FWSO Program Guide January/February 2024 by theartspublications

FWSO

program guide

January/February 2024

Dallas Black Dance Theatre and FWSO: Mozart and Stravinsky Jan.5-7

Edusei conducts Mahler’s Seventh Jan. 26-28

Disney Princess: The Concert Feb. 9-10

The Music of Billy Joel and Elton John starring Michael Cavanaugh

Jan.19-21

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Closing January 28

Experience the light and color of France

The exhibition is organized by the Kimbell Art Museum and The Phillips Collection. It is supported in part by Frost, the Texas Commission on the Arts, the Fort Worth Tourism Public Improvement District, and by an indemnity from the Federal Council on the Arts and the Humanities.

Promotional support provided by Pierre Bonnard, Dining Room in the Country (detail), 1913, oil on canvas. Lent by the Minneapolis Institute of Art, The John R. Van Derlip Fund. © 2023 Artists Rights Society (ARS), New York

TABLE OF CONTENTS

FWSO STAFF

Letter from the Chairman

Letter from the President & CEO

EXECUTIVE OFFICE Keith Cerny, Ph.D. President and CEO

About Robert Spano

About Kevin John Edusei

About Taichi Fukumura

Fort Worth Symphony Orchestra Roster

Program 1: Dallas Black Dance Theater and FWSO: Mozart and Stravinsky Artist Profiles Sean Smith, choreographer Chad R. Jung, lighting designer

Program 2: The Music of Billy Joel and Elton John Artist Profiles: Ron Spigelman, conductor Michael Cavanaugh, piano and vocals Michael Cavanaugh, vocalist

Program 3: Mahler’s Seventh Artist Profile: Kevin John Edusei, conductor

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

Program 4: Disney Princess: The Concert Artist Profiles: Lissa deGuzman, performer Adam J. Levy, performer Benjamin Rauhala, performer Anneliese van der Pol, performer Syndee Winters, performer

Executive Committee

Board of Directors

DEVELOPMENT Meagan Hemenway Vice President of Development Malia Lewis Development Manager, Board and Donor Relations Courtney Hughey Institutional Giving Manager Veronika Perez Development Specialist, Operations Ivy Smith Development Associate BOX OFFICE Jacob Clodfelter Box Office Manager Veronica Morris Box Office Associate Sydney Palomo Box Office Associate Josh Pruett Box Office Associate Patrick Sumner Box Office Associate Paul Taylor Box Office Associate FINANCE Shelby Lee Vice President of Finance Lucas Baldwin Senior Staff Accountant HUMAN RESOURCES Jacque Carpenter Vice President of Human Resources Raquel Amaya 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

FORT WORTH SYMPHONY ORCHESTRA | 1

Dear Friends,

Mercedes T. Bass Chairman of the Board of Directors

During this season of thanks and celebration, we are so grateful you are spending your time with the Fort Worth Symphony Orchestra. There are still so many remarkable concerts ahead including the annual Gala on February 17 featuring my good friends, Grammy-award winning Soprano, Renée Fleming alongside one of the world’s leading baritones, Rod Gilfry. With our brilliant Music Director, Robert Spano at the podium conducting the orchestra through an exciting array of Broadway favorites, this night will truly be unforgettable. More importantly, this annual one-night-only event raises critical funds for the FWSO in support of its arts education and community outreach programs, serving over 20,000 students (and growing) each year. Tickets for the Gala concert and dinner are on sale now. We hope to see you there! On behalf of the FWSO administration and Board of Directors, thank you for your unwavering support and patronage of the FWSO. With much appreciation and gratitude,

Mercedes T. Bass Chairman of the Board of Directors

2 | 2023/2024 SEASON

Dear Patron, The 2023-2024 season is the second year of the FWSO’s new Music Director Robert Spano, and the orchestra is sounding better than ever! The Symphonic season continues with another “Theater of a Concert” project, in which the FWSO adds visual, dance, lighting, and other elements to stretch artistic boundaries, build new creative partnerships, and foster innovation. In January, we reach across the Metroplex to partner with the acclaimed Dallas Black Dance Theatre in a new production of Stravinsky’s Petrushka, in which the orchestra and dancers share the stage. These Theater of a Concert programs continue to be very well received by our patrons, and will remain an important aspect of our artistic strategy going forward. Our Principal Guest Conductor Kevin John Edusei returns for performances of Mahler’s powerful Symphony No. 7, and in February we will also present our second chamber music concert of the season at the Kimbell Art Museum.

Keith Cerny, Ph.D. President and CEO

We are equally proud of our expanded programming on the Pops and Specials series. For this next suite of concerts, we present a longawaited Pops spectacular featuring music of Billy Joel and Elton John; you won’t want to miss this one! For our younger audience members and their families, we also present Disney Princess: The Concert with full orchestra, including a special Princess party. There really is something for everyone on our Pops series! Thank you for your support and attendance at all of the FWSO concerts, as we work to rebuild and grow our audiences following the pandemic. We are incredibly proud of the exceptional music we are producing at the FWSO, which we know you will enjoy. Yours sincerely,

Keith Cerny, Ph.D President & CEO FORT WORTH SYMPHONY ORCHESTRA | 3

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. 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. 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 4 | 2023/2024 SEASON

continued growth. Additional engagements in the 2022-23 season include a return to Houston Grand Opera to conduct Werther. Maestro Spano made his highly-acclaimed 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 mezzo-soprano 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, With a discography of criticallyacclaimed 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. 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.

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.

Kevin John Edusei Principal Guest Conductor

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. FORT WORTH SYMPHONY ORCHESTRA | 5

Taichi Fukumura is a rising Japanese-American conductor acclaimed for his dynamic stage presence and musical finesse. Currently serving as the Assistant Conductor of the Fort Worth Symphony Orchestra appointed by Music Director Robert Spano, Fukumura is the Second Prize Winner of The Mahler Competition 2023 with the Bamberg Symphony and a three-time recipient of the Solti Foundation U.S. Career Assistance Award in 2021, 2022, and 2023. Fukumura was recently named Music Director Finalist of the Illinois Symphony Orchestra and is engaged to guest conduct the ISO on two programs in the upcoming 23/24 season. Other recent highlights include guest conducting the Orquesta de Cámara de Bellas Artes in Mexico City and guest assisting the Houston Symphony and the Pittsburgh Symphony Orchestra. He was also invited by the Berlin Philharmonic as one of 10 assistant conductor candidates for Kirill Petrenko.

Taichi Fukumura Assistant Conductor

6 | 2023/2024 SEASON

Past engagements include guest conducting members of the Boston Symphony Orchestra in their Community Chamber Concert series, leading Stravinsky L’Histoire du Soldat. Fukumura served as the Assistant Conductor of the Chicago Sinfonietta where he previously received mentorship from Music Director Mei-Ann Chen as a Freeman Conducting Fellow. Additionally, he worked closely with the Chicago Philharmonic as cover conductor, assisting Artistic Director Scott Speck and many guest artists. Equally adept in opera conducting, he 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.

