OKCPHIL program for the 20-21 season, November 20, 2021 Classics concert "Francaise & Ruski"

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BRENT HART, President Oklahoma Philharmonic Society, Inc. Welcome to tonight’s concert. For thirty-three seasons, the OKC Phil has been performing incredible concerts in Civic Center Music Hall, performances throughout our community and just this last year directly in your homes as we practiced social distancing. This year we are most excited to welcome you back!

Our Classics and Pops series, Discovery concerts, partner collaborations and community performances are an integral component of our vibrant arts community. Our dedicated musicians, led by Maestro Alexander Mickelthwate, continue to delight us each season with vibrant programming, and this year is no exception. Executive Director Agnieszka Rakhmatullaev and her exceptional team collaborate with city and public health officials to make these performances possible and our heartfelt thanks go to our community leaders and healthcare workers for all their tireless efforts. We also thank the Orchestra League and the Associate Board for their volunteer and fundraising efforts that make these programs possible.

One final thanks to our valued patrons, for being here tonight and for your continued support. I hope you enjoy this musical journey at this, and many more, concerts to come.

KRISTEN BRANDT FERATE, President Oklahoma City Orchestra League

CHRISTA BENTLEY, President Associate Board

On behalf of the Oklahoma City Orchestra League, welcome back to our beloved Civic Center and the music.

On behalf of the Oklahoma City Philharmonic Associate Board, I am honored to welcome you to the 2021-2022 season. The OKC Philharmonic and their team of staff proved last season that they are capable of making music in any and all circumstances. If you take a glance at this season’s program, you’ll see that concert goers in Oklahoma City are once again receiving a concert music experience that will enrich our city, featuring innovative programming and top-notch musicians.

Music is the Universal Language. It is the only language that every individual can comprehend. Each member of the audience tonight will share in a social cohesion that can only occur through the appreciation and hearing of symphonic music. As we emerge from the chaos and anxiety of the pandemic let us take joy and find peace in the gift of the Oklahoma City Philharmonic.

The Oklahoma City Orchestra League is comprised of a diverse and energetic membership whose mission is to support the Oklahoma City Philharmonic through educational, community and fundraising endeavors. We would be delighted to have you join.

It’s the Associate Board’s mission to connect young professionals to this concert-going experience. We do this through our Overture Society—a three-concert package— plus expanded networking opportunities, social events, and discounts. Reach out to join Overture and take the next steps to becoming a supporter of the arts in OKC!

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kucofm.com A community-supported outreach of the University of Central Oklahoma

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AGNIESZKA RAKHMATULLAEV Welcome to the OKCPHIL’s 2021-22 Season and we are thrilled to have you back with us!

After an unprecedented season, your OKCPHIL under the direction of Maestro Mickeltwate is coming back onto the stage full force with some wonderful programs. While things might not be entirely back to normal yet, we hope that each of our concerts will bring you joy and inspiration.

The Inasmuch Foundation Classics Series features orchestral staples, such as the First Symphonies of Beethoven and Mahler, Dvořák’s “New World” Symphony and Rimsky Korsakov’s beloved Scheherazade. We will collaborate with world-renowned artists including Berlin Phiharmonic’s First Concertmaster Noah Bendix-Balgley, Tabla virtuoso Sandeep Das, and guest conductor Rei Hotoda. We will also continue to feature the remarkable talents of our own musicians with Principal Horn Kate Pritchett and Principal Bassoonist Rod Ackmann joining us as soloists for the opening and closing Classics programs of the season. We are excited to continue our journey of discovering the lesser-known gems and celebrating diversity through music by exploring works by African American, American Indian, and East Indian composers.

As always, our Pops Series offers something for everyone: the popular songs of Billy Joel and Whitney Houston, the spectacular Holiday tradition The Christmas Show, the dazzling dancers who will turn the Civic Center stage into a ballroom, and our season’s grand finale featuring the timeless Star Wars This lineup will be accompanied by our phenomenal orchestra, so I encourage you to bring your family and friends along to enjoy each of these programs.

Additionally, the OKCPHIL remains committed to expanding its presence outside of the concert hall through a variety of Education and Community Engagement programs. From our Society of Strings program for adult amateur string players, to our ongoing partnership with OU Health, as well as small ensemble presence in local schools, our mission continues to impact thousands of Oklahomans of all ages.

We are deeply grateful for the ongoing support and generosity that makes all of this possible. Despite the challenges brought by the pandemic, the OKCPHIL remains committed to serving our community and we look forward to seeing you at our concerts throughout this season!

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TO RETU TH RN E H IN AR G O N H UT OM DOO ES RS TE AD !

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ALEXANDER MICKELTHWATE Beginning his fourth season as Music Director of the Oklahoma City Philharmonic, Conductor Alexander Mickelthwate’ s exciting musical programming has created a buzz across the city, drawing people from all walks of life to the concert hall. Originally from Germany, Mickelthwate is also Music Director Emeritus of the Winnipeg Symphony Orchestra in Canada.

Since starting his Winnipeg tenure in 2006 he played a pivotal role in the rejuvenation and turnaround of the Winnipeg Symphony which culminated in a highly successful and critically acclaimed performance at Carnegie Hall in May 2014. The New York Times noted the performance was “conducted expertly,” and the New York Classical review stated “under music director Alexander Mickelthwate, they play with excellent intonation and such a fine overall blend and balance of sound that, on their own terms, they may be the best orchestra to appear in the week’s worth of concerts.”

Deeply rooted in his German heritage, Norman Lebrecht wrote about Mickelthwate’s interpretation of Mahler’s 10th Symphony with the Winnipeg Symphony: “Both Mahler 10 performances were intense and engaging. Every twist and turn in the score was fresh and surprising to my ears.”

And his interpretation of Bruckner’s Symphony No. 7 prompted the pianist Anton Kuerti to write a letter to the newspaper saying, “I would like to call attention to the stunning performance heard after the intermission. To play Bruckner’s Symphony No. 7 with the passion, profundity, emotional intensity, subtlety and degree of perfection achieved by conductor Alexander Mickelthwate and the Winnipeg Symphony can only be called miraculous.”

In North America Alexander has guest conducted the New York Philharmonic, the Chicago Symphony, Seattle Symphony, Houston Symphony, Vancouver Symphony, Atlanta Symphony, Saint Paul Chamber Orchestra, Saint Luke’s, Milwaukee Symphony, Rochester Philharmonic and Toronto Symphony, among others.

His European debut was with the Hamburg Symphony. He also conducted the BBC London, Stuttgart Radio Orchestra, Royal Scottish, Deutsche Kammerphilharmonie Bremen and NDR Hannover. Other notable performances include the Sao Paulo Symphony and the Simon Bolivar Orchestra in Venezuela. He made his Australia debut with the Adelaide Symphony and the Tasmania Orchestra where he recorded the Mozart piano concerti Nos. 7 and 10 with the Silber Garburg Duo. Alexander Mickelthwate has worked several times with Dame Evelyn Glennie conducting the world premiere of two new

percussion concerti by Vincent Ho. He also worked with Itzhak Perlman, Joshua Bell, Yuja Wang, Dawn Upshaw, Plácido Domingo, Ben Heppner, Horatio Gutiérrez, Emanuel Ax, Leonidas Kavakos and Sarah Chang, among many others, and he worked very closely with a wide range of composers including Phil Glass, Steve Reich, Sofia Gubaidulina, Kaija Saariaho, John Adams, John Luther Adams and Mason Bates.

After guest conducting the Simon Bolivar Orchestra and experiencing the life-changing power of the El Sistema program in Venezuela for underprivileged children, Alexander played an instrumental part in creating Sistema Winnipeg.

For three years Alexander created a critically acclaimed Indigenous Festival in Winnipeg. Passionate to connect with all cultures, he created artistic collaborations between First Nations and western cultures that culminated in the performances of Stravinsky’s Rite of Spring and Revueltas’ Les Noches de los Mayas with new choreographies of contemporary and First Nations dance.

The Winnipeg New Music Festival is an international institution.

Alexander broadened the repertoire and created many new collaborations connecting with different audiences. Because of the programming of the festival the WSO was chosen to perform at the Spring for Music Festival at Carnegie Hall in 2014.

A few of the most creative projects of the festival for Alexander were the performance of movie director Guy Maddin’s Brand Upon a Brain with narration by actress Isabella Rossellini, the workshopping of a new opera Tesla by movie director Jim Jarmusch and composer Phil Klein, and a production of Gavin Bryar’s The Sinking of the Titanic at PanAm Pool.

Alexander has conducted for President Jimmy Carter and the Queen of England, and he received the Queen Diamond Jubilee Medal and the Key to the City of Winnipeg.

Born and raised in Frankfurt Germany to a musical family, Alexander received his degree from the Peabody Institute of Music.

He studied conducting under Fredric Prausnitz and Gustav Meier as well as with Seiji Ozawa, Andre Previn, Daniel Barenboim and Robert Spano at Tanglewood. Following his tenure as Assistant Conductor with the Atlanta Symphony Orchestra, which he completed in 2004, Alexander was Associate Conductor of the Los Angeles Philharmonic for three years, under the direction of Esa-Pekka Salonen.

Alexander and his family make Oklahoma City their home. He is married to fashion designer Abigail Mickelthwate and has two sons.

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MORE THAN 20 OKC METRO LOCATIONS future phil musicians in the making HUndreds of Strings, woodwind, brass, percussion, and guitar students pursue musical excellence Every week and makE lifelong friends at Oklahoma youth orchestras.

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OKLAHOMA PHILHARMONIC SOCIETY, INC.

