OKCPHIL program for the 21-22 season, June 9, 2022 Classics concert "American Gold" by OKC Phil Program Magazine

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CMY

7/11/19

9:05 AM

WELCOME

BRENT HART, President Oklahoma Philharmonic Society, Inc. Welcome to tonight’s concert. For thirty-three seasons, the OKC Phil has been performing incredible concerts in Civic Center Music Hall, performances throughout our community and just this last year directly in your homes as we practiced social distancing. This year we are most excited to welcome you back! Our Classics and Pops series, Discovery concerts, partner collaborations and community performances are an integral component of our vibrant arts community. Our dedicated musicians, led by Maestro Alexander Mickelthwate, continue to delight us each season with vibrant programming, and this year is no exception. Executive Director Agnieszka Rakhmatullaev and her exceptional team collaborate with city and public health officials to make these performances possible and our heartfelt thanks go to our community leaders and healthcare workers for all their tireless efforts. We also thank the Orchestra League and the Associate Board for their volunteer and fundraising efforts that make these programs possible. One final thanks to our valued patrons, for being here tonight and for your continued support. I hope you enjoy this musical journey at this, and many more, concerts to come.

KRISTEN BRANDT FERATE, President Oklahoma City Orchestra League

CHRISTA BENTLEY, President Associate Board

On behalf of the Oklahoma City Orchestra League, welcome back to our beloved Civic Center and the music.

On behalf of the Oklahoma City Philharmonic Associate Board, I am honored to welcome you to the 2021-2022 season. The OKC Philharmonic and their team of staff proved last season that they are capable of making music in any and all circumstances. If you take a glance at this season’s program, you’ll see that concert goers in Oklahoma City are once again receiving a concert music experience that will enrich our city, featuring innovative programming and top-notch musicians.

Music is the Universal Language. It is the only language that every individual can comprehend. Each member of the audience tonight will share in a social cohesion that can only occur through the appreciation and hearing of symphonic music. As we emerge from the chaos and anxiety of the pandemic let us take joy and find peace in the gift of the Oklahoma City Philharmonic. The Oklahoma City Orchestra League is comprised of a diverse and energetic membership whose mission is to support the Oklahoma City Philharmonic through educational, community and fundraising endeavors. We would be delighted to have you join.

It’s the Associate Board’s mission to connect young professionals to this concert-going experience. We do this through our Overture Society—a three-concert package— plus expanded networking opportunities, social events, and discounts. Reach out to join Overture and take the next steps to becoming a supporter of the arts in OKC!

kucofm.com A community-supported outreach of the University of Central Oklahoma

EXECUTIVE DIRECTOR R

AGNIESZKA RAKHMATULLAEV Welcome to the OKCPHIL’s 2021-22 Season and we are thrilled to have you back with us! After an unprecedented season, your OKCPHIL under the direction of Maestro Mickeltwate is coming back onto the stage full force with some wonderful programs. While things might not be entirely back to normal yet, we hope that each of our concerts will bring you joy and inspiration. The Inasmuch Foundation Classics Series features orchestral staples, such as the First Symphonies of Beethoven and Mahler, Dvořák’s “New World” Symphony and Rimsky Korsakov’s beloved Scheherazade. We will collaborate with world-renowned artists including Berlin Phiharmonic’s First Concertmaster Noah Bendix-Balgley, Tabla virtuoso Sandeep Das, and guest conductor Rei Hotoda. We will also continue to feature the remarkable talents of our own musicians with Principal Horn Kate Pritchett and Principal Bassoonist Rod Ackmann joining us as soloists for the opening and closing Classics programs of the season. We are excited to continue our journey of discovering the lesser-known gems and celebrating diversity through music by exploring works by African American, American Indian, and East Indian composers.

As always, our Pops Series offers something for everyone: the popular songs of Billy Joel and Whitney Houston, the spectacular Holiday tradition The Christmas Show, the dazzling dancers who will turn the Civic Center stage into a ballroom, and our season’s grand finale featuring the timeless Star Wars This lineup will be accompanied by our phenomenal orchestra, so I encourage you to bring your family and friends along to enjoy each of these programs. Additionally, the OKCPHIL remains committed to expanding its presence outside of the concert hall through a variety of Education and Community Engagement programs. From our Society of Strings program for adult amateur string players, to our ongoing partnership with OU Health, as well as small ensemble presence in local schools, our mission continues to impact thousands of Oklahomans of all ages. We are deeply grateful for the ongoing support and generosity that makes all of this possible. Despite the challenges brought by the pandemic, the OKCPHIL remains committed to serving our community and we look forward to seeing you at our concerts throughout this season!

Oklahoma’s Original - Lyric Theatre at The Civic is Back! “The Musical of the Decade!” - Sunday Times

JUNE 21-26, 2022

Book for the Musical by Dennis Kelly Based on the Book by Roald Dahl Music and Lyrics by Tim Minchin Directed by Ashley Wells

“Best Musical of the 20th Century!” - Time Magazine

JULY 5-10, 2022

Music by Richard Rodgers Book and Lyrics by Oscar Hammerstein II Based on Ferenc Molnar’s Play Liliom as adapted by Benjamin F. Glazer Original Choreography by Agnes de Mille Directed by Michael Baron

“A Glorious, High-Kicking Romp!” - Evening Standard

JULY 19-24, 2022

Book by Harvey Fierstein Music and Lyrics by Cyndi Lauper Based on the Miramax motion picture Kinky Boots Written by Geoff Deane and Tim Firth Directed by Ashley Wells

Subscribe 24/7 at LyricTheatreOKC.org or Call (405) 524-9312 Or, visit Lyric’s Box Office at 1727 NW 16th Street, Monday - Friday, Noon-5 p.m.

SEE ALL 3 SHOWS FOR AS LITTLE AT $32 EACH! • ORDER NOW FOR BEST SEATS AND PRICES!

MUSIC DIRECTOR

ALEXANDER MICKELTHWATE Beginning his fourth season as Music Director of the Oklahoma City Philharmonic, Conductor Alexander Mickelthwate’ s exciting musical programming has created a buzz across the city, drawing people from all walks of life to the concert hall. Originally from Germany, Mickelthwate is also Music Director Emeritus of the Winnipeg Symphony Orchestra in Canada. Since starting his Winnipeg tenure in 2006 he played a pivotal role in the rejuvenation and turnaround of the Winnipeg Symphony which culminated in a highly successful and critically acclaimed performance at Carnegie Hall in May 2014. The New York Times noted the performance was “conducted expertly,” and the New York Classical review stated “under music director Alexander Mickelthwate, they play with excellent intonation and such a fine overall blend and balance of sound that, on their own terms, they may be the best orchestra to appear in the week’s worth of concerts.” Deeply rooted in his German heritage, Norman Lebrecht wrote about Mickelthwate’s interpretation of Mahler’s 10th Symphony with the Winnipeg Symphony: “Both Mahler 10 performances were intense and engaging. Every twist and turn in the score was fresh and surprising to my ears.” And his interpretation of Bruckner’s Symphony No. 7 prompted the pianist Anton Kuerti to write a letter to the newspaper saying, “I would like to call attention to the stunning performance heard after the intermission. To play Bruckner’s Symphony No. 7 with the passion, profundity, emotional intensity, subtlety and degree of perfection achieved by conductor Alexander Mickelthwate and the Winnipeg Symphony can only be called miraculous.” In North America Alexander has guest conducted the New York Philharmonic, the Chicago Symphony, Seattle Symphony, Houston Symphony, Vancouver Symphony, Atlanta Symphony, Saint Paul Chamber Orchestra, Saint Luke’s, Milwaukee Symphony, Rochester Philharmonic and Toronto Symphony, among others. His European debut was with the Hamburg Symphony. He also conducted the BBC London, Stuttgart Radio Orchestra, Royal Scottish, Deutsche Kammerphilharmonie Bremen and NDR Hannover. Other notable performances include the Sao Paulo Symphony and the Simon Bolivar Orchestra in Venezuela. He made his Australia debut with the Adelaide Symphony and the Tasmania Orchestra where he recorded the Mozart piano concerti Nos. 7 and 10 with the Silber Garburg Duo. Alexander Mickelthwate has worked several times with Dame Evelyn Glennie conducting the world premiere of two new

