A GERMAN REQUIEM OCT 6-9
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TCHAIKOVSKY 4 OCT 13-16
OPUS 100 | PIPEDREAMS LIVE! OCT 23
DISNEY'S FANTASIA LIVE IN CONCERT OCT 28-30
BAYLOR UNIVERSITY MEDICAL CENTER AT DALLAS
RANKED NO. 1 HOSPITAL IN DALLAS-FORT WORTH* *According to U.S. News & World Report’s 2016-2017 ratings.
Once again, U.S. News & World Report ranked Baylor University Medical Center at Dallas the No. 1 hospital in the Dallas Metro Area. This is the 24th consecutive year Baylor Dallas has been nationally recognized. This year, Baylor Dallas excelled in four specialty areas—diabetes & endocrinology; ear, nose & throat; gastroenterology & gastrointestinal surgery; and neurology & neurosurgery—and high performing in seven specialties—cancer, geriatrics, gynecology, nephrology, orthopedics, pulmonology and urology. Baylor Dallas is also recognized as high performing in eight common procedures or conditions—aortic valve surgery, heart bypass surgery, heart failure, colon cancer surgery, COPD, hip replacement, knee replacement and lung cancer surgery. For you, these recognitions confirm our commitment to providing quality health care each day. It’s one way we’re Changing Health Care. For Life.®
To find out more about our award-winning care, call 1.800.4BAYLOR or visit BaylorScottandWhite.com/Recognition. 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 BUMCD_1154_2016 SOM
E E R F O G O B ONLY!
NOV 11-13 | 2016 JEFF TYZIK CONDUCTS U N I T E D S TAT E S N AVA L A C A D E M Y M E N â€™ S G L E E C L U B D r. A a r o n S m i t h D I R E C T O R
WELCOME NEW MUSICIANS
R UTH REIN HA RDT
B AR RY H E AR N PRINCIPAL TROMBONE
HOMETOWN Saarbrücken (Germany) SCHOOLS Zürich University of the Arts, The Juilliard School PREVIOUS POSITION Conducting Fellow with Seattle Symphony 2015/16 WHEN DID YOU START CONDUCTING? I started conducting when I was 15. I was playing oboe in a summer festival in France, and caught a cold so I couldn't play for a day. The conductor jokingly asked if I'd like to take over for a bit, and I said yes! WHAT WAS THE FIRST CLASSICAL MUSIC PIECE THAT STRUCK YOU? Verdi’s Otello - I sang around 35 performances in the children's chorus when I was 10, surrounded by great musicians. Being on stage with all those people was a huge inspiration. WHAT ARE YOU LOOKING FORWARD TO THE MOST ABOUT THE 2016/17 DSO SEASON? I'm particularly looking forward to Elgar's Dream of Gerontius with Jaap van Zweden. It's a work rarely performed in Germany. I am also looking forward to working with Matthias Goerne. WHAT ARE YOU LOOKING FORWARD TO ABOUT LIVING IN DALLAS? I'm most looking forward to the sunshine. I've lived most of my life in Northern Europe where sunny days were limited! CATS OR DOGS? As a conductor having pets is impossible with so much travel. I like the self-sufficiency of cats but also love the sheer joie de vivre of dogs.
HOMETOWN Bloomington, Texas SCHOOLS University of Texas at Arlington (BME), University of Illinois (MM), Manhattan School of Music (Performer's Certificate) PREVIOUS POSITIONS US Army Band, National Symphony Orchestra WHEN DID YOU START PLAYING TROMBONE? 1983 WHAT WAS THE FIRST CLASSICAL MUSIC PIECE THAT STRUCK YOU? Beethoven 6. My Mom used to drive me to weekly sports practice and being a devotee of Beethoven, there was always a Beethoven symphony playing in her 1980 Powder Blue Mustang (not the coolest car color for a sixth grade passenger) WHAT ARE YOU LOOKING FORWARD TO THE MOST ABOUT THE 2016/17 DSO SEASON? I truly am looking forward to the entire lineup of the 2016/17 season. This is so much like reading your favorite author's newly-released book. You know how fantastic the author is and read the latest book with wonderful anticipation. WHAT ARE YOU LOOKING FORWARD TO ABOUT LIVING IN DALLAS? LEAST LOOKING FORWARD TO? My family and I are coming from the Washington DC area so we are all hoping the traffic here is a bit easier. Least looking forward to the winters with little or no snow. TEX MEX OR BBQ? Definitely both. Why choose when you can wear elastic pants? A FUN FACT ABOUT YOU While in DC, my wife and I were extras on an episode of The West Wing.
The Dallas Symphony Orchestra is proud to introduce four musicians joining the orchestra this season, including our new Assistant Conductor.
A B R A H A M F E DE R CELLO
E MILY L EV I N
PRINCIPAL HARP ELSA VON SEGGERN PRINCIPAL HARP CHAIR
HOMETOWN Chicago SCHOOLS Curtis Institute of Music and the Shepherd School of Music at Rice University FORMER ORCHESTRAL POSITION Principal Cello of the Sarasota Orchestra AT WHAT AGE DID YOU START PLAYING CELLO? I started playing at the age of 3. HOMETOWN Denver, Colorado SCHOOLS The Juilliard School, Indiana University WHEN DID YOU START PLAYING HARP? I started harp when I was five years old, after a year of convincing my mother that I preferred harp to cello. WHAT WAS THE CLASSICAL MUSIC PIECE THAT STRUCK YOU? I've loved classical music my entire life, but when I was 13 my youth orchestra played Mahler 4. It was my first Mahler symphony, and this experience of true orchestral chamber music was when I knew I had to be in an orchestra. WHAT ARE YOU LOOKING FORWARD TO THE MOST ABOUT THE 2016/17 DSO SEASON? I think I'm most looking forward to our program of all French music in January—it’s going to be quite the harp showcase! WHAT ARE YOU LOOKING FORWARD TO ABOUT LIVING IN DALLAS? I'm so excited to have the opportunity to make music with a group of such amazing musicians and kind, welcoming people. CATS OR DOGS? Dogs, 100%. I love dogs. A FUN FACT ABOUT YOU I'm a pun aficionado. The more groan-worthy, the better!
WHAT WAS THE FIRST CLASSICAL MUSIC PERFORMANCE THAT STRUCK YOU? I remember hearing Rostropovich play the Dvořák Cello Concerto with the Chicago Symphony. It must have been one of my very first formal concerts. WHAT ARE YOU LOOKING FORWARD TO THE MOST ABOUT THE 2016/17 DSO SEASON? I’m most looking forward to being a part of such a great orchestra and working with Maestro van Zweden. WHAT ARE YOU LOOKING FORWARD TO ABOUT LIVING IN DALLAS? My wife and I will be living together for the first time here in Dallas. We celebrated our first anniversary this past summer, and it will be a wonderful adventure to explore our new city together! TEX MEX OR BBQ? I’m hungry.
WELCOME TO THE DALLAS SYMPHONY CHORUS!
LINDSAY POPE ASSISTANT DIRECTOR AND
JEFF LANKOV ACCOMPANIST
JAAP VAN ZWEDEN SOCIETY $50,000+
The Jaap van Zweden Society honors individuals and foundations whose extraordinary Endowment or Annual Fund gifts contribute to the highest caliber of music for the Dallas community.
Anonymous (3) 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 Oâ€™Connor Jeanne R. Johnson The Louise W. and Edmund J. Kahn Dallas Symphony Foundation Joy and Ronald Mankoff Mr. and Mrs. C. Thomas 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
PLATINUM STRADIVARIUS PATRONS $25,000 - 49,999
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 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 Mr. and Mrs. Richard Lang Brown Mrs. Thomas R. Corbett Mr. and Mrs. William A. Custard Don and Barbara Daseke Anne L. Davidson Jeanne Fagadau 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 Stewart and Noelle Mercer Joyce and Harvey Mitchell William and Linda Nelson 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 >
SILVER STRADIVARIUS PATRONS $7,500 - 12,499
Anonymous (2) 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 Geraldine “Tincy” Miller Mr. and Mrs. James A. Moore Nesha and George Morey Jane and Ron Morrill Navias Family Foundation David A. Pahl and Michele M. Pahl 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
BRONZE STRADIVARIUS PATRONS $5,000 - 7,499
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 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
STRADIVARIUS PATRONS $3,000 - 4,999
Anonymous (14) Matt Acosta Eric Affeldt Anne and 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 Mrs. Elsie Dunklin Mr. and Mrs. Loften Dunlap Dr. and Mrs. Arlet Dunsworth Drs. Jason E. and Lucy F. Edling Andrew F. Ellis 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 Donald Fritz and 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 Mr. Lawrence Hamm 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 Sandra Johnigan and Don Ellwood Mrs. N. Page Johnson Dr. Ronald C. Jones, M.D. Toby and Will Jordan Jerry R. Junkins Family Foundation 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 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 Judy and Tom Mercer Drs. Janet and Sonya Merrill Bob and Libby Meyers Mrs. Brudus Meyerson 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 Oâ€™Brien Mrs. Ben Odom Anne and Van Oliver Jay Oppenheimer and Dolph Haas
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 John H. Rodgers Bill and Gail Rolston Mr. and Mrs. Allan D. Rosen Helen and Duke Rosenberg Dr. Randall and Barbara Rosenblatt Eileen and Harvey Rosenblum Dr. Edith Rossi 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 Mr. Arthur 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 and Gene Vilfordi Larry and Marilyn Waisanen Joe and Ellen Walker Sharon and Robert Walker Karen Warner Ralph O. Weber 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
Soundings: New Music at the Nasher 2016 / 2017 SEASON
Nasher Sculpture Center’s Soundings: New Music at the Nasher will begin its seventh season with the same bold and dynamic programming that has made it one of the most acclaimed music series in the city, and beyond.
THURSDAY, DECEMBER 15 Schulhoff, Reich, and Wagner: Music From Yellow Barn SATURDAY, FEBRUARY 18 John Cage’s Sonatas and Interludes FRIDAY – SUNDAY, APRIL 7, 8 AND 9 Jörg Widmann at the Nasher
SEASON TICKETS NOW ON SALE nashersculpturecenter.org/soundings or 214.242.5100
Soundings: New Music at the Nasher is supported by Charles and Jessie Price, Kay and Elliot Cattarulla, Aston Martin of Dallas, the Friends of Soundings, City of Dallas Office of Cultural Affairs, and TACA. Additional support is provided by Nancy A. Nasher and David J. Haemisegger. Media Partner: WRR 101.1 FM.
