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Music Stands by Barbara Peabody,; Photo by Larry Kantor

Arizona Philharmonic

Second Season 2019-2020 1

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n behalf of Arizona Philharmonic’s musicians, board, volunteers, and supporters, welcome to our second season. Arizona Philharmonic is Prescott’s own professional orchestra. Patrons like you have repeatedly expressed excitement about this development in our local arts scene. And who wouldn’t? Beyond city pride and artistic satisfaction, a local professional orchestra increases Prescott’s ability to attract tourism, new businesses, and family relocation.

children’s books. We also will highlight our orchestra’s musicians in four intimate chamber concerts (Fridays with AZ Phil), complete with food and beverages. These concerts overlook our beautiful city from the third floor of the Elks Theater Performing Arts Center. We are particularly excited to collaborate with the Jim and Linda Lee Planetarium on two projects: a new Spring Under the Stars program (March 20 & 21), where Prescott’s Spring Night Sky dances with live performances of Vivaldi and other classics; and in an outreach program with Prescott Unified School District that combines learning of constellations and composing for orchestra, the results of which will be highlighted on our May orchestra concert!

Maestro Peter Bay, who conducted our inaugural concert with local soloists James D’León and Maria Flurry, finds time off from his Austin Symphony post to return as Music Director this season. Arizona Philharmonic (affectionately known as “AZ Phil”) also makes itself available to other local groups for their productions. Last year we performed with Prescott Chorale in their October Bach Festival, with Yavapai College for Messiah, and with YCPAC and Ballet Victoria for Carmina Burana, all with rave reviews.

Thank you for being a part of this vision, for you are the most important piece of this orchestra. This year Arizona Philharmonic is producing Sit back and enjoy the journey ahead with two full orchestra concerts (August 25 and May Prescott’s professional orchestra, Arizona 24) that feature professional Prescott-area Philharmonic. soloists. Our May concert offers a special treat with the beloved Toni Tennille as narrator for Henry Flurry a charming set of pieces inspired by famous President of the Board, Arizona Philharmonic 55

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Peter Bay

eter Bay became Music Director and Conductor of the Austin Symphony Orchestra in 1998. He is also Music Director of the Hot Springs Music Festival (AR), and Conductor of the Big Sky Festival Orchestra (MT). Maestro Bay has appeared with eighty different orchestras worldwide. Peter is the primary conductor for the ASO’s performances with Ballet Austin. He made his Austin Opera debut in January 2002 with André Previn’s A Streetcar Named Desire, and conducted La Traviata in November 2002, Turandot in November 2003, The Marriage of Figaro in April 2005, and La Bohème in April/May 2019. A native of Washington, D.C., Mr. Bay is a graduate of the University of Maryland and the Peabody Institute of Music. In 1994, he was one of two conductors selected to participate in the Leonard Bernstein American Conductors Program. He was also the first-prize winner of the 1980 Baltimore Symphony Orchestra Young Conductors Competition and a prize winner of the 1987 Leopold Stokowski Competition sponsored by the American Symphony Orchestra in New York. In July 2012 he appeared in Solo Symphony, a choreographic work created for him by Allison Orr of Forklift Danceworks. Peter can be seen conducting the Barton Strings in “Christopher Cross and Friends” PBS broadcast and DVD recorded at the Moody Theater. He conducted the Hanan Townshend score for the 2016 film “The Vessel” and led performances of Leonard Bernstein’s “Mass” as part of the Bernstein 100 Austin celebrations. Peter was inducted into the Austin Arts Hall of Fame in May 2016. He is married to soprano Mela Dailey and they have a son Colin. 77

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What People With Hearing Loss Want You To Know

To better help family, friends, co-workers, and service personnel, I hope this inspires you to be mindful about how to interact with those of us with hearing loss. There is often fear, anger, and shame with this invisible disability. •Truly, what you have to say is important to me. I want to connect, but in some environments, I may miss a lot of what is said. •It takes a lot of energy trying to take it all in and it often gets frustrating. I am not mad at you. I am mad at my hearing loss. •I need to see your lips to help me hear what you are saying. •My brain processes words more slowly than yours. •I need to take hearing breaks and rest. •Sometimes loud environments are just too painful to my ears. • Hearing aids do not equal perfect hearing. Some helpful tricks: •Before speaking to me, make sure you have my attention by saying my name and waiting for a connection. •Speak a little slower and please enunciate. •If you have a soft voice, practice speaking from your diaphragm. •Acoustics of a room make a big difference. I appreciate when you suggest we move somewhere

THE STIGMA IS GONE. These are NOT your grandma’s hearing aids.

quieter. •Accents and people who speak very fast can be an extra challenge for my brain to process. •When telling a joke or funny anecdote, try to say the punch line loudly. Even if I’ve missed the rest, I can enjoy the end. •Rolling your eyes or sighing loudly when I ask you Dusty Spitler to repeat yourself has an effect – and not a good one. •Please go with me to my hearing specialist. Having my hearing aids adjusted to your voice, and knowing your challenges with our communication, is very important to me. You can get your own baseline hearing exam at the same time. I know my hearing loss affects you as well. While it is difficult for me to have a hearing loss, it is also challenging for those around me. It is not easy to remember to speak up or differently than you normally do, and to be asked to repeat yourself, but I hope we can work together to make our relationship stronger. The world would certainly be a better place if we could, and would, practice listening more to each other. So above all, thank you for listening!


