InTune — The Houston Symphony Magazine — February 2020

THE HOUSTON SYMPHONY MAGAZINE

FEBRUARY 2020

GROSVENOR PLAYS SCHUMANN 16

INTIMATE SONGS & GRAND CHORUSES 18

WEILERSTEIN PLAYS SCHUMANN 20

February 8 & 9 February 13

February 15 & 16

ANDRÉS OROZCO-ESTRADA conducts

SCHUMANN

T H I S V A L E N T I N E ’ S D A Y. . . . .

...may we suggest something in black satin.

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InTUNE | F E B R U A R Y

2020

Programs

Grosvenor Plays Schumann

February 8 & 9 ����������������������������������������������������������������������������������������� 16 Intimate Songs & Grand Choruses

February 13 ����������������������������������������������������������������������������������������������� 18 Weilerstein Plays Schumann

February 15 & 16 ������������������������������������������������������������������������������������20

Features

Letter to Patrons ������������������������������������������������������������������������������������������������2 A Letter from Andrés Orozco-Estrada ����������������������������������������������� 10 Welcome to the Schumann Festival ����������������������������������������������������� 13 The Life and Times of Robert Schumann ����������������������������������������� 14 Backstage Pass: What’s In My Case? ������������������������������������������������� 44

Your Houston Symphony

Your Symphony Experience . . . . . . . . . . . . . . . . . . . . . . . . . 3 Andrés Orozco-Estrada, Music Director . . . . . . . . . . . . . . . 4 Upcoming Broadcasts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Orchestra Roster ������������������������������������������������������������������������������������������������6 Society Board of Trustees ������������������������������������������������������������������������������7 Staff Listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Our Supporters

Houston Symphony Donors . . . . . . . . . . . . . . . . . . . . . . . . 34 Young Associates Council . . . . . . . . . . . . . . . . . . . . . . . . . 37 Corporate, Foundation, and Government Partners ��������������������38 Houston Symphony Endowment . . . . . . . . . . . . . . . . . . . 40 Legacy Society and In Memoriam . . . . . . . . . . . . . . . . . . . 41 Education and Community Engagement Donors . . . . . . . . 42 Musician Sponsorships . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

See what’s in Principal Second Violin MuChen Hsieh’s violin case.

44

InTUNE is published by the Houston Symphony.

615 Louisiana, Suite 102, Houston, TX 77002 713.224.4240 | houstonsymphony.org All rights reserved.

LETTER TO PATRONS FEBRUARY 2020

InTune is produced by the Houston Symphony’s Marketing and Communications department.

Calvin Dotsey. . . . . . . . . . . . . . . . . . . Publications Editor Melanie O’Neill. . . . . . . . . . . . . . . . . Publications Production & Design Elaine Reeder Mayo. . . . . . . . . . . . . . Editorial Consultant Shweiki Media. . . . . . . . . . . . . . . . . . . . Printing Ventures Marketing Group. . . . . . . Advertising The Houston Symphony is a non-profit organization that relies on the support of our generous donors. Presenting nearly

170 concerts annually with an ensemble of 88 full-time professional musicians, the Symphony is Houston’s largest performing arts organization. We enrich the lives of hundreds of thousands through more than 1,000 annual community-based performances and inspiring classroom visits. Your support enables us to continue creating innovative and commanding musical experiences.

The activities and projects of the Houston Symphony are funded in part by grants from the City of Houston, the National Endowment for the Arts, and the Texas Commission on the Arts.

The Houston Symphony currently records under its own label, Houston Symphony Media Productions, and for Pentatone and Naxos. Houston Symphony recordings are also available on the Telarc, RCA Red Seal, Virgin Classics, and Koch International Classics labels.

Cameras, Recorders, Cell Phones & Pagers

Cameras and recorders are not permitted in the hall. Patrons may not use any device to record or photograph performances. Please silence cell phones, pagers, and alarm watches and refrain from texting during performances.

All content © 2020. Contents cannot be reproduced in any manner, whole or in part, without written permission from the Houston Symphony or InTune Magazine.

February means Schumann at the Houston Symphony. One of German Romanticism’s great creative geniuses, Robert Schumann changed the course of music with his works and with his championship of his fellow composers—Brahms, Chopin, and Liszt among them. His mental illness had a profound impact on his creativity, with periods of frantic activity alternating with darker moments, leading him to works that challenged the prevailing rules for music of his day.

You’ll see outlined in this issue of InTune a host of Schumann Festival events in a variety of venues and supported by a range of partners to whom we’re grateful. I can’t encourage you enough to immerse yourself in the world of Schumann for these two weeks and explore his music, the man, and the world he lived in.

We announced our 2020–21 Season at the end of January.

We have all kinds of wonderful plans in store for the season ahead—a series of towering masterpieces from Mahler, Strauss, Schmidt, and Beethoven conducted by Andrés Orozco-Estrada; a new artistic partnership with Itzhak Perlman; solo turns from Lang Lang, Hilary Hahn, Midori, and other incredible guests; monuments of the choral repertoire featuring our Houston Symphony Chorus; and a terrific line-up of POPS programs conducted by Steven Reineke.

And it all features our world-class Houston Symphony.

Whenever I travel, I make time to check out the competition, and it just makes me more grateful for the incredible artistry of our musicians every time I come home. We’re lucky to have such a great orchestra, and we couldn’t do it without you.

Thank you, and enjoy the concerts!

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YOUR SYMPHONY EXPERIENCE JONES HALL

ETIQUETTE

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

For Classical concerts, if a work has several movements it is traditional to hold applause until the end of the last movement. If you are unsure when a piece ends, check the program or wait for the conductor to face the audience.

If you feel truly inspired, however, do not be afraid to applaud! Brief applause between movements after an exceptional performance is always appreciated.

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

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

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

LOST AND FOUND For lost and found inquiries, please contact Front of House Manager Sarah Rendón during the performance.

She also can be reached at sarah.rendon@houstonsymphony.org.

You also may contact Houston First after the performances at 832.487.7050.

CONNECT WITH US |

CHILDREN Children ages 6 and up are welcome to all Classical, POPS, and Symphony Special concerts. Children of all ages are welcome at BBVA Family Series performances. Children must have a ticket for all ticketed events.

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

TICKETS Subscribers to six or more Classical or POPS concerts, as well as BBVA Family Subscribers, may exchange their tickets at no cost. Tickets to Symphony Specials or single ticket purchases are ineligible for exchange or refund.

If you are unable to make a performance, your ticket may be donated prior to the concert for a tax-donation receipt. Donations and exchanges may be made in person, over the phone, or online.

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InTUNE — February 2020 | 3

OROZCO-ESTRADA MUSIC DIRECTOR

ROY AND LILLIE CULLEN CHAIR Energy, elegance, and spirit—these are the qualities that distinguish Andrés Orozco-Estrada as a musician. Since the 2014–15 season, he has been music director of the Houston Symphony and principal conductor of the Frankfurt Radio Symphony Orchestra. Beginning in the 2020–21 season, he will be chief conductor of the Vienna Symphony.

Andrés conducts many of the world's leading orchestras, including the Vienna Philharmonic, the Staatskapelle Dresden, the Leipzig Gewandhaus Orchestra, the Royal Concertgebouw Orchestra, the Orchestra dell'Accademia Nazionale di Santa Cecilia, the Orchestre National de France, and American orchestras in Philadelphia, Pittsburgh, Cleveland, and Chicago. He has also directed successful concerts and opera performances at the Glyndebourne and Salzburg festivals.

Highlights of the 2019–20 season include performances with the Vienna Philharmonic at the BBC Proms and the Lucerne Festival, as well as tours to China, South Korea, and Japan. In the spring, Andrés conducts his debut concert with the New York Philharmonic and returns as a guest to the rostrum of the Leipzig Gewandhaus Orchestra. In May 2020, the Dutch National Opera Amsterdam premieres a new production of Carmen under his direction. With the Houston Symphony, he presents a new two-week Schumann Festival this month featuring the composer’s symphonies, concertos, choral works, and chamber music. He also conducts three concerts at the Wiener Musikverein, leading the Vienna Symphony as principal conductor designate.

Andrés is particularly committed to new concert formats in which spoken commentary and visual elements complement the music as he rediscovers known repertoire together with the audience—be it a Spotlight concert with the Frankfurt Radio Symphony Orchestra or a Leipzig Gewandhaus Orchestra family concert.

His CD releases at Pentatone have attracted critical praise. His Dvořák cycle with the Houston Symphony was praised by Pizzicato as a “vital Dvořák with warm colors.” With the Frankfurt Radio Symphony Orchestra, recordings of Stravinsky's Firebird and The Rite of Spring were hailed as “beguiling” by Gramophone, and the same publication recently described him as “a fine Straussian” in a review of their recent recording of the Alpine Symphony from his Richard Strauss cycle.

In addition, his interpretations of all the Brahms and Mendelssohn symphonies are available on recordings.

Born in Medellín, Colombia, Andrés began his musical education with the violin. He received his first conducting lessons at 15 and began study in Vienna in 1997, where he was accepted at the prestigious University of Music and Performing Arts in the conducting class of Uroš Lajovic, a student of the legendary Hans Swarowsky. Andrés has since lived in Vienna.

4 | Houston Symphony

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

FEBRUARY 2020 BROADCAST SCHEDULE • ALL BROADCASTS AIR AT 8 P.M. February 2 | News 88.7 February 5 | Classical

February 9 | News 88.7 February 12 | Classical

February 16 | News 88.7 February 19 | Classical

February 23 | News 88.7 February 26 | Classical

RECORDED: May 19–21, 2017

RECORDED: May 9, 11 & 12, 2019

RECORDED: January 4–6, 2019

RECORDED: January 24, 26–27, 2019

Marc Albrecht, conductor Gil Shaham, violin Schumann: Overture to Genoveva, Opus 81 Prokofiev: Violin Concerto No. 2 in G minor, Opus 63 Brahms: Symphony No. 1 in C minor, Opus 68

Andrés Orozco-Estrada, conductor Yue Bao, conductor (Glinka) George Li, piano Peter Dugan, piano (Ives) Mané Galoyan, soprano Garrett Sorenson, tenor Andrei Bondarenko, baritone Houston Symphony Chorus Betsy Cook Weber, director Ives: Symphony No. 4, IV. Finale: Largo maestoso Prokofiev: Piano Concerto No. 1 in D-flat major, Opus 10 Gershwin/W.C. Schoenfeld: I Got Rhythm Variations Glinka: Overture to Ruslan and Ludmila Rachmaninoff: The Bells, Opus 35

Jeffrey Kahane, conductor and piano Ravel: Piano Concerto in G major T. Andres: Paraphrase on Themes of Brian Eno Milhaud: La création du monde, Opus 81a Gershwin/F. Grofé: Rhapsody in Blue (original version)

Andrés Orozco-Estrada, conductor Baiba Skride, violin Ives: Symphony No. 4, III. Fugue: Andante moderato Korngold: Violin Concerto in D major, Opus 35 Stravinsky: Symphony in Three Movements Ravel: La valse

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InTUNE — February 2020 | 5

ROSTER

ORCHESTRA Andrés Orozco-Estrada Music Director Roy and Lillie Cullen Chair FIRST VIOLIN Yoonshin Song, 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 SECOND VIOLIN MuChen Hsieh, Principal Hitai Lee Mihaela Frusina Annie Kuan-Yu Chen Jing Zheng Martha Chapman Tianjie Lu Anastasia Ehrlich Tina Zhang Boson Mo+ Amy Semes+ Katrina Bobbs Savitski*

HORN William VerMeulen, Principal Mr. and Mrs. Alexander K. McLanahan Endowed Chair Robert Johnson, Associate Principal Jesse Clevenger*, Assistant Principal Brian Thomas Nancy Goodearl Ian Mayton

FLUTE Aralee Dorough, Principal General Maurice Hirsch Chair Matthew Roitstein, Associate Principal Judy Dines Kathryn Ladner

TRUMPET Mark Hughes, Principal George P. and Cynthia Woods Mitchell Chair John Parker, Associate Principal Robert Walp, Assistant Principal Richard Harris

PICCOLO Kathryn Ladner

TROMBONE Allen Barnhill, Principal Bradley White, Associate Principal Phillip Freeman

ENGLISH HORN Adam Dinitz

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 Annamarie Reader*

6 | Houston Symphony

DOUBLE BASS Robin Kesselman, Principal Timothy Dilenschneider, Associate Principal Mark Shapiro Eric Larson Andrew Pedersen Burke Shaw Donald Howey Michael McMurray

OBOE Jonathan Fischer, Principal Lucy Binyon Stude Chair Anne Leek, Associate Principal Colin Gatwood 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

Community-Embedded Musicians David Connor, double bass Rainel Joubert, violin Patricia Quintero Garcia, violin Alexa Sangbin Thomson, viola

Steven Reineke Principal POPS Conductor Robert Franz Associate Conductor Betsy Cook Weber Director, Houston Symphony Chorus Yue Bao Ting Tsung and Wei Fong Chao Foundation Conducting Fellow

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 Issac Schultz*, Associate Principal Elise Wagner Adam Trussell

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 + Rotating Chairs *Contracted Substitute ** On Leave

CONTRABASSOON Adam Trussell

Orchestra Personnel Manager Michael Gorman

Librarian Thomas Takaro

Stage Manager Stefan Stout

Assistant Orchestra Personnel Manager Position Vacant

Assistant Librarians Aspen McArthur Michael McMurray

Assistant Stage Manager José Rios

Stage Technicians Nick DiFonzo Justin Herriford Armando Rodriguez

TRUSTEES

2019–20 SEASON

SOCIETY BOARD of

PAST PRESIDENTS OF THE HOUSTON SYMPHONY SOCIETY

Executive Committee Janet F. Clark President John Rydman President-Elect Steven P. Mach Chairman Immediate Past President

Paul Morico General Counsel Mike S. Stude Chairman Emeritus

Barbara McCelvey Secretary John Mangum^ Executive Director/CEO

Evan B. Glick Chair, Popular Programming Barbara J. Burger Chair, Finance Miles O. Smith Chair, Artistic & Orchestra Affairs Brad W. Corson Chair, Governance & Leadership Viviana Denechaud Chair, Development Tracy Dieterich Chair, Community Partnerships Bobby Tudor At Large Immediate Past Chair

Mary Lynn Marks Chair, Volunteers & Special Events Billy McCartney Chair, Education William J. Toomey II President, Houston Symphony Endowment Robert Orr Chair, Strategic Planning Manolo Sánchez Chair, Marketing & Communications Jesse B. Tutor Chair, Audit

Maureen Higdon^ President, Houston Symphony League Andrés Orozco-Estrada^ Music Director Adam Dinitz^ Musician Representative Mark Hughes^ Musician Representative Mark Nuccio^ Musician Representative Christine Kelly-Weaver^ Assistant Secretary ^Ex-Officio *In Memoriam

GOVERNING DIRECTORS Farida Abjani Michael W. Adler Marcia Backus Janice Barrow ** Gary Beauchamp Bill Bullock Barbara J. Burger Janet F. Clark Brad W. Corson Viviana Denechaud Michael Doherty Terry Cheyney Rick Jaramillo

TRUSTEES

Jonathan Ayre David J. Beck James M. Bell Jr. Devinder Bhatia, M.D. Nancy Shelton Bratic Terry Ann Brown** Eric Brueggeman Ralph Burch Justice Brett Busby Dougal Cameron John T. Cater** Michael H. Clark Virginia Clark Evan D. Collins, M.D., MBA Andrew Davis, Ph.D. Tracy Dieterich Bob Duff Joan Duff Kelli Cohen Fein, M.D. Jeffrey B. Firestone Eugene A. Fong

Sippi Khurana, M.D. Rochelle Levit, Ph.D. Cora Sue Mach ** Steven P. Mach Paul M. Mann, M.D. Rodney Margolis** Jay Marks ** Mary Lynn Marks Billy McCartney Barbara McCelvey Alexander K. McLanahan ** Paul R. Morico Robert Orr

John Rydman** Ex-Officio Miles O. Smith Tracy Dieterich Anthony Speier Evan B. Glick Mike S. Stude ** Maureen Higdon William J. Toomey II Nina McGlashan Bobby Tudor ** Gloria G. Pryzant Betty Tutor ** Manolo Sánchez Jesse B. Tutor ** Andrés Orozco-Estrada Judith Vincent John Mangum Margaret Alkek Williams ** Mark Nuccio Scott Wulfe Adam Dinitz David Wuthrich Mark Hughes Christine Kelly-Weaver

Aggie L. Foster Julia Anderson Frankel Ron Franklin Betsy Garlinger Evan B. Glick Susan A. Hansen Gary L. Hollingsworth Stephen Incavo, M.D. Brian James Tammie Johnson I. Ray Kirk, M.D. David Krieger Ulyesse J. LeGrange** Carlos J. López Michael Mann, M.D. Jack Matzer Jackie Wolens Mazow Gary Mercer Marilyn Miles Shane A. Miller Janet Moore

Leslie Nossaman Scott Nyquist Edward Osterberg Jr. Gloria G. Pryzant David Pruner Tadd Pullin Floyd Robinson Miwa Sakashita Manolo Sánchez Ed Schneider Christian Schwartz Helen Shaffer ** Michael E. Shannon** Robert B. Sloan, D.D. Theol.

