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

THE HOUSTON SYMPHONY MAGAZINE

MAY 2019

BEETHOVEN’S EROICA 26

RACHMANINOFF’S THE BELLS 30

BLUEBEARD’S CASTLE 36

THE BEST OF BROADWAY 40

May 3, 4 & 5

May 9, 11 & 12 May 16 & 17

May 24, 25 & 26

dare to enter...

BLUEBEARD’S

CASTLE

Your Values. Your Influence. Your Legacy. Our Advice.

From left: Tom Williams, Donnie Roberts, Maureen Phillips, Leah Bennett, Shelitha Smodic, Allen Lewis, Susan Wedelich

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InTUNE | M AY

2019

Programs

Beethoven’s Eroica May 3, 4 & 5 ��26 Rachmaninoff’s The Bells May 9, 11 & 12 ��30 Bluebeard’s Castle May 16 & 17 ��36 The Best of Broadway May 24, 25 & 26 �� 40

Features

Letter to Patrons ��2 Giving Societies and Donor Benefits �� 16 Concert Preview: Music Illustrated �� 17 Sneak Peak: Resilient Sounds �� 18 2019 Ima Hogg Competition ��20 Becoming Judith: Michelle DeYoung ��22 Eric Arbiter: Symphony in Pictures ��24 Backstage Pass with Joan DerHovsepian ��52

Your Houston Symphony

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

Learn about the world premiere of our Virtual Reality in Concert experience.

LETTER TO PATRONS

InTUNE is published by the Houston Symphony.

MAY 2019

As our 2018–19 Season comes to a close, I want to take a moment to thank you for being a loyal Houston Symphony patron. The outstanding successes we have experienced this season—from Opening Night with Yuja Wang to Star Wars—would not have been possible without the incredible enthusiasm and generosity of patrons like you. Week in and week out, our Grammy Awardwinning musicians are reaching new heights of artistry, playing an astonishingly diverse selection of music with style, commitment, and virtuoso technique. Help take the Houston Symphony to the next level this coming season by contributing to our spring campaign, Houston Symphony: We’re Going Places.

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.

This May, we have saved the best for last. Music Director Andrés Orozco-Estrada returns to lead the world premiere of Aurora, a violin concerto by Composer-in-Residence Jimmy López. You will experience new atmospheric evocations of the Northern Lights and music history in the making at the first performances of this masterpiece. Andrés then leads American wunderkind George Li in not one, but two virtuoso works for piano and orchestra along with The Bells, a choral symphony Rachmaninoff considered his crowning achievement. Our Classical Series concludes with a spectacular, semi-staged production of Bartók’s riveting opera, the psychological thriller Bluebeard’s Castle, featuring two of the world’s greatest exponents of the work. Our 2018–19 Season ends with a bang as Steven Reineke and the Chorus present show-stopping choral numbers in our POPS Series finale, The Best of Broadway. More music is on the way as our busy summer activities begin in June. Learn more about the exciting semi-finalists of this year’s Ima Hogg competition on page 20, and preview our Summer Sounds concerts on page 23. Thank you for joining us for this performance, and we look forward to seeing you back at Jones Hall soon.

Advertise in InTUNE 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 performances 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 6 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 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, Berlin Philharmonic, Staatskapelle Dresden, Leipzig Gewandhaus Orchestra, Royal Concertgebouw Orchestra, Orchestra dell'Accademia Nazionale di Santa Cecilia, and 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 Styriarte festivals. Highlights of the 2018–19 season include his concert with the Vienna Philharmonic for Mozart Week and a new production of Rigoletto at the Berlin State Opera. He 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, Mahler Chamber Orchestra, Chicago Symphony Orchestra, and The Philadelphia Orchestra. He and his Frankfurt Radio Symphony Orchestra also perform Strauss’s Elektra in Frankfurt and Dortmund. In December, he led the Vienna Symphony with Beethoven’s Ninth Symphony. Andrés 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 Zürich with the Filarmónica Joven de Colombia, with whom he then tours. 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’s An 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 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 began studying 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 8 p.m. to hear great performances from past Houston Symphony concerts. You can also listen Wednesday nights at 8 p.m. online through Houston Public Media's digital Classical station.

MAY 2019 BROADCAST SCHEDULE ALL BROADCASTS AIR AT 8 P.M. May 5 | News 88.7 May 8 | Classical RECORDED: April 26–29, 2018

May 12 | News 88.7 May 15 | Classical RECORDED: January 11–13, 2013

May 19 | News 88.7 May 22 | Classical RECORDED: May 4–6, 2018

May 26 | News 88.7 May 29 | Classical RECORDED: May 10–13, 2018

Juraj Valčuha, conductor Evgeni Bozhanov, piano Nicolai: Overture to The Merry Wives of Windsor Chopin: Piano Concerto No. 2 R. Strauss: Also sprach Zarathustra

Hans Graf, conductor Adam Dinitz, English horn Mark Hughes, trumpet Copland: Quiet City for English Horn, Trumpet and Strings Dutilleux: Symphony No. 2 (Le Double) Dvořák: Symphony No. 9 (From the New World)

Andrés Orozco-Estrada, conductor Mark Nuccio, clarinet Nicole Heaston, soprano Russell Braun, baritone Mozart: Clarinet Concerto in A major, K.622 Gershwin: Walking the Dog Brahms: A German Requiem

Andrés Orozco-Estrada, conductor Augustin Hadelich, violin Brahms: Symphony No. 3 Sibelius: Violin Concerto Brahms: Variations on a Theme of Haydn

InTUNE — May 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

Stage Manager Stefan Stout

Assistant Orchestra Personnel Manager Josh Hall

Assistant Librarians Aspen McArthur Michael McMurray

Assistant Stage Manager José Rios

Stage Technician Nick DiFonzo

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 **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 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 Gloria G. Pryzant 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 — May 2019 | 9

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 May 13–20. Further auditions will take place in August 2019. 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 | Rehearsal Conductors

Janwin Overstreet-Goode Julia Hall2

Section Leaders

Nikki Colby1 Julia FitzGerald1,2 Stephen James1,2 Douglas Rodenberger1,2 Cecilia Sun2

Chorus Council

Ramona Alms Joe Anzaldua Jonathan Bordelon Susan Casper Nicole Colby Randy Eckman Brianna Fernandez Julia FitzGerald Susan Hall Stephen James

10 | Houston Symphony

Ken Mathews Janwin Overstreet-Goode Jennifer Paulson Douglas Rodenberger Tony Sessions Lee Williams

Chorus Roster

Steve Abercia1,2 Melissa Adams1 Mary Ann Addis1,2 Josh Adler1,2 Jennifer Agbu2 Bob Alban1,2 David Alfaro-Lopez1 Ramona Alms2 Kelli Amick2 Keith Anthis1,2 Joe Anzaldua1,2 Christina Aranda1,2 Stuart Aron1

Rachmaninoff’s The Bells • May 9, 11 & 12 The Best of Broadway • May 24, 25 & 26

Ellis Bardin1,2 Enrique Barrera III1 Steve Bayless1 Justin Becker1 John Bice1 Randy Boatright1,2 Criselda Bocanegra1 Joanne Bonasso2 Harvey Bongers1,2 Jonathan Bordelon1,2 Janene Bostwick 2 Emily Boudreaux1 Timothy Boyer1,2 Robyn Branning1,2 Jennifer Breneman1,2 James Bue1,2 Kristen Bullock2 Patricia Bumpus1 Troy Burnett1 Kimberly Butler2 James Calvert1,2

Susan Casper1 Tsung-Yen Chang1,2 Tatiana Chavanelle1 William Cheadle1,2 Elizabeth Chrisman1,2 Nancy Christopherson1 Evan Clawson2 Nicole Colby1,2 Swatara Collins1,2 Carson Cunningham1 Paul Dabney1,2 Nicolas Dell’Anno2 Shannon Devine1,2 Anna Diemer1,2 Michael Dorn1,2 Steve Dukes1,2 Emily Eads1,2 Randy Eckman1 Paul Ehrsam1,2 Raul Enriquez 2 Chris Fair1,2

Amanda Fetter-Matthys1,2 Julia FitzGerald1,2 Raymond Fonseca1 Jim Friedhofer1 Adam Froelich2 Katie Fry2 Joseph Frybert1,2 Rachel Gehman1,2 Michael Gilbert1 Rex Gillit1,2 Rebecca Girardet1 Taylor Golden-White1 Robert Gomez1,2 Maurice Goodwin1,2 Daniel Gorelick1,2 Hannah Gronseth2 Will Hailey1,2 Julia Hall1,2 Susan Hall1,2 Austin Hart2 Jen Hart2 Scott Hassett1,2 Kathleen Holder2 Eileen Holshouser 2 Sean Holshouser2 Catherine Howard1 George Howe1 Laura Howey2 Jillian Hughes1 Jerome Hunter1 Stephen James1,2 La'Netha Jefferson1

Timothy Joya2 Michael Kapinus1 Brionne Kelly1,2 Chris Kersten1 Karen King-Ellis1,2 Nobuhide Kobori1,2 David Kolacny1 Elizabeth Kragas1 Kat Kunz1 Julie Kutac2 Karen Lach2 Yoka Larasati2 Brian Lassinger1,2 Cynthia Lavenda1,2 Josh Levine1,2 Shelby Lollar2 Benjamin Luss1 Relana Luss1,2 Sarah Malin-Young 2 Katie Marcell2 Jordan March1,2 Jarrod Martin2 Lisa Marut-Shriver1 Ken Mathews1,2 Ben May2 Sarah McConnell1,2 Renesha McNeal1 Scott Mermelstein1,2 Travis Mohle2 Jim Moore1,2 Shelby Murphy1 Robert Nash1

Eliza Nicholson1 Rachael Niederhauser2 Theresa Olin1,2 David Opheim1,2 Alyssa Orlando1 Janwin Overstreet-Goode1,2 Bill Parker1,2 Jennifer Paulson1,2 Sydney Peltier1.2 Charnele Pendarvis-Romero 2 Alex Perez2 Ariella Perlman1 Chantel Potvin1,2 Julianne Preddy1,2 Lauren Price1,2 Liz Pruett2 Jayna Queen1,2 Greg Railsback1,2 Karen Ramirez1,2 Jessica Rangel2 Linda Renner1,2 Rachel Rentz1,2 Douglas Rodenberger1,2 Carolyn Rogan1,2 Grace Roman1,2 James Roman1 Alex Schaaf 2 Gary Scullin1,2 Angela Seaman2 Abby Seible1,2 Tony Sessions1,2 Claire Sewell1

Jeffrey Short2 Jessica Simmons1 Lauren Smith2 Dewell Springer1,2 Christopher Song 2 Mark Standridge1,2 Cecilia Sun1,2 Rebekah Terwilliger1 Alisa Tobin1,2 James Tolles2 Marin Trautman1 Lisa Trewin1,2 Emanuel Tucker1 Shane Tucker1 Paul Van Dorn1,2 Abby Veliz1,2 Mary Voigt1 Christine Voss1 Lori Wagner1 Heidi Walton1 Jo Beth Wasicek2 Beth Weidler1,2 Alex Weldy1 Kat White1,2 Lance Wilcox1,2 Lee Williams1,2 Sarah Wilson-Clark1,2 Jessica Zuniga1,2 David Zurawski2 Richard Zwelling1

HOUSTON SY MPHON Y CHORUS

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auditions The Houston Symphony Chorus will hold its next round of auditions May 13â&#x20AC;&#x201C;20. Further auditions will take place in August 2019 For more information on chorus auditions please contact Anna Diemer, chorus manager, at anna.diemer@houstonsymphony.org for details.

STAFF

ADMINISTRATIVE

The Houston Symphony Administrative Staff is made up of 68 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 and Government Grants EDUCATION AND COMMUNITY ENGAGEMENT Allison Conlan, Director, Education Emily Nelson, Associate Director, Education and Community Engagement Ana Rodriguez, Education and Community Engagement Manager Garrett Shaw, Education and Community Engagement Coordinator FINANCE | ADMINISTRATION | IT | HR Brittany Basden, Support Engineer Robert Boyd, Budget Manager Kimberly Cegielski, Staff Accountant Joel James, Senior HR Manager Tanya Lovetro, Director, Finance Morgana Rickard, Controller Gabriela Rivera, Senior Accountant Anthony Stringer, Director, IT Ariela Ventura, Office Manager/HR Coordinator Lee Whatley, Senior Director, IT and Analytics 12 | Houston Symphony

MARKETING | COMMUNICATIONS | PATRON SERVICES Mark Bailes, Marketing Coordinator Shelby Banda, Patron Services Representative Joshua Chavira, Patron Services Representative Davy Cruz, Patron Services Representative Calvin Dotsey, Communications Specialist Heather Fails, Manager, Ticketing Database Kristin Hawkins, Graphic Designer Kerry Ingram, Director, Digital Marketing 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 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

2019 FESTIVAL ORCHESTRA SERIES

anniversary

SEASON

PERSPECTIVES: Faculty Artist Series

Tuesdays, 7:30 pm | June 4, 11, 18, 25 | Dudley Recital Hall Festival faculty artists perform chamber music in the intimate acoustics of Dudley Recital Hall.

