OKC PHIL program magazine 2015-2016 Edition 1 by OKC Phil Program Magazine

2 0 1 5 -2 0 1 6 S E A S O N

OKC photo courtesy of Rick Buchanan Photography

EMANUEL AX, PIANO September 12, 2015 pg. 25

AUGUSTIN HADELICH, VIOLIN October 17, 2015 pg. 33

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THE MUSIC OF THE EAGLES November 13-14, 2015 pg. 41

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JOSHUA ROMAN, CELLO November 21, 2015 pg. 45

WELCOME

T W E N T Y - S E V E N T H

S E A S O N

RENATE WIGGIN, President Oklahoma Philharmonic Society, Inc. Welcome! As we enter the Philharmonic’s 27th season, we look forward to another exciting program Maestro Joel Levine has prepared for both the Classics and Pops series. Small wonder there is so much enthusiasm and dedication among the musicians, staff and volunteers. I am therefore truly honored to serve the Board of Directors this year. Excellence, relevance and fiscal responsibility are the Phil’s core values and we hope this season will in every way exemplify them. What you experience on stage today represents only part of the Phil’s activities. Our outreach program centers on introducing the importance of music to children in the public school classrooms and the Discovery Concert Series aimed at younger audiences but attended by all age groups. We could not accomplish any of this without the generosity and loyalty of our patrons, donors, the Associate Board and the Orchestra League. Please know how grateful we are to each and every one of you. As audience members and donors you are vital to the Philharmonic’s health and success as one of the crown jewels of Oklahoma City’s cultural life. Now sit back, relax, and enjoy your evening with the Philharmonic.

JULIA HUNT, President Oklahoma City Orchestra League, Inc. As the Oklahoma City Philharmonic begins its 27th concert season, the Oklahoma City Orchestra League is proud of the part it plays in the cultural legacy provided to our community by this outstanding orchestra! Through our partnership with the Phil, the League brings a variety of educational programs to Oklahoma City’s children and adults as well as state wide instrumental competitions. The League’s Symphony Show House is the crown jewel of the spring season in Oklahoma City. Funds generated by the Symphony Show House represent the largest portion of our annual gift to the Phil. The OCOL is proud to announce that a new and exciting annual event will premier in October. The Maestro’s Ball promises to be an unforgettable evening with pre-concert dining and entertainment and following the concert, a lavish party of dancing and more entertainment surprises! On behalf of the Orchestra League, I’d like to express gratitude to Maestro Joel Levine and the outstanding musicians who bring the gift of music to us each season!

JENNI FOSBENNER, President Associate Board Welcome to the 27th season of the Oklahoma City Philharmonic. It is an honor and privilege to serve as the President of the Philharmonic’s Associate Board. The Associate Board is looking forward to bringing the orchestra to the next generation thru Overture. We are excited to join familiar faces and new ones as we enjoy an unforgettable line-up of concerts, pre- and post-show parties, volunteer opportunities and special networking events. The Philharmonic is one of the many things that makes this community great. I hope you enjoy this evening’s concert and are inspired by the incredible performance of the Philharmonic. Join us for the opportunity to meet new people and expand your appreciation of orchestral music. You won’t be disappointed!

www.okcphilharmonic.org

MUSIC DIRECTOR

T W E N T Y - S E V E N T H

S E A S O N

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

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

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

E. L. & THELMA GAYLORD FOUNDATION PRESENTS

SUNDAY, NOVEMBER 22, 2015 This concert features familiar music from Native inspirations to Western trail rides and more. Come dressed in your favorite western wear!

SUNDAY, FEBRUARY 21, 2016 In addition to orchestral arrangements, this concert features the evolution of the African American influence in America, including Blues, Jazz, Gospel and rap. Join us for a celebration of this uniquely American Music!

SUNDAY, APRIL 3, 2016 A classic for all generations, get to know all the sounds of the instruments in the orchestra as you follow the story of Peter and the Wolf, plus a few surprises with other forest friends, that are sure to please. www.okcphilharmonic.org

Shiloh Morning Inn Bed & Breakfast

A Romantic Country Getaway www.shilohmorning.com 2179 Ponderosa Rd • Ardmore, OK 73401

888-554-7674

OKLAHOMA PHILHARMONIC SOCIETY, INC.

P R O V I D I N G

I N S P I R A T I O N

A N D

J O Y

T H R O U G H

O R C H E S T R A L

M U S I C .

THE BOARD OF DIRECTORS Officers

Lifetime Directors

Renate Wiggin President

Jane B. Harlow Patrick Alexander

Debbie Fleming President Elect

Directors

Teresa Cooper Vice President Louise Churchill Treasurer Gary Allison Secretary John Higginbotham Immediate Past President

Steve Agee Zonia Armstrong Edward Barth Cathy Busey Elliot Chambers Robert Clements Joseph Fleckinger Jenni Fosbenner Ryan Free Kirk Hammons Brent Hart Patricia Horn Dr. Sonja Hughes

Julia Hunt Michael E. Joseph Kathy Kerr Brad Krieger David McLaughlin Becky Ross Roten Melissa Scaramucci John Shelton Jeff Starling Doug Stussi Glenna Tanenbaum Donita Thomas Cheryl Brashear White

Honorary Directors Josephine Freede Mary Nichols Dick Sias

ADMINISTRATIVE STAFF Michelle Ganson Education Director

Janie Keith Subscriber Service Specialist

Judy Smedley Administrative Assistant

Pam Glyckherr Development Director

Simone Laday Customer Service

Chris Stinchcomb Concert Operations and P.R. Coordinator

Daniel Hardt Finance Director

Kris Markes General Manager

Eddie Walker Executive Director

Stephen Howard Database/Records Manager

Jennifer Owens Annual Fund Manager

Susan Webb Marketing & P.R. Director

Reynolds Ford Ryan Audio Services, LLC. The Skirvin Hotel

Stubble Creative Inc. Tuxedo Junction

ACKNOWLEDGEMENTS Classical KUCO 90.1 Garman Productions Heritage Press

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

OKLAHOMA CITY ORCHESTRA LEAGUE, INC. EXECUTIVE COMMITTEE Julia Hunt Polly Worthington President Programs VP

Lisa Reed OCOL Executive Director, Ex-Officio

Cinda Lafferty Rachael Geiger Governance VP & Secretary Membership VP

Eddie Walker Executive Director, Oklahoma City Philharmonic (Ex-Officio, Advisory)

Judy Moore Yvette Fleckinger Financial VP & Treasurer Ways & Means VP Deanna Pendleton Past President & Chairman, Ex-Officio

BOARD OF DIRECTORS Sarah Sagran Budget & Finance Chair Carol McCoy Competitions Chair Linda Rowland-Woody Education Chair

Judy Austin Randy Buttram Jean Hartsuck Cheryl Hudak Penny McCaleb Debbie Minter Mike Palmer

Pat Sholar Sam Sims Glenna Tanenbaum Wendi Wilson

Iva Fleck Priscilla Braun Susan Robinson Minna Hall Yvette Fleckinger June Parry Jean Hartsuck Grace Ryan Judy Austin LaDonna Meinders Dixie Jensen Lois Salmeron

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

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

ORCHESTRA LEAGUE OFFICE 3815 N. Santa Fe Ave., Ste. 105 • Oklahoma City, Oklahoma 73118 • Phone: 405-601-4245 • Fax: 405-601-4278 Hours: 10 a.m. to 3 p.m. • E-mail: orchleag@coxinet.net • Website: www.okcorchestraleague.org

THE ORCHESTRA

T W E N T Y - S E V E N T H

S E A S O N

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

FIRST VIOLIN

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

SECOND VIOLIN

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

VIOLA

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

CELLO

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

BASS

George Speed, Principal Anthony Stoops, Co-Principal Larry Moore Parvin Smith Mark Osborn Jesus Villarreal Christine Craddock Kara Koehn

FLUTE

Valerie Watts, Principal Parthena Owens Nancy Stizza-Ortega

PICCOLO

Nancy Stizza-Ortega

OBOE

Lisa Harvey-Reed, Principal Dan Schwartz Katherine McLemore

ENGLISH HORN Dan Schwartz

CLARINET

BASSOON

Rod Ackmann, Principal James Brewer Barre Griffith Larry Reed

CONTRABASSOON Barre Griffith

HORN

Kate Pritchett, Principal G. Rainey Williams Chair Nancy Halliday Ben Korzelius Frank Goforth

TRUMPET

Karl Sievers, Principal Jay Wilkinson Michael Anderson

TROMBONE

John Allen, Principal Philip Martinson Noel Seals, Bass Trombone

TUBA

Ted Cox, Principal

PERCUSSION

David Steffens, Principal Stuart Langsam Roger Owens

TIMPANI

Lance Drege, Principal

HARP

Gaye LeBlanc, Principal

Bradford Behn, Principal Tara Heitz James Meiller

PIANO

BASS/E-FLAT CLARINET

PERSONNEL MANAGER/LIBRARIAN

James Meiller

Peggy Payne, Principal Michael Helt

PRODUCTION MANAGER Leroy Newman

PLANNED GIVING

NCORE SOCIETY

O F

T H E

O K L A H O M A

P H I L H A R M O N I C

S O C I E T Y ,

I N C .

The Oklahoma Philharmonic Society, Inc. is honored to recognize its Encore Society members â&#x20AC;&#x201D; visionary thinkers who have provided for the future of the Oklahoma City Philharmonic through their estate plans.

Anonymous (3)

Joel Levine

Steven C. Agee, Ph.D.

John and Caroline Linehan

Mr. and Mrs. Patrick B. Alexander

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

Gary and Jan Allison

Mrs. Jackie Marron

Dr. Jay Jacquelyn Bass

Mr. and Mrs. John McCaleb

Mr. and Mrs. Robert H. Clements

R.M. (Mickey) McVay

Thomas and Rita Dearmon

Robert B. Milsten

Dr. and Mrs. James D. Dixson

W. Cheryl Moore

Paul Fleming

Carl Andrew Rath

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

Mrs. Martha V. Williams

Dr. and Mrs. James Hartsuck

Mr. John S. Williams

Mr. and Mrs. Michael E. Joseph

Mr. and Mrs. Don T. Zachritz

THANK YOU The Oklahoma Philharmonic Society, Inc. is grateful for the support of caring patrons who want to pass on a legacy of extraordinary music to future generations. You can join this special group of music enthusiasts by including a gift for the OKC Philharmonicâ&#x20AC;&#x2122;s future in your own will or estate plan. For more information on how to become an Encore Society member, contact the Development Office at (405) 231-0146 or pam@okcphilharmonic.org.

NICHOLS HILLS PLAZA 63RD & N. WESTERN RMEYERSOKC.COM

405.842.1478

GIFTS TO THE PHILHARMONIC The Oklahoma City Philharmonic Orchestra gratefully acknowledges the commitment and generosity of individuals, corporations, foundations, and government agencies that support our mission. To help us provide inspiration and joy to the community through performances and education programs, please contact the Philharmonic’s Development Office at (405) 232-7575. This Annual Fund recognition reflects the seasons of 2014-2015 and 2015-2016. Contributions of $100 and above are listed through August 7, 2015. If your name has been misspelled or omitted, please accept our apologies and inform us of the error by calling the phone number listed above. Thank you for your generous support!

