October | November FWSO Program Guide

FWSO program guide

October/November 2023

Mermaids from Zemlinsky and Brahms

Kevin John Edusei, conductor

Nov. 17-19

Game ON!

Oct. 7

Prokofiev and Tchaikovsky

Oct.20-22

FWSO’s DJ Cheek

Bartók and Rachmaninoff

Nov. 3-5

Bond & Beyond

Nov. 10-12

Family Concert: Cinderella

Nov. 11

At The University of Texas at Dallas, we celebrate rising stars in the visual and performing arts. From dance, theatre and music to art history and film studies, our students are creative, innovative and performance driven. Come shine with us. utdallas.edu/bright

UT Southwestern Fort Worth

UT Southwestern Fort Worth

Finding answers, changing lives.

Finding answers, changing lives.

Medical Center, located in the heart of Fort Worth’s Medical District, is committed to delivering the highest-quality health care for you and your family.

UT Southwestern’s Monty and Tex Moncrief

UT Southwestern’s Monty and Tex Moncrief Medical Center, located in the heart of Fort Worth’s Medical District, is committed to delivering the highest-quality health care for you and your family.

Our renowned physicians offer innovative treatments in specialties ranging from cardiology and orthopaedics to neurology and ophthalmology. Using the most advanced techniques and technology, we are equipped to meet all your medical needs. Primary and specialty care, physical and speech therapy, lab and pharmacy services are all available in one convenient location.

Our renowned physicians offer innovative treatments in specialties ranging from cardiology and orthopaedics to neurology and ophthalmology. Using the most advanced techniques and technology, we are equipped to meet all your medical needs. Primary and specialty care, physical and speech therapy, lab and pharmacy services are all available in one convenient location.

At UTSW Fort Worth, the future of medicine is right where you want it –close to home.

At UTSW Fort Worth, the future of medicine is right where you want it –close to home.

600 S. Main St., Fort Worth, TX 76104

600 S. Main St., Fort Worth, TX 76104

Visit us at utswmed.org/fortworth or call 817-882-2400 for more details.

Visit us at utswmed.org/fortworth or call 817-882-2400 for more details.

Timothy Hadden, M.D. Interventional cardiologist

Timothy Hadden, M.D. Interventional cardiologist

TABLE OF CONTENTS

FWSO STAFF

EXECUTIVE OFFICE

Keith Cerny, Ph.D. President and CEO

OPERATIONS

John Clapp Vice President of Operations

Matthew Glover Director of Operations

Wilson Armstrong Stage Manager

Gillian Boley Artistic Services Coordinator

Megan Brook Orchestra Personnel Manager

Christopher Hawn Orchestra Librarian

Lacy McCoy Project Manager

David Sterrett Librarian Assistant

Branson White Production Manager

DEVELOPMENT

Meagan Hemenway Vice President of Development

Courtney Mayden Grants Manager

Malia Lewis Development Manager

Veronika Perez Development Specialist, Operations

FINANCE

Shelby Lee Vice President of Finance

Lucas Baldwin Senior Staff Accountant

HUMAN RESOURCES

Jacque

MARKETING

Carrie

Melanie Boma Tessitura Database Senior Manager

Jacob Clodfelter Box Office Manager

Sydney Palomo Box Office Associate

Josh Pruett Box Office Associate

Patrick Sumner Box Office Associate

Monica Sheehan Director of Marketing

Paul Taylor Box Office Associate

Josselin

Joanna

Cover Photo by Karen Almond

Mercedes T. Bass Chairman of the Board of Directors

Dear Friends,

What an incredible start to the season, with so much more to come. In addition to remarkable collaborations and stunning repertoire in the Symphonic and Pops series’, this year’s Chamber Series held at the Kimbell Art Museum is not-to-bemissed. I am personally looking forward to Piano Stampede featuring the FWSO’s very own Music Director Robert Spano alongside his longtime collaborator Pedja Mužijević, joined by FWSO President and CEO Keith Cerny, and pianist ShieldsCollins (“Buddy”) Bray, performing favorites like Saint-Saens Danse Macabre for two pianos, eight hands.

The FWSO is also very proud to be expanding its reach with free community concerts, discounted student tickets, and additional educational programming developed in partnership with FWISD. These initiatives are so important to the mission of the FWSO and have become invaluable to the North Texas community. Thank you for your support and patronage, which makes all of these projects possible.

With much appreciation and gratitude,

Mercedes T. Bass Chairman of the Board of Directors

Keith Cerny, Ph.D.

President and CEO

Dear Patron,

The 2023-2024 season is off to a great start! I hope that many of you were able to attend the opening night weekend of the FWSO’s Symphonic series featuring Music Director Robert Spano and the 2022 Cliburn Gold Prize Medalist Yunchan Lim. Lim is the youngest person ever to win Gold at the Cliburn, and Maestro Spano and Lim gave a truly remarkable performance of the Schumann Piano Concerto. This season continues with several unique “Theater of a Concert” projects, in which the FWSO adds visual, dance, and other creative elements to productions to stretch artistic boundaries and foster innovation. In October, the FWSO will be partnering with the Old Trout Puppet Workshop from Calgary, Alberta on a unique production of Prokofiev’s Peter and the Wolf. In November, we welcome back Principal Guest Conductor Kevin John Edusei in a program of Zemlinsky and Brahms.

We are equally proud of our expanded programming on the Pops series. In October, we present Game ON! for video game music fans, and in November, the FWSO performs music from the James Bond movie series and other action movies. There really is something for everyone on our Pops series!

Thank you for your support and attendance at all of the FWSO concerts, as we work to rebuild and grow our audiences following the pandemic. We are incredibly proud of the exceptional music we are producing at the FWSO, which we know you will enjoy.

Yours Sincerely,

Keith Cerny, Ph.D. President & CEO

Robert Spano

Music Director

Robert Spano, conductor, pianist, composer, and teacher, is known worldwide for the intensity of his artistry and distinctive communicative abilities, creating a sense of inclusion and warmth among musicians and audiences that is unique among American orchestras. After twenty seasons as Music Director, he will continue his association with the Atlanta Symphony Orchestra as Music Director Laureate. An avid mentor to rising artists, he is responsible for nurturing the careers of numerous celebrated composers, conductors, and performers. As Music Director of the Aspen Music Festival and School since 2011, he oversees the programming of more than 300 events and educational programs for 630 students and young performers. Principal Guest Conductor of the Fort Worth Symphony Orchestra since 2019, Spano became Music Director Designate on April 1, 2021, and begins an initial three-year term as Music Director in August 2022. He is the tenth Music Director in the orchestra’s history, which was founded in 1912.

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

Houston Grand Opera to conduct Werther. Maestro Spano made his highly-acclaimed Metropolitan Opera debut in 2019, leading the US premiere of Marnie, the second opera by American composer Nico Muhly. Recent concert highlights have included several world premiere performances, including Voy a Dormir by Bryce Dessner at Carnegie Hall with the Orchestra of St. Luke’s and mezzo-soprano Kelley O’Connor; George Tsontakis’s Violin Concerto No. 3 with the Dallas Symphony Orchestra; Dimitrios Skyllas’s Kyrie eleison with the BBC Symphony Orchestra; the Tuba Concerto by Jennifer Higdon, performed by Craig Knox and the Pittsburgh Symphony; Melodia, For Piano and Orchestra, by Canadian composer Matthew Ricketts at the Aspen Music Festival; and Miserere, by ASO bassist Michael Kurth.

The Atlanta School of Composers reflects Spano’s commitment to American contemporary music. He has led ASO performances at Carnegie Hall, Lincoln Center, and the Ravinia, Ojai, and Savannah Music Festivals. Guest engagements have included the Cleveland, Philadelphia, and Minnesota Orchestras, New York and Los Angeles Philharmonics, and the San Francisco, Boston, Chicago, Dallas, Houston, With a discography of criticallyacclaimed recordings for Telarc, Deutsche Grammophon, and ASO Media, Robert Spano has garnered four Grammy™ Awards and eight nominations with the Atlanta Symphony. Spano is on faculty at Oberlin Conservatory and has received honorary doctorates from Bowling Green State University, the Curtis Institute of Music, Emory University, and Oberlin. Maestro Spano is a recipient of the Georgia Governor’s Award For The Arts And Humanities and is one of two classical musicians inducted into the Georgia Music Hall of Fame. He makes his home in Atlanta and Fort Worth. New World, San Diego, Oregon, Utah, and Kansas City Symphonies. His opera performances include Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera, and the 2005 and 2009 Seattle Opera productions of Wagner’s Ring cycles.

German conductor Kevin John Edusei is sought-after the world over, dividing his time equally between the concert hall and opera house. He is praised repeatedly for the drama and tension that he brings to his musicmaking, for his attention to detail, sense of architecture, and the fluidity, warmth and insight that he brings to his performances. He is deeply committed to the creative elements of performance, presenting classical music in new formats, cultivating audiences, introducing music by under-represented composers and conducting an eclectic range of repertoire from the baroque to the contemporary.

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 prizewinner 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.

Kevin John Edusei Principal Guest Conductor

Assistant Conductor

Taichi Fukumura is a rising Japanese-American 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 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.

