2017-2018 Program Book Vol. 4 by Wichita Symphony

WICHITA SYMPHONY

VOL. 60, NO. 3 MARCH-APRIL-MAY 2018

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SATURDAY, APRIL 14 @ 8PM SUNDAY, APRIL 15 @ 3PM 2018

CLASSICS 8 Maestro Daniel Hege conducts

THE PLANETS HOLST The Planets RESPIGHI Pines of Rome

A concert of epic proportions, Holst’s The Planets is performed while cosmic images from NASA and photography by astronomer José Francisco Salgado are projected above the Orchestra.

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WICHITA SYMPHONY VOL. 60 | NO. 4 MARCH-MAY 2019

PROGRAM CONTENTS FIRE & ICE, MARCH 10/11 Program

Guest Artist

Program Notes

THE PLANETS, APRIL 14/15 Program

Guest Artist

Wichita Symphony Women’s Chorus

Program Notes

WHAT A WONDERFUL WORLD, MAY 5 Program

Guest Artist

Wichita Symphony Society Board of Directors

Daniel Hege, Music Director and Conductor

Wichita Symphony Staff

Wichita Symphony Orchestra Personnel

Women’s Association of the Wichita Symphony

Contributors

Memorials & Tributes

Wichita Symphony Orchestra House Policies

List of Advertisers

WICHITA SYMPHONY SOCIETY

OFFICERS F. Tim Witsman, Chairman of the Board Lori Supinie, Vice Chair Roger Eastwood, Treasurer Kurt A. Harper, Secretary Jon Tiger, Immediate Past Chair

BOARD OF DIRECTORS Suzie Ahlstrand

Richard C. Shaw, M.D.

Chris Callen

James M. Thomas

Richard Chambers

Isaac Ulbrich

Ebony Clemons-Ajibolade

James Vayda, M.D.

Bill Cook

Lisa Vayda

Barbara Crotchett

Ted J. Vlamis Jr.

Stephen English

Kathryn M. Webb

Sharon Fearey

Janet C. Wesselowski

Daniel A. Flynn

Ken White

Kurt Friesen

Carlos Wriedt

H. Guy Glidden, Ph. D. William E. Hercher

DIRECTOR EMERITI

Jerry Juhnke

Anna Anderson

Greg Keith

Bill DeVore

Delmar D. Klocke

Phillip S. Frick

Brenda Lawton

Marilyn McNeish

George L. Lucas, M.D.

Mrs. Russell W. Meyer, Jr.

Rodney E. Miller

Doris Nelson

Lisa Muci Miah Schneider Bob Scott Shoko Kato Sevart

DANIEL HEGE

MUSIC DIRECTOR AND CONDUCTOR

The 2017-2018 season marks Daniel Hege’s eighth as Music Director and Conductor of the Wichita Symphony Orchestra. Hege has been widely recognized as one of America’s finest conductors, earning critical acclaim for his fresh interpretations of the standard repertoire and for his commitment to creative programming. He served for eleven seasons as the Music Director of the Syracuse Symphony and was appointed Music Director of the Wichita Symphony in June 2009. As of the 2015/16 season, he was named Principal Guest Conductor of both the Tulsa Symphony and the Binghamton (NY) Philharmonic. In addition to programming and conducting the subscription concerts in Wichita, Mr. Hege has conducted a number of cutting edge concerts, including Bartok’s Bluebeard’s Castle with the legendary Samuel Ramey in the title role and with sets by the glass sculptor Dale Chihuly, and a semi-staged production of Rodgers and Hammerstein’s Carousel in collaboration with Music Theatre Wichita. Daniel Hege has guest conducted the Detroit, Seattle, Oregon, Colorado, San Diego, Columbus, and Phoenix symphonies as well as the Calgary Philharmonic, among others. International engagements include performances with the Singapore Symphony and the St. Petersburg Symphony at the Winter Nights Festival. Recent and upcoming guest conducting engagements include appearances with the Rochester, Buffalo, Oklahoma, Rhode Island and Naples Philharmonics; the Louisville, Sarasota and Florida Orchestras; and the Houston, Edmonton, Pacific, Puerto Rico, Hartford, Omaha, Madison, Tucson, Charleston and Virginia symphonies. Daniel Hege received his Bachelor of Arts Degree in 1987 from Bethel College, Kansas where he majored in music and history. He continued his studies at the University of Utah, where he received a Master of Music degree in orchestra conducting and also founded the University Chamber Orchestra and served as Assistant Conductor of the University Orchestra and Music Director of the Utah Singers. He subsequently studied with Paul Vermel at the Aspen Music Festival and in Los Angeles with noted conductor and pedagogue Daniel Lewis. In May 2004, Mr. Hege was awarded an honorary degree of Doctor of Humane Letters from Le Moyne College in Syracuse for his contributions to the cultural life in central New York State. Born in Colorado, Mr. Hege currently resides in Syracuse with his wife and their three daughters.

WICHITA SYMPHONY SOCIETY STAFF ARTISTIC

ADMINISTRATIVE

Daniel Hege

Don Reinhold

Music Director and Conductor

Chief Executive Officer

Jean and Willard Garvey

Arleigh McCormick

Endowed Chair

Marketing and Public Relations Manager

Dr. Michael Hanawalt

Samantha Davis

Symphony Chorus Director

Operations Manager Tiffany Bell

Dr. Mark Laycock

Education & Community

Director, Youth Orchestras Program

Engagement Manager

Youth Symphony Conductor

Nina Longhofer

Fred and Mary Koch Foundation Endowed Chair Dr. Wesley DeSpain

Patron Services, Box Office, and Database Administrator

Repertory Orchestra Conductor

Leigh Ann Haman

Delmar and Mary Klocke Endowed Chair

Business Manager

Eric Crawford

Cindy Bailey

Youth Chamber Players Conductor

Chorus Administrative Assistant

The Wichita Symphony Program Magazine is published four times during the season by the Wichita Symphony Society, Inc., 225 West Douglas, Wichita, Kansas 67202, 316-267-5259.

WICHITA SYMPHONY Daniel Hege Music Director and Conductor Jean and Willard Garvey Endowed Chair Dr. Michael Hanawalt Symphony Chorus Director VIOLIN I John Harrison, Concertmaster S. M. and Laura H. Brown Charitable Trust Endowed Chair Nancy Luttrell, Acting Associate Concertmaster Bobbie and Marvin Bastian Endowed Chair Susan Linnebur Adrienne Dougherty* Laura Hammes Black Cindy Dantic-Watson Linette Gordon Chelley A. Graves Brandon Lay Joan Pfaff Marta Prugar James Rebecca Schloneger Nancy Woodruff Evgeny Zvonnikov* VIOLIN II Nancy Johnson, Principal Dominique Corbeil Emily Bishop Shelley Closson Natalia Korenchuk* Cristian Damir Martinez Vega Cheryl Myer Judith Naillon Jane Ray Suzanne D. Schiffel Elizabeth Wallace

ORCHESTRA PERSONNEL

VIOLA Catherine Consiglio, Principal Larry and Anita Jones Endowed Chair Nicole K. Feryok Caroline Anderson Emily A. Baldridge Rosemarie Barney Kay N. Buskirk Cynthia L. Cook Pedro Oviedo Kristen Smaglik

OBOE Andréa E. Banke, Principal George and Marilyn McNeish Endowed Chair Mickey Hansen Cindy C. Thompson CLARINET Trevor Stewart, Principal Helen and Russ Meyer Endowed Chair Rachelle Goter David Cook, E-flat Clarinet Abigail Hawthorne, English Horn

CELLO Leonid Shukaev, Principal Lois Kay Walls Foundation Endowed Chair Camille M. Burrow Tiffany Bell Gabriela Garzón Avendaño Patricia K. Hart Patrick Hopkins Quinn Lake Laura C. Martinez Susan Mayo Arleigh McCormick*

BASSOON Scott Charles Oakes, Principal Zach Hague Merrilee Tuinstra, Contrabassoon Angela Hull SAXOPHONE Geoffrey Deibel, Principal

DOUBLE BASS Mark Foley, Principal Don Jacobsen Oswald Backus Eric L. Crawford Marcia C. Hatfield Kathy Luttrell Kirsten Moler Carol Neighbor

FRENCH HORN Jeb Wallace, Principal Meri Jenkins Assistant Principal Stephanie Nelson Mirella Gauldin James Rester TRUMPET David Hunsicker, Principal Daniel J. and Shoko Kato Sevart Endowed Chair Daniel Alejandro Bardán Lamadrid Dana Hamant Gray A. Bishop

FLUTE Carmen Lemoine, Principal Mitchell A. Berman Endowed Chair Christina M. Webster Chastity Pawloski, Piccolo Caitrine-Ann Massoud

TROMBONE Tyler Vahldick, Principal Matt Blauer David Muehl, Bass Trombone TUBA Phillip C. Black, Principal TIMPANIPERCUSSION Gerald Scholl, Principal Joe Mikelait Andrew Slater HARP Jane Hyde, Principal KEYBOARD J. Bradley Baker Anna Jeter Matt Blauer, Personnel Manager Nancy Johnson, Librarian Carol Neighbor, Librarian Urza Silverwind, Stage Manager * On Leave of Absence Musicians in the First Violin, Second Violin, Viola, Cello and Double Bass sections rotate seating for each concert and are therefore listed alphabetically (except for the first stand of strings.)