Jim R. Smith Tad Smith Ishwaria Subbiah, M.D. L. Proctor (Terry) Thomas III Shirley W. Toomim Margaret Waisman, M.D.

Fredric A. Weber Mrs. S. Conrad Weil Robert Weiner Vicki West Steven J. Williams Frank Wilson Ellen A. Yarrell Robert Yekovich Frank Yonish Ex-Officio Ann Ayre Jessie Woods David Flores **Lifetime Trustee

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

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

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

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

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

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

FRIENDS OF JONES HALL REPRESENTATIVES Ronald G. Franklin

Steven P. Mach

Barbara McCelvey

Robert Orr InTUNE — February 2020 | 7

STAFF

ADMINISTRATIVE

The Houston Symphony Administrative Staff is made up of 72 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

FINANCE | ADMINISTRATION | IT | HR

John Mangum, Executive Director/CEO,

Margaret Alkek Williams Chair Pam Blaine, Chief of Education and Community Engagement Elizabeth S. Condic, Chief Financial Officer Vicky Dominguez, Chief Operating Officer Nancy Giles, Chief Development Officer Gwen Watkins, Chief Marketing Officer

Brittany Basden, Support Engineer Robert Boyd, Budget Manager Henry Cantu, Accountant II Kimberly Cegielski, Staff Accountant Joel James, Senior HR Manager Jessica Jelinek, Database Manager Tanya Lovetro, Director, Finance Morgana Rickard, Controller Gabriela Rivera, Senior Accountant Anthony Stringer, Director, IT Ariela Ventura, Office Manager/HR Coordinator Lee Whatley, Senior Director, IT and Analytics

Christine Kelly-Weaver, Executive Assistant/Board Liaison DEVELOPMENT Molly Simpson, Senior Director, Development Julie Busch, Manager, League Relations and Fundraising Meg Carrigan, Development Associate, Gifts and Records J. Steven Covington, Director, Endowment and Planned Giving Timothy Dillow, Director, Corporate Relations Amanda T. Dinitz, Major Gifts Officer Samuel García, Development Associate Amber Jones, Manager, Donor Stewardship Megan McIlwain, Development Associate, Institutional Giving Tyler Murphy, Development Officer, Major Giving Groups Shane L. Platt, Development Associate, Individual Giving Martin Schleuse, Senior Manager, Development Communications Samantha Sheats, Major Gifts Officer Jennifer Staples, Manager, Special Events Christine Ann Stevens, Director, Individual Giving Lena Streetman, Research Analyst Christina Trunzo, Director, Foundation Relations EDUCATION AND COMMUNITY ENGAGEMENT Allison Conlan, Director, Education Anna Dean, Education and Community Engagement Coordinator Emily Person, Associate Director,

Education and Community Engagement Ana Rodriguez, Education and Community Engagement Manager

MARKETING | COMMUNICATIONS | PATRON SERVICES Jose Arriaga, Patron Services Representative Mark Bailes, Marketing Coordinator Shelby Banda, Patron Services Representative Joshua Chavira, Patron Services Representative Calvin Dotsey, Communications Specialist Heather Fails, Manager, Ticketing Database BreeAngela Hamilton, Digital Marketing Coordinator Kerry Ingram, Director, Digital Marketing Edgar Ivan-Morales, Patron Services Representative Kathryn Judd, Director, Marketing Melanie O’Neill, Creative Specialist John B. Pollard II, Assistant Manager, Patron Services Sarah Rendón, Front of House Manager Mireya Reyna, Publicist Vanessa Rivera, Digital Marketing Manager Ashley Rodriguez, Patron Services Senior Representative Eric Skelly, Senior Director, Communications Melissa Taylor, Graphic Designer 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 Aspen McArthur, Assistant Librarian Michael McMurray, Assistant Librarian Lesley Sabol, Director, Popular Programming Brad Sayles, Recording Engineer Thomas Takaro, Librarian Meredith Williams, Associate Director, Operations Rebecca Zabinski, Director, Artistic Planning

8 | Houston Symphony

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DEAR HOUSTON SYMPHONY FAMILY MEMBER, Our Schumann Festival is finally here, and the orchestra and I are eager to join you for an in-depth exploration into the imaginative, romantic, and troubled world of Robert Schumann, a brilliant and intriguing musician and person.

You'll have the opportunity to hear all four of Schumann's symphonies, two of his concertos, choral works, chamber music performances, and recitals featuring our musicians and guest artists. The festival includes a guided tour of Romantic art at the Museum of Fine Arts, Houston to provide context of Schumann’s artistic contemporaries. You can also attend a special lecture by Dr. Richard Kogan, a Juilliard-trained concert pianist and Harvardeducated psychiatrist, to learn how Schumann's mental state influenced his artistic productivity throughout his life.

Over the course of the Festival, our goal is not only to provide opportunities for enveloping yourself into the life and times of this great composer, but to share the positive message of how his passion for creating wonderfully inspiring music carried him throughout his mental illness.

I look forward to sharing this once-in-a-lifetime journey with you!

All my best,

AndrĂŠs Orozco-Estrada Music Director

10 | Houston Symphony

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This month, the Houston Symphony takes a deep dive into the music of one of history’s great Romantics: Robert Schumann. Led by Music Director Andrés Orozco-Estrada, our Schumann Festival shines a spotlight on this fascinating genius with a diverse array of performances, talks, and activities. The Festival began with a recital of works by Schumann and Brahms from violist Joan DerHovsepian and principal clarinet Mark Nuccio at Rice University on February 3 and continued with a Gallery Tour of Romantic-era paintings at the Museum of Fine Arts, Houston on February 6, complete with a chamber music performance from Houston Symphony musicians. On February 8, Harvard-trained psychiatrist Dr. Richard Kogan explores how Schumann’s psyche may have influenced his music with a talk at Jones Hall.

The same weekend, internationally renowned pianist Benjamin Grosvenor joins the orchestra for performances of Schumann’s Piano Concerto, and Andrés conducts all four of Schumann’s groundbreaking symphonies. On February 12, Andrés and the orchestra give a special free concert at Methodist Hospital’s Crain Garden. The Houston Symphony Chorus then presents The Pilgrimage of the Rose, one of Schumann’s choral masterworks, on February 13, together with a performance of the song cycle Dichterliebe by Houston Grand Opera studio alumnus Richard Trey Smagur and pianist Alex Munger. On Valentine’s Day, star cellist Alisa Weilerstein joins Houston Symphony musicians at the Hobby Center’s Zilkha Hall for an intimate concert of chamber music by both Schumann and his wife, Clara Wieck. The Festival concludes as Weilerstein takes the stage at Jones Hall for performances of Schumann’s Cello Concerto with Andrés and the orchestra on February 15 and 16.

As you enjoy these performances, we hope they give you a new appreciation for the passion and originality of Schumann’s astonishing music.

CALENDAR 03

SCHUMANN FACULTY AND STAFF RECITAL* DUNCAN RECITAL HALL AT SHEPHERD SCHOOL OF MUSIC • 8 P.M.

06

GALLERY TOUR + PERFORMANCE: SCHUMANN & ROMANTIC ART* THE MUSEUM OF FINE ARTS, HOUSTON 6 P.M.

08

LECTURE: SCHUMANN, BIPOLAR DISORDER & THE CREATIVE PROCESS*+ JONES HALL • 5 P.M. PRESENTED BY DR. RICHARD KOGAN GROSVENOR PLAYS SCHUMANN JONES HALL • 8 P.M. SKY BAR RECITAL WITH BENJAMIN GROSVENOR KIRKLAND & ELLIS • 10:30 P.M.

09

GROSVENOR PLAYS SCHUMANN JONES HALL • 2:30 P.M.

12

METHODIST HOSPITAL CONCERT CRAIN GARDEN, METHODIST HOSPITAL • 5 P.M.

13

CHORAL PERFORMANCE: INTIMATE SONGS & GRAND CHORUSES* JONES HALL • 8 P.M.

14

CHAMBER MUSIC* ZILKHA HALL AT THE HOBBY CENTER 7:30 P.M.

15

WEILERSTEIN PLAYS SCHUMANN JONES HALL • 8 P.M.

16

WEILERSTEIN PLAYS SCHUMANN JONES HALL • 2:30 P.M.

*Events do not include the full orchestra + Continuing Medical Education (CME) Credit Offered to Physicians, for more information and to register please contact: CPAM@houstonmethodist.org InTUNE — February 2020 | 13

ROBERT SCHUMANN 1810–1856

1810s

1830s

1810 Born in Zwickau, Saxony, on June 8, the son of a bookseller and publisher.

Schumann develops intense interests in both literature and music, taking lessons for piano and other instruments.

1830 Hears the violin virtuoso Paganini play. Long torn between music and literature, he decides on a career in music. Wieck promises Schumann’s mother “to make Robert, within three years, into one of the greatest living pianists […]”

1820s 1822 Composes first known works.

1828 Moves to Leipzig and begins law school. According to his friends, he never attends any lectures. Instead, he continues to focus on literature and music. He begins piano lessons with Friedrich Wieck and meets Wieck’s daughter, Clara, a budding piano prodigy.

14 | Houston Symphony

1831 Publishes his Opus 1. Despite his teacher’s objections, Schumann uses a fingerstrengthening contraption known as a chiroplast.

1832 A hand injury, possibly caused by the chiroplast, forces Schumann to abandon a career as a pianist. He focuses on composition, writing many piano pieces.

At the end of his life, he confesses that he contracted syphilis in this year.

1833 Schumann experiences his first serious depressive episode. Such episodes recur throughout his life, leading some modern mental health professionals to diagnose bipolar disorder. A group of artistic friends helps him through this period. They make plans to start a music publication.

1830s 1835 Schumann founds the Neue Zeitschrift für Musik (New Journal for Music). His mission is to fight the flashy yet vapid music that was popular at the time and promote a “new poetic age” inspired by Bach, Beethoven, and Schubert.

Some of his reviews are colorful dialogues between imaginary characters (such as the fiery Florestan and the dreamy Eusebius). Schumann and Clara Wieck fall in love.

1836 Clara’s father opposes their burgeoning romance and forbids their meeting.

Nevertheless, they continue to write letters and music for each other, beginning a long and turbulent courtship.

1837 Clara conquers Vienna’s musical world and is named Royal and Imperial Chamber Virtuosa. At 18, she is one of Europe’s most in-demand pianists. Her repertoire includes many new works

by Schumann.

1838 Inspired by the fiction of E.T.A. Hoffmann, Schumann composes Kreisleriana, one of his great cycles of piano pieces. He later describes Clara as “practically the sole motivation” for the piece.

1839 Schumann takes Wieck to court for the right to marry Clara. At this time, legal action was necessary if parents did not give their blessing to a marriage.

1840s

1840s

1850s

1840 “The year of song” Schumann composes more than 100 songs for voice and piano, including the cycle Dichterliebe (“A Poet’s Love”). The court rules in favor of Robert and Clara, and they wed.

1845 Schumann completes his Piano Concerto. Later Schumann relates: “I used to compose almost all of my shorter pieces in the heat of inspiration…Only from the year 1845 onwards, when I started to work out everything in my head, did a completely new manner of composing begin to develop.”

1851 Schumann begins to conflict with colleagues who are critical of his conducting. He composes The Pilgrimage of the Rose, one of many choral works from this period. He also completes the final version of his Symphony No. 4.

1841 “The year of the symphony” Schumann composes many orchestral works, including his Symphony No. 1, the first version of his Symphony No. 4, and the first movement of his Piano Concerto. The first of Clara and Robert’s eight children is born.

1842 “The year of chamber music” Schumann composes many chamber works, including his Piano Quartet. Clara resumes her career as a touring piano virtuoso.

1844 Schumann accompanies Clara on tour to Russia.

Though a great success for Clara, Schumann becomes withdrawn and falls ill. He suffers from bouts of chronic illhealth for the rest of his life. The Schumann family moves to Dresden. Wishing to focus on composition, Schumann sells the Neue Zeitschrift für Musik.

1846 Schumann composes his Symphony No. 2.

1848 Schumann founds a new Choral Society in Dresden.

Revolutions erupt across Europe, including Saxony. The Schumanns flee for the safety of the countryside.

1849 Revolutions continue, but are ultimately unsuccessful.

Schumann nevertheless composes many pieces, including the Three Romances for Oboe and Piano. By now he earns significant income from the publication of his music.

1850s 1850 The Schumanns move to Düsseldorf, where Schumann has been appointed municipal music director. The first season is a great success, and Schumann composes his Symphony No. 3 and his Cello Concerto.

1853 A young, unknown Johannes Brahms arrives unexpectedly on the Schumanns’ doorstep.

After hearing his music, Schumann declares him a genius in a widely-read article in the Neue Zeitschrift für Musik. Schumann’s mental and physical health continue to worsen. He resigns his position as music director.

Clara composes her Three Romances for Violin and Piano, her last work. She abandons composition after her husband’s collapse.

1854 Suffering from hallucinations, on February 27, Schumann attempts suicide by jumping into the Rhine River and is rescued by fishermen.

