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17 BEETHOVEN 8 JAN 12-14

19 REMIX | FROM ©Sylvia Elzafon




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Changing Heart and Vascular Care. For Life.™ For personalized, attentive help with access to our cardiac surgery nurse navigator, please call 1-800-4BAYLOR or visit us online at 621 N. Hall Street, Dallas, TX 75226 Notice Regarding Physician Ownership: Baylor Jack and Jane Hamilton Heart and Vascular Hospital is a hospital in which physicians have an ownership or investment interest. The list of the physician owners or investors is available to you upon request. Physicians provide clinical services as members of the medical staff at one of Baylor Scott & White Health’s subsidiary, community or affiliated medical centers and do not provide clinical services as employees or agents of those medical centers, Baylor Health Care System, Scott & White Healthcare or Baylor Scott & White Health. ©2016 Baylor Scott & White Health. BSWHHVH_24_2015 CE 02.16d




Come see us in the lobby during intermission or after these performances:

The Sorcerer’s Apprentice Beethoven 8 Jason Alexander Sings Broadway Tchaikovsky and Bruckner

JAN 5-8 JAN 12-14 JAN 27-29 FEB 3

J A A P VA N Z W E D E N M U S I C D I R E C TO R 2008-2018 *Applies to Classical 16 and 8, Super Pops 14 and Pops 9 subscriptions.

MY DSO CONCERT By Leeanne Rebic Hay

The My DSO Concert returns on February 5, 2017 with a program of exciting, classical selections for a very special community – children and adults with autism and developmental disabilities, their families and caregivers. The concert is free with a reservation. For those who are not familiar, it can be very challenging for music lovers on the autism spectrum to adapt to a traditional concert environment. Before the first My DSO Concert, this community was often concerned about bringing autistic children and adults to the concert hall because of social convention - even though music therapy is a key tool in aiding learning and listening skills. Making sounds, exiting and re-entering during a performance, and hearing comforting words from a loved one are all encouraged to make the concert experience a welcoming and enjoyable time. Additionally, there will be special quiet rooms set-up for those who might be overwhelmed by the music, and brighter house lighting will be used for the wellbeing of patrons. Over 1,100 guests attended last year’s My DSO Concert. This year's pre-concert activities will include a see-touch-play experience with an “instrument petting zoo” in the Meyerson lobby along with several Dallas agencies providing information about programs and services available throughout North Texas. Here’s a preview of just a few of them. My Possibilities opened in 2008 as the first program of its kind in Collin County. Designed for young adults’ post-high school years, the full-day, full-year continuing educational program serves those with autism, down syndrome and other cognitive disabilities. By providing vocational education, socialization and health and wellness opportunities, students with special needs are able to have a chance at full, independent lives. Find out more at:

The Autism Treatment Center (ATC) in Dallas was established in 1976 and offers residential and educational services, as well as autism-specific outpatient therapy for children and adults. For forty years, ATC has endeavored to meet the needs of 1 in 68 children who have been diagnosed on the autism spectrum. “Using the principles of applied behavior analysis (ABA), our focus for children is on (1) identifying struggles with functional communication, social and academic skills; (2) documenting each child’s performance; and (3) determining the adequacy of each child’s response to instruction,” according to Mariel Fernandez, program coordinator for the ABA program. Further information is available on the website: Best Buddies is a national volunteer organization that serves to create one-on-one friendships and integrated employment opportunities for people with developmental disabilities. In Texas, there are 80 chapters with over 5,100 volunteers impacting the lives of more than 50,000 people. Many chapters in North Texas are located in middle and high schools and colleges. According to State Director, Sharyn L. Casey, “We are building a more inclusive world, one friendship at a time, by erasing the invisible line that too often isolates those with disabilities within schools, workplaces, and lives.” To learn more see:

©Sylvia Elzafon

We look forward to performing for these members of our community in the second annual My DSO Concert.


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 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 Jean D. Wilson Jerry and Susie Wilson Mrs. Charles J. Wyly, Jr. Jaap and Aaltje van Zweden



Anonymous Mr. and Mrs. Peter A. Altabef Jane and Ron Beneke Family Jennifer and Coley Clark John and Barbara Cohn Peggy Dear Barbara and Steve Durham Leah and Jerry Fullinwider Ron and Rebecca Gafford Kathryn H. Gilman Tim Headington 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 Adrienne and Tom Rosen Mr. and Mrs. Robert E. Segert Mrs. Robert E. Titus Ms. Sarah Titus Karen and Jim Wiley Bob and Karina Woolley GOLD STRADIVARIUS PATRONS $12,500 - 24,999

Karen and Nicholas Adamson Mr. and Mrs. Christopher Bancroft Sherry S. Bartholow Dr. and Mrs. Lawrence S. Barzune Frances Blatt Joanne L. Bober Carole Ann and Dick Brown Mrs. Thomas R. Corbett Mr. and Mrs. William A. Custard Don and Barbara Daseke Anne L. Davidson Cindy and Charles Feld

Ben Fischer and Laree Hulshoff 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 Mrs. Lamar Hunt Nancy Ann and Ray Hunt Jane and Pat Jenevein Yon Yoon Jorden Marten F. Klop Mr. and Mrs. Mark H. LaRoe Sue L. Maclay Catherine Z. and George T. Manning 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 The Brian J. Ratner Foundation Jennifer and Peter Roberts 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 >





12, 2 017

6 p.m. at D A L L A S C I T Y PERFORMANCE HALL 2 5 2 0



D A L L A S, T X





Join Artists for Animals’ Erin Hannigan, Principal Oboe of the Dallas Symphony Orchestra, and Teresa Berg, Fine Art Photographer, for an evening of art and performances by members of the Dallas Symphony Orchestra, Avant Chamber Ballet, and the SMU Meadows School of the Arts. A silent art auction will feature works by area artists and students of Booker T. Washington High School for the Performing and Visual Arts. For tickets and more event details, please visit This concert is made possible in part by the generous donors of the Dallas Symphony Orchestra and the Grant for Principal Musicians.


Anonymous (1) Dr. and Mrs. Kenneth Altshuler Dr. and Mrs. James M. Atkins Richard L. Barrett Mrs. Mercedes T. Bass Julie and Craig Beale Faith Ford Biggs Robert M. Brackbill Faye C. Briggs Linda and Lee Brookshire Dianne Cash Mary Anne Cree Mr. and Mrs. Walter B. Elcock Nita and John Ford Mack and Billie Forrester Katherine Freiberger and Lawrence Althouse Susan and Woodrow Gandy 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 Susan and Laurence Hirsch Elissa Sabel and Stan Hirschman Kathy and Richard Holt Caroline Rose Hunt Ted and Jean Ingersoll Mary Ellen and Henry Irving Garrison Keillor Ellen Lindsey Key Selena Loh LaCroix Kathleen and Frank Lauinger Deborah L. Lively 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 Luis Manuel Ramírez and Delia Garced Betty Regard Deedie Rose Marcy and Stephen Sands Chrissy and Mitch Sayare Lee and Bill Schilling James R. Seitz, Jr. 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


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


Anonymous (4) Mr. and Mrs. John L. Adams 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 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 Mr. and Mrs. Robert Hewes 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 Joan and Marvin Lane Robert F. Leroy, M.D. 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 Nancy and John Solana Mrs. LeAnn Harris Solomon Mr. and Mrs. Seymour R. Thum Sandra Tucker Inge and Sam Vastola David and Harianne Wallenstein Richard Eric Warren Don E. Welsh


Anonymous (14) Matt Acosta Eric Affeldt Glenn C. Anderson Stacey J. and Charles A. Angel, Jr. Steve and Cindy Aughinbaugh Suzanne and Moshe Azoulay John Bartel Mary Bartholow - Communities Foundation of Texas 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 Tab Boyles

Janice and Raymond Brekke Carol and Royal Brin Karl and Dolores 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 Joe and Dr. Angie Cayton-Lodor 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 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 Edwin R. Daniels Arlene and John Dayton 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 Dr. and Mrs. Lawrence J. Genender

Stephen Geoffray and Cindy Walker Mike and Jackie George Susan and Mark Geyer David H. Gibson Mr. and Mrs. Paul L. Gleiser Lilli Gober 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 C. Fish Greenfield and Thom Maciula Irma and Irwin Grossman Barbara Gunnin Mr. and Mrs. Ron W. Haddock 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 Stephanie and Ed Howard Vester T. Hughes, Jr. 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 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. Mr. and Mrs. Jay W. Lorch