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 Conductorâ€™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
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
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
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
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
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DALLAS SYMPHONY ORCHESTRA
DALLAS SYMPHONY ASSOCIATION
Joseph F. Hubach Chairman Blaine L. Nelson Past Chairman Jonathan Martin President & CEO Cece Smith Treasurer & Secretary Peter Altabef Coley Clark John R. Cohn Ronald J. Gafford Linda W. Hart Richard Holt Richard Massman William McIntyre Nancy Nasher Stanley A. Rabin Howard E. Rachofsky Brian Ratner Myrna Schlegel Ron Spears Sanjiv Yajnik
BOARD OF GOVERNORS Nick Adamson Gregg Ballew Joanne Bober Keith Braley Skye Brewer Key Coker Roberta Corbett Barbara Daseke Barbara Durham David Emmons Jeanne Fagadau Bonnie Floyd, M.D. W. Gary Fowler Marena Gault Alan J. Gold Randall G. Goss Randall Graham Sheila Grant Sam Holland Laree Hulshoff Dennis Johnson 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 Linda McFarland Shirley McIntyre Scott Murray Jeffrey M. Robinson Anita Sampels Enika Schulze James C. Scott Robert E. Segert Linda VanSickle Smith Sheldon Stein Melissa Ruman Stewart Donald J. Stone Barbara Sypult Kern Wildenthal James E. Wiley, Jr. 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
DALLAS SYMPHONY FOUNDATION
BOARD OF DIRECTORS Scott W. Hancock President Howard Hallam Vice President Howard E. Rachofsky Vice President Sam Self Vice President Billie Ida Williamson Treasurer Dolores Barzune Secretary Gregg Ballew Richard A. Freling Amy Groff Dennis Johnson Stanley A. Rabin Jeffrey M. Robinson Richard Schulze Donald J. Stone
EMERITUS DIRECTORS Philip R. Jonsson P. Mike McCullough Mrs. Eugene McDermott
Sandra Secor President Mari Epperson President-Elect Lisa Loy Laughlin Vice-President, Fundraising Dixey Arterburn Vice President, Services Lori Routh Vice-President, Arrangements Sarah Hardin Vice-President, Public Relations Carla Leffert Vice President, Membership Gail Vesledahl Vice-President, Membership-Elect Venise Stuart Vice President, Education/Outreach Carole Ann Brown Recording Secretary Sue Ringle Corresponding Secretary Mary Jo Lincicome Treasurer Christine Drossos Treasurer-Elect Bettina Hennessy Historian Melissa Lewis Parliamentarian Kathy Noonan Finance Committee Chairman Christine Drossos Junior Symphony Ball Co-Chair Becky Everett Junior Symphony Ball Co-Chair Libe Hodak Junior Symphony Ball Co-Chair Leslie Merrick Junior Symphony Ball Co-Chair Penny Reid Junior Symphony Ball Co-Chair Christine Standbridge Junior Symphony Ball Co-Chair Jolie Humphrey Presentation Ball Chair Glenda Cotner Party of Note Jill Goldberg Salon Series Kathryn Voreis Salon Series Michelle Anderson Savor the Symphony Harriett Gibbs 70th Anniversary Celebration Wendy Hansen 70th Anniversary Celebration
DALLAS SYMPHONY ORCHESTRA
Board of Directors Linda V. Smith President James A. Smith Chairman Richard Barrett Treasurer Sue McAdams Secretary Susan Fleming Vice President, Gala Lacy Naylor Vice President, Gala Judy Tobey Vice President, Luncheons Enika Schulze Vice President, Luncheons Marilyn Halla Vice Presidents, Evening Nicole LeBlanc Vice Presidents, Evening Sue John Vice President, Membership
DALLAS SYMPHONY ORCHESTRA
INNOVATORS Officers Josie Johnson Co-President Ed Hudson Co-President Sharon Knowles President Elect Sharon McGahagin Treasurer Aida Cortes Behind the Scenes Programs Margaret Wilonsky Symphony Store Coordinator Jan Thatcher Young Strings Liaison
THE DSO IS SUPPORTED, IN PART, BY FUNDS FROM THE OFFICE OF CULTURAL AFFAIRS, CITY OF DALLAS.
EX-OFFICIO DIRECTORS BY VIRTUE OF OFFICE Joseph F. Hubach Jonathan Martin Cece Smith
William L. Green Assistant Treasurer David Rosenberg Assistant Secretary
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OCTOBER THU 6 SAT 8 | 7:30 PM
SUN 9 | 2:30 PM
IN GRATITUDE, THESE PERFORMANCES ARE DEDICATED TO THE FOLLOWING ANNUAL FUND AND ENDOWMENT DONORS:
ENIKA AND RICHARD SCHULZE WEEKEND OF CONCERTS THURSDAY ANITA AND MERLYN SAMPELS ANNUAL ENDOWED CONCERT SATURDAY MR. AND MRS. JOHN FORD LACY JAAP VAN ZWEDEN CONDUCTS YUJA WANG PIANO LISETTE OROPESA SOPRANO MATTHIAS GOERNE BARITONE (Artist-in-Residence) DALLAS SYMPHONY CHORUS Joshua Habermann DIRECTOR
BARTÃ“K Concerto for Piano and Orchestra No. 3 (Approximate duration 23 minutes) I. II. III.
Allegretto Adagio religioso Allegro vivace YUJA WANG PIANO
BRAHMS Ein deutsches Requiem, Op. 45 (A German Requiem) (Approximate duration 68 minutes)
Selig sind, die da Leid tragen (Blessed are those that mourn) Denn alles Fleisch, es ist wie Gras (All flesh is as the grass) Herr, lehre doch mich (Lord, make me to know mine end) Wie lieblich sind Deine Wohnungen (How lovely is Thy dwelling place) Ihr habt nun Traurigkeit (Ye now are sorrowful) Denn wir haben hie keine bleibende Statt (Here on earth we have no continuing place) VII. Selig sind die Toten (Blessed are the dead) I. II. III. IV. V. VI.
LISETTE OROPESA SOPRANO MATTHIAS GOERNE BARITONE (Artist-in-Residence) DALLAS SYMPHONY CHORUS Joshua Habermann DIRECTOR
FIND OUT MORE ABOUT TONIGHT'S PROGRAM ON P. 16 This concert will conclude at approximately 9:30 PM, 4:30 PM on Sunday. 15
P R O G R A M N OT E S
A GERMAN REQUIEM BY RENÉ SPENCER SALLER
THE PLEASURE PRINCIPLE
Both of the works on this program are milestones of their respective composers' careers. A German Requiem, Johannes Brahms's longest composition, secured his status as a leading European composer. It gave the 32-year-old composer the confidence to think big, to take risks. Béla Bartók's last piano concerto was composed 80 years after A German Requiem, but it covers much of the same emotional terrain: love, grief, consolation, joy. Bartók, who was gravely ill with leukemia, died before he could finish his third piano concerto. He had intended it as a surprise birthday gift for his wife, whose forty-second birthday was coming up on October 31, 1945. Although he died on September 26, 1945, he left detailed instructions for the part of the concerto he didn't have time to commit to paper, the last 17 measures. Thanks to his careful annotations, his friend and pupil Tibor Serly was able to complete it according to the composer's wishes.
BARTÓK Concerto for Piano and Orchestra No. 3
BORN March 25, 1881, Sânnicolau Mare, Romania DIED September 26, 1945, New York, NY COMPOSED 1945 FIRST PERFORMANCE February 8, 1946, Philadelphia, PA, Eugene Ormandy conducting LAST PERFORMANCE BY THE DSO April 5-7, 2007; Charles Dutoit conducting, Piotr Anderszewski piano
A BIRTHDAY CONCERTO
In 1940, as World War II sent shock waves across Europe, Bartók left his native Hungary for the United States. Although he settled in New York, with his much-younger wife Ditta Pásztory-Bartók, he never truly left Hungary behind. His musical language was steeped in the folk idioms of the Eastern European countryside. 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 aural immersion meant that Bartók carried his homeland with him, no matter where he lived. In the last years of his life, Bartók mostly abandoned aggressive experimentation, adopting a more emotionally direct style. Before his last few months, a brief remission of symptoms inspired him to take on two ambitious projects simultaneously: the third piano concerto, and a viola concerto. Bartók's sudden burst of productivity may have been triggered by the recognition that he was dying. As Phillip Huscher put it, "When he left his Manhattan apartment for the last time, he was sketching a seventh string quartet and considering a commission for a double concerto from a two-piano team. Bartók turned to a hospital doctor and said, 'I am only sorry that I have to leave with my baggage full.'" In an earlier letter to his son, Peter, Bartók was clearly fretting about his future widow's financial security: “…I should like to write a piano concerto for Mother. This plan has long been hanging in the air. If she could play it in three or four places then it would bring in about as much money as the one commission I refused….” CONTINUED ON P. 24
OCTOBER THU 13 FRI 14 | 7:30 PM
SUN 16 | 2:30 PM
IN GRATITUDE, THESE PERFORMANCES ARE DEDICATED TO THE FOLLOWING ANNUAL FUND AND ENDOWMENT DONORS:
BARBARA AND STEVE DURHAM
JAAP VAN ZWEDEN CONDUCTS AUGUSTIN HADELICH VIOLIN
CHRISTOPHER ROUSE Rapture (Approximate duration 11 minutes)
BRUCH Concerto for Violin and Orchestra in G minor, Op.26 (Approximate duration 29 minutes)
Vorspiel (Prelude): Allegro moderato Adagio Finale: Allegro energico AUGUSTIN HADELICH VIOLIN
I. II. III.
TCHAIKOVSKY Symphony No. 4 in F minor, Op. 36 (Approximate duration 44 minutes) I. II. III. IV.
Andante sostenuto – Moderato con anima – Moderato assai, quasi Andante – Allegro vivo Andantino in modo di canzona Scherzo. Pizzicato ostinato: Allegro Finale. Allegro con fuoco
FIND OUT MORE ABOUT TONIGHT'S PROGRAM ON P. 18 This performance will conclude at approximately 9:20 PM, 4:20 PM on Sunday.
P R O G R A M N OT E S
TCHAIKOVSKY 4 BY RENÉ SPENCER SALLER
This concert's opening work, Christopher Rouse's Rapture, celebrates the transcendent pleasures of symphonic music, the way it transports us to a world beyond reason, beyond understanding. No one needs a program to feel this music. To follow its ecstatic trajectory, all we have to do is listen, truly listen, which means living in the moment. The rapturous response is nondenominational. For Rouse—a rock fan whose orchestral works pay homage to Skip Spence and John Bonham—the word rapture signifies "limitless bliss." Still a skeptic? Just turn off the logical part of your brain and immerse yourself in Rouse's rich neo-Romantic soundworld: the lambent tonal palette, the dynamic polyrhythms, the speed-demon hurtle across the finish line. Limitless bliss!
religious or otherwise. With the exception of my Christmas work, Karolju, this is the most unabashedly tonal music I have composed. I wished to depict a progression to an ever more blinding ecstasy, but the entire work inhabits a world devoid of darkness—hence the almost complete lack of sustained dissonance. Rapture also is an exercise in gradually increasing tempi; it begins quite slowly but, throughout its eleven minute duration proceeds to speed up incrementally until the breakneck tempo of the final moments is reached. Although much of my music is associated with grief and despair, Rapture is one of a series of more recent scores—such as Compline (1996), Kabir Padavali (1997), and Concert de Gaudi (1998)—to look 'towards the light.'
With his Violin Concerto No. 1, Max Bruch subverted so many conventions of classical concerto form that he almost called the work a "fantasia." Intensely rhapsodic, it inhabits the liminal spaces where ecstasy and epiphany converge. For Piotr Ilyich Tchaikovsky, music may have been his only solace during years of misery, rage, and shame. He gave his most generous patron a written program for the symphony he dedicated to her, but only because she requested it; he preferred to let Symphony No. 4 tell its own story, free of all extramusical baggage. Passionate and nuanced, the Fourth Symphony exults in pure Romantic expression while testing the limits of post-Beethovenian classical sonata form.
The work is scored for an orchestra of three flutes, three oboes, three clarinets, three bassoons, four horns, four trumpets, four trombones, tuba, harp, timpani (two players), percussion (three players), and strings. The percussion battery consists of bass drum, five triangles, tamtam, Chinese cymbal, suspended cymbal, chimes, glockenspiel, and antique cymbals."