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

UNDERWRITER $40,000 & Above Allied Arts Foundation Anschutz Family Foundation/ The Oklahoman Media Group The Chickasaw Nation Devon Energy Corporation Inasmuch Foundation Kirkpatrick Foundation Inc. Oklahoma Arts Council Oklahoma City Orchestra League, Inc. The Oklahoman The Skirvin Hilton Hotel

PLATINUM SPONSORS $10,000 - $39,999 Access Midstream Partner Ad Astra Foundation American Energy Partners American Fidelity BancFirst Bank of Oklahoma The Boeing Company Chesapeake Energy Corporation E.L. and Thelma Gaylord Foundation Express Employment Professionals HSPG and Associates, PC Love’s Travel Stops & Country Stores Mathis Brothers Furniture Co., Inc. MidFirst Bank OGE Energy Corp. Presbyterian Health Foundation SandRidge Energy Slice Magazine

Tri-State Industrial Group, LLC Tyler Media Co./Magic 104.1FM and KOMA W&W Steel, LLC Williams Companies Wilshire Charitable Foundation

GOLD SPONSORS $5,000 - $9,999 McGladrey, LLP The Crawley Family Foundation Garman Productions ITC Holdings Corp Mekusukey Oil Company, LLC The Metro Restaurant

SILVER SPONSORS $3,000 - $4,999 Clements Foods Foundation Gordon P. and Ann G. Getty Foundation Great Plains Coca-Cola Bottling Company OK Gazette Target Stores The Friday Torchmark Benevolent Foundation US Fleet Tracking

BRONZE SPONSORS $1,750 - $2,999 Anthony Flooring Systems Inc. The Black Chronicle Globe Life and Accident Insurance

MATCHING GIFT COMPANIES AND FOUNDATIONS Double the impact of an individual’s gift. American Fidelity Corporation Bank of America Matching Gifts Program Ethics and Excellence in Journalism Foundation

ExxonMobil Foundation Inasmuch Foundation

Oklahoma Allergy & Asthma Clinic Paycom Testers, Inc. Wells Fargo

GOLD PARTNERS $1,250 - $1,749 Flips Restaurant, Inc. Norick Investment Company Oklahoma Natural Gas RealTime Layout Solutions, LLP

SILVER PARTNERS $750 - $1,249 Charles M. Zeeck, CPM Garvin County News-Star M-D Building Products, Inc.

BRONZE PARTNERS $300 - $749 Armstrong International Cultural Foundation Junior League of Oklahoma City

BUSINESS MEMBERS $100 - $299

Bright Music Chamber Ensemble Casady School Journey House Travel, Inc. Ledbetter Insurance Agency, Inc.

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

GIFTS TO THE PHILHARMONIC MAESTRO SOCIETY Providing leadership support.

MAESTRO SOCIETY

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

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

INDIVIDUALS Providing essential support for the Annual Fund. Patron $3,000 - $4,999 Mr. and Mrs. Lawrence Davis Mrs. Carlene Edwards Mrs. Bonnie B. Hefner Mr. and Mrs. Michael E. Joseph Mrs. Donna W. Miller Mrs. Ruby C. Petty Lance and Cindy Ruffel Mrs. Kathleen Weidley Mr. and Mrs. Richard Young

Sustainer $1,750 - $2,999 Dr. and Mrs. Dewayne Andrews Mr. J. Edward Barth Dr. and Mrs. Philip C. Bird Dr. and Mrs. L. Joe Bradley Mr. and Mrs. Russal Brawley Dr. and Mrs. Robert C. Brown Phil and Cathy Busey Bill and Louise Churchill Mrs. Teresa Cooper Mr. Thomas Davis Mr. and Mrs. David C. DeLana Mrs. Patty Empie Mr. and Mrs. George Faulk

Mr. and Mrs. Joseph M. Fleckinger Paul and Debbie Fleming Mrs. Linda Gardner Mr. and Mrs. George Gibson Mr. and Mrs. Carey Don Goad Mr. G. Curtis Harris Dr. and Mrs. James M. Hartsuck Mrs. Janice Singer Jankowsky and Mr. Joseph S. Jankowsky Tom and Cindy Janssen Mr. and Mrs. W. A. Joseph Mr. and Mrs. James T. Kerr, III Mr. and Mrs. Harrison Levy, Jr. Dr. and Mrs. Patrick McKee Mr. and Mrs. Herman Meinders Mr. Robert B. Milsten Ms. Annie Moreau Mr. J. Edward Oliver Mr. and Mrs. William G. Paul Dr. Joseph H. Phillips Mr. and Mrs. Jerry W. Plant Dr. Gary Porter and Dr. Mary Elizabeth Porter Mr. and Mrs. Ray H. Potts Mr. Joshua Powell Mr. and Mrs. Robert Prescott Susan and Steve Raybourn Mrs. Don Rhinehart Mr. and Mrs. William J. Ross

Mr. Donald Rowlett Mr. and Mrs. Patrick J. Ryan Drs. Lois and John Salmeron Mr. and Mrs. Samuel Sanchez Mrs. Sally B. Saunders Ms. Jeanne Hoffman Smith Ms. Jane Smythe Mr. and Mrs. John E. Stonecipher Mr. & Mrs. Frederick K. Thompson William P. Tunell, M.D. Mr. and Mrs. James P. Walker Ron and Janie Walker Mr. and Mrs. John Waller Mr. Tom L. Ward Mrs. Martha V. Williams

Associate $1,250 - $1,749 Mrs. Mary Louise Adams Mrs. Ann Simmons Alspaugh Mr. Barry Anderson Dr. and Mrs. John C. Andrus Dr. and Mrs. William L. Beasley Dr. John E. Beavers Mr. and Mrs. William Beck Mr. and Mrs. Robert M. Benham Mr. Howard K. Berry, Jr. and Denise Berry Ms. Pamela Bloustine CONTINUED ON PAGE 53

GALA OPENING NIGHT September 12, 2015 8:00 P.M.

CONCERT PREVIEW SCHEDULE

CLASSICS EMANUEL AX, PIANO JOEL LEVINE, CONDUCTOR

SEPTEMBER 12, 2015:: Dr. Ted Honea, Professor of Music History at the University of Central Oklahoma, Academic Coordinator and co-founder of the Center for Historical Performance OCTOBER 17, 2015:: Gregory Lee, Concertmaster, OKC Philharmonic, and Associate Professor of Violin, University of Oklahoma NOVEMBER 21, 2015:: Q & A with Joshua Roman, Cello and Jonathan Ruck, Principal Cello, OKC Philharmonic JANUARY 9, 2016:: Q & A with Stephen Hough, Piano and Peggy Payne, Principal Piano, OKC Philharmonic

NELSON ........................ Savannah River Holiday

STRAVINSKY ................. The Firebird Suite (1919)

I. The Firebird and its Dance; Variation of the Firebird II. Dance of the Princesses (Khorovod) III. Infernal Dance of King Kashchei IV. Lullaby V. Finale

INTERMISSION

FEBRUARY 6, 2016:: Robert Moody, Music Director, Portland Symphony Orchestra, and Andrea Segar, Violin MARCH 5, 2016:: Jon Nakamatsu, Piano APRIL 2, 2016::

BRAHMS ....................... Piano Concerto No. 2 in B-flat major, Op. 83

Allegro non troppo Allegro appassionato Andante Allegretto grazioso

Emanuel Ax, piano

Judith Willoughby, Professor of Conducting and Choral Music Education, Oklahoma City University, and Artistic Director, Canterbury Youth Choruses MAY 14, 2016::

THIS CONCERT IS GENEROUSLY SPONSORED BY:

Joel Levine, Music Director, OKC Philharmonic

Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, October 14 at 8 pm and Saturday, October 17 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

GUEST ARTIST C

EMANUEL AX Born in Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. His studies at the Juilliard School were supported by the sponsorship of the Epstein Scholarship Program of the Boys Clubs of America, and he subsequently won the Young Concert Artists Award. Additionally, he attended Columbia University where he majored in French. Mr. Ax captured public attention in 1974 when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists followed four years later by the coveted Avery Fisher Prize. Three prominent duo collaborations will be carried through Mr. Ax’s current season. Beginning with the release of sonatas by Fauré and Strauss on the Deutsche Grammophon label, Mr. Ax will partner with long-time friend and colleague Itzhak Perlman for concerts in Kansas City, Ravinia, Dallas, Washington, Los Angeles, San Francisco, Santa Barbara and La Jolla in the first half of the season. A return visit to Japan will be followed by concerts in Paris, Berlin, Rome, Tel Aviv and Amsterdam. As an annual guest with the New York Philharmonic he will play Brahms with Alan Gilbert in addition to return visits to orchestras in Houston, Chicago, and Pittsburgh as well as duos in Philadelphia and New York with violinist Pamela Frank in a program of Mozart sonatas. Long-standing partner Yo-Yo Ma will join him in Norfolk, VA, Washington, DC and Carnegie Hall where they will program all the Beethoven sonatas for cello and piano. Solo recitals in Tokyo, Arizona, Florida, Texas and Boston will culminate in Carnegie Hall as part of the hall’s 125th anniversary celebrations in May. Two projects were featured in the second half of the 2014-15 season for Mr. Ax, the first being a two week “Celebrate the Piano” festival with the Toronto Symphony that he curated, which encompassed performances by multiple pianists, including Mr. Ax, exploring the many facets of the piano. The second was a European tour with the Philadelphia Orchestra and Yannick Nézet-Séguin that began with a joint appearance in Carnegie Hall. Throughout the season he returned to the orchestras of New York, Los Angeles, San Francisco, Boston, Cincinnati, Dallas, Washington, Nashville, Atlanta, St. Louis, Montreal and Ottawa. Recitals took him to Vancouver,

San Francisco and the mid-west ending in Lincoln Center’s Tully Hall. In Europe, he returned to the Berlin Philharmonic followed by a tour to Vienna, Salzburg, Graz and London performing Winterreise with Simon Keenlyside as well as both Brahms Concerti in Amsterdam and Paris with the Chamber Orchestra of Europe under Sir Bernard Haitink. Other European orchestras last season featured the London Symphony, Czech Philharmonic, Tonhalle Zurich and the National Orchestras of Toulouse and Lyon. A Sony Classical exclusive recording artist since 1987, recent releases include Mendelssohn Trios with Yo-Yo- Ma and Itzhak Perlman, Strauss’s Enoch Arden narrated by Patrick Stewart, and discs of two-piano music by Brahms and Rachmaninoff with Yefim Bronfman. Mr. Ax has received Grammy® Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of Grammy-winning recordings with cellist Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano. His other recordings include the concertos of Liszt and Schoenberg, three solo Brahms albums, an album of tangos by Astor Piazzolla, and the premiere recording of John Adams’s Century Rolls with the Cleveland Orchestra for Nonesuch. In the 2004-05 season Mr. Ax also contributed to an International Emmy® Award-winning BBC documentary commemorating the Holocaust that aired on the 60th anniversary of the liberation of Auschwitz. In 2013, Mr. Ax’s recording Variations received the Echo Klassik Award for Solo Recording of the Year (19th century music)/Piano. In recent years, Mr. Ax has turned his attention toward the music of 20th-century composers, premiering works by John Adams, Christopher Rouse, Krzysztof Penderecki, Bright Sheng, and Melinda Wagner. Mr. Ax is also devoted to chamber music and has worked regularly with such artists as Young Uck Kim, Cho-Liang Lin, Mr. Ma, Edgar Meyer, Peter Serkin, Jaime Laredo, and the late Isaac Stern. Mr. Ax resides in New York City with his wife, pianist Yoko Nozaki. They have two children together, Joseph and Sarah. He is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Yale and Columbia Universities.

