THE HOUSTON SYMPHONY MAGAZINE
MOZART PLUS A GERMAN REQUIEM 18 May 4, 5, 6
BRAHMS & SIBELIUS 24 . May 10, 11, 13
EMANUEL AX PLUS THE RITE OF SPRING 28
ONE-HIT WONDERS 34
May 18, 19, 20
May 25, 26, 27
THE RITE OF SPRING Stravinsky's masterpiece enters the 21st century with Klaus Obermaier's multimedia concert experience. Discover this unique presentation on page 28.
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InTUNE | M AY
Mozart Plus A German Requiem May 4, 5, 6�������������������������������������������������������������������������������������������������� 18 Brahms & Sibelius May 10, 11, 13 �����������������������������������������������������������������������������������������24 Emanuel Ax Plus The Rite of Spring May 18, 19, 20 �����������������������������������������������������������������������������������������28 One-Hit Wonders May 25, 26, 27 ���������������������������������������������������������������������������������������34
Letter to Patrons ������������������������������������������������������������������������������������������������2 A New Rite ����������������������������������������������������������������������������������������������������������� 10 New Release: Haydn—The Creation ������������������������������������������������������11 2018 Ima Hogg Competition��������������������������������������������������������������������� 14 Support Your Symphony & Donor Benefits ������������������������������������ 16 Andrés’ Vision �������������������������������������������������������������������������������������������������� 17 Mark and Mozart ��������������������������������������������������������������������������������������������23 Backstage Pass with Rodica Gonzalez �����������������������������������������������48
Upcoming Broadcasts . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Your Houston Symphony
Andrés Orozco-Estrada, Music Director . . . . . . . . . . . . . . . 4 Orchestra Roster ������������������������������������������������������������������������������������������������5 Houston Symphony Chorus��������������������������������������������������������������������������6 Staff Listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
New Century Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Leadership Council . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Vision 2025 Implementation Fund . . . . . . . . . . . . . . . . . . 13 Houston Symphony Donors . . . . . . . . . . . . . . . . . . . . . . . . 38 Young Associates Council . . . . . . . . . . . . . . . . . . . . . . . . . 40 Society Board of Trustees��������������������������������������������������������������������������� 41 Corporate, Foundation and Government Partners ���������������������42 Capital Investments���������������������������������������������������������������������������������������43 Sustainability Fund. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Houston Symphony Endowment. . . . . . . . . . . . . . . . . . . . 44 Chorus Endowment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Education and Community Engagement Donors . . . . . . . . . 45 Musician Sponsorships. . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Learn all about the 43rd Annual Ima Hogg Competition and semi finalists!
InTUNE is published by the Houston Symphony. 615 Louisiana, Suite 102, Houston, TX 77002 713.224.4240 | houstonsymphony.org All rights reserved.
InTune is produced by the Houston Symphony’s Marketing and Communications department. Trazanna Moreno. . . . . . . . . . . . . . Chief Marketing Officer Vanessa Astros-Young. . . . . . . . . Senior Director, Communications Calvin Dotsey. . . . . . . . . . . . . . . . . . . Publications Editor Melanie O'Neill. . . . . . . . . . . . . . . . . Publications Designer Editorial Contributors Carlos Andrés Botero, Musical Ambassador Mark Nuccio, Principal Clarinet Rebecca Zabinski, Artistic Administrator Elaine Reeder Mayo. . . . . . . . . . . . . . . . . . . . . . . . . . Editorial Consultant Shweiki Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Printing Ventures Marketing Group. . . . . . . . . . . . . . . . . . . Advertising The activities and projects of the Houston Symphony are funded in part by grants from the City of Houston, the National Endowment for the Arts and the Texas Commission on the Arts. The Houston Symphony currently records under its own label, Houston Symphony Media Productions, and for Pentatone and Naxos. Houston Symphony recordings also are available on the Telarc, RCA Red Seal, Virgin Classics and Koch International Classics labels. CAMERAS, RECORDERS, CELL PHONES & PAGERS Cameras and recorders are not permitted in the hall. Patrons may not use any device to record or photograph performances. Please silence cell phones, pagers and alarm watches and refrain from texting during performances.
In THE HOUSTON SYMPHONY
As our 2017-18 Season comes to an end, I want to take a moment to thank you for being a loyal Houston Symphony patron. Your support and understanding during our Harvey recovery efforts were deeply appreciated by our musicians, board and staff. The success we’ve experienced in recent months—a triumphant tour of Europe’s musical capitals and a Grammy Award® for our recording of Wozzeck—would not have been possible without the incredible enthusiasm and generosity of patrons like you. You can help ensure the Houston Symphony achieves even greater heights next season by contributing to our spring campaign, Your City, Your Symphony, Your Support. Your Houston Symphony has saved the best for last, bringing our 201718 Season to a resounding close with three magnificent Classical Series programs led by Music Director Andrés Orozco-Estrada, capped by a must-see, innovative multimedia immersion in Stravinsky’s The Rite of Spring (see page 10). Plus, our BBVA Compass POPS Series concludes with the irresistible One-Hit Wonders, featuring the inimitable Storm Large and Principal POPS Conductor Steven Reineke. Next month, our summer begins with the 43rd annual Ima Hogg Competition, during which 10 talented young musicians will compete for the coveted $25,000 Grace Woodson Memorial Prize (see page 14). The Harry Potter™ In Concert phenomenon continues as we perform the sensational score of the third film of the series, Harry Potter and the Prisoner of Azkaban™, while audiences relive the magic of the film projected on a giant screen. Additionally, the orchestra makes its annual visit to Miller Outdoor Theatre for the five free concerts of ExxonMobil Summer Symphony Nights. Hope to see you there!
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M U S I C D I R E C T O R ROY AND LILLIE CULLEN CHAIR
Houston Symphony Music Director Andrés Orozco-Estrada began his tenure in the 2014–15 season. He immediately established a dynamic presence on the podium and a deep bond with the musicians of the orchestra. He carefully curates his programs to feature engaging combinations of classical masterworks paired with the music of today, significant artistic collaborations with composers and guest artists, and innovative use of multimedia and visual effects, all in order to make meaningful connections with the audience. In the 2017–18 season, Orozco-Estrada continues to engage with audiences both with casual commentary from the stage and discussions with guests in “Behind the Scenes with Andrés” videos. Upon the commercial release of the critically acclaimed Dvořák series featuring the composer’s last four symphonies, he and the orchestra recently released a Haydn— The Creation recording in collaboration with the Houston Symphony Chorus and a Music of the Americas disc featuring Gershwin’s An American in Paris, Revueltas’ Sensemayá, Piazzolla’s Tangazo and Bernstein’s Symphonic Dances from West Side Story. Born in Medellín, Colombia, Andrés began his musical studies on the violin and started conducting at age 15. At 19, he entered the renowned Vienna Music Academy, where he studied with Uroš Lajovic (pupil of the legendary Hans Swarowsky), and completed his degree with distinction conducting the Vienna Radio Symphony Orchestra at the Musikverein. Andrés burst onto the international scene with two substitutions with the Vienna Philharmonic: the first, his debut in 2010, standing in for Esa-Pekka Salonen, and then in 2012, substituting for Riccardo Muti at the Musikverein. Andrés now regularly appears with many of the world’s leading orchestras, including the Vienna Philharmonic, the Santa Cecilia Orchestra in Rome, the Orchestre National de France, the Leipzig Gewandhaus Orchestra and the Mahler Chamber Orchestra. His engagements for the 2017-18 season featured debuts at the Tonhalle Orchester Zürich and the Staatskapelle Dresden with two concerts at the Salzburg Easter Festival. As a guest, he performed once again with the Leipzig Gewandhaus Orchestra and with the Vienna Philharmonic, which he led on a tour to Paris and Budapest. In June 2018, he tours Asia for two weeks with his Frankfurt Radio Symphony Orchestra. In addition to his post in Houston, Andrés is chief conductor of the Frankfurt Radio Symphony Orchestra and principal guest conductor of the London Philharmonic Orchestra. He was recently named music director of the Vienna Symphony as of the 2021-2022 season.
4 | Houston Symphony
ORCHESTRA Andrés Orozco-Estrada Music Director Roy and Lillie Cullen Chair FIRST VIOLIN Position Vacant, Concertmaster Max Levine Chair Eric Halen, Co-Concertmaster Ellen E. Kelley Chair Qi Ming, Assistant Concertmaster Fondren Foundation Chair Marina Brubaker Tong Yan MiHee Chung Sophia Silivos Rodica Gonzalez Ferenc Illenyi Si-Yang Lao Kurt Johnson Christopher Neal Sergei Galperin Jenna Barghouti*
DOUBLE BASS Robin Kesselman, Principal David Malone, Associate Principal Mark Shapiro Eric Larson Andrew Pedersen Burke Shaw Donald Howey Michael McMurray
TRUMPET Mark Hughes, Principal George P. and Cynthia Woods Mitchell Chair John Parker, Associate Principal Robert Walp, Assistant Principal Richard Harris* TROMBONE Allen Barnhill, Principal Bradley White, Associate Principal Phillip Freeman
PICCOLO Kathryn Ladner
BASS TROMBONE Phillip Freeman
OBOE Jonathan Fischer, Principal Lucy Binyon Stude Chair Anne Leek, Associate Principal Colin Gatwood Adam Dinitz
TUBA Dave Kirk, Principal TIMPANI Position Vacant, Principal Brian Del Signore, Associate Principal
ENGLISH HORN Adam Dinitz
VIOLA Wayne Brooks, Principal Mr. & Mrs. Jesse B. Tutor Legacy Society Chair Joan DerHovsepian, Associate Principal George Pascal, Assistant Principal Wei Jiang Linda Goldstein Sheldon Person Fay Shapiro Daniel Strba Jarita Ng Phyllis Herdliska
Community-Embedded Musicians David Connor, double bass Rainel Joubert, violin Anthony Parce, viola Hellen Weberpal, cello
HORN William VerMeulen, Principal 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
SECOND VIOLIN MuChen Hsieh, Principal Hitai Lee Mihaela Frusina Annie Kuan-Yu Chen Jing Zheng Martha Chapman Tianjie Lu Anastasia Sukhopara Tina Zhang Jordan Koransky Lindsey Baggett* Katrina Bobbs Savitski*
CELLO Brinton Averil Smith, Principal Janice and Thomas Barrow Chair Christopher French, Associate Principal Anthony Kitai Louis-Marie Fardet Jeffrey Butler Kevin Dvorak Xiao Wong Maki Kubota Myung Soon Lee** James R. Denton** Yewon Ahn*
Steven Reineke Principal POPS Conductor Robert Franz Associate Conductor, Sponsor, Ms. Marie Taylor Bosarge Betsy Cook Weber Director, Houston Symphony Chorus
PERCUSSION Brian Del Signore, Principal Mark Griffith Matthew Strauss
CLARINET Mark Nuccio, Principal Thomas LeGrand, Associate Principal Christian Schubert Alexander Potiomkin
HARP Megan Conley, Principal**
E-FLAT CLARINET Thomas LeGrand BASS CLARINET Alexander Potiomkin Tassie and Constantine S. Nicandros Chair BASSOON Rian Craypo, Principal Eric Arbiter, Associate Principal Elise Wagner
KEYBOARD Scott Holshouser, Principal *Contracted Substitute ** On Leave
CONTRABASSOON Position Vacant
Orchestra Personnel Manager Michael Gorman
Librarian Thomas Takaro
Assistant Orchestra Personnel Manager Shana Bey
Assistant Librarians Hae-a Lee Michael McMurray
Stage Manager Mark Grady
Stage Technicians Ritaban Ghosh Jose Rios Ryan Samuelsen David Stennis InTUNE — May 2018 | 5
HOUSTON SYMPHONY Betsy Cook Weber Director
Anna Diemer Chorus Manager Scott Holshouser Accompanist Tony Sessions Librarian/Stage Manager
The Houston Symphony Chorus, under the direction of Betsy Cook Weber since 2014, is the official choral unit of the Houston Symphony and consists of highly skilled and talented volunteer singers. Over the years, members of this historic ensemble have learned and performed the world’s great choral-orchestral masterworks under the batons of Andrés Orozco-Estrada, Hans Graf, Christoph Eschenbach, Robert Shaw and Helmut Rilling, among many others. In addition, the Chorus enjoys participating in the Houston Symphony’s popular programming under the batons of conductors such as Steven Reineke and Michael Krajewski. Recently, the ensemble sang the closing subscription concerts with the Prague Symphony Orchestra in the Czech Republic. Singers are selected for specific programs for which they have indicated interest. A singer might choose to perform in all 45 concerts, as was the case in a recent season, or might elect to participate in a single series. The Houston Symphony Chorus holds auditions by appointment and welcomes inquiries from interested singers. The Houston Symphony Chorus will be holding its next round of auditions later this month. Please contact email@example.com for more information.
Betsy Cook Weber | Houston Symphony Chorus, Director Dr. Betsy Cook Weber was appointed Director of the Houston Symphony Chorus in 2014. She also serves as professor of Music and director of Choral Studies at the University of Houston’s Moores School of Music. Betsy is in high demand as a conductor, clinician, adjudicator and lecturer and has conducted performances in more than half the states in the United States. Internationally, she has conducted acclaimed, prize-winning performances in France, Wales, Germany and the Czech Republic. She is editor of the Betsy Cook Weber Choral Series with Alliance Music Publishing, and in 2013, she became the 13th person and first woman to receive the Texas Choral Director Association’s coveted Texas Choirmaster Award. Betsy holds degrees from the University of North Texas, Westminster Choir College and the University of Houston.
