InTune — The Houston Symphony Magazine — March 2020

THE HOUSTON SYMPHONY MAGAZINE

MARCH 2020

UNFORGETTABLE : CELEBRATING THE 22 NAT KING COLE CENTENNIAL

ADAMS’ EL NIÑO 26

SWING TO ROCK WITH DAVE BENNETT 34

MOZART’S PIANO CONCERTO NO. 20 36

February 28 & 29, March 1 March 14 & 15

March 20, 21 & 22

March 26, 28 & 29

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InTUNE | M A R C H

2020

Programs

Unforgettable: Celebrating The Nat King Cole Centennial

February 28 & 29, March 1 ���������������������������������������������������������������22 Adams’ El Niño

March 14 & 15 �����������������������������������������������������������������������������������������26 Swing To Rock with Dave Bennett

March 20, 21 & 22 ���������������������������������������������������������������������������������34 Mozart’s Piano Concerto No. 20

March 26, 28 & 29 ���������������������������������������������������������������������������������36

Features

Letter to Patrons ������������������������������������������������������������������������������������������������2 The 2020–21 Season �������������������������������������������������������������������������������������� 12 A Letter from Steven Reineke ����������������������������������������������������������������� 14 2020 Wine Dinner & Collector’s Auction ����������������������������������������� 16 Young Associate Council ����������������������������������������������������������������������������� 17 Preview: Musicians’ Pick, Mahler 7 ����������������������������������������������������� 18 Preview: 10 Reasons Why Aretha Is the Queen of Soul ������������20 Join the Legacy Society �������������������������������������������������������������������������������� 21 Backstage Pass: Musicians In the Community ����������������������������52

Your Houston Symphony

Your Symphony Experience . . . . . . . . . . . . . . . . . . . . . . . . . 3 Andrés Orozco-Estrada, Music Director . . . . . . . . . . . . . . . 4 Upcoming Broadcasts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Houston Symphony Chorus . . . . . . . . . . . . . . . . . . . . . . . . . 6 Orchestra Roster ������������������������������������������������������������������������������������������������8 Society Board of Trustees ������������������������������������������������������������������������������9 Staff Listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Our Supporters

Houston Symphony Donors . . . . . . . . . . . . . . . . . . . . . . . 42 Young Associates Council . . . . . . . . . . . . . . . . . . . . . . . . . 45 Corporate, Foundation, and Government Partners ��������������������46 In-Kind Donors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Houston Symphony Endowment . . . . . . . . . . . . . . . . . . . . 48 Legacy Society and In Memoriam . . . . . . . . . . . . . . . . . . . 49 Education and Community Engagement Donors . . . . . . . . . 50 Musician Sponsorships . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Learn why our musicians are excited about next month’s performances of Mahler 7.

18

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 MARCH 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.

Advertise in InTUNE

At the end of January, we announced our 2020-21 Season.

In the life of any orchestra, announcing a new season is a big moment. It’s Andrés’s seventh season with us, and we’re thrilled that our plans include a three-year artistic partnership with the world-renowned Itzhak Perlman and visits from guest artists, including Lang Lang, Lief Ove Andsnes, Hilary Hahn, Midori, and more. Learn more details about what’s in store on page 12.

In the meantime, this month features an exciting array of both familiar favorites and new discoveries in our Classical and POPS Series. We begin with Unforgettable: Celebrating the Nat King Cole Centennial, our tribute to the legendary singer, before presenting Adams’ El Niño, the contemporary American composer’s musical retelling of the Christmas story. Swing to Rock with Dave Bennett features the impressive vocalist, pianist, clarinetist, and guitarist in music of Elvis, Johnny Cash, Jerry Lee Lewis, Glenn Miller, and more. March concludes with Mozart’s Piano Concerto No. 20, showcasing acclaimed French pianist Cédric Tiberghien. Cédric also joins concertmaster Yoonshin Song and other Houston Symphony musicians for the finale of our Chamber Music Series, a program anchored by Chausson’s virtuoso Concerto for Violin, Piano, and String Quartet on March 27.

Next month begins with one of the current season’s most anticipated programs, Mahler 7, led by Music Director Andrés Orozco-Estrada. Find out why the Houston Symphony’s musicians love to play Mahler with Andrés on page 18. Our POPS Series continues with Aretha: Queen of Soul; learn more about this late, great artist on page 20. The whole family is sure to enjoy Harry Potter and the Half-Blood Prince™ in Concert, our latest film with live orchestra presentation, and Heroes and Adventures, which closes out this season’s BBVA Family Series.

Until then, enjoy this performance, and we hope to see you back at Jones Hall soon.

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2 | Houston Symphony

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

PATRON SERVICES

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

GROUP SALES

713.238.1435 Mon–Fri | 9 a.m.–5 p.m. groupsales@houstonsymphony.org

ADMINISTRATIVE OFFICES 713.238.1420 Mon–Fri | 9 a.m.–5 p.m.

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 — March 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 presented a new two-week Schumann Festival last month featuring the composer’s symphonies, concertos, choral works, and chamber music. He 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.

MARCH 2020 BROADCAST SCHEDULE • ALL BROADCASTS AIR AT 8 P.M. March 2 | News 88.7 March 4 | Classical

March 8 | News 88.7 March 11 | Classical

March 15 | News 88.7 March 18 | Classical

March 22 | News 88.7 March 25 | Classical

March 29 | News 88.7 April 1 | Classical

RECORDED: March 22, 24 & 25, 2012

RECORDED: October 25, 27 & 28, 2012

RECORDED: September 15, 2012

RECORDED: March 8–10, 2019

RECORDED: Feb. 28, March 2 & 3, 2019

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

Andrés Orozco-Estrada, conductor William VerMeulen, horn Berlioz: Le carnaval romain (The Roman Carnival), Opus 9 R. Strauss: Horn Concerto No. 1 in E-flat major, Opus 11 Berlioz: Symphonie fantastique, Opus 14

Hans Graf, conductor Frank Huang, violin Brinton Averil Smith, cello Brahms: Variations on a Theme of Haydn, Opus 56a Brahms: Concerto in A minor for Violin, Cello, and Orchestra, Opus 102 (Double) Brahms: Symphony No. 4 in E minor, Opus 98

Ludovic Morlot, conductor Berlioz: Overture to Béatrice et Bénédict Dutilleux: Les Citations Jonathan Fisher, oboe Matthew Strauss, percussion Scott Holshouser, harpsichord Robin Kesselman, double bass Ravel: Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet Aralee Dorough, flute Mark Nuccio, clarinet Laurie Meister, harp Annie Chen, violin Anastasia Erhlich, violin Sheldon Person, viola Maki Kubota, cello Roussel: Suite from Le festin de l’araignée (The Spider’s Feast), Opus 17 Debussy: La mer

Christoph Eschenbach, conductor Jennifer Koh, violin E.-P. Salonen: Violin Concerto Bruckner: Symphony No. 4 in E-flat major (Romantic)

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CHORUS

HOUSTON SYMPHONY Betsy Cook Weber Director

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

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

In addition, the Chorus enjoys participating in the Houston Symphony’s popular programming under the batons of conductors such as Steven Reineke and Michael Krajewski. Recently, the ensemble sang the closing subscription concerts with the Prague Symphony Orchestra in the Czech Republic.

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

Betsy Cook Weber | Houston Symphony Chorus, Director 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.

CHORUS ROSTER | Rehearsal Conductor

Matthew Hazzard

Section Leaders

Brianna Fernandez Jillian Hughes Stephen James Douglas Rodenberger

Chorus Council

Ramona Alms Joe Anzaldua Jonathan Bordelon Nancy Bratic Randy Eckman Brianna Fernandez Julia FitzGerald Michael Gilbert Susan Hall Jillian Hughes Stephen James

6 | Houston Symphony

El Niño • March 14 & 15

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

Chorus Roster

Melissa Adams Wilton T. Adams Mary Ann Addis Bob Alban Kelli Amick Lauren Andersen Keith Anthis Joe Anzaldua Claude Bitner Randy Boatright Jonathan Bordelon

Timothy Boyer Sara Brannon Nancy Bratic Jennifer Breneman Brandon Bulls Kimberly Butler James Calvert William Cheadle Wei-Huan Chen Jennifer Christian Nancy Christopherson Holly Churman Sarah Clark Nicole Colby Brian Cook Paul Dabney Nicolas Dell'Anno Anna Diemer Michael Dorn

Steve Dukes Paul Ehrsam Raul Enriquez Chris Fair Brianna Fernandez Amanda Fetter-Matthys Ian Fetterley Rachel Fly Katie Fry Joseph Frybert Rachel Gehman Michael Gilbert Rex Gillit Rebecca Girardet Taylor Golden Robert Gomez Daniel Gorelick Sandra Haggray Scott Hassett

Matthew Hazzard Matthew Henderson Kathleen Holder MaryKate Hotaling Catherine Howard George Howe Jillian Hughes Sean Jackson Stephen James Rodney S. Jones Mark Kim Nobuhide Kobori Elizabeth Kragas Kat Kunz Doreen Lee Yang Li Benjamin Luss

Relana Luss Solange Mainer Lisa Marut-Shriver Ken Mathews Sarah McConnell Melissa Medina Scott Mermelstein Melissa Miles Travis Mohle Jim Moore Robert Nash Benedict Nguyen Theresa Olin David Opheim Alyssa Orlando Janwin Overstreet-Goode Bill Parker

Jennifer Paulson Noah Peak Ariella Perlman Kody Pisney Chantel Potvin Lauren Price Greg Railsback Karen Ramirez Linda Renner Rachel Rentz Douglas Rodenberger Carolyn Rogan Grace Roman James Roman Missy Roth Scott Roth Paloma Santamaría

Alex Schaaf Gary Scullin Ben Seligson Tony Sessions Dewell Springer Mark Standridge Rebekah Terwilliger Lisa Trewin Paul Van Dorn Mary Voigt Christine Voss Beth Weidler Kat White Lee Williams

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InTUNE — March 2020 | 7

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*

8 | 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

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 Andrew Go Lee, M.D. 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 — March 2020 | 9

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

10 | Houston Symphony

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“WE INVITE YOU TO JOIN US FOR A SEASON FILLED WITH MUSIC TO S PA R K Y O U R I M A G I N AT I O N A N D INSPIRE JOY IN YOUR LIFE.” – Andrés Orozco-Estrada

12 | Houston Symphony

EXPERIENCE THE...