P R O V I D I N G

I N S P I R A T I O N

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O R C H E S T R A L

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THE BOARD OF DIRECTORS Lifetime Directors

Officers

Debra Kos Kristian Kos Jessica Martinez-Brooks Margaret Freede Owens Donald Rowlett Jennifer Schultz Doug Stussi Michael Sweeney J. Mark Taylor Geetika Verma Tony Welch Renate Wiggin Nick Wu

Jane B. Harlow Patrick Alexander

Brent Hart President

Directors

Jane Jayroe Gamble President Elect

Christa Bentley Robyn Birdwell Lori Dickinson Black Phil Busey Lawrence H. Davis Kristen Ferate Joy Hammons Kirk Hammons Dean Jackson Mautra Staley Jones Wesley Knight

Jerrod Shouse Vice President Kevin Dunnington Treasurer Kelly Sachs Secretary Jeff Starling Immediate Past President

Honorary Directors Richard Sias

ADMINISTRATIVE STAFF John Allen Interim General Manager

Judy Hill Administrative Assistant

Clint Moore Operations Coordinator

Tara Burnett Associate Director of Development

Stephen Howard Development Operations Manager

Agnieszka Rakhmatullaev Executive Director

Jeana Gering Education Manager

Daryl Jones Box Office Operations Manager

Ulises Serrano Digital Strategies Coordinator

Daniel Hardt Finance Director

Colton Kirton Institutional Giving Coordinator

Corbin Taggart Customer Service Representative

ACKNOWLEDGEMENTS Classical KUCO 90.1 Morningstar Properties

Oklahoma City Police Association George Ryan

Stubble Creative, Inc. The Skirvin Hotel

Titan AVL

Photographers: Michael Anderson, David Bricquet, Rick Buchanan, Heather Hanson, Mutz Photography, Shevaun Williams and Associates, Ulises Serrano

THE OKLAHOMA PHILHARMONIC SOCIETY, INC. 424 Colcord Drive, Ste. B • Oklahoma City, Oklahoma 73102 Tickets: 405-842-5387 • Administration: 405-232-7575 • Fax: 405-232-4353 • www.okcphil.org

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AFFLIATED PARTNERS

The Oklahoma City Philharmonic Foundation was established to provide leadership and endowment expertise to help ensure a stable financial base for orchestral music and musical excellence in Oklahoma City for generations to come. Distributions from the Oklahoma City Philharmonic Foundation provide a meaningful and secure source of annual income for the Philharmonic’s operations, continually confirming the importance of endowment in an organization’s longrange planning and overall success.

Current officers and directors of the Oklahoma City Philharmonic Foundation are: OFFICERS Douglas J. Stussi President Charles E. Wiggin Vice President Louise Cleary Cannon Treasurer Penny M. McCaleb Secretary DIRECTORS Steven C. Agee Patrick B. Alexander J. Edward Barth L. Joe Bradley Teresa Cooper T.A. Dearmon Paul Dudman Thomas J. Enis Mischa Gorkuscha Jane B. Harlow Brent Hart Jean Hartsuck Michael E. Joseph Harrison Levy, Jr. Duke R. Ligon Jessica Martinez-Brooks Michael J. Milligan Alice Pippin Jeff Starling Richard Tanenbaum

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EXECUTIVE COMMITTEE Kristen Ferate President Debra Kos President-Elect Pending Secretary Newt Brown Treasurer Meredith Blecha-Wells Development VP Marion Burcham Membership VP Sherry Rowan Education VP Joan Bryant Communications VP Wendi Wilson Past President, Ex-Officio Agnieszka Rakhmatullaev Executive Director Oklahoma City Philharmonic (Ex-Officio, Advisory) BOARD OF DIRECTORS Helen Chiou Jeanne Drake Yvette Fleckinger Sue Francis Jane Krizer Patsy Lucas Geetika Verma Heather Walter Dwayne Webb Orchestra League Office 424 Colcord Dr., Ste. B Oklahoma City, Oklahoma 73102 Phone: 405.232.7575 Fax: 405.232.4353 e-mail: league@okcphil.org website: www.okcorchestraleague.org

OFFICERS Christa Bentley President Jay Scambler President-Elect Desiree Singer Secretary Sam Rainbolt Membership Chair Kelsey Karper Marketing Chair Tyler Larson Events Chair DIRECTORS J. Cruise Berry​ Jabee John Cannon Gennie Clarkson Peter Harlin Tom Lerum Patrick E. Randall, II Kara Simpson Jennifer Stadler Collin Walke David White Jackie Zamarippa

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ALEXANDER MICKELTHWATE, Music Director and Conductor JOEL LEVINE, Founder and Music Director Emeritus AGNIESZKA RAKHMATULLAEV, Executive Director

FIRST VIOLIN

Gregory Lee, Concertmaster Gertrude Kennedy Chair Marat Gabdullin, Associate Concertmaster Densi Rushing, Assistant Concertmaster Yena Lee Hong Zhu Beth Sievers James Thomson Benjamin Shute Deborah McDonald Janet Gorton Lu Deng

SECOND VIOLIN

Katrin Stamatis, Principal McCasland Foundation Chair Catherine Reaves, Assistant Principal Sophia Ro Brenda Wagner Sarah Brown Corbin Mace Angelica Pereira Cindy Zhang Ai-Wei Chang Chandler Fadero Ashley Cooper Gena Alexander

VIOLA

Royce McLarry, Principal Mark Neumann, Assistant Principal Joseph Guevara Kelli Ingels Steve Waddell Donna Cain Brian Frew Betty Yuan Jackie Skara

CELLO

Jonathan Ruck, Principal Orchestra League Chair Tomasz Zieba, Assistant Principal Meredith Blecha-Wells Valorie Tatge Emily Stoops

Jim Shelley Angelika Machnik-Jones Jean Statham Rob Bradshaw

TRUMPET

BASS

TROMBONE

Anthony Stoops, Principal Larry Moore, Assistant Principal Parvin Smith Mark Osborn Landon Honolka Christine Craddock Kara Koehn

FLUTE

Valerie Watts, Principal Parthena Owens Nancy Stizza-Ortega

PICCOLO

Nancy Stizza-Ortega

OBOE

Lisa Harvey-Reed, Principal Rachel Maczko Katherine McLemore

ENGLISH HORN Rachel Maczko

CLARINET

Bradford Behn, Principal Tara Heitz James Meiller

BASS/E-FLAT CLARINET James Meiller

Karl Sievers, Principal Jay Wilkinson Michael Anderson Adam Hanna, Principal Philip Martinson John Allen, Bass Trombone

TUBA

Ted Cox, Principal

TIMPANI

Jamie Whitmarsh, Principal

PERCUSSION

Patrick Womack, Principal Roger Owens

HARP

Gaye LeBlanc Germain, Principal

PIANO

Peggy Payne, Principal

ASSISTANT PERSONNEL MANAGER Valorie Tatge

MUSIC LIBRARIAN Jose Batty

STAGE MANAGER Leroy Newman

BASSOON

Rod Ackmann, Principal James Brewer Barre Griffith

CONTRABASSOON Barre Griffith

APPRENTICE CONDUCTORS Giang Vo Guanlu Guan Dylan Maddox

HORN

Kate Pritchett, Principal G. Rainey Williams Chair James Rester Mirella Gable Matthew Reynolds

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PLANNED GIVING

O F T H E O K L A H O M A P H I L H A R M O N I C S O C I E T Y, I N C .

The Oklahoma Philharmonic Society, Inc. is honored to recognize its Encore Society members — visionary thinkers who have provided for the future of the Oklahoma City Philharmonic through their estate plans.

Anonymous (3)

Joel Levine and Don Clothier

Steven C. Agee, Ph.D.

John and Caroline Linehan

Linda and Patrick Alexander

Mr. and Mrs. Marvin C. Lunde, Jr.

Gary and Jan Allison

Mrs. Jackie Marron

Dr. Jay Jacquelyn Bass

Mr. and Mrs. John McCaleb

Louise Cleary Cannon

Jean and David McLaughlin

Mr. and Mrs. Robert H. Clements

W. Cheryl Moore

Thomas and Rita Dearmon

Carl Andrew Rath

Dr. and Mrs. James D. Dixson

Mrs. Catherine Reaves

Hugh Gibson

Mr. and Mrs. William J. Ross

Pam and Gary Glyckherr

Drs. Lois and John Salmeron

Carey and Gayle Goad

Mr. and Mrs. William F. Shdeed

Mr. and Mrs. J.A. Gowman

Richard L. Sias

Carol M. Hall

Doug and Susie Stussi

Ms. Olivia Hanson

Larry and Leah Westmoreland

Jane B. Harlow

Mr. John S. Williams

Dr. and Mrs. James Hartsuck

Mr. and Mrs. Don T. Zachritz

Mr. and Mrs. Michael E. Joseph

THANK YOU The Oklahoma Philharmonic Society, Inc. is grateful for the support of caring patrons who want to pass on a legacy of extraordinary music to future generations. You can join this special group of music enthusiasts by including a gift for the OKC Philharmonic’s future in your own will or estate plan. For more information on how to become an Encore Society member, contact Tara Burnett at (405) 232-7575 or tara@okcphil.org.

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Oklahoma City Community College presents:

2021-2022 Performing Arts Series

Potted Potter: The Unauthorised Harry Experience | October 12 Cirque Mechanics - Birdhouse Factory | November 20 Ballet Folklórico de México | January 28 The TEN Tenors presents LOVE IS IN THE AIR | February 25 Drum Tao | March 22 An Evening with Renee Elise Goldsberry | April 29 Get tickets at tickets.occc.edu

MAR 27 | 3 PM

ARTISTIC DIRECTOR

Season Specials

at Hudiburg Center

LEARN MORE AT OKCBROADWAY.COM

MEET OUR FAMILY

THE PEOPLE BEHIND THE MUSIC

TARA HEITZ

JOSE BATTY

Clarinet Player OKCPHIL Orchestra

Music Librarian OKCPHIL Operations

Oklahoma native Tara Heitz joined the OKC PHIL in 2009.

