FWSO November 2022

FWSO

program book

November 2022

Wagner Highlights Nov. 18–20

Home for the Holidays Nov. 25–27

YOUR SUCCESS . OUR TRADITION. Stephenville | Fort Worth | Waco | Midlothian | Texas A&M-RELLIS | Online

Scholarships available.

tarleton.edu

Arts Center 22-23

Experience a Season to Remember!

505 TRAVIS STREET, COPPELL, TX, 75019

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September 18, 2022–January 29, 2023

This exhibition is organized by the Kimbell Art Museum.

The Kimbell Art Museum is supported in part by Arts Fort Worth, the Texas Commission on the Arts, and the National Endowment for the Arts. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Bartolomé Esteban Murillo, Two Women at a Window, c. 1655–60, oil on canvas. National Gallery of Art, Washington, Widener Collection, 1942.9.46

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ROBERT SPANO, MUSIC DIRECTOR KEVIN JOHN EDUSEI, PR INCIPAL GUEST CONDUCTOR KEITH CERNY, Ph.D., PRESIDENT AND CEO Keith Cerny, Ph.D., President and CEO

FWSO STAFF

CONTENTS 2 3 4 5 6 7

Letter from the Chairman Letter from the President & CEO About Robert Spano About Kevin John Edusei About Taichi Fukumura Fort Worth Symphony Orchestra Roster

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Program 1: Wagner Highlights Artist Profiles: Christine Brewer

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Program 2: Home for the Holidays Artist Profiles: Stuart Chafetz N’Kenge The Lone Star Youth Chorus of Fort Worth

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Board of Directors

EXECUTIVE OFFICE Keith Cerny, Ph.D. President and CEO Juanita Delgado Executive Assistant ARTISTIC OPERATIONS John Clapp Vice President of Operations Matthew Glover Director of Operations Gillian Boley Artistic Services Coordinator Joseph Dubas Interim Orchestra Personnel Manager Christopher Hawn Orchestra Librarian David Sterrett Assistant Orchestra Librarian Branson White Production Stage Manager Wilson Armstrong Assistant Stage Manager DEVELOPMENT Meagan Hemenway Vice President of Development Courtney Mayden Grants Manager Malia Nelson Development Associate Veronika Perez Development Coordinator FINANCE Bennett Cepak Vice President of Finance and Chief Financial Officer Lucas Baldwin Staff Accountant James Gonzalez Controller HUMAN RESOURCES Jacque Carpenter Vice President of Human Resources MARKETING Carrie Ellen Adamian Chief Marketing Officer Melanie Boma Tessitura Database Manager Jacob Clodfelter Box Office Associate Laura Corley Box Office Associate Katie Kelly Senior Communications and Digital Marketing Manager Josselin Garibo Pendleton Education & Community Programs Senior Manager Sydney Palomo Box Office Associate Paul Taylor Box Office Associate Amelia Webber Director of Ticketing and Customer Services

FORT WORTH SYMPHONY ORCHESTRA | 1

LETTER FROM THE CHAIRMAN MERCEDES T. BASS Dear Friends, Thank you for joining us for the inaugural season with new Music Director Robert Spano and Principal Guest Conductor Kevin John Edusei. The 2022/2023 season has many highlights which you will not want to miss. In addition to an exhilarating Symphonic and Pops lineup, we are pleased to announce that the internationally celebrated cellist Yo-Yo Ma will be the star for the FWSO Gala on February 25, 2023. Mark your calendar and reserve your concert tickets now for this one-night-only event. More information on dinner sponsorships will be released later in the fall.

As you may know, the Fort Worth Symphony Orchestra is a vital resource of music education for Fort Worth and North Texas. Our education programs offer free community concerts that enrich the minds of more than 60,000 students and their families across the region. With your support, we pledge to continue to fulfill our mission to foster early interest in and inspire lifelong enjoyment of music.

The Board of Directors and I thank our donors, patrons, and volunteers for your continued loyalty, enthusiasm, and encouragement. The FWSO continues to be an essential thread in the city’s cultural fabric, and I am thrilled you are playing your part and joining us for today’s performance.

With much appreciation and gratitude,

Mercedes T. Bass Chairman of the Board of Directors

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LETTER FROM PRESIDENT AND CEO KEITH CERNY We are delighted to welcome you back to Bass Performance Hall for our landmark 2022-2023 season!

This is an especially important year for the FWSO, as Robert Spano officially begins his tenure as Music Director. In February, we welcome our new Principal Guest Conductor Kevin John Edusei with the first of two special concerts. I cannot imagine two more gifted conductors leading this magnificent orchestra, who both possess the artistic vision and broad experience to take the FWSO to new heights.

For the 2022-2023 Symphonic season, Maestro Spano and I worked intensively to create a season that we know you will find musically inspiring and enjoyable.

This season breaks ground in several new ways, as we advance the new artistic vision incorporating more theatrical and visual experiences, and expand our artistic collaborations. The season includes world premieres by Douglas J. Cuomo and Brian Nabors, and artistic collaborations with Texas Ballet Theater and the acclaimed Miami-based vocal ensemble Seraphic Fire.

We are featuring four of our exceptional musicians as soloists with the orchestra this season, including our beloved Concertmaster Michael Shih, and launch our three-year sequence of works by Richard Wagner with a guest appearance by Soprano Christine Brewer. Along the way, we will feature extraordinary guest artists and conductors, including the renowned conductor Dame Jane Glover, the incomparable violinist Gil Shaham, versatile projection designer Elaine J. McCarthy, and many others. Headlining our gala will be one of the finest artists performing today, cellist Yo-Yo Ma, in a program conducted by Maestro Spano.

The lineup is just as exciting on the Pops Series, with guest performances by such gifted artists as Byron Stripling and Pink Martini. We will ring in the New Year with an ABBA tribute, and present the FWSO’s first-ever Star Wars film in concert, conducted by our Music Director Laureate Miguel Harth-Bedoya. We will also present the second year of our Chamber Music series at the Kimbell Art Museum, featuring Maestro Spano and members of our orchestra.

Please join us for a memorable year at the FWSO, including these and many more special projects. We look forward to seeing you!

Yours sincerely,

Keith Cerny, Ph.D. President and CEO

FORT WORTH SYMPHONY ORCHESTRA | 3

ABOUT ROBERT SPANO

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.

After twenty seasons as Music Director, he will continue his association with the Atlanta Symphony Orchestra as Music Director Laureate. 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. Principal Guest Conductor of the Fort Worth Symphony Orchestra since 2019, Spano became Music Director Designate on April 1, 2021, and begins an initial three-year term as Music Director in August 2022. He is the tenth Music Director in the orchestra’s history, which was founded in 1912.

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Spano leads the Fort Worth Symphony in six symphonic programs, three chamber music programs, and a gala concert with Yo-Yo Ma, in addition to overseeing the orchestra and music staff and shaping the artistic direction of the orchestra and driving its continued growth. Additional engagements in the 2022-23 season include a return to Houston Grand Opera to conduct Werther.

Maestro Spano made his highlyacclaimed Metropolitan Opera debut in 2019, leading the US premiere of Marnie, the second opera by American composer Nico Muhly. Recent concert highlights have included several world premiere performances, including Voy a Dormir

by Bryce Dessner at Carnegie Hall with the Orchestra of St. Luke’s and mezzosoprano Kelley O’Connor; George Tsontakis’s Violin Concerto No. 3 with the Dallas Symphony Orchestra; Dimitrios Skyllas’s Kyrie eleison with the BBC Symphony Orchestra; the Tuba Concerto

by Jennifer Higdon, performed by Craig Knox and the Pittsburgh Symphony; Melodia, For Piano and Orchestra, by Canadian composer Matthew Ricketts at the Aspen Music Festival; and Miserere,

by ASO bassist Michael Kurth.

The Atlanta School of Composers reflects Spano’s commitment to American contemporary music. He has led ASO performances at Carnegie Hall, Lincoln Center, and the Ravinia, Ojai, and Savannah Music Festivals.

Guest engagements have included the Cleveland, Philadelphia, and Minnesota Orchestras, New York and Los Angeles Philharmonics, and the San Francisco, Boston, Chicago, Dallas, Houston, New World, San Diego, Oregon, Utah, and Kansas City Symphonies. His opera performances include Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera, and the 2005 and 2009 Seattle Opera productions of Wagner’s Ring cycles.

Continued On Page 6

German conductor Kevin John Edusei is praised repeatedly for the drama and tension that he brings to his music-making, for his clear sense of architecture and attention to detail.

A commanding, suave and elegant figure on the podium, he has conducted widely across Europe, dividing his time equally between the concert hall and opera house. Edusei 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 2021/22 Edusei will make many debuts - in North America these include the Dallas, Baltimore, Forth Worth, Indianapolis Symphony and Minnesota orchestras and at Alice Tully Hall (New York City) with the Juilliard Orchestra; in Europe debuts include the Royal Philharmonic, City of Birmingham Symphony, Royal Liverpool Philharmonic orchestras and Essen Philharmonic amongst others. The 21/22 season will also mark Edusei’s eighth and final season as Chief Conductor of the Munich Symphony Orchestra and following his debut with the Fort Worth Symphony in September 2021, Edusei takes up the position of Principal Guest Conductor with them from the 22/23 season.

ABOUT KEVIN JOHN EDUSEI

Orchestra, Royal Scottish National Symphony, BBC Scottish Symphony, Deutsche Symphony Orchestra Berlin, Rotterdam Philharmonic, Netherlands Radio Philharmonic and the Chineke! Orchestra at the BBC Proms and Royal Festival Hall.

In 2019 Edusei concluded his tenure as Chief Conductor of Bern Opera House, where he led many new productions.

Highlights from past seasons include performances with the London Symphony

ABOUT CHAD R. JUNG

As resident designer for Fort Worth Opera, Chad has designed numerous operas over the past 20 years, including the World Premiere of JFK. Opera credits include designs in Atlanta, Austin, Dallas, Milwaukee, Palm Beach, San Antonio, Seattle, Tampa, and internationally for Opéra de Montréal, and Opera Australia at the iconic Sydney Opera House.