CHORUS ROSTER | Mozart Plus A German Requiem • May 4-6 REHEARSAL CONDUCTOR Keith Dixon
Steve Abercia Melissa Adams Wilton Adams Bob Alban Anthony Allen Ramona Alms Kelli Amick Joe Anzaldua R. Ellis Bardin Enrique Barrera Lauren Bass Justin Becker Nicholas Berkley-Gough John Bice Randy Boatright Cris Bocanegra DeMarcus Bolds Harvey Bongers Jonathan Bordelon Emily Boudreaux Robyn Branning Sara Brannon Nancy Bratic Timothy Browning James Bue Christian Bumpous Patricia Bumpus Troy Burnett Kimi Butler Susan Casper
6 | Houston Symphony
Tsung Yen Chang William Cheadle Elizabeth Chrisman Nancy Christopherson Swatara Collins Emer Cordoba Victoria Crossan Paul Dabney Kyle Damron Diana Davis Anna Diemer Keith Dixon Michael Dorn Steve Dukes Randy Eckman Paul Ehrsam Raul Enriquez Chris Fair Brianna Fernandez Ian Fetterley Julia FitzGerald Angelina Fonseca Raymond Fonseca Adam Froelich Katie Fry Joseph Frybert Rachel Gehman Michael Gilbert Rex Gillit Robert Gomez Kaytlin Gonzales Hannah Gronseth Akash Gulati Will Hailey Julia Hall
Susan Hall Jennifer Harris Austin Hart Scott Hassett Matthew Henderson Catherine Howard Laura Howey Jillian Hughes Stephen James Michael Kapinus Brionne Kelly Chris Kersten Michael Kessler Karen King-Ellis Nobuhide Kobori Elizabeth Kragas Julie Kutac Anthony Larson Brian Lassinger Cindie Lavenda Joyce Lewis Diana Lombard Benjamin Luss Sarah Malin Young Katie Marcell Jarrod Martin Lisa Marut-Shriver Qwi Massingill Ken Mathews Carver Mathis Amanda Matthys Ben May Sarah McConnell Melissa Medina Saleel Menon
Janet Menzie Scott Mermelstein Dan Miner Travis Mohle Jim Moore Shelby Murphy Robert Nash Theresa Olin David Opheim Janwin Overstreet-Goode Bill Parker Katy Parrott Jennifer Paulson Sydney Peltier Allison Poe Chantel Potvin Lauren Price Jayna Queen Greg Railsback Karen Ramirez Emily Reader Linda Renner Rachel Rentz John Richardson Gabriel Rio Douglas Rodenberger Carolyn Rogan Grace Roman Alex Schaaf Nathaniel Schweitzer Gary Scullin Angela Seaman Tony Sessions Jeffrey Short Jeff Simmons
Brian Smith Dewell Springer Mark Standridge Cecilia Sun Caitlyn Surkein Suzanne Thacker Alisa Tobin Marin Trautman Lisa Trewin Yen-Kuei (Peter) Tu Ricardo Valle Michael Vallikappil Paul Van Dorn Abby Veliz Jeanna Villanueva Mary Voigt Christine Voss Lori Wagner Heidi Walton Beth Weidler Lance Wilcox Lee Williams Vanessa Winslow Victoria Zielinski Richard Zwelling
EMERITUS MEMBERS Bruce Boyle Barbara Bush Anne Campbell James R. Carazola Carol Carthel James Carthel Rochella Cooper
Debby Cutler Roger Cutler Marilyn Dyess Sally Evans Richard Field David Fox Clarice Gatlin Bill Goddard John Grady Chuck Izzo Berma Kinsey David Knoll John MacDonald Joan Mercado Dave Nussmann Janis Parish Nina Peropoulos Peter Peropoulos Linda Peters Jan Russell June Russell Menthola Stevenson Tony Vazquez Jim Wilhite Pam Wilhite Patsy Wilson
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BETH WOLFF ED WOLFF CHAIRMAN CEO
bethwolff.com InTUNE — May 2018 | 7
The Houston Symphony Administrative Staff is made up of 73 full-time professionals who work diligently behind-the-scenes to ensure all operations within the organization are run effectively and efficiently. This inspiring team is dedicated to bringing the great music of the Houston Symphony to our community. SENIOR MANAGEMENT GROUP
John Mangum, Executive Director/CEO, Margaret Alkek Williams Chair Pam Blaine, Chief of Education and Community Programming Elizabeth S. Condic, Chief Financial Officer Amanda T. Dinitz, Chief of Strategic Initiatives Vicky Dominguez, Chief Operating Officer Trazanna Moreno, Chief Marketing Officer Mary Beth Mosley, Interim Co-Chief Development Officer/ Director, Institutional Giving and Stewardship Molly Simpson, Interim Co-Chief Development Officer/ Director, Individual Giving and Major Gifts
Lucy Alejandro, Senior Accountant Angela Alfred, Director of Planning and Analysis Caitlin Boake, IT Associate Brittany Eckert, Support Engineer Joel James, Senior HR Manager Mateo Lopez, Accounting Clerk Anthony Stringer, IT Associate Christian Swearingen, Payroll and Accounts Payable Analyst Justine Townsend, Director of Finance Darya Trapeznikova, Budget Manager Ariela Ventura, Office Manager/HR Coordinator
Gregg Gleasner, Senior Artistic Advisor Christine Kelly-Weaver, Executive Assistant/Board Liaison
DEVELOPMENT Michael Arlen, Associate Director, Individual Giving and Major Gifts Liam Bonner, Manager, Annual Giving Groups Tiffany Bourgeois, Development Associate, Annual Fund Julie Busch, Development Associate, Special Projects & Liaison to the Chief Development Officer Irma M. Carrillo, Development Manager, Gifts and Records Timothy Dillow, Director, Special Events Noureen Faizullah, Development Director, Strategic Initiatives and Special Projects Vickie Hamley, Director, Volunteer Services Sydnee E. Houlette, Development Associate, Institutional Giving Rachel Klaassen, Special Events Associate Leticia Konigsberg, Director, Corporate Relations Michelle Montabana, Development Assistant, Gifts, Records and Planned Giving Patrick Quinn, Director, Planned Giving Martin Schleuse, Development Communications Manager Sarah Slemmons, Patron Donor Relations Manager Christina Trunzo, Associate Director, Foundation & Government Grants EDUCATION AND COMMUNITY PROGRAMMING Keisha Cassel, Manager, Education Allison Conlan, Director, Education Emily Nelson, Associate Director, Education and Community Programming Ragan Rhodes, Manager of Education and Community Programming Garrett Shaw, Education & Community Programming Assistant
8 | Houston Symphony
Vanessa Astros-Young, Senior Director, Communications Calvin Dotsey, Communications Specialist Heather Fails, Manager, Ticketing Database Elizabeth Faulkinberry, Front of House Manager Brian Glass, Marketing & Group Sales Specialist Kathryn Judd, Director, Marketing Jason Landry, Senior Manager, Patron Services Melanie O'Neill, Creative Specialist Sarah Rendón, Assistant Manager, Patron Services Mireya Reyna, Public Relations Coordinator Vanessa Rivera, Digital Marketing Manager Katie Sejba, Senior Director, Marketing & Sales Marylu Treviño, Digital Communications Manager Linsey Whitehead, Director, Creative Services Jenny Zuniga, Director, Patron Services OPERATIONS/ARTISTIC Shana Bey, Assistant Orchestra Personnel Manager Carlos Andrés Botero, Musical Ambassador Becky Brown, Director, Operations Anna Diemer, Chorus Manager Jessica Fertinel, Assistant to the Music Director Michael Gorman, Orchestra Personnel Manager Mark Grady, Stage Manager Hae-a Lee, Assistant Librarian Michael McMurray, Assistant Librarian Karoline Melstveit, Artistic Assistant Lauren Moore, Operations Manager Lesley Sabol, Director, Popular Programming Brad Sayles, Recording Engineer Thomas Takaro, Librarian Meredith Williams, Associate Director, Operations Rebecca Zabinski, Artistic Administrator
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STRAVINSKY’S THE RITE OF SPRING AS YOU’VE NEVER SEEN IT BEFORE BY CARLOS ANDRÉS BOTERO, MUSICAL AMBASSADOR With his endless originality and capacity to translate his surroundings into sound, Stravinsky is the center of excitement in 20th-century music. It’s difficult to imagine the last 100 years without him; his influence can be heard in virtually every composer who came after. Perhaps more than any other, his score to the ballet The Rite of Spring can be considered the birth certificate of modern music. When listening to Stravinsky’s music, one is swept away by its dazzling invention. With The Rite of Spring especially, he liberated rhythm as a supporting element in Western music and transformed it into an organizing force, building small blocks of sound ingeniously knitted together in fascinating and unexplored combinations. Coupled with Vaslav Nijinsky’s choreography, this new, primal music provoked a riot at the ballet’s legendary 1913 premiere in Paris. A watershed in the history of music, The Rite has generated seemingly endless ripples that affect the way music is made and heard today. The Houston Symphony will present Stravinsky’s masterpiece as the finale of its 2017-18 Classical Series— with a twist. Music Director Andrés Orozco-Estrada and the orchestra will collaborate with artist and choreographer Klaus Obermaier and Ars Electronica Futurelab to create a unique experience that combines music, dance and 3D animation. As a dancer responds to Stravinsky’s wild music onstage, 3D animations based on her movements will appear in real time on a screen suspended above the orchestra. Equipped with 3D glasses, audience members will be totally immersed in the experience. This exciting presentation brings Stravinsky’s Rite into the 21st century. In the words of Klaus Obermaier, “Now…the issue of the day is the authenticity of experience in the light of the ongoing virtualization of our habitats. It is the dissolution of our sensuous perception, of the space-time continuum, the fading dividing line between real and virtual, fact and fake, that takes us to the limits of our existence,” just as Stravinsky’s music did in 1913. See page 29 for the list of sponsors supporting The Rite of Spring.
10 | Houston Symphony
Hear the Grammy Award®-winning Houston Symphony on HPM This month’s broadcasts feature the Grammy®-winning orchestra performing beloved works by Mozart, Rimsky-Korsakov, Bruckner and former Composer-in-Residence Gabriela Lena Frank. Soloists include distinguished pianist Jeffrey Kahane, Latin Grammy® winner Gabriela Montero and acclaimed violinists Karen Gomyo and Luke Hsu.
MAY 2018 BROADCAST SCHEDULE ALL BROADCASTS AIR AT 8PM
May 6 News 88.7 May 9 Classical
Jeffrey Kahane, conductor & piano Mozart: Piano Concerto No. 24 Mozart: Symphony No. 38, Prague Mozart: Piano Concerto No. 21
November 25-27, 2016
May 13 News 88.7 May 16 Classical RECORDED:
July 9, 2016
May 20 News 88.7 May 23 Classical RECORDED:
Johannes Debus, conductor Luke Hsu, violin – Gold medal winner, 2016 Houston Symphony Ima Hogg Competition Berlioz: The Roman Carnival Mendelssohn: Violin Concerto Rimsky-Korsakov: Scheherazade
The Creation Let there be light! Experience the joy and wonder of the creation of the world with the Houston Symphony's latest recording: Haydn—The Creation. Andrés Orozco-Estrada leads the chorus, orchestra and internationally renowned soloists in Haydn's greatest masterpiece. Purchase your copy at the Symphony Store today!
Andrés Orozco-Estrada, conductor Gabriela Montero, piano Gabriela Lena Frank: Escaramuza Grieg: Piano Concerto Berlioz: Symphonie fantastique
May 19, 21 & 22, 2016
May 27 News 88.7 May 30 Classical
Thomas Søndergård, conductor Karen Gomyo, piano Mozart: Violin Concerto No. 3 Bruckner: Symphony No. 7
April 14, 16 & 17, 2016
InTUNE — May 2018 | 11
New Century Society FOR ARTISTIC EXCELLENCE AND INNOVATION The New Century Society for Artistic Excellence and Innovation recognizes the Houston Symphony’s most committed and loyal supporters who have pledged their leadership support over a three-year period to help secure the orchestra’s financial future. For more information or to pledge your support for New Century Society, please contact: Mary Beth Mosley, Interim Co-Chief Development Officer /Director, Institutional Giving and Stewardship, 713.337.8521 Molly Simpson, Interim Co-Chief Development Officer /Director, Individual Giving and Major Gifts, 713.337.8526 Ms. Marie Taylor Bosarge Margaret Alkek Williams Janice Barrow Rochelle & Max Levit Cora Sue & Harry Mach John & Lindy Rydman / Spec’s Wines, Spirits & Finer Foods/ Spec’s Charitable Foundation Bobby & Phoebe Tudor Clare Attwell Glassell Albert & Ethel Herzstein Charitable Foundation Mr. & Mrs. Jim R. Smith Mike Stude Mr. & Mrs. Jesse B. Tutor
Robin Angly & Miles Smith Gary & Marian Beauchamp Barbara J. Burger The Hearst Foundation, Inc. The Joan and Marvin Kaplan Foundation Joella & Steven P. Mach Mr. & Mrs. J. Stephen Marks Barbara & Pat McCelvey Houston Methodist Ron Franklin & Janet Gurwitch Carol & Michael Linn & The Michael C. Linn Family Foundation Rand Group Mr. & Mrs. William K. Robbins Jr. / The Robbins Foundation Steven & Nancy Williams
Baker Botts L.L.P. Beauchamp Foundation Mr. & Mrs. Edward F. Blackburne Jr. Viviana & David Denechaud/ Sidley Austin LLP Stephen & Mariglyn Glenn Dave & Alie Pruner Mr. & Mrs. James A. Shaffer
Leadership COUNCIL Leadership Council donors have committed $45,000 or more in support of the Annual Fund, special projects and fundraising events over a three-year period ($15,000+ annually). Danielle & Josh Batchelor Mr. & Mrs. Walter V. Boyle Justice Brett & Erin Busby Billy & Christie McCartney Mr. Richard Danforth Gene & Linda Dewhurst The Elkins Foundation
Mr. & Mrs. Fred L. Gorman Christina & Mark C. Hanson Mr. & Mrs. U. J. LeGrange Mr. & Mrs. Rodney H. Margolis The Melbern G. and Susanne M. Glasscock Foundation Rita & Paul Morico
Mr. John N. Neighbors Susan & Edward Osterberg Gloria & Joe Pryzant Ken* & Carol Lee Robertson Michael J. Shawiak Lisa & Jerry Simon Stephen & Kristine Wallace
Mr. & Mrs. Fredric A. Weber Robert G. Weiner & Toni Blankmann Mr. & Mrs. C. Clifford Wright Jr. *deceased
For more information or to pledge your support for the Leadership Council, please contact: Mary Beth Mosley, Interim Co-Chief Development Officer /Director, Institutional Giving and Stewardship, 713.337.8521 Molly Simpson, Interim Co-Chief Development Officer /Director, Individual Giving and Major Gifts, 713.337.8526
12 | Houston Symphony
EARLY ADOPTERS Vision 2025 Implementation Fund Vision 2025, the Houston Symphony’s ten-year Strategic Plan, describes our vision to be America’s most relevant and accessible top ten orchestra by 2025. Since the plan was launched in 2015, the Houston Symphony has received generous contributions from hundreds of donors in support of the Vision 2025 Implementation Fund. The fund includes support of specific initiatives that advance the goals of the Strategic Plan, such as: • The orchestra’s first multi-city European Tour in 20 years. • New and expanded education and community programming like the industry-leading Community-Embedded Musicians initiative. • Commissioning and recording initiatives like our cycle of late Dvořák symphonies, Music of the Americas, and Berg: Wozzeck, which recently earned the Houston Symphony’s first Grammy Award®. In addition, in the wake of Hurricane Harvey, donors have also supported the Symphony’s Harvey Recovery Fund, allowing us to continue to work toward our vision during a challenging time. The Houston Symphony recognizes and thanks the following Vision 2025 Implementation Fund donors for their generosity and support of our ambitious vision, including the Early Adopters for their initial investments. OPERATING SUPPORT Margaret Alkek Williams Anonymous ••••••••
The Brown Foundation, Inc. Rochelle & Max Levit Bobby & Phoebe Tudor Cora Sue & Harry Mach Janet F. Clark The Cullen Trust for the Performing Arts Albert & Ethel Herzstein Charitable Foundation Barbara J. Burger Mike Stude ••••••••
John & Lindy Rydman/Spec's Wines, Spirits & Finer Foods/ Spec's Charitable Foundation Joella & Steven P. Mach The Cullen Foundation Shirley W. Toomim C. Howard Pieper Foundation Clare Attwell Glassell Barbara & Pat McCelvey The Robert and Janice McNair Foundation / Palmetto Partners Ltd. ••••••••
Robin Angly & Miles Smith Carol and Michael Linn & The Michael C. Linn Family Foundation The Hearst Foundation, Inc. Steven & Nancy Williams The Joan and Marvin Kaplan Foundation Nancy & Robert Peiser Mr. John N. Neighbors
Katie & Bob Orr / Oliver Wyman Mr. & Mrs. Jesse B. Tutor Mr. & Mrs. Alexander K. McLanahan Ms. Marie Taylor Bosarge The Elkins Foundation Clive Runnells in memory of Nancy Morgan Runnells Baker Botts L.L.P. Lisa & Jerry Simon Beauchamp Foundation Mr. & Mrs. Rodney H. Margolis League of American Orchestras' Futures Fund M. D. Anderson Foundation Dave & Alie Pruner Billy & Christie McCartney BBVA Compass
The Boeing Company Gary & Marian Beauchamp Justice Brett & Erin Busby Ron Franklin & Janet Gurwitch Houston Downtown Alliance Vinson & Elkins, LLP Beth Madison Rita & Paul Morico Mr. & Mrs. Fredric A. Weber Robert G. Weiner & Toni Blankmann ••••••••
Jay & Shirley Marks Drs. Dennis & Susan Carlyle LTR Lewis Cloverdale Foundation L. Proctor Thomas III The Vivian L. Smith Foundation William Stamps Farish Fund Danielle & Josh Batchelor Mr. & Mrs. Jim R. Smith
Ralph Burch Stephen & Mariglyn Glenn Dr. Stewart Morris Evan B. Glick Vicki West & Mrs. Liv Estrada Viviana & David Denechaud Eugene Fong Daisy S. Wong/JCorp Jo A. & Billie Jo Graves Christina & Mark C. Hanson Debbie & Frank Jones Tad & Suzanne Smith Donna & Tim Shen Judith Vincent Texas Commission on the Arts
Michael J. Shawiak Mr. Jay Steinfeld & Mrs. Barbara Winthrop The Melbern G. and Susanne M. Glasscock Foundation Ms. Ellen A. Yarrell, in memory of Virginia S. Anderson and in honor of Cora Sue Mach
Brad & Joan Corson United Airlines BB&T / Courtney & Bill Toomey Houston First Mr. & Mrs. J. Stephen Marks Marzena & Jacek Jaminski Mrs. Sybil F. Roos SPIR STAR, Ltd.
Dr. Gary L. Hollingsworth & Dr. Kenneth J. Hyde
Anne Morgan Barrett Mr. Jackson D. Hicks Terry Ann Brown Virginia A. Clark Estate of Freddie L. Anderson Mr. & Mrs. Marvy A. Finger Mrs. Elizabeth B. Frost Mr. & Mrs. U. J. LeGrange Ms. Nancey G. Lobb Gary Mercer Susan & Edward Osterberg Mr. & Mrs. T.R. Reckling III Mr. & Mrs. William T. Slick Jr. Stephen & Kristine Wallace Mr. & Mrs. Tony Williford Mr. & Mrs. C. Clifford Wright Jr. Dr. Rita Justice Mary Kathryn Campion, PhD PLANNED AND ENDOWMENT GIFTS Dr. & Mrs. George J. Abdo Robin Angly James Barton Paul M. Basinski* Mr. & Mrs. Alexander K. McLanahan Michael J. Shawiak C. Howard Pieper Foundation Dr. James E. & Betty W. Key The Hon. Stella G. & Richard C. Nelson Tad & Suzanne Smith Susan Gail Wood The Estate of Dorothy H. Grieves The Estate of David L. Hyde *deceased
For more information or to pledge your support for Vision 2025, please contact: Amanda T. Dinitz, Chief of Strategic Initiatives, 713.337.8541 Mary Beth Mosley, Interim Co-Chief Development Officer /Director, Institutional Giving and Stewardship, 713.337.8521 Molly Simpson, Interim Co-Chief Development Officer /Director, Individual Giving and Major Gifts, 713.337.8526 InTUNE — May 2018 | 13
Ima Hogg COMPETITION
Barbara McCelvey, Competition Chair John N. Neighbors, Honorary Chair Heidi & David Massin, Underwriting Chairs Vicki West, Chair-Elect Charlotte Rothwell Wands, Chair Emerita Geraldine Smith Priest, Founder
A partnership between the Houston Symphony League and the Houston Symphony STUDE CONCERT HALL â€“ RICE UNIVERSITY $25,000 FIRST PRIZE THE GRACE WOODSON MEMORIAL PRIZE SEMI-FINAL PERFORMANCES Thursday, May 31, 2018, 9am to 4pm FREE (no ticket needed)
FINALS CONCERT Saturday, June 2, 2018, 7pm Tickets: $25; $15 for student rush tickets
Now celebrating its 43rd year, the Houston Symphony Ima Hogg Competition is one of the foremost multi-instrument competitions in the world. Named to honor the memory of Miss Ima Hogg, a co-founder of the Houston Symphony, this prestigious competition identifies outstanding young instrumentalists and supports their pursuit of careers in music. Ten contestants have been selected to perform in the semi-finals on May 31. Four finalists will advance to perform with the Houston Symphony to determine the winner of The Grace Woodson Memorial First Prize of $25,000. This national competition is open to young musicians, ages 16 to 26, who play standard orchestral instruments or piano.
