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BRENT HART, President Oklahoma Philharmonic Society, Inc. Welcome to the (re)IMAGINE(d) 2020-21 season. It has been a long journey to get here and, on behalf of the OKC Phil family, we are so happy to have you join us. Music has the power to heal, to inspire and to unite in unmatched ways and I hope that you have enjoyed connecting with us through social media since last season. None of us could have imagined how much we would long for the opportunity to be together for this concert. The OKC Phil plays a leading cultural role in Oklahoma City, providing Classics, Pops and Discovery concerts. Maestro Alexander Mickelthwate along with Executive Director Agnieszka Rakhmatullaev and her team have worked tirelessly to bring music to the stage, and your screens, this season. New this year, we are adding smaller ensemble performances in community settings to connect with new audiences. In addition to these performances, our community engagement and music education programs reach music lovers of all ages. We are grateful to our patrons, donors and volunteers for your ongoing support. We also thank the Orchestra League and the Associate Board for their volunteer and fundraising efforts that make these programs possible. Now sit back, leave the world outside and enjoy the story that unfolds through each note.
KRISTEN BRANDT FERATE, President Oklahoma City Orchestra League This Season the Oklahoma City Philharmonic embarks on a (re)IMAGINE(d) adventure. The Oklahoma City Orchestra League is honored to support this historic undertaking. The orchestral experiences offered this season will change the collective perspective. The Orchestra League, founded in 1948, will move forward with our great and celebrated legacy. We will support music education and fundraising efforts of the Philharmonic. We will share in the knowledge gained from new forms of musical education, volunteerism and appreciation. The Orchestra League membership offers a chance to witness history and help shape the future of symphonic music in our great city. I invite you to join us! More information can be found at www.okcphil.org/about-us/orchestra-league
DAVID WHITE, President Associate Board On behalf of the Associate Board, welcome to the 2020-21 (re)IMAGINE(d) season. While the offerings may look a little different than in previous years you can always expect the same excellent entertainment and artistry from our Oklahoma City Philharmonic. From Beethoven to Broadway, we have something in store for everyone. The Associate Board brings together civic-minded young professionals to support and fulfill the mission of the PHIL. There’s more to the Philharmonic than concerts. From classrooms to community outreach, the OKCPHIL is working to spread the joy of orchestral music across our state--and the Associate Board is proud to be a part of that work. Thank you for supporting the Oklahoma City Philharmonic, we look forward to seeing you again soon. Enjoy the show!
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AGNIESZKA RAKHMATULLAEV Welcome to the OKCPHIL’s (re)IMAGINE(d) Season. After a long pause, we are thrilled to be back and thank you for joining us on this journey! While the majority of concert stages across the country remain silent, we wanted to find a way to continue our mission and bring live orchestral music to you and our community. With everyone’s safety and well-being as our top priority, we had to reimagine nearly every single aspect of our operations: from programming choices for each concert, to accommodating the needs of our patrons, continuing our partnership with area schools, and many more. Orchestrating the plan for each individual area required creative thinking, out-of-the-box approaches, collaboration, and a lot of hard work. We are pleased to present to you this unique season, shaped around the challenges of the unprecedented times we live in. While this season might look and feel different, many of its components will remain the same, perhaps with a few twists. The OKCPHIL’s Classics and Pops series will continue to bring high-caliber performances, presented in smaller settings to create a more intimate experience. The programming will
continue to be shaped by Maestro Mickelthwate’s artistic vision and desire to combine traditional repertoire with today’s music. And, of course, you will continue to be blown away by the talented musicians of our orchestra, some of whom will be featured as guest soloists. As part of this unique season, you will also notice a few new and exciting initiatives. Our concerts will be digitally available for those patrons who are not able to join us in the hall. Additionally, our musicians will frequently be performing in smaller settings in venues across the city, as part of our expanded Education and Community Engagement programs. We are excited about these new opportunities, as we broaden our reach, serve more people, and become more accessible in a different way. Of course, none of this would be possible without YOU, our loyal patrons! We are sincerely grateful for your ongoing support, generosity, flexibility, and understanding that allow us to keep the music playing on our main stage, on your screen, or in your neighborhood. While we continue to navigate these turbulent waters, the OKCPHIL is committed to serving our mission as we strive to bring healing, unity, and hope to our entire community.
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ALEXANDER MICKELTHWATE Beginning his third season as Music Director of the Oklahoma City Philharmonic, Conductor Alexander Mickelthwate’ s exciting musical programming has created a buzz across the city, drawing people from all walks of life to the concert hall. Originally from Germany Mickelthwate is also Music Director Emeritus of the Winnipeg Symphony Orchestra in Canada. Since starting his Winnipeg tenure in 2006 he played a pivotal role in the rejuvenation and turnaround of the Winnipeg Symphony which culminated in a highly successful and critically acclaimed performance at Carnegie Hall in May 2014. The New York Times noted the performance was “conducted expertly,” and the New York Classical review stated “under music director Alexander Mickelthwate, they play with excellent intonation and such a fine overall blend and balance of sound that, on their own terms, they may be the best orchestra to appear in the week’s worth of concerts.” Deeply rooted in his German heritage, Norman Lebrecht wrote about Mickelthwate’s interpretation of Mahler’s 10th Symphony with the Winnipeg Symphony: “Both Mahler 10 performances were intense and engaging. Every twist and turn in