2013-14 Amarillo Symphony Program

CELEBRATING OUR VIBRANT 89TH SEASON!

History In The Making.

Built in 1925, The Amarillo Building holds the distinction as Downtown Amarillo’s original high-rise.

Restored to its Art Deco grandeur by owners Kevin and Ginger Nelson, The Historic Amarillo Building is home to Amarillo’s most respected businesses, accounting and law firms.

We are proud to be the official home of The Amarillo Symphony established in 1924.

Welcome Home!

For Leasing Information, kindly call Kevin or Ginger Nelson 806.342.4700 • 301 South Polk Street

Simply Unforgettable

3690 S. Soncy • Amarillo, TX 79119

806.467.9800 Mon-Fri 9:30- 5:30 • Sat 10-5

Jacomo Rafael Bairos, Music Director & Conductor

This is a Data Flow publication.

Owner Jim Cramer Operations Manager Cindy Davis Creative Director Mitch Khoury Graphic Designer Tyler Mitchell Information Walter Steelman Sales Jim Cramer Moie Boyce John Michie

Produced for Amarillo Symphony 301 South Polk St, Ste. 700 Amarillo, TX 79101 For more information please call (806) 376-8782 or email info@amarillosymphony.org.

TABLE OF CONTENTS Jacomo Rafael Bairos............................................................... pg 14 Amarillo Symphony Musicians...................................................... pg 16 Board of Directors and Staff........................................................ pg 23 Past Presidents....................................................................... pg 29 Amarillo Symphony Guild............................................................ pg 33 Our Ticket Initiative.................................................................. pg 38 Supporting Your Amarillo Symphony............................................... pg 44 The Beethoven Society.............................................................. pg 50 Amarillo Symphony Supporters..................................................... pg 57 Frequently Asked Questions........................................................ pg 70 Young Artist Project.................................................................. pg 75 Amarillo Youth Orchestra............................................................ pg 80 Symphony Belles..................................................................... pg 85 Symphony Beaux...................................................................... pg 89 Eligibility Requirements for Symphony Bells & Beaux.......................... pg 91 Index of Advertisers............................................................... pg 182 SEPTEMBER 20 & 21

SEASON PREMIERE: INNOVATORS

PG 101

OCTOBER 25 & 26 No part of this publication may be reproduced in any form or by any means, including a photocopy, recording or any information retrieval system without permission in writing from the publisher: Data Flow, Inc. 601 W. 9th Amarillo, TX 79101 (806) 371-7310 While every effort has been made to avoid errors and omissions, neither the Amarillo Symphony nor Data Flow accept any responsibility for errors or omissions. If you are interested in advertising in the Amarillo Symphony Program, please contact Data Flow at 806-371-7310.

THEATRICALITY

PG 111

NOVEMBER 22 & 23

PICTURES IN MUSIC

PG 121

JANUARY 24 & 25

INTIMATE EVENING

PG 133

FEBRUARY 21 & 22

REIMAGININGS

PG 145

MARCH 21 & 22

VISIONARIES

PG 157

APRIL 25 & 26

LADY SINGS THE BLUES

PG 171

This season is sponsored, in part, by a generous gift from:

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806.355.4451

What Our Audience Is Saying: Jeff Booth, president, Lone Star Construction

I let the music immerse me and wash over me as I drift off to some of my happy places, but it’s always the music that takes me there and brings me back. I love it – it’s pure joy for me.

J. Pat Hickman, chairman and CEO, Happy State Bank

I don’t know why, but I know I like it. The bigger, the louder, the better. For the last 36 years, my wife and I have subscribed to the Symphony – ever since we were married. It’s just part of what we do. You can’t help but be stirred by the talent of our orchestra.

Thank You Subscribers!

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Subscriber Rewards Subscribe to the Amarillo Symphony season and take pride in being part of a community instrumental in bringing the world’s finest music to the Texas Panhandle. Enjoy these rewarding experiences as well:

Best Seats

Available to subscribers in advance of the general public

Best Savings

Subscribers are exempt from Panhandle Tickets processing fees

Ticket Exchanges

Easily exchange any number of tickets for a different concert night

Ticket Insurance

Lost tickets are easily reissued at no additional cost to the subscriber

Tax Receipts

Subscribers can notify the Symphony office in advance of the performance to obtain a tax credit for the tickets they are unable to use

Elite Renewal Privileges

Current subscribers receive first priority in renewing for the next season

Concert Reminders & Insider News

Subscribers receive email concert reminders and other concert information prior to every performance

SUBSCRIBE TODAY!

Call the Amarillo Symphony office at 806-376-8782 for more information.

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JACOMO RAFAEL BAIROS

MUSIC DIRECTOR & CONDUCTOR

After an extensive two year search that accumulated over 200 applications from 15 countries, Jacomo Rafael Bairos becomes the 17th music director and conductor of the Amarillo Symphony. Described as “expressive and passionate” by the Malaysian Straits Times, and lauded by the Leipziger Volkszeitung as an “impressive conductor who is elegantly demanding,” Mr. Bairos enjoys an emerging career as an imaginative and inclusive conductor, dedicated educator and ardent champion of new American music.

During his tenure as associate and guest conductor for the Charlotte Symphony Orchestra from 2010-2013, he reached tens of thousands of enthusiastic listeners through the broad spectrum of concerts he programmed and conducted. His performances on the innovative Knight Sounds and heralded Pops series garnered consistent praise for not only his adventurous programming, but also his collaborations with dancers and visual artists and use of technology to enhance and excite the concert experience. Mr. Bairos regularly performed and premiered new music by living composers on all series he conducted, including reinventing famous classics with modern twists on his education, family, outreach, and parks concerts.

Guesting engagements with eminent orchestras in the United States and internationally include the Symphony Orchestras of Atlanta, Iceland, Singapore, Leipzig, Jacksonville, North Carolina, Charleston, Lake Forest, Greater Bridgeport, Tallahassee and Bangor in addition to the Los Angeles Chamber Orchestra, Malaysian Philharmonic, Orquestra Nacional do Porto, and the Florida Orchestra.

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Jacomo Rafael Bairos, Music Director & Conductor

Mr. Bairos collaborated with an array of distinguished artists such as violinists Shlomo Mintz, Elena Urioste, Latin-Grammy winner Nestor Torres, the eclectic crossover group PROJECT Trio, and Cuban band Tiempo Libre, just to name a few.

Mr. Bairos’ devotion to the performance of new music is evident through his consistent programming and commissioning of some of America’s brightest and most exciting living composers, including: John Adams, Mason Bates, Michael Daugherty, Paul Dooley, Sam Hyken, Adam Schoenberg, and Christopher Theofanidis. Met with critical acclaim from Fanfare Magazine, his debut recording in 2009 of Raw Emotions with the Iceland Symphony Orchestra featured late 20th and 21st century concertos by North American composers.

A committed educator, Mr. Bairos passionately presents music, classes, and lectures to area schools and crafted programs and concerts for youth that enriched tens of thousands of kids across Texas, the Carolinas, and in his native Portugal with the ONP. In 2010, he was the music director for the National Youth Orchestra Festival of Portugal and was the director of orchestras for the renowned Baltimore School for the Arts where he worked closely with the Baltimore Symphony’s OrchKids to create hands-on educational workshops for children in underserved urban communities.

Awarded the prestigious 2012 Mendelssohn-Bartholdy Scholarship by the U.S. Mendelsohn Foundation and Maestro Kurt Masur, Mr. Bairos traveled to Germany to conduct concerts with the Leipzig Symphony Orchestra, assist at the Gewandhaus Orchestra and further his studies and mentorship with Maestro Masur.

Invited by eminent teacher Gustav Meier to attend the Peabody Conservatory, he also studied with and assisted illustrious faculty members including Leon Fleisher and Edward Polochik.

Under the tutelage of close mentors Robert Spano, Larry Rachleff and Hugh Wolf, Mr. Bairos furthered his studies at the American Academy of Conducting at Aspen in 2010 and 2012.

He also worked closely with Marin Alsop at the Peabody Conservatory and the Cabrillo Music Festival in 2011. In 2012 he participated in the Kurt Masur Conductors Seminar in New York where he received his first of several invitations to perform with Maestro Masur in concert. Further studies include working intensively with Jorma Punula and Christopher Warren-Green.

As an accomplished and award winning tubist, Mr. Bairos gave master classes and performed with festivals and orchestras around the world. New York Magazine praised his solo performances in the Juilliard Focus Festival of 1998 as one of the “instrumental highs of the festival,” and at age 18 he was the first tubist in the history of the Aspen Music Festival to win the festival-wide concerto competition. He performed, toured, and recorded with the New York Philharmonic in addition to the Symphony Orchestras of Chicago, Cincinnati, and Seattle. Mr. Bairos held principal posts with orchestras in America, Spain, China, and most recently was principal tuba for the Singapore Symphony Orchestra from 2004 – 2007.

Born and raised in Lisbon to both American and Portuguese parents, he currently divides his time between Miami, Florida and Charlotte, North Carolina.

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Jacomo Rafael Bairos, Music Director & Conductor

AMARILLO SYMPHONY MUSICIANS Violin 1

Katy Moore (7) Associate Concertmaster Lynsi Porterfield (6) † Chase Moore (7) Susan Blackerby-Allen (34) † Erin Weber (1) Romina Medina (2) Cheryl Fairly (33) Pam Landis (33) Susie Lopez (4) † Matt Arambula (10) Hillary Gil (10) Sheila DeLong (9)

Violin 2

Daina Redpath (11) Beverly de la Bretonne (35) Mary Ann Ellis (29) Carol Winn (32) Raymond Jenkins (40) Danielle Kupresanin (1) Tiffany Jackson McDaniel (15) Susan Milligan (8)

Viola

Melinda Koster (34) Jill Bradford (38) Aloha Gitchell (48) Camille Day Nies (30) Christine Lopez (10) Nicacio Lopez (10)

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Cello

Noah Littlejohn (7) Charlotte Harbin (51) Cole Craven (7) Russell Steadman (17) Alejandra Alderete (8) Kimberly Huber (5) † Amy Huzjak (1) Caitlin Schmidt (4)

Double Bass

Nick Scales (16) Principal Lori Scales (12) Orin Foard (20) Jennifer Jones-Nguyen (15) Krunoslav Kupresanin (6) Matthew Mann (10)

Flute

Mark Trimble (5) Principal Megan Williams (2) Barbara Buffington Walker (3) Ginger Denney (7)

Oboe

Amy Goeser Kolb (4) Principal Karen Takacs (5)

Clarinet

Doug Storey (26) Principal Janet DuBois (31) Jim Laughlin (2) Rudy Sanchez (31)

Saxophone

Don LeFevre (24) Principal Jim Laughlin (24) Carlos Casso (24)

Bass Trombone

Mark Koster (25) Principal

Tuba

Jeremy Lewis (5) Principal

Bassoon

Tina Carpenter (28) Principal Kathy Kendle (40) Christopher Wickham (6) Luis de la Garza (5)

Horn

Guglielmo Manfredi (4) Principal Mike Ellis (28) Becky Casso (28) David Potter (4) † Andrea Denis (1) Kellie Bartley (7)

Trumpet

William Takacs (12) Principal Scott Beckett (10) David Lough (6) Mike Burt (25)

Piano

Jim Rauscher (33) Principal

A marillo symphony musicians

Jacomo Rafael Bairos, Music Director & Conductor

Harp

Stephanie Bowen (26) † Principal Joseph Redman (1) Acting Principal Brianne Stedje (6) †

Timpani

Susan Martin Tariq (29) Principal *This chair generously underwritten by an anonymous donor.

Percussion

Trombone

Rai Morales (5) Principal Gary Moss (25)

Chris Johnson (14) Eric Rath (9) Brandon Haynes (10) Mike Sheffield (16) James Beckham (36)

† On leave for the 2013-14 Season ( ) Denotes no. of years of membership in the Symphony, including this season.

Musicians listed above may not appear in every concert.

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BOARD OFFICERS President Vice-President Treasurer Secretary

Ellen Jones Robert Hatton Victor Glenn Kimberly Dryden

BOARD OF DIRECTORS

B O A R D O F D I R E C T O R S A N D S TA F F

Jacomo Rafael Bairos, Music Director & Conductor

Gloria Cabrera • Ross Clopton • J. Pat Hickman • Bryan Jepson April Johansson • Cory Joiner • Claudette Landess • Russell Long Kevin Nelson • Barry Peterson • Eric Rath • Celeste Saadeh Kathy Sheldon • Paula Steele • LaDonna Tunnell • John Walker

ADMINISTRATIVE STAFF Executive Director Director of Development Director of Operations Marketing Manager Patron Services Coordinator Education Coordinator

Susan White Liz Bentley John Whitaker Jessica McMenamy Annika Johansson Irma Borup

ARTISTIC STAFF Music Director and Conductor Conductor, Amarillo Youth Symphony

Jacomo Rafael Bairos Mark Bartley

This position is generously underwritten by an anonymous donor

Conductor, Amarillo Youth Philharmonic & Sinfonia Conductor, Amarillo Youth Preparatory Strings

Jill Bradford Alejandra Alderete

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supporTINg

The ArTs IN AmArIllo

With your comfort in mind.

KIRK A. COURY, DDS, MS • JAMES C. DOUTHITT, DDS, MS • KENNETH W. FALK, DDS

Amarillo Endodontics 10 Care Circle, Suite A Amarillo, Texas 79124 806.354.2424 1.866.593.ENDO Fax 806.354.9479 www.amarilloendo.com

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Amarillo had barely come of age when, in 1924, the women of the Philharmonic Music Club established the first orchestra. These pioneer musicians operated the orchestra for the first eight years. In 1932, the organization was separately chartered, and this year, we celebrate our 89th year of continuous operation. Times have not always been easy, and without the tireless devotion of countless community leaders, the orchestra would not have survived. There are too many who have contributed to these efforts to list, but they are represented by the leadership of the various Board Presidents who are listed below. All of us owe these individuals, and the members they represent, a debt of gratitude.

PRESIDENTS OF THE AMARILLO PHILHARMONIC ORCHESTRAL ASSOCIATION 1932-1933 1933-1934 1934-1935 1935-1936 1936-1937 1937-1938 1938-1939 1939-1941

Wes Izzard A.E. Meyer Ross D. Rogers Dr. Lloyd E. Robinson Fancher Upshaw Sr. A.E. Meyer Wes Izzard John Ballard

1941-1943 1943-1944 1944-1945 1945-1946 1946-1947 1947-1948 1948-1949 1949-1950

PA ST P R E S I D E NT S

Jacomo Rafael Bairos, Music Director & Conductor

Rex B. Baxter G. Don Hughes Lon D. Edwards Robert P. Dorough Mrs. Sam Seay Lee T. Bivins C.S. Lambie Lee T. Bivins

PRESIDENTS OF THE AMARILLO SYMPHONY 1950-1951 1951-1953 1953-1956 1956-1958 1958-1959 1959-1961 1961-1963 1963-1965 1965-1966 1966-1968 1968-1970 1970-1972 1972-1973 1973-1975 1975-1976 1976-1977 1977-1978 1978-1979 1979-1981

C.S. Lambie Eddie Melin Horace E. Wilson W. Harold Gordon Mrs. Sterling Kinney Bourden R. Barfield Dr. John Denko Monte Rosenwald William A. Clarke Jr. R.E. Crudgington Sterling Kinney W. Travis Aaron Hugo Loewenstern Jr. F. Dee Stark James A. Gilmer Glen Soderstrom Charles O. Cathcart Richard M. Kidwell Dr. H.D. Yarbrough

1981-1981 1981-1982 1982-1984 1984-1986 1986-1988 1988-1989 1989-1991 1991-1993 1993-1995 1995-1997 1997-1999 1999-2002 2002-2004 2004-2006 2006-2008 2008-2010 2010-2012 2012-2014

Neal R. Allen Mrs. Gene Edwards Mrs. James B. Franklin James C. Holcomb William F. Countiss Mac Hancock Harry Phillips Don L. Patterson C.C. Burgess Joseph C. Street Jerry N. Smith Barry Peterson Gerry McKay Samuel B. Lovelady Jeff Booth Mark D. White Alfred J. Smith Ellen Jones

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ONE Team

A comprehensive team of specialists focused on one thing . . .

Beating Cancer.

1500 WALLACE BOULEVARD AMARILLO, TEXAS 79106 TOLL FREE 800.274.4673 806.359.4673

HPI Providers (above, left to right): Brian Pruitt, M.D.; Stewart Allen Sharp, M.D.; Sue Nadesan, M.D.; Anita Ravipati, M.D.; Theresa Ross, RN, MSN, FNP-C

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AMARILLO SYMPHONY GUILD President President Elect Vice President - Administration Vice President - Education

LaDonna Tunnell Carol Bruckner Connie Pritchett Jackie Marr

Vice President - Projects

Ann Bush

Corresponding Secretary

Margaret Brown

Recording Secretary

Stephanie Bruton

Treasurer

Britny Zambrano

Immediate Past President Symphony Ball Belle/Beau

A M A R I L L O SY M P H O NY G U I L D

Jacomo Rafael Bairos, Music Director & Conductor

Sharon White Kathy Sheldon & Terry White Wendy Blankenship, Melissa Cathcart & Stacy Hand

Christmas Roundup

Amanda Clark & Penny Clark

Instrument Express

Lisa Britten

Symphony Kids Lunch & Listening Meetings

Beth Throckmorton & Odie Gonzales Shanna Jones & Courtney White Meredith Pinkham

Newsletter

Debby Stalcup

Nominating

Sharon White

Orchestra Courtesy Publicity Rules Of Procedure Young Artist Members At Large TASO Delegate

Nancy Altschwager & Debby Stalcup Allison Stephens Carol Bruckner Susan Burks Courtney White & Allison Stephens Sharon White The Amarillo Symphony 2013-14 Season

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Jacomo Rafael Bairos, Music Director & Conductor

Our goal is simple. The Amarillo Symphony will be the most accessible performing arts organization in the Texas Panhandle. Thanks to our visionary community partners, we have a seat for every lifestyle and every budget.

Why is it important to decrease ticket prices? We believe that all who want to experience the Amarillo Symphony in concert should be able to do so. By decreasing our ticket prices, we reduce the primary barrier to attendance and create concert experiences that are accessible to all. We are proud to provide our community with easy access to some of the world’s best music and encourage you to invite your friends to join us at our next concert. With your contributions, we can continue to infuse the community with an unbridled enthusiasm for the performance and discovery of great orchestral music.

Learn more about how you can help. Call us at 806-376-8782.

10 25 or 40

$

$

$

SECURE YOUR SEATS TODAY. 38

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COMMUNITY PARTNERS This campaign to increase the accessibility of the Amarillo Symphony would not exist without the lead gift from the Don and Sybil Harrington Foundation. The Amarillo Symphony wishes to formally recognize and thank the following donors for their generous support of this initiative.