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 Taichi Fukumura, Assistant 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 Suzanne Jacobson° Matt Milewski 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 Emileigh Vandiver, Associate Principal Keira Fullerton, Assistant Principal Burlington Northern Santa Fe Foundation Chair John Belk Deborah Brooks Shelley Jessup Jenny Kwak 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 Edna Jeon° PICCOLO Edna Jeon° 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 Gary Whitman E-FLAT CLARINET Ivan Petruzziello BASS CLARINET Gary Whitman

TROMBONE Joseph Dubas, Principal Mr. & Mrs. John Kleinheinz Chair 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 vacant Bayard H. Friedman Chair KEYBOARD Shields-Collins Bray, Principal Rildia Bee O'Bryan Cliburn & Van Cliburn Chair STAGE MANAGER Wilson Armstrong

BASSOON Joshua Elmore, Principal Mr. & Mrs. Lee M. Bass Chair Cara Owens, Assistant Principal Nicole Haywood° CONTRABASSOON Nicole Haywood° 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 TRUMPET Kyle Sherman, Principal Cody McClarty, Assistant Principal Dorothy Rhea Chair Oscar Garcia

ORCHESTRA PERSONNEL MANAGER Megan Brook ORCHESTRA LIBRARIANS Christopher Hawn David Sterrett *In Memory of Manny Rosenthal °2023/2024 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

Friday, January 05, 2024 at 7:30 PM Friday, January 05, 2024 at 7:30 PM Saturday, January 06, 2024 at 7:30 PM Saturday, January 06, 2024 at 7:30 PM Sunday, January 07, 2024 at 2:00 PM Sunday, January 07, 2024 at 2:00 PM Bass Performance Hall Bass Performance Hall Fort Worth, TX Fort Worth, TX Fort Worth Symphony Orchestra Fort Worth Symphony Orchestra Robert Spano, conductor Robert Spano, conductor Dallas Black Dance Theatre Dallas Black Dance Theatre Zenetta Drew, Executive Director Zenetta Drew, Executive Director Sean Smith, Choreographer Sean Smith, Choreographer Chad R. Jung, Lighting Designer Chad R. Jung, Lighting Designer W.A. MOZART W.A. MOZART

Overture to The Magic Flute, K. 620 Overture to The Magic Flute, K. 620

W.A. MOZART W.A. MOZART

Symphony No. 41 in C Major, K. 551, “Jupiter” Symphony No. 41 in C Major, K. 551, “Jupiter” I. Allegro vivace I. Allegro vivace II. Andante cantabile II. Andante cantabile III. Menuetto: Allegretto ▬ Trio III. Menuetto: Allegretto ▬ Trio IV. Finale: Molto allegro IV. Finale: Molto allegro INTERMISSION INTERMISSION

STRAVINSKY STRAVINSKY

Petrushka (1947 Revision) Petrushka (1947 Revision) I. The Shrovetide Fair I. The Shrovetide Fair II. Petrushka’s Room II. Petrushka’s Room III. The Moor's Room III. The Moor's Room IV. The Shrovetide Fair (Toward Evening) IV. The Shrovetide Fair (Toward Evening) Dallas Black Dance Theatre Dallas Black Dance Theatre

Video or audio recording of this performance is strictly prohibited. Video or audio recording of this performance is strictly prohibited. Patrons arriving late will be seated during the first convenient pause. Patrons arriving late will be seated during the first convenient pause. Program and artists are subject to change. Program and artists are subject to change.

8 | 2023/2024 SEASON Printed Monday, November 27, 2023 Printed Monday, November 27, 2023

ARTIST PROFILES Sean J. Smith, choreographer Originally from Canada, Sean trained with Goh Ballet Academy, Ballet British Columbia’s Mentor Program and The Ailey School. He has performed with Bruce Wood Dance Project, Rhythmic Souls Tap Company, and African American Repertory Theater. Sean has performed with Dallas Theater Center in The Wiz (2011) and Hairspray (2018). Sean has taught the Lester Horton technique for Ailey Athletic Boys (AAB), Dallas Black Dance Academy, and Southern Methodist University. Sean has choreographed two works for Dallas Black Dance Theatre: Monologues (2013) and Interpretations (2017) and one work for DBDT: Encore!, Dollhouse (2015). he joined DBDT in 2010. Chad R. Jung, lighting design A Fort Worth native, Chad began his career on tour with Bruce Wood, and recreated lighting for his mentor Tony Tucci in collaboration with companies all over the country including Ballet Austin and Washington Ballet at the Kennedy Center. His most recent dance World Premiers include Sombreristas by Boca Tuya in Medellín, Colombia, and Ben Stevenson’s A Midsummer Night’s Dream for TBT. As resident designer for Fort Worth Opera, he 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. Locally, Jung is also a founding member of Amphibian Stage and the Resident Designer for Kids Who Care Inc, where he mentors young leaders and artists positive change in world. ABOUT DALLAS BLACK DANCE THEATRE Founded in 1976 by Ann Williams, and currently under the direction of Melissa M. Young, Dallas Black Dance Theatre’s mission is to create and produce contemporary modern dance at the highest level of artistic excellence through performances and educational programs that bridge cultures and reach diverse communities. As the largest and oldest professional dance company in Dallas, DBDT is the fourth-largest Black dance company in the nation, the seventh-largest contemporary modern dance company, and ranked 36th among the nation’s leading ballet companies. Located in the thriving downtown Dallas Arts District, DBDT has performed worldwide for over 4.6 million arts patrons and 2.8 million students in 33 states and 16 countries on five continents. The performances include two Olympics (1996 & 2012), the nation’s most prestigious venues (Lincoln Center, Kennedy Center, Broadway, Jacob’s Pillow), and for such luminaries as Her Majesty Queen Elizabeth II and South African President Nelson Mandela. Since the pandemic began in 2020, DBDT performances have also been viewed virtually in 43 countries. The Company has been recognized by the National Endowment for the Arts as an American Masterpiece Touring Artist (2008) and received the Texas Medal of the Arts Award for Arts Education (2017). FORT WORTH SYMPHONY ORCHESTRA | 9

PROGRAM NOTES : WOLFGANG AMADEUS MOZART by Jeremy Reynolds OVERTURE to THE MAGIC FLUTE, K. 620 DURATION: About 6 minutes PREMIERED: Vienna, 1791 INSTRUMENTATION: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani and strings “What’s even worse than a flute? Two flutes!” — Wolfgang Amadeus Mozart (Born 1756, Austria; died 1791) 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. FURTHER LISTENING: Mozart: La clemenza di Tito, K. 621 Requiem in D minor, K. 626 Adagio and Rondo for glass harmonica, flute, oboe, viola and cello, K. 617

The differences between an opera and a Broadway play aren’t just stylistic. Operas are artistic nonprofit ventures that require philanthropic support, while Broadway plays are commercial endeavors where success rides on whether a show sells tickets. This dichotomy between fine and popular art has existed for centuries — in Mozart’s day, the commercial answer to opera was the “singspiel,” or a sung play, with spoken dialogue and a German libretto. The Magic Flute, which premiered only a couple of months before Mozart’s death, marked his first foray into the world of commercial art. (Today, of course, it fits far more closely with modern audience’s perception of “opera” than popular entertainment.) It was a triumph that temporarily reversed Mozart’s declining fortunes, had he lived to see the receipts and to capitalize on the show’s popularity. He cobbled the story together with Emmanuel Schikaneder, a singer, actor, manager, and playwright, from popular fairytales of the day. The tale is as follows: Prince Tamino awakens in a strange land, where the Queen of the Night sends him to rescue her daughter from the clutches of the cult leader Sarastro. On meeting Sarastro, Tamino learns that the Queen is in fact the villain. Tamino falls in love with the queen’s daughter, Pamina, and the pair endure several trials to prove their steadfastness and loyalty to one another. These trials are a thinly veiled allegory for Masonic rites, as Mozart himself had joined a freemason lodge a few years earlier. Continued on Page 13

