May 2023
Elgar’s Enigma Variations: Strauss, Saint-Saëns, and Elgar
May 5-7
Haydn: The Creation
May 19-21
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.
In this new pop musical based on the life of Jesus, a common-man-from-anobscure-family arrives in the big city and defies expectations. Melding a youthful voice with a timeless perspective, the greatest story ever told is brought into the third millennium, reminding us of the universal power of love and redemption.
The exhibition is organized by The Metropolitan Museum of Art and the Kimbell Art Museum. It is supported in part by the William and Catherine Bryce Memorial Fund, the Texas Commission on the Arts, and the Fort Worth Tourism Public Improvement District.
Promotional support provided by
Keith Cerny, Ph.D. President and CEO
OPERATIONS
John Clapp Vice President of Operations
Matthew Glover Director of Operations
Gillian Boley Artistic Services Coordinator
Joseph Dubas Interim Orchestra Personnel Manager
Christopher Hawn Orchestra Librarian
David Sterrett Assistant Orchestra Librarian
Branson White Production 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
Shelby Lee Vice President of Finance
Lucas Baldwin Senior Staff Accountant
Jacque Carpenter Vice President of Human Resources
MARKETING
Carrie Ellen Adamian Chief Marketing Officer
Melanie Boma SeniorTessitura 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
Stephanie Hartley Marketing and Communications Specialist
Megan Brook Senior Manager, Analytics and
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 CEO
Thank you for joining us for another great concert evening! We have an extraordinary set of programming ahead for the spring including A Night at the Ballet and the recently announced Concerts in the Garden Festival. I’m personally very excited for CITG’s Patriotic Pops concert, and country superstar Pat Green.
As part of the FWSO’s commitment to serving our community, the FWSO also recently hosted over 5,000 students from FWISD for six Link Up concerts presented in partnership with Carnegie Hall’s Weill Music Institute. Alongside the Orchestra musicians, students performed on their recorders while dancing and singing along to the music. Students work for weeks on this program, culminating in a shared performance experience that brings joy to everyone. Through this work the FWSO is not just developing the next generation of musicians, they are contributing to the development of strong community leaders, cultural supporters, and arts advocates.
The Board of Directors and I recognize you; our donors, patrons, and volunteers, for your help in making this possible.
With much appreciation and gratitude,
Mercedes T. Bass Chairman of the Board of Directors
This month, we are starting to approach the end of Robert Spano’s exhilarating inaugural season as Music Director. The reaction from the community, our patrons, musicians, and staff to his performances has been overwhelmingly positive, and the orchestra has hit a new “high water mark” in playing standard. Still to come this season are important artistic collaborations, including our performances with Texas Ballet Theater of a world premiere of a new production of Stravinsky’s Firebird suite, and Haydn’s Creation featuring Miami-based chorus Seraphic Fire and projections by Elaine J. McCarthy. On the Pops series, we are eagerly anticipating the return of Pink Martini, conducted by Music Director Laureate Miguel Harth-Bedoya. Mark your calendars now for Principal Guest Conductor Kevin John Edusei’s special performance in Bass Hall on June 2, 2023.
As backdrop to this vibrant artistic programming, many American symphonies including the FWSO are finding this first post-COVID season especially challenging. Audiences are gradually returning to live performances, which is encouraging, although the weak economy is also creating its own difficulties. We are especially grateful for your patronage and support during this period, and hope that as the economy improves, we will see audiences return to pre-COVID levels. In the meantime, we thank you!
We hope that you enjoy the remainder of this season’s performances and are planning to attend the many exciting Symphonic and Pops concerts announced for 2023-2024. The new 2023-2024 season is now on sale so be sure to secure your tickets. We look forward to seeing you!