Information | Tickets: www.tmf.uh.edu

Bringing Classical music’s rising stars to Houston each June

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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

Mr. Jay Steinfeld & Mrs. Barbara Winthrop Anonymous (1)

$25,000-$49,000

The Cullen Foundation Clare Attwell Glassell Houston Endowment Mr. John N. Neighbors C. Howard Pieper Foundation Spec’s Charitable Foundation Shirley W. Toomim

Gary & Marian Beauchamp The Boeing Company Brett & Erin Busby Mr. & Mrs. Melbern G. Glasscock Ron Franklin & Janet Gurwitch Houston Downtown Alliance Drs. M.S. & Marie-Luise Kalsi/ Kalsi Engineering Carol & Michael Linn & The Michael C. Linn Family Foundation Beth Madison Rita & Paul Morico Michael J. Shawiak Vinson & Elkins, LLP Mr. & Mrs. Fredric A. Weber Robert G. Weiner & Toni Blankmann Ellen A. Yarrell

$100,000-$249,999

$15,000-24,999

$500,000-$999,999

Janice Barrow Barbara J. Burger The Cullen Trust for the Performing Arts Bobby & Phoebe Tudor Margaret Alkek Williams The Wortham Foundation, Inc.

$250,000-$499,999

Beauchamp Foundation Ms. Marie Taylor Bosarge The Elkins Foundation The Joan & Marvin Kaplan Foundation Joella & Steven P. Mach Barbara & Pat McCelvey Mr. & Mrs. Alexander K. McLanahan Janice & Robert* McNair Clive Runnells in memory of Nancy Morgan Runnells Mike Stude Oliver Wyman

$75,000-$99,999

EOG Resources, Inc. League of American Orchestras M. D. Anderson Foundation Lisa & Jerry Simon

$50,000-$74,999

Robin Angly & Miles Smith BBVA Compass Drs. Dennis & Susan Carlyle The Humphreys Foundation LTR Lewis Cloverdale Foundation Jay & Shirley Marks Nancy & Robert Peiser Dave & Alie Pruner Alice & Terry Thomas The William Stamps Farish Fund

Ralph Burch The Barbara Bush Houston Literacy Foundation Viviana & David Denechaud Eugene Fong Stephen & Mariglyn Glenn Evan B. Glick Jo A. & Billie Jo Graves Christina & Mark Hanson Debbie & Frank Jones Dr. Stewart Morris Katie & Bob Orr / Oliver Wyman Donna & Tim Shen Tad & Suzanne Smith Texas Commission on the Arts Mr. & Mrs. Jesse B. Tutor Judith Vincent Vicki West Daisy S. Wong / JCorp

$10,000-$14,999

Albert & Ethel Herzstein Charitable Foundation BB&T Cameron Management Virginia A. Clark Brad & Joan Corson Houston First Corporation Marzena & Jacek Jaminski Cora Sue & Harry Mach Mr. & Mrs. Rodney H. Margolis Mr. & Mrs. J. Stephen Marks

Michelle & Jack Matzer Mrs. Sybil F. Roos Laura & Mike Shannon Spir Star, Ltd. United Airlines Anonymous (1)

$5,000-$9,999

Estate of Freddie L. Anderson Anne Morgan Barrett James M. Bell Terry Ann Brown Dr. & Mrs. Samuel B. Condic Mr. & Mrs. Marvy A. Finger Mrs. Elizabeth B. Frost Mr. Jackson Hicks / Jackson & Company Dr. Gary L. Hollingsworth & Dr. Kenneth J. Hyde Mr. & Mrs. U. J. LeGrange Ms. Nancey G. Lobb Gary Mercer Susan & Edward Osterberg Mr. & Mrs. T.R. Reckling III The Schissler Foundation Mr. & Mrs. William T. Slick Jr. Stephen & Kristine Wallace Steven & Nancy Williams Mr. & Mrs. Tony Williford Mr. & Mrs. C. Clifford Wright Jr.

$2,500-$4,999

Frances & Ira Anderson Bank of America Mary Kathryn Campion, PhD Margot & John Cater Dr. Rita Justice Mr. Yosuke Kawasaki Dr. Thomas D. Nichols Gloria & Joe Pryzant Mr. Steven Reineke Mr. Floyd W. Robinson Mr. & Mrs. Manolo Sánchez The Strake Foundation Margaret Waisman, M.D. & Steven S. Callahan, Ph.D. Mr. & Mrs. Frank Yonish

$1,500-$2,499

Anne H. Bushman Julianne & David Gorte The Leon Jaworski Foundation David & Heidi Massin Strake Foundation Mr. Walter Weathers

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

Donor SPOTLIGHT Dr. Angela R. Apollo is a longtime member of the Houston Symphony League. A member of the Conductor’s Circle, she has supported a variety of the orchestra’s activities, most notably the annual Ima Hogg Competition.

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 Evan B. Glick 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 — May 2019 | 15

new GIVING SOCIETIES and donor benefits BEGINNING IN THE 2019–20 SEASON LEADERSHIP CIRCLE • $25,000+ This distinguished group of supporters receives customized benefits and recognition tailored to their annual support. They play a crucial role in the Symphony’s success, designating their support to concerts, special projects, educational activities or as unrestricted gifts. CONDUCTOR'S CIRCLE • $5,000–$24,999 This dedicated group of supporters receives benefits such as premier reserved donor seating, Green Room access, and complimentary valet parking for all Houston Symphony Classical, POPS, BBVA Compass Family Concerts, and Specials at Jones Hall. Annual support of $10,000 or more gives you the opportunity to sponsor a Houston Symphony concert, and annual support of $15,000 or more gives you the choice of sponsoring a Houston Symphony musician or Houston Symphony concert. Sponsors are recognized for their generous giving and support of the Symphony.

Help us impact the lives of more than 400,000 Houstonians by making a gift to the Houston Symphony this season. Instantly double the impact of your donation today thanks to a generous dollar for dollar match of all gifts from Trustee Shirley Toomim. To make your gift, visit our campaign tables in the lobby or near the round bar. You can also give in the following ways:

ONLINE HOUSTONSYMPHONY.ORG/DONATE TEXT “MUSIC” to 41444 CALL 713.337.8559

donate today! 16 | Houston Symphony

FRIENDS OF THE HOUSTON SYMPHONY • $100–$4,999 Grand Patron: $2,500–$4,999 • Season access to the Patron Donor Lounge • One-time pass to the Green Room • One-time valet parking pass • All benefits at the Patron level Patron: $1,500–$2,499 • Invitation to an additional private rehearsal (three total) • Additional one-time pass to the Patron Donor Lounge (three total) • Invitation to a Houston Symphony “Insider Event” • All benefits at the Director level Director: $1,000–$1,499 • Invitation to a “Behind-the-Scenes” experience • Early bird ticket email notification (new) • One-time pass to the Patron Donor Lounge • All benefits at the Principal level Principal: $500–$999 • Invitation to an additional private rehearsal (two total) • All benefits at the Associate Principal level Associate Principal: $250–$499 • Invitation to one private rehearsal • Complimentary dessert coupon for Jones Hall Encore Café (new) • All benefits at the Member level Member: $100–$249 • Complimentary drink coupon at the Jones Hall Round Bar (new) • Subscription to Symphony Notes newsletter • Houston Symphony Society membership, including voting privileges at the Annual Meeting QUESTIONS ABOUT LEADERSHIP CIRCLE OR CONDUCTOR’S CIRCLE? PLEASE CONTACT: Molly Simpson, Director, Individual Giving and Major Gifts at molly.simpson@houstonsymphony.org or 713.337.8526 QUESTIONS ABOUT FRIENDS OF THE HOUSTON SYMPHONY? PLEASE CONTACT: Michael Arlen, Associate Director, Individual Giving and Major Gifts at michael.arlen@houstonsymphony.org or 713.337.8529

concert PREVIEW JUNE 13 & 14 • JONES HALL

music il lust rated

VIRTUAL REALITY IN CONCERT

This summer, the Houston Symphony unveils a revolutionary orchestral experience—Virtual Reality in Concert: Music Illustrated. Combining music, art, dance, and technological innovation, this new sonic and visual spectacle is unlike anything you have ever seen before. Houston Symphony Director of Popular Programming Lesley Sabol and artist/dancer Topher Sipes explain what makes Virtual Reality in Concert a uniquely 21st-century phenomenon.

WHAT IS VIRTUAL REALITY IN CONCERT: MUSIC ILLUSTRATED? Lesley Sabol: Several years ago, Google came out with a new virtual reality technology called the Google Tilt Brush. The Tilt Brush is a creative tool for creating life-size, threedimensional digital paintings. While wearing a virtual reality headset and two hand-held wands, artists are immersed within the artwork itself, allowing them to paint in any direction or shape they desire. Topher Sipes: During the concert, I am onstage creating expressive artwork in real time using the Tilt Brush. I love to dance to music, particularly instrumental music. I treat the virtual canvas like a dance floor upon which to express 3D artifacts of my hands’ movements. I approach visual art tools as “visual instruments” where my ear’s sensitivity to rhythm and melody is integral to the creative process. LS: Topher has an interdisciplinary background of visual art, music, and dance. This presentation will marry these art forms into one harmonious performance. Topher will dance and

paint to favorite pieces of classical music, including Debussy’s Clair de lune, Stravinsky’s The Firebird, and Saint-Saëns’s Danse macabre. Both Topher and his virtual reality creations are simultaneously projected onto a giant screen above the orchestra in mixed reality. Audiences can see, hear, and feel a new type of Gesamtkunstwerk as musical sculptures are danced to life. Every performance is unique. We will also have an area in the lobby where patrons can try out the Tilt Brush for themselves. You even get to leave the performance with virtual souvenirs.

HOW DID THIS NEW CONCERT CONCEPT COME ABOUT? LS: When I first saw Fantasia in the movie theater as a child, I became obsessed with the concept of pairing visual art with music. For years, I’ve been trying to recreate the magic onstage, in real time. From the minute I discovered the Tilt Brush, I knew I wanted to use this technology in performance with the orchestra. It is truly magical. After several years of research and planning, I found the perfect collaborator in Topher. TS: As a child, I learned how to play the piano and keyboard, and I’ve also been drawing for as long as I can remember. This performance synthesizes foundational elements of my artistic life in novel ways beyond my childhood’s wildest dreams. Jean-Michel Basquiat is known to have said that “Art is how we decorate space; music is how we decorate time.” I wish to continue in this spirit and innovate further by creating a memorable performance at the intersection of music, visual art, and dance. InTUNE — May 2019 | 17

Resilient Sounds

Celebrating determination & Hope

usic has a special power to move us, to take us into the inner worlds of other people and allow us to feel their emotions. In a time filled with strife and difficult problems, how can we harness the power of music to make the world a better place?

On June 11, Houston Symphony musicians will gather at White Oak Music Hall for Resilient Sounds, a concert that attempts to answer that question with six world premieres inspired by the experiences of refugees who now live in Houston. The works have been created by local composition students from Rice University and the University of Houston. To add another dimension to the project, each composer was paired with another artist of a different discipline—for instance, a dancer, a poet, or a filmmaker—to create multidisciplinary works based on the refugees’ experiences. The project is the brainchild of Jimmy López, the Houston Symphony’s composer-inresidence. “We wanted something that would be impactful, but also linked to the city of Houston,” Jimmy explained. “I went around and asked Houstonians what it was about their city they were most proud of, and the answer was always diversity—Houston being the most diverse city in the country.” To reflect Houston’s diversity, Jimmy and the Houston Symphony reached out to Interfaith Ministries, a local non-profit with an impressive record of working with refugees from around the world. “Music is a universal language,” said Salemu Alimasi, a refugee from the civil wars in the Democratic Republic of the Congo, who is now a caseworker for Interfaith Ministries. “Nobody can deny music. It’s a really good way to get into people’s hearts.”

White oak music Hall JUNE 11, 2019 7 : 3 0 P.M .