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PROGRAM NOTES : WOLFGANG AMADEUS MOZART by Jeremy Reynolds SYMPHONY NO. 41 in C MAJOR, K. 551 (“JUPITER”) I. Allegro vivace II. Andante cantabile III. Menuetto: Allegretto – Trio IV. Finale: Molto allegro DURATION: Around 31 minutes PREMIERED: Completed 1788, premiere date unknown INSTRUMENTATION: Flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings “Forgive me, Majesty. I am a vulgar man! But I assure you, my music is not.” — Wolfgang Amadeus Mozart (Born 1756, Austria; died 1791) SYMPHONY: An elaborate orchestral composition typically broken into contrasting movements, at least one of which is in sonata form. TEMPO MARKINGS: A brief note on tempo markings — movement titles like “Molto allegro” and “Andante cantabile” are commonly used Italian phrases in music used to denote the speed and character of the movement. Some key terms to know: ANDANTE: Walking pace, relaxed ALLEGRO: Briskly, quickly VIVACE: Lively! Spirited ALLEGRETTO: A bit slower than allegro, typically quite graceful MOLTO: Very, for emphasis CANTABILE: Singing in quality FURTHER LISTENING: Symphony No. 40 in G Minor, K. 550 Cosí fan Tutte, K. 588 String Quintet No. 6 in Eb Major, K. 614 Clarinet Concerto, K. 622

Magnificent, proclamatory eruptions on the tonic tone open Mozart’s Jupiter symphony. They give way to a gentle, more sympathetic response. Then strident statements again on the dominant this time, the response — and the movement takes off in earnest with a majestic fanfare. Such quick contrasts permeate the symphony as a whole; juxtapositions of style and volume and speed grant the Jupiter a unique sublimity of equilibrium. The composer wrote his final three symphonies, 39-41, over a roughly nine-week period in 1788. As the last of these, Jupiter reigns supreme as the close to a career cut short, a symphony with a dignified air even in its quicker tempos and immense in its emotional scope. Baptized Johannes Chrysostomus Wolfgangus Theophilus, Mozart’s later years were plagued with financial woes, though his fortunes were just beginning to look up the year before he died. Those that knew him described him as a man small in stature: thin and pale, with a marked vainness about his hair and clothes. A childhood bout with smallpox left his face slightly scarred, and his eyes were large and intense. His musical legacy remains supreme as an archetype of the classical style, though his personal life revealed through surviving correspondence reveals nuggets of personality delightfully at odds with the wholesomeness of his music. That opening movement of the Jupiter churns insistently before giving way to a Continued on Page 13 FORT WORTH SYMPHONY ORCHESTRA | 11

PROGRAM NOTES : IGOR STRAVINSKY by Jeremy Reynolds

PETRUSHKA DURATION: Around 36 minutes PREMIERED: Paris, 1911; revised 1947 INSTRUMENTATION: three flutes and piccolo, three oboes and English horn, three clarinets and bass clarinet, three bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, bass drum, cymbals, gong, triangle, tambourine, snare drum, xylophone, glockenspiel, offstage snare drum and long drum, harp, piano, celesta, and strings “The trouble with music appreciation in general is that people are taught to have too much respect for music they should be taught to love it instead. ... Lesser artists borrow, great artists steal.” — Igor Stravinsky (Born 1882, Russia; died 1971) SUITE: An ordered set of individual pieces for instrumental ensemble. In the 18th century these were typically a group of dances, but the term later came to imply a selection of movements from a larger work. SUGGESTED READING: Conversations with Igor Stravinsky, by Robert Craft FURTHER LISTENING: The Rite of Spring Firebird Pulcinella Octet for Winds

Whirling oscillations in the winds and horns open Stravinsky's Petrushka (or Pétrouchka), as a solo flute skips lightly atop this bed of sound, trading tunes with upper strings. Here, the music is based on a mixture of folk tunes and Russian street-hawkers' yelling, an auspicious start to the Shrovetide Fair. (That fair is analogous to Mardi Gras in the States.) Other folk tunes interject, themselves interrupted at times up by the sound of an organ grinder or the master of ceremonies yelling from his booth. This first scene is all chaos and color. Stravinsky became a smash international success nearly overnight in 1910 with The Firebird ballet, premiered by the Ballets Russes. Commissioned to write a new work for the ballet the following season, Stravinsky, then 28, proposed The Rite of Spring but instead embarked on a palate-cleansing lighter work for piano and orchestra. The Ballets Russes' founder and impresario, Sergei Diaghilev, visited the composer some months later and was shocked to find him working on this altogether different piece than the Rite. (Stravinsky would later finish The Rite of Spring, which premiered in 1913, the third in a remarkably successful series of ballets.) Still, Diaghilev recognized the new work's potential and rolled with the surprise, collaborating with Stravinsky to evolve the setting of the puppet Petrushka, the male half of the Russian iteration of the Punch and Judy puppet duo. Petrushka is a trickster, a rebel, Continued on Page 14

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Program Notes Continued MOZART, p. 10

MOZART p. 11

The overture begins with three heavy chords in the brass, as the number three is central to Freemason symbolism. (Initiation rights began with three knocks at a lodge door, for example.) The music then meanders for a time without a distinct melody or theme, slowly building tension. And then, a sunny, lighthearted fugue spills out, dancing violins introducing the fugue’s first subject (melody), quickly echoed throughout the orchestra. Mozart blends these three elements throughout, perhaps foreshadowing the dark and unformed realm of the Queen of the Night with the enlightened fugue of Sarastro’s realm, until the overture finishes in a rousing rush.

subtler, softer palate in the second movement. Here, violinists install mutes, devices which dampen the ring of the strings and change the sound. The result is a warmer timbre with less ring and spark — the sound literally relaxes as the melodies float with an effortless quality, phrase after phrase gently propelling the music forward.

And then, the curtain opens.

The Menuetto: Allegretto imitates a popular Austrian dance from the turn of the 19th century, known for its stomping, hopping steps. Mozart’s music indeed stresses the first beat of each measure with a weighty emphasis. Such symphonic forms typically follow an ABA pattern, with a contrasting middle section before the opening material returns in force. Here, one can almost hear footsteps lightening, tiptoeing, a mischievous quality in the woodwinds with

heftier interjections by the orchestra. Mozart’s use of counterpoint, or a compositional technique that aligns two or more melodies, is typically inspired, but in the finale to the Jupiter, it becomes a window to something mathematical and mysterious. After a joyous romp in sonata form, the composer sets — and count them — five different melodies against one another in elegant, precise balance to close the symphony. The Jupiter moniker wasn’t Mozart’s own doing, but there’s something celestial, even orbital, about the final throes of passion and charisma in his final symphony.

