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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.
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Letter from the Chairman 3 Letter from the President & CEO 4 About Robert Spano 5 About Kevin John Edusei 6 About Taichi Fukumura
EXECUTIVE OFFICE
Keith Cerny, Ph.D. President and CEO
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Fort Worth Symphony Orchestra Roster 9 Program 1: Classical and Neo-Classical: Prokofiev, Beethoven, Mozart, and Stacy Garrop
Artist Profiles: Dame Jane Glover Benjamin Baker Stacy Garrop
17 Program 2: Twist and Shout: Music of the Beatles
Artist Profile: Byron Stripling 20 Program 3: Heroes at the Symphony
Artist Profiles: Taichi Fukumura Michael Shih 21 Program 4: Edusei Conducts!
Artist Profiles: Kevin John Edusei Michael Shih Allan Steele 24 Executive Committee 24 Board of Directors
Juanita Delgado Executive Assistant
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
Meagan Hemenway Vice President of Development
Jennifer Yorek Director of Development
Courtney Mayden Grants Manager
Malia Lewis Development Associate Veronika Perez Development Coordinator
FINANCE
Bennett Cepak Vice President of Finance and Chief Financial Officer Lucas Baldwin Staff Accountant James Gonzalez Controller
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 Ticket Services Representative
Katie Kelly Senior Manager - Marketing & Communications
Josselin Garibo Pendleton Senior Manager, Education & Community Programs
Stephanie Hartley Marketing and Communications Specialist
Sydney Palomo Box Office Associate
Paul Taylor Box Office Associate
Megan Brook Senior Manager Analytics Marketing and Strategy
RO B ER T SP ANO, MUSIC DI RE CTOR K E V IN JOHN EDU S EI , P R IN CIPAL GUE ST COND U C TOR K E ITH CERNY, Ph.D., PRESIDENT AND CE O Keith Cerny,Ph.D., President and CEODear 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 already enjoyed many highlights, with more to come. In addition to an exhilarating Symphonic and Pops lineup, we are pleased that internationally celebrated cellist Yo-Yo Ma will be the star of the FWSO Gala on February 25, 2023. Mark your calendars and reserve your event sponsorship, and concert tickets now for this one-night-only event. It is certain to sell out.
In addition to great music, the Fort Worth Symphony Orchestra is a vital resource of music education for over 60,000 students and families in FWISD and North Texas. Music is a catalyst for learning, helping to promote concentration, memorization and a broader ability to learn and retain information. These programs are not just developing the next generation of musicians, they are contributing to the development of strong community leaders, cultural supporters, and arts advocates. Your continued support and patronage helps make this possible and we applaud your commitment to this important work.
During this season of thanks, the Board of Directors and I recognize you, our donors, patrons, and volunteers, for your sincere loyalty, enthusiasm, and encouragement. We are thrilled you are joining us for this concert weekend.
With much appreciation and gratitude,
T. Bass Chairman of the Board of Directors
Happy New Year! On behalf of all of us at the FWSO, we hope you had a happy and enjoyable Holiday break, and are looking forward to the year ahead.
Last fall, our new Music Director Robert Spano made his official debut with the FWSO, and conducted a series of critically acclaimed concerts featuring a wide range of repertoire. Maestro Spano also made his debut on the Chamber Music series at the Kimbell Art Museum, performing works of Brahms and a song cycle of his own composition with mezzo-soprano Kelley O’Connor. In February of this year, we welcome our new Principal Guest Conductor Kevin John Edusei for his debut with the FWSO, in anticipation of his two weekends of performances on the Symphonic series in 2023-2024. 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. It is an exciting season for the FWSO!
In January, we will announce the 2023-2024 season, which continues our emphasis on extraordinary guest artists and conductors, more theatrical and visual experiences, important new artistic collaborations, and world premieres. We will also continue to feature our own exceptional musicians as soloists with the orchestra. This month, I am especially pleased to welcome the eminent conductor Dame Jane Glover for her FWSO debut. Then, headlining our gala in February will be one of the finest artists performing today, cellist Yo-Yo Ma, in a program conducted by Maestro Spano.
On our Pops series, we will continue to bring you guest performances by outstanding solo artists and ensembles. We are expanding our popular movie series, and adding more frequent performances of video game music and immersive experiences to our programming. We will also continue to present our Chamber Music series at the Kimbell Art Museum, featuring Maestro Spano and members of our orchestra.
We look forward to seeing you at the Symphony!
Yours sincerely,
Keith Cerny, Ph.D. President and CEO
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 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.
German conductor Kevin John Edusei is sought-after the world over, dividing his time equally between the concert hall and opera house. He is praised repeatedly for the drama and tension that he brings to his musicmaking, for his attention to detail, sense of architecture, and the fluidity, warmth and insight that he brings to his performances. He is deeply committed to the creative elements of performance, presenting classical music in new formats, cultivating audiences, introducing music by under-represented composers and conducting an eclectic range of repertoire from the baroque to the contemporary.
In the 2022/23 season, Edusei makes his debut with many orchestras across the UK and US, including the London Philharmonic, BBC Symphony, Hallé, Utah Symphony, Cincinnati Symphony and National Symphony (Washington) orchestras amongst others and he returns to the London Symphony, the City of Birmingham Symphony, Baltimore and Colorado Symphony orchestras. With the Chineke! Orchestra he returns to the BBC Proms for a televised performance of Beethoven 9 and also performs at Festivals in Snape, Hamburg, Helsinki and Lucerne. In recent seasons he has conducted many of the major orchestras across the UK, Holland, Germany and the US. He is the former Chief Conductor of the Munich Symphony Orchestra and 22/23 marks the start of his tenure as the Principal Guest Conductor of the Fort Worth Symphony Orchestra (Texas).
In the 2022/23 season Edusei also makes his debut with the Royal Opera House conducting La Boheme with Juan Diego Florez and Ailyn Pérez. He recently made his debut at the
English National Opera and previously has conducted at the Semperoper Dresden, Hamburg State Opera, Hannover State Opera, Volksoper Wien and Komische Oper Berlin. During his time as Chief Conductor of Bern Opera House, he led many new productions including Britten Peter Grimes, Strauss Salome, Bartók Bluebeard’s Castle, Wagner Tannhäuser and Tristan and Isolde, Janáček Kátya Kábanová and a cycle of the Mozart Da-Ponte operas.
In 2004 Edusei was awarded the fellowship for the American Academy of Conducting at the Aspen Music Festival by David Zinman, in 2007 he was a prize-winner at the Lucerne Festival conducting competition under the artistic direction of Pierre Boulez and Peter Eötvös, and in 2008 he won the First prize at the International Dimitris Mitropoulos Competition.
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
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.
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.