percussion concerti by Vincent Ho. He also worked with Itzhak Perlman, Joshua Bell, Yuja Wang, Dawn Upshaw, Plácido Domingo, Ben Heppner, Horatio Gutiérrez, Emanuel Ax, Leonidas Kavakos and Sarah Chang, among many others, and he worked very closely with a wide range of composers including Phil Glass, Steve Reich, Sofia Gubaidulina, Kaija Saariaho, John Adams, John Luther Adams and Mason Bates. After guest conducting the Simon Bolivar Orchestra and experiencing the life-changing power of the El Sistema program in Venezuela for underprivileged children, Alexander played an instrumental part in creating Sistema Winnipeg. For three years Alexander created a critically acclaimed Indigenous Festival in Winnipeg. Passionate to connect with all cultures, he created artistic collaborations between First Nations and western cultures that culminated in the performances of Stravinsky’s Rite of Spring and Revueltas’ Les Noches de los Mayas with new choreographies of contemporary and First Nations dance. The Winnipeg New Music Festival is an international institution. Alexander broadened the repertoire and created many new collaborations connecting with different audiences. Because of the programming of the festival the WSO was chosen to perform at the Spring for Music Festival at Carnegie Hall in 2014. A few of the most creative projects of the festival for Alexander were the performance of movie director Guy Maddin’s Brand Upon a Brain with narration by actress Isabella Rossellini, the workshopping of a new opera Tesla by movie director Jim Jarmusch and composer Phil Klein, and a production of Gavin Bryar’s The Sinking of the Titanic at PanAm Pool. Alexander has conducted for President Jimmy Carter and the Queen of England, and he received the Queen Diamond Jubilee Medal and the Key to the City of Winnipeg. Born and raised in Frankfurt Germany to a musical family, Alexander received his degree from the Peabody Institute of Music. He studied conducting under Fredric Prausnitz and Gustav Meier as well as with Seiji Ozawa, Andre Previn, Daniel Barenboim and Robert Spano at Tanglewood. Following his tenure as Assistant Conductor with the Atlanta Symphony Orchestra, which he completed in 2004, Alexander was Associate Conductor of the Los Angeles Philharmonic for three years, under the direction of Esa-Pekka Salonen. Alexander and his family make Oklahoma City their home. He is married to fashion designer Abigail Mickelthwate and has two sons.

BancFirst believes life is about more than balance sheets and bottom lines. That’s why we’re proud to support the arts in every community we serve.

MORE THAN 20 OKC METRO LOCATIONS B A N C F I R S T. B A N K member fdic

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 Brent Hart President Jane Jayroe Gamble President Elect Jerrod Shouse Vice President Kevin Dunnington Treasurer Kelly Sachs Secretary Jeff Starling Immediate Past President

Lifetime Directors

Debra Kos Kristian Kos Jessica Martinez-Brooks Margaret Freede Owens Donald Rowlett Jennifer Schultz Doug Stussi Michael Sweeney J. Mark Taylor Geetika Verma Tony Welch Renate Wiggin Nick Wu

Jane B. Harlow Patrick Alexander

Directors Christa Bentley Robyn Birdwell Lori Dickinson Black Phil Busey Lawrence H. Davis Kristen Ferate Joy Hammons Kirk Hammons Dean Jackson Mautra Staley Jones Wesley Knight

Honorary Directors Richard Sias

ADMINISTRATIVE STAFF John Allen General Manager

Jeana Gering Education Manager

Daryl Jones Box Office Operations Manager

Mark Beutler Director of Marketing & Public Relations

Daniel Hardt Finance Director

Colton Kirton Institutional Giving Coordinator

Mady Hendryx Donor & Volunteer Relations Coordinator

Paul Nguyen Education Intern

Judy Hill Administrative Assistant

Agnieszka Rakhmatullaev Executive Director

Stephen Howard Development Operations Manager

Corbin Taggart Marketing Coordinator

Tara Burnett Director of Development Allison Demand Guest Artist Liaison/ Operations Assistant

ACKNOWLEDGEMENTS Classical KUCO 90.1 Morningstar Properties

Oklahoma City Police Association George Ryan

Stubble Creative, Inc. The Skirvin Hotel

Titan AVL

Photographers: Michael Anderson, David Bricquet, Rick Buchanan, Heather Hanson, Simon Hurst, Mutz Photography, Shevaun Williams and Associates, Ulises Serrano

THE OKLAHOMA PHILHARMONIC SOCIETY, INC. 424 Colcord Drive, Ste. B • Oklahoma City, Oklahoma 73102 Tickets: 405-842-5387 • Administration: 405-232-7575 • Fax: 405-232-4353 • www.okcphil.org

AFFLIATED PARTNERS

The Oklahoma City Philharmonic Foundation was established to provide leadership and endowment expertise to help ensure a stable financial base for orchestral music and musical excellence in Oklahoma City for generations to come. Distributions from the Oklahoma City Philharmonic Foundation provide a meaningful and secure source of annual income for the Philharmonic’s operations, continually confirming the importance of endowment in an organization’s longrange planning and overall success. Current officers and directors of the Oklahoma City Philharmonic Foundation are: OFFICERS Douglas J. Stussi President Charles E. Wiggin Vice President Louise Cleary Cannon Treasurer Penny M. McCaleb Secretary DIRECTORS Steven C. Agee Patrick B. Alexander J. Edward Barth L. Joe Bradley Teresa Cooper T.A. Dearmon Paul Dudman Thomas J. Enis Mischa Gorkuscha Jane B. Harlow Brent Hart Jean Hartsuck Michael E. Joseph Harrison Levy, Jr. Duke R. Ligon Jessica Martinez-Brooks Michael J. Milligan Alice Pippin Jeff Starling Richard Tanenbaum

EXECUTIVE COMMITTEE Kristen Ferate President Debra Kos President-Elect Pending Secretary Newt Brown Treasurer Meredith Blecha-Wells Development VP Marion Burcham Membership VP Sherry Rowan Education VP Joan Bryant Communications VP Wendi Wilson Past President, Ex-Officio Agnieszka Rakhmatullaev Executive Director Oklahoma City Philharmonic (Ex-Officio, Advisory) BOARD OF DIRECTORS Helen Chiou Jeanne Drake Yvette Fleckinger Sue Francis Jane Krizer Patsy Lucas Geetika Verma Heather Walter Dwayne Webb Orchestra League Office 424 Colcord Dr., Ste. B Oklahoma City, Oklahoma 73102 Phone: 405.232.7575 Fax: 405.232.4353 e-mail: league@okcphil.org website: www.okcorchestraleague.org

OFFICERS Dr. Christa Bentley President Jay Scambler President-Elect J. Cruise Berry Treasurer Desiree Singer Secretary Sam Rainbolt Membership Chair Kelsey Karper Marketing Chair Tyler Larson Events Chair DIRECTORS Gennie Clarkson Cordon DeKock James Hulsey Tom Lerum Patrick E. Randall, II Jennifer Stadler Collin Walke

THE ORCHESTRA T

ALEXANDER MICKELTHWATE, Music Director and Conductor JOEL LEVINE, Founder and Music Director Emeritus AGNIESZKA RAKHMATULLAEV, Executive Director JAN MCDANIEL, Guest Conductor

FIRST VIOLIN

Marat Gabdullin, Associate Concertmaster Densi Rushing, Assistant Concertmaster Yena Lee Hong Zhu Lu Deng Chuong Vu Chandler Fadero Ashley Cooper Sondra Brudnak Gina Davis Diana Norwood Audrey Lee Sara Sasaki

SECOND VIOLIN

Catherine Reaves, Acting Principal Sophia Ro, Assistant Principal Corbin Mace Angelica Pereira Cindy Zhang Gena Alexander Paulo Eskitch Tova Olkinetzky Yida Hu Nancy Johnson

VIOLA

Royce McLarry, Principal Mark Neumann, Assistant Principal Joe Guevara Kelli Ingels Steve Waddell Donna Cain Betty Yuan Jackie Skara Lacie Bowlware Jenny Sweetman

CELLO

Tomasz Zieba, Acting Principal Valorie Tatge, Assistant Principal Emily Stoops Angelika Machnik-Jones Jean Statham

Rob Bradshaw Ashley Allison Samantha Kerns Jing Yuan

BASS

Anthony Stoops, Principal Larry Moore, Assistant Principal Parvin Smith Mark Osborn Landon Honolka Christine Craddock Kara Koehn Will Coppoc

FLUTE

Valerie Watts, Principal Parthena Owens Nancy Stizza-Ortega

PICCOLO

Nancy Stizza-Ortega

OBOE

Brian Jenner

HORN

Kate Pritchett, Principal G. Rainey Williams Chair James Rester Mirella Gable Matt Reynolds Derek Matthesen (asst.)