Julie and Michael Lowenberg Lloyd Lumpkins Dr. William and Rose Lumry Sammy L. Maddox Diego and Gertraud Maffei Paul and Sandra Magnuson Maranda Maier Nancy Cain Marcus Nancy Wiener Marcus Judy and Benton Markey Ms. Tory Marpe and Mr. Damien Fuller-Sutherland Rosemarie Marshall and Lee Wilkins Gwyn and Wilson Mason Mrs. Clovis A. Mathews In memory of Gaston C. Maurin 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. and Mrs. James P. McCulley Scott and Jennifer McDaniel John and Jackie McElhaney Peter McLarty 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 George Myers 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 Alice and Erle Nye

Neil and Pat O’Brien Mrs. Ben Odom Anne and Van Oliver Jay W. Oppenheimer Hester W. Parker Jeff and Annette Patterson Hank and Becky Pearson Mr. and Mrs. Kenneth W. Perry Stanley M. Peskind 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 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 RM Ministries Dr. and Mrs. Albert D. Roberts 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 and Dr. Lorand Fekete Jeff Rowland Mr. Joel Rubin Will and Janice Ryan Hon. and Mrs. Wm. F. Sanderson, Jr. Mr. and Mrs. William Sandlin Esther and Jacques Sardas 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 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 Andre and Jo 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 George and Kate Suhorsky 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 Charles and Barbara Vaughan Shirley Vilfordi Larry and Marilyn Waisanen Joe and Ellen Walker Sharon and Robert Walker Dennis Walo and Kathleen Irvin Karen Warner 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 09

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11661 Preston Rd, #131

6465 E. Mockingbird, #314

(469) 802-3022

(972) 441-8182




(214) 613-1299 (469) 287-8617

5404 Preston Rd, #104

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891 W. Arapaho, #A

(214) 613-1883 985 W. Centerville Rd



(469) 685-1544

(972) 649-5888



3000 Custer Rd, #355

(972) 607-9941 2301 O’Connor Rd, #1

2107 W. Eldorado, #107

(817) 918-4200 314 S. Park Blvd, #5

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


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


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


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


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


Ryan Anthony


Diane & Hal Brierley Chair

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


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




Alexander Kerr


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

Matthew Good Principal Dot & Paul Mason Chair


Brian Jones Principal Dr. Eugene & Charlotte Bonelli Chair

Douglas Howard Associate Principal



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



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

Willa Henigman Associate Principal Brent Ross David Matthews + English Horn


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

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


Theodore 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


Vacant Resident Organist Lay Family Chair

STAFF KEYBOARD DSO League & Innovators Chair

Steven Harlos Pops Gabriel Sanchez Classical


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


Paul Phillips Artistic Advisor to the Music Director


David Cooper Principal Howard E. Rachofsky Chair

David Heyde

Associate Principal

Linda VanSickle Chair

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


Scott Walzel Dir. of Orchestra Personnel + Engagement


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


Madame Butterfly March 10-26

214.443.1000 Season Sponsor

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





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 Catherine Z. Manning 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


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 Liener J. Temerlin W. Bradford Todd


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



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


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


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


William L. Green Assistant Treasurer David Rosenberg Assistant Secretary


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SUN 8 | 2:30 PM


DEBUSSY Prélude à l'après-midi d'un faune (Prelude to "The Afternoon of a Faun") (Approximate duration 10 minutes)

MATTHIAS PINTSCHER Mar'eh (Approximate duration 23 minutes)


INTERMISSION RAVEL Alborada del gracioso (Morning Song of the Jester) (Approximate duration 7 minutes)

DEBUSSY "Ibéria," from Images

(Approximate duration 20 minutes) Par les rues et par les chemins (Along the Streets and the Paths) I. II. Les parfums de la nuit (Night Fragrances) III. Le matin d’un jour de fête (Morning of a Feast Day)

DUKAS L'apprenti sorcier (The Sorcerer’s Apprentice) (Approximate duration 10 minutes)

ARTIST BIOS P. 28 This performance will conclude at approximately 9:30 PM, 4:30 PM on Sunday.





With Prélude à l’après-midi d’un faune, Claude Debussy expanded the limits of tonality, meter and form. The other works on this program are similarly disruptive — and no less delightful. Matthias Pintscher's violin concerto Mar'eh celebrates both the spiky experimentalism of Luigi Nono and the sensuous soundworlds of Debussy and Maurice Ravel. Ravel's Alborada del gracioso and Debussy's Ibéria focus on Spain through a distinctively Gallic lens. Finally, Paul Dukas's L'apprenti sorcier transforms an old German ballad into a supernatural symphonic scherzo.

DEBUSSY Prelude to "The Afternoon of a Faun"

BORN August 22, 1862, Saint-Germain-en-Laye, France DIED March 25, 1918, Paris, France COMPOSED 1894 FIRST PERFORMANCE December 22, 1894, Paris, France, Gustave Doret conducting Last performance by the DSO: September 16, 2012; Jaap van Zweden conducting


Debussy was 22 years old when he first composed music inspired by the words of Stéphane Mallarmé. At 25 the young composer began attending the Symbolist poet’s weekly salons. He began his setting of Mallarmé's seminal L'Aprèsmidi d'un faune ("The Afternoon of a Faun") in 1892 and finished it two years later. Debussy understood that his version could not "tell the story" in the manner of a symphonic poem: “The music of this prelude is a very free illustration of Mallarmé’s beautiful poem,” he wrote. “By no means does it claim to be a synthesis of it. Rather there is a succession of scenes through which pass the desires and dreams of the faun in the heat of the afternoon." With its woozy melodies and glistening, irresolute chords, the music mirrors the faun’s erotic torpor. The faun plays a reed flute in Mallarmé's text, so Debussy’s Prélude begins with a flute solo, a seductive tune that rises and falls in half-steps, forming a dissonant tritone. In a sly allusion to Mallarmé’s strategic use of blank space, Debussy includes a bar of silence.


By late 19th century standards, Debussy scored the work for a relatively small orchestra. The brass section is confined to four horns, and there is no percussion except crotales, or antique cymbals, which had scarcely been heard in the orchestral repertoire. This spare but inventive orchestration permits many alternate voicings— solo flute to oboe to doubled flutes to clarinet—to convey the faun’s shifting impressions. Exotic harmonies, whole-tone scale runs and rampant chromaticism augment this luxuriant sound-world. The flowing meter vacillates between 9/8, 6/8 and 12/8, representing both the faun’s stream of consciousness and the murmuring waters described in Mallarmé’s poem.


BORN January 29, 1971, Marl, Germany COMPOSED 2011 FIRST PERFORMANCE September 11, 2011, Lucerne, Switzerland, Julia Fischer soloist LAST PERFORMANCE BY THE DSO This is the first performance by the DSO


Matthias Pintscher's second major work for violin and orchestra is called Mar'eh. "Mar’eh means face, sign," Pintscher explained in 2011, shortly before the violin concerto was premiered. "The Hebrew word can also mean the aura of a face, a beautiful vision, something wonderful which suddenly appears before you.” The Germanborn composer and international conductor was inspired by listening to the pianist and violinist Julia Fischer. "I came across this word when I thought of the fine lines which she can spin with her [violin], this very intensive but light play." The composition generates meaning from these wondrous apparitions, from the playful space between signifier and signified. "Mar'eh continually materializes new sounds out of nothing, with the violin acting as protagonist," Pintscher explains. "I have tried to shape the whole [work] in a very songlike fashion, so that the violin starts at the beginning and draws a line—or its vision—through to the end in the most varied registers, often quite high where it can only be continued in harmonics... As part of the transparent sonority, the orchestra answers in gesture what the violin evokes and then realizes its own tone-color melody."





BEETHOVEN Symphony No. 8 in F major, Op. 93 (Approximate duration 27 minutes) I. Allegro vivace e con brio II. Allegretto scherzando III. Tempo di Menuetto IV. Allegro vivace

R. STRAUSS Horn Concerto No. 1 in E-flat major, Op. 11 (Approximate duration 16 minutes) I. Allegro II. Andante III. Allegro


INTERMISSION BARTÓK Concerto for Orchestra

(Approximate duration 35 minutes) I. Introduzione: Andante non troppo — Allegro vivace II. Presentando le coppie: Allegro scherzando III. Elegia: Andante non troppo IV. Intermezzo Interrotto: Allegretto V. Finale: Pesante — Presto

ARTIST BIOS P. 29 This performance will conclude at approximately 9:30 PM.