Savannah River Holiday Ron Nelson Single performance: 2/8/2003 Conductor: Joel Levine Born: December 14, 1929, in Joliet, Illinois Currently residing: in Scottsdale, Arizona Work composed: 1952 Work premiered: March 16, 1953, on NBC Radio; its first public concert performance was later in 1953, at the Founder’s Day Concert of the 23rd American Music Festival in Rochester, New York. Instrumentation: Two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, and strings

PROGRAM NOTES I

of his pieces from the 1950s display what we may hear as a cinematic vocabulary. His aspirations evolved from there, however, and his compositions of ensuing decades tend along two other lines: works reflecting an “urban American sound” descended from, say, Aaron Copland or Roy Harris, and neo-Baroque pieces that employ structures or musical gestures of earlier centuries. Although he has composed in many genres, Nelson became most famous for his works for concert band or wind ensemble. In 1993, his Passacaglia (Homage on B-A-C-H) was awarded all three major competitions for new wind-ensemble pieces—the National Association Prize, the American Bandmasters Association Ostwald Prize, and the Sudler International Prize. The following year he was recognized with the Medal of Honor of the John Philip Sousa Foundation. In 2006, he was awarded an honorary doctorate from Oklahoma City University. A series of “holiday” compositions span his career, beginning with Savannah River Holiday in 1952. Ensuing musical voyages yielded such works as Rocky Point Holiday, Pebble Beach Sojourn, and Sonoran Desert Holiday. The composer spoke of this orchestral overture in a 1997 interview with music journalist Bruce Duffie:

Ron Nelson studied piano as a child and took his first steps toward a musical profession as a church organist. He received a triple-play of academic degrees from the Eastman School of Music at the University of Rochester: a Bachelor of Music in 1952, a Master of Music in 1953, and a Doctorate of Musical Arts in 1957. His teachers there included Howard Hanson, Bernard Rogers, Louis Mennini, and Harold Barlow. Along the way, a Fulbright grant afforded him the opportunity to pursue advanced studies at the Ecole Normale de Musique in Paris (with composer Tony Aubin) as well as at the Paris Conservatoire. He joined the faculty of Brown University in 1956 and remained a fixture at that school for 37 years until his retirement in 1993. In 1990-91, he also held the Acuff Chair of Excellence in the Creative Arts at Austin Peay State University in Clarksville, Tennessee. Early in his career, Nelson imagined he would devote himself to film scores, following the path of his teachers Rogers and Aubin (not to mention a film-composer cousin). Quite a few

There’s a piece that I wrote when I was a senior at Eastman called Savannah River Holiday. Howard Hanson recorded it back in the days when there were Mercury Living Presence records. The piece had many reincarnations and releases, and then it came out on CD. It was picked up by Leonard Slatkin and then by Keith Lockhart of the Boston Pops. Keith included it in the new Boston Pops recording called American Visions. So that piece, an orchestra piece, had been transcribed for band and had its own life that way. It’s always existed as its original for orchestra, but that’s becoming popular now—after all these years, my golden oldie!

Savannah River Holiday is cast as an orchestral overture in three sections—Allegro vivace to open and close, surrounding a more elegiac center marked Adagio plaintive. The two fast sections are quite boisterous indeed, a character that might seem incongruous to the nature of the Savannah River, which meanders without much drama as it traces the border between South Carolina and Georgia. The mystery was solved in an explanatory note Nelson appended when he created the concert-band transcription of this orchestral overture. The piece, he explained, was inspired not by the river directly, but rather by the mood Erskine Caldwell spun in a short story titled Savannah River Payday, a tale that focuses on the often brutal exploits of two employees of a Savannah River sawmill workers who live by the dictum one of them articulates: “I don’t work all week and let payday git by without tankin’ up good and plenty.”

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

Suite from The Firebird (1919 Version) Igor Stravinsky First performance: 1/25/1940 Conductor: Victor Alessandro Last Performance: 5/14/1990 Conductor: Joel Levine Born: June 5 (old style)/17 (new style), 1882, in Oranienbaum, now Lomonosov, near St. Petersburg, Russia Died: April 6, 1971, in New York City Work composed: From November 1909 to May 18, 1910; the concert suite heard here was made in Morges, Switzerland, in 1919. Work premiered: The original ballet was unveiled June 25, 1910, in a staged production of the Ballets Russes at the Paris Opéra, with Gabriel Pierné conducting. The 1919 concert suite was premiered on April 12, 1919, in Geneva, Switzerland, with Ernest Ansermet conducting. Instrumentation: Two flutes (one doubling piccolo), two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, triangle, tambourine, xylophone, harp, piano (doubling celesta), and strings

Serge Diaghilev’s Ballets Russes made a specialty of pieces that were inspired by Russian folklore, and The Firebird was perfectly suited to the company’s designs. The tale involves the dashing Prince Ivan (otherwise put, Ivan Tsarevich), who finds himself one night wandering through the garden of King Kashchei, an evil monarch whose power resides in a magic egg that he guards in an elegant box. In Kashchei’s garden, the Prince captures a Firebird, which pleads for its life; the Prince agrees to spare it if it gives him one of its magic tail-feathers, which it consents to do. Thus armed, the Prince continues through his evening and happens upon 13 enchanted princesses. The most beautiful of them catches his

eye, and (acting under Kashchei’s spell) lures him to a spot where Kashchei’s demonic guards can ensnare him. But before he can be put under a spell himself, the Prince uses the magic tail-feather to summon the Firebird, which reveals to him the secret of the magic egg from which Kashchei derives his power. The Prince locates and smashes the egg, breaking the web of evil enchantment, and he goes off to marry the newly liberated beautiful Princess, with whom, of course, he will live happily ever after.

The Firebird was the first of Igor Stravinsky’s original Diaghilev scores, but the opportunity came to him rather by accident. One of Diaghilev’s set designers, Alexandre Benois, pushed to have Nikolai Tcherepnin write the score. Diaghilev favored his own one-time harmony professor Anatoly Lyadov and, even though he was well aware of Lyadov’s reputation for procrastination and debilitating self-criticism, invited him to accept the commission for the new ballet. Lyadov strung Diaghilev along for months without managing to fish or cut bait. Eventually Diaghilev, who had exhausted his patience and was running out of time, turned instead to the aspiring young Stravinsky. Eager to capitalize on this break, Stravinsky immediately dropped what he was working on, installed himself in a dacha belonging to the family of his late teacher Nikolai Rimsky-Korsakov, and turned out his sparkling score in short order, from November 1909 to March 1910, with final orchestrations and retouching continuing into May. A French critic reported his experience of hearing Stravinsky play through his work-in-progress that winter in St. Petersburg: “The composer, young, slim, and uncommunicative, with vague meditative eyes, and lips set firm in an energetic looking face, was at the piano. But the moment he began to play, the modest and dimly lit dwelling glowed with a dazzling radiance. By the end of the first scene, I was conquered: by the last, I was lost in admiration. The manuscript on the music-desk, scored over with fine penciling, revealed a masterpiece.” The ballet was well established by the time Stravinsky assembled several of its movements into a symphonic suite in 1919. (He would later expand this in 1945, but the 1919 version remains more popular.) This is one of music’s great showpieces of orchestration, a remarkable tour-deforce for a 28-year-old composer, even one who had issued from the studio of Rimsky-Korsakov, himself acknowledged as a wizard of instrumentation. Even in the reduced orchestration of the 1919 version the music of The Firebird is filled with astonishing instrumental effects. Some of the sounds are frankly startling, such as when, in the Introduction, the strings play eerie glissandos over their instruments’ fingerboards to evoke the mystery of the garden at night. When the Firebird dances, it does so to a set of variations on a Russian song, and the overlay of wind orchestration makes us believe that its feathers must indeed sparkle with magic. More folk tunes inform the Dance of the Princesses, which is thrown into disarray when Kashchei’s diabolical guards swarm onto the scene with their Infernal Dance. A solo violin comes to the fore in the tender Berceuse, or Lullaby; and, with the evils spells broken, the Finale depicts a breathtakingly beautiful wedding processional for the Prince and his chosen Princess.

PROGRAM NOTES From the Creation When the ballet Firebird was first staged, in 1910, the title role was reserved for the prima ballerina Anna Pavlova. But Pavlova ended up refusing to dance the part, complaining that the music was confusing and conveyed nothing. The role was therefore reassigned to Tamara Karsavina, who in a 1948 reminiscence in Tempo magazine described her work with Stravinsky on that occasion: Often he came early to the theatre before a rehearsal began in order to play for me, over and over again, some specially difficult passage. I felt grateful, not only for the help he gave me, but for the manner in which he gave it. For there was no impatience in him with my slow understanding; no condescension of a master of his craft towards the slender equipment of my musical education. It was interesting to watch him at the piano. His body seemed to vibrate with his own rhythm; punctuating staccatos with his head, he made the pattern of his music forcibly clearer to me, more so than the counting of bars would have done.

as well as to their friend the violinist Joseph Joachim, who would become the first conductor of the First Concerto. That work was at least politely received at its premiere, but such was not the case when it was aired in Leipzig five days later. “No reaction at all to the first and second movement,” Brahms wrote to Joachim. “At the end, three pairs of hands tried slowly to clap, whereupon a clear hissing from all sides quickly put an end to any such demonstration. … For all that, one day, when I’ve improved its physical structure, this concerto will please, and a second one will sound very different.” He was right on both counts: the First Concerto would indeed go on to please, and the Second Concerto would be a different kettle of fish altogether when it came into being two decades later. Brahms actually began writing his Piano Concerto No. 2 during a vacation he took in the spring and summer of 1878 to Italy, from which land he would repeatedly draw inspiration. He was mostly working on his Violin Concerto just then, but while he was away he also found time to sketch a scherzo, which he returned to three years later when he devoted himself in earnest to the Second Piano Concerto. Where the first was hyper-charged in its drama, the Second is considerably more Apollonian; it suggests a more serene, warmhearted

— JMK

Concerto No. 2 in B-flat major for Piano and Orchestra, Op. 83 Johannes Brahms First performance: 2/22/1949 Piano: Alexis Weissenberg Last Performance: 9/18/2010 Piano: Peter Serkin Born: May 7, 1833, in Hamburg, a free city that would later become part of the unified Germany Died: April 3, 1897, in Vienna, Austria Work composed: Sketched in late spring 1878, completed July 7, 1881 Work premiered: November 9, 1881, in Budapest, with Brahms as soloist and Alexander Erkel conducting the orchestra of the National Theatre; Brahms had previously played it in a private run-through with the Meiningen Orchestra, Hans von Bülow conducting. Instrumentation: Two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings, in addition to the solo piano

Johannes Brahms’ Piano Concerto No. 1, completed in 1858, is a stormy work of tumultuous Romanticism, closely related in its expression to the ideals of Brahms’ mentor, Robert Schumann. This is not surprising since it was germinated during the period of Schumann’s decline and completed only a year and a half after his death in an asylum. Lacking Schumann to provide counsel, Brahms turned instead to Schumann’s widow, Clara (an eminent pianist and Brahms’ closest friend, if not more than that), as a musical confidant,

(and in its finale, downright charming) landscape, drawing heavily on the dulcet tones of the supreme Romantic instrument, the French horn. Where the earlier work had stressed the drama of human passions and the “tragic sentiment of life” that the Romantics found irresistible, the Second Piano Concerto regards the breadth of human emotions from a more knowing remove. It sounds like a work of ripe maturity in a way the earlier piece does not. CONTINUED ON PAGE 30

PROGRAM NOTES

This is not a “tiny, tiny piano concerto with a tiny, tiny wisp of a scherzo,” as Brahms, ever given to irony, reported in a letter to his friend Elisabet [EDITOR NOTE: NO H] von Herzogenberg, but rather an immense four-movement work that some pianists cite as the most difficult concerto—conceptually, and in certain respects technically—in the active repertoire. (And to some extent the “wisp of a scherzo” actually recalls the turbulent character of the First Piano Concerto.) One might go so far as to view Brahms’ Piano Concerto No. 2 as a sort of symphony for piano and orchestra—a conflation of two of the principal genres that Brahms still held plenty of creative opportunities for an up-to-date Romantic composer of the late 19th century. At the head of the score Brahms inscribed a dedication “to his dear friend and teacher Eduard Marxsen.” Both Brahms and his brother, Fritz, had taken piano lessons from Marxsen during their childhood in Hamburg and, recognizing the family’s straitened circumstances, Marxsen never charged them for his services. He was more than just Brahms’ piano teacher: he broadened his pupil’s perspective on all sorts of things and, after Brahms moved away, continued to keep an eye on the family’s needs. Our composer remained devoted until his old teacher died, in late 1887. Earlier that year, Brahms instructed his publisher: “When the new things appear, you will take care, won’t you?, that Frau Schumann and Ed. Marxsen receive a copy right away!” Few dedications can have given Brahms more pleasure than the one he attached to his Second Piano Concerto.