TRUMPET

Karl Sievers, Principal Jay Wilkinson Michael Anderson Michael Mann

TROMBONE

Adam Hanna, Principal Philip Martinson John Allen, Bass Trombone

TUBA

Ted Cox, Principal

Lisa Harvey-Reed, Principal Rachel Maczko Katherine McLemore

TIMPANI

ENGLISH HORN

Patrick Womack, Principal Roger Owens Sarah Neely

Rachel Maczko

CLARINET

Jamie Whitmarsh, Principal

PERCUSSION

Bradford Behn, Principal Tara Heitz Jim Meiller

HARP

BASS CLARINET

John Edwards

Gaye LeBlanc, Principal

ORGAN

Jim Meiller

BASSOON

Rod Ackmann, Principal James Brewer

SAXOPHONE

Tommy Poole Jenny Rucker Heath Jones Jonathan Nichol

PRODUCTION STAFF

Valorie Tatge, Personnel Manager Jose Batty, Music Librarian Leroy Newman, Stage Manager

PLANNED GIVING

O F T H E O K L A H O M A P H I L H A R M O N I C S O C I E T Y, I N C .

The Oklahoma Philharmonic Society, Inc. is honored to recognize its Encore Society members — visionary thinkers who have provided for the future of the Oklahoma City Philharmonic through their estate plans.

Anonymous (3)

Mr. and Mrs. Michael E. Joseph

Steven C. Agee, Ph.D.

Joel Levine and Don Clothier

Linda and Patrick Alexander

John and Caroline Linehan

Gary and Jan Allison

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

Dr. Jay Jacquelyn Bass

Mrs. Jackie Marron

Louise Cleary Cannon

Mr. and Mrs. John McCaleb

Mr. and Mrs. Robert H. Clements

Jean and David McLaughlin

Thomas and Rita Dearmon

W. Cheryl Moore

Dr. and Mrs. James D. Dixson

Carl Andrew Rath

Dr. Ralph and Lois Ganick

Mrs. Catherine Reaves

Hugh Gibson

Mr. and Mrs. William J. Ross

Pam and Gary Glyckherr

Drs. Lois and John Salmeron

Carey and Gayle Goad

Mr. and Mrs. William F. Shdeed

Mr. and Mrs. J.A. Gowman

Richard L. Sias

Carol M. Hall

Doug and Susie Stussi

Ms. Olivia Hanson

Larry and Leah Westmoreland

Jane B. Harlow

Mr. John S. Williams

Dr. and Mrs. James Hartsuck

Mr. and Mrs. Don T. Zachritz

THANK YOU The Oklahoma Philharmonic Society, Inc. is grateful for the support of caring patrons who want to pass on a legacy of extraordinary music to future generations. You can join this special group of music enthusiasts by including a gift for the OKC Philharmonic’s future in your own will or estate plan. For more information on how to become an Encore Society member, contact Tara Burnett at (405) 232-7575 or tara@okcphil.org.

ELIJAH

MENDELSSOHN'S MASTERPIECE

OCT 9 | 3 PM

BRUBECK

TO HOPE! A CELEBRATION

CANTERBURY

CHRISTMAS

SEASON

DEC 4 | 7 PM

CanterburyOKC.com

Oklahoma City Community College presents:

2021-2022 Performing Arts Series

Potted Potter: The Unauthorised Harry Experience | October 12 Cirque Mechanics - Birdhouse Factory | November 20 Ballet Folklórico de México | January 28 The TEN Tenors presents LOVE IS IN THE AIR | February 25 Drum Tao | March 22 An Evening with Renee Elise Goldsberry | April 29 Get tickets at tickets.occc.edu

MAR 9 | 3 PM

22/23

Season Specials

at Hudiburg Center

LEARN MORE AT OKCBROADWAY.COM

MEET OUR FAMILY

THE PEOPLE BEHIND THE MUSIC

JOHN ALLEN

MIKE JOSEPH

Trombone OKCPHIL Orchestra

Board Member Philharmonic Foundation

John Allen has been a member of the Philharmonic trombone section since 2008, when he moved to Norman from the Dallas area. He began teaching at Oklahoma City University at the same time. John became Orchestra Personnel Manager in June of 2019, and moved from Principal Trombone to Bass Trombone in September of that year. In November 2021, John was promoted to General Manager, but is still able to perform in the trombone section for a majority of the Philharmonic’s concerts. The greater job demands made it necessary for John to retire from Oklahoma City University in December, in the middle of his 14th year teaching trombone and leading the OCU Jazz Ensemble. Somewhere in the middle of all this, John was Music Director of the Oklahoma City Jazz Orchestra for four seasons from 2012-2016. John was born in Detroit, grew up in Pennsylvania, attended The Ohio State University, and is a middle child, with four brothers and two sisters!

Mike first became involved in the OKCPHIL as an Associate Board member 40 years ago when he moved to OKC and began practicing law at McAfee Taft. Over the years he and his wife Kim have been subscribers to the Classis, the Pops, the Discovery Family series, served on the OKCPHIL Board of Directors for over 30 years, and served on the Philharmonic Foundation Board for 25+ years serving as Foundation President for 12 of those years. One of his favorite memories was attending Yo-Yo Ma’s rehearsal with his children. “After Yo-Yo Ma’s rehearsal, he invited us to his dressing room and there, he invited each of my children to play his cello.” “The arts create vitality,” Mike says. “They bring people together so that they can understand each other. In economic terms, theaters, galleries, concerts, and other arts events generate more energy and life in a community. A vibrant arts environment also means people will share experiences and ideas, connect, and understanding each other in new ways. Oklahoma City has historically supported the arts and enjoyed the benefits. We should be proud of what we have built and should take responsibility for continuing our investment in the arts.” “There are so many things we must do for our community to prepare it for future generations,” he continued. “ We must address the challenges – the occasional large ones and the innumerable smaller ones. And we must be extraordinarily inventive. We’re entitled to some joy from our efforts along the way, and that’s just what active community involvement brings.”

GIFTS TO THE PHILHARMONIC The Oklahoma City Philharmonic Orchestra gratefully acknowledge the commitment and generosity of individuals, corporations, foundations, and government agencies that support our mission. To help us provide inspiration and joy to the community through live orchestral performances and a variety of Education and Community Engagement programs, please contact the Philharmonic’s Development Office at (405) 232-7575. This Annual Fund recognition reflects contributions made in the 2021-22 season. Contributions of $250 and above are listed through March 1, 2022. If your name has been misspelled or omitted, please accept our apologies and inform us of the error by calling the phone number listed above. Thank you for your generous support!

CORPORATIONS, FOUNDATIONS & GOVERNMENT Express their generous commitment to the community.

