Houston Symphony Magazine - Miller 2010

m a g azine miller • 2010

Matthew Strauss, percussion

Mark Griffith, percussion

Hans graf music Director

Contents

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Official Program Magazine of the Houston Symphony 615 Louisiana, Suite 102, Houston, Texas 77002 (713) 224-4240 • www.houstonsymphony.org

Miller • 2010

Programs 16 June 17 20 June 18 25 June 25 30 June 26 32 June 30 34 July 4

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Features

The Houston Symphony welcomes cellist Alisa Weilerstein and many more brilliant guest artists for the 2010-2011 Classical Season. See page 15 for more!

37

Houston Symphony volunteers make a world of difference. Read about them on page 37.

13 Children’s Fashion Show 15 2010-2011 Classical Season Preview

On Stage and Off 44 Backstage Pass 5 Credits 40-43 Donors 8 Executive Director’s Letter 9, 11 From the Orchestra 4 Hans Graf 39 Music Matters!

12 Orchestra and Staff 38 Symphony Society 37 Volunteers

Departments 10 Spotlight on Sponsors 14 Support Your Symphony 22 Upcoming Performances

Cover photo by Sandy Lankford.

Contents photos by Bruce Bennett and PWL Studio.

For advertising contact New Leaf Publishing at (713) 523-5323 info@newleafinc.com • www.newleafinc.com • 2006 Huldy, Houston, Texas 77019 www.houstonsymphony.org

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Conductor Robert Franz has a costume for every occasion.

Hans Graf............................................................................................................

This summer, Maestro Hans Graf will be in the United States for a collection of important projects.

Graf will conduct Opening Night of the Aspen Music Festival and School, one of the most prestigious classical events in the summer, in Colorado on Friday, July 2. He will lead the Aspen Chamber Symphony along with guest violinist Gil Shaham for the first night’s performance in the 2,050-seat Benedict Music Tent. The program will include Beethoven’s Symphony No. 1 and Brahms’ Violin Concerto in D major, as well as a piece composed by the AMFS resident composer, Christopher Rouse, entitled Odna Zhizn. Following the concert, Graf will remain at the school for one week to provide training to the American Academy of Conductors who will lead a concert on Tuesday, July 6.

Following his trip to Colorado, Graf will return to Houston for a rare summertime appearance at Jones Hall for the Houston Chronicle Dollar Concert on Saturday, July 10. The program will feature Barber’s Medea’s Dance of Vengeance and Brahms’ Symphony No. 2. Each year, the Dollar Concert is also the venue in which the symphony performs with the gold medalist of the 2010 Houston Symphony Ima Hogg Competition. This winner, who is selected during the competition held in early June, will perform the concert’s concerto.

From Houston, Graf will travel to Chicago for an appearance at the Grant Park Music Festival on Wednesday, July 14. Each summer, the festival provides free classical music in its new, modern venue — the Jay Pritzker Pavilion in Millennium Park – designed by internationally renowned architect Frank Gehry. Graf will be joined on stage by the Grant Park Orchestra and guest cellist, Alban Gerhardt, who performed in Jones Hall in March 2010. The program features Russian pieces including Tchaikovsky’s The Tempest and Variations on a Rococo Theme, and Stravinsky’s Petrushka.

We look forward to welcoming Maestro Graf back to Houston for his 10th season as music director of the Houston Symphony on Saturday, September 11 with the presentation of “A Vienna Soiree,” the theme for the symphony’s Opening Night. He will also greet our new concertmaster, Frank Huang, for his first performance with the orchestra.

Photo by sandy lankford

Biography............................................................................................................

Known for his wide range of repertoire and creative programming, Hans National du Rhin in Strasbourg.

Graf – the Houston Symphony’s 15th Music Director – is one of today’s Graf and the Houston Symphony have recorded Zemlinsky’s Lyric most highly respected musicians. He began his tenure here on Opening Symphony and Berg’s Three Pieces from Lyric Suite, which Naxos Night of the 2001-2002 season. released in May 2009. A disc of works by Bartók and Stravinsky, Graf is a frequent guest with all the major North American orches- recorded for Koch International Classics, is currently available. tras. Guest engagements include appearances with the Cleveland and Other Graf recordings are on EMI, Orfeo, CBC, Erato, Capriccio, JVC Philadelphia Orchestras, the New York and Los Angeles Philharmonics, and BMG Arte Nova labels. His discography includes the complete the San Francisco, St. Louis, Cincinnati, Atlanta and National sympho- symphonies of Mozart and Schubert and the premiere recording of nies and the St. Paul Chamber Orchestra, among others. Over the past Zemlinsky’s opera Es war einmal. decade, he has developed a Born in 1949 near Linz, close relationship with the Boston Graf studied violin and piano as Hans Graf conducts Stravinsky’s The Rite of Spring Symphony and appears regularly a child. He earned diplomas in “Under Graf’s leadership, the orchestra with the orchestra during the piano and conducting from the subscription season and at the Musikhochschule in Graz and realized all the opportunities with confident Tanglewood Music Festival. He continued his studies with Franco playing and rich, balanced sound…” made his Carnegie Hall debut with Ferrara, Sergiu Celibidache and Everett Evans, Houston Chronicle the Houston Symphony in January Arvid Jansons. His international 2006 and returned in March 2007 career was launched in 1979 leading the Orchestra of St. Luke’s. Carnegie Hall welcomed Graf and when he was awarded first prize in the Karl Böhm Competition. He has the Houston Symphony again in January 2010 for the presentation of The served as music director of the Salzburg Mozarteum Orchestra, the Planets—An HD Odyssey.

Calgary Philharmonic and Orchestre National Bordeaux Aquitaine.

Internationally, Graf conducts in the foremost concert halls and In 2002, he was awarded the Chevalier de l’ordre de la Legion music festivals of Europe, Japan and Australia. d’Honneur by the French government for championing French music An experienced opera conductor, Graf first conducted the Vienna around the world and, in 2007, the Grand Decoration of Honour in Gold State Opera in 1981 and has since led productions in Berlin, Munich, for Services to the Republic of Austria.

Paris and Rome, including several world premieres. Recent engagements Hans and Margarita Graf have homes in Salzburg and Houston. include Parsifal at the Zurich Opera and Boris Godunov at the Opera They have one daughter, Anna, who lives in Vienna.

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Credits...........................

Mark C. Hanson Executive Director/CEO Jessica Taylor Editor Carl Cunningham Program Annotator Elaine Reeder Mayo Editorial Consultant

www.newleafinc.com (713) 523-5323 Janet Meyer Publisher janetmeyer@newleafinc.com Keith Gumney Art Director kgumney@newleafinc.com Jennifer Greenberg Projects Director jenniferg@newleafinc.com John Buck Director of Advertising jbuck@newleafinc.com Linda Lang Senior Account Executive lindalang@newleafinc.com Frances Powell Account Executive divascenes@aol.com Carey Clark CC Catalyst Communications Laura Manning Mediart Partners Sharon St. Romain-Frank Account Executive Marlene Walker Walker Media LLC Sasha Khalifeh Intern

Acknowledgements

The Official Airline of the Houston Symphony

The Official Health Care Provider of the Houston Symphony The activities and projects of the Houston Symphony are funded in part by grants from the Texas Commission on the Arts, the National Endowment for the Arts and the City of Houston through the Houston Downtown Alliance, Miller Theatre Advisory Board and Houston Arts Alliance.

The Cynthia Woods Mitchell Pavilion at The Woodlands is the Summer Home of the Houston Symphony.

Digital pre-media services by Vertis APS Houston.

Contents copyright Š 2010 by the Houston Symphony

Miller 2010

Executive Director’s Letter................................................................................

Photo by bruce bennett

Mark C. Hanson Executive Director/CEO

www.houstonsymphony.org

I am very much looking forward to experiencing my first Houston Symphony performances at Miller Outdoor Theatre this month. In addition to featuring our talented musicians and guest artists, our June concerts will present us with the opportunity to experiment with the intersection of technology and art.

On June 17, you can join us at Miller Outdoor Theatre for our first ever “Tweetcert.” During the orchestra’s performance, a series of “tweets” will be posted on the symphony’s Twitter feed that will offer the audience an up-to-the-minute version of program notes about the music.

Audience members will be able to follow along on their smartphones while experiencing the thrill of a live Houston Symphony concert. The next night, Friday, June 18, audience members will be invited to text us their choice for a concert encore using their very own mobile devices.

Throughout the entire Miller Outdoor Theatre series, the symphony is also hosting a photo contest to find the best snapshots of Summer Symphony Nights concerts. Concert fans are encouraged to get creative and capture their favorite moments of the outdoor concert season for posting on the orchestra’s Flickr page. The winning photos will be displayed on the Houston Symphony website, eNewsletter and blog.

In July, we will be back at Jones Hall for a series of popular programs including an encore performance of The Planets—An HD Odyssey. Here is your chance to experience this incredibly successful multimedia performance again or for the first time together with the music of Star Wars. Later in the month, we will be presenting the Music of Queen and Distant Worlds: music from FINAL FANTASY. I look forward to seeing you at Miller Outdoor Theatre and at Jones Hall this summer for our exciting array of Houston Symphony concerts!

From the Orchestra: Test Your Musical Knowledge......................................

Photo by Eric arbiter

Answers to these trivia questions posed by principal timpanist Ron Holdman may be found on page 11.

1. It is often difficult to determine the origin of familiar melodies. For example, the melody to “I’ve been working on the railroad” originally copyrighted as “Levee Song” in 1894, predated “The Eyes of Texas” by nine years. Those words were set to the melody by students at the University of Texas for a show in 1903. Another familiar tune began life as a birthday song in 1797 composed by Franz Joseph Haydn in dedication to Austrian Emperor Franz Joseph. Haydn then used it as the melody for the slow movement of his String Quartet No. 3 in C major, Opus 76, Emperor. By 1804, it appeared as the Anglican hymn “Zion” or “Glorious Things of Thee Are Spoken.” After a number of further usages, it evolved into a national anthem in 1922 (with revisions in 1990). Do you know its title and the country that adopted it?

2. Fire references often appear in classical music. Who composed these pyrogenics?

Fireworks Firebird Ritual Fire Dance Music for the Royal Fireworks Immolation Scene 3. What composer’s second piano concerto was actually his first?

Ron Holdman, Principal Timpani

4. Composer Andrew Lloyd Webber is often criticized for “borrowing” previously composed tunes in some of his songs. The aria “Cuello de Tacete” from Puccini’s Girl of the Golden West and the 1940s song, “Bolero Blue,” are strongly likened to what two famous melodies of Lloyd Webber’s?

5. Obvious to those of my age, but perhaps not to younger folks, at what speed did a phonograph turntable revolve prior to the LP 33 1/3 rpm era?

6. Some instruments in a symphony orchestra actually used (and in some cases still do) animal parts to create their sounds. Can you name some?

7. We all agree that the arts and humanities enrich our souls, but only one award has annually recognized the special significance of journalism, letters and music since 1917. What is this prestigious honor?

8. What celebrated Irish playwright was also a late 19th-century music critic in London? His novel Pygmalion was the basis for the musical My Fair Lady.

9. Stephane Grappelli, Joe Venuti, Ray Nance, Nigel Kennedy, Stuff Smith, Jean Luc Ponty and Zbigniew Seifert are all names associated with what?

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Miller 2010

Spotlight on Sponsors......................................................................................

The Houston Symphony salutes the following corporations, businesses and orgnizations for their financial support of our 2009-2010 season:

JPMorgan Chase

Andrews Kurth LLP

Bank of America - Bloomberg, LLP - CenterPoint Energy - Chubb Group of Insurance Companies - Cooper Industries - Deloitte Devon Energy Corporation - Fluor Corporation - Macy’s Foundation - Northern Trust - Randalls Food Markets, Inc. - Riviana Star Furniture - Swift Energy Company - Wachovia Wells Fargo Foundation

A special thanks to our corporate sponsors who supported “The Planets—An HD Odyssey”

If your company is interested in sponsoring the Houston Symphony and its educational and community activities, call (713) 337-8520 or visit houstonsymphony.org.

10 www.houstonsymphony.org

From the Orchestra......

Test Your Musical Knowledge with Ron Holdman Answers from page 9 1. “Das Deutschlandlied” (The Song of Germany). We often refer to its first stanza line, “Deutschland, Deutschland über alles.”

2. Igor Stravinsky George Frideric Handel Igor Stravinsky Richard Wagner Manuel de Falla 3. Beethoven’s. The B-flat concerto was his first, but it wasn’t published until after the C major, which is (also disputably) considered the first piano concerto.

4. “Music of the Night” and “Memories” 5. 78 revolutions per minute. Therefore, classical recording “albums” such as operas or Mahler symphonies could weigh 10 pounds or more depending on how many (breakable) discs were in the album.

6. Stringed instruments, including harp and snare drums, used (or still use) catgut, which is a dried and twisted sheep intestine. Many percussion instruments use calfskin or goatskin for their heads or vibrating membranes.

7. The Pulitzer Prize 8. George Bernard Shaw 9. The wonderful and perhaps under-appreciated world of jazz violin. Bluegrass violin is quite well known and appreciated in the U.S., of course. Nigel Kennedy crosses over several idioms – classical, blues, jazz, etc.

!

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iPhone & iPod Touch App The Houston Symphony iPhone App is now available for FREE download from the iTunes® App store. It’s the quickest way for you to keep up with concert info, program notes, news, videos, music and much more – at your fingertips!

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Orchestra and Staff. ..........................................................................................

Hans Graf, Music Director

Mark C. Hanson, Executive Director/CEO

Roy and Lillie Cullen Chair Michael Krajewski, Robert Franz,

Principal Pops Conductor

Associate Conductor

Sponsor, Cameron Management

Sponsor, Madison Charitable Foundation

Brett Mitchell,

Assistant Conductor/American Conducting Fellow Xiao Wong Myung Soon Lee James Denton Anthony Kitai

First Violin: Eric Halen, Acting Concertmaster Max Levine Chair Assia Dulgerska, Acting Associate Concertmaster Ellen E. Kelley Chair Qi Ming, Assistant Concertmaster Cornelia and Meredith Long Chair Marina Brubaker, Acting Assistant Concertmaster Fondren Foundation Chair Alexandra Adkins Hewlett-Packard Company Chair MiHee Chung Sophia Silivos Rodica Gonzalez Ferenc Illenyi** Si-Yang Lao Kurt Johnson Christopher Neal Sergei Galperin Quan Jiang*

double Bass: David Malone, Acting Principal Janice H. and Thomas D. Barrow Chair Mark Shapiro, Acting Associate Principal Eric Larson Robert Pastorek Burke Shaw Donald Howey Michael McMurray Flute: Aralee Dorough, Principal General Maurice Hirsch Chair John Thorne, Associate Principal Judy Dines Allison Garza Piccolo: Allison Garza

Second Violin: Jennifer Owen, Principal Charles Tabony, Associate Principal Hitai Lee Kiju Joh Ruth Zeger Margaret Bragg Martha Chapman Kevin Kelly Mihaela Oancea Christine Pastorek Amy Teare Open Position

Oboe: Robert Atherholt, Principal Lucy Binyon Stude Chair Anne Leek, Associate Principal Colin Gatwood Adam Dinitz English Horn: Adam Dinitz Clarinet: David Peck, Principal Thomas LeGrand, Associate Principal Christian Schubert Position open

Viola: Wayne Brooks, Principal Joan DerHovsepian, Associate Principal George Pascal, Assistant Principal Linda Goldstein Thomas Molloy Fay Shapiro Daniel Strba Wei Jiang Phyllis Herdliska Open Position

E-Flat Clarinet: Thomas LeGrand Bass Clarinet: Position open Tassie and Constantine S. Nicandros Chair Bassoon: Rian Craypo, Principal Stewart Orton Chair Eric Arbiter, Associate Principal American General Chair Elise Wagner J. Jeff Robinson

Cello: Brinton Averil Smith, Principal Christopher French, Associate Principal Haeri Ju Jeffrey Butler Kevin Dvorak

Contrabassoon: J. Jeff Robinson

Horn: William VerMeulen, Principal Wade Butin, Acting Associate Principal* Brian Thomas Robert and Janice McNair Foundation Chair Nancy Goodearl Philip Stanton Julie Thayer Trumpet: Mark Hughes, Principal George P. and Cynthia Woods Mitchell Chair John DeWitt, Associate Principal Robert Walp, Assistant Principal Anthony Prisk Speros P. Martel Chair Trombone: Allen Barnhill, Principal Bradley White, Associate Principal Phillip Freeman Bass Trombone: Phillip Freeman Tuba: Dave Kirk, Principal Timpani: Ronald Holdman, Principal Brian Del Signore, Associate Principal Percussion: Brian Del Signore, Principal Mark Griffith Matthew Strauss Harp: Paula Page, Principal Keyboard: Scott Holshouser, Principal Neva Watkins West Chair Orchestra Personnel Manager: Steve Wenig Assistant Orchestra Personnel Manager: Open Position Librarian: Thomas Takaro Assistant LibrarianS: Erik Gronfor Michael McMurray Stage Manager: Donald Ray Jackson Assistant Stage Manager: Kelly Morgan

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Stage Technician: Zoltan Fabry Cory Grant Steinway is the official piano of the Houston Symphony. James B. Kozak, Piano Technician. Local assistance is provided by Forshey Piano Co. The Houston Symphony’s concert piano is a gift of Mrs. Helen B. Rosenbaum.

