March 2023
MUSIC OF MOTOWN
Mar. 3–5
Wild Symphony Mar. 4
Gil Shaham Plays
Tchaikovsky: Mahler and Tchaikovsky
Mar. 10–12
Jake Fridkis in Concert: Schumann, Reinecke, and Liszt
Mar. 24–26
TREATBOLDLY.UNTHSC.EDU
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.
The Kimbell at 50 Special Exhibition
Through October 4, 2023
Scan to explore the digital exhibition or visit 50.kimbellmuseum.org
EXECUTIVE OFFICE
Keith Cerny, Ph.D. President and CEO
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 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
Bennett Cepak Vice President of Finance and Chief Financial Officer
Lucas Baldwin Staff Accountant
James Gonzalez Controller
HUMAN RESOURCES
Jacque Carpenter Vice President of Human Resources
Carrie Ellen Adamian Chief Marketing Officer
Melanie Boma Tessitura Database Manager
Jacob Clodfelter Box Office Manager
Laura Corley Box Office Associate
Sydney Palomo Box Office Associate
Patrick Sumner Box Office Associate
Paul Taylor Box Office Associate
Katie Kelly Senior Manager, Marketing & Communications
Josselin Garibo Pendleton Senior Manager, Education Community Programs
Stephanie Hartley Marketing and Communications Specialist
Megan Brook Senior Manager, Analytics and Marketing Strategy
Dear Friends,
What a spectacular 2022/2023 season so far, for the Fort Worth Symphony Orchestra. Thank you for joining us for Music Director Robert Spano’s inaugural season, and Principal Guest Conductor Kevin John Edusei, who made his exciting debut this past February. We also hosted a spectacular, sold-out Gala concert and dinner featuring Yo-Yo Ma. Don’t forget to save-the-date for next year’s gala on February 17, 2024 featuring awardwinning vocalists Renée Fleming and Rod Gilfry.
You already know that the Fort Worth Symphony Orchestra makes great music, but I am personally proud that the FWSO is also 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. The Board of Directors and I recognize you; our donors, patrons, and volunteers, for your sincere loyalty, enthusiasm, and encouragement.
With much appreciation and gratitude,
Mercedes T. Bass Chairman of the Board of Directors
We hope you have enjoyed the performances by our remarkable orchestra so far this year. The month of March brings a wide variety of exciting programming to our audiences. On our Symphonic series, be swept away by Tchaikovsky’s violin concerto performed by the incomparable Gil Shaham. Next, we will feature the FWSO’s principal flute Jake Fridkis in Reinecke’s Flute Concerto conducted by the acclaimed Roberto Abbado. On our Pops series you will be dancing in your seats to the top songs from the Music of Motown!
I hope you had a chance to see the announcement of our 2023-2024 season this week. Music Director Robert Spano and I have engaged a remarkable collection of some the world’s best performers for the upcoming season. Our 2023-2024 symphonic series lineup includes pianists Joyce Yang, Lukáš Vondráček, Andreas Haefliger, and Constanze Hochwartner, violinist Stephen Waarts, and trombonist Peter Steiner. In addition to performances by Maestro Spano and Principal Guest Conductor Kevin John Edusei, we will feature guest conductors Edo de Waart, Tomáš Netopil, Anne Manson, and Anna Skryleva. In our continuing “theater of a concert” series, we are partnering with Dallas Black Dance Theatre and the acclaimed Canadian puppet company The Old Trout Puppet Workshop. Building on the success of Maestro Spano’s Wagner performances this season with Christine Brewer, we will also be presenting Act I of Wagner’s Die Walküre with the exceptional cast of Karita Mattila, Brandon Jovanovich, and Ray Aceto. This is truly an evening not to be missed!
Plus, subscribers also enjoy the great benefit of being able to purchase tickets to our onenight-only special concerts BEFORE the general public. These special concerts include an immersive visual concert-going experience Lasting Impressions, the dazzling Disney Princess Concert, and the not-to-be-missed Gala concert with acclaimed duo of Renée Fleming and Rod Gilfry.
Thank you for your continued support this year! We invite you to join the donor community and deepen your connection with behind-the-scenes access, tailored VIP experiences, and more. Ticket sales alone do not cover expenses, and it is thanks to your generosity that we are able to continue providing live music, both now and in the future. Please consider making your much needed gift today. Any additional gift provides support to the perfect platform for Maestros Spano and Edusei to continue leading the orchestra to even greater heights.
Enjoy your evening!
Yours sincerely,
Keith Cerny, Ph.D. President and CEO
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.
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.
Maestro Spano made his highlyacclaimed Metropolitan Opera debut in 2019, leading the US premiere of Marnie, the second opera by American composer Nico Muhly. Recent concert highlights have included several world premiere performances, including Voy a Dormir by Bryce Dessner at Carnegie Hall with the Orchestra of St. Luke’s and mezzosoprano Kelley O’Connor; George Tsontakis’s Violin Concerto No. 3 with the Dallas Symphony Orchestra; Dimitrios Skyllas’s Kyrie eleison with the BBC Symphony Orchestra; the Tuba Concerto by Jennifer Higdon, performed by Craig Knox and the Pittsburgh Symphony; Melodia, For Piano and Orchestra, by Canadian composer Matthew Ricketts at the Aspen Music Festival; and Miserere, by ASO bassist Michael Kurth.
