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PROGRAMS 15

SHOSTAKOVICH AND BEETHOVEN

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APR 6-7

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© Mark Kitaoka

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VIVALDI FOUR SEASONS & BEETHOVEN 6 APR 27-30

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MAY 13

MUSIC OF JOURNEY APR 21-23

MAMBO KINGS MAY 5-7

MOZART'S MAGNIFICENT VOYAGE

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OPUS 100 | NATHAN LAUBE JUNE 14

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THE BEST OF JOHN WILLIAMS JUNE 23-25


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I N T E R N AT I O N A L MUSIC & ARTS F E S T I VA L MAY 15 - JUNE 4 2017 ©MARK KITAOKA

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NANCY A. N AS H E R A ND DAV ID J. HAE M IS E G G E R FA M I LY

“SOLUNA Bridges The Gap Between Classical Music And Contemporary Culture” FORBES


TRAVELING LADY (2014), JESSICA MITRANI FLORENCE GOULD HALL, NEW YORK, FOR CROSSING THE LINE, 2014

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“The SOLUNA Festival has some serious ambitions.” KERA

“A cerebral celebration of music and art, with a bit of Coachella mixed in.” PAPERCITY

The third annual SOLUNA festival is a curated threeweek experience, staging a series of performances and mixed-media installations by some of the most exciting contemporary artists working today, alongside concerts by the Dallas Symphony Orchestra led by Music Director Jaap van Zweden. Programming for the 2017 festival is centered on the theme of “Dreams & Illusions.” Whether daydreams, nightmares, wistful thinking or shimmering mirages, artists have been inspired by the concept of dreaming for centuries. SOLUNA will explore the representation of dreams and consciousness through music and visual arts. The festival kicks off on May 15th with A Musician’s View, a chamber music performance where audiences will join the musicians of the Dallas Symphony Orchestra on stage for a unique vantage point. SOLUNA will feature exclusive contemporary arts experiences including Jessica Mitrani’s multimedia piece Traveling Lady, Mexican artist Pia Camil’s performance at Dallas Contemporary and the Ultra-Seeing film series at the Nasher Sculpture Center. Dallas community musical groups will perform at Passport to the Park on May 28, and Dallas Dreams Big on May 30 will celebrate the original spoken word art of citizens of Dallas. SOLUNA’s final performance will feature Prokofiev’s monumental Symphony No. 5 with Music Director Jaap van Zweden leading the DSO. SOLUNA will take you on a whirlwind journey through art, music, dance and theater, and we invite you to discover everything the Dallas arts community has to offer!

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JAAP VAN ZWEDEN SOCIETY $50,000+

The Jaap van Zweden Society honors individuals and foundations whose extraordinary Endowment or Annual Fund gifts contribute to the highest caliber of music for the Dallas community.

Anonymous (4) Dolores G. and Lawrence S. Barzune, M.D. Best Foundation The Louis L. Borick Foundation Diane and Hal Brierley The Cecil and Ida Green Foundation Fanchon and Howard Hallam Winnie and Davis Hamlin Linda W. Hart and Milledge A. Hart III Jeff and Carol Heller The Horchow Family Joseph F. Hubach and Colleen O’Connor Jeanne R. Johnson The Louise W. and Edmund J. Kahn Dallas Symphony Foundation Joy and Ronald Mankoff C. Thomas May, Jr. and Eleanor S. May The Eugene McDermott Foundation Shirley and William S. McIntyre The Meadows Foundation Nancy A. Nasher and David J. Haemisegger Sarah and Ross Perot, Jr. Margot and Ross Perot The Pollock Family Barbara and Stan Rabin Cindy and Howard Rachofsky Jan Miller and Jeff Rich Ruth Robinson Jeffrey Robinson and Stefanie Schneidler Michael L. Rosenberg Foundation Anita and Merlyn D. Sampels Myrna and Bob Schlegel Enika and Richard Schulze A gift in memory of Elsa von Seggern Dr. and Mrs. Thomas H. Smith Norma and Don Stone Barbara and Bob Sypult Karen and Jim Wiley Jean D. Wilson Jerry and Susie Wilson Mrs. Charles J. Wyly, Jr. Jaap and Aaltje van Zweden

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PLATINUM STRADIVARIUS PATRONS $25,000 - 49,999

Anonymous Mr. and Mrs. Peter A. Altabef Jane and Ron Beneke Family John and Barbara Cohn Peggy Dear Barbara and Steve Durham Ben Fischer and Laree Hulshoff Leah and Jerry Fullinwider Ron and Rebecca Gafford Kathryn H. Gilman in memory of Alfred G. Gilman Tim Headington Mrs. Lamar Hunt Mr. and Mrs. Atlee Kohl/ Kohl Foundation Mr. and Mrs. John Ford Lacy Holly and Tom Mayer Stephen B. L. Penrose Mr. and Mrs. Robert G. Pollock Jennifer and Peter Roberts Adrienne and Tom Rosen Mr. and Mrs. Robert E. Segert Mrs. Robert E. Titus Ms. Sarah Titus Bob and Karina Woolley GOLD STRADIVARIUS PATRONS $12,500 - 24,999

Karen and Nicholas Adamson Mr. and Mrs. Christopher Bancroft Sherry S. Bartholow Dolores G. and Lawrence S. Barzune, M.D. Frances Blatt Joanne L. Bober Carole Ann and Dick Brown

Jennifer and Coley Clark Mrs. Thomas R. Corbett Mr. and Mrs. William A. Custard Don and Barbara Daseke Anne L. Davidson Cindy and Charles Feld Bonnie Floyd, M.D. Mr. and Mrs. Roger C. Gault Mr. and Mrs. Charles R. Gibbs Rita Sue and Alan Gold The Richard N. Gussoni Family Mr. and Mrs. Scott W. Hancock Albert C. Havrilla Nancy Ann and Ray L. Hunt Jane and Pat Jenevein Yon Yoon Jorden Marten F. Klop Mr. and Mrs. Mark H. LaRoe Sue L. Maclay Tom and Charlene Marsh Family Foundation Linda and John McFarland Joyce and Harvey Mitchell William and Linda Nelson David A. Pahl and Michele M. Pahl Angela D. Paulos Charles H. Phipps Vin and Caren Prothro Foundation Luis Manuel Ramírez and Delia Garced Marion J. Rothstein Bridget Russell Diana and Sam Self Nancy Shutt Barbara and Bob Sypult Becky and Brad Todd Joanna and Peter Townsend Kern and Marnie Wildenthal CONTINUED ON PAGE 8 >


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SILVER STRADIVARIUS PATRONS $7,500 - 12,499

Anonymous (3) Dr. and Mrs. Kenneth Altshuler Dr. and Mrs. James M. Atkins Richard L. Barrett Mrs. Mercedes T. Bass Faith Ford Biggs Robert M. Brackbill Faye C. Briggs Linda and Lee Brookshire Dianne Cash Mary Anne Sammons Cree Mr. and Mrs. Walter B. Elcock Nita and John Ford Mack and Billie Forrester Katherine Freiberger and Lawrence Althouse Susan and Woodrow Gandy Mr. and Mrs. Stephen F. Goldmann Kathleen A. Messina and Gary W. Goodwin Dr. and Mrs. Joseph M. Grant Rosann and Richard Gutman Michael and Marsha Halloran Tim Hanley Mr. and Mrs. Robert Hewes Susan and Laurence Hirsch Elissa Sabel and Stan Hirschman Kathy and Richard Holt Ted and Jean Ingersoll Mary Ellen and Henry Irving Garrison Keillor Ellen Lindsey Key Selena Loh LaCroix Kathleen and Frank Lauinger Katherine and Robert Leroy Deborah L. Lively Mr. and Mrs. Jay W. Lorch Catherine Z. and George T. Manning Amy and Jonathan Martin Richard and Bobbi Massman Stewart and Noelle Mercer Geraldine “Tincy� Miller Mr. and Mrs. James A. Moore Nesha and George Morey Jane and Ron Morrill Navias Family Foundation Mrs. Robert B. Payne Ms. Ella Prichard Betty Regard Deedie Rose Marcy and Stephen Sands Lee and Bill Schilling Peggy and Carl Sewell Terri and Steven Simoni Steven G. Simpson Sandy and Mark Singer Anthony and Itske Stern Gayle and Paul Stoffel Mrs. Nancy Titus Mark and Ellen Ulrich

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Beth and Michael Van Amburgh Marcia Joy Varel Timothy R. Wallace Patricia and Pat Weber Dr. and Mrs. Howard J. Weiner Martha and Max Wells

BRONZE STRADIVARIUS PATRONS $5,000 - 7,499

Anonymous (4) Susie and John Adams Suzanne and Moshe Azoulay Mr. and Mrs. Albert Bayley Joyce and Selly Belofsky Eric and Laura Berlin Boeckman Family Foundation Mr. Bill Bond Mel and Candi Brekhus Mr. and Mrs. Peter D. Brundage Michelle Miller Burns and Gary W. Burns James F. Carey Tim Chase and Eric Powell Laura and Lawrence Ciavola Mr. and Mrs. Harris W. Clark Bonnie E. Cobb Mary McDermott Cook Carol Crowe Hannah and Stuart Cutshall Sandra Carlson DeBusk The Decherd Foundation Charron and Peter Denker Robert Miller Dickson and Carolyn Bacon Dickson Mr. and Mrs. Robert P. Doffing Jennifer and John Eagle Dr. and Mrs. James Forman Mr. and Mrs. James A. Gibbs Holly and Ben Gill Jerry Ann Glennie Wade and Margaret Goodrich (Col. Rt.) Bill and Mrs. Barbara Gross Keith Hallock Mr. Lawrence Hamm Mrs. Jack Hammack Hon. Deborah Hankinson Mrs. Deborah Heaton Michael Heinlen Gerald L. and Frankie L. Horn Patty and James Huffines Brenda Louise Jackson

Sue and Phil John Lee and Bryan Jones Kim Jordan Dr. Norman Kaplan Joan and Jack Kickham Rudolph C. and Martha A. Koch III Mrs. Paula S. Lambert Joan and Marvin Lane March Family Foundation Anne McNamara and Errol Mitlyng Mr. and Mrs. Al Meitz Dr. and Mrs. Robert E. Morgan Patricia and Blaine Nelson Mr. and Mrs. David Nurenberg Danna L. Orr Bill and Michelle Packer Mrs. Larry Patton Bill and Chris Peirson David and Kelly Pfeil Dr. and Mrs. Melvin R. Platt Mr. and Mrs. Marvin F. Poer Mitchell A. Ross Cleo and Jeff Rowland Nancy and John Solana Mrs. LeAnn Harris Solomon Charlotte C. Test Mr. and Mrs. Seymour R. Thum Sandra Tucker Inge and Sam Vastola Charles and Barbara Vaughan David and Harianne Wallenstein Don E. Welsh Aaron Bertram Zeman

STRADIVARIUS PATRONS $3,000 - 4,999

Anonymous (14) Matt Acosta Eric Affeldt Glenn C. Anderson Stacey J. and Charles A. Angel, Jr. Steve and Cindy Aughinbaugh John Bartel Mary Bartholow - Communities Foundation of Texas Julie and Craig Beale Paul and Rebecca Bergstresser Mr. Lee P. Berlin Mr. and Mrs. Charles M. Best Georgia Sue Black Mr. Mark R. Blaquiere and Ms. Cathy Ann Fears Edward and Kalita Blessing Michael and Vera Bloch Dr. and Mrs. Robert B. Blomeyer II Howard and Elaine Bohlin Dr. Arthur P. Bollon and Dr. Rhonda R. Porterfield Patricia and Paul Bonavia

Tab Boyles Mr. and Mrs. Raymond Brekke Carol and Royal Brin Dr. James Brodsky and Dr. Cynthia Schneidler Karl E. Brown Mr. and Mrs. Mason C. Brown Lawrence R. Burk Jack and Mary Bush Nan-Elizabeth Byorum Beverly and Don Campbell Catherine Ann Carr Lucinda and Lyne Carter George and Jo Ann Caruth Donald Reed Case Kay and Elliot Cattarulla Dr. Angie Cayton Mary Christian Bev and Martin Coben Dr. Mona Cochran Gary and Alice Coder Mr. and Mrs. Robert M. Cohan Richard H. Collins Drs. Dale and Shirley Coln Thomas and Lisa Connop Dr. and Mrs. Martin Conroy Catherine A. Corrigan Jess Corrigan and Lisa Hartman Marilyn R. Corrigan Mr. and Mrs. David S. Crockett, Jr. Cullen and Judy Cullers Elaine and Bruce Culver Mike and Jane Cumiskey Dallas Symphony Players Association Liliane Jeanmaire Danes Sherry and Clifton Daniel Arlene and John Dayton Tom Delimitros Wayne Dietrich Mary and Bob Dilworth Patsy M. Donosky Mr. Arnim E. Dontes Mrs. Elsie Dunklin Mr. and Mrs. Loften Dunlap Dr. and Mrs. Arlet Dunsworth Drs. Jason E. and Lucy F. Edling Andrew F. Ellis and Marie Corley Drs. Robert and Phyllis Engles Paddy and Barry Epstein Marion P. Exall Dr. Chip and Evey Fagadau Anne and Alan Feld Mr. and Mrs. Hollye C. Fisk Mrs. Dorothy S. Fitch Curt and Susie FitzGerald Roy and Laura Fleischmann Susan G. Fleming, Ph.D. Mary Shelton Florence W. Tom Fogarty, M.D. Steven V. Foster Margie and Ray Francis Drs. Rhoda and Gene Frenkel Catherine Fritz Judith R. Fuller Joseph Funk Mr. and Mrs. Donald E. Gaskins


Stephen Geoffray and Cindy Walker Mike and Jackie George Susan and Mark Geyer David H. Gibson Lee Gibson in memory of Annie-Laurie Cooper W. John Glancy Mr. and Mrs. Paul L. Gleiser Lilli Gober/GFT Family of Jessie D. and E. B. Godsey The Goetz Family Philanthropic Fund of the Dallas Jewish Communities Foundation Mr. Warren Gould Dr. and Mrs. J. Kirkland Grant Craig A. and Pamela H. Green Carol Greenberg Dr. C. Fish Greenfield and Thom Maciula Irma Grossman Ms. Barbara Gunnin Mr. and Mrs. Ron W. Haddock Mr. and Mrs. Robert G. Hallam Lisa W. Hang Steve and Alicia Harris Cathy C. Haynes and Michael R. Haynes, Sr. John A. Henry III Charlie Hickox Lista and Rick Hightower Iva Hochstim Ms. Nancy Hodge Nancy Hoffmann Mrs. Ruth Ann Hoffman Samuel S. Holland Stephanie and Ed Howard Caroline Rose Hunt Jo and Bill Jagoda Emily Jefferson Dr. and Mrs. Michael Jez Dr. and Mrs. Juan Jimenez Sandra Johnigan and Don Ellwood Mrs. N. Page Johnson Dr. Ronald C. Jones, M.D. Toby and Will Jordan Jerry R. Junkins Family Foundation Robert Fred Kern Kyle F. Kerr Ms. Rosalee Kimple Scott and Elizabeth Kimple Dr. Karen K. King Marilyn Klepak Nancy and Mark Knudsen Dr. and Mrs. Jerold Lancourt Drs. John and Deirdre LaNoue George and Natalie Lee Liza and Will Lee Ronna and Larry LeMaster

Craig and Joy Lentzsch Jane Saginaw Lerer and Stephen Lerer Jeff and Jani Leuschel Debra and Steve Leven Ann and Nate Levine Mr. and Mrs. Charles L. Lloyd, Jr. Julie and Michael Lowenberg Lloyd Lumpkins Dr. William and Rose Lumry Sammy L. Maddox Diego and Gertraud Maffei Brenda and Jason Mahoney Maranda Maier Nancy Cain Marcus Nancy Wiener Marcus Ms. Tory Marpe and Mr. Damien Fuller-Sutherland Rosemarie Marshall and Lee Wilkins Gwyn and Wilson Mason Mrs. Clovis A. Mathews C. Thomas May, Jr. and Eleanor S. May Patricia and David May John T. McCafferty and Lorraine Sear Pat and Clyde S. McCall, Jr. Mr. Bill McCoy and Ms. Susan E. Brown Mrs. Sherry McCray Dr. James and Becky McCulley Scott and Jennifer McDaniel John and Jackie McElhaney Peter McLarty Renny McLean Ministries Robert J. Melvin Carole and Michael Mendelson Judy and Tom Mercer Drs. Janet and Sonya Merrill Linda Wightman Meyer Bob and Libby Meyers Don and Debbie Michel Barbara and Jim Miller Dr. Linus Miller Dr. and Mrs. Presley M. Mock Cyndy and Blair Monie Heather and Gerald C. Moore, M.D. Carroll S. Moriarty Paula Mosle Mr. and Mrs. David Munson Mr. and Mrs. Scott Murray James and Sally Nation Dr. Charles Nelson and Dr. Karen L. Rainville Jeannie and David Nethery