JOY

ADVENTURE

Beethoven’s immortal Ninth caps off a season-long celebration of the composer’s 250th birthday.

Immerse yourself in orchestral epics like Strauss’s A Hero’s Life, Mahler 9, and Tchaikovsky 5.

FORCE

STARPOWER

Bring the whole family for a Thanksgiving-weekend showing of Star Wars: Return of the Jedi—in Concert.

Lang Lang, Itzhak Perlman, Hilary Hahn, and Midori are just a few of the amazing talents in store.

Subscribe for as little as $138 & unlock presale access to Lang Lang, Itzhak Perlman, Beethoven 5, and more.

H O U S TO N S YM P H O N Y. O R G / S U B S C R I BE

InTUNE — March 2020 | 13

DEAR HOUSTON SYMPHONY FAMILY MEMBER, On behalf of all the creative people at the Houston Symphony, both on stage and behind the scenes, I’m so grateful for your support of the finest musicians in town. As Principal POPS Conductor, it’s my honor to collaborate with your Houston Symphony alongside outstanding guest artists.

I’m thinking of guests like the incomparable Tony DeSare, who opened January at Jones Hall with Sinatra and Beyond—I hope you were there! More amazing singers are coming this month to pay tribute to icons of the 20th century. First, Ryan Shaw and Josette Newsam pay tribute to the great Nat King Cole for his 100th birthday (February 28, 29, and March 1). Then, Dave Bennett, a man with more musical skills than many whole bands—vocals, piano, clarinet, guitar—takes us on a tour from the 1930s to the 1950s, from swing to rock and beyond (March 20, 21, and 22).

As a non-profit organization, the Symphony relies on the generosity of its donors. If you’re supporting the POPS Series already, thank you so much! If you’re not, I encourage you to contact Christine Stevens, Director of Individual Giving, at 713.337.8531 or christine.stevens@houstonsymphony.org, or give a gift at houstonsymphony.org/donate.

Thanks for letting us inspire and entertain you. I can’t wait to see you soon at Jones Hall!

Warm regards,

Steven Reineke Principal POPS Conductor

14 | Houston Symphony

SHE’S ON HIS SHOULDERS BECAUSE WE HAD HIS BACK.

PERFORMING OVER 3,000 SPINE SURGERIES A YEAR. GETTING YOU BACK TO WHAT MATTERS MOST.

Back and neck pain can be debilitating. That’s why we offer a range of advanced treatments for the many diseases or conditions that cause chronic pain. Our affiliated Neuroscience, Pain and Rehabilitative specialists all throughout Greater Houston are dedicated to providing relief and restoring function and quality of life. So, we can make the road to recovery shorter than ever for our patients.

Advancing health. Personalizing care.

memorialhermann.org/backpain

HOUSTON SYMPHONY

2020 WINE DINNER & COLLECTOR’S AUCTION

ANN & JONATHAN AYRE

RALPH BURCH & VICKI WEST

On January 31, 2020, 330 Houston Symphony supporters and wine lovers assembled at Jones Hall for the 2020 Wine Dinner and Collector’s Auction. The event, chaired by Valerie and Tracy Dieterich and Carolyn Faulk and Pat Studdert, raised more than $570,000 for the Symphony’s Education and Community Engagement Initiatives.

The evening began with a Dom Perignon reception, underwritten by Co-Chair Carolyn Faulk, during which guests examined the extensive auction of more than 113 lots, including rare and spectacular wines, spirits, trips, and experiences. The annual raffle raised $12,000, and at the end of the night, Chelsea and Matt Pacey of Kirkland & Ellis won the drawing for a curated collection of twelve 100-point wines.

After the reception, guests moved from the lobby onto a Jones Hall stage transformed by Richard Flowers and The Events Company into a Paris evening. There, they enjoyed a five-course dinner

by Tony’s with wine pairings by Lindy and John Rydman and Lisa Rydman of Spec’s Wines, Spirits & Finer Foods. As a special treat, guests were invited to judge a blind comparison of wines from California and France.

16 | Houston Symphony

PAT STUDDERT AND CAROLYN FAULK, VALERIE & TRACY DIETERICH

MARGARET ALKEK WILLIAMS

ROBERT SAKOWITZ AND LEXI SAKOWITZ MAREK

THE HONORABLE BILL WHITE AND JANET CLARK

Left to right: Ann Ayre, 2019-20 YAC Chair; Brian McCulloch; Kusum Patel

YOUNG JOHN & LINDY RYDMAN, JOHN MANGUM, LISA RYDMAN & ERIC LINDSEY

ASSOCIATES C O U N C I L

Join a vibrant group of young philanthropists and music lovers, and enjoy exclusive behind-the-scenes events and a discounted subscription package.

Contact Tyler Murphy, Development Officer, Major Giving Groups, at 713.337.8536 or tyler.murphy@houstonsymphony.org or visit houstonsymphony.org/yac

BOB WEINER, MATT & CHELSEA PACEY, TRACY DIETERICH PHOTOS BY WILSON PARISH AND DANIEL ORTIZ

concert PREVIEW APRIL 3, 4 & 5 | JONES HALL

Every orchestra player probably remembers the first time he or she got to play a Mahler symphony. It's like no other repertoire. For me, it was during my sophomore year at Oberlin Conservatory.

It was this same symphony, which has five flute parts. The principal part was assigned to one of the seniors, Adam Keunzel, who is now principal flute in the Minnesota Orchestra. He was a wonderful player, and I was in awe, hoping someday I would be able to play principal flute on a big orchestral work with that kind of finesse and confidence. I had a long way to go at the time! The first time I played the first part for this symphony was with former Music Director Christoph Eschenbach in 1992. I have not played it since, so I’m really looking forward to performing this special piece again.

Aralee Dorough principal flute

Instantly arresting. Brazenly theatrical. Larger than life. To experience a Mahler symphony live is an experience unlike any other. In his Seventh Symphony, Mahler paints with every color in the orchestral palette—from clanging cowbell to strumming mandolin—to summon nocturnal worlds both nightmarish and serene, menacingly dark and lustrously moonlit. Night erupts into dazzling day in a riotous finale replete with blazing brass and pealing bells.

On April 3, 4, and 5, Music Director Andrés Orozco-Estrada leads the Houston Symphony in this epic masterpiece. When we first announced the current season, many musicians named these concerts as the ones they were most looking forward to. Here are just a few reasons why.

18 | Houston Symphony

I’m most excited about the Mahler 7 weekend. If the last movement doesn’t excite you, you need to check your pulse!

Mark Hughes principal trumpet

Mahler 7 is a piece that is not performed often enough. With the leadership coming from our wonderful music director, Andrés Orozco-Estrada, it is guaranteed to be a huge crowd pleaser, as well as a season highlight for the musicians.

Mark Nuccio principal clarinet

Mahler is arguably the greatest symphony composer ever, and Andrés always brings energy and compassion to his music. Late Mahler is very impassioned and rich, very complicated and beautiful music. It keeps changing and surprising the listener. As for what I love about his Seventh Symphony...bells!!! They make for a glorious ending to the symphony.

Brian Del Signore principal percussion

I have never even had the opportunity to hear Mahler 7 live, much less play it. It is sure to be an unforgettable weekend.

Robin Kesselman principal double bass

Visit houstonsymphony.org/mahler7 for tickets and more information.

InTUNE — March 2020 | 19

10 REASONS Why Aretha is the Queen of Soul On April 17, 18, and 19, the Houston Symphony pays tribute to Aretha Franklin, celebrated and known world-wide as the Queen of Soul. Despite the fact that she was one of the most famous people on the planet with one of the most distinctive voices the music industry has ever heard, there are still a few things that seem surprising about Aretha Franklin’s remarkable life.

concert PREVIEW APRIL 17, 18 & 19 | JONES HALL

1

Born Aretha Louise Franklin on March 25, 1942, in Memphis, Tennessee, she learned to play piano entirely by ear. She was selftaught, but came to it naturally, as her mother was a fine pianist and singer herself.

2

Aretha’s mother passed away before Aretha reached age 10. Several women stepped up to help take care of the Franklin kids, including gospel legend Mahalia Jackson.

3

Aretha’s father was a celebrated preacher and gospel singer, and visitors to the Franklin household included the likes of Sam Cooke, James Cleveland, Clara Ward, Jackie Wilson, and the Reverend Dr. Martin Luther King Jr.