the score was fresh and surprising to my ears.” And his interpretation of Bruckner’s Symphony No. 7 prompted the pianist Anton Kuerti to write a letter to the newspaper saying, “I would like to call attention to the stunning performance heard after the intermission. To play Bruckner’s Symphony No. 7 with the passion, profundity, emotional intensity, subtlety and degree of perfection achieved by conductor Alexander Mickelthwate and the Winnipeg Symphony can only be called miraculous.” In North America Alexander has guest conducted the New York Philharmonic, the Chicago Symphony, Seattle Symphony, Houston Symphony, Vancouver Symphony, Atlanta Symphony, Saint Paul Chamber Orchestra, Saint Luke’s, Milwaukee Symphony, Rochester Philharmonic and Toronto Symphony, among others. His European debut was with the Hamburg Symphony. He also conducted the BBC London, Stuttgart Radio Orchestra, Royal Scottish, Deutsche Kammerphilharmonie Bremen and NDR Hannover. Other notable performances include the Sao Paulo Symphony and the Simon Bolivar Orchestra in Venezuela. He made his Australia debut with the Adelaide Symphony and the Tasmania Orchestra where he recorded the Mozart piano concerti Nos. 7 and 10 with the Silber Garburg Duo. Alexander Mickelthwate has worked several times with Dame Evelyn Glennie conducting the world premiere of two new
percussion concerti by Vincent Ho. He also worked with Itzhak Perlman, Joshua Bell, Yuja Wang, Dawn Upshaw, Plácido Domingo, Ben Heppner, Horatio Gutiérrez, Emanuel Ax, Leonidas Kavakos and Sarah Chang, among many others, and he worked very closely with a wide range of composers including Phil Glass, Steve Reich, Sofia Gubaidulina, Kaija Saariaho, John Adams, John Luther Adams and Mason Bates. After guest conducting the Simon Bolivar Orchestra and experiencing the life-changing power of the El Sistema program in Venezuela for underprivileged children, Alexander played an instrumental part in creating Sistema Winnipeg. For three years Alexander created a critically acclaimed Indigenous Festival in Winnipeg. Passionate to connect with all cultures, he created artistic collaborations between First Nations and western cultures that culminated in the performances of Stravinsky’s Rite of Spring and Revueltas’ Les Noches de loss Mayas with new choreographies of contemporary and First Nations dance. The Winnipeg New Music Festival is an international institution. Alexander broadened the repertoire and created many new collaborations connecting with different audiences. Because of the programming of the festival the WSO was chosen to perform at the Spring for Music Festival at Carnegie Hall in 2014. A few of the most creative projects of the festival for Alexander were the performance of movie director Guy Maddin’s Brand Upon a Brain with narration by actress Isabella Rossellini, the workshopping of a new opera Tesla by movie director Jim Jarmusch and composer Phil Klein, and a production of Gavin Bryar’s The Sinking of the Titanic at PanAm Pool. Alexander has conducted for President Jimmy Carter and the Queen of England, and he received the Queen Diamond Jubilee Medal and the Key to the City of Winnipeg. Born and raised in Frankfurt Germany to a musical family, Alexander received his degree from the Peabody Institute of Music. He studied conducting under Fredric Prausnitz and Gustav Meier as well as with Seiji Ozawa, Andre Previn, Daniel Barenboim and Robert Spano at Tanglewood. Following his tenure as Assistant Conductor with the Atlanta Symphony Orchestra, which he completed in 2004, Alexander was Associate Conductor of the Los Angeles Philharmonic for three years, under the direction of Esa-Pekka Salonen. He is married to fashion designer Abigail Mickelthwate and has two sons.
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OKLAHOMA PHILHARMONIC SOCIETY, INC.
P R O V I D I N G
I N S P I R A T I O N
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THE BOARD OF DIRECTORS Lifetime Directors
Officers
Debra Kos Kristian Kos David McLaughlin Margaret Freede Owens Donald Rowlett Kelly Sachs Jennifer Schultz Michael Sweeney Glenna Tanenbaum J. Mark Taylor Tony Welch Cheryl Brashear White David White Renate Wiggin Nick Wu
Jane B. Harlow Patrick Alexander
Brent Hart President
Directors
Jane Jayroe Gamble President Elect
Steve Agee Robyn Birdwell Lori Dickinson Black Phil Busey Robert Clements Lawrence H. Davis Veronica Pastel Egelston Kristen Ferate Joy Hammons Dean Jackson Michael E. Joseph Kathy Kerr Wesley Knight
Melissa Scaramucci Vice President Kevin Dunnington Treasurer Jerrod Shouse Secretary Jeff Starling Immediate Past President
Honorary Directors Richard Sias
ADMINISTRATIVE STAFF Tara Burnett Associate Director of Development
Daryl Jones Box Office Operations Manager
Chris Stinchcomb Concert Operations & Guest Artist Liaison
Jeana Gering Education Manager
Chris Merkle General Manager
Corbin Taggart Customer Service Representative
Daniel Hardt Finance Director
Agnieszka Rakhmatullaev Executive Director
Susan Webb Marketing & P.R. Director
Judy Hill Administrative Assistant
Whitney Redding Development and Volunteer Coordinator
Stephen Howard Development Operations Manager
Ulises Serrano Digital Strategies Coordinator
ACKNOWLEDGEMENTS Classical KUCO 90.1 Garman Productions
Morningstar Properties Oklahoma City Police Association
George Ryan Stubble Creative, Inc.
The Skirvin Hotel Titan AVL
Photographers: Michael Anderson, David Bricquet, Rick Buchanan, Heather Hanson, Mutz Photography, Shevaun Williams and Associates, Ulises Serrano
THE OKLAHOMA PHILHARMONIC SOCIETY, INC. 424 Colcord Drive, Ste. B • Oklahoma City, Oklahoma 73102 Tickets: 405-842-5387 • Administration: 405-232-7575 • Fax: 405-232-4353 • www.okcphil.org
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AFFLIATED PARTNERS
The Oklahoma City Philharmonic Foundation was established to provide leadership and endowment expertise to help ensure a stable financial base for orchestral music and musical excellence in Oklahoma City for generations to come. Distributions from the Oklahoma City Philharmonic Foundation provide a meaningful and secure source of annual income for the Philharmonic’s operations, continually confirming the importance of endowment in an organization’s longrange planning and overall success. Current officers and directors of the Oklahoma City Philharmonic Foundation are: OFFICERS Douglas J. Stussi President Charles E. Wiggin Vice President Louise Cleary Cannon Treasurer Penny M. McCaleb Secretary DIRECTORS Steven C. Agee Patrick B. Alexander J. Edward Barth L. Joe Bradley Teresa Cooper T.A. Dearmon Paul Dudman Thomas J. Enis Mischa Gorkuscha Jane B. Harlow Brent Hart Michael E. Joseph Harrison Levy, Jr. Duke R. Ligon Jessica Martinez-Brooks Michael J. Milligan Alice Pippin Jeff Starling Richard Tanenbaum