The Atlanta School of Composers reflects Spano’s commitment to American contemporary music. He has led ASO performances at Carnegie Hall, Lincoln Center, and the Ravinia, Ojai, and Savannah Music Festivals. Guest engagements have included the Cleveland, Philadelphia, and Minnesota Orchestras, New York and Los Angeles Philharmonics, and the San Francisco, Boston, Chicago, Dallas, Houston, New World, San Diego, Oregon, Utah, and Kansas City Symphonies. His opera performances include Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera, and the 2005 and 2009 Seattle Opera productions of Wagner’s Ring cycles.
Continued on Page 6
German conductor Kevin John Edusei is 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.
Robert Spano, Music Director
Nancy Lee and Perry R. Bass Chair
Kevin John Edusei, Principal Guest Conductor
Miguel Harth-Bedoya, Music Director Laureate
VIOLIN I
Michael Shih, Concertmaster
Mrs. Mercedes T. Bass Chair
Mr. Sid R. Bass Chair
Swang Lin, Associate Concertmaster
Ann Koonsman+ Chair
Eugene Cherkasov, Assistant Concertmaster
Mollie & Garland Lasater Chair
Jennifer Y. Betz
Ordabek Duissen
Qiong Hulsey
Ivo Ivanov
Izumi Lund
Ke Mai
Rosalyn Story
Kimberly Torgul
Albert Yamamoto
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
VIOLA
DJ Cheek, Principal
Linda Numagami, Associate Principal°
HeeSun Yang, Assistant Principal
Joni Baczewski
Sorin Guttman
Aleksandra Holowka
Dmitry Kustanovich
Daniel Sigale
CELLO
Allan Steele, Principal
Mrs. Mercedes T. Bass Chair
Mr. Sid R. Bass Chair
Emileigh Vandiver, Associate Principal
Keira Fullerton, Assistant Principal
Burlington Northern Santa Fe Foundation Chair
John Belk
Deborah Brooks
Shelley Jessup
Jenny Kwak
BASS
William Clay, Principal
Taichi Fukumura, Assistant Conductor
Rae and Ed Schollmaier+ Foundation Chair
John Giordano, Conductor Emeritus
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.
Robert Spano, Music Director
March 3-5, 2023, Bass Performance Hall
William Waldrop, Conductor
THE MUSIC OF MOTOWN
a Schirmer Theatrical/Greenberg Artists co-production
Arrangements by Jeff Tyzik
DANCING IN THE STREET, by Marvin Gaye, Ivy George Hunter and William Stevenson
As Recorded by Martha Reeves
YOU REALLY GOT A HOLD ON ME, by Smokey Robinson
As Recorded by The Miracles
MAN’S WORLD, by James Brown, Betty Jean Newsome and Dwight Grant
As Recorded by James Brown
REACH OUT I’LL BE THERE, by Holland, Dozier and Holland
As Recorded by the Four Tops
TOUCH ME IN THE MORNING, by Michael Masser and Ronald Norman Miller
As Recorded by Diana Ross
JUST TO SEE HER, by Jimmy George and Louis Pardini
As Recorded by Smokey Robinson
HOW SWEET IT IS, by Holland, Dozier and Holland
As Recorded by Marvin Gaye
AIN’T NO MOUNTAIN HIGH ENOUGH, by Nick Ashford and Valerie Simpson
As Recorded by Nick Ashford and Valerie Simpson
SONG FOR YOU, by Leon Russell
As Recorded by Donny Hathaway
SUPERSTITION, by Stevie Wonder
As Recorded by Stevie Wonder
LET’S GROOVE TONIGHT, by Maurice White and Wayne Lee Vaughn
As Recorded by Earth, Wind & Fire
I FEEL GOOD, by James Brown
As Recorded by James Brown
MY GUY, by Smokey Robinson
As Recorded by Mary Wells
MY GIRL, by Smokey Robinson and Ronald White
As Recorded by The Temptations
ENDLESS LOVE, by Lionel Richie
As Recorded by Lionel Richie and Diana Ross
COULD IT BE I’M FALLING IN LOVE, by Melvin Steals and Mervin Steals
As Recorded by The Spinners
DON’T LEAVE ME THIS WAY, by Kenneth Gamble, Leon Huff and Cary Gilbert
As Recorded by Thelma Houston
HIGHER AND HIGHER, by Gary Jackson, Raynard Miner and Carl William Smith
As Recorded by Jackie Wilson
ALL NIGHT LONG, by Lionel Richie
As Recorded by Lionel Richie
SIGNED SEALED DELIVERED, by Stevie Wonder, Lee Garrett, Lula Mae Hardaway and Syreeta Wright
As Recorded by Stevie Wonder
ALL ARRANGEMENTS LICENSED BY SCHIRMER THEATRICAL, LLC
Creative Team
Robert Thompson, Producer
Jeff Tyzik, Producer & Arranger
Jami Greenberg, Producer & Booking Agent
Alyssa Foster, Producer
Sophie Frankle, Associate Producer
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.