BEETHOVEN Symphony No. 8

BORN December 16, 1770, Bonn, Germany DIED March 26, 1827, Vienna, Austria COMPOSED 1812 FIRST PERFORMANCE February 27, 1814, Vienna, Austria, Beethoven conducting LAST PERFORMANCE BY THE DSO November 11, 2007; Jaap van Zweden conducting


Ludwig van Beethoven's Symphony No. 8 is a treasured gem in the classical canon, but it isn't programmed nearly as often as his Fifth, Sixth and Ninth symphonies. Despite the darkness of his life at the time, the symphony is more sunshine than shadow. Despite being sick, lonely, increasingly deaf and plagued by financial anxieties, Beethoven was creatively productive in 1812. Among other achievements, he finished his Seventh and Eighth Symphonies. Listening to them, you’d never guess that he was unhappy, much less that he was fending off thoughts of suicide. His art was greater than his individual suffering; it came from the heart, he once said, so that it might go to the heart. A heart so huge and hopeful could never be constrained by brute circumstance. Like the equally sunny Sixth (“Pastoral”), the Eighth Symphony is in F major, a generally cheerful key for Beethoven. As Jan Swafford explains in Beethoven: Anguish and Triumph, the Eighth is “a sort of vacation, this time into the past: a beautiful, brief, ironic look backward to Haydn and Mozart.” As a teenager in his native Bonn, Beethoven was urged by his patron Count Waldstein to make a pilgrimage to Vienna and “receive the spirit of Mozart at Haydn’s hands.” The young composer met Mozart and studied with Haydn, on and off, but such advice made him uneasy. On the one hand, he wanted to enter the pantheon; on the other hand, he needed to assert his originality. Just as Beethoven’s looming presence would both inspire and inhibit his successors— “Who can do anything after Beethoven?” Franz Schubert famously griped— Mozart and Haydn provoked a similar ambivalence in Beethoven. They were his models and idols, and if he once feared that they’d already done everything worth doing, he knew better now, as


a seasoned composer of 41. He could make witty quotations, slyly acknowledge his musical debts, yet remain all the while in full command of his unique voice. Beyond mere escapism, Symphony No. 8 exemplifies the pleasures of engaging with the past. Stylistically, it looks back to the 18th century, particularly during its third movement, a nostalgic minuet and trio. But throughout the symphony the sonorities are big, brash and decidedly contemporary. It is sometimes mildly parodic, but never mocking or mean-spirited. The almost mechanically ticking woodwinds in the second movement evoke Haydn’s “Clock” Symphony, and its overall mood seems infused with the zany energy of Mozart’s comic operas. But the symphony’s best jokes are at its own expense, when it deconstructs the very concept of craftsmanship. Consider the anarchic C-sharp that interrupts the main theme with rude bleats and blurts, wreaks tonal havoc in the finale, and then inspires still more mayhem in the extravagant keywrenching coda. A carefully conceived celebration of chaos, it’s the symphonic equivalent of a Marx Brothers movie.

Portrait of Ludwig van Beethoven by Joseph Karl Stieler, 1820.





BEETHOVEN Overture to The Creatures of Prometheus, Op. 43 (Approximate duration 5 minutes)

SCHNITTKE Concerto Grosso No. 2 for Violin, Cello and Orchestra (Approximate duration 35 minutes) I. Andantino – Allegro II. Pesante III. Allegro IV. Andantino


PROKOFIEV Symphony No. 1, Op. 25 (“Classical Symphony”) (Approximate duration 13 minutes) Allegro con brio I. II. Larghetto III. Gavotte: Non troppo allegro IV. Finale: Molto vivace

ARTIST BIOS P. 29 This performance will conclude at approximately 8:40 PM.




Chaos and creativity often go hand in hand, as the works on this program demonstrate. By confronting the icons of the past, artists discover their authentic selves and plunge into an unknown future. Beethoven modeled his Prometheus overture on Mozart, making way for his self-radicalization. Prokofiev returned to Russia to find his homeland in revolt. He responded to the ongoing chaos by composing his First Symphony, which functions as both a retreat into the orderly past and a commentary on the turbulent present. With his Concerto Grosso No. 2, Alfred Schnittke juxtaposed an oppositional orchestra and an intimate solo duo while plumbing the canon for inspiration. Out of the ruins, new life emerges.

BEETHOVEN Overture to The Creatures of Prometheus BORN December 16, 1770, Bonn, Germany DIED March 26, 1827, Vienna, Austria COMPOSED 1801 FIRST PERFORMANCE March 28, 1801, Vienna, Austria LAST PERFORMANCE BY THE DSO May 30, 2015; Karina Canellakis conducting


In late 1800, while struggling with poor health and nasty, uncomprehending Leipzig critics, Ludwig van Beethoven accepted a commission to compose the music for a ballet called Die Geschöpfe des Prometheus ("The Creatures of Prometheus"). Although he took on the project because he needed the money, he put aside all his other work until he finished it. The ballet score was a commission from Salvatore Viganò, the controversial new ballet master of the Vienna court. Viganò, a dancer, choreographer, composer and visionary, re-invented Prometheus for his own creative purposes. Instead of the mythic demigod who endowed humanity with the fire he'd stolen from Zeus, Viganò's Enlightenment-era Prometheus was, in his words, "a sublime spirit, who came upon the men of his time in a state of ignorance, who refined them through science and art, and imparted to them morals." In this new re-telling, Prometheus brings a sculpture of a man and a woman to life but cannot make them truly human until he brings


A young Ludwig van Beethoven, 1804–05 portrait by Joseph Willibrord Mähler

them to Parnassus, where they learn about music, drama and dance from the appropriate deities. Finally, his two charges are ready to witness the heroic and regenerative dance of Bacchus, performed by Viganò himself. Beethoven gave Viganò what he required: graceful, danceable music that conveyed the emotional trajectory of the story. An unqualified success, Prometheus was performed 23 times in 1801 and 1802. Beethoven's entire score amounts to approximately one hour's worth of music, which the five-minute overture neatly summarizes. It begins with dissonant blasts punctured by strategic silence and evolves into a spirited allegro. As Michael Steinberg observed, the overture "starts magnificently on a chord on which no piece ought to start, especially not in 1801, and which then moves quickly into a swirling perpetuum mobile. Beethoven found his model in Mozart's overture to Così fan tutte, but he is at least as much himself as he is in debt." Just as Prometheus guided his statues into full humanity, Beethoven's ballet score helped him find his own voice and become thoroughly Beethovenian. The Prometheus project galvanized him as a composer, inspiring him to write an ambitious set of piano variations and, in 1803, his heroic Third Symphony. CONTINUED ON P. 26


JANUARY FRI 27 SAT 28 | 7:30 PM

SUN 29 | 2:30 PM





WILLIAMS Flight to Neverland from Hook (Approximate duration 5 minutes)

Arr. LOWDEN Selections from Les Miserables (Approximate duration 10 minutes)

Arr. CUSTER Star Trek through the Years (Approximate duration 5 minutes)

INTERMISSION AN E V E NI N G W ITH JASO N A L EXANDER The second half of the program will be announced from the stage.

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



Mar'eh is structured as a single movement and scored for a large orchestra. Four percussionists wield a dazzling array of tuned and non-tuned instruments. Tam-tams and gongs are layered in myriad exotic combinations; instruments are struck, slapped and stroked by a wealth of brushes, mallets and bows, as well as fingers and palms. Surprising sonorities abound. The mouthpiece of an alto flute is held between the player's teeth, muted by the lips. A flute trio is "constantly answering the violin part in chamber music style," whereas the violin should sound "flutelike" and "a bit on the bridge." The violinist's virtuosity is a given but it's only the means, not the end. "The sound has a direction, not in the melodic sense, but in that the sound always continues, is never interrupted," Pintscher explains. "It is about the direction of sound in space and time."

RAVEL Alborada del gracioso

BORN March 7, 1875, Ciboure, France DIED December 28, 1937, Paris, France COMPOSED 1905 (Orchestrated 1918) FIRST PERFORMANCE May 17, 1919, Paris, France, René-Emmanuel Baton conducting LAST PERFORMANCE BY THE DSO June 10, 2011; Andres Cardenas conducting


When he was a young student at the Paris Conservatory, Ravel aligned himself with the avant-garde "Apaches"—the punk rockers of fin-de-siècle France. As another member of their clique put it, "Ravel shared our preference, weakness, or mania, respectively, for Chinese art, Mallarmé and Verlaine, Rimbaud, Cézanne and Van Gogh, Rameau and Chopin, Whistler and Valéry, the Russians and Debussy." Born to a Swiss father and a Basque mother in the French Pyrenees, close to the Spanish border, Ravel seemed predisposed to musical eclecticism. Although his family moved to Paris when he was still an infant, he retained a lifelong affinity for Spanish culture. Ravel composed Alborada del gracioso for piano in 1905 and orchestrated it thirteen years later. The title, sometimes rendered as "Morning Song of the Jester," resists direct translation. In 1907 Ravel explained why he didn't want to translate it into French or any other language: "The fact is that the gracioso of Spanish comedy is a rather special character and one which, as far as I know, 22

Maurice Ravel in 1925

is not found in any other theatrical tradition. We do have an equivalent, though, in the French theater: Beaumarchais’s Figaro. But he’s more philosophical, less well–meaning than his Spanish ancestor.” Although this colorful standalone piece might seem at first like a comical character study, its structure is, Ravel explained, "as strict as that of a Bach fugue." Alborada del gracioso is organized in three connected parts: two vigorous, dancelike sections, with zesty castanets and simulated guitar (harp and pizzicato strings), and a quieter, more rhapsodic central portion featuring a plangent solo bassoon.