FORT WORTH SYMPHONY ORCHESTRA | 13

Program Notes Continued STRAVINSKY, p. 12 often violent, and he typically dies or is dragged to hell at the end of his plays. With this decided, Stravinsky musically illustrates the following tale: the Charlatan brings three puppets to life at the Shrovetide Fair: Petrushka, the Ballerina, and the Moor. Petrushka loves the Ballerina, but she rejects him for the Moor. Petrushka challenges the Moor, and the latter puppet kills Petrushka dead. The deceased puppet's ghost rises, shakes his fist at the Charlatan, and dies a second time. Repeated listening can bring clarity to the musical gestures. After the introduction to the fair scene, mysterious burblings in the bassoons introduce the

Charlatan (about five minutes into the music), who brings the puppets to life with a flute solo. The puppets awaken and dance a lively Russian dance – based on another pair of folk tunes – outside their little theater before the curtain falls. The second scene, heralded by a snare beat, takes place in Petrushka's room, where the puppet is kicked inside and left to gnash his teeth over his awkward wooden form. The Ballerina visits him but is frightened away by his antics. The third scene, again, is introduced with a long snare introduction. After some contemplative minutes, the Ballerina visits the Moor's room and dances to a trumpet

tune; she is attracted to him. Petrushka jealously bursts into the room, but the Moor (represented with some exotic tonalities indeed) throws him out. The finale, after customary snare drums, is back outside and set to the festival music, with entertainers and the crowd dancing and mingling. The Moor chases Petrushka from the theater and kills him with a sword. The Charlatan appears to calm the crowd and says that the puppets are just that, but Petrushka's ghost spites him from the theater roof and the Charlatan flees in terror, as the fair music fades into a final few moments of plucked (pizzicato) strings.

The Fort Worth Symphony Orchestra dedicates The Jan. 5-7 performances to Corrie Hood-Howard and Aaron Howard The Jan. 19-21 performances to Jennifer Freeman The Jan. 26-28 performances to Mr. And Mrs. David Porter 14 | 2023/2024 SEASON

Friday, January 19, 2024 at 7:30 PM Saturday, January 20, 2024 at 7:30 PM Sunday, January 21, 2024 at 2:00 Friday, January 19, 2024 at 7:30 PM PM Bass Performance Hall Saturday, January 20, 2024 at 7:30 PM Worth,atTX Sunday, JanuaryFort 21, 2024 2:00 PM Bass Performance Hall Fort Worth Symphony Fort Worth, TX Orchestra Ron Spigelman, conductor Michael piano and vocals Fort WorthCavanaugh, Symphony Orchestra Ron Spigelman, conductor Music Elton John &Elton Billy Joel The Music ofofBilly Joel and John Michael Cavanaugh, piano and vocals ▬ Movin' MusicOverture of Elton John Out & Billy Joel

Your Song Scenes from anOut Italian Restaurant Overture ▬ Movin' Honky Cat YourBennie Song and the Jets Scenes Italian Restaurant Thefrom NewanFever Waltz Honky JustCat the Way You Are Bennie and Wizard the Jets Pinball The New FeverofWaltz The River Dreams Just the Way You Are Pinball Wizard INTERMISSION The River of Dreams Philadelphia Freedom ▬ I'm Still Standing INTERMISSION You May Be Right Rocket Man Philadelphia Freedom ▬ I'm Still Standing Riffer Madness You May Be Right Dig In Rocket MyMan Life ▬ It's Still Rock and Roll to Me Riffer Madness Tiny Dig In Dancer ▬ Don't Let the Sun Go Down on Me My Life ▬ It's Still Rock and Roll to Me Tiny Dancer ▬ Don't Let the Sun Go Down on Me 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. 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 | 15 Printed Tuesday, November 28, 2023

ARTIST PROFILES to the Buffalo Philharmonic, the Fort Worth Symphony, and the Tulsa Symphony. In 23/24 he will appear in Canada with both the Winnipeg and Vancouver Symphony.

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). He has also served as Principal Pops Conductor of the Fort Worth and Syracuse Symphony. Guest conducting has included appearances in the 22/23 season with the St. Louis, Baltimore, Utah, Oregon, Kansas City and Columbus Symphony Orchestras as well as the Florida Orchestra and Buffalo Philharmonic. In past seasons he has conducted the Dallas, North Carolina, Phoenix, and Virginia Symphony orchestras, the Rochester and Naples Philharmonic and many others. He recently made his debut with the Atlanta Symphony Orchestra in March 2023. He frequently returns 16 | 2023/2024 SEASON

He has conducted Symphonic, Ballet, Opera, Musical Theatre and Pops plus over 30 live to film productions including; Pirates of the Caribbean, Fantasia, Raiders of the Lost Ark, Wizard of Oz, Star Wars, E.T, Home Alone, Polar Express, Elf, Nightmare Before Christmas, Psycho and seven of the Harry Potter films. Guest artists he has accompanied include Horacio Gutierrez, Rachel Barton Pine, Richard Stoltzman and Pops artists including Marvin Hamlisch, Peter Paul and Mary, James Taylor, Ben Folds, Kenny G, Vanessa Williams, Leslie Odom Jr., Gladys Knight, 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. He 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 minors in Counseling and Applied Psychology and in Communications at Arizona State University.

With the close of Movin’ Out at the end of 2005, Michael began touring, creating a show that reinterprets the modern pop/rock songbook. He soon became one of the hottest artists in the private events market, and continues to perform worldwide for company and charity events as well as sporting events including many PGA tour events, the SuperBowl, and the Indy 500. His interpretation of the modern rock/ pop songbook led to Billboard calling him “The New Voice of the American Rock and Roll Songbook,” and he was recognized by Reuters as Entertainer of the Year for the private events market.

Michael Cavanaugh, vocalist Michael Cavanaugh is the new voice of the American Rock & Roll Songbook and a charismatic performer and musician made famous for his piano/lead vocals in the Broadway musical Movin’ Out. Handpicked by Billy Joel to star in Movin’ Out, Cavanaugh evokes a style rivaling the Piano Man. He appeared in the show for three years with more than 1,200 performances. The show culminated in 2003 with both Grammy and Tony award nominations. His first full-time gig as a musician was an extended engagement in Orlando, Florida, at a piano bar called Blazing Pianos. In January 1999, he received an offer that would unknowingly change his life: an opportunity to play Las Vegas at the famed New York, New York Hotel and Casino. It was there that Billy Joel spotted Michael and joined him on stage one fateful night in February 2001. It only took two songs before Billy was convinced that he had found his new Piano Man: Michael Cavanaugh. Michael closed up shop at New York, New York and moved to New York City to work alongside Billy Joel and Twyla Tharp to shape the Broadway Musical that would be called Movin’ Out. In the lead role, he received both Tony and Grammy nominations

It wasn’t long before symphony orchestras discovered Michael’s talents and audience appeal. He accepted his first orchestral booking, “Michael Cavanaugh – The Songs of Billy Joel and More,” which debuted in April 2008 with the Indianapolis Symphony and continues to tour today. In October 2008, he signed with Warner/ADA to distribute his first CD, In Color. In June 2010, Michael debuted his second symphony show in the Generations of Rock series titled “Michael Cavanaugh: The Songs of Elton John and More” and then debuted his third symphony show, “Singers and Songwriters: the Music of Paul Simon, Neil Diamond and James Taylor,” in 2012. In 2015, he debuted his fourth symphony show: “Rockin’ Christmas with the Pops.” He continues to tour all four symphony productions along with performing with his band in performing arts centers and other public venues. “The Way I Hear It”, his second commercial album, was released in April 2017, and it debuted at #17 on the Billboard Heatseekers chart. In 2020, Michael Cavanaugh reached the POLLSTAR Live75. The top 75 active touring acts in the country.