*Contracted Substitute ** Leave of Absence

Martha GarcĂ­a, Assistant to the Executive Director Meg Philpot, Director of Human Resources

Steven Brosvik, General Manager Roger Daily, Director, Music Matters!

Kristin L. Johnson, Director, Operations Steve Wenig, Orchestra Personnel Manager Donald Ray Jackson, Stage Manager Kelly Morgan, Assistant Stage Manager Francine Schiffman, Fidelity Partnership Coordinator Stephen Stratman, Assistant Orchestra Personnel Manager Meredith Williams, Assistant to the General Manager Carol Wilson, Manager, Music Matters!

Michael D. Pawson, Chief Financial Officer Sally Brassow, Controller Philip Gulla, Director, Technology Amed Hamila, Director, Database Support Heather Fails, Manager, Ticketing Database Janis Pease LaRocque, Manager, Patron Database Kay Middleton, Receptionist Maria Ross, Payroll Manager Armin (A.J.) Salge, Network Systems Engineer Chris Westerfelt, Manager, Accounts Payable and Special Projects

Aurelie Desmarais, Senior Director, Artistic Planning Merle N. Bratlie, Director, Artist Services Thomas Takaro, Librarian Amanda Tozzi, Director, Popular Programming and Special Projects Erik Gronfor, Assistant Librarian Michael McMurray, Assistant Librarian Rebecca Zabinski, Artistic Assistant

Glenn Taylor, Senior Director, Marketing Allison Gilbert, Director of Marketing, Subscriptions Melissa H. Lopez, Director of Marketing, Special Projects Gayle McMaster, Director, Group and Corporate Sales Carlos Vicente, Director of Marketing, Single Tickets Jenny Zuniga, Director, Customer Service Michel Bigelow, Customer Service Center Supervisor Sarah Bircher, Marketing Administrative Assistant Natalie Ferguson, Graphic Designer Jeff Gilmer, Group and Corporate Sales Assistant Jason Landry, Customer Service Center Manager Melissa Seuffert, Assistant Marketing Manager, Digital Media/Young Audience Engagement

Jennifer R. Mire, Senior Director, Communications Jessica Taylor, Editor, Magazine Holly Cassard, Associate Marketing/PR Manager

Tara Black, Interim Senior Director, Development Vickie Hamley, Director, Volunteer Services Brandon VanWaeyenberghe, Director, Corporate Relations Laura Woods, Director, Events Peter Yenne, Director, Foundation Relations and Development Communications Jessica Ford, Patron Services Specialist Samantha Gonzalez, Patron Services Specialist Clare Greene, Associate Director, Events Danny Hutchins, Patron Services Specialist Abbie Lee, Patron Services Assistant Tim Richey, Manager, Patron Services Sarah Slemmons, Development Associate, Administrative Services Lena Streetman, Manager, Individual Giving Andrew Walker, Development Assistant

Children’s Fashion Show..................................................................................

Children + Spring + Fashion = A Winning Combination The Children’s Fashion Show, hosted by the Houston Symphony League at the Junior League of Houston tearoom in April, had an audience of more than 200 parents and grandparents, as well as other family members and friends. Chaired by Mary Ann McKeithan and Betty Tutor, and featuring spring clothing from Neiman Marcus, the event was as successful in showcasing the runway skills of the 48 young models as it was in raising funds for the league’s programs. photos by Dikka Afadick - PWL Studio

^ Wearing wings that echoed the decorative butterflies on the table centerpieces, Layla and Savannah Tutor were “tu-tu” happy to stop for a photo with proud grandparents Jess and Betty Tutor.

^ Co-chair Mary Ann McKeithan had four granddaughters modeling in the fashion show. Madison Ann Burke, Mary Caroline Burke, Meredith McKeithan Burke and Mary Alex Khater enjoyed selecting their outfits at Neiman Marcus.

^ Guests arrived to an expertly decorated spring-themed tea room courtesy of Houston Symphony League volunteers.

< Walking a runway isn’t nearly as scary with a big sister leading, as was apparent by Mary Carol Ray’s confident stroll with her brother, John William.

Miller 2010 13

Support Your Symphony....................................................................................

The Houston Symphony salutes The Houston Symphony Chorus for supporting The Chorus Endowment Campaign

A permanent fund to supplement Symphony Chorus activities for future generations.

We are pleased to acknowledge the following contributors to the 2009-2010 Season: Wilton Adams

Meredith Griffis

Linda A. Renner

Bob Alban

Mr. and Mrs. James S. Gunst

Robert Reynolds

Ramona Alms

Peter and Tamara Ham

Linda Loewe Richardson

Mrs. Lisa Anders

Debbie and Steve Hannah

Robert and Phyllis Rinehart

Alice Beckstrom

Elizabeth and Dale Hauck

Clark and Judy Robison

John Bond

Charles S. Hausmann

Carolyn Rogan

Harvey and Suzy Bongers

Terry and Karen Henderson

Edward Ross

Krista L. Borstell

Denise K. Holmes

Mr. and Mrs. Joseph Rubbo

Bruce and Sue Boyle

Catherine Howard

Susan Scarrow

Mr. and Mrs. Gregory Branning

George Howe

Janet and David Scarrow

Nancy and Walt Bratic

Lois Howell

David and Maria Schoen

Patricia and William Bumpus

Donald Howie

Gary Scullin

Anne and Scott Campbell

Ben and Mary Gwen Hulsey

Vicki Seldon

Mr. and Mrs. James R. Carazola

Hurter Associates Inc.

Tony Sessions

Centerpoint Matching Gifts

Francisco J. Izaguirre

Thomas Sloan

Sarah Wilson Clark

Nobuhide Kobori

Jan Smith

John Colson

Philip and Audrey Lewis

Paige and Rich Sommer

Nadene and Jim Crain

Joyce Lewis

Dewell Springer

Picture This Photography

Gerald and Shirley Mathews

Mark Standridge

Drs. Paul and Sarah Damaske

Ken Mathews

John and Veronica Stevens

Paul and Vickie Davis

Joan K. Mercado

Dr. Cecilia Sun

Aurelie Desmarais

George Mitchell

Ian Fetterley and Corrie Ten-Have

Donn DuBois and Yukiko Iwata

Amy and Greg Mobley

G.M. Tolunay

Stephen Dukes

Lynne Moneypenny

Sonia Townsend

Mr. and Mrs. Randy Dunn

Matthew and Lisa Morfin

Karen Fess-Uecker and Wil Uecker

Holly T. Eaton

Matt Neufeld

June Russell and Bob Ulrich

Christine Economides

Dave Nussmann

Paul Van Dorn

ExxonMobil

Carol Ostlind

Johnathan Vaughan

Chris Fair

Rachel El-Saleh

George and Nancy Vernau

David and Joyce Fox

Laura Parker

Robert and Mary Voigt

Dr. Robert Furse

Corita Parker-Dubose

Carolee Weber

Clarice Gatlin

Nina and Peter Peropoulos

Don and Linda Weinmann

Yevgeny Genin

John Proffitt

David A. White

Marta-Marie G. Giles

Remora Energy

Lee E. Williams

Paulo Gomes

Karen and Hank Rennar

Mr. and Mrs. Joseph Wilson

Robert Lee Gomez

Jennifer Young

Special thanks to CenterPoint Energy, Remora Energy and ExxonMobil Foundation for matching their employeesâ&#x20AC;&#x2122; gifts to the Endowment.

(This list includes all gifts received as of May 14, 2010.)

14 www.houstonsymphony.org

Music for Houston. Music for You. 2010 - 2011 Season...............................

Eighteen concerts, multiple package combinations, up to 40 percent savings off the cost of individual tickets and an unforgettable experience.

Great Performers

Featured 6-Concert Package Hear Gil Shaham when he returns to the Houston Symphony, plus get five other spectacular concerts!

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Wagner’s “Ring” Without Words – An Orchestral Adventure September 24, 25, 26, 2010 Hans Graf, conductor John Adams: Doctor Atomic Symphony Wagner/Maazel: The “Ring” Without Words

Rachmaninoff’s Rhapsody

March 4, 5, 6, 2011 Juanjo Meno, conductor Gabriela Montero, piano Turina: Danzas Fantasticas Rachmaninoff: Rhapsody on a Theme of Paganini Mozart: Symphony No. 40

Hans Graf, conductor

Take a symphonic journey into a mythical world of gods, giants and heroes in the quest for a magic ring that holds immense power.

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Beethoven’s Eroica Symphony October 28, 30, 31, 2010 Hannu Lintu, conductor Markus Groh, piano Sallinen: Fanfare Liszt: Piano Concerto No. 1 Beethoven: Symphony No. 3, Eroica

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Alexander Nevsky

April 29, 30, May 1, 2011 Mark Wigglesworth, conductor Sascha Cooke, mezzo-soprano Houston Symphony Chorus Charles Hausmann, director Prokofiev: Alexander Nevsky Wagner: Prelude to Parsifal Stravinsky: Suite from The Firebird (1919)

Markus Groh, piano

Beethoven’s Eroica, threaded with epic drama and revolutionary genius in every note, has changed the rules of the classical symphony forever.

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Gil Shaham Plus Beethoven 7 February 3, 5, 6, 2011 Hans Graf, conductor Gil Shaham, violin Britten: Sinfonia de Requiem Walton: Violin Concerto Beethoven: Symphony No. 7

Gabriela Montero, piano

Rachmaninoff’s Rhapsody was made popular in the 1980 movie Somewhere in Time. Rachmaninoff himself played the first performance of the Rhapsody in Philadelphia, with former Houston Symphony Music Director Leopold Stokowski on the podium. You’ll be dazzled by piano virtuoso Gabriela Montero, known not only for her impeccable technique, but also for her incredible ability to improvise on any given theme.

Mark Wigglesworth, conductor

Prokofiev transports you to the 13th century for a tale of war, treason and the power of the common people united by a hero.

Gil Shaham, violin

Gil Shaham returns to perform Walton’s Violin Concerto, which bathes the listener in a sunny Mediterranean glow.

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Dvorˇák’s Cello Concerto

May 19, 21, 22, 2011 Hans Graf, conductor Alisa Weilerstein, cello Dvorˇák: Cello Concerto Rachmaninoff: Symphony No. 2

Alisa Weilerstein, cello •G et all 6 concerts for the price of 5! All prices are available in the As impressive as anything the composer ever wrote, Dvorˇák’s Cello Concerto Orchestra level. is rich in expansive melodies, beautiful lyricism and extraordinary brilliance.

• Best Price – Save up to 40 percent off the cost of single tickets.

Returning to Houston, charismatic cellist Alisa Weilerstein brings her pas• F ree Exchanges – Can’t make all the concerts in your package? sionate interpretation to Dvorˇák’s masterpiece, closing the 2010-2011 Exchange your tickets into other concerts for FREE! season with musical fireworks.

•S ame Seat – Enjoy the music from your reserved seat for all the concerts in your package.

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(713) 224-7575 or houstonsymphony.org Miller 2010 15

•••

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Notes..................................

Program

by Carl Cunningham

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OVERTURE TO CANDIDE Leonard Bernstein

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Died: Oct 14, 1990, New York, New York

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Thursday, June 17, 2010 8:30 pm Miller Outdoor Theatre

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Instrumentation: piccolo, two flutes, two oboes, two clarinets, bass clarinet, E-flat clarinet, two bassoons, contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp and strings

Overture to Candide

••••

Leonard Bernstein’s comic operetta about the disillusionment of Voltaire’s naïve, optimistic young hero was given its Broadway premiere in 1956, but went through numerous revisions throughout the rest of Bernstein’s life.

Nevertheless, its zestful, dazzling overture has remained a favorite showpiece among conductors and concert audiences.

The overture, which demands brilliant technical control from the musicians, summarizes various tunes from the operetta. It exudes the spirit of a sassy Offenbach operetta, especially during the excitement whipped up in its ever-faster coda.

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Ravel Suite from Ma mère l’oye (Mother Goose) I Pavane de la belle au bois dormant (Pavane of the Sleeping Beauty): Lent II Petit poucet (Tom Thumb): Très modéré III Laideronnette, impératrice des pagodes (Laideronnette, Empress of the Pagodas): Mouvement de Marche IV Les entretiens de la belle et de la bête (Conversations of Beauty and the Beast): Mouvement de Valse modéré V Le jardin féerique (The Enchanted Garden): Lent et grave

••••••••••••••••••

INTERMISSION Bernstein

Work composed: 1956 Recording: Leonard Bernstein conducting the New York Philharmonic (Sony)

Brett Mitchell, conductor John Thorne, flute Bernstein

Born: Aug 25, 1918, Lawrence, Massachusetts

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Summer Symphony Nights

Halil, Nocturne for Flute and Orchestra

Ravel Rapsodie espagnole I Prélude à la nuit: Très modéré— II Malagueña: Assez vif III Habanera: Assez lent IV Feria: Assez animé

SUITE FROM MA MÈRE L’OYE (MOTHER GOOSE) Maurice Ravel Born: Mar 7, 1875, Ciboure, France Died: Dec 28, 1937, Paris, France Work composed: 1911

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Recording: Simon Rattle conducting the Berlin Philharmonic (EMI Classics) Instrumentation: piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, contrabassoon, two horns, timpani, percussion ensemble, xylophone, celesta, harp, glockenspiel and strings

This concert is sponsored, in part, by the City of Houston through the Miller Theatre Advisory Board.

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Brett Mitchell, Assistant Conductor/American Conducting Fellow of the Houston Symphony, is a member of the American Conducting Fellows program, a national conductor training program developed and managed by the League of American Orchestras.

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

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This concert is being recorded for future broadcast on KUHF 88.7 FM, the Radio Voice of the Houston Symphony.

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KUHF 88.7 and the Houston Chronicle are the media sponsors of the Miller Outdoor Theatre series.

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The printed music for Ravel’s Rapsodie espagnole was donated by Mr. and Mrs. Andrew Wilkomirski.

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The printed music for Ravel’s Suite from Ma mère l’oye (Mother Goose) was donated by Ms. Dorothy Franz.

The scores for Bernstein’s Overture to Candide were donated by Mr. A. N. Rusche.

Like much of Ravel’s music, this exquisite orchestral suite is the reincarnation of a piano work. It began life as a piano-duet piece that Ravel dedicated to two fledgling young pianists who were the children of close friends.

He had hoped they could perform the suite, but despite its relative simplicity, its five movements were beyond their abilities. After two years spent composing the keyboard version (1908-10), Ravel orchestrated the suite in 1911. He simultaneously turned it into a ballet by adding two additional numbers and writing connective interludes between movements.

Charles Perrault’s Tales of Mother Goose was the source of the title as well as the first two movements, the delicate, muted “Sleeping

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The Houston Symphony’s Miller Outdoor Theatre concerts are endowed by The Brown Foundation, Inc. in memory of Stewart and Hanni Orton.

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Beauty” and the wandering music of “Tom Thumb.” Perrault’s accompanying inscription tells how Tom Thumb dropped a trail of breadcrumbs to mark his path in the forest, only to find that the birds had eaten them all when he tried to retrace his steps. Little cheeping motives depict this prank in the high violins, piccolo and flute toward the center of the piece.

Ravel turned to two 17th-century women writers for inspiration in the third and fourth movements. Marie-Catherine Aulnoy’s tale of “Laideronette, Empress of the Pagodas,” is a shimmering orchestral piece describing the empress taking her bath to the accompaniment of viols and lutes. Scurrying modal melodies in the high woodwinds, celesta and xylophone, punctuated by a commanding horn theme at the center of the piece, all suggest an oriental setting. Ravel turned Mme. Le Prince de Beaumont’s “Conversation between Beauty and the Beast” into the tenderest pull on the listener’s heartstrings, casting it as a lonely dialogue between the clarinet and the contrabassoon in the rhythm of a slow waltz. When Beauty finally responds to the Beast’s amorous entreaties, a high violin solo describes his magical transformation into a handsome prince. The concluding “Fairy Garden” builds steadily toward a glowing climax in its final measures.

anniversary of CBS Television, he considered the one-movement work a flute concerto.