At his own request, he is institutionalized in the nearby sanatorium in Endenich. Clara is forbidden to see him. The Schumanns’ last child, Felix, is born.

1856 Experiencing tertiary neurosyphilis, Schumann’s condition deteriorates.

Clara sees him once more, two days before his death.

Though wracked with pneumonia, he recognizes and embraces her for the last time. He dies on July 29.

InTUNE — February 2020 | 15

FEATURED PROGRAM

GROSVENOR PLAYS SCHUMANN Saturday Sunday

February 8, 2020 February 9, 2020

Andrés Orozco-Estrada, conductor Benjamin Grosvenor, piano 16 | Houston Symphony

8:00 p.m.

2:30 p.m.

Jones Hall

Saturday

February 8, 2020

8:00 p.m.

Symphony No. 1 in B-flat major, Opus 38 (Spring)

I Andante un poco maestoso—Allegro molto vivace II Larghetto—

III Scherzo and Trios I and II: Molto vivace

IV Allegro animato e grazioso

ca. 32

These performances are generously supported in part by: Diamond Guarantor Houston Symphony Endowment

I N T E R M I S S I O N Piano Concerto in A minor, Opus 54

I Allegro affettuoso

II Intermezzo: Andantino grazioso—

III Allegro vivace

ca. 31

Symphony No. 2 in C major, Opus 61

I Sostenuto assai—Allegro ma non troppo

II Scherzo and Trios I and II: Allegro vivace

III Adagio espressivo

IV Allegro molto vivace

February 9, 2020

ca. 38

Underwriter Bobby & Phoebe Tudor Supporter Gary L. Hollingsworth & Kenneth J. Hyde in memory of Shirley Marks

2:30 p.m.

Symphony No. 4 in D minor, Opus 120

I Zeimlich langsam—Lebhaft—

II Romanze: Zeimlich langsam—

III Scherzo and Trio: Lebhaft— IV Langsam—Lebhaft

ca. 29

I N T E R M I S S I O N Piano Concerto in A minor, Opus 54

I Allegro affettuoso

II Intermezzo: Andantino grazioso—

III Allegro vivace

ca. 31

Yoonshin Song’s inaugural season is sponsored by Gary & Marian Beauchamp and the Beauchamp Foundation.

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.

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

I N T E R M I S S I O N Symphony No. 3 in E-flat major, Opus 97 (Rhenish)

I Lebhaft

II Scherzo: Sehr mässig

III Nicht schnell IV Feierlich V Lebhaft

Guarantor The Humphreys Foundation Guarantor Drs. M.S. & Marie-Luise Kalsi

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

Sunday

SHELL FAVORITE MASTERS

ca. 32

For Andrés Orozco-Estrada’s biography, see page 4.

For the guest artist biography for these performances, see page 22.

For program notes for these performances, see pages 26, 27, 28 & 32.

InTUNE — February 2020 | 17

FEATURED PROGRAM

INTIMATE SONGS & GRAND CHORUSES Thursday

February 13, 2020 8:00 p.m.

Jones Hall

*Richard Trey Smagur, tenor *Alex Munger, piano Betsy Cook Weber, conductor Scott Holshouser, piano *Grace Roman (Rosa, Part I), *Anna Diemer (Rosa, Part II), sopranos Sean Jackson, tenor (Narrator) Michael Kessler, bass (Der Totengr채ber) Melissa Medina, soprano (Narrator) *Emily Boudreaux, mezzo-soprano (Narrator) *Sarah Brannon, mezzo-soprano (F체rstin) *Beth Chrisman Schurtz, mezzo-soprano (M체llerin and Angel) *Chris Kersten, baritone (M체ller) *Jennifer Breneman, mezzo-soprano (Marthe and Angel) *Elizabeth Kragas, (Angel) *Emily Sanders, (Angel), sopranos Houston Symphony Chorus This performance does not include orchestra. *Houston Symphony debut

18 | Houston Symphony

Dichterliebe (Poet’s Love), Opus 48 Part I

I Im wunderschönen Monat Mai: Langsam, zart

II Aus meinen Tränen spriessen: Nicht schnell III Die Rose, die Lilie, die Taube, die Sonne: Munter

IV Wenn ich in deine Augen seh’: Langsam

V Ich will meine Seele tauchen: Leise

VI Im Rhein, im heiligen Strome: Ziemlich langsam VII Ich grolle nicht: Nicht zu schnell VIII Und wüssten’s die Blumen, die kleinen

ca. 20

Part II IX Das ist ein Flöten und Geigen: Nicht zu rasch X Hör’ ich das Liedchen klingen: Langsam XI Ein Jüngling liebt ein Mädchen XII Am leuchtenden Sommermorgen: Ziemlich langsam XIII Ich hab’ im Traum geweinet: Leise XIV Allnächtlich im Traume XV Aus alten Märchen: Lebendig XVI Die alten, bösen Lieder: Ziemlich langsam Presented in collaboration with the Houston Grand Opera Studio.

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

Der Rose Pilgerfahrt (The Pilgrimage of the Rose), Opus 112 ca. 1:10 Part 1

1. Die Frülingslüfte bringen: Im fröhlichen Ton

2. Johannis war gekommen: Ziemlich lebhaft—

3. Wir tanzen in lieblicher Nacht: Elfenreigen—

4. Und wie sie sangen: Dasselbe Tempo—

5. So sangen sie, da dämmert’s schon: Ziemlich langsam—

6. Bin ein armes Waisenkind: Etwas schneller—

7. Es war der Rose erster Schmerz: Etwas langsamer—

8. Wie Blätter am Baum: Dasselbe Tempo

9. Die letzte Scholl’ hinunter rollt: Um die Hälfte langsamer— 10. Dank, Herr, dir dort im Sternenland: Gebet Part 2 11. Ins Haus des Totengräbers: Nicht schnell, sehr getragen— 12. Zwischen grünen Bäumen: Lebhaft— 13. Von dem Greis geleitet— 14. Bald hat das neue Töchterlein: Mässig— 15. Bist du im Wald gewandelt: Frisch 16. Im Wald, gelehnt am Stamme: Ziemlich langsam

17. Der Abendschlummer umarmt die Flur 18. O sel’ge Zeit, da in der Brust: Ziemlich langsam 19. Wer kommt am Sonntagsmorgen: Ziemlich lebhaft 20. Ei Mühle, liebe Mühle: Im muntern Tempo 21. Was klingen denn die Hörner: Kräftig— 22. Im Hause des Müllers: Etwas lebhafter 23. Und wie ein Jahr verronnen ist: Langsam— 24. Röslein! zu deinen Blumen nicht (Engelstimmen): Etwas bewegter For guest artist biographies for these performances, see pages 22–25.

For program notes for these performances, see pages 26 & 32.

FROST BANK GOLD CLASSICS

These performances are generously supported in part by: Diamond Guarantor Houston Symphony Endowment Guarantor The Humphreys Foundation Guarantor Drs. M.S. & Marie-Luise Kalsi Supporter Mr. & Mrs. Rodney H. Margolis Yoonshin Song’s inaugural season is sponsored by Gary & Marian Beauchamp and the Beauchamp Foundation.

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.

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

InTUNE — February 2020 | 19

FEATURED PROGRAM

WEILERSTEIN PLAYS SCHUMANN Saturday Sunday

February 15, 2020 8:00 p.m.

February 16, 2020 2:30 p.m.

Andrés Orozco-Estrada, conductor Alisa Weilerstein, cello 20 | Houston Symphony

Jones Hall

Saturday

February 15, 2020 8:00 p.m.

Symphony No. 4 in D minor, Opus 120

I Zeimlich langsam—Lebhaft—

II Romanze: Zeimlich langsam—

III Scherzo and Trio: Lebhaft— IV Langsam—Lebhaft

ca. 29

These performances are generously supported in part by: Diamond Guarantor Houston Symphony Endowment

I N T E R M I S S I O N Cello Concerto in A minor, Opus 129

I Nicht zu schnell— II Langsam—

III Sehr lebhaft

ca. 26

Sunday

ca. 32

February 16, 2020 2:30 p.m.

Symphony No. 1 in B-flat major, Opus 38 (Spring)

I Andante un poco maestoso—Allegro molto vivace II Larghetto—

III Scherzo and Trios I and II: Molto vivace

IV Allegro animato e grazioso

ca. 32

Yoonshin Song’s inaugural season is sponsored by Gary & Marian Beauchamp and the Beauchamp Foundation.

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.

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

I N T E R M I S S I O N Cello Concerto in A minor, Opus 129

I Nicht zu schnell— II Langsam—

III Sehr lebhaft

Guarantor The Humphreys Foundation Guarantor Drs. M.S. & Marie-Luise Kalsi

I N T E R M I S S I O N Symphony No. 3 in E-flat major, Opus 97 (Rhenish)

I Lebhaft

II Scherzo: Sehr mässig

III Nicht schnell IV Feierlich V Lebhaft

FROST BANK GOLD CLASSICS

ca. 26

I N T E R M I S S I O N Symphony No. 2 in C major, Opus 61

I Sostenuto assai—Allegro ma non troppo

II Scherzo and Trios I and II: Allegro vivace

III Adagio espressivo

IV Allegro molto vivace

ca. 38

For Andrés Orozco-Estrada’s biography, see page 4.

For the guest artist biography for these performances, see page 25.

For program notes for these performances, see pages 26, 27, 28, 30 & 32.

InTUNE — February 2020 | 21

Program BIOGRAPHIES

PATRICK ALLEN

Benjamin Grosvenor | piano British pianist Benjamin Grosvenor is internationally recognized for his electrifying performances, distinctive sound, and insightful interpretations. His virtuosic command over the most arduous technical complexities underpins the remarkable depth and understanding of his music making.

Benjamin first came to prominence as the outstanding winner of the keyboard category final of the 2004 BBC Young Musician competition at age 11. He performed with the BBC Symphony Orchestra at the First Night of the 2011 BBC Proms at 19. A pianist of widespread international acclaim, he was the inaugural recipient of the Ronnie and Lawrence Ackman Classical Piano Prize with the New York Philharmonic in 2016.

Recent and forthcoming concerto highlights include engagements with the world’s leading orchestras and conductors. This season, recital dates take him from London’s Wigmore Hall to Atlanta’s Spivey Hall. A keen chamber musician, he tours North America with violinist Hyeyoon Park; joins Soloists of the Lucerne Festival Orchestra for a performance at the new Andermatt Concert Hall; and with Park, Timothy Ridout, and Kian Soltani, returns to the International Chamber Music Series at London’s Southbank Centre.

In 2011, Benjamin signed to Decca Classics as its youngest British musician ever and the first British pianist to sign with the label in almost 60 years. His most recent CD on Decca, Homages, was named Instrumental Recording of the Month in BBC Music Magazine and awarded a Diapason d’Or. Benjamin has received Gramophone’s Young Artist of the Year and Instrumental Awards, a Classic BRIT Critics’ Award, UK Critics’ Circle Award for Exceptional Young Talent, and a Diapason d’Or Jeune Talent Award. He has been featured in two BBC television documentaries, BBC Breakfast and The Andrew Marr Show, as well as in CNN’s Human to Hero series.

The youngest of five brothers, Benjamin began playing the piano at age 6. He graduated in 2012 from the Royal Academy of Music with the Queen’s Commendation for Excellence and, in 2016, was awarded a Fellowship from the institution. Benjamin has been supported since 2013 by EFG International, the widely respected global private banking group.

22 | Houston Symphony

Richard Trey Smagur | tenor Winner of the 2017 Metropolitan Opera National Council Auditions, tenor Richard Trey Smagur has been noted by Opera Today for his "attractive lyric tenor" and "vivid presence.” In the 2018–19 season, he returned to the Houston Grand Opera as Steuermann in Der fliegende Holländer, Parpignol in La bohème, and the cover of Nadir in Les pêcheurs de perles. This past summer, he returned to Santa Fe Opera in his role debut as Števa in David Alden’s production of Jenůfa, to great critical acclaim.

In addition to this performance at the Schumann Festival, other orchestral engagements this season include his debut as Narraboth in Salome with the Dallas Symphony Orchestra, Mahler’s Das klagende Lied with the Cincinnati May Festival, and Handel’s Messiah with the Tucson Symphony Orchestra.

In the 2017–18 season, Richard made role and house debuts at HGO, including Gastone in La traviata, Young Servant in Elektra, and Count Almaviva in Il barbiere di Siviglia at Miller Outdoor Theatre. He also debuted at Santa Fe Opera as Tsarevitch Gvidon in The Golden Cockerel, as well as Tybalt in Roméo et Juliette with Wolf Trap Opera. Orchestral appearances included Beethoven's Ninth Symphony with the National Symphony Orchestra at the Filene Center and Mahler's Das Lied von der Erde at the Aspen Music Festival and School.

Operatic highlights include Tamino in The Magic Flute with OK Mozart, covering Des Grieux in Manon at Des Moines Metro Opera, the title role in Peter Grimes, B.F. Pinkerton in Madama Butterfly, Don José in Carmen, and Ralph Rackstraw in H.M.S. Pinafore at Indiana University. Concert appearances include Elijah with the Tucson Desert Song Festival and performances as a tenor soloist with the Cincinnati Boychoir.

A native of Clarkesville, Georgia, Richard holds a Performer’s Diploma from Indiana University and a Bachelor of Music from Shorter College. He was a fellow at the Steans Music Institute at Ravinia Music Festival and a participant in HGO’s 2012 Young Artists’ Vocal Academy. Honors and awards include the Richard Tucker Fund Award from Santa Fe Opera and a 2016 Georgina Joshi Fellowship at Indiana University.

Schumann Festival | Program Biographies

Alex Munger | piano Alex Munger, a first-year Houston Grand Opera Studio artist and Dr. Saúl and Ursula Balagura/Mr. Trey Yates Fellow, is a collaborative pianist from Milwaukee, Wisconsin. Last year, he was a staff pianist at the University of Illinois, where he helped prepare La bohème and The Rape of Lucretia, among other opportunities. In 2018, as a fellowship pianist with the Aspen Opera Center, he worked on Il barbiere di Siviglia; he returned to Aspen this past summer.

Alex received his Master of Music degree in vocal coaching and accompanying from the University of Illinois, where he was the recipient of the Nancy Kennedy Wustman Award in Vocal Accompanying and worked on productions of Don Giovanni and Hansel and Gretel. Previous engagements include the Bay View Music Festival (Carmen); he returned in 2019 as a faculty pianist for its two-week opera and art song program. During the 2019–20 season at Houston Grand Opera, he coaches Rigoletto, La favorite, and The Magic Flute. He also appears with HGO Studio singers in recital and other performances.

Alumni of the Studio—including internationally renowned artists Joyce DiDonato, Tamara Wilson, Jamie Barton, Ryan McKinny, and Ana María Martínez—perform at the best opera houses around the world, including frequent returns to Houston to perform leading roles in HGO productions.

Scott Holshouser | piano Scott Holshouser, principal keyboardist with the Houston Symphony, has been a member of the orchestra since 1980. He began his musical training in Athens, Georgia, and attended Florida State University before moving to Houston to continue his studies at the University of Houston. He is now a member of the faculty at the University of Houston’s Moores School of Music.