CHRISTOPHER ROUSE Rapture
BORN February 15, 1949, Baltimore, MD COMPOSED 2000 FIRST PERFORMANCE May 5, 2000, Pittsburgh, PA, Mariss Jansons conducting THIS IS THE FIRST PERFORMANCE BY THE DSO
ROUSE ON RAPTURE
"I completed Rapture at my home in Pittsford, New York on January 9, 2000. Commissioned by the Pittsburgh Symphony Orchestra, it is dedicated to that orchestra's music director, Mariss Jansons. "It should be noted that the title of this score is not 'The Rapture;' the piece is not connected to any specific religious source. Rather, I used the word 'rapture' to convey a sense of spiritual bliss, 18
© 2000 by Christopher Rouse (Reprinted by kind permission of Christopher Rouse)
BRUCH Concerto for Violin and Orchestra in G minor, Op.26
BORN January 6, 1838, Cologne, Germany DIED October 2, 1920, Berlin, Germany COMPOSED 1866 (Rev. 1867) FIRST PERFORMANCE January 5, 1868, Bremen, Germany, Karl Martin Rheinthaler conducting LAST PERFORMANCE BY THE DSO September 13, 2014; DSO Gala; Jaap van Zweden conducting; Itzhak Perlman violin
Although he lived to be 82 and composed a great deal of music, Max Bruch never wrote anything that people love the way they love his Violin Concerto No. 1 in G minor. Bruch wrote it in 1866, when he was 28. After incorporating advice from the eminent violinist Josef Joachim, Bruch premiered the revised version, with Joachim as soloist, in 1868. It was an immediate hit. Bruch suffered many financial hardships during CONTINUED ON P. 26
OCTOBER SUN 23 | 2:30 PM MICHAEL BARONE MASTER OF CEREMONIES JAMES DIAZ ORGAN SCOTT DETTRA ORGAN MONICA CZAUSZ ORGAN JONATHAN M. GREGOIRE ORGAN JAMES DIAZ, ORGAN
PAUL CRESTON (1906-1985) Prelude, from Suite, Op. 70 (Approximate duration 4 minutes)
MARCEL DUPRÉ (1886-1971) Fileuse, Op. 21 No. 2 (Approximate duration 4 minutes)
MAURICE DURUFLÉ (1902-1986) Toccata, from Suite, Op.5 (Approximate duration 8 minutes)
SCOTT DETTRA, ORGAN
JOSEPH JONGEN (1873-1953) Prière, Op. 37, No. 3 (Approximate duration 9 minutes) JAMES D’ANGELO Fantasia on a theme of Hindemith (2014) (Approximate duration 12 minutes)
INTERMISSION JONATHAN M. GREGOIRE, ORGAN
HENRY MARTIN (b.1950) Preludes and Fugues in A-flat Major and F Minor (Approximate duration 16 minutes) LOUIS VIERNE (1870-1937) Final, from Symphony No. 5 (Approximate duration 11 minutes)
MONICA CZAUSZ, ORGAN
LEOŠ JANÁČEK (1854-1928) Postlude, from Glagolitic Mass (Approximate duration 5 minutes)
DANIEL KNAGGS “Night shall be no more,” from Book of Visions (2015) (Approximate duration 5 minutes)
PETR EBEN (1929-2007) Finale, from Sunday Music (Approximate duration 11 minutes)
FIND OUT MORE ABOUT TODAY'S PROGRAM ON P. 18 This performance will conclude at approximately 4:30 PM.
OPUS 100: PIPEDREAMS LIVE! OPUS 100
THE LAY FAMILY CONCERT ORGAN The Meyerson Symphony Center Dallas, Texas 1992 66 voices, 84 ranks, 4,535 pipes RÉSONANCE I/IV Prestant 32' Montre 16' Montre 8' Violoncelle 8' Flute harmonique 8' Bourdon 8' Quinte 5 1/3' Prestant 4' Octave 4' Quinte 2 2/3' les Octaves III les Quintes VI Plein jeu VIII Bombarde 16' Trompette 8' Clairon 4' GREAT I Principal 16' Quintadehn 16' Octava 8' Spillpfeife 8' Octava 4' Rohrflote 4' Superoctava 2' Mixtur VIII-XII Trommeten 16' Trommeten 8' POSITIVE II Bourdon 16' Principal 8' Dulciane 8' Gedackt 8' Octave 4' Baarpijp 4' Nazard 2 2/3' Doublette 2' Tierce 2' & 1 3/5' Sharp VI-VIII Trompette 8' Cromorne 8' Trechterregal 8' SWELL III Flute traversiere 8' Viole de gambe 8' Voix celeste 8' Bourdon 8' Prestant 4' Flute octaviante 4' Octavin 2'
CORNET III Basson 16' Trompette 8' Hautbois 8' Voix humaine 8' Clairon 4' TUBA IV Tuba Magna 16' Tuba 8' Royal Trumpet 8' Tuba Clarion 4' PEDAL Prestant 32' Untersatz 32' Prestant 16' Contrebasse 16' Montre 16' Bourdon 16' Quinte 10 2/3' Montre 8' Flute 8' Violoncelle 8' Flute harmonique 8' Bourdon 8' Quinte 5 1/3' Prestant 4' Octave 4' Quinte 2 2/3' Mixture VI Tuba Profunda 32' Bombarde 16' Tuba Magna 16' Posaune 16' Trompette 8' Tuba 8' Royal Trumpet 8' Clairon 4' General Tremulant, Resonance Flue Tremulant COUPLERS: Great to Resonance, Positive to Resonance, Swell to Resonance, Tuba to Resonance, Resonance octaves graves, Positive to Great,Swell to Great, Tuba to Great, Swell to Positive, Resonance to Pedal, Great to Pedal, Positive to Pedal, Swell to Pedal, Swell 4' to Pedal. VENTILS: Pedal reeds off, Resonance reeds off, Great reeds off, Positive reeds off, Swell reeds off, Resonance off. Four manuals and pedal: manual key compass 61 notes, pedal compass 32 notes Mechanical key action, electric stop action
ABOUT THE LAY FAMILY CONCERT ORGAN C.B. FISK OPUS 100 Rising the full height of the concert chamber behind the stage, the Herman W. and Amelia H. Lay Family Concert Organ serves as the focal point of the Eugene McDermott Concert Hall at the Morton H. Meyerson Symphony Center in Dallas. Case design for Opus 100 evolved over a period of several months following consultations between architect I.M. Pei, acoustician Russell Johnson, and Fisk principals Virginia Fisk, Steven Dieck, Robert Cornell, and visual designer Charles Nazarian. Jas. Gillanders, Ltd., of Toronto constructed the resulting massive cherryveneered case and the organ’s burnished tin façade pipes, the largest of which is DD of the Prestant 32’, were manufactured in Weikersheim, Germany by August Laukhuff, Gmbh. The organ case and façade pipes were installed in time for the hall’s gala opening ceremonies in September 1989. Wind systems, key actions, mechanical works, and interior pipes, all constructed at the Fisk workshop in Gloucester, were installed during the summer of 1991 with finish voicing taking place over the ensuing twelve months. The instrument’s 4,535 pipes are dispersed over six divisions, which are played from four manuals and pedal. The Great, Positive, and Swell divisions and certain stops of the Pedal division form the classical core of the organ. The Resonance, played on either manual or pedal keyboards, is a powerful division of French romantic influence. An English-inspired Tuba division, voiced on 20” wind pressure, is especially suited for climaxes in music for organ and orchestra. This instrument draws its tonal inspiration from many different styles and periods of organ building, enabling it to effectively showcase both organ solo and symphonic literature. Dr. Robert Anderson, Professor of Organ at Southern Methodist University and consultant for this project, worked closely with the Fisk team to develop a specification that also referenced Calvin Hampton’s 1978 landmark article on the ideal symphonic organ. Organist Michael Murray and the Dallas Symphony under Maestro Eduardo Mata inaugurated Opus 100 on 2 September 1992. The program included Richard Strauss’s Festival Prelude for Orchestra and Organ, Poulenc’s Concerto for Organ, String Orchestra, and Timpani, and Saint-Saëns’ Symphony No. 3, ‘Organ Symphony.’ On the following day nearly twenty musicians from the Fisk firm presented an intimate and personal dedication recital on this their most monumental organ. www.cbfisk.com Courtesy of C.B. Fisk, Inc.
CONTINUED ON P. 34 + 35
DISNEY’S FANTASIA LIVE IN CONCERT
OCTOBER FRI 28 SAT 29 | 7:30 PM
SUN 30 | 2:30 PM
IN GRATITUDE, THESE PERFORMANCES ARE DEDICATED TO THE FOLLOWING ANNUAL FUND AND ENDOWMENT DONORS:
MARY MARTIN ANNUAL ENDOWED CONCERT AMERICAN AIRLINES ANNUAL ENDOWED CONCERT
SARAH HICKS CONDUCTS BEETHOVEN Selections from Symphony No. 5 (Approximate duration 3 minutes)
I. Allegro con brio Selections from Symphony No. 6, “Pastoral” (Approximate duration 11 minutes)
III. Scherzo–Allegro IV. Allegro V. Allegretto TCHAIKOVSKY Selections from The Nutcracker Suite (Approximate duration 15 minutes) DEBUSSY Claire de Lune from Suite bergamasque (Approximate duration 6 minutes) STRAVINSKY Selections from The Firebird Suite (1919 version) (Approximate duration 9 minutes) INTERMISSION AMILCARE PONCHIELLI Selections from Dance of the Hours (La Gioconda) (Approximate duration 12 minutes)
DUKAS L’apprenti sorcier (“The Sorcerer’s Apprentice”) (Approximate duration 9 minutes)
ELGAR Selections from Pomp and Circumstance (Approximate duration 8 minutes)
RESPIGHI Selections from Pini di Roma (Pines of Rome) (Approximate duration 10 minutes)
I. I pini di Villa Borghese (The Pines of the Villa Borghese) III. I pini del Gianicolo (The Pines of the Janiculum) IV. I pini della Via Appia (Pines of the Appian Way)
Presentation licensed by Disney Concerts © All rights reserved
FIND OUT MORE ABOUT TONIGHT'S PROGRAM ON P. 23 This performance will conclude at approximately 9:30PM, 4:30PM on Sunday.
DISNEY’S FANTASIA LIVE IN CONCERT: FAMILY
OCTOBER SAT 29 | 11:00 AM
SARAH HICKS CONDUCTS
BEETHOVEN Selections from Symphony No. 5 (Approximate duration 3 minutes)
I. Allegro con brio
TCHAIKOVSKY Selections from The Nutcracker Suite (Approximate duration 15 minutes)
STRAVINSKY Selections from The Firebird Suite (1919 version) (Approximate duration 9 minutes)
AMILCARE PONCHIELLI Selections from Dance of the Hours (La Gioconda) (Approximate duration 12 minutes)
ELGAR Selections from Pomp and Circumstance (Approximate duration 8 minutes)
DUKAS L’apprenti sorcier (“The Sorcerer’s Apprentice”) (Approximate duration 9 minutes)
Presentation licensed by Disney Concerts © All rights reserved
FIND OUT MORE ABOUT TODAY'S PROGRAM ON P. 23 22
This performance will conclude at approximately noon.
P R O G R A M N OT E S
DISNEY'S FANTASIALIVE IN CONCERT BY ALEXANDER RANNIE
Fantasia (1940) and Fantasia 2000 (1999) In this age of 3D, HD, widescreen, 7.1 surround sound – and that’s just in your living room! – It can be hard to fathom how revolutionary Fantasia was upon its theatrical release in 1940. Neither symphony hall concertgoers nor families headed to the movies to catch the latest Disney cartoon were prepared for the breadth and depth of color and sound that poured forth from the screen. Walt Disney (1901-1966) and conductor Leopold Stokowski (1882-1977), in collaboration with the talents of 1,000-plus artists, musicians, and engineers at the Walt Disney Studio, the RCA Corporation, composer, author and commentator Deems Taylor (1885-1966), dozens of dancers (including Marge Champion and members of the Ballet Russe de Monte Carlo and Ballet Theatre) and the entire Philadelphia Orchestra, created a watershed cinematic experience that remains a visionary milestone to this day. Sadly, the expense of installing the Fantasound audio playback system in theaters, and the loss of the European market because of World War II, nixed Walt’s dream of an ongoing “Concert Feature,” wherein individual segments would be replaced by new ones. Though the Walt Disney Studio would utilize popular songs in several package films of the ’40s and ’50s, it would remain until 1999 and the release of Fantasia 2000, spearheaded by Walt’s nephew, Roy E. Disney, for a Disney-produced feature-length marriage of classical music and animation to once again reach the screen.
Ludwig van Beethoven: Symphony No. 5 in C minor, op. 67, Allegro con brio (1804-08) To begin Fantasia 2000 with a bang, Disney artists chose the opening movement of Beethoven’s Fifth Symphony, its short-short-short-long musical motif immediately grabbing the listener’s ear. And it also slyly references the time period of the original Fantasia when this four-note motif, the same rhythm as Morse code for the letter V (“di-di-didah”), underscored the “V for Victory!” rallying cry of the Allies in World War II. Computer animation was combined with hand-drawn pastels to create the look of this segment, the abstractions of what
might be butterflies and bats paying homage to the abstract animated films of Len Lye and Oskar Fischinger, who had earlier influenced the opening segment of the original Fantasia, Bach’s Toccata and Fugue in D minor. Here, light battles dark to the repeated rhythm of “di-di-di-dah,” suggesting that victory can’t be far away.