The Don and Sybil Harrington Foundation The Mary E. Bivins Foundation

O U R TI C K E T I N IT I AT I V E

Jacomo Rafael Bairos, Music Director & Conductor

Anonymous Mike and Dalia Engler Tecovas Foundation Gilliland Family Foundation Ms. Susan Milligan Happy State Bank Mr. and Mrs. Victor Glenn David and Ellen Jones Kimberly Dryden and Don Nixon Adair and Dale Buckner • Mr. and Mrs. Bob Hatton • Mr. and Mrs. Al Smith Mr. and Mrs. Ross Clopton • Mr. and Mrs. J. Pat Hickman • Mr. and Mrs. Steve Hoard Mr. and Mrs. Joe Street • Susan and Bryan White • Mr. and Mrs. Barry Peterson Mr. and Mrs. Terry Sheldon • Jack and Pat Wiles • Dr. and Mrs. Richard McKay Mr. Don Guill • Mr. and Mrs. Bobby Steele

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Jacomo Rafael Bairos, Music Director & Conductor

SUPPORT YOUR SYMPHONY The Amarillo Symphony is a vital part of the Texas Panhandle. We rely on the support and generosity of individuals, corporate partners, organizations and foundations to continue to present outstanding concerts and community outreach and education programs.

Here are six ways you can support your symphony:

ATTEND A CONCERT Attend one or more of the Amarillo Symphony performances this season. Your applause, appreciation and ticket purchases are essential. After all, it is all about the music!

MAKE A DONATION By making a gift to the Amarillo Symphony, you help us infuse the Texas Panhandle with an unbridled enthusiasm for the performance and discovery of great orchestral music.

Ticket revenue provides just a portion of the funding for the Symphony’s programs and concerts each season. Gifts from a growing number of local corporations, organizations and foundations, along with numerous generous individuals, make the difference in maintaining and expanding the Amarillo Symphony’s vision of transforming the Texas Panhandle into a place of fanatical support for great art.

JOIN BEETHOVEN SOCIETY The Amarillo Symphony Beethoven Society is a circle of patrons who make annual contributions of $1,000 over and above all other gifts to the Symphony. A portion of these gifts are held in the Amarillo Symphony’s endowment and the remainder is used to fund special projects and annual operating expenses. Members receive reserved parking on concert nights, exclusive sneak peeks at the upcoming season’s programming, invitations to the annual Beethoven Society Award Dinner and Summer Barbeque in addition to post-concert receptions and other special events.

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Jacomo Rafael Bairos, Music Director & Conductor

SUPPORT YOUR SYMPHONY BECOME A SPONSOR Our concert sponsors are local community leaders who believe in the importance of music and music education, and recognize the role the Amarillo Symphony plays in the quality of life in the Texas Panhandle. Our goal is simple. The Amarillo Symphony will be the most accessible performing arts organization in the Texas Panhandle.

PLANNED GIVING To ensure the continued vitality and excellence of your Amarillo Symphony, we ask you to consider including us in your estate plans. Planned gifts provide extraordinary opportunities and security for our future and you have the satisfaction of knowing that your legacy will continue to enrich lives and sustain the Amarillo Symphony for future generations.

JOIN THE SYMPHONY GUILD Become a member of the Amarillo Symphony Guild to help support and augment the programs of the Amarillo Symphony in the development of its orchestra and to educate and stimulate appreciation of music in the community.

For more information or to help us spread the music, contact us:

BY MAIL

ONLINE

Amarillo Symphony P.O. Box 2586 Amarillo, TX 79105

www.AmarilloSymphony.org

BY PHONE

IN PERSON

806-376-8782 Monday - Friday 9:00am to 5:00pm

301 S. Polk St., Suite 700 Amarillo, TX 79101 Monday - Friday 9:00am - 5:00pm

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An Equal Opportunity Community College

5 Complete rentals and the groom’s rental is free Seasonal and name brand tuxedos for every occasion Same-day rentals, largest in-stock selection in town Outstanding quality and customer service

Mister Doyce Tuxedos Located in Wolflin Village 2618 SW 22ND • WOLFLIN VILLAGE • 79109 | OPEN MONDAY - SATURDAY | 806.353.9831

Lux Lounge is a club on wheels with limousine-style seating for up to 16 passengers. Featuring a high-watt sound system, 6 TVs and bar.

2618 Wolflin Village • Amarillo, TX 79109 • Aaron: 806.676.9935

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Jacomo Rafael Bairos, Music Director & Conductor

THE BEETHOVEN SOCIETY The following individuals made a generous commitment over and above their annual fund donation to ensure the continued growth of the Amarillo Symphony by becoming members of the Beethoven Society. Members listed are those enrolled as of August 22, 2013.

Amarillo Symphony Guild Mrs. Joyce Attebury B&W Pantex Mr. and Mrs. Bert Ballengee Drs. Peter and Gayle Bickers Jeff and Linda Booth Mr. and Mrs. John Boyce, Jr. Mr. and Mrs. Ron Boyd Mrs. E. H. Brainard II Mr. and Mrs. Brian Bruckner Adair and Dale Buckner Mr. C.C. Burgess Dr. and Mrs. Arturo Carrillo Brent and Kay Lynn Caviness Mr. and Mrs. Terry Caviness Mr. and Mrs. Ross Clopton Ms. Martha Collaer Mr. and Mrs. Wayne Covey Mr. Robert Crabtree Mrs. Mary Kay Dammier Mr. and Mrs. Hassan Dana Mr. and Mrs. Robbin Dawson Mr. and Mrs. Clinton Esler Dr. and Mrs. Robert Gerald Ms. Dena Goldston Mr. and Mrs. W. Wesley Green Mr. Don Guill Dr. and Mrs. William Hale Dr. and Mrs. Bill Hallerberg Mr. and Mrs. Bob Hatton Mr. and Mrs. J. Pat Hickman Mr. and Mrs. Steve Hoard Margaret and Herry Hodge Joe and Joan Horn Mrs. Lois Hull Dr. and Mrs. Douglass Hyde David and Ellen Jones Mr. V.J. Jordan

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Mr. J.B. Lane Dr. and Mrs. Russell Long Mr. and Mrs. Samuel B. Lovelady La Rita Mason Mr. and Mrs. David McDonald Dr. and Mrs. Richard McKay Mr. and Mrs. Bill McKee Mr. and Mrs. Mark C. Meister Mr. and Mrs. Gary R. Moore Mr. and Mrs. Kevin Nelson Dr. Neal Nossaman and Mr. Greg Welch Mr. and Mrs. Larry Oeschger Dr. and Mrs. Harve D. Pearson Dr. and Mrs. Michael Pelfrey Mr. and Mrs. Joseph H. Pool Bill and Ruth Quackenbush Mr. and Mrs. Harvey Ratliff, Jr. Kerry and Kathy Rice Ms. Rosemary Rios Adolf O. Schmidt Mr. and Mrs. Robert Schneider Mr. and Mrs. Terry Sheldon Mr. and Mrs. John M. Shelton, III Mr. and Mrs. Alfred J. Smith Dr. Kent Sorajja Mr. and Mrs. Joseph C. Street Dr. Victoria J. Thompson Bob and Diane Thorpe Neil and Lisa Veggeberg Mr. Robert Carr Vincent Mr. and Mrs. John Walker Michael Westmoreland and Loralu Raburn Mark and Terry White Mr. and Mrs. Jim Whitton Mr. and Mrs. Jess Willard Clyde and Karon Williams Dr. and Mrs. David C. Woodburn

THE BEETHOVEN SOCIETY charter members

The Amarillo Symphony Guild

Mr. and Mrs. Stanley Marsh 3

Mr. and Mrs. W.H. Attebury

Mrs. Joe J. Martin

Mr. and Mrs. Robert Balliett

Dr. and Mrs. Ralph P. Mennemeyer

Drs. Peter and Gayle Bickers

Mr. and Mrs. Gary Moore

Mr. and Mrs. Ron Boyd

Dr. and Mrs. Jeff R. Moore

Mr. and Mrs. Tom Boyer

Mr. and Mrs. Edward S. Morris

Mr. and Mrs. Coney Burgess

Anne and Pat Northcutt

Mr. and Mrs. William H. Butler

Mr. and Mrs. Lawrence Oeschger

Mr. and Mrs. T.M. Caldwell

Dr. and Mrs. Robert Paige

Dr. and Mrs. Arturo Carillo

Mr. and Mrs. Harry H. Phillips

Mrs. Horlene Cast

Mr. and Mrs. Joseph H. Pool

Mr. and Mrs. Danny Conklin

Mr. and Mrs. W.M. Quackenbush

Mr. Sid Covington

Mrs. Ralph Randel

Dr. and Mrs. Pablo Diaz-Esquivel

Dr. and Mrs. Miguel A. Rios

Dorothy Dravin and Harold Bryant

Dr. and Mrs. Charles Sadler

James Durham Jr.

Mr. and Mrs. Jerry Smith

Dr. and Mrs. Don Leon Fong

Mrs. Beaumont Stinnett

Mr. and Mrs. James B. Franklin

Ms. Marjorie Storseth

Mr. and Mrs. Clyde M. Gassaway

Mr. and Mrs. Joseph C. Street

Dr. and Mrs. Robert E. Gerald

Mr. and Mrs. E.O. Stroup

Mr. and Mrs. Bill Gilliland

Mr. and Mrs. Tom Thatcher

Mr. and Mrs. Mack Gordon

Mrs. Nicole H. Underwood

Mrs. Gene W. Gorsline

Mr. and Mrs. William A. Vandivere

Mr. and Mrs. Robert Green

Michael Westmoreland

Dr. and Mrs. William P. Hale

the beethoven society

Jacomo Rafael Bairos, Music Director & Conductor

and Loralu Raburn

Mrs. Donald D. Harrington

Drs. John and Sheryl Williams

Dr. and Mrs. Capres Hatchett

Mrs. Hazel Kelley Wilson

Hunter Ingalls and Mary Emeny

Dr. and Mrs. John G. Whinery

Mr. and Mrs. Frank A. Ladd

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Connect with the Amarillo Symphony to get the latest information and behind the scenes access.

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Feel like chatting with us about tonight’s concert?

Use one of the following hashtags to discuss your evening!

September: #innovators October: #theatricality November: #picturesinmusic January: #intimateevening February: #reimaginings March: #visionaries April: #ladysings

THE BEETHOVEN SOCIETY AWARD WINNERS The Beethoven Society Award is given each year to honor extraordinary service to the Amarillo Symphony.

Our 2012 Recipients:

Alfred J. and Patricia A. Smith 2011 2010 2009 2008 2007 2006 2005 2004 2003 2002 2001 2000 1999 1999 1998 1997 1996

the beethoven society AW A R D

Jacomo Rafael Bairos, Music Director & Conductor

Don L. Patterson Harry & Madge Phillips Eddie Melin Ron & Cheri Boyd Music Director Search Committee Samuel B. Lovelady Joseph H. & Arlene Pool Gerry McKay Not Awarded Barry Peterson Sharon Kelly Oeschger William Quackenbush James & Yvonne Franklin Genevieve Caldwell Hazel Kelly Wilson Marlies Ballengee Jo Stewart Randel The Amarillo Symphony 2013-14 Season

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est. 1891

CEMETERY

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Jacomo Rafael Bairos, Music Director & Conductor

DIAMOND BATON Amarillo Symphony Guild The Mary E. Bivins Foundation The Don and Sybil Harrington Foundation

David D. and Nona S. Payne Foundation Mr. and Mrs. Joseph H. Pool Mr. and Mrs. Alfred J. Smith

PLATINUM BATON

season donors

$25,000 and higher

$15,000 and higher

Mike and Dalia Engler

Mr. and Mrs. Lawrence Oeschger

GOLD BATON

$7,500 and higher Amarillo Chamber of Commerce Arts Committee Josephine Anderson Charitable Trust Anonymous Dr. Kent Roberts and Ilene Roberts Balliett Foundation

Mrs. E. H. Brainard II The M.S. Doss Foundation David and Ellen Jones The Mays Foundation Johnson & Sheldon, P.C. Crystelle Waggoner Charitable Trust

SILVER BATON $5,000 and higher

The C.J. and Syble Fowlston Charitable Trust Gilliland Family Foundation Mr. and Mrs. Bill Gilliland Happy State Bank

Claudette L. Landess Dr. and Mrs. Richard McKay Mr. and Mrs. Joseph C. Street Neil and Lisa Veggeberg

The Amarillo Symphony gratefully acknowledges contributions received between August 16, 2012 and August 15, 2013.

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Jacomo Rafael Bairos, Music Director & Conductor

BRONZE BATON $2,500 and higher

Amarillo National Bank B&W Pantex Mr. and Mrs. Bert Ballengee Mr. and Mrs. James Beckham Bruckner Family Foundation BSA Health Systems Mr. and Mrs. Tark Cook Dr. and Mrs. Robert Gerald Ann and Gordon Getty Foundation Dr. and Mrs. William P. Hale Mr. and Mrs. Bob Hatton Bob and Nancy Josserand

Mr. Wales Madden Jr. Mullin Hoard & Brown National Endowment for the Arts Mr. and Mrs. Barry Peterson Mr. and Mrs. Harry H. Phillips Mr. and Mrs. W.M. Quackenbush Salem Oil & Gas, LP Texas Commission on the Arts Dr. Victoria J. Thompson Dr. and Mrs. David C. Woodburn Xcel Energy Foundation

BENEFACTOR $1,000 and higher

Adair and Dale Buckner Dr. and Mrs. Turner M. Caldwell, III Dr. and Mrs. Arturo Carrillo Mr. and Mrs. Ross Clopton Mr. and Mrs. Richard Farrell Mr. and Mrs. Victor Glenn Mr. and Mrs. Charles Graham Mr. and Mrs. Steve Hoard

Law Offices of Nelson & Nelson Dr. and Mrs. Tom Nichols Kimberly Dryden and Don Nixon Janis and Wes Savage Mr. and Mrs. Bobby Steele Mr. and Mrs. Rex Vermillion Bryan and Susan White

SUSTAINER

$500 and higher Mr. and Mrs. Jeff M. Andrews Dr. and Mrs. Robert Beckley Jeff and Linda Booth

Mr. and Mrs. Ronald Boothe Center City of Amarillo, Inc. Mr. and Mrs. Eimon

The Amarillo Symphony gratefully acknowledges contributions received between August 16, 2012 and August 15, 2013.

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Dr. Neal Nossaman and Mr. Greg Welch Mr. and Mrs. Anthony J. Rando Ms. Charlotte Reese Mrs. Phoebe Reynolds Ms. Barbara Walker Dr. and Mrs. John Ward Xcel Energy Foundation Matching Program

Ms. Lynn Gaut Dr. and Mrs. Martin A. Hands Hester Capital Management Mr. and Mrs. J. Pat Hickman Mr. and Mrs. Stanley Marsh 3 The Meadows Foundation Kenny and Sheila Munsell Mr. and Mrs. Jeff Neely

season donors

Jacomo Rafael Bairos, Music Director & Conductor

PATRON

$200 and higher Dr. and Mrs. Stanley Adelman Ms. Patricia Allen Mr. and Mrs. James Allen Dr. and Mrs. Jose Arias Ms. Laurel Ayers Mr. and Mrs. Charles Ballard Mr. and Mrs. John E. Bayless Dr. and Mrs. David Beggs Ms. Liz Bentley Dr. and Mrs. Howard Berg Mr. and Mrs. Ervin C. Bergen Mrs. L. Louise Box Mr. and Mrs. Jeff Brain Dr. John Bridwell Mr. and Mrs. Mark Morey Mr. and Mrs. Wayne Covey George & Stacey Curtis Mr. and Mrs. Steve Dalrymple Dr. and Mrs. Pablo Diaz-Esquivel Ms. Mary Emeny Fairbanks Engineering Resources

Mike and Nancy Floyd Mr. and Mrs. Josef C. Grotegut Dennis and Cathy Ice Mr. William R. Ivey Mr. and Mrs. Don Jackson Mr. and Mrs. Ove Johansson Mr. Billy Ray Johnston Mr. and Mrs. Cory Joiner Dr. Mitchell Jones Mr. Terry Jones Dr. and Mrs. Robert P. Kauffman Mr. Philip Kielpinski Mr. and Mrs. Dennis Kime Mr. and Mrs. Charles Kitsman Rev. and Mrs. Roy Kornegay Mr. and Mrs. Alvin Kuhlman Mr. and Mrs. Jon Lund Mr. & Mrs. Steve McCarthy Mr. and Mrs. James McDivitt Mrs. Magdalena McMordie Tammy Flowers and Charlie McMordie

The Amarillo Symphony gratefully acknowledges contributions received between August 16, 2012 and August 15, 2013.

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Jacomo Rafael Bairos, Music Director & Conductor

Patrizia Da Milano and Eriberto Romeo Caranto Mr. and Mrs. George Moore Moore, Lewis, and Russwurm Mr. and Mrs. Kip Morgan Mr. and Mrs. David Musser Mr. Sivakumar Nadesan and Dr. Sue Nadesan Mr. and Mrs. Donald Oheim Mrs. Leslie O’Loughlin Dr. and Mrs. Harve D. Pearson Mr. and Mrs. Larry Pickens Mr. and Mrs. Rhett Plank Dr. and Mrs. James F. Rauscher Dr. and Mrs. Dale Roller Henry I. Saxe

Adolf O. Schmidt Dr. and Mrs. Gerald Schultz Mr. and Mrs. Randy Sharp Mr. and Mrs. Terry Sheldon Mr. and Mrs. John M. Shelton, III Mr. and Mrs. Herbert L. Smith Mrs. Alice Snook Mrs. A.W. SoRelle, III Mr. and Mrs. John D. Tolk United Way Mr. C. Richard Wagner Mrs. Bob Wilcoxson Jack and Pat Wiles Mr. and Mrs. Jess Willard Clyde and Karon Williams Mr. and Mrs. Ernst Wootten

SUPPORTER $100 and higher

Mr. and Mrs Fred Beck

Mr. and Mrs. Robbin Dawson

Mr. and Mrs. Charles Black

Ms. Beverly de la Bretonne

Ms. Katherine Brack

Mr. and Mrs. Craig Evetts

Mr. and Mrs. Brian Brown

Mr. Neil Feichtner

Dr. and Mrs. Neil Bryson

Ms. Jimmie Lee Foster

Mr. and Mrs. Tim Burkhalter

Mr. and Mrs. H.R. Fulton

Mr. Dwight Carver and

Ms. Linda Gilbert

Ms. Vicki Clifton

Mr. Don Guill

Mr. and Mrs. Noel Clifton

Mr. Alex Hallerberg

Ms. Glennda Cook

Ann N. Hicks

Ms. Lawanda Corbett

Dick and Jo Jackson

Drs. Kirk and Madeline Coury

Mr. and Mrs. Henry Janhsen

Bruce and Rosie Das

Mr. and Mrs. Carter Kelly

Mr. Fred Davis

Mr. Jay Kirk

The Amarillo Symphony gratefully acknowledges contributions received between August 16, 2012 and August 15, 2013.