20 | Houston Symphony

4

One of the hits for which Aretha became best known, “Respect,” was originally recorded in 1967 by Otis Redding, who wrote the song.

5

In 1987, Aretha was the first female artist to be inducted into the Rock and Roll Hall of Fame. She was also inducted into the Gospel Music Association’s Hall of Fame, the NAACP Hall of Fame, the Apollo Theater Legends Hall of Fame, and the UK Music Hall of Fame.

6

Aretha performed at the inauguration of no less than three U.S. presidents: Jimmy Carter (1977), Bill Clinton (1992), and Barack Obama (2009).

7 8 9

Aretha gave a command performance before Queen Elizabeth II at Royal Albert Hall in 1980.

At her peak, Aretha boasted an astonishing four-octave vocal range.

Aretha was nominated for Grammy Awards 44 times, with 18 wins and three additional special Grammys to her credit.

10

On Rolling Stone magazine’s list of the Greatest Singers of All Time, Aretha Franklin is number one.

—Eric Skelly Visit houstonsymphony.org/aretha for tickets and more information.

JOIN THE LEGACY SOCIETY AND SUPPORT YOUR MUSICAL PASSION FAR INTO THE FUTURE YOU’RE PASSIONATE ABOUT THE HOUSTON SYMPHONY. Many people who share your passion have joined the Legacy Society by creating an estate gift, which will ensure their love for the Symphony endures for many years.

To become a member of the Legacy Society, just let the Houston Symphony know that it is included in your estate plans in some way.

An estate gift can take many forms, but a couple of the most popular include:

NAMING THE HOUSTON SYMPHONY ENDOWMENT IN YOUR WILL OR LIVING TRUST

• Your benefits: Retain control of your assets and have the flexibility to change your mind at any time.

• You can list a specific dollar amount in your will or trust or designate a percentage of your overall estate.

NAMING THE HOUSTON SYMPHONY ENDOWMENT AS BENEFICIARY OF YOUR RETIREMENT ACCOUNTS

• Your benefit: These assets pass to us tax-free, ensuring the entire amount can be used by the Symphony. If passed to your loved ones, they would have to pay income tax when distributions are made from the account.

“In our early married life, we first attended the Houston Symphony because a kind patron shared tickets with us. We now wish to continue what others have done before us—make sure that music lovers in the future can enjoy the Symphony just as we did then and still do today. Joining the Legacy Society is something we can do to keep the Symphony on a solid financial footing and make its performances accessible to as many people as possible for generations to come.”

— BETTY & JIM KEY

THE LEGACY SOCIETY When you join the Legacy Society, you’ll be among friends who share your passion for the Symphony. Now numbering about 170 people, members enjoy invitations to special events and extra touches that make your Symphony experience more special and meaningful.

Learn more about an estate gift for the Houston Symphony and the Legacy Society Contact Steven Covington, Director of Endowment and Planned Giving, at 713.337.8532 or steven.covington@houstonsymphony.org. Or visit houstonsymphony.planmylegacy.org.

The information above is not intended as legal advice. Always consult an attorney or tax advisor.

InTUNE — March 2020 | 21

FEATURED PROGRAM

UNFORGETTABLE: CELEBRATING THE NAT KING COLE CENTENNIAL Friday Saturday Sunday

February 28 February 29 March 1

8:00 p.m.

8:00 p.m.

2:30 p.m.

Jones Hall

Steven Reineke, conductor Ryan Shaw, vocalist *Josette Newsam, vocalist *Houston Symphony debut

TONIGHT’S PROGRAM WILL BE ANNOUNCED FROM THE STAGE. THERE WILL BE ONE INTERMISSION.

22 | Houston Symphony

Unforgettable: Celebrating The Nat King Cole Centennial | Program Biographies

Program BIOGRAPHIES These performances are generously supported in part by: Supporter Schwartz Associates, LLC

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

Steven Reineke | conductor Steven Reineke has established himself as one of North America’s leading conductors of popular music. In addition to his role as Principal POPS Conductor of the Houston Symphony, this season, he celebrates his 10th anniversary as music director of The New York Pops at Carnegie Hall. Additionally, he is principal pops conductor of the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts and the Toronto Symphony Orchestra.

Steven is a frequent guest conductor with The Philadelphia Orchestra, and his extensive North American conducting appearances include Atlanta, Cincinnati, Edmonton, San Francisco, and Sarasota.

On stage, he has created programs and collaborated with a range of leading artists from the worlds of hip hop, Broadway, television, and rock, including Common, Kendrick Lamar, Nas, Sutton Foster, Megan Hilty, Cheyenne Jackson, Wayne Brady, Peter Frampton, and Ben Folds, among others. In 2017, he led the National Symphony Orchestra on NPR’s All Things Considered, performing live music excerpts between news segments in a first for the show’s 45-year history. In 2018, Steven led the same orchestra and hip hop legend Nas performing his seminal album, Illmatic, on PBS’s Great Performances.

As the creator of more than 100 orchestral arrangements for the Cincinnati Pops Orchestra, Steven’s work has been performed worldwide, and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. His symphonic works Celebration Fanfare, The Legend of Sleepy Hollow, and Casey at the Bat are performed frequently in North America, including performances by the New York Philharmonic and Los Angeles Philharmonic. His Sun Valley Festival Fanfare commemorated the Sun Valley Summer Symphony’s pavilion, and his Festival Te Deum and Swan’s Island Sojourn were debuted by the Cincinnati Symphony and Cincinnati Pops Orchestras. His numerous wind ensemble compositions are published by the C.L. Barnhouse Company and are performed by concert bands worldwide.

A native of Ohio, Steven is a graduate of Miami University of Ohio, where he earned Bachelor of Music degrees with honors in both trumpet performance and music composition. He lives in New York City with his husband, Eric Gabbard.

InTUNE — March 2020 | 23

Program BIOGRAPHIES , continued

Ryan Shaw | vocalist

Josette Newsam | vocalist

Ryan Shaw is a three-time Grammy-nominated artist.

He most recently appeared as Judas in the Lyric Opera House (Chicago) U.S. debut of the critically acclaimed Regents Park (London) production of Jesus Christ Superstar, which won the Oliver for Best Musical Revival. He also stared as the original Stevie Wonder in Motown the Musical on Broadway; on London’s West End, he was the Soul of Michael Jackson in Thriller Live. Ryan has toured the world and shared the stage with such artists as Van Halen, Bonnie Rait, Joss Stone, John Legend, B.B. King, Bruce Hornsby, and Jill Scott, to name a few.

New York native Josette Newsam has been seen as solo and background vocalist on Today, Live! with Regis and Kelly, and Live! with Kelly and Michael and heard on voice-overs for NBCUniversal. She has performed lead and background vocals with amazing artists such as Bernice Johnson Reagon, Toshi Reagon, Melba Moore, Lou Reed, Macy Gray, Angélique Kidjo, Nona Hendryx, Billy Bragg, Norm Lewis, and Ben E. King.

As a concert soloist, Ryan made his Radio City Music Hall debut at the Dream Concert benefit to build the Martin Luther King Jr. National Monument in Washington, D.C. His Carnegie Hall appearances include the Elton John and Bernie Taupin Tribute and A Celebration of The African American Cultural Legacy, curated by Jessye Norman. He headlined Carnegie Hall’s Nat King Cole Centennial Concert. Ryan was the second artist in history to perform a return engagement at the Central Park SummerStage Gala (second to Stevie Wonder). The Houston Symphony featured Ryan at a July 4th celebration and its R&B Mixtape concert.

Her regional theatre engagements include Ragtime as Sarah, Ain’t Misbehavin’ as Nell, Paul Laurence Dunbar’s The Party (Ensemble), and A Christmas Carol (Ensemble).

She toured with Bernice Johnson Reagon and Toshi Reagon’s musical adaptations of Gustave Flaubert’s The Temptation of St. Anthony and renowned director Robert Wilson’s Zinnias.

She is currently Mrs. Sims in the musical adaptation of Octavia Butler’s Parable of the Sower.

Josette is a member of the world-traveling gospel group The Bobby Lewis Ensemble and Toshi Reagon’s band Big Lovely as lead and background vocalist.

Upcoming and recent concerts include engagements with the Houston Symphony, The Cleveland Orchestra, Philly Pops, National Symphony, Colorado Symphony, Arkansas Symphony, Colorado Springs Philharmonic, Tucson Symphony, Harrisburg Symphony, Springfield (OH) Symphony, and Calgary Philharmonic, among many others.

ConocoPhillips has been a proud supporter of the Houston Symphony for five decades. The company applauds the Symphony’s efforts to promote music education, cultural awareness, and Houston’s vibrant arts community.

As one of the world’s largest independent exploration and production companies, ConocoPhillips is committed to being a great neighbor and responsible citizen in the communities where employees live and work. The company’s support of the Houston Symphony is just one example of how it gives back to the community.

24 | Houston Symphony

N E W B R A N D. S A M E G R E AT M U S I C.