Ludwig van Beethoven: Symphony No. 6 in F major, op. 68 (“Pastoral”) Allegro, Allegro, Allegretto (1808) Conceived as an Art Deco interpretation of life in mythological Greece, Fantasia’s “Pastoral” segment was originally set to “The Entrance of the Little Fauns,” a brief episode from Gabriel Pierné’s ballet Cydalise et le Chèvre-pied. It soon became apparent that the story artists’ ideas were too great for such a trifle. In searching for a piece of music to support their vision, the Disney artists came across Beethoven’s program for his Sixth Symphony, in which he describes several pastoral episodes (scenes which take place in the country), including, “Happy gathering of country folk; Thunderstorm; Shepherds’ song; cheerful and thankful feelings after the storm.” Stokowski felt that Beethoven was ill-suited to Disney and Art Deco, but Fantasia’s onscreen commentator, composer Deems Taylor, was in favor of the match. Walt liked the idea that so many folks who’d never been exposed to classical music would have an opportunity to experience it as never before. As he put it, “Gee, this’ll make Beethoven!”
Piotr Ilyich Tchaikovsky: Nutcracker Suite, op. 71a (1892) One of the striking features of Fantasia’s Nutcracker Suite is how memorable the characters are considering how short a time they’re on screen. With personality to spare, these often faceless anthropomorphized flora and fauna (and faeries) remain with us long after the last note of music has faded away. One in particular, Hop Low, the smallest of the mushrooms in the “Chinese Dance,” always elicits sympathetic laughter from the audience – even though he’s onscreen for only a minute! When animating the “Chinese Dance,” artist Art Babbitt kept a copy of the music on his desk to help navigate the play of musical counterpoint. He also admitted to being influenced by the antics
CONTINUED ON P. 27 23
GERMAN REQUIEM CONT. FROM P. 16
BRAHMS Ein deutsches Requiem (A German Requiem)
BORN May 7, 1833, Hamburg, Germany DIED : April 3, 1897, Vienna Austria COMPOSED 1868 FIRST PERFORMANCE February 18, 1869, Leipzig, Germany (First performance of complete work) LAST PERFORMANCE BY THE DSO October 1416, 2010; Jaap van Zweden conducting
TENDER AND BOLD
On February 2, 1865, Brahms’s ailing 76-yearold mother died of a stroke. A short time later, Brahms sent his most trusted confidante, Clara Schumann, new sketches for “a so-called Deutsches Requiem.” He had been mulling over the project in a general way for years, but his mother’s death galvanized him. The draft that he sent Clara was for the fourth movement of the Requiem, “How Lovely Is Thy Dwelling Place.” In the accompanying letter, he wrote, “It’s probably the least offensive part.... But since it may have vanished into thin air before you come to Baden, at least have a look at the beautiful words.... I hope to produce a sort of whole out of the thing, and trust I shall retain enough courage and zest to carry it through.” It took him another year and a half, but he finished it. In August, during one of his working vacations with Clara and her children, he wrote,
MOVEMENT BY MOVEMENT
Despite the composer's anxieties, the concerto is lyrical and life-affirming, if not always harmonically stable. Lightly scored, the opening Allegretto is rich in what Bartók called "polymodal chromaticism," a sumptuous thicket of Dorian, Lydian, and Mixolydian modes. Sometimes the piano leads; sometimes the orchestra. The winds catch the folk-inflected melody and toss it skyward, the piano a resonant, rain-stained smear in the distance. The central movement, marked Adagio religioso, references Beethoven's String Quartet in A minor, as well as Wagner's revolutionary Tristan chord, which Bartók personalizes with a distinctly Hungarian harmony. Nocturnal and spellbound, the middle section thrums, chirps and pulses, as the piano and orchestra mimic insects and birds—sometimes based on real examples of calls that Bartók had transcribed a year earlier, while recuperating in Asheville, North Carolina.
Cast in rondo form, the concluding Allegro vivace features intricate counterpoint, folkfueled rhythms, and virtuosic melodic flights. It alternates fugal density with songful transparency, stippling darkness against light. Bartók, aware that he was dying, skipped ahead to the last measure and wrote vége, Hungarian for "The End." He went out on a high note.
“Baden-Baden in Summer 1866” at the bottom of the Requiem score. That September, in front of a small gathering at Clara’s, he performed the entire piece, then only six movements (he added the solo soprano movement after the premiere). In her diary, Clara gushed, “Johannes has played me some magnificent numbers from A German Requiem.... ...[I]t is full of thoughts at once tender and bold.” The debut performance was a great success, and the Requiem went on to be sung by choruses across the country.
HUMAN, ALL TOO HUMAN
The article is crucial: It’s a requiem, not the requiem. And although it’s a “German” requiem, Brahms was referring not to the nationality but to the language. Rather than Latin, the ordained language for the standard Catholic requiem, Brahms compiled his favorite lines from Martin Luther’s translation of the Bible. Karl Reinthaler, the music director in Bremen who would lead the choir at the premiere, fretted that the work glossed over a major theological point: salvation through the death of Christ. The premiere, after all, was scheduled for Good Friday. Brahms, who was fundamentally agnostic, refused to yield: “As far as the text is concerned, I confess that I would gladly omit even the word German and instead use Human.... ...I have chosen one thing or another because I am a musician, because I needed it and because with my venerable authors I can’t delete or dispute anything. But I had better stop before I say too much.” As Brahms biographer Jan Swafford writes, “He fashioned an inwardly spiritual work, full of echoes of religious music going back hundreds of years, yet there is no bowing to the altar or smell of incense in it. Even if the words come from the Bible, this was his response to death as a secular, skeptical modern man.”
A German Requiem shattered nearly every rule for requiems. It never mentions Jesus Christ by name and completely avoids the topic of Judgment Day. Its real subject is not divine grace and paradise but human grief and transience. It does not mourn the dead so much as console the living. Despite its focus on death, the word that appears most often in the text is, unexpectedly, “Freude,” or “joy.”
CATHEDRAL OF SOUND
Brahms made his own lovely dwelling place in the house of music; his holy cathedral, a fourpart choir and orchestra. The structure is sound, its lines balanced and symmetrical. It begins and ends with the word “selig,” or “blessed.” The second and sixth movements are also parallel, with minor-key main sections followed by ecstatic major-key conclusions. The third and fifth movements feature solo parts, for bassbaritone and soprano, respectively. The fourth movement is both pivot and resting point, with a lullaby-like theme and a fugato section that dovetails with the more prominent fugues in the third and sixth movements. Architecture aside, what makes the Requiem so dazzling is its wealth of gemlike details. From its first moments, it has a luminous solemnity. Through the shadowy strains of the orchestra, the chorus sings softly—which, as any vocalist will tell you, is much harder than belting out the notes. The violins are conspicuously absent in this twilit soundworld. Near the end of the first movement, an arpeggiated harp figure emerges from a radiant cloud of polyphonic voices. Brahms used harps sparingly, almost always to suggest a state of grace. The second movement—sketched a dozen years earlier, in response to his mentor Robert Schumann’s suicide attempt—is a triumph of chiaroscuro. It begins as a death march, while a sepulchral chorus announces that “all flesh is as grass.” When the women’s voices converge in a lyrical response, the words are still somber—grass withers, flowers die—but the gloom is shot through with sunlight. Not quite midway through the movement, the singers counsel patience: “The husbandman waits for the precious fruits of the earth and is patient until he receives the morning and evening rain.” At the mention of rain, the doubled flute and harp join pizzicato strings, forming gentle, rejuvenating droplets of solace.
TCHAIKOVSKY 4 CONT. FROM P. 18
his long career, and even his most enduring success was marred by rotten luck. As an impoverished young composer, he sold the publishing rights to his first violin concerto for a pittance in a one-off deal that didn’t allow him a share of future royalties. Even worse, his subsequent compositions were nowhere near as popular. Bruch was still seething about this 20 years later. “Nothing compares to the laziness, stupidity, and dullness of many German violinists,” he fumed in a letter to the music publisher Fritz Simrock. “Every fortnight another one comes to me wanting to play the First Concerto; I have now become rude, and tell them: ‘I cannot listen to this concerto anymore— did I perhaps write just this one? Go away, and play the other Concertos, which are just as good, if not better.” Few of those German violinists listened. They clamored to play the First, and audiences never tired of it. Today it remains a staple of the repertory—and the only Bruch composition that most listeners recognize.
FORM AND FANTASY
As Bruch was first to concede, the concerto has a somewhat unorthodox structure. He even asked Joachim if he should call the concerto a “Fantasia” instead. (The violinist assured him that “the designation concerto is completely apt.”) At any rate, the Vorspiel, or prelude, takes substantial liberties with sonata form. The violin lingers, flutters, soars like a lark ascending. The orchestra surges against it, in an elemental give and take. At its ultra-Romantic midpoint, the violin swoops up and down in crazy chromatic runs. But instead of the typical development section, the music circles back to the beginning; soon, the mood darkens, the sound hushed and expectant. Without a pause, the prelude seeps into the Adagio, the concerto's glowing core. It’s the most beloved of the three movements, and no one who has heard it ever wonders why. The melodies are unapologetically lovely: as spontaneous as birdsong, as simple as a sunbeam. The finale seems at once reckless and restrained. The orchestra trades off passages with the solo violin, sometimes adding majestic counterpoint, sometimes erupting into pyrotechnics. The violin dispenses gypsy-flavored licks and virtuosic passagework. When everything comes together, it sounds like ecstasy.
TCHAIKOVSKY Symphony No. 4 in F minor, Op. 36
BORN May 7, 1840, Votkinsk, Russia DIED : November 6, 1893, St. Petersburg, Russia COMPOSED 1878 FIRST PERFORMANCE February 22, 1878, Moscow, Russia, Nikolai Rubinstein conducting LAST PERFORMANCE BY THE DSO September 17-20, 2009; Jaap van Zweden conducting
Despite his gigantic talent, Piotr Ilyich Tchaikovsky suffered from chronic self-loathing. He was deeply conflicted: a conventionally religious man who couldn't repress his homosexual yearnings, no matter how hard he tried. He channeled his frustrations into his work, but like most relentless perfectionists, he was seldom satisfied. He tried to kill himself at least once, during his brief and catastrophic marriage, and some music historians have suggested that his sudden death, at age 53, might have been the result of suicide. Others maintain that he was simply another casualty of cholera, which was widespread at the time. Today Tchaikovsky's Symphony No. 4 in F minor is standard repertory, cherished by audiences and musicians alike. But the work was widely dismissed for years after its 1878 premiere. Even as late as 1890, the symphony was mocked as barbaric, monstrous. As one New York critic carped, "There is an extraordinary variety in the orchestral colors, some of which are decidedly too loud for a symphony. If Tchaikovsky had called his Symphony 'A Sleigh Ride Through Siberia' no one would have found this title inappropriate." The symphony's tonal extremes seem entirely consistent with the composer's life in the melodramatic months leading up to the work's completion. On June 1, 1877, Tchaikovsky visited Antonina Milyukova for the first time. A student at the Moscow Conservatory, where Tchaikovsky had been teaching for the past decade, Milyukova had been sending him letters threatening suicide if he could not love her. Despite his professed "innate aversion to marriage," he proposed two days after their initial meeting, and they married that July. Two months later, he tried to kill himself by wading out into the ice-clogged Moscow River.
With help from his younger brother Anatoly and a St. Petersburg psychiatrist, Tchaikovsky freed himself from his unhappy marriage. In subsequent months, he traveled to Paris and Vienna, and all over Italy. He managed to finish both the Fourth Symphony and the opera Eugene Onegin. During this period he learned that Nadezdha von Meck, his generous new patron, intended to send him an annual stipend that would allow him to quit his job at the Conservatory. For the next 14 years, Tchaikovsky and the wealthy widow exchanged hundreds of remarkably intimate letters without ever meeting in person—her stated preference, his secret relief.