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american sources Yavapai College Performing Arts Center • Prescott, AZ Sunday, August 25, 2019 • 3:00 PM Pre-concert talk in the auditorium at 2:00 PM Peter Bay, Conductor Philip Dixon, Baritone Leonard Bernstein

Three Dance Episodes from On the Town (1945) I. The Great Lover II. Lonely Town: Pas de deux III. Times Square, 1944

George Walker

Lyric for Strings (1947, rev. 1990)

Aaron Copland

Old American Songs, first set (1950, rev. 1954) I. The Boatman’s Dance II. The Dodger III. Long Time Ago IV. Simple Gifts V. I Bought Me A Cat INTERMISSION

Aaron Copland

Appalachian Spring (1943-44)

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PHilip dixon

aritone Philip Dixon is excited to be returning to the stage at Yavapai College to perform with the Arizona Philharmonic! Student of renowned vocal professor, Jane Randolph (San Francisco Conservatory of Music), Philip has had the pleasure of performing across the United States, Europe, New Zealand, and Australia.

Pooh-Bah in Gilbert and Sullivan’s The Mikado. He also soloed in YC Master Chorale’s Fauré Requiem. Philip portrayed his all-time favorite role, Inspector Javert, in Prescott Center for the Arts’ acclaimed production of Les Misérable. For PCA’s The Grapes of Wrath, he was The Man with a Guitar, Music Director of the orchestra providing incidental music, and Assistant Producer.

He began his professional career in Texas and San Francisco. He has appeared with the Arizona Opera and played Aeneus in Dido and Aeneus with the Phoenix Bach Choir and Prescott Camerata. Philip has soloed with the Phoenix Boys Choir, Cantemus Chorale, ASU Symphony, Sedona Conservatory, Flagstaff Master Chorale, as well as with Phoenix Master Chorale in Mozart’s Mass in C-minor. He was recently selected as a soloist and chorale member for MusicaNova’s critically acclaimed presentation of J. S. Bach’s St. John Passion in Scottsdale, Arizona.

Philip has been a frequent featured artist for the Prescott Pops Symphony and Prescott Chorale. Among the cherished moment of his career are the honors of singing The National Anthem with colleagues at the memorial service for the Granite Mountain Hotshots and the European and Arizona premiers of René Claussen’s inspired work, Memorial. Philip also treasures playing his Martin guitar and singing with his wife, Allison, and their friend Warren Miller in their “roots music” ensemble, WPA.

In 2019, Philip was Ebenezer Scrooge in Yavapai College’s production of Charles Dickens’ classic, A Christmas Carol. With YC, he has also portrayed Cinderella’s Father in Stephen Sondheim’s Into The Woods; Dr. Neville Craven in The Secret Garden; and

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Program Notes august 25, 2019 Leonard Bernstein: Three Dance Episodes from On the Town The success of Bernstein’s first musical, On The Town, capped an extraordinary 13-month period for the young musician. In November, 1943, 25-year-old Lenny had leapt to fame on the podium when his debut performance with the New York Philharmonic made the front page of the New York Times. Immediately following came the success of his Symphony No. 1, “Jeremiah,” and, in spring of 1944, his first ballet score, Fancy Free. The success of Fancy Free, a 25-minute ballet about three sailors on leave in New York City, suggested to Bernstein and choreographer Jerome Robbins the possibility of expansion into a full-length musical. Joined by Betty Comden and Adolph Green, who wrote the book and lyrics, Bernstein created a score that echoed the jazzy spirit of Fancy Free without repeating any of its music. Like Fancy Free, On the Town centered on three sailors whose 24-hour leave is spent searching for love. The three movements are: I. The Great Lover, in which a sailor fantasizes meeting “Miss Turnstiles,” a woman whose picture he sees on a poster; II. Lonely Town: Pas de deux, a “dance for two” in which a sailor’s loneliness is played out; and III. Times Square, 1944, a vividly rhythmic depiction of Manhattan’s energetic core.

George Walker: Lyric for Strings As an African-American growing up in the 1930s and ’40s, George Walker had no role models in classical music and harbored no plans for a career as a composer. Yet in 1996, at age 74, he won the Pulitzer Prize in music for Lilacs, his setting of Walt Whitman’s When lilacs last in the dooryard bloom’d. In between came several decades as professor of composition at Rutgers University. Young Walker was not certain of his future when, as a student at Philadelphia’s Curtis Institute, the urging of a friend sent him on his path. “I had written my first string quartet under the teacher Rosario Scalero at Curtis,” Walker told this writer in an interview in 2007. “One of my best friends, Seymour Lipkin, wanted to be a conductor and arranged to conduct a string orchestra in a concert. I brazenly said to him, ‘I’ve got this string quartet, and I think if I add bass to the slow movement, we’d have a string orchestra piece.’” In 1947 that piece, Lyric for Strings, was premiered by Lipkin in a radio broadcast. Audiences loved it, and it became the springboard of Walker’s career.

Aaron Copland: Old American Songs, first set By the mid-1940s, composer Aaron Copland had established himself as the champion of a populist style. In his ballet scores particularly – in Rodeo, Billy the Kid, and most of all in Appalachian Spring (see below) – Copland created a sound that resonated with the America of wide-open spaces, plaintive folksongs, and bright colors. But the 1940s also brought a (continued next page) 13

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Program Notes august 25, 2019 sea-change in the aesthetics of classical music. From Vienna came the word of Schoenberg, whose theory of 12-tone composition came to dominate new music composition. At first, Copland moved in two directions at once. On the one hand, he adapted Schoenberg’s theory in such works as his Piano Quartet of 1950. On the other, he shored up the American folksong style with two sets of arrangements of the actual item: Old American Songs. This first set, written in 1950, would be followed by a second in 1952, and then in 1954 Copland would write the last major work in his old “prairie sound” style: the opera, The Tender Land, which used prominently one of the songs from the second set. Both sets were originally written for voice and piano, and later arranged for baritone (or mezzo-soprano) and small orchestra. The first-set songs are: 1) The Boatman’s Dance, 2) The Dodger, 3) Long Time Ago, 4) Simple Gifts, and 5) I Bought Me a Cat.

