​The Moores School of Music presents the Moores Symphony Orchestra

FRANZ ANTON KRAGER, director of orchestras presents

Silver Jubilee Concert

Original program cover: Grand Opening Week, 23–29 September, 1997.

Silver Jubilee Concert

This evening we are celebrating the 25th anniversary of the Grand Opening of our School’s crown jewel –The Moores Opera House. It was 25 years ago this past month that the filled to capacity Moores Opera House heard its very first sounds. Those sounds came from the new Moores School Symphony Orchestra and the seamless voice of famed Metropolitan Opera Mezzo, Marilyn Horne. At 7:30 p.m. on September 23rd, 1997 when the opening trumpet fanfare of the Shostakovich Festive Overture sounded, a new era began for our brand-new Moores School of Music

– an era that we are still treasuring today. Our stu dent orchestra musicians on-stage here tonight are well aware of what occurred in this beautiful space 25 years ago, and are proud “torch-bearers” of an illustrious school history.

— Franz Anton Krager

Happy Anniversary Moores Opera House!

Silver Jubilee Concert

Silver Jubilee Concert

The New Moores School Symphony Orchestra

Formerly The University of Houston Symphony Orchestra

Franz Anton Krager, director of orchestras

1997-98 SEASON

GRAND OPENING GALA - SIX EVENINGS OF NOTE

Celebrations of Music, Art and Architecture in All Their Many Colors

First Evening of Note

featuring the Moores School Symphony Orchestra

Franz Anton Krager, conductor Marilyn Horne, mezzo-soprano

Tuesday, September 23, 1997 at 7:30 p.m. The new Moores Opera House

OPENING CEREMONIES

Welcome

David Tomatz, Director, Moores School of Music

Arthur K. Smith, Chancellor, University of Houston System and President, University of Houston

The Honorable Bob Lanier, Mayor, City of Houston

Introduction of Honorees

Linda and Ken Lay, Chairs for the Evening Remarks

Rebecca and John J. Moores, Honorees

Special Presentation

Betty C. Jukes, General Chair

Silver Jubilee Concert

Silver Jubilee Concert

1997 ORIGINAL PROGRAM

FIRST EVENING OF NOTE

Moores School Symphony Orchestra

Franz Anton Krager, conductor

Marilyn Horne, mezzo-soprano

Festive Overture, Op 96

Selections from Old American Songs Aaron Copland

I. Simple gifts (Set I)

II. Ching-a-ring chaw (Set II)

III. Long time ago (Set I)

IV. I bought me a cat

V. At the river (Set II)

With Ms. Horne

Danse Bacchanale from Samson and Dalila

“Mon cœur s’ouvre à ta voix” from Samson and Dalila

Camille Saint-Saëns With Ms. Horne

Capriccio Espagnol, Op. 34 Nikolai Rimsky-Korsakov

Beautiful Dreamer

Stephen Foster arr. Tunick

With Ms. Horne

Dmitri Shostakovich

Camille Saint-Saëns

Silver Jubilee Concert

SECOND EVENING OF NOTE

featuring the Moores School Wind Ensemble Eddie Green, conductor John Bayless, piano

Wednesday, September 24, 1997 at 7:30 p.m. The new Moores Opera House

PROGRAM Mixed Repertoire

THIRD EVENING OF NOTE

featuring the Academy of Ancient Music Andrew Manze, conductor

Friday, September 26, 1997 at 7:30 p.m. The new Moores Opera House

PROGRAM

Mixed Repertoire, La Stravaganza

FOURTH EVENING OF NOTE

featuring the Moores School Symphony Orchestra and Festival Chorus Robert Shaw, conductor Stella Zambalis, soprano Diane Elias, mezzo-soprano

Karl Dent, tenor Richard Paul Fink, bass-baritone Franz Anton Krager, orchestra preparation