From several standpoints, it is a very challenging work: its expressive values range from a lyrical style and the softest volume levels to a “shrieking” cadenza at the climax of the work.

The flutist’s full technical capacities are called into play; there are complex rhythms, frequent changes in the metric pulse and almost constant changes in the pace of the music.

When the flute solo becomes agitated in short breathy phrases at the end of the cadenza, representing the wounded Tenenbaum’s death,

an unseen piccolo (presumably offstage) joins in, symbolizing the gradual departure of his spirit from his body. And in a quiet conclusion, an alto flute and solo viola form a duet recalling a lyrical theme heard earlier in the piece, apparently characterizing the flutist/soldier’s personality.

RAPSODIE ESPAGNOLE Maurice Ravel Work composed: 1907-08 Continued on page 19

HALIL, NOCTURNE FOR FLUTE AND ORCHESTRA Leonard Bernstein Work composed: 1980-81 Recording: Jean-Pierre Rampal, with Leonard Bernstein conducting the Israel Philharmonic Orchestra (Deutsche Grammophon) Instrumentation: alto flute, piccolo, timpani, percussion, harp and strings Leonard Bernstein dedicated this work “to the spirit of Yadin (Tenenbaum) and to his fallen brothers.” In a poignant commentary published in the musical score, he identified Tenenbaum as a 19-year-old Israeli flutist killed in his tank near the Suez Canal during Israel’s 1973 war.

“Halil (the Hebrew word for flute) is unlike any other work I have written,” Bernstein wrote, “but (it) is like much of my music in its struggle between tonal and non-tonal forces.

“In this case, I sense that struggle as involving wars and the threat of wars, the overwhelming desire to live, and the consolations of art, love and the hope for peace. It is a kind of night music, which, from its opening 12-tone row to its ambiguously diatonic final cadence, is an ongoing conflict of nocturnal images: wish-dreams, nightmares, repose, sleeplessness, night-terrors and sleep itself, Death’s twin brother.”

Though Halil is partially based upon an earlier work Bernstein composed for the 50th Miller 2010 17

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Recording: Yan Pascal Tortelier conducting the Ulster Orchestra (Chandos) Instrumentation: pairs of piccolos, flutes and oboes, English horn, two clarinets, bass clarinet, three bassoons, contrabassoons, four horns, three trumpets, three trombones, tuba, timpani, large percussion ensemble, two harps, celesta and strings The four-movement Rapsodie espagnole was Ravel’s first significant orchestral work. It takes its place in an honorable line of Spanish-flavored symphonic works, including Rimsky-Korsakov’s Capriccio espagnol, Chabrier’s España and Debussy’s Ibéria. As such, it reflects Ravel’s Basque ancestry (through his mother) and a love of Spanish music he shared in numerous other Hispanic works, including the opera, L’heure espagnole, and a set of songs he composed the same year as this rhapsody.

Subtlety, brevity and a pointed orchestral technique are expressed as hallmarks of Ravel’s style. The opening movement, Prelude to the Night, is an impressionistic sketch in which delicate fragments of melody and orchestral tone color are set against a repeated four-note descending scale pattern. Trumpets and castanets interject the sharp rhythms of the succeeding Malagueña against successive waves of tightly packed string, wind and brass tone. Its fury suddenly dissolves in an exotic cadenza for the English horn, garnished with echoes of the four-note motive from the first movement.

The Habanera is the most exquisite of the four movements. The typical syncopated rhythm of this Cuban dance, made famous by the Habanera of Bizet’s opera, Carmen, is delicately threaded through a succession of entries by the oboe, muted trumpet, solo violin, horn and harp.

The joyous celebration of a colorful Spanish holiday is exuberantly set forth in Ravel’s opulent full-orchestra setting of the closing Feria. ©2010, Carl R. Cunningham

Biographies. ...............

Photo by sandy lankford

Mitchell Brett Mitchell, conductor

Now entering his fourth season as assistant conductor of the Houston Symphony, Brett Mitchell is one of America’s most promising

young conductors. Since his appointment in September 2007, he has led the orchestra in nearly 100 performances; several of which were broadcast on SymphonyCast and Performance Today. He is the newly appointed music director of the Saginaw Bay Symphony Orchestra and serves as a regular cover conductor for The Philadelphia Orchestra.

Mitchell has led the London Philharmonic, Leipzig Gewandhaus, Philadelphia, Rochester Philharmonic, Pittsburgh, Baltimore, Oregon, Memphis, Peoria and Frankfurt Radio Symphony Orchestras, as well as the Northwest Mahler Festival Orchestra. He served as a musical assistant at the New York Philharmonic during the 2007-08 season and as cover conductor with the Cleveland Orchestra in 2009.

He made his European debut in 2004 with Romania’s Brasov Philharmonic and his Latin American debut in 2005 with the Orquesta Filarmónica de la UNAM in Mexico City.

Highlights of this season include debuts with the National Symphony Orchestra and Da Camera of Houston, as well as preparing a new production of Puccini’s Trittico for Maestro Lorin Maazel at the 2010 Castleton Festival.

Mitchell was assistant conductor of the Orchestre National de France (2006-2009), director of orchestras at Northern Illinois University (2005-2007) and associate conductor of the Pittsburgh New Music Ensemble (2002-2006). He has served as music director of numerous opera productions, including Igor Stravinsky’s The Rake’s Progress, Mark Adamo’s Little Women and Robert Aldridge’s Elmer Gantry.

A Seattle native, Mitchell earned his bachelor of music in composition from Western Washington University and holds a doctorate degree from The University of Texas, where he was music director of the university’s orchestra. Mitchell participated in the National Conducting Institute in Washington, D.C., and studied with Kurt Masur as a recipient of the inaugural American Friends of the Mendelssohn Foundation Scholarship.

John Thorne, flute

Flutist John Thorne was born in New York City. He attended The Juilliard School’s PreCollege Division and is a graduate of the Curtis Institute of Music where he was a student of Julius Baker, former principal flute of the New York Philharmonic. He has studied privately with Anne Zentner of the Los Angeles Philharmonic.

Thorne began his career as a member of the New World Symphony in Miami under the direction of Michael Tilson Thomas. He has held principal flute positions with the Florida West Coast Symphony and the San Antonio Continued on page 39 Miller 2010 19

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Program

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REMEMBERING GATSBY (FOXTROT FOR ORCHESTRA) John Harbison

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Work composed: 1985 Recording: David Zinman conducting the Baltimore Symphony (Naxos)

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Friday, June 18, 2010 8:30 pm Miller Outdoor Theatre

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Instrumentation: three flutes, piccolo, three oboes, English horn, three clarinets, bass clarinet, soprano saxophone, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, piano and strings

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Robert Franz, conductor *Caroline Goulding, violin

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Harbison

Born: Dec 20, 1938, Orange, New Jersey

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Summer Symphony Nights

Remembering Gatsby (Foxtrot for Orchestra)

Noted American composer John Harbison was unsuccessful in his early efforts to compose an opera on F. Scott Fitzgerald’s The Great Gatsby. But thanks to an Atlanta Symphony commission in 1985, he did succeed in weaving abandoned sketches for the opera into this orchestral foxtrot redolent of musical images from the jazz era of the 1920s. Then, in 1995, the Metropolitan Opera commissioned the complete stage work which was premiered there four years later.

The Foxtrot opens with a formidable orchestral introduction, followed by a brief Allegro passage that Harbison describes as a “call to order.” The foxtrot is led by the soprano saxophone, heading up a jazz band contained within the instrumentation of the full orchestra. The main tune is associated with one of several party scenes in the opera about the social-climbing, womanizing Gatsby during the Roaring Twenties. After its first statement, the theme returns in several variants.

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Bruch Scottish Fantasy in E-flat major for Violin and Orchestra, Opus 46

Prelude: Grave— I Adagio cantabile II Allegro— III Andante sostenuto IV Finale: Allegro guerriero

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INTERMISSION

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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

*Houston Symphony debut

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SCOTTISH FANTASY IN E-FLAT MAJOR FOR VIOLIN AND ORCHESTRA, OPUS 46 Max Bruch Born: Jan 6, 1838, Cologne, Germany Died: Oct 2, 1920, Friedenau near Berlin, Germany Work composed: 1880

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Recording: Violinist Salvatore Accardo, with Kurt Masur conducting the Leipzig Gewandhaus Orchestra (Philips)

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This concert is sponsored, in part, by the City of Houston through the Miller Theatre Advisory Board.

The Houston Symphony’s Miller Outdoor Theatre concerts are endowed by The Brown Foundation, Inc. in memory of Stewart and Hanni Orton.

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Appearances by Associate Conductor Robert Franz are generously sponsored by the Madison Charitable Foundation.

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

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KUHF 88.7 and the Houston Chronicle are the media sponsors of the Miller Outdoor Theatre series.

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The printed music for Bruch’s Scottish Fantasy in E-flat major for Violin and Orchestra, Opus 46 was donated by Mr. and Mrs. Stanley E. Anderson.

This concert is being recorded for future broadcast on KUHF 88.7 FM, the Radio Voice of the Houston Symphony.

Instrumentation: pairs of flutes, oboes, clarinets and bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp and strings Though Max Bruch was a perfectly talented, eminently well-trained composer, his music never gained the degree of popularity accorded to the giants of 19th-century German music. He had a fine gift for melody and a thorough knowledge of his musical craft, but he preferred to write accessible music in a conservative style, rather than push the boundaries of music forward, as did Wagner, Liszt and

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.................................................................................................................... others. Now that a century of dust has settled upon the whole Romantic movement, we might consider his music more valuable for its intrinsic worth than its historical importance.

Bruch was not a violinist, but his two bestremembered works are the first of his three violin concertos and the Scottish Fantasy for violin and orchestra. His recourse to folksong was a natural result of his proclivity for writing readily appealing music, and he made many folksong settings for chorus or solo voice throughout his life. Biographer Christopher Fifield quotes the composer in writing to his publisher: “As a rule, a good folk tune is more valuable than 200 created works of art. I would never have come to anything in this world if I had not, since my 24th year, studied the folk music of all nations with seriousness, perseverance and unending interest.”

Bruch never visited Scotland, but he seemed to be especially fond of Scottish folksongs. As early as 1863, he set 12 Scottish folksongs for voice and piano, based on a late 18thcentury collection compiled by James Johnson and Robert Burns. In 1880, he re-used two of them in his Scottish Fantasy. Bruch’s inspiration for the piece may have stemmed from his reading of Sir Walter Scott’s The Lady of the Lake, which became the basis of a choral work he completed nine years later.

The Fantasy opens in the somber key of E-flat minor with a slow, brassy introduction said to depict an elderly bard recalling the glories of ancient times as he looks upon a ruined castle. The body of the first movement is set in a more lyrical E-flat major, and it is here that the solo violin introduces the first of the fantasy’s four folk tunes, the lyrical, sentimental “Auld Rob Morris.” In keeping with the bardic character of the movement, the harp is also prominently used in the orchestral setting.

The drone of bagpipes is suggested in the background of the second movement, a light, leaping Scherzo based upon the high-spirited air, “Hey, the Dusty Miller.” Double stops and broken-chord figures spanning all four strings are prominent in the solo violin part. There is also a charming flute-violin duet at the close of its central trio section.

A connecting episode, based on the main theme of the first movement, joins the Scherzo to the slow third movement, which can be considered the emotional heart of the Scottish Fantasy. This movement is based upon the sad but song-like tune, “I’m Down for Lack of Johnnie,” whose short-long Scotchsnap rhythms at the ends of phrases mark it as a typical Scottish tune. Once the solo violin has stated the tune, it begins a series of three decorative variations based upon the melody.

The martial “Scots wha hae” forms the thematic basis of the brilliant, lusty finale, which features all manner of showy devices for the soloist, including numerous flourishes and thick chords covering three or all four violin strings.

SYMPHONY NO. 3 IN A MINOR, OPUS 56, (SCOTTISH) Felix Mendelssohn Born: Feb 3, 1809, Hamburg, Germany Died: Nov 4, 1847, Leipzig, Germany Work composed: 1842 Recording: Peter Maag conducting the Madrid Symphony Orchestra (Decca) Instrumentation: pairs of woodwinds, four horns, two trumpets, timpani and strings The 1829 visit to the British Isles that inspired Felix Mendelssohn to compose his famed “Hebrides” Overture also inspired the beginnings of his A minor Symphony. Following a series of concerts in London, the 20-year-old composer and a group of friends headed north to Scotland. There, they visited the abbey of Holyrood and the ruined chapel where Mary Stuart was crowned Queen of Scotland.

Continued on page 24

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Upcoming Performances..................................................................................

Summer in the City Houston Chronicle Dollar Concert

Saturday, July 10, 7:30 pm Hans Graf, conductor Gold Medalist, 2010 Houston Symphony Ima Hogg Competition Program to include: Barber: Medea’s Dance of Vengeance Brahms: Symphony No. 2 Enjoy the Houston Symphony in Jones Hall for $1 per ticket as Music Director Hans Graf continues this summer tradition of more than 50 years!

Tickets: $1 General Admission; $10 Reserved Seating

The Planets—An HD Odyssey plus Star Wars

Saturday, July 17, 7:30 pm Brett Mitchell, conductor Duncan Copp, producer/director Women of the Houston Symphony Chorus Charles Hausmann, director

If you missed the sold-out January world premiere of The Planets—An HD Odyssey, or you want to re-live the experience, now is your chance! This must-see multimedia event combines the latest HD video of the planets from NASA/JPL projected onto a large screen with a performance of Gustav Holst’s The Planets.

Plus enjoy John Williams’ legendary music from Star Wars, E.T. and Close Encounters of the Third Kind!

Tickets: from $22

The Music of Queen

Thursday, July 22, 7:30 pm Brent Havens, conductor Brody Dolyniuk, vocals The Houston Symphony and conductor Brent Havens present a concert dedicated to the timeless music of Queen. Singer Brody Dolyniuk captures the sound and essence of Freddie Mercury with songs from albums such as Classic Queen, A Night at the Opera, Sheer Heart Attack, Jazz, News of the World, A Kind of Magic and The Works.

Tickets: from $25

Distant Worlds: music from FINAL FANTASY Music and Video

Saturday, July 24, 7:30 pm Arnie Roth, conductor Houston Symphony Chorus Charles Hausmann, director Nobuo Uematsu, composer Join us for the Texas premiere of the highly anticipated multimedia concert experience, Distant Worlds: music from FINAL FANTASY. Enjoy video of the games projected above the orchestra on a large screen.

Fan-favorite composer Nobuo Uematsu and conductor Arnie Roth will be available for a post-concert Q & A session from the stage.

Tickets: from $20

Tickets Spend Summer in the City with the Houston Symphony!

To reserve your seats to any of the concerts, please call (713) 224-7575 or visit www.houstonsymphony.org.

Order Today!

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Buy 10 or more tickets - Call (713) 238-1435.

22 www.houstonsymphony.org

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Robert Franz began his tenure as Associate Conductor of the Houston Symphony in June 2008 and has since led the Symphony in family concerts, pops programs and concerts throughout the community.

He also holds the posts of music director of the Boise Philharmonic and the Mansfield Symphony and music director emeritus of the Carolina Chamber Symphony Orchestra. Previously he has held conduct24 www.houstonsymphony.org

He conducted the ASCAP awardwinning new music concert series of the Louisville Orchestra and co-hosted In a Different Key, a weekly contemporary music radio program. He has conducted world premieres of works by Paul Brink, Lawrence Dillon, David Dzubay, David Froom, Louis Karchin, Terese Kaptur, Vaclav Nelhybel, Russell Peck, Steve Rouse, Vache Sharafyan and Marc Satterwhite.

A nationally recognized leader of arts education, Franz twice received the ASCAP Leonard Bernstein Award for Educational Programming and is the 2008 recipient of the BPO/ECMEA Music Educators Award for Excellence. He created a program for Kentucky Educational Television, Creating Music and Stories, and has participated in Children’s Center and Enrichment Center chamber music residencies that provide arts enrichment experiences for people with disabilities.

Robert Franz received his Master of Music in conducting and his Bachelor of Music in oboe performance from North Carolina School of the Arts. He has participated in conducting workshops in the Czech Republic, St. Petersburg (Russia) and Nashville, and was a participant in the 1997 National Conductor Preview (ASOL). For more information, please visit www.robertfranz.com.