Broadway Music Director, Conductor, and Pianist, William Waldrop, recently finished a highly celebrated run as Music Director and Conductor of the Broadway revival of Andrew Lloyd Webber’s Cats at the Neil Simon Theatre in New York City. Equally comfortable on the podium with the orchestra on stage or conducting from the pit, Maestro Waldrop has been hailed for his ‘dynamic conducting’ and has been praised in cities all over the US and abroad. His recent symphonic engagements include concerts with the Fort Worth Symphony Orchestra, The Florida Orchestra, the Tucson Symphony Orchestra, the Long Beach Symphony, the Portland Symphony Orchestra, the Greenville Symphony Orchestra, and the Sarasota Orchestra.
Chester Gregory, C.H.E.S.S. is emerging on the scene with his critically acclaimed hit The Doppler Effect (It’s me), which already earned a GRAMMY consideration. This power ballad equates the result of the doppler effect to the plight of relationships. “Colors are changing but I’m still remaining, the person I have to be.” Sonically, his style is a fusion of New Vintage Pop/Soul. A blend of modern sounds, with a classic approach; resulting in songs that have been described as timeless. This charismatic artist has already collaborated with many greats in the industry and is well-known for his stellar vocals and rousing stage presence. He is often a crowd favorite wherever he performs.
Crystal Monee Hall’ s varied career as a singer, songwriter, instrumentalist and actress has included roles on Broadway (“RENT”), sold-out tours with acclaimed musicians Mickey Hart (Grateful Dead) and Dave Schools (Widespread Panic), being a featured vocalist on Saturday Night Live and also a guest appearance on the HBO comedy-drama High Maintenance. She has released three albums (one solo as well as two with Hart) with work from her most recent EP "If You Breathe" called 'riveting' by Billboard Magazine. Her newest release seamlessly blends Hall’s love for world, blues, jazz, soul and contemporary R&B, showcasing her talent as a songwriter, while highlighting a voice that has captivated audiences worldwide.
American Idol Michael Lynche is a new breed of soul singer with completely classic influences. Traces of Donny Hathaway, Al Green, Luther Vandross, Sam Cooke and James Brown all seem to flash in this uniquely talented performer. Undeniable charisma, wellcrafted song arrangements and a voice soaked in soul give the big man class all his own. “Big Mike”—as he was known while winning over the hearts of a nation during his stint on American Idol—has talent so versatile, he’s played intimate jazz & blues clubs, 20,000 seat arenas and opera halls with 100 piece orchestras backing him. Through it all “Big Mike” has always had one singular goal: to spread a message of love wherever he goes.
Robert Spano, Music Director
March 4, 2023 at 11 a.m.
Bass Performance Hall
Taichi Fukumura, Conductor
Jovane Caamaño, Narrator
DAN BROWN Wild Symphony
Maestro Mouse
Woodbird Welcome
Bouncing Kangaroo
Clumsy Kittens
The Ray
Happy Hippo
Frogs in a Bog
Anxious Ostrich
The Armadillo Shell
Dancing Boar
Impatient Ponies
Wondrous Whale
Cheetah Chase
Eager Elephant
Rat Attack
Busy Beetles
Spiders on a Web
Brilliant Bat
Swan in the Mist
Cricket Lullaby
Maestro Mouse Reprise
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.
Robert Spano, Music Director
March 10-12, 2023
Bass Performance Hall
Robert Spano, Conductor
Nancy Lee & Perry R. Bass Chair
Gil Shaham, Violin
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
I. Allegro moderato
II. Canzonetta: Andante
III. Finale: Allegro vivacissimo Gil Shaham, Violin Intermission
MAHLER Symphony No. 1 in D Major
I. Langsam. Schleppend; Immer sehr gemächlich
II. Kräftig bewegt, doch nicht zu schnell
III. Feierlich und gemessen, ohne zu schleppen
IV. Stürmisch bewegt
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.
Gil Shaham is one of the foremost violinists of our time: his flawless technique combined with his inimitable warmth and generosity of spirit has solidified his renown as an American master. He is sought after throughout the world for concerto appearances with leading orchestras and conductors, and regularly gives recitals and appears with ensembles on the world’s great concert stages and at the most prestigious festivals.
Highlights of recent years include a recording and performances of J.S. Bach’s complete sonatas and partitas for solo violin and recitals with his long time duo partner pianist, Akira Eguchi. He regularly appears with the Berlin Philharmonic, Boston, Chicago, and San Francisco Symphonies, the Israel Philharmonic, Los Angeles Philharmonic, New York Philharmonic, Orchestre de Paris, and in multi-year residencies with the Orchestras of Montreal, Stuttgart and Singapore.
Mr. Shaham has more than two dozen concerto and solo CDs to his name, earning multiple Grammys, a Grand Prix du Disque, Diapason d’Or, and Gramophone Editor’s
Choice. His most recent recording in the series 1930s Violin Concertos Vol. 2 was nominated for a Grammy Award. His latest recording of Beethoven and Brahms Concertos with The Knights was released in 2021.