Catching Up with the Master In the summer of 1871, a 26-year-old British pianist named Florence May arrived in Baden-Baden, where she had arranged to take piano lessons from Clara Schumann. After several weeks Frau Schumann needed to leave on a trip to Switzerland, so Brahms gallantly agreed to take over Ms. May’s instruction. In 1905, May would publish a two-volume biography of the composer, which furnished a trove of anecdotes about the composer. In the winter of 1881-82, May found herself in Berlin and was delighted to read that Brahms was coming to town on tour with the Meiningen Orchestra, conducted by Hans von Bülow. “Brahms,” she reported, “was to take an active part only in the second and third concerts. Their respective programmes included a new pianoforte concerto still in MS (No. 2 in B flat), to be played by the composer, with von Bülow as conductor; and the first pianoforte concerto, with Bülow as pianist and Brahms at the conductor’s desk.” Brahms had changed since she had studied with him. “As I gazed at him, knowing him to be Brahms, I was utterly unable to recognize the man I had known ten years previously. There, indeed, was the great head with the hair brushed back as of old, though less tidily than in former days; but his figure had become much heavier, and both mouth and chin were hidden by a thick moustache and shaggy, grizzled beard that had completely transformed his appearance.” Of the performance of the Second Piano Concerto, she had this to say:

JAMES M. KELLER James M. Keller is Program Annotator of the New York Philharmonic (the Leni and Peter May Chair) and the San Francisco Symphony, and is the author of Chamber Music: A Listener’s Guide (Oxford University Press). Earlier versions of the Stravinsky and Brahms notes appeared in the programs of the New York Philharmonic, and are used with permission. ©James M. Keller

I think … that I should have enjoyed it more if Brahms had conducted and Bülow performed the solo. I did not think Brahms’ playing what it had been. His touch in forte passages had become hard, and though he might, perhaps, be said to have mastered the difficulties of his part, he had not sufficiently surmounted them to execute them with ease. … I knew, however, that I had listened to a magnificent work of immense proportions, and longed for [NB: NO ARTICLE] opportunity to hear it again that I might assimilate it. There was a scene of tumultuous enthusiasm at the close of the work. The public applauded wildly, and shouted itself hoarse; the band joined in with its fanfare of trumpet and drum; Brahms and von Bülow were recalled again and again separately and together; and in the moment of the composer’s triumph I saw the earlier Brahms once again standing before me, for whilst his eyes shone and his face beamed with pleasure, I recognized in his bearing and expression the old familiar look of almost diffident, shy modesty which had been one of his characteristics in former days. —JMK

OKLAHOMA PHILHARMONIC SOCIETY, INC. ASSOCIATE BOARD

TALL TALES, MAGIC AND MAJESTY October 17, 2015 8:00 P.M.

CLASSICS AUGUSTIN HADELICH, VIOLIN JOEL LEVINE, CONDUCTOR

Jenni Fosbenner President Cheryl White Past President Mike McClellan VP of Fundraising Dwayne Webb VP of Events Matt Bell Treasurer

DUKAS ..................................... The Sorcerer’s Apprentice

VAUGHAN WILLIAMS ................ Fantasia On A Theme by Thomas Tallis

Kevin Learned Secretary STRAUSS, R. ............................. Till Eulenspiegel’s Merry Pranks, Op. 28

Robyn Berko

INTERMISSION

Jason Dunnington Allison Goodman Matt Latham

SIBELIUS ................................. Violin Concerto in D minor, Op. 47

Allegro moderato Adagio di molto Allegro, ma non tanto

Christopher Lloyd

Augustin Hadelich, violin

Lisa Perry Mariela Rogers Michael Thomas Cyndi Tran

THIS CONCERT IS GENEROUSLY SPONSORED BY:

Ashley Wilemon

Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, November 18 at 8 pm and Saturday, November 21 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

GUEST ARTIST C

AUGUSTIN HADELICH Continuing to astonish audiences with his phenomenal technique, poetic sensitivity, and gorgeous tone, Augustin Hadelich has established himself as one of the great violinists of his generation. His remarkable consistency throughout the repertoire, from Bach and Beethoven to Ligeti and Adès, is seldom encountered in a single artist. Highlights of Augustin Hadelich’s 2015-2016 season include debuts with the Chicago Symphony, Pittsburgh Symphony, the Orpheus Chamber Orchestra in Carnegie Hall, and the Finnish Radio Orchestra, as well as return performances with the London Philharmonic, the Philadelphia Orchestra, and the symphonies of Atlanta, Cincinnati, Detroit, Louisville, Milwaukee, New Jersey, Oregon, Seattle, Utah, and Vancouver. Other projects include a return to the Wigmore Hall in London, a recording with the London Philharmonic, a residency with the Bournemouth Symphony, and numerous recital appearances in Germany. With this season’s addition of the Chicago and Pittsburgh symphonies, Mr. Hadelich will have appeared with every major orchestra and chamber orchestra in the U.S., several on numerous occasions. Upcoming festival appearances include his 2015 debuts at Ravinia and the Grand Teton Music Festival, as well as return engagements at Aspen and Bravo! Vail Valley. He has also performed at Blossom, Britt, Chautauqua (where he made his American debut in 2001), Eastern Music Festival, the Hollywood Bowl, Marlboro, and Tanglewood. Among Mr. Hadelich’s recent and upcoming worldwide appearances are the Badische Staatskapelle/Karlsruhe, BBC Philharmonic/Manchester, BBC Symphony/London, German Radio Philharmonic/Saarbrücken, Dresden Philharmonic, Helsinki Philharmonic, Hong Kong Philharmonic, Malaysia Philharmonic, Minas Gerais Philharmonic/Brazil, Norwegian Radio Orchestra, Orchestra/Salzburg, Orchestre Philharmonique de Strasbourg, Orquesta Sinfónica Nacional de México, Orchestre Philharmonique de Monte-Carlo, NHK Symphony/Tokyo, Royal Scottish National Orchestra, RTE National Symphony Orchestra/Dublin, São Paulo Symphony, Stuttgart Radio Orchestra, and a highly acclaimed tour of China with the San Diego Symphony. Augustin Hadelich has collaborated with such renowned conductors as Roberto Abbado, Marc Albrecht, Marin Alsop, Herbert Blomstedt, Lionel Bringuier, Justin Brown, James Conlon, Christoph von Dohnányi, the late Rafael Frühbeck de Burgos, Alan Gilbert, Hans Graf, Giancarlo Guerrero, Miguel Harth-Bedoya, Jakub Hrusa, Christoph König, Jahja Ling, Hannu Lintu, Andrew Litton, Cristian Macelaru, Jun Märkl, Sir Neville Marriner, Fabio Mechetti, Juanjo Mena, Ludovic Morlot, Sakari Oramo, Andrés Orozco-Estrada, Peter Oundjian, Vasily Petrenko, Yan Pascal Tortelier, Gilbert Varga, Hugh Wolff, Edo de Waart, Kazuki Yamada, and Jaap van Zweden, among others.

Also an enthusiastic recitalist, Mr. Hadelich’s numerous appearances include Carnegie Hall, Royal Concertgebouw, The Frick Collection, Kennedy Center, Kioi Hall, the Louvre, and the chamber music societies of Detroit, La Jolla, Philadelphia, Seattle, and Vancouver. His April 2014 performance/premiere of David Lang’s 35-minute solo violin work, mystery sonatas, at Carnegie’s Zankel Hall was a resounding success. Standing alone in a single spotlight, Mr. Hadelich wove his way through the intricate difficulties of this awe-inspiring work with apparent ease. His chamber music partners have included Inon Barnatan, Jeremy Denk, James Ehnes, Alban Gerhardt, Richard Goode, Gary Hoffman, Kim Kashkashian, Robert Kulek, Cho-Liang Lin, Midori, Charles Owen, Vadim Repin, Mitsuko Uchida, Joyce Yang, and members of the Guarneri and Juilliard quartets. Augustin Hadelich’s first major orchestral recording, featuring the violin concertos of Jean Sibelius and Thomas Adès (Concentric Paths) with Hannu Lintu conducting the Royal Liverpool Philharmonic Orchestra, was released to great acclaim in March 2014 on the AVIE label. The disc has been nominated for a Gramophone Award, and was listed by NPR on their Top 10 Classical CDs of 2014. He has recorded three previous albums for AVIE: Flying Solo, a CD of masterworks for solo violin; Echoes of Paris, featuring French and Russian repertoire influenced by Parisian culture in the early 20th century; and Histoire du Tango, a program of violin-guitar works in collaboration with Pablo Villegas. A recent recording of the Mendelssohn Violin Concerto and Bartók’s Concerto No. 2 with the Norwegian Radio Orchestra under Miguel Harth-Bedoya was released on AVIE in the spring of 2015. For the Seattle Symphony with Ludovic Morlot, Mr. Hadelich has recorded Dutilleux’s violin concerto “L’Arbre des songes.” The 2006 Gold Medalist of the International Violin Competition of Indianapolis, Augustin Hadelich is the recipient of an Avery Fisher Career Grant (2009), a Borletti-Buitoni Trust Fellowship in the UK (2011), and Lincoln Center’s Martin E. Segal Award (2012). The son of German parents, Mr. Hadelich was born and raised in Italy. A resident of New York City since 2004 and now an American citizen, he holds an Artist Diploma from The Juilliard School, where he was a student of Joel Smirnoff. He plays on the 1723 “Ex-Kiesewetter” Stradivari violin, on loan from Clement and Karen Arrison through the Stradivari Society of Chicago.

L’Apprenti sorcier: Scherzo d’après une ballade de Goethe (The Sorcerer’s Apprentice: Scherzo after a ballad of Goethe) Paul Dukas First performance: 10/29/1944 Conductor: Victor Alessandro Last Performance: 3/14/2009 Conductor: Joel Levine Born: October 1, 1865, in Paris, France Died: May 17, 1935, in Paris Work composed: January to May 1897 Work premiered: May 18, 1897, at the Nouveau Théâtre de la rue Blanche, Paris, at a concert of the Société Nationale de Musique, apparently with Vincent d’Indy conducting Instrumentation: Two flutes and piccolo, two oboes, two clarinets and bass clarinet, three bassoons and contrabassoon (or contrabass sarrusophone), four horns, two trumpets, two cornets, three trombones, timpani, glockenspiel, bass drum, cymbals, triangle, harp, and strings

Were it not for a single fantastically successful work, Paul Dukas would be almost a complete stranger to music lovers today. L’Apprenti sorcier (The Sorcerer’s Apprentice), composed after a scenario by Goethe and premiered in 1897, has all but single-handedly kept his name before the concert-going public. Even before Walt Disney’s 1940 film Fantasia catapulted it to mass-media stardom, with Mickey Mouse in the starring role as the Apprentice, it was one of the most frequently performed of all “modern” compositions. L’Apprenti sorcier is a small masterpiece, in its way, a fine enough piece to make a music-lover wish that we had more occasions to visit Dukas’s catalogue. Acquainting oneself with his entire output would not be a lengthy task. He brought few compositions to completion, destroyed what he did not finish (as well as some completed works), and in the end left a slender catalogue of only 12 published compositions: L’Apprenti sorcier, the Polyeucte Overture (for Corneille’s drama), two