Jung has collaborated on a variety of unique projects with: Ballet Austin, Bruce Wood, Casa Mañana, Dallas Museum of Art, Fort Worth Symphony Orchestra, Texas Ballet Theatre, Tony Tucci and Washington Ballet at the Kennedy Center.

Chad R. Jung is a native of Fort Worth who specializes in design for Theatre, Opera, Music, and Dance. Previous design for FWSO include: Steve Reich’s Different Trains, A Soldier’s Tale, and Die Zauberflöte.

Locally, Jung is a founding member of Amphibian Stage and the Resident Designer for Kids Who Care Inc, where he is devoted to mentoring the next generation of artists and helping to change the world, one kid at a time. www.chadrjungdesign.com

FORT WORTH SYMPHONY ORCHESTRA | 5

ABOUT TAICHI FUKUMURA

Mei-Ann Chen as a Freeman Conducting Fellow.

Past engagements include guest conducting in the Boston Symphony’s Community Chamber Concerts, leading members of the BSO in Stravinsky’s L’Histoire du Soldat. Fukumura assisted the Pittsburgh Symphony Orchestra and Chicago Philharmonic as cover conductor. Equally adept in opera conducting, he has led full productions of Britten’s Turn of the Screw and Mozart’s Don Giovanni at the Northwestern University Opera Theatre.

Taichi Fukumura is a rising JapaneseAmerican conductor known for his dynamic stage presence, resulting in a growing international career. Acclaimed for his musical finesse and passionate interpretations, he is praised by musicians and audiences alike across the United States, Mexico, Germany, France, Italy, Spain, Bulgaria, Hong Kong, and Japan. A two-time recipient of the Solti Foundation U.S. Career Assistance Award in 2021 and 2022, Fukumura is the newly appointed Assistant Conductor of the Fort Worth Symphony Orchestra for the 2022-2024 seasons.

Highlights from the 2021/22 season include guest conducting debuts with La Orquesta de Cámara de Bellas Artes in Mexico City and the Fort Worth Symphony Orchestra. Selected by the Berlin Philharmonic as one of 10 Assistant Conductor Candidates, Fukumura conducted in the Siemens Conductors Scholarship Competition. Fukumura served as the Assistant Conductor of the Chicago Sinfonietta, where he previously received mentorship from Music Director 6 | 2022/2023 SEASON

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 Doctoral and Masters degrees in orchestral conducting from Northwestern University, studying with Victor Yampolsky. Additional conducting studies include Aspen Music Festival Conducting Academy, Pierre Monteux School and Festival, Paris Conducting Workshop, and Hong Kong International Conducting Workshop.

ABOUT ROBERT SPANO Continued From Page 4 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. He makes his home in Atlanta and Fort Worth.

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 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 Izumi Lund Ke Mai Rosalyn Story Kimberly Torgul Albert Yamamoto

BASS William Clay, Principal Mr. & Mrs. Edward P. Bass Chair Paul Unger, Assistant Principal Jeffery Hall Julie Vinsant

VIOLIN II Adriana Voirin DeCosta, Principal Steven Li, Associate Principal Janine Geisel, Assistant Principal Symphony League of Fort Worth Chair Molly Baer Tatyana Smith Matt Milewski Sue Jacobson° Kathryn Perry Andrea Tullis Camilla Wojciechowska

OBOE Jennifer Corning Lucio, Principal Nancy L. & William P. Hallman, Jr., Chair Tamer Edlebi, Assistant Principal Tim Daniels

VIOLA DJ Cheek, Principal Linda Numagami, 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 Emileigh Vandiver, Associate Principal Keira Fullerton, Assistant Principal Burlington Northern Santa Fe Foundation Chair John Belk Deborah Brooks Shelley Jessup Jenny Kwak

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 Pam Holland Adams

PICCOLO Pam Holland Adams

ENGLISH HORN Tim Daniels CLARINET Stanislav Chernyshev, Principal Rosalyn G. Rosenthal Chair* Ivan Petruzziello, Assistant Principal Gary Whitman E-FLAT CLARINET Ivan Petruzziello BASS CLARINET Gary Whitman

TRUMPET Kyle Sherman, Principal Cody McClarty, Assistant Principal Dorothy Rhea Chair Oscar Garcia TROMBONE Joseph Dubas, Principal Mr. & Mrs. John Kleinheinz Chair Steve Peterson, Principal° John Michael Hayes, Assistant Principal Dennis Bubert BASS TROMBONE Dennis Bubert Mr. & Mrs. Lee M. Bass Chair TUBA Edward Jones, Principal TIMPANI Seth McConnell, Principal Madilyn Bass Chair Nicholas Sakakeeny, Assistant Principal PERCUSSION Keith Williams, Principal Shirley F. Garvey Chair Nicholas Sakakeeny, Assistant Principal Adele Hart Chair Deborah Mashburn Brad Wagner HARP Position vacant Bayard H. Friedman Chair KEYBOARD Shields-Collins Bray, Principal Rildia Bee O'Bryan Cliburn & Van Cliburn Chair

BASSOON Joshua Elmore, Principal Mr. & Mrs. Lee M. Bass Chair Cara Owens, Assistant Principal Samuel Watson

STAGE MANAGER Branson White

CONTRA BASSOON Samuel Watson

ORCHESTRA LIBRARIANS Christopher Hawn David Sterrett

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

ORCHESTRA PERSONNEL MANAGER Joseph Dubas

*In Memory of Manny Rosenthal °2022/2023 Season Only + Denotes Deceased The Concertmaster performs on the 1710 Davis Stradivarius violin.

The Associate Concertmaster performs on the 1685 Eugenie Stradivarius violin.

FORT WORTH SYMPHONY ORCHESTRA | 7

The Fort Worth Symphony Orchestra dedicates The Nov. 18–20 performances to

Mercedes T. Bass The Nov. 25–27 performances to

Neiman Marcus Fort Worth

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FORT WORTH SYMPHONY ORCHESTRA

ROBERT SPANO, MUSIC DIRECTOR KEVIN JOHN EDUSEI, PRINCIPAL GUEST CONDUCTOR KEITH CERNY, Ph.D., PRESIDENT AND CEO Friday, November 18, 2022, at 7:30 p.m.

Saturday, November 19, 2022, at 7:30 p.m.

Sunday, November 20, 2022, at 2:00 p.m.

Bass Performance Hall Fort Worth, TX Fort Worth Symphony Orchestra Robert Spano, Conductor Christine Brewer, Soprano Chad R. Jung Lighting and Projection Designer

WAGNER HIGHLIGHTS WAGNER

Prelude to Die Meistersinger von Nürnberg

WAGNER

Prelude and Liebestod from Tristan und Isolde Christine Brewer, Soprano Intermission

WAGNER

The Ride of the Valkyries from Die Walküre

WAGNER Forest Murmurs from Siegfried (orch. Wouter Hutschenruyter) WAGNER (adapt. Robert Spano)

Excerpts from Götterdämmerung Morning and Siegfried's Rhine Journey Siegfried's Death and Funeral Music Brünnhilde's Immolation Christine Brewer, Soprano

Video or audio recording of this performance is strictly prohibited.

Patrons arriving late will be seated during the first convenient pause.

Program and artists are subject to change.

FORT WORTH SYMPHONY ORCHESTRA | 9

PROGRAM NOTES : RICHARD WAGNER

by Jeremy Reynolds PRELUDE to DIE MEISTERSINGER von NÜRNBERG DURATION: About 10 minutes PREMIERED: Munich, 1868 INSTRUMENTATION: Two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, cymbals, triangle, timpani, harp and strings “In spite of all my indifference, I must confess that the ‘Assumption of the Virgin’ by Titian exercised a most sublime influence over me, so that, as soon as I realized its conception, my old powers revived within me, as though by a sudden flash of inspiration. …

“I determined at once on the composition of Die Meistersinger.”

— Richard Wagner (Born 1813, Germany; died 1883) PRELUDE: A typically brief musical composition that serves as an introduction to a larger musical work.

FURTHER LISTENING: Wagner: Tristan und Isolde Parsifal Lohengrin

Rehearsals for Wagner’s Die Meistersinger were so long that they caused a strike before the opera’s 1868 premiere.

Franz Strauss, a French horn player in the orchestra and father of famous composer Richard Strauss, called for the strike after a particularly egregious, five-hour rehearsal, bloated thanks to Wagner’s constant interjections and digressions. (Wagner was famously pompous. Among other things.)

Still, the opera, Wagner’s only comedic work, was an enormous success, though it was later tainted by association when the Nazis came to use it in propaganda messages.

The story takes place in Nuremberg in the 16th century and explores the tale of a talented but unrefined singer’s romance with a master singer’s daughter. The master singers, a historically middle-class group made up of members of the German guild for lyric poetry and art song and composition, were quite stuffy in their rules for musical composition. In his pursuit of his lady love, the young singer Walther challenges the masters’ preconceptions about song and their compositional systems.

It’s hard not to read a bit of Wagner into his protagonist Walther. Wagner saw himself as every bit the pivotal force in music history he turned out to be. He first began tinkering with the idea of an opera on the guild in 1845: “I had formed a particularly vivid picture of Hans Sachs and the mastersingers of Nuremberg,” Wagner wrote. “I was especially intrigued by the institution of the Marker and his function in rating master-songs ... I conceived during a walk a comic scene in which the popular artisan-poet, by hammering upon his cobbler’s last, gives the Marker, who is obliged by circumstances to sing in his presence, his come-uppance for previous pedantic misdeeds during official singing contests, by inflicting upon him a lesson of his own.”

The music of the Prelude is grand, ornate and pompous.

It calls back to earlier styles of composition through contrapuntal writing, or writing multiple melodic lines that harmonize together. Here, Wagner introduces many of the opera’s themes, including Walther’s contest-winning song and passages in the winds that sound like literal busywork for the guild’s students. It’s often performed alone as a concert work.

At the opera’s premiere by the Bavarian State Opera, Wagner, ever humble, stood to acknowledge his audience, shattering longstanding protocol that only the monarch could address an audience from a box seat.

