InTune — The Houston Symphony Magazine — November 2018 by Houston Symphony

THE HOUSTON SYMPHONY MAGAZINE

NOVEMBER 2018

THE SEVEN DEADLY SINS 22

AN AMERICAN IN PARIS 28 FILM WITH LIVE ORCHESTRA

A MOZART & BRAHMS THANKSGIVING 32

November 2, 3 & 4

November 9, 10 & 11

November 23, 24 & 25

OHLSSON PLAYS BEETHOVEN

November 29 & December 1 & 2

MUSIC IN MEDELLÍN LEARN ABOUT THE HOUSTON SYMPHONY’S RECENT TRIP TO COLOMBIA ON PAGE 16. ARTWORK COURTESY OF: TEATRO METROPOLITANO JOSÉ GUTIÉRREZ GÓMEZ

InTUNE | N O V E M B E R

2018

Programs

The Seven Deadly Sins November 2, 3 & 4 ��22 An American in Paris—Film with Live Orchestra November 9, 10 & 11 ��28 A Mozart & Brahms Thanksgiving November 23, 24 & 25 ��32 Ohlsson Plays Beethoven November 29 & December 1 & 2 ��38

Features

Letter to Patrons ��2 Phillips 66 Recognition �� 13 Welcome, Nancy Giles �� 14 Music in Medellín �� 16 Concert Preview: The Sound of Christmas �� 18 Celebrate the Holidays with Ali Ewoldt ��20 Backstage Pass with MuChen Hsieh ��52

Events

Opening Night Recap . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 2019 Houston Symphony Wine Dinner �� 12 2018 Magical Musical Morning �� 15 2018 Vintage Virtuoso �� 15

Your Houston Symphony

Andrés Orozco-Estrada, Music Director . . . . . . . . . . . . . . . 4 Orchestra Roster ��6 Staff Listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Upcoming Broadcasts . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Our Supporters

New Century Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Leadership Council . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Vision 2025 Implementation Fund . . . . . . . . . . . . . . . . . . . 9 Houston Symphony Donors . . . . . . . . . . . . . . . . . . . . . . . 42 Young Associates Council . . . . . . . . . . . . . . . . . . . . . . . . . 44 Chorus Endowment Donors . . . . . . . . . . . . . . . . . . . . . . . 44 Society Board of Trustees ��45 Corporate, Foundation and Government Partners ��46 Capital Investments ��47 Sustainability Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Houston Symphony Endowment . . . . . . . . . . . . . . . . . . . . 48 Legacy Society & In Memoriam . . . . . . . . . . . . . . . . . . . . 49 Education and Community Engagement Donors . . . . . . . . . 50 In-Kind Donors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Musician Sponsorships . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

The Houston Symphony performs in Medellín, Colombia

NOVEMBER 2018

Since Andrés Orozco-Estrada became the Houston Symphony’s Music Director in 2014, our orchestra has forged new ties with the burgeoning classical music scene in Andrés’ home country of Colombia. This international cultural exchange has enriched musical life in both communities; our musicians have made multiple trips to mentor the impressive students of the Filarmónica Joven de Colombia, who came to Houston for an unforgettable series of concerts during the summer of 2015.

InTune is produced by the Houston Symphony’s Marketing and Communications department. Linsey Whitehead . . . . . . . . . . . . . Director, Creative Services Calvin Dotsey. . . . . . . . . . . . . . . . . . . Publications Editor Melanie O'Neill. . . . . . . . . . . . . . . . . Publications Designer Editorial Contributors Brad Sayles, Recording Engineer Eric Skelly, Senior Director, Communications Elaine Reeder Mayo. . . . . . . . . . . . . . . . . . . . . . . . . . Editorial Consultant Shweiki Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Printing Ventures Marketing Group. . . . . . . . . . . . . . . . . . . Advertising 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 also are 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.

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In THE HOUSTON SYMPHONY

In September, the Houston Symphony had a unique opportunity to take this relationship to a new level by sending 33 musicians to perform side-by-side with the Orquesta Filarmónica de Medellín under Andrés’ baton at a gala concert featuring Hilary Hahn. Learn more about how this remarkable musical event is helping to raise the Houston Symphony’s international profile on page 16. Back at Jones Hall, our November concerts begin with The Seven Deadly Sins, a playfully provocative program featuring vocalist Storm Large and conductor Bramwell Tovey. Our POPS Series continues with An American in Paris—Film with Live Orchestra. You’ve never heard Gershwin like this, as our magnificent Houston Symphony performs live to a screening of the classic Gene KellyLeslie Caron film. The month concludes with two world-renowned pianists: Inon Barnatan plays Mozart on Thanksgiving weekend, and Garrick Ohlsson returns to Houston with Beethoven’s powerful Piano Concerto No. 3 to close the month. We wish you a happy Thanksgiving and hope to see you back at Jones Hall next month.

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LETTER TO PATRONS

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2 | Houston Symphony

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OROZCO-ESTRADA MUSIC DIRECTOR

ROY AND LILLIE CULLEN CHAIR Houston Symphony Music Director Andrés Orozco-Estrada began his tenure in the 2014–15 season. He immediately established a dynamic presence on the podium and a deep bond with the musicians of the orchestra. He carefully curates his programs to feature engaging combinations of classical masterworks paired with the music of today, significant artistic collaborations with composers and guest artists, and innovative use of multimedia and visual effects, all in order to make meaningful connections with the audience. In the 2017–18 season, Andrés continued to engage with audiences both with casual commentary from the stage and discussions with guests in “Behind the Scenes with Andrés” videos. After the commercial release of the critically acclaimed Dvořák series featuring the composer’s last four symphonies, he and the orchestra recently released a Haydn—The Creation recording in collaboration with the Houston Symphony Chorus and a Music of the Americas disc featuring Gershwin’s An American in Paris, Revueltas’ Sensemayá, Piazzolla’s Tangazo and Bernstein’s Symphonic Dances from West Side Story. Born in Medellín, Colombia, Andrés began his musical studies on the violin and started conducting at age 15. At 19, he entered the renowned Vienna Music Academy, where he studied with Uroš Lajovic (pupil of the legendary Hans Swarowsky), and completed his degree with distinction conducting the Vienna Radio Symphony Orchestra at the Musikverein. Andrés burst onto the international scene with two substitutions with the Vienna Philharmonic: the first, his debut in 2010, standing in for Esa-Pekka Salonen, and then in 2012, substituting for Riccardo Muti at the Musikverein. Andrés now regularly appears with many of the world’s leading orchestras, including the Vienna Philharmonic, the Santa Cecilia Orchestra in Rome, the Orchestre National de France, the Leipzig Gewandhaus Orchestra and the Mahler Chamber Orchestra. His engagements for the 2017-18 season featured debuts at the Tonhalle Orchester Zürich and the Staatskapelle Dresden with two concerts at the Salzburg Easter Festival. As a guest, he performed once again with the Leipzig Gewandhaus Orchestra and with the Vienna Philharmonic, which he led on a tour to Paris and Budapest. In June 2018, he toured Asia for two weeks with his Frankfurt Radio Symphony Orchestra.

4 | Houston Symphony

In addition to his post in Houston, Andrés is chief conductor of the Frankfurt Radio Symphony Orchestra and principal guest conductor of the London Philharmonic Orchestra. He was recently named chief conductor of the Vienna Symphony as of the 2021-2022 season.

ROSTER

ORCHESTRA AndrĂŠs 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 Mark Shapiro, Acting Associate Principal Eric Larson Andrew Pedersen Burke Shaw Donald Howey Michael McMurray Michael Marks* 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

6 | Houston Symphony

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

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

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

CONTRABASSOON Position Vacant

Orchestra Personnel Manager Michael Gorman

Librarian Thomas Takaro

Assistant Orchestra Personnel Manager Josh Hall

Assistant Librarians Aspen McArthur Michael McMurray

Interim Stage Manager Jose Rios

Stage Technicians Ritaban Ghosh Ryan Samuelsen David Stennis

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 Rodi Franco, Interim Chief Marketing Officer Nancy Giles, Chief Development Officer Christine Kelly-Weaver, Executive Assistant/Board Liaison DEVELOPMENT Michael Arlen, Associate Director, Individual Giving and Major Gifts Julie Busch, Manager, League Relations and Fundraising Irma M. Carrillo, Development Manager, Gifts and Records Timothy Dillow, Director, Special Events Amanda T. Dinitz, Major Gifts Officer Sydnee E. Houlette, Development Associate, Institutional Giving Rachel Bosworth, Manager, Special Events Leticia Konigsberg, Director, Corporate Relations Mary Beth Mosley, Director, Institutional Giving and Stewardship Patrick Quinn, Director, Planned Giving Martin Schleuse, Development Communications Manager Molly Simpson, Director, Individual Giving and Major Gifts Sarah Slemmons, Patron Donor Relations Manager Christina Trunzo, Associate Director, Foundation & Government Grants EDUCATION AND COMMUNITY ENGAGEMENT Allison Conlan, Director, Education Emily Nelson, Associate Director, Education and Community Engagement Ana Rodriguez, Education & Community Engagement Manager Garrett Shaw, Education & Community Engagement Coordinator FINANCE | ADMINISTRATION | IT | HR

MARKETING | COMMUNICATIONS | PATRON SERVICES Mark Bailes, Marketing Coordinator Shelby Banda, Patron Service Representative Calvin Dotsey, Communications Specialist Heather Fails, Manager, Ticketing Database Samuel García, Patron Service Representative Kristin Hawkins, Graphic Designer Kathryn Judd, Director, Marketing 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 Kevin Sheil, Assistant Manager, Patron Services Center Marylu Treviño, Digital Communications Manager Linsey Whitehead, Director, Creative Services 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 Jose Rios, Interim Stage Manager Josh Hall, Assistant Orchestra Personnel Manager Aspen McArthur, Assistant Librarian Michael McMurray, Assistant Librarian Karoline Melstveit, Artistic Assistant Lesley Sabol, Director, Popular Programming Brad Sayles, Recording Engineer Thomas Takaro, Librarian Meredith Williams, Associate Director, Operations Rebecca Zabinski, Director, Artistic Planning

Lucy Alejandro, Senior Accountant Angela Alfred, Director of Planning and Analysis Brittany Basden, Support Engineer Joel James, Senior HR Manager Christian Kuri, Payroll and Accounts Payable Analyst Mateo Lopez, Accounting Clerk Anthony Stringer, Director, IT Justine Townsend, Director of Finance Ariela Ventura, Office Manager/HR Coordinator Lee Whatley, Senior Director, IT and Analytics

InTUNE — November 2018 | 7

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 Mr. & Mrs. James A. Shaffer

Members SPOTLIGHT Alexander K. (Mike) and Mary Ann (Muffy) McLanahan have been mainstays of the Houston Symphony for nearly seven decades. Muffy has been fundraising for the Symphony since 1953, and Mike served as Board chair from 1997-2001. In the past year, they have generously supported the Symphony’s Harvey Recovery Fund and have helped solicit others to join them.

