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

THE HOUSTON SYMPHONY MAGAZINE

JUNE 2018

MENDELSSOHN’S “SCOTTISH” 16 June 22

TCHAIKOVSKY’S FIFTH 20 . June 23

GERSHWIN’S CONCERTO IN F 24

SCHUMANN AND FANCY FREE 28

STAR-SPANGLED SALUTE

June 29 June 30

July 4

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InTUNE | J U N E

2018

Programs

Mendelssohn’s “Scottish” June 22 �� 16 Tchaikovsky’s Fifth June 23 ��20 Gershwin’s Concerto in F June 29 ��24 Schumann and Fancy Free June 30 ��28 Star-Spangled Salute July 4 ��32

Features

Letter to Patrons ��2 Meet the Artists ��8 80 Years of Music ��9 A Letter from Bank of America �� 10 A Legacy of Literacy �� 14 Backstage Pass with John Parker �� 44

Events

Upcoming Broadcasts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Your Houston Symphony

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

Our Supporters

New Century Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Leadership Council . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Vision 2025 Implementation Fund . . . . . . . . . . . . . . . . . . 13 Houston Symphony Donors . . . . . . . . . . . . . . . . . . . . . . . . 36 Young Associates Council . . . . . . . . . . . . . . . . . . . . . . . . . 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

Associate Principal Trumpet John Parker makes his Houston Symphony solo debut at Miller Outdoor Theatre.

JUNE 2018

Now that I’ve been with the Houston Symphony for two months, I feel like I’m starting to get to know the city and some of you. It’s an amazing place, and I’m delighted to be here. The support this community gives to the arts is truly inspiring; thanks to the enthusiasm of our audiences, the Symphony ended its 104th season on an artistic high note. And now, I’m looking forward to my first summer in Houston, especially since it’s a summer filled with music, from our free ExxonMobil Summer Symphony Nights at Miller Outdoor Theatre to our Neighborhood Concerts throughout Greater Houston.

InTune is produced by the Houston Symphony’s Marketing and Communications department. Trazanna Moreno. . . . . . . . . . . . . . Chief Marketing Officer Calvin Dotsey. . . . . . . . . . . . . . . . . . . Publications Editor Melanie O'Neill. . . . . . . . . . . . . . . . . Publications Designer Editorial Contributors 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

We have a particularly special and diverse lineup this summer at Miller, where we’re proud to be part of the historic venue’s 95th anniversary celebration. You can learn more about the extraordinary artists and programming we have in store on page 8. We also hope you will join us on Independence Day for our annual Star-Spangled Salute, complete with fireworks, patriotic favorites and Tchaikovsky’s 1812 Overture. Thank you for being with us for these concerts. Next month, the orchestra returns to Jones Hall for more summer fun with Classical Mystery Tour: A Tribute to the Beatles, Distant Worlds: FINAL FANTASY, The Music of George Michael, Beethoven 5 and a world premiere tailor-made for the Houston Symphony, Apollo 13—Film with Live Orchestra. We look forward to seeing you there!

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ANDRÉS OROZCO-ESTRADA

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

Houston Symphony Music Director Andrés Orozco-Estrada began his tenure in the 2014–15 season. He immediately established a dynamic presence on the podium and a deep bond with the musicians of the orchestra. He carefully curates his programs to feature engaging combinations of classical masterworks paired with the music of today, significant artistic collaborations with composers and guest artists, and innovative use of multimedia and visual effects, all in order to make meaningful connections with the audience. In the 2017–18 season, Orozco-Estrada continued to engage with audiences both with casual commentary from the stage and discussions with guests in “Behind the Scenes with Andrés” videos. Upon the commercial release of the critically acclaimed Dvořák series featuring the composer’s last four symphonies, he and the orchestra recently released a Haydn— The Creation recording in collaboration with the Houston Symphony Chorus and 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. 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 Leipzig Gewandhaus Orchestra and the Mahler Chamber Orchestra. His engagements for the 2017-18 season featured debuts at the Tonhalle Orchester Zürich and the Staatskapelle Dresden with two concerts at the Salzburg Easter Festival. As a guest, he performed once again with the Leipzig Gewandhaus Orchestra and with the Vienna Philharmonic, which he led on a tour to Paris and Budapest. In June 2018, he tours Asia for two weeks with his Frankfurt Radio Symphony Orchestra. 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. He was recently named music director of the Vienna Symphony as of the 2021-2022 season.

4 | Houston Symphony

ROSTER

ORCHESTRA Andrés Orozco-Estrada Music Director Roy and Lillie Cullen Chair FIRST VIOLIN Position Vacant, Concertmaster Max Levine Chair Eric Halen, Co-Concertmaster Ellen E. Kelley Chair Qi Ming, Assistant Concertmaster Fondren Foundation Chair Marina Brubaker Tong Yan MiHee Chung Sophia Silivos Rodica Gonzalez Ferenc Illenyi** Si-Yang Lao Kurt Johnson Christopher Neal Sergei Galperin Jenna Barghouti*

DOUBLE BASS Robin Kesselman, Principal Mark Shapiro, Acting Associate Principal Eric Larson Andrew Pedersen Burke Shaw Donald Howey Michael McMurray Michael Marks*

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

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

BASS TROMBONE Phillip Freeman TUBA Dave Kirk, Principal TIMPANI Leonardo Soto, Principal Matthew Strauss, 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

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

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

CELLO Brinton Averil Smith, Principal Janice and Thomas Barrow Chair Christopher French, Associate Principal Anthony Kitai Louis-Marie Fardet Jeffrey Butler Maki Kubota Xiao Wong 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

PERCUSSION Brian Del Signore, Principal Mark Griffith Matthew Strauss

CLARINET Mark Nuccio, Principal Thomas LeGrand, Associate Principal Christian Schubert Alexander Potiomkin

HARP Megan Conley, Principal**

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

KEYBOARD Scott Holshouser, Principal *Contracted Substitute ** On Leave

CONTRABASSOON Position Vacant

Orchestra Personnel Manager Michael Gorman

Librarian Thomas Takaro

Assistant Orchestra Personnel Manager Position Vacant

Assistant Librarians Hae-a Lee Michael McMurray

Stage Manager Mark Grady

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

STAFF

ADMINISTRATIVE

The Houston Symphony Administrative Staff is made up of 67 full-time professionals who work diligently behind-the-scenes to ensure all operations within the organization are run effectively and efficiently. This inspiring team is dedicated to bringing the great music of the Houston Symphony to our community. SENIOR MANAGEMENT GROUP

FINANCE/ADMINISTRATION/IT/HR

John Mangum, Executive Director/CEO, Margaret Alkek Williams Chair Pam Blaine, Chief of Education and Community Programming Elizabeth S. Condic, Chief Financial Officer Amanda T. Dinitz, Major Gifts Officer Vicky Dominguez, Chief Operating Officer Trazanna Moreno, Chief Marketing Officer Mary Beth Mosley, Interim Co-Chief Development Officer/ Director, Institutional Giving and Stewardship Molly Simpson, Interim Co-Chief Development Officer/ Director, Individual Giving and Major Gifts

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

Gregg Gleasner, Senior Artistic Advisor Christine Kelly-Weaver, Executive Assistant/Board Liaison 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 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 Allison Conlan, Director, Education Emily Nelson, Associate Director, Education and Community Programming Ragan Rhodes, Manager of Education and Community Programming Garrett Shaw, Education & Community Programming Coordinator

6 | Houston Symphony

MARKETING/COMMUNICATIONS Calvin Dotsey, Communications Specialist Heather Fails, Manager, Ticketing Database Elizabeth Faulkinberry, Front of House Manager Kristin Hawkins, Graphic Designer Kathryn Judd, Director, Marketing 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 Carlos Andrés Botero, Musical Ambassador Becky Brown, Director, Operations Anna Diemer, Chorus Manager Jessica Fertinel, Assistant to the Music Director Michael Gorman, Orchestra Personnel Manager Mark Grady, Stage Manager Hae-a Lee, Assistant Librarian Michael McMurray, Assistant Librarian Karoline Melstveit, Artistic Assistant 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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Each year, the Houston Symphony features the winner of the Sphinx Competition. Based in Detroit, the Sphinx Organization is dedicated to fostering the careers of promising young black and Hispanic string players. This year’s winner, Venezuelan violinist Rubén Rengel, is currently a student at Rice University’s Shepherd School of Music.

CELEBRATING DIVERSITY

Originally trained as an organist, Jessica Cottis switched to conducting after a wrist injury and went on to win the Royal Academy of Music’s top conducting prize. She has been mentored by prominent conductors such as Sir Colin Davis and often appears on television in the UK.

WONDER WOMEN Born in Hong Kong, Elim Chan became the first female conductor to win the prestigious Donatella Flick Conducting Competition in 2014.

MEET the

ARTISTS This summer, the Houston Symphony presents an outstanding roster of guest conductors and soloists at our ExxonMobil Summer Symphony Nights at Miller Outdoor Theatre. We are excited to showcase the talent and diversity of the next generation of classical artists, who lead remarkable lives both on and off stage. Get to know more about the musicians featured this month with these fun facts!

Kensho Watanabe came to worldwide attention by stepping in last minute to make his critically acclaimed subscription debut with the Philadelphia Orchestra. One of the most in-demand, up-andcoming conductors, Kensho is no slouch at the sciences either; he received his Bachelor of Science degree from Yale, where he studied molecular, cellular and developmental biology.

Two of our guest artists this summer share a passion for aviation: when they aren’t onstage, you might look up and see Jessica Cottis and Aaron Diehl taking a helicopter or plane for a spin.

HIDDEN TALENTS

As part of his duties as the Baltimore Symphony Orchestra’s associate conductor, Nicholas Hersh serves as co-curator of BSO Pulse, a concert series that features indie bands performing live with the orchestra. A talented orchestrator, many of the arrangements featured in the series are prepared by Nicholas himself. His arrangement of Queen’s Bohemian Rhapsody went viral on YouTube.

8 | Houston Symphony

We are also excited to present Aaron Diehl, one of today’s most prominent jazz pianists and composers, in a unique rendition of George Gershwin’s jazzy Piano Concerto in F.

Kevin Dvorak Cello 1978-2018 (tenure)

Enjoy Great Concerts From Past Seasons on HPM This month’s broadcasts offer solo performances by the orchestra’s distinguished musicians — including former principal clarinet David Peck and former principal bass Timothy Pitts. Also featured are the Houston Symphony Chorus and Grammy®-nominated violin virtuoso Caroline Goulding. Feast your ears on masterworks by Mozart, Bruch, Mendelssohn, Faure, Holst and more!

JUNE 2018 BROADCAST SCHEDULE ALL BROADCASTS AIR AT 8PM

retirement announcement

June 3 News 88.7 June 6 Classical

years

OF MUSIC

At the end of our 2017-18 season, the Houston Symphony bid farewell to two amazing musicians. With a combined tenure of 80 years, these world-class virtuosos' talent and dedication will be greatly missed.

Thank you for the memories, music and service you have given to the Houston Symphony.