UNDERWRITER $40,000 & Above Allied Arts Foundation The Chickasaw Nation Delaware Resource Group of Oklahoma, LLC E.L. and Thelma Gaylord Foundation Inasmuch Foundation Kirkpatrick Foundation Inc. Oklahoma Arts Council The Oklahoman The Skirvin Hilton Hotel

PLATINUM SPONSORS $10,000 - $39,999 405 Magazine Ad Astra Foundation American Fidelity Foundation Devon Energy Corporation Express Employment International HSPG and Associates, PC I Heart Media Love’s Travel Stops & Country Stores

MidFirst Bank OGE Energy Corp. Tyler Media Co./Magic 104.1FM and KOMA W&W Steel, LLC

GOLD SPONSORS $5,000 - $9,999 BancFirst Bank of Oklahoma Clements Foods Foundation Mekusukey Oil Company, LLC The Metro Restaurant

SILVER SPONSORS $3,000 - $4,999 OK Gazette OKC Friday

BRONZE SPONSORS $2,250 - $2,999

GOLD PARTNERS $1,500 - $2,249 Charlesson Foundation Flips Restaurant, Inc. The Fred Jones Family Foundation Morningstar Properties, LLC

SILVER PARTNERS $1,000 - $1,499 BRONZE PARTNERS $500 - $999 Tom Johnson Investment Management LLC

BUSINESS MEMBERS $250 - $499 The Kerr Foundation, Inc. Intrinsic Health

The Black Chronicle

MATCHING GIFT COMPANIES AND FOUNDATIONS Double the impact of an individual’s gift. American Fidelity Foundation Bank of America Matching Gifts Program

The Boeing Company Inasmuch Foundation

Merrill Lynch & Co. Foundation, Inc.

GIFTS TO THE PHILHARMONIC MAESTRO SOCIETY Providing leadership support.

Underwriter $25,000 and above

Guarantor $10,000 and above

Benefactor $5,000 - $9,999

Phil G. and Cathy Busey Dr. Margaret Freede Joel Levine and Don Clothier Jean and David McLaughlin Dr. Amalia Silverstein George Records Mr. Richard L. Sias and Alice and Phil Pippin Glenna and Dick Tanenbaum

Steven C. Agee, Ph.D. Linda and Patrick Alexander Marilyn and Bill Boettger Lawrence H. and Ronna C. Davis Mr. and Mrs. Andrew J. Evans, II Mr. and Mrs. John A. Frost Gerald and Jane Jayroe Gamble Jane B. Harlow Mary Ann Holdrege Mr. Albert Lang Susan Robinson Doug and Susie Stussi Renate and Chuck Wiggin

Mo Anderson Mrs. Betty D. Bellis-Mankin John and Margaret Biggs Louise Cleary Cannon and Gerry Cannon Teresa Cooper James B. Crawley Darleene A. Harris Claudia Holliman Dr. and Mrs. Patrick McKee

INDIVIDUALS Providing essential support for the Annual Fund. Patron ($3,500 - $4,999) Dr. Charles and Marilyn Bethea Mike and Dawn Borelli Mr. and Mrs. David C. DeLana Mr. Sidney G. Dunagan Mrs. Bonnie B. Hefner Jerry and Jan Plant Ms. Jeanne Hoffman Smith Mrs. Anne Workman

Sustainer ($2,250 - $3,499) Anonymous Dr. and Mrs. Dewayne Andrews Dr. and Mrs. John C. Andrus Larry and Sarah Blackledge Mrs. Carole S. Broughton Mr. and Mrs. Robert F. Browne Mr. and Mrs. Robert H. Clements Mr. and Mrs. Joseph M. Fleckinger Paul and Debbie Fleming

Frank Goforth and Nancy Halliday Brent Hart and Matt Thomas Dr. and Mrs. James Hartsuck Frank and Bette Jo Hill Colonel (ret.) Dean and Mrs. Jeanne Jackson Tom and Cindy Janssen Kim and Michael Joseph Kathy and Terry Kerr Annie Moreau, MD Mr. H.E. Rainbolt Ruth Mershon Fund Dr. and Mrs. Hal Scofield Jeff and Kim Short John and Katherine Spaid Jim and Debbie Stelter Mr. and Mrs. John E. Stonecipher John Stuemky and James Brand Mrs. Billie Thrash Mrs. June Tucker

Mrs. Janet Walker Ron and Janie Walker Jeanise Wynn

Associate ($1,500 - $2,249) Anonymous Virginia and Albert Aguilar Mr. and Mrs. Louis Almaraz Dr. Sterling and Cheryl Baker Mr. J. Edward Barth Dr. and Mrs. William L. Beasley William Beck Nick and Betsy Berry Bart Binning Dr. and Mrs. Philip C. Bird Dr. Robyn Birdwell and Dr. Mark Fixley Mr. and Mrs. Del Boyles Martha and Ronnie Bradshaw Mrs. Phyllis Brawley Dr. and Mrs. Robert C. Brown CONTINUED ON PAGE 44

SPECIAL EVENT GIFTS

Thank you to the following who believed in our mission by supporting the 2022 Symphony Show House!

SHOW HOUSE COMMITTEE Show House Chair

Boutique Chair

J. Mark Taylor

Cindy Solomon

Treasurer/Designer Sales Chairs

Design Inventory

Jeannie Drake Carole Doerner

Taylor Vogel, SORT Organization Services

2022 SYMPHONY SHOW HOUSE COMMUNITY PARTNERS David DeLana with Heritage Press Martin Taylor Creative Group Shane Brock with Stubble Inc. 405 Magazine Julie Ayers with Sevens Photography

James Long with Jameson Realty Group Lord of Life Lutheran Church Kings Worldwide Transportation SORT Organizational Services Maggie Sermersheim with The Barlor

2022 SYMPHONY SHOW HOUSE TOUR BOOK David DeLana with Heritage Press Julie Ayers with Sevens Photography Martin Taylor with Martin Taylor Creative Group

Headlining Show House Patron

Benefactor

Supporter

Dr. Margaret Freede In Memory of Josephine Freede Glenna and Dick Tanenbaum

John and Margaret Biggs Janice B. Carmack John and Sue Francis John and Anna McMillin Bill and June Parry Dr. Lois Salmeron Judith Clouse Steelman

Janie Axton Laura Canedy Sally Crawford Susan Fendley Sharon Gilbert Terri Greenly Keith Nevish Marcia Peeler Jody Prince Billie Rodely Mr. and Mrs. Edward J Tellone

Silver Patron Lance and Cindy Ruffel

Bronze Patron The Kerr Foundation, Inc. Mrs. June Tucker Dr. Don and Eleanor Whitsett

Friend Rita and Thomas Dearmon Carole Doerner Margaret and Drake Keith

Thank you to the Talented Designers who made the 2022 Symphony Show House a Reality! Rosinna Gies, Amini’s Galleria Tuesday Fay & Halah Songer, Bob Mill’s Furniture Crystal Carte, Carte’s Interiors Katelynn Henry, Steve Calonkey, Steve Simpson, & Peyton Ward, Henry Home Interiors Patty Tippet, Home Dazzle Nora Johnson, Johnson Manor Dr. Kari Lopez & Renae Brady, LOREC Ranch Home Furnishings Lynda Savage, Lynda Savage Art Nathan Hughes & Susan Nixon, Mathis Design Studio

Keven Calonkey Carl, John Carl, Cassidy Brunsteter & Lance Whitlow, Mister Robert Fine Furniture & Design Travis Neely & Phara Queen, Neely + Queen Design Cindy Curley & Ryan Johnson, Norwalk Furniture and Design Ronette Wallace, OTW Interiors & Suburban Contemporary Furnishings Deb Johnson, Paint Inspirations Inc. Patti Williams, The Enchanted Cottage Julie Miller, Tin Lizzie’s J. Mark Taylor & Grayson Ingram, Traditions Fine Furniture & Design Pam Cravens, Vintage Gypsies Boutique Ashlyn Johnson Walker, Wild Abandon Grow Co.

SPECIAL EVENT GIFTS

2022

The OKCPHIL would like to thank the following people who believe in our mission by providing support through the 2021-22 Maestro’s Ball as we honor beloved friend and OKCPHIL founder Mrs. Jane B. Harlow. This recognition reflects contributions received through May 13, 2022.