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.

Taichi Fukumura

FORT WORTH SYMPHONY ORCHESTRA

Robert Spano, Music Director, Nancy Lee and Perry R. Bass Chair

Kevin John Edusei, Principal Guest Conductor

Miguel Harth-Bedoya, Music Director Laureate

Taichi Fukumura, Assistant Conductor, Rae and Ed Schollmaier+ Foundation Chair

John Giordano, Conductor Emeritus

VIOLIN I

Michael Shih, Concertmaster

Mrs. Mercedes T. Bass Chair

Mr. Sid R. Bass Chair

Swang Lin, Associate Concertmaster

Ann Koonsman+ Chair

Eugene Cherkasov, Assistant Concertmaster

Mollie & Garland Lasater Chair

Jennifer Y. Betz

Ordabek Duissen

Qiong Hulsey

Ivo Ivanov

Nikayla Kim

Izumi Lund

Ke Mai

Kimberly Torgul

Albert Yamamoto

VIOLIN II

Adriana Voirin DeCosta, Principal

Steven Li, Associate Principal

Janine Geisel, Assistant Principal

Symphony League of Fort Worth Chair

Molly Baer

Suzanne Jacobson°

Matt Milewski

Kathryn Perry

Tatyana Smith

Rosalyn Story

Andrea Tullis

Camilla Wojciechowska

VIOLA

DJ Cheek, Principal

Anna Kolotylina, Associate Principal

HeeSun Yang, Assistant Principal

Joni Baczewski

Sorin Guttman

Aleksandra Holowka

Dmitry Kustanovich

Daniel Sigale

CELLO

Allan Steele, Principal

Mrs. Mercedes T. Bass Chair

Mr. Sid R. Bass Chair

Emileigh Vandiver, Associate Principal

Keira Fullerton, Assistant Principal

Burlington Northern Santa Fe Foundation Chair

John Belk

Deborah Brooks

Shelley Jessup

Jenny Kwak

BASS

William Clay, Principal

Mr. & Mrs. Edward P. Bass Chair

Paul Unger, Assistant Principal

Jeffery Hall

Sean P. O’Hara

Julie Vinsant

The seating positions of all string section musicians listed alphabetically change on a regular basis.

FLUTE

Jake Fridkis, Principal

Shirley F. Garvey Chair

Gabriel Fridkis, Assistant Principal

Enda Jeon

PICCOLO

Enda Jeon

OBOE

Jennifer Corning Lucio, Principal

Nancy L. & William P. Hallman, Jr., Chair

Tamer Edlebi, Assistant Principal

Tim Daniels

ENGLISH HORN

Tim Daniels

CLARINET

Stanislav Chernyshev, Principal

Rosalyn G. Rosenthal Chair*

Ivan Petruzziello, Assistant Principal

Gary Whitman

E-FLAT CLARINET

Ivan Petruzziello

BASS CLARINET

Gary Whitman

BASSOON

Joshua Elmore, Principal

Mr. & Mrs. Lee M. Bass Chair

Cara Owens, Assistant Principal

Nicole Haywood

CONTRABASSOON

Nicole Haywood

HORN

Gerald Wood, Principal

Elizabeth H. Ledyard Chair

Alton F. Adkins, Associate Principal

Drs. Jeff and Rosemary Detweiler Chair

Kelly Cornell, Associate Principal

Aaron Pino

TRUMPET

Kyle Sherman, Principal

Cody McClarty, Assistant Principal

Dorothy Rhea Chair

Oscar Garcia

TROMBONE

Joseph Dubas, Principal

Mr. & Mrs. John Kleinheinz Chair

John Michael Hayes, Assistant Principal

Dennis Bubert

BASS TROMBONE

Dennis Bubert

Mr. & Mrs. Lee M. Bass Chair

TUBA

Edward Jones, Principal

TIMPANI

Seth McConnell, Principal

Madilyn Bass Chair

Nicholas Sakakeeny, Assistant Principal

PERCUSSION

Keith Williams, Principal

Shirley F. Garvey Chair

Nicholas Sakakeeny, Assistant Principal

Adele Hart Chair

Deborah Mashburn

Brad Wagner

HARP

vacant

Bayard H. Friedman Chair

KEYBOARD

Shields-Collins Bray, Principal

Rildia Bee O'Bryan Cliburn & Van Cliburn Chair

STAGE MANAGER

Branson White

ORCHESTRA PERSONNEL MANAGER

Megan Brook

ORCHESTRA LIBRARIANS

Christopher Hawn

David Sterrett

*In Memory of Manny Rosenthal

°2023/2024 Season Only

+Denotes Deceased

The Concertmaster performs on the 1710 Davis Stradivarius violin.

The Associate Concertmaster performs on the 1685 Eugenie Stradivarius violin.

Saturday, October 7, 2023 at 7:30 PM Will Rogers Auditorium Fort Worth, TX

Fort Worth Symphony Orchestra

Andy Brick, conductor West Point Glee Club

Connie Chase, director

Game ON!

Fanfare DIEMER / RAINE / SOULE / SOULE

BRICK

GuildWars2

STAFFORD / HAYES / ACREE / BROWER (dir. Duke)

PRZYBYLOWICZ / STROINSKI (orch. Adamczyk)

KYD (arr. / orch. Grey)

TYLER (orch. Niu / arr. Hedlund)

SCHYMAN

COKER (arr. Peacock)

MORASKY (arr. / orch. Lee & Brick)

HOLST (arr. Knorr)

LINKE / TEMPLE / NAJAND / NEGOVAN / BARRY (orch. Levy & Schaer)

SOULE (orch. Soule)

Printed Tuesday, September 12, 2023

WorldofWarcraft

TheWitcher3

Ezio’s Family Suite from Assassin’sCreedII

Assassin’sCreedIV:BlackFlag

BioShock Intermission Game ON! (continued)

OriandtheBlindForestSymphonic Suite Elder Scrolls: Skyrim

A “Portalicious” Portal2Medley

Elizabeth Peace (I Vow Thee) from Civilization V

LeagueofLegends

TheElderScrollsV:Skyrim

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. 8 | 2023/2024 SEASON

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.

ARTIST PROFILES

Andy Brick, Game ON! Principal Conductor and Music Director

Andy Brick is an award winning composer, conductor and symphonist of music for film, video games and live concerts including such productions as The Sims, Civilization, Warhammer, Mafia, Little Mermaid II, Lady & The Tramp II, and Sinbad. He has conducted and orchestrated both live concert and recorded soundtracks for Super Mario Bros., Halo, Final Fantasy, World of Warcraft, and the Assassin’s Creed Series.

In January, 2020 Maestro Brick was invited to the National Symphony to premiere Game ON! to a sold-out audience at the preeminent Kennedy Center in Washington D.C

As a champion of symphonic game music, he has conducted a multitude of game soundtracks with orchestras including The Seattle Symphony, The National Symphony Orchestra, The Czech National Symphony, The North Carolina Symphony, The Vancouver Symphony, The Calgary Philharmonic, The Omaha Symphony, The Oregon Symphony, The Houston Symphony.

West Point Glee Club is one of the U.S. Military Academy’s most visible cadet organizations. For more than 100 years, its members have touched audiences around the world with a model depiction of the Corps of Cadets through live performance in the nation’s finest concert halls, national network and feature film appearances, and recordings.

Under the direction of Constance Chase, recent seasons have included the Veterans Day 2023 televised special Music and the Spoken Word with the Tabernacle Choir at Temple Square, the ABC television special Taking the Stage and Changing America, filmed at The Kennedy Center for the Performing Arts where they shared the stage with Tom Hanks, GEN(R) Colin Powell and original members of the Tuskegee Airmen; the Carnegie Hall New York premiere of Jake Runestad’s Dreams of the Fallen; two national broadcasts of Macy’s Fourth of July Fireworks Spectacular; a command performance at historic Mount Vernon by request of (then) Secretary of Defense James Mattis for the Defense Minister of China and his team; and performances at Grand Canyon National Park and Flagstaff (AZ) for Arizona PBS in commemoration of the National Park Service Centennial.

West Point Glee Club

TCHAIKOVSKY

Friday, October 20, 2023 at 7:30 PM

Saturday, October 21, 2023 at 7:30 PM

Sunday, October 22, 2023 at 2:00 PM

Bass Performance Hall

Fort Worth, TX

Fort Worth Symphony Orchestra

Robert Spano, conductor

Old Trout Puppet Workshop

Pete Balkwill, Pityu Kenderes, Judd Palmer

TheNutcracker, Op. 71, Act II

10. Scène (The Magic Castle in the Land of Sweets)

11. Scène (Clara and the Nutcracker Prince)

12. Divertissement

a. Chocolate (Spanish Dance)

b. Coffee (Arabian Dance)

c. Tea (Chinese Dance)

d. Trépak (Russian Dance)

e. Dance of the Reed Flutes

f. Mother Ginger and the Little Clowns

13. Waltz of the Flowers

14. Pas de deux Intrada

Variation I: Tarantella

Variation II: Dance of the Sugar Plum Fairy Coda

15. Fi nal Waltz and Apotheosis

Intermission

PROKOFIEV

PeterandtheWolf, Op. 67 Old Trout Puppet Workshop

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 Old Trout Puppet Workshop

The Old Trout Puppet Workshop is a Canadian puppet theatre company dedicated to exploring the outer edges of the puppet medium, and creating original, unique, and exuberant art. An Old Trout show strives for delightful allegory, joyful tragedy, and purity of spirit.