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EXECUTIVE COMMITTEE Kristen Ferate President Debra Kos President-Elect Julia Hunt Secretary Newt Brown Treasurer Meredith Blecha-Wells Development VP Marion Burcham Membership VP Sherry Rowan Education VP Joan Bryant Communications VP Wendi Wilson Past President, Ex-Officio Agnieszka Rakhmatullaev Executive Director Oklahoma City Philharmonic (Ex-Officio, Advisory) BOARD OF DIRECTORS Helen Chiou Jeannie Drake Yvette Fleckinger Sue Francis Jane Krizer Patsy Lucas Geetika Verma Heather Walter Dwayne Webb Orchestra League Office 424 Colcord Dr., Ste. B Oklahoma City, Oklahoma 73102 Phone: 405.232.7575 Fax: 405.232.4353 e-mail: league@okcphil.org website: www.okcorchestraleague.org
OFFICERS David White President Christa Bentley President-Elect Jay Scrambler Secretary Sam Rainbolt Membership Chair Kelsey Karper Marketing Chair Tyler Larson Events Chair DIRECTORS J. Cruise Berry John Cannon Peter Harlin Patrick E. Randall, II Kara Simpson Desiree Singer Jennifer Stadler Collin Walke Jabee Jackie Zamarippa
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FIRST VIOLIN
Gregory Lee, Concertmaster Gertrude Kennedy Chair Marat Gabdullin, Associate Concertmaster Densi Rushing, Assistant Concertmaster Sam Formicola Hong Zhu Beth Sievers James Thomson Benjamin Shute Deborah McDonald Janet Gorton Lu Deng Ai-Wei Chang*
SECOND VIOLIN
Katrin Stamatis, Principal McCasland Foundation Chair Catherine Reaves Sophia Ro Brenda Wagner Sarah Brown Corbin Mace Angelica Pereira Cindy Zhang Laura Young* Ashley Cooper*
VIOLA
Royce McLarry, Principal Mark Neumann Joseph Guevara Kelli Ingels Steve Waddell Donna Cain Brian Frew Shaohong Yuan* Lacie Savage* Julie Dodge*
CELLO
Jonathan Ruck, Principal Orchestra League Chair Tomasz Zieba, Associate Principal Meredith Blecha-Wells
Valorie Tatge Emily Stoops Jim Shelley Angelika Machnik-Jones Jean Statham Rob Bradshaw* Ann Wilson*
BASS
Anthony Stoops, Principal Larry Moore Parvin Smith Mark Osborn Jesus Villarreal* Christine Craddock* Kara Koehn*
FLUTE
Valerie Watts, Principal Parthena Owens Nancy Stizza-Ortega
PICCOLO
Nancy Stizza-Ortega
OBOE
Lisa Harvey-Reed, Principal Dan Schwartz Katherine McLemore
CONTRABASSOON Barre Griffith
HORN
Kate Pritchett, Principal G. Rainey Williams Chair James Rester Mirella Gable Matthew Reynolds
TRUMPET
Karl Sievers, Principal Jay Wilkinson Michael Anderson
TROMBONE
John Allen, Acting Principal Philip Martinson
TUBA
Ted Cox, Principal
TIMPANI
Jamie Whitmarsh, Principal
PERCUSSION
Patrick Womack, Acting Principal Roger Owens
ENGLISH HORN
HARP
Dan Schwartz
Gaye LeBlanc Germain, Principal
CLARINET
PIANO
Bradford Behn, Principal Tara Heitz James Meiller
BASS/E-FLAT CLARINET James Meiller
BASSOON
Rod Ackmann, Principal James Brewer Barre Griffith Larry Reed*
Peggy Payne, Principal
PERSONNEL MANAGER John P. Allen
MUSIC LIBRARIAN Jose Batty
STAGE MANAGER Leroy Newman
*Denotes Substitute and Extra Musicians Please Note: The sea ting positions of all string sections change on a regular basis.
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PLANNED GIVING
O F T H E O K L A H O M A P H I L H A R M O N I C S O C I E T Y, I N C .
The Oklahoma Philharmonic Society, Inc. is honored to recognize its Encore Society members — visionary thinkers who have provided for the future of the Oklahoma City Philharmonic through their estate plans.
Anonymous (3)
Joel Levine and Don Clothier
Steven C. Agee, Ph.D.
John and Caroline Linehan
Mr. and Mrs. Patrick B. Alexander
Mr. and Mrs. Marvin C. Lunde, Jr.
Gary and Jan Allison
Mrs. Jackie Marron
Dr. Jay Jacquelyn Bass
Mr. and Mrs. John McCaleb
Louise C. Churchill
Jean and David McLaughlin
Mr. and Mrs. Robert H. Clements
W. Cheryl Moore
Thomas and Rita Dearmon
Carl Andrew Rath
Dr. and Mrs. James D. Dixson
Mrs. Catherine Reaves
Hugh Gibson
Mr. and Mrs. William J. Ross
Pam and Gary Glyckherr
Drs. Lois and John Salmeron
Carey and Gayle Goad
Mr. and Mrs. William F. Shdeed
Mr. and Mrs. J.A. Gowman
Richard L. Sias
Carol M. Hall
Doug and Susie Stussi
Ms. Olivia Hanson
Larry and Leah Westmoreland
Jane B. Harlow
Mr. John S. Williams
Dr. and Mrs. James Hartsuck
Mr. and Mrs. Don T. Zachritz
Mr. and Mrs. Michael E. Joseph
THANK YOU The Oklahoma Philharmonic Society, Inc. is grateful for the support of caring patrons who want to pass on a legacy of extraordinary music to future generations. You can join this special group of music enthusiasts by including a gift for the OKC Philharmonic’s future in your own will or estate plan. For more information on how to become an Encore Society member, contact Tara Burnett at (405) 232-7575 or tara@okcphil.org.
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MEET THE MUSICIANS
THE PEOPLE BEHIND THE MUSIC
ANN WILSON
BENJAMIN SHUTE
Ann Wilson plays cello for the OKCPHIL. Her education includes Bachelor of Music, Cello, from OU, Post-Graduate Degree in Cello and Early Music, Royal College of Music, London, UK and a Master of Music, Cello, Fontys Hogeschule, (Maastricht Conservatory), Maastricht, Netherlands. “By day, I am the Sr. Construction Project Manager for the Oklahoma Tourism and Recreation Department”, says Ann. “I oversee all construction and capital improvement projects at all of our Oklahoma State Parks. I love construction and I love Oklahoma State Parks”.
Benjamin Shute, plays in the first violin section of the Phil and serves on the faculty at Oklahoma City University. He has Doctor of Musical Arts and a Bachelor of Music from the New England Conservatory, as well as a Diplom KA from Hochschule für Musik Freiburg, Germany.
What would you like the OKCPHIL patrons to know about you? My love for music is rooted in worship. I love playing because I believe music was created as a part of the beauty of nature and for the worship of God. What do you enjoy doing in your spare time? In my spare time, I am a mother of three incredible boys. They are my fishing and camping buddies.
What do you like most about being a professional musician? The craft of working to interpret music and realize those interpretations in sound is life-giving to me, plus working with colleagues who have their own insights and unique backgrounds is mind-opening and uplifting. And it’s amazing to look up and down just the violin section at the Philharmonic and see colleagues with backgrounds from Russia, Norway, Australia, Taiwan, China, Korea, Colombia, (I’m sure I’m missing some!) and of course various regions of the USA—the diversity is so inspiring, and I think that’s one thing that makes our community here so rich.
