OKC PHIL program magazine 2014-2015 edition 3 by OKC Phil Program Magazine

2 0 1 4 -2 0 1 5 Louis Lortie, Piano March 7, 2015 pg. 25

The Dream of America March 28, 2015 pg. 37

An Evening with Jason Alexander March 13-14, 2015 pg. 33

A Night at the Cotton club April 24-25, 2015 pg. 43

Season Finale May 2, 2015 pg. 51

Facebook: facebook.com/okcphilharmonic Twitter: @OKC_PHIL Instagram: @OKC_PHIL

2 0 1 4 -2 0 1 5 Louis Lortie, Piano March 7, 2015 pg. 25

The Dream of America March 28, 2015 pg. 37

An Evening with Jason Alexander March 13-14, 2015 pg. 33

A Night at the Cotton club April 24-25, 2015 pg. 43

Season Finale May 2, 2015 pg. 51

Facebook: facebook.com/okcphilharmonic Twitter: @OKC_PHIL Instagram: @OKC_PHIL

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JOHN HIGGINBOTHAM, President Oklahoma Philharmonic Society, Inc. I’d like to welcome you to the 26th season of the Oklahoma City Philharmonic. I am honored to serve the Board in the role of President this year. The dedication of the musicians, staff and volunteers is exemplary and paramount to the success of this organization. Under the artistic leadership of Maestro Joel Levine and caliber of musicians that comprise the orchestra, I believe the quality and repertoire of music performed by the Philharmonic exceeds most expectations for a city our size. I’d like you to be aware of the organization’s community focus to reach students in the public classrooms to introduce the importance of music and arts to our students, as well as the Philharmonic’s Discovery concert series aimed at a younger audience but enjoyed by all ages. We appreciate the loyalty of our patrons, donors, the Associate Board and Orchestra League that continue to make the Philharmonic the great asset to our community that it is and to assure its ongoing success into the next twenty-five years. Thank you for being here with us tonight and at future concerts. I believe you will be touched and awed by the evening you spend with the Philharmonic. Sit back and prepare yourself for a musical journey you won’t soon forget.

Deanna Pendleton, President Oklahoma City Orchestra League, Inc. On behalf of the Oklahoma City Orchestra League, it is a pleasure and privilege to welcome you to the Oklahoma City Philharmonic’s 26th Concert Season! Let the music begin! The Orchestra League, founded in 1948, strives continually to fulfill our mission which in part is to “conduct education activities and provide financial support for the Oklahoma City Philharmonic.” The variety of music education programs we provide touch the lives of thousands of Oklahoma children and adults and have been recognized with state and national awards. The Orchestra League’s fundraising efforts have enabled us to continue our financial donation to the Philharmonic! Each Orchestra League member’s contributions, financial and with volunteer hours, enhance the many facets of the League and is vital to strengthening our presence and recognition in the community. We welcome you to join this dynamic organization!

Cheryl Brashear, President Associate Board Welcome to the 26th season of the Oklahoma City Philharmonic. It’s an honor to serve as the President of the Philharmonic’s Associate Board for the upcoming season. My strong appreciation for orchestral music drew me to the group four years ago and I’ve been enchanted, ever since. I’m excited for the chance to build upon everything the Philharmonic community has to offer and hope to share wonderful music with audiences from across the city. The Philharmonic is a great way to expand your horizons while enjoying phenomenal music and events in support of the arts. We have a stimulating schedule for our patrons and our Overture members. I hope to increase the diversity of our newest members and expose more of our community to what the Philharmonic has to offer. Join us for an experience you won’t forget!

MUSIC DIRECTOR -

JOEL LEVINE Beginning his twenty-sixth season leading the Philharmonic, Joel Levine is the longest serving music director in our City’s history. Including his tenure with the Oklahoma Symphony, Maestro Levine is enjoying his thirty-fifth year on the podium at Civic Center Music Hall. Under his leadership, the orchestra has appeared on international, national and local television broadcasts and released several recordings. Maestro Levine’s reputation for exceptional musical collaboration has enabled the Philharmonic to present one of the country’s most distinguished series of world-renowned guest artists. He has collaborated with many of the greatest performing artists of our time and has been called a “remarkable musician and visionary” by Yo-Yo Ma. For three decades, Maestro Levine has conducted many of the city’s historic programs including “Porgy and Bess” with the legendary Cab Calloway, the Paris Opera Ballet starring Rudolf Nureyev, “Rodeo” for Ballet Oklahoma under the direction of Agnes DeMille, the Philharmonic’s 100th anniversary production of “La Boheme,” the State of Oklahoma’s official Centennial Celebration, and the National Memorial Service following the Oklahoma City bombing. He has also conducted Young People’s programs around the State for thousands of children, twenty-four OKC productions of “The Nutcracker” since 1980, and led programs featuring Oklahoma’s celebrated native stars including Vince Gill, Reba McEntire, Jimmy Webb, Patti Page, Blake Shelton, Toby Keith, Kristin Chenoweth, Kelli O’Hara, Megan Mullally, Sandi Patty, and Leona Mitchell. He has received international recognition for performances reflecting many different styles in the classical repertoire. His program of Schubert and Schumann symphonies with Germany’s Brandenburg Symphony Orchestra led the reviewer to write: “Joel Levine proved that he is an absolute master of his profession; the audience honored this impressive performance with much applause.” Engagements in the great European capitols include concerts with the Czech National Symphony in Prague’s Dvorák Hall, and the Symphony Orchestra of Portugal in Lisbon. Other international invitations have included orchestras in Spain, Israel, Belgrade, Bucharest, and an appearance with the Mexico City Philharmonic. Maestro Levine has conducted many of America’s major ensembles including three seasons with The National Symphony

Orchestra at the Kennedy Center in Washington, D.C. and the orchestras of St. Louis, Detroit, Minneapolis, Baltimore, Indianapolis, Seattle, Denver, Nashville and New Orleans. The national press has praised his performances: “the orchestra played with clarity and energy” (Los Angeles Times), “fine musicianship” (Washington Post), “Levine brings the needed sheen and rhythmic verve to the music” (Minneapolis Star), “Levine drew a crisp, bold and tonally lustrous account of the varied score from the orchestra and full-throated chorus” (Houston Post). His Detroit Symphony performances received “four stars” - the highest rating from the Detroit News. Known for his work with major artists in the world of classical dance, he has conducted for three of the greatest male dancers: Rudolf Nureyev, Edward Villella, and Peter Martins. For the Kansas City Ballet, he collaborated with famed choreographer, Alvin Ailey and conducted the first contemporary performance of a “lost” Balanchine ballet, “Divertimento.” Maestro Levine’s résumé includes collaborations with many of the immortal names of jazz, musical theater, film and television. Several of his recordings with Mexico’s Xalapa Symphony Orchestra are in international release and have been broadcast on the BBC. Maestro Levine has taken an active role in the cultural life of Oklahoma City since he arrived in 1976 as music director for Lyric Theatre. He worked actively for the passage of MAPS 1 and played a key role in the renovation of our hall. For his work as a founder of the Orchestra, he received The Governor’s Arts Award (1989), was named Oklahoma Musician Of The Year (1991), is a 2008 “Treasures of Tomorrow” honoree of the Oklahoma Health Center Foundation, received the 2014 Stanley Draper Award for his contributions to downtown Oklahoma City, and has received an Honorary Doctorate in Music from Oklahoma City University.

“Joel Levine proved that he is an absolute master of his profession...” — Havelstadt Brandenburg

OKLAHOMA PHILHARMONIC SOCIETY, INC.

P R O V I D I N G

I N S P I R A T I O N

A N D

J O Y

T H R O U G H

O R C H E S T R A L

M U S I C .

THE BOARD OF DIRECTORS Officers

Lifetime Directors

John Higginbotham President

Patrick Alexander Jane B. Harlow

Renate Wiggin President Elect

Directors

Teresa Cooper Vice President Mike Dickinson Treasurer Gary Allison Secretary Doug Stussi Acting Past President

Zonia Armstrong Edward Barth Cheryl Brashear Cathy Busey Elliot Chambers Louise Churchill Robert Clements Joseph Fleckinger Debbie Fleming Ryan Free Kirk Hammons Brent Hart

Patricia Horn Dr. Sonja Hughes Julia Hunt Michael E. Joseph Brad Krieger Jean McLaughlin Deanna Pendleton Becky Ross Roten John Shelton Sam Sims, APR Jeff Starling Glenna Tanenbaum Donita Thomas

Honorary Directors Josephine Freede Mary Nichols Richard L. Sias

ADMINISTRATIVE STAFF Michelle Ganson Education Coordinator

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Chris Stinchcomb Concert Operations and P.R. Coordinator

Pam Glyckherr Development Director

Kris Markes General Manager

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Daniel Hardt Finance Director

Jennifer Owens Annual Fund Manager

Susan Webb Marketing & P.R. Director

Stephen Howard Database/Records Coordinator

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ACKNOWLEDGEMENTS Classical KUCO 90.1 FM Garman Productions Heritage Press

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THE OKLAHOMA PHILHARMONIC SOCIETY, INC. 428 W. California Ave., Ste 210 • Oklahoma City, Oklahoma 73102 Tickets: 405-842-5387 • Administration: 405-232-7575 • Fax: 405-232-4353 • www.okcphilharmonic.org

OKLAHOMA CITY ORCHESTRA LEAGUE, INC. EXECUTIVE COMMITTEE Deanna Pendleton Dr. Ellen Jayne Wheeler/ President Linda Rowland-Woody, Ph.D. Julia Hunt Co-Education VPs

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Treasurer

Eddie Walker Executive Director Oklahoma City Philharmonic (Advisory)

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Sarah Sagran Lucy Cheatwood Budget & Finance VP (Ex-Officio) Administrative VP

Celia Solomon Competitions VP

Debbie Minter Past President & Chairman Nominating Committee

Jeannette LaMar Executive Director Oklahoma City Orchestra League

BOARD OF DIRECTORS Jay Bass Margaret Biggs Larry Buss Janice Carmack Judy Denwalt Rachael Geiger Susan Gertson Jean Hartsuck Casey Hasenbeck

Dorothy Hays Cheryl Hudak Sue Jones Cinda Lafferty Carol McCoy, Ph.D. June McCoy Anna McMillin Ann Mogridge Phyllis Morrow JonEvah Murray

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Lois Salmeron Glenna Tanenbaum Debbie McKinney Anna McMillin Sue Francis Peggy Lunde Cathy Wallace Sharon Shelton Rhonda White Cindy Raby Debbie Minter

PAST PRESIDENT’S COUNCIL Mary Ruth Ferguson Katherine Kirk Janelle Everest Lael Treat Josephine Freede Jane Harlow Jane Rodgers Joyce Bishop Ann Taylor Lil Ross Berta Faye Rex Sandra Meyers

ORCHESTRA LEAGUE OFFICE 3815 N. Santa Fe Ave. • Oklahoma City, Oklahoma 73118 • Phone: 405-601-4245 • Fax: 405-601-4278 Hours: 10 a.m. to 3 p.m. • E-mail: orchleag@coxinet.net • Website: www.okcorchestraleague.org

THE ORCHESTRA

JOEL LEVINE, Music Director and Conductor EDDIE WALKER, Executive Director

First Violin

Gregory Lee, Concertmaster Gertrude Kennedy Chair Marat Gabdullin, Associate Concertmaster Densi Rushing, Assistant Concertmaster Sam Formicola Hong Zhu Beth Sievers James Thomson Megan McClendon Deborah McDonald Janet Gorton Sophia Ro Tristan Selke Ai-Wei Chang Lu Deng

Second Violin

Katrin Stamatis, Principal McCasland Foundation Chair Catherine Reaves Michael Reaves Principal Emeritus Brenda Wagner James Brakebill Mary Joan Johnston Second Violin Sarah Brown Angelica Pereira Laura Young Lois Fees June McCoy

Viola

Royce McLarry, Principal Mark Neumann Joseph Guevara Joseph Young Kelli Ingels Steve Waddell Donna Cain Brian Frew Shaohong Yuan Jennifer Scott

Cello

Jonathan Ruck, Principal Orchestra League Chair Tomasz Zieba, Associate Principal Meredith Blecha Valorie Tatge Emily Stoops Jim Shelley Angelika Machnik-Jones Jean Statham Dorothy Hays Rob Bradshaw

BASS

George Speed, Principal Anthony Stoops, Co-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

ENGLISH HORN Dan Schwartz

CLARINET

BASSOON

Rod Ackmann, Principal James Brewer Barre Griffith Larry Reed

CONTRABASSOON Barre Griffith

HORN

Eldon Matlick, Principal G. Rainey Williams Chair Nancy Halliday Kate Pritchett Frank Goforth

TRUMPET

Karl Sievers, Principal Jay Wilkinson Michael Anderson

TROMBONE

John Allen, Principal Philip Martinson Noel Seals, Bass Trombone

TUBA

Ted Cox, Principal

PERCUSSION

David Steffens, Principal Stuart Langsam Roger Owens

TIMPANI

Lance Drege, Principal

HARP

Gaye LeBlanc, Principal

Bradford Behn, Principal Tara Heitz James Meiller

PIANO

BASS/E-FLAT CLARINET

PERSONNEL MANAGER/LIBRARIAN

James Meiller

Peggy Payne, Principal Michael Helt

PRODUCTION MANAGER Leroy Newman

PLANNED GIVING

NCORE SOCIETY

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 â&#x20AC;&#x201D; visionary thinkers who have provided for the future of the Oklahoma City Philharmonic through their estate plans.