DEBUSSY "Ibéria," No. 2 from Images

BORN August 22, 1862, Saint-Germain-en-Laye, France DIED March 25, 1918, Paris, France COMPOSED 1909 FIRST PERFORMANCE February 20, 1910, Paris, France, Gabriel Pierné conducting LAST PERFORMANCE BY THE DSO February 17, 2013; Julian Kuerti conducting


“Ibéria” is the second of three cyclical works— collectively titled Images pour Orchestre—that Debussy composed between 1905 and 1912. The set was initially planned for two pianos, but Debussy decided that it required a richer palette containing bolder and more diverse colors. With Images, he explained, "I'm trying to

write something else—realities, in a manner of speaking—what imbeciles call 'impressionism,' a term employed with the utmost inaccuracy, especially by art critics, who use it as a label to stick on Turner, the finest creator of mystery in the whole of art!" A triptych within a triptych, “Ibéria” is a three-part portrait of Spain. Like Ravel's Alborada, it features a slower, more meditative middle movement surrounded by romping, celebratory outer movements. Although “Ibéria” is saturated with Moorish-inflected melodies and Latin-inspired verve, Debussy's actual experience of the country was minimal: He spent a single afternoon in San Sebastian, attending a bull-fight, and returned home to France before nightfall. According to the Spanish composer Manuel de Falla, Debussy's sole excursion to Spain left him with a vivid impression of "the light in the bullring, particularly the violent contrast between the one half of the ring flooded with sunlight and the other half deep in shade." The lively, sun-dappled opening movement, "Par les rues et par les chemins" ("Along the Streets and Paths"), combines tart dissonances, stomping rhythms and sparkling motivic digressions. Next, the mesmerizing nocturne "Les parfums de la nuit" ("Night Fragrances") traces the elusive contours of a dream: blurry harmonies, sinuous tempos, distant bells. Finally, "Le matin d'un jour de fête" ("Morning of a Feast Day") brims over with giddy revelry. "It sounds like music that has not been written down," Debussy observed.

"There is a watermelon vendor and children whistling—I see them all clearly!"

DUKAS The Sorcerer’s Apprentice

BORN October 1, 1865, Paris, France DIED May 17, 1935, Paris, France COMPOSED 1897 FIRST PERFORMANCE May 18, 1897, Paris, France LAST PERFORMANCE BY THE DSO November 5, 2011; Jamie Schmidt conducting


Studious, reserved and self-critical, Paul Dukas destroyed all but a dozen of his compositions. Yet even so, he ranks among France's finest composers. In 1901 Debussy, his former classmate at the Paris Conservatory, praised his "brain of steel" and "cold, blue, unbending will," which, he predicted, would ensure his "influence on the 20th century, both now and later." Debussy was right about his friend's enduring importance: Dukas taught Olivier Messiaen and was admired by Richard Strauss. But today many music lovers know Dukas only by his 1897 symphonic poem L'apprenti sorcier ("The Sorcerer's Apprentice"), the soundtrack to the scariest scene in Walt Disney's Fantasia. How many nightmares have been fueled by that feral broom alone? Dukas subtitled his most famous showpiece "a symphonic scherzo after a ballade of Goethe." The Goethe poem, Der Zauberlehrling, originally published in 1797, was often reprinted in the program so that audience members could match each plot point with its orchestral corollary. Dukas chose a modified rondo form to reinforce the story's sinister repetitions; the same melody returns obsessively, much like the relentless broom keep coming back with buckets of water. A tour de force of tone painting, "The Sorcerer's Apprentice" deploys an ingenious arsenal of effects to conjure all the narrative details. Eerie strings invoke the fateful spell. A dripping harp becomes a raging tempest, as pizzicato plinks accumulate into rushing glissandi. A clarinet theme scampers pell-mell throughout the woodwinds. Lumbering bassoons depict the broom as it slowly comes to life. At the dramatic climax, an ill-advised swing of the ax splits the broom into countless unstoppable, marching, bucket-wielding drones. When the sorcerer returns, he stops the spell, saves his apprentice from drowning, and delivers a swift fortissimo kick for good measure.

Claude Debussy in 1908 23


R. STRAUSS Horn Concerto No. 1

BORN June 11, 1864, Munich, Germany DIED September 8, 1949, Garmisch-Partenkirchen, Germany COMPOSED 1883 FIRST PERFORMANCE March 4, 1885, Meiningen, Germany, Hans von BĂźlow conducting; Gustav Leinhos, soloist LAST PERFORMANCE BY THE DSO October 9, 2001; Lawrence Loh conducting; Jennifer Montone, soloist


Richard Strauss's Horn Concerto No. 1 is a very early work, completed by a very talented teenager. Strauss's mastery of the concerto form and his uncanny aptitude as an orchestrator are beyond dispute, but he was still in the process of discovering his own voice. As the son of the principal horn player for the Court Opera at Munich, Richard Strauss was bred from birth to make music. He began piano lessons at four with his mother, a talented amateur. At six he started composing; his domineering, musically conservative father helped out with notation. Richard never enrolled in conservatory, but he acquired an excellent liberal arts education, with private music lessons supplementing his university classes in literature, art history, Greek, Latin, mathematics and philosophy. Before he was even 20, his compositions were being performed by prestigious orchestras, including the New York Philharmonic.

Richard Strauss


Strauss began his Horn Concerto No. 1 at the age of 18. Thanks to his father, Franz, one of the finest musicians of his era, young Richard understood the instrument's idiomatic quirks, its technical strengths and limitations. Some evidence suggests that he may have intended his father to play the concerto on the Waldhorn, a valveless horn in E-flat, but after Franz complained that it was too difficult, Richard appears to have revised it for a modern valved horn. Franz labored over it at home but never performed it in public. At the 1883 premiere, his student, Bruno Hoyer, was the soloist, accompanied by piano rather than full orchestra; the orchestral version was premiered two years later, under the baton of Hans von BĂźlow, with Gustav Leinhos as the soloist. For many years, Strauss's horn concerto was unique in the repertory: the only example of the genre worthy to stand alongside Mozart's four contributions. (Strauss wrote a second horn concerto in 1942, when he was 78; he dedicated it to his long-dead father.) Notoriously tricky, the First Horn Concerto calls for the soloist to play the highest and lowest notes in the instrument's register, sometimes in rapid succession. Like most concertos, it contains three movements, in the time-honored fast-slow-fast format, although the first two movements are played attaca (without a pause between them). All three movements are thematically linked. In the opening Allegro, the first fanfare reassembles into a jaunty theme, which is joined by a warmer, more lyrical one. The orchestra, dominated by brass and timpani, augments but never obscures the horn's burnished, mellow tone. The central Andante, in the distant key of A-flat minor, starts out songlike and poignant, and then the restless woodwinds provoke the solo horn into less melancholy territory. After a brief reprieve, the majestic gloom returns. The concluding Allegro combines melodic elements from the first two movements while contrasting their opposing moods. Finally, a long descending line morphs into an upwardly gushing fountain of mini fanfares.

BARTÓK Concerto for Orchestra

BORN March 25, 1881, Sânnicolau Mare, Romania DIED September 26, 1945, New York, NY COMPOSED 1943 FIRST PERFORMANCE December 1, 1944, Boston. MA, Serge Koussevitzky conducting LAST PERFORMANCE BY THE DSO November 20, 2010; Jaap van Zweden conducting


Béla Bartók's Concerto for Orchestra is among the composer's most popular and accessible works. You'd never guess it was the product of a depressed, impoverished, terminally ill man. Bartók explained his intentions in his own program notes: “The general mood of the work represents, apart from the jesting second movement, a gradual transition from the sternness of the first moment and the lugubrious deathsong of the third to the life-assertion of the last one.” In 1940, after the death of his mother, Bartók fled Nazi-occupied Hungary for the United States, where he spent the last five years of his life. Although he settled in New York, with his much-younger wife, he never left his native country entirely behind. For years he and Zoltán Kodály had been tireless field researchers, using Western notation and early portable recording phonographs to capture Hungarian, Slovak and Romanian folk melodies from indigenous singers. Those years of scholarly immersion meant that Bartók carried his homeland with him, no matter where he happened to reside. His musical language was steeped in the folk idioms of the Eastern European countryside. When Boston Symphony Orchestra music director Serge Koussevitzky commissioned the concerto, Bartók was desperately poor, depressed and racked with high fevers caused by his undiagnosed leukemia. He weighed only 87 pounds. Aware of Bartók's grim circumstances and his proud resistance to charity, Koussevitzky offered him a $1000 advance to compose a new orchestral work in memory of Koussevitzky's late wife. Although Koussevitzky really wanted to cover the composer's medical expenses and probably never expected him to fulfill the assignment, Bartók was buoyed by the new project. He eagerly set out for a sanatorium at Lake Saranac in upstate New York, where he finished the Concerto for Orchestra in less than eight weeks. He orchestrated it the following winter, while recuperating in North Carolina.