OUR MISSION

To inspire individuals and enrich communities through diverse and inventive musical experiences OUR VISION

Lives changed through music

MAR 24 RICHARD GOODE PLAYS BEETHOVEN

APR 7 DAVÓNE TINES, bass baritone ADAM NIELSON, piano

APRIL 27 & 28 JEREMY DENK, piano Bach’s The Well-Tempered Klavier

Celebrating the 250th anniversary of Beethoven’s birth

Works of Brahms, Schubert, innovator Julius Eastman and Pulitzer Prize-winner Caroline Shaw

Experience Jeremy Denk’s “profound affinity with Bach” (The New York Times) when he performs this revered masterpiece

Sarah Rothenberg Artistic Director

Pianists Marilyn Nonken and Sarah Rothenberg in the 2015 DACAMERA production Messiaen Visions de l’Amen. Lighting designed by Jennifer Tipton. Photo: Ben Doyle/BEND Productions.

To learn more about DACAMERA and the 2019/2020 season, go to dacamera.com.

FEATURED PROGRAM

ADAMS’ EL NIÑO Saturday Sunday

March 14 March 15

8:00 p.m.

2:30 p.m.

David Robertson, conductor *Susanna Phillips, soprano Kelley O’Connor, mezzo-soprano *Davóne Tines, bass *Daniel Bubeck, *Brian Cummings, *Nathan Medley, countertenors

Jones Hall

Houston Grand Opera Children's Chorus Karen Reeves, director Houston Symphony Chorus Betsy Cook Weber, director *Mark Grey, sound engineer

*Houston Symphony debut

J. Adams

El Niño ca. 1:52 Part 1

1. I Sing of a Maiden: L = 92-96—

2. Hail, Mary, Gracious!: Slightly slower than previous quarter notes—

3. La anunciación: L = 66—

4. For with God no thing shall be impossible: L = 96 With great intensity—

5. The babe leaped in her womb: L = 112—

6. Magnificat: N = 80

7. Now she was sixteen years old: L = 128

8. Joseph’s Dream: L = 120

9. Shake the heavens: N = 96 10. Se habla de Gabriel: L = 63 Quietly and very flexibly 11. The Christmas Star: L = 156 I N T E R M I S S I O N

Part 2 12. Pues mi Dios ha nacido: L = 76-82 13. When Herod heard: L = 123— 14. Woe unto them that call evil good: L = 130 15. And the star went before them: L = 96 16. The Three Kings: L = 110 17. And when they were departed: L = 96— 18. Dawn Air: N. = 76 19. And he slew all the children: L = 66— 20. Memorial de Tlatelolco: L = 96 21. In the day of the great slaughter: L = 160— 22. Pues está tiritando: L = L— 23. Jesus and the Dragons: N. = N—L = 104 24. A Palm Tree: L = 68

26 | Houston Symphony

Did you know?

• Regarding the texts for El Niño, John Adams wrote, “Working with a narrative that was already familiar to our listeners gave us great freedom not to have to concern ourselves with plot exposition. [...]

Thus our libretto was able to absorb sources that spanned millennia and geographical continents from the Old Testament prophet Isaiah to the twentieth-century Mexican feminist poet Rosario Castellanos.

What makes this libretto significantly different from other versions of the Nativity is the presence of the woman’s voice […] our texts have at their core poetry by women, and the intensity of their imagery and feeling imparts a special authenticity to the work.”

Adams' El Niño | Program Biographies

SHELL FAVORITE MASTERS

Program BIOGRAPHIES

These performances are generously supported in part by:

David Robertson | conductor These concerts are part of the Margaret Alkek Williams Sound + Vision Series, which is also supported by The Cullen Trust for the Performing Arts Endowed Fund for Creative Initiatives.

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

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

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

David Robertson—conductor, artist, thinker, and American musical visionary—occupies some of the most prominent platforms on the international music scene. A highly sought-after podium figure in the worlds of opera, orchestral music, and new music, he is celebrated as a champion of contemporary composers, an ingenious and adventurous programmer, and a masterful communicator.

Building upon his dynamic association with The Metropolitan Opera, David conducted the Met’s 2019–20 season opening production of the Gershwins’ Porgy and Bess, directed by James Robinson. He returned to the Sydney Symphony Orchestra to complete his 2019 valedictory season as chief conductor and artistic director with American and French music of the 20th and 21st centuries. He will continue to conduct that orchestra in future seasons as the city undertakes a major renovation of its beloved Sydney Opera House.

In fall 2019, David joined the newly formed Tianjin Juilliard Advisory Council, an international body created to guide the young Chinese campus of The Juilliard School, complementing his role as director of conducting studies, distinguished visiting faculty. He continues his prolific collaboration with composer John Adams, conducting performances of his opera-oratorio El Niño with the Houston Symphony.

In 2018, David completed his transformative 13-year tenure as music director of the St. Louis Symphony, where he solidified its status as one of the nation’s most enduring and innovative orchestras. The Symphony’s accomplishments during his tenure include a 2014 Grammy Award for Best Orchestral Performance for the Nonesuch release of Adams’s City Noir.

He has served in artistic leadership positions at the Orchestre National de Lyon, Ensemble InterContemporain, BBC Symphony Orchestra, and Carnegie Hall. He has a longstanding relationship with the Metropolitan Opera and has frequent projects at the world’s most prestigious opera houses.

In 2010, David was made a Chevalier de l’Ordre des Arts et des Lettres by the Government of France. Devoted to supporting young musicians, he works with students at leading music festivals.

Born in Santa Monica, California, David Robertson was educated at London’s Royal Academy of Music, where he studied horn and composition before turning to orchestral conducting. He is married to pianist Orli Shaham and lives in New York.

InTUNE — March 2020 | 27

Program BIOGRAPHIES Susanna Phillips | soprano

Kelley O’Connor | mezzo-soprano

This season, she returned to The Met for a 12th consecutive season to sing Countess Almaviva in Le Nozze di Figaro; make her role debut in the title role of Kát’a Kabanová; and reprise her acclaimed rendition of Musetta in La bohème. She returns to Opera Theatre of Saint Louis to make her role debut in the title role of Floyd’s Susannah.

In concert, she performed the finale of Beethoven’s Ninth Symphony with the San Francisco Symphony at its opening night gala concert and Messiah with The Philadelphia Orchestra. She debuts with the Houston Symphony with these performances.

In the 2018–19 season, Susanna returned to The Met to make her role debut as Micaela in Carmen and sing Donna Elvira in Don Giovanni. She also sang Countess Almaviva in Le nozze di Figaro at Cincinnati Opera. On the symphonic front, she performed and recorded Berg’s Sieben Frühe Lieder with the San Francisco Symphony and appeared in Mahler’s Fourth Symphony and Ravel’s Trois Poèmes de Stéphane Mallarmé at La Jolla Music Society’s SummerFest.

Her concert and oratorio engagements include Beethoven’s Ninth Symphony, Mahler’s Fourth Symphony, Mozart’s Coronation Mass, the Fauré and Mozart Requiems, Carmina Burana, and Handel’s Messiah. She is an avid chamber music collaborator, and she made her solo recital debut at Carnegie’s Weill Recital Hall with pianist Myra Huang.

In addition to many other prizes, Susanna has won four of the world’s leading vocal competitions: Operalia (First Place and Audience Prize), the Metropolitan Opera National Council Auditions, the MacAllister Vocal Awards, and the George London Foundation Awards. She holds bachelor’s and master’s degrees from The Juilliard School and continues collaboration with her teacher Cynthia Hoffmann.

Susanna is a native of Huntsville, Alabama, and more than 400 people traveled from her hometown to New York City for her Metropolitan Opera debut in La bohème.

She frequently returns to her native state for recitals and orchestral appearances.

28 | Houston Symphony

BEN DASHWOOD

Soprano Susanna Phillips, recipient of The Metropolitan Opera’s 2010 Beverly Sills Artist Award, continues to establish herself as one of today’s most sought-after singing actors and recitalists.

Possessing a voice of uncommon allure, musical sophistication far beyond her years, and intuitive and innate dramatic artistry, the Grammy Award-winning mezzo-soprano Kelley O'Connor has emerged as one of the most compelling performers of her generation.

Highlights of the 2019–20 season include Peter Lieberson’s Neruda Songs with The Philadelphia Orchestra under the baton of Stéphane Denève, Beethoven’s Missa Solemnis with Krzysztof Urbański and the Indianapolis Symphony Orchestra, and Korngold’s Abschiedslieder with Donald Runnicles and the Atlanta Symphony Orchestra (ASO). Mahler’s Eighth Symphony brings Kelley together with Robert Spano in Atlanta and with the San Francisco Symphony for Michael Tilson Thomas’s final concerts as music director.

John Adams wrote The Gospel According to the Other Mary for Kelley, and she has performed the work under his baton as well as under Gustavo Dudamel, Grant Gershon, Gianandrea Noseda, Sir Simon Rattle, and David Robertson. She has sung the composer’s El Niño with Vladimir Jurowski and the London Philharmonic Orchestra. She continues to be the eminent living interpreter of Neruda Songs having sung performances with Christoph Eschenbach and the National Symphony Orchestra, Bernard Haitink and the Chicago Symphony Orchestra, Spano and the Minnesota Orchestra, and David Zinman with the Berlin Philharmonic and the Tonhalle Orchester Zürich, among many others.

Sought after by many of the most heralded composers of the modern day, Kelley has given the world premieres of Joby Talbot’s A Sheen of Dew on Flowers with the Britten Sinfonia and Bryce Dessner’s Voy a Dormir with Spano leading the Orchestra of St. Luke’s at Carnegie Hall.