Creating multidisciplinary artworks helps raise awareness for the plight of refugees around the world, but it also provides benefits to the individual refugees participating in the project. “That has been the most beautiful part,” Jimmy said. “When you see young composers talking to the refugees, those are people who live their daily lives in the same city, but would otherwise never interact with each other. By creating those connections you’re creating more integration.” Dayana Halawo, a refugee from the recent conflict in Syria, added, “As refugees, we really need to show the people our stories. I am super lucky because I have the opportunity to be with this project.” The Houston Symphony is proud to contribute to this important conversation. “Resilient Sounds helps further the Symphony’s mission of relevance and accessibility,” said John Mangum, the Houston Symphony’s executive director/CEO. “That’s really what great art does. It gives us a space to contemplate big questions, whether they be spiritual questions, questions about our own personal journeys or questions about the big issues facing our society. So, I think this is important work—it’s furthering what great music has always been about.” Visit houstonsymphony.org for more information about Resilient Sounds. Learn more about Houston Symphony Composer-in-Residence Jimmy López on page 28.

18 | Houston Symphony

Keeping

ELITE PERFORMERS IN THE SPOTLIGHT

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Ima Hogg COMPETITION

Vicki West, Competition Chair David Wuthrich, Underwriting Chair

A partnership between the Houston Symphony League and the Houston Symphony STUDE CONCERT HALL â&#x20AC;&#x201C; RICE UNIVERSITY $25,000 FIRST PRIZE THE GRACE WOODSON MEMORIAL PRIZE SEMI-FINAL PERFORMANCES Thursday, May 30, 2019, 9 a.m. to 4 p.m. FREE (no ticket needed) FINALS CONCERT Saturday, June 1, 2019, 7 p.m. Tickets: $25, $15 for student rush tickets Now celebrating its 44th year, the Houston Symphony Ima Hogg Competition is one of the foremost multi-instrument competitions in the world. Named to honor the memory of Miss Ima Hogg, a co-founder of the Houston Symphony, this prestigious competition identifies outstanding young instrumentalists and supports their pursuit of careers in music. Ten contestants have been selected to perform in the semi-finals on May 30. Four finalists will advance to perform with the Houston Symphony to determine the winner of The Grace Woodson Memorial First Prize of $25,000. This national competition is open to young musicians, ages 16 to 26, who play standard orchestral instruments or piano.

Tickets available at houstonsymphony.org or 713.224.7575

DONATE For more information and to donate to the Ima Hogg Competition, please contact Tyler Murphy at tyler.murphy@houstonsymphony.org or 713.337.8536.

League 20 | Houston Symphony

MEET THE SEMI-FINALISTS KATHERINE AUDAS | AGE: 23 | cello

SUNHO SONG | AGE: 23 | clarinet

Hometown: Boise, Idaho

Hometown: Bundang, South Korea

School: Rice University, BM (2018), MM (present)

School: The Juilliard School, BM (2018), MM (present)

Accomplishments: First Prize, Shepherd School Concerto Competition, 2018

Accomplishments: First Prize, International Clarinet Association Young Artist Competition, 2017

ZIQING GUO | AGE: 22 | violin

JOSEPH TKACH | AGE: 21 | trumpet

Hometown: Luoyang, China

Hometown: Leander, Texas

School: Manhattan School of Music BM, (2018), MM (present)

School: Baylor University (present)

Accomplishments: Second Prize, J. C. Arriaga Chamber Music Competition, 2015

Accomplishments: First Prize, Ictus International Trumpet Competition, 2018

RACHEL LEE HALL | AGE: 25 | harp

CHLOE TULA | AGE: 24 | harp

Hometown: Roanoke, Virginia

Hometown: Hartford, Wisconsin

School: Cleveland Institute of Music, BM (2016), MM (2018)

School: Rice University, BM (2017)

Accomplishments: First Prize, Astral Artists Award, 2017

Accomplishments: First Prize, New World Symphony Concerto Competition, 2018

COLEMAN ITZKOFF | AGE: 26 | cello

ANDRÉS VELA | AGE: 21 | bass

Hometown: Cincinnati, Ohio

Hometown: Edinburg, Texas

School: Rice University, BM (2014); University of Southern California, MM (2016)

School: University of Texas Rio Grande Valley (present)

Accomplishments: Grand Prize, Classics Alive Young Artist Auditions, 2017 LULU LIU | AGE: 23 | piano Hometown: Szchuan, China

Accomplishments: First Prize, Cynthia Woods Mitchell Young Artist Competition, 2018 CHERRY CHOI TUNG YEUNG | AGE: 22 | violin

School: Oberlin Conservatory of Music, BM; New England Conservatory of Music, MM (present)

Hometown: Hong Kong, China

Accomplishments: Second Prize, Goodway Young Artist Competition, 2010

Accomplishments: First Prize, Hudson Valley Philharmonic String Competition, 2018

The Ima Hogg Competition is sponsored in part by:

School: The Juilliard School, BM (2018), MM (present)

Official Airline InTUNE — May 2019 | 21

BECOMING

JUDITH

MICHELLE DEYOUNG ON BLUEBEARD’S CASTLE “I think it's one of the greatest pieces ever written.” So says Michelle DeYoung about Béla Bartók’s masterpiece of expressionist opera, Bluebeard’s Castle. And she should know. When asked how many times the celebrated mezzo-soprano has sung the role of Judith in this opera, she replies, “I would guess more than 100. It is one of those roles that I look forward to every time. It is always a challenge, and also so much fun to sing.” Bartók’s masterpiece, arguably the greatest Hungarian opera ever written, is just one of her many specialties. Michelle is in high demand throughout the world for her wide-ranging repertoire, which includes vocally taxing roles in the operas of Richard Wagner, Didon in Berlioz’s Les Troyens, contemporary operas from the likes of Tan Dun, and John Adams, and everything in between. These diverse works require linguistic flexibility, to say the least, but even an enterprising American singer like her initially found the Hungarian in Bluebeard’s Castle a bit of a challenge. “It was quite daunting when I started working on Judith so many years ago,” she admits. “I had a CD made by a Hungarian mezzo who clearly spoke through the role...and I studied it and studied it. I then wrote the entire role in the IPA [International Phonetic Alphabet]. The first time I sang it was with a young Hungarian conductor, who helped me further... then I kept working on it, and worked on it with Peter Eötvös,” the renowned Hungarian composer, conductor, and teacher. “He and his assistant brought it even further. I continue to work on it before every 22 | Houston Symphony

performance. I love singing in Hungarian, but it's tricky.” After so many acclaimed performances, Michelle now pretty much owns the role of Judith on the international stage, and in 2014 she commercially recorded it under the baton of Esa-Pekka Salonen. It is a terribly complex role, both technically and dramatically. Vocal challenges include a range that tops out at high C, and Judith’s psychological impulses suggest that she is afflicted with “Desdemona Syndrome”—she can’t stop asking probing questions of her husband, even when stopping is clearly in her best interest. “I actually think that is not atypical for many women,” she explains. “We want all the secrets out in the open, and we think that will bring us closer. [Judith] wants Bluebeard to know she loves him no matter what.” Love may not be Judith’s only motivation, however; regarding the mysterious fates of Bluebeard’s previous wives, Michelle adds, “I think also part of her is afraid the rumors might be true...so she wants to make sure they aren't.” These performances of Bluebeard’s Castle reunite Michelle DeYoung with Matthias Goerne, the Wotan from her recent recordings of Wagner’s Ring Cycle. It also reunites her with Houston. Audiences have been fortunate to frequently hear her at Houston Grand Opera. “I did get to see quite a bit of Houston and the area,” she says. “I always look forward to returning.” We look forward to that, too! Learn more about Bluebeard’s Castle on page 39.

michelle DEYOUNG

mezzo-soprano

RT: Y IN C O N C E IT L A E R L A V IRT U

TED A R T S U L L MUSIC I JUNE 14

n e e u Q C OF THE MUSI

JULY 5 & 6

JULY 12 & 13

RCHESTRA FILM WITH LIVE O

TEMBER 1

P AUGUST 31 & SE

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1978

Richard N. Hall

1975 1997 Tour

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1998

SYMPHONY IN PICTURES Eric Arbiter has served as the Houston Symphony’s associate principal bassoon since 1974 and was acting principal bassoon from 1999 to 2007. At the end of the 2018–19 season, this treasured member of our orchestra retires after 45 years of great music making. In addition to being a phenomenal bassoonist, Eric also has a talent for photography, and for years, he has created the official photographic portraits of all the Houston Symphony’s musicians. As we wish him well in his next stage of life, we celebrate all he has contributed to our orchestra with a special selection of his photographs. 24 | Houston Symphony

See more of Eric’s photography at ERICARBITER.ZENFOLIO.COM

2002 Christoph Eschenbach and Paula Page

2001 New musicians

1999 1999

Musicians of the Houston Symphony donate to purchase scores after Tropical Storm Allison flooded the Houston Symphony library.

Miller Outdoor Theatre, Mariusz Smolij conducting

2014

Houston Symphony Portrait Installation to commemorate the orchestra's Centennial in 2014

FEATURED PROGRAM

BEETHOVEN’S EROICA Friday Saturday Sunday

May 3 May 4 May 5

8:00 p.m. 8:00 p.m. 2:30 p.m.

Jones Hall

Andrés Orozco-Estrada, conductor Leticia Moreno, violin Clint Allen, projection and lighting design

J. López

*Aurora, for Solo Violin and Orchestra I Equatorialis: Quasi-cadenza II Borealis: L = 54 III Australis: L. = 144

ca. 34

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

Beethoven

Symphony No. 3 in E-flat major, Opus 55 (Eroica) I Allegro con brio II Marcia funebre: Adagio assai III Scherzo and Trio: Allegro vivace IV Finale: Allegro molto

*World premiére

26 | Houston Symphony

ca. 47

Did you know? • In the summer of 1817, after Beethoven had completed eight of his nine symphonies, Beethoven’s friend, Christian Kuffner, asked him, “Tell me frankly, which is your favorite among your symphonies?” Beethoven replied, “Eh! Eh! The Eroica.”

Beethoven’s Eroica | Program Biographies

Program BIOGRAPHIES

SHELL FAVORITE MASTERS

Andrés Orozco-Estrada | conductor

Please see Andrés Orozco-Estrada’s biography on page 6.

Principal Corporate Guarantor

Leticia Moreno | violin

Spec's Wines, Spirits & Finer Foods End of Season Celebration Generously supported by John & Lindy Rydman / Spec's Wines, Spirits & Finer Foods / Spec's Charitable Foundation

A truly exciting and versatile violinist, Leticia Moreno “captivates audiences and critics alike with her natural charisma, virtuosism, and deep interpretative force.” In 2012, she was given Europe’s prestigious award, the ECHO Rising Star, which led her to play recitals in important concert halls across Europe.

Grand Guarantor Barbara J. Burger Janet F. Clark The Cullen Foundation Maestro’s Fund Guarantor Houston Symphony “Campaign for a Sound Future” Fund for new works in honor of Winifred Safford Wallace Underwriter Mr. & Mrs. Jim R. Smith Sponsor Chevron Mr. & Mrs. Rodney H. Margolis

Students and families from Dobie High School attend the May 4 performance thanks to support from the Mach Family Audience Development Fund.

The Houston Symphony’s Composer-in-Residence and commissioning initiatives are supported in part by: Robin Angly & Miles Smith Barbara J. Burger Michael J. Shawiak 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.

OMAR AYYASHI

These performances are generously supported in part by:

She has appeared with renowned conductors such as Zubin Mehta, Esa-Pekka Salonen, Christoph Eschenbach, Yuri Temirkanov, Krzysztof Penderecki, Andrés Orozco-Estrada, Josep Pons, Juanjo Mena, and Andrey Boreyko, among others. She has also performed with leading orchestras, including the Vienna Symphony; St. Petersburg Philharmonic, Mahler Chamber, Washington’s National Symphony, and Mariinsky Theatre Orchestras; Orchestra del Fiorentino Maggio Musicale; Orchestre Philharmonique de Monte Carlo; Orchestre Philharmonique du Luxembourg; Academy of St. Martin in the Fields; and Orquesta Sinfónica Simón Bolívar. She is a regular guest with most of the major Spanish orchestras. A keen recitalist and chamber musician, Leticia has collaborated alongside Sol Gabetta, Bertrand Chamayou, Kirill Gerstein, Alexander Ghindin, Lauma Skride, Mario Brunello, Leonard Elschenbroich, and Maxim Rysanov. In the 2018–19 season, Leticia debuted with the NCPA Orchestra in Beijing with Vladimir Ashkenazy. In addition to these concerts with the Houston Symphony, she performed with the Orquesta Sinfónica de Galicia with Boreyko, the Royal Philharmonic Orchestra with Michele Mariotti, the Philharmonia Orchestra with Paavo Järvi, and Remix Ensemble with Péter Eötvös. She soon tours Russia with the Orquesta Sinfónica de Madrid and Gustavo Gimeno and embarks on two European tours, one with the Cadaqués Orchestra (including an appearance at the Prague Spring International Music Festival) and the other with I, CULTURE Orchestra and Kirill Karabits. This season, Deutsche Grammophon releases her latest album, Piazzolla, which was recorded at Abbey Road Studios in London and Emil Berliner Studio in Berlin with the London Philharmonic Orchestra and OrozcoEstrada. Leticia has also recently made two recordings for Universal/ Deutsche Grammophon: Spanish Landscapes—A Study of Spanish Music and Shostakovich Violin Concerto No. 1 with the St. Petersburg Philharmonic Orchestra conducted by Temirkanov. Leticia studied with Zakhar Bron at Escuela Superior de Música Reina Sofía in Madrid and Hochschule für Musik und Tanz Köln. She was the youngest member of the prestigious Alexander von Humboldt-Stiftung. She has won international violin competitions such as the Szeryng, Concertino Praga, Novosibirsk, Sarasate, and Kreisler competitions. Leticia plays a violin made in 1762 by Nicola Gagliano. InTUNE — May 2019 | 27

FRANCIEL BRAGA

Program BIOGRAPHIES , continued

Program NOTES

Jimmy López | composer-in-residence

Aurora, for Solo Violin and Orchestra

“One of the most interesting composers anywhere today” (Chicago Sun-Times) with a distinct voice that is “adventurous and winning” (The Denver Post), Jimmy López serves as the Houston Symphony’s composerin-residence through the 2019–20 season. His works have been performed by major orchestras in Atlanta, Baltimore, Boston, Chicago, Sydney, Philadelphia, Helsinki, Paris, and beyond. Festival performances have taken place at Darmstadt, Donaueschingen, Aspen, Tanglewood, and Grant Park.