In his own program notes, Bartók wrote, "The title of this symphony-like orchestral work is explained by its tendency to treat the single orchestral instruments in a concertante or soloistic manner. The 'virtuoso' treatment appears, for instance, in the fugato sections of the development of the first movement (brass instruments), or in the perpetuum mobile–like passage of the principal theme in the last movement (strings), and especially in the second movement, in which pairs of instruments consecutively appear with brilliant passages." Cast in five movements, the concerto is rife with brisk contrasts and interesting symmetries. It's both spontaneous and cerebral, a storehouse of stylistic touchstones: Bach fugues, peasant folk songs, angular tonal experiments, birdsong, night music, and even a jab at Dmitry Shostakovich's recent "Leningrad" Symphony, which Bartók considered a despicable celebration of state violence. The first movement, Introduzione, starts slowly and mysteriously, then develops into a swifter fugato section. Presentando le coppie, or "Presentation of the Couples," is in five sections wherein instrumental pairs (bassoons, oboes, clarinets, flutes, and muted trumpets) are separated by specific intervals (minor sixths, minor thirds, minor sevenths, fifths, and major seconds, respectively). Elegia, the central Andante, is a poignant nocturne based on three themes derived from the first movement. The fourth movement, Intermezzo interrotto ("interrupted intermezzo"), pits Eastern European folk tunes against a parodic quotation from Shostakovich (itself a quotation from Franz Lehár's The Merry Widow, which Bartók seems not to have known at the time). The propulsive fifth movement brings it all back home with more fugal splendor and folky exuberance.



SCHNITTKE Concerto Grosso No. 2

BORN November 24, 1934, Engels, Russia DIED August 3, 1998, Hamburg, Germany COMPOSED 1982 FIRST PERFORMANCE September 11, 1982; Guiseppi Sinopoli conducting; soloists Oleg Kagan and Natalia Gutman LAST PERFORMANCE BY THE DSO This is the DSO’s first performance.


Alfred Schnittke was born in Engels, in 1934, to a Jewish family of Russian-German descent. After World War II, his father, a journalist and translator, was sent to Vienna, where 11-year-old Alfred began his musical studies. In 1948, his family returned to Moscow, where he took lessons in piano and choral conducting. From 1953 to 1961, he studied at the Moscow Conservatory, and then joined the faculty in 1962. He spent a decade teaching instrumentation before launching a new career writing scores for Soviet cinema and cartoons. Even after suffering a debilitating stroke in 1985, he kept writing music, sometimes struggling, on account of his partial paralysis, to make his notations legible. He moved to Germany in 1990 and obtained dual citizenship. He died in Hamburg eight years later, severely weakened by chronic health problems precipitated by the stroke. Schnittke described his own creative evolution as follows: "My musical development took a course

similar to that of some friends and colleagues, across piano concerto romanticism, neoclassic academicism, and attempts at eclectic synthesis... Having arrived at the final station, I decided to get off the already overcrowded train. Since then I have tried to proceed on foot." His breakthrough as a composer came in 1968, when he abandoned serialism and wrote his Violin Sonata No. 2. He subtitled it "quasi una sonata," an obvious nod to Beethoven's "Moonlight" Sonata, which bears the description "quasi una fantasia." Comparing the sonata to the Fellini film 8 1/2, Schnittke called his postmodern experiment "a report on the impossibility of the sonata, made in the form of a sonata." Although Schnittke's work exhibits a diverse range of influences—from Shostakovich to Schoenberg, from Mahler to Satie, from rock & roll to jazz fusion to tango—his distinctive voice never gets lost amid the inventive appropriations. His parodic but never mean-spirited treatments of Mozart, Haydn, Beethoven and Schubert reveal a skewed sense of humor and a shrewd assimilation of Classical tropes. Schnittke composed his first Concerto Grosso in 1977; Concerto Grosso No. 2 followed five years later. His second work in the form features violin and cello as the solo instruments and contains about 35 minutes’ worth of music in four contrasting movements. It roughly follows the structure of a Baroque concerto grosso, with two soloists alternating with a large orchestral ensemble. In some respects, it's a kind of palindrome. The brisk and somewhat anxious opening movement (Andantino—Allegro), with its sour traces of "Silent Night," is followed by the slower, more ruminative Pesante. The second movement boasts a strange continuo, perhaps an ironic acknowledgment of the genre's Baroque roots. Next, a madcap Allegro leads to the closing Andantino, wherein Schnittke strives toward an elusive resolution. In an admiring review for Gramophone magazine, Arnold Whittall wrote, "This is the music of a composer who has scored so many films that he can no longer distinguish slapstick comedy from gory horror." Overall, Schnittke's Concerto Grosso No. 2 is by turns giddy and anguished, a volatile cocktail of the explosive and the epiphanic. He dedicated the work to its premiere soloists, the husband-and-wife team Oleg Kagan (violin) and Natalia Gutman (cello).

Alfred Schnittke


PROKOFIEV "Classical" Symphony

BORN April 23, 1891, Sontsovka, Ukraine DIED March 5, 1953, Moscow, Russia COMPOSED 1917 FIRST PERFORMANCE April 21, 1918, Petrograd, Russia; Prokofiev conducting LAST PERFORMANCE BY THE DSO May 22, 2014; Alasdair Neale conducting


The last great composer to grow up in Tsarist Russia, Sergei Prokofiev was the only child of a country estate manager in Sontsovka, Ukraine. His mother, a talented pianist, taught him music from an early age. Both parents adored him, and his childhood was happy and free from want. At 13, he was accepted into the St. Petersburg Conservatory, where he studied composition and even took a popular class in orchestration with RimskyKorsakov. During his decade at the conservatory, he developed into a virtuosic (if somewhat polarizing) pianist with a pronounced avant-garde streak. In 1914 he left his increasingly dangerous homeland for London, where he composed a ballet for Sergei Diaghilev and heard Stravinsky's sensational scores for Firebird, Petrushka, and The Rite of Spring. He returned to Russia only to find that conditions there were even worse than when he had departed. In 1917, when Prokofiev finished his Symphony No. 1, his country was in chaos. As Russia continued losing an unpopular war against Germany and Austria, thousands of Russians starved, and thousands more took to the streets. In February Tsar Nicholas II was forced to abdicate, and in November Vladimir Lenin's Bolshevik Party wrested control from the provisional government. St. Petersburg—Prokofiev's home base since his early teens—was at the center of everything. Renamed Petrograd, it was the nucleus of dissent, the place where protests and strikes turned into bloody regime changes. Prokofiev's First Symphony, aptly nicknamed "Classical," doesn't sound much like the soundtrack to a revolution. If he was indulging in escapist fantasy, who could blame him? During the tumultuous spring and summer of 1917, Prokofiev holed up in a village outside St. Petersburg, as far from the riots as he could manage. He read a lot of Kant and got in touch with his inner Haydn.

Sergei Prokofiev

a crutch and that composing without it might make his orchestral colors clearer and cleaner, his themes stronger, more Haydn-esque. Rather than quote Haydn, he would channel him. As he later explained, "It seemed to me that, if he were alive today, Haydn, while retaining his own style, would have appropriated something from the modern. Such a symphony I now wanted to compose: a symphony in the classic manner." He added that he "secretly hoped that in the course of time it might itself turn out to be a classic." His wish came true. Of all the 20th century symphonies, this key-hopping, time-traveling marvel of concision is among the most popular. On its surface, Prokofiev's First Symphony sounds reasonably "Classical," but surfaces often deceive. Think of it as the sonic equivalent of a white picket fence–enclosed suburban yard in a David Lynch movie. Behind all the blue sky and birdsong, underneath that sun-dappled D major lawn, chaos abides.

