FWSO Program Guide

August/September 2024

Live with the FWSO Sept. 14

FINAL FANTASY VII REBIRTH

Orchestra World Tour

Aug. 23 & 24

Stars of the Symphony Aug. 31

Opening Weekend: Tchaikovsky’s Sixth and Sibelius’ Violin Concerto Sept. 6-8

Mozart and Strauss Sept. 27-29

UTD is a different kind of university. Our business majors perform in musicals. Our engineering students are in the campus orchestra. Our pre-law majors sing in the university choir. Sound interesting? Watch us on The College Tour on Amazon Prime, YouTube or our website to learn more.

LEAD ON, CREATIVELY.

School of Music graduate Kevin Day ’19 is an internationally acclaimed composer, conductor and jazz pianist. In May 2024 the Fort Worth Symphony Orchestra performed the world premiere of his piece “DEPARTURES: Double Concerto for Trombone, Piano & Orchestra.”

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2 Letter from the Chairman 3 Letter from the President & CEO

4 About Robert Spano

5 About Kevin John Edusei

6 About Michelle Di Russo

7 Fort Worth Symphony Orchestra Roster

8 Program 1: Final Fantasy VII Rebirth:

Orchestra World Tour

Artist Profiles:

Arnie Roth, conductor

Fort Worth Chorale

11 Program 2: Stars of the Symphony

Artist Profiles:

Taichi Fukumura, conductor

DJ Cheek, viola

Tim Daniels, oboe

Kyle Sherman, trumpet

15 Program 3: Opening Weekend:

Tchaikovsky’s Sixth and Sibelius’ Violin Concerto

James Ehnes, violin

20 Program 3: Pat Green Live with the FWSO

Artist Profiles:

Pat Green, artist

Ron Spigelman, conductor

FWSO STAFF

EXECUTIVE OFFICE

Keith Cerny, Ph.D. President and CEO

OPERATIONS

Victoria J. Moore Vice President of Operations

Matthew Glover Director of Operations

Branson White Production Manager

Lacy McCoy Project Manager

Megan Brook Orchestra Personnel Manager

Wilson Armstrong Stage Manager

Gillian Boley Artistic Services Coordinator

Christopher Hawn Orchestra Librarian

David Sterrett Librarian Assistant

DEVELOPMENT

Meagan Hemenway Vice President of Development

Malia Lewis Development Manager, Board and Donor Relations

Carolyn Hudec Events Manager

Courtney Hughey Institutional Giving Manager

Veronika Perez Development Specialist, Operations

Sydney Palomo Development Associate

BOX OFFICE

Tess Todora Director of Ticketing Services

Preston Gilpatrick Box Office Associate

Veronica Morris Box Office Associate

Patrick Sumner Box Office Associate

Paul Taylor Box Office Associate

Program 5: Mozart and Strauss

Artist Profiles:

Kevin John Edusei, conductor

27 Executive Committee

27 Board of Directors

Xochitl Vasquez Box Office Associate

FINANCE & HUMAN RESOURCES

Jacque Carpenter Vice President of Finance & HR

Lucas Baldwin Senior Staff Accountant

Raquel Kenston HR & Office Coordinator

MARKETING

Carrie Ellen Adamian Chief Marketing Officer

Monica Sheehan Director of Marketing

Emily Gavaghan Senior Marketing Manager

Melanie Boma Tessitura Database Senior Manager

Josselin Garibo Pendleton Senior Manager, Education and Community Programs

Joanna Calhoun Marketing and Social Media Coordinator

Mercedes T. Bass Chairman of the Board of Directors

Dear Friends,

Thank you for joining us for another fabulous season with the FWSO. There are so many exciting and unique performances to look forward to like the one-night-only concert with Texas music legend Pat Green featuring the Orchestra musicians, Mozart conducted by Dame Jane Glover, the FWSO’s Principal Guest Conductor Designate, and the world premiere of Earth 2.0, a newly commissioned piece from composer Jake Heggie.

In addition to remarkable programming, the FWSO is always looking for new ways to engage its patrons and supporters and this year we have launched the “Angel’s Program”. Throughout the season, guests who make a night-of donation of $100 or more in support of our music education initiatives, will enjoy a complimentary glass of champagne during the concert intermission. Each gift of $100 allows up to 20 students to participate in one of the FWSO’s music education experiences.

We look forward to toasting to your generosity and hope you will share this new program with your friends and guests.

With much appreciation and gratitude,

Mercedes T. Bass Chairman of the Board of Directors

Keith Cerny, Ph.D.

President and CEO

Dear Patron,

We are delighted to welcome you back to Music Director Robert Spano’s third season with the FWSO. Under Maestro Spano’s leadership, the orchestra is playing better than ever, and tackling the most challenging music in the repertoire with gusto. We have worked hard to bring exciting solo artists, guest conductors, movies, tribute bands, and specials to Fort Worth, which we know you will enjoy!

Our Symphonic season opening weekend in September includes audience favorite Tchaikovsky’s 6th Symphony, and the exquisite Sibelius Violin Concerto performed by James Ehnes. Later in the month, Principal Guest Conductor Kevin John Edusei leads the orchestra in the Alpine Symphony by Richard Strauss – one of the most large-scale and demanding works in the symphonic repertoire.

The FWSO’s Pops series gets off to a great start in August with two performances of Final Fantasy VII Rebirth on its world tour, conducted by Arnie Roth. Final Fantasy has a huge following, and we expect these concerts to sell out. In September, we present Texas native Pat Green, with the FWSO as his supporting ensemble. And don’t miss our very first program of the season, Stars of the Symphony on August 31, featuring your favorite FWSO Principals in concerto performances.

Thank you for your attendance at all of the FWSO concerts; we are grateful for your support! We are incredibly proud of the exceptional music we are producing at the FWSO, and look forward to seeing you in person.

Yours sincerely,

Keith Cerny, Ph.D President & CEO

Robert Spano

Music Director

Robert Spano, conductor, pianist, composer, and teacher, is known worldwide for the intensity of his artistry and distinctive communicative abilities, creating a sense of inclusion and warmth among musicians and audiences that is unique among American orchestras. Spano has been Music Director of the Fort Worth Symphony Orchestra since August 2022 and will continue there through the 2027-2028 season; this follows his tenure as Principal Guest Conductor with FWSO, which began in 2019. He is the tenth Music Director in the orchestra’s history, which was founded in 1912. In February 2024, Spano was appointed Music Director of the Washington National Opera, beginning in the 2025–2026 season, for a three-year term; he is currently the WNO’s Music Director Designate. An avid mentor to rising artists, he is responsible for nurturing the careers of numerous celebrated composers, conductors, and performers. As Music Director of the Aspen Music Festival and School since 2011, he oversees the programming of more than 300 events and educational programs for 630 students and young performers; he also directs the Aspen Conducting Academy, which offers participants unparalleled training and valuable podium experience. After twenty seasons as Music Director with the Atlanta Symphony Orchestra, he now serves as Music Director Laureate. He was appointed Principal

Conductor of the Rhode Island Philharmonic Orchestra & Music School in 2024, and will transition to Principal Guest Conductor in 20252026 following the appointment of their new Music Director.

During the 2024–2025 season — Spano’s third as Music Director of the Fort Worth Symphony — he leads six weeks of symphonic programming, conducting works including Mahler’s Symphony No. 9, Wagner’s The Flying Dutchman in concert, and a world premiere by Jake Heggie, in addition to shaping the artistic direction of the orchestra and driving its continued growth. In the Fall of 2024, Spano leads his first performances as WNO’s Music Director Designate, including a new production of Beethoven’s Fidelio. Additional highlights of the 2024–2025 season include a two-week residency with the Atlanta Symphony Orchestra; his first appearances as Principal Conductor with the Rhode Island Philharmonic; and engagements with the Jacksonville Symphony Orchestra and Colorado Symphony.

Spano made his Metropolitan Opera debut in 2019, leading the US premiere of Marnie by American composer Nico Muhly. Recent concert highlights have included several world-premiere performances, including The Sacrifice of Isaac by Jonathan Leshnoff with the Atlanta Symphony Orchestra; Steven Mackey’s Aluminum Flowers and James Ra’s Te Deum with the Curtis Symphony Orchestra; Of Earth and Sky: Tales From the Motherland by Brian Raphael Nabors with the Fort Worth Symphony Orchestra and Rhode Island Philharmonic; and Voy a Dormir by Bryce Dessner at Carnegie Hall with the Orchestra of St. Luke’s and mezzosoprano Kelley O’Connor.

With a discography of critically acclaimed recordings for Telarc, Deutsche Grammophon, and ASO Media, Robert Spano has garnered four Grammy™ Awards and eight nominations with the Atlanta Symphony. Spano is on faculty at Oberlin Conservatory and has received honorary doctorates from Bowling Green State University, the Curtis Institute of Music, Emory University, and Oberlin. Maestro Spano is a recipient of the Georgia Governor’s Award for the Arts and Humanities and is one of two classical musicians inducted into the Georgia Music Hall of Fame.

Kevin John Edusei Principal Guest Conductor

German conductor Kevin John Edusei is sought-after the world over, dividing his time equally between the concert hall and opera house. He is praised repeatedly for the drama and tension that he brings to his musicmaking, for his attention to detail, sense of architecture, and the fluidity, warmth and insight that he brings to his performances. He is deeply committed to the creative elements of performance, presenting classical music in new formats, cultivating audiences, introducing music by under-represented composers and conducting an eclectic range of repertoire from the baroque to the contemporary.