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
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
May 5-7, 2023
Bass Performance Hall
Miguel Harth-Bedoya, Conductor
Sterling Elliott, Cello
Elgar's Enigma Variations: Strauss, Saint Saëns, and Elgar
R. STRAUSS Tod und Verklärung, Opus 24 [Death and Transfiguration]
SAINT-SAËNS
Cello Concerto No. 1 in A minor, Opus 33 Allegro non troppo – Allegretto con moto – Tempo primo
Sterling Elliott, Cello
Intermission
ELGAR Variations on an Original Theme, Opus 36 "Enigma"
Enigma: Andante
Variations:
I. C.A.E. (L'istesso tempo)
II. H.D.S.- P. (Allegro)
III. R.B.T. (Allegretto)
IV. W.M.B. (Allegro di molto)
V. R.P.A. (Moderato)
VI. Ysobel (Andantino)
VII. Troyte (Presto)
VIII. W.N. (Allegretto)
IX. Nimrod (Adagio)
X. Dorabella (Intermezzo: Allegretto)
XI. G.R.S. (Allegro di molto)
XII. B.G.N. (Andante)
XIII. *** (Romanza: Moderato)
XIV. E.D.U. (Finale: Allegro)
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.
Miguel Harth-Bedoya, Emmy award-winning and Grammynominated conductor, is a master of color, drawing idiomatic interpretations from a diverse and wide range of repertoire in concerts across the globe.
Celebrating more than 30 years of professional conducting, and with a deep commitment to passing his experience on to the next generation of musicians, he is currently the Mary Franks Thompson Director of Orchestral Studies at Baylor University, and Music Director of the Baylor Symphony Orchestra where in addition to performing, he teaches orchestral conducting at the undergraduate and graduate level.
Acclaimed for his stellar stage presence and joyous musicianship, cellist Sterling Elliott is a 2021 Avery Fisher Career Grant recipient and the winner of the Senior Division of the 2019 National Sphinx Competition. He has appeared with such major orchestras as the Philadelphia Orchestra, the New York Philharmonic, the Boston Symphony, the Cleveland Orchestra, the Los Angeles Philharmonic, the Detroit Symphony, and the Dallas Symphony, with noted conductors Yannick Nezet-Seguin, Thomas Wilkins, Jeffrey Kahane, Bramwell Tovey, Mei Ann Chen and others. In 2022, he made his Aspen Festival debut, performing the Brahms Double Concerto with Gil Shaham, and his German debut in Munich in May 2022, performing chamber music with Daniel Hope.
The 2022-2023 season includes his debuts with the Colorado Symphony, Cincinnati Symphony, North Carolina Symphony, and Ft. Worth Symphony, among others. He will appear in recital under the auspices of the San Francisco Symphony, the New York Philharmonic, Shriver Hall in Baltimore, the Tippett Rise Festival and Capitol Region Classical in Albany, NY. In October he participates in the Caramoor Music Festival’s prestigious Evnin Rising Stars series, a weeklong program of coaching and chamber music culminating in a performance in Katonah, NY.
DURATION: About 22 minutes
PREMIERED: Eisenach, 1890
INSTRUMENTATION: Three flutes, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, tam-tam, strings and two harps
“I may not be a first-rate composer, but I am a first-class second-rate composer.
by Jeremy ReynoldsTo describe the program for Death and Transfiguration, Strauss wrote: “The sick man lies in bed breathing heavily and irregularly in his sleep. Friendly dreams bring a smile to the sufferer; his sleep grows lighter; he awakens.” Indeed, an irregular, pulsing rhythm in the strings opens the tone poem, the last flutterings of an ailing heart. A bassoon enters, and then low brass and English horn, heavy and at odds with the string line. Harp takes over and short snippets of melodies in the winds suggest blips of bright memory as the music continues.
“It’s a funny thing Alice, dying is just the way I composed it in Tod und Verklärung.”
— Richard Strauss (Born 1864, Germany; died 1949)
TONE POEM: A piece of orchestral music, typically one movement, based on an idea or story.
FURTHER LISTENING:
Strauss: Till Eulenspiegel’s Merry Pranks, Op. 28
Don Juan, Op. 20
Also sprach Zarathustra, Op. 30 Don Quixote, Op. 35
Strauss, the musically precocious son of a horn player and brewer, was only 25 when he began work on Death and Transfiguration. The youth had no personal experience with death at the time — the work is entirely conceptual and based on a scenario he imagined in his head about a great artist’s final hours. “It occurred to me to present in the form of a tone poem the dying hours of a man who had striven towards the highest idealistic aims, maybe indeed those of an artist,” he wrote.
(Decades later, as he lay on his own death bed, he’d remark to his daughter-in-law that dying was exactly as he’d written it.)