A superb pianist, Prokofiev purposely left his piano behind. He believed the instrument had become




Matthias Pintscher is the Music Director of the Ensemble Intercontemporain. Beginning in 2016/17 he also took up post as Principal Conductor of the Lucerne Festival Academy Orchestra. He continues his partnerships with the BBC Scottish Symphony Orchestra as its Artist-in-Association, and with the Danish National Symphony Orchestra as artist-in-residence. Pintscher is also named as the first composer-in-residence and artist-in-focus at Hamburg's new Elbphilharmonie concert hall, which opened in autumn 2016, and will be featured in a series of portrait concerts in its inaugural season. Equally accomplished as conductor and composer, Pintscher has created significant works for the world’s leading orchestras and regularly conducts throughout Europe, the U.S., and Australia. Highlights of the 16/17 season include guest conducting appearances with the Cleveland Orchestra, National Arts Centre Orchestra (Ottawa), the symphony orchestras of Cincinnati, Dallas, Indianapolis, and San Diego, Bayerische Rundfunk, and Radio Symphonie Orchester Wien. He also takes the Ensemble Intercontemporain on tour to Asia, and will celebrate the orchestra's 40th anniversary. Recent conducting debuts include the Berlin Philharmonic, Los Angeles Philharmonic, National Symphony Orchestra (Washington, D.C.) and Toronto Symphony. 28

A prolific and successful composer, Pintscher's music is championed by some of today's finest performing artists, orchestras, and conductors. His works have been performed by such orchestras as the Chicago Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, Berlin Philharmonic, London Symphony Orchestra, and the Orchestre de Paris. His works are published exclusively by Bärenreiter, and recordings of his compositions can be found on Kairos, EMI, Teldec, Wergo, and Winter & Winter. Pintscher works regularly with leading contemporary music ensembles such as the Scharoun Ensemble, Klangforum Wien, Ensemble Modern, and Avanti! Chamber Orchestra (Helsinki). He has curated the music segment of the Impuls Romantik Festival in Frankfurt since 2011. In September 2014 he joined the composition faculty at the Juilliard School.


Born in Tokyo, violinist Karen Gomyo grew up in Montreal and New York. Praised by the Chicago Tribune as “a first-rate artist of real musical command, vitality, brilliance and intensity”, she continues to captivate audiences worldwide. Karen Gomyo’s 2016-2017 season highlights include engagements with the Hong Kong Philharmonic conducted by Jaap van Zweden, Orchestra Sinfonica de Estado de São Paulo and Marin Alsop, Orchestra Philharmonique de Radio France in Paris and the WDR Symphony Orchestra Cologne with Jakub

Hrůša, debuts with the Barcelona Symphony, North Netherlands Symphony, as well as returns to the Minnesota Orchestra, the Symphony Orchestras of Dallas, Utah, Vanouver, Toronto, and Quebec, returns to the Tasmanian Symphony and Perth’s WASO in Australia, and a tour with the New Zealand Symphony conducted by Edo de Waart. Ms. Gomyo’s extensive solo appearances include many of the world’s leading orchestras: the New York Philharmonic, the Cleveland Orchestra, Sydney Symphony, OSESP São Paulo, Toronto Symphony, National Symphony in Washington, D.C., San Francisco Symphony, Hong Kong Philharmonic, City of Birmingham, Salzburg Camerata, and many more. In 2017, she will perform in recital at the Sydney Opera House. She has performed recitals and chamber music at festivals in the U.S. (Aspen, Ravinia, Caramoor, Mostly Mozart), Canada, Austria, Germany, France, Norway Ukraine, Holland, Spain, Italy, and Japan. Ms. Gomyo is also deeply interested in performing the Nuevo Tango music of Astor Piazzolla and Pablo Ziegler. Strongly committed to contemporary works, Karen Gomyo performed the North American premiere of Matthias Pintscher’s Concerto No. 2 “Mar’eh” with the composer conducting the National Symphony. She performs Peteris Vasks’ “Vox Amoris” with the Lapland chamber Orchestra conducting by John Storgards, and has collaborated in chamber music compositions of Jörg Widmann, Olli Mustonen and Sofia Gubaidulina. In 2017-2018 she will perform Samuel Adams’ Violin Concerto in the U.S. and Canada. Ms. Gomyo plays the rare “Ex Foulis” Stradivarius of 1703 that was bought for her exclusive use by a private sponsor. She makes her home in New York City.



Winner of the 2016 Sir Georg Solti Conducting Award, Karina Canellakis has rapidly gained international recognition as one of today's most dynamic and exciting young American conductors. She served for two seasons as Assistant Conductor of the Dallas Symphony Orchestra and recently concluded her tenure at the end of the 2015/16 season. Highlights of the 2016/17 season feature debuts with the Swedish Radio Orchestra, Royal Scottish National Orchestra, Orchestre National de Lyon, the symphony orchestras of the City of Birmingham, Trondheim, Kristiansand, Mälmo, Toronto, Vancouver, and Milwaukee, among others. She conducted Verdi's Requiem at the Zurich Opera House, and opera projects including the premiere of David Lang's the loser at the Brooklyn Academy of Music and Peter Maxwell Davies' new and final opera The Hogboon with the Luxembourg Philharmonic. In addition, she returns to the Hong Kong Philharmonic, Dallas Symphony, and North Carolina Symphony. In 2015/16 Canellakis made debuts with the Detroit, Cincinnati, San Diego, and Danish National symphony orchestras, the Royal Stockholm Philharmonic, and conducted Mozart's Le nozze di Figaro with the Curtis Opera Theatre in Philadelphia. A virtuoso violinist, Canellakis was encouraged to pursue

conducting by Sir Simon Rattle while a member of Berlin Philharmonic's OrchesterAkademie. She played regularly in both the Berlin Philharmonic and Chicago Symphony Orchestra for several years, and has appeared as guest concertmaster of the Bergen Philharmonic in Norway. Sought after as a chamber musician, she spent many years at the Marlboro Music Festival. Karina Canellakis is a recipient of a 2015 Solti Foundation U.S. Career Assistance Award. She was the winner of the 2013 Taki Concordia Conducting Fellowship and served as a conducting fellow at Boston Symphony Orchestra’s Tanglewood Music Center in summer 2014. She speaks German, French and Italian, and is a graduate of both the Curtis Institute of Music and the Juilliard School.

of 2013. He has been with the Dallas Symphony since 2011, initially as 3rd horn. David started his career as acting Principal Horn with the Victoria Symphony in British Columbia and Associate Principal Horn of the Fort Worth Symphony. He has been guest Principal Horn of the London Symphony Orchestra, Hong Kong Philharmonic, and Saint Paul Chamber Orchestra. David is an active chamber musician and is currently Music Director of the Avant Chamber Ballet in Dallas, TX.





David Cooper is a third generation French horn player having both his uncle and grandmother as professional horn players in the Lansing Symphony. He began playing with Michigan State University ensembles when only 15 and was in the top MSU ensemble at age 16. While studying at the prestigious Curtis Institute of Music, David was awarded a Tanglewood Fellowship, and since 2011 he has spent three consecutive summers at Marlboro Music festival in Vermont. In 2013 David won Principal Horn of the National Symphony in Washington D.C. but was soon after appointed Principal Horn of the Dallas Symphony in May

With clear artistic vision, subtle musicality, and innovative programming, Courtney Lewis has established himself as one of his generation’s most talented conductors. The 2016/17 season marks his second as Music Director of the Jacksonville Symphony. Previous appointments have included Assistant Conductor of the New York Philharmonic, where he returns on subscription in the 2016/17 season; Associate Conductor of the Minnesota Orchestra, where he made his subscription debut in the 2011/12 season; and Dudamel Fellow with the Los Angeles Philharmonic, where he debuted in 2011. From 2008 to 2014, Courtney Lewis was the music director of Boston’s acclaimed Discovery Ensemble, a chamber orchestra dedicated not only to giving concerts of contemporary and established repertoire at the highest level of musical and technical excellence, but also bringing live music into the least 29

privileged parts of Boston with workshops in local schools. In the 2016/17 season he will make his debut with the Dallas Symphony and the Royal Philharmonic Orchestra, and return to the Colorado Symphony, Minnesota Orchestra and the New York Philharmonic. Highlights of the 2015/16 season included debuts with the Hong Kong Philharmonic, Milwaukee Symphony, Royal Flemish Philharmonic, and Colorado Symphony, as well as assisting Thomas Adès at the Salzburg Festival for the world première of Adès’s opera The Exterminating Angel. Lewis made his major American orchestral debut in November 2008 with the Saint Louis Symphony Orchestra, and has since appeared with the Atlanta Symphony, Washington National Symphony, Los Angeles Philharmonic, Minnesota Orchestra, Detroit Symphony, Vancouver Symphony, Houston Symphony, Rochester Philharmonic, RTÉ National Symphony Orchestra of Ireland, Lausanne Chamber Orchestra, and Ulster Orchestra, among others. Born in Belfast, Northern Ireland, Lewis read music at the University of Cambridge during which time he studied composition with Robin Holloway and clarinet with Dame Thea King. After completing a master’s degree with a focus on the late music of György Ligeti, he attended the Royal Northern College of Music, where his teachers included Sir Mark Elder and Clark Rundell.