During my years in Finland, I was privileged to witness one of Nature’s most spectacular displays: the aurora borealis (northern lights). Produced by the clash of solar flares with Earth’s atmosphere, auroras are not only a stunning visual spectacle, but also a reminder that the planet we live on is constantly interacting with its neighboring celestial bodies. The concerto, inspired by this phenomenon, takes this concept a step or two further. Each of its three movements pays homage to a different kind of aurora: I. Equatorialis, II. Borealis, and III. Australis. The last two are observable phenomena on Earth, whereas the first is used to describe similar magnetic anomalies on other planets. The soloist stands metaphorically as a witness to these phenomena, while the orchestra expands and amplifies its sounds and gestures.

Written in collaboration with Pulitzer Prize-winning playwright Nilo Cruz for Ana María Martínez, Esa-Pekka Salonen, and the Philharmonia Orchestra, Jimmy’s new oratorio, Dreamers, received its world premiere in Berkeley, California, in March 2019. Fiesta!, one of his most famous pieces, has received close to 90 performances worldwide by major orchestras, making it one of today’s most performed contemporary orchestral works. Bel Canto, a full-length opera commissioned by the Lyric Opera of Chicago, premiered in December 2015 to wide critical acclaim and was broadcast nationally on PBS’s Great Performances. David Afkham and the Spanish National Orchestra premiered his Symphony No. 1, The Travails of Persiles and Sigismunda in September 2016 in Madrid and later played it on tour in Mexico. Harmonia Mundi released an album dedicated entirely to his orchestral works in 2015 with Miguel Harth-Bedoya and the Norwegian Radio Orchestra. A new album of his works is scheduled to be released in fall 2019. A native of Lima, Peru, Jimmy studied at the city’s National Conservatory of Music with Enrique Iturriaga prior to graduating from the Sibelius Academy in Helsinki with a Master of Music degree. He completed his PhD in music at the University of California, Berkeley. He is published by Filarmonika Music Publishing.

Jimmy López (1978)

Equatorialis begins in a quasi-cadenza-like manner, with the violin commanding the stage as the orchestra follows, imitates, and develops its germinal gestures. As the soloist finds its pulse, so does the orchestra, eventually reaching several climactic points that sound familiar yet foreign with their arresting rhythms and plush orchestrations. Borealis takes us to a place of ethereal quietude, beginning with the soloist, which is echoed by three additional violins placed strategically within the concert hall. Here, the orchestra transforms the waves of light into waves of sound, enveloping the audience and making them experience with their ears what is normally reserved for the eye. Australis begins menacingly in the lower regions of the orchestra, gradually growing, achieving full power, and leading to a relentless motif in the solo violin that is then echoed by different instrumental groups in the orchestra. Energy levels stay high throughout with tension constantly building up and being released only occasionally, thus placing enormous physical demands on the soloist. Aurora’s three movements take the listener on a wondrous journey of light through sound. This piece has great significance to me, not only because of its subject and its connection to my beloved Finland, but also because it is my first collaboration with Conductor Andrés Orozco-Estrada as composer-in-residence of the world-class Houston Symphony. Aurora is dedicated to Leticia Moreno, whose energy and excitement have been an enormous source of inspiration. —Jimmy López The Instruments: 2 flutes (1 doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings

28 | Houston Symphony

Beethoven’s Eroica | Program Notes

Symphony No. 3 in E-flat major, Opus 55 (Eroica) Ludwig van Beethoven (1770-1827)

Perhaps no piece of music has been more pivotal in music history than Beethoven’s Third Symphony, a work provoked by personal crisis and geopolitical turmoil. After the French Revolution of 1789, many—including Beethoven—hoped a freer, more egalitarian society would emerge. The ensuing wars and reign of terror threatened these hopes, and Europe waited for a hero to save the revolution. By 1803, when Beethoven wrote this symphony, he seemed to have appeared: Napoleon Bonaparte. Compounding the political crisis that surrounded Beethoven was an internal one—for years, Beethoven had experienced a gradual hearing loss that would eventually render him deaf. In 1802, Beethoven wrestled with this terrifying fate. He wrote that he was driven “almost to despair, a little more of that and I would have ended my life. It was only my art that held me back.” Beethoven resolved to take a “new path” in his music, aspiring to create the symphonic equivalent of a Homeric epic with Napoleon as his subject. The music would be full of raw, wild dissonances and rhythms that could express epic struggle. Once completed, Beethoven would take the symphony to France. Like Homer’s Iliad, the first movement begins in the midst of battle with two explosive chords. After this call to arms, the cellos intone the main idea of the movement. Their deep, rich sound gives the opening idea a masculine character, suggesting that this is the hero. Fragmentary, lyrical ideas vie with more violent ones until a series of disorienting chords leads to a return to the beginning. This repetition (one of Beethoven’s few nods to tradition) allows listeners a second chance to process this complex music before the development begins. During the tumultuous development, the fragmentary ideas of the exposition interact, building to a crisis. The orchestra lunges from one dissonance to another, climaxing with a harrowing cry. After a pause, a ghostly new theme appears in the oboes. The music dies away until a lone horn call signals the heroic theme’s return, and the other main ideas reappear as well. After a reprise of the ghostly theme from the development, the music gradually crescendos as the heroic idea returns in triumph. The second movement is a reminder of the terrible cost of war. Modeled on funeral marches written in revolutionary France, it begins with a hushed melody for strings; the double basses imitate military drums. The movement alternates between music expressing intense grief, bittersweet memories, and heroic commemoration of the dead, building to an intense climax. The music returns to life in the third movement, interpreted by some as an expression of soldierly comradery. An oboe introduces a rustic melody, and the tune is passed from instrument to instrument like a whispered joke until the full orchestra finally says it out loud. The contrasting middle section features a trio of hunting horns. The finale, too, begins with a musical joke: a grand flourish leads to an anticlimactic, unadorned bass line. Beethoven

drew this bass line from The Creatures of Prometheus, his 1801 ballet about the titan who stole fire from the gods and gave it to humanity, bringing enlightenment. The movement has thus been interpreted as the hero’s works of peace. Beethoven transforms the bass line in a series of imaginitive variations that climaxes with a slow hymn. Beginning with the oboe, the instruments take up the hymn until all play it together. Perhaps this is Beethoven’s vision of a creative society at peace. By 1804, Beethoven was eager to move to France, but one event upset his plans. His student Ferdinand Ries related, “At the very top of the title page [of the symphony] stood the word ‘Buonaparte’...I was the first to tell him the news that Bonaparte had declared himself emperor, whereupon he flew into a rage and shouted: ‘So he too is nothing more than an ordinary man. Now he will also trample all human rights underfoot [...]’ Beethoven went to the table, took hold of the title page at the top, ripped it all the way through, and flung it to the floor.” When the symphony was published in 1806, the title page read: “Heroic Symphony, in celebration of the memory of a great man.” In the end, it is likely not Napoleon, but Beethoven’s own personal struggles— especially with his hearing loss—that provided his ultimate inspiration. Though it was not his intention, many believe Beethoven himself is the true hero of this “heroic” symphony. —Calvin Dotsey The Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, 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, it has contributed more than $3 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, works with Specs through her company, Phoenix Marketing. 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. InTUNE — May 2019 | 29

FEATURED PROGRAM

RACHMANINOFF’S THE BELLS Thursday Saturday Sunday

May 9 May 11 May 12

8:00 p.m. 8:00 p.m. 2:30 p.m.

Andrés Orozco-Estrada, conductor George Li, piano Peter Dugan, piano (Ives) *Mané Galoyan, soprano

Jones Hall Garrett Sorenson, tenor *Andrei Bondarenko, baritone Houston Symphony Chorus, Betsy Cook Weber, director

*Houston Symphony debut

Ives Gershwin/ W. C. Schoenfeld Prokofiev

Symphony No. 4 IV Finale: Largo maestoso

ca. 8

I Got Rhythm Variations

ca. 9

Piano Concerto No. 1 in D-flat major, Opus 10 I Allegro brioso— II Andante assai— III Allegro scherzando

ca. 16

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

Glinka Rachmaninoff

Overture to Ruslan and Ludmila

ca. 5

The Bells, Opus 35 I Allegro, ma non tanto II Lento III Presto IV Lento lugubre

ca. 35

30 | Houston Symphony

Did you know? • Perhaps the most famous performance of Prokofiev's Piano Concerto No. 1 took place in April 1914 during a piano competition for the top students at the St. Petersburg Conservatory. The Conservatory's director, Alexander Glazunov, did not like Prokofiev's music, but Prokofiev played his own concerto anyway. The judges agreed that he was the best pianist, and Glazunov had to grudgingly announce that Prokofiev was the winner.

Rachmaninoff’s The Bells | Program Biographies

Program BIOGRAPHIES GREAT PERFORMERS

Andrés Orozco-Estrada | conductor

Please see Andrés Orozco-Estrada’s biography on page 6.

George Li | piano

Principal Corporate Guarantor

Since winning the Silver Medal at the 2015 International Tchaikovsky Competition, pianist George Li has rapidly established a major international reputation and performs regularly with some of the world’s leading orchestras and conductors.

These performances are generously supported in part by Diamond Guarantor Houston Symphony Endowment Grand Guarantor Rochelle & Max Levit Guarantor The Cullen Trust for the Performing Arts

A special thank you to members of the Houston Symphony League and Houston Symphony League Bay Area as we celebrate League Appreciation Night on May 9.

The Classical Season is endowed by The Wortham Foundation, Inc. in memory of Gus S. and Lyndall F. Wortham.

SIMON FOWLER

Spec's Wines, Spirits & Finer Foods End of Season Celebration Generously supported by John & Lindy Rydman / Spec's Wines, Spirits & Finer Foods / Spec's Charitable Foundation

In the 2018–19 season, George makes his debuts with the London Philharmonic, Montreal Symphony, Tokyo Symphony, and Royal Liverpool Philharmonic. He also embarks on an 11-city recital tour of China and tours the United States with the Russian National Orchestra and Mikhail Pletnev and Kirill Karabits. Concerto highlights include performances with the New York, Rotterdam, and St. Petersburg Philharmonic Orchestras; San Francisco Symphony; Los Angeles and Oslo Philharmonics; Philharmonia Orchestra; DSO Berlin; Frankfurt Radio Symphony; Orchestre National de Lyon; and Sydney Symphony Orchestra. He frequently appears with Valery Gergiev and the Mariinsky Theatre Orchestra. In recital, he performs at prestigious venues, including Carnegie Hall, Davies Symphony Hall in San Francisco, the Mariinsky Theatre, Munich’s Gasteig, the Louvre, Seoul Arts Center, Tokyo’s Asahi Hall and Shinjuku Musashino Hall, National Centre for the Performing Arts Beijing, Shanghai Poly Grand Theater, and Amici della Musica Firenze, as well as appearances at major festivals, including the Edinburgh International, Ravinia, Aix-en-Provence, and Montreux Jazz Festivals. George Li is an exclusive Warner Classics recording artist, with his debut recital album released in 2017, which was recorded live from the Mariinsky.

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.

InTUNE — May 2019 | 31

Program BIOGRAPHIES , continued

Mané Galoyan | soprano

Pianist Peter Dugan’s 2017 debut solo performances with Michael Tilson Thomas and the San Francisco Symphony were described by the Los Angeles Times as “stunning” and by the San Francisco Chronicle as “fearlessly athletic.” He has appeared as a soloist, recitalist, and chamber musician across North America and abroad. This season, Peter can be heard nationwide as a guest host of NPR’s From the Top. Prizing versatility as the key to the future of classical music, he is equally at home in classical, jazz, and pop idioms.