She holds a Bachelor’s in Instrumental Music Education from the University of Central Oklahoma, and worked as a public school band director for 17 years. Tara was a finalist in the International Clarinet Association’s orchestral excerpts competition in 2008, and is forever indebted to mentor Chad Burrow for his inspiration and guidance over many years.

Hello! I started playing violin at 10 years old after watching the “older kids” come to class and demonstrate string instruments. I began my violin journey as soon as I could and haven’t looked back! This journey earned me a nearly full scholarship to the University of Central Oklahoma where I earned my Bachelor’s and Master’s degrees in Violin Performance. During my graduate studies I picked up two new loves – conducting and taking care of the music library. I actively pursued conducting and soon became the conductor for the Southwestern College Youth Orchestra, but I always knew that being a librarian would be a goal I would want to achieve. In a matter of only a few years, I learned about the librarian opening with the OKC Philharmonic, and well, the rest is history! Outside of music, I enjoy reading, playing chess, and spending as much time with my family – Maria and Henry – as I can!

Tara transitioned to a career in the nonprofit sector in 2019, and currently works as a Development Officer at Oklahoma Contemporary.

What would you like the OKCPHIL patrons to know about you?

I am an Oklahoman who received an exceptional public school music education. Music isn’t only for musicians, and art isn’t only for artists. Art is for everyone. It is essential that we keep the arts alive in our schools, and support the work of arts organizations in our community.

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GIFTS TO THE PHILHARMONIC The Oklahoma City Philharmonic Orchestra gratefully acknowledge the commitment and generosity of individuals, corporations, foundations, and government agencies that support our mission. To help us provide inspiration and joy to the community through live orchestral performances and a variety of Education and Community Engagement programs, please contact the Philharmonic’s Development Office at (405) 232-7575.

This Annual Fund recognition reflects contributions made in the 2020-2021 and 2021-2022 seasons. Contributions of $250 and above are listed through October 1, 2021.

If your name has been misspelled or omitted, please accept our apologies and inform us of the error by calling the phone number listed above. Thank you for your generous support!

CORPORATIONS, FOUNDATIONS & GOVERNMENT Express their generous commitment to the community.

UNDERWRITER $40,000 & Above Allied Arts Foundation The Chickasaw Nation Delaware Resource Group of Oklahoma, LLC E.L. and Thelma Gaylord Foundation Freede Family Foundation Inasmuch Foundation Kirkpatrick Foundation Inc. Oklahoma Arts Council The Oklahoman The Skirvin Hilton Hotel

PLATINUM SPONSORS $10,000 - $39,999 405 Magazine Ad Astra Foundation American Fidelity Foundation Devon Energy Corporation Express Employment International HSPG and Associates, PC I Heart Media Love’s Travel Stops & Country Stores Mathis Brothers Furniture Co., Inc. MidFirst Bank

OGE Energy Corp.

Tyler Media Co./Magic 104.1FM and KOMA W&W Steel, LLC

GOLD SPONSORS $5,000 - $9,999 BancFirst Bank of Oklahoma Clements Foods Foundation Mekusukey Oil Company, LLC The Metro Restaurant

SILVER SPONSORS $3,000 - $4,999 Intrinsic Health OK Gazette OKC Friday

BRONZE SPONSORS $2,250 - $2,999

GOLD PARTNERS $1,500 - $2,249 Charlesson Foundation Flips Restaurant, Inc. Morningstar Properties, LLC

SILVER PARTNERS $1,000 - $1,499 Trade Mechanical Contractors, Inc.

BRONZE PARTNERS $500 - $999 Hatton Enterprises Tom Johnson Investment Management LLC

BUSINESS MEMBERS $250 - $499 The Kerr Foundation, Inc.

The Black Chronicle BNSF Railway Foundation Globe Life and Accident Insurance Company

MATCHING GIFT COMPANIES AND FOUNDATIONS Double the impact of an individual’s gift.

American Fidelity Foundation Bank of America Matching Gifts Program

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The Boeing Company Inasmuch Foundation

Merrill Lynch & Co. Foundation, Inc.

GIFTS TO THE PHILHARMONIC MAESTRO SOCIETY Providing leadership support.

Underwriter $25,000 and above

Guarantor $10,000 and above

Benefactor $5,000 - $9,999

Phil G. and Cathy Busey Dr. Margaret Freede Joel Levine and Don Clothier Jean and David McLaughlin George Records Mr. Richard L. Sias and Alice and Phil Pippin Glenna and Dick Tanenbaum

Steven C. Agee, Ph.D. Linda and Patrick Alexander Marilyn and Bill Boettger Lawrence H. and Ronna C. Davis Mr. and Mrs. Andrew J. Evans, II Mr. and Mrs. John A. Frost Gerald and Jane Jayroe Gamble Jane B. Harlow Andria and Paul Heafy Mary Ann Holdrege Mr. and Mrs. J. Clifford Hudson Mr. Albert Lang Larry and Polly Nichols Doug and Susie Stussi Renate and Chuck Wiggin

Mo Anderson Mark and Julie Beffort Mrs. Betty D. Bellis-Mankin Mr. and Mrs. John Biggs Dr. and Mrs. L. Joe Bradley Louise Cleary Cannon and Gerry Cannon Teresa Cooper James B. Crawley Mr. and Mrs. David C. DeLana John and Claudia Holliman Donald Rowlett Ruth Mershon Fund Dr. Amalia Silverstein

INDIVIDUALS Providing essential support for the Annual Fund.

Patron ($3,500 - $4,999) Mike and Dawn Borelli Mr. Sidney G. Dunagan Mrs. Bonnie B. Hefner Michael J. Sweeney, Jr.

Sustainer ($2,250 - $3,499) Dr. and Mrs. Dewayne Andrews Dr. and Mrs. John C. Andrus Larry and Sarah Blackledge Mrs. Carole S. Broughton Mr. and Mrs. Robert F. Browne Bruce Campbell Mr. and Mrs. Robert H. Clements Mr. John Crain David and Druanne Durrett Mr. and Mrs. Joseph M. Fleckinger Paul and Debbie Fleming Frank Goforth and Nancy Halliday Sam and Joy Hammons

Brent Hart and Matt Thomas Dr. and Mrs. James Hartsuck Colonel (ret.) Dean and Mrs. Jeanne Jackson Tom and Cindy Janssen Kim and Michael Joseph Kathy and Terry Kerr Debra and Kristian Kos Dr. and Mrs. Patrick McKee Todd and Mary Margaret Miller Annie Moreau, MD Ms. Veronica Pastel Egelston Mr. William G. Paul Mrs. Ruby C. Petty Mr. and Mrs. Jerry W. Plant Drs. Gary and Mary Porter Mr. H.E. Rainbolt Drs. Lois and John Salmeron Dr. and Mrs. Hal Scofield Jeff and Kim Short

Jerrod and Jamie Shouse John and Katherine Spaid Jim and Debbie Stelter Mr. and Mrs. John E. Stonecipher John Stuemky and James Brand Mrs. Billie Thrash Donna Kennedy Vogel Mrs. Janet Walker Ron and Janie Walker John and Lou Waller Dr. James and Elizabeth Wise Mrs. Anne Workman Jeanise Wynn

Associate ($1,500 - $2,249) Anonymous (2) Mrs. Mary Louise Adams Virginia and Albert Aguilar Mr. and Mrs. Louis Almaraz Ms. Zonia Armstrong CONTINUED ON PAGE 42

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SPECIAL EVENT GIFTS

Thank you to the following who believed in our mission by supporting the 2021 Symphony Show House!

SHOW HOUSE COMMITTEE Show House Chair

Designer Sales

IT Support

J. Mark Taylor

Lacey Gilliam

Honorary Chairs

Jeannie Drake Carole Doerner

First Lady Sarah Stitt Debbie Thompson

Cinda Lafferty

Boutique

Design Inventory

Cindy Solomon

Jeannie Sanford

Staffing

Program Book Marty Taylor David Delana and Heritage Press

SHOW HOUSE SPONSORS Headlining Show House Patron

Friend

Dr. Margaret Freede In Memory of Josephine Freede Glenna and Dick Tanenbaum

Carole Doerner

Bronze Patron Mrs. June Tucker Dr. Don and Eleanor Whitsett The Meinders Foundation

Benefactor Janice B. Carmack John and Sue Francis Margaret and Drake Keith Bill and June Parry Lance and Cindy Ruffel Judith Clouse Steelman

Supporter Jennifer Bass-Billman Patricia Boone Joni Brown Debra Bugg Megan Clement Tiana Douglas Alexis Downs Michelle Early Elizabeth Eickman and Marvin Quinn Joan Ferrell David Gandall Shelley Goetz

Sue Goodman Jeanie Griffin Ellen Harmon Travis Kirk Alexander Leach Linda and Richard Mason Jill McCartney Pam McClure Virginia Myers Bonnie Naifeh Kevin Nevish Marcia Peeler Jody Prince Sheila Walker Elizabeth Wilson

Thank you to the Talented Designers who made the 2021 Symphony Show House a Reality!