Anonymous (3)

John and Caroline Linehan

Steven C. Agee, Ph.D.

Mr. and Mrs. Marvin C. Lunde, Jr.

Mr. and Mrs. Patrick B. Alexander

Mrs. Jackie Marron

Gary and Jan Allison

Mr. and Mrs. John McCaleb

Dr. Jay Jacquelyn Bass

R.M. (Mickey) McVay

Mr. and Mrs. Robert H. Clements

Robert B. and Jane H. Milsten

Thomas and Rita Dearmon

W. Cheryl Moore

Dr. and Mrs. James D. Dixson

Carl Andrew Rath

Paul and Donna Fleming

Berta Faye Rex

Hugh Gibson

Mr. and Mrs. William J. Ross

Pam and Gary Glyckherr

Drs. Lois and John Salmeron

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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

Mrs. Martha V. Williams

Mr. and Mrs. Michael E. Joseph

Mr. and Mrs. Don T. Zachritz

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 Philharmonicâ&#x20AC;&#x2122;s future in your own will or estate plan. For more information on how to become an Encore Society member, contact the Development Office at (405) 231-0146 or pam@okcphilharmonic.org.

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GIFTS TO THE PHILHARMONIC The Oklahoma City Philharmonic Orchestra gratefully acknowledges 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 performances and education programs, please contact the Philharmonic’s Development Office at (405) 232-7575. This Annual Fund recognition reflects the season of 2014-2015. Contributions of $100 and above are listed through January 28, 2015. 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.

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Special Thanks to: E.L. & Thelma Gaylord Foundation Oklahoma City Philharmonic Foundation

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GIFTS TO THE PHILHARMONIC MAESTRO SOCIETY Providing leadership support.

MAESTRO SOCIETY

Guarantor $10,000 and above Mr. Howard K. Berry, Jr. Priscilla and Jordan Braun Mr. and Mrs. Andrew J. Evans, II The Freede Family Aubrey K. McClendon and Katie McClendon Mr. and Mrs. David L. McLaughlin Mrs. John W. Nichols Nancy and George Records Mr. and Mrs. John Richels Mr. Richard L. Sias Mr. and Mrs. Richard Tanenbaum

Benefactor $5,000 - $9,999 Steven C. Agee, Ph.D. Mr. and Mrs. Patrick B. Alexander Mrs. Betty D. Bellis-Mankin Mr. and Mrs. William A. Boettger Molly and Jim Crawley Mr. and Mrs. Douglas R. Cummings Mr. and Mrs. John A. Frost Mrs. Jane B. Harlow Dr. and Mrs. John H. Holliman Mr. Albert Lang Mr. Wendell E. Miles Ms. Veronica L. Pastel and Mr. Robert B. Egelston Mr. H.E. Rainbolt Mr. and Mrs. Charles E. Wiggin Mr. and Mrs. Dick Workman

INDIVIDUALS Providing essential support for the Annual Fund. Patron $3,000 - $4,999 Mr. and Mrs. Lawrence Davis Mrs. Carlene Edwards Mrs. Bonnie B. Hefner Mr. and Mrs. Michael E. Joseph Mrs. Donna W. Miller Lance and Cindy Ruffel Mr. and Mrs. Douglas J. Stussi Dr. and Mrs. Kenneth and June Tucker Mr. and Mrs. Richard Young

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Mrs. Linda Gardner Mr. and Mrs. George Gibson Mr. and Mrs. Carey Don Goad Mrs. Jane B. Harlow Mr. G. Curtis Harris Dr. and Mrs. James M. Hartsuck Mrs. Janice Singer Jankowsky and Mr. Joseph S. Jankowsky Mr. and Mrs. W. A. Joseph Mr. and Mrs. James T. Kerr, III Mr. and Mrs. Harrison Levy, Jr. Dr. and Mrs. Patrick McKee Mr. and Mrs. Herman Meinders Mr. J. Edward Oliver Mr. and Mrs. William G. Paul Dr. Joseph H. Phillips Mr. and Mrs. Jerry W. Plant Mr. and Mrs. Ray H. Potts Mr. Joshua Powell Mr. and Mrs. Robert Prescott Mr. and Mrs. Steven Raybourn Mr. and Mrs. William J. Ross Mr. Donald Rowlett Mr. and Mrs. Patrick J. Ryan Drs. Lois and John Salmeron Mr. and Mrs. Samuel Sanchez Ms. Jeanne Hoffman Smith Ms. Jane Smythe Mr. & Mrs. Frederick K. Thompson

Mr. and Mrs. Ron K. Walker Mr. and Mrs. James P. Walker Mr. and Mrs. John Waller Mr. Tom L. Ward Mrs. Martha V. Williams

Associate $1,250 - $1,749 Mrs. Mary Louise Adams Mrs. Mary Louise Adams Mrs. Ann Simmons Alspaugh Mr. Barry Anderson Dr. and Mrs. William L. Beasley Mr. and Mrs. William Beck Mr. and Mrs. Robert M. Benham Ms. Pamela Bloustine MAJ. GEN. William P. Bowden, Rt. Mr. and Mrs. Del Boyles Ms. Betty Bridwell Mr. and Mrs. Barney U. Brown Mr. Randy Buttram Dr. and Mrs. J. Christopher Carey Dr. John M. Carey Dr. and Mrs. Charles W. Cathey Mr. Elliot Chambers Mrs. Anita Clark-Ashley and Mr. Charles Ashley CONTINUED ON PAGE 57

Terror and Triumph March 7, 2015 8:00 P.M.

CLASSICS Louis Lortie, piano JOEL LEVINE, CONDUCTOR

BE SOCIAL. A picture is worth one thousand words. It sounds cliché, but it’s true. Through our various avenues of social media, we try to give you as many ‘picture words’ and experiences as we can. Would you like to see how the guest artists rehearse? Have you ever wondered if there were any pre-concert rituals? Are you curious about how many costumes go into a Chickasaw Nation Pops Series concert? What does Yo-Yo Ma’s cello look like up close? The weather might be really bad outside, so is the concert cancelled? With our social media outlets, answers are at your finger tips. We also want you to participate! Are you having a fun night out with your friends at an Overture concert? Are you out on a romantic date to see one of the spectacular guest artists in the Inasmuch Foundation Classics Series? Has the family come to see Phil the Penguin at the Discovery Family Series? Tag us! We want to see all the great things you experience. We are on Facebook, Twitter, and Instagram, and through these platforms we provide up-to-the-minute information, behind-the-scenes photos and videos, fun contests, and exclusive backstage access.

BEETHOVEN .................. Piano Concerto No. 2 in B-flat major, Op. 19*

Louis Lortie, piano

Allegro con brio Adagio Rondo: Molto allegro

*First performance on this series

INTERMISSION

SHOSTAKOVICH ............ Symphony No. 10 in E minor, Op. 93

Moderato Allegro Allegretto Andante—Allegro

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THIS CONCERT IS GENEROUSLY SPONSORED BY:

Twitter: @OKC_PHIL Instagram: @OKC_PHIL Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, April 1 at 8:00 pm on “Performance Oklahoma”.

GUEST ARTIST C

Louis Lortie French-Canadian pianist Louis Lortie has attracted critical acclaim throughout Europe, Asia, and the United States. He has extended his interpretative voice across a broad range of repertoire rather than choosing to specialize in one particular style. The London Times, describing his playing as “ever immaculate, ever imaginative”, has identified the artist’s “combination of total spontaneity and meditated ripeness that only great pianists have”. Mr. Lortie has performed complete Beethoven sonata cycles at London’s Wigmore Hall, Berlin’s Philharmonie, and the Sala Grande del Conservatorio Giuseppe Verdi in Milan. Die Welt described his Berlin performances as “possibly the finest Beethoven since the time of Wilhelm Kempff.” As both pianist and conductor with the Montreal Symphony, he has performed all five Beethoven concertos and all of the Mozart concertos. Mr. Lortie has also won widespread acclaim for his interpretation of Ravel and Chopin. He performed the complete works of Ravel in London and Montreal for the BBC and CBC, and is renowned all over the world for his performances of the complete Chopin etudes. Louis Lortie celebrated the bicentenary of Liszt’s birth in 2011 by performing the complete Années de pèlerinage at international music capitals and festivals, and he returned to Carnegie Hall in April, 2014 to perform it there. His Chandos recording of this monumental work was named one of the ten best of 2012 by the New Yorker magazine. In 2014-2015, Mr. Lortie returns to, among others, the Sydney and Adelaide Symphony Orchestras, performs D’Indy’s “Symphony on a French Mountain Air” and the Franck Symphonic Variations with Charles Dutoit and the Chicago Symphony, returns to the Warsaw Philharmonie with the Krakow Philharmonic, the Toronto Symphony, the Baltimore Symphony, the Rotterdam Philharmonic, and the San Diego Symphony. He performs recitals in Sydney, London’s International Piano Series, Dusseldorf, Vienna, London’s Wigmore Hall, Berlin, Milan, Calgary and Brussels. In several of these recitals, his program will feature the preludes of Faure and those of Scriabin, who died 100 years ago in 2015. With Helene Mercier, his regular duo-piano partner, he performs a duo-piano recital at the Aix en Provence Festival.

Louis Lortie has performed with the world’s leading conductors, including Riccardo Chailly, Lorin Maazel, Jaap Van Zweden, Kurt Masur, Seiji Ozawa, Charles Dutoit, Kurt Sanderling, Neeme Järvi, Sir Andrew Davis, Wolfgang Sawallisch, and Sir Mark Elder. He has also been involved in many chamber music projects including upcoming tours with Augustin Dumay. He has made more than 30 recordings for the Chandos label, covering repertoire from Mozart to Stravinsky, including a set of the complete Beethoven sonatas and the complete Liszt’s Années de pèlerinage. His recording of the Lutosławski Piano Concerto and Paganini Variations with Edward Gardner and the BBC Symphony was released last year, as well as his latest Chopin album, which was named one of the best recordings of 2012 by the New York Times. Future recordings include a disc of Liszt’s transcriptions, the complete concertos of Poulenc with Ed Gardner and the BBC Symphony, a Chopin disc of Walzes and Nocturnes, and, with Helene Mercier, Rachmaninov’s complete works for two pianos. Mr. Lortie’s recording of Beethoven’s Eroica Variations earned him an Edison Award. His disc of works by Schumann and Brahms was named one of the best CDs of the year by BBC Music Magazine, which also named his disc of Chopin etudes one of “50 Recordings by Superlative Pianists.” His interpretation of Liszt’s complete works for piano and orchestra with the Residentie Orchestra of The Hague was a Gramophone Editor’s Choice. For the Canadian label ATMA Classique, he has recorded Mendelssohn concertos with the Orchestre symphonique de Quebec and, as conductor, Mendelssohn’s “Reformation” Symphony. Louis Lortie studied in Montreal with Yvonne Hubert (a pupil of the legendary Alfred Cortot), in Vienna with Beethoven specialist Dieter Weber, and subsequently with Schnabel disciple Leon Fleisher. He made his debut with the Montreal Symphony at the age of 13; three years later, his first appearance with the Toronto Symphony Orchestra led to an historic tour of the People’s Republic of China and Japan. In 1984, he won First Prize in the Busoni Competition and was also prizewinner at the Leeds Competition. In 1992, he was named Officer of the Order of Canada, and received both the Order of Quebec and an honorary doctorate from Université Laval. He has lived in Berlin since 1997 and also has homes in Canada and Italy

Piano Concerto No. 2 in B-flat major, Op. 19 Ludwig Van Beethoven First Performance on This Series Born: Probably December 16, 1770 (he was baptized on the 17th), in Bonn, Germany Died: March 26, 1827, in Vienna, Austria Work composed: Sketched as early as 1788, provisionally completed in 179495, revised in 1798 and again just prior to publication in 1801 Work premiered: Perhaps March 29, 1795, at Vienna’s Burgtheater, with the composer appearing as soloist and conductor Instrumentation: One flute, two oboes, two bassoons, two horns, and strings, in addition to the solo piano

PROGRAM NOTES I

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 degrees of magnitude. Beethoven was already an adept keyboard player by the time he embarked on that early concerto. In June 1782, he had filled in as deputy court organist in Bonn, and nine months later his teacher, Christian Gottlob Neefe, contributed a glowing report of his 11-year-old pupil to Carl Friedrich 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 certain that he met Mozart and may have taken piano lessons from him. In November 1792, he finally moved to that city, 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 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-flatmajor 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 Beethoven’s years in Bonn, happened to be visiting Vienna at the time and 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

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 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 the 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 had produced

Off the Cuff The second movement of the B-flat-major Piano Concerto 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 out by the time of the premiere. In fact, he probably didn’t set much of the concerto’s solo part down on the page for another six years after the first performance. Writing on April 22, 1801, to the concerto’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

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PROGRAM NOTES C L A S S I C S S E

colic which frequently afflicted him. … In the anteroom sat four copyists to whom he handed sheet after sheet as soon as it was finished.” Even in this early work—the first full-length orchestral piece Beethoven ever wrote—we find the fingerprints of a distinct talent. In the opening Allegro con brio the listener is struck by the rapid alternation of themes with starkly contrasting personalities, a chiaroscuro abetted by equally clear juxtapositions of dynamics. For his slow movement (Adagio) Beethoven offers a lyrical, rather solemn melody that becomes increasingly embroidered as the movement progresses. It is ironic that the last movement, the rollicking Rondo that Beethoven seems to have tossed off just days before the premiere, should be the movement that remains most memorable. Its infectious main theme is marked by “short-fast” rhythms that have a way of sticking in the ear. This Rondo refrain appears four times in the course of the movement, and the interludes provide delightful contrast, including a foray in the direction of what late-18th-century listeners would have taken to be “Gypsy” music.

traumatized and paranoid. He remained wary of his government, and only after 1960, when the Soviet Union loosened the reins on its artists still more, did he feel confident enough to hazard the series of searing, poignant works rich in musical autobiography that would characterize his final years.