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GIFTS TO THE PHILHARMONIC The Oklahoma City Philharmonic Orchestra gratefully acknowledge the commitment and generosity of individuals, corporations, foundations, and government agencies that support our mission. To help us provide inspiration and joy to the community through live orchestral performances and a variety of education and community engagement programs, please contact the Philharmonic’s Development Office at (405) 232-7575. This Annual Fund recognition reflects contributions made in the 2020-2021 season. Contributions of $250 and above are listed through February 24, 2021. If your name has been misspelled or omitted, please accept our apologies and inform us of the error by calling the phone number listed above. Thank you for your generous support!
CORPORATIONS, FOUNDATIONS & GOVERNMENT Express their generous commitment to the community.
UNDERWRITER $40,000 & Above Allied Arts Foundation Delaware Resource Group of Oklahoma, LLC E.L. and Thelma Gaylord Foundation Inasmuch Foundation Kirkpatrick Foundation Inc. Oklahoma Arts Council Oklahoma City Orchestra League, Inc. The Oklahoman The Skirvin Hilton Hotel
MidFirst Bank OGE Energy Corp. Tyler Media Co./Magic 104.1FM and KOMA W&W Steel, LLC
GOLD PARTNERS $1,500 - $2,249
GOLD SPONSORS $5,000 - $9,999
SILVER PARTNERS $1,000 - $1,499
Bank of Oklahoma Garman Productions Mekusukey Oil Company, LLC The Metro Restaurant
Trade Mechanical Contractors, Inc.
PLATINUM SPONSORS $10,000 - $39,999
SILVER SPONSORS $3,000 - $4,999
405 Magazine Ad Astra Foundation American Fidelity Foundation Devon Energy Corporation Express Employment International HSPG and Associates, PC I Heart Media Love’s Travel Stops & Country Stores Mathis Brothers Furniture Co., Inc.
The Friday Intrinsic Health OK Gazette
BRONZE SPONSORS $2,250 - $2,999 The Black Chronicle Globe Life and Accident Insurance Company
MATCHING GIFT COMPANIES AND FOUNDATIONS Double the impact of an individual’s gift. American Fidelity Foundation Bank of America Matching Gifts Program
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The Boeing Company Inasmuch Foundation
Charlesson Foundation Morningstar Properties, LLC
BRONZE PARTNERS $500 - $999 Hatton Enterprises Parrish DeVaughn Injury Lawyers Tom Johnson Investment Management LLC
BUSINESS MEMBERS $250 - $499
GIFTS TO THE PHILHARMONIC MAESTRO SOCIETY Providing leadership support.
Underwriter $25,000 and above
Guarantor $10,000 and above
Benefactor $5,000 - $9,999
Phil G. and Cathy Busey Freede Family Foundation Joel Levine and Don Clothier Jean and David McLaughlin George Records Mr. Richard L. Sias and Alice and Phil Pippin Glenna and Dick Tanenbaum
Steven C. Agee, Ph.D. Linda and Patrick Alexander Marilyn and Bill Boettger Lawrence H. and Ronna C. Davis Mr. and Mrs. Andrew J. Evans, II Mr. and Mrs. John A. Frost Jane B. Harlow Andria and Paul Heafy Mr. Albert Lang Larry and Polly Nichols Doug and Susie Stussi Renate and Chuck Wiggin
Mark and Julie Beffort Mrs. Betty D. Bellis-Mankin Mr. and Mrs. John Biggs Dr. and Mrs. L. Joe Bradley Louise Cleary Cannon and Gerry Cannon Mrs. Teresa Cooper Mr. and Mrs. David C. DeLana Gerald and Jane Jayroe Gamble Mary Ann Holdrege John and Claudia Holliman Donald Rowlett Ruth Mershon Fund
INDIVIDUALS Providing essential support for the Annual Fund. Patron ($3,500 - $4,999) Mike and Dawn Borelli Mrs. Bonnie B. Hefner Michael J. Sweeney, Jr.
Sustainer ($2,250 - $3,499) Dr. and Mrs. Dewayne Andrews Dr. and Mrs. John C. Andrus Larry and Sarah Blackledge Mrs. Carole S. Broughton Mr. and Mrs. Robert F. Browne Bruce Campbell Mr. and Mrs. Robert H. Clements Mr. and Mrs. Sidney G. Dunagan David and Druanne Durrett Mr. and Mrs. Joseph M. Fleckinger Frank Goforth and Nancy Halliday Sam and Joy Hammons Brent Hart and Matt Thomas Dr. and Mrs. James Hartsuck Tom and Cindy Janssen
Kim and Michael Joseph Kathy and Terry Kerr Dr. and Mrs. Patrick McKee Todd and Mary Margaret Miller Annie Moreau, MD Ms. Veronica Pastel Egelston Mr. William G. Paul Mrs. Ruby C. Petty Mr. and Mrs. Jerry W. Plant Drs. Gary and Mary Porter Mr. H.E. Rainbolt Drs. Lois and John Salmeron Dr. and Mrs. Hall Scofield John and Katherine Spaid Jim and Debbie Stelter Mr. and Mrs. John E. Stonecipher Mrs. Billie Thrash Donna Kennedy Vogel Mrs. Janet Walker Ron and Janie Walker John and Lou Waller
Dr. James and Elizabeth Wise Mrs. Anne Workman Jeanise Wynn
Associate ($1,500 - $2,249) Anonymous (2) Mrs. Mary Louise Adams Virginia and Albert Aguilar Mr. and Mrs. Louis Almaraz Ms. Zonia Armstrong Sterling and Cheryl Baker Dr. and Mrs. William L. Beasley William and Melissa Beck Nick and Betsy Berry Dr. and Mrs. Charles F. Bethea Dr. and Mrs. Philip C. Bird Robyn Birdwell and Mark Fixley Ms. Pamela Bloustine Mr. and Mrs. Del Boyles Mrs. Phyllis Brawley Dr. and Mrs. Robert C. Brown CONTINUED ON PAGE 36
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SPECIAL EVENT GIFTS
Thank you to the following who believed in our mission by supporting the 2020 Symphony Show House!