For her debut with the ASO in Osvaldo Golijov’s Ainadamar, Kelley joined Spano for performances and a Grammy Awardwinning Deutsche Grammophon recording. Her discography also includes Mahler’s Third Symphony with Jaap van Zweden and the Dallas Symphony Orchestra, Neruda Songs and Michael Kurth’s Everything Lasts Forever with Spano and the ASO, Adams’s The Gospel According to the Other Mary with Dudamel and the Los Angeles Philharmonic, and Beethoven’s Ninth Symphony with Franz Welser-Möst and The Cleveland Orchestra.

Davóne Tines | bass

Daniel Bubeck | countertenor

Heralded as “a singer of immense power and fervor” by the Los Angeles Times, performances this season for Davóne Tines include the European premiere of David Lang’s prisoner of the state with Ilan Volkov conducting the BBC Symphony Orchestra, Schumann’s Das Paradies und die Peri with Louis Langrée and the Cincinnati Symphony Orchestra, and Beethoven’s Ninth Symphony with Stéphane Denève and the St. Louis Symphony. He appears on numerous concert stages with the Dover Quartet and is presented by Carnegie Hall, Celebrity Series of Boston, DACAMERA, Monday Evening Concerts, and Vocal Arts DC in his first North American recital tour.

Daniel Bubeck, countertenor 1, has earned an international reputation on both opera and concert stages in repertoire ranging from Bach and Handel to John Adams. He has performed in major halls throughout the world, including Carnegie Hall, The Concertgebouw, English National Opera, Barbican Centre, Konzerthaus (Vienna), Théâtre du Châtelet, Avery Fisher Hall, and Walt Disney Concert Hall as well as at music festivals in Lucerne, Adelaide, and Beijing. He has sung with the Boston, Atlanta, London, BBC, Tokyo, Moscow, and Netherlands Radio Symphony Orchestras; London and Estonian Philharmonic Orchestras; Los Angeles and Berlin Philharmonics; Concerto Köln; San Francisco and St. Louis Symphonies; Orchestra of St. Luke’s; American Bach Soloists; Carmel Bach Festival; and Haymarket Opera; under conductors Gustavo Dudamel, Esa-Pekka Salonen, Vladimir Jurowski, Kent Nagano, David Robertson, Robert Spano, Christopher Hogwood, and Nicholas McGegan.

Davóne was co-creator with Zack Winokur and composer Michael Schachter, as well as co-librettist, of The Black Clown, a music theater experience inspired by Langston Hughes’s poem of the same name. It animates a black man’s resilience against America’s legacy of oppression by fusing vaudeville, opera, jazz, and spirituals to bring the verse to life onstage.

The world premiere was given by American Repertory Theater in 2018 and presented by Lincoln Center in 2019.

Of performances of The Black Clown, Ben Brantley of The New York Times said, “This rich, seamless production melds the past and present of African-American history into an electrifyingly ambivalent whole … An estimable opera singer, Mr. Tines has a depths-plumbing bass-baritone that can find a range of contradictions within a single note. And his body and face match that voice in their expressiveness.”

He is a winner of the 2020 Sphinx Medal of Excellence, which celebrates extraordinary classical musicians of color, and has been recognized by TIME magazine as a Next Generation Leader in its biannual selection of rising stars in politics, technology, culture, science, sports, and business.

Davóne is the recipient of the 2018 Lincoln Center Awards for Emerging Artists and is a graduate of Harvard University and The Juilliard School.

KELLY KRUSE

NIKOLAI SCHUKOFF

Adams' El Niño | Program Biographies

Career highlights include the premieres, recordings, and more than 40 subsequent performances of John Adams’s El Niño and The Gospel According to the Other Mary; the American premiere of Lost Objects by David Lang, Julia Wolfe, and Michael Gordon; Oberon in Britten’s A Midsummer Night’s Dream (Hawaii Opera Theater, The Princeton Festival); recordings of Vivaldi cantatas (Sony Classical); the soundtrack of the Warner Bros. hit thriller I Am Legend; numerous performances of Bach’s St. John and St. Matthew Passions; and operas and oratorios of Handel: Giulio Cesare, Rinaldo, Orlando, Serse, Flavio, Partenope, Messiah, Israel in Egypt, Saul, Solomon, and Theodora. The current season includes these performances with the Houston Symphony, Cincinnati May Festival, Dallas Bach Society, and the role of Ottone in Monteverdi’s L’incoronazione di Poppea with OperaDelaware.

Daniel is on the vocal faculty of the University of North Texas, Denton.

InTUNE — March 2020 | 29

Program BIOGRAPHIES , continued

Nathan Medley | countertenor

Brian Cummings, countertenor 2, made his professional debut in the premiere of John Adams’s El Niño in Paris and sang the premiere of Adams’s The Gospel According to the Other Mary in 2012 with the Los Angeles Philharmonic under Gustavo Dudamel. He has appeared in subsequent performances of these pieces throughout the world, including Carnegie Hall, English National Opera, the London and Estonian Philharmonic Orchestras, BBC Symphony Orchestra, Netherlands Radio Symphony Orchestra (in Amsterdam, Strasbourg, and Cologne), Los Angeles Philharmonic, San Francisco Symphony, the Adelaide Festival, the Tokyo Symphony Orchestra, and the Spoleto Festival USA. He has worked under conductors Adams, Esa-Pekka Salonen, Robert Spano, David Robertson, Tõnu Kaljuste, and Kent Nagano.

Nathan Medley, countertenor 3, has emerged as one of the leading new-generation countertenors, with notable international success. He has sung at English National Opera, Barbican Centre, Carnegie Hall, Philharmonie de Paris, Kölner Philharmonie, Salle Pleyel, Palais de la Musique Strasbourg, Concertgebouw, Lucerne Festival, Avery Fisher Hall, and Walt Disney Concert Hall. Recent performances have brought him to the Boston Early Music Festival, Berlin Philharmonic, San Francisco Symphony, London Symphony, the Netherlands Radio Orchestra, the Los Angeles Philharmonic, St. Louis Symphony Orchestra, Chicago’s Ravinia Festival, Opera Omaha, Pacific MusicWorks, Mercury Chamber Orchestra, Seraphic Fire, Indianapolis Baroque Orchestra, Collegium Cincinnati, Miami Bach Society, Bach Society of Dayton, and Dallas Bach Society.

Brian sang the title role of Handel’s Giulio Cesare with Opera Fuoco under David Stern, and has collaborated with director Timothy Nelson in the roles of David in Charpentier’s David et Jonathas, Hamor in Handel’s Jephtha, and Iarbo/Corebo in Cavalli’s Didone. He has appeared as a soloist at the Washington and Bloomington Early Music Festivals. He has sung with Paul Hillier in Theatre of Voices and the Pro Arte Singers and can be heard on their recordings for Harmonia Mundi as well as the recording and DVD of El Niño and two recordings of The Gospel According to the Other Mary. He sings regularly with Les Arts Florissants, Opera Fuoco, Ensemble Entheos, and Les Muses galantes.

Brian has a degree from Indiana University where he worked with Paul Elliott, Hillier, and Nigel North.

Forthcoming engagements include El Niño with the Cincinnati May Festival and The Gospel According to the Other Mary with the BBC Proms.

30 | Houston Symphony

BERNARD GORDILLO

Brian Cummings | countertenor

He made his professional debut in 2012 in John Adams’s The Gospel According to the Other Mary with the Los Angeles Philharmonic under Gustavo Dudamel, recorded for Duetsche Grammophon and recorded again by the Berlin Philharmonic under Sir Simon Rattle. He returned to Los Angeles for Peter Sellars’s staging of this work, which toured to Switzerland and Lincoln Center, and again in 2015 for the U.S. premiere of Olga Neuwirth’s Hommage à Klaus Nomi, conducted by Adams. He made his English National Opera debut in Adams’s The Gospel According to the Other Mary, staged by Sellars. In 2016, Nathan premiered a song cycle, The Cross of Snow by John Harbison, for countertenor and gamba consort with Chicago’s Second City Musick.

He is a founding member of the ensemble, Echoing Air. Forthcoming engagements include Adam’s El Niño with the Cincinnati May Festival and The Gospel According to the Other Mary with the BBC Proms.

Adams' El Niño | Program Notes

Houston Grand Opera Children’s Chorus Karen Reeves, | director Grammy award winner Karen Reeves served as chorus master for the Houston Symphony’s performance of Berg’s Wozzeck, which won the 2017 Grammy for Best Opera Recording. She has been the Children’s Chorus director at Houston Grand Opera since 1991, and has prepared the ensemble for operas, including Otello, Carmen, La bohème, Dead Man Walking, Tosca, A Midsummer Night’s Dream, Hansel and Gretel, and The Little Prince.

Karen was the founding director of the High School Voice Studio at HGO, an intensive program for high school students preparing for further vocal study. She taught on the voice faculty of Houston Baptist University and, for more than 20 years, was an artist consultant for the voice department of Houston’s High School for the Performing and Visual Arts. She was a member of the Houston Grand Opera Chorus for 13 seasons. Karen received her bachelor of music degree from Southwestern University and her master of music degree from Rice University. She is currently the opera program administrator at the Shepherd School of Music at Rice University.