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 Justice Brett & Erin Busby The Elkins Foundation Mr. & Mrs. Fred L. Gorman

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

Susan & Edward Osterberg 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: Mary Beth Mosley, Director, Institutional Giving and Stewardship, 713.337.8521 Molly Simpson, Director, Individual Giving and Major Gifts, 713.337.8526

8 | Houston Symphony

Vision

2025 Implementation Fund

Vision 2025, the Houston Symphony’s ten-year Strategic Plan, describes our vision to be America’s most relevant and accessible top ten 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 like the industry-leading Community-Embedded Musicians initiative. • Commissioning and recording initiatives like 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. Rochelle & Max Levit

$500,000-$999,999

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

$250,000-$499,999

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

$100,000-$249,999

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 Anonymous (1)

$25,000-$49,000

Gary & Marian Beauchamp The Boeing Company Justice 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 Mr. Jay Steinfeld & Mrs. Barbara Winthrop Vinson & Elkins, LLP Mr. & Mrs. Fredric A. Weber Robert G. Weiner & Toni Blankmann Ellen A. Yarrell

$15,000-24,999

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

$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. & Ms. 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

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 InTUNE — November 2018 | 9

yuja WANG & jo dee WRIGHT

HOUSTON SYMPHONY CONCERT & GALA

recap

The Houston Symphony’s 2018-19 Opening Night Concert and Gala, chaired by Donna and Max Chapman, raised more than $750,000 for Education and Community Engagement. ConocoPhillips served as the Concert Sponsor and Lead Gala Corporate Underwriter for the 32nd year. A 275-key piano, stretching in front of the Jones Hall doors, welcomed more than 1,000 guests as they made their way into the concert. The evening featured renowned pianist Yuja Wang. Conductor Gustavo Gimeno led the orchestra in a program that featured Ravel’s virtuoso Concerto for Piano, Left Hand followed by Barber’s Overture to The School for Scandal. The musical magic finished with highlights from Prokofiev's ballet music for Romeo & Juliet, an impassioned rendering of Shakespeare’s star-crossed lovers. Following the performance, 400 black-tie party-goers continued the evening at The Corinthian for a spectacular seated dinner catered by Jackson and Company. The décor, created by The Events Company, continued the piano theme. Piano-inspired tables were dressed with black and silver sequined linens adorned with centerpieces of red roses in black and white vases. Black Chiavari chairs were tucked into the table at each place, and red up-lighting transformed the white pillars and ceiling. Wine pairings, provided by Spec’s Wine, Spirits & Finer Foods, accompanied the evening’s meal. The Gala peaked with the auction of a Steinway and Sons Spirio Model M piano signed by the star of the evening, Yuja Wang. Jo Dee and Cliff Wright walked away the winners of the piano. After dinner, The Royal Dukes Band took the stage, commencing the late-night party that had guests dancing until midnight.

10 | Houston Symphony

john & regina MANGUM

janet CLARK, yuja WANG, gustavo GIMENO, stephanie & grace claire GILLIAM

manolo & daniela SÁNCHEZ

joella & steve MACH

donna & max CHAPMAN

vicki WEST & ralph BURCH

margaret alkek

WILLIAMS

phoebe & bobby TUDOR

InTUNE — November 2018 | 11

SAVE THE DATE HOUSTON SYMPHONY 2O19 WINE DINNER COLLECTOR’S AUCTION

Friday, February 8 6:30 pm THE ASTORIAN 2500 SUMMER STREET

Benefiting

THE HOUSTON SYMPHONY’S EDUCATION AND COMMUNITY ENGAGEMENT CATHERINE AND BRIAN JAMES, CHAIRS ROBERT WEINER, COLLECTOR’S AUCTION CHAIR

For further information or to purchase tables and tickets, contact

TIM DILLOW, DIRECTOR, SPECIAL EVENTS AT timothy.dillow@houstonsymphony.org or visit www.houstonsymphony.org/wine/

League

NATION A L A PP L AUS E FOR CORPORATE CITIZEN

The Houston Symphony was proud to join one of its most generous corporate partners, Phillips 66, as the company was presented with the BCA 10 Award by Americans for the Arts at the Central Park Boat House in New York, on October 2, 2018. Representing Phillips 66 was Claudia Kreisle, Director, Philanthropy & Community Engagement. Joining her in Manhattan were representatives of the Houston Symphony led by Executive Director/CEO John Mangum, Margaret Alkek Williams Chair, as well as Mark Folkes, Managing Director of Stages Repertory Theatre and a member of the Symphony’s Young Associates Council. Phillips 66 was one of only 10 companies honored with this prestigious national award, which recognizes businesses for their exceptional support of the arts in their communities. The company has been the Presenting Sponsor of the last four Houston Symphony Balls, and has also been recognized at Film with Live Orchestra concerts like Apollo 13 and Back to the Future. Phillips 66 is represented on the Symphony Board by Governing Director Judith Vincent, a tireless advocate for the Symphony and for the arts in Houston. In addition to the BCA 10 Award, Claudia also accepted a proclamation from Texas Governor Greg Abbott congratulating the company on its award. The proclamation was presented by the evening’s Master of Ceremonies Robert Lynch, President and CEO of Americans for the Arts. In accepting the award for Phillips 66, Claudia said, “Art is a fundamental part of our company’s culture— from art contests for employees’ children, to orchestra performances at our Houston campus, to a rock band formed by Phillips 66 employees. On behalf of all the artists Phillips 66 has gotten to know in the last six years, I thank you, BCA 10, and thank you, Americans for the Arts.”

Top: Mark Nuccio, clarinet; Suzanne Nuccio and Phillips 66’s Judith Vincent Bottom: (Left to right) Mark Folkes; Robert Lynch, Mary Beth Mosley, Claudia Kreisle, John Mangum and Martin Schleuse. InTUNE — November 2018 | 13

NOVEMBER 2018 BROADCAST SCHEDULE ALL BROADCASTS AIR AT 8PM November 4 | News 88.7 November 7 | Classical RECORDED: March 30 & April 1, 2017 Andrés Orozco-Estrada, conductor Phylicia Rashad, narrator Rebecca Von Lipinski, soprano (Leonore/Fidelio) Russell Thomas, tenor (Florestan) Lauren Snouffer, soprano (Marzelline) Nathan Stark, bass (Rocco) Joshua Dennis, tenor (Jaquino) Alfred Walker, bass-baritone (Don Pizarro) Andrew Foster-Williams, bass-baritone (Don Fernando) Houston Symphony Chorus, Betsy Cook Weber, director Beethoven: Fidelio

November 11 | News 88.7 November 14 | Classical RECORDED: April 13-15, 2017

November 18 | News 88.7 November 21 | Classical RECORDED: March 9-19, 2018

November 25 | News 88.7 November 28 | Classical RECORDED: April 20 & April 22-23, 2017

Kazuki Yamada, conductor Brinton Averil Smith, cello Chabrier: España Castelnuovo-Tedesco: Cello Concerto Falla: The Three-Cornered Hat

Andrés Orozco-Estrada, conductor Hilary Hahn, violin To include: Bernstein: Serenade (after Plato’s Symposium) Shostakovich: Symphony No. 5 Elgar: “Nimrod” from the Enigma Varations

Vasily Petrenko, conductor Elina Vähälä, violin Verdi: Overture to Un giorno di regno Corigliano: The Red Violin Concerto Respighi: The Fountains of Rome Respighi: The Pines of Rome

Highlights of the Houston Symphony’s 2018 European Tour

WELCOME

NANCY GILES CHIEF

DEVELOPMENT

OFFICER

On Monday, October 22, Nancy Giles became the Houston Symphony’s new Chief Development Officer. For the past nine years, Nancy served as the Alley Theatre’s director of development. She now returns to the Houston Symphony, where she was previously employed for more than 12 years. Assuming the post following a national search by Aspen Leadership Group, she succeeds David Chambers, who accepted an equivalent post at the Chicago Symphony Orchestra. “We’re very happy to welcome Nancy back into the Houston Symphony fold,” said John Mangum, the Houston Symphony’s Executive Director/ CEO and holder of the Margaret Alkek Williams Chair. “She brings with her a wealth of experience in Houston’s arts community and expertise that will lead the Symphony’s advancement efforts and take us to the next level.” With more than 20 years of fundraising experience, Nancy has raised more than $150 million in operational and capital support over the course of her career. Prior to joining the Alley Theatre, she served for two years as vice president and chief development officer of Big Brothers Big Sisters of Greater Houston. Her previous roles with the Houston Symphony Society included Director of Corporate and Foundation Relations, Director of Individual Giving and Director of Development. She was also the director of development at the Buffalo Philharmonic Orchestra. 14 | Houston Symphony

HOUSTON SYMPHONY LEAGUE and HOUSTON SYMPHONY SOCIETY joyfully invite you to join in family and holiday fun at

n a i s i r Pa y a d i l o H

MAGICAL MUSICAL MORNING

Ishwaria Subbiah, Chair Viviana and David Denechaud, Honorary Family Maureen Y. Higdon, League President Betty Tutor, Vice President, Fundraising

Sunday,,December 2, 2018 River Oaks Country Club 11 o'clock a.m. to 1 o'clock p.m. Caricaturist Delectable Brunch Holiday Crafts Instrument Petting Zoo Photo Booth Pictures with Santa Performance by: Houston Symphony Community-Embedded Musicians Tickets begin at $75 Tables begin at $1,500 For more information, please contact: Julie Busch Manager, League Relations & Fundraising julie.busch@houstonsymphony.org or 713-337-8542

vintage virtuoso Spec’s Charitable Foundation supports the efforts of the Houston Symphony and its Education and Community programs. This year, we are continuing to raise awareness of the importance of music as an integral part of each child’s complete education and its growing need for funding.

December 5th, 2018

6:00pm Tasting 7:30pm Seating Dinner

Royal Sonesta Hotel 2222 West Loop South Houston, TX 77027

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MUSIC IN MEDELLÍN 9.16 | 2:30 PM MATINEE PERFORMANCE OF MAHLER'S RESURRECTION SYMPHONY AT JONES HALL

9.17 | MIDNIGHT MAESTRO OROZCO-ESTRADA, CARLOS BOTERO & ROBIN KESSLEMAN TAKE FLIGHT TO COLOMBIA

10:00 AM PRINCIPAL DOUBLE BASS ROBIN KESSLEMAN TEACHES MASTERCLASS AT UNIVERSIDAD DE ANTIOQUIA

4:00 PM MAESTRO OROZCO-ESTRADA REHEARSES WITH THE ORQUESTA FILARMÓNICA DE MEDELLÍN

5:30 PM THE REST OF HOUSTON SYMPHONY MUSICIANS ARRIVE IN MEDELLÍN

9.18 | 9:30 AM HOUSTON SYMPHONY MUSICIANS & ORQUESTA FILARMONICA DE MEDELLÍN REHEARSE SIDE-BY-SIDE

8:00 PM THE XXXI CONCIERTO DE ANIVERSARIO TEATRO METROPOLITANO PERFORMANCE BEGINS

9.19 | 3:30 AM HOUSTON SYMPHONY MUSICIANS BEGIN THEIR TRAVEL BACK HOME

9.20 | 10:00 AM THE HOUSTON SYMPHONY REHEARSES FOR ITS PERFORMANCE OF BRONFMAN PLAYS PROKOFIEV

9.21 | 8:00 PM AFTER A MORNING REHEARSAL, THE SYMPHONY PERFORMS BRONFMAN PLAYS PROKOFIEV

16 | Houston Symphony

In September, 33 Houston Symphony musicians journeyed to Medellín, Colombia, for a special concert with the Orquesta Filarmónica de Medellín, Music Director Andrés Orozco-Estrada and violinist Hilary Hahn. Since the Colombian-born conductor became the Houston Symphony’s Music Director in the 2014-15 season, our orchestra has enjoyed a fruitful relationship with musicians from his native land. In the summer of 2014, Houston Symphony musicians traveled to Colombia to mentor the students of the Filarmónica Joven de Colombia (Colombian Youth Philharmonic), and the next summer the FJC came to Houston for a series of unforgettable concerts at Jones Hall. Plans for this year’s trip to Andrés’ hometown began after the Houston Symphony’s European Tour with Hilary Hahn in March. The then-pregnant star violinist enjoyed the experience so much she decided to make the concert in Medellín her first public appearance after the birth of her child. To make the event even more special, Andrés and the Orquesta Filarmónica de Medellín invited musicians of the Houston Symphony to participate as well. “Musicians were asked to volunteer,” explained Vicky Dominguez, the Houston Symphony’s Chief Operating Officer. “Andrés was very happy that so many were interested in traveling to his hometown for this very special project, and we ended up taking 33 musicians.” The trip was a logistical feat, requiring the transport of not only the musicians but also most of their instruments. The concert in Medellín was scheduled for Tuesday, September 18, in between two actionpacked concert weekends in Houston: Mahler’s Resurrection Symphony and Bronfman Plays Prokofiev. “Finding flights to fit in our Houston schedule was challenging, especially on only a couple of months’ notice,” Vicky continued. “The Colombian consulate in Houston was very helpful in making sure we were covered for any immigration issues, and the venue also helped prepare immigration in Colombia for our arrival. Our entry into the country was very smooth.” The first to arrive were Andrés, Carlos Botero (the Houston Symphony’s Musical Ambassador) and Principal Double Bass Robin Kesselman, who was invited to do a special masterclass with double bass students the day before the concert. The trio headed to the airport on Sunday after the last performance of Mahler’s Resurrection Symphony for a midnight flight to Colombia. “The players showed a tremendous amount of commitment, poise and musicianship when performing,” Robin said of the students in the masterclass. “We spent more than four hours together sharing ideas and generally enjoying all things bass. After a quick lunch, the redeye began to catch up with me, and I was on my way to the hotel for a nap.”

