OKCPHIL program for the 21-22 season April 2, 2022 Classics concert "Scheherazade!" by OKC Phil Program Magazine

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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!

TO RETU TH RN E H IN AR G O N H UT OM DOO ES RS TE AD ! BY

CHARLES DICKENS

• ADAPTED BY MICHAEL BARON • CO-DIRECTED BY MICHAEL BARON & ASHLEY WELLS

Go from Humbug to Happy in One Magical Night!

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NOV. 17 - DEC. 23

Great Family Fun! Group Rates Available! (405) 524-9312 • LyricTheatreOKC.org

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.

MAKing MONDAYS Magical.

Outstanding Students. Amazing Music.

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.

www.OKYOMUSIC.ORG

MORE THAN 20 OKC METRO LOCATIONS future phil musicians in the making HUndreds of Strings, woodwind, brass, percussion, and guitar students pursue musical excellence Every week and makE lifelong friends at Oklahoma youth orchestras.

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OKLAHOMA PHILHARMONIC SOCIETY, INC.

P R O V I D I N G

I N S P I R A T I O N

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 Interim General Manager

Mady Hendryx Donor & Volunteer Relations Coordinator

Clint Moore Operations Coordinator

Mark Beutler Director of Marketing & Public Relations

Judy Hill Administrative Assistant

Agnieszka Rakhmatullaev Executive Director

Stephen Howard Development Operations Manager

Ulises Serrano Associate Director of Digital Strategies

Daryl Jones Box Office Operations Manager

Corbin Taggart Customer Service Representative

Tara Burnett Director of Development Jeana Gering Education Manager Daniel Hardt Finance Director

Colton Kirton Institutional Giving Coordinator

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

FIRST VIOLIN

Gregory Lee, Concertmaster Gertrude Kennedy Chair Marat Gabdullin, Associate Concertmaster Densi Rushing, Assistant Concertmaster Hong Zhu Beth Sievers Deborah McDonald Lu Deng Chuong Vu Ai-Wei Chang Chandler Fadero Ordabek Duissen Yida Hu

SECOND VIOLIN

Valorie Tatge Emily Stoops Angelika Machnik-Jones Jean Statham Ashley Allison Samantha Kerns

BASS

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

FLUTE

Katrin Stamatis, Principal McCasland Foundation Chair Catherine Reaves, Assistant Principal Sophia Ro Corbin Mace Angélica Pereira Cindy Zhang Ashley Cooper Gena Alexander Tova Olkinetzky Evgeny Zvonnikov Paulo Eskitch

Valerie Watts, Principal Parthena Owens Nancy Stizza-Ortega

VIOLA

CLARINET

Royce McLarry, Principal Joseph Guevara, Assistant Principal Kelli Ingels Steve Waddell Donna Cain Betty Yuan Jackie Skara Lacie Bowlware

CELLO

Jonathan Ruck, Principal Orchestra League Chair Tomasz Zieba, Assistant Principal

PICCOLO

Nancy Stizza-Ortega

OBOE

Lisa Harvey-Reed, Principal Rachel Maczko

ENGLISH HORN Rachel Maczko

Bradford Behn, Principal Tara Heitz

BASSOON

Rod Ackmann, Principal James Brewer

TRUMPET

Karl Sievers, Principal Jay Wilkinson

TROMBONE

Adam Hanna, Principal Philip Martinson Joshua Gaub, Bass Trombone

TUBA

Ted Cox, Principal

TIMPANI

Jamie Whitmarsh, Principal

PERCUSSION

Patrick Womack, Principal Roger Owens Keith Hendricks Sara Neely Chris Ozinga

HARP

Gaye LeBlanc Germain, Principal

PRODUCTION STAFF

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

APPRENTICE CONDUCTOR Guanlu Guan

HORN

Kate Pritchett, Principal G. Rainey Williams Chair James Rester Mirella Gable Matthew Reynolds Joe Charlton, asst.

PLANNED GIVING

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

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

Anonymous (3)

Joel Levine and Don Clothier

Steven C. Agee, Ph.D.

