P. Kotts Willy Kuehn*

*Deceased InTUNE — February 2018 | 37

The Houston Symphony thanks the 4,878 donors who gave up to $5,000 over the past year. To note any errors or omissions, please contact Tiffany Bourgeois, Development Associate, Annual Fund at 713.337.8559.

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

Young Associate Premium Farida Abjani Ann & Jonathan Ayre James M. Bell Ganesh Betanabhatla Eric Brueggeman David Chambers & Alex Steffler Darrin Davis & Mario Gudmundsson

Young Associate



$2,500 or more

Valerie Palmquist Dieterich & Tracy Dieterich Amanda & Adam Dinitz Vicky Dominguez Terry Everett & Eric Cheyney Jennifer & Joshua Gravenor Stacy & Jason Johnson Mandi Hunsicker-Cooper Kiri & Jeffrey Katterhenry

$1,500 - $2,499

Dr. Genevera Allen & Michael Weylandt Ahmed Al-Saffar – Oliver Wyman Michael Arlen Drs. Laura & William Black Drs. Tiffany & Desmond Bourgeois Sverre & Carrie Brandsberg-Dahl Divya & Chris Brown Sara Cain Helen Chen Crystal & Mike Cox Nina Delano & Wirt Blaffer Jennifer & Steve Dolman Emily Duncan

Christine Falgout-Gutknecht – Island Operating Co., Inc. Kimberly Falgout & Evan Scheele Mark Folkes & Christopher Johnston Alexandra & Daniel Gottschalk Rebecca & Andrew Gould Jeff Graham Nicholas Gruy Claudio Gutierrez Jarod Hogan Monica & Burdette Huffman Kurt Johnson & Colleen Matheu

Brian McCulloch & Jeremy Garcia Shane Miller Sami & Jud Morrison Tim Ong & Michael Baugh Toni Oplt & Ed Schneider Kusum & K. Cody Patel Dr. Paulina Sergot & Dr. Theo Shybut

Tony Shih – Norton Rose Fulbright Becky Shaw Molly Simpson Rebeca & Chad Spencer Drs. Ishwaria & Vivek Subbiah Georgeta Teodorescu & Bob Simpson Candace & Brian Thomas

Shamika Johnson – Van Cleef & Arpels Sara Kelly Connie Kwan-Wong Dr. Nashat Latib & Dr. Vinodh Kumar Joshua Lee & Julie Van Gerrit Leeftink Catherine & Matt Matthews Charyn McGinnis Ashley McPhail Cliff Nash & Dr. Lee Bar-Eli April Nelson

Courtney & Jose Obregon Girija & Anant Patel Rosemin Premji Brooke & Nathaniel Richards Alan Rios Ahmed Saleh Liana & Andrew Schwaitzberg Justin & Caroline Simons Michelle Stair Joel Towner Dr. Shilpa Trivedi Jovon Tyler Elise Wagner

The Young Associates Council is supported in part by BB&T. For more information, please contact: Liam Bonner, Manager, Annual Giving Groups, 713.337.8536.

Vintage VIRTUOSO This holiday season, for the 21st consecutive year, Lindy and John Rydman, the owners of Spec’s Wines, Spirits & Finer Foods and founders of Spec’s Charitable Foundation, worked closely with its suppliers and distributors to host Vintage Virtuoso, a collaborative and superlative evening of great wine and great food to support the Houston Symphony’s Education and Community programs. Over the past two decades, the event has raised more than $2.5 million. This event is part of the reason Spec’s is the Houston Symphony’s largest corporate donor. For its dedication to music education for Houston-area students, Spec’s was recognized with the 2015 BCA 10 award from Americans for the Arts. This year’s Vintage Virtuoso was held on Wednesday, December 6, 2017. The Houston Symphony and Spec’s Charitable Foundation thank all the donors to this event.

Platinum

Republic National Distributing Company Southern Glazers

Gold

Bacardi USA Beam Suntory Brown Forman Campari USA Diageo Gallo Proximo

Silver

Dietz & Watson Freixenet USA William Grant & Sons 38 | Houston Symphony

Bronze

Anchor Distilling Anheuser-Busch/Silver Eagle Balcones Distilling Banfi Bank of America/Merrill-Lynch Ben E Keith Classified Wines Constellation Brands International Deutsch Family Wines & Spirits Favorite Brands Harco Insurance Services Luxco Moet Hennessy USA Pacini & Co. Patron Serendipiti/Vina Robles/ Bacco Wine

Serralles Southwest Spirits/V2 Wine Group Tito’s Truno Zonin USA

Sponsors Alma Rosa Winery DNSCI Solutions Harco Insurance Services Lee Tilford Agency Moet Hennessy USA Mule 2.0 Pernod Ricard Trinity River Distilling/Silver Star

Symphony Guests

James M. Bell Ralph Burch Amanda & Adam Dinitz Dr. & Mrs. I. Ray Kirk Judy & Russ Labrasca Mr. & Mrs. J. Stephen Marks Rebeca & Chad Spencer Mr. Brooks Tutor Mr. & Mrs. Jesse B. Tutor Jana Vander Lee Robert G. Weiner & Toni Blankmann Mr. & Mrs. C. Clifford Wright Jr. David Wuthrich Ellen A. Yarrell

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 Amanda T. Dinitz^ Interim Executive Director 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 Michael H. Clark Janet F. 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 Richard A. Rabinow 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 — February 2018 | 39

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 January 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 40 | 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 January 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 January 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 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 (1)