Dr. Aharon and Shula Netzer Charlene and Tom Norris Thomas G. Norris, Jr. Bryan and Jennifer Norwood Alice and Erle Nye Neil and Pat O’Brien Mrs. Ben Odom Anne and Van Oliver Jay W. Oppenheimer Ms. Hester W. Parker Jeff and Annette Patterson Hank and Becky Pearson Mr. and Mrs. Kenneth W. Perry Stanley M. Peskind Dr. Walter and Stacy Peters Mr. P. Vann and Beth Phillips The Rev. Patricia Phillips Dr. Harlan and Hannah Kay Pollock Lucy and Dan Polter Patsy and Bud Porter Prado Family Fund Arlene and Bill Press W. Paul Radman, D.D.S. Ann H. Redding Katherine and Eric Reeves Dr. and Mrs. R.V. Rege Ken and Mary Kay Reimer Mr. and Mrs. Robert C. Richter Helen and Frank Risch Stephanie and Philip Ritter Dr. and Mrs. Albert D. Roberts John H. Rodgers Bill and Gail Rolston Mr. and Mrs. Allan D. Rosen Helen and Duke Rosenberg Dr. Randall and Barbara Rosenblatt Eileen and Harvey Rosenblum Dr. Edith Rossi Mr. Joel Rubin Will and Janice Ryan Hon. and Mrs. Wm. F. Sanderson, Jr. Mr. and Mrs. William Sandlin Drs. Jean and Herb Schaake Dr. and Mrs. James C. Scott Mrs. Fred A. Secker Dr. and Mrs. John W. Secor Arthur F. Selander Shirley and George Shafer John L. Shaw Alpha J. Shirey Carole and Norm Silverman Lisa K. Simmons Ella and Sanford Singer

Mr. and Mrs. George Slover Martha Mossman Smither Kim Snipes and Wayne Meyer Mr. and Mrs. William T. Solomon Dr. Stuart and Cindy Spechler Mrs. James M. Spellings Mrs. Pat Y. Spillman Mr. and Mrs. Andre Staffelbach Jim and Elaine Stedman Mr. and Mrs. Thomas J. Stephens Mr. and Mrs. Richard L. Stevenson Glenn M. and Hilda H. Stinchcomb Catherine Stone Dr. and Mrs. Marvin J. Stone Mrs. Rosalie E. Stone George and Kate Suhorsky Dr. Laurie Sutor Betty and Robert Symon Mr. and Mrs. John R. Taylor, Jr. Dr. Paul B. Taylor Mrs. Robert C. Taylor (Teddy) Dr. and Mrs. Robert Terrill Mr. Jack Terrillion Dee Collins Torbert Betty Turner Jim and Deborah Turner Mr. and Mrs. Jack Tutterrow Dr. and Mrs. Gary L. Upton Shirley Vilfordi Larry and Marilyn Waisanen Joe and Ellen Walker Sharon and Robert Walker Dennis Walo and Kathleen Irvin Karen Warner Richard Eric Warren Carol and Jon Weinstein Mr. and Mrs. Carl Weisbrod Mr. and Mrs. John Weston Jane Wetzel Jeanette and George Wharton Dr. and Mrs. Martin G. White Katherine and Randall Wiele Mrs. Barbara Wiggins James C. Williams Douglas and Donna Wolfe Terry and Judy Wolfe Ruth W. Wright W. Dan and Pat Wright Mr. and Mrs. Ward W. Wueste Z. and Shirley Zsohar

The Dallas Symphony gratefully acknowledges donors who have been Stradivarius Patrons for 25 or more consecutive years. Individual box seat option holders who contribute at the Stradivarius Patron level or above each season are honored as members of the Isaac Stern Loge Patron Society. Charter Member Honorary Charter Member

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THE DALLAS SYMPHONY ORCHESTRA 2016/17 Jaap van Zweden Music Director Louise W. & Edmund J. Kahn Music Directorship

Principal Guest Conductor (Vacant) Dolores G. & Lawrence S. Barzune, M.D. Chair

Jeff Tyzik Principal Pops Conductor Dot & Paul Mason Principal Pops Conductor’s Podium

Ruth Reinhardt Assistant Conductor Joshua Habermann Chorus Director Jean D. Wilson Chorus Director Chair

Concertmaster

Michael L. Rosenberg Chair

Nathan Olson Co-Concertmaster Fanchon & Howard Hallam Chair

Gary Levinson Sr. Principal Associate Concertmaster Emmanuelle Boisvert Associate Concertmaster Robert E. & Jean Ann Titus Family Chair

Eunice Keem Associate Concertmaster Diane Kitzman Principal Filip Fenrych Maria Schleuning Susan Ager-Breitbarth Lucas Aleman Miika Gregg Mary Reynolds Andrew Schast Motoi Takeda Associate Concertmaster Emeritus Daphne Volle Bruce Wittrig

VIOLIN II

Angela Fuller Heyde Principal Barbara K. & Seymour R. Thum Chair

Alexandra Adkins Associate Principal Sho-mei Pelletier Associate Principal Bing Wang Bruce Patti* Mariana Cottier-Bucco Lilit Danielyan* Heidi Itashiki Andrzej Kapica Shu Lee Nora Scheller Aleksandr Snytkin* Lydia Umlauf Kaori Yoshida* *Performs in both Violin I and Violin II sections

VIOLA

Ellen Rose

Christopher Adkins Principal Fannie & Stephen S. Kahn Chair

Theodore Harvey Associate Principal Jolyon Pegis Associate Principal Jeffrey Hood Michael Coren Abraham Feder Jennifer Humphreys Kari Kettering John Myers Nan Zhang

Principal

Hortense & Lawrence S. Pollock Chair

Barbara Sudweeks Associate Principal Ann Marie Brink Associate Principal Pamela Askew Mitta Angell Thomas Demer Valerie Dimond John Geisel Christine Hwang David Sywak

Nicolas Tsolainos Principal Anonymously Endowed Chair

Tom Lederer Co-Principal Roger Fratena Associate Principal Paula Holmes Fleming Brian Perry Dwight Shambley Clifford Spohr Principal Emeritus

Ryan Anthony

Principal

Diane & Hal Brierley Chair

L. Russell Campbell Associate Principal Kevin Finamore Thomas Booth Assistant Principal

TROMBONE

Barry Hearn Principal Chris Oliver Associate Principal Darren McHenry + Bass Trombone

Matthew Good Principal Dot & Paul Mason Chair

TIMPANI

Brian Jones Principal Dr. Eugene & Charlotte Bonelli Chair

Douglas Howard Associate Principal

PERCUSSION

FLUTE

Vacant Principal Joy & Ronald Mankoff Chair

Deborah Baron Associate Principal + Piccolo Kara Kirkendoll Welch

Douglas Howard Principal Margie & William H. Seay Chair

Ronald Snider Assistant Principal Daniel Florio

HARP

OBOE

Erin Hannigan Principal Nancy P. & John G. Penson Chair

Willa Henigman Associate Principal Brent Ross David Matthews + English Horn

CLARINET

Gregory Raden Principal Mr. & Mrs. C. Thomas May, Jr. Chair

Paul Garner Associate Principal + E-Flat Stephen Ahearn Christopher Runk + Bass Clarinet

BASSOON

Ted Soluri Principal Irene H. Wadel & Robert I. Atha, Jr. Chair

Scott Walzel Associate Principal Peter Grenier + Contrabassoon

Emily Levin Principal Elsa von Seggern Principal Harp Chair

ORGAN

Vacant Resident Organist Lay Family Chair

STAFF KEYBOARD Dallas Symphony Orchestra League, Junior Group & Innovators Chair

Steven Harlos Pops Gabriel Sanchez Classical

LIBRARIAN

Karen Schnackenberg Principal Mark Wilson Associate Principal Katie Klich Assistant Melanie Gilmore Choral

ARTISTIC ADVISOR

Paul Phillips Artistic Advisor to the Music Director

HORN

David Cooper Principal Howard E. Rachofsky Chair

David Heyde

TRUMPET

TUBA

BASS

VIOLIN I

Alexander Kerr

CELLO

Associate Principal

Linda VanSickle Chair

Haley Hoops Yousef Assi Kevin Haseltine Alexander Kienle Assistant Principal/Utility

PERSONNEL MANAGEMENT

Scott Walzel Dir. of Orchestra Personnel + Engagement

STAGE

Shannon Gonzalez Stage Manager Marc Dunkelberg Assistant Stage Manager Franklin Horvath Lighting Technician


PRESENTS

A Celebration of 60 Years

ARJUNA’S DILEMMA

Thursday, May 4 • 7:30 PM Experience an exotic and appealing soundscape that combines elements of both the East and the West in this visually-enhanced concert performance of Douglas Cuomo’s critically acclaimed opera about life’s biggest questions. Based on the ancient text of the Bhagavad Gita, the composer melds classical, jazz, chamber and Indian musical traditions to create a work of both sweeping grandeur and hushed intimacy. Critics have found it “gripping,” “gorgeous,” “astonishing” and entirely original. Conducted by Principal Guest Conductor Nicole Paiement.

THE MAGIC PIANO BREAKTHRU FILMS

EVEREST Friday, May 5 • 7:30 PM A semi-staged performance with projections of Joby Talbot and Gene Scheer’s stunningly powerful and poignant masterpiece conducted by Music Director Emmanuel Villaume. This true-life tale of an ill-fated expedition to Mt. Everest features several stars from TDO’s 2015 world premiere. Preceded by a world premiere “curtain raiser” by Joby Talbot, inspired by mountaineer George Mallory’s attempts to summit the world’s highest peak in the 1920s, with historical film footage provided by the BFI National Archive.

NORMA

Sunday, May 7 • 2 PM

Saturday, May 6 • 2 PM This animation adventure produced in 2011 is the tale of two children in Warsaw who discover an old piano abandoned on a junk heap. It becomes their magical ride through the skies above Europe, as the kids dodge hot air balloons in France, fierce storms and darkening skies over London. With a live piano score performed by Derek Wang, a young protégé of Lang Lang, this charming yet unforgettable adventure will stick with you, long after we come back down to earth!

This 19th century jewel of the bel canto repertoire is set in the tense and dangerous atmosphere of Romanoccupied Gaul. The title character, sung by Elza van den Heever, is a Druid high priestess in love with the Roman commander—so much so, that she has borne him two children. Now, his eye has strayed to a lovely, young priestess and Norma is consumed with a desire to get her revenge. TDO’s season finale features an all-star cast conducted by Emmanuel Villaume.

For additional information or to purchase tickets: dallasopera.org or 214.443.1000 Season Sponsor

The NaNcy a. Nasher aNd david J. haemisegger Family

The official airline of the Dallas Opera


DALLAS SYMPHONY ORCHESTRA

DALLAS SYMPHONY ASSOCIATION

LEAGUE

EXECUTIVE BOARD

Joseph F. Hubach Chairman Blaine L. Nelson Past Chairman Jonathan Martin President & CEO Cece Smith Treasurer & Secretary Coley Clark John R. Cohn Ronald J. Gafford Linda W. Hart Richard Holt William McIntyre Nancy Nasher Stanley A. Rabin Howard E. Rachofsky Brian Ratner Jeffrey M. Robinson Ron Spears James E. Wiley, Jr. Sanjiv Yajnik

BOARD OF GOVERNORS Nick Adamson Gregg Ballew Joanne Bober Keith Braley Key Coker Roberta Corbett Barbara Daseke Barbara Durham David Emmons Bonnie Floyd, M.D. W. Gary Fowler Marena Gault Alan J. Gold Randall G. Goss Randall Graham Sheila Grant Sam Holland Laree Hulshoff Bryan Jones Yon Y. Jorden Caroline Kohl Gert-Jan Kramer Selena LaCroix Mark LaRoe Craig Lentzsch Ron Mankoff Holly Mayer Scott McDaniel Tim McDonald Linda McFarland Shirley McIntyre Scott Murray Anita Sampels Enika Schulze James C. Scott Robert E. Segert Linda VanSickle Smith Melissa Ruman Stewart Donald J. Stone Barbara Sypult Sarah L. Titus Donna Arp Weitzman Kern Wildenthal Susie Wilson Karina Woolley

Leadership

GOVERNORS BY VIRTUE OF POSITION Ryan Anthony Daniel Florio Ed Hudson Josie Johnson Sandra Secor Linda VanSickle Smith

EX-OFFICIO LIAISON Lucy Meyers-Lambert

LIFE GOVERNORS Dolores Barzune Harold M. Brierley Howard Hallam Morton H. Meyerson W. Bradford Todd

COUNCIL OF PAST CHAIRS Dolores Barzune Harold M. Brierley Richard A. Freling Ronald J. Gafford Howard Hallam Linda W. Hart Jeffrey M. Heller Philip R. Jonsson James W. Keyes A.A. Meitz Blaine L. Nelson William L. Schilling Myrna Schlegel Donald J. Stone W. Bradford Todd

DALLAS SYMPHONY FOUNDATION

BOARD OF DIRECTORS Scott W. Hancock President Howard Hallam Vice President Howard E. Rachofsky Vice President Sam Self Vice President Billie Ida Williamson Treasurer Dolores Barzune Secretary Gregg Ballew Richard A. Freling Amy Groff Yon Y. Jorden Stanley A. Rabin Jeffrey M. Robinson Richard Schulze Donald J. Stone

EMERITUS DIRECTORS Philip R. Jonsson P. Mike McCullough Mrs. Eugene McDermott

Sandra Secor President Mari Epperson President-Elect Lisa Loy Laughlin Vice-President, Fundraising Dixey Arterburn Vice President, Services Lori Routh Vice-President, Arrangements Sarah Hardin Vice-President, Public Relations Carla Leffert Vice President, Membership Gail Vesledahl Vice-President, Membership-Elect Venise Stuart Vice President, Education/Outreach Carole Ann Brown Recording Secretary Sue Ringle Corresponding Secretary Mary Jo Lincicome Treasurer Christine Drossos Treasurer-Elect Bettina Hennessy Historian Melissa Lewis Parliamentarian Kathy Noonan Finance Committee Chairman Christine Drossos Junior Symphony Ball Co-Chair Becky Everett Junior Symphony Ball Co-Chair Libe Hodak Junior Symphony Ball Co-Chair Leslie Merrick Junior Symphony Ball Co-Chair Penny Reid Junior Symphony Ball Co-Chair Christine Standbridge Junior Symphony Ball Co-Chair Jolie Humphrey Presentation Ball Chair Glenda Cotner Party of Note Jill Goldberg Salon Series Kathryn Voreis Salon Series Michelle Anderson Savor the Symphony Harriett Gibbs 70th Anniversary Celebration Wendy Hansen 70th Anniversary Celebration

DALLAS SYMPHONY ORCHESTRA

GUILD

Board of Directors Linda V. Smith President James A. Smith Chairman Richard Barrett Treasurer Sue McAdams Secretary Susan Fleming Vice President, Gala Lacy Naylor Vice President, Gala Judy Tobey Vice President, Luncheons Enika Schulze Vice President, Luncheons Marilyn Halla Vice Presidents, Evening Nicole LeBlanc Vice Presidents, Evening Sue John Vice President, Membership

DALLAS SYMPHONY ORCHESTRA

INNOVATORS Officers Josie Johnson Co-President Ed Hudson Co-President Sharon Knowles President Elect Sharon McGahagin Treasurer Aida Cortes Behind the Scenes Programs Margaret Wilonsky Symphony Store Coordinator Jan Thatcher Young Strings Liaison

THE DSO IS SUPPORTED, IN PART, BY FUNDS FROM THE OFFICE OF CULTURAL AFFAIRS, CITY OF DALLAS.