Tickets available at houstonsymphony.org or 713.224.7575
14 | Houston Symphony
For more information and to donate to the Ima Hogg Competition, please contact Liam Bonner at firstname.lastname@example.org or 713.337.8536. To donate online visit houstonsymphony.org/donate and select "2018 Ima Hogg Competition" from the dropdown menu.
MEET THE SEMI-FINALISTS MICHAEL FERRI | AGE: 22 | violin
JI SU JUNG | AGE: 25 | marimba
Hometown: Treviglio, Italy
Hometown: Seoul, South Korea
School: The Shepherd School of Music, Rice University (Present); Young Artist Certificate, Cleveland Institute of Music, 2013
School: Yale School of Music (Present); Peabody Conservatory, Graduate Performance Degree
Accomplishments: First Prize, Shepherd School of Music Concerto Competition, 2016
Accomplishments: Winner, Naftzger Young Artists Auditions, 2017
ANIA FILOCHOWSKA | AGE: 24 | violin
HYUN JAE LIM | AGE: 20 | violin
Hometown: Warsaw, Poland
Hometown: Seoul, South Korea
School: The Curtis Institute of Music (Present)
School: The Curtis Institute of Music (Present)
Accomplishments: First Prize, Luigi Zanuccoli International Violin Competition, Italy, 2016
Accomplishments: Winner, Albert M. Greenfield Competition, 2017 AYANA TERAUCHI | AGE: 19 | flute
DANIEL HASS | AGE: 20 | cello
Hometown: Midland, Michigan
Hometown: Toronto, Ontario
School: University of Michigan (Present)
School: The Juilliard School, B.M., 2017
Accomplishments: Winner, YoungArts, 2017
Accomplishments: First Prize, Michael Measures Award, Canada Council of the Arts, 2016 JOEY TKACH | AGE: 20 | trumpet ALEXANDER HERSH | AGE: 24 | cello
Hometown: Leander, Texas
Hometown: Chicago, Illinois
School: Baylor University (Present)
School: Hanns Eisler Hochschule für Musik Berlin (Present); New England Conservatory, B.M., 2015, M.M., 2017
Accomplishments: First Prize, National Trumpet Competition Ensemble Division
Accomplishments: First Prize, New York International Artists Association Competition, 2017 GRAEME JOHNSON | AGE: 25 | clarinet Hometown: Plano, Texas School: Yale School of Music, M.M., 2017; The University of Texas at Austin, B.M., 2015
CHERRY CHOI TUNG YEUNG | AGE: 21 | violin Hometown: Hong Kong, China School: The Juilliard School (Present) Accomplishments: New York Philharmonic Global Academy Zarin Mehta Fellows, 2018
Accomplishments: Yale School of Music Alumni Association Prize, 2017 The Ima Hogg Competition is sponsored in part by:
Mr. John N. Neighbors Honorary Chair
NORTHERN TRUST Official Airline InTUNE — May 2018 | 15
YOUR CITY YOUR SYMPHONY YOUR SUPPORT YOUR CITY
As a Houstonian, you’ve known for years what the rest of the world is now discovering — Houston is a city on the rise. Thanks to donors like you, the Houston Symphony is at the forefront of one of the most diverse and cutting-edge performing arts communities in America.
STAND FOR YOUR SYMPHONY
and your city by helping us raise $2 Million by May 31! Your support allows us to transform communities across our great city by sharing the joy of music with thousands of Houstonians each season.
With a full-time ensemble of 88 gifted musicians playing nearly 170 concerts annually, your Grammy® Award-winning Symphony is the largest performing arts organization in Houston, serving more than 400,000 Houstonians each year, including more than 127,000 through nationally recognized education and community engagement programs.
Your world-class city deserves a world-class orchestra. With your support, we can continue to provide audiences with the most innovative and inspiring performances in America. By donating today, you’re not only making a commitment to your Symphony, you’re also investing in the future of Houston.
Make your donation at the concert: Annual Fund tables are located in the lobby or upstairs near the Round Bar. MAIL: Houston Symphony 615 Louisiana St. Suite 102 Houston, TX 77002 ONLINE: houstonsymphony.org/donate TEXT: “Music” to 41444 CALL: 713-337-8529
DONOR BENEFITS Become a donor and enjoy benefits, including special events, private rehearsals, valet parking and access to our exclusive Green Room and Patron Donor Lounge.
This distinguished group of supporters receives customized benefits and recognition tailored to their annual support. These generous donors play a crucial role in the Symphony’s success, designating their support to concerts, special projects or educational activities, or as unrestricted gifts.
Take advantage of the opportunity to sponsor a Houston Symphony Concert! Sponsors are recognized prominently for their generous giving and support of the Symphony.
Annual support of $25,000 and above
Annual support of $5,000 - $24,999 This dedicated group of supporters receives benefits such as premier reserved donor seating, Green Room access and complimentary valet parking for all Houston Symphony Classical, POPS and special concerts at Jones Hall.
Annual support of $10,000 and above
MUSICIAN SPONSOR PROGRAM Annual support of $7,500 and above
Sponsor a Houston Symphony musician! In addition to personal interactions with your musician, donors will be invited to an exclusive musician sponsor luncheon.
FRIENDS OF THE HOUSTON SYMPHONY Annual support of $50 - $4,999
Help to ensure the Houston Symphony continues to provide outstanding musical experiences all season long. Donors at this level receive a variety of benefits, including private rehearsals and an exclusive “Behind the Scenes” experience.
For further information about the Leadership Circle or Conductor’s Circle, please contact Molly Simpson, Interim Co-Chief Development Officer/ Director, Individual Giving and Major Gifts, at 713-337-8526 or email@example.com. 16 about | Houston Questions theSymphony Friends of the Houston Symphony? Please contact Michael Arlen, Associate Director, Individual Giving and Major Gifts at 713-337-8529 or firstname.lastname@example.org. Explore your giving options at houstonsymphony.org/donate.
ANDRÉSvision REBECCA ZABINSKI, ARTISTIC ADMINISTRATOR
For the grand finale of our Classical season, the final three weeks conducted by Music Director Andrés Orozco-Estrada include a stunning array of concert elements, including our full orchestra, the Houston Symphony Chorus, world-renowned soloists, and the North American premiere of a groundbreaking multimedia project combining music, dance and visual art. This continues Andrés’ vision to connect audiences with music in new and different ways, while showcasing the beautiful artistry of the Houston Symphony. As part of this musical celebration, Andrés is especially pleased to present two special chamber music performances showcasing our own Houston Symphony musicians. For our Brahms and Sibelius programs (May 10, 11 and 13), Principal Second Violin MuChen Hsieh, Associate Principal Viola Joan DerHovsepian and Principal Cello Brinton Averil Smith join guest concertmaster Kevin Lin before each concert for a performance of Haydn’s String Quartet Opus 76, No. 4, nicknamed the Sunrise quartet for its evocative opening. These musical Prelude performances begin 45 minutes prior to the concert. An extension of the concert experience, these intimate presentations will set the scene for the main program. During our season finale, Emanuel Ax Plus The Rite of Spring (May 18, 19 and 20), the main program will begin with performances of Mozart’s delicate and beautiful Quintet for Piano and Winds featuring guest piano soloist Emanuel Ax, principal oboe Jonathan Fischer, principal clarinet Mark Nuccio, principal bassoon Rian Craypo and principal horn Willam VerMeulen. In the second half of the program, you’ll hear these same players in a completely different light as they perform one of the most important and challenging compositions of the 20th century, Stravinsky’s The Rite of Spring. These three weeks are particularly meaningful as Andrés takes the podium for the first time since the orchestra’s return to Houston following our wildly successful European tour. We hope that you enjoy seeing the wonderful, world-renowned musicians of your Houston Symphony share their talent on the Jones Hall stage for the culmination of our 2017-18 Classical Series.
InTUNE — May 2018 | 17
MOZART PLUS A GERMAN REQUIEM Friday Saturday Sunday
May 4, 2018 May 5, 2018 May 6, 2018
8:00pm 8:00pm 2:30pm
Andrés Orozco-Estrada, conductor *Mark Nuccio, clarinet Nicole Heaston, soprano **Russell Braun, baritone Houston Symphony Chorus Betsy Cook Weber, director *Houston Symphony solo debut **Houston Symphony debut
Clarinet Concerto in A major, K.622 I Allegro II Adagio III Rondo: Allegro
I N T E R M I S S I O N
Ein deutsches Requiem, Opus 45 I Selig sind, die da Leid tragen ( Chorus): Ziemlich langsam und mit Ausdruck II Denn alles Fleisch es ist wie Gras (Chorus): Langsam, marschmäßig—Allegro non troppo III Herr, lehre doch mich (Baritone and Chorus): Andante moderato IV Wie lieblich sind deine Wohnungen (Chorus): Maßig bewegt V Ihr habt nun Traurigkeit (Soprano and Chorus): Langsam VI Denn wir haben hie keine bleibende Statt (Baritone and Chorus): Andante—Vivace—Allegro VII Selig sind die Toten (Chorus): Feierlich
18 | Houston Symphony
Did you know? • The second movement of Brahms' German Requiem features an unusual funeral march in triple meter (marches are usually in duple meter). This may be an homage to Robert Schumann's Carnaval for piano, which ends with a “March of the League of David against the Philistines” in triple meter.
Mozart Plus A German Requiem | Program Biographies
GREAT PERFORMERS SERIES
Program BIOGRAPHIES Andrés Orozco-Estrada | conductor
Principal Corporate Guarantor
Spec's Wines, Spirits & Finer Foods End of Season Celebration Generously supported by John & Lindy Rydman / Spec's Wines, Spirits & Finer Foods / Spec's Charitable Foundation These performances are generously supported in part by: Underwriter Houston Symphony Chorus Endowment Sponsor Drs. M.S. & Marie-Luise Kalsi Supporter Tad & Suzanne Smith Gudrun & Karl-Heinz Becker
The Classical Season is endowed by The Wortham Foundation, Inc. in memory of Gus S. and Lyndall F. Wortham. 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. 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. This concert is being recorded for future broadcasts on Houston Public Media News 88.7 airing on Sundays at 8pm and streaming online at houstonpublicmedia.org.
Please see Andrés Orozco-Estrada's biography on page 4.
Mark Nuccio | clarinet Critics have praised clarinetist Mark Nuccio for his solo, orchestral and chamber appearances, describing him as “the evening’s highlight,” full of “mystery and insight” and “shaping his phrases beautifully with a rich, expressive tone.” (New York Times) Mark began his position as Principal Clarinet with the Houston Symphony and as clarinet faculty at the University of Houston’s Moores School of Music in the 2016-17 season after 17 years with the New York Philharmonic, which he joined in 1999 as associate principal and solo E-flat clarinetist. He also served as acting principal clarinet with the New York Philharmonic from 2009-2013. He previously held positions with orchestras in Pittsburgh, Denver, Savannah and Florida, working with distinguished conductors such as Lorin Maazel, Kurt Masur, Mariss Jansons, Riccardo Muti, Zubin Mehta, Erich Leinsdorf, Bernard Haitink, Claudio Abbado, Riccardo Chailly, André Previn, Christoph von Dohnányi and Gustavo Dudamel. Additionally, Mark toured extensively with the New York Philharmonic, including its historic visits to North Korea and Vietnam. He also performed regularly with the Philharmonic on the award-winning series Live from Lincoln Center, broadcast on PBS. An active solo and chamber musician, Mark has been featured with various orchestras in the United States and made multiple appearances as a featured performer at the International Clarinet Association conventions. He made his subscription solo debut with the New York Philharmonic on February 10, 2010, and returned to perform the Copland Concerto with the NY Philharmonic under the baton of Alan Gilbert in 2013. Other highlights include a New York recital debut at Carnegie Hall in 2001 and his Japanese recital debut in 2002. He is an avid chamber musician and continues to regularly perform recitals in Asia and Europe as well as across the United States. As a studio musician, Mark is featured on numerous movie soundtracks, including Failure to Launch, Last Holiday, The Rookie, The Score, Intolerable Cruelty, The Alamo, Pooh’s Heffalump Movie, Hitch and The Manchurian Candidate. Additionally, he has performed on the Late Show with David Letterman and at the 2003 Grammy Awards®. His own debut album featuring the clarinet quintets of Mozart and Brahms, Opening Night, was released in 2006. A Colorado native, Mark was recently awarded the Distinguished Alumni Award from his alma mater, the University of Northern Colorado. He holds a master’s degree from Northwestern University where he studied with Robert Marcellus. Beyond his active performing schedule, Mark is a D’Addario advising artist and clinician and a performing artist/clinician for Buffet Group.
InTUNE — May 2018 | 19
Program BIOGRAPHIES , continued
Nicole Heaston | soprano Praised by The New York Times for her “radiant” and “handsomely resonant voice,” soprano Nicole Heaston has appeared with opera companies throughout the world, including the Metropolitan Opera, Houston Grand Opera, San Francisco Opera, The Dallas Opera, Washington National Opera, Los Angeles Opera, Semperoper Dresden, Deutsche Oper am Rhein and the Glyndebourne Festival. In the 201718 season, her engagements include Brahms’ Requiem here, the title role in Alcina at Theater Basel, Alice Ford in Falstaff at the Teatro de la Maestranza in Seville and a gala concert at the Bolshoi Theatre in Moscow. Since her debut at the Metropolitan Opera as Zerlina in Don Giovanni, Nicole has appeared regularly with the theater, singing Ilia in Mozart’s Idomeneo, Pamina in Die Zauberflöte and Echo in Ariadne auf Naxos. Since her time in the Houston Grand Opera Studio, she has established a long-standing relationship with the company, including performances of the title role of Roméo et Juliette, Gilda in Rigoletto, Susanna in Le nozze di Figaro and Pamina in Die Zauberflöte. Nicole also created the title role in HGO’s world premiere of Jackie O, which was recorded for the Argo label. Her other diverse roles have included Mozart’s La contessa Almaviva, Donna Elvira, Arminda and Despina; Gluck’s Armide; Pergolesi’s Sabina (Adriano in Siria); Monteverdi’s Drusilla and Poppea; Donizetti’s Adina; Verdi’s Oscar and Nanetta; Puccini’s Musetta; Respighi’s Princess; and Stravinsky’s Anne Trulove. Equally active as a concert and recital soloist, Nicole has performed with the Baltimore, Fort Worth, Honolulu, National, Detroit, Indianapolis and Kalamazoo orchestras; and the University Musical Society in Ann Arbor Michigan. Her recordings include a Grammy Award®-nominated issue of Bach’s Mass in B minor with Boston Baroque (Teldarc), Gluck’s Armide with Les Musiciens du Louvre and Marc Minkowski (Archiv Production) and Haydn’s The Creation with the Houston Symphony and Andrés Orozco-Estrada (Pentatone). Nicole completed her master’s degree in Voice at the University of Cincinnati—College-Conservatory of Music and received her undergraduate degree in music at the University of Akron. Her various awards and prizes include the Shoshana Foundation Grant, Robert Weede Corbett Award, Oper Guild of Dayton Competition, Opera/Columbus Competition, San Antonio Opera Guild Competition, Metropolitan Opera Regional AuditionEncouragement Award and Houston Grand Opera's Eleanor McCollum Competition. 20 | Houston Symphony
Russell Braun | baritone Renowned for his luminous voice “capable of the most powerful explosions as well as the gentlest covered notes” (Toronto Star), Russell Braun has captivated audiences at the Metropolitan Opera in New York, Paris Opera, the Vienna State Opera, the Royal Opera, the Los Angeles Opera, La Scala in Milan and at the Salzburg and Glyndebourne festivals. This season includes returns to the Salzburg Festival as Pentheus in Henze’s The Bassarids, to the Theater an der Wien for Alfred III in Dürrenmatt’s Der Besuch der alten Dame and to the Calgary Opera as Figaro in Rossini’s Il Barbiere di Siviglia. In concert, Russell performs Brahms’ Ein deutsches Requiem here as well as Mahler’s Symphony No. 8 with the Danish National Symphony Orchestra and the Montreal Symphony and Handel’s Messiah with the Grand Philharmonic Choir. The highlight of Russell’s 2016-2017 season was the title role of the Canadian Opera Company’s new production of Louis Riel in Toronto at the Four Seasons Centre and in Ottawa with the National Arts Centre Orchestra presented as part of the celebrations surrounding Canada’s 150th Anniversary. He reprised Peter Eötvös’ Senza sangue in Rome and London, Brett Dean’s Knocking at the Hellgate with the BBC Symphony Orchestra in London and Kaija Saariaho’s Cinq Reflets de L’Amour de Loin with the Radio-Sinfonieorchester in Stuttgart and Freiburg. He also performed Carmina Burana with the Montreal Symphony Orchestra, Fauré’s Requiem and Brahms’s Four Serious Songs with the Toronto Symphony Orchestra, Elijah with Chorus Niagara and Messiah with the Nashville Symphony. His discography features the Grammy®-nominated Das Lied von der Erde (Dorian), JUNO winners Mozart Arie e duetti (CBC) and Apollo e Daphne, and JUNO-nominee Winterreise (CBC). His most recent release is Dietch’s Le Vaisseau Fantôme with Les Musiciens du Louvre Grenoble (Naïve). DVDs include the Salzburg Festival’s Romeo et Juliette and the Mark Morris Dance Group adaptation of Dido and Aeneas, his much-lauded portrayal of Chou En-lai in John Adams’ Nixon in China (Nonesuch) and his performance as Olivier in Capriccio (Decca) at the Metropolitan Opera (released on DVD as part of the company’s Live-in-HD series) and Alexina Louie’s comic opera Burnt Toast.