In the 2022/23 season, Edusei makes his debut with many orchestras across the UK and US, including the London Philharmonic, BBC Symphony, Hallé, Utah Symphony, Cincinnati Symphony and National Symphony (Washington) orchestras amongst others and he returns to the London Symphony, the City of Birmingham Symphony, Baltimore and Colorado Symphony orchestras. With the Chineke! Orchestra he returns to the BBC Proms for a televised performance of Beethoven 9 and also performs at Festivals in Snape, Hamburg, Helsinki and Lucerne. In recent seasons he has conducted many of the major orchestras across the UK, Holland, Germany and the US. He is the former Chief Conductor of the Munich Symphony Orchestra and 22/23 marks the start of his tenure as the Principal Guest Conductor of the Fort Worth Symphony Orchestra (Texas).

In the 2022/23 season Edusei also makes his debut with the Royal Opera House conducting La Boheme with Juan Diego Florez and Ailyn Pérez. He recently made his debut at the English National Opera and previously has conducted at the Semperoper Dresden, Hamburg State Opera, Hannover State Opera, Volksoper Wien and Komische Oper Berlin. During his time as Chief Conductor of Bern Opera House, he led many new productions including Britten Peter Grimes, Strauss Salome, Bartók Bluebeard’s Castle, Wagner Tannhäuser and Tristan and Isolde, Janáček Kátya Kábanová and a cycle of the Mozart Da-Ponte operas.

In 2004 Edusei was awarded the fellowship for the American Academy of Conducting at the Aspen Music Festival by David Zinman, in 2007 he was a prize-winner at the Lucerne Festival conducting competition under the artistic direction of Pierre Boulez and Peter Eötvös, and in 2008 he won the First prize at the International Dimitris Mitropoulos Competition.

Michelle Di Russo

Associate Conductor

A graceful yet powerful force on the podium, Argentinian conductor Michelle Di Russo is known for her compelling interpretations, passionate musicality, and championing of contemporary music. Currently serving as Associate Conductor on her third season with North Carolina Symphony, she is a 2023 Dudamel Fellow with the LA Philharmonic and mentee of the Taki Alsop Fellowship.

Di Russo is a former conducting fellow with Chicago Sinfonietta’s Project Inclusion program, The Dallas Opera Hart Institute, as well as a recipient of the Richard S. Weinert award from Concert Artists Guild.

In previous seasons, Di Russo had guest conducting debuts with Vermont Symphony and Portland Symphony and worked as cover conductor for St. Louis Symphony, National Symphony, Minnesota Orchestra and San Diego Symphony. She was a 2022 Joel Revzen fellow at the Napa Valley Festival and has served as Interim Director of Orchestras at Cornell University and Assistant Conductor of the Phoenix Youth Symphony Orchestra. During the pandemic Di Russo co-created Girls Who Conduct, an organization dedicated to bridge the gap between women and men in the conducting field and encourage younger generations of women and non-binary conductors to overcome any obstacles presented due to their gender.

FORT WORTH SYMPHONY ORCHESTRA

Robert Spano, Music Director, Nancy Lee and Perry R. Bass Chair

Kevin John Edusei, Principal Guest Conductor

Miguel Harth-Bedoya, Music Director Laureate

Michelle di Russo, Associate Conductor, Rae and Ed Schollmaier+ Foundation Chair

John Giordano, Conductor Emeritus

VIOLIN I

Michael Shih, Concertmaster

Mrs. Mercedes T. Bass Chair

Mr. Sid R. Bass Chair

Swang Lin, Associate Concertmaster

Ann Koonsman+ Chair

Eugene Cherkasov, Assistant Concertmaster

Mollie & Garland Lasater Chair

Jennifer Y. Betz

Ordabek Duissen

Qiong Hulsey

Ivo Ivanov

Nikayla Kim

Izumi Lund

Ke Mai

Kimberly Torgul

Albert Yamamoto

VIOLIN II

Adriana Voirin DeCosta, Principal

Steven Li, Associate Principal

Janine Geisel, Assistant Principal

Symphony League of Fort Worth Chair

Molly Baer

Matt Milewski

Gabriela Peña-Kim

Kathryn Perry

Tatyana Smith

Rosalyn Story

Andrea Tullis

Camilla Wojciechowska

VIOLA

DJ Cheek, Principal

Anna Kolotylina, Associate Principal

HeeSun Yang, Assistant Principal

Joni Baczewski

Sorin Guttman

Aleksandra Holowka

Dmitry Kustanovich

Daniel Sigale

CELLO

Allan Steele, Principal

Mrs. Mercedes T. Bass Chair

Mr. Sid R. Bass Chair

Vacant Position, Associate Principal

Keira Fullerton, Assistant Principal

Burlington Northern Santa Fe Foundation Chair

John Belk

Deborah Brooks

Shelley Jessup

Jenny Kwak

Vacant Position

BASS

William Clay, Principal

Mr. & Mrs. Edward P. Bass Chair

Paul Unger, Assistant Principal

Jeffery Hall

Sean P. O’Hara

Julie Vinsant

The seating positions of all string section musicians listed alphabetically change on a regular basis.

FLUTE

Jake Fridkis, Principal

Shirley F. Garvey Chair

Gabriel Fridkis, Assistant Principal

Vaynu Kadiyali

PICCOLO

Vaynu Kadiyali

OBOE

Jennifer Corning Lucio, Principal

Nancy L. & William P. Hallman, Jr., Chair

Tamer Edlebi, Assistant Principal

Tim Daniels

ENGLISH HORN

Tim Daniels

CLARINET

Stanislav Chernyshev, Principal

Rosalyn G. Rosenthal Chair*

Ivan Petruzziello, Assistant Principal

Phillip Soloman°

BASSOON

Joshua Elmore, Principal

Mr. & Mrs. Lee M. Bass Chair

Nik Hooks°, Assistant Principal

Pending Appointment

Clara Owens, on leave

HORN

Gerald Wood, Principal

Elizabeth H. Ledyard Chair

Alton F. Adkins, Associate Principal

Drs. Jeff and Rosemary Detweiler Chair

Kelly Cornell, Associate Principal

Aaron Pino

Vacant Position

TRUMPET

Kyle Sherman, Principal

Cody McClarty, Assistant Principal

Dorothy Rhea Chair

Oscar Garcia

TROMBONE

Joseph Dubas, Principal

Mr. & Mrs. John Kleinheinz Chair

John Michael Hayes, Assistant Principal

Dennis Bubert

BASS TROMBONE

Joseph Dubas, Principal

Mr. & Mrs. Lee M. Bass Chair

John Hayes, Assistant Principal

Dennis Bubert

TUBA

Edward Jones, Principal

TIMPANI

Seth McConnell, Principal

Madilyn Bass Chair

Nicholas Sakakeeny

PERCUSSION

Keith Williams, Principal

Shirley F. Garvey Chair

Nicholas Sakakeeny, Assistant Principal

Adele Hart Chair

Deborah Mashburn

Brad Wagner

HARP

Vacant Position

Bayard H. Friedman Chair

KEYBOARD

Shields-Collins “Buddy” Bray, Principal

Rildia Bee O'Bryan Cliburn & Van Cliburn Chair

STAGE MANAGER

Wilson Armstrong

ORCHESTRA PERSONNEL MANAGER

Megan Brook

ORCHESTRA LIBRARIANS

Christopher Hawn

David Sterrett

*In Memory of Manny Rosenthal

°2024/2025 Season Only

+Denotes Deceased

The Concertmaster performs on the 1710 Davis Stradivarius violin.

The Associate Concertmaster performs on the 1685 Eugenie Stradivarius violin.

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CHARACTER DESIGN: TETSUYA NOMURA / ROBERTO FERRARI

LOGO ILLUSTRATION: © YOSHITAKA AMANO

ARTIST PROFILES

Arnie Roth, conductor

A classically trained violinist, conductor, composer, producer and GRAMMY Award-winning artist, Arnie Roth performs across a wide array of musical genres. Mr. Roth has performed with a host of artists, including Il Divo, Diana Ross, Jewel, The Three Tenors, The Irish Tenors, Charlotte Church, Josh Groban, Patrick Stewart, Branford Marsalis, Peter Cetera, and Andrea Bocelli. He is also a long-time member of the GRAMMY award-winning group Mannheim Steamroller. Orchestras that Mr. Roth has conducted include the London Symphony, Hollywood Bowl Philharmonic, Royal Philharmonic, Royal Stockholm Philharmonic, Atlanta Symphony, Dallas Symphony, Houston Symphony, Los Angeles Philharmonic, Nashville Symphony, Oregon Symphony, Vancouver Symphony, BBC Symphony, San Francisco Symphony, San Diego Symphony, Seattle Symphony, Winnipeg Symphony, Joffrey Ballet, Ravinia Festival, Tokyo Philharmonic, the Colorado Symphony, the WDR Rundfunkorchester Köln, and the Sydney Symphony. Arnie Roth brought critical acclaim to the Chicagoland Pops Orchestra as music director and principal conductor showcasing artists including Michael Feinstein, Linda Eder, Art Garfunkel, Linda Ronstadt, Wynonna Judd, Judy Collins, the Beach Boys and Johnny Mathis. Under his direction the Chicagoland Pops Orchestra appeared in a nationally broadcast PBS Special featuring The Irish Tenors.