His programmatic description continues: “Fearful pains once more begin to torture him, fever shakes his body.” Here, a great thump roils the orchestra while a dark melody launches in the bass and quickly passes through the orchestra, ascending higher and higher, with horns interjecting the opening rhythmic motif at times. There’s a great sense of drama and struggle in the music, of determination and futility, creatively illustrated by starting this theme offbeat and off-balance.
Soon, however, the music slows, and the flute harkens back to the earlier fragments of lyrical melody, now spinning out a full song of remembrance and nostalgia and introducing a heroic new theme. Strauss explains: “When the
Continued on Page 13
CELLO CONCERTO No. 1 in A MINOR, Op. 33
DURATION: About 20 minutes
PREMIERED: Paris, 1873
INSTRUMENTATION: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings
“The artist who does not feel completely satisfied by elegant lines, by harmonious colors, and by a beautiful succession of chords does not understand the art of music.”
— Camille Saint-Saëns (Born 1835, France; died 1921)
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:
Saint-Saëns: Danse macabre, Op. 40
Violin Concerto No. 3 in B minor Cello Concerto No. 2 in D minor
by Jeremy ReynoldsOne chord, sharply uttered, serves as introduction before the cello leaps in with its first melody, notes tumbling one after the other. The orchestra shades and punctuates the cello’s song for a time before the winds begin to sing the melody band, then strings join in the conversation and begin a transition into the next theme of the movement.
For a composer with as conservative a reputation as Saint-Saëns, the concerto marks a decided departure from the conventional concerto form. True, the three movements follow the standard concerto template, but the composer links them all together seamlessly so that the music flows as a single, uninterrupted thought, with closely related motivic material throughout. (The third movement actually opens with the same music as the first.) Plus, traditionally, in a concerto, the orchestra states the theme, and the soloist repeats and embellishes that tune. Not so here — the cello is squarely leading the ensemble from its first phrases.
One of the great difficulties in writing a cello concerto, really any concerto for lowpitched instruments, is writing the orchestral accompaniment such that the soloist can still be heard. Higher-pitched sound carries easier and can cut through textures — the cello requires sparser textures for the listener to be able to hear the details of the playing. This means that strings and winds play incredibly softly and often in a completely different register from the soloist. For example, when the cello is low in its range, winds tend to shade in with higher pitches and chords.
After an impassioned first movement is a minuet of surpassing grace and delicacy. This light-stepping dance begins in the upper strings, with the cello entering with a sweet, timid countermelody after a time. The finale launches with similar energy to the first movement, building to new heights and then yanking the rug out by inserting a new, more doleful melody for the cello. The movement quickly picks up the pace once more, however, alternating a flashy, brilliant theme with the melancholy tune, ultimately building to a rousing finish.
VARIATIONS on an ORIGINAL THEME, Op. 36 “ENIGMA”
Enigma: Andante
Variations:
I. C.A.E. (L’istesso tempo)
II. H.D.S.- P. (Allegro)
III. R.B.T. (Allegretto)
IV. W.M.B. (Allegro di molto)
V. R.P.A. (Moderato)
VI. Ysobel (Andantino)
VII. Troyte (Presto)
VIII. W.N. (Allegretto)
IX. Nimrod (Adagio)
X. Dorabella (Intermezzo: Allegretto)
XI. G.R.S. (Allegro di molto)
XII. B.G.N. (Andante)
XIII. *** (Romanza: Moderato)
XIV. E.D.U. (Finale: Allegro)
DURATION: About 30 minutes
PREMIERED: London, 1899
INSTRUMENTATION: Two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons and contrabassoon, four horns, three trumpets, three trombones,
“It is curious to be treated by the oldfashioned people as a criminal because my thoughts and ways are beyond them.”
— Edward Elgar (Born 1857, England; died 1934)
THEME AND VARIATIONS: A musical form in which the composer introduces a “theme,” or central melodic idea, and then repeats and deconstructs that theme such that each successive restatement, “variation,” emphasizes different moods and elements of the original theme.
FURTHER LISTENING:
Elgar: Imperial March, Op. 32
Sea Pictures, Op. 37
The Dream of Gerontius, Op. 38
by Jeremy ReynoldsElgar’s Enigma remains one of the great unsolved mysteries of classical music. Although the theme of Enigma is original, the composer wrote of another “dark saying,” an unheard melody that fits with the theme: “Through and over the whole set another and larger theme ‘goes,’ but is not played—so the principal Theme never appears...” For more than 100 years, musicologists, professional and amateur, have striven to find the answer, suggesting snippets of “God Save the Queen” and “Auld Lang Syne” and, believe it or not, “Pop Goes the Weasel,” a traditional English nursery rhyme.