The company has written, designed, built and performed the following plays: Ignorance, The Erotic Anguish of Don Juan, Famous Puppet Death Scenes, The Unlikely Birth of Istvan, Beowulf, The Tooth Fairy, The Last Supper of Antonin Careme, Pinocchio, The Ice King and their most recent show Jabberwocky.

The Fort Worth Symphony commissed The Old Trouts to create a bit of visual accompaniment for its upcoming concert of Peter & the Wolf. The thing we've conjured up is a titch difficult to describe but it's somewhere between a popup book and a toy theatre if they were hit with whatever the opposite of a shrink ray is.

Pete Balkwill Pityu Kenderes Judd Palmer Braden Griffiths Jamie Tognazzini Ali DeRegt

Old Trout Co-Artistic Directors

Old Trout Actors

PROGRAM NOTES : PYOTR ILYICH TCHAIKOVSKY

THE NUTCRACKER ACT II

10. The Magic Castle in the Land of Sweets

11. Clara and the Nutcracker Prince

12. Divertissement

a. Chocolate (Spanish Dance)

b. Coffee (Arabian Dance)

c. Tea (Chinese Dance)

d. Trépak (Russian Dance)

e. Dance of the Reed Pipes

f. Mother Ginger and the Little Clowns

13. Waltz of the Flowers

14. Pas de deux Intrada

VariationI : Tarantella

Vartiation II: Dance of the Sugarplum Fairy Coda

15. Final Waltz and Apotheosis

DURATION: About 41 minutes

PREMIERED: Saint Petersburg, 1892

INSTRUMENTATION: Three flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons, four horns, two trumpets, two tenor trombones, bass trombone, tuba, timpani, snare drum, cymbals, bass drum, triangle, tambourine, castanets, tam-tam, glockenspiel, “toy instruments” (rattle, trumpet, drum, cuckoo, quail, cymbals, and rifle), celesta, soprano voice and alto chorus, two harps, and strings

“I expect that this new instrument [the celesta] will produce a colossal sensation.”

— Pyotr Ilyich Tchaikovsky (Born 1840, Russia; died 1893)

GRAND PAS DE DEUX: A structured, five-part ballet duet consisting of an entrée (introduction), an adagio, two variations (a solo for each dancer), and a coda (conclusion), often symbolizing a love story.

by Jeremy Reynolds

In E.T.A. Hoffman’s original Nutcracker story, written for adults, there’s quite a lot of blood and nightmare material. It’s a tale of broken promises and revenge, though it ends happily when the nutcracker comes to life at the end and actually marries Clara (Marie, in the original story).

When Tchaikovsky accepted the commission from the Russian Imperial Ballet for the piece, he thought he’d be scoring that story, and he was thoroughly disgusted when he realized he’d be scoring music for a children’s adaptation. (He gained steam throughout the process, however, writing, “I am working with all my strength and reconciling myself to the subject of the ballet.”)

Tchaikovsky’s ballet draws its tale from writer Alexandre Dumas’ child-friendly adaptation of the original tale by E.T.A. Hoffman. In Dumas’ version, Clara receives a Nutcracker as a Christmas gift from her quirky godfather Drosselmeyer. The toy comes to life and, after soundly thrashing an army of mice (sans blood), takes Clara on a grand visit to the Kingdom of Sweets, where she receives many gifts and meets many colorful characters dance in her honor. But alas, she’s in the land of dreams, and she returns to the loving arms of her parents as the ballet ends.

FURTHER LISTENING:

Tchaikovsky: Swan Lake, Op. 20 (1876)

The Sleeping Beauty, Op. 66

The Voyevoda, Op. 78

The original choreographer, Marius Petipa, envisioned a work for children that featured children, a way to welcome young tots into the fanciful world of story ballet. Act Two begins with a depiction of the Land of Sweets, an idyllic number that features rocketing woodwind scales and ornamentations from the harp. Soon, Clara and the Prince arrive to breathless, fluttering flutes and strings and more plucked harp adornments, highlighting the excitement of the occasion. All is shimmering confetti, here. What follows are the famous character dances, as different citizens of the Land of Sweets perform in Clara’s honor.

Continued on Page 14

PROGRAM NOTES : SERGEI PROKOFIEV

PETER and the WOLF, Op. 67

DURATION: About 25 minutes

PREMIERED: Moscow, 1936

INSTRUMENTATION:

Narrator, flute, oboe, clarinet, bassoon, three horns, trumpet, trombone, timpani, bass drum, castanets, cymbals, snare drum, suspended cymbal, tambourine, triangle, and strings

“Before an orchestral performance it is desirable to show these instruments to the children and to play on them the corresponding leitmotivs. Thereby, the children learn to distinguish the sounds of the instruments during the performance of this tale.”

— Sergei Prokofiev (Born 1891, Russian Empire; died 1953)

LEITMOTIF: A recurring musical theme that is associated with a person, idea or action.

FURTHER LISTENING:

Prokofiev: Violin Concerto No. 2 in

G minor, Op. 63

Lieutenant Kije, Op. 60

Romeo and Juliet, Op. 64

by Jeremy Reynolds

In 1938, only a couple of years after finishing his symphonic children’s tale Peter and the Wolf, Prokofiev scored an invitation to the House of Mouse, or, as he called it, “le papa de Mickey Mouse,” the home of Walt Disney himself. Prokofiev had recently seen the film Snow White and the Seven Dwarfs and, having retained a childlike appreciation for fairy tales, was thrilled to meet the man behind the curtain and play him a few bars of Peter. In a letter to his family, he wrote:

“It’s very warm here. I’ve forgotten what an overcoat is, and the trees are covered with oranges and pineapples. Most American films are made in Hollywood and they build whole houses, castles and even cities of cardboard for them. Today I went to a filming session. A big tall warehouse had been turned into the square of an old town and people galloped through it on horses. I have also been to the house of Mickey Mouse’s papa, that is, the man who first thought up the idea of sketching him.”

For his part, Disney was also quite taken with Prokofiev. He had been meeting with various composers including other Russian giants like Stravinsky and Rachmaninoff, to source music for the film Fantasia. Although Prokofiev’s music didn’t make the cut for that film, Disney later made a short film of Peter and the Wolf that, at the time, rivaled Fantasia in popularity. “I remember how his fingers flew over our battered old piano,” Disney said later, “How his face glistened with perspiration as he concentrated on the music. And all the time I could see pictures. I could see his lovely fantasy coming to life on the screen.”

Prokofiev wrote Peter and the Wolf for children, but there’s such charm and such quality in the melodies that make up the piece that it continues to delight listeners of all ages. The composer wrote the story

Continued on Page 14

Program Notes Continued

TCHAIKOVSKY, p. 12

First up among the sweets is “Chocolate,” the Spanish Dance, so named for the cacao beans that arrived in Spain from South America in the 16th century. “Coffee,” or the Arabian Dance, suggesting dusk and mystery and featuring the English horn and oboe in its yowling solos. Next is “Tea” from China, with its plodding bassoons and flute and piccolo solos, a quick divertissement before the candy canes dance a fiery Russian “Trepak.”

Danish shepherdesses play the flute and perform the “Dance of the Reed Pipes” before Mother Ginger, a well-known candy advertising character in 1890s Russia, dances a jouncing waltz. The famous “Waltz of the Flowers” opens with a harp cadenza before noble French horns intone the first melody before, finally, the revered Sugar Plum Fairy and her Prince dance a pas de deux, scored with the delicate celeste. The ballet finishes with a grand final waltz.

himself after rejecting a bit of rhyming trifle from a Russian poet.

The composer explains in his program note that “each character of this tale is represented by a corresponding instrument in the orchestra: the bird by a flute, the duck by an oboe, the cat by a clarinet playing staccato in a low register, the grandfather by a bassoon, the wolf by three horns, Peter by the string quartet, the shooting of the hunters by the kettle drums and bass drum.” These character melodies are easily recognizable, and as they change and adapt alongside the narration and story, listeners can glimpse some of the techniques of composition. Prokofiev increases excitement by raising the tempo and pitch and weaves the melodies together as characters interact, as examples.

The story itself centers Peter as a “pioneer,” a sort of Russian boy

scout, as he defies his grandfather and captures the wolf. This is a touch allegorical — joining the pioneers was often a stepping stone to becoming a fully-fledged member of the Communist Party. Prokofiev, catlike himself, toed the line between political favor and disaster throughout his career, with Peter earning him a great deal of favor from The Party for its nod to the pioneer lifestyle.

