InTune | January 2024

InTUNE Swingin' Sinatra: A New Year's Celebration

Mendelssohn’s Scottish Symphony + Yoonshin Song

January 2024

Takemitsu + Brahms's Requiem

Víkingur Ólafsson Plays Bach

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Your Houston Symphony Welcome to the Houston Symphony Your Symphony Experience Juraj Valčuha, Music Director Orchestra Roster Society Board of Trustees Administrative Staff Magical Musical Morning 2023 Strategic Plan 2030 Building Our Endowment, Building Our Future Behind the Scenes: Stefan Stout Programs Swingin’ Sinatra: A New Year’s Celebration Mendelssohn’s Scottish Symphony + Yoonshin Song Takemitsu + Brahms’s Requiem Víkingur Ólafsson Plays Bach Our Supporters Houston Symphony Donors Music Director Fund Young Associates Council Corporate, Foundation & Gov. Partners Houston Symphony Endowment Legacy Society Musician Sponsorships Jesse H. Jones Hall Renovation Donors

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INTUNE July 2023

welcome to the houston symphony

Dear Music Lovers, Welcome to Jones Hall, and to a new year at the Houston Symphony!

We’re excited to share what the new year has in store with you. We ring in the new year with Principal POPS Conductor Steven Reineke, audience favorite Tony DeSare, and the Houston Symphony Big Band for Swingin’ Sinatra: A New Year’s Celebration (Jan. 5–7). Then, we welcome back Music Director Juraj Valčuha for two weeks featuring two great masterworks of German Romanticism: Mendelssohn’s Scottish Symphony (alongside Bartók’s virtuosic Second Violin Concerto featuring Concertmaster Yoonshin Song as soloist, Jan. 12–14) and Brahms’s A German Requiem (Jan. 19–21). And we finish the month with emerging superstar pianist Víkingur Ólafsson performing Bach’s monumental Goldberg Variations in the intimate setting of The Hobby Center’s Zilkha Hall (Jan. 28).

Also during the last two weeks of January, we continue our Student Concerts. Already during the fall, we performed for 30,000 young people from across Greater Houston. By the time we’re done this season, we’ll have served more than 50,000 students in total, more than double the number served by any other major American orchestra and a critical part of fulfilling our mission to create extraordinary musical experiences for everyone.

Of course, we can’t do it without you, our generous Houston Symphony

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supporters. Two-thirds of our revenue comes from contributions that support the artistic excellence of our Jones Hall concerts and make our free and lowcost education and community engagement initiatives possible. Together, those concerts and programs will serve more than 400,000 people in our community and beyond this year, and your gifts to the Houston Symphony make all of this possible, so thank you. And if you’re not already a donor, please turn to page 35 to learn more about how you can give today.

I hope we’ll see you back in February, when we have visits from Artistic Partner Itzhak Perlman, former Music Director Christoph Eschenbach, and a special celebration for the 100th anniversary of George Gershwin’s Rhapsody in Blue. The great music never stops at Jones Hall.

Thank you so much for being with us, and enjoy the concert!

All my best,

John Mangum Executive Director/CEO Margaret Alkek Williams Chair

Valčuha Conducts Rachmaninoff November 10, 11 & 12

Valčuha Conducts Mahler 6 March 15, 16 & 17

March

November

At Last! A Tribute to Etta James March 1, 2 & 3

Valčuha Conducts Ravel’s La valse November 17, 18 & 19

Mozart + Beethoven’s Eroica March 22, 23 & 24 Romeo and Juliet + Dvořák’s Cello Concerto March 29 & 30

Andrés Returns December 1, 2 & 3

21st Century Broadway April 5, 6 & 7

Tim Burton’s The Nightmare Before Christmas December 9 & 10

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Duke Ellington’s Nutcracker December 12

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Handel’s Messiah December 15, 16 & 17

I’m a Superhero!

April 6

April

December

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Very Merry POPS December 20, 21, 22 & 23

May

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Takemitsu + Brahms’s Requiem January 19, 20 & 21 S

Disney’s Encanto™ in Concert Live to Film April 20 & 21

Pines of Rome + Grieg’s Piano Concerto May 2, 4 & 5

Swingin’ Sinatra: A New Year’s Celebration January 5, 6 & 7 Mendelssohn’s Scottish Symphony + Yoonshin Song January 12, 13 & 14

Classical Mystery Tour: A Tribute to The Beatles April 18 & 19

Carmina burana April 26, 27 & 28

Holly Jolly Holiday December 23

January

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Harry Potter and the Chamber of Secrets™ in Concert May 10 & 11 Itzhak Perlman: In the Fiddler’s House May 12 The Music of Star Wars May 17, 18 & 19

Víkingur Ólafsson Plays Bach January 28

Adams’s El Niño May 25 & 26 Jazz, Love & Gershwin: A Century of Rhapsody in Blue February 2, 3 & 4

An Alpine Symphony June 1 & 2

Get Up and Dance!

February 3

Salome in Concert June 7 & 9

Perlman Conducts Tchaikovsky 5 February 8, 10 & 11 Eschenbach Conducts Bruckner 8 February 24 & 25

Classical Series Bank of America POPS Series

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Specials PNC Family Series

June

Season

Raiders of the Lost Ark in Concert November 4 & 5

“I Will Survive”—Diva Legends November 24, 25 & 26

February

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The Music of ABBA June 15

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Jurassic Park in Concert June 22 & 23

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The Music of the Rolling Stones June 28 & 29

your symphony experience JONES HALL

ETIQUETTE

Since the opening of Jones Hall in 1966, millions of arts patrons have enjoyed countless musical and stage performances at the venue. Dominating an entire city block, Jones Hall features a stunning travertine marble facade, 66-foot ceilings, and a brilliantly lit grand entrance.

Jones Hall is a monument to the memory of Jesse Holman Jones, a towering figure in Houston during the first half of the 20th century.

For Classical concerts, if a work has several movements it is traditional to hold applause until the end of the last movement.

If you are unsure when a piece ends, check the program or wait for the conductor to face the audience. If you feel truly inspired, however, do not be afraid to applaud!

CHILDREN

Children ages six and up are welcome to all Classical, Bank of America POPS, and Symphony Special concerts. Children of all ages are welcome at PNC Family Series performances.

Children must have a ticket for all ticketed events.

CONCERT DISRUPTION

We strive to provide the best possible auditory experience of our world-class orchestra. Noise from phones, candy wrappers, and talking is distracting to the performers on stage and those around you. Please help us make everyone’s concert enjoyable by silencing electronic devices now and remaining quiet during the performance.

LATE SEATING

Each performance typically allows for late seating, which is scheduled in intervals and determined by the conductor. Our ushers and Patron Experience Coordinator will instruct you on when late seating is allowed.

FOOD & DRINK POLICY

The Encore Café and in-hall bars are open for Symphony performances, and food and drink will be permitted in bar areas. Food is not permitted inside the auditorium. Patrons may bring drinks into the auditorium for Bank of America POPS Series concerts and Symphony Specials. Drinks are not permitted inside the auditorium for Classical concerts.

TICKETS

LOST & FOUND

If you are unable to make a performance, your ticket may be donated prior to the concert for a tax-donation receipt.

Donations and exchanges may be made in person, over the phone, or online.

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

For lost and found inquiries, please contact Patron Experience Coordinator Freddie Piegsa during the performance. He also can be reached at freddie.piegsa@houstonsymphony.org. You also may contact Houston First after the performances at 832.487.7050.

THANK YOU to our sponsors

Principal Corporate Guarantor

Houston Symphony

Official Health Care Provider

Official Television Partner

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Juraj valČuha Music Director Roy and Lillie Cullen Chair

Houston Symphony Music Director Juraj Valčuha is recognized for his effortless expressiveness and depth of musicianship. With sharp baton technique and natural stage presence, the impressive ease of his interpretations translate even the most complex scores into immersive experiences.

Rome, Milan's Filarmonica della Scala, Montréal Symphony, and the NHK and Yomiuri orchestras in Tokyo.

Before joining the Houston Symphony in June 2022, Juraj was Music Director of the Teatro di San Carlo, Naples, from 2016 to 2022 and first guest conductor of the Konzerthausorchester Berlin. He was Chief Conductor of the Orchestra Sinfonica Nazionale della Rai from 2009 to 2016.

The 2005–06 Season marked the start of his international career on the podium of the Orchestre National de France followed by remarkable debuts in the United Kingdom with the Philharmonia London, in Germany with the Munich Philharmonic, in the United States with the Pittsburgh Symphony, and in Italy with Puccini's La Bohème in Bologna.

He has since led the Leipzig Gewandhaus Orchestra, Dresden Staatskapelle, Munich Philharmonic, Berlin Philharmonic, Swedish Radio Symphony, Amsterdam Royal Concertgebouw, Rotterdam Philharmonic, Orchestre de Paris, Maggio Musicale in Florence, Orchestra dell'Accademia Nazionale di Santa Cecilia

Houston Symphony

He enjoys regular collaborations with the Minnesota Orchestra, New York Philharmonic, Pittsburgh Symphony, and San Francisco Symphony.

International touring with the Orchestra Sinfonica della Rai took them to the Musikverein in Vienna and Philharmonie in Berlin, Cologne, Düsseldorf, Zurich, Munich, to the Enesco Festival in Bucharest, and the Abu Dhabi Classics. With the Konzerthausorchester Berlin, he visited Riga, Vilnius, and Tallinn to mark the 100th anniversary of the Baltic nations.

In Europe, he is acclaimed on the podium of the Munich Philharmonic, the NDR Hamburg and Frankfurt Radio orchestras, as well as the Vienna Symphony, Czech Philharmonic, Orchestre National de France, Orchestre de Paris, BBC Symphony and Philharmonia London, and the Swedish Radio Orchestra.

Juraj champions the compositions of living composers and aims to program contemporary pieces in most of his concerts. He has conducted world premieres, including Christopher Rouse’s Supplica with the Pittsburgh Symphony, Steven Mackey’s violin concerto with Leila Josefowicz and the BBC

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Symphony in Manchester, and Nico Muhly’s Bright Idea with the Houston Symphony. In 2005, he conducted, in the presence of the composer, Steve Reich’s Four Seasons at the Melos-Ethos Festival in Bratislava. Other composers he has supported and continues to follow with interest are Bryce Dessner, Steven Stucky, Andrew Norman, James MacMillan, Luca Francesconi, Anna Thorvaldsdottir, Anna Clyne, and Jessie Montgomery, among others.

Including his engagements in Houston, the 2023–24 Season takes him to the Pittsburgh, San Francisco, Chicago, and Minnesota Orchestras as well as to the Yomiuri Nippon Orchestra in Tokyo. On the European stage, he performs Fanciulla del West and Tristan and Isolde at the Bavarian State Opera and at the Deutsche Oper Berlin, Jenufa at the Opera di Roma, and Salome at the Semperoper in Dresden. He leads concerts with the RAI Orchestra, the Orchestra dell'Accademia di Santa Cecilia, the Orchestre National de France, the NDR, SWR, and the Bamberg Symphony, among others.

Born in Bratislava, Slovakia, Juraj studied composition and conducting in his birth place, then at the conservatory in St. Petersburg (with Ilya Musin), and finally, at the Conservatoire Supérieur de la Musique in Paris.

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INTUNE January 2024

ORCHESTRA ROSTER Juraj Valčuha

Music Director Roy and Lillie Cullen Chair

FIRST VIOLIN Yoonshin Song, Concertmaster Max Levine Chair Eric Halen, Co-Concertmaster Ellen E. Kelley Chair Boson Mo, Assistant Concertmaster Qi Ming, Assistant Concertmaster Fondren Foundation Chair Marina Brubaker Tong Yan MiHee Chung Sophia Silivos Rodica Gonzalez Ferenc Illenyi Si-Yang Lao Kurt Johnson Christopher Neal Sergei Galperin SECOND VIOLIN MuChen Hsieh, Principal Teresa Wang+, Associate Principal Amy Semes Annie Kuan-Yu Chen Mihaela Frusina Jing Zheng Tianjie Lu Anastasia Ehrlich Tina Zhang Tianxu Liu+ Samuel Park+ VIOLA Joan DerHovsepian, Principal Wei Jiang, Acting Associate Principal Sheldon Person Fay Shapiro Keoni Bolding Samuel Pedersen Suzanne LeFevre+ Elizabeth Golofeev+ Meredith Harris+ Yvonne Smith+

Steven Reineke, Principal POPS Conductor Andrés Orozco-Estrada, Conductor Laureate Allen Hightower, Director Houston Symphony Chorus Gonzalo Farias, Assistant Conductor

DOUBLE BASS Robin Kesselman, Principal Timothy Dilenschneider, Associate Principal Mark Shapiro Eric Larson Andrew Pedersen Burke Shaw Donald Howey Ryan Avila+ FLUTE Aralee Dorough, Principal General Maurice Hirsch Chair Matthew Roitstein*, Associate Principal Judy Dines, Acting Associate Principal Mark Teplitsky+ Kathryn Ladner PICCOLO Kathryn Ladner OBOE Jonathan Fischer, Principal Lucy Binyon Stude Chair Anne Leek, Associate Principal Colin Gatwood Adam Dinitz ENGLISH HORN Adam Dinitz CLARINET Mark Nuccio, Principal Bobbie Nau Chair Thomas LeGrand, Associate Principal Christian Schubert Alexander Potiomkin E-FLAT CLARINET Thomas LeGrand

CELLO Brinton Averil Smith, Principal Janice H. and Thomas D. Barrow Chair Christopher French, Associate Principal Anthony Kitai Louis-Marie Fardet Jeffrey Butler Maki Kubota Xiao Wong Charles Seo Jeremy Kreutz

BASS CLARINET Alexander Potiomkin, Tassie and Constantine S. Nicandros Chair

COMMUNITY-EMBEDDED MUSICIANS Lindsey Baggett, violin David Connor, double bass Rainel Joubert, violin

STAGE PERSONNEL Stefan Stout, Stage Manager José Rios, Assistant Stage Manager Nicholas DiFonzo, Head Video Engineer Justin Herriford, Head Audio Engineer Connor Morrow, Head Stage Technician Giancarlo Minotti, Audio Production Manager

ASSISTANT LIBRARIANS Hae-a Lee Anna Thompson

Houston Symphony

BASSOON Rian Craypo, Principal Isaac Schultz, Associate Principal Elise Wagner Adam Trussell

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CONTRABASSOON Adam Trussell HORN William VerMeulen, Principal Mr. and Mrs. Alexander K. McLanahan Endowed Chair Robert Johnson, Associate Principal Nathan Cloeter, Assistant Principal/Utility Brian Thomas Brian Mangrum Ian Mayton Barbara J. Burger Chair TRUMPET Mark Hughes, Principal George P. and Cynthia Woods Mitchell Chair John Parker, Associate Principal Robert Walp, Assistant Principal Richard Harris TROMBONE Bradley White, Acting Principal Ryan Rongone+ Phillip Freeman BASS TROMBONE Phillip Freeman TUBA Dave Kirk, Principal TIMPANI Leonardo Soto, Principal Matthew Strauss, Associate Principal PERCUSSION Brian Del Signore, Principal Mark Griffith Matthew Strauss HARP Allegra Lilly, Principal KEYBOARD Scott Holshouser, Principal LIBRARIAN Luke Bryson, Principal