Mr. Shaham was awarded an Avery Fisher Career Grant in 1990, and in 2008, received the coveted Avery Fisher Prize. In 2012, he was named “Instrumentalist of the Year” by Musical America. He plays the 1699 “Countess Polignac” Stradivarius, and lives in New York City with his wife, violinist Adele Anthony, and their three children.
I. Allegro moderato
II. Canzonetta: Andante
III. Finale: Allegro vivacissimo
DURATION: About 35 minutes
PREMIERED: Vienna, 1881
INSTRUMENTATION: Two flutes, two oboes, two clarinets, two bassoons, four French horns, two trumpets, timpani, strings, and solo violin.
“Today I finished the concerto. It still has to be copied out and played through a few times... and then orchestrated. I shall start the copying out and add the finishing touches. ...
“Coming from such an authority, [this rejection] had the effect of casting this unfortunate child of my imagination into the limbo of the hopelessly forgotten.”
— Pyotr Ilyich Tchaikovsky (Born 1840, Russia; died 1893)
CONCERTO: A composition that features one or more “solo” instruments with orchestral accompaniment. The form of the concerto has developed and evolved over the course of music history.
CADENZA: A virtuoso passage in a concerto movement or aria, typically near the end and often played without strict adherence to meter or time. Sometimes a soloist writes his/her own cadenza, sometimes they are provided by the composer.
by Jeremy ReynoldsWhoever heard of a “Dear John” letter to a piece of music? When Tchaikovsky completed his first and only violin concerto with the help of a former student — possibly a lover — he proudly presented the work to its dedicatee, the virtuoso Leopold Auer, in hopes of a dazzling premiere. Instead, he received a gut punch. “Warmly as I had championed the symphonic works of the young composer (who was at that time not universally recognized), I could not feel the same enthusiasm for the Violin Concerto, with the exception of the first movement; still less could I place it on the same level as his purely orchestral compositions,” Auer recalled, 30 years after being shown the new work. “I am still of the same opinion.”
The pair made up years later, but the damage was done. Another violinist, a capable player but one who lacked Auer’s star power, gave the premiere, which turned out to be a disaster. After that concert in Vienna, influential critic Eduard Hanslick wrote: “The Russian composer Tchaikovsky is surely no ordinary talent, but rather, an inflated one, obsessed with posturing as a man of genius, lacking discrimination and taste... Tchaikovsky’s Violin Concerto, for the first time, confronts us with the hideous idea that there may be compositions whose stink one can hear.”
Ouch. Nevertheless. A few years after its premiere, the concerto caught the ear of another soloist, Czech violinist Karel Halíř, who championed the work in concert halls. It came to find great public enthusiasm, and today, the Violin Concerto is one of the most-played concertos in the repertoire.
Hearing it now, it’s difficult to imagine how it could have been so maligned initially. After a
FURTHER LISTENING:
Tchaikovsky: Piano Concerto in B-flat Minor
Symphony No. 4 in F Minor
Souvenir d’un lieu cher
sparse opening tune in the strings, a thrumming accompaniment propels the music to a first — controlled — explosion of color in the orchestra. It settles quickly, and the soloist enters with a luxurious mini cadenza before playing the work’s
Continued on Page 16
I. Langsam. Schleppend; Immer sehr gemächlich
II. Kräftig bewegt, doch nicht zu schnell
III. Feierlich und gemessen, ohne zu schleppen
IV. Stürmisch bewegt
DURATION: About 55 minutes
PREMIERED: Budapest, 1889
INSTRUMENTATION: Four flutes and three piccolos, four oboes and English horn, four clarinets, two E-flat clarinets and bass clarinet, three bassoons and contrabassoon, seven horns, five trumpets, four trombones and bass tuba, timpani, bass drum, cymbals, triangle, tam-tam, harp, and strings
“It’s the most spontaneous and daringly composed of my works. Naively, I imagined that it would have immediate appeal. How great was my surprise and disappointment when it turned out quite differently.”
— Gustav Mahler (Born 1860, Bohemia (present day Czech Republic); 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. 2 in C minor, “Resurrection Symphony” Symphony No. 3 in D minor
by Jeremy ReynoldsThe double bass is the largest and lowest of the bowed string instruments in an orchestra. Eight or more basses in unison in an ensemble, along with the tuba, contrabassoon and bass trombone, give an orchestra that gravelly, tectonic depth of sound many composers wielded with aplomb in the 19th century. There are few solos for the instrument, as lower pitches don’t carry easily over the orchestra. Therefore the texture of the music must be utterly transparent, making the double bass solo in Mahler’s first symphony particularly significant and special for the instrument. This solo always earns a bow from the principal bassist at the conclusion of the work.
That solo is a tune most will be familiar with: it’s the French round “Frére Jacques,” but with a traditional Austrian twist in that it’s in a minor key, turning the normally cheery song into a funereal march. But let’s back up — critics and Viennese audiences hated Mahler’s first symphony, yet another example of a classical work meeting opposition before finding a triumphant place in the canon. Mahler, born to humble Bohemian Austrian and Jewish parents, first experienced music in the form of street songs and dances. He embarked on his first symphony in his late 20s, though he would revise the work numerous times throughout the course of his life.