Armenian soprano Mané Galoyan recently completed her residency with the Houston Grand Opera Studio in the 2017–18 season, where she made her role debut as Violetta in La traviata and also appeared as the Confidante in Elektra. For the 2018–19 season, Mané sings Violetta with the Glyndebourne Festival on tour and Gilda in Rigoletto with Kentucky Opera and Wolf Trap Opera. Symphonic engagements include Rachmaninoff’s The Bells here with Andrés Orozco-Estrada and with James Gaffigan and the Dallas Symphony Orchestra. She will also sing select Russian song repertoire with the Chamber Music Society of Lincoln Center at Alice Tully Hall.

A sought-after crossover artist, Peter has performed in duos and trios with artists ranging from Itzhak Perlman and Joshua Bell to Jesse Colin Young and Glenn Close. The Wall Street Journal described his collaboration with violinist Charles Yang as a “classical-meets-rockstar duo.” Peter’s recent chamber music recitals include the Chamber Music Society of Palm Beach, Music@Menlo, St. John’s College Recital Series, and a Weill Hall debut presented by Carnegie Hall. His debut album with baritone John Brancy—A Silent Night: A WWI Memorial in Song—pays homage to composers who lived through, fought in, and died in the Great War. John and Peter won first prize at the 2018 Montréal International Music Competition and second prize at the 2017 Wigmore Hall International Song Competition. Peter advocates the importance of music in the community and at all levels of society. As a founding creator and the pianist for Operation Superpower, a superhero opera for children, he has travelled to dozens of schools in the greater New York area, performing for students and encouraging them to use their talents—their superpowers—for good. Peter holds bachelor’s and master’s degrees from The Juilliard School, where he studied under Matti Raekallio. He lives in New York with his wife, mezzo-soprano Kara Dugan, and serves on the piano faculty at the Juilliard Evening Division. Peter is a Yamaha Artist.

Houston Symphony Chorus Betsy Cook Weber | director Please see the Houston Symphony Chorus biography on page 10.

32 | Houston Symphony

KRISTIN HOEBERMANN

Peter Dugan | piano (Ives)

In the 2016–17 season, Mané performed Adina in L’elisir d’amore at HGO. She also performed Mahler’s Symphony No. 4 with the San Antonio Symphony and gave recitals at Balliol College at Oxford University, at the Opera America Emerging Artist Recitals series in New York, and at the Museum of Fine Arts, Houston. She made her HGO debut as the Kitchen Girl in Rusalka in the 2015–16 season, during which she also performed the roles of Margaret Hughes in the world premiere of Carlisle Floyd’s Prince of Players, the Forest Bird in Siegfried, and Lucy Goodman in the world premiere of David Hanlon and Stephanie Fleischmann’s After the Storm, produced by HGOco. That same season, Mané made her Wolf Trap Opera debut as Smorfiosa in Florian Leopold Gassmann’s L’opera seria. Her extensive concert performances include Pergolesi’s Stabat Mater, Schubert’s Mass in G and Mass in C, Vivaldi’s Gloria, and Haydn’s Lord Nelson Mass, all with the National Chamber Orchestra of Armenia, as well as the Fauré Requiem with the Armenian National Philharmonic Orchestra. Mané is a winner of numerous international competitions, including First Prize in HGO’s 27th Eleanor McCollum Competition and the Concert of Arias and Third Prize in the XV International Tchaikovsky Competition. She holds two degrees from the Komitas State Conservatory of Yerevan in Armenia and was the 2013 winner of the Republic of Armenia Presidential Youth Award. She currently lives in Houston and is a student of Stephen King.

CLINTON B. PHOTOGRAPHY

Rachmaninoff’s The Bells | Program Biographies

Garrett Sorenson | tenor

Andrei Bondarenko | baritone

American tenor Garrett Sorenson has been praised as an artist of unique interest, garnering critical acclaim for the beauty and power of his rich, lyric voice. In the 2018–19 season, Garrett returns to the Seattle Opera to reprise Steve Wozniak in Mason Bates’s The (R)evolution of Steve Jobs. He also sings these performances of Rachmaninoff’s The Bells led by Andrés Orozco-Estrada and Beethoven’s Symphony No. 9 with The Phoenix Symphony. Last season, Garrett returned to the Kentucky Opera as Bacchus in Ariadne auf Naxos, as well as Faust in the world premiere of The Beyond in collaboration with the Louisville Ballet. Additionally, he sang the Verdi Requiem with the Orquesta Sinfónica de Castilla y León and Beethoven’s Symphony No. 9 with the Charlotte Symphony.

Ukrainian baritone Andrei Bondarenko is one of the most exciting young baritones of today, having worked extensively with Valery Gergiev, Ivor Bolton, Yannick Nézet-Séguin, Vladimir Ashkenazy, Vasily Petrenko, Enrique Mazzola, Kirill Karabits, Teodor Currentzis, Emanuel Villaume, Michael Sturminger, Omer Meir Wellber, Alain Altinoglu, Daniele Callegari, Lorenzo Viotti, and Cornelius Meister.

Highlights of Garrett's recent seasons include Wozniak in the world premiere of The (R)evolution of Steve Jobs at the Santa Fe Opera, Anthony Candolino in the West Coast premiere of Jake Heggie and Terrence McNally’s opera Great Scott at the San Diego Opera, his return to West Australian Opera as Rodolfo in La bohème, his role debut as Cavaradossi in Puccini’s Tosca at Arizona Opera, and a new production of Bedřich Smetana’s The Kiss with Opera Theatre of Saint Louis. He also returned to the Metropolitan Opera to sing Laca in Janáček’s Jenůfa and Matteo in Arabella. Recent concert appearances include Dvořák’s Stabat Mater with L’Orchestre Métropolitain conducted by Yannick NézetSéguin, Mozart's Requiem with The Cleveland Orchestra under the baton of David Robertson, the Verdi Requiem with the Milwaukee Symphony Orchestra conducted by Asher Fisch, and Beethoven’s Symphony No. 9 with Giancarlo Guerrero conducting The Cleveland Orchestra in Miami. In 2011, he appeared on Broadway in an extended run of McNally’s Master Class. A graduate of the Lindemann Young Artist Development Program, Garrett made his Metropolitan Opera debut as Itulbo in Bellini’s Il pirata opposite Renée Fleming. Additional roles at the Metropolitan Opera include Da-Ud in Strauss’s Die ägyptische Helena starring Deborah Voigt and conducted by Fabio Luisi, the Shepherd in Tristan und Isolde, the Youth in Moses und Aron, Alfred in Die Fledermaus, Scaramuccio in Ariadne auf Naxos, Arturo in Lucia di Lammermoor, and the Young Man in Die Frau ohne Schatten.

The 2018–19 season includes his role and house debut as Don Giovanni at Palm Beach Opera. He also returns to Zürich Opera House for a new production of Così fan tutte by Kirill Serebrennikov and his role debut of Wolfram in Tannhäuser. In concert, he sings Rachmaninoff’s The Bells here and with the Dallas Symphony Orchestra. In seasons to come, he gives his company debut at the Royal Opera House Covent Garden as well as Semperoper Dresden. He also returns to Opera Australia and The Dallas Opera. Andrei has recorded Le nozze di Figaro for Sony Classics, songs by Rachmaninoff with Iain Burnside at The Queen’s Hall in Edinburgh for Delphian Records, and a highly acclaimed Lieutenant Kijé Suite on the BIS label. His many awards include the 2011 BBC Cardiff Singer of the World competition Song Prize; a diploma at the Ukrainian competition, New Ukrainian Voices; and first prize at the international vocal competition, Art in the 21st Century, in Vorzel, Ukraine. He was a prize-winner at the 2006 Rimsky-Korsakov International Competition of Young Opera Singers in St. Petersburg, the 2008 allRussian Nadezhda Obukhova Young Vocalists’ Festival and Competition, and the seventh International Stanisław Moniuszko Vocal Competition in 2010. Andrei took part in the Salzburg Festival Young Singers Project, returning to the Festival for Gounod’s Roméo et Juliette with NézetSeguin and Le Rossignol with Bolton. Andrei was born in 1987 in Kamenez-Podolski, Ukraine. He was a soloist of the Mariinsky Academy of Young Opera Singers for eight years. In 2003, he entered the vocal department of the Petro Tchaikovsky National Music Academy of Ukraine in Kiev, and in 2004, he was admitted to the vocal department of the Kiev Conservatory. Andrei has also served as a soloist of the National Philharmonic of Ukraine. InTUNE — May 2019 | 33

Program NOTES Symphony No. 4, IV. Finale: Largo maestoso Charles Ives (1874–1954)

Ives’ Fourth Symphony is his crowning achievement, the summation of all he had accomplished as a composer. Begun around 1910, Ives labored over it for many years, refining and altering the score well into the 1920s. The symphony, a marvel of modernist musical techniques, would never be performed in its entirety during Ives’ lifetime, but a partial performance in 1927 was accompanied by a program note likely ghost-written by Ives. It explains that the first movement poses “the searching questions of What? and Why? which the spirit of man asks of life,” and that “The three succeeding movements are the diverse answers in which existence replies.” The ultimate revelation comes in this final movement. Ives noted, “[...] I always think of it somehow in connection with a Communion Service, especially the memory of one, years ago, in the old Redding Camp Meetings.” Ives witnessed one of the last of these great outdoor religious revivals as a boy in 1878, an event that left a profound impression on him and his music. The movement begins with a group of percussion instruments separate from the rest of the orchestra; these instruments all play repeating rhythmic patterns of different lengths at a tempo that is related to but distinct from that of the rest of the orchestra (thus requiring a second conductor). Arising out of nothing, this strange march soon leads to fragmentary melodic motifs in the orchestra. Most of these motifs are based on protestant hymn tunes, the main one being “Nearer My God to Thee.” A fragment of it can be clearly heard when the “Distant Choir,” an offstage ensemble of violins and harp, begins to play. These overlapping, fragmentary hymns create an eerie, ethereal texture, suggesting distant memories. Over a long, gradual crescendo, the music intensifies, until at last we hear the otherworldly sound of what Ives called an “ether organ,” a part that will be performed on a synthesizer for these concerts. An angelic choir then wordlessly sings “Nearer My God to Thee,” offering a vision of the divine as the music fades away. The Instruments: 3 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 6 trumpets, 4 trombones, tuba, timpani, percussion, 2 harps, celesta, piano, quarter-tone piano, organ, ether organ, and strings

I Got Rhythm Variations

George Gershwin (1898–1937) In 1930, the 21-year-old Ethel Merman was hired to play a supporting role in her first Broadway show, a western-themed musical farce called Girl Crazy with music by Gershwin. “It was the first time I’d met George Gershwin,” Merman later recalled. “And if I may say so without seeming sacrilegious, to me it was like meeting God.” Gershwin put the nervous young woman at ease and played through the songs she would sing in the show. “When he played ‘I Got Rhythm,’ he told me, ‘If there’s anything about this you don’t like, I’ll be happy to change it.’ There was nothing about that song I didn’t like.”