Meanwhile, that afternoon, Andrés rehearsed the Orquesta, and the remaining HS musicians arrived that evening. After a rehearsal on Tuesday morning with Hilary Hahn, the concert began at 8:00 pm. This special musical event celebrated the 31st anniversary of the opening of Medellín’s Teatro Metropolitano José Gutiérrez Gómez, the city’s premiere concert hall and a point of pride for Medellín’s music lovers. “It was a real honor for the Houston Symphony to be invited to participate in the Teatro Metropolitano’s anniversary concert,” said John Mangum, the Houston Symphony’s Executive Director/CEO and holder of the Margaret Alkek Williams Chair. “From talking with Andrés, I could tell right away what a special place this was for any classical musician from Medellín. It opened up the world of orchestral music for them, a world that brought Andrés to our city and Jones Hall.”

UNIVERSIDAD DE ANTIOQUIA IN MEDELLÍN

The concert itself, which featured Sibelius’ Violin Concerto and Shostakovich’s Fifth Symphony, had a special sense of occasion for all present. “For the musicians, many of whom had been to Colombia on previous visits to work with the Filarmónica Joven, it was a special experience to play side-by-side in concert with the members of the Filarmónica de Medellín,” John explained. “The concert is one I’ll never forget,” Dominguez said. “Everyone in Colombia was so warm and welcoming— we all felt right at home. There was so much energy, and the audience was fantastic and enthusiastic. After the concert, there were hundreds of people lined up to get photos and autographs from Andrés and Hilary. Some of the students from the FJC came to the concert and met up with our musicians as well.” “The concert was a blast,” Robin concurred. “After thunderous applause and hugs with our Colombian friends, many sections of the two orchestras met for farewell get-togethers near our hotel before the first tour group got on a 3:30 am bus back to the airport.” Our musicians returned to Houston Wednesday and were back at work for a rehearsal of Bronfman Plays Prokofiev on Thursday. This impressive feat speaks to the incredible skill and dedication of the Houston Symphony’s musicians, who are committed to sharing music with people around the world.

HOUSTON SYMPHONY MUSICIANS IN MEDELLÍN

DOUBLE BASS MASTERCLASS WITH ROBIN KESSELMAN

“Medellín is a spectacular part of the world that I hope everyone reading this gets a chance to see,” Robin reflected. “I loved every minute of our short time there, and I’m already looking forward to the next. Hopefully I won’t have to wait long!” Read more about the Houston Symphony's trip to Medellín in our Backstage Pass feature with Principal Second Violin MuChen Hsieh on page 52. AIRFARE PROVIDED BY: UNITED AIRLINES

XXXI CONCIERTO DE ANIVERSARIO TEATRO METROPOLITANO PERFORMANCE InTUNE — November 2018 | 17

18 | Houston Symphony

concert PREVIEW DECEMBER 14 • JONES HALL

SOUND OF CHRISTMAS the

JOHN WILLIAMS’ SCORE TO HOME ALONE

On December 14, the Houston Symphony presents Home Alone—Film with Live Orchestra. Our Grammy® Awardwinning Recording Engineer and resident film music buff Brad Sayles explores how John Williams masterfully scored this holiday classic. Imagine being asked to score a Christmas film. A few well-known carols will appear throughout, but the true soundtrack must define the Christmas sound and at the same time be original. Perhaps even more importantly, the score must not only evoke the atmosphere of Christmas, but must also communicate the deeper meaning of the holiday. Such was the challenge faced by John Williams when director Chris Columbus asked him to score Home Alone, a film about family and American Christmas traditions. As usual, Williams makes substantial contributions to the genre he is emulating—in this case Christmas film scores. How does one create the sound of Christmas? Sure, Williams adds the usual Christmas sleigh bells and choirs. But the master of melody always seems to find the one combination of notes that hasn’t been used yet and fits so well into the soundworld he is evoking. And so it is with his score to Home Alone.

For this film, Williams wrote several themes that define its sound, two of which are given at the outset. Mainly associated with the bungling burglars Harry and Marv, the cue known as “The House” reminds us of cold, darkness and mystery. High woodwinds join the celeste, an instrument that has been associated with the supernatural since Tchaikovsky used it in the “Dance of the Sugar Plum Fairy” from The Nutcracker (Williams would later feature the celeste in the main theme of the Harry Potter series). Underneath the melody, string pizzicatos and glissandos contribute to the spookiness of this recurring theme. Technically, nothing supernatural happens in the film, but early on Kevin does wish his irksome family would disappear—a wish that is granted when he awakes the next morning. In their misguided attempt to celebrate Christmas in Paris, the McAllisters literally forget the youngest, most vulnerable member of the family: Kevin. The cue “Holiday Flight” sets up the chaos of the missed alarm clock and the family’s rush to the airport. A clever parody of the famous Trepak from The Nutcracker, this cue imitates the character and structure of Tchaikovsky’s original, but the thematic material is absolutely original. If anything, it is more hectic: Williams adds energetic

low strings, oompah figures in the upper strings, fast runs, cymbal crashes on upbeats and racing orchestral bells to create a mood of hustle and bustle. These two themes give him the perfect set of colors to paint a wonderful holiday dramatic comedy. But to round out this palette, he needs the hook—the main theme. In Star Wars, Williams blasts the main theme at the beginning, but for Home Alone, he slowly unveils it throughout the film. This is the genius of John Williams: he works backwards, carefully interweaving the theme into other cues until we finally realize what the film is about. “Somewhere in My Memory” is the jewel of the movie. We search for it, even though it was always in front of us. It is no coincidence that we hear the theme in full when Kevin is reunited with his mother and finds the one thing he has been searching for: the love of his family. With words penned by Leslie Bricusse, “Somewhere in My Memory” has become a standard Christmas song and the most memorable part of Williams’ masterful score. —Brad Sayles Don’t miss Home Alone—Film with Live Orchestra on December 14! Get tickets and more information at www.houstonsymphony.org.

InTUNE — November 2018 | 19

concert PREVIEW DECEMBER 7, 8 & 9 • JONES HALL

celebrate the

HOLIDAYS

with

ALI EWOLDT

Broadway star Ali Ewoldt is renowned for her dramatic turns as Cosette in Les Misérables and Christine in The Phantom of the Opera. In anticipation of her appearance with the Houston Symphony in Very Merry Pops, we asked her to wax nostalgic and tell us what Christmas was like where she grew up. “I grew up in Pleasantville, NY, a suburb of New York City,” she said, “so we always hoped for—and occasionally received—a white Christmas. We often celebrated with my mom’s side of the family (which is Filipino), so 20 family members would be considered a small gathering. Christmases were always filled with food and joy and play and excitement. Not enough sleep, but lots of togetherness. Sometimes Santa would visit, and we usually wore matching pajamas. “We always celebrated on Christmas Eve,” she continued. “We’d usually go to church about 5:00 pm —growing up I would sing in the choir or lead the congregation in song…my first steady singing gig!— followed by an abundance of appetizers, cooking and games and catching up until dinner. And then the agony of waiting for midnight when we’d gather around the Christmas tree and hand out all of the presents one at a time. Then the opening frenzy would begin! We’d stay up late, wearing our matching pajamas, playing with our new toys, watching A Christmas Story or playing mahjong together.” When asked if she has any favorite Christmas carols or anthems, Ali responded: “I’ve always loved the traditional ones: Silent Night, O Holy Night, Away in a Manger…particularly when sung in spontaneous harmony, even better when gathered around a piano!” —Eric Skelly Ali Ewoldt shares some of her favorite Christmas music with us when she joins Steven Reineke and the Houston Symphony for Very Merry Pops, December 7, 8 and 9 at Jones Hall.

20 | Houston Symphony

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THE SEVEN DEADLY SINS Friday Saturday Sunday

November 2, 2018 November 3, 2018 November 4, 2018

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

Jones Hall

Bramwell Tovey, conductor Storm Large, vocalist *Hudson Shad, vocalists *Houston Symphony debut

R. Strauss Scriabin

Salomes Tanz (Salome’s Dance) from Salome, Opus 54

ca. 9

Le poème de l’extase (The Poem of Ecstasy), Opus 54

ca. 22

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

Weill/ W. BrücknerRüggeberg

Die sieben Todsünden (The Seven Deadly Sins) (Low voice arrangement) Prolog: Andante sostenuto 1. Faulheit (Sloth): Allegro vivace— 2. Stolz (Pride): Allegretto, quasi Andantino— 3. Zorn (Anger): Molto agitato 4. Völlerei (Gluttony): Largo 5. Unzucht (Lust): Moderato— 6. Habsucht (Covetousness): Allegro giusto— 7. Neid (Envy): Allegro non troppo— Epilog: Andante sostenuto text by Bertolt Brecht

22 | Houston Symphony

ca. 34

Did you know? • The Metropolitan Opera gave the New York premiere of Strauss’ Salome in 1907. Despite a sold-out run, the production was cancelled after only one performance because J. P. Morgan's daughter was scandalized and complained to her father (a Met board member). The opera was not performed at the Met again until 1934.

The Seven Deadly Sins | Program Biographies

Program BIOGRAPHIES SHELL FAVORITE MASTERS

Bramwell Tovey | conductor Grammy and Juno Award®-winning conductor and composer Bramwell Tovey is principal conductor of the BBC Concert Orchestra, beginning January 2018.

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.

EPIX STUDIOS

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

Following an exceptional 18-year tenure as music director of the Vancouver Symphony Orchestra, which concluded in summer 2018, he now returns as the orchestra’s music director emeritus. Under his leadership, the VSO toured China, Korea, Canada and the United States. His VSO innovations included the VSO School of Music, of which he is artistic advisor; the orchestra’s annual festival of contemporary music; and the VSO Orchestral Institute at Whistler, a comprehensive summer training program for young musicians held in Whistler, British Columbia. This season, in addition to conducting here, his guest appearances include the Chicago, St. Louis, Indianapolis and Toronto orchestras and special Christmas programs with the Philadelphia Orchestra. In January, he returns to the Winnipeg New Music Festival, which he initiated during his tenure there. In 2003, Bramwell won the Juno Award for Best Classical Composition for his choral and brass work, Requiem for a Charred Skull. His song cycle, Ancestral Voices, which addresses the issue of reconciliation, was written for acclaimed Kwagiulth mezzo-soprano Marion Newman and premiered in June 2017. His trumpet concerto, Songs of the Paradise Saloon, was commissioned by the Toronto Symphony Orchestra for principal trumpet Andrew McCandless and performed in 2014 by Alison Balsom in Los Angeles, Philadelphia and London. A recording of his opera, The Inventor, commissioned by Calgary Opera, features the original cast, members of UBC Opera and the VSO. His Concerto for Orchestra premiered in April to commemorate the VSO’s Centenary. A violin concerto for James Ehnes was commissioned by Ottawa’s National Arts Centre Orchestra. Bramwell received the Oskar Morawetz 2015 Award for Excellence in Music Performance. Previously music director of Orchestre Philharmonie Luxembourg, he led the world premiere of Penderecki’s Eighth Symphony on the opening of the principality’s new concert hall, the Philharmonie. He won the Prix d’or of the Academie Lyrique Française for OPL’s recording of Jean Cras’ 1922 opera, Polyphème, and toured with the orchestra to China, Korea, the United States and throughout Europe. In 2013, he was appointed an honorary Officer of the Order of Canada for services to music. Since 2006, he has been artistic director of the National Youth Brass Band of Great Britain. As a faculty member of Boston University, he teaches conducting, oversees an extensive orchestra program and directs orchestral and conducting studies.