Symphony No. 10 in E minor, Op. 93 Dmitri Shostakovich First performance: 2/22/1955 Conductor: Leopold Stokowski Last Performance: 1/11/1972 Conductor: Guy Fraser Harrison Born: September 12 (old style)/25 (new style), 1906, in St. Petersburg, Russia Died: August 9, 1975, in Moscow, Soviet Russia Work composed: Summer and fall of 1953, perhaps begun in 1951 Work premiered: December 17, 1953, in Leningrad, with Yevgeny Mravinsky conducting the Leningrad Philharmonic Instrumentation: Two flutes and piccolo (second flute also doubling piccolo), two oboes and English horn (doubling third oboe), two clarinets and E-flat clarinet (doubling third clarinet), two bassoons and contrabassoon (doubling third bassoon), four horns, three trumpets, three trombones, tuba, timpani, triangle, tambourine, snare drum, cymbals, bass drum, tamtam, xylophone, and strings

Dmitri Shostakovich lived a nightmare for much of his life, constantly falling in and out of favor with the Russian Communist authorities. His sassy Symphony No. 1 (1924-25) launched him propitiously, but he repeatedly ran afoul of Soviet politicos: in 1930, when his satirical opera The Nose was denounced by the powerful Russian Association of Proletarian Musicians for its “bourgeois decadence”; in 1936, when Stalin saw and condemned his opera Lady Macbeth of Mtsensk and reduced him to nothingness until the composer contritely offered his Fifth Symphony (1937) as redemption; in 1945, when his Ninth Symphony struck the bureaucrats as insufficiently reflecting the glory of Russia’s victory over the Nazis. Those were among the low points, to be sure, and they were separated by periods of near-adulation, even marked by the awarding of prominent national honors. After Stalin’s death, in 1953, the Soviet government stopped bullying artists quite so much, but by then Shostakovich had grown indelibly

He began his Symphony No. 10 only a few months after Stalin’s death, or perhaps earlier; the pianist Tatyana Nikolaeva, one of his confidants, insisted that the symphony—and unquestionably its first movement—dated from 1951, and that the piece, like so many others, was withheld until after Stalin’s death. In 1979, the musicologist Solomon Volkov published the book Testimony, which he presented as Shostakovich’s “as-related-to” memoirs. Its authenticity has been disputed, and many scholars have questioned whether Shostakovich’s scores are really filled with as many covert anti-Stalin protests as Volkov’s book maintains. Regarding the Tenth Symphony, Volkov has Shostakovich relating: “I did depict Stalin in … the Tenth. I wrote it right after Stalin’s death, and no one has yet guessed what the symphony is about. It’s about Stalin and the Stalin years. The second part, the scherzo, is a musical portrait of Stalin, roughly speaking. Of course, there are many other things in it, but that’s the basis.” Among those who agree with this reading was the conductor Kurt Sanderling, who attended the preparations and premiere of the work and met with the composer while the piece was being created. Responding to a query about the Tenth Symphony as a Stalin portrait, he said in 1995: “I think this is quite true. And it was indeed a portrait of Stalin for all of us who had lived through the horrors of that time. But for the listener of today,

it is perhaps more like a portrait of a dictatorship in general, of a system of oppression.” It was inevitable that so prominent a new work should come under the close scrutiny of the Composer’s Union, which pondered it over the course of three days in April 1954. Shostakovich, by then adept at apologizing publicly for his music, diplomatically acknowledged that, at the distance of a year, he did sense certain shortcomings in the piece, and that he might write some things differently if he had it to do over. But he didn’t go so far as to volunteer to actually re-write his symphony. “As soon as a work is written,” he said, “the creative spark dies. When you see its defects, sometimes large and substantial, you begin to think that it wouldn’t be a bad thing to avoid them in your next work, but as far as the one just written, well, that’s done with, thank goodness.” The hardline commissar types lambasted it for being “non-realistic” and ultimately pessimistic, hardly the thing for hopeful Soviet society. By the end of the debate, however, a more liberal faction managed to fashion a compromise position to which the Union’s members could agree, defining the piece in most curious terms as “an optimistic tragedy.”

Early Defenders Although Shostakovich’s Tenth Symphony was overwhelmingly successful at its premiere, some listeners were perplexed by its tone. This gave rise to defenses from prominent figures. The composer Dmitri Kabalevsky declared, “I am deeply convinced that the conflict it portrays arises from the tension now existing throughout the world.” And the violinist David Oistrakh said, “The Symphony is imbued with the lofty ethical principles, deep humanity and genuine feeling of a great artist and patriot. Its strength lies in its enormous dramatic effect, its sharp conflicts, and the captivating beauty and propriety of its language.” —JMK

James M. Keller James M. Keller is Program Annotator of the New York Philharmonic and the San Francisco Symphony. His book Chamber Music: A Listener’s Guide, published by Oxford University Press in 2011, is now also available as an e-book and an Oxford paperback. These essays are based on notes that originally appeared in the programs of the New York Philharmonic, and are used with permission.

An Evening with Jason Alexander March 13 & 14, 2015 8:00 P.M.

POPS Larry Blank, conductor

DEVON ENERGY PresentS

STARRING JASON ALEXANDER Conducted by LARRY BLANK Accompanied by Todd Schroeder, music director, pianist I Carrie Schroeder, guest soloist

Selections announced from the stage.

A special Thank You to Bo Taylor Catering for providing musiciansâ&#x20AC;&#x2122; catering services.

GUEST ARTIST P

Jason Alexander Though best known for his award-winning, nine year stint as the now iconic George Costanza of television’s Seinfeld, Jason Alexander is a man of many talents and diverse background. Aside from that singular performance, Mr. Alexander is a noted entertainer, director, producer, teacher and author, as well as an award-winning magician, notorious poker player and respected political and social advocate. His career as a commercial actor began when he was still a young teenager and quickly moved to the New York theater scene. He made his Broadway debut in the Hal Prince/Stephen Sondheim musical Merrily We Roll Along and includes starring roles in the original casts of The Rink, Broadway Bound, Accomplice and his Tony Award winning performance in Jerome Robbin’s Broadway. Jason also authored the libretto for that show which went on to win the Tony Award for Best Musical. He has played Off-Broadway and around the country — most notably starring with Martin Short in the Los Angeles production of Mel Brook’s The Producers. His many films include: Pretty Woman, Jacob’s Ladder, Love Valor Compassion, Rocky and Bullwinkle, Dunston Checks In and Shallow Hal. In addition he directed the feature films For Better or Worse and Just Looking. He is also a distinguished television director, overseeing episodes of Seinfeld, ’Til Death, Everybody Hates Chris, Mike and Molly, Criminal Minds and Franklin and Bash. He won the American Country Music Award for his direction of Brad Paisley’s video, Cooler

Online. He is a coveted director of theater in Los Angeles and served for five years as the Artistic Director of the Reprise Theatre Company. Aside from Seinfeld, Jason has starred and guested in shows such as Friends, Two And A Half Men, Old Christine, Criminal Minds, Monk, Franklin And Bash, Curb Your Enthusiasm, Bob Patterson and Listen Up. He also starred in the television films of Bye Bye Birdie, Cinderella, A Christmas Carol and The Man Who Saved Xmas. Additionally, his voice has been heard most notably in Duckman, The Cleveland Show, American Dad, Aladdin and The Hunchback Of Notre Dame. For his depiction of “George” on Seinfeld, Jason garnered six Emmy nominations, four Golden Globe nominations, an American Television Award and two American Comedy Awards. He won two Screen Actor Guild Awards as the best actor in a television comedy despite playing a supporting role and in 2012 he was honored to receive the “Julie Harris Award for Lifetime Achievement” from the Actor’s Fund. Mr. Alexander tours the country and the world performing his one-man show, “An Evening With Jason Alexander and his Hair”. He resides in Los Angeles with his wife, the talented artist Daena Title (daenatitle.com) and his sons, Gabriel and Noah. You can stay in touch with Jason via Twitter (@IJasonAlexander)

GUEST CONDUCTOR S

Larry Blank

“One of the things that I like to do with Broadway concerts is to make sure the audience is really entertained...” — Larry Blank Larry Blank is one of the most prolific and sought after composers, conductors, and orchestrators in the entertainment business today. His work has been presented all over the world, including some of Broadway’s most successful musicals, Carnegie Hall, and top television and film projects. He was the Music Director/Conductor and/or vocal arranger for many shows on Broadway and in Los Angeles including They’re Playing Our Song, Evita, Sugar Babies, La Cage Aux Folles, Phantom Of The Opera, Onward Victoria, Copperfield, Colette, A Chorus Line and A Little Night Music. He has been nominated twice for both the Tony Award and the Drama Desk Award for his orchestrations in The Drowsy Chaperone and Irving Berlin’s White Christmas. Mr. Blank has worked with top talent from varied fields of the entertainment world, notably as personal conductor to Michael Crawford. He has also worked with Michael Feinstein, Marvin Hamlisch, Bernadette Peters, Kelsey Grammar, Christine Baranski, Roberta Flack, Pete Fountain, Peabo Bryson, Sally Kellerman, Nancy Dussault, Marc Shaiman, Jerry Herman, Ann-Margret, Davis Gaines, Bette Midler, George Benson, Placido Domingo, Randy Newman, Trisha Yearwood, Tom Scott, Quincy Jones, Michael Bolton, John Raitt and Diana Rigg.

Blank’s background includes orchestrating and arranging songs for South Park and he was Music Supervisor and Orchestrator for Jerry Herman’s movie, Mrs. Santa Claus starring Angela Lansbury and Charles Durning. Some of the films he lent his talent to include The Kid, Kiss The Girls, The American President, Forget Paris, City Slickers II, The Net, That’s Entertainment III, North, I’d Do Anything, and Stuart Saves His Family. Blank’s music can be heard on the animated feature films, Cats Don’t Dance and All Dogs Go To Heaven as well as the 101 Dalmations Christmas Special. Mr. Blank’s television work includes orchestrating and composing music for several of the Grammy Awards and Academy Awards shows as well as numerous television movies and shows. Mr. Blank has guest conducted most of the orchestras throughout the world, including The San Francisco Symphony, The New York Philharmonic, Western Australia Symphony Orchestra, The Los Angeles Philharmonic, Palm Beach Pops, Auckland Symphony, The National Symphony Orchestra, The Boston Pops, The Chicago Symphony Orchestra, Calgary Symphony, New Orleans Symphony and Toronto Symphony.

Oklahoma City Philharmonic Foundation Providing Leadership and Annual Support 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 long-range planning and overall success. Current officers and directors of the Oklahoma City Philharmonic Foundation are: Officers Michael E. Joseph President Jean Ann Hartsuck Vice President Douglas J. Stussi Treasurer Penny M. McCaleb Secretary Directors Steven C. Agee Patrick B. Alexander J. Edward Barth L. Joe Bradley Teresa Cooper Douglas R. Cummings T.A. Dearmon Paul Dudman Thomas J. Enis Misha Gorkuscha Jane B. Harlow Harrison Levy, Jr. Duke R. Ligon Michael J. Milligan Patrick J. Ryan Richard L. Sias Richard Tanenbaum

The Dream of America March 28, 2015 8:00 P.M.

