OKC PHIL program magazine 2017-2018 edition # 2

The Christmas Show November 30December 2, 2017

PG 25

Joshua Roman, Cello Alexander Mickelthwate, Guest Conductor

Cirque Musica Presents Heroes & Villians

Dan Schwartz, English Horn Simone Porter, Violin

Michael Cavanaugh — The Songs of Elton John and More

January 13, 2018

January 26-27, 2018

February 3, 2018

February 23-24, 2018

PG 33

PG 43

PG 45

PG 55

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LOUISE CHURCHILL, President Oklahoma Philharmonic Society, Inc. Welcome to our 29th season! It is an exciting time in the evolution of our organization. This year we celebrate the career of our well-loved founding Music Director Joel Levine. Maestro Levine retires at the end of this season. We also welcome our Music Director Designate Alexander Mickelthwate to our Philharmonic family. We are thrilled to have him and his family in Oklahoma City, and we invite you to help them feel at home.

We have a marvelous season of programming for our Classics, Pops and Discovery Series.

Through our partnership with the Oklahoma City Orchestra League we continue to offer exceptional education and competition opportunities for students. The support of the Associate Board broadens our reach into younger generations in the community.

We continue to be grateful to our loyal patrons and donors. Please invite a friend or two to a concert this year. You are our best advocates of our superb orchestral music.

CAROL MCCOY, President Oklahoma City Orchestra League, Inc. The Oklahoma City Orchestra League welcomes you to the 29th season of the OKC Philharmonic. This season is very special! We will bid Maestro Joel Levine farewell and welcome Alexander Mickelthwate to the podium. An event not to be missed will be the Maestro’s Ball on October 27th. It will be our send off to Maestro Levine and I invite all of you to join us in recognizing his 29 years of outstanding orchestral music in Oklahoma.

Orchestra League members believe music is food for the soul and through our volunteer activities we help support the Philharmonic as well as provide educational programs that can introduce children to the wonders of music. Our Music Competitions have been a springboard to music careers for many talented Oklahoma musicians. Our largest fundraiser, the Symphony Show House will see its 45th year this spring. I invite you to join the Oklahoma City Orchestra League. More information can be found at www.okcorchestraleague.org

ASHLEY WILEMON, President Associate Board I am honored to be Associate Board President during a truly historic Oklahoma City Philharmonic season. In addition to an outstanding programming line-up featuring worldclass guest musicians, the added excitement of a new Music Director Designate makes this season particularly special. On behalf of each member of the Associate Board, thank you for choosing to spend time experiencing the beauty of orchestral music.

The Associate Board seeks to build - especially among young professionals — an understanding of and appreciation for the gift of the Philharmonic. Our signature Overture program provides a fun, engaging and unique way to become involved with the Philharmonic community and network with those who share a love of orchestral music, an interest in learning more about it, or a passion for new cultural experiences.

On behalf of the Associate Board, welcome to the 29th season of the Oklahoma City Philharmonic. We’re so glad you’re here

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MUSIC DIRECTOR -

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JOEL LEVINE Beginning his twenty-ninth 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-ninth 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, Susan Powell and Leona Mitchell.

He has received international recognition for performances reflecting many different styles in the classical repertoire.

His program of Schubert and Schumann symphonies with Germany’s Brandenburg Symphony Orchestra led the reviewer to write: “Joel Levine proved that he is an absolute master of his profession; the audience honored this impressive performance with much applause.” Engagements in the great European capitols include concerts with the Czech National Symphony in Prague’s Dvorák Hall, and the Symphony Orchestra of Portugal in Lisbon. Other international invitations have included orchestras in Spain, Israel, Belgrade, Bucharest, and an appearance with the Mexico City Philharmonic.

Maestro Levine has conducted many of America’s major ensembles including three seasons with The National Symphony Orchestra at the Kennedy Center in Washington, D.C. and the orchestras of St. Louis, Detroit, Minneapolis, Baltimore, Indianapolis, Seattle, Denver, Nashville, Milwaukee 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.

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MIDTOWN 432 N.W. 10th Street (E. of St. Anthony Hospital) (405) 602-6333

MOORE 1611 South I-35 Service Rd. (S.of Warren Theater) (405) 794-3474

OKLAHOMA PHILHARMONIC SOCIETY, INC.

P R O V I D I N G

I N S P I R A T I O N

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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

Louise Churchill President

Jane B. Harlow Patrick Alexander

Teresa Cooper President Elect

Directors

Brent Hart Vice President Jeff Starling Treasurer Kathy Kerr Secretary Debbie Fleming Immediate Past President

Steven C. Agee, Ph.D. J. Edward Barth Lori Black Robert Clements Lawrence H. Davis Joseph Fleckinger Ryan Free Kirk Hammons Jane Jayroe Gamble Dean Jackson Michael E. Joseph Wesley Knight Brad Krieger

Carol McCoy David McLaughlin Margaret Freede Owens Donald Rowlett Melissa Scaramucci John Shelton Jerrod Shouse Glenna Tanenbaum J. Mark Taylor Donita Thomas Tony Welch Cheryl White Ashley Wilemon Wendi Wilson

Honorary Directors Josephine Freede Mary Nichols Richard Sias

ADMINISTRATIVE STAFF Katie Barrick Education Coordinator

Stephen Howard Database/Records Manager

Judy Hill Administrative Assistant

Tara Burnett Development Coordinator

Kris Markes General Manager

Chris Stinchcomb Concert Operations and P.R. Coordinator

Daniel Hardt Finance Director

Jennifer Owens Development Director

Eddie Walker Executive Director

Whitney Hendricks Customer Service Representative

Ulises Serrano Ticket Data Analyst

Susan Webb Marketing & P.R. Director

Oklahoma City Police Association Production Essentials, Inc. Ryan Audio Services, LLC.

Stubble Creative, Inc. The Skirvin Hotel Tuxedo Junction

ACKNOWLEDGEMENTS Classical KUCO 90.1 Garman Productions Heritage Press

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

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OKLAHOMA CITY ORCHESTRA LEAGUE, INC.

EXECUTIVE COMMITTEE Carol McCoy Debbie Minter President Membership VP

Julia Hunt Past President, Ex-Officio

Wendi Wilson Judy Austin President-Elect Ways & Means VP

Lisa Reed OCOL Executive Director, Ex-Officio

Glenna Tanenbaum Martha Pendleton Secretary Education VP

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

Judy Moore Treasurer

Margaret Biggs Competitions VP

BOARD OF DIRECTORS Julie Assef Newt Brown Joan Bryant

Rita Dearmon Jean Hartsuck Dixie Jensen Rachel Morris

Kirstin Reynolds Thomas Rossiter Matt Thomas

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

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

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

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

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THE ORCHESTRA -

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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 TBD Deborah McDonald Janet Gorton Ai-Wei Chang Lu Deng

SECOND VIOLIN

Katrin Stamatis, Principal McCasland Foundation Chair Catherine Reaves Sophia Ro Brenda Wagner Sarah Brown Mary Joan Johnston Angelica Pereira Cindy Zhang Laura Young TBD June McCoy Hannah Murray

VIOLA

Royce McLarry, Principal Mark Neumann Joseph Guevara Kelli Ingels Steve Waddell TBD Donna Cain Brian Frew Shaohong Yuan Lacie Savage

CELLO

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

Meredith Blecha-Wells Valorie Tatge Emily Stoops Jim Shelley Angelika Machnik-Jones Jean Statham Rob Bradshaw Charles Helge

BASS

George Speed, Principal Anthony Stoops, Co-Principal Larry Moore Parvin Smith Mark Osborn 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

Bradford Behn, Principal Tara Heitz James Meiller

BASS/E-FLAT CLARINET James Meiller

BASSOON

CONTRABASSOON Barre Griffith

HORN

Kate Pritchett, Principal G. Rainey Williams Chair Nancy Halliday Mirella Gauldin 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 Patrick Womack Roger Owens

TIMPANI

Lance Drege, Principal

HARP

Gaye LeBlanc Germain, Principal

PIANO

Peggy Payne, Principal

PERSONNEL MANAGER/LIBRARIAN Michael Helt

PRODUCTION MANAGER Leroy Newman

Rod Ackmann, Principal James Brewer Barre Griffith Larry Reed

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PLANNED GIVING

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NCORE SOCIETY

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

Anonymous (3)

Joel Levine

Steven C. Agee, Ph.D.

John and Caroline Linehan

Mr. and Mrs. Patrick B. Alexander

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

Gary and Jan Allison

Mrs. Jackie Marron

Dr. Jay Jacquelyn Bass

Mr. and Mrs. John McCaleb

Louise C. Churchill

Jean and David McLaughlin

Mr. and Mrs. Robert H. Clements

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

Michael and Catherine Reaves

Pam and Gary Glyckherr

Mr. and Mrs. William J. Ross

Carey and Gayle Goad

Drs. Lois and John Salmeron

Mr. and Mrs. J.A. Gowman

Mr. and Mrs. William F. Shdeed

Carol M. Hall

Richard L. Sias

Ms. Olivia Hanson

Doug and Susie Stussi

Jane B. Harlow

Larry and Leah Westmoreland

Dr. and Mrs. James Hartsuck

Mrs. Martha V. Williams

Mr. and Mrs. Michael E. Joseph

Mr. John S. Williams Mr. and Mrs. Don T. Zachritz

THANK YOU The Oklahoma Philharmonic Society, Inc. is grateful for the support of caring patrons who want to pass on a legacy of extraordinary music to future generations. You can join this special group of music enthusiasts by including a gift for the OKC Philharmonic’s future in your own will or estate plan. For more information on how to become an Encore Society member, contact Jennifer Owens at (405) 231-0148 or jennifer@okcphil.org or Eddie Walker at ewalker@okcphil.org.

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GIFTS TO THE PHILHARMONIC The Oklahoma City Philharmonic Orchestra gratefully acknowledges the commitment and generosity of individuals, corporations, foundations, and government agencies that support our mission. To help us provide inspiration and joy to the community through performances and education programs, please contact the Philharmonic’s Development Office at (405) 232-7575.

This Annual Fund recognition reflects contributions made in the 2016-2017 and 2017-2018 season. Contributions of $100 and above are listed through October 2, 2017..

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

GOLD SPONSORS $5,000 - $9,999

GOLD PARTNERS $1,250 - $1,749

Allied Arts Foundation The Chickasaw Nation Devon Energy Corporation E.L. and Thelma Gaylord Foundation Inasmuch Foundation Kirkpatrick Foundation Inc. Oklahoma Arts Council Oklahoma City Orchestra League, Inc. The Oklahoman The Skirvin Hilton Hotel

Arnall Family Foundation The Crawley Family Foundation Garman Productions Mekusukey Oil Company, LLC The Metro Restaurant

Flips Restaurant, Inc. The Fred Jones Family Foundation The Kerr Foundation, Inc. Morningstar Properties

PLATINUM SPONSORS $10,000 - $39,999 405 Magazine Ad Astra Foundation American Fidelity Foundation Anschutz Family Foundation/ The Oklahoman Media Company BancFirst Bank of Oklahoma Express Employment Professionals HSPG and Associates, PC Love’s Travel Stops & Country Stores Mathis Brothers Furniture Co., Inc. MidFirst Bank OGE Energy Corp.

Tyler Media Co./Magic 104.1FM and KOMA W&W Steel, LLC Wilshire Charitable Foundation

SILVER SPONSORS $3,000 - $4,999 Clements Foods Foundation Coca-Cola Southwest Beverages Gordon P. and Ann G. Getty Foundation OK Gazette The Friday True Sky Credit Union

BRONZE SPONSORS $1,750 - $2,999 Anthony Flooring Systems Inc. The Black Chronicle Globe Life and Accident Insurance Company Norick Investment Company Oklahoma Allergy & Asthma Clinic Testers, Inc.

MATCHING GIFT COMPANIES AND FOUNDATIONS Double the impact of an individual’s gift.

American Fidelity Foundation Bank of America Matching Gifts Program ExxonMobil Foundation

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Inasmuch Foundation The Williams Companies

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

BRONZE PARTNERS $300 - $749 Kent S. Johnson Law Firm

BUSINESS MEMBERS $100 - $299 BancFirst Trust Department Richard Parry and Cory Robinson

GIFTS TO THE PHILHARMONIC MAESTRO SOCIETY Providing leadership support.

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Benefactor $5,000 - $9,999

MAESTRO SOCIETY

Guarantor $10,000 and above Mr. and Mrs. Andrew J. Evans, II The Freede Family Jean and Dave McLaughlin Mary D. Nichols Nancy and George Records Mr. Richard L. Sias Glenna and Dick Tanenbaum Renate and Chuck Wiggin

Mr. and Mrs. Patrick B. Alexander Mrs. Betty D. Bellis-Mankin Marilyn and Bill Boettger Molly and Jim Crawley Mr. and Mrs. Douglas R. Cummings Lawrence H. and Ronna C. Davis Mr. and Mrs. John A. Frost Mrs. Jane B. Harlow John and Claudia Holliman Mr. Albert Lang Ms. Veronica Pastel-Egelston Mr. H.E. Rainbolt Mr. and Mrs. John Richels Lance and Cindy Ruffel Mr. and Mrs. Douglas J. Stussi

INDIVIDUALS Providing essential support for the Annual Fund.

