InTune — The Houston Symphony Magazine — March 2019 by Houston Symphony

THE HOUSTON SYMPHONY MAGAZINE

MARCH 2019

DEBUSSY’S LA MER 20

BELL PLAYS BEETHOVEN 26

STAR WARS: A NEW HOPE—IN CONCERT 30

CARMINA BURANA 34

March 8, 9 & 10

March 15, 16 & 17

March 22, 23 & 24

March 29, 30 & 31

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InTUNE | M A R C H

2019

Programs

Debussy's La Mer March 8, 9 & 10 ��20 Bell Plays Beethoven March 15, 16 & 17 ��26 Star Wars: A New Hope—in Concert March 22, 23 & 24 ��30 Carmina Burana March 29, 30 & 31 ��34

Features

Letter to Patrons ��2 Concert Preview: Cirque de la Symphonie �� 18 Notes From the Soloist: Brinton Averil Smith �� 41 Backstage Pass with Christian Schubert ��52

Events

2019 Houston Symphony Ball �� 16

Your Houston Symphony

Your Symphony Experience . . . . . . . . . . . . . . . . . . . . . . . . 4 Andrés Orozco-Estrada, Music Director . . . . . . . . . . . . . . . . 6 Upcoming Broadcasts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Orchestra Roster ��8 Society Board of Trustees ��9 Staff Listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Houston Symphony Chorus . . . . . . . . . . . . . . . . . . . . . . . 12

Our Supporters

Vision 2025 Implementation Fund . . . . . . . . . . . . . . . . . . 14 New Century Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Leadership Council . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Houston Symphony Donors . . . . . . . . . . . . . . . . . . . . . . . . 43 Young Associates Council . . . . . . . . . . . . . . . . . . . . . . . . . 45 Chorus Endowment Donors . . . . . . . . . . . . . . . . . . . . . . . 45 Corporate, Foundation and Government Partners ��46 Capital Investments ��47 In-Kind Donors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Houston Symphony Endowment . . . . . . . . . . . . . . . . . . . . 48 Legacy Society & In Memoriam . . . . . . . . . . . . . . . . . . . . 49 Education and Community Engagement Donors . . . . . . . . . 50 Musician Sponsorships . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Hear Joshua Bell conduct and play Beethoven.

InTUNE is published by the Houston Symphony.

LETTER TO PATRONS MARCH 2019

Spring is in the air at the Houston Symphony! With fabulous concerts each weekend, March is one of our busiest and most exciting months this season. We begin with two weekends of concerts featuring three Grammy Award®-winning classical stars. Mezzo-soprano Susan Graham returns to Jones Hall to sing Berlioz’ ravishing Les nuits d’été as part of an all-French program led by conductor Ludovic Morlot, and violinist Joshua Bell plays and conducts favorite works by Beethoven.

InTune is produced by the Houston Symphony’s Marketing and Communications department. Calvin Dotsey. . . . . . . . . . . . . . . . . . . Publications Editor Melanie O’Neill. . . . . . . . . . . . . . . . . Publications Designer Elaine Reeder Mayo. . . . . . . . . . . . . . . . . . . . . . . . . . Editorial Consultant Shweiki Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Printing Ventures Marketing Group. . . . . . . . . . . . . . . . . . . Advertising The Houston Symphony is a non-profit organization that relies on the support of our generous donors. Presenting nearly

170 concerts annually with an ensemble of 88 full-time professional musicians, the Symphony is Houston’s largest performing arts organization. We enrich the lives of thousands through more than 900 annual community-based performances and inspiring classroom visits. Your support enables us to continue creating innovative and commanding musical experiences. The activities and projects of the Houston Symphony are funded in part by grants from the City of Houston, the National Endowment for the Arts and the Texas Commission on the Arts. The Houston Symphony currently records under its own label, Houston Symphony Media Productions, and for Pentatone and Naxos. Houston Symphony recordings are also available on the Telarc, RCA Red Seal, Virgin Classics and Koch International Classics labels. Cameras, Recorders, Cell Phones & Pagers

Cameras and recorders are not permitted in the hall. Patrons may not use any device to record or photograph performances. Please silence cell phones, pagers and alarm watches and refrain from texting during performances. All content © 2019. Contents cannot be reproduced in any manner, whole or in part, without written permission from the Houston Symphony or InTune Magazine.

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We then present John Williams’ complete Academy Award®winning score to Star Wars: Episode IV—A New Hope live as the film plays on a giant screen suspended above the orchestra. The month concludes with epic performances of Carmina Burana, featuring the staggering sound of more than 150 members of the Houston Symphony Chorus, plus stellar solos from Laura Claycomb, Matthew Grills and Reginald Smith Jr., all conducted by Yaniv Dinur. Principal Cello Brinton Averil Smith opens the program with a special performance as soloist in Eugen d’Albert’s rarely performed, ravishing Cello Concerto. Next month, former Principal Pops Conductor Michael Krajewski returns to Jones Hall to conduct one of his most successful creations: Cirque de la Symphonie, complete with all-new music and acrobatics. Learn more about this spectacular show on page 18. Thank you for joining us for this performance, and we hope to see you back at Jones Hall soon.

John Mangum Executive Director/CEO Margaret Alkek Williams Chair

To place your advertising in InTune, please contact : Matt Ross • Ventures Marketing Group 713.417.6857 • matt@venturesmarketing.com Thank you for patronizing our advertisers. Please tell them the Houston Symphony’s InTune sent you!

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HOUSTON symphony JONES HALL FOR THE PERFORMING ARTS 615 Louisiana St. Suite 102 Houston, TX 77002

PATRON SERVICES

713.224.7575 Mon–Sat | 12pm–6pm patronservices@houstonsymphony.org

GROUP SALES

713.238.1435 Mon–Fri 9am–5pm groupsales@houstonsymphony.org

ADMINISTRATIVE OFFICES 713.238.1420 Mon–Fri 9am–5pm

YOUR SYMPHONY EXPERIENCE JONES HALL

ETIQUETTE

Sixty-six foot ceilings, scarlet carpet, teakwood and travertine marble greet visitors to Jones Hall, the home of the Houston Symphony. Opened in 1966, Jones Hall has a uniquely designed movable ceiling that enables the auditorium to shrink or expand from approximately 2,150 to 2,900 seats.

For Classical concerts, if a work has several movements it is traditional to hold applause until the end of the last movement. If you are unsure when a piece ends, check the program or wait for the conductor to face the audience. If you feel truly inspired, however, do not be afraid to applaud! Brief applause between movements after an exceptional performance is always appreciated.

PRELUDE PRE-CONCERT CONVERSATIONS Led by Musical Ambassador Carlos Andrés Botero, Prelude Pre-Concert Conversations are held 45 minutes in advance of each Classical Series performance and provide interesting insights into composers and their works.

DEVICES Please silence all electronic devices before the performance. Photography and audio/video recordings of these peformances are strictly prohibited.

FOOD & DRINK POLICY Encore Café offers a selection of food and drink options before performances and during intermission; we also have several bars located throughout the concert hall where you may purchase beer, wine and mixed drinks. However, food or drinks are prohibited in the auditorium for Classical Series performances. Drinks (in plastic containers) are allowed for POPS concerts and some Symphony Specials.

LOST AND FOUND For lost and found inquiries please contact Front of House Manager Sarah Rendón, during the performance. She also can be reached at sarah.rendon@houstonsymphony.org. You also may contact Houston First after the performances at 832.487.7050.

CONNECT WITH US | facebook.com/houstonsymphony twitter.com/housymphony instagram.com/housymphony youtube.com/hsymphony 4 | Houston Symphony

#HOUSTONSYMPHONY

CHILDREN Children ages six and up are welcome to all Classical, POPS and Symphony Special concerts. Children of all ages are welcome at BBVA Compass Family Series performances. Children must have a ticket for all ticketed events.

LATE SEATING Each performance typically allows for late seating, which is scheduled in intervals and determined by the conductor. Our ushers and front of house manager will instruct you on when late seating is allowed.

TICKETS Subscribers to six or more Classical or POPS concerts, as well as BBVA Compass Family Subscribers, may exchange their tickets at no cost. Smaller package subscribers and Single Ticket purchasers may exchange their tickets for a nominal fee. Tickets to Symphony Specials are ineligible for exchange. If you are unable to make a performance, your ticket may be donated prior to the concert for a tax-donation receipt. Donations and exchanges may be made in person , over the phone or online.

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OROZCO-ESTRADA MUSIC DIRECTOR

ROY AND LILLIE CULLEN CHAIR Andrés Orozco-Estrada has served as the Houston Symphony’s music director and as chief conductor of the Frankfurt Radio Symphony Orchestra since the 2014-15 season. He was also appointed by the London Philharmonic Orchestra in September 2015 as its principal guest conductor. In the 2021-22 season he becomes chief conductor of the Vienna Symphony. Andrés conducts many of the world's leading orchestras, including the Vienna Philharmonic, the Berlin Philharmonic, the Staatskapelle Dresden, the Leipzig Gewandhaus Orchestra, the Royal Concertgebouw Orchestra, the Orchestra dell'Accademia Nazionale di Santa Cecilia and the Orchestre National de France, as well as major American orchestras in Philadelphia, Pittsburgh, Cleveland and Chicago. He has also led many successful concerts and opera performances at the Glyndebourne, Salzburg and at Styriarte festivals. Highlights of the 2018-19 season include his concert with the Vienna Philharmonic at Mozart Week Salzburg and a new production of Rigoletto at the Staatsoper Unter den Linden in Berlin. He also conducts his debut concert at the BBC Proms with the London Philharmonic Orchestra and leads the Chamber Orchestra of Europe for the first time. As a guest he returns to the Staatskapelle Dresden, the Mahler Chamber Orchestra, the Chicago Symphony Orchestra and the Philadelphia Orchestra. He and his Frankfurt Radio Symphony Orchestra also perform Strauss’ Elektra in Frankfurt and Dortmund. In December he leads the Vienna Symphony with Beethoven’s Ninth Symphony. Andrés also continues his commitment to young musicians, conducting a concert with the Karajan Academy of the Berlin Philharmonic and leading a joint education project of the Tonhalle Orchestra Zurich with the Filarmónica Joven de Colombia, with whom he then goes on tour. His record releases with Pentatone have attracted great attention. He was praised for his “beguiling recording” (Gramophone) of Stravinsky’s The Firebird and The Rite of Spring with the Frankfurt Radio Symphony Orchestra, and his recording of Richard Strauss’ Alpine Symphony with the same orchestra earned him a reputation as “a fine Straussian” (Gramophone). With the Houston Symphony he has recorded Dvořák’s last four symphonies, a “vital Dvořák with warm colors” (Pizzicato). In addition, he has also recorded the complete symphonies of Brahms and Mendelssohn. Born in Medellín, Colombia, Andrés Orozco-Estrada began his musical education with the violin. He received his first conducting lessons at 15 and went to study in Vienna in 1997, where he entered the conducting class of Uroš Lajovic (a pupil of the legendary Hans Swarowsky) at the prestigious University of Music and Performing Arts. Andrés lives in Vienna. 6 | Houston Symphony

Tune in to Houston Public Media News 88.7 FM Sunday nights at 8pm to hear great performances from past Houston Symphony concerts. You can also listen Wednesday nights at 8pm online through Houston Public Media's digital Classical station.

MARCH 2019 BROADCAST SCHEDULE ALL BROADCASTS AIR AT 8PM March 3 | News 88.7 March 6 | Classical RECORDED: Jan. 25, 27–28, 2018

March 10 | News 88.7 March 13 | Classical RECORDED: Mar. 22–25, 2012

March 17 | News 88.7 March 20 | Classical RECORDED: Feb. 2–4, 2018

March 24 | News 88.7 March 27 | Classical RECORDED: Feb. 15–18, 2018

Omer Meir Wellber, conductor Simone Lamsma, violin Mozart: Overture and Ballet Music from Idomeneo Britten: Violin Concerto Tchaikovsky: Symphony No. 4

Hans Graf, conductor Mozart: Serenade No. 10 in B-flat major, K.361 (Gran Partita) Stravinsky: Apollon musagète Mozart: Serenade in G major, K.525 (Eine kleine Nachtmusik)

Fabien Gabel, conductor Collin Currie, percussion Bernstein: Overture to Candide Corigliano: Conjurer for Percussionist, Strings and Brass Ibert: Ports of Call Aubert: Habañera Ravel: Suite No. 2 from Daphnis and Chloé

Andrés Orozco-Estrada, conductor Sami Junnonen, flute Bernstein: Three Dance Episodes from On the Town J. López: Lago de Lágrimas Dvořák: Symphony No. 7 ENCORE Bernstein: Overture to West Side Story

March 31 | News 88.7 April 3 | Classical RECORDED: Jan. 12–14, 2007

Hans Graf, conductor Houston Symphony Chorus, Charles Hausmann, director Bruckner: Ave Maria for Chorus Bruckner: Symphony No. 8

InTUNE — March 2019 | 7

ROSTER

ORCHESTRA Andrés Orozco-Estrada Music Director Roy and Lillie Cullen Chair FIRST VIOLIN Position Vacant, Concertmaster Max Levine Chair Eric Halen, Co-Concertmaster Ellen E. Kelley Chair Qi Ming, Assistant Concertmaster Fondren Foundation Chair Marina Brubaker Tong Yan MiHee Chung Sophia Silivos Rodica Gonzalez Ferenc Illenyi** Si-Yang Lao Kurt Johnson Christopher Neal Sergei Galperin Boson Mo* Jenna Barghouti*

DOUBLE BASS Robin Kesselman, Principal Timothy Dilenschneider, Associate Principal Mark Shapiro Eric Larson Andrew Pedersen Burke Shaw Donald Howey Michael McMurray FLUTE Aralee Dorough, Principal General Maurice Hirsch Chair Matthew Roitstein, Associate Principal Judy Dines Kathryn Ladner PICCOLO Kathryn Ladner OBOE Jonathan Fischer, Principal Lucy Binyon Stude Chair Anne Leek, Associate Principal Colin Gatwood Adam Dinitz

SECOND VIOLIN MuChen Hsieh, Principal Hitai Lee Mihaela Frusina Annie Kuan-Yu Chen Jing Zheng Martha Chapman Tianjie Lu Anastasia Sukhopara Tina Zhang Jordan Koransky Lindsey Baggett* Katrina Bobbs Savitski*

ENGLISH HORN Adam Dinitz

VIOLA Wayne Brooks, Principal Mr. & Mrs. Jesse B. Tutor Legacy Society Chair Joan DerHovsepian, Associate Principal George Pascal, Assistant Principal Wei Jiang Linda Goldstein Sheldon Person Fay Shapiro Daniel Strba Jarita Ng Phyllis Herdliska CELLO Brinton Averil Smith, Principal Janice and Thomas Barrow Chair Christopher French, Associate Principal Anthony Kitai Louis-Marie Fardet Jeffrey Butler Maki Kubota Xiao Wong Charles Seo Emileigh Vandiver* James R. Denton** Community-Embedded Musicians David Connor, double bass Rainel Joubert, violin Patricia Quintero Garcia, violin Alexa Sangbin Thomson, viola

8 | Houston Symphony

Steven Reineke Principal POPS Conductor Robert Franz Associate Conductor Betsy Cook Weber Director, Houston Symphony Chorus

CLARINET Mark Nuccio, Principal Thomas LeGrand, Associate Principal Christian Schubert Alexander Potiomkin E-FLAT CLARINET Thomas LeGrand BASS CLARINET Alexander Potiomkin Tassie and Constantine S. Nicandros Chair BASSOON Rian Craypo, Principal Eric Arbiter, Associate Principal Elise Wagner

HORN William VerMeulen, Principal Robert Johnson, Associate Principal Jesse Clevenger*, Assistant Principal Brian Thomas Nancy Goodearl Ian Mayton TRUMPET Mark Hughes, Principal George P. and Cynthia Woods Mitchell Chair John Parker, Associate Principal Robert Walp, Assistant Principal Richard Harris TROMBONE Allen Barnhill, Principal Bradley White, Associate Principal Phillip Freeman BASS TROMBONE Phillip Freeman TUBA Dave Kirk, Principal TIMPANI Leonardo Soto, Principal Matthew Strauss, Associate Principal PERCUSSION Brian Del Signore, Principal Mark Griffith Matthew Strauss HARP Megan Conley, Principal** KEYBOARD Scott Holshouser, Principal *Contracted Substitute ** On Leave

CONTRABASSOON Position Vacant

Orchestra Personnel Manager Michael Gorman

Librarian Thomas Takaro

Assistant Orchestra Personnel Manager Josh Hall

Assistant Librarians Aspen McArthur Michael McMurray

Interim Stage Manager José Rios

Stage Technicians Nick DiFonzo Ryan Samuelsen David Stennis Stefan Stout

TRUSTEES

2018–19 SEASON

SOCIETY BOARD of

PAST PRESIDENTS OF THE HOUSTON SYMPHONY SOCIETY

Executive Committee Janet F. Clark President Steven P. Mach Immediate Past President

Bobby Tudor Chairman Paul R. Morico General Counsel

Mike S. Stude Chairman Emeritus Barbara McCelvey Secretary

Danielle Batchelor Chair, Popular Programming Barbara J. Burger Chair, Finance Brett Busby Chair, Artistic & Orchestra Affairs Mary Kathryn Campion, Ph.D. Chair, Pension Brad W. Corson Chair, Governance & Leadership Viviana Denechaud Chair, Development Tracy Dieterich Chair, Community Partnerships Mary Lynn Marks Chair, Volunteers & Special Events

Billy McCartney Chair, Education Robert Peiser^ At Large Alexandra Pruner^ President, Houston Symphony Endowment David Pruner Chair, Strategic Planning Manolo Sánchez Chair, Marketing & Communications Jesse B. Tutor Immediate Past Chair, Chair, Audit Maureen Higdon^ President, Houston Symphony League