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
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
DJ Cheek, Principal
Linda Numagami, Associate Principal° HeeSun Yang, Assistant Principal Joni Baczewski
Sorin Guttman
Aleksandra Holowka
Dmitry Kustanovich Daniel Sigale
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
William Clay, Principal Mr. & Mrs. Edward P. Bass Chair
Paul Unger, Assistant Principal Jeffery Hall
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 Pam Holland Adams
PICCOLO
Pam Holland Adams
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
BASSOON
Joshua Elmore, Principal Mr. & Mrs. Lee M. Bass Chair
Cara Owens, Assistant Principal Samuel Watson
CONTRA BASSOON Samuel Watson
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
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
STAGE MANAGER Branson White
ORCHESTRA PERSONNEL MANAGER
Joseph Dubas
ORCHESTRA LIBRARIANS
Christopher Hawn David Sterrett
*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.
Jan. 6-7, 2023 Bass Performance Hall Fort Worth, Texas
Fort Worth Symphony Orchestra Dame Jane Glover, conductor Benjamin Baker, violin Stacy Garrop, visiting composer
Prokofiev, Beethoven, Mozart, and Stacy Garrop
PROKOFIEV
Symphony No. 1 in D Major, Op. 25, “Classical Symphony”
I. Allegro con brio II. Larghetto III. Gavotte: Non troppo allegro IV. Finale: Molto vivace
BEETHOVEN
Violin Concerto in D Major, Op. 61
I. Allegro ma non troppo II. Larghetto III. Rondo: Allegro Benjamin Baker, Violin
STACY GARROP
MOZART
Spectacle of Light
Symphony No. 40 in G minor, K. 550
I. Molto allegro II. Andante
III. Menuetto: Allegretto; Trio IV. Allegro assai
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
SYMPHONY No. 1 in D MAJOR, Op. 25, “CLASSICAL SYMPHONY”
I. Allegro
II. Larghetto
III. Gavotte: Non troppo allegro
IV. Finale: Vivace
DURATION: Around 14 minutes
PREMIERED: Petrograd, 1918
INSTRUMENTATION: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings
“It seemed to me that had Haydn lived to our day he would have retained his own style while accepting something of the new at the same time. That was the kind of symphony I wanted to write: a symphony in the classical style. And when I saw that my idea was beginning to work, I called it the Classical Symphony.”
— Sergei Prokofiev (Born 1891, Russian Empire; died 1953)
CLASSICAL MUSIC: While the term “classical” music typically refers to all Western art music, the classical period is more narrowly defined as stretching from about 1730-1820. The “classical” style harkens back to clarity of structural form and emphasizes clean melodic lines and consonant harmonies.
NEOCLASSICAL MUSIC: A 20th century trend by which composers once again sought to return to aesthetics associated with “classicism,” now with new harmonic and structural tricks and techniques.
FURTHER LISTENING:
Prokofiev: Violin Concerto No. 1 in D Major Lieutenant Kijé (Suite)
See also: Igor Stravinsky: Octet for Wind Instruments
by Jeremy ReynoldsProkofiev always did have a bit of a chip on his shoulder. His various diary entries regarding the “Classical Symphony” evidence a prideful insouciance, a gleeful anticipation at exasperating his professors at the St. Petersburg Conservatory with the work’s style. “When our classically inclined musicians and professors (to my mind faux-classical) hear this symphony, they will be bound to scream in protest at this new example of Prokofiev’s insolence,” he once scribbled. “Look how he will not let Mozart lie quiet in his grave but must come prodding at him with his grubby hands, contaminating the pure classical pearls with horrible Prokofievish dissonances.”
What makes the music sound “classical?” A variety of idioms leap to mind. Quick shifts in dynamics from very loud to very soft. An emphasis on clear melody and countermelody that balance against sparse textures. Clean articulation throughout, as each instrumental entrance punctures easily through the texture. And, compared to Prokofiev’s music generally, a stark lack of dissonance in favor of harmonic consonance.
The first movement opens with a burst of energy before the bottom drops out — the bass instruments literally stop playing— and the violins careen along with a gleeful tune, the orchestra interjecting with rude, good-natured blasts. The primary difference between this neoclassical offering and an actual symphony by Mozart or Haydn has to do with the speed and variety of Prokofiev’s modulations. In addition to contrasting orchestral exclamations and whispers, the composer also moves through different keys with frenetic rapidity, sometimes into unexpected territory.
This gives the music a sense of unpredictability and color, apparent in the slower second movement. Here, the orchestra ticks along with a metronome-like pulse throughout as violins or winds soar above with a graceful tune. In the third movement, the Gavotte — a medium-paced French dance from the 18th century — the music leaps and twirls quite literally with huge interval jumps in the melody and recurring trills. Prokofiev began sketching the symphony on walks through the countryside while traveling to escape some of the turmoil of the 1917 Russian Revolution — a hint of that ungainly, rustic environment permeates the Gavotte in the form of soft drones in the bass instrument, customary in country dances of old.
(A quick aside, during this period, composing at a piano was considered passé — the mark of the master was to compose purely in one’s head as Prokofiev attempted with this symphony.)
As for the finale: pure, radiant joy. The composer took pains to avoid including the shadow of a single minor key triad, and as the music bubbles and burbles along, it maintains a sense of gaiety and good humor straight through to the final notes. Prokofiev concluded the diary entry referenced above as follows: “But my true friends will see that the style of my symphony is precisely Mozartian classicism and will value it accordingly, while the public will no doubt just be content to hear happy and uncomplicated music which it will, of course, applaud.”
A touch arrogant, perhaps, but history has proven him correct indeed.
I. Allegro ma non troppo
II. Larghetto
III. Rondo: Allegro
DURATION: About 42 minutes
PREMIERED: Vienna, 1806
INSTRUMENTATION: Flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, solo violin and strings.
“I have never thought of writing for reputation and honor. What I have in my heart must come out; that is the reason why I compose. ...
“Only the pure of heart can make a good soup.”
— Ludwig Van Beethoven (Born 1770, Germany; died 1827)
CONCERTO: A composition that features one or more “solo” instruments with orchestral accompaniment. The form of the concerto has developed and evolved over the course of music history.
SCALE: A graduated sequence of notes that divide an octave, which itself occurs when any given pitch frequency is doubled. Different scales, major and minor, for example, divide the scale along different mathematical sequences.
Beethoven: Piano Concerto No. 3 in C Minor
Symphony No. 6 in F Major (“Pastoral”)
Violin Sonata No. 9 in A Major (“Kreutzer”)
by Jeremy ReynoldsBeethoven’s best-known rhythmic device has to be the opening of his fifth symphony, which is thoroughly saturated with the famous “short-short-short-long” pattern that unifies the entire work into a coherent whole. Even as the mood and texture and melodies of the symphony shift and evolve over the course of that work, the new tunes are imbued with that same instantly recognizable rhythmic cell, tattooing the pattern into listeners’ ears.