CLASSICS JOEL LEVINE, CONDUCTOR

DVOR ˆÁK .............. Symphony No. 9 in E minor, Op. 95, From the New World

Adagio—Allegro molto Largo Scherzo. Molto vivace Allegro con fuoco

INTERMISSION

BOYER ................ Ellis Island: The Dream of America*

Prologue Words of Helen Cohen, emigrated from Poland in 1920 Interlude 1 Words of James Apanomith, emigrated from Greece in 1911 Interlude 2 Words of Lillian Galleta, emigrated from Italy in 1928 Interlude 3 Words of Lazarus Salamon, emigrated from Hungary in 1920 Interlude 4 Words of Helen Rosenthal, emigrated from Belgium in 1940 Interlude 5 Words of Manny Steen, emigrated from Ireland in 1925 Interlude 6 Words of Katherine Beychook, emigrated from Russia in 1910 Epilogue: “The New Colossus” (Emma Lazarus, 1883)

Harry Parker, director

*First performance on this series

THIS CONCERT IS GENEROUSLY SPONSORED BY:

Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, April 22 at 8:00 pm on “Performance Oklahoma”.

GUEST ARTIST C

Harry Parker Harry Parker is a Professor and Chair of the Department of Theatre at TCU. He has directed more than 100 professional and university theatre productions across the country, including The Grapes of Wrath for Oklahoma City Rep. In Fort Worth, Texas, his professional directing credits include shows for Jubilee Theatre, Amphibian Stage Productions, and 13 productions for Circle Theatre, including Picasso at the Lapin Agile, The Fantasticks, The Whipping Man, and My Name is Asher Lev. Later this spring he will direct Vanya and Sonia and Masha and Spike for Stage West in Fort Worth. His TCU directing credits include You Canâ&#x20AC;&#x2122;t Take It With You, Oklahoma! and No, No, Nanette. Originally from

Oklahoma City, Harry spent seven seasons as Assistant Artistic Director at Lyric Theatre of Oklahoma, assisting long-time Artistic Director Lyle Dye. He received his BFA in Theatre from TCU, and an MA and Ph.D. from the University of Kansas. He is a two-time winner of the Kennedy Center Medallion of Excellence, and served as National Chair of the Kennedy Center American College Theatre Festival. Harry is the Founding Managing Director for the award-winning Trinity Shakespeare Festival at TCU. In 2013, Harry won the TCU Chancellorâ&#x20AC;&#x2122;s Award for Distinguished Achievement as a Creative Teacher and Scholar. He is an associate member of the Society of Stage Directors and Choreographers.

Symphony No. 9 in E minor, Op. 95, From the New World Antonín Dvorˆák First performance: 1/24/1938 Conductor: Ralph Rose Last Performance: 11/3/2007 Conductor: Joel Levine Born: September 8, 1841, in Nelahozeves, near Kralupy, Bohemia (today the Czech Republic) Died: May 1, 1904, in Prague, Bohemia Work composed: From December 1892 through spring 1893 Work premiered: December 15, 1893, with Anton Seidl conducting the New York Philharmonic in a “public rehearsal”; the official premiere took place the following evening at Carnegie Hall (then called simply the Music Hall). Instrumentation: Two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, triangle, cymbals, and strings

PROGRAM NOTES I

symphonic work ever composed in this country.” The title came to Dvorˆák as an afterthought, and he added it just before delivering the score to the New York Philharmonic, later explaining that it signified nothing more than “impressions and greetings from the New World.” But for that subtitle, a listener encountering the piece might not consider it less demonstrative of the “Czech spirit” than any of the composer’s other symphonies. Syncopated rhythms and modal melodies are emblematic of many folk and popular musical traditions, those of Bohemia and the United States included. Still, the work’s title invites us to recall how interested Dvorˆák really was in African-American and Native American music,

“Goin’ Home” The principal theme of the Largo movement of Dvorˆák’s New World Symphony is a famous melody, sung by the English horn, that combines tenderness, nostalgia, and a sense of resolute hopefulness. It sounds for all the world like a folksong, and that is what generations of listeners have taken it to be, especially once the title “Goin’ Home” became attached to it. But this melody is an original creation of Dvorˆák’s, as are all the melodies in the New World Symphony. In fact, the song “Goin’ Home” followed the symphony by three decades when, in 1922, William Arms Fisher crafted “dialect words” to fit Dvorˆák’s tune: Goin’ home, goin’ home I’m a’goin’ home Quiet-like, some still day I’m a’goin’ home It’s not far, just close by Through an open door Work all done, care laid by Goin’ta fear no more

In June 1891, the American philanthropist Jeannette Thurber asked Antonín Dvorˆák, by then an eminence of the music world, to consider moving to America to direct the National Conservatory of Music in New York, which she had been nurturing into existence over the preceding several years. Dvorˆák was persuaded. He served as the conservatory’s director from 1892 through 1895 (spending the summer of 1893 in the Czech community of Spillville, Iowa), building the school’s curriculum and faculty, appearing as a guest conductor, and composing such masterworks as his String Quartet in F major (Op. 96, the American), his String Quintet in E-flat major (Op. 97), and his Symphony From the New World, which occupied him during the winter and spring of 1893. Its premiere that December, with Anton Seidl conducting the New York Philharmonic, was a huge success, a peak of the composer’s career, and the critic for the New York Evening Post proclaimed it “the greatest

Mother’s there, ’spectin’ me Father’s waitin’, too Lots of folks gathered there All the friends I knew Fisher (1861-1948), who had studied with Dvorˆák at the National Conservatory and eventually was his teaching assistant there, became a notable music historian, editor, and author. An enthusiast for Dvorˆák’s ideas about melding authentic American songs with the techniques of classical composition, Fisher made numerous concert settings of African-American pieces, which he published in 1926 as Seventy Negro Spirituals. This helped confuse the issue, but the fact is that “Goin’ Home,” which had been published four years earlier as a standalone song, is strictly a “pseudo-spiritual.” —JMK

CONTINUED ON PAGE 40

PROGRAM NOTES

and musicologists have found in its melodies echoes of such undeniably American tunes as “Swing Low, Sweet Chariot” and “Massa Dear.” The African-American presence in the musical scene was immense during Dvorˆák’s American years. Ragtime left him cold, but he was fascinated by the repertoire of Negro spirituals. So far as Native American music is concerned, we know that Dvorˆák attended one of Buffalo Bill Cody’s Wild West shows in New York in the spring of 1893, which would have included more-or-less authentic singing and dancing from a group of Oglala Sioux who belonged to Cody’s troupe. Since Dvorˆák was just then completing this symphony, it is impossible that the music he heard on that occasion could have inspired the work’s material in any direct way; and the same must be said of the Iroquois performers Dvorˆák encountered a few months later at a performance given by the Kickapoo Medicine Company during his summer in Spillville. The ethnic influences on the Symphony From the New World become interesting in light of the composer’s own assertions about the subject. On the day of his new symphony’s premiere, the New York Herald ran an article in which Dvorˆák emphasized the work’s purported Native American connections, specifically citing parallels to Longfellow’s interminable poem “The Song of Hiawatha” (which was in any case a Romantic effusion rather than an authentic expression of any Native culture). The Scherzo, he said, related to the section of Longfellow’s poem that describes the dance of Pau-PukKeewis: “It was he who in his frenzy / Whirled these drifting sands together, / On the dunes of Nagow Wudjoo, / When, among the guests assembled, /He so merrily and madly / Danced at Hiawatha’s wedding ….” The dance is introduced, most curiously, by a motif Dvorˆák borrowed from Beethoven’s Ninth Symphony. The final movement (Allegro con fuoco) evolves out of a march-theme that seems perfectly appropriate to a mitteleuropäische symphony. We tend to think of Dvorˆák as broadly resembling Brahms in his musical inclinations, and although there is plenty here that is Brahms-like (particularly the Brahms of the Hungarian Dances), Dvorˆák’s finale also reminds us now and again of its composer’s early infatuation with Wagner. The musical world of Dvorˆák’s day had become polarized between what was viewed as Brahmsian conservatism and Wagnerian experimentalism. One of the great achievements of Dvorˆák’s late music, and certainly of the Symphony From the New World, is the extent to which it bridges even that politically charged divide.

Ellis Island: The Dream of America Peter Boyer First Performance on This Series Born: 1970 in Providence, Rhode Island Work composed: 2001-02, on commission from The Bushnell Center for the Performing Arts in Hartford, Connecticut Work premiered: April 2002, at the Bushnell Center for the Performing Arts,

with the composer conducting the Hartford Symphony Orchestra and with stage action directed by Martin Charnin Instrumentation: Three flutes (third doubling piccolo), three oboes (third doubling English horn), three clarinets (second doubling bass clarinet, third doubling alto saxophone), three bassoons (third doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, a large percussion section, harp, piano (doubling celesta), and strings, in addition to seven actors (four female, three male)

Following his undergraduate education at Rhode Island College in his native state, Peter Boyer earned his doctor of musical arts degree from the Hartt School of the University of Hartford, studied privately with composer John Corigliano, and moved to Los Angeles to study film and television scoring at the USC Thornton School of Music, where his teachers included the legendary film composer Elmer Bernstein. Now widely acknowledged as one of the masters of that field, he has taught since 1996 as professor of music at the Claremont Graduate University. In 2012-13 he served as composer-in-residence of the Pasadena Symphony, and in 2010-11 he held the same position at the Fort Worth Symphony Orchestra, which commissioned and premiered his Symphony No. 1. Other high-profile concert commissions include the Boston Pops’ 125th anniversary commission of The Dream Lives On: A Portrait of the Kennedy Brothers, which that orchestra unveiled in 2010, joined by actors Robert De Niro, Morgan Freeman, and Ed Harris; and his Festivities, commissioned by Gerard Schwarz and the Eastern Music Festival in celebration of its 50th anniversary in 2011. Much in demand as an orchestrator—the person who finesses composers’ sketches and drafts into performable and effective symphonic scores ready for recording—he has provided orchestrations for more than 25 films for leading Hollywood production studios. You may well have heard his orchestrations for such popular movies as Skyfall (music composed by Thomas Newman), The Amazing Spider-Man (James Horner), and Pineapple Express (Graeme Revell), as well as multiple films with music by Mark Isham (Dolphin Tale, The Conspirator) and Michael Giacchino (Up, Cars 2,

PROGRAM NOTES and crafted monologues out of their own words. Their tales trace journeys from Poland, Greece, Italy, Hungary, Belgium, Ireland, and Russia, the episodes being separated by orchestral interludes. The work concludes with Emma Lazarus’ poem “The New Colossus” (“Give me your tired, your poor, your huddled masses yearning to breathe free …”), the most famous articulation of our nation’s historic posture of welcome to those seeking a better life in America.

John Carter, Mission: Impossible III, and the 2009 Star Trek, among others). He has also been in the vanguard of the recently booming industry of preparing film scores for live performance by orchestras in conjunction with screenings. He was part of the team that orchestrated material for Pixar in Concert, which has been performed worldwide following its introduction by the San Francisco Symphony in 2012, and he is currently part of the group preparing James Horner’s score for Titanic Live, which will premiered at London’s Royal Albert Hall in 2015. His most frequently presented original composition is Ellis Island: The Dream of America, which has received more than 150 live performances by more than 65 orchestras. The League of American Orchestras’ Symphony magazine cited it as one of the few recent American compositions to have achieved the status of a repertoire standard. Its CD release on Naxos’ American Classics Series in 2005 earned a Grammy nomination in the category of Best Classical Contemporary Composition. Ellis Island explores the immigrant experience through a multimedia presentation that involves actors and projections in addition to live musical performance. The work’s texts are derived from the Ellis Island Oral History Project, which collected stories told by persons who came to the United States from foreign shores. In this case, Boyer selected seven of these personal histories related by immigrants who arrived at Ellis Island from seven different countries during the period 1910-40

James M. Keller James M. Keller is Program Annotator of the New York Philharmonic and the San Francisco Symphony. His book Chamber Music: A Listener’s Guide, published by Oxford University Press in 2011, is now also available as an e-book and an Oxford paperback. The Dvorˆák essay is based on a note that originally appeared in the programs of the New York Philharmonic, and is used with permission.

A Night At The Cotton Club April 24 & 25, 2015 8:00 P.M.

POPS Jeff Tyzik, conductor

NIGHT

THE

Conducted by JEFF TYZIK

S ta r r ing

Byron Stipling [trumpet]

Carmen Bradford [vocalist]

Robert Breithaupt [drums]

Ted Louis Levy [tap dancer]

THIS CONCERT IS GENEROUSLY SPONSORED BY:

A special Thank You to Fuzzy’s Taco Shop for providing musicians‘ catering services.