Rosinna Gies, Amini’s Galleria Tuesday Fay & Halal Songer, Bob Mills Furniture Abbie Wilkerson, Aleks Payne, & Doris Medrano, Calvert’s Plant Interiors Johnathan Kwee, Fabricologie Katelynn Henry, Steve Calonkey, Steve Simpson, Madison Denison, & Mackenzie Matray, Henry Home Interiors Patty Tippet, Home Dazzle Dr. Kari Lopez, Renae Brady, & Tracy Knoche, LOREC Ranch Home Furnishings Lynda Savage, Lynda Savage Art

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Nathan Hughes & Gabrielle Roberts, Mathis Design Studio Keven Calonkey Carl, Cassidy Brunsteter, & Lance Whitlow, Mister Robert Fine Furniture and Design Travis Neely & Phara Queen, Neely + Queen Cindy Curley & Ryan Johnson, Norwalk Design Ronette Wallace, OTW Interiors and Suburban Contemporary Furniture Julie Miller, Tin Lizzie’s J. Mark Taylor & Adriana Nunez, Traditions Fine Furnishings & Design Pam Cravens, Vintage Gypsy

SPECIAL EVENT GIFTS

Thank you to the following who believed in our mission by supporting the 2021 Virtual Fundraising Gala!

Produced by: Scissortail Media

Catering: Kam’s Kookery

SPECIAL EVENTS COMMITTEE Chairs

Honorary Chair

Kristen Ferate Melissa Scaramucci

Jane Jayroe Gamble

Committee Judy Austin Joy Hammons

Debra Kos Jessica Martinez-Brooks Suzanne Reynolds Mark Taylor David White

SPONSORS Presenting Sponsor

Bronze Sponsors

Friend Sponsors

Glenna and Dick Tanenbaum

Fred Buxton Mr. and Mrs. Robert H. Clements Kristen and Anthony Ferate Joseph and Yvette Fleckinger Kirk Hammons Sam and Joy Hammons Terry and Kathy Kerr Midge Lindsey Jessica Martinez-Brooks and Michael Brooks-Jimenez Marilyn and K.T. Meade Rachel Morris

Judy Austin Suzanne Baxter Karen Beckman Dr. Charles and Marilyn Bethea Wayne Buchman Brent Hart and Matt Thomas Charles Oppenheim Diane Riggert Meg Salyer

Gold Sponsors Anonymous (1) Mo and Richard Anderson Gerald and Jane Jayroe Gamble Judy and Tom Love Jean and Dave McLaughlin Presbyterian Health Foundation

Silver Sponsors American Fidelity Foundation Teresa Cooper

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FRANÇAISE & RUSKI November 20, 2021 8:00 P.M.

CONCEPTS

CLASSICS

Maestro FROM THE

STEFAN JACKIW, VIOLIN ALEXANDER MICKELTHWATE, CONDUCTOR

Our 21/22 season, we will be taking you on a journey, from smaller, more intimate gems to powerhouse blockbusters.

You will experience the entire

Concert is dedicated to our Outstanding Volunteers

musical color pallet only possible with the symphony orchestra.

FRANÇAISE & RUSKI The third classics creates a creative balance between the influences of two countries: Russia and France, always connected through art and ballet.

Additionally, it is more like a... satisfying meal. First: a smooth French appetizer Milhaud’s Le boef sur le toit; followed by two exotic second appetizers - Ravel’s Tzigane and Saint-Saëns: Introduction and Rondo for violin solo and orchestra; and then the main course, Shostakovich’s Symphony No. 9 …strong, colorful satisfying for the entire taste palette.

MILHAUD ....................... Le boeuf sur le toit, Op. 58

RAVEL ............................ Tzigane, Rapsodie de concert, for Violin and Orchestra

SAINT-SAËNS ................. Introduction and Rondo Capriccioso in A minor for Violin and Orchestra, Op. 28 Stefan Jackiw, violin

Intermission

SHOSTAKOVICH ............. Symphony No. 9 in E-flat major, Op. 70

Allegro Moderato Presto Largo Allegretto

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Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, December 8 at 8 pm and Saturday, December 11 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

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STEFAN JACKIW Stefan Jackiw is one of America’s foremost violinists, captivating audiences with playing that combines poetry and purity with an impeccable technique. Hailed for playing of “uncommon musical substance” that is “striking for its intelligence and sensitivity” (Boston Globe), Jackiw has appeared as soloist with the Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco symphony orchestras, among others.

This season, he will re-unite with Juraj Valcuha to make his debut with the Konzerthaus Orchestra Berlin performing Korngold’s Violin Concerto. He also returns performing Stravinsky to the Bournemouth Symphony with Kirill Karabits, the Helsinki Philharmonic with Hans Graf, and the RTÉ National Symphony in Dublin with Leonard Slatkin. Other highlights include performances with the San Diego Symphony and Rafael Payare, the Indianapolis and Baltimore Symphonies with David Danzmayr, and the Omaha Symphony. In recital, Stefan continues touring the complete Ives Sonatas with Jeremy Denk, with whom he has recorded the sonatas for future release on Nonesuch Records. He also appears on tour with harpsichordist Mahan Esfahani, exploring works for violin and harpsichord and featuring a new commission by Lester St. Louis, and continues to perform alongside pianist Conrad Tao and cellist Jay Campbell as part of the Junction Trio, with stops this season in Massachusetts, Washington D.C., Ohio, California, Texas, New Mexico, Florida, and more.

Highlights of recent seasons include his debut with the Cleveland Orchestra and Juraj Valcuha, with whom he also re-united for performances in Dallas, Detroit, and Luxembourg; performances of Prokofiev’s Second Violin Concerto at Carnegie Hall with Mikhail Pletnev, as part of a multi-city tour with the Russian National Orchestra; as well as performances with the St. Louis Symphony under Nicholas McGegan, the Minnesota Orchestra under Ilyich Rivas, the Rotterdam Philharmonic under Yannick Nézet-Séguin, the Indianapolis Symphony under Krzysztof Urbanski, and the Pittsburgh Symphony under Valčuha. Other highlights in Europe included

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his performances with the Netherlands Radio Symphony and Ludovic Morlot at the Concertgebouw. In Asia, Stefan has appeared with the Tokyo Symphony at Suntory Hall under the direction of Krzysztof Urbanski, and the Seoul Philharmonic under Venzago. He has also toured Korea, playing chamber music with Gidon Kremer and Kremerata Baltica. In Australia, Stefan toured with the Australian Chamber Orchestra playdirecting Mendelssohn. He also gave the world premiere of American composer David Fulmer’s Violin Concerto No 2 “Jubilant Arcs”, written for him and commissioned by the Heidelberg Festival with the Deutsche Kammerphilharmonie under Matthias Pintscher. Recital highlights have included his performances of the complete Ives violin Sonatas with Jeremy Denk at Tanglewood and Boston’s Jordan Hall, and performance of the complete Brahms violin sonatas, which he has recorded for Sony. He also recently recorded the Beethoven Triple with Inon Barnatan, Alisa Weilerstein, Alan Gilbert and Academy St. Martin in the Fields.

Jackiw has performed in numerous important festivals and concert series, including the Aspen Music Festival, Ravinia Festival, Caramoor International Music Festival, SchleswigHolstein Music Festival, New York’s Mostly Mozart Festival, the Philharmonie de Paris, Amsterdam’s Concertgebouw, the Celebrity Series of Boston, and the Washington Performing Arts Society. As a chamber musician, he has collaborated with such artists as Jeremy Denk, Steven Isserlis, Yo-Yo Ma, and Gil Shaham, and forms a trio with Jay Campbell and Conrad Tao. Born to physicist parents of Korean and German descent, Stefan Jackiw began playing the violin at the age of four. His teachers have included Zinaida Gilels, Michèle Auclair, and Donald Weilerstein. He holds a Bachelor of Arts from Harvard University, as well as an Artist Diploma from the New England Conservatory, and is the recipient of a prestigious Avery Fisher Career Grant. Jackiw plays a violin made in 1750 in Milan by G.B. Guadagnini, on generous loan from a private collection. He lives in New York City.

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Le boeuf sur le toit, Op. 58 Darius Milhaud Single Performance: 1/10/2004 Conductor: Ransom Wilson Born: September 4, 1892, in Marseilles, France Died: June 22, 1974, in Geneva, Switzerland Work composed: 1919, completed on December 21 of that year Work premiered: February 21, 1920, at the Comédie des Champs-Elysées in Paris, with Vladimir Golschmann conducting Instrumentation: Two flutes and piccolo, oboe, two clarinets, bassoon, two horns, two trumpets, trombone, tamburin (a Provençal tenor drum), güiro, and strings

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French ambassador (who happened to be the playwright Paul Claudel), and setting up concerts and lectures to aid the Red Cross. While in Brazil he grew enamored of Brazilian folk and popular music, which would leave an indelible mark on his language as a composer.

What’s Going On? In My Happy Life, Milhaud provided a capsule summary of Jean Cocteau’s Surrealist plot of Le boef sur le toit: He imagined a scene in a bar in America during Prohibition. The various characters were highly typical: a Boxer, a Negro Dwarf, a Lady of Fashion, a Red-headed Woman dressed as a man, a Bookmaker, a Gentleman in evening clothes. The Barman, with a face like that of Antinous, offers everyone cocktails. After a few incidents and various dances, a Policeman enters, whereupon the scene is immediately transformed into a milk-bar. The clients play a rustic scene and dance a pastorale as they sip glasses of milk. The Barman switches on a big fan which decapitates the Policeman. The Red-headed Woman executes a dance with the Policeman’s head, ending up standing on her hands like Salome in Rouen Cathedral. One by one the customers drift away, and the Barman presents an enormous bill to the resuscitated Policeman.