This idea of making rhythm a more individuated, integral aspect of his compositions isn’t limited to the fifth symphony. Turning to the Violin Concerto’s opening, five knocking notes on the timpani form a nucleus around which the entire movement develops. It’s a simple, elegant gesture that leads into a sweet singing passage in the winds. Then, strings take up that knocking pattern once more, a clear indication to listeners that it’ll be a key component of the concerto as opposed to a mere introductory motif.
The rest of the movement unfolds with similar simplicity, as the next moment approaching anything melodic is an ascending D major scale, one of the foundational building blocks of European tonality. These three elements, the opening wind phrase, the five-knock rhythm and the scale, form the entire basis for this movement, which spins these motifs into fully twenty-five minutes of music. When the violinist enters, it’s to dance nimbly above these straightforward component ideas, embellishing and commenting and dialoguing with the orchestra as Beethoven cycles the tunes through a variety of moods and permutations, always retaining that straightforward frankness of the opening.
The work is famous now, but it flopped at the premiere, delivered admirably by the prodigy Franz Clement, an influential critic. He alleged that “while there are beautiful things in the concerto, the sequence of events often seems incoherent and the endless repetition of some commonplace passages could easily prove fatiguing.” It was only later through the concentrated effort of violinist Joseph Joachim that the work became a staple of the repertoire.
A slow second movement retains the first’s commitment to celebrating the fundamentals of Western harmony with a set of variations on an uncomplicated melody. The finale is more boisterous and virtuosic, still built from another basic musical building block — the arpeggio, or broken chord, here adapted into a sort of “hunting horn” theme — in rondo form. Rondos introduce and repeat a principal melody that alternates with contrasting episodes, grounding such works with restatements of their opening music. Here, a soloist can exercise creative techniques to differentiate the repeated music, a dynamic shift here or a change in attitude there. This internal memory helps listeners track the work’s action through to the close, a fiery burst of call and response with the soloist and orchestra intended to bring listeners leaping to their feet.
DURATION: About 6 minutes
PREMIERED: Chicago, 2021
INSTRUMENTATION: Flute and piccolo, two oboes, two bassoons, two horns, two trumpets, timpani, harpsichord and strings
“What it comes down to, for me, is that the most important musical parameters are form, the structure of the piece, and tension and relaxation.... that’s why storytelling is so appealing to me because I know what I want to do, I know how to move that tension, and if I see that story in my head, if I create a movie, I can literally make that shape match the form.”
— Stacy Garrop (Born 1969, U.S.)
PROGRAM MUSIC: Music of a narrative or descriptive kind; the term is often extended to all music that attempts to represent extra-musical concepts without resort to sung words. (Grove Dictionary of Music)
TONE POEM: A piece of orchestral music, typically one movement, based on an idea or story.
FURTHER LISTENING:
Handel: Music for the Royal Fireworks
Garrop: Goddess Triptych Shiva Dances
The Battle for the Ballot
Music is abstract, ephemeral and personal. Different fragments of melody and harmonic progressions light up different bits of listeners’ brains based on what they’ve heard and internalized previously. This can make it difficult to follow a “story” in music without lyrics or some sort of written gloss.
Then again, sometimes a shape is so clear it’s hard to hear it as anything other than what it is. Take Stacy Garrop’s Spectacle of Light. Strings blaze trails of fire with the timpani thunders shocking reports as the harpsichord flashes and glistens with each explosion, an exciting, convincing recreation of musical fireworks if there ever was one.
Garrop, based in Chicago, writes music regularly for top ensembles around the country ranging from the Dallas Symphony Orchestra, Chicago Opera Theater, the Pittsburgh Symphony Orchestra and more. She described the work as follows:
When Music of the Baroque commissioned me to compose a piece in honor of their 50th anniversary season, I was delighted that my new piece would premiere on a concert entitled Baroque Fireworks. But what aspect of Baroque fireworks should I explore? I found the answer on Music of the Baroque’s website. In perusing the webpage for the Baroque Fireworks concert, I was mesmerized by the page’s backdrop image, which looked to be a hand-drawn picture of a fireworks show. A little research uncovered that the image is an etching of a 1749 fireworks spectacle that took place on the River Thames in honor of Great Britain’s King George II. The king had signed the 1748 treaty at Aix-la-Chapelle that officially ended the War of Austrian Succession, and as was typical in this era, he wanted to celebrate with a grand show of music and fireworks. This is the very same event for which George Frideric Handel wrote Music for the Royal Fireworks.
I was intrigued by the manner in which the etching’s artist represented the path of each individual firework, starting with an upward trajectory of a golden streak of light that inevitably bends and falls back towards the earth, blooming into glittering specks before flickering out. This inspired me to find other depictions and etchings of Baroque fireworks, as well as to view numerous modern-day fireworks shows on YouTube to study how they rise, bloom, and overlap with each other to create a rich, complex, and fleeting tapestry of color. I realized that fireworks and music share an ephemeral nature: they both delight our senses before fading into memory.
Ultimately, I decided that Spectacle of Light would represent the experience of a fireworks show. The music starts with great anticipation as the crowd waits in darkness, then a single firework illuminates the sky, followed by a massive eruption of light, color, and sound. After this initial frenzied burst, the fireworks quiet down into a slower-paced, mesmerizing display of colors before building to a big, fiery ending. As a tip of the hat to Music of the Baroque, I worked a few salient elements of the baroque style into my own musical language, as well as found a few choice spots to add a few subtle hints of Handel’s Royal Fireworks.
SYMPHONY NO. 40 in G MINOR, K. 550
I. Molto allegro
II. Andante
III. Menuetto: Allegretto
IV. Finale: Allegro assai
DURATION: About 30 minutes
COMPLETED: 1788
INSTRUMENTATION: Flute, two oboes, two clarinets, two bassoons, two horns, and strings
“All I insist on, and nothing else, is that you should show the whole world that you are not afraid. Be silent, if you choose; but when it is necessary, speak—and speak in such a way that people will remember it.”
— 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.
SONATA FORM: A type of composition in three sections (exposition, development, and recapitulation) in which at least two themes or subjects are explored and developed throughout a movement.
Mozart: Don Giovanni
Symphony No. 41 in C major (Jupiter)
Symphony No. 39 in E-flat major The Magic Flute
Symphony No. 25 in G Minor
Brace yourself: The illuminati are real, and Mozart was one of them.
OK, so they weren’t the nefarious cabal of world-controlling megalomaniacs that the conspiracy theories point to nowadays. Historically, the group was an elitist rationalist faction of the Freemasons active from 1776 to 1785. They stood in opposition to the more occult-obsessed faction of this historic fraternal order, and both sought to sway political decisions by currying influence among societal elites with debatable levels of success. Unless that’s only what they want us to think.
Mozart began his apprenticeship at a Freemason lodge in 1784 and aligned himself with the rationalists, including masonic themes in famous works like The Marriage of Figaro and The Magic Flute. The operas include numerous references to the rhythm of the society’s super-duper secret triple-knock: shortlong — long. (The masons were a bit obsessed with ritual and secrecy, the natural parents of conspiracy theories.) Then again, such rhythms were already common in the theatre. It’s quite impossible to untangle for certain.