The symphony begins (“Langsam, schleppend” means “slowly, dragging”) with a shimmering, ambiguous color, the note “A” spaced across many octaves of the orchestra, pregnant with harmonic possibilities. Unhurried, high winds enter with a mysterious, descending tune (highly difficult to tune in the piccolo). Soon, clarinets bounce in from the mist playfully, and oboes keen — this opening section takes its time, and about four minutes in, the pace accelerates, snatches of the earlier tune popping around the winds, while the orchestra plays a tune that sounds like a pleasant walk through pastures.
Continued on Page 16
Tchaikovsky, continued from Page 14
famous, tender main tune. Throughout the movement, Tchaikovsky recasts this melody for soloist and ensemble, at one point as a grand theme for the entire orchestra, with brass providing a thrilling rhythmic drive. The composer himself also wrote the demanding cadenza, which explores some of the highest notes in the stratosphere of the violin’s range. It ends on a trill, and the flute joins to play the theme once more, ushering in the final section.
Tchaikovsky cast aside his original second movement after the concerto’s first runthrough, realizing that it didn’t fit the rest of the work. (It can still be heard as the first movement of his Souvenir d’un lieu cher for violin and piano.) Instead, he wrote a Canzonetta, or “little song,” quite a lyrical
The second movement — “Kräftig bewegt, doch nicht zu schnell,” or “moving vigorously, but not too fast” — is a ferocious peasant dance, an Austrian ländler, with the whole orchestra stomping mightily to introduce a daintier melody in the winds. The middle section is more genteel and plaintive. Then, the aforementioned bass solo kicks off the slow third movement, plodding along with almost sarcastic glumness before a pair of snide oboes rudely interrupts and changes the mood entirely. Then, everyone’s favorite tipsy aunt crashes the party, the E-flat clarinet leaps in with a snappy klezmer tune. The rest
gem. For all its beauty, it achieves a mild sense of unease, a cloud over an otherwise sunny memory.
Strings introduce the racing finale without pause, mirroring the first movement and building up to the soloist’s first entrance. After a mini-cadenza, pregnant with tension, it’s off to the races, with the violin zipping manically in a thrilling demonstration of virtuosity and enthusiasm. Auer never recanted his early dismissal of the concerto, but even he grudgingly nodded to the work’s success later in life: “The concerto has made its way in the world, and after all, that is the most important thing. It is impossible to please everybody.”
of the movement is a blend of these three elements and melodies. It’s this movement in particular that upset critics so deeply.
Mahler himself called the finale a “bolt of lightning, ripping from a black cloud,” an evocative epitaph. After a stormy introduction, brass and strings crash along with a savage melody. But slowly, deftly, the music transforms back to the pastoral calm of the opening, only to build to a stunning, optimistic A Major close.
Robert Spano, Music Director
March 24-26, 2023
Bass Performance Hall
Roberto Abbado, Conductor
Jake Fridkis, Flute
R. SCHUMANN Symphony No. 4 in D minor, Opus 120
I. Ziemlich langsam; Lebhaft
II. Romanze: Ziemlich langsam
III. Scherzo: Lebhaft
IV. Langsam; Lebhaft
Intermission
REINECKE Flute Concerto in D Major, Op. 283
I. Allegro molto moderato
II. Lento e mesto
III. Moderato - In tempo animato
- Tempo I - Più mosso –
Ancora più mosso
Jake Fridkis, Flute
LISZT Les Préludes
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.
Hailed by the Dallas Morning News for his “radiant tone and generous expressivity”, and the Fort Worth Star Telegram for his “musicianship, clear sound, precise intonation, and empathic dynamic levels”, Jake Fridkis has built a reputation as one of the leading flutists of his generation and “a modern day Rampal” (Cvnc.org).
Jake has performed as a concerto soloist in Germany, Italy, France, Brazil, and throughout the United States. He has performed with the Cleveland Orchestra, Philadelphia Orchestra, Pittsburgh Symphony, St. Louis Symphony and as guest principal flute with the Dallas Symphony, Symphony SONG (Korea) and the Norwegian Radio Orchestra including for their tour to the St. Magnus festival in Scotland. In 2022, Jake joined the nine time Emmy Award winning All-Star Orchestra for their fourth season on PBS.
A graduate of the Yale School of Music and recipient of the Nyfenger Award for the top woodwind player in his graduating class, Jake is one of the few musicians to be featured on a top five album on each of Billboard’s Top 200, Classical and Hip Hop and RnB album charts. He has appeared on recordings with The Cleveland Orchestra, The Fort Worth Symphony and with renowned popular artists Drake, Dj Khaled, Roddy Ricch, Ty Dolla $ign
and Lecrae among many others. For his work in popular music in 2022 he won a Gospel Music Association Dove Award and was nominated for a Grammy Award.