Friday, November 03, 2023 at 7:30 PM

Saturday, November 04, 2023 at 7:30 PM

Sunday, November 05, 2023 at 2:00 PM

Bass Performance Hall

Fort Worth, TX

Fort Worth Symphony Orchestra

Anna Skryleva, conductor

DJ Cheek, viola

BARTÓK Magyar képek(HungarianSketches)

I. Este a székelyeknél (An Evening in the Village)

II. Medvetánc (Bear Dance)

III. Melódia (Melody)

IV. Kicsit ázottan (Slightly Tipsy)

V. Ürögi kanásztánc (Swineherd's Dance)

BARTÓK (Completion by Tibor Serly)

Concerto for Viola and Orchestra, Op. Post.

I. Moderato

II. Lento parlando; Adagio religioso; Allegretto

III. Allegro vivace

DJ Cheek, viola

Intermission

RACHMANINOFF Symphonic Dances, Op. 45

I. Non allegro; Lento; Tempo I

II. Andante con moto (Tempo di valse); Vivo

III. Lento assai; Allegro vivace; Poco meno mosso (‘Alliluya’)

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.

ARTIST PROFILES

Anna Skryleva, conductor

Conductor Anna Skryleva, music director of Theater Magdeburg since the 2019/2020 season, is one of the most fascinating artistic personalities of the new generation. Her award-winning work to enlarge the classical repertoire has caused international attention. In 2019 Anna Skryleva was awarded the Orchestra Innovation Prize by the German National Orchestras Foundation for her work with the Magdeburg Philharmonic Orchestra.

Her discovery of the German-Jewish composer Eugen Engel and his opera “Grete Minde” ensured international success in February 2022 and was nominated for the International Opera Awards 2022 as the best World Premiere.

An internationally renowned conductor also in the symphonic repertoire, Anna Skryleva has led concerts with esteemed orchestras such as the Copenhagen Philharmonic, Frankfurt Radio Symphony, Deutsches Symphony Orchestra Berlin, Beethoven Orchester Bonn, and Fort Worth Symphony Orchestra among others. Anna Skryleva is a rising very promising composer. Her version for the reduced orchestra of Mozart’s “La Clemenza di Tito”, successfully performed at Theater Magdeburg in September 2020 under the direction of Dietrich Hilsdorf, is now on sale by the renowned Mozart’s publisher Bärenreiter.

Today a resident of the vibrant musical city of Berlin, pianist, composer, and conductor Anna Skryleva had been raised in Moscow. Anna Skryleva has been a fellow of the five-year promotion program of the Institute for Women Conductors at Dallas Opera between 2015 and 2020.

DJ Cheek, viola

DJ Cheek joins the Fort Worth Symphony Orchestra as Principal Viola in Fall 2021. Prior to his current appointment, DJ played Principal Viola for four seasons in the Jacksonville Symphony.

In recent seasons he appeared as guest Principal with the Indianapolis Symphony and Colorado Music Festival, and as a substitute with the Saint Paul Chamber Orchestra and Minnesota Orchestra. DJ teaches at Interlochen’s Adult Chamber Music Camp, and previously taught viola and chamber music at the University of North Florida and the National Music Festival. He has appeared at festivals like Music@Menlo, the Perlman Music Program, Lucerne, Sarasota, Olympic, and Yellow Barn. DJ performed as a guest artist with the Borromeo Quartet, and with Donald Weilerstein and Kim Kashkashian as part of the Music for Food series.

DJ holds a master’s degree from New England Conservatory and a bachelor’s degree from Oberlin College-Conservatory. His primary mentors are Kim Kashkashian and Peter Slowik.

PROGRAM NOTES :BÉLA BARTÓK

HUNGARIAN SKETCHES

I. An Evening in the Village

II. Bear Dance

III. Melody

IV. Slightly Tipsy

V. Swineherd’s Dance

DURATION: About 12 minutes

PREMIERED: Budapest, 1934

INSTRUMENTATION: Two flutes and piccolo, two oboes, two clarinets and bass clarinet, two bassoons, two horns, two trumpets, two trombones and tuba, timpani, xylophone, triangle, side drum, snare drum, cymbals, bass drum, harp, and a string section.

“Folk melodies are the embodiment of an artistic perfection of the highest order; in fact, they are models of the way in which a musical idea can be expressed with utmost perfection in terms of brevity of form and simplicity of means.”

— Béla Bartók (Born 1881, Kingdom of Hungary, present day Romania; died 1945)

ORCHESTRATION: The arrangement or scoring of music for orchestral performance, i.e. assigning melody, harmony and other effects to different instruments to achieve a desired sound or feeling or effect.

FURTHER LISTENING:

Bartók: Four Dirges

Three Burlesques

Ten Easy Pieces

For Children

by Jeremy Reynolds

A lonely clarinet sings out the first tune of Bartók’s Hungarian Sketches, a simple, folk-like tune accompanied by strings. Soon, the flute takes over with a contrastingly sprightlier tune. An oboe interjects with the opening’s more longing melody — Bartók uses little melodic material in this set of brief dances, instead opting to explore how different melodies sound in different instruments. This pattern holds through each of the five movements.

Bartók struggled to find financial success throughout his career. His music is often thorny and modernist, and its spiky dissonances and non-traditional harmonies alienated orchestras and listeners alike. In 1930, in need of funds, he elected to transcribe some of his earlier piano works, which were more Romantic and tonal in style, for full orchestra in the hopes that their more approachable charms would help improve his fortunes. (Some compositions are born of inspiration; some are born of necessity.)

Indeed, the “Bear Dance” is lumbering and ungainly, but the precision of the snare drum keeps its quick rhythms locked in tight as a simple tune is passed around different sections of the orchestra. “Melody” begins in the strings, a warm, nostalgic song — the clarinet and oboe again play leading roles. “Slightly Tipsy” is quite similar to “Bear Dance,” with its quick grace notes giving the feeling of slipping between beats at times.

In addition to composition, Bartók was also an avid champion of folk songs, and he spent years traveling around the Hungarian countryside to record and collect tunes and songs native to specific villages. “It was of the utmost consequence to us that we had to do the collecting ourselves, and did not make the acquaintance of the melodic material in written or printed collections,” he later wrote. “In order to really feel the vitality of this music, one must, so to speak, have lived it — and this is only possible

Continued on Page 20

PROGRAM NOTES : BÉLA BARTÓK

VIOLA CONCERTO

I. Moderato

II. Lento parlando; Andante religioso; Allegretto

III. Allegro vivace

DURATION: About 20 minutes

PREMIERED: Minneapolis, 1949

INSTRUMENTATION: Three flutes and piccolo, two oboes, two clarinets, two bassoons, three horns, three trumpets, two trombones and tuba, timpani, bass drum, cymbals, snare drum, strings, and solo viola

“It is conceived in a rather virtuoso style. Most probably some passages will prove to be uncomfortable or unplayable. These we will discuss later according to your observations.”

— Béla Bartók

(Born 1881, Kingdom of Hungary, present day Romania; died 1945)

ETHNOMUSICOLOGY: the study of the music of different cultures, especially nonWestern ones.

by Jeremy Reynolds

Bela Bartók’s final two compositions were the Piano Concerto No. 3 and the Viola Concerto, both left unfinished when he passed away from leukemia at the age of 64 in his home in New York City. Between the two, the piano concerto was much farther along, as the composer had intended it as a surprise gift for his wife, the talented pianist Ditta Pásztory-Bartók, and as a vehicle for her to perform and support herself when he passed. (Bartók’s fortunes were quite modest.) The task of orchestrating the final 17 measures of the piano concerto fell to Tibor Serly, a friend of the composer and a stellar composer and musician in his own right. The grieving Serly finished the job with ease.

The Viola Concerto, a paid commission from William Primrose, one of the top violists in the world, is another matter. Only the viola part — which includes allusions to the Scottish tune “Gin a Body Meet a Body, Colmin’ Thro’ the Rye,” perhaps a nod to Primrose’s Scottish heritage — had been fully sketched. Bartók himself wrote to the violist only three weeks before the composer passed away to insist that it was nearly finished: “I am very glad to be able to tell you that your viola concerto is ready in draft, so that only the score has to be written, which means a purely mechanical work... If nothing happens, I can be through in 5 or 6 weeks.” It was not to be.

FURTHER LISTENING:

Bartók: Concerto for Orchestra

Piano Concerto Nos. 2

Piano Concerto No. 3

To complete this work, Serly labored for years to orchestrate the concerto, which begins with a solemn line for the viola with only a light pizzicato accompaniment in the strings. He provides a written analysis of the concerto:

The solo’s cadenza-like acceleration discloses the first thirteen bars to be an introduction, after which the theme proper starts... [the second theme is a] fantastically chromatic and contrapuntal theme, without parallel in any of Bartók’s other music. Scales rise, fall and intertwine. Yet the actual effect is one of restful calm.

Continued on Page 20

PROGRAM NOTES : SERGEI RACHMANINOFF

Symphonic Dances, Op. 45

I. Non Allegro; Lento; Tempo 1

II. Andante con moto (Tempo di valse)

III. Lento assai; Allegto vivace; Poco meno mosso (‘Alliluya’)

DURATION: About 35 minutes

PREMIERED: Philadelphia, 1941

INSTRUMENTATION: Two flutes and piccolo, two oboes and English horn, three clarinets and bass clarinet, alto saxophone, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, triangle, tambourine, cymbals, bass drum, tam-tam, glockenspiel, xylophone, snare drum, chimes, two harps, piano, and strings

“It should have been called just Dances, but I was afraid people would think I had written dance music for jazz orchestra.”