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Mr. and Mrs. Jack McCavit Mr. and Mrs. Richard McElreath Ken and Dana Neeley Minnie Venable & Ray Nordhausen Mr. and Mrs. Denny Park Mr. and Mrs. Sam Perry Drs. Carlos and Ivette Plata Mr. and Mrs. Blaine Roberts Ms. Kathi Sain Mr. Matt Scalapino Priscilla Sheets and Steven Evett Mike & Jana Smiley

Richard and Janice Snyder Ms. Ann Sturdivant Textron Matching Gift Program Dr. Abdul S. Thannoun Mr. and Mrs. Jack F. Turner Steve and Joan Urban Mr. J.V. Vinyard Mark and Terry White Mr. and Mrs. Barry Willis Taylor and Lil Withrow Ms. Anna Martin-Wright

season donors

Jacomo Rafael Bairos, Music Director & Conductor

FRIENDS OF THE SYMPHONY $50 and higher

Mr. Mark Blevins Ms. Phyllis Curtis Kathy and Jimmy Gowdy Mr. and Mrs. Robert Groman Mr. and Mrs. Jim Hutson Mr. and Mrs. Tyler Keeling Mr. & Mrs. Ben Maples Mr. and Mrs. Gaylord Maurer Mr. & Mrs. William A. McCarty Mary Lou McGregor Mr. and Mrs. Stan Morris Mr. and Mrs. Calvin Murray Dr. and Mrs. Ted Nicklaus

Kay and Harold Peetoom Mr. Perry Pletcher Mr. and Mrs. John Rosser Mr. and Mrs. Melvin Sittel Mrs. Mary C. Smith Larry and Debby Stalcup Mr. and Mrs. James Thompson Ms. Marilyn Van Petten Mr. Robert Carr Vincent Mr. and Mrs. Scott Wheeler Dr. and Mrs. Michael D. Williams Mr. and Mrs. Hugh W. Wilson, III

The Amarillo Symphony gratefully acknowledges contributions received between August 16, 2012 and August 15, 2013.

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Jacomo Rafael Bairos, Music Director & Conductor

CONTRIBUTORS OF THE SYMPHONY Up to $50

Dr. and Mrs. A.S. Abdallah Mrs. Beatrice Adelman Ms. Sandra Bridgeman Mr. and Mrs. Oren Cooley Ms. Virginia Cotton Ms. Kay F. Davis Mr. Richard Donaldson Mr. and Mrs. Kenneth Van Doren Mr. and Mrs. Allen Durrett Edward and Shirley Fancher Mr. and Mrs. Max Ray Faulkner Mr. and Mrs. Bill Griffin Ms. Nancy Grundy Mr. Jason Hudson Bryan and Elizabeth Jepson Dr. Abi Johnson Mr. and Mrs. Ken Kelley Mr. and Mrs. Gerald Knapp Ladeeda! Music Company

Mr. Verone Leimer William Martin Ken and Bonnie McMillan Dwayne and Kay McMinn Mr. Bill C. Mobley Ms. Celeste Pine Mr. and Mrs. Jack Quackenbush Mrs. Betty Rathjen Warren Stricker and Mildred Rugger Mr. and Mrs. J. Craig Shanks Mrs. Polly Sumrow Jodi and Kelly Teal Dr. and Mrs. Hagos Tekeste Mr. and Mrs. Richard Tillemans Mr. and Mrs. John Tyson Mr. and Mrs. Steven Weber Mr. and Mrs. Robert D. Wise Mrs. Chris Yarbrough

IN-KIND DONORS

Donations of Goods & Services 575 Pizzeria Accent West Anthony and Michele Agostini Alexander Valley Vineyards Mr. and Mrs. Chuck Alexander Amarillo Athlete Amarillo Building, LLC Panhandle Tickets Amarillo Country Club

Amarillo Little Theatre Amarillo Museum of Art Amarillo Style Magazine Amarillo Vein & Laser Mr. Donald Anderson and Ms. Rica Anderson AQHA Outfitters Baker Brothers Bar Z Winery

The Amarillo Symphony gratefully acknowledges contributions received between August 16, 2012 and August 15, 2013.

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Barnes Jewelry Bastiloin’s Bijoux Boutique Belmar Bakery Dr. and Mrs. Howard Berg Best Friends Boutique BL Bistro Blue Sky Blush Boutique Mr. and Mrs. Ben Bonin Mr. and Mrs. Ron Boyd Broome Optical Mr. and Mrs. Brian Brown Bruckner Truck Sales Brush With Art Budding Art Budweiser Distributing Co. Ms. Sheila Burton Mr. and Mrs. Owen Bybee Bybee’s Boutique Mr. Scott Carlson Mr. Paul Clark Mr. and Mrs. Sonny Clark Class 1 Dental Ms. Tammie Coffee Country Cottage Candles Courtyard by Marriott Drs. Kirk and Madeline Coury Mr. and Mrs. Roger S. Cox Mr. and Mrs. Dean Crump Davy Knapp Photography Mr. and Mrs. Robbin Dawson Digital-One Audio/Video Dotsy Design Duckhorn Vineyards Duncan & Boyd Jewelers Mr. and Mrs. Allen Durrett

Sharon E. White and Terry R. Easterling Edes Custom Meats Mike and Dalia Engler Et Cetera Everything Southwest Fat Boy Outdoors Fire Stone Design Dr. and Mrs. Ronnie Ford Foust Feeds Freeman’s Fresh Flower Market Dr. and Mrs. Stephen Fuller Dr. and Mrs. Robert Gerald Get Gussied Up Glazer’s of Amarillo Grace Adele Graham Brothers Jewelers Mr. and Mrs. Greg Graham Mr. and Mrs. Jerry Graham Gray is Grey Groovy Pop Gourmet Popcorn Happy State Bank Heather Ladd Photography Mr. and Mrs. James Hicks High Plains Eye Health Center High Plains Public Radio Mr. and Mrs. Steve Hoard Margaret and Jerry Hodge Mr. and Mrs. Joe Howell Mr. and Mrs. Jack Howell Dr. and Mrs. Douglass Hyde In Kahoots It Works Global It’s So Girly Itsy Bitsy Bling Boutique J.A. Snookerwitz Co. Jessalynn’s Accessories

season donors

Jacomo Rafael Bairos, Music Director & Conductor

The Amarillo Symphony gratefully acknowledges contributions received between August 16, 2012 and August 15, 2013.

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Jacomo Rafael Bairos, Music Director & Conductor

JJ’s Arts & Crafts Mr. and Mrs. Ove Johansson David and Ellen Jones Judy’s Card Cottage Jump N Jive Junior League of Amarillo Dr. Jim Kemp and Mr. Whitney Kelley Kolache Cafe KVII Mr. and Mrs. Thomas Ladd Ms. Cathi Lake Bob & Yphon LaRoche Mr. and Mrs. Jake Lennard Lilly Finch Little Brown House Little Peds Liz Morgan Apparel Lizzie Mae’s LJ’s Sweet Treats Lucky Spur M & R Liquor M&L Transfer Macaroni Joe’s Makie Black Marcella Furs & Leather Dr. and Mrs. Joaquin Martinez-Arraras Mary Kay Max Waste Management McAlister’s McDonald’s Mr. and Mrs. Richard McElreath Dr. and Mrs. Richard McKay Mr. and Mrs. Jerry McKee Mr. and Mrs. Walter McNeer MCO Marketing Ms. Celia Meadors Microsoft

Miller of Amarillo Mobile Spa Girls Mr. and Mrs. Crockett Moore Mr. and Mrs. Dean Morrison Ms. Piggy’s Nexstar Broadcasting, Inc. Mr. and Mrs. Blake O’Brien Mr. and Mrs. Larry Oeschger OHMS Patz & Hall Dr. and Mrs. Wayne Paullus Plain Jane Whitney Russell Printers Mr. and Mrs. Steve Pritchett Purcella’s Western Allee Redford Ranch Style Ree’s Exquisite Finds Ms. Annie Richmond Rodan & Fields Dermatologists Rosa’s Salon at Wolflin Pointe Salon Gallery for Hair Sam’s Club Scentsy Schakolad Chocolate Factory Second Wind Balloon Company Sen. and Mrs. Kel Seliger Mr. and Mrs. Terry Sheldon Mr. and Mrs. Anthony Sicola Simply Adorable Jewelry Small Town Gypsy Dr. and Mrs. Aubrey Smith Sonic Drive In Souled Out Designs Stella and Dot Mr. and Mrs. Chris Storm Mr. and Mrs. Tom Stout

The Amarillo Symphony gratefully acknowledges contributions received between August 16, 2012 and August 15, 2013.

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Street Toyota Tapestry of Life Texas Furniture Texas Plum Line Dr. Ron Konig and Dr. Clinton Esler Texas Trio The Crave Factory The Ground Cafe The Hide Out The Nook Boutique The Rusty Rose The Scarlet Door The Secret Place Thirty-One Gifts Thompson’s Gift Shop Today’s Style Too Top Notch Outfitters Drs. Michael Guttenplan and Mary Townsend Mr. Brian Baker and Ms. Stacy Grant

Tru-Cut Lawns Mr. and Mrs. Steve Tunnell United Market Street Mr. and Mrs. Joe Valdez Village Wines at Castle Pines Mr. William Ware Mr. Jay Weeks Mr. and Mrs. David Weir Wendy’s Mr. and Mrs. James Wester Western Equipment Michael Westmoreland and Loralu Raburn Courtney White Mark and Terry White Mr. and Mrs. Perry Williams Ms. Cheryl Rogers and Mr. John Windham Mr. and Mrs. Steve Wright

season donors

Jacomo Rafael Bairos, Music Director & Conductor

GIFTS MADE IN HONOR AND MEMORIAM The Amarillo Symphony wishes to acknowledge those who have been honored or remembered through a contribution. For more information about memorial and tribute giving please call the Symphony office at (806) 376-8782.

Don Reavis

Adair and Dale Buckner Jim Alfonte

Mr. and Mrs. Richard Farrell Nona Barnett

Mr. and Mrs. Richard Farrell Eddie Melin

Mrs. Novelle Pennal

Nona Barnett

Mrs. A.W. SoRelle, III Frederick Schmidt

Ms. Christine Ware Janie Burgess

Ms. Christine Ware Frances Schmidt

Ms. Christine Ware

The Amarillo Symphony gratefully acknowledges contributions received between August 16, 2012 and August 15, 2013.

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Jacomo Rafael Bairos, Music Director & Conductor

FREQUENTLY ASKED QUESTIONS I’ve never been to an orchestra concert before. What should I expect?

Expect to enjoy yourself! This is the time to let go of any preconceptions you may have about classical music or the concert experience. Some things about the concert may seem strange because they’re new to you, but if you just focus on the music, you’ll have a great time. Watch the musicians and the conductor to see how they interact with each other.

Will I recognize any of the music?

You might! Classical music is all around us: in commercials, movie soundtracks, television themes, cartoons and retail shops.

What should I wear?

There is no dress code! Anything that makes you feel comfortable is fine. Most people will be wearing business clothes or slightly dressy casual clothes, but you’ll see everything from khakis to cocktail dresses. Some people enjoy dressing up and making a special night of it. If you decide to dress up, remember to go easy on the fragrance. It can distract others near you and even prompt them to sneeze, which may in turn distract you.

Should I arrive early?

Plan to arrive at least 30 minutes before concert time, so you can find your seat, turn off your cell phone, take a look at your surroundings, absorb the atmosphere, and have time to glance through the program book. Most concerts start on time. If you’re late, you may end up listening from the lobby! If that happens, the usher will allow you inside during a suitable pause in the program, so your arrival won’t disturb other concertgoers.

How long is the concert?

It varies, but most orchestra concerts are about 90 minutes to two hours long, with an intermission at the halfway point.

Can I take pictures?

We are happy to allow pictures at times when the orchestra is not performing. Feel free to snap a picture before or after the concert or during intermission or applause.

Why is there an intermission, and what should I do during it?

It’s a short rest period for the musicians and conductor – once you see how much activity goes into a performance, you’ll understand why they need a break! Listening to music is also an intense activity and a break in the middle helps the audience concentrate better in the second half. Some concerts, however, have no intermission because it would

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interrupt the flow of a long work. Check the program before the concert so you know what to expect. Most intermissions at Amarillo Symphony concerts are 20 minutes long.

Can I bring my kids?

It depends on the concert and on the age of your kids. Many standard length classical concerts are inappropriate for small children because they require an attention span that is difficult for youngsters to maintain. To build your children’s interest in classical music, play classical radio or CDs around the house. When they are old enough to sit quietly for an extended period, you may wish to bring them to the first half of a standard concert. In all cases, it’s a good idea to check with the orchestra directly about the appropriateness of the concert you plan to attend with your kids.

F R E Q U E NTLY A S KE D Q U E S T I O N S

Jacomo Rafael Bairos, Music Director & Conductor

What exactly is a symphony orchestra?

A symphony orchestra is a collection of up to about 100 musicians who play instruments of four basic types: Strings – violins (smallest and highest in pitch), violas, cellos, and double basses (largest and lowest in pitch). These players sit in a semicircle directly in front of the conductor and make up more than half the orchestra.

Woodwinds – flutes, oboes, clarinets, bassoons, and related instruments. These players sit a few rows back from the conductor in the center of the orchestra.

Brass – trumpets, horns, trombones, tubas, and similar instruments. These instruments are the loudest, so you’ll see them in the rear of the orchestra.

Percussion – drums, bells, and other fascinating paraphernalia that are struck, plucked, rubbed, etc. This includes the timpani, the harp, and, on occasion, the piano. Some works use lots of different percussion; others may have a single musician playing the timpani, or no percussion at all. The percussion section is also found at the rear of the orchestra.

Why do the musicians wear formal black clothes?

This is a long tradition that started centuries ago. Sometimes musicians dress a little more casually, but they still try to look uniform, so that the audience can concentrate on the music. Soloists are the exception: they often dress differently because they are the focus of attention.

Why do their bows move together?

The players of each individual section – first violins, second violins, violas, cellos, and double basses – play in unison most of the time. As you listen, noticing the different bowings for each section gives you a visual clue to sort out the various melodies you are hearing.

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Young Artist Project

Congratulations to the following winners of the 2013-2014 Young Artist Project!

Hannah Krehl, Violin | Farah Nashat, Violin | Macey Foley, Bassoon Kimberly Humble, Violin | Harris Shoemaker, Viola | Paige Diaz, Violin | Mariela Canas, Cello In 2012, the Amarillo Symphony Guild founded a new program to provide private music instruction to gifted young musicians who would not otherwise be able to afford it. The project begins with an application from the student’s parent, a letter from the student explaining why they would like to receive private instruction, and a letter of recommendation from the student’s band or orchestra director.

To support this year’s students, please consider making a donation to the Amarillo Symphony Guild, P.O. Box 2586, Amarillo, TX 79105 with “Young Artist Project” in the memo line. We appreciate any amount; however, we estimate the following tutoring fees per student:

- $1,440: Lessons for the entire school year - $720: Lessons for one semester - $160: Lessons for one month - $40: One lesson

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orchestra

Photo courtesy of AGN Media

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Amarillo Youth Orchestra The Amarillo Symphony strives to provide an accessible opportunity for youth to engage themselves musically and views education as an investment in the lives of each student in the program.

250 Young Musicians The 2012 - 2013 season saw more than 250 musicians from every corner of Amarillo.

This participation number is the highest in the 25+ year history of the Amarillo Youth Orchestra. Education is an integral aspect of the Amarillo Symphony’s core values and we are honored to continue to provide an opportunity for young musicians to study and enhance their instrumental skills.

A M A R I L L O Y O UT H O R C H E S TR A

Jacomo Rafael Bairos, Music Director & Conductor

Ensembles This performance-based program is designed to offer a unique musical experience to young musicians ages 10 to 18. Each of the following ensembles is an opportunity for young musicians to study and enhance their instrumental skills: Amarillo Youth Preparatory Strings: Develops skillful music reading ability Amarillo Youth Sinfonia: Designed for musicians with reliable reading ability and one year’s experience Amarillo Youth Philharmonic: Dedicated to a skillful music reading ability, facility with bowing techniques and proficiency playing in third position Amarillo Youth Symphony: Our top ensemble that rehearses and performs from the standard orchestral repertoire

Performances The four Amarillo Youth Orchestra ensembles perform twice a year - once in the fall and once in the spring. Mark your calendars now to join us on Sunday, November 3, 2013 and Sunday, April 13, 2014 for these performances. Both concerts begin at 3:00 pm and tickets are just $5 plus applicable City of Amarillo and Panhandle Tickets processing fees.

Funding Supported largely by the Amarillo Symphony’s generous donors, the Amarillo Youth Orchestra receives a nominal amount in tuition from each participant. With roughly 40% of our students attending schools that receive Title 1 funding, no child is turned away from the program due to financial need.

For more information about the Amarillo Youth Orchestra, please call us at (806) 376-8782 or visit us online at www.AmarilloSymphony.org.

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Brides

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2013-14

Symphony Belles

Nicole Ryan Ailes

Arielle Grayson Angel

Shannon Faltin Arnold

Mary-Claire Masterson Boyce

Mr. and Mrs. Todd Ailes

Ms. Janette E. Angel Mr. Raul V. Angel Jr.

Mr. and Mrs. William Wade Arnold

Mr. and Mrs. Beaumont Boyce

Elaine Madison Brown

Neely Brooke Brown

Kayla LeAnn Bull

Bailee Burch

Mr. and Mrs. Wes K. Brown

Mr. and Mrs. Kent Brown

Mr. and Mrs. Curtis Bull

Danny and Cissy Burch

Patricia Cabrera-Sopo

Channing Ryan Castleberry

Morgan Royse Donaway

Sydney Nicole Downs

Dr. Agustin Cabrera-Santamaria and Mrs. Gloria Cabrera

Ed and Gloria Castleberry

Mr. and Mrs. Jeff L. Donaway

The Late Rick Downs Mr. and Mrs. Dudley McNeill

Kelsey Jean Dudding

Shaylee Jensen Dunavin

Chandler Nicole Dupriest

Abigail Ellington

The Late Allen Dudding David Strange and Sunny Dudding Strange

Mr. and Mrs. Bobby Dunavin III

Mr. and Mrs. Cory Dupriest

Dr. Susan Elizabeth Ellington Dr. R. Todd Ellington, Jr.