Maria Schleuning, violinist, has been a member of the Voices of Change Modern Music Ensemble since 1996 and Artistic Director since 2009. An advocate of new music, she has worked with many of the leading composers of our day, including the legendary Witold Lutoslawski, George Crumb, Aaron Kernis, John Corigliano, Augusta Read Thomas, Sebastian Currier, Bright Sheng, Samuel Adler, Donald Erb, David Dzubay, and Pierre Jalbert. She has premiered many new works, including “Dream Catcher”, a solo violin work written especially for her as a gift by Augusta Read Thomas. The world premiere performance was on May 3, 2009 in Dallas. An active chamber musician, Ms. Schleuning has performed in venues such as New York’s Alice Tully Hall, Weill Hall, Merkin Hall, Avery Fisher Hall, and the Museum of Modern Art, as well as at numerous festivals throughout the United States and Europe. From 1993-2012 she was a faculty member and performer at the Bowdoin International Music Festival in Maine and served in the same capacity at Idyllwild Arts in CA from 2007-2010, and the Bennington Music Festival, VT in 2012. She has recorded with Continuum modern music ensemble in NYC, as well as in Dallas with GRAMMY®nominated Voices of Change, and the Walden Piano Quartet. In addition, she serves as Principal Second Violin of the New York Women’s Ensemble and Principal Second Violin of the Lake Tahoe

Summerfest Orchestra, where she was a guest concertmaster in 2014. A member of the Dallas Symphony since 1994, she has been featured as soloist with the orchestra on many occasions. Other solo highlights include appearances with the Oregon Symphony, Seattle Symphony, West Virginia Symphony, Abilene Symphony, Laredo Symphony, Bozeman Symphony and with the Greater Dallas Youth Orchestra on a tour of Eastern Europe including concerts at the Gewandhaus in Leipzig and the Rudolfinum in Prague, in addition to a tour of China in 2015. She studied with Josef Gingold at Indiana University, where she was awarded a Performer’s Certificate; with Yfrah Neaman at the Guildhall School in London, with a grant from the Myra Hess Foundation; and with Joel Smirnoff at the Juilliard School, where she received her master’s degree.


Jolyon Pegis, cellist, was born in Rochester, NY. He attended Indiana University and the Hartt School of Music. His principal teachers include Alan Harris, Gary Hoffman, and David Wells. Mr. Pegis is a winner of the Artists International Awards in New York City. He has appeared as soloist with the Virginia Symphony, Maui Symphony, San Antonio Symphony, Chautauqua Symphony, Dallas Symphony, and the West Virginia Symphony among others. He gave his formal recital debut in New York at Carnegie Recital Hall in 1990

and has since appeared as a recitalist across the country. As a champion of new music he has commissioned and premiered several works and has worked with composers such as Gunther Schuller, Lukas Foss, and Don Freund. He was a member of the contemporary ensemble Voices of Change from 20042010. A dedicated teacher, he has served on the faculties of Southern Methodist University, the Hartt School of Music, and the D’Angelo School of Music at Mercyhurst College. Recent master classes include Baylor University, Eastern Michigan University, the University of Georgia, SUNY Fredonia, the University of Toronto, the Cleveland Institute of Music, and the Eastman School of Music. He was a member of the Arcadia Trio in residence at the Yellow Barn Chamber Music Festival and has also been featured at the Anchorage Festival of the Arts and the Roycroft Chamber Music Festival in Buffalo. He was the Principal Cellist of the San Antonio Symphony from 1995-2000. Currently, he is an Associate Principal Cellist of the Dallas Symphony and the Principal Cellist of the Chautauqua Symphony. This season also includes concerto appearances with the Bozeman Symphony and the New Texas Symphony, chamber music concerts with Mount Vernon Music, and recitals at Baylor University, SUNY Fredonia, St Mary’s University in San Antonio, and the Eastman School of Music.



Lawrence Loh is the newly appointed inaugural Music Director of Symphoria, founded by former members of the Syracuse Symphony Orchestra. He is also Music Director of the Northeastern Pennsylvania Philharmonic and was recently named Artistic Director and Principal Conductor of the Syracuse Opera. Loh held the positions of Assistant and Associate Conductor of the Dallas Symphony from 2001-2005, and frequently returns to conduct a wide variety of programming. From 2005-2015, Loh had a very successful association with the Pittsburgh Symphony Orchestra as Assistant, Associate and Resident Conductor, conducting a wide range of concerts including classical, educational and pops. He was active in the PSO’s Community Engagement Concerts, extending the PSO’s reach into other communities and led the groundbreaking Sensory Friendly concert in 2015, one of the first of its kind. Loh was also Music Director of the Pittsburgh Youth Symphony Orchestra, leading the orchestra in concerts at Heinz Hall, throughout the Pittsburgh community and on two international tours to Central Europe and Italy. Loh received his Artist Diploma in Orchestral Conducting from Yale University, earning the Eleazar de Carvalho Prize, given to the outstanding conductor in the Yale graduating class. He received further training

at the world-renowned Aspen Music Festival and School. He received his Master of Music in Choral Conducting from Indiana University while also studying clarinet and voice. He received his Bachelor of Arts and Certificate of Management Studies from the University of Rochester. Loh was born in southern California of Korean parentage and raised in Carlisle, Pennsylvania. He and his wife Jennifer have a son, Charlie, and a daughter, Hilary.


Though best known for his award-winning, nine year stint as the now iconic George Costanza of television’s Seinfeld, Jason Alexander has achieved international recognition for a career noted for its extraordinary diversity. Aside from his performances on stage, screen and television, he has worked extensively as a writer, composer, director, producer and teacher of acting. In between all that he has also become an award-winning magician, a notorious poker player and a respected advocate on social and political issues. Jason began his professional career as a young teenager doing commercials for television and radio. While still in college, his desire to work as a stage actor in New York came to be with his debut in the original Broadway cast of the Hal Prince/Stephen Sondheim musical Merrily We Roll Along. He continued starring on Broadway in the original casts of Kander and Ebb’s The Rink, Neil Simon’s Broadway Bound, Rupert Holmes’ Accomplice and his Tony Award-winning performance in Jerome Robbin’s Broadway. Jason also authored the libretto for that show which went on


to win the Tony Award for Best Musical. Most recently, Jason returned to Broadway to star in the Larry David comedy Fish in the Dark, breaking all box office records for the Cort Theater. After moving to LA, Jason continued working in the theater, notably serving as the artistic director for the Reprise Theatre Company and for the hit West Coast production of Mel Brook’s The Producers in which he starred along with Martin Short.

For his depiction of “George” on Seinfeld, Jason garnered six Emmy nominations, four Golden Globe nominations, an American Television Award and two American Comedy Awards. He won two Screen Actor Guild Awards as the best actor in a television comedy despite playing a supporting role and in 2012 he was honored to receive the “Julie Harris Award for Lifetime Achievement” from the Actor's Fund.

His many films include: Pretty Woman, Jacob’s Ladder, Love Valor Compassion, Rocky and Bullwinkle, Dunston Checks In, The Hunchback of Notre Dame and Shallow Hal. In addition he directed the feature films For Better or Worse and Just Looking. He is also a distinguished television director, overseeing episodes of Seinfeld, Til Death, Everybody Hates Chris, Mike and Molly, Criminal Minds and Franklin and Bash. He won the American Country Music Award for his direction of Brad Paisley's video “Cooler Online.” And he has helmed a number of stage productions including: The God of Hell at the Geffen Playhouse; Broadway Bound at the Odyssey; an updated revival of Damn Yankees and The Fantasticks, as well as Sunday in the Park with George for Reprise and most recently the world premiere of Windfall by Scooter Pietsch for the Arkansas Repertory Theater.

Mr. Alexander tours the country and the world performing his one-man show, “An Evening with Jason Alexander and His Hair” as well as his whimsical salute to Broadway musicals with some of the finest symphony orchestras throughout the United States. You can stay in touch with Jason via Twitter (@IJasonAlexander)

Aside from Seinfeld, Jason has starred and guested in shows as The Grinder, Drunk History, Friends, Two and a Half Men, The New Adventures of Old Christine, Criminal Minds, Monk, Franklin and Bash, Curb Your Enthusiasm, Bob Patterson and Listen Up. He also starred in the television films of Bye Bye Birdie, Cinderella, A Christmas Carol and The Man Who Saved Xmas. Additionally, his voice has been heard most notably in Duckman, The Cleveland Show, American Dad, Tom and Jerry and the upcoming children’s animated series, Kody Kapow. 32


Notable Los Angeles theatre credits include playing Alison in John Osborne's "Look Back in Anger" with the Los Angeles New Court Theatre and as Sophie in the Fringe Theatre Company’s production of Joanne Mosconi's new work, "You Love That I'm NOT Your Wife!" 2016 has kept Carrie busy in television and film, with two features to be released in 2017. She is currently starring in two web series, “The Valley” and “Here comes 40.” In addition to her acting career, Carrie is also an accomplished mezzosoprano. She first sang with Jason Alexander and the Boston Pops at Symphony Hall in 2013, and has since enjoyed many more symphony engagements with Jason. Carrie has performed with Broadway World’s “Cabaret Artist of The Year,” Robyn Spangler several times, including at The Metropolitan Room in New York City and was featured in the music video "Second Wind." Carrie has also performed for many years at the Alzheimer's Association benefit "A Night at Sardi's" held at The Beverly Hilton in Los Angeles, CA. For more about Carrie, find her on Instagram @cschroederact.