Caroline Goulding, violin

Seventeen-year-old violinist Caroline Goulding was First Prize winner in the 2009 Young Concert Artists (YCA) International Auditions, where she was also awarded the Slomovic Orchestra Soloist Prize and the Buffalo Chamber Music Society Prize. Her New York debut opens the 50th Anniversary

season of the YCA Series, sponsored by the Rhoda Walker Teagle Concert Prize. She will also be presented in her Kennedy Center debut, as well as in Boston at the Isabella Stewart Gardner Museum. This concert marks her Houston Symphony debut.

This season, Goulding has been reengaged to appear at the Lexington Bach Festival, with Michigan’s International Symphony Orchestra and with the Buffalo Philharmonic Orchestra. She appeared as soloist with the Boise Philharmonic under the baton of conductor Robert Franz, the Asheville and Toronto Symphony Orchestras and performed the Brahms Double Concerto with Spain’s Extremadura Symphony Orchestra.

Goulding was featured on the cover of Strings magazine, which included an article she wrote about the Korngold Violin Concerto. She first appeared on National Public Radio’s From the Top, hosted by pianist Christopher O’Riley, a YCA alumnus, when she was 14. She has also appeared on The Martha Stewart Show and Today.

Goulding

Robert Franz, conductor

Photo by jeff fitlow

Biographies. ...............

ing positions with the Buffalo Philharmonic Orchestra, Louisville Orchestra, Louisville Youth Orchestra, Winston-Salem Piedmont Triad Symphony, Winston-Salem Symphony Youth Orchestra and the National Repertory Orchestra. Equally at home in the pit, Franz has conducted opera, ballet and musical theater. He recently conducted a program that included Assia Dulgerska, acting associate concertmaster, in a Vivaldi Concerto.

Franz

“Everything is broken and the bright sky shines in,” Mendelssohn wrote to his family. “I believe I found today in that old chapel the beginning of my Scotch Symphony.”

However, Mendelssohn’s travels continued on to Italy, inspiring the famed “Italian” Symphony, while the misty Scottish landscape disappeared from view. He did not complete his A minor Symphony for another 13 years.

That made it the last of his five mature symphonies to be finished, although it is labeled No. 3 according to the order in which Mendelssohn’s symphonies were published. (Incidentally, although his letters referred to the work as his “Scotch” Symphony, he never wrote that label or the term “Scottish” on the manuscript of the completed score.)

Like the “Italian” Symphony, the A minor Symphony is very tightly organized, with all four movements written in sonata form. This includes the Scherzo, which has a development section in place of the customary Trio at its center. Mendelssohn’s placement of the Scherzo as the second, rather than the third movement was also slightly novel, although this order had already been used by Schumann, Beethoven and Haydn.

Of greater significance was his effort to link all four movements with virtually no break — again building upon experiments by Schumann and Beethoven. The return of the slow introductory theme at the close of the first movement is also noteworthy. Beyond that, Mendelssohn tightened thematic relationships throughout the symphony.

While there are no specific descriptive implications to the music, some commentators have noted a bit of “Charlie is My Darlin’” tied onto the highland-fling theme of the Scherzo.

Mendelssohn also claimed that in designating the tempo and character of the finale with the term “Allegro guerriero,” he intended to suggest the warlike bravery of the Scottish people. Apart from the work’s fame as an orchestral symphony, its final three movements gained a new dimension in 1952, as the musical score for George Balanchine’s ballet, Scotch Symphony. ©2010, Carl R. Cunningham

Last year Telarc released her first CD, recorded with O’Riley; it received a 2010 Grammy nomination. At age 13 she won the Concerto Competition at the Aspen Music Festival and soon appeared with the Detroit Symphony Orchestra, Buffalo Philharmonic Orchestra, Cleveland Orchestra and Louisville Youth Orchestra.

Goulding, an Ohio resident, began violin lessons at age 3. She has participated in the Starling-DeLay Symposium at The Juilliard School, the Interlochen Center for the Arts and the Ceilidh Trail School of Celtic Music on Cape Breton Island, Nova Scotia. She currently works with Paul Kantor at the Cleveland Institute of Music.

Goulding plays a General Kyd Stradivarius (c. 1720), on loan to her through the generosity of Jonathan Moulds.

houstonsymphony.org

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Program

by Carl Cunningham

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OVERTURE TO LE NOZZE DI FIGARO (THE MARRIAGE OF FIGARO), K.492 Wolfgang Amadè Mozart

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Friday, June 25, 2010 8:30 pm Miller Outdoor Theatre

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Recording: Karl Böhm conducting the Berlin German Opera Orchestra (Deutsche Grammophon)

*Diego Matheuz, conductor Thomas LeGrand, clarinet

Instrumentation: pairs of flutes, oboes, clarinets, bassoons, horns and trumpets, timpani and strings

••• Overture to Le Nozze di Figaro (The Marriage of Figaro), K.492

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Mozart Clarinet Concerto in A major, K.622 I Allegro II Adagio III Rondo: Allegro

Mozart’s opera about Figaro’s effort to forestall his master, the lustful Count Almaviva, from deflowering his bride, Susanna, on their wedding night is widely hailed as one of the world’s greatest comic operas. The play by Pierre Caron de Beaumarchais, from which it was adapted, was equally famous when it was produced in pre-revolutionary Paris in 1784 – two years before Mozart and librettist Lorenzo Da Ponte completed their operatic version.

Count Rosenberg, the director of the Vienna Court Opera, had invited Mozart to write Italian opera buffa as early as 1782. By lucky coincidence, that was the year Da Ponte established his residence in Vienna, though the composer and librettist did not begin their celebrated collaboration until the fall of 1785.

According to Da Ponte, Mozart set the libretto to music as fast as he could write it and the entire opera was apparently completed in six weeks. After that, Da Ponte spent much time and effort threading it past court censors and circumventing political intrigues. Because of all this maneuvering, the opera’s premiere was delayed until May 1, 1786.

With typical last-minute haste, Mozart did not write the overture until April 29, two days before the opening. While this was a customary practice among opera composers who formed overtures from themes in the opera, the Marriage of Figaro overture employs an entirely new set of themes, exhibited in a brilliant piece of writing that ideally anticipates the hectic events taking place in the opera.

The exuberant overture is cast in a sonatina form typical of Italian opera buffa overtures of the period. It has a sonata-style exposition of several themes, but omits the central development section and proceeds immediately to a restatement of the themes. The composer apparently began to write a slow movement at the center of the overture, but ripped that page out of the manuscript, according to Mozart scholar William Mann.

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Mozart

Born: Jan 27, 1756, Salzburg, Austria

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Summer Symphony Nights

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INTERMISSION

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Tchaikovsky Symphony No. 4 in F minor, Opus 36 I Andante sostenuto—Moderato con anima II Andantino in modo di canzona III Scherzo, pizzicato ostinato: Allegro IV Finale: Allegro con fuoco

*Houston Symphony debut

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The Houston Symphony’s Miller Outdoor Theatre concerts are endowed by The Brown Foundation, Inc. in memory of Stewart and Hanni Orton.

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This concert is sponsored, in part, by the City of Houston through the Miller Theatre Advisory Board.

KUHF 88.7 and the Houston Chronicle are the media sponsors of the Miller Outdoor Theatre series.

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

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The printed music for Tchaikovsky’s Symphony No. 4 in F minor, Opus 36 was donated by Gary L. Hollingsworth.

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This concert is being recorded for future broadcast on KUHF 88.7 FM, the Radio Voice of the Houston Symphony.

CLARINET CONCERTO IN A MAJOR, K.622 Wolfgang Amadè Mozart Work composed: 1791 Miller 2010 25

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Recording: Clarinetist Antony Pay, with Christopher Hogwood conducting the Academy of Ancient Music (L’Oiseau-Lyre) Instrumentation: two flutes, two bassoons, two horns and strings

SYMPHONY NO. 4 IN F MINOR, OPUS 36 Pyotr Ilyich Tchaikovsky Born: May 7, 1840, Votkinsk, Vyatka province, Russia Died: Nov 6, 1893, St. Petersburg, Russia Work composed: 1877-78 Recording: Mariss Jansons conducting the Oslo Philharmonic Orchestra (Chandos) Instrumentation: two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani and strings The Fourth Symphony is a signature piece 26 www.houstonsymphony.org

each other. Finally, Tchaikovsky combines the march tunes and the separate colors in an exhilarating coda. The fourth movement is no less exhilarating, consisting of a thrilling set of Russian dances that alternate with each other throughout the movement. ©2010, Carl R. Cunningham

Biographies. ...............

Matheuz

While the oboe held sway as the most soulful of woodwind instruments throughout the Baroque era, its primacy was challenged by the rising popularity of the lyrical clarinet at the height of the Classical era in the third quarter of the 18th century. Its invention is usually credited to a Nuremberg maker, Johann Christoph Denner, around the beginning of the century, and Mozart was first inspired by its cushioned tone when he heard the instrument played and began writing for it during his 1778 visits to Mannheim and Paris.

Thanks to the talent and friendship of Anton Stadler, a clarinet virtuoso and fellow freemason in the Viennese lodge Mozart had joined, the clarinet reached a pinnacle of fame in the quintet and the concerto Mozart composed for Stadler in the last years of his life.

Stadler’s specialty was the basset clarinet, a now-defunct instrument that permitted the performer to play lower notes than those found on the modern A or B-flat clarinets in use today.

Mozart began composing his concerto for that instrument, then apparently started over and rewrote it for the standard clarinet. It was his final instrumental work, composed in October 1791, little more than a month before his death.

Serenity is the byword for the concerto’s first two movements, with limpid, long-spun melodies that are a special pleasure for those who play or hear the clarinet. Though there are passages of technical display in the opening sonata-form movement and delicate ornamentation in the return of the main theme in the song form that comprises the slow movement, virtuosity stands aside in favor of pensive, sometimes dark, moody attitudes in this gentle concerto. Only in the closing rondo does the lighthearted Mozart emerge in a series of sparkling themes.

among Tchaikovsky’s seven orchestral essays in symphonic form, as well as the work in which he established his maturity in dealing with that medium. Its salient characteristics are a superheated emotional character and a lean, intense orchestral texture. Together, these traits remind the listener of the basic sound of several other masterworks in which Tchaikovsky set an indelible stamp upon a particular musical form during the mid-1870s: the B-flat minor Piano Concerto (1874-75), the ballet Swan Lake (1875-76) and the opera Eugene Onegin (1877-78), which was composed during the same time period as the Fourth Symphony.

Placed in the context of these other works, this passionate symphony can be considered more an indication of the white heat at which Tchaikovsky’s inner creative urge burned during these years than an artistic reaction to external circumstances: his flight from a failed marriage, his personal recognition of his homosexuality and his acceptance of the sheltering patronage of the wealthy widow, Nadezhda von Meck.

There are several noteworthy attributes in the form and orchestration of the Fourth Symphony. The opening trumpet fanfare – the so-called “fate” motive Tchaikovsky referred to in letters he wrote to Mme. von Meck about the symphony – recurs as a kind of structural pillar marking off major sections of the first movement.

Startling statements of the motive separate the exposition setting forth its themes, the development section in which they are fragmented, the restatement of the themes in the recapitulation and the coda at the end of the movement. The “fate” motive also makes a dramatic reappearance in the coda of the fourth movement.

Tchaikovsky’s symphonies are liberally strewn with waltzes and marches, testifying to his fascination with dance music even when he was not writing ballet scores. Following the symphony’s slow introduction, the two main themes in the opening movement are waltzes – first a nervous, moody, minor-mode waltz with a twisting thematic profile, then a lilting waltz for strings and woodwinds that emerges from it.

Turning to march rhythms, oboe, cello, violin and bassoon alternately move in a solemn procession through the slow movement. The measured tread of this music harks back to the slow movement of Mendelssohn’s “Italian” Symphony, whose clear formal design and crystalline orchestral colors served as a model for the young Tchaikovsky when he began his struggle to master symphonic form.

The brilliant set of marches that make up the third-movement Scherzo stand as the most striking piece of orchestral music Tchaikovsky ever composed. Plucked strings, bright woodwinds and shining brass enter the parade one after another, their tone colors standing in razor-sharp contrast to

Diego Matheuz, conductor

Twenty-five-year-old conductor and violinist Diego Matheuz is a product of the internationally known “El Sistema” of Venezuela, a program that develops classical musicians, and is widely known as one of the Americas’ most promising developing talents.

Now well established in Italy, Matheuz made his debut with Claudio Abbado’s Orchestra Mozart in Bologna in 2008, and one year later he was appointed its principal guest conductor. In 2009 he joined the Orchestra of the National Academy of St. Cecilia on tour as replacement for Music Director Antonio Pappano. He continues a close relationship with both orchestras. Upcoming Italian debuts include RAI National Symphony Orchestra of Turin, Florence’s May Music Festival, the La Scala Philharmonic Orchestra and the final concert of the Spoleto Festival in July.

During the 2010-11 season, Matheuz will debut with the Israel Philharmonic Orchestra, Frankfurt Radio Symphony Orchestra, Netherlands Radio Philharmonic Orchestra and the Bordeaux Aquitaine National Orchestra. Next summer he will conduct Seiji Ozawa’s Saito Kinen Orchestra in Japan while on tour in China and Europe and will continue to conduct the Simón Bolívar Youth Orchestra of Venezuela. He debuts with the Houston Symphony this evening.

Matheuz began his conducting studies in 2005 under the tutelage of Maestro José Antonio Abreu, his greatest proponent and inspiration. He has enjoyed collaborations with Sir Simon Rattle, Gustavo Dudamel, Pinchas Zukerman and Abbado.

Matheuz’ debut as a conductor with the Simón Bolívar Youth Orchestra of Venezuela took place on March 14, 2008, at the prestigious

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Casals Festival in Puerto Rico. He remains one of the orchestra’s concertmasters and has performed as a soloist with the Miranda State Orchestra, Lara Symphony Orchestra, the Jovenes Arcos Orchestra of Venezuela and the Los Angeles Chamber Orchestra.

Born in 1984, Diego Matheuz began his musical studies at the Jacinto Lara Music Conservatory in his hometown of Barquisimeto.

He continues his violin studies in the LatinAmerican Violin Academy.

LeGrand Thomas LeGrand, clarinet

Thomas LeGrand, associate principal clarinetist of the Houston Symphony, has appeared as soloist with the orchestra in concertos of Weber, Rossini, Copland and the Martin Concerto for Seven Wind Instruments. Most recently, he performed as recorder soloist during the Bach Brandenburg Concerto No. 4 in the Houston Symphony “Bach vs. Vivaldi” Festival.

An active chamber performer, he has appeared locally with Da Camera of Houston, Texas Music Festival and The Greenbriar Consortium. During the summer he can be heard at the Grand Teton Music Festival in Wyoming where he enjoys long mountain hikes when he is not performing orchestral and chamber music.

LeGrand is an associate professor of clarinet at the Shepherd School of Music at Rice University where his primary focus is conducting the orchestral repertoire class for woodwinds. Previously he served on the clarinet faculty of the Moores School of Music at the University of Houston. He has recently been involved with the Fidelity FutureStage® project which helps prepare and inspire underserved middle and high school students for future stages in their lives through a unique music and theater arts education program.

Before coming to Houston, LeGrand was a member of the Cincinnati Symphony Orchestra and taught clarinet at the College-Conservatory of Music at the University of Cincinnati. He is a graduate of the Curtis Institute of Music.

LeGrand shares his life with his wife, Carol, who is an elementary school music teacher in Alief ISD. When he is not playing music, he enjoys training for marathons, hiking and camping.

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Miller 2010 27

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Notes..................................

Program

by Carl Cunningham

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OVERTURE TO EGMONT, OPUS 84 Ludwig van Beethoven

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Born: Dec 16, 1770, Bonn, Germany Died: Mar 27, 1827, Vienna, Austria

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Summer Symphony Nights

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Recording: Sir Georg Solti conducting the Chicago Symphony Orchestra (Decca)

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Saturday, June 26, 2010 8:30 pm Miller Outdoor Theatre

Work composed: 1809-10

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Instrumentation: two flutes (one doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani and strings

TBA

Concerto

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Overture to Egmont, Opus 84

There are few overtures as imposing and dramatic as the one Beethoven wrote for his incidental music to Goethe’s drama, Egmont.

Brief, urgent and immensely powerful, it recalls the energy Beethoven compressed in the opening movement of his Fifth Symphony and then released in its joyous finale.