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King Ludwig II of Bavaria let the moment pass.

PROGRAM NOTES : RICHARD WAGNER

by Jeremy Reynolds PRELUDE and LIEBESTOD from TRISTAN und ISOLDE DURATION: About 19 minutes PREMIERED: Munich, 1865 INSTRUMENTATION: Three flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, harp, and strings “Never in my life having enjoyed the true happiness of love I shall erect a memorial to this loveliest of all dreams in which, from the first to the last, love shall, for once, find utter repletion. I have devised in my mind a Tristan und Isolde, the simplest, yet most full-blooded musical conception imaginable, and with the ‘black flag’ that waves at the end I shall cover myself over – to die.”

— Richard Wagner (Born 1813, Germany; died 1883) TRISTAN CHORD: An unresolved chord consisting of an augmented fourth, sixth, and ninth interval above a bass note, that expresses characters’ ecstatic pain of unrequited love. (BBC Music Magazine) FURTHER LISTENING: Wagner: Tannhäuser Die Meistersinger von Nürnberg Parsifal

When Wagner’s Tristan und Isolde premiered, influential critic Hans von Bulow didn’t hold back, writing, “The Prelude to Tristan und Isolde reminds me of the old Italian painting of a martyr whose intestines are slowly unwound from his body on a reel.” Indeed, reception to the opera was decidedly mixed due to its progressive sense of harmony. To explain, classical music typically revolves around building up harmonic tension and then resolving it. Without digging too hard into the theory, this involves stringing together a series of “unstable,” dissonant chords that push toward a stable, consonant home — with dissonance and consonance meaning particular physical acoustical properties of sound.

No one was better at building toward and delaying that sense of resolution than Richard Wagner, who pushed conceptions about music and harmony toward stranger and stranger lands throughout the course of his career. The music of Tristan and Isolde is one of the best examples of his abandonment of traditional harmony, right from the first moments. The cellos enter with an ascending leap before falling back down, with the winds entering at the end of the phrase with a strange, “unstable” harmony that sounds and feels like it should resolve, but it doesn’t. This chord, the “Tristan chord,” has excited generations of music theorists, as instead of resolving it moves to another unstable harmony. This phrase repeats on different pitches several times, never providing that sense of resolution and release, until the melody takes off in earnest in the strings, a winding, sighing tune of unrequited passion that doesn’t fully resolve until the end of the piece.

The Prelude and Liebestod (Love-Death) pairs music from the opening of the opera and the final aria. To orient listeners, the composer himself explains the story of the opera here: Prelude: Taking on the role of suitor for his uncle, the king, Tristan brings to him Isolde. They love each other. From the most timid complaint of unquenchable longing, from the most delicate quivering, up through the most fearsome outburst confessing a hopeless love, the feeling here traces every phase of this hopeless struggle against inner passion‚ until, sinking back unconscious, that passion seems to be extinguished in death.

Concluding Movement: And yet, that fate has kept apart in life now lives on, transfigured, in death: the gates to their union are open. Isolde, dying atop Tristan’s body, perceives the blessed fulfillment of her burning desire: eternal union in measureless space, no bounds, no fetters, indivisible!

At the time of composition Wagner, whose wife was accusing him of unfaithfulness, had been swept up by the writings of the German philosopher Schopenhauer, who emphasized the value of music above other art forms. While opera had typically married music and text more equally, Wagner ran with these ideas by fronting the music in telling the stories of his operas thereafter, with Tristan und Isolde marking the first successful such work.

FORT WORTH SYMPHONY ORCHESTRA |11

PROGRAM NOTES : RICHARD WAGNER THE “RIDE of the VALKYRIES” from DIE WALKÜRE

by Jeremy Reynolds

DURATION: About 5 minutes

A towering personality and intellect, one of Wagner’s quirks was an insistence on having his works performed whole and unabridged. At times, this caused clashes with his publishing company, Schott — still very much active today — which had more interest in making money than protecting the artistic integrity of the whole.

PREMIERED: Munich, 1870 INSTRUMENTATION: Two flutes and piccolo, two oboes and English horn, three clarinets and bass clarinet, three bassoons, six horns, three trumpets, three trombones, tuba, timpani, cymbals, snare drum, triangle, strings “I wish I could score everything for horns.”

— Richard Wagner (Born 1813, Germany; died 1883) LEITMOTIF: A recurring musical theme that is associated with a person, idea or action. Wagner is credited with cementing the operatic use of such musical devices, which commonly appear in music for film and television as well.

FURTHER LISTENING: Wagner: Das Rheingold (The Rhinegold) Götterdämmerung (Twilight of the Gods) Siegfried

There are obsessive compulsives. Then there’s Wagner.

And so, after the premiere of his opera Die Walküre, the second of the four operas that make up the famous Ring of the Nibelungen cycle, requests began slithering in for separate copies of the “Ride.”

An irate Wagner girded his loins and rode forth to do battle with his publishing company, which had caved immediately and began selling copies of the “Ride” for a tidy profit. At least, Wagner wrote a snarky letter to Schott demanding that they desist.

He lost that battle, and six years after the original performance of Die Walküre, he caved altogether and lifted the embargo.

What makes the piece so compelling? Nowadays, its ubiquity is one of its greatest strengths. It’s the soundtrack for the helicopter scene of the film Apocalypse Now. It appears in the sitcoms The Big Bang Theory and Brooklyn Nine-Nine for melodramatic, comedic effect. Who doesn’t remember the refrain “Kill the Wabbit!”

But there’s something exciting and compelling about the rushing trills, swooping strings and unison brass blaring out the Valkyries cry. It’s simple, repetitive stuff, but it’s effective — the first whizzing scales sound like a gasp, before the accompaniment builds like gale-force winds.

The melody itself in all its militant, dotted rhythms is something of a leitmotif for the Valkyrie Brünnhilde, the favorite daughter of Wotan. In context of the opera, the “Ride” opens the third act, as the Valkyries gather slain heroes to transport them to Valhalla, essentially heaven for slain warriors.

Brünnhilde actually carries a woman, Sieglinde, twin of Siegmund, also his lover and carrying his child, Siegfried the hero of later operas in the Ring cycle. (Game of Thrones had to get the idea from somewhere.) Wotan arrives and is enraged with Brünnhilde for defying his commands, and he puts her into a deep sleep on a mountain, guarded by a magical fire. Siegfried eventually awakens her and, of course, professes his love.

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Zany operatic plots aside, the “Ride” is still regularly performed in orchestra halls and remains associated with charging into battle.

PROGRAM NOTES : RICHARD WAGNER

by Jeremy Reynolds “FOREST MURMURS” from SIEGFRIED DURATION: About 9 minutes PREMIERED: Bayreuth, 1876 INSTRUMENTATION: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, glockenspiel, triangle and strings “I can’t distract myself enough here, for sketches to a new opera are constantly buzzing around in my head, to the extent that I need all my strength to wrest myself from them.”

— Richard Wagner (Born 1813, Germany; died 1883) LIBRETTO: the text used in an extended musical work containing all the words and stage directions.

Wagner usually wrote in four stages: prose sketch, prose draft, verse draft and fair copy. (The Wagner Compendium) FURTHER LISTENING: Wagner: Die Walküre Das Rheingold (The Rhinegold) Götterdämmerung (Twilight of the Gods

Some background: Wagner’s Ring of the Nibelung is an epic four-opera cycle comprising Das Rheingold, Die Walküre, Siegfried and Götterdämmerung, or in English, The Rhinegold, The Valkyrie, Siegfried and Twilight of the Gods. (This form is a callback to ancient Greek dramas and the tradition of weaving together three dramas and a satyr play.) Wagner intended them to be performed as a series, one after the other, but due to the monumental expense many opera companies perform them separately.

The third opera, Siegfried, is the tale of the hero Siegfried’s coming of age. It’s typical mythological fare: a dwarf is raising the orphan to kill the dragon and steal the ring of power. The first act is the dwarf working to reforge the hero’s sword, the second is Siegfried killing the dragon and learning to chat with birds — more on this in a moment — who then tell him to kill the dwarf before the dwarf betrays Siegfried. Siegfried then heads to the Valkyrie Brünnhilde’s rock and passes through the magic fire to claim his aunt as his lady love, all set to ravishing music that would inspire generations of composers writing for the concert hall, the opera house and even film scores.

“Forest Murmurs” is a synthesis of Siegfried’s interactions with the woodbird Wagner adapted for concert performance. Swings sway and swirl, as branches and leaves on the forest’s trees, painting a lush canopy in tones as the hero rests under a lime tree, waiting for the dragon to appear. Chattering woodwinds give voice to the wood bird, while Siegfried attempts to mimic the bird’s song with a reed pipe as the music slowly accelerates, hinting at passages and leitmotifs from other Ring cycle operas as the bird discusses Brünnhilde’s plight before it wings away to guide Siegfried to her rock.

Most composers work alongside a librettist to create an opera; Wagner wrote both the music and the text for the Ring cycle himself, cobbling together the narrative from Norse myths and their Germanic follow-up, the Nibelungenlied. For these operas, Wagner sought to synthesize opera’s disparate artistic elements — music, poetry, dance and more — to create a truly immersive experience. He wrote of this fusion in a series of essays in the early 1850s that preceded his work on the Ring, writing: “The harmony, however, only the musician can invent, and not the poet. Wherefore the melody which we have seen the poet inventing from out of the word verse was more a discovered one-as being conditioned by harmony-than one invented by him. The conditions for this musical melody must first have been to hand, before the poet could find it as already validly conditioned. Before the poet could find this melody, to his redemption, the musician had already conditioned it by his own-est powers: he now brings it to the poet as a melody warranted by its harmony; and only melody such as has been made possible by the very essence of our modern music is the melody that can redeem the poet-that can alike arouse and satisfy his stress.”

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PROGRAM NOTES : RICHARD WAGNER

by Jeremy Reynolds “SIEGFRIED’S RHINE JOURNEY” from GÖTTERDÄMMERUNG

Putting on the first production of the full Ring of the Nibelung cycle in 1876 literally helped kill Wagner.