Charles Hausmann and Betsy Cook Weber, chorus preparation

Saturday, September 27, 1997 at 7:30 p.m. The new Moores Opera House

PROGRAM Massa da Requiem, Giuseppe Verdi

Silver Jubilee Concert

FIFTH EVENING OF NOTE

featuring Larry Gatlin

Sunday, September 28, 1997 at 7:30 p.m. The new Moores Opera House

PROGRAM

A salute to his Alma Mater

SIXTH EVENING OF NOTE

featuring the Moores School Jazz Orchestra Noe Marmolejo, director

Joe Henderson, tenor saxophone George Coleman, tenor saxophone Joe Lovano, tenor saxophone

Monday, September 29, 1997 at 7:30 p.m. The new Moores Opera House PROGRAM

Mixed Repertoire, including “Aspects” by Robert Nelson

Silver Jubilee Concert

Moores School Symphony Orchestra

Franz Anton Krager, director of orchestra

2022 PROGRAM

Moores School Symphony Orchestra

Franz Anton Krager, conductor

Moores Opera House 25th Anniversary introductory remarks

Dr. Andrew Davis, Dean of the University of Houston College of the Arts

Excerpt from Festive Overture, Op. 96

Dmitri Shostakovich (1906 – 1975)

Daphnis & Chloé: Suite No. 1 Maurice Ravel (1875 – 1937)

I. Nocturne

II. Interlude

III. Danse guerriére

Daphnis et Chloé: Suite No. 2

I. Lever Du Jour

II. Pantomime

III. Danse générale

INTERMISSION

Symphony No. 4 in F Minor, Op. 36

I. Andante Sostenuto — Moderato Con Anima

II. Andantino In Modo Di Canzona

III. Scherzo: Pizzicato Ostinato — Allegro

IV. Finale: Allegro Con Fuoco

Pyotr Ilyich Tchaikovsky (1840 – 1893)

Silver Jubilee Concert

PERFORMERS

Moores School Symphony Orchestra

Franz Anton Krager, director of orchestras

Flutes

Wen-Hsiu Lai, co-principal Candi Rohn, co-principal

Katherine Garcia Donald Rabin

Piccolos

Donald Rabin, principal Candi Rohn

Alto Flute

Katherine Garcia, principal

Oboes

Matthew Harms, principal Madeline Flake Matthew Glattfelder

Cor Anglais

Matthew Glattfelder, principal Clarinets

Adam Boswell, co-principal

Harold Gomez Montoya, co-principal Elian Hernandez Andrew Wang

E-Flat Clarinet

Harold Gomez Montoya, principal

Bass Clarinet

Adam Jones, principal

Bassoons

Haley Houk, co-principal Dima Savitski, co-principal

Madison Weaver

Contrabassoon

Anya Johnson

Horns

Joey Troia, co-principal Katie Angielczyk, co-principal David Holtgrewe, co-principal Jordan Ellisor Adam Harrington Noel Manning Patrick Sanford Nicholas Silva

Trumpets

Nick Engle, co-principal Michael Remish, co-principal Jhoan Garcia Ryan McArthur Brian Mendez

Tenor Trombones

Steven Luong, principal Jonathan Forbes

Bass Trombone

Agustin Martinez, principal Tubas

Jose C. Martinez, co-principal John Paulson, co-principal

Harps

Cindy Qin, principal Sophie Kim

Celesta

Myles Nardinger, principal Timpani

Carissa Ledesma, co-principal Alex Staten, co-principal Tim Turnley, co-principal

Percussion

Carissa Ledesma, principal Ashton Carter

Michael Cheng

Brandon Furman

Mark Medina

Philip Rivera Alex Staten

Tim Turnley

Xochitl Vasquez

Violins

Hanna Hrybkova, concertmaster

Miranda Hollingsworth, associate concertmaster Ricardo Jimenez Montoya, assistant concertmaster Bernini Chan, principal second Daniela Yepes Dimate, associate principal second Raul Colmenero, assistant principal second Jessika Albuquerque Hossein Aminzadeh