Patron $3,000 - $4,999 Steven C. Agee, Ph.D. Mike and Dawn Borelli Louise Churchill Mrs. Carlene Edwards Paul and Debbie Fleming Mrs. Bonnie B. Hefner Mr. Robert B. Milsten Larry and Polly Nichols Mr. James Nix Mrs. Ruby C. Petty Scott and Janet Seefeldt Mrs. June Tucker Mrs. Martha V. Williams Mrs. Anne Workman Mrs. Carol Wright Caroline Payne Young

Sustainer $1,750 - $2,999 Mr. Barry Anderson Dr. and Mrs. Dewayne Andrews Dr. and Mrs. John C. Andrus Ms. Zonia Armstrong Dr. John E. Beavers J. M. Belanger and Sarah Sagran Mr. and Mrs. John Biggs Dr. and Mrs. Philip C. Bird Larry and Sarah Blackledge Dr. and Mrs. L. Joe Bradley

Priscilla and Jordan Braun Mrs. Phyllis Brawley Dr. and Mrs. Robert C. Brown Mr. and Mrs. David G. Bryant Phil and Cathy Busey Mrs. Teresa Cooper Mr. and Mrs. Sidney G. Dunagan David and Druanne Durrett Mrs. Patty Empie Mr. and Mrs. George Faulk Mr. and Mrs. Joseph M. Fleckinger Mr. Jerry A. Gilbert Mr. and Mrs. Carey Don Goad Dr. and Mrs. James Hartsuck Mrs. Janice Singer Jankowsky and Mr. Joseph S. Jankowsky Tom and Cindy Janssen Kim and Michael Joseph Mr. and Mrs. W. A. Joseph Terry and Kathy Kerr Ms. Rita Lapham Mr. and Mrs. Harrison Levy, Jr. Dr. and Mrs. Patrick McKee Mr. and Mrs. Herman Meinders Mr. and Mrs. Harry Merson Annie Moreau, MD Mrs. Jeaneen Naifeh Mr. and Mrs. Ronald J. Norick Mr. William G. Paul Dr. Joseph H. Phillips Mr. and Mrs. Jerry W. Plant Drs. Gary and Mary Porter Mr. and Mrs. Ray H. Potts Mr. Joshua Powell

Kathryn and Robert Prescott Mr. and Mrs. Steven Raybourn Mr. and Mrs. Richard L. Reynolds Mrs. Melba Rhinehart Mr. and Mrs. William J. Ross Mr. Donald Rowlett Mr. Patrick J. Ryan Drs. Lois and John Salmeron Mr. and Mrs. Samuel Sanchez Mrs. Sally B. Saunders Ms. Jeanne Hoffman Smith Mr. and Mrs. John S. Spaid Sr. Mr. and Mrs. John E. Stonecipher Mr. and Mrs. Frederick K. Thompson Mrs. Billie Thrash William P. Tunell, M.D. Mrs. Janet Walker Ron and Janie Walker John and Lou Waller Mr. Tom L. Ward Mr. and Mrs. Ron Youtsey

Associate $1,250 - $1,749 Mrs. Mary Louise Adams Mr. J. Edward Barth Dr. and Mrs. William L. Beasley Mr. and Mrs. William Beck Lori Bedford Mr. and Mrs. Robert M. Benham Howard K. Berry, Jr. and Denise Berry Nick Berry and Betsy Hyde CONTINUED ON PAGE 61

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THE CHRISTMAS SHOW November 30, 2017 at 7:30 P.M. December 1, 2017 at 8:00 P.M. December 2, 2017 at 2:00 P.M. and 8:00 P.M.

POPS

Family Fun with the OKC PHIL! Starring

Elizabeth Stanley With

Stephen Hilton, The Ward Family Trick Ropers, The Philharmonic Pops Chorale, The Mistletoes, Daryl Tofa and The Christmas Kids JOEL LEVINE, MUSIC DIRECTOR AND CONDUCTOR DIRECTION AND CHOREOGRAPHY BY LYN CRAMER EDDIE WALKER, EXECUTIVE PRODUCER Choral Preparation: Vince Leseney, Technical Direction: Amanda Foust, Lighting Design/Programming: Brad Criswell, Set Design: Amanda Foust, Props: Courtney Strong, Costumes: Jeffrey Meek, Sound: George Ryan Productions, Production Stage Manager: Jenny Lang, Assistant Stage Managers: Amber Rudnick and Brea Clemons, Additional Choreography: Karen Boyd Bethel, Additional Choral Arrangements: Don Clothier, Children’s Coordinator: Paul Gebb, Additional Lyrics: Vince Leseney THIS CONCERT IS GENEROUSLY SPONSORED BY:

SPECIAL THANKS TO:

E.L. and Thelma Gaylord Foundation PRE CONCERT LOBBY BELL CHOIRS: Church of the Servant, Cleveland Elementary School,

St. Charles Borromeo Catholic School and the Oklahoma City Handbell Ensemble Text PhilFun to 95577 to stay up to date on the latest Philharmonic info.

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“THE CHRISTMAS SHOW” 2017 WILLIAMS and BRICUSSE............... MERRY CHRISTMAS, MERRY CHRISTMAS

The Philharmonic Pops Chorale ANDERSON.................................... SLEIGH RIDE

Elizabeth Stanley, The Philharmonic Pops Chorale and The Mistletoes PIERPONT...................................... JINGLE BELLS

Elizabeth Stanley, The Philharmonic Pops Chorale and The Mistletoes POOLER and CARPENTER.............. MERRY CHRISTMAS, DARLING

Elizabeth Stanley and The Philharmonic Pops Chorale BERLIN.......................................... I’VE GOT MY LOVE TO KEEP ME WARM

Elizabeth Stanley and The Mistletoes BIZET............................................ MARCH OF THREE KINGS

The Philharmonic PORTER......................................... MY HEART BELONGS TO SANTA

Elizabeth Stanley BALLARD....................................... MISTER SANTA

Elizabeth Stanley and Santa, with Olivia Reid, Katja Yanko and Tatum Ludlum TRADITIONAL................................ LETTERS TO SANTA

Santa VARIOUS........................................ HELLO SANTA

Santa, The Philharmonic Pops Chorale and The Mistletoes GILLESPIE and COOTS.................... SANTA CLAUS IS COMING TO TOWN

The Mistletoes, featuring Daryl Tofa

INTERMISSION

TRADITIONAL................................ TURKEY IN THE STRAW

Elizabeth Stanley, Santa, The Philharmonic Pops Chorale,

The Mistletoes and The Christmas Kids TRADITIONAL................................ POPS HOEDOWN

The Ward Family Trick Ropers DARLING and NEWMAN................. THE ANGELS SANG

Elizabeth Stanley and The Christmas Kids COLEMAN...................................... HOLIDAY FUN

Santa, The Philharmonic Pops Chorale and The Mistletoes NILES............................................ I WONDER AS I WANDER

Elizabeth Stanley HAYES........................................... LET HEAVEN AND NATURE SING

The Philharmonic Pops Chorale VALE and WORLEY......................... STAR OF BETHLEHEM

Elizabeth Stanley and The Philharmonic Pops Chorale MALOTTE....................................... THE LORD’S PRAYER

Elizabeth Stanley, The Philharmonic Pops Chorale and The Mistletoes BERLIN.......................................... WHITE CHRISTMAS

Elizabeth Stanley, Santa, The Philharmonic Pops Chorale and The Mistletoes

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LYN CRAMER An Endowed Professor in the Weitzenhoffer School of Musical Theatre at the University of Oklahoma, Lyn Cramer has been a teacher, director, and choreographer for over 35 years. OU productions include Curtains, Thoroughly Modern Millie, La Cage aux Folles, The Drowsy Chaperone, On The Town, Seussical, A Chorus Line, Anything Goes, Sweet Charity, Cabaret, Company, Baby, Pal Joey, My One and Only, Good News, Nine, How to Succeed, Rent, and Urinetown. Cramer has directed and choreographed many shows for Lyric Theatre of Oklahoma including Little Mermaid, The Drowsy Chaperone, Dream Girls, Big Fish, The Will Rogers Follies, Bye Bye Birdie, Hairspray, 42nd Street, Swing, Smokey Joe’s Café, Cabaret, Singin’ in the Rain, The Best Little Whorehouse in Texas, The Sound of Music, Dames at Sea, Five Guys Named Moe, Grease, and Joseph and the Amazing Technicolor Dreamcoat. Other theatre credits include Casa Mañana, Music Theatre of Wichita, Oklahoma City Repertory Theatre and The Broadway Rose in Portland, Oregon. Favorite stage

roles include Mrs. Wilkinson in Billy Elliot, Sara Jane Moore in Assassins, Becky Two Shoes in Urinetown the Musical and Bertha in Boeing-Boeing. Cramer’s professional acting career began in 1982, and she is a member of Actors Equity Association and The Stage Directors and Choreographers Society. Lyn received The Irene and Julian J. Rothbaum Presidential Professor of Excellence in the Arts award from the Weitzenhoffer Family College of Fine Arts and the Artistic Achievement Award from Chicago National Association of Dance Masters. Featured on Cathy Roe’s instructional tap and jazz videos, Cramer is master teacher throughout the United States, publishing curriculums in jazz and tap pedagogy. She has served as an adjudicator and master teacher in musical theatre dance at the Hong Kong Academy for the Performing Arts. Her students grace the Broadway stage, perform in national tours, international theatre, regional theatre, and cruise lines. She is the author of the book Creating Musical Theatre: Conversations with Broadway Directors and Choreographers.

THE WEITZENHOFFER SCHOOL OF MUSICAL THEATRE All of The Mistletoes and several members of the Pops Chorale are musical theatre majors from the Weitzenhoffer School of Musical Theatre at the University of Oklahoma. The mission of the School is to provide an excellent education, training and varied production experiences to selected students to assure them the opportunity to be artistically competitive on a national level upon graduation from the University of Oklahoma. The School is committed to the development of new musical properties, cooperating with professional producers, companies and creative leaders in the field, in addition to regularly presenting works from the musical theatre repertoire. It is a comprehensive and balanced interdisciplinary B.F.A. degreegranting program that collaborates with other units in the Weitzenhoffer Family College of Fine Arts. musicaltheatre.ou.edu

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ELIZABETH STANLEY Elizabeth was last seen starring as Francesca in the first national tour of Jason Robert Brown’s The Bridges of Madison County (dir. by Bartlett Sher); and before that as the man-crazed anthropologist, Claire De Loone in the Broadway revival of On the Town (Drama Desk Nomination). Other roles originated on Broadway include Dyanne in Million Dollar Quartet, Allison in Cry-Baby, and April in the Tony Award-winning revival of Company.

She starred in the first national tour of Xanadu as Kira. Off-Broadway roles include Gussie in the New York City Center Encores! Production of Merrily We Roll Along (PS Classics cast album), and The Nurse in Hello, Again (Transport Theatre Group, Drama League Award - Best Ensemble), and on TV, “The Get Down”, “The Affair,” “Black Box,” “Made in Jersey,” “Fringe,” “The Chappelle Show,” and “PBS Great Performances - Company.” Regionally she has performed with Sundance Theatre Festival, Sacramento Music Circus, Pittsburgh CLO, Barrington Stage Co., Philadelphia Theatre Co., Rep. of St. Louis, O’Neill, La Jolla Playhouse, Pioneer Theatre Co., Cincinnati Playhouse. She is a graduate of Indiana University.

SANTA CLAUS Santa has been delivering Christmas spirit all around the world for as long as he can remember. He is not only the world’s foremost expert on good boys and girls, but he’s begun to take a look at parents as well. His latest project is a series of workout videos for those who might overdo it with the Christmas cookies. He hopes to have those out sometime next year. Santa is thrilled to be back at the Philharmonic and wants to dedicate his appearance to Mrs. Claus and all the little elves without whom Christmas would not be possible.

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GUEST ARTIST

DARYL TOFA Daryl is excited and grateful to be returning for The Christmas Show with the OKC Philharmonic. He is a junior at The University of Oklahoma.

Regional performances include South Pacific, West Side Story, Joseph and the Amazing Technicolor Dreamcoat, Catch Me If You Can (Music Theatre Wichita) Wizard of Oz, The Music Man, Mamma Mia!, Aida, Jesus Christ Superstar, Unsinkable Molly Brown and Newsies (The Muny). He is a proud member of Actor’s Equity.

VINCE LESENEY This year marks Vince’s 20th production of the OKC Philharmonic’s The Christmas Show. In addition to directing the Pops Chorale, he is also professor of voice in the Weitzenhoffer School of Musical Theatre at the University of Oklahoma. Vince has performed in over fifty productions with Lyric Theatre of Oklahoma and played Franz Liebkind opposite Roger Bart and Brad Oscar in The Producers at Kansas City Starlight in 2010.

In 2003 he performed at the opening of the Robert J Dole Institute of Politics at the University of Kansas before three former presidents and several Congressional Medal of Honor recipients. Vince has been a guest artist with the Kansas City Symphony and the American Music Festival Orchestra. He also proudly serves as Minister of Music at Memorial Presbyterian Church in Norman.

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THE WARD FAMILY TRICK ROPERS The Ward Family Trick Ropers from Guthrie, Oklahoma are in the fourth and fifth generations of Western entertainers.