Aaron Copland: Appalachian Spring, (complete ballet) The crown of Copland’s legendary ballet scores was commissioned in 1942 by the choreographer Martha Graham with funds from Elizabeth Sprague Coolidge. Their only request was that the composer write something “with an American theme” (World War II was on and national themes were popular) and that the musicians required numbered no more than 13, in order to fit the small stage where the work was to be premiered. Copland came up with a 45-minute score that summed up everything about his prairie-sound style: the wide spaces between instruments, the use of folk song, and bright points of instrumental color. Throughout his work on the piece, Copland’s working title was “Ballet for Martha.” His previous ballets, Billy the Kid (1938, choreography by Eugene Loring) and Rodeo (1942, choreography by Agnes DeMille) had come with pre-ordained stories, but this one did not. The story – about a young prairie couple getting married, the preacher marrying them, and a stubborn holdout to the marriage ritual (danced by Graham herself) – was added by Graham upon hearing Copland’s music. Graham took the title from a poem by Hart Crane. A sense of mystery surrounds the opening of Appalachian Spring, as if the composer were trying depict a subtle sunrise. Out of this shoots a brilliant, angular allegro in A major, announcing an ensuing dialectic of light and shadow, rhythmic vivacity and chorale-like solemnity. At the work’s climax come five variations on the Shaker hymn, “Simple Gifts,” which Copland would later arrange as one of his Old American Songs (see above). After the ballet was premiered in 1944, Copland re-arranged the score for standard symphony orchestra, and an orchestral suite from the ballet quickly became a staple of the repertoire. Today’s performance is not of the suite, but of the entire ballet, including many parts not familiar to listeners who’ve heard only the suite. – Kenneth LaFave is the author of Experiencing Leonard Bernstein and Experiencing Film Music (both Rowman & Littlefield). 14

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Arizona Philharmonic 2019-2020 Season AMERICAN SOURCES Arizona Philharmonic with Maestro Peter Bay Philip Dixon, Baritone August 25, 2019 • 3:00 PM Yavapai College Performing Arts Center • 1100 E. Sheldon St., Prescott, AZ FRIDAYS WITH AZ PHIL Musicians of the Arizona Philharmonic & friends September 20, 2019 • November 1, 2019 • February 28, 2020 • May 1, 2020 • 5:00 PM Top Floor of the Elks Theater Performing Arts Center Intimate 80-seat chamber concerts ... overlooking Prescott, with food & drink SPRING UNDER THE STARS Musicians of the Arizona Philharmonic Prescott’s Spring Night Sky dances with live performances of Vivaldi & other classics March 20 & 21, 2020 Jim and Linda Lee Planetarium, ERAU INSPIRATIONS Arizona Philharmonic with Maestro Peter Bay Toni Tennille, Narrator Chris Burton-Jácome & Lena Jácome, Flamenco Guitar & Dancer; Maria Flurry, Marimba May 24, 2020 • 3:00 PM Yavapai College Performing Arts Center • 1100 E. Sheldon St., Prescott, AZ


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celebrating our first season


Peter Bay (Top Left)

Conductor Peter Bay, Music Director of the Austin Symphony, leads AZ Phil in its debut concert, “Currents.”

Maria Flurry (Top Right)

Maria Vomlehn Flurry performs her husband Henry’s composition, Ragtime Dances for Marimba and Orchestra, with a jazzy flourish.

James D’León Currents (Left at Piano)

Steinway artist James D’León dazzles the audience with his performance during the world premiere of Henry Flurry’s Currents.

D’León & Strings (Left)

A birdseye view of concert pianist James D’León shows how his masterful playing blends with that of AZ Phil orchestra members.

Currents AZ Phil (Below)

A full view of the orchestra performing to a rapt audience at our inaugural concert. “Currents” photos: Carson Cavaletto


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Carmina Burana (Top)

Ballet Victoria dancers move in synchrony during the performance of Carmina Burana, in March 2019, also featuring AZ Phil and the Yavapai College Choir.

Carmina Burana (Top Right)

Ballet Victoria dancer Yui Watanabe, Japanesetrained ballerina, dances a white swan role in Carmina Burana.

Carmina Burana (Above)

Principal Ballerina Andrea Robin Bayne of Ballet Victoria takes topsy-turvy pose during the performance of Carmina Burana.

Darrell Rowader (Right)

Yavapai College Conductor Darrell Rowader leads the chorus and instrumentalists during the performance of Carmina Burana.

Bay, Tennille, Flurry (Right)

Conductor Peter Bay, volunteer Toni Tennille and composer Henry Flurry share a laugh with the audience in discussing the “Currents” concert. “Carmina” photos: Blushing Cactus Photography “Currents” photos: Carson Cavaletto


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celebrating our first season AZ PHIL BACH & MESSIAH

AZ Phil Bach (Top Left)

Soloist Mariana Velasco, a soprano from Flagstaff, sings at the performance of Bach’s Magnificat in D with AZ Phil.

AZ Phil Bach (Top Right)

Prescott Chorale sings with the orchestra at the Bach Festival.

AZ Phil Bach (Right)

AZ Phil performs the Brandenburg Concerto No. 1 during the Bach Festival at St. Luke’s Episcopal Church in Prescott in October 2018 directed by Artistic Director Dennis Houser.

Messiah Muskrats (Lower Right)

Toni Tennille (far right) dubbed her team of hospitality support the “Muskrats,” pictured on the night of the Messiah performance with the Yavapai College Choir in December 2018. (L to R Dorothy Foglia, John Mazella, Angie Mazella, Henry Flurry, Maria Flurry, Toni Tennille.)