John and Caroline Linehan

Linda and Patrick Alexander

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

Gary and Jan Allison

Mrs. Jackie Marron

Dr. Jay Jacquelyn Bass

Mr. and Mrs. John McCaleb

Louise Cleary Cannon

Jean and David McLaughlin

Mr. and Mrs. Robert H. Clements

W. Cheryl Moore

Thomas and Rita Dearmon

Carl Andrew Rath

Dr. and Mrs. James D. Dixson

Mrs. Catherine Reaves

Hugh Gibson

Mr. and Mrs. William J. Ross

Pam and Gary Glyckherr

Drs. Lois and John Salmeron

Carey and Gayle Goad

Mr. and Mrs. William F. Shdeed

Mr. and Mrs. J.A. Gowman

Richard L. Sias

Carol M. Hall

Doug and Susie Stussi

Ms. Olivia Hanson

Larry and Leah Westmoreland

Jane B. Harlow

Mr. John S. Williams

Dr. and Mrs. James Hartsuck

Mr. and Mrs. Don T. Zachritz

Mr. and Mrs. Michael E. Joseph

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

PROUD SUPPORTERS OF THE PHILHARMONIC

EDMOND

BETHANY

OKC MIDWEST CITY

NORMAN

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SEASON 2021/22 Tickets On Sale Now! Call 405-232-SING

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THE MUSIC OF DAN FORREST

OCT 10 | 3 PM

DEC 5 | 7 PM

CANTERBURYOKC.COM

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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 27 | 3 PM

ARTISTIC DIRECTOR

Season Specials

at Hudiburg Center

LEARN MORE AT OKCBROADWAY.COM

MEET OUR FAMILY

THE PEOPLE BEHIND THE MUSIC

DONNA WOLFF CAIN

JERROD SHOUSE

Viola OKCPHIL Orchestra

Vice-President OKCPHIL Board of Directors

Donna joined the OKCPHIL in 1999. She is also the principal violist of the Oklahoma Virtuosi Chamber Orchestra and performs with TACTUS Chamber Orchestra and Vocal Ensemble, along with other orchestras and chamber ensembles. Donna performs on movie and commercial sound tracks, including nationally released films. Her performances have included concerts in Carnegie Hall and a tour of Jordan and Egypt. Donna also performs at many venues presenting musical theater, operas, and popular entertainers. Donna earned her Bachelor of Music, with Honors from Denison University and Master of Music from the University of Michigan.

Jerrod and his wife Jamie subscribe to the PHIL’s pops and classics series, and bring their children to the Discovery Family Series. Former aide for Governor Frank Keating and then Press Secretary and spokesman for OU, now he owns Shouse Consulting where he represents businesses and associations before the state legislature. He served on the board for the Oklahoma Arts Institute Foundation and currently is President of the Rotary Club Oklahoma City. Says Shouse: “There is nothing better than live music. So to be a part of the Oklahoma City Philharmonic in some small way, and to see the orchestra bring live music to the community through Pops, Classics, the Discovery Family Series, as well as through Youth Concerts and other community performances, is incredibly fun and rewarding.”

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 42

SPECIAL EVENT GIFTS

Thank you to the following who believed in our mission by supporting the 2021 Symphony Show House!

SHOW HOUSE COMMITTEE Show House Chair

Designer Sales

IT Support

J. Mark Taylor

Lacey Gilliam

Honorary Chairs

Jeannie Drake Carole Doerner

First Lady Sarah Stitt Debbie Thompson

Cinda Lafferty

Boutique

Design Inventory

Cindy Solomon

Jeannie Sanford

Staffing

Program Book Marty Taylor David Delana and Heritage Press

SHOW HOUSE SPONSORS Headlining Show House Patron

Friend

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

Carole Doerner

Bronze Patron Mrs. June Tucker Dr. Don and Eleanor Whitsett The Meinders Foundation

Benefactor Janice B. Carmack John and Sue Francis Margaret and Drake Keith Bill and June Parry Lance and Cindy Ruffel Judith Clouse Steelman

Supporter Jennifer Bass-Billman Patricia Boone Joni Brown Debra Bugg Megan Clement Tiana Douglas Alexis Downs Michelle Early Elizabeth Eickman and Marvin Quinn Joan Ferrell David Gandall Shelley Goetz

Sue Goodman Jeanie Griffin Ellen Harmon Travis Kirk Alexander Leach Linda and Richard Mason Jill McCartney Pam McClure Virginia Myers Bonnie Naifeh Kevin Nevish Marcia Peeler Jody Prince Sheila Walker Elizabeth Wilson