Mr. Roth was the music director and conductor of the national concert tour “Dear Friends: music from FINAL FANTASY.” In 2006 Mr. Roth conducted the new “VOICES: music from FINAL FANTASY” concert in Tokyo with the Tokyo Philharmonic. He then became the principal conductor and music director of PLAY! A Video Game Symphony featuring music from blockbuster video games such as FINAL FANTASY®, World of Warcraft®, Elder Scrolls III: Morrowind™, Halo and Battlefield 1942™. As both producer and music director, Arnie Roth premiered Distant Worlds: music from FINAL FANTASY in December 2007 with the Royal Stockholm Philharmonic in Sweden. The release of Distant Worlds: music from FINAL FANTASY, recorded by Roth and the Royal Stockholm Philharmonic, coincided with the start of the Distant Worlds international tour. Distant Worlds continues to thrill audiences around the globe with upcoming performances in North America, Europe, Australia and Asia, and has released four additional albums of FINAL FANTASY music, as well as several DVD concert experiences.

As music director, conductor and arranger, Mr. Roth was involved in a number of PBS specials including: Charlotte Church: Enchantment - From Cardiff, Wales for Sony, The Irish Tenors: Heritage, the WTTW Soundstage shows featuring: Jewel, Peter Cetera and Symphony, An Evening with Dennis DeYoung, Lyle Lovett, Randy Newman, Michael McDonald and the Doobie Brothers, and WTTW’s Four Seasons in Chicago. In 2006 he was the music director and conductor for a ten-part television series for RTE featuring the Irish Tenors. He has appeared on NBC’s Today Show many times, conducting Il Divo, and appeared on the Tonight Show, Good Morning America, Oprah, and many more international television and radio broadcasts.

Mr. Roth’s talents extend into the area of film production and composition as well. He was commissioned by Gerald Arpino, founder and a choreographer of the Joffrey Ballet, to write an original composition for a new Arpino ballet premiered in Chicago that he conducted. He produced and conducted music for the Robert Altman film The Company, and was the producer, composer, conductor and arranger for the CGI animated films from Mattel Entertainment: Barbie™ in The Nutcracker, Barbie™ as Rapunzel, Barbie™ of Swan Lake, Barbie™ in The Princess and the Pauper Movie, Barbie™ in The Magic of Pegasus, Barbie™ Sings! Princess Movie Collection CD, Barbie™in the Twelve Dancing Princesses, Island Princess Barbie, Barbie™and the Diamond Castle, and Barbie™in A Christmas Carol. Mr. Roth won the Best Score Award at the 2003 DVD Premier Awards for his score for the film Barbie™ as Rapunzel, and was nominated for an Emmy in 2007 for his original song “Shine” from the movie Barbie™ in The Twelve Dancing Princesses. 2007 also marked the premiere of Mr. Roth's first live concert creation with Mattel. Barbie™ at the Symphony is a special film with orchestra presentation of the best-selling Barbie™ Princess movies. This was followed by a second live concert production under license with Mattel, Barbie™ in the Nutcracker

Mr. Roth has produced and conducted music for many films, and has produced dozens of best-selling albums, released on American Gramaphone, JVC, Mattel, Warner Bros., Sony, Koch, and Razor & Tie.

ARTIST PROFILES

Fort Worth Chorale

Founded in 1962 as Schola Cantorum, Fort Worth Chorale is the oldest independently operated, auditioned, volunteer, adult civic choir in Texas. In its storied 60-year history, the Fort Worth Chorale has presented hundreds of concerts in North Texas and cities across the United States and Europe.

The choir has performed at the Kennedy Center, Washington, D.C., Robert Shaw’s Festival of the Masses in San Francisco, the Worms, Germany Martin Luther Festival, with the London Symphony Orchestra, and has been featured on the programs of the Texas Choral Directors Association numerous times throughout its 60-year history.

Singers come from a wide variety of professions, with a significant portion employed as choral directors and voice teachers in the metroplex. FWC is vitally connected to the city of Fort Worth and Tarrant County, not only through public concerts, but also through collaborations with the Fort Worth Symphony Orchestra, the Texas Ballet Theatre, and numerous local schools and universities.

In 2021 FWC established the “Schola Cantorum Project,” which commissions composers of underrepresented cultural backgrounds to compose choral music for free distribution in underserved Title One schools.

ARTIST PROFILES

Taichi Fukumura, conductor

Taichi Fukumura is a rising Japanese-American conductor acclaimed for his dynamic stage presence and musical finesse. He is the Second Prize Winner of The Mahler Competition 2023 and a four-time recipient of the Solti Foundation U.S. Career Assistance Award 2021-2024.

Fukumura was recently named Music Director of the Illinois Symphony Orchestra, following two guest conducting appearances as part of an international search. He begins his role in the 24/25 season as the fifth music director in the orchestra’s history.

Other 24/25 highlights include guest conducting debut with the Bamberg Symphony, and returning to the Fort Worth Symphony Orchestra as guest conductor after leading the orchestra in over 110 concerts as Assistant Conductor appointed by Music Director Robert Spano. Fukumura is also Music Director Finalist of the Eugene Symphony, Delaware Symphony, and Colorado Springs Philharmonic, and will guest conduct each during the 24/25 season. Additionally, he will return to the Aspen Music Festival as guest assistant conductor for the opening week of summer 2024.

Past engagements include guest conducting members of the Boston Symphony Orchestra in Stravinsky L’Histoire du Soldat. He was also invited by the Berlin Philharmonic as one of 10 assistant conductor candidates for Kirill Petrenko in 2021, and guest assisted the Houston Symphony and the Pittsburgh Symphony Orchestra. Fukumura served as the Assistant Conductor of the Chicago Sinfonietta and Music Director Mei-Ann Chen. Additionally, he worked closely with the Chicago Philharmonic as cover conductor.

Equally adept in opera conducting, Fukumura conducted full productions of Britten Turn of the Screw and Mozart Don Giovanni at the Northwestern University Opera Theatre and led rehearsals of Puccini La Boheme with the Boston Youth Symphony Orchestras, the only youth orchestra in the country to present annual opera productions.

Born in Tokyo, Taichi Fukumura grew up in Boston and began music studies at age three on the violin. Professionally trained on the instrument, he received a Bachelor of Music in violin performance from Boston University, studying with Peter Zazofsky. Fukumura received both his Master of Music and Doctor of Musical Arts degrees in orchestral conducting from Northwestern University, studying with Victor Yampolsky. Additional conducting studies include Aspen Music Festival and Pierre Monteux School and Festival.

ARTIST PROFILES

DJ Cheek, viola

DJ Cheek joined the Fort Worth Symphony Orchestra as Principal Viola in August 2021, and made his solo debut with the orchestra in 2023 performing the Bartók Viola Concerto. Prior to his current appointment, DJ played Principal Viola in the Jacksonville Symphony.

In recent years he appeared as guest Principal with the Indianapolis Symphony and IRIS Orchestra in Tennessee, and as a substitute with the Saint Paul Chamber Orchestra and Minnesota Orchestra. DJ plays Principal Viola at the Colorado Music Festival in Boulder, and he teaches at the Texas Chamber Music Institute and the Interlochen Adult Chamber Music Camp. He previously taught viola and chamber music at the University of North Florida and the National Music Festival.

He has appeared at festivals such as Music@Menlo, the Perlman Music Program, Lucerne, Sarasota, Olympic, and Yellow Barn. DJ performed as a guest artist with Donald Weilerstein and Kim Kashkashian in support of Music for Food, and he continues to perform with the Music for Food chapter in Fort Worth. DJ earned a master’s degree under the tutelage of Kim Kashkashian at New England Conservatory and he holds bachelor’s degree from Oberlin College-Conservatory, where he studied with Peter Slowik. He was further mentored by Beth Guterman Chu.

Tim Daniels, English horn

Tim Daniels has held the English horn and Section oboe chair with the Fort Worth Symphony Orchestra since the fall of 2021. He previously held the same position with the Kansas City Symphony, with which he was a featured soloist on Aaron Copland’s Quiet City. He has performed with numerous orchestras including the San Francisco, New World, and Memphis Symphonies as well as the Metropolitan Opera and IRIS Orchestras. He held fellowships at the Aspen Music Festival, National Orchestral Institute, National Repertory Orchestra, Pacific Music Festival of Japan, and Spoleto Festival USA.

Tim holds degrees from the Oberlin Conservatory of Music, the Juilliard School, and the San Francisco Conservatory of Music. His primary teachers include Elaine Douvas, Eugene Izotov, and Robert Walters. He is a proud graduate of the Interlochen Arts Academy, where he studied under the late Daniel Stolper.

When he isn’t playing with the FWSO, you can find Tim hitting on the tennis court or working to perfect his pizza recipe with his violist wife, Rachel, and their two cats, Mika and Mister.

ARTIST PROFILES

Kyle Sherman, trumpet

Praised by the Fort Worth Star-Telegram for his “gorgeous and moving solo work,” Kyle Sherman joined the Fort Worth Symphony Orchestra as Principal Trumpet in 2016. Originally from La Grange, Texas, Mr. Sherman is an alumnus of the Yale School of Music, Oberlin Conservatory, Tanglewood Music Center, the National Repertory Orchestra, and the Round Top Festival. Kyle has appeared with the Dallas Symphony, and as a soloist with the Garland, Arlington, and Las Colinas symphony orchestras. He has also performed on the Broadway national tours of the Book of Mormon, Porgy & Bess, and Matilda, among others.

An active and dedicated educator, he regularly appears as a clinician and recitalist at universities throughout Texas and the United States. His current and former students can be found in the Dallas and Fort Worth Youth Symphonies, as well as college music schools throughout the country.

Kyle Sherman is a Yamaha performing artist.