Chorus Roster Sonya Azencott Lydia Barnett Rebecca Bloome Shelby Brown Giulia Costantini Max Frankel Ella Gard Bridget Gray Clara Haymon Thomas Hickman Stephen Hill Elizabeth Hsu Maria Jesko

Jemma Kosanke Gayathri Kosigi Jamie Little Gabriel Magallón Charlotte Maher Victoria Martinez Kathryn McIntyre William Norton Sruthi Panja Faith Parle Sophie Tang Sasha Verzosa Mintz

Houston Symphony Chorus Betsy Cook Weber, | director Please see the Chorus biography & roster on page 6.

Program NOTES El Niño

John Adams (1947) In 1999, the Théâtre du Châtelet in Paris commissioned John Adams to compose a new piece for chorus and orchestra that would celebrate the dawning millennium.

Inspired by both the birth of a new era and memories of becoming a father, Adams composed “an oratorio about birth in general and about the Nativity in specific,” as he related in his autobiography, Hallelujah Junction. The Christmas story is one of history’s central birth narratives, and it has been treated in music many times—Bach’s Christmas Oratorio and Part the First of Handel’s Messiah provide two famous examples.

Adams, however, seems to have been keen to retell this familiar tale in a way that would allow listeners to discover it anew, focusing on its mystical and miraculous aspects.

Together with his frequent collaborator, theater director Peter Sellars, Adams compiled a libretto from a diverse array of sources, including traditional biblical passages, apocrypha, and Spanish-language poetry from Mexico,

Chile, and Nicaragua. Appearing both in English translation and the original Spanish, these poems in particular seem suited to Adams’s approach; with their echoes of the magical realism that pervaded Spanish-language literature of the Western hemisphere in the 20th century, they lend a fresh perspective to this age-old story.

Regarding the work’s title, Adams wrote, “My first impetus was to call this oratorio about birth How Could This Happen?, a phrase I’d found in one of the traditional church antiphons sung on Christmas Eve. But as the Hispanic theme grew and took center place, I changed the title to El Niño.”

Literally translated as “the Boy,” El Niño is a traditional name in Latin America for both the Christ child and a stormy meteorological phenomenon that occurs around Christmastime in the Pacific Ocean approximately every four years. “I thought that the advent of the Christ child had caused its own kind of spiritual storm, blowing away the corruption and cynicism of the previous world order and offering a new and radically altered vision in its place,” Adams explained.

InTUNE — March 2020 | 31

Program NOTES , continued

The oratorio is divided into two parts: the first relates the annunciation and the birth of Jesus, while the second includes the three wise men, the massacre of the innocents, and the flight into Egypt. The opening number, “I Sing of a Maiden,” displays many hallmarks of Adams’s musical style.

Overlapping layers of pulsating rhythmic patterns drift through the score over slowly changing harmonies, creating a trance-like atmosphere. The unique scoring of El Niño is also immediately apparent as Adams includes a pair of guitars, perhaps a nod to the music of Latin America. The glistening texture that results may be an example of word painting: the text, an anonymous English poem, compares the Christ child to “the dew in April that falleth on the grass.”

The next number, “Hail, Mary, Gracious!,” is based on text from a 14th-century English “mystery play”—a medieval version of a Christmas pageant. A trio of countertenors represents the angel Gabriel as he tells Mary she is to bear God’s child. The unique sound of the countertenors’ voices emphasizes the otherworldly nature of this encounter. At the end of the number, a synthesizer enters, adding an electronic timbre to El Niño’s mysterious soundscape.

The third number sets the first of four poems by Mexican author Rosario Castellanos (1925–1974). Though most of the oratorio’s texts are presented in English, all of Castellanos’s poems appear in the original Spanish, and her meditations appear at key moments throughout El Niño. In this case, the poem narrates the Virgin Mary’s inner monologue as she reflects on her miraculous pregnancy.

The following three numbers (based on the Gospel of Luke) lead to an intense, operatic scene in which Joseph discovers Mary’s pregnancy: the text of “Now she was sixteen years old” comes from the Gospel of James, an apocryphal text dating from the late second century that details the life of Mary, while “Joseph’s Dream” is drawn from the writings of Martin Luther. This climaxes with “Shake the Heavens,” a baritone aria which invites direct comparison with Handel’s setting of the same biblical text in Messiah. After Castellanos’s introspective “Se Habla de Gabriel,” Part One of El Niño ends with “The Christmas Star,” a combination of poems by the Nobel Prize-winning Chilean poet Gabriela Mistral (1889–1957) and the medieval abbess Hildegard of Bingen (1098–1179). Mistral’s image of a girl running with a star that sets the world on fire becomes a powerful metaphor for the birth of Jesus.

Part Two begins with a gentle lullaby based on a poem

by Sor Juana Inés de la Cruz (1648–1695), the Mexican intellectual prodigy and nun. Like those of Castellanos, her

32 | Houston Symphony

verses remain in Spanish. Biblical texts then narrate the perfidious King Herod’s paranoia, the visit of the three wise men, and the massacre of the innocents. These accounts are also elaborated with poems by the Nicaraguan Rubén Dario (1867–1916) and the Chilean Vicente Huidobro (1893–1948), culminating with Castellanos’s “Memorial de Tlatelolco.”

The inclusion of this intense poem draws a parallel between Herod’s slaughter of the infants of Bethlehem and an infamous 1968 incident in which government forces killed hundreds of student protestors in Mexico City. After this violent episode, El Niño ends peacefully by following Mary, Joseph, and the baby Jesus on their flight into Egypt. After the playful “Pues está tiritando” (text by Sor Juana Inés de la Cruz), the apocryphal Gospel of Pseudo-Matthew illustrates two miraculous scenes: the baby Jesus tames dragons and commands a palm tree to bend so that Mary might eat of its fruit. El Niño ends with verses by Castellanos, a prayer sung by a children’s chorus. —Calvin Dotsey The Instruments: 2 flutes (both doubling piccolo), 2 oboes (both doubling English horn), 2 clarinets (both doubling bass clarinet), 2 bassoons (both doubling contrabassoon), 3 horns, 3 trombones, percussion, harp, piano (doubling celesta), synthesizer (doubling celesta), 2 guitars, and strings

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FEATURED PROGRAM

SWING TO ROCK WITH DAVE BENNETT Friday Saturday Sunday

March 20 March 21 March 22

8:00 p.m.

8:00 p.m.

2:30 p.m.

Steven Reineke, conductor Dave Bennett, clarinet Jeff Kressler, piano

Berlin/J. Kressler J. Pettis-B. MeyersE. Schoebel/Kressler Arr. Kressler Arr. S. Berger Arr. Berger

Alexander’s Ragtime Band Bugle Call Rag Swing Medley Just a Closer Walk With Thee Elvis Medley How Great Thou Art I N T E R M I S S I O N

Bennett-Berger Bennett-Berger J. Cash Bennett/Berger Arr. Berger

34 | Houston Symphony

13 Fingers Blood Moon Folsom Prison Blues Lonesome Highway Jerry Lee Lewis Medley When the Saints Go Marching In

Jones Hall

Shelly Berger, bass Pete Siers, drums

Did you know?

• “How Great Thou Art” is a hymn based on a Swedish traditional melody and a poem written by Carl Boberg in 1885.

• “When the Saints Come Marching In” was first recorded in 1923 by the Paramount Jubilee Singers. Early versions of the song favored a slow tempo; the familiar uptempo version became popular in the 1930s.

Swing to Rock with Dave Bennett | Program Biographies

Program BIOGRAPHIES These performances are generously supported in part by: Partner Dede and Connie Weil

Steven Reineke | conductor

Please see Steven’s biography on page 23.

Dave Bennett | clarinet Dave Bennett doesn’t fit the mold.

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.

For starters, you don’t find many jazz clarinet players who name Stevie Ray Vaughan and Chris Isaak among their influences. You also won’t find many musicians who are equally conversant with the music of Benny Goodman (the “King of Swing”) and Roy Orbison (“The Soul of Rock and Roll”).

He is a clarinet virtuoso who plays electric guitar, piano, drums, and vocalizes. Saluting swing to rock, he covers music from the swing era to early rockabilly, country, Elvis Presley, and more. Leading his tribute to Benny Goodman, Dave has been a featured soloist at Carnegie Hall with The New York Pops (2013) and has played the show with 35 other North American orchestras, including Houston, Nashville, Rochester, Detroit, Omaha, Toronto, Vancouver, Orlando, San Antonio, Jacksonville, and Portland (Oregon and Maine). Fifty performing arts centers across the United States have had success with his presentations.

Baker Botts has supported the Houston Symphony for decades and continues this support today with a Baker Botts partner serving as the Symphony’s general counsel.

Baker Botts is an international law firm of approximately 725 lawyers practicing throughout a network of 14 offices around the globe. Based on its experience and knowledge of its clients' industries, Baker Botts is recognized as a leading firm in the energy and technology sectors. Throughout the firm’s 180-year history, it has provided creative and effective legal solutions for its clients while demonstrating an unrelenting commitment to excellence.

An annual fixture at several American music festivals, Dave’s “Rockin’ the ’50s” show always brings down the house! He pays tribute to Jerry Lee Lewis (piano and vocals) and Elvis and Johnny Cash (electric guitar and vocals). His original compositions are influenced by the style of Roy Orbison. Each year, he presents his “roots music” at the Elkhart Jazz Festival, Suncoast Jazz Classic Festival, Arizona Classic Jazz Festival, South Coast Clambake Jazz Festival, and Redwood Coast Music Festival.