Thank you to the Talented Designers who made the 2021 Symphony Show House a Reality! Rosinna Gies, Amini’s Galleria Tuesday Fay & Halal Songer, Bob Mills Furniture Abbie Wilkerson, Aleks Payne, & Doris Medrano, Calvert’s Plant Interiors Johnathan Kwee, Fabricologie Katelynn Henry, Steve Calonkey, Steve Simpson, Madison Denison, & Mackenzie Matray, Henry Home Interiors Patty Tippet, Home Dazzle Dr. Kari Lopez, Renae Brady, & Tracy Knoche, LOREC Ranch Home Furnishings Lynda Savage, Lynda Savage Art

Nathan Hughes & Gabrielle Roberts, Mathis Design Studio Keven Calonkey Carl, Cassidy Brunsteter, & Lance Whitlow, Mister Robert Fine Furniture and Design Travis Neely & Phara Queen, Neely + Queen Cindy Curley & Ryan Johnson, Norwalk Design Ronette Wallace, OTW Interiors and Suburban Contemporary Furniture Julie Miller, Tin Lizzie’s J. Mark Taylor & Adriana Nunez, Traditions Fine Furnishings & Design Pam Cravens, Vintage Gypsy

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 March 15, 2022. PRESENTING

Margaret Freede and Daniel Owens Glenna and Dick Tanenbaum SPONSORS Platinum Jane B. Harlow

Cathy and Frank Keating Frank and Bette Jo Hill

Gold

Benefactor

Linda and Patrick Alexander American Fidelity Foundation Bryan Garrett Injury Law Firm Lawrence H. and Ronna C. Davis David and Aimee Harlow Debra and Kristian Kos Doug and Susie Stussi

J. Edward Barth John and Margaret Biggs Louise Cleary Cannon and Gerry Cannon Rita and Thomas Dearmon Nancy P. Ellis Kristen and Anthony Ferate John and Sue Francis William and Kristin Frankfurt Brent Hart and Matt Thomas Linda and Ken Howell Sue Ann and Dudley Hyde Colonel (ret.) Dean and Mrs. Jeanne Jackson Margaret and Drake Keith Rob and Karen Luke Mr. and Mrs. Harrison Levy, Jr. Rob and Karen Luke Shaye and Travis Matthews John and Anna McMillin Randy and Barbe von Netzer

Silver 405 Magazine Mr. and Mrs. Clayton I. Bennett Gerald and Jane Jayroe Gamble Kirk Hammons OKC Friday Dr. Pal Randhawa Drs. Bobby and Geetika Verma

Bronze Sharon and John R. Bozalis Teresa Cooper

Mr. and Mrs. Harrison Levy, Jr. 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 Judge and Mrs. Ralph G. Thompson Britta Thrift Eddie Walker and Timothy Fields Chris and Meredith Wellss

Friend Ms. Janice B. Carmack Carole Doerner Mrs. Jeannie Drake Irma B. Elliot Dallas Gwin Dr. Carol McCoy, Ph.D. Debbie McKinney William G. Paul Sally and Jeff Starling

The Heartbeat of a Vibrant City

Shevaun Williams and Associates

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SCHEHERAZADE! April 2, 2022 8:00 P.M.

CLASSICS REI HOTODA, CONDUCTOR SANDEEP DAS, TABLA

CONCEPTS

Maestro FROM THE

Our 21/22 season, we will be taking you on a journey, from

In loving memory of my parents,

Dr. Henry and Josephine Freede

Emerging Artist Series

smaller, more intimate gems to powerhouse blockbusters. You will experience the entire musical color pallet only possible with the symphony orchestra.

AGHAEI & JACOBSEN ............... Ascending Bird * WIJERATNE .............................. Tabla Concerto * Sandeep Das, tabla

SCHEHERAZADE! In our seventh classics concert we are inviting Rei Hotoda to the podium with a wonderfully imaginative program: music from the Silk Road. Symphonic music is expressed in many ways. Tonight we will feature sounds from the Middle East, Persia and India.

Intermission

RIMSKY-KORSAKOV ............