EX-OFFICIO DIRECTORS BY VIRTUE OF OFFICE Joseph F. Hubach Jonathan Martin Cece Smith

EX-OFFICIO DIRECTORS

William L. Green Assistant Treasurer David Rosenberg Assistant Secretary

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APRIL THU 6

FRI 7 SAT 8 | 7:30 PM

IN GRATITUDE, THESE PERFORMANCES ARE DEDICATED TO THE FOLLOWING ANNUAL FUND AND ENDOWMENT DONORS:

SHIRLEY AND WILLIAM S. MCINTYRE WEEKEND OF CONCERTS FRIDAY WILEY PROPERTY, LTD. SATURDAY DALLAS SYMPHONY ORCHESTRA LEAGUE ANNUAL ENDOWED CONCERT

GUSTAVO GIMENO CONDUCTS JAMES EHNES VIOLIN

BEETHOVEN Overture to Egmont, Op. 84 (Approximate duration 8 minutes)

AARON JAY KERNIS Violin Concerto

(Approximate duration 25 minutes) Dallas Premiere

I. Chaconne II. Ballad III. Toccatini

JAMES EHNES VIOLIN

INTERMISSION

SHOSTAKOVICH Symphony No. 5 in D minor, Op. 47 (Approximate duration 46 minutes)

I. II. III. IV.

Moderato Allegretto Largo Allegro non troppo

ARTIST BIOS P. 35 This concert will conclude at approximately 9:30 PM.

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P R O G R A M N OT E S

SHOSTAKOVICH AND BEETHOVEN BY RENÉ SPENCER SALLER

BEETHOVEN Overture to Egmont

BORN December 16, 1770, Bonn, Germany DIED March 26, 1827, Vienna, Austria COMPOSED 1809 FIRST PERFORMANCE June 15, 1810, Vienna, Austria; Beethoven conducting LAST PERFORMANCE BY THE DSO May 18, 2014; Jaap van Zweden conducting

FROM MISERY TO MEANING

Late in 1809, Ludwig van Beethoven accepted a commission to write an overture and incidental music for a revival of Goethe's Egmont. With its themes of liberation, equality and sacrifice, Goethe's 20-year-old verse drama was profoundly meaningful to the German composer. Based on actual historical events, the story takes place in the 16th century, when Spain ruled the Netherlands. Its eponymous hero is a Flemish statesman and general who pleads for tolerance and is convicted of treason. Before his execution, his dead wife appears in a vision and promises that their people will be free again. The plot must have struck Beethoven as painfully apt: Vienna, his adopted home, was occupied by France during much of 1809. In April the composer complained in a letter, "What a destructive, disorderly life I see and hear around me, nothing but drums, cannons and human misery in every form." When the din became unbearable, he hid in his brother's cellar and wedged his head between pillows.

begins the overture; then comes a darkly lumbering gesture in low strings, evoking the burden of oppression. The key is F minor, for Beethoven a tragic, death-tinted tonality.” Although the play ends with the hero’s execution, Goethe called for a “symphony of victory,” and Beethoven delivered just that with his F major coda. Marked by a brief silence, Count Egmont’s death is not irrelevant, but it’s also not the point. Egmont ends in triumph, not in tragedy. The overture's conclusion foretells a freedom that only Beethoven—the stubborn dreamer, the Enlightenment's eternal child—could imagine. Mired in misery, he still believed in joy.

Franz Liszt hadn't yet coined the term symphonic poem, but the Egmont Overture fits the definition. Dark, urgent and dramatic, it's more than sonic scene-painting; it tells a story and shapes our emotional responses. In Beethoven: Anguish and Triumph, Jan Swafford describes how form follows function: "A stark orchestral unison The Count of Egmont.

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AARON JAY KERNIS Violin Concerto BORN January 15, 1960, Philadelphia, PA COMPOSED 2017 FIRST PERFORMANCE March 8, 2017; Toronto, Canada; Peter Oundjian conducting; James Ehnes, soloist LAST PERFORMANCE BY THE DSO These are the first performances by the DSO.

A NOTE FROM THE COMPOSER

In 2007 I unexpectedly heard from the BBC in London asking me to write a recital piece for a violinist whose playing I didn’t know. Once supplied with some recordings it was clear he was a great (young) master of the instrument, and I unhesitatingly agreed. Out of that came my first collaboration with James Ehnes, Two Movements (with Bells), a piece that he has now played many times and recorded, and from him followed the enthusiastic request to write a concerto. Making (playing, writing and listening to) music is indeed a journey, often coming when you least expect it, and this one leads directly to this new violin concerto. Since 2009 I’ve had the good fortune to write a whole batch of concertos for various wonderful players and combinations – cello, viola, flute, trumpet, chamber orchestra and piano, with one for horn upcoming. I’ve tried to make them all different, and keep their forms, content and expression fresh for me and for listeners. This newest work for James Ehnes is formed out of the essential three-movement form that many bedrock concertos of the past are built: 1) the largest, most searching arguments first, followed by the 2) shorter, slower lyrical utterance and ending with the even shorter 3) fast, zippy, often hairraisingly difficult closer. But here there is much that differs from the past. The first movement is Chaconne, and comes distantly from the Baroque form of a set of

variations over a repeated series of chords. This is the most dramatically charged and changeable movement, with the opening downward melody/chord progression in the violin being the basis of all that follows. This theme is constantly varied in character and color over the entire movement and returns in its original, most dramatic statement at its end. Ballad is the songful, jazz/French-tinged lyrical middle movement with an angular, wrenching center. The language of Two Movements (with Bells) returns here with hints of the blues and the influence of the harmony of composer Olivier Messiaen, an idol of mine. Finally, the energetic Toccatini closes the piece. A Toccata is a virtuosic, fast “touchpiece” from the Baroque era. I thought this would be a tiny or "teeny" toccata, and the idea of creating a new martini — the Toccatini. This is a not-atypical Kernis-ian mashup — bits of jazz, hints of Stravinsky/ Messiaen, machine-music, wild virtuoso strings of notes all over the violin give James ever more chances to show his mettle — it showcases his great ability to shape many thousands of notes with flair and joy. The concerto is dedicated to James Ehnes, with great admiration and friendship. It was generously commissioned by four splendid orchestras and music directors: the Dallas Symphony and Jaap van Zweden, with the generous support of the Norma and Don Stone Fund for New Music; Toronto Symphony and Peter Oundjian; the Seattle Symphony and Ludovic Morlot and the Melbourne Symphony and Sir Andrew Davis. – Aaron Jay Kernis Scored for solo violin; 2 flutes and piccolo; 2 oboes and English horn; 3 clarinets, the third doubling bass clarinet; 3 bassoons, the third doubling contrabassoon; 4 horns; 3 trumpets; 3 trombones; tuba; timpani and percussion; harp; piano and celeste; strings.

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SHOSTAKOVICH Symphony No. 5

BORN September 25, 1906 Saint Petersburg, Russia DIED August 9, 1975, Moscow, Russia COMPOSED 1937 FIRST PERFORMANCE November 21, 1937, Saint Petersburg, Russia; Yevgeny Mravinsky conducting LAST PERFORMANCE BY THE DSO September 27, 2008; Jaap van Zweden conducting

CRITICISM AND CAPITULATION

A few days before the premiere of Dmitri Shostakovich's Symphony No. 5 in D minor, an article appeared in a Moscow newspaper calling the work "a Soviet artist's reply to just criticism." Whether the composer wrote that description himself is unclear, but he certainly wasn't reckless enough to disavow it. A year earlier, Joseph Stalin had attended a performance of Shostakovich's popular and critically acclaimed four-act opera Lady Macbeth of Mtsensk District, which was at that point two years old. The Communist dictator hated it. Almost immediately, Pravda issued a fierce denunciation, possibly penned by Stalin himself, titled "Muddle Instead of Music." According to the anonymous author, the opera was dissonant, the characters distorted and depraved. "This game," the critic ominously intoned, "may end badly." Branded as a bourgeois formalist, Shostakovich spent the next several months in perpetual terror. He stashed a packed suitcase under his writing desk and took to sleeping in the hallway of his apartment building, away from his wife and baby. His fears were hardly unwarranted. Under Stalin, more than 500,000 people were summarily shot, without due process, and approximately 2.5 million others were sent to the Gulag. The 29-year-old St. Petersburg native had already lost friends and family members during these so-called purges. He capitulated to survive, but he never wrote another opera. With his colleagues in the Composers Union ganging up against him, Shostakovich opted to withdraw his ambitious and experimental Fourth Symphony. It would not be premiered until 1961. From April to July of 1937, he focused on making his Fifth Symphony consistent with the structural demands of Socialist Realism: a tragic beginning leading to a dramatic struggle and culminating in a heroically triumphant conclusion. To his great relief, the premiere, which took place in Leningrad, on November 21, 1937, was a huge success. The audience wept openly during 18

the Largo—never mind that public crying was a punishable offense—and the ovation after the finale reportedly lasted for half an hour. Shostakovich was rehabilitated. He remained so until 1948, when he was censured once more for "decadent formalism."

STRUGGLE AND REJOICING

The opening Moderato introduces a dramatic motive in the lower strings. This jagged gesture is passed along, canon style, to the violins and violas, the latter straining at the upper limits of their register, a plangent, almost painful tonality. In a similar evocation of struggle, the horns and trumpets play unnaturally low notes. After a while, brass and snare drum transform the first theme into a grotesquely parodic march. A weird and lovely duet ensues between flute and horn, which is now pitched almost impossibly high. The coda, graced by a solo piccolo and violin, inverts the theme. As the movement ends, a celesta sends a parting air-kiss into the encroaching silence. The second movement is a scherzo, but it's no light-hearted joke. Sardonic and angrysounding, it boasts a seriously strange solo for E-flat clarinet (accompanied by a pair of horns) and a charming, mildly demented Viennese-style trio. The Largo is rich in allusions to the Russian Orthodox requiem. It is entirely free of brass and contains minimal percussion. The melodies are long and lyrical, alternating small chamber-music groupings with fuller orchestration. Against a quiet tremolo accompaniment from the first strings, a solo oboe sings a poignant melody. Clarinet, strings and flute restate a variant of the opening Moderato's main theme. After a dramatic development section, the third movement closes with celesta and a harmonic-pinging harp. Although the finale resolves to a celebratory D major, Shostakovich leaves plenty of interpretive space. The solo horn theme is undeniably comely, and yet certain harmonies linger at the margins of the consonant. The closing measures might have sounded happy enough to appease the brutal literalists, but what do we make of the timpani pounding out that punishing tattoo? A sentence attributed to Shostakovich in the largely unreliable Testimony seems plausible: "It's as if someone were beating you with a stick and saying, 'Your business is rejoicing, your business is rejoicing,' and you rise, shaky, and go marching off, muttering, 'Our business is rejoicing, our business is rejoicing.'"


WINDBORNE’S THE MUSIC OF JOURNEY

APRIL FRI 21

SAT 22 | 7:30 PM

SUN 23 | 2:30 PM

IN GRATITUDE, THESE PERFORMANCES ARE DEDICATED TO THE FOLLOWING ANNUAL FUND AND ENDOWMENT DONORS:

BDO WEEKEND OF CONCERTS BRENT HAVENS CONDUCTS BRODY DOLYNIUK VOCALIST POWELL RANDOLPH DRUMS/BACKGROUND VOCALS BART KUEBLER KEYBOARD/BACKGROUND VOCALS

Tonight’s program will be announced from the stage.

ARTIST BIOS P. 36 19


Saturday April 22, 2017 The Adolphus Hotel

Honorary Chairs Barbara and Robert J. Bigham

This event includes a five-course wine dinner and a silent and live auction, and live entertainment. The auction offers a collection of fine wines and luxury items. Tickets start at $250. Contact Michelle Anderson for details nmichelle@txanderson.com Tickets can be purchased on www.dallassymphonyleague.com

Congratulations to The Dallas Symphony Orchestra League on 70 years of service! Celebrate on May 24, 2017 at the Encore Luncheon

First Row: Dean Kadesky (1988-1989); Dixie Marshall (2014-2015); Nancy Nelson (1982-1983); Patricia Copps (1978-1979); Jo Anne McCullough (1992-1993). Back Row: Deborah Brown (2007-2008); Anita Sampels (1985-1986); Faye Gould (1990-1991); Ginger Sager (2013-2014); Sandy Secor (2016-2017); Melissa Lewis (2015-2016); Dolores Barzune (1984-1985); Sharon Ballew (2006-2007).

Want to be involved? Join the DSOL online at dallassymphonyleague.com Learn about our many volunteer events, become a youth concert usher, and enjoy our membership teas.


APRIL THU 27

FRI 28

SAT 29 | 7:30 PM

SUN 30 | 2:30 PM

IN GRATITUDE, THESE PERFORMANCES ARE DEDICATED TO THE FOLLOWING ANNUAL FUND AND ENDOWMENT DONORS:

FANCHON AND HOWARD HALLAM WEEKEND OF CONCERTS

MATTHEW HALLS CONDUCTS NATHAN OLSON VIOLIN

VIVALDI The Four Seasons for Violin and Orchestra, Op. 8, Nos. 1-4 (Approximate duration 39 minutes) La primavera (Spring) I. II. L’estate (Summer) III. L’autunno (Autumn) IV. L’inverno (Winter)

NATHAN OLSON VIOLIN

INTERMISSION

BEETHOVEN Symphony No. 6 in F major, Op. 68 “Pastoral”

(Approximate duration 40 minutes) Awakening of cheerful feelings on arriving in the country: Allegro ma non troppo I. II. Scene by the brook: Andante molto mosso III. Merry gathering of countryfolk: Allegro IV. Thunderstorm: Allegro V. Shepherd’s Song–Happy and grateful feelings after the storm: Allegretto

ARTIST BIOS P. 38 This performance will conclude at approximately 9:30PM, 4:30 PM on Sunday.

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P R O G R A M N OT E S VIVALDI FOUR SEASONS AND BEETHOVEN 6 BY RENÉ SPENCER SALLER

VIVALDI The Four Seasons

BORN March 4, 1678, Venice, Italy DIED July 28, 1741, Vienna, Austria COMPOSED 1723 FIRST PERFORMANCE Unknown LAST PERFORMANCE BY THE DSO February 26, 2012; Ed Spanjaard conducting; Shannon Lee, soloist

PROLIFIC PRIEST

Born in 1678, Antonio Vivaldi was an ordained priest, a virtuosic violinist and a dedicated music teacher. He was also one of the most prolific and influential composers of the Baroque era. Like his slightly younger contemporary J.S. Bach, who studied his scores, Vivaldi wrote prodigiously in almost every genre. Along with at least 50 operas, dozens of sacred works, four oratorios and more than 40 secular cantatas, Vivaldi generated reams of instrumental music, including 500-plus concertos for solo and multiple instruments. With this massive catalog of concertos, Vivaldi helped establish the structural conventions that continue, more than 280 years later, to define the form: a three-movement, fast-slow-fast structure, balanced between individual virtuosity and orchestral comity. Vivaldi published Le Quattro Stagione, or The Four Seasons, in Amsterdam, in 1725. It's actually a series of conceptually linked concertos for solo violin, strings and harpsichord, published as numbers 1 through 4 in his Op. 8 collection of twelve concertos, which he collectively titled Il Cimento dell'Armonia e dell'Invenzione (The Contest Between Harmony and Invention). Although Vivaldi didn't use the title The Four Seasons, he obviously intended for each of the first four concertos to represent a different season, beginning with spring and ending with winter. We know this because of the concerto titles and the sonnets that accompanied each concerto in the published score. Their authorship is unknown, but the

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Venetian dialect suggests that Vivaldi, born and raised in Venice, may have penned the verses himself. The images in the sonnets line up so precisely with the orchestral effects that it seems fair to call The Four Seasons an early prototype of program music, a term that didn't exist in Vivaldi's day. Along with the poetic accompaniment, Vivaldi inserted explanatory cues in the score. Next to a two-note pattern in the violas during the second movement of "Spring," he wrote the phrase "the barking dog;" in the first movement of summer, he added the words "languor caused by the heat," and in the slow movement of "Autumn," he noted that "the drunkards have fallen asleep."

SEASONS' CYCLE

The opening Allegro of "Spring" starts with a unison celebration of the season's arrival, followed by a solo passage of birdsong. Later, we hear "murmuring streams" that are "softly caressed by the breezes." A sudden thunderstorm casts "a dark mantle over heaven" before passing by and "the birds take up their charming songs once more." Next, in the Largo, the second violins imitate "leafy branches rustling overhead." The goatherd dozes; his dog barks. The closing Allegro proffers a droning bagpipe, courtesy of the double basses. Unlike the other three concertos in the cycle, which all involve at least one key change, the three movements of "Summer" are stuck in G minor, enhancing the sense of sun-scorched torpor. We hear the cuckoo (a volley of sixteenth notes launched by the solo violin), then the "sweet songs of the turtledove and finch" (a second, more lyrical violin solo). In the central Adagio, the shepherd is besieged by swarms of buzzing insects as he frets about the bad weather ahead. With the Presto comes the storm, as the "Heavens thunder and roar" and hail "cuts the head off the wheat."