Dedicated to his elusive new "best friend," Symphony No. 4 in F minor is a watershed moment in Tchaikovsky's career. Although his first three symphonies are impressive achievements, it wasn't until his Fourth Symphony that he came into his own as a composer. Ever subtle, ever ambivalent, Tchaikovsky preferred as much interpretive leeway as possible. On the one hand, there's his so-called "Fate" motive, the insistent brass-driven reminder that we cannot live in the beautiful world of our dreams—not for long, anyway. In a letter to von Meck, the composer wrote, "The introduction is the seed of the whole
symphony, undoubtedly the main idea. This is fate, that fatal force which prevents the impulse to happiness from attaining its goal, which jealously ensures that peace and happiness shall not be complete and unclouded, which hangs above your head like the sword of Damocles, and unwaveringly, constantly poisons the soul." On the other hand, the music was an outlet for emotions so personal and so otherwise inexpressible that he was loath to get too specific. In a letter to his pupil Sergei Taneyev, he explained that "of course my symphony has a program, but of a kind impossible to formulate in words.... Was it not the purpose of the symphony as a musical form to express that for which there are no words, but which surges from the soul and demands expression?...[T]here is not a single line in my symphony which I have not felt deeply, and which does not echo true and sincere emotions.” Like Beethoven's Fifth, Tchaikovsky's Fourth moves from darkness into light, from minor to major, from sorrow to celebration. In his letter to von Meck, he described the symphony's fiery finale as a moral imperative: “If you cannot discover reasons for happiness in yourself, look at others. Get out among the people. Look what a good time they have simply surrendering themselves to joy.”
DISNEY'S FANTASIA CONT. FROM P. 23
of one of The Three Stooges. When asked if he received any assistance with the choreography of the mushrooms, Babbitt replied, “The only choreographic suggestion I ever got came from Walt Disney himself. I had animated the little mushroom taking his bow on the last note of music. Walt suggested he take the bow after. Both ways would have worked, depending on one’s translation of the little guy’s character.”
Claude Debussy (orchestrated by Leopold Stokowski): “Clair de lune” from Suite bergamasque (1890/1905) “Clair de lune” was fully recorded, animated and shot before being cut from Fantasia, ostensibly to shorten the overall running time of the film. The animation was later edited and released as part of the package film Make Mine Music (1946), accompanied by the popular song “Blue Bayou” (not to be confused with Roy Orbison’s “Blue Bayou”). Fortunately, a work print of the complete, unedited “Clair de lune,” as well as a copy of Stokowski’s original performance, survived and were reunited in a 1996 restoration. Walt saw “Clair de lune” as a segment to stand in contrast to the others around it, a moment of reflection and
repose. Its sustained, evocative, slightly mysterious mood, enhanced by remarkably fluid camera work following two herons in flight in the moonlight, reveals the work of a studio at the top of its game.
Igor Stravinsky: The Firebird Suite (1919 Version) Igor Stravinsky’s ballet The Firebird was considered but rejected for use in the original Fantasia in favor of another of his ballets, The Rite of Spring. (Stravinsky was the only living composer to have heard his composition in Fantasia.) But the appeal of The Firebird’s music held fast to the artists at the Disney studio and over the years, when the idea of revisiting Fantasia was brought up, thoughts often returned to this early Stravinsky work. For Fantasia 2000, Disney artists crafted a story far removed from the original scenario of Stravinsky’s ballet: no longer a benevolent, if capricious being, the Firebird is now a frightening, fiery sprit of destruction who seeks to destroy the forest home of a Spring Sprite and her companion elk. The look of the segment taps into Anime sensibilities as well as the real-life eruption of Mount St. Helens, all to the purpose of illustrating nature’s circle of life, death, and rebirth.
Paul Dukas: The Sorcerer’s Apprentice (1896-97) Less than a decade after Mickey Mouse’s arrival on the silver screen, Walt Disney felt that the popularity of his alter ego was waning and decided to feature him in a retelling of Johann Wolfgang von Goethe’s poem, The Sorcerer’s Apprentice, accompanied by Paul Dukas’s composition of the same name. A chance meeting between Walt and Leopold Stokowski led to the famed leader of the Philadelphia Orchestra agreeing to conduct at no cost. Disney envisioned a superior offering, with production values far above the usual Mickey Mouse or Silly Symphony cartoon. No expense was spared. Storyboards were done in full color. Mickey’s design was updated to allow for greater expression and, for the first time, his eyes had pupils. Animators studied live-action reference of a UCLA athlete jumping hurdles in order to accurately portray Mickey’s struggles. Layout and color design were planned in great detail in order to convey in images what could not be said with words. By the time The Sorcerer’s Apprentice was completed, its budget was several times that of a normal Silly Symphony. Realizing he couldn’t get a return on his investment with a standalone cartoon, Walt decided to make The Sorcerer’s Apprentice the centerpiece of a “Concert Feature.” “When [Sorcerer] was almost finished,” Stokowski wrote, “Walt said to me: ‘Why don’t we make a bigger picture with all kinds of music?’ and that led to Fantasia.” The Sorcerer’s Apprentice remains not only the seed from which the great “Concert Feature” grew, but perhaps the greatest ten minutes of animated storytelling ever produced.
Sir Edward Elgar: Pomp and Circumstance (adapted by Peter Schickele from Pomp and Circumstance Military Marches, op. 39, nos. 1 , 2 , 3 [1904/05], and 4 ) In looking for a piece of music for Fantasia 2000 that would be familiar to a wide-ranging audience, Disney artists hit upon the idea of using Elgar’s Pomp and Circumstance March No.1, a mainstay at high school and college graduations in the United States, and familiar under various other guises worldwide. Numerous story ideas were considered and rejected, including one that featured a royal procession of Disney princes and princesses presenting their offspring to Donald Duck! After developing and discarding a concept that involved animating every Disney character ever created, it was decided that, since The Sorcerer’s Apprentice gives Mickey Mouse his moment in the spotlight, Donald should have a moment of hope and glory as well. A retelling of the story of Noah’s Ark, with Donald in the role of the Patriarch, provided plenty of opportunities for marching – two-by-two, of course – as well as a variety of possibilities for the frustration-inducing, yet humorous incidents that
are the bane of Donald’s existence. That Donald loses and regains his true love in such a grand tapestry only adds to the poignancy of this duck tale.
Ottorino Respighi: Pines of Rome (1924) Respighi’s Pines of Rome was one of the earliest segments of Fantasia 2000 green-lit for production. And it was, according to Roy Disney, “the first musical selection I suggested.” Just as the artists working on the original Fantasia stretched the boundaries of available technology, artists working on Pines of Rome were eager to show what could be accomplished with the then still-new technology of computer animation. (This is in the days before Toy Story!) Inspired by Roy Disney’s tales of piloting through cumulus thunderhead cloud formations, Disney artists combined elements of traditional hand-drawn animation with computer generated characters and environments to create the plausible impossible – a pod of flying humpback whales! As to what happens to the whales, the artists suggest that it’s up to the interpretation of the individual viewer. Roy Disney said, “Certainly it is about hope and rebirth, but there’s also a mystical quality to it that seems to transcend all that.”
Amilcare Ponchielli: Dance of the Hours from the opera La Gioconda (1876) Using such diverse touchstones as the animal caricatures of artists T. S. Sullivant and Heinrich Kley, and a George Balanchine ballet for the 1938 film The Goldwyn Follies (where ballerina Vera Zorina emerges effulgent from a reflecting pool), director T. Hee’s anthropomorphic marriage of high art and low in Dance of the Hours never fails to elicit gales of laughter. This loving parody of classical dance, “a pageant of the hours of the day,” begins with Ostrich Ballet: Morning, in which an ostrich corps de ballet is awakened by Mlle. Upanova (modeled on Ballet Theatre ballerina Irina Baronova). Next comes Hippo Ballet: Afternoon, where Hyacinth Hippo (modeled on stage, radio, and screen actress Hattie Noel, as well as live-action model for Snow White and the Blue Fairy, dancer Marge Champion) makes her first appearance. Elephant Ballet: Evening follows, wherein the corps executes an elaborate bubble dance. (Walt suggested that the “elephants’ trunks can come up and spray like the Beverly Hills fountain.”) Next comes Alligator Ballet: Night. Here, Ben Ali Gator (modeled on Ballet Russe dancer David Lichine) and Hyacinth Hippo (additionally modeled on Lichine’s wife, Tatiana Riabouchinska) dance a pas de deux unrivalled in the history of ballet. A grand finale brings down the house. Literally! Walt continually added gags to Dance of the Hours, but never at the expense of the ballet. “The whole incongruity of the thing,” he said, “is the elephants and hippos doing what graceful people do. Of course, they can use natural props like their trunks.”
JAAP VAN ZWEDEN CONDUCTOR
Louise W. & Edmund J. Kahn Music Directorship
© MARK KITAOKA
Jaap van Zweden has risen rapidly in the past decade to become one of today’s most distinguished conductors. On January 27, 2016, the New York Philharmonic announced that Jaap van Zweden will be their new Music Director starting with the 2018-19 season, and will act as Music Director Designate during 2017-18. He has been Music Director of the Dallas Symphony Orchestra since 2008, holding the Louise W. & Edmund J. Kahn Music Directorship, and will continue in that role through the 2017-18 season, after which he becomes Conductor Laureate. He also continues as Music Director of the Hong Kong Philharmonic, a post he has held since 2012. Highlights of the 2016-17 season include return visits to the New York Philharmonic, Chicago
Symphony, Cleveland Orchestra, Los Angeles Philharmonic, National Symphony, Orchestre de Paris, Royal Concertgebouw Orchestra, as well as a debut performance with the Shanghai Symphony Orchestra. Jaap van Zweden has appeared as guest conductor with many leading orchestras around the globe including, in addition to those above, the Philadelphia Orchestra, Boston Symphony, Vienna and Berlin Philharmonics, Munich Philharmonic, Orchestre National de France, Rotterdam Philharmonic, London Symphony Orchestra and Chamber Orchestra of Europe. With the Dallas Symphony he launched the annual SOLUNA International Music & Arts Festival in 2015, and in that same year with the Hong Kong Philharmonic embarked on a four-year project to conduct the first ever performances in Hong Kong of Wagner’s Der Ring des Nibelungen, which is being recorded for release on Naxos Records. Jaap van Zweden has made numerous acclaimed recordings, which include Stravinsky’s Rite of Spring and Petrushka, Britten’s War Requiem, and the complete Beethoven and Brahms symphonies. He has also completed a cycle of Bruckner symphonies with the Netherlands Radio Philharmonic. Additionally, he has recorded Mahler’s Symphony No. 5 with the London Philharmonic (LPO Live), and Mozart Piano Concertos with the Philharmonia Orchestra and David Fray (Virgin). His highly praised performances of Lohengrin, Die Meistersinger and Parsifal, the latter of which earned Maestro van Zweden the prestigious Edison award for Best Opera Recording in 2012, are available on CD/DVD. For the Dallas
Symphony’s own record label, he has released the symphonies of Tchaikovsky (Nos. 4 and 5), Beethoven (Nos. 5 and 7), Mahler (Nos. 3 and 6) and Dvořák (No. 9), and the world premiere recording of Steven Stucky’s concert drama August 4, 1964. Most recently released on Naxos is his recording with the Hong Kong Philharmonic of Wagner’s Das Rheingold. The Amsterdam-born van Zweden was appointed at nineteen as the youngest concertmaster ever of the Royal Concertgebouw Orchestra and began his conducting career twenty years later in 1995. He remains Honorary Chief Conductor of the Netherlands Radio Philharmonic, where he served as Chief Conductor from 2005-2013, and Conductor Emeritus of the Netherlands Radio Chamber Orchestra. He also held the Chief Conductor post of the Royal Flanders Orchestra from 2008-11. Van Zweden was named Musical America's 2012 Conductor of the Year in recognition of his critically acclaimed work as Music Director of the Dallas Symphony Orchestra and as guest conductor with the most prestigious US orchestras. In 1997, Jaap van Zweden and his wife Aaltje established the Papageno Foundation, the objective being to support families of children with autism. Over the years, that support from Papageno has taken shape through a number of programs in which professional music therapists and musicians receive additional training in using music as a major tool for working with autistic children. Papageno House, a new home for autistic young adults and children, was opened in Laren, The Netherlands, in August 2015, with Her Majesty Queen Maxima in attendance.