RECORDED:

May 14-16, 2005

June 10 News 88.7 June 13 Classical RECORDED:

April 8-10, 2016

June 17 News 88.7 June 20 Classical RECORDED:

April 28, 30 & May 1, 2016

June 24 News 88.7 June 27 Classical RECORDED:

May 5-7, 2006

David Malone Associate Principal Double Bass 1977-2018 (tenure)

Hans Graf, conductor David Peck, clarinet Mozart: Symphony No. 34 in C major, K.338 Lavenda: Clarinet Concerto Weber: Concertino in E-flat major for Clarinet and Orchestra, Opus 26 Bizet: Symphony in C major

Fabien Gabel, conductor Caroline Goulding, violin Dukas: The Sorcerer’s Apprentice Bruch: Violin Concerto No. 1 in G minor, Opus 26 Poulenc: Suite from Les animaux modèles Ravel: Bolero David Zinman, conductor Kiera Duffy, soprano Stephen Powell, baritone Houston Symphony Chorus, Betsy Cook Weber, director Mendelssohn: Symphony No. 4, Italian Fauré: Requiem

Hans Graf, conductor Timothy Pitts, double bass Women of the Houston Symphony Chorus, Charles Hausmann, director Estacio: Solaris Harbison: Concerto for Bass Viol and Orchestra Holst: The Planets

InTUNE — June 2018 | 9

BANK OF AMERICA

SUMMER SERIES at JONES HALL

CLASSICAL MYSTERY TOUR: A Tribute to The Beatles FRI, July 6, 7:30 PM

DISTANT WORLDS: music from FINAL FANTASY SAT, July 7, 7:30 PM

The Music of GEORGE MICHAEL SAT, July 14, 7:30 PM

BEETHOVEN 5 FRI, July 20, 7:30 PM

APOLLO 13 WORLD PREMIERE Film with Live Orchestra SAT, July 21, 7:30 PM

10 | Houston Symphony

The Houston Symphony’s 2018-19 subscription season begins in the fall, but you can still hear the Symphony this summer thanks to the return of the Bank of America Summer Series at Jones Hall. The 2018 Summer Series includes five performances that are sure to delight fans of blockbuster movies, video games and legendary pop music. On July 6, we present Classical Mystery Tour: A Tribute to The Beatles, with more than two dozen of the Fab Four’s tunes performed by the orchestra. Then, on July 7, back by popular demand, international concert phenomenon Distant Worlds: music from FINAL FANTASY returns to Jones Hall as fans of the popular video game series enjoy a multimedia spectacle under the direction of Grammy Award® winner Arnie Roth. On July 14, The Music of George Michael pays tribute to the pop superstar whose songs dominated the charts in the ’80s and ’90s. The final weekend of the Series features a timeless masterpiece, Beethoven’s Fifth, on July 20 and the first-ever performance of Apollo 13—Film with Live Orchestra on July 21. Bank of America’s generosity in supporting these concerts continues its long partnership with the Houston Symphony and service to Greater Houston. The company has been a leading champion of the Symphony since 1993, nurturing activities ranging from the Symphony’s Annual Fund, special events for education and community programming and the Young Associates Council. Bank of America Houston President Hong Ogle says, “The arts matter: they help economies thrive, help individuals connect with each other across cultures and educate and enrich societies. On a global scale, the arts speak to us in a universal language that provides pathways to greater cultural understanding.” The Houston Symphony is grateful to Bank of America for its outstanding support. Please join us in thanking the bank and its staff by attending one of the thrilling concerts of the Bank of America Summer Series at Jones Hall.

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

Robin Angly & Miles Smith Gary & Marian Beauchamp Barbara J. Burger Ron Franklin & Janet Gurwitch The Hearst Foundation, Inc. The Joan and Marvin Kaplan Foundation Joella & Steven P. Mach Mr. & Mrs. J. Stephen Marks Barbara & Pat McCelvey Houston Methodist 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 Dave & Alie Pruner Mr. & Mrs. James A. Shaffer

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 The Elkins Foundation Mr. & Mrs. Fred L. Gorman

The Melbern G. and Susanne M. Glasscock Foundation Mr. & Mrs. U. J. LeGrange Mr. & Mrs. Rodney H. Margolis Billy & Christie McCartney Rita & Paul Morico

Susan & Edward Osterberg Gloria & Joe Pryzant Ken* & Carol Lee Robertson Michael J. Shawiak Stephen & Kristine Wallace Mr. & Mrs. Fredric A. Weber

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

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

12 | Houston Symphony

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

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

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

Robin Angly & Miles Smith Carol and Michael Linn & The Michael C. Linn Family Foundation The Hearst Foundation, Inc. Steven & Nancy Williams The Joan and Marvin Kaplan Foundation Nancy & Robert Peiser

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

The Boeing Company Gary & Marian Beauchamp Justice Brett & Erin Busby Ron Franklin & Janet Gurwitch Houston Downtown Alliance Vinson & Elkins, LLP Beth Madison Rita & Paul Morico Mr. & Mrs. Fredric A. Weber Robert G. Weiner & Toni Blankmann ••••••••

Jay & Shirley Marks Drs. Dennis & Susan Carlyle LTR Lewis Cloverdale Foundation L. Proctor Thomas III The Vivian L. Smith Foundation William Stamps Farish Fund Danielle & Josh Batchelor Mr. & Mrs. Jim R. Smith

Ralph Burch Stephen & Mariglyn Glenn Dr. Stewart Morris Evan B. Glick Vicki West & Mrs. Liv Estrada Viviana & David Denechaud Eugene Fong Daisy S. Wong/JCorp Jo A. & Billie Jo Graves Christina & Mark C. Hanson Debbie & Frank Jones Tad & Suzanne Smith Donna & Tim Shen Judith Vincent Texas Commission on the Arts

Michael J. Shawiak Mr. Jay Steinfeld & Mrs. Barbara Winthrop The Melbern G. and Susanne M. Glasscock Foundation Ms. Ellen A. Yarrell, in memory of Virginia S. Anderson and in honor of Cora Sue Mach

Brad & Joan Corson United Airlines BB&T / Courtney & Bill Toomey Houston First Mr. & Mrs. J. Stephen Marks Marzena & Jacek Jaminski Mrs. Sybil F. Roos SPIR STAR, Ltd.

••••••••

Dr. Gary L. Hollingsworth & Dr. Kenneth J. Hyde

Anne Morgan Barrett Mr. Jackson D. Hicks Terry Ann Brown Virginia A. Clark Estate of Freddie L. Anderson Mr. & Mrs. Marvy A. Finger Mrs. Elizabeth B. Frost Mr. & Mrs. U. J. LeGrange Ms. Nancey G. Lobb Gary Mercer Susan & Edward Osterberg Mr. & Mrs. T.R. Reckling III Mr. & Mrs. William T. Slick Jr. Stephen & Kristine Wallace Mr. & Mrs. Tony Williford Mr. & Mrs. C. Clifford Wright Jr. Dr. Rita Justice Mary Kathryn Campion, PhD PLANNED AND ENDOWMENT GIFTS 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 *deceased

For more information or to pledge your support for Vision 2025, please contact: John Mangum, Executive Director/CEO, 713.337.8540 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 — June 2018 | 13

LEGACY OF LITERACY A

The Houston Symphonyâ&#x20AC;&#x2122;s Collaboration with the Barbara Bush Houston Literacy Foundation

14 | Houston Symphony

Community-Embedded Musician and violist Anthony Parce inspires first graders at the 2017 Barbara Bush Houston Literacy Foundation's Camp Adventure!

BY EMILY NELSON ASSOCIATE DIRECTOR, EDUCATION AND COMMUNITY PROGRAMMING Barbara Bush (1925-2018) is often recognized as the “First Lady of Literacy.” She impacted family literacy on a national level by helping to pass the National Literacy Act of 1991, and her legacy lives on in Houston through the Barbara Bush Houston Literacy Foundation. This July, the Houston Symphony will partner with the Barbara Bush Houston Literacy Foundation and the Children’s Museum of Houston for the third annual Camp Adventure! summer literacy camp. Over the four weeks of the camp, nearly 200 disadvantaged HISD kindergarten through second grade students will participate in daily music lessons with the Symphony’s Community-Embedded Musicians. Students will develop musical competencies that improve their reading skills, including pattern recognition, vocabulary and sequencing—all while having a lot of fun. "I was impressed by how quickly the kids learned the songs for class and how much they seemed to love them,” CommunityEmbedded Musician and cellist Hellen Weberpal recalls. “At one point, a little girl told me that singing ‘Hey, Diddle Diddle!’ was her favorite, and that she practiced and sang it at home with her family. Bringing music into not only life in school but also into more students’ home environments is a vital part of our goals, and I was so thrilled to hear how much the children enjoyed the music.” Barbara Bush’s influence is evident in the joyful eyes of the children who benefit from her passion for reading. The Houston Symphony is honored to support her legacy through music. See page 43 for a list of donors who support the Symphony's Community-Embedded Musicians program. InTUNE — June 2018 | 15

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FEATURED PROGRAM

MENDELSSOHN’S “SCOTTISH” Friday

June 22, 2018

8:30pm

Miller Outdoor Theatre

*Elim Chan, conductor *Rubén Rengel, violin *Houston Symphony debut

Weber

Overture to Der Freischütz

ca. 10

Bruch

Violin Concerto No. 1 in G minor, Opus 26 I Vorspiel: Allegro moderato— II Adagio III Finale: Allegro energico

ca. 24

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

Mendelssohn

Symphony No. 3 in A minor, Opus 56 (Scottish) I Andante con moto—Allegro un poco agitato— II Scherzo: Vivace non troppo— III Adagio— IV Allegro vivacissimo—Allegro maestoso assai

16 | Houston Symphony

ca. 38

Did you know? • Max Bruch spent many years as a professor at the Berlin Hochschule für Musik. One of his most gifted students was the English composer Ralph Vaughan Williams. You can hear Vaughan Williams' masterpiece, A London Symphony, next Friday (see page 24).

Mendelssohn’s “Scottish” | Program Biographies

EXXONMOBIL SUMMER SYMPHONY NIGHTS

Program BIOGRAPHIES

These performances are generously supported in part by:

Elim Chan | conductor

Guarantor City of Houston through the Miller Theatre Advisory Board Partner

The Houston Symphony's Miller Outdoor Theatre concerts are supported in part by an endowed fund from The Brown Foundation, Inc. in memory of Stewart and Hanni Orton. The Houston Symphony's sound shell ceiling is made possible through the generosity of the Beauchamp Foundation and the Fondren Foundation. Houston Public Media is the media sponsor of the Miller Outdoor Theatre series.

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.

WILLEKE MACHIELS

Born in Hong Kong, Elim Chan became the first female winner of the Donatella Flick Conducting Competition in December 2014. As a result, she held the position of assistant conductor of the London Symphony Orchestra in the 2015-16 season and was appointed to the Dudamel Fellowship program with the Los Angeles Philharmonic in the 2016-17 season. Beginning this season, Elim is principal conductor of the orchestra of NorrlandsOperan, leading a symphony season in Umeå and concert tours in Sweden, including stops at Stockholm Konserthuset and Göteborg Konserthuset. She also becomes principal guest conductor of the Royal Scottish National Orchestra. Highlights this season include debuts with the Royal Liverpool Philharmonic Orchestra, NDR Radiophilharmonie Hannover, Orchestra national de Lyon, Rotterdam Philharmonic Orchestra, Antwerp Symphony Orchestra and the Deutsche Staatsphilharmonie Rheinland-Pfalz, among others. Elim will return to the London Symphony Orchestra for concerts in London and at the Music Academy of the West near Santa Barbara, and to the Orquesta Filarmónica de Universidad Nacional Autónoma de Mexico where she is principal guest conductor. Recent notable highlights include her North American debuts with orchestras in Berkeley, Detroit and Chicago; the Mariinsky Theatre Orchestra; the Lucerne Festival with the Lucerne Festival Academy Orchestra; Orchestra Philharmonie Luxembourg; the National Orchestra of Belgium; The Australian Youth Orchestra and Orquesta Filarmónica de Gran Canaria as well as a return visit to the Hong Kong Philharmonic. Previous engagements include her debuts with National Arts Centre Orchestra, Ottawa, and in 2012, with the Orchestre de la Francophonie as part of the NAC Summer Music Institute, where she worked with Pinchas Zukerman. She has also participated in the Musical Olympus Festival in St. Petersburg and workshops with the Cabrillo Festival and Baltimore orchestras (with Marin Alsop, Gerard Schwarz and Gustav Meier). She also took part in masterclasses with Bernard Haitink in Lucerne in 2015. Elim Chan holds degrees from Smith College and the University of Michigan, where she served as music director of the University of Michigan Campus Symphony Orchestra and the Michigan Pops Orchestra. She received the Bruno Walter Conducting Scholarship in 2013.