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Symphony Belles

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Linzi Floyd

Jordan Taylor Ford

Devon Elizabeth Gadberry

Madeline Claire Grall

Ms. Allison Floyd Mr. Quintin Floyd

Dr. and Mrs. Ronald Ford

Mr. and Mrs. Gavin Gadberry

Mr. and Mrs. Mitch Carthel

McKay LeAnn Green

Jacquelyn Darci Gulde

TaiAnn D’Aun Hammons

Margaret Elaine Hancock

Mr. and Mrs. Scott Green

Mr. and Mrs. Jeff Gulde

Mr. and Mrs. T.D. Hammons

Dr. and Mrs. Paul Hancock

Katharine Elizabeth Hand

Abigail Lee Harkins

Rachel Paige Hutchens

Madison Claire Isern

Mr. and Mrs. Matthew Hand

Mr. and Mrs. Chris Harkins

Mr. and Mrs. Gary Hutchens

Mr. and Mrs. Kevin Isern

Kameron McKay Johnston

Alexandria Drew Karber

Rylea Jaide Kilburn

EmElise Masters Knapp

Mr. and Mrs. Boyd Johnston

Mr. and Mrs. Wesley Karber

Mr. and Mrs. Brian Kilburn

Mr. and Mrs. Wes Knapp

amarillosymphony.org

2013-14

Symphony Belles

Elise Nicole Lakey

Alyssa Rae Langley

Ashley Nicole Levy

Lauren Alexis Longcor

Mr. and Mrs. Gary Lakey

Dr. and Mrs. David Langley

Dr. and Mrs. Eric Levy

Ronna Longcor

Abbie Rae Lynn

Meredith Anne McDaniel

Mary Catherine McIlraith

Audrey Anne Milton

Mr. and Mrs. John T. McElyea

Mr. and Mrs. John McDaniel

Mr. and Mrs. Jay McIlraith

Ms. Christy Grimes Milton Dr. Scott Milton

Allison Kay O’Neal

Lauren Elizabeth Parker

Hannah Rhodes

Miranda Kristeen Rice

Mr. and Mrs. Daniel and Laurie O’Neal

Mr. and Mrs. Rob Parker

Mr. and Mrs. Steven B. Rhodes

Mr. and Mrs. Michael G. Rice

Holly Noel Richardson

Kaylee Brooke Schrader

Shelby Ann Silvertooth

Anna Kathryn Smith

Ms. Tish Richardson Mr. Shannon Richardson

Mr. and Mrs. James L. Schrader

Mr. and Mrs. Dennis E. Silvertooth

Mr. and Mrs. Dennis Smith

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Symphony Belles

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Melanie Leigh Van Winkle

Abigail Caroline Vermillion

MacKenzie Ann Wilkerson

Reed Elizabeth Williams

Ms. Julie Herman Mr. Doug Kaczmarek

Mr. and Mrs. Brandt Vermillion

Dr. and Mrs. Mike Wilkerson

Mr. and Mrs. Bob Williams

amarillosymphony.org

Rachel Leigh Wilson

Brett Marie Zaccardo

Mr. and Mrs. Olen Wilson

Mr. and Mrs. Richard Zaccardo

2013-14

Symphony Beaux

Ashton Blake Alarc贸n

Ryne Christian Bernal

Ryan Patrick Bischof

Hayden Christopher Blankenship

Mr. and Mrs. Joe Alarc贸n

Mr. and Mrs. Richard Bernal

Mr. and Mrs. James Bischof

Mr. and Mrs. Richard Blankenship

Parker Stephen Bowen

Taylor Burgess

Anthony Scott Cantu

Jason Cole Conway

Mr. and Mrs. Steve Bowen

Ms. Margo Burgess Mr. Campbell Burgess

Mr. Ricky Cantu and Ms. Katrina Kincaid

Mr. and Mrs. Rusty Conway

Taylor Bo Cowell

Sean Stephen Cross

Joseph Tucker Davidson

Parker Allen Davidson

Brent and Cindy Cowell

Mr. Steve Cross

The Late Joe Ted Davidson and Andrea Davidson

Ms. Melissa Cathcart Mr. Chan Davidson

Caden Neal Edwards

Gagestone Yale Gillispie

Braxton Lane Henderson

John Kuper Hood

Mr. and Mrs. Kelly Neal Mr. and Mrs. Neal Edwards

Shawn and Jenny Gillispie

Mr. and Mrs. Nathan Henderson

Mr. and Mrs. Thomas E. Hood

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Symphony Beaux

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Preston Gunner Howard

John Slater Johnson

Jamison Michael Kitchen

Benjamin Thomas Laney

Mr. and Mrs. Michael C. Hughes

John and Sara Johnson

Michael and Geraldine Kitchen

Mr. and Mrs. Mark Laney

Haddon Douglas Martin

Braden Dean Marusak

Evan Cole McCausland

John David Merritt

Mr. and Mrs. Doug Martin

Mr. and Mrs. Dean Marusak

Mr. and Mrs. Ross and Gina McCausland

Mr. and Mrs. Johnny Merritt

Collin Lane Mitchell

Brandt William Roush

Sam Cole Strouhal

Ky Davis Taylor

Mr. and Mrs. Gary and Annette Mitchell

Mr. and Mrs. Darren Roush

Mr. and Mrs. Paul Strouhal

Ms. Susan Taylor Mr. Shannon Taylor

Braden James Urquhart

Andrew Ferrari Villa

Ethan Jeffrey Weirick

Mr. and Mrs. Mark Urquhart

Mr. and Mrs. Andrea Villa

Ms. Cara Roberts Weirick Mr. Jeff Weirick

amarillosymphony.org

ARE YOU INTERESTED IN BECOMING A

BELLE OR BEAU?

Belles and Beaux are high school seniors who serve as ushers for the Amarillo Symphony concert season. These young ladies and gentlemen, the sons and daughters of Guild members, attend orientation meetings and social events to prepare them for the job of greeting patrons, taking tickets, and ushering at the Symphony concerts. They also perform an annual service project and are presented at the Symphony Ball in February. Their parents must have purchased a membership in the Symphony Guild their junior and senior years and must have purchased two season tickets to the Symphony their senior year.

Requirements Nominations for Belles/Beaux may be submitted IN WRITING ONLY, by mail, to the President-Elect of the Guild no later than January 31 in the year that the nominee is a junior in high school. Members may feel free to nominate their daughters/sons.

The nominee must be the daughter/son of a member in good standing of the Guild who has been a member during the nominee’s Junior and Senior years.

The nominee must be the daughter/son of a family or individual who holds two (2) season tickets to the Amarillo Symphony during the nominee’s Senior year.

The nominee’s term of service will be the year that the Belle/Beau is a senior in high school and/or 18 years of age, subject to approval by the Belle and Beau Chairmen. *Consideration may be given by the Belle and Beau Admissions Committee to girls/boys whose families have moved to Amarillo during their junior years, or in other situations deemed acceptable by the Committee. Final approval of girls/boys meeting these requirements will be made by the Belle/Beau Admissions Committee.

Belle/Beau responsibilities will include: Ushering at Symphony concerts and other service requirements of the Guild.

The purchase of the Belle/Beau ensemble.

A $175.00 fee to the Guild to participate in the program.

INSURANCE

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Xcel Energy is proud to support the Amarillo Symphony and the inspiration it brings to us all. We feel truly fortunate to play a role in this great community.

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Brenda Holland, Regional Manager, Community Service and Economic Development 806-378-2823

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The Amarillo Symphony 2013-14 Season

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Jacomo Rafael Bairos, conductor Bella Hristova, violin Velocity Festivals....................................................................................Paul Dooley b. 1983 Commissioned by the Amarillo Symphony

Violin Concerto in D major, Op. 35........................................ Erich Wolfgang Korngold 1897-1957 Moderato nobile Romanze: Andante Finale: Allegro assai vivace

INTERMISSION

season premiere: innovators

8 p.m. September 20 & 21, 2013 Globe-News Center for the Performing Arts Carol Bush Emeny Performance Hall

september 20 & 21

Jacomo Rafael Bairos, Music Director & Conductor

Symphony No. 7 in A major, Op. 92............................................Ludwig van Beethoven 1770-1827 Poco sostenuto - Vivace Allegretto Presto, assai meno presto Allegro con brio Use #innovators to chat with us about tonight’s concert!

This concert is made possible by:

Johnson & Sheldon, P.C. The Amarillo Building, LLC Ellen and David Jones Mr. and Mrs. Joseph C. Street Dr. and Mrs. Robert Gerald The Amarillo Symphony 2013-14 Season

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Jacomo Rafael Bairos, Music Director & Conductor

8 p.m. September 20 & 21, 2013 Globe-News Center for the Performing Arts Carol Bush Emeny Performance Hall

Jacomo Rafael Bairos, conductor Bella Hristova, violin PAUL DOOLEY b. 1983 Velocity Festivals Velocity Festivals (2013), a world premier, has been commissioned for the opening of Amarillo Symphony’s 2013-14 season, conducted by Jacomo Rafael Bairos.

Inspiration for the work evolves from impressions made on the composer by electronic dance music. Vectors of jagged melodic motive rise vertically in the ear, plucked from the harp and pizzicato strings. These jagged threads are progressively woven into a rich brass fanfare, drawn tight into a vibrant tonal tapestry by the force of variegated percussive patterns. - © Jessica Cox & Cameron Jackson

In the early part of the century Korngold was known mainly through his operas (Violanta, Die tote Stadt, Das Wunder der Heliane) but today he is primarily remembered by his pioneering film music. At the urging of the director Max Reinhardt, with whom he had staged Die Fledermaus in Berlin in the 1920s, he came to Hollywood in 1934 where he wholeheartedly embraced the new medium, incidentally, saved his life.

By the time Korngold came to Hollywood, his “classical” compositions were regarded as superficial and irrelevant to the proponents of mainstream twentieth-century modernism. But Hollywood adored him. Korngold saw film as the true successor to the operatic

Violin Concerto in D major, Op. 35

stage. His success as film music composer was phenomenal, two of them, Anthony Adverse (1936) and Robin Hood (1938), won Oscars.

Erich Wolfgang Korngold is a representative of the last gasp of the spirit of late romanticism in Vienna.

He never veered from this established idiom and never ventured into modernistic experiments. He was a true child prodigy whose works were performed in public in Vienna by the time he was 11 (although the fact that his father was the music critic of Vienna’s

The film music scene in Hollywood of the 1930s and 40s was dominated by German and Austrian émigrés who had escaped Nazism. It is not surprising, therefore, that when Korngold once again took up his classical pen in 1945 to write his Violin Concerto he dedicated it to an old family friend, the doyenne of the émigrés, Franz Werfel’s wife and Gustav Mahler’s widow, the legendary Alma Mahler. No less a master than

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most prestigious newspaper, Neue Freie Presse, may have helped).

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It is an amusing exercise, when listening to the Concerto, to note how many themes and passages immediately call to mind the musical conventions we have come to associate with certain kinds of film action. We make these associations on the basis of countless hours of movie going, during which the musical “language” has implanted itself in the subconscious – perhaps even into the collective unconscious – and controlled our emotional response. In the Concerto Korngold reworked music from his successful film scores, including Juaréz (1939), Anthony Adverse (1936), Another Dawn (1937) and The Prince and the Pauper (1937).

But the Concerto is not all “movie music.” Korngold transforms the themes to conform to the concert conventions of the concertos of composers from Mendelssohn to Max Bruch. The technical and expressive demands, as well as the harmonies, surpass melodic clichés.

Although it reflects the composer’s nostalgic attachment to fin-de-siécle Viennese Romanticism, even the most discerning twenty-first-century ears are eclectic and accepting, no longer trapped in the clutches of atonal dogma. Most important of all, Korngold’s writing for the violin is everything a soloist could dream of.

The first movement main theme, from Another Dawn, is a multifaceted melody and an ancestor of the Star Trek theme.

The more sentimental, second theme is from Juaréz. The development inhabits the violin’s stratosphere.

The second movement is a rhapsodic romantic reverie on a theme from Anthony Adverse. As opposed to the sprawling

melodies from the first movement, this one is surprisingly simple. Heating up the passion, Korngold uses a more expansive melody for the middle section.

In the energetic, humorous finale, Korngold teases the listener by delaying an outright statement of the movement’s single theme, from The Prince and the Pauper. Instead, the soloist starts with a fanciful melody containing hints of the theme for a couple of minutes, until the soloist finally “pins it down.”

Ludwig van Beethoven 1770-1827

Symphony No. 7 in A major, Op. 92 There is little information about Beethoven’s activities during 1812, the year of the composition of the Seventh Symphony. He was in poor health and while he produced little else that year, the Symphony makes up for in quality what was lacking in quantity. The year itself was momentous; the Russian winter had finally halted Napoleon in his eastward march of conquest, a fact that must have lightened Beethoven’s heart. Napoleon had been the composer’s hero, the intended dedicatee of his Third Symphony, but his insatiable lust for conquest and power was so disillusioning that Beethoven rescinded the dedication and harbored a lifelong grudge. The hardship resulting from Napoleon’s occupation of Vienna in 1809-10 added to his bitterness. The Seventh Symphony premiered on December 8, 1813 at a gala benefit concert of primarily Beethoven’s own works to aid the wounded of the latest battles against Napoleon.

season premiere: innovators

Jascha Heifetz premiered the concerto in St. Louis.

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Jacomo Rafael Bairos, Music Director & Conductor

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celebrating another Napoleonic defeat, the Eighth Symphony and numerous smaller works. Beethoven – although profoundly deaf – directed an orchestra made up of Vienna’s most important musical celebrities: Louis Spohr, Domenico Dragonetti, Mauro Giuliani and Ignaz Schuppanzigh played in the strings; Giacomo Meyerbeer and Johann Nepomuk Hummel played timpani; Ignaz Moscheles played the cymbals, and even old Antonio Salieri was there, heading the percussion section.* Each movement of the Seventh Symphony is dominated by persistent rhythmic motive that – especially in the second movement – is equal in importance to the melodic content of the themes.

Richard Wagner described the Seventh Symphony as “the apotheosis of dance in its loftiest aspects.” The story goes that he once attempted to demonstrate this dance to the accompaniment of Liszt’s piano playing.

The lengthy slow introduction, featuring some of the repertory’s loveliest oboe solos, contrasts in mood with the Allegro, which follows in lively 6/8 meter. The opening movement actually consists of a single complex theme held together by an underlying dotted rhythm in the accompaniment.

The pulse extends throughout the entire movement and is only occasionally interrupted.

The theme of the second movement is minimal, a 4/4 ostinato consisting primarily of repeated pitches over which Beethoven adds counter-melodies and a buildup of the orchestration to create emotional tension. Beethoven’s innovative use of the rhythmic pulse in this movement influenced the romantic composers who followed and served as a

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model for Schubert in his Symphony No. 9 in C major, “the Great.”

The Scherzo, in 3/4, is defined by driving quarter notes, dynamic contrasts and shifting rhythms. The trio, with its legato melody for the winds, provides the expected contrast, breaking away from the rhythmic pulse of the Scherzo.

The nineteenth-century musicologist Sir Donald Tovey described the finale as “A triumph of Bacchic fury.” The rondo theme, with its emphatic timpani part, resembles a stomping peasant dance – admittedly refined for the occasion.

–––––––––––––– * Louis Spohr (1784-1859) was one of Paris’s most noted opera composers.

Domenico Dragonetti (1763-1846) was a virtuoso double bass player and composer. Mauro Giuliani (1781-1829) was a famous Italian guitar virtuoso and composer. Ignaz Schuppanzigh (1776-1830) was an Austrian violinist, who headed a string quartet for whom Beethoven wrote the three Op.59 quartets. Johann Nepomuk Hummel (1776-1837) was a composer and pianist remembered today mostly for his clarinet compositions. Pianist and composer Ignaz Moscheles (1794-1870) was a famous interpreter and editor of Beethoven’s music. And former court composer to the Hapsburg emperors, Antonio Salieri (17501825) is familiar to music lovers for the fictional account of his rivalry with Mozart in the film Amadeus.

Program notes by: Joseph & Elizabeth Kahn Wordpros@mindspring.com www.wordprosmusic.com

Bella Hristova violin With her “impeccable sound and technique” (The New York Times), Bulgarian violinist Bella Hristova engages audiences with her “commanding stage presence” (The Strad), and with an equal mastery of “impressive power and control” (The Washington Post).

Ms. Hristova has performed extensively as soloist with orchestra including appearances with the New York String Orchestra with Jaime Laredo at Carnegie Hall and with Pinchas Zukerman and the Orchestra of St. Luke’s at Lincoln Center. She has performed at the Marlboro Music Festival, the Santa Fe Chamber Music Festival, Music from Angel Fire, The Nevada Chamber Music Festival and Music@Menlo. Ms. Hristova was selected as a member of CMS Two and frequently performs chamber music at Lincoln Center.

Ms. Hristova’s performance schedule showcases her wide range of repertoire.

Upcoming highlights include the Mendelssohn Concerto with the New York String Orchestra at Carnegie Hall, Prokofiev’s Concerto No. 2 with the Orchestra of St. Luke’s, Barber Concerto with the Atlantic Music Festival Orchestra, Beethoven at the Cerritos Center for the Arts, Sibelius with the Mississippi Symphony, Dvorak with the Orquesta Sinfonica de Venezuela, and Mozart Concerto No. 5 with the Youngstown Symphony. Additionally, she will be performing programs of contemporary music at the Shanghai International Music Festival and at Seoul National University. She also performs recitals and educational programs throughout the US and tours with Musicians from Marlboro.

Born in Pleven, Bulgaria in 1985, Ms. Hristova began violin studies at the age of six.

At 12, she participated in master classes with Ruggiero Ricci at the Mozarteum in Salzburg. In 2003, she entered The Curtis Institute of Music, where she worked with Ida Kavafian and studied chamber music with Steven Tenenbom. She received her Artist Diploma with Jaime Laredo at Indiana University in 2010. Ms. Hristova plays a 1655 Nicolò Amati violin, once owned by the violinist Louis Krasner.

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St. Mary's Catholic Cathedral and School Diocese of Amarillo

1200 South Washington | 376-7204 School | 376-9111

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Jacomo Rafael Bairos, Music Director & Conductor

8:00 p.m. October 25 & 26, 2013

The B-Sides......................................................................................... Mason Bates b. 1977 Warehouse Medicine

Porgy and Bess: Symphonic Picture...................................................George Gershwin 1898-1937 Arr. Robert Russell Bennett

INTERMISSION

Romeo and Juliet, Op. 64.................................................................... Serge Prokofiev 1891-1953

october 25 & 26

Jacomo Rafael Bairos, conductor

theatricality

Globe-News Center for the Performing Arts Carol Bush Emeny Performance Hall

Excerpts from Suite No. 1 and Suite No. 2 The Montagues and Capulets Juliet – The Young Girl Friar Laurence Dance Madrigal Masks Romeo and Juliet The Death of Tybalt Romeo at Juliet’s Grave Use #theatricality to chat with us about tonight’s concert!