*on leave + contracted substitute

2023–24 SEASON

SOCIETY BOARD OF TRUSTEES EXECUTIVE COMMITTEE Barbara J. Burger President

John Rydman Immediate Past President

Paul Morico General Counsel

Janet F. Clark Chair

Mike S. Stude Chairman Emeritus

Barbara McCelvey Secretary

Jonathan Ayre Chair, Finance

Mary Lynn Marks Chair, Volunteers & Special Events

Bobby Tudor^ At-Large Member

Joan DerHovsepian^ Musician Representative

Mary Fusillo^ President, Houston Symphony League

Mark Hughes^ Musician Representative

Brad W. Corson Chair, Governance & Leadership Manuel Delgado Chair, Marketing & Communications

Robert Orr Chair, Strategic Planning Ed Schneider Chair, Community Partnerships

Evan B. Glick Chair, Popular Programming

John Rydman Chair, Artistic & Orchestra Affairs

Lidiya Gold Chair, Development

Jesse B. Tutor Chair, Audit

Sippi Khurana, M.D. Chair, Education

Steven P. Mach ^ Immediate Past Chairman

James H. Lee^ President, Houston Symphony Endowment Juraj Valčuha^ Music Director, Roy and Lillie Cullen Chair

Houston Symphony

Mark Nuccio^ Musician Representative Sherry Rodriguez^ Assistant Secretary ^Ex-Officio

Rian Craypo Musician Representative

GOVERNING DIRECTORS Jonathan Ayre Gary Beauchamp Eric Brueggeman Bill Bullock Barbara J. Burger John Cassidy, M.D. Janet F. Clark Lidiya Gold Claudio Gutiérrez William D. Hunt Rick Jaramillo Sippi Khurana, M.D. Carey Kirkpatrick Kenny Kurtzman

John Mangum^ Executive Director/CEO Margaret Alkek Williams Chair

EX-OFFICIO Cindy Levit Isabel Stude Lummis Cora Sue Mach ** Rodney Margolis** Jay Marks ** Mary Lynn Marks Elissa Martin Barbara McCelvey Paul R. Morico Robert Orr Chris Powers John Rydman** Ed Schneider Anthony Speier

William J. Toomey II Bobby Tudor ** Betty Tutor ** Jesse B. Tutor ** Gretchen Watkins Robert Weiner Margaret Alkek Williams **

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Brad W. Corson Rian Craypo Manuel Delgado Joan DerHovsepian Mary Fusillo Evan B. Glick Mark Hughes James H. Lee Steven P. Mach John Mangum Mark Nuccio Sherry Rodriguez Ed Schneider Juraj Valčuha

TRUSTEES David J. Beck James M. Bell Jr. Carrie Brandsberg-Dahl Nancy Shelton Bratic Terry Ann Brown** Lindsay Buchanan Ralph Burch Dougal Cameron John T. Cater** Robert Chanon Michael H. Clark Virginia Clark Brad W. Corson Andrew Davis, Ph.D. Denise Davis Manuel Delgado Tracy Dieterich Joan Duff Connie Dyer Jeffrey B. Firestone

Eugene A. Fong Aggie L. Foster Julia Anderson Frankel Ronald G. Franklin Carolyn Gaidos Evan B. Glick Jeff Hiller Grace Ho Gary L. Hollingsworth Brian James I. Ray Kirk, M.D. David Krieger Matthew Loden Steven P. Mach Michael Mann, M.D. Jack Matzer Jackie Wolens Mazow Alexander K. McLanahan** Marilyn Miles Aprill Nelson

Tammy Tran Nguyen Leslie Nossaman Edward Osterberg Jr. Zeljko Pavlovic Gloria G. Pryzant Miwa Sakashita =Andrew Schwaitzberg Helen Shaffer** Robert B. Sloan, D.D., Theol.

Jim R. Smith Miles O. Smith** Quentin Smith Mike S. Stude ** Ishwaria Subbiah, M.D. Shirley W. Toomim Margaret Waisman, M.D. Fredric A. Weber Vicki West Steven J. Williams David J. Wuthrich

Ellen A. Yarrell Robert Yekovich

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 Janet F. Clark John Rydman

Nancy Strohmer Mary Ann McKeithan Ann Cavanaugh Mrs. James A. Shaffer Lucy H. Lewis Catherine McNamara Shirley McGregor Pearson Paula Jarrett Cora Sue Mach Kathi Rovere Norma Jean Brown Barbara McCelvey Lori Sorcic Jansen Nancy B. Willerson Jane Clark Nancy Littlejohn Donna Shen

Dr. Susan Snider Osterberg Dr. Kelli Cohen Fein Vicki West Mrs. Jesse Tutor Darlene Clark Beth Wolff Maureen Higdon Fran Fawcett Peterson Leslie Siller Cheryl Byington

EX-OFFICIO John Steven Cisneros, Ed.D. Juan Zane Crawford, Ph. D. Kirby Lodholz Frank F. Wilson IV

**Lifetime Trustee

PAST PRESIDENTS OF THE HOUSTON SYMPHONY SOCIETY Mrs. Edwin B. Parker Miss Ima Hogg Mrs. H. M. Garwood Joseph A. Mullen, M.D. Joseph S. Smith Walter H. Walne H. R. Cullen Gen. Maurice Hirsch

Charles F. Jones Fayez Sarofim John T. Cater Richard G. Merrill Ellen Elizardi Kelley John D. Platt E.C. Vandagrift Jr. J. Hugh Roff Jr.

PAST PRESIDENTS OF THE HOUSTON SYMPHONY LEAGUE Miss Ima Hogg Mrs. John F. Grant Mrs. J. R. Parten Mrs. Andrew E. Rutter Mrs. Aubrey Leno Carter Mrs. Stuart Sherar Mrs. Julian Barrows Ms. Hazel Ledbetter Mrs. Albert P. Jones Mrs. Ben A. Calhoun Mrs. James Griffith Lawhon Mrs. Olaf LaCour Olsen Mrs. Ralph Ellis Gunn Mrs. Leon Jaworski Mrs. Garrett R. Tucker Jr. Mrs. M. T. Launius Jr. Mrs. Thompson McCleary

Mrs. Theodore W. Cooper Mrs. Allen W. Carruth Mrs. David Hannah Jr. Mary Louis Kister Mrs. Edward W. Kelley Jr. Mrs. John W. Herndon Mrs. Charles Franzen Mrs. Harold R. DeMoss Jr. Mrs. Edward H. Soderstrom Mrs. Lilly Kucera Andress Ms. Marilou Bonner Mrs. W. Harold Sellers Mrs. Harry H. Gendel Mrs. Robert M. Eury Mrs. E. C. Vandagrift Jr. Mrs. J. Stephen Marks Terry Ann Brown

FOUNDATION FOR JONES HALL REPRESENTATIVES Dougal A. Cameron

Janet F. Clark

Barbara McCelvey

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INTUNE January 2024

ADMINISTRATIVE STAFF SENIOR MANAGEMENT GROUP John Mangum, Executive Director/CEO, Margaret Alkek Williams Chair Elizabeth S. Condic, Chief Financial Officer Vicky Dominguez, Chief Operating Officer Nancy Giles, Chief Development Officer Gwen Watkins, Chief Marketing and External Relations Officer DEVELOPMENT Lauren Buchanan, Development Communications Manager Alex Canales, Development Ticket Concierge Jessie De Arman, Development Associate, Gifts and Records Timothy Dillow, Senior Director, Development Amanda T. Dinitz, Senior Major Gifts Officer Vivian Gonzalez, Development Officer Karyn Mason, Development Officer Hadia Mawlawi, Senior Associate, Endowment and Planned Giving Ben McAndrew, Institutional Giving Associate Meghan Miller, Special Events Associate Emilie Moellmer, Annual Fund Manager Chelsea Murray, Senior Development Associate, Administration Erika Ngo, Development Intern Tim Richey, Director, Individual Giving Sherry Rodriguez, Corporate Relations Manager & Board Liaison Katie Salvatore, Development Officer Christine Ann Stevens, Senior Director, Development Lena Streetman, Manager, Research and Development Operations Stacey Swift, Director, Special Events Sarah Thompson, Donor Stewardship Manager Christina Trunzo, Director, Foundation Relations Alexa Ustaszewski, Major Gifts Officer FINANCE | ADMINISTRATION | IT | HR José Arriaga, Systems Engineer Henry Cantu, Finance Accountant Kimberly Cegielski, Staff Accountant Richard Jackson, Database Administrator Joel James, Director of Human Resources Tanya Lovetro, Director of Budgeting and Financial Reporting Morgana Rickard, Controller Gabriela Rivera, Senior Accountant Pam Romo, Office Manager/HR Coordinator Lee Whatley, Senior Director, IT and Analytics

Houston Symphony

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MARKETING | EXTERNAL RELATIONS Education and Community Engagement Olivia Allred, Education and Community

Engagement Coordinator Jarrett Bastow, Education Manager Allison Conlan, Interim Director, Education and

Community Engagement Marketing and Communications Mark Bailes, Marketing Revenue Manager Olivia Cantrell, Content Marketing Coordinator David Early, Marketing and External Relations

Assistant Heather Fails, Manager, Ticketing Database Kathryn Judd, Director, Marketing Yoo-Ell Lee, Graphics and Media Designer Fiona Legesse-Sinha, Graphic Design

Manager Ciara Macaulay, Creative Director Mariah Martinez, Email Marketing Coordinator Eric Skelly, Senior Director, Communications Alex Soares, Senior Director, Marketing Patron Services Freddie Piegsa, Patron Experience Coordinator Ashlan Walker, Manager, Patron Services Jenny Zuniga, Director, Patron Services OPERATIONS | ARTISTIC Stephanie Alla, Associate Director of Artistic Planning Becky Brown, Associate Director, Orchestra Personnel Suré Eloff, Chorus Manager Michael Gorman, Director, Orchestra Personnel Julia Hall, Assistant Director, Chorus Nick Kemp, Artistic Operations Assistant Hae-a Lee, Assistant Librarian Giancarlo Minotti, Audio Production Manager Lauren Moore, Associate Director, Concert Media and Production José Rios, Assistant Stage Manager Brad Sayles, Senior Recording Engineer Claudia Schmitz, Artist Liaison and Assistant to the Music Director Stefan Stout, Stage Manager Anna Thompson, Assistant Librarian Meredith Williams, Associate Director, Concert Operations and Production Rebecca Zabinski, Senior Director, Artistic Planning

MAGICAL MUSICAL MORNING 2023 On December 3, the Houston Symphony’s annual Magical Musical Morning took place at the River Oaks Country Club.

Guests took a whimsical journey to far-off lands with its theme, “It’s A Small World.” The festive gathering, chaired by Gina Saour, Francesca Saour, Jerry Saour, and Carolyn Mohsenzadeh, featured family-friendly activities, a delicious brunch, and a special performance from Houston Symphony's Community-Embedded Musicians!

Little ones and their families took part in fun holiday crafts while learning about cultures from around the world. The 250 guests also enjoyed face paintings, airbrush artists, taking family photos in a photo booth, playing instruments at the popular Instrument Petting Zoo, and having brunch with a very special guest—Santa Claus! The event also celebrated honoree and "Grandmother Emeritus" Sybil Roos for her longtime support of Magical Musical Morning and the Houston Symphony.

The annual holiday event was made possible by the wonderful Houston Symphony League members who volunteered their time and talents to decorate the venue and facilitate all the festive activities, ensuring the event's success. Magical Musical Morning raised more than $50,000 dollars for the Houston Symphony’s Education and Community Engagement initiatives.

A young guest at Magical Musical Morning enjoys making music at the Instrument Petting Zoo.

Magical Musical Morning Chair Gina Saour (second from left) with Jalah Saour (left), Francesca Saour (third from right), Jerry Saour (second from right), and Rue Saour (right).

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Grandmother Emeritus Sybil Roos (center, front), along with Betsy Garlinger (left, front), Ginger Bertrand (left, back), Houston Symphony CEO and Executive Director John Mangum (center, back), Gina Saour (right, back), and Cathey Cook (right, front).

Houston Symphony Community-Embedded Musicians David Connor and Lindsey Baggett perform for young guests at Magical Musical Morning.

Children explore different instruments at the Instrument Petting ZooMusicians David Connor and Lindsey Baggett perform for young guests at Magical Musical Morning.

INTUNE January 2024

Featured Program

Swingin' sinatra: a new year's celebration Steven Reineke, conductor Tony DeSare, piano and vocalist 0:02 0:03 0:05 0:04 0:04 0:04 0:03 0:05 0:03 0:03 0:04

HEFTI – "The Kid from Red Bank" VAN HEUSEN/HARPIN – "Come Fly With Me" LOESSER/HARPIN – "Luck Be a Lady" ARLEN – "Get Happy" PRINCE/DESARE-FIRTH – “Kiss" STYNE/DESARE-FIRTH – "Just in Time" DESARE/MURILLO – "New Orleans Tango" GERSHWIN/DESARE – "I've Got a Crush On You" MYROW/JONES – "You Make Me Feel So Young" HOWARD/JONES – "Fly Me To the Moon (In Other Words)" MERCER/DESARE-FIRTH – "Something's Gotta Give"

INTERMISSION 0:03 0:03 0:03 0:02 0:02 0:04 0:03 0:05 0:04 0:03

SIMONS-MARKS/BYERS – "All of Me" McHUGH/ZAREMBA – "I Can't Give You Anything But Love" COLEMAN/JONES – "The Best Is Yet to Come" ARLEN/RIDDLE – "I've Got the World on a String" FISHER-GOODWIN-SHAY/RIDDLE – "When You're Smiling (The Whole World Smiles With You)" ARLEN – "One For My Baby (And One More For the Road)" KAY-GORDON/HARPIN – "That's Life" HOFFMAN-CURTIS-KENT – "I'm Gonna Live Till I Die" REVAUX/COLLINS – "My Way" KANDER/COSTA – "New York, New York"

POPS SERIES

Houston Symphony

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About the Music

Friday, January 5 Saturday, January 6 Sunday, January 7

Jones Hall Jones Hall & Livestream Jones Hall

THANK YOU TO OUR SPONSORS

Program Insight •

Sinatra's nickname, "Ol' Blue Eyes," was given to him by the press in the 1940s. He became a teen idol and heartthrob during the Swing era, capturing the hearts of many young fans with his smooth voice and charming persona.

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The Swing era gave rise to a variety of dance styles that became immensely popular. The Lindy Hop, Jitterbug, and Charleston were among the most iconic dances associated with the music.

Dance halls and ballrooms were filled with couples and enthusiastic dancers, making social dancing a major component of the Swing era's cultural landscape.