WICHITA SYMPHONY ORCHESTRA | CLASSICS 7

FIRE & ICE CENTURY II CONCERT HALL

SATURDAY | MARCH 10, 2018 | 8PM Ending approximately 10:00 PM

SUNDAY | MARCH 11, 2018 | 3PM Ending approximately 5:00 PM

DANIEL HEGE Music Director & Conductor

STEWART GOODYEAR Piano

PROGRAM EDVARD GRIEG (1843-1907) Peer Gynt Suite No. 1, Op. 46 Morning (4‘) Ase’s Death (4‘) Anitra’s Dance (4‘) In the Hall of the Mountain King (3‘)

JEAN SIBELIUS (1865-1957) Symphony No. 3 in C major, Op. 52 Allegro moderato (10’) Andantino con moto; quasi allegretto (8’) Moderato-Allegro; ma non tanto (11’)

INTERMISSION

PROGRAM SERGEI RACHMANINOFF (1873-1943) Piano Concerto No. 2 in C minor, Op. 18 Moderato (11‘) Adagio sostenuto (11‘) Allegro scherzando (11‘) Stewart Goodyear, piano

Movement timings are approximate and provided for the listener This program will be re-broadcast on Radio Kansas, 90.1 FM, Friday, April 20, 2018 at 7pm.

These concerts are made possible in part by generous support from THE BILL CROMWELL FUND RUSS & HELEN MEYER THE NAFTZGER FUND FOR FINE ARTS SHOKO KATO SEVART AND THE LATE DANIEL J. SEVART

Stage flowers generously provided by Dr. Jim & Lisa Vayda Gary Telleen, piano technician Unless otherwise announced, the use of cameras or recording devices during concerts is strictly prohibited.

GUEST ARTIST

MARCH 10/11, 2018 STEWART GOODYEAR, piano Last performed with the Wichita Symphony February 16/17, 2008

Proclaimed “a phenomenon” by the Los Angeles Times and “one of the best pianists of his generation” by the Philadelphia Inquirer, Stewart Goodyear is an accomplished young pianist as a concerto soloist, chamber musician, recitalist and composer. Mr. Goodyear has performed with major orchestras of the world, including the Philadelphia Orchestra, New York Philharmonic, Chicago Symphony, Pittsburgh Symphony, San Francisco Symphony, Los Angeles Philharmonic, Cleveland Orchestra, Academy of St Martin in the Fields, Bournemouth Symphony, Frankfurt Radio Symphony, MDR Symphony Orchestra (Leipzig), Montreal Symphony, Toronto Symphony Orchestra, Dallas Symphony , Atlanta Symphony, Baltimore Symphony, Detroit Symphony, Seattle Symphony, Mostly Mozart Festival Orchestra, Royal Liverpool Philharmonic, and NHK Symphony Orchestra. Mr. Goodyear began his training at The Royal Conservatory in Toronto, received his bachelor’s degree from Curtis Institute of Music, and completed his master’s at The Juilliard School. Known as an improviser and composer, he has been commissioned by orchestras and chamber music organizations, and performs his own solo works. This year, Mr. Goodyear premiered his suite for piano and orchestra, “Callaloo”, with Kristjan Jarvi and MDR Symphony Orchestra in Leipzig, and in July of this year, the Clarosa Quartet will premiere his Piano Quartet commissioned by the Kingston Chamber Music Festival. Mr. Goodyear performed all 32 Beethoven Piano Sonatas in one day at Koerner Hall, McCarter Theatre, the Mondavi Center, and the AT&T Performing Arts Center in Dallas.

Mr. Goodyear’s discography includes “Beethoven’s Complete Piano Sonatas” (which received a Juno nomination for Best Classical Solo Recording in 2014) and Diabelli Variations for the Marquis Classics label, Tchaikovsky’s First Piano Concerto and Grieg’s Piano Concerto, and Rachmaninov’s Piano Concertos No. 2 and 3, both recorded with the Czech National Symphony under Stanislav Bogunia and Hans Matthias Forster respectively, and released to critical acclaim on the Steinway and Sons label. His Rachmaninov recording received a Juno nomination for Best Classical Album for Soloist and Large Ensemble Accompaniment. Also for Steinway and Sons is Mr. Goodyear’s recording of his own transcription of Tchaikovsky’s “The Nutcracker (Complete Ballet)”, which was released October 2015 and was chosen by the New York Times as one of the best classical music recordings of 2015. Mr. Goodyear’s recording of Ravel’s piano works was released last summer on the Orchid Classics label.

PROGRAM NOTES | MARCH 10/11, 2018 3 trombones, timpani, bass drum, cymbals,

Edvard Grieg

PEER GYNT SUITE NO. 1, OP. 46

triangle, and strings.

Born in Bergen, Norway (then part of Sweden), June 15, 1843 Died in Bergen, September 4, 1907 First performances by the Wichita Symphony

Jean Sibelius

SYMPHONY NO. 3 IN C MAJOR, OP. 52

Grieg’s Peer Gynt Suites come from incidental music for a play by Norway’s 19th-century master, Henrik Ibsen. The title character is a peasant youth – and a rogue. He abandons his widowed mother to seek fame and fortune. Self-centered and lacking a social conscience, he is also a charismatic charmer. He pursues romance and adventure around the globe, but happiness eludes him. As an old man whose cocky buoyancy is long gone, he returns home. He finds redemption and contentment through Solveig, the faithful home-town honey who has loved him all along. This prodigal son tale may sound hokey to us, but it had enormous impact in Ibsen’s and Grieg’s time. Grieg opens his Suite with ‘Morning Mood,’ originally the prelude to the play’s Act IV. Two character portraits follow. ‘The Death of Ase’ is poignant funeral music for Peer’s heartbroken mother. ‘Anitra’s Dance’ is the solo of an African desert princess. Her music combines innocence and seduction. Norwegian folk rhythms dominate ‘In the Hall of the Mountain King’, with an irresistible crescendo and accelerating tempo. From sinister start to climactic close, this finale is thrilling music. The score calls for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets,

Born in Tavastehus, Finland, December 8, 1865 Died in Järvenpaa, Finland, September 20, 1957 First performances by the Wichita Symphony The orchestral music of Jean Sibelius divides into two distinct groups: programmatic tone poems drawing on Finnish legend, and seven symphonies. Although some of his contemporaries attempted to foist a programmatic subtext on the symphonies, Sibelius resolutely opposed any extramusical association in these abstract works. The Third Symphony is not even specifically nationalist, as the First and Second Symphonies had been. Sibelius was shifting gears. He abandoned the large Russian gestures of the earlier symphonies and wrote for a noticeably smaller ensemble, reducing three trumpets to two, bypassing tuba altogether, and limiting percussion to timpani. This symphony represented a change from the large Nordic, quasi-Russian spirit of his first two efforts in the genre. The shift coincided with a decision in spring 1904 to abandon urban Helsinki in favor of the peace and beauty of the countryside. Sibelius purchased property in Järvenpää,

PROGRAM NOTES | MARCH 10/11, 2018 about twenty miles north/northeast of the capital. The new house, Ainola, was finished in September 1904. Within weeks of the move, Sibelius wrote to a friend that he had begun his Third Symphony. It occupied him on and off for the next three years. Historically this has not been Sibelius’s most popular symphony, perhaps because it lacks the orchestral opulence of its predecessors; however, it is greatly admired by musicians. The composer often referred to it as “the most beloved and least fortunate of my children.” His compression – four movements telescoped to three, which total barely thirty minutes in performance — indicates a reaction against extravagant length. Recognizable Sibelian signatures are present, such as extended pedal points in the horns and motivic fragments in thirds delivered by woodwind duets. An emphasis on the strings for the melodic argument, right from the bluff opening theme in the celli, is something new in his symphonic modus operandi. The first movement is probably the most orthodox sonata structure that Sibelius ever composed, and has been compared to both Mozart and Haydn in its textural transparency and clarity of form. Subtle connections between themes lend it an organic inner unity. The C major tonality is subtly flavored with modal colorings. And the development has a busy-ness in the strings that approaches perpetual motion. The Andantino con moto is cast in the unusual key of G-sharp minor. It has a

folksong-like theme with four iterations whose orchestration changes, linking it to variation form. Shifting cross-rhythms provide rhythmic interest; a hymn tune for the cello section, echoed by a woodwind choir, provides contrast. The brisk middle section has elements of scherzo, blurring the definition of a ‘slow’ movement. The finale is the work’s most interesting and original movement. Its binary structure fuses scherzo and finale. Here he links an opening segment to a march, crowned by the Big Tune. Biographer Erik Tawaststjerna describes the finale as ‘the crystallization of ideas from chaos.’ Its extended ostinati and insistent rhythmic patterns are another favorite device that mark this music with the Sibelius stamp. Sibelius scored his Third Symphony for woodwinds in pairs, four horns, two trumpets, three trombones, timpani and strings.