Dave has been featured on NPR’s Riverwalk Jazz. He made his European debut in 2008 at the International Jazz Festival Bern (Switzerland) in a combo with jazz legends and Benny Goodman band alumni Bucky Pizzarelli, guitar, and the late Peter Appleyard, vibraphone.

A Mack Avenue Records artist, his 2013 CD Don’t Be That Way met with critical acclaim. His second release, Blood Moon, which features five originals and six pop/jazz covers, hit No. 24 on the Billboard Jazz chart in 2018.

BakerBotts.com

InTUNE — March 2020 | 35

FEATURED PROGRAM

MOZART’S PIANO CONCERTO NO. 20 Thursday March 26 Saturday March 28 Sunday March 29

8:00 p.m.

8:00 p.m.

2:30 p.m.

Jones Hall

*Matthias Pintscher, conductor *Cédric Tiberghien, piano *Houston Symphony debut

Webern Mozart

Im Sommerwind

ca. 13

Piano Concerto No. 20 in D minor, K.466

I Allegro II Romance

III Allegro assai

ca. 28

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

Debussy

Images ca. 36

I Gigues: Modéré II Ibéria

1. Par les rues et par les chemins (In the Streets and

on the R oads): Assez animé

2. Les parfums de la nuit (The Perfumes of the Night):

Lent et rêveur—

3. Le matin d’un jour de fête (The Morning of a

Festival Day): Dans un rythme de marche

lointaine, alerte et joyeuse

III Rondes de printemps: Modérément animé

36 | Houston Symphony

Did you know?

• Most of Mozart’s piano concertos fell out of the repertoire as tastes changed during the early 19th century and were only rediscovered later.

His Piano Concerto No. 20, however, has been regularly performed since its premiere. Ludwig van Beethoven, Clara Schumann, and Johannes Brahms all played it during their careers.

The concerto’s intense emotions likely appealed to 19th-century performers and audiences.

Mozart’s Piano Concerto No. 20 | Program Biographies

Program BIOGRAPHIES FROST BANK GOLD CLASSICS

These performances are generously supported in part by: Grand Guarantor Rochelle & Max Levit Yoonshin Song’s inaugural season is sponsored by Gary & Marian Beauchamp and the Beauchamp Foundation.

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

Matthias Pintscher | conductor Matthias Pintscher is music director of the Ensemble InterContemporain. Founded

by Pierre Boulez, it is the world’s leading contemporary music ensemble. In addition to a robust concert season in Paris, he and the group tour extensively throughout Europe, Asia, and the United States. This season includes concerts in Berlin, Brussels, Russia, and the United States. Matthias is equally known as one of today’s foremost composers, and last month, he conducted the premiere of his new work for baritone, chorus, and orchestra, performed by Georg Nigl and the Chorus and Symphonieorchester des Bayerischen Rundfunks at the Musica Viva Festival.

This season includes debuts with this orchestra and others in Montreal, Baltimore, and Pittsburgh, and with the Detroit Symphony Orchestra at Interlochen. He also debuts at the Vienna State Opera conducting the premiere of Olga Neuwirth’s Orlando, and returns to the Staatsoper Unter den Linden in Berlin to conduct performances of Beat Furrer’s Violetter Schnee, which he premiered in January 2019. He also returns to The Cleveland Orchestra, Orchestre de la Suisse Romande, and Chamber Orchestra of Europe. In summer 2020, he serves as music director of the 74th Ojai Music Festival.

In addition to several important debuts, last season he served as season creative chair for the Tonhalle-Orchester Zürich and as artist-inresidence at the Los Angeles Chamber Orchestra. He also concluded a nine-year term as the BBC Scottish Symphony Orchestra’s artist-inassociation. An enthusiastic mentor to students and young musicians, he served as principal conductor of the Lucerne Festival Academy Orchestra (2016–18) and worked with the Karajan Academy of the Berlin Philharmonic (2017–18 season).

Matthias began his musical training in conducting, studying with Boulez and Péter Eötvös. Composing soon took a prominent role in his life. He rapidly gained critical acclaim in both areas of activity, and continues to compose and conduct. As a composer, his music is championed by some of today’s finest performing artists, orchestras, and conductors.

Bärenreiter is his exclusive publisher, and recordings of his compositions can be found on Kairos, EMI, Teldec, WERGO, and Winter & Winter. He joined the composition faculty of The Juilliard School in 2014.

InTUNE — March 2020 | 37

Program BIOGRAPHIES , continued

JEAN-BAPTISTE MILLOT

Cédric Tiberghien | piano French pianist Cédric Tiberghien has established an active international career. He is particularly applauded for his versatility as demonstrated by his wide-ranging repertoire, interesting programming, openness to explore innovative concert formats, and dynamic chamber music partnerships.

In addition to these performances, concerto appearances this season include the London Symphony Orchestra and The Cleveland Orchestra as well as performances of Messiaen’s Turangalîla with the Orchestre de Paris. In addition to several chamber projects, he performs a complete Beethoven Variation cycle at Wigmore Hall over the next two seasons. Other solo recitals include Philharmonie Halls in Paris and Berlin, and he joins violinist Alina Ibragimova and the Doric String Quartet for a chamber project on tour to Vienna, Hamburg, London, Amsterdam, and Paris.

Last season, Cédric debuted with the Berliner Philharmoniker, San Francisco Symphony, Deutsche Symphonie-Orchester Berlin, and NDR Elbphilharmonie Orchestra. Other recent collaborations include the Boston and BBC Scottish Symphony Orchestras, The Cleveland Orchestra, Czech Philharmonic, Tokyo Philharmonic Orchestra, and the BBC Proms with Les Siècles. His conductor collaborations include Karina Canellakis, MyungWhun Chung, Stéphane Denève, Edward Gardner, Ludovic Morlot, Matthias Pintscher, François-Xavier Roth, and Simone Young.

Cédric recently focused on the music of Bartók, culminating in a critically acclaimed three-volume exploration of his solo piano works (Hyperion). His solo discography includes Chopin, Liszt, Szymanowksi’s Masques and Études, Franck’s Symphonic Variations and Les Djinns (Liège Philharmonic and Roth), Brahms’s Concerto No. 1 (BBC Symphony Orchestra/Jiří Bělohlávek), and many recital discs on Harmonia Mundi, including repertoire by Bach, Beethoven, Brahms, and Debussy. Cédric has been awarded four Diapason d’Or, for his solo recordings on Hyperion.

A dedicated chamber musician, his regular partners include Ibragimova, violist Antoine Tamestit, and baritone Stéphane Degout. Cédric’s passion for chamber music is reflected in numerous recordings: his discography with Ibragimova includes complete cycles of music by Schubert, Szymanowski, and Mozart (Hyperion) and a Beethoven Sonata cycle (Wigmore Hall Live).

38 | Houston Symphony

Program NOTES Im Sommerwind

Anton Webern (1883–1945) The scion of an old but minor Austrian noble family, Anton von Webern (as he was known before 1918) showed an early interest in music and played piano and cello. Despite his father’s desire for him to study agriculture, Webern pursued music history at university in Vienna. At 21, he composed Im Sommerwind (In the Summer Wind) while staying at his family’s estate in Carinthia. The work was inspired by both his idyllic surroundings and a poem of the same name by Bruno Wille, a contemporary German writer and philosopher. Wille’s rhapsodic verse revels in the beauties of an alpine landscape, extolling its power to heal the soul. Webern’s music unfolds in waves that roughly correspond to the stanzas of the poem.

Stylistically, it shows the influence of composers such as Wagner, Strauss, and Mahler. Careful listeners may notice a web of leitmotifs that develop throughout the piece: a high violin melody emerges after the atmospheric introduction and seems linked with “the mild summer air”; soon after, a solo oboe introduces another motif, “a smile on the free, sunny world.” The music builds to a powerful climactic passage: “O you rushing, roaring wind! Like the thirst for freedom, like an organ choir, you rush around my thirsty ear […]” The piece ends by fading away, finding “Peace, peace in the lark song, in the waves of wind, in the waves of grass!

Unending serenity in heaven’s expanse!”

The Instruments: 3 flutes, 2 oboes, English horn, 4 clarinets, bass clarinet, 2 bassoons, 6 horns, 2 trumpets, timpani, percussion, 2 harps, and strings

Piano Concerto No. 20 in D minor, K.466 Wolfgang Amadeus Mozart (1756–1791)

In keeping with the norms of his day, most of Mozart’s compositions are in major keys, but his forays into minor tonalities form some of his most striking works. D minor in particular seemed to have had a special significance for him; both his opera Don Giovanni and his Requiem are centered on this key. His Piano Concerto No. 20 is no exception. Composed in 1785 at the height of his popularity in Vienna, the piece was an immediate success at its February 11 premiere. Following his usual practice, Mozart performed the solo part himself, leading the orchestra from the keyboard. In a letter to Mozart’s sister, his father Leopold reported, “The concerto was incomparable, the orchestra excellent,” but also noted that “the copyist was still working when we arrived, and your brother did not even have time to play the rondo [the last movement] through, as he had to look through the copying,” suggesting that Mozart had once again waited until the last minute to put music on paper.

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As was common practice in Mozart’s day, the first movement begins with an orchestral introduction. The opening looks forward to the dark music Mozart would write for the penultimate scene of Don Giovanni two years later. In addition to the D minor tonality, the uneasy, syncopated violins recall Don Giovanni’s confrontation with the statue that drags him to hell; the drumroll-like figures in the low strings resemble the statue’s knocks at the door. These ideas begin softly, but soon become more forceful as the music begins a transitional passage. The orchestra pauses as if taking a breath, and the woodwinds attempt to introduce a contrasting idea; the stormy music, however, resumes before it can fully unfold.