Scheherazade, Symphonic Suite, Op. 35

Largo e maestoso—Allegro non troppo Lento—Andantino Andantino quasi allegretto Allegro molto

Alexander Mickelthwate *First Performance on this series

THIS CONCERT IS GENEROUSLY SPONSORED BY:

Text CLASSICS to 95577 to stay up to date on the latest Philharmonic info. Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, April 27 at 8 pm and Saturday, April 30 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

GUEST CONDUCTOR C

REI HOTODA Conductor Rei Hotoda has been hailed as an inexhaustible dynamo with a deep commitment to reimagining the 21st century concert experience. Her vision can be seen through her thought-provoking programming, passionate allyship to marginalized artists, advocacy for arts education, and an unwavering commitment to presenting the music of our times. Her success as the Music Director of the Fresno Philharmonic since 2017 has resulted in the extension of her tenure through the 2025 season. She has worked tirelessly to build first-time and unique connections with the Fresno community with an eye toward reaching different audiences with a new music concert series, Proxima, and special concerts at Bitwise South Stadium. She has reimagined the pre- and post-concert experience by creating the ever-popular Green Room and Stay Tuned series. Her programming continues to push through the preconceived notions of the classical concert going experience, offering audiences works by often marginalized composers and today’s leading voices in the field. Through her tireless efforts, she has successfully broken down the barriers that often exist between artist and listener and repositioned the Fresno Philharmonic as a leader in the community it serves. As a champion of today’s living composers and an artist that is dedicated to amplifying marginalized voices, Rei’s innovative programming and interdisciplinary collaborations continue to position her as a leader in the industry. Highlights of her 21/22 season include presentations of works by black, indigenous, Hispanic, and women composers, including Juan Pablo Contreras, Gabriela Lena Frank , Adolphus Hailstork , Jerod Impichchaachaaha’ Tate, George Walker and Jessie Montgomery. The world premieres of John Wineglass’ Alone/Together and Kenneth Froelich’s Melt with the Fresno Philharmonic as well as those by Derek Bermel, Cynthia Lee Wong and Judah Adashi for her debut with ROCO, punctuate her season. For her debut with the Reno Chamber Orchestra she will conduct two seminal American works and marry the worlds of dance and opera when she conducts a reimagining of Copland’s Appalachian Spring featuring contemporary dancers choreographed by Seattle-based choreographer Alexander Ung alongside Bernstein’s opera Trouble in Tahiti. Rei is also an active and critically-acclaimed keyboardist and embraces her time conducting from the piano and harpsichord. One of her many recent highlights was leading the Fresno Philharmonic from the piano in Beethoven’s monumental Triple Concerto as part of the orchestra’s Beethoven@250 and from the harpsichord in Bach’s Brandenburg Concerto No. 3 as part of their Digital Masterworks series. This season she will conduct both the Winnipeg Symphony Orchestra and the Fresno Philharmonic from the keyboard in Mozart’s Concerto for Two Pianos in E-flat major. Rei has appeared as a guest conductor with many of today’s leading ensembles, including the Symphony Orchestras of Baltimore, Chicago, St. Louis, Dallas, Detroit, Toronto, Winnipeg, Hawaii and Utah as well as the Civic Orchestra of Chicago, among others. Her interpretations of such epic centerpieces of the classical canon such as Shostakovich’s Symphony No. 8 and Britten’s War Requiem, make her one of the most sought-after conductors of today. She is a tireless advocate for the music of our time, and most recently conducted the world premieres of Kevin Day and Dinuk Wijeratne as well as works by seminal composers such as