Headlining Show House Patron
Benefactor
Mrs. Josephine Freede Glenna and Dick Tanenbaum
Mr. and Mrs. John Biggs John and Sue Francis Dick and Julia Hunt Margaret and Drake Keith John and Anna McMillin Angela Miller Drs. John and Lois Salmeron Benjamin Williams
Silver Patron Lance and Cindy Ruffel Jean and David McLaughlin
Bronze Patron Teresa Cooper Dr. and Mrs. William L. Parry Mrs. June Tucker Dr. Don and Eleanor Whitsett The Meinders Foundation
Friend Ms. Janice B. Carmack Carole Doerner Mrs. Lou Kerr/The Kerr Foundation, Inc. Cinda Lafferty
Larry and Deanna Pendleton Meg Salyer Judith Clouse Steelman
Supporter Joe and Kerry Bocock Alix Darden Karen Delaney Lu Ann Faulkner-Schneider Linda Mason Pamela Parker Kate Pritchett and Neal Kellogg Myrna Ranney Michael Winters Bev Wood
Thank you to the Talented Designers who made the 2020 Symphony Show House a Reality! Elizabeth Richardson, Adorn Rosinna Gies, Amini’s Galleria Rachael Gruntmeir, The Black Scintilla Tuesday Fay and Halah Songer, Bob Mills Furniture Abbie Wilkerson, Aleks Payne, Victor Goetz and Doris Medrano, Calvert’s Plant Interiors Crystal Carte, Carte’s Interiors Shara Castillo, Castle Rock Granite Cindy Raby, Cindy Raby Interiors Patti Williams, The Enchanted Cottage Nora Johnson, Johnson Manor Interior Design Katelynn Henry, Steve Calonkey and Steve Simpson, Henry Home Interiors Patty Tippit, Home Dazzle Jeff Muse and Beth Ketchum, K&N Interior Fabrics Lezley Lynch, Lezley Lynch Designs Dr. Kari Lopez, Renae Brady and Tracy Knoche, LOREC Ranch Home Furnishings
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Lynda Savage, Lynda Savage Art Nathan R. Hughes and Maria Magana, Mathis Design Studio Keven Calonkey Carl, ASID, NCIDQ, Cassidy Brunsteter, Allied ASID, and Lance Whitlow, Mister Robert Fine Furniture & Design Cindy Curley and Ryan Johnson, Norwalk Design Ronette Wallace, OTW Interiors and Suburban Contemporary Furniture Deb Johnson, Paint Inspirations, Inc. Duff Jack, Suburban Furniture Julie Miller, Tin Lizzie’s J. Mark Taylor, RID, Assoc. ASID, Traditions Fine Furniture & Design Pam Smart, Vintage Gypsy Steve Winters and Lisa Smallwood, Winter House Interiors
THANK YOU
Endowment Campaign Donors In celebration and in honor of Maestro Joel Levine and the founders of the Oklahoma City Philharmonic.
Louise Cleary Cannon In Memory of Bill Cleary Lawrence H. and Ronna C. Davis The Estate of Lois Marie Fees The Kirkpatrick Family Fund Joel Levine and Don Clothier Michael and Catherine Reaves Susan Robinson Glenna and Dick Tanenbaum Mr. and Mrs. Robert H. Clements Ms. Barbara Crabtree The Payne Family Mrs. Josephine Freede Pam and Gary Glyckherr In Memory of Jackson Cash Lamb Jane B. Harlow Kim and Michael Joseph Doug and Susie Stussi Dr. and Mrs. Dewayne Andrews Anonymous In Honor of June H. Parry Mr. J. Edward Barth Valerie and Joe Couch Molly and Jim Crawley David and Jan DeLana Annie Moreau, M.D. Mr. William G. Paul Presbyterian Health Foundation Leah and Larry Westmoreland Anne W. Workman Mr. and Mrs. Don T. Zachritz Karen Beckman Linda and Morris Blumenthal Jo Carol Cameron Ms. Janice B. Carmack Shirley E. Dearborn, M.D.
Gwen Decassios Charles and Dorothy Ellis John and Sue Francis Stephen P. and Nancy R. Friot Ms. Joan Gilmore Jerry H. and Judy Johnson L. M. Johnston, Ph.D. The Kerr Foundation, Inc. Gerry Mayes Ronald T. and Linda Rosser McDaniel Mr. and Mrs. Michael R. Perri Dr. and Mrs. Marvin D. Peyton Gary and Carol Sander John W. and Rose Steele Mrs. Dorothy J. Turk Dr. Don and Eleanor Whitsett Anonymous Dr. and Mrs. John C. Andrus Norwood Beveridge Carla Borgersen In Honor of Maestro Joel Levine Mr. and Mrs. Bob G. Bunce Dr. and Mrs. Don R. Carter Ms. Martha A. Custer Mr. and Mrs. Sam Decker Sarah Jane Gillett In Memory of Ken McKinney Julia and Dick Hunt Colonel (ret.) Dean and Mrs. Jeanne Jackson Patricia Matthews Ms. Carol McCoy Cheryl Moore Judy and Wes Morrison Michael and Ginger Penn Ms. Margaret L. Price Tommie and Gary Rankin Dean Rinehart Janice and Lee Segell Cindy Solomon Tom and Venita Springfield K. Kay Stewart Paula and Carl Stover Dorothy and Udho Thadani
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A BEETHOVEN BIRTHDAY CELEBRATION March 20, 2021 8:00 P.M.
THE PEOPLE BEHIND THE MUSIC
CLASSICS
MEET STEPHEN
SERGIO MONTEIRO, PIANO ALEXANDER MICKELTHWATE, CONDUCTOR
BEETHOVEN ............ Overture to The Creatures of Prometheus, Op. 43
BEETHOVEN ........... Piano Concerto No. 2 in B-flat major, Op. 19
I was born on the Gulf Coast of Texas and have been working for the Philharmonic in different roles for the past 10 years. I come from a musical family; my Dad is a trumpet player, my Mom plays cello, and my Brother is a percussionist. My Dad originally taught me to play the trumpet when I was about 10 years old. I remember listening to my Dad’s big band records and hearing the music of Glenn Miller, Tommy Dorsey, and Stan Kenton and I quickly developed a love for Jazz. I ended up playing trumpet in band in Middle School, High School, and then eventually attended college for Jazz Studies at North Texas. After deciding that instrument performance might not be for me, I changed majors to Audio Engineering and moved to Arizona to attend the Conservatory of Records Arts and Sciences. After graduating I worked in a number of recording studios in Nashville, TN before I eventually moved to Oklahoma. It has been an incredible pleasure to work with our generous patrons and I strive to provide excellent service and assist our donors in any way I can.
Allegro con brio Adagio Rondo: Molto allegro Sergio Monteiro, piano
BEETHOVEN ........... Symphony No. 8 in F major, Op. 93
Allegro vivace e con brio Allegretto scherzando Tempo di Menuetto Allegro vivace
THIS CONCERT IS GENEROUSLY SPONSORED BY:
Text CLASSICS to 95577 to stay up to date on the latest Philharmonic info. Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, April 14 at 8 pm and Saturday, April 17 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.