PROGRAM P

A Night At The Cotton Club

Ellington, arr. Tyzik.......................................................“It Don’t Mean a Thing if it Ain’t Got That Swing” Armstrong, arr. Tyzik ...................................................“Dinah” Primrose, arr. Mackrel, orch. Tyzik................................“St. James Infirmary” Carter, arr. Tyzik .......................................................... Symphony in Riffs Arlen & Koehler, arr. Tyzik ............................................“Stormy Weather” Fields & McHugh, arr. Tyzik .......................................... “I Can’t Give You Anything But Love” O’Flynn, Meskill, & Rich,arr. Tyzik ................................ “Smile, Darn Ya’” Gershwin, arr. Tyzik ......................................................“I Got Rhythm” INTERMISSION Fitzgerald, orch. Tyzik . ................................................“Clap Hands Here Comes Charlie!” Handy, arr. Tyzik............................................................ “St. Louis Blues” Ellington, arr. Tyzik.......................................................Cotton Club Medley Calloway, arr. Tyzik . .....................................................“Minnie The Moocher” Arlen & Koehler, arr. Tyzik ............................................“Kickin’ the Gong Around” Akst & Clarke, arr. Tyzik................................................“Am I Blue?” Cannon, arr. Tyzik..........................................................“Bill Bailey”

GUEST CONDUCTOR S

Jeff Tyzik Grammy Award winner Jeff Tyzik is one of America’s most innovative and sought after pops conductors. Tyzik is recognized for his brilliant arrangements, original programming, and engaging rapport with audiences of all ages. Tyzik holds The Dot and Paul Mason Principal Pops Conductor’s Podium at the Dallas Symphony Orchestra and also serves as Principal Pops Conductor of the Seattle Symphony, the Detroit Symphony, the Oregon Symphony and The Florida Orchestra. This season, Tyzik will celebrate his 21st season as Principal Pops Conductor of the Rochester Philharmonic Orchestra. Highly sought after as a guest conductor, Tyzik has appeared with the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, Philadelphia Orchestra and the Los Angeles Philharmonic. Tyzik made his UK debut in 2010 with the Royal Scottish National Orchestra. In May 2007, the Harmonia Mundi label released his recording of works by Gershwin with pianist Jon Nakamatsu and the RPO which stayed in the Top 10 on the Billboard classical chart for over three months. Alex Ross of The New Yorker, called it “one of the snappiest Gershwin discs in years”. “His concert is the kind of thing that‘s likely to give classical music a good name, perhaps even make it seem, dare I say, relevant,” writes John Pitcher of the Gannet News Service. As an accomplished composer and arranger, Tyzik has had his compositions recorded by the London Symphony Orchestra, Rochester Philharmonic Orchestra, and the Summit Brass, Erich Kunzel and the Cincinnati Pops Orchestra, Vancouver Symphony and Doc Severinsen with the Royal Philharmonic Orchestra in London. He has also produced and composed theme music for many of the major television networks, including ABC, NBC, HBO, Cinemax, and released six of his own albums on Capitol, Polygram and Amherst Records. Tyzik worked closely with Doc Severinsen on many projects including orchestrating many of the great band leader’s

symphony orchestra programs, and producing a Grammy Award-winning album, The Tonight Show Band with Doc Severinsen, Vol. 1. Tyzik’s subsequent recordings with Severinsen garnered three more Grammy nominations. In his twenty-one years with the Rochester Philharmonic Orchestra, Tyzik has written over 200 arrangements, orchestrations and compositions for orchestra. A consummate musician, Tyzik regularly appears as a guest conductor in the orchestra’s classical subscription series. He has also been commissioned to compose original works for orchestra, including a Trombone Concerto, which was funded by a grant from the National Endowment for the Arts and subsequently performed at Carnegie Hall. Tyzik conducted the world premiere of his original work New York Cityscapes with the Royal Scottish National Orchestra in 2010. Tyzik composed a Timpani Concerto, commissioned by the RPO, and also led the RPO in the premiere of his new orchestral suite: Images (Musical Impressions of an Art Gallery) to rave reviews. A native of Hyde Park, New York, Tyzik began his life in music at nine years of age, when he first picked up a cornet. He studied both classical and jazz throughout high school, and went on to earn both his bachelor’s and master’s degrees from the Eastman School of Music, where he studied composition/arranging with Radio City Music Hall’s Ray Wright and jazz studies with Chuck Mangione. Tyzik subsequently toured with Mangione as lead trumpet and worked on five Mangione recordings as a producer and performer from 1976 to 1981. Committed to performing music of all genres, Tyzik has collaborated with such diverse artists as Chris Botti, Matthew Morrison, Wynonna Judd, Tony Bennett, Art Garfunkel, Dawn Upshaw, Marilyn Horne, Arturo Sandoval, The Chieftains, Mark O’Connor, Doc Severinsen, John Pizzarelli and has created numerous original programs that include the greatest music from jazz and classical to Motown, Broadway, film, dance, Latin and swing.

GUEST ARTIST P

Byron Stipling With a contagious smile and captivating charm, trumpet virtuoso, Byron Stripling, has ignited audiences internationally. As soloist with the Boston Pops Orchestra, Stripling has performed frequently under the baton of Keith Lockhart, as well as being featured soloist on the PBS television special, Evening at Pops, with conductors John Williams and Mr. Lockhart. Currently, Stripling serves as artistic director and conductor of the highly acclaimed Columbus Jazz Orchestra. Since his Carnegie Hall debut with Skitch Henderson and the New York Pops, Stripling has become a pops orchestra favorite throughout the country, soloing with Boston Pops, National Symphony, Pittsburgh Symphony, Cincinnati Pops, Seattle Symphony, Baltimore Symphony, Dallas Symphony, Minnesota Orchestra, Detroit Symphony, Vancouver Symphony, Toronto Symphony, and Dallas Symphony, to name a few. He has been a featured soloist at the Hollywood Bowl and performs at jazz festivals throughout the world. An accomplished actor and singer, Stripling was chosen, following a worldwide search, to star in the lead role of the Broadway bound musical, Satchmo. Many will remember his featured cameo performance in the television movie, The Young Indiana Jones Chronicles, and his critically acclaimed virtuoso trumpet and riotous comedic performance in the 42nd Street production of From Second Avenue to Broadway.

Television viewers have enjoyed his work as soloist on the worldwide telecast of The Grammy Awards. Millions have heard his trumpet and voice on television commercials, TV theme songs including 20/20, CNN, and soundtracks of favorite movies. Stripling earned his stripes as lead trumpeter and soloist with the Count Basie Orchestra under the direction of Thad Jones and Frank Foster. He has also played and recorded extensively with the bands of Dizzy Gillespie, Woody Herman, Dave Brubeck, Lionel Hampton, Clark Terry, Louis Bellson, and Buck Clayton in addition to The Lincoln Center Jazz Orchestra, The Carnegie Hall Jazz Band, and The GRP All Star Big Band. Stripling enjoys conducting seminars and master classes at colleges, universities, conservatories, and high schools. His informative talks, combined with his incomparable wit and charm, make him a favorite guest speaker to groups of all ages. Stripling was educated at the Eastman School of Music in Rochester, New York and the Interlochen Arts Academy in Interlochen, Michigan. One of his greatest joys is to return, periodically, to Eastman and Interlochen as a special guest lecturer. A resident of Ohio, Stripling lives in the country with his wife, former dancer, writer and poet, Alexis and their beautiful daughters.

GUEST ARTIST S

Carmen Bradford Born in Austin, Texas and raised in Altadena, California, Carmen Bradford grew up with music in her home and heart. Following the footsteps of her great family musical legacy, she has carved out a place in music history for herself and plays an integral role in the jazz world. Bradford was discovered and hired by Mr. William Count Basie and was the featured vocalist in the legendary Count Basie Orchestra for nine years. She has since performed and/or recorded with such talents as Wynton Marsalis, John Clayton, Nancy Wilson, Doc Severinsen, Tony Bennett, James Brown, Byron Stripling, George Benson, Lena Horne, Frank Sinatra, as well as the DIVA Jazz Orchestra, the National Symphony, and the Lincoln Center Jazz Orchestra, among

others. Bradford performed on two Grammy Award winning albums with the Count Basie Orchestra in the 1980s and later collaborated on a third Grammy Award winning album, Big Boss Band, with guitarist George Benson. Bradford began another chapter in her illustrious career as a solo artist with the critically acclaimed debut album Finally Yours and With Respect (Evidence Records), which established her as one of jazz music’s most diverse and exciting vocal talents. Her next release, Home With You, (Azica Records) is a collection of piano/vocal duets with Shelly Berg. Currently, Bradford makes guest appearances with the Count Basie Orchestra.

Ted Louis Levy Ted Louis Levy made his Broadway debut in the smash hit Black & Blue. He collaborated with George C. Wolfe and Gregory Hines on the choreography of Jelly’s Last Jam, for which he received a Tony Nomination, Drama Desk Nomination and the 1993 Outer Critics Circle Award. Levy was awarded an Emmy Award for his television debut performance in the PBS Special Precious Memories and appeared in Spike Lee’s Malcolm X for his film debut. His production of Ted Levy and Friends, directed by Gregory Hines, celebrated Levy as one of America’s premier tap dance artists. Influenced by Hines,

Levy acquired his directorial debut as director of Savion Glover’s Dancing Under The Stars at the New York Shakespeare Festival’s Delacorte Theater. He also assisted in the choreography of Broadway’s Tony Award winning hit Bring In ‘Da Noise! Bring In ‘Da Funk! Levy appeared in the movie Bojangles with Gregory Hines, returning to Broadway as Papa Jack in Susan Stroman and Harry Connick Jr.’s Thou Shalt Not, and as The Mikado in The Ford Theater’s production of The Hot Mikado, for which he won a Helen Hayes Award.

GUEST ARTIST P

Robert Breithaupt Robert Breithaupt is a veteran of over 40 years in music, as a performer, educator, arts administrator, author, musical contractor, and entrepreneur. He is Professor of Music at Capital University, Past-President of the Percussive Arts Society, and on the board of the Jazz Education Network. Breithaupt has performed and recorded in diverse solo, small ensemble and orchestral settings and has appeared with a virtual “Who’s Who” of great jazz talents and scores of other noted artists. As drummer/percussionist for trumpet virtuoso Byron Stripling, Broadway star Sandy Duncan and other artists, he has performed with dozens of professional orchestras and ensembles throughout the United States and abroad, and is the drummer for the Columbus Jazz Orchestra. As Executive Director of the Jazz Arts Group of Columbus from 2001 until 2012, Breithaupt’s vision helped to shape the nation’s oldest not-for-profit jazz organization into a com-

prehensive, working model for performance, education, and community engagement. Under his leadership, JAG became a leader in expanding the conversation surrounding the development of new audiences, theme-based productions and earned income opportunities. Breithaupt is recognized internationally as one of today’s leaders in percussion education, and has conducted workshops and clinics throughout the world on the subject. He is Professor of Music and Department Chair of Performance Studies at Capital University, and since 1978 has built what is viewed as one of the nation’s top undergraduate percussion programs. He is considered one of the foremost authorities on the history and development of the drum set. His former students are leaders in all aspects of the music business as performers, educators, arts administrators, recording artists, authors, and in music products industry.

oklahoma philharmonic Society, inc. Associate board

Sun Drenched Celebrations May 2, 2015 8:00 P.M.

CLASSICS JOEL LEVINE, CONDUCTOR

Cheryl Brashear, President Jenni Fosbenner, Treasurer Christopher Lloyd, Secretary Lindsey Marcus, VP of Fundraising Dwayne Webb, VP of Events Brent Hart, Past President

A. MÁRQUEZ ............... Danzón No. 2 RESPIGHI .................... Roman Festivals

Matt Bell Robyn Berko Ebony Dallas

Games at the Circus Maximus The Jubilee The October Festival The Epiphany

INTERMISSION

Jason Dunnington Jennifer Godinez

FALLA ......................... The Three Cornered Hat, Suite No. 2

Allison Goodman

The Neighbors’ Dance (Seguidillas) The Miller’s Dance (Farruca) Final Dance (Jota)

Lindsay Houts Matt Latham Kevin Learned Mike McClellan

RESPIGHI .................... Pines of Rome

The Pines of Villa Borghese The Pines near a Catacomb The Pines of the Janiculum The Pines of the Appian Way

Lisa Perry Michael Thomas Cyndi Tran Ashley Wilemon

THIS CONCERT IS GENEROUSLY SPONSORED BY:

Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, May 27 at 8:00 pm on “Performance Oklahoma”.

PROGRAM NOTES

Danzón No. 2 Arturo Márquez Single performance: 11/5/2005 Conductor: Robert Moody Born: December 20, 1950, in Álamos, Sonora, Mexico Work composed: 1994, on commission from the Department of Musical Activities at the National Autonomous University of Mexico (UNAM) Work premiered: March 1994, in Mexico City, with Francisco Savín conducting the Orchestra Filarmónica de la UNAM Instrumentation: Two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, claves, snare drum, suspended cymbal, guiro, three tom-toms, bass drum, piano, and strings

Arturo Márquez is among the most widely performed of contemporary Mexican composers. He was born into a musical family; his father was a mariachi performer and his grandfather a folk musician. The family moved to California when he was young, and Márquez accordingly began studying music seriously while a teenager in Los Angeles. He returned to Mexico to pursue work in composition at the Taller de Composición of the Institute of Fine Arts of Mexico and in piano and music theory at the Conservatory of Music of Mexico. Further studies ensued in Paris and, back in the United States, at the California Institute of the Arts, which awarded him a master’s degree in 1990. In the course of these studies, his teachers including such well-known figures as Jacques Castérède, Morton Subotnick, and Mel Powell.