The Fort Worth Symphony Orchestra dedicates

The Aug. 31 performance to The Frill Foundation

The Sept.6-8 performances to Medal of Excellence Recipients Mr. and Mrs. William S. Davis The Sept.14 performance to Mr. and Mrs. John Kleinheinz

The Sept. 27-29 performances to Alann B. Sampson

ARTIST PROFILES

James Ehnes, violin

James Ehnes has established himself as one of the most soughtafter musicians on the international stage. Gifted with a rare combination of stunning virtuosity, serene lyricism and an unfaltering musicality, Ehnes is a favourite guest at the world’s most celebrated concert halls.

Recent orchestral highlights include the MET Orchestra at Carnegie Hall, Gewandhausorchester Leipzig, San Francisco Symphony, London Symphony, NHK Symphony and Munich Philharmonic. Throughout the 23/24 season, Ehnes continues as Artist in Residence with the National Arts Centre of Canada and as Artistic Partner with Artis–Naples. During this season, he will make debuts with Royal Concertgebouw Orchestra, Tonhalle Zurich, and Israel Philharmonic Orchestra.

Alongside his concerto work, Ehnes maintains a busy recital schedule. He performs regularly at the Wigmore Hall (including the complete cycle of Beethoven Sonatas in 2019/20, and the complete violin/viola works of Brahms and Schumann in 2021/22), Carnegie Hall, Symphony Center Chicago, Amsterdam Concertgebouw, Ravinia, Montreux, Verbier Festival, Dresden Music Festival and Festival de Pâques in Aix. A devoted chamber musician, he is the leader of the Ehnes Quartet and the Artistic Director of the Seattle Chamber Music Society.

Ehnes has an extensive discography and has won many awards for his recordings, including two Grammy’s, three Gramophone Awards and eleven Juno Awards. In 2021, Ehnes was announced as the recipient of the coveted Artist of the Year title in the 2021 Gramophone Awards which celebrated his recent contributions to the recording industry, including the launch of a new online recital series entitled ‘Recitals from Home’ which was released in June 2020 in response to the COVID-19 pandemic and subsequent closure of concert halls. Ehnes recorded the six Bach Sonatas and Partitas and six Sonatas of Ysaÿe from his home with state-of-the-art recording equipment and released six episodes over the period of two months. These recordings have been met with great critical acclaim by audiences worldwide and Ehnes was described by Le Devoir as being "at the absolute forefront of the streaming evolution.”

Ehnes began violin studies at the age of five, became a protégé of the noted Canadian violinist Francis Chaplin aged nine, and made his orchestra debut with L’Orchestre symphonique de Montréal aged 13. He continued his studies with Sally Thomas at the Meadowmount School of Music and The Juilliard School, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music upon his graduation in 1997. He is a Member of the Order of Canada and the Order of Manitoba, a Fellow of the Royal Society of Canada, and an honorary fellow of the Royal Academy of Music, where he is a Visiting Professor.

Ehnes plays the “Marsick” Stradivarius of 1715.

16 | 2024/2025 SEASON

PROGRAM NOTES : HECTOR BERLIOZ

by Jeremy Reynolds

ROMAN CARNIVAL OVERTURE, Op. 9

DURATION: About 9 minutes

PREMIERED: Paris, 1844

INSTRUMENTATION: Two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four French horns, two trumpets, two cornets, three trombones, timpani, percussion, and strings

To the publisher A. J. BenacciPeschier: “I am writing at the moment a brilliant overture which is not very difficult; it is called the Roman Carnival Overture. If by chance you were willing to publish it this winter after I have performed it in one of my concerts, I will be delighted to come to an agreement with you for this.”

— Hector Berlioz (Born 1803, France; died 1869)

OVERTURE: An introduction to a large dramatic work, such as a ballet or opera, that demands listeners’ ears and sets the tone of the evening. Alternatively, these can be standalone concert works written on a subject or theme.

SALTARELLO: An energetic, merry dance from Italy, usually played in a fast triple meter and characterized by its peculiar leaps and skips.

FURTHER LISTENING:

Berlioz: Benvenuto Cellini

Le Corsaire, Overture Symphonie fantastique

The French composer Hector Berlioz, best known for his orchestral work Symphonie fantastique, was supposed to become a doctor. Or, perhaps, a lawyer — anything but a musician. He actually graduated medical school before abandoning the field to study music, prompting his wealthy father to withhold allowance in an attempt to control his bohemian protégé.

Berlioz persevered. He went on to earn an excellent living as a composer and conductor. Still, despite the popularity of his orchestral compositions, he didn’t have nearly as successful a track record with opera. His first opera, Benvenuto Cellini, was about the heroic Florentine sculptor Benvenuto Cellini. At the premiere, the audience “hissed with exemplary precision,” according to Berlioz himself. His second was never premiered in full in his lifetime, and the partial premiere nearly flooded the theater for a set piece involving water. (The director tried to divert a river into the theatre — it went cartoonishly poorly.) His third opera proved simpler and was considered more successful at its premiere but is rarely revived.

Berlioz, like many composers, was nothing if not canny in his willingness to recycle a good tune. After Benvenuto Cellini’s painful flop, he recycled two of the tunes into the Roman Carnival Overture, a brilliant, colorful affair.

The composer explains the work as follows:

I am very pleased to inform you that this overture is that to the second act of my opera Benvenuto Cellini; it is built from two themes from this score. The andante is derived from the duet between Benvenuto and Teresa, the allegro is built from the double chorus of jugglers and masks, which is sung and danced on Colonne Square on the last evening of the Carnival. But the blending of the two themes which you will notice in the middle of the allegro is only to be found in the overture.

After a merry, whizzing introduction, the music settles into its first “theme,” a song for the English horn, a cousin of the oboe known for its deeper, more plaintive sound. Strings provide delicate accompaniment as the English horn soars above.

Woodwinds whirling up and down the scale announce the second part of the overture, a dashing saltarello, adapted from the opera’s carnival scene. The music bursts with zany, madcap energy, with triplets piling up and then untangling with riotous energy. To close, the music builds to an enormous, zesty final blast from the horns.

Unlike Benvenuto Cellini, the Roman Carnival Overture was a huge success. The first audience responded so enthusiastically that Berlioz, who conducted the premiere, had the orchestra immediately play the piece in full again.

PROGRAM NOTES : JEAN SIBELIUS

by Jeremy Reynolds

VIOLIN CONCERTO in D MINOR, Op. 47

I. Allegro moderato

II. Adagio di molto

III. Allegro, ma non tanto

DURATION: About 32 minutes

PREMIERED: Helsinki, 1904

INSTRUMENTATION: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, strings, and solo violin

“If I could express the same thing with words as with music, I would, of course, use a verbal expression. Music is something autonomous and much richer. Music begins where the possibilities of language end. That is why I write music.”

“All the doctors who wanted to forbid me to smoke and to drink are dead.”

— Jean Sibelius (Born 1865, Finland; died 1957)

CONCERTO: A composition that features one or more “solo” instruments with orchestral accompaniment. The form of the concerto has developed and evolved over the course of music history.

CADENZA: A virtuoso passage in a concerto movement or aria, typically near the end and often played without strict adherence to meter or time.

FURTHER LISTENING:

Sibelius: Symphony No. 1 in E minor

The Swan of Tuonela Finlandia

To anyone who knows much about Sibelius’ background — his frigid Finnish roots, his significance in his country’s quest for geopolitical independence, and his love of folklore and folk music — his music sounds cold.

Indeed, the opening moments of his Violin Concerto shiver suggestively, with strings providing a swirling blanket of sound through which the soloist slices, gently at first, like a knife in the wind. Sibelius was especially proud of those opening gestures, even writing to his wife in 1902 about his “marvelous opening idea,” which remained even after he revised much of the work following its inauspicious first performance.

From its initial entrance, the violin holds the spotlight. Sibelius himself had once dreamed of becoming a violinist, but alas, he started lessons late and suffered from severe stage fright. He performed with the conservatory orchestra in Vienna but did not progress further. Still, study of the instrument allowed him to explore the violin’s expressive and technical capabilities with a masterful ear.

This is especially evident in the second movement, full of ardor and heat to contrast the opening movement’s glacier-like poise. A pair of clarinets introduce a floating tune, with oboes and other winds joining in to issue a more plaintive cry. Then, the music fades to a deep, resonant drone as the violin enters with a yearning, haunting melody that slowly builds to a torrid climax.

The famous musicologist Donald Tovey once described the finale of Sibelius’ concerto as “a polonaise for polar bears.” It’s an apt description — there’s something primitive and lumbering about the rhythmic pattern that the orchestra stomps out as an introduction. Soon, the violin leaps in to whirl and dance, flitting about like a snowflake in the wind and zipping up and down scales and arpeggios. The movement builds to a thrilling peak before ending abruptly enough to catch the unsuspecting listener quite by surprise.

Sibelius was a national hero in Finland. The Finnish government actually sponsored his work for much of his life, and he looked often to local folklore for inspiration for his music. His Violin Concerto was unsuccessful at its premiere; the soloist part was extremely technically demanding, and Sibelius didn’t finish the work far enough in advance to give the soloist adequate time to prepare. The composer withdrew the piece from circulation and made substantial edits, trimming the length and simplifying some of the passagework. This is the version commonly heard today.

PROGRAM NOTES : PYOTR ILYICH TCHAIKOVSKY

by Jeremy Reynolds

SYMPHONY No. 6, PATHÉTIQUE

Adagio – Allegro non troppo

Allegro con grazia

Allegro molto vivace

Finale Adagio lamentoso; Andante

DURATION: About 45 minutes

PREMIERED: Saint Petersburg, 1893

INSTRUMENTATION: Three flutes (third doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, tam-tam, and strings

“I told you that I had completed a Symphony which suddenly displeased me, and I tore it up. Now I have composed a new symphony which I certainly shall not tear up.”