Carrie Schroeder is an accomplished film, television and stage actor and vocalist. She was born and raised in the small country town of Shepparton in Victoria, Australia and attended Charles Sturt University in NSW Victoria, where she received her Bachelor of Arts in Acting for the Stage and Screen. After graduating, she played ‘Eva’ in the Sydney production and subsequent Australian tour “And Then They Came For Me” and toured Singapore in “Once Upon a Fairytale Christmas.” In 2004, she made her film debut in “Jessica” and has appeared on Australian television in “Neighbours,” “Offspring” and “H2O, Just Add Water.” She moved to Los Angeles in 2012 and immersed herself in the business of show immediately.

Todd Schroeder sits beneath his pork-pie hat having the time of his life. He is a brilliantly talented pianist, composer, producer, arranger, songwriter and certainly one of the hardest-working music directors in the world of show business today, working with such celebrities as Jason Alexander, Tom Jones, Sam Harris, Billy Porter, Rita Coolidge, Brielle Von Hugel, Leslie Odom Jr., and the legendary Angela Lansbury to name a few. In 2016, Schroeder

was nominated for an “Ovation Award for Best Musical Direction” and in 2013, called him their “Musical Director of the Year.” Todd also regularly works with the superstar retropop group “Postmodern Jukebox” as a music director and pianist and recently directed and performed in their debut at Radio City Music Hall. He can be seen in many of their viral videos including the mega-hit, “My Heart Will Go On", which has garnered over five million views. Todd has had the honor of being invited to perform with distinguished acts including the Boston Pops Orchestra, Mormon Tabernacle Choir and the Duke Ellington Orchestra, and has performed at illustrious venues like Carnegie Hall and The White House. In addition to performing as music director for various artists on top daytime and late night talk shows, such as “The Oprah Winfrey Show” and “The Rosie O’Donnell Show,” Todd has also acted as music and vocal director for various live performance shows including Disney’s “Aladdin, A Musical Spectacular” and Universal Studios Japan’s productions of “Wicked” in Osaka, Japan. Todd is the proud founder of the “Todd Schroeder Young Artist Grant”, an annual scholarship handed out to graduating students that wish to pursue a career in the arts. For more info:




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SPECIAL THANKS The Dallas Symphony Association wishes to thank the following companies and individuals whose contributions of time and services have helped make possible the Dallas Symphony Orchestra's 2016-2017 season:

The Adolphus Hotel Mr. Cyrillus P. Aerts Avon Cleaners /The Godo Family Bella Acento Beverly Drive Magazine/Southern Values, Texas Style Nigel and Deborah Brown Caroline Events Chocolate Secrets Churchill Capital Company, LLC Culinaire International, Inc. Dakota’s The Dallas Morning News Mr. and Mrs. David Stephen Donosky Fete Set, Inc./Barbara Paschall Averitt FX Direct Digital Mail Processing Gittings Gold Crown Valet Parking, Inc. Gro Floral And Event Design The Honor Guard Hotel Zaza James French Photography Jan Strimple Productions KERA Marriott City Center Geraldine "Tincy" Miller Neiman Marcus Office of Cultural Affairs, City of Dallas Olmsted-Kirk Paper Company Onstage Systems/Russell Purdue Park Cities News/The Waters Family Parks and Recreation, City of Dallas The Richards Group The Ritz-Carlton, Dallas Sandy Secor, Genesis Visuals Dr. and Mrs. John W. Secor SoundBoard Recording & Post Production Southern Fried Paper Stanley Korshak State & Allen, Nodding Donkey, Savory Catering The Symphony Assembly Terry Costa Thompson & Knight LLP Todd Events Ussery Printing Company Veritex Bank Warren Barron Bridal Warwick Melrose Hotel WRR 101.1 FM


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 Fanchon and Howard Hallam Joe Hubach and Colleen O’Connor Cece Smith and Ford Lacy The Pollock Family Cindy and Howard Rachofsky Jan Miller and Jeff Rich 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 Mr. and Mrs. Peter A. Altabef 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 Rebecca and Ron Gafford Estate of Robert and Ruth Glaze 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 Scott and Jennifer McDaniel Linda B. and John S. McFarland Estate of Bettie Jean Osborne Michael L. Rosenberg Foundation Myrna and Bob Schlegel Mrs. George A. Shutt Barbara and Sheldon Stein Symphony of Toys in memory of Arkady Fomin Barbara and Bob Sypult Texas Instruments Foundation Becky and Brad Todd Kern and Marnie Wildenthal



RACHMANINOFF Rachmaninoff MAR 2-5 | 2017


Dallas audiences know the majesty of the Meyerson and the rich sound of the DSO. Last year, the DSO launched a syndicated radio broadcast series that now allows audiences around the world to experience DSO performances too. Starting this month, the DSO will begin its second season of programs through the WFMT Radio Network to radio stations throughout the United States using the Public Radio Exchange and in China via the Shanghai East Radio Company on Shanghai Classical 94.7 FM. Thirteen episodes will feature performances from the 2015/16 season conducted by Dallas Symphony Orchestra Music Director Jaap van Zweden and internationally-renowned guest conductors. Guest artists include Leonidas Kavakos, Pepe Romero, Louis Lortie, Michelle DeYoung and David Fray. The Dallas Symphony Orchestra broadcasts were recorded live at the Morton H. Meyerson Symphony Center and are hosted by Wade Goodwyn, NPR National Desk Correspondent covering Texas and the surrounding states. “Bringing concerts by Jaap van Zweden and the Dallas Symphony to a national and international audience via The WFMT Radio Network is an important way to share the Dallas Symphony’s music with an audience beyond our region,” Dallas Symphony Orchestra President & CEO Jonathan Martin said. “Audiences have embraced the excitement and emotion of our concerts, and we’re happy to share our finest programming with WFMT’s hundreds of affiliates and thousands of fans around the world.” The inaugural series of the Dallas Symphony Orchestra Broadcasts reached over 12 million listeners who tuned in from Shanghai to London and throughout the United States. To Learn more about the programs and series, visit


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 For foundation and government relations contact Liza Voznessenskaia, at 214.871.4070 or


Anonymous Best Foundation

$50,000 - $99,999

AT&T 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 Anonymous Ann and Gordon Getty Foundation Ebby Halliday, REALTORS Fossil Foundation Harry W. Bass Jr. Foundation Harold Simmons Foundation Kohl Foundation Stemmons Foundation Trinity Industries, Inc.

$15,000 - $24,999 7-Eleven, Inc. 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 Wiley Property, Ltd.

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

Dal-Tile 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 Neiman Marcus Northern Trust NorthPark Center Pier 1 Imports PlainsCapital Bank Westwood Trust Winstead PC

$5,000 - $9,999 CIGNA 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:

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. Vinson and Elkins LLP

The Vivaldi Patron Circle builds the next audience for the Dallas Symphony Orchestra by engaging and developing the passion for music in Dallas’ future leaders in their 20s and 30s.

Memberships are $150 Individual $275 Couple Each member receives a ticket to the following concerts and events: ReMix: From Prometheus to Prokofiev Ella & Louis ReMix: Soluna Soluna Dreamspace VPC End of Season Celebration

JAN 20 | 2017 MAR 17 | 2017 MAY 19 | 2017 MAY 24 | 2017 JUNE 2016

Find out more at Contact Maliska Haba, Manager of Volunteer Services at 214.871.4005 or 41

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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


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 Howard Hallam Family 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


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

The Elizabeth H. Penn Family

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)

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


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


Peter Czornyj, VP of Artistic Operations Jamie Allen, Director of Education Tom Brekhus, Prod. Mgr. + Orchestra Personnel Coord. 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 Callie Massey, Chorus Administrator Margaret M. Moore, Administrative Assistant to Music Director Chris Muñoz, Director of Operations


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


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



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


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

Sean Kelly, Vice President of Marketing VOLUNTEER SERVICES Daniel Acosta, Sr. Marketing Manager, Subscriptions Allison Brodnax, Director of Volunteer Services Blake Burgess, Director of Direct Sales Maliska Haba, Manager of Volunteer Services Kristi Cooper, Graphic Designer Mallory Coulter, Manager, Pops + Specials Grace Dille, Junior Graphic Designer 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


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



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