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Radio played a pivotal role in the popularity of big bands. Regular broadcasts of live performances allowed listeners across the nation to experience the music of their favorite bands. This widespread exposure helped propel Swing music to the forefront of American popular culture.

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Sinatra was a key member of the Rat Pack, a group of entertainers that included Dean Martin, Sammy Davis Jr., Joey Bishop, and Peter Lawford. They were known for their camaraderie, humor, and live performances in Las Vegas during the 1950s and 1960s.

Grand Guarantor

Sponsor Evan B. Glick Sponsor Barry and Rosalyn Margolis Family Sponsor Thank you to our Houston Symphony Livestream Consortium Donors: Guarantor Barbara J. Burger The Elkins Foundation Underwriter Alana R. Spiwak & Sam L. Stolbun Sponsor John & Dorothy McDonald

Program Bios

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

Houston Symphony

8:00 p.m.

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Steven Reineke, conductor Steven Reineke is one of North America's leading conductors of popular music and is in his second decade as Music Director of The New York Pops at Carnegie Hall. Additionally, he is Principal Pops Conductor of the National Symphony Orchestra at the John F. Kennedy Center for the Performing 16

Program Bios Arts and Principal Pops Conductor of the Houston and Toronto Symphony Orchestras.

Reineke is a frequent guest conductor and can be seen on the podium with the Chicago, Philadelphia, Dallas, San Francisco and Detroit Symphony Orchestras.

On stage, Mr. Reineke creates and collaborates with a range of leading artists from the worlds of hip-hop, R & B, Broadway, television, and rock including: Maxwell, Common, Kendrick Lamar, Nas, Ne-Yo, Barry Manilow, Cynthia Erivo, Ben Rector, Cody Fry, Sutton Foster, Amos Lee, Dispatch, Jason Mraz, and Ben Folds, amongst 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 in between news segments. In 2018 Reineke led the National Symphony Orchestra with hip-hop legend Nas performing his seminal album Illmatic on PBS's Great Performances.

As the creator of hundreds of orchestral arrangements, Reineke’s work is performed worldwide and can be heard on numerous Cincinnati Pops Orchestra recordings. His symphonic works Celebration Fanfare, 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 perennially.

A native of Ohio, Mr. Reineke is a graduate of Miami University of Ohio (2020 Alumnus Distinguished Achievement Medal), 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. 

debuted at No. 3 on the Billboard Traditional Jazz Chart; and his Song Diaries Vol. 2, released in early 2022, is now streaming on all platforms.

Tony is an accomplished awardwinning composer. He not only won first place in the USA Songwriting Contest, but has written the theme song for the motion picture My Date with Drew, several broadcast commercials, and the full soundtracks for the Hallmark Channel's Love Always, Santa and Lifetime's new A Welcome Home Christmas.

In addition to these performances in Houston, Tony’s forthcoming appearances include the Indianapolis Symphony Orchestra, Nashville Symphony, Virginia Symphony, and Artis-Naples/ Naples Philharmonic.

Tony DeSare, piano and vocalist Downbeat magazine Rising Star Male Vocalist Tony DeSare has lived up to this distinction by winning critical and popular acclaim for his concert performances throughout North America and abroad. From jazz clubs to Carnegie Hall to Las Vegas, headlining with Don Rickles, and major symphony orchestras, Tony has brought his fresh take on old school class around the globe.

Tony has four top ten Billboard jazz albums under his belt and has been featured on the CBS Early Show, NPR, A Prairie Home Companion, and the Today Show. His music has been posted by social media celebrity juggernaut, George Takei, and he has collaborated with YouTube icons Postmodern Jukebox. His Lush Life recording 17

He releases new recordings, videos of standards and new originals, regularly on his YouTube channel, Apple Music, and Spotify.

Follow Tony on Facebook and Instagram, and subscribe on YouTube to stay connected.

Tony DeSare is a Yamaha Artist. 

INTUNE January 2024

Featured Program

Mendelssohn’s Scottish Symphony + Yoonshin Song Juraj Valčuha, conductor Yoonshin Song, violin 0:15

A. CLYNE – Color Field I. Yellow II. Red III. Orange

BARTÓK – Violin Concerto No. 2, BB 117 I. Allegro non troppo—Vivace II. Theme and Variations: Andante tranquillo—Allegro scherzando—Tempo I III. Rondo: Allegro molto

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INTERMISSION 0:40

MENDELSSOHN – Symphony No. 3 in A minor, Opus 56 (Scottish) I. Andante con moto—Allegro un poco agitato— II. Scherzo: Vivace non troppo— III. Adagio— IV. Allegro vivacissimo—Allegro maestoso assai

GOLD CLASSICS

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About the Music

Friday, January 12 Saturday, January 13 Sunday, January 14

THANK YOU TO OUR SPONSORS Margaret Alkek Williams Spotlight Series The 2023–24 Classical Season is in thanksgiving for Janice H. and Thomas D. Barrow Thank you to our Houston Symphony Livestream Consortium Donors: Guarantor Barbara J. Burger The Elkins Foundation Underwriter Alana R. Spiwak & Sam L. Stolbun Sponsor John & Dorothy McDonald Video enhancement of Houston Symphony concerts is made possible by the Albert & Ethel Herzstein Foundation through a special gift celebrating the Foundation’s 50th anniversary in 2015 The Classical Season is endowed by The Wortham Foundation, Inc., in memory of Gus S. and Lyndall F. Wortham

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Program Insight This weekend, Music Director Juraj Valčuha joins forces with the Houston Symphony’s own Concertmaster Yoonshin Song to showcase the different ways composers can use music to evoke a sense of place.

A musical portrait of a friend (à la Elgar’s Enigma Variations), Anna Clyne’s Color Field draws on many sources of inspiration, from Rothko paintings to a Serbian folk melody—a reference to her subject’s Serbian heritage. Folk music was also essential to virtually all of Béla Bartók’s mature works, and his Violin Concerto No. 2 is no exception. Although Bartók does not quote folk songs directly, the rhythms, harmonies, and melodic ornaments of his native Hungary and neighboring lands formed the building blocks of his unique brand of musical modernism.

In contrast, Felix Mendelssohn’s Scottish Symphony has little to do with actual Scottish music; nevertheless, it has become indelibly linked with Scotland’s misty highlands and islands. Instead of folk music, Mendelssohn used his own musical style to form a subjective response to the landscapes and historical tales he encountered during a tour of Scotland in 1829. Whatever the destination, this program is sure to transport listeners to lands full of vibrant rhythms, colors, and melodies.

—Calvin Dotsey

Program Insight A. CLYNE Color Field (2020) The central inspiration for Color Field is a person: Melanie Sabelhaus, the honoree of this work. I began the creative process upon first meeting Sabelhaus in New York City, when I learned about her family, her Serbian roots, her work, and the music she loves. She is bold, audacious, generous, and a pioneer for women in business and philanthropic work.

She also loves the color orange—in particular Hermès Orange—and thus began my exploration of color. This led me to Mark Rothko’s Orange,

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Program Notes A. CLYNE Color Field (2020)

Red, Yellow (1961—a powerful example of the artist’s Color Field paintings, featuring red and yellow framing a massive swash of vibrant orange that seems to vibrate off the canvas.

While I explored creating music that evokes colors, I thought about synesthesia, a perceptual phenomenon in which a person hears sound, pitch, and tonal centers and then sees specific colors, and vice versa.

In the case of composer Scriabin, he associated specific pitches with specific colors, which I have adopted as tonal centers for the three movements of this piece: Yellow = D, Red = C, Orange = G. Each movement of Color Field weaves in elements of the life of Melanie Sabelhaus, for whom music has always been in the house. Yellow evokes a hazy warmth and incorporates a traditional Serbian melody, first heard as a very slow bass line, and then revealed in the middle of the movement in the strings and winds. In Red, the fires blaze with bold percussive patterns and lilting lines. In Orange, the music becomes still and breathes, and then escalates once more, incorporating elements of Yellow and Red to create Orange–the signature color of Melanie Sabelhaus. —Anna Clyne, 2020

BARTÓK Violin Concerto No. 2 (1937–38)

The 1930s were fertile years for the production of violin concertos, with major works written by Béla Bartók, Igor Stravinsky, Arnold Schoenberg, Alban Berg, Paul Hindemith, Karol Szymanowski, and Walter Piston; Bartók’s contribution, however, became the most popular and enduring work on the list.

When violinist Zoltán Székely requested a concerto in 1936, Bartók proposed a set of variations for violin and orchestra since he had already begun sketching such a work, but Székely insisted upon a full, threemovement concerto. Bartók complied, composing his variations as the slow movement, but when he showed the completed score to Székely, he admitted playing a little trick on the violinist. The themes in the third movement were all variants of themes in the concerto’s opening sonataform movement. Thus, the entire concerto was built on the principle of variation.

Bartók worked on the concerto throughout much of 1937 and the entire year 1938. By that time, Austria had been occupied by the German Nazi regime, and his personal security in Hungary came increasingly into question. While he rehearsed the concerto with Székely in Paris during the early months of 1939, he did not hear the premiere in Amsterdam during April of that year. It was not until 1943, several years after the Bartóks had emigrated to the United States, that he heard Tossy Spivakovsky play it in New York.

After several quiet introductory measures in the harp and strings, the solo violin presents a yearning theme whose short-long rhythms are considered characteristic of traditional Hungarian style. After considerable elaboration, the violin introduces a second theme, slyly imitating the style of the Schoenbergian 12-tone school of composers.

This theme is soon mocked in the orchestra and banished with blasts from the trombones.

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Program Notes BARTÓK Violin Concerto No. 2 BB 117 (1937–38)

The opening harp/string music returns to introduce the development section, where the music suddenly becomes very lively, mirroring the tempo changes in a Hungarian rhapsody and the lassu/friss (slow/ fast) pattern of a Hungarian verbunkos. The soloist has much exciting display work, culminating in a long, demanding cadenza. Just before the cadenza, the violinist undertakes a Bartókian experiment—a few measures exploring tiny quarter-tone intervals on the violin strings. A quiet return of the opening theme, stated by the horn, dominates the recapitulation.

The slow movement opens with a lyrical theme in the solo violin, followed by six variations and a hushed coda. Bartók draws significant contrasts in the tempo and character of successive variations. The set includes a lovely harp and violin duet in the second variation, followed by an intense double-stopped variation for the soloist in the third, and a flurry of trills and running scale passages in the fourth. The fifth is a brisk scherzo, while the string parts chase each other in canon during the sixth variation.

Vivid orchestral colors combine with a virtuoso violin part in the finale, which transforms themes from the first movement and combines aspects of sonata and rondo forms. There are numerous changes of tempo and mood as the complex movement winds its way toward an exciting conclusion. —Carl R. Cunningham

MENDELSSOHN Symphony No. 3 in A minor, Opus 56 (Scottish) (1829–42)

On March 9, 1566, Mary, Queen of Scots, was lunching at the Palace of Holyroodhouse with her secretary, David Rizzio, when the palace was stormed by Mary’s estranged husband, Lord Darnley. Rumors that Rizzio was the Queen’s lover had reached Darnley’s ears, and with the help of his men Darnley dragged Rizzio from the table and stabbed him 56 times as the Queen watched in horror. Rizzio’s murder would be the beginning of the end for Queen Mary, who buried Rizzio in the cemetery of Holyrood Abbey nearby.

During his tour of Scotland some 263 years later, Felix Mendelssohn, already a famous composer at 20, wandered through the palace and the now ruined abbey, ruminating on the gruesome tale. In a letter home, he wrote, “Everything is ruined, decayed, and the clear heavens shine in. I think today I have found there the beginning of my ‘Scottish’ Symphony.” He jotted down a gloomy, misty theme on the spot, but the rest of the work would only be composed a dozen years later. Completed on January 20, 1842, the new symphony became an instant classic, and Mendelssohn dedicated it to one of his biggest fans—Queen Victoria.

The symphony begins with a slow introduction based on the melody that came to Mendelssohn as he wandered through Holyrood Abbey, and its melancholy mood seems a perfect match for the Romantic ruins.

Likewise, the dark and turbulent music of the main body of the movement seems to reflect the violence of stories such as the murder of David Rizzio. The movement has three main melodies, all of which are unusually

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Program Notes MENDELSSOHN Symphony No. 3 in A minor, Opus 56 (Scottish) (1829–42)

in minor keys that reinforce the gloomy atmosphere.

The first appears in the violins when the music becomes faster after the introduction ends, and it builds to a powerful transition full of the pounding rhythms of horse hooves. Fragments of the first melody accompany the second theme in the clarinet, and after another violent transition, the violins play a ghostly, icy third melody. After an intense development, these main themes are reprised. Often interpreted as a musical storm, howling chromatic music then leads to the haunting return of the slow introduction.

The sunny second movement begins with a cheerful tune in the clarinet; of all the melodies in the symphony, this one seems particularly Scottish.

The melody grows and develops, leading to a contrasting second theme in the strings. The two themes provide the grist for the movement’s playful developments.

The following slow movement begins with questioning phrases for the violins, which then play a lovely song without words. This beautiful melody, which some have described as prayerful in character, is interrupted by a more solemn, ominous theme three times. Though it is marked “Allegro vivacissimo” (“very fast”) in the published score, Mendelssohn also referred to the finale as “Allegro guerriero”—“fast and warlike,” suggesting he had a battlefield in mind when composing it. This violent, stormy movement features a highly contrapuntal development that builds to a crisis before dying away.

At the end, a glowing, hymn-like theme emerges, which Mendelssohn himself said should sound like a men’s chorus. Closely modeled on the opening “ruins” theme that began the symphony, this coda has been interpreted as a hymn of victory or thanksgiving, and brings the symphony to a rousing conclusion. —Calvin Dotsey

Program Bios Juraj Valčuha, conductor

years” (in Deer Valley Music Festival), violinist Yoonshin Song was born in South Korea, where she made her solo debut with the Seoul Philharmonic at age 11. She has since built a successful international career.

See p. 6 for bio

Yoonshin Song, violin Acclaimed as “a wonderfully talented violinist…whose sound and technique go well beyond her

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Yoonshin was appointed Concertmaster of the Houston Symphony in August 2019. Prior to that she has held the same position with the Detroit Symphony Orchestra for seven seasons. In Europe, she has served as guest concertmaster of the

INTUNE January 2024

Program Bios Budapest Festival Orchestra under Iván Fischer, and she has led the Verbier Festival Chamber Orchestra with numerous toptiered conductors and artists. She also served as guest concertmaster of the Pittsburgh Symphony and the KBS Symphony Orchestra.

Beyond her first chair duties, Yoonshin has performed as a soloist with many orchestras around the world, including the Budapest Festival Orchestra, the Detroit Symphony Orchestra, the Utah Symphony, the New Mexico Philharmonic Orchestra, the Bayreuth Festival Orchestra, the Paul Constantinescu Philharmonic Orchestra, the Seoul Philharmonic Orchestra, and the KBS Symphony Orchestra, among many others. She has also participated as a soloist and a chamber musician in various roles in numerous leading music festivals, including the Marlboro,

Deer Valley, and Great Lakes in the United States; the Miyazaki Chamber Music Festival in Japan; and the Verbier, Lucerne, and Bayreuth Festivals in Europe.