More generally, their musical ideals tended toward straightforward melody and accompaniment rather than dense polyphony or counterpoint, a defining characteristic of the famous Symphony No. 40. Late in life, Mozart composed a trilogy of symphonies, the crown jewel of his symphonic output, the No. 39, 40 and 41. This middle work, the “Great G minor,” is one of only two symphonies he wrote in a minor key. (The other is the No. 25, also in G minor, the “Little G minor.”)
Mozart’s music tends to have a natural ebullience, a charm and grace that continues to endear it to listeners even centuries removed. This particular symphony is famously relentless. The first theme in the opening movement is argumentative and urgent, though it soon yields to a softer, sighing second theme that echoes sweetly in the winds. Then it’s back into the storm and conflict.
Despite the ingenuity of his late compositional period, Mozart struggled to support his family. History may not be completely clear about his commitment to the ideals of the Illuminati, but the brotherhood he found indeed helped to keep his fortunes afloat. Extant letters to fellow Freemason Michael Puchberg reveal his desperation: “Fate is so much against me… that even when I want to, I cannot make any money. So it all depends, my only friend, upon whether you will or can lend me another 500 gulden. Oh god! I can hardly bring myself to send this letter.”
Back to the symphony, a sensual second movement provides contrast, much like the principal two themes of the first movement. The Menuetto returns to mood to stately severity, exaggerated to the point of pomposity. The finale is explosive, combative even. An opening statement, a simple rising arpeggio in the strings, is ripped to shreds by the full orchestra repeatedly before the movement begins cycling through harmonic sequences a breakneck pace. This movement is rhythmically more straightforward than the opening allegro, though it mirrors the traditional sonata form by positing a kinder second theme.
Acclaimed British conductor Jane Glover, named Dame Commander of the Order of the British Empire in the 2021 New Year’s Honours, has been Music of the Baroque’s music director since 2002. She made her professional debut at the Wexford Festival in 1975, conducting her own edition of Cavalli’s LʼEritrea. She joined Glyndebourne in 1979 and was music director of Glyndebourne Touring Opera from 1981 until 1985. She was artistic director of the London Mozart Players from 1984 to 1991, and has also held principal conductorships of both the Huddersfield and the London Choral Societies. From 2009 until 2016 she was Director of Opera at the Royal Academy of Music where she is now the Felix Mendelssohn Visiting Professor. She was recently Visiting Professor of Opera at the University of Oxford, her alma mater. Jane Glover has conducted all the major symphony and chamber orchestras in Britain, as well as orchestras in Europe, the United States, Asia, and Australia. In recent seasons she has appeared with the New York Philharmonic, the Cleveland Orchestra, the Philadelphia Orchestra, the Minnesota Orchestra, the San Francisco, Houston, St. Louis, Sydney, Cincinnati, and Toronto symphony orchestras, the Orchestra of St. Luke’s, and the Bamberg Symphony. She has worked with the period-instrument orchestras Philharmonia Baroque, and the Handel and Haydn Society. And she has made regular appearances at the BBC Proms.
In demand on the international opera stage, Jane Glover has appeared with numerous
companies including the Metropolitan Opera, Royal Opera, Covent Garden, English National Opera, Glyndebourne, the Berlin Staatsoper, Glimmerglass Opera, New York City Opera, Opera National de Bordeaux, Opera Australia, Chicago Opera Theater, Opera National du Rhin, Opera Theatre of Saint Louis, Luminato, Teatro Real, Madrid, Royal Danish Opera and Teatro La Fenice. A Mozart specialist, she has conducted all the Mozart operas all over the world regularly since she first performed them at Glyndebourne in the 1980s, and her core operatic repertoire also includes Monteverdi, Handel, and Britten. Highlights of recent seasons include The Magic Flute with the Metropolitan Opera, Alcina with Washington Opera, L’Elisir d’amore for Houston Grand Opera, Medea for Opera Omaha, Così fan tutte for Lyric Opera of Kansas City, The Turn of the Screw, Jephtha and Lucio Silla in Bordeaux, The Rape of Lucretia, A Midsummer Nightʼs Dream, Cosí fan tutte and Figaro at the Aspen Music Festival, Gluck’s Armide and Iphigenie en Aulide with Met Young Artists and Juilliard, Don Giovanni and The Magic Flute at Opera Theatre of Saint Louis, and Eugene Onegin, The Rake’s Progress, The Marriage of Figaro, L’incoronazione di Poppea, and the world premiere of Sir Peter Maxwell Davies’ Kommilitonen! at the Royal Academy of Music. Next season she returns to the Metropolitan Opera and Houston Grand Opera conducting The Magic Flute.
Future and recent-past engagements include her continuing seasons with Music of the Baroque in Chicago, her debut with Minnesota Opera (Albert Herring), her returns to the Philadelphia Orchestra, the Cleveland Orchestra, the Houston Symphony, the Orchestra of St Luke’s (at Carnegie Hall) and the London Mozart Players. In the 2019/2020 season she made debuts with the Bremen Philharmonic and the Malaysia Philharmonic. Next season she will make her debut with the Chicago Symphony.
Jane Glover’s discography includes a series of Mozart and Haydn symphonies with the London Mozart Players and recordings of Haydn, Mozart, Schubert, Mendelssohn, Britten, and Walton with the London Philharmonic, the Royal Philharmonic, and the BBC Singers. She is the author of the critically acclaimed books Mozartʼs Women and Handel in London. She holds a personal professorship at the University of London, is a Fellow of the Royal College of Music, an Honorary Member of the Royal Academy of Music, and the holder of several honorary degrees. In 2020 she was given the Gamechanger award by the Royal Philharmonic Society.
Violinist Benjamin Baker has moved audiences around the world with his musicianship. He has established a strong international presence with recent performances as far afield as Lebanon, Albania, Siberia, China, Australia, New Zealand, Colombia, Argentina, Venezuela, and throughout the United Kingdom and United States. Benjamin has performed as soloist with the Royal Philharmonic in London, English Chamber Orchestra, Royal Northern Sinfonia, London Mozart Players, Bristol Metropolitan Orchestra, Sinfonia Cymru in Wales, National Children’s Orchestra in Manchester, Auckland Philharmonia, Maui Pops Orchestra, and South Carolina’s Long Bay Symphony.
After winning First Prize and special performances prizes at the 2016 Young Concert Artists International Auditions, Benjamin’s first U.S. tour included recital debuts at the Kennedy Center in Washington D.C. and at New York’s Merkin Concert Hall. His other nationally and internationally significant awards and prizes include winning London’s Young Classical Artists Trust in 2013 and First Prize at the Windsor Festival International String Competition. Benjamin was also a Fellow at the Ravinia’s Steans Music Institute.