The Egmont Overture was the last of 10 songs and short orchestral excerpts Beethoven composed for an 1810 performance in Leipzig of Goethe’s play about the 16th-century uprising against Spanish rule over the Netherlands. The play deals with the beheading of Lamoral, Count of Egmont, in Brussels on June 5, 1568, on orders from Spain’s Duke of Alba, and the eventual overthrow of the Spaniards as Egmont predicted shortly before his death. The subject strongly appealed to Beethoven, echoing the sentiment of triumph over oppression expressed in his opera, Fidelio, and his early admiration for Napoleon before the French revolutionary hero turned to foreign conquests.

The overture begins with an awesome slow introduction. Its ferocious opening motive is couched in the rhythm of a Spanish sarabande, giving rise to the notion that it personifies the cruel Duke of Alba. It is contrasted with a sighing theme, first played by the winds. Later the sarabande motive becomes the second theme of the sonataallegro movement that forms the body of the overture. Otherwise this faster section is characterized by militant, stamping phrases with a strong downward thrust and rhythmic figures very similar to those that dominate the first movement of Beethoven’s Fifth Symphony. The sarabande motive also returns in a violent statement toward the end, again thought to signify Count Egmont’s death. But it is immediately swept away by a triumphant major-key coda, employing the same music Beethoven wrote for the “Victory Symphony” of the liberated Netherlanders at the very end of Goethe’s play.

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Beethoven

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*Krzysztof Urba´nski, conductor *TBA, soloist Second Place Winner, 2010 Houston Symphony Ima Hogg Competition

INTERMISSION

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*Houston Symphony debut

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Dvoˇrák Symphony No. 9 in E minor, Opus 95 (From the New World) I Adagio—Allegro molto II Largo III Scherzo: Molto vivace IV Allegro con fuoco

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This concert is sponsored, in part, by the City of Houston through the Miller Theatre Advisory Board.

The Houston Symphony’s Miller Outdoor Theatre concerts are endowed by The Brown Foundation, Inc. in memory of Stewart and Hanni Orton.

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This concert is being recorded for future broadcast on KUHF 88.7 FM, the Radio Voice of the Houston Symphony.

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KUHF 88.7 and the Houston Chronicle are the media sponsors of the Miller Outdoor Theatre series.

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

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The printed music for Dvoˇrák’s Symphony No. 9 in E minor, Opus 95 (From the New World) was donated by an Anonymous Donor.

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The printed music for Beethoven’s Overture to Egmont, Opus 84 was donated by Carolyn and James Royan in honor of George Albert and Georgann Filak’s 50th Anniversary.

(Please see the program insert for the concerto being performed on this concert.)

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SYMPHONY NO. 9 IN E MINOR, OPUS 95 (FROM THE NEW WORLD) Antonín Dvoˇrák Born: Sep 8, 1841, Nelahozeves near Prague, Bohemia Died: May 1, 1904, Prague, Bohemia Work composed: 1893 Recording: Christoph Eschenbach, Houston Symphony (Virgin Classics) Instrumentation: two flutes (one doubling piccolo), two oboes (one doubling english horn), two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion and strings

Biography...................

Urba´nski

Several of Antonín Dvoˇrák’s most popular, highly regarded compositions might never have been written were it not for the generosity and willpower of an American woman. Jeanette M. Thurber, wife of a millionaire New York grocer, persuaded Dvoˇrák to accept the directorship of her recently founded National Conservatory of Music from 1892 to 1895. During those three years, Dvoˇrák composed his “New World” Symphony and several other major works.

According to recollections by Dvoˇrák’s secretary, Josef Kovarik, the symphony’s title, “From the New World,” really meant “Impressions and Greetings from the New World.” Though Dvoˇrák was highly interested in the ethnic music of Native Americans and African Americans, just as his early career had been bound up with the folk music of his native Bohemia, he consistently denied using specific folk melodies from either of these American communities in the symphony.

In the fledgling era of folk-music research during the late 19th century, Dvoˇrák confused and lumped together the folk-music styles of the two American groups. But his ear and musical instincts did not fail him in conveying specific ethnic traits at various points in the symphony. Were these traits “Americanisms” or were they more truly musical representations of Dvoˇrák’s Bohemian heritage, so apparent throughout his total musical output?

The celebrated English horn solo in the slow movement has been most consistently likened to an African American spiritual. It is an original melody, no doubt inspired by several genuine spirituals shared with Dvoˇrák by his African American students at the National Conservatory, including Harry T. Burleigh whose talent was much admired by Dvoˇrák. Sometime after Dvoˇrák composed the symphony, another of his students, William Arms Fisher, added the now-familiar “Goin’ Home” text to the melody, in effect creating a popular song.

But Dvoˇrák was also attracted to Native American culture. He had known Longfellow’s

The Song of Hiawatha more than 20 years before he visited the United States. According to quotations by the composer in newspaper articles written shortly before its premiere, Dvoˇrák maintained that the Largo was inspired

by Hiawatha’s courtship of Minnehaha, and that the Scherzo was suggested by the scene at the feast in Hiawatha “where the Indians dance.” In a book on Dvoˇrák’s American years, scholar Michael Beckerman has reasoned that Dvoˇrák referred to the Wedding Feast in Chapter 10 of Hiawatha. In support of this, Beckerman has matched the poem’s textual references to flutes and drums, panther-like steps and wild leaping and whirling dance episodes with comparable moments in Dvoˇrák’s Scherzo movement.

In its overall design, the “New World” Symphony adheres to the common aspects of a 19th-century four-movement symphony, with standard sonata-allegro structures in the outer movements enclosing an extended song form in the Largo and a Scherzo and Trio in the third movement. But certain details are worth noting, for in this last of his nine symphonies, Dvoˇrák took up certain formal experiments that had been developing in symphonic form since the time of Beethoven.

One was the cyclic reappearance of themes in successive movements of a Symphony – a prominent feature of symphonies by Beethoven, Berlioz, Schumann and Franck. Dvoˇrák interrupted the peaceful mood of the Largo movement with an interjection of the main broken-chord theme of the first movement. And instead of developing the themes of the last movement, he combined and re-worked the themes of the first three movements in the central development section of that movement. Dvoˇrák also expanded the Scherzo and Trio from a three-part to a fivepart design, again building upon precedents in symphonies of Beethoven and Schumann. ©2010, Carl R. Cunningham

takes up the position of chief conductor of Trondheim Symphony Orchestra, appointed only a week after his successful debut with the orchestra in 2009.

One of the most interesting conducting talents to emerge from Poland in recent years, Urba´nski has attracted considerable attention from orchestras, critics and audiences throughout Europe. Future highlights include return visits to the North German Radio Symphony Orchestra of Hamburg, Stuttgart Radio Symphony Orchestra, Frankfurt Radio Symphony Orchestra, Residentie Orchestra, Dresden Philharmonic, Gothenburg Symphony Orchestra, the Gulbenkian Orchestra and Royal Liverpool Philharmonic.

Urba´nski will soon debut with the Oslo Philharmonic Orchestra, the Swedish Radio and Danish National Symphony Orchestras, Netherlands Radio Philharmonic Orchestra, the National Orchestra and Choir of Spain, the Philharmonia Orchestra and many others.

Outside Europe, he debuts with the Seattle Symphony Orchestra, and following successful debuts with the Tokyo Symphony and Osaka Philharmonic Orchestras, he has been invited to return to both in 2011. This program marks his debut with the Houston Symphony.

Polish repertoire plays an important part in Urba´nski’s programming: he will conduct the opening concert of the 2010 Schleswig Holstein Music Festival with the Sinfonia Varsovia Orchestra, conducting Chopin’s Piano Concerto No. 1 and Górecki’s Symphony No. 3. He will debut at Chicago’s 2010 Grant Park Music Festival with a program including Lutoslawski’s Concerto for Orchestra. He will conduct Lutoslawski’s Little Suite in his debut with the Indianapolis Symphony Orchestra in 2010 (a first for the orchestra). Next season, he presents Penderecki’s Threnody to the Victims of Hiroshima with North German Radio Symphony Orchestra of Hamburg. He has introduced Orawa and Krzesany by Wojciech Kilar to many orchestras.

In 2007, Urba´nski graduated from Warsaw’s Chopin Academy of Music and was unanimously awarded First Prize Winner of the Prague Spring International Music Festival Conducting Competition. He works regularly with all the major Polish Orchestras and served as assistant conductor to the Warsaw Philharmonic Orchestra from 2007 to 2009.

houstonsymphony.org Krzysztof Urba´nski, conductor

In the 2010-11 season, Krzysztof Urba´nski

Miller 2010 31

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A Note From...............

Fidelity Investments

Program

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Wednesday, June 30, 2010 8:30 pm Miller Outdoor Theatre

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For many years, Fidelity Investments and the Houston Symphony have proudly worked together to bring wonderful performances to audiences in Houston and beyond. As the partnership grows, so does our investment in the community we share. Through the Fidelity FutureStage® arts education program, Fidelity and the Houston Symphony are helping to ensure the future of music in Houston by donating new musical instruments to public schools in need and by giving students a rare chance to share the stage with professional musicians, learn new skills and expand their interest in the arts.

This year, students from Houston-area public schools were given the opportunity to compete in the Fidelity FutureStage Music Competition for a chance to perform with the Houston Symphony in this evening’s concert.

The four winning musical acts, including soloists and small ensembles, represent musical styles that range from classical to jazz to familiar melodies of Broadway. In anticipation of their big night, the student musicians worked directly with musicians of the Houston Symphony, including saxophonist Larry Slezak and Assistant Concertmaster Qi Ming, who helped them prepare for their performances.

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Michael Krajewski, conductor Alan Gonzales, alto saxophone Megan Miller and Massie Wingard, marimbas Terrence Liu, violin Joseph Ong, cello Ben Liu, piano John Delac, bass

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Brahms Akademische Festouvertüre (Academic Festival Overture), Opus 80

Arr. G. Prechel

Aranjuez/Spain

S. George-F. Osorio Rie y Llora Megan Miller and Massie Wingard, marimbas Falla Three Dances from El Sombrero de tres picos (The Three Cornered Hat) III Final Dance (Jota): Poco mosso—Allegro ritmico, molto moderato e pesante INTERMISSION Elgar

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Arlen/V. Vanacore Over the Rainbow from The Wizard of Oz Alan Gonzales, alto saxophone

Houston winners of the 2010 Fidelity FutureStage Music Competition: Jack Delac, 16, junior, vocalist from Clear Lake High School

Pomp and Circumstance March in D major, Opus 39, No. 1

Alan Gonzalez, 17, senior, alto saxophonist from Waltrip High School

Ravel Trio for Piano, Violin and Cello in A minor (Excerpt TBA) Terrence Liu, violin; Joseph Ong, cello; Ben Liu, piano

Megan Miller, 16, and Massie Wingard, 16, sophomores, marimba players from Waltrip High School

Anderson/R. Wendel

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Bizet Suite No. 2 from L’Arlésienne IV Farandole: Allegro deciso

The Classical Jukebox

Ravel Trio from Bellaire High School, featuring:

J. Kander/Prechel All That Jazz from Chicago Rodgers/Bennett Some Enchanted Evening from South Pacific (lyrics by Oscar Hammerstein II) John Delac, bass

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- Terrence Liu, 18, senior, violinist

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Arr. B. Healey

- Benjamin Liu, 14, freshman, pianist - Joseph Ong, 17, senior, cellist

Saints!!!

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Under the baton of Houston Symphony Principal Pops Conductor Michael Krajewski, the concert showcases student performers, with a grand finale featuring all four acts in “Seventy-Six Trombones” from The Music Man. For more information about the Fidelity FutureStage program and the 2010 FutureStage Music Competition winners, visit www.futurestage.com.

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The printed music for Bizet’s Suite No. 2 from L’Arlésienne was donated by Lisa and Sudhahar Rajulu.

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32 www.houstonsymphony.org

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

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The printed music for Falla’s Three Dances from El Sombrero de tres picos (The Three-Cornered Hat) was donated by Mr. Randall W. Spalinger.

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The printed music for Brahm’s Akademische Festouvertüre (Academic Festival Overture) was donated by Mr. and Mrs. Mark R. Smith.

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Summer Symphony Nights

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Sunday, July 4, 2010 8:30 pm Miller Outdoor Theatre

Photo by bruce bennett

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Biographies. ........................

Program

Krajewski

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Star-Spangled Salute

Michael Krajewski, conductor

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Much in demand across the United States and Canada, Michael Krajewski delights concertgoers with his imaginative and entertaining programs and his wry sense of humor. Audiences leave his concerts smiling, remembering the evening’s music and surprises.

Maestro Krajewski joined the Houston Symphony as Principal Pops Conductor at the beginning of the 2000-01 season. His fans especially enjoy this Star Spangled Salute at Miller Outdoor Theatre and The Cynthia Woods Mitchell Pavilion, and the Houston holiday tradition, Very Merry Pops.

He also serves as principal pops conductor of the Jacksonville Symphony Orchestra and the New Hampshire Music Festival Orchestra.

He enjoys a special relationship with the Atlanta Symphony Orchestra, appearing frequently as a guest conductor. He previously held principal pops conductor positions with the Long Beach and New Mexico Symphonies.

As a guest conductor, he has performed with the Boston Pops and the Hollywood Bowl orchestras, and has appeared with symphonies across the U.S., including those of Baltimore, Dallas, Detroit, Minnesota, Phoenix, St. Louis, San Antonio, San Francisco and more. In Canada, he has led Ottawa’s National Arts Centre Orchestra, as well as the Edmonton and Winnipeg symphonies.

Krajewski has performed with an eclectic group of artists including Sir James Galway, Marilyn Horne, Alicia de Larrocha, Roberta Flack, Judy Collins, Art Garfunkel, Al Hirt, Cab Calloway, The Kingston Trio, Ben E. King, Mary Wilson, Patti Austin, Preservation Hall Jazz Band, Canadian Brass and Pink Martini.

With degrees from Wayne State University and the University of Cincinnati CollegeConservatory of Music, Krajewski furthered his training at the Pierre Monteux Domaine School for Conductors. He was a Dorati Fellowship Conductor with the Detroit Symphony and later served as that orchestra’s assistant conductor.

Michael Krajewski lives in Orlando, Florida, with his wife, Darcy. When not conducting, he enjoys travel, photography, jogging, bicycling and solving The New York Times Sunday crossword puzzle.

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Michael Krajewski, conductor The Texas Tenors

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J. S. Smith/G. Prechel Fanfare and Star-Spangled Banner The Liberty Bell Sousa Grand Canyon Suite Grofé I Sunrise: Andantino Arr. R. Bass Shenandoah lyrics by Randy Owen R. Owen/N. Wright Mountain Music lyrics by Randy Owen Puccini Nessun dorma from Turandot J. Revaux/Wright My Way lyrics by Paul Anka Arr. Prechel My Country INTERMISSION Albertine-Elgart- Bandstand Boogie Elgart-Horn/V. Vanacore Arr. T. Ricketts Rockin’ With the Beach Boys Arr. Prechel Na Na Medley D. Swander/S. Kummer Deep In the Heart of Texas lyrics by June Hershey L. Greenwood/Wright God Bless the U.S.A. lyrics by Lee Greenwood Arr. Hayman Service Medley Tchaikovsky 1812 Overture, Opus 49

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This concert is generously sponsored by ExxonMobil.

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The fireworks display is generously provided by, and this concert is sponsored in part by, the City of Houston through the Miller Theatre Advisory Board.

The Houston Symphony’s Miller Outdoor Theatre concerts are endowed by The Brown Foundation, Inc. in memory of Stewart and Hanni Orton.

The printed music for Sousa’s The Liberty Bell was donated by Ms. Nancey Lobb in loving memory of DeMouille Love.

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The printed music for Tchaikovsky’s 1812 Overture, Opus 49 was donated by Mr. Gary L. Clark.

KUHF 88.7 FM and the Houston Chronicle are the media sponsors of the Miller Outdoor Theatre series.

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

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This concert is being broadcast live on KUHF 88.7 FM, the Radio Voice of the Houston Symphony.

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34 www.houstonsymphony.org

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Appearances by Principal Pops Conductor Michael Krajewski are generously sponsored by Cameron Management.

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The Texas Tenors

In April 2009, best friends Marcus Collins, J.C. Fisher and John Hagen learned that America’s Got Talent was coming to Texas for auditions. Though they had moved away from each other because of family obligations, they thought coming out to audition would be the opportunity of a lifetime.