Jerod Impichchaachaaha’ Tate, Jessie Montgomery and Hawaiian composer, Michael-Thomas Foumai to much acclaim. Rei’s unique abilities to innovate and adapt have been brought to the forefront in recent seasons due to the ongoing pandemic. Through fostering partnerships with organizations outside of the concert hall such as Valley Public and the local NPR radio station, she brought the Fresno Philharmonic to a wider audience. With the staff and musicians of the Fresno Philharmonic she kept the orchestra intimately connected to their patrons through a new YouTube series. She continued her ever-popular Stay Tuned series, producing in-depth digital conversations with composers who were featured on the season. Lastly, through impactful programming she and the orchestra produced a four-concert digital Masterworks series. Rei’s deep knowledge and remarkable versatility on and off the podium have led to several collaborations and special projects. She has worked with such ensembles and artists as tabla master Sandeep Das; pipa player Wu Man; violinists Jennifer Koh and Angelo Yu; pianists Orion Weiss, Joyce Yang and Jon Nakamatsu; clarinetist David Shifrin; cellist Johannes Moser; guitarist Pablo Villegas; ensembles such as Time for Three, Indigo Girls, and Pink Martini; singers Idina Menzel, Michael Feinstein and Ben Folds, among many others. A consummate advocate of new music with long standing relationships with many notable composers, Rei has conducted premieres by John Cage, Gene Coleman, Luc Ferrari, Dai Fujikura, and Salvatore Sciarrino and has championed and recorded compositions by female composers, including Jasmine Barnes, Vivian Fung, Jennifer Higdon, Nadia Boulanger and Missy Mazzoli. As a recording artist, Rei’s credits are wide-ranging and feature her as both conductor and piano soloist. She recorded the music of Nicole Lizée with members of the Winnipeg Symphony Orchestra on an album released in 2008 on the Centrediscs label entitled, This Will Not be Televised. Also, in 2008, Apparitions, her first recording as a solo pianist, was released by Signpost Records and featured works by Noriko Hisada, Vincent Ho, and Toru Takemitsu. Symphony Sessions was released in 2007 (Signpost Records), and featured Rei conducting the Winnipeg Symphony Orchestra in works by Juno award winner, Steve Bell. Rei is the proud recipient of several prestigious awards, including the 2006 Taki-Alsop Concordia Conducting Fellowship, created by Marin Alsop to mentor women conductors. Additionally, she has received a Peabody Career Development Grant, the Women’s Philharmonic Scholarship, and an Illinois Arts Council International Arts Exchange Grant. Her teachers and mentors include Gustav Meier, Marin Alsop, Jaap van Zweden and Thierry Fischer.

GUEST ARTIST C

SANDEEP DAS from across the US and internationally from countries such as India, China, Australia, and Canada. In 2017, DTS held the first “Das Music Camp”, which has since become an annual Indian Classical Music intensive that takes place for several days each year in the Northeastern US, and allows musicians, composers, and dancers of all skill levels and genres to learn from Das and other renowned faculty in a manner very similar to the traditional Guru-Shishya Parampara.

A 2019-20 Guggenheim Fellow, Sandeep Das is one of the leading Tabla virtuosos in the world today. Since his debut concert at the age of 17 with legendary Sitarist Pt. Ravi Shankar, Das has established himself as one of India’s top Tabla maestros, building a prolific international reputation that spans over three decades. In addition to performing at major Indian music festivals with renowned musicians such as Pt. Hariprasad Chaurasia, Pt. Shivkumar Sharma, and Ust. Amjad Ali Khan, among others, he is one of the unique Indian Classical musicians to expand beyond his traditional roots and collaborate with musicians from across the globe. Das actively performs with and composes for major symphony orchestras, string quartets, jazz musicians, world music ensembles, and many other unique groups with regularly featured concerts at Carnegie Hall, the Lincoln Center, the Hollywood Bowl, the Royal Albert Hall, and the Concertgebouw, to name a few. Das has performed at prestigious events such as the 150th annual celebration of the UNO at the General Assembly Hall in NYC, the opening ceremony of the Special Olympics in Shanghai, the opening ceremony of the 1st Asia Expo in Kunming, China, the World Economic Forum, the BBC Proms, and for visiting dignitaries such as the Queen of England, the Queen of Thailand, the Pope, and various other world leaders. His collaboration with Yo-Yo Ma and the Silk Road Ensemble (SRE) for “Sing Me Home” won the 2016 Grammy Award for Best World Music Album, and he has had two previous Grammy nominations in 2005 and 2009. In 2017, Das received the prestigious Brother Thomas Fellowship and the New England Choice Artist of the Year Award, and in 2018 he was awarded a Live Arts Boston (LAB) Grant from The Boston Foundation. Das is an active recording artist and has recorded on over 20 albums for major labels such as Sony, Virgin Records, and T-Series in many genres including Indian Classical Music, World Music, Orchestral Music, and more. Heritage Das is an exponent of the Benares Gharana (school) of Tabla, which was established in the 1700s by Pt. Ram Sahai in continuation of an Indian drumming tradition that has been passed down from Guru (teacher) to Shishya (student) for millennia. Starting at the age of 7, Das trained intensely for 12 years in the ancient “Guru-Shishya Parampara” by living with his Guru, the legendary Pt. Kishan Maharaj of Benares, India, and learning and practicing music as a way of life, rather than an isolated art form. After establishing himself as an artist and receiving the directive from his Guru, Das began teaching disciples in India the same way he had been taught– orally, without the use of books or notations. His teaching activities continued throughout his career, and he formally founded Das Tabla School (DTS) shortly after moving to the US in 2015. Today, DTS maintains an active community of disciples who learn from Das in Boston, MA, in addition to many who call in