Highly sought after as an educator, he is currently on the faculty of the Eastern Music Festival. He has taught masterclasses at the Yale School of Music, YoungArts, Cleveland Institute of Music, Depaul School of Music, University of North Texas, Texas Christian University, Houston Flute Society, University of Massachusetts Amherst and the National Flute Association.
Jake currently holds the position of Principal Flute with the Fort Worth Symphony Orchestra, Eastern Music Festival and is a Wm. S. Haynes flutes performing artist.
Roberto Abbado, awarded the prestigious “Premio Abbiati” by the Italian Music Critics Association for his “accomplished interpretative maturity, the extent and the peculiarity of a repertoire where he has offered remarkable results through an intense season”, is Musical Director of Parma’s Festival Verdi. He studied orchestra conducting under Franco Ferrara at the Teatro La Fenice in Venice and at the Accademia Nazionale di Santa Cecilia in Rome, where he was invited – the only student in the history of the Academy – to lead the Orchestra di Santa Cecilia. He made his debut in the United States in 1991 in New York conducting the St. Luke’s Orchestra. Since then he has returned regularly to the US to lead the Symphonic Orchestras of the cities of Boston, Philadelphia, Chicago, Cleveland, Dallas, San Francisco, as well as the Los Angeles Philharmonic, the Saint Paul Chamber Orchestra – of which he is one of the “Artistic Partners”
– working with soloists like Yo-Yo Ma, Midori, Nigel Kennedy, Gil Shaham, Joshua Bell, Hilary Hahn, Vadim Repin, Sarah Chang, Yefim Bronfman, Mitsuko Uchida, Alfred Brendel, Radu Lupu, André Watts, Andras Schiff, Lang-Lang, and Katia and Marielle Labèque.
I. Ziemlich langsam: Lebhaft
II. Romanze: Ziemlich langsam
III. Scherzo: Lebhaft
IV. Langsam; Lebhaft
DURATION: About 30 minutes
PREMIERED: Düsseldorf, 1853
INSTRUMENTATION: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings
“Be modest! You have not yet invented nor thought anything which others have not thought or invented before. And should you really have done so, consider it a gift of heaven which you are to share with others.”
by Jeremy ReynoldsMany young couples have tales to tell of difficult fathers-in-law. Pianist Friedrich Wieck, who would — kicking and screaming — become father-in-law to the composer Robert Schumann, was as cliché as it gets, even threatening to shoot the unassuming Robert at one before the wedding.
Wieck’s daughter Clara had demonstrated prodigy-level aptitude at the piano at an early age, and he immediately placed her on a strict course of musical study and practice with a regimen of his own devising. Later, when Robert himself abandoned his study of law and came to study with Wieck, he quickly fell for Clara. Friedrich immediately opposed the union, noting Robert’s shifts of temper, his proneness to alcoholism and his precarious prospects as a composer — not unreasonable concerns — and the pair resorted to sneaking around and sending letters.
SYMPHONY: An elaborate orchestral composition typically broken into contrasting movements, at least one of which is in sonata form.
FURTHER LISTENING:
Schumann: Symphony No. 1 in B-flat major, Op. 38, “Spring”
Violin Sonata No. 2 in D minor, Op. 121 Julius Caesar Overture, Op. 128
It sounds like good fun until, that is, one remembers that the patriarchal laws of the time forbade Clara to marry without her father’s blessing. Schumann had to sue Wieck in the Saxon Court of Appeals, and after a bitter court battle, the pair finally married in 1840. After this, all was bliss for a time. Schumann’s first symphony, the “Spring” symphony, came swiftly, a sunny outpouring of musical affection that took Europe’s musical world by storm, along with more than 100 gorgeous songs for piano and voice. The second symphony — called Symphony No. 4 due to its delayed publication — arrived in 1841, a darker, more intense offering.
The first movement begins with a resounding chord, followed by a questioning, probing tune in bassoons and strings. There’s consternation and drama as the music slowly winds itself into knots, accelerating until a great burst of stormy melody explodes from the strings. From here, it’s off to the races, a mix of contrapuntal writing and fierce orchestral effects, brass and bass instruments blasting at particularly tempestuous moments.
Continued on Page 23
— Robert Schumann (Born 1810, Germany; died 1856)I. Allegro molto moderato
II. Lento e mesto
III. Moderato – In tempo animato –Tempo I – Più mosso – Ancora più mosso
DURATION: About 20 minutes
PREMIERED: Leipzig, 1909
INSTRUMENTATION: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, percussion, strings, and solo flute
“When I appeared the second time, fully prepared to hear a crushing verdict upon my work, [Mendelssohn] received me so warmly that I felt at once at ease. He astonished me greatly by playing several passages from my quartet which had particularly pleased him; as well as others with which he found fault...”
by Jeremy ReynoldsReinecke’s life was remarkably unremarkable for a Romantic-era composer. Born in Hamburg, he received his musical instruction from his father and, displaying voracious talent, began playing public concerts at the age of 12. What a slacker. He found gainful employment all his life at musical establishments like the Leipzig Conservatory and the Gewandhaus Orchestra and as a teacher himself. The public received his music favorably, and he lived to the ripe old age of 85.