Sergei Rachmaninoff

PIANO CONCERTO NO. 2 IN C MINOR, OP. 18

Born in Novgorod District, Russia, April 1, 1873 Died in Beverly Hills, California, March 28, 1943 Last performed by the Wichita Symphony April 9/10, 2011 Unforgettable opening The opening of Rachmaninoff’s Second Piano Concerto is one of the marvels of the literature. With no orchestral preparation,

PROGRAM NOTES | MARCH 10/11, 2018 the pianist plays a series of quiet chords in F minor, alternating with a low F in the most sepulchral region of the keyboard. Seven times we hear the chord, each time with a slightly different harmony and another response from that low F. Each time the exchange takes place, the volume increases slightly. The eighth time, now quite loudly, the pianist thunders another big chord, then three portentous notes leading to a decisive landing on C. It is the first time Rachmaninoff has tipped his hand that his concerto is in C minor, the advertised key. His opening ploy has been a red herring, teasing us, building suspense, putting us on the edge of our seats, waiting for a door to slam, a shoe to drop – or a rocket to blast off. Takeoff, as it happens, is immediate. The piano is off and running in a swirling of arpeggios. The orchestra, hitherto silent, plunges in with the passionate first theme, and the tapestry of Rachmaninoff’s music comes into focus. His remarkable opening is one of the most dramatic and original in the concerted literature. That simple, eight-bar piano introduction throws down a gauntlet, declaring the soloist’s hegemony over the orchestra, yet paradoxically indicating her co-dependence. Rachmaninoff requires the orchestra to anchor the home tonality and the principal theme, thereby providing the framework for the pianist’s activity.

For practical purposes, however, this is a late Romantic concerto in the tradition of the 19th-century virtuoso. What distinguishes it from dozens of less stellar late Romantic concerti is the glorious piano writing and Rachmaninoff’s increased skill in handling orchestral resources. He also strikes a fine balance between Russian gloom and rhapsodic ecstasy. It is little wonder that several popular songs of the 1930s and 1940s were based on this concerto’s themes. The Second Concerto was a breakthrough work. It marked Rachmaninoff’s emergence from a deep depression that had gripped him for three years, following the disastrous premiere of his Symphony No.1. Its success boosted Rachmaninoff’s international reputation as a master of the concerto, affirming his genius to a broad public. Rachmaninoff scored the concerto for woodwinds and trumpets in pairs, four horns, three trombones, tuba, timpani, solo piano and strings. Program Notes by Laurie Shulman ©2018 First North American Serial Rights Only

Straddling two centuries By the skin of its teeth, the Second Concerto is a 20th-century work. Rachmaninoff composed the second and third movements in 1900, adding the first movement in 1901.

WICHITA SYMPHONY ORCHESTRA | CLASSICS 8

THE PLANETS CENTURY II CONCERT HALL

SATURDAY | APRIL 14, 2018 | 8PM Ending approximately 9:45 PM

SUNDAY | APRIL 15, 2018 | 3PM Ending approximately 4:45 PM

DANIEL HEGE Music Director & Conductor

DR. JOSÉ FRANCISCO SALGADO Astronomer and Visual Artist

WICHITA SYMPHONY ORCHESTRA WOMEN’S CHORUS MICHAEL HANAWALT Chorus Director

PROGRAM GUSTAV HOLST’S THE PLANETS A Science & Symphony Film by Dr. José Francisco Salgado GUSTAV HOLST (1874-1934) The Planets, Op. 32 Mars, the Bringer of War (6‘) Venus, the Bringer of Peace (10‘) Mercury, the Winged Messenger (4‘)

Produced by

Jupiter, the Bringer of Jollity (7‘) Saturn, the Bringer of Old Age (11‘) Uranus, the Magician (6‘) Neptune, the Mystic (7‘)

INTERMISSION OTTORINO RESPIGHI (1879-1936) Pines of Rome Pines of the Villa Borghese (3‘) The Pines Near a Catacomb (7‘) The Pines of the Janiculum (7‘) The Pines of the Appian Way (6‘)

Movement timings are approximate and provided for the listener This program will be re-broadcast on Radio Kansas, 90.1 FM, Friday, April 27, 2018 at 7pm.

These concerts are made possible in part by generous support from DRS. DANIEL AND MARTHA HOUSHOLDER THE FRED & MARY KOCH FOUNDATION CAROLYN LINDSEY GWEN NEUFELD AND KURT FRIESEN

Media Sponsor

KMUW –WICHITA PUBLIC RADIO

Special thanks to Central Standard Brewing for the creation of their Pale Ale “Peace & Jollity,” inspired by Venus & Jupiter of The Planets)

Unless otherwise announced, the use of cameras or recording devices during concerts is strictly prohibited.

GUEST ARTIST

APRIL 14/15, 2018 JOSÉ FRANCISCO SALGADO, PHD, Astronomer and Visual Artist Executive Director, KV 265 Last appeared with the Wichita Symphony November 7-11, 2017 for Young People’s Concerts and our Family Concert

José Francisco Salgado is an Emmy-nominated astronomer (BS in Physics, Univ. of Puerto Rico; PhD in Astronomy, Univ. of Michigan), experimental photographer, visual artist, and public speaker who creates multimedia works that communicate science in engaging ways. As the Executive Director and co-founder of KV 265, a non-profit science and arts education organization, Dr. Salgado collaborates with orchestras, composers, and musicians to present films that provoke curiosity and a sense of wonder about the Earth and the Universe. His Science & Symphony films have been presented in more than 200 concerts and have reached a combined audience of more than 400,000 people in concert halls, museums, and lecture halls spanning more than 100 cities in 15 countries. Some of the orchestras that have presented these works include the Chicago Symphony Orchestra, Boston Pops, the San Francisco Symphony, New World Symphony, and the Orchestra Teatro Regio Torino.

From 2006 until 2008 Salgado hosted Nuestra Galaxia, a weekly astronomy news segment on Univision Chicago (WGBO) for which he received an Emmy nomination. Dr. Salgado also produces and presents short science films with musician/composer Tom Bailey (from British pop group Thompson Twins) as part of the audiovisual ensemble Bailey-Salgado Project, and with harp duo Beyond Pluck.

His first two films were named by the International Astronomical Union and UNESCO as Special Projects for the International Year of Astronomy (IYA2009). In 2012 his film Gustav Holst’s The Planets was chosen for the Ravinia Festival’s “One Score, One Chicago” initiative. In 2014, his collaboration with composer Chris Theofanidis, The Legend of the Northern Lights was premiered with Grant Park Orchestra to critical acclaim in front of 32,000 people. In 2016, his short film Carol of the Lights was commissioned by Keith Lockhart and Boston Pops and presented 33 times to almost 75,000 people.

As an experimental photographer, Salgado has visited more than 30 scientific sites in places including the South Pole, the Atacama desert, the French Pyrenees, and the South African Karoo and has contributed visuals to documentaries produced for the History, Discovery, BBC, and National Geographic channels. As a public speaker, he has given presentations about science and art in all seven continents, including a presentation at the Amundsen-Scott South Pole Station.

DR. MICHAEL HANAWALT CHORUS DIRECTOR Michael Hanawalt is Director of Choral Activities at Wichita State University, where he conducts the Concert Chorale, the Women’s Glee Club, and teaches courses in conducting and choral literature. Dr. Hanawalt also serves as Chorus Director for the Wichita Symphony Orchestra and Director of Music at University Congregational Church in Wichita. Prior to his appointment at Wichita State, Dr. Hanawalt was Visiting Instructor in Music at St. Olaf College, where he conducted the Chapel Choir and the Viking Chorus. Active as a tenor soloist, Dr. Hanawalt is the winner of competitions held by the Schubert Club in Minneapolis, MN, Thursday Musical in St. Paul, MN, and the National Association of Teachers of Singing in Collegeville, MN. Recent past engagements include the Evangelist in J. S. Bach’s Weinachts-Oratorium with the Florida State University Symphony Orchestra and Chamber Choir, the Evangelist in J. S. Bach’s Matthäus-Passion with the Bethany College Messiah Festival of the Arts, as well as tenor soloist in Handel’s Messiah with the Wichita Choral Society and Mozart’s Requiem with the Tarleton State University choirs and orchestra and at Westfield State University in Massachusetts. Dr. Hanawalt holds a B.M. in Vocal Performance from St. Olaf College, an M.M. in Choral Conducting from Michigan State University, and a Ph.D. in Choral Music Education from The Florida State University. He is the recipient of the 2016 Mickey and Pete Armstrong Faculty Award for Excellence in Teaching from the Wichita State University College of Fine Arts.

INSIDE THE MUSIC WITH DANIEL Discover the wonderful music we play by attending Inside the Music with Wichita Symphony music director and conductor, Daniel Hege, Thursdays before each Classics concert at 9:30am (2nd floor next to WSO Office) $5 at the door, coffee and baked goods served.