Das’ training and life experiences provide a unique educational opportunity for students and ensembles to learn from, and he frequently gives masterclasses and residencies at schools and universities throughout the world such as Dartmouth, Brandeis, UC Santa Barbara, UC Santa Clara, College of the Holy Cross, Juilliard School of Music, Berklee College of Music, and UC British Columbia. He has also taught at the annual Arts and Passion Driven Learning Institute at the Harvard Graduate School of Education for the past 8 years, and has been a keynote speaker or invited speaker at other prestigious events such the New York Encounter, the annual E.G. Conference in California, the Abu Dhabi Cultural Summit in the United Arab Emirates, the Smithsonian National Museum of Asian Art’s Asian Cultural Heritage Month, and the United States Citizenship Naturalization Ceremony at Faneuil Hall, Boston, MA. Compositions Das has composed several pieces combining both percussion and melody. Two of his most recent compositions, Vaishnavi (original composition) and Vairocana (co-composition with Sheng player Wu Tong), were commissioned by the Smithsonian National Museum of Asian Art and can be heard on display near the statue of Queen Sembiyan Mahadevi in the museum gallery. Soul Mitra was made possible by a Live Arts Boston grant from the Boston Foundation and recently premiered at California Institute of the Arts and in Boston, and King Ashoka (2016) was premiered at UC Santa Barbara by Yo-Yo Ma and the SRE and subsequently toured in Asia. Tarang was chosen as the theme music for “Blind Sight,” a documentary about the first Everest climb by six blind climbers, and Mohini became the theme music for the Japanese TV channel NHK’s 10-episode documentary on the Silk Road. Srishti, a percussive rich composition, has been toured extensively worldwide, and in 2008 it was performed at the United Nations General Assembly Hall for the annual United Nations Day Concert. Harmony and Universality through Music (HUM Ensemble) Founded by Das in 2009, HUM’s mission is two-fold: to promote global understanding through performance and education, and to provide learning opportunities and scholarships for specially-abled children with potential in any genre of art to empower them to lead self-reliant lives. Since its inception, HUM has grown in size and now supports nine specially-abled children through a National Scholarship, the first of its kind in India. The HUM Ensemble is the branch of HUM that creates and tours World Music in innovative combinations and instrumentations. Its debut concert took place in New Delhi, and by popular demand it continued performing throughout India in major cities such as Mumbai, Kolkata, and Chennai. The ensemble has since expanded to a global scale, performing at venues like the Europalia Festival in Brussels, Cal Performances in Berkeley, California, and other venues throughout the US, in addition to regular invitations for residencies and masterclasses by major universities.

PROGRAM NOTES

Ascending Bird Aghaei & Jacobsen First Performance on this Series In the summer of 2004, I had the opportunity to visit Iran, the home of Siamak Aghaei and Kayhan Kalhor, musicians and friends who I met through Yo-Yo Ma’s Silk Road Project. The visit was a cultural exchange made possible by Silkroad and was to prove a life-changing experience. Besides learning more about traditional Persian architecture, calligraphy, arts and crafts and their close links to Persian music, I spent many hours in the homes of both Kayhan and Siamak listening to them play and talk about the philosophy behind their music. Siamak is a bit of a modern-day Bartok in that he travels around Iran making field recordings of folk musicians from the many and varied traditions represented by the different regions of Iran. He dusted off one such recording and the sound that emerged from the speakers gave me a form of vertigo. My ears were held to attention by the sound of an incredibly potent and piercing instrument, which Siamak told me was made out of the fused bones of a bird and measured little more than two inches in length. The music also encoded a popular mythical story of a bird attempting to fly to the sun. Failing on the first two attempts, on the third try the bird loses its physical body in the radiant embrace of the sun, a metaphor for spiritual transcendence. What emerged from this experience was Ascending Bird- comprised of Siamak’s reinterpretation of the traditional tune to which I added further textural layers and combined with an original introduction and coda. My first orchestration of this tune was for string quartet (Brooklyn Rider) and I subsequently made versions for string and full orchestra. Notes written by Colin Jacobsen