The first Allegro of "Autumn" "celebrates the peasant, with songs and dances," and "the pleasures of a bountiful harvest." Drunk and dizzy from dancing, the rustic revelers stagger around a bit (listen for clumsy arpeggios and abrupt scalar plunges) before drifting off to sleep. Next, the slow movement gradually rouses the celebrants with mysterious harbingers of gladness; although the music is decidedly dissonant, it flows forth with a convincing dream logic that may as well be grace. The jaunty finale switches to a more aristocratic setting, as "the hunters emerge at the new dawn," outfitted with horns, dogs and guns. The wounded, panicking prey, an otherwise-unidentified "beast," is chased down and killed. "Winter" yields more atmospheric dissonance: violent shivering followed by running, footstomping and teeth-chattering. The E-flat major Largo finds us cozily ensconced indoors, by a roaring fire, sheltered from the storm (listen for the pizzicato raindrops striking the windows and roof). The closing Allegro, in the home key of F minor, is both dramatic and comical: "We tread the icy path slowly and cautiously/for fear of tripping and falling/then turn abruptly, slip, crash on the ground and, rising, hasten on across the ice lest it crack up."

BEETHOVEN Symphony No. 6, “Pastoral”

BORN December 16, 1770, Bonn, Germany DIED March 26, 1827, Vienna, Austria COMPOSED 1808 FIRST PERFORMANCE December 22, 1808, Vienna, Austria LAST PERFORMANCE BY THE DSO November 4, 2007; Jaap van Zweden conducting

FEELINGS, NOT PICTURES

Although Beethoven sneered at tone-painting, mocking his teacher Haydn for overly literal orchestral effects in The Creation and The Seasons, the younger composer didn't reject the programmatic altogether. Like many great artists, he exploited his ambivalence, teasing out loopholes that let him investigate new ideas without compromising his aesthetic values. His notebooks for the Sixth Symphony are teeming with reminders about the uses and abuses of musical pictorialism: "All painting in instrumental music is lost if it is pushed too far;" "One leaves it to the listener

to discover the situation;" "Whoever treasures any idea of country life can discover for himself what the author intends." Yet despite these cautious precepts, Beethoven did what he promised not to do: paint pictures. Extramusical elements abound. In addition to the long descriptive titles that accompany each of the symphony's five movements, the first published edition of the symphony bore this rather finicky title: "Pastoral Symphony or Recollection of Country Life, an expression rather than a description." In other words, feelings, not pictures—except there are also many pictures.

COMPOSITION AND CONTRASTS

Beethoven composed most of his Symphony No. 6, “Pastoral” in 1808, although it incorporates passages written years earlier. With the sharply contrasting Fifth Symphony, completed earlier that same year, the Sixth finds the composer at the height of his productive middle period, where form expands to accommodate the imagination and emotional expressiveness reigns supreme. The Sixth is unusual in Beethoven's catalog. It's not only his most overtly programmatic work; it's also his only five-movement symphony. The Fifth is dynamic; the Sixth, except for its penultimate movement, seems to luxuriate in the Eternal Now. Whereas the Fifth states its theme with brutal directness, the Sixth eases imperceptibly into its melodies, beginning almost under its breath. Repetitions induce a proto-Minimalist, mantralike groove. Melodies evolve slowly; harmonies seem symbiotic.

RURAL IDYLL

Beethoven titled the opening movement "Awakening of cheerful feelings on arriving in the country." As Jan Swafford explains in Beethoven: Anguish and Triumph, the first movement offers "no drama, no feverish excitement this time. No fate. Glorious sunshine, not even a passing cloud. No suffering, no triumph, but fulfillment. Themes like folk tunes, a shepherd's pipe, flowing rhythms. Minor keys all but banished (only three bars in minor), scarcely even a minor chord. Most of it soft. A peaceful development.... Ultimately, it is to be about stepping into holiness, about beholding God." In the subsequent slow movement, titled "Scene by the brook," Beethoven revisits a sketch from an earlier holiday, in which he attempted to replicate the gushing, burbling,

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trickling voice of a stream. The mood is serenely ecstatic, with warm low strings and lulling cadences. The coda is punctured by strikingly accurate birdsong. In addition to distinctive calls, the three birds have symbolic value: the nightingale represents love; the cuckoo, summertime; the quail, divine providence. In the manuscript, Beethoven inscribed a note to his copyist: “Write the word Nightingale, Quail, Cuckoo, in the first flute, in the first oboe, in the first and second clarinets, exactly as here in the score.” The "Merry gathering of countryfolk" functions as a rustic scherzo. Here Beethoven incorporated another musical idea he'd sketched out years earlier, while working on the “Eroica.” As Swafford explains, "he remembered a country band he saw at a dance, the oboist who couldn't

find the downbeat, the sozzled bassoonist who kept dozing off and awoke now and then to blat out a few notes."

THUNDER AND THANKS

Beethoven interrupts the expected repetition of the scherzo with the violent and jarring fourth movement, "Thunderstorm." Storms are a staple of the pastoral tradition, but the sudden infusion of drama into what was up to this point an unusually placid affair still surprises us somehow. Like an actual storm, this movement requires no transition. It simply slices through the scherzo format like a lightning bolt slices through the sky. Beethoven reserved the timpani, trombones and the piccolo for this movement and makes a rare detour into minor-key, borderline-dissonant territory. The cellos and double basses suggest the encroaching menace; staccato violin notes mimic falling raindrops; the timpani thunders and a flute streaks silvers against a gunmetal sky. The sun resurfaces in the radiant finale, "Shepherd's song. Happy and grateful feelings after the storm." Winds and horns channel distant alpenhorn calls. The meter is a mellifluous 6/8, a golden-oldie for pastoral subjects; the key is almost always the Haydn-approved, tried-andtrue F major. But despite those nods to convention, Beethoven's Sixth Symphony is as radically inventive as its twin-opposite, the more assertively experimental Fifth Symphony. The Sixth exalts the eternal processes of gradual change, or, more exactly, the miraculous specificity born of endless repetition and regeneration. Beethoven, who died in 1827, never had to grapple with the religious and philosophical implications of Charles Darwin's theory of evolution. For Beethoven, a proud son of the Enlightenment, nature was an intimation of immortality, a glimpse of the sacred. Years later, in his diary, he wrote, "My unfortunate hearing does not plague me [in the country]. It is as if every tree spoke to me in the country, holy! Holy! Ecstasy in the woods! Who can describe it?" He could.

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MAMBO KINGS

MAY FRI 5

SAT 6 | 7:30 PM

SUN 7 | 2:30 PM

IN GRATITUDE, THIS PERFORMANCE IS DEDICATED TO THE FOLLOWING ANNUAL FUND AND ENDOWMENT DONORS:

SATURDAY LUCILE AND CLARENCE DRAGERT ANNUAL ENDOWED CONCERT JEFF TYZIK CONDUCTS MAMBO KINGS

GIMENEZ Intermedio de la Boda de Luis Alonso DELANEY Melodia BRUBECK, Arr. DELANEY Blue Mambo A La Turk CASTILLO, Arr. DELANEY Tres Lindas Cubanas HERNANDEZ, Arr. DELANEY El Cumbanchero

INTERMISSION

PIAZZOLLA, Arr. GUZENHAUSER La Muerte Del Angel LENNON/MCCARTNEY, Arr. DELANEY Day Tripper PIAZZOLLA, Arr. DELANEY Milonga Del Angel DELANEY Marinera DELANEY Danzรณn TITO PUENTE, Arr. DELANEY Oye Como Va

ARTIST BIOS P. 34 This concert will conclude at approximately 9:30 PM, 4:30 PM on Sunday.

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DSO FAMILY CONCERT SERIES

MAY SAT 13 | 11:00 AM RUTH REINHARDT CONDUCTS

MOZART’S MAGNIFICENT VOYAGE Produced by Classical Kids Music Education

Featuring ELIC BRAMLETT as Wolfgang Amadeus Mozart & ANDREW REDLAWSK as Karl Thomas Mozart

Playwright & Music Editor DOUGLAS COWLING

Dramaturge & Music Timing by PAUL PEMENT

Production Stage Management & Technical Coordination by STEVE HILTEBRAND

Light Design by PAUL PEMENT

Prop/Wig Design by KEVIN BARTHEL

Costume Design by BILL DUNKEL

Classical Kids CDs/Merchandise Available at www.ClassicalKidsLive.com

The theatrical concert version of Mozart’s Magnificent Voyage is an adaptation of the best-selling and award-winning Classical Kids recordings, Mozart’s Magnificent Voyage and Mozart’s Magic Fantasy, produced by Susan Hammond. Classical Kids® is a trademark of Classical Productions for Children Ltd., used under exclusive license by Pement Enterprises, Inc., and produced by Classical Kids Music Education, NFP. Classical Kids recordings are marketed by The Children's Group. Actors and Production Stage Manager are members of Actors' Equity Association.

Follow us! Facebook @ ClassicalKidsLive / Twitter @ Classical_Kids

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PLOT SYNOPSIS Mozart’s young son, Karl, longs to be taken from his boarding school to spend more time with his famous father. His wish is fulfilled when Wolfgang Amadeus takes him to a performance of The Magic Flute. This true fatherson event gives Karl a chance to understand Mozart’s extraordinary life as a travelling prodigy, his pressures from family and fame, his passion for composing and the common bonds they both share. In the end, the son realizes that he is well loved and that, although his father will die an early death just two months later, he will always have him by his side through his timeless music. Watch this story come to life as Karl and his father relive young Wolfgang’s meeting of the Queen of England and the Pope in Rome. From the Sistine Chapel to Carnivale there is much to learn about the young prodigy’s extraordinary life. But that’s not all! Discover the great master’s passion for composing as they embark on a magic journey into the world of The Magic Flute. Follow the Prince and Papageno as they try to rescue Princess Pamina from the Queen of the Night in Sarastro's enchanted castle.


JUNE WED 14 | 7:30 PM NATHAN LAUBE ORGAN

JOSEPH JONGEN Sonata Eroïca pour Grand Orgue, Op. 94 (Approximate duration 16 minutes) GEORGE BAKER Première Evocation (world premiere) JEHAN ALAIN Première Fantaisie (Approximate duration 6 minutes) JEHAN ALAIN Deuxième Fantaisie (Approximate duration 7 minutes) GEORGE BAKER Deuxième Evocation (world premiere) INTERMISSION J.S BACH Fantasia and Fugue in G minor, BWV 542 (Approximate duration 11 minutes) JULIUS REUBKE Sonata for Organ in C minor (“The 94th Psalm”) (Approximate duration 24 minutes)

Grave-Larghetto-Grave O Lord God, to whom vengeance belongeth, shew thyself. Arise, thou judge of the world: and reward the proud after their deserving.

Allegro con fuoco Lord, how long shall the ungodly triumph? They murder the widow, and the stranger: and put the fatherless to death. And yet they say: the Lord shall not see: neither shall the God of Jacob regard it.

Adagio – Lento If the Lord had not helped me: it had not failed but my soul had been put to silence.

Allegro (Fugue) – Allegro assai But the Lord is my defense: and my God is the rock of my refuge. And he shall bring upon them their own iniquity: and shall cut them off in their own wickedness

Nathan Laube’s recital is presented in association with the Southwest Regional Convention of the American Guild of Organists. ARTIST BIO P. 41 This concert will conclude at approximately 9:30 PM.

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P R O G R A M N OT E S

OPUS 100 | NATHAN LAUBE BY RENÉ SPENCER SALLER

The music on this program spans the 18th century to the 21st century, although it's not presented in chronological order. Instead, the music keeps coming unstuck in time, as great music always seems to do. In the two pieces by George Baker (Première Evocation and Deuxième Evocation—both composed in 2017 and receiving their world premieres) we hear traces of several 19th- and 20th-century composers, including the tragically short-lived Jehan Alain, whose Première Fantaisie and Deuxième Fantaisie, performed between the two new Baker compositions, are acknowledged touchstones. The other works on the program are similarly slippery. The opener, Joseph Jongen's Sonata Eroïca pour Grand Orgue, is a work of the early 20th century, but it glides so imperceptibly from ancient to modern that it seems to occupy some enchanted atemporal sphere. Maximalism and minimalism converge, sensuous pentatonic textures peek out from beneath a contrapuntal tangle, and Bach presides, godlike, over the miraculous mish-mash. The pipe organ, perhaps above all other instruments, thrives on historical indeterminacy. Even the newer instruments—such as the state-of-the-art, C.B. Fisk–built organ at the Meyerson—aren't all that different structurally from the 18th-century versions that Bach played. The pipe organ predates Christianity, and yet it seems immediate, eternally present. Michael Barone, host of the syndicated radio show Pipedreams, describes the Lay Family Organ this way: “Even when you don’t quite hear it, there’s just this low rumble that’s not so much a pitch but an experience. When the full organ is going, when you pull on the big 32-foot Bombard, it’s not just the sound. It’s the 'wow' impact of the sound vibrating your whole body.” Joseph Jongen (1873-1953) Sonata Eroïca pour Grand Orgue, Op. 94 The Belgian organist and music teacher Joseph Jongen was a child prodigy who began composing music at age 13 and continued doing so well into his 70s. Although he destroyed a significant portion of his catalog, he completed more than 200 symphonies, concertos, chambermusic pieces and songs over his long career. Today Jongen is best known for his organ works, both for solo instrument and in combination with

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other instruments. His massive 1926 work for organ and orchestra, Symphonie concertante, has been performed and recorded by many of the world's finest organists, although Jongen himself took to calling it "that unfortunate work." If the Symphonie concertante represents the capstone of Jongen's orchestral career, the Sonata Eroïca is his finest contribution to the solo organ repertory. Its working title was Variations, but Jongen changed it to Sonata Eroïca pour Grand Orgue ("Heroic Sonata for Pipe Organ") right before the first performance. He started it in mid-September of 1930, while on holiday in Sart, and completed it later that month, fulfilling a commission for the inauguration of a new organ in the Grande Salle de Concerts of the Palais des Beaux-Arts, Brussels. Inspired in part by Franz Liszt’s Sonata in B minor, the Sonata Eroïca abandons the expected multi-movement sonata format in favor of a series of thematic variations, culminating in an intricate fugato. As a whole, the work juxtaposes athletic virtuosity with emotional expressiveness, dense chromaticism with tender lyricism, contrapuntal rigor with jazzy quasi-improvisations. At about the nine-minute mark, a startlingly sensuous texture emerges: arpeggiated pentatonic chords cushioned by blissful drone. George Baker (b. 1951) Première Evocation; Deuxième Evocation (world premieres) "The Deux Evocations were composed for the brilliant American organist Nathan Laube. He requested I write these pieces for him at a Parisian café, following his extraordinary concert at La Madeleine on August 28, 2016. Subtitled June 2, 1937, these two pieces form an homage to the great French organist/composers Louis Vierne and his student Maurice Duruflé. Duruflé was at the Notre-Dame console the night of Vierne's death, in the middle of a concert. The Première Evocation is a meditative Gregorian paraphrase on two chants honoring NotreDame, the Blessed Virgin Mary. Vierne was to have improvised on at least one of these chants. Deuxième Evocation is a rousing and joyful work celebrating life after death. In these pieces, one will hear various elements of the musical languages of Vierne, Duruflé, Jehan Alain, Olivier


Messiaen and my teacher/mentor Jean Langlais. All of these greats knew and respected one another, and the Deux Evocations provide a sort of reunion of them all. While the sounds of the Notre-Dame de Paris organ are in my mind's ear for these pieces, they will work beautifully on the glorious Meyerson instrument."—George Baker, DMA

the work in 1720, while investigating career opportunities in Hamburg, and that the main theme of the fugue is based on a popular Dutch song. The two parts of BWV 542 were probably written separately, the fugue sometime between 1708 and 1717, when Bach was living in Weimar, and the fantasia between 1717 and 1720, when he was living in Cöthen.