WICHITA SYMPHONY WOMENâ&#x20AC;&#x2122;S CHORUS

THE PLANETS APRIL 14/15, 2018

DR. MICHAEL HANAWALT

CINDY BARKER BAILEY

HELEN GRIFFIN

Wichita Symphony

Administrative Assistant

Rehearsal Accompanist

Sandee Jasnoski Heidi Jensen Gwen Johnson Elizabeth Labes Karin Linenberger Karmen Locke Emily Lubrano Anne Maack Shirley Meissner Susan J. Meyer Kaye Miller Jean Mulford

Leyanne Oller Carol Parsons Clarissia Prater Dianne Rosell Mary Ellen Settle Darla Steinert Holly Taylor Audrey Thomas Aimee Wallace Dana S. Wattson

Veda Hamill Ann Harder Marilyn Heffner Martha Housholder Jacque Howe Lesley Johnson Sally Kimball Erin Koochel Amy Loganbill Alicia Mann Robin Rives McAdoo Katharine McCarthy Yvonne McCarthy Katie Mealiff Jenny Olsen

Kari Plagmann Angela Rathbun Virginia Revering Genevieve Rucker Elisha N. Samuel Brittany Schmidt Sondra Schmittgens Aubrey Simmons Ashley Smith Paula Smith Myra Swartz Kathe Thompson

Chorus Director

SOPRANOS Katherine Abel Barbara Almy Cindy B. Bailey Elizabeth Baker Michelle Baker Anne Barker Heather Chapman Barb Claassen Cathy Elmore Graber, Colleen Billie Hegge-Duval Janet Janzen

Danielle Wilson

ALTOS Cathy Anderson Lindsay Bench Tina Biles Sara Campbell Shirley Ceradsky Olive Chase Mava Christo Dorene Cochran Claire Drevets Danielle Elliott Vanessa Emming Jeanne Erikson Lois Gelonek Sarah Glenn Janet Graf

Vanessa Whalen

PROGRAM NOTES | APRIL 14/15 Gustav Holst

be viewed more as a prophetic vision than

THE PLANETS, OP. 32

a comment on the War. Further work on The

Born in Cheltenham, United Kingdom,

Planets had to be fit in among Holst’s teaching

September 21, 1874

commitments at St. Paul’s Girls’ School, hence

Died in London, May 25, 1934

its lengthy gestation period of two years.

Last performed by the Wichita Symphony

Venus and Jupiter were composed that fall,

January 27/28, 2001

and in 1915 he worked on Saturn, Uranus, and Neptune. Mercury was the last of The Planets

“As a rule I only study things that suggest

to be written, and the task of orchestrating

music to me. That’s why I worried at Sanskrit.

the suite took place during 1916. Because of

Then recently the character of each planet

wartime conditions, there seemed little hope

suggested lots to me, and I have been

of an orchestral performance of his enormous

studying astrology fairly closely,” wrote

work and he had to be content with various

Gustav Holst in 1914. Clifford Bax, brother of

two-piano performances.

composer Arnold Bax, had been impressed by Holst’s settings of the Rig Veda, and it was he who introduced Holst to astrology in 1913, furthering the mystical leanings Holst showed throughout his life. Telling horoscopes, Holst admitted, was his “pet vice,” and he stressed the astrological character of each planet, rather than its associations with myth. Equally important that year was Holst’s exposure to the new sounds, particularly rhythms and ostinatos, in the music of Stravinsky, whose Petrushka and Rite of Spring were presented in London

Unfit for military service, Holst got his chance to contribute to the war effort in 1918 when he was sent to the Middle East as music organizer for the YMCA’s army educational work. He was overwhelmed when Henry Balfour Gardiner gave him a parting gift of a private professional performance of The Planets. This miraculous event took place with the Queen’s Hall Orchestra conducted by the young conductor and Holst enthusiast Adrian Boult on September 29. The audience of Holst’s friends, colleagues, and pupils was awestruck

in June and July, respectively.

by the power of this novel music. As a result of

Though thoughts of The Planets had

officials wanted to engage Boult in the coming

occupied Holst for some time, actual

season and arrange for a public performance

composing began in May 1914, on Mars, the

of The Planets. That performance did take place

Bringer of War. Holst’s daughter, Imogene,

on February 27, 1919, but it was probably just

steadfastly maintained that he had already

as well the composer could not be present, for

completed the sketch before the First World

the work was performed without Venus and

War I broke out on August 4, thus it should

Neptune.

the performance, several Philharmonic Society

PROGRAM NOTES | APRIL 14/15 The popularity of The Planets and public

composer’s first experiment with bitonality

recognition of Holst as a composer turned his

(music simultaneously in two keys).

life upside-down, much to his displeasure.

Jupiter, the Bringer of Jollity, bears out Holst’s

He once said, “Every artist ought to pray that

love of folk song and dance. The charwomen

he may not be a ‘success.’ If he’s a failure,

at the first private performance at Queen’s

he stands a good chance of concentrating

Hall were said to have put down their scrub

upon the best work of which he’s capable.” It

brushes and danced during this movement.

was to his relief then that in about 1925 he

Stravinsky’s Petrushka and Infernal Dance from

found himself no longer a popular composer.

The Firebird may have inspired the opening

He had moved beyond The Planets but the public did not want to follow.

bustle and syncopated rhythms, respectively.

Mars, the Bringer of War, said novelist Henry

horns andante maestoso was later used for the

Williamson, was the music of a man who knew

patriotic song “I vow to thee, my country,” to

what war was about. Its elemental power

Holst’s annoyance.

The famous melody played by strings and

arises from the opening relentless rhythmic

Saturn was Holst’s favorite movement and

ostinato in 5/4 meter. There is almost no

he was disappointed that some of the early

lightness or reprieve in Holst’s vision. The final statement of the original ostinato is shattering.

critics hadn’t liked it. He borrowed from

No greater contrast could be imagined

from his Dirge and Hymeneal for female voices

than the following Venus, the Bringer of

on words by Thomas Lovell Beddoes. One of

Peace, begun Adagio with its calm horn

Holst’s techniques for showing the passage

solo answered by winds, and its central

of time is the alternation of two unresolved

Andante containing a warm violin solo.

chords in a kind of ostinato (repeating

The glockenspiel, harps, and celesta add an

pattern). A pupil of his also reported that Holst

unearthly orchestral color. The opening bars

may have associated the tolling chords with

are identical to those of his song “A Vigil of

old age, from watching two very old men ring

Pentecost,” written about the same time.

the bells at the Durham Cathedral.

Mercury, the Winged Messenger is

The peace of Saturn is shattered by the

represented by a fleet scherzo, given

four-note brass “incantation” that summons

impetus by the rapid exchanges between

Uranus, the Magician. Several commentators

the winds and muted strings. Holst keeps

have likened this movement to Dukas’s

the orchestration clear and light throughout.

Sorcerer’s Apprentice due to its depiction of

This movement is also noteworthy as the

wizardly pranks and spells. It is clear that

himself again in this movement, in this case

PROGRAM NOTES | MARCH 10/11, 2018 Uranus is no all-powerful magician, but

city, became his most popular works:

something of a fumbler as the humorous

Fountains of Rome (1914), Pines of Rome

touches show. One occasionally glimpses,

(1924), and Roman Festivals (1928). Each tests

however, a certain magic beyond anything

the orchestra’s virtuosity with such masterful

the Magician can produce. All disappears as

scoring that it comes as no surprise to learn

in a puff of smoke as the movement suddenly

that he spent several years in St. Petersburg

ends ppp (triple piano).

studying with the great orchestrator Rimsky-

In Neptune, the Mystic, Holst achieved a truly miraculous kind of stasis, something paralleled later in the music of Olivier Messiaen. Since Neptune in Holst’s day was the furthest known planet in the solar system, Holst strove to evoke the mystery and remoteness of the vast reaches of outer space in his music. This he achieved by several means: the instruction for the orchestra to play pianissimo throughout, and with “dead tone” (excepting a clarinet

Korsakov. Respighi’s Pines of Rome calls for an enormous variety of instruments in addition to the large and more regular complement of winds, brass, percussion, and strings: small as well as large cymbals, tambourine, ratchet, tam-tam, harp, glockenspiel, celesta, piano, organ, an offstage trumpet, buccine (ancient Roman horns or trumpets, usually played by modern brass instruments offstage), and “gramophone”—for playing the nightingale recording in the third section.

solo and a passage for violins); the use of

It irked Respighi that it was his imaginative

harps and celesta to provide ethereal colors;

and colorful orchestrations rather than his

undulating patterns and oscillation between

compositional ideas that always brought

two chords; the use of a wordless chorus;

praise. For him the two were inseparable:

and the final silence, which is arrived at by

“Music was always born for a specific

the repetition of the last bar by the chorus

instrument or group of instruments. . . .

“until the sound is lost in the distance.”

drafting a score was merely a mechanical operation, every problem being solved with

Ottorino Respighi

the creation of the music itself,” wrote his wife

PINES OF ROME

and biographer Elsa. Respighi’s sentiments

Born in Bologna, Italy, July 9, 1879

are closely akin to those of Rimsky-Korsakov,

Died in Rome, April 18, 1936

who also often found himself defending

Last performed by the Wichita Symphony

his musical content in the face of his

April 18/19, 2009

acknowledged orchestrational prowess.

Respighi’s three symphonic poems celebrating the glories of Rome, his adopted

The Pines of Rome was first performed on December 14, 1924, at the Augusteo in Rome.

PROGRAM NOTES | MARCH 10/11, 2018 Exactly one month later it was performed by

the previous movement, the low pitches at the

the New York Philharmonic in Carnegie Hall

outset of the second movement make an even

and on the following day by the Philadelphia

greater impact. Respighi carefully constructed

Orchestra. For the Philadelphia program

his “chant” to resemble the ancient Gregorian

Respighi wrote that in the Pines of Rome he

chants of the Roman Catholic Church.