Colin Jacobsen

Photo by Erin Baiano

Tabla Concerto Wijeratne First Performance on this Series Composer’s original program note: 1. Canons, Circles 2. Folk song: ‘White in the moon the long road lies (that leads me from my love)’ 3. Garland of Gems While the origins of the Tabla are somewhat obscure, it is evident that this ‘king’ of Indian percussion instruments has achieved global popularity for the richness of its timbre, and for the virtuosity of a rhythmically complex repertoire that cannot be separated from the instrument itself. In writing a large-scale work for Tabla and Symphony Orchestra, it is my hope to allow each entity to preserve its own aesthetic. Perhaps, at the same time, the stage will be set for some new discoveries.

Siamak Aghaei

While steeped in tradition, the Tabla lends itself heartily to innovation, and has shown its cultural versatility as an increasingly sought-after instrument in contemporary Western contexts such as Pop, Film Music, and World Music Fusion. This notion led me to conceive of an opening movement that would do the not-so-obvious by placing the Tabla first in a decidedly non-Indian context. Here, initiated by a quasi-Baroque canon in four parts, the music quickly turns into an evocation of one my favourite genres of electronic music: ‘Drum-&-Bass’, characterised by rapid ‘breakbeat’ rhythms in the percussion. Of course, there are some North-Indian Classical musical elements present.

PROGRAM NOTES The whole makes for a rather bizarre stew that reflects globalisation, for better or worse! A brief second movement becomes a short respite from the energy of the outer movements, and offers a perspective of the Tabla as accompanist in the lyrical world of Indian folk-song. Set in ‘dheepchandhi’, a rhythmic cycle of 14 beats, the gently lilting gait of the Tabla rhythm supports various melodic fragments that come together to form an ephemeral love-song. Typically, a Tabla player concluding a solo recital would do so by presenting a sequence of short, fixed (nonimprovised) compositions from his/her repertoire. Each mini-composition, multi-faceted as a little gem, would often be presented first in the form of a vocal recitation. The traditional accompaniment would consist of a drone as well as a looping melody outlining the time cycle – a ‘nagma’ – against which the soloist would weave rhythmically intricate patterns of tension and release. I wanted to offer my own take on such a recital finale, with the caveat that the orchestra is no bystander. In this movement, it is spurred on by the soloist to share in some of the rhythmic complexity. The whole movement is set in ‘teentaal’, or 16-beat cycle, and in another departure from the traditional norm, my nagma kaleidoscopically changes colour from start to finish. I am indebted to Ed Hanley for helping me choose several ‘gems’ from the Tabla repertoire, although we have certainly had our own fun in tweaking a few, not to mention composing a couple from scratch.

Scheherazade, Symphonic Suite, Op. 35 Rimsky-Korsakov (1844-1908) First Performance: 3/23/1948 Conductor: Victor Alessandro Last Performance: 4/5/2014 Conductor: Joel Levine Nicolai Andreievich Rimsky-Korsakov Born: March 6 (old style)/18 (new style), 1844, in Tikhvin, near Novgorod, Russia Died: June 8/21, 1908, in Lyubensk, Russia Work composed: Summer 1888; the four movements were completed, respectively, on July 4/16, July 11/23, July 16/28, and July 26/August 7, 1888 Work premiered: October 22/November 3, 1888, with the composer conducting at a Russian Symphony Concert at the Club of Nobility, St. Petersburg Instrumentation: Two flutes and piccolo (second flute also doubling piccolo), two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, cymbals, snare drum, bass drum, tambourine, tam-tam, harp, and strings