This concert is made possible by:

Mr. and Mrs. Lawrence Oeschger Sandra and Bill Gilliland Neil and Lisa Veggeberg The Amarillo Symphony 2013-14 Season

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Jacomo Rafael Bairos, Music Director & Conductor

8:00 p.m. October 25 & 26, 2013 Globe-News Center for the Performing Arts Carol Bush Emeny Performance Hall

Jacomo Rafael Bairos, conductor Mason Bates b. 1977

The B-Sides “Warehouse Medicine” Born in Philadelphia, Mason Bates earned degrees in both English literature and music composition in the joint program of Columbia University and the Juilliard School, followed by doctorate in composition from the University of California, Berkeley in 2008. Interested in writing for unconventional forces, he composes both concert music and electronica, frequently combining the two. While spending his nights playing in upscale dance clubs, he spends his days as composer-in-residence of the Chicago Symphony. This last season he was Composer of the Year with the Pittsburgh Symphony.

Bates composed The B Side on a commission from the San Francisco Symphony and on the suggestion from its Music Director Michael Tilson Thomas for a five-piece work focusing on texture and sonority. Bates writes: “I had often imagined a suite of concise, off-kilter symphonic pieces that would incorporate the grooves and theatrics of electronica in a highly focused manner. So, like the forgotten bands from the flipside of an old piece of vinyl, The B-Sides offers brief landings on a variety of peculiar planets, unified by a focus on fluorescent orchestral sonorities and the morphing rhythms of electronica.”

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“Warehouse Medicine” is the fifth and last part of The B Side. According to Bates it is “An homage to techno’s birthplace – the empty warehouses of Detroit – the final stop on The B-Sides gives no quarter.

Huge brass swells and out-of-tune pizzicati emulate some of the visceral sonorities of techno, and on this pounding note The B-Sides bows out.”

George Gershwin 1898-1937 Porgy and Bess: Symphonic Picture Arr. Robert Russell Bennett The musical idiom of jazz evolved in New Orleans in the early part of the twentieth century from ragtime and the blues. But it was in Europe where American dance bands became popular, and where classical composers first incorporated the new idiom into their compositions: Claude Debussy in Golliwog’s Cakewalk (1908), Igor Stravinsky in Ragtime (1918) and especially Darius Milhaud in the ballet La création du monde (1923).

George Gershwin was the first American composer to make jazz acceptable to the classical music audience. The son of poor Jewish immigrants in lower Manhattan, he was a natural-born pianist and left school at 16 to become a pianist with a Tin-Pan Alley firm, plugging their new songs. He soon commenced writing songs himself, eventually teaming up with his brother Ira as lyricist to become one of the most

Jacomo Rafael Bairos, Music Director & Conductor

He transformed that fame into a string of immensely successful musicals. From Lady be Good in December 1924 to Let ‘em Eat Cake in October 1933, the opening night of a George Gershwin musical comedy was a social and media event with Gershwin himself usually leading the orchestra.

Gershwin’s ambition to write a real opera, rather than musicals, culminated in 1935 in Porgy and Bess, a blending of spirituals, jazz and blues, which is probably his most enduring stage work.

Its gritty story of life and death in Catfish Row, one of the poor black tenements of Charleston, South Carolina, reflected Gershwin’s identification with the poor and oppressed. He stipulated that his “American folk opera” always be performed by an Afro-American cast. He arranged an orchestral suite, Catfish Row, from the music a year later, but the suite did not catch on and it was forgotten and not rediscovered until 1958.

Robert Russell Bennett (1894-1981) was an American composer and expert arranger and orchestrator, best known for his arrangements of Oklahoma!, The King and I, South Pacific, My Fair Lady and The Sound of Music. He was famous for his phenomenal memory, usually putting down the final form of his scores in calligraphic notation without having to revise them.

In 1943, Russell Bennett arranged a suite from the opera that he originally called Symphonic Pictures from Porgy and Bess, which became the most popular orchestral arrangement from the opera.

Serge Prokofiev

theatricality

In 1923 Paul Whiteman, the selfstyled “King of Jazz” who attempted to make jazz more symphonic and more respectable, heard Gershwin play piano arrangements of a few of his songs.

In an attempt to move jazz from the dance hall to concert hall, Whiteman commissioned Gershwin to write an extended jazz composition. The result was the Rhapsody in Blue. Its performance at the Paul Whiteman Concerts in 1924 made history. Although the critics – true to form – mostly panned it, the audience loved it. Gershwin himself played the piano part and became an instant celebrity.

Sadly, Gershwin belongs to the large number of composers who never saw their 40th birthday, succumbing to a brain tumor in 1937.

october 25 & 26

successful teams of song and musical comedy writers on Broadway.

1891-1953 Romeo and Juliet, Op. 64 Excerpts from Suite No. 1 and Suite No. 2 Apolitical and appalled by the mayhem created by the Russian Revolution, Sergey Prokofiev left his native country in 1918, settling first in the United States and then in Paris. But he never felt comfortable on foreign soil. By 1933, homesickness was consuming him: “The air of foreign lands does not inspire me because I am Russian and there is nothing more harmful to me than to live in exile,” he told a reporter in Paris.

He was spending more and more time in Russia, although his family was still living in France. In 1936 he returned permanently to Moscow, aware that he would have to change his compositional style to satisfy Soviet cultural demands.

He was never again able to travel abroad.

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The idea of composing a ballet based on Shakespeare’s Romeo and Juliet, a relatively “safe” lyrical subject, came to Prokofiev in the spring of 1935. A ballet on the same topic, written in 1925 by the English composer Constant Lambert for impresario Sergey Diaghilev’s Ballets Russes, may have given him the idea.

After returning to the Soviet Union, Prokofiev received a commission for the ballet from the Kirov Ballet in Leningrad; when Kirov backed out, the Moscow Bolshoy Theater took it over. Prokofiev tried to adhere as closely as possible to Shakespeare’s play, using both dance and mime to convey the story. When his innovative and complex score frightened the Bolshoy and the cast declared the music “undanceable,” Prokofiev revised the score. Their insistence, however, that the ballet have a happy ending turned out to be more than he could stomach.

Romeo and Juliet was dead in the water.

In the end, a hugely successful premiere took place in Brno, Czechoslovakia, in December 1938. Embarrassed, the Kirov took it on once again and after much wrangling, the ballet was finally premiered in Leningrad in January 1940. Galina Ulanova, the ballerina who danced Juliet, expressed the difficulties surrounding the production in a humorous parody of Shakespeare’s epilogue to the play: “There never was a story of more woe Than Prokofiev’s music for Romeo” Romeo and Juliet is a long ballet with 52 numbers, but the rapid switches between dramatic and lyrical sections assure that the tension is maintained. One of the reasons for the ballet’s immediate acceptance was the fact that by the time of the premiere, the music was already

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well-known. In view of the production delays, and never one to let good music go to waste, Prokofiev arranged two orchestral suites from the ballet score, which premiered in 1936 and 1937.

During the same period he also made a piano arrangement of ten excerpts and performed them in Moscow. He assembled the Third Suite from the ballet in 1946.

It is common practice now for conductors to excerpt their own suites from the ballet. These suites, like Prokofiev’s own, do not necessarily adhere to the logical sequence of the story but are combined to be musically balanced.

1. The Montagues and Capulets combines sections of from Act I, in which the Duke forbids the two families, on the pain of death, to continue their feud, with the heavy-footed dance scene from the ballroom scene of Act II. 2. Juliet - The Young Girl from I, describes the young girl, interaction with her nurse, mother and her reaction to prospective marriage.

Act her her her

3. Friar Laurence; the ecclesiastical mood describes the events in the friar’s cell, as Romeo waits for Juliet to be secretly wed.

4. Dance is part of the festival, which opens Act II. 5. Madrigal describes the lovers’ tender conversation from the ballroom scene of Act II. 6. Masks follows the minuet in the ballet, the arrival of the masked Romeo and friends.

7. Romeo and Juliet; the famous balcony scene reflects the initial

Jacomo Rafael Bairos, Music Director & Conductor

a

lot

from

9. Romeo at Juliet’s Grave is from the concluding scenes of the ballet, including Juliet’s funeral procession.

Program notes by: Joseph & Elizabeth Kahn Wordpros@mindspring.com www.wordprosmusic.com

theatricality

8. Death of Tybalt; combines various sections of music from the end of Act II, including the duel with Romeo and Tybalt’s death. The initial theme accompanies the skirmish (Leonard

Bernstein learned this section).

october 25 & 26

shyness of the lovers that grows into a consuming passion. The scene concludes with the whisper of their parting.

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Holy Cross Catholic Academy (6-12) - Amarillo Fr. Robert A. Busch, Ph.D., Head of School (806) 355-9637 www.holycrossama.org St. Joseph Catholic School (PreK-5) - Amarillo HolyHoly Cross Academy(6-12) (6-12) - Amarillo Mrs. Angi Seidenberger, Principal CrossCatholic Catholic Academy - Amarillo Robert Ph.D.,Head Head of School Fr. RobertA.A.Busch, Busch, Ph.D., of School (806)Fr.359-1604 www.stjosephamarillo.com (806)355-9637 355-9637 www.holycrossama.org (806) www.holycrossama.org

St. Joseph Catholic School - Amarillo St. Mary’ s Cathedral School(PreK-5) (PreK-5) - Amarillo St. JosephMrs.Catholic School (PreK-5) Angi Seidenberger, Principal - Amarillo Mrs.Angi Kathi Lewis, Principal Seidenberger, Principal (806)Mrs. 359-1604 www.stjosephamarillo.com (806) (806)376-9112 359-1604 www.stmarysamarillo.org www.stjosephamarillo.com

St. Mary’s Cathedral School (PreK-5) - Amarillo Mrs. Kathi Lewis, Principal St. Mary’s Cathedral School (PreK-5) - Amarillo St. Anthony of Padua School (PreK-6) - Dalha (806) 376-9112Catholic www.stmarysamarillo.org

KathiMeneses, Lewis, Principal Mrs.Mrs. Melissa Principal St. Anthony of Padua Catholic School (PreK-6) - Dalhart (806) 376-9112www.stanthonydalhart.com www.stmarysamarillo.org (806) 244-4811 Mrs. Melissa Meneses, Principal (806) 244-4811 www.stanthonydalhart.com

St. Anthony of Padua Catholic School (PreK-6) - Dalha St. Anthony Catholic School (PreK-6) - Hereford Mrs. Melissa Principal St. Anthony CatholicMeneses, School (PreK-6) - Hereford Mrs.Mrs.Linda Aranda, Principal Aranda, Principal (806) 244-4811Linda www.stanthonydalhart.com 364-1952www.herefordstanthonys.com www.herefordstanthonys.com (806)(806) 364-1952

St. Anthony Catholic School (PreK-6) - Hereford Mrs. Linda Aranda, Principal (806) 364-1952 www.herefordstanthonys.com

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Jacomo Rafael Bairos, conductor Elena Urioste, violin Finding Rothko.............................................................................Adam Schoenberg

b. 1980

The Lark Ascending............................................................ Ralph Vaughan Williams

1872 - 1958

pictures in music

8:00 p.m. November 22 & 23, 2013 Globe-News Center for the Performing Arts Carol Bush Emeny Performance Hall

1875 - 1937

INTERMISSION

Pictures at an Exhibition.............................................................. Modest Mussorgsky

1839 - 1881 Arr. Maurice Ravel

Promenade The Gnome Promenade The Old Castle Promenade Tuileries Bydlo Promenade Ballet of the Unhatched Chicks Two Polish Jews The Market Place at Limoges Catacombae: Sepulchrum romanum The Hut on Fowl’s Legs The Great Gate of Kiev

november 22 & 23

Tzigane..............................................................................................Maurice Ravel

Use #picturesinmusic to chat with us about tonight’s concert!

This concert is made possible by:

Mrs. E.H. Brainard, II Mr. and Mrs. Tark Cook Amarillo National Bank Nancy and Bob Josserand Dr. Victoria Thompson The Mays Foundation The Amarillo Symphony 2013-14 Season

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8:00 p.m. November 22 & 23, 2013 Globe-News Center for the Performing Arts Carol Bush Emeny Performance Hall

Jacomo Rafael Bairos, conductor Elena Urioste, violin Adam Schoenberg b. 1980 Finding Rothko If asked to define the word “color,” most people take the meaning as selfevident; after all, colors were among the first things we learned as infants. But we often expand the meaning of “color” to refer to music, as in orchestral color, or in mood metaphors, as in green with envy, purple with rage, etc. Some individuals have a benign neurological syndrome called “synethesia” where they automatically associate specific colors with letters of the alphabet, odors, or musical pitches.

That composer Adam Schoenberg experienced a visceral reaction to a group of Abstract Expressionist paintings by Mark Rothko is hardly unusual. But there are surprisingly few composers who have drawn their inspiration from paintings or other fine arts objects; of course, Modest Musorgsky’s Pictures at an Exhibition heads the list. Schoenberg offers a new twist to the musical inspiration from art in his composition Finding Rothko, commissioned by the IRIS Chamber Orchestra in 2006. While Musorgsky captured in music the concrete subject matter of Victor Gartman’s paintings, Schoenberg addresses the Abstract Expressionist paintings of Rothko, who devoted his career to exploring the essence

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of and interactions between colors within a restricted form. The interaction between an abstract artist and a composer, who also deals with meaning through the abstractness of tones, offers a particular opportunity for the listener to participate actively in the experience, deriving a sense of meaning without a defined roadmap of concrete images such as Musorgsky used in his work. In a program note for Finding Rothko, Luke Howard, Associate Professor in music at Brigham Young University, writes: “Finding Rothko doesn’t try to portray Rothko’s use of color and shape, or attempt to ‘set” the paintings to music.

The artworks are simply a pretext, an inspiration. Yet the choice of paintings and the color connections between them formed a narrative in the composer’s imagination that is expressed clearly in the music.”

Unlike Musorgsky’s viewer of a specific exhibition, Schoenberg discovered a complete catalogue of thumbnail reproductions of Rothko’s work and was drawn to his particular sensitivity to color and the relationships between colors; four of the paintings suggested to him a musical narrative. In seeking to view the four paintings “in person,” Schoenberg readily found three of them but spent considerable time searching for the fourth that would permit him to develop fully his musical idea. Despite the single-color titles of the sections, the paintings Schoenberg

Originally from New Salem, Massachusetts, Schoenberg earned a Doctor of Musical Arts degree at The Juilliard School, where he studied with John Corigliano and Robert Beaser. He received his Master of Music degree in 2005 from Juilliard and his Bachelor of Music degree from the Oberlin Conservatory of Music in 2002.

Ralph Vaughan Williams 1872-1958 The Lark Ascending Vaughan Williams’ progress was slow and uncertain. He went to Berlin in 1897 to study with Max Bruch, and to Paris in 1908 to take lessons from Maurice Ravel. But he was drawn to Elizabethan and Jacobean music, and his music became rooted in Tudor

polyphony, uncovering that rich heritage for modern audiences. He also had a passion for English folk music; his collection of over 800 folksongs, on which he worked between 1903 and 1910, and his selection of the songs for The English Hymnal in 1906 helped set the stage for the future development of his musical language.

In his youth, Vaughan Williams studied the violin, an instrument he came to regard with special affection although he never fully mastered it.

In 1914, considered a rising musical star just beginning work on his Second (“London”) Symphony, he expressed his love for the instrument with The Lark Ascending, composed for the violinist Marie Hall. The outbreak of World War I indefinitely postponed the premiere until 1920, by which time Vaughan Williams had revised and re-orchestrated it. The work takes its title from a poem of the same name by George Meredith, the following extract of which appears in the score:

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ultimately selected are multicolored and, incidentally, all labeled “Untitled.”

Orange, for example, in the Guggenheim Museum in New York, contains uneven horizontal stripes of violet, black and yellow on white and red. Yellow is at the Museum of Modern Art in New York.

Red is at the Los Angeles Museum of Contemporary Art. Schoenberg had great difficulty locating the painting for the concluding movement, Wine, which he finally found at the then still unopened private Glenstone Museum in Potomac, Maryland. Schoenberg’s search, which inspired the title of the work, Finding Rothko, provides insight into the creative process, in this case, how an artist’s oeuvre leads to the idea of a musical narrative and ultimately to a search for those paintings that support the musical idea – complicated stuff indeed.

pictures in music

Jacomo Rafael Bairos, Music Director & Conductor

He rises and begins to round, He drops the silver chain or sound, Of many links without a break, In chirrup, whistle, slur and shake...

For singing till his heaven fills, `Tis love of earth that he instils, And ever winging up and up, Our

valley

is

his

golden

cup

And he the wine which overflows To lift us with him as he goes.…

Till

lost

on

his

aerial

rings

In light, and then the fancy sings.

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Jacomo Rafael Bairos, Music Director & Conductor

From its opening bars, there is a certain magic in the work. It presents the image of the soaring lark – “the wine which overflows” – in the non-metrical line of the solo violin against the more down-toearth (metrically bound) orchestra – the “golden cup” – all in a grand musical arch.

After a few gentle introductory measures by the orchestra, the solo violin enters hesitantly with a five-note motive reminiscent of bird song that becomes increasingly complex, a gentle but full cadenza – “And ever winging up and up.”

The violin then breaks out in a lilting melody reminiscent of English folk song, which it almost seems to “teach” the orchestra while it takes off again in more embellishments. After a return to the opening cadenza, the tempo picks up as the orchestra, led by the flute and clarinet, introduces its own animated folk-like melody, which it “teaches” the violin. During the change of pace, the violin returns to its cadenza, this time accompanied by other bird-song images by the solo winds. The work winds down with a varied reprise of the first folk melody and ends pianissimo as it began, with another cadenza on the violin, fading gradually – “Till lost on his aerial rings” – out of sight and hearing.

Maurice Ravel 1875-1937 Tzigane Popularized Gypsy (correctly “Rom”) music, and especially its violin virtuosity, has fascinated composers ever since the late Baroque. Pablo Sarasate, with his supreme violin technique, composed numerous fiendishly difficult Gypsystyle works for his own use, but Maurice

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Ravel, although not a violin player, did him one better.

In 1924, during the composition of his fairy tale opera L’Enfant et les sortileges, Ravel took time off to compose Tzigane, a pastiche of Gypsy melodies inspired by the techniques in Paganini’s TwentyFour Caprices. He wrote it for the Hungarian violinist Jelly d’Aranyi, a fiery and spectacular performer: “What a personality and what a born violinist!” wrote the conductor Sir Henry Wood after hearing her perform Tzigane in London. Ravel incorporated every trick in the violinist’s arsenal and then some, describing the work as “a virtuoso piece in the style of a Hungarian rhapsody.”