He is a former staff pianist with the Houston Ballet and Houston Grand Opera and presently is the accompanist for the Houston Symphony Chorus, the Houston Symphony Ima Hogg Competition, and the Corpus Christi Young Artists Competition.

Houston Grand Opera Studio Founded in 1977, the Houston Grand Opera Studio is one of the most respected artist training programs in the world. For more than 40 years, it has served young singers and pianist/ coaches, providing a bridge between full-time training and full-fledged operatic careers.

Each year, after an exhaustive nationwide search, a select group of talented individuals is brought to Houston to work alongside the best in the business at Houston Grand Opera. The HGO Studio is distinguished from many other young artist programs in the level of integration between the Studio members and mainstage artists and production teams. Each of the young artists in the HGO Studio has access to a learning environment that emphasizes practical experience within the professional opera world. During a residency of up to three years, Studio artists receive regular coaching sessions with HGO’s staff and industry professionals, perform in HGO mainstage productions and in the Studio’s recital series, and appear in a variety of other engagements.

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PNC has a legacy of supporting arts and cultural communities across its 41 market footprint, as PNC understands the critical role the arts play in the continued success, stability and growth of local communities, not to mention in attracting and retaining a vibrant, talented workforce. PNC is proud to bring this legacy to Houston in support of the Houston Symphony’s 2019–20 Season.

InTUNE — February 2020 | 23

Program BIOGRAPHIES , continued

Betsy Cook Weber | conductor Dr. Betsy Cook Weber, director of the Houston Symphony Chorus since 2014, also serves as Madison Endowed Professor of Music and director of Choral Studies at the University of Houston’s Moores School of Music.

Choirs under her direction have won important international prizes and have been featured at numerous state, regional, and national conferences. Betsy is in high demand as a conductor, clinician, adjudicator, and lecturer and has conducted performances in more than half the states in this country; internationally, she has conducted concerts in the Czech Republic, France, Germany, Hungary, Italy, Poland, and Wales.

Betsy is editor of the Betsy Cook Weber Choral Series with Alliance Music Publishing. In 2013, she became the 13th person and first woman to receive the Texas Choral Directors Association’s coveted Texas Choirmaster Award.

She holds degrees from the University of North Texas, Westminster Choir College, and the University of Houston.

Houston Symphony Chorus Under the direction of Betsy Cook Weber since 2014, the Houston Symphony Chorus is the official choral unit of the Houston Symphony and consists of highly skilled and talented volunteer singers. Over the years, members of this historic ensemble have learned and performed the world’s great choral-orchestral masterworks under the batons of Andrés Orozco-Estrada, Hans Graf, Christoph Eschenbach, Robert Shaw, and Helmut Rilling, among many others.

In addition, the Chorus enjoys participating in the Houston Symphony’s popular programming under the batons of conductors such as Steven Reineke and Michael Krajewski.

Recently, the ensemble sang the closing subscription concerts with the Prague Symphony Orchestra in the Czech Republic.

Singers are selected for specific programs for which they have indicated interest. A singer might choose to perform in all 45 concerts, as was the case in a recent season, or might elect to participate in a single series.

Grace Roman | soprano Grace Roman, lyric soprano, has sung with the Houston Symphony Chorus since 2017. She received her master’s in voice performance and pedagogy from Westminster Choir College. During her time there, she sang with the Symphonic Choir and the Grammy-nominated Williamson Voices.

Grace made her professional debut with The Philadelphia Orchestra in 2015 in Bach’s St. Matthew Passion (Ancilla II). Other roles include The Mystery of Edwin Drood (Alice Nutting/Edwin Drood), H.M.S. Pinafore (Josephine), Little Women (Meg), Verdi’s La traviata (Flora Bervoix), Handel’s Il trionfo del Tempo e del Disinganno (La Bellezza), Haydn’s Il mondo della luna (Flaminia), and Handel’s Dido and Aeneas (Belinda).

She received a bachelor’s in music education and Performance Certificate in voice from the University of Florida. She teaches private voice at Bridges Academy of Fine Arts and is a staff singer and associate director at St. Luke’s United Methodist Church.

Anna Diemer | soprano Soprano, voice teacher, and arts entrepreneur, Anna Diemer enjoys performing opera, musical theater, and jazz. Last summer, she was a soloist with the Houston Symphony Chamber Singers in Leipzig, Germany; in 2016, she appeared as soloist in the Houston Symphony’s performance of Bernstein’s Chichester Psalms. She specializes in new music and has commissioned and premiered works by Houstonarea composers Joshua Zinn and Mark Buller.

Anna is an adjunct professor of voice at Brazosport College, and her private studio includes students from Kinder High School for the Performing and Visual Arts and New Caney ISD high schools, along with members of the Houston Symphony Chorus. For Opera on Tap, she curates outreach shows to inspire a wider interest in opera. She has a bachelor’s degree from Furman University and a master’s in vocal pedagogy and performance from the University of Houston.

Sean Jackson | tenor Tenor Sean Jackson, a graduate of Baylor University School of Music, was a frequent finalist in the Texoma RegionNational Association of Teachers of Singing Competition, earning first prize in 2011 and 2013. Among other roles, he appeared with the Baylor Early Music Ensemble as soloist in Haydn’s Lord Nelson Mass.

Sean has appeared as a soloist with the Houston Symphony in

24 | Houston Symphony

Schumann Festival | Program Biographies

Alisa Weilerstein | cello

An elementary music specialist at Katy ISD’s Bonnie Holland Elementary, Sean was named New Teacher of the Year in 2017.

He directs the fifth-grade Holland Harmony Choir, Bear Creek United Methodist Church worship, and the Fort Bend Boys Choir of Texas Training Choir.

Michael Kessler | bass Michael Kessler graduated from the University of Houston’s Moores School of Music where he performed in productions of The Saint of Bleecker Street, Orpheus in the Underworld, La vie parisienne, Florencia en el Amazonas, The Grapes of Wrath, and Il viaggio a Reims. He also sang in the chorus of Mercury Chamber Orchestra's production of Dido and Aeneas. His opera performances culminated in his role as Il Commendatore in Mozart’s Don Giovanni.

He was assistant choir director at Clear Brook High School in Friendswood for five years before being appointed head choir director at Pearland High School in 2016. His choirs have received consistent superior ratings at UIL concert and sight-reading contests as well as local, state, and national choir festivals.

Michael remains active as a singer and has performed with Houston-area organizations, including Cantare Houston, Ars Lyrica, Mercury Chamber Orchestra, and the Houston Symphony.

Chorus Roster Lauren Andersen Keith Anthis Ellis Bardin Randy Boatright Criselda Bocanegra Jonathan Bordelon Sara Brannon Jennifer Breneman Brandon Bulls Troy Burnett Elizabeth Chrisman Shurtz Nicole Colby Brian Cook Victoria Crossan Cavazos Paul Dabney Sylvia Dee

Randy Eckman Raul Enriquez Amanda Fetter- Matthys Julia FitzGerald Michael Gilbert Maurice Goodwin John-Alan Gourdine Holly Hinski George Howe Jillian Hughes La'Netha Jefferson Rodney S. Jones Chris Kersten Elizabeth Kragas Relana Luss Melissa Medina Scott Mermelstein

Jim Moore Tim Nemec Theresa Olin Sydney Peltier LaurenPrice Douglas Rodenberger Katherine Sadler Emily Sanders Alex Schaaf Tony Sessions Cecilia Sun Marin Trautman Lori Wagner Heidi Walton Alex Weldy Lance Wilcox Lee Williams David Zurawski

DECCA HAROLD HOFFMANN

Bernstein’s Chichester Psalms, Haydn’s The Creation, Beethoven’s Fidelio, and the world premiere of Gabriela Lena Frank’s Conquest Requiem. He was the countertenor soloist in Bernstein’s Missa Brevis with the Houston Symphony Chorus Chamber Ensemble in concerts throughout Poland and Germany.

“A young cellist whose emotionally resonant performances of both traditional and contemporary music have earned her international recognition, … Weilerstein is a consummate performer, combining technical precision with impassioned musicianship,” stated the MacArthur Foundation, when awarding American cellist Alisa Weilerstein a 2011 MacArthur Fellowship.

Entering her second season as artistic partner with the Trondheim Soloists, Alisa joined the ensemble on two European tours this fall. Their first album together, 2018’s Transfigured Night released on Pentatone, features Schoenberg’s Verklärte Nacht and both Haydn cello concertos. It attracted unanimous praise. Beyond that partnership, her 2019–20 concert highlights include Saint-Saëns’s First Cello Concerto with the New York Philharmonic, Shostakovich’s Cello Concerto No. 2 with Tokyo’s NHK Symphony Orchestra, Britten’s Symphony for Cello and Orchestra with Zurich’s Tonhalle Orchestra, Schumann’s Cello Concerto with the Houston Symphony, Barber’s Cello Concerto with the Detroit Symphony Orchestra, Strauss’s Don Quixote and Bloch’s Schelomo with the San Diego Symphony, and Elgar’s Cello Concerto with the London Symphony Orchestra.

In recital, she gives solo performances of Bach’s complete cello suites in California, Barcelona, and Manchester, and joins her frequent duo partner, Inon Barnatan, in London, Milan, and Amsterdam. To celebrate Beethoven’s 250th anniversary, she rejoins the Israeli pianist for a U.S. recital tour of all five of the composer’s cello sonatas, besides playing Beethoven’s Triple Concerto with Guy Braunstein, Barnatan, and the Dresden Philharmonic. Her recording of the concerto, featuring Alan Gilbert, Stefan Jackiw, Barnatan, and the Academy of St. Martin in the Fields, was released by Pentatone last fall.

Career milestones include Elgar’s concerto with the Berlin Philharmonic in Oxford, and a performance for President and Mrs. Obama. An ardent champion of new music, she has worked on multiple projects with Osvaldo Golijov and Matthias Pintscher and premiered works by Lera Auerbach and Joseph Hallman. Alisa, whose honors include Lincoln Center’s 2008 Martin E. Segal Award and the 2006 Leonard Bernstein Award, is a graduate of the Cleveland Institute of Music and Columbia University. Diagnosed with type 1 diabetes, she is a celebrity advocate for the Juvenile Diabetes Research Foundation.

Visit alisaweilerstein.com, twitter.com/aweilerstein, or fb.com/AlisaWeilerstein to learn more.

InTUNE — February 2020 | 25

Program NOTES Dichterliebe (Poet’s Love), Opus 48 The year 1840 witnessed an extraordinary outpouring of songs from Schumann; he composed more than half his total song output in this year alone, even though previously he had rarely written for voice and piano. Some biographers have speculated that the composer may have had a pecuniary motivation.

Anticipating his marriage to Clara, he may have sought to create a stockpile of highly saleable works he could publish over the coming years (then as now, songs were one of the most popular forms of music).

Regardless of his motivations, lovers of German art song agree he created some of the greatest works of this kind during this year; Schumann’s musical genius and literary sensitivity made him an ideal song composer. Perhaps first among these works is the song cycle Dichterliebe (Poet’s Love), composed in just nine days at the end of May. A song cycle is essentially the 19th century equivalent of a concept album: a collection of songs united by a particular theme or narrative. Schumann’s Dichterliebe is likely an artistic response to the two great cycles by his idol, Schubert: Die schöne Müllerin (The Beautiful Miller’s Daughter) and Winterreise (A Winter’s Journey). All three cycles relate the story of a young man suffering from unrequited love.

While Schubert’s cycles have a tragic tone, Schumann’s take on this age-old theme is tempered by a Romantic irony inseparable from the poems themselves, a set of initially unrelated lyrics selected from Heinrich Heine’s Lyrisches Intermezzo. Schumann arranged Heine’s poems to suggest a narrative arc that progresses from the hope of love through the anger and sadness of rejection, ending with grudging acceptance. The “poet’s love” is from beginning to end an illusion, existing more in his imagination than in reality.

Throughout, Heine’s verses are full of knowing irony.

Likewise, the music frequently ends with a twist, deviating from expected patterns. The piano usually has the last word, and throughout the accompanist seems to comment on the singer’s verses. Does the piano communicate the protagonist’s unspoken thoughts and feelings, or does it act as an ironic narrator? Such questions are left open to performers and audiences.

Though irony is integral to the work, Schumann does not simply mock his lovelorn swain. The cycle contains some of Schumann’s most beautiful melodies, and the songs’ seductive lyricism gives full expression to the protagonist’s emotions, compelling listeners to feel for him even as the music and words ironize themselves. The result is remarkable for its psychological insight; after all, we still feel the pains of the heart, even when our heads know better.

26 | Houston Symphony

Symphony No. 1 in B-flat major, Opus 38 (Spring) Schumann’s First Symphony dates from his blissful first year of marriage to Clara Wieck. He now wanted to prove himself in the most prestigious instrumental genre of all: the symphony.

In January 1841, Schumann attempted a Symphony in C minor, but soon abandoned it. Then, later in the month he made the following entries in his “household book” (a sort of domestic diary): “23 January: Began spring symphony. 24 January: Finished the Adagio and Scherzo of the symphony.

25 January: Symphonic fire—sleepless nights—on the last movement. 26 January: Hurrah! Symphony completed!”

He took 10 days more to orchestrate the work and continued to tinker with it in the following months, but his speed is remarkable nonetheless. His friend, the internationally successful composer Felix Mendelssohn, agreed to conduct the premiere at a special concert for the benefit of the Leipzig Gewandhaus Orchestra’s pension fund on March 31. The first half of the program featured Clara in her first public performance post-marriage, and the second half featured his symphony. The concert was a happy triumph for the young couple.

Even though the symphony was written in the dead of winter, Schumann was inspired by thoughts of springtime, specifically the final lines of a poem by Adolph Böttger: “O wende, wende deinen Lauf,/Im Tale blüht der Frühling auf!” (“O turn, turn from your course,/Spring blossoms in the valley!”). These lines fit perfectly with the opening of the symphony, like a kind of song without words.

Of the opening, Schumann wrote: “I should like the very first trumpet entrance to sound as if it came from on high, like a summons to awakening. Further on in the introduction, I would like the music to suggest the world’s turning green, perhaps with a butterfly hovering in the air, and then, in the Allegro, to show how everything to do with spring is coming alive [...]”

The symphony requires little further explanation, as it is one of the most accessible and delightful works in the repertoire.

A few brief notes will suffice: the introductory “awakening” motto mentioned above makes a grand return at the climax of the first movement; the slow second movement is a sort of theme and variations with interludes (the main theme makes appearances in the violins, cellos and woodwinds); the minorkey scherzo contains not one, but two contrasting major-key interludes; and the dancing finale features prominent solos for the horns and flute. The trombones in particular help bring the symphony to a joyful conclusion.

The Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion, and strings

Schumann Festival | Program Notes

Symphony No. 4 in D minor, Opus 120 Though Robert Schumann’s Symphony in D minor is known as his Fourth, he began composing it only a few months after the premiere of his First Symphony, finishing a draft by the first week of June 1841. In a diary entry of May 31, Clara noted, “Robert’s mind is very creative now, and he began a symphony yesterday which is to consist of one movement, but with an Adagio and finale. I have heard nothing of it as yet, but from seeing Robert’s doings, and from hearing a D minor echoing wildly in the distance, I know in advance that this will be another work that is emerging from the depths of his soul.”