IMMANUEL & HELEN OLSHAN IMMANUEL & HELEN OLSHAN
UNIVERSITY OF HOUSTON
O FF M H U SO I CU S T O N UMNOIOVR EE SRSSC HI TO OY L O
FESTIVAL ORCHESTRA SERIES
Saturdays, 7:30 pm | Moores Opera House
MOORES SCHOOL OF MUSIC
June 9 | COSMIC BEGINNINGS Franz Anton Krager | conductor Strauss: Also sprach Zarathustra | Holst: The Planets June 16 | HEROIC STATEMENTS Horst Förster | conductor | Timothy Hester | piano soloist Brahms: Piano Concerto No. 2 | Tchaikovsky: Symphony No. 6, Pathétique June 22, 8 pm Woodlands Pavilion | June 23, 7:30 pm Moores Opera House DANCING THE NIGHT AWAY Carlos Spierer | conductor | Mitchell Young Artist Competition Winner Turina: Danzas Fantásticas | Bernstein: Symphonic Dances from West Side Story Márquez: Danzon No. 2 June 30 | SHOSTAKOVICH: FIRST AND LAST Hans Graf | conductor | Nikolay Didenko | bass soloist Scherzo, Op. 1 | Symphony No. 1 | Suite on Verses of Michelangelo
PERSPECTIVES: Faculty Artist Series
Tuesdays, 7:30 pm | June 5, 12, 19, 26 | Dudley Recital Hall Festival faculty artists perform chamber music in the intimate acoustics of Dudley Recital Hall. Information | Tickets:
Bringing Classical music’s rising stars to Houston each June One of the most requested musicals in Stages’ history, The Great American Trailer Park Musical is back for our 40th Anniversary Season!
music and lyrics by David Nehls book by Betsy Kelso
May 2 - July 22, 2018
There’s a new tenant at Armadillo Acres, and she’s wreaking havoc all over Florida’s most exclusive trailer park. The double-wide divas of this fine housing establishment have survived everything from kidnapping to no-good men to bad perms! But when Pippi, a “stripper on the run,”comes between agoraphobic housewife Jeannie and her tollbooth collector husband, a storm begins to brew that will shake these manufactured homes right down to their foundations! directed and choreographed by Mitchell Greco music direction by Steven Jones
BUY YOUR TICKETS NOW!
Tickets start at $25 713.527.0123 | stagestheatre.com WARNING: This musical contains tacky outfits, bad wigs, crude language, adultery, road kill, electrocution and spray cheese. It is, after all, The Great American Trailer Park Musical.
Kenn McLaughlin Artistic Director Mark Folkes Managing Director
InTUNE — May 2018 | 21
Program NOTES Clarinet Concerto in A major, K.622
Wolfgang Amadeus Mozart (1756-1791)
Mozart’s Clarinet Concerto was the last concerto he composed; it was likely premiered less than two months before his untimely death at age 35. Mozart wrote it for the virtuoso Anton Stadler, a somewhat dubious friend who would owe Mozart some 500 florins by the time of the composer’s death. Nevertheless, Mozart composed several masterpieces for him and seems to have enjoyed his camaraderie. This concerto’s lyricism, subtlety and expressiveness give tantalizing hints as to the direction Mozart’s music might have taken had he lived. After an orchestral introduction presents the graceful main theme of the first movement, the clarinet plays its own version of this melody and introduces several new ones; forays into darker, minor-key tonalities also add expressive complexity. An orchestral passage then leads to a developmental section before a reprise of the main themes. Throughout, Mozart leaves space for a few brief, improvised musings for the soloist, and the melodic reprises also provide opportunities for improvised embellishments. The slow second movement is one of Mozart’s loveliest creations. Reflecting his skill as an opera composer, it is effectively an aria for the clarinet. In the fast and playful finale, a jaunty main melody alternates with contrasting episodes, bringing the concerto to a joyful conclusion. The Instruments: 2 flutes, 2 bassoons, 2 horns and strings
Ein deutches Requiem (A German Requiem), Opus 45
Johannes Brahms (1833-1897)
On February 2, 1865, Johannes Brahms received an urgent telegram from his brother Fritz: “If you want to see our mother once again, come immediately.” At age 76, she had had a stroke. Brahms hastened to her from Vienna, but she had already passed away by the time he arrived in Hamburg. He would begin work on A German Requiem almost immediately. Instead of setting the traditional Latin text, Brahms created his own highly personal version from excerpts of the Lutheran Bible and apocrypha. Unlike traditional requiems which offer prayers for the souls of the dead, Brahms’ German Requiem seems more concerned with offering comfort to the living. Its undogmatic text also suggests that he wished to offer this solace to all listeners, regardless of their own beliefs. Indeed, in a letter to one of the requiem’s first conductors, he wrote that “As far as the text is concerned, I will confess that I would very gladly omit the ‘German’ as well, and simply put ‘of Mankind’ […]” The piece opens with a gentle, lyrical expression of consolation as the chorus sings: “Blessed are those in mourning, for they will be comforted.” The second, in contrast, begins with an unusual funeral march in 3/4 time. This theme was salvaged from the unfinished symphony Brahms tried to complete after his mentor, the composer 22 | Houston Symphony
Mozart Plus A German Requiem | Program Notes
Robert Schumann, attempted suicide and succumbed to madness. This uncanny melody underpins the chorus’ grim meditation on the vanity of all worldly pursuits, which grows into a powerful, monumental statement. Perhaps this is Brahms’ memorial to Schumann, who had died nine years earlier. After a contrasting episode implores us to “be patient for the coming of the Lord,” the march returns, leading this time to a defiant statement: “But the word of the Lord endures forever.” The following music takes on a heroic tone reminiscent of the “Ode to Joy” from Beethoven’s Ninth Symphony. The third movement features a solo for bass-baritone, who asks the Lord to “teach me that life must end.” The music grows more intense until it resolves in a Bach-inspired pedal fugue, a kaleidoscopic musical texture that occurs above one long, sustained bass note. The following movements then provide respite: in the fourth, the chorus yearns for heaven in waltz-time, and the fifth features a moving soprano solo that Brahms surely associated with his own mother. Interestingly, Brahms only added this movement after the requiem’s first performance. The chorus assumes the role of souls awaiting Judgment Day in the sixth movement. A mysterious introduction featuring the bass-baritone leads to a powerful chorus: “The trumpet will sound, and the dead will be raised incorruptible.” The movement ends in triumph as the chorus sings “Death, where is your sting? Grave, where is your victory?” The finale then brings the requiem to a tranquil conclusion. The music that set the opening words “Blessed are those who mourn” returns at the end, this time to the words “Blessed are the dead who die in the Lord.” —Calvin Dotsey The Instruments: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, 2 harps, organ and strings
Star Furniture, which celebrated its 100-year mark in 2012, began when three men pooled their resources to buy a horse and buggy to start a furniture delivery service. In 1924, Russian immigrant Boris Wolff bought a quarter share in the company, which he eventually passed on to his children Melvyn Wolff and Shirley Wolff Toomim; they are now respectively Star Furniture’s board chairman and vice chairman. Today, Star Furniture is a Berkshire Hathaway Furniture Division company, ranked fourth in the nation in furniture sales. It has been recognized by the International Home Furnishings Association as an outstanding multi-store retailer, with nine locations in Houston, San Antonio, Austin and Bryan as well as two clearance stores. The company has supported the Houston Symphony for more than two decades.
BY MARK NUCCIO, PRINCIPAL CLARINET
Principal Clarinet Mark Nuccio makes his solo debut with the Houston Symphony playing Mozart’s Clarinet Concerto. He explains what makes this piece such a joy and a challenge to play. When I was asked which concerto I would like to present as my first to the Houston audience, I chose the Mozart Concerto because it seemed like the obvious choice. It is one of Mozart’s last completed works and premiered just two months before he died in October 1791. Most importantly, it remains the cornerstone of the clarinet repertoire. It is also thought to be compositionally perfect and truly one of the greatest (if not the greatest) of all of Mozart’s compositions. From the soloist’s standpoint, it can be overwhelming. Mozart, as a performer, was as much of an improviser as the famed jazz trumpeter Miles Davis and was thus very simple in his composition technique, expecting improvised cadenzas and embellishments in his music. This is the challenge for each performer: to perform music in the style of Mozart, even though much of that music does not exist in print. The artist must be spontaneously creative and “personalize” his or her performance. I have heard it stated by a world-renowned pianist that he would much prefer playing five Rachmaninoff concertos (known for their difficulty) than one Mozart concerto. Sometimes the simplicity, creativity and clarity of Mozart’s music is much more difficult to achieve than the volume of notes created by many seemingly more difficult compositions. When I first learned this concerto in high school, not only did I not know this, but I could not have imagined having to play notes that weren’t on the page. The concerto was actually written for a basset clarinet, one of only two pieces written for this instrument that extends the range a third below the modern soprano clarinet. Because there is no autographed copy of the concerto, it is only a guess that the piece was written for this extended-range clarinet. It is still performed often on the modern clarinet, and after much thought, I have chosen to perform it on a modern instrument. The concerto is 30 minutes of the most beautiful music I ever get to play, and I hope you will feel the same. Mark Nuccio is sponsored by The Joan and Marvin Kaplan Foundation. InTUNE — May 2018 | 23
BRAHMS & SIBELIUS Thursday Friday Sunday
May 10, 2018 May 11, 2018 May 13, 2018
8:00pm 8:00pm 2:30pm
Andrés Orozco-Estrada, conductor Augustin Hadelich, violin
Symphony No. 3 in F major, Opus 90 I Allegro con brio II Andante III Poco allegretto IV Allegro
I N T E R M I S S I O N
Violin Concerto in D minor, Opus 47 I Allegro moderato II Adagio di molto III Allegro, ma non tanto
Variationen über ein Thema von Haydn (Variations on a Theme of Haydn), Opus 56a Chorale St. Antoni: Andante— Variation I: Poco piú animato— Variation II: Piú vivace— Variation III: Con moto— Variation IV: Andante con moto— Variation V: Vivace— Variation VI: Vivace— Variation VII: Grazioso— Variation VIII: Presto non troppo— Finale: Andante
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Did you know? • The Prelude pre-concert talks for these concerts will be replaced by performances of Haydn's String Quartet Opus 76, No. 4, Sunrise. Principal Second Violin MuChen Hsieh, Associate Principal Viola Joan DerHovsepian and Principal Cello Brinton Averil Smith join guest concertmaster Kevin Lin for these special chamber music performances, which will begin 45 minutes before each concert. Learn more on page 17.
Brahms & Sibelius | Program Biographies
FROST BANK GOLD CLASSICS
Program BIOGRAPHIES Andrés Orozco-Estrada | conductor
Principal Corporate Guarantor
Spec's Wines, Spirits & Finer Foods End of Season Celebration Generously supported by John & Lindy Rydman / Spec's Wines, Spirits & Finer Foods / Spec's Charitable Foundation These performances are generously supported in part by: Guarantor Janet F. Clark Underwriter Mr. John N. Neighbors Alice & Terry Thomas Partner Eugene Fong Gloria & Joe Pryzant Mr. & Mrs. Fredric A. Weber 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. This concert is being recorded for future broadcasts on Houston Public Media News 88.7 airing on Sundays at 8pm and streaming online at houstonpublicmedia.org.
Please see Andrés Orozco-Estrada's biography on page 4.
Augustin Hadelich | violin Musical America’s 2018 Instrumentalist of the Year, Augustin Hadelich has firmly established himself as one of today’s great violinists. He has performed with every major orchestra in the United States, many on numerous occasions, as well as an ever-growing number of major orchestras in the United Kingdom, Europe and the Far East. One of the highlights of Augustin’s 2017-18 season was a return to the Boston Symphony Orchestra, performing the Ligeti Concerto with Thomas Adès on the podium and featuring the world premiere of Adès’ cadenza for the concerto. Additional highlights have included performances with the orchestras of Houston, San Francisco, Atlanta, Detroit, Fort Worth, Indianapolis, Montréal, Nashville, Oregon, Pittsburgh, Seattle, St. Louis and Utah. Among recent worldwide performances are engagements with the BBC Philharmonic in Manchester; the BBC Symphony Orchestra in London; the Royal Concertgebouw Orchestra in Amsterdam; the Danish National, Bournemouth and São Paulo Symphony Orchestras; the Finnish Radio Symphony Orchestra; the Hamburg, Hong Kong, London, Netherlands and Seoul Philharmonic Orchestras; the Mozarteum Orchestra Salzburg; the Norwegian Radio Orchestra; the NHK Symphony Orchestra in Tokyo; the Polish National Radio Symphony Orchestra; the Royal Scottish National Orchestra; and the radio orchestras of Cologne, Frankfurt, Saarbrücken and Stuttgart. A prolific recording artist, Augustin won a 2016 Grammy® Award, Best Classical Instrumental Solo, for his recording of Dutilleux’ Violin Concerto, L’arbre des songes, with the Seattle Symphony under Ludovic Morlot (Seattle Symphony Media). His newest disc, the complete Paganini Caprices (Warner Classics) was released in January. Augustin Hadelich’s career took off when he was named Gold Medalist of the 2006 International Violin Competition of Indianapolis. Since then, he has garnered an impressive list of honors, including the inaugural Warner Music Prize in 2015 and an honorary doctorate from the University of Exeter in England (2017). He plays the 1723 “Ex-Kiesewetter” Stradivari violin, on loan from Clement and Karen Arrison through the Stradivari Society of Chicago.
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Program NOTES Symphony No. 3 in F major, Opus 90
Johannes Brahms (1833-1897)
In October 1883, Antonín Dvořák wrote to his publisher: “…I was recently in Vienna, where I spent very fine days with Dr. Brahms, who had just come back from Wiesbaden,” a picturesque town on the Rhine River in Western Germany. The Czech composer, a good friend of Brahms, had just gotten a preview of Brahms’ latest symphony: “I say without exaggerating that this work surpasses his first two symphonies; if not, perhaps, in grandeur and powerful conception—then certainly in—beauty. […] What magnificent melodies there are for the finding!” Dvořák was not alone in his enthusiasm; at 50, Brahms was at the height of his powers, and his new symphony displayed vibrant orchestral colors, ingenious rhythms and a powerful organic unity of ideas. But beneath its technical perfections also lie deep emotions. Though Dr. Brahms often hid behind a professorial mask, he was at heart a Romantic. The symphony features a cyclical technique— melodies from earlier movements “cycle back” in the finale—that suggests a dramatic narrative arc. The symphony begins with three powerful notes: F, A-flat, F. Virtually all the ideas in the symphony derive from this simple motif, which introduces the dynamic main theme of the first movement. The Rhine River must have stirred memories of Brahms’ time with the Schumanns in Düsseldorf: this opening melody is based on a quotation from Schumann’s Rhenish Symphony, and its rushing, surging character is filled with unstable energy. The music then broadens and calms, and the orchestra takes a breath before beginning a second, contrasting theme. This lyrical tune for clarinet unfolds above a steady drone bass that evokes a pastoral atmosphere. The music, however, soon darkens, until we return to the opening. Following classical tradition, the music repeats up to this point, giving listeners the chance to become more familiar with its main ideas. After the repeat, the storm continues, leading to a passionate version of the pastoral clarinet theme in the strings. A warm horn solo based on the opening three notes then leads to a resplendent reprise of the main themes. The second movement begins with another lyrical, folksong-like melody for clarinet. A blossoming transitional passage then leads to a melancholy melody for clarinet and bassoon. An intense development ensues, after which the opening theme returns almost imperceptibly. Unusually, the melancholy second theme is missing during the reprise of the movement’s themes; in its place is a gorgeous, sunset-like passage. The third movement turns from the pastoral, sunshine-filled landscapes of the first half of the symphony to a more urban, nocturnal atmosphere. It opens with one of Brahms’ most famous melodies: a slow, bittersweet waltz for cellos. Some have heard the influence of Romani (gypsy) music in the melody’s ornamentation 26 | Houston Symphony
and in the contrasting central section, which features sliding figures that float through the woodwinds. The finale begins with a dark, unaccompanied melody with an exotic sonority. As it unfolds, an evocative orchestral texture emerges featuring clarinets, and the harmonic inflections of Romani music. This theme is soon interrupted by the surprising return of the “missing” theme from the second movement, which now becomes a mysterious chorale. Suddenly, musical lightning bolts rouse the music, leading to a heroic second theme in the cellos and horns. The exotic opening theme then reemerges quietly in the woodwinds, leading to the return of the mysterious chorale at the powerful climax of the movement. A wild reprise of the movement’s other themes ensues, until the music begins to unwind, becoming slower and slower. The sun seems to come out as the opening three notes of the symphony reappear, leading to the final incarnation of the mysterious chorale in a broad, noble form. The symphony dies away, ending pianissimo with a last surprise: a shimmering return of the first movement’s Rhine melody. The Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani and strings
Violin Concerto in D minor, Opus 47
Jean Sibelius (1865-1957)
Jean Sibelius’ first musical instruction came in the form of piano lessons from his Aunt Julia. He was a troublesome student, however; his habit of improvising instead of practicing his etudes often earned him raps across the knuckles. He never really took to the piano. It was only as a teenager that he discovered the violin, writing, “When I play, I am filled with a strange feeling; it is as though the insides of the music opened up to me.” He dreamed of becoming a virtuoso violinist, but his late start combined with stage fright to prevent his dream from coming true. Instead, his love of the instrument would find an outlet in one of his greatest masterpieces: the Violin Concerto in D minor. In a letter to a friend, Sibelius’ wife Aino provided a glimpse into its genesis: “He’s awake night after night, plays wonderful things, and can’t tear himself away from the marvelous music he plays— there are so many ideas that one can’t believe it is true, all of them so rich in possibilities for development, so full of life. […] I am sitting at his writing desk—he is at the piano—there’s a nice fire. It is night.” Though the audience responded warmly at the premiere on February 8, 1904, Sibelius himself was dissatisfied. He set the work aside and revised it in the summer of 1905, creating the masterpiece we know today.