PROGRAM NOTES I

Dancing to Dukas Dukas’ symphonic poem on Goethe’s ballad follows the poet’s 14 stanzas with almost literal respect, yielding a score perfectly suited for narrative presentation. Apart from the famous Disney version, Dukas’ score was used in 1916 for a ballet created by Mikhail Fokine for the Ballets Russes, and in 2003 Scott Marshall transformed it into a sonic collage for a Sorcerer’s Apprentice ballet given by American Ballet Theatre, in co-production with Minnesota Dance Theatre. —JMK

substantial piano works (the Sonata in E-flat major and the Variations, interlude et final sur un thème de Rameau) and two short ones (including the interesting La plainte, au loin, du faune …, intended as a response of sorts to Debussy’s Prélude à l’après-midi d’un faune), two pieces for voice and piano (a Vocalise and a Ronsard setting), a Villanelle for horn and piano (for which hornists are grateful), the ballet La Péri, the opera Ariane et Barbe-Bleue (considered by some an unjustly neglected masterpiece), and a single symphony. Born into a highly musical family—his mother, it is said, had talent that would have enabled her to become a concert pianist, had she wished—Dukas studied at the Paris Conservatoire from 1882-88. There he played timpani in the orchestra, received a first prize in counterpoint and fugue, struck up close friendships with Debussy and d’Indy, and was awarded second place in the Prix de Rome competition for a student cantata. Carl Van Vechten, writing in the New York Symphony Society Bulletin in 1911, just prior to that organization’s first performance of Dukas’s Symphony, observed, “It may be stated almost unreservedly that all French composers are either musical critics or organists.” He came awfully close to being right as well as witty. With Dukas, the former was the case: he began writing music reviews in 1892 and would go on to become a notable critic for the Revue hebdomadaire, Gazette des beaux-arts, Chronique des arts et de la curiosité, and Revue musicale. As his career progressed, he became active as a teacher at the Conservatoire and the École Normale de Musique and as an editor of “ancient music”—that is, by Couperin, Scarlatti, Rameau, and Beethoven. The legend of the sorcerer’s apprentice dates to antiquity, with variations occurring in Roman, Greek, and even Egyptian literature. When Johann Wolfgang von Goethe (1749-1832) came to write his classic treatment of it, the ballad “Der Zauberlehring,” he followed the traditional plot closely. An ambitious apprentice eavesdrops on his master, a sorcerer, to learn the incantation the master uses to turn his broom into a servant. When the master steps out, the apprentice tries out the incantation himself, turning the broom into a servant and commanding it to bring a bucket of water. The problem CONTINUED ON PAGE 36

PROGRAM NOTES

is that the apprentice failed to learn how to break the spell. The broom-servant continues to bring water practically to the point of inundation; and when the apprentice tries to stop it by cutting the broom in half with an axe, he discovers that he now has two brooms bearing water rather than just one. The master returns in time to set everything aright, and the apprentice feels properly chastised. The musicologist Manuela Schwartz has astutely remarked that Dukas’s “setting” of Goethe’s poem “owes its resounding success partly to the aplomb with which it illustrates its programme, partly to its taut, Beethovenian construction, and partly, inevitably, to its dazzling orchestration, which succeeds in carrying further the excitement engendered by Wagner’s Valkyries.”

Fantasia on a Theme by Thomas Tallis Ralph Vaughan Williams First performance: 10/23/1951 Conductor: Guy Fraser Harrison Last Performance: 9/18/2004 Conductor: Joel Levine Born: October 12, 1872, at Down Ampney, Gloucestershire, England Died: August 26, 1958, in London Work composed: 1910, then revised into its current form in 1913 and 1919 Work premiered: September 6, 1910, at the Three Choirs Festival in Gloucester Cathedral, with the composer conducting London Symphony Orchestra Instrumentation: Double string orchestra plus solo string quartet

The Fantasia on a Theme by Thomas Tallis, surely Ralph Vaughan Williams’ most widely performed composition, is a splendid entry point to the discovery of the large, wideranging oeuvre of its composer. It encapsulates many of the hallmarks of his style: exquisite sensitivity to instrumental sonority, veneration of ancient tradition, nobility of spirit, and a sense of soaring effortlessly through some sublime ether that is as much attached to heaven as to earth. Vaughan Williams was 38 years old when he wrote the Fantasia, and, although he was respected among musical

circles, he had not achieved what could honestly be called fame. He had received a thorough musical education at the Royal College of Music and at Trinity College, Cambridge, where he was especially drawn to playing the organ, and he continued sharpening his skills as composer by traveling to work with Max Bruch in Berlin and with Ravel in Paris (this last at the age of 35). His early compositions—and anything he wrote until about 1910 qualifies as “early” in what would prove an exceptionally long career—often evinced a mystical, visionary style, as in his Songs of Travel (1901-04), Toward the Unknown Region (1905-06), and A Sea Symphony (1906-08). In addition, he had gotten involved with the collecting of folk songs (working closely with the musicologist Cecil Sharp) and with the exploration of English music from the Renaissance and Baroque, which was far less known then than it is today. When he was 84, Vaughan Williams reminisced about a momentous event that had taken place in his life long ago: It must have been in 1904 that I was sitting in my study in Barton Street, Westminster, when a cab drove up to the door and “Mr. Dearmer” was announced. I just knew his name vaguely as a parson who invited tramps to sleep in his drawing room; but he had not come to see me about tramps. He went straight to the point and asked me to edit the music of a hymn book. I protested that I knew very little about hymns but he explained to me that Cecil Sharp had suggested my name, and I found out afterwards that Canon Scot Holland had also suggested me as a possible editor, and the final clench was given when I understood that if I did not do the job it would be offered to a well-known Church musician with whose musical ideas I was much out of sympathy. At this opening interview Dearmer told me that the new book was being sponsored by a committee of eight clerics who were dissatisfied with the new Hymns Ancient and Modern. ... He told me that these eight founders had put down five pounds each for expenses, and that my part of the work would probably take about two months. I thought it over for 24 hours and then decided to accept, but I found the work occupied me two years and that my bill for clerical expenses alone came to about two hundred and fifty pounds. The truth is that I determined to do the work thoroughly, and that, besides being a compendium of all the tunes of worth that were already in use, the book should, in addition, be a thesaurus of all the finest hymn tunes in the world—at all events all such as were compatible with the metres of the words for which I had to find tunes. Among the tunes that Vaughan Williams included in the hymnal was the so-called “Third Mode Melody,” a composition by Thomas Tallis (ca.1505-1585) which had first appeared in a 1567 psalter. That psalter, which had been assembled by Archbishop Matthew Parker, was organized according to the modes of its melodies—the traditional scales that governed the behavior of music before the rise

PROGRAM NOTES of modern major-minor tonality. The Third (or Phrygian) Mode is most easily explained as the pattern you achieve if you play the white keys of a keyboard connecting the note E to an E an octave higher or lower. In his psalter, Parker had characterized the mode thus: “the Third doth rage: and roughly brayth.”

upon it, and various personal relics are shown in the tower of the interesting old church (Nikolai-Kirche).”

Tallis’s melody obviously stuck in Vaughan Williams’ mind, and several years later it provided the basis for his Fantasia, which he wrote in the summer of 1910. The work is scored for strings only, grouped imaginatively as a double string orchestra and a solo string quartet. Tallis’s theme is first suggested through the pizzicato violas, cellos, and double basses, and before long it is given in its entirety (with the harmonies just as Tallis wrote them) by second violins, violas, and half the cellos. Its melody and harmonies are explored exhaustively as the piece slowly evolves in a spirit of rapt meditation. One can only imagine the effect it must have made on listeners who had never heard it before, as it unrolled for the first time in the vast Gothic expanses of Gloucester Cathedral.

Till Eulenspiegels lustige Streiche (Till Eulenspiegel’s Merry Pranks), Op. 28 Richard Strauss First performance: 11/25/1940 Conductor: Victor Alessandro Last Performance: 10/18/2008 Conductor: Joel Levine Born: June 11, 1864, in Munich, Bavaria Died: September 8, 1949, in Garmisch, Germany Work composed: 1894-95, completed on May 6 of the latter year Work premiered: November 5, 1895, in Cologne, Germany, with Franz Wüllner conducting Instrumentation: Three flutes and piccolo, three oboes and English horn, two clarinets plus high clarinet (in E-flat or D) and bass clarinet, three bassoons and contrabassoon, four horns (plus four more ad lib, not used CK in these performances), three trumpets (plus three more ad lib, also not used here CK), three trombones, tuba, timpani, snare drum, bass drum, cymbals, triangle, ratchet, and strings

A traveler passing through Brunswick (a.k.a. Braunschweig), in north-central Germany, midway between Hanover and Magdeburg, will likely stumble across the statue in that city’s Bäckerklint Square commemorating Till Eulenspiegel, a presumably historical figure whose escapades—greatly exaggerated, no doubt—made him a staple of German folklore. He was more or less a native son, since he is supposed to have been born some fourteen miles to the southeast, in the town of Schöppenstadt (some say Kneitlingen), which maintains a small museum in his honor. Travel north to the village of Mölln in the northernmost German state of Schleswig-Holstein, and you’ll find the other end of his life memorialized by a plaque. As my ragged 1927 Baedeker puts it, “The popular German jester, Till Eulenspiegel or ‘Master Tyll Owlglass,’ is said to have died here in 1350, in proof of which his tombstone (really of the 16th cent.), with an owl (‘Eule’) and mirror (‘Spiegel’)

The oldest surviving version of the Till Eulenspiegel stories dates from 1510-11, after which the tall tales proliferated with amazing vigor: the Till Eulenspiegel Archive which was founded in 1975 at the University of Bamberg today contains no fewer than 1100 separate Till Eulenspiegel titles. No matter what the specifics of a story, Till invariably was shown to play practical jokes—often cruel ones—on unsuspecting victims. Frequently the stories delight in the subtext of a wily peasant getting the best of more privileged citizens, such as clergymen or bourgeois businessmen. Richard Strauss, who would have known some of the Till Eulenspiegel tales from his childhood, certainly was familiar with the printed version published in 1866 by the Belgian novelist Charles de Coster, and it is thought that in 1889 he also saw an opera on the Till Eulenspiegel theme by the once famous but now forgotten post-Wagnerian composer Cyrill Kistler. Strauss was so struck by the operatic possibilities inherent in the stories that he sketched his own scenario for an opera on the subject, and, a bit later, commissioned another version from Kistler’s librettist. In the end, he stopped short of developing Till into a full-fledged operatic character. But the subject had lodged itself in his mind, and before long Strauss channeled his efforts toward a sort of unstaged dramatic exercise of the imagination, a symphonic poem. Franz Wüllner, who conducted the premiere of Till Eulenspiegel, asked Strauss to provide a program that might guide his interpretation. Strauss refused, insisting instead that they “leave it to the audience to crack the nut that the rogue has prepared for them.” Later, the Strauss disciple Wilhelm Mauke did prepare exactly such a document, and the composer apparently considered it to some extent authoritative since he penciled several phrases from it into appropriate places in his score: Till racing on

PROGRAM NOTES

horseback through the market, Till the cavalier exchanging courtesies with beautiful girls, and so on to his inevitable arrest, trial, conviction, and hanging.

Different Strokes …

But what audiences love about the piece is not the story, which ultimately adds up to very little, but rather the music, which is at once charming and sophisticated. What’s more, it’s lighthearted—not a characteristic overwhelmingly associated with the mainstream of 19th-century German music, at least not since the time of Mendelssohn. Strauss underscores the insouciant spirit by casting his piece in the most carefree of classical forms, the rondo, with its regularly recurring refrains. (In fact, the work’s complete title, translated into English, is Till Eulenspiegel’s Merry Pranks, After the Old Rogue’s Tale, Set in Rondo Form for Large Orchestra.) Within this structure Strauss offers a stream of astonishing metamorphoses of what boils down to very few themes. The famously optimistic “Till motif” articulated by the horn near the beginning, for example, is transformed into something sarcastic and insolent when the E-flat clarinet gets a hold of it, and then into a yearning love-song when the flute and violins get their turn.