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.
FURTHER LISTENING:
Reinecke: Sonata for flute (Sonata Undine), Op. 167
Ballade for flute and orchestra in D minor, Op. 288 Octet for winds in B-flat, Op. 216
And yet, like Felix Mendelssohn, Reinecke’s friend and mentor, his music fell out of fashion almost immediately after his death. In Mendelssohn’s case, there’s credible scholarship to suggest that Richard Wagner smeared his reputation and contributed to a certain snobbery about Mendelssohn’s lighter blend of classical and romantic elements. Perhaps the association tainted Reinecke’s reputation as well? The New York Times critic John Rockwell snapped at his final major work, the Flute Concerto in D Major, “Reinecke’s sensibility was shaped by another Leipziger, Mendelssohn, and his flute concerto seems blissfully dated for a work composed in this century. It has an undeniable craft, and the final movement especially provides virtuosic moments for the soloist. But it is no masterwork.”
Harsh and undeserved. The concerto begins with a lush bed of sound in the orchestra, with winds pumping light and life into the introduction before the flute enters briefly with a single phrase, a smiling comment, before strings begin to swirl and carry the piece forward, like a gently flowing brook or stream. Soon, the flute enters once more, joining the orchestra in an increasingly virtuosic dialogue. Other flute concertos fall prey at times to banal, showy pyrotechnics that become unimpressive after a time. Reinecke remains focused on melody and substance. Truly a lovely tune and movement.
The second movement kicks off with plucked strings and brass. It’s foreboding, morose even,
Continued on Page 23
— Carl Reinecke (Born 1824, Germany; died 1910)DURATION: About 15 minutes
PREMIERED: Weimar, 1854
INSTRUMENTATION: Three flutes (third doubling on piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, snare drum, bass drum, cymbals, harp, and strings
“The character of instrumental music... lets the emotions radiate and shine in their own character without presuming to display them as real or imaginary representations.”
— Franz Liszt (Born 1811, Hungary; died 1886)
SYMPHONIC POEM: A piece of orchestral music, typically one movement, based on an idea or story. Liszt’s symphonic poems helped establish the genre of orchestral program music.
FURTHER LISTENING:
Liszt: Les quatre élémens (The Four Elements), S.80
Tasso: Lamento e Trionfo (Symphonic Poem No. 2) Orpheus (Symphonic Poem No. 4)
by Jeremy ReynoldsA pair of plucked pizzicato notes in the strings open Liszt’s Les Préludes, or “The Beginnings.” Low strings then embark on a melody that winds its way up into a higher register and blends into a wind chorale. Then the pizzicatos return, but higher, ditto the string melody and wind chorale. The music begins a build, fragmenting the earlier melody and inserting brass, sweeping along until at last, brass blazes out with a melody, as strings provide momentum with detached broken chords.
This work doesn’t have an exact “program,” meaning it’s not illustrating a specific storyline. During Liszt’s lifetime, there were several compositional camps that diverged along the lines of progressive tonality and whether composers should strive for “pure” abstract music or express ideas or stories through sound. Liszt, along with Wagner, was in the latter camp — he embarked on Les Préludes, intending it to be an introductory overture for a chorale song cycle about the four elements, earth, air, water and fire, though he later abandoned this plan. Instead, Liszt added his own program note, adapted from French poet Alphonse de Lamartine’s ode, also titled “Les Préludes”:
What else is life but a series of preludes to that unknown song, the first and solemn note of which is sounded by Death? Love is the enchanted dawn of all life; but what fate is there whose first delights of happiness are not interrupted by some storm, whose fine illusions are not dissipated by some mortal blast, consuming its altar as though by a stroke of lightning? And what cruelly wounded soul, when the storms are over, does not seek solace in the calm serenity of rural life? Nevertheless, man does not resign himself for long to the enjoyment of that beneficent warmth which he first enjoyed in Nature’s bosom. So when the trumpet sounds the alarm and calls him to arms, no matter what struggle calls him to its ranks, he may recover in battle the full consciousness of himself and the entire possession of his powers.
Continued on Page 23
Schumann, continued from Page 20
Next, a slower, almost funereal tune opens the second movement, with Schumann’s warmth still pervading the movement. Then, the scherzo, a stern, quick-stomping affair with a smooth, winding middle section. The finale begins, like the first movement, with winding, questing figures in the strings building to a quicker, sharper tune that carries the music to a shockingly positive conclusion.
The initial premiere of this symphony didn’t capture the public’s imagination
Reinecke, continued from Page 21
before the flute sings out a lament, high above the orchestra. And then, the finale — like Mendelssohn’s violin concerto, it begins with mock-seriousness, with a comically furrowed brow, before the flute enters to chirp and soar with a cheery rondo tune, reminiscent of the opening movement.
Liszt, continued from Page 22
And yet, Liszt actually added this program when the work was already near completion. This doesn’t detract from its validity as a program, but it is curious to note that the composer didn’t actually begin with this in mind. This suggests a malleability to any “meaning” to this sort of abstract music and is a useful reminder that even a composer’s intent can change. Beauty and meaning are in the ear of the beholder.