He has served on the faculty of Mexico’s Escuela Nacionál de Música as teacher of composition. In 1994, he was awarded the composition scholarship of his nation’s Consejo Nacional para la Cultura y las Artes, and in 2006 he was honored with the Medalla de Oro de Bellas Artes, one of Mexico’s most prestigious cultural awards. Among his many commissions are piece he has written for such respected organizations as the Festival Cervantino, Festival del Caribe, Festival de la Ciudad de Mexico, the 1992 Seville World’s Fair, the Rockefeller Foundation, and Philadelphia’s Relâche Ensemble.

Another Take on the Danzón An early example of a symphonic danzón was the Danzón cubano composed in 1942 by Aaron Copland, who encountered the dance in Cuba and described it this way: “The popular Cuban dance style known as danzón has a very special character. It is a stately dance, quite different from the rumba, conga and tango, and one that fulfills a function rather similar to that of the waltz in our own music, providing contrast to some of the more animated dances. The special charm of the danzón is a certain naïve sophistication. Its mood alternates between passages of rhythmic precision and a kind of nonsentimental sweetness under a nonchalant guise.” —JMK

Márquez’s music has to some extent unrolled along two parallel paths. On one hand, he has engaged in heady avant-garde explorations. Early in his career he produced many electro-acoustic works, and his catalogue includes numerous pieces that involve interdisciplinary involvement with theatre, dance, film, and photography. On the other, he has written many pieces of an entirely accessible (though not simplistic) sort that build on folk models and convey an immediately identifiable Mexican flavor. Among these, the most successful have been a series of pieces in the form of the danzón, a popular dance associated with the region of Veracruz. He has composed at least eight of them so far, for variously constructed ensembles; and of the bunch, the colorful, rhythmically propulsive Danzón No. 2 has been embraced as a modern orchestral classic. Márquez provided this commentary about this piece: The idea of writing the Danzón No. 2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez, both of whom are experts in salon dances with a special passion for the danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and visits to the Colonia Salon in Mexico City. From these experiences onward, I started to learn the danzón’s rhythms, its form, its melodic outline, and to listen to the old recordings by Acerina and his Danzonera Orchestra. I was fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the State of Veracruz and in the dance parlors of Mexico City. The Danzón No. 2 is a tribute to the environment that nourishes the genre. It endeavors to get as close as possible to the

PROGRAM NOTES dance, to its nostalgic melodies, to its wild rhythms, and although it violates its intimacy, its form and its harmonic language, it is a very personal way of paying my respects and expressing my emotions towards truly popular music.

Roman Festivals Ottorino Respighi First performance: 12/15/1950 Conductor: Victor Alessandro Last Performance: 9/18/2004 Conductor: Joel Levine Born: July 9, 1879, in Bologna, Italy Died: April 18, 1936, in Rome, Italy Work composed: 1928, though its first section draws on material originally written in 1926 for Respighi’s unfinished symphonic poem Nerone Work premiered: February 21, 1929, in New York City, with Arturo Toscanini conducting the New York Philharmonic Instrumentation: Three flutes (third doubling piccolo), two oboes and English horn, two clarinets plus high clarinet in D and bass clarinet, two bassoons and contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, tambourine, ratchet, sleigh bells, snare drum, tenor drum, bass drum, triangle, cymbals, tam-tam, glockenspiel, tubular bells, xylophone, wood blocks, piano (two hands and four hands), organ, mandolin, three buccine (offstage), and strings

Though schooled in his native Bologna, Respighi started his career in earnest as an orchestral viola player in Russia, where he had the opportunity to study with Nikolai RimskyKorsakov, renowned as a master of orchestral color. Further study ensued in Berlin, with Max Bruch, before Respighi returned to make his mark in Italy. Though not a radical at heart, he became briefly associated in 1910 with the antiestablishmentarian Lega dei Cinque, an Italian “League of Five” comprising Pizzetti, Malipiero, Giannotto Bastianelli, and Renzo Bossi. The League advocated, in Bastiandelli’s words, “the risorgimento of Italian music … which from the end of the golden 18th century until today has been, with very few exceptions, depressed and circumscribed by commercialism and philistinism.” (That rustling you just heard was Giuseppe Verdi turning over in his grave.)

Within a few years Respighi was appointed composition professor at the Accademia di Santa Cecilia in Rome, and when Alfredo Casella came on board as his colleague in 1915, bringing with him some of the radical ideas he had picked up during a recent residence in France, Respighi was swept up anew in a burst of modernist enthusiasm; but, again, he soon retreated to his essentially conservative stance. By 1932 we find him joining nine other conservative composers to sign a manifesto condemning the deleterious effect of music by such figures as Schoenberg and Stravinsky and encouraging a return to established Italian tradition. (Surprisingly, Mussolini came down in favor of the modernists, although he was personally a fan of Respighi’s music.) He was by then very famous and very rich: success had arrived via his hugely popular tone poem Fountains of Rome, composed in 1915-16. He followed up with two further, vaguely related, tone poems that are not infrequently presented as a three-movement “Roman Triptych”: Pines of Rome (1923-24) and Roman Festivals (1928). One of Respighi’s hallmarks was his willingness to go what many would consider “over the top.” Roman Festivals is not a work for the timid: the composer proudly averred that it represented his “maximum of orchestral sonority and color.” Take a look at the instrumentation list: that’s one big orchestra, with more than a couple of “special-effects” instruments—and what’s this about buccine? You won’t find them often in modern orchestras (though Respighi had already used six of them in Pines of Rome). The buccina was a curved brass instrument of ancient Rome, originally made of animal horn but later covered in brass, whose musical contributions were limited to a few pitches of the overtone series; it was used mostly for herding and for military signals. James McKinnon, writing in The New Grove Dictionary of Music and Musicians (Second Edition), informs us that “a number of poetic references contrasted its sleep-shattering call to arms with the soporific and erotic associations of instruments such as the kithara.” Respighi wants three of them here but, in a nod to practicality, allows that flugelhorns may be substituted. Picture toga-clad hornblowers when you hear their fanfare at the outset. The music speaks for itself, thanks to the composer’s acute tone-painting. In the first movement, the ferocious roaring of the wild beasts comes across loud and clear, thanks to the bass clarinet, bassoons, contrabassoon, horns, trombones, tuba, timpani, cellos, and double basses, playing fortissimo. In “The Jubilee” we can easily imagine the procession of weary pilgrims chanting (curiously, a German hymn from the 12th century), and in “The October Festival” a mixture of celebratory stimulation and autumnal languor. No holds are barred in the concluding section “The Epiphany,” whose episodes the composer depicts almost as precisely as if they were photographs. Has a staggering drunkard ever been more unmistakably portrayed than it is here by solo tro mbone? By the end, Respighi piles up sonority upon sonority to achieve one of the most tumultuous raisings of the roof you will ever hear. CONTINUED ON PAGE 54

PROGRAM NOTES

Respighi supplied descriptive paragraphs for each movement of Roman Festivals, and these are reprinted in the Ricordi Edition score. Here they are, with some of the more egregious infelicities of translation amended: Games at the Circus Maximus—A threatening sky hangs over the Circus Maximus, but it is the people’s holiday: “Ave Nero!” The iron doors are unlocked, the strains of a religious song and the howling of wild beasts float on the air. The crowd rises in agitation: unperturbed, the song of the martyrs develops, conquers, and then is lost in the tumult. The Jubilee—The pilgrims trail along the highway, praying. Finally, from the summit of Monte Mario, the holy city appears to ardent eyes and gasping souls: “Rome, Rome!” A hymn of praise bursts forth, the churches ring out their reply. The October Festival—The October festival in the Roman castelli covered with vines hunting echoes, tinkling of bells, songs of love. Then in the tender evenfall arises a romantic serenade. The Epiphany—The night before Epiphany in the Piazza Navona: a characteristic rhythm of trumpets dominates the frantic clamor; above the swelling noise float, from time to time, rustic motives, saltarello cadences, the strains of a barrel-organ from a booth, the barker’s call, the harsh song of the intoxicated, and the lively verse in which is expressed popular sentiments. “Lassàtece passà, semo Romani!”—“We are Romans, let us pass!”

studies paid off, and he advanced quickly through conservatory instruction, graduating in 1899 from the Madrid Conservatory with a first prize in piano and a thorough education in harmony, counterpoint, and composition. Nonetheless, Falla’s first steps in his chosen profession were far from dynamic. Unable to scrape together a living by composing serious music and not quite a enough of a virtuoso to find acclaim in the recital hall, he turned to the closest enterprise that might prove commercially viable, the composition of zarzuelas (peculiarly Spanish stage works that might be described as a regional variation on operetta). He composed six between 1900 and 1904; only one reached the stage, and it left him no better off than before. Still, those early experiences helped clarify his goals, and in 1905 he won an important prize for his first certifiable masterpiece, La Vida breve, a true opera. But plans to produce it fell through, and Falla, recognizing that Spain was too far off the beaten path of culture for his restless talent, left in 1907 for where the action was—Paris. He would remain there until 1914, associating closely with Dukas, Debussy, and Ravel. During those years he refined his craft as a musical Impressionist without sacrificing the Spanish flavor that lay at the root of his inspiration. The outbreak of World War One forced his return to Spain, but this time Madrid proved more amenable to his talent. Further stage works rich in Spanish flavor flowed from his pen, beginning with El amor brujo (1915), and in 1916 Falla heard the premiere of his first major symphonic work, which had occupied him since 1909: Noches en los jardines de España (Nights in the Gardens of Spain), a set of three “symphonic impressions”—his term—for piano and orchestra.

The Three Cornered Hat, Suite No. 2 Manuel De Falla First performance: 3/20/1951 Conductor: Victor Alessandro Last Performance: 9/16/2006 Conductor: Joel Levine Born: November 23, 1876, in Cádiz, Spain Died: November 14, 1946, in Alta Gracia, Argentina Work composed: 1916-19 Work premiered: The ballet The Three Cornered Hat (El Sombrero de tres picos) was first produced July 22, 1919, at the Alhambra Theatre in London, with Ernest Ansermet conducting the premiere production of the ballet by the Ballets Russes; some of the music had already been heard in an earlier form as the score for the pantomime El Corregidor, premiered April 7, 1917, at the Aslava Theatre in Madrid with Joaquín Turina conducting. Instrumentation: Two flutes (second doubling piccolo), two oboes and English horn, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, xylophone, cymbals, bells, snare drum, triangle, bass drum, castanets, tam-tam, harp, piano, celesta, and strings

As a teenager, Manuel de Falla y Matheu set his sights on becoming an author, but by the time he was 20 he acquiesced instead to a consuming passion for music. His youthful piano

El Sombrero de tres picos (“The Three-cornered Hat”) followed shortly thereafter, and its genesis was somewhat convoluted. It shares its title with that of its source, a famous novella published in 1874 by Pedro Antonio de Alarcón based on the popular romance El Corregidor y la molinera (“The

PROGRAM NOTES Magistrate and the Miller’s Wife”). Back in 1905 it had been one of three possibilities Falla and his librettist considered turning into an opera. The three prospective subjects were written on pieces of paper and the decision was left to the chance of the draw. La Vida breve was picked, and El Sombrero de tres picos went on the back burner. Falla continued to harbor hopes of setting it as an opera, but a problem arose: Alarcón’s will expressly forbade a texted musical setting of this novella, though it seemed that a staged version could pass legal muster so long as no text was involved. In 1916-17, Falla therefore composed his long-simmering score and the work was unveiled as a staged pantomime, in 1917 in Madrid, to a scenario by María Martínez Sierra under the title El Corregidor y la molinera. The famous impresario Serge Diaghilev happened to be in Madrid with his Ballets Russes just then. He attended numerous performances of El Corregidor, was captivated

The Plot of The Three Cornered Hat Variously constituted orchestral suites have been drawn from the ballet The Three Cornered Hat. Here’s the general idea of the plot, condensed to reflect the excerpts performed in this concert. The action involves three principal characters in an Andalusian village: the miller and his wife, who love each other so deeply that they normally have no problem with one another’s flirtations, and an old magistrate. On a languorous afternoon the old magistrate happens by and takes a fancy to the miller’s wife. They flirt—she with feigned tenderness— until the miller chases the magistrate away. That night the neighbors gather at the miller’s home to celebrate the Feast of St. John (“The Neighbors’ Dance” followed by “The Miller’s Dance”). Now comes much confusion. The magistrate has the miller arrested, and with the miller temporarily out of the way he renews his pursuit of the miller’s wife. They end up on a bridge; she pushes him into the shallow stream below and flees. He goes to her home, but finding nobody there he removes his wet clothes, lays them out to dry (with his tricorn hat prominent, of course), puts on the miller’s own nightshirt, and falls asleep on the bed. The miller manages to escape his captors and returns home to find the magistrate in the bed. Assuming that his wife has actually given in to her suitor, the miller decides to take revenge by courting the magistrate’s wife. After the miller leaves on this mission, policemen enter in search of him and, seeing the figure in his clothes, mistakenly try to arrest the magistrate. The miller, his wife, and the neighbors enter and gradually sort out the confusion, and in the end everyone dances a jota (“Final Dance”) while tossing the magistrate’s effigy in a blanket. —JMK

by what he saw, and asked Falla to expand the work into a full ballet for his troupe. This involved quite a bit of work both in creating some entirely new numbers and in expanding the instrumentation throughout, since the pantomime version had been crafted for a small orchestra of 18 players. The premiere was planned for 1917, but the First World War dragged on and made that schedule impractical. With the war finally ended, the premiere was set for 1919 in London, a starry affair that brought Falla together with conductor Ernest Ansermet, Pablo Picasso as the designer of sets and costumes, and Leonide Massine as choreographer and one of the principal dancers, who took over the role after his own Spanish flamenco coach had to withdraw.