SARAH HICKS CONDUCTOR
Symphony, Santa Fe Symphony, Tokyo Philharmonic, Malaysian Philharmonic, Prime Philharmonic (Seoul, Korea), and the Orchestra of La Teatro Fenice. She led the Los Angeles Philharmonic in July 4th concerts at the Hollywood Bowl in 2012, 2013 and 2015; upcoming concerts include return engagements in San Francisco and Washington DC as well as debuts with the St. Louis, San Diego and Edmonton Symphonies.
GERMAN REQUIEM ARTIST BIOS Noted in The New York Times as part of "a new wave of female conductors in their late 20's through early 40's", Sarah Hicks's versatile and vibrant musicianship has secured her place in "the next generation of up-andcoming American conductors". In October of 2009 she was named Principal Conductor, Live at Orchestra Hall of the Minnesota Orchestra; in addition to conducting most Pops and Special Presentations, she has been instrumental in creating new Pops productions while also heading the innovative classical series, "Inside the Classics." Hicks concurrently holds the position of Staff Conductor of the Curtis Institute of Music. Throughout her career she has collaborated with diverse artists, from Jamie Laredo and Hilary Hahn, to Josh Groban and Smokey Robinson; during the summer of 2011 she was on a two-month tour with Sting as conductor of the final leg of his Symphonicities Tour. In June of 2012 she conducted the opening concert of the St. Petersburg International Economic Forum, with a program featuring Dmitri Hvrostovsky, Sumi Jo and Jackie Evancho. Hicks has guest conducted extensively both in the States and abroad, including the Philadelphia Orchestra, Chicago Symphony, San Francisco Symphony, Boston Pops, Cincinnati Pops, Atlanta Symphony, Milwaukee Symphony, Detroit Symphony, National Symphony, Indianapolis Symphony, New Jersey Symphony, Phoenix
LISETTE OROPESA SOPRANO
Cuban-American soprano Lisette Oropesa has been hailed by The New York Times as an artist with a “magnetic” stage presence, who “sings with effortless grace and lyrical bloom.” She has been identified as an artist “who has established an excellent reputation for singing with luminous tones and precise coloratura.” Last season she made her role debut as Violetta in La Traviata with Opera Philadelphia, Gilda in Rigoletto with the Teatro Real in Madrid, Konstanze in Die Entführung aus dem Serail and starred in a new production of Les Indes Galantes at the Bayerische Staatsoper. She sang a solo recital in NYC with the Park Avenue Armory, and appeared in concert with the Baltimore Symphony, the Strasbourg Philharmonic, the Accademia Nazionale di Santa Cecilia, and the Philadelphia Orchestra. With the Metropolitan Opera, she has appeared in over 100 performances in roles such as Susanna in Nozze, Gilda in Rigoletto and Nannetta in Falstaff. She has sung with the Opéra
National de Paris, the Bayerische Staatsoper, the Grand Théâtre de Genève, the San Francisco Opera, L.A. Opera, Santa Fe Opera, Ravinia and Tanglewood Festivals, among others. Next season she performs Susanna in Nozze, and the title role in La Fille du Regiment with the Washington National Opera, plus a solo recital there in the spring. She debuts with the Rome Opera as Gilda, in Lausanne as Ophélie in Hamlet, returns to the Dutch National Opera as Gilda, and the Bayerische Staatsoper as Konstanze. The summer brings her debut as Norina in Glyndebourne. A six-time marathoner, Lisette has been featured in Runner’s World Magazine. A devoted vegan, she wrote a chapter in the book Running, Eating, Thinking by Lantern Books. Musical publications include features in Opera News magazine, Classical Singer magazine, and contribution to the book Master Singers: Advise from the Stage.
Matthias Goerne is one of the most internationally sought-after vocalists and a frequent guest at renowned festivals and concert halls. He has collaborated with leading orchestras all over the world. Conductors of the first rank as well as eminent pianists are among his musical partners. Matthias Goerne has appeared on the world’s principal opera stages, including the Royal Opera House, Covent Garden; Teatro Real in Madrid; Paris National Opera; Vienna State Opera; and the Metropolitan Opera in New York. His carefully chosen roles range from Wolfram, Amfortas,
Kurwenal, Wotan and Orest to the title roles in Alban Berg’s Wozzeck, Béla Bartók’s Duke Bluebeard’s Castle, and Paul Hindemith's Mathis der Maler. Goerne’s artistry has been documented on numerous recordings, many of which have received prestigious awards, including four GRAMMY® nominations, an ICMA award, and only recently the Diapason d’or arte. After his legendary recordings with Vladimir Ashkenazy and Alfred Brendel for Universal Music, he has recently recorded a series of selected Schubert songs on 11 CDs for harmonia mundi (The Goerne/ Schubert Edition) with pianists including Christoph Eschenbach and Elisabeth Leonskaja. From 2001 through 2005, Matthias Goerne taught as an honorary professor of song interpretation at the Robert Schumann Academy of Music in Düsseldorf. In 2001, he was appointed an Honorary Member of the Royal Academy of Music in London. A native of Weimar, he studied with Hans-Joachim Beyer in Leipzig, and later with Elisabeth Schwarzkopf and Dietrich FischerDieskau. Highlights in recent seasons included concerts with the St. Petersburg Philharmonic, Orchestre de Paris, London Philharmonic, Concertgebouw Orchestra Amsterdam, New York Philharmonic, Tonhalle Orchestra Zurich, and NHK Symphony. Matthias Goerne sang Orest at the Vienna State Opera and made his debut as Wotan in a concert version of Richard Wagner’s Die Walküre with the Hong Kong Philharmonic under Jaap van Zweden.
YUJA WANG PIANO
“Hers is a nonchalant, brilliant keyboard virtuosity that would have made … even the fabled Horowitz jealous”, Los Angeles Times, July 2015 Critical superlatives and audience ovations have followed Yuja Wang’s dazzling career. The Beijing-born pianist, celebrated for her charismatic artistry and captivating stage presence, is ready to register fresh achievements during 2016-17 when she returns to China’s National Centre for the Performing Arts as Artistin-Residence. In addition to performing six concerts, Wang will also lead masterclass sessions and participate in outreach projects. Her NCPA residency promises to connect one of today’s finest artists with new audiences in Beijing and beyond. Wang’s forthcoming schedule embraces a strikingly broad range of repertoire, encompassing everything from Chopin and Shostakovich to Ravel and Schubert. Bartók’s three piano concertos stand as focal points throughout her 2016-17 season, programmed individually for performances in Cleveland, Dallas, Guangzhou, Stockholm, Taiwan and Toronto, and as a group for concerts in May and June with the Los Angeles Philharmonic Orchestra and Gustavo Dudamel. Other highlights of Yuja Wang’s calendar include appearances at the 2016 Salzburg, Tanglewood and Verbier Festivals, a return to the Hollywood Bowl, seasonopening performances with the Philadelphia Orchestra and Yannick-Nézet-Séguin, and major tours of Asia and Europe with the San Francisco Symphony Orchestra and the Orchestra
dell'Accademia Nazionale di Santa Cecilia, respectively. She is also set to tour with percussionist Martin Grubinger and violinist Leonidas Kavakos, and will undertake a 13-concert European recital tour next March and April. Yuja Wang was born into a musical family in Beijing. After childhood piano studies in China, she received advanced training in Canada and at Philadelphia’s Curtis Institute of Music under Gary Graffman. Her international breakthrough came in 2007 when she replaced Martha Argerich as soloist with the Boston Symphony Orchestra. Two years later she signed an exclusive contract with Deutsche Grammophon and has since established her place among the world’s leading artists with a succession of critically acclaimed performances and recordings.
DALLAS SYMPHONY CHORUS The Dallas Symphony Chorus is the official vocal ensemble of the Dallas Symphony Orchestra. Founded in 1977, this all-volunteer organization consists of members who devote their time, effort and talent to regularly scheduled rehearsals and performances with the Dallas Symphony, as well as appearances across the United States and with orchestras in venues around the world. The 2016/17 season marks Joshua Habermann’s sixth year as Chorus Director in the Jean D. Wilson Chorus Director Chair. The chorus has performed at New York’s Carnegie Hall ten times and made its fourth tour to the European continent in 2014, with performances in Spain and Aixen-Provence, France. Recording highlights of the Dallas Symphony Chorus include the critically acclaimed Daphinis et Chloë by Ravel (RCA), Mahler’s Symphony No. 2, Resurrection (ProArte), and Prokofiev’s Alexander Nevsky (Dorian), all under the direction of the late Eduardo Mata. The 2012 recording of Steven Stucky’s August 4, 1964 featuring the Dallas Symphony Orchestra and Chorus garnered a GRAMMY® nomination for the composer. For audition information please visit: www.dschorus.com
2016/17 DALLAS SYMPHONY CHORUS JOSHUA HABERMANN DIRECTOR LINDSAY POPE ASSISTANT CONDUCTOR SOPRANO Chris Archbold Monica Barron Rosemary Bennett Ashly Blake Christin Brown Lindsay Brown Susan Burroughs Stephanie Campoverde Roni Carrasco Tricia Carroll Anna Castro Sarah Christofer Courtney Crosby Dorothy Cupka Julie Duncan J. Amelita Facchiano MeLisa Feledichuk Toryn Fowler Gillian Friedman Michelle George Katherine Grimm Vanessa Guzman Gail Harrell Natalie Hiler Laura Hill JohynĂŠ Hill Julie Ihrig Hilda Jaffe Fran Johnson Leslie Lenser Lara Beth Livingston Janine Locke Jazmin Luevano Sarah Matijasic Debbie Maxwell Jane McKee Lucy Meyers-Lambert Jacki Miller Laura Morgan Janet Noonan Terri Olive Arian Orlando Carol Ann Ozlowski
Lekeitrise Peterson Rezeda Raskiewicz Kimber Rodriguez Laura Seale Treta Sellers Kristen Shepard Kaylan Sikkel Sung Sim Camille Skye Allison Snow Kathryn Stallings Melinda Standefer Anne Tracy Elizabeth Varhaug Angela Vaughan Jo Beth Wasicek Kristina Weaver Eilene Weimar Susie Wilson ALTO Judith Becker Lisa Bloom Mara Bracha Christi Burkle Francesca Cacal Martine Chambers Mary Jane Cooper Carol Cornish Sharon Correll Mary Crouch Sheri Czapla Abby Davalos Sandi Dillon Carla Edwards Susan Ellingburg Kathleen Ellis Emily Fallis Karen Fine Liz Friend Brittney Fulghum Lauren Garcia Gina Gentile Melanie Gilmore
DIRECTOR DALLAS SYMPHONY CHORUS Jean D. Wilson Chorus Director Chair
Kelly Greene Taylor Havins Susan Hepola Marlea Hodgin Lauren Holleman Rosemary Hoogerwerf Beth Hosch Kerrie Hutcheson Lisa Jenkins Pat Knabe Lauren Knebel Rita Koger Patricia Lemker Kay Lutes Laura Martino Callie Massey Rashmi Misra Margo Moore Robin Murphy Tami Neff Rita Nsumbu Emily O'Hara Lindsay Pope Francesca Ramirez Bethany Rieck Kimberly Ritchie Crystal Sanchez Lauren Seibert Erin Spencer Sara Spock Beverly Storey Beth Thompson Brittany Tucker Danielle Watson Jennifer Weaver Kathleen Williamson Sarah Wiseman Stephanie Witzorreck Christine Zimmerman TENOR Chris Balsly Michael Bentley Da'On Boulanger
Trey Bourland Nicholas Brooks David Chapman Richard Cochran Richard Demy Daniel Durrett Russell Garrett Bradley Gaulden Tony Gray Tyler Greider Paul Hanoski Corey Kershaw Kenneth Lambert Andrea Lewis DeMaray Lister Scott Loudder John MacDonald Nicholas Mason Kevin Patrick Peyton Patterson Dhirender Ratra Brad Rountree Brian Sanford Jeffrey Shelffo John Skinner Jr. Dan Thompson CB (Claude) Turner Kemball Winegeart James Worley BASS Frank Amos Steve Asiatico Nick Badger Clint Bailey Scott Ballew Thomas Bartke Timothy Brendler Ken Carroll Tony Carter Casidy Castillo-Wilson Brad Cawyer Kelly Cossey Eric Couch
The 2016/17 season marks Joshua Habermannâ€™s sixth year as Chorus Director in the Jean D. Wilson Chorus Director Chair of the Dallas Symphony Chorus, the official vocal ensemble of the Dallas Symphony Orchestra. Habermann is also Music Director of The Desert Chorale, a professional chamber choir based in Santa Fe, New Mexico. Prior to his DSO appointment, Habermann was assistant conductor of the San Francisco Symphony Chorus, where he prepared the chorus for performances with conductors Michael Tilson Thomas and Charles Dutoit.