PRESENTING

Margaret Freede and Daniel Owens

Glenna and Dick Tanenbaum

SPONSORS Platinum Jane B. Harlow Christian Keesee Charitable Trust

Gold Anonymous Linda and Patrick Alexander American Fidelity Foundation Lawrence H. and Ronna C. Davis Bryan Garrett Injury Law Firm David and Aimee Harlow Brent Hart and Matt Thomas Debra and Kristian Kos The Ann Lacy Foundation Doug and Susie Stussi

Silver 405 Magazine Julie and Mark Beffort Mr. and Mrs. Clayton I. Bennett Gerald and Jane Jayroe Gamble Kirk Hammons Joel Levine and Don Clothier OKC Friday Presbyterian Health Foundation Dr. Pal Randhawa Linda and Steve Slawson Drs. Bobby and Geetika Verma

Bronze Sharon and John R. Bozalis Barbara Cooper

Teresa Cooper Dinesh Dalbir and Sumita Pokharel Frank and Bette Jo Hill Cathy and Frank Keating Mrs. Anne Workman

Benefactor Steven C. Agee, Ph.D. Bob and Cindy Barnard J. Edward Barth John and Margaret Biggs MAJ. GEN. William P. Bowden, Rt. Martha and Ronnie Bradshaw Louise Cleary Cannon and Gerry Cannon Robert and Sody Clements Rita and Thomas Dearmon Nancy P. Ellis Kristen and Anthony Ferate Joseph and Yvette Fleckinger John and Sue Francis William and Kristin Frankfurt Jay and Debbie Harper Linda and Ken Howell Sue Ann and Dudley Hyde Colonel (ret.) Dean and Mrs. Jeanne Jackson Margaret and Drake Keith The Kerr Foundation Mr. and Mrs. Harrison Levy, Jr. Midge W. Lindsey Christopher Lloyd and Erik Salazar Rob and Karen Luke

Shaye and Travis Matthews John and Anna McMillin Randy and Barbe von Netzer Marilyn North Charles L. Oppenheim Cynda and Larry Ottaway Paycom Payroll, LLC Paul and Gina Pierce Jerry and Jan Plant Drs. Robert and Suzanne Reynolds Mr. and Mrs. William J. Ross Pam and Bill Shdeed Lee Allan Smith Family Jeff and Sally Starling Judge and Mrs. Ralph G. Thompson Britta Thrift Eddie Walker and Timothy Fields Chris and Meredith Wells Carolyn T. and Don T. Zachritz

Friend Judy Austin Ms. Janice B. Carmack Carole Doerner Mrs. Jeannie Drake Irma B. Elliot Sorelle Fitzgerald Dallas Gwin Dr. Carol McCoy, Ph.D. Debbie McKinney William G. Paul

The Heartbeat of a Vibrant City

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AMERICAN GOLD June 9, 2022 8:00 P.M.

CONCEPTS

CLASSICS

Maestro FROM THE

ALEXANDER MICKELTHWATE, CONDUCTOR CANTERBURY VOICES THE AMBASSADORS’ CONCERT CHOIR

Our 21/22 season, we will be taking you on a journey, from smaller, more intimate gems to powerhouse blockbusters. You will experience the entire musical color pallet only possible

ELLINGTON .............................. Harlem *

with the symphony orchestra. POWELL ..............................

Canterbury Voices and The Ambassadors’ Concert Choir

AMERICAN GOLD We are closing our 2022 Classics Season in a big way! “American Gold” is the second and final part of our “Oklahoma Stories” programs, and we are inviting the African American community to help tell the story. The program opens with Duke Ellington’s Harlem, an amazing work going back and forth between the sounds of a classical symphony and a sizzling hot jazz combo.

Intermission DVOŘÁK ..............................

Symphony No. 9 in E minor, Op. 95, from The New World

Next, Rosephanye Powell’s The Cry of Jeremiah continues the program. For this segment, we welcome the Ambassador Choir and Canterbury Voices to the stage to delve into the rich tradition of American Gospel. And the evening ends with Dvořák’s New World Symphony. When he was appointed Director of the National Conservatory in New York in 1891, Dvořák’s goal was to tap into the uniquely American sounds found in this country. This program will further that vision!

The Cry of Jeremiah *

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

*First Performance on this series

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Text CLASSICS to 95577 to stay up to date on the latest Philharmonic info. Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, June 29, at 8 pm and Saturday, July 2, at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

GUEST ARTISTS C

RANDI VON ELLEFSON Dr. Randi Von Ellefson has served as Professor of Music and Director of Choral Activities at Oklahoma City University and Artistic Director of Canterbury Voices since 2004. Under his direction, Canterbury has presented four world premieres (works by Jerod Impichchaachaaha’ Tate, Stephen Paulus, Edward Knight, and Dominick Argento). At Oklahoma City University he directs the Chamber Choir and the University Women’s Chorus, and teaches courses in the graduate choral curriculum. He holds degrees from Texas Lutheran University, the University of Minnesota and Arizona State University. He is a founding member of the National Collegiate Choral Organization (NCCO), serving twice as president. Dr. Ellefson has been a guest conductor and professor at the Hochschule für Musik in Munich, Germany and taught at Payap University in Chiang Mai, Thailand. He has been president of the Northwestern and Central Divisions of the American Choral Directors Association (ACDA) and served in

leadership in the Music Educators National Conference (MENC) and the National Association of Teachers of Singing (NATS). Ellefson has conducted many all-state choirs, had choirs perform at state, regional and national conventions of MENC and ACDA, served as an adjudicator at national choral competitions and led choirs in national and international tours in Europe, Asia, Australia and Russia. Reviews (in Fanfare and Gramophone magazines) of choral performances and recordings have noted a particular ability of his choirs to “sing from the heart” and “express significant emotion and depth of feeling” while “maintaining superb intonation and technical precision.” In the summer of 2014, Dr. Ellefson was part of a group from Canterbury Voices who traveled to Paris to perform the Fauré Requiem at the Church of the Madelaine where it was premiered. The group also joined many other choirs at Normandy Memorial on July 4th to sing and commemorate the 70th anniversary of the D-Day Invasion.

CANTERBURY VOICES Now in its fifth decade, Canterbury Voices has grown into the premier symphony chorus of Oklahoma, bringing singers and audiences from throughout our great state to the place where music truly comes alive. Canterbury Voices was founded in May 1969 as Canterbury Choral Society, and met at All Souls Episcopal Church with 60 singers. In 1997, Canterbury took the reins of the Children’s Choral Society of Oklahoma, and grew into a four-choir, 200-voice educational organization. The 130-member Adult Chorus is the flagship program – the largest of its kind in Oklahoma. All singers are auditioned, most with extensive musical and stage experience, and come from all over Oklahoma. Canterbury Voices collaborates with other arts organizations including the OKC Philharmonic, Oklahoma City Ballet, and Oklahoma City Jazz Orchestra, as well as many talented singers and musicians from around the United States, including Kelli O’Hara, Sarah Coburn, Gabriel Preisser, Barry Manilow, and Ron Raines. Canterbury Voices also strives to grow the catalog of new music by commissioning new choral works by composers including Stephen Paulus, Edward Knight, Jerod Impichchaachaaha’ Tate, and Dominick Argento. In May, Canterbury Voices was named a national finalist for Choral Performance and Virtual Performance for the American Prize.