Pines of Rome Ottorino Respighi First performance: 3/8/1949 Conductor: Victor Alessandro Last Performance: 4/14/2007 Conductor: Joel Levine Work composed: 1923-24 Work premiered: December 14, 1924, with Bernardino Molinari conducting the Augusteo Orchestra in Rome Instrumentation: Three flutes (third doubling piccolo), two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, cymbals, small cymbal, triangle, tambourine, a ratchet, bass drum, tam-tam, bells, harp, celesta, recorded birdsong (a nightingale), piano, organ, and strings, plus offstage trumpet and six buccine (the latter being replaced in this performance by more usual brass instruments, playing in two antiphonal groups)

Roman Festivals may be the most unbridled entry in Respighi’s “Roman Triptych,” but Fountains of Rome and especially Pines of Rome are not far behind in terms of rich orchestral effects. When the New York Philharmonic performed the American premiere of Pines of Rome (in 1926, with Arturo Toscanini conducting), the composer, referring to himself in the third person, wrote to Lawrence Gilman, then that orchestra’s program annotator: “While in his preceding work, Fountains of Rome, the composer sought to reproduce by means of tone an impression of Nature, in Pines of CONTINUED ON PAGE 56

PROGRAM NOTES C L A S S I C S S E

Rome he uses Nature as a point of departure, in order to recall memories and vision. The centuries-old trees which so characteristically dominate the Roman landscape become witnesses to the principal events in Roman life.” In her 1962 biography of her late husband, Elsa Respighi described the premiere of Pines of Rome: The hall was packed, the atmosphere electric. At the end of the first part there were protests in the form of booing and hissing which subsided with the sudden pianissimo of the second section. The audience was gripped by the second and third parts, while frantic applause such as had never before been heard in the Augusteo drowned the last bars of the poem. The previous day at the final rehearsal Respighi told me that the crescendo in the last movement had affected him deeply and that he had felt “something odd in the pit of his stomach.” The work had gone well according to plan. “But you’ll see that the first part won’t have a smooth passage and they’ll boo!” Indeed, a friend, disturbed by the “out-of-tune” trumpet at the end of the first section, suggested an alteration to the score, but Ottorino just laughed and replied, “Well, let them boo … what do I care?” … The unprecedented success of The Pines echoed around the world and I honestly believe that it was one of the compositions in which the Maestro was most emotionally involved.

Pines of Rome is famous for being one of the first pieces to include a pre-recorded soundtrack in its orchestration. However subversive it seems in retrospect, this arrived in the most innocent fashion: through the composer’s instruction to play a recording of a nightingale at the end of the third movement (“The Pines of the Janiculum”). In the published score Respighi suggested that the commercial recording issued by the Concert Record Gramophone Company as R6105 be used. To this day the publisher supplies that particular recording with the score, although the medium has changed through the years from the original 78-r.p.m. record to LP, cassette, and compact disc. Whether it is true, as has been claimed, that Respighi himself recorded this immortal nightingale I cannot say.

Sundays :: 2PM :: OKC Civic Center

March 29, 2015 A Concert For the Planet

We’ll play a salute to the beauty of nature and to Earth Day in a tribute to Mother Nature! Lobby activities start at 1pm before the hour-long concerts.

Call 405-TICKETS (842-5387) www.okcphilharmonic.org

Concert Previews

James M. Keller

March 7, 2015

James M. Keller is Program Annotator of the New York Philharmonic and the San Francisco Symphony. His book Chamber Music: A Listener’s Guide, published by Oxford University Press in 2011, is now also available as an e-book and an Oxford paperback. Earlier versions of some of these essays appeared in the programs of the San Francisco Symphony (Roman Festivals) and New York Philharmonic (Three Cornered Hat and Pines of Rome), and are used with permission.

Robyn Hilger, Executive Director, El Sistema Oklahoma March 28, 2015 Harry Parker, Professor and Chair of the Department of Theater, Texas Christian University May 2, 2015 Joel Levine, Music Director, OKC Philharmonic

GIFTS TO THE PHILHARMONIC

CONTINUED FROM PAGE 23

INDIVIDUALS Providing essential support for the Annual Fund. Mr. and Mrs. Robert H. Clements Mr. Rodney Coate and Mr. Juan Camarena Mr. and Mrs. Jack H. Coleman Dr. Thomas Coniglione Mr. Jim Daniel Mr. and Mrs. Mike Darrah Mr. & Mrs. William E. Davis Mr. and Mrs. T. A. Dearmon Mr. and Mrs. David C. DeLana Mr. and Mrs. Michael W. Dickinson Dr. and Mrs. James D. Dixson Mr. Sidney G. Dunagan and Mrs. Sherry Wood Mr. and Mrs. Joe Edwards Dr. and Mrs. Robert S. Ellis Dr. and Mrs. Royice B. Everett Mr. and Mrs. George Faulk Ms. Carolyn Frans Mr. and Mrs. Gary F. Fuller Mr. and Mrs. Gerald L. Gamble Mr. and Mrs. Jason Garner Mr. Kelly George Mr. Jerry A. Gilbert Mr. Jack Golsen Mr. and Mrs. Gary Gordon Drs. Stephen and Pamela Hamilton Mr. and Mrs. Royce M. Hammons Mr. and Mrs. Jim Hatt Mr. and Mrs. Michael Haynes Walt and Jean Hendrickson Mr. and Mrs. John D. Higginbotham Mr. Ivan Holt II Mr. and Mrs. Joe R. Homsey, Jr. Mr. and Mrs. J. Clifford Hudson Dr. and Mrs. Thomas P. Janssen Mr. and Mrs. Carlos Johnson Mr. David R. Johnson Mrs. Ruth Ann Kalbfleisch Mr. Dan Kennedy and Dr. Diana Kennedy Mrs. Lou Kerr Gary King Bishop and Mrs. Ed Konieczny Mr. and Ms. Kristian Kos Dr. and Mrs. H. T. Kurkjian Mr. and Mrs. Richard E. Lampton Mr. Scott Davis and Mr. David Leader Dr. and Mrs. Jay E. Leemaster Drs. Jason and Julie Lees Mr. and Mrs. Duke R. Ligon Mrs. Oxana Matthey Mr. and Mrs. John A. McCaleb Mr. and Mrs. John T. McCharen, III Mr. Ron McCord Mr. and Mrs. Tom J. McDaniel Mr. Jeffrey McDougall Mr. and Mrs. Kenneth N. McKinney Mr. and Mrs. Bruce McLinn Mr. and Mrs. John P. McMillin

Mr. and Mrs. K. T. Meade, Jr. Mr. and Mrs. Ray Merritt Mr. and Mrs. Stewart E. Meyers, Jr. Tom and Katherine Milam Mr. Robert B. Milsten Chip and Michelle Mullens Dr. and Mrs. Gene L. Muse Mrs. Robert Z. Naifeh Bill and Tracy Nester Mr. and Mrs. Ronald J. Norick Mr. Chip Oppenheim Mrs. Glenda G. Payne Mrs. Ruby C. Petty Mrs. Barbara Pirrong Mr. and Mrs. Kent Plaster Dr. Gary Porter and Dr. Mary Elizabeth Porter Mr. and Mrs. Lynn Pringle Mrs. Berta Faye Rex Mrs. Don Rhinehart Mrs. Ran Ricks Dr. Mel Robison Mr. Christopher Salyer Mrs. Sally B. Saunders Mrs. Janet G. Seay Mr. and Mrs. John M. Seward Mr. and Mrs. William F. Shdeed Sharon and John Shelton Mr. Robert Shoemaker Drs. Paul and Amalia Silverstein Mr. John Slupsky Mr. and Mrs. Darryl G. Smette Dr. Richard V. Smith Dr. and Mrs. Brian E. Snell Mr. and Mrs. John S. Spaid Sr. Mr. and Mrs. Jeff Starling Mrs. Billie Thrash Ms. Betsy Timken Mr. and Mrs. Dale Toetz William P. Tunell, M.D. Mr. John A. Vance Mr. and Mrs. Robert Varnum Mr. Robert Weiss Mr. Kenneth K. Wert Mrs. Georgiana Wiesner Mr. John S. Williams Mrs. Carol Wright Ms. Nancy Yaffe Mr. and Mrs. Ron Youtsey

Friend $750 - $1,249 Hugh G. and Sharon Adams Dr. and Mrs. John C. Andrus Ms. Zonia Armstrong Mr. and Mrs. B. B. Beals

Mr. Michael Belanger and Ms. Sarah Sagran Dr. and Mrs. William G. Bernhardt Mr. and Mrs. John Biggs Mr. and Mrs. Glenn Blumstein Mr. and Mrs. Don C. Boulton Carole and Deal Bowman Dr. and Mrs. David R. Brown Mr. and Mrs. Bob G. Bunce Ms. Annette Clifton Mr. and Mrs. Joseph Couch Ms. Barbara Crabtree Dr. and Mrs. Anthony W. Czerwinski Ms. Nancy Dawson Tony and Pam Dela Vega Mr. Joel Dixon Mr. and Mrs. Richard Dugger Mr. and Mrs. Douglas G. Eason Ms. Anna Eischen Bruce W. and Joanne Ewing Dr. Thurma J. Fiegel Mr. and Mrs. John E. Francis Mr. and Mrs. Ryan Free Mr. and Mrs. Don Greiner Mr. and Mrs. Nick S. Gutierrez, Jr. ,M.D. Mr. and Mrs. Lawrence K. Hellman Mr. and Mrs. Frank D. Hill Mr. and Mrs. David D. Hunt, II Colonel and Mrs. Dean C. Jackson Mr. and Mrs. Alfred H. Karchmer Mr. and Mrs. Drake Keith Ms. Claren Kidd Mr. and Mrs. Brad Krieger Mr. Owen Lafferty Ms. Mary Jane Lawson Mr. Joel Levine Dr. and Mrs. Brad A. Marion J. Thomas and Anita R. May Ms. Vickie McIlvoy Mr. and Mrs. Jere W. McKenny Mr. and Mrs. Stuart P. Milsten Dr. and Mrs. William L. Parry Dr. Steven V. Richards Mrs. Linda Kennedy Rosser Dr. and Mrs. Carl Rubenstein Dr. and Mrs. Olaseinde Sawyerr Todd and Melissa Scaramucci Ms. Madeline E. Schooley Mr. and Mrs. Don Sherman Mr. Frank J. Sonleitner Dr. and Mrs. James B. Stewart Mr. and Mrs. John E. Stonecipher Mr. and Mrs. Thomas E. Stott Mr. Phillip S. Tomlinson Mrs. Dorothy J. Turk Mrs. Donna Vogel Dr. and Mrs. Larry L. Westmoreland CONTINUED ON PAGE 58

GIFTS TO THE PHILHARMONIC CONTINUED FROM PAGE 57

INDIVIDUALS Providing essential support for the Annual Fund. Dr. James B. Wise Mr. and Mrs. Denver Woolsey Colonel and Mrs. James G. Young Ms. Laura Young Mr. and Mrs. Don T. Zachritz

Partner $300 - $749 Dr. Gillian Air Ms. Lois Albert Mr. and Mrs. John C. Alsup Mr. and Mrs. Van A. Barber Ms. Sherry K. Barton Ms. Karen J. Beckman Jackie and Jerry Bendorf Mr. and Mrs. G.T. Blankenship Mrs. Mary C. Blanton Mr. and Mrs. Morris Blumenthal Harry S. and Elaine Boyd Mr. and Mrs. Bill D. Broughton Mrs. Katherine Bushnell Mr. and Mrs. Fred M. Buxton Mr. and Mrs. Robert M. Calvert Vikki Ann Canfield, M.D. Ms. Janice B. Carmack Mr. and Mrs. Edward Ciardi Ms. Carol Combs Mr. and Mrs. Ed Cunningham Dr. Shirley E. Dearborn Mr. and Mrs. James H. Everest Ms. Melinda Finley Mrs. Betty Foster Mr. and Mrs. Keith G. Golden Mr. Gary Graham Mr. Herbert M. Graves Mr. and Mrs. Ronald Greenberg George M. and Jo Hall Tom and Dorothy Hays Carol and George Hoebing Ms. Judy I Johnson Gregory W. and Mary Joan Johnston Mr. Joe A. McKenzie Mr. Robert A. Moore Mr. and Mrs. Dorman Morsman David Miller & Barbara Neas Mr. Rudolph Nollert and Mrs. Mary Brodnax Mr. and Mrs. Larry Pendleton Mr. and Mrs. Michael R. Perri Mrs. Donald G. Preuss Dr. and Mrs. Laurance Reid Mr. and Mrs. Sheldon M. Reznik Mr. and Mrs. Christopher Rick Mr. and Mrs. Ronald K. Roeseler Ms. Carolyn Sandusky-Williams Mr. and Mrs. Lee Allan Smith Mr. and Mrs. Paul A. Specht