Andrés Orozco-Estrada^ Music Director John Mangum^ Executive Director/CEO Adam Dinitz^ Musician Representative Mark Hughes^ Musician Representative Mark Nuccio^ Musician Representative Christine Kelly-Weaver^ Assistant Secretary ^Ex-Officio

GOVERNING DIRECTORS Farida Abjani Michael W. Adler Marcia Backus Janice Barrow** Danielle Batchelor Gary Beauchamp Marie Taylor Bosarge Ralph Burch Barbara J. Burger Brett Busby Andrew Calder Janet F. Clark Michael H. Clark Brad W. Corson Viviana Denechaud

Michael Doherty Terry Elizabeth Everett Ronald G. Franklin Sippi Khurana, M.D. Rochelle Levit, Ph.D. Cora Sue Mach ** Steven P. Mach Paul M. Mann, M.D. Jay Marks ** Mary Lynn Marks Rodney Margolis** Billy McCartney Barbara McCelvey Alexander K. McLanahan ** Paul R. Morico

Robert Orr Cully Platt David Pruner John Rydman** Helen Shaffer ** Jim R. Smith Miles O. Smith Mike S. Stude ** William J. Toomey II Bobby Tudor ** Betty Tutor ** Jesse B. Tutor ** Judith Vincent Margaret Alkek Williams **

Scott Wulfe David Wuthrich Ex-Officio Mary Kathryn Campion, Ph.D. Tracy Dieterich Adam Dinitz Maureen Higdon Mark Hughes Nina McGlashan Mark Nuccio Gloria Pryzant **Lifetime Trustee

TRUSTEES Philip Bahr Devinder Bhatia, M.D. James M. Bell Nancy Shelton Bratic Terry Ann Brown** Dougal Cameron Mary Kathryn Campion, Ph.D. John T. Cater ** Evan Collins, M.D., MBA Andrew Davis, Ph.D. Tracy Dieterich Kelli Cohen Fein, M.D. Jeffrey B. Firestone Eugene Fong Julia Anderson Frankel Betsy Garlinger Evan B. Glick

Susan Hansen Gloria G. Pryzant Eric Haufrect, M.D. Tadd Pullin Gary L. Hollingsworth, M.D. Richard Robbins, M.D. Brian James J. Hugh Roff Jr. ** Joan Kaplan Miwa Sakashita Manolo Sánchez I. Ray Kirk, M.D. Ed Schneider Ulyesse LeGrange ** Carlos J. Lopez Michael E. Shannon ** Michael Mann, M.D. Kafi Slaughter Jack Matzer Robert Sloan, D.D. Theol. Jackie Wolens Mazow Tad Smith Gary Mercer Ishwaria Subbiah, M.D. Marilyn Miles L. Proctor (Terry) Thomas Janet Moore Shirley W. Toomim Bobbie Newman Margaret Waisman, Scott Nyquist M.D. Edward Osterberg Jr. Fredric Weber Robert A. Peiser** Mrs. S. Conrad Weil

Robert Weiner Vicki West Steven J. Williams Frank Wilson Ed Wulfe ** Ellen A. Yarrell Robert Yekovich Frank Yonish Ex-Officio Ann Ayre Jennifer Gravenor Alexandra Pruner Art Vivar Jessie Woods **Lifetime Trustee

Mrs. Edwin B. Parker Miss Ima Hogg Mrs. H. M. Garwood Joseph A. Mullen, M.D. Joseph S. Smith Walter H. Walne H. R. Cullen Gen. Maurice Hirsch Charles F. Jones Fayez Sarofim John T. Cater Richard G. Merrill Ellen Elizardi Kelley John D. Platt

E.C. Vandagrift Jr. J. Hugh Roff Jr. Robert M. Hermance Gene McDavid Janice H. Barrow Barry C. Burkholder Rodney H. Margolis Jeffrey B. Early Michael E. Shannon Ed Wulfe Jesse B. Tutor Robert B. Tudor III Robert A. Peiser Steven P. Mach

PAST PRESIDENTS OF THE HOUSTON SYMPHONY LEAGUE Miss Ima Hogg Mrs. John F. Grant Mrs. J. R. Parten Mrs. Andrew E. Rutter Mrs. Aubrey Leno Carter Mrs. Stuart Sherar Mrs. Julian Barrows Ms. Hazel Ledbetter Mrs. Albert P. Jones Mrs. Ben A. Calhoun Mrs. James Griffith Lawhon Mrs. Olaf LaCour Olsen Mrs. Ralph Ellis Gunn Mrs. Leon Jaworski Mrs. Garrett R. Tucker Jr. Mrs. M. T. Launius Jr. Mrs. Thompson McCleary Mrs. Theodore W. Cooper Mrs. Allen W. Carruth Mrs. David Hannah Jr. Mary Louis Kister Mrs. Edward W. Kelley Jr. Mrs. John W. Herndon Mrs. Charles Franzen Mrs. Harold R. DeMoss Jr. Mrs. Edward H. Soderstrom

Mrs. Lilly Kucera Andress Ms. Marilou Bonner Mrs. W. Harold Sellers Mrs. Harry H. Gendel Mrs. Robert M. Eury Mrs. E. C. Vandagrift Jr. Mrs. J. Stephen Marks Terry Ann Brown Nancy Strohmer Mary Ann McKeithan Ann Cavanaugh Mrs. James A. Shaffer Lucy H. Lewis Catherine McNamara Shirley McGregor Pearson Paula Jarrett Cora Sue Mach Kathi Rovere Norma Jean Brown Barbara McCelvey Lori Sorcic Jansen Nancy B. Willerson Jane Clark Nancy Littlejohn Donna Shen Dr. Susan Snider Osterberg Dr. Kelli Cohen Fein Vicki West Mrs. Jesse Tutor Darlene Clark Beth Wolff

PAST PRESIDENTS OF THE HOUSTON SYMPHONY LEAGUE BAY AREA Fran Strong Selma Neumann Julia Wells Dagmar Meeh Priscilla Heidbreder Harriett Small Nina Spencer Elizabeth Glenn Ebby Creden Charlotte Gaunt Norma Brady Cindy Kuenneke Helen Powell Sharon Dillard Diane McLaughlin Roberta Liston Suzanne Hicks Sue Smith

Shirley Wettling Jo Anne Mills Phyllis Molnar Pat Bertelli Emyre B. Robinson Dana Puddy Angela Buell Pat Brackett Joan Wade Yvonne Herring Deanna Lamoreux Glenda Toole Carole Murphy Patience Myers James Moore Mary Voigt Martha McWilliams

FRIENDS OF JONES HALL REPRESENTATIVES Brett Busby

Ronald G. Franklin

Steven P. Mach

Barbara McCelvey InTUNE — March 2019 | 9

STAFF

ADMINISTRATIVE

The Houston Symphony Administrative Staff is made up of 66 full-time and part-time professionals who work diligently behind the scenes to ensure all operations within the organization are run effectively and efficiently. This inspiring team is dedicated to bringing the great music of the Houston Symphony to our community. SENIOR MANAGEMENT GROUP John Mangum, Executive Director/CEO, Margaret Alkek Williams Chair Pam Blaine, Chief of Education and Community Engagement Elizabeth S. Condic, Chief Financial Officer Vicky Dominguez, Chief Operating Officer Nancy Giles, Chief Development Officer Gwen Watkins, Chief Marketing Officer Christine Kelly-Weaver, Executive Assistant/Board Liaison DEVELOPMENT Michael Arlen, Associate Director, Individual Giving and Major Gifts Rachel Bosworth, Manager, Special Events Julie Busch, Manager, League Relations and Fundraising Timothy Dillow, Director, Special Events Amanda T. Dinitz, Major Gifts Officer Samuel García, Development Assistant Sydnee E. Houlette, Manager, Donor Services and Stewardship Leticia Konigsberg, Director, Corporate Relations Jessica Jelinek, Development Associate, Gifts and Records Mary Beth Mosley, Director, Institutional Giving and Stewardship Tyler Murphy, Development Officer, Major Giving Groups Shane L. Platt, Development Associate, Individual Giving Martin Schleuse, Development Communications Manager Molly Simpson, Director, Individual Giving and Major Gifts Christine Ann Stevens, Major Gifts Officer Christina Trunzo, Associate Director, Foundation & Government Grants EDUCATION AND COMMUNITY ENGAGEMENT Allison Conlan, Director, Education Emily Nelson, Associate Director, Education and Community Engagement Ana Rodriguez, Education & Community Engagement Manager Garrett Shaw, Education & Community Engagement Coordinator FINANCE | ADMINISTRATION | IT | HR Lucy Alejandro, Senior Accountant Brittany Basden, Support Engineer Robert Boyd, Budget Manager Joel James, Senior HR Manager Morgana Rickard, Controller Gabriela Rivera, Senior Accountant Anthony Stringer, Director, IT Ariela Ventura, Office Manager/HR Coordinator Lee Whatley, Senior Director, IT and Analytics

10 | Houston Symphony

MARKETING | COMMUNICATIONS | PATRON SERVICES Mark Bailes, Marketing Coordinator Shelby Banda, Patron Services Representative Joshua Chavira, Patron Services Representative Calvin Dotsey, Communications Specialist Heather Fails, Manager, Ticketing Database Kristin Hawkins, Graphic Designer Kathryn Judd, Director, Marketing Mateo Lopez, Assistant Manager, Patron Services Center Melanie O’Neill, Creative Specialist Sarah Rendón, Front of House Manager Mireya Reyna, Public Relations Coordinator Vanessa Rivera, Digital Marketing Manager Ashley Rodriguez, Patron Services Senior Representative Eric Skelly, Senior Director, Communications Jenny Zuniga, Director, Patron Services OPERATIONS | ARTISTIC Carlos Andrés Botero, Musical Ambassador Becky Brown, Director, Operations Stephanie Calascione, Artistic/Operations Assistant Anna Diemer, Chorus Manager Jessica Fertinel, Assistant to the Music Director Michael Gorman, Orchestra Personnel Manager José Rios, Interim Stage Manager Josh Hall, Assistant Orchestra Personnel Manager Aspen McArthur, Assistant Librarian Michael McMurray, Assistant Librarian Lesley Sabol, Director, Popular Programming Brad Sayles, Recording Engineer Thomas Takaro, Librarian Meredith Williams, Associate Director, Operations Rebecca Zabinski, Director, Artistic Planning

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CHORUS

HOUSTON SYMPHONY Betsy Cook Weber Director

Anna Diemer Chorus Manager Scott Holshouser Accompanist Tony Sessions Librarian/Stage Manager

The Houston Symphony Chorus, under the direction of Betsy Cook Weber since 2014, is the official choral unit of the Houston Symphony and consists of highly skilled and talented volunteer singers. Over the years, members of this historic ensemble have learned and performed the world’s great choral-orchestral masterworks under the batons of Andrés Orozco-Estrada, Hans Graf, Christoph Eschenbach, Robert Shaw and Helmut Rilling, among many others. In addition, the Chorus enjoys participating in the Houston Symphony’s popular programming under the batons of conductors such as Steven Reineke and Michael Krajewski. Recently, the ensemble sang the closing subscription concerts with the Prague Symphony Orchestra in the Czech Republic. Singers are selected for specific programs for which they have indicated interest. A singer might choose to perform in all 45 concerts, as was the case in a recent season, or might elect to participate in a single series. The Houston Symphony Chorus will hold its next round of auditions during the second week of May. Please contact Anna Diemer, chorus manager, at anna.diemer@houstonsymphony.org for details.

Betsy Cook Weber | Houston Symphony Chorus, Director Dr. Betsy Cook Weber was appointed director of the Houston Symphony Chorus in fall 2014. She also serves as professor of music and director of choral studies at the University of Houston’s Moores School of Music. In high demand as a conductor, clinician, adjudicator and lecturer, she has conducted performances in more than half of the states in this country. Internationally, she has conducted prizewinning performances in competitions in France, Wales, Germany and Hungary. In 2017, Betsy prepared and conducted the Houston Symphony Chorus for a series of concerts in the Czech Republic. She is editor of the Betsy Cook Weber Choral Series with Alliance Music Publishing, and in 2013, became the 13th person and first woman to receive the Texas Choral Director Association’s coveted Texas Choirmaster Award. She holds degrees from the University of North Texas, Westminster Choir College and the University of Houston.

CHORUS ROSTER | Steve Abercia Josh Adler Jennifer Agbu Bob Alban Ramona Alms Kelli Amick Lauren Andersen Keith Anthis Joe Anzaldua Christina Aranda Stuart Aron Ellis Bardin Steve Bayless Justin Becker John Bice Randy Boatright Criselda Bocanegra Harvey Bongers Jonathan Bordelon 12 | Houston Symphony

Janene Bostwick Timothy Boyer Robyn Branning Sara Brannon Nancy Bratic Jennifer Breneman James Bue Patricia Bumpus Troy Burnett Kimberly Butler James Calvert Susan Casper Victoria Cavazos Tsung-Yen Chang William Cheadle Elizabeth Chrisman Sarah Wilson Clark Nicole Colby Swatara Collins

CARMINA BURANA • March 29, 30 & 31 Paul Dabney Nicolas Dell'Anno Anna Diemer Michael Dorn Steve Dukes Emily Eads Randy Eckman Raul Enriquez Chris Fair Brianna Fernandez Amanda Fetter-Matthys Julia FitzGerald Jim Friedhofer Adam Froelich Katie Fry Joseph Frybert Rachel Gehman Sajju George Michael Gilbert

Rex Gillit Rebecca Girardet Taylor Golden White Robert Gomez Maurice Goodwin Daniel Gorelick John-Alan Gourdine Hannah Gronseth Will Hailey Julia Hall Susan Hall Jennifer Harris Jen Hart Scott Hassett Matthew Henderson Megan Henry Kathleen Holder Eileen Holshouser George Howe

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Jordan March Jarrod Martin Lisa Marut-Shriver Qwi Massingill Ken Mathews Ben May Sarah McConnell Scott Mermelstein Travis Mohle Jim Moore Shelby Murphy Teonna Murphy Robert Nash Benedict Nguyen Eliza Nicholson Rachael Niederhauser Theresa Olin David Opheim Alyssa Orlando Janwin Overstreet-Goode Bill Parker Alexandra Parkin Jennifer Paulson Noah Peak

Sydney Peltier Charnele Pendarvis-Romero Julianne Preddy Lauren Price Jayna Queen Greg Railsback Karen Ramirez Emily Reader Linda Renner Rachel Rentz Douglas Rodenberger Carolyn Rogan James Roman Alex Schaaf Gary Scullin Angela Seaman Abby Seible Tony Sessions Jeffrey Short Jeff Simmons Aubrey Smith Christopher Song Dewell Springer Mark Standridge

Ashley Stouffer Cecilia Sun Suzanne Thacker Alisa Tobin Marin Trautman Lisa Trewin Emanuel Tucker Shane Tucker Paul Van Dorn Abby Veliz Mary Voigt Heidi Walton Jo Beth Wasicek Beth Weidler Alex Weldy Kat White Lance Wilcox Lee Williams Jessica Zuniga

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Vision

2025 Implementation Fund

Vision 2025, the Houston Symphony’s 10-year Strategic Plan, describes our vision to be America’s most relevant and accessible top 10 orchestra by 2025. Since the plan was launched in 2015, the Houston Symphony has received generous contributions from hundreds of donors in support of the Vision 2025 Implementation Fund which surpassed $10 million in donations in the 2017–18 season. The fund includes support of specific initiatives that advance the goals of the Strategic Plan, such as: • The orchestra’s first multi-city European Tour in 20 years. • New and expanded education and community programming such as the industry leading Community-Embedded Musicians initiative. • Commissioning and recording initiatives such as our cycle of late Dvořák symphonies, Music of the Americas; Haydn—The Creation; and Berg: Wozzeck, which recently earned the Houston Symphony’s first Grammy Award®. In addition, in the wake of Hurricane Harvey, donors have also supported the Symphony’s Harvey Recovery Fund, allowing us to continue to work toward our vision during a challenging time. We are honored by their generous support. $1 MILLION OR MORE

The Brown Foundation, Inc. Janet F. Clark Rochelle & Max Levit

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For more information or to pledge your support for Vision 2025, please contact: John Mangum, Executive Director/CEO, 713.337.8540 Nancy Giles, Chief Development Officer, 713.337.8525 Mary Beth Mosley, Director, Institutional Giving and Stewardship, 713.337.8521 Molly Simpson, Director, Individual Giving and Major Gifts, 713.337.8526 14 | Houston Symphony

$1,000-$1,499

Mr. & Mrs. Ryan Bergauer Mr. & Mrs. Chad Blaine Edwin Friedrichs & Darlene Clark George W. Connelly Leslie Barry Davidson & W. Robins Brice Valerie Palmquist Dieterich & Tracy Dieterich Vicky Dominguez Mr. & Mrs. J. Thomas Eubank Mr. & Mrs. Christopher Frautschi Dr. Susan Gardner & Dr. Philip Scott Catherine & Brian James Nina Andrews & David Karohl Velva G. & H. Fred Levine Dr. Amy Mehollin-Ray Oklahoma City Philharmonic Toni Oplt & Ed Schneider Roland & Linda Pringle Hugh & Ann Roff Mr. & Mrs. Brad Suddarth Mr. & Mrs. Albert S. Tabor Jr. Jean & Doug Thomas Alton & Carolyn Warren General & Mrs. Jasper Welch Nancy B. Willerson

$500-$999

Mr. & Mrs. Richard M. Armes Mr. & Mrs. Ed Banner George & Florence Boerger Mr. Ken D. Brownlee & Ms. Caroline Deetjen Leone Buyse & Michael Webster Mr. & Mrs. Joseph L. Campbell Jr. David Chambers & Alex Steffler Mr. Chaing-Lin Chen Dr. Evan D. Collins Mr. & Mrs. Jeffrey Detwiler Mr. Jonathan Fischer Gillin Family Charitable Fund Bill Grieves Stephen Jeu & Susanna Calvo Mrs. Margaret Ketcham Mrs. Mariquita Masterson Mrs. Karen Mende-Fridkis ONEOK, Inc. Michael P. & Shirley Pearson Dr. & Mrs. Joseph V. Penn Patrick T. Quinn Mr. John Robertson Ms. Christine L. Scruggs Ms. Kelly Somoza Doug & Kay Wilson Robert & Michele Yekovich *deceased

New Century Society FOR ARTISTIC EXCELLENCE AND INNOVATION The New Century Society for Artistic Excellence and Innovation recognizes the Houston Symphony’s most committed and loyal supporters who have pledged their leadership support over a three-year period to help secure the orchestra’s financial future. Margaret Alkek Williams Janice Barrow Rochelle & Max Levit Cora Sue & Harry Mach John & Lindy Rydman / Spec’s Wines, Spirits & Finer Foods/ Spec’s Charitable Foundation Bobby & Phoebe Tudor Clare Attwell Glassell Albert & Ethel Herzstein Charitable Foundation Mr. John N. Neighbors Mr. & Mrs. Jim R. Smith Mike Stude Mr. & Mrs. Jesse B. Tutor

Robin Angly & Miles Smith Gary & Marian Beauchamp Barbara J. Burger Ron Franklin & Janet Gurwitch The Hearst Foundation, Inc. The Joan and Marvin Kaplan Foundation Joella & Steven P. Mach Mr. & Mrs. J. Stephen Marks Barbara & Pat McCelvey Houston Methodist Carol & Michael Linn & The Michael C. Linn Family Foundation Rand Group Mr. & Mrs. William K. Robbins Jr. / The Robbins Foundation Steven & Nancy Williams

Baker Botts L.L.P. Beauchamp Foundation Mr. & Mrs. Edward F. Blackburne Jr. Viviana & David Denechaud/ Sidley Austin LLP Stephen & Mariglyn Glenn Dave & Alie Pruner

Members SPOTLIGHT — Tim Ong and Michael Baugh Members of the Houston Symphony family since 2017, Tim Ong and Michael Baugh are Conductor’s Circle donors and a dedicated part of the Young Associates Council. They are fans of POPS concerts and foodies who enjoy many of Houston’s amazing restaurants.