InTUNE — November 2018 | 23

Program BIOGRAPHIES , continued

Storm Large | vocalist Storm Large: musician, actor, playwright, author, awesome. She shot to national prominence in 2006 as a finalist on CBS’ Rock Star: Supernova, where despite having been eliminated the week before the finale, she built a fan base that follows her around the world. Storm spent the ’90s singing in clubs throughout San Francisco. Tired of the club scene, she moved to Portland to become a chef, but in 2002, a last-minute cancellation at the club Dante’s turned into a standing Wednesday night engagement for Storm and her new band, The Balls. It wasn’t long before she had a cult-like following in Portland and a renewed singing career soon to be launched onto the international stage. This season, Storm performs her one-woman autobiographical musical memoir, Crazy Enough, at La Jolla Music Society and Portland Center Stage, celebrating the show’s 10-year anniversary. She debuts with the Philly Pops, members of the Chicago Symphony Orchestra, the Seattle Symphony and the Maryland Symphony Orchestra, as well as return engagements here and with The New York Pops and the Louisville Orchestra, with whom she recorded the 2017 album All In. Storm continues to tour the country with her band Le Bonheur and as a special guest on Michael Feinstein’s Shaken & Stirred tour. Storm made her debut as guest vocalist with Pink Martini in 2011, singing four sold-out concerts with the National Symphony Orchestra at the Kennedy Center. She continues to perform with the band, touring nationally and internationally, and is featured on its CD, Get Happy. She has performed with k.d. lang, Kirill Gerstein, John Doe, Rufus Wainwright and George Clinton. She made her Carnegie Hall debut in 2013, singing Weill’s The Seven Deadly Sins with the Detroit Symphony Orchestra. The New York Times called her “sensational,” and the classical music world instantly had a new star. Storm is featured in Rid of Me, a James Westby film, starring Katie O’Grady and Theresa Russell. In 2010, she starred at the Mark Taper Forum with Katey Sagal and Michael McKean in Jerry Zak’s production of Harps and Angels, a musical featuring the work of Randy Newman. In 2014, Storm and Le Bonheur released a record designed to capture their sublime and subversive interpretations of the American Songbook. Entitled Le Bonheur, the recording is a collection of tortured and titillating love songs: beautiful, familiar, yet twisted … much like the lady herself. 24 | Houston Symphony

Hudson Shad | vocalists A six-man ensemble consisting of five singers and a pianist, Hudson Shad officially debuted in 1992, but its nucleus formed in 1977 when three members made their Carnegie Hall debuts as soloists in Penderecki’s Magnificat. The nascent group developed further in 1989, when bass Wilbur Pauley contracted a quartet to perform as The Family in Kurt Weill’s The Seven Deadly Sins with Marianne Faithfull at the Arts at St. Ann’s in Brooklyn. Since then, the Hudson Shad quartet has given more than 100 performances of Sins in more than 50 locations worldwide and was honored to participate in the Carnegie Hall premiere of the work with Ute Lemper and the Toronto Symphony Orchestra. The group has recorded the work twice, once with Kurt Masur and the New York Philharmonic and once with Faithfull, Dennis Russell Davies and the Vienna Radio Symphony Orchestra. They create a third recording in May 2019 with Storm Large and the Oregon Symphony led by music director Carlos Kalmar. Houston is the 14th location where the ensemble has performed Sins with Large since their initial collaboration at the Ojai Music Festival in 2014. Hudson Shad has also performed Weill’s Kleine Mahagonny with the Saint Paul Chamber Orchestra and Aufstieg und Fall der Stadt Mahagonny at the Salzburg Festival. In 2018, the ensemble collaborated in Boston and New York with pianist Jeremy Denk and violinist Stefan Jackiw, singing hymns that Charles Ives used as the basis for his four Violin Sonatas. Conducted by the composer, Hudson Shad debuted with the Atlanta Symphony Orchestra as Wild Things in Oliver Knussen's Where the Wild Things Are. They have also performed their own English-language version of Stravinsky's Renard at the Saratoga Performing Arts Center and with Charles Dutoit at the Miyazaki Festival. In a double bill with Sins, they performed Philip Glass' The Fall of the House of Usher with the Calgary Philharmonic Orchestra. For the 1997 Schubert bicentennial, Hudson Shad performed works by the composer with the New York Philharmonic and the Bruckner Orchester Linz. In 1999, the group was featured on Broadway in Band in Berlin, a musical tribute to the legendary German singers. With the Cincinnati Pops Orchestra, Hudson Shad was the barbershop quartet in The Music Man. These performances in Houston feature members Mark Bleeke, tenor; Eric Edlund, baritone; Peter Becker, bass-baritone; and Wilbur Pauley, bass.

Program NOTES Salomes Tanz (Salome’s Dance) from Salome, Opus 54

The Seven Deadly Sins | Program Notes

Le poème de l’extase (The Poem of Ecstasy), Opus 54

Richard Strauss (1864-1949)

Alexander Nikolayevich Scriabin (1871-1915)

One day in 1905, Richard Strauss walked into a piano shop with Gustav Mahler and his wife Alma. He had just finished his opera Salome and was eager to play it for them. In her memoirs Alma recalled, “Mahler was enthralled. We came to the dance. It was missing. ‘I haven’t done that yet!’ said Strauss and after this big hiatus played on to the end. Mahler asked, ‘Isn’t it risky simply to leave out the dance and do it later when one is no longer in the mood of the work?’ But Strauss laughed in his carefree way, ‘I’ll manage.’”

For those who undergo them, mystical experiences defy the rational mind with feelings of ineffable bliss, ecstasy and oneness with the universe or the divine. In The Varieties of Religious Experience, William James described such experiences as “illuminations, revelations, full of significance and importance,” and wrote that a person who has had one “immediately says that it defies expression, that no adequate report of its contents can be given in words.” But if mystical experiences cannot be conveyed in words, might they be conjured through music?

Manage he did; Strauss had saved the climactic passage of his opera for last. Based on a scandalous 1891 play by Oscar Wilde, the opera retold the biblical story of Salome, a princess infatuated with John the Baptist. Predictably, the chaste holy man rebuffs her. When Salome’s lecherous stepfather, the tetrarch Herod, promises to grant her anything she wishes if she dances for him, Salome performs a striptease in which seven veils are removed one by one. In return, she asks for John the Baptist’s head on a silver charger. When her ghastly reward is delivered, she declares her love for the severed head and kisses its lips. Horrified, Herod orders his soldiers to kill her. Underneath the music’s exoticism and lush, virtuoso orchestration, Salome’s Dance is in fact a waltz. It is not, however, the kind of tuneful waltz Johann Strauss II would have written. After a rhythmic, percussive introduction, the music reveals the princess’ inner world: twisted harmonies and melodies show us her disgust for her stepfather and her desire for the saint. As each veil is dropped, Salome descends further into madness, and the music builds to a frenetic climax. Before the last veil is removed, the music pauses, and we hear the leitmotif representing the glinting moonlight as Salome’s mind drifts—but her reverie is cut short as the dance comes to a crashing end. “I am sorry Strauss composed this Salome,” Kaiser Wilhelm reportedly said some time after the premiere. “I really like the fellow but this will do him a lot of damage.” “The damage enabled me to build my villa in Garmisch,” Strauss famously replied. Despite its controversial subject matter, Salome played to sold-out opera houses around the world, putting Strauss well on his way to becoming one of the richest composers in history. The Instruments: 3 flutes, piccolo, 2 oboes, English horn, heckelphone, 4 clarinets, bass clarinet, E-flat clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 4 trombones, tuba, timpani, percussion, 2 harps, celesta and strings

This question became an obsession for the Russian composer Alexander Scriabin. At the dawn of the 20th century, the Western world was increasingly aware of the rapid advance of science, but some sensed that the forward march of progress was leaving humanity’s spiritual needs unfulfilled. Influenced by Schopenhauer, Nietzsche, Wagner and Theosophy, Scriabin believed music had the power to fill this void. Despite the ineffable nature of mystical experiences, mystics from many different traditions have tried to compare them with more earthly phenomena, including birth, death, awakening and even sex. The connection between mysticism and the erotic was central for Scriabin, especially in his most popular work, The Poem of Ecstasy, which he originally planned to call Poème Orgiaque (Orgiastic Poem). Scriabin’s score contains many unconventional expression markings, including “very perfumed,” “with a feeling of growing intoxication,” and “with a sensual pleasure becoming more and more ecstatic.” Musically, Scriabin broke new ground in pursuit of his expressive ambitions, taking Wagner’s intensely chromatic harmonic language a step further. The Poem’s harmonies are full of yearning and tension that remain unresolved until the final note. Likewise, though Scriabin calls for an enormous orchestra, he only unleashes its full power in the exultant finale. Leading to this, the music is full of delicate, sensuous textures, featuring prominent parts for solo violin and trumpet. Constructed from a web of interrelated melodic motifs, waves of sound envelop the listener as the piece unfolds. After a languid opening, we hear faster, flittering music marked “volando” (“flying”). A churning, tempestuous middle section then leads to a reprise of earlier themes. The work concludes with a truly ecstatic ending, representing both spiritual revelation and carnal fulfillment. The Instruments: 3 flutes, piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 5 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, celesta (doubling organ) and strings InTUNE — November 2018 | 25

Program NOTES , continued

Die sieben Todsünden (The Seven Deadly Sins)

Kurt Weill (1900-1950)

Born in 1900 to a German-Jewish family, Kurt Weill is best remembered for capturing the spirit of Weimar Republic Germany in a series of collaborations with playwright Bertolt Brecht, including The Threepenny Opera (the source of the classic song “Mack the Knife”). Personal conflict and grim political realities would conspire to make The Seven Deadly Sins their final collaboration. Weill fled Berlin on March 21, 1933, only days before the Reichstag passed the Enabling Act, effectively making Adolf Hitler a dictator. His music now banned in his own country, he sought to start over in Paris with only 500 francs to his name. He soon found work from an unlikely source. Edward James, a fabulously wealthy Englishman, was having trouble with his wife, the Austrian ballet dancer Tilly Losch. Determined to patch things up, James bankrolled a season of ballet performances in Paris that would feature his wife. The season would include a new, modern work, and James believed Weill was just the man for the job. Ever the iconoclast, Weill determined to write an unconventional “sung ballet” that would incorporate elements of musical theater. He initially approached Jean Cocteau to write the necessary text, but when Cocteau declined, there was only one obvious replacement: Bertolt Brecht. Unfortunately, Weill’s last collaboration with Brecht had been a difficult one: at one point Brecht threatened to “kick that phony Richard Strauss down the stairs!” Reluctantly, Weill reached out to him anyway. As an increasingly dogmatic Marxist, Brecht hated ballet, believing that it was the most bourgeois of all art forms. His politics, however, also made him a target of Nazi persecution, and like Weill, he was broke and living in exile. Even Marxists need to eat, so he came to Paris for a week, wrote the required text, took his paycheck and left. Despite Brecht’s distaste for the project, the libretto bears all the hallmarks of his best creations. Set in an imaginary, fantastical version of the United States, The Seven Deadly Sins tells the story of Anna, a woman sent out into the world to make money by her greedy, exploitive family. During her sojourn, she visits seven cities—and discovers a deadly sin in each one. The twist, however, is that every time she follows the natural desires of her heart, she is chided for committing a “sin” that gets in the way of her money-making. Thus torn, Anna has a Freudian split personality. In the original production, the role was divided between a singer (Anna’s practical side—her Ego) and a dancer (Anna’s more passionate side—her Id). This conceit arose when Edward James noticed that Weill’s wife, the famed singer Lotte Lenya, 26 | Houston Symphony

bore a striking resemblance to his own wife Tilly Losch. Weill agreed to the concept, despite the fact that both he and Lenya were having affairs at the time. The two were still on friendly terms, though, and to sweeten the deal Weill gave Lenya’s lover a part as a member of the male vocal quartet that depicts Anna’s family. Musically, Weill regarded The Seven Deadly Sins as “the finest score I’ve written up to now.” It skillfully accentuates Brecht’s wit and social critique with tuneful waltzes, foxtrots and tangos. The premiere on June 7, 1933, at the Théâtre des Champs-Élysées met with mixed success, and Edward James’ plan to win back his wife failed completely; instead, she seems to have had an affair with Lotte Lenya. Despite this rocky start, The Seven Deadly Sins has ultimately found a home in the concert hall and is one of Weill’s most frequently performed works. After Weill’s death in 1950, Lenya championed Sins in a new concert version, and many singers from diverse backgrounds have since made it their own. —Calvin Dotsey The Instruments: 2 flutes (both doubling piccolo), oboe, 2 clarinets, bassoon, 2 horns, 2 trumpets, trombone, tuba, timpani, percussion, piano, banjo (doubling guitar) and strings