Messiah Hallelujah (Below)

AZ Phil performs Handel’s Messiah at Yavapai College, underscoring the soaring voices of the college’s powerful combined choirs and special guest soloists. “Bach” photos: Seeflection Studios


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CORPORATE sponsors



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The Financial Anatomy of a Concert Staging a professional orchestra concert can cost up to $50,000. Why so much? Here is a sample breakdown of a concert’s finances:



TICKET SALES The average U.S. orchestra’s income from ticket sales is about 30%.


The orchestra and soloists rehearsed with Maestro Bay during this concert week. Each rehearsal is a “service.” Musicians are paid for all services.

AD SALES Shop local and support our advertisers who help make concerts like this possible. GRANTS The support of government entities enables the arts and enrich our lives.

CONCERT The performance is another service.

DONATIONS AND SPONSORSHIPS This is a complex mix of funds generated by corporate sponsors, private donations, and proceeds from fundraisers.

VENUE Renting the concert hall and its professional labor. EVERYTHING ELSE Paying for music rentals, necessary services, printing ads and programs, purchasing advertisement, and buying supplies.


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founder’s circle The Founder’s Circle recognizes those who contributed to Arizona Philharmonic prior to and during our first season. We are grateful for your support and shared vision. $4000 and above Chris & Jon Cavaletto Anonymous $2000 and above Cathryn Tennille $1000 and above APS Augie’s Benevity Community Impact Dan Boyce Suzanne Boyce Rakini Chinery Fred & Bonnie Forte Margaret Houck Barbara Peabody Laura Taylor Anonymous

$500 and above Andrew Denis Steven L Ditmars Ana Maria & Dan Fraijo Benjamin & Sandra Reyes Peggy & Ed Roman Anonymous $100 and above Karen M Barone Heiko Bayer Robert Bernhardt David & Sheila Cannan Marie Cranmer Jo Craycraft Henry & Maria Flurry Sally Freudenberg Boyd & Donna Gallaher Joan Gustafson Russ Erickson & Eileen Hubin Chris & Lonette Kissel Francis & Peggy Klejmont David & Anne Klever A. John & Angela Mazella

Jo Sprague Thomas & Carol Sweeden Gary & Patricia Tibbits Sally Jelinek Westrom Jack Wood Arthur & Doris Winkler Bev Worthman Fulton & Nancy Wright Supporters Kevin & Tina Blake Kathleen & Thomas Collins Michelle Cramer Peter Eldridge Anna Flurry Nathan Flurry Gayle Gardner Cecelia Jernegan Eunice Ricklefs Eugenia Sarratea Joseph Viccica Anonymous Anonymous

How to Become a Symphony Philanthropist The following are just some of the ways you can support your Arizona Philharmonic ... • Bring a friend to a concert • Use the Donate Button on our website at • Become a volunteer by signing up at • Call 855.321.ORCH (6724) or email for more information 23

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Fridays with az phil Musicians of the Arizona Philharmonic & friends September 20, 2019 • November 1, 2019 • February 28, 2020 • May 1, 2020 • 5:00 PM Top Floor of the Elks Theater Performing Arts Center Intimate 80-seat chamber concerts ... overlooking Prescott, with food & drink 117 East Gurley Street, Prescott Enter through the door to the left of the box office. Fridays with AZ Phil are generously sponsored by El Gato Azul. Fridays with AZ Phil Concerts concerts are limited seating, intimate chamber concerts presented on the third floor of the Elks Performing Arts Center. Each concert features a professional chamber group with one or more musicians from Arizona Philharmonic. The venue is elegant and features large windows overlooking downtown Prescott. Arrive at 5:00 pm, grab some food, and purchase a beverage, wine, or beer to enjoy at a table. You will have time to chat before, in between, and after the music sets. At 7:00 pm you’ll be able to return home to relax or head out for more fun downtown. Music starts at 5:30. You can purchase a single seat, a pair of adjacent seats, or an entire table for four. ADA compliant table seating is available to any party with at least one individual meeting ADA criteria for such seating. Bring a friend, make a party of it, or just come relax at the end of your work week. 25

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Fridays with az phil TRIO FUEGO September 20, 2019 • 5:00 PM Trio Fuego opens our Friday series this year with tangos and tapas! Three of Arizona Philharmonic’s principal string players, Sarah Walder, Glenn Stallcop, and Kimberly Sullivan, join forces to take you on a musical tour of Latin America from milonga to tango and more! The unique trio combination of viola, cello, and contrabass offers a deeper and more rich tone than typically heard in string ensembles. Enjoy their fun music and playful banter on top of the Elks Performing Arts Center overlooking downtown Prescott!

Chris & Lena Jácome Flamenco Guitar & Dance November 1, 2019 • 5:00 PM Chris & Lena Jácome provide intimate, inviting and exceptionally exciting flamenco performances that only a perfectly matched pair can manifest. Chris and Lena’s strong partnership and artistic communication keeps audiences mesmerized as they witness an unforgettable flamenco performance and the profound connection of two kindred spirits sharing their love for each other through their art. Chris and Lena are soloists on the Arizona Philharmonic May 24, 2020 concert in Impulso: Symphonic Dances for Marimba, Flamenco Guitar, and Dancer, co-composed by Chris Jácome and Henry Flurry.


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Elden Brass Quintet February 28, 2020 • 5:00 PM The Elden Brass Quintet is the faculty brass quintet at Northern Arizona University, This exciting ensemble performs a wide variety of musical styles, including modern masterworks. jazz arrangements, Christmas tunes and pops programs. Their skillful playing, tight ensemble, and playful banter will raise your spirits and warm your hearts during these final days of Prescott’s winter. Come join Dr. Stephen Dunn (trumpet), Cindy Guild (principal trumpet of AZ Phil), Nancy Sullivan (French horn), David Vining (trombone), and Dr. Benjamin Ordaz (tuba) for this delightful evening of music and food.

duo catalina May 1, 2020 • 5:00 PM Welcome to the sparkling sounds of Duo Catalina, with flutists Andrea Graves and Jeannette Moore. Be dazzled by everything from Bach to Broadway and Celine Dion to the Southwest while enjoying the Duo’s relaxed and engaging concert style. Incorporating both the brilliant sound of two flutes as well as the rich, full pairing of flute and alto flute, Duo Catalina is not to be missed.