DURATION: About 12 minutes

The performances took place in 1876 in a theater specially constructed for the purpose of performing Wagner’s operas. Wagner “borrowed” designs for the Bayreuth Festival Theatre from a different project by architect Gottfried Semper without permission, while King Ludwig II of Bavaria provided the primary funding.

Still, Wagner had to raise vast additional sums and embarked on numerous concert tours throughout the theater’s construction to help raise funds, and these trips severely taxed the composer’s health. Wagner died in 1883, in part due to the strain of the tours.

PREMIERED: Bayreuth, 1876 INSTRUMENTATION: Three flutes and piccolo, three oboes and English horn, three clarinets and bass clarinet, three bassoons, eight horns and two Wagner tubas, three trombones and bass trombone, tuba, timpani, triangle, cymbals, side drum, glockenspiel, four harps and strings “Music drama should be about the insides of the characters. The object of music drama is the presentation of archetypal situations as experienced by the participants, and to this dramatic end music is a means, albeit a uniquely expressive one.”

— Richard Wagner (Born 1813, Germany; died 1883) ORCHESTRAL INTERLUDE: A short piece of music that is played between the parts of a longer one, a drama, or a religious service. These can have a dramatic function as well as provide cover for scenery changes on stage.

FURTHER LISTENING: Wagner: Die Walküre Das Rheingold (The Rhinegold) Siegfried

The auditorium seats nearly 2,000, and the orchestra pit is one of the world’s most unusual. The pit is typically somewhat visible to the audience and singers.

At Bayreuth, it is almost completely covered, making it difficult for singers and musicians to hear one another, but the balance is more favorable to the singers. This allows them to project more easily over the orchestra, an essential factor in successfully mounting such long, difficult productions without taxing the voice.

“Siegfried’s Rhine Journey” is an orchestral interlude (meaning there’s no singing) that bridges the Prologue and Act I of Götterdämmerung, the final opera of Wagner’s four-opera Ring cycle. The music depicts the Valkyrie Brünnhilde sending Siegfried off on new adventures. It begins quietly in the brass and murmurs in the winds, the dawn of a new day. Siegfried’s heroic music takes over after a time in the strings and brass, with snatches of the Valkyrie motif from the famous “Ride of the Valkyries” representing Brünnhilde’s presence as Siegfried sets off on the journey that would result in his demise, with lighthearted passages belying the high drama of what was to follow.

Later in life, Wagner suffered from financial trouble — the first staging of the Ring cycle finished with a deficit of 1.1 million euros by today’s standards — and as well as increasingly severe angina attacks. His health deteriorated during concert trips to make up the deficit (the festival only survived thanks to state intervention), and he died at the age of 69 of a heart attack.

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PROGRAM NOTES : RICHARD WAGNER

by Jeremy Reynolds “SIEGFRIED’S DEATH” and “FUNERAL MUSIC” from GÖTTERDÄMMERUNG DURATION: About 13 minutes PREMIERED: Bayreuth, 1876 INSTRUMENTATION: Three flutes and piccolo, three oboes and English horn, three clarinets and bass clarinet, three bassoons, eight horns and three Wagner tubas, three trumpets and bass trumpet, four trombones and bass trombone, tuba, triangle, cymbals, two timpani and tenor drum, six harps, and strings “We must learn to die, and to die in the fullest sense of the word. The fear of the end is the source of all lovelessness.”

— Richard Wagner (Born 1813, Germany; died 1883) FUNERAL MARCH: A slow, stately piece of music, usually in a minor key, and duple or quadruple time, that imitates the feel and pace of a funeral procession. (BBC Music Magazine) FURTHER LISTENING: Wagner: Die Walküre Das Rheingold (The Rhinegold) Siegfried

A blazing minor chord opens “Siegfried’s Death,” resolving into a major chord and plucked harp strings and high, angelic strings. That first chord repeats, a cry of intense anguish, setting off another cascade of harp arpeggios. The music seems to call back to better times in Siegfried’s life as the work progresses for the first few minutes before the funeral march takes over, beginning with an uneasy, slithering string figure in the strings.

Götterdämmerung is the fourth and final opera in his Ring cycle, but Wagner actually conceived the libretto for this opera first in 1848. The story originally centered on the hero Siegfried — loosely inspired by Norse myths — as he dies due to a curse on the ring of power, and on his lover, the Valkyrie Brünnhilde, as she took Siegfried’s body to Valhalla to redeem the gods. Upon reflecting on his original text and beginning, Siegfried’s Death, however, he realized that for this opera to have the emotional punch that he desired, audiences would need more intimate familiarity with what had come before.

He sketched the ring in reverse order: Siegfried, Die Walküre and Das Rheingold, fleshing out characters in text and music. It took fully 20 years for Wagner to set the original text of Siegfried’s Death to music, and though the majority remained as he’d written it in 1848, he adjusted the final scene and title to reflect the downfall of the gods — Götterdämmerung translates to “Twilight of the Gods” — and a new world order emerging from the chaos.

When a friend asked Wagner why he’d changed the finale and why the gods needed to perish, Wagner responded: “I believe that, at a good performance, even the most naïve spectator will be left in no doubt on this point. It must be said, however, that the gods’ downfall is not the result of points in a contract… No, the necessity of this downfall arises from our innermost feelings.

Thus it was important to justify this sense of necessity emotionally… I have once again realized how much of the work’s meaning (given the nature of my poetic intent) is only made clear by the music. I can now no longer bear to look at the poem [the libretto] without music.”

After that slinking figure in the strings, the orchestra sounds a two note, thumping motif that recurs throughout the remainder work. Brass sound a first marching phrase, the thumping returns, the slinking string figure returns, and the winds answer the brass’s opening phrase. The music is all mourning and lamentation, a fierce demonstration of Wagner’s ability to capture feelings through abstract melodies and phrases, giving sound to emotions and impressions that text could not.

FORT WORTH SYMPHONY ORCHESTRA | 15

PROGRAM NOTES : RICHARD WAGNER

by Jeremy Reynolds “BRÜNNHILDE’S IMMOLATION” from GÖTTERDÄMMERUNG DURATION: About 18 minutes PREMIERED: Bayreuth, 1876 INSTRUMENTATION: Three flutes and piccolo, three oboes and English horn, three clarinets and bass clarinet, three bassoons, eight horns, two Wagner tubas, three trumpets and bass trumpet, three trombones and bass trombone, tuba, timpani, triangle, cymbals, side drum, glockenspiel, four harps and strings “I have only a mind to live, to enjoy — i.e., to work as an artist, and produce my works; but not for the muddy brains of the common herd.”

— Richard Wagner (Born 1813, Germany; died 1883) WAGNER TUBA: A four-valved, brass instrument commissioned by Wagner for special effects in his opera cycle, Der Ring des Nibelung. Despite its name, the instrument was created to bridge the acoustical and textural gap between the French horn and trombone. (Britannica; Grove Music Online) FURTHER LISTENING: Wagner: Die Walküre Das Rheingold (The Rhinegold) Siegfried

From downbeat to curtain, Wagner’s Ring cycle is about 15 hours of music, all building up to the grand finale of Brünnhilde’s immolation scene. Here, the Valkyrie, the daughter of the god Wotan, joins her love Siegfried in death by riding her horse into his funeral pyre, cleansing the famed ring of power in fire and burning the old order of the gods to ashes.

Wagner doesn’t recap all 15 hours of music of course, but instead runs something of a highlight reel, a collection of “leitmotifs” that creates a sort of miniature tone poem for the orchestra. There’s the snarling curse motif, a stately ascending arpeggio in the brass. There’s the more tender redemption-through-love tune, representing one of the main symbols in the cycle. There’s the Valkyrie’s war cry, which calls back to the famous “Ride of the Valkyries,” and so on.

(Film score afficionados will recognize that composers adapted the technique readily to the silver screen in the early 20th century.)

Prior knowledge of these themes certainly isn’t necessary to enjoy and appreciate the beaty and grandeur of Wagner’s epic finale, which is musically charged with ideas about ending an old corrupt system and beginning anew. But it can help some of the moments land with more poignancy and intensity — it’s a work of art that reveals more of itself with study and multiple listening sessions, as the density of the orchestral writing and the melodic content is staggering. After all, Wagner spent more than a quarter of a century weaving the threads of his Ring cycle together, which he first announced in his published autobiographical work A Communication to my Friends, in which he proclaimed: I shall never write an Opera more. As I have no wish to invent an arbitrary title for my works, I will call them Dramas. I propose to produce my myth in three complete dramas, preceded by a lengthy Prelude (Vorspiel). At a specially-appointed Festival, I propose, some future time, to produce those three Dramas with their Prelude, in the course of three days and a foreevening. The object of this production I shall consider thoroughly attained, if I and my artistic comrades, the actual performers, shall within these four evenings succeed in artistically conveying my purpose to the true Emotional (not the Critical) Understanding of spectators who shall have gathered together expressly to learn it.

That first festival took place in Bayreuth in 1876, from August 13th-17th. Today, the Bayreuth Festival still presents a new complete Ring cycle every few years in a specially designed theatre and remains dedicated solely to the production and performance of Wagner’s works.

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ABOUT CHRISTINE BREWER works of Mozart, Brahms, Verdi, Mahler, Beethoven, Wagner, Janáček and Britten.

She has performed Strauss’ Four Last Songs over one hundred times and she has also been invited to perform for such special engagements as the re-opening of Covent Garden with Plácido Domingo for HRH the Prince of Wales and Duchess of Cornwall.

Grammy Award-winning American soprano Christine Brewer’s appearances in opera, concert, and recital are marked by her own unique timbre, at once warm and brilliant, combined with a vibrant personality and emotional honesty reminiscent of the great sopranos of the past. Named one of the top 20 sopranos of all time (BBC Music), her range, golden tone, boundless power, and control make her a favorite of the stage and a highly sought-after recording artist, one who is “in her prime and sounding glorious” (Anthony Tommasini, New York Times).

Christine Brewer is one of the most celebrated concert singers of our time.