The soloist enters with a new theme of its own, a quiet, pathetic melody. When the orchestra returns to the brooding drumroll-theme that opened the movement, the soloist joins it with fast, agitated passagework. After the transition, the woodwinds once again begin their contrasting idea, but this time it leads to a fully developed melody for the soloist in F major. After an orchestral passage, the soloist reenters with a variant of the music it first played. This solo theme alternates with the orchestra’s ominous drumroll music, as if the piano is in dialogue with some antagonist. The music becomes more intense before dying away to a reprise of the movement’s main ideas. The soloist’s once bright F major theme returns in the dark, main key of D minor. Near the end of the movement, the orchestra comes to a grand pause, and the soloist plays a cadenza—an extended unaccompanied passage.

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Mozart titles the slow second movement “Romance,” a term which usually indicates a piece in a simple, vocal style with a main theme and a contrasting middle section. This Romance is no exception; it begins with a lovely melody that provides respite after the storm and stress of the first movement. The shadows return, however, in the agitated inner section.

The fire and brimstone of D minor returns as the soloist launches the finale with a theme punctuated by hair-raising, dissonant chords. This theme alternates with contrasting ideas, including a playful, major-key tune for woodwinds.

After many developments, the orchestra stops and the soloist plays a final cadenza. The ensuing coda turns to the bright key of D major. At the theater, 18th-century audiences typically demanded happy endings, even from tragedies—in Mozart’s opera, for instance, after Don Giovanni descends into hell the other characters return to assure us that “Thus is the fate of all evildoers.” The playful woodwind theme that returns to end the concerto seems to offer listeners a similar optimistic resolution.

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

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Program NOTES , continued

Images

Claude Debussy (1862–1918) Composed between 1906 and 1912, Images was Debussy’s final concert work for orchestra. Reflecting his preoccupation with the relationship between sight and sound, this sophisticated masterpiece conjures images of England, Spain, and France, inviting listeners to imagine their own musical pictures.

Possibly inspired by Debussy’s visits to England, the enigmatic Gigues (Jigs) is the first of the set, although it was in fact the last Image to be completed. The music begins hazily; above muted strings, a solo flute introduces a motif derived from “The Keel Row,” a Northumberland folk tune that was ubiquitous in Britain at the time. Interestingly, the same tune had been used by Debussy’s contemporary Charles Bordes to set a poem by Verlaine. Verlaine’s verses are the bitter reflection of a jilted lover and return again and again to the sarcastic refrain, “Dansons la gigue!” (“Let’s dance the jig!”). Perhaps influenced by this poetic connection, Debussy originally intended to call this Image “Gigues triste,” or “Sad Jigs.” Whether the music had some other meaning for Debussy is one of the sphinxlike composer’s secrets.

After this introduction, an unaccompanied oboe d’amore (a slightly larger, lower, and mellower cousin of the oboe) introduces a melody marked doux et mélancholique—“soft and melancholy.” The tempo quickens as a pair of bassoons begin to develop distorted fragments of “The Keel Row.” These two ideas—“The Keel Row” and the oboe d’amore theme—are developed in the remainder of Gigues. The oboe d’amore plays a special solo role throughout.

Though it does not include any actual Spanish folk music, the second Image, Iberia, clearly invokes the Spanish idiom that became so popular in late 19th-century France.

Completed in 1908, it was the first of the three Images Debussy wrote. It is also the longest, and is further subdivided into three parts. The first, Par les rues et par les Chemins (In the Streets and on the Roads), is full of the joys of a traveler discovering Spain; its main melodic idea first appears in the clarinet. Powerful horn fanfares initiate a contrasting middle section.

The music slows for the second part, Les parfums de la nuit (The Perfumes of the Night), a nocturnal vision of the perfumed gardens of Andalusia. After an introduction featuring sliding string glissandos, a solo oboe plays the sensuous main theme of the movement; careful listeners will hear it return at the end amid the distant chiming of bells, signaling sunrise. This magical passage fades 40 | Houston Symphony

seamlessly into the finale, Le matin d’un jour de fête (The Morning of a Festival Day). Pizzicato strings act as a giant orchestral guitar, and Debussy juxtaposes different melodies and textures to suggest the clashing sounds one might hear while walking through a festival.

Completed in 1909, the final Image, Rondes de printemps (The Round Dances of Springtime), subtly integrates two French folksongs into its musical fabric. Debussy included an epigraph for this movement: “Long live May, welcome May with his wild banner,” suggesting the jubilant celebration of May Day. —Calvin Dotsey The Instruments: 3 flutes (1 doubling piccolo), piccolo, 2 oboes, oboe d’amore, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, celesta, and strings

ROCHELLE & MAX LEVIT Mozart’s Piano Concerto No. 20, featuring Cédric Tiberghien, is generously underwritten by Rochelle and Max Levit, members of the Houston Symphony family for more than 30 years. Rochelle serves as a governing director of the Symphony’s Board of Trustees and is a member of the Artistic and Orchestra Affairs Committee. In recent seasons, Max and Rochelle have supported the orchestra’s concerts with Itzhak Perlman, Emanuel Ax, Daniil Trifonov, Kirill Gerstein, and earlier this season, Yefim Bronfman.

They also sponsor First Violinist Sergei Galperin and support the Symphony’s special events. The Levits are especially excited by the Symphony’s artistic direction under the leadership of Andrés Orozco-Estrada.

The Houston Symphony thanks the Levits for making these performances possible.

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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

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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

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InTUNE — March 2020 | 45

Corporate, Foundation, & Government PARTNERS The Houston Symphony is proud to recognize the leadership support of our corporate, foundation, and government partners that allow the orchestra to reach new heights in musical performance, education, and community engagement, for Greater Houston and the Gulf Coast Region.

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 February 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 February 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.

46 | 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 February 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 The Scurlock Foundation Keith & Mattie Stevenson Foundation Strake Foundation Patron  Gifts below $5,000 The WC Handy Foundation Leon Jaworski 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 February 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 — March 2020 | 47

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

TRUSTEES

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.

48 | 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 Deborah Happ & Richard Rost Jacquelyn Harrison & Thomas Damgaard Dr. Rita Justice

Dr. James E. & Betty W. Key Mr. & Mrs. U. J. LeGrange 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 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 — March 2020 | 49

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

Principal Guarantor $250,000+



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

Guarantor

$100,000+



BBVA 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 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

50 | 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 — March 2020 | 51

Houston Symphony musicians are full-time members of the orchestra, but many still dedicate their spare time to serving our community by working with local schools and other community partners, such as hospitals, shelters, and senior care centers.

This month, David Kirk, principal tuba, told us about his passion for bringing music into Houston-area communities.

WHY IS IT IMPORTANT FOR AN ORCHESTRA TO DO WORK IN THE COMMUNITY? I think for a lot of people, music is a salve, especially for those who experience difficulty in their lives. We bring music to those who otherwise would not be here.

It’s important to reach audiences who aren’t aware there’s an orchestra of this caliber in Houston.

WHEN DID YOU BEGIN DOING EDUCATION AND COMMUNITY ENGAGEMENT SERVICES WITH THE HOUSTON SYMPHONY? I’ve participated in every service since the program started more than 25 years ago.

It’s a privilege to do it.

DO YOU HAVE ANY FAVORITE CONCERTS YOU’VE PERFORMED IN THE COMMUNITY? As a member of our brass quintet, our performance at The Richmond State Supported Living Center was one of the more memorable concerts I’ve ever played.

At shelters such as Star of Hope or The Salvation Army, there is no audience more engaged. It’s really great to bring joy to the people there. We get a lot of thoughtful questions about the music.

WHAT IS IT LIKE TO WORK WITH STUDENTS? We musicians were students, and we love to pass along our knowledge and experiences to future generations. One of the students I worked with at Sharpstown High School went on to get a scholarship at Texas A&M, and he became an engineer—I received a memorable letter from him. I don’t know that he plays anymore, but he went into a field bringing personal success and satisfaction. It’s a testament to what music education provides those who have an opportunity to receive it. That’s what our community work is all about.

52 | Houston Symphony

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Hunters Creek, $4.8+ mil.

Sue Atlas, 713.446.5551

River Oaks, $3.4+ mil.

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Tanglewood, $3.8+ mil.

Nancy Younger Kruka, 713.857.5299

Hunters Creek, $2.9+ mil.

Sharon Ballas, 713.822.3895

River Oaks, $3.5+ mil.

Colleen Sherlock, 713.858.6699

Piney Point Estates, $2.6+ mil.

Rebecca Turner, 832.661.0805

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a place to find your home WE’RE LOCAL ® WE’RE GLOBAL

Glenchester

Albans

Saint Marys

Peden

Sugar Creek Blvd.

Bayfront Dr.

Wilchester, $1.3+ mil.

Clint Simpson, 281.639.7191

Montrose, $900s Tim Surratt, 713.942.6830

West University, $1.2+ mil.

Meg Greenwood Rife, 832.578.2594

Sugar Land, $720s Norka Jenkins, 951.295.2188

Nottingham, $1.1+ mil.

Clint Simpson, 281.639.7191

Pearland, $630s Norka Jenkins, 951.295.2188