34 | Houston Symphony

The show catapulted Merman to stardom, and her rendition of “I Got Rhythm” quickly made the song an anthem of the jazz age. While on vacation in Florida in December 1933, Gershwin composed his variations on “I Got Rhythm,” completing it in advance of a tour with the Leo Reisman Orchestra the following year. Because Reisman’s orchestra was an unconventional ensemble with many musicians who played multiple instruments, the piece was first published in a version for a more standard orchestra arranged by William C. Schoenfeld. It is this version that is best known today. A brief introduction based on fragments of the “I Got Rhythm” theme begins the piece, leading to a statement of the theme for solo piano followed by six colorful variations. Gershwin authority Howard Pollack has suggested the variations form a picturesque depiction of contemporary New York: “a Gershwinesque reading of the industrial metropolis (first variation), ‘young girls sitting on fire escapes on hot summer nights in New York and dreaming of love’ (second variation), Chinatown (third variation), Harlem (fourth variation), and some after-hours club, perhaps with a Cuban band (fifth and sixth variations).” The Instruments: 2 flutes (1 doubling piccolo), 2 oboes (1 doubling English horn), 3 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, and strings

Piano Concerto No. 1 in D-flat major, Opus 10

Sergei Sergeyevich Prokofiev (1891–1953)

As a student at the St. Petersburg Conservatory, Prokofiev frequently raised his professors’ eyebrows with his daring harmonies; well-aware of his own talent, however, he paid little heed to their criticisms and soon began to attract serious attention. During the summer of 1910, he began composing a piano concerto to showcase both his new musical style and virtuoso piano technique. After a few false starts and distractions, he ultimately completed a compact, virtuoso showpiece in one movement in 1912. At the first performances, the audience response was so enthusiastic he had to give multiple encores. In one of his voluminous diaries, Prokofiev noted that during the spring of 1911 a “marvelous theme for the introduction came to me immediately,” and the concerto begins with a “massive Introduction in D-flat major” based on this “marvelous theme.” It acts as a refrain throughout the concerto, recurring at key points. After several subsidiary themes, the introduction returns, leading to what is effectively a mini-slow movement. A fast-paced development ensues, building to a cadenza, an extended passage for the soloist alone. After varied reprises of the subsidiary themes, the concerto ends with the triumphant return of the introduction. The Instruments: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings

Rachmaninoff’s The Bells | Program Notes

The Bells, Opus 35

Sergei Vasilyevich Rachmaninoff (1873–1943) During the summer of 1912, Mariya Danilova, a cello student at the Moscow Conservatory, anonymously sent a translation of Edgar Allan Poe’s poem The Bells to Sergei Rachmaninoff, hoping he would set it to music. “I read the enclosed poem, and decided at once to use it for a Choral Symphony in four movements,” Rachmaninoff recalled. He set to work the following winter while staying in Rome with his family. Sitting at a desk that had once been used by Tchaikovsky, his former mentor, Rachmaninoff composed The Bells. “I worked on this composition with feverish ardor,” Rachmaninoff recollected many years later, “and it remains, of all my work, the one I like best….” The echoes of bells pervade many Russian compositions, but they are especially noteworthy in Rachmaninoff’s music. “The sound of church bells dominated all the cities of the Russia I used to know—Novgorod, Kiev, Moscow,” Rachmaninoff explained. “They accompanied every Russian from childhood to grave, and no composer could escape their influence. […] All my life I have taken pleasure in the differing moods and music of gladly chiming and mournfully tolling bells. […] In the drowsy quiet of a Roman afternoon, with Poe’s verses before me, I heard the bell voices, and tried to set down on paper their lovely tones that seemed to express the varying shades of human experience.” A review of the St. Petersburg premiere noted the work’s “pessimistic passion and sublime tragedy.” Indeed, even in its happier movements, a fateful shadow seems to hover over the piece. Though some attribute this to Rachmaninoff’s melancholic temperament, historical context likely also influenced the work. After the failed Russian revolution of 1905, a sense of impending doom hung over the glittering final years of the Romanov dynasty. Virtually everyone realized the political situation was untenable, but there was nothing to be done. Artists responded in a variety of ways; apocalypticism was in the air, as were retreats into symbolism and spiritualism. Given the cataclysmic events that would befall Russia, Rachmaninoff ’s The Bells at times seems prophetic. The first movement is a high-spirited memory of a sleigh ride through a cold winter’s night. Rachmaninoff uses the enormous orchestra for its coloristic effects, evoking not only bell-like sounds, but snow flurries, glittering stars and the thrill of speeding over a wintery landscape. But even in this carefree movement, the tenor soloist sings that the bells prophesy the resurrection of the dead on Judgement Day. In the meantime, the dead slumber in oblivion. Rachmaninoff vividly evokes these dreaming souls with a humming chorus. The tempo slows for the second movement, which describes a marriage ceremony accompanied by the chiming of golden wedding bells. The poem, a sensual meditation on the eyes of the beloved, is untroubled on the surface, but the music is based on the first four notes of the Dies irae, a traditional medieval chant about the apocalypse. The Dies irae motif appears undisguised at the outset of the movement, but Rachmaninoff soon transforms it into a lush, romantic theme. Thus, beneath the soprano soloist’s soaring lines are hints of what unfolds next.

The bells of the third movement are brazen alarm bells that cry, weep, and shout as a fire threatens to engulf the earth. Beginning quietly—as if from a single spark—the music quickly grows into an orchestral conflagration, building to a terrifying climax as the insatiable fire declares its intent to reach the moon. The music presages the violence that would overtake Russia after the revolution of 1917; indeed, Rachmaninoff’s own home would be burnt to the ground. The horror of the alarm bells gives way to the grim tolling of a funeral bell in the final movement, which begins with a bleak English horn solo. The movement builds to a harrowing climax as the singers describe the hideous laughter of the demonic figure who rings the bell. After this intense passage, the violas introduce a simple, descending figure that Rachmaninoff first heard many years before. “One of my fondest childhood recollections is associated with the four notes of the great bells in the St. Sophia Cathedral of Novgorod,” Rachmaninoff recalled. “I always associated the idea of tears with them.” This four-note figure accompanies the soloist and chorus as they sing their final words. At the end, the orchestra offers listeners hope with a warm melody for strings. The Bells ends with a plagal cadence, the traditional harmonization of the word “Amen.” —Calvin Dotsey The Instruments: 3 flutes, piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, celesta, pianino, organ, and strings

ROCHELLE AND MAX LEVIT Rachmaninoff’s The Bells is generously underwritten by Rochelle and Max Levit, members of the Houston Symphony family for more than 30 years and current members of the New Century Society for Artistic Excellence and Innovation. Rochelle serves as a Governing Director of the Symphony’s Board of Trustees and is a member of the Artistic and Orchestra Affairs Committee. In recent seasons, Max and Rochelle have supported the orchestra’s concerts with Itzhak Perlman, Emanuel Ax, Daniil Trifonov, Kirill Gerstein and, earlier this season, Yefim Bronfman. They also sponsor First Violinist Sergei Galperin and support the Symphony’s special events. The Levits are especially excited by the Symphony’s artistic direction under the leadership of Andrés Orozco-Estrada. The Houston Symphony thanks the Levits for making these performances possible. InTUNE — May 2019 | 35

FEATURED PROGRAM

BLUEBEARD’S CASTLE Thursday Friday

May 16 May 17

8:00 p.m. 8:00 p.m.

Jones Hall

Andrés Orozco-Estrada, conductor Michelle DeYoung, mezzo-soprano *Matthias Goerne, baritone *Molly Searcy, narrator *Risa D’Souza, *Genene McGrath, dancers *Adam Larsen, creative director *Yuki Izumihara, associate designer *Marlana Doyle, choreographer *Houston Symphony debut

Bartók

Duke Bluebeard's Castle, Opus 11

ca. 59

Did you know? • Béla Balázs, the librettist for Bluebeard’s Castle, was a staunch champion of Bartók's music, sometimes even taking his support to extremes. In 1910, he brought brass knuckles to a performance of one of Bartók’s string quartets, threatening to attack anyone who booed Bartók’s music. He had to be restrained by his sister and girlfriend. • Though Bartók’s version is the most famous, Perrault’s Bluebeard fairytale has been adapted for the stage many times, including as musical comedies. Offenbach turned it into an operetta in 1865, and a 1923 Broadway musical version, Little Miss Bluebeard, featured the song “I Won’t Say I Will, But I Won't Say I Won’t” by George Gershwin.

36 | Houston Symphony

Bluebeard’s Castle | Program Biographies

FROST BANK GOLD CLASSICS

Program BIOGRAPHIES Andrés Orozco-Estrada | conductor

Principal Corporate Guarantor

Spec's Wines, Spirits & Finer Foods End of Season Celebration Generously supported by John & Lindy Rydman / Spec's Wines, Spirits & Finer Foods / Spec's Charitable Foundation These performances are generously supported in part by: Grand Guarantor Bobby & Phoebe Tudor Guarantor The Humphreys Foundation Underwriter

Official Health Care Provider

Partner The Vaughn Foundation Supporter Robin Angly & Miles Smith

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.

Please see Andrés Orozco-Estrada's biography on page 6.

Michelle DeYoung | mezzo-soprano Michelle DeYoung has established herself as one of the most exciting artists of her generation. In demand throughout the world, she regularly appears with the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, The Cleveland Orchestra, San Francisco Symphony, Pittsburgh Symphony Orchestra, The MET Orchestra, London Symphony Orchestra, BBC Symphony Orchestra, Vienna Philharmonic, and the Royal Concertgebouw Orchestra. She has also performed at the prestigious festivals of Ravinia, Tanglewood, Saito Kinen, Edinburgh, and Lucerne. In Australia, she has appeared many times with the Sydney Symphony Orchestra and recently sang Kundry in concert performances of Parsifal at Opera Australia. Equally at home on the opera stage, Michelle has appeared with the Metropolitan Opera, Lyric Opera of Chicago, Teatro alla Scala, Bayreuth Festival, Staatsoper Berlin, Paris Opera, Theater Basel, English National Opera, and the Tokyo Opera. Her many roles include the title roles in Samson et Dalilah and The Rape of Lucretia; Fricka, Sieglinde, and Waltraute in Der Ring des Nibelungen; Kundry in Parsifal; Venus in Tannhäuser; Brangäne in Tristan und Isolde; Eboli in Don Carlos; Amneris in Aida; Santuzza in Cavellaria Rusticana; Ježibaba in Rusalka; Marguerite in La Damnation de Faust; Dido in Les Troyens; Judith in Bluebeard’s Castle; and Jocasta in Oedipus Rex. She also created the role of the Shaman in Tan Dun’s The First Emperor at the Metropolitan Opera. A multi-Grammy Award-winning recording artist, Michelle’s impressive discography includes Das Rheingold and Die Walküre with Jaap van Zweden and the Hong Kong Philharmonic Orchestra (Naxos); Kindertotenlieder, Mahler’s Symphony No. 3, and Das Klagende Lied with Michael Tilson Thomas and the San Francisco Symphony (SFS Media); Les Troyens with Sir Colin Davis and the London Symphony Orchestra (LSO Live!); and Mahler’s Symphony No. 3 with both the Chicago Symphony Orchestra and Bernard Haitink (CSO Resound) and the Pittsburgh Symphony Orchestra and Manfred Honeck (Challenge Records International). Her first solo disc was released on the EMI label. Learn more about Michelle DeYoung on page 22.

InTUNE — May 2019 | 37

Program BIOGRAPHIES , continued

Matthias Goerne | baritone Matthias Goerne is one of today’s most versatile, internationally sought-after vocalists and a frequent guest at renowned festivals and concert halls. He has collaborated with the world’s leading orchestras, conductors, and pianists. Born in Weimar, he studied with Hans-Joachim Beyer in Leipzig and later with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau. Matthias has appeared on the world’s principal opera stages, including the Metropolitan Opera in New York, Royal Opera House Covent Garden, Teatro Real in Madrid, Paris National Opera, and the Vienna State Opera. His roles range from Wolfram, Amfortas, Wotan, Orest, and Jochanaan to the title roles in Béla Bartók’s Bluebeard’s Castle and Alban Berg’s Wozzeck. Matthias’s artistry has been documented on numerous recordings, many of which have received prestigious awards, including four Grammy nominations, an ICMA Award, a Gramophone Classical Music Award, the BBC Music Magazine Vocal Award 2017, and a Diapason d’Or Arte. After his legendary recordings with Vladimir Ashkenazy and Alfred Brendel for Universal Music, he recorded a series of selected Schubert songs on 12 CDs for Harmonia Mundi (The Goerne/Schubert Edition) with eminent pianists. His latest recordings of Brahms songs with Christoph Eschenbach, Schumann songs with Markus Hinterhäuser, Mahler songs with the BBC Symphony Orchestra, and Wagner arias with the Swedish Radio Symphony Orchestra have received rave reviews. In addition to his residency with the New York Philharmonic, further highlights of the 2018–19 season include concerts with other top orchestras in the United States (Houston, Pittsburgh, Los Angeles), Europe, and Japan. Furthermore, Matthias appears as Kurwenal (Tristan und Isolde) at the Paris National Opera and as Amfortas (Parsifal) at the Vienna State Opera. Song recitals with Daniil Trifonov and Leif Ove Andsnes led him to the Berliner Philharmonie, Philharmonie de Paris, Wigmore Hall in London, Palau de la Música Catalana in Barcelona, and other major European venues. Last but not least, Matthias appears as a guest at the 2019 summer festivals in Ravinia, Salzburg, and Verbier.