REALIZING OUR VISION Our vision is to grow the vitality of Prescott arts by introducing new audiences, musicians, donors, and volunteers to our music scene. Last year, roughly 3/4 of our financial donations came from individuals who previously had never donated to the Prescott music scene. Through intentional outreach, an estimated 200 individuals who had never previously attended an orchestra concert came to our inaugural concert. Our volunteer base is drawn largely from folks who have an existing relationship with us or who have not previously volunteered for the Prescott music scene. Over the course of the season, we introduced 70 new professional musicians to the Prescott music scene, enhancing the possibilities and opportunities for our rich, local talent. We are proud to see this impact spreading to other local ensembles, which are hiring musicians on our roster and collaborating on new projects that benefit the entire community. 27

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The mission of Arizona Philharmonic is to operate a professional orchestra that embodies artistic excellence and inspires the growth of symphonic music through diversity in genre, programming, collaboration, audiences, and musicians. We seek to foster an increasingly vibrant, diverse, and robust local music scene by growing our community’s audience, volunteer, donor, and talent base. 29 29

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SPRING UNDER THE STARS March 20, 2020 - 6 PM, 7 PM, & 8 PM March 21, 2020 - 2 PM, 3 PM, & 4 PM Jim and Linda Lee Planetarium, ERAU

Chamber Musicians of the Arizona Philharmonic light up Prescott’s Spring Night Sky with Vivaldi and other seasonal favorites.


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inspirations Yavapai College Performing Arts Center • Prescott, AZ

Sunday, May 24, 2020 • 3:00 PM Pre-concert talk in the auditorium at 2:00 PM Peter Bay, Conductor Toni Tennille, Narrator Maria Flurry, Marimba Chris Burton-Jácome, Flamenco Guitar Lena Jácome, Flamenco Dancer Youth of Prescott

Constellations to Composition (2020) World Premiere

Michael Abels (1962 - )

Frederick’s Fables (1993–1994) I. Frederick II. The Greentail Mouse III. Theodore and the Talking Mushroom IV. Alexander and the Wind-Up Mouse INTERMISSION

Chris Burton-Jácome (1972 -) Impulso: Symphonic Dances for Marimba, Henry Flurry (1964 -) Flamenco Guitar, and Dancer (2014) I. Discovery of Art II. Oppression of Art III. Romance of Art IV. Celebration of Art

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toni tennille

athryn Antoinette ‘Toni’ Tennille was born in Montgomery, Alabama where she and her three sisters grew up surrounded by the big band music their parents loved. From an early age Toni studied classical piano and went on to attend Auburn University, taking to the stage with her rich contralto voice as the sole female singer with the school’s highly lauded big band, the Auburn Knights. After leaving college to join the rest of her family in southern California, Toni began acting with the South Coast Repertory Theater, where she met a fellow student who asked her to write music for an ecological-themed musical he had created called Mother Earth. During this period Toni met a brilliant young musician named Daryl Dragon who was touring with the Beach Boys as a keyboard player. When Daryl recommended her to the band to play acoustic piano, Toni found herself flying all over the United States to perform as the one and only “Beach Girl.” She also found herself falling in love with the quiet, enigmatic Daryl, and the two began a romantic relationship. When not touring with the Beach Boys, Toni and Daryl began performing together as a duo in small clubs and venues around southern California. First calling themselves ‘The Dragons,’ they wisely chose the more exuberant moniker ‘Captain and Tennille’ and began to develop a fan base of loyal followers on the club circuit. During this time Toni penned her first love song to Daryl, ‘The

Way I Want to Touch You,’ and the two scraped together enough cash to have a few hundred records pressed and distributed to radio stations. When the song quickly became a listener favorite, record labels took notice and Captain and Tennille were soon on their way to becoming one of the most-loved musical duos of the ‘70s and ‘80s. After signing with A & M Records, Captain and Tennille put out a record that included the Neil Sedaka-penned song ‘Love Will Keep Us Together.’ The song shot straight to #1 on the charts and won the Grammy for record of the year in 1976. Hoping to cash in on the duos rising popularity as the ‘square’ Sonny and Cher, ABC approached with the offer for a television variety show. The Captain and Tennille Show became a network hit and featured guest stars such as John Travolta, Don Knotts, The Pointer Sisters, and Red Foxx. Toni loved doing the show, but Daryl, who never enjoyed being on camera, did not. As a result, Captain and Tennille declined ABC’s offer to do a second season. Nine more albums and fourteen chart hits came in the next decade as Captain and Tennille kept up a busy schedule of touring, performing from Las Vegas to Japan. Toni hosted the syndicated Toni Tennille Show in the ‘80s and the duo starred in three Captain (continued next page)


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toni tennille

and Tennille network specials. Toni guest starred in some of the top television shows of the time such as The Love Boat and Fantasy Island. She also lent her powerful voice to songs by Elton John and Pink Floyd’s epic rock album The Wall.

desert community of Prescott in Northern Arizona. While Toni continued to occasionally sing for special events and benefit galas close to home, she enjoyed spending most of her time working with her beloved Australian Shepherd dogs and competing at national dog shows and trials. Realizing the healing power that these gentle, affectionate dogs have on people, Toni and her dog Smoky became a registered therapy dog team and make weekly visits to patients at local hospitals.