It is a juxtaposition of themes and variations without much development.

The question of whether this pastiche was meant as a parody of the nineteenth century Liszt-Brahms-Sarasate infatuation with Hungarian music has persisted since its composition. Of Basque heritage, Ravel was a master at imitating national styles, particularly Spanish. Here, his Hungarian voice holds up well against the authentic styles of Zoltán Kodály and Béla Bartók.

First written for violin and piano, Ravel shortly thereafter orchestrated it, but the accompaniment plays only a minor role. The soloist, in fact, begins with an elaborate cadenza that consumes nearly half of the piece.

Modest Musorgsky 1839-1881 Pictures at an Exhibition Arr. Maurice Ravel In July 1873, Modest Musorgsky’s close friend, the young architect and painter

A striking aspect of the suite is the nearly complete absence of any subjective emotion in a work directly inspired by a great personal loss.

Musorgsky gives us his personal impressions of Gartman’s art, but rarely of his feelings about Gartman’s death. Even in the Promenade, strolling from picture to picture, he portrays a cool, objective viewer rather than a grieving friend.

There is no evidence that Musorgsky ever planned to orchestrate the suite, although many of the pieces stretch the piano to its limits, crying out for orchestration. The score was not published until five years after the composer’s death, at which point other composers started its long history of orchestrated versions. The first arranger was Mikhail Tushmalov in 1890, followed by Sir Henry Wood, Lucien Cailliet, Leopold Stokowski, Vladimir Ashkenazy and others. But the most popular and by far the most successful arrangement is by Maurice Ravel, commission 1922 by the conductor Sergey Koussevitzky.

One of the most striking features of Musorgsky’s piano version, further

enhanced by Ravel’s orchestration, is the vivid tone painting that enables the listener to actually visualize the painting.

And it’s a good thing too since the originals of some of Gartman’s works upon which the suite is based are lost.

The musical “exhibition” comprises the “Promenade” and musical renditions of the ten pictures: 1. The Gnome: A sketch of a little gnome on crooked legs, said to be a design for a nutcracker.

2. The Old Castle: A medieval castle before which a troubadour sings a love song. The mournful sound of the alto saxophone was Ravel’s stroke of genius.

3. Tuileries: Children quarreling and nurses shouting on a path in the Tuileries garden in Paris.

4. Bydlo: A Polish oxcart with enormous wheels is heard in the distance as it gradually approaches, passes and disappears again.

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Victor Gartman, died suddenly. The following year a posthumous showing of his drawings, paintings and designs was presented in St. Petersburg. The fantastic and bizarre elements of much of Gartman’s work fascinated Musorgsky, who set out to create a musical memorial to his friend in the form of a suite of piano pieces. He depicted his impressions of ten of the pictures, portraying himself as the observer in the Promenade that introduces the work and serves as connector between the tableaux.

pictures in music

Jacomo Rafael Bairos, Music Director & Conductor

5. Ballet of the Unhatched Chicks: A design for a scene for the ballet Trilby.

6. Two Polish Jews: One rich, the other poor. No picture by Gartman corresponding to this tableau has ever been found. The subtitle “Samuel Goldenburg and Schmuyle” is a late addition, not by Musorgsky.

Ravel uses the basses and a solo muted trumpet to represent the two characters.

7. The Market Place at Limoges: French women haggling violently in the market.

8. Catacombae: The interior of the catacombs in Paris illuminated by lantern light with the figure of Gartman himself in the shadows.

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8a.“Sepulchrum romanum” (“With the dead in a dead language”): The Promenade, in the minor mode, constitutes the second part of the Catacombae.

9. The Hut on Fowl’s Legs: Baba-Yaga, the hideous old crone of Russian folklore, who lives in a hut supported on fowl legs and flies around in an iron mortar was Gartman’s design for the face of a clock.

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10. The Great Gate of Kiev: Gartman’s design for a memorial gate in Kiev in honor of Tsar Alexander II. The design is in the massive old Russian style, topped by a cupola in the shape of the helmet of the old Slavic warriors.

Program notes by: Joseph & Elizabeth Kahn Wordpros@mindspring.com www.wordprosmusic.com

Elena Urioste violin Elena Urioste, recently selected as a BBC New Generation Artist and featured on the cover of Symphony magazine, has been hailed by critics and audiences alike for her lush tone, the nuanced lyricism of her playing, and her commanding stage presence. Elena’s debut performances with the Chicago Symphony Orchestra were praised by three separate critics for their “hypnotic delicacy,” “expressive poise,” and “lyrical sensitivity.” Since first appearing with the Philadelphia Orchestra at age thirteen, she has made acclaimed debuts with major orchestras throughout the United States, including the New York Philharmonic, the Boston Pops, and the Atlanta, Detroit, and San Antonio symphony orchestras. In Europe, Elena has appeared with the London Philharmonic Orchestra, the Wurzburg Philharmonic, and Hungary’s Orchestra Dohnányi Budafok.

As first-place laureate in both the Junior and Senior divisions of the Sphinx Competition, she debuted at Carnegie Hall in 2004 and has returned annually as soloist. An avid chamber musician as well as soloist, Elena frequently performs in recital with her piano partner, Michael Brown, and has been a featured artist in the Marlboro, Ravinia, La Jolla, and Sarasota Chamber Music Festivals, as well as Switzerland’s Sion Valais International Music Festival.

Elena is the recipient of the inaugural Sphinx Medal of Excellence, London Music Masters Award, a Salon de Virtuosi career grant, and is a first-prize winner of the Sion International Violin Competition, which also awarded her its audience prize and the prize for best performance of the competition’s newly commissioned work.

Her media credits include the popular radio programs From the Top and Performance Today; appearances on Telemundo and NBC’s Today Show. She was recently featured in the 15th anniversary issue of Latina magazine as one of its “Future Fifteen.” Her first CD was released on the White Pine label, and her second recording – with pianist Christopher O’Riley and cellist Carter Brey – will be released in 2013.

Elena is a graduate of the Curtis Institute of Music, where she studied with Joseph Silverstein, Pamela Frank, and Ida Kavafian. She completed graduate studies with Joel Smirnoff at The Juilliard School.

The outstanding instruments now being used by Elena are an Alessandro Gagliano violin, Naples c. 1706, and a Pierre Simon bow, both on generous extended loan from the private collection of Dr. Charles E. King through the Stradivari Society of Chicago.

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Jacomo Rafael Bairos, Music Director & Conductor

Jacomo Rafael Bairos, conductor Sarah Jane McMahon, soprano Pavane, Op. 50.....................................................................................Gabriel Fauré 1845 - 1924

intimate evening

8:00 p.m. January 24 & 25, 2014 Globe-News Center for the Performing Arts Carol Bush Emeny Performance Hall

1910 - 1981

Trouble in Tahiti............................................................................Leonard Bernstein 1918 - 1990 Oh What a Movie!

INTERMISSION

january 24 & 25

Knoxville: Summer of 1915, Op. 24......................................................... Samuel Barber

Symphony No. 4 in E minor, Op. 98.................................................... Johannes Brahms 1833 - 1897 Allegro non troppo Andante moderato Allegro giocoso – Poco meno presto Allegro energico e passionato – Piu allegro Use #intimateevening to chat with us about tonight’s concert!

This concert is made possible by:

Dr. and Mrs. William P. Hale Wales Madden, Jr. Mike and Dalia Engler Bob and Lanna Hatton Tisha and Barry Peterson Salem Oil & Gas, LP The Amarillo Symphony 2013-14 Season

133

Jacomo Rafael Bairos, Music Director & Conductor

8:00 p.m. January 24 & 25, 2014 Globe-News Center for the Performing Arts Carol Bush Emeny Performance Hall

Jacomo Rafael Bairos, conductor Sarah Jane McMahon, soprano Gabriel Fauré 1845-1924 Pavane, Op. 50 The bulk of Gabriel Fauré’s music – whether piano, chamber, vocal or orchestral – conveys the impression of a personal and private statement, an intimate conversation between the composer and his muse. Throughout his life Fauré’s ideal was to create chamber music; the grander forms, opera, symphony or concerto, were not for him. Although he tried several times to write symphonies, he abandoned or rejected them; the same fate awaited his attempt at a violin concerto. His music is admirably suited for performance in private homes or small halls. But the elegance and ease of much of his work belies the painstaking effort that went into the composition. Fauré was not one to wear his heart on his sleeve.

Fauré was a student of Camille SaintSaëns, the quintessential French neoclassicist of the late nineteenth century who considered form as an essential component of “good” music. Fauré respected Saint-Saëns greatly, and while the structure of his works usually adheres to classical models, he often experimented and surprised audiences with unexpected phrasing and harmonies. His Requiem, for example, represents a quiet, comforting revolution in the Catholic approach to death (it lacks the Dies irae, describing

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the panic of damned souls awaiting judgment). Although a secret agnostic and freethinker, he worked for many years as organist and choirmaster at La Madeleine, one of the largest churches in Paris.

Fauré composed Pavane in 1887 for a small orchestra with an optional chorus part that is frequently omitted since it adds little to the delicate and nostalgic mood of the piece. The modest orchestration is in line with Fauré’s dislike of vivid colors and effects, which he considered a form of selfindulgence and a cover-up for a shortage of ideas.

Pavane became quite popular, and Fauré made a piano arrangement in 1889.

Samuel Barber 1910–1981

Knoxville: Summer of 1915, Op. 24 Composed in 1947 on commission from soprano Eleanor Steber, Knoxville: Summer of 1915 sets to music a text

by James Agee chosen from a collection of prose and poetry, The Partisan Reader: Ten Years of “Partisan Review,” 1934-1944: An Anthology. Agee’s text subsequently became the prologue to his autobiographical novel, A Death in the Family, which was published posthumously and awarded a Pulitzer Prize.

Agee describes an idyllic scene from his childhood: the sights, sounds and smells on a lazy summer afternoon and evening

Barber gives the text has a simple syllabic setting, appropriate to the character of childhood. Although it is Agee’s reverie, Barber composed Knoxville for Steber, the high tessitura more readily imitative of the young boy’s voice. Knoxville is more than a set of fleeting images; rather, it comprises a small but intense drama as the child passes from innocence to a realization of the sorrows of life.

After a short instrumental introduction, the meter shifts to a rocking melody that becomes the unifying musical element in the monologue. The idyll, however, is suddenly interrupted by the excitement of the modern world of automobiles and streetcars, their horns and bells imitated in the orchestra. As the boy’s attention turns back to the intimacy of the family and his own back yard, the opening theme returns but blends into a new lyrical melody as he lovingly describes his family. The reverie is again interrupted upon a sudden intuition of the cares and dangers of adulthood. He

mouths an anxious prayer to God for his family. As he describes the ritual of bedtime, the opening theme returns, almost as if lulling him out of his fears and into sleep. Yet, once touched by the image of sorrow, he is permanently changed as he falls asleep questioning his own fate and identity.

Leonard Bernstein 1918-1990 Trouble in Tahiti “Oh What a Movie” Composed in 1952, Trouble in Tahiti concerns the crumbling of the postwar American Dream: a little white house in the suburbs with Donna-Reedand-Fred-MacMurray families where father knows best. Bernstein’s Sam and Dinah find their perfect marriage disintegrating. No longer capable of communicating with each other without quarreling, they pursue hollow separate lives in which each longs for the elusive marital ideal. The story is stark, the parents driving each other crazy while victimizing the kids in the process.

january 24 & 25

while he was sitting on the porch or lying in the back yard of his family’s home in Knoxville, Tennessee. Barber set Agee’s prose text as poetry, adjusting it into lines that clarify the rhythmic pattern. He wrote to his uncle and mentor, the composer Sidney Homer: “…the summer evening he describes in his native southern town reminded me so much of similar evenings when I was a child at home…it expresses a child’s feeling of loneliness, wonder and lack of identity in that marginal world between twilight and sleep.” Shortly after he had finished the work, Barber met Agee, and the two discovered numerous coincidences in their lives, starting with the fact that they were born in the same year.

intimate evening

Jacomo Rafael Bairos, Music Director & Conductor

“Oh What a Movie” is sung by Dinah after seeing a terrible movie, “Trouble in Tahiti” – instead of going to see her son’s school play.

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Jacomo Rafael Bairos, Music Director & Conductor

Johannes Brahms 1833-1897 Symphony No. 4 in E minor, Op. 98 The Fourth Symphony nearly didn’t make it to the concert stage.

Brahms spent the summers of 1884 and 1885 in Mürzzuschlag, in the high Austrian Alps, composing the symphony.

Coming back from his walk one day, he found his lodgings in flames. Luckily, his friends and neighbors had saved most of his books and papers, including the manuscript of the Fourth Symphony.

Brahms had his doubts about how the new work would be accepted by the general public, especially in light of its somber tone and of the unusual fourth movement.

In a letter to his friend, the conductor Hans von Bülow, he wrote: ”It tastes of the climate here – the cherries are hardly sweet here, you wouldn’t eat them!” Even his friends, including Clara Schumann, had their reservations and suggested changes, including scrapping the third movement and the finale. Luckily, Brahms trusted his own judgment and changed nothing. The symphony premiered in Meiningen, in October 1885, Hans von Bülow conducting. It was only a moderate success, taking its time to win public favor.

Vienna in particular remained cool to its charms for many years.

It has been said that this symphony was the culmination of Brahms’s development of the symphonic structure and especially of the blending of modern harmonic idioms with formal structures of the past. It is also a work in which the composer worked more with development of short motivic elements rather than extensive themes.

Brahms was a committed classicist, to the point that such avant garde musical

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thinkers as Richard Wagner set themselves at ideological odds with him, generating considerable acrimony on the German music scene.

The symphony opens with a gentle fournote motive, which is ingeniously crafted into the fabric of the entire movement, often subtly transformed but always perceptible. The principal contrast is created by a fanfare-like second theme.

Classical slow movements were generally cast in ternary (ABA) form. The structure is common both in Western classical music and folk music; it was seriously overfarmed in the eighteenth-century opera as the da capo aria. Symphonic composers, however, frequently used the basic structure as a launching pad for their own modifications. The Andante moderato is a modified ABA structure, to which Brahms adds a repeat of the B section plus a coda.

The flowing main theme is introduced by a horn solo that leaves the key of the movement temporarily in question. The entrance of the clarinets, however, clears things up, although in a surprising way.

The third movement is a scherzo, but in sonata form instead of the Classical “minuet/trio” structure. In sharp contrast to the flowing theme of the preceding movement, it employs a somewhat quirky, angular first theme with irregular phrase lengths and pauses. The movement features some unusual orchestration, including the heavy use of the timpani, as well as the triangle, piccolo and contrabassoon.

The fourth movement is one of the most unusual in the history of the Romantic symphony. It is in the form of a passacaglia, a baroque dance form in which a short motive in the bass is continually repeated as the upper parts perform variations over it.

Brahms’s movement presents a chromatic

James Agee Knoxville: Summer of 1915 We are talking now of summer evenings in Knoxville Tennessee in that time that I lived there so successfully disguised to myself as a child. ...It has become that time of evening when people sit on their porches, rocking gently and talking gently and watching the street and the standing up into their sphere of possession of the trees, of birds’ hung havens, hangars.

People go by; things go by.

A horse, drawing a buggy, breaking his hollow iron music on the asphalt; a loud auto; a quiet auto; people in pairs, not in a hurry, scuffling, switching their weight of aestival body, talking casually, the taste hovering over them of vanilla, strawberry, pasteboard and starched milk, the image upon them of lovers and horsemen, squared with clowns in hueless amber.

repetitions of the ground and continually ramping up the musical tension by falsely suggesting that the movement is coming to a close when it is only reaching one of several internal climaxes.

Program notes by: Joseph & Elizabeth Kahn Wordpros@mindspring.com www.wordprosmusic.com

A streetcar raising its iron moan; stopping, belling and starting; stertorous; rousing and raising again its iron increasing moan and swimming its gold windows and straw seats on past and past and past, the bleak spark crackling and cursing above it like a small malignant spirit set to dog its tracks; the iron whine rises on rising speed; still risen, faints; halts; the faint stinging bell; rises again, still fainter, fainting, lifting, lifts, faints foregone: forgotten.

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eight-note motive, or ground, taken from Bach’s Cantata 150, with thirty variations. The opening, with a fanfarelike statement for all the woodwinds and brass, ensures that everyone can recognize the ground before Brahms submerges it in inner voices. Brahms breaks the potential monotony of the form by varying the orchestration, creating seamless elisions between the

intimate evening

Jacomo Rafael Bairos, Music Director & Conductor

Now is the night one blue dew.

Now is the night one blue dew, my father has drained, he has coiled the hose.

Low on the length of lawns, a frailing of fire who breathes....

Parents on porches: rock and rock. From damp strings morning glories hang their ancient faces.

The dry and exalted noise of the locusts from all the air at once enchants my eardrums.

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Jacomo Rafael Bairos, Music Director & Conductor

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On the rough wet grass of the back yard my father and mother have spread quilts.

We all lie there, my mother, my father, my uncle, my aunt, and I too am lying there....

First we were sitting up, Then one of us lay down, And then we all lay down, On our stomachs, or on our sides, or on our backs, And they have kept on talking.

One is an artist, he is living at home.

One is a musician, she is living at home.

One is my mother who is good to me.

One is my father who is good to me.

They are not talking much, and the talk is quiet, of nothing in particular, of nothing at all in particular, of nothing at all.

May God bless my people, my uncle, my aunt, my mother, my good father, oh, remember them kindly in their time of trouble; and in the hour of their taking away.

The stars are wide and alive, they seem each like a smile of great sweetness, and they seem very near.

All my people are larger bodies than mine,...

Quiet, with voices gentle and meaningless like the voices of sleeping birds.

After a little I am taken in and put to bed.

Sleep, soft smiling, draws me unto her; and those receive me, who quietly treat me, as one familiar and well-beloved in that home: but will not, oh, will not, not now, not ever; but will not ever tell me who I am.

amarillosymphony.org

By some chance, here they are, all on this earth; and who shall ever tell the sorrow of being on this earth, lying, on quilts, on the grass, in a summer evening, among the sounds of the night.

sarah jane mcmahon

SOPRANO

Hailed by The New York Times as “bright, active, and fastidiously musical,” and by Opera News as having “a golden sound,” Sarah Jane McMahon is recognized for her “beautiful vocal sophistication” and “sparkling stage presence.” Recently, Sarah Jane sang a Gala concert opposite Placido Domingo and made her debut with The San Francisco Symphony, Munich Philharmonic, the Wiener Konzert Haus, Bremen’s Die Glocke, and the Santo Domingo Festival in The Dominican Republic. A frequent guest artist at New York City Opera, she performed Mabel in their new production of The Pirates of Penzance and was described by The New York Times as “the most polished and flexible singer in the cast” and “a deft comic actress.” She also received their coveted Kolozsvar Award for her performances as Galatea in Handel’s Acis and Galatea, and was lauded for her “silvery-voiced soprano” and “real star presence” in Purcell’s King Arthur.