She has appeared around the world with orchestras in Boston, Cleveland, Los Angeles, New York, Philadelphia, Washington, D.C., San Francisco, Toronto, London, Dresden, Berlin, Leipzig, Paris, Sydney, Japan, Malaysia and many times with her home orchestra the St. Louis Symphony. She is frequently sought after to sing the great symphonic

On the opera stage, Brewer is highly regarded for her striking portrayal of the title role in Strauss’s Ariadne auf Naxos, which she has performed with the Metropolitan Opera, Opéra de Lyon, Théatre du Chatelet, Santa Fe Opera, English National Opera, and Opera Theatre of St. Louis. Attracting glowing reviews with each role, she has performed Wagner’s Tristan und Isolde at San Francisco Opera, Gluck’s Alceste with Santa Fe Opera, the Dyer’s Wife in Strauss’s Die Frau ohne Schatten at Lyric Opera of Chicago and the Paris Opera, and Lady Billows in Britten’s Albert Herring at Santa Fe Opera and the Los Angeles Opera. She created the role of Sister Aloysius in the world premiere of Doug Cuomo’s opera Doubt with the Minnesota Opera in 2013 and reprised the role in 2016 with the Union Avenue Opera in St. Louis.

Ms. Brewer continues her work with the Marissa, Illinois 6th graders in a program called Opera-tunities, which is now in its 14th year. She also works with the voice students at Webster University. On April 29, 2015, Christine Brewer joined 140 other notable celebrities receiving a bronze star on the St. Louis Walk of Fame.

Brewer’s discography includes over 25 recordings. Her most recent recording, Divine Redeemer on Naxos contains selections with concert organist Paul Jacobs.

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FORT WORTH SYMPHONY ORCHESTRA

ROBERT SPANO, MUSIC DIRECTOR KEVIN JOHN EDUSEI, PRINCIPAL GUEST CONDUCTOR KEITH CERNY, Ph.D., PRESIDENT AND CEO Friday, November 25, 2022, at 7:30 p.m.

Saturday, November 26, 2022, at 7:30 p.m.

Sunday, November 27, 2022, at 2:00 p.m.

Bass Performance Hall Fort Worth, TX Fort Worth Symphony Orchestra Stuart Chafetz, Conductor N'Kenge, Vocalist Lone Star Youth Chorus of Fort Worth

Home for the Holidays SEBESKY

A Christmas Scherzo

HERBERT (arr. Otto Langey)

March of the Toys from Babes in Toyland

DiLORENZO

Fum! Fum! Fun!

STYNE (arr. Larry Blank)

Let It Snow!

N'Kenge, Vocalist

MENDELSSOHN (arr. Daryl McKenzie)

Hark! The Herald Angels Sing N'Kenge, Vocalist

TRADITIONAL (arr. Matt Catingub)

The Twelve Days of Christmas

TCHAIKOVSKY (arr. Sam Shoup)

A Klezmer Nutcracker

TRADITIONAL (arr. Bruce Healey)

Three Chanukah Songs Chanukah Dreidle Song Oh Chanukah Lone Star Youth Chorus of Fort Worth

SMITH (arr. Brad Holmes)

Noel Lone Star Youth Chorus of Fort Worth

TRADITIONAL (arr. Mark Hayes)

Masters in this Hall Lone Star Youth Chorus of Fort Worth

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COOTS (arr. Bill Holcombe)

Santa Claus is Coming to Town N'Kenge vocalist, Lone Star Youth Chorus of Fort Worth Intermission

TRADITIONAL TABOUROT (arr. David Hamilton)

Angels We Have Heard on High/ Ding Dong Merrily on High

YON (arr. William Ryden)

Gesù Bambino N'Kenge, Vocalist

TRADITIONAL (arr. Daryl McKenzie)

The First Noel N'Kenge, Vocalist

FRASER (arr. Daryl McKenzie)

This Christmastide (Jessye’s Carol) Lone Star Youth Chorus of Fort Worth

RODGERS (arr. Daryl McKenzie)

Edelweiss from The Sound of Music Lone Star Youth Chorus of Fort Worth

WELLS / TORMÉ MARTIN / BLANE (arr. Donald Pippin)

The Christmas Song / Have Yourself a Merry Little Christmas N'Kenge, Vocalist

TRADITIONAL (arr. Matt Riley / orch. Brian Bunker)

We Three Kings Michael Shih, Violin

LOPEZ (arr. Chris Walden)

Let it Go from Frozen N'Kenge, Vocalist

TRADITIONAL (arr. Jim Stephenson)

Go Tell It on the Mountain N'Kenge, Vocalist

TRADITIONAL (arr. Jim Stephenson)

We Wish You a Merry Christmas Lone Star Youth Chorus of Fort Worth

ANDERSON

Sleigh Ride

Video or audio recording of this performance is strictly prohibited.

Patrons arriving late will be seated during the first convenient pause.

Program and artists are subject to change.

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ABOUT STUART CHAFETZ Stuart Chafetz is the Principal Pops Conductor of the Columbus Symphony and the newly appointed Principal Pops Conductor of the Chautauqua and Marin Symphonies. Chafetz, a conductor celebrated for his dynamic and engaging podium presence, is increasingly in demand with orchestras across the continent and this season Chafetz will be on the podium in Detroit, Houston, Milwaukee, Naples, Philly Pops, Cincinnati Pops, Pittsburgh, San Diego, and Winnipeg. He enjoys a special relationship with The Phoenix Symphony where he leads multiple programs annually.

He’s had the privilege to work with renowned artists including Chris Botti, 2 Cellos, Hanson, Rick Springfield, Michael Bolton, Kool & The Gang, Jefferson Starship, America, Little River Band, Brian McKnight, Roberta Flack, George Benson, Richard Chamberlain, The Chieftains, Jennifer Holliday, John Denver, Marvin Hamlisch, Thomas Hampson, Wynonna Judd, Jim Nabors, Randy Newman, Jon Kimura Parker and Bernadette Peters.

He previously held posts as resident conductor of the Milwaukee Symphony Orchestra and associate conductor of the Louisville Orchestra. As principal timpanist of the Honolulu Symphony for twenty years, Chafetz would also conduct the annual Nutcracker performances with Ballet Hawaii and principals 20 | 2022/2023 SEASON

from the American Ballet Theatre.

It was during that time that Chafetz led numerous concerts with the Maui Symphony and Pops.

He's led numerous Spring Ballet productions at the world-renowned Jacobs School of Music at Indiana University.

In the summers, Chafetz spends his time at the Chautauqua Institution, where he conducts the annual Fourth of July and Opera Pops concerts with the Chautauqua Symphony Orchestra in addition to his role as that orchestra’s timpanist.

When not on the podium, Chafetz makes his home near San Francisco, CA, with his wife Ann Krinitsky.

Chafetz holds a bachelor’s degree in music performance from the College-Conservatory of Music at the University of Cincinnati and a master’s from the Eastman School of Music.

ABOUT N’KENGE Soul to Opera. N’Kenge’s debut EP TAKE ME OFF produced by Kerry Gordy, son of Motown Legend Berry Gordy, is available on iTunes worldwide. N’Kenge has performed alongside jazz greats such as Wynton Marsalis and Ornette Coleman at Lincoln Center and has been a Principal Artist at New York City Opera. N’Kenge had the honored to perform for the Commander-in-Chief’s Inaugural Ball hosted by President Obama.

The New York Post calls N’Kenge “Electrifying” in the role of Mary Wells in Broadway’s hottest new show Motown: The Musical.

N’Kenge made her Broadway debut in Sondheim on Sondheim alongside Barbara Cook, Vanessa Williams and Norm Lewis and starred in The Genius of Ray Charles where she made her West End debut.

She has been hailed by Variety as “a sensational powerhouse of a singer packed in a lithe body.” A native New Yorker, she just returned from starring in the World Tour of the Michael Jackson Tribute Show.

N’Kenge graduated from both the prestigious Juilliard School and Manhattan School of Music.

N’Kenge made her Carnegie Hall debut with the New York Pops Orchestra where The New York Times called her “a classically trained diva that can stretch from Broadway, Pop

Equally at home on the opera stage, N’Kenge has been seen in a range of opera roles including Susanna in The Marriage of Figaro, Musetta in La Boheme and Therese in Les Mamelles de Tiresias. N’Kenge has given recitals at the White House, Kennedy Center, and at the Library of Congress which it was broadcast worldwide through NPR. N’Kenge has been nominated for Outstanding Lead Actress in a musical for the title role in Elton John’s Aida and as a Diva in Marion Caffey’s 3 Mo’Divas.

Most recently N’Kenge appeared as Hannah Brown in the workshop for Let the Good Times Roll.

Up next, N’kenge will play The Moon in Roundabout Theatre’s production of Caroline, Or Change.

For more news and tour dates, visit N’Kenge at www.nkengemusic.com

FORT WORTH SYMPHONY ORCHESTRA | 21

ABOUT THE LONE STAR YOUTH CHOIR OF FORT WORTH The Lone Star Youth Chorus of Fort Worth is made up of 65 dedicated singers in grades 9-12 from FWISD public schools.

They rehearse each Monday evening at I.M. Terrell VPA & STEM Academy and hold each other accountable in rigorous rehearsals and repertoire immersion. The choristers are surrounded by dedicated professionals including Artistic Director, Jesse Cannon II, and section leaders Aubrey Kistler [Director-Southwest High School], Blake Glass [Director-Western Hills], Jake Rodriguez [Director North Side High School], Celeste Luna [Williams MS], and accompanist is Ms. Susan Bowers [Assistant Principal - Western Hills HS]. Many of the Lone Star Youth Chorus graduates continue pursuing music education or performance at the university level.

Jesse Cannon II is currently the Director of Vocal and Elementary Music in Fort

Worth ISD. Prior to Fort Worth, he was the Director of Choirs in Duncanville ISD. He is currently the Vice-President and Vocal Division Chair for the Texas Music Educators Association (TMEA).

His choirs performed at the 2020 Texas Music Educators Association Convention and the 2021 National American Choral Director’s Association Convention. The Duncanville HS Choir has also been recognized by The American Prize and The Foundation of Music Education Mark of Excellence as a National Winner.