Brahms & Sibelius | Program Notes
The concerto begins with one of the most captivating openings in the repertoire: above muted, divisi strings, the soloist spins a haunting melody echoed by a lone clarinet. This theme gives way to virtuoso passages for the violinist above an increasingly stormy orchestral accompaniment. An orchestral passage then intervenes, transforming a fragment of the opening melody into a new one.
little importance, however, as the point of variations is to take a theme and transform it. Though one of the simplest musical forms, variations provide the ultimate test of a composer’s imagination: how much can one change a theme and still have it remain on some level fundamentally the same? Brahms was a great master of this form, and created eight variations and a finale based on the theme.
The clarinets give a hint of this new theme before the soloist plays a passionate version of it marked espressivo and affettuoso (expressive and loving). A viola echoes the soloist—perhaps evoking a duet between soprano and tenor. This intimate passage ends as the soloist soars up to a high note, only to fall back to earth as the music darkens, turning to a powerful new theme for orchestra.
The variations have a wide range of characters and moods, including lively Romani (gypsy) style music; an elegiac oboe solo; bounding hunting horns; gentle, pastoral lyricism; and a fleet, will-o-the-wisp scherzo. The music frequently features subtly overlapping melodies that weave in and out of each other, as well as Brahms’ favorite “2-against-3” rhythms (duplets played simultaneously with triplets).
This theme leads to a cadenza, an extended passage for the soloist alone. The cadenza develops the opening melody, embellishing it with expressive and technically demanding figuration. A bassoon reenters unobtrusively with the opening melody, leading to a reprise of the movement’s themes and a dramatic conclusion.
The finale is based on a different, older form of variation: the chaconne. In a chaconne, a bass line is repeated while the upper parts are freely varied (the 12-bar blues works in a similar way). Brahms’ bassline is based on the beginning of the opening melody. Above it, the music takes off, quickly passing through an evershifting array of moods, colors and textures, until the original theme makes a grand return. —Calvin Dotsey
After a brief introduction from the woodwinds, the soloist begins the slow second movement with a long melody reminiscent of Sibelius’ songs for voice and piano. This melody gives way to a brooding central section, which leads to a return of the opening theme. Of the last movement, Sibelius remarked, “It must be played with absolute mastery. Fast, of course, but no faster than it can be played perfectly von oben [from beginning to end].” Those seeking a thrilling finale full of violin pyrotechnics will not be disappointed. A fresh, rustic take on the polonaise (a dance with a moderate 1-2-3, 1-2-3 beat pattern), the movement features two main themes: the first is an energetic tune full of high-flying runs for the soloist; the second, a heavy, foot-stomping melody that music writer Donald Tovey dubbed a “polonaise for polar bears.” The two themes alternate as astonishing virtuoso feats build to the concerto’s vibrant, life-affirming conclusion.
The Instruments: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, timpani, percussion and strings
The Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani and strings
Variationen über ein Thema von Haydn (Variations on a Theme of Haydn), Opus 56a
Johannes Brahms (1833-1897)
In 1870, the musicologist Carl Pohl shared a discovery with his friend Johannes Brahms: a piece for woodwind octet that he believed to be by the great 18th-century composer Joseph Haydn. Intrigued, Brahms copied down the second movement, a genial melody labelled “Chorale St. Anthoni.” In the summer of 1873, he composed a set of variations on it for two pianos, which he immediately orchestrated. As it turns out, later music scholars have demonstrated that the melody was not by Haydn. The precise origin of the theme is of
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InTUNE — May 2018 | 27
EMANUEL AX PLUS THE RITE OF SPRING Friday Saturday Sunday
May 18, 2018 May 19, 2018 May 20, 2018
8:00pm 8:00pm 2:30pm
Andrés Orozco-Estrada, conductor Emanuel Ax, piano Jonathan Fischer, oboe Mark Nuccio, clarinet Rian Craypo, bassoon William VerMeulen, horn Klaus Obermaier, concept, artistic direction & choreography Ars Electronica Futurelab, interative design & technical development Yuka Oishi, dancer Alois Hummer, sound design Wolfgang Friedinger, lighting design
Quintet in E-flat major for Piano, Oboe, Clarinet, Bassoon and Horn, K.452 I Largo—Allegro molto II Larghetto III Allegretto
Piano Concerto No. 27 in B-flat major, K.595 I Allegro II Larghetto III Allegro
I N T E R M I S S I O N
Le sacre du printemps (The Rite of Spring) Part I, L’adoration de la terre: Lento, tempo rubato Part II, Le sacrifice: Largo
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Did you know? • The Rite of Spring begins with the most famous bassoon solo ever written. The music is so high that the bassoonist for the premiere had to invent new fingerings in order to play it. The melody is based on a Lithuanian folksong (which Stravinsky substantially reworked) and evokes the sound of dudki, reed pipes of ancient Russia.
Emanuel Ax Plus The Rite of Spring | Program Biographies
SHELL FAVORITE MASTERS SERIES
Principal Corporate Guarantor
Spec's Wines, Spirits & Finer Foods End of Season Celebration Generously supported by John & Lindy Rydman / Spec's Wines, Spirits & Finer Foods / Spec's Charitable Foundation These performances are generously supported in part by: Guarantor The Micajah S. Stude Special Production Fund Underwriter Official Airline
The Elkins Foundation The Humphreys Foundation Sponsor Eugenia George and Richard & Monica George in loving memory of their mother Lila Gene George Partner The Vaughn Foundation Mr. & Mrs. Rodney H. Margolis Supporter James M. Bell Valerie & Tracy Dieterich Scott & Judy Nyquist in honor of Jerome Schultz Toni Oplt & Ed Schneider The Schorzman and Basinski families in loving memory of Paul Basinski Lila Rauch
The Classical Season is endowed by The Wortham Foundation, Inc. in memory of Gus S. and Lyndall F. Wortham. 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.
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. This concert is being recorded for future broadcasts on Houston Public Media News 88.7 airing on Sundays at 8pm and streaming online at houstonpublicmedia.org.
Program BIOGRAPHIES Andrés Orozco-Estrada | conductor
Please see Andrés Orozco-Estrada's biography on page 4.
Emanuel Ax | piano Born in modern day Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. He is a winner of the Young Concert Artist Award, Arthur Rubinstein International Piano Master Competition, Michaels Award and the Avery Fisher Prize. In partnership with frequent collaborator David Robertson, he began the current season with six Mozart concerti over two weeks in St. Louis, repeating the project in Sydney in February. Following the gala opening of the Philadelphia Orchestra’s season with Yannick Nézet-Séguin, he made returns to Houston and to the orchestras in Cleveland, New York, San Francisco, Boston, Ottawa, Toronto, Indianapolis and Pittsburgh, and will conclude the season in recital at Carnegie Hall. In Europe, he was heard in Stockholm, Vienna, Paris and London and on tour with the Budapest Festival Orchestra. In support of the recent release of their disc of Brahms’ Trios for SONY, Emanuel toured across the United States with colleagues Leonidas Kavakos and Yo-Yo Ma. Always a committed exponent of contemporary composers, with works written for him by John Adams, Christopher Rouse, Krzysztof Penderecki, Bright Sheng and Melinda Wagner already in his repertoire, most recently, he has added HK Gruber's Piano Concerto and Samuel Adams’ Impromptus. A Sony Classical exclusive recording artist since 1987, Emanuel has recently recorded Mendelssohn’s Trios with Ma and Itzhak Perlman, Strauss' Enoch Arden narrated by Patrick Stewart and discs of two-piano music by Brahms and Rachmaninoff with Yefim Bronfman. In 2015, Deutche Grammophon released a duo recording with Perlman of Sonatas by Fauré and Strauss, which the two artists presented on tour during the 2015-2016 season. A frequent and committed partner for chamber music, he has worked regularly with such artists as Young Uck Kim, Cho-Liang Lin, Ma, Edgar Meyer, Peter Serkin, Jaime Laredo and the late Isaac Stern. Emanuel Ax lives in New York City with his wife, pianist Yoko Nozaki, with whom he has two children. He is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Yale and Columbia Universities.
InTUNE — May 2018 | 29
Program BIOGRAPHIES , continued
Jonathan Fischer joined the Houston Symphony as Principal Oboe in September 2012, and was invited to join the faculty of the University of Houston in September 2014. Prior to his appointment with the Houston Symphony, Jonathan served as associate principal oboe with the San Francisco Symphony for nine seasons. He has also held positions with The Cleveland Orchestra, the Lyric Opera of Chicago, the Grant Park Symphony, Santa Fe Opera, Canadian Opera Company, Savannah Symphony and the New World Symphony. Jonathan has performed as a guest principal with many of the nation’s leading orchestras, including the Boston Symphony Orchestra, the Chicago Symphony Orchestra, the Baltimore Symphony Orchestra, the Los Angeles Philharmonic, the St. Louis Symphony, the Atlanta Symphony Orchestra, and the St. Paul Chamber Orchestra. He has performed as a soloist with the the Houston Symphony, the Grant Park Symphony, the New World Symphony and the San Francisco Symphony. Jonathan currently teaches at the University of Houston’s Moores School of Music and the Texas Music Festival. He has taught and performed at the Aspen Music Festival and the Oberlin Conservatory. He has given masterclasses at the Royal Conservatory of Music in Toronto, the San Francisco Conservatory, Rice University and University of Michigan, and has been a coach at the New World Symphony. He holds a degree from the Curtis Institute of Music, where he studied with Richard Woodhams. A native of South Carolina, Jonathan now enjoys living in Houston Heights with his dog, a Louisiana Catahoula mix.
Mark Nuccio | clarinet
Please see Mark Nuccio's biography on page 19.
Rian Craypo | bassoon
Principal Bassoonist Rian Craypo has been with the Houston Symphony since 2007. Born in Virginia, she moved to Texas at 10 months of age and grew up east of Austin in a small intentional community. After studying at the University of Texas at Austin with Kristin Wolfe Jensen, she attended Rice University, where she received her master’s degree under former Houston Symphony Principal Bassoonist Benjamin Kamins.
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In 2001, she was awarded a Federation of German/American Clubs Scholarship, which led to a year of study and performances in Germany, and was a finalist in the Gillet-Fox International Bassoon Competition in both 2004 and 2006. Rian serves on the board of MOTHS (Musicians of the Houston Symphony) which presents HS musicians several times a year in intimate and engaging chamber settings. Rian is also the author of a book about bassoon reed making, published in 2017. She and her husband, Sean, have three young children.
William VerMeulen | horn
Jonathan Fischer | oboe
Hailed as “one of today’s superstars of the international brass scene,” William VerMeulen is a soloist, orchestral principal, chamber musician, teacher and music publisher. Principal Horn of the Houston Symphony since 1990, William has performed as guest principal horn of the Los Angeles Philharmonic, the St. Paul Chamber Orchestra and the Chicago, Cincinnati, St. Louis and Pittsburgh Symphonies. Prior to Houston, he was employed with the orchestras of Columbus, Honolulu and Kansas City. He has been an artist of the Chamber Music Society of Lincoln Center and participates as a performer and faculty member with many festivals and presenters, including Music@Menlo, DaCamera, the Orpheus Chamber Orchestra, Joshua Bell and Friends, the New World Symphony, Chamber Music Northwest and the Aspen, Banff, Tanglewood, Sarasota, Steamboat Springs, Santa Fe, Orcas Island, Rockport, Domaine Forget and Sun Valley Summer Symphony festivals. His discography includes dozens of orchestral, solo and chamber recordings, including the complete Mozart Horn Concerti with Christoph Eschenbach and the Houston Symphony, Texas Horns and The Christmas Horn. Composers including Samuel Adler, Pierre Jalbert, Tony DiLorenzo and Robert Bradshaw have written major works for William, a longtime champion of new music. William is Professor of Horn at the Shepherd School of Music at Rice University, Brass Artist-in-Residence at the Glenn Gould School and Visiting Professor of Horn at the Eastman School of Music. Arguably America’s most influential horn teacher, his students have won almost 300 positions in most of the leading orchestras, including New York, Boston, Cleveland, Philadelphia, Chicago and the Metropolitan Opera. In 1985, he was invited to the White House to receive a Distinguished Teacher of America Certificate of Excellence from President Reagan. He also serves as a board member of the International Horn Competition of America and the Advisory Council at International Horn Society Symposiums. William received his training from Dale Clevenger at Northwestern University and at the Interlochen Arts Academy.
Emanuel Ax Plus The Rite of Spring | Program Biographies
Among his awards are first prize at the 1980 International Horn Society Soloist Competition and the Shapiro Award for Most Outstanding Brass Player at the Tanglewood Festival. He is also founder and president of VerMeulen Music, L.L.C., which offers music and products for horn players. William is married to violinist Sylvia VerMeulen, and they have two lovely children, Michael and Nicole.
Klaus Obermaier | concept, artistic direction,
For two decades, media-artist, director, choreographer and composer Klaus Obermaier has created innovative works in the areas of performing arts, music, theatre and new media, highly acclaimed by critics and audiences. His performances are shown at major festivals and theaters throughout Europe, Asia, North and South America and Australia. He has worked with dancers of the Nederlands Dans Theater, Chris Haring, Robert Tannion (DV8) and Desireé Kongerød (S.O.A.P. Dance Theatre Frankfurt) and composed for ensembles, including the Kronos Quartet, German Chamber Philharmonic Orchestra, Art Ensemble of Chicago, Balanescu Quartet and others. Since 2006, Klaus has been a visiting professor of directing and new media at the University IUAV of Venice, and since 2013, he has been a visiting professor of new and interactive media at Babeş-Bolyai-University in Cluj-Napoca, Romania. He held courses for choreography and new media at Rome’s Accademia Nazionale di Danza in 2010 and 2011. From 2006 to 2014, he was a member of the jury of the international choreography competition no ballet in Ludwigshafen, Germany. In 2005 and 2008, he taught as an adjunct professor for composition at Webster University Vienna. From 2016 to 2018, he was co-director of the Master in Advanced Interaction at the Institute for Advanced Architecture of Catalonia in Barcelona, Spain. He also lectures at other international universities and institutions.
Ars Electronica Futurelab | interative design &
Ars Electronica Futurelab continuously redefines mankind's relationship to computers. The institution’s activities are centered on media art, but the diversity of its projects is a powerful testimony to its creative competence. Futurelab also contributes to joint ventures with partners in the private sector, collaborative R&D undertakings and cooperative associations with academic institutions. The world of Ars Electronica Futurelab is interactive, multimedial and characterized by completely new approaches
to conceptualization and design. Hardware and software that can be used in an easy and intuitive way, superb design and the consummate harmony of interaction and content are at the very top of its R&D agenda. Ars Electronica Futurelab carries out projects across the entire new media spectrum, commissioned by corporate clients and in collaboration with R&D associates and cultural institutions. Futurelab has collaborated with associates in Europe, Latin America, Asia and the United States. Located in the Urfahr section of Linz, Austria, the permanent headquarters of these global activities features computer infrastructure, studios, offices and workshops in which up to 40 staffers carry out project-related work. Through its ties to the Ars Electronica Festival, the world's largest and most important festival for art, technology and society, Futurelab maintains close contacts with leading members of the international media elite.