FORT WORTH SYMPHONY ORCHESTRA | 17

Friday, January 26, 2024 at 7:30 PM Saturday, January 2024 at 7:30 Friday, January 26,27, 2024 at 7:30 PMPM Sunday,January January27, 28,2024 2024atat7:30 2:00PM PM Saturday, Bass Performance Sunday, January 28, 2024 atHall 2:00 PM Fort Worth, TX Bass Performance Hall Fort Worth, TX Fort Worth Symphony Orchestra John Edusei, conductor FortKevin Worth Symphony Orchestra Kevin John Edusei, conductor MAHLER Symphony No. 7 I. Langsam MAHLER Symphony No. 7 II. Nachtmusik I. Langsam Scherzo – Trio II.III. Nachtmusik Nachtmusik III.IV. Scherzo – Trio V. Rondo-Finale IV. Nachtmusik V. Rondo-Finale This program will be performed without intermission. This program will be performed without intermission. Video or audio recording of this performance is strictly prohibited. Patrons late will be during theisfirst convenient pause. Video or arriving audio recording of seated this performance strictly prohibited. Program and artists are subject to change. Patrons arriving late will be seated during the first convenient pause. Program and artists are subject to change.

18 | 2023/2024 SEASON Printed Monday, November 27, 2023

PROGRAM NOTES : GUSTAV MAHLER by Jeremy Reynolds SYMPHONY No. 7 I. Langsam II. Nachtmusik III. Scherzo — Trio IV. Nachtmusik V. Rondo-Finale DURATION: About 80 minutes PREMIERED: Prague, 1908 INSTRUMENTATION: Four flutes and two piccolos, three oboes and English horn, high clarinet in E‑flat, four clarinets in A and B‑flat, bass clarinet in A and B‑flat, three bassoons and contrabassoon, tenor horn, four French horns, three trumpets, three trombones, bass tuba, timpani, bass drum, cymbals, tamtam, triangle, glockenspiel, tambourine, cowbells, low‑pitched bells, two harps, mandolin, guitar, and strings “My Seventh is finished. I believe this work to be auspiciously begun and happily concluded. … “Only when I experience do I compose— only when I compose do I experience.” — Gustav Mahler (Born 1860, Bohemia; died 1911) SYMPHONY: An elaborate orchestral composition typically broken into contrasting movements, at least one of which is in sonata form. FURTHER LISTENING: Mahler: Symphony No. 5 Symphony No. 6 Symphony No. 8

As performing artists, musicians are no strangers to stage fright. Many a conservatory student has been known to wolf down a banana or antianxiety medication prior to an audition or concert. But what of composers? Gustav Mahler, that larger-than-life Austrian perfectionist, took to his bed physically ill prior to the premiere of his seventh symphony, so nervous was he that the public wouldn’t appreciate or follow its complex imaginings. Mahler’s wife, Alma, recorded the runup to the Prague premiere in her memoir: “I arrived in time for the last rehearsals... I found him in bed; he was nervous and unwell. His room was littered with orchestral parts, for his alterations were incessant in those days.” As rehearsals progressed, he gained confidence and his health improved, though audiences were indeed tepid in their response to the music. The symphony is in five great movements. Mahler had completed sketches for the second and fourth, both titled “Night Music,” later inserting a shadowy scherzo between them and a pair of expansive march movements to bookend them. There is no “program” for the symphony — it is largely abstract, making its towering architecture and frequent and abrupt tonal shifts perplexing to hear. The composer’s only interpretive clue was to describe the symphony as “Three night pieces; the finale, bright day. As foundation for the whole, the first movement.” Continued on Page 20 FORT WORTH SYMPHONY ORCHESTRA | 19

Program Notes Continued MAHLER, p. 18 And what a first movement it is — the idea for the opening came to Mahler while he was being rowed across a lake. “At the first stroke of the oars, the theme (or rather the rhythm and character) of the introduction to the first movement came into my head — and in four weeks the first, third, and fifth movements were finished,” he wrote. (Mahler, already an acclaimed conductor with a growing family, reserved his summers for composition at a country retreat.) The rhythm here is deep and powerful, suggesting an inexorable funeral march. The melody is primarily in horn and brass at first, but several minutes in the character shifts to a gentler, more expressive theme in a major key in the violins. Before long, the character of the first theme returns, and Mahler spends the remainder of this opening movement combining and transforming these themes in different keys and styles, often with sudden mood swings that would have surprised listeners. The second movement, ostensibly another march, begins with a pastoral call and response in the horns, with the second horn muted to give the impression of distance. Night music, or serenades, were things of romance and of the unknown. Fittingly, the music pivots in style and character in surprising manners, ever delightful, before the middle scherzo, thinly scored and spectral, emerges from the timpani and low strings. This movement 20 | 2023/2024 SEASON

is wispy and eerie, a song in the winds accompanied by skittering strings and an irregular, waltzing accompaniment in low strings and brass. The middle section, marked by more substantial scoring, is less ethereal, but it is also fleeting — the movement closes as it opens. Mahler describes the fourth movement as follows: “Heavy with passion, the violin solo falls, like a turtledove aswoon with tenderness, down onto the chords of the harp. For a moment one hears only heartbeats. It is a serenade, voluptuously soft, moist with languor and reverie, pearly with the dew of silvery tears falling drop by drop from guitar and mandolin.” Where the second movement marched in watchful patrol, this movement abandons itself to the pleasures of nocturnal romance, clarinets cooing softly throughout. The finale kicks off with racing drums and brass, a bright brilliant fanfare to close out this massive work. The character of this music is nothing like the preceding movements — its closest analog, the first movement, is far more dour and circumspect than this flashing, good-humored musical exploration. The unifying concept throughout this work seems to be sudden contrast, surprising to the ear and only understood through intense analysis of the score. The finale achieves this with sunny jocularity, before, finally, music from the first movement returns to help close off the seventh symphony.

Friday, February 09, 2024 at 7:30 PM Saturday, February 10, 2024 at 2:00 PM Will Rogers Auditorium Fort Worth, TX Friday, February 09, 2024 at 7:30 PM Fort Worth Symphony Orchestra Saturday, February 10, 2024 at 2:00 PM Taichi conductor WillFukumura, Rogers Auditorium Fort Worth, TX

Disney Princess ▬ The Concert Fort Worth Symphony Orchestra The Princess Overture Taichi Fukumura, conductor

Prologue: The of the Fairy Godfairy Disney Princess ▬ Legend The Concert

Robert Lopez and For the First Time in Forever Princess Kristen Anderson-Lopez The from FrozenOverture