Jehan Alain (1911-1940)

The fantasia begins with a recitative-like free improvisation that soon reveals its sturdy structural framework. All the registers are opened, creating a kaleidoscopic array of voices, and the pedal work is energetic and challenging. On a purely tonal level, the prelude is vast and varied; no sooner is a key established than a dazzling cadenza vaults it into the harmonic stratosphere.

Born into a musical family, the gifted organist and composer Jehan Ariste Alain spent most of his brief life in the vicinity of Paris. He distinguished himself early at the Paris Conservatoire, winning top honors in harmony, fugue, composition and organ improvisation. Inspired by Claude Debussy and Olivier Messiaen, he began writing music at 18 and continued for the rest of his brief life. On June 20, 1940, Alain was serving as a motorcycle dispatch rider in the Eighth Motorized Armor Division of the French Army when he encountered a group of German soldiers. The 29-year-old composer killed 16 of them before being fatally gunned down. He was posthumously distinguished with the Croix de Guerre. Deux Fantaisies perfectly encapsulate Alain's distinctive and original harmonic language. Première Fantaisie, composed in 1932, is a musical response to a verse by the Persian polymath Omar Khayyám. It opens with dissonant chords on the reed stops over a jagged bass line. After some brilliant passagework, the work concludes with a tender lullaby on single stops. In a letter written two years after Première Fantaisie was finished, Alain offered the following gloss on his literary inspiration: "Follow your intuition which draws you toward things that are strong, beautiful; do not seek to understand the mysteries of faith and of nature; wonder without dissecting. Above all, I would not wish to exclude the feeling, so violent and so intense, of thanks to the Creator, to the source of beautiful things." Deuxième Fantaisie was once believed to have been inspired by Alain's travels in Morocco. But according to his younger sister, the organist Marie-Claire Alain, it was actually based on two themes, the first reminiscent of the Gregorian chant “Exultabunt Domino” from The Office for the Dead, and the second a Hebrew folk melody that he paraphrased. Johann Sebastian Bach (1685-1750) J.S. Bach's “Great” Fantasia and Fugue in G, BWV 542, is an organ prelude, or fantasia and fugue. It's called "Great" to distinguish it from his shorter, earlier "little" Fugue in G minor. The musicologist Christoph Wolff claims that Bach performed

The fugue, which is widely considered to be among Bach's most inventive, relies mainly on even sixteenth-note rhythms while further expanding the prelude's tonal experiments. It rotates twice through the entire circle of fifths before erupting in a joyous climax. Julius Reubke (1834-1858) The eldest son of a respected organ and piano builder in Germany, Julius Reubke went on to study with Franz Liszt, who generously hosted the young man at his home in Weimar and considered him a friend. Although the German composer, pianist and organist died at only 24, his Sonata for Organ in C minor (“The 94th Psalm”) remains among the crown jewels of the organ repertory. Reubke composed it in April of 1857, while living chez Liszt. By the time of its premiere, on June 17, 1857, Reubke was already quite ill with tuberculosis, but he performed the work beautifully on the Ladegast organ at Merseburg Cathedral. He died not quite a year later, at a health resort near Dresden. The Sonata for Organ isn't dedicated to Liszt, but it is obviously indebted to him, particularly to his Fantasy and Fugue on the chorale "Ad nos, ad salutarum undam." Reubke's work is even more explicitly based on the text of Psalm 94, referenced in its subtitle. The sonata in C minor is structured like a symphonic poem, with each of the linked but formally independent parts accompanied by relevant lines from the psalm. Harmonically ambiguous, the first two movements are in sonata form; the Adagio is a fugue that concludes with a recurrence of the sonata's opening theme. The closing Allegro is also a fugue, this time a more fierce one representing the triumph of good over evil. It hastens to a thrilling, slightly terrifying C minor chord, through which God seems to issue his final verdict.

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OPUS 100

THE LAY FAMILY CONCERT ORGAN The Meyerson Symphony Center Dallas, Texas 1992 66 voices, 84 ranks, 4,535 pipes RÉSONANCE I/IV Prestant 32' Montre 16' Montre 8' Violoncelle 8' Flute harmonique 8' Bourdon 8' Quinte 5 1/3' Prestant 4' Octave 4' Quinte 2 2/3' les Octaves III les Quintes VI Plein jeu VIII Bombarde 16' Trompette 8' Clairon 4' GREAT I Principal 16' Quintadehn 16' Octava 8' Spillpfeife 8' Octava 4' Rohrflote 4' Superoctava 2' Mixtur VIII-XII Trommeten 16' Trommeten 8' POSITIVE II Bourdon 16' Principal 8' Dulciane 8' Gedackt 8' Octave 4' Baarpijp 4' Nazard 2 2/3' Doublette 2' Tierce 2' & 1 3/5' Sharp VI-VIII Trompette 8' Cromorne 8' Trechterregal 8' SWELL III Flute traversiere 8' Viole de gambe 8' Voix celeste 8' Bourdon 8' Prestant 4' Flute octaviante 4' Octavin 2'

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CORNET III Basson 16' Trompette 8' Hautbois 8' Voix humaine 8' Clairon 4' TUBA IV Tuba Magna 16' Tuba 8' Royal Trumpet 8' Tuba Clarion 4' PEDAL Prestant 32' Untersatz 32' Prestant 16' Contrebasse 16' Montre 16' Bourdon 16' Quinte 10 2/3' Montre 8' Flute 8' Violoncelle 8' Flute harmonique 8' Bourdon 8' Quinte 5 1/3' Prestant 4' Octave 4' Quinte 2 2/3' Mixture VI Tuba Profunda 32' Bombarde 16' Tuba Magna 16' Posaune 16' Trompette 8' Tuba 8' Royal Trumpet 8' Clairon 4'

ABOUT THE LAY FAMILY CONCERT ORGAN C.B. FISK OPUS 100 Rising the full height of the concert chamber behind the stage, the Herman W. and Amelia H. Lay Family Concert Organ serves as the focal point of the Eugene McDermott Concert Hall at the Morton H. Meyerson Symphony Center in Dallas. Case design for Opus 100 evolved over a period of several months following consultations between architect I.M. Pei, acoustician Russell Johnson, and Fisk principals Virginia Fisk, Steven Dieck, Robert Cornell, and visual designer Charles Nazarian. Jas. Gillanders, Ltd., of Toronto constructed the resulting massive cherry-veneered case and the organ’s burnished tin façade pipes, the largest of which is DD of the Prestant 32’, were manufactured in Weikersheim, Germany by August Laukhuff, Gmbh. The organ case and façade pipes were installed in time for the hall’s gala opening ceremonies in September 1989. Wind systems, key actions, mechanical works, and interior pipes, all constructed at the Fisk workshop in Gloucester, were installed during the summer of 1991 with finish voicing taking place over the ensuing twelve months. The instrument’s 4,535 pipes are dispersed over six divisions, which are played from four manuals and pedal. The Great, Positive, and Swell divisions and certain stops of the Pedal division form the classical core of the organ. The Resonance, played on either manual or pedal keyboards, is a powerful division of French romantic influence. An English-inspired Tuba division, voiced on 20” wind pressure, is especially suited for climaxes in music for organ and orchestra. This instrument draws its tonal inspiration from many different styles and periods of organ building, enabling it to effectively showcase both organ solo and symphonic literature. Dr. Robert Anderson, Professor of Organ at Southern Methodist University and consultant for this project, worked closely with the Fisk team to develop a specification that also referenced Calvin Hampton’s 1978 landmark article on the ideal symphonic organ. Organist Michael Murray and the Dallas Symphony under Maestro Eduardo Mata inaugurated Opus 100 on 2 September 1992. The program included Richard Strauss’s Festival Prelude for Orchestra and Organ, Poulenc’s Concerto for Organ, String Orchestra, and Timpani, and Saint-Saëns’ Symphony No. 3, ‘Organ Symphony.’ On the following day nearly twenty musicians from the Fisk firm presented an intimate and personal dedication recital on this their most monumental organ. www.cbfisk.com Courtesy of C.B. Fisk, Inc.


THE BEST OF JOHN WILLIAMS

JUNE FRI 23

SAT 24 | 7:30 PM

SUN 25 | 2:30 PM

IN GRATITUDE, THESE PERFORMANCES ARE DEDICATED TO THE FOLLOWING ANNUAL FUND AND ENDOWMENT DONORS:

AT&T WEEKEND OF CONCERTS FRIDAY TM ADVERTISING ANNUAL ENDOWED CONCERT SATURDAY ERNST & YOUNG LLP SUNDAY BAKER BOTTS L.L.P. JEFF TYZIK CONDUCTS

"March" from Superman “The Cowboy's Overture” from The Cowboys The Shark Theme from the Suite from Jaws Theme from Angela's Ashes "Harry’s Wondrous World" from Harry Potter and the Sorcerer's Stone “The Flight to Neverland” from Hook Theme from Schindler's List "Devil's Dance" from The Witches of Eastwick

Intermission

"Duel of the Fates" from Phantom Menace Theme from Jurassic Park “Escapades” for Alto Saxophone and Orchestra from Catch Me If You Can TIM ROBERTS ALTO SAXOPHONE DOUG HOWARD VIBRAPHONE Born On The 4th Of July Star Wars Suite III. Imperial March (Darth Vader’s Theme) II. Princess Leia's Theme I. Main Title ARTIST BIO P. 34 This concert will conclude at approximately 9:30 PM, 4:30 PM on Sunday.

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JEFF TYZIK

PRINCIPAL POPS CONDUCTOR

Dot & Paul Mason Principal Pops Conductor’s Podium

GRAMMY® Award-winner Jeff Tyzik is one of America’s most innovative and sought after pops conductors. Tyzik is recognized for his brilliant arrangements, original programming and engaging rapport with audiences of all ages. Tyzik holds the Dot & Paul Mason Principal Pops Conductor’s Podium at the Dallas Symphony Orchestra and also serves as Principal Pops Conductor of the Seattle Symphony, the Detroit Symphony, the Oregon Symphony and The Florida Orchestra. This season, Tyzik will celebrate his 22nd season as Principal Pops Conductor of the Rochester Philharmonic Orchestra. Frequently invited as a guest conductor, Tyzik has appeared with over fifty orchestras including the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, Philadelphia Orchestra, Los Angeles Philharmonic, Orchestre Philharmonique de Monte Carlo, Malaysian Philharmonic Orchestra and the Royal Scottish National Orchestra. In May 2007, the Harmonia Mundi label released a recording of works by Gershwin with Tyzik conducting the RPO and acclaimed pianist Jon Nakamatsu. This recording stayed in the Top 10 on the Billboard classical chart for over three months. Alex Ross of The New Yorker

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called it “one of the snappiest Gershwin discs in years.” As an accomplished composer and arranger, Tyzik has had his compositions recorded by the London Symphony Orchestra, Erich Kunzel and the Cincinnati Pops Orchestra, the Rochester Philharmonic Orchestra, the Vancouver Symphony and Doc Severinsen with the Royal Philharmonic Orchestra in London. Tyzik worked closely with Doc Severinsen on many projects including orchestrating many of the great band leader’s symphony orchestra programs. He produced a GRAMMY® Award-winning album, The Tonight Show Band with Doc Severinsen, Vol. 1. Tyzik’s subsequent recordings with Severinsen garnered three more GRAMMY® nominations. He has been commissioned to compose original works for orchestra, including a Trombone Concerto, which was funded by a grant from the National Endowment of the Arts and subsequently performed at Carnegie Hall. Tyzik conducted the world premiere of his original work New York Cityscapes with the Royal Scottish National Orchestra in 2010. Tyzik composed a Timpani Concerto, commissioned by the RPO, and also led the RPO in the premiere of his new orchestral suite, Images: Musical Impressions of an Art Gallery to rave reviews. In the 2015/16 season, Tyzik will premiere his new work Jazz Concerto for Violin and Orchestra on his Philharmonic Series performance with the Rochester Philharmonic Orchestra. A native of Hyde Park, New York, Tyzik studied both classical and jazz trumpet throughout high school and went on to earn both his Bachelor’s and Master’s degrees from the Eastman School of Music. While there, he studied composition/arranging with Radio City Music Hall’s Ray Wright and jazz studies with Chuck Mangione. Tyzik subsequently toured with Mangione as lead trumpet and worked on five Mangione recordings as a producer and performer from 1976 to 1981. www.jefftyzik.com


SHOSTAKOVICH AND BEETHOVEN

GUSTAVO GIMENO CONDUCTOR

From the 2015/16 season, Gustavo Gimeno has taken up the post as Music Director of the Orchestre Philharmonique du Luxembourg. In his second season, he continues this partnership with a focus on the great orchestral literature including Mahler Symphony No. 4, Beethoven Symphony No. 7, Ravel’s “Daphnis and Chloé”, Stravinsky’s “Sacre” and new commissions of Mark-Anthony Turnage and Francisco Coll. A recording partnership with Pentatone will also be further realised. Aside from his Music Director commitments in Luxembourg, Gustavo Gimeno has collaborated with a select list of orchestras including Munich Philharmonic, Cleveland Orchestra, City of Birmingham Symphony Orchestra, Orchestre National de France, Rotterdam Philharmonic, and the Philharmonia Zurich. In 2015, Gimeno led the Royal Concertgebouw Orchestra on tour to Asia.

In 2016/17 season, Gimeno will make his debut with the Boston Symphony Orchestra, Chicago Symphony Orchestra, National Symphony Orchestra in Washington, D.C. and the Orchestra of the Academy of Santa Cecilia. He will also appear in Vienna twice that season, with the OPL at the Wiener Konzerthaus and with Vienna Symphony at the Musikverein. Many of the works that have been at the centre of Gustavo Gimeno’s programme planning in Luxembourg are also the focus for future concerts: Bruckner Symphony No. 1 on return to the Munich Philharmonic, Schumann Symphony No. 1 with the Royal Concertgebouw and City of Birmingham Symphony Orchestra, Mahler Symphony No. 1 with the Philharmonia Orchestra at the Royal Festival Hall in London and Shostakovich Symphony No. 1 with the Sydney Symphony Orchestra. In 2015, Gustavo Gimeno gave his opera debut conducting Bellini's "Norma" at the Opera House in Valencia. In March 2017, he will conduct his first opera production, Verdi's "Simon Boccanegra", in Luxembourg. Born in Valencia, Gustavo Gimeno began his international conducting career in 2012, when at that time he was a member of the Royal Concertgebouw Orchestra Amsterdam, as an assistant to Mariss Jansons. Significant experience was also harnessed in assisting Bernard Haitink and Claudio Abbado, with whom he forged an intense and influential mentorship.

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SHOSTAKOVICH AND BEETHOVEN

JAMES EHNES VIOLIN

Known for his virtuosity and probing musicianship, violinist James Ehnes has performed in over 35 countries on five continents, appearing regularly in the world's great concert halls and with many of the most celebrated orchestras and conductors. In the 2016-2017 season Ehnes continues his cross-Canada recital tour in celebration of his 40th birthday, performs the complete Bach Sonatas and Partitas in Stresa, Montreux, Los Angeles, Liverpool and Amsterdam and joins the City of Birmingham Symphony Orchestra on a tour of China and the National Arts Centre Orchestra on a tour of Eastern Canada. James holds artist residencies with the Melbourne Symphony, Royal Liverpool Philharmonic, Orchestre symphonique de Montréal and the Scotia Festival, undertakes two tours with the Ehnes Quartet, and leads the winter and summer festivals of the Seattle Chamber Music Society, where he is the Artistic Director. New and upcoming CD releases include a disc of works by Debussy, Respighi, Elgar and Sibelius as well as a recording of Beethoven Sonatas No. 6 and 9 with pianist Andrew Armstrong, the Sibelius and Schubert Death and the Maiden quartets with the

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Ehnes Quartet, and the complete works of Beethoven for violin and orchestra with the Royal Liverpool Philharmonic and Andrew Manze. His recordings have been honored with many international awards and prizes, including a GRAMMY®, a Gramophone and 11 JUNO awards. James Ehnes was born in 1976 in Brandon, Manitoba, Canada. He began violin studies at the age of four, and at age nine became a protégé of the noted Canadian violinist Francis Chaplin. He studied with Sally Thomas at the Meadowmount School of Music and from 1993 to 1997 at The Juilliard School, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music upon his graduation. Ehnes first gained national recognition in 1987 as winner of the Grand Prize in Strings at the Canadian Music Competition. The following year he won the First Prize in Strings at the Canadian Music Festival, the youngest musician ever to do so. At age 13, he made his major orchestral solo debut with the Orchestre symphonique de Montréal. James Ehnes plays the ‘Marsick’ Stradivarius of 1715. He currently lives in Bradenton, Florida with his family.