The name of Nikolai Rimsky-Korsakov is cemented to those of his colleagues Mili Balakirev, Alexander Borodin, César Cui, and Modest Musorgsky; together, they make up the “Russian Five” (or “Mighty Handful”), who represent the pinnacle of Russian nationalism in the later 19th century. An ardent proponent of his compatriots’ music, Rimsky-Korsakov went so far as to arrange, complete, or otherwise emend numerous works by Musorgsky and to finish notable operas that were left incomplete by their composers, including Dargomizhsky’s The Stone Guest and Borodin’s Prince Igor. The completion of the latter occupied Rimsky-Korsakov (aided by his friend Glazunov) during the winter of 1887-88, and it is easy to imagine the evocative flavor of Central Asian music that permeates Borodin’s score getting Rimsky-Korsakov’s imagination pointed in a similar direction. CONTINUED ON PAGE 36

PROGRAM NOTES

The idea of composing Scheherazade sprung up in his mind in that winter of 1887-88, but the actual composition waited until his summer vacation a few months later. An opera is by its nature programmatic; the balance between exterior (programmatic) and interior (strictly musical) narrative in a symphonic work is a more delicate matter. Once RimskyKorsakov settled on The Arabian Nights tale of Scheherazade as the basis for his new orchestral piece, he pondered how much plot he wanted to inject in it. The prose introduction Rimsky-Korsakov attached to his score, once it was complete, clarifies that the suite has clear literary implications but does not in itself suggest the specific events that are depicted in tones: The Sultan Shahriar, convinced of the duplicity and infidelity of all women, vowed to slay each of his wives after the first night. The Sultana Scheherazade, however, saved her life by the expedient of recounting to the Sultan a succession of tales over a period of one thousand and one nights. Overcome by curiosity, the monarch postponed the execution of his wife from day to day, and ended by renouncing his sanguinary resolution altogether. Many were the marvels recounted to Shahriar by Scheherazade. For the telling of these things she drew from the verses of the poets and the words of folk songs and tales, connecting her stories one with the other. In his memoirs, Rimsky-Korsakov provides further details about the genesis of this work. “Originally,” he says, “I had even intended to label Movement I of Scheherazade Prelude; II, Ballade; III, Adagio; and IV, Finale; but on the advice of Liadov and others I had not done so. My aversion for seeking too definite a program in my composition led me subsequently (in the new edition) to do away with even those hints of it which had lain in the headings of each movement, like ‘The Sea,’ ‘Sinbad’s Ship,’ ‘The Kalendar’s Narrative,’ and so forth.” To expand on his point, in the original edition the four movements were explicitly titled “The Sea and Sinbad’s Ship,” “The Story of the Kalendar Prince,” “The Young Prince and the Young Princess,” and “Festival at Bagdad—The Sea—The Ship Breaks up on a Rock Surmounted by a Bronze Warrior— Conclusion.” Often the piece is purveyed in that fashion, but we adhere to Rimsky-Korsakov’s revised thoughts on the matter and label the movements simply by their tempos and characters. He continued: “In composing Scheherazade I meant these hints to direct but slightly the hearer’s fancy on the path which my own fancy had traveled, and to leave more minute and particular conceptions to the will and mood of each. All I had desired was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond doubt an Oriental narrative of some numerous and varied fairy-tale wonders and not merely four pieces played one after the other and composed on the basis of

Listen For The four movements of Scheherazade are unified through the recurrence of two overriding musical motifs, representing the Sultan and Scheherazade. These two principal characters are introduced at the outset of the opening movement in a sort of “rolling of the credits” that covers a mere 17 measures. The motif for the brutally powerful Sultan is sounded in the low brasses and woodwinds, doubled by strings, while Scheherazade is depicted by undulating phrases, most often given to the solo violin. Wrote the composer: “The unifying thread consisted of the brief introductions to the first, second, and fourth movements and the intermezzo in movement three, written for violin solo and delineating Scheherazade herself as she tells her wondrous tales to the stern Sultan. The final conclusion of the fourth movement serves the same artistic purpose.” As the closing pages approach, we are prepared for a slam-bang conclusion, but in the end Rimsky-Korsakov reminds us that we are merely sampling a nearly endless sequence of tales. So it is that his symphonic suite ends gently and seductively, with the solo violin—Scheherazade herself— getting the last word. —JMK

themes common to all the four movements. … [The name Scheherazade] and the title The Arabian Nights connote in everybody’s mind the East and fairy-tale wonders; besides, certain details of the musical exposition hint at the fact that all of these are various tales of some one person (who happens to be Scheherazade) entertaining therewith her stern husband.” —James M. Keller

JAMES M. KELLER 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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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

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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.