Their legacy began in the 1920’s with Charley Shultz. Charley began clowning for picnics and rodeos which led to a job on the 101 Ranch in Marland, Oklahoma. Charley hired a roper with the 101 to teach his children to trick rope. Norma Shultz Ward, his daughter, performed at her first rodeo in Holly, Colorado, in 1930. She taught her son and her grandchildren the art of trick roping. Her roping career continued until her death in 2013 at the age of 92. Now the tradition has carried to her great grandchildren as well, with nine great grands roping. This tradition is in the same roping style that was made famous by Oklahoma’s own Will Rogers. The Ward family has worked on several motion pictures providing props and livestock. They are often found performing and educating others about the Western way of life at the National Cowboy and Western Heritage Museum, especially at the annual Chuckwagon Festival held over Memorial Day Weekend. Charley Shultz was inducted into the Museum in 1999. Performing this weekend for your entertainment are Charley Ward, Alicia Ward, Lyndi Ward and Daisi Ward.

THE PHILHARMONIC POPS CHORALE Beth Adele Chad Anderson Thomas Cromer Stephanie Easley Brooke Gebb Tommy Glenn Aaron Gooden

Davy Green Brian Hamilton Scott Hynes Ryan Lambert Tatum Ludlum Jessica Martens Sheridan McMichael

Patrick Nowak Dalycia Phipps Olivia Reid Jenny Rottmayer Greg White Katja Yanko

Conor Donnelly Natalie Goodin Madison Levy Taylor O’Toole

Lena Owens Cameron Saims Daryl Tofa John Tupy

Townley Gebb Kayley Glenn Holly Humphrey Carley Roden

Lily Rodgers Katherine Russ

THE MISTLETOES Brick Ban Gordon Beingessner Bianca Bulgarelli Caroline Coffey

THE CHRISTMAS KIDS Oliver Berry Caroline Flurry Carter Gebb Greyson Gebb

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CONCERT PREVIEWS

January 13, 2018 8:00 P.M.

CLASSICS JOSHUA ROMAN, CELLO ALEXANDER MICKELTHWATE, CONDUCTOR

CLASSICS 4 - JANUARY 13, 2018 Alexander Mickelthwate Music Director Designate, OKC Philharmonic

CLASSICS 5 - FEBRUARY 3, 2018 Dan Schwartz Second Oboe/English Horn, OKC Philharmonic

CLASSICS 6 - MARCH 3, 2018 Q&A with Joyce Yang, Piano and Dr. Sallie Pollack, Piano Division Head and Associate Professor of Collaborative Piano, University of Central Oklahoma

GINASTERA .................. Dances from the Ballet Estancia, Op. 8

Los trabajadores agrícolas (The Land Workers)

Danza del trigo (Wheat Dance)

Los peones de hacienda (The Cattle-men)

Danza final (Malambo) (Final Dance: Malambo)

HAYDN ......................... Cello Concerto in C major, Hob. VIIb:1

Moderato

Adagio

Allegro molto

Joshua Roman, cello

CLASSICS 7 - APRIL 7, 2018 Q&A with Philippe Quint, Violin and June McCoy, Violin, OKC Philharmonic and Concert Previews Chair, OKC Orchestra League

CLASSICS 8 - MAY 12, 2018 Rodney Ackmann Principal Bassoon, OKC Philharmonic

Intermission

SIBELIUS ..................... Symphony No. 2 in D major, Op. 43

Allegretto—Poco allegro—Tranquillo,

ma poco a poco ravvivando il tempo al allegro

Tempo andante, ma rubato—Andante sostenuto

Vivacissimo—Lento e suave—Largamente (attacca)

Finale. Allegro moderato

THIS CONCERT IS GENEROUSLY SPONSORED BY:

Text CLASSICS to 95577 to stay up to date on the latest Philharmonic info.

Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, February 7 at 8 pm and Saturday, February 10 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

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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 celebrated performer, he is recognized as an accomplished composer and curator, and was named a TED Senior Fellow in 2015.

During the 17-18 season, Roman will make his Detroit Symphony Orchestra debut, and perform his own Cello Concerto, “Awakening”, with the Princeton Symphony in collaboration with conductor Teddy Abrams. In Europe, Roman will perform one of his favorite 20th Century Cello Concertos, that of Polish composer Witold Lutoslawski, with the Szczecin Philharmonic of Poland. Other season highlights include performances of Tornado with the JACK Quartet with San Francisco Performances, Town Hall Seattle, Interlochen and numerous presenters throughout the country.

Notable events from the 16-17 season include the premiere of Tornado, a new work composed by Joshua Roman and commissioned by the Music Academy of the West and Town Hall Seattle. The lauded premiere took place with the JACK Quartet at the Music Academy of the West in June of 2017.

He also gave his debut at the Spoleto Festival in Charleston, comprised of not only performances with high caliber musicians from the St. Lawrence String Quartet and other corners of the chamber music world, but a performance of his solo piece Riding Light. Orchestral highlights of the season included performances of the Mason Bates

Cello Concerto with the Portland, Berkeley, Spokane, and Memphis Symphonies. The concerto is dedicated to the cellist, who gave its “world-class world premiere” (Seattle Times) with the Seattle Symphony in 2014, and has since performed it with orchestras around the U.S. In November of 2016, Roman’s musical response to the tension around the U.S. Presidential election - “Let’s Take A Breath” brought almost one million live viewers to TED’s Facebook page to hear his performance of the complete Six Suites for Solo Cello by J.S. Bach.

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, Moscow State Symphony and Mariinsky Orchestra, among many others. An active chamber musician, Roman has collaborated with Cho-Liang Lin, Assad Brothers, Christian Zacharias, Yo-Yo Ma, the JACK Quartet, the Enso String Quartet and Talea Ensemble. 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 has given a solo performance on the TED 2015 main stage. Roman is grateful for the loan of an 1899 cello by Giulio Degani of Venice.

“A cellist of extraordinary technical and musical gifts.”

— San Francisco Chronicle

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ALEXANDER MICKELTHWATE German conductor Alexander Mickelthwate is the newly appointed Music Director Designate of the Oklahoma City Philharmonic, and he is in his 12th and final season as Music Director of the Winnipeg Symphony Orchestra in Canada. Since starting his tenure in 2006 he played a pivotal role in the rejuvenation and turnaround of the Winnipeg Symphony Orchestra which culminated in a highly successful and critically acclaimed performance at Carnegie Hall in May 2014. The New York Times noted the performance was “conducted expertly,” and the New York Classical review stated “under music director Alexander Mickelthwate, they play with excellent intonation and such a fine overall blend and balance of sound that, on their own terms, they may be the best orchestra to appear in the week’s worth of concerts.”

Deeply rooted in his German heritage, English music writer and critic Norman Lebrecht wrote about Mickelthwate’s interpretation of Mahler 10 with the Winnipeg Symphony: “Both Mahler 10 performances were intense and engaging. Every twist and turn in the score was fresh and surprising to my ears.”

And his interpretation of Bruckner’s Symphony No. 7 prompted the pianist Anton Kuerti to write a letter to the newspaper saying “I would like to call attention to the stunning performance heard after the intermission. To play Bruckner’s Symphony No. 7 with the passion, profundity, emotional intensity, subtly and degree of perfection achieved by conductor Alexander Mickelthwate and the Winnipeg Symphony can only be called miraculous.”

In North America Alexander has guest conducted the New York Philharmonic, the Chicago Symphony, Seattle Symphony, Houston Symphony, Vancouver Symphony, Atlanta Symphony, Saint Paul Chamber Orchestra, Saint Luke’s, Milwaukee Symphony, Rochester Philharmonic and Toronto Symphony among others.

Just last season he conducted four successful performances with the Brandenburger Philharmoniker, Germany, and he was re-invited to conduct two weeks of performances with the National Orchestra of Chile in Santiago in May 2018.

His European debut was with the Hamburger Symphoniker. He also conducted the BBC London, Stuttgart Radio Orchestra,

Royal Scottish, Deutsche Kammerphilharmonie Bremen and NDR Hannover. Other notable performances include the Sao Paulo Symphony and the Simon Bolivar Orchestra in Venezuela.

He made his Australian debut with the Adelaide Symphony and the Tasmania Orchestra where he recorded the Mozart piano concerti Nos. 7 and 10 with the Silber Garburg Duo. Alexander Mickelthwate has worked several times with Dame Evelyn Glennie conducting the world premiere of two new percussion concerti by Vincent Ho. He also worked with Itzhak Perlman, Joshua Bell, Dawn Upshaw, Plácido Domingo, Ben Heppner, Leila Josefowitz, James Ehnes, Alban Gerhardt, Anton Kuerti, Horatio Gutiérrez, Emanuel Ax, Leonidas Kavakos and Sarah Chang among many others; and he worked very closely with composers Sofia Gubaidulina, Kaija Saariaho, John Adams, R. Murray Schafer, Steven Stucky, Gabriel Prokofiev, Unsuk Chin, Joan Towers, John Luther Adams and Mason Bates.

For three years Alexander created a critically acclaimed Indigenous Festival. Passionate to connect with all cultures, he created artistic collaborations between First Nations and Western cultures that culminated in the performances of Stravinsky’s Rite of Spring and Revueltas’ Les Noches de los Mayas with new choreographies of contemporary and First Nations dance.

A few of the most creative projects for Alexander were the performance of movie director Guy Maddin’s Brand Upon a Brain with narration by actress Isabella Rossellini, the workshopping of a new opera Tesla by movie director Jim Jarmusch and composer Phil Klein and a production of Gavin Bryars The Sinking of the Titanic at PanAm Pool.

Alexander conducted for President Jimmy Carter and the Queen of England and received the Queen Diamond Jubilee Medal.

Born and raised in Frankfurt, Germany to a musical family, Alexander has received his degree from the Peabody Institute of Music. He studied conducting under Fredric Prausnitz and Gustav Meier as well as with Seiji Ozawa, Andre Previn, Daniel Barenboim and Robert Spano at Tanglewood. Following on from his tenure as Assistant Conductor with the Atlanta Symphony Orchestra, which he completed in 2004, Alexander Mickelthwate was Associate Conductor of the Los Angeles Philharmonic for three years, under the direction of Essa-Pekka Salonen.

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Dances from the Ballet Estancia, Op. 8 Alberto Ginastera First performance: 11/28/1961 Conductor: Guy Fraser Harrison Last Performance: 5/20/2006 Conductor: Joel Levine Born: April 11, 1916, in Buenos Aires, Argentina Died: June 25, 1983, in Geneva, Switzerland Work composed: 1941 Work dedicated: To Lincoln Kirstein Wok premiered: May 12, 1943, at the Teatro Colón in Buenos Aires, with Ferruccio Calusio conducting the Orquesta del Teatro Colón Instrumentation: Flute (doubling piccolo) and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, triangle, castanets, tambourine, snare drum, tenor drum, cymbals, bass drum, tam-tam, xylophone, piano, and strings

Estancia (1941), and his chamber composition Impresiones de la Puna (1934).

Argentina endured political oppression in the mid-20th century under the regime of Juan Perón. Ginastera did not flourish in that climate, and in 1945 the government forced him to resign from his position on the music faculty of the National Military Academy because he had signed a petition in support of civil liberties. Fortunately, the 30-year-old composer was able to travel with his family to the United States, where he studied from 1945-47 with the support of a Guggenheim fellowship. On his return to Argentina he formed a national composers’ organization similar to the League of Composers in New York. Not until after Perón was overthrown, in 1955, did Ginastera assume several politicalacademic posts in Argentina and begin to introduce some of the most important new music from Europe and North America to eager minds in his country. In 1969, exasperated with the political situation in Argentina, Ginastera left definitively, and he spent most of the rest of his life in Geneva, where he died.

Ginastera’s later works moved toward an abstracted modernism, even exploring serial composition and polytonality.

Nonetheless, he remained concerned about the gap that separated audiences from serious musical composition during his lifetime, and he proclaimed that the proper aspiration of a composer was “to be integrated into society, not stand apart from it.” Outwardly, Ginastera was reserved, polite, and formal. In the late 1960s, just when his opera Bomarzo was leaving audiences aghast from its alleged lewdness, his fellow-composer and longtime friend Aaron Copland commented on “the tremendous contrast between the outward personality and the inner man.” “He is never off the cuff,” Copland continued, “but speaks always with due consideration for feelings and decorum. He’s the last man in the world you’d expect to shock people with a sensational opera. A lot goes on inside we don’t know about, obviously.”

Alberto Ginastera made a greater impact on the international classical-music scene of his era than did any other Argentine composer. Born into a family of Catalan and Italian roots, he was entirely schooled in his native country, principally at the National Conservatory of Music in Buenos Aires.