Selected by Maestro Placido Domingo to join the Los Angeles Opera, she sang with the celebrated tenor as the Fifth Flower Maiden in Parsifal, Naiad in Ariadne auf Naxos and The Milliner in Der Rosenkavalier. Sarah Jane also has performed with the Washington Concert Opera as Dorinda in Handel’s Orlando, Opera Grand Rapids as Maria in West Side Story, and with Des Moines Metro Opera as Susanna in Le Nozze di Figaro and Abigail Williams in The Crucible. Sarah Jane also performed Donna Clara, the Infanta, in Zemlinsky’s Der Zwerg at Bard SummerScape Festival for which Opera News wrote: “Sarah Jane McMahon laughed and danced as the glamorous Infanta, making a golden sound with an alluring light vibrato that evoked the young Pilar Lorengar.”

A summa cum laude graduate of Loyola University, New Orleans, and Yale University, recent concert appearances have included Christmas Concerts with The San Francisco Symphony and Shreveport Symphony, Carmina Burana at Avery Fisher Hall and with the Tulsa Opera and Ballet, and Knoxville Summer of 1915 and Mahler 4 with the Portland Symphony and Ridgefield Symphony.

Sarah Jane has recorded the title role in the premiere recording of Emmerich Kalman’s Sari, available on Albany Records. She also has an album of sacred music dedicated to New Orleans and the survivors of Hurricane Katrina, as well as a newly released Christmas album, Night of Silence.

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Jacomo Rafael Bairos, Music Director & Conductor

8:00 p.m. February 21 & 22, 2014 Jacomo Rafael Bairos, conductor PROJECT Trio, guest artist Hungarian Dance No. 5 Redux.................................................................. Sam Hyken

b. 1981

Guillaume Tell (William Tell): Overture.............................................Gioacchino Rossini

reimaginings

Globe-News Center for the Performing Arts Carol Bush Emeny Performance Hall

Peter and the Wolf, Op. 67.................................................................. Serge Prokofiev Further original compositions by PROJECT Trio

1891 - 1953 Arr. PROJECT Trio Orch. Sam Hyken

INTERMISSION West Side Story: Symphonic Dances.................................................Leonard Bernstein

1918 - 1990 Prologue Somewhere Scherzo Mamba Cha-cha Meeting Scene Cool Fugue Rumble Finale Use #reimaginings to chat with us about tonight’s concert!

february 21 & 22

1792 – 1868 Arr. PROJECT Trio

This concert is made possible by:

Happy State Bank Mullin Hoard & Brown Mr. and Mrs. W.M. Quackenbush BSA Health System Gerry and Richard McKay Dr. and Mrs. David Woodburn The Amarillo Symphony 2013-14 Season

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Jacomo Rafael Bairos, Music Director & Conductor

8:00 p.m. February 21 & 22, 2014 Globe-News Center for the Performing Arts Carol Bush Emeny Performance Hall

Jacomo Rafael Bairos, conductor PROJECT Trio, guest artist Sam Hyken

Gioacchino Rossini

b. 1981

1792-1868

Hungarian Dance No. 5 Redux In 2013, the Miami Symphony Orchestra commissioned Hungarian Dance No.5Redux for the first installment of the now annual “Ocean Drive in Vienna” concert series. The series features favorites of the famed Viennese New Years Eve Concerts, as well as new compositions and adaptations of famous works. For this concert, Hyken choose to re-imagine one of Johannes Brahms most famous compositions, Hungarian Dance No.5, which itself is a re-imagining of Hungarian folk music. As Brahms did before him, Hyken expands upon the original material in instrumentation, form, harmony, and style. He presents the four melodies of Brahms in a completely new fashion reminiscent of composers such as Esquivel and Peter Schikele, where humor is found in the original composition by way of exaggeration and quirky orchestration.

Hyken uses elements such as siren whistle, 5/4 time, swing, and a gypsy violin solo to present a modern day version of this timeless work. Hungarian Dance No.5 was made possible with a grant from the John S. and James L. Knight Foundation.

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Guillaume Tell (William Tell): Overture Arr. PROJECT Trio PROJECT Trio puts their unique spin on the timeless classic, Overture to William Tell, by Gioachino Rossini. From the sunrise in the opening cello solo, to the great orchestral storm, to the finale that everyone on the planet will recognize, PROJECT Trio brings an energy to this orchestral favorite that will leave you smiling and wanting more!

Serge Prokofiev 1891 – 1953 Arr. PROJECT Trio Orch. Sam Hyken PROJECT Trio’s Peter and the Wolf is a retelling of Prokofiev’s classic. The Trio takes Peter from Russia and brings him to Prospect Park in Brooklyn. All of Peter’s friends have come along, including Bird, Ducky, and Cool Kat. Grandpa and of course, Wolf round out the cast.

PROJECT Trio not only plays all the characters, but also narrates the tale. This piece is fun for everyone young and not so young anymore.

Jacomo Rafael Bairos, Music Director & Conductor

West Side Story: Symphonic Dances West Side Story was Leonard Bernstein’s attempt to demonstrate that it was possible to write a Broadway musical with the characteristics of high art.

He succeeded beyond all expectations.

With lyrics by Stephen Sondheim and with Jerome Robbins as director and choreographer, the show opened on Broadway on September 26, 1957 and ran for over 1,000 performances. The movie was just as spectacular a success, as was the recording.

But its birth was not easy. The show was originally conceived eight years earlier as a conflict between Jews and Catholics during the Easter-Passover celebrations and at one point was to be called East Side Story. The protagonists were finally switched to ethnic gangs on the Upper West Side, but no backers could be found. West Side Story became notorious for having been turned down by nearly every producer because no one thought that such a tragic story was suitable material for Broadway. Finally, Harold Prince and Robert Griffith, two successful Broadway producers, emerged as the show’s financial “angels.”

While describing the tragic life of ordinary people in a New York Puerto Rican ghetto, West Side Story tackles an archetypal theme: love clashing with prejudice and clan hatred, an inner city Romeo and Juliet.

The Symphonic Dances, which Bernstein extracted from the musical, are not played in the order of the original show. Comprising of nine segments played without pause, the suite

1. Prologue: Portrays the rising violence between the two street gangs, the Sharks and the Jets in harsh, jazzy dissonances and rhythms.

2. Somewhere: Tony and Maria’s idyllic dream sequence in which the gangs are joined in friendship and the lovers united, originally from Act 2 after Tony has stabbed Maria’s brother.

3. Scherzo: The dream continues as the two gangs leave the city for the idyllic countryside.

4. Mambo: The rival gangs compete at a school dance, originally from Act 1 when the two lovers first meet.

5. Cha-Cha. Tony and Maria, from opposing gangs, meet for the first time and dance together.

6. Meeting Scene: The lovers hesitantly exchanging their first words.

reimaginings

1918-1990

was first performed by the New York Philharmonic in 1961:

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Leonard Bernstein

1. 7.“Cool”Fugue: The hostility of the Jets gradually builds in anticipation of street warfare.

7. Rumble. The violent, dissonant climax results in the final tragedy in which both rival gang leaders are killed.

8. Finale: Tony dies in Maria’s arms, a victim of gang violence. In an ironic twist, the dream melody of “Somewhere” hauntingly reappears during the funeral procession.

Program notes by: Joseph & Elizabeth Kahn Wordpros@mindspring.com www.wordprosmusic.com

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PROJECT TRIO PROJECT Trio is taking chamber music to a whole new level. Greg Pattillo, flute, Eric Stephenson, cello, and Peter Seymour, bass, are pushing the boundaries of chamber music with a high-octane mix of classical, jazz, hip-hop, and rock. The Trio performs to enthusiastic audiences of all ages in concert halls, clubs, and classrooms around the world. Acclaim for the Trio and its members runs the gamut from Downbeat Magazine, which praises PROJECT Trio as “packed with musicianship, joy, and surprise” to the New York Times, calling beatboxing flutist Greg Pattillo “the best in the world at what he does.”

The Trio, now in its sixth year, was forged out of a collective love of performing high energy, top quality music to diverse audiences. They are drawing new audiences to classical music and reinvigorating existing fans of chamber music through their innovative performances, recordings, and their YouTube channel, which has over 71 million views and 78,000 subscribers, making PROJECT Trio one of the most watched instrumental ensembles on the Internet. The Trio, which performs over 70 concerts a year, plays to fans of all ages in venues around the world including Carnegie Hall, where they made their debut in 2010.

Highlights of the Trio’s 2012-13 season include concerts with the Charlotte Symphony, Los Angeles Chamber Orchestra, and the opening concerts of the Chicago Sinfonietta.

PROJECT Trio was selected by the U.S. Department of State’s Bureau of Educational and Cultural Affairs, in partnership with American Voices, as one of the ensembles for their 2012-2013 season of American Music Abroad.

Dedicated to engaging today’s younger audiences, PROJECT Trio has performed and led workshops for over 100,000 students on three continents, including over 35 states in the US. PROJECT Trio is instantly recognizable to students of all ages as a result of their YouTube following and appearances on popular TV shows on Nickelodeon and MTV. Their educational programs are adapted to meet the National Standards for Music Education, with specialized curricula for age groups from elementary students through college.

Based in Brooklyn, New York, Pattillo, Stephenson, and Seymour founded PROJECT Trio in Boulder, Colorado in the summer of 2005.

For more information on PROJECT Trio, visit www.projecttrio.com.

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The Amarillo Symphony is grateful for the outstanding support provided by these generous friends.

Jacomo Rafael Bairos, Music Director & Conductor

8:00 p.m. March 21 & 22, 2014

Rainbow Body..................................................................... Christopher Theofanidis b. 1967

Raise the Roof............................................................................Michael Daugherty b. 1954

INTERMISSION

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Jacomo Rafael Bairos, conductor Leonardo Soto, timpani

visionaries

Globe-News Center for the Performing Arts Carol Bush Emeny Performance Hall

The Planets, Op. 32............................................................................... Gustav Holst 1874 - 1934 Mars, the Bringer of War Venus, the Bringer of Peace Mercury, the Winged Messenger Jupiter, the Bringer of Jollity Saturn, the Bringer of Old Age Uranus, the Magician Neptune, the Mystic Use #visionaries to chat with us about tonight’s concert!

This concert is made possible by:

Mr. and Mrs. Alfred J. Smith The Amarillo Symphony 2013-14 Season

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8:00 p.m. March 21 & 22, 2014 Globe-News Center for the Performing Arts Carol Bush Emeny Performance Hall

Jacomo Rafael Bairos, conductor Leonardo Soto, timpani Christopher Theofanidis b.1967 Rainbow Body Born in Dallas, TX and a graduate of Yale, the Eastman School of Music, and the University of Houston, Christopher Theofanidis has been the recipient of the Masterprize, the Rome Prize, a Guggenheim Fellowship and the American Academy of Arts and Letters Charles Ives Fellowship, among others. He is a former member of the faculty of the Peabody Conservatory in Baltimore and the Juilliard School in New York City, and currently teaches at Yale. For the 2006-07 season he was composer-of-the-year of the Pittsburgh Symphony.

Theofanidis composed Rainbow Bodies in 2000, originally for string quartet and piano. It is based on a chant by the medieval mystic Hildegard von Bingen.

Theofanidis writes “… as simple and direct as this music is, I am constantly amazed by its staying power. Hildegard’s melodies have very memorable contours that set them apart from other chants of the period. They are very sensual and intimate, a kind of communication with the divine. This work is based on one of her chants, “Ave Maria, O auctrix vite” (Hail Mary, source of life).

“Rainbow Body begins in an understated, mysterious manner, calling attention to some of the key intervals and motives

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of the piece. When the primary melody enters for the first time about a minute into the work, I present it very directly in the strings without accompaniment.

In the orchestration, I try to capture a halo around this melody, creating a wet acoustic by emphasizing the lingering reverberations one might hear in an old cathedral.

“Although the piece is built essentially around fragments of the melody, I also return to the tune in its entirety several times throughout the work, as a kind of plateau of stability within an otherwise turbulent environment. Rainbow Body has a very different sensibility from the Hildegard chant, with a structure that is dramatic and developmental, but I hope that it conveys at least a little of my love for the beauty and grace of her work.”

The key words in Theofanidis’s description of his own work are “mystic,” turbulent,” “dramatic” and “developmental.” Rainbow Body suggests Hildegard’s chant set against tension and conflict. Over the course of the piece, the fragments of the chant compete for ascendancy, eventually emerging triumphant in its complete form. The entire work, therefore, is an arch – or a rainbow – anchored by Hildegard’s song.

b.1954 Raise the Roof Michael Daugherty composed Raise the Roof in 2003, on a commission from the Detroit Symphony Orchestra for the opening of its Max Fisher Music Center.

A mini-concerto for timpani, it is also a fusion piece, incorporating everything from medieval plainchant to rock and Latin rhythms.

The chant melody and its countermelody represent the melodic backbone of Raise the Roof; they are often repeated, played in canons and fugues to give the acoustic image of a gothic cathedral – hence the title – although with everchanging rhythm, through much of the 12-minute work.

Of the special role assigned to the timpani, the composer writes: “Raise the Roof brings the timpani into the orchestral foreground as the foundation of a grand acoustic construction. I have composed music that gives the timpanist the rare opportunity to play long expressive melodies, and a tour de force cadenza. The timpanist uses a wide variety of performance techniques: extensive use of foot pedals for melodic tuning of the drums, placement of a cymbal upside down on the head of the lowest drum to play glissandi rolls, and striking the drums with regular mallets, wire brushes, maraca sticks, and even bare hands.”

Daugherty envisioned his piece as building “a wall of sound… rising toward a crescendo of polyrhythms and dynamic contrasts, allowing the orchestra to construct a grand new space for performing music of the past, present, and future.”

Born in Cedar Rapids, Iowa, Daugherty is the son of a dance-band drummer and the oldest of five brothers, all professional musicians. He was educated at North Texas State University and the Manhattan School of Music, where he trained originally as a jazz pianist. He then spent a year at Pierre Boulez’s IRCAM (Institut de Recherche et Coordination Acoustique/Musique) in Paris. Daugherty received his doctorate in composition from Yale University in 1986. After teaching music composition for five years at the Oberlin Conservatory of Music, he joined the School of Music at the University of Michigan (Ann Arbor) in 1991, where he is currently Professor of Composition.

Gustav Holst 1874-1934

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Michael Daugherty

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Jacomo Rafael Bairos, Music Director & Conductor

The Planets, Op. 32 Composer, educator and conductor Gustav Holst is known outside his native England essentially as a onework composer. The Planets, composed between 1914 and 1916, gained him international fame, but he detested its popularity. As if to validate the composer’s feelings, snippets of its opulent music with its broad orchestral palette have also been favorite fodder for television commercials.

Holst came from a musical family and was taught the piano by his father. He was a precocious, but not a particularly healthy, child who started composing while in grammar school. As a teenager he developed neuritis in his right arm, forcing him to give up the piano, but he picked up the trombone as a cure for his asthma. At the Royal College The Amarillo Symphony 2013-14 Season

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of Music, which he entered in 1893, he continued with the trombone in addition to composition, and from 1897 to 1903 performed as a freelance trombonist, mostly with opera companies. The experience inspired him to write numerous works for brass band, including two Suites for Military Band and Hammersmith, the latter written for the BBC Military Band.

Holst was influenced by mysticism and developed his own individual blend of Indian music and English folksong. His early works were inspired by the Vedas, Sanskrit holy verses that he modified and adapted for his own compositions. In 1908 he wrote a chamber opera, Savitri, based on a story from the great Sanskrit epic Mahabharata.

A quiet, introverted person, for most of his life Holst devoted his musical efforts to teaching. From 1905 until his death he taught music at St. Paul’s Girls’ School in Hammersmith, where many of his compositions were written for the school’s orchestra and chorus. In 1906, on his doctor’s advice, he went on vacation to Algeria and bicycled in the desert.

The experience was the inspiration for the orchestral work Beni Mora. When it was first performed in England, one critic complained, “We do not ask for Biskra dancing girls in Langham Place.”

Composer Ralph Vaughan Williams once noted that had the piece been premiered in Paris instead of England, it would have made Holst a household name some ten years earlier than his success with The Planets. In 1932 Holst was visiting lecturer in composition at Harvard; among his students was composer Elliott Carter.

The inspiration for The Planets was not astronomy, but astrology and alchemy, to which Holst was introduced in 1913,

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when he began studying the writing of the aptly named astrologer, Alan Leo. He attempted to depict in music the traditional astrological “personalities” and influences on the human body of the seven planets (Pluto was not discovered until 1930 and has now been demoted anyway.)

His musical language was strongly influenced by the new developments in music at the time, especially by Arnold Schoenberg, Igor Stravinsky and Edward Elgar.

Holst arranged the seven movements according to musical, not astronomical, criteria. Thus their arrangement does not correspond to their orbital distance from the sun: 1. “Mars, The Bringer of War:” This martial movement with its brutally percussive ostinato rhythm was indeed prescient, written a few months before the outbreak of World War I. According to Holst’s directions, it is to be played slightly faster than a regular march, to give it a mechanized and inhuman character.

2. “Venus, The Bringer of Peace.”

This astrological portrait is typical of the andante movement in a fourmovement symphony.

3. “Mercury, The Winged Messenger.”

A scherzo with a perpetual motion rhythm and sparkling orchestration conforms to the popular image of Mercury in the F.T.D. Florist logo.

4. “Jupiter, The Bringer of Jollity.” With its broad British folk-like melodies, this movement is strongly influenced by the music of Elgar. It bears, however, little relationship to the Greco-Roman king of the gods.

5. “Saturn, The Bringer of Old Age:” Holst considered the serene and subtle orchestration as the best of the movements.

Jacomo Rafael Bairos, Music Director & Conductor

Program notes by: Joseph & Elizabeth Kahn Wordpros@mindspring.com www.wordprosmusic.com

visionaries

6. “Uranus, The Magician.” This movement appears to owe its ostinato rhythm the march of the brooms in Paul Dukas’s The Sorcerer’s Apprentice, but there is a question whether Holst was familiar with Dukas’ tone poem.

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7. “Neptune, The Mystic:” In this movement, Holst added wordless female voices, recalling Ravel’s Daphnis and Chloe and Debussy’s “Sirènes” from Nocturnes.

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LEONARDO SOTO TIMPANI Leonardo Soto is currently the principal timpanist of the Charlotte Symphony. He previously served as principal timpanist of the Michigan Opera Theatre Detroit Opera House for six seasons where he was part of the world premiere of two American operas.