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SERGIO MONTEIRO Steinway Artist and Director of Piano Activities at the Wanda Bass School of Music, Oklahoma City University, Sergio Monteiro was born in Niteroi, Brazil. He began piano study at the age of 4 with his mother and went on to work under the guidance of Myrian Dauelsberg at the National Music School of Rio de Janeiro and Nelita True at the Eastman School of Music. In 2003, Monteiro won the 2nd Annual Martha Argerich International Piano Competition in Buenos Aires, thus launching Sergio’s international career. He has appeared with several orchestras in South America, Europe and North America, under the direction of Charles Dutoit, Rafael Fruhbeck de Burgos, among others. Since 2015, he has launched five recordings with Naxos featuring music of Henrique Oswald, Franz Liszt,
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Mendelssohn and Domenico Scarlatti, all receiving excellent reviews. His Scarlatti recordings have been considered the outstanding releases in the Naxos cycle of his Sonatas and the recording of Mendelssohn early piano music a true ear-opener, showing how stunning composer Mendelssohn was at such an early age. Two more albums, with the complete piano works of the French composer Louis Vierne, will be released in 2021. Dr. Monteiro will celebrate the 250 anniversary of Beethoven in 2021, performing the complete cycle of the Beethoven 32 sonatas in 8 recitals at the Wanda Bass School of Music, Oklahoma City University.
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Overture to The Creatures of Prometheus (Die Geschöpfe des Prometheus), Op. 43 Ludwig van Beethoven First Performance: 1/13/1943 Conductor: Victor Alessandro Last Performance: 1/5/1969 Conductor: Guy Fraser Harrison Born: December 16, 1770 (probably, since he was baptized on the 17th), in Bonn, then an independent electorate of Germany Died: March 26, 1827, in Vienna, Austria Work composed: 1800-01 Work dedicated: To Princess Christiane von Lichnowsky (when the work was published in piano reduction) Work premiered: March 28, 1801, at the Burgtheater in Vienna Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings
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Beethoven on Stage Beethoven endured an unsteady relationship with the stage. His career was littered with fervent expressions of desire, and even a few fragmentary attempts, to compose an opera worthy of his genius, but in the end he managed to complete only one full-fledged opera; and, as if to underscore his unease with the genre, he actually “completed” it twice under the title Leonore before it reached the final state in which it is usually performed today, under the title Fidelio. But there was more to the stage than opera, and in other theatrical genres Beethoven scored better success. He wrote incidental music, ranging from a single number to complete multi-movement collections, for a half-dozen stage plays: Egmont, Coriolan, König Stephan (King Stephen), Die Ruinen von Athen (The Ruins of Athens, and its adaptation as Die Weihe des Hauses—The Consecration of the House), Tarpeja, and Leonore Prohaska. In addition, he composed music for two ballets: the Ritterballet (Knight’s Ballet, WoO 1) in 1790-91 for a production in his hometown of Bonn, and Die Geschöpfe des Prometheus (The Creatures of Prometheus, Op. 43) a decade later in Vienna. —JMK
with all its incumbent arts and sciences. Aeschylus, one might argue, saw Prometheus as the fulcrum in human cultural history; if he was doomed to suffer, he did so to benefit the future accomplishments of mankind. His name, after all, meant “forward thinker.”
Whether Prometheus was a good guy or a bad guy depends on your point of view and on who’s telling his story. The basic facts—if “facts” apply when discussing Greek mythology—were enunciated by the poet Hesiod: Prometheus was a Titan trickster who stole the gift of fire from Zeus (king of the gods) and delivered it to man. Zeus retaliated by sending Pandora and her notorious box to Earth, unleashing evil, drudgery, and disease among mankind. Or else (Hesiod notes, alternatively) Zeus chained Prometheus to a rock and arranged for an eagle to dine eternally on his liver. Either way, Prometheus’s prank was punished, and his reputation was sorely stained. Aeschylus, on the other hand, viewed the event from the side of the mortals. Instead of decrying Prometheus for upsetting the cosmic order, he ennobled the fallen god as the bringer of fire to humankind—and with it, the possibility of civilization,
Beethoven would have related. He was not without a substantial ego himself, and, even as a fledgling composer, he assumed that the musical world would revolve around his achievements. His 18th-century output included such substantial pieces as a symphony and two piano concertos, not to mention a fair amount of chamber music, but a work for the stage would probably be needed to propel him to a higher plateau of fame. He turned that corner, along with the century, in 1800, when he was commissioned to compose a score for the new ballet The Creatures of Prometheus (Die Geschöpfe des Prometheus). Ballet rode the crest of popularity in turn-of-the-century Vienna. Among the city’s most applauded dancers was Salvatore Viganò, a Neapolitan by birth and a nephew of the composer Luigi Boccherini. He choreographed the new Prometheus ballet to spotlight his wife and himself, portraying two statues brought to life by the fallen god. When the work was premiered the program described the title CONTINUED ON PAGE 32
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character in Aeschylean terms, as “a lofty soul, who found the people of his time in ignorance, refined them by means of science and the arts, and gave them manners, customs, and morals.” The action depicts how the two enlivened statues, “through the power of harmony, are made receptive to all the passions of human existence.” Prometheus entrusts their education to the best of teachers—including Orpheus for music, Terpsichore for dance, and Melpomene for tragedy—depicting each episode through the course of 16 choreographed numbers. The muse Melpomene slays Prometheus in this version, to punish him for bringing mankind to life; but in the end he is re-deified when Apollo sees that humanity is not such a bad thing after all. The new ballet scored a hit, running for 14 performances and returning for another 13 the next season. Beethoven provided a worthy score for what proved to be a light entertainment, though not without carping that Viganò had failed to depict Prometheus’ suffering adequately. It offers momentary delights throughout, but one of the score’s apogees is the high-spirited Overture, which was published independently in 1804. Another highlight of Beethoven’s incidental music is the finale, where he unveils a theme to which he would return in three later works, most famously in the last movement of his Symphony No. 3 (Sinfonia eroica).
and that he may have premiered it as early as March 29, 1795; the so-called Piano Concerto No. 1 in C major appears to date entirely from 1795 and to have been premiered on December 18 of that year. They were published by different publishing houses in different cities, and both were probably revised immediately before they were engraved. The C-major Concerto was brought out in print in March 1801 and the B-flat-major not until that December, with the result that the C-major was identified as the composer’s Piano Concerto No. 1 and the B-flat-major, though composed earlier, was labeled his Second. But since we’re putting a fine point on details of chronology, we might as well observe that the B-flat-major Concerto really was, in a sense, Beethoven’s Piano Concerto No. 2. In 1784, when he was only 13 years old, Beethoven produced a Piano Concerto in E-flat major. The reason you probably haven’t heard it is that its historical interest outshines its musical value by several orders of magnitude.