Melissa Balli

Isabella Bengochea Xiaodong Cao

Javier Castro

Jason Chaviers Dustin Cunningham Jordan Efird

Alexander Garcia Lizbeth Garcia

Emily Gladstone Nicole Gonzalez

Ming-Wei Hsieh Gilyoung Kang Allen Li

Zuriel Longoria Marcio Martinez

Madisyn Muñoz

Shayla Nguyen Luis Osorio

Vu Pham

Anton Sack Luis Ramirez

Julia Tondera Johathan Andino

Silver Jubilee Concert

Violas

Haoqin Cheng, principal Elisa Rendon Palaez, associate principal Melissa Escobar, assistant principal Miles Bi Daniel Castorena Madeline Gonzales

Maggie Lytle Benjamin Petree Audrey Weaver Yuxuan Zhang

Violoncelli

Ashley Wang, principal Samuel Linzan, associate principal Amy Sanders, assistant principal Stephanie Aguilar William Danheim Hannah Deplazes Brandon England Joshua Lopez Gracie Martinez

Julian Montez Kayla Nguyen Benjamin Serur Elizabeth Spencer Gideon Weaver Emily Yeh Alexa Zamarripa

Contrabassi

Reid Ronsonette, principal Bruce Manning, associate principal Maggie Bishop, assistant principal Cesar Flores Mackenzie Gibbons Sharon Montes Lavelle Florence

Orchestra Conducting Studio

Cutter González, General Manager and Assistant Conductor

Martin Garcia Leon, General Staff and Assistant Conductor, Moores Opera Center

Ringel Sat, Orchestra General Staff and Assistant Conductor

Carolina Rodriguez Russum, General Staff, Moores Opera Center

Silver Jubilee Concert

General Staff

Myles Nardinger, Consultant

PROGRAM NOTES

Maurice Ravel: Daphnis et Chloé Suites

The early years of the 20th century saw a revival of interest in ancient Greek mythology, thanks to new schol arship and translation work; the desire for aesthetic balance and structural formality as a countermeasure to the perceived breakdown of the system of tonality post-Wagner; and shifting social mores that found new intrigue in ancient plotlines that would make conservative Victorians blush. This new focus would reach far greater heights in the period between the two world wars, as Neoclassicism took hold in Western Europe.

In 1909, Ravel was commissioned by impresario Serge Diaghilev to write a score for a new ballet which retold an ancient Greek myth. Intensive work with choreographer Michel Fokine left the composer exhausted, and language barriers (Fokine spoke no French, and Ravel “only [knew] how to swear in Russian”) left both frustrated – yet still excited by the project. Ravel took much longer to write the music than Diaghilev had anticipated, and after more than a year had passed with no score in hand, the impresario considered cance ling the commission. Finally the score was delivered, some two years after originally planned and relegated to the end of the season. Unfortunately for Ravel, this placed the premiere a mere week after another major ballet by the Ballet Russes, Nijinsky’s Afternoon of a Faun, which caused a great scandal due to its explicit eroticism and suggestive choreography. Daphnis was certainly suggestive and erotic in its own right, and as a ballet it is arguably a masterpiece, yet is it not often staged. The music, on the other hand, is among Ravel’s most popular large-scale orchestral works.

The story begins with the eponymous pair, who have grown up together and been raised by shepherds. As each flirts with others or is flirted with, they become jealous of the other, and in a fit of passion rush to each other’s arms. Their courtship is interrupted by the arrival of pirates, who capture Chloé. Daphnis begs for the aid of Pan, who dutifully appears at the pirates’ camp to rescue Chloé. Now reunited, the couple dance a retelling of the love story of Pan and Syrinx.

The two orchestral suites date from 1911 (the year before the ballet itself premiered) and 1913. The second suite is the one most-often performed today.

Silver Jubilee Concert

Pyotr Ilyich Tchaikovsky: Symphony No. 4

By 1877, Tchaikovsky had achieved a respectable recognition within musical circles but was entering an extraordinarily trying time in his personal life. That year, he married Antonina Miliukova, a former student whose feelings for the composer had grown in the decade following their initial meeting. From the very beginning the marriage was disastrous, and letters the composer sent during the couple’s honeymoon already show the contempt he felt for her. Much has been written speculating why Tchaikovsky would have married her in the first place, with most pointing to his homosexuality as a major and understandable barrier to marital bliss. Tchaikovsky himself seems to acknowledge this as a major impetus, “to shut the mouths of all those scum whose opinions I don’t give a damn about.” After six weeks of miserable cohabitation, Tchaikovsky, now in acute emotional distress and unable to composer, fled to Switzerland and Italy, where he was gradually able to regain his footing. Time spent in these countries proved more than a balm, as the composer wrote some of his best and most-enduring works, including the opera Eugene Onegin, the violin concerto, and the fourth symphony, work on which had been interrupted by the dramatic events of the year.