GUEST ARTIST C

DR. SANDRA D. THOMPSON known directors. To add to her list of Broadway musicals, Sandra has conducted “High Society”, “The Music of Andrew Lloyd Webber”, and “The Sweet Smell of Success”. At UCO’s Broadway Tonight Series, she conducted “Flipside-The Patti Page Story at the premier and at the Off-Broadway premier. The New York audiences fell in love with the story of Patti Page. She has been the pianist for many productions at OKC’s Lyric Theater and appeared in their productions of “The Wiz and “Kiss Me Kate”. Dr. Sandra D. Thompson, Artistic Director of The Ambassadors’ Concert Choir, is a native of Ponca City, Oklahoma. Her musical journey began at the age of three years old and since she has continued to develop as a gifted musician. She graduated from Ponca City High School, received a B.Mus., Bachelors in Music from Oklahoma City University (OCU), a M.E.E., Masters of Music Education, from the University of Central Oklahoma (UCO), and a D.M.A., Doctor of Musical Arts Degree in Choral Conducting, from the University of Oklahoma (OU). Dr. Thompson has taught in several Oklahoma Public Schools before joining UCO’s School of Music faculty. Her teaching duties at UCO include: Fundamentals of Music, Music Theory and Aural Skills, Music for Elementary Teachers, Choral Conducting and Music Appreciation. Dr. Thompson is currently Associate Professor of Music and Division Head of Classroom Studies. At UCO, Dr. Thompson has conducted several music theatre productions including: “The Man of La Mancha”, “Into the Woods,” and “Company” with some of Oklahoma City’s best

Dr. Thompson has served on the Board of Directors for Allied Arts, The Gospel Music Workshop of America and The Oklahoma Center for Teacher Preparation. In addition to those roles, her professional affiliation include: American Choral Directors, Music Educators National Organization, Pi Kappa Lambda Music Society and the Delta Sigma Theta Sorority, Inc. She has also been recognized by “Who’s Who Among American Teachers” and The Black Liberated Arts Center (BLAC) for Educating Future Musicians. Dr. Thompson has been a member of the Ambassadors’ Concert Choir for more than 25 years. She is also the Assistant Minister of Music at the Evangelistic Baptist Church of Christ in OKC. Dr. Thompson became the Artistic Director of the Ambassador’ Choir in 2010. As the choir embarks on its 39th Concert Season, Dr. Thompson’s expertise and exceptional musicianship will lead the Ambassadors’ to new heights of excitement and performance in the OKC community and beyond.

AMBASSADORS’ CONCERT CHOIR The Ambassadors’ Concert Choir has been thrilling audiences with its spirited musical offerings since 1979. The choir performs a diverse blend of music of all genre and many cultural traditions; including classical, spirituals, jazz, gospel, patriotic music, hymns, Broadway show music and popular music. The 75–100 member choir is predominantly African-American by nature, but people of all cultures participate and are welcomed. The Ambassadors’ are proudest of their tradition of giving glory and honor to God the Father, Son and Holy Spirit. Lives have been touched, spirits have been changes and hearts have been moved by the music of the Ambassadors’ Concert Choir for over 30 years. The Ambassadors of Faith Choir was founded in 1979 by Maestro Kenneth Kilgore as an extension of the music ministry of Saint John Baptist Church in Oklahoma City. Mr. Kilgore convened approximately 40 local singers and musicians to form a choir that would provide an opportunity to perform all types of sacred music at the highest levels of professionalism and musicality. The choir grew in size, professionalism and repertoire, adding singers and musicians from diverse congregations, faiths, ethnicities and socioeconomic backgrounds. The choir was incorporated as Ambassadors’ Concert Choir in 1985. The choir has performed throughout the United States and in Mexico. The Ambassadors’ have provided music for the inaugurations of the past six Oklahoma Governors, for the nationally televised first Murrah Federal Building Bombing Memorial (attended by then President Bill Clinton) and with such performing talents as Linda Twine, Simon Estes, Canterbury Voices, Thomas and Carol Bryce-Carey, Leona Mitchell and the International Organist Guild. The Ambassadors’ Concert Choir was inducted into the Oklahoma Jazz Hall of Fame in 1992. The Ambassadors’ concert Choir currently performs under the direction of Dr. Sandra Thompson, Music Professor at the University of Central Oklahoma, and is accompanied by a host of talented musicians and entertainers. The history of the Ambassadors’ is continuing to be written.

PROGRAM NOTES

Harlem Edward Kennedy “Duke” Ellington First Performance on this Series Born April 29, 1899, in Washington, D.C. Died May 24, 1974, in New York, NY Work Composed in 1951 Work Premiered on January 21, 1951 at the Metropolitan Opera House in New York City by Duke Ellington and His Orchestra Arranged for orchestra by Luther Henderson & Maurice Peress Arrangement premiered in 1955 at Carnegie Hall in New York City Performance Time: Approximately 18 minutes.

themes, ballets, and Broadway shows. Ellington wrote music for a queen, for lightning bugs, and for paintings by Degas. He composed serious extended symphonies, pieces for romantic evenings under Paris skies, and sacred music for cathedrals. If there was a human experience, Duke Ellington set it to rhythm and tune. For most of his career, Ellington worked within the framework of his jazz orchestra, an ensemble of 15 comprising five saxophones, four trumpets, three trombones, and a rhythm section of piano, bass, and drums. The question then becomes, how does one transfer this music for 15 to an 80- to 90-piece orchestra? How does one take soaring saxophones, swinging drums, talking brass, and mercurial improvisations, re-creating it with the much larger and ponderous symphonic ensemble? Tonight’s program will more than aptly answer these questions.

Harlem (or A Tone Parallel to Harlem) (1951) is recognized as one of Ellington’s greatest works. Commissioned by conductor Arturo Toscanini and the NBC Symphony, the work was premiered at the Metropolitan Opera House in New York City on January 21, 1951, for an NAACP benefit. Originally known as the Portrait of New York Suite (a copy of the score was personally given to President Harry S. Truman), it was originally recorded as a big-band-only work. It was orchestrated for full orchestra by Juilliard-trained Harlem resident Luther Henderson; this larger version was premiered at Carnegie Hall in 1955 and later recorded (1963) with the Paris Symphony Orchestra. Tonight’s version was reorchestrated by conductor Maurice Peress who worked very closely with Ellington in the final years of his life.

By the time Duke Ellington was 75 years old, he was perhaps the most lauded composer of not only the 20th century, but possibly of any century. He had been presented with the Presidential Medal of Freedom, celebrated a birthday at the White House, received the Legion of Honor from France, honored with postage stamps in four countries, and had heard himself called “America’s greatest composer.” The duality of his career as a band leader and composer is perhaps the singular point that pushed him to a level of excellence we may never see in our arts again. He composed at least 2,000 works and did so while performing nearly 20,000 times in the United States, Europe, Latin America, the Middle East, and Asia—an average of 400 times each year for the span of his 50-year career. He composed perhaps the most diverse body of work in history—dance pieces, concertos, suites, movie soundtracks, music to accompany Shakespeare’s themes, television show

As Ellington described it, “We would now like to take you on a tour of this place called Harlem… It is Sunday morning. We a strolling from 110th Street up Seventh Avenue, heading north through the Spanish and West Indian neighborhood towards the 125th Street business area… You may hear a parade go by, or a funeral, or you may recognize the passage of those who are making Civil Rights demands. We find ourselves, along about halfway through this piece, in front of a church on Easter Sunday morning, witnessing an Easter parade, a little sadness, a little gladness, a dazzling satin doll, but moving on progressively.” The opening trumpet solo intones the word “Harlem” with the interval of the falling minor third and serves as a leitmotif for the entire piece. If you listen carefully, you may hear the interval of the third used throughout, both in its original descending form, but also ascending, as melody, background and harmony. Ellington also combines thematic material within the concept of New Orleans-style melody in a middle voice with counterpoint above and below, as in the traditional New Orleans frontline of clarinet-trumpet-trombone. — Program Notes written by Todd Stoll Used by permission

PROGRAM NOTES The Cry of Jeremiah Rosephayne Powell First Performance on this Series Rosephayne Powell pronounced ro-SEH-fuh-nee, (born 1962)

deception—making false promises of success and victory over his enemies. He feels alone, betrayed by God and despised of men. Jeremiah laments and despairs to the point of utter exhaustion, heard in the final “huh” of the song. It is as if the prophet has been punched in the gut by the very hand of God. In contrast to the previous song, O Lord, You Have Deceived Me is a ballad that begins with a lamenting A section, contrasted with an angry B section, as Jeremiah remembers the mocking of his enemies. This song is characterized by African-influenced, percussive vocalizations; an underlay of African drums; exotic colors in the orchestra; jazz flavors in the vocal and organ parts; and vocal moans and wails associated with the African-American spiritual. The sense of dejection and loneliness experienced by the prophet is painted in the organ intro. III. Cursed Be the Day (Jeremiah 20:14-18). In his despair, Jeremiah not only accuses God of deceit but calls his wisdom into question, cursing the very day he was born. The A section of this song is full of anger which can be heard in the vocal, organ and orchestral parts—harmonically, rhythmically and melodically. There is much dissonance and tension in this section through the use of seconds and repeated pitches. The B section is a return to the middle section of the opening movement. I repeated this idea to demonstrate the fluctuation of emotions and thoughts one experiences when in despair. One moment he is speaking forth curses and the next, he is quite calm. In spite of his anger, disillusionment and dejection, Jeremiah is still compelled to speak.