—JMK

Born in Marseilles and raised in Aix-en-Provence, Darius Milhaud grew up in a home where music surrounded him, thanks to a father who was an accomplished amateur pianist and a mother who was a highly regarded contralto singer. He began violin lessons at the age of seven and proceeded on to harmony and composition instruction when he was 12. In 1909 he headed to Paris, where he spent the next six years honing his skills at the Conservatoire with teachers like Paul Dukas (for orchestral playing), CharlesMarie Widor (fugue), and the esteemed André Gédalge (counterpoint, composition, and orchestration).

It was an exciting time to be in Paris, where, during the 1910s the cultural geography was re-mapped via Stravinsky’s colorful music, Diaghilev’s exotic ballets, Apollinaire’s unpredictable poems, Picasso’s angular paintings, and Satie’s slyly subversive scores. It was also a time of political conflict, and when World War I broke out Milhaud took a job with the French Foreign Ministry. This soon led to an appointment as attaché in charge of propaganda in Brazil, where Milhaud spent nearly two years beginning in early 1917 translating coded messages, generally assisting the

He also kept abreast of what was going on in musical Europe, which was facilitated by faithful correspondence from friends (some of whom forwarded the latest scores) and the fact that such figures as the conductor Ernest Ansermet, the pianist Arthur Rubinstein, and the Ballets Russes included Brazil on their touring itineraries. When Milhaud returned to Paris in early 1919, he was already “up to speed” and able to quickly reinsert himself into the cultural scene. With the onset of the Roaring Twenties, he and five iconoclastic colleagues declared themselves to be a Société des Nouveaux Jeunes, a label that would give way to the more informal Groupe des Six, a sobriquet supplied by the music critic Henri Collet. Though each of Les Six— Milhaud, Francis Poulenc, Arthur Honegger, Georges Auric, Germaine Tailleferre, and Louis Durey—ended up pursuing distinct paths, the jovial brashness that they all shared at that time defined a distinctive cultural moment.

For the summer holidays of 1919, Milhaud headed south to Aix along with Cocteau and Durey, essentially transporting the high-life they had instantly re-established in Paris.

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Milhaud recounted in his autobiography (translated into English as My Happy Life): Still haunted by my memories of Brazil, I assembled a few popular melodies, tangoes, maxixes, sambas and even a Portuguese fado, and transcribed them with a rondo-like theme recurring between each successive pair. I called this fantasia Le Boeuf sur le toit, which was the title of a Brazilian popular song. I thought that the character of this music might make it suitable for an accompaniment to one of Charlie Chaplin’s films. …

Cocteau disapproved of my idea, and proposed that he should use it for a show, which he would undertake to put on. … Jean took the seating plan of the Comédie des Champs-Elysées to the Comte de Beaumont, who undertook to book in advance, at a high price, the boxes and the first rows of the stalls. A few days later, as if at the wave of a magic wand, the whole theatre was booked up, and the Shah of Persia even paid ten thousand francs for a front seat from which he could not see a thing, but was himself in full view of everyone.

The show was a Surrealist pantomime in which circus performers portrayed an assortment of characters who happened to cross paths in a high-spirited American bar— hence its subtitle, “The Nothing-Doing Bar.” Its premiere created just the sort of madcap scandal Parisian audiences adored, and before long the ox that figured in Raoul Dufy’s stage set became so iconic that a cabaret in central Paris, near the Madeleine, took the name Le Boef sur le Toit in appreciation.

Tzigane, Rapsodie de concert, for Violin and Orchestra Maurice Ravel First Performance: 12/5/1966 Violinist: Robert Gerle Last Performance: 3/3/2012 Violinist: Rachel Barton Pine Born: March 7, 1875, in Ciboure, Basses-Pyrénées, France Died: December 28, 1937, in Paris Work composed: 1924, originally for violin and piano, then arranged by the composer for violin and orchestra that July Work premiered: In its original version, on April 26, 1924, at Aeolian Hall in London, by violinist Jelly d’Arányi and pianist Henri Gil-Marchex; the orchestral version on November 30, 1924, in Paris, by Ms. d’Arányi, with Gabriel Pierné conducting the Orchestra of the Concerts Colonne Work dedicated: To Jelly d’Arányi Instrumentation: Two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons, two horns, trumpet, triangle, bell, suspended cymbal, celesta, harp, and strings

Maurice Ravel composed his Tzigane for a violinist whose name surfaces today less than one might expect given the number of musical headlines she made during her heyday.

Jelly d’Arányi—or, to give her full Hungarian handle, Jelly Eva Arányi de Hunyadvar—was born in Budapest, in 1893, into a

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family of violinistic distinction. Her great uncle was Joseph Joachim, the leading violinist of the Schumann-Brahms circle, and her older sister was Adila Fachiri, a recital partner of the revered musical analyst Donald Francis Tovey (with whom she recorded one of Beethoven’s violin sonatas). Both the Arányi sisters were violin pupils of the legendary Jenö Hubay at the Music Academy of Budapest, and both emigrated to London as young adults and took British citizenship.

The Arányi sisters often appeared as a duo, and the widely held opinion was that Jelly was the better all-round violinist but that Adila brought sufficient passion to her presentation to make up for technical shortcomings. Jelly became especially famous for her interpretations of contemporary music and was honored with the dedications of not only Ravel’s Tzigane but also Bartók’s two violin-and-piano sonatas and Vaughan Williams’ Concerto Accademico (192425). As a team the sisters played the premiere of Gustav Holst’s Concerto for Two Violins (1930), which was dedicated to them jointly.

The most curious chapter of the Jelly d’Arányi saga came in March 1933, when she arranged a séance during which (she reported) the spirit of Robert Schumann appeared to her and Adila, asking Jelly to recover the Violin Concerto he had composed in 1853, just before he was institutionalized—a work of which she insisted she was entirely ignorant. Uncle Joseph Joachim’s ghost then coalesced and fortuitously revealed that Schumann had given the manuscript to Joachim himself, who had deposited it in the Prussian State

PROGRAM NOTES Library but forbidden its publication until a hundred years after the composer’s death (i.e., 1956). For some reason, Jelly had not yet followed up on this information when, four years later, Yehudi Menuhin came into possession of the score and announced that he would be premiering the Schumann Concerto in San Francisco. At that point Jelly cried foul, claiming very publicly that the mandate she had received during the séance gave her the right of first performance. In the end, the German government insisted that a German musician play the premiere. The Nazis, having recently outlawed the Mendelssohn Violin Concerto for being Jewish, needed a “great Romantic concerto” to take its place in the repertoire; and since they controlled the copyright, the honor of the premiere went to violinist Georg Kulenkampff and the Berlin Philharmonic, in 1937. Someone must make a movie of all this.

Tzigane is one of the most oddly structured pieces in the established repertoire. It seems almost like two pieces in one. The violinist reigns unaccompanied over the first four-and-a-half minutes (Lento, quasi cadenza).

At that point the orchestra quietly rumbles in to serve as accompanist and co-conspirator for the remaining six minutes, which includes passages in highly spiced “Hungarian Gypsy” modes.

The audience loved the piece from the outset, but some of the critics were left scratching their heads. The reviewer for The Times of London, in any case no Ravel aficionado, thought perhaps it shouldn’t be taken at face value: The other new work, which had been completed only just in time for the performance, was the Tzigane for violin and piano. It is rhapsodical in the literal meaning of the word, being a series of episodes in the Hungarian manner strung together. One is puzzled to understand what M. Ravel is at. Either the work is a parody of the Liszt-Hubay-Brahms-Joachim school of Hungarian violin music and falls into the class of La Valse, or it is an attempt to get away from the limited sphere of his previous compositions to infuse into his work a little of the warm blood it needs.

—JMK

Jelly d’Arányi was a passionate champion of Ravel, who was impressed with her interpretation of his Sonata for Violin and Cello when he heard her play it with the cellist Hans Kindler at a private musicale in London in 1922. When the formal concert was over, Ravel asked her to play a Romany piece—and then another and another until 5 o’clock in the morning. The experience left a huge impression on Ravel,

and two years later we find him writing to the violinist: “Would you have the time to come to Paris in 2 or 3 weeks?

If so, I would like to speak to you about Tzigane, which I am writing specially for you [and] which will be dedicated to you …. This Tzigane must be a piece of great virtuosity. Certain passages can produce brilliant effects, provided that it is possible to perform them—which I’m not always sure of.”

Indeed it is filled with technical challenges—multiple stops, rapid-fire harmonics and pizzicatos, swooping glissandos, and all manner of other violinistic derring-do. While he was working on the piece, Ravel summoned his violinist-friend Hélène Jourdan-Morhange: “Come quickly with your violin and the 24 Caprices by Paganini.” She recounted: “It was the time when he was writing Tzigane, that violinist’s minefield.

He thought Paganini might be able to suggest to him some unsuspected obstacles, but I can safely say Ravel was the more devilish of the two!”

Introduction and Rondo Capriccioso in A minor for Violin and Orchestra, Op. 28 Camille Saint-Saëns First Performance: 2/27/1944 Violinist: Zino Francescatti Last Performance: 1/10/2004 Violinist: Ju-Young Baek Born: October 9, 1835, in Paris, France Died: December 16, 1921, in Algiers, Algeria; we mark the centennial of his passing this season.

Work composed: 1863 Work dedicated: To the violinist Pablo de Sarasate Work premiered: Probably April 27, 1867, at the Salle Pleyel in Paris, with Pablo de Sarasate as soloist and François Seghers conducting, although Sarasate may have played it earlier, on April 4, with Saint-Saëns conducting Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings, in addition to the solo violin

“Monsieur Saint-Saëns possesses one of the most astonishing musical organizations I know of. He is a musician armed with every weapon. He is a master of his craft as no one else is. ... He plays, and plays with the orchestra as he does the piano. One can say no more.”