Leadership COUNCIL Leadership Council donors have committed $45,000 or more in support of the Annual Fund, special projects and fundraising events over a three-year period ($15,000+ annually). Danielle & Josh Batchelor Mr. & Mrs. Walter V. Boyle Brett & Erin Busby The Elkins Foundation Mr. & Mrs. Fred L. Gorman

The Melbern G. and Susanne M. Glasscock Foundation Mr. & Mrs. U. J. LeGrange Mr. & Mrs. Rodney H. Margolis Billy & Christie McCartney

Rita & Paul Morico Ken* & Carol Lee Robertson Michael J. Shawiak Stephen & Kristine Wallace Mr. & Mrs. Fredric A. Weber

Robert G. Weiner & Toni Blankmann Mr. & Mrs. C. Clifford Wright Jr. *deceased

For more information or to pledge your support for the New Century Society or the Leadership Council, please contact: Nancy Giles, Chief Development Officer, 713.337.8525 Molly Simpson, Director, Individual Giving and Major Gifts, 713.337.8526

InTUNE — March 2019 | 15

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run away with

He flies through the air, with the greatest of ease that daring young man, on the flying trapeze. When Gaston Lyle and Albert Lee wrote that song more than 150 years ago, they could not possibly have imagined that one day daring young men and women would fly over the Houston Symphony on the Jones Hall stage. And yet, thanks to former Houston Symphony Principal Pops Conductor Michael Krajewski, that is just what audiences will see next month at Cirque de la Symphonie when the disparate worlds of the circus and the symphony orchestra are united onstage. The touring troupe of circus artists known as Cirque de la Symphonie was born 14 years ago, when Michael was approached by Alex Streltsov, an aerialist who would become Cirque de la Symphonie’s president and managing director. “The Symphony and I had been talking about creating a pops program that would incorporate Cirque de Soleil-style performers, but we weren’t sure how to do it,” Mike explained. “We came in contact with Streltsov, who had recently performed with a few orchestras. He said he knew some other acrobats and jugglers he could recruit.”

18 | Houston Symphony

“Being a Moscow native, I became very well acquainted with many circus artists from around Russia as we worked together in different projects,” Alex said. “Back in the United States, I found that there were several orchestras interested in adding a cirque element to their pops programs.” Streltsov knew that introducing “some of the best Russian artists on stage” with a symphony orchestra would be “an instant hit with audiences.” Mike agreed, and thanks to his keen instincts, it was here in Houston that the newly formed Cirque de la Symphonie made its official debut in 2006. “It was with the Houston Symphony that Cirque de la Symphonie performed for the first time ever,” Alex recalled, “so you may say this is the cradle of this company. We found Michael Krajewski to be an amazing maestro and even greater mentor. Once Mike saw our production, he quickly understood the idea behind it and made a great number of music suggestions, some of which you will hear in this program too. Though he was initially skeptical about the idea of artists flying over the heads of an orchestra, Mike said ‘Let’s do it.’” “I was very nervous during the performance,” Mike confessed. “There were juggling clubs being tossed around the stage and an aerialist soaring over the audience and orchestra. All of that was rather disconcerting. However, there were no accidents, and the program was a huge hit.”

concert PREVIEW michael KRAJEWSKI

APRIL 26, 27 & 28 • JONES HALL

CONDUCTOR

Much of Cirque’s success comes from the frisson created by circus artists performing live to great orchestral music. Mike explained, “The music is chosen to fit the length and character of the act. The performer then listens to a recording and makes adjustments to bring the act into sync with the music.” Alex elaborated, “The artists are all consummate professionals, and they spend hours working on new routines to go with the music. Once on stage, the artists appear to have been performing to the music all their lives, and the audience is riveted by the visual coordination of their movements to the energy of the symphony.”

Any orchestral concert is a feat of extraordinary coordination, agility and skill, but adding world-class circus artists takes this musical marvel to another level. “It is a stunning fusion of performances,” Alex said, “as is reflected by the enthusiasm exhibited by patrons. I enjoy working with Mike because he is so funny and a true ‘Ring Master’ of pops.” —Eric Skelly Don’t miss Cirque de la Symphonie April 26, 27 and 28! Get tickets and more information at houstonsymphony.org.

...A TRUE ‘RING MASTER’ OF POPS

—Alex Streltsov on Michael Krajewski

FEATURED PROGRAM

DEBUSSY’S LA MER Friday Saturday Sunday

March 8 March 9 March 10

8:00pm 8:00pm 2:30pm

Jones Hall

Ludovic Morlot, conductor Susan Graham, mezzo-soprano

Berlioz

Overture to Béatrice et Bénédict

ca. 8

Berlioz

Les nuits d’été, Opus 7 I Villanelle: Allegretto II Le spectre de la rose: Adagio un poco lento e dolce assai III Sur les lagunes: Andantino IV Absence: Adagio V Au cimetière: Andantino non troppo lento VI L’ile innoconue: Allegro spiritoso

ca. 32

I N T E R M I S S I O N

Roussel

Suite from Le festin de l’araignée, Opus 17

ca. 15

Debussy

La mer I De l’aube à midi sur la mer: Très lent II Jeux des vagues: Allegro III Dialogue du vent et de la mer: Animé et tumultueux

ca. 23

Did you know? • Susan Graham was born in Roswell, New Mexico, but grew up in Midland, Texas. She is also an alumna of Texas Tech University. • Ludovic Morlot made his Houston Symphony debut in June 2007 at Miller Outdoor Theatre conducting a program that included Tchaikovsky’s Fourth Symphony.

PHOTO BY DARIO ACOSTA

20 | Houston Symphony

Debussy’s La mer | Program Biographies

Program BIOGRAPHIES SHELL FAVORITE MASTERS

Ludovic Morlot | conductor

These performances are generously supported in part by:

Video enhancement of Houston Symphony concerts is made possible by the Albert and Ethel Herzstein Charitable Foundation through a special gift celebrating the foundation’s 50th anniversary in 2015.

LISA MARIE MAZZUCCO

Grand Guarantor Barbara & Pat McCelvey

Ludovic Morlot has been music director of the Seattle Symphony since 2011. During the 2018– 19 season, Ludovic and the orchestra focus on the music of Debussy and give the world premiere of Caroline Shaw’s Piano Concerto and the U.S. premiere of Pascal Dusapin’s At Swim-Two-Birds, both Seattle Symphony commissions. The orchestra’s many successful recordings have won two Grammy Awards®. This season, Ludovic’s guest engagements include this orchestra, the Melbourne Symphony Orchestra, the Bamberg Symphony and the Netherlands Radio, BBC and Bergen Philharmonic Orchestras. His 2018 summer festival appearances included the BBC Proms and Edinburgh Festival (City of Birmingham Symphony Orchestra), the Caramoor Summer Music Festival (Orchestra of St Luke’s), the Hollywood Bowl (Los Angeles Philharmonic) and the Aspen Music Festival, where he is a regular guest. He has a particularly strong connection with the Boston Symphony Orchestra having been the Seiji Ozawa Fellowship Conductor in 2001 at Tanglewood and subsequently appointed assistant conductor (2004–07). He has since conducted the orchestra in subscription concerts in Boston, at Tanglewood and on a tour to the west coast. Recent and future debuts include the Berliner Philharmoniker, Vienna Symphony (Wien Modern Festival) and the Yomiuri Nippon Symphony Orchestra. Ludovic has conducted the London Philharmonic Orchestra in London and on tour in Germany. In 2017, he conducted the inaugural concerts of the National Youth Orchestra of China in New York and China. Other recent notable performances have included the New York Philharmonic, Royal Concertgebouw, Czech Philharmonic, Staatskapelle Dresden, Budapest Festival Orchestra, Orchestre Philharmonique de Radio France and Tokyo Philharmonic Orchestra. Ludovic served as conductor-in-residence with the Orchestre National de Lyon under David Robertson (2002–04) and chief conductor of La Monnaie (2012–14). Trained as a violinist, Ludovic studied conducting at the Pierre Monteux School and continued his education in London at the Royal Academy of Music and the Royal College of Music. He was elected a Fellow of the Royal Academy of Music in 2014 in recognition of his significant contribution to music. He is chair of orchestral conducting studies at Seattle’s University of Washington School of Music.

InTUNE — March 2019 | 21

DARIO ACOSTA

Program BIOGRAPHIES , continued

Program NOTES

Susan Graham | mezzo-soprano

Overture to Béatrice et Bénédict

Susan Graham—hailed as “an artist to treasure” by The New York Times— rose to the highest echelon of international performers within just a few years of her professional debut, mastering an astonishing range of repertoire and genres along the way. Her operatic roles span four centuries, from Monteverdi’s Poppea to Sister Helen Prejean in Jake Heggie’s Dead Man Walking, which was written especially for her. Among her numerous honors are a Grammy Award® for her collection of Ives songs, Musical America’s Vocalist of the Year and an Opera News Award. As one of the foremost exponents of French vocal music, she has been recognized with the French government’s Chevalier de la Légion d’Honneur. This season, Susan reunited with Andris Nelsons and the Boston Symphony Orchestra for performances of Mahler’s Third Symphony throughout Europe. Back in the States, she made her role debut as Humperdinck’s Witch in Doug Fitch’s treatment of Hansel and Gretel at LA Opera and returned to Carnegie Hall for Mozart’s Requiem and Haydn’s Nelson Mass with the Orchestra of St. Luke’s. Further concert engagements see the mezzo reprise her signature interpretations of four great French song cycles in these performances as well as Canteloube’s Chants d'Auvergne with the Sydney Symphony Orchestra and David Robertson; Chausson’s Poème de l’amour et de la mer with Florida’s Naples Philharmonic and Andrey Boreyko; and Berlioz’ La mort de Cléopâtre with the New Zealand Symphony Orchestra under Edo de Waart. In recital, she sings Mahler and Berlioz at the Santa Fe Chamber Music Festival, while her Schumann-inspired Frauenliebe und -leben Variations program is the vehicle for further dates. Susan’s earliest operatic successes were in such trouser roles as Cherubino in Mozart’s Le nozze di Figaro. Her technical expertise soon brought mastery of more virtuosic parts, and she triumphed as Octavian in Richard Strauss’ Der Rosenkavalier and the Composer in his Ariadne auf Naxos. She sang the leading ladies in the Metropolitan Opera’s world premieres of John Harbison’s The Great Gatsby and Tobias Picker’s An American Tragedy, and made her musical theater debut in Rodgers and Hammerstein’s The King and I at Paris’ Théâtre du Châtelet. In concert, she makes regular appearances with the world’s foremost orchestras, often in French repertoire, while her distinguished discography comprises a wealth of opera, orchestral and solo recordings. Gramophone magazine has dubbed her “America’s favorite mezzo.” susangraham.com, facebook.com/MezzoGraham and twitter.com/MezzoGraham. 22 | Houston Symphony

Hector Berlioz (1803–1869)

The Gospel saying that “no prophet is accepted in his own country” was certainly true of Hector Berlioz. The French never fully recognized him in his lifetime, and Béatrice et Bénédict, his final completed work, premiered in Germany. Composed between 1860 and 1862, this opera dates from a difficult period in the composer’s life, but despite his disappointments and ill health, it is one of his lightest, most delightful creations. The opera’s plot is a simplified version of Much Ado About Nothing by Shakespeare, one of Berlioz’ favorite authors. Béatrice and Bénédict cannot stand each other, so on a lark their friends and family decide to get them together through a series of deceptions (the basic outline of the romantic comedy has changed little in 400 years). The overture brims with life and comedic touches. It begins with music taken from the opera’s ending, in which the newly married Beatrice and Benedict sing “Love is a torch…Love is a flame […] today the truce is signed; we will become enemies again tomorrow!” This impetuous opening music (the main theme of the overture) illustrates these flames of love. The Instruments: flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani and strings

Les nuits d’été, Opus 7

Hector Berlioz (1803–1869) Les nuits d’été (Summer Nights) dates from a much earlier period in Berlioz’ life. After years of stalking his celebrity crush, the great Shakespearean actress Harriet Smithson, Berlioz vented his romantic frustrations in one of the most influential pieces of music in history: his Symphonie fantastique. The work made him famous, and after threatening to commit suicide in front of Miss Smithson, she at last agreed to marry him. Though nearly everyone advised them against it, the unlikely couple wed on October 3, 1833. Despite the unusual circumstances of their courtship and straitened finances, the marriage succeeded for several years. But Harriet’s star waned as Hector’s rose, and she tragically slipped into the clutches of depression and alcoholism. Though Hector would continue to support and care for her until her death in 1854, by the early 1840s the marriage was effectively over. Given its themes of love and loss, some have speculated that Berlioz processed the breakup of his marriage through the songs of Les nuits d’été. Completed by the summer of 1841, the cycle is based on poems by Théophile Gautier, a leading Romantic in French literature. Berlioz originally composed Les nuits for mezzo-soprano or tenor voice and piano, but later orchestrated it. Today, however, the cycle is almost exclusively sung by mezzo-sopranos. This might seem odd, as the

Debussy’s La mer | Program Notes

speaker of the poems is apparently male, but could perhaps be explained by the operatic tradition of casting female singers as adolescent youths. The range of the songs in their orchestral guise also fits that of a gifted mezzo, and perhaps most compellingly, they simply sound excellent when sung by a beautiful mezzo-soprano voice. The cycle begins happily enough with a “Villanelle,” which invites the beloved to wander through the forest in springtime. “Le spectre de la rose” (“The Ghost of the Rose”), however, explores anguished passion as the ghost of a rose remembers the night it spent pinned to a beautiful woman’s gown. “Sur les lagunes” (“On the Lagoons”) turns to darker thoughts as a sailor grieves for a dead beloved, saying, “How bitter my fate is! Ah! Without love to set out on the sea!” In the following song, “Absence,” a vast distance separates the singer from the beloved. The most chilling of the songs, “Au cimetière” (“In the Cemetery”), depicts a gothic scene in which the ghost of the beloved calls to the singer from beyond the grave. Here the singer at last breaks free from grief, resolving never to return to the cemetery. In the final song, “L’île inconnue” (“The Unknown Isle”), the singer steers a fanciful ship over the open ocean, asking a new beloved “Where do you wish to go?” She answers: “Take me to the faithful shore where love lasts forever.” “That shore, my dear, is hardly known at all in the land of love,” the singer responds. The Instruments: 2 flutes, oboe, 2 clarinets, 2 bassoons, 3 horns, harp and strings

Suite from Le festin de l’araignée, Opus 17 Albert Roussel (1869-1937)

One of the leading French composers of the early 20th century, Albert Roussel led a career that is usually divided in two: before World War I he composed in a more impressionistic style, while after the war he adopted a highly personal interpretation of neoclassicism. With its delicate orchestration and evocative effects, his ballet Le festin de l’araignée (The Spider’s Feast) represents the culmination of his first period. Composed for the Théâtre des Arts in Paris, this divertissement delighted Parisian ballet lovers at its premiere in 1913, and the suite Roussel extracted from the score remains one of his most frequently performed orchestral works. Set in a garden at twilight, the ballet presented dancers fancifully costumed as different species of insects. The plot, such as it is, is thin as spider’s silk: the real interest of the ballet is in the spectacle of the insects who dance through the garden—particularly the mayfly (the prima ballerina role)—and the exquisite music Roussel wrote for them. The suite begins with a prelude, which sets the scene with a gentle flute solo. The music becomes faster at the entrance of the busy ants, who discover a flower petal and carry it back to

their mound (an event marked by a ponderous march). The fluttering music that follows accompanies the dance of the butterfly. The spider invites her to dance closer to the web until she is caught. The butterfly perishes with a moment of silence in the orchestra. Next, the mayfly hatches, beginning her brief but beautiful existence. She slowly emerges from sustained, low strings, then embarks on her dance with music from the celeste and a solo violin. Her dance whirls faster and faster, until she expires with a harp glissando. The other insects mourn her with a funeral procession marked by plodding, pizzicato lower strings. The suite ends with the return of the opening flute solo as night falls on the garden. The Instruments: 2 flutes (1 doubling piccolo), 2 oboes (1 doubling English horn), 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion, harp, celeste and strings