When he was 18 he was awarded first prize in a composition contest, and in quick succession he produced numerous pieces with a distinctive flavor, often employing native Argentine rhythms or folk melodies. Many of these early works he later destroyed or at least withdrew, denouncing them as immature examples of his art. Nonetheless, some have found at least borderline places in the repertoire, including his Danzas argentinas (for piano, 1937), his ballet

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Estancia resulted from a commission tendered in 1941 by American Ballet Caravan. The group’s director, Lincoln Kirstein, envisioned an evening of three one-act ballets by three Latin American composers—Ginastera, Francisco Mignone of Brazil, and Domingo Santa Cruz of Chile—with George Balanchine choreographing all three pieces. The troupe disbanded in 1941, before the project could be realized, but Ginastera had finished his score and was able to get some instant mileage out of it by extracting four sections to stand as his Danzas del Ballet Estancia (Op. 8bis), a huge hit at their premiere, which took place in Buenos Aires. Indeed, the ballet would not be staged until 1952—also in Buenos Aires, and with choreography with Michel Borowski instead of Balanchine.

When Ginastera composed Estancia, he was going through his phase of “objective nationalism” (as he termed it), transposing elements of folk music directly into a classical format. The ballet’s scenario was perfectly suited to this

PROGRAM NOTES Música argentina As with all Latin American countries, Argentina made its first steps in Western art music under the auspices of the Roman Catholic Church. Jesuit missionaries— not just from Spain, but also from France, Belgium, Austria, Switzerland, and Germany—helped establish a flourishing musical culture in Argentina from the 16th through the 18th centuries. The eminent Italian composer-and-organist Domenico Zipoli arrived in 1717 to oversee music in Córdoba, Argentina’s principal cultural center at that point. In 1776, the capital of what was by then the Viceroyalty of the Río de la Plata was officially established at Buenos Aires, which henceforth would be the hub of Argentine musical life. Numerous Argentine composers emerged in the course of the 19th and 20th centuries, but most were appreciated principally within the nation’s boundaries.

A handful, however, achieved prominence beyond, including—apart from Ginastera—the neo-Romantic Carlos Guastavino (1912-2000), the “new tango” proponent Astor Piazzolla (1921-1992), and the theatrical avant-gardist Mauricio Kagel (1931-2008, who worked largely in Germany). Among Argentina’s current contributions to the musical scene are three particularly notable figures whose careers have unrolled mostly in the United States: Lalo Schifrin (b.1932), Mario Davidovsky, b.1934), and Osvaldo Golijov (b.1960).

— JMK

approach. Its plot is minimal—city boy falls in love with country girl, who grows to like him only when he develops the skills of a ranch-hand—but its five scenes add up to a celebration of rural life in Argentina. The complete ballet (though not the Danzas suite) even includes sung and recited passages from Martín Fierro, José Hernández’s epic poem from the 1870s about the lives of the gauchos on the Pampas, a text that is deeply ingrained in the psyche of all Argentines.

Cello Concerto in C major, Hob. VIIb:1 Franz Joseph Haydn Sole performance: 3/2/2013 Cello: Zuill Bailey Born: Almost certainly on March 31, 1732—he was baptized on April 1—in Rohrau, Lower Austria Died: May 31, 1809, in Vienna.

Work composed: ca. 1761-65 Work premiered: Not known, but the composer doubtless led the ensemble and the cello soloist was Joseph Franz Weigl

Instrumentation: Two oboes, two horns, and strings, in addition to the solo cello

In 1761, Franz Joseph Haydn took a step that would define the course of his career—and, by extension, the course of Western musical history. That spring he accepted the post of ViceKapellmeister (assistant musical director) for the Esterházy princes, immensely powerful Austrian-Hungarian aristocrats who ruled over vast expanses of Central Europe. Five years later, he was elevated to the post of Kapellmeister.

It is ironic that Haydn’s splendid Cello Concerto in C major, which is today one his most popular works, lay in oblivion for perhaps two centuries, adding nothing to its composer’s renown. Haydn did enter it in his composition catalogue, at a spot that would date it to 1765 at the latest. This was therefore a work of the composer’s first years at the Esterházy Court, which makes sense given the prominent solo-cello writing he employed in some of his other pieces of that time (the famous Symphonies Nos. 6-8, for example, as well as the Symphonies Nos. 13, 31, 36, and 72—all, despite their numbering, from 1765 or earlier). The cellist all these works were meant to spotlight was Joseph Franz Weigl, one of the first musicians Haydn hired when he was brought on board by Prince Paul Anton. Weigl’s contract began on June 1, 1761, and he remained at the court until 1769, leaving to assume the post of principal cellist for the Italian Opera at the Kärntnertortheater in Vienna. His son, also named Joseph Weigl—Haydn and his wife were his godparents — would carry on the musical trade: as a young man of 20, he served as rehearsal pianist for the first production of Mozart’s opera Le nozze di Figaro, and in ensuing seasons would help singers make sense of Don Giovanni and almost certainly Così fan tutte — all this before going one to compose many successful stage works of his own, including an opera on the Swiss Family Robinson story. One of them would provide the theme the Beethoven would borrow as the subject of variations in the finale of his Trio for Clarinet, Cello, CONTINUED ON PAGE 38

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and Piano. Anyway, Weigl the father may have kept Haydn’s concerto in his repertoire, but the work was not published.

At some point, the manuscript parts landed in the library of the Counts Kolovrat-Krakovský at Radenín Castle in Bohemia.

Their collection was deposited in the National Museum of Prague, and through the grace of the Muses, made it through World War II. Haydn’s C-major Cello Concerto was uncovered in that collection by musicologist Oldřich Pulkert in 1962.

The first movement unrolls at a spacious pace, without calling undue attention to the considerable virtuosity required for its execution. Pairs of oboes and horns add body to the tutti sections, though Haydn limits the accompaniment to a string orchestra when the cello is playing. The wisdom of this decision to keep the textures light is confirmed by the many later cello concertos (by other composers) in which, for entire stretches, the soloist is too often seen playing but scarcely heard. Of course, problems of balance between soloist and orchestra are considerably reduced when the symphonic forces are hardly larger than a chamber group — as they were when this piece was new. Indeed, the winds remain silent throughout the second movement; that section is an exercise in surpassing elegance, not far removed from the poignant style cultivated in Berlin by Carl Phillip Emanuel Bach.

If the technical demands of the first movement are subsumed to the overall effect of the ensemble, the concerto’s finale

Haydn’s concertos Peruse the list of Haydn’s works and you may be surprised to see how many concertos he composed—concertos that are by and large ignored today. There are two major reasons for this. Many of the concertos he wrote for his virtuoso musicians during his Esterházy years are regrettably lost. We know with some certainty that he wrote concertos for violin, cello, double bass, baryton (Prince Nikolaus Esterházy’s pet instrument), two barytons, flute, and two horns that have all vanished. Still, many Haydn concertos do exist, and, for the most part, they don’t represent his most compelling works. Despite the relish with which he provided his players with virtuosic passages in his symphonies, Haydn rarely made the most of the virtuosic, dramatic interplay of soloist and orchestra that marks the greatest concertos. There are exceptions, to be sure: his two cello concertos (his D-major one would follow the C–major Concerto in 1783), his D-major Keyboard Concerto, and, among his late works, his Trumpet Concerto in E-flat major and his Sinfonia Concertante (with its solo group of oboe, bassoon, violin, and cello).

— JMK

is a veritable tour de force. Following the opening tutti, the cello dazzles with its quick scales, which erupt out of notes sustained over several measures. Rapid-fire arpeggios, unrelenting scales, quickly repeated notes, and high-lying passage-work push the soloist into virtuosic territory that remains challenging today. This is a relatively long movement among Haydn’s concerto finales, but each return of the ritornello offers a distinct character and as the momentum of musical interest builds to the end.

Symphony No. 2 in D major, Op. 43 Jean Sibelius First performance: 4/3/1956 Conductor: Guy Fraser Harrison Last Performance: 3/5/2011 Conductor: Joel Levine Born: December 8, 1865, in Tavastehus (Hämeenlinna), Finland Died: September 20, 1957, in Järvenpää, Finland Work composed: 1901-02, though relevant sketches date back to as early as 1899 Work dedicated: to Baron Axel Carpelan Work premiered: March 8, 1902, in Helsinki, Finland, with the composer conducting the Helsinki Philharmonic Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, and strings

Thanks to benefactions arranged by Axel Carpelan, a Finnish man-about-the-arts and the eventual dedicatee of this work, Jean Sibelius and his family were able to undertake a trip to Italy from February to April 1901. So it was that much of the Second Symphony was sketched in the Italian cities of Florence and, especially, Rapallo, where the composer rented a composing studio apart from the home in which his family was lodging.

Aspects of the piece had already begun to form in his mind almost two years earlier, although at that point Sibelius seems to have assumed that his sketches would end up in various separate compositions rather than in a single unified symphony. Even in Rapallo, he was focused on writing a tone poem. He reported that on February 11, 1901, he entertained a fantasy that the villa in which his studio was located was the fanciful palace of Don Juan and that he himself was the amorous, amoral protagonist of that legend. (The topic was fresh in his mind since he had recently attended a performance of Mozart’s Don Giovanni in Berlin, on the way to Italy.) He jotted in his diary the thoughts that accosted him at midnight: “Don Juan. I was sitting in the dark in my castle when a stranger entered. I asked who he could be again and again—but there was no answer. I tried to make him laugh but he remained silent. At last the stranger began to sing—then Don Juan knew who it was. It was death.” Then he wrote out the notes that today stand as the principal theme of the second movement of the Second Symphony.

As his work evolved, he seems to have sacrificed the Don Juan idea in favor of another, very different concept: a series

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PROGRAM NOTES the end, Sibelius marches to a different drummer. Stravinsky once heard Sibelius’ Second Symphony in the company of his teacher, Nikolai Rimsky-Korsakov, and reported that the latter offered a solitary comment after the performance: “Well, I suppose that’s possible, too.”

Sibelian Fingerprints

of four tone poems based on characters from Dante’s Divine Comedy. But once Sibelius returned to Finland that June, he began to recognize that what was forming out of his sketches was instead a full-fledged symphony—one that would end up exhibiting an extraordinary degree of unity among its sections. With his goal now clarified, Sibelius worked assiduously through the summer and fall and reached a provisional completion of his symphony in November 1901. Then he had second thoughts, revised the piece profoundly, and definitively concluded the Second Symphony in January 1902.

The work’s premiere, two months later, marked a signal success, as did the three further sold-out performances that occurred during the ensuing week. The conductor Robert Kajanus, who would become a distinguished interpreter of Sibelius’ works, was in attendance, and he insisted that the Helsinki audiences had understood the new symphony to be an overt expression of the political conflict then reigning over Finland. “The Andante,” he wrote, “strikes one as the most broken-hearted protest against all the injustice that threatens at the present time to deprive the sun of its light and our flowers of their scent. … The Finale develops toward a triumphant conclusion intended to rouse in the listener a picture of lighter and confident prospects for the future.”

Sibelius objected to this interpretation, preferring that no programmatic implications be attached a priori to this work. Nonetheless, this symphony does seem to express something specific to the Finnish imagination. The composer Sulho Ranta (1901-60) spoke on behalf of his fellow Finns when he declared, “There is something about this music—at least for us—that leads us to ecstasy; almost like a shaman with his magic drum.”

Some commentators have underscored the piece’s affinity with the symphonies of Brahms (particularly his Second, also in D major) while others find that the finale evokes something of Tchaikovsky. There’s truth in all of this, but in

When Rimsky-Korsakov remarked of Sibelius’ Second Symphony, “Well, I suppose that’s possible, too,” he may have been referring to the restless sense of duality that seems to govern this score. The pastoral sunshine that bathes the beginning of the first movement is soon swept away by icy winds; the opposite happens in the third movement, where what one may take as a snow flurry yields to a shepherd’s call on the oboe. Bucolic sections are interrupted by passages that evoke grave concern, or even by terrible outbursts; and these, in turn, are confronted by suggestions of proud defiance and resolute confidence. Or perhaps Rimsky-Korsakov was thinking of Sibelius’ distinctive orchestration.

Some listeners find it thick and claustrophobic, but Sibelius was very particular about its details and it adds up to his musical fingerprint. Take his very typical use of the massed brass section, which often erupts in snarling crescendos in the second movement. A report survives of a rehearsal of the Second Symphony conducted by Robert Kajanus, at which only two of the three trumpeters were in attendance, the third having come down with the flu. Sibelius stayed only briefly and then interrupted the rehearsal to take his leave, explaining to Kajanus, “I can only hear the trumpet which isn’t there and I can’t stand it any longer.”

— JMK

JAMES M. KELLER James M. Keller is the longtime Program Annotator of the New York Philharmonic and the San Francisco Symphony. From 19902000 he wrote about music on staff at The New Yorker, and in 1999 he received the prestigious ASCAP–Deems Taylor Award for his feature writing in Chamber Music magazine, which he serves as Contributing Editor.

Earlier versions of these essays appeared in the programs of the New York Philharmonic and are used with permission.

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CIRQUE MUSICA PRESENTS HEROES AND VILLIANS JANUARY 26-27, 2018 8:00 P.M.

POPS DOUGLAS DROSTE, CONDUCTOR

CIRQUE MUSICA PRESENTS

STARRING

This concert is generously presented by:

Text POPS1 to 95577 to stay up to date on the latest Philharmonic info.

A special Thank You to Bo Taylor for providing musicians’ catering services.

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OKLAHOMA PHILHARMONIC SOCIETY, INC. ASSOCIATE BOARD

CLASSICS 5 February 3, 2018 8:00 P.M.