In the mid-‘80s, Toni began to rediscover her big band and classic jazz roots. She sang with symphonies and big bands across the country, layering her pop sensibilities with the soaring vocals of that nostalgic music style. Toni put out a series of albums celebrating the American standards with songs composed by such greats as George Gershwin, Irving Berlin, and Johnny Mercer. In 1998, Toni signed on to play the lead in the musical Victor/Victoria and toured with the production for close to a year.

After thirty-nine years together, Toni and Daryl separated in 2013 and finalized their divorce in July of 2014. Suddenly single, Toni has found peace in her new life surrounded by family, her dogs and cats, and the music she still loves to play on her grand piano. She enjoys singing with Yavapai College Master Chorale and volunteering with Arizona Philharmonic’s “Muskrat Team.”

In 2007, Toni and Daryl moved from their home in Reno, Nevada to the high mountain

Thank you to the volunteers that make Arizona Philharmonic possible. If you are interested in volunteering, please let us know at or email Tina Blake Sue Boyce Joanne Cole Toni Denis* Allison Dixon* Libby Favour Joy Fitzpatrick Henry Flurry*

Maria Flurry Dorothy Foglia Samuel B. Folio Ana Maria Fraijo Dan Fraijo Jan Manolis Angie Mazella John Mazella

Jeanne Mikrut Katie Shields Mona Stephens Kimberly Sullivan* Laura Taylor* Toni Tennille Joe Viccica Jack Wood*

* Board Members 34 34

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lena jácome

ena Jácome is an internationally touring flamenco dancer, choreographer and instructor with Jácome Flamenco. She performed as and choreographed for the role of ‘Flamenco Dancer’ in Teatro Bravo!’s presentation of ‘Lorca in a Green Dress.’ She was an invited guest artist to perform for the Ibero-American Association in Jakarta, Indonesia and she was an invited guest performer & instructor for the Dance Network of South Dakota. Some performance highlights include Jazz at Lincoln Center, New York City Center and she guest performed in the World Premiere of the Pangean Orchestra at Symphony Hall.

She has assisted in the creation of an extended long term multi-residency dance curriculum for the Baton Rouge, Louisiana dance community, and she has set work on various groups ranging in age and in various facets of programming; from University settings to private dance studios and everything else in between. Lena attained her B.F.A. Degree in Dance Performance at New World School of the Arts in Miami, FL and earned her M.F.A. Degree in Choreography and Performance at Arizona State University. She has been awarded several grants to study in Spain. She’s toured with Calo Flamenco under the direction of Martín Gaxiola and worked with Noche Flamenca & with guest choreographers such as Isabel Bayón and Juan Ogalla during their extended summer residency program at Scottsdale Center for the Arts.


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Chris burton jácome

hris Burton Jácome began playing guitar in 1986. While living in Sevilla, Spain, Chris studied flamenco guitar with some of the greatest flamenco performers of this era. Since Chris’ return from Spain, he has been performing over 200 shows a year and has played many sold-out performances throughout the US and Canada.

& Flamenco and recently released his 4th original album entitled LEVANTO. LEVANTO features the music, lyrics and even the footwork from the flamenco spectacular by the nationally touring flamenco dance company, CALO FLAMENCO. He is a twotime Grand Prize winner of the prestigious John Lennon Songwriting Contest Award in the World Category. “LEVANTO is fabulous flamenco that can stand alongside any created in Spain or by those inspired beyond its borders.” -- World Music Central.

Chris’ music can be heard scoring the Emmy Award Winning PBS television special: “Flamenco” (broadcast in Arizona by KAET-TV Channel 8: Mike Sauceda, producer) and on the popular TV shows “Kyle xy” and “Greek.” Most recently two of Chris’ original songs appeared in the film “Amreeka” which was a jury selection for the Sundance Film Festival and won the Fipresci Prize at the Cannes Film Festival in 2009. Chris’ flamenco version of the Christmas Classic, “Joy to the World,” was included in Coldwater Creek Catalogue’s 2004 Christmas CD. Chris scored and performed the music for the 2012 feature film, “Just the Vampire Hunter.” Additionally, Chris can be heard as the featured soloist in the movie soundtrack of the feature film, “9/tenths.”

Besides touring nationally with his group, The Chris Burton Jácome Flamenco Ensemble, Chris is also the musical director for one the top touring flamenco dance companies in the United States, CALO FLAMENCO, Ballet de Martín Gaxiola. Chris writes the music and lyrics for Calo’s productions and performs live with his musical ensemble for Calo’s Broadway-ready flamenco dance shows.

Chris’ music has received critical acclaim from the beginning of his career. From Chris’ debut CD, Motivación, the title track “Motivación” finished in the Top 10 in the John Lennon Songwriting Contest World Music Category. Since his first CD’s debut Chris has written and recorded two other original flamenco albums: Pa’lante

Chris was born with a unilateral complete cleft lip and palate. He is proud to be connected with Smile Train and bring awareness to this birth defect and let the world know that with proper care this obstacle can be overcome. 36 36

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Mike Nache Ins Agcy Inc

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aria Vomlehn Flurry, juried Roster Member of the Arizona Commission on the Arts, has performed with the Detroit, Baltimore, Spokane, Phoenix, Toledo, and Annapolis Orchestras as well as orchestras across southeast Michigan. Ms. Flurry has been guest timpanist with the Michigan Opera Theater, Mannheim Steamroller, Phoenix Symphony, and she served as principal timpanist with the Flint Symphony Orchestra for over a decade. Currently, she serves as principal timpanist with the Flagstaff Symphony and the Arizona Philharmonic.