InTUNE — June 2018 | 17

Program BIOGRAPHIES , continued

Rubén Rengel | violin Venezuelan violinist Rubén Rengel, 22, winner of the 2018 annual Sphinx Competition, is currently pursuing his master’s degree at Rice University’s Shepherd School of Music under the guidance of Paul Kantor. He earned his bachelor’s degree at the Cleveland Institute of Music as a student of Jaime Laredo and won the CIM Concerto Competition (2014), the Anna Y. Tringas Award for excellence in violin performance at CIM (2013) and the Juan Bautista Plaza National Violin Competition of Venezuela (2011). As a soloist, he has appeared with the Venezuela Symphony Orchestra, the Firelands Symphony Orchestra, the CIM Orchestra, Virtuosi de Caracas, Filarmonía Caracas and Arcos Juveniles de Caracas, working with conductors such as Theodore Kuchar, Carlos Miguel Prieto, Carl Topilow, Andrew Grams and Ulyses Ascanio. Rubén has performed at the Teatro Teresa Carreño in Caracas as a soloist, at the Kennedy Center as a representative of CIM, at Carnegie Hall with the New York String Orchestra Seminar and on tour with the Shepherd School Symphony Orchestra. He has been concertmaster of the New York Orchestra Seminar, the Shepherd Symphony Orchestra, the CIM Orchestra, the Aspen Conducting Academy Orchestra and assistant concertmaster of the Aspen Festival Orchestra. Rubén attended the Perlman Music Program Chamber Music Workshop and the Meadowmount School of Music. An avid chamber musician, he is a member of the Autana Trio, which won the bronze medal at the 2015 Fischoff National Chamber Music Competition. His chamber music coaches have included Sharon Robinson, Merry Peckham, Joel Smirnoff, Norman Fischer, James Dunham, Donald Weilerstein, Peter Salaff, Itzhak Perlman and Joseph Silverstein. He has participated in masterclasses with the Brentano String Quartet, Quatuor Ébène, Sylvia Rosenberg, Leon Fleisher, Peter Wiley and the Miró Quartet. Rubén began violin at age 3, studying at the National System of Youth Orchestras of Venezuela (El Sistema) until 6. He later studied at the Emil Friedman Conservatory and School in Caracas with Maestro Ivan Pérez Núñez for 11 years. His performances of Venezuelan folk music and jazz allowed him to develop a talent for improvisation. Rubén also has a strong interest in the art of conducting.

18 | Houston Symphony

Program NOTES Overture to Der Freischütz

Carl Maria von Weber (1786-1826) Born to a family of itinerant actors, Carl Maria von Weber combined his love of theater and music by creating a new, Romantic style of German-language opera. His greatest success, Der Freischütz (perhaps best translated as “The Magic Bullet”) tells the tale of Max, a tenor who must prove himself at shooting before he can marry the beautiful soprano Agathe. Unfortunately, he is a terrible marksman and turns to a demon for some enchanted ammunition. The overture begins with mysterious phrases in the strings that lead to a gorgeous quartet for horns, whose open sound evokes the opera’s rustic, woodland setting. Above tense, tremolo strings, the cellos play a melancholy line in the style of a recitative—a type of operatic sing-speaking—that surely reflects Max’ anguish. We then hear fast and wild music from the famous scene in which Max casts the magic bullets at midnight in the forest amid hellish phantasmagoria. A passionate clarinet solo introduces the cheerful tune that accompanies Agathe’s yearning for Max. These themes are then developed and reprised in a theatrical manner as they struggle for Max’ soul. The Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani and strings

Violin Concerto No. 1 in G minor, Opus 26 Max Bruch (1838-1920)

At 26, the up-and-coming composer Max Bruch decided to embark on an ambitious new project: a violin concerto. He would labor over it for several years while serving as music director at Coblenz. He later recalled, “It [was] a damned difficult thing to do; between 1864 and 1868 I rewrote my concerto at least half a dozen times […]” Bruch would consult several violinists while composing the work, including the great virtuoso Joseph Joachim, who provided Bruch with valuable constructive criticism of the work during its genesis. After premiering the definitive version in January 1868, Joachim would remain one of the concerto’s most steadfast champions. Before long, it became one of the most popular violin concertos in the repertoire. With its Romantic aesthetic, it exemplifies Bruch’s famous dictum that “melody is the soul of music.” The concerto begins with a brief introduction in which a low timpani roll leads to a sighing “motto” theme in the woodwinds. The soloist responds with a melancholy phrase that sounds as if it were improvised. Soon, the tempo quickens as the cellos and basses play an impetuous pizzicato figure, introducing the impassioned main theme of the movement. A lyrical second theme and virtuoso developments follow, leading to a powerful orchestral passage marked “con fuoco”—“with fire.” The motto theme returns, engaging in a dialogue with the soloist.

Mendelssohn’s “Scottish” | Program Notes

A warm, passionate declaration of the motto theme fades away seamlessly into the slow second movement, which begins as the soloist spins a string of tender melodies. This beautifully intimate movement offers respite and comfort after the storm and stress of the first, and prepares for the high spirits of the last. After a rustling introduction, the soloist begins the finale with a fresh, invigorating theme. The orchestra then takes it up, leading to a broad, singing second theme. Amid thrilling virtuoso passagework for the soloist, the two themes are developed and reprised, racing to a spirited, uplifting coda. The Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani and strings

Symphony No. 3 in A minor, Opus 56 (Scottish)

Felix Mendelssohn (1809-1847)

On March 9, 1566, Mary, Queen of Scots, was lunching at the Palace of Holyroodhouse with her secretary, David Rizzio, when the palace was stormed by Mary’s estranged husband, Lord Darnley. Rumors that Rizzio was the Queen’s lover had reached Darnley’s ears, and with the help of his men Darnley dragged Rizzio from the table and stabbed him 56 times as the Queen watched in horror. Rizzio’s murder would be the beginning of the end for Queen Mary, who buried Rizzio in the cemetery of Holyrood Abbey nearby. During his tour of Scotland some 263 years later, Felix Mendelssohn, already a famous composer at 20, wandered through the palace and the now ruined abbey, ruminating on the gruesome tale. In a letter home, he wrote, “Everything is ruined, decayed, and the clear heavens shine in. I think today I have found there the beginning of my ‘Scottish’ Symphony.” He jotted down a gloomy, misty theme on the spot, but the rest of the work would only be composed a dozen years later. Completed on January 20, 1842, the new symphony became an instant classic, and Mendelssohn dedicated it to one of his biggest fans—Queen Victoria. The symphony begins with a slow introduction based on the melody that came to Mendelssohn as he wandered through Holyrood Abbey, and its melancholy mood seems a perfect match for the Romantic ruins. Likewise, the dark and turbulent music of the main body of the movement seems to reflect the violence of stories such as the murder of David Rizzio. The movement has three main melodies, all of which are unusually in minor keys that reinforce the gloomy atmosphere. The first appears in the violins when the music becomes faster after the introduction ends, and it builds to a powerful transition full of the pounding rhythms of horse hooves. Fragments of the first melody accompany the second theme in the clarinet, and after another violent transition, the violins play a ghostly, icy third melody. After an intense development, these main themes are reprised. Often interpreted as a musical storm, howling chromatic music then leads to the haunting return of the slow introduction.

The sunny second movement begins with a cheerful tune in the clarinet; of all the melodies in the symphony, this one seems particularly Scottish. The melody grows and develops, leading to a contrasting second theme in the strings. The two themes provide the grist for the movement’s playful developments. The following slow movement begins with questioning phrases for the violins, which then play a lovely song without words. This beautiful melody, which some have described as prayerful in character, is interrupted by a more solemn, ominous theme three times. Though it is marked “Allegro vivacissimo” (“very fast”) in the published score, Mendelssohn also referred to the finale as “Allegro guerriero”—“fast and warlike,” suggesting he had a battlefield in mind when composing it. This violent, stormy movement features a highly contrapuntal development that builds to a crisis before dying away. At the end, a glowing, hymn-like theme emerges, which Mendelssohn himself said should sound like a men’s chorus. Closely modeled on the opening “ruins” theme that began the symphony, this coda has been interpreted as a hymn of victory or thanksgiving, and brings the symphony to a rousing conclusion. —Calvin Dotsey The Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani and strings

Since it opened in 1923, Miller Outdoor Theatre has been Houston’s premiere venue for free, professional caliber outdoor performances. Located in Hermann Park, it is the only proscenium theatre in America offering an eight-month season of outstanding artistry, including classical music, jazz, dance, drama, films and more. Miller Theatre Advisory Board (MTAB) stewards public and private funds to ensure Miller Outdoor Theatre can serve Houstonians and visitors from all walks of life. The Houston Symphony’s partnership with Miller Outdoor Theatre dates back to the summer of 1940. Last summer, the ExxonMobil Summer Symphony Nights Series, including the annual Star-Spangled Salute on July 4, drew audiences of more than 49,000. The histories of Miller and the Symphony have been closely connected, including the opening performance of the new theatre in 1968, the Symphony’s 100th Birthday Concert in 2013 and the first performance led by new Music Director Andrés Orozco-Estrada in 2014. The Houston Symphony congratulates Miller on its 95th Anniversary in 2018.

InTUNE — June 2018 | 19

FEATURED PROGRAM

TCHAIKOVSKY’S FIFTH Saturday

June 23, 2018

8:30pm

Miller Outdoor Theatre

*Nicholas Hersh, conductor **John Parker, trumpet *Houston Symphony debut **Houston Symphony solo debut

C. Theofanidis O. Böhme/K. Foss

Rainbow Body

ca. 13

Trumpet Concerto in F minor, Opus 18 I Allegro moderato II Adagio religioso III Rondo: Allegro scherzando

ca. 16

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

Tchaikovsky

Symphony No. 5 in E minor, Opus 64 I Andante—Allegro con anima II Andante cantabile, con alcuna licenza III Valse: Allegro moderato IV Finale: Andante maestoso—Allegro vivace

20 | Houston Symphony

ca. 47

Did you know? • John Parker, the Houston Symphony's Associate Principal Trumpet and soloist for tonight's program, is a big-time Harry Potter fan. Get to know this amazing member of the Houston Symphony family in this month's Backstage Pass on page 44.

Tchaikovsky’s Fifth | Program Biographies

EXXONMOBIL SUMMER SYMPHONY NIGHTS

These performances are generously supported in part by:

Program BIOGRAPHIES Nicholas Hersh | conductor

Guarantor City of Houston through the Miller Theatre Advisory Board Partner

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.