Yuka Oishi | dancer Yuka Oishi is a globally active freelance dancer and choreographer. After completing her diploma at the School of the Hamburg Ballet in 2002, she joined the Hamburg Ballet as an apprentice, under director and chief choreographer John Neumeier, with the support of the Hapag-Lloyd scholarship. She became a member of the company in 2003 and was promoted to soloist in 2010, the first Japanese woman to attain that position. She received the Dr. Wilhelm Oberdörffer Prize as the “most promising young talent” from the Hamburg State Theater in 2011. During her time with the Hamburg Ballet, she danced pieces by many choreographers, including Neumeier, George Balanchine, Natalia Makarova, Frederick Ashton, Jiří Bubeníček, John Cranko, Orkan Dann, Kevin Haigen, Yūkichi Hattori, Pierre Lacotte and Jerome Robbins. In 2011, she danced the role of the Chosen One in Vaslav Nijinsky´s Le Sacre du Printemps. As a choreographer, she created Renku for the Hamburg Ballet together with Dann (2012). The ballet received the Hamburg Theater’s Rolf Mares Prize in the Outstanding Staging category. Since 2013, she has worked as a choreographer for the Takarazuka Revue Theater, Japan’s premier review theater. She also created pieces for Bundesjugendballett Hamburg (2016). Since 2014, she has created several full-length pieces for Origen Festival Cultural in Switzerland. Ku, her new creation for Béjart Ballet Lausanne, will receive its world premiere at the Beaulieu Theatre Lausanne next month.
InTUNE — May 2018 | 31
Program NOTES Quintet in E-flat major for Piano, Oboe, Clarinet, Bassoon and Horn, K.452
Wolfgang Amadeus Mozart (1756-1791)
Mozart’s Piano and Wind Quintet was likely completed in the weeks before its premiere on April 1, 1784 at an all-Mozart concert in Vienna’s Burgtheater. This was one in a string of successes that made this a happy and productive period for the composer. Mozart wrote that the quintet “was extraordinarily well received;–I myself think it’s the best thing I’ve ever written.” The woodwinds’ distinctive sonorities provide much of the work’s charm. Throughout, Mozart delights in transferring musical ideas from the piano to the woodwinds and vice versa, creating a playful sense of competition. The first movement opens with a slow introduction that leads to a buoyant Allegro molto. The second, a disarming Larghetto, features beautiful passages in which the melody is passed from one woodwind instrument to another. The lively finale takes the form of a rondo, in which the opening theme alternates with contrasting episodes.
Piano Concerto No. 27 in B-flat major, K.595
Wolfgang Amadeus Mozart (1756-1791)
Though Mozart likely began composing his last piano concerto sometime in 1788, he would not complete it until January 1791; after composing the first two movements and 39 measures of the finale, he likely realized that his other concertos would suffice for his upcoming performances and saved the work for later. The intervening years would be difficult ones, marked by a decline in his popularity with the Viennese public, fewer compositions and financial woes. He could only compose his way out of these problems; when a concert opportunity presented itself, he dusted off the unfinished concerto and completed it. Mozart performed the premiere himself at a concert in Vienna on March 4, 1791, beginning a triumphant comeback. Sadly, it would be his final public appearance as a pianist, as he would die the following December at age 35 of what was known as “acute miliary fever.” Frequently regarded as one of his most perfect masterpieces, the concerto begins with an orchestral introduction that presents the main themes of the first movement. The pianist then enters with a lightly embellished version of the first theme before digressing into a richly chromatic minor key episode. The pianist similarly reinterprets the other themes, except the last; instead minor key shadows send the music into an exquisite developmental section. The orchestra and soloist then reprise the movement’s themes— including the last one this time—leading to a cadenza, an extended solo. At the premiere, Mozart would have improvised the cadenza on the spot, but when he later prepared the score for publication he wrote down a version of the cadenza that is typically used today. The slow second movement begins with a lovely melody 32 | Houston Symphony
introduced by the piano and then taken up by the orchestra. In the contrasting middle section, a graceful theme dreamily slips into a distant key, slowly winding its way back to a reprise of the opening. The finale begins with a cheerful theme that Mozart soon after adapted for a song called “Yearning for Spring.” This theme alternates with contrasting episodes and brings the concerto to a delightful ending. The Instruments: flute, 2 oboes, 2 bassoons, 2 horns and strings
Le sacre du printemps (The Rite of Spring)
Igor Fyodorovich Stravinsky (1882-1971)
After the failed revolution of 1905, a cloud of apocalyptic doom seemed to hover over the Russian Empire. With freedom of speech curtailed, many artists turned to increasingly subjective, mysterious sources of inspiration. Some were captivated by spiritual mysticism; others looked far back into the prehistoric past, feeling that modern civilization had somehow failed and lost touch with nature. The poet Alexander Blok, for instance, wrote longingly of primeval man and nature: “He lived with her in intimate union, feeling the soul of this being, with her constant mysterious treacheries and her vivid colors, as closest of all to his own.” For Blok and others, the artist’s mission was to revivify a stultified culture by reconnecting with the primal past. Amid this heady Zeitgeist, Stravinsky was struck with inspiration: “One day, when I was finishing the last pages of L’Oiseau de feu [The Firebird] in St. Petersburg, I had a fleeting vision […] I saw in imagination a solemn pagan rite: sage elders, seated in a circle, watched a young girl dance herself to death. They were sacrificing her to propitiate the god of spring.” With newfound fame after the triumphant success of The Firebird during the 1910 season of the Ballets Russes in Paris, Stravinsky sought out the artist and archeologist Nicholas Roerich, the foremost authority on prehistoric Russia of the time. Together, they devised a scenario based on Roerich’s knowledge of ancient Slavic rituals. After setting the project aside to compose Petrushka and other works, Stravinsky completed it in 1912. There are few instances in history when a single artwork truly breaks new ground. Stravinsky’s score for The Rite of Spring is one of those instances. This half-hour of music broke nearly every established rule of good composing, and yet the score is gripping from its first note to its last. Often composing with great speed, Stravinsky later recalled that “I was guided by no system…I had only my ear to help me.”
Emanuel Ax Plus The Rite of Spring | Program Notes
The score unleashed shocking dissonances and strange, new sounds from an enormous orchestra. But perhaps even more astonishing is its rhythmic complexity; on many pages the meter is in constant flux. The music’s construction, too, was original; in place of seamless transitions and organic development, Stravinsky’s score often juxtaposes blocks of music to create extreme contrasts. For all of its assaults on convention, however, the score is based on several quite singable melodies, some of which have been shown to be derived from folksongs associated with ancient Slavic festivals. Though many are struck by its violent passages, the music also contains delicate moments of great beauty.
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With the score finished, sets and costumes were designed by Roerich, and choreography was provided by Vaslav Nijinsky, the Ballets Russes’ star male dancer. Nijinsky matched Stravinsky’s revolutionary music with radical choreography that likewise went against the traditions of classical ballet. The infamous premiere took place on May 29, 1913, at the Théâtre des Champs-Élysées in Paris. After only a few minutes, a riot broke out as the work’s critics began to boo while its champions responded in kind. Stravinsky was distraught; it seems he had sincerely expected another popular success. The riot may have been partly manufactured by the Ballets Russes’ impresario, Sergei Diaghilev, who liberally distributed free tickets to young, bohemian, artistic types and strategically sat them among the high society ladies and gentlemen who had come to see Les Sylphides, a traditional ballet to music of Chopin. After it was all over, Diaghilev is reported to have said, “Exactly what I wanted.” Indeed, a legend was born; ironically, this ballet inspired by ancient history quickly became a symbol of modernity at its most sophisticated; Klaus Obermaier’s choreography, for instance, reinterprets the music as an exploration of humankind’s relationship to technology in the digital age. Despite continued controversy, subsequent performances of the ballet were generally well received, and the music quickly became a concert hall staple. Its complexity provides the ultimate test of any orchestra’s skill, and its untamed wildness continues to fascinate to this day. —Calvin Dotsey The Instruments: 3 flutes (one doubling piccolo), piccolo, alto flute, 4 oboes (one doubling English horn), English horn, 3 clarinets (one doubling bass clarinet), bass clarinet, E-flat clarinet, 4 bassoons (one doubling contrabassoon), contrabassoon, 8 horns (2 doubling tenor tubas), 5 trumpets (one doubling bass trumpet), 3 trombones, 2 tubas, 2 timpani, percussion
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Houston Methodist strives to provide high-quality health care in a spiritual environment to all patients. It consists of a leading academic medical center and six community hospitals serving the Greater Houston area and delivering care closer to home. U.S. News & World Report ranks the system's flagship, Houston Methodist Hospital in the Texas Medical Center, as the No. 1 hospital in Texas and the Houston area. In addition to being the official health care provider for the Houston Symphony, Houston Methodist offers unique benefits to artists through its Center for Performing Arts Medicine. As the only center of its kind in the country, it is comprised of a specialized group of more than 100 elite physicians working collaboratively to address the specific demands placed on performing artists.
InTUNE — May 2018 | 33
ONE-HIT WONDERS Friday Saturday Sunday
May 25, 2018 May 26, 2018 May 27, 2018
8:00pm 8:00pm 7:30pm
Steven Reineke, conductor Storm Large, vocalist *Matt Doyle, vocalist *Houston Symphony debut
TONIGHTâ€™S PROGRAM WILL BE ANNOUNCED FROM THE STAGE. THERE WILL BE ONE INTERMISSION.
34 | Houston Symphony
One-Hit Wonders | Program Biographies
Program BIOGRAPHIES Steven Reineke | conductor Principal Corporate Guarantor
Spec's Wines, Spirits & Finer Foods End of Season Celebration Generously supported by John & Lindy Rydman / Spec's Wines, Spirits & Finer Foods / Spec's Charitable Foundation These performances are generously supported in part by: Supporter Martha & Marvin McMurrey Shirley & Joel Wahlberg
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 has established himself as one of North America's leading conductors of popular music. In addition to being Principal POPS Conductor at the Houston Symphony, Steven is the music director of The New York Pops at Carnegie Hall, principal pops conductor of the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts and principal pops conductor of the Toronto Symphony Orchestra. He previously held the posts of principal pops conductor of the Long Beach and Modesto Symphony Orchestras and associate conductor of the Cincinnati Pops Orchestra. Steven is a frequent guest conductor with The Philadelphia Orchestra and has been on the podium with the Boston Pops Orchestra, The Cleveland Orchestra and the Chicago Symphony Orchestra at Ravinia. His extensive North American conducting appearances include San Francisco, Seattle, Edmonton, Pittsburgh, Vancouver, Ottawa (National Arts Centre), Detroit, Milwaukee and Calgary. On stage, Steven has created programs and collaborated with a range of leading artists from the worlds of hip hop, Broadway, television and rock, including Common, Kendrick Lamar, Nas, Sutton Foster, Megan Hilty, Cheyenne Jackson, Wayne Brady, Peter Frampton and Ben Folds, among others. In 2017, he was featured on National Public Radio's All Things Considered leading the National Symphony Orchestra—in a first for the show’s 45-year history—performing live music excerpts between news segments. As the creator of more than 100 orchestral arrangements for the Cincinnati Pops Orchestra, Steven’s work has been performed worldwide and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. His symphonic works Celebration Fanfare, The Legend of Sleepy Hollow and Casey at the Bat are performed frequently in North America, including performances by the New York Philharmonic and Los Angeles Philharmonic. His Sun Valley Festival Fanfare was used to commemorate the Sun Valley Summer Symphony’s pavilion, and his Festival Te Deum and Swan’s Island Sojourn were debuted by the Cincinnati Symphony and Cincinnati Pops Orchestras. His numerous wind ensemble compositions are published by the C.L. Barnhouse Company and are performed by concert bands worldwide. A native of Ohio, Steven is a graduate of Miami University of Ohio, where he earned Bachelor of Music degrees with honors in both trumpet performance and music composition. He currently resides in New York City with his husband, Eric Gabbard.
InTUNE — May 2018 | 35
Program BIOGRAPHIES , continued
Storm Large | vocalist Storm Large: musician, actor, playwright, author, awesome. She shot to national prominence in 2006 as a finalist on the CBS show Rock Star: Supernova, where despite having been eliminated in the week before the finale, Storm built a fan base that still follows her around the world. Highlights of the 2017-18 season include debuts with The Phoenix, San Francisco and Jacksonville Symphonies; Pittsburgh, Vancouver and RTÉ National Symphony Orchestras and return engagements here and with the Toronto and Toledo Symphony Orchestras. Storm and her band, Le Bonheur, continue to tour concert halls across the country. The 2016-17 season included debuts with the Los Angeles Chamber Orchestra and the Atlanta, Baltimore and BBC Symphony Orchestras as well as return engagements with National and Detroit Symphony Orchestras. Recent highlights include engagements with The New York Pops, Cincinnati and Memphis Symphony Orchestras, The Louisville Orchestra, and performances at the Grant Park Music Festival in Chicago. She joined Michael Feinstein as special guest on the Jazz & Popular Song series at Lincoln Center as well as with Liza Minnelli, Joel Grey and the Pasadena Symphony and Pops. She debuted with the Oregon Symphony in 2010 and has returned for sold-out performances each year. Storm made her Carnegie Hall debut in 2013, singing Weill’s The Seven Deadly Sins with the Detroit Symphony Orchestra as part of the Spring for Music festival. The New York Times called her “sensational,” and the classical music world instantly had a new star. Storm made her debut as guest vocalist with the band Pink Martini in April 2011, singing four sold-out concerts with the National Symphony Orchestra at the Kennedy Center in Washington, D.C. She continues to perform with the band, touring nationally and internationally, and she was featured on the group’s CD, Get Happy. Storm’s musical memoir, Crazy Enough, played to packed houses in 2009 during its unprecedented 21-week sold-out run at Portland Center Stage. She performed a cabaret version of the show to critical acclaim at the Edinburgh Festival Fringe, Adelaide Festival in Australia and Joe’s Pub in New York. Her memoir, Crazy Enough, was released by Simon and Schuster in 2012, named Oprah’s Book of the Week and awarded the 2013 Oregon Book Award for Creative Nonfiction.
36 | Houston Symphony
Matt Doyle | vocalist Matt Doyle recently starred in the U.S. premiere of A Clockwork Orange at New World Stages and made his Carnegie Hall debut with The New York Pops last fall. Matt’s Broadway credits include The Book of Mormon (Elder Price), War Horse (Billy Narracott), Spring Awakening (Hanschen) and Bye Bye Birdie (Hugo Peabody). National tour credits include Spring Awakening (Melchior). Off-Broadway credits include Sweeney Todd (Anthony), Brooklynite (Trey) and Jasper in Deadland (Jasper). Regional credits include West Side Story at Paper Mill Playhouse (Tony), Jasper in Deadland at Seattle’s 5th Avenue Theatre (Jasper) and Giant at Dallas Theater Center (Jordy Jr.). Film and TV credits include a recurring role on Gossip Girl (Jonathan) and Private Romeo (Glenn). Recordings include Bare: A Pop Opera (Peter). Matt's solo EPs, Daylight and Constant (co-written by Will Van Dyke), are available on iTunes.