So remarked the composer Charles Gounod of his fellow French composer, and in marveling over his talents, Gounod might also have noted that Saint-Saëns was also a highly accomplished organist (who for two decades reigned in the loft at the Madeleine), a champion of forgotten earlier music and of contemporary composers, an inspiring teacher (who, as professor at the École Niedermeier in Paris, did much to shape the raw talent of Gabriel Fauré), a gifted writer, a world traveler, and an avid and informed aficionado of such disciplines as Classical languages, astronomy, archaeology, philosophy, and even the occult sciences.

He started piano lessons at the age of two-and-a-half, soon began studying piano with a former pupil of Kalkbrenner CONTINUED ON PAGE 36

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and Mendelssohn, and embarked on composition and organ instruction at seven (by which time he was already performing Bach, Handel, and Mozart in public). In 1846, when he was ten, he played his formal debut recital at Paris’ Salle Pleyel, with a program that included piano concertos

by Mozart and Beethoven. The applause was resounding, so he topped off the event by offering to play any of Beethoven’s piano sonatas from memory, as an encore. “He knows everything, but lacks inexperience,” lamented his friend Hector Berlioz.

Saint-Saëns produced three violin concertos, in 1858, 1859, and 1880. Between the first two and the third falls the Introduction and Rondo Capriccioso in A minor of 1863, a shorter work of two connected sections whose popularity has outpaced that of his full-scale concertos. An early SaintSaëns biography maintained that he initially intended this to be the finale of his A-major Violin Concerto, Op. 20; but when this movement was premiered separately in advance of the full concerto, it met with such great success that he decided to publish it as a standalone work and to adapt his concerto into a more compacted format. That has been questioned by some more recent scholars, but documentation about the work’s origins and premiere remains ambiguous.

Helping Hands

Highly respected by his contemporaries, Saint-Saëns enjoyed the combination of musical and political clout needed to make a success of the Société Nationale de Musique, which he co-founded in 1871 to provide a forum for contemporary French works. At that time, French composers had scant hope of having their pieces premiered at any prominent venue in their own capital, so much did the German classics dominate the Parisian concert scene. Saint-Saëns lived to the age of 86; it’s astonishing to think that he was born when Beethoven was still being mourned and died when The Rite of Spring was already being assimilated into the repertoire and the Groupe des Six was playing naughty tricks on the Parisian musical establishment. Fortunately for Saint-Saëns, he remained generally respected by musicians to the end; some viewed him as a curious relic of antiquity, to be sure, but those with open ears could hardly miss the fact that his style continued to develop practically until the day he died, while on vacation in Algiers, in the midst of a series of woodwind sonatas that are marked by Classical transparency.

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At its premiere in 1867, Saint-Saëns’ Introduction and Rondo Capriccioso was played from manuscript parts.

Not until it was published could it begin staking its place as one of the composer’s most popular works— and getting a full score published in Paris just then was an expensive task that publishers viewed warily. SaintSaëns’ principal publisher, Éditions Durand, waited some years to issue it in printed format—the orchestral parts in 1875, the full score in 1879. By then, however, the piece had already been published in a reduction for violin and piano, far less costly to produce and less risky to release. That setting was issued in January 1875 by the rival firm of Georges Hartmann, who hired Saint-Saëns’ friend Georges Bizet to prepare the piano reduction—just in time, it turned out, since Bizet would die that June, just three months after the premiere of his opera Carmen. The published edition of the score and parts proved highly profitable for Durand, and in 1889 it sought to capitalize on the work’s success by issuing it in a setting for two pianos. To make that transcription, the firm hired a fledgling composer who was attracting some attention among musical cognoscenti, a promising 26-year-old named Claude Debussy.

—JMK

Even as a young composer Saint-Saëns was friendly with a number of notable violinists, including the Belgian François Seghers and the Afro-English George Bridgetower (for whom Beethoven had written the Kreutzer Sonata). But within a few years his favorite among violinists would emerge from the pack: the Spanish prodigy Pablo de Sarasate, who introduced the composer’s Second and Third Violin Concertos and the Introduction and Rondo Capriccioso. This last work displays a sense of poise that quintessentially represents its composer, with its contemplative opening giving way to an infectious, rhythmically propulsive fast

PROGRAM NOTES movement. The syncopated rondo theme is certainly spicy, but a listener might easily imagine that it evokes the “Hungarian style” celebrated by Liszt at the time rather than something Spanish, although the composer said he had the latter in mind.

Symphony No. 9 in E-flat major, Op. 70 Dmitri Shostakovich Single Performance: 11/9/1969 Conductor: Guy Fraser Harrison Born: September 12 (old style)/25 (new style), 1906, in St. Petersburg, Russia Died: August 9, 1975, in Moscow Work composed: July 26 to August 30, 1945 Work premiered: November 3, 1945, at the Large Philharmonic Hall in Leningrad, with Yevgeni Mravinsky conducting the Leningrad Philharmonic Instrumentation: Two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, tambourine, side drum, bass drum, cymbals, and strings

Piano with the Accompaniment of String Orchestra and Trumpet (a.k.a. Piano Concerto No. 1) of 1933, but things turned sour again in 1936, when Stalin decided to see the Shostakovich opera everyone was talking about, Lady Macbeth of Mtsensk. Denunciation in the press ensued, and Shostakovich contritely offered his Fifth Symphony (1937) as “the creative reply of a Soviet artist to justified criticism” (not really his words, though often attributed to him). The regime accepted his apology and awarded him the Stalin Prize twice in succession, in 1940 for his Piano Quintet and in 1941 for his Symphony No. 7 (the Leningrad, which memorialized that city’s suffering under Hitler’s siege). In 1945 his star fell again when his Ninth Symphony struck the bureaucrats as insufficiently reflecting the glory of Russia’s victory over the Nazis (not a single-handed war effort, to be sure, but Russian casualties were immense). By 1948, Shostakovich found himself censured along with a passel of his composer colleagues for “formalist perversions and antidemocratic tendencies in music, alien to the Soviet people and its artistic tastes.” He responded with a pathetic acknowledgement of guilt and the next year redeemed himself with The Song of the Forests, a nationalistic oratorio that gained him yet another Stalin Prize, this time backed by 100,000 rubles.

Interpreting the Ninth Yevgeni Mravinsky, who conducted the premiere of Shostakovich’s Symphony No. 9, shared his thoughts on the meaning of this piece:

Dmitri Shostakovich spent most of his career falling in and out of favor with the Communist authorities in a game of totalitarian badminton that left the shuttlecock in shambles. His sassy Symphony No. 1 launched him on a promising career upon his graduation, in 1926, from the conservatory in his native St. Petersburg, but within a few years of this auspicious debut his satirical opera The Nose (staged in 1930) ran afoul of Soviet politicos, and the powerful Russian Association of Proletarian Musicians condemned its “bourgeois decadence.” He redeemed himself with his charming, often brash Concerto for

As a work directed against philistinism, I interpret the Ninth Symphony as an original “symphonic broadside” which ridicules complacency and bombast, the desire to “rest on one’s laurels”— attributes and a state of mind which were particularly dangerous at a time when the war had just ended and the task of healing its wounds lay ahead. To be sure, not all the symphony is ironic—it contains both tender lyricism and deep sadness. The insouciant or frivolous “light-heartedness” of the first movement (think of the secondary subject!) and the element of deliberate and labored gaiety in the finale express, not the composer’s own feelings, but those of his opposite—the self-satisfied, short-sighted philistine who is essentially indifferent to everything.

—JMK

His Symphonies Nos. 7, 8, and 9 were all written while World War II was on, although he finished the last only three days before the end of fighting in Europe. When he produced his Eighth in 1943, he suggested it was the second part of CONTINUED ON PAGE 38

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a symphonic “war trilogy.” In 1944, he told friends he was planning for his Ninth to be grand and glorious, perhaps “for a chorus and solo singers as well as an orchestra … if I were not afraid that I might be suspected of wanting to draw immodest analogies”—referring to the revered Ninth Symphony of Beethoven. He carried out some work on such a piece, none of which saw the light of day.

Instead, audiences at the premiere were greeted with a short, lighthearted Ninth, a neoclassical romp (vaguely reminiscent of Prokofiev’s Classical Symphony) filled with Haydnesque wit. An article in the magazine Sovetskoye iskusstvo (Soviet Art) quoted Shostakovich thus: “If the Seventh and the Eight Symphonies bore a tragic-heroic character, then in the Ninth a transparent, pellucid, and bright mood predominates.” After he and Sviatoslav Richter played a two-piano reduction of the score for cultural officials in September 1945, a critic in the magazine Trud (Work) wrote, “The Ninth Symphony is like a symphonyscherzo, separating Shostakovich’s two preceding orchestral tragedies from the concluding Victory Symphony the composer conceived long ago and which, undoubtedly, he will eventually write.”

Shostakovich was gifted in the art of subterfuge; listeners may often suspect that things are not necessarily what they seem. A fine line can separate witty from cynical, humorous from sardonic. Knowing that Stalin was expecting a massive

“victory symphony” from him, should we view this less as a cheerful gambol than a thumbing of the nose toward authority? And is it, similarly, a protest against the idea of venerating ninth symphonies, an attitude that took root after Beethoven’s towering model and was reinforced by the analogous works by Bruckner and Mahler? Indeed, the fourth movement’s solemn brass choir sounds very much like Bruckner, but Shostakovich offers a counter-argument from a lonely bassoon, which moments later dances off into the finale with hardly a care in the world.