Shell Oil Company, a longtime leadership contributor to the Houston Symphony, underwrites the Houston Symphony’s Favorite Masters Series of classical subscription concerts as part of the company’s continuing commitment to the communities it serves. Since it was founded, Shell Oil Company has invested more than $1 billion in charitable, cultural and educational organizations throughout Houston and the United States. Shell’s support of culture and the arts encompasses a wide range of symphony, opera and theater groups, as well as the visual arts and science museums. In recognition of its broad range of award-winning support, the Houston Symphony salutes Shell Oil Company and applauds its support of the Symphony and other arts and culture institutions.

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

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FEATURED PROGRAM

AN AMERICAN IN PARIS FILM WITH LIVE ORCHESTRA Friday Saturday Sunday

November 9, 2018 8:00pm November 10, 2018 8:00pm November 11, 2018 7:30pm

Jones Hall Constantine Kitsopoulos, conductor

Gershwin-C. SalingerJ.Green

An American in Paris Part 1

[1:03]

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

28 | Houston Symphony

Part 2

[0:51]

An American in Paris—Film with Live Orchestra | Program Biography

Program BIOGRAPHY These performances are generously supported in part by: Sponsor

Constantine Kitsopoulos | conductor Constantine Kitsopoulos has established himself as a dynamic conductor known for his work in many different genres and settings. He is equally at home with opera, symphonic repertoire, film with live orchestra, music theatre and composition. His work has taken him to major orchestras all over the world.

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.

XANTHE ELBRICK

Mach Family Audience Development Fund

In addition to Constantine’s engagements as guest conductor, he is music director of the Festival of the Arts Boca and general director of Chatham Opera. He was recently appointed general director of the New York Grand Opera charged with bringing free opera back to New York’s Central Park. Highlights of the 2018-19 season include his debut with the Chicago Symphony Orchestra and return engagements here and with orchestras in Dallas, Detroit, New Jersey, San Francisco, Toronto, New York, Louisiana and San Antonio. He will conduct Leonard Bernstein’s Mass at Indiana University Opera Theatre. His commitment to opera has led him to develop semi-staged productions of Mozart’s The Magic Flute, for which he has written a new translation, Don Giovanni and La bohème. With Indiana University Opera Theatre, he has conducted productions of Falstaff, Die Fledermaus, A View from the Bridge, H.M.S. Pinafore, The Most Happy Fella, South Pacific, Oklahoma!, The Music Man and The Last Savage. He was assistant chorus master at New York City Opera, 1984-1989.

Baker Botts is a globally respected law firm with offices around the world. It provides the highest ethical and professional standards combined with its reach and depth of understanding of the law to help deliver better and more innovative solutions. The firm has supported the Houston Symphony for decades and continues this support today, with a Baker Botts partner serving as the Symphony’s general counsel. Baker Botts has consistently delivered results-oriented services to establish us as one of the world’s leading law firms. It has earned the privilege of working on some of the most fascinating and complex legal matters in the world. Since 1840, it has provided creative and effective legal solutions for its clients while demonstrating an unrelenting commitment to excellence. BakerBotts.com

On Broadway, Constantine served as music director of Rodgers and Hammerstein’s Cinderella, the Gershwins’ Porgy and Bess (cast album, PS Classics), A Catered Affair (cast album, PS Classics), Coram Boy, La bohème (cast album, DreamWorks Records), Swan Lake and Les Misérables. He was music director of American Conservatory Theater’s acclaimed production of Weill/Brecht’s Happy End and made the only English language recording of the piece for Sh-K-Boom Records. A Broadway highlight was serving as music director and principal conductor of Baz Luhrmann’s production of Puccini’s La bohème. As composer, he is music director/supervisor of Temple, with book and lyrics by Silvia Peto, music by Norman Durkee; Constantine provided additional music, arrangements and orchestrations. Other works in development are Alamo, with music and lyrics by Timothy Noble and Constantine as music director/supervisor, arranger and orchestrator; and a chamber opera about three generations of Greek women, Holy Week, with librettist Evangelia Kingsley. Constantine Kitsopoulos studied piano with Marienka Michna, Chandler Gregg, Edward Edson and Sophia Rosoff. He studied conducting with Semyon Bychkov, Sergiu Commissiona, Gustav Meier and his principal teacher, Vincent La Selva. InTUNE — November 2018 | 29

A S Y M P H O N I C N I G H T AT T H E M O V I E S

CAST Gene Kelly

Jerry Mulligan

Leslie Caron

Lise Bouvier

Oscar Levant

Adam Cook

Georges GuĂŠtary

Henri Baurel

Nina Foch

Milo Roberts

Story and Screenplay by Alan Jay Lerner Directed by Vincente Minnelli Produced by Arthur Freed Music by George Gershwin Lyrics by Ira Gershwin Choreography by Gene Kelly Film Courtesy of Warner Bros. Entertainment, Inc. Producer John Goberman Live orchestra adaptation by John Wilson Technical Supervisor Pat McGillen Music Preparation Larry Spivack and Constantine Kitsopoulos The producer wishes to acknowledge the contributions and extraordinary support of John Waxman (Themes & Variations). A Symphonic Night at the Movies is a production of PGM Productions, Inc. (New York) and appears by arrangement with IMG Artists. Playback Operation and Synthesizer Product

30 | Houston Symphony

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FEATURED PROGRAM

A MOZART & BRAHMS THANKSGIVING Friday Saturday Sunday

November 23, 2018 8:00pm November 24, 2018 8:00pm November 25, 2018 2:30pm

Jones Hall

David Danzmayr, conductor Inon Barnatan, piano

Suppé

Overture to Die schöne Galatea (The Beautiful Galatea)

ca. 7

Mozart

Piano Concerto No. 22 in E-flat major, K.482 I Allegro II Andante III Allegro—Andantino cantabile—Primo tempo

ca. 33

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

Brahms

Symphony No. 4 in E minor, Opus 98 I Allegro non troppo II Andante moderato III Allegro giocoso IV Allegro energico e passionato

32 | Houston Symphony

ca. 40

Did you know? • Inon Barnatan began piano lessons at the age of 3 when his mother realized he had perfect pitch. “For me, there was never a sudden realization that I was a musician, a bolt out of the blue,” Inon says. “It was just something I always knew.”

A Mozart & Brahms Thanksgiving | Program Biographies

Program BIOGRAPHIES GREAT PERFORMERS SERIES

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.

David Danzmayr | conductor Described by The Herald as “extremely good, concise, clear, incisive and expressive,” David Danzmayr is widely regarded as one of the most talented and exciting European conductors of his generation. David is chief conductor of the Zagreb Philharmonic Orchestra, the first to hold this title in seven years. He and the orchestra regularly perform to sold-out audiences and have been awarded the Zagreb City Award. David is music director of the ProMusica Chamber Orchestra, which includes musicians from across the United States. His contract has recently been extended. Previously, David served as music director for Chicago’s Illinois Philharmonic Orchestra, where he was lauded by the Chicago Tribune and Chicago Classical Review. He was the only conductor in the Chicago area who programmed a piece of American music on every concert. David has won prizes at some of the world’s most prestigious conducting competitions, including second prize at the international Gustav Mahler Conducting Competition and prizes at the Malko Competition. For his extraordinary success, he was awarded the Bernhard Paumgartner Medal by the International Stiftung Mozarteum. Propelled by these early successes into an international career, David has quickly become a sought-after guest conductor for orchestras around the globe. Besides numerous re-invitations, future engagements will include the Minnesota Orchestra, the Los Angeles Chamber Orchestra and the Grant Park Music Festival. David frequently appears in the world’s major concert halls such as the Musikverein and Konzerthaus in Vienna, Grosses Festspielhaus Salzburg, Usher Hall in Edinburgh and Chicago’s Symphony Hall. He has served as assistant conductor of the Royal Scottish National Orchestra, which he has conducted in more than 70 concerts, performing in all the major Scottish concert halls and in the prestigious, Orkney-based St. Magnus Festival. David Danzmayr received his musical training at the Mozarteum University Salzburg where, after initially studying piano, he went on to study conducting in the class of Dennis Russell Davies. He finished his studies with the highest honors. He was strongly influenced by Pierre Boulez and Claudio Abbado in his time as conducting stipendiate of the Gustav Mahler Youth Orchestra and by Leif Segerstam during his additional studies in the conducting class of the Sibelius Academy. He subsequently gained significant experience as assistant to Neeme Järvi, Stéphane Dèneve, Carlos Kalmar, Sir Andrew Davis and Boulez, who entrusted David with the preparatory rehearsals for his own music. InTUNE — November 2018 | 33

Program BIOGRAPHIES , continued

MARCO BORGGREVE

Inon Barnatan | piano “One of the most admired pianists of his generation” (The New York Times), Inon Barnatan is celebrated for his poetic sensibility, musical intelligence and consummate artistry. He is the recipient of the prestigious 2009 Avery Fisher Career Grant and Lincoln Center’s 2015 Martin E. Segal Award, which recognizes “young artists of exceptional accomplishment.” He was recently named music director of the La Jolla Music Society Summerfest, beginning in 2019. The Israeli pianist recently served three seasons as the inaugural artist-in-association of the New York Philharmonic. This season, he plays Beethoven with Hamburg’s Elbphilharmonie Orchestra led by Alan Gilbert, Mozart with the Australian Chamber Orchestra in New York’s Alice Tully Hall and Rachmaninoff with the Pittsburgh Symphony Orchestra and Israel Philharmonic Orchestra, again led by Gilbert. In recent seasons, he debuted at the BBC Proms; with the London and Helsinki Philharmonic Orchestras; and with Chicago, Baltimore, Fort Worth, Indianapolis, Nashville, San Diego and Seattle orchestras. This season, Inon collaborates with the Dover, Calidore and St. Lawrence String Quartets, performing with the latter in Carnegie Hall, and tours the United States and Europe with his frequent collaborator, cellist Alisa Weilerstein, along with violinist Sergey Khachatryan and percussionist Colin Currie. He makes his recital debut in the International Piano Series at London’s Southbank Centre and plays additional recitals in the Seattle Symphony’s Benaroya Hall and the Celebrity Series of Boston, where he has appeared in various configurations since 2008. He has commissioned and performed many new works, including premieres of pieces by Thomas Adès, Sebastian Currier, Avner Dorman, Alan Fletcher, Joseph Hallman, Alasdair Nicolson, Andrew Norman and Matthias Pintscher. “A born Schubertian” (Gramophone), Inon’s critically acclaimed discography includes Avie and Bridge recordings of the Austrian composer’s solo piano works, as well as Darknesse Visible, which scored a coveted place on The New York Times’ Best of 2012 list. His most recent release is a live recording of Messiaen’s 90-minute masterpiece Des canyons aux étoiles (“From the Canyons to the Stars”), in which he played the formidable solo piano part at the Santa Fe Chamber Music Festival. His 2015 Decca Classics release, Rachmaninov & Chopin: Cello Sonatas with Weilerstein earned rave reviews internationally. Visit www.inonbarnatan.com. 34 | Houston Symphony