CLASSICS

Ashley Wilemon, President John Cannon, Vice President Marti Ribeiro, Treasurer J. Cruise Berry, Secretary Laura Cunningham Kate Cunningham Peter M. Harlin

DAN SCHWARTZ ENGLISH HORN

CHEE-YUN VIOLIN

JOEL LEVINE CONDUCTOR

Kevin Learned Robyn Matthews Patrick Randall Jessica Robbins Cyndi Tran

DVOŘÁK ........................ Symphony No. 7 in D minor, Op. 70 Allegro maestoso Poco adagio Vivace—Poco meno mosso Allegro

Intermission

SIBELIUS ...................... The Swan of Tuonela, Op. 22, No. 2 (from Lemminkäinen Suite)

nichols hills plaza

Dan Schwartz, english horn

TCHAIKOVSKY ............... Violin Concerto in D major, Op. 35 Allegro moderato—Moderato assai Canzonetta. Andante Finale. Allegro vivacissimo

Chee-Yun, violin

THIS CONCERT IS GENEROUSLY SPONSORED BY:

MOLLY AND JIM CRAWLEY

shoes . handbags . clothing . accessories www.ckandcompany.com 405.843.7636

JEAN AND DAVE McLAUGHLIN

Text CLASSICS to 95577 to stay up to date on the latest Philharmonic info.

Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, February 28 at 8 pm and Saturday, March 3 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

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DAN SCHWARTZ Dr. Dan Schwartz is the Assistant Professor of Oboe at the University of Oklahoma School of Music, joining the faculty in the fall of 2011. At OU, he maintains an active studio of undergraduate and graduate oboists, runs the woodwind chamber music program, and performs in the woodwindquintet-in-residence, the Oklahoma Woodwind Quintet.

An avid performer, Dr. Schwartz is currently the Second Oboe/English Horn player in the Oklahoma City Philharmonic. Prior to this position, Dr. Schwartz has performed with orchestras throughout North America, including the National Arts Center Orchestra of Canada (under the baton of Pinchas Zukerman), the Nashville Symphony, the Rochester Philharmonic, and the San Antonio Symphony. He also spent many summers as Principal Oboe of the FAVA Opera in Perigueux, France. Dr. Schwartz is a frequent recitalist at the International Double Reed Society Conference, most notably performing his own original compositions at the 2015 conference held in Tokyo, Japan. As an instructor, he has recently presented masterclasses at the University of Michigan, DePaul University, University of Texas Austin, Vanderbilt University, University of Costa Rica, University of Illinois Champaign-Urbana, Interlochen Academy for the Arts, University of Northern Colorado, and University of Central Florida, among others.

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Dr. Schwartz holds a Bachelor of Music degree in Oboe Performance from Vanderbilt University, graduating summa cum laude and receiving the university’s highest academic honor, the Founders Medal. Dr. Schwartz also holds a Master of Music degree in Oboe Performance from the University of Texas Austin, and a Doctor of Musical Arts degree in Oboe Performance and Literature from the Eastman School of Music, where he also received a degree minor in Music Education. His primary teachers have included Richard Killmer, Rebecca Henderson, Bobby Taylor, and Grover Schiltz.

Beyond playing and performing, Dr. Schwartz is a devoted composer, with dozens of published works to his name.

These compositions have been presented at recitals and conferences around the globe. A lover of travel and experiencing as much world culture as possible, Dr. Schwartz has performed and taught in Spain, France, Japan, Hungary, the Czech Republic, Romania, the Bahamas, Canada, Costa Rica, and even Sydney, Australia for the 2000 Summer Olympic Games.

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CHEE-YUN Violinist Chee-Yun’s flawless technique, dazzling tone and compelling artistry have enraptured audiences on five continents. Charming, charismatic and deeply passionate about her art, Chee-Yun continues to carve a unique place for herself in the ever-evolving world of classical music.

in the US, the Great Mountains Music Festival in South Korea, the Clandeboye Festival with Camerata Ireland in Northern Ireland, the Opera Theatre and Music Festival in Lucca, Italy, the Colmar Festival in France, the Beethoven and Penderecki festivals in Poland and the Kirishima Festival in Japan.

Chee-Yun performs regularly with the world’s foremost orchestras, including the Philadelphia Orchestra, the London Philharmonic, and the Toronto, Houston, Seattle, Pittsburgh and National Symphony orchestras. Additionally, she has appeared with the Atlanta Symphony, and the St. Paul Chamber Orchestra, and has performed with such distinguished conductors as Hans Graf, James DePriest, Jesus Lopez-Cobos, Michael Tilson Thomas, Jaap van Zweden, Krzysztof Penderecki, Neeme Järvi, Pinchas Zukerman, Manfred Honeck, Giancarlo Guerrero and Carlos Kalmar. Her orchestral highlights include a concert with the Seoul Philharmonic conducted by MyungWhun Chung that was broadcast on national network television, a benefit for UNESCO with the Orchestra of St. Lukes at Avery Fisher Hall, and her tours of the United States with the San Francisco Symphony (Michael Tilson Thomas conducting), and Japan with the NHK Symphony.

Chee-Yun has been heard frequently on National Public Radio’s Performance Today and on WQXR and WNYC radio in New York City. She has also been featured on KTV, a children’s program on the cable network CNBC, Garrison Keillor’s “A Prairie Home Companion”, on Public Radio International and numerous syndicated and local radio programs across the United States and abroad. She has appeared on PBS as a special guest on Victor Borge’s Then and Now 3, in a live broadcast at Spivey Hall in Atlanta concurrent with the Olympic Games, and on ESPN performing the theme for the X Games. In Fall 2009, she also appeared in an episode of HBO’s hit series, Curb Your Enthusiasm.

As a recitalist, Chee-Yun has performed in many major US cities including New York, Chicago, Washington, Los Angeles, San Francisco and Atlanta. In June 2017, she performed as part of the Albany Symphony’s American Festival playing Theofanidis Violin Concerto conducted by David Alan Miller. Career highlights include appearances at the Kennedy Center’s “Salute to Slava” gala honoring Mstislav Rostropovich, the Mostly Mozart Festival’s tour to Japan, a performance with Michael Tilson Thomas in the inaugural season of Carnegie Hall’s Zankel Hall, and the US premiere of the Penderecki Sonata No. 2 with pianist Barry Douglas.

In 2016, Chee-Yun performed as a guest artist for the Secretary General at the United Nations in celebration of Korea’s National Foundation Day and the 25th Anniversary of South Korea joining the UN. Firmly committed to chamber music, Chee-Yun has toured with “Music from Marlboro” and appears frequently with Spoleto USA, a project she has been associated with since its inception. Additional chamber music appearances include the Ravinia, Aspen, Bravo! Vail Valley, La Jolla, Caramoor, Green Music, Santa Fe, Orcas Island, Hawaii Performing Arts, and Bridgehampton festivals

Chee-Yun’s first public performance at age eight took place in her native Seoul after she won the Grand Prize of the Korean Times Competition. At 13, she came to the United States and was invited to perform the Vieuxtemps Concerto No. 5 in a Young People’s Concert with the New York Philharmonic. Two years later, she appeared as soloist with the New York String Orchestra under Alexander Schneider at Carnegie Hall and the Kennedy Center. In 1989, she won the Young Concert Artists International Auditions, and a year later became the recipient of the prestigious Avery Fisher Career Grant. In Korea, CheeYun studied with Nam Yun Kim. In the United States, she has worked with Dorothy DeLay, Hyo Kang, Daniel Phillips and Felix Galimir (chamber music) at The Juilliard School.

In addition to her active performance and recording schedule, Chee-Yun is a dedicated and enthusiastic educator. She gives master classes around the world and has held several teaching posts at notable music schools and universities.

Her past faculty positions have included serving as the resident Starling Soloist and Adjunct Professor of Violin at the University of Cincinnati College-Conservatory of Music, and Visiting Professor of Music (Violin) at Indiana University School of Music. In August 2007, she was appointed Artist-inResidence and Professor of Violin at Southern Methodist University in Dallas.

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Symphony No. 7 in D minor, Op. 70 Antonín Dvořák First performance: 12/13/1960 Conductor: Guy Fraser Harrison Last Performance: 2/3/2007 Conductor: Joel Levine Born: September 8, 1841, in Mühlhausen (Nelahozeves), Bohemia (today the Czech Republic) Died: May 1, 1904, in Prague, Bohemia Work composed: December 13, 1884, to March 17, 1885; slightly revised just after its premiere Work premiered: April 22, 1885, with the composer conducting a concert of the Royal Philharmonic Society at St. James’s Hall in London Dedication: “Composed for the Philharmonic Society of London” Instrumentation: Two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings

During Antonín Dvořák’s formative years his musical training was modest and he was a competent, but hardly distinguished, pupil. As a teenager, he managed to secure a spot as violist in a dance orchestra. The group prospered, and in 1862 its members formed the founding core of the Provisional Theatre orchestra in Prague. Dvořák would play principal viola in that orchestra for nine years, in which capacity he sat directly beneath the batons of such conductors as Bedřich Smetana and Richard Wagner.

During that time Dvořák also honed his skills as a composer, and by 1871 he felt compelled to leave the orchestra and devote himself to composing full-time. In 1874, he received his first real break as a composer: he was awarded the Austrian State Stipendium, a grant newly created by the Ministry of Education to assist young, poor, gifted musicians—which

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perfectly defined Dvořák’s status at the time as well as in 1876 and 1877, when he received the same prize twice again. In 1877, the powerful music critic Eduard Hanslick, who chaired the Stipendium committee, encouraged him to send some scores directly to Johannes Brahms, who had served on the competition jury. Brahms in turn recommended Dvořák to his own publisher, Fritz Simrock, who contracted a first option on all of the composer’s new works.

The spirit of Brahms hovers over many pages of Dvořák’s Seventh Symphony, which is undoubtedly the darkest and potentially the most intimidating of his nine. His Sixth Symphony in D major, composed four years earlier, had also seemed to be a reaction to Brahms, its pastoral mood emulating to some extent Brahms’ recent Second Symphony (1877), also in D major. Since then Brahms had released a further symphony—his confident, sinewy Third, which Hans Richter (who conducted its premiere in December 1883) dubbed “Brahms’ Eroica.”

A month later, in January 1884, Dvořák traveled to Berlin to hear it performed and was appropriately impressed by its powerful effect. By the end of that year he began to write his Seventh Symphony, which echoes some of the storminess and monumental power of Brahms’ Third. What’s more, Dvořák kept in touch with Brahms about the new symphony he was working on, receiving encouragement in return. In February 1885, Dvořák wrote to Simrock, “I have been engaged on a new symphony for a long, long time; after all it must be something really worthwhile, for I don’t want Brahms’ words to me, ‘I imagine your symphony quite different from this one [i.e. Dvořák’s Sixth],’ to remain unfulfilled.”

As his reputation grew in the early 1880s, Dvořák gained a particularly staunch following in England. The rapturous reception of his Stabat Mater when it was performed in London in 1883 made him a true celebrity there. On the heels of that triumph, the Royal Philharmonic invited him to conduct some concerts in 1884, in the course of which his Sixth Symphony made a powerful impression. The orchestra immediately extended a commission for Dvořák to write one specifically for them, which he was to conduct the following season. As one might have predicted, the new work scored another English triumph for its composer. Just after the premiere he wrote to a friend in Mirovice, Bohemia: “Before this letter reaches Mirovice you will perhaps know how things turned out here.

Splendidly, really splendidly. This time, too, the English again welcomed me as heartily and as demonstratively as always heretofore. The symphony was immensely successful and at the next performance will be a still greater success.”

Following the English performances, Dvořák edited a passage of about 40 measures out of the symphony’s second movement and communicated the emendation to Simrock with the assurance, “Now I am convinced that there is not a single superfluous note in the work.” It would be hard to disagree with him; from a composer who was sometimes given to leisurely rhapsody, the Seventh Symphony is remarkably taut and rigorous throughout.

PROGRAM NOTES Deepest Admiration Donald Francis Tovey, the distinguished early-20thcentury musical analyst and professor at the University of Edinburgh, blew hot and cold on the subject of Dvořák’s symphonies, but he was overwhelmed by this one. In the 1920s (perhaps early ’30s) he wrote: I have no hesitation in setting Dvořák’s [Seventh] Symphony along with the C major Symphony of Schubert and the four symphonies of Brahms, as among the greatest and purest examples in this art-form since Beethoven. There should be no difficulty at this time of day in recognizing its greatness. It has none of the weaknesses of form which so often spoil Dvořák’s best work, except for a certain stiffness of movement in the finale, a stiffness which is not beyond concealing by means of such freedom of tempo as the composer would certainly approve. There were three obstacles to the appreciation of this symphony when it was published in 1885. First, it is powerfully tragic. Secondly, the orthodox critics and the average musician were, as always with new works, very anxious to prove that they were right and the composer was wrong, whenever the composer produced a long sentence which could not be easily phrased at sight. … The third obstacle to the understanding of this symphony is intellectually trivial, but practically the most serious of all. The general effect of its climaxes is somewhat shrill …. His scores are almost as full of difficult problems of balance as Beethoven’s. … These great works of the middle of Dvořák’s career demand and repay the study one expects to give to the most difficult classical masterpieces; but the composer has acquired the reputation of being masterly only in a few popular works of a somewhat lower order. It is time that this injustice should be rectified.