— Sergei Rachmaninoff (Born 1873, Russia; died 1943

SUITE: An ordered set of individual pieces for instrumental ensemble. In the 18th century these were typically a group of dances, but the term later came to imply a selection of movements from a larger work.

FURTHER LISTENING:

Rachmaninoff: Rhapsody on a Theme of Paganini, Op. 43

Symphony No. 1 in D minor, Op. 13

Symphony No. 3 in A minor, Op. 44

All-Night Vigil, Op. 37

by Jeremy Reynolds

What sort of setback could be so severe that an artist abandons his career for three years? At the premiere of Rachmaninoff’s First Symphony in 1897, critics and the public were venomous, with the influential Russian critic Cui declaring that, “To us this music leaves an evil impression with its broken rhythms, obscurity and vagueness of form.” Rachmaninoff suffered a nervous breakdown and temporarily retired from composition, focusing instead on his burgeoning career as a conductor and pianist. Later, sessions with the hypnotist Nikolai Dahl helped jump start his confidence, and he returned to composition with the wildly successful Second Piano Concerto.

The Symphonic Dances came much later, in 1941, and they are Rachmaninoff’s last orchestral work. They began “Non Allegro,” or not quick and not too lively, with bobbing strings as a descending triad of notes passes around woodwinds. Soon, the orchestra in unison proclaims a transitory melody with great sternness, and the initial triads and accompaniment return with more militancy and force, a great, dramatic march. This movement is in “ternary” form, where the structure follows an ABA pattern. After the opening great march carries on for a time, there is a contrasting central section introduced in the oboe and clarinet, more lyrical and smooth. Soon, a saxophone, rarely used in orchestral settings, sings out a doleful melody. After this slower middle section, the music stills, and the opening march returns, heralded by clarinets and bassoons and accelerating up through the orchestra.

And then, to close this movement, the music floats higher and changes character once more for an apotheosis: Rachmaninoff calls back to a melody from his disastrous first symphony, here played in the strings with piano and flutes chiming an accompaniment. Perhaps the composer is

Continued on Page 20

Program Notes Continued

BARTÓK, p. 17

when one comes to know it through direct contact with the peasants. ... One must have witnessed the peasants’ changes of features when they sing; one must have taken part in their dance entertainments, weddings, Christmas festivities... Those days which I spent in the villages among the peasants were the happiest days of my life.”

Although the five movements sound like folk melodies, only the fifth (the Swineherd’s Dance), that actually uses actual folk material. It sets a lively, a racing melody in the clarinet and flute as an accompaniment drones underneath, using the orchestra a bit like a large bagpipe. To close, the music quiets before a final, sharp blast.

BARTÓK, p. 18

A brief interlude, Lento parlando, precedes the second movement bringing to mind a cantor’s improvisation. A motive from the solo bassoon connects it to the second movement proper. The expressive simplicity of this music is demonstrated by the A-B-A ternary song form. ... Toward the end, the motive of the first movement’s theme is

again heard, accelerating into a cadenza that leads without pause into an allegretto introduction to the third movement.

“In contrast to what has preceded, the finale is a gay dance, in rondo form... more Rumanian than Hungarian in character. The solo viola moves at a breathless pace, becoming slightly slower with the folklike tune of the trio... From here on, ascending and descending chromatic scale formations recall a similar use of chromatics in the second theme of the first movement. A four-bar fortissimo tutti, followed by an upward scale passage for the viola... brings the concerto to a breathtaking end.

Violinist Fritz Kreisler checked the violin bowings. (Kreisler was one of the top violinists of his day, and orchestras later complained that the bowings were too difficult.) The saxophone part he sent to American composer Robert Russell Bennet, who orchestrated many Broadway hits including Oklahoma! and Showboat. He asked the New York Philharmonic’s trumpet player to check a couple of passages, as the trumpet is key particularly in the final movement.

reconciling with his earlier failure? “I don’t know how it happened,” the composer said of his final work. “It must have been my last spark.”

Ever the perfectionist, Rachmaninoff maintained his tradition of seeking expert opinions while writing the Dances. He sent snippets to different musicians to make sure they were idiomatic and playable for their respective instruments.

The second movement is a seductive waltz, shimmering and ghostly at times, and the finale mirrors the form of the first movement. After an introduction that alternates blazing chords with winding wind passages, the movement takes off in earnest, charging ahead with grim energy. Near the end, in the brass, Rachmaninoff quotes a Gregorian chant, the Dies Irae melody, which represents death and permeates many of his orchestral works. He also marks “Alliluya” on the page of the score and references a another theme from an earlier work, All Night Vigil, a hymn of praise that rises to defeat the Dies Irae. Death may have been top of mind, but Rachmaninoff here signals optimism in the twilight of his life and career.

RACHMANINOFF, p. 19

Friday, November 10, 2023 at 7:30 PM

Saturday, November 11, 2023 at 7:30 PM

Sunday, November 12, 2023 at 2:00 PM

Bass Performance Hall

Fort Worth, TX

Fort Worth Symphony Orchestra

Taichi Fukumura, conductor Morgan James, vocalist

Bond & Beyond

VARIOUS 007: A Medley for Orchestra

JOHN BARRY

(Lyrics by Leslie Bricusse & Anthony Newley)

JOHN BARRY

(Lyrics by Leslie Bricusse)

BILL CONTI

(Lyrics by Mick Leeson)

JOHN BARRY & LIONEL BART

LALO SCHIFRIN

Goldfinger

YouOnlyLiveTwice

ForYourEyesOnly

FromRussia WithLove

Theme from Mission:Impossible

BONO & the EDGE Goldeneye

P.F. SLOAN

(Lyrics by Steve Barri)

SAM SMITH & JIMMY NAPES

DAVID ARNOLD & DAVID McALMONT

(Lyrics by Don Black)

SecretAgentMan

Writing’s on the Wall from Spectre

Surrender from TomorrowNeverDies

Bond & Beyond (continued)

Intermission

INTERMISSION

MICHAEL GIACCHINO TheIncredibles

JOHN BARRY

(Lyrics by Hal David)

BURT BACHARACH

Printed Thursday, September 07, 2023

(Lyrics by Hal David)

Moonraker

The Look of Love from CasinoRoyale(1967)

HENRY MANCINI Theme from PeterGunn

HENRY MANCINI Theme from ThePinkPanther

JOHN BARRY

(Lyrics by Don Black)

DiamondsareForever

MICHAEL GIACCHINO TheIncredibles

JOHN BARRY

Bond & Beyond, continued

(Lyrics by Hal David)

BURT BACHARACH

(Lyrics by Hal David)

Moonraker

The Look of Love from CasinoRoyale(1967)

HENRY MANCINI Theme from PeterGunn

HENRY MANCINI Theme from ThePinkPanther

JOHN BARRY

(Lyrics by Don Black)

MARVIN HAMLISCH

(Lyrics by Carole Bayer Sager)

DiamondsareForever

Nobody Does it Better from TheSpyWhoLovedMe

ISAAC HAYES Theme from Shaft

PAUL McCARTNEY & LINDA McCARTNEY

JOHN WILLIAMS

LiveandLetDie

Raiders March from RaidersoftheLostArk

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.

ARTIST PROFILE

Morgan James, vocalist

Morgan James is a Juilliard trained singer, songwriter, actress and recording artist in New York City.

Morgan is currently on tour supporting her fifth studio album, “Nobody’s Fool”. She independently released her studio albums of original soul music, entitled Memphis Magnetic, and A Very Magnetic Christmas recorded to analog tape in Memphis, Tennessee. Other albums include “Reckless Abandon”, which prompted the Huffington Post to call MJ the “Brightest Breakout Artist of the Year”. In addition to her original music, Morgan co-produced and starred in an all-female concept recording of “Jesus Christ Superstar”. Morgan has taken on full album covers of the Beatles’ iconic ‘White Album’, Joni Mitchell’s “Blue”, Jeff Buckley’s “Grace”, and many more. Morgan recorded two full-length albums with Epic Records: “Hunter”and “Morgan James Live, a celebration of Nina Simone“. All of her music can be found on all streaming platforms, and hard copies on her website or at shows.

Printed Thursday, September 07, 2023

On Broadway, she was in five back-to-back original companies: The Addams Family (starring Nathan Lane and Bebe Neuwirth), Wonderland, Godspell and Motown: The Musical, and as a guest at Kristin Chenoweth’s For The Girls

With viral sensation Postmodern Jukebox and with her own YouTube channel, Morgan’s music videos have accumulated more than 285 million views (and climbing). 22 | 2023/2024 SEASON

Symphony No. 101 in D major, “The Clock”

ARTIST PROFILE

Andreas Haefliger, piano

Andreas Haefliger comes from a rich tradition of music making and is acclaimed for his sensitivity, musical insights and transcendent pianism. Known for his innovative programming, he brings an allencompassing passion and humanity to his concert appearances and recordings. At an early age he was surrounded by intense vocal artistry, thereby acquiring the beginnings of what would become a highly individual vocal piano sound, and a sense of natural lyricism in his music making. Having finished his studies at the Juilliard School, Haefliger soon thereafter performed with the major American and European orchestras.