Yoonshin has earned many prestigious prizes throughout her career, including top prize awards in the Lipizer International Violin Competition in Italy, the Lipinski and Wieniawski International Violin Competition in Poland, the Henry Marteau International Violin Competition in Germany, and first prize at the Stradivarius International Competition in the United States. 

Scan here to watch a video about Yoonshin Song

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Featured Program

takemitsu + brahms's requiem Juraj Valčuha, conductor Lauren Snouffer, soprano Andrew Foster-Williams, baritone Houston Symphony Chorus, Allen Hightower, director 0:08

TAKEMITSU – Requiem for strings

BRAHMS – Ein deutsches Requiem, Opus 45 (A German Requiem) I. Selig sind, die da Leid tragen (Chorus) II. Denn alles Fleisch es ist wie Gras (Chorus) III. Herr, lehre doch mich (Baritone and Chorus) IV. Wie lieblich sind deine Wohnungen (Chorus) V. Ihr habt nun Traurigkeit (Soprano and Chorus) VI. Denn wir haben hie keine bleibende Statt (Baritone and Chorus) VII. Selig sind die Toten (Chorus)

1:08

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About the Music

Friday, January 19 Saturday, January 20 Sunday, January 21

Jones Hall Jones Hall & Livestream Jones Hall

THANK YOU TO OUR SPONSORS

Program Insight

The 2023–24 Classical Season is in thanksgiving for Janice H. and Thomas D. Barrow Mike S. Stude Grand Guarantor Drs. M.S. and Marie-Luise Kalsi Guarantor Thank you to our Houston Symphony Livestream Consortium Donors: Guarantor Barbara J. Burger The Elkins Foundation Underwriter Alana R. Spiwak & Sam L. Stolbun Sponsor John & Dorothy McDonald Video enhancement of Houston Symphony concerts is made possible by the Albert & Ethel Herzstein Foundation through a special gift celebrating the Foundation’s 50th anniversary in 2015 The Classical Season is endowed by The Wortham Foundation, Inc., in memory of Gus S. and Lyndall F. Wortham

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With its power to bring communities together, music has always helped people process the emotions that accompany loss. Within the Roman Catholic faith, composers have fulfilled this cultural need by writing Requiem Masses, works traditionally performed at funerals and memorial services. Historians have discovered evidence of Requiem Masses as far back as the second century, but the earliest surviving written music for a Requiem dates from the 900s. Since then, generations of composers have set the traditional Latin texts of the Requiem to their own music, creating a deep archive of masterpieces that includes such famous Requiems as those by Mozart, Berlioz, and Verdi. The two pieces featured on this program, however, are by composers who worked outside the Catholic tradition but were nevertheless inspired by its impressive legacy. Neither sets the traditional Latin text; with his thoroughgoing knowledge of Luther’s Bible, Brahms carefully selected biblical passages to create his own “German” Requiem; Takemitsu is even more liberal in his approach, eschewing words altogether in favor of a poetic soundscape of strings.

Together, these pieces are personal, profound meditations on grief, love,

Program Insight TAKEMITSU Requiem for strings (1957) During the early 1950s, Takemitsu found a mentor in Fumio Hayasaka, best remembered today for his film scores to Akira Kurosawa films such as Rashomon and Seven Samurai. Like Takemitsu, Hayasaka was a virtually self-taught Japanese composer. Although their mature styles differ considerably, the elder Hayasaka took the young Takemitsu under his wing, especially with regard to navigating a career as a film composer. Although Takemitsu is best known for his concert works today, he composed much film music—sometimes under a nom de 30

Program Notes TAKEMITSU Requiem for strings (1957)

plume—throughout his career, including the score to Kurosawa’s Ran in 1985.

Tragically, Hayasaka passed away from tuberculosis in 1955 aged just 41.

The disease had caused a public health crisis during the brutal collapse of Imperial Japan, and the teenaged Takemitsu had also contracted it during his forced military service in the final days of World War II. Two years after the death of his mentor, Takemitsu himself became gravely ill with an antibiotic-resistant strain of the disease and feared for his own life.

During this time, the Tokyo Symphony Orchestra commissioned Takemitsu to compose a new work, and the composer responded with his Requiem for strings. Takemitsu stated that when he began it he was not “grieving over the death of any specific person,” but that he “gradually came to think about Fumio Hayasaka, and mourn his passing.” Given the danger to his own health, the work became “a requiem for Hayasaka and, at the same time, my own requiem.”

Stylistically, the piece shows the influence of Olivier Messiaen, one of Takemitsu's favorite elder contemporaries. Specifically, the Requiem employs shifting meters and “modes of limited transposition”—exotic, synthetic scales capable of generating sonorities both strange and familiar. In terms of structure, the piece follows a clear A-B-A pattern: a viola solo connects the slow, sighing opening music to the middle section, which alternates arching melodies with violent, sul ponticello (near the bridge of a string instrument) gestures. Another viola solo then leads back to the opening material, and a violin solo brings the work to a haunting close.

Fortunately, Takemitsu made a full recovery once a new, more effective antibiotic became available, and this piece went on to play a pivotal role in his career. During a 1959 visit to Japan, the famous Igor Stravinsky was invited to listen to recordings of new works by Japanese composers.

Although no Takemitsu was planned for inclusion, by mistake the audition began with a recording of his Requiem. Stravinsky’s hosts attempted to stop the recording, but he insisted on hearing it to the end. When a reporter asked Stravinsky about his impressions of Japanese music, Takemitsu was the only name on the Russian composer’s lips. Stravinsky praised Takemitsu’s “sincerity” and “strictness,” and expressed surprise that, “music as passionate as this should be created by a man of such short stature,” an ironic remark from a man who himself stood 5’3.” Stravinsky took Takemitsu out to lunch, and the young Japanese composer’s international fame soon followed. —Calvin Dotsey

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INTUNE January 2024

Program Notes BRAHMS Ein deutsches Requiem, Opus 45 (A German Requiem) (1865–68)

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 suffered 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’s 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 Robert Schumann, attempted suicide and succumbed to madness. This uncanny melody underpins the chorus’s grim meditation on the vanity of all worldly pursuits, which grows into a powerful, monumental statement. Perhaps this is Brahms’s 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

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Program Bios Juraj Valčuha, conductor See p. 6 for bio

Lauren Snouffer, soprano Recognized for her unique artistic curiosity in world-class performances spanning the music of Claudio Monteverdi and Johann Adolph Hasse through to Missy Mazzoli and Sir George Benjamin, American Lauren Snouffer is celebrated as one of the most versatile and respected sopranos on the international stage.

Lauren celebrates two high profile operatic debuts this season: with the Royal Swedish Opera she creates the role of Justine in the world premiere of Mikael Karlsson and Royce Vavrek’s opera Melancholia based upon the powerful film by Lars von Trier, and she makes a Glyndebourne debut as Pamina in Die Zauberflöte.

A deeply admired guest of The Cleveland Orchestra, Lauren returns to the stage of Severance Music Hall to join Daniel Harding for Mahler’s Fourth Symphony paired with Ces belles années, a new work by Besty Jolas, commissioned specifically as a companion piece to the Mahler symphony. Highlights of the

symphonic calendar also include a semi-staged concert performance of Sir George Benjamin’s Written on Skin with the Finnish Radio Symphony Orchestra under the baton of the composer, Stravinsky’s cantata Les Noces with Music Director Esa-Pekka Salonen and the San Francisco Symphony, and Brahms’s Ein deutsches Requiem with the Houston Symphony led by Music Director Juraj Valčuha. She also appears with the Toronto Symphony Orchestra and Dame Jane Glover in Handel’s Messiah as well as with Orchestra of St. Luke’s at Carnegie Hall in Bach’s Weihnachtsoratorium and in St. John Passion with the Seattle Symphony, both under the baton of Bernard Labadie.

Her operatic performances on leading international stages have fortified the soprano’s place as one of the eminent interpreters of contemporary music; she created the title role in Stefan Wirth’s Girl with a Pearl Earring with Opernhaus Zürich and portrayed the lead role in Hans Abrahamsen’s The Snow Queen at Opera National du Rhin. She returned to Houston Grand Opera for the world premieres of The Phoenix by composer Tarik O’Regan and The House Without a Christmas Tree

by Ricky Ian Gordon and Royce Vavrek.

An alumna of the Houston Grand Opera Studio, Lauren graduated from Rice University and The Juilliard School. 

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Andrew Foster-Williams, baritone Andrew Foster-Williams possesses a vocal versatility that allows him to present repertoire ranging from the classics of Bach, Gluck, Handel, and Mozart through more recent masters as Britten, Debussy, Wagner, and Stravinsky on both opera and concert stages.

Andrew’s career, initially built on his strong Baroque credentials, has, in recent seasons, moved toward more dramatic repertoire with successes as Pizarro (Fidelio) at Theater an der Wien and Philharmonie de Paris, and a unanimously praised debut as Telramund in Wagner’s Lohengrin under esteemed conductor Yannick Nézet-Séguin at the Festival de Lanaudière. A subsequent portrayal of Captain Balstrode in Christoph Loy’s divisive production of Peter Grimes at Theater an der Wien, alongside acclaimed performances as Nick Shadow (The Rake’s Progress) and Gunther (Götterdämmerung) have further enhanced an already highly regarded operatic profile. Other recent role debuts as Kurnewal in Tristan und Isolde at La Monnaie under Alain Altinoglu highlight a dramatic capacity that has earned

INTUNE January 2024

Program Bios the respect of many stage directors as he “holds the attention of the audience with the energy of someone who has great experience, and with sensational vocal ability, which he uses with total freedom…” (Opéra). Opera performances in the current season include his role debut as Mr. Flint (Billy Budd) at the George Enescu Festival, and Donner (Das Rheingold) conducted by Alain Altinoglu in the first installment of Roman Castelluci’s new presentation of Der Ring des Nibelungen at La Monnaie.

An impressive line-up of concert invitations has taken Andrew to some of the most celebrated orchestras and conductors of our

day. These include The Cleveland Orchestra/Franz Welser-Möst, Salzburg Mozarteum/Ivor Bolton, San Francisco Symphony/Michael Tilson Thomas, Royal Concertgebouw Orchestra/ Richard Egarr, Gulbenkian Orchestra/Lorenzo Viotti, and the Sibelius Festival/Dalia Stasevska.

Andrew offers a concert repertoire as diverse as it is broad, which includes Bach’s St. John Passion, Britten’s War Requiem, Schönberg’s Gurrelieder, Janáček’s Glagolitic Mass, and Mahler's Eighth Symphony.

Concert highlights this season include Messiah with Orquesta Sinfonica de Castille y Leon (Egarr), Brahms’s Ein deutsches Requiem with the Houston Symphony (Valčuha), St Matthew

Passion with Netherlands Chamber Orchestra (Bolton), and Beethoven’s Ninth Symphony with Lahti Symphony Orchestra (Stasevska). 

Allen Hightower, Houston Symphony Chorus Director See p. 36 for bio

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122,340 Houstonians served through Education and Community Engagement Initiatives 46 Orchestra musicians participated in nearly 428 community engagement events at hospitals, schools, senior centers, and community venues.

20 Student Concerts 5 Free Neighborhood Concerts 5 Free/low-cost concerts at Cynthia Woods Mitchell Pavilion 4 Free concerts at Miller Outdoor Theatre

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INTUNE January 2024

houston symphony chorus Allen Hightower Director Julia Hall Assistant Director Suré Eloff Chorus Manager Scott Holshouser Pianist Tony Sessions Librarian/Stage Manager

The Houston Symphony Chorus is the official choral unit of the Houston Symphony and consists of highly skilled and talented volunteer singers.

Over the years, members of this historic ensemble have learned and performed the world’s great choral-orchestral masterworks under the batons of Juraj Valčuha, Andrés Orozco-Estrada, Hans Graf, Christoph Eschenbach, Robert Shaw, and Helmuth 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.

ALLEN HIGHTOWER Dr. Allen Hightower, a seventh-generation Texan, is director of the Houston Symphony Chorus beginning in the 2022–23 Season. He is the director of choral studies at the University of North Texas, where he leads the master’s and doctoral programs in choral conducting and oversees a comprehensive choral program of eight ensembles. He serves as conductor of UNT’s A Cappella Choir, Grand Chorus, and the early music vocal ensemble Vox Aquilae.

As a teacher and conductor, Allen has visited 30 states, Asia, and Europe.

His students hold leadership positions as choral conductors in public schools, colleges, universities, churches, and community choirs throughout the United States. Prior to joining UNT, Allen held the Weston Noble Endowed Chair in Music at Luther College in Decorah, Iowa, where he was conductor of the renowned Nordic Choir and artistic director of Christmas at Luther. Previously, he served as professor of music and director of choral studies at Sam Houston State University and taught at the high school level in the Houston and Odessa areas.

Outside the academic setting, Allen was Houston Masterworks Chorus and Orchestra’s artistic director, leading an annual concert series of choral/ orchestral masterworks. As a deeply committed church musician, he has served churches in Texas, California, and Minnesota. Currently, he is on the music staff of Stonebriar Community Church in Frisco, Texas, and is the church music vice-president of the Texas Choral Directors Association.

Allen earned his undergraduate degree in music education and piano from Sam Houston State University, a master’s in choral conducting from the Eastman School of Music, a master’s in orchestral conducting from Baylor University, and his doctorate in conducting from the University of California, Los Angeles. He pursued additional studies in orchestral and choral conducting at the University of Southern California, at Westminster Choir College, and the Oregon Bach Festival. After winning first prize in the graduate division of the American Choral Directors Association’s Conducting Competition in 1997, he was assistant to Paul Salamunovich, conductor of the Los Angeles Master Chorale.

Allen lives in McKinney, Texas, with his wife, Dr. Kristin Hightower, and their daughters, Caroline and Julianne.