Nicholas Hersh is associate conductor of the Baltimore Symphony Orchestra and artistic director of the Baltimore Symphony Youth Orchestras. Since joining the BSO as assistant conductor in 2014, he has continued to make his mark on the mid-Atlantic region with exciting, innovative programming— notably as conductor and co-curator of the acclaimed BSO Pulse series, which brings together indie bands and orchestral musicians in unique collaborations. Nicholas directs the BSO’s educational and family programming, including the celebrated Academy for adult amateur musicians, as well as a variety of classical and popular programs. He made his BSO subscription debut when he stepped in for an indisposed Yan Pascal Tortelier, and has since conducted the BSO in a set of subscription concerts each season. In the 2017-18 season, Nicholas debuted with the Alexandria and Asheville Symphonies and conducted the BSO with pianist Joyce Yang. He debuted with the North Carolina Symphony in 2017, and he has appeared with the New World and Southern Great Lakes Symphonies, the New Jersey and Auburn Symphony Orchestras, and the National Repertory Orchestra. He is a frequent collaborator and guest faculty at the Peabody Conservatory as well as the BSO’s OrchKids program for Baltimore City schoolchildren. Nicholas grew up in Evanston, Illinois, and started his musical training with the cello. He earned a bachelor's degree in music from Stanford University and a master’s degree in conducting from the Indiana University Jacobs School of Music, studying with David Effron and Arthur Fagen. In 2011 and 2012, he was a conducting fellow with the prestigious Aspen Conducting Academy, studying with mentors Robert Spano, Hugh Wolff and Larry Rachleff, and has participated in masterclasses with Bernard Haitink and Michael Tilson Thomas. Nicholas is a two-time recipient of the Solti Foundation Career Assistance Award. Nicholas is a skilled arranger and orchestrator. He has zhad frequent arrangement commissions from the BSO as well as from the Cleveland Pops Orchestra, the National Repertory Orchestra and the Jackson Symphony. His symphonic arrangement of Queen’s Bohemian Rhapsody saw worldwide success as a viral YouTube hit.

InTUNE — June 2018 | 21

Program BIOGRAPHIES , continued

John Parker | trumpet

Please see John Parker's biography and Backstage Pass feature on page 44.

Program NOTES Rainbow Body

Christopher Theofanidis (b. 1967) Rainbow Body is an especially Houstonian piece of music; it was commissioned and premiered by the Houston Symphony in 2000, and its composer, Christopher Theofanidis, is a native Texan who completed his undergraduate studies at the University of Houston. One of the most programmed pieces of contemporary music, Rainbow Body has been played by more than 150 orchestras. The piece is named for what Theofanidis described as “the Tibetan Buddhist idea of ‘Rainbow Body,’” in which “an enlightened being […] is absorbed directly back into the universe as energy, as light” after death. This powerful light only emerges from darkness and chaos, however; the piece begins with fragmentary musical ideas that lead to an expressive cello solo. The strings then intone the radiant main melody, which Theofanidis adapted from a chant by the medieval abbess Hildegard von Bingen. In a virtuoso bit of orchestration, Theofanidis creates a “halo” around it by sustaining carefully selected notes, ensuring that the orchestra will sound as if it is in a reverberant cathedral. Alternating with more volatile episodes, the theme recurs twice and brings the work to a resplendent conclusion. The Instruments: 3 flutes (one doubling piccolo), 3 oboes, 3 clarinets (one doubling bass clarinet and one doubling E-flat clarinet), 3 bassoons (one doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano and strings

Trumpet Concerto in F minor, Opus 18

Oskar Böhme (1870-c.1938)

solo DEBUT Böhme/Foss Trumpet Concerto

"I picked this piece because it is a great showcase piece for the trumpet. It is not performed nearly as often as some of the other classical trumpet concerti, but it contains simple, beautiful, lush melodies and a level of virtuosity that is unparalleled in those other trumpet concerti. "It feels surreal to be playing this piece with the Symphony. The only other time I’ve played it was on a recital in my junior year of college. At that time (only six short years ago), I never even dreamed I would be able to perform it with a full symphony orchestra, let alone with my colleagues in the Houston Symphony." 22 | Houston Symphony

After beginning his career as a touring soloist at 15, the German trumpet virtuoso Oskar Böhme ultimately settled in St. Petersburg. Unfortunately, Stalin forcibly resettled him and many other Germans to the Ukraine in the mid-1930s, and the precise date, place and cause of his death remain unknown. One eyewitness claimed to have seen him engaged in hard labor working on the Turkmenian Channel as late as 1941. Böhme is best remembered for his Trumpet Concerto of 1899, the leading trumpet concerto in the Romantic style. The piece opens with a fiery descending motif for strings and winds, an introduction that leads to the soloist’s entrance. Virtuoso passagework leads to a cantabile second theme, and after a brief, lyrical development, the main themes are recapitulated. The fiery introduction then returns, leading to a cadenza, a passage for the soloist alone. The movement ends with a virtuoso rendition of the main theme. The second movement, marked “Adagio religioso” (“slowly and religiously”), begins with a meditative melody. In a theatrical gesture, the soloist stops playing and the melody is continued by a trumpet in the orchestra, which plays as if answering the soloist from a great distance. When the soloist resumes the melody, the music becomes increasingly passionate. After some emotional developments, a solo violin signals a return to the main melody.

Tchaikovsky’s Fifth | Program Notes

The final movements are linked by a bridge in which the soloist plays an operatic arioso, a type of music halfway between speech and song. Initially pained, the soloist’s melody finds tranquility as it proceeds. The orchestra then bounds into the finale, which features a merry tune full of teasing pauses and witty ripostes. A lilting second theme passes through a variety of moods, and the two main themes are reprised before the concerto ends with a virtuoso coda. The Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani and strings

Symphony No. 5 in E minor, Opus 64

Pyotr Ilyich Tchaikovsky (1840-1893)

Eleven years separated the composition of Tchaikovsky’s Fourth and Fifth Symphonies; for the most part, they had been marked by increasing success. In 1888, he rented a fine house in a quiet suburb of Moscow where he could take walks, garden and compose. Tchaikovsky wrote, “I want to […] do a great deal of work...I am giving thought to a new symphony.” At this moment, he seems to have felt ready to return to a theme that had long preoccupied him: the individual’s struggle with fate. Tchaikovsky’s initial sketches for the symphony include a fragmentary program: “Intr[oduction]. Total submission before fate, or, what is the same thing, the inscrutable designs of Providence. Allegro. 1) Murmurs, doubts, laments, reproaches against...XXX II) Shall I cast myself into the embrace of faith???” Though he never said so explicitly, many have speculated the reason for his preoccupation with fate arose from his struggle to reconcile his homosexuality with the society in which he lived. In a private letter, Tchaikovsky revealed that his Fourth Symphony was dominated by a “fate” theme that represents “an invincible force that can never be overcome—merely endured, hopelessly.” The Fifth symphony begins with a similar theme, but it plays a very different role, transforming from an ominous force into a triumphant one. Perhaps the acclaim and security Tchaikovsky won throughout the 1880s allowed him to reconsider his relationship with fate. The work begins with a slow, gloomy melody for clarinet—the fate theme. In the following Allegro, a darkly-colored new theme appears above a march-like accompaniment. After building to an intense passage, the music transitions to a more lyrical theme in the strings. Marked “molto cantabile ed espressivo” (“very singing and expressive”), this tender melody crescendos to a powerful statement based on a defiant fanfare. In the ensuing development, fragments of the march theme and the fanfare build to a violent climax. The main themes then return, leading to a grim reprise of the march theme that gradually dies away. In the hushed beginning of the second movement, the lower strings imitate a men’s chorus, a common ensemble in the Russian Orthodox Church. A yearning, perhaps even prayerful melody is then introduced by a solo horn. At its conclusion, the oboe plays a brief melodic idea that bears a striking similarity to the music

Tchaikovsky would later write for the “vision” scene in Sleeping Beauty, in which the Prince first sees a vision of the Princess. The horn melody resumes in the cellos, but halfway through the “vision” melody returns as a full-fledged Tchaikovskian love theme, marked “con noblezza” (“with nobility”). The love theme leads to a new, more troubled melody. This uneasy passage builds to a statement of the fate theme that is immensely powerful but ambivalent, harmonized by an unstable chord. The horn solo melody then returns in the violins. Once again, the melody is abandoned for the love theme, now marked “con desiderio ed passione” (“with desire and passion”). Just as the love theme finishes, the fate theme brutally cuts it off, now with unambiguous, menacing harmonies. After this interruption, the love theme resumes, dreamily drifting away to the movement’s quiet ending. The third movement provides healing after this emotional intensity through the beauty of a balletic waltz. The fate theme reappears at the end of the movement, but it no longer seems threatening; instead, it leads to a musical joke. The finale begins with the fate theme transformed into a strong and noble melody in E major. As it concludes, the music darkens, leading to a fierce, bristling theme in E minor. A transitional passage leads to a contrasting, high-spirited theme in the woodwinds, after which the fate theme reappears in a heroic, swashbuckling guise. In the ensuing development, the music becomes weaker and weaker. Just as it is about to die, the fierce E minor theme jolts the music back to life. After a reprise of the second theme, the music reaches a dramatic climax, as if we have come to the critical moment of a decisive battle. A series of powerful chords brings the music to a halt—and the fate theme returns as a triumphant song of victory. The music then races to one of the most ecstatic endings of any piece of music. —Calvin Dotsey The Instruments: 3 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani and strings

Bank of America’s support of the Houston Symphony reflects its belief that the arts matter. The arts help economies thrive, individuals connect with each other across cultures, and educate and enrich societies. As a component of its ESG (environmental, social and governance) program, the company is committed to operating in a responsible way that contributes to the health of economies and which benefits its clients, communities and employees. Each year, Bank of America supports more than 2,000 non-profit arts organizations worldwide. InTUNE — June 2018 | 23

FEATURED PROGRAM

GERSHWIN’S CONCERTO IN F Friday

June 29, 2018

8:30pm

Miller Outdoor Theatre

*Jessica Cottis, conductor *Aaron Diehl, piano *Houston Symphony debut

Elgar Gershwin

Froissart, Concert Overture, Opus 19

ca. 15

Piano Concerto in F I Allegro II Adagio—Andante con moto III Allegro agitato

ca. 29

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

Vaughan Williams

Symphony No. 2 in G major (A London Symphony) I Lento—Allegro risoluto II Lento III Scherzo (Nocturne) IV Andante con moto—Maestoso alla Marcia

24 | Houston Symphony

ca. 47

Did you know? • George Gershwin dropped out of high school to become what was known as a songplugger in New York City's Tin Pan Alley. His job was to play and sing new songs for artists so they could decide whether they wanted to perform them or not. He wrote his own songs on the side and composed his first Broadway show in 1919 at age 20.

Gershwin’s Concerto in F | Program Biographies

EXXONMOBIL SUMMER SYMPHONY NIGHTS

Program BIOGRAPHIES

These performances are generously supported in part by:

Guarantor City of Houston through the Miller Theatre Advisory Board Partner

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.