A superb recitalist, Haefliger has ongoing regular relationships with the Vienna Konzerthaus and Wigmore Hall, as well as the Lucerne and Edinburgh Festivals where in August 2022 he tours Dieter Ammann’s Gran Toccata with Susanna Malkki and the Helsinki Philharmonic.

Haefliger is as a uniquely insightful interpreter of Beethoven. In 2020, locked down in the Swiss Alps, he filmed Beethoven’s monumental op.106 Hammerklavier sonata alongside interviews with the alpinist Dani Arnold in the gorgeous mountain scenery, for release in cinemas and online. In Autumn 2021 BIS Records (with whom Haefliger has an exclusive contract) release his recording of the Beethoven op.31 sonatas, before resuming the Perspectives series in 2022 and beyond.

Haefliger began his recording career with Sony Classical, later appearing on Decca with the Takács Quartet and also Matthias Goerne, with whom he won the Preis Der Deutschen Schallplattenkritik for Schubert’s Goethe Songs. Before joining BIS, he recorded the first six of his Perspectives series on the Avie label, for whom he also recorded a recital disc with his wife the distinguished flautist Marina Piccinini.

The Fort Worth Symphony Orchestra dedicates

The Oct. 20-22 performances to Kelly Hart and Hallman

The Nov. 3-5 performances to Mrs. Rosalyn Rosenthal

The Nov. 17-19 performances to Mollie and Garland Lasater

PROGRAM NOTES : ALEXANDER ZEMLINSKY

DIE SEEJUNGFRAN (“THE MERMAID”)

I. Sehr mäßig bewegt

II. Sehr bewegt, rauschend

III. Sehr gedehnt, mit schmerzvollem Ausdruck

DURATION: About 47 minutes

PREMIERED: Vienna, 1905

INSTRUMENTATION: Four flutes and piccolo, two oboes and English horn, two clarinets plus E-flat clarinet and bass clarinet, three bassoons, six horns, three trumpets, four trombones, bass tuba, timpani, glockenspiel, low bells, triangle, cymbals, two harps, and strings

ABSOLUTE MUSIC: Music without any particular story or idea attached; works like symphonies, sonatas, or concertos that exists for the sake of their own beauty and passion and ingenuity or abstract music.

PROGRAM MUSIC: Music that follows a narrative or musically illustrate an idea; works like tone poems or works with descriptive titles.

FURTHER LISTENING:

Zemlinksy: Der Traumgörge, Op. 11

Es war einmal (“Once upon a time”)

Schoenberg: Pelleas und Melisande

by Jeremy Reynolds

Deep, tectonic rumblings in brass and strings and timpani conjure images of slow undertows. Higher strings and winds enter to float along, bubbling and burbling in the currents, before a melody emerges in the clarinets, a mournful song of longing and loneliness. The first movement Austrian composer Zemlisnky’s The Mermaid follows Anderson’s tale — similar but darker than Disney’s family friendly version — quite closely, with a solo violin functioning as the plaintive mermaid herself. Soon, the music takes a stormier turn, and the Prince is thrown overboard in the violence of the waves. The violin solo returns as the mermaid effects his rescue. The later movements are more impressionistic.

Alas, Zemlinsky (born in Bavaria in 1871) wrote The Mermaid as something of an autobiographical work, casting himself as the unfortunate mermaid. He had spent months wooing his student Alma Schindler, who ultimately cast him aside to marry Zemlinsky’s friend and fellow composer, Gustave Mahler. Alma was not kind in her initial assessment of Zemlinsky, describing him as “A caricature—chinless, small, with bulging eyes and a downright crazy conducting style.” Later, she mollified: “I find him neither hideous nor grotesque, for his eyes sparkle with intelligence—and such a person is never ugly.” Quite the composer soap opera.

Zemlinsky’s broken heart and professional pride fueled his work on Mermaid, which he began a couple of days before Mahler’s and Schindler’s wedding, which he declined to attend. The second movement represents a ball at the Mer-king’s palace, a hugely orchestrated, sparkling affair with grandeur and hints of mystery and the tragedy to come. The solo violin again features heavily, singing bright melodies at times throughout the revelry. Next, the finale — the mermaid’s first faltering steps on dry land in the strings. Motives from the previous two movements return throughout the finale, with dolorous wind passages suggesting

Continued on Page 28

PROGRAM NOTES : JOHANNES BRAHMS

PIANO CONCERTO No. 2 in B-FLAT MAJOR, Op. 83

I. Allegro non troppo

II. Allegro appassionato

III. Andante

IV. Allegretto grazioso — Un poco più presto

DURATION: About 50 minutes

PREMIERED: Budapest, 1881

INSTRUMENTATION: Two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, strings, and solo piano

“I want to tell you that I have written a very small piano concerto with a very small and pretty scherzo.”

by Jeremy Reynolds

For those unfamiliar with the reputation of one Johannes Brahms, romantic composer extraordinaire, he’s best-known for his large-scale, epic compositions, in which sublime melodies are expanded by means of massive, weighty, serious musical forms that rivaled the Romanesque architectural of 19th century Germany.

In his personal life, however, Brahms was a bit of a comedian. Perhaps his most famous jape, he once bribed a sausage vendor to wrap a sausage in some music paper on which he had imitated Beethoven’s handwriting to trick a musicologist friend of his. Brahms then hid around the corner to watch the his friend “discover” the (fake) lost Beethoven manuscript. More commonly, whenever listeners approached with compliments, as they often did, he’d jab at them to amuse himself. Once, a woman asked which songs of his she should listen to, to which Brahms recommended his “posthumous ones.” The troll.

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

FURTHER LISTENING:

Brahms: Piano Concerto No. 1 in D minor, Op. 15

Academic Festival Overture, Op. 80

Tragic Overture, Op. 81

In fairness, he often spoke with lighthearted disparagement of himself and his music as well. He often dismissed his large-scale works as “small” or “trifling,” actually terms of endearment. A pianist himself, Brahms spent three years working out the details of his second concerto — his first had flopped quite badly 22 years earlier — before unveiling the work to great acclaim in Budapest and performing it in dozens of cities around Europe. His “very small piano concerto” was actually the longest yet written, a symphonic work in its harmonic scaffolding and its rich thematic development.

The concerto opens with a sunny tune in the French horn, with the piano adding some accompaniment flourishes. Winds and strings enter next, sighing contentedly, before the piano charges ahead with a cadenza. Most classical and romantic concertos comprise similar elements: an opening movement in sonata form, where the orchestra introduces the

Continued on Page 28

— Johannes Brahms (Born 1833, Germany; died 1897)

Program Notes Continued

ZEMLINSKY, p. 26 BRAHMS, p. 27

her discovery that her prince has decided to wed another. (Zemlinsky cast Alma as the prince in his symphonic poem.) To close, the music transforms to a picture of glorious rapture. In Anderson’s tale, the mermaid transforms into a “Daughter of Air, transcending the mortal world.

The Mermaid failed to win over the public at its premiere, and Zemlinsky withdrew the score. It was split into two parts when he fled from Europe and the Nazis in 1938 to New York, and the two halves were only reunited in 1984 at the Library of Congress in Washington, D.C. and has since slowly gained a following. Although his music isn’t often performed today, Zemlinsky worked alongside and taught many of the 20th century’s best-remembered composers, ranging from Mahler and Schoenberg to Anton Webern and Alban Berg.

principal themes (usually two or three) before the soloists enters with an embellished version of those themes as the “exposition.” Then, piano and orchestra trade melodies and “develop” the tunes by shortening them and cycling through different keys and exploring the relationships before returning to the opening material in the “recapitulation,” now transformed in subtle ways by the development.

Next comes the “tiny, tiny wisp of a scherzo,” more tempestuous and passionate, with orchestra and piano debating with urgency their respective tunes. Like the sonata form first movement, the movement is in three sections, where the first and third mirror one another. The second section, a “trio,” is in a contrasting key (D major) and mood (more triumphant than stormy), introduced abruptly in the strings. Here, it feels as though the sun bursts through the clouds for the first

time.

Brahms never married, but he maintained close friendships with fellow composers Robert and Clara Schumann, one of few successful female performers and composers during this age. In the third movement of this concerto, Brahms begins by offering the melody to the cello in an extended solo, an homage to Clara’s own piano concerto, which also has an extended cello solo. Much of the first movement’s congeniality is back, now with a layer of nostalgia, a slightly sadder smile. The concerto closes with a classic Brahmsian touch, a quick movement that moves and breathes but is never actually fast. The mood is relaxing and gracious until the final minute, which builds to a rousing, joyous shout.