— Pyotr Ilyich Tchaikovsky (Born 1840, Russia; died 1893)

SYMPHONY: An elaborate orchestral composition typically broken into contrasting movements, at least one of which is in sonata form.

PROGRAM MUSIC: Music of a narrative or descriptive kind; the term is often extended to all music that attempts to represent extramusical concepts without resorting to sung words. (Grove Dictionary of Music)

FURTHER LISTENING:

Tchaikovsky: Symphony No. 4

Symphony No. 5

Piano Concerto No. 3 in E-flat

Tchaikovsky’s death is one of the great conspiracy theories of classical music.

The Russian composer’s passing in 1893 had his family and the public whispering about suicide and even murder. The official cause of death was cholera, which was rampant in St. Petersburg at the time. Still, it was considered a disease of the lower class, and Tchaikovsky was decidedly not low class. The odds that he would have drunk contaminated water by accident were low, and there were oddities about the handling of his corpse.

It’s all quite fishy. We’ll never know the entire truth.

The Sixth Symphony was the last piece Tchaikovsky heard premiered in his lifetime, a mere nine days before he died. It begins with a solemn drone, over which the bassoon and low strings sound the opening notes of the main tune. After a slow introduction, upper strings play that initial fragment much faster and complete the phrase, handing the melody off to flutes and woodwinds as the music grows more and more excited.

There is a secret “program” in this symphony, which Tchaikovsky alluded to in his letters but never disclosed, as he preferred to let the music speak for itself. Its proximity to his death has led many to hear the work as a sort of musical suicide note, perhaps related to his homosexuality, which in Russia at the time would have been viewed as sinful and even criminal. Most scholars think that such a morbid interpretation is unlikely, however.

Take the second movement, all grace and charm. It’s a remarkable movement first for its rhythm. Most composers in the Romantic era write music with symmetrical rhythms, or measures that divide into either two, three, four, or six beats. The Allegro con grazia has five beats per bar, which creates the feeling of a kind of waltz with a limp. For all its asymmetry it retains a sense of poise and polish.

The third movement is quick and airy and chuckles along. It’s a scherzo, a playful replacement for the more formal minuet or waltz movements of the classical era. Here, the music races along, chortling merrily, never straying far from its opening zippiness. (This, too, is unusual. Typically, there would be a contrasting middle section with a different style of music to fill out the movement.)

Back to the symphony’s secret program: The more likely interpretation of the symphony requires some familiarity with Tchaikovsky’s other great symphonies, the Fourth and Fifth, both of which center their themes on “fate” and dodge confrontation with triumphant, blustering finales. The Sixth’s finale is different. This finale is the apotheosis of the symphony’s nickname, which properly translated is “passionate,” and not the French pathétique, which has a strikingly different English connotation. It’s a slow but passionate lamentation that fades away at the close. Some view this as support for the “suicide note” theory, but others view it as a mature acceptance of the fate music in the first two parts of his symphonic trilogy. Regardless, Tchaikovsky took the secret to his grave, leaving one of the best-loved symphonies of the canon. FORT WORTH SYMPHONY ORCHESTRA | 19

By bringing the arts into the lives of our residents, we connect on all levels using music as a key to successful and personalized dementia care.

As a not-for-profit organization, James L West has been providing expert care for those living with dementia and support for their caregivers for over 30 years. Until there is a cure, we are here to care.

WHERE YOUR FINANCIAL SUCCESS TAKES CENTER

ARTIST PROFILES

Pat Green, recording artist

Born in San Antonio, Texas, Pat Green has firmly established himself as a Texas legend with his evocative blend of traditional and modern country music. He started his musical career playing at local bars while attending Texas Tech University, quickly capturing the hearts of listeners with his authentic sound and heartfelt storytelling. His debut album, Dancehall Dreamer, released in 1995, marked the beginning of a celebrated journey that would deeply embed him in the fabric of Texas music culture.

Pat Green’s influence in Texas country music is underscored by a career that spans over two decades, with albums like Three Days and the gold-certified Wave on Wave capturing the essence of Texas life and propelling him to national

acclaim. These albums have not only brought critical acclaim but also resonated broadly, leading to three Grammy nominations and a consistent presence on the Billboard country charts.Green now sits with over two million albums sold and over 200 million career streams.

Known for his profound Texas pride, Green’s songs often explore themes deeply rooted in Texas culture, reflecting his own experiences and the lives of those around him. His 13 #1’s at Texas Radio, collaborations with fellow Texan artists, including Lyle Lovett and Willie Nelson, and selling out the Houston Astrodome have further solidified his legacy as a cornerstone of Texas music.

Adding to his storied career, Pat Green is set to release a new song titled "Elvis in Memphis," which promises to enchant listeners with its rich narrative and melodious charm. Alongside his creative endeavors, Green continues to tour extensively across the United States, bringing his iconic music to fans old and new.

Beyond his music, Pat Green is a dedicated philanthropist, actively supporting music education and advocating for “underdog” charities through the Pat Green Foundation. His enduring contributions to his community and his ability to resonate with fans through his music have cemented his status as a beloved figure and a true Texas legend.

ARTIST PROFILES

Ron Spigelman, conductor

A native of Australia, conductor Ron Spigelman is an honors graduate of the Royal Academy of Music, London. He has been the Associate Conductor of the Buffalo Philharmonic and the Fort Worth Symphony, Music Director of the Fort Worth Dallas Ballet, San Angelo Symphony, Texas Chamber Orchestra, Springfield Symphony (MO), and the Lake Placid Sinfonietta (NY).

As a guest conductor he has appeared with many Symphony orchestras including those in St. Louis, Baltimore, Utah, Kansas City, Dallas, Oregon, Phoenix, North Carolina, as well as the Rochester and Naples Philharmonic. He has been the Principal Pops Conductor of the Fort Worth Symphony and the Syracuse Symphony and

appears every season with the Tulsa Symphony and the Buffalo Philharmonic.

He has conducted Symphonic, Ballet, Opera, Musical Theatre and Pops plus many live film concerts with such feature films as Pirates of the Caribbean, Fantasia, Raiders of the Lost Ark, Wizard of Oz, Star Wars, E.T, Home Alone, Polar Express, Nightmare Before Christmas and six of the Harry Potter films. Guest artists he has accompanied include Horacio Gutierrez, Sharon Isbin, Rachel Barton Pine, Richard Stoltzman, Olga Kern, Jubilant Sykes, Joyce Yang and Pops artists including Marvin Hamlisch, Peter Paul and Mary, James Taylor, Ben Folds, Kenny G, Jason Alexander, Audra McDonald, Vanessa Williams, Leslie Odom Jr., and Arturo Sandoval.

Other career highlights include the world premiere of Pegasus by Lowell Liebermann with the Dallas Symphony in 2001, his Carnegie Hall debut with the Buffalo Philharmonic in 2004, and the world premiere recording of Sylvan by Michael Torke which was commissioned for the Lake Placid Sinfonietta’s centennial in 2017.

Ron lives in Tulsa, Oklahoma with his wife Laura, they have a combined 6 children. In addition to his conducting career, he is pursuing a Bachelor of Science degree in Family and Human Development with a minor in Counseling and Applied Psychology at Arizona State University.

PROGRAM NOTES : WOLFGANG AMADEUS MOZART

by Jeremy Reynolds

OVERTURE to DON GIOVANNI, K. 527

DURATION: About 7 minutes

PREMIERED: Prague, 1787

INSTRUMENTATION: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, and strings

“Creativity is the firing of my soul.”

— Wolfgang Amadeus Mozart (Born 1756, Austria; died 1791)

FURTHER LISTENING:

Mozart: Don Giovanni (complete opera)

Kyrie in D minor

Violin Sonata No. 35 in A major, K. 526

Eine kleine Nachtmusik, K. 525

Mozart’s ability to procrastinate was legendary in his day. A full performance of his famous opera Don Giovanni lasts around three hours. And yet, Mozart waited until the night before the opera was to premiere — already delayed by two weeks — to pen the opening overture, the first seven minutes of music.

The tale is one of trust and teamwork. Mozart’s wife, Constanze, made a deal with her dithering husband: If she made him his favorite punch and told him stories to keep him alert, he’d work on the overture until he finished it.

Constanze, the angel, held up her side of the bargain. Mozart — who famously composed in his head and found the process of actually writing notes on the page quite tedious — did not. He promptly fell asleep on the sofa after drinking too much punch. The story ends happily, however, as Mozart awoke and spat out the overture with all the speed of a tasty bit of gossip.

Don Giovanni’s premiere proved a smash success. The opera is about an arrogant, philandering nobleman, Don Giovanni himself. The Don murders a man in the opera’s opening scene and then seduces his daughter — later, the father rises from the grave to drag an unrepentant Giovanni to hell. To illustrate the horror of this moment, Mozart uses a special kind of dissonant chord played loudly, slowly and rhythmically. (For the theory buffs in the room: the chord employs diminished sevenths, a rare, crunchy interval at the time.)

This is the music he adapts for the opening of the overture. It begins with thunderous chords punctuated by great, deafening silences. Soon, strings begin to slither with a slow, portentous melody. Before long, however, the mood lightens and quickens to a bright, cheery allegro — the opera itself blends both melodrama and comedy throughout the production. There are shadows in the music, flashes of the jealousy and near-escapes of the Don in the story. The concert version of the overture finishes with a bright chord, while the opera version transitions into the first act more directly.