KAUPO KIKKAS

Jessica Cottis | conductor Hailed as “one to watch,” Jessica Cottis is a charismatic figure who brings dynamism, intensity and clarity to her performances. Recent career highlights include appearances with the London, Royal and Malaysian Philharmonic Orchestras; the London, Malmö, Gälve, Sydney, BBC and New Zealand Symphony Orchestras; the BBC National Orchestra of Wales; the BBC Concert Orchestra; Orchestra Sinfonica di Milano Giuseppe Verdi (laVerdi); l’Orchestre Philharmonique de Monte Carlo; Orquestra Simfònica de Barcelona i Nacional de Catalunya; the Royal Liverpool Philharmonic and a recording with the BBC Scottish Symphony Orchestra. In the 2018-19 season, Jessica debuts with the Los Angeles Philharmonic and revisits the City of London Sinfonia, Scottish Chamber Orchestra, Royal Philharmonic Orchestra, Milan’s laVerdi, Barcelona’s OBC, the Canberra Symphony Orchestra and Melbourne’s Monash Academy Orchestra. She also conducts premieres of two new opera commissions for London’s Royal Opera House and film with live orchestra productions of ET, Jurassic Park, Jaws, Casino Royale, Vertigo, Fantasia and The Addams Family. Her posts have included assistant conductor at the BBC Scottish Symphony Orchestra (2009-2011), fellow in conducting at the Royal Conservatoire of Scotland (2009-2011) and assistant conductor of the Sydney Symphony Orchestra (2012-2014), where she was lauded as “one of the big hopes for change.” Jessica became principal conductor of the Glasgow New Music Expedition in 2014 and associate member of the Royal Academy of Music in 2015. Born in Australia and a dual British-Australian citizen, Jessica was awarded a first class honors degree in organ, piano and musicology from the Australian National University and continued her studies with Marie-Claire Alain in Paris, winning awards from the Royal Philharmonic Society and Royal College of Organists. A wrist injury halted her playing career, and after reading law, she began conducting studies in 2006 with Colin Metters and Sir Colin Davis at the Royal Academy of Music. Jessica was awarded the Academy’s top conducting prizes upon graduation and was also a Manson Fellow in composition. Her mentors have included Vladimir Ashkenazy and Donald Runnicles. Jessica has filmed projects for Play School (ABC Australia), CBeebies (BBC) and the Royal Opera House and has appeared on the BBC Woman's Hour special, World Service, Today, Maestro at the Opera and other programs. She has also conducted projects with the National Youth Orchestra of Great Britain, Sistema Scotland and London’s Royal Philharmonic Society. Jessica lives in South London and spends her free time taking helicopter flying lessons.

InTUNE — June 2018 | 25

Program BIOGRAPHIES , continued

Aaron Diehl | piano

Froissart, Concert Overture, Opus 19

Pianist Aaron Diehl is one of today's most sought after jazz virtuosos, consistently playing with what The New York Times describes as “melodic precision, harmonic erudition, and elegant restraint.” With his meticulously thought-out performances, collaborations and compositions, Aaron is a leading force in jazz today. Recent career highlights include serving as music director for the Jazz at Lincoln Center New Orleans Songbook concert series; the New York premiere of Philip Glass’ complete Etudes; collaboration with the Spanish flamenco guitarist Dani De Morón; and touring with Grammy®-nominated jazz singer Cécile McLorin Salvant, bassist Paul Sikivie and drummer Lawrence Leathers at Walt Disney Concert Hall, Jazz in Marciac, Newport Jazz Festival, North Sea Jazz Festival, Istanbul Jazz Festival, Ronnie Scott’s and La Cigale. His second album on Mack Avenue Records, Space, Time, Continuum, emphasizes intergenerational artistic collaboration with performances by Benny Golson (tenor saxophone), Joe Temperley (baritone saxophone), Quincy Davis (drums) and David Wong (bass) playing Aaron’s original compositions. The title track, featuring vocalist Charenee Wade, was co-written by Salvant. The Bespoke Man’s Narrative (2013), his first album (Mack Avenue Records), reached No.1 on the JazzWeek Jazz Chart and was hailed by JazzTimes for displaying “precision and polish.” His other albums include Live at The Players (2010) and Live at Caramoor (2008). Aaron’s recent collaborations with internationally acclaimed artists and ensembles include: Warren Wolf, Lew Tabackin, Matt Wilson, Wycliffe Gordon, Wynton Marsalis and his Septet and the Jazz at Lincoln Center Orchestra. As one of the youngest-ever Monterey Jazz Festival Commission Artists, Aaron composed Three Streams of Expression in 2014, a work dedicated to pianist and composer John Lewis. His awards include the Jazz Journalists Association Award for Up and Coming Musician (2013), the Prix du Jazz Classique (2012) and the Cole Porter Fellowship (2011) from the American Pianists Association. He was the inaugural artistic director of the Catskill Jazz Factory. Aaron is a graduate of The Juilliard School, where he studied with Kenny Barron, Eric Reed and Oxana Yablonskaya. He lives in Harlem and enjoys spending time in the sky when not on tour or recording. As a licensed pilot, one of his favorite planes is the Beechcraft Bonanza.

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Program NOTES

Edward Elgar (1857-1934)

In March 1890, the 32-year-old Elgar decided to abandon the English countryside and try to make his name in the big city. He quit his job as a church organist and moved to London with his wife, Alice, who was expecting their first child. Bursting with ambition, Elgar began his first major work: Froissart. Jean Froissart was a medieval chronicler famous for his depictions of daring knights and chivalry. Elgar prefaced the score with a quote by the poet Keats, “When chivalry lifted up her lance on high,” further showing that his subject was a Romantic vision of a lost age. Though Elgar left no specific program, the score's proto-cinematic quality invites listeners to imagine their own chivalrous adventures. The piece begins with a grand flourish that leads to a broad, heroic theme in the strings. Developments foreshadow some looming conflict before a contrasting, lyrical second theme is introduced by a solo clarinet. Dramatic episodes ensue, leading to a reprise of the main themes and a high-spirited coda. Despite its brilliance, Froissart failed to attract attention. In England, Classical music was still seen as the province of foreigners, and it was tough going for a native composer. Discouraged, the Elgars returned to the countryside in June 1891; Elgar would only secure fame eight years later with his Enigma Variations. The Instruments: 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, percussion and strings

Piano Concerto in F

George Gershwin (1898-1937) In 1925, while composing hit Broadway and West End musicals, George Gershwin found time to fulfill a commission from the New York Symphony for a Piano Concerto. He had only broken into the Classical world in 1924 with his epochal fusion of jazz and classical music, Rhapsody in Blue. Regarding his concerto, Gershwin said, “Many persons had thought that the Rhapsody was only a happy accident. Well, I went out, for one thing, to show them that there was plenty more where that had come from.” Show them he did; Gershwin performed the solo at the world premiere in December. Audiences loved it, and the World declared Gershwin “a genius.” After a percussive opening, we hear the long-short rhythms of the Charleston, which for Gershwin evoked “the young, enthusiastic spirit of American life.” The pianist enters with a more introspective, lyrical theme. These ideas are developed throughout a movement marked by mercurial changes of mood and tempo. Near the end, the pianist’s initial theme makes a grand, soaring return in the strings. Described by Gershwin as “almost Mozartian in its simplicity” and possessed of “a poetic, nocturnal tone,” the second movement

Gershwin’s Concerto in F | Program Notes

approaches the intimate world of chamber music with solos for trumpet, oboe, flute and violin. The main theme is a bluesy solo for muted trumpet and a trio of clarinets; it alternates with two contrasting episodes. The first is a playful one that begins when the piano enters; the second introduces a singing “big tune” in the strings. Gershwin called the finale “an orgy of rhythms,” a showcase for the pianist’s virtuoso technique. The driving repeated notes of the main theme alternate with reminiscences of the first and second movements, culminating in a grand return of the lyrical theme the soloist first played at the beginning of the concerto. The Instruments: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion and strings

Symphony No. 2 in G major (A London Symphony)

Ralph Vaughan Williams (1872-1958)

Ralph Vaughan Williams began composing his Second Symphony in 1912 at the instigation of his friend George Butterworth. Vaughan Williams’ First Symphony had been a grand cantata with chorus, and Butterworth felt his friend should compose a symphony for orchestra alone. Vaughan Williams thus took some sketches for a tone poem about London and made them the basis of A London Symphony. The work’s premiere in March 1914 was a major success for Vaughan Williams and would help secure his reputation as England’s leading composer. It would always remain one of his favorite works, and he would revise and perfect it until 1933. Though Vaughan Williams was born in the countryside, he spent most of his life in London and considered himself a Londoner. His love for the city and keen observations of what was then the foggy, bustling hub of the British Empire are manifest throughout the symphony, which begins with a depiction of dawn over the sleeping metropolis. The faint sound of the Westminster Chimes awakens the city, leading to a vigorous new theme in G minor. Vaughan Williams described the first movement as “noise and scurry,” and one can imagine the diverse characters of the city in its proliferation of themes, including a jolly tune that evokes a holiday on Hampstead Heath. This gives way to a calm, beautiful passage for divided strings that some have likened to the city’s tranquil parks. Gradually, the frenetic activity resumes, leading to a boisterous ending. Butterworth described the slow second movement as “an idyll of grey skies and secluded byways.” A meditative melody in the English horn leads to a warmer passage accompanied by luminous, pulsing strings. A solo viola begins a new section that features the jangling of a hansom cab and the market song of a lavender seller. The music builds to a grand climax, then fades as the opening melody returns. Vaughan Williams referred to the third movement as a nocturne; its fast, mischievous music evokes the nightlife of early 20th-century London. Biographer Michael Kennedy described the contrasting

central section as “a scene of Cockney conviviality centered on a mouth-organ and accordion.” The atmosphere darkens at the movement’s end as fragments of the lively music fade into the night. The finale begins with a piercing, powerful statement from the full orchestra. The violas and cellos then introduce a resolute march which gives way to faster, more energetic music. When the march returns, it builds to a dramatic climax. The music fades away, leading to the return of the Westminster Chimes. In later years, Vaughan Williams revealed that the shimmering epilogue that follows was connected to a passage by H. G. Wells: “Out to the open we go, to windy freedom and trackless ways. Light after light goes down. England and the Kingdom, Britain and the Empire, the old prides and old devotions, glide abeam, astern, sink down upon the horizon, pass—pass. The river passes—London passes, England passes….” Though Vaughan Williams always denied any prophetic talent, many have heard the ending as the passing of the Edwardian age. The First World War would erupt only months after the symphony’s premiere. —Calvin Dotsey The Instruments: 3 flutes (two doubling piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, harp and strings

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FEATURED PROGRAM

This program is part of our Bernstein at 100 celebration.

SCHUMANN AND FANCY FREE Saturday

June 30, 2018

8:30pm

Miller Outdoor Theatre

*Kensho Watanabe, conductor Hyun Jae Lim, violin, Silver medal winner, 2018 Houston Symphony Ima Hogg Competition *Houston Symphony debut

Bernstein

Mendelssohn

Three Dance Variations from Fancy Free Variation 1. (Galop): Presto Variation 2. (Waltz): Allegretto grazioso Variation 3. (Danzon): Strong, moderate quarters

ca. 7

Violin Concerto in E minor, Opus 64

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I Allegro molto appassionato—Presto— II Andante— III Allegretto non troppo—Allegro molto vivace I N T E R M I S S I O N

Schumann

Symphony No. 2 in C major, Opus 61 I Sostenuto assai—Allegro ma non troppo II Scherzo and Trios I and II: Allegro vivace III Adagio espressivo IV Allegro molto vivace

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ca. 34

Did you know? • Composer Leonard Bernstein and choreographer Jerome Robbins both had busy schedules, so they often had to work on their ballet Fancy Free while apart. Bernstein would compose some music, record a fourhand piano version of it with his friend and mentor Aaron Copland (a great composer in his own right) and send the recordings off to Robbins for feedback.

Schumann and Fancy Free | Program Biographies

EXXONMOBIL SUMMER SYMPHONY NIGHTS

Program BIOGRAPHIES

These performances are generously supported in part by:

Guarantor City of Houston through the Miller Theatre Advisory Board Partner

ANDREW BOGARD

Kensho Watanabe | conductor Kensho Watanabe is currently assistant conductor of the Philadelphia Orchestra and was the inaugural conducting fellow of the Curtis Institute of Music from 2013 to 2015 under the mentorship of Yannick Nézet-Séguin. In April 2017, he came to worldwide attention by stepping in at the last minute for an indisposed Nézet-Séguin to make his critically acclaimed subscription debut with the Philadelphia Orchestra and pianist Daniil Trifonov. Equally at home in both symphonic and operatic repertoire, Kensho has led numerous operas with the Curtis Opera Theatre, most recently Puccini’s La rondine in 2017 and La bohème in 2015. He served as assistant conductor to Nézet-Séguin on a new production of Strauss’ Elektra at Montreal Opera. Symphonic highlights include conducting the Philadelphia Orchestra with Hilary Hahn, plus re-engagements with the Orchestre Métropolitain, Alabama Symphony Orchestra and the San Diego Symphony where he is a conducting fellow.