Program NOTES Overture to Die schöne Galatea (The Beautiful Galatea) Franz von Suppé (1819-1895)

Born in modern day Croatia (then part of the Austrian Empire), Franz von Suppé was sent to Italy by his father to study law; Suppé, however, dreamt of a career in the opera house and spent his time hobnobbing with the likes of Rossini, Donizetti and Verdi. After his father’s death in 1835, he moved to Vienna and began a long and prolific career as a singer, conductor and composer of stage works. In response to Offenbach’s popularity in France, Suppé pioneered the unique style of Viennese operetta, and is best remembered for a string of hits in the genre from the 1860s and ’70s. Composed in 1865, Die schöne Galatea (The Beautiful Galatea) is a parody of the mythological story of Pygmalion, who falls in love with a beautiful female statue that comes to life as Galatea. The overture is essentially a medley of tunes, most of which later reappear in the operetta. It begins with a lively drinking song that accompanies Galatea’s discovery of wine. The music then slows, and after a series of horn solos, shimmering strings play the music that accompanies the unveiling of the statue. The fast, minor key music that follows is associated with Pygmalion’s roguish servant, Ganymede, and the overture ends with a buoyant Viennese waltz. The Instruments: flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion and strings

Piano Concerto No. 22 in E-flat major, K.482 Wolfgang Amadeus Mozart (1756-1791)

Mozart completed his Piano Concerto No. 22 in E-flat major on December 16, 1785, as he was approaching the height of his popularity in Vienna. Michael Kelly, an Irish tenor who would sing in the premiere of The Marriage of Figaro a few months later, left a vivid description of Mozart’s piano technique: “His feeling, the rapidity of his fingers, the great execution and strength of his left hand particularly, and the apparent inspiration of his modulations, astounded me.” As far as we know, Mozart likely performed this particular concerto at least three times during his life: twice within a few weeks of its completion and again during a series of subscription concerts the following Lent. Apart from Mozart’s usual melodic genius, this concerto is noteworthy for the special role of the woodwinds; this was the first concerto Mozart wrote that employs clarinets. Normally, the first movement of a piano concerto from this era unfolds according to a set pattern that creates a natural dramatic arc. The orchestra introduces two contrasting themes—in this case, the first has a martial, fanfare-like

A Mozart & Brahms Thanksgiving | Program Notes

character, while the second is more lyrical. The soloist then reinterprets these themes, until a passage for orchestra leads to a more unstable, developmental section in which the themes are fragmented. The themes are then reprised, leading to an extended solo for the piano alone, called a cadenza (Mozart would have improvised this solo during his own performances—pianists today must supply their own cadenza), and the movement ends with a brief orchestral coda. Mozart follows this pattern with one important exception; after the piano enters, it does not play the contrasting second theme presented in the orchestral introduction. Instead, it plays a theme of its own, heightening the dramatic contrast between piano and orchestra. The two themes are only united during the reprise. The slower second movement, a melancholy Andante, is the heart of the concerto. At one early performance the audience demanded it be encored. Structurally, the movement is a hybrid of theme and variations and rondo forms: the strings and soloist play variations on a dark, expressive theme in C minor, while the woodwinds play contrasting major-key episodes, as if attempting to brighten the mood. In the end, the woodwinds join the piano, acquiescing to the dark mood of the movement in an achingly beautiful coda. This gloom, however, is immediately banished by the bright, dancing main theme of the finale. By tradition, this movement is a rondo: the main theme alternates with contrasting episodes. Mozart, however, has a few surprises in store. In the middle of the movement, the music suddenly comes to a halt with a cadenza. As if entering a dream world, the soloist leads us to a slow, Andante cantabile featuring the woodwinds. Another cadenza then returns us to a reprise of all but one of the main themes. Just as the movement is about to end, the music pauses, and we hear a brief reminiscence of the missing melody. It’s as if Mozart is saying, “And you thought I was going to forget!” The concerto then bounds to its joyful ending. The Instruments: flute, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings

Symphony No. 4 in E minor, Opus 98 Johannes Brahms (1833-1897)

Brahms composed his Symphony No. 4 during the summers of 1884 and 1885, working secretly in a quiet Austrian town in the Alps as was his usual practice. The work that emerged would be one of the most powerful symphonies in the repertoire. For all its warmth and beauty, however, Brahms’ Fourth has an undeniably serious character. Perhaps he was influenced by the tragedies of Sophocles he was reading at the time, or maybe he simply wanted to compose a symphony that would

contrast with his previous ones. His friends, however, had long noted a melancholy vein in his personality, and as he began his fifth decade of life, he likely began to contemplate his own mortality. Whatever the reason, Brahms wrestled with the darker side of human emotions in this work. In a letter to the conductor Hans von Bülow, Brahms himself jokingly blamed the symphony’s character on the weather: “I'm really afraid that it tastes like the climate here. The cherries don't ripen in these parts; you wouldn't eat them!” Despite the symphony’s somber mood, the audience embraced the work with vociferous applause when Brahms conducted the premiere on October 25, 1885. The work has remained a cornerstone of the repertoire ever since, and many critics regard it as his greatest masterpiece. The work contains a number of gestures and musical techniques that evoke past eras; several early commentators heard allusions to heroic, medieval romances in its rhetoric. The first movement begins with a simple melody based on falling thirds, a hauntingly beautiful theme that seems to breathe, or perhaps to ebb and flow like the sea. Other important melodic ideas include a heroic horn call motif, and mysterious, rustling harmonies and textures. The opening melody reappears three times. The first reappearance leads to a tumultuous developmental section; the second is initially disguised, lengthened and interrupted by the mysterious, rustling harmonies. When it reassumes its original form, it is already in progress, creating a sense of musical déjà vu. Its final appearance is distorted by the intense musical storm that concludes the movement. A profound nocturne, the slow second movement begins with another horn call motif. Its unusual sonority comes from its use of the Phrygian mode, a scale common in the medieval and Renaissance eras. The opening horn call soon becomes a reflective melody for woodwinds. After a tender, contrasting theme appears in the violins, a more forceful motif morphs into a gorgeous melody in the cellos. These main ideas are developed in an emotionally intense way as the movement unfolds, ending with a richly orchestrated version of the horn call that inspires a sense of wonder. Marked “Allegro giocoso” (fast and playful), the third movement barges in with the colors of piccolo and triangle added to the orchestra. Brahms’ friend and first biographer, Max Kalbeck, heard the sounds of a “public festival” in this music, but sensed a “serious face behind the carnival mask that it wears on its surface.” Brash horn calls alternate with softer, more playful episodes, and the music is full of dramatic surprises. continued  InTUNE — November 2018 | 35

Program NOTES , continued

did you know? The finale begins with an ominous chorale that features the trombones, powerful instruments Brahms reserved for the last movement. Brahms adapted the melody of the chorale from a bassline found in a cantata by Bach, the words of which were “All my days which pass in suffering God ends at last in joy.” Structurally, Brahms was also inspired by Bach’s Chaconne in D minor for Solo Violin. Like Bach's chaconne, the movement is a kind of theme and variations grouped to create a contrasting middle section. Brahms’ middle section begins with a fragile, exquisite flute solo that leads to a serene but bittersweet set of variations featuring first woodwinds, then brass. The opening chorale returns with devastating force, and the music becomes increasingly intense as it races to the end. In 1909, the conductor Felix Weingartner wrote of the finale: “I cannot rid myself of the impression of an implacable fate, that a great phenomenon, whether it be an individual, or a whole people, is drifting inexorably toward destruction…. The conclusion of this movement, burning with shattering tragedy, is a true orgy of destruction, a terrible counterpart to the transports of joy at the end of the last symphony of Beethoven.” —Calvin Dotsey

The last orchestral concert Brahms attended was a Vienna Philharmonic performance of his own Fourth Symphony given at the Musikverein a month before his death. When the ailing Brahms, sick with liver cancer, appeared at the end of the performance, the applause was thunderous. Florence May, who met Brahms and became his first English-language biographer, described what happened: “Tears ran down his cheeks as he stood there [...] and through the audience there was a feeling as of a stifled sob, for each knew that he was saying farewell. Another outburst of applause and yet another; one more acknowledgment from the master, and Brahms and his Vienna had parted forever.”

The Instruments: 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, triangle and strings

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36 | Houston Symphony

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FEATURED PROGRAM

OHLSSON PLAYS BEETHOVEN Thursday Saturday Sunday

November 29, 2018 8:00pm December 1, 2018 8:00pm December 2, 2018 2:30pm

Jones Hall

Edo de Waart, conductor Garrick Ohlsson, piano

Beethoven

Piano Concerto No. 3 in C minor, Opus 37 I Allegro con brio II Largo III Rondo: Allegro

ca. 34

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

Elgar

Symphony No. 1 in A-flat major, Opus 55 I Andante, nobilmente e semplice—Allegro II Allegro molto— III Adagio IV Lento—Allegro

38 | Houston Symphony

ca. 59

Did you know? • In his spare time, Elgar enjoyed doing chemistry experiments in a small converted dovecot near his home. Seized with musical inspiration, he once left an explosive substance unattended until a loud boom startled the neighbors.

Ohlsson Plays Beethoven | Program Biographies

Program BIOGRAPHIES FROST BANK GOLD CLASSICS

Edo de Waart | conductor Music director of the New Zealand Symphony Orchestra, Edo de Waart also holds the positions of conductor laureate of the Antwerp Symphony Orchestra, Netherlands Radio Philharmonic Orchestra and Milwaukee Symphony Orchestra.

These performances are generously supported in part by:

Jay and Shirley Marks in honor of Jay Mark's 95 th birthday Underwriter Mr. John N. Neighbors Supporter Dr. Gary L. Hollingsworth & Dr. Ken Hyde

JESSE WILLEMS

Guarantor Drs. M.S. and Marie-Luise Kalsi

In addition to his existing posts, he was previously music director of the San Francisco Symphony, the Minnesota Orchestra, the Hong Kong Philharmonic, the Rotterdam Philharmonic Orchestra and Sydney Symphony Orchestra and chief conductor of De Nederlandse Opera. The 2018-19 season sees Edo conducting his former orchestras and making his annual appearance with the Netherlands Radio Philharmonic Orchestra. In addition to these Houston Symphony concerts, he conducted San Diego Symphony’s opening two weeks where he was joined by Lang Lang for a gala performance; he returns later in the season with Joélle Harvey. He will also conduct the Kansas City Symphony as well as return to NHK Symphony Orchestra. Other guest conducting appearances this season include Finnish Radio and Iceland Symphony Orchestras and Hangzhou Philharmonic Orchestra as part of a season-long Mahler cycle. As an opera conductor, Edo has enjoyed success in a large and varied repertoire in many of the world’s greatest opera houses. As music director in Milwaukee, Antwerp and Hong Kong, in an attempt to bring the operatic canon to broader audiences where stage limitations prevent performances, he has often conducted semi-staged operas in concert performances. He continues this mission this season with both Milwaukee Symphony Orchestra (The Flying Dutchman) and Antwerp Symphony Orchestra (Die Walküre). A renowned orchestral trainer, he has worked with talented young players at the Juilliard and Colburn Schools and the Music Academy of the West in Santa Barbara. His extensive catalogue includes recent recordings of Henderickx Symphony No.1 and Oboe Concerto, Mahler’s Symphony No.1 and Elgar’s Dream of Gerontius, both with the Royal Flemish Philharmonic. Beginning his career as an assistant conductor to Leonard Bernstein at the New York Philharmonic, Edo returned to Holland where he was appointed assistant conductor to Bernard Haitink at the Royal Concertgebouw Orchestra. In 1973, he was appointed chief conductor and artistic director of the Rotterdam Philharmonic Orchestra. Edo de Waart has received a number of awards for his musical achievements, including becoming a Knight in the Order of the Netherlands Lion and an Honorary Officer in the General Division of the Order of Australia. He is also an Honorary Fellow of the Hong Kong Academy for Performing Arts. InTUNE — November 2018 | 39