THE MUSIC OF JOURNEY

BRENT HAVENS CONDUCTOR

Berklee-trained arranger/ conductor Brent Havens has written music for orchestras, feature films and virtually every kind of television. His TV work includes movies for networks such as ABC, CBS and ABC Family Channel Network, commercials, sports music for networks such as ESPN and even cartoons. Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley Davidson’s 100th Anniversary Birthday Party Finale attended by over 150,000 fans. He has worked with some of the world's greatest orchestras including the Royal Philharmonic in London, the Cincinnati Symphony Orchestra, the Minnesota Orchestra, the Pittsburgh Symphony, the Indianapolis Symphony Orchestra, the Houston Symphony, the Atlanta Symphony, the Baltimore Symphony, the Dallas Symphony, the Fort Worth Symphony, the Nashville Symphony, the Buffalo Philharmonic and countless others. Havens has conducted the Malaysian Philharmonic the past four years with Music of Michael Jackson, Led Zeppelin, Queen and Music of U2 shows. Havens recently completed the score for the film “Quo Vadis,” a Premier Pictures remake of the 1956 gladiator film. In 2013 he worked with the Baltimore Symphony and the NFL's


Baltimore Ravens to arrange and produce the music for the Thanksgiving Day halftime show between the Ravens and Pittsburgh Steelers, adapting both classical music and rock songs into a single four minute show. Havens is Arranger/ Guest Conductor for fourteen symphonic rock programs including the Music of Led Zeppelin, the Music of the Doors, the Music of Pink Floyd, the Music of the Eagles, the Music of Queen, the Music of Michael Jackson, the Music of The Who, The Music of Whitney Houston, the Music of The Rolling Stones, the Music of U2, Music of Journey, the Music of Elton John, the Music of David Bowie and the Music of Prince. Havens also premiered a full orchestral show for Lou Gramm, The Voice of Foreigner with Lou singing out front.

BRODY DOLYNIUK VOCALIST

Brody Dolyniuk remembers mimicking voices even as a child, listening to old records and tapes. He is a gifted, self-taught musician, capable of playing several instruments, with a particular knack for capturing the voices and mannerisms of classic characters from music, TV and movies.

bands that inspired him, Brody assembled Yellow Brick Road, unquestionably Las Vegas's most successful classic rock band. Since 1997, YBR has been reshaping the casino entertainment scene by bringing a rock concert atmosphere to showrooms previously reserved for Top-40-style lounge acts. Along the way, Brody has made numerous radio and TV appearances, and earned a spot in the finals of two national singing competitions, and even self-produced several large rock production-style shows utilizing multimedia, lasers, comedy and special effects. In 2007, Brody lent his vocal talents by singing several tracks on the mega-hit video game Guitar Hero III: Legends of Rock, and has already done several more for the new Konami game Rock Revolution. Brody joined Windborne Music in 2009 as vocalist for the Music of Queen show, but has proven to be versatile enough to become the lead on Rolling Stones, The Who, U2, Journey and Elton John shows (and is an on-call stand-in for several others, including Led Zeppelin and Pink Floyd). As a devout classic rock fan, Brody's enthusiasm, vocal ability and on-stage energy were the perfect fit for Windborne Music's symphony shows and continue to win over audiences around the globe.

WINDBORNE’S THE MUSIC OF JOURNEY Journey was formed in San Francisco in 1973 and between 1978 and 1987 the band released a series of hit songs, including Don't Stop Believin', Open Arms, Any Way You Want It, Who’s Cryin’ Now and Faithfully, among others. Now Journey’s songs are performed for you in an enhanced presentation with Windborne’s The Music Of Journey as performed by the Dallas Symphony Orchestra, with guest conductor and arranger Brent Havens, vocalist Brody Dolyniuk and a band that rocks. A 2005 USA Today opinion poll named Journey the fifth best American rock band in history. Their songs have become arena rock staples and are still played on rock radio stations around the world. Journey’s record sales have resulted in two gold albums, eight multi-platinum albums, and one diamond album (including seven consecutive multi-platinum albums between 1978 and 1987). They have had eighteen Top 40 singles in the US, six of which reached the Top 10. Windborne’s The Music Of Journey is sure to deliver an unforgettable evening in which Journey’s iconic music is delivered to the audience in a new realm.

His first professional gigs were at piano bars in several U.S. cities, where he learned to charm audiences and expand his musical repertoire. With a longing to perform the music of the many rock

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VIVALDI FOUR SEASONS

MATTHEW HALLS CONDUCTOR

British conductor Matthew Halls is quickly becoming known for his dynamic work with major symphony orchestras and opera companies and for his probing and vibrant interpretations of music of all periods. The 2016-17 season marks his third as Artistic Director of the Oregon Bach Festival, having succeeded founding director Helmuth Rilling. Increasingly in demand by North American symphony orchestras, Halls frequently performs with the Cleveland Orchestra, Calgary Philharmonic, Houston Symphony, Los Angeles Chamber Orchestra, National Arts Centre Orchestra, Philadelphia Orchestra, Seattle Symphony and the Utah Symphony in repertoire from Bach and Handel to Beethoven, Kernis, Mendelssohn, Messiaen, Mozart, Rachmaninov, Tchaikovsky and Tippett. His debut with the Toronto Symphony, in which he led Beethoven’s Ninth Symphony “captured much of the energy and excitement that its first audience must have felt at its premiere nearly 200 years ago” (Toronto Star). In the 2016-17 season Halls makes his New York debut at Lincoln Center’s Mostly Mozart festival in a performance with Joshua Bell. He returns to Lincoln Center later in the season, leading the Mozarteumorchester Salzburg in a United States tour. Other North American appearances include the Celeveland Orchestra; Milwaukee, Indianapolis and Cincinnati

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Symphonies; Calgary Philharmonic; and residencies at the Universities of Oregon and Maryland. European orchestras are equally eager to welcome Halls to their podiums. In spring 2014 he made a triumphant debut with Concentus Musicus Wien, substituting on short notice for Nikolaus Harnoncourt in an acclaimed performance of Haydn’s The Seasons. He has also appeared with the BBC Scottish Symphony, Bergen Philharmonic and Frankfurt Radio Symphony and makes regular appearances in Austria and on tour with the Salzburg Mozarteum Orchestra. Overseas this season, he appears with the Royal Philharmonic Orchestra, Iceland Symphony Orchestra, Wiener Symphoniker, Tonkünstler Orchestra, NDR Radiophilharmonie and Deutsche Händel-Solisten. Halls is represented on disc with Handel’s Parnasso in Festa, winner of the Stanley Sadie Handel Recording Prize, released by Hyperion. His recordings on Linn Records are highlighted by a set of four Bach Harpsichord Concertos conducted from the keyboard, which Gramophone welcomed as “joyful and invigorating.” Visit Matthew Halls on the web at www.schwalbeandpartners.com

NATHAN OLSON VIOLIN

FANCHON & HOWARD HALLAM CHAIR

A native of Berkeley, California, violinist Nathan Olson began his appointment as Co-Concertmaster with the Dallas Symphony Orchestra in September 2011. In 2013, he was appointed adjunct faculty at the University of North Texas college of Music. He is a graduate of the Cleveland Institute of Music's prestigious Concertmaster Academy, where he studied with William Preucil and Paul Kantor. Currently also Concertmaster of the Breckenridge Music Festival, he has participated in the Mainly Mozart Festival, the Bravo Vail Music Festival and the Amelia Island Chamber Music Festival. A winner of the Joseph and Elsie Scharff prize in violin at CIM, he has performed as soloist with the Dallas Symphony Orchestra, the Canton Symphony Orchestra, the Breckenridge Music Festival Orchestra, the Cleveland Pops Orchestra, CityMusic Cleveland, the San Francisco Chamber Orchestra, the Berkeley Symphony, the Oakland East Bay Symphony and the Lexington Bach Festival Orchestra. An enthusiastic chamber musician, Nathan is a silver medal winner at the Fischoff Competition and has served on faculty at the Innsbrook Music Festival. Currently a member of the Baumer String Quartet, he serves on faculty at the Crowden Chamber Music Workshop and the Monterey Chamber Music Workshop. In recent seasons, he has appeared as Guest Concertmaster with the symphony orchestras of Toronto, Omaha, and Tucson, and as Principal Second Violin with the St. Paul Chamber Orchestra. While completing his B.M. at the Cleveland Institute of Music, Nathan earned minors in both Mathematics and Music Theory.


MAMBO KINGS

MAMBO KINGS

MOZART'S MAGNIFICENT VOYAGE

SUSAN HAMMOND SERIES CREATOR

PAUL PEMENT DIRECTOR & PRODUCER

Mambo Kings take the audience on a fascinating journey through the music of Latin America and the U.S. From the sultry melancholy of Astor Piazzolla and the burning Afro-Cuban jazz of Tito Puente, to the rhythmic playfulness of jazz great Dave Brubeck and the pop strains of The Beatles, Mambo Kings will be your guide on a Latin jazz tour of the Pan American experience, featuring original orchestral arrangements and compositions of music from the U.S., Perú, Argentina, Cuba and Puerto Rico. Mambo Kings, together since 1995, are enjoying great success as America's foremost Latin Jazz Ensemble, and have rapidly earned a national reputation for their explosive blend of Afro-Cuban rhythms and jazz improvisation. Since their orchestral debut, Mambo Kings have appeared in pops concerts throughout the country, performing original compositions and arrangements by pianist Richard DeLaney. Recent/ upcoming appearances the Florida Orchestra, Detroit Symphony, Baltimore Symphony, Dallas Symphony, Oregon Symphony, Hartford Symphony, Vancouver Symphony, and Rochester and Buffalo Philharmonics. Band members include pianist and musical director Richard DeLaney, saxophonist and woodwind specialist John Viavattine, bassist Hector Díaz, conguero Tony Padilla and drummer and percussionist Freddy Colón.

Paul serves as Executive & Artistic Director of Classical Kids Music Education, a nonprofit arts organization focused on introducing children (and their parents) to the lives and musical masterpieces of the great classical composers. A BFA in theatre from the University of Illinois Urbana-Champaign and professional experience as an actor, singer, dancer, director, choreographer and stage manager have enabled Paul to achieve success with Classical Kids LIVE! programming - the “gold-star” leader in the field for creating theatrical family concerts presented by professional symphony orchestras throughout North America and abroad. Production titles include Beethoven Lives Upstairs, Mozart’s Magnificent Voyage, Vivaldi’s Ring of Mystery, Tchaikovsky Discovers America and the brand new, Gershwin’s Magic Key - the first-ever symphony concert production that introduces new generations to the extraordinary legacy of the great American composer, George Gershwin.

Susan has created a whole new generation of classical music fans through her innovative and award-winning Classical Kids recordings. She is the executive producer of a 16 title series of children’s classical music recordings known collectively as Classical Kids, selling to date nearly 5 million CDs, DVDs and books worldwide, and earning over 100 prestigious awards and honors. Each story entails its own adventure featuring a unique combination of music, history, and theatricality to engage the imaginations of children. Susan holds the philosophy that, “Where the heart goes, the mind will follow.” An accomplished concert pianist and music teacher, Hammond searched for recordings about classical music to share with her young daughters. One day, she sat reading to her girls with a classical music radio station on in the background and noticed how they responded to the literature in a different way when enhanced by music. The rest, as they say, is history. Susan is the recipient of Billboard Magazine’s International Achievement Award and resides with her husband in Toronto where she is a member of the Order of Canada for her contribution to the arts.

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DOUGLAS COWLING

PLAYWRIGHT / MUSIC EDITOR

Douglas is a writer, musician and educator with a lifelong interest in bringing classical music to wider audiences. He is the writer of five Classical Kids audio productions: Mozart's Magic Fantasy, Tchaikovsky Discovers America, Vivaldi's Ring of Mystery, Hallelujah Handel! - and the new Mozart's Magnificent Voyage. He was also associate producer on Daydreams and Lullabies and serves as the principal writer / music editor for the Classical Kids Live! theatrical symphony concert series.

Royal George production. Elic also makes his living as a TV/ Film actor, voice over talent, and as a director, producer, and teacher in the Chicagoland area. He would like to dedicate this performance to his loving and supportive wife Carrie Beth, and their beautiful children, Pearle and Theodore.

ANDREW REDLAWSK CHRISTOPH

ELIC BRAMLETT

WOLFGANG AMADEUS MOZART

Elic joined Classical Kids during the 2005-06 season and has toured the US, Canada and Malaysia playing Mozart. A native of Phoenix, AZ, he now makes his home in the suburbs of Chicago. Stage credits include: The Music Man at Marriott Lincolnshire, Stage Kiss and The Boys are Coming Home at The Goodman; Western Civilization at Noble Fool; Teapot Scandals, Elegies, Sweeney Todd, Macabaret, Hereafter, and Three Sisters at Porchlight; The Musical Comedy Murders of 1940, Charlotte's Web and Cinderella at Drury Lane; The Bomb-itty of Errors at The Royal George; and Saturday Night with Pegasus Players. In Forever Plaid, Elic has played the roles of Jinx, Frankie, and Sparky at several theatres including Chicago's original 40

Andrew Redlawsk is proud to have spent eight seasons bringing classic composers to life for young people around the globe. Originally from Iowa, Andrew has lived and performed all over America and currently resides in New York. When he's not performing with Classical Kids, he tours with Oh What A Night! - A Tribute to Frankie Valli and the Four Seasons both on land and at sea on Norwegian Cruise Lines. New York credits include: Stealing time and Greenwood (NYMF), BJ: A Musical Romp (Planet Connections Festivity), The Bowery Boys (NAMT), Together This Time (NYC Fringe), Assassins and Godspell (Momentum Repertory Company). Regional credits include: A Christmas Carol (Drury Lane Oakbrook), The Lieutenant of Inishmore (Northlight Theatre), The Bowery Boys (Marriott Theatre), and Twelfth Night (Riverside Theatre Shakespeare Festival). Andrew is also currently working on his debut film, an adventure documentary entitled Just Go.

STEVE HILTEBRAND

PRODUCTION STAGE MANAGER

Steve has served as production stage manager in cities across North America for the Classical Kids productions of Tchaikovsky Discovers America, Vivaldi’s Ring of Mystery, Mozart’s Magnificent Voyage and Beethoven Lives Upstairs in which he also played the role of Uncle. As an actor he has been featured in the Broadway National Tours of The Best Little Whorehouse in Texas, Dreamgirls and Starlight Express, and has a major history with the role of Reuben in Joseph and the Amazing Technicolor Dreamcoat both in Chicago and on the road. Steve has performed in numerous theatres across the US and Europe in roles that include: the Dentist in Little Shop of Horrors, Will Parker in Oklahoma! , Stewpot in South Pacific, Pedro in Man of La Mancha, Caleb in Seven Brides for Seven Brothers and has also played a variety of theatre for young audience roles including The Beast in Beauty and the Beast, The Mad Hatter in Alice in Wonderland and Prince Charming in Snow White and the Seven Dwarfs. Steve resides in Chicago balancing his time between performing, producing and directing.


CLASSICAL KIDS MUSIC EDUCATION, NFP Classical Kids Music Education, NFP was formed for charitable and educational purposes to build pathways for progression in music so that all young people, whatever their background or abilities, have access to the rich and diverse range of influence classical music offers. Reduced funding to the arts has diminished the ability of many symphony orchestras to provide highquality educational and family programs like the one you are seeing today. It is imperative that more organizations are able to reach students and families through excellent music education programs in a time when affordable and worthy programming is lacking. Classical Kids Music Education, NFP was created to “bridge the gap” by securing funding for high-caliber projects and, together with individual donor support, help to bring music education into the 21st century by creating more opportunities for young people to be exposed to their interest and develop their talents to the fullest. Please visit www.ckme.org to learn more about how you can help.

ACTORS' EQUITY ASSOCIATION Actors and Stage Managers are members of Actors’ Equity Association. Actors' Equity Association, founded in 1913, is the labor union that represents more than 45,000 Actors and Stage Managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions and provides a wide range of benefits, including health and pension plans, for its members. Actors' Equity is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions.