With a variety of backgrounds in the performing arts, they combined their individual talents and became The Texas Tenors. Mixing country and classical music with their own Texas Tenor flavor, they auditioned with aspirations of winning over the judges and sharing their fresh new act with all of America.

Fisher, a family man with his Texan wife and two sons, currently lives in Kansas. Born and raised on a cattle ranch, he relies on his family’s strong foundation of hard work and faith to guide his everyday life. Hagen, considered the rock of the group, brings a wealth of classical music training along with his baritone voice.

He divides his time among performing and spending time with family in Texas and running a small art gallery in Cedar Falls, Iowa. Collins adds a contemporary flair to the group with his unique pop voice and boyish charm. He splits his time between Houston and Sun Valley, CA, to be close to his mother and grandparents on the West Coast.

As the name of the group suggests, performing together on America’s Got Talent affords them the chance to do what they love and express their deeprooted love for the Lone Star State.

Miller 2010 35

Volunteers.......................................................

Music and Volunteerism: A Perfect Match photos by jeff fitlow

^ Houston Symphony League member Norma Jean Brown encourages a young patron to try the tambourine in the Instrument Petting Zoo. Volunteers are vital to this hands-on experience – no instrument experience required!

If you’re passionate about music and enjoy volunteering, the Houston Symphony is the place for you! Our volunteers support the symphony through their participation in educational outreach programs and fundraising activities. Whether they are demonstrating the use of orchestral instruments in the Instrument Petting Zoo, assisting with children’s activities at family concerts or ushering at student concerts, these dedicated individuals enhance the experiences of young audiences at Houston Symphony performances. You’ll find our volunteers working in the Symphony Store, organizing fundraising events, planning concert activities for Houston Symphony Junior Patrons, helping in the office and singing in the Houston Symphony Chorus.

Members of the Houston Symphony League, Houston Symphony League Bay Area, First Juniors and National Charity League, together with employees of Deloitte, Weatherford and TOTAL, donate thousands of hours each year in support of the educational and fundraising goals of the symphony.

Share your time and talents as a Houston Symphony volunteer. For more information, contact Vickie Hamley, director, Volunteer Services, at (832) 531-6701 or vickie.hamley@houstonsymphony.org.

^ Weatherford employees volunteer during Junior Patron activities at the symphony’s family concerts, engaging young visitors with projects that relate to the concert’s theme.

Miller 2010 37

Symphony Society Board. .................................................................................

Executive Committee...............................................................................................

President Bobby Tudor

Chairman of the Board Ed Wulfe Immediate Past President Jesse B. Tutor

Executive Director/CEO Mark C. Hanson Chairman Emeritus Mike Stude

Vice President, Artistic and Orchestra Affairs Brett Busby

Vice President, Finance and Board Governance Steven P. Mach

Vice President, Popular Programming Allen Gelwick

Vice President, Education Cora Sue Mach

Vice President, Audience Development and Marketing Robert Peiser Presiding Trustee, Endowment Ulyesse J. LeGrange

Vice President, Development and Volunteers Barbara McCelvey

EX-OFFICIO MEMBERS

Jane Clark, President, Houston Symphony League Martha GarcĂ­a, Secretary Mark Hughes, Orchestra Representative Rodney Margolis John Thorne, Orchestra Representative William VerMeulen, Orchestra Representative

General Counsel Paul R. Morico At-Large Members Gene Dewhurst Jay Marks Helen Shaffer

Governing Directors.....................................................................................................

Terry Ann Brown Prentiss Burt Brett Busby * John T. Cater Janet Clark Michael H. Clark Scott Cutler Lorraine Dell Viviana Denechaud Gene Dewhurst Kelli Cohen Fein Julia Frankel Allen Gelwick Stephen Glenn

Gary L. Hollingsworth John Irvine Ulyesse LeGrange Rochelle Levit Nancy Littlejohn April Lykos Cora Sue Mach Steven P. Mach Beth Madison Rodney Margolis Jay Marks Mary Lynn Marks Barbara McCelvey Gene McDavid

Alexander K. McLanahan Paul Morico Arthur Newman Robert Peiser Fran Fawcett Peterson Geoffroy Petit David Pruner Stephen Pryor John Rydman Manolo Sanchez Jerome Simon Gloria Pryzant Helen Shaffer David Steakley

Mike Stude Bobby Tudor * Jesse B. Tutor Margaret Waisman Fredric A. Weber Vicki West Margaret Alkek Williams Ed Wulfe David Wuthrich Robert A. Yekovich

Trustees. .................................................................................................................

Philip Bahr * Janice Barrow Darlene Bisso Meherwan Boyce Walter Bratic Nancy Bumgarner Lynn Caruso Jane Clark Brandon Cochran Louis Delone Susanna Dokupil Tom Fitzpatrick Chris Flood Craig A. Fox

David Frankfort Susan Hansen Kathleen Hayes Brian James Joan Kaplan I. Ray Kirk Carolyn Mann Paul M. Mann Judy Margolis Brad Marks Jackie Mazow Elisabeth McCabe Marilyn Miles Tassie Nicandros

Scott Nyquist Edward Osterberg Jr. Chester Pitts J. Hugh Roff Jr. Kathi Rovere Michael E. Shannon Jule Smith Michael Tenzer Terry Thomas Stephen G. Tipps * Betty Tutor Gary Wann Mrs. S. Conrad Weil David Ashley White

Jim T. Willerson Steven J. Williams Ex-Officio Martha GarcĂ­a Mark C. Hanson Mark Hughes Deana Lamoreux John Thorne William VerMeulen * Life Trustee

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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.

38 www.houstonsymphony.org

J. Hugh Roff Jr. Robert M. Hermance Gene McDavid Janice H. Barrow Barry C. Burkholder Rodney H. Margolis Jeffrey B. Early Michael E. Shannon Ed Wulfe Jesse B. Tutor Past Presidents of the Houston Symphony League

Miss Ima Hogg Mrs. John F. Grant Mrs. J. R. Parten Mrs. Andrew E. Rutter

Mrs. Aubrey Leon Carter Mrs. Stuart Sherar Mrs. Julian Burrows Ms. Hazel Ledbetter Mrs. Albert P. Jones Mrs. Ben A. Calhoun Mrs. James Griffith Lawhon Mrs. Olaf La Cour 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 H. Carruth

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

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

Music Matters!....................................................... Biographies. ...............

After a recent Weatherford Family Concert, Robert Franz encountered a patron in the lobby who remarked, “I can’t believe they make you wear all those crazy costumes!” To which Robert replied, “Yeah, I know. Can you believe it?”

If they only knew that the culprit behind all the feathers, beneath the pirate hat and below the animal fur was Robert himself – it is all HIS doing!

Believing that family concerts should be as child-oriented as possible, Robert’s imagination has no boundaries when it comes to ensuring that the theme of each concert pops.

While he dreams up these wild and sometimes extravagant antics, it falls to Carol Wilson, Francine Schiffman Lumia and Roger Daily to turn his ideas into reality.

Here are a few recent examples of the conductor’s imagination and the resulting attempts to “dress Robert.”

Pirates of the Symphony – Ahhrrrgg! In October 2007, Robert and his orchestral “mateys” took a Caribbean journey. No one had to walk the plank; in fact, most pirates don’t have so many friends. Our neighbors at the Houston Grand Opera, Houston Ballet and Alley Theatre supplied most of Robert’s booty, including treasure chests and boats which decorated the stage. Sword and pistol aside, the crowd went wild as he stepped on stage in his ragged attire – baton pointed to do battle with violists’ bows.

In costume for Aladdin and the Arabian Nights in April 2009, Robert bore a large chair-cushion of a turban – so big he could barely walk straight, much less conduct! For his feet, we found long, pointed slippers, which he chose not to wear for fear he wouldn’t be able to ascend the podium!

In February – Beauty and the Beast – jet-black sorceress wig was teased and sprayed to create the mane of the Beast. Minutes prior to going on stage, black fur was furiously pinned around ankle and wrist cuffs and from the top of his tuxedo shirt. As the Beast conducted, fur flew from his wrists, threatening to land on nearby music stands.

May’s Carnival of the Animals concert was all about the underdog of the animal kingdom: the chicken! There was talk of building a nest from which Robert would conduct, but instead, the podium was converted into a chicken coop complete with chicken wire and hay. There were very specific needs for Robert’s chicken costume. The feet couldn’t be too big so he could easily move around the podium; the wings had to have exposed hands so he could hold his baton and the headpiece could not cover his entire face so he could see the orchestra. This is a serious matter to consider when finding the most comical of costumes, and much debate about feathers, etc. ensued.

All went as planned except for Robert having to spit a feather boa out of his face numerous times during the concerts. As for the big chicken feet – which were even bigger than the Aladdin shoes – problem solved when Robert jumped on the “coop” podium with both feet.

Join us next season for the Weatherford Family Concert Series. Ghostbuster? Snowman? Lion?

Astronaut? Who knows what crazy costume Robert will don next! Visit www.houstonsymphony.org for more information.

continued from page 19

Thorne

Dressing Robert

Symphony. In 1992, he became the associate principal flutist of the Houston Symphony.

He has participated in the Blossom, Tanglewood and Pacific Music Festivals and is a regular member of the Grand Teton Music Festival in Jackson, Wyoming. In addition, he has served on the faculty of the Moores School of Music at the University of Houston. Thorne frequently performs recitals in the Houston area with Scott Holshouser, the Houston Symphony’s principal keyboardist.

Cell-Phones Guide Tour of Houston’s Theater District A new mobile-phone program leads downtown denizens and visitors on a step by step guide in and around Houston’s Theater District.

The new automated system, DMI (Downtown Mobile Info), is free to users. The tour narrative begins at Wortham Center and includes stops at Jones Hall, Hobby Center, Sesquicentennial Park, and Buffalo Bayou Art Park.

DMI users can begin the tour at any juncture by dialing 713-300-0892 and following the prompts. Signs at each stop help guide the way.

“This is a great way to check out downtown when family and friends come to visit,” said Dawn Ullrich, director of the Convention & Entertainment Facilities Department, which developed the project. “This self-guided walking tour allows folks to bite off as much or as little of downtown as they choose, and all they need to get started is a cell phone.”

There’s a map of the tour at www.houstondmi.org.

Miller 2010 39

Annual Campaign Donors. .........................................................................................

The Houston Symphony expresses its deepest appreciation to the donors listed on this and the following pages for their generous contributions in support of Symphony programs. More information is available from the Individual Giving Department at (713) 337-8500, the Corporate Support Department at (713) 337-8520 or at www.houstonsymphony.org.

Corporations....................................

As of April 1, 2010 $100,000-$499,999 BBVA Compass Continental Airlines Fidelity Investments LINN Energy, LLC Shell Oil Company Foundation Spencer Stuart & Associates $50,000-$99,999 American Express Chevron ConocoPhillips * GDF SUEZ Energy North America The Methodist Hospital System TOTAL * Weatherford International Ltd. Weill Cornell Medical College

* Devon Energy Corporation * Deloitte Ernst & Young * Fluor Corporation Frost Bank I W Marks Jewelers, LP * Macy’s Foundation Northern Trust Röhe & Wright Builders Spir Star, Ltd. Star Furniture * The Wachovia Wells Fargo Foundation

$500-$9,999 Beirne, Maynard & Parsons, LLP Big Covey Exploration Bloomberg L.L.P. * Randalls Food Markets, Inc. * Swift Energy Company

$25,000-$49,999 Crown Castle * ExxonMobil Fulbright & Jaworski L.L.P. * JPMorgan Chase KPMG LLP * Marathon Oil Company Vinson & Elkins LLP $10,000-$24,999 Andrews Kurth L.L.P. Baker Botts L.L.P. * Bank of America Bracewell & Giuliani LLP * CenterPoint Energy Cooper Industries, Inc.

Foundations...................................................

As of April 1, 2010 $1,000,000 and above * Houston Symphony League The Wortham Foundation Inc. $500,000-$999,999 * M. D. Anderson Foundation * The Brown Foundation, Inc. The Cullen Trust for the Performing Arts The Fondren Foundation * Houston Endowment Inc. Mr. George P. Mitchell $100,000-$499,999 The Cullen Foundation Madison Charitable Foundation * Spec’s Charitable Foundation $50,000-$99,999 The Alkek and Williams Foundation The William Stamps Farish Fund * Houston Livestock Show and Rodeo Educational Fund * John P. McGovern Foundation * The Robert and Janice McNair Foundation * Dorothy Richard Starling Foundation $25,000-$49,999 Ann and Gordon Getty Foundation * The Humphreys Foundation The Schissler Foundation

* George and Mary Josephine Hamman Foundation William E. and Natoma Pyle Harvey Charitable Trust Albert and Ethel Herzstein Charitable Foundation Hobby Family Foundation Hood-Barrow Foundation * Houston Symphony League Bay Area * The Powell Foundation * Sterling-Turner Foundation Strake Foundation

$2,500-$9,999 The Becker Family Foundation * Harry S. and Isabel Cameron Foundation * Ray C. Fish Foundation * The Melbern G. and Susanne M. Glasscock Foundation Huffington Foundation Leon Jaworski Foundation William S. & Lora Jean Kilroy Foundation * Robert W. & Pearl Wallis Knox Foundation Lubrizol Foundation * Kinder Morgan Foundation * Lynne Murray, Sr. Educational Foundation The Helmle Shaw Foundation Susman Family Foundation * Vaughn Foundation * The Cyvia and Melvyn Wolff Family Foundation

Government Donors * City of Houston through the Houston Downtown Alliance, Houston Arts Alliance and Miller Theatre Advisory Board National Endowment for the Arts State Employee Charitable Campaign *Sponsors of Houston Symphony Education and Outreach programs. Includes Annual Fund and designated annual production support. * Texas Commission on the Arts $10,000-$24,999 * Bauer Foundation Carleen and Alde Fridge Foundation

Individual Donors. .................................................................................................

As of May 24, 2010 Maestro Society Anonymous (1) Mr. & Mrs. Morrie Abramson Ferenc Illenyi, first violin Mr. & Mrs. Thomas D. Barrow Sophia Silivos, first violin Gary & Marian Beauchamp Martha Chapman, second violin Mr. & Mrs. Edward F. Blackburne Jr., Tubular Perforating Manufacturing Sergei Galperin, first violin Mr. & Mrs. J. Brett Busby Assia Dulgerska, first violin, acting associate concertmaster Ms. Janet F. Clark Kevin Dvorak, cello Mr. & Mrs. Michael H. Clark George Pascal, viola, acting associate principal Dr. Scott Cutler Scott Holshouser, keyboard, principal Mr. Richard Danforth Jeffrey Butler, cello Leslie Barry Davidson & Robins Brice Colin Gatwood, oboe Dr. & Mrs. Alexander Dell Paula Page, harp, principal Mr. & Mrs. Gene Dewhurst Phillip Freeman, bass trombone Mr. & Mrs. Michael Dokupil Dror Charitable Foundation for the Arts Mrs. Robin A. Elverson John DeWitt, trumpet, associate principal Dr.s & Mrs. William Estrada Robert Pastorek, double bass

40 www.houstonsymphony.org

Angel & Craig Fox David Malone, double bass, associate principal Mr. S. David Frankfort Stephen & Mariglyn Glenn Christian Schubert, clarinet Hans & Margarita Graf Dr. Gary L. Hollingsworth Robert Walp, trumpet, assistant principal Dr. Marie-Luise & Dr. M. S. Kalsi Eric Halen, first violin, acting concertmaster Mr. & Mrs. Ulyesse J. LeGrange Thomas LeGrand, clarinet, associate principal Rochelle & Max Levit Sergei Galperin, first violin Mr. & Mrs. Gerald Lowe Ms. Beth Madison Assia Dulgerska, first violin, acting associate concertmaster Dr. & Mrs. Paul M. Mann Robert Atherholt, oboe, principal Mr. & Mrs. Rodney H. Margolis Eric Halen, first violin, acting concertmaster Mr. & Mrs. J. Stephen Marks Brian Del Signore, percussion, principal Mr. & Mrs. D. Patrick McCelvey Adam Dinitz, oboe/English horn Mr. & Mrs. Alexander K. McLanahan William VerMeulen, horn, principal Mr. & Mrs.s George P. Mitchell Jennifer Owen, second violin, principal Mrs. Sybil F. Roos Ms. Charlotte A. Rothwell Mark Shapiro, double bass

Mr. & Mrs. Christopher Sarofim Mrs. Maryjane Scherr Mr. & Mrs. James A. Shaffer Eric Halen, first violin, acting concertmaster Laura & Michael Shannon Rian Craypo, bassoon, principal Mr. & Mrs. Robert R. Springob, Laredo Construction, Inc. Thomas Molloy, viola Mr. & Mrs. David Steakley Mr. & Mrs. M. S. Stude Ruth Zeger, second violin Paul Strand Thomas Julie Thayer, horn Stephen & Pamalah Tipps Allen Barnhill, trombone, principal Mr. & Mrs. Robert G. Tudor III Bradley White, trombone, associate principal Mr. & Mrs. Jesse B. Tutor Daniel Strba, viola Dr. Margaret Waisman & Dr. Steven S. Callahan Mark Griffith, percussion Mr. & Mrs. Fredric A. Weber Paula Page, harp, principal The Diana and Conrad Weil Jr. Family Foundation Amy Teare, second violin Mrs. Joan Hohlt Wich & Mr. J. Roger Wichs Mrs. Margaret Alkek Williams Mr. & Mrs. Ed Wulfe Dave Kirk, tuba, principal

Musician Sponsor Anonymous Open, bass clarinet Anonymous Daniel Strba, viola Eric S. Anderson & R. Dennis Anderson George Pascal, viola, acting associate principal Frances & Ira Anderson Mr. & Mrs. Maurice J. Aresty Christopher French, cello, associate principal Mr. & Mrs. Philip A. Bahr Allison Garza, flute/piccolo Mr. Tom Becker Fay Shapiro, viola Dr. Meherwah & Mrs. Zarine Boyce Mr. & Mrs. Walter Bratic Christopher Neal, first violin Ms. Terry Ann Brown James Denton, cello The Robert & Jane Cizik Foundation Qi Ming, first violin, assistant concertmaster Mr. & Mrs. Lucas T. Elliot Mr. & Mrs. Martin J. Fein Ferenc Illenyi, first violin Mr. & Mrs. Russell M. Frankel Aralee Dorough, flute, principal Mr. & Mrs. David Frankfort Mr. & Mrs. Allen Gelwick J. Jeff Robinson, contrabassoon Mr. & Mrs. Michael Hafner Mr. & Mrs. Richard Hansen Kevin Kelly, second violin Mr. & Mrs. David V. Hudson Jr. Philip Stanton, horn

.....................................................................................................................................