Mr. Soto began his professional career as a substitute percussionist with the Santiago Philharmonic Orchestra and the National Symphony of Chile, gaining experience in orchestral, opera and ballet repertoire.

In 1997 he received the Fundasion Andes International Scholarship after competing internationally against young musicians from Chile, Argentina, Brazil and Venezuela.

The scholarship brought him to the United States to finish his education at Carnegie Mellon University, where he completed his master’s degreeand artist diploma with timpanist Timothy K. Adams Jr. from the Pittsburgh Symphony Orchestra. Since relocating to the United States, Mr. Soto has worked with the symphony orchestras of Pittsburgh and Detroit in addition to the New World Symphony, Fort Wayne Philharmonic and Toledo Symphony. Mr. Soto also recorded and toured with a number of artist and bands from Pennsylvania, Michigan and New York.

Leonardo regularly returns to Chile to perform recitals, master classes, and clinics at the National University and the Youth Symphony Organization, hosting students from different South American countries. As an educator and instructor, Mr. Soto is a faculty member at Queens University in Charlotte as well as an instructor for both the Charlotte Youth Symphony and Junior Youth Symphony.

During the summer Mr. Soto travels to Steamboat Springs, Colorado to be part of the Strings Music Festival, conducted by Andres Cardenes, former concertmaster of the Pittsburgh Symphony Orchestra and violin professor at Carnegie Mellon University.

In addition to his duties as timpanist in the orchestra, he also performs as multipercussionist for the chamber music series.

Mr. Soto received his bachelor’s degree from the University of Chile where he received the Teatro Municipal of Santiago National Scholarship. Mr. Soto also received simultaneous training from one of Chile’s most prominent percussionists, his father, Mr. Leonardo Soto, Sr. Leonardo is endorsed by Freer Percussion products, Evans drum heads and Pro-Mark drum sticks.

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40641 Bruckner SymphonyAd 2013.indd 1

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2013-2014 Season

August 15-25, 2013

Sept. 19-29, 2013

Oct. 24-Nov. 3, 2013

Dec. 5-22, 2013

Jan. 16-26, 2014

Feb. 6-16, 2014

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For ticket information, call our box office at 806.355.9991 or visit our website

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Be inspired all year long!

BALUSTRADE END WITH GARUDA AND NAGA Khmer (Cambodia), 12th-13th c.

Bayon Style, Angkor Buff sandstone Gift of Dr. and Mrs. William T. Price in memory of Dr. Charles Patrick “Pat” Oles

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Mr. and Mrs. Joseph H. Pool Diamond Baton Concert Sponsors

The Amarillo Symphony is grateful for the outstanding support provided by these generous friends.

8:00 p.m. April 25 & 26, 2014 Globe-News Center for the Performing Arts Carol Bush Emeny Performance Hall

Joseph Young, conductor Girl Crazy: Overture........................................................................George Gershwin 1898 - 1937

Promenade: Walking the Dog............................................................George Gershwin Shall We Dance: Slap that Bass........................................................George Gershwin

L A DY S I N G S TH E B L U E S

Jacomo Rafael Bairos, Music Director & Conductor

1918 - 1990

Victory Stride.................................................................................James P. Johnson 1894 - 1955

Drums: A Symphonic Poem...............................................................James P. Johnson Ellington Medley..............................................................Edward Kennedy Ellington

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Wonderful Town: Overture...............................................................Leonard Bernstein

1899 - 1974 Arr. Calvin Custer

Funny Face...................................................................................George Gershwin

‘S Wonderful

Oh, Kay!.......................................................................................George Gershwin

Someone to Watch Over Me

By Strauss....................................................................................George Gershwin Strike Up the Band.........................................................................George Gershwin INTERMISSION Lullaby for Strings..........................................................................George Gershwin Rhapsody in Blue...........................................................................George Gershwin Use #ladysings to discuss your evening!

This concert is made possible by:

Mr. and Mrs. Joseph H. Pool The Amarillo Symphony 2013-14 Season

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8:00 p.m. April 25 & 26, 2014 Globe-News Center for the Performing Arts Carol Bush Emeny Performance Hall

Joseph Young, conductor George Gershwin 1898-1937 Girl Crazy: Overture The team of George Gershwin and his brother, lyricist Ira, became one of the most successful teams of song and musical comedy writers on Broadway in the 1920s.

The brothers mounted a string of hit musicals from Lady be Good in December 1924 to Let ‘em Eat Cake in October 1933.

The opening night of a George Gershwin musical comedy was a social and media event with Gershwin himself usually leading the orchestra.

Girl Crazy, composed in 1930, contains one of Gershwin’s most memorable songs, “I Got Rhythm.” The show served as Ethel Merman’s stage debut and also catapulted Ginger Rogers to stardom.

It is the story of Danny, a dissolute youth whose father removes him from the city temptations to manage the family’s ranch in Arizona. But Danny turns the place into a dude ranch and the city ways come to Arizona.

Leonard Bernstein 1918-1990 Wonderful Town: Overture Acknowledged early in his career as one of the shining lights of twentieth-century music, Leonard Bernstein soon contracted the disapproval of the classical music establishment for dissipating his enormous

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talent, sticking his fingers into too many musical pies: conducting, symphonic composition, jazz/classical hybridization, musical theater and teaching. Although initially, his mixing of genres and styles angered purists, Bernstein’s compositions are among the most accessible and beloved by audiences.

By the early 1950s he had succeeded as composer in the concert hall with his Symphony No. 1, “Jeremiah,” which won the New York Music Critics’ Award; on the ballet stage with Fancy Free; and on Broadway with On the Town and Wonderful Town.

Premiered in 1953, Wonderful Town, with lyrics by Betty Comden and Adolph Green, is the madcap story of two small town sisters in the 1930s who end up in Greenwich Village in search of love and fortune.

Duke (Edward Kennedy) Ellington 1899-1974 Ellington Medley Arr. Calvin Custer Among the great big band leaders, Duke Ellington was the only one who could be everything: composer, arranger, pianist and bandleader. Born in Washington, DC, where his father was a butler, he began playing the piano at age seven, making his professional debut as a ragtime pianist at 17. Ellington moved to New York in 1923

In 1969 Ellington received the Presidential Medal of Honor and in 1970 was elected to the exclusive National Institute of Arts and Letters.

He was also the first jazz musician to be named a member of the Swedish Royal Academy of Music.

George Gershwin

By Strauss In addition to his own musicals, Gershwin composed over two dozen songs for shows by other composers and for reviews. “By Strauss,” for the 1936 Schubert brothers’ review The Show is On, was his final song, dying suddenly a year later of a brain tumor diagnosed too late.

The gist of “By Strauss” can be expressed in these lines from the text:

When I want a melody Lilting through the house Then I want a melody

By Strauss

The song was used again in the 1951 film An American in Paris.

George Gershwin Strike up the Band The librettos of the Gershwin brothers’ musicals were pure whipped cream.

They were the ultimate escape, especially after the Great Depression set in. Strike up the Band, a bitter anti-war satire by lyricist George S. Kaufman, premiered in 1927 but was too harsh for the prosperous audience of the time. In 1930 Gershwin revived it with a gentler libretto and it was a smashing success.

The new libretto was a real romp, a story about America and Switzerland going to war over chocolate.

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to join Elmer Snowden’s Washington Band. In 1930 his composition Mood Indigo catapulted him to world fame.

Elegant and well spoken, he was one of the most important figures of the Harlem Renaissance and a symbol of the big band jazz era. He composed over 2000 works, many of them three-minute pieces, constrained by the limitations of the old 78 rpm records. Every member of his band was a virtuoso, and Ellington incorporated their original riffs as part of his compositional process. He composed in many genres, including film music (Anatomy of a Murder) and, towards the end of his life, liturgical music.

L A DY S I N G S TH E B L U E S

Jacomo Rafael Bairos, Music Director & Conductor

George Gershwin Lullaby for Strings The first American composer to make jazz acceptable to the classical music audience, Gershwin was son of poor Jewish immigrants in lower Manhattan.

He was a natural-born pianist who left school at 16, and he always tried to give the impression that his musical powers were innate and that he never had to study music. In reality he was a student all his life, albeit always with private tutors.

A great composer’s discards are often the next generation’s treasures. In 1919 George Gershwin composed the Lullaby for String Quartet, probably as an exercise in his private composition and harmony studies with Edward Kilenyi. For a few years it was occasionally performed by The Amarillo Symphony 2013-14 Season

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Gershwin’s friends, but never in public.

Three years later he incorporated part of the melody into an aria for a oneact opera, Blue Monday, which closed after one performance. Finally tiring of the piece, he left the manuscript on his brother Ira’s shelf where it was discovered in 1963 by harmonica player Larry Adler.

Adler made a transcription for harmonica and string quartet that became very successful. In 1967, the Juilliard String Quartet premiered the original version and recorded it in 1974. Conductor and pianist Jeff Manookian prepared the string orchestra version.

George Gershwin

Rhapsody two years later for full symphony orchestra.

The premiere, on February 12 1924, was a smashing success. Although the critics – true to form – mostly snubbed it, the audience loved it. Virtually overnight, jazz became respectable. Gershwin himself played the piano part, becoming an instant celebrity. Significant credit for the success must go to Grofé’s imaginative orchestration, which has ended up as his most enduring contribution to music, along with his Grand Canyon Suite.

Gershwin was a fast learner. Less than two years later he premiered his Piano Concerto in F; this time the orchestration was his own.

Rhapsody in Blue In the fall of 1923 in New York’s Aeolian Hall, George Gershwin played piano arrangements of a few of his songs.

Bandleader Paul Whiteman, who promoted concerts of popular music in Aeolian Hall, was the self-styled “King of Jazz” who attempted to make the gritty and unruly new art form more symphonic and “respectable.” Whiteman commissioned Gershwin for an extended jazz composition to be performed in one of his concerts.

Gershwin composed the Rhapsody in a mere three weeks early in 1924, in a two-piano version. Lacking the skills to orchestrated the work, he gave it be orchestrated for piano and jazz orchestra to Ferde Grofé, a popular composer, pianist and arranger, who served as Whiteman’s factotum. Grofé practically lived in Gershwin’s house, orchestrating the work page-by-page as they came from the composer’s pen. He also rescored the

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Program notes by: Joseph & Elizabeth Kahn Wordpros@mindspring.com www.wordprosmusic.com

JOSEPH YOUNG guest CONDUCTOR Joseph Young is increasingly regarded as one of America’s rising young conductors. His recent engagements include the Colorado Symphony Orchestra, Tucson Symphony, Charleston Symphony Orchestra, Buffalo Philharmonic, Delaware Symphony Orchestra and Orquestra Sinfónica do Porto Casa da Música. In 2013, Joseph was a Semi-finalist in the Gustav Mahler International Conducting Competition (Bamberg, Germany). In 2011, he was one out of six conductors featured in the League of American Orchestras’ prestigious Bruno Walter National Conductor Preview, hosted by the Louisiana Philharmonic. In 2008, Joseph was the first recipient of the Sir Georg Solti Foundation Career Grant for young conductors.

Recently concluding his tenure as Resident Conductor of The Phoenix Symphony, Joseph dedicated his energy and passion to audiences of all ages. Joseph maintained a leading role in the development of the Family and Education Series and conducted regularly on the orchestra’s classics and pop concert series. Prior to joining The Phoenix Symphony, Joseph concluded a successful season with the Buffalo Philharmonic as assistant conductor and League of American Orchestras Conducting Fellow. His duties included conducting numerous education, pops and special event concerts. In addition to his conducting duties he worked closely with the orchestra’s education director to create in-school programs and community outreach events. In 2007 Joseph made his professional debut as the first recipient of the Baltimore Symphony Orchestra-Peabody Institute Conducting Fellowship. From 2007-2009 he worked with the Baltimore Symphony where his responsibilities included leading the orchestra in numerous education and outreach concerts and assisting Music Director Marin Alsop and such conductors as John Adams, Leonard Slatkin, Arild Remmereit and Jun Märkl.

Joseph completed graduate studies with Gustav Meier and Markand Thakar at the Peabody Conservatory in 2009, earning an artist’s diploma in conducting. He received further conducting studies at the Cabrillo Contemporary Music Festival, the 2010 Jorma Panula International Master class in Porto, Portugal and in 2012 at the Tanglewood Music Center. From 2007-2010, he was also one of five recipients of the League of American Orchestras’ prestigious American Conducting Fellowship.

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4018 W. 50th Ave. Amarillo, TX 79109 Phone (806) 355-8981 Fax (806) 355-6630 Toll-Free (800) 692-1394 www.austindistributing.com

An evening of inspiration Fibonacci Space 3306 SW 6th 806-236-3545 ChamberMusicAmarillo.org

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The Amarillo Symphony 2013-14 Season

181

Jacomo Rafael Bairos, Music Director & Conductor

INDEX OF ADVERTISERS

182

Adair Buckner.............................................. 26

Brown & Fortunado, P.C........................... 117

Advanced Eye Care..................................... 143

Bruckner Truck Sales.................................. 163

Affiliated Foods Inc...................................... 76

BSA Women’s Health Center........................ 43

AGN Media................................................. 24

Chamber Music Amarillo........................... 181

Allergy Arts................................................ 177

Chaparral Cleaners, LLC.............................. 79

Amarillo Bone & Joint Clinic, LLP.............. 35

Christmas Roundup..................................... 97

Amarillo Building................Inside Front Cover

Circle A Title Company............................. 118

Amarillo Civic Center:

Connie Stark Realtors................................... 37

The Broadway Spotlight Series............... 177

The Curtain Exchange .............................. 119

Amarillo Club.............................................. 95

Dance Arts Amarillo..................................... 84

Amarillo College.......................................... 41

Data Flow.................................................... 99

Amarillo College Conservatory Theatre........ 46

Davy Knapp Photography.......................... 142

Amarillo College Master Chorale................. 68

Diocese of Amarillo.................................... 116

Amarillo Convention and Visitor Council.... 56

Donut Stop................................................ 131

Amarillo Endodontics.................................. 25

Doshier, Pickens & Francis, LLC................. 20

Amarillo Gear Company............................ 167

Dr. B. Houston Collins III, D.D.S., P.A..... 163

Amarillo Little Theatre............................... 165

Dr. David Woodburn, D.D.S....................... 98

Amarillo Museum of Art............................ 168

Dr. Douglass Hyde....................................... 40

Amarillo National Bank.......Inside Back Cover

Dr. James Vaughn, D.D.S.......................... 179

Amarillo Opera.......................................... 178

Dr. Mary Ann Piskun................................... 82

Amarillo Style Magazine............................. 119

Dr. Paul C. Pearson, D.P.M., P.A................ 152

Amarillo Surgical Group.............................. 49

Dr. Shannon Stapp, D.D.S........................... 95

Amarillo Symphony Ball.............................. 48

Duncan & Boyd............................. Back Cover

Amarillo Town Club..................................... 27

Eat Rite Health Food................................. 176

Ascension Academy.................................... 109

First Bank Southwest.................................. 181

Audio Refinery........................................... 106

First Baptist Church..................................... 34

Austin Distributing.................................... 180

First Presbyterian Church........................... 153

Bar Z Winery............................................. 155

Freeman’s Flowers........................................... 7

Barnes Jewelry.............................................. 21

Friends of Aeolian Skinner Opus.................. 78

BioCycle..................................................... 154

Furman Land Surveyors............................. 107

Bivins-Childers........................................... 164

Graham Brothers Jewelers............................ 32

Bobbie Allen, LCSW, LCDC..................... 131

Gray is Grey................................................... 3

Boxwell Brothers.......................................... 36

Happy State Bank...................................... 144

Brides........................................................... 84

Harlow’s Boutique........................................ 95

Broome Optical.......................................... 132

Harrington Cancer Center........................... 18

amarillosymphony.org

Harrington Physicians, Inc........................... 31

Panhandle-Plains Historical Museum........... 19

Herring National Bank............................... 110

Park Central................................................... 6

Hester Capital Management....................... 120

Patio Shop / Fireplace Center....................... 95

High Plains Dermatology Center, P.A......... 176

Physicians Surgical Hospital......................... 22

High Plains Public Radio............................. 77

Portraits By Tracy......................................... 79

Hills Sport Shop......................................... 155

Premier Vision............................................. 73

Hospice Care of Southwest......................... 108

Roberts Truck Center................................. 140

Howard Smith Co. Realtors....................... 153

Sakura Japanese Steakhouse.......................... 12

Integrity Motors......................................... 151

Scarab Art.................................................. 176

IV Lodge & Vineyard................................. 152

The Secret Place............................................. 1

J. Winston.................................................... 78

Semblance Boutique..................................... 19

JBS Linens................................................. 176

Sonic............................................................ 68

The Jim Hutson Agency............................. 150

Sound Systems, LTD.................................... 40

Johnson & Sheldon, P.C............................. 100

Sprouse Shrader Smith ................................ 92

Kabuki Romanza........................................ 128

St. Andrews Episcopal School....................... 10

KACV............................................................ 5

St. Mary’s Catholic Cathedral & School..... 106

Karr & Hardee Dentistry............................. 78

Stephens & Hagan..................................... 149

Katy Pair Photography................................... 6

Steven Cost Gallery & Studio...................... 42

Krause Landscape....................................... 150

Street Toyota.............................................. 184

Kushi Yama................................................ 166

Sunset Art Gallery........................................ 11

Legacy Floorcovering.................................... 54

Sybil Harrington College of

Lilly Finch.................................................. 130

Fine Arts & Humanities.......................... 72

Little Brown House.................................... 167

Texas Commission on the Arts................... 169

Llano Cemetary............................................ 54

Texas Furniture............................................ 69

Lone Star Ballet............................................ 96

Texas Oncology.............................................. 4

Lovelady, Christy + Associates...................... 13

Texas Outdoor Musical Drama................... 118

Lux Lounge.................................................. 47

Texas Tech Physicians of Amarillo.............. 141

Marcella Furs............................................... 55

Texas Tech School of Medicine OBGYN.... 129

Maxor........................................................ 155

Thatcher Co. Realtors.................................. 66

McDonald’s................................................ 168

United Supermarkets.................................. 109

Mister Doyce Tuxedos.................................. 47

Upshaw Insurance...................................... 152

Mullin, Hoard & Brown, LLP...................... 30

Valet Cleaners, Inc..................................... 140

Music From Angel Fire............................... 130

Valmed......................................................... 67

Neely, Craig & Walton Insurance................. 93

Williams-Boyce Agency.............................. 176

OHMS Cafe & Catering............................ 131

Windshields Unlimited................................ 83

Omega Electronics....................................... 74

The Worth Collection................................ 167

Panhandle Obstetrics and Gynecology......... 28

Xcel Energy.................................................. 94 The Amarillo Symphony 2013-14 Season

I N D E X O F A D V E RT I S E R S

Jacomo Rafael Bairos, Music Director & Conductor

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amarillosymphony.org