JAMES M. KELLER James M. Keller is the longtime Program Annotator of the San Francisco Symphony and was formerly Program Annotator of the New York Philharmonic and a staff writer-editor at The New Yorker. The author of Chamber Music: A Listener’s Guide (Oxford University Press), he is writing a sequel volume about piano music for the same publisher.

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Dr. Sterling and Cheryl Baker Dr. and Mrs. William L. Beasley William Beck Nick and Betsy Berry Dr. Charles and Marilyn Bethea Bart Binning Dr. and Mrs. Philip C. Bird Robyn Birdwell and Mark Fixley Ms. Pamela Bloustine Mr. and Mrs. Del Boyles Martha and Ronnie Bradshaw Mrs. Phyllis Brawley Dr. and Mrs. Robert C. Brown Mr. and Mrs. Fred Brown Ms. Janice B. Carmack Drs. Fong Chen and Helen Chiou Nancy Coleman Dr. Thomas Coniglione Barbara Cooper Patricia Czerwinski Mr. Chuck Darr Mr. and Mrs. Charles T. Davis Rita and Thomas Dearmon Tony and Pam Dela Vega Gary and Fran Derrick Kevin and Alisha Dunnington Mr. and Mrs. Joe Edwards Nancy Payne Ellis Dr. and Mrs. Royice B. Everett Ann Felton Gilliland Kristen and Anthony Ferate Dr. Thurma J. Fiegel Athena Friese, M.D. Mrs. Linda Gardner Mr. and Mrs. Kelly George Drs. Stephen and Pamela Hamilton Kirk Hammons Walt and Jean Hendrickson Mr. and Mrs. John D. Higginbotham Frank and Bette Jo Hill Thomas and Elizabeth Hrubik David and Vicki Hunt Mr. and Mrs. Carlos Johnson Dr. and Mrs. Johnny H. Jones, Jr. Dan and Diana Kennedy Ms. Claren Kidd Mike and Kay Lacey Sharon and Ken Lease Drs. Jason and Julie Lees Mr. and Mrs. Harrison Levy, Jr. Mr. and Mrs. Duke R. Ligon Barbara Masters, M.D. Mr. and Mrs. John A. McCaleb

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Cindy and Johnny McCharen John and Anna McMillin Mr. and Mrs. K. T. Meade, Jr. Tom and Peggy Miller Chip and Michelle Mullens Dr. Gene L. Muse Mrs. Jeaneen Naifeh Mr. and Mrs. Ronald J. Norick Mr. J. Edward Oliver Mr. Chip Oppenheim Mr. and Mrs. Ray H. Potts Kathryn and Robert Prescott Mr. Larry Reed Mr. and Mrs. Kenneth R. Rees Mr. and Mrs. Richard L. Reynolds Carol Ricks Kathryn Ryan Andrew and Kelly Sachs Ernesto and Lin Sanchez Fred and Maria Schmitt Mr. and Mrs. John M. Seward Pam and Bill Shdeed Robert and Susan Shoemaker Amy and David Sine Dr. Richard V. Smith and Jan J. Smith Donald J. Smock, M.A. Jeff and Sally Starling Bill and Cindy Stewart Susan Sutter J. Mark and Virginia Taylor Curtis and Shellie Thornton Mrs. June Tucker Robert and Sharon Varnum Robert and Tammy Weiss Mr. and Mrs. Kenneth K. Wert Larry and Leah Westmoreland Mrs. Carol Wright

Friend ($1,000 - $1,499) Anonymous (2) Hugh G. and Sharon Adams Beth M. Alonso Tom and Fran Ayres Mr. J. Edward Barth Dr. Jack and Ruth Beller Glenn and Debra Blumstein MAJ. GEN. William P. Bowden, Rt. Carole and Deal Bowman Ryan Bunyan Mr. and Mrs. William M. Cameron J. Christopher and Ruth Carey Anita Clark-Ashley and Charles Ashley Carol A. Davito

Dr. Nancy Dawson Joel Dixon Matthew Draelos, M.D. Richard and Cindy Dugger Anne and Ken Early Ron Eden John and Sue Francis Stephen P. and Nancy R. Friot Dr. and Mrs. Ralph G. Ganick Melvin and Bobbie Gragg Nick S. Gutierrez and Ana Maria B. Gutierrez Karen Hennes Jim Horsburgh Mary Lu Jarvis Kent and Brenda Johnson Mr. and Mrs. L.J. Johnson Scott and Carol Johnson Margaret and Drake Keith Renee Knox Robin and Brad Krieger Kevin and Jennifer Lafferty Mary Jane Lawson Brad and Janet Marion Mr. and Mrs. Joe A. McKenzie Ms. Debbie McKinney Tom and Katherine Milam Bill and June Parry Dr. and Mrs. Marvin D. Peyton Mrs. Barbara Pirrong Sam and Kylee Rainbolt Agnieszka and Marat Rakhmatullaev Gary Rankin Susan Robinson Elizabeth Ryan Robert Shamblin Mary Sherman Erin Sloan Rick and Amanda Smith Dr. and Mrs. James B. Stewart, Jr. Jonathan and Andrea Stone Dale Toetz and Charlotte Gibbens Mr. Phillip S. Tomlinson Eddie Walker and Tim Fields Mr. and Mrs. Tony Welch Rainey and Casey Williams Nick Wu M. Blake and Nancy Yaffe

Partner ($500 - $999) Dr. Gillian Air Joan Allmaras Mary Allen-Carey

John and Nancy Alsup Mr. and Mrs. Van A. Barber John and Ethelyn Barnett Jose Batty Jackie and Jerry Bendorf Lori Dickinson Black and Robert Black Stuart and Jill Bombel Rev. Dr. Carl Bosteels, D.Min. Dr. and Mrs. Harry Boyd Mike Brake Harold and Jennifer Burkhart Mr. and Mrs. Robert M. Calvert Joshua Carey Kathryne Cates, M.D. Mr. and Mrs. Elliot Chambers Mr. and Mrs. Earl J. Cheek Ken Coffey Deborah Collins Ms. Carol Combs Joseph and Valerie Couch Ms. Betty Crow Mr. David Daugherty Bruce and Joanne Ewing Ms. Pam Felactu Mr. and Mrs. Keith G. Golden Vicki Clark Gourley George M. and Jo Hall Pat and Ernestine Hallren Susan and Nick Harroz III David Hatton Ryan and Melanie Hayhurst Dr. Nancy and Capt. George Hector David and Marilyn Henderson Kenneth Hopkins Lois and Roger Hornbrook Mrs. Janice C. Jenkins Lauren and Rich Johnson Mr. and Mrs. Stephen Johnson Rick and Kerri Johnson Mr. and Mrs. Wes Knight Cinda Lafferty Donald and Peggy Manning Allison Matoi Ms. Vickie McIlvoy Michael and Lea Morgan Annette Munson Jim Murtaugh Rudi Nollert and Mary Brodnax O.K. Detrick Foundation Fund Richard Pralle Tony and Jennifer Puckett Patrick and Amy Randall Susan and Steve Raybourn Sherry Rowan

Carl J. and Deborah Rubenstein Dr. and Mrs. Olaseinde Sawyerr James Schmaelzle Mr. John Schwind Frank and Amy Sewell Lee Allan Smith Dennis and Marianne Stover Sammy and Janet Todd Diane Tucker Phillip and Ashton Whaley Jesse White Mr. and Mrs. Don T. Zachritz Linda and Mike Zeeck

Member ($250 - $499) Anonymous (1) Judy Austin Mr. Paul D. Austin and Jane Ford Austin Nina and Kash Barker Judy Barnett Mrs. Arden Barrett Sherry K. Barton Eloise Bentley James Blank Rev. Thomas Boyer Mr. and Mrs. F.M. Buxton Mrs. Jo Carol Cameron Vikki Ann Canfield, M.D. William and Mary Ann Corum Sally Crawford Gail and Bruce Daniels Merle and Elizabeth Davis Carole Doerner William Dooley Ann Dow Brandon Downey Richard and Marilyn Ehlers Mrs. Betty Foster Mr. George R. Francis, Jr. Mr. and Mrs. John E. Frank Steven Graham and Vicky Leloie Kelly Janet Gruel Dr. and Mrs. John E. Grunow Earle Haggard David and Sandra Haskett Curtis and Mimi Hendricks Judy Hill Jane Hogg-Krizer Mrs. Lou Kerr Robert Leveridge Rosemary and Paul Lewis

Charles Lodge Ann and Bill McVey Lt. Col. Terry L. Mock Judy and Paul Moore Don Nieser William R. Powell Elizabeth Raymond Mr. and Mrs. Ray Reaves Valerie Reimers Barry Roseman Mr. and Mrs. Arthur J. Rus Jody and Pat Smith Paul and Carolyn Specht Rick Spence Jymmie Stanton Judith Clouse Steelman Mrs. Marilyn Summers Sarah Sweet Greg Taber David and Peggy Tanner Mr. and Mrs. Lawrence Towell Mr. Curtis VanWyngarden Ronald Ward Dick Wegener Elaine Weise John and Cheryl White Ghita Williams Jim and Polly Worthington Ruth and Stanley Youngheim

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SPECIAL GIFTS TO THE PHILHARMONIC Honor loved ones, celebrate occasions, recognize achievements and support the Philharmonic’s mission.