Benjamin has also given recitals at Wigmore Hall in London, in Ireland, performed multiple engagements at New York’s Caramoor Center, and appeared at the Ravinia Festival and Bridgehampton Chamber Music Festival. This season, he will perform as soloist with the Auckland Philharmonia, London Philharmonic Orchestra, Fort Worth Symphony Orchestra and Long Bay Symphony, will appear at the Nexus Chamber Music Festival, and will give recitals with noted performing organizations including Buffalo Chamber Music Society and Pepperdine University. In addition, this season sees the launch of Benjamin’s festival in Queenstown, New Zealand-At the World’s Edge Festival.
Benjamin’s recording “The Last Rose of Summer” on Champs Hill Records was featured on BBC Radio 3and Classic FM, and reached #22 on the charts the first week of release. In 2021, Delphian Records released his album ‘1942’ with pianist Daniel Lebhardt.
By popular demand, Benjamin has returned to New Zealand to play concerts and appear on radio and television broadcasts. For his devotion to charities for children, he is grateful to be an Honorary Member of the Rotary Club of Port Nicholson, and he created and led a special London Music Masters project for young violinists with dancer Cheryl McChesney, which explored the connection between music and movement.
Currently a resident of London, Benjamin studied at the Yehudi Menuhin School and with Natasha Boyarsky and Felix Andrievskyat the Royal College of Music, where he was awarded the Queen Elizabeth the Queen Mother Rose Bowl graduation prize. He plays a Tononi violin (1709) on generous loan, and is recipient of support from the Wallace Foundation and Carne Trust.
Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.
Garrop is a full-time freelance composer living in the Chicago area. She served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program(2018-2020), during which she composed The Transformation of Jane Doe and What Magic Reveals with librettist Jerre Dye. She also held a 3-year composer-inresidence position with the ChampaignUrbana Symphony Orchestra (2016-2019), funded by New Music USA and the League of American Orchestras. Theodore Presser Company publishes her chamber and orchestral works; she self-publishes her choral pieces under Ink jar Publishing Company. Garrop is a Cedille Records artist with pieces currently on ten CDs; her works are also commercially available on several additional labels.
Garrop has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of
Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. Earlier in her career, she participated in reading session programs sponsored by the American Composers Orchestra and Minnesota Orchestra (the Composers Institute). Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Recent commissions include The Battle for the Ballot for the Cabrillo Festival Orchestra, Shiva Dances for Grant Park Music Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Spectacle of Light for the Music of the Baroque Orchestra, and The Heavens Above Us for the Reading Symphony Youth Orchestra. Notable past commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the After life for the Akropolis and Calefax Reed Quintets, Slipstream for the Dallas Symphony Orchestra Musicians Chamber Music Series, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus. Her current commissions include projects with The Crossing, Newport Music Festival, KVNO Radio/Omaha Symphony Orchestra, and the Soli Deo Gloria Music Foundation.
Garrop previously served as composerin-residence with the Albany Symphony (2009/2010) and Skaneateles Festival (2011), and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University (2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).
Feb. 3-5, 2023 Bass Performance Hall Fort Worth, Texas
Fort Worth Symphony Orchestra Byron Stripling, conductor
THE MUSIC OF THE BEATLES – A SYMPHONIC EXPERIENCE a Schirmer Theatrical/Greenberg Artists co-production Arrangements by Jeff Tyzik
SHE LOVES YOU, originally released as a single in 1963 and on Meet the Beatles! (1964)
PLEASE PLEASE ME, originally released as a single in 1963 and on Please Please Me (1963)
DRIVE MY CAR, originally released on Rubber Soul (1965)
AND I LOVE HER, originally released as a single and on A Hard Day’s Night (1964)
NORWEGIAN WOOD (THIS BIRD HAS FLOWN), originally released on Rubber Soul (1965)
DO YOU WANT TO KNOW A SECRET, originally released on Please Please Me (1964)
EIGHT DAYS A WEEK, originally released on Beatles for Sale (1964)
MICHELLE, originally released on Rubber Soul (1965)
ELEANOR RIGBY, originally released as a single and on Revolver (1966)
IF I FELL, originally released as a single and on A Hard Day’s Night (1964)
I FEEL FINE, originally released as a single and on Beatles for Sale (1964)
ROCK AND ROLL MUSIC, released by the Beatles on Beatles for Sale (1964) written by Chuck Berry, originally written and recorded by Chuck Berry (1957)
YOU REALLY GOT A HOLD ON ME, released by the Beatles on With the Beatles (1963) written by Smokey Robinson, originally released by The Miracles (1962)
TWIST & SHOUT, released by the Beatles on Please Please Me (1963) written by Bert Russell and Phil Medley, originally released by The Top Notes (1961)
FORT WORTH SYMPHONY
DAY TRIPPER, originally released as a single in 1965 and on Yesterday and Today (1966)
WE CAN WORK IT OUT, originally released as a single in 1965 and on Yesterday and Today (1966)
LOVE ME DO, originally released as a single in 1962 and on Please Please Me (1963)
YESTERDAY, originally released on Help! (1965)
NOWHERE MAN, originally released on Rubber Soul (1965)
CAN’T BUY ME LOVE, originally released as a single and on A Hard Day’s Night (1964)
A HARD DAY’S NIGHT, originally released on A Hard Day’s Night (1964)
HERE, THERE & EVERYWHERE, originally released on Revolver (1966)
YELLOW SUBMARINE, originally released as a single and on Revolver (1966)
YOU CAN’T DO THAT, originally released as a single and on A Hard Day’s Night (1964)
ALL YOU NEED IS LOVE, originally released as a single in 1967
ALL ARRANGEMENTS ARE LICENSED BY SCHIRMER THEATRICAL, LLC
All music under license from Sony/ATV Music Publishing LLC and MPL.
All photos under license from The Beatles Book Photo Library. The show is not endorsed by or connected to Apple Corps or The Beatles.
With a contagious smile and captivating charm, the conductor, trumpet virtuoso, singer and actor Byron Stripling has ignited audiences across the globe. Recently named Principal Pops conductor of the Pittsburgh Symphony Orchestra, his baton has led orchestras throughout the United States and Canada. As soloist with the Boston Pops Orchestra, Stripling has performed frequently under the baton of Keith Lockhart, as well as being featured soloist on the PBS television special, “Evening at Pops,” with conductors John Williams and Mr. Lockhart. Currently, Stripling serves as artistic director and conductor of the highly acclaimed Columbus Jazz Orchestra.
Since his Carnegie Hall debut with Skitch Henderson and the New York Pops, Byron Stripling has become a pops orchestra favorite throughout the country, soloing with over100 orchestras around the world including the Boston Pops, National Symphony, Pittsburgh Symphony, Dallas Symphony, Cincinnati Pops, Seattle Symphony, Baltimore Symphony, Minnesota Orchestra, St.Louis Symphony, Vancouver Symphony, Toronto Symphony, and orchestras throughout Europe and Asia. He has been a featured soloist at the Hollywood Bowl and performs at festivals around the world.