Don Giovanni is now one of the most-performed operas of all time. It followed the success of The Marriage of Figaro, written by the same librettist, Lorenzo Da Ponte, with whom Mozart also wrote the opera Così fan tutte (Women are all like that).

PROGRAM NOTES : ALEXANDER von ZEMLINSKY

by Jeremy Reynolds

SINFONIETTA, Op. 23

Sehr lebhaft (Very lively)

Ballade: Sehr gemessen (Very measured)

Rondo: Sehr lebhaft (Very lively)

DURATION: About 22 minutes

PREMIERED: Vienna, 1935

INSTRUMENTATION: Two flutes, two oboes and English horn, two clarinets, two bassoons, four horns, three trumpets, three trombones, kettledrums, percussion, harp, and strings

“We intend to organize a reading of Schoenberg’s oratorio ‘The Jacob’s Songs’ as part of the club’s performance schedule. Now, in my opinion, this event is also exempt from entertainment tax, even though it is a lecture, since it is the text of a composed work and can therefore be addressed as a musical performance...”

— Alexander von Zemlinsky (Born 1871, Austria-Hungary; died 1942)

SINFONIETTA: A symphony that is smaller in scale or lighter in approach than a standard symphony, typically shorter in duration or written for fewer instruments.

FURTHER LISTENING:

Zemlinsky: Der Kreidekreis, Op. 21

Psalm 13, Op. 24 Symphonische Gesänge, Op. 20

Most musicians today describe the classical music field as a pretty small world, in that many performers grew up attending the same summer conservatories. The longer they study, the more likely they are to be connected to other performers by a teacher, colleague, or mutual friend.

The same was true back in the 19th century, particularly in the field of composition. Take Alexander von Zemlinsky, born in Vienna to a proud father who added the “von” even though the family wasn’t of noble blood. Zemlinsky studied with the composers Bruckner and Fuchs and developed a friendly relationship with Johannes Brahms. The composer Arnold Schoenberg married Zemlinsky’ sister. Zemlinsky romantically pursued his composition student Alma Schindler for a time before she broke off the courtship to marry the composer Gustav Mahler, in part because Zemlinsky was “dreadfully ugly, almost chinless,” according to Alma.

Personal troubles aside, Zemlinsky wrote his Sinfonietta as a commercial endeavor. In the 1930s he was battling his publisher, Boosey & Hawkes, arguing that more needed to be done to promote his compositions. The publisher argued back that much of Zemlinsky’s music called for soloists and was therefore more expensive to program in concerts. “Would you not care to write an orchestral work, short and practical in its requirements, hence also easier to promote?” needled Hans Heinsheimer, then head of the company.

In response, Zemlinsky drafted the Sinfonietta, described by the composer Alban Berg, as “a work of colorful sonority and vivid clarity.” The first movement begins with plucked strings and a whirl of woodwinds. The music here is jagged, with lots of changes of time and key and pauses and extended notes and chords. It represents a shift in style away from Zemlinsky’s earlier Romantic works toward a more modernist Neoclassical style. There’s something dark and portentous in the first movement, a lively struggle between fierce activity and languor.

The slower second movement is a pensive study with similar characteristics, though more solos in the various sections of the orchestra. A lively, sarcastic trumpet tune leads off the third movement, which tumbles forth energetically. As in the previous movements, there are consistent changes in meter and key, but the madcap energy pervades throughout most of the movement.

PROGRAM NOTES : RICHARD STRAUSS

by Jeremy Reynolds

EIN ALPENSINFONIE, Op. 64 (AN ALPINE SYMPHONY)

DURATION: About 52 minutes

PREMIERED: Berlin, 1915

INSTRUMENTATION: Four flutes and piccolos, three oboes and English horn, heckelphone, clarinets and E-flat clarinet and bass clarinet and contrabass clarinet, four bassoons and contrabassoon, sixteen horns, four trumpets, four trombones, two tubas, two sets of timpani, assorted percussion, wind machine, two harps, celesta, organ, and strings

“I shall call my alpine symphony: Der Antichrist, since it represents: moral purification through one’s own strength, liberation through work, worship of eternal, magnificent nature.”

— Richard Strauss (Born 1864, Bavaria; died 1949)

TONE POEM: A piece of orchestral music, typically one movement, based on an idea or story.

FURTHER LISTENING:

Strauss: Symphonia Domestica, Op. 53

Ein Heldenleben (A Hero’s Life), Op. 40

Don Quixote, Op. 35 Also sprach Zarathustra, Op. 30

The death of a close friend can be a traumatic experience. When Richard Strauss, that German font of famous tone poems and operas, learned of the death of his dear friend and fellow composer Gustav Mahler in 1911, he fell at once into a state of deep introspection. Strauss began working on a great project, processing Mahler’s passing in the best way he knew how: composing. The music he penned in response to his friend’s death music would become An Alpine Symphony, a musical documentation of a 24-hour trek up and down one of the Alps, capturing the sensations of sunrise, nightfall and more in lush orchestral writing.

As much as Strauss respected Mahler’s music, he was puzzled by the latter’s Catholicism. A casual atheist from his teen years on, Strauss originally conceived Alpine as a two-part work. The first part was to be titled The Anti-Christ after a book by Nietzche castigating Christianity’s sympathetic values. The second part, An Alpine Symphony, was an idea Strauss had been toying with for more than a decade. Mahler’s death completed the work’s long gestation period, and it flowed quickly from Strauss’ pen in the subsequent months and years. (“You see, I have finally learned how to orchestrate. I wanted to compose, for once, as a cow gives milk,” he wrote at the time.) Strauss finished the work in 1915, ultimately deciding to abandon the first half after the shock of Mahler’s death had passed.

Scholars have traced the original inspiration for the work to one of Strauss’ teenaged diary entries: “Recently we made a great hiking party to the top of the Heimgarten, on which day we walked for twelve hours... The hike was interesting, unusual, and original in the highest degree.” The piece lasts about 50 minutes and is in 22 parts, most lasting only a minute or two Unlike the more abstract symphonies of other composers, Strauss here uses all manner of sounds and combinations of instruments in ascending and descending figures to suggest specific programmatic elements of the individual movement titles, listed below:

1. Night

2. Sunrise

3. The Ascent

4. Entry into the Forest

5. Wandering by the Brook

6. At the Waterfall

7. Apparition

8. On Flowering Meadows

9. On the Alpine Pasture

10. Through Thickets and Undergrowth on the Wrong Path

11. On the Glacier

12. Dangerous Moments

13. On the Summit

14. Vision

15. Mists Rise

16. The Sun Gradually Becomes Obscured

17. Elegy

18. Calm Before the Storm

19. Thunderstorm and Tempest; Descent

20. Sunset

21. Quiet Settles

22: Night

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Officers

Board of Directors

Mercedes T. Bass

Chairman of the Board

Marianne Auld

Chairman of the Executive Committee

Lee Hallman

Secretary

Don C. Plattsmier

Interim Treasurer

Keith Cerny, Ph.D.

President and CEO

Board of Directors

Marianne Auld+

Amy Roach Bailey

Mercedes T. Bass+

Dr. Rebecca Beasley

Connie Beck+

Ashli Blumenfeld

Anne Marie Bratton+

J. Brooks+

John Broude

Karen Burchfield+

Anne Carvalho

Ervin Cash

Dr. Joseph Cecere

Brenda Cline

Dr. Mary Costas

Barbara Cox

Dr. Benge Daniel

Mitzi Davis

Dr. Asad Dean+

Dr. Tom Deas

Dr. Jeffrey G. Detweiler

Willa Dunleavy

Brandon Elms

Dr. Jennifer Freeman+

Charlotte French

Aubrey Gideon

Pamela Gilchrist

Gail Aronoff Granek

Lee Hallman+

Aaron Howard+

Kim Johnson

Robert Karl

Dee J. Kelly, Jr.+

Kelly Lancarte

Mollie Lasater+

Nico Leone

Mary Hart Lipscomb

Misty Locke

Kate Lummis

Louella Martin+

Priscilla Martin

Dr. Stuart D. McDonald

Ellen Messman

Justin Newton

Don C. Plattsmier+

Dana Porter+

Don Reid

Jean Roach+

Henry Robinson+

Jude Ryan

Leonard Ryan

Alann B. Sampson+

Jeff Schmeltekopf

Dr. Russ Schultz

Whit Smith

Clare Stonesifer+

Rebecca Stupfel

Jonathan T. Suder+

Carla Thompson+

Dr. Amy Tully

John Wells+

Dr. James Williams

J.W. Wilson+

+ Executive Committee Member * Denotes Deceased

Emeritus Council

Marvin E. Blum

Dr. Victor J. Boschini, Jr.

Gail Cooke

Juana-Rosa Daniell

Joseph DeWoody

Vance A. Duffy

Katie Farmer

Joan Friedman

Tera Garvey

John B. Giordano

Barry L. Green

Genie Guynn

Kathleen Hicks

Robert L. Jameson

Teresa King

Michelle Marlow

Colin McConnell

Dr. Till Meyn

Erin Moseley*

Frasher H. Pergande

Kal Silverberg

Thomas “Tommy” L. Smith

Dwayne Smith

Kathleen B. Stevens

Ronda Jones Stucker

Lon Werner

Chairman Emeriti

William P. Hallman, Jr.*

Adele Hart*

Ed Schollmaier*

Frank H. Sherwood*

Life Trustee

Rosalyn G. Rosenthal*

Rae and Ed Schollmaier*

President Emerita

Ann Koonsman*

CHAIRMAN CIRCLE SUPPORTERS

The Fort Worth Symphony Orchestra extends its deepest gratitude to our Board Chairman, Mercedes T. Bass and our generous donors who have made extraordinary, multi-year commitments in support of the FWSO’s sustainability and continued artistic excellence.