Nothing fits quite right. Eventually, a sheepish vein of scholarship developed, noting that Elgar was something of a prankster and an amateur cryptologist, suggesting that there is no other tune. Perhaps Elgar was just having a laugh.
That theory would fit with the general playfulness of the piece. The story is that after a tough day of teaching violin Elgar sat with a cigar at the piano, improvising for his and his wife’s amusement. When he hit upon a theme that caught his fancy, he began varying and embellishing the music in such a way as to suggest the mannerisms of his friends and acquaintances. Each variation is dedicated to a member of his circle, beginning with his wife, Alice, and ending with himself.
The ninth variation, “Nimrod,” is particularly famous for its calm, stately reassurance. Its name derives from a Biblical hunter and references Elgar’s best friend and publisher, Augustus Jaeger, whose last name means “hunter.” In Elgar’s note to Jaeger with the original sketches of the work, he wrote: “I have sketched a set of Variations on an original theme: the Variations have amused me because I’ve labeled ‘em with the nicknames of my particular friends — you are Nimrod. That is to say, I’ve written the variations each one to represent the mood of the ‘party’ — I’ve liked to imagine the ‘party’ writing the variation him (or her) self — if they were asses enough to compose.”
Continued on Page 13
Strauss, continued from Page 10
attack is over and the pain recedes, he recalls his past life; his childhood passes before his eyes; his youth with its striving and passions and then, while the pains return, there appears to him the goal of his life’s journey, the idea, the ideal which he attempted to embody, but which he was unable to perfect because such perfection could be achieved by no man.”
And finally, the music again gasps upward and slows dramatically. “The fatal hour arrives. The soul leaves his body, to discover in the eternal cosmos the magnificent realization of the ideal that could not be fulfilled here below.” There’s now a regular, trudging pace and a great calm. The music is optimistic, layering brass and winds slowing to build great chords and decorating them with string runs before the new theme from the third section returns, transformed. Its utter serenity is sublime, one of classical music’s great moments.
Elgar, continued from Page 12
Variation I (L’istesso tempo) “C.A.E.”
Caroline Alice Elgar was the composer’s wife. Elgar wrote: “The variation is really a prolongation of the theme with what I wished to be romantic and delicate additions; those who knew C.A.E. will understand this reference to one whose life was a romantic and delicate inspiration.”
Variation II (Allegro) “H.D.S.-P.”
An amateur pianist, Hew David Steuart-Powell played in Elgar’s trio. This variation imitates the way he warmed up for rehearsals.
Variation III (Allegretto) “R.B.T.”
Richard Baxter Townshend was a writer whose voice went up in pitch when he was excited.
Variation IV (Allegro di molto) “W.M.B.”
William Meath Baker was a country squire with a forceful voice and a tendency to slam doors.
Variation V (Moderato) “R.P.A.”
Richard P. Arnold was a whimsical philosopher who punctuated serious conversations with sly quips.
Variation VI (Andantino) “Ysobel”
Isabel Fitton was a friend and viola student of Elgar’s. This variation features the viola and includes frequent string crossings, playfully mocking Fitton’s lack of skill with the viola. Elgar discontinued her lessons after a time, saying, “I value our friendship much too much.”
Variation VII (Presto) “Troyte”
Arthur Troyte Griffith was another student of Elgar’s. He struggled to find rhythm in piano lessons, prompting Elgar to write of this variation: “the strong rhythm suggests the attempts of the instructor (E.E.) to make something like order out of chaos, and the final despairing ’slam’ records that the effort proved to be in vain.”
Variation VIII (Allegretto) “W.N.”
Winifred Norbury frequently hosted Elgar and friends in a delightful house of which Elgar often remarked.
Variation IX (Moderato) “Nimrod”
Elgar once considered giving up composition altogether, but his friend August Jaeger consoled him. This variation is an homage to that conversation.
Variation X (Intermezzo) “Dorabella”
Elgar’s friend Dora Penny spoke with a slight stutter, reproduced in this variation.
Variation XI (Allegro di molto) “G.R.S.”