The Cry of Jeremiah is a four-movement work based textually on the 29th chapter of Jeremiah. The prophet Jeremiah, having experienced ridicule and imprisonment because of his prophecies, laments his present state. I. Is Not His Word Like a Fire (Jeremiah 20:9). The work opens with Jeremiah boldly proclaiming that he prophesies, not because he wants to, but because he is compelled to. This song exemplifies the inner struggle within the prophet: confident yet insecure; doubtful yet resolved. Musically, the A section is full of “fire,” (intensity) expressing a commitment to the task. This is contrasted by a B section that expresses a weary prophet who longs to be silent and done with the whole matter. The vocal development of this song grew out of a Baroque-European influence of contrapuntal writing in the A section and chant-like or recitative style singing in the B section. The A section is declamatory while the B section is more docile. It includes jazz harmonies and rhythmic vitality. The energetic, fiery organ intro paints the compelling power of the Almighty God to drive Jeremiah onward. The coda (“I must declare it”) exposes Jeremiah’s resolve to persevere.

IV. Hallelujah! (Jeremiah 20:11-13). Jeremiah’s complaint grows into praise as he reconciles that God is faithful to his promise to deliver the righteous. Jeremiah encourages himself to “Praise the Lord,” (v13), knowing that he will be vindicated and his enemies brought to shame. Musically, Hallelujah begins serenely revealing that Jeremiah has resolved his issues with God. The song builds to a joyful celebration of God’s faithfulness. The organ intro is stylistic of piano or Hammond organ solos found in many contemporary gospel songs. The specific style of gospel song in which Hallelujah is composed is the praise and worship style. Indicative of gospel, in the final section, called the “special,” vocal parts are repeated independently and in harmony to build energy and develop to a climax. The orchestra and organ provide energy with and contrast with accents and varied parts to build to the climax. As in the gospel style, a drum set provides the rhythmic foundation. — Program notes written by the composer Rosephanye Powell

II. O Lord You Have Deceived Me (Jeremiah 20:7-9). The dejected prophet complains, accusing the Lord of CONTINUED ON PAGE 36

PROGRAM NOTES

Symphony No. 9 in E minor, Op. 95, from The New World (1892-93) Antonín Dvořák First Performance: 1/24/1938 Conductor: Ralph Rose Last Performance: 3/28/2015 Conductor: Joel Levine Born: September 8, 1841, in Nelahozeves, near Kralupy, Bohemia (now Czech Republic) Died: May 1, 1904, in Prague, Bohemia Work composed: 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) in New York. Instrumentation: Two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, cymbals, and strings

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 symphonic work ever composed in this country.” The title came to Dvořák 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 for the first time 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 Dvořák really was in African-American and Native American music, 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 Dvořák’s American years. Ragtime left him cold, but he was fascinated by the repertoire of spirituals. So far as Native American music is concerned, we know that he 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 Dvořák 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 Dvořák encountered a few months later at a performance given by the Kickapoo Medicine Company during his summer in Spillville.

In June 1891, the American philanthropist Jeannette Thurber asked Antonín Dvořák to consider directing the National Conservatory of Music in New York, which she had been nurturing into existence over the preceding several years. Dvořák 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

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 Dvořák 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 inspired by a Finnish epic 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-Puk-Keewis: “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 Dvořák borrowed from Beethoven’s Ninth Symphony. The final movement (Allegro con fuoco) evolves out of a march-theme that seems perfectly appropriate to a symphony of the Middle-European tradition. We tend

PROGRAM NOTES to think of Dvořák 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), Dvořák’s finale also reminds us now and again of its composer’s early infatuation with Wagner. The musical world of Dvořák’s day had become polarized between what was viewed as Brahmsian conservatism and Wagnerian experimentalism. One of the great achievements of Dvořák’s late music, and certainly of the Symphony From the New World, is the extent to which it bridges even that politically charged divide. —James M. Keller

Listen for “Goin’ Home” The principal theme of the Largo movement of Dvořák’s New World Symphony, sung by the English horn, 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 Dvořák’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 Dvořák’s tune. Fisher, who had studied with Dvořák at the National Conservatory and eventually was his teaching assistant there, became a notable music historian, editor, and author. An enthusiast for Dvořák’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

PROGRAM NOTES WRITTEN BY:

TODD STOLL

COMPOSER ROSEPHANYE POWELL

JAMES M. KELLER This note originally appeared in the programs of the New York Philharmonic and is used with permission. ©New York Philharmonic

James M. Keller is the longtime Program Annotator of the San Francisco Symphony and was formerly Program Annotator of the New York Philharmonic and a staff writer-editor at The New Yorker. The author of Chamber Music: A Listener’s Guide (Oxford University Press), he is writing a sequel volume about piano music for the same publisher.

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THANK YOU! The OKCPHIL gratefully acknowledges the generosity of individuals who have chosen to return concert tickets as a donation. This recognition reflects contributions made in the 2021-22 concert season and are listed through May 13, 2022.

Anonymous Dr. Lisa Abney Hugh G. and Sharon Adams Steven C. Agee, Ph.D. Linda and Patrick Alexander Mr. and Mrs. Louis Almaraz Ms. Beth M. Alonso John and Nancy Alsup Mary Ellen Anderson Dr. and Mrs. Dewayne Andrews Dr. and Mrs. John C. Andrus Ms. Zonia Armstrong Dr. Henry and Carol Asin Tom and Fran Ayres Dr. Sterling and Cheryl Baker Betsy Banks Anne Barker Mr. J. Edward Barth Sherry K. Barton Ben Baysinger Mrs. Betty D. Bellis-Mankin Elizabeth Bennett Ann Beutel Dr. Ajay Bhargava, M.D. James Blank Billie G. Boston Joe and Nancy Bradley Mrs. Carole S. Broughton Mr. and Mrs. Kenneth Brown James Bussell Barbara and Gregory Cable Nancy Cain Lori Christensen Jennifer Clair Deborah Collins Julie Collins Dr. Thomas Coniglione Teresa Cooper Ms. Joan Corbin William and Mary Ann Corum Bridger Cox Lawrence H. & Ronna C. Davis Carol A. Davito Dr. Nancy Dawson Tony and Pam Dela Vega Vickie Dennis Richard and Cindy Dugger Dennis Echard Nancy P. Ellis Mrs. Patty Empie Mrs. Barbara L. Eskridge Dr. and Mrs. Royice B. Everett Marian Ezzell Arnold and Mari Fagin Joseph and Yvette Fleckinger Ret. MSGT and Mrs. Andres E. Flores, Jr. Gerald and Jane Jayroe Gamble