La mer

Claude Debussy (1862-1918) Revolutionaries are often brash, noisy characters, iconoclasts intent on shattering traditions; Debussy, however, was a quiet revolutionary. Rather than shock his listeners, he sought to seduce them with beautiful sounds long outlawed by established laws of harmony and form. In place of rules of art passed down by his professors at the Paris Conservatoire, his credo was, “There is no theory. You have merely to listen. Pleasure is the law…” Predictably, he met with resistance from the French musical establishment, who called his music “bizarre, incomprehensible and unperformable.” Their criticisms, however, are belied by the irresistible sensual appeal of his music. After the undeniable success of works such as Prelude to the Afternoon of a Faun, Nocturnes and Pelléas et Mélisande, he at last won official recognition when he was made a Chevalier of the Légion d’Honneur in 1903. Soon after, he began what is arguably his greatest masterpiece, La mer (The Sea), composed from 1903 to 1905. Debussy referred to La mer as “trois esquisses symphoniques” or “three symphonic sketches.” Though some have called La mer a symphony, it is perhaps more accurately an anti-symphony, as it deliberately eschews traditional symphonic form. Debussy’s highly original conception would suggest new possibilities to composers for generations to come. Each movement of La mer bears a poetic title. The first is “De l’aube à midi sur la mer” or “From dawn to midday on the sea.” It begins with a subdued, misty evocation of the darkness before dawn. This slow introduction accelerates and crescendos to the main body of the movement, which arrives at a moment that suggests sunrise. Throughout the movement, Debussy reveals continuously developing episodes that wash over the orchestra like waves. Each contains a series of shifting moods, colors and InTUNE — March 2019 | 23

Program NOTES , continued

textures; the flutes, double reeds and cellos seem to have special roles. Several ideas use the pentatonic scale (a five-note scale common in many cultures throughout the world) and have a distinctive East Asian sound—a sign of the influence Asian music had on Debussy (especially the Javanese gamelan music he heard at the 1889 Universal Exposition in Paris). The movement builds to a breathtaking coda in which one can hear waves crashing in the midday sun. The second movement, “Jeux de vagues” (“Play of the waves”) has a mischievous character; like the first movement, its form is sui generis. Though some melodic ideas presented at the beginning of the movement recur near the end, most of the movement is a continuous development of fragmentary motifs and melodic phrases, which playfully explore strange and enchanting new sounds. The finale, “Dialogue du vent et de la mer” (“Dialogue of the wind and the sea”), is widely interpreted as a musical tempest. After a rumbling, fragmented opening, a melodic idea from the first movement reappears in the trumpet—some have suggested this is “the wind.” In this interpretation, “the sea” is represented by the following melody introduced in the oboes above a churning accompaniment. The “wind” and “sea” themes alternate, until in a moment of calm, the horns introduce a mysterious chorale. At the end, the chorale returns in a powerful guise, bringing La mer to a thrilling conclusion. —Calvin Dotsey The Instruments: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 3 bassoons, contrabassoon, 4 horns, 5 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps and strings

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The Houston Livestock Show and RodeoTM is one of Houston’s signature institutions and a member of the Houston Symphony’s donor family for more than 20 years. The Show is a leading underwriter of the Symphony’s student concerts, in keeping with its longstanding commitment to education. Since its beginning in 1932, the Houston Livestock Show and Rodeo has committed more than $475 million to the youth of Texas—including $27 million in 2019 alone. The Rodeo has presented more than 16,000 scholarships since the first was awarded in 1957, and more than 2,200 students are currently on Show scholarships, attending more than 80 colleges and universities. The Show’s commitment to education extends to grants, Junior Market Show and School Art Auction Exhibitors, and participants in the famous Calf Scramble. The Houston Livestock Show and Rodeo is a wonderful supporter of the Houston Symphony and arts education throughout the city.

24 | Houston Symphony

Beethoven’s APRIL 4, 6 & 7

TCHAIKOVSKY &

RACHMANINOFF Rachmaninoff’s lavish Piano Concerto No. 4, plus Tchaikovsky’s sunny and delightful Symphony No. 3. SIMON TRPCESKI, piano

Eroica

MAY 3−5

Andrés Orozco-Estrada, Music Director Leticia Moreno, violin JIMMY LÓPEZ Aurora, for Solo Violin and Orchestra (Houston Symphony commission, world premiere) BEETHOVEN Symphony No. 3, Eroica Heroic. Ferocious. Groundbreaking. Hear the Symphony that changed music, and immerse yourself in the beauty of the Northern Lights in a monumental world premiere by Composer-inResidence Jimmy López.

Coming soon! MAY 9, 11 & 12 RACHMANINOFF’S

THE BELLS Edgar Allan Poe’s words meet the lavish opulence of Rachmaninoff in this powerful choral symphony.

ANDRÉS OROZCO-ESTRADA, Music Director

MAY 16 & 17

BLUEBEARD’S

Castle:

International opera stars Michelle DeYoung and Matthias Goerne join Andrés and the Houston Symphony for Bartók’s gripping tale of murder and madness.

OPERA IN CONCERT

Tickets start at $25 Buy early for the best seats HOUSTONSYMPHONY.ORG • (713) 224-7575

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FEATURED PROGRAM

BELL PLAYS BEETHOVEN Friday Saturday Sunday

March 15 March 16 March 17

8:00pm 8:00pm 2:30pm

Jones Hall

Joshua Bell, conductor and violin

Beethoven

Violin Concerto in D major, Opus 61 I Allegro ma non troppo II Larghetto— III Rondo: Allegro

ca. 42

original cadenza by Joshua Bell I N T E R M I S S I O N

Beethoven

Symphony No. 4 in B-flat major, Opus 60 I Adagio—Allegro vivace II Adagio III Allegro vivace IV Allegro ma non troppo

ca. 32

Did you know? • Joshua Bell made his professional debut at age 14 with the Philadelphia Orchestra as a result of winning the first Seventeen Magazine & General Motors National Concerto Competition.

PHOTO BY PHILLIP KNOTT

26 | Houston Symphony

Bell Plays Beethoven | Program Biography

Program BIOGRAPHY GREAT PERFORMERS

These performances are generously supported in part by:

Joshua Bell | conductor and violin

Underwriter Margaret Alkek Williams

Eugene Fong Joan & Marvin Kaplan John & Lindy Rydman/ Spec's Wine, Spirits & Finer Foods/ Spec's Charitable Foundation Supporter Valerie Palmquist Dieterich and Tracy Dieterich

LISA MARIE MAZZUCCO

Sponsor Ralph Burch

With a career spanning more than 30 years as a soloist, chamber musician, recording artist, conductor and director, Joshua Bell is one of the most celebrated violinists of his era. Since 2011, Bell has served as music director of the Academy of St Martin in the Fields, succeeding Sir Neville Marriner, who formed the orchestra in 1958. Joshua’s interests range from repertoire hallmarks to commissioned works, including Nicholas Maw’s Violin Concerto, for which Joshua received a Grammy Award®. Committed to expanding music’s cultural impact, he has collaborated with peers Chick Corea, Wynton Marsalis, Chris Botti, Frankie Moreno and Josh Groban. This spring, he joins cellist Steven Isserlis and pianist Jeremy Denk for a 10-city American trio tour. He maintains an avid interest in film music, commemorating the 20th anniversary of The Red Violin (1998) in 2018–19. The film’s Academy Award®-winning soundtrack features Joshua as soloist, and in 2018, he took the film with live orchestra to summer festivals and the New York Philharmonic. An exclusive Sony Classical artist, Bell has recorded more than 40 albums garnering Grammy®, Mercury®, Gramophone and ECHO Klassik awards. Sony Classical’s 2018 release, with Joshua and the Academy, features Bruch’s Scottish Fantasy and G minor Violin Concerto. In 2007, a Pulitzer Prize-winning Washington Post story on Joshua performing incognito in a Washington, D.C. metro station, sparked a conversation regarding art and context. It inspired Kathy Stinson’s 2013 children’s book, The Man With the Violin. In 2017, he debuted the Man With the Violin family concert, including a newly commissioned animated film with the National Symphony Orchestra at the Kennedy Center. The concert will be presented this month by the Seattle Symphony. Born in Bloomington, Indiana, Joshua Bell began violin at age 4; at 12, he began studies with Josef Gingold. At 14, Joshua debuted with Riccardo Muti and the Philadelphia Orchestra and debuted at Carnegie Hall at age 17 with the St. Louis Symphony. He received the 2007 Avery Fisher Prize and has been named Musical America’s 2010 Instrumentalist of the Year and an Indiana Living Legend. Joshua performs on the 1713 Huberman Stradivarius violin, with a François Tourte 18th-century bow. Joshua Bell records exclusively for Sony Classical—a MASTERWORKS Label. joshuabell.com He appears by arrangement with Park Avenue Artists and Primo Artists. parkavenueartists.com, primoartists.com

InTUNE — March 2019 | 27

Program NOTES Violin Concerto in D major, Opus 61 Ludwig van Beethoven (1770–1827)

In 1794, the 14-year-old prodigy Franz Clement was already long-established as one of Vienna’s reigning violin virtuosos. That year, he acquired a new admirer, an up-and-coming pianist and composer from the Rhineland: Ludwig van Beethoven. Beethoven was so taken with Clement’s playing that he declared to him, “Nature and art vie with each other in making you a great artist.” The two musicians established a friendly professional relationship, which would ultimately yield a masterpiece 12 years later. 1806 was a busy year for Beethoven; throughout it he worked on his opera Fidelio and completed his Fourth Piano Concerto, Fourth Symphony and the three “Razumovsky” string quartets, among other works. Astonishingly, he also managed to compose a violin concerto for Clement just before the New Year. Details of the work’s genesis are sketchy, but it seems likely the concerto was hurriedly composed over the course of about a month leading up to its premiere at a December 23 concert, which also included works by Mozart, Handel, Cherubini and Méhul, plus “a Sonata on one string with the violin turned upside-down.” According to Beethoven’s student Carl Czerny, Beethoven completed the concerto only two days before the concert, and Clement was effectively sight reading at the premiere. This may account for Beethoven’s punning inscription on his manuscript: “Concerto par Clemenza pour Clement” (“Concerto by Clemency for Clement”). Despite its apparently rushed creation, the concerto is one of Beethoven’s most transcendent works. Perhaps in response to Clement’s style of playing, Beethoven eschewed flashy technical feats in favor of simple yet deeply felt melodies woven into a truly symphonic structure. While Beethoven’s concerto contains many difficult passages for the soloist, they are always integrated into the symphonic argument and heighten the expressive effect of the music. Before the soloist enters, the first movement begins with a substantial orchestral introduction that presents its main musical ideas. The opening is unprecedented: five unaccompanied notes from the timpani, an instrument with implicit military associations. Beethoven was one of the first composers to feature the timpani so prominently, and this simple, pulsing rhythm becomes an important recurring motif. Though the end of 1806 found Austria at peace, the previous year’s defeat at the hands of Napoleon at the battle of Austerlitz still loomed over Vienna, and war continued to rage to the north in Prussia. The conflict between this drum beat motif and more lyrical, pastoral melodies plays out over the course of the first movement. 28 | Houston Symphony

The first such melody begins in the woodwinds, but the violins soon take up the drum beat motif, this time on a dissonant D-sharp. A forceful, terse idea filled with dramatic pauses leads to a second lyrical theme for woodwinds. Astute listeners will notice that beneath this theme’s serene surface, the violins play the pulsing drum beat motif as an accompaniment. They then play a shadowy, minor-key variation of the theme. Just as it seems to take wing, the melody stops short, and the violins play the dissonant, D-sharp version of the drum beat motif again. A sweeping dialogue between the violins and lower strings concludes the orchestral introduction, dying away as the soloist enters. The solo violin develops these ideas, leading to another extended orchestral passage that focuses on the lyrical second theme. When the soloist reenters, it develops the opening theme and leads to an affecting passage in G minor, ominously accompanied by the five-note motif in the horns. After reaching this central moment, the music turns, leading to a reprise of the movement’s main ideas. Near the end comes the cadenza, an extended passage for the soloist alone that Clement would have improvised at the premiere. For these performances, all of the concerto’s cadenzas have been composed by Joshua Bell himself. The cadenza ends with a delicate version of the second lyrical theme, and a brief coda concludes the movement. The slow second movement is the emotional heart of the concerto. Its original structure is a kind of double theme and variations. The movement begins softly with a serene, pastoral melody in the strings. The soloist plays two variations on the orchestra’s theme, embellishing it with fragmented ornamentation, as if speaking hesitantly and with great difficulty. After a vehement restatement of the main theme by the orchestra, the solo violin at last introduces a tender new theme of its own. A variation on the orchestra’s theme alternates with a variation on the soloist’s theme, leading to a tranquil coda. A cadenza for the soloist then links the second movement to the finale. The last movement begins with a spirited hunting tune initially played by the soloist on the violin’s lowest string, perhaps in imitation of the sound of hunting horns. This catchy theme continues the pastoral atmosphere of the preceding movements, but in a more popular vein; when the orchestra takes up the theme, it prefigures the rustic merry-making of the peasant dances in Beethoven’s Pastoral Symphony. This main theme alternates with contrasting episodes, including a beguiling, song-like passage in G minor. After a final cadenza, the hunting theme quietly returns—but in the wrong key. The music slyly slips back into the home key, leading to a thrilling conclusion. The Instruments: flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings

Bell Plays Beethoven | Program Notes

Symphony No. 4 in B-flat major, Opus 60 Ludwig van Beethoven (1770–1827)

Though the sketchbook for Beethoven’s Fourth Symphony has been lost, surviving evidence suggests that Beethoven composed this masterpiece during the summer or early autumn of 1806 while staying at the country estate of his patron, Prince Lichnowsky. Shortly after completing his revolutionary Third Symphony, the “Eroica,” Beethoven began sketching his Fifth, a work that expands on the theme of heroic struggle so vividly explored in the Third. He set it aside, however, to write a completely different kind of symphony. Throughout his career, Beethoven liked to work on contrasting works simultaneously, and in character, the Fourth Symphony could not be more different from the Third or Fifth. Instead of an epic journey from darkness to light, Beethoven’s Fourth is a lighthearted work full of comedy and enchantment. Several passages look forward to the music Mendelssohn would write to evoke the magical forest of Shakespeare’s A Midsummer Night’s Dream, and throughout, the symphony is suffused with a mischievous good humor.

The outer sections of the impish third movement are full of rhythmic games and sudden mood changes, while the middle features gentler music for the woodwinds. After the opening section returns, Beethoven surprises audiences with an unexpected turn of events. The finale is a mirthful romp that begins with an almost impossibly fast, perpetual-motion theme for the violins. A more lyrical theme for woodwinds then leads to an outrageous musical joke. After these main themes are repeated, Beethoven begins the movement’s development by ratcheting the violin’s perpetual-motion theme higher and higher. A series of delightfully disorienting modulations leads to a vigorous climax before the main themes of the movement are reprised. Beethoven saves his best jokes for last as this uproarious finale comes to an end. —Calvin Dotsey The Instruments: flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings

It begins with a slow, mysterious introduction; this gloom, however, is soon dispelled by the effervescent theme that begins the main body of the work. An exuberant transition leads to a contrasting second theme, which begins as the woodwinds pass its opening motif from one instrument to another. A third theme is introduced by the clarinet, before an explosive passage brings the first part of the movement to a close. Minus the slow introduction, these themes are repeated, leading to a developmental section that begins as the music becomes softer and softer. Beautiful, lyrical phrases give way to stormier outbursts, until this frenetic music nearly comes to a standstill. Gradually, fragmentary motifs crescendo to the reprise of the main themes, and the movement concludes with an irresistible coda. The slow second movement is one of Beethoven’s most singular creations; the rhythmic motif that begins the work has been likened to a heartbeat, and its pulse recurs frequently throughout the movement. Combined with the yearning violin melody that follows (marked cantabile—Italian for “singing”), these musical ideas led the renowned music writer Sir George Grove to discern an amorous coloring in the movement. After a vehement transition, a solo clarinet introduces a second cantabile theme. A more intense, developmental passage follows, until the opening theme returns as a flute solo, now ornamented with two-note sighing figures. After a reprise of the other main ideas, the movement ends with an endearing timpani solo.

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InTUNE — March 2019 | 29

FEATURED PROGRAM

THAT’S NO MOON... STAR WARS: A NEW HOPE—IN CONCERT Friday Saturday Saturday Sunday Sunday

March 22 March 23 March 23 March 24 March 24

8:00pm 2:30pm 8:00pm 2:30pm 7:30pm

Jones Hall

Steven Reineke, conductor

J. Williams/ H. W. Spencer

Star Wars Episode IV: A New HopeTM Part 1

[1:06]

I N T E R M I S S I O N

[0:15]

[1:00]

Part 2

30 | Houston Symphony

Star Wars: A New Hope—In Concert | Program Biographies

Program BIOGRAPHIES These performances are generously supported in part by: Sponsor Mach Family Audience Development Fund Supporter Evan B. Glick Radoff Family

Video enhancement of Houston Symphony concerts is made possible by the Albert and Ethel Herzstein Charitable Foundation through a special gift celebrating the foundation’s 50th anniversary in 2015.

Everyone at Mann Eye Institute is pleased to continue its support of the Houston Symphony. Dr. and Mrs. Mike Mann, Dr. and Mrs. Paul Mann and Dr. Dana Ondrias, along with their respective teams, support the Symphony’s vision for excellence in the arts and service to their community. The distinguished LASIK and cataract specialists at Mann Eye Institute have been at the forefront of vision correction for more than 40 years. They are committed to providing exemplary patient care, advanced surgical expertise and outstanding vision results. Mann Eye Institute’s 18 locations in the Houston and Austin areas provide full-service opticals, general ophthalmology and vision correction services, including Blade-Free LASIK, comprehensive laser cataract surgery, Active Life Lens implants and dry eye treatment options. For more information, visit manneye.com.