“uses nature as a point of departure, in order

to recall memories and visions. The century-

The Pines of the Janiculum: There is a thrill in the air. The full moon reveals

old trees which dominate so characteristically

the profile of the pines of Giancolo’s

the Roman landscape become testimony for the principal events in Roman life.”

Hill. A nightingale sings (represented

The work consists of four connected sections.

heard from the orchestra).

by a recording of a nightingale song,

In the descriptions that follow, the quoted

Here Respighi bathes his Pines in beautiful

portions were written or at least authorized

clarinet solos, piano cadenzas, and

by Respighi for the preface to the score. 1.

sweeping Romantic themes.

The Pines of the Villa Borghese: Children

are at play in the pine grove of the Villa

The Pines of the Appian Way: Misty dawn on the Appian Way. The tragic

Borghese dancing the Italian equivalent

country is guarded by solitary pines.

of “Ring around a Rosy,” mimicking marching soldiers and battles, twittering and shrieking like swallows at evening,

Indistinctly, incessantly, the rhythm of innumerable steps. To the poet’s fantasy appears a vision of past glories;

and they disappear.

trumpets blare, and the army of the

Respighi cast the entire movement in the

Consul advances brilliantly in the

treble range, giving it a unique sound and

grandeur of a newly risen sun toward

aptly representing the activities of children.

the Sacred Way, mounting in triumph

“Suddenly,” he wrote, “the scene changes to . . .”

the Capitoline Hill.

The Pines near a Catacomb: We see the

Replete with antiphonal clarion calls,

shadows of the pines, which overhang

Respighi’s magnificent closing movement

the entrance of a catacomb. From the

builds steadily in a marching crescendo to a

depths rises a chant which reechoes

blaze of hair-raising intensity. No one knew

solemnly, like a hymn, and is then

better than Respighi how to marshal his

mysteriously silenced.

orchestral forces for maximum effect. —©Jane Vial Jaffe

Because of the focus on the upper registers in

WICHITA SYMPHONY ORCHESTRA | POPS 3

WHAT A WONDERFUL WORLD A TRIBUTE TO LOUIS ARMSTRONG CENTURY II CONCERT HALL SATURDAY | MAY 5, 2018 | 8PM Ending approximately 9:45PM

BYRON STRIPLING Vocals & Trumpet RON SPIGELMAN Guest Conductor ROBERT BREITHAUPT Percussion

PROGRAM Irving Berlin (1888-1989) Arr. Jeff Tyzik

ALEXANDERâ&#x20AC;&#x2122;S RAGTIME BAND Joe Primrose (1894-1985) Arr. Dennis Mackrel & Jeff Tyzik

Louis Alter (1902-1980) Eddie DeLange (1904-1949) Arr. Bill Grimes

DO YOU KNOW WHAT IT MEANS TO MISS NEW ORLEANS

ST. JAMES INFIRMARY

W.C. Handy (1873-1958) Arr. Jeff Tyzik

Red Rodney (1927-1994) Arr. Manny Albam

SAINT LOUIS BLUES

RED ARROW

Ben Bernie (1891-1943) Maceo Pinkard (1897-1962) Kenneth Casey (1899-1965) Arr. Dennis Mackrel

SWEET GEORGIA BROWN INTERMISSION 24

PROGRAM Spencer Williams (1893-1969) Wycliffe Gordon (1967- ) Arr. Jeff Tyzik, orchestrator

Bob Thiele (1922-1996) George David Weiss (1921-2010)

WHAT A WONDERFUL WORLD

BASIN STREET BLUES

Arr. Marty Robinson

Arr. Jeff Tyzik

HE’S GOT THE WHOLE WORLD JUST A CLOSER WALK WITH THEE

DOWN BY THE RIVERSIDE Andy Razaf (1895-1973) Fats Waller (19041943) Harry Brooks (1895-1970) Arr. Jeff Tyzik

Arr. Vaughn Wiester & Larry Cook

WHEN THE SAINTS GO MARCHING IN

AIN’T MISBEHAVIN’ Slim Gaillard (1916-1991) Arr. Jeff Tyzik

FLAT FOOT FLOOGIE

These concerts are made possible by generous gifts from COMMERCE BANK THE GRUMPY OLD MEN

Unless otherwise announced, the use of cameras or recording devices during concerts is strictly prohibited.

GUEST ARTIST

MAY 5, 2018 BYRON STRIPLING, trumpet & vocals First performance with the Wichita Symphony

A powerhouse trumpeter, gifted with a soulful voice and a charismatic onstage swagger, BYRON STRIPLING has delighted audiences internationally. As soloist with the Boston Pops Orchestra, Stripling has performed frequently under the baton of Keith Lockhart, as well as being featured soloist on the PBS television special, “Evening at Pops,” with conductors John Williams and Mr. Lockhart. Currently, Stripling serves as artistic director and conductor of the highly acclaimed, award-winning Columbus Jazz Orchestra. Since his Carnegie Hall debut with the New York Pops, STRIPLING has emerged as one of America’s most popular symphony pops guest artists, having performed with over 100 orchestras around the world including the Boston Pops, National Symphony, Pittsburgh Symphony, Detroit Symphony, Seattle Symphony, Baltimore Symphony, Dallas Symphony, Minnesota Orchestra, Detroit Symphony, Vancouver Symphony, Toronto Symphony, and Dallas Symphony, to name a few. An accomplished actor and singer, STRIPLING was chosen, following a world wide search, to star in the lead role of the Broadway bound musical, “Satchmo.” Many will remember his featured cameo performance in the television movie, “The Young Indiana Jones Chronicles,” and his critically acclaimed virtuoso trumpet and riotous comedic performance in the

42nd Street production of “From Second Avenue to Broadway.” Television viewers have enjoyed his work as soloist on the worldwide telecast of The Grammy Awards. Millions have heard his trumpet and voice on television commercials, TV theme songs including “20/20,” CNN, and soundtracks of favorite movies. STRIPLING earned his stripes as lead trumpeter and soloist with the Count Basie Orchestra under the direction of Thad Jones and Frank Foster. He has also played and recorded extensively with the bands of Dizzy Gillespie, Woody Herman, Dave Brubeck, Lionel Hampton, Clark Terry, Louis Bellson, and Buck Clayton in addition to The Lincoln Center Jazz Orchestra, The Carnegie Hall Jazz Band, and The GRP All Star Big Band. STRIPLING enjoys conducting seminars and master classes at colleges, universities, conservatories, and high schools. His informative talks, combined with his incomparable wit and charm, make him a favorite guest speaker to groups of all ages. STRIPLING was educated at the Eastman School of Music in Rochester, New York and the Interlochen Arts Academy in Interlochen, Michigan. A resident of Ohio, STRIPLING lives in the country with his wife, former dancer, writer and poet, Alexis and their beautiful daughters.

ÂŽ

William Flynn

Carmen Lemoine

Faculty Artist Series

Betul Soykan

Rie Bloomfield Organ Series Vincent Warnier

William Flynn, Guitar

Tuesday, April 17, 7:30 pm Wiedemann Hall

Sunday, March 11, 7:30 pm Miller Concert Hall

Carmen Lemoine, Flute Tuesday, March 27, 7:30 pm Wiedemann Hall

Betul Soykan, Violin Tuesday, April 3, 7:30 pm Wiedemann Hall

WSU Opera Le Nozze di Figaro April 19-21, 7:30 pm April 22, 2 pm Miller Concert Hall

Single tickets on sale now Fine Arts Box Office (316) 978-3233 wichita.edu/fineartsboxoffice

WOMEN’S ASSOCIATION

OF THE WICHITA SYMPHONY

The Women’s Association of the Wichita

2017 – 2018 BOARD OF DIRECTORS

Symphony has contributed significantly

to further assist the Orchestra. Throughout

President: Lisa Vayda First Vice President: Linda Nugent Second Vice President: Nancy Moore Recording Secretary: Ali Darnell Corresponding Secretary: Pat Porter Treasurer: Janet Elliott

the season, members volunteer their time

Advisor: Elizabeth Carroll

to the success of the Orchestra for more than 60 years. Members provide invaluable volunteer time, ideas and financial support

for such important projects as the Young People’s Concerts and fund-raising projects. Women’s Association members are also often found in the lobby at selected Classics and Pops concerts selling compact discs of the program’s featured guest artist. During the past 35 years, the Women’s Association has raised more than a million dollars through its Symphony Showhouse project, the largest of its fund-raising efforts. These celebrated projects incorporate the work of nearly one thousand volunteers and dozens of local decorators, designers and artists. If you would like to have your home considered for a Showhouse or know of a house that might be ideal, please call Showhouse Selection Chair Linda Nugent at (316) 655-2656. Women’s Association members get together and enjoy three general luncheons each year. Membership in the Women’s Association is open to anyone interested in supporting the Wichita Symphony Orchestra. For more information, please contact Women’s Association President Lisa Vayda at (316) 733-9954 or membership Placement Nancy Moore at (316) 722-7123 or the Wichita Symphony office at (316) 267-7658.