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

Brooks Morris Society

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

Endowment Fund

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

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

Board of Directors

Officers

Mercedes T. Bass

Chairman of the Board

Marianne Auld

Chairman of the Executive Committee

Lee Hallman Secretary

Don C. Plattsmier

Interim Treasurer

Keith Cerny, Ph.D. President and CEO

Board of Directors

Marianne Auld+

Amy Roach Bailey

Mercedes T. Bass+

Rebecca Beasley

Connie Beck+

Ashli Blumenfeld

Anne Marie Bratton+

John Broude

Karen Burchfield+

Anne Carvalho

Dr. Joseph Cecere

Brenda Cline

Barbara Cox

Juana-Rosa Daniell

Tim Daniels

Mitzi Davis

Dr. Asad Dean+

Dr. Tom Deas

Dr. Jeffrey G. Detweiler

Joseph DeWoody

Willa Dunleavy

Brandon Elms

Dr. Jennifer Freeman+

Charlotte French

Gail Aronoff Granek

Genie Guynn

Lee Hallman+

Aaron Howard+

Kim Johnson

Dee J. Kelly, Jr.+

Kelly Lancarte

Mollie Lasater+

Mary Hart Lipscomb

Misty Locke

Kate Lummis

Louella Martin+

Priscilla Martin

Dr. Stuart D. McDonald

Ellen Messman

Don C. Plattsmier+

Dana Porter+

Don Reid

Jean Roach+

Henry Robinson+

Jude Ryan

Alann B. Sampson+

Jeff Schmeltekopf

Dr. Russ Schultz

Kal Silverberg

Whit Smith

Clare Stonesifer+

Jonathan T. Suder+

Carla Thompson+

Dr. Amy Tully

John Wells+

Dr. James Williams

J.W. Wilson+

Gerry Wood

Emeritus Council

Marvin E. Blum

Dr. Victor J. Boschini, Jr.

Gail Cooke

Vance A. Duffy

Katie Farmer

Joan Friedman

Tera Garvey

John B. Giordano

Barry L. Green

Kathleen Hicks

Robert L. Jameson

Teresa King

Michelle Marlow

Colin McConnell

Dr. Till Meyn

Erin Moseley

Frasher H. Pergande

Thomas “Tommy” L. Smith

Dwayne Smith

Kathleen B. Stevens

Ronda Jones Stucker

Lon Werner

Chairman Emeriti

William P. Hallman, Jr.*

Adele Hart*

Ed Schollmaier*

Frank H. Sherwood

Life Trustee

Rosalyn G. Rosenthal

Rae and Ed Schollmaier*

President Emerita

Ann Koonsman*

+ Executive Committee Member

* Denotes Deceased

Supporters of the FWSO

The Fort Worth Symphony Orchestra expresses its deepest gratitude to the generous individual, institutional, endowment, and legacy supporters of the FWSO, a world-class orchestra and cultural pillar of Fort Worth.

Individual Giving

Maestro’s Level

$150,000+

Sasha and Edward P. Bass

Mrs. Mercedes T. Bass

Mr. & Mrs. J. Luther King, Jr.

Mr. & Mrs. John B. Kleinheinz

John Wells & Shay McCulloch-Wells

Principal Guest Conductor’s Level

$50,000- $149,999

Ms. Marianne M. Auld and Mr. Jimmy

Coury

Mr. & Mrs. William S. Davis; Davoil, Inc.

Aaron Howard & Corrie Hood-Howard

Mrs. Louella Martin

Concertmaster’s Level

$25,000- $49,999

Connie Beck & Frank Tilley

Mr. & Mrs. Ronald Koonsman

Alann Bedford Sampson

Artist’s Level

$10,000- $24,999

Carol Margaret Allen

Megan & Victor Boschini

Mr. & Mrs. Douglas K. Bratton

James Brooks

Brenda & Chad Cline

Deborah & Tom Deas

Althea L. Duersten

Dr. Jennifer Freeman

George & Jeanne Jaggers Charitable Trust

Gary & Judy Havener

Matthew & Kimberly Johnson

Dee Kelly Foundation

Priscilla & Joe Martin

Deborah Mashburn & David Boddie

Nesha & George Morey

Estate of Virginia & James O’Donnell

Mrs. Susan S. Pratt

The Roach Foundation

Tim and Clare Stonesifer

Jonathan and Medea Suder; MJR Foundation

For the full donor listing, please visit fwsymphony.org/support/donor-listing

As of September 12, 2022 to September 12, 2023.

* Denotes deceased

Mr. Gerald E. Thiel

Dr. Richard Turner

Mr. & Mrs. J.W. Wilson

Benefactor

$5,000- $9,999

Mr. & Mrs. David R. Atnip

Mr. & Mrs. Tull Bailey

Ashli & Todd Blumenfeld

Judge Tim & Celia Boswell

Greg & Pam Braak

Mr. & Mrs. Michael Burchfield

Mary Cauble

Dr. and Mrs. Joseph C. Cecere, DMD

Sue & John Allen Chalk, Sr.

Barbara A. & Ralph F. Cox

Dean & Emily Crocker

Dr. & Mrs. Atlee Cunningham, Jr.

Anonymous

Margaret & Craig Dearden

Drs. Jeff & Rosemary Detweiler

C. Edwards & R. Schroeder

Mr. & Mrs. Kirk French

Gail Aronoff Granek

Susan & Tommy Green

Eugenie Guynn

Ms. Nina C. Hutton

James & Dorothy Doss Foundation

Tim & Misty Locke

Katherine Lummis

Marguerite Bridges Charitable Trust

Dr. and Mrs. Scott Marlow

Dr. & Mrs. Stuart D. McDonald

Ellen F. Messman

Berlene T. & Jarrell R. Milburn

Mrs. Erin Moseley

Stephen & Brenda Neuse

Don & Melissa Reid

Mr. & Mrs. Thomas B. Reynolds

Dr. Deborah Rhea & Ms. Carol Bollinger

Rosemary Riney

Jeff & Judy Schmeltekopf

Dr. & Mrs. Russ A. Schultz

Kal & Karen Silverberg

Ms. Patricia A. Steffen

Mr. & Mrs. Kelly R. Thompson

Laurie & Lon Werner

Charles White

Mr. & Mrs. Mitchell Wynne

Stuart Yarus & Judith Williams

Contributor

$3,000- $4,999

Ellen & Larry Bell

Mr. Bill Bond

John Broude & Judy Rosenblum

Mrs. Jeanne Cochran

Gary Cole

Doug & Carol English

Gary Glaser and Christine Miller

Steve* & Jean Hadley

Dotty & Gary Hall

Dr. Christy L. Hanson

Richard Hubbard, M.D.

Gordon & Aileen Kanan

Art & Cheryl Litke

In memory of Laura Elizabeth Bruton

Anonymous

In memory of Marie A. Moore

Dr. William & Mary Morton

Mr. & Mrs. Omas Peterson

Nancy & Don Plattsmier

Ms. Jane Rector

Jude & Terry Ryan

Jim & Judy Summersgill

Mary & Reuben Taniguchi

Hon. & Mrs. Chris Taylor

Dr. Stuart N. Thomas; In memory of Dr. Gaby Thomas

For the full donor listing, please visit fwsymphony.org/support/donor-listing

As of September 12, 2022 to September 12, 2023.

* Denotes deceased

Sustainer

$2,000- $2,999

William & Kathryn Adams

Mary Frances & George Barlow Charitable Fund at the NTCF

Dr. Joyce Beck

Linda Brookshire

Frances Jean Browning

Henry & Diana Burks

Daniel & Soraya Caulkins

Dr. & Mrs. Lincoln Chin

Mary C. Smith; Clark Educational Services

Honorable H.D. Clark III and Mrs. Peggy

Sue Branch-Clark

Dr. & Mrs. Martin F. Conroy

Mr. and Mrs. Laurence Cooke

Susan Jackson Davis

Angela L. Evans

Mr. & Mrs. Ben J. Fortson, Jr.

Dr. Oscar L. Frick

Ms. Clara Gamache

Dr. & Mrs. William H. Gibson

Anonymous

Peggy Harwood

Michelle & Reagan Horton

Mr. and Mrs. Jacob M. Huffman III

Mr. & Mrs. Robert L. Jameson

Ms. Trina Krausse

Amy Faires & Swang Lin

McCraw Family Charitable Fund

Shannon McGovern

John & Kay Mitchell

Mr. & Mrs. W.A. Moncrief III

Cecile Montgomery Charitable Account

John & Anita O’Carroll

Bill & Jeanne O’Connor

Harris Franklin Pearson Private Foundation

Mary Pencis

Lynne B. Prater

William Proenza

Peggy Rixie

Catherine & Wallace Schmuck

Punch Shaw & Julie Hedden

Tzu-Ying & Michael Shih in tribute of Mr. & Mrs. William S. Davis

Anne & Danny Simpson

Marilyn Wiley & Terry Skantz

Emmet G. & Judith O. Smith

Susan & James Smith

Thomas L. Smith

Virginia Street Smith

Dr. Mary Alice Stanford & Mr. Don Jones

Thomas Sutter

Sallie & Joseph Tarride

John* & Camille Thomason

Joy & Johnnie Thompson

David Turpin

Rhonda McNallen Venne

Dave & Julie Wende

Mr. John Molyneaux & Ms. Kay West

John Williams & Suzy Williams

Suzy Williams & John Williams

Arthur & Carolyn Wright

Anonymous

For the full donor listing, please visit fwsymphony.org/support/donor-listing

As of September 12, 2022 to September 12, 2023.