Houston Symphony

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CHORUS ROSTER ROSTER TBD

Randy Eckman

Melissa Adams

Paul Ehrsam

Mary Ann Addis

Georgia Elgohary

Ayden Adler

Leanna Elkins

Bob Alban

Nicole Elliott

Aura Alden

Monica Ely

Kelsie Andrews

Chris Fair

Mark Anstrom

Brianna Fernandez

Keith Anthis

Amanda Fetter-Matthys

Christina Aranda

Ian Wayne Fetterley

Allison Arnold

Julia FitzGerald

Brian K. Lassinger

Dylan Marcus Rivera

Mansi Baxi

Jim Friedhofer

Nathan Lazenberry

Douglas Rodenberger

Justin Becker

Kathryn Fry

Jiapei Yang Li

Carolyn Rogan

Madison Blanco

Joseph S. Frybert

Suly Liu

James Romig

Dave Blassingame

Frank Gassmann VI

Rachel Lootens

Jennifer Romig

Sarah Blumhardt

Rachel Giedraitis

Benjamin K. Luss

Missy Roth

Randy Boatright

Michael Glen Gilbert

Brendan Lutes

Marta Salazar

Criselda A.Bocanegra

Robert Lee Gomez

Mark Standridge

Emily Elizabeth Sanders

Angela Bongat Seaman

Gabriela Gonzalez

Mariah R. Martinez

Tiffany Sau

John Lee Bonner

Daniel Gorelick

Lisa Marut-Shriver

Tony Sessions

Jonathan Bordelon

Melisa Gultan

Ken Mathews

Cory Andrew Smith

Nancy Shelton Bratic

Dana Haas

Jessica Melancon

Ashley Sorensen

Paul Brennan

Susan Hall

Ana Isabel Mendoza

Dewell Springer

Kirsten Brents

D.J. Hampton

Scott Mermelstein

Mark Standridge

Kristen Bullock

Beth Ann Hibbs

Melissa Miles

Carol Strawn

Marissa Cano

Marlea Hoover Hodgin

Andrea Lee Mitchell

Suzanne Thacker

Doni L. Hickmott-Carder

Kathleen Holder

William L. Mize

Lisa Rai Trewin

Danielle Charvoz

Chase Holub

Travis N. Mohle

Paul Van Dorn

Tatiana Chavanelle

MaryKate Hotaling

James K. Moore

Sarai Villatoro

William K. (Bill) Cheadle

Catherine Howard

Lydia Musher

Mary Voigt

Alysse Chivonne

George Howe

Robert Nash

Natalie Voogt

Ishani Chowdhury

Sylvia J. Hysong

Benedict Tri Nguyen

Beth Anne Weidler

Nancy Christopherson

Stephen James

Nam Nguyen

David Weiser

Nicole Colby-Bordelon

Jill Jensen

Theresa Olin

David Wellborn

Violaine Cornu

Stephen Jensen

David M. Opheim

Crystal Lynn White

Matthew Cramerus

Jenny Jou

Janwin Overstreet-Goode

Natalie White

Paul Dabney

Elise A. Kappelmann

Bill Parker

Lance Thomas Wilcox

Andrés Davila

Chris Kersten

Corita Parker-DuBose

John Williams

Lindsey Davila

Gretchen Kersten

Jennifer S. Paulson

Lee Estes Williams

Kevin Do

Michael Kessler

Lauren Price

Grace Zeinieh

Cara Dodd

Mark H. Kim

Greg Railsback

David Frank Zurawski

Christine Donley

Nobuhide Kobori

Karen Ramirez Cabrera

Michael Dorn

Elizabeth Kragas

Maria Ramos

EmilyAnn Duffley

Kat Kunz

Rafael Ramos

Steve Dukes

Yoka Larasati

Linda Renner

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INTUNE January 2024

Featured Special Program

VÍKINGUR ÓLAFSSON plays BACh Víkingur Ólafsson, piano 1:15

J.S. BACH – Goldberg Variations, BWV 988 1.

Aria 2.

Variation 1 3.

Variation 2 4.

Variation 3 5.

Variation 4 6.

Variation 5 7.

Variation 6 8.

Variation 7 9.

Variation 8 10.

Variation 9 11.

Variation 10 12.

Variation 11 13.

Variation 12 14.

Variation 13 15.

Variation 14 16.

Variation 15 17.

Variation 16 18.

Variation 17 19.

Variation 18 20.

Variation 19 21.

Variation 20 22.

Variation 21 23.

Variation 22 24.

Variation 23 25.

Variation 24 26.

Variation 25 27.

Variation 26 28.

Variation 27 29.

Variation 28 30.

Variation 29 31.

Variation 30 32.

Aria da Capo

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INTUNE January 2024

About the Music

Sunday, January 28

Zilkha Hall, The Hobby Center

THANK YOU TO OUR SPONSORS

Program Notes

The 2023–24 Classical Season is in thanksgiving for Janice H. and Thomas D. Barrow

2:30 p.m.

J.S. BACH Goldberg Variations, BWV 988 (1741) In his 1802 biography of Johann Sebastian Bach (the first book-length treatment of the composer), Johann Nikolaus Forkel famously recounts the the genesis of Bach’s Keyboard Exercises, consisting of an Aria with diverse variations for the harpsichord with two manuals prepared for the soul’s delight of music lovers, more colloquially known as the Goldberg Variations: “We owe them to Count Kaiserling, formerly Russian Ambassador at the Saxon Electoral Court [...] The Count was a great invalid and suffered from insomnia. Goldberg [a musician] lived in the Ambassador's house, and slept in an adjoining room, to be ready to play to him when he was wakeful. One day the Count asked Bach to write for Goldberg some Clavier music of a soothing and cheerful character, that would relieve the tedium of sleepless nights. Bach thought a set of Variations most likely to fulfill the Count's needs [...]

The Count always called them ‘my Variations’ and was never weary of hearing them. For long afterwards, when he could not sleep, he would say, ‘Play me one of my Variations, Goldberg.’ [...] The Count gave him a golden goblet containing one hundred louis d'ors, though, as a work of art, Bach would not have been overpaid had the present been a thousand times as large.”

Although this charming tale cannot be definitely disproved, latter-day musicologists have questioned it. Bach specialist Peter Williams, for instance, suggests Bach more plausibly wrote the Variations as a virtuoso performance vehicle for his son Wilhem Friedemann, and that the insomniac Count may have acquired a copy of the piece after it was published in 1741. In that year, Johann Gottlieb Goldberg would have been only 14 years old, perhaps too young to master the piece’s considerable challenges. The work is even more difficult when played on a modern piano: the instrument Bach had in mind had two “manuals” or keyboards, one above and set back from the other, enabling both

Houston Symphony

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Program Notes J.S. BACH Goldberg Variations, BWV 988 (1741)

hands to easily play music in the same range at the same time. When performing the Variations on an instrument with just one manual, keyboardists must take special care not to entangle their fingers.

Technical issues aside, no introduction to the Goldberg Variations can avoid discussing its remarkable structure, which consists of various cycles nested within each other. The piece begins and ends with an Aria, a graceful, song-like melody in the style of a sarabande, a stately dance of the era. Between the Aria’s two appearances lie 30 variations organized into ten groups of three variations each. Typically, these three-variation cycles begin with a dance or character piece for the first variation, followed by a virtuoso display of keyboard technique for the second, and a canon for the third.

Like “Row, Row, Row Your Boat” or “Frère Jacques,” a canon is a kind of musical composition in which the melody overlaps with itself exactly.

Given that each variation must adhere to the bassline and harmonic structure of the original Aria, composing these canons was no easy feat, but Bach adds to the challenge by making each canon distinct from the others: in the first canon, the melody overlaps with itself at a unison (using the same notes); in the second, at the interval of a second (one note above); in the third, at the interval of a third; and so on. In some of the canons, the melody additionally overlaps with itself upside down (in inversion).

Together, the two Arias and the 30 variations make up 32 parts of the piece, a number reflected on the micro level by the fact that the Aria (and by extension, almost every variation) is 32 measures long. The work is also neatly divided into two halves of 16 parts each, just as each variation is divided into two halves of 16 measures each. The piece thus could be said to resemble a fractal in its construction.

It is easy, however, to focus too much on the piece’s numerology, its logic, its puzzle-like canons and counterpoint. The work is far from being a dry intellectual exercise; on the contrary, it is a deeply expressive and at times even theatrical work, which is driven as much by forward momentum as it is by its cycles and symmetries. Indeed, even as Bach creates order, at key moments he disrupts it, allowing his inspiration and fantasy free reign.

In this regard, the three minor-key variations (numbers 15, 21, and 25) merit special attention. The 15th variation (the canon at the fifth) is the first to darken the work’s predominant G major tonality with the solemn sound of G minor. Occurring just before the work’s midpoint, it prepares the way for a resplendent 16th variation written in the style of a French Overture, suggesting a new beginning halfway through the work (or the start of a new cycle). Likewise, the 25th variation plays a special structural role; this most intense of the variations forms the emotional heart of the work. The final variations that follow become increasingly virtuoso in character, building to the final variation. Here Bach disrupts the pattern he has created, ending not with a canon but with a Quodlibet (Latin for “what you please”), a playful composition that combines preexisting popular tunes. In Bach’s copy of the Variations, a later hand identified

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INTUNE January 2024

Program Notes J.S. BACH Goldberg Variations, BWV 988 (1741)

two melodies in the quodlibet with the following comically juxtaposed lyrics: “I have been so long away from you” and “Cabbage and beets have driven me away.”

By concluding with a reprise of the opening Aria, Bach both closes the form of the Variations and leaves it open-ended, as if by ending at the beginning the cycle can now begin anew. Ultimately, the cycles of the Variations resemble the cycles of nature: the passage of day into night, the phases of the moon, and the turning of the seasons. Just as no day is the same, no variation is the same, and just as perfect symmetry and pattern are both suggested and violated in nature, so does Bach suggest and violate patterns within his work. Perhaps it is this fundamental tension between order and chaos which renders the Goldberg Variations eternally fascinating, mysterious, and deeply satisfying. —NAME HERE

Program Bio

Víkingur Ólafsson, piano Icelandic pianist Víkingur Ólafsson has made a profound impact with his remarkable combination of highest-level musicianship and visionary programs. His recordings for Deutsche Grammophon– Philip Glass Piano Works (2017), Johann Sebastian Bach (2018), Debussy Rameau (2020), Mozart & Contemporaries (2021), and From Afar (2022)–captured the public and critical imagination and have led to career streams of more than 600 million.

In October 2023, Víkingur released his anticipated new album on Deutsche Grammophon of J.S. Bach’s Goldberg Variations. He

Houston Symphony

has dedicated his entire 2023–24 Season to a Goldberg Variations world tour, performing the work across six continents throughout the year. He brings Bach’s masterpiece to major concert halls, including London’s Southbank Centre, New York’s Carnegie Hall, Wiener Konzerthaus, Philharmonie de Paris, Tokyo’s Suntory Hall, Harpa Concert Hall, Walt Disney Hall, Sala São Paulo, Shanghai Symphony Hall, Tonhalle Zürich, Philharmonie Berlin, Mupa Budapest, KKL Luzern, and Alte Oper Frankfurt, to name a few.

Now one of today’s most soughtafter artists, Víkingur’s multiple awards include Opus Klassik Instrumentalist of the Year (2023), Opus Klassik Solo Recording Instrumental (twice), CoScan’s International Nordic Person of the Year (2023), the Rolf Schock Prize for Music (2022), Gramophone’s Artist of the Year (2019), and Album of the Year at the BBC Music Magazine Awards (2019).

A captivating communicator both on and off stage, Víkingur’s significant talent extends to

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broadcast, having presented several of his own series for television and radio. He was artist in residence for three months on BBC Radio 4’s flagship arts program, Front Row–broadcasting live during lockdown from an empty Harpa concert hall in Reykjavík and reaching millions of listeners around the world. 

Family series

February 3, 10 & 11:30 a.m.

All ages · Wiggles welcome

Corporate Spotlight

The Houston Livestock Show and Rodeo is one of Houston’s signature institutions and has been a member of the Houston Symphony’s donor family for more than 25 years. In keeping with its longstanding commitment to education, the Rodeo supports the Symphony’s Student Concerts, including the Houston Livestock Show and Rodeo Middle School Concerts.

Since its beginning in 1932, the Rodeo has committed more than $600 million to the youth of Texas and education—including more than $22 million in 2023. The Show has presented more than 21,000 scholarships since the first was awarded in 1957, and more than 2,300 students are currently on Rodeo scholarships, attending more than 80 Texas colleges and universities. The Rodeo’s commitment to education extends to grants, Junior Show and School Art Auction Exhibitors, and participants in the famous Calf Scramble.

Strategic Plan 2030

As the Houston Symphony's Vision 2025 strategic plan reaches a natural conclusion and the Houston Symphony arrives at a new era of growth and transformation, we recognized the need to create a new plan to chart our course toward 2030 and beyond. Over an eight-month period, as well as more than three dozen members of the Houston Symphony’s Board, orchestra, and staff, more than 100 Symphony constituents, and the consulting firm Oliver Wyman worked together to develop a new strategic plan that will guide our organization toward new goals and continued success. This new vision is centered around the elements that are most important to our organization: a commitment to artistic excellence, our role as a cultural institution in Houston, and ensuring accessibility for all.

2030 VISION, MISSION, AND STRATEGIC PILLARS

VISION:

World-class orchestra and Houston cultural leader, creating extraordinary musical experiences for all

STRATEGIC VISION & MISSION

STRATEGIC PILLARS

Houston Symphony

MISSION:

Inspire and engage a large and diverse audience in Houston and beyond through exceptional musical performances, and create enduring impact in our community

1

2

3

4

Establish the Houston Symphony as a world-class orchestra

Grow the endowment to transition to an endowment-enabled business model

Build the Houston Symphony to have enduring impact

Make extraordinary musical experiences available for all

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SUPPORTING ALL OF THIS ARE FOUR STRATEGIC PILLARS, EACH WITH SPECIFIC ACTION PLANS AND MEASURABLE OUTCOMES. THESE PILLARS WILL SERVE AS THE BLUEPRINT FOR ACHIEVING OUR VISION.

PILLAR 1: We will establish the Houston Symphony as a world-class orchestra.

We aim to continue our growth in our artistic endeavors by retaining and elevating top talent, working with more renowned guest conductors and artists, increasing our visibility through touring and recording, and building our reputation in Houston and beyond.

PILLAR 2: We will grow the endowment to transition to an endowment-based business model.

The Houston Symphony is committed to ensuring the longterm sustainability of the organization and its mission to provide musical experiences for our community. A part of that commitment is growing our Endowment to provide a stable source of funding for our artistic initiatives. To transition to this type of business model, we need to grow our Endowment to a size that supports a larger percentage of our annual operating budget.

PILLAR 3: We will build the Houston Symphony to have enduring impact, both through financial sustainability and engagement with our community.

The Houston Symphony takes great pride in our role as a cultural and community leader in Houston. To continue creating a deep impact in Houston communities, we will need to build financial sustainability to ensure organizational longevity and add enhanced education and community engagement offerings.

PILLAR 4: We will make extraordinary musical experiences available for all by increasing accessibility and inclusivity in all aspects of our organization.

We will continue to prioritize making musical performances accessible to everyone through reducing financial and geographic barriers to concert attendance, promoting diversity, equity, and inclusion throughout our organization and our audiences, and improving access to quality music education.

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INTUNE January 2024

Our Donors Annual Support

$150,000+

The Houston Symphony gratefully acknowledges those who support our artistic, educational, and community engagement programs through their generosity to our Annual Fund and Special Events. For more information, please contact Tim Richey, Director, Individual Giving, at tim.richey@houstonsymphony.org or 713.337.8531.