Dr. G.R. Sinclair was an organist who owned a bulldog. Elgar wrote: “The first few bars were suggested by his great bulldog Dan (a well-known character) falling down a steep bank into the River Wye; his paddling upstream to find a landing place; and rejoicing bark on landing.”
Variation XII (Andante) “B.G.N.”
Basil G. Nevinson was the cellist in Elgar’s trio.
Variation XIII (Romanza: Moderato) “***”
There are two theories about this mystery variation. This variation depicts Lady Mary Lygon, but she was traveling at the time of composition and couldn’t give permission for her initials to appear in the official score. The other theory is that it’s about Elgar’s former fiancé who left him by boat. In either case, the music quotes Mendelssohn’s “Calm Sea and Prosperous Voyage.”
Variation XIV (Finale: Allegro) “E.D.U.”
Elgar’s wife called him Edu (“Edoo”) for short. This variation summarizes much of the preceding material and concludes with a spirit of grand optimism.
May 19-21, 2023
Bass Performance Hall
Robert Spano, Conductor
Jessica Rivera, Soprano
Thomas Cooley, Tenor
Nmon Ford, Baritone
Seraphic Fire, Chorus
Generously Supported by Aaron Howard and Corrie Hood-Howard
HAYDN The Creation, H. XXI:2
Part I:
1a. Introduction: The Representation of Chaos
1b. Aria: Now vanished by the holy beams
2a. Recitativo: And God made the firmament
2b. Chorus: What wonder doth his work reveal
3a. Recitativo: And God said: Let the waters be gathered
3b. Aria: Rolling in foaming billows
4a. Recitativo: And God said: Let the earth bring forth grass
4b. Aria: Now robed in cool, refreshing green
5a. Recitativo: And the heavenly host proclaimed
5b. Chorus: Awake the harp
6a. Recitativo: And God said: Let there be lights
6b. Recitativo: In shining splendor
6c. Chorus: The heavens are telling the glory of God
HAYDN The Creation, H. XXI:2
Part II:
7a. Recitativo: And God said: Let the waters bring forth
7b. Aria: On mighty wings now circling
8a. Recitativo: And God created great whales
8b. Terzetto: In fairest raiment now
8c. Chorus: The Lord is great in his might
9a. Recitativo: And God said: Let Earth bring forth
9b. Recitativo: Strait opening her fertile womb
9c. Aria: Now shines the brightest glory of Heaven
10a. Recitativo: And God created man
10b. Aria: In native worth and honor clad
11a. Recitativo: And God saw everything
11b. Chorus: Achieved is the glorious work
Part III:
12a. Recitativo: In rosy mantle
12b. Chorus: By thee with grace, O Lord and God
13a. Recitativo: Now is our duty well-fulfilled
13b. Duetto: Sweet companion! At thy side
14a. Recitativo: O happy pair!
14b. Chorus: Sing to God ye hosts unnumbered!
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 May 5-7 performances to Marianne Auld and Jimmy Coury
The May 19-21 performances to Bratton Family Foundation
Jessica Rivera, soprano
Possessing a voice praised by the San Francisco Chronicle for its “effortless precision and tonal luster,” Grammy Awardwinning soprano Jessica Rivera is one of the most creatively inspired vocal artists performing before the public today. The intelligence, dimension and spirituality with which she infuses her performances on great international concert and opera stages has garnered Ms. Rivera unique artistic collaborations with many of today’s most celebrated composers, including John Adams, Osvaldo Golijov, Gabriela Lena Frank, Jonathan Leshnoff, Nico Muhly, and Paola Prestini, and has brought her together with such esteemed conductors as Gustavo Dudamel, Sir Simon Rattle, Esa-Pekka Salonen, Robert Spano, Markus Stenz, Bernard Haitink, and Michael Tilson Thomas.
Praised by the New York Times for his “sweet, penetrating lyric tenor with aching sensitivity,” and by San Francisco Classical Voice as “an indomitable musical force,” Thomas Cooley is a singer of great versatility, expressiveness, and virtuosity. He has collaborated with conductors such as Teodor Currentzis, Nicholas McGegan, Robert Spano, Manfred Honneck, Donald Runnicles, Helmuth Rilling, Osmo Vänskä, Eji Oue, David Robertson, Markus Stenz, Bernard Labadie, Jane Glover, and Franz Welser-Möst.