An accomplished violinist, Kensho received his master’s degree in music from the Yale School of Music and served as a substitute violinist in the Philadelphia Orchestra, 2012-2016. Cognizant of the importance of the training and development of young musicians, he has served on the staff of the Greenwood Music Camp since 2007, currently serving as the orchestra conductor. Kensho Watanabe is a graduate of the Curtis Institute of Music, where he studied with distinguished conducting pedagogue Otto-Werner Mueller. Additionally, he holds a Bachelor of Science degree from Yale College, where he studied molecular, cellular and developmental biology.

Houston Public Media is the media sponsor of the Miller Outdoor Theatre series.

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.

InTUNE — June 2018 | 29

Program BIOGRAPHIES , continued

Program NOTES , continued

Hyun Jae Lim | violin, Silver medal winner, 2018

Philharmonic debut catapulted him to fame and helped make the ballet into a reality. Set in contemporary, wartime New York City, the ballet follows three sailors on shore leave as they attempt to woo two women they meet at a bar.

Houston Symphony Ima Hogg Competition

Recently featured as a soloist with the Philadelphia Orchestra in the 201718 season, Hyun Jae Lim was invited back to perform with the orchestra in the same year. Winner of the 2017 Philadelphia Orchestra Alfred M. Greenfield Student Competition, Hyun Jae Lim has top prizes in numerous international competitions, including Singapore International Violin Competition, Great Mountains Festival Concerto Competition and Fischoff National Chamber Music Competition. She was featured on the 15th anniversary show NPR's From the Top. As a chamber musician, she has collaborated with worldrenowned artists Vadim Gluzman, Gary Hoffman, Shmuel Ashkenasi, Peter Wiley, Steve Tenenbom and many others. She has participated in masterclasses with Gluzman, Gil Shaham, Hilary Hahn, Pinchas Zukerman, Ivry Gitlis, Benjamin Schmid, Pamela Frank and Dmitry Sitkovetsky. Hyun has attended the Keshet Eilon Summer Mastercourse, National Arts Centre Young Artists Program, Heifetz International Music Institute, Aspen Music Festival and School and the Great Mountains Music Festival and School. She entered the Curtis Institute of Music in 2012 and is pursuing her studies with Ashkenasi and Arnold Steinhardt.

Program NOTES Three Dance Variations from Fancy Free Leonard Bernstein (1918-1990)

Late one night in October 1943, a still unknown Leonard Bernstein heard a knock on the door of his studio at Carnegie Hall. It was Jerome Robbins, an up-and-coming soloist with New York’s Ballet Theatre. Robbins’ true ambition, however, was to create a ballet that was unlike anything anyone had ever seen before: something fresh, contemporary, American. He wanted to hear some of Bernstein’s music. Bernstein recalled singing a melody he had written on a napkin in the Russian Tea Room earlier that afternoon: “Jerry went through the ceiling. He said, ‘That’s it, that’s what I had in mind!’ We went crazy.” The following month, Bernstein’s legendary New York 30 | Houston Symphony

The dance variations accompany the competition among the sailors as each tries to impress the girls with his dancing skills. The first performs a rambunctious gallop that involves two shots of liquor and dancing on the bar. The more graceful second sailor begins with a dreamy waltz, but reveals an edgier side as well. The last tries his luck with a Latin danzon, complete with snapping, clapping and sensual hip swaying. With Robbins dancing and Bernstein conducting, the ballet played to sold-out houses at the old Met before going on a national tour. Riding the wave of success, the dynamic duo turned the ballet into a hit musical, On the Town. The Instruments: 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, piano and strings

Violin Concerto in E minor, Opus 64 Felix Mendelssohn (1809-1847)

During the summer of 1838, Felix Mendelssohn wrote to his friend Ferdinand David: “I should like to write a violin concerto for you next winter. One in E minor runs through my head, the beginning of which gives me no peace.” Indeed, it would not give him peace for another six years, when he at last found time and inspiration to complete it. Composed at the height of Mendelssohn’s brilliant career, the concerto became an instant classic and remains one of the cornerstones of the repertoire. The first movement, marked Allegro molto appassionato (fast and very passionate), begins with a haunting melody that builds to a tempestuous transitional passage. This subsides, allowing flutes and clarinets to introduce a gentle, lyrical melody while the soloist plays a long note on the violin’s lowest string. After the violin plays the melody, a developmental passage ensues. While most composers create intensity with a fortissimo, Mendelssohn often makes the most crucial moments of his pieces the quietest. The climax of this movement is an extended solo (called a cadenza) in which the violinist is completely alone. Normally, a cadenza appears at the end of a movement, but Mendelssohn placed it just after the middle, an innovation that would inspire later composers to do the same. Amid the soloist’s rapid string crossings, the haunting opening theme reappears in the orchestra. The gentle second theme then returns, leading to a stormy coda. Eager to create musical continuity throughout the concerto, Mendelssohn composed passages that link one movement to another without pause. As soon as the orchestra plays the final chord of the first movement, a bassoon leads a magical transition to the tranquil world of the slow second movement. The soloist

Schumann and Fancy Free | Program Notes

then plays what many have described as a beautiful song without words, offering respite from the drama of the first movement. A contrasting, passionate melody appears in the middle of the movement, but ultimately the calm of the opening melody prevails. Transitioning to the finale, the soloist poses a series of musical questions, which it answers with the orchestra. This moody atmosphere is soon banished by playful brass fanfares that lead to a sunny, puckish theme for the soloist. After much virtuoso passagework, the soloist introduces a broader, contrasting melody, an ingenious countertheme of the movement’s main melody that the violin and strings later play simultaneously. A thrilling coda brings the concerto to a brilliant conclusion. The Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings

Symphony No. 2 in C major, Opus 61 Robert Schumann (1810-1856)

Robert Schumann composed his Second Symphony during a long period marked by illness and depression. Indeed, a few years after completing this work, he would recall that “I wrote the symphony […] still half sick; it seems to me that one would have to hear this in it. Only in the last movement did I begin to feel like myself again; actually I became better only after the completion of the whole work. Otherwise, though, as I say, it reminds me of a dark time.” Despite these struggles, Schumann developed a “New Way” of composing during this time; in the past, he had often composed at a piano, but he now began to compose everything in his head. In the fall of 1845, he wrote to Mendelssohn, “For several days there’s been much trumpeting and drumming within me […] I don’t know what will come of it.” Seized with inspiration, Schumann began serious work on the symphony, and a draft was complete not long after Christmas. Relapses into ill health and depression, however, delayed the orchestration, so the premiere had to wait until the following November when Mendelssohn conducted it with the Leipzig Gewandhaus Orchestra. Critics saw the work as a breakthrough for Schumann, and later composers such as Brahms and Tchaikovsky would also regard it as one of his best symphonies. Admirers have detected in it a narrative of struggle leading to an uplifting ending. Perhaps composing the symphony was therapeutic for Schumann; the work’s lively, imaginative music provides listeners with a powerful sense of joy and serenity by the work’s conclusion. The symphony begins with a noble, fanfare-like melody in the trumpet. Beneath it a wandering countermelody unfolds in the strings, but its phrases do not line up with those of the trumpet. This creates a subtle tension that erupts as the music breaks into a faster tempo, building to a grand and solemn crescendo. The main

body of the first movement then begins, introducing a series of fiery, energetic themes. These ideas form the basis of an intense, extended development before they return in varied form. The second movement begins with a mischievous, perpetualmotion theme for violins. This whirlwind theme is contrasted with two intervening episodes, the second of which reflects Schumann’s fascination with the music of Bach. Indeed, hidden in the contrapuntal texture of the music are the notes B-flat, A, C, B-natural, which according to the German note-naming system spell B-A-C-H. The third movement begins with one of Schumann’s most haunting melodies. The imminent conductor Hans von Bülow once said that whenever he heard this movement, he felt inspired to “sink to his knees in prayer.” The main melody alternates with contrasting episodes, ultimately rising to exquisite high notes before fading away. After an introductory flourish, the finale launches with a highspirited theme. After a brief contrasting interlude, this main theme returns, only to vanish thereafter. In its place, a new theme emerges. Hinted at by the melodic shapes of other themes throughout the symphony, the new theme is a quotation from Beethoven’s song cycle, An die ferne Geliebte (To the Distant Beloved). The words from the quoted song are “Take, then, these songs,/That I to you, beloved, sang.” Interwoven with allusions to ideas from earlier in the symphony, this quotation has traditionally been interpreted as Robert offering his symphony to his wife, the great piano virtuoso Clara Schumann. The movement ends with a grand plagal cadence, the chords traditionally used to harmonize the word “Amen.” — Calvin Dotsey The Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani and strings

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InTUNE — June 2018 | 31

FEATURED PROGRAM

STAR-SPANGLED SALUTE Wednesday July 4, 2018

8:30pm

Miller Outdoor Theatre

Steven Reineke, conductor Ryan Silverman, vocalist

TONIGHTâ&#x20AC;&#x2122;S PROGRAM WILL BE ANNOUNCED FROM THE STAGE.

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Star-Spangled Salute | Program Biographies

Program BIOGRAPHIES EXXONMOBIL SUMMER SYMPHONY NIGHTS

These performances are generously supported in part by:

Steven Reineke | conductor

Guarantor City of Houston through the Miller Theatre Advisory Board

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.

Steven Reineke has established himself as one of North America's leading conductors of popular music. In addition to being Principal POPS Conductor at the Houston Symphony, Steven is the music director of The New York Pops at Carnegie Hall, principal pops conductor of the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts and principal pops conductor of the Toronto Symphony Orchestra. He previously held the posts of principal pops conductor of the Long Beach and Modesto Symphony Orchestras and associate conductor of the Cincinnati Pops Orchestra. Steven is a frequent guest conductor with The Philadelphia Orchestra and has been on the podium with the Boston Pops Orchestra, The Cleveland Orchestra and the Chicago Symphony Orchestra at Ravinia. His extensive North American conducting appearances include San Francisco, Seattle, Edmonton, Pittsburgh, Vancouver, Ottawa (National Arts Centre), Detroit, Milwaukee and Calgary. On stage, Steven has created programs and collaborated with a range of leading artists from the worlds of hip hop, Broadway, television and rock, including Common, Kendrick Lamar, Nas, Sutton Foster, Megan Hilty, Cheyenne Jackson, Wayne Brady, Peter Frampton and Ben Folds, among others. In 2017, he was featured on National Public Radio's All Things Considered leading the National Symphony Orchestra—in a first for the show’s 45-year history—performing live music excerpts between news segments. As the creator of more than 100 orchestral arrangements for the Cincinnati Pops Orchestra, Steven’s work has been performed worldwide and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. His symphonic works Celebration Fanfare, The Legend of Sleepy Hollow and Casey at the Bat are performed frequently in North America, including performances by the New York Philharmonic and Los Angeles Philharmonic. His Sun Valley Festival Fanfare was used to commemorate the Sun Valley Summer Symphony’s pavilion, and his Festival Te Deum and Swan’s Island Sojourn were debuted by the Cincinnati Symphony and Cincinnati Pops Orchestras. His numerous wind ensemble compositions are published by the C.L. Barnhouse Company and are performed by concert bands worldwide. A native of Ohio, Steven is a graduate of Miami University of Ohio, where he earned Bachelor of Music degrees with honors in both trumpet performance and music composition. He currently resides in New York City with his husband, Eric Gabbard.