An accomplished actor and singer, Byron Stripling was chosen, following a worldwide search, to star in the lead role of the Broadway bound musical, “Satchmo.” Many will remember his featured cameo performance in the television movie, “The Young Indiana Jones Chronicles,” and his critically acclaimed virtuoso trumpet and riotous comedic performance in the 42nd Street production of “From Second Avenue to Broadway.”
Television viewers have enjoyed his work as soloist on the worldwide telecast of The Grammy Awards. Millions have heard his trumpet and voice on television commercials, TV theme songs including “20/20,” CNN, and soundtracks of favorite movies. In addition to multiple recordings with his quintet, work with artists from Tony Bennett to Whitney Houston, his prolific recording career includes hundreds of albums with the greatest pop, Broadway, soul and jazz artists of all time.
Byron Stripling earned his stripes as lead trumpeter and soloist with the Count Basie Orchestra under the direction of Thad Jones and Frank Foster. He has also played and recorded extensively with the bands of Dizzy Gillespie, Woody Herman, Dave Brubeck, Lionel Hampton, Clark Terry, Louis Bellson, and Buck Clayton in addition to The Lincoln Center Jazz Orchestra, The Carnegie Hall Jazz Band, and The GRP All Star Big Band.
Byron Stripling is devoted to giving back and supports several philanthropic organizations including The United Way and Homelessness advocate and The Community Shelter Board. He also enjoys sharing the power of music through Seminars and Master Classes at colleges, universities, conservatories, and high schools. His informative talks, combined with his incomparable wit and charm, make him a favorite guest speaker to groups of all ages.
Byron Stripling was educated at the Eastman School of Music in Rochester, New York and the Interlochen Arts Academy in Interlochen, Michigan. One of his greatest joys is to return, periodically, to Eastman and Interlochen as a special guest lecturer. A resident of Ohio, Stripling lives in the country with his wife Alexis, a former dancer, writer and poet and their beautiful daughters.
Feb. 4, 2023 at 11 am
Bass Performance Hall • Fort Worth, Texas Fort Worth Symphony Orchestra Taichi Fukumura, conductor Michael Shih, Violin
ALAN SILVESTRI Theme from The Avengers (arr. Cesar Madeira)
JOHN WILLIAMS March from Superman BEETHOVEN
Finale from Symphony No. 5 in C Minor, Op. 67
R. STRAUSS Introduction from Also sprach Zarathustra, Op. 30
JOHN WILLIAMS Battle of the Heroes from Star Wars Episode III: Revenge of the Sith
JOHN WILLIAMS Rey's Theme from Star Wars Episode VII: The Force Awakens
RUPERT GREGSON-WILLIAMS Wonder Woman (arr. Victor López)
JOHN WILLIAMS Theme from Schindler's List Michael Shih, Violin
SIBELIUS Finlandia, Op. 26
SOUSA Liberty Bell March (ed. Clark McAlister)
ROSSINI
Galop from William Tell Overture
There will be no intermission.
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.
The Family Concerts are supported by Louella Martin.
Feb. 11, 2023 at 7:30 pm Van Cliburn Concert Hall Fort Worth, Texas
Fort Worth Symphony Orchestra Kevin John Edusei, conductor Michael Shih, violin Allan Steele, cello
An Evening of Brahms, Schumann, and Howard
DANI HOWARD Argentum
BRAHMS
SCHUMANN
Concerto in A minor for Violin, Cello, and Orchestra, Opus 102, “Double Concerto” I. Allegro II. Andante
III. Vivace non troppo Michael Shih, Violin Allan Steele, Cello
Symphony No. 1 in B-flat major, Opus 38, “Spring”
I. Andante un poco maestoso; Allegro molto vivace II. Larghetto III. Scherzo: Molto vivace IV. Allegro animato e grazioso
Generously Supported by Mr. and Mrs. David M. Porter
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
Violinist Michael Shih, concertmaster of the Fort Worth Symphony Orchestra (FWSO) since 2001, has performed throughout the United States and his native Taiwan, as well as on tours of Canada, France, Germany, Costa Rica, Honduras, Peru, China, Japan, and Korea. An United States Presidential Scholar in the Arts, he was a winner in the Naumburg International Violin Competition and Artists International’s Auditions, which led to his New York recital debut at Carnegie’s Weill Recital Hall in 1992. He has appeared as a soloist with the Los Angeles Philharmonic at the Hollywood Bowl, the Little Orchestra Society at Avery Fisher Hall, the Williamsburg Symphonia, the Abilene Philharmonic, the New York Youth Symphony, the San Pedro Sula Symphony in Honduras, the Taipei Symphony at Taiwan’s National Concert Hall, and with the symphony orchestras of Dallas, Fort Worth, Hartford, and New Amsterdam. In2007, he gave the world premiere of Kevin Puts’ Violin Concerto with the FWSO conducted by Miguel HarthBedoya, and this critically acclaimed performance was released by FWSO Live in recordings titled The Composer’s Voice and Take Six.
An avid performer of chamber music, he has collaborated with such artists as Leon Fleisher, Sharon Isbin, Jaime Laredo, Cho-Liang Lin, Yo-YoMa, Michael Tree, and Charles Wadsworth. From 1992 to 2002,he was first violinist of the Whitman Quartet, formerly graduate quartet-in-residence at the Juilliard School and winner of the Naumburg Chamber Music and Catherine Filene Shouse Debut Artists awards. Music festival appearances include Aspen, Bard, Chamber Music Northwest, Chautauqua, Kansai Science City (Japan), La Jolla, Lincoln Center, Ravinia, Spoleto USA, Stuttgart (Germany), and Mostly Mozart. He has also appeared at the prestigious Chiehshou Hall Concert at the Office of the President of Taiwan, at the Chamber Music Society of Lincoln Center, Chamber Music International in Dallas, and Cliburn Foundation’s “Cliburn at the Bass” and “Cliburn at the Modern” series with composers John Corigliano, Sebastian Currier, Osvaldo Golijov, Jennifer Higdon, Lowell Liebermann, Kevin Puts, Christopher Theofanidis, and Joan Tower.
Media credits include NPR’s Performance Today, NBC’s Today Show, Japan’s NHK Television, and Taiwan’s Public Television. He holds Bachelor and Master of Music degrees from the Juilliard School, where he studied with Dorothy DeLay and Hyo Kang. Other teachers include Chiu-Sen Chen, Masao Kawasaki, Shue-Tee Lee, and Margaret Pardee. He was on the violin faculty at the Lucy Moses School for Music and Dance in New York City from 1995 to 2001. Currently, he is a Distinguished Guest Professor of Violin at the Texas Christian University and a 2013 Visiting Professor of Music at the East China Normal University.