Tchaikovsky dedicated the Symphony No. 4 to his new patron, Nadezhda von Meck, who had also requested a program to explain the piece. He assented, noting that his symphonies generally existed on their own terms, free of programmatic elements – but that since she had requested as much, he would provide a program “only in general terms.” While we should thus perhaps take his programmatic descriptions with a grain of salt, they are nonetheless valuable for a thorough understanding of the work. One major point was his appellation of “Fate” to the opening of the symphony, which has since led to overdramatic and less-than-accurate microanalyses of the various thematic and formal elements of the piece. Perhaps an appropriate reading of the program-vs.- absolute dichotomy might be in terms of such nonprogrammatic but semi- representational works as Mahler symphonies, which follow certain dramatic through- lines (such as death and resurrection in the second symphony) but avoid needlessly detailed evocations of specifics.

An epic first movement is followed by an Andantino based on a melody reminiscent of Russian folk music. A fleet scherzo follows, in the traditional minuet and trio form, and the symphony finishes with a mighty finale which quotes the well-known folk song, “In the Field a Birch-Tree Stood.” The premiere took place in early 1878 in Moscow, conducted by eminent composer-pianist Nikolai Rubinstein.

Silver Jubilee Concert

Franz Anton Krager

Since making his prize-winning European conducting debut in Copenha gen’s Tivoli Koncertsalen in 1978, Franz Anton Krager has led orchestras in Washington DC’s Kennedy Center, the Leipzig Gewandhaus, Town Hall and Adrian Boult Hall in Birmingham, Moscow’s State Kremlin Palace, Manches ter’s Bridgewater Hall, Guangzhou China’s Xinghai Music Center, the Sydney Opera House, The Hague’s Congresgebouw, Zagreb’s Lisinski Concert Hall, Kazan’s State Philharmonic Hall in Russia, Guadalajara’s Degollado Theater, and Sarasota’s Van Wezel Performing Arts Hall. His affiliations with leading music festivals include the Dubrovnik Summer Festival in Croatia, Lancaster International Concert Series, Lichfield and Aberystwyth International Arts Festivals in the U.K., the Festival Internacional de Santa Lucía in Mexico, and the Texas Music Festival and Interlochen National Music Camp in the U.S. Maestro Krager has led the Houston, Russian State, Slovak National, Dubrovnik, Traverse City Michigan and Florida West Coast symphonies, Romanian and Kazan State philharmonics, and orchestras in Washington, Berlin, London, Chicago, Paris, Singapore, Leipzig, Zagreb, Monterrey, Grosseto, Pordenone, Ingolstadt, Chichester, Neuss, and Honolulu. Krager is Music Director and Chief Conductor of the Texas Music Festival and Founding Co-Artistic Director for the Virtuosi of Houston. Krager is also the Hourani Endowed Professor of Music, Director of Orchestras, and Chair of the Conducting Department at the University of Hou ston Moores School of Music, where he has brought the orchestra and orchestral conducting program into international prominence. The Moores School Symphony Orchestra has recorded on the Divine Art (Métier), Albany, MSR Classics, ArsPublica, Newport, and “Surround-Sound Blu-Ray Audio” HDTT record labels.

Acknowledgments

The Moores School Symphony Orchestra would like to thank the following faculty and staff members for their invaluable assistance in helping to prepare this concert: Alan Austin, Andrew Davis, Anthony Kitai, Blake Wilkins, David Bertman, Deforest Jones, Eric Larson, Eunghee Cho, Gavin Reed, Jason Burton, Karina Duran, Katherine Turner, Kirsten Yon, Kristin Johnson, Mann-Wen Lo, Mark Barton, Steven Block, Tobin Wright, Wayne Brooks.