In October 2006 Ms. Flurry commissioned Kenneth LaFave’s Canto de Alba (premiered at Phoenix Art Museum and performed at Chaparral MusicFest, and MusicNova). She commissioned and premiered Chris Jácome and Henry Flurry’s Impulso: Symphonic Dances for Marimba, Flamenco Guitar, and Dancer with University City Symphony (Missouri) and San Tan Orchestra. In April 2017, she premiered Henry Flurry’s Ragtime Dances for Marimba and Orchestra with the Prescott Chamber Orchestra and performed it again with the Arizona Philharmonic.

Ms. Flurry recorded with Summit Brass and the Flint Symphony Orchestra and received national attention in Parenting Magazine with Harpbeat, a percussion and harp duo. Ms. Flurry’s Flint Symphony performance of Tan Dun’s Water Concerto for Water Percussion and Orchestra was called “captivating, as indicated by the standing ovation” by the Flint Journal. After her Spokane Symphony performance, the Spokesman Review declared Ms. Flurry “a brilliant advocate for Tan’s music.” She has also performed the “Water Concerto” with the Tucson Chamber Orchestra and the Flagstaff Symphony. She is listed among significant performances of this work on Tan Dun’s website.

Educated at Interlochen Arts Academy, Peabody Conservatory, University of Michigan, Aspen Music Festival, National Repertory Orchestra, and National Orchestral Institute, she serves as faculty at the Hot Springs Music Festival. An artist endorser for Black Swamp Percussion, she has performed across the Southwest with her pianist/composer husband, Henry Flurry as Sticks and Tones since 2002. Sticks and Tones is also a Roster Member of the Arizona Commission on the Arts. 38 38

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Program Notes may 24, 2020 Prescott Unified School District Youth: Constellations to Composition Kids love stars, and kids love movie music. Why not combine the two? Constellations to Composition is a short suite of curated orchestral pieces composed by Prescott area youth. This work is the culmination of collaboration between Arizona Philharmonic, the Jim and Linda Lee Planetarium, and Prescott Unified School District. The genesis for the project is eight years old, when Maria Flurry started guiding her BASIS Prescott band through group-composing short “movie themes.” Over the years, the workshop evolved to encompass increased education about the orchestra and the structure of music. Shortly after the planetarium’s opening in 2018, Maria met Planetarium Coordinator Eric Edelman. Together they developed the idea of crafting a planetarium show about animal-inspired constellations that would spark ideas for young composers. The idea was presented to PUSD, where several teaches expressed strong interest. For this piece, groups of children viewed the planetarium show, studied the animals and constellations, and selected an inspiration for their composition. In workshops, the students learned of the orchestra and its music. With careful guidance, each group then composed a short orchestral work while hearing immediate playback from a computer. The student pieces are incorporated into works are used as background audio for a new planetarium show written by Eric Edelman’s team and presented in Summer 2020. Maestro Peter Bay helped select which of the youth’s compositions would be on this concert, and composer Henry Flurry edited and prepared the scores for orchestral performance. This is the world premiere of this orchestral suite.

Michael Abels (1962 - ): Frederick’s Fables Michael Abels, born in Phoenix, is currently known for composing the critically-acclaimed scores for the films Get Out and Us, both directed by Jordan Peele. He has been described as a composer with a gift for “[juxtaposing] elements unleashed in an irresistible display of orchestral color” (Cleveland Plain Dealer), and who possesses a “keen ear and a deft ability to adapt structural elements from popular music into the symphonic idiom,” (Houston Chronicle). In 1994, Michael Abels gained widespread recognition for his orchestral piece, Frederick’s Fables, after (continued next page) 39

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Program Notes may 24, 2020 James Earl Jones and Garrison Keelor narrated the premieres. Frederick’s Fables is based on the popular and wonderfully philosophical stories by Leo Lionni. The stories are fables: part fairy tale, part parable. The composer’s spritely melodies and playful orchestration deftly illuminate Lionni’s central theme: the importance of gaining wisdom and of being one’s self while remaining part of the larger community. The opening fable, Frederick, tells of a mouse bringing warmth through words. The Greentail Mouse explores what happens when mice celebrate Mardi Gras; Theodore and the Talking Mushroom shows the trouble a talking mushroom can offer; and Alexander and the Wind-Up Mouse celebrates true love.

Chris Burton-Jácome (1972 - ) and Henry Flurry (1964 - ): Impulso: Symphonic Dances for Marimba, Flamenco Guitar, and Dance The concept for Impulso: Symphonic Dances for Marimba, Flamenco Guitar, and Dancer has its origins in marimbist Maria Flurry’s interest in commissioning works that meld classical and world music. The resulting four movement work co-composed by Henry Flurry and Chris Jácome clearly reflects the mixture of classical and flamenco traditions. Flamenco music grew out of the Gypsy culture of Spain and is a vibrant art form that evolved under centuries of oppression. The titles of Impulso’s movements honor the history of flamenco and the ability of a people to find its voice through the peaks and valleys of a difficult life. In addition to being co-composed, this work is unique in that the dancer is also a musical soloist whose rhythmic footwork is written into the score. Historically the role of the flamenco guitarist is to follow the dancer. Inspired by this tradition, Movement 1, The Discovery of Art, opens with only motion before the musical elements emerge and begin to take shape. From that point on, the movement loosely follows the Tangos Flamencos form, a lively 4/4 with the metric accent falling mostly on beat 4. The Oppression of Art, movement 2, is modeled after the Seguirilla, a tragic song form with a 5 beat compás of 12 subdivisions (counted 1 & 2 & 3 & a 4 & a 5 &). Movement 3, The Romance of Art, is slow and lyrical with a Marimba cadenza. The broad melodies are flavored by flamenco’s signature tonality and its dramatic descent to its tonal and spiritual center. Movement 4, The Celebration of Art, is a flamenco Allegrias (“happinesses”) form, This movement follows a 12-beat compás with a shifting metric emphasis. The traditional Allegrias dance sections power Impulso’s drive to its jubilant and thrilling conclusion. Chris Jácome composed the first and last movements, and Henry Flurry composed the inner movements. During the collaboration, each composer significantly influenced the other’s style, yet the distinctness of the two approaches to composing remains audible and complementary. (continued next page) 40

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Program Notes may 24, 2020 Impulso is significant in the history of Arizona Philharmonic. After Yavapai College’s Dean of Fine Arts Dr. Craig Ralston heard a 2014 performance of Impulso by the San Tan Orchestra, he proposed a concert in Prescott that featured the work. The planning and preparation for that concert evolved into the formation of Arizona Philharmonic. This performance of Impulso fulfills that original vision. – Maria & Henry Flurry are active musicians and educators who have been promoting and enabling music and music education in the Prescott area since moving here in 2002.