Mr. Shih plays a 1710 Antonio Stradivari violin, generously on loan to the Fort Worth Symphony Orchestra Association by Mr. and Mrs. William S. Davis of Fort Worth.
Allan Steele was born in Chicago and began studying the cello at the age of four. He studied at the Music Institute of Chicago for four years, and was a long-time member of the Chicago Youth Symphony Orchestras. He previously studied with Tanya Carey, Hans Jensen, Susan Moses, and most recently, Ronald Leonard at the Colburn Conservatory of Music in Los Angeles, where he graduated with a Bachelor’s of Music.
Steele maintains an active solo career and has soloed with the Chicago Youth Symphony, the Northwest Symphony, the Colburn Conservatory Orchestra and the American Youth Symphony. He is a founding member of the classical music group MC2.
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.
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.
Honor or memorialize friends or loved ones with a tribute gift to the Symphony. A special acknowledgment is sent to the family or individual informing them of your generosity and thoughtfulness.
Leave a lasting legacy and invest in the future of the Symphony by including the FWSO in your estate plans. Contact Meagan Hemenway, Vice President of Development at 817-665-6008 or mhemenway@fwsymphony.org to talk about induction to the Brooks Morris Society.
Established in 1984, the Endowment Fund was created to preserve the FWSO’s rich artistic tradition and ensure fiscal security for live symphonic music in our city. Named gift opportunities recognize significant contributions to the Endowment Fund.
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 with lifetime gifts of $500,000 or more.
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 Gail Aronoff Granek Genie Guynn Dotty Hall Lee Hallman Kathleen Hicks Aaron Howard + Qiong Hulsey Kim Johnson Dee J. Kelly, Jr.+ Mollie Lasater + 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
$1,000,000 and above
Sid W. Richardson Foundation
$150,000- $999,999
Amon G. Carter Foundation Mary Potishman Lard Trust
$50,000- $149,999
American Airlines Arts Fort Worth Lowe Foundation Adeline & George McQueen Foundation Leo Potishman Foundation Qurumbli Foundation
$25,000- $49,999
Arts Fort Worth Bratton Family Foundation | Mr. and Mrs. Douglas K. Bratton Kelly Hart & Hallman LLP
Luther King Capital Management Neiman Marcus Fort Worth Omni Hotel Fort Worth
The Thomas M., Helen McKee & John P. Ryan Foundation Fort Worth Tourism Public Improvement District
$10,000–$24,999
Anonymous U.S. Trust
Central Market / H.E.B. City Club of Fort Worth North Texas Giving Day Fund of the Communities Foundation of Texas Edward Jones Frost
George & Jeanne Jaggers Charitable Trust
Helene Bare & W. Glenn Embry Charitable Trust
Marguerite Bridges Charitable Trust
Estate of James W. McCartney MJR Foundation
Piranesi
The Roach Foundation Symphony League of Fort Worth Texas Commission on the Arts Wells Fargo
$5,000–$9,999
Ben E. Keith Beverages The Felucca Fund Garvey Texas Foundation JPMorgan Chase Metroplex Piano
Anonymous Texas Christian University Texas Women for the Arts The Worthington Renaissance Fort Worth Hotel
$3,000–$4,999 TD Ameritrade Johnson Controls Foundation Kimbell Art Foundation Red Oak Foundation
$2,000–$2,999 Fash Foundation Kenny G. Inc. Once Upon A Time... Robert D. & Catherine R. Alexander Foundation
$500-$1,999
Albertsons Safeway Ben E. Keith Foods National Philanthropic Trust The Pace Fund Park Hill Portraits Renaissance Charitable Foundation WFAA-TV Channel 8
FORT WORTH SYMPHONY ORCHESTRA
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 from December 1, 2021 to December 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
Concertmaster’s Level
$25,000–$49,999
Carol Margaret Allen Ramona & Lee Bass
Dee Kelly Foundation
Mr. & Mrs. J. Luther King, Jr. / Luther King Capital Management Mollie & Garland Lasater at the NTCF Fund
Priscilla & Joe Martin
Nancy & Don Plattsmier Alann Bedford Sampson
Artist’s Level
$10,000–$24,999
Connie Beck & Frank Tilley
Mr. & Mrs. Douglas K. Bratton Steve Brauer
Mr. & Mrs. Michael Burchfield
Barbara A. & Ralph F. Cox
Dean & Emily Crocker
Deborah & Tom Deas Althea L. Duersten Dr. Jennifer Freeman Cami & John Goff Gail Aronoff Granek
Eugenie Guynn Gary & Judy Havener Mrs. Edward R. Hudson, Jr. Matthew & Kimberly Johnson
Mr. & Mrs. Ronald Koonsman Mary & Blake Lipscomb Tim & Misty Locke Mrs. Louella Martin Deborah Mashburn & David Boddie Ellen F. Messman Nesha & George Morey Estate of Virginia & James O’Donnell
Frasher H. & John F. Pergande Mrs. Susan S. Pratt Karen Rainwater Charitable Fund at the NTCF Don & Melissa Reid
The Roach Foundation Jonathan and Medea Suder; MJR Foundation
Mr. Gerald E. Thiel Mr. & Mrs. Kelly R. Thompson Mr. & Mrs. J.W. Wilson
Benefactor| $5,000–$9,999
Mr. & Mrs. Tull Bailey
Ashli & Todd Blumenfeld
Greg & Pam Braak
Mr. & Mrs. L. O. Brightbill III
Debbie Brooks; DFW Musicians Services LLC
James Brooks Mary Cauble Brenda & Chad Cline Jeanne Cochran
Dr. & Mrs. Atlee Cunningham, Jr. Dr. Ron & Juana-Rosa Daniell Kim & Glenn Darden
Asad Dean M.D.; Texas Oncology
Ms. Jo Ellard
Kirk and Charlotte French
Mr. and Mrs. Larry Fridkis Tera & Richard Garvey Susan & Tommy Green
Mr. & Mrs. Mark L. Hart III
Mr. & Mrs. Holman Harvey James & Dorothy Doss Foundation
Mr. & Mrs. William Leavitt
Dr. & Mrs. Scott Marlow
Dr. & Mrs. Stuart D. McDonald Dr. William & Mary Morton Mrs. Erin Moseley Stephen & Brenda Neuse
Anonymous Peggy Rixie
Mr. and Mrs. William E. Rosenthal Jeff & Judy Schmeltekopf Thomas L. Smith Tim and Clare Stonesifer Ronda & Walter Stucker Anonymous Dr. Richard Turner Laurie & Lon Werner Ms. Virginia Wheat Charles White Dan Wilkirson
Dr. James C. Williams Mr. and Mrs. Philip C. Williamson
Contributor | $3,000–$4,999
Mr. & Mrs. David R. Atnip Dr. Joyce Beck Ellen & Larry Bell
Mr. Bill Bond Judge Tim & Celia Boswell Frances Jean Browning Gary Cole Mr. Vance A. Duffy Doug & Carol English Mr. & Mrs. John B. Giordano Gary Glaser and Christine Miller Kay Glenday Richard Hubbard, M.D. Gordon & Aileen Kanan L. Lumley Mr. & Mrs. Colin McConnell Anonymous
Berlene T. & Jarrell R. Milburn