Newsletter/ Yearbook/Historian Carol Darnell Luncheons Charlotte Bales Karen Campbell Alta DeVore Janet Elliott Brittany Monroe Mailings Ginny Bair Mzia Gibson Diana Morton Pam Postier Membership/ Placement Nancy Moore Membership Committee Marilyn Loy Cynthia Ellis-Stoll Sandy Stout Diane Wingate Phone Mary Klocke Publicity Carol Taylor Lisa Vayda Young People’s Concerts Coordinator: Judy Frank

Showhouse Selection Elizabeth Carroll Barbara Crotchett Lilly-Ann Huffman Linda Nugent Lisa Vayda Symphony Store Charlotte Bales Ali Darnell Margaret McKinney Outside Ushers Elizabeth Carroll Janet Elliott Marilyn Ramsey Adriene Rathburn Inside Ushers Suzanne Laycock Pat Porter Counting Carol Glidden Lilly-Ann Huffman Orchestra Courtesy Helen Bullock Barbara Crotchett Mzia Gibson Carol Glidden Carol Taylor Janet Wesselowski

DONâ&#x20AC;&#x2122;T LEAVE QUIETLY MAKE YOUR LEGACY

Symphonic!

Your bequest or legacy gift, and memorial gifts in your name to the Wichita Symphony Society Endowment Fund helps ensure that the Symphony will continue to enrich and educate the lives of generations to come throughout our region with symphonic music. For more information concerning bequests, legacy gifts, IRA rollovers, or establishing a memorial fund, contact Don Reinhold, CEO, at (316) 267-5259, ext. 106.

WICHITA SYMPHONY SOCIETY CONTRIBUTORS JANUARY 1, 2017 â&#x20AC;&#x201C; FEBRUARY 16, 2018

With deep appreciation, the Wichita Symphony Society gratefully acknowledges all gifts received in financial support of the Symphonyâ&#x20AC;&#x2122;s programs, services, and activities during the indicated calendar period. Please know that your support enables the Symphony to fulfill its mission of enriching, educating and entertaining diverse audiences of all ages in our region through performances of orchestral music, thereby enhancing the vitality and vibrancy of Wichita. To find out how you can contribute to the effort to keep great symphonic music alive in our community, please contact the Symphony office at (316) 267-7658. We apologize in advance for any omission or errors in this list of donors. Please bring corrections to the attention of our office. Donor levels may shift from one program book edition to another depending on the timing and receipt of gifts.

PACESETTER Sam & Rie Bloomfield Foundation, Inc. $25,000 & Above

City of Wichita Fred & Mary Koch Foundation The Lattner Family Foundation in honor of Jay Decker Russ & Helen Meyer

CHAMPION $10,000 $24,999

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Estate of the Margie L. Roehr Living Trust

SPONSOR

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Patricia Surls-Templeman Larry Tobias Jorge & Tina Tomas Lee & Don Wadsworth A. Paul & Mary Wagoner Phillip G. & Donna Wahlbeck Warren & Nancy Wandling Carol Ware Flo L. Watson Melvin Werner Katherin Wilkerson Harry* & Mary Ellen Williford James & Gail York

FRIEND UP TO $49 Manuel Abarca David & Mary Louise Adams Walter & Kathy Adkins Gerald & Joan Aistrup Rebekah Alexander Sarah Allen Teresa Allison Kay Alston Amazon Smile Foundation Sean Amore Vicky Baker Dorlan Bales Ed & Sharon Barrett Becky Beal William G. & Marilyn Beaver David J. & Dr. Elaine Bernstorf Ashley Biel Margaret Bishop Richard Black Scott Bleier Rebecca Bordeaux Susayn Brandes Iain & Maureen Bray Walter Brosch James & Sueanna Budde Trinh Bui Andrea Bullok Helen Burt Matt & Lisa Campbell

Heather Cashman Suzanne & Jeff Cassidy Chapter GE P.E.O. Chapter GV P.E.O. Robert Ciski Sherri Claridge Krista Clark Joni Cole Colter Cookson Darwin Corrin Jon & Kendra Cremin Betty Curtis George Custer Kathleen Dang-Pham Angelina Daniel Jeanie Davis Sheryl & Paul Davis Karen Deaver Sherryl Determann Marshall Dock Gregory & Tara Dold Lora Dome Sherryl Doran Jennifer Downing Angela Dudley Deborah & Anthony Dunne Merlin Eck Susan Edwards Leslie Eidem Margaret Elworth Carol Evans Nancy Eyres Norman & Carol Farha Ann Fetters Tiffany Fisher Jack Focht & Gloria Farha Flentje Ron French Tanya Friesen Monte & Carri Fry Kathryn Gaeddert Treveda Gardenhire Edward Gates AJ Gebert Susan Gegner

Robert Gerlach Terry Goforth Arlene Rains Graber Jacquelyn Grant Laura Gregory Rebecca Gremmel Barbara Grier John & Linda Guyot Robert & Jerryanne Hadley Kimberly Hall Stuart & Quinn Hall Laura Hand Gary & Joan Hanna Sally Hansen Richard & Glenda Harder Sara Harmon Kurtis & Susanne Haynes Daniel & J. Elizabeth Heflin Fred & Joyce Heismeyer Erica Hickerson Liz Hicks Mim Hiesterman Carol & Rick Hladik Michael Horsch Mike & Laura Hurley Martha Hynes Paul & Delores Inman Tom Innis Debra Iwinski Rita Jack Wilma Jeane Jackson Finita Johns Shawn Jones Mark Karlin Joshua Keese Harold & Lorine Kieler David King J W & Marilyn Kirby John Kirkland & Janet Bradshaw David Knak Anton C. Kowalski Robert E. Lee Barbara Leftwich Don & Allison Lemons

Elizabeth Linn Thomas Loew Huabo Lu Eva Lull Matthew Macaluso Lee Marshall James Mason Albert Maus Karen McCalla Parker McConachie Kyle & Arleigh McCormick Robert McCoy April McElroy Harriett McGuire Thomas Melland Helena Mendoza Axl Meyer Stephen Mills Marie Minks Erika Neale Chanel Neises Louella Nethercot Tony Nguyen Randy & Maria Nicholas Jason & Amy Oâ&#x20AC;&#x2122;Byrne John & Karen Oâ&#x20AC;&#x2122;Loughlin Bruce & Joanne Pafume Glenn & Ira Palmer Andrea & Steve Parker Mark Patchett Jean Patterson Amy Payant Craig Plank Janet Powers Corlin Pratt Michael Price Joan Pritchard Patricia Pullman Dr. Lucynda Raben Michell Reed Sarah Reed David Rhymes Kelley & Curtis Richardson JoAnn Rogers Doris Rucker

Carolyn Rundle Shari Salem-Kizziar Tammy Schneider Bethany Schrag Donald Schroeder Eric Scriven Jennifer Sebits Kathleen Shea Cynthia K. Shelden Eric Shepard Sigma Alpha Iota Stephen Simpson Stephanie Skillman Granvill Smith Jessica Solis Kali Solomon Emily Son Craig Soutiere Timothy & Jana Stocker Peter & Judith Storandt Blaine Stucky Jeannine Stuewe Blair Sullivan & Jennifer Jull-Sullivan John & Kelly Sullivan Joanne Tallman Jill Taylor Jennifer & Greg Tiano Heather Tilton Lucinda Tippin Prairie Todd Dulce Torres James Turner Jill Turner Rachel Unruh Will Unruh Miranda Valadez Christopher Valentine Scott & Elizabeth Wadle Tamia Washington Larry Weikal Dwight & Becky Wheeler Rebecca White Tisha Whitehead Jennifer Whitney

Justin & Lee Whyte Amber Willis Clifford and Lois Winter Nancy & Lee Woodard James Young

IN-KIND CONTRIBUTORS Aero Plains Brewing Ambassador Hotel Aspen Boutique Emily Baldridge Beau Monde Beehive Salon Darren Berkman Beyond Napa Bill Rutherford Studio Bonefish Grill Botanica Guy & Beth Bower Bradley Fair Donna Bunk Burnell’s Fine Jewelry and Design Cafe Bel Ami Chamber Music at the Barn Chester’s Chophouse & Wine Bar Cocoa Dolce Roger & Sandra Cusack Exploration Place Sharon & Alan Fearey Jason Febres Firebirds Wood Fired Grill The First Place The First Place Georges French Bistro GM ClothesHorse Granite City Food & Brewery Greystone Steak & Seafood Hana Cafe Healing Waters Joy & Brian Heinrichs The Hill Bar & Grill

Homewood Suites by Hilton Hotel at Old Town Hotel at Waterwalk Hyatt Regency Wichita Don & Pat Hysko INTRUST Bank Arena Issa Group Kansas City Symphony Karg Art Glass Koch Industries KPTS Luciano’s Italian Restaurant Lyndon’s in Bradley Fair Mark Arts Massage Envy Molino’s Mexican Cuisine David & Terry Moses Mosley Street Melodrama Music Theatre Wichita Nectar Republic Newport Grill Nola Tedesco Jewelry Nouveau Quintette Oh Yeah! China Bistro Orangetheory Fitness P.F. Chang’s Mr. & Mrs. Harry Pape Pink Saloon Pinot’s Palette Planet Hair Pure Barre Adriene & Randy Rathbun Razook’s Home Furnishings Royal Heirs Pet Spa Gerald A. Scholl & Dominique Corbeil Harrison Schreck Larry Schwarm Sedgwick County Zoo Senseney Music Spice Merchant Splurge Magazine Tallgrass Film Association The Wine Dive Ken White & Robin Macy

Wichita Brass Quintet Wichita Country Club Wichita Grand Opera Wichita Jazz Festival Wichita State Athletic Department Wichita State University College of Fine Arts Women’s Association of the Wichita Symphony

MATCHING COMPANY CONTRIBUTIONS The Boeing Company Cessna Aircraft Company A Textron Company GE Foundation *Deceased Contributions received from January 1, 2017 – February 16, 2018 Occasionally, errors may inadvertently appear in our database. Please notify us of any misspellings or omissions. We apologize in advance for any errors.