InTUNE — June 2018 | 33

Program BIOGRAPHIES , continued

Ryan Silverman | vocalist Ryan Silverman has starred in Side Show on Broadway, for which he received a Drama Desk nomination for best actor. Other Broadway credits include star turns as Billy Flynn in Chicago and Raoul in The Phantom of the Opera. He received Drama Desk and Drama League nominations for his performance as Giorgio in CSC’s production of Passion. He has appeared at the Kennedy Center as Sir Lancelot alongside Brian Stokes Mitchell in Camelot and as Terry Connor in Side Show. Internationally, Ryan starred in the Théâtre du Châtelet's acclaimed production of Passion, opposite Natalie Dessay, and as Tony in the Olivier-nominated 2008 West End production of West Side Story. He recently starred in the concert version of West Side Story with the Philadelphia Orchestra and in The Golden Apple at New York's City Center Encores! Other credits include Cry-Baby on Broadway, Finian’s Rainbow (Irish Repertory Theater) and The Most Happy Fella at New York City Opera. He recently made his debut at Paper Mill Playhouse, starring in Ken Ludwig’s A Comedy of Tenors. Ryan starred as Sky in the first national tour of Mamma Mia! and as Jose in the world premiere of the new musical Carmen at La Jolla Playhouse. He has also played the role of Rapunzel’s Prince in Into The Woods at the MUNY.

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Regional credits include Thoroughly Modern Millie (Jimmy), Cinderella (Prince), Grease (Danny), Hello Dolly! (Cornelius), Assassins (John Wilkes Booth), Sweeney Todd (Anthony), Forever Plaid (Smudge) and Blood Brothers (Eddie Lyons). TV and film stints include: The Good Fight, Gossip Girl, Five Minarets in New York, Sex and the City 2 and True Blood. Ryan has performed his club act in New York's Café Carlyle in a month-long residency, as well as Feinstein’s at the Regency. Concert performances include engagements here and with The New York Pops (Carnegie Hall); the Seattle Symphony with Marvin Hamlisch; the Philadelphia Orchestra; the Philly and Cincinnati Pops; the Vancouver, Detroit and Edmonton Symphony Orchestras; and Utah Symphony, among others.

34 | Houston Symphony

ExxonMobil, the largest publicly traded international oil and gas company, uses technology and innovation to help meet the world’s growing energy needs. ExxonMobil holds an industryleading inventory of resources, is one of the largest refiners and marketers of petroleum products, and its chemical company is one of the largest in the world. At ExxonMobil, strengthening our community is a core value, with support of the arts being one of a key area of focus. They are proud to support the Houston Symphony’s Summer Symphony Nights, which provides patrons with a series of free full orchestra concert performances under the stars at Miller Outdoor Theatre. They also present the ExxonMobil Summer Community Concerts Series, bringing the sounds and sights of live symphony entertainment free to families in communities throughout the Greater Houston area.

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Viviana & David Denechaud Mr. & Mrs. Marvy A. Finger Mr. & Mrs. Fred L. Gorman Mr. & Mrs. David Hatcher Mrs. James E. Hooks Rebecca & Bobby Jee Mr. & Mrs. Rodney H. Margolis Michelle & Jack Matzer Mr. & Mrs. Jonathan E. Parker

Gold Baton

Frances & Ira Anderson Edward H. Andrews III Nina Andrews & David Karohl Dr. Angela R. Apollo Dr. & Mrs. Jeffrey B. Aron John Barlow Mr. & Dr. Karl-Heinz Becker Anne & George Boss James & Dale Brannon Nancy & Walter Bratic Lilia D. Khakimova & C. Robert Bunch Cheryl & Sam Byington Mary Kathryn Campion, PhD Virginia A. Clark Coneway Family Foundation Roger & Debby Cutler

Conductor’s Circle



Bronze Baton

Ms. Nancey G. Lobb Marilyn G. Lummis John & Regina Mangum Billy & Christie McCartney Martha & Marvin McMurrey Rita & Paul Morico Bobbie Newman Scott & Judy Nyquist Toni Oplt & Ed Schneider Katie & Bob Orr / Oliver Wyman Mr. & Mrs. Anthony G. Petrello Lila Rauch Mr. & Mrs. T.R. Reckling III Allyn & Jill Risley Mr. & Mrs. Walter Scherr Mr. & Mrs. James A. Shaffer

Mr. & Mrs. William T. Slick Jr. Tad & Suzanne Smith Mr. & Mrs. Robert R. Springob, Laredo Construction, Inc. Courtney & Bill Toomey Ms. Stephanie Tsuru Margaret Waisman, M.D. & Steven S. Callahan, Ph.D. Stephen & Kristine Wallace Mr. & Mrs. Tony Williford Nina & Michael Zilkha Anonymous (3)

Tim Ong & Michael Baugh Susan & Edward Osterberg Mrs. Gloria Pepper & Dr. Bernard Katz Jean & Allan Quiat Kathryn & Richard Rabinow Douglas & Alicia Rodenberger Mr. Glen A. Rosenbaum

Linda & Jerry Rubenstein Donna Scott & Mitch Glassman Mr. & Mrs. Rufus S. Scott Lorraine & Ed Wulfe Anonymous (2)

Sue Ann Lurcott Barbara J. Manering Mrs. Carolyn & Dr. Michael Mann Ms. B. Lynn Mathre & Mr. Stewart O'Dell Mr. & Mrs. Michael McGuire Mr. & Mrs. William B. McNamara Alice R. McPherson, M.D. Mr. Gary Mercer Dr. Stewart Morris Mr. & Mrs. Gerald Moynier Ms. Leslie Nossaman Courtney & Jose Obregon Rochelle & Sheldon Oster Mr. & Mrs. Robert Pastorek Kusum & K. Cody Patel Mr. & Mrs. Raul Pavon Michael P. & Shirley Pearson Mr. David Peavy & Mr. Stephen McCauley Mr. Robert J. Pilegge Mr. Thomas C. Platt Susan & King Pouw Tim & Katherine Pownell Roland & Linda Pringle

Mrs. Dana Puddy Ed & Janet Rinehart Mr. & Mrs. George A. Rizzo Jr. Susan D. & Fayez Sarofim Mrs. Richard P. Schissler Jr. Mr. & Ms. Steven Sherman Ms. Leslie Siller Mr. David Stanard & Ms. Beth Freeman Nanako & Dale Tingleaf Pamalah & Stephen Tipps Ann Trammell Shirley & Joel Wahlberg Ms. Joann E. Welton Mrs. Nelda Wilkomirski Ms. Barbara Williams Doug & Kay Wilson Daisy S. Wong / JCorp Woodell Family Foundation Mr. & Mrs. Frank Yonish Edith & Robert Zinn Erla & Harry Zuber Anonymous (2)

$7,500-$9,999



Gwen & Dan Kellogg Mary Louis Kister Dr. & Mrs. Malcolm L. Mazow Dr. Robert M. Mihalo Richard & Juliet Moynihan Bobbie Nau Mr. & Mrs. Robert E. Nelson

Jana & Scotty Arnoldy Sr. Judge Mary Bacon Mr. & Mrs. Philip A. Bahr Dr. Saul & Ursula Balagura Mrs. Bonnie Bauer Mr. & Mrs. Michael E. Bowman Marilyn Caplovitz Ann M. Cavanaugh Dr. Robert N. Chanon Donna & Max Chapman Dr. & Mrs. Samuel B. Condic Mr. & Mrs. Larry Corbin Lois & David Coyle Vicky Dominguez Bob & Mary Doyle Ms. Joan Duff Connie & Byron Dyer Mr. William P. Elbel & Ms. Mary J. Schroeder Mr. Stephen Elison Mr. Parrish N. Erwin Jr. Mrs. William Estrada Jo Lynn & Gregg Falgout / Island Operating Company Mr. & Mrs. Richard E. Fant

Robert G. Weiner & Toni Blankmann Vicki West Ms. Beth Wolff Mr. & Mrs. C. Clifford Wright Jr. Scott & Lori Wulfe Mr. & Mrs. Edward R. Ziegler Anonymous (2)

$10,000-$14,999



Leslie Barry Davidson & W. Robins Brice Dr. Alex Dell J.R. & Aline Deming Valerie Palmquist Dieterich & Tracy Dieterich Jennifer & Steve Dolman Terry Everett & Eric Cheyney Mr. & Mrs. Jeffrey B. Firestone Betsy Garlinger Evan B. Glick Mr. Robert M. Griswold Mr. & Mrs. Jerry L. Hamaker Susan & Dick Hansen Jacek & Marzena Jaminski Dr. & Mrs. I. Ray Kirk

Silver Baton

Gloria & Joe Pryzant Hugh & Ann Roff Mrs. Sybil F. Roos Michael J. Shawiak Alana R. Spiwak & Sam L. Stolbun Mr. & Mrs. Alan Stein Drs. Carol & Michael Stelling Susan & Andrew Truscott Dede & Connie Weil



$5,000-$7,499

Aubrey & Sylvia Farb Mr. & Mrs. Matt Farina Ms. Carolyn Faulk Ms. Ursula H. Felmet Jerry E.* & Nanette B. Finger Mrs. Aggie L. Foster Mr. Shane T. Frank Edwin Friedrichs & Darlene Clark Mrs. Elizabeth B. Frost Dr. Nan Garrett Michael B. George Wm. David George, Ph.D. Mr. & Mrs. Eric J. Gongre Bill Grieves Dr. & Mrs. Carlos R. Hamilton Jr. James & Renee Hennessy Mr. & Mrs. Frank Herzog Ann & Joe Hightower Stephen Jeu & Susanna Calvo Beverly Johnson Stacy & Jason Johnson Mr. & Mrs. John F. Joity Dr. & Mrs. Wasim Khan Mr. William L. Kopp Mr. & Mrs. John P. Kotts

*Deceased

The Houston Symphony thanks the 3,026 donors who gave up to $5,000 over the past year. To note any errors or omissions, please contact Michael Arlen, Associate Director, Individual Giving and Major Gifts at 713.337.8529. continued  InTUNE — June 2018 | 37

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 Eric Brueggeman David Chambers & Alex Steffler Valerie Palmquist Dieterich & Tracy Dieterich

Young Associate



$2,500 or more

Amanda & Adam Dinitz Vicky Dominguez Terry Everett & Eric Cheyney Jennifer & Joshua Gravenor Stacy & Jason Johnson Kiri & Jeffrey Katterhenry Shane Miller

$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 Darrin Davis & Mario Gudmundsson Nina Delano & Wirt Blaffer

Garreth DeVoe Jennifer & Steve Dolman 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 Ashley & John Horstman

Sami & Jud Morrison Tim Ong & Michael Baugh Toni Oplt & Ed Schneider Kusum & K. Cody Patel Becky Shaw Tony Shih – Norton Rose Fulbright

Molly Simpson & Patrice Abivin Rebeca & Chad Spencer Drs. Ishwaria & Vivek Subbiah Georgeta Teodorescu & Bob Simpson Candace & Brian Thomas

Kurt Johnson & Colleen Matheu Shamika Johnson – Van Cleef & Arpels Sara Kelly Gerrit Leeftink Brian McCulloch & Jeremy Garcia Charyn McGinnis Ashley McPhail Emily & Joseph Morrel Porter Hedges LLP Cliff Nash & Dr. Lee Bar-Eli Aprill Nelson Courtney & Jose Obregon Rosemin Premji

Brooke & Nathaniel Richards Alan Rios Ahmed Saleh Emily Schreiber Liana & Andrew Schwaitzberg Dr. Paulina Sergot & Dr. Theo Shybut Justin & Caroline Simons Michelle Stair 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.