2022-2023 MOORES SOCIETY

As of 9/1/2022

The Moores Society is the philanthropic volunteer organization for the Moores School of Music. Moores Society members and donors promote community awareness and provide funding for scholarships and special projects. Moores Society members receive invitations to concerts and special events held throughout the year.

EXECUTIVE COMMITTEE

Darlene Clark, President

Jackie & Malcolm Mazow, Immediate Past Presidents

Donna Shen, Vice President Membership

Nancy Willerson, Corresponding Secretary

Linda Katz, Recording Secretary

Meg Boulware, Opera Production Council Chair Ann Faget, Audience Development Chair

BOARD OF TRUSTEES

Rita Aron Ann Ayre Meg Boulware

Terry Ann Brown

Carla Burns Cheryl Byington

Julie Cogan

Timothy Doyle Warren Ellsworth

Sheila Aron

Christopher Bacon

Philamena Baird

Chris Becker Tom Becker Susan Binney Ann Boss

Nancy Bowden Zarine Boyce

Robert Chanon

Anna Dean

Vicky Dominguez

Ann Faget

Kelli Fein

Debbie Feuer

Cathy Coers Frank Joyce Frassanito Mary Fusillo

Elia Gabbanelli

Marita Glodt

Sean Gorman Maureen Higdon

Gary Hollingsworth & Ken Hyde Mady Kades Linda Katz

Michelle & Jack Matzer Gary Patterson Shirley Rose

ADVISORY BOARD

Frank Geider, MS DDS Diane & Harry Gendel Mariglyn & Stephen Glenn Beatrice & Gregory Graham Deb Happ Ellen & Alan Holzberg

Gladys Hooker

Janis Landry Cora Sue & Harry Mach Karinne McCullough Mary Ann McKeithan Cathy McNamara

Jennifer Meyer Celia Morgan Jo & Joseph Nogee Kitten & Ron Page Kusum Patel Fran Fawcett Peterson Carroll R. Ray

Richard Schmitt Donna Shen Rhonda Sweeney Ann Tornyos Betty Tutor Bob & Mary Ann Wilkins Beth Wolff

Jan Rhodes

Carol Lee Robertson

Lillie Robertson

Minette Robinson Heidi Rockecharlie Kathi Rovere

Donna Scott & Mitch Glassman

Helen Schaffer

Satoko & Anthony Shou

Nancy Strohmer

Susan Thompson

Virginia & Gage Van Horn

Barbara Van Postman

Carol & Carl Vartian

Nancy Willerson

Phyllis Williams

Cyvia Wolff

Jo Dee Wright Gay Yellen

MOORES SOCIETY

As of 9/1/2022

Robin Angly Chris Bacon

Meg Boulware

Gwyneth Campbell

Anna Dean

Tim Doyle Warren Ellsworth

Robin Angly & Miles Smith

Rita & Jeffrey Aron Alan Austin & David A. White Ann & Jonathan Ayre

Olga & Gerardo Balboa

Meg Boulware & Hartley Hampton

Terry Ann Brown

Roxi Cargill & Peter Weston

Cheryl & Carl Carlucci Lydia & James Chao Darlene Clark & Edwin Friedrichs Timothy Doyle & Robert Royall, II Ann Faget

Sylvia Farb Debbie Feuer

Carla Burns

Helen Davis

Nancy & Carter Hixon

Pamela & Stephen Bertone

Robert Chanon

Drucilla & Richard Davis

Joyce & John Frassanito

Rachel & Howard Frazier

Diane & Harry Gendel

Elad Ben-Menashe

Felicia Brooks

Judy & Harry Bristol

Julie & John Cogan, Jr.