OPUS 100

NATHAN LAUBE ORGAN

In addition to serving on the faculty of the Eastman School of Music as Assistant Professor of Organ, Nathan Laube’s extensive recital career includes major venues spanning four continents. These include the Vienna Konzerthaus, the Berlin Philharmonie, Berlin Cathedral, the Dortmund Konzerthaus, St. Bavo Church, Haarlem, the Cankarjev Dom, Ljubljana, and the Sejong Center, Seoul. In the USA he has appeared at Walt Disney Concert Hall, Los Angeles; Verizon Hall, Philadelphia; Overture Hall, Madison, WI; The Schermerhorn Symphony Center, Nashville, TN; Washington National Cathedral; The Kauffman Center’s Helzberg Hall in Kansas City, MO; and Spivey Hall in Morrow, GA. Nathan also frequently presents concert tours in the United Kingdom where highlight venues have included York Minster, Canterbury Cathedral, Exeter Cathedral, Ely Cathedral, Hereford Cathedral, and Truro Cathedral. In October 2016, he played the first inaugural recital of the restored Harrison & Harrison organ of King’s College Chapel, Cambridge. His concert schedule for 2017 will include performances at the Meyerson Symphony Center in Dallas, TX, Notre-Dame Cathedral in Paris and St. Paul’s Cathedral in London.

Cathedral, the Dresden Music Festival, the Orléans Organ Festival, Bordeaux Festival d’Été, the Lapua Festival, the Lahti Organ Festival, the 2015 and 2016 Smarano Organ Academy, the Göteborg Festival, the Max Reger Foundation of America’s 2015 Max Reger Festival, the WFMT Bach Project for which he performed the complete Clavierübung III in Chicago, and several EROI Festivals at the Eastman School of Music in Rochester. Mr. Laube has two CD recordings available: the Stephen Paulus Grand Concerto on the Naxos label (NAXOS 8.559740) recorded with the Nashville Symphony, Giancarlo Guerrero, conducting, which received a GRAMMY Award for Best Classical Compendium; and a new solo recital recording on the Ambiente label (AMBIENTE ACD-1062), recorded at the Stadtkirche in Nagold, Germany. In addition, many of Mr. Laube’s live performances have been featured on American Public Media’s “Pipedreams.”

Highlights of Mr. Laube’s recent and upcoming festival appearances around the world include the Berlin Orgelsommer, the Stuttgart Internationaler Orgelsommer, the Naumburg Orgelsommer, the 300th Anniversary festival of the 1714 Silbermann organ in the Freiberg

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Named for the founder and first conductor of the Dallas Symphony Orchestra, the Hans Kreissig Legacy Society recognizes and honors donors whose estate plans or wills include gifts designated to the Orchestra. These funds help support the high-quality music, education and community programs for future generations. For more information on how to include the DSO in your estate or financial plans, please call Toni Miller, Manager of Endowment and Planned Giving at 214-871-4078. Anonymous (10) Mr. John Luther Adams *Mr. and Mrs. James R. Alexander *Anne and Glenn Anderson Nancy Johnson Anderson Mrs. Margot R. Andre Richard G. Andrew and Diane E. Buchanan Sherri Baer Richard L. Barrett Ingrid Taubert Barrier Dolores and Lawrence Barzune, M.D. Mr. and Mrs. Charles M. Best II Frances and *J.D. Blatt Lida Light and Frank Blue Gus Brair Mr. and Mrs. Harold M. Brierley Nick Alexander Brounoff Todd Burton Bev and Martin V. Coben Dr. Mona Cochran Diane and Chuck Conrad Gail Williamson Cope Michael E. Cope *Mr. and Mrs. Thomas R. Corbett Betty Taylor Cox Dodee Frost Crockett Dr. and Mrs. C. R. Daniel Anne L. Davidson Julie Disseler Kenneth and Charlotte Dockray Phillip and Karen Drayer Eileen and Earl Eliason Paul Firey Leah and Jerry Fullinwider *Ronald and Geraldine Gawle Lee Gibson Rita Sue and Alan Gold

Fanchon and Howard Hallam Mr. and Mrs. Scott W. Hancock Mr. Jim Harrell Sydney Reid and Joel Hedge Mrs. Lynn Trimble Hill B. Paul Hirsch Elissa Sabel and Stan Hirschman Dr. Gus Hoehn S. Roger Horchow Mr. and Mrs. Paul Huber Matt C. Jansha *Mr. and Mrs. Eugene Jericho Jeanne R. Johnson Yon Y. Jorden *Mr. and Mrs. Henry Klepak Marten F. Klop Mr. and Mrs. John Ford Lacy Mrs. Helen Lansburgh Leslie W. Lenser Carol J. Levy *Theodore C. Linder and V.J. Horgan Lisa and George Longino *Mr. and Mrs. Jack T. Longmire Joy and Ronald Mankoff *Mr. and Mrs. Stanley Marcus Mr. and Mrs. C. Thomas May, Jr. Michael and Jo Anne McCullough Mr. and Mrs. P. Mike McCullough John R. McNabb, M.D. Mr. and Mrs. A. A. Meitz *Mrs. Mary Melvin and Mr. Robert J. Melvin Stewart and Noelle Mercer Michelle Mew Mr. and Mrs. Harvey R. Mitchell Mr. David Moskowitz Nancy and Jack Oliver Miss Laurel Ornish Dr. and *Mrs. Wm. M. (Oz) Osborne Mr. and Mrs. John K. Pearcy

Kathy and Jim Penny Ms. Adrienne E. Pollock Mr. and Mrs. Robert G. Pollock *Mr. and Mrs. Oscar W. Ponder Dr. Alice Cushman and *Ronald Price Louise Quigley Stan and Barbara Rabin Cindy and Howard Rachofsky W. Paul Radman, D.D.S. and*Judith Sinclair Radman Dawna Richter Miss Jan Roberts Dr. Susan Roos *Bob and Marion Rothstein Lee and Bill Schilling Myrna and Bob Schlegel John R. Sewell *Mr. and Mrs. George A. Shutt Mr. John Solana Freda Gail Stern Mr. and Mrs. Donald J. Stone Brenda J. Stubel Mr. and Mrs. Robert P. Sypult Mr. Jack Terrillion Mrs. Lois Thomsen Mr. and Mrs. W. Bradford Todd Howard W. Townsend Mrs. Daniel W. Varel Mr. and Mrs. Thomas M. Watkins III Gerardo and Helga Weinstein Martha McCarty Wells Mr. and Mrs. Dennis L. White Elaine M. Wiant *Desmond Wilcox and G. Brents Davis Dr. and Mrs. Kern Wildenthal Maestro and Mrs. Jaap van Zweden *Deceased

We are especially grateful for those who, when they passed, left gifts from their estates or other financial plans. These generous donations have helped build the permanent endowment and secure the Orchestra’s future. Anonymous (4) Mr. Robert I. Atha, Jr. Dr. Philip D. Baumann Shirley L. Beren Arlene K. Booth Mrs. Sally A. Burchfield Morton D. Cahn, Jr. Roberta Coke Camp Verna Carver Mr. and Mrs. Richard C. Cooper David M. Crowley John Peyton Dewey Mr. Malcolm S. Disimone Lucile Dragert Alicia Viola Winters Eidson Jane Etheridge Alta Ewalt Evans Jeanne and Sanford Fagadau Ms. Mary Fisher Emme Sue and Jerome J. Frank Jerome Leon Goodman Mr. and Mrs. Milton Greene Mr. Murray G. Gurentz

Walter Hirsch Richard Swain Horton Gayle Hysinger Mr. and Mrs. Henry S. Jacobus, Sr. William Jolesch Mr. and Mrs. Edmund J. Kahn Mr. and Mrs. Stephen S. Kahn Louise Kent Kane Ben W. Kuhn The Reverend Canon A. Harrison Lee III Virginia Maxson Dr. and Mrs. Hal W. Maxwell (Coral) Mrs. Jules F. Mayer Wm. L. (Dub) Moore Helen Morgan Mrs. David C. Neale Janet and Morris Newberger Edna Oates Agnes Cluthe Oliver William R. Pennington Mr. and Mrs. John G. Penson Helen L. Poe

Hortense and Lawrence S. Pollock, Sr. Masha Porte James S. Raber B. Truman Ratliff Emery and Wendy Reves Frank K. Ribelin Michael L. Rosenberg Katherine N. and Joseph Sanders Eric G. Schroeder Mr. and Mrs. William H. Seay, Sr. Howard A. Sobel and Gerry Sobel William A. Solemene Eleanor P. Stevens Charles J. Strack III Francine Sullivan Mr. Ernest G. Wadel Mrs. Irene H. Wadel Dr. and Mrs. Bryan Williams Mr. and Mrs. John Page Wilson Dr. and Mrs. William W. Winspear Hazel Young Pat and Andy Zilbermann

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MYDSO.COM

214.TIX.4DSO

S U B S C R I B E TO DAY S UB SC R I B E R S ARE FI RST I N L I N E FO R T H E BE ST S E ATS !

PA C K A G E S S TA R T AT J U S T

$119


SPECIAL RECOGNITION The Dallas Symphony thanks the following patrons who have recently committed generous gifts to the DSO. Made in addition to ongoing annual support, these investments are part of a transformational effort to ensure a sustainable future for the Dallas Symphony.

Mrs. Eugene McDermott Nancy A. Nasher and David J. Haemisegger Family Margot and Ross Perot Linda and Mitch Hart Elsa von Seggern Foundation Jean D. Wilson Anonymous Fanchon and Howard Hallam Joe Hubach and Colleen O’Connor Cece Smith and Ford Lacy The Pollock Family Cindy and Howard Rachofsky Robinson Family Linda VanSickle Smith Norma and Don Stone In memory of Irene H. and Ernest G. Wadel Estate of Arlene and James Booth Rita Sue and Alan Gold Joy and Ronald Mankoff Shirley and William S. McIntyre Barbara and Stan Rabin Audrey and Albert Ratner, Michael and Deborah Ratner Salzberg, and Brian J. Ratner John R. Sewell Karen and Jim Wiley

Karen and Nicholas Adamson Mr. and Mrs. Peter A. Altabef Lisa and Gregg Ballew Joanne L. Bober Jennifer and Coley Clark John and Barbara Cohn Mrs. Thomas R. Corbett Barbara and Steve Durham Ebby Halliday, REALTORS David and Melinda Emmons Ben Fischer and Laree Hulshoff W. Gary and Donna Fowler Rebecca and Ron Gafford Estate of Robert and Ruth Glaze Samuel S. Holland Kathy and Richard Holt Yon Y. Jorden Estate of Louise Kent Kane KPMG LLP Selena Loh LaCroix Mr. and Mrs. Mark H. LaRoe Craig and Joy Lentzsch Catherine Z. and George T. Manning Richard and Bobbi Massman Linda B. and John S. McFarland Scott and Jennifer McDaniel Estate of Betty Jean Osborne Michael L. Rosenberg Foundation Myrna and Bob Schlegel Mrs. George A. Shutt Barbara and Sheldon Stein Melissa Ruman Stewart and Paul Stewart Symphony of Toys in memory of Arkady Fomin Barbara and Bob Sypult Texas Instruments Foundation Becky and Brad Todd Kern and Marnie Wildenthal


2017-2018 Season Samson & Dalila • La Traviata • The Ring of Polykrates • Sunken Garden • Don Giovanni dallasopera.org 214.443.1000

Season Sponsor

The NaNcy a. Nasher aNd david J. haemisegger Family The official airline of the Dallas Opera


Your Gift Makes a Difference Together, we are enriching lives through music.

concerts for the community. From education In January, the Dallas Symphony Orchestra programs like Young Strings and Symphony welcomed Dallas-area elementary students YES! to youth, family and subscription to the Meyerson for a special concert. Prior concerts in the Meyerson, the DSO is active in to the performance, the students visited the the cultural life of our city. Dallas Zoo and observed the movements of animals. Please make your gift They then composed “I love the Dallas Symphony now and help us share the melodies based on those and I would like to go there music. Take advantage movements, and, with the more often. I was so excited of a special opportunity help of DSO Education when I arrived, and the show to double the impact Director Jamie Allen, they was fantastic! I saw a lot of of your support! All heard those melodies instruments like the violin, the new and increased gifts brought to life by the DSO trumpet and so many more. will be matched by a in the “world premiere” of I thought the organ was very challenge gift – up to Dallas Zoo Melodies. interesting. It makes beautiful $130,000 – from the Dallas music and amazing sounds. Symphony’s Board of Programs like these are Governors. made possible by your gift – 5th grade student from to the Annual Fund. More DeSoto Elementary For information about than 250,000 people, making a tax-deductible including 35,000 students, Annual Fund donation to are inspired each year the Dallas Symphony, please visit through the DSO’s music education outreach. MyDSO.com/give or contact Amanda Hyde, Individual Giving Coordinator, at 214.871.4080 Your support ensures that the DSO will or a.hyde@dalsym.com. continue to present high-quality programs and

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INSTITUTIONAL GIVING Thank you to the generous organizations that provide annual support to the Dallas Symphony. Each season nearly 250,000 people are inspired and enriched by our artistic, educational and community engagement initiatives. For corporate giving contact Kelly Halaszyn, at 214.871.4027 or K.Halaszyn@DalSym.com. For foundation and government relations contact Liza Voznessenskaia, at 214.871.4070 or L.Voznessenskaia@DalSym.com.m.

$100,000+

Anonymous Best Foundation

$50,000 - $99,999

Bank of America BDO USA, LLP The Brian J. Ratner Foundation Gittings Posey Family Foundation The Ritz-Carlton, Dallas Elsa von Seggern Foundation Thompson & Knight Foundation $25,000 - $49,999 AT&T Anonymous Ann and Gordon Getty Foundation David M. Crowley Foundation Ebby Halliday, REALTORS Harry W. Bass Jr. Foundation Harold Simmons Foundation Kohl Foundation Neiman Marcus Stemmons Foundation Trinity Industries, Inc. Wiley Property, Ltd.

Giving for 20 or more consecutive years

The DSO is supported, in part, by funds from the Office of Cultural Affairs, City of Dallas.

With additional support provided by:

$15,000 - $24,999 Anonymous Baker Botts L.L.P. Charles Schwab Communities Foundation of Texas Ernst & Young LLP

KPMG LLP The Rosewood Foundation/ The Rosewood Corporation Roy & Christine Sturgis Charitable Trust, Bank of America, N.A., Trustee UMB Bank

$10,000 - $14,999 Anderson Merchandisers BBVA Compass Ben E. Keith Company

Egon Zehnder Hardie Family Fund of The Dallas Foundation Haynes and Boone, LLP Jackson Walker LLP JPMorgan Chase & Co. Locke Lord LLP Michael L. Rosenberg Foundation Northern Trust NorthPark Center Pier 1 Imports PlainsCapital Bank Westwood Trust Winstead PC

$5,000 - $9,999 The Aaron Copland Fund for Music The Charles Evans Hughes Memorial Foundation CIGNA Fannie and Stephen Kahn Charitable Foundation Fluor Corporation Fund for Arts and Education of The Dallas Foundation Louise W. Kahn Endowment Fund of The Dallas Foundation MHBT Inc. Nordstrom Potts and Sibley Foundation Ussery Printing Company, Inc.