Prologue: Legend of the Fairy Godfairy Alan Menken When Will The My Life Begin Lyrics by Glenn Slater from Tangled Robert Lopez and For the First Time in Forever Kristen Anderson-Lopez from Frozen Matthew Wilder Reflection Lyrics by David Zippel from Mulan Alan Menken When Will My Life Begin LyricsMandel by Glenn Slater fromthe Tangled Alex Touch Sky Lyrics by Mark Andrews from Brave Matthew Wilder Reflection LyricsMenken by David Zippel from MulanWorld Alan Part of Your Lyrics by Howard Ashman from The Little Mermaid Alex Mandel Touch the Sky Lyrics by Mark Andrews from Brave Classic Princess Medley Alan Menken Menken of Your World Alan IPart Won't Say (I'm in Love) Lyrics by by David Howard Ashman from Hercules The Little Mermaid Lyrics Zippel from ClassicPalace Princess Medley Benj Pasek and These Walls / Speechless Justin Paul from Aladdin (2019 Live-Action Film) Alan Menken I Won't Say (I'm in Love) LyricsMenken by David Zippel from Hercules Alan A Whole New World Lyrics by Howard Ashman from Aladdin (1992 Animated Film) Benj Pasek and These Palace Walls / Speechless Justin Paul from Aladdin (2019 Live-Action Film) Hans Zimmer / Lebo M Shadowland Lyrics by Mark Mancina from The Lion King (1997 Musical) Alan Menken A Whole New World Lyrics byLopez Howard Aladdin (1992 Film) Robert andAshman Allfrom is Found / Into theAnimated Unknown Kristen Anderson-Lopez from Frozen 2 Hans Zimmer / Lebo M Shadowland Lyrics by Mark Mancina from The Lion King (1997 Musical) INTERMISSION Robert Lopez and All is Found / Into theSYMPHONY Unknown ORCHESTRA | 21 FORT WORTH Kristen Anderson-Lopez from Frozen 2

Printed Tuesday, November 28, 2023

INTERMISSION

Benj Pasek and Justin Paul

These Palace Walls / Speechless from Aladdin (2019 Live-Action Film)

Alan Menken A Whole New World Lyrics by Howard Ashman from Aladdin (1992 Animated Film) Hans Zimmer / Lebo M Shadowland Disney Princessfrom ▬ The [continued] Lyrics by Mark Mancina TheConcert Lion King (1997 Musical) Robert Lopez and All isHow Found / Into the Unknown Alan Menken That's You Know Kristen Anderson-Lopez from Frozen 2 Lyrics by Stephen Schwartz from Enchanted

Princess ▬anThe Concert Robert LopezDisney and Love isINTERMISSION Open Door [continued] Kristen Anderson-Lopez from Frozen Printed Tuesday, November 28, 2023 Alan Menken That's How You Know Lin-Manuel Miranda FarEnchanted I'll Go Lyrics by Stephen SchwartzHowfrom and Marc Mancina from Moana Robert Lopez and Love is an Open Door Alan Menken Kristen Anderson-Lopez Mother fromKnows Frozen Best Lyrics by Glenn Slater from Tangled Lin-Manuel Miranda How Far I'll Go Alan I Seefrom theMoana Light and Menken Marc Mancina Lyrics by Glenn Slater from Tangled Alan Menken Mother Knows Best Robert Lopez and In Summer Lyrics by Glenn Slater from Tangled Kristen Anderson-Lopez from Frozen Alan Menken I See the Light Alan Menken Colors the Wind Lyrics by Glenn Slater fromofTangled Lyrics by Stephen Schwartz from Pocahontas Robert Lopez and In Summer Stephen to the Past Kristen Flaherty Anderson-Lopez Journey from Frozen Lyrics by Lynn Ahrens from Anastasia Alan Menken Colors of the Wind Randy Lyrics Newman by Stephen SchwartzAlmost fromThere Pocahontas from The Princess and the Frog Stephen Flaherty Journey to the Past Alan Menken Belle / Beauty and the Beast Lyrics by Lynn Ahrens from Anastasia Lyrics by Howard Ashman from Beauty and the Beast Randy Newman Almost There Robert Lopez and Let Itfrom Go The Princess and the Frog Kristen Anderson-Lopez from Frozen Alan Menken Belle / Beauty and the Beast Lyrics by Howard Ashman from Beauty and the Beast Video or audio recording of this performance is strictly prohibited. late will seated during the first convenient pause. RobertPatrons Lopez arriving and Letbe It Go Program and artists are subject to change. Kristen Anderson-Lopez from Frozen 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.

Printed Tuesday, November 28, 2023

22 | 2023/2024 SEASON

Printed Tuesday, November 28, 2023

©Disney

ARTIST PROFILES

deGuzman

Levy

Rauhala

van der Pol

Winters

Lissa deGuzman was last seen in the Wicked National Broadway Tour as the first Filipina actress to play ‘Elphaba.’ Prior to Wicked, she was in Aladdin on Broadway after playing ‘Princess’ Jasmine on the First National Tour. She made her Broadway debut as ‘Ann Darrow’ in King Kong. Following her Broadway debut, she appeared in the world premiere of Bliss starring Mario Cantone at the 5th Avenue Theatre in Seattle, WA. Some favorite regional credits include Fiddler on the Roof, West Side Story, and Chasing Rainbows. @lissadeguz Adam J. Levy is currently in Broadway’s Moulin Rouge and was last seen in the first national tour of Waitress. He is a proud OG member of Broadway Princess Party and also serves as Associate Producer for their production of Disney Princess – The Concert. He appeared alongside Drew Gehling in the world premiere of the musical, Dave, helmed by Tina Landau at Arena Stage in Washington, D.C. His New York and regional credits include Fiddler on the Roof, The Light in the Piazza, A Chorus Line, The Way We Get By, Hairspray, Lysistrata Jones, and Merrily We Roll Along. He has also performed alongside symphony orchestras across the nation, including the National Symphony Orchestra at the Kennedy Center, New York Philharmonic and the Long Beach Symphony. Adam can be seen in the PBS documentary, Broadway or Bust, chronicling his journey at The Jimmy Awards in NYC. @adamjlevy Benjamin Rauhala is one of the Broadway community's most trusted music directors and collaborators. He is the music supervisor, co-creator, and ‘Fairy Godfairy’ of Disney Princess - The Concert, which has been thrilling audiences internationally since October of 2021. He worked as an arranger on the opening numbers of the 2022 and 2023 Tony Awards as well as the 2023 BAFTA Film Awards for Academy Award winner Ariana DeBose, who he has collaborated closely with since 2012. Rauhala has toured the world since 2014 as the music director for Jeremy Jordan, the Tony-nominated star of Broadway's Newsies, and in 2020, he was named 'Best Musical Director' at the Broadway World Cabaret Awards. He has performed with The Boston Pops, the National Symphony Orchestra, the Qatar Philharmonic Orchestra, and the Firdaus Orchestra, and in February FORT WORTH SYMPHONY ORCHESTRA | 23