$5,000,000

Mercedes T. Bass

$1,000,000+

Marsha and John Kleinheinz

Shay McCulloch-Wells and John Wells

$250,000+

Mr. & Mrs. J. Luther King, Jr. / Luther King Capital Management

$150,000+

Mark and Katsura Cerny

$100,000+

Medea and Jonathan Suder

If you are interested in learning more about multi-year committments, please reach out to Meagan Hemenway at mhemenway@fwsymphony.org.

Supporters of the FWSO

The Fort Worth Symphony Orchestra expresses its deepest gratitude to the generous individual, institutional, endowment, and legacy supporters of the FWSO, a world-class orchestra and cultural pillar of Fort Worth.

Individual Giving

Chairman’s Level

$500,000 and above

Mrs. Mercedes T. Bass

Maestro’s Level

$250,000- $499,999

Mr. & Mrs. J. Luther King, Jr. / Luther King

Capital Management

Mr. and Mrs. John Kleinheinz

John Wells & Shay McCulloch-Wells

Principal Guest Conductor’s Level

$150,000- $249,999

In memory of Marie A. Moore

Associate Conductor’s Level

$100,000- $149,999

Mr.* and Mrs. Clive D. Bode

Anonymous

Priscilla & Joe* Martin

Concertmaster’s Level

$50,000-99,999

Ms. Marianne M. Auld and Mr. Jimmy Coury

Connie Beck & Frank Tilley

Mr. & Mrs. William S. Davis; Davoil, Inc.

Aaron Howard & Corrie Hood-Howard

Mollie & Garland Lasater at the NTCF Fund

Mrs. Louella Martin

Dana & David Porter

Alann Bedford Sampson

Principal’s Level

$25,000- $49,999

Connie Beck & Frank Tilley

Annette & Jerry* Blaschke

Mr. & Mrs. Douglas K. Bratton

Dr. Joseph and Neva Cecere

H. Paul Dorman

Mr. & Mrs. Ronald Koonsman

Mrs. Louella Martin

Nancy & Don Plattsmier

Dana & David Porter

Jonathan and Medea Suder; MJR Foundation

Artist’s Level

$10,000- $24,999

Carol Margaret Allen

For the full donor listing, please visit fwsymphony.org/support/donor-listing

As of July 26, 2023 to July 26, 2024.

* Denotes deceased

30 | 2024/2025 SEASON

Megan & Victor Boschini

Greg & Pam Braak

James Brooks

John Broude & Judy Rosenblum

Sue & John Allen Chalk, Sr.

Brenda & Chad Cline

Mr. John & Dr. Mary Costas, in honor of their grandchildren

Barbara A. & Ralph F. Cox

Dr. & Mrs. Atlee Cunningham, Jr.

Drs. Jeff & Rosemary Detweiler

Mr. Brandon Elms

Mr. & Mrs. Ben J. Fortson, Jr.

Dr. Jennifer Freeman

Tera & Richard Garvey

George & Jeanne Jaggers Charitable Trust

Stephen & Pamela Gilchrist

Gail Aronoff Granek

Gary & Judy Havener

Matthew & Kimberly Johnson

Dee Kelly Foundation

Deborah Mashburn & David Boddie

Ellen F. Messman

Berlene T. & Jarrell R. Milburn

Nesha & George Morey

Estate of Virginia & James O’Donnell

Mrs. Susan S. Pratt

Don & Melissa Reid

The Roach Foundation

C. Edwards* & R. Schroeder

Ms. Patricia A. Steffen

Tim and Clare Stonesifer

Mr. Gerald E. Thiel

Mr. & Mrs. Kelly R. Thompson

Charles White

Dr. James C. Williams

Mr. & Mrs. J.W. Wilson

Benefactor

$5,000- $9,999

Mr. & Mrs. Tull Bailey

Drs. Becky Beasley & Roger Gates

Ellen & Larry Bell

Ashli & Todd Blumenfeld

Judge Tim & Celia Boswell

Debbie Brooks; DFW Musicians

Services LLC

Mr. & Mrs. Michael Burchfield

Mary Cauble

Dr. & Mrs. Lincoln Chin

Mrs. Jeanne Cochran

Dean & Emily Crocker

Dr. Ron* & Juana-Rosa Daniell

Althea L. Duersten

Doug & Carol English

Aubrey Gideon

Gary Glaser and Christine Miller

Susan & Tommy Green

Carolyn & Randall Hudson

Mr. and Mrs. Jacob M. Huffman III

Ms. Nina C. Hutton

Mr. Maynard K. Johnson

Tim & Misty Locke

Katherine Lummis

Marguerite Bridges Charitable Trust

Dr. & Mrs. Stuart D. McDonald

Anonymous

Mr. & Mrs. Richard W. Moncrief

Stephen & Brenda Neuse

Mr. Justin E. Newton

Mr. & Mrs. Omas Peterson

Mr. & Mrs. Thomas B. Reynolds

Dr. Deborah Rhea & Ms. Carol Bollinger

Rosemary Riney

Jeff & Judy Schmeltekopf

Dr. & Mrs. Russ A. Schultz

Schwab Charitable

Kal & Karen Silverberg

Symphony League of Fort Worth

Dr. Richard Turner

Anonymous

Contributor

$3,000- $4,999

William & Kathryn Adams

Mr. Bill Bond

Linda Brookshire

Frances Jean Browning

Honorable H.D. Clark III and Mrs. Peggy

Sue Branch-Clark

For the full donor listing, please visit fwsymphony.org/support/donor-listing

As of July 26, 2023 to July 26, 2024.

* Denotes deceased

Gary Cole

Angela L. Evans

Mr. & Mrs. Kirk French

Ms. Clara Gamache

Dr. & Mrs. William H. Gibson

Anonymous

John W. Goodwin

Steve* & Jean Hadley

Dr. Christy L. Hanson

Richard Hubbard, M.D.

Gordon & Aileen Kanan

Ms. Trina Krausse

Mr. Nico Leone

Art & Cheryl Litke

L. Lumley

John & Anita O’Carroll

Jeanne O’Connor

Paul & Mary Kay Park

Mary Pencis

Ms. Jane Rector

Jude & Terry Ryan

Punch Shaw & Julie Hedden

Emmet G. & Judith O. Smith

Susan & James Smith

Dr. Mary Alice Stanford & Mr. Don Jones

Jim & Judy Summersgill

David Turpin

Dave & Julie Wende

Laurie & Lon Werner

Arthur & Carolyn Wright

Sustainer

$2,000- $2,999

Mr. & Mrs. David R. Atnip

Edwin Augustat, MD

Mary Frances & George Barlow Charitable Fund at the NTCF

Mr. Kenneth Blasingame

Lowell & Kathryn Bryan

Henry & Diana Burks

Mr. and Mrs. Orlando Carvahlo

Daniel & Soraya Caulkins

Dr. & Mrs. Martin F. Conroy

Mr. and Mrs. Laurence Cooke

Susan Jackson Davis

Dawn Ellison

Dotty & Gary Hall

Ms. Lee Hallman

James & Mary Ann Harris

Michelle & Reagan Horton

Mr. & Mrs. Robert L. Jameson

In memory of Laura Elizabeth Bruton

Dr. & Mrs. James D. Maberry

Gregory L. McCoy

McCraw Family Charitable Fund

Shannon McGovern

Cecile Montgomery Charitable Account

Mr. & Mrs. David B. Morrow

Frasher H. & John F. Pergande

Lynne B. Prater

Bill Proenza

Barbara Roels

Tzu-Ying & Michael Shih in tribute of Mr. & Mrs. William S. Davis

Anne & Danny Simpson

Marilyn Wiley & Terry Skantz

Mary C. Smith; Clark Educational Services

Sallie & Joseph Tarride

Hon. & Mrs. Chris Taylor

Jerry & James Taylor

Mr. William Taylor

Dr. Stuart N. Thomas and Bonnie Janzen

John* & Camille Thomason

Anonymous

Rhonda McNallen Venne

Gene Walker and Marianna Smith

Suzy Williams & John Williams

Stuart Yarus & Judith Williams

For the full donor listing, please visit fwsymphony.org/support/donor-listing

As of July 26, 2023 to July 26, 2024.

* Denotes deceased

32 | 2024/2025 SEASON

Institutional Giving

$500,000 and above

Mr. and Mrs. John Kleinheinz

Sid W. Richardson Foundation

$150,000- $499,999

Amon G. Carter Foundation

Mary Potishman Lard Trust

$50,000- $149,999

Adeline & George McQueen Foundation

Ann L. & Carol Green Rhodes Charitable Trust

Anonymous

Arts Fort Worth

Crystelle Waggoner Charitable Trust

Leo Potishman Foundation

Piranesi

Qurumbli Foundation

William E. Scott Foundation

$25,000- $49,999

The Frill Foundation

Gilchrist Automotive

Neiman Marcus Fort Worth

$10,000- $24,999

BNSF Railway

Carl B. & Florence E. King Foundation City Club Fort Worth

North Texas Giving Day Fund of the Communities Foundation of Texas

FWSO Players Assembly

Garvey Texas Foundation

Helene Bare & W. Glenn Embry Charitable Trust

McCallum Family Foundation

The Roach Foundation

The Thomas M., Helen McKee & John P. Ryan Foundation

$5,000- $9,999

Alcon

Atmos Energy

Ben E. Keith Beverages

Hillwood, A Perot Company

Kimbell Art Foundation

McCallum Family Foundation

Frances C. & William P. Smallwood Foundation

Worthington Renaissance Hotel

Fort Worth

$2,000- $4,999

Dubose Family Foundation

Johnson Controls Foundation

Once Upon A Time...