In memory of Marie A. Moore Wade & Lisa Myers
Mr. & Mrs. Omas Peterson Ms. Jane Rector Mr. & Mrs. Thomas B. Reynolds Dr. Deborah Rhea & Ms. Carol Bollinger Rosemary Riney Jude & Terry Ryan Gayla & Blaine Scheideman
Dr. & Mrs. Russ A. Schultz Kal & Karen Silverberg Jim & Judy Summersgill Mary & Reuben Taniguchi Becky & Stephen Tobin John Wells & Shay McCullough-Wells
Sustainer | $2,000–$2,999
William & Kathryn Adams Mr. Timothy Ankersen John Broude & Judy Rosenblum Henry & Diana Burks Daniel & Soraya Caulkins
Honorable H.D. Clark III and Mrs. Peggy Sue Branch-Clark Karen Fortson Davis Susan Jackson Davis Margaret & Craig Dearden Dedrick Family Angela L. Evans Mr. & Mrs. Ben J. Fortson, Jr. Dr. Oscar L. Frick Ms. Clara Gamache Mr. Joseph Gonzales Dotty & Gary Hall
Dr. Christy L. Hanson
Mr. and Mrs. James R. Harris
Peggy Harwood
Ms. Trina Krausse
Amy Faires & Swang Lin
In memory of Laura Elizabeth Bruton
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
Punch Shaw & Julie Hedden
Tzu-Ying & Michael Shih in tribute of Mr. & Mrs. William S. Davis Anonymous
Marilyn Wiley & Terry Skantz
Emmet G. & Judith O. Smith
Susan & James Smith
Mary C. Smith; Clark Educational Services Virginia Street Smith
Dr. Mary Alice Stanford & Mr. Don Jones
Brian Steidinger
Mack Ed & Sharon Swindle
Sallie & Joseph Tarride
Hon. 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 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.
Ellen Baer
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 Dr. and Mrs. Joseph C. Cecere, DMD Mr. & Mrs. Bennett Cepak Dr. & Mrs. Lincoln Chin
LRS Construction Services, L.P. Judith Singer Cohen Donna Coldiron Dr. & Mrs. Martin F. Conroy Ms. Annabelle Corboy & Mr. Michael Poteet
Anonymous Dr. desAnges Cruser Stacy & Steve Dellasega Scott & Laney Denbina Mr. & Mrs. C.D. Dickerson Jean & Tom Dodson John Driggers & Barbara Gibbs Jack R. Driscoll Ponciano Duran Dawn Ellison
Charlene & Dave Ernst Ann & Ronnie Erwin Anonymous 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 Judy & Price Hulsey
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 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
Ellen & Theodore Mack
James M. Makens Mr. & Mrs. Patrick Malloy
John Marion Ms. Sandra Doan & Mr. Jacques Marquis Chuck Marsh
Robert & Joanne McClendon Dr. & Rev. M. Dwain McDonald Gay & Urbin McKeever Edward & Marilyn McNertney Dr. Bernard N. Meisner Mr. & Mrs. Robert Mendenhall Terry L. Meyer Dr. & Mrs. Till M. Meyn Mr. Thomas Michel 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 Sandy Mulcahy and Lee Mulcahy Mr. and Mrs. Tyler Murphy John Myers
Lynn Nesbit Charitable Trust Mr. Greg Nicholas & Dr. Catherine M. Nicholas Betty G Norvell Laura O’Brien Drs. Jeffrey & Raquel Oxford Paul & Mary Kay Park Ms. Bonnie J. Parker Dr. Beatriz Parra Anonymous
Laura Potts & Don Ritter Max & Susan Poynor Mr. & Mrs. Dean Pritchard Susan Murrin Pritchett 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
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
Robert Snider
Mr. John David Sterrett, Jr. Kathleen & Richard Stevens
Mr. and Mrs. Craig Stevenson Jerry & James Taylor Lynn & Jim Thomas John* & Camille Thomason
Randy & Jo Thomson Bob & Sharon Timmons Mr. Sean L. Toye Steve & Linda Trine Lola LaCrosse & Jerry Tutt Anonymous 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 Mr. Adrian Wright Robert & Ann Wright Ms. Trisha Wright Dr. & Mrs. Bobby J. Wroten Mr. & Mrs. Mitchell Wynne David & Maureen Yett Dr. & Mrs. Shawn Zarr Dr. & Mrs. Daniel Ziegler Patsy C. & Bill J. Zimmerman
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 Nancy Lee & Perry R. Bass* Chair
Guest Conductors 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
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, Vice President 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
$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
$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 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
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
Jeff & Judy Schmeltekopf
Rae & Ed Schollmaier *; Schollmaier Foundation
William E. Scott Foundation
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
Students, faculty, patients and neighbors all have one thing in common: they’re people. And we put the needs of our people first. In addition to being a premier academic medical center, HSC believes in the bigger picture of health. Five schools and one shared purpose. Creating an environment where innovation and ideas can thrive, and all people feel informed, empowered and understood.
When we’re all connected, we’re in it together. HSC. ASK BRAVELY. TREAT BOLDLY.
THOMPSON’S HARVESON & COLE has served the Fort Worth area funeral and cremation needs since 1911. After six plus decades on 8th Avenue we have moved. Our new location is in the old John Knox church. The facility includes a beautiful Tudor chapel with stained glass windows, large sparkling reception room, a serving kitchen, lovely outdoor areas, and ample parking.
THOMPSON’S HARVESON & COLE has served the Fort Worth funeral and cremation needs since 1911. After six plus decades on 8th Avenue we have moved. Our new location is in John Knox church. The facility includes a beautiful Tudor with stained glass windows, large sparkling reception serving kitchen, lovely outdoor areas, and ample parking.
The Thompson family continues to provide Fort Worth, and its surrounding areas, with the outstanding service that has earned the company such a superior reputation for so many years. 4350 River Oaks Blvd. Fort Worth, TX 76114 817.336.0345 thompsonfunerals.com 4350 River Oaks Blvd. Fort Worth, TX 817.336.0345 thompsonfuneral.com
The Thompson family continues to provide Fort Worth, surrounding areas, with the outstanding service that has the company such a superior reputation for so many years. 4350 River Oaks Blvd. Fort Worth, TX 817.336.0345 thompsonfunerals.com
4350 River Oaks Blvd. Fort Worth, TX 76114 817.336.0345 thompsonfuneral.com
Inspiration from the stage can open new worlds at home. You won’t believe what’s possible with Realtors ® like ours.
Williams Trew is proud to support performances at Bass Hall.