of 2023 he headlined a sold-out concert of his arrangements at London’s Cadogan Hall. His Broadway credits include Fiddler on the Roof, American Psycho, and Pippin. Off-Broadway he worked on Hit List, The Secret Life of Bees, Alice by Heart, and Joan of Arc: Into The Fire. His pronouns are he/ him/his. Follow him @brauhala Anneliese van der Pol is a TV icon of the millennial generation, known for portraying ‘Chelsea Daniels,’ Raven-Symoné’s best friend, on Disney Channel's record-breaking series, That’s So Raven and Raven's Home. On Broadway, Anneliese was the final actress to play 'Belle' in Disney's Beauty and the Beast alongside Donny Osmond, when it closed at The Lunt-Fontanne Theatre in 2007. Other NY and regional theatre credits include: 'Kathy' in Vanities (Second Stage) where she originated the song "Cute Boys with Short Haircuts," 'Millie' in Thoroughly Modern Millie (Prism Theatre, TX), 'Esther' in Meet Me in St. Louis (TUTS), 'Laurey' in Oklahoma (Austin Musical Theatre), and 'Eva Peron' in Evita (Buena Civic Light). Anneliese has recorded numerous songs with Sh-K-Boom Records as well as her favorite single “Over It” with Radio Disney. Most recently, she’s been having a blast touring the US (and world!) with Disney Princess – The Concert! @anneliesevanderpol Syndee Winters made her Broadway debut as future-queen ‘Nala’ in Disney’s The Lion King – a role she reprised in 2019 when she had the honorable opportunity to meet Sister Nala,’ Beyonce, in preparation of The Lion King live-action film. Syndee’s other Broadway credits include Motown the Musical, Pippin, and “working it” as all three Schuyler Sisters in the smash hit Hamilton. On television, she’s been featured on NBC Live Jesus Christ Superstar with EGOT recipient John Legend, and as ‘Ms. Smiley’ on Law & Order SVU, where she interrogated Lieutenant Olivia Benson (Mariska Hargitay) on her parenting methods! Inspired by the art of storytelling, Syndee’s latest project, an R&B Duo “Butterfly Black” with GRAMMY®-winning bassist Ben Williams, has everyone falling in love with their latest EP out now available on iTunes, Spotify, and all digital platforms. You can also hear her voice on tracks by artists such as Snoop Dogg, Big Daddy Kane, and Grandmaster Flash. Offstage, Syndee founded ROAR School, a performance development workshop that equips artists to be Resourceful, Optimistic, Authentic, and Reliant. Through her instruction, young artists learn to adapt to any environment throughout their performing journey; combining creativity, discipline, and mindfulness, ROAR School has transformed the skills of students all over the world! @ SyndeeWinters

24 | 2023/2024 SEASON

Ways to Give Annual Fund Your generous gift to the annual fund allows the FWSO to continue bringing the joy of music to more than 150,000 adults, students, and children through an average of 125 performances each season. Annual fund donors are vital to the FWSO, which is why we show our appreciation by offering annual fund donors access to a range of exclusive benefits beginning at the $100 membership level. The FWSO also makes it easy to give in the way that best fits your lifestyle! Make a one-time donation to the annual fund, or join Metronome—the FWSO’s monthly giving program that helps us keep a steady tempo year-round.

Tribute Gifts Celebrate or commemorate friends, family, or loved ones by making a tribute gift to the FWSO in their honor. A special letter acknowledging your donation is then sent to the honoree or the honoree’s next of kin to inform them of your thoughtful and generous act.

Brooks Morris Society Gain entry to the Brooks Morris Society and ensure your legacy leaves and impact by investing in the future of the FWSO through a charitable bequest.

Endowment Fund Established in 1984, the FWSO’s endowment fund was established in order to provide an additional source of financial security for our institution. Gifts to the endowment fund ensure that the rich artistic traditions of the FWSO are secured in perpetuity as a part of the city’s cultural fabric for generations to come.

Donate Today! Scan to Donate

To learn more about donor benefits and ways to give to the FWSO, please visit our website, fwsymphony.org/support/personal-giving or call the FWSO’s Donor Services Team at (817) 665-6603. FORT WORTH SYMPHONY ORCHESTRA | 25

Board of Directors Officers 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+ John Broude Karen Burchfield+ Anne Carvalho Dr. Joseph Cecere Brenda Cline Dr. Mary Costas Barbara Cox Juana-Rosa Daniell Tim Daniels Mitzi Davis Dr. Asad Dean+ Dr. Tom Deas Dr. Jeffrey G. Detweiler Joseph DeWoody Willa Dunleavy Brandon Elms Dr. Jennifer Freeman+ Charlotte French Gail Aronoff Granek 26 | 2023/2024 SEASON

Lee Hallman+ Aaron Howard+ Kim Johnson 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 Don C. Plattsmier+ Dana Porter+ Don Reid Jean Roach+ Henry Robinson+ Jude Ryan Alann B. Sampson+ Jeff Schmeltekopf Dr. Russ Schultz Kal Silverberg Whit Smith Clare Stonesifer+ Jonathan T. Suder+ Carla Thompson+ Dr. Amy Tully John Wells+ Dr. James Williams J.W. Wilson+ Gerry Wood

Joan Friedman Tera Garvey John B. Giordano Genie Guynn Barry L. Green Kathleen Hicks Robert L. Jameson Teresa King Michelle Marlow Colin McConnell Dr. Till Meyn Erin Moseley Frasher H. Pergande 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*

Emeritus Council Marvin E. Blum Dr. Victor J. Boschini, Jr. Gail Cooke Vance A. Duffy Katie Farmer

+ Executive Committee Member * Denotes Deceased

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 Maestro’s Level $150,000+

Artist’s Level $10,000- $24,999

Mrs. Mercedes T. Bass Mr. & Mrs. J. Luther King, Jr. / Luther King Capital Management John Wells & Shay McCulloch-Wells

Carol Margaret Allen Sasha and Edward P. Bass Megan & Victor Boschini Mr. & Mrs. Douglas K. Bratton James Brooks Barbara A. & Ralph F. Cox Drs. Jeff & Rosemary Detweiler Dr. Jennifer Freeman Gary & Judy Havener Matthew & Kimberly Johnson Dee Kelly Foundation Priscilla & Joe Martin Deborah Mashburn & David Boddie Dr. & Mrs. Stuart D. McDonald Ellen F. Messman Nesha & George Morey Stephen & Brenda Neuse Estate of Virginia & James O’Donnell Mrs. Susan S. Pratt Don & Melissa Reid Tim and Clare Stonesifer

Principal Guest Conductor’s Level $50,000- $149,999 Ms. Marianne M. Auld and Mr. Jimmy Coury Mr. & Mrs. William S. Davis; Davoil, Inc. Aaron Howard & Corrie Hood-Howard Mrs. Louella Martin

Concertmaster’s Level $25,000- $49,999 Connie Beck & Frank Tilley Mr. & Mrs. Ronald Koonsman Nancy & Don Plattsmier Alann Bedford Sampson

For the full donor listing, please visit fwsymphony.org/support/donor-listing As of November 27, 2022 to November 27, 2023. * Denotes deceased

FORT WORTH SYMPHONY ORCHESTRA | 27

Jonathan and Medea Suder; MJR Foundation Mr. Gerald E. Thiel Mr. & Mrs. J.W. Wilson

Benefactor $5,000- $9,999 Mr. & Mrs. Tull Bailey Ashli & Todd Blumenfeld Greg & Pam Braak Debbie Brooks; DFW Musicians Services LLC Mr. & Mrs. Michael Burchfield Orlando & Anne Carvalho Mary Cauble Dr. and Mrs. Joseph C. Cecere, DMD Sue & John Allen Chalk, Sr. Brenda & Chad Cline Mr. John & Dr. Mary Costas, in honor of their grandchildren Dean & Emily Crocker Dr. & Mrs. Atlee Cunningham, Jr. Anonymous Margaret & Craig Dearden C. Edwards & R. Schroeder Mr. & Mrs. Kirk French Gail Aronoff Granek Susan & Tommy Green Eugenie Guynn Ms. Nina C. Hutton Tim & Misty Locke Katherine Lummis Dr. and Mrs. Scott Marlow Berlene T. & Jarrell R. Milburn Mr. & Mrs. Richard W. Moncrief Musicians of the Fort Worth Symphony Mr. & Mrs. Thomas B. Reynolds Jeff & Judy Schmeltekopf Dr. & Mrs. Russ A. Schultz Kal & Karen Silverberg Ms. Patricia A. Steffen