38 | Houston Symphony

Society Board of TRUSTEES

(2018-19 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 Robert Peiser^ At Large Alexandra Pruner^ President, Houston Symphony Endowment David Pruner Chair, Strategic Planning Manolo Sánchez Chair, Marketing & Communications Jesse B. Tutor Immediate Past Chair, Chair, Audit Maureen Higdon^ President, Houston Symphony League

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

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

Michael Doherty David Frankfort Ronald G. Franklin Sippi Khurana, M.D. Rochelle Levit, Ph.D. Cora Sue Mach ** Steven P. Mach Paul M. Mann, M.D. Jay Marks ** Mary Lynn Marks Rodney Margolis** Billy McCartney Barbara McCelvey Alexander K. McLanahan ** Paul R. Morico

Kevin O’Gorman Robert Orr Cully Platt David Pruner John Rydman** Helen Shaffer ** 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

Evan B. Glick Susan Hansen Eric Haufrect, M.D. Gary L. Hollingsworth, M.D. Brian James Joan Kaplan 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 Bobbie Newman Scott Nyquist

Edward Osterberg Jr. Robert A. Peiser** Gloria G. Pryzant Tadd Pullin Roman Reed Gabriel Rio Richard Robbins, M.D. J. Hugh Roff Jr. ** Miwa Sakashita Manolo Sánchez Ed Schneider Michael E. Shannon ** Kafi Slaughter Robert Sloan, Ph.D. Tad Smith 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 Frank Wilson Ed Wulfe ** Ellen A. Yarrell Robert Yekovich Frank Yonish

Ex-Officio Mary Kathryn Campion, Ph.D. Tracy Dieterich Sergei Galperin Maureen Higdon Mark Hughes Nina McGlashan Mark Nuccio Robert A. Peiser** Gloria Pryzant **Lifetime Trustee

TRUSTEES Philip Bahr Devinder Bhatia, M.D. James M. Bell Nancy Shelton Bratic Terry Ann Brown** 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 Julia Anderson Frankel Betsy Garlinger

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

**Lifetime Trustee

FRIENDS OF JONES HALL REPRESENTATIVES Justice Brett Busby

Ronald G. Franklin

Steven P. Mach

Barbara McCelvey

InTUNE — June 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 *Rand Group, LLC *Oliver Wyman Guarantor  $100,000 and above Bank of America Chevron *Houston Methodist Medistar Corporation PaperCity *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

(as of April 17, 2018)

Kalsi Engineering Kirkland & Ellis LLP *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 *Jackson and Company KPMG LLP Marine Foods Express, Ltd. McGuireWoods, LLP *Neiman Marcus 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 Northern Trust *Silver Eagle Distributors Star Furniture *Zenfilm

*University of St. Thomas Wortham Insurance and Risk Management 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 Jim Benton of Houston, LLC Louis Vuitton Nordstrom Orrick, Herrington & Sutcliffe, L.L.P. *Randalls Food Markets Russell Reynolds Associates, Inc.

(as of April 17, 2018)

Chevron Chevron Phillips 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 The Brown Foundation, Inc. Houston Symphony Endowment Houston Symphony League The Wortham Foundation, Inc. Premier Guarantor  $500,000 and above City of Houston and Theater District Improvement, Inc. The Cullen Trust for the Performing Arts Albert and Ethel Herzstein Charitable Foundation The C. Howard Pieper Foundation Grand Guarantor  $150,000 and above City of Houston through the Miller Theatre Advisory Board The Cullen Foundation MD Anderson Foundation Guarantor  $100,000 and above The Elkins Foundation Houston Endowment

(as of April 17, 2018)

Underwriter  $50,000 and above 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 Powell Foundation The Robbins Foundation

Partner  $15,000 and above Ruth & Ted Bauer Family Foundation The Hood-Barrow Foundation Houston Symphony League Bay Area The Vivian L. Smith Foundation The Vaughn Foundation Supporter  $10,000 and above The Carleen & Alde Fridge Foundation Petrello Family Foundation Radoff Family Foundation The Schissler Foundation Anonymous

Sponsor  $25,000 and above Beauchamp Foundation The Melbern G. & Susanne M. Glasscock Foundation National Endowment for the Arts Texas Commission on the Arts

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

DONORS



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

$500 or more

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

Douglas & Alicia Rodenberger Ms. Carolyn Rogan Michael J. Shawiak Susan L. Thompson Mr. & Mrs. Frederic A. Weber Beth Weidler & Stephen James Anonymous (3)

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 — June 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 James & S. Dale Brannon Zu Broadwater Joan K. Bruchas & H. Philip Cowdin Mr. Christopher & Mrs. Erin Brunner Eugene R. Bruns Cheryl & Sam Byington Sylvia J. Carroll Dr. Robert N. Chanon William J. Clayton & Margaret A. Hughes Mr. & Mrs. Byron Cooley The Honorable & Mrs. William Crassas 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. Samuel L. Levine Sandra Magers David Ray Malone & David J. Sloat Mr. & Mrs. Rodney H. Margolis Jay & Shirley Marks James G. Matthews Mr. & Mrs. John H. Matzer III Dr. & Mrs. Malcolm L. Mazow Mr. & Mrs. Alexander K. McLanahan Dr. Tracey Samuels & Mr. Robert McNamara Mr. & Mrs. D. Bradley McWilliams

Catherine Jane Merchant Dr. Georgette M. Michko Marilyn Ross Miles & Stephen Warren Miles Foundation Katherine Taylor Mize Richard & Juliet Moynihan Gretchen Ann Myers Patience Myers Mr. John N. Neighbors, in memory of Jean Marie Neighbors Mr. & Mrs. Richard C. Nelson Bobbie Newman John & Leslie Niemand Leslie Nossaman Dave G. Nussmann John Onstott Macky Osorio Edward C. Osterberg Jr. Mr. & Mrs. Edmund & Megan Pantuliano Imogen â&#x20AC;&#x153;Immyâ&#x20AC;? Papadopoulos Christine & Red Pastorek Peter & Nina Peropoulos Sara M. Peterson Darla Powell Phillips Geraldine Smith Priest Dana Puddy Patrick T. Quinn Lila Rauch

Ed & Janet Rinehart Mr. Floyd W. Robinson Evie Ronald Walter Ross Dr. & Mrs. Kazuo Shimada Lisa & Jerry Simon Tad & Suzanne Smith Sherry Snyder Marie Speziale Emily H. & David K. Terry Stephen G. Tipps Steve Tostengard, in memory of Ardyce Tostengard Jana Vander Lee Bill & Agnete Vaughan Dean B. Walker Stephen & Kristine Wallace David M. Wax* & Elaine Arden Cali Geoffrey Westergaard Nancy B. Willerson Jennifer R. Wittman Daisy S. Wong / JCorp Lorraine & Ed Wulfe David & Tara Wuthrich Katherine & Mark Yzaguirre Edith & Robert Zinn Anonymous (7)

Sidney Moran Sue A. Morrison & children in memory of Walter J. Morrison Mr. & Mrs. Marvin H. Mueller 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 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 Mrs. Aggie L. Foster Michael B. George

Stephen & Mariglyn Glenn Evan B. Glick Jo A. & Billie Jo Graves William A. Grieves 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 Ione Moran

*Deceased

In MEMORIAM We honor the memory of those who in life included the Houston Symphony Endowment in their estate plans. Their thoughtfulness and generosity will continue to inspire and enrich lives for generations to come. Mr. Thomas D. Barrow George Bashen Paul M. Basinski W. P. Beard Ronald C. Borschow Mrs. H. Raymond Brannon Anthony Brigandi Lawrence E. Carlton, M.D. Mrs. Albert V. Caselli Lee Allen Clark 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 March 1, 2018)

Elegant Events by Michael Elliot Marketing Group Elsie Smith Design Festari Foster Quan LLP Gremillion Fine Art Gucci Hermann Park Conservancy Hilton Americas – Houston Hotel Granduca Hotel Icon Hotel ZaZa Memorial City Houston Astros Houston Grand Opera Houston Texans InterContinental Hotel Houston JOHANNUS Organs of Texas John L. Worthan & Son, L.P.

John Wright/Textprint JW Marriott Houston Downtown Karbach Brewing Co. Kuhl-Linscomb LG Entertainers Limb Design Martha Turner Properties Meera Buck & Associates Michael’s Cookie Jar Minuteman Press – Post Oak Momentum Jaguar Music & Arts New Leaf Publishing, Inc. Nos Caves Vin The Parson Family in memory of Dorothy Anne Parson Pro/Sound Randalls Food Markets

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

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

Principal Guarantor $250,000+



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

Guarantor

$100,000+



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

Underwriter $50,000+



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

Sponsor



$25,000+

Mr. & Mrs. John P. Dennis III/ WoodRock & Co. 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 Vivian L. Smith 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 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 — June 2018 | 43

Meet John Parker, trumpet John Parker, a native of High Point, North Carolina, joined the Houston Symphony in May 2016 as Associate Principal Trumpet. Previously, he was principal trumpet with the Charlotte Symphony Orchestra, a position he attained after his undergraduate studies at the University of North Carolina at Chapel Hill (UNC). At UNC, he was a recipient of the Kenan Music Scholarship, the Department of Music’s premier scholarship, and the Frank Comfort Scholarship. John has performed as principal trumpet of the Charleston, Roanoke and Greensboro Symphony Orchestras. He attended the Aspen Music Festival and School on a full fellowship in 2012 and 2013 and has performed twice as a soloist at the National Trumpet Competition. What inspired you to become a musician? Both of my parents were music educators. My father was a high school band director for many years until he went into school administration, and my mother was a middle school band director for 30 years. Their influence made me want to become a musician. I saw what they created every day in their classrooms, and it seemed like the most incredible experience. They’re both retired now, but it’s inspiring to see the role music continues to play in their lives. My brother, who plays trombone and just graduated with a Doctor of Musical Arts, also had an impact on my desire to become a musician. I’ve always looked up to him, and not just because he has always been taller! It was wonderful sharing some of my very first musical experiences with him, and I’m sure it led me down the path toward becoming a musician. Are you particularly excited about an upcoming concert? Which one and why? I can’t decide, so I picked three! First, Harry Potter and the Prisoner of Azkaban™—In Concert will be a real treat. Having grown up reading the books and watching the movies, this show will give me a chance to relive my childhood while performing a sensational John Williams score. Next, the Star Spangled Salute at Miller Outdoor Theatre is a yearly highlight. It’s special to play for so many people. The atmosphere is always electric and the trumpets usually get some good parts! Finally, I probably most look forward to Mahler’s Symphony No. 2 in September. This work is truly a masterpiece that evokes so much drama and emotion until the very end. The fourth movement, in particular, is some of the most profoundly beautiful music ever written, in my opinion. I can’t wait to be a part of what is sure to be an exciting performance. What hobbies and interests do you have outside of music? I have been happily married for a little over a year now, and love spending time with my wife, Amy. I also enjoy golfing and various other sports, and I like to dabble in woodworking and gardening. Like many others, I am very into the food scene here in Houston! I love exploring new places with family and friends to enjoy delicious food.

44 | Houston Symphony

Top: My Houston Symphony portrait Middle: My honeymoon last year in Italy with Amy Bottom: Houston Symphony musicians (Richard Harris, myself , Kathryn Ladner and Matthew Roitstein) while on tour in Essen

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