While his First Symphony had been inspired by thoughts of springtime, this one would be darker and more dramatic.

Furthermore, where his First Symphony had been relatively conventional, this one would be experimental and unorthodox. Schumann sought to fuse the symphony’s traditional four movements into an unbroken flow of music, and throughout the work, themes from previous movements recur in later ones. The effect is something like that of a gripping novel full of twists; the symphony invites listeners to imagine their own narratives as they listen to this passionate and fascinating work.

Schumann completed the orchestration of the symphony

by October 4, and the premiere took place with the Leipzig Gewandhaus Orchestra on December 6. Despite a generally positive critical reception, the symphony failed to interest a publisher. Schumann put the work aside for 10 years, by which time he was the music director in Düsseldorf. After some significant revisions, a new version of the symphony premiered at the Lower Rhine Music Festival on May 15, 1853. It met with resounding success and was published soon thereafter as Schumann’s Fourth.

The symphony begins with a slow, brooding introduction based on a winding figure in the violins, violas and bassoons.

In a masterful transition, the music gradually accelerates to a new, driving motif that becomes the main idea of the movement. A developmental section begins with a long, unsettling dissonance. Schumann now begins to introduce three new ideas: the first is a portentous trombone motif that emerges above tempestuous cellos; the second, a heroic, dotted-rhythm theme in the woodwinds; the third, a lyrical melody in the violins. Schumann extends the development nearly to the end of the movement, allowing the new themes to evolve and interact as the harmonies churn tumultuously. The movement ends in a brilliant, frenzied D major.

The slower second movement is titled “Romanza” or “Romance,” suggesting a song-like vocal work. Indeed, the 1841 version included an ad libitum part for guitar, evoking serenading troubadours. Bookended by a melancholy duet for solo oboe and cello, the brooding music that began the

symphony returns in a contrasting middle section, morphing into a lilting violin solo.

After a brief pause, we plunge into the third movement, a forceful scherzo that is also in ABA form. The lilting violin solo from the previous movement returns in the middle, now played by the entire section. At the end, this melody reappears, but gradually disintegrates.

The quiet passage that follows grows into a solemn crescendo.

Accompanied by wisps of the main idea from the first movement, the brass intone a noble, mysterious figure. The fast finale arrives with the return of a heroic theme from the first movement, which becomes the main idea. Breathless dance rhythms then transition to a sweeter, more lyrical second theme.

Parallel to the first movement, the development begins with a long, dissonant note. The main idea then becomes the subject of a fugue, a type of music in which a main idea is passed from one part to another. Interestingly, the main idea of the movement then disappears; the reprise begins with the transition to the lyrical second theme. Another long dissonant note announces the beginning of the coda, which becomes faster and faster as the symphony races toward its ending.

The Instruments: 4 flutes, 4 oboes, 4 clarinets, 4 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings

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InTUNE — February 2020 | 27

Piano Concerto in A minor, Opus 54 Composed in a mere two weeks in May 1841 (only months after the premiere of the First Symphony), the first movement of Schumann’s Piano Concerto was originally conceived as an independent piece of music, a Phantasie for piano and orchestra. Though Clara did rehearse the Phantasie with the Leipzig Gewandhaus Orchestra later that year, it was never publicly performed. After revising the Phantasie, the final movements of the concerto were added in 1845, a year Schumann regarded as a crucial turning point in his creative life. “I used to compose almost all of my shorter pieces in the heat of inspiration,” Schumann reflected. “Only from the year 1845 onwards, when I started to work out everything in my head, did a completely new manner of composing begin to develop.” Without doubt, Schumann composed the concerto with Clara in mind as soloist. The piece would become her signature concertante vehicle; she would give more than half the total performances of the work between 1845 and 1900.

In earlier times, concertos always began with an orchestral introduction of the first movement’s main musical ideas, but Schumann skips straight to the soloist’s entrance, as if beginning in the middle of the piece. The movement is constructed from three basic building blocks. The first is the dramatic opening flourish from the soloist; the second follows immediately as the oboe introduces a melancholy theme based on the notes C-B-A, or C-H-A according to the German note-naming system. Traditionally, this has been interpreted as a musical cypher of the name “Chiara,” Schumann’s poetic nickname for his wife, Clara. After the piano completes the “Clara” theme, the violins introduce the third main idea: a hypnotic, undulating figure that acts as a bridge, crescendoing to a powerful statement for full orchestra.

Instead of leading to a new, contrasting theme, however, this passage dies away to a return of the “Clara” theme, now in the warmer, brighter key of C major. The piano and woodwinds continue to develop it, building to a grand, fanfare like transformation of the bridge theme. As this fades, the tempo slows, and a dreamy version of the “Clara” theme appears as a duet for piano and clarinet. This miniature slow movement ends with the violent return of the dramatic downward flourish that began the concerto. After further, yearning developments of the “Clara” theme, the original version for oboe returns, and a reprise of the movement’s earlier ideas begins. Near the end, the orchestra stops playing and a cadenza—an extended passage for the soloist alone—commences. Featuring an intense development of the movement’s themes, the cadenza leads to a final transformation of the “Clara” theme as the orchestra reenters.

The second movement has an ABA structure: a delicate, fragmentary play of sounds surrounds a passionate, sighing theme for cellos. This movement is linked to the third by a poetic, Janus-faced passage. The beginning of the first movement’s “Clara” theme returns in the clarinets and bassoons, harmonized in a way that suggests distant horn calls. This backward glance is then transformed into the 28 | Houston Symphony

bounding, red-blooded main theme of the finale. This main theme alternates with contrasting episodes, including a quiet march-like theme, virtuoso passagework, and a fugal development. The music sparkles and crackles with the fire of inspiration, bringing the concerto to a breathless end.

The Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings

Symphony No. 2 in C major, Opus 61 In the fall of 1845, Schumann wrote to Mendelssohn that “For several days there’s been much trumpeting and drumming within me (trumpet in C); I don’t know what will come of it.” Seized with inspiration, Schumann began serious work in mid-December, and a draft of a symphony was complete soon after Christmas. Schumann’s recurring ill-health and depression, however, would prevent the orchestration from being completed until October. Schumann later wrote that he composed it while “still half sick; it seems to me that one must hear this. Only in the last movement did I begin to feel like myself; I became really well again after completing the entire work.” Perhaps the process of composing the symphony was therapeutic for Schumann; its lively, imaginative music provides listeners with a powerful sense of joy and serenity by the work’s conclusion.

Intriguingly, Schumann filled his symphony with allusions to music by Haydn, Bach, and Beethoven that must have held special significance for him. Indeed, the symphony begins with a noble, fanfare-like melody in the trumpet that is derived from the introduction of Haydn’s Symphony No. 104. Beneath this stately theme, a wandering, chromatic countermelody unfolds in the strings, but its phrases do not line up with those of the trumpet, creating a subtle tension. This tension erupts as the music suddenly breaks into a faster tempo, building in a grand crescendo to powerful yet hesitant chords. The main body of the first movement then begins with a series of fiery, energetic themes.

The second movement, a fast, bristling scherzo, begins with a perpetuum mobile theme for violins. Two intervening episodes contrast with this musical whirlwind: the first is a gentle dialogue between the woodwinds and strings; the second begins with a chorale for strings that gives way to a more contrapuntal, fugal episode, reflecting Schumann’s fascination with the music of Bach. Indeed, hidden in the contrapuntal texture are the notes B-flat, A, C, B-natural, which according to the German note-naming system, spell B-A-C-H. The third movement begins with one of Schumann’s most haunting melodies. The eminent conductor Hans von Bülow once said that whenever he heard this movement, he felt inspired to “sink to his knees in prayer.” The main melody alternates with contrasting episodes (including another contrapuntal, Bach-inspired passage).

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After an introductory flourish, the finale launches into a high-spirited theme. A brief interlude follows: fragments of the slow movement’s arching main melody reappear in the cellos beneath the rushing violins. The main theme returns, but then disappears. In its place, a new theme emerges during the following development. Hinted at by the melodic shapes of other themes throughout the symphony, this new theme is in fact a quotation from Beethoven’s song cycle, An die ferne Geliebte (To the Distant Beloved). Schumann had used the same quotation in his Fantasie for piano during his long, troubled courtship with Clara. It is from the sixth song in the cycle and sets the words “Take, then, these songs,/That I to you, beloved, sang.” Interwoven with allusions to the symphony’s other ideas, this quotation becomes the summation and ultimate goal of the work. It has traditionally been interpreted as Robert offering his symphony to Clara, a hymn of thanksgiving for her love.

The movement ends with a grand plagal cadence, the chords traditionally used to harmonize the word “Amen.”

The Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings

Cello Concerto in A minor, Opus 129 One of the first compositions Schumann completed after his arrival in Düsseldorf was his Cello Concerto. Curiously, Schumann seems to have composed it without an intended cellist in mind. From start to finish, the piece was written during a two-week burst of inspiration in October 1850.

Perhaps Schumann’s motivation for composing it was revealed in a letter to a prospective publisher when he noted “there are

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30 | Houston Symphony

so few works for this lovely instrument.” The concerto was published with piano accompaniment in 1854, and correcting the proofs was one of Schumann’s last activities before his collapse. Unfortunately, the concerto was never publicly performed during his lifetime.

Schumann’s prediction that “Since there is a great dearth of such works, the cello concerto is something which will perhaps be welcomed by many” has certainly come true, although it only became standard repertoire decades after Schumann’s death. Aside from the absence of soloists during his life, the reason for the delayed recognition likely stems from Schumann’s artistic priorities; though the work is quite technically demanding, unlike many concertos of the era it prizes poetic expression above virtuoso display. Though Schumann’s artistic principals may have slowed the concerto’s initial acceptance, they ultimately yielded a work of emotional depth and enduring appeal.

The work opens with three woodwind chords reminiscent of those that lead to Shakespeare’s fairyland at the beginning of Mendelssohn’s Overture to A Midsummer Night’s Dream.

The soloist then introduces a long, entrancing melody. After a vigorous orchestral transition, the soloist introduces a lighter, contrasting theme, followed by emotive passagework. These themes are then developed and reprised. Like several other works by Schumann, this concerto’s movements are linked together without pause, and the music fades seamlessly into the next movement.

The slow second movement opens with a lyrical duet for the soloist and a single orchestral cello marked “mit Ausdruck” (“with expression”). In a contrasting central section, the soloist plays a warm melody in double stops (playing notes on two strings at once), occasionally enriched by the orchestral cello. After a reprise of the opening duet, the woodwinds play a reminiscence of the haunting theme that began the concerto. This ends the reverie, and the soloist responds with a dramatic recitative (a style of operatic sing-speaking) above tremolo strings.

The orchestra begins the finale with the forceful chords of the main theme, answered by virtuoso figuration from the soloist. A transitional passage leads to a second theme, in which the woodwinds echo the cello’s sighing figure. After an intense, virtuoso development and a reprise of the main themes, the cello begins a spontaneous passage in the style of an improvisation. Little by little, the orchestra reenters, leading to a virtuoso conclusion.

The Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings

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Symphony No. 3 in E-flat major, Opus 97 (Rhenish) Composed in just over a month in November 1850, Schumann’s Third Symphony dates from the beginning of his tenure as municipal music director in Düsseldorf, a town situated on the famously scenic Rhine River. The nickname “Rhenish”—having to do with the Rhine and its surroundings—quickly attached itself to the work. Although this moniker did not derive from the composer himself, Schumann wryly noted that the symphony “perhaps reflects something of Rhenish life here and there.”

Indeed, Schumann remarked of the symphony, “I wished popular elements to prevail here, and think I have succeeded.”

Clara, too, noted that “on the whole, the symphony, and especially the second and third movements, is easily accessible to laymen.” The symphony brilliantly evokes a “folk-like” atmosphere and has maintained a broad appeal.

Beethoven’s Eroica was another likely source of inspiration; like it, this symphony is in E-flat major and begins in triple meter. Rather than evoke the heroics of the Napoleonic era as Beethoven does, this joyous, surging music seems more like a force of nature—perhaps the River Rhine itself. The opening idea of the symphony overflows the bounds of the music’s barlines: the main motif strongly implies a 3/2 meter before falling into the flowing 3/4 indicated by the time signature.

Though Schumann introduces some contrasting, subsidiary ideas, this main theme is the focus of the movement.

The second movement finds Schumann at his most popular with a folksong-like melody introduced by bassoons, violas, and cellos. Variations on this lilting theme alternate with episodes of contrasting characters, ranging from delicate to mysterious. Though not strict, these contrasting episodes also in some ways resemble variations on the main theme, allowing the melody to resurface at unexpected moments.

The slower third movement has three main ideas: the first is the dolce (“sweet”) melody introduced by clarinets and bassoons; second is a gently pulsing figure for the violins; last is a rich, singing theme for violas. Throughout, the pulsing figure acts as a bridge between the two main melodies.

Traditionally, symphonies have only four movements, but this one has five. The fourth is usually regarded as the “extra” one, intervening between the slow movement and the finale, and it is perhaps the most remarkable of all. When the symphony was first performed, it bore the title “In the character of the accompaniment to a solemn ceremony,” although Schumann rescinded this description when the symphony was published. According to the concertmaster of the Düsseldorf orchestra, the movement was inspired by Schumann’s visit to the Cologne Cathedral. Though the building had been left incomplete after initial construction in the medieval period, in 1842 civic-minded Colognians decided to finish 32 | Houston Symphony

the high-gothic edifice according to the original plans, albeit using modern construction techniques. Similarly, Schumann conjures an ancient atmosphere with a contrapuntal texture colored by the full resources of a 19th-century orchestra (including trombones, who make their first entrance in this movement). The result is a haunting, Romantic evocation of the past.

The popular tone returns in the festive finale, which presents a string of delightful melodic ideas that are then developed and reprised. The movement builds to a climactic brass chorale, after which the music becomes faster and faster, bringing the symphony to a thrilling ending. ­ The Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings

Der Rose Pilgerfahrt (The Pilgrimage of the Rose), Opus 112 The 19th-century was a great era for choral music. In an age before the distractions of modern technology, community music making was a favorite pastime, and without a need for instruments, choral music was by far the most accessible way to participate. Choral societies proliferated, fueling a demand for both amateur and professional music for vocal ensembles.

Beginning in the 1840s, Schumann increasingly turned to choral music, producing everything from simple part songs for amateurs to ambitious pieces such as his Scenes from Goethe’s Faust. The original version of The Pilgrimage of the Rose with piano accompaniment lies somewhere between these poles. Completed during the spring of 1851 (not long after the premiere of his Third Symphony), this tuneful work found immediate success with choral societies throughout Germany. Though Schumann later created a grand orchestral version of the piece, he noted that “I originally had provided an accompaniment for piano only; in view of the delicate subject this seemed entirely adequate and still seems so.” Indeed, the original version has an intimacy suited to the story.

The text by Moritz Horn relates the tale of a rose who becomes human so that she can experience love; after becoming an adopted daughter, wife, and mother, her experience of love grants her entrance to heaven as an angel. Schumann fleshed out this story with many memorable numbers, including choruses for the fairies, young woodsmen, wedding guests, and angels, as well as a gentle love duet.