WICHITA SYMPHONY MEMORIALS & TRIBUTES Received since April 1, 2017 Throughout the history of the Wichita Symphony Society, thoughtful friends and families have honored the memory of loved ones by establishing memorials with the organization. Most memorial gifts are designated for the Orchestraâ&#x20AC;&#x2122;s permanent endowment.

IN MEMORY OF NANCY A. BEARD John & Barbara Decker Mary Havey Brian & Linda Hopper Harold & Lorine Kieler Larry & Christie LeMaster Marilyn Lytle Norval & Joyce Madden Cal & Polly McMillan Barbara Novotny Dove Pate Jr. Charles & Nell Pate David & Linda Stauffer Arden & Mary Strole Edith A. Williams DAVID M. BUCK David L. Buck Dr. Lawrence P. Buck DR. JAY C. DECKER Arzell L. & Thelma G. Ball Anna Brady Vicki Cady DeVore Family Foundation Daniel & Mary Dugan Robert & Brenda Ferguson Bruce & Nancy Gordon Mrs. Norma Greever Dana Hamant Nancy L. & William E. Hercher Leigh Hercher Hood Gary & Lilly Ann Huffman Charles & Joan Johnson Anita Jones

Mr. & Mrs. Delmar Klocke Patti & Gerry Knorr Mr. & Mrs. Charles Koch Marilyn L. McNeish Belden & Anna Mills Joel & Cheryl Myer Mr. & Mrs. Lee Phillips III Anne Marie Brown & Max Ranney Jane A. Ray Don & Pat Reinhold Lisa C. & Scott Ritchie Judy Slawson Brian & Valerie Sullivan Julia Tretbar Tom & Christine Triplett Charles & Virginia Vance ROBERTA FIEBACH Mrs. E. W. Armstrong Robert & Mary Broeckelman Buckley Industries, Inc. David Corman Jack & Kay Ann Feiden Buma & Ludmila Fridman Nadine Girrens J. Michael & Jane F. Leach Dr. Barry & Jane Murphy Robert & Priscilla Rives Elizabeth & Darryl Roberts Nancy Oberg Schottelkotte James & Mary Sheldon BERNICE KLENDA Marian & Randy Guapo

JANICE E. LEE Larry & Pat Abston Craig & Nancy Allison Kathy Amrein Andover Education Association James & Candace Ashcraft David & Annette Barber Susan & Richard Bentson Randy & Paula Bernhardt Charles & Linda Bishop Robert & Luana Bitter Robert & Joyce Du Bois Donald & Sue Buhler Elizabeth Cain Rick & Rondi Caywood James & Karen Chadwick Bill & Rita Clausing Mr. & Mrs. R.E. Craig Daryl & Denise Batchelor Neil Depew E.J. & Mark DeWald The Hodges Family Kevin & Lisa Findley Garet & Jennifer Fitzpatrick Thomas & Carol Franks Greg & Marilyn Giles Andre & Penny Glacet James & Cherlene Graves Stephen & Michelle Grindel Ronald & Joneen Hale Dana Hamant Mark Harris Carol Hess

High Plains Music & Band Camp Kathleen Hildenbrand Crystal Hummel Roberta Jam Bill & Elaine Johnson Gregory & Marla Johnson Jerry Keller Jack & Joan Kelley Dennis & Ellen Kerr Ken & Jean Knappenberger Gerald & Ann Knepp Joel & Lori Knudsen Judy Langley Robert E. Lee Lynette Legleiter Vaughn & Velma Lippoldt Wesley Case Management Craig & Pauletta Manteuffel Chrystal D. Miles Ken & Jeanne Miles Michelle Miles Marcia & Steven Miller George & Janice Naylor Ellen Neufeld James & Barbara Nickels James & Joyce Phillips Howard & Gloria Pitler Jane A. Ray Don & Pat Reinhold Ken & Connie Rickard Angela Rowland Emil & Cheryl Savaiano Steve & Kathy Scobee Heather Shackelford C.B. & Joan Showalter David & Lu Ann Siemens Mr. & Mrs. Dwight Beckham John & Barbara Summervill Chris Terrill Ron Thompson Ricky & Jane Tolin Trojan Children’s Choir Robert & Dorothy Truitt Thomas & Carol Tweito

Marc & Diana Webster Dick & Kay Werth Wheatland Elementary Staff Harold & Connie Willis

Carrie Heiman in Honor of Jerry Juhnke’s (Prairie Hills Financial Group) Dedication to the WSO

LINDA MARSHALL Gary & Joyce Bachus Robert Couchman Dana Dreher Mr. & Mrs. Delmar Klocke Scott Marshall Thomas Marshall Virgil & Karen Neises Dr. Larry* & Suzie Peak Alan Reichert Don & Pat Reinhold Spirit AeroSystems, Inc. Barbara Weinberg Don H. & Caryl Weinberg

Mr. & Mrs. Delmar Klocke in Honor of Bill & Alta DeVore

ELIZABETH TEMPLE Corinne Jervis

Sam & Ellan Muyskens in Honor of Jo Lin

David & Sarah Jervis

Gardner’s Birthday

TRIBUTES Marilyn & Bob Alldredge in Honor of Dr. Jim & Lisa Vayda

Robert J. O’Bleness in Memory of Ann O’Bleness

John T. & Shirley J. Barnes in Honor of Dwight & Virginia

Crotchett’s Birthday

The Lattner Family Foundation in Memory of Jay Decker Barbara Leftwich in Honor of Barbara Crotchett’s Birthday Carl E. Martin in Memory of Mary Lou Bauer Martin Louis & Mallory Medvene in Honor of Ludmilla Fridman

Ken & Tena Stoppel in Honor of Barbara

Murphey’s Birthdays

Verne & Anita Vance in Honor of Jay &

Ebony Clemons-Ajibolade

Phyllis Decker

in Memory of Louise Clemons

Dr. Jim & Lisa Vayda in Honor of Barbara

The Garvey Kansas Foundation in Memory of Jean K. Garvey & in Honor of Emily J.G. Bonavia Andrew Garvey in Honor of Barbara Crotchett’s Birthday Loren Groves & Marilyn Milligan Groves in Honor of Kenneth & Mable McKee

Crotchett’s Birthday David & Annette Wood in Memory of Art Wood Nancy & Lee Woodard in Honor of Barbara Crotchett’s Birthday Terrill & Anne Woolsey in Honor of Dwight & Virginia Murphey’s Birthdays

MEMORIALS ESTABLISHED OVER THE SYMPHONY’S EXISTENCE Burneta Adair Carl A. Almquist Harlan E. “Andy” Andrews Robert R. Arnold James W. Bean John M. Bell Gertrude W. Bennett Mitchell A. Berman Rie Bloomfield Donovan Boorman Robert G. Braden Franz J. Braht Peggy G. Brown David W Burlingame Mrs. Esther Burlingame Vincent J. Canzoneri James J. Ceasar Gladwin Chaffin J. Russell Clark Clarence W. Coleman Lois P. Cook William V Cromwell Rose Coultis Simon Cvetkovich Netta DeHaven Joann Estes Gordon W. Evans Frank L. Fear

Myrna Folz Orville Lewis Foster, Jr. Betty J. Foulston Fred Fox Jean Kendel Garvey Pauline Brown Gillespie Nancy Goff Lois Ayres Gordon Fred J. Greenlief Marilyn Hart Ruth Mary Rhoades Hay C.H. Hercher Patricia Rutledge Hite Bob Hollowell Myrabel McNeil Hollowell Janice Hupp Orval J. Kaufman Frank Kessler Roberta M. Kessler Kurt Kuhnel Robert “Bob” Langenwalter Catherine Lombar Marvin Louden Hale W. Manuel Alvin M. Marcus Judy D. Marcus George R. McNeish Betty M. Minkler Margaret McKay Mitchell Miss Sally Murdock Mrs. Gwen Naftzger Jamie Woll Nelson

Ernestine J. Patterson Dorothy Englehart Paynter Beatrice Sanford Pease Carlos Ricker Pease Arline Phillips Louise Powell Louise M. Ratzlaff Joe & Josy Redmond Kenneth Rix James P. Robertson Carolyn Sanders Audrey S. Sanford Augusta M. Seefeldt Daniel J. Sevart Susan Wherritt Sherman Donald C. Slawson Wendell R. Sullivan Tanya Tandoc Robert Taylor Elizabeth A. Temple Velma V. Thomason Glen C. Thomas Elna Claire Valine Francis Valine Earl L. Waldrop Ann Walenta Alan Watrous Jean Watrous Paul Addison Wilson Art Wood Paul Conrad Woolwine Zelma Zimmerman