Gary and Marian Beauchamp/The Beauchamp Foundation Barbara J. Burger Janet F. Clark Dr. Sippi and Mr. Ajay Khurana** Barbara and Pat McCelvey Bobbie Nau

John & Lindy Rydman / Spec's Wines, Spirits & Finer Foods Mike Stude Margaret Alkek Williams

As of December 31, 2023

$100,000+ Jane and Robert* Cizik Gardenia Foundation Virginia A. Clark** Joan and Bob Duff Drs. M.S. and Marie-Luise Kalsi Max Levit Cora Sue and Harry* Mach** Beth Madison Bobby and Phoebe Tudor Mr. & Mrs. Jesse B. Tutor

$50,000+ Edith & Robert Zinn

Edward and Janette Blackburne** Mr. Robert Boblitt Jr. Anne & Albert Chao Aggie L. Foster & Steve Simon Stephen & Mariglyn Glenn Gary L. Hollingsworth & Kenneth J. Hyde Mr. and Mrs. Bashar Kalai Mr. and Mrs. J. Stephen Marks John L. Nau III

Ms. Leslie Nossaman Robin Angly & Miles Smith Alana R. Spiwak & Sam L. Stolbun Terry Thomas Shirley W. Toomim Hallie A. Vanderhider Stephen and Kristine Wallace** Robert G. Weiner & Toni Blankmann

$25,000+ Farida Abjani Dr. Angela R. Apollo Ann & Jonathan Ayre Dr. Saúl and Ursula Balagura Dr. Gudrun H. Becker Eric D. Brueggeman Drs. Dennis & Susan Carlyle Dr. and Dr. Stephen Chen Mr. and Mrs. Thomas L. Elsenbrook Ms. Carolyn Faulk The Marvy Finger Family Foundation** Mr. & Mrs. Jeffrey B. Firestone Mr. & Mrs. Russell M. Frankel Evan B. Glick Catherine and Brian James

Joan & Marvin Kaplan Foundation/The Kaplan, Brooks, and Bruch Families Mr. and Mrs. Parker Johnson Cheryl Boblitt and Bill King Mr. and Mrs. David B. Krieger Mr. & Mrs. U. J. LeGrange Cindy E. Levit Joella & Steven P. Mach Beth Madison Mrs. Carolyn and Dr. Michael Mann Barry and Rosalyn Margolis Family** Mr. & Mrs. Rodney H. Margolis David and Heidi Massin

John & Dorothy McDonald Muffy and Mike McLanahan Dr. Miguel & Mrs. Valerie Miro-Quesada Katie and Bob Orr / Oliver Wyman Mr. David Peavy and Dr. Stephen McCauley Revati Puranik Laurie A. Rachford Mr. Glen A. Rosenbaum Donna Scott and Mitch Glassman Margaret & Joel Shannon Mr. Jay Steinfeld and Mrs. Barbara Winthrop Dr. John R. Stroehlein and Miwa Sakashita Mr. and Mrs. Frank Tsuru

Eugene Fong Steve and Mary Gangelhoff Clare Attwell Glassell Suzan & Julius Glickman Mr. & Mrs. Fred L. Gorman Claudio J. Gutiérrez Claudia & David Hatcher Mark & Ragna Henrichs Mrs. James E. Hooks Rebecca & Bobby Jee Gwen & Dan Kellogg Dr. & Mrs. I. Ray Kirk Ms. Nancey G. Lobb Cindy Mao and Michael Ma John & Regina Mangum Jay & Shirley* Marks

Mr. and Mrs. Jarrod Martin Michelle & Jack Matzer Dr. Eric McLaughlin and Mr. Eliodoro Castillo Marvin and Martha McMurrey Tammy and Wayne Nguyen Scott and Judy Nyquist Dr. Susan Osterberg and Mr. Edward C. Osterberg, Jr. Mr. & Mrs. Jonathan E. Parker Gloria & Joe Pryzant Jean and Allan Quiat Ron and Demi Rand Ed & Janet Rinehart Mr. Floyd W. Robinson Ann Roff

Cecilia and Luciano Vasconcellos Mr. & Mrs. Fredric A. Weber Steven & Nancy Williams Jeanie Kilroy Wilson & Wallace S. Wilson Ellen A. Yarrell** Anonymous

$15,000+ Nina K. Andrews** Anne Morgan Barrett Nancy and Walter Bratic Mr. Gordon J. Brodfuehrer Terry Ann Brown Mr. Bill Bullock Mr. Robert Bunch and Ms. Lilia Khakimova Mary Kathryn Campion & Stephen Liston Roger and Debby Cutler Valerie Palmquist Dieterich and Tracy Dieterich Mike and Debra Dishberger Connie Dyer Sidney Faust

** Education and Community Engagement Donor * Deceased Houston Symphony

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Mrs. Sybil F. Roos Toni A. Oplt and Ed Schneider Kathy & Ed Segner Mr. & Mrs. James A. Shaffer Tad & Suzanne Smith Drs. Carol & Michael Stelling Margaret Waisman, M.D. & Steven S. Callahan, Ph.D. Jay & Gretchen Watkins Dede Weil Vicki West

Our Donors $10,000+ Marcie & Nick Alexos Edward H. Andrews III Mr. and Mrs. David J. Beck James and Dale Brannon Lindsay Buchanan Ralph Burch Dr. Robert N. Chanon Coneway Family Foundation Brad and Joan Corson Andrew Davis & Corey Tu Dr. Alex Dell Vicky Dominguez Drs. Rosalind and Gary Dworkin

Mrs. Mary Foster & Mr. Don DeSimone Ron Franklin & Janet Gurwitch Mr. and Mrs. Patrick Gaidos Nancy D. Giles Grace Ho and Joe Goetz Jo A. & Billie Jo Graves Mr. and Mrs.* Jerry L. Hamaker Ms. Katherine Hill Marzena and Jacek Jaminski Dr. Rita Justice Mr. and Mrs. Calvin Leeke Marilyn G. Lummis

Mr. and Mrs. Michael L. Mason Dr. and Mrs. Malcolm L. Mazow Terry & Kandee McGill The Carl M. Padgett Family Mr. and Mrs. Robert Pastorek Mr. Zeljko Pavlovic Robert K. Rogerson Lori Harrington and Parashar Saikia Dr. Mark A. Schusterman Dr. & Mrs. Robert B. Sloan Houston Christian University

Mr. and Mrs. Jim R. Smith Anthony and Lori Speier Mr. and Mrs. Karl Strobl Drs. Ishwaria & Vivek Subbiah Mrs. Marguerite M. Swartz Mr. & Mrs. Tony Williford Doug and Kay Wilson Ms. Beth Wolff Robert and Michele Yekovich Nina and Michael Zilkha Anonymous

Paula & Louis Faillace Kelli Cohen Fein & Martin Fein Ms. Ursula H. Felmet Dr. Richard Fish and Marie Hoke Fish Mr. & Mrs. Robert J. Franco Bill & Diana Freeman Edwin Friedrichs & Darlene Clark Dr. Eugenia C. George Amy Goodpasture Mr. Mark Grace and Mrs. Alex Blair The Greentree Fund Mr. David Grzebinski Mary N. Hankey Deborah Happ & Richard Rost Mr. & Mrs. Frank Herzog Maureen Y. Higdon Mrs. Ann G. Hightower Katherine and Archibald Hill Mr. and Mrs. Jeffrey Hiller Steve and Kerry Incavo Mr. Michael Jang Dr. and Mrs. Joseph Jankovic Stephen Jeu and Susanna Calvo Phil and Josephine John Beverly Johnson Dr. Charles Johnson & Tammie Johnson Mr. and Mrs. John F. Joity Debbie & Frank Jones Ms. Linda R. Katz Carey Kirkpatrick Mr. Mark Klitzke and Dr. Angela Chen Dr. William and Alice Kopp Mr. Kenneth E. Kurtzman Mr. Steve Lee

Golda Anne Leonard Matthew and Kristen Loden Richard Loewenstern Alison and Ara Malkhassian Mr. and Mrs. Alexander Matiuk Ms. Kathy McCraigh Carol and Paul McDermott Mrs. Cathy McNamara Mr. Stephen Mendoza Dr. and Mrs. Jack Moore Rita and Paul Morico Jo Ann and Marvin Mueller Aprill Nelson Bobbie Newman Katherine & Jonathan Palmer Kusum and K. Cody Patel Michael P. and Shirley Pearson Linda Tarpley Peterson Mr. Robert J. Pilegge Mrs. Jenny Popatia in memory of Dr. Tajdin R. Popatia Heather & Chris Powers Tim and Katherine Pownell Darla and Chip Purchase Edlyn & David Pursell Cris & Elisa Pye Kathryn and Richard Rabinow Radoff Family Dr. and Mrs. George H. Ransford Vicky & Michael Richker Jill and Allyn Risley Dr. Douglas and Alicia Rodenberger Linda & Jerry Rubenstein Susan D. Sarofim Garry and Margaret Schoonover Susan and Ed Septimus

Laura & Mike Shannon Donna and Tim Shen Mr. & Mrs. Steven Sherman Mr. and Mrs. Lance Smith Mr. and Mrs. Quentin Smith Sam & Linda Snyder Richard & Mary Spies Elizabeth and Alan Stein Emily H. & David K. Terry Susan L. Thompson Carol and Eric Timmreck Nanako & Dale Tingleaf Pamalah* and Stephen Tipps Dr. Brad and Mrs. Frances Urquhart Mr. and Mrs. David Vannauker David and Robin Walstad Dr. Robert Wilkins and Dr. Mary Ann ReynoldsWilkins Nancy B. Willerson** Ms. Barbara E. Williams Doug Williams and Janice Robertson Loretta & Lawrence Williams Ms. Tara Wilson Woodell Family Foundation Mrs. Lorraine Wulfe Erla & Harry Zuber Anonymous (8)

$5,000+ Dr. & Mrs. George J. Abdo John and Pat* Anderson Mr. Tom Anderson Lilly and Thurmon Andress Dr. & Mrs. Jeffrey B. Aron Mr. Jeff Autor Mrs. Bonnie Bauer Kimberly and James Bell Joan H. Bitar, MD Mr. & Mrs. Michael E. Bowman Mrs. Vada Boyle James and Judy Bozeman Mr. and Mrs. Sverre Brandsberg-Dahl Mr. Chester Brooke and Dr. Nancy Poindexter Barbara A. Brooks Ms. Deborah Butler Kori and Chris Caddell Marilyn Caplovitz Drs. David A. Cech and Mary R. Schwartz Tatiana and Daniel Chavanelle Dr. Ye-Mon Chen and Mrs. Chaing-Lin Chen Darleen & Jack Christiansen Barbara A. Clark & Edgar A. Bering Lynn Coe Donna M. Collins Evan and Carin Collins Mr. & Mrs. Byron Cooley Ms. Miquel A. Correll Joseph and Rebecca Demeter Ms. Elisabeth DeWitts Jeanette and John DiFilippo Kathy and Frank Dilenschneider The Ensell Family Mr. Parrish N. Erwin Jr.

** Education and Community Engagement Donor * Deceased

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INTUNE January 2024

Our Donors $2,500+ Dr. Julia Andrieni and Dr. Rob Phillips Rick Ankrom Ms. Jacqueline Baly Mr. and Mrs. Stephen J. Banks Mr. Theodore H. Barrow Consurgo Sunshine Tatyana and Edward Baumgartner Drs. Henry & Louise Bethea Mr. and Mrs. Stephen Bickel Mr. and Mrs. Gerald W. Bodzy George Boerger Mr. Russell Boone Mr. Matt Brams and Mrs. Alice Mao Joe Brazzatti Jane and Ron Brownlee Mr. and Mrs. Mark A. Brueggeman Mr. and Mrs. Laurence Burns Justice Brett and Erin Busby David Bush Cheryl & Sam* Byington Ms. Greta Carlson Mr. Steve Carroll & Ms. Rachel Dolbier Margot & John Cater Mr. Per Staunstrup Christiansen Ms. Sandra Cooper Mr. and Mrs. John Dabbar Mrs. Myriam Degreve Ms. Cynthia Diller*/** Mrs. Edward N. Earle Mr. John Egbert and Ms. Kathy Beck Mr. William P. Elbel and Ms. Mary J. Schroeder Mrs. Christina Fontenot Mr. and Mrs. David French Dr. and Mrs. Robert H. Fusillo Mr. Alejandro E. Gallardo

Ms. Leslie Gassner Wm. David George Ph.D. Dr. Michael Gillin and Ms. Pamela Newberry Kathy & Albrecht Goethe Ms. Lidiya Gold Julianne & David Gorte Rebecca and Andrew Gould Mr. William Gray and Mrs. Clare Fontenot-Gray Cortney Guebara Mr. and Mrs. Charles R. Hall Dr. & Mrs. Carlos R. Hamilton Jr. Barbara and Christopher Hekel Mr. Stanley Hoffberger Mr. and Mrs. John Homier C. Birk Hutchens Mr. Daniel Irion Mr. and Mrs. Rick C. Jaramillo Mady & Ken Kades Ms. Mandy Kao Anna Kaplan Kathryn L. Ketelsen Jane & Kevin Kremer Kirk Kveton Stephanie and Richard Langenstein Ms. Deborah Laws Dr. Hilary Beaver & Dr. Andrew Lee Evelyn Leightman Mr. William W. Lindley Kirby and David Lodholz Mr. and Mrs. Stephen A. Lubanko Ms. Tama Lundquist Mr. & Mrs. Peter MacGregor Ms. Mary Marquardsen Mr. and Mrs. Wallis Marsh William D. & Karinne McCullough Mary Ann & David McKeithan

Stephen & Marilyn Miles Larry and Lyn Miller David and Jamie Ming Ginni and Richard Mithoff David R. Moore Richard & Juliet Moynihan Stephanie Weber and Paul Muri Mr. & Mrs. Richard Murphy Mr. & Mrs. Robert E. Nelson Mr. and Mrs. Geoffrey B. Newton Ms. Barbara Nussmann Macky Osorio Dr. Michael A. Ozer and Ms. Patricia A. Kalmans Nancy Parra George & Elizabeth Passela Dr. and Mr. Vanitha Pothuri Roland and Linda Pringle Mrs. Dana Puddy Mr. & Mrs. Florante Quiocho Clinton and Leigh Rappole Dr. Michael and Janet Rasmussen Mr. and Mrs. David Reeves Mr. & Mrs. J.B. Reimer Patricia Richards Mrs. Diane Roederer Dr. and Mrs. Franklin Rose Mr. and Mrs. Bryan Ruez Mr. & Mrs. John Ryder Mr. Robert T. Sakowitz Harold H. Sandstead, M.D. Lawrence P. Schanzmeyer Mr. Tony W. Schlicht Mr. and Mrs. Steven Schwarzbach Ms. Becky V. Shaw Mr. Carlos Sierra Leslie Siller Hinda Simon Ms. Diana Skerl Mr. and Mrs. George Sneed

Georgiana Stanley Jeaneen and Tim Stastny Ms. Christine A. Stevens and Richard Crishock Mr. & Mrs. Hans Strohmer Mr. William W. Stubbs Dr. and Mrs. Van W. Teeters Juliana and Stephen Tew Musicians of the Houston Symphony Inc. Jean and Doug Thomas Courtney & Bill Toomey Sal and Denise Torrisi Mr. and Mrs. Frank Tsuru Patricia Van Allan H. Richard Walton Nancy Ames and Danny Ward Alton and Carolyn Warren Dr. and Mrs. Richard T. Weiss Mr. & Mrs. C. Clifford Wright, Jr. Scott and Lori Wulfe Mr. and Mrs. Steve Yatauro Mrs. Linda Yelin Mr. and Mrs. Charles Zabriskie Anonymous (4)

Music Director Fund The Houston Symphony has entered a new era with the introduction of internationally acclaimed conductor, Juraj Valčuha, as our Music Director. The purpose of the Music Director Fund is to provide leadership support to allow Maestro Valčuha to realize his artistic vision.