38 | Houston Symphony

Adam Larsen | creative director Director/Designer Adam Larsen is thrilled to make his Houston Symphony debut with Bluebeard’s Castle. As a projection designer, Adam has created visuals for more than 200 theatre, dance, orchestral, and operatic productions. His projects, ranging from intimate to extravagant, have appeared on Broadway and in many major venues across the country. He has collaborated with leading voices in the orchestral and operatic worlds, including 15 projects with Michael Tilson Thomas, three with John Adams, and others with Louis Langrée, Stephen Stubbs, Missy Mazzoli, and James Darrah. Recent work includes an immersive 12-projector installation for The Dharma at Big Sur by Adams, which premiered last year at Opera Omaha’s inaugural ONE Festival. He also contributed to the national tour of Esperanza Spalding’s 12 Little Spells. Other designs include Hal Prince’s LoveMusik on Broadway; Mazzoli’s Breaking The Waves at Opera Philadelphia and the Prototype Festival; Lee Breuer’s The Gospel at Colonus at the Athens, Edinburgh, and Spoleto festivals; Watermill at the BAM Next Wave Festival; Haruki Murakami’s The Wind-Up Bird Chronicle at the Singapore and Edinburgh festivals; Leoš Janáček’s From the House of the Dead at Canadian Opera Company; Leonard Bernstein’s Mass at the Los Angeles Philharmonic and Lincoln Center; Benjamin Britten’s Peter Grimes, Bernstein’s On the Town, Modest Mussorgsky’s Boris Godunov, as well as all five seasons of the SoundBox series at San Francisco Symphony; The Pelleas Project at the Cincinnati Symphony Orchestra; Adams’s A Flowering Tree, Jonathan Dove’s Flight and George Frideric Handel’s Agrippina at Opera Omaha; Jacques Offenbach’s The Tales of Hoffmann at Hawaii Opera Theatre; Lukas Foss’s Phorion with New World Symphony; and Pietro Mascagni’s Iris at Bard SummerScape. In addition, Adam has directed two feature-length documentaries about disability. His first, Neurotypical, about autism from the perspective of autistics, premiered on the PBS series POV; and his second, Undersung, about caregivers of severely disabled family members, is available on Amazon.

Program NOTES Duke Bluebeard's Castle, Opus 11 Béla Bartók (1881–1945)

Duke Bluebeard’s Castle is a miraculous accomplishment. The first efforts of most opera composers (Wagner, Verdi, Strauss, and Puccini, for instance) are rarely masterpieces, but Béla Bartók’s first and only opera is a flawless, captivating drama. Sadly, the vicissitudes of history ensured that it would not be widely recognized as a masterpiece until after Bartók’s death. Béla Balázs (the Magyarized pen name of Herbert Bauer, a Hungarian poet, critic, and intellectual of German-Jewish descent) originally wrote Duke Bluebeard’s Castle as a straight play in 1910, but soon after offered it to Bartók as an opera libretto. The story derives from a 17th-century fairytale by Charles Perrault. In Perrault’s grisly telling, Bluebeard gives his new bride the keys to his castle, but forbids her to open one of its chambers. Naturally, she opens it when Bluebeard is away, discovering the mutilated corpses of his previous wives. Shocked, she drops the key onto the bloody floor, but an enchantment renders her unable to wash it clean. When Bluebeard returns, he discovers the blood on the key and realizes what she has done. Just as he is about to deliver her to a violent fate, her brothers appear and slay Bluebeard. She inherits everything, and they live happily ever after. Around the turn of the 20th century, the Bluebeard story experienced something of a revival as authors reinterpreted fairytales in light of the era’s preoccupations with symbolism, the subconscious, and the emergent field of psychology. Such retellings often altered the plot to suggest new meanings—a sort of belle époque fan fiction. Of these new Bluebeards, the one fashioned by Balázs is surely the finest. His unique twist on the story is full of evocative imagery and rich with interpretive possibilities, inviting audiences to discover their own meanings within the drama. Balázs’s decision to name Bluebeard’s wife Judith after the biblical heroine who beheads an Assyrian general is also suggestive. Bartók responded with eerie, psychologically probing music throughout, but his score is also dazzlingly imaginative: the seven doors Judith opens over the course of the opera inspired vivid tone paintings. Bartók himself was notoriously taciturn, and throughout his life he had trouble reaching out and connecting with people. Indeed, it was themes of existential loneliness in some of Balázs’s poems that had first captured his interest. In a letter, Bartók confessed: “I am a lonely man!...I may have friends in Budapest…yet there are times when I suddenly become aware of the fact that I am absolutely alone! And I prophesy, I have a foreknowledge, that this spiritual loneliness is to be my destiny.” Bartók’s marriage in 1909 and the birth of his first child the next year did not seem to allay his feelings of isolation. Whether Bartók’s sense of alienation was a quirk

Bluebeard’s Castle | Program Notes

of personality or the burden of genius is impossible to say, but it made him the ideal composer for Balázs’s Bluebeard. Fundamentally, the opera is about loneliness, vulnerability, and the fear of revealing our darkest secrets to those we love. Spurred by the opportunity of entering two competitions for new Hungarian-language operas, Bartók took Balázs’s play virtually as it was and completed the opera by September 1911. Unfortunately, the judges of both competitions did not like any of the entries, and no prizes were awarded. The opera finally received its premiere in 1918, but soon foundered as Hungary entered a tumultuous period after World War I. Balázs’s involvement in the short-lived Hungarian Soviet Republic led the succeeding right-wing regime to ban his works—including Bluebeard’s Castle. The opera would not be performed again in Hungary until 1936, and only after World War II was it at last recognized as one of the great operas of the 20th century. The Instruments: 4 flutes (2 doubling piccolo), 2 oboes, English horn, 3 clarinets (1 doubling bass clarinet and 2 doubling E-flat clarinet), 4 bassoons (1 doubling contrabassoon), 4 horns, 4 trumpets, 4 trombones, tuba, timpani, percussion, 2 harps, celesta, organ, and strings (plus 4 trumpets and 4 trombones for offstage banda)

Houston Methodist strives to provide high quality health care in a spiritual environment to all patients. Houston Methodist includes seven hospitals in the Houston area, delivering care closer to home. The flagship Houston Methodist Hospital in the Texas Medical Center, is ranked by U.S. News & World Report as the No. 1 hospital in Texas and Houston. In addition to being the official health care provider for the Houston Symphony, Houston Methodist offers unique benefits to artists through its Center for Performing Arts Medicine (CPAM). As the only center of its kind in the country, CPAM comprises a specialized group of more than 100 elite physicians working collaboratively to address the specific demands placed on performing artists.

InTUNE — May 2019 | 39

FEATURED PROGRAM

THE BEST OF BROADWAY Friday Saturday Sunday

May 24 May 25 May 26

8:00 p.m. 8:00 p.m. 7:30 p.m.

Jones Hall

Steven Reineke, conductor Houston Symphony Chorus, Betsy Cook Weber, director

J. Styne/R. Wendel Porter/H. Spialek Rodgers/Bennett Rodgers/Bennett F. Loewe/J. Green Hamlisch/R. Burns Bernstein/S. RaminI. Kostal Bernstein

Overture to Gypsy Overture to Anything Goes Oklahoma from Oklahoma! lyrics by Oscar Hammerstein II Overture to South Pacific Overture to My Fair Lady Overture to A Chorus Line lyrics by Edward Kleban Mambo from Symphonic Dances from West Side Story Tonight Quintet from West Side Story lyrics by Stephen Sondheim

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

B. Mann-C. Weil-J. LeiberM. Stoller/Reineke J. Kander/M. Gibson Sondheim/J. R. Brown Lloyd Webber/D. Cullen J. Larson/R. C. Fleischer B. Pasek-J. Paul/M. Huff S. Flaherty/Reineke Flaherty/M. Hayes

40 | Houston Symphony

On Broadway Suite from Chicago Sunday from Sunday In the Park With George Jellicle Ball from Cats Seasons of Love from Rent You Will Be Found from Dear Evan Hansen Ragtime from Ragtime Make Them Hear You from Ragtime lyrics by Lynn Ahrens

Did you know? • “The Great White Way” is a nickname for the section of Broadway in Manhattan’s Theater District (which shifted uptown over time). In 1880, Brush arc lamps first illuminated Broadway, and by 1901, the street was so brightly illuminated by advertising signs that New York Morning Telegraph columnist Shep Friedman dubbed it “The Great White Way,” borrowing the title from a book about the Arctic.

The Best of Broadway | Program Biographies

Program BIOGRAPHIES These performances are generously supported in part by: Underwriter Mr. & Mrs. Jim R. Smith

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.

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.

Phillips 66 is a diversified energy manufacturing and logistics company. With a portfolio of Midstream, Chemicals, Refining, and Marketing and Specialties businesses, the company globally processes, transports, stores, and markets fuels and products. Headquartered in Houston, the company has 14,600 employees committed to safety and operating excellence. This season, Phillips 66 was honored by Americans for the Arts with a BCA 10 Award, in recognition of its exceptional involvement of arts in the community.

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 commemorated 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.

Houston Symphony Chorus Betsy Cook Weber | director Please see the Houston Symphony Chorus biography on page 10. InTUNE — May 2019 | 41

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continued  InTUNE — May 2019 | 43

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Michael H. Clark & Sallie Morian Brad & Joan Corson Viviana & David Denechaud Mr. & Mrs. Marvy A. Finger Mr. & Mrs. Fred L. Gorman Mr. & Mrs. David Hatcher Katherine Hill Rebecca & Bobby Jee Michelle & Jack Matzer Mr. Gary Mercer

Bronze Baton

Dr. Saul & Ursula Balagura Mrs. Bonnie Bauer Mr. & Mrs. Charles & Naomi Black Ruth W. Brodsky Mr. & Mrs. David A. Boudreau Mr. & Mrs. Michael E. Bowman Marilyn Caplovitz Ann M. Cavanaugh Dr. Robert N. Chanon Donna M. Collins Dr. & Mrs. Samuel B. Condic Mr. & Mrs. Byron Cooley Mr. & Mrs. Larry Corbin Lois & David Coyle Dr. Scott Cutler Bob & Mary Doyle Ms. Joan Duff Connie & Byron Dyer Mr. William P. Elbel & Ms. Mary J. Schroeder Mr. Stephen Elison Mr. Parrish N. Erwin Jr. Mrs. William Estrada Jo Lynn & Gregg Falgout / Island Operating Company Mr. & Mrs. Richard E. Fant Aubrey & Sylvia Farb Mr. & Mrs. Matt Farina Ms. Carolyn Faulk Ms. Ursula H. Felmet

Dede & Connie Weil Robert G. Weiner & Toni Blankmann Vicki West Ms. Beth Wolff Mr. & Mrs. C. Clifford Wright Jr. Scott & Lori Wulfe Mr. & Mrs. Edward R. Ziegler Anonymous (1)

Jay & Shirley Marks Dr. & Mrs. Malcolm L. Mazow Billy & Christie McCartney Gene* & Betty McDavid Martha & Marvin McMurrey Rita & Paul Morico Bobbie Nau Bobbie Newman Scott & Judy Nyquist Toni Oplt & Ed Schneider Katie & Bob Orr / Oliver Wyman Susan & Edward Osterberg Mr. & Mrs. Anthony G. Petrello Jean & Allan Quiat Kathryn & Richard Rabinow Radoff Family Lila Rauch Mr. & Mrs. T.R. Reckling III Jill & Allyn Risley Linda & Jerry Rubenstein Mr. & Mrs. Walter Scherr

Mr. & Mrs. Rufus S. Scott Mr. & Mrs. James A. Shaffer Mr. & Mrs. Joel I. Shannon Mr. & Mrs. William T. Slick Jr. Dr. & Mrs. Robert B. Sloan/ Houston Baptist University Tad & Suzanne Smith Mr. & Mrs. Robert R. Springob, Laredo Construction, Inc. Courtney & Bill Toomey Ms. Stephanie Tsuru Margaret Waisman, M.D. & Steven S. Callahan, Ph.D. Stephen & Kristine Wallace Mr. & Mrs. Tony Williford Lorraine & Ed Wulfe Nina & Michael Zilkha Anonymous (3)

Bobbie Nau Mr. & Mrs. Robert E. Nelson Tim Ong & Michael Baugh Mrs. Gloria Pepper & Dr. Bernard Katz Douglas & Alicia Rodenberger

Mr. Glen A. Rosenbaum Donna Scott & Mitch Glassman Anonymous (2)

Ms. B. Lynn Mathre & Mr. Stewart O’Dell Mr. & Mrs. Michael McGuire Mr. & Mrs. William B. McNamara Alice R. McPherson, M.D. Dr. Stewart Morris Mr. & Mrs. Gerald Moynier Ms. Leslie Nossaman Courtney & Jose Obregon Rochelle & Sheldon Oster The Carl M. Padgett Family Katherine & Jonathan Palmer Mr. & Mrs. Robert Pastorek Kusum & K. Cody Patel Mr. & Mrs. Raul Pavon Michael P. & Shirley Pearson Mr. David Peavy & Mr. Stephen McCauley Mr. Robert J. Pilegge Mr. Thomas C. Platt Susan & King Pouw Tim & Katherine Pownell Roland & Linda Pringle Mrs. Dana Puddy Darla & Chip Purchase Edlyn & David Pursell Vicky & Michael Richker Ed & Janet Rinehart Mr. & Mrs. George A. Rizzo Jr. Mr. Floyd W. Robinson