Jesse Cannon II was recognized as a Music Teacher of Excellence by the Country Music Association Foundation (2022), Duncanville HS Teacher of the Year (2021), and been awarded the Grammy Signature School Award for the Duncanville HS Choral Department.

He is an active Region Clinician and adjudicates several times each year for the UIL Concert & Sight-Reading Contest.

Generous Supporter of the 22/23 Symphonic Season

22 | 2022/2023 SEASON

How to Support the Fort Worth Symphony Orchestra Annual Fund Your gift to the annual fund allows the FWSO to bring the joy of music to 150,000 adults and children through the nearly 200 performances each season. Make a one-time gift or join Metronome, FWSO’s monthly giving club! Each month, your ongoing gift will be automatically charged to your credit or debit card.

Patrons of the Symphony Elevate your FWSO experience to VIP with a membership to Patrons of the Symphony. Your generous donation of $2,000 or more annually, or $167 a month through our Metronome program, grants you extraordinary benefits designed to enhance your FWSO experience.

Tribute Gifts Honor or memorialize friends or loved ones with a tribute gift to the Symphony.

A special acknowledgment is sent to the person or family informing them of your generosity and thoughtfulness. An acknowledgement is also placed in the FWSO program book.

Brooks Morris Society Leave a lasting legacy and invest in the future of the Symphony by including the FWSO in your will or estate plans. Contact Meagan Hemenway, VP of Development at 817-665-6008 or mhemenway@fwsymphony.org to talk about investing in the future of the FWSO. Endowment Fund Established in 1984, the Endowment Fund was created to preserve the FWSO’s rich artistic tradition and ensure financial security for live symphonic music in our city. Named gift opportunities recognize significant contributions to the Endowment Fund.

Centurion Society The Centurion Society salutes extraordinary individuals who have given $100,000 or more to the Fort Worth Symphony Orchestra in cumulative lifetime gifts. Organizations are welcomed into the Centurion Society beginning at the $500,000 level.

FORT WORTH SYMPHONY ORCHESTRA | 23

Your Annual Gift Makes a Difference Donate Today!

The FWSO relies on your generosity to bring music to North Texas and beyond. Your gift supports everything from the superb players on stage to Adventures in Music education programs. Please consider joining our thriving community of donors today!

Donor Benefits Patrons of the Symphony (giving $2,000 or more) Exclusive Benefits Include: • • •

Exclusive intermission receptions in the Maestro’s Club with complimentary food and beverages Member-only invitations to FWSO special events with musicians, guest artists and conductors Premium seating at Concerts in the Garden “Donor Night”

Friends of the Symphony (giving under $2,000) Exclusive Benefits Include: • • •

Invitations to open rehearsals Recognition in the FWSO program book at a level of $500 or more Discounts to local establishments

Complete benefit information is listed at fwsymphony.org/donate. Benefits are subject to change. The FWSOA is a 501(c)(3) organization. Donations are deductible to the extent allowed by law.

24 | 2022/2023 SEASON

BOARD OF DIRECTORS Officers Mercedes T. Bass +, Chairman of the Board Marianne Auld +, Chairman of the Executive Committee Teresa King +, Secretary J.W. Wilson +, Treasurer Keith Cerny, Ph.D., President and CEO Amy Roach Bailey Connie Beck + Ashli Blumenfeld Dr. Victor J. Boschini, Jr. + Anne Marie Bratton + Karen Burchfield Brenda Cline Barbara Cox Juana-Rosa Daniell Mitzi Davis Dr. Asad Dean + Vance A. Duffy Charlotte French Tera Garvey John B. Giordano Gail Aronoff Granek Genie Guynn Dotty Hall Lee Hallman Kathleen Hicks Aaron Howard + Qiong Hulsey Kim Johnson Dee J. Kelly, Jr.+ Mollie Lasater + Antonia Pryor Leavitt Mary Hart Lipscomb Misty Locke Michelle Marlow Louella Martin + Priscilla Martin Colin McConnell Dr. Stuart D. McDonald Ellen Messman Dr. Till M. Meyn

Erin Moseley Don C. Plattsmier + Dana Porter + Jean Roach + Henry Robinson + Jude Ryan Alann B. Sampson + Jeff Schmeltekopf Dan Sigale Kal Silverberg Kathleen B. Stevens Clare Stonesifer + Jonathan T. Suder + Carla Thompson + Chairmen Emerita William P. Hallman, Jr. * Adele Hart * Ed Schollmaier * Frank H. Sherwood Life Trustee Rosalyn G. Rosenthal Rae and Ed Schollmaier * FWSO President Emerita Ann Koonsman+

+

* Denotes Deceased Executive Committee Member

FORT WORTH SYMPHONY ORCHESTRA | 25

INSTITUTIONAL SUPPORT

$1,000,000 and above Sid W. Richardson Foundation

Heart Of Neiman Marcus Foundation

$150,000- $999,999 Amon G. Carter Foundation Mary Potishman Lard Trust

$5,000–$9,999 Ben E. Keith Beverages The Felucca Fund Frost JPMorgan Chase Metroplex Piano Anonymous Texas Women for the Arts The Worthington Renaissance Fort Worth Hotel

$50,000- $149,999 American Airlines Arts Fort Worth BNSF Railway Lowe Foundation Adeline & George McQueen Foundation Leo Potishman Foundation $25,000- $49,999 Bratton Family Foundation | Mr. and Mrs. Douglas K. Bratton Fort Worth Tourism Public Improvement District Neiman Marcus Fort Worth Omni Hotel Fort Worth Texas Commission on the Arts $10,000–$24,999 Alcon Symphony League of Fort Worth Wells Fargo City Club of Fort Worth Central Market / H.E.B. Piranesi Fifth Avenue Foundation Anonymous North Texas Giving Day Fund of the Communities Foundation of Texas Bank of America Charitable Foundation MJR Foundation Dee J. Kelly Foundation

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$3,000–$4,999 Pinnacle Bank Kelly Hart & Hallman LLP Kimbell Art Foundation Texas Christian University $2,000–$2,999 Kenny G. Inc. Once Upon A Time...

Prospera Financial $500-$1,999 Albertsons Safeway Ben E. Keith Foods Fash Foundation National Philanthropic Trust Park Hill Portraits Renaissance Charitable Foundation WFAA-TV Channel 8

SUPPORTERS OF THE FWSO The Fort Worth Symphony Orchestra expresses its deepest gratitude to the following donors for their extraordinary annual financial support that sustains the FWSO as a world-class orchestra and valuable community asset.

This listing reflects annual giving between September 1, 2021 through September 1, 2022. +Denotes Deceased.

President’s Level $500,000–$999,999 Mrs. Mercedes T. Bass Maestro’s Level $150,000–$499,999 Sasha and Edward P. Bass Guest Conductor’s Level $50,000–$149,999 Mr. & Mrs. William S. Davis; Davoil, Inc. Aaron & Corrie Howard Qurumbli Foundation Rosalyn Rosenthal Concertmaster’s Level $25,000–$49,999 Carol Margaret Allen Ramona & Lee Bass Helene Bare & W. Glenn Embry Charitable Trust Mollie & Garland Lasater at the NTCF Fund Priscilla & Joe Martin Nancy & Don Plattsmier The Thomas M., Helen McKee & John P. Ryan Foundation Alann Bedford Sampson Artist’s Level $10,000–$24,999 Connie Beck & Frank Tilley Megan & Victor Boschini Mr. & Mrs. Douglas K. Bratton Steve Brauer Buehler Family Foundation

Mr. & Mrs. Michael Burchfield Deborah & Tom Deas Drs. Jeff & Rosemary Detweiler Althea L. Duersten Dr. Jennifer Freeman George & Jeanne Jaggers Charitable Trust Cami & John Goff Gary & Judy Havener Mrs. Edward R. Hudson, Jr. Matthew & Kimbery Johnson Dee Kelly Foundation Marguerite Bridges Charitable Trust Mrs. Louella Martin Deborah Mashburn & David Boddie Estate of James W. McCartney Ellen F. Messman Nesha & George Morey Estate of Virginia & James O’Donnell Frasher H. & John F. Pergande Dana & David Porter Mrs. Susan S. Pratt Karen Rainwater Charitable Fund at the NTCF The Roach Foundation Mr. and Mrs. William E. Rosenthal Ms. Patricia A. Steffen Jonathan and Medea Suder; MJR Foundation Mr. Gerald E. Thiel Mr. & Mrs. Kelly R. Thompson Charles White Mr. & Mrs. J.W. Wilson

FORT WORTH SYMPHONY ORCHESTRA | 27

Benefactor| $5,000–$9,999 Elaine & Neils Agather Mr. & Mrs. David R. Atnip Mr. & Mrs. Tull Bailey Ashli & Todd Blumenfeld Greg & Pam Braak Mr. & Mrs. L. O. Brightbill III James Brooks Mary Cauble Sue & John Allen Chalk, Sr. Brenda & Chad Cline Jeanne Cochran Barbara A. & Ralph F. Cox Dean & Emily Crocker Dr. & Mrs. Atlee Cunningham, Jr. Dr. Ron* & Juana-Rosa Daniell Kim & Glenn Darden Asad Dean M.D.; Texas Oncology Margaret & Craig Dearden Mr. Vance A. Duffy Ms. Jo Ellard Mr. and Mrs. Larry Fridkis Garvey Texas Foundation Tera & Richard Garvey Gail Aronoff Granek Susan & Tommy Green Eugenie Guynn Mr. & Mrs. Mark L. Hart III Mr. & Mrs. Holman Harvey James & Dorothy Doss Foundation Mr. & Mrs.* Ronald Koonsman Mr. & Mrs. William Leavitt Mary & Blake Lipscomb Tim & Misty Locke Dr. & Mrs. Stuart D. McDonald Mrs. Erin Moseley Stephen & Brenda Neuse Anonymous Don & Melissa Reid Peggy Rixie Jeff & Judy Schmeltekopf Thomas L. Smith Clare Stonesifer Ronda & Walter Stucker Anonymous Dr. Richard Turner Laurie & Lon Werner Ms. Virginia Wheat