Steven Reineke | conductor Steven Reineke has established himself as one of North America’s leading conductors of popular music. In addition to being principal pops conductor at the Houston Symphony, Steven is the music director of The New York Pops at Carnegie Hall, principal pops conductor of the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts and principal pops conductor of the Toronto Symphony Orchestra. He previously held the posts of principal pops conductor of the Long Beach and Modesto Symphony Orchestras and associate conductor of the Cincinnati Pops Orchestra. Steven is a frequent guest conductor with The Philadelphia Orchestra and has been on the podium with the Boston Pops Orchestra, The Cleveland Orchestra and the Chicago Symphony Orchestra at Ravinia. His extensive North American conducting appearances include Atlanta, Cincinnati, Edmonton and San Francisco. On stage, Steven has created programs and collaborated with a range of leading artists from the worlds of hip hop, Broadway, television and rock, including Common, Kendrick Lamar, Nas, Sutton Foster, Megan Hilty, Cheyenne Jackson, Wayne Brady, Peter Frampton and Ben Folds, among others. In 2017, he was featured on National Public Radio’s All Things Considered leading the National Symphony Orchestra—in a first for the show’s 45-year history—performing live music excerpts between news segments. As the creator of more than 100 orchestral arrangements for the Cincinnati Pops Orchestra, Steven’s work has been performed worldwide and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. His symphonic works Celebration Fanfare, The Legend of Sleepy Hollow and Casey at the Bat are performed frequently in North America, including performances by the New York Philharmonic and Los Angeles Philharmonic. His Sun Valley Festival Fanfare was used to commemorate the Sun Valley Summer Symphony’s pavilion, and his Festival Te Deum and Swan’s Island Sojourn were debuted by the Cincinnati Symphony and Cincinnati Pops Orchestras. His numerous wind ensemble compositions are published by the C.L. Barnhouse Company and are performed by concert bands worldwide. A native of Ohio, Steven is a graduate of Miami University of Ohio, where he earned Bachelor of Music degrees with honors in both trumpet performance and music composition. He currently resides in New York City with his husband, Eric Gabbard.

InTUNE — March 2019 | 31

Program BIOGRAPHIES , continued

John Williams | composer In a career spanning more than five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music for more than 100 films, including all eight Star Wars films, the first three Harry Potter films, Superman, Memoirs of a Geisha, Home Alone and The Book Thief. His 45-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. the Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Saving Private Ryan, Lincoln, The BFG and The Post. John has composed themes for four Olympic Games. He served as music director of the Boston Pops Orchestra for 14 seasons and remains its laureate conductor. He has composed numerous works for the concert stage, including two symphonies and concertos commissioned by many of America’s most prominent orchestras. He has received five Academy Awards® and 51 Oscar nominations (making him the second-most nominated person in the history of the Oscars), seven British Academy Awards, 24 Grammys®, four Golden Globes and five Emmys®. In 2003, he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic movement. In 2004, he received the Kennedy Center Honors, and in 2009, he received the National Medal of Arts, the highest award given to artists by the U.S. Government. In 2016, he received the 44th Life Achievement Award from the American Film Institute—the first time a composer was honored with this award.

Production CREDITS Presentation licensed by Disney Concerts in association with 20th Century Fox, Lucasfilm Ltd. and Warner/Chappell Music. All rights reserved. President, Disney Music Group: Ken Bunt SVP/GM, Disney Concerts: Chip McLean Supervising Technical Director: Alex Levy – Epilogue Media Film Preparation: Ramiro Belgardt Business Affairs, Disney Concerts: Darryl Franklin, Meg Ross and Jesenia Gallegos Business Affairs, Lucasfilm: Rhonda Hjort and Chris Holm Business Affairs, Warner-Chappell: Scott McDowell Music Preparation: Mark Graham, Matthew Voogt and Joann Kane Music Service Operations, Disney Concerts: Mae Crosby and Royd Haston Non-Theatrical Sales, Twentieth Century Fox: Julian Levin Presentation licensed by:

STAR WARS FILM CONCERT SERIES

TWENTIETH CENTURY FOX Presents A LUCASFILM LTD. Production

S T A R R I N G MARK HAMILL HARRISON FORD CARRIE FISHER PETER CUSHING and ALEC GUINNESS Written and Directed by GEORGE LUCAS Produced by GARY KURTZ Music by JOHN WILLIAMS PANAVISION Prints by DELUXE TECHNICOLOR MPAA PG RATING

Original Motion Picture DISNEYMUSICEMPORIUM.COM

InTUNE â&#x20AC;&#x201D; March 2019 | 33

FEATURED PROGRAM

CARMINA BURANA Friday ** Saturday Saturday Sunday

March 29 March 30 March 30 March 31

Yaniv Dinur, conductor Brinton Averil Smith, cello *Laura Claycomb, soprano *Matthew Grills, tenor Reginald Smith Jr., baritone

8:00pm 2:30pm 8:00pm 2:30pm

Jones Hall

Houston Symphony Chorus Betsy Cook Weber, director Fort Bend Boys Choir William R. Adams, director

*Houston Symphony debut

**The Saturday, March 30, performance at 2:30pm features only Carmina Burana performed with no intermission. 34 | Houston Symphony

E. d’Albert

Cello Concerto in C major, Opus 20

ca. 24

I N T E R M I S S I O N

Orff

Carmina Burana Fortuna imperatrix mundi (Fortune, Empress of the World) 1. O Fortuna: Pesante— 2. Fortune plango vulnera I Primo vere (In Springtime) 3. Veris leta facies— 4. Omnia Sol temperat 5. Ecce gratum: Con ampiezza— Quasi allegretto Uf dem Anger (On the Green) 6. Tanz: Pesante— 7. Floret silva— 8. Chramer, gip die varwe dir: Quasi andante— 9. Reie: Andante poco esitante— Swaz hie gat umbe: Allegro molto— Chume, chum geselle min— 10. Were diu werlt alle min: Allegro molto II In taberna (In the Tavern) 11. Estuans interius: Allegro molto— 12. Olim lacus colueram— 13. Ego sum abbas— 14. In taberna quando sumus III Cour d’amours (The Court of Love) 15. Amor volat undique: Largo— 16. Dies, nox et omnia— 17. Stetit puella— 18. Circa mea pectora— 19. Si puer cum puellula: Allegro buffo— 20. Veni, veni, venias: Allegro— 21. In trutina— 22. Tempus est iocundum: Allegro molto— 23. Dulcissime— Blanziflor et Helena (Blanziflor and Helena) 24. Ave formosissima— Fortuna imperatrix mundi 25. O Fortuna: Pesante

SHELL FAVORITE MASTERS

ca. 60

Did you know? The original manuscript of the Carmina Burana (the medieval poetry anthology on which Orff's piece is based) is currently housed in the Bayerische Staatsbibliothek (Bavarian State Library) in Munich, Germany. Carmina Burana is Latin for “songs of Benediktbeurern,” a reference to the monastery of Benediktbeurern where the manuscript was discovered in 1803. The famous page featuring an illustration of the wheel of fortune was not actually the original first page of the manuscript; through a twist of fate, the page was moved to the front when the manuscript was rebound in the 18th century.

These performances are generously supported in part by: Underwriter Rand Group Gary & Marian Beauchamp

Principal Corporate Guarantor

A special Salute to Educators presentation on Saturday’s matinee performance is made possible by Spec's Charitable Foundation.

Supporter Marvin & Martha McMurrey

The Classical Season is endowed by The Wortham Foundation, Inc. in memory of Gus S. and Lyndall F. Wortham. Video enhancement of Houston Symphony concerts is made possible by the Albert and Ethel Herzstein Charitable Foundation through a special gift celebrating the foundation’s 50th anniversary in 2015. These concerts are part of the Margaret Alkek Williams Sound + Vision Series, which is also supported by The Cullen Trust for the Performing Arts Endowed Fund for Creative Initiatives.

InTUNE — March 2019 | 35

Program BIOGRAPHIES Yaniv Dinur | conductor

Brinton Averil Smith | cello

Currently associate conductor of the Milwaukee Symphony Orchestra and music director of the New Bedford Symphony Orchestra in Massachusetts, Yaniv Dinur is a rapidly rising young conductor. In addition to the Houston Symphony, he has guest conducted other prominent American orchestras, including the Louisiana Philharmonic Orchestra, the New World Symphony and the San Antonio Symphony. Highlights of the 2018–19 season include his debut with the San Diego Symphony conducting an all-Beethoven program and a return to the Round Top Festival in Texas. These concerts mark his subscription debut with this orchestra.

Critics have hailed Houston Symphony Principal Cellist Brinton Averil Smith as a “virtuoso cellist with few equals,” describing him as “a proponent of old-school string playing such as that of Piatigorsky and Heifetz.” Reviewing his recent live recording of the revival of Castelnuovo-Tedesco’s Cello Concerto with the Houston Symphony, BBC Music Magazine wrote, “his is a cast iron technique of verve and refinement put entirely at the service of the music. The artistry on display here is breathtaking...” His debut recording of Miklós Rózsa’s Concerto with the New Zealand Symphony Orchestra won similar international acclaim, with Gramophone praising him as a “hugely eloquent, impassioned soloist.”

Yaniv’s conducting career began at age 19 with the National Symphony Orchestra of Ireland. Following his European debut, he was invited to perform with the Israel Camerata, the youngest conductor ever to conduct a professional orchestra in Israel. Since then, he has conducted orchestras around the world, including the Israel Philharmonic Orchestra, Portuguese Symphony, Sofia Festival Orchestra, St. Petersburg State Symphony Orchestra, Torino Philharmonic Orchestra and Ottawa’s National Arts Centre Orchestra. Among his numerous honors are the 2015, 2016 and 2017 Solti Foundation U.S. Career Assistance Awards. In 2011, he was chosen by the League of American Orchestras to be a featured conductor at the Bruno Walter National Conductor Preview in New Orleans. Other awards include Second Prize at the 2009 Eduardo Mata International Conducting Competition in Mexico City, the Yuri Ahronovitch Prize at the 2005 Aviv Conducting Competition in Israel, and grants from the America-Israel Cultural Foundation and the Zubin Mehta Scholarship Endowment. Born in Jerusalem, Yaniv Dinur is a graduate of the Jerusalem Academy of Music and Dance, and holds a doctorate in Orchestral Conducting from the University of Michigan. A passionate music educator, he recently completed a highly successful tenure as director of orchestral activities at American University in Washington, D.C.

36 | Houston Symphony

Brinton has performed at Carnegie Hall and Lincoln Center as well as in international and U.S. recitals and concerto appearances. His broadcast performances include CBS’ Sunday Morning and regular appearances on NPR’s Performance Today and SymphonyCast, while his live performances have been viewed more than one million times on YouTube. As a chamber musician, Brinton has collaborated with cellists Yo-Yo Ma and Lynn Harrell; pianists Emanuel Ax, Jonathan Biss and Kirill Gerstein; violinists Gil Shaham, James Ehnes, Cho-Liang Lin and Sarah Chang; soprano Dawn Upshaw; and members of the Guarneri, Emerson, Juilliard, Cleveland and Berg quartets. Previously a member of the New York Philharmonic and principal cellist of the San Diego Symphony and Fort Worth Symphony Orchestra, Brinton has been the principal cellist of the Houston Symphony since 2005 and is also a faculty member of the Rice University Shepherd School of Music and of the Aspen Music Festival. The son of a mathematician and a pianist, Brinton was admitted to Arizona State University at age 10, where he took courses in mathematics and German, completing a B.A. in mathematics at age 17. As a student of Eleonore Schoenfeld at the University of Southern California, he was also a teaching assistant in the mathematics department and completed work for an M.A. in mathematics at age 19. He subsequently studied with the legendary cellist Zara Nelsova at The Juilliard School and received a Doctor of Musical Arts degree, writing on the playing of Emanuel Feuermann. Brinton lives in Houston with his wife, pianist Evelyn Chen, their daughter, Calista, and two dogs. His cello was recently identified as an instrument made by Gaetano Pasta in Brescia circa 1710.

Carmina Burana | Program Biographies

Laura Claycomb | soprano

Matthew Grills | tenor

Grammy Award®-winning soprano Laura Claycomb has firmly established herself as one of the finest operatic coloratura sopranos of her generation, best known for her ethereal high notes, impeccable musicianship and dramatic stage presence. She regularly appears with leading opera companies, orchestras and music festivals around the world, performing more than 75 roles in works by composers from Monteverdi to Messiaen.

Opera News said of San Francisco Opera’s Sweeney Todd, “Tenor Matthew Grills made the strongest impression, delivering Tobias’s ‘Not While I’m Around’ with touching tenderness.” Matthew’s 2018–19 season includes debuts with Opera San José singing his first performances of Belmonte in Die Entführung aus dem Serail and New Orleans Opera in a return to Pedrillo in the same opera; it also includes returns to the Bayerische Staatsoper for Kedril in From the House of the Dead and Danieli in Les vêpres siciliennes, to Portland Opera for the company’s Big Night concert and to The Dallas Opera for a debut as the Dance Master in Manon Lescaut. On the concert stage, in addition to these concerts, he sings Bernstein’s Broadway favorites with The Florida Orchestra and Puccini’s Messa di Gloria and excerpts of L’elisir d’amore with Das Musikkollegium Winterthur. This summer, he sings Ernesto in Don Pasquale with Berkshire Opera Festival. Future engagements include a return to Seattle Opera and his first performances at Utah Opera.

Last season included Bernstein’s Kaddish with the London Symphony Orchestra and Marin Alsop, a program of Bach and Pergolesi with Emmanuelle Haïm and the Los Angeles Philharmonic, and Donna Anna in Don Giovanni with the Dallas Opera. Current projects, in addition to these performances of Carmina Burana, include a Mostly Mozart concert with the Israel Camarata Jerusalem and a series of recitals and masterclasses. Laura began her career as an Adler Fellow at San Francisco Opera, where she performed more than a dozen roles, including Papagena in Die Zauberflöte, Zerbinetta in Ariadne auf Naxos and Marie in La fille du régiment. She first captured international attention at age 24, when, on short notice, she assumed the role of Giulietta in Bellini’s I Capuleti e i Montecchi at the Grand Théâtre de Genève. She has since sung Giulietta with Opéra Bastille, the Los Angeles Opera, Pittsburgh Opera and Munich’s Bayerischer Rundfunk Orchester. Known to Houston audiences for her appearances with the Houston Grand Opera, she has performed from Dallas (where she was named Dallas Opera’s Maria Callas Debut Artist of the Year) to Moscow to Tel Aviv. As a concert powerhouse, she often tackles challenging soloist roles and is among today’s foremost Mahler sopranos. Her extensive recording catalog includes numerous albums of bel canto operas and chamber music with Britain’s Opera Rara label such as Handel’s Arcadian Duets, Ligeti’s Le Grand Macabre, Orff’s Carmina Burana and Fauré’s Requiem. Early in her career, Laura earned the Silver Medal at the International Tchaikovsky Competition in Moscow, the Pegasus Prize at Italy’s Spoleto Festival, the Operetta Prize at the Belvedere Competition in Vienna and first prize in the U.S. National Opera Association Competition. Dedicated to training and nurturing the next generation of operatic artists, she consults for the Bolshoi Young Artist Opera Program, giving masterclasses there and at the Centre for Opera Studies in Sulmona, Italy. A Texas native, Laura lives with her husband in Italy.

He has also joined Seattle Opera as Almaviva in Il barbiere di Siviglia, San Francisco Opera as Tobias Ragg in Sweeney Todd, Opéra national de Lorraine as Idreno in Semiramide, Korea’s Gyeonggi Philharmonic Orchestra and Portland Opera as Nemorino in L’elisir d’amore and Wolf Trap Opera as Fenton in Falstaff. He is a former member of the Bayerische Staatsoper Ensemble, where his roles included Pedrillo in Die Entführung aus dem Serail and Brighella in Ariadne auf Naxos as well as Kedril in From the House of the Dead, Vierter Knappe in Parsifal and Don Gaspard in La favorite. On the concert stage, he has sung David, Jeremiah and the Voice of God in Weill’s The Road of Promise with Kristjan Järvi conducting the MDR Leipzig Radio Symphony Orchestra at the Kurt Weill Festival in Dessau, Germany, and Handel’s Messiah with the Hartford Symphony Orchestra. He was presented in solo recital by Vocal Arts DC at the John F. Kennedy Center for the Performing Arts. In 2012, Matthew was the unprecedented same-year winner of the grand prize in the Metropolitan Opera National Council Auditions and first prize in the Lotte Lenya Competition.

InTUNE — March 2019 | 37

Program BIOGRAPHIES , continued

Reginald Smith Jr. | baritone Baritone Reginald Smith Jr. has been lauded as a “passionate performer” (The New York Times) with an “electric, hall-filling” (The Baltimore Sun) and “thrillingly dramatic” voice that is “one of the most exciting baritone sounds to come along in years” (Opera News). A native of Atlanta, Georgia, Reginald is a grand finals winner of the 2015 Metropolitan Opera National Council Auditions and a graduate of the Houston Grand Opera Studio. In addition to this return to the Houston Symphony, during the 2018–19 season, Reginald appears in Madama Butterfly with Opera Memphis, returns to the role of Amonasro in Aida with Opera Idaho and debuts with the New Jersey Symphony Orchestra as the bass soloist in Beethoven’s Symphony No. 9 (which he will also perform with the West Virginia Symphony Orchestra). He also returns to the Lyric Opera of Chicago and San Francisco Opera. Last season, Reginald made his company debuts with Opera Hong Kong as Amonasro in Aida, the Lyric Opera of Chicago as Senator Charles Potter/General Airlie/Bartender in Gregory Spears’ Fellow Travelers and Portland Opera as Monterone in Rigoletto. He returned to Opera Memphis to make his role debut as Taddeo in Rossini’s L’Italiana in Algeri. In conjunction with the University of Michigan Gershwin Initiative’s research, he sang the role of Jake in a concert performance of the new, critical edition score of Gershwin’s Porgy and Bess. Additionally, he made his concert debuts with the Windsor Symphony Orchestra, Dallas Symphony Orchestra and at Lincoln Center with the National Chorale. Reginald was thrilled to return to his alma mater, the University of Kentucky, to perform Mendelssohn’s Elijah. In previous seasons, he has performed with opera companies and orchestras across the country. Reginald has earned recognition from The Dallas Opera Guild Vocal Competition, the Mildred Miller International Vocal Competition, the Licia Albanese Puccini Foundation International Voice Competition, the National Opera Association Competition, Orpheus Vocal Competition, George London Competition and the Gerda Lissner Foundation International Vocal Competition. He received the 2015 Sarah Tucker Study Grant and a 2016 Career Development Grant from The Sullivan Foundation.