Nicole Kenley-Miller & Andy Miller

Connie Lewis

OPERA PRODUCTION COUNCIL

Ann Faget

Geraldine Gill

Ellen & Alan Holzberg Lee Huber

Shannon Langman Helen Mann Jackie & Malcolm Mazow

DIRECTOR LEVEL ($1,000)

Jennifer & Todd Frazier

Mariglyn & Stephen Glenn Marita & David Glodt John Goode & Janwin Overstreet Goode Susan & Sean Gorman Maureen Higdon

Gary Hollingsworth & Ken Hyde Ellen & Alan Holzberg Monzer Hourani

Linda Katz

Sharon & Robert Lietzow

Jay Marks

Jackie & Malcolm Mazow Paula & Robert Mendoza Shirley E. Rose

Jane Ross

Kathi & William Rovere

PARTNER LEVEL ($500)

Sophia & Keith James Helen Mann Susan & David Morris

PATRON LEVEL ($250)

Mady & Kenneth Kades

Evan Leslie

Catherine & William McNamara

Jenny Meyer

Rita & Doug Neagli

Janis Parsley & Georges Mirza

FRIEND LEVEL ($120)

Terrylin Neale

Robert Nelson

Sue & Paul Ofield

Susan & Edward Osterberg

Kenneth Proctor

Kate & Gregory Robertson

Heidi Rockecharlie

David & Roz Rowan Rhonda Sweeney Irena Witt

Johanna Wolfe

Jo Dee Wright

Rosamund & David Rowan

Fayez Sarofim

Jane & Richard Schmitt

Donna & Tim Shen

Melanie Sonnenberg

Rhonda & Donald Sweeney

Vita Taksa

Susan Thompson Ann Tomatz

Ann Tornyos

Betty & Jesse Tutor, Jr. David Voll Betsy Cook Weber & Fredric Weber

Bob & Mary Ann R. Wilkins Beth Wolff

Jo Dee & Cliff Wright

Helen & James Shaffer

Virginia & Gage Van Horn

Nancy & Hans Strohmer

Elissa Taylor

Cyvia & Melvyn Wolff

Gay Yellen & Don Reiser

Stephanie Sawyer

Matthew Tomatz

Katherine L. Turner

Debra Witter & Scott Chase

Cheryl Worley

Lawrence Zomper

MOORES SCHOOL OF MUSIC

ABOUT THE MOORES SCHOOL

Moores School of Music

The University of Houston’s Moores School of Music (MSM) is one of the leading comprehensive music schools in the nation. Its remarkable faculty — of internationally recognized performers, composers, and scholars — outstanding student body, modern facilities, and broad range of programs make MSM the natural choice for nearly 600 students annually. The school’s commitment to academic excellence and the highest performance standards has ensured its role as a vital resource in the educational and cultural life of Houston and beyond.

Moores Society

The Moores Society is the philanthropic volunteer organization for the Moores School of Music. Moores Society members and donors promote community awareness and provide funding for scholarships and special projects. Moores Society members receive invitations to concerts and special events held throughout the year. Please visit uh.edu/kgmca/music/moores-society.

For more information, please contact Emily Wolfe, Patrons Relations and Communications Coordinator, at mooressociety@uh.edu or 713.743.8036.

ABOUT THE COLLEGE

Kathrine G. McGovern College of the Arts

The Kathrine G. McGovern College of the Arts at the University of Houston is a dynamic home of creativity and collaboration in one of America’s most artistically vibrant and culturally diverse cities. Bringing together the performing and visual arts entities at the University of Houston, the college has the ability to harness the power of the arts to ultimately impact our world. Our award-winning, internationally distinguished faculty provides top-quality instruction to the talented, emerging student artists from more than 30 programs of study. The Kathrine G. McGovern College of the Arts seeks to positively impact the community and to empower our students to use their talents to change the world.

Giving to the Arts

Please support emerging artists at the University of Houston's Kathrine G. McGovern College of the Arts. Your gift enables KGMCA students and educators to create, collaborate, and transform Houston’s cultural landscape. Your gift makes a difference.

• Please visit https://giving.uh.edu/gift. To give directly to the Moores School of Music, please visit uh.edu/kgmca/music/giving

• For more information contact Emily Wolfe, Patron Relations and Communications Coordinator, at ewolfe@uh.edu or 713.743.7732.

• For information on upcoming Kathrine G. McGovern College of the Arts events, visit uh.edu/artstickets or contact the KGMCA Box Office at 713.743.3388

713.743.3388