Program BIOGRAPHIES , continued

DARIO ACOSTA

Garrick Ohlsson | piano Pianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess. Although long regarded as one of the world’s leading exponents of the music of Chopin, he commands an enormous repertoire ranging over the entire piano literature, and he has come to be noted for his masterly performances of the works of Mozart, Beethoven and Schubert, as well as the Romantic repertoire. To date, he has at his command more than 80 concertos, ranging from Haydn and Mozart to works of the 21st century. This season, he launches an ambitious project spread over two seasons exploring the complete solo piano works of Brahms in four different programs. The cycle will be heard in New York, San Francisco and Montreal with individual programs in London, Warsaw and a number of cities across North America. In concerto repertoire ranging from Beethoven to Brahms, Rachmaninoff, Barber and Busoni, he returns here and to the New York Philharmonic; Cleveland and Philadelphia Orchestras; Boston and Baltimore Symphony Orchestras and Seattle Symphony. He concludes the season in Indianapolis with all the Rachmaninoff concerti programmed in one weekend. An avid chamber musician, Garrick has collaborated with the Cleveland, Emerson and Tokyo string quartets. In the spring, he will tour with the Takács Quartet and the Boston Chamber Players in Istanbul, Berlin, Munich, Warsaw, Luxembourg and Prague. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio. He can be heard on the Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, Hyperion and Virgin Classics labels. A native of White Plains, N.Y., Garrick began his piano studies at age 8, at the Music Conservatory of Westchester; at 13, he entered The Juilliard School in New York City. He has been awarded first prizes in the Busoni and Montreal international piano competitions, the Gold Medal at the International Chopin Piano Competition in Warsaw (1970), the Avery Fisher Prize (1994), the University Musical Society Distinguished Artist Award in Ann Arbor, MI (1998) and the Jean Gimbel Lane Prize in Piano Performance from the Northwestern University Bienen School of Music (2014).

40 | Houston Symphony

Program NOTES Piano Concerto No. 3 in C minor, Opus 37

Ludwig van Beethoven (1770-1827)

The earliest sketch for Beethoven’s Third Piano Concerto dates to 1796, when he was touring as an up-and-coming piano virtuoso in Prague and Berlin. As with many of Beethoven’s compositions, however, it would be years before this piece took its final shape. Most experts believe the bulk of the work on the concerto took place during the autumn of 1802. Many commentators have noted the military, march-like character of the work’s opening, suggesting the French Revolution and rise of Napoleon as a source of inspiration. This melodic idea, characterized by a rhythmic, drum-like tattoo, occurs in Beethoven’s earliest sketches. The orchestral introduction also presents a contrasting second theme: a singing melody in the relative major. The soloist then plays its own versions of these two main themes, embellished with virtuoso passagework. After an orchestral passage, a more developmental section for piano and orchestra leads to a reprise of the main themes and a cadenza, an extended solo for the pianist alone. A gifted improviser, Beethoven would have invented this passage in performance, but in later years he wrote down a version of it for other pianists to play. The orchestra reenters with the timpani quietly playing a motif from the opening idea. Interestingly, this moment, one of the most original in the concerto, is found in Beethoven’s earliest sketch for the composition. The beginning of the slow second movement in the distant key of E major is utterly arresting. Beethoven’s student, Carl Czerny, said that the opening theme “must sound like a holy, distant, and celestial Harmony.” This hymn-like, soulful melody is introduced by the piano alone. The orchestra then completes it, leading to a lovely cantilena for the soloist. Piano arpeggios and fragmentary motifs in the flute and bassoon pass through several keys, leading to a reprise of the main theme. The last note of the tranquil slow movement, a G-sharp, is immediately reinterpreted as an A-flat as the soloist begins the finale, plunging the music back into the dark tonality of C minor. This is just the first of many rough-edged musical jokes in a movement filled with surprises. The main theme alternates with contrasting episodes, and in the end the music turns to a bright C major coda full of triumphant laughter. The Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings

Ohlsson Plays Beethoven | Program Notes

Symphony No. 1 in A-flat major, Opus 55

Sir Edward Elgar (1857-1934)

After Beethoven, composing a symphony became a serious business. Anxious about comparisons with the older master, Brahms did not complete his First Symphony until he was 43 years old, famously saying, “You have no idea how it feels to one of us when he continually hears behind him such a giant!” The English composer Edward Elgar would not complete his First Symphony until he was 51. In addition to the “giants” behind him, Elgar faced pressure as the first British composer of orchestral music to win widespread international acclaim. Despite Britain’s writers, painters, scientists and sprawling empire, for nearly two centuries British musical life had been dominated by foreigners. Fortunately, the symphony was a resounding success from its premiere in Manchester on December 3, 1908, and was performed more than 80 times around the world within the first year of its existence. Such success had been hard won, however; the son of a provincial piano tuner and music shop keeper, Elgar struggled in obscurity for many years before finding fame. Many have heard this struggle reflected in his First Symphony, a vast and deeply personal work full of grandeur, intimacy and intense emotions. Elgar’s only public statement about the symphony was “There is no program beyond a wide experience of human life with a great charity (love) and a massive hope in the future,” although he privately dropped further hints to friends. After two low, ominous timpani rolls, the symphony begins with an introduction marked “Nobilmente e semplice”— “Noble and simple.” The composer described this stately march as “simple &, in intention, noble & elevating…the sort of ideal call […] & something above everyday & sordid things.” By implication, the “everyday & sordid things” follow soon after in the expansive and emotionally tumultuous main body of the movement. The “ideal call” melody returns three times, but never with the strength it had in the introduction: once before the movement’s development section; a second time before a reprise of the movement’s other themes; and last at the end. For this last appearance, the “ideal call” is at first only played by the last desks of the string section. Elgar explained that he wanted “to get a soft diffused sound; the listener need not be bothered to know where it comes from […] you don’t perceive that something is not there [...]” The second movement begins with a furious rush of notes for the violins that leads to an imperious march. A gentle, contrasting second theme appears soon after. Elgar’s friend, W. H. Reed, recalled a telling episode about this theme in his memoirs. During a rehearsal, Elgar told the musicians: “‘Don’t play it like that: play it like’—then he hesitated, and

added under his breath, before he could stop himself—‘like something we hear by the river.’” Elgar was always more at home in the countryside than in the city, and the remark about the river may be linked to childhood memories of growing up in England’s idyllic Malvern Hills. The two themes alternate and interact until the music dies away, fading seamlessly into the slow third movement, which many listeners have found to be deeply moving; Hans Richter, the conductor of the premiere, reportedly praised it through his thick German accent: “Ah! This is a real Adagio— such an Adagio as Beethove’ would ‘ave writ,” and after its first performance, the audience called for Elgar to appear. Interestingly, the notes of first six measures of the tender theme that begins the movement are taken exactly from the fast violin runs that began the second movement, only slowed down. The finale begins with a slow introduction featuring a dark march for bassoons and pizzicato cellos and a brief reappearance of the “ideal call.” The tempo suddenly accelerates as the stormy main body of the movement begins. Midway, the dark march from the introduction returns in a powerful guise, struggling with the movement’s other themes. The “ideal call” then returns, transforming the dark march into a dreamy, lyrical melody. A reprise of the movement’s other themes cuts short this reverie, plunging the music back into turmoil. In the end, the “ideal call” wins out, bringing the symphony to an ecstatic conclusion. —Calvin Dotsey The Instruments: 3 flutes (1 doubling piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps and strings

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

InTUNE — November 2018 | 41

THANK

Our DONORS ANNUAL SUPPORT

The Houston Symphony gratefully acknowledges those who support our artistic, educational and community engagement programs through their generosity to our Annual Fund and our Special Events. For more information, please contact: Mary Beth Mosley, Director, Institutional Giving and Stewardship, 713.337.8521 Molly Simpson, Director, Individual Giving and Major Gifts, 713.337.8526

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42 | Houston Symphony

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The Houston Symphony thanks the almost 4,000 donors who supported the Houston Symphony Annual Fund over the past year. To note any errors or omissions, please contact Michael Arlen, Associate Director, Individual Giving and Major Gifts, at 713.337.8529. continued  InTUNE — November 2018 | 43

Young Associates COUNCIL The Houston Symphony’s Young Associates Council 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

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

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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. 

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Mr. Mike Gilbert Mr. & Mrs. William C. Goddard John Goode & Janwin OverstreetGoode 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

To make a gift, please contact: Michael Arlen, Associate Director, Individual Giving and Major Gifts, at 713.337.8529. 44 | Houston Symphony

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)

Society Board of TRUSTEES

(2018-19 SEASON) 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 Justice 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 Justice Brett Busby Andrew Calder Janet F. Clark Michael H. Clark Brad W. Corson Viviana Denechaud

Michael Doherty David Frankfort 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

Kevin O’Gorman 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 Sergei Galperin Maureen Higdon Mark Hughes Nina McGlashan Mark Nuccio Robert A. Peiser** Gloria Pryzant **Lifetime Trustee

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

Susan Hansen Eric Haufrect, M.D. Gary L. Hollingsworth, M.D. Brian James Joan Kaplan I. Ray Kirk, M.D. Ulyesse LeGrange ** Carlos J. Lopez Michael Mann, M.D. Jack Matzer Jackie Wolens Mazow Gene McDavid ** Gary Mercer Marilyn Miles Janet Moore Bobbie Newman Scott Nyquist Edward Osterberg Jr. Robert A. Peiser**

Gloria G. Pryzant Tadd Pullin Roman Reed Gabriel Rio Richard Robbins, M.D. J. Hugh Roff Jr. ** Miwa Sakashita Manolo Sánchez Ed Schneider Michael E. Shannon ** Kafi Slaughter Robert Sloan, Ph.D. Tad Smith Ishwaria Subbiah, M.D. L. Proctor (Terry) Thomas Shirley W. Toomim Andrew Truscott Margaret Waisman, M.D.

FRIENDS OF JONES HALL REPRESENTATIVES Justice Brett Busby

Ronald G. Franklin

Steven P. Mach

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

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

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

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

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

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

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

Barbara McCelvey InTUNE — November 2018 | 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, Interim Co-Chief Development Officer/Director, Institutional Giving and Stewardship, at 713.337.8521 or marybeth.mosley@houstonsymphony.org. For more information on becoming a Houston Symphony corporate donor, please contact Leticia Konigsberg, Director, Corporate Relations, at 713.337.8522 or leticia.konigsberg@houstonsymphony.org.

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

(as of October 1, 2018)

Houston Livestock Show and Rodeo Kalsi Engineering Kirkland & Ellis LLP *The Lancaster Hotel Mann Eye Institute Occidental Petroleum Corporation Palmetto Partners Ltd./The Robert and Janice McNair Foundation Shell Oil Company Vinson & Elkins LLP Sponsor  $25,000 and above Bank of Texas *Bright Star EOG Resources Goldman, Sachs & Co. *Houston Chronicle *Houston First Corporation Iberia Bank *Jackson and Company KPMG LLP 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 Aon Apache Corporation Bank of America BBVA Compass BHP Billiton The Boeing Company BP Foundation Caterpillar Chevron Chevron Phillips 46 | Houston Symphony

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

*Randalls Food Markets Russell Reynolds Associates, Inc. *University of St. Thomas Wortham Insurance and Risk Management Patron  Gifts below $5,000 Adolph Locklar, Intellectual Property Law Firm Amazon Baker Hughes Bering's Beth Wolff Realtors Burberry Dolce & Gabbana USA, Inc. Intertek Kinder Morgan Foundation Quantum Bass Center* SEI, Global Institutional Group Smith, Graham & Company Stewart Title Company TAM International, Inc. The Webster * Includes in-kind support

Benefactor  $5,000 and above Barclay’s Wealth and Investment Management Beck Redden LLP Louis Vuitton Nordstrom Orrick, Herrington & Sutcliffe, L.L.P.