FEBRUARY 24–MAY 20, 2018 Fifty-nine superb artworks including work by such premier artists as Paul Cézanne, Marc Chagall, Edgar Degas, Henri Matisse, Claude Monet, Berthe Morisot, Pierre-Auguste Renoir, and many illustrious others. The Wichita presentation has been generously underwritten by lead sponsors Paula and Barry Downing. The Lattner Family Foundation provided additional major underwriting. Mrs. E. W. Armstrong, Judy Slawson, DeVore Foundation, Dr. Dennis and Mrs. Ann Ross, Sondra Langel, and Charles Baker are principal sponsors. The Trust Company of Kansas, Emprise Bank, and Fred and Mary Koch Foundation are substantial corporate sponsors. Édouard Manet (French, 1832-1883). Young Girl on a Bench (Fillette sur un Banc), 1880. Oil on canvas, 29½ x 24 inches. Brooklyn Museum, Collection of The Rita and Alex Hillman Foundation, L2009.5.9. PHOTO: Brooklyn Museum

Generous private support has been provided by Patty and Bill Bennett, Louise Beren, the Berry Foundation, Mary Eves, Norma Greever, Helen and Ed Healy, Dr. and Mrs. Gyan Khicha, Mike and Dee Michaelis, and Sarah T. Smith.

Martin Pringle Attorneys at Law, Ann and Martin Bauer, Nancy and John Brammer, Doug Brehm, Donna Bunk, Vicki Cady, Anne Coffin, Karen and John Hageman, Jeff Kennedy and Patti Gorham, Georgia and Keith Stevens, Sue and Kurt Watson, Alice and Dale Wiggins, James Boyd, and Glen and Marianne Misko are additional exhibition underwriters. All museum exhibitions receive generous sponsorship from the Friends of the Wichita Art Museum and the City of Wichita.

Friends of the Wichita Art Museum

1400 West Museum Boulevard wichitaartmuseum.org/monet

Monet to Matisse: French Moderns from the Brooklyn Museum, 1850–1950 is organized by the Brooklyn Museum.

WICHITA SYMPHONY

TICKET EXCHANGES AND RETURNS

ORCHESTRA HOUSE POLICIES

Exchanges Subscribers who cannot attend their scheduled performance may exchange their tickets for any other Classics Concert performance. However, ALL exchanges MUST be made before 5:00 p.m. of the Friday of the weekend concerts. If you fall ill the day of the concert, please leave a phone message with the box office before the performance and an exception can be made. The exchange of tickets is subject to availability. Tickets may be exchanged at the Symphony office, by mail or by phone at 316-267-7658; subscribers are encouraged to exchange as soon as possible.

BOX OFFICE Tickets may be purchased Monday through Friday, 10am â&#x20AC;&#x201C; 5pm, at the Symphony office located on the second floor of the Century II Concert Hall, Suite 207. The Box Office is also open one hour prior to each performance at the entrance of the Concert Hall. Tickets may be purchased online at wichitasymphony.org, by phone at 316-267-7658, in person or by mail. We accept cash, check or credit card.

DISCOUNTS Student Full-time students may purchase tickets for Classics Concerts for $10 the week of a performance online, in person, or by phone. Tickets are held at Will Call until a Student ID is produced. Premium Classics and Pops are decided on a case-by-case basis. Senior Patrons 65 years or older may receive a 10% discount on tickets when tickets are purchased the week of a Classics concert. Military 50% discounts for all Classics concerts, subject to availability, are offered to active military personnel with ID the week of a Classics concerts. Please call Box Office at (316) 267-7658 for more information. Discounts are not available on Pops concerts. All discounts are subject to ticket availability, and not applicable to Section F.

Returns Subscribers may release their tickets to the Symphony for resale by calling the Symphony office before 5:00 p.m. of the Friday of the weekend concerts. Your seat may then be sold as additional income for the Wichita Symphony. Upon request, we will provide a receipt for your tax-deductible donation. If you do not release your tickets prior to the concert, we will not be able to provide a receipt. PLEASE DO NOT LET YOUR TICKETS GO UNUSED! NO REFUNDS. ALL SALES ARE FINAL.

LOST OR DESTROYED TICKETS In the event your season tickets are lost or destroyed, please notify the Symphony office immediately at 316-267-7658. In most cases, replacement tickets will be reissued for your convenience at no charge.

PARKING Parking information for specific performances may be found on our website, wichitasymphony.org/night-out/ location-parking.

SERVICES FOR THE DISABLED

CHILDREN AT THE SYMPHONY

Infrared Listening System The Century II Concert Hall is equipped with a new Listening System for hearing-impaired patrons. Headsets are available at the Box Office. A personal ID is required, which will be held until the headset is returned to the Box Office following the performance.

Only children who are mature enough to sit quietly during a concert, without disturbing their neighbors, should attend Wichita Symphony Classics or Pops performances. We recommend patrons with young children purchase seats near the aisle in case a restless child needs to be taken out of the concert hall during the performance. The Wichita Symphony reserves the right to ask any individuals who are disrupting fellow patrons or the concert setting to leave the hall.

Restrooms Handicapped-accessible restrooms are located on the first and second floors of the Concert Hall.

For parents looking to introduce younger children to symphonic music, our Family Matinee Concerts are the perfect opportunity. They are programs designed specifically with children in mind, each lasting about one hour. These concerts are

PERFORMANCE POLICIES •

•

• •

• • •

•

QUIET PLEASE! In consideration of your fellow concertgoers and the performers, please refrain from talking during the actual performance of music. Latecomers will be seated at the first convenient pause in the program, at the direction of the ushers. Cameras and recording devices are not allowed inside the Concert Hall. Unless otherwise announced from the stage, all cell phones and electronic devices should be silenced during all performances. The emergency number for the Concert Hall is 316-267-7658. Century II is a smoke-free facility. Bottled/covered drinks and food are allowed in the Concert Hall. Refillable, spill-proof cups are available for sale at the concession stand. Patrons who have left personal belongings at a concert should contact the Century II Administrative Office 316-264-9121, Monday-Friday, 8:30 a.m.-5:00 p.m.

recommended for ages three and up.

GIFT CERTIFICATES Wichita Symphony gift certificates are a great way to introduce your friends to the Symphony and may be redeemed for tickets to any Symphony performance. For more information, call the Symphony office at 316-267-7658. At the discretion of the Wichita Symphony Administration, audience members may take cell phone photographs, recording, and other social media postings before the start of a Wichita Symphony concert, during intermission of a concert, and following the end of a concert before the Musicians exit the stage. Unless otherwise announced, at no time will cell phone usage be allowed while music is being performed.

ADVERTISERS INDEX Blue Cross Blue Shield of Kansas

Burnell’s Fine Jewelry and Design

Chamber Music at the Barn

Commerce Trust Company

CrossFirst Bank

Delta Dental of Kansas

Don Hattan Chevrolet

Downing & Lahey Mortuaries

Emprise Bank

Ferguson-Phillips

Fidelity Bank

Friends University-Dept. of Fine Arts

Homewood Suites by Hilton

Hyatt Regency Wichita

Intrust Bank

Johnson’s Garden Centers

KMUW

R, 16

Koch Foundation

Back Cover

Larksfield Place

Larkspur Restaurant

Linda Gregory Photography

McClelland Sound Inc.

Music Theatre Wichita

Perfection Builders Prairie Hills Financial Group

U Inside Back Cover

Prairie View

Printing Inc.

AA, 25

Radio Kansas

Rose Hill Bank

Senseney Music

Stinson Leonard Street LLP

TCK-The Trust Company of Kansas

Inside Cover

Textron Aviation

The Dermatology Clinic

The Spice Merchant & Co.

Theater League Inc.

Times Sentinel News

University Congregational Church

Visit Wichita

Wichita Arts Council, Inc.

Wichita Art Museum

Wichita Chamber Chorale

WSU College of Fine Arts

N, 27, 29

Wichita Grand Opera

Wichita Musicians Association

WSU Ulrich Museum of Art

ENJOY THE SYMPHONY AS MUCH AS WE DO? Ensure the arts most important to you and your family continue for years to come. Commerce Trust Company advisors can help structure a charitable giving strategy that meets your needs, maximizes tax benefits* and aligns with your overall financial goals.

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CONTACT A COMMERCE TRUST ADVISOR TODAY. GAYLYN MCGREGOR – 316-261-4930 commercetrustcompany.com *Please consult a tax professional. Commerce Trust Company is a division of Commerce Bank. | Commerce Bancshares, Inc. Investment products: Not FDIC insured – May lose value – No bank guarantee. © 2017

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POPS 3

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ENHANCING

KANSAS CULTURE The Fred and Mary Koch Foundation is proud to support the Wichita Symphony Orchestra and all it does to bring music education and memorable concerts to our community. Since 1953, the Foundation has supported quality, Kansas-based initiatives that enrich the lives of our neighbors in the areas of the arts, education and youth programs.