Internationally in demand for a wide range of repertoire in concert, opera, and chamber music, Cooley performs regularly with major orchestras such as the Atlanta, St. Louis, and National Symphonies; the Minnesota Orchestra and St. Paul Chamber Orchestra; Los Angeles Chamber Orchestra, Orchestre Symphonique de Quebec; Copenhagen Philharmonic; Bavarian Radio Symphony; Orchestra Sinfonica Giuseppe Verdi; the Gewandhaus Orchestra Leipzig; and the Osaka Philharmonic.
Panamanian-American baritone Nmon Ford begins a new artistic chapter as the composer, librettist, and title-role performer of Orfeus, A House Music Opera, which was scheduled for its world premiere at London’s Young Vic Theatre in April 2020 (postponed due to Covid-19). Nmon has enjoyed success in increasingly challenging and dramatic repertoire, most recently in concert with the Atlanta Symphony Orchestra in excerpts from Aïda (Amonasro) He made his role and company debut as Crown in the English National Opera/Metropolitan Opera co-production of Porgy and Bess, preceded by his role and festival debut at Lincoln Center’s Mostly Mozart Festival as The Celebrant in Leonard Bernstein’s MASS, Iago (Otello) with the Atlanta Symphony, Jochanaan (Salome) at Pittsburgh Opera, and the Celebrant (MASS) at Salzburg’s Grosses Festspielhaus with the Salzburg Mozarteumorchester.
Seraphic Fire is an ensemble dedicated to the concert performance of the breadth of history’s musical works for the human voice. Lauded by Gramophone for its “mellifluous, crystalline artistry,” Seraphic Fire has gained an international reputation for dynamic, cuttingedge, and historically informed programming that encompasses both secular and sacred literature. The ensemble’s roster is populated by performers, teachers, and scholars who represent the best of the American school of vocal and instrumental training. Established in 2002, Seraphic Fire is led by its founder, Patrick Dupré Quigley.
The ensemble has commissioned and premiered works by American composers including Alvaro Bermudez, Shawn Crouch, Douglas Cuomo, Sydney Guillaume, James Kallembach, Susan LaBarr, Ileana Perez Velazquez, Jake Runestad, and Christopher Theofanidis. Seraphic Fire has released 16 recordings. Several have topped the classical music charts. Two – Brahms: Ein Deutsches Requiem and A Seraphic Fire Christmas – have received GRAMMY® nominations.
Patrick Dupré Quigley, conductor, Seraphic Fire
Patrick Dupré Quigley (b. 1977), conductor, is a native of New Orleans, Louisiana. He has led The Cleveland Orchestra in Mozart’s Requiem, the San Francisco Symphony in Handel, Bach, Ligeti and Berio, and the Philharmonia Baroque Orchestra in Bach and Purcell. Recent and upcoming projects include a return to Chicago’s Music of the Baroque in Bach and music from Rameau’s Castor et Pollux; Handel’s Messiah in debuts with the National Arts Centre Orchestra and Kansas City Symphony; and Handel’s chamber opera Acis and Galatea with Seraphic Fire.
Quigley founded Seraphic Fire in 2002 in Miami, FL. The ensembles’ repertoire spans from Hildegard of Bingen to Steve Reich, and their recording catalogue contains 16 albums; two titles have received GRAMMY® nominations. Seraphic Fire enjoys a residency at the Aspen Music Festival and School, where Quigley teaches and conducts.
Throughout her more than thirty-year career, Elaine J. McCarthy has established herself as a visionary master of the arts of projection & set design. Her background in photography, film and architecture has led to a career in live performance including theatre, opera, concerts, dance, television, film and corporate. Her work has been seen all over the world. On Broadway she is known for extending the boundaries of visual storytelling with her work on WICKED, MAN OF LA MANCHA, THURGOOD, the Tony Award winning productions of INTO THE WOODS, MONTY PYTHON’S SPAMALOT, and ASSASSINS, as well as many other hit shows.
Keturah Stickann’s work has been seen in countless opera houses across the United States and Canada, as well as in Chile, Japan, France, Germany, Hungary, and Australia. A champion of new American opera, she has worked extensively with director and librettist, Leonard Foglia, helping to bring new operas to the stage by Ricky Ian Gordon, Jennifer Higdon, Jose “Pepe” Martinez, and Jake Heggie & Gene Scheer. Her work on the premieres of MobyDick (2010), and It’s A Wonderful Life (2016) prompted Jake Heggie to ask her to helm the premiere of his newest opera, If I Were You (2019), at the Merola Opera Program. In addition, she has directed works by Mr. Gordon, Laura Kaminsky, Anthony Davis, and Robert Aldridge.