Dr. Richard Turner Dr. James C. Williams Mr. & Mrs. Mitchell Wynne

Contributor $3,000- $4,999 Ellen & Larry Bell Mr. Bill Bond Judge Tim & Celia Boswell John Broude & Judy Rosenblum Mrs. Jeanne Cochran Gary Cole Susan Jackson Davis Dawn Ellison Doug & Carol English Gary Glaser and Christine Miller Steve* & Jean Hadley Dr. Christy L. Hanson Richard Hubbard, M.D. Gordon & Aileen Kanan Art & Cheryl Litke Anonymous In memory of Marie A. Moore Dr. William & Mary Morton Mr. & Mrs. Omas Peterson Ms. Jane Rector Dr. Deborah Rhea & Ms. Carol Bollinger Rosemary Riney Jude & Terry Ryan Mary C. Smith; Clark Educational Services Jim & Judy Summersgill Mary & Reuben Taniguchi

Sustainer $2,000- $2,999 Ms. Trina Krausse Dr. & Mrs. Martin F. Conroy John & Anita O’Carroll John* & Camille Thomason Lynne B. Prater

For the full donor listing, please visit fwsymphony.org/support/donor-listing As of November 27, 2022 to November 27, 2023. * Denotes deceased

28 | 2023/2024 SEASON

Gene Walker and Marianna Smith Stuart Yarus & Judith Williams Mr. & Mrs. David R. Atnip Suzy Williams & John Williams Shannon McGovern H. Paul Dorman Anonymous Mr. and Mrs. Laurence Cooke Dr. Mary Alice Stanford & Mr. Don Jones Mary Pencis Bill & Jeanne O’Connor Dr. & Mrs. Lincoln Chin Mr. & Mrs. Robert L. Jameson Emmet G. & Judith O. Smith Laurie & Lon Werner Anonymous Mr. & Mrs. Ben J. Fortson, Jr. William & Kathryn Adams Susan & James Smith Linda Brookshire Sallie & Joseph Tarride Dotty & Gary Hall McCraw Family Charitable Fund Punch Shaw & Julie Hedden James & Mary Ann Harris Mr. John Molyneaux & Ms. Kay West Mr. and Mrs. Jacob M. Huffman III Frances Jean Browning Daniel & Soraya Caulkins Tzu-Ying & Michael Shih in tribute of Mr. & Mrs. William S. Davis Michelle & Reagan Horton Joy & Johnnie Thompson Dr. Stuart N. Thomas; In memory of Dr. Gaby Thomas Arthur & Carolyn Wright Honorable H.D. Clark III and Mrs. Peggy Sue Branch-Clark Mary Frances & George Barlow Charitable Fund at the NTCF Henry & Diana Burks

Marilyn Wiley & Terry Skantz Hon. & Mrs. Chris Taylor David Turpin Harris Franklin Pearson Private Foundation Virginia Street Smith William Proenza Angela L. Evans John Williams & Suzy Williams Amy Faires & Swang Lin Dr. D.D. (Darcy) Sety In memory of Laura Elizabeth Bruton Dr. Oscar L. Frick Dr. Joyce Beck Cecile Montgomery Charitable Account Dr. & Mrs. William H. Gibson Ms. Clara Gamache Thomas Sutter Rhonda McNallen Venne

For the full donor listing, please visit fwsymphony.org/support/donor-listing As of November 27, 2022 to November 27, 2023. * Denotes deceased FORT WORTH SYMPHONY ORCHESTRA | 29

Institutional Giving

$500,000 and above Amon G. Carter Foundation Mr. and Mrs. John Kleinheinz Sid W. Richardson Foundation

$150,000- $499,999 Mary Potishman Lard Trust William E. Scott Foundation

$50,000- $149,999 American Airlines Anonymous The Eugene McDermott Foundation Adeline & George McQueen Foundation

$25,000- $49,999 Helene Bare & W. Glenn Embry Charitable Trust Texas Commission on the Arts Fort Worth Tourism Public Improvement District

$10,000- $24,999 Alcon BNSF Railway Bratton Family Foundation | Mr. and Mrs. Douglas K. Bratton Carl B. & Florence E. King Foundation City Club of Fort Worth

North Texas Giving Day Fund of the Communities Foundation of Texas George & Jeanne Jaggers Charitable Trust Lowe Foundation MJR Foundation Piranesi The Roach Foundation The Thomas M., Helen McKee & John P. Ryan Foundation

$5,000- $9,999 Atmos Energy Fifth Avenue Foundation Marguerite Bridges Charitable Trust Symphony League of Fort Worth The Worthington Renaissance Fort Worth Hotel

$2,000- $4,999 Fash Foundation Kimbell Art Foundation Neiman Marcus Fort Worth Once Upon A Time... Robert D. & Catherine R. Alexander Foundation Tanner and Associates, PC

As of November 27, 2022 to November 27, 2023. For the full donor listing, please visit fwsymphony.org/support/donor-listing

30 | 2023/2024 SEASON

Endowment Giving $5,000,000 and above

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

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

$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

$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

$25,000- $49,999

BNSF Railway Estate of Dorothy Rhea Qurumbli Foundation Mr. & Mrs. Mark L. Hart III Drs. Jeff & Rosemary Detweiler

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

$100,000- $249,999

$10,000- $24,999

$250,000- $499,999

Alcon American Airlines Amon G. Carter Foundation Althea L. Duersten Estate of Peggy L. Rayzor Mr. & Mrs. Ben J. Fortson, Jr.

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*

* Denotes deceased

FORT WORTH SYMPHONY ORCHESTRA | 31

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

32 | 2023/2024 SEASON

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 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 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 Symphonic Insight * Denotes deceased

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 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

FORT WORTH SYMPHONY ORCHESTRA | 33

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

34 | 2023/2024 SEASON

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.

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JANUARY 12 - FEBRUARY 3 • Celebrate Fort Worth’s Western Heritage • Action-packed rodeo • Mattress Firm Petting Zoo • Carnival/Midway excitement • Live music at the Bud Light Roadhouse • Shopping galore

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When we’re all connected, we’re in it together. HSC. ASK BRAVELY. TREAT BOLDLY. 22_163_OMC

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TCU’s College of Fine Arts is guiding the next generation of creative leaders and nurturing innovation and originality.

Areas of study in the College of Fine Arts include: • Art • Dance • Fashion Merchandising

• Graphic & Interior Design • Music • Theatre

Learn How To Put Your Passion Into Practice finearts.tcu.edu

More care when and where you need it most. At Texas Health, we’re proud to say more North Texans choose us than any other health care system. From heart and vascular care to coughs and colds, we’re dedicated to giving you more ways to access your health care than ever before. With our ever-expanding hospital and urgent care locations to our video visits and at-home care options, we’re dedicated to making your health care more convenient so you can spend less time on figuring out your health care and more time on what matters most. That’s how Texas Health cares more.

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