38 | Houston Symphony

Houston Symphony Chorus Betsy Cook Weber | director Please see the Houston Symphony Chorus bio on page 12.

Fort Bend Boys Choir William R. Adams | director Founded in 1982 by Artistic Director William R. Adams, the Fort Bend Boys Choir of Texas has grown from 45 boys in the original choir to more than 125 boys in four treble choirs. Performances before three U.S. presidents and other world leaders as well as collaborations with entertainers, opera companies and symphony orchestras have earned the Tour Choir the distinction of being one of the premier groups of its kind. The choir’s honors include singing for His Eminence Pope John Paul II in the Sistine Chapel and being a key part of the inaugural festivities for President George H.W. Bush at the Kennedy Center. It has 10 CD releases and performs in numerous cathedrals and concert halls throughout the world in addition to being in high demand for concerts, weddings, conventions and commercials. The choir earned the prestigious Addy® Award for television commercial excellence and received a national news Emmy nomination for its participation in the 2001 Christmas Pageant of Peace in Washington, D.C. The Tour Choir has also performed for peers at American Choral Directors Association and Texas Music Educators Association conventions. This is the choir’s 12th appearance at Jones Hall with the Houston Symphony and Chorus. Visit fbbctx.org for more information.

Carmina Burana | Program Notes

Program NOTES Cello Concerto in C major, Opus 20 Eugen d'Albert (1864–1932)

Even for a musician, Eugen d’Albert was a colorful character. His grandfather, a Frenchman who served in Napoleon’s Grande Armée, settled in Hamburg owing to a certain Teutonophilia that his grandson would inherit. His father left Germany to become a composer of popular dance music in Britain, and d’Albert was born in Glasgow. From an early age, he showed great promise as a pianist and composer, and his teachers included Arthur Sullivan (of Gilbert and Sullivan fame). He disliked the country of his birth, however, so when he was old enough, he moved to Germany, changing his name from the French “Eugène” to the German “Eugen.” In Weimar, he became one of Liszt’s best piano students and met the first of his many wives. Despite his small stature and receding hairline (which prompted the composer Busoni to dub him “d’Alberich” after the dwarf character in Wagner’s Das Rheingold), he seems to have had a way with women; he would ultimately marry six times. D’Albert quickly became one of Germany’s leading pianists, and despite his scandalous personal life, critics held his interpretations of Bach, Beethoven and Brahms in high regard. As his career progressed, he increasingly turned to composition and would write a number of successful operas. Completed in 1899, his Cello Concerto dates from his longest and most stable marriage (to his third wife, the opera singer Hermine Finck). A virtuoso showpiece for the soloist, the concerto is full of the Romantic ardor and dramatic flair with which d’Albert undoubtedly lived his life. Following the example of his teacher Liszt, d’Albert fused the traditional three movements of the concerto into one integrated whole. The piece begins with rapid string crossings for the cello, above which a haunting melody in the oboe appears. A quiet second theme is introduced by the horns, which leads to a bounding, joyful third theme. During a development full of virtuoso passagework, the soloist introduces one other main theme—a melody marked “dolce” (“sweet” in Italian). The haunting melody that opened the work is then reprised, and the music slows as the melody introduced by the horns leads seamlessly into the slow movement. For now, the joyful third theme seems to have disappeared. The lyrical main theme of the slow movement is introduced by the full orchestra and alternates with contrasting episodes, including a dramatic recitative (a speech-like style of music used in opera) for the soloist above tense tremolo strings. The third movement begins with fast, mischievous music in 6/8 time (the meter of a jig), which leads to the return of the first movement’s “dolce” theme, now marked “appassionato” (Italian for “passionate”). The joyful melody from the first movement

soon follows, but is overwhelmed by the climactic return of the haunting melody that began the concerto. Ultimately, the joyful theme prevails, bringing the work to an exuberant end. The Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani and strings

Carmina Burana

Carl Orff (1895-1982) On March 29, 1934, Carl Orff received a much anticipated parcel in his mail. It contained an obscure book that had happened to catch his eye in a catalogue some weeks before. He later recalled, “On opening it I immediately found, on the front page, the long famous picture of ‘Fortune with her wheel,’ and under it the lines: “O Fortuna velut luna statu variabilis... “Picture and words seized hold of me. […] On the very same day I had outlined a sketch in short score of the first chorus ‘O Fortuna.’” The book was a copy of the Carmina Burana, an anthology of medieval poetry in Latin and vernacular languages compiled in Austria circa 1230. According to legend, the poems were the work of the goliards, bands of irreverent students who indulged in womanizing, drinking, gambling and satirical verse as they wandered from university to university. Though scholars have since questioned this attribution, the worldly themes of many poems from the Carmina Burana certainly fit with the goliard legend. It was precisely these “goliardic” themes that interested Orff. Of the many poems included in Carmina Burana, Orff selected 24 and organized them into several sections: “In Springtime,” “On the Green,” “In the Tavern,” “The Court of Love” and “Blanziflor et Helena.” Framing these is “O Fortuna,” the most famous part of Carmina Burana, a fatalistic hymn to Fortune, the cruel goddess who brings both pleasure and suffering. Spring gradually awakens the earth and stirs humanity’s desire for love throughout “In Springtime,” and by “On the Green” the young men and women of the world are engaged in whirling round dances and playful flirtation. The joyful atmosphere acquires a darker edge for “In the Tavern,” in which the baritone soloist declares, “dead in soul, I care only for my body.” After an unforgettable song in which the tenor impersonates a swan roasting on the fire, we also hear from the wily “bishop of Cockaigne,” a gambling shark who sings a parody of liturgical plain chant. A humorous drinking song for men’s chorus concludes the adventure.

InTUNE — March 2019 | 39

Program NOTES , continued

In “The Court of Love,” the soprano and baritone soloists assume the roles of young lovers who begin apart, but are drawn together with each song. In addition to the chorus of men and women, a cupid-like children’s chorus provides encouragement. At last, the soprano gives in to the baritone’s entreaties with a climactic, high B-natural, and the chorus celebrates with “Blanzifor et Helena,” a hymn in praise of Venus; the rejoicing ends, however, with a reprise of “O Fortuna,” reminding us of the fleetingness of life’s pleasures. Goliards or no, the quasi-pagan images and impulsive characters of the Carmina appealed to Orff, who sought to evoke primal, intense emotions. Orff himself was a man of considerable appetites (he would marry four times over the course of his life), but his inspiration was mainly an artistic one. His early compositions show influences from Debussy and Stravinsky, but beginning in 1919, he became fascinated by early music from the baroque and renaissance. Regarding his interest in music and texts from the past, he said, “I do not feel it to be old, only valid. The dated elements are lost and the spiritual strength remains.” He had particular success in reviving vocal works and decided to apply their lessons to his own music. Taking the early 17th-century dictum “prima le parole, poi la musica” (“first the words, then the music”) to heart, he sought to create a new kind of music that would place the expression of a text above all else. While other composers were creating increasingly complex, dissonant and often recondite styles in their pursuit of musical modernism, Orff went in the opposite direction, opting for a radical simplification of musical style that would communicate directly and powerfully with listeners. With its simple modal harmonies, driving ostinatos (repeated rhythmic figures) and formal patterns constructed of sectional blocks of music, Carmina Burana would be the most successful realization of his ideals. Despite its lasting popular appeal, Carmina Burana did not spawn a new style of musical modernism after its premiere at the Frankfurt Opera in 1937. The reasons for this are mainly political; Carmina Burana has the unfortunate distinction of being the only piece of music composed in Nazi Germany to have entered the standard repertoire. Orff was uninterested in politics and found the Nazis’ anti-Semitic dogmas ludicrous; he was himself a quarter Jewish, a secret he carefully guarded throughout the Nazi era. Nevertheless, he could not resist the temptation of professional success the Nazis offered him. Though he had the opportunity to emigrate to the United States in 1938, he chose to remain in Germany where he enjoyed money, privileges and dozens of performances of his masterpiece.

40 | Houston Symphony

At least to a degree, Orff would pay for his Faustian bargain after the war; the younger generation of composers viewed his music as irredeemably tainted and shunned his work in favor of exploring alternative modern styles. Though he would continue to compose, none of his subsequent pieces would ever equal the success of Carmina, and his principal post-war legacy is his work in music pedagogy. When Orff first opened his copy of Carmina Burana in 1934, he could not have guessed how the ever-turning wheel of fortune would ultimately symbolize his own life. —Calvin Dotsey The Instruments: 3 flutes (2 doubling piccolo), 3 oboes (1 doubling English horn), 3 clarinets (1 doubling bass clarinet and 1 doubling E-flat clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, 2 timpani, percussion, 2 pianos, celesta and strings

The Houston Symphony’s principal corporate sponsor is a landmark Houston institution, Spec’s Wines, Spirits & Finer Foods. Through the Spec’s Charitable Foundation, the company supports the Symphony in a variety of ways—through the annual Wine Dinner and Collector’s Auction, the Salute to Educators Concert and the company’s own Symphony fundraising event, Vintage Virtuoso. In total, the company has contributed more than $4.2 million to the Symphony since 1996. With 168 stores throughout Texas and more than 3,400 employees, Spec’s is a true family business, run by President John Rydman and his wife, Lindy. Their daughter, Lisa, has worked with the family company for over 20 years. Spec’s is known for its personal touch in many areas: selecting products for its shelves, cultivating a sense of family among its employees, providing guidance and personal service to its customers and giving back to the communities it serves.

Cello Concerto in C major, Opus 20

NOTES from the soloist Eugen d’Albert's Cello Concerto is something of a novelty today. Even most cellists are barely aware of its existence; however, this beautiful work was performed quite regularly in the early 20th century. Written in the Romantic tradition, the d’Albert concerto shows the influences of Liszt, Brahms and Wagner. D’Albert was considered Liszt's greatest pupil, but gave up a flourishing performing career as a pianist to devote himself to composition. D’Albert was also married six times in his life and died en route to divorce his sixth wife, so it seems he was fairly busy on many fronts! Unusually for a cellist, I grew up listening to this concerto because of my obsession with Emanuel Feuermann, who died in 1942 at the tragically young age of 39. Every cellist I have known who had the chance to hear Feuermann perform live considered him the greatest cellist they had ever heard, despite all of the legendary cellists who followed. Feuermann’s legacy survives today only in early mono recordings and a few captured live performances and radio broadcasts. Despite the primitive sound quality of these early recordings, one can hear from Feuermann a warmth and a virtuosity that remind me of the great violinists Fritz Kreisler and Jascha Heifetz, and these qualities have been my ideals of cello-playing since I was a teenager. Feuermann’s live performance of the d’Albert concerto in Carnegie Hall in 1940 was fortuitously recorded onto glass discs and has always defined the piece for me. Romantic music like d’Albert’s needs the warmth of vibrato, the slides and the freedom that Feuermann brought to his performance. In his hands, the piece soars with one beautiful melody after another—almost like a Rachmaninoff Piano Concerto for the cello. I have always loved this piece and am thrilled the Houston Symphony has allowed me to advocate for beautiful but neglected repertoire like this concerto and our April 2017 revival of Castelnuovo-Tedesco’s Cello Concerto (recorded live in concert and now available on CD from Naxos). I am fortunate to have opportunities to play the traditional cello concerti with other orchestras, but only here in Houston can I experiment with these overlooked works that I believe deserve to be heard and loved. I am grateful to our administration and my colleagues for supporting these adventures and to you in the audience for taking a chance on them. I look forward to sharing this beautiful music with you. —Brinton Averil Smith Principal Cello Brinton Averil Smith holds the Janice and Thomas Barrow Chair and is sponsored by Mrs. Zarine M. Boyce, Cornelia & Meredith Long and Mike Stude.

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continued  InTUNE — March 2019 | 43

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The Houston Symphony thanks the more than 4,000 donors who supported the Houston Symphony Annual Fund over the past year. To note any errors or omissions, please contact Shane L. Platt, Development Associate, Individual Giving, 713.337.8559. 44 | Houston Symphony

Young Associates COUNCIL The Houston Symphony’s Young Associates Council (YAC) is a philanthropic membership group for young professionals, music aficionados and performing arts supporters interested in exploring symphonic music within Houston’s flourishing artistic landscape. YAC members are afforded exclusive opportunities to participate in musically focused events that take place not only in Jones Hall, but also in the city’s most sought-after venues, private homes and friendly neighborhood hangouts. From behind-the-scenes interactions with the musicians of the Houston Symphony to jaw-dropping private performances by world-class virtuosos, the Houston Symphony’s Young Associates Council offers incomparable insight and accessibility to the music and musicians that are shaping the next era of orchestral music.

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Kurt Johnson & Colleen Matheu Gerrit Leeftink Kirby & David Lodholz Brian McCulloch & Jeremy Garcia Charyn McGinnis Ashley McPhail Emily & Joseph Morrel Porter Hedges LLP Aprill Nelson Courtney & Jose Obregon Brooke & Nathaniel Richards Alan Rios Kimberly & Evan Scheele Emily Schreiber Liana & Andrew Schwaitzberg

Nadhisha & Dilanka Seimon Dr. Paulina Sergot & Dr. Theo Shybut Justin & Caroline Simons Aerin & Quentin Smith Mark Stadnyk & Amanda Hassler Michelle Stair Dr. Shilpa Trivedi Jovon Tyler Elise Wagner

The Young Associates Council is supported in part by BB&T. For more information, please contact: Tyler Murphy, Development Officer, Major Giving Groups, 713.337.8536

Chorus ENDOWMENT

DONORS

The Endowment for the Choral Music Fund supports numerous projects of the Houston Symphony Chorus, including the recent release of Haydn—The Creation, the first classical recording to feature the Chorus.

$500 or more 

$50-$499 

Mrs. Ramona Alms Mr. & Mrs. Richard M. Armes Ms. Carolyn Belk Mr. David Black Nancy & Walter Bratic Mr. Brent Corwin Robert Lee Gomez George E. Howe David G. Nussman Mrs. Joan O’Conner Peter & Nina Peropoulos Roland & Linda Pringle Douglas & Alicia Rodenberger Carolyn Rogan Michael J. Shawiak Susan L. Thompson Mr. & Mrs. Fredric A. Weber Beth Weidler & Stephen James Anonymous (2)

Wade & Mert Adams Mr. Bob Alban A. Ann Alexander Mr. & Mrs. Joe Anzaldua Mr. & Mrs. Michael Avant Mr. Enrique Barrera III Mr. & Mrs. Justin Becker Ms. MaryAnn Begbie Mrs. Angela Bongat Seaman Mr. & Mrs. Harvey Bongers Mr. Jonathan Bordelon Mr. & Mrs. Wm. Bumpus Mr. & Mrs. J. Scott Campbell Ms. Nancy A. Christopherson Steve Dukes & Nobuhide Kobori Mr. Randy Eckman Ms. Julia FitzGerald Elizabeth & Ralph Frankowski Mary & Nicholas Gahr Mr. Mike Gilbert

Mr. & Mrs. William C. Goddard John Goode & Janwin Overstreet-Goode Ms. Julia Hall Mrs. Susan Hall Mr. Daren Hamaker Ms. Phyllis Harris Mr. Richard Henry Mr. Larry R. Hitt Mr. Francisco J. Izaguirre Ms. Marjorie Kessler Ms. Karen King-Ellis Ms. Kat Kunz Karen Lach Mr. Brian Lassinger Cynthia Lavenda Mr. Jarrod Martin Mr. Daniel Mead McClure Ms. Melissa Medina Joan K. Mercado Mr. & Mrs. Jim K. Moore Dr. James Murray

Mr. Takashi Nishimura Mr. & Mrs. Bill Parker Ms. Allison Poe Natalia Rawle Linda A. Renner Mr. James Roman Mr. Frank Rynd Mr. Gary B. Scullin Mr. & Ms. Rick Stein Dr. Cecilia Sun Mr. & Mrs. William J. Thacker Lisa Rai Trewin Ms. Jeanna Villanueva Mary Voigt Ms. Heidi Walton Anonymous (3)

To make a gift, please contact: Shane L. Platt, Development Associate, Individual Giving, 713.337.8559. InTUNE — March 2019 | 45

Corporate, Foundation & Government PARTNERS The Houston Symphony is proud to recognize the leadership support of our corporate, foundation and government partners that allow the orchestra to reach new heights in musical performance, education and community engagement for Greater Houston and the Gulf Coast Region. For more information on becoming a foundation or government partner, please contact Mary Beth Mosley, Director, Institutional Giving and Stewardship, at 713.337.8521 or marybeth.mosley@houstonsymphony.org. For more information on becoming a Houston Symphony corporate donor, please contact Leticia Konigsberg, Director, Corporate Relations, at 713.337.8522 or leticia.konigsberg@houstonsymphony.org.