Mr. & Mrs. John A. Irvine Christine Pastorek, second violin Mr. Brian James Mr. & Mrs. Marvin Kaplan David Peck, clarinet, principal Dr. & Mrs. I. Ray Kirk Burke Shaw, double bass Mr. & Mrs. Erik P. Littlejohn Kiju Joh, second violin Mr. & Mrs. Thomas Lykos Kiju Joh, second violin Cora Sue & Harry Mach Joan DerHovsepian, viola, acting assistant principal Mr. & Mrs. Steven P. Mach Eric Larson, double bass Dr. & Mrs. Paul M. Mann Allison Garza, flute/piccolo Jay & Shirley Marks Sergei Galperin, first violin Dr. & Mrs. Malcolm L. Mazow Rodica Gonzalez, first violin Mr. & Mrs. Brian P. McCabe Betty & Gene McDavid Linda Goldstein, viola Miss Catherine Jane Merchant J. Jeff Robinson, contrabassoon Dr. & Mrs. Robert M. Mihalo Brian Thomas, horn Mr. & Mrs. Michael D. Moore Donald Howey, double bass Mr. & Mrs. Lucian L. Morrison Wayne Brooks, viola principal Mrs. Sue A. Morrison Allen Barnhill, trombone, principal Mr. & Mrs. Robert E. Nelson Mihaela Oancea, second violin Bobbie & Arthur Newman Rodica Gonzalez, first violin Mrs. Tassie Nicandros Hanni Ortons Imogen “Immy” Papadopoulos Scott Holshouser, keyboard, principal Mr. & Mrs. Jonathan E. Parker Nancy Goodearl, horn Mr. & Mrs. Michael Parmet Nancy & Bob Peiser Anthony Prisk, trumpet Mr. & Mrs. Philip M. Peterson Mr. & Mrs. David R. Pruner Gloria & Joe Pryzant Jennifer Owen, second violin, principal Kathryn & Richard Rabinow John Thorne, flute, associate principal Drs. Neal & Virginia Reisman Mark Hughes, trumpet, principal Ann & Hugh Roff Robert Atherholt, oboe, principal Mr. Glen A. Rosenbaum Aralee Dorough, flute, principal Mrs. Helen Rosenbaum Eric Arbiter, bassoon, associate principal Julia & Albert Smith Foundation Eric Arbiter, bassoon, associate principal Dr. Alana R. Spiwak & Sam Stolbun Wei Jiang, viola Alice & Terry Thomas Roger Kaza, horn, associate principal Matthew VanBesien & Rosanne Jowitt Mr. & Mrs. Joel Wahlberg Anthony Prisk, trumpet Vicki & Paul West Rodica Gonzalez, first violin Dr. & Mrs. Jim T. Willerson Anne Leek, oboe, associate principal Mr. & Mrs. Steven Jay Williams MiHee Chung, first violin Mr. & Mrs. Wallace S. Wilson Xiao Wong, cello Ms. Jennifer Wittman The Honorable & Mrs. Alvin Zimmerman Erla & Harry Zuber Matthew Strauss, percussion

Conductor’s Circle Anonymous (2) Mr. & Mrs. Karl H. Becker Mr. & Mrs. Charles G. Black III Mr. & Mrs. Walter V. Boyle Mr. Joe Brazzatti Ruth White Brodsky Mrs. George L. Brundrett Jr. Dr. & Mrs. Coleman D. Caplovitz Mrs. Lily Carrigan William J. Clayton & Margaret A. Hughes Roger & Debby Cutler Mr. Joe R. Davis & Ms. Janet Swikard Mr. & Mrs. Paul F. Egner Jr. Aubrey & Sylvia Farb Dr. & Mrs. William D. George Mrs. Elizabeth Glenn Mrs. Aileen Gordon William A. Grieves & Dorothy McDonnell Grieves Marilyn & Robert M. Hermance Mr. & Mrs. Frank Herzog Debbie & Frank Jones Drs. Blair & Rita Justice Dr. & Mrs. Bernard Katz Mr. & Mrs. Clyde W. Lea Mrs. Margaret H. Ley Mr. & Mrs. E.W. Long Jr. Mr. & Mrs. Bradley H. Marks Mrs. Beverly T. McDonald Mr. James F. Mailey & Mrs. Sharon McMahon Cameron Mitchell Sidney & Ione Moran Mr. & Mrs. Richard P. Moynihan Mr. & Mrs. Edward C. Osterberg Jr. Mr. & Mrs. Harry Phillips Jr. Mr. Howard Pieper Mrs. Lila Rauch Mr. & Mrs. Richard P. Schissler Mr. & Mrs. William Slick Mr. & Mrs. Mark Smith Mr. & Mrs. Tad Smith Mr. & Mrs. Keith Stevenson Mr. & Mrs. Antonio M. Szabo Mr. Stephen C. Tarry Shirley Toomin Ann Trammell Mr. & Mrs. C. Harold Wallace Robert G. Weiner Woodell Family Foundation Winthrop Wyman & Beverly Johnson Nina & Michael Zilkha Grand Patron Anonymous (2) Maida & Paul Asofsky Richard C. Bailey Mr. & Mrs. James D. Bozeman Mr. Prentiss Burt Dr. & Mrs. William T. Butler Mrs. Toba Buxbaum Dougal Cameron Mr. & Mrs. Thierry Caruso Mr. & Mrs. John T. Cater J. R. & Aline Deming Judge & Mrs. Harold DeMoss Jr. Mr. & Mrs. David Denechaud Mr. & Mrs. Carr P. Dishroon Mr. & Mrs. Jeffery B. Early Larry & Mary Ann Faulkner Mr. & Mrs. Bruce Ference Mr. George B. Geary Thomas & Patricia Geddy Mrs. Lila-Gene George Mr. Jerry George Dr. & Mrs. Eric J. Haufrect Mr. & Mrs. W. R. Hayes General Stuart Haynsworth Ms. Mary E. Huffine Mr. Steve Hulsey Mr. & Mrs. Richard D. Kinder Mr. & Mrs. Eric Heggeseth William & Cynthia Koch

Dr. & Mrs. Daniel E. Lehane H. Fred & Velva G. Levine Mr. James F. Mailey & Ms. Sharon McMahon Mr. David M. McClanahan Mr. & Mrs. James M. Mercurio Julia & Chris Morton Ms. Peggy Overly & Mr. John Barlow The Petrello Family Foundation Tim & Katherine Pownell Mr. Stephen Pryor Michael & Vicky Richker Drs. Alex & Lynn Rosas Mr. & Mrs. Clive Runnells Mr. Manolo Sanchez Mr. Charles King Sanders Anne Taylor & Edward Harris Mrs. Carol J. VanBesien Ms. Helen R. Vierck Mr. David Ashley White Mr. & Mrs. Jeff Wray Mr. & Mrs. David J. Wuthrich Edith & Robert Zinn

Patron Anonymous (9) Dr. & Mrs. George Abo Mr. & Mrs. Edgar D. Ackerman Mrs. Harold J. Adam Mrs. Nancy C. Allen, President, Greentree Fund John & Pat Anderson Mr. & Mrs. John M. Arnsparger Dr. & Mrs. Jeffrey B. Aron Dr. & Mrs. Roy Aruffo Mr. Jeff Autor Edward & Joyce Backhaus Mr. & Mrs. John Bauer J. Craig Bourgeois Maurice & Karey Bresenhan Vera S. Brown Anne H. Bushman Mr. & Mrs. Roy L. Carlisle Dennis & Susan Carlyle Mr. & Mrs. W. T. Carter IV Dr. Robert N. Chanon Mr. & Mrs. Allen Clamen Ms. Sandra F. Clark Mr. & Mrs. James G. Coatsworth William E. Colburn Mr. Mark C. Conrad Dr. & Mrs. James D. Cox Mr. David A. Coyle Sylvia & Andre Crispin Mr. & Mrs. T. N. Crook Mr. & Mrs. Harry H. Cullen Jr. Mr. Carl Cunningham Mr. & Mrs. Louis F. Delone Michael & Debra Dishberger Norman Duncan Mr. & Mrs. David G. Edgar Mr. Roger Eichhorn Mr. William Elbel & Ms. Mary J. Schroeder Inci & Atilla Ertan Mr. Parrish N. Erwin Jr. Mr. & Mrs. J. Thomas Eubanks Mrs. Carolyn Grant Fay Mr. & Mrs. Bruce Ference Jerry E. & Nanette B. Finger Linda & Ronnie Finger Foundation Dr. & Mrs. Ronald Fisher Mr. & Mrs. Patrick M. Flynn Mr. Edwin C. Friedrichs & Ms. Darlene Clark Mr. John Gee Mr. & Mrs. Jerry George Mrs. Joan M. Giese Dr. & Mrs. Jack Gill Mr. & Mrs. Bert Golding Robert & Michele Goodmark Mr. & Mrs. Martyn Goosen Joyce Z. Greenberg Charles H. Gregory Dennis Griffith & Louise Richman Mr. & Mrs. H. B. Hackethorn

Mrs. Thalia Halen Ms. Margaret Hansen Mr. & Mrs. James Harithas W. Russell Harp & Maarit K. Savola-Harp Ms. Terry Hartline Mr. & Mrs. Phillip J. Hawk Dr. Ann R. B. Heald Mr. & Mrs. Eric Heggeseth Mr. & Mrs. George A. Helland Mr. & Mrs. David Hemenway Mark & Ragna Henrichs Dr. William L. & Lori K. High Mr. Tim Hogan Linda J. Holmberg & Gregg Hill Mrs. Rosann F. Hooks Evelyn Howell Ms. Debra W. Jackson Dr. & Mrs. Joseph Jankovic Deborah O. Jennings Mr. & Mrs. John F. Joity Mrs. Lawrence Kagan Mr. Benjamin Kamins & Ms. Janet Rarick Mr. & Mrs. Harvey Katz Sam & Cele Keeper Linda & Frank S. Kelley John Kelsey & Gaye Davis Mary Louise & Alberts Kister Mr. Willy Kuehn Mr. & Mrs. Kevin Lane Dr. and Mrs. Shane Lanys Mr. & Mrs. James Laperouse Mr. & Mrs. Robin Lease Golda K. Leonard Emily C. Leseman Mr. & Mrs. Sandy Levin Beverly & Bjorn Lindgren William W. Lindley Mr. & Mrs. H. Arthur Littell Mr. & Mrs. Dwight T. Lohkamp Robert & Gayle Longmire Mr. Alberto Lozano Mr. Stephen A. Lubanko Dr. & Mrs. Fred R. Lummis Jr. Mr. & Mrs. Bob Lunn Madison Benefits Group, Inc. Mr. Christopher Mancini Dr. John Marcellus Mr. & Mrs. James W. McCartney Joan & Mac McKerley Mr. & Mrs. Michael McGuire Odette & James McMurrey Mr. & Mrs. William B. McNamara Janet McQuaid Kenneth & Dorothy Miller Mr. & Mrs. Richard Mithoff Dr. Florence M. Monroe Dr. Eleanor D. Montague Ms. Marsha L. Montemayor Mr. & Mrs. Gerald Moynier Mr. & Mrs. Marvin Mueller Ewell E. Murphy Jr. Mary & Terry Murphree Edna Myer-Nelson Jonathan Nash Dr. D. Patricia Nelson Mr. Kevin Neumann Mr. & Mrs. Charles G. Nickson John & Leslie Niemand Dr. & Mrs. Thomas Oley Mr. & Mrs. Patrick Olfers Sue & Steve Olson Edward Oppenheimer Mr. Edward Oppenheimer Jr. Caroline Osteen Jane & Kenneth Owen Mr. & Mrs. Robert R. Page Mr. & Mrs. Raul Pavon Michael & Shirley Pearson Mr. & Mrs. James D. Penny Mr. James D. Pitcock Michael H. Price Clinton & Leigh Rappole Mr. & Mrs. Risher Randall Joan Read

Miller 2010 41

Donors continued......................................................................................................

Record Family Mr. & Mrs. Allyn Risley Ms. Janice Robertson Dr. & Mrs. Franklin Rose Mr. Charles K. Sanders Mary Louise & David Sanderson Harold H. Sandstead, M.D. Dr. & Mrs. Raymond Sawaya Mrs. Myrna Schaffer Mr. & Mrs. Lawrence Schanzmeyer Beth & Lee D. Schlanger Dr. & Mrs. H. Irving Schweppe Jr. Mr. & Mrs. Roy G. Shaw Jr. Mr. & Mrs. Richard Shell Mr. & Mrs. Laurence E. Simmons Dean & Kirk Snider Mr. & Mrs. Michael Stamatedes Dr. & Mrs. James H. Steele Mr. & Mrs. James R. Stevens Cassie B. Stinson Emily C. Sundt Earl & Terralyn Swift Mr. & Mrs. Albert S. Tabor Jr. Ms. Nina Tate Mr. Mark Taylor Mr. & Mrs. Van Teeters Jean & Doug Thomas Mr. & Mrs. Timothy J. Unger Stephen & Kristine Wallace JoAnn E. Welton Mr. & Mrs. Eden N. Wenig Mr. & Mrs. Robert E. Whitson Mr. Thomas Wilson Dr. & Mrs. Robert Yekovich Betsy I. Zimmer

Krajewski Club Centerstage Anonymous (1) Rita & Geoffrey Bayliss

Jim & Ellen Box Sara J. Devine Mr. & Mrs. James E. Dorsett Mr. & Mrs. Byron F. Dyer John & Joyce Eagle Carol & Larry Fradkin Mr. & Mrs. Julius Glickman Mr. & Mrs. Fred L. Gorman Mr. & Mrs. Jerry L. Hamaker Dr. & Mrs. Robert Healy Dr. Alice McPherson & Mr. Anthony A. Mierzwa Paul & Rita Morico Mr. & Mrs. Terry Murphree Robert J. Pilegge Mr. & Mrs. Allan Quiat Mr. & Mrs. W.E. Rasmussen Roman & Sally Reed Mr. & Mrs. Ben A. Reid Mr. George Rizzo Jr. Mr. & Mrs. William K. Robbins Jr. Mr. & Mrs. Ken N. Robertson Mrs. Annetta Rose Annetta & Soren Rose Linda & Jerry Rubenstein Mr. & Mrs. R. K. Schulze Vernon Servier Jr. Mr. & Mrs. Louis J. Snyder Ms. Jody Verwers Mr. & Mrs. William B. Welte III Mr. & Mrs. Denney Wright

Krajewski Club Headliners Anonymous (2) Mr. & Mrs. Robert Bray Mr. & Mrs. Jerry L. Hamaker Mr. & Mrs. George A. Helland Mr. & Mrs. Kevin Lane Mr. & Mrs. Michael L. Mason

Dr. & Mrs. Raghu Narayan Mr. & Mrs. James L. Phillips Mr. & Mrs. John T. Riordan Mr. & Mrs. Lawrence D. Wallace Mr. & Mrs. Russell R. Williams

In Kind Donors. ......