In Memory of Patricia Abney Jean Schroer

In Honor of Kristen and Anthony Ferate Pat and Ernestine Hallren

Peter and Kris Markes Ms. Vicki William

In Memory of Dr. John M. Carey Jay and Linda Leemaster Cliff and Vickie Miller

In Memory of Jose Freede Linda and Patrick Alexander Bob and Nancy Anthony Dr. Margaret Freede Mrs. Jane B. Harlow The Lucky Ladies Investment Club Larry and Polly Nichols Mr. Richard L. Sias Dr. and Mrs. Floyd E. Skarky Lee Allan Smith Glenna and Dick Tanenbaum

In Memory of Sharon Shelton Linda and Patrick Alexander Dr. Sterling and Cheryl Baker Stuart and Jill Bombel Carol Cooley John and Sue Francis Beth and James Hammck Marvin and Peggy Lunde

In Honor of Michael E. Joseph Mrs. Jane B. Harlow

In Honor of Jeff and Sally Starling Linda and Carl Bosteels Larry and Polly Nichols

In Memory of Patsy Elane Murray Castleberry Dorothy Castleberry Coker and Michael Coker Tom Castleberry Mahaffey & Gore P.C. In Memory of William B. and Helen P. Cleary Steven C. Agee, Ph.D. Marilyn and Bill Boettger Louise Cleary Cannon Mr. and Mrs. Andrew J. Evans, II In Memory of Molly Crawley Margaret and Drake Keith In Memory of Carlene Edwards Kathleen and Eric Andres Marilyn Cook

In Memory of Glen Koons Margaret and Drake Keith In Honor of June H. Parry Anonymous In Memory of Michael Reaves Tom and Dorothy Hays Margaret and Drake Keith

ON VIEW OCT. 21-FEB.22 Free tickets: okcontemp.org | 11 NW 11th St., OKC

Installation view of Open World at Akron Art Museum. Open World: Video Games & Contemporary Art is organized by the Akron Art Museum and supported by the John S. and James L. Knight Foundation, Ohio Arts Council, The Tom and Marilyn Merryweather Fund and National Endowment for the Arts.

In Honor of Dick Sias Vicki Clark Gourley

In Memory of David Bunn Talbot Kirk Hammons In Honor of Donna Vogel Donna McCampbell In Honor of Irv Wagner Jody and Pat Smith

THANK YOU! The OKCPHIL gratefully acknowledges the generosity of individuals who have chosen to return concert tickets as a donation. This recognition reflects contributions made in the 2021-2022 concert season and are listed through October 1, 2021.

Anonymous Beth M. Alonso Dr. and Mrs. John C. Andrus Dr. Henry and Carol Asin Tom and Fran Ayres Mr. J. Edward Barth Ann Beutel Mr. and Mrs. Kenneth Brown Barbara and Gregory Cable Nancy Cain

Dr. Thomas Coniglione Carol A. Davito Dr. Nancy Dawson Gerald and Jane Jayroe Gamble Ruth Giddens Janet Gruel Kirk Hammons Brent Hart and Matt Thomas Karen Hennes Brenda Huff

Robert Leveridge Lisa Loewenkamp Debra and Wayne Lord Roy and Sharon Love Betsy Mitschke and Steven Helt Dr. and Mrs. Michael Fred Robinson Dr. Linda Rowland Woody, Ph. D. Pam and Bill Shdeed Mr. Richard L. Sias Jim and Debbie Stelter

Chris Steves Sarah Tracy Diane Tucker Christopher Weimer Robert and Tammy Weiss Phillip and Ashton Whaley Mary Ann Williams

WEITZENHOFFER FAMILY COLLEGE OF FINE ARTS

UNIVERSITY THEATRE

The UNIVERSITY of OKLAHOMA

University Theatre invites you to join us for an intriguing lineup of dance, musicals, plays and opera productions that inspire the imagination!

MAD FOREST

A PLAY FROM ROMANIA

A gripping dramatic play by Caryl Churchill.

Sept. 24 – Oct. 3, 2021

SHE LOVES ME

OUR PLATINUM SEASON

BACH’S COFFEE CANTATA

70th CONSECUTIVE YEAR!

LA SERVA PADRONA

AWARD-WINNING OPERA & MUSIC THEATER

A heart-warming romantic musical comedy.

Oct. 15 – 24, 2021

by Johann Sebastian Bach

by Giovanni Battista Pergolesi Two one-act operas brimming with comedic entertainment. Nov. 11 – 14, 2021

CONTEMPORARY DANCE OKLAHOMA

Energetic and extraordinary modern dance works with guest choreography by Sidra Bell, Gus Solomons Jr. and Tommie-Waheed Evans. Dec. 3 – 11, 2021

Oct. 1-3

Nov. 5-7

MAINSTAGE MUSICAL CHILDREN OF EDEN

SPOTLIGHT MUSICAL CABARET

YOUNG CHOREOGRAPHERS’ SHOWCASE A perennial favorite featuring exciting, imaginative choreography by School of Dance students with lighting design by Helmerich School of Drama students.

Jan. 27 – 30, 2022

THE SCARLET LETTER

Nov. 19-21 MAINSTAGE OPERA THE THREEPENNY OPERA

This compelling new opera composed by Lori Laitman is a cautionary tale of puritanical patriarchy.

Feb. 10 – 13, 2022

Feb. 18-20

A MIDSUMMER NIGHT’S DREAM

MAINSTAGE OPERA LITTLE WOMEN

Shakespeare’s comic fantasy of four star-crossed lovers who find themselves bewitched by fairies.

Feb. 25 – March 6, 2022

Featuring guest conductor Alexander Mickelthwate

PIPPIN

This Tony Award-winning musical tells the story of one young man’s journey to be extraordinary.

April 1 – 10, 2022

OKLAHOMA FESTIVAL BALLET

Featuring The Sleeping Beauty Suite with additional exciting choreography by Robyn Mineko Williams.

April 22 – May 1, 2022

OU Fine Arts Box Office

(405) 325-4101 theatre.ou.edu

The University of Oklahoma is an equal opportunity institution. www.ou.edu/eoo

This advertisement issued by the University of Oklahoma costs $775 to the taxpayers of Oklahoma.

Feb. 25-27

Apr. 22-24

SPOTLIGHT MUSICAL LEGALLY BLONDE

MAINSTAGE MUSICAL IN THE HEIGHTS

TICKETS

www.okcu.edu/tickets

www.okcu.edu/music

QUALITY CHICKEN

FINGER

MEALS A Preferred Restaurant of the Oklahoma City Philharmonic

23rd & Penn, Oklahoma City Sun-Thurs 10am-11pm | Fri & Sat 10am-Midnight

HOUSE NOTES

CIVIC CENTER COVID-19 HEALTH AND SAFETY PROTOCOLS INCLUDE: • Masks worn over the nose and mouth will be required for all patrons upon entry and throughout the performance.

• A photo ID along with the proof of full vaccination (either physical vaccination card, a picture of your vaccination card, or a digital vaccination record) will be required.

• PROOF OF A NEGATIVE PCR test (taken within 72 hours of entering the venue), for unvaccinated people ages 6 and above or those who prefer not to share their vaccination status, will be required.

• Hand sanitizing stations will be readily available throughout the building RESTROOMS are conveniently located on all levels of the theater. Please ask your usher for guidance.

LATECOMERS and those who exit the theater during the performance may be seated during the first convenient pause, as determined by the management.

ELECTRONIC DEVICES must be turned off and put away during the performance (no calling, texting, photo or video use please).

BEVERAGES: Bottled water is permitted in the theater at the Classics Series concerts. Beverages are permitted in the theater at the Pops Series concerts; however, bringing coffee into the theater is discouraged due to the aroma.

SMOKING in the Civic Center Music Hall is prohibited. The Oklahoma City Philharmonic promotes a fragrance-free environment for the convenience of our patrons.

FIRE EXITS are located on all levels and marked accordingly. Please note the nearest exit for use in case of an emergency.

ELEVATORS are located at the south end of the atrium of the Civic Center Music Hall.

CHILDREN of all ages are welcome at the Philharmonic Discovery Family Series and Holiday Pops performances; however, in consideration of the patrons, musicians and artists, those five years and under will not be admitted to evening Classics and Pops concerts unless otherwise noted.

BOOSTER SEATS for children are available in the Civic Center lobby. Please inquire at the Box Office.

VIDEO MONITORS are located in the lobby for your convenience.

WHEELCHAIR AVAILABLE SEATING – Persons using wheelchairs or with walking and climbing difficulties will be accommodated when possible. Those wishing to use the designated wheelchair sections may purchase the wheelchair space and a companion seat. Please inform the Philharmonic or Civic Center Box Office staff of your need when ordering tickets so that you may be served promptly and appropriately. Please request the assistance of hall ushers to access wheelchair seating.

HEARING LOOPS have been installed. Ask your audiologist to activate the telecoil in your hearing aid or cochlear implant.

Due to the mechanics of the stage, the hearing loops do not reach the pit section but are available at the Box Office and the Thelma Gaylord Performing Arts Theatre. The copper wire in the floor and telecoil work together to connect the hearing device to the theater’s sound system using a magnetic field which dramatically improves sound clarity for patrons using hearing devices.

LOST & FOUND is located in the Civic Center office (405-594-8300) weekdays 8:30 a.m. – 5:00 p.m.

PHILHARMONIC TICKET OFFICE may be contacted by calling 405-TIC-KETS (405-842-5387) or you can visit the Philharmonic Ticket Office located on the first floor of the Arts District Garage at 424 Colcord Drive in Suite B. The Philharmonic Ticket Office is open Monday through Friday, 10:00 a.m. to 5:00 p.m. and by phone on concert Saturdays from 10:00 a.m. to 2:00 p.m.

CIVIC CENTER BOX OFFICE hours are Monday through Friday, 10:00 a.m. to 6:00 p.m. and two hours prior to each performance. (405-594-8300) Artists, Dates, and Programs Subject to Change.

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