CORPORATE PARTNERS Principal Corporate Guarantor  $250,000 and above *Spec’s Wines, Spirits & Finer Foods / Spec’s Charitable Foundation Grand Guarantor  $150,000 and above BBVA Compass ConocoPhillips *Houston Public Media— News 88.7 FM; Channel 8 PBS *KTRK ABC-13 Phillips 66 *Rand Group, LLC *Oliver Wyman Guarantor  $100,000 and above Bank of America Chevron *Houston Methodist Medistar Corporation PaperCity *United Airlines Underwriter  $50,000 and above *Baker Botts L.L.P. *BB&T *Cameron Management ENGIE *The Events Company Exxon Mobil Corporation Frost Bank Houston Baptist University

(as of February 1, 2019)

Houston Livestock Show and Rodeo Kalsi Engineering Kirkland & Ellis *The Lancaster Hotel Mann Eye Institute Occidental Petroleum Palmetto Partners Ltd./The Robert and Janice McNair Foundation Shell Oil Company Vinson & Elkins LLP Sponsor  $25,000 and above *Bright Star EOG Resources Goldman, Sachs & Co. *Houston Chronicle *Houston First Corporation IberiaBank *Jackson and Company Marine Foods Express, Ltd. McGuireWoods, LLP *Neiman Marcus Sidley Austin LLP *Silver Circle Audio SPIR STAR, Ltd. *Steinway & Sons The University of Texas, MD Anderson Cancer Center Wells Fargo WoodRock & Co.

CORPORATE MATCHING GIFTS Aetna Foundation, Inc. Akzo Nobel Inc. Albemarle Corporation Allstate Insurance Company American International Group (AIG) Ameriprise Financial, Inc. Aon Foundation Bank of America BBVA Compass BHP Billiton British Petroleum Matching Fund Programs Caterpillar Matching Gifts Program Chevron Matching Gifts Program CITGO Petroleum Corporation ConocoPhillips Company 46 | Houston Symphony

Partner  $15,000 and above Accenture Anadarko Petroleum Corporation *City Kitchen *Glazier’s Distributors Gorman’s Uniform Service H-E-B Tournament of Champions Heart of Fashion Independent Bank Laredo Construction, Inc. Locke Lord LLP Lockton Companies of Houston Macy’s The Newfield Foundation USI Southwest Supporter  $10,000 and above *Abraham’s Oriental Rugs *Agua Hispanic Marketing CenterPoint Energy Emerson Northern Trust *Silver Eagle Distributors Star Furniture *Zenfilm

Benefactor  $5,000 and above Barclay’s Wealth and Investment Management Beck Redden LLP Louis Vuitton Nordstrom Orrick, Herrington & Sutcliffe, L.L.P. *Randalls Food Markets Russell Reynolds Associates, Inc. *University of St. Thomas Wortham Insurance and Risk Management Patron  Gifts below $5,000 Amazon Baker Hughes Bering’s Beth Wolff Realtors Burberry Dolce & Gabbana USA, Inc. Kinder Morgan Foundation *Quantum Bass Center SEI, Global Institutional Group Smith, Graham & Company Stewart Title Company TAM International, Inc. * Includes in-kind support

(as of February 1, 2019)

Dominion Energy Foundation Matching Gift Program Eli Lilly and Company Emerson Electric Company, Inc. ExxonMobil Matching Gift Program Fannie Mae Corporation FMC Corporation Freeport-McMorRan Copper & Gold Inc. General Electric General Mills, Inc. Goldman Sachs Halliburton Company Hewlett Packard IAC Interactive IBM Corporation ING Financial Services Intermec

Johnson & Johnson JPMorgan Chase & Co. LyondellBasell Industries Macy's, Inc. (Macy's and Bloomingdale's) Merrill Lynch Microsoft Corporation Motiva Enterprises, LLC Murphy Oil Corporation NACCO Industries Neiman Marcus Group, Inc. Northern Trust Occidental Petroleum Phillips 66 Plains All American Pipeline PricewaterhouseCoopers Prudential Financial Inc. Regions Shell Oil Company

Southwestern Energy Spectra Energy SPX Corporation Texas Instruments The Boeing Company Matching Program The Coca-Cola Company Thomson Reuters TransCanada Pipelines Limited Transocean Offshore Deepwater Drilling Inc. Travelers Companies, Inc. UBS Union Pacific Walt Disney Company Westlake Chemical Williams Companies, Inc.

FOUNDATIONS & GOVERNMENT AGENCIES Diamond Guarantor  $1,000,000 and above The Brown Foundation, Inc. Houston Symphony Endowment Houston Symphony League The Wortham Foundation, Inc. Premier Guarantor  $500,000 and above City of Houston and Theater District Improvement, Inc. The Cullen Trust for the Performing Arts Albert and Ethel Herzstein Charitable Foundation The C. Howard Pieper Foundation Grand Guarantor  $150,000 and above City of Houston through the Miller Theatre Advisory Board The Cullen Foundation Houston Endowment The Humphreys Foundation MD Anderson Foundation

Guarantor  $100,000 and above The Jerry C. Dearing Family Foundation The Elkins Foundation Underwriter  $50,000 and above The William Stamps Farish Fund The Fondren Foundation The Hearst Foundations Houston Symphony Chorus Endowment League of American Orchestras’ Futures Fund LTR Lewis Cloverdale Foundation John P. McGovern Foundation The Robert and Janice McNair Foundation / Palmetto Partners Ltd. The Powell Foundation The Robbins Foundation

Capital INVESTMENTS Beauchamp Foundation Miller Outdoor Theatre Sound Shell Ceiling Portativ organ Berlioz bells Adam’s German Timpani Orchestra synthesizer Adam’s vibraphone Small percussion and other instruments The Fondren Foundation Miller Outdoor Theatre Sound Shell Ceiling

In-Kind DONORS A Fare Extraordinaire Alexander’s Fine Portrait Design Alpha-Lee Enterprises, Inc. Aspire Executive Coaching, LLC Bergner & Johnson Design Bering’s BKD, LLP Boat Ranch Burberry Cognetic Complete Eats Corinthian Houston Culinaire Carl R. Cunningham DLG Research & Marketing Solutions Elaine Turner Designs Elegant Events by Michael Elliot Marketing Group

(as of February 1, 2019)

Sponsor  $25,000 and above Beauchamp Foundation The Melbern G. & Susanne M. Glasscock Foundation National Endowment for the Arts Texas Commission on the Arts Partner  $15,000 and above Edward H. Andrews Foundation Ruth & Ted Bauer Family Foundation The Hood-Barrow Foundation Barbara Bush Literacy Foundation Houston Symphony League Bay Area The Vivian L. Smith Foundation The Vaughn Foundation

Supporter  $10,000 and above The Carleen & Alde Fridge Foundation William E. & Natoma Pyle Harvey Charitable Foundation Petrello Family Foundation Radoff Family Foundation The Schissler Foundation Anonymous Benefactor  $5,000 and above Leon Jaworski Foundation The Scurlock Foundation Keith & Mattie Stevenson Foundation Strake Foundation Patron  Gifts below $5,000 The WC Handy Foundation The Lubrizol Foundation

The Houston Symphony thanks the generous donors who, since 2012, have made possible infrastructure additions to further enhance the sound and quality of our orchestral performances.

Albert & Ethel Herzstein Charitable Foundation Enhancements to Jones Hall Video System Houston Symphony League Steinway Concert Grand Piano Instrument Petting Zoo Lewis Elementary Residency violins Ms. Nancey G. Lobb Piccolo Timpani LTR Lewis Cloverdale Foundation Lyon & Healy Harp

Vicky & Michael Richker Family Adolfo Sayago, Orquestas Sybil F. Roos Rotary Trumpets Silver Circle Audio Enhancements to Jones Hall Recording Suite Beverly Johnson, Ralph Wyman and Jim Foti, and Thane & Nicole Wyman in memory of Winthrop Wyman Basset Horns and Rotary Trumpets Mr. & Mrs. Charles Zabriskie Conductor’s Podium

(as of February 1, 2019)

Elsie Smith Design Festari Foster Quan LLP Gucci Hermann Park Conservancy Hilton Americas – Houston Hotel Granduca Hotel Icon Hotel ZaZa Memorial City Houston Astros Houston Grand Opera Houston Texans InterContinental Hotel Houston Jim Benton of Houston, LLC JOHANNUS Organs of Texas John L. Worthan & Son, L.P. John Wright/Textprint JW Marriott Houston Downtown Karbach Brewing Co.

Kuhl-Linscomb LG Entertainers Limb Design Martha Turner Properties Meera Buck & Associates Michael’s Cookie Jar Minuteman Press – Post Oak Momentum Jaguar Music & Arts New Leaf Publishing, Inc. Nos Caves Vin The Parson Family in memory of Dorothy Anne Parson Prime Systems Pro/Sound Randalls Food Markets Rice University Richard Brown Orchestra Saint Arnold’s Brewery

Saks Fifth Avenue Shecky’s Media, Inc. Singapore Airlines Staging Solutions Stewart Title Tony’s Tootsies Valobra Jewelry & Antiques Versace Village Greenway VISION Yahama

InTUNE — March 2019 | 47

Houston Symphony ENDOWMENT The Houston Symphony Endowment is a separate non-profit organization that invests contributions to earn income for the benefit of the Houston Symphony Society. TRUSTEES Alexandra Pruner, President Gene Dewhurst

James Lee Jerry Simon

William J. Toomey II Fredric A. Weber

An endowed fund can be permanently established within the Houston Symphony Society through a direct contribution or via a planned gift such as a bequest. The fund can be designated for general purposes or specific interests. For more information, please contact: Nancy Giles, Chief Development Officer, 713.337.8525. GENERAL ENDOWMENT FUNDS



to support operational and annual activities

Accenture (Andersen Consulting) Fund AIG American General Fund M.D. Anderson Foundation Fund Mr. & Mrs. Philip Bahr Fund Janice H. & Thomas D. Barrow Fund Mrs. Ermy Borlenghi Bonfield Fund Jane & Robert Cizik Fund Mr. Lee A. Clark Fund Cooper Industries, Inc. Fund Gene & Linda Dewhurst Fund DuPont Corporation Fund Elkins Charitable Trust Agency Fund The Margaret & James A. Elkins Foundation Fund Virginia Lee Elverson Trust Fund Charles Engelhard Foundation Fund William Stamps Farish Fund Dr. Kelli Cohen Fein & Martin J. Fein Fund Stephen & Mariglyn Glenn Fund Jo A. & Billie Jo Graves Fund

DESIGNATED FUNDS



George & Mary Josephine Hamman Foundation Fund Dr. Gary L. Hollingsworth & Dr. Ken Hyde Fund Houston Arts Combined Endowment Fund Drs. M.S. & Marie-Luise Kalsi Fund Mr. & Mrs. Marvin Kaplan Fund Ann Kennedy & Geoffrey Walker Fund Martha Kleymeyer Fund Rochelle & Max Levit Fund Mr. E. W. Long Jr. Fund Mr. & Mrs. Rodney H. Margolis Fund Jay & Shirley Marks Fund Mr. & Mrs. J. Stephen Marks Fund/ The Marks Charitable Foundation Marian & Speros Martel Foundation Fund Barbara & Pat McCelvey Fund The Menil Foundation Fund Monroe Mendelsohn Jr. Estate Sue A. Morrison & Children Fund National Endowment for the Arts Fund

to support annual performance activity

The Brown Foundation Guest Pianist Fund The Cullen Foundation Maestro’s Fund General & Mrs. Maurice Hirsch Memorial Concert Fund in memory of Theresa Meyer and Jules Hirsch, beloved parents of General Maurice Hirsch, and Rosetta Hirsch Weil and Josie Hirsch Bloch, beloved sisters of General Maurice Hirsch The Houston Symphony Chorus Endowment Fund

ENDOWED CHAIRS

to attract, retain and support world-class conductors, musicians, guest artists and executive leadership 

Janice & Thomas Barrow Chair Brinton Averil Smith, Principal Cello Roy & Lillie Cullen Chair Andrés Orozco-Estrada, Music Director Fondren Foundation Chair Qi Ming, Assistant Concertmaster General Maurice Hirsch Chair Aralee Dorough, Principal Flute Ellen E. Kelley Chair Eric Halen, Co-Concertmaster Max Levine Chair George P. & Cynthia Woods Mitchell Chair Mark Hughes, Principal Trumpet Tassie & Constantine S. Nicandros Chair Alexander Potiomkin, Bass Clarinet Lucy Binyon Stude Chair Jonathan Fischer, Principal Oboe Winnie Safford Wallace Chair

ENDOWED FUNDS

to attract, retain and support world-class conductors and guest artists American General Fund Speros P. Martel Fund Stewart Orton Fund Dan Feigal Prosser Fund 

48 | Houston Symphony

Stewart Orton Fund Papadopoulos Fund Nancy & Robert Peiser Fund Rockwell Fund, Inc. Fund Mr. & Mrs. Clive Runnells Fund Estate of Mr. Walter W. Sapp Fund Mr. & Mrs. Matt K. Schatzman Fund The Schissler Foundation Fund Mr. & Mrs. James A. Shaffer Fund Mr. & Mrs. William T. Slick Jr. Fund Texas Eastern Fund Dorothy Barton Thomas Fund Bobby & Phoebe Tudor Fund Mr. & Mrs. Jesse B. Tutor Fund Dede & Connie Weil Fund The Wortham Foundation Fund Anonymous (5)

Fayez Sarofim Guest Violinist Fund through The Cullen Trust for the Performing Arts The Wortham Foundation Classical Series Fund endowed in memory of Gus S. & Lyndall F. Wortham

 to support annual education and community engagement activities Margarett & Alice Brown Endowment Fund for Education Ronald C. Borschow Fund Lawrence E. Carlton, M.D. Endowment Fund for Youth Programs Richard P. Garmany Fund for the Houston Symphony League Concerto Competition The William Randolph Hearst Endowed Fund for Education Programs Selma S. Neumann Fund Spec’s Charitable Foundation Salute to Educators Concert Fund  to support new commissions and innovative artistic projects The Micajah S. Stude Special Production Fund

to support access and expand geographic reach The Alice & David C. Bintliff Messiah Concert Fund The Brown Foundation’s Miller Outdoor Theatre Fund in memory of Hanni & Stewart Orton Mach Family Audience Development Fund George P. & Cynthia Woods Mitchell Summer Concerts Fund 

 to support electronic media initiatives The Cullen Trust for the Performing Arts Fund for Creative Initiatives

to support the Ima Hogg Competition Nancy B. Willerson Mr. & Mrs. C. Clifford Wright Jr. 

to support piano performance Michael B. & Christine E. George Fund to support Piano Performance Concerts Mary R. Lewis Fund for Piano Performance C. Howard Pieper Foundation 

LEGACY COMMITMENTS

 through The Brown Foundation Challenge to support artistic excellence Janet F. Clark Gloria Goldblatt Pryzant Mr. & Mrs. Jesse B. Tutor Legacy Society Chair Wayne Brooks, principal viola Ms. Vicki West in honor of Hans Graf Anonymous (1)

LEADERSHIP GIFTS OF WORKING CAPITAL provided as part of the Campaign for the 20th Century, Campaign for Houston Symphony and My Houston, My Symphony—Campaign for a Sound Future Hewlett Packard Company Fund The Robert and Janice McNair Foundation Neva Watkins West Fund Gift in memory of Winifred Safford Wallace for the commission of new works



Legacy SOCIETY The Legacy Society honors those who have included the Houston Symphony Endowment in their long-term estate plans through bequests, life-income gifts or other deferred-giving arrangements. Farida Abjani Mr. & Mrs. Jeffrey B. Aron Myra W. Barber Daniel B. Barnum George* & Betty Bashen Dr. Joan Hacken Bitar Dorothy B. Black Kerry Levine Bollmann Ermy Borlenghi Bonfield James & S. Dale Brannon Zu Broadwater Joan K. Bruchas & H. Philip Cowdin Mr. Christopher & Mrs. Erin Brunner Eugene R. Bruns Cheryl & Sam Byington Sylvia J. Carroll Dr. Robert N. Chanon William J. Clayton & Margaret A. Hughes Mr. & Mrs. Byron Cooley The Honorable & Mrs. William Crassas Dr. Lida S. Dahm Leslie Barry Davidson Judge & Mrs. Harold DeMoss Jr. Susan Feickert Ginny Garrett Mr. & Mrs. Harry H. Gendel Mauro H. Gimenez & Connie A. Coulomb Mr. Robert M. Griswold

Randolph Lee Groninger Claudio J. Gutierrez Mr. & Mrs. Jerry L. Hamaker Mrs. Gloria Herman Marilyn & Robert M. Hermance Timothy Hogan & Elaine Anthony Dr. Gary L. Hollingsworth Dr. Edward J. & Mrs. Patti Hurwitz Dr. Kenneth Hyde Brian & Catherine James Barbara & Raymond Kalmans Dr. & Mrs. Ira Kaufman, M.D. John S. W. Kellett Ann Kennedy & Geoffrey Walker Dr. James E. & Betty W. Key Dr. & Mrs. I. Ray Kirk Mrs. Frances E. Leland Samuel J. Levine Mrs. Lucy Lewis E. W. Long Jr. Sandra Magers David Ray Malone & David J. Sloat Mr. & Mrs. Rodney H. Margolis Jay & Shirley Marks James G. Matthews Mr. & Mrs. John H. Matzer III Dr. & Mrs. Malcolm L. Mazow Mary Ann & David McKeithan Mr. & Mrs. Alexander K. McLanahan

Dr. Tracey Samuels & Mr. Robert McNamara Mr. & Mrs. D. Bradley McWilliams Catherine Jane Merchant Dr. Georgette M. Michko Marilyn Ross Miles & Stephen Warren Miles Foundation Katherine Taylor Mize Richard & Juliet Moynihan Gretchen Ann Myers Patience Myers Mr. John N. Neighbors, in memory of Jean Marie Neighbors Mr. & Mrs. Richard C. Nelson Bobbie Newman John & Leslie Niemand Leslie Nossaman Dave G. Nussmann John Onstott Macky Osorio Edward C. Osterberg Jr. Mr. & Mrs. Edmund & Megan Pantuliano Imogen “Immy” Papadopoulos Christine & Red Pastorek Peter & Nina Peropoulos Sara M. Peterson Darla Powell Phillips Geraldine Smith Priest Dana Puddy