Sam and Becky Garlow Mrs. and Mr. Ruth Giddens Greg and Robin Glenn Robert Gray Marsha and John Greiner Marcine Grey Janet Gruel Kirk Hammons Sonja Hannon Brent Hart and Matt Thomas Karen Hennes Rita Henry Frank and Bette Jo Hill Jane Hogg-Krizer Carl and Ruth Holloway Ken and Nora House Richard Howell Thomas and Elizabeth Hrubik Theresa Huebner Wendy Huff Diane Hutchinson Sue and Dudley Hyde Mr. and Mrs. Carlos Johnson Mr. and Mrs. L.J. Johnson Nita Johnson Sharon K. Johnson Gary C. Johnston Kathy and Terry Kerr Linda Knox Linda Kodad John Rollin Koons Mary Jane Lawson Sharon and Ken Lease Kathy Leithner Robert Leveridge Virginia Locke Lisa Loewenkamp Lorraine Longo Debra and Wayne Lord Roy and Sharon Love Marvin and Peggy Lunde James and Bette Mackellar Kareen Man Kathie Marshall Anita R. May Charles H. and Caroline Mayfield Debbie McCowan Elizabeth McGuiness Ms. Vickie McIlvoy John and Anna McMillin Cindy Miller Betsy Mitschke and Steven Helt David Miller and Barbara Neas Debra and Don Nevard Steven Newell and Deborah Naylor Larry and Polly Nichols Susan and James Nicholson Charles L. Oppenheim

Chintan Parikh Ann Marie and Jerry Parker Kathy Pearson Mrs. Barbara Pirrong Beth Plant Richard Pralle Gary Rankin Dr. Cynthia Redding Mr. and Mrs. Sheldon M. Reznik Jim and Claudia Robertson Dr. and Mrs. Michael Fred Robinson Barry Roseman Mr. and Mrs. William J. Ross Lyla Rousseau Dr. Linda Rowland Woody, Ph. D. Carl J. and Deborah Rubenstein Ernesto and Lin Sanchez Delilah Sanderson Dr. and Mrs. Olaseinde Sawyerr Elizabeth Schumacher Mr. John Schwind Jan Shannon Pam and Bill Shdeed Robert and Susan Shoemaker Jerrod and Jamie Shouse Mr. Richard L. Sias Cecil Smith Lucy Smith John and Katherine Spaid Gary and Brenda Spangler Tom and Venita Springfield Fred Staker Judith Clouse Steelman Jim and Debbie Stelter Chris Steves Dr. and Mrs. James B. Stewart, Jr. Jonathan and Andrea Stone Dennis and Marianne Stover Reta and Richard Strubhar Leanne Suhre Marilyn Summers Sarah Tracy Diane Tucker Mrs. June Tucker Donna Kennedy Vogel Christopher Weimer Elaine Weise Robert and Tammy Weiss Margaret Holloway Wells Phillip and Ashton Whaley Mary Ann Williams Paul Wilson Mrs. Anne Workman Jim and Polly Worthington Carol Wright Odile Wright Carolyn T. and Don T. Zachritz

QUALITY CHICKEN

FINGER

MEALS A Preferred Restaurant of the Oklahoma City Philharmonic

23rd & Penn, Oklahoma City Sun-Thurs 10am-11pm | Fri & Sat 10am-Midnight

WEITZENHOFFER FAMILY COLLEGE OF FINE ARTS

UNIVERSITY THEATRE

The UNIVERSITY of OKLAHOMA

University Theatre invites you to join us for an intriguing lineup of dance, musicals, plays and opera productions that inspire the imagination!

MAD FOREST

A PLAY FROM ROMANIA

A gripping dramatic play by Caryl Churchill. Sept. 24 – Oct. 3, 2021

SHE LOVES ME

OUR PLATINUM SEASON

BACH’S COFFEE CANTATA

70th CONSECUTIVE YEAR!

LA SERVA PADRONA

AWARD-WINNING OPERA & MUSIC THEATER

A heart-warming romantic musical comedy. Oct. 15 – 24, 2021 by Johann Sebastian Bach

by Giovanni Battista Pergolesi Two one-act operas brimming with comedic entertainment. Nov. 11 – 14, 2021

CONTEMPORARY DANCE OKLAHOMA

Energetic and extraordinary modern dance works with guest choreography by Sidra Bell, Gus Solomons Jr. and Tommie-Waheed Evans. Dec. 3 – 11, 2021

Oct. 1-3

Nov. 5-7

MAINSTAGE MUSICAL CHILDREN OF EDEN

SPOTLIGHT MUSICAL CABARET

YOUNG CHOREOGRAPHERS’ SHOWCASE A perennial favorite featuring exciting, imaginative choreography by School of Dance students with lighting design by Helmerich School of Drama students. Jan. 27 – 30, 2022

THE SCARLET LETTER

Nov. 19-21 MAINSTAGE OPERA THE THREEPENNY OPERA

This compelling new opera composed by Lori Laitman is a cautionary tale of puritanical patriarchy. Feb. 10 – 13, 2022

Feb. 18-20

A MIDSUMMER NIGHT’S DREAM

MAINSTAGE OPERA LITTLE WOMEN

Shakespeare’s comic fantasy of four star-crossed lovers who find themselves bewitched by fairies. Feb. 25 – March 6, 2022

Featuring guest conductor Alexander Mickelthwate

PIPPIN

This Tony Award-winning musical tells the story of one young man’s journey to be extraordinary. April 1 – 10, 2022

OKLAHOMA FESTIVAL BALLET

Featuring The Sleeping Beauty Suite with additional exciting choreography by Robyn Mineko Williams. April 22 – May 1, 2022

OU Fine Arts Box Office

(405) 325-4101 theatre.ou.edu

The University of Oklahoma is an equal opportunity institution. www.ou.edu/eoo

This advertisement issued by the University of Oklahoma costs $775 to the taxpayers of Oklahoma.

Feb. 25-27

Apr. 22-24

SPOTLIGHT MUSICAL LEGALLY BLONDE

MAINSTAGE MUSICAL IN THE HEIGHTS

TICKETS

www.okcu.edu/tickets

www.okcu.edu/music

HOUSE NOTES

REVISED COVID 19 HEALTH AND SAFETY PROTOCOLS (AS OF 3/31/2022): • Masks optional. RESTROOMS are conveniently located on all levels of the theater. Please ask your usher for guidance. LATECOMERS and those who exit the theater during the performance may be seated during the first convenient pause, as determined by the management. ELECTRONIC DEVICES must be turned off and put away during the performance (no calling, texting, photo or video use please). BEVERAGES: Bottled water is permitted in the theater at the Classics Series concerts. Beverages are permitted in the theater at the Pops Series concerts; however, bringing coffee into the theater is discouraged due to the aroma. 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 five years and under will not be admitted to evening Classics and Pops concerts unless otherwise noted. BOOSTER SEATS for children are available in the Civic Center lobby. Please inquire at the Box Office. VIDEO MONITORS are located in the lobby for your convenience. WHEELCHAIR AVAILABLE SEATING – Persons using wheelchairs or with walking and climbing difficulties will be accommodated when possible. Those wishing to use the designated wheelchair sections may purchase the wheelchair space and a companion seat. Please inform the Philharmonic or Civic Center Box Office staff of your need when ordering tickets so that you may be served promptly and appropriately. Please request the assistance of hall ushers to access wheelchair seating. HEARING LOOPS have been installed. Ask your audiologist to activate the telecoil in your hearing aid or cochlear implant. Due to the mechanics of the stage, the hearing loops do not reach the pit section but are available at the Box Office and the Thelma Gaylord Performing Arts Theatre. The copper wire in the floor and telecoil work together to connect the hearing device to the theater’s sound system using a magnetic field which dramatically improves sound clarity for patrons using hearing devices. LOST & FOUND is located in the Civic Center office (405-594-8300) weekdays 8:30 a.m. – 5:00 p.m. PHILHARMONIC TICKET OFFICE may be contacted by calling 405-TIC-KETS (405-842-5387) or you can visit the Philharmonic Ticket Office located on the first floor of the Arts District Garage at 424 Colcord Drive in Suite B. The Philharmonic Ticket Office is open Monday through Friday, 10:00 a.m. to 5:00 p.m. and by phone on concert Saturdays from 10:00 a.m. to 2:00 p.m. CIVIC CENTER BOX OFFICE hours are Monday through Friday, 10:00 a.m. to 6:00 p.m. and two hours prior to each performance. (405-594-8300) Artists, Dates, and Programs Subject to Change.