* Denotes deceased

Endowment Giving

$5,000,000 and above

Mrs. Mercedes T. Bass

Mr.* and Mrs.* Perry R. Bass

Mr. Sid R. Bass

$1,000,000- $4,999,999

Lee and Ramona Bass Foundation

Sasha and Edward P. Bass

The Burnett Foundation

Garvey Texas Foundation

Kimbell Art Foundation

Elizabeth H. Ledyard

Rosalyn Rosenthal

Rae* & Ed* Schollmaier; Schollmaier Foundation

$500,000- $999,999

Mr. & Mrs. John B. Kleinheinz

Mollie & Garland Lasater at the NTCF Fund

The Thomas M., Helen McKee & John P. Ryan Foundation

T.J. Brown & C.A. Lupton Foundation

$250,000- $499,999

BNSF Railway

Estate of Dorothy Rhea

Qurumbli Foundation

Mr. & Mrs. Mark L. Hart III

Drs. Jeff & Rosemary Detweiler

$100,000- $249,999

Alcon

American Airlines

Amon G. Carter Foundation

Althea L. Duersten

Estate of Peggy L. Rayzor

Mr. & Mrs. Ben J. Fortson, Jr.

* Denotes deceased

Mr.* & Mrs. Dee J. Kelly, Sr.

Mr. & Mrs. J. Luther King, Jr. / Luther King Capital Management

John Marion

J.P. Morgan Charitable Giving Fund

The Roach Foundation

Anna Belle P. Thomas

$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

$25,000- $49,999

Mr. & Mrs. Jack S. Blanton Jr.

Estate of Linda Reimers Mixson

Michael Boyd Milligan*

Garvey Texas Foundation

Colleen* and Preston Geren

Mrs. Adele Hart

Mr. and Mrs. Craig Kelly

Dee Kelly Foundation

Mr. and Mrs. Robert D. Krebs

Mr. Eddie M. Lesok

Mr. & Mrs. Duer Wagner Jr.

Laurie and Lon Werner

$10,000- $24,999

Mr.* and Mrs.* William L. Adams

Mr. & Mrs. Malcolm K. Brachman

Mr. & Mrs. Douglas K. Bratton

Mr. Carroll W. Collins*

Mary Ann and Robert Cotham

Mr. and Mrs. Norwood P. Dixon*

Elizabeth L. and Russell F. Hallberg Foundation

Estate of Ernest Allen, Jr.

Fifth Avenue Foundation

Mrs. Dora Lee Langdon

Carol V. Lukert

Mr. & Mrs. Richard W. Moncrief

Stephen & Brenda Neuse

Peggy L. Rayzor

Mr. & Mrs. Thomas B. Reynolds

William E. Scott Foundation

Mr. and Mrs. Thomas M. Taylor

Donna* & Bryan Whitworth

William S. Davis Family Foundation

$5,000- $9,999

Mrs. Charles Anton*

Ms. Lou Ann Blaylock

Sue & John Allen Chalk, Sr.

Barbara A. & Ralph F. Cox

Estate of Witfield J. Collins

Francis M. Allen Trust

Mr. and Mrs. Scott Jeffrey Gerrish

Felice and Marvin Girouard

Mr. & Mrs. Ralph J. Green Jr.

Maritza Cáceres & Miguel Harth-Bedoya

Richard Hubbard, M.D.

JPMorgan Chase*

Mr.* and Mrs. Robert E. Klabzuba

Priscilla & Joe Martin

Miss Louise McFarland*

Karen Rainwater Charitable Fund at the NTCF

Alann Bedford Sampson

Betty J. Sanders

Save Our Symphony Fort Worth

Jerry & James Taylor

Mr. Gerald E. Thiel

Anonymous

Nelson & Enid Cleary

John* & Frances Wasilchak Charitable Fund at the NTCF * Denotes deceased

Endowed Chairs and Programs

The Board of Directors extends sincere gratitude to the following donors who have demonstrated exceptional generosity and commitment to the FWSO by endowing the following chairs and programs.

Music Director

Guest Conductors

Associate Conductor

Concertmaster

Associate Concertmaster

Assistant Concertmaster

Assistant Principal 2nd Violin

Principal Cello

Assistant Principal Cello

Principal Bass

Principal Oboe

Principal Flute

Principal Clarinet

Assistant Principal Trumpet

Principal Bassoon

Principal Horn

Associate Principal Horn

Principal Trombone

Bass Trombone

Principal Percussion

Assistant Principal Percussion

Timpani Harp

Keyboard

Great Performance Fund

Pops Performance Fund

Adventures in Music

Symphonic Insight

* Denotes deceased

Nancy Lee & Perry R. Bass* Chair

Mrs. Mercedes T. Bass Chair

Mr. Sid R. Bass Chair

Rae & Ed Schollmaier*/Schollmaier Foundation Chair

Mrs. Mercedes T. Bass Chair

Mr. Sid R. Bass Chair

Ann Koonsman* Chair

Mollie & Garland Lasater Chair

Symphony League of Fort Worth Chair

Mrs. Mercedes T. Bass Chair

Mr. Sid R. Bass Chair

BNSF Foundation Chair

Mr. & Mrs. Edward P. Bass Chair

Nancy L. & William P. Hallman, Jr. Chair

Shirley F. Garvey* Chair

Rosalyn G. Rosenthal Chair

In Memory of Manny Rosenthal

Dorothy Rhea* Chair

Mr. & Mrs. Lee M. Bass Chair

Elizabeth H. Ledyard* Chair

Drs. Jeff and Rosemary Detweiler Chair

Mr. & Mrs. John Kleinheinz Chair

Mr. & Mrs. Lee M. Bass Chair

Shirley F. Garvey* Chair

Adele Hart* Chair

Madilyn Bass Chair

Bayard H. Friedman * Chair

Rildia Bee O’Bryan Cliburn & Van Cliburn* Chair

Rosalyn G. Rosenthal Chair

In Memory of Manny Rosenthal

The Burnett Foundation

The Ryan Foundation

Teresa & Luther King

Brooks Morris Society

Annette & Jerry Blaschke

Dr. Lloyd W. Brooks

Mr. and Mrs. M. A. Cardona*

Barbara Clarkin

Mr. Carroll W. Collins*

Mr. and Mrs. Laurence Cooke

Juana-Rosa & Dr. Ron Daniell*

Estate of Anna Belle P. Thomas

Miss Dorothy Rhea*

Electra M. Carlin*

Estate of Ernest Allen, Jr.

F. Warren O’Reilly*

Hugh L. Watson*

Estate of Kathy B. Higgins

Estate of Linda Reimers Mixson

Lois Hoynck Jaggers*

Michael Boyd Milligan*

Mildred G. Walters*

Estate of Peggy L. Rayzor

Sylvia E. Wolens*

Whitfield J. Collins*

Tom Gay

Gwen M. Genius

George & Jeanne Jaggers Charitable Trust

Mrs. Charlotte M. Gore

Gail Aronoff Granek

Helene Bare & W. Glenn Embry

Charitable Trust

Qurumbli Foundation

Hank and Shawn Henning

Mr. Eric F. Hyden*

* Denotes deceased

Kathleen E. Connors Trust

Mr. & Mrs. Ronald Koonsman

Lewis F. Kornfeld, Jr. Memorial Fund at the NTXCF

Mollie & Garland M. Lasater, Jr.

Elizabeth H. Ledyard

Carol V. Lukert

Marguerite Bridges Charitable Trust

Patty Cartwright Mays

Shannon McGovern

Dr. and Mrs. A. F. Murph

Linda Todd Murphy

Estate of Virginia & James O’Donnell

Harris Franklin Pearson Private Foundation

Peggy Meade-Cohen Crut Charitable Trust

Mr. and Mrs. John V. Roach II

The Roach Foundation

Jude & Terry Ryan

Jeff & Judy Schmeltekopf

Mr. & Mrs. Grady Shropshire

Kathleen & Richard Stevens

Mr. Gerald E. Thiel

The Walsh Foundation

Peter G. Warren

John* & Frances Wasilchak Charitable Fund at the NTCF

John Wells & Shay McCulloch-Wells

Lynn Wilson

A City Club Social Membership provides access to dining in our restaurants and member event privileges including Wine Tastings, Holiday Brunches and many other Club events. You will have the ability to reserve private rooms for business and social functions.

Social Memberships for $102 per month

FWSO Season Ticket Holders receive a discounted enrollment fee

For more information, contact Matt Burrell, City Club Membership Director at 817.878.4000 or mburrell@cityclubfw.com.

The

elegance continues at Omni Fort Worth Hotel. Take in the sweeping downtown views from our inviting, western-inspired accommodations, and enjoy clever cocktails, prime aged steaks, and live music at our on-site restaurants.

From whole patient to whole health.

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.

LEAD ON, CREATIVELY.

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

Areas of study in the College of Fine Arts include:

• Art

• Dance

• Fashion Merchandising

• Graphic & Interior Design

• Music

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Learn How To Put Your Passion Into Practice

finearts.tcu.edu

When it has to be right