Zane Crownover Chad DeArman Joel Duarte Jared Duncan Richard Etheridge John Fattaruso Bruce Gibson Luis Gonzales Scott Gordon John Hendry Allen Hightower Michael Hogan David Hott Samuel Hughes Obinna Ifediora Doug Knabe Michael Kramer Chris Lo Joshua Martin Caleb McLean Tim Mohel David Nolden Jack Oros James O'Sullivan Charles Owens Hever Penado George Perkins Alex Perry Brent Rogers Casey Salinas Dave Senter Alex Stack Dominick Stephenson Jay Terpstra Chase Thompson Steve Tiedemann Joe Vetter Theron Waddle Ted Walker Dan Watson Paul Westgate David Westgate
Habermann has appeared in numerous conferences and festivals, including international engagements in Brazil, Cuba, Costa Rica, Germany, Czech Republic, France, China and Singapore. A passionate advocate for music education, Habermann has served on the faculties at San Francisco State University and the University of Miami, and worked with young singers and conductors in master classes and workshops throughout the United States and abroad. He is currently an adjunct faculty member at the University of North Texas.
TCHAIKOVSKY ARTIST BIO
AUGUSTIN HADELICH VIOLIN
National Symphony Orchestra/Dublin, São Paulo Symphony, the SWR Orchestra/Stuttgart, and a tour of China with the San Diego Symphony.
GRAMMY® Award-winner Augustin Hadelich has established himself as one of the great violinists of his generation. He has performed with every major orchestra in the U.S., many on numerous occasions, as well as an ever-growing number of major orchestras in the UK, Europe, and the Far East. Highlights of Mr. Hadelich’s 2016/2017 season include return performances with the New York Philharmonic, Baltimore Symphony, Colorado Symphony, Dallas Symphony, Los Angeles Philharmonic, and the San Diego Symphony, as well as a tour of Germany and Spain with the Orquestra de Cadaqués/Catalonia and debuts with the Dresden Philharmonic, Hamburg Philharmonic, Munich Philharmonic, Rotterdam Philharmonic, and the WDR Radio Orchestra in Cologne. Festival appearances this summer include debuts at the BBC Proms, the Bowdoin Music Festival, and Sun Valley Summer Symphony, in addition to return engagements at Aspen, Bravo! Vail, and Tanglewood. Mr. Hadelich has also performed at Blossom, Britt, Chautauqua (where he made his U.S. orchestral debut in 2001), Eastern, Grand Teton, and the Hollywood Bowl. Among recent and upcoming worldwide appearances are the BBC Philharmonic/ Manchester, BBC Symphony/London, Danish National Symphony, Finnish Radio Orchestra, Frankfurt Radio Orchestra, German Radio Philharmonic/Saarbrücken, Helsinki Philharmonic, Hong Kong Philharmonic, Malaysia Philharmonic, Minas Gerais Philharmonic/Brazil, Mozarteum Orchestra/Salzburg, Netherlands Philharmonic, Norwegian Radio Orchestra, Orchestre Philharmonique de Strasbourg, NHK Symphony/ Tokyo, Royal Scottish National Orchestra, RTE
Augustin Hadelich has collaborated with such renowned conductors as Roberto Abbado, Marc Albrecht, Marin Alsop, Herbert Blomstedt, Lionel Bringuier, Justin Brown, James Conlon, Christoph von Dohnányi, the late Rafael Frühbeck de Burgos, Alan Gilbert, Hans Graf, Giancarlo Guerrero, Miguel Harth-Bedoya, Manfred Honeck, Jakub Hrusa, Christoph König, Jahja Ling, Hannu Lintu, Andrew Litton, Cristian Macelaru, Jun Märkl, Sir Neville Marriner, Fabio Mechetti, Juanjo Mena, Ludovic Morlot, Sakari Oramo, Andrés Orozco-Estrada, Peter Oundjian, Vasily Petrenko, Yan Pascal Tortelier, Gilbert Varga, Edo de Waart, Omer Meir Wellber, Kazuki Yamada, and Jaap van Zweden, among others. An exceptional recitalist, Mr. Hadelich’s numerous engagements include multiple appearances at Carnegie Hall, the Concertgebouw/Amsterdam, The Frick Collection/New York, Kennedy Center/ Washington, D.C., Kioi Hall/Tokyo, the Louvre, and the chamber music societies of Detroit, La Jolla, Philadelphia, Seattle, and Vancouver. His April 2014 premiere of David Lang’s 35-minute work for solo violin, mystery sonatas, at Carnegie’s Zankel Hall was a resounding success. Standing alone in a single spotlight, Mr. Hadelich flawlessly wove his way through the intricate difficulties of this deeply inspiring work. His chamber music partners have included Inon Barnatan, Jeremy Denk, James Ehnes, Alban Gerhardt, Richard Goode, Gary Hoffman, Kim Kashkashian, Robert Kulek, ChoLiang Lin, Midori, Charles Owen, Vadim Repin, Mitsuko Uchida, Joyce Yang, and members of the Guarneri and Juilliard quartets. Gold Medalist of the 2006 International Violin Competition of Indianapolis, Mr. Hadelich was named winner of the inaugural Warner Music Prize in 2015. Other distinctions include Lincoln Center’s Martin E. Segal Award (2012), a Borletti-Buitoni Trust Fellowship in the UK (2011), and an Avery Fisher Career Grant (2009). Born in Italy, the son of German parents, Augustin Hadelich is now an American citizen. He holds an Artist Diploma from The Juilliard School, where he was a student of Joel Smirnoff. He plays on the 1723 “Ex-Kiesewetter” Stradivari violin, on loan from Clement and Karen Arrison through the Stradivari Society of Chicago. www.augustin-hadelich.com
PIPEDREAMS ARTIST BIOS
MICHAEL BARONE MASTER OF CEREMONIES
Michael Barone’s interest in classical music was made evident in childhood. He attended Oberlin Conservatory in 1964 and graduated with a BM in Music History in 1968. His principal instrument was, you guessed it, the organ. After Oberlin, Barone was invited to be Music Director for a small non-commercial station at St. John’s Benedictine Abbey and University in Collegeville, MN becoming the sixth full-time, and now longest continuously tenured, employee of what grew to become the highly regarded Minnesota Public Radio/ American Public Media colossus of today. Barone attributes his special enthusiasm for organ music to November 1968 and the debut of a Sunday night radio offering, The Organ Program. Eventually this was supplanted by the nationally-syndicated Pipedreams program, using recordings of a week-long national convention of the American Guild of Organists (AGO) held in Minnesota in the summer of 1980. That event yielded a stack of tapes that seemed good enough for primetime. A supportive MPR Program Director (Nicholas D. Nash) came up with the Pipedreams name and, with support from its first and continuously loyal patrons, Mr. & Mrs. Wesley C. Dudley, Pipedreams was off and running 34
in January 1982. Pipedreams remains the only nationallysyndicated radio program primarily devoted to the pipe organ. Pipedreams Live! evolved as a means of community outreach for AGO chapters. As Pipedreams established itself in the late 1980s, Barone began to receive invitations to talk at end-of-the-year AGO chapter dinners. Enjoyable as these events were, it became apparent that there was a bigger impact that could be made. Rather than ‘preach to the choir’ of several dozen church musicians, Barone built on the curiosity of listeners to local broadcasts of Pipedreams to create an activity that would provide local organists with a context in which to showcase their best performers. The idea was to engender a mutually beneficial promotional relationship between the local organ community and the public radio station that aired Pipedreams. That notion seems to have worked, as there is no comparison between the average attendance for an AGO chapter banquet (4060) and the average audience for a Pipedreams Live! event (250-600)…or, in the case of the first event at the Meyerson Symphony Center in , 2000+. --Michael Barone, PIPEDREAMS host-producer PS: remember that Classical WRR-101.1FM broadcasts an hour of Pipedreams every Sunday night at 10 p.m., and the weekly two-hour program can be accessed either at http:// www.pipedreams.org or, on any portable digital medium, at http://yourclassical.org/ pipedreams. Enjoy!!
JAMES DIAZ ORGAN
James Diaz is the First Prize winner of the 2000 Dallas International Organ Competition, and the Gold Medal and Concerto Prize winner of the 1994 Calgary International Organ Competition. He also took First Prize at the Fort Wayne National Organ Competition in 1994. In addition to giving solo recitals in North America, Europe, and Asia, Mr. Diaz has given the world premiere of two organ and orchestra works by Pulitzer Prize winning composers: in 2002 he appeared with the Dallas Symphony in the premiere of Joseph Schwantner’s September Canticle, and in 1994 he premiered Gunther Schuller’s Concerto for Organ and Orchestra with the Calgary Philharmonic. He has recorded for Hyperion, Delos International and New World Records, and has also been featured on the BBC, CBC, and American Public Media’s internationally syndicated program Pipedreams. Mr. Diaz is a summa cum laude graduate of the University of Michigan and holds a master’s degree in Organ Performance from the Cleveland Institute of Music. Since 1998 he has served as Director of Music at Saint Michael and All Angels Church in Dallas, one of the largest Episcopal churches in the United States.
SCOTT DETTRA ORGAN
Scott Dettra is one of the leading American concert organists of his generation. He combines an active performance schedule with his post as Director of Music and Organist at the Church of the Incarnation in Dallas. Before coming to Dallas, Mr. Dettra was Principal Organist of Washington National Cathedral. Mr. Dettra’s playing is known for its poetry, rhythmic intensity and musical elegance, and has been widely acclaimed. Of his solo recital at the 2014 national convention of the American Guild of Organists in Boston, The American Organist described it as “music-making of absolute authority and sophisticated expression, one of the week’s high points.” Recent and upcoming performances include appearances in New York, Los Angeles, Chicago, Boston, Washington, Atlanta, Houston, San Diego, Phoenix, Kansas City, Barbados, Canada, and Germany. Festival appearances include the Lincoln Center Festival, the Carmel Bach Festival, the Arizona Bach Festival, the Bermuda Festival of the Performing Arts, and the Piccolo Spoleto Festival. He has performed at national conventions of the American Guild of Organists, the Association of Anglican Musicians, and the Association of Lutheran Church Musicians. A native of Wilmington, Delaware, Mr. Dettra studied at Manhattan School of Music and Westminster Choir College.