The opening sonority of the Overture, an unstable seventh chord in the third inversion, serves as a harmonic red herring. Apart from demonstrating the sort of musical audacity to which Beethoven was disposed, it will remind many concertgoers of the very similar feint that opens Beethoven’s First Symphony, which had been premiered almost precisely a year earlier. These two works stand at the head of the path along which Beethoven would soon develop his own Promethean tendencies in orchestral music.
Piano Concerto No. 2 in B-flat major, Op. 19 Single Performance: 3/10/2015 Piano: Louis Lortie Work composed: Sketched as early as 1788, provisionally completed in 1794-95, revised in 1798 and again just prior to publication in 1801. In 1809, Beethoven wrote out a first-movement cadenza, which is CK used in this performance. Work dedicated: To Prince Carl Nicklas von Nickelsberg, a bureaucrat in the Austrian Commerce Department Work premiered: Perhaps March 29, 1795, at Vienna’s Burgtheater, with the composer as soloist and conductor Instrumentation: Flute, two oboes, two bassoons, two horns, and strings, in addition to the solo piano
It is customary to point out that Beethoven’s Piano Concerto No. 2 was really his Piano Concerto No. 1. That is true only to a degree. There is no question that the so-called Piano Concerto No. 2 in B-flat major, performed here, occupied Beethoven sporadically through the decade of the 1790s
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Beethoven was already an adept keyboard player by the time he embarked on that early concerto. He had filled in as deputy court organist in Bonn in June 1782, and nine months later his teacher, Christian Gottlob Neefe, contributed a glowing report of his 11-year-old pupil to Cramer’s Magazine der Musik, noting that “he plays the piano very skillfully and with power, reads at sight very well, and … would surely become a second Wolfgang Amadeus Mozart if he were to continue as he has begun.” In 1787, Beethoven visited Vienna, where it seems that he met Mozart and may have taken piano lessons from him. In November 1792, he finally moved to Vienna, which would be his home for the rest of his life. In his baggage was the preliminary work he had done on his Piano Concerto in B-flat major. A high-profile event came Beethoven’s way on March 29, 1795, when he was featured as both composer and pianist at a charity concert at Vienna’s Burgtheater, held for the
PROGRAM NOTES benefit of the Vienna Composers Society, which looked after the welfare of musicians’ widows and orphans. It is widely assumed that he seized this occasion to premiere his B-flat-major Concerto, although it is conceivable that the “new concerto of his invention” that was included on the program may have been the C-major instead. Franz Gerhard Wegeler, a friend from Bonn, happened to be visiting Vienna at the time, and he related that “not until the afternoon of the second day before the concert did he write the rondo, and then while suffering from a pretty severe colic which frequently afflicted him. … In the anteroom sat four copyists to whom he handed sheet after sheet as soon as it was finished.”
Off the Cuff The slow movement (Adagio) of Beethoven’s Piano Concerto No. 2 offers a lyrical, rather solemn melody that becomes increasingly embroidered as the movement progresses. This would have provided Beethoven-the-pianist with an opportunity to show off his skill as an improviser. It seems unlikely that he would have constrained himself literally to the score as we have it, especially since he hadn’t gotten around to actually writing it down by the time of the premiere. In fact, he probably didn’t notate much of the concerto’s solo part for another six years following the first performance. Writing on April 22, 1801, to the work’s eventual publisher, Hoffmeister and Kühnel in Leipzig (which after 1814 would become known as C.F. Peters), the composer said, “As is usual with me, the pianoforte part in the concerto was not written out in the score, and only now have I done so, hence, because of the haste you will receive that part in my own illegible manuscript.” —JMK
Anyone writing a piano concerto in Vienna at that time did so in the shadow of the late lamented Mozart. Beethoven knew at least some of Mozart’s concertos intimately, and in this piece he employs an orchestra identical to that required by four of Mozart’s piano concertos of 1784. In general structure he also sticks to a Mozartian norm: three movements, of which the first is cast in a sonata form with an orchestral exposition, the second a lyrical slow movement, and the third a rondo. In addition, the texture is truly orchestral, following the Mozartian ideal of an integrated texture in which the piano plays the role of primus inter pares. Nonetheless, within this idealized scoring the soloist has plenty to keep him or her busy; and if the finger-work sounds not quite Mozartian, the fact remains that the apple has not fallen far from the tree.
Symphony No. 8 in F major, Op. 93 First Performance: 1/26/1954 Conductor: Guy Fraser Harrison Last Performance: 1/26/1954 Conductor: Joel Levine Work composed: 1811-12, mostly in the summer of the latter year Work premiered: February 27, 1814, in Vienna’s Redoutensaal, with Beethoven conducting Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings
On several occasions Beethoven sketched a pair of symphonies concurrently or presented pairs of them together on a program, tacitly inviting listeners to hear one in the context of the other. That his Second Symphony (1801-02) was premiered on a concert that also included his First (1800) encouraged audiences and critics to consider their similarities and differences. The Fifth and Sixth Symphony were premiered together in 1808, and the Seventh and Eighth provided a further instance of overlap in the composer’s workshop. Before he finished his Seventh Symphony, Beethoven was already sketching his Eighth, which he completed in the fall of 1812. Where the Seventh is large-scaled and luxurious, the Eighth is compact. Each of its movements is significantly shorter than the corresponding movement of the Seventh, and in performance the Eighth is in toto perhaps three-fifths as long as its predecessor. In its externals, the Eighth Symphony may seem to retreat to an earlier time, and we may be tempted to wonder if Beethoven is picking up where he left off in his Second or perhaps his Fourth. But Beethoven never really turned back in his major works, and we will be closer to the truth if we imagine him writing something that, in its way, is as vastly conceived as the Seventh but then edited down to its essentials, packaging it as tightly as possible, and ending up with something that looks at first glance like a particularly good-spirited Classical symphony. It is reasonable to number it among the composer’s Apollonian works thanks to its sense of control and the tightness of its logic. That does not mean that it’s in any way stodgy. In fact, the Eighth Symphony is one of the great monuments of musical humor—not throwaway silliness, but rather large-boned, bluff, down-to-the-roots humor, the sort we find in the Falstaff of Shakespeare’s Henry IV plays or in Cervantes’ Don Quixote. It is now less fashionable than in years gone by to speak of Beethoven’s symphonies as inhabiting conflicting camps, with the even-numbered ones being reflective and conservative, and the odd-numbered ones being extroverted and radical. It’s probably for the best. None of Beethoven’s nine symphonies are conservative—at least they weren’t when he composed them—and each embodies both introspection and bravado to some degree. Nonetheless,
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some listeners find themselves temperamentally attuned to certain aspects of his expression more than others. A musiclover entirely in step with the intrepid heroism of the Eroica or the resolute struggle of the Fifth or Ninth may relate rather less to the more intimate celebrations of the Second, Fourth, Sixth, and Eighth Symphonies. Beethoven’s Eighth Symphony was premiered on a program that also included his Sixth and Seventh. Sir George Grove, founder of the music dictionaries that still carry his name, related: “It was not well received, much more applause being given to the Seventh Symphony …. The non-success of his pet work greatly discomposed Beethoven, but he bore it philosophically; and … he remarked, ‘That’s because it’s so much better than the other.’” Audiences were indeed slow to embrace it. In June 1827, three years after the more perplexing Ninth Symphony had been unleashed, we find the critic of Harmonicon in London still scratching his head about the Eighth, voicing an opinion that would reign for years among English critics. “Beethoven’s Eighth Symphony,” he wrote, “depends wholly on its last movement for what applause it obtains; the rest is eccentric without being amusing, and laborious without effect.” Even the perspicacious Hector Berlioz, an inveterate admirer of Beethoven’s symphonies, occasionally found himself at a loss in this one. Of the Tempo di Menuetto portion he opined, “To speak truly, this movement is but ordinary; and the antiquity of the form seems somehow to have stifled the composer’s thought.” Although he thoroughly enjoyed the finale, he found himself baffled when trying to analyze some structural harmonic business in which the theme pops up not just in its original F major but also in C-sharp, the enharmonic D-flat, and, of all things, F-sharp minor. “All this is very curious,” Berlioz concluded.