Early critics were not in agreement about the merits of Strauss’ Till Eulenspiegel. Gustav Schoenaich waxed ecstatic in the Neue Musikalische Presse on December 1, 1896: Richard Strauss’ musical education is profoundly thorough. ... We do not know, if the piece had been sent out into the world without the title, whether the name Eulenspiegel would have been attached to it by someone from among the circle of listeners; but [its] fundamental character, oscillating between humor, sarcasm, and irony, radiates from every measure, here and there perhaps even too garishly. The piece is dazzlingly clever, does not break down into its individual parts, captivates the intellect of the listener perhaps more than his sensibility—but with its convincing logic and skillfully measured length it never for a moment leaves him without stimulation. It is eminently amusing.

Concerto for Violin and Orchestra in D minor, Op. 47 Jean Sibelius First performance: 3/4/1945 Violin: Jascha Heifetz Last Performance: 5/22/2010 Violin: Stefan Jackiw Born: December 8, 1865, in Tavastehus (Hämeenlinna), Finland Died: September 20, 1957, in Järvenpää, Finland Work composed: September 1902 through the beginning of 1904; today it is nearly always presented in the revision Sibelius effected in 1905. Work premiered: February 8, 1904, in Helsinki, with the composer conducting the Helsingfors Philharmonic and soloist Victor Nováček Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings, in addition to the solo violin

Asked to use the words “Sibelius” and “violin” together in a sentence, most music lovers would automatically add the word “concerto” to the mix. It’s inevitable, really: Sibelius’ Dminor Violin Concerto towers as an icy summit in the instrument’s literature. But Sibelius and the violin are connected in other ways, too. He aspired to become a violin virtuoso himself but unfortunately fixed on that goal too late for it to be feasible. When he embarked on violin lessons he was 14 years old. By that age many virtuosos-in-training are already seasoned players, and the provincial instruction available to Sibelius, combined with his tendency toward stage fright, limited his progress. Still, he became accomplished enough to play in the Vienna Conservatory’s orchestra when he was a student there, in 1890-91, and he even auditioned (unsuccessfully) for a chair in the Vienna Philharmonic. Sibelius enriched his instrument’s repertoire by a quite a few works apart from the Concerto. He worked on a second

In contrast, O.L. Capen, in the Boston Journal of February 22, 1896, offered a less enthusiastic assessment: From first to last, Till Eulenspiegel was musical obscenity of the most unique and remarkable description; in form of a crazy-quilt, in orchestral color much the same. … It is a most inexplicable hodge-podge. Eulenspiegel’s daily beverage was doubtless beer, and the music is unmistakably beerish. The tone-picture, with all its abnormal and hideously grotesque proportions, is that of a heavy, dull and witless Teuton. The orchestration of the work is sound and fury, signifying nothing, and the instruments are made to indulge in a shrieking, piercing, noisy breakdown most of the time. — JMK

violin concerto in 1915 but abandoned it far from completion, recycling his sketches into his Sixth Symphony. He composed numerous works for violin and piano, including a Sonata (1889) and a Sonatina (Op. 80, 1915), as well as many items grouped into collections of short movements. Sibelius would complete his final composition in 1927 and in his final three decades limited his musical creativity to tinkering with extant pieces and making stabs at works that would never come to fruition. Shortly before he gave up composing, Sibelius was engaged one last time with the violin, although the Suite for Violin and Orchestra he projected remained a fragmented draft. None of these works rivals the Violin Concerto in combining Sibelius’s unique musical language with the capabilities of the solo instrument. This, in effect, was the central challenge confronting the composer. Already in such works

PROGRAM NOTES as his first two symphonies and his Lemminkäinen tone poems he had defined his dark, sober sound, and these were not characteristics that would easily be melded with the more extroverted, even flashy tradition that surrounded most violin concertos of the 19th century. Sibelius was not natively drawn toward composing concertos at all, and this would prove to be the only one, for any instrument, that he would see through to completion. Still, a concerto needed to have a certain degree of flashiness or else a soloist could hardly be expected to perform it. Sibelius solved this problem by creating what some historians have viewed as “a deepening of the tradition.” The musicologist James Hepokoski finds in this work “a virtuoso concerto simultaneously affirmed and transcended by a thoroughgoing seriousness of purpose and ‘surplus’ density of compositional pondering.” The section of a traditional concerto most at odds with Sibelius’ predilection for profundity would be the firstmovement cadenza, in which soloists are given the greatest opportunities to demonstrate their technical prowess.

Sibelius meets the challenge head-on: he provides a solo cadenza, but instead of presenting it as a sort of pendant to the proceedings he gives it immense structural importance, moving it to the middle of the movement and essentially making it fill the role of a development section. (A second cadenza, playing a more traditional function, originally stood at the end of the movement, but Sibelius eliminated it when he tightened the concerto in his 1905 revision.) Also non-traditional is the lack of real dialogue in this concerto, the sort of back-and-forth conversation between soloist and orchestra that we are accustomed to hearing in the concertos of, say, Mozart, Beethoven, Mendelssohn, and Brahms.

The vast breadth of the opening movement is mirrored in the still beauty of the slow movement, melancholy in a way that perhaps recalls Tchaikovsky. Although this concerto is not a prime example of Sibelius’s occasional penchant for folk inspiration, the finale does seem to be a dance of some sort. The musical commentator Donald Francis Tovey called it “a polonaise for polar bears,” a description so perfect that few program annotators can resist quoting it.

Tovey on Sibelius Donald Francis Tovey’s “polar bear” comment is his most famous utterance on Sibelius’ Violin Concerto, but his entire essay on the piece impresses with its insight. It was initially penned as a program note for the Reid Orchestra in Edinburgh sometime between Tovey’s founding of that organization in 1917 and his death (in 1940), and it is still available as part of his Essays in Musical Analysis (published by Oxford University Press). Among his observations: In the easier and looser concerto forms invented by Mendelssohn and Schumann I have not met with a more original, a more masterly, and a more exhilarating work than the Sibelius Violin Concerto. As with all Sibelius’s more important works, its outlines are huge and simple; and if a timely glance at an atlas had not reminded me that Finland is mostly flat and water-logged with lakes, I should doubtless have said that ‘his forms are hewn out of the rocks of his native and Nordic mountains.’ The composer to whose style the word ‘lapidary’ (lapidarisch) was first applied by the orthodoxy of the [eighteen] ’nineties is Bruckner; and if the best work of Sibelius suggests anything else in music, it suggests a Bruckner gifted with an easy mastery and the spirit of a Polar explorer. … The real problems of musical form are always, in the last resort, problems of movement; and Sibelius has his own special sense of movement, which delivers him from the need of Bruckner’s desperate and dangerous gesture of ‘I pause for a reply.’ It gives him complete command of the arts of rousing expectation and of slow gradation to a climax.

JAMES M. KELLER James M. Keller is Program Annotator of the New York Philharmonic (the Leni and Peter May Chair) and the San Francisco Symphony, and is the author of Chamber Music: A Listener’s Guide (Oxford University Press). Earlier versions of the Dukas, Strauss, and Sibelius notes appeared in the programs of the New York Philharmonic, and are used with permission. ©James M. Keller

THE MUSIC OF THE EAGLES NOVEMBER 13-14, 2015 8:00 P.M.

POPS BRENT HAVENS, CONDUCTOR

WINDBORNE’S MUSIC OF THE

EAGLES FEATURING GUEST CONDUCTOR BRENT HAVENS with Vocalists Terry Brock, Glenn DeLaune & John Hines

This concert is generously sponsored by:

A special Thank You to Raising Cane’s Chicken Fingers for providing musicians’ catering services.

GUEST ARTIST P

BRENT HAVENS Berklee-trained arranger/conductor Brent Havens has written music for orchestras, feature films and virtually every kind of television. His TV work includes movies for networks such as ABC, CBS and ABC Family Channel Network, commercials, sports music for networks such as ESPN and even cartoons. Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley Davidson’s 100th Anniversary Birthday Party Finale attended by over 150,000 fans. He has worked with some of the world’s greatest orchestras including the Royal Philharmonic in London, the Cincinnati Symphony Orchestra, the Minnesota Orchestra, the Indianapolis Symphony Orchestra, the Houston Symphony, the Atlanta Symphony, the Baltimore Symphony, the Dallas Symphony, the Fort Worth Symphony, the San Diego Symphony, the Buffalo Philharmonic and countless others. In 2013 Havens conducted the Malaysian Philharmonic for the Music of Michael Jackson show there and returned to Kuala Lumpur in 2014 with the Music of Led Zeppelin. Havens recently completed the score for the film “Quo Vadis,” a Premier Pictures remake of the 1956 gladiator film. In

2013 he worked with the Baltimore Symphony and the NFL’s Baltimore Ravens to arrange and produce the music for the Thanksgiving Day halftime show between the Ravens and Pittsburgh Steelers, adapting both classical music and rock songs into a single four minute show. Havens is Arranger/ Guest Conductor for eleven symphonic rock programs – the Music of Led Zeppelin, the Music of the Doors, the Music of Pink Floyd, the Music of the Eagles, the Music of Queen, the Music of Michael Jackson, the Music of The Who, the Music of Whitney Houston, the Music of The Rolling Stones and most recently the Music of U2! Havens also premiered a full orchestral show for Lou Gramm, The Voice of Foreigner with Lou singing out front.

TERRY BROCK Terry Brock’s first professional job in the music business was as a vocalist on the Kansas album Drastic Measures in 1983. He also toured with Kansas in support of that album and has worked with them on many other projects to date, including the band Seventh Key with Kansas bassist Billy Greer and featuring the former Kansas violinist Robby Steinhardt. Later, Terry worked on albums for Johnny Van Zant (of Lynyrd Skynyrd) and Molly Hatchet, among others, and became the lead vocalist/songwriter in the band Network. Terry co-wrote the song, “Back in America”, originally recorded for the soundtrack to the movie “European Vacation” with Chevy Chase, and runs over the end credits. Terry then toured extensively with The Steve Morse Band, and recorded two albums, Native Sons and Walk In The Fire, with his band Strangeways on BMG/RCA records. He then relocated to New York City to work with famed producer Neil Kernon on bands such as Aviator, Britny Fox, Heaven’s Edge, and Bonham. While living in NYC, he also lent backing vocals to Michael Bolton’s albums “Everybody’s Crazy”; “Time, Love and Tenderness”; and “Soul Provide”; while still finding time to sing lead and backing vocals on over 100 national TV commercials!

Terry’s recent works include his solo CD, “Back To Eden” (title track co-written with Survivor’s Jim Peterik, and bonus track cowritten with LeRoux’s Jim Odom, “Fire On The Bayou”), Seventh Key’s latest three releases, including the live DVD/CD release, “Live In Atlanta”, and lead vocalist and co-writer on “Streets” and “City Boy” guitarist Mike Slamer’s solo CD, “Nowhere Land”. Terry is thrilled to be singing with The Music Of The Eagles and absolutely loves performing with orchestras across the country.

GUEST ARTIST S

GLENN DELAUNE Glenn attributes his talents to his grandfather Lester J. Lalande who taught Glenn to play and sing at the age of four. During the 1980’s and early to mid-nineties Glenn fronted the rock band GANGSTER and has toured with many nationally known acts such as Foreigner, 38 Special, David Lee Roth, Kansas, Zebra, BTO, Grand Funk Railroad, Saigon Kick, Foghat and others. Glenn has achieved his own smooth flowing style of guitar magic and vocals. His virtuosity on all instruments shines through on the recordings he produces from his studio. Glenn has released five self produced

albums on the Divine Recordings label and his latest release “Road To Redemption” is a Blues extravaganza! Performing all of the instruments again on this project he has stretched the boundaries of his creative talent. “Road To Redemption” is comprised of all original, traditional Blues numbers as well as heavy hitting Blues Rock tunes. Glenn is affiliated with BMI as a writer and publisher with a catalog of over 250 songs to his credit and enjoys very much the chance to perform with The Music of The Eagles.