Mr. and Mrs. Carl Stover, Jr. Mrs. Evelyn Margaret Tidholm Mr. and Mrs. Lawrence Towell Mr. Curtis VanWyngarden Mr. John M. Yoeckel Mr. and Mrs. Stanley Youngheim

Member $100 - $299 Judy and Sanford Austin Mr. Paul D. Austin and Jane Ford Austin Mr. and Mrs. Earl Austin Ms. Judith A. Barnett Mr. and Mrs. Marion Bauman Mr. Paul Benien Mr. Thomas Boyer Mrs. Betty L Brady Mrs. Jo Carol Cameron Ms. Kathryn Carey Mr. and Mrs. Jack Carpenter Dr. and Mrs. Don R. Carter Mr. and Mrs. David Casper Mr. Michael P. Cassidy Drs. Fong Chen and Helen Chiou Ms. Henrie Close Mr. and Mrs. David O. Cordell Ms. Madeleine W. Cunningham Mr. and Mrs. Kevin M Davis Ms. Carol A. Davito Mr. and Mrs. Sam Decker Ms. Deidre Downham Mrs. Carole J. Drake Mr. Richard Dulaney Mr. W. Samuel Dykeman Mr. and Mrs. Richard Ehlers Ms. Elizabeth K. Eickman Dr. and Mrs. Robert B. Epstein Mrs. Edward Eskridge Mr. and Mrs. Irving Faught Mike and Deb Felice Mr. and Mrs. Mead Ferguson Mr. and Mrs. John E. Frank Ms. Carol M. Hall and Mr. Sam Gann Mr. Hugh Gibson Mr. and Mrs. M. Charles Gilbert Ms. Joan Gilmore Mr. Barry Golsen Mr. and Mrs. M. H. Gragg Mr. Steven Graham and Ms. Vicky Leloie Kelly LTC and Mrs. Walter A. Greenwood Mr. Bob Gregory Mr. and Mrs. John T. Greiner, Jr. Mr. and Mrs. Barre Griffith Mr. and Mrs. John Gunter Ms. Elizabeth Hammons

Mr. Sam Hammons Mrs. Diane Haser-Bennett and Mr. Ray Bennett Major and Mrs. John M. Heitz Robert and Jan Henry Mr. Jerome A. Holmes Mr. and Mrs. K. R. Hornbrook Ms. Mary Lu Jarvis Mr. Kent Johnson Mr. and Mrs. Stephen Johnson Ms. Young Y. Kim Mr. Nick Knezevich Mr. and Mrs. John Lennon Mr. and Mrs. David W. Levy Bob and Kay Lewis Mr. and Mrs. Paul Lewis Mr. and Mrs. Roy Love Mr. and Mrs. Marvin C. Lunde, Jr. Mrs. Patricia Matthews Gerry Mayes Mr. and Mrs. Kenneth R. McAlister Mr. Bervis B. McBride, Jr. Mr. and Mrs. Mark McCubbin Mr. and Mrs. Robert S. McKown Mr. and Mrs. Mason McLain Ms. Ann McVey Ms. D. Yvonne Mercer Lt. Col. Terry L. Mock Mr. Lou Montgomery Ms. Cheryl Moore Ms. Sylvia Ochs Mr. Robert G. Oltmanns Mildred B. Parsons Mrs. Olga Pellow Dr. and Mrs. Marvin D. Peyton Ms. Harriette Porter Dr. and Mrs. Roger D. Quinn Dr. and Mrs. Gary E. Rankin Mr. R. Dean Rinehart Mr. and Mrs. Paul Risser Mr. and Mrs. Tom Roach Dr. and Mrs. Michael Fred Robinson Mr. and Mrs. Douglas Samuels Col. and Mrs. Warren M. Schaub Ms. Gayle A. Scheirman Mr. Kurt Schroeder Ms. Edith Nan Scott Mr. and Mrs. A. Lee Segell Fred and Carolyn Selensky Mr. Robert R. Shaw Dr. and Mrs. Richard Shifrin Mr. and Mrs. Richard Shough Mr. Robert E. Simmons Mr. H. F. Singleton Mr. and Mrs. Robert E. Smiser Mr. Jay Smith Dr. Jerry Neil Smith

SPECIAL GIFTS

Mr. and Mrs. Lee Allan Smith Mr. and Mrs. Earl Statton Mr. and Mrs. Marvin Stice Mr. John Stuemky Ms. Xiao-Hong Sun and Mr. Xiaocong Peng Mrs. Ann Taylor Mr. and Mrs. Sammy Todd Ms. Janice L Townsend Juan and Elvia Vazquez Mr. N. Blake Vernon Mr. Rodney Wall LTC Ret. and Mrs. George B. Wallace Paul and Carlita Walters Ms. Jean M. Warren Mr. and Mrs. Wesley Weast Dr. and Mrs. Dennis A. Weigand Ms. Cheryl Weintraub Mr. and Mrs. Albert Weise Mr. and Mrs. Ted Wernick Mr. Don Wester Mr. E Michael Whittington Ms. Linda Whittington Mrs. Matha A. Wilkerson Ms. Ghita Williams Ms. Lonnie F. Williams Mr. and Mrs. James B. Worthington Mr. and Mrs. R. Deane Wymer

Honor loved ones, celebrate occasions, recognize achievements and support the Philharmonicâ&#x20AC;&#x2122;s mission. In Memory of Mr. Horace V. Apgar, Jr. Mr. and Mrs. Don C. Boulton In Memory of Martin and Gladys Brechbill Ms. Janice B. Carmack In Memory of John Bushnell Mrs. Katherine Bushnell In Memory of William and Helen Cleary Bill and Louise Churchill In Memory of Marge Duncan Mr. and Mrs. Marvin C. Lunde, Jr. In Memory James O. Edwards, Jr. Mrs. Carlene Edwards In Memory of Michael Ellis Mr. and Mrs. Douglas Samuels In Honor of Josephine Freede Ms. Joan Gilmore In Memory of Steve Garrett Mr. and Mrs. Marvin C. Lunde, Jr. In Memory of Jane Griffith Mr. and Mrs. Barre Griffith In Memory of Dr. and Mrs. Philip Joseph Kim and Michael Joseph In Honor of Maestro Joel Levine Judy and Sanford Austin Mr. J. Edward Barth J.R. and Patsy Homsey In Memory of Roy Matthews Mrs. Patricia Matthews In Memory of Bill and Jessie Pequignot Kim and Michael Joseph In Honor of Quail Creek WGR Mr. and Mrs. David Casper In Memory of Jeannette Sias Mr. J. Edward Barth Dr. and Mrs. L. Joe Bradley Priscilla and Jordan Braun Dr. and Mrs. David R. Brown Mr. and Mrs. David O. Cordell Mr. and Mrs. Douglas R. Cummings Mrs. Carole J. Drake Mr. Richard Dulaney Mr. and Mrs. Theodore M. Elam Dr. and Mrs. Robert S. Ellis Mr. and Mrs. James H. Everest Mrs. Josephine Freede Mr. and Mrs. Gary F. Fuller Ms. Carol M. Hall and Mr. Sam Gann

Mr. and Mrs. M. H. Gragg Mrs. Jane B. Harlow Mrs. Nadine Holloway J.R. and Patsy Homsey Mr. David R. Johnson Mrs. and Mr. Judy Jordan Mr. and Mrs. Don J. Leeman Mr. and Mrs. Duke R. Ligon Mr. and Mrs. Robert P. Luke Mr. and Mrs. Marvin C. Lunde, Jr. Aubrey K. McClendon and Katie McClendon Mr. and Mrs. Mark McCubbin Mr. and Mrs. Jere W. McKenny Mr. and Mrs. Kenneth N. McKinney Mr. and Mrs. Mason McLain Mrs. Rita King Moore Mr. and Mrs. Ray H. Potts Mrs. Donald G. Preuss Mr. H.E. Rainbolt Mr. and Mrs. Roy A. Reeves Mr. and Mrs. Christopher Rick Mr. and Mrs. William J. Ross Mr. and Mrs. Lee Allan Smith Ms. Jeanne Hoffman Smith Mr. and Mrs. Douglas J. Stussi Mrs. Millicent Sukman Mr. and Mrs. Richard Tanenbaum Mrs. Billie Thrash Ms. Janice L Townsend Mr. N. Blake Vernon Ms. Jean M. Warren Mr. and Mrs. Charles E. Wiggin Mrs. Martha V. Williams Mr. and Mrs. Dick Workman Mr. John M. Yoeckel Armstrong International Cultural Foundation Bright Music Chamber Ensemble Casady School Inasmuch Foundation Journey House Travel, Inc. MidFirst Bank In Memory of Joan L. (Templar) Smith Dr. Jerry Neil Smith In Memory of John A. Taylor Mrs. Ann Taylor Mr. and Mrs. Marvin C. Lunde, Jr. Mr. and Mrs. Kenneth N. McKinney In Memory of Karen Vollbrecht Ms. Connie M. Bryan Society of Strings In Honor of Eddie Walker Judy and Sanford Austin J.R. and Patsy Homsey

ORCHESTRA LEAGUE UPDATE

2015 Symphony Show House • “A TREASURE IN THE TREES” • 15000 WILSON ROAD • May 2-17, 2015

Oklahoma City Orchestra League Presents the 42nd Annual Show House A “Treasure in the Trees” In 1974 the first Decorator’s Show House was presented by the Women’s Committee of the Oklahoma City Symphony. This fundraising project has been popular within our community ever since, but few know the many challenges faced by those tasked with presenting this special event each year. From unpredictable weather to mishaps caused by the age of many of the homes, each Show House requires designers and volunteers to expect the unexpected. We have survived tornado warnings, rains that have caused flooding in the basement of one Show House and inside tents, hail, dust storms and even earthquakes. Last year a commercial refrigerator was blown over inside the tea room tent by a particularly strong tunnel of wind. League members have chased iguanas on the loose in the kitchen, raced after errant dogs, and as one might expect, dealt with the occasional infestation of termites. One of the earliest Show Houses had been occupied by hippies before the League gained access to it. Designers did not have time to replace the kitchen destroyed by the erstwhile inhabitants, so an ingenious designer reconstructed the kitchen out of cardboard. Whether the homes belong to Bishops, Governors or hippies, the interior designers are the geniuses who create modern and updated Show Houses. Their talents are what the public loves to see — the before and after — often gaining inspiration for their own homes. Over the years we have held many parties, served many meals and greeted thousands of visitors. A unique guest at one Show House was Bob Hope. Always a yeoman’s effort, the work of the Orchestra League is certainly worth it. We are proud of the nearly $5 million dollars we have raised to support the Oklahoma City Philharmonic and music education programs for children and adults in our metropolitan area. Our 2015 Show House will be no exception to our long line of stunning homes. Located at 15000 Wilson Road and built in 1965 in Northwestern Estates, Edmond, this sprawling 7000+ square foot house located on three+ acres will be spectacular as our Symphony Show House 2015, a “Treasure in the Trees.” Yvette D. Fleckinger Ways & Means VP, OKC Orchestra League WE INVITE YOU TO VISIT THE 2015 SYMPHONY SHOW HOUSE MAY 2 – MAY 17 FOR MORE INFORMATION OR TO VOLUNTEER TO PARTICIPATE IN THIS WORTHWHILE PROJECT Call (405)601-4245 | email: orchleag@coxinet.net | www.okcorchestraleague.org

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HOUSE NOTES

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 will be seated at intermission or during the first convenient pause as determined by the management. Electronic devices must be turned off and put away before entering the theater (no calling, texting, photo or video use please). Cameras, recording devices and food are not permitted inside the theater. Food and 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. Snacks, drinks and desserts are available at the Civic Center CafĂŠ and snack bar on the main floor. 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 event office. Please inquire at the ticket office. College Student Rush Tickets are $5 each and available with a college or university I.D. and email address at the box office 30 minute prior to the start of each Philharmonic performance. Tickets are offered based on availability only and seats are located throughout the theater. 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 Ticket 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. Lost & Found is located in the Civic Center Office (405-297-2584) weekdays 8:30 a.m. â&#x20AC;&#x201C; 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 second floor of the McAlpine Center at 428 W. California in Suite 210. The Philharmonic Ticket Office is open Monday through Friday, 9:00 a.m. to 5:00 p.m. and concert Saturdays from 10:00 a.m. to 2:00 p.m. The Ticket Office at the Civic Center Music Hall (405-297-2264) will be open 6:30 p.m. to 8:30 p.m. on performance evenings. Concert Night Phone: Call 405-842-5387 Civic Center Ticket Office hours are 9:00 a.m. to 5:00 p.m., weekdays. Programs and Artists are subject to change without notification.