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 — February 2018 | 41

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 Dave G. Nussmann John Onstott Macky Osorio Edward C. Osterberg Jr. Mr. & Mrs. Edmund and 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 (8)

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 42 | 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

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 January 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

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

InTUNE — February 2018 | 43

Meet Donald Howey, double bass Donald Howey, a member of the Houston Symphony since 1999, has performed with the Grand Teton Music Festival and the Sun Valley Summer Symphony and has been principal and soloist with the Houston Chamber Orchestra. He began playing the bass at age 15 in his hometown of Sudbury, Massachusetts. Donald completed his Master’s degree in Music Performance at Rice University in 1998 and graduated with distinction from Boston University in 1995. He is married to harpist Laurie Meister. In addition to busy musical careers, Donald and Laurie are proud parents of two sons, Gunther and Ian. What inspired you to become a musician? I think I was first attracted to the double bass by its size and the nature of the sound it makes. Much of the energy that comes out of this instrument works in a different way than most of the other orchestral instruments. When you play double bass, the floor shakes, the music stand rattles, and you can hear the window panes buzz. The double bass is often thought of as a quiet instrument, but it’s not. It’s a different kind of loud. Another way to think of it: part of our job is to be heard and part of our job is to get the room moving. What hobbies and interests do you have outside of music? I’m the father of two boys ages 7 and 11, so their hobbies and interests often become mine. From bike rides to camping to playing on the beach, we enjoy a variety of things together. I’ve also become a pretty good shot with a Nerf gun. When the kids are in school, I sometimes get to play a round of golf with friends from the orchestra. What does music mean to you? Music is a huge part of my daily life. It’s ubiquitous at home. My wife is also a musician, and we share a practice space so there is rarely time when we are both home and one of us isn’t practicing or listening to recordings or teaching. Quiet time at home has actually become a novelty. Coming to work is always exciting for me, too. The orchestra is full of some truly extraordinary people, and getting together with them to play this incredible music gives me great joy. Donald Howey is sponsored by The Ensell Family. Top: My Houston Symphony portrait Middle: Galveston in winter Bottom: My family: Myself, Laurie, Ian and Gunther

44 | Houston Symphony

FREDELL LACK LEGACY VIOLIN SERIES

The Fredell Lack Legacy Violin Series, established in 2017 at the Moores School of Music, honors its namesake, legendary violinist Fredell Lack, by bringing world-class musical artists to the University of Houston Kathrine G. McGovern College of the Arts.

2018 FEATURED GUEST ARTISTS Joyce Hammann

Gloria Justen

Eden MacAdam-Somer

Sunday, January 21, 2018 Sunday, February 25, 2018 Sunday, June 24, 2018 Dudley Recital Hall / 2:30 p.m. Moores Opera House / 2:30 p.m. Moores Opera House / 2:30 p.m.

Join us for dinner before the show at Ouisie’s Table, located just minutes from the Theater District!

Joyce Hammann, violin Timothy Hester, piano

General Admission: $12 Students & Seniors: $7

Gloria Justen, violin Accompanied by UH students

Eden MacAdam-Somer, violin Timothy Hester, piano

3939 San Felipe Street, Houston, TX 77027 (713)528-2264

uh.edu/kgmca/music/events-performances/lack_violin_series @UHKGMarts

@UHKGM_arts

Sérgio and Odair Assad, guitars and Avi Avital, mandolin Saturday, February 17, 7:30 pm Zilkha Hall, Hobby Center for the Performing Arts From Bach, Haydn and Debussy to Piazzolla and Brazilian choro

“A musician who recognizes no boundaries except those of good taste and who has the artistry to persuade listeners to follow him anywhere.”

www.ouisiestable.com

@UHKGM_arts

Garrick Ohlsson Plays Beethoven Friday, March 2, 8:00 pm Stude Concert Hall, Shepherd School of Music Featuring four of Beethoven’s most beloved masterpieces Sonata in C Minor, Op. 13 “Pathetique” Sonata in F Minor, Op. 57 “Appassionata” Sonata in C Major, Op. 53 “Waldstein” Sonata in C-sharp Minor, Op. 27, No. 2 “Moonlight”

“Garrick Ohlsson is a big pianist with a calmly commanding presence.”

The Independent

Gramophone on Avi Avital Sarah Rothenberg

For tickets call 713-524-5050 or go to dacamera.com

Meadow Lake

Pine Tree

Merrie Way

Cedar Creek

Nottingham

Waring

River Oaks, $5.5+ mil. Caroline Bean, 713.206.4114

Tanglewood, $3.2 mil. Colleen Sherlock 713.858.6699

Piney Point, $4.4+ mil. Sharon Ballas, 713.822.3895

West University, $2+ mil. Carol Rowley, 832.277.1552

Piney Point, $3.3+ mil. Brittany Utterback, 281.608.9879

Afton Oaks, $1.9+ mil. Lee Kaplan, 281.468.9912

GREENWOOD KING 3201 KIRBY DRIVE / 1616 S. VOSS RD., SUITE 900 / 1801 HEIGHTS BLVD.

HOUSTON, TEXAS

Smithdale Ct.

Southgate

Albans

Byron

W. Cottage

Louise

Hunters Creek, $1.6+ mil. Kathy Scott, 713.851.5342

West University, $1.4+ mil. George Sutherland, 713.942.6891

Rice/Museum District, $1.5+ mil. Heidi Dugan, 713.725.9239

Heights, $690s - $730s Caroline Schlemmer, 713.446.2716

West University, $1.4+ mil. Kristin Tillman, 281.785.3566

Heights, $590s Caroline Schlemmer, 713.446.2716