Baker Botts is a globally respected law firm with offices around the world. It provides the highest ethical and professional standards combined with a reach and depth of understanding of the law to help deliver better and more innovative solutions. The firm has supported the Houston Symphony for decades and continues this support today, with a Baker Botts partner serving as the Symphony’s general counsel. Baker Botts has consistently delivered results-oriented services to establish itself as one of the world’s leading law firms. Its attorneys have earned the privilege of working on some of the most fascinating and complex legal matters in the world. Since 1840, the firm has provided creative and effective legal solutions for its clients while demonstrating an unrelenting commitment to excellence. BakerBotts.com
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40 | Houston Symphony
Society Board of TRUSTEES
Executive Committee Janet F. Clark President Steven P. Mach Immediate Past President
Bobby Tudor Chairman Paul R. Morico General Counsel
Mike S. Stude Chairman Emeritus Barbara McCelvey Secretary
Danielle Batchelor Chair, Popular Programming Barbara J. Burger Chair, Finance Justice Brett Busby Chair, Artistic & Orchestra Affairs Mary Kathryn Campion, Ph.D. Chair, Pension Brad W. Corson Chair, Governance & Leadership Viviana Denechaud Chair, Development Tracy Dieterich Chair, Community Partnerships Mary Lynn Marks Chair, Volunteers & Special Events
Billy McCartney Chair, Education Alexandra Pruner^ President, Houston Symphony Endowment David Pruner Chair, Strategic Planning Manolo Sánchez Chair, Marketing & Communications Jesse B. Tutor Immediate Past Chair, Chair, Audit Beth Wolff^ President, Houston Symphony League
Andrés Orozco-Estrada^ Music Director John Mangum^ Executive Director/CEO Sergei Galperin^ Musician Representative Mark Hughes^ Musician Representative Mark Nuccio^ Musician Representative Christine Kelly-Weaver^ Assistant Secretary ^Ex-Officio
GOVERNING DIRECTORS Farida Abjani Michael W. Adler Marcia Backus Janice Barrow** Danielle Batchelor Gary Beauchamp Marie Taylor Bosarge Ralph Burch Barbara J. Burger Justice Brett Busby Andrew Calder Janet F. Clark Michael H. Clark Brad W. Corson Viviana Denechaud Michael Doherty David Frankfort
Ronald G. Franklin Stephen Glenn Joan Kaplan Sippi Khurana, M.D. Rochelle Levit, Ph.D. Cora Sue Mach ** Steven P. Mach Paul M. Mann, M.D. Jay Marks ** Mary Lynn Marks David Massin Rodney Margolis** Billy McCartney Barbara McCelvey Alexander K. McLanahan ** Paul R. Morico Kevin O’Gorman
Robert Orr Cully Platt David Pruner Ron Rand John Rydman** Manolo Sánchez Helen Shaffer ** Jerry Simon Jim R. Smith Miles O. Smith Mike S. Stude ** William J. Toomey II Bobby Tudor ** Betty Tutor ** Jesse B. Tutor ** Judith Vincent Margaret Alkek Williams **
Scott Wulfe David Wuthrich
Julia Anderson Frankel Betsy Garlinger Evan B. Glick Susan Hansen Eric Haufrect, M.D. Gary L. Hollingsworth, M.D. Brian James Rita Justice I. Ray Kirk, M.D. Ulyesse LeGrange ** Carlos J. Lopez Michael Mann, M.D. Jack Matzer Jackie Wolens Mazow Gene McDavid ** Gary Mercer Marilyn Miles Janet Moore Jud Morrison
Bobbie Newman Scott Nyquist Edward Osterberg Jr. Robert A. Peiser** Gloria G. Pryzant Gabriel Rio Richard Robbins, M.D. J. Hugh Roff Jr. ** Miwa Sakashita Ed Schneider Michael E. Shannon ** Donna Shen Robert Sloan, Ph.D. Tad Smith David Stanard Ishwaria Subbiah, M.D. L. Proctor (Terry) Thomas Shirley W. Toomim Andrew Truscott
Margaret Waisman, M.D. Fredric Weber Mrs. S. Conrad Weil Robert Weiner Vicki West Steven J. Williams Frank Wilson Beth Wolff Ed Wulfe ** Ellen A. Yarrell Robert Yekovich Frank Yonish
Ex-Officio Mary Kathryn Campion, Ph.D. Tracy Dieterich Sergei Galperin Mark Hughes Martha McWilliams Mark Nuccio Robert A. Peiser** Gloria Pryzant Donna Shen **Lifetime Trustee
TRUSTEES Philip Bahr Devinder Bhatia, M.D. James M. Bell Anthony Bohnert Nancy Shelton Bratic Terry Ann Brown** Cheryl Byington Dougal Cameron Mary Kathryn Campion, Ph.D. John T. Cater ** Evan Collins, M.D., MBA Andrew Davis, Ph.D. Tracy Dieterich Terry Elizabeth Everett Kelli Cohen Fein, M.D. Jeffrey B. Firestone Eugene Fong Craig Fox
Ex-Officio Alexandra Gottschalk Alexandra Pruner Art Vivar Jessie Woods
PAST PRESIDENTS OF HOUSTON SYMPHONY 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
THE SOCIETY 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 Mrs. W. Harold Sellers Miss Ima Hogg Mrs. John F. Grant Mrs. Harry H. Gendel Mrs. J. R. Parten Mrs. Robert M. Eury Mrs. Andrew E. Rutter Mrs. E. C. Vandagrift Jr. Mrs. Aubrey Leno Carter Mrs. J. Stephen Marks Mrs. Stuart Sherar Terry Ann Brown Nancy Strohmer Mrs. Julian Barrows Mary Ann McKeithan Ms. Hazel Ledbetter Ann Cavanaugh Mrs. Albert P. Jones Mrs. Ben A. Calhoun Mrs. James A. Shaffer Mrs. James Griffith Lawhon Lucy H. Lewis Mrs. Olaf LaCour Olsen Catherine McNamara Shirley McGregor Pearson Mrs. Ralph Ellis Gunn Paula Jarrett Mrs. Leon Jaworski Cora Sue Mach Mrs. Garrett R. Tucker Jr. Kathi Rovere Mrs. M. T. Launius Jr. Mrs. Thompson McCleary Norma Jean Brown Barbara McCelvey Mrs. Theodore W. Cooper Lori Sorcic Jansen Mrs. Allen W. Carruth Mrs. David Hannah Jr. Nancy B. Willerson Mary Louis Kister Jane Clark Nancy Littlejohn Mrs. Edward W. Kelley Jr. Donna Shen Mrs. John W. Herndon Mrs. Charles Franzen Dr. Susan Snider Osterberg Mrs. Harold R. DeMoss Jr. Dr. Kelli Cohen Fein Mrs. Edward H. Soderstrom Vicki West Mrs. Lilly Kucera Andress Mrs. Jesse Tutor Ms. Marilou Bonner Darlene Clark PAST PRESIDENTS OF THE HOUSTON SYMPHONY LEAGUE BAY AREA Sue Smith Fran Strong Shirley Wettling Selma Neumann Jo Anne Mills Julia Wells Phyllis Molnar Dagmar Meeh Pat Bertelli Priscilla Heidbreder Harriett Small Emyre B. Robinson Nina Spencer Dana Puddy Elizabeth Glenn Angela Buell Ebby Creden Pat Brackett Charlotte Gaunt Joan Wade Norma Brady Yvonne Herring Cindy Kuenneke Deanna Lamoreux Helen Powell Glenda Toole Sharon Dillard Carole Murphy Diane McLaughlin Patience Myers Roberta Liston James Moore Suzanne Hicks Mary Voigt
FRIENDS OF JONES HALL REPRESENTATIVES Justice Brett Busby
Ronald G. Franklin
Steven P. Mach
Barbara McCelvey InTUNE — May 2018 | 41
Corporate, Foundation & Government PARTNERS The Houston Symphony is proud to recognize the leadership support of our corporate, foundation and government partners that allow the orchestra to reach new heights in musical performance, education and community engagement for Greater Houston and the Gulf Coast Region. For more information on becoming a foundation or government partner, please contact Mary Beth Mosley, Interim Co-Chief Development Officer/Director, Institutional Giving and Stewardship, at 713.337.8521 or email@example.com. For more information on becoming a Houston Symphony corporate donor, please contact Leticia Konigsberg, Director, Corporate Relations, at 713.337.8522 or firstname.lastname@example.org.
CORPORATE PARTNERS Principal Corporate Guarantor $250,000 and above *Spec’s Wines, Spirits & Finer Foods / Spec’s Charitable Foundation Grand Guarantor $150,000 and above BBVA Compass ConocoPhillips *Houston Public Media— News 88.7 FM; Channel 8 PBS *KTRK ABC-13 Phillips 66 *Rand Group, LLC *Oliver Wyman Guarantor $100,000 and above Bank of America Chevron *Houston Methodist Medistar Corporation PaperCity *Telemundo *United Airlines Underwriter $50,000 and above *Baker Botts L.L.P. *BB&T *Cameron Management ENGIE *The Events Company Exxon Mobil Corporation Frost Bank Houston Baptist University Houston Livestock Show and Rodeo
(as of April 17, 2018)
Kalsi Engineering Kirkland & Ellis LLP *The Lancaster Hotel Mann Eye Institute Occidental Petroleum Corporation Palmetto Partners Ltd./The Robert and Janice McNair Foundation Shell Oil Company Vinson & Elkins LLP Sponsor $25,000 and above Bank of Texas *Bright Star EOG Resources Goldman, Sachs & Co. *Houston Chronicle *Houston First Corporation *Jackson and Company KPMG LLP Marine Foods Express, Ltd. McGuireWoods, LLP *Neiman Marcus Norton Rose Fulbright Sidley Austin LLP *Silver Circle Audio SPIR STAR, Ltd. The University of Texas, MD Anderson Cancer Center Wells Fargo WoodRock & Co.
CORPORATE MATCHING GIFTS Aetna Aon Apache Corporation Bank of America BBVA Compass BHP Billiton The Boeing Company BP Foundation Caterpillar 42 | Houston Symphony
Partner $15,000 and above Accenture Anadarko Petroleum Corporation *City Kitchen *Glazier’s Distributors Gorman’s Uniform Service H-E-B Tournament of Champions Heart of Fashion Independent Bank Laredo Construction, Inc. Locke Lord LLP Lockton Companies of Houston Macy's The Newfield Foundation USI Southwest Supporter $10,000 and above *Abraham’s Oriental Rugs *Agua Hispanic Marketing CenterPoint Energy Emerson Northern Trust *Silver Eagle Distributors Star Furniture *Zenfilm
*University of St. Thomas Wortham Insurance and Risk Management Patron Gifts below $5,000 Adolph Locklar, Intellectual Property Law Firm Amazon Baker Hughes Bering's Beth Wolff Realtors Burberry Dolce & Gabbana USA, Inc. Intertek Kinder Morgan Foundation Quantum Bass Center* SEI, Global Institutional Group Smith, Graham & Company Stewart Title Company TAM International, Inc. The Webster * Includes in-kind support
Benefactor $5,000 and above Barclay’s Wealth and Investment Management Beck Redden LLP Jim Benton of Houston, LLC Louis Vuitton Nordstrom Orrick, Herrington & Sutcliffe, L.L.P. *Randalls Food Markets Russell Reynolds Associates, Inc.
(as of April 17, 2018)
Chevron Chubb Group Coca-Cola ConocoPhillips Eli Lilly and Company EOG Resources Exxon Mobil Corporation Freeport – McMoRan Oil & Gas General Electric
General Mills Goldman, Sachs & Company Halliburton Hewlett-Packard Houston Endowment IBM ING Financial Services Corporation KBR Merrill Lynch
NAACO Industries, Inc. Neiman Marcus Northern Trust Occidental Petroleum Corporation Phillips 66 Shell Oil Company Union Pacific Williams Companies, Inc.
FOUNDATIONS & GOVERNMENT AGENCIES Diamond Guarantor $1,000,000 and above Houston Symphony Endowment Houston Symphony League The Wortham Foundation, Inc. Premier Guarantor $500,000 and above The Brown Foundation, Inc. City of Houston and Theater District Improvement, Inc. 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 Cullen Trust for the Performing Arts MD Anderson Foundation Guarantor $100,000 and above Houston Endowment
Underwriter $50,000 and above The Elkins Foundation The William Stamps Farish Fund The Fondren Foundation The Hearst Foundations Houston Symphony Chorus Endowment The Humphreys Foundation League of American Orchestras' Futures Fund LTR Lewis Cloverdale Foundation John P. McGovern Foundation The Robert and Janice McNair Foundation / Palmetto Partners Ltd. The Powell Foundation The Robbins Foundation Sponsor $25,000 and above Beauchamp Foundation Ann & Gordon Getty Foundation Sterling-Turner Foundation Texas Commission on the Arts
(as of April 17, 2018) Partner $15,000 and above Ruth & Ted Bauer Family Foundation The Melbern G. & Susanne M. Glasscock Foundation The Hood-Barrow Foundation Houston Symphony League Bay Area National Endowment for the Arts The Vivian L. Smith Foundation The Vaughn Foundation Supporter $10,000 and above The Carleen & Alde Fridge Foundation Petrello Family Foundation Radoff Family Foundation The Schissler Foundation Anonymous
Benefactor $5,000 and above William E. & Natoma Pyle Harvey Charitable Foundation The Scurlock Foundation Keith & Mattie Stevenson Foundation Strake Foundation Patron Gifts below $5,000 The Cockrell Foundation Diamond Family Foundation The Helmle-Shaw Foundation Huffington Foundation Leon Jaworski Foundation Lillian Kaiser Lewis Foundation Robert W. & Pearl Wallis Knox Foundation The Lubrizol Foundation
The Houston Symphony thanks the generous donors who, since 2012, have made possible infrastructure additions to further enhance the sound and quality of our orchestral performances.
Beauchamp Foundation Miller Outdoor Theatre Sound Shell ceiling Portativ organ Berlioz bells Orchestra synthesizer Adam's vibraphone Small percussion and other instruments
Albert & Ethel Herzstein Charitable Foundation Enhancements to Jones Hall Video System
Vicky & Michael Richker Family Adolfo Sayago, Orquestas
Houston Symphony League Steinway Concert Grand Piano and Instrument Petting Zoo
Sybil F. Roos Rotary Trumpets
The Fondren Foundation Miller Outdoor Theatre Sound Shell Ceiling
LTR Lewis Cloverdale Foundation Lyon & Healy Harp
Ms. Nancey G. Lobb Piccolo Timpano
Silver Circle Audio Enhancements to Jones Hall Recording Suite Beverly Johnson, Ralph Wyman and Jim Foti, and Thane & Nicole Wyman in memory of Winthrop Wyman Basset Horns and Rotary Trumpets Mr. & Mrs. Charles Zabriskie Conductor’s Podium
The Houston Symphony pays special tribute to the 137 donors who made transformational gifts to complete the Sustainability Fund. On December 31, 2015, the Houston Symphony celebrated an extraordinary achievement: the completion of a five-year, $15 million Sustainability Fund, which has transformed the orchestra’s financial position. The Symphony was able to close out the campaign thanks to challenge grant funds totaling $1,050,000 provided by Bobby & Phoebe Tudor, Cora Sue & Harry Mach, Janice Barrow, Steve & Joella Mach and Robert & Jane Cizik. The Ciziks provided the final $500,000 to allow the Symphony to reach its $15 million Sustainability Fund goal. Houston Endowment Estate of Jean R. Sides Bobby & Phoebe Tudor Ms. Marie Taylor Bosarge Janice Barrow Margaret Alkek Williams Jane & Robert Cizik
Clare Attwell Glassell Mrs. Kitty King Powell* The Cullen Foundation The Cullen Trust for the Performing Arts The Brown Foundation, Inc. Cora Sue & Harry Mach The Wortham Foundation, Inc.
John & Lindy Rydman / Spec’s Wines, Spirits & Finer Foods / Spec’s Charitable Foundation MD Anderson Foundation Joella & Steven P. Mach Mr. & Mrs. Jesse B. Tutor
Barbara J. Burger Ron Franklin & Janet Gurwitch The Joan & Marvin Kaplan Foundation Carol & Michael Linn & The Michael C. Linn Family Foundation Barbara & Pat McCelvey Estate of Mary Ann Holloway Phillips Sybil F. Roos Steven & Nancy Williams
Robin Angly & Miles Smith Gary & Marian Beauchamp Laura & Michael Shannon Mr. & Mrs. Philip A. Bahr Nancy & Walter Bratic Janet F. Clark Linda & Gene Dewhurst Bert & Joan Golding Mr. & Mrs.* Robert M. Griswold
Marilyn & Robert Hermance C. Howard Pieper Foundation Tad & Suzanne Smith Alice & Terry Thomas Shirley W. Toomim Janet & Tom Walker *Deceased
InTUNE — May 2018 | 43
Houston Symphony ENDOWMENT The Houston Symphony Endowment is a separate nonprofit organization that invests contributions to earn income for the benefit of the Houston Symphony Society. TRUSTEES Alexandra Pruner, President Gene Dewhurst
James Lee Jerry Simon
William J. Toomey II Fredric A. Weber
An endowed fund can be permanently established within the Houston Symphony Society through a direct contribution or via a planned gift such as a bequest. The fund can be designated for general purposes or specific interests. For more information, please contact: Patrick T. Quinn, Director, Planned Giving, 713.337.8532, email@example.com GENERAL ENDOWMENT FUNDS
to support operational and annual activities
Accenture (Andersen Consulting) Fund AIG American General Fund M.D. Anderson Foundation Fund Mr. & Mrs. Philip Bahr Fund Janice H. & Thomas D. Barrow Fund Mrs. Ermy Borlenghi Bonfield Fund Jane & Robert Cizik Fund Mr. Lee A. Clark Fund Cooper Industries, Inc. Fund Gene & Linda Dewhurst Fund DuPont Corporation Fund Elkins Charitable Trust Agency Fund The Margaret & James A. Elkins Foundation Fund Virginia Lee Elverson Trust Fund Charles Engelhard Foundation Fund William Stamps Farish Fund Dr. Kelli Cohen Fein & Martin J. Fein Fund Stephen & Mariglyn Glenn Fund Jo A. & Billie Jo Graves Fund
George & Mary Josephine Hamman Foundation Fund Dr. Gary L. Hollingsworth & Dr. Ken Hyde Fund Houston Arts Combined Endowment Fund Drs. M.S. & Marie-Luise Kalsi Fund Mr. & Mrs. Marvin Kaplan Fund Ann Kennedy & Geoffrey Walker Fund Martha Kleymeyer Fund Rochelle & Max Levit Fund Mr. E. W. Long Jr. Fund Mr. & Mrs. Rodney H. Margolis Fund Jay & Shirley Marks Fund Mr. & Mrs. J. Stephen Marks Fund/ The Marks Charitable Foundation Marian & Speros Martel Foundation Fund Barbara & Pat McCelvey Fund The Menil Foundation Fund Monroe Mendelsohn Jr. Estate Sue A. Morrison & Children Fund National Endowment for the Arts Fund
to support annual performance activity
The Brown Foundation Guest Pianist Fund The Cullen Foundation Maestro’s Fund General & Mrs. Maurice Hirsch Memorial Concert Fund in memory of Theresa Meyer and Jules Hirsch, beloved parents of General Maurice Hirsch, and Rosetta Hirsch Weil and Josie Hirsch Bloch, beloved sisters of General Maurice Hirsch The Houston Symphony Chorus Endowment Fund
to attract, retain and support world-class conductors, musicians, guest artists and executive leadership
Janice & Thomas Barrow Chair Brinton Averil Smith, principal cello Roy & Lillie Cullen Chair Andrés Orozco-Estrada, music director Fondren Foundation Chair Qi Ming, assistant concertmaster General Maurice Hirsch Chair Aralee Dorough, principal flute Ellen E. Kelley Chair Eric Halen, co-concertmaster Max Levine Chair George P. & Cynthia Woods Mitchell Chair Mark Hughes, principal trumpet Tassie & Constantine S. Nicandros Chair Alexander Potiomkin, bass clarinet Lucy Binyon Stude Chair Jonathan Fischer, principal oboe Winnie Safford Wallace Chair
to attract, retain and support world-class conductors and guest artists American General Fund Speros P. Martel Fund Stewart Orton Fund Dan Feigal Prosser Fund
44 | Houston Symphony
Stewart Orton Fund Papadopoulos Fund Nancy & Robert Peiser Fund Rockwell Fund, Inc. Fund Mr. & Mrs. Clive Runnells Fund Estate of Mr. Walter W. Sapp Fund Mr. & Mrs. Matt K. Schatzman Fund The Schissler Foundation Fund Mr. & Mrs. James A. Shaffer Fund Mr. & Mrs. William T. Slick Jr. Fund Texas Eastern Fund Dorothy Barton Thomas Fund Bobby & Phoebe Tudor Fund Mr. & Mrs. Jesse B. Tutor Fund Dede & Connie Weil Fund The Wortham Foundation Fund Anonymous (5)
Fayez Sarofim Guest Violinist Fund through The Cullen Trust for the Performing Arts The Wortham Foundation Classical Series Fund endowed in memory of Gus S. & Lyndall F. Wortham
to support annual education and community engagement activities Margarett & Alice Brown Endowment Fund for Education Ronald C. Borschow Fund Lawrence E. Carlton, M.D. Endowment Fund for Youth Programs Richard P. Garmany Fund for the Houston Symphony League Concerto Competition The William Randolph Hearst Endowed Fund for Education Programs Selma S. Neumann Fund Spec’s Charitable Foundation Salute to Educators Concert Fund to support new commissions and innovative artistic projects The Micajah S. Stude Special Production Fund
to support access and expand geographic reach The Alice & David C. Bintliff Messiah Concert fund for performances at First Methodist Church The Brown Foundation’s Miller Outdoor Theatre Fund in memory of Hanni and Stewart Orton Mach Family Audience Development Fund George P. & Cynthia Woods Mitchell Summer Concerts Fund
to support electronic media initiatives The Cullen Trust for the Performing Arts Fund for Creative Initiatives
to support the Ima Hogg Competition Nancy B. Willerson Mr. & Mrs. C. Clifford Wright Jr.