Harris Franklin Pearson Private Foundation

Robert D. & Catherine R. Alexander Foundation

As of July 26, 2023 to July 26, 2024. For the full donor listing, please visit fwsymphony.org/support/donor-listing

Endowment Giving

$5,000,000 and above

Mrs. Mercedes T. Bass

Mr.* and Mrs.* Perry R. Bass

Mr. Sid R. Bass

$1,000,000- $4,999,999

Lee and Ramona Bass Foundation

Sasha and Edward P. Bass

The Burnett Foundation

Garvey Texas Foundation

Kimbell Art Foundation

Elizabeth H. Ledyard

Rosalyn Rosenthal*

Rae* & Ed* Schollmaier; Schollmaier Foundation

$500,000- $999,999

Mr. & Mrs. John B. Kleinheinz

Mollie & Garland Lasater at the NTCF Fund

The Thomas M., Helen McKee & John P.

Ryan Foundation

T.J. Brown & C.A. Lupton Foundation

$250,000- $499,999

BNSF Railway

Estate of Dorothy Rhea

Qurumbli Foundation

Mr. & Mrs. Mark L. Hart III

Drs. Jeff & Rosemary Detweiler

$100,000- $249,999

Alcon

American Airlines

Amon G. Carter Foundation

Althea L. Duersten

Estate of Peggy L. Rayzor

Mr. & Mrs. Ben J. Fortson, Jr.

* Denotes deceased

34 | 2024/2025 SEASON

Mr.* & Mrs. Dee J. Kelly, Sr.

Mr. & Mrs. J. Luther King, Jr. / Luther King

Capital Management

John Marion

J.P. Morgan Charitable Giving Fund

The Roach Foundation

Anna Belle P. Thomas

$50,000- $99,999

Michael and Nancy Barrington

Van Cliburn*

Mrs. Gunhild Corbett

Mrs. Edward R. Hudson, Jr.

Mr. & Mrs.* Ronald Koonsman

Scurlock Foundation

Symphony League of Fort Worth

$25,000- $49,999

Mr. & Mrs. Jack S. Blanton Jr.

Estate of Linda Reimers Mixson

Michael Boyd Milligan*

Garvey Texas Foundation

Colleen* and Preston Geren

Mrs. Adele Hart

Mr. and Mrs. Craig Kelly

Dee Kelly Foundation

Mr. and Mrs. Robert D. Krebs

Mr. Eddie M. Lesok

Mr. & Mrs. Duer Wagner Jr.

Laurie and Lon Werner

$10,000- $24,999

Mr.* and Mrs.* William L. Adams

Mr. & Mrs. Malcolm K. Brachman

Mr. & Mrs. Douglas K. Bratton

Mr. Carroll W. Collins*

Mary Ann and Robert Cotham

Mr. and Mrs. Norwood P. Dixon*

Elizabeth L. and Russell F. Hallberg Foundation

Estate of Ernest Allen, Jr.

Fifth Avenue Foundation

Mrs. Dora Lee Langdon

Carol V. Lukert

Mr. & Mrs. Richard W. Moncrief

Stephen & Brenda Neuse

Peggy L. Rayzor

Mr. & Mrs. Thomas B. Reynolds

William E. Scott Foundation

Mr. and Mrs. Thomas M. Taylor

Donna* & Bryan Whitworth

William S. Davis Family Foundation

$5,000- $9,999

Mrs. Charles Anton*

Ms. Lou Ann Blaylock

Sue & John Allen Chalk, Sr.

Anonymous

Nelson & Enid Cleary

* Denotes deceased

Barbara A. & Ralph F. Cox

Estate of Witfield J. Collins

Francis M. Allen Trust

Mr. and Mrs. Scott Jeffrey Gerrish

Felice and Marvin Girouard

Mr. & Mrs. Ralph J. Green Jr.

Maritza Cáceres & Miguel Harth-Bedoya

Richard Hubbard, M.D.

JPMorgan Chase*

Mr.* and Mrs.* Robert E. Klabzuba

Priscilla & Joe Martin

Miss Louise McFarland*

Karen Rainwater Charitable Fund at the NTCF

Alann Bedford Sampson

Betty J. Sanders

Save Our Symphony Fort Worth

Jerry & James Taylor

The Musicians of the Fort Worth Symphony Orchestra

Mr. Gerald E. Thiel

John* & Frances Wasilchak Charitable Fund at the NTCF

Endowed Chairs and Programs

The Board of Directors extends sincere gratitude to the following donors who have demonstrated exceptional generosity and commitment to the FWSO by endowing the following chairs and programs.

Music Director Guest Conductors

Associate Conductor

Concertmaster

Associate

Concertmaster

Assistant Concertmaster

Assistant Principal 2nd Violin

Section 2nd Violin

Principal Cello

Assistant Principal Cello

Principal Bass

Principal Oboe

Principal Flute

Principal Clarinet

Assistant Principal Trumpet

Principal Bassoon

Principal Horn

Associate Principal Horn

Principal Trombone

Bass Trombone

Principal Percussion

Assistant Principal Percussion

Timpani

Harp

Keyboard

Great Performance Fund

Pops Performance Fund

Adventures in Music

* Denotes deceased

Symphonic Insight

Nancy Lee & Perry R. Bass* Chair

Mrs. Mercedes T. Bass Chair

Mr. Sid R. Bass Chair

Rae & Ed Schollmaier*/Schollmaier

Foundation Chair

Mrs. Mercedes T. Bass Chair

Mr. Sid R. Bass Chair

Ann Koonsman* Chair

Mollie & Garland Lasater Chair

Symphony League of Fort Worth Chair

Marie A. Moore* Chair

Mrs. Mercedes T. Bass Chair

Mr. Sid R. Bass Chair

BNSF Foundation Chair

Mr. & Mrs. Edward P. Bass Chair

Nancy L. & William P. Hallman, Jr. Chair

Shirley F. Garvey* Chair

Rosalyn G. Rosenthal* Chair

In Memory of Manny Rosenthal

Dorothy Rhea* Chair

Mr. & Mrs. Lee M. Bass Chair

Elizabeth H. Ledyard* Chair

Drs. Jeff and Rosemary Detweiler Chair

Mr. & Mrs. John Kleinheinz Chair

Mr. & Mrs. Lee M. Bass Chair

Shirley F. Garvey* Chair

Adele Hart* Chair

Madilyn Bass Chair

Bayard H. Friedman * Chair

Rildia Bee O’Bryan Cliburn & Van

Cliburn* Chair

Rosalyn G. Rosenthal* Chair

In Memory of Manny Rosenthal

The Burnett Foundation

The Ryan Foundation

Teresa & Luther King

Brooks Morris Society

Annette & Jerry* Blaschke

Dr. Lloyd W. Brooks

Mr. and Mrs. M. A. Cardona*

Barbara Clarkin

Mr. Carroll W. Collins*

Mr. and Mrs. Laurence Cooke

Juana-Rosa & Dr. Ron Daniell*

Estate of Anna Belle P. Thomas

Miss Dorothy Rhea*

Electra M. Carlin*

Estate of Ernest Allen, Jr.

F. Warren O’Reilly*

Hugh L. Watson*

Estate of Kathy B. Higgins

Estate of Linda Reimers Mixson

Lois Hoynck Jaggers*

Michael Boyd Milligan*

Mildred G. Walters*

Estate of Peggy L. Rayzor

Sylvia E. Wolens*

Whitfield J. Collins*

Tom Gay

Gwen M. Genius

George & Jeanne Jaggers Charitable Trust

Mrs. Charlotte M. Gore

Gail Aronoff Granek

Helene Bare & W. Glenn Embry Charitable Trust

Qurumbli Foundation

Hank and Shawn Henning

Mr. Eric F. Hyden*

* Denotes deceased

Kathleen E. Connors Trust

Mr. & Mrs. Ronald Koonsman

Lewis F. Kornfeld, Jr. Memorial Fund at the NTXCF

Mollie & Garland M. Lasater, Jr.

Elizabeth H. Ledyard

Carol V. Lukert

Marguerite Bridges Charitable Trust

Patty Cartwright Mays

Shannon McGovern

Dr. and Mrs. A. F. Murph

Linda Todd Murphy

Estate of Virginia & James O’Donnell

Harris Franklin Pearson Private Foundation

Peggy Meade-Cohen Crut Charitable Trust

Mr.* and Mrs. John V. Roach II

The Roach Foundation

Jude & Terry Ryan

Jeff & Judy Schmeltekopf

Mr. & Mrs. Grady Shropshire

Kathleen & Richard Stevens

Mr. Gerald E. Thiel

The Walsh Foundation

Peter G. Warren

John* & Frances Wasilchak Charitable Fund at the NTCF

John Wells & Shay McCulloch-Wells

Lynn Wilson

A City Club Social Membership provides access to dining in our restaurants and member event privileges including Wine Tastings, Holiday Brunches and many other Club events. You will have the ability to reserve private rooms for business and social functions.

Social Memberships for $102 per month

FWSO Season Ticket Holders receive a discounted enrollment fee

For more information, contact Matt Burrell, City Club Membership Director at 817.878.4000 or mburrell@cityclubfw.com.

The elegance continues at Omni Fort Worth Hotel. Take in the sweeping downtown views from our inviting, western-inspired accommodations, and enjoy clever cocktails, prime aged steaks, and live music at our on-site restaurants.