Patrick T. Quinn Lila Rauch Ed & Janet Rinehart Mr. Floyd W. Robinson Evie Ronald Walter Ross Mr. & Mrs. James A. Shaffer Dr. & Mrs. Kazuo Shimada Lisa & Jerry Simon Tad & Suzanne Smith Sherry Snyder Marie Speziale Emily H. & David K. Terry Stephen G. Tipps Steve Tostengard, in memory of Ardyce Tostengard Jana Vander Lee Bill & Agnete Vaughan Dean B. Walker Stephen & Kristine Wallace David M. Wax* & Elaine Arden Cali Geoffrey Westergaard Nancy B. Willerson Jennifer R. Wittman Lorraine & Ed Wulfe David & Tara Wuthrich Katherine & Mark Yzaguirre Edith & Robert Zinn Anonymous (6)

Sidney Moran Sue A. Morrison & children in memory of Walter J. Morrison Mr. & Mrs. Marvin H. Mueller Drs. John & Dorothy Oehler Robert A. Peiser Gloria G. Pryzant Clive Runnells, in memory of Nancy Morgan Runnells Mr. Charles K. Sanders Donna Scott Charles & Andrea Seay Michael J. Shawiak Jule* & Albert Smith Mr. & Mrs. Louis J. Snyder Mr. Rex Spikes

Frank Stanford Mike & Anita* Stude Mr. & Mrs. Jesse B. Tutor Elba L. Villarreal Margaret Waisman, M.D. & Steven S. Callahan, Ph.D. Mr. & Mrs. Fredric A. Weber Robert G. Weiner Vicki West in honor of Hans Graf Susan Gail Wood Jo Dee Wright Ellen A. Yarrell Anonymous (2)

CRESCENDO CIRCLE $100,000+ Dr. & Mrs. George J. Abdo Priscilla R. Angly Janice Barrow James Barton James Bell Joe Brazzatti Terry Ann Brown Drs. Dennis & Susan Carlyle Janet F. Clark Mr. William E. Colburn Darrin Davis & Mario Gudmundsson Harrison R.T. Davis Andria N. Elkins Jean & Jack* Ellis The Aubrey & Sylvia Farb Family Eugene Fong

Mrs. Aggie L. Foster Michael B. George Stephen & Mariglyn Glenn Evan B. Glick Jo A. & Billie Jo Graves Bill Grieves Jacquelyn Harrison & Thomas Damgaard Dr. Rita Justice Mr. & Mrs. U. J. LeGrange Ms. Nancey G. Lobb Joella & Steven P. Mach Bill & Karinne McCullough Betty & Gene* McDavid Dr. & Mrs.* Robert M. Mihalo Ione Moran

*Deceased

In MEMORIAM We honor the memory of those who in life included the Houston Symphony Endowment in their estate plans. Their thoughtfulness and generosity will continue to inspire and enrich lives for generations to come. Mr. Thomas D. Barrow George Bashen Paul M. Basinski W. P. Beard Ronald C. Borschow Mrs. H. Raymond Brannon Anthony Brigandi Lawrence E. Carlton, M.D. Mrs. Albert V. Caselli Lee Allen Clark William J. & Patricia S. Cunningham Fredell Lack Eichhorn Jack Ellis Mrs. Robin A. Elverson Frank R. Eyler Dr. & Mrs. Larry L. Fedder

Helen Bess Fariss Foster Christine E. George Lila-Gene George Mr. & Mrs. Keith E. Gott John Wesley Graham Dorothy H. Grieves Mrs. Marcella Levine Harris Gen. & Mrs. Maurice Hirsch Miss Ima Hogg Burke & Octavia Holman David L. Hyde Dr. Blair Justice Mr. Max Levine Dr. Mary R. Lewis Mrs. L. F. McCollum Gene McDavid

Mr. & Mrs. Charles E. McKerley Doretha Melvin Monroe L. Mendelsohn Jr. Mr. Ronald Mikita Robert Austin Moody Mrs. Janet Moynihan Arthur Newman Constantine S. Nicandros Hanni Orton Stewart Orton, Legacy Society co-founder Dr. Michael Papadopoulos Miss Louise Pearl Perkins Mary Anne H. Phillips Mr. Howard Pieper

Walter W. Sapp, Legacy Society co-founder J. Fred & Alma Laws Lunsford Schultz Ms. Jean R. Sides Lola Sinclair Blanche Stastny John K. & Fanny W. Stone Dorothy Barton Thomas Dr. Carlos Vallbona Mr. Harry C. Wiess Mrs. Edward Wilkerson Daisy S. Wong / JCorp Anonymous (1)

InTUNE — March 2019 | 49

Education & Community Engagement DONORS The Houston Symphony acknowledges those individuals, corporations and foundations that support our education and community engagement initiatives. Each year, these activities impact the lives of more than 97,000 children and students and provide access to our world-class orchestra for more than 150,000 Houstonians free of charge.

Principal Guarantor $250,000+



John & Lindy Rydman / Spec’s Wines, Spirits & Finer Foods / Spec’s Charitable Foundation

Guarantor $100,000+



BBVA Compass The Jerry C. Dearing Family Foundation City of Houston through the Miller Theatre Advisory Board Houston Endowment Houston Symphony Endowment Mr. John N. Neighbors

Underwriter $50,000+



Chevron The Elkins Foundation ENGIE Exxon Mobil Corporation The Hearst Foundations, Inc. League of American Orchestras’ Futures Fund Houston Livestock Show and Rodeo The John P. McGovern Foundation The Robert & Janice McNair Foundation Occidental Petroleum The Powell Foundation Mr. & Mrs. William K. Robbins Jr./ The Robbins Foundation Shell Oil Company

Sponsor



$25,000+

Mr. & Mrs. John P. Dennis III/ WoodRock & Co. Sterling-Turner Foundation Wells Fargo

Partner  $15,000+ Anadarko Petroleum Corporation Ruth and Ted Bauer Family Foundation Barbara Bush Literacy Foundation The Melbern G. and Susanne M. Glasscock Foundation H-E-B Tournament of Champions Macy’s Vivian L. Smith Foundation Mr. Jay Steinfeld & Mrs. Barbara Winthrop Texas Commission on the Arts Ellen A. Yarrell in memory of Virginia S. Anderson and in honor of Cora Sue Mach Supporter



$10,000+

CenterPoint Energy George & Mary Josephine Hamman Foundation William E. & Natoma Pyle Harvey Charitable Trust Houston Symphony League Nancy & Robert Peiser

Benefactor



$5,000+

Houston Symphony League Bay Area Nordstrom Randalls Food Markets

Donor



$1,000+

Lilly & Thurmon Andress Diane & Harry Gendel Kinder Morgan Foundation Cora Sue & Harry Mach Karinne & Bill McCullough Tricia & Mark Rauch Hazel French Robertson Education & Community Residency Strake Foundation

Support by Endowed Funds Education and Community programs are also supported by the following endowed funds, which are a part of the Houston Symphony Endowment: Margarett & Alice Brown Endowment Fund for Education Spec’s Charitable Foundation Salute to Educators Concert Fund The Brown Foundation’s Miller Outdoor Theatre Fund in honor of Hanni & Stewart Orton The William Randolph Hearst Endowed Fund for Education Programs Lawrence E. Carlton, M.D. Endowment Fund for Youth Programs Richard P. Garmany Fund for Houston Symphony League Concerto Competition Houston Symphony Ima Hogg Competition Endowed Fund Selma S. Neumann Fund

Support for Symphony Scouts Cora Sue & Harry Mach in honor of Roger Daily’s 13 years of service as Director of the Houston Symphony’s Education and Community Programs

Support for the Community-Embedded Musicians Initiative The Community-Embedded Musicians Initiative is supported in part by a generous grant from the American Orchestras’ Futures Fund, a program of the League of American Orchestras made possible by funding from the Ann & Gordon Getty Foundation. The Houston Symphony residency at Lewis Elementary is presented by BBVA Compass and the BBVA Compass Foundation. We are also thankful to HISD and these lead supporters of the CommunityEmbedded Musician program: Robert and Janice McNair Foundation Medistar National Endowment for the Arts Spec’s Wines, Spirits and Finer Foods / Spec’s Charitable Foundation Nancy & Robert Peiser Mr. Jay Steinfeld & Mrs. Barbara Winthrop H-E-B Tournament of Champions

Sponsor SPOTLIGHT The sponsors of Houston Symphony Clarinet Christian Schubert, Mariglyn and Stephen Glenn, have supported the orchestra for 25 years. Members of the New Century Society, Concertmaster’s Society and Legacy Society, Mariglyn is also involved in the Houston Symphony League, and Stephen has served the Board of Trustees as a Governing Director.

50 | Houston Symphony

MUSICIAN SPONSORSHIPS Donors at the Conductor’s Circle Silver Baton level and above are provided the opportunity to be recognized as sponsoring a Houston Symphony Musician. For more information, please contact Tyler Murphy, Development Officer, Major Giving Groups, at 713.337.8536 or tyler.murphy@houstonsymphony.org. Janice Barrow Sophia Silivos, First Violin Mrs. Bonnie Bauer Fay Shapiro, Viola Gary & Marian Beauchamp Martha Chapman, Second Violin Mr. & Mrs. Edward F. Blackburne Jr. Sergei Galperin, First Violin Mrs. Zarine M. Boyce Brinton Averil Smith, Principal Cello Nancy & Walter Bratic Christopher Neal, First Violin Ralph Burch Robin Kesselman, Principal Double Bass Barbara J. Burger Andrew Pedersen, Double Bass Dougal & Cathy Cameron Brian Thomas, Horn Dr. M.K. Campion Rodica Gonzalez, First Violin Drs. Dennis & Susan Carlyle Louis-Marie Fardet, Cello Jane & Robert Cizik Qi Ming, Assistant Concertmaster Mr. Michael H. Clark & Ms. Sallie Morian George Pascal, Assistant Principal Viola

Dr. Gary L. Hollingsworth & Dr. Kenneth J. Hyde Robert Walp, Assistant Principal Trumpet Drs. M.S. & Marie-Luise Kalsi Eric Halen, Co-Concertmaster The Joan & Marvin Kaplan Foundation Mark Nuccio, Principal Clarinet Dr. & Mrs. I. Ray Kirk Linda Goldstein, Viola Mr. & Mrs. U. J. LeGrange Thomas LeGrand, Associate Principal Clarinet Rochelle & Max Levit Sergei Galperin, First Violin Cornelia & Meredith Long Brinton Averil Smith, Principal Cello Cora Sue & Harry Mach Joan DerHovsepian, Associate Principal Viola Joella & Steven P. Mach Eric Larson, Double Bass Mrs. Carolyn & Dr. Michael Mann Ian Mayton, Horn Mr. & Mrs. Rodney H. Margolis Eric Halen, Co-Concertmaster Mr. & Mrs. J. Stephen Marks Brian Del Signore, Principal Percussion Jay & Shirley Marks Sergei Galperin, First Violin

Roger & Debby Cutler Tong Yan, First Violin

Michelle & Jack Matzer Kurt Johnson, First Violin

Mr. Richard Danforth Jeffrey Butler, Cello

Dr. & Mrs. Malcolm L. Mazow Rodica Gonzalez, First Violin

Leslie Barry Davidson & W. Robins Brice Colin Gatwood, Oboe

Barbara & Pat McCelvey Adam Dinitz, English Horn

Scott Ensell & Family Donald Howey, Double Bass Kelli Cohen Fein & Martin Fein Ferenc Illenyi, First Violin Mr. & Mrs. Russell M. Frankel Aralee Dorough, Principal Flute Stephen & Mariglyn Glenn Christian Schubert, Clarinet Evan B. Glick Tong Yan, First Violin Mr. & Mrs. Fred L. Gorman Christopher French, Associate Principal Cello

Betty McDavid Linda Goldstein, Viola Mr. & Mrs. Alexander K. McLanahan William VerMeulen, Principal Horn Martha & Marvin McMurrey Rodica Gonzalez, First Violin Dr. Robert M. Mihalo Brian Thomas, Horn

Bobbie Newman Rodica Gonzalez, First Violin Scott & Judy Nyquist Sheldon Person, Viola Susan & Edward Osterberg MiHee Chung, First Violin Mr. & Mrs. Jonathan E. Parker Nancy Goodearl, Horn Nancy & Robert Peiser Jonathan Fischer, Principal Oboe Dave & Alie Pruner Matthew Strauss, Percussion Gloria & Joe Pryzant Matthew Strauss, Percussion Ron & Demi Rand Myung Soon Lee, Cello Lila Rauch Christopher French, Associate Principal Cello Sybil F. Roos Mark Hughes, Principal Trumpet Mr. Glen A. Rosenbaum Aralee Dorough, Principal Flute Linda & Jerry Rubenstein Brian Del Signore, Principal Percussion John & Lindy Rydman / Spec’s Wines, Spirits & Finer Foods Anthony Kitai, Cello Mr. & Mrs. Walter Scherr Phyllis Herdliska, Viola Mr. & Mrs. James A. Shaffer Eric Halen, Co-Concertmaster Laura & Michael Shannon Rian Craypo, Principal Bassoon Donna & Tim Shen Tina Zhang, Second Violin

Mike Stude Brinton Averil Smith, Principal Cello Linda & Paul Thomas Robert Johnson, Associate Principal Horn Susan L. Thompson George Pascal, Assistant Principal Viola Bobby & Phoebe Tudor Bradley White, Associate Principal Trombone Mr. & Mrs. Jesse B. Tutor Daniel Strba, Viola Ms. Judith Vincent Matthew Roitstein, Associate Principal Flute Shirley & Joel Wahlberg Matthew Strauss, Percussion Margaret Waisman, M.D. & Steven S. Callahan, Ph.D. Mark Griffith, Percussion Stephen & Kristine Wallace Allen Barnhill, Principal Trombone Mr. & Mrs. Fredric A. Weber Megan Conley, Principal Harp Vicki West Rodica Gonzalez, First Violin Steven & Nancy Williams MiHee Chung, First Violin Jeanie Kilroy Wilson & Wallace S. Wilson Xiao Wong, Cello Mr. & Mrs. C. Clifford Wright Jr. Jarita Ng, Viola Lorraine & Ed Wulfe Dave Kirk, Principal Tuba Nina & Michael Zilkha Kurt Johnson, First Violin

The Julia and Albert Smith Foundation Eric Arbiter, Associate Principal Bassoon Tad & Suzanne Smith Marina Brubaker, First Violin Alana R. Spiwak & Sam L. Stolbun Wei Jiang, Viola

Rita & Paul Morico Elise Wagner, Bassoon

Mr. & Mrs. Robert R. Springob, Laredo Construction, Inc. Mihaela Frusina, Second Violin

Mr. & Mrs. Robert E. Nelson Mihaela Frusina, Second Violin

Carol & Michael Stamatedes Eric Larson, Double Bass InTUNE — March 2019 | 51

Meet Christian Schubert, clarinet

Christian Schubert has been the second clarinetist of the Houston Symphony since 1996 when he was appointed by Music Director Christoph Eschenbach. A native of Burbank, CA, he studied at Northwestern University in Evanston, IL, where he received both his undergraduate and graduate degrees in music performance. His principal teachers have been Kalman Bloch, Robert Marcellus and Larry Combs. Prior to arriving in Houston, Christian played with numerous Chicago-area ensembles, including the Chicago Lyric Opera Orchestra, Grant Park Music Festival, Chicago Symphony Orchestra, Ravinia Festival Orchestra and The Chicago Ensemble. As a teacher, he has in the past served on the music faculties of North Park University in Chicago and the University of Houston’s Moores School of Music. Currently, he maintains a private teaching studio in Pearland. In his time away from teaching and performing, Christian owns and operates a recording engineering company, Schubert Recording Services, specializing in the quality digital recording of classical music. In his time away from work, he is the devoted father of two young daughters.

What inspired you to become a musician? According to my dad, my mom listened to a lot of Benny Goodman and Artie Shaw while she was pregnant. About a month before she delivered me, she said her baby was going to play the clarinet someday. Somehow, I never heard that story until I had already won my position in the Houston Symphony. It’s a good thing, though, because the pressure would have been even higher to win this position, my dream job for sure! Actually, my mom never pushed the clarinet. I started on piano, but in fifth grade I had to pick a band instrument in school. I wanted to play saxophone, but my best friend’s dad (who had played multiple woodwinds in the Looney Tunes studio orchestras) said I should start on clarinet and switch to saxophone later. To this day, I’ve never even picked up a saxophone—the clarinet is definitely ‘my voice.’

What upcoming Houston Symphony concerts are you most looking forward to performing? I’ve been looking forward to playing the entire score to Star Wars: A New Hope my entire career. I fell in love with this music in the movie theater when I was in elementary school. Of course, I asked my parents to let me purchase the LP records on the way home from seeing the movie. When John Williams came to conduct the Houston Symphony in 2013, I brought in all three of my Star Wars soundtrack LP sets, and he signed them during a rehearsal break. He couldn’t have been more gracious. He said orchestra players all over the world had brought those same sets for him to sign, and that many had told him that those soundtracks provided their first motivation to become orchestra musicians. That was certainly true for me!

What hobbies and interests do you have outside of music?

Top: My Houston Symphony portrait

I have discovered that cooking is my go-to source for stress relief! I absolutely love to work with the highest quality ingredients I can find, and in almost all cases, I literally know my rancher and my farmer. My two daughters and I enjoy cooking together every night. With all the things that can be shelved or put aside in a day, the evening meal together with the three of us never gets sacrificed—it is the best part of each day.

Second: On vacation in Chicago this past summer with my daughters

Christian Schubert is sponsored by Mariglyn and Stephen Glenn. 52 | Houston Symphony

Third: Teaching students at Waltrip High School as part of the Houston Symphony Community Connections Program Bottom: John Williams signing my LP soundtrack albums

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