It is interesting to compare The Pilgrimage of the Rose with Dichterliebe. The two works have a number of musical topics in common: wedding music, love songs, fairyland music, pining swains wandering through the forest. Side by side, these pieces show two aspects of Schumann’s musical persona with his meditations on happy and unhappy love.

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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: Nancy Giles, Chief Development Officer, 713.337.8525 Molly Simpson, Senior Director, Development, 713.337.8526

$1,000,000 or more The Robert Cizik Family

$500,000 or more Janice Barrow

Janet F. Clark

$250,000–$499,999 Mr. John N. Neighbors

Mike Stude

$150,000–$249,999 Barbara J. Burger Rochelle & Max Levit

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

Bobby & Phoebe Tudor Margaret Alkek Williams

$100,000–$149,999 Clare Attwell Glassell Gary & Marian Beauchamp/

The Beauchamp Foundation

Barbara & Pat McCelvey

Tony Bradfield & Kevin Black Drs. M.S. & Marie-Luise Kalsi Cora Sue & Harry Mach

Anonymous (1)

$75,000–$99,999 $50,000–$74,999

Robin Angly & Miles Smith Drs. Dennis & Susan Carlyle Joella & Steven P. Mach Mr. & Mrs. J. Stephen Marks Muffy & Mike McLanahan Katie & Bob Orr/Oliver Wyman

Dave & Alie Pruner Mr. & Mrs. William K. Robbins Jr./

The Robbins Foundation Mr. Jay Steinfeld &

Mrs. Barbara Winthrop Alice & Terry Thomas

Shirley W. Toomim Mr. & Mrs. Jesse B. Tutor

$25,000–$49,999 Nancy & Walter Bratic Eric Brueggeman Ralph Burch Donna & Max Chapman Virginia A. Clark Valerie Palmquist Dieterich & Tracy Dieterich Joan & Bob Duff Eugene Fong Ron Franklin & Janet Gurwitch 34 | Houston Symphony

Stephen & Mariglyn Glenn Gary L. Hollingsworth & Kenneth J. Hyde Catherine & Brian James Dr. Sippi & Mr. Ajay Khurana Mrs. Carolyn & Dr. Michael Mann Mr. & Mrs. Rodney H. Margolis Mrs. Sybil F. Roos Laura & Mike Shannon Alana R. Spiwak & Sam L. Stolbun

Dr. John R. Stroehlein & Miwa Sakashita Ms. Judith Vincent Mr. & Mrs. Fredric A. Weber Steven & Nancy Williams Ms. Ellen A. Yarrell Mr. & Mrs. Edward R. Ziegler continued 

$15,000–$24,999 Ms. Marida Abjani Frances & Ira Anderson Anne Morgan Barrett Kimberly & James M. Bell Mr. & Mrs. Walter V. Boyle Mr. Gordon J. Brodfuehrer Terry Ann Brown Justice Brett & Erin Busby Michel H. Clark & Sallie Morian Mr. Jimmy Erwin Terry Everett & Eric Cheyney

Viviana & David Denechaud Mr. & Mrs. Marvy A. Finger Mrs. Aggie L. Foster Mr. & Mrs. Melbern G. Glasscock Evan B. Glick Mr. & Mrs. Fred L. Gorman Susan & Dick Hansen Katherine Hill Rebecca & Bobby Jee Dr. & Mrs. I. Ray Kirk Mr. & Mrs. U.J. LeGrange

Mr. & Mrs. Stephen A. Lubanko Cindy Mao & Michael Ma John & Regina Mangum Michelle & Jack Matzer Marvin & Martha McMurrey Bobbie Nau Gloria & Joe Pryzant Ron & Demi Rand Ken* & Carol Lee Robertson Hugh* & Ann Roff Susan D. & Fayez Sarofim

Meagan & Christian Schwartz Tad & Suzanne Smith Drs. Carol & Michael Stelling Flor & Arturo Vivar Dede & Connie Weil Robert G. Weiner & Toni Blankmann Vicki West Mr. & Mrs. C. Clifford Wright Jr. Lorraine & Ed* Wulfe Scott & Lori Wulfe

$10,000–$14,999 Edward H. Andrews III Nina Andrews & David Karohl Dr. Angela R. Apollo Ann & Jonathan Ayre John Barlow Judy & David Beck Karl H.* & Dr. Gudrun H. Becker Anne & George* Boss Mr. & Mrs. Michael E. Bowman James & Dale Brannon Mary Kathryn Campion, PhD Albert & Anne Chao Mr. & Mrs. Bernard F. Clark Jr. Dr. Evan D. Collins Coneway Family Foundation Consurgo Sunshine Brad & Joan Corson Roger & Debby Cutler Leslie Barry Davidson & W. Robbins Brice J.R. & Aline Deming

Vicky Dominguez Mr. David Elliott Olivia Estrada Ms. Carolyn Faulk Mr. & Mrs. Jeffrey B. Firestone Mr. & Mrs. Russell M. Frankel Maureen Y. Higdon Mrs. James E. Hooks Marzena & Jacek Jaminski Dr. Charles Johnson & Tammie Johnson Joan & Marvin Kaplan Lilia D. Khakimova & C. Robert Bunch Mr. & Mrs. Calvin Leeke Mrs. Hazel Leighton in memory of Gordon Leighton Marilyn G. Lummis Mr. & Dr. Quyen Frederick Lyons Jay & Shirley* Marks Dr. & Mrs. Malcolm L. Mazow

Dr. Eric McLaughlin & Eliodoro Castillo Mr. Gary Mercer Stephen & Mairlyn Miles Bobbie Newman Ms. Leslie Nossaman Scott & Judy Nyquist Dr. Susan Osterberg & Mr. Edward C. Osterberg Jr. Mr. & Mrs. Jonathan E. Parker Kusum & K. Cody Patel Nancy & Robert* Peiser Jean & Allan Quiat Bradley L. Radoff & Monica Hoz De Vila Lila Rauch Linda & Jerry Rubenstein Mr. & Mrs. Manolo Sánchez Mr. & Mrs. Walter Scherr Toni Oplt & Ed Schneider Mr. & Mrs. Rufus S. Scott

Mr. & Mrs. James A. Shaffer Mr. & Mrs. Joel I. Shannon Michael J. Shawiak Dr. & Mrs. Robert B. Sloan/ Houston Baptist University Mr. & Mrs. Jim R. Smith Mr. & Mrs. Robert R. Springbob, Laredo Construction, Inc. Drs. Ishwaria & Vivek Subbiah Susan & Andrew Truscott Mr. & Mrs. De la Rey Venter Margaret Waisman, M.D. & Steven S. Callahan, Ph.D. Stephen & Kristine Wallace Mr. & Ms. Don Whitaker Mr. & Mrs. Tony Williford Doug & Kay Wilson Nina & Michael Zilkha Anonymous (3)

$7,500–$9,999 Dr. & Mrs. Jeffrey B. Aron Mr. & Mrs. Byron Cooley Andrew Davis & Corey Tu The Ensell Family Aubrey & Sylvia Farb Jo A. & Billie Jo Graves Mr. & Mrs. Jerry L. Hamaker

Gwen & Dan Kellogg Ms. Nancey G. Lobb Billy & Christie McCartney William D. & Karinne McCullough Terry & Kandee McGill Dr. Robert M. Mihalo Rita & Paul Morico

Mr. & Mrs. Robert E. Nelson Tim Ong & Michael Baugh Mrs. Gloria Pepper & Dr. Bernard Katz Susan & King Pouw Kathryn & Richard Rabinow Ed & Janet Rinehart

Jill & Allyn Risley Mr. Floyd W. Robinson Mr. Glen A. Rosenbaum Donna & Tim Shen Mr. & Mrs. Karl Strobl Nancy B. Willerson

$5,000–$7,499 Lilly & Thurmon Andress Mr. & Mrs. Philip A. Bahr Dr. Saul & Ursula Balagura Eric & Shanna Bass Mr. & Mrs. David A. Boudreau Marilyn Caplovitz Ann M. Cavanaugh Dr. Robert N. Chanon Barbara A. Clark Donna M. Collins Mr. & Mrs. Samuel B. Condic Mr. & Mrs. Larry Corbin Lois & David Coyle Kathy & Frank Dilenschneider Mary Louise & Stephen Dujka Connie & Byron Dyer Mr. William P. Elbel & Ms. Mary J. Schroeder Jenny & Wendell Erwin, M.D. Mr. Parrish N. Erwin Jr. Ms. Ursula H. Felmet Jerry E.* & Nanette B. Finger Mrs. Mary Foster DeSimone & Mr. Don Desimone Mr. & Mrs. Robert J. Franco Mr. Shane T. Frank Bill & Diana Freeman Wm. David George, Ph.D.

Ms. Eugenia C. George Michael B. George Nancy D. Giles Mr. & Mrs. Eric Gongre The Greentree Fund Bill Grieves Dr. & Mrs. Carols R. Hamilton Jr. Mr. & Mrs. Charles R. Hall Mary N. Hankey James & Renee Hennessy Mark & Ragna Henrichs Mr. & Mrs. Frank Herzog Ann & Joe* Hightower Dr. & Mrs. Joseph Jankovic Stephen Jeu & Susanna Calvo Josephine & Phil John Beverly Johnson Mr. & Mrs. John F. Joity Debbie & Frank Jones Dr. Rita Justice Ms. Linda R. Katz Mary Louis Kister Mr. William L. Kopp Golda Anne & Robert Leonard Ms. Sylvia Lohkamp & Mr. Tucker Voughlen Sue Ann Lurcott Evi & Steve Marnoy

Mr. & Mrs. Alexander Matiuk Mr. & Mrs. Michael McGuire Mr. & Mrs. William B. McNamara Alice R. McPherson & M.D. Shane A. Miller Pamela K. Moore & Eva Geer Mr. & Mrs. Gerald Moynier Richard & Juliet Moynihan Rochelle & Sheldon Oster The Carl M. Padgett Family Katherine & Jonathan Palmer Mr. & Mrs. Robert Pastorek Mr. & Mrs. Raul Pavon Michael P. & Shirley Pearson Mr. David Peavy & Mr. Stephen McCauley Mr. Robert J. Pilegge Tim & Katherine Pownell Roland & Linda Pringle Mrs. Dana Puddy Darla & Chip Purchase Edlyn & David Pursell Laurie A. Rachford Vicky & Michael Richker Mr. & Mrs. George A. Rizzo Jr. Carole & Barry Samuels Gina & Saib Saour Mrs. Richard P. Schissler Jr.

Donna Soctt & Mitch Glassman Mr. & Mrs. Steven Sherman Dr. & Mrs. John Slater Mr. & Mrs. William T. Click Jr. Mr. David Stanard & Ms. Beth Freeman Mr. & Mrs. Joe G. Swartz Stephanie & Bill Swingle Paul Thomas & Jussi Thomas Susan L. Thompson Eric & Carol Timmreck Nanako & Dale Tingleaf Pamalah & Stephen Tipps Ms. Maria Cecilia Vasconcellos Ms. Joann E. Welton Ms. Barbara E. Williams Ms. Beth Wolff Cyvia & Melvyn* Wolff Woodell Family Foundation Sally & Denney Wright Robert & Michele Yekovich Edith & Robert Zinn Erla & Harry Zuber Anonymous (4)

InTUNE — February 2020 | 35

$2,500–$4,999 Dr. & Mrs. George J. Abdo Mr. & Mrs. Michael Adler Mr. & Mrs. Roy Allic Ms. Adrienne Amin Pat & John Anderson Mr. Tom Anderson Mr. Jeff Autor Ms. Marcia Backus Mr. & Mrs. Stephen J. Banks Mrs. Bonnie Bauer Dr. & Mrs. Philip S. Bentlif Drs. Henry & Louise Bethea George & Florence Boerger Mr. & Mrs. John F. Bookout III Mr. & Mrs. Doug Bosch James & Judy Bozeman Robert & Gwen Bray Mr. Chester Brook & Dr. Nancy Poindexter Ms. Barbara A. Brooks The Honorable Peter Hoyt Brown* Mr. & Mrs. Bruce G. Buhler Mr. Bill Bullock Anne H. Bushman Ms. Deborah Butler Cheryl & Sam Byington Ms. Rachel Dolbier & Mr. Steve Carroll Tatiana Chavanelle Rhoda & Allen Clamen Mr. & Mrs. William V. Conover II Mr. & Mrs. Michael F. Cook Ms. Jeanette Coon & Thomas Collins Ms. Miguel A. Correll Mr. & Mrs. Steven Dalicandro Mr. & Mrs. Rene Degreve Joseph & Rebecca Demeter Jeanette & John DiFilippo Carmen & Kiki Dikmen Ms. Cynthia Diller Mike & Debra Dishberger

Mr. & Mrs. Michael Doherty Bob & Mary Doyle Drs. Rosalind & Gary Dworkin Mrs. Edard N. Earle David & Carolyn Edgar Mr. Roger Elswick Mr. & Mrs. J. Thomas Eubank Jr. Paula & Louis Fallice Christine Falgout/ Island Operating Company Jo Lynn & Gregg Falgout/ Island Operating Company Mrs. Ronald Fischer James H. & Beverly W. Fish Patrick & Jeannine Flynn Edwin Friedrichs & Darlene Clark Dr. & Mrs. Robert H. Fusillo Mr. & Mrs. Steven Gangelhoff Mr. & Mrs. Neil Gaynor Thomas & Patricia Geddy Ms. Margaret W. Germani Joan M. Giese Julius & Suzan Glickman Mr. & Mrs. Herb Goodman Julianne & David Gorte Alexandra & Daniel Gottschalk Adelma Graham Claudio Gutierrez Eric & Angelea Halen Mr. & Mrs. Hunter Harper Marilyn & Bob Hermance Richard & Arianda Hicks Jeff & Elaine Hiller Susan Hodge & Mike Stocker Mr. & Mrs. Robert Humphries Mr. & Mrs. R.O. Hunton Steve & Kerry Incavo Arlene J. Johnson Stacy & Jason Johnson William & Cynthia Koch Hoole & Kramr CPAs – Samantha & Chris Kramr

Jane & Kevin Kremer Mr. & Mrs. David B. Krieger Mr. David Lee Mr. William W. Lindley Mr. Jeff H. Lippold Mr. & Ms. Brian Mann Mr. & Mrs. Michael L. Mason David & Heidi Massin Ms. B. Lynn Mathre & Mr. Steward O’Dell Ms. Kathy McCraigh Ernie & Martha McWilliams Mr. Larry Miller Mrs. Suzanne Miller Ginni & Richard Mithoff Mr. & Mrs. Thomas L. Molloy Denise Monteleone Elizabeth K. Moore Janet Moore Ione & Sidney Moran Mary Beth Mosley Mr. John L. Nau III Mr. & Mrs. Geoffrey B. Newton Mrs. Kay Onstead John & Kathy Orton Capt. & Mrs. Kim Parker Mr. Tadd Pullin Clinton & Leigh Rappole Mrs. Janet Rhodes Mr. Serge G. Ribot Jack & Jeanie Riordan Dr. & Mrs. Richard Robbins Doug Williams & Janice Robertson Dr. Douglas & Alicia Rodenberger Ms. Regina J. Rogers Mrs. Evie Ronald* Drs. Alex & Lynn Rosas Mr. Reuben Rosof Rosemarie & Jeff Roth Mr. Morris Rubin Mr. & Mrs. Bryan Ruez Mr. & Mrs. John Ryder