28 | 2022/2023 SEASON

Dan Wilkirson Dr. James C. Williams Mr. and Mrs. Philip C. Williamson Contributor | $3,000–$4,999 Dr. Joyce Beck Ellen & Larry Bell Mr. Bill Bond Judge Tim & Celia Boswell Debbie Brooks; DFW Musicians Services LLC Frances Jean Browning Gary Cole Doug & Carol English Mr. & Mrs. John B. Giordano Gary Glaser and Christine Miller Kay Glenday Steve* & Jean Hadley Dr. Christy L. Hanson Richard Hubbard, M.D. Gordon & Aileen Kanan L. Lumley Mr. & Mrs. Colin McConnell Anonymous Berlene T. & Jarrell R. Milburn Dr. William & Mary Morton Wade & Lisa Myers Mr. & Mrs. Omas Peterson Ms. Jane Rector Mr. & Mrs. Thomas B. Reynolds Dr. Deborah Rhea & Ms. Carol Bollinger Rosemary Riney Gayla & Blaine Scheideman Dr. & Mrs. Russ A. Schultz Emmet G. & Judith O. Smith Jim & Judy Summersgill Becky & Stephen Tobin John Wells Sustainer | $2,000–$2,999 William & Kathryn Adams Mr. Timothy Ankersen Mr. Dan Besse & Ms. Erin Lloyd John Broude & Judy Rosenblum Henry & Diana Burks Daniel & Soraya Caulkins Honorable H.D. Clark III and Mrs. Peggy Sue Branch-Clark Karen Fortson Davis

Dedrick Family Dr. Fred Erisman Angela L. Evans Mr. & Mrs. Ben J. Fortson, Jr. Dr. Oscar L. Frick Ms. Clara Gamache Dr. & Mrs. William H. Gibson Mr. Joseph Gonzales Dotty & Gary Hall Mr. and Mrs. James R. Harris Peggy Harwood Ms. Trina Krausse In memory of Laura Elizabeth Bruton McCraw Family Charitable Fund Shannon McGovern Barbara Measter Cecile Montgomery Charitable Account John & Anita O’Carroll Bill & Jeanne O’Connor Mr. Stan O’Neil Harris Franklin Pearson Private Foundation Mary Pencis Lynne B. Prater William Proenza Robert D. & Catherine R. Alexander Foundation Barbara Roels Jude & Terry Ryan Punch Shaw & Julie Hedden Tzu-Ying & Michael Shih in tribute of Mr. & Mrs. William S. Davis Kal & Karen Silverberg Anonymous Marilyn Wiley & Terry Skantz Susan & James Smith Brian Steidinger Mack Ed & Sharon Swindle Sallie & Joseph Tarride Mr. and Mrs. Christopher Taylor Dr. Stuart N. Thomas; In memory of Dr. Gaby Thomas Joy & Johnnie Thompson Joan T. Trew David Turpin Gene & Kathleen* Walker Mr. John Molyneaux & Ms. Kay West John Williams & Suzy Williams Suzy Williams & John Williams Arthur & Carolyn Wright Stuart Yarus & Judith Williams

Anonymous Donor | $500–$1,999 Tony & Rhonda Ackley Kathryn Anderson Mrs. Mary Frances Antweil Henry & Barbara Armstrong Roy I. Bacus, Jr. Mary Frances & George Barlow Charitable Fund at the NTCF Mr. & Mrs. Harry E. Bartel Mr. & Mrs. Harper Bartolomei Ms. Anne H. Bass Mrs. Betty R. Baugh Glenn & Sherry Bernhoft Mr. Stephen Berry Mr. & Mrs. Charles E. Blanton Annette & Jerry W. Blaschke Mr. Kenneth Blasingame Blaine & Brian Bolton Anonymous Mr. and Mrs. Michael Wayne Brassell Art & Lynda Brender Ben & Diana Broadwater Lowell & Kathryn Bryan John L. Bryant Anonymous In memory of Jack & Mildred Malone Antonio & Carla Castañeda Barry & Paulette Cavitt Dr. and Mrs. Joseph C. Cecere, DMD Mr. & Mrs. Bennett Cepak Dr. & Mrs. Lincoln Chin LRS Construction Services, L.P. Ms. Donna Clark Judith Singer Cohen Donna Coldiron Ms. Annabelle Corboy & Mr. Michael Poteet Anonymous Dr. desAnges Cruser Susan Jackson Davis Stacy & Steve Dellasega Scott & Laney Denbina Mr. & Mrs. C.D. Dickerson Jean & Tom Dodson John Driggers & Barbara Gibbs Jack R. Driscoll Ms. Tori Adams & Mr. Jim DuBose Dawn Ellison

FORT WORTH SYMPHONY ORCHESTRA | 29

Charlene & Dave Ernst Ann & Ronnie Erwin Anonymous Mrs. Gretchen Finn Jan Fisher & Pete Cowman Robert Fortenbaugh Mrs. Benjamin J. Fortson, III Leslie Fraser Cynthia J. Frey Sharon Godwin Shawn & Victoria Furniss Mr. & Mrs. Frank M. Gault Mr. Robert Genzel Ms. Kathryn Gerland Aubrey Gideon Anonymous Mr. & Mrs. John Giordano Drs. Daniel & Lyn Hunt Goggin Eric & Jannene Gunter David & Lori Haley Ms. Lee Hallman Mr. & Mrs. David J. Hamacher Mrs. Phil Harris, Jr. Jo & Don Hawthorne Janet Heath Carolyn & Larry Heath Mr. & Mrs. Owen F. Hedden J. Kirston and Dot Henderson Michelle & Reagan Horton Colonel Jonathan W. House Mr. & Mrs. Allan Howeth Carolyn & Randall Hudson Amy and Randy Hyde Mr. & Mrs. Hunter B. Johnson Roland R. Johnson, Jr. Ed & Carol Jones Ms. Sue Jones Walter D. Juliff Mr. Byron Keil Mr. & Mrs. Raymond B. Kelly III Dione Kennedy & Daniel Hagwood Mrs. Patricia Key Philip King Mr. & Mrs. John B. Kleinheinz Laura & Bill Lace Colonel Leonard S Y Lai Mr. & Mrs. Edward A. Lane Mike & Carolyn Law Mr. Tony Lester

30 | 2022/2023 SEASON

E. Donovan Lewis Barbara Lind Art & Cheryl Litke Dr. S. David & Mrs. Jennifer Lloyd Ricky & Charlene Locke Rev. Elizabeth Lockhart Dr. Brad Loeffelholz Mr. Andrew Lombardi Kerry Lowery Guy & Helen Mabee Dr. & Mrs. James D. Maberry James M. Makens John Marion Ms. Sandra Doan & Mr. Jacques Marquis Chuck Marsh Robert & Joanne McClendon Dr. & Rev. M. Dwain McDonald Gay & Urbin McKeever Edward & Marilyn McNertney Ms. Barbara Mehta Dr. Bernard N. Meisner Mr. & Mrs. Robert Mendenhall Mr. Thomas Michel B. Dan and Jennifer B. Miller Pat Miller & Ann Rice Dr. & Mrs. Will Miller John & Kay Mitchell Mr. & Mrs. W.A. Moncrief III Mr. & Mrs. Richard W. Moncrief Mr. and Mrs. David Moore Mr. & Mrs. David Moore Mr. & Mrs. Lynn Morgan Ms. Susan Morgan Mr. Bruce Morris Mr. & Mrs. David Motley Mr. & Mrs. Tyler Murphy John Myers Lynn Nesbit Charitable Trust Mr. Greg Nicholas & Dr. Catherine M. Nicholas Betty G Norvell Laura & Michael O’Brien Drs. Jeffrey & Raquel Oxford The Pace Fund Paul & Mary Kay Park Ms. Bonnie J. Parker Dr. Beatriz Parra Anonymous

Laura Potts & Don Ritter Max & Susan Poynor Mr. & Mrs. Dean Pritchard Virginia R. Pumphrey Dr. & Mrs. David Quam Mr. & Mrs. Fred W. Rabalais Jeremy Raines Carol Ray Greg & Wendy Reese Colleen & Jack Reigh Mr. & Mrs. John Richmond Laura E. Potts & Don L. Ritter Ann Rivera Mr. Gordon Roberts Laurie & Len Roberts Madelyn Rosenthal Paige & Bob Russey Capera Ryan Mr. & Mrs. Robert Schmidt Catherine & Wallace Schmuck The Seger Family Marisa Selkirk Dr. D.D. (Darcy) Sety Ms. Rita Shelton Betty Sherman Anne & Danny Simpson Anonymous Dr. & Mrs. David C. Smith Mary Alice Denmon Smith Mary C. Smith; Clark Educational Services Robert Snider

Dr. Mary Alice Stanford & Mr. Don Jones Mr. John David Sterrett, Jr. Kathleen & Richard Stevens Mr. and Mrs. Craig Stevenson Mr. & Mrs. Paul M Stouffer Mary & Reuben Taniguchi Jerry & James Taylor Randy & Jo Thomson Bob & Sharon Timmons Mr. Sean L. Toye Steve & Linda Trine Nancy Tuffin Lola LaCrosse & Jerry Tutt Mr. Robert G. VanStryland Mrs. Lorna de Wangen Mrs. Susy Weaver Dave & Julie Wende Anonymous Mr. and Mrs. Darrell Williams Lyn Clayton Willis Henry & Gail Wilson Beth Wimpy Mr. Adrian Wright Robert & Ann Wright Ms. Trisha Wright Mr. & Mrs. Mitchell Wynne David & Maureen Yett Dr. & Mrs. Shawn Zarr Dr. & Mrs. Daniel Ziegler Patsy C. & Bill J. Zimmerman

The FWSO wishes the Symphony League of Fort Worth congratulations on their 65th Anniversary!

SYMPHONY LEAGUE OF FORT WORTH

FORT WORTH SYMPHONY ORCHESTRA | 31

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.