LEAGUE

P R E S E N TAT I O N B A L L February 18, 2017 Meyerson Symphony Center HONORARY BALL CHAIRMEN Mr. and Mrs. Charles R. Gibbs PRESENTATION BALL CHAIRMAN Mrs. Charles B. Humphrey DSOL PRESIDENT Mrs. John W. Secor

Miss Layne Forbes Anderson • Miss Lauren Elizabeth Axmann • Miss Grace Sevima Beal • Miss Eva Esping Blanton Miss Lillian Philipson Boren • Miss Olivia Grace Burnett • Miss Haley Elizabeth Bush • Miss McKenna Grace Cook Miss Carolena Gabrielle Crank • Miss Alicia Carol Crenshaw • Miss Caroline Elizabeth Downing Miss Marina Douglass Frattaroli • Miss Miriam Perrin Griffin • Miss Heather Ann Hall • Miss Madeline Riley Hendrick Miss Caroline Chambers Jones • Miss Elizabeth Dougherty King • Miss Catherine Winifred Kumpf • Miss Abby Leigh Loncar Miss Caroline Angel Magee • Miss Cameron Elizabeth Malakoff • Miss Elizabeth Ashlyn Matthews • Miss Juliana Rae McIlveene Miss Natalie Rose Monger • Miss Aspen Renee Moraif • Miss Elle Elizabeth Moritz • Miss Molly Elizabeth Nelson Miss Caroline Lafontaine Pratt • Miss Allison Weiss Rogers Miss Elizabeth Claire Smith • Miss Mary Leila Stillman Miss Bailey Elizabeth Turfitt • Miss Georgia Ava Ryan Tyler • Miss Emily Claire Vaughan • Miss Maria Isabel Yoder

2017 DALLAS SYMPHONY ORCHESTRA LEAGUE PRESENTATION BALL UNDERWRITERS Crawford Brock • Stanley Korshak • James French Photography Makenzie Brittingham • Stanley Korshak Bridal Akin Gump Strauss Hauer & Feld • Lisa and Clay Cooley • Mr. and Mrs. Kenneth Crews Eiseman Jewels NorthPark • Betsy and Richard D. Eiseman • Jolie and Bart Humphrey The Gene and Jerry Jones Family • Park Cities News • The Waters Family Dr. and Mrs. John W. Secor • Lisa and Kenny Troutt • RGT Wealth Advisors Donna and Tim Weber Barbara and Don R. Averitt • Avon Cleaners • The Godo Family • Harriett and Charles Gibbs The Honor Guard • Mrs. Vance C. Miller • Joanne Slicker Mulcahy • Penny Reid and Tom Nolan Linda L. Burk MD and John R. Gilmore MD • Allison and Brett Brodnax • Churchill Capital Company Jim Neil and Duke Stone • Sara Lee and Stan Gardner • Mr. and Mrs. Gregory W. Hext • Tavia and Clark Hunt Elizabeth and Kevin Magee • Lynn and Nathaniel Mosley • UBS Wealth Management • Aileen and Jack Pratt Cindy Brinker Simmons • Mr. and Mrs. Lawrence D. Stuart, Jr. • The Dallas Symphony Assembly Mr. and Mrs. Rodney I. Woods


OPEN

NG & DU R I , E R O Y DS B E FO E VE R R E E T AF AN C OR M PE R F P P O I NTM E NT YA 66 OR B 7 1 .40 214 .8

COME VISIT YOUR

SYMPHONY STORE E L E G A N T G I F T S • F I N E J E W E L RY • C H I L D R E N ’ S IT E M S LOCATED ON THE LOWER LEVEL

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2017-2018 Season Auditions

PHOTO: Ron Heflin

Your child or grandchild could sing with the Dallas Symphony Orchestra! Why Audition for CCGD? • • • • •

One of America’s largest and most prestigious youth choruses Official children’s chorus of the Dallas Symphony Orchestra Annual concert series at Meyerson Symphony Center 500+ singers in 8 ensembles from 54 communities Called “one of the best youth choruses I’ve ever heard” by Dallas Symphony Music Director Jaap van Zweden

Audition Information Auditions take place in May 2017 and are for singers entering grades 4-12. Visit www.thechildrenschorus.org for more information, or call 214-965-0491.

DALLAS SYMPHONY ASSOCIATION ADMINISTRATIVE STAFF EXECUTIVE OFFICE Jonathan Martin, President & CEO

Judy Hammons, Assistant to President & CEO Gillian Friedman, Director of SOLUNA Projects Sarah Whitling, Manager of Special Projects

ARTISTIC OPERATIONS

Peter Czornyj, VP of Artistic Operations Jamie Allen, Director of Education Tom Brekhus, Senior Production & Pops Concerts Manager Marc Dunkelberg, Assistant Stage Manager Shannon Gonzalez, Stage Manager Sarah Hatler, Education Coordinator Franklin Horvath, Lighting Technician Carolyn Jabr, Mgr. of Young Strings + Teen Programs Todd Joiner, Artistic Administration Manager Nathan Lutz, Director of Operations Callie Massey, Chorus Administrator Margaret M. Moore, Administrative Assistant to Music Director Ben Spagnuolo, Artistic Operations Coordinator

GUEST SERVICES CENTER

Logan Heinsch, Director of Guest Services Paula N. Anderson, Guest Services Manager Kathryn Barrett, Symphony Store Manager Anthony Henson, Guest Services Coordinator Charles Hudgins, Guest Services Manager Stamos Martin, Guest Services Coordinator Brooke Stelmazewski, Guest Services Concert Supervisor

COMMUNICATIONS Denise McGovern, Vice President of Communications Chelsey Norris, Communications Manager

DEVELOPMENT

Michelle Miller Burns, Vice President of Development Tab Boyles, Director of Event Planning Lilian E. Godsey, Manager of Donor Stewardship Kelly Halaszyn, Sr. Manager of Corporate Giving Courtney Helms, Development Operations Manager Amanda Hyde, Individual Giving Coordinator James Leffler, Director of Individual and Legacy Giving Caroline McNeel, Board Engagement Manager Trevor Meagher, Development Operations Coordinator Toni Miller, Manager of Endowment & Planned Giving Quin Phillips, Development Assistant Alma Rouse, Director of Development Operations Liza Voznessenskaia, Sr. Mgr. of Fnd. + Gov. Rel. Jamie Winholtz, Sr. Manager of Individual Giving

MARKETING

HUMAN RESOURCES + FACILITIES

Debi Peña, Vice President of People and Facilities Amanda Cook, Payroll + Human Resources Manager James Nugent, III, Office Services Coordinator Breanna Turnley, Community + HR Liaison

FINANCE AND ADMINISTRATION

Randy Leiser, Vice President of Finance Carl Baines, Desktop + Systems Administrator Leeanne Hay, Accounts Receivable Coordinator David Lane, Director of IT Alice Monroe, Budget Analyst Carol Schmucker, Staff Accountant Deanie Sewell, Controller Lonnie Striplin, Senior Staff Accountant Judith Washington, Data Quality Associate

VOLUNTEER SERVICES

Allison Brodnax, Director of Volunteer Services Maliska Haba, Manager of Volunteer Services

Sean Kelly, Vice President of Marketing Daniel Acosta, Sr. Marketing Manager, Subscriptions Blake Burgess, Director of Direct Sales Kristi Cooper, Graphic Designer Mallory Coulter, Manager, Pops + Specials Leigh Hopkins, Jr. Marketing Associate Thomas Mears, Group Sales Education Specialist Megan Teel, Graphic Designer Jena Tunnell, Advertising + Group Sales Manager Laura Urdaneta, Marketing Manager, Classical, REMIX + Organ Courtney Zimmerman, Director of Marketing

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NAMED ENDOWMENTS ORCHESTRA ENDOWMENTS Gina Bachauer Fund for Young Artists Lucile and Clarence Dragert Guest Artist Fund Rita Sue and Alan Gold Fund for the Lynn Harrell Young Artist Competition Cecil and Ida Green Guest Artist Fund The Linda and Mitch Hart Domestic Touring Fund The Linda and Mitch Hart International Touring Fund The Linda and Mitch Hart Musicians Retirement Fund Jeanne R. Johnson Fund for Artistic Excellence Fannie and Stephen S. Kahn Orchestra Travel Fund Herman W. and Amelia H. Lay Family Fund for Organ Soloists Eugene McDermott Orchestra Fund Eugene McDermott Touring Fund Meyerson Family Artistic Excellence Fund Nancy P. and John G. Penson Dallas Symphony Orchestra Recording Fund Pollock Family Fund for Music Library Contents Robinson Family Fund Anita and Merlyn Sampels Guest Artist Fund The Charlie and Sadie Seay Endowment Fund for Artistic Excellence Norma and Don Stone New Music Fund

For more information about Named Endowments supporting the Dallas Symphony, please contact Toni Miller at 214.871.4078 or T.Miller@DalSym.com.

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CONCERT ENDOWMENTS Texas Instruments Classical Series Max, Celia, and Jerry Abramson Family Concert American Airlines AT&T Bank of America Dallas Symphony Orchestra League ExxonMobil D. Gordon Rupe Foundation Opening Concert Sydney J. Steiner and David L. Florence Symphony of Toys in memory of Arkady Fomin Annual Endowed Concerts in memory of Irene H. and Ernest G. Wadel Pops Series Mary Martin The Meadows Foundation TM Advertising Youth Concert Series Cecil and Ida Green Youth Concert Series The Meadows Foundation The David Nathan Meyerson Foundation Anne J. Stewart EXTRAORDINARY NAMED FUNDS Constantin Foundation Fund Gail B. and Dan W. Cook III Fund Leo F. and Clara R. Corrigan Foundation for General Support Alta Ewalt Evans Fund Fachon and Howard Hallam Fund Winborne and Davis Hamlin Family Fund Linda and Mitch Hart Young Adult Education Fund William Randolph Hearst Endowed Fund for Young Strings Carol and Jeff Heller Guest Artist Fund The Philip R. Jonsson Endowed Fund for Young Strings Ben E. Keith Foundation Fund Cece Smith Lacy and John Ford Lacy Fund

Linda and Stanley Marcus Fund Juanita and Henry S. Miller, Jr. Fund for General Support The Pollock Foundation Endowment for Audience Development Frank K. Ribelin Young Strings Endowment George A. and Nancy P. Shutt Endowment Fund Barbara and Robert P. Sypult Family Artistic Fund Barbara C. and Robert P. Sypult International Guest Artist and Guest Conductor’s Fund Hazel Young Fund SPECIAL NAMED FUNDS African-American Festival Concert Fund Frances and J.D. Blatt Family Fund for Violinists Sherwood E. Blount, Jr. Family Fund Joy Lipshy Burk Memorial Fund Chautauqua Music Student Scholarship Fund Dallas Symphony Chorus Fund Jeanne and Sanford Fagadau Family Fund for Education Emme Sue and Jerome J. Frank Fund for HeartStrings Gertrude Munger Garrett and Melvin Miller Garrett Memorial Fund for Artistic Excellence Robert E. and Ruth Glaze Fund Elissa Sabel and Stan Hirschman Guest Artist Fund Hispanic Festival Concert Fund Mrs. Lee Hudson Fund for General Support Luther King Capital Management Fund Adah Yale Marr Memorial Fund for the Classics Music and Merit Program Fund The Hitoshi Nikaidoh Memorial Fund for Education The S.C. Ratliff, Nannie V. Ratliff, W.C. Ratliff, and Lucille N. Ratliff Endowment Fund Michael L. Rosenberg Foundation Gertrude Simon HeartStrings Fund Itske and Anthony Stern Fund Brenda J. Stubel Chorus Endowment Thompson & Knight Foundation Fund Annette G. Strauss Fund for Artistic Excellence Worsham, Forsythe & Wooldridge, L.L.P. Fund

BUILDING RECOGNITION

The Eugene McDermott Family Eugene McDermott Concert Hall

The Ross Perot Family Morton H. Meyerson Symphony Center

JP Morgan Chase West Loge

Bank of America

Renaissance Foyer

Greer Garson Fogelson and E.E. “Buddy” Fogelson E.E. “Buddy” Fogelson Pavilion

Amelia Lay Hodges

The Herman W. and Amelia H. Lay Family Concert Organ

Wendy Reves

Emery Reves Arch of Peace

Nancy and John G. Penson Green Room

Dallas Bankers Association

Isaac Stern Loge Foyer

Ida and Cecil Green Grand Stairway

Louise W. and Edmund J. Kahn Music Library / Archives Room

The Kresge Foundation Symphony Suites

Margaret and Erik Jonsson

Grand Choral Terrace

Cece and Ford Lacy

Guest Services Center

Oryx Energy Corporation Dress Circle

Myrna and Bob Schlegel Schlegel Administrative Suites

Linda Wertheimer Hart and Milledge A. Hart III Hart Symphony Suites and Reception Atrium

Karen and Phillip Drayer East Loge

Juanita and Henry S. Miller, Jr. Board Room

Dallas Symphony Orchestra League, Élan Circle and Innovators Musician’s Lounge

Hoblitzelle Foundation Symphony Suites

The Horchow Family Horchow Hall


Hallam Family/ Ben E. Keith Foundation Lobby Bars

Diane and Hal Brierley

Nancy Hamon

Ginny and John Eulich

Light Sculptures

The Rosewood Corporation Observation Rooms

The Richard D. Bass Foundation

Percussion Warm-up Room and Choral Music Library

Diane and Hal Brierley The Brierley Suite

The Haggar Foundation Concertmaster’s Dressing Room

The Thomas O. Hicks Family Dress Circle Balcony West

Maxus Energy Corporation Box Office

Anita and Merlyn D. Sampels Anita Sampels Suite

Dorothy and David Kennington Symphony Suites

Mary C. Crowley Dress Circle Balcony East

Water Fountains

Concert Hall, Administrative Offices and Elevators

The Harvey and Joyce Mitchell Family Foundation Broadcast Control Facility

Mary Liz and George R. Schrader

The Meadows Foundation

Artists’ Dressing Rooms Driveway and Entrance Canopy

Margaret and Robert Folsom Administrative Reception Area

ICH Companies

Executive Director’s Office

ENSERCH Corporation Grand Tier Balcony East

Carol and George Poston Grand Tier Stairway West

Verizon Grand Tier Stairway East

Ruth C. and Charles S. Sharp Marquee

Carol and George Poston Grand Tier Balcony West

Eunha Kim Steinway & Sons Model D Grand Piano

JoAnne and John Hamann Bosendorfer Grand Piano

KPMG LLP Finance Office

Barbara and Bob Sypult

Ebby Halliday and Maurice Acers Development Office

Dallas Symphony Orchestra Guild in Memory of Stephen F. Black Harpsichord

Diane and Hal Brierley B

Louis W. Kreditor

Rotary Trumpets

Emme Sue and Jerome J. Frank

Patron Service Center Extension

Restaurant Tree

Jeanne R. Johnson Choral Rehearsal Room

Mr. and Mrs. Jack Greenberg Hamburg Steinway and Bosendorfer

Margie and William H. Seay Boutique

Dallas Symphony Orchestra Guild Music Director’s Suite and Musician’s Lounge Furnishings

Anne and Robert Dickson Wagner Tubas (Wagnertuben)

The Elizabeth H. Penn Family East Pavilion

Emme Sue and Jerome J. Frank Celesta

Hila and Nat Ekelma Telephone Alcove

Clarice and Richard Kearley Heralding Trumpets

Philip H. Weinkrantz Music Stands

On loan from Gwen Weiner Les Ondines by Henri Lauren

Howard Hallam Choral Rehearsal Room

Margot W. and Ben H. Mitchell Fund of the Communities Foundation of Texas

On loan from Miss Laurel Ornish George Gershwin by Andy Warhol

C Rotary Trumpets and Electric Piano

In honor of Mr. and Mrs. Peter N. Wiggins, Jr. Dress Circle Box

Volunteer Offices

SIXTEENTH ANNUAL

APP DUE: 3.13.17

STUDIODSO.COM

s.hatler@dalsym.com | 214.871.4006


The Dallas Symphony Orchestra League Welcomes and Congratulates the

Texas Association for Symphony Orchestras on the celebration of the 50th Anniversary All Host Conference.

Symphony Volunteers from throughout Texas promote and support their communities and orchestras through education programs and fundraising. They are here to celebrate their Golden Jubilee, fifty years of excellence in Symphony Volunteerism, and to prepare to continue that legacy.

TASO was organized in 1966 with Mrs. Juanita Miller of Dallas, TASO’s first President leading the first annual conference in 1968. Conference delegates include presidents, presidents-elect, and volunteer leaders, as well as orchestra managers and staff from each member symphony organization.
 In 1997 TASO initiated a statewide concerto competition for outstanding high school musicians and named it in honor of TASO’s founder. The Juanita Miller Concerto Competition was established with a generous endowment funded by Juanita and Henry S. Miller, Jr. The continued generous support of the Miller family has firmly established the highly ranked competition. TASO recognizes and thanks the Juanita & Henry S. Miller family for their very generous continued support on the occasion of TASO’s Golden Jubilee.


THE LEGENDS RETURN CONCERT EVENT | MAY 10, 2017 THIRTY TRUMPET LEGENDS | ONE MORE TIME DETERMINED TO HELP BLOW CANCER AWAY

AD

INCLUDING

DOC SEVERINSEN | ARTURO SANDOVAL | LEE LOUGHNANE MEMBERS OF THE DALLAS SYMPHONY ORCHESTRA & CANCERBLOWS BIG BAND

The 2015 concert SOLD OUT. Don't wait—get your tickets now at

TicketDFW.com or by calling 214.871.5000

For a full schedule of CancerBlows events and more information, visit CancerBlows.com CancerBlows/The Ryan Anthony Foundation is an approved 501(c)(3) non-profit organization. All proceeds benefit cancer research.


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