Liszt, though a prolific composer, was perhaps best known as a pianist
to the same degree as the first symphony: “The Second Symphony did not have the same great acclaim as the First,” Schumann later wrote. “I know it stands in no way behind the First, and sooner or later it will make it on its own.” In 1851, ten years after its premiere, he revised the symphony, thickening the orchestral textures and linking the movements together. Schumann’s inner circle disagreed on which is the “better” version, with Brahms preferring the former and Clara the latter.
Though Reinecke’s music is rarely played today — for better or for worse is in the ear of the beholder — his list of pupils is a star-studded “who’s-who” of the classical repertoire and includes Edvard Grieg, Max Bruch, August Max Fiedler and others.
during his lifetime. His concert tours are the stuff of legend, helped by a carefully cultivated, artistically dashing appearance that caused many 19th century women to swoon, much to the consternation of their husbands and fathers. While composers and virtuosos primarily served the aristocratic class during this period, Liszt managed to find more popular appeal through his particular style of playing and composition, a champion of the people who donated much of his concert proceeds to charity.
The March 3-5 performances to Mrs. Rosalyn G. Rosenthal
The March 10-12 performances to William S. Scott Foundation
The March 24-26 performances to Teresa and Luther King
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Shawn & Victoria Furniss
Mr. & Mrs. Frank M. Gault
Mr. Robert Genzel
Ms. Kathryn Gerland
Mr. & Mrs. John Giordano
Drs. Daniel & Lyn Hunt Goggin
Eric & Jannene Gunter
David & Lori Haley
Mr. & Mrs. David J. Hamacher
Mrs. Phil Harris, Jr.
Jo & Don Hawthorne
Janet Heath
Carolyn & Larry Heath
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
Stephen and Happy Johns
Mr. & Mrs. Hunter B. Johnson
Roland R. Johnson, Jr.
Carol Jones
Ed & Carol Jones
Ms. Sue Jones
Walter D. Juliff
Mr. Byron Keil
Mr. & Mrs. Raymond B. Kelly III
Dione Kennedy & Daniel Hagwood
Mr. & Mrs. John B. Kleinheinz
James Knoll & Janet Ehret
Mr. Ronnie Korb
Irene Koscal
Laura & Bill Lace
Colonel Leonard S Y Lai
Mr. & Mrs. Edward A. Lane
John and Tim Latta
Mike & Carolyn Law
Mr. Tony Lester
E. Donovan Lewis
Art & Cheryl Litke
Dr. S. David & Mrs. Jennifer Lloyd
Ricky & Charlene Locke
Rev. Elizabeth Lockhart
Dr. Brad Loeffelholz
Mr. Andrew Lombardi
Kerry Lowery
Guy & Helen Mabee
Dr. & Mrs. James D. Maberry
James M. Makens
Mr. & Mrs. Patrick Malloy
John Marion
Ms. Sandra Doan & Mr. Jacques
Marquis
Chuck Marsh
Chuck & Judy Martin
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
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. Lynn Morgan
Ms. Susan Morgan
Mr. Bruce Morris
Mr. & Mrs. David Motley
Sandy Mulcahy and Lee Mulcahy
Tyler and Katherine Murphy
John Myers
Lynn Nesbit Charitable Trust
Mr. Greg Nicholas & Dr. Catherine M. Nicholas
Betty G Norvell
Laura O’Brien
Ann-Margaret Ochs & Steve Stewart
Drs. Jeffrey & Raquel Oxford
Paul & Mary Kay Park
Ms. Bonnie J. Parker
Dr. Beatriz Parra
Anonymous
Laura Potts & Don Ritter
Max & Susan Poynor
Susan Murrin Pritchett
Virginia R. Pumphrey
Dr. & Mrs. David Quam
Mr. & Mrs. Fred W. Rabalais
Jeremy Raines
Carol Ray
Greg & Wendy Reese
Mr. & Mrs. John Richmond
Ann Rivera
Mr. Gordon Roberts
Laurie & Len Roberts
Brian & Kyla Rosenberger
Madelyn Rosenthal
Capera Ryan
Mr. & Mrs. Robert Schmidt
Catherine & Wallace Schmuck
The Seger Family
Marisa Selkirk
Dr. D.D. (Darcy) Sety
Betty Sherman
Anne & Danny Simpson
Anonymous
Dr. & Mrs. David C. Smith
Mary Alice Denmon Smith
Robert Snider
Kathleen & Richard Stevens
Jerry & James Taylor
Lynn & Jim Thomas
John* & Camille Thomason
Randy & Jo Thomson
Bob & Sharon Timmons
Ms. Karin Tosado
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
Lyn Clayton Willis
Henry & Gail Wilson
Greg & Patsy Winston
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
* Denotes Deceased
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.
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
Hear from 10 real students as they share their stories and experiences in Tarleton’s episode of The College Tour, a TV series streaming on YouTube and Amazon Prime!
Inspiration from the stage can open new worlds at home.
You won’t believe what’s possible with Realtors ® like ours.
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