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outreaCH Outreach is an integral part of Arizona Philharmonic. In our inaugural season, outreach accounted for 4% of our budget. We are proud to announce that for our second season outreach has grown to 15% of our budget. Collaborations with other organizations are key to the success of our outreach. For example, with OLLI (Osher Lifelong Learning Institute at Yavapai College), participants receive an exclusive interactive seminar before each orchestra concert produced by AZ Phil.

Constellation to Composition project is a groundbreaking collaboration between Prescott’s own state-of-the-art Jim and Linda Lee Planetarium at Embry-Riddle University, Prescott Unified School District, and Arizona Philharmonic. The power of composition, the awe of astronomy, and the thrill of collaboration toward a common artistic goal are put into the hands of PUSD’s students.

Last October, Yavapai Big Brothers Big Sisters and their Littles participated in Arizona Philharmonic’s outreach program, Compose Action Movie Music. In the workshop, the participants analyzed a theme to an action film and then collectively composed an Action Movie Theme. During the composition, they were able to watch the score evolve and hear the composition throughout each stage of the process. After composing the theme, they designed a basic plot around the theme, gave their imaginary movie a title, and drew Movie Posters for the movie.

Third, fourth, and sixth graders will visit the Jim and Linda Lee Planetarium for a customcurated program that immerses them in animal constellations and their cultures of origin. In groups and facilitated by Arizona Philharmonic artists, the students will compose brief orchestral works inspired by constellations they liked the most. All of the works will be showcased on Arizona Philharmonic’s website and in the lobby of AZ Phil’s May concert. Arizona Philharmonic will perform a world premiere of a suite of the students’ compositions on the May concert. Jim and Linda Lee Planetarium will then use recordings of the students’ composition in the creation of a new youth-oriented show to be presented during summer 2020.

The results of their workshop? The theme for their imagined movie, Celtic Kryptonite! Visit to see and hear the results of this fun afternoon. This season we are looking forward to working again with Yavapai Big Brothers and Big Sisters as well as Boys and Girls Club of Central Arizona. 42

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SYM P H O NY Association


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sISTER gROUPS Please support our sister performing ensembles! Central Arizona Concert Band

2019-2020 Season Schedule - Sundays at 3:00 pm October 13, 2019 • November 24, 2019 January 26, 2020 • April 5, 2020 Davis Learning Center Auditorium, Embry-Riddle Aeronautical University For more information, visit them on the web at

Prescott POPS

2019-2020 Season Schedule - Sundays at 3:00 pm Yavapai College Performing Arts Center July 7, 2019 “The Music of America” • July 28, 2019 “Magical Tour of the Movies” Sep. 15, 2019 “Pops People & Places” • Dec. 8, 2019 “Holiday Dreams & Traditions” February 16, 2020 “Love and Laughter” For more information, visit them on the web at

Prescott Chorale

2019-2020 Season Schedule - Saturdays at 2:30 pm October 5, 2019 • December 7, 2019 • April 25, 2020 St. Luke’s Episcopal Church, 2000 Shepherds Lane, Prescott For more information, visit them on the web at

Prescott Chamber Players Society

2019-2020 Season Performance Schedule January 12, 2020 2:00 pm • April 26, 2020 2:00 pm Trinity Presbyterian Church, 630 Park Avenue, Prescott For more information, visit them on the web at

Yavapai College Performing Arts Department

Jazz—Band—Orchestra—Choirs. Yavapai College Performing Arts Department offers a variety of musical groups to provide outstanding cultural offerings throughout the academic year. 45

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Arizona Philharmonic is thankful for the generosity of our advertisers, an uncommonly creative, honest, and visionary group of people. Small business is the backbone of our community. Keep ‘em here by shopping local. (And be sure to mention Arizona Philharmonic!)

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Hope, Health, Healing Hosler Wealth Management Law Offices of Laura J. Taylor Mike Nache Prescott Center for the Arts Prescott Chorale Seeflection Studios Source One Supply Suits Law Touchmark at the Ranch Trinity Presbyterian Church Van Gogh’s Ear Gallery Yavapai Symphony Association

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I will add page numbers and make the list current.


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A Symphony of Legal Services

Laura J. Taylor, Esq. P: (928) 776-2457 • F: (928) 445-2228 100 E. Union Street • Prescott, AZ 86303 47

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A Prescott Favorite for all Occasions

THE BEST PLACE TO DINE ON HIGHWAY 69 Lunch Daily 11AM-4PM Dinner Daily 4PM-8PM (Fri & Sat 9PM)

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Profile for Arizona Philharmonic

Arizona Philharmonic 2019-2020 Season  

Arizona Philharmonic, Prescott's professional orchestra, 2019-2020 season. Two full orchestra concerts, four chamber concerts, a series at t...

Arizona Philharmonic 2019-2020 Season  

Arizona Philharmonic, Prescott's professional orchestra, 2019-2020 season. Two full orchestra concerts, four chamber concerts, a series at t...

Profile for azphil