To join the Music Director Fund, supporters make a leadership gift of $100,000 above and beyond their annual giving. To participate, please contact Christine Ann Stevens, Senior Director, Development at christine.stevens@houstonsymphony.org or 713.337.8521.

Margaret Alkek Williams Robin Angly & Miles Smith Janice Barrow* Gary and Marian Beauchamp/The Beauchamp Foundation Barbara J. Burger

Houston Symphony

Albert & Anne Chao Jane and Robert* Cizik Janet F. Clark Gardenia Foundation Cullen Trust for the Performing Arts

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John & Lindy Rydman / Spec’s Wines, Spirits & Finer Foods Mike Stude

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

YOUNG ASSOCIATE LEADERSHIP Kirby Lodholz, Chair

Laurel Flores, Communications Chair

Carrie Brandsberg-Dahl, Vice Chair

Jeff Hiller, Membership Chair

YAC - CONDUCTOR'S CIRCLE ($5,000+) Carrie and Sverre Brandsberg- Dahl#

Claudio Gutiérrez

Joshua McDonald

Eric Brueggeman

Lori Harrington and Parashar Saikia

Aprill Nelson#

Lindsay Buchanan#

Elaine and Jeff Hiller#

Vicky Dominguez

Carey Kirkpatrick

Carolyn and Patrick Gaidos

Elissa and Jarrod Martin

Liana and Andrew Schwaitzberg# Aerin and Quentin Smith# Justin Stenberg# Ishwaria and Vivek Subbiah

YAC - VIRTUOSO CIRCLE ($2,500-$4,999) Christopher P. Armstrong and Laura Schaffer Lauren and Mark Bahorich Tim Ong and Michael Baugh Emily Bivona and Ryan Manser Haydée del Calvo and Esteban Montero

Ryan Cantrell

Gwen and Jay McMurrey

Kusum and K. Cody Patel#

Denise and Brandon Davis

David R. Moore

Carlos Sierra

Andria Elkins

Sergio Morales

Laurel Flores#

Emily and Joseph MorrelPorter Hedges LLP

Allegra Lilly and Robin Kesselman#

Kristin and Leonard Wood

Owen Zhang

Stephanie Weber and Paul Muri

Kirby and David Lodholz# Kelser McMiller#

Maxine Olefsky and Justin Kenney

Kendrick Alridge

Florence Francis

Marisa and Tandy Lofland

Chicovia Scott

Amber Ali

Kallie Gallagher

Joel Luks

Tim Sesby

Fiona Anklesaria

Patrick B. Garvey

Miriam Meriwani

Leonardo Soto

Luisa Banos and Vladi Gorelik

Amy Goodpasture

Shane A. Miller

Bryce Swinford

Mandy Beatriz

Rebecca and Andrew Gould

Zoe Miller

Elise Wagner#

Adair and Kevin Brueggeman

Nicholas Gruy

David Moyer

Alexander Webb

David Chaluh

Kendall and Chris Hanno

Trevor Myers

Lincoln Chen

Ashley and John Horstman

Lee Bar-Eli and Cliff Nash

Kathy Zhang-Rutledge and Mack Wilson

Megan and John Degenstein

C. Birk Hutchens

Lauren Paine

Chante Westmoreland Dillard and Joseph Dillard

Mariya Idenova

Blake Plaster

Jonathan T. Jan

Anna Robshaw

Anna Kaplan

Clarice Jacobson and Brian Rosenzweig

Xandro Canales

YAC ($1,500-$2,499)

Evin Ashley Erdoğdu Adam Ewald

Lina Liu

For more information, please contact Katie Salvatore, Development Officer, at katie.salvatore@houstonsymphony.org or 713.337.8544.

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Marquis Wincher

# Steering Committee

INTUNE January 2024

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

CORPORATE PARTNERS (as of December 31, 2023) Principal Corporate Guarantor ($250,000 and above) Spec’s Wines, Spirits & Finer Foods / Spec’s Charitable Foundation**

Grand Guarantor ($150,000 and above) ConocoPhillips**

Houston Methodist*

KTRK ABC-13*

Houston Methodist* Kalsi Engineering Oliver Wyman*

PaperCity* Shell USA, Inc.**

Kinder Morgan Foundation** Kirkland & Ellis The Lancaster Hotel* Nexus Health Systems Oxy** PNC** Rémy Martin Sewell

Silver Eagle Beverages Truist

Neiman Marcus* One Market Square Garage* Rand Group, LLC* Silver Eagle Distributors Houston, LLC

Univision Houston & Amor 106.5FM Vinson & Elkins LLP

Gorman’s Uniform Service Jackson & Company*

Lockton Companies of Houston USI Southwest

Guarantor ($100,000 and above) Bank of America Boston Consulting Group* Frost Bank

Underwriter ($50,000 and above) Amerapex Baker Botts L.L.P.* Cameron Management* Chevron** CKP* Houston Christian University Houston Livestock Show & Rodeo**

Sponsor ($25,000 and above) EOG Resources The Events Company* ExxonMobil H-E-B/H-E-B Tournament of Champions**

Partner ($15,000 and above) Beam Suntory City Kitchen* Faberge

Supporter ($10,000 and above) American Tank and Vessel, Inc. Accordant Advisors* Houston First Corporation* Marine Foods Express, Ltd.** Mark Kamin & Associates

New Timmy Chan Corporation Orrick, Herrington & Sutcliffe, L.L.P.

Quantum Energy Partners Sire Spirits Beth Wolff Realtors Vivaldi Music Academy Zenfilm*

University of St. Thomas* Volume Social Club*

Wortham Insurance & Risk Management

Mercantil ONEOK, Inc. Nippon Steel North America, Inc. Quantum Bass Center* SEI, Global Institutional Group

SERCA Wines* Smith, Graham & Company Stewart Title Company TAM International, Inc.

Benefactor ($5,000 and above) Beck Redden LLP Russell Reynolds Associates, Inc.

Patron (Gifts below $5,000) Amazon Avatar Innovations Baker Hughes Christian Dior KPMG US Foundation, Inc.

For information on becoming a corporate partner, please contact Timothy Dillow, Senior Director, Development, at timothy.dillow@houstonsymphony.org or 713.337.8538.

Houston Symphony

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* Includes in-kind support **Education and Community Engagement Support

Corporate, Foundation & Government Partners FOUNDATIONS & GOVERNMENT AGENCIES (as of December 31, 2023) Diamond Guarantor ($1,000,000 and above) The Brown Foundation, Inc. Houston Symphony Endowment**

Houston Symphony League The Wortham Foundation, Inc.

Premier Guarantor ($500,000 and above) The Alkek and Williams Foundation

City of Houston through Houston Arts Alliance

The C. Howard Pieper Foundation

The Cullen Trust for the Performing Arts The Hearst Foundation** The Humphreys Foundation MD Anderson Foundation

National Endowment for the Arts Texas Commission on the Arts**

Grand Guarantor ($150,000 and above) City of Houston through the Miller Theatre Advisory Board** The Cullen Foundation

Guarantor ($100,000 and above) The Jerry C. Dearing Family Foundation

The Houston Arts Combined Endowment Fund

Underwriter ($50,000 and above) Albert and Ethel Herzstein Charitable Foundation Beauchamp Foundation The Elkins Foundation

The Fondren Foundation Houston Symphony Chorus Endowment LTR Lewis Cloverdale Foundation

John P. McGovern Foundation** The Powell Foundation**

William S. & Lora Jean Kilroy Foundation The Vivian L. Smith Foundation**

The William Stamps Farish Fund

Sponsor ($25,000 and above) The Melbern G. & Susanne M. Glasscock Foundation**

Partner ($15,000 and above) Ruth & Ted Bauer Family Foundation** William E. & Natoma Pyle Harvey Charitable Foundation** The Hood-Barrow Foundation

The Schissler Foundation Sterling-Turner Foundation The Vaughn Foundation

Supporter ($10,000 and above) Edward H. Andrews The Carleen & Alde Fridge Foundation George & Mary Josephine Hamman Foundation

Petrello Family Foundation The Pierce Runnells Foundation Strake Foundation**

Benefactor ($5,000 and above) Leon Jaworski Foundation

The Radoff Family Foundation

Keith & Mattie Stevenson Foundation

Patron (Gifts below $5,000) The Lubrizol Foundation The Scurlock Foundation For information about becoming a foundation or government partner, please contact Christina Trunzo, Director, Foundation Relations, at christina.trunzo@houstonsymphony.org or 713.337.8530.

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**Education and Community Engagement Support

INTUNE January 2024

Houston Symphony Endowment The Houston Symphony Endowment is organized and operated exclusively for the benefit of the Houston Symphony Society. Your contributions to the Endowment ensure the financial sustainability of your orchestra now and for generations to come.

A named endowed fund is a wonderful way to honor a loved one or to celebrate you and your family’s passion for the Houston Symphony. Named funds may be permanently established within the Houston Symphony Endowment with a minimum contribution of $250,000. Your fund can be designated for general purposes or specific interests.

One of the most impactful funds you can create is an Endowed Orchestra Chair. Opportunities to endow an Orchestral Chair begin at $1,000,000. Endowing a chair provides the Houston Symphony with funds to attract, retain, and support musicians of the highest caliber.

For more information about how you may support the Houston Symphony Endowment through a bequest or with a gift during your lifetime, please contact Hadia Mawlawi, Senior Associate, Endowment and Planned Giving, at hadia.mawlawi@houstonsymphony.org or 713.337.8532.

TRUSTEES James H. Lee, President David Krieger

William Dee Hunt Ajay Khurana

Lynn Mathre Scott Wise

ENDOWMENT FUNDS $250,000+ Janice H. and Thomas D. Barrow Chair Brinton Averil Smith, Principal Cello Barbara J. Burger Chair Ian Mayton, Horn The Brown Foundation Guest Pianist Fund The Brown Foundation Miller Outdoor Theatre Fund in memory of Hanni and Stewart Orton, Legacy Society Co-Founders Margarett and Alice Brown Fund for Education Janet F. Clark Fund Roy and Lillie Cullen Chair Juraj Valčuha, Music Director The Cullen Foundation Maestro’s Fund The Cullen Trust for the Performing Arts Fund for Creative Initiatives The Margaret and James Elkins Foundation Fund The Virginia Lee Elverson Trust Fund Fondren Foundation Chair Qi Ming, Assistant Concertmaster

The General and Mrs. Maurice Hirsch George P. and Cynthia Woods Mitchell Memorial Concert Fund in memory of Summer Concerts Fund Theresa Meyer and Jules Hirsch, beloved Bobbie Nau Chair parents of General Maurice Hirsch, and Mark Nuccio, Principal Clarinet Rosetta Hirsch Weil and Josie Hirsch Bloch, beloved sisters of General C. Howard Pieper Foundation Fund Maurice Hirsch Walter W. Sapp Fund, Legacy Society General Maurice Hirsch Chair Co-Founder Aralee Dorough, Principal Flute Fayez Sarofim Guest Violinist Fund through Houston Symphony Chorus Fund the Cullen Trust for the Performing Arts Joan and Marvin Kaplan Fund

The Schissler Foundation Fund

Ellen E. Kelley Chair Eric Halen, Co-Concertmaster

Spec’s Charitable Foundation Salute to Educators Concert Fund

Max Levine Chair Yoonshin Song, Concertmaster

The Micijah S. Stude Special Production Fund

Mary R. Lewis Fund for Piano Performance

Bobby and Phoebe Tudor Fund

M.D. Anderson Foundation Fund Mary Lynn and Steve Marks Fund Barbara and Pat McCelvey Fund Mr. and Mrs. Alexander K. McLanahan Endowed Chair William VerMeulen, Principal Horn

William Randolph Hearst Endowed Fund for Monroe L. Mendelsohn Jr. Fund Education Programs

Houston Symphony

52

Mr. and Mrs. Jesse B. Tutor Endowed Fund Margaret Alkek Williams Chair John Mangum, Executive Director/CEO The Wortham Foundation Classical Series Fund in memory of Gus S. and Lyndall F. Wortham

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

For more information, please contact Hadia Mawlawi, Senior Associate, Endowment and Planned Giving, at hadia.mawlawi@houstonsymphony.org or 713.337.8532.