Ahmed Saleh Laura Moore & Don Sanders Lawrence P. Schanzmeyer Mr. & Mrs. Dylan Seff Susan & Ed Septimus Mr. Don W. Shackelford Becky Shaw Arthur E. & Ellen Shelton Ms. Leslie Siller Hinda Simon Lisa & Jerry Simon Molly Simpson & Patrice Abivin Mr. Hilary Smith & Ms. Lijda Vellekoop Richard & Mary Spies Georgiana Stanley Richard P. Steele & Mary J. McKerall Mr. & Mrs. James R. Stevens Jr. Mr. Clifford A. Swanlund Jr. Drs. James & Elizabeth Tang Georgeta Teodorescu & Bob Simpson Jean & Doug Thomas Paul Thomas & Jussi Thomas Ms. Laura Turley Mr. & Mrs. Timothy J. Unger Mr. & Mrs. David Vannauker Dean Walker H. Richard Walton Alton & Carolyn Warren Jay & Gretchen Watkins Dr. & Mrs. Richard T. Weiss Doug Williams & Janice Robertson Gene & Sanrda Williams Jennifer R. Wittman Jerry S. & Gerlind Wolinsky Mr. & Mrs. Frank Yonish Anonymous (4)

$2,499–$1,000 Mr. & Mrs. Kingsley Agbor Suan Angelo Michael Arlen Susan Weingarten & John Arnsparger Jerry Axelrod Mr. & Mrs. Gabriel Baizan Mr. & Mrs. David M. Balderston Robert & Helen Balhoff Dr. & Mrs. William S. Banks III Ms. Deborah S. Bautch Mr. & Mrs. Clarke Bean Dr. & Mrs. Arthur L. Beaudet Mr. & Mrs. Frank R. Benton Mr. & Mrs. Lloyd M. Bentsen III Dr. Joan Hacken Bitar Mr. Paul Bitner Mrs. Ann M. Bixby Drs. Laura & William Black Pamela & Chad Blaine Mr. & Mrs. Thomas J. Bolam George Boerger Patricia K. Boyd Mr. & Mrs. Sverre Brandsberg-Dahl Joe Brazzatti Ms. Helene Harding & Dr. Patrick Briggs Mr. Wayne A. Brooks Divya & Chris Brown Sally & Laurence Brown Ms. Megan E. Brown 36 | Houston Symphony

Mr. Ken Brownlee & Ms. Caroline Deetjen Mr. & Mrs. Mark A. Brueggeman Vicki Buxton Mr. & Mrs. Raul Caffesse Dorothy E. F. Caram, Ed.D Mr. & Mrs. Terry Carius Stephen Carroll Nicole & Rueben Cásarez Margot & John Cater Mr. F. Martin Caylor Dr. David Cech and Dr. Mary Schwartz Mrs. Carol A. Chaney Mr. Chaing-Lin Chen Dr. Anna Chen & Dr. John Chung Kathleen & Robert L. Clarke William J. Clayton & Margaret A. Hughes Jimmy & Lynn Coe George W. Connelly James & Molly Crownover Nigel & Margaret Curlet Dr. & Mrs. Carl G. Dahlberg Ms. Jacquelyn Harrison & Mr. Thomas Damgaard Mr. Garreth DeVoe, Esq Ms. Elisabeth DeWitts Dr. & Mrs. Peter Dempsey Mr. & Mrs. E.E. Deschner Amanda & Adam Dinitz

Mr. & Mrs. James P. Dorn Bob & Mary Doyle Dr. Elizabeth Dybell Mr. Stephen Elison Annette & Knut Eriksen Mr. & Mrs. James H. Etherton Ms. Gloria Portela & Mr. Richard E. Evans Mr. Paul Fatseas Kelli Cohen Fein & Martin Fein Mr. & Mrs. Bruce Ference Jay Fields Larry Finger Dale & Anne Fitz Ms. Laurel Flores Henry & Doe Florsheim Carol & Larry Fradkin Elizabeth & Ralph Frankowski Mr. & Mrs. Christopher Frautschi Dale & Anne Fritz Ms. Aralee Dorough & Mr. Colin C. Gatwood Ms. Lucy Gebhart John & May Gee Ms. Pamela Newberry & Dr. Michael Gillin Kathy & Albrecht Goethe Susan & Kevin Golden Ms. Cora Mihu & Dr. John Gomez Marcos Gonzalez Kam & Jeffrey Gossett

Rebecca & Andrew Gould Jennifer & Joshua Gravenor Joyce Z. Greenberg Mr. & Mrs. Charles H. Gregory Paul & Suzanne Haines Mary N. Hankey Deborah Happ Dr. & Mrs. William C. Heird Elaine Herring and Jim Goltz Mr. Robert Hoff Mr. Stanley Hoffberger Mr. & Mrs. John Homier Mr. & Mrs. John Horstman Mark & Marilyn Hughes Mr. & Mrs. Matt Hurley Mr. Craig Ignacio Mr. & Mrs. Harvey Katz Lynda & Frank Kelly Mr. & Mrs. James L. Ketelsen Mr. & Mrs. William H. Knull III Mrs. Lee Kobayashi Mrs. Judy Koehl Dr. & Mrs. James H. Krause Dr. & Mrs. Morton Leonard Jr. Mr. & Mrs. Barry I. Levine Cynthia & Richard Loewenstern Mr. & Mrs. George Lopez Mr. & Ms. Bob J. Lunn Mr. & Mrs. Peter MacGregor Mr. & Mrs. Hubert Magee Mrs. Linda Massie

Mr. & Mrs. Alan May Jr. Linda & Jim McCartney Dr. Amy Mehollin-Ray Mrs. Charlotte M. Meyer & Mr. Russell J. Miller Mr. & Mrs. Richard S. Moen Emily & Joseph Morrel/ Porter Hedges LLP Jo Ann & Marvin Mueller Mr. & Mrs. Richard Murphy Daniel & Karol Musher Ms. Jennifer Naae Mr. & Mrs. Robert V. Nelson Jr. Joy & Gary Noble Mr. & Mrs. Anthony J. Nocella Mr. & Mrs. Mark Nuccio Ms. Kathryn O’Brien Ms. Maria C. Osorio Mr. & Mrs. Marc C. Paige George & Elizabeth Passela Linda Kay Peterson

Mr. & Mrs. George Pilko Dr & Mrs. James L. Pool Ms. Linda Posey Mr. Gary Prentice Mr. & Ms. Florante Quiocho Dr. Michael & Janet Rasmussen Mr. & Mrs. William B. Rawl Mr. & Mrs. J.B. Reimer Kathryn Ritcheske Mrs. Adelina Romero Jill & Milt Rose Mr. Richard Rowell Brenda & Mansel Rubenstein Kent Rutter & David Baumann Mrs. Holly Sansing Dr. & Mrs. Raymond Sawaya Ms. Kimberly Falgout & Mr. Evan Scheele Martin Schleuse & Mindy Guthrie Mr. Tony W. Schlicht Linda Schmuck

Charles & Dora Schneider Liana & Andrew Schwaitzberg Mr. Victor E. Serrato Barbara & Louis Sklar Dean & Kay Snider Sam & Linda Snyder Betty & Gerry Stacy Mr. & Mrs. Timothy M. Stastny Mr. & Mrs. Gregg Stephens Mr. & Mrs. Edward F. Stuart Mr. & Mrs. Ralph A. Stone Mr. & Mrs. Aaron Streett Mr. Clifford A. Swanlund Jr. Mr. & Mrs. Albert S. Tabor Jr. Mr. & Mrs. Peter B. Terenzio Jr. Emily H. & David K. Terry Mr. & Mrs. James G. Theus Linda & Paul Thomas Dr. Brad Thompson Suzy Till Mrs. Glenda C. Toole

Dr. & Mrs. Brad Urquhart Mr. & Mrs. William A. Van Wie Mr. Chief Veith Mr. & Mrs. John B. Wallace Mr. James Walker Mr. & Mrs. Douglas Walt Ms. Gwen E. Watkins Douglas & Carolynne White Dr. Simon Whitney Carlton Wilde Dr. Mary Ann Reynolds-Wilkins & Dr. Robert Wilkins Loretta & Lawrence Williams Dr. Alice Gates & Dr. Wayne Wilner Jennifer R. Wittman Mr. & Mrs. James W. Woodruff Dr. & Mrs. Frank S. Yelin Mr. & Mrs. Charles Zabriskie Anonymous (7)

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

Young Associate Premium Farida Abjani Ann & Jonathan Ayre Kimberly & James Bell Eric Brueggeman Tatiana Chavanelle Eric & Terry Cheyney

Young Associate



$2,500 or more

Valerie Palmquist Dieterich & Tracy Dieterich Vicky Dominguez Alexandra & Daniel Gottschalk Claudio Gutierrez Jeff & Elaine Hiller 

$1,500–$2,499

Dr. Genevera Allen & Michael Weylandt Michael Arlen Erin Ballance & Eugene Zilberman Drs. Laura & William Black Sverre & Carrie Brandsberg-Dahl Catherine Bratic & Mike Benza Divya & Chris Brown Megan Brown Parker Cragg Garreth DeVoe Amanda & Adam Dinitz

Christine Falgout / Island Operating Company Emily & Matthew Fellows Jay Fields Laurel Flores Carolyn & Patrick Gaidos J.J. Gonzalez Rebecca & Andrew Gould Jennifer & Joshua Gravenor Ashley & John Horstman Stacy & Jason Johnson Robin Kesselman

Shane Miller Tim Ong & Michael Baugh Toni Oplt & Ed Schneider Kusum & K. Cody Patel Nick Perez Ahmed Saleh

Becky Shaw Drs. Ishwaria & Vivek Subbiah Susan & Andrew Truscott

Kirby & David Lodholz Brian McCulloch & Jeremy Garcia Charyn McGinnis & Michelle Stair Emily & Joseph Morrel Porter Hedges LLP Jessica & Erick Navas Aprill Nelson Lauren Paine Blake Plaster Kimberly & Evan Scheele

Liana & Andrew Schwaitzberg Nadhisha & Dilanka Seimon Maggie Sheridan Molly Simpson & Patrice Abivin Aerin & Quentin Smith Leonardo Soto Mark Stadnyk & Amanda Hassler Katherine Thomasson & Michael Talbot Elise Wagner Gwen Watkins

For more information, please contact: Tyler Murphy, Development Officer, Major Giving Groups, 713.337.8536.

InTUNE — February 2020 | 37

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.

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 ConocoPhillips *Houston Public Media— News 88.7 FM; Channel 8 PBS *KTRK ABC-13 Phillips 66 *Oliver Wyman Guarantor  $100,000 and above Bank of America BB&T *Houston Methodist Kalsi Engineering *PaperCity Shell Oil Company *Tenenbaum Jewelers *United Airlines Underwriter  $50,000 and above *Baker Botts L.L.P. *Cameron Management Chevron ENGIE *The Events Company Exxon Mobil Corporation Frost Bank

(as of January 1, 2020)

Houston Baptist University Houston Livestock Show and Rodeo Kirkland & Ellis *The Lancaster Hotel Occidental Palmetto Partners Ltd./The Robert and Janice McNair Foundation *Rand Group, LLC Vinson & Elkins LLP Sponsor  $25,000 and above *Bright Star EOG Resources H-E-B/H-E-B Tournament of Champions IberiaBank *Jackson and Company Marine Foods Express, Ltd. *Neiman Marcus *One Market Square Garage PNC Bank Sidley Austin LLP SPIR STAR, Ltd. The University of Texas, MD Anderson Cancer Center Wells Fargo

CORPORATE MATCHING GIFTS Aetna Foundation, Inc. Akzo Nobel Inc. Albemarle Corporation Allstate Insurance Company American International Group (AIG) Ameriprise Financial, Inc. Aon Foundation Bank of America BBVA BHP Billiton BP/Matching Fund Programs Caterpillar Matching Gifts Program Chevron Matching Gifts Program CITGO Petroleum Corporation ConocoPhillips Company Dominion Energy Foundation Matching Gift Program

Partner  $15,000 and above Anadarko Petroleum Corporation *City Kitchen Fifth Third Bank *Glazier’s Distributors Gorman’s Uniform Service Independent Bank Laredo Construction, Inc. Locke Lord LLP Lockton Companies of Houston USI Southwest

Benefactor  $5,000 and above Barclay’s Wealth and Investment Management Beck Redden LLP Jim Benton of Houston* Louis Vuitton Randalls Russell Reynolds Associates, Inc. *University of St. Thomas Wortham Insurance and Risk Management

Supporter  $10,000 and above *Abraham’s Oriental Rugs CenterPoint Energy Emerson Greenberg Traurig, LLP *Houston First Corporation Kinder Morgan Foundation Macy’s May Wang/Mark Kamin & Associates Mitsubishi Corporation (Americas) Nordstrom *Silver Eagle Distributors Triten Corporation White & Case LLP *Zenfilm

Patron  Gifts below $5,000 Amazon Baker Hughes Bering’s Beth Wolff Realtors Mercantil ONEOK, Inc. *Quantum Bass Center SEI, Global Institutional Group Smith, Graham & Company Stewart Title Company TAM International, Inc. * Includes in-kind support

(as of January 1, 2020)

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

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

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

For more information, please contact: Timothy Dillow, Director, Corporate Relations, at timothy.dillow@houstonsymphony.org or 713.337.8538.

38 | Houston Symphony

FOUNDATIONS & GOVERNMENT AGENCIES Diamond Guarantor  $1,000,000 and above The Brown Foundation, Inc. Houston Symphony Endowment Houston Symphony League The Wortham Foundation, Inc.

Houston Endowment MD Anderson Foundation Texas Commission on the Arts

Premier Guarantor  $500,000 and above City of Houston and Theater District Improvement, Inc. The Cullen Trust for the Performing Arts Albert and Ethel Herzstein Charitable Foundation The C. Howard Pieper Foundation Grand Guarantor  $150,000 and above City of Houston through the Miller Theatre Advisory Board The Cullen Foundation The Jerry C. Dearing Family Foundation The Hearst Foundations

Guarantor  $100,000 and above Gary & Marian Beauchamp/ Beauchamp Foundation The Elkins Foundation The Humphreys Foundation Underwriter  $50,000 and above The Fondren Foundation Houston Symphony Chorus Endowment LTR Lewis Cloverdale Foundation John P. McGovern Foundation The Robert and Janice McNair Foundation / Palmetto Partners Ltd. The Powell Foundation The Robbins Foundation

(as of January 1, 2020)

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

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

For more information, please contact: Christina Trunzo, Director, Foundation Relations, at christina.trunzo@houstonsymphony.org or 713.337.8530.