to support piano performance Mary R. Lewis Fund for Piano Performance C. Howard Pieper Foundation
through The Brown Foundation Challenge to support artistic excellence Janet F. Clark Gloria Goldblatt Pryzant Mr. & Mrs. Jesse B. Tutor Legacy Society Chair Wayne Brooks, principal viola Ms. Vicki West in honor of Hans Graf Anonymous (1)
LEADERSHIP GIFTS OF WORKING CAPITAL
provided as part of the Campaign for the 20th Century, Campaign for Houston Symphony and My Houston, My Symphony—Campaign for a Sound Future Hewlett Packard Company Fund The Robert and Janice McNair Foundation Neva Watkins West Fund Gift in memory of Winifred Safford Wallace for the commission of new works
$500 or more Douglas & Alicia Rodenberger Ms. Carolyn Rogan Michael J. Shawiak Susan L. Thompson Mr. & Mrs. Frederic A. Weber Beth Weidler & Stephen James Anonymous (3)
Stephen & Mariglyn Glenn Robert Lee Gomez Terry L. & Karen G. Henderson Nobuhide Kobori David G. Nussman Mrs. Joan O'Conner Roland & Linda Pringle Natalia Rawle Gabriel & Mona Rio
A. Ann Alexander Mrs. Ramona Alms Mr. & Mrs. Richard M. Armes Janice Barrow Nancy & Walter Bratic Mr. & Mrs. Daniel Chavanelle Mr. Brent Corwin Roger & Debby Cutler Steve Dukes
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
BBVA Compass Ms. Marie Taylor Bosarge City of Houston through the Miller Theatre Advisory Board Houston Endowment Houston Symphony Endowment Mr. John N. Neighbors
Chevron The Elkins Foundation ENGIE Exxon Mobil Corporation The Hearst Foundations, Inc. League of American Orchestras' Futures Fund Houston Livestock Show and Rodeo The John P. McGovern Foundation The Robert & Janice McNair Foundation Occidental Petroleum Corporation The Powell Foundation Mr. & Mrs. William K. Robbins Jr./ The Robbins Foundation Shell Oil Company
Mr. & Mrs. John P. Dennis III/ WoodRock & Co. Sterling-Turner Foundation Wells Fargo
Anadarko Petroleum Corporation Ruth and Ted Bauer Family Foundation The Melbern G. and Susanne M. Glasscock Foundation H-E-B Tournament of Champions Macy's The Newfield Foundation Vivian L. Smith Foundation Mr. Jay Steinfeld & Mrs. Barbara Winthrop Texas Commission on the Arts Ellen A. Yarrell in memory of Virginia S. Anderson and in honor of Cora Sue Mach
CenterPoint Energy George & Mary Josephine Hamman Foundation Houston Symphony League Nancy & Robert Peiser TPG Capital
William E. & Natoma Pyle Harvey Charitable Trust Houston Symphony League Bay Area LTR Lewis Cloverdale Foundation Marathon Oil Corporation Nordstrom Randalls Food Markets Strake Foundation
Lilly & Thurmon Andress Diane & Harry Gendel Kinder Morgan Foundation Robert W. & Pearl Wallis Knox Foundation Lillian Kaiser Lewis Foundation Cora Sue & Harry Mach Karinne & Bill McCullough Tricia & Mark Rauch Hazel French Robertson Education & Community Residency
Support by Endowed Funds Education and Community programs are also supported by the following endowed funds, which are a part of the Houston Symphony Endowment: Margarett & Alice Brown Endowment Fund for Education Spec’s Charitable Foundation Salute to Educators Concert Fund The Brown Foundation's Miller Outdoor Theatre Fund in honor of Hanni & Stewart Orton The William Randolph Hearst Endowed Fund for Education Programs Lawrence E. Carlton, M.D. Endowment Fund for Youth Programs Richard P. Garmany Fund for Houston Symphony League Concerto Competition Houston Symphony Ima Hogg Competition Endowed Fund Selma S. Neumann Fund
Support for Symphony Scouts Cora Sue & Harry Mach in honor of Roger Daily’s 13 years of service as Director of the Houston Symphony’s Education and Community Programs
Support for the Community-Embedded Musician Initiative The Community-Embedded Musicians Initiative is supported in part by a generous grant from the American Orchestras' Future Fund, a program of the League of American Orchestras made possible by funding from the Ann & Gordon Getty Foundation. The Houston Symphony residency at Crespo Elementary is presented by BBVA Compass and the BBVA Compass Foundation. We are also thankful to HISD and these lead supporters of the CommunityEmbedded Musician program: Robert and Janice McNair Foundation Medistar National Endowment for the Arts Spec’s Wines, Spirits and Finer Foods / Spec’s Charitable Foundation Nancy & Robert Peiser Mr. Jay Steinfeld & Mrs. Barbara Winthrop H-E-B Tournament of Champions LTR Lewis Cloverdale Foundation
InTUNE — May 2018 | 45
MUSICIAN SPONSORSHIPS Donors at the Conductorâ€™s Circle Silver Baton level and above are provided the opportunity to be recognized as sponsoring a Houston Symphony Musician. For more information, please contact Liam Bonner, Manager, Annual Giving Groups, at 713.337.8536 or firstname.lastname@example.org. Janice Barrow Sophia Silivos, First Violin
Mr. & Mrs. Russell M. Frankel Aralee Dorough, Principal Flute
Martha & Marvin McMurrey Rodica Gonzalez, First Violin
Mrs. Bonnie Bauer Fay Shapiro, Viola
Stephen & Mariglyn Glenn Christian Schubert, Clarinet
Dr. Robert M. Mihalo Brian Thomas, Horn
Gary & Marian Beauchamp Martha Chapman, Second Violin
Evan B. Glick Tong Yan, First Violin
Rita & Paul Morico Elise Wagner, Bassoon
Mr. & Mrs. Edward F. Blackburne Jr. Sergei Galperin, First Violin
Mr. & Mrs. Fred L. Gorman Christopher French, Associate Principal Cello
Nancy Morrison Wayne Brooks, Principal Viola
Zarine M. Boyce Brinton Averil Smith, Principal Cello Nancy & Walter Bratic Christopher Neal, First Violin Terry Ann Brown James R. Denton, Cello Ralph Burch Robin Kesselman, Principal Double Bass Barbara J. Burger Andrew Pedersen, Double Bass Dougal & Cathy Cameron Brian Thomas, Horn Dr. M.K. Campion Rodica Gonzalez, First Violin Drs. Dennis & Susan Carlyle Louis-Marie Fardet, Cello Jane & Robert Cizik Qi Ming, Assistant Concertmaster Janet F. Clark Kevin Dvorak, Cello Mr. Michael H. Clark & Ms. Sallie Morian George Pascal, Assistant Principal Viola Roger & Debby Cutler Tong Yan, First Violin Dr. Scott Cutler Scott Holshouser, Principal Keyboard Mr. Richard Danforth Jeffrey Butler, Cello Leslie Barry Davidson & W. Robins Brice Colin Gatwood, Oboe Linda & Gene Dewhurst Phillip Freeman, Trombone Scott Ensell & Family Donald Howey, Double Bass Kelli Cohen Fein & Martin Fein Ferenc Illenyi, First Violin Angel & Craig Fox David Malone, Associate Principal Double Bass 46 | Houston Symphony
Dr. Gary L. Hollingsworth & Dr. Kenneth J. Hyde Robert Walp, Assistant Principal Trumpet Drs. M.S. & Marie-Luise Kalsi Eric Halen, Co-Concertmaster The Joan & Marvin Kaplan Foundation Mark Nuccio, Principal Clarinet Dr. & Mrs. I. Ray Kirk Linda Goldstein, Viola Mr. & Mrs. U. J. LeGrange Thomas LeGrand, Associate Principal Clarinet Rochelle & Max Levit Sergei Galperin, First Violin Cornelia & Meredith Long Brinton Averil Smith, Principal Cello
Mr. & Mrs. Robert E. Nelson Mihaela Frusina, Second Violin Bobbie Newman Rodica Gonzalez, First Violin Scott & Judy Nyquist Sheldon Person, Viola Susan & Edward Osterberg MiHee Chung, First Violin Mr. & Mrs. Jonathan E. Parker Nancy Goodearl, Horn Nancy & Robert Peiser Jonathan Fischer, Principal Oboe
Mr. & Mrs. Rodney H. Margolis Eric Halen, Co-Concertmaster
Linda & Jerry Rubenstein Brian Del Signore, Principal Percussion
Mr. & Mrs. Alexander K. McLanahan William VerMeulen, Principal Horn
Linda & Paul Thomas Robert Johnson, Associate Principal Horn Susan L. Thompson George Pascal, Assistant Principal Viola
Ms. Judith Vincent Matthew Roitstein, Associate Principal Flute
Mr. Glen A. Rosenbaum Aralee Dorough, Principal Flute
Betty & Gene McDavid Linda A. Goldstein, Viola
Mike Stude Brinton Averil Smith, Principal Cello
Ron & Demi Rand Myung Soon Lee, Cello
Mrs. Carolyn & Dr. Michael Mann Ian Mayton, Horn
Barbara & Pat McCelvey Adam Dinitz, English Horn
Carol & Michael Stamatedes Eric Larson, Double Bass
Mr. & Mrs. Jesse B. Tutor Daniel Strba, Viola
Sybil F. Roos Mark Hughes, Principal Trumpet
Dr. & Mrs. Malcolm L. Mazow Rodica Gonzalez, First Violin
Mr. & Mrs. Robert R. Springob, Laredo Construction, Inc. Mihaela Frusina, Second Violin
Gloria & Joe Pryzant Matthew Strauss, Percussion
Joella & Steven P. Mach Eric Larson, Double Bass
Michelle & Jack Matzer Kurt Johnson, First Violin
Alana R. Spiwak & Sam L. Stolbun Wei Jiang, Viola
Bobby & Phoebe Tudor Bradley White, Associate Principal Trombone
Lila Rauch Christopher French, Associate Principal Cello
Jay & Shirley Marks Sergei Galperin, First Violin
Tad & Suzanne Smith Marina Brubaker, First Violin
Dave & Alie Pruner Matthew Strauss, Percussion
Cora Sue & Harry Mach Joan DerHovsepian, Associate Principal Viola
Mr. & Mrs. J. Stephen Marks Brian Del Signore, Principal Percussion
The Julia and Albert Smith Foundation Eric Arbiter, Associate Principal Bassoon
John & Lindy Rydman / Spec's Wines, Spirits & Finer Foods Anthony Kitai, Cello Mr. & Mrs. Walter Scherr Phyllis Herdliska, Viola Mr. & Mrs. James A. Shaffer Eric Halen, Co-Concertmaster Laura & Michael Shannon Rian Craypo, Principal Bassoon Donna & Tim Shen Tina Zhang, Second Violin
Shirley & Joel Wahlberg Matthew Strauss, Percussion Margaret Waisman, M.D. & Steven S. Callahan, Ph.D. Mark Griffith, Percussion Stephen & Kristine Wallace Allen Barnhill, Principal Trombone Mr. & Mrs. Fredric A. Weber Megan Conley, Principal Harp Vicki West Rodica Gonzalez, First Violin Dr. Jim T. Willerson Anne Leek, Associate Principal Oboe Steven & Nancy Williams MiHee Chung, First Violin Jeanie Kilroy Wilson & Wallace S. Wilson Xiao Wong, Cello Lorraine & Ed Wulfe Dave Kirk, Principal Tuba Nina & Michael Zilkha Kurt Johnson, First Violin
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Saturday Concerts from June 9 to July 14, 2018
Don’t Miss the 2018 Round Top Music Festival Festival Opening Concert & Gala Reception Saturday, June 9, 2018 at 7:30 pm
- featuring Edvard Grieg’s
Charles Olivieri-Munroe Conductor
- and -
Concerto for Piano and Orchestra in a, Op. 16 (1868)
James Dick Piano
Don Juan, Op. 20 (1888) Till Eulenspiegel’s Merry Pranks, Op. 28 (1894-95)
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InTUNE — May 2018 | 47
Meet Rodica Gonzalez, violin Rodica Gonzalez, an accomplished violinist, has been a member of the first violin section of the Houston Symphony since 1990. Atencion San Miguel wrote that she “uses the most delicate and articulate phrasing in her playing, yet her capriciousness at times yields the exciting singing of strings that audiences revere…her playing shows a polished and confident style.” Originally from Romania, Rodica studied as a child at the George Enescu Music School, giving her first solo performance with an orchestra at age 11. In 1985, at a festival in Switzerland, she met Sergiu Luca who invited her to come study with him in Houston. In 1987, she began studying with Luca at Rice University and received her master’s degree in violin performance from Rice in 1990. She won the Shepherd School Concerto and the Campanile Orchestra Concerto competitions. Early in her career, Rodica performed with the Houston Ballet Orchestra and was concertmaster and soloist with the National Repertory Orchestra in Keystone, Colorado. She has been soloist with the Houston Symphony on many occasions, including the Sounds Like Fun! concert series. She has performed extensively as a recitalist and in chamber ensembles in Romania, Italy, Canada, Mexico and the United States. She is the founding violinist of the Tre Voci Trio and the Fidelis Quartet, ensembles that perform extensively in Houston and throughout the country. Rodica enjoys teaching young, aspiring musicians. She taught for many years at Houston Baptist University and is now on the faculty of the University of Saint Thomas. She and her husband, Robert, are proud parents of their son, Matthew. What inspired you to become a musician? My earliest memory is singing with my dolls in front of my kindergarten class when I was 4. That is when my great aunt realized I had a good musical ear and started me on violin—a 1/32 size! When asked why she picked violin instead of piano, her answer was: “There are more violins in an orchestra than pianos.” Would you like to share a notable performance? I made my Carnegie Hall recital debut in 2002 and was invited back several times. A pretty exciting performance was in June 2011, playing Brahms’ Clarinet Quintet and Piazzolla arrangements with my friends Mihaela Frusina (violin), Wei Jiang (viola), Jeff Butler (cello), Judy Dines (flute) and Danny Granados (clarinet) in Weill Recital Hall. Another wonderful experience was playing the original chamber version of Wagner's Siegfried Idyll with Frank Huang and other Houston Symphony principals at a Houston Symphony subscription concert in 2015. What are your interests outside of music? I love traveling around the world with my family. Every year, we go skiing, and in the summer, we try to discover new destinations. Every three to four years, we also go to Romania to visit my family. Rodica Gonzalez is sponsored by Dr. M.K. Campion, Dr. & Mrs. Malcolm L. Mazow, Martha & Marvin McMurrey, Bobbie Newman and Vicki West. 48 | Houston Symphony
Top: My Houston Symphony portrait Middle: Snowmobiling in Wasatch Mountain State Park, Utah Bottom: Myself, Matthew and Robert at the 2017 Very Merry Pops performance
Your Values. Your Influence. Your Legacy. Our Advice.
From left: Tom Williams, Leah Bennett, Allen Lewis, Bill Cunningham, Susan Wedelich, Maureen Phillips, Donnie Roberts
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