JOHN HINES As a preacher’s son John started singing with his family in church as a wee lad. Standing on a chair to be tall enough to play an upright bass next to his guitar playing older brother Dan, John sang and played his first public duet in the second grade. John is a journeyman studio and performance vocalist and prolific song writer who has worked with the likes of Billy Davis, Jr. and Marilynn McCoo, Phil Keaggy, Glen Campbell, CeCe Winans, Dion Demucchi, as well as a host of local

artists in and out of the studio. He has also performed as a vocalist with many of the finest orchestras in the country. As a club musician in the seventies John was an avid fan of The Eagles’ music and covered just about every song they ever recorded while performing with his brother in The Hines Brother’s Band. John doesn’t hold a single degree from any school but the school of hard knocks. He is, nonetheless, proud to be singing with such talented musicians with The Music of The Eagles.

OKLAHOMA CITY PHILHARMONIC FOUNDATION PROVIDING LEADERSHIP AND ANNUAL SUPPORT The Oklahoma City Philharmonic Foundation was established to provide leadership and endowment expertise to help ensure a stable financial base for orchestral music and musical excellence in Oklahoma City for generations to come. Distributions from the Oklahoma City Philharmonic Foundation provide a meaningful and secure source of annual income for the Philharmonic’s operations, continually confirming the importance of endowment in an organization’s long-range planning and overall success. Current officers and directors of the Oklahoma City Philharmonic Foundation are: OFFICERS Michael E. Joseph President

PARADISE, SIZZLE AND STORM November 21, 2015 8:00 P.M.

CLASSICS JOSHUA ROMAN, CELLO JOEL LEVINE, CONDUCTOR

DELIUS (arr. Beecham) ...... The Walk to the Paradise Garden, from A Village Romeo and Juliet

BATES ............................... Cello Concerto

Con moto—Grazioso—Con moto Serene Léger

*First performance on this series

Joshua Roman, cello

INTERMISSION

Jean Ann Hartsuck Vice President Douglas J. Stussi Treasurer Penny M. McCaleb Secretary DIRECTORS Steven C. Agee Patrick B. Alexander J. Edward Barth L. Joe Bradley Teresa Cooper Douglas R. Cummings T.A. Dearmon Paul Dudman Thomas J. Enis Misha Gorkuscha Jane B. Harlow Harrison Levy, Jr. Duke R. Ligon Michael J. Milligan Patrick J. Ryan Richard L. Sias Richard Tannenbaum

BEETHOVEN ...................... Symphony No. 6 in F major, Op. 68, Pastoral

Allegro ma non troppo: Awakening of Cheerful Feelings upon Arrival in the Country Andante molto moto: Scene by the Brook Allegro: Merry Gathering of Country Folk Allegro: Thunderstorm Allegretto: Shepherd’s Song; Happy and Thankful Feelings after the Storm

THIS CONCERT IS GENEROUSLY SPONSORED BY:

Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, December 16 at 8 pm and Saturday, December 19 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

GUEST ARTIST C

JOSHUA ROMAN Joshua Roman has earned an international reputation for his wide-ranging repertoire, a commitment to communicating the essence of music in visionary ways, artistic leadership and versatility. As well as being a renowned performer, he is recognized as an accomplished composer, curator, and programmer. In an exciting 2015-16 season, Roman will premiere his own Cello Concerto with the Illinois Philharmonic Orchestra and subsequently perform it with ProMusica Chamber Orchestra. In April 2016, he takes up residency with the Los Angeles Chamber Orchestra, as part of which he will perform the Mason Bates Cello Concerto. Roman premiered this work with Seattle Symphony in 2014, and will perform it with various orchestras throughout the 2015-16 season. He will pursue his artistic vision both as Artistic Director of TownMusic at Town Hall Seattle and as Artistic Advisor of Seattle’s Second Inversion. His plans for TownMusic include a presentation of his own song cycle, … we do it to one another, based on Tracy K. Smith’s book of poems “Life on Mars”, with soprano Jessica Rivera. He continues to perform classics of the repertoire, too, and in February

makes his debut with the Pittsburgh Symphony Orchestra with Dvorˆák’s beloved Cello Concerto. Before embarking on a solo career, Roman spent two seasons as principal cellist of the Seattle Symphony, a position he won in 2006 at the age of 22. Since that time he has appeared as a soloist with the San Francisco Symphony, Seattle Symphony, Los Angeles Philharmonic, BBC Scottish Symphony, and Mariinsky Orchestra, among many others. An active chamber music performer, Roman has collaborated with Cho-Liang Lin, Assad Brothers, Christian Zacharias, Yo-Yo Ma, the JACK Quartet, the Enso String Quartet and members of So Percussion. His YouTube series (youtube.com/joshuaromancello), “Everyday Bach,” features Roman performing Bach’s cello suites from beautiful settings around the world. He was the only guest artist invited to play an unaccompanied solo during the YouTube Symphony Orchestra’s 2009 debut concert at Carnegie Hall and gave a solo performance on the TED2015 main stage. Roman is grateful for the loan of an 1899 cello by Giulio Degani of Venice.

The Walk to the Paradise Garden, from A Village Romeo and Juliet Frederick Delius First performance: 1/30/1948 Conductor: Victor Alessandro Last Performance: 2/4/2006 Conductor: Joel Levine Born: January 29, 1862, in Bradford, Yorkshire, England Died: June 10, 1934, in Grez-sur-Loing, département of Seine-et-Marne, France Work composed: 1906 Work premiered: February 21, 1907, at Berlin’s Komische Oper Instrumentation: Delius’s, opera A Village Romeo and Juliet, from which this music is extracted, calls for an unusually large orchestra. The conductor Thomas Beecham re-orchestrated this excerpt “in order to bring the work within the scope of smaller orchestras.” These performances employ Beecham’s respectful, sensitive version, which calls for two flutes, two oboes (one doubling English horn), two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and harp

Most listeners who have heard Frederick Delius’s The Walk to the Paradise Garden probably believe that the garden of the title is some sort of bucolic grove, perhaps a primeval forest or an English Garden of Eden. In fact, the Paradise Garden that lies at the end of this musical stroll is a tavern, and a dilapidated one at that. The misapprehension is understandable since the movement is almost always heard out of its operatic context, divorced from the action that motivates it. In Delius’s opera A Village Romeo and Juliet, the ill-fated young lovers, their infatuation undermined by their families’ property dispute, are taking this nine-minute walk to the tavern, hand in hand, hoping they will be able to enjoy each other’s company where no one will recognize them. Nothing in the music really suggests the tragic background to this promenade, and blissful concertgoers might enjoy the piece less if they knew that the lovers would not find happiness at the Paradise Garden, that they would proceed directly to board a hay-barge that would sink just around the bend in the river, dragging the lovers to their watery deaths. When Delius’s perfumed style was enjoying its high-water mark, in the 1930s, commentators seemed unwilling to discuss the darker undertones of this music. For example, Charles O’Connell’s The Victor Book of Overtures, Tone

PROGRAM NOTES I

Just in Time Delius composed his opera A Village Romeo and Juliet mostly in 1900-01. The Walk to the Paradise Garden, which would become by far its most famous section, was added belatedly to the score. Delius composed it in 1906, just in time for the opera’s premiere, at Berlin’s Komische Oper—in a German translation prepared by his wife—on February 21, 1907.

Poems, and Other Orchestral Works, an influential classic in its time, never even mentions the opera when discussing The Walk to the Paradise Garden, developing instead a brief essay from the idea that “the devotion of the provincial or suburban Englishman to his garden is almost proverbial.” Listeners who like Delius’s ultra-relaxed, late-Romantic style can be fanatical in their devotion. As a youngster, the composer had studied violin and piano, but showed no prodigious inclination toward a musical career. At the age of 22 he left England for Florida, where he worked on an orange plantation and, rather as a sideline, undertook a systematic study of music theory with an organist in the region. This propelled him to further musical instruction at the Leipzig Conservatory, where he enrolled in 1886 and studied with Carl Reinecke. In 1888 he moved to Paris, and in 1897 he settled in the tiny village of Grez-sur-Loing, 40 miles southeast of the French capital, where he remained for the rest of his life. He was not disposed to seek publicity for himself or his work, showing rather little concern about whether anyone was listening to his music or not. He was much ravaged in his later years by syphilis, which rendered him blind and crippled. Sir Thomas Beecham, a strong advocate of his music, referred to this with sesquipedalian circuity: “Delius had suffered a heavy blow in the defection of his favorite goddess Aphrodite Pandemos who had returned his devotions with an affliction which was to break out many years later.”

A Village Romeo and Juliet, the fourth of Delius’s six operas, traces its origins to a newspaper report that had appeared in the Zürcher Freitagszeitung of September 3, 1847. The story related how two teenagers—a boy of 19 and a girl of 17—had fallen in love (to the dismay of their feuding families), had gone dancing at a nearby tavern, and were found dead in a meadow the following day. In 1885, the Swiss novelist and poet Gottfried Keller, who had read the article four decades earlier, developed it into a novella, Romeo und Julia auf dem Dorfe. After three false starts with two librettists (one writing in English, one in German), Delius ended up deriving his own English-language libretto from Keller’s story. Delius’s opera is divided into six leisurely scenes. Vast expanses are given over to the orchestra entirely, making it the antithesis of a “singer’s opera.” Musical leitmotifs from CONTINUED ON PAGE 48

PROGRAM NOTES

earlier portions of the opera are masterfully assembled into The Walk to the Paradise Garden, which serves as the work’s final instrumental interlude before the fatal dénouement. During this section, the stage action comes to a near standstill; midway through, however, Delius’s score directs that the young lovers should be seen resting along the way. This is mirrored by the music’s extended arch, in which luxurious melody builds to a dense, poignant climax before fading away to a quiet close as the lovers proceed along their path.

Cello Concerto Mason Bates First Performance On This Series Born: January 23, 1977, in Philadelphia, Pennsylvania Currently residing: in Burlingame, California Work composed: 2014, on commission from the Seattle Symphony, Columbus Symphony, and Los Angeles Chamber Orchestra Work premiered: December 11, 2014, at Seattle’s Benaroya Hall, with Joshua Roman as soloist and Mirga Gražinytė-Tyla conducting the Seattle Symphony Instrumentation: Two flutes (second doubling piccolo and alto flute), two oboes, two clarinets (second doubling bass clarinet), two bassoons (second doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, finger cymbals, triangle, crotales, vibraphone, kalimba, almglocken, glockenspiel, tam-tam, four suspended cymbals, piccolo snare drum, tambourine, bass drum, marimba, low Asian drum, woodblock, hi-hat, sandpaper blocks, 2 flexible switches, crash cymbals, piano (doubling celesta), harp, and strings, in addition to the solo cello