IN-KIND DONORS 26 Daisies A Fare Extraordinaire Alexander’s Fine Portrait Design Alpha-Lee Enterprises, Inc. Aspire Executive Coaching, LLC Balthazar Cellars Bergner & Johnson Design Bering’s BKD, LLP Boat Ranch Burberry Cognetic Complete Eats Corinthian Houston Culinaire Elaine Turner Designs Elegant Events by Michael

(as of January 1, 2020) Elsie Smith Design Festari Forja Designs 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 John L. Worthan & Son, L.P. John Wright/Textprint JW Marriott Houston Downtown

Karbach Brewing Co. Kuhl-Linscomb Laura Rathe Fine Arts LG Entertainers Limb Design Martha Turner Properties Meera Buck & Associates Michael’s Cookie Jar Momentum Jaguar Music & Arts Nieman Marcus The Parson Family in memory of Dorothy Anne Parson Quantum Bass Randalls Food Markets Rice University Richard Brown Orchestra

Saint Arnold’s Brewery Saks Fifth Avenue Shecky’s Media, Inc. Singapore Airlines Shweiki Media Staging Solutions Steinway Piano Gallery Stewart Title Tony’s Tootsies Trinity Downtown Lutheran Church Valobra Jewelry & Antiques Versace Village Greenway VISION Whitmeyer’s Distilling Co. LLC

InTUNE — February 2020 | 39

Houston Symphony ENDOWMENT The Houston Symphony Endowment is a separate non-profit organization that invests contributions to earn income for the benefit of the Houston Symphony Society.

TRUSTEES

William J. Toomey II, President Gene Dewhurst

James Lee Lynn Mathre

Jerry Simon Scott Wise

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: Steven Covington, Director of Endowment and Planned Giving, at steven.covington@houstonsymphony.org or 713.337.8532.

ENDOWMENT FUNDS $100,000 + Accenture (Andersen Consulting) Fund AIG American General Fund M.D. Anderson Foundation Fund Mr. & Mrs. Philip Bahr Fund Janice H. & Thomas D. Barrow Fund Ronald C. Borschow Fund The Brown Foundation Guest Pianist Fund The Brown Foundation’s Miller Outdoor Theatre Fund in memory of Hanni & Stewart Orton Margarett & Alice Brown Endowment Fund for Education Lawrence E. Carlton, M.D. Endowment Fund for Youth Programs Jane & Robert Cizik Fund The Janet Clark Fund Cooper Industries, Inc. Fund The Cullen Foundation Maestro’s Fund The Cullen Trust for the Performing Arts Fund for Creative Initiatives DuPont Corporation Fund Elkins Charitable Trust Agency Fund The Margaret & James A. Elkins Foundation Fund Virginia Lee Elverson Trust Fund William Stamps Farish Fund Dr. Kelli Cohen Fein & Martin J. Fein Fund Richard P. Garmany Fund for the Houston Symphony League Concerto Competition Jo A. & Billie Jo Graves Fund George & Mary Josephine Hamman Foundation Fund The William Randolph Hearst Endowed Fund for Education Programs 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 Houston Arts Combined Endowment Fund The Houston Symphony Chorus Endowment Fund Mr. & Mrs. Marvin Kaplan Fund

Ann Kennedy & Geoffrey Walker Fund Rochelle & Max Levit Fund Mary R. Lewis Fund for Piano Performance Mach Family Audience Development Fund Mr. & Mrs. Rodney H. Margolis Fund Mr. & Mrs. J. Stephen Marks Fund/ The Marks Charitable Foundation Marian & Speros Martel Foundation Fund Speros P. Martel Fund Barbara & Pat McCelvey Fund The Menil Foundation Fund Monroe Mendelsohn Jr. Estate George P. & Cynthia Woods Mitchell Summer Concerts Fund Sue A. Morrison & Children Fund National Endowment for the Arts Fund Stewart Orton Fund Papadopoulos Fund C. Howard Pieper Foundation Nancy & Robert Peiser Fund Fayez Sarofim Guest Violinist Fund through The Cullen Trust for the Performing Arts Selma S. Neumann Fund Spec’s Charitable Foundation Salute to Educators Concert Fund The Micajah S. Stude Special Production Fund Estate of Mr. Walter W. Sapp Fund The Schissler Foundation Fund Mr. & Mrs. William T. Slick Jr. Fund Dorothy Barton Thomas Fund Bobby & Phoebe Tudor Fund Mr. & Mrs. Jesse B. Tutor Fund Dede & Connie Weil Fund The Wortham Foundation Classical Series Fund endowed in memory of Gus S. & Lyndall F. Wortham The Wortham Foundation Fund

Visit our website at houstonsymphony.org/endowment for a complete listing of Endowment Funds.

40 | Houston Symphony

Legacy SOCIETY The Legacy Society honors those who have included the Houston Symphony Endowment in their long-term estate plans through a bequest in a will, life-income gifts, or other deferred-giving arrangements.

CRESCENDO CIRCLE $100,000 + Dr. & Mrs. George J. Abdo Priscilla R. Angly Janice Barrow James Barton James Bell James & S. Dale Brannon Nancy & Walter Bratic Joe Brazzatti Terry Ann Brown Mary Kathryn Campion & Stephen Liston Drs. Dennis & Susan Carlyle Janet F. Clark Mr. William E. Colburn Darrin Davis & Mario Gudmundsson

Harrison R.T. Davis Andria N. Elkins Jean & Jack* Ellis The Aubrey* & Sylvia Farb Family Eugene Fong Mrs. Aggie L. Foster Michael B. George Stephen & Mariglyn Glenn Evan B. Glick Jo A. & Billie Jo Graves Bill Grieves Jacquelyn Harrison & Thomas Damgaard Dr. Rita Justice Dr. James E. & Betty W. Key

Mr. & Mrs. U. J. LeGrange Ms. Nancey G. Lobb Joella & Steven P. Mach Bill & Karinne McCullough Mr. & Mrs. Alexander K. McLanahan Dr. Georgette M. Michko Dr. & Mrs.* Robert M. Mihalo Sue A. Morrison & children in memory of Walter J. Morrison Mr. & Mrs. Marvin H. Mueller Drs. John & Dorothy Oehler Gloria G. Pryzant Donna Scott Charles & Andrea Seay Michael J. Shawiak

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

Farida Abjani Mr. & Mrs. Jeffrey B. Aron Myra W. Barber Daniel B. Barnum George* & Betty Bashen Dr. Joan Hacken Bitar Dorothy B. Black Kerry Levine Bollmann Ermy Borlenghi Bonfield Zu Broadwater Mr. Christopher & Mrs. Erin Brunner Eugene R. Bruns Cheryl & Sam Byington Sylvia J. Carroll Dr. Robert N. Chanon William J. Clayton & Margaret A. Hughes Mr. & Mrs. Byron Cooley The Honorable & Mrs. William Crassas Dr. Lida S. Dahm Leslie Barry Davidson Judge & Mrs.* Harold DeMoss Jr. Susan Feickert Ginny Garrett Mr. & Mrs. Harry H. Gendel Mauro H. Gimenez & Connie A. Coulomb Mr. Robert M. Griswold Randolph Lee Groninger Claudio J. Gutierrez

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

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

Ed & Janet Rinehart Mr. Floyd W. Robinson Walter Ross Mr. & Mrs. James A. Shaffer Dr. & Mrs. Kazuo Shimada Lisa & Jerry Simon Tad & Suzanne Smith Sherry Snyder Marie Speziale Emily H. & David K. Terry Stephen G. Tipps Steve Tostengard, in memory of Ardyce Tostengard Jana Vander Lee Bill & Agnete Vaughan Dean B. Walker Stephen & Kristine Wallace David M. Wax* & Elaine Arden Cali Geoffrey Westergaard Nancy B. Willerson Jennifer R. Wittman Lorraine & Ed* Wulfe David & Tara Wuthrich Katherine & Mark Yzaguirre Edith & Robert Zinn Anonymous (6) *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 William Carson Biggs Ronald C. Borschow Mrs. H. Raymond Brannon Joan K. Bruchas & H. Philip Cowdin Anthony Brigandi Lawrence E. Carlton, M.D. Mrs. Albert V. Caselli Robert Cizik 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 Robert A. Peiser Miss Louise Pearl Perkins Mary Anne H. Phillips Mr. Howard Pieper Clive Runnells, in memory of Nancy Morgan Runnells Ugo di Portanova Evie Ronald

Mr. Charles K. Sanders Walter W. Sapp, Legacy Society co-founder J. Fred & Alma Laws Lunsford Schultz Ms. Jean R. Sides Lola Sinclair Blanche Stastny John K. & Fanny W. Stone Richard H. Stork Dorothy Barton Thomas Dr. Carlos Vallbona Mr. Harry C. Wiess Mrs. Edward Wilkerson Daisy S. Wong / JCorp Ed Wulfe Anonymous (1) InTUNE — February 2020 | 41

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 The Jerry C. Dearing Family Foundation City of Houston through the Miller Theatre Advisory Board The Hearst Foundations, Inc. Houston Symphony Endowment Mr. John N. Neighbors

Underwriter



$50,000+

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

Sponsor



$25,000+

Chevron Houston Symphony Hispanic Leadership Council PNC Bank Wells Fargo

Partner



$15,000+

Anadarko Petroleum Corporation Ruth and Ted Bauer Family Foundation Barbara Bush Literacy Foundation The Melbern G. and Susanne M. Glasscock Foundation H-E-B Tournament of Champions Houston Symphony League Houston Symphony League Bay Area Macy’s Occidental Vivian L. Smith Foundation Mr. Jay Steinfeld & Mrs. Barbara Winthrop Ellen A. Yarrell in memory of Virginia S. Anderson and in honor of Cora Sue Mach 42 | Houston Symphony

Supporter



$10,000+

CenterPoint Energy George & Mary Josephine Hamman Foundation Mitsubishi Corporation (Americas) William E. & Natoma Pyle Harvey Charitable Trust Nancy & Robert* Peiser Nordstrom

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 Texas Commission on the Arts

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

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

Support for the CommunityEmbedded Musicians Initiative The Community-Embedded Musicians Initiative is supported in part by a generous grant from the American Orchestras’ Futures Fund, a program of the League of American Orchestras made possible by funding from the Ann & Gordon Getty Foundation.

The Houston Symphony residency at Lewis Elementary is presented in part

by BBVA and the BBVA Foundation. We are also thankful to HISD and these lead supporters of the CommunityEmbedded Musician program: Robert and Janice McNair Foundation National Endowment for the Arts Spec’s Wines, Spirits and Finer Foods / Spec’s Charitable Foundation Mr. Jay Steinfeld & Mrs. Barbara Winthrop H-E-B Tournament of Champions

MUSICIAN SPONSORSHIPS Annual Fund Donors at the Diamond Level and above are provided the opportunity to be recognized as a Houston Symphony Musician Sponsor. For more information, please contact Tyler Murphy, Development Officer, Major Giving Groups, at tyler.murphy@houstonsymphony.org or 713.337.8536.

Janice Barrow Sophia Silivos, First Violin Gary & Marian Beauchamp Martha Chapman, Second Violin Nancy & Walter Bratic Christopher Neal, First Violin Mr. Gordon J. Brodfuehrer Maki Kubota, Cello Ralph Burch Robin Kesselman, Principal Double Bass Barbara J. Burger Andrew Pedersen, Double Bass Dr. M.K. Campion Rodica Gonzalez, First Violin Drs. Dennis & Susan Carlyle Louis-Marie Fardet, Cello Jane & Robert Cizik Qi Ming, Assistant Concertmaster Janet F. Clark MuChen Hsieh, Principal Second Violin 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 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

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 Annie Chen, Second Violin 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

Roger & Debby Cutler Tong Yan, First Violin

Jay & Shirley* Marks Sergei Galperin, First Violin

John & Lindy Rydman / Spec’s Wines, Spirits & Finer Foods Anthony Kitai, Cello

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

Michelle & Jack Matzer Kurt Johnson, First Violin

Mr. & Mrs. James A. Shaffer Eric Halen, Co-Concertmaster

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

Laura & Michael Shannon Rian Craypo, Principal Bassoon

Barbara & Pat McCelvey Adam Dinitz, English Horn

Tad & Suzanne Smith Marina Brubaker, First Violin

Kelli Cohen Fein & Martin Fein Ferenc Illenyi, First Violin

Mr. & Mrs. Alexander K. McLanahan William VerMeulen, Principal Horn

Alana R. Spiwak & Sam L. Stolbun Wei Jiang, Viola

Mr. & Mrs. Russell M. Frankel Aralee Dorough, Principal Flute

Martha & Marvin McMurrey Rodica Gonzalez, First Violin

Stephen & Mariglyn Glenn Christian Schubert, Clarinet

Dr. Robert M. Mihalo Brian Thomas, Horn

Evan B. Glick Tong Yan, First Violin

Rita & Paul Morico Elise Wagner, Bassoon

Mr. & Mrs. Fred L. Gorman Christopher French, Associate Principal Cello

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

Joan & Bob Duff Robert Johnson, Associate Principal Horn Scott Ensell & Family Donald Howey, Double Bass

Bobbie Newman Rodica Gonzalez, First Violin

Ms. Judith Vincent Matthew Roitstein, Associate Principal Flute 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 Robert G. Weiner & Toni Blankman Anastasia Ehrlich, Second Violin 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 Nina & Michael Zilkha Kurt Johnson, First Violin *deceased

Mr. & Mrs. Robert R. Springob, Laredo Construction, Inc. Mihaela Frusina, Second Violin Mike Stude Brinton Averil Smith, Principal Cello Bobby & Phoebe Tudor Bradley White, Associate Principal Trombone Mr. & Mrs. Jesse B. Tutor Daniel Strba, Viola

InTUNE — February 2020 | 43

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WHAT’S IN MY CASE? WITH MUCHEN HSIEH 1. VIOLIN by Boston violin maker Andrew Ryan. “I commissioned this violin in 2014 while living in Boston.” 2. CLOTH COVER protects the violin inside the case. “It came from the inside liner of a dress my grandma made for me.” 3. BOWS by maker Benoit Rolland. “I bought one bow from my former teacher Malcolm Lowe, and then commissioned the other bow the same year.”

4. VIOLIN STRINGS “I generally replace my strings every two to three months. Sometimes the E string needs to be replaced more often.” 5. CLOTH for onstage tidying, given to MuChen by her mother. 6. PHOTOS from left to right: MuChen’s tenure party after a concert, a baby shower for violinist Tina Zhang, a Symphony gala, and a second violin group photo from MuChen’s 2019 concerto performance at Miller Outdoor Theatre. “These people and experiences are so close to me and my violin, so whenever I open my case, I think of them and the memorable concerts we played together.” 7. ROSIN adds friction and resistance between the bow and strings. “I apply rosin on my bows daily”. 8. SHOULDER REST “This is the Pirastro KorfkerRest, made with bendable maple tone wood and very easy to adjust.” 9. VIOLIN CASE About 5 years old. “I have a new case sitting at home, but I am not ready to change yet.” 10. AUTOGRAPHS Hilary Hahn, Augustin Hadelich, and Emanuel Ax. 11. CHARM A gift from MuChen’s mother, it features the second character of her name (“Chen”) inscribed in Chinese. “My sister has the same case and charm with her name on it too.”

44 | Houston Symphony

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