Chad R. Jung is a native of Fort Worth who specializes in design for Theatre, Opera, Music, and Dance. Previous design for FWSO include: Steve Reich’s Different Trains, A Soldier’s Tale, & Die Zauberflöte. As resident designer for Fort Worth Opera, Chad has designed numerous operas over the past 20 years, including the World Premiere of JFK. Opera credits include designs in Atlanta, Austin, Dallas, Milwaukee, Palm Beach, San Antonio, Seattle, Tampa, and internationally for Opéra de Montréal, and Opera Australia at the iconic Sydney Opera House. Jung has collaborated on a variety of unique projects with: Ballet Austin, Bruce Wood, Casa Mañana, Dallas Museum of Art, FW Symphony Orchestra, Texas Ballet Theatre, Tony Tucci and Washington Ballet at the Kennedy Center. Locally, Jung is a founding member of Amphibian Stage and the Resident Designer for Kids Who Care Inc, where he is devoted to mentoring the next generation of artists and helping to change the world, one kid at a time.
Paul Vershbow started programming “multi-image presentations” - 35 mm slide shows - in the early 1970’s for “Industrial Theatre” - aka sales meetings. Over the years the technical capabilities of programming expanded from single-screen, two-projector, punch tape controlled efforts to multi-screen, scores of projectors, early MS-DOS based computers. At this point 20 years down the road, Vershbow was unexpectedly invited to program the 56-projector original Broadway production of “Tommy”.This fortuitous turning point opened up the world of “legitimate” theatre, including Off-Broadway, ballet, opera, and other varied one-off projects, with 35 mm. slide projection giving way to the worlds of Panis and Pigis and the transformation of pixels into scenic imagery through varied video-based control systems such as Watchout, which is being used in the production of Haydn: The Creation with the Fort Worth Symphony Orchestra.
David C. Woolard has designed costumes at most of the major theatres in America as well as for productions all over the world. He has dressed many personalities including Jane Fonda, Betty Buckley, Liz Mikel, Quentin Tarantino and Billy Crystal among others.
Broadway credits include BRONX BOMBERS, FIRST DATE, LYSISTRATA JONES, WEST SIDE STORY, Jane Fonda’s clothing for 33 VARIATIONS, DIVIDING THE ESTATE, THE FARNSWORTH INVENTION, RING OF FIRE, ALL SHOOK UP, THE ROCKY HORROR SHOW (2001 Tony Award nomination) VOICES IN THE DARK, THE WHO’S TOMMY (1993 Tony and Olivier Award nominations) BELLS ARE RINGING, MARLENE, WAIT UNTIL DARK, Horton Foote’s THE YOUNG MAN FROM ATLANTA, DAMN YANKEES, A FEW GOOD MEN.
Haydn, continued from Page 21
tasting of the forbidden fruit. Their arias are more rustic and pastoral, drawing on folk songs for inspiration.
Haydn’s oratorio is loosely inspired by the oratorios of Handel (think: Messiah). Such works were considered more religiously and intellectually rigorous than opera, and Haydn, highly respected by intellectuals and composers during the Enlightenment era, found an outlet for some of his ideas in the libretto for Adam and Eve. The full tale of the text is convoluted. A text intended for Handel found its way into Haydn’s hands, and to this day, no one knows who authored this original draft. Haydn set his collaborator Gottfried van Swieten to adjust the text, and today it exists in both German and English versions, with the English text largely adapted from the King James Version of the Bible.
DURATION: About 105 minutes
PREMIERED: Vienna, 1798
INSTRUMENTATION: Two flutes, two oboes, two clarinets, two bassoons and contrabassoon, two horns, two trumpets, three trombones, organ, fortepiano, timpani, strings, chorus, and soprano, tenor and bass soloists
“Never was I so devout as when I composed The Creation. I knelt down each day to pray to God to give me strength for my work....When I was working on The Creation I felt so impregnated with Divine certainty, that before sitting down to the piano, I would quietly and confidently pray to God to grant me the talent that was needed to praise Him worthily.”