The Swan of Tuonela, Op. 22, No. 2 (from the Lemminkäinen Suite) Jean Sibelius First performance: 2/26/1952 Last Performance: 3/1/2003 English Horn: Sandra Flesher Born: December 8, 1865, in Tavastehus (Hämeenlinna), Finland Died: on September 20, 1957, in Järvenpää, Finland Work composed: Sibelius conceived of The Swan of Tuonela in 1893, provisionally completed it in 1895, and put it through further revisions in 1897 and 1900.

Work premiered: April 13, 1896, in Helsinki, along with the other three movements of Sibelius’ Lemminkäinen Suite, with the composer conducting the Helsinki Philharmonic About the Opus Number: Because Sibelius re-reordered the movements of his Lemminkäinen Suite in 1947, The Swan of Tuonela is identified sometimes as Op. 22, No. 2 (reflecting its original position in the suite), and sometimes as Op. 22, No. 3 (reflecting its 1947 placement).

Instrumentation: Solo English horn with an orchestra of oboe, bass clarinet, two bassoons, four horns, three trombones, timpani, bass drum, harp, and strings

— JMK

In the 1890s Jean Sibelius emerged as the leading composer of Finnish nationalism, the figure who would most persuasively capture in sound the substance and spirit of his nation’s history and mythology and transmit them to the world outside. Finland’s folk heritage had been largely codified during the 19th century, especially through the publication of the Kalevala (Land of the Heroes), the Finnish national epic that Elias Lönnrot compiled from ancient pagan myths; he published his collection in 1835 and expanded it for a new CONTINUED ON PAGE 50

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edition in 1849. Before long, Finns inspired by these writings turned their attention to the remote expanses of Karelia, in eastern Finland near the White Sea, where ancient poetic forms were still surviving. These discoveries gave rise to the 19th-century Finnish brand of Romanticism known as Karelianism.

Sibelius was much swept up in the Karelian excitement, and in 1891 he traveled to that region to transcribe pieces performed by a particularly renowned folk singer. Several concert works grew out of his encounters during that trip, including the Karelia Suite and the Kullervo Symphony; and in 1893 he embarked on a Kalevala-inspired opera, Veneem luominen (The Building of the Boat). He didn’t get far with the project, but the exercize at least gave him the basic material for an orchestral suite tracing the adventures of Lemminkäinen, a cheerful, rather comical figure from the Kalevala who needs to accomplish several heroic deeds (including traveling to Tuonela to slay the resident swan with a single arrow) before he will be allowed to marry Pohjola’s daughter, the Mistress of the North.

Sibelius’ Lemminkäinen Suite is a collection of four tone poems, reflecting the composer’s interest at that time in the music of Liszt, who had invented the genre of the tone poem some decades before. Probably the repertoire work it most resembles in this regard is Smetana’s Má Vlast (My Fatherland, 1872-79), which similarly consists of movements that are closely related in their subjects. Sibelius worked on the Lemminkäinen Suite in fits and starts, and he revised it considerably before the 1896 premiere of its four movements. The overture to Veneed luomitnen became The Swan of Tuonela (Tuonelan joutsen, in Finnish) and was placed second among the Suite’s movement’s, following Lemminkäinen and the Maids of the Island and preceding Lemminkäinen in Tuonela and Lemminkäinen’s Return. Revisions and re-orderings ensued in 1897 and later, with The Swan of Tuonela achieving its final form in 1900. Of the four movements, only The Swan of Tuonela and Lemminkäinen’s Return (a.k.a. Lemminkäinen’s Homecoming) have been widely represented in the concert hall. A bad review from one critic at the Suite’s unveiling made the composer very touchy about his suite, and the other two movements were never played again until 1935. The complete fourmovement suite was not published until 1954, after fears that the less popular movements had been lost in the mail during World War II. “Tuonela, the land of death, the hell of Finnish mythology, is surrounded by a large river with black waters and a rapid current, on which the Swan of Tuonela floats majestically, singing”—so explains Sibelius in an inscription at the top of his score, referring to the passage in Canto 14 of the Kalevala in which this black waterfowl is introduced. A small, deep-pitched, and dark-hued orchestra lends a mysterious atmosphere to this travelogue through the realm of the dead, and the swan’s mournful, modal death-song

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(Andante molto sostenuto), is hauntingly intoned by the solo English horn. The orchestration is masterful throughout, and the string writing is especially notable, dividing into as many as 17 parts, all muted except for the double basses, and including a brief passage near the end of shivering tremolos played col legno (that is, with the wood of the bow) to yield an especially stark effect. Despite the subject, the mood is not really depressing. Instead, a spirit of resignation pervades the movement, a sense of gravity, of tender melancholy, of hushed wonder at the desolation of this frigid underworld.

From the Kalevala Here are excerpts from the Kalevala that relate Lemminkäinen’s misadventure in the underworld. This 1888 translation by John Martin Crawford will remind most of us of Henry Wadsworth Longfellow’s Hiawatha (185455). As it happens, Longfellow consciously modeled that famous epic poem on the Kalevala.

Then the reckless Lemminkainen, Handsome hero, Kaukomieli, Braved the third test of the hero, Started out to hunt the wild-swan, Hunt the long-necked, graceful swimmer, In Tuoni’s coal-black river, In Manala’s lower regions. …

Quick the wretched shepherd, Nasshut, From the death-stream sends a serpent, Like an arrow from a cross-bow, To the heart of Lemminkainen, Through the vitals of the hero. …

Lemminkainen, wild and daring, Helpless falls upon the waters, Floating down the coal-black current, Through the cataract and rapids To the tombs of Tuonela. …

“Swim thou there, wild Lemminkainen, Flow thou onward in this river, Hunt forever in these waters, With thy cross-bow and thine arrow, Shoot the swan within this empire, Shoot our water-birds in welcome!”

— JMK

PROGRAM NOTES Violin Concerto in D major, Op. 35 Pyotr Ilich Tchaikovsky First performance: 2/27/1944 Violin: Zino Francescatti Last performance: 9/24/2011 Violin: James Ehnes Born: April 25 (old style)/May 7 (new style), 1840, in Votkinsk, Russia Died: October 25/November 6, 1893, in St. Petersburg, Russia Work composed: March 5/17 through March 30/April 11, 1878 Work premiered: November 22/December 4, 1881, in Vienna, Austria, with violinist Adolf Brodsky and the Vienna Philharmonic, Hans Richter conducting Dedication: Initially to the violinist Leopold Auer, who expressed reservations about the piece, after which the composer dedicated it instead to Adolf Brodsky, who played the premiere Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings, in addition to the solo violin

By 1877 Pyotr Ilich Tchaikovsky stood at the forefront of his generation of Russian composers thanks to such works as his first three symphonies, his Shakespearean symphonic poems Romeo and Juliet and The Tempest, his Dante-inspired tone poem Francesca da Rimini, his Piano Concerto No. 1, his Variations on a Rococo Theme (for cello and orchestra), his ballet Swan Lake, and his three string quartets. That year two things occurred that had a decisive influence on the direction his path would take. Both were fraught with problems.

The first was the consolidation of his relationship with Nadezhda Filaretovna von Meck. Musically adept and immensely wealthy (thanks to the commercial success of her recently deceased husband, an engineer from Riga),

had positioned herself in Moscow society as a patron of the arts and, specifically, as a collector of musicians. She had recently added to her entourage the young violinist Yosif Yosifovich Kotek, a former pupil and sometime boyfriend of Tchaikovsky’s. Using Kotek as an emissary, she made contact with Tchaikovsky and in February 1877 she proposed to support him—insisting, however, that they must never meet in person. For the next 13 years, they exchanged a flood of effusive correspondence and she deposited 500 rubles in Tchaikovsky’s bank account every month, an act of benefaction that freed him up to pursue his artistic goals without having to undertake “work for hire” to pay the bills.

Then a second bizarre thing happened. Tchaikovsky got married, quite on the spur of the moment. The explanation for this rash act is open to a broad range of speculation and interpretation. Perhaps it had to do with anxiety about his quite overt homosexuality; perhaps it was an exploit of filial devotion to an 81-year-old father who viewed marriage as the principal goal of a man’s life. Whatever the reason, Tchaikovsky fled in panic two weeks after the wedding, had a nervous breakdown, remained unconscious for two weeks, and woke up to a life that would not henceforth include his wife, though they would never divorce.

As part of his recovery he took a trip to Switzerland with Kotek at the outset of 1878. They played through a lot of music together, including Lalo’s Symphonie espagnole, a violin concerto in all but name; and it was that work which inspired Tchaikovsky to write a violin concerto himself. He composed it in a heat of inspiration, with Kotek offering technical advice on the solo part. When Tchaikovsky sent the score to von Meck, she wrote back that she didn’t like it. To his credit, the composer (who was often given to selfdoubt) defended his piece, although he did decide to replace his original slow movement. (The earlier one lives on as a standalone Méditation for violin and orchestra or piano, and it was eventually repurposed as the opening movement of his suite Souvenir d’un lieu cher.) Further objections came from the violinist Leopold Auer, to whom Tchaikovsky wanted to entrust the premiere: he declared it unplayable, much as the pianist Nikolai Rubinstein had dismissed Tchaikovsky’s Piano Concerto No. 1 four years earlier. Too bad for Auer; the honor of the premiere instead went to Adolf Brodsky, who worked on the concerto for more than two years before he dared to perform it. Auer eventually changed his mind. He not only performed this piece but also taught it to his students, many of whom became leading interpreters of this work, too—names of legend such as Elman, Heifetz, Milstein, Shumsky, and Zimbalist.

Tchaikovsky’s Violin Concerto is an overwhelmingly lyrical work that rarely ventures into the stormy outbursts that can characterize his symphonic pieces. The first movement, by turns balletically graceful and comparatively urgent, makes difficult technical demands, but the fireworks generally sparkle as counterpoint to the overall gentility. The slow CONTINUED ON PAGE 52

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movement is elegiac but not depressive (Tchaikovsky could easily fall into that trap), and the Finale emerges without a break, serving up a dazzling array of pyrotechnics.

The First Dedicatee Leopold Auer, the Hungarian violinist for whom Tchaikovsky wrote his Violin Concerto and to whom he initially dedicated it, came to rue the day he had questioned its value. In truth, he admired many things about Tchaikovsky—and Tchaikovsky’s music. In his memoirs, My Long Life in Music (1924), he recalled the composer with unmistakable warmth: In my mind’s eye I see once more the great figures of those days. There is Tchaikovsky, with the personality and the manners of a French marquis of the eighteenth century; but very modest, with a modesty which could not be mistaken for a pose.

He was too intelligent ever to attempt playing a part among his artist comrades, to whom, incidentally, he was always most cordial. … Tchaikovsky was excessively sensitive; modest and unassertive in his dealings with all, he was deeply appreciative of any interest shown in him or in his works.

—JMK

OKLAHOMA CITY PHILHARMONIC FOUNDATION PROVIDING LEADERSHIP AND ANNUAL SUPPORT The Oklahoma City Philharmonic Foundation was established to provide leadership and endowment expertise to help ensure a stable financial base for orchestral music and musical excellence in Oklahoma City for generations to come.

Distributions from the Oklahoma City Philharmonic Foundation provide a meaningful and secure source of annual income for the Philharmonic’s operations, continually confirming the importance of endowment in an organization’s long-range planning and overall success.

Current officers and directors of the Oklahoma City Philharmonic Foundation are: OFFICERS Michael E. Joseph President Jean Ann Hartsuck Vice President Douglas J. Stussi Treasurer Penny M. McCaleb Secretary

JAMES M. KELLER James M. Keller is the longtime Program Annotator of the New York Philharmonic and the San Francisco Symphony. From 19902000 he wrote about music on staff at The New Yorker, and in 1999 he received the prestigious ASCAP–Deems Taylor Award for his feature writing in Chamber Music magazine, which he serves as Contributing Editor.

Earlier versions of these essays appeared in the programs of the New York Philharmonic and are used with permission.

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DIRECTORS Steven C. Agee Patrick B. Alexander J. Edward Barth L. Joe Bradley Teresa Cooper 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

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Pre-K & Kindergarten | Grades 1 ~ 8 600 NW 44 Street • Oklahoma City 405.524.0631 • westminsterschool.org Westminster School admits students of any race, color, religion or national and ethnic origin. It does not discriminate on the basis of race, color, religion or national and ethnic origin in administration of its educational policies, financial aid program, athletic and other school-administered activities.

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THE SONGS OF ELTON JOHN AND MORE FEBRUARY 23-24, 2018 8:00 P.M

POPS JEFFREY GROGAN, CONDUCTOR

STARRING

This concert is generously sponsored by:

Text POPS1 to 95577 to stay up to date on the latest Philharmonic info.

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

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Jeffrey Grogan is an internationally-known conductor and teacher who is dedicated to the pursuit of his craft and sharing the joy of musical excellence with young musicians.