JONATHAN M. GREGOIRE ORGAN
Praised for his “expert account” of Vierne’s Carillon de Westminster by the Dallas Morning News, Dr. Jonathan M. Gregoire serves as the Organist and Associate Director of Music at St. Andrew United Methodist Church in Plano. Additionally, he is the organist for the Plano Symphony Orchestra and Plano Civic Chorus. He has performed in many noted venues throughout the United States, and international performances in the Netherlands, France, Russia, and Germany. He was a finalist in the 2014 Pistoia International Organ Competition in Italy, and named Diploma Laureate in the 2013 Mikael Tariverdiev International Organ Competition, receiving special prize “Shabyt” for a solo recital and CD engagement in Kazakhstan. Dr. Gregoire earned his D.M.A. in organ performance from Arizona State University, where he worked with Dr. Kimberly Marshall. His final project investigated sustainability and organ building. He holds additional degrees with high honors from the University of Kansas, St. John’s University, and the Interlochen Arts Academy, where his instructors include Dr. Kimberly Marshall, Dr. James Higdon, Dr. Michael Bauer, Dr. Kim Kasling, and Mr. Thomas Bara. Currently, he is a student of Professor Stefan Engels at Southern Methodist University in the highly selective Artist Diploma program. www.jonathangregoire.com
MONICA CZAUSZ ORGAN
Monica Czausz recently began her fifth year of study with renowned Professor Ken Cowan at Rice University's Shepherd School of Music in Houston, Texas, where she is pursuing the five-year combined Bachelor of Music/Master's Degree program in Organ Performance to be completed in May 2017. Since September 2015 she has been serving as Cathedral Organist at Christ Church Cathedral (Episcopal) in Houston. She has been recognized as one of the top 20 organists under 30 and was featured in the May 2016 issue of The Diapason. She has received first prize in numerous competitions, including the 2015 AGO Regional Competition for Young Organists (Region VII: Southwest), 2015 Schweitzer, 2013 William C. Hall, 2012 L. Cameron Johnson, and 2011 Oklahoma City University Competitions. An increasingly sought-after recitalist, this summer she performed at the 2016 National Convention of the AGO in Houston both as a "Rising Star" and as Cathedral Organist for Evensong at Christ Church Cathedral. She also performed a full-length program at the 2016 Organ Historical Society National Convention in Bryn Athyn, Pennsylvania. She was featured at the 2015 OHS National Convention in Western Massachusetts, the 2015 AGO Regional Convention in Fort Worth, Texas, and the 2015 East Texas Organ Festival in Kilgore, Texas, where The Tracker reported, “This young lady just blew us all away.”
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 Oâ€™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 Earnest 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 Linda B. and John S. McFarland 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
CHOOSE 4 CONCERTS GET FOUR SEASONS OR JOHN WILLIAMS FREE SUBSCRIBE TODAY!
OCTOBER 23 | 3PM
The Altura Winds
woodwind and piano quintets
Trinity United Methodist Church 1001 Avenue D Carrizozo, NM 88301 OCTOBER 24 | 10AM
Carrizozo School â€“ Old Gym 800 Avenue D Carrizozo, NM 88301 APRIL 21
Shtrykov-Tanaka Duo Trinity United Methodist Church 1001 Avenue D Carrizozo, NM 88301
© Tracy Martin © Tracy Martin
© Mark Kitaoka
D S O AT N O R T H PA R K
NorthPark Center has been called the “Central Park of Dallas,” a gathering place for so many. Since 1965, it has held a treasured spot in the hearts of those who live here. And we have the Nasher-Haemisegger Family to thank for that legacy and the community that the space provides. To commemorate NorthPark Center’s 50th Anniversary, starting last season, the Dallas Symphony and NorthPark Center announced a new musical partnership that brings free performances by the DSO and its musicians to venues throughout the center. The partnership was launched on October 17, 2015, with an outdoor performance in NorthPark’s CenterPark Garden. Assistant Conductor Karina Canellakis and Music Director Jaap van Zweden led the DSO in popular classical favorites and a full performance of Beethoven’s beloved Symphony No. 5. The lawn and adjacent restaurants were full of families and neighbors who came out on the beautiful fall evening to enjoy the music. This year, the partnership continues on Saturday, October 15 at 7:00PM in the CenterPark Garden. Maestro van Zweden will lead the DSO in a
performance of Tchaikovsky’s lively Symphony No. 4. Admission to the event is free. “While retail is the core of our business, what truly distinguishes NorthPark Center from any other shopping center in the country is our presentation of world-class art and the highest quality artistic and cultural experiences throughout the year, including the annual Dallas Symphony Orchestra Concert in the Park,” said Nancy A. Nasher, President and Co-Owner of NorthPark Center. In addition to the full orchestra performance, small chamber groups of DSO musicians will perform throughout the Center each year. During the inaugural season, this partnership saw performances of woodwind quintets, world music drummers and brass ensembles, truly spotlighting the range and excitement of the players of the Dallas Symphony Orchestra. Performance dates and ensembles for the 2016/17 season will be announced later this fall. “The partnership with NorthPark demonstrates their long-held commitment to be a source of inspiration and aspiration to its visitors,” said Jonathan Martin, President & CEO of the Dallas Symphony Orchestra. “The DSO is proud to perform at the Center and to share music with the 39 community of Dallas.”
INSTITUTIONAL GIVING Thank you to the generous organizations that provide annual support to the Dallas Symphony. Each season nearly 250,000 people are inspired and enriched by our artistic, educational and community engagement initiatives. For corporate giving contact Kelly Halaszyn, at 214.871.4027 or K.Halaszyn@DalSym.com. For foundation and government relations contact Liza Voznessenskaia, at 214.871.4070 or L.Voznessenskaia@DalSym.com.m.
Anonymous Best Foundation
$50,000 - $99,999
AT&T Bank of America BDO USA, LLP The Brian J. Ratner Foundation 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 Gittings 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 Ernst & Young LLP
JPMorgan Chase & Co. 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 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
THANK YOU FOR A VERY SUCCESSFUL EVENING!
MARENA AND ROGER GAULT GALA CHAIRS
– SHERWOOD NOËL WAGNER HONORARY GALA CHAIR
– MARGARET AND BARRY HANCOCK KRISTI AND RON HOYL GALA UNDERWRITING CHAIRS
Gala Host Committee Barbara and Don R. Averitt Sharon and Maurice Ballew Diane and Hal Brierley Allison and Brett Brodnax Wendy and Charles Brower Kevin Bryant Nan-Elizabeth Byorum Jennifer and Coley Clark Barbara and John Cohn Katherine and Key Coker Janie and David Condon Lisa and Clay Cooley Barbara and Don Daseke Jennifer and Richard Dix Vallerie and Arnim Dontes Barbara and Steve Durham Laree Hulshoff and Ben Fischer Bonnie L. Floyd, M.D. Rebecca and Ron Gafford
Susan and Mark Geyer Linda L. Burk, M.D. and John R. Gilmore, M.D. Kara and Randall Goss Myriam and Randall Graham Dawn and Toby Grove Lauralee and Robert Gunby Nancy A. Nasher and David J. Haemisegger Linda and Mitch Hart Kathy and Richard Holt Colleen O'Connor and Joe Hubach Doris and Jack Jacobs Kristy and Dan Jeakins Lendy and Wilson Jones Yon Y. Jorden Margo and Jim Keyes Cece Smith and Ford Lacy Dianne and Mark H. LaRoe Paula and Alan Mann Shirley and Bill McIntyre
NICHOLAS BOULLE AFTER-PARTY CHAIR
After-Party Host Committee Alexander Bolton Caroline Carr Molly and Justin Cox Sarah Frazee Christina Geyer Shelby and Travis Goff
Melissa and Andrew McRoberts Fay and Ken Moraif Anne and Tom Motlow Patti and Blaine Nelson Mary and Bob Potter Allyson and Steven M. Rahn Carolyn and Karl Rathjen Patricia and Brian Ratner Stefanie Schneidler and Jeffrey Robinson Anita and Merlyn Sampels Lisa and Bob Segert Katherine and Steven Smethie Linda and Tom Smith Melissa Ruman Stewart and Paul Stewart Barbara and Bob Sypult Bonnie and Ted Uzelac Lissa Noël Wagner Nikki and Crayton Webb Donna and Herb Weitzman Karen and Jim Wiley Judy and Stan Woodward
ANNA-SOPHIA VAN ZWEDEN
HONORARY AFTER-PARTY CHAIR
Amy and Wade Havins Marjon and Gibbs Henderson Mark Joseph Lafferty II Julian Leaver Marielle LeMasters Javier Burkle and Mason McCleskey Elizabeth Metzger Elizabeth and Kevin Phillips
Graeme Ross Jane Rozelle Krystal Schlegel Lisa Collins and Andrew Shaddock Chuck Steelman Houstoun Gerard Waring Sara and Bill Woodall
A special thanks to the individuals, businesses, and foundations who contributed to the evening’s remarkable success.
GALA CONCERT SPONSOR
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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SYMPHONY STORE E L E G A N T G I F T S • F I N E J E W E L RY • C H I L D R E N ’ S IT E M S LOCATED ON THE LOWER LEVEL
NAMED ENDOWMENTS ORCHESTRA ENDOWMENTS Gina Bachauer Fund for Young Artists Lucile and Clarence Dragert Guest Artist Fund Rita Sue and Alan Gold Fund for the Lynn Harrell Young Artist Competition Cecil and Ida Green Guest Artist Fund The Linda and Mitch Hart Domestic Touring Fund The Linda and Mitch Hart International Touring Fund The Linda and Mitch Hart Musicians Retirement Fund Jeanne R. Johnson Fund for Artistic Excellence Fannie and Stephen S. Kahn Orchestra Travel Fund Herman W. and Amelia H. Lay Family Fund for Organ Soloists Eugene McDermott Orchestra Fund Eugene McDermott Touring Fund Meyerson Family Artistic Excellence Fund Nancy P. and John G. Penson Dallas Symphony Orchestra Recording Fund Pollock Family Fund for Music Library Contents Robinson Family Fund Anita and Merlyn Sampels Guest Artist Fund The Charlie and Sadie Seay Endowment Fund for Artistic Excellence Norma and Don Stone New Music Fund
For more information about Named Endowments supporting the Dallas Symphony, please contact Toni Miller at 214.871.4078 or T.Miller@DalSym.com.
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
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
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
Ginny and John Eulich
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
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
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
Emme Sue and Jerome J. Frank
Patron Service Center Extension
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)
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
DALLAS SYMPHONY ASSOCIATION ADMINISTRATIVE STAFF EXECUTIVE OFFICE Jonathan Martin, President & CEO
Judy Hammons, Assistant to President & CEO Gillian Friedman, Director of SOLUNA Projects Sarah Whitling, Special Projects Administrator
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 Operations Manager Callie Massey, Chorus Administrator Margaret M. Moore, Associate Artistic Administrator Chris Muñoz, Director of Operations
GUEST SERVICES CENTER
Logan Heinsch, Director of Guest Services Paula N. Anderson, Guest Services Manager Kathryn Barrett, Symphony Store Manager Anthony Henson, Guest Services Coordinator Charles Hudgins, Guest Services Manager Stamos Martin, Guest Services Coordinator Brooke Stelmazewski, Guest Services Concert Supervisor
COMMUNICATIONS Denise McGovern, Director 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 James Leffler, Director of Legacy & Leadership Gifts 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 Anricka Ziller, Events Coordinator
HUMAN RESOURCES + FACILITIES
Debi Peña, Vice President of People and Facilities Amanda Cook, Payroll + Human Resources Manager James Nugent, III, Office Services Coordinator Breanna Turnley, Community + HR Liaison
FINANCE AND ADMINISTRATION
Randy Leiser, Vice President of Finance Carl Baines, Desktop + Systems Administrator Leann 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 Monique Travenia, Group Sales Representative Jena Tunnell, Advertising Sales Manager Laura Urdaneta, Marketing Manager, Classical, REMIX + Organ Courtney Zimmerman, Director of Marketing
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THE UNIVERSIT Y OF TE X AS AT DALL AS
Ingenuity. It’s our legacy and our future.
In 1962, our founders—Erik Jonsson, Cecil Green and Eugene McDermott—stood in the middle of a vast field and imagined a world-class university, a think tank that would be a catalyst for fueling new-age industries in the Southwest. They were entrepreneurs— remarkable visionaries with an audacious, ingenious dream. Bold, innovative thinking has always been ingrained in our culture and it drives our future.