— Joseph Haydn (Born 1732, Austria; died 1809)
ORATORIO: a long dramatic composition based on a religious theme for solo voices, chorus, and orchestra, and performed without action, costume or scenery.
FURTHER LISTENING:
Haydn: Il ritorno di Tobia (“The Return of Tobias”)
Die Jahreszeiten (“The Seasons”)
Missa in angustiis (“Mass for troubled times”)
by Jeremy ReynoldsHaydn’s Creation oratorio, which illustrates the Biblical days of Creation and Adam and Eve’s early existence, begins “formless and void” musically. For a piece to have a key, it takes at least a couple of pitches to clue an audience in to whether it’s major or minor. This work’s opening blast is simply the note C spaced among different octaves in the strings and winds. Haydn is suspending listeners in a primordial, pregnant chaos.
The next moments of the Prelude establish a firm key of C minor, with lots of hovering and fluttering in the winds and grungy, primeval bubbling in the bass instruments. Soon, the bass, the angel Raphael, enters: “In the beginning, God created the heaven and the earth...” After further buildup and dark, minor fragments, the choir joins in with “And there was light,” with the most fulfilling, explosive, glorious shift to C Major demonstrating this cosmic moment of fabrication.
Such direct tone painting fills this work, perhaps the crowning achievement of Haydn’s career.
What follows is a blend of arias for solo voices with orchestra and chorus, and recitatives — less structured musical dialogue — setting the Biblical text and snippets from the Book of Psalms as well as Milton’s Paradise Lost to a series of utterly delightful melodies. Parts I and II feature the archangels, Gabriel (soprano), Uriel (tenor) and Raphael narrating in grand operatic fashion the events of creation with the orchestra accompanying and decorating all the while. The music is filled with musical “text painting,” as when flute and violins slowly ascend to represent the sunrise or when the lion gets a roar from the bassoons and strings, and the worm, which gets a thrumming low note from the cellos.
Part III shifts gears slightly, with Adam and Eve arriving as a bass and soprano. The oratorio centers on the bliss of their early life before the
Continued on Page 20
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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 contributions to the Annual Fund from April 1, 2022 to April 3, 2023. *Denotes Deceased
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Anonymous
Dr. & Mrs. David C. Smith
Mary Alice Denmon Smith
Mary C. Smith; Clark Educational Services
Dr. Mary Alice Stanford & Mr. Don Jones
Jerry & James Taylor
Ms. Nan Terry
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
Mr. Robert G. VanStryland
Mrs. Lorna de Wangen
Dave & Julie Wende
Mr. & Mrs. Malcolm Wetsel
Anonymous
Lyn Clayton Willis
Henry & Gail Wilson
Greg & Patsy Winston
Mr. Adrian Wright
Robert & Ann Wright
Ms. Trisha Wright
Dr. & Mrs. Bobby J. Wroten
David & Maureen Yett
Dr. & Mrs. Shawn Zarr
Dr. & Mrs. Daniel Ziegler
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
Fort Worth 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
DFWPMA & FCVC Physicians Medical Associates is a first-rate multispecialty medical clinic that focuses on Pediatric, Adolescent, Adult, and Geriatric Psychiatry and Counseling services. Our aim is to offer the best medical services to individuals and families in the DALLAS FORT WORTH area. DFWPMA & FCVC provides Psychiatry, diagnostic evaluation, individual/family counseling and therapeutic addiction services in coping with illness such as but not limited to: Attention Deficit Disorder, Autism, Depression, Behavioral Issues, Addiction, Grief, PTSD, and Trauma. DFWPMA & FCVC’s goal is to improve quality of life and overcome emotional problems associated with illness. Treatments in mental health help the biological, psychological, behavioral, and social factors known to cause or worsen illnesses and disability. Our psychiatrist and Counselors see from ages 3 and up.
Emmanuel Nji, PMHNP-BC Board-Certified Psychiatric Nurse Practitioner
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 the John Knox church. The facility includes a beautiful Tudor chapel with stained glass windows, large sparkling reception room, 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.
The Thompson family continues to provide Fort Worth, and 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
4350 River Oaks Blvd. Fort Worth, TX 76114 817.336.0345
4350 River Oaks Blvd. Fort Worth, TX 76114 817.336.0345
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.