Mr. Grogan has served as adjudicator, conductor, and clinician for many prestigious national and international festivals including the Honor Orchestra of America sponsored

by Music for All; the Association for Music in International Schools Orchestra (Singapore); the National Orchestra Cup at Lincoln Center; and the Honors Performance Series Orchestra and Band at Carnegie Hall. Other recent international appearances include Harpa Concert Hall in Iceland; in Bangkok, Thailand; and at the Opera House in Sydney, Australia. Mr. Grogan has also conducted numerous all-state orchestras and bands throughout the U.S. including three times in his home state of Texas.

and the New Jersey Youth Symphony. His youth orchestras have performed to capacity crowds at some of the greatest concert halls in the world, including Carnegie Hall, the Kennedy Center, Lincoln Center and the Musikverein in Vienna.

He has appeared as a guest conductor at the University of Georgia, Indiana University, the Manhattan School of Music, and the Mannes School of Music Pre-College Division. He has also conducted performances with the Little Orchestra Society of New York, the Reno Philharmonic, Adelphi Chamber Orchestra and the New York Concerti Sinfonietta.

Grogan serves as Director of Orchestral Activities and Professor of Music at Oklahoma City University and Artistic Director of the Oklahoma Youth Orchestras. Previously, Grogan served as Education and Community Engagement Conductor of the New Jersey Symphony Orchestra for eleven seasons, conductor and Artistic Director of the NJSO Youth Orchestras, the InterSchool Orchestras of New York

Grogan’s prior experience includes teaching for over a decade at the University of Michigan, Ithaca College and Baylor University where he taught conducting and trained future music educators. He is also the former Associate Director of Bands and Marching Band Director at the University of Michigan and Baylor University.

In addition, Mr. Grogan was founding Artistic Director of two El Sistema inspired music programs, the Paterson Music Project (PMP) in Paterson, New Jersey and the NJSO CHAMPS in Newark, NJ.

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MICHAEL CAVANAUGH Michael Cavanaugh is the new voice of the American Rock & Roll Songbook. A charismatic performer, musician and actor, made famous for his piano and lead vocals in the Broadway musical Movin’ Out. Michael Cavanaugh was handpicked by Billy Joel to star in title role and evokes a style rivaling the Piano Man. Michael appeared in the show for three years and over 1200 performances, receiving accolade after accolade, which culminated in 2003 with both Grammy and Tony award nominations.

Michael began playing piano at age seven, when his parents bought their first piano. Encouraged by family and friends, and inspired by his hero Billy Joel, Michael formed his first band at age 10 and began playing local functions, fine-tuning the craft that would become his chosen career. His first full time gig as a musician was an extended engagement in Orlando, Florida at a piano bar called Blazing Pianos. In January of 1999, Michael received an offer that would unknowingly change his life, with an opportunity to play Las Vegas at the famed “New York, New York Hotel and Casino.” It was there that Billy Joel spotted Michael and joined him on stage one fateful night of February 2001. It only took two songs before Billy was convinced that he had found his new Piano Man, Michael Cavanaugh. Michael closed up shop at New York, New

York and moved to New York City to work alongside Billy Joel and Twyla Tharp, to shape the Broadway Musical that would be called Movin’ Out. With the close of Movin’ Out at the end of 2005, Michael began touring in his own right, creating a show that reinterprets the modern pop/rock songbook. Michael soon became one of the hottest artists in the corporate and events market. He continues to perform worldwide for company and charity events as well as sporting events including PGA tour events, the US Open, and the Indy 500. It wasn’t long before symphony orchestras discovered Michael’s talents and audience appeal. He accepted his first orchestral booking, “Michael Cavanaugh – The Songs of Billy Joel and more” which debuted in April of 2008 with the Indianapolis Symphony and continues to tour. In October 2008, he signed with Warner/ADA to distribute his first CD titled “In Color”. In June, 2010, Michael debuted his second symphony show in the “Generations of Rock” series entitled “Michael Cavanaugh: The Songs of Elton John and More” and then debuted his third symphony show “Singers and Songwriters: the music of Paul Simon, Neil Diamond and James Taylor” in 2012. He continues to tour all three symphony productions.

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CONTINUED FROM PAGE 23

INDIVIDUALS Providing essential support for the Annual Fund.

Robert and Lori Black Ms. Pamela Bloustine MAJ. GEN. William P. Bowden, Rt. Mr. and Mrs. Gary W. Bowker Mr. and Mrs. Del Boyles Ms. Betty Bridwell Mr. Derek K. Burch Bruce and Deann Campbell J. Christopher and Ruth Carey Dr. John M. Carey Mr. and Mrs. Elliot Chambers Mrs. Anita Clark-Ashley and Mr. Charles Ashley Mr. and Mrs. Robert H. Clements Mr. Rodney Coate and Mr. Juan Camarena Nancy Coats and Charlie Ashley Mr. and Mrs. Jack H. Coleman Dr. Thomas Coniglione Ms. Barbara Cooper Mr. John Crain Ms. Betty Crow Mr. Jim Daniel Mr. Chuck Darr Mr. and Mrs. Mike Darrah Mr. David Daugherty Mr. and Mrs. Charles T. Davis Mr. and Mrs. William E. Davis Mr. and Mrs. T. A. Dearmon Mr. and Mrs. David C. DeLana Gary and Fran Derrick Mr. Joel Dixon Mr. and Mrs. Joe Edwards Dr. and Mrs. Robert S. Ellis Dr. and Mrs. Royice B. Everett Bruce and Joanne Ewing Ms. Carolyn Frans Mr. and Mrs. Gerald L. Gamble Mrs. Linda Gardner Mr. and Mrs. Jason Garner Mr. and Mrs. Kelly George Mr. Jack Golsen Mr. and Mrs. Don Greiner Drs. Stephen and Pamela Hamilton Mr. and Mrs. Royce M. Hammons Mr. Brent Hart and Mr. Matt Thomas Mr. William Hartwig Walt and Jean Hendrickson Mr. and Mrs. John D. Higginbotham Mr. and Mrs. Joe R. Homsey, Jr. Mr. Thomas Hrubik Mr. and Mrs. J. Clifford Hudson Mr. and Mrs. Carlos Johnson Mrs. Ruth Ann Kalbfleisch Mr. Dan Kennedy and Dr. Diana Kennedy Ms. Claren Kidd Bishop and Mrs. Ed Konieczny Dr. and Mrs. H. T. Kurkjian Mr. Scott Davis and Mr. David Leader Dr. and Mrs. Jay E. Leemaster Drs. Jason and Julie Lees Mr. and Mrs. Duke R. Ligon Press and Susan Mahaffey

Mr. and Mrs. William Matthey Mr. and Mrs. John A. McCaleb Cindy and Johnny McCharen Mr. and Mrs. Tom J. McDaniel Mr. Jeffrey McDougall Mrs. Debra McKinney Bruce and Claire McLinn John and Anna McMillin Mr. and Mrs. K. T. Meade, Jr. Mrs. Deann Merritt Parham Mr. and Mrs. Stewart E. Meyers, Jr. Tom and Katherine Milam Mrs. Donna W. Miller Chip and Michelle Mullens Dr. and Mrs. Gene L. Muse Bill and Tracy Nester Dr. O’Tar and Elissa Norwood Mr. J. Edward Oliver Mr. Chip Oppenheim Mrs. Barbara Pirrong Mr. Virgil Lee Powell Mr. and Mrs. Lynn Pringle Mr. Larry Reed Dr. Steven V. Richards Mrs. Carol Ricks Mr. and Mrs. Christopher Salyer Ernesto and Lin Sanchez Todd and Melissa Scaramucci Mr. and Mrs. Fred Schmitt Dr. and Mrs. Hal Scofield Janet and Frank Seay Mr. and Mrs. John M. Seward Mr. and Mrs. William F. Shdeed Sharon and John Shelton Robert and Susan Shoemaker Mr. and Mrs. Jerrod Shouse Drs. Paul and Amalia Silverstein Dr. Richard V. and Jan Smith Rick and Amanda Smith Ms. Jane Smythe Dr. and Mrs. Brian E. Snell Mr. and Mrs. Jeff Starling John Stuemky and James Brand Ms. Betsy Timken Drs. Richard and Betty Van Horn Robert Varnum and Sharon Varnum, LCSW Mr. Robert Weiss Mr. and Mrs. Kenneth K. Wert Mr. John S. Williams Mrs. Carol F. Williams Larry and Paula Willis Robert and Lorraine Wilson Dr. James B. Wise M. Blake and Nancy Yaffe Michael and Laura Young

Friend $750 - $1,249 Anonymous Hugh G. and Sharon Adams

Ms. Lois Albert Gary and Jan Allison Ms. Patrice Aston Tom and Fran Ayres Mr. and Mrs. Van A. Barber Mrs. Gail Beals Jackie and Jerry Bendorf Dr. and Mrs. William G. Bernhardt Mr. and Mrs. Glenn Blumstein Don and Grace Boulton Carole and Deal Bowman Dennis and Chris Box Mr. and Mrs. Robert F. Browne Mr. and Mrs. Bob G. Bunce Ms. Janice B. Carmack Ms. Annette Clifton Joseph and Valerie Couch Mrs. Patricia Czerwinski Dr. Nancy Dawson Tony and Pam Dela Vega Mr. and Mrs. Richard Dugger Ms. Anna Eischen Dr. Thurma J. Fiegel John and Sue Francis Dr. and Mrs. Ralph G. Ganick Melvin and Bobbie Gragg Mr. and Mrs. Nick S. Gutierrez, Jr. ,M.D. George M. and Jo Hall Mr. and Mrs. Lawrence K. Hellman Frank and Bette Jo Hill Colonel (ret.) Dean and Mrs. Jeanne Jackson Mr. and Mrs. David R. Johnson Kent and Brenda Johnson Mr. and Mrs. Drake Keith Mr. and Mrs. Brad Krieger Mr. and Mrs. Owen Lafferty Ms. Mary Jane Lawson Mr. Joel Levine Mr. and Mrs. Paul Lindsey Brad and Janet Marion Dr. Gary L. Massad J. Thomas and Anita R. May Ronald T. and Linda Rosser McDaniel Ms. Vickie McIlvoy Mr. and Mrs. Stuart P. Milsten Ann Marie and Jerry Parker Dr. and Mrs. William L. Parry Donita and Curtis Phillips Carl and Deborah Rubenstein Mr. and Mrs. John Santore Dr. and Mrs. Olaseinde Sawyerr Ms. Madeline E. Schooley Mrs. Mary Sherman Mr. Frank J. Sonleitner Judith Clouse Steelman Mr. James Stelter Dr. and Mrs. James B. Stewart, Jr. Mr. and Mrs. Thomas E. Stott Paula and Carl Stover Donita and Larry Thomas CONTINUED ON PAGE 62

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GIFTS TO THE PHILHARMONIC CONTINUED FROM PAGE 61

INDIVIDUALS Providing essential support for the Annual Fund.

Mr. and Mrs. Dale Toetz Mr. Phillip S. Tomlinson Mrs. Dorothy J. Turk Mrs. Donna Vogel Larry L. and Leah A. Westmoreland Denver and Yvonne Woolsey Jim and June Young Mr. and Mrs. Don T. Zachritz

Partner $300 - $749 Dr. Gillian Air John and Nancy Alsup Arden Barrett Ms. Sherry K. Barton Ms. Karen Beckman Mrs. Mary C. Blanton Mr. and Mrs. Morris Blumenthal Alan Booth and Debbie Kelly Dr. Reagan Bradford, Jr. Sharlene S. Branham Mr. and Mrs. F. M. Buxton Mrs. Jo Carol Cameron Dr. Kathryne Cates Mr. and Mrs. Earl J. Cheek Drs. Fong Chen and Helen Chiou Mr. and Mrs. Ed Cunningham Ms. Madeleine W. Cunningham Shirley E. Dearborn, M.D. Ms. Melinda Finley Mrs. Betty Foster Dr. Athena Friese, M.D. Laura Gary Joe and Tijuana Gilliland Pam and Gary Glyckherr Mr. and Mrs. Keith G. Golden Mr. Herbert M. Graves Mr. and Mrs. Ronald Greenberg LTC and Mrs. Walter A. Greenwood Carol and George Hoebing Mr. Jerome A. Holmes Mr. Roger Farrell and Mrs. Trish Horn Lois and Roger Hornbrook Mrs. Lily R. Hummel Mr. and Mrs. Stephen Johnson Greg and Mary Joan Johnston Mr. and Mrs. Wes Knight Mr. Dan Little Mr. Joe A. McKenzie Ronald L. and D. Yvonne Mercer Dorman and Sheryl Morsman David Miller and Barbara Neas Rudi Nollert and Mary Brodnax Larry and Deanna Pendleton Mike and Cathy Perri Mrs. Mona Preuss Dr. and Mrs. Laurance Reid Mr. and Mrs. Sheldon M. Reznik Mr. Arthur J. Rus Shirley and Ben Shanker

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Mr. Lee Allan Smith Mr. and Mrs. Paul A. Specht Reta and Richard Strubhar Mrs. Ann Taylor Mrs. Evelyn Margaret Tidholm Mr. and Mrs. Sammy Todd Mr. and Mrs. Lawrence Towell Mr. Curtis VanWyngarden Susan and Nate Webb Mr. and Mrs. Albert Weise John and Cheryl White Jim and Polly Worthington