Alexander’s Fine Portrait Design Baker Botts Be Friends Bergner and Johnson Cognetic Mr. Carl R. Cunningham Darryl & Co. Deville Fine Jewelry DocuData Solutions Game Crazy/Hollywood Video Hilton Americas - Houston Houston Chronicle Jackson and Company JOHANNUS Organs of Texas Jim Benton of Houston LLC JR’s Bar and Grill KUHF 88.7 FM The Lancaster Hotel Limb Design Morton’s The Steakhouse Music & Arts Neiman Marcus New Leaf Publishing, Inc. PaperCity Pride Houston Pro/Sound Riazul Premium Tequila Saez & Zouk Saint Arnold’s Brewery Saks Fifth Avenue Shecky’s Media, Inc.

Silver Eagle Distributors Sky Bar Sonoma Wine Bar & Cafe Spec’s Wines, Spirits & Finer Foods Strip House Valobra Jewelry & Antiques Whole Foods Market

.......................

sDeceased

Legacy Society. ................................................... In Memoriam....................

The Legacy Society honors those who have included the Houston Symphony in their longterm estate plans through bequests, life-income gifts or other deferred-giving arrangements.

Members of the Legacy Society enjoy a variety of benefits, including an annual musical event with a renowned guest artist. The Houston Symphony extends its deepest thanks to the members of the Society, and with their permission, is pleased to acknowledge them.

Anonymous (8) Mr. & Mrs. Thomas D. Barrow George & Betty Bashen Dr. & Mrs. Peter Benjamin Dorothy B. Black Ermy Borlenghi Bonfield Ronald C. Borschow Anneliese Bosseler Joe Brazzatti Zu Broadwater Terry Ann Brown Dr. Joan K. Bruchas & H. Philip Cowdin Eugene R. Bruns Sylvia J. Carroll William J. Clayton Leslie Barry Davidson Harrison R. T. Davis Mr. & Mrs. Jeremy Davis Jean & sJack Ellis Mrs. Robin A. Elverson The Aubrey and Sylvia Farb Family Ginny Garrett Michael B. George Stephen and Mariglyn Glenn Mr. & Mrs. Keith E. Gott Randolph Lee Groninger Gloria Herman Marilyn & Robert M. Hermance Dr. Gary L. Hollingsworth Dr. Edward J. & Mrs. Patti Hurwitz Kenneth Hyde Mr. Brian James Drs. Rita & Blair Justice Mr. John S. W. Kellett Ann Kennedy & Geoffrey Walker

42 www.houstonsymphony.org

Dr. & Mrs. I. Ray Kirk Mr. & Mrs. Ulyesse LeGrange Mary R. Lewis E. W. Long Jr. Sandra Magers Mr. & Mrs. Jay Marks James Matthews Dr. and Mrs. Malcolm Mazow Mr. & Mrs. Gene McDavid Charles E. McKerley Mr. & Mrs. Alexander K. McLanahan Miss Catherine Jane Merchant Dr. & Mrs. Robert M. Mihalo Ron Mikita Katherine Taylor Mize Ione Moran Sidney Moran Sue A. Morrison and Children Mr. & Mrs. Richard P. Moynihan Gretchen Anne Myers Tassie Nicandros David G. Nussmann Edward C. Osterberg Jr. Joan D. Osterweil Imogen “Immy” Papadopoulos Sara M. Peterson Mr. Howard Pieper Geraldine S. Priest Daniel F. Prosser Gloria & Joe Pryzant Drs. Alex & Lynn Rosas Walter M. Ross Mr. & Mrs. Michael B. Sandeen Charles K. Sanders Charles King Sanders

Donna Scott Mr. & Mrs. Charles T. Seay II Mr. & Mrs. James A. Shaffer Dr. & Mrs. Kazuo Shimada Jule & Albert Smith Mr. & Mrs. Louis J. Snyder Mike and sAnita Stude Mr. & Mrs. David K. Terry Stephen G. Tipps Mr. & Mrs. Jesse B. Tutor Dr. Carlos Vallbona and Children Margaret Waisman, M.D. & Steven S. Callahan, Ph.D. David M. Wax & Elaine Arden Cali Robert Weiner Geoffrey Westergaard Jennifer R. Wittman Mr. & Mrs. Bruce E. Woods Mr. & Mrs. David Wuthrich As of May 24, 2010

We honor the memory of those who in life included the Houston Symphony in their estate plans. Their thoughtfulness and generosity will continue to inspire and enrich lives for generations to come!

W. P. Beard Mrs. H. Raymond Brannon Anthony Brigandi Lawrence E. Carlton, M.D. Lee Allen Clark Jack Ellis Frank R. Eyler Helen Bess Fariss Foster Christine E. George General and Mrs. Maurice Hirsch Miss Ima Hogg Burke & Octavia Holman Mrs. L. F. McCollum Joan B. McKerley Monroe L. Mendelsohn Jr. Mrs. Janet Moynihan Constantine S. Nicandros Hanni Orton Stewart Orton, Legacy Society co-founder Dr. Michael Papadopoulos Miss Louise Pearl Perkins Walter W. Sapp, Legacy Society co-founder J. Fred & Alma Laws Lunsford Schultz John K. & Fanny W. Stone Dorothy Barton Thomas Mrs. Harry C. Wiess Mrs. Edward Wilkerson

For more information on creating a legacy for the benefit of the Symphony, please contact the Planned Giving Office at (713) 337-8524 or email plannedgiving@houstonsymphony.org.

My Houston, My Symphony: Campaign for a Sound Future. .......................

Artistic excellence, strong leadership, robust ticket sales and growing philanthropic support are vital, but they alone cannot guarantee the Houston Symphony’s future. To do so, its endowment must be increased. My Houston, My Symphony: Campaign for a Sound Future has two major goals: add $60 million to the Symphony’s endowment and raise $15 million in working capital. We are proud to recognize those who have already made commitments to this campaign and invite others to join them as we build an artistically and financially sound Houston Symphony.

Campaign Cabinet

Members

George Mitchell, Honorary Chair M. S. Stude, Chair Gene Dewhurst, Vice Chair Jesse B. Tutor, Vice Chair Mike McLanahan, Vice Chair Ulyesse J. LeGrange, Vice Chair

Jan Barrow Daniel Dror Rochelle Levit Rodney H. Margolis Jay Marks J. Stephen Marks

Houston Symphony Endowment Harry J. Phillips Jr. Robert B. Tudor III Wallace S. Wilson

President

Ulyesse J. LeGrange

Trustees

Prentiss Burt Janet Clark J. Cole Dawson III Gene Dewhurst Jesse B. Tutor

............................................................................................................................

Mr. & Mrs. Jay Marks * Mr. & Mrs. Alexander K. McLanahan * Foundations......................

Mrs. Sue A. Morrison and Children Mr. & Mrs. Lucian L. Morrison Jr. $10,000,000 The Brown Foundation, Inc. * $1,000,000 - $4,999,999 Anonymous The Cullen Trust for the Performing Arts * Houston Endowment Inc. Spec’s Charitable Foundation The Wortham Foundation, Inc. $500,000 - $999,999 The Fondren Foundation $100,000 - $499,999 M. D. Anderson Foundation The Cullen Foundation The Margaret and James A. Elkins, Jr. Foundation The William Randolph Hearst Foundation Albert & Ethel Herzstein Charitable Foundation Mach Family Fund The Marks Charitable Foundation $25,000 - $99,999 Dror Charitable Foundation The Kayser Foundation The Nightingale Code Foundation

Corporations. ................... $100,000 - $250,000 Baker Botts L.L.P. Chevron ConocoPhillips Fulbright & Jaworski L.L.P. Marathon Oil Company Foundation $50,000 - $99,000 Locke Lord Bissell & Liddell LLP $25,000 - $49,999 Amegy Bank of Texas Goldman Sachs $10,000 - $24,999 Sterling Bank

Individuals.......................

Founder Anonymous Grand Guarantor Mr. & Mrs. Philip A. Bahr * Mr. & Mrs. Thomas D. Barrow * The Honorable David H. Dewhurst Barbara & Patrick McCelvey Phoebe and Bobby Tudor Guarantor Estate of Lawrence E. Carlton, M.D. Mr. & Mrs. Marvin Kaplan Mr. & Mrs. Rodney H. Margolis

Estate of Mr. Walter W. Sapp * Mr. & Mrs. Michael E. Shannon Mr. & Mrs. Jesse B. Tutor * Major Benefactor Dr. & Mrs. Alexander Dell Levit Family/Grocers Supply Dr. & Mrs. Michael Mann

Benefactor Anonymous * Linda & Gene Dewhurst Mrs. Robin A. Elverson Mr. & Mrs. Marvy A. Finger Houston Symphony Chorus Drs. Blair & Rita Justice Dr. Marie-Luise & Dr. M. S. Kalsi * Mr. & Mrs. James A. Shaffer Mr. & Mrs. Stephen G. Tipps * Major Sponsor Anonymous Mr. & Mrs. David J. Beck Mrs. Ruth White Brodsky Mr. & Mrs. John T. Cater Mr. Michael H. Clark & Ms. Sallie Morian * Mr. Martin J. Fein & Dr. Kelli Cohen Fein in memory of Jean Viney Mr. & Mrs. Russell M. Frankel Stephen & Mariglyn Glenn Dr. Gary L. Hollingsworth Ms. Martha Kleymeyer Mr. & Mrs. Gene McDavid Mr. & Mrs. Michael D. Moore * Mr. & Mrs. Scott S. Nyquist Kathy & Harry Phillips Fund Gloria & Joe Pryzant Mr. & Mrs. J. Hugh Roff Jr. Ms. Charlotte A. Rothwell Mr. & Mrs. Paul N. Schwartz Ms. Ann Trammell Mr. & Mrs. Steven J. Williams Mr. & Mrs. Ed Wulfe Sponsor Anonymous (2) Mr. Clayton Baird Mr. & Mrs. Gary Beauchamp * Mrs. Ermy Borlenghi Bonfield Dr. & Mrs. Gary Brock Ms. Catherine Campbell-Brock Ms. Janet F. Clark Mr. & Mrs. Jeffrey B. Early Mr. & Mrs. Craig A. Fox * Mr. Frank T. Garcia & Dr. Elizabeth M. Spankus Mr. & Mrs. Robert M. Hermance Mr. Jack Holmes * Dr. & Mrs. I. Ray Kirk Mr. & Mrs. Ulyesse J. LeGrange Dr. & Mrs. Daniel E. Lehane Mr & Mrs. Harry Mach Ms. Judi McGee

Mr. & Mrs. Arthur Newman Mr. & Dr. Edward C. Osterberg Jr. Nancy & Bob Peiser Mr. & Mrs. Joseph P. Quoyeser Mr. & Mrs. Albert J. Smith Jr. Mr. & Mrs. Fredric A. Weber *

Major Patron Mr. Thomas Becker & Mr. Jim Rosenfeld * Mr. Gordon B. Bonfield Mr. Anthony Brigandi Ms. Terry Ann Brown Mr. & Mrs. John R. Dennis III Mr. & Mrs. Osborne J. Dykes III Mr. & Mrs. Frank J. Hevrdejs Mr. & Mrs. Frank G. Jones Mr. E. W. Long Jr. The MacDonald-Peterson Foundation Inc. Mr. & Mrs. Tommy O. Mann Mr. & Mrs. C. W. Merchant Mr. & Mrs. James M. Mercurio * Mr. & Mrs. Kirk B. Michael Mrs. Hanni Orton * Mr. & Mrs. J. Dale Ramsey Mr. & Mrs. William J. Rovere Jr. Dr. Margaret Waisman & Dr. Steven S. Callahan Vicki & Paul S. West Mr. & Mrs. Melvyn Wolff Mr. David Zerhusen & Mrs. Kathy Schoff Patron Mr. & Mrs. Willie J. Alexander Mr. & Mrs. Marty Ambrose Ms. Martha Z. Carnes Dr. Scott Cutler Mrs. Benjamin Danziger Ms. Leslie B. Davidson & Mr. W. Robins Brice Paul & Vickie Davis Mr. & Mrs. Patrick M. Dreckman The Estate of Emma Sue B. Frank Dr. Susan E. Gardner & Dr. Philip D. Scott Robert Lee Gomez Mr. Robert Grant Mr. & Mrs. Anthony W. Hall Jr. Susan & Dick Hansen Mr. & Mrs. Robert S. Harrell Mr. & Mrs. Fraser A. McAlpine Mr. & Mrs. John S. Orton Mr. & Mrs. P. C. Peropoulos Mrs. Helen Rosenbaum * Joseph & Holly Rubbo Susan Scarrow Estate of Dorothy Barton Thomas Mr. David Ashley White Mr. & Mrs. David J. Wuthrich * Donor to endowment and working capital Listing as of August 31, 2009

Miller 2010 43

Backstage Pass. .................................................................................................

Brinton Averil Smith, cello

David Peck, clarinet

Birthplace: Royal Oak, MI (a suburb of Detroit)

Birthplace: Ventura, California

Education: The Juilliard School: DMA, MM; USC: MA (math, age 19); Arizona State (math, age 17)

Education: University of Southern California: B.M., B.A. in clarinet performance and music composition

Joined the Houston Symphony: 2005

Joined the Houston Symphony: I joined the Houston Symphony in 1975 as associate principal clarinetist, became principal clarinetist at the San Diego Symphony in late 1985, and returned to Houston as principal clarinetist in 1991.

Beginnings: I began the cello when I was 8, after unsuccessful attempts to play the piano (all the keys look the same to me!).

All in the family: My mother is a pianist who has played with many musicians including Leonard Rose and Mischa Mischakoff. My father is a mathematician who loves music and taught himself Italian and German through opera librettos!

Looking forward to in the 2010-11 Season: Gil Shaham’s Walton concerto, Wagner’s “Ring” Without Words and our special Kaddish concert commemorating the heroic journey of Holocaust survivors, including those still living in Houston.

Best thing about being a musician: Being able to communicate a part of yourself that is more personal, direct and meaningful than any words could express. When you hear musicians play, you learn something about who they are that you could never know another way.

Favorite performance piece: Almost anything with a melody, but the greatest symphonies – Beethoven, Brahms, Mahler and others – just never get old. Every time I play them, I get more out of them.

Finding the perfect instrument: Since the perfect instrument would cost at least a million dollars for a cellist or violinist, we usually have to find a compromise. After two years of searching and more than 200,000 frequent flier miles, I’ve found an excellent 18th-century Italian cello whose maker couldn’t be positively identified. Being “generic” makes it much cheaper, and unless I win the lottery, that’s as close to perfect as I’m getting!

Notable moment: One moment that particularly sticks with me is playing a Brahms symphony here in Houston shortly after having played the same piece with the New York Philharmonic. The world-class quality and musicianship of my Houston Symphony colleagues made an impression on me that I won’t forget!

Pastime and good company: I teach at Rice University and perform often with my wife, pianist Evelyn Chen, and we’ve founded the Restoration Chamber Music series in Galveston. Beyond that we are kept fairly busy chasing our 8-year-old daughter and two dogs!

44 www.houstonsymphony.org

Looking forward to in the 2010-11 Season: Our UK tour this fall Beginnings: I was 9 years old when I started the clarinet in the fourth grade. A friend showed me his clarinet, and I pestered my mother until she got me one.

Earliest musical memory: My father was a classical music and opera lover. He played recordings on our hi-fi and I was soon hooked. When I was very young, we listened only to classical music. I was at least 10 or 11 before I started listening to popular music.

Discovering my vocation: I was enthralled with symphony music.

Alternate reality: Maybe an artist, or perhaps something that would allow me to be outside Musical inspiration: I am inspired by all of the great composers and musicians. You learn from them all – the not-quite-great ones. They all have something to teach you.

Keeping the music fresh: By not over-doing it. I’m more selective about when and how much I listen to music recordings. When I come home from rehearsals and concerts, I like peace and quiet. It allows me to think about the music and how I might want to change my approach.

Notable moment: Playing in the great concert halls of Europe comes to mind.

Pastime and good company: I enjoy reading, cooking, gardening and traveling and swimming when I can.