Looking at the First Movement Con brio is precisely the right marking for the opening movement of Beethoven’s Eighth Symphony, which begins with a peal of musical laughter in ¾ meter. The indefatigable music appreciationist Sigmund Spaeth, who in 1936 published lyrics to serve as mnemonic devices for the classic symphonies, found an opportunity to tip his hat to the composer through his rhyme for this opening theme: “Beethoven still is great, in the symphony he numbered eight.” No sooner has Beethoven sounded it out than he drops it, turning to a second theme, a lyrical tune in A major. This, too, proves to be short-lived, and the exposition reaches its end—back in F major—not long after it had begun. The development section is similarly concentrated and briefly stormy; and when Beethoven reaches the moment when the recapitulation arrives, he redistributes his opening music among the orchestral parts, burying the principal theme in the bassoons, cellos, and double basses while the rest of the ensemble shrieks fortississimo above. That would count as a musical joke, and a clever one, but not everyone was amused. One later eminence who protested was Gustav Mahler; preparing to lead it as a conductor, he rewrote this passage (via one of his infamous Retuchen—“retouchings”) to make sure everybody would hear the structural moment clearly. Beethoven’s intention, one might argue, was that they wouldn’t. —JMK
JAMES M. KELLER James M. Keller recently completed 25 years as Program Annotator of the New York Philharmonic and 20 as Program Annotator of the San Francisco Symphony. He is the author of Chamber Music: A Listener’s Guide (Oxford University Press). Portions of these notes previously appeared in the programs of the New York Philharmonic and are used with permission. ©James M. Keller
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HOUSE NOTES
CIVIC CENTER COVID-19 HEALTH AND SAFETY PROTOCOLS INCLUDE: • Masks will be required over nose and mouth for all patrons upon entry and throughout the performance • 6 foot social distancing will be required • Temperature checks will be performed upon entry • Hand sanitizing stations will be readily available throughout the building • As you exit the theater please allow the rows closest to the exit to rise and exit first, then the next row and the next… think of it like a wedding. RESTROOMS are conveniently located on all levels of the theater. Please ask your usher for guidance. LATECOMERS and those who exit the theater during the performance may be seated during the first convenient pause, as determined by the management, and as is possible while maintaining safe social distancing. ELECTRONIC DEVICES must be turned off and put away during the performance (no calling, texting, photo or video use please). BEVERAGES: Bottled water is permitted in the theater at the Classics Series concerts. Beverages are permitted in the theater at the Pops Series concerts; however, bringing coffee into the theater is discouraged due to the aroma. Beverage stations will be located on floors 1-4. SMOKING in the Civic Center Music Hall is prohibited. The Oklahoma City Philharmonic promotes a fragrance-free environment for the convenience of our patrons. FIRE EXITS are located on all levels and marked accordingly. Please note the nearest exit for use in case of an emergency. ELEVATORS are located at the south end of the atrium of the Civic Center Music Hall. CHILDREN of all ages are welcome at the Philharmonic Discovery Family Series and Holiday Pops performances; however, in consideration of the patrons, musicians and artists, those under five years of age will not be admitted to evening Classics and Pops concerts unless otherwise noted. BOOSTER SEATS for children are available in the Civic Center lobby. Please inquire at the Box Office. VIDEO MONITORS are located in the lobby for your convenience. WHEELCHAIR AVAILABLE SEATING – Persons using wheelchairs or with walking and climbing difficulties will be accommodated when possible. Those wishing to use the designated wheelchair sections may purchase the wheelchair space and a companion seat. Please inform the Philharmonic or Civic Center Box Office staff of your need when ordering tickets so that you may be served promptly and appropriately. Please request the assistance of hall ushers to access wheelchair seating. HEARING LOOPS have been installed. Ask your audiologist to activate the telecoil in your hearing aid or cochlear implant. Due to the mechanics of the stage, the hearing loops do not reach the pit section but are available at concession stands, the Box Office and the Thelma Gaylord Performing Arts Theatre. The copper wire in the floor and telecoil work together to connect the hearing device to the theater’s sound system using a magnetic field which dramatically improves sound clarity for patrons using hearing devices. LOST & FOUND is located in the Civic Center office (405-594-8300) weekdays 8:30 a.m. – 5:00 p.m. PHILHARMONIC TICKET OFFICE may be contacted by calling 405-TIC-KETS (405-842-5387) or you can visit the Philharmonic Ticket Office located on the first floor of the Arts District Garage at 424 Colcord Drive in Suite B. The Philharmonic Ticket Office is open Monday through Friday, 9:00 a.m. to 5:00 p.m. and by phone on concert Saturdays from 10:00 a.m. to 2:00 p.m. CIVIC CENTER BOX OFFICE hours are Monday through Friday, 10:00 a.m. to 6:00 p.m. and two hours prior to each performance. (405-594-8300) Programming has been kept to a one hour format with no intermission as a Covid-19 safety measure for Staff and Audience alike. Artists and Programming Subject to Change.
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