Member $100 - $299 Maria and Craig Abbott Mrs. Joan Allmaras Ms. Beth M. Alonso Mr. David Andres Mrs. Patricia Austin Mrs. Pamela S. Bale Judy Barnett Marion and Dianne Bauman Ms. Marcia M. Bennett Ms. MarEllen Benson Mrs. Lillian Boland Harry S. and Elaine Boyd Rev. Thomas Boyer Mr. Reagan Bradford, Sr. Mrs. Betty L. Brady Shane Brock and Deana Parsons Mr. Ryan Bunyan Vikki Ann Canfield, M.D. Ms. Kathryn Carey Mr. and Mrs. Jack Carpenter Mr. and Mrs. M. E. Carpenter Dr. and Mrs. Don R. Carter Mr. Michael P. Cassidy Linda Cavanaugh Clark Dr. and Mrs. Douglas C. Chancellor Ms. Henrie Close Mrs. Emogene Collins Ms. Rosemarie Coulter Marilyn and Weldon K. Davis Ms. Carol A. Davito Mr. James DeWarns Mr. W. Samuel Dykeman Mr. and Mrs. Richard Ehlers Ms. Elizabeth K. Eickman Dr. and Mrs. Robert B. Epstein Mrs. Barbara L. Eskridge Irving and Sandy Faught Mike and Deb Felice Mr. and Mrs. Mead Ferguson Mr. and Mrs. John Fischer Mr. and Mrs. John E. Frank Mr. and Mrs. Ryan Free Stephen P. and Nancy R. Friot Mr. and Mrs. Robert Garbrecht

Mr. Hugh Gibson Mr. and Mrs. M. Charles Gilbert Ms. Joan Gilmore Robert and Carmen Goldman John and Judy Gorton Mr. Steven Graham and Ms. Vicky Leloie Kelly Mr. and Mrs. Kenneth G. Greer Mr. and Mrs. John T. Greiner, Jr. Ms. Deborah Gresh Mr. and Mrs. Barre Griffith Dr. and Mrs. John E. Grunow Mr. and Mrs. John Gunter Pat Hackler Mr. Daniel Hardt Lisa Hart Mrs. Diane Haser-Bennett and Mr. Ray Bennett Ms. Zoe Haskins Major and Mrs. John M. Heitz David and Marilyn Henderson Mr. and Mrs. J.C. Herriage Judy Hill Kenneth Hopkins Mrs. LeAnn Hufnagel Julia and Dick Hunt Ms. Mary Lu Jarvis Mr. Peter Jensen Mr. and Mrs. L.J. Johnson Mr. Richard Johnson Jessica Karaffa Mr. and Mrs. Alfred H. Karchmer Mr. Bill Kemp Ms. Young Y. Kim Edith and Michael Laird Mr. Robert Leveridge David and Lynne Levy Bob and Kay Lewis Ms. Hilda Lewis Rosemary and Paul Lewis Dr. William Lovallo Roy and Sharon Love Mr. and Mrs. Paul J. Lutes Mr. and Mrs. Ronald M. Manning Kris and Peter Markes Ms. Allison Matoi Mrs. Patricia Matthews Mrs. M. Geraldine Mayes Mr. and Mrs. Kenneth R. McAlister Mr. and Mrs. Robert S. McKown Ms. Ann McVey Lt. Col. Terry L. Mock Connie Monnot Mr. L.E. Montgomery Mr. Cole Morgan Judy and Wes Morrison Ms. Sylvia Ochs Mr. James P. O’Gorman Mr. Robert G. Oltmanns Mrs. Mildred B. Parsons Michael and Ginger Penn

SPECIAL GIFTS Honor loved ones, celebrate occasions, recognize achievements and support the Philharmonic’s mission.

Robert and Karen Petry Dr. and Mrs. Marvin D. Peyton Mr. William Powell Ms. Jan Prestwood Ms. Margaret L. Price Dr. Jenney Qin Roger and Joy Quinn Gary and Tommie Rankin Carole and Michael Read Ms. Valerie Reimers Tom and Fran Roach Ms. Joanne M. Roan-Wismer Dr. and Mrs. Michael Fred Robinson Mr. William Robinson III Gary and Carol Sander Carolyn Sandusky-Williams Hank and Anne Schank Ms. Gayle Scheirman Ms. Geraldine Schoelen Mrs. Theresa Cunha and Mr. Kurt Schroeder Ms. Edith Nan Scott Mr. and Mrs. A. Lee Segell Fred and Carolyn Selensky Mr. Robert R. Shaw Dr. and Mrs. Richard Shifrin Mr. and Mrs. Richard Shough Mr. Robert E. Simmons Dr. and Mrs. Floyd E. Skarky Mr. and Mrs. R. Emery Smiser Mr. Jay Smith Mrs. Darla Smith Ms. Amy Sommer Tom and Venita Springfield Mrs. Joyce Statton Mr. Keith Stelting Mr. Paul Stillwell Jonathan and Andrea Stone Ms. Xiao-Hong Sun and Mr. Xiaocong Peng Greg Taber Duke and Jill Thomas Mr. Michael Thrower Kent and Sally Trentman LTC Ret. and Mrs. George B. Wallace Dr. and Mrs. D. A. Weigand Mr. and Mrs. Tony Welch Mr. and Mrs. Ted Wernick Mr. Don Wester Mr. Phillip Whaley Dr. Ellen Jayne Wheeler Mr. and Mrs. Jack Wheeler Ms. Linda Whittington Ms. Ghita Williams Ms. Lonnie F. Williams Ms. Neta J. Wilson Mr. and Mrs. R. Deane Wymer Ruth and Stanley Youngheim Rachel and Leon Zelby Helene Zemel

In Memory of Charles R. Bale Mrs. Pamela S. Bale In Memory of Martin and Gladys Brechbill Ms. Janice B. Carmack In Memory of Jackson Cash Pam and Gary Glyckherr Oklahoma City Philharmonic Staff In Memory of Bill Churchill Ms. Margaret Kidd Defenderfer Paul and Debbie Fleming Pam and Gary Glyckherr Mrs. Jane B. Harlow Mr. and Mrs. Duke R. Ligon Mr. and Mrs. William F. Shdeed Mrs. Donna K. Vogel Renate and Chuck Wiggin In Memory of William B. and Helen P. Cleary Steven C. Agee, Ph.D. Marilyn and Bill Boettger Louise Churchill Mr. and Mrs. Andrew J. Evans, II Ms. Mary Ella Kidd In Memory of Jean Dale Kathleen and Michael Rollings In Memory of James O. Edwards, Jr. Mrs. Carlene Edwards In Memory of Jack Gunter Ms. Joanne M. Roan-Wismer

Ms. Amy Sommer Phyllis Stough and Family Duke and Jill Thomas Kent and Sally Trentman Mrs. Donna K. Vogel Mrs. Anne Workman Carolyn and Don Zachritz BancFirst Trust Department In Memory of John Vincent and Josephine Perri Mike and Cathy Perri In Memory of Rick Rogers Maria and Craig Abbott Stanley and Suzanne Cunningham Ike and Sharon Dowell Peggy Gandy and David Tarpenning Mr. Kevin Hanley Frank and Bette Jo Hill Jean Inge Larry and Donna Miles Melodie and Greg Osburn Roger and Parthena Owens Alice M. and Wayne Edward Pettit Mr. Paul Robben Dr. and Mrs. Floyd E. Skarky Mrs. Billie Thrash Renate and Chuck Wiggin Charla and Jim Wille Jim and Polly Worthington Celebrity Attractions Inc.

In Memory of John and Suzanne Hebert Greg and Mary Joan Johnston

In Memory of Grace Ryan Marilyn and Bill Boettger Sharlene S. Branham Colonel (ret.) Dean and Mrs. Jeanne Jackson Sue F. Pike Mrs. Donna K. Vogel

Im Memory of Betty Johnson Dr. Kathryne Cates

In Memory of Juanita M. Simpson Legacy Legal Center PLLC

In Honor of Joel Levine Kim and Michael Joseph

In Honor of Linda Sinor Mr. and Mrs. Ryan Free

In Memory of Sylvia Levey Helen Zemel

In Memory of Earl Statton Mrs. Joyce Statton

In Memory of Aubrey K. McClendon Pam and Gary Glyckherr Kim and Michael Joseph

In Memory of Eileen Stephenson Mrs. Barbara Hahn

In Memory of Steve Haneborg Sharlene S. Branham

In Memory of William S. Myers, Jr. Sharlene S. Branham In Memory of Mrs. Barbara B. Paul MAJ. GEN. William P. Bowden, Rt. Mr. and Mrs. William Frankfurt Mr. and Mrs. Kenneth G. Greer Mr. and Mrs. Royce M. Hammons Mrs. Jane B. Harlow Ms. Elinor Lottinville, Ph.D. Robert and Donna McCampbell James P. O’Gorman Mr. William Robinson III Mr. and Mrs. Leo M. Rodgers, Jr. Mr. Richard L. Sias Lee Allan Smith

In Memory of Marie Tice Mrs. Darla Smith In Honor of Eddie Walker Ms. Joan Gilmore Mrs. Jane B. Harlow In Honor of Kathy Weidley and Pam Glyckherr Susan and Nate Webb In Memory of Kathy Weidley Shane Brock and Deana Parsons In Memory of Richard D. Williams Mrs. Carol F. Williams In Memory of Robert L. Yount Ms. Zonia Armstrong

ORCHESTRA LEAGUE UPDATE 2018 MUSIC COMPETITIONS

The Sixtieth Oklahoma City Orchestra League Music Competitions will be held on February 4, 2018, at the Wanda Bass School of Music at Oklahoma City University. There are six state wide competitions in this event for beginners through twelfth grade who play violin, viola, violoncello, string bass, brass, harp, woodwind, percussion, guitar, and piano. The goal of the Competitions is to recognize and showcase young musicians in the state of Oklahoma giving them an opportunity to compete in an educational and rewarding environment.

• • • • • •

The Buttram Competition is underwritten by Randy and Kathy Buttram.

The Carver Competition is underwritten by Patricia Abney in memory of her daughter, Lauren Carver.

The Gilliam Competition is underwritten by Mike and Wanda Gilliam The Donna Marie Haire Competition is underwritten by William H. Haire and family.

The Keith Competition is underwritten by R. Drake and Margaret Keith.

The Meinders Competition is underwritten by Herman and LaDonna Meinders.

The Winner’s Recital will be held two weeks after the competitions in the Petree Recital Hall at Oklahoma City University on February 18, 2018.

The competitions and the Winner’s Recital are FREE AND OPEN TO THE PUBLIC. More detailed information can be found at www.okcorchestraleague.org. The competitions link details the rules and requirements and also has a form to enter the competitions.

Margaret Biggs is VP of Competitions aided by Competition co-chairs Sandi Garrett and Cheri Weintraub. Other co-chairs are Jeannie Sanford and Dorothy Hayes - Buttram; Dwayne Webb and Larry Buss - Carver; Phyllis Morrow and Deanna Pendleton - Gilliam; Cheri Weintraub and Carol Bauman - Haire; Casey Hasenbeck and Suzanne Murphy - Keith; Janice Carmack and Mary Ann Williams - Meinders; Kathlyn Reynolds and Polly Worthington -Hospitality.

For membership application visit www.okcorchestraleague.org Check out our twitter and facebook locations : www.twitter.com/orchestraleague I www.facebook.com/orchestraleague Contact us at: 405.601.4245 or admin@okcorchestraleague.org

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HOUSE NOTES

RESTROOMS are conveniently located on all levels of the theater. Please ask your usher for guidance.

LATECOMERS and those who exit the theater during the performance will be seated at intermission or during the first convenient pause as determined by the management.

ELECTRONIC DEVICES must be turned off and put away during the performance (no calling, texting, photo or video use please).

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 Café on the main floor and snack areas located on floors 1-4.

SMOKING in the Civic Center Music Hall is prohibited. The Oklahoma City Philharmonic promotes a fragrance-free environment for the convenience of our patrons.

FIRE EXITS are located on all levels and marked accordingly. Please note the nearest exit for use in case of an emergency.

ELEVATORS are located at the south end of the atrium of the Civic Center Music Hall.

CHILDREN of all ages are welcome at the Philharmonic Discovery Family Series and Holiday Pops performances; however, in consideration of the patrons, musicians and artists, those under five years of age will not be admitted to evening Classics and Pops concerts unless otherwise noted.

BOOSTER SEATS for children are available in the Civic Center event office. Please inquire at the ticket office.

COLLEGE STUDENT RUSH TICKETS are $6 each and available with a college or university I.D. and email address at the box office 45 minutes prior to the start of each Philharmonic performance. Tickets are offered based on availability only and seats may be 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 or Civic Center 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. – 5:00 p.m.

PHILHARMONIC TICKET OFFICE may be contacted by calling 405-TIC-KETS (405-842-5387) or you can visit the Philharmonic Ticket Office located on the first floor of the Arts District Garage at 424 Colcord Drive in Suite B. The Philharmonic Ticket Office is open Monday through Friday, 9:00 a.m. to 5:00 p.m. and by phone on concert Saturdays from 10:00 a.m. to 2:00 p.m.

CIVIC CENTER TICKET OFFICE hours are Monday through Friday, 10:00 a.m. to 6:00 p.m. and two hours prior to each performance. (405-297-2264) Artists and Programming Subject to Change.