CRESCENDO CIRCLE $100,000+ (as of December 31, 2023) Dr. and Mrs. George J. Abdo Priscilla R. Angly Jonathan and Ann Ayre Myra W. Barber Janice Barrow* Jim Barton James Bell Joe Anne Berwick* Joan H. Bitar, MD James and S. Dale Brannon Walter and Nancy Bratic Joe Brazzatti Terry Ann Brown Mary Kathryn Campion and Stephen Liston Drs. Dennis and Susan Carlyle Janet F. Clark Virginia A. Clark Mr. William E. Colburn Elizabeth DeWitts Andria N. Elkins

Jean and Jack* Ellis The Aubrey* and Sylvia Farb Family Helen Hudspeth Flores* Eugene Fong Mrs. Aggie L. Foster Stephen and Mariglyn Glenn Evan B. Glick Jo A. and Billie Jo Graves Mario Gudmundsson Claudio J. Gutiérrez Deborah Happ and Richard Rost Marilyn and Bob Hermance Dr. Charles and Tammie Johnson Dr. Rita Justice Dr. James E. and Betty W. Key Mr.* and Mrs. U. J. LeGrange Joella and Steven P. Mach Martha and. Alexander Matiuk

Michelle and Jack Matzer Dr. and Mrs. Malcolm L. Mazow Bill and Karinne McCullough Muffy and Mike McLanahan Dr. Georgette M. Michko Dr. Robert M. Mihalo* Alfred Cameron Mitchell* Mr. and Mrs. Marvin H. Mueller Drs. John and Dorothy Oehler Gloria G. Pryzant Constance E. Roy Donna Scott Charles and Andrea Seay Mr. and Mrs. James A. Shaffer Michael J. Shawiak Jule* and Albert* Smith Louis* and Mary Kay Snyder Ronald Mikita* & Rex Spikes

David and Helen Stacy Frank Shroeder Stanford in memory of Dr. Walter O. Stanford Mike and Anita* Stude Mr. and Mrs. Jesse B. Tutor Elba L. Villarreal Margaret Waisman, M.D. and Steven S. Callahan, Ph.D. Mr. and Mrs. Fredric A. Weber Robert G. Weiner & Toni Blankmann Vicki West in honor of Hans Graf Susan Gail Wood Jo Dee Wright Ellen A. Yarrell Anonymous (3)

Farida Abjani Dr. Antonio Arana* Mr. and Mrs. Jeffrey B. Aron George* and Betty Bashen Ann Baker Beaudette* Dorothy B. Black* Kerry Levine Bollmann Ermy Borlenghi Bonfield Zu Broadwater Dr. Joan K. Bruchas* and Mr. H. Philip Cowdin* Mr. Christopher and Mrs. Erin Brunner Eugene R. Bruns David Neal Bush Cheryl and Sam* Byington Sylvia J. Carroll Dr. Robert N. Chanon William J. Clayton and Margaret A. Hughes Mr. and Mrs. Byron Cooley The Honorable* and Mrs. William Crassas Karl A. Dahm Dr. Lida S. Dahm Leslie Barry Davidson Susan Feickert Ginny Garrett Mr. and Mrs. Harry H. Gendel Christine E.* and Michael B. George

Mauro H. Gimenez and Connie A. Coulomb Bill Grieves* Mr. Robert M. Griswold Randolph Lee Groninger Mr. and Mrs. Jerry L. Hamaker Gloria L. Herman* Timothy Hogan and Elaine Anthony Dr. Gary L. Hollingsworth Dr. Edward J. and Mrs. Patti* Hurwitz Dr. Kenneth Hyde Brian and Catherine James Barbara and Raymond Kalmans Dr. and Mrs. I. Ray Kirk Mrs. Frances E. Leland Samuel J. Levine Mrs. Lucy Lewis Sandra Magers David Ray Malone and David J. Sloat Mr. and Mrs. Rodney H. Margolis Jay and Shirley* Marks James G. Matthews Mary Ann and David McKeithan Dr. Tracey Samuels and Mr. Robert McNamara

Mr. and Mrs. D. Bradley McWilliams Catherine Jane Merchant* Marilyn Ross Miles and Stephen Warren Miles Foundation Sidney and Ione Moran Janet Moynihan* Richard and Juliet Moynihan Gretchen Ann Myers Patience Myers John N. Neighbors* in memory of Jean Marie Neighbors Mr.* and Mrs. Richard C. Nelson Bobbie Newman John and Leslie Niemand Leslie Nossaman Dave G. Nussmann* John Onstott Macky Osorio \Susan and Edward Osterberg Mr. and Mrs. Edmund and Megan Pantuliano Christine and Red Pastorek Peter* and Nina Peropoulos Linda Tarpley Peterson Sara M. Peterson Mrs. Jenny Popatia in memory of Dr. Tajdin R. Popatia

Geraldine Smith Priest Dana Puddy Patrick T. Quinn Lila Rauch* Ed and Janet Rinehart Mr. Floyd W. Robinson Walter Ross* Dr. and Mrs. Kazuo Shimada Lisa and Jerry Simon Jean Stinson* Tad and Suzanne Smith Sherry Snyder Marie Speziale Emily H. and David K. Terry Douglas Thomas Stephen G. Tipps Ann K. Tornyos Steve Tostengard*, in memory of Ardyce Tostengard Jana Vander Lee Bill and Agnete Vaughan Dean B. Walker Stephen and Kristine Wallace Geoffrey Westergaard Nancy B. Willerson Jennifer R. Wittman Lorraine and Ed* Wulfe David and Tara Wuthrich Katherine and Mark Yzaguirre Anonymous (8) *Deceased

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INTUNE January 2024

Musician Sponsorships Donors at the Sponsorship Circle level and above are provided the opportunity to be recognized as sponsoring a Houston Symphony Musician.

For more information, please contact Alexa Ustaszewski, Major Gifts Officer, at alexa.ustaszewski@houstonsymphony.org or 713.337.8534.

(As of December 31, 2023) Dr. Angela Apollo

Scott Holshouser, Principal Keyboard

Dr. Saúl and Ursula Balagura Charles Seo, Cello

Gary and Marian Beauchamp/ The Beauchamp Foundation Martha Chapman, Second Violin

Evan B. Glick

Michelle and Jack Matzer

Suzan and Julius Glickman

Barbara and Pat McCelvey

Fay Shapiro, Viola Thomas LeGrand, Associate Principal Clarinet and E-flat Clarinet

Christopher French, Associate Principal Cello

Mark and Ragna Henrichs

Mr. Gordon J. Brodfuehrer

Gary L. Hollingsworth and Kenneth J. Hyde

Maki Kubota, Cello

Robert Walp, Assistant Principal Trumpet

Mrs. James E. Hooks

Ralph Burch

Drs. M.S. and Marie-Luise Kalsi

Robin Kesselman, Principal Double Bass

Barbara J. Burger

Andrew Pedersen, Double Bass

Mary Kathryn Campion, PhD Rodica Gonzalez, First Violin

Drs. Dennis and Susan Carlyle

Louis-Marie Fardet, Cello

Jane Cizik

Qi Ming, Assistant Concertmaster

Janet F. Clark

MuChen Hsieh, Principal Second Violin

Michael H. Clark and Sallie Morian

Assistant Principal Viola

Virginia A. Clark

Lindsey Baggett, Violin - Community-Embedded Musician

Roger and Debby Cutler Tong Yan, First Violin

Mike and Debra Dishberger

Phillip Freeman, Bass Trombone

Joan and Bob Duff

Robert Johnson, Associate Principal Horn

Aggie L. Foster & Steve Simon Mihaela Frusina, Second Violin

Steve and Mary Gangelhoff Judy Dines, Flute

Stephen and Mariglyn Glenn Christian Schubert, Clarinet

Houston Symphony

Muffy and Mike McLanahan

William VerMeulen, Principal Horn

Dr. Eric McLaughlin and Mr. Eliodoro Castillo

Jonathan Fischer, Principal Oboe

Donald Howey, Double Bass

Mr. Robert Bunch and Ms. Lilia Khakimova

Alexander Potiomkin, Bass Clarinet and Clarinet

Adam Dinitz, English Horn

Mr. and Mrs. Fred L. Gorman

Nancy and Walter Bratic Christopher Neal, First Violin

Kurt Johnson, First Violin

Martha and Marvin McMurrey Rodica Gonzalez, First Violin

Dr. Miguel & Mrs. Valerie MiroQuesada Leonardo Soto, Principal Timpani

Burke Shaw, Double Bass

Eric Halen, Co-Concertmaster

Joan & Marvin Kaplan Foundation/The Kaplan, Brooks, and Bruch Families

Mark Nuccio, Principal Clarinet

Dr. Sippi and Mr. Ajay Khurana

David Connor, Double Bass – Community-Embedded Musician

Dr. and Mrs. I. Ray Kirk

John C. Parker, Associate Principal Trumpet

Cindy E. Levit

Adam Trussell, Bassoon and Contrabassoon

Max Levit

Sergei Galperin, First Violin

Rita and Paul Morico

Elise Wagner, Bassoon

Scott and Judy Nyquist Sheldon Person, Viola

Joella and Steven P. Mach Eric Larson, Double Bass

Mrs. Carolyn and Dr. Michael Mann

Ian Mayton, Horn

Alana R. Spiwak and Sam L. Stolbun

Wei Jiang, Acting Associate Principal Viola

Mike Stude

Brinton Averil Smith, Principal Cello

Bobby and Phoebe Tudor Bradley White, Acting Principal Trombone

Mr. & Mrs. Jesse B. Tutor Joan DerHovsepian, Principal Viola

Mr. & Mrs. Fredric A. Weber

Jeremy Kreutz, Cello

Gloria and Joe Pryzant

Matthew Strauss, Percussion

Allan and Jean Quiat

Richard Harris, Trumpet

Laurie A. Rachford

Timothy Dilenschneider, Associate Principal Double Bass

Mark Griffith, Percussion

Rian Craypo, Principal Bassoon Allegra Lilly, Harp

Robert G. Weiner and Toni Blankman

Anastasia Ehrlich, Second Violin

Vicki West

Rodica Gonzalez, First Violin

Steven and Nancy Williams MiHee Chung, First Violin

Ron and Demi Rand

Jeanie Kilroy Wilson and Wallace S. Wilson

Ed & Janet Rinehart

Nina and Michael Zilkha

Annie Chen, Second Violin Amy Semes, Associate Principal Violin

Xiao Wong, Cello

Kurt Johnson, First Violin

Mrs. Sybil F. Roos

Mark Hughes, Principal Trumpet

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

Sergei Galperin, First Violin

Marina Brubaker, First Violin

Mr. David Peavy and Dr. Stephen McCauley

Jeffrey Butler, Cello

Mr. and Mrs. J. Stephen Marks Mr. Jay Marks

Tad and Suzanne Smith

Mr. and Mrs. Jonathan E. Parker

Mr. Glen A. Rosenbaum

Brian Del Signore, Principal Percussion

Rainel Joubert, Violin– Community-Embedded Musician

Stephen and Kristine Wallace

MiHee Chung, First Violin

Mr. and Mrs. Rodney H. Margolis

Eric Halen, Co-Concertmaster

Margaret and Joel Shannon

Margaret Waisman, M.D. and Steven S. Callahan, Ph.D.

Cindy Mao and Michael Ma Si-Yang Lao, First Violin

Eric Halen, Co-Concertmaster

Dr. Susan Osterberg and Mr. Edward C. Osterberg Jr.

Cora Sue and Harry* Mach Joan DerHovsepian, Principal Viola

Mr. and Mrs. James A. Shaffer

Aralee Dorough, Principal Flute

Anthony Kitai, Cello

Kathy and Ed Segner

Kathryn Ladner, Flute & Piccolo

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*Deceased

Jesse H. Jones Hall Renovation Donors Thank you to our Donors. We are grateful to the generous donors who have contributed $43,650,000 to date toward our $60 million goal.

(As of December 31, 2023)

$10 MILLION+ Nancy and Charles Davidson

$5 MILLION+ The Brown Foundation, Inc. The City of Houston / Houston First Corporation

$1 MILLION+ Janice H. Barrow The Robert and Jane Cizik Family Janet F. Clark ConocoPhillips The Cullen Foundation The Cullen Trust for the Performing Arts The Elkins Foundation Houston Endowment Barbara and Pat McCelvey The Shirley and David Toomim Family The Wortham Foundation, Inc.

FRIENDS OF JONES HALL Anne and Albert Chao Mr. & Mrs. J. Stephen Marks Beverly and James Postl Vivian L. Smith Foundation Mr. and Mrs. Jesse B. Tutor

For more information, please contact Nancy Giles, Chief Development Officer, at nancy.giles@houstonsymphony.org or 713.337.8525.

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INTUNE January 2024

Building Our Endowment, BUILDING OUR FUTURE Endowments play a crucial role in ensuring the financial vitality of an organization by providing predictable and consistent annual support as well as increased stability during unforeseen challenges. For these reasons, a robust Endowment is critical to the enduring excellence of the Houston Symphony.

The recently unveiled Houston Symphony Strategic Plan 2030, designed to set a clear course for the Symphony’s future, identifies growing the endowment as one of our four strategic pillars. The goal defined in the plan is to increase the size of our endowment to five times the annual operating budget and to transition to an endowment-based funding model.

To further demonstrate this effort as a priority during her tenure, Houston Symphony Board President Barbara J. Burger made a leadership gift to the Symphony’s Endowment at the beginning of her term. This generous commitment endows the chair of the Fourth Horn, held by Ian Mayton, and establishes a specific fund for touring, an important activity for top tier orchestras. Growing the endowment enhances the Symphony’s ability to attract, retain, and support musicians of the highest caliber by creating a stable source of funding for our largest expense—the orchestra.

Houston Symphony Board President Barbara J. Burger

“This gift has several facets that were important to me. The gift was aligned with the strategic pillars of our new Strategic Plan, and I knew that making a gift of this type and at this time would help get the implementation of the plan off to a good start,” says Barbara. “I also chose to focus on musician chairs and touring because they are two areas that are critical to our mission, vision, and the strategic pillar to establish the Houston Symphony as a world-class orchestra.”

Currently, the Houston Symphony Endowment is responsible for five percent of the annual operating budget of the orchestra and our goal is for our annual endowment draw to cover approximately 20–30 percent of the annual operating budget in the future. A properly funded endowment, of at least five times an annual operating budget, sustains an orchestra’s artistic excellence, supports education and community engagement initiatives crucial to fulfilling our mission, and helps ensure our performances remain accessible and affordable to our community. “I strongly believe in doing what I can to ensure that others will be able to have the opportunities that I have had,” says Barbrara. “Endowments in education, research, innovation, and music are a way to guarantee my contributions have lasting impact now and long into the future.”

Scan the QR code for additional information

Houston Symphony

The Houston Symphony will continue to inspire and enrich the lives of Houstonians for generations to come, thanks to the generosity of patrons like Barbara J. Burger, and others who contribute to the Houston Symphony Endowment. For additional information or to explore the many ways to support the Houston Symphony Endowment, scan the QR code or contact Hadia Mawlawi, at Hadia.Mawlawi@HoustonSymphony.org or 713.337.8532.

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Behind the Scenes with:

STEFAN STOUT

Stage Manager Hometown: Houston, Texas

How long have you been with the Houston Symphony?

March 2024 will mark my fifth year as Stage Manager, but I’ve been taking calls with the Symphony as a stagehand since 2005.

Tell us about your role as Stage Manager. What does that role entail?

There are many! The analogy I use is that of the Maître d'.

Knowing everyone and what their needs are, yields a better experience for everyone. Beyond the musicians of the orchestra, I generate, gather, and distribute information to the crew. A strong team needs space to work and the right tools/information to get the job done. Most importantly the Stage Manager is a conduit for information between the Operations Department and the Crew.

What does a typical concert week look like for you and your team?

Scan here to read the full interview with Stefan Stout!

Monday is usually an off/dark day, but we’ve been busy coming back from the summer’s renovations. Tuesday we turn to the next concert. Move the shell, reconfigure the stage setup to accommodate soloists, chorus, or a rhythm section, if it’s a POPS show. Wednesday and Thursday are rehearsals, where the video team starts adding cameras and marking the shots. These rehearsals typically are not in order, to accommodate soloist schedules or special needs. Friday morning is the final rehearsal in order to get a sense of flow. We take a five-hour break and come back to put on the opening concert.

What is your favorite part about your job?

Being in the company of great artists and standing ovations.

Houston Symphony

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Growing up in a house filled with art, music, and wonderful people really set me up for a career in the arts. I hold a BFA in Arts Management from Emerson College and have worked as a lighting specialist for most of my career but have a very wide skillset that has served me well. I’m always learning. I love to cook, garden, and enjoy spending time on the coast with my family.

Juraj Valčuha, Music Director

Jones Hall – 615 Louisiana Street houstonsymphony.org