Carole & Barry Samuels Susan D. & Fayez Sarofim Mrs. Richard P. Schissler Jr. Mr. & Ms. Steven Sherman Ms. Leslie Siller Mr. David Stanard & Ms. Beth Freeman Drs. Ishwaria & Vivek Subbiah Nanako & Dale Tingleaf Pamalah & Stephen Tipps Ann Trammell Shirley & Joel Wahlberg Ms. Joann E. Welton Mrs. Nelda Wilkomirski Ms. Barbara Williams Doug & Kay Wilson Cyvia & Melvyn* Wolff Daisy S. Wong* / JCorp Woodell Family Foundation Mr. & Mrs. Frank Yonish Sally & Denney Wright Edith & Robert Zinn Erla & Harry Zuber Anonymous (2)

$7,500-$9,999



Maureen Y. Higdon Gwen & Dan Kellogg Mary Louis Kister Terry & Kandee McGill Dr. Robert M. Mihalo Richard & Juliet Moynihan 

Mr. & Mrs. Jonathan E. Parker Gloria & Joe Pryzant Ken* & Carol Lee Robertson Hugh & Ann Roff Mrs. Sybil F. Roos Michael J. Shawiak Mr. & Mrs. Alan Stein Drs. Carol & Michael Stelling Susan & Andrew Truscott Flor & Arturo Vivar



$5,000-$7,499

Jerry E.* & Nanette B. Finger Mr. Shane T. Frank Edwin Friedrichs & Darlene Clark Mrs. Elizabeth B. Frost Dr. Nan Garrett Michael B. George Wm. David George, Ph.D. Nancy D. Giles Mr. & Mrs. Eric J. Gongre Bill Grieves Dr. & Mrs. Carlos R. Hamilton Jr. James & Renee Hennessy Mark & Ragna Henrichs Mr. & Mrs. Frank Herzog Ann & Joe Hightower Dr. & Mrs. Joseph Jankovic Stephen Jeu & Susanna Calvo Josephine & Phil John Beverly Johnson Stacy & Jason Johnson Mr. & Mrs. John F. Joity Debbie & Frank Jones Dr. & Mrs. Wasim Khan Mr. William L. Kopp Mr. & Mrs. John P. Kotts Sue Ann Lurcott Barbara J. Manering Mrs. Carolyn & Dr. Michael Mann Evi & Steve Marnoy

*Deceased

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.

Young Associate Premium Farida Abjani Ann & Jonathan Ayre James M. Bell Eric Brueggeman Valerie Palmquist Dieterich & Tracy Dieterich Amanda & Adam Dinitz Vicky Dominguez

Young Associate



$2,500 or more

Terry Everett & Eric Cheyney Jennifer & Joshua Gravenor Jarod Hogan Stacy & Jason Johnson Kiri & Jeffrey Katterhenry Shane Miller Sami & Jud Morrison Tim Ong & Michael Baugh

$1,500 - $2,499

Dr. Genevera Allen & Michael Weylandt Ahmed Al-Saffar – Oliver Wyman Michael Arlen Drs. Laura & William Black Drs. Tiffany & Desmond Bourgeois Sverre & Carrie Brandsberg-Dahl Catherine Bratic & Mike Benza Divya & Chris Brown Megan Brown Sara Cain Helen Chen Tatiana Chavanelle Crystal & Mike Cox

Darrin Davis & Mario Gudmundsson Nina Delano & Wirt Blaffer Garreth DeVoe Jennifer & Steve Dolman Christine Falgout / Island Operating Company Emily & Matthew Fellows Jay Fields Laurel Flores Mark Folkes & Christopher Johnston Carolyn & Patrick Gaidos Alexandra & Daniel Gottschalk Rebecca & Andrew Gould Jeff Graham

Toni Oplt & Ed Schneider Kusum & K. Cody Patel Ahmed Saleh Becky Shaw Tony Shih – Norton Rose Fulbright Molly Simpson & Patrice Abivin Rebeca & Chad Spencer

Drs. Ishwaria & Vivek Subbiah Georgeta Teodorescu & Bob Simpson

Nicholas Gruy Claudio Gutierrez Jeff & Elaine Hiller Ashley & John Horstman 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

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. Rich Arenschieldt Mr. & Mrs. Richard M. Armes Ms. Carolyn Belk Mr. David Black Nancy & Walter Bratic Mr. Brent Corwin Steve Dukes & Nobuhide Kobori 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 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 — May 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 marybeth.mosley@houstonsymphony.org or 713.337.8521. For more information on becoming a Houston Symphony corporate donor, please contact Leticia Konigsberg, Director, Corporate Relations, at leticia.konigsberg@houstonsymphony.org or 713.337.8522.

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 BB&T Chevron *Houston Methodist Medistar Corporation *PaperCity *United Airlines Underwriter  $50,000 and above *Baker Botts L.L.P. *Cameron Management ENGIE *The Events Company Exxon Mobil Corporation Frost Bank Houston Baptist University

(as of April 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 Triten Corporation White & Case LLP *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 April 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 The Hearst Foundations 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 Fondren Foundation 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 April 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 The William Stamps Farish Fund

Supporter  $10,000 and above The Carleen & Alde Fridge Foundation William E. & Natoma Pyle Harvey Charitable Foundation Petrello Family Foundation Radoff Family Foundation Anonymous

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 Schissler Foundation The Vivian L. Smith Foundation The Vaughn Foundation

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 April 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 — May 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 Ione Moran Sidney Moran 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)

Dr. & Mrs.* Robert M. Mihalo 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 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

*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 — May 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 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 The Hearst Foundations, Inc. Houston Endowment Houston Symphony Endowment Mr. John N. Neighbors

Underwriter $50,000+



Chevron The Elkins Foundation ENGIE Exxon Mobil Corporation 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 Duke and C.C. Ensell are proud sponsors of double bass player Donald Howey. President of Admiral Transfer & Rigging, Duke has been a generous Houston Symphony donor since 2011 and is currently a member of the Conductor’s Circle.

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 tyler.murphy@houstonsymphony.org or 713.337.8536. The Joan & Marvin Kaplan Foundation Mark Nuccio, Principal Clarinet

Nancy & Robert Peiser Jonathan Fischer, Principal Oboe

Ms. Judith Vincent Matthew Roitstein, Associate Principal Flute

Dr. & Mrs. I. Ray Kirk Linda Goldstein, Viola

Dave & Alie Pruner Matthew Strauss, Percussion

Shirley & Joel Wahlberg Matthew Strauss, Percussion

Mrs. Zarine M. Boyce Brinton Averil Smith, Principal Cello

Mr. & Mrs. U. J. LeGrange Thomas LeGrand, Associate Principal Clarinet

Gloria & Joe Pryzant Matthew Strauss, Percussion

Margaret Waisman, M.D. & Steven S. Callahan, Ph.D. Mark Griffith, Percussion

Nancy & Walter Bratic Christopher Neal, First Violin

Rochelle & Max Levit Sergei Galperin, First Violin

Ralph Burch Robin Kesselman, Principal Double Bass

Cora Sue & Harry Mach Joan DerHovsepian, Associate Principal Viola

Barbara J. Burger Andrew Pedersen, Double Bass

Joella & Steven P. Mach Eric Larson, Double Bass

Sybil F. Roos Mark Hughes, Principal Trumpet

Dr. M.K. Campion Rodica Gonzalez, First Violin

Mrs. Carolyn & Dr. Michael Mann Ian Mayton, Horn

Mr. Glen A. Rosenbaum Aralee Dorough, Principal Flute

Drs. Dennis & Susan Carlyle Louis-Marie Fardet, Cello

Mr. & Mrs. Rodney H. Margolis Eric Halen, Co-Concertmaster

Jane & Robert Cizik Qi Ming, Assistant Concertmaster

Mr. & Mrs. J. Stephen Marks Brian Del Signore, Principal Percussion

Linda & Jerry Rubenstein Brian Del Signore, Principal Percussion

Janet F. Clark MuChen Hsieh, Principal Second Violin

Jay & Shirley Marks Sergei Galperin, First Violin

Janice Barrow Sophia Silivos, First Violin Gary & Marian Beauchamp Martha Chapman, Second Violin

Mr. Michael H. Clark & Ms. Sallie Morian George Pascal, Assistant Principal Viola Roger & Debby Cutler Tong Yan, First Violin Leslie Barry Davidson & W. Robins Brice Colin Gatwood, Oboe 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 Dr. Gary L. Hollingsworth & Dr. Kenneth J. Hyde Robert Walp, Assistant Principal Trumpet Drs. M.S. & Marie-Luise Kalsi Eric Halen, Co-Concertmaster

Michelle & Jack Matzer Kurt Johnson, First Violin Dr. & Mrs. Malcolm L. Mazow Rodica Gonzalez, First Violin Barbara & Pat McCelvey Adam Dinitz, English Horn 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 Rita & Paul Morico Elise Wagner, Bassoon Mr. & Mrs. Robert E. Nelson Mihaela Frusina, Second Violin Bobbie Newman Rodica Gonzalez, First Violin Scott & Judy Nyquist Sheldon Person, Viola

Ron & Demi Rand Annie Chen, Second Violin Lila Rauch Christopher French, Associate Principal Cello

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

Stephen & Kristine Wallace Allen Barnhill, Principal Trombone Mr. & Mrs. Fredric A. Weber Megan Conley, Principal Harp Vicki West Rodica Gonzalez, First Violin Robert Weiner Anastasia Sukhopara, Second 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

Tad & Suzanne Smith Marina Brubaker, First Violin Alana R. Spiwak & Sam L. Stolbun Wei Jiang, Viola Mr. & Mrs. Robert R. Springob, Laredo Construction, Inc. Mihaela Frusina, Second Violin Carol & Michael Stamatedes Eric Larson, Double Bass Mike Stude Brinton Averil Smith, Principal Cello Linda & Paul Thomas Robert Johnson, Associate Principal Horn Susan H. Thompson George Pascal, Associate Principal Viola

Susan & Edward Osterberg MiHee Chung, First Violin

Bobby & Phoebe Tudor Bradley White, Associate Principal Trombone

Mr. & Mrs. Jonathan E. Parker Nancy Goodearl, Horn

Mr. & Mrs. Jesse B. Tutor Daniel Strba, Viola InTUNE — May 2019 | 51

Meet Joan DerHovsepian, associate principal viola

Joan DerHovsepian became a member of the Houston Symphony in 1999 and has been associate principal viola since 2010. She is an artist teacher of viola at Rice University’s Shepherd School of Music and a faculty guest at the New World Symphony. This summer, she joins the faculty of the National Orchestral Institute. Annually, Joan performs at the Peninsula Music Festival as principal viola and at the Mimir Chamber Music and Grand Teton Music Festivals. She won prizes at the Primrose International Viola Competition as a soloist and at the Banff and Fischoff chamber music competitions as a member of the Everest Quartet. She served as principal viola of the Charleston Symphony Orchestra from 1997 to 1999. How did you decide the viola was your instrument? Most violists begin by playing the violin and switching at some later point, but I chose viola from the start. The soulful, enveloping timbre of the instrument was appealing. I’ve always liked that violas serve as the connective tissue in an orchestra; we support, connect, and bind the other parts. You may not always be able to pick out our individual line within the whole, but we’ve got the juiciest harmonies, most interesting inner rhythms and are switching roles at every turn. Would you like to share a memorable moment or highlight from your career? When I first joined the orchestra, I imagined some sort of eventual musical “arrival” after years on the job, a time when the performances would become routine. Now, nearing 20 years with the Houston Symphony, I still feel just as nervous, as exhilarated, and as challenged sitting in my chair as I did back then. Memorable moments are not rare. They happen often, and I am continually wowed by my colleagues’ performances. I am thankful every day to be around this group of funny, smart, and highly motivated people. What hobbies and interests do you have outside of music? I love traveling and would be happy living out of a suitcase most of the time. My trusty viola is the vehicle that takes me to all kinds of places I would not see otherwise, from quaint Fish Creek, Wisconsin to the outback of Tasmania. What does music mean to you? A live musical performance is a fascinating combination of two opposites; a public setting where we are gathered to have an intimate experience. I enjoy this juxtaposition when I am audience member or performer. When I’m on stage surrounded by 90 others, I can be brought back to a personal childhood memory, share an intimate musical moment with my beloved stand partner, or feel moved by the vision of a dead composer genius. Together, with the fellowship of my colleagues on stage AND intent listeners in the audience, all with their own individual thought bubbles, there is a fulfilling sense of community. Joan DerHovsepian is sponsored by Cora Sue & Harry Mach. 52 | Houston Symphony

Top: Professional headshot Second: With my husband, Erik Gronfor (bass player with the Houston Grand Opera), and our 14-year-old daughter, Clara Third: My 6th grade Halloween costume, a sandwich board viola and bow, handmade by Dad Bottom: Making friends with kangaroos in the Tasmanian outback

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