As a youngster growing up in Richmond, Virginia, Mason Bates studied composition with Schoenberg’s pupil Dika Newlin, and he went on to take degrees in composition and in English literature through a joint program of The Juilliard School (where his principal teacher was composer John Corigliano) and Columbia University. He became enmeshed in the club culture of New York’s Lower East Side, gaining a reputation as a DJ under the name Masonic. In 2001 he moved to the Bay Area

of California, where he continues his activities as a DJ in the club scene. He concurrently continued his academic studies, and in 2008 he was awarded the PhD from the University of California Berkeley, where he pursued his creative work at the Center for New Music and Audio Technologies. He has found an individualistic niche in pairing the sonic resources of electronica (the electronic sound production associated with the dance scene) and the acoustic elements of traditional classical ensembles, such as orchestras. He has written such works for the San Francisco Symphony (his B-Sides, premiered by the orchestra in 2009 and recently turned into a staged dance piece by Houston Ballet), National Symphony, and YouTube Symphony, among a growing list of notable ensembles. He served from 2010-12 as Composer in Residence at the Chicago Symphony, where Riccardo Muti led the premiere of his Alternative Energy, a symphony in all but name. He was celebrated during the 2012-13 and 2014-15 seasons as “Composer of the Year” by the Pittsburgh Symphony; during the latter residency, that orchestra (conducted by Leonard Slatkin) introduced a new violin concerto he wrote for the occasion, featuring soloist Anne Akiko Meyers. With the 2015-16 season, he begins a three-year residency as the first composer-inresidence of the Kennedy Center in Washington, D.C., where he will curate a new-music series and compose works that bridge the boundaries of artistic genres, including orchestral music, opera, chamber music, and ballet. He is currently working on his first opera, The (R)evolution of Steve Jobs (with a libretto by Mark Campbell), which will be produced by Santa Fe Opera during its 2017 season. He also serves as composerin-residence for Young Concert Artists, an organization that helps exceptionally promising performers at the outset of their careers; many of the group’s musicians have accordingly toured with various of Bates’ compositions. Although Bates often appears onstage with ensembles to personally oversee the electronic aspects of his scores, he normally crafts his pieces so they can stand on their own without live electronics, which brings his music into a more practical realm for traditional symphony orchestras. The composer has provided this comment about his Cello Concerto, a 25-minute piece that was written expressly for Joshua Roman, the soloist in this performance: This cello concerto began with a friendship. Josh Roman is beloved by just about everyone who meets him, and I am no exception. Immediately apparent is his unusual combination of enlightened prodigy and everyman approachability (he’s from Oklahoma). I noticed this when we first crossed paths in New York, where we were thrown together at the inaugural YouTube Symphony in New York to improvise an electro-acoustic duo at Le Poisson Rouge [a concert space/nightclub]. That shotgun wedding left me mesmerized at his unmatched musicianship and technique, and soon I was composing a fiendishly difficult solo work for him to premiere on his series at Town Hall. He played it from memory. That experience proved to be a great warmup for this concerto. The piece begins plaintively, with Josh floating over a restless orchestra, and the lyricism only

PROGRAM NOTES expands in the central slow movement. But by the final movement the rhythmic energy wins the day, and at one point Josh even plays with a guitar pick. This is, after all, the same fellow who played arrangements of Led Zeppelin at Town Hall, so I had to send him out with a bang. For his part, Roman expresses deep admiration for this work. “Like a lot of Mason’s music,” he says, “the Cello Concerto has a fresh sound, as well as a distinctly American character with its sense of modernism, openness and optimism. It has a lyrical feel, with all these beautiful little touches like glissandi that make it fun to play. There’s a blues influence in the harmonies, but you can also hear his experience with electronic music in the score, as there’s a feeling of pulse in the rhythms, a driving beat. And the openness in his harmonies reflects the openness of his personality as a musician. He’s exploratory and optimistic, open to collaboration and to possibilities.”

Symphony—he hung his hat at no fewer than four addresses. On the other hand, this was not Beethoven’s whole life. Like many modern urbanites, he drew important sustenance from the city—in his case, Vienna—but complained incessantly about its inconveniences. He enjoyed escaping to the suburban parks and countryside when he was able, and he spent his summers mostly in rural areas surrounding Vienna, which is why he found himself installed in the village of Heiligenstadt in the summer of 1808. Sometimes he went farther afield, dropping in at the country residences of well-to-do friends in Hungary or visiting spas in Bohemia. “How delighted I shall be to ramble for a while through bushes, woods, under trees, through grass, and around rocks,” he wrote in 1810 to Therese Malfatti (a future object of his affections), looking forward “with childish excitement” to a getaway a year after the Sixth Symphony was published. “No one can love the country as much as I do. For surely woods, trees, and rocks produce the echo which man desires to hear.”

Symphony No. 6 in F major, Op. 68, Pastoral Ludwig Van Beethoven First performance: 11/29/1960 Conductor: Guy Fraser Harrison Last Performance: 4/5/2008 Conductor: Joel Levine Born: December 16, 1770 (probably, since he was baptized on the 17th), in Bonn, Germany Died: March 26, 1827, in Vienna Work composed: Principally in the spring and summer of 1808, though sketches for the second and third movements date to as early as 1803-04 Work premiered: December 22, 1808, in an all-Beethoven concert at the Theater an der Wien in Vienna Work dedicated: To Prince Franz Joseph Maximilian von Lobkowitz and Count Andreas Kirillovich Razumovsky Instrumentation: Two flutes and piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, two trombones, timpani, and strings

When Beethoven comes to mind, many music-lovers may think first of monumental power and even violent ferocity, but in the Pastoral Symphony we glimpse a very different side of the composer. Beethoven had reason to feel ferocious, having tasted more than his fair share of disarray and anguish. As early as October 1802 he was losing his hearing—a great adversity for anyone, but a catastrophe for a musician. In the six years since, his deafness had increased dramatically. What’s more, in March 1808 a raging infection threatened the loss of a finger, which would have spelled further disaster for a composer who was greatly attached to the keyboard. He was surrounded by a nervous political climate; Vienna had been occupied by Napoleon’s troops since November 1805, and the civic restlessness would erupt into violence within months of the Pastoral Symphony’s premiere. Whatever confusion these circumstances engendered in Beethoven’s personal life could only have been exacerbated by his habit of constantly moving from one lodging to another. In the course of 1808 alone—the year of the Sixth

Beethoven was not one to speak more than necessary of his compositional methods and intentions, and he voiced the opinion that listeners were generally restricted in their experience of a work if they expected in advance to hear some image depicted. His sketches for the Pastoral Symphony are littered with jottings that reinforce such ideas: “The hearers should be allowed to discover the situations,” “All painting in instrumental music is lost if it is pushed too far,” and so on. Nonetheless, there is no question that tone-painting and “situations to discover” exist bountifully in this symphony, and Beethoven clearly condoned the use of the title Pastoral in its connection even as he clung to arguments downplaying the music’s mimetic or depictive qualities. At the head of a violin part used in the first performance (and only parts CONTINUED ON PAGE 50

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

were available at that time, since the orchestral score was not published until 1826) we read the words “Sinfonia Pastorella / Pastoral-Sinfonie / oder / Erinnerung an das Landleben / Mehr Ausdruck der Empfindung als Mahlerei” (Sinfonia Pastorella / Pastoral Symphony/ or / Recollection of Country Life / More an Expression of Feeling than Painting”). Each of the symphony’s five movements also carries an individual motto: “Awakening of Cheerful Feelings upon Arrival in the Country,” “Scene by the Brook,” “Merry Gathering of Country Folk,” “Thunderstorm,” and “Shepherd’s Song; Happy and Thankful Feelings after the Storm.” Numerous compositions have been cited as prefiguring the programmatic bent of Beethoven’s Pastoral, including Haydn’s early Symphonies No. 6 (Le Matin), No. 7 (Le Midi), and No. 8 (Le Soir); a piano fantasia by Franz Jakob Freystädtler called A Spring Morning, Noon, and Night; and a five-movement symphony by Justin Heinrich Knecht titled Le Portrait Musical de la Nature. Such pieces were characteristic of the age, an epoch nursed by the back-to-nature philosophy of Rousseau and Herder. In Beethoven’s Sixth, nature found its supreme musical mirror.

The Gentlest of Openings As the piece begins, we are little more than eavesdroppers. The music of Beethoven’s Sixth Symphony seems already to be in progress; we have simply stumbled within earshot. What we hear, as if from a distance, is an insouciant tune—hardly even a tune, more a fragment of a tune—hummed casually by the violins ever so quietly over the scarcely exhaled drone of an open fifth in the violas, cellos, and double basses. After only four measures the music pauses for a breath, but already (we will understand in retrospect) we have encountered the notes and rhythms that will fuel nearly the entire first movement of the Pastoral Symphony. —JMK

Rustic Bassoons The “Merry Gathering of Country Folk” section is full of peasant humor, but it’s purveyed with immense sophistication. Beethoven’s acolyte Anton Schindler was not always a reliable source, but his reminiscence about the nature of this third movement does sound plausible. “Beethoven,” he wrote, “asked me if I had noticed how village musicians often played in their sleep, occasionally letting their instruments fall and keeping quite still, then waking up with a start, getting in a few vigorous blows or strokes at a venture, although usually in the right key, and then dropping to sleep again. Apparently he had tried to portray these poor people in his Pastoral Symphony.” Here we have the oboe “falling awake” and entering off the beat, taking a couple of measures to get in sync with the violins’ oom-pahs. Not many measures later, the second bassoon enters momentarily; the conductor Henry Hadow remarked of this comical interruption that the bassoonist never seems quite certain how many notes to play. Horns and other winds also pitch in to do their bit for the spirit of befuddlement. —JMK

JAMES M. KELLER James M. Keller is Program Annotator of the New York Philharmonic (the Leni and Peter May Chair) and the San Francisco Symphony, and is the author of Chamber Music: A Listener’s Guide (Oxford University Press). Earlier versions of these essays appeared in the programs of the New York Philharmonic (Delius) and the San Francisco Symphony (Beethoven). ©James M. Keller

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and reaching hearts

HOUSE NOTES

RESTROOMS are conveniently located on all levels of the theater. Please ask your usher for guidance. LATECOMERS and those who exit the theater during the performance will be seated at intermission or during the first convenient pause as determined by the management. ELECTRONIC DEVICES must be turned off and put away before entering the theater (no calling, texting, photo or video use please). Cameras, recording devices and food are not permitted inside the theater. FOOD AND BEVERAGES: Bottled water is permitted in the theater at the Classics Series concerts. Beverages are permitted in the theater at the Pops Series concerts however bringing coffee into the theater is discouraged due to the aroma. Snacks, drinks and desserts are available at the Civic Center CafĂŠ and snack bar on the main floor. SMOKING in the Civic Center Music Hall is prohibited. The Oklahoma City Philharmonic promotes a fragrance-free environment for the convenience of our patrons. FIRE EXITS are located on all levels and marked accordingly. Please note the nearest exit for use in case of an emergency. ELEVATORS are located at the south end of the atrium of the Civic Center Music Hall. CHILDREN of all ages are welcome at the Philharmonic Discovery Family Series and Holiday Pops performances; however, in consideration of the patrons, musicians and artists, those under five years of age will not be admitted to evening Classics and Pops concerts unless otherwise noted. BOOSTER SEATS for children are available in the Civic Center event office. Please inquire at the ticket office. COLLEGE STUDENT RUSH TICKETS are $5 each and available with a college or university I.D. and email address at the box office 30 minute prior to the start of each Philharmonic performance. Tickets are offered based on availability only and seats are located throughout the theater. VIDEO MONITORS are located in the lobby for your convenience. WHEELCHAIR AVAILABLE SEATING: Persons using wheelchairs or with walking and climbing difficulties will be accommodated when possible. Those wishing to use the designated wheelchair sections may purchase the wheelchair space and a companion seat. Please inform the Philharmonic Ticket Office staff of your need when ordering tickets so that you may be served promptly and appropriately. Please request the assistance of hall ushers to access wheelchair seating. LOST & FOUND is located in the Civic Center Office (405-297-2584) weekdays 8:30 a.m. â&#x20AC;&#x201C; 5:00 p.m. PHILHARMONIC TICKET OFFICE may be contacted by calling 405-TIC-KETS (405-842-5387) or you can visit the Philharmonic Ticket Office located on the second floor of the McAlpine Center at 428 W. California in Suite 210. The Philharmonic Ticket Office is open Monday through Friday, 9:00 a.m. to 5:00 p.m. and concert Saturdays from 10:00 a.m. to 2:00 p.m. The Ticket Office at the Civic Center Music Hall (405-297-2264) will be open 6:30 p.m. to 8:30 p.m. on performance evenings. CONCERT NIGHT PHONE: Call 405-842-5387 CIVIC CENTER TICKET OFFICE hours are 9:00 a.m. to 5:00 p.m., weekdays. Programs and Artists are subject to change without notification.