Nancy Lee & Perry R. Bass * Chair Mrs. Mercedes T. Bass Chair Mr. Sid R. Bass Chair Associate Conductor Rae & Ed Schollmaier */Schollmaier Foundation Chair Concertmaster Mrs. Mercedes T. Bass Chair Mr. Sid R. Bass Chair Associate Concertmaster Ann Koonsman+ Chair Assistant Concertmaster Mollie & Garland Lasater Chair Assistant Principal 2nd Violin Symphony League of Fort Worth Chair Principal Cello Mrs. Mercedes T. Bass Chair Mr. Sid R. Bass Chair Assistant Principal Cello Burlington Northern Santa Fe Foundation Chair Principal Bass Mr. & Mrs. Edward P. Bass Chair Principal Oboe Nancy L. & William P. Hallman, Jr. Chair Principal Flute Shirley F. Garvey * Chair Principal Clarinet Rosalyn G. Rosenthal Chair In Memory of Manny Rosenthal Assistant Principal Trumpet Dorothy Rhea * Chair Principal Bassoon Mr. & Mrs. Lee M. Bass Chair Principal Horn Elizabeth H. Ledyard * Chair Associate Principal Horn Drs. Jeff and Rosemary Detweiler Chair Principal Trombone Mr. & Mrs. John Kleinheinz Chair Bass Trombone Mr. & Mrs. Lee M. Bass Chair Principal Percussion Shirley F. Garvey * Chair Assistant Principal Percussion Adele Hart * Chair Timpani Madilyn Bass Chair Harp Bayard H. Friedman * Chair Keyboard Rildia Bee O’Bryan Cliburn & Van Cliburn * Chair Great Performance Fund Rosalyn G. Rosenthal Chair In Memory of Manny Rosenthal Pops Performance Fund The Burnett Foundation Adventures in Music The Ryan Foundation Symphonic Insight Teresa & Luther King Music Director Guest Conductors

* Denotes Deceased

32 | 2022/2023 SEASON

CONTRIBUTERS TO THE ENDOWMENT The Endowment Fund provides the institutional bedrock upon which the Orchestra is able to achieve long-term artistic growth and financial stability.

Your support of the Endowment Fund is crucial. Please contact Meagan Hemenway, VP of Development at 817-665-6008 or mhemenway@fwsymphony.org.

$5,000,000 and above Mrs. Mercedes T. Bass Nancy Lee* & Perry R. Bass* Mr. Sid 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 Mr. and Mrs. John Kleinheinz Elizabeth H. Ledyard Rosalyn Rosenthal Rae & Ed Schollmaier * $500,000–$999,999 Mollie & Garland Lasater The Thomas M., Helen McKee & John P. Ryan Foundation T.J. Brown & C.A. Lupton Foundation $250,000–$499,999 BNSF Railway Drs. Jeff & Rosemary Detweiler Estate of Dorothy Rhea

Mr. & Mrs. Mark L. Hart III Mr. & Mrs. J. Luther King, Jr. Luther King Capital Management Qurumbli Foundation $100,000–$249,999 Alcon American Airlines Amon G. Carter Foundation Ramona & Lee Bass Althea L. Duersten Estate of Peggy L. Rayzor Mr. & Mrs. Ben J. Fortson, Jr. Mr.+ & Mrs. Dee J. Kelly, Sr. Luther King Capital Management John Marion Mr. & Mrs. John V. Roach II / The Roach Foundation Anna Belle P. Thomas

FORT WORTH SYMPHONY ORCHESTRA | 33

$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 Mr. & Mrs. Jack S. Blanton Jr. Estate of Linda Reimers Mixson Dee Kelly Foundation $25,000–$49,999 Estate of Linda Reimers Mixson Estate of 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 & Lon Werner $10,000–$24,999 Mr. & Mrs. William L. Adams * Mr. & Mrs. Malcolm K. Brachman Mr. & Mrs. Douglas K. Bratton Mr. Carroll W. Collins * Mary Ann and Robert Cotham 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 Mr. Thomas L. Smith 34 | 2022/2023 SEASON

$5,000–$9,999 Anonymous Mrs. Charles Anton * Ms. Lou Ann Blaylock Sue & John Allen Chalk, Sr. Nelson & Enid Cleary Barbara A. & Ralph F. Cox Mr. & Mrs. William S. Davis; Davoil, Inc. Estate of Whitfield J. Collins Francis M. Allen Trust Mr. and Mrs. Scott Jeffrey Gerrish Felice and Marvin Girouard Jann Green Maritza Cáceres & Miguel Harth-Bedoya Richard Hubbard, M.D. JPMorgan Chase Klabzuba Family Foundation Priscilla & Joe Martin Miss Louise McFarland * RadioShack Corporation Karen Rainwater Charitable Fund at the NTCF Alann Bedford Sampson Betty J. Sanders Save Our Symphony Fort Worth Mr. Gerald E. Thiel John * & Frances Wasilchak Charitable Fund at the NTCF Peggy Meade-Cohen Crut H. Paul Dorman * Denotes deceased

CENTURION SOCIETY Centurion Society members have achieved lifetime giving of $100,000+ (individuals) or $500,000+ (organizations)

Alann P. & Charles F. Bedford Fund at The NTX Community Foundation Alcon American Airlines Amon G. Carter Foundation Anonymous Arts Fort Worth Ms. Marianne M. Auld Mr. & Mrs. William C. Bahan F. Robert+ & Mona Tull Ball Michael and Nancy Barrington Bass Foundation Lee and Ramona Bass Foundation Linda Taylor Sasha and Edward P. Bass Ramona & Lee Bass Mrs. Mercedes T. Bass Mrs. Perry R. Bass+ Robert & Ann Bass Household Ben E. Keith Beverages Marvin & Laurie Blum BNSF Railway Mr. and Mrs. Clive D. Bode Mr. & Mrs. Douglas K. Bratton Mr. & Mrs. L. O. Brightbill III The William & Catherine Bryce Memorial Fund Estate of Frank X. Buhler The Burnett Foundation Sue & John Allen Chalk, Sr. Van Cliburn+ Mary Ann and Robert Cotham Barbara A. & Ralph F. Cox Crystelle Waggoner Charitable Trust, Bank of America, Trustee Dr. Ron+ & Juana-Rosa Daniell Kim & Glenn Darden Mr. & Mrs. William S. Davis; Davoil, Inc. Katrine Menzing Deakins Charitable Trust, Bank of America, Trustee Drs. Jeff & Rosemary Detweiler

Althea L. Duersten Mr. Vance A. Duffy Elizabeth L. and Russell F. Hallberg Foundation Estate of Dorothy Rhea Estate of Linda Reimers Mixson Estate of Mildred G. Walters Estate of Peggy L. Rayzor Katie & Jeff Farmer John E. Forestner Mr. & Mrs. Ben J. Fortson, Jr. Frank Kent Cadillac Cornelia Cheney Friedman Mr. & Mrs. Walker C. Friedman William M. Fuller Foundation Paula & George Fultz Tera & Richard Garvey Garvey Texas Foundation George & Jeanne Jaggers Charitable Trust Cami & John Goff Eugenie Guynn Helene Bare & W. Glenn Embry Charitable Trust Qurumbli Foundation Mrs. Adele Hart Mr. & Mrs. Mark L. Hart III Gary & Judy Havener Aaron & Corrie Howard Mrs. Edward R. Hudson, Jr. JPMorgan Chase Kathleen E. Connors Trust Dee Kelly Foundation Mr.+ & Mrs. Dee J. Kelly, Sr. Mr. & Mrs. Roby Key Kimbell Art Foundation Mr. & Mrs. J. Luther King, Jr. / Luther King Capital Management Mr. and Mrs. John Kleinheinz Mr. & Mrs. Ronald Koonsman

FORT WORTH SYMPHONY ORCHESTRA | 35

Lewis F. Kornfeld, Jr. Memorial Fund at the NTCF Mollie & Garland Lasater at the NTCF Fund Elizabeth H. Ledyard Mr. Eddie M. Lesok Dr. and Mrs. W. S. Lorimer, Jr. Mrs. Robert Lowdon Marguerite Bridges Charitable Trust John Marion Priscilla & Joe Martin Mrs. Louella Martin Mary Potishman Lard Trust Mr. & Mrs. Colin McConnell Ellen F. Messman Mr. Richard and Dr. Robin Millman Dr. Max and Dr. Susan Mitchell Foundation Mr. & Mrs. Richard W. Moncrief Nesha & George Morey Becky and David Moritz National Endowment for the Arts David & Noel Nolet Estate of Virginia & James O’Donnell Pangburn Foundation Frasher H. & John F. Pergande Sarah and Ross Perot, Jr. Mr. and Mrs. Hal R. Pettigrew Nancy & Don Plattsmier Dana & David Porter Qurumbli Foundation RadioShack Corporation Karen Rainwater Charitable Fund at the NTCF Mr. & Mrs. John V. Roach II / The Roach Foundation Robert D. & Alma W. Moreton Foundation Laurie & Len Roberts Rosalyn Rosenthal Mr. and Mrs. William E. Rosenthal The Thomas M., Helen McKee & John P. Ryan Foundation Alann Bedford Sampson Jeff & Judy Schmeltekopf Rae & Ed Schollmaier+; Schollmaier Foundation William E. Scott Foundation

36 | 2022/2023 SEASON

Sid W. Richardson Foundation Mr. Charles M. Simmons+ Thomas L. Smith Star-Telegram Mr. & Mrs. Peter Sterling Mr. Paul Stevens Kathleen & Richard Stevens Jonathan and Medea Suder; MJR Foundation Symphony League of Fort Worth T.J. Brown & C.A. Lupton Foundation Mary & Reuben Taniguchi Mr. and Mrs. Thomas M. Taylor Texas Commission on the Arts Anna Belle P. Thomas Mr. & Mrs. Kelly R. Thompson Mr. & Mrs. Marion L. Walden John+ & Frances Wasilchak Charitable Fund at the NTCF Web Maddox Trust Wells Fargo Laurie & Lon Werner Donna+ & Bryan Whitworth Ulla & K.P. Wilska Worthington Renaissance Hotel +

Denotes deceased

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