(as of October 1, 2018)

Chubb Group Coca-Cola ConocoPhillips Eli Lilly and Company EOG Resources Exxon Mobil Corporation Freeport – McMoRan Oil & Gas General Electric General Mills Goldman, Sachs & Company Halliburton

Hewlett-Packard Houston Endowment IBM ING Financial Services Corporation KBR Merrill Lynch NAACO Industries, Inc. Neiman Marcus Northern Trust

Occidental Petroleum Corporation Phillips 66 Shell Oil Company Union Pacific Williams Companies, Inc.

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

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

Capital INVESTMENTS

(as of October 1, 2018)

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

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

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

Albert & Ethel Herzstein Charitable Foundation Enhancements to Jones Hall Video System

The Fondren Foundation Miller Outdoor Theatre Sound Shell Ceiling

LTR Lewis Cloverdale Foundation Lyon & Healy Harp

Houston Symphony League Steinway Concert Grand Piano Instrument Petting Zoo Ms. Nancey G. Lobb Piccolo Timpani

Sustainability FUND

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

The Houston Symphony pays special tribute to the 137 donors who made transformational gifts to complete the Sustainability Fund. On December 31, 2015, the Houston Symphony celebrated an extraordinary achievement: the completion of a five-year, $15 million Sustainability Fund, which has transformed the orchestra’s financial position. The Symphony was able to close out the campaign thanks to challenge grant funds totaling $1,050,000 provided by Bobby & Phoebe Tudor, Cora Sue & Harry Mach, Janice Barrow, Steve & Joella Mach and Robert & Jane Cizik. The Ciziks provided the final $500,000 to allow the Symphony to reach its $15 million Sustainability Fund goal. Houston Endowment Estate of Jean R. Sides Bobby & Phoebe Tudor Ms. Marie Taylor Bosarge Janice Barrow Margaret Alkek Williams Jane & Robert Cizik

Clare Attwell Glassell Mrs. Kitty King Powell* The Cullen Foundation The Cullen Trust for the Performing Arts The Brown Foundation, Inc. Cora Sue & Harry Mach The Wortham Foundation, Inc.

John & Lindy Rydman / Spec’s Wines, Spirits & Finer Foods / Spec’s Charitable Foundation MD Anderson Foundation Joella & Steven P. Mach Mr. & Mrs. Jesse B. Tutor

Barbara J. Burger Ron Franklin & Janet Gurwitch The Joan & Marvin Kaplan Foundation Carol & Michael Linn & The Michael C. Linn Family Foundation Barbara & Pat McCelvey Estate of Mary Ann Holloway Phillips Sybil F. Roos Steven & Nancy Williams

Robin Angly & Miles Smith Gary & Marian Beauchamp Laura & Michael Shannon Mr. & Mrs. Philip A. Bahr Nancy & Walter Bratic Janet F. Clark Linda & Gene Dewhurst Bert & Joan Golding Mr. & Mrs.* Robert M. Griswold

Marilyn & Robert Hermance C. Howard Pieper Foundation Tad & Suzanne Smith Alice & Terry Thomas Shirley W. Toomim Janet & Tom Walker *Deceased

InTUNE — November 2018 | 47

Houston Symphony ENDOWMENT The Houston Symphony Endowment is a separate nonprofit 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: Patrick T. Quinn, Director, Planned Giving, 713.337.8532, patrick.quinn@houstonsymphony.org. 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 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. If you would like to learn more about ways to provide for the Houston Symphony Endowment in your estate plans, please contact Patrick T. Quinn, Director, Planned Giving, at 713.337.8532 or patrick.quinn@houstonsymphony.org. Mr. & Mrs. Jeffrey B. Aron Daniel B. Barnum George* & Betty Bashen Dr. Joan Hacken Bitar Dorothy B. Black Ermy Borlenghi Bonfield Kerry Levine Bollmann 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 Feickent 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 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 Mrs. Lucy Lewis E. W. Long Jr. Samuel J. Levine Sandra Magers David Ray Malone & David J. Sloat Mr. & Mrs. Rodney H. Margolis Jay & Shirley Marks James G. Matthews Mr. & Mrs. John H. Matzer III Dr. & Mrs. Malcolm L. Mazow Mary Ann & David McKeithan Mr. & Mrs. Alexander K. McLanahan Dr. Tracey Samuels & Mr. Robert McNamara

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

Lila Rauch Ed & Janet Rinehart Mr. Floyd W. Robinson Evie Ronald Walter Ross 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 Daisy S. Wong / JCorp Lorraine & Ed Wulfe David & Tara Wuthrich Katherine & Mark Yzaguirre Edith & Robert Zinn Anonymous (7)

Sidney Moran Sue A. Morrison & children in memory of Walter J. Morrison Mr. & Mrs. Marvin H. Mueller Drs. John & Dorothy Oehler Robert A. Peiser Gloria G. Pryzant Clive Runnells, in memory of Nancy Morgan Runnells Mr. Charles K. Sanders Donna Scott Charles & Andrea Seay Mr. & Mrs. James A. Shaffer 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 Jo Dee Wright Susan Gail Wood Ellen A. Yarrell Anonymous (2)

CRESCENDO CIRCLE $100,000+ Dr. & Mrs. George J. Abdo Priscilla R. Angly Janice Barrow James Barton 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 Andria N. Elkins The Aubrey & Sylvia Farb Family Eugene Fong

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

*Deceased

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

Helen Bess Fariss Foster Christine E. George Lila-Gene George Mr. & Mrs. Keith E. Gott John Wesley Graham Dorothy H. Grieves Mrs. Marcella Levine Harris Gen. & Mrs. Maurice Hirsch Miss Ima Hogg Burke & Octavia Holman David L. Hyde Dr. Blair Justice Mr. Max Levine Dr. Mary R. Lewis Mrs. L. F. McCollum 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 Mary Anne H. Phillips Mr. Howard Pieper Walter W. Sapp, Legacy Society co-founder

Ms. Jean R. Sides Lola Sinclair Blanche Stastny John K. & Fanny W. Stone Dorothy Barton Thomas Dr. Carlos Vallbona Mrs. Edward Wilkerson Anonymous (1)

InTUNE — November 2018 | 49

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

Principal Guarantor $250,000+



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

Guarantor $100,000+



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

Underwriter $50,000+



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

Sponsor

50 | Houston Symphony

$25,000+

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

Supporter

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



$10,000+

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

Benefactor



$5,000+

Houston Symphony League Bay Area Marathon Oil Corporation Nordstrom Randalls Food Markets

In-Kind DONORS 26 Daisies A Fare Extraordinaire Aker Imaging Alexander’s Fine Portrait Design Alpha-Lee Enterprises, Inc. Aspire Executive Coaching, LLC Barbara Davis Gallery Bergner & Johnson Design Bering’s BKD, LLP Boat Ranch Burberry Cognetic Complete Eats Corinthian Houston Culinaire Carl R. Cunningham DLG Research & Marketing Solutions



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 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

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:

(as of October 1, 2018)

Elaine Turner Designs Elegant Events by Michael Elliot Marketing Group Elsie Smith Design Festari Foster Quan LLP Gremillion Fine Art 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

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 Musician Initiative The Community-Embedded Musicians Initiative is supported in part by a generous grant from the American Orchestras' Future 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 LTR Lewis Cloverdale Foundation 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

MUSICIAN SPONSORSHIPS Donors at the Conductorâ&#x20AC;&#x2122;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 Michael Arlen, Associate Director, Individual Giving and Major Gifts, at 713.337.8529 or michael.arlen@houstonsymphony.org. Janice Barrow Sophia Silivos, First Violin Mrs. Bonnie Bauer Fay Shapiro, Viola Gary & Marian Beauchamp Martha Chapman, Second Violin Mr. & Mrs. Edward F. Blackburne Jr. Sergei Galperin, First Violin Mrs. Zarine M. Boyce Brinton Averil Smith, Principal Cello Nancy & Walter Bratic Christopher Neal, First Violin Ralph Burch Robin Kesselman, Principal Double Bass Barbara J. Burger Andrew Pedersen, Double Bass Dougal & Cathy Cameron Brian Thomas, Horn Dr. M.K. Campion Rodica Gonzalez, First Violin Drs. Dennis & Susan Carlyle Louis-Marie Fardet, Cello Jane & Robert Cizik Qi Ming, Assistant Concertmaster Mr. Michael H. Clark & Ms. Sallie Morian George Pascal, Assistant Principal Viola

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

Roger & Debby Cutler Tong Yan, First Violin

Michelle & Jack Matzer Kurt Johnson, First Violin

Mr. Richard Danforth Jeffrey Butler, Cello

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

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

Barbara & Pat McCelvey Adam Dinitz, English Horn

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

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

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

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

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

Rita & Paul Morico Elise Wagner, Bassoon

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

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

Carol & Michael Stamatedes Eric Larson, Double Bass InTUNE â&#x20AC;&#x201D; November 2018 | 51

in MEDELLÍN, COLOMBIA

Meet MuChen Hsieh, principal second violin MuChen Hsieh, from Taiwan, joined the Houston Symphony as Principal Second Violin in 2017. Prior to her appointment in Houston, she worked with conductors, including Thomas Adès, Charles Dutoit, Larry Rachleff, David Robertson, Joshua Weilerstein and Hugh Wolff. She studied with Kathleen Winkler at Rice University’s Shepherd School of Music and Malcolm Lowe and Masuko Ushioda at the New England Conservatory. MuChen regularly performs recitals, chamber music concerts and in orchestras in the United States and Taiwan. She has served as concertmaster of the Shepherd School Symphony Orchestra on numerous occasions, including for the orchestra’s 2016 tour to Carnegie Hall. She has also performed with the New York Philharmonic as a Zarin Mehta Global Academy Fellow. An avid chamber musician, she has collaborated with James Dunham, Jon Kimura Parker and Kathleen Winkler. When MuChen is home in Taiwan, she enjoys organizing chamber music concerts with friends. She also has a passion for coaching and leading youth orchestra concerts in her hometown of Puli. You recently performed at the Teatro Metropolitano in Medellín, Colombia, with other orchestra musicians. How was this intense, fast-paced trip? After a Sunday performance of Mahler’s Second Symphony, 33 Houston Symphony musicians hopped on a plane early Monday morning to Medellín, Colombia. The 40-hour stay in Medellín was too short, but incredibly meaningful and inspiring to all of us. We arrived at Teatro Metropolitano Tuesday morning and were given many local souvenirs, including a custom pin that says “Medellín • Houston • 2018”. My stand-partner, Carlos, from the Orquesta Filarmónica de Medellín, greeted me with a warm hug and reminded me to take a second violin picture after the concert. Carlos led the section with such passion and charisma. During rehearsal breaks and concert intermissions, our hosts were so kind to provide snacks, including empanadas and crispy hojuela with powdered sugar. Hilary Hahn’s presence was special too; it was her first time in Medellín performing a concerto with an orchestra and also her first tour after the birth of her second daughter. Her performance of Sibelius’ Violin Concerto was out of this world, and the sold-out crowd couldn’t stop applauding, which led to three encores—what a treat! Shostakovich’s Fifth Symphony was performed on the second half of the concert. Despite having only one rehearsal that morning with the Medellín musicians, we played as though we have performed together many times and communicated through the universal language of music. Each solo in the winds and strings was beautifully and creatively sung. I will always remember this meaningful side-by-side performance with Houston Symphony and Medellín Philharmonic musicians, held in Maestro Andrés Orozco-Estrada’s hometown. For many, this experience was a dream come true, and we are so honored to have been part of it.

52 | Houston Symphony

Top: My Houston Symphony portrait Middle: Receiving a standing ovation at the anniversary concert in Medellin, Colombia, with special guest Hilary Hahn Bottom: With my lovely orchestra colleagues after the concert

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