OKCPHIL program for the 20-21 season, October 16, 2021 Classics concert "Harmony, Humor, and Hubris

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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 !

BY

CHARLES DICKENS

• ADAPTED BY MICHAEL BARON • CO-DIRECTED BY MICHAEL BARON & ASHLEY WELLS

Go from Humbug to Happy in One Magical Night!

•

NOV. 17 - DEC. 23

Great Family Fun! Group Rates Available!

(405) 524-9312 • LyricTheatreOKC.org

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MUSIC DIRECTOR

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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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MAKing MONDAYS Magical.

Outstanding Students. Amazing Music.

BancFirst believes life is about more than balance sheets and bottom lines.

That’s why we’re proud to support the arts in every community we serve.

www.OKYOMUSIC.ORG

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.

B A N C F I R S T. B A N K member fdic

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 Tara Burnett Associate Director of Development

Stephen Howard Development Operations Manager

Ulises Serrano Digital Strategies Coordinator

Jeana Gering Education Manager

Daryl Jones Box Office Operations Manager

Chris Stinchcomb Concert Operations & Guest Artist Liaison

Daniel Hardt Finance Director

Colton Kirton Institutional Giving Coordinator

Corbin Taggart Customer Service Representative

Judy Hill Administrative Assistant

Chris Merkle General Manager

Susan Webb Marketing & P.R. Director

Agnieszka Rakhmatullaev Executive Director

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

VIOLA

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

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

BASS

Anthony Stoops, Principal Larry Moore, Assistant Principal Parvin Smith Mark Osborn

FLUTE

Valerie Watts, Principal Parthena Owens Nancy Stizza-Ortega

PICCOLO

Nancy Stizza-Ortega

OBOE

TRUMPET

Karl Sievers, Principal Jay Wilkinson Michael Anderson

TROMBONE

Philip Martinson John Allen, Bass Trombone

TUBA

Ted Cox, Principal

TIMPANI

Jamie Whitmarsh, Principal

Lisa Harvey-Reed, Principal Rachel Maczko Katherine McLemore

PERCUSSION

ENGLISH HORN

HARP

Rachel Maczko

CLARINET

Bradford Behn, Principal Tara Heitz James Meiller

Patrick Womack, Principal Roger Owens Gaye LeBlanc Germain, Principal

PIANO

Peggy Payne, Principal

BASS/E-FLAT CLARINET James Meiller

BASSOON

Rod Ackmann, Principal James Brewer Barre Griffith

CONTRABASSOON Barre Griffith

HORN

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

PERSONNEL MANAGER John P. Allen

MUSIC LIBRARIAN Jose Batty

STAGE MANAGER Leroy Newman

Please Note: The seating positions of all string sections change on a regular basis.

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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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DUO LUMINA

SEASON 2021/22 Tickets On Sale Now! Call 405-232-SING

JUBILATE DEO MESSIAH HANDEL’S

DUO LUMINA RUTTER VAUGHAN WILLIAMS

THE MUSIC OF DAN FORREST

OCT 10 | 3 PM

DEC 5 | 7 PM

CANTERBURYOKC.COM

RANDI VON ELLEFSON

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

ANGELICA PEREIRA

CORBIN TAGGART

Second Violin Section OKCPHIL Orchestra

Customer Service Representative OKCPHIL Box Office

Colombian violinist Angelica Pereira came to the United States under full scholarship at Oklahoma City University in 2008, graduating from her Bachelors (Performance and Music Education) and Masters degree (Performance) with honors. She performs with Norman and Lawton Philharmonics, as well as the Oklahoma Virtuosi Chamber Orchestra. She has been teaching at El Sistema Oklahoma since 2013. Among her honors and awards are the Journal Records “Achievers Under 40” and “Most Outstanding Music Artist” by the Hispanic Arts Council of Oklahoma.

Ms. Pereira was a member of former YOA, (now Orchestra of the Americas) under the artistic council of Placido Domingo and Gustavo Dudamel where she was involved in recording a 2015 Grammy winning album with pianist Gabriela Montero.

I came to Oklahoma to attend university where I received a degree in Keyboard Performance (Organ). During my time at college, I began to work at the university archives. Upon graduation with my master’s in Museum Studies, I began work as Director of Archives. During that I also interned at the institut de recherché en musicology in Paris, where I was able to study manuscripts by composers including Louis Vierne, and Jules Massenet. I was very fortunate to hold that position for nearly ten years before I left to do a brief stint in architecture school, with an emphasis on historic preservation. At present I still play both organ and piano, and love being able to incorporate live music into my professional life at the OKCPHIL.

What do you like most about being a professional musician?

The thrill of sharing with the audience the range of emotions that I experience through music, ultimately inspiring and impacting people’s lives.

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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 2020-21 and 2021-22 seasons. Contributions of $250 and above are listed through July 23, 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 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.

Scissortail Park Foundation 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

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

SILVER SPONSORS $3,000 - $4,999

Hatton Enterprises Tom Johnson Investment Management LLC

Intrinsic Health OK Gazette OKC Friday

BUSINESS MEMBERS $250 - $499

BRONZE SPONSORS $2,250 - $2,999

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 40

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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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The Heartbeat of a Vibrant City

Shevaun Williams and Associates

Investing in the Arts and Community for 40 Years

WIGGINPROP.COM

HARMONY, HUMOR, AND HUBRIS October 16, 2021 8:00 P.M

CONCEPTS

CLASSICS

Maestro FROM THE

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 musical color pallet only possible with the symphony orchestra.

HARMONY, HUMOR AND HUBRIS In our second Classics concert of the season I’m combining two entertainment styles that, to my knowledge have never been combined before - symphonic music and comedy. Really? Yes! It’s happening.

Inspired by Corigliano’s Promenade Overture where the musicians are instructed to stroll on stage casually at the beginning of the piece, (something not normally done on the classical music concert stage). I book ended this around Saint-Saëns Carnival of the Animals. The night ends with Haydn’s cheeky Farewell Symphony, which turns the joke upside down to frame the musical experience with the completely humorous, unexpected outcome. You will see … and hear.

JOHN CORIGLIANO ........ Promenade Overture* SAINT-SAËNS ................. The Carnival of the Animals

Introduction and Royal March of the Lion Hens and Roosters Wild Donkeys: Fleet Animals Tortoises The Elephant Kangaroos Aquarium People with Long Ears The Cuckoo in the Depth of the Woods Aviary Pianists Fossils The Swan Finale

Sergio Monteiro, piano Igor Lipinski, piano HAYDN ........................... Symphony No. 45 in F-sharp minor, Farewell

Allegro assai Adagio Minuet (Allegretto) Finale (Presto—Adagio)

*First Performance on this series THIS CONCERT IS GENEROUSLY SPONSORED BY:

MRS. JANE HARLOW Text CLASSICS to 95577 to stay up to date on the latest Philharmonic info.

Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, November 10 at 8 pm and Saturday, November 13 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

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SERGIO MONTEIRO Steinway Artist and Director of Piano Activities at the Wanda Bass School of Music, Oklahoma City University, Sergio Monteiro was born in Niteroi, Brazil. He began piano study at the age of 4 with his mother and went on to work under the guidance of Myrian Dauelsberg at the National Music School of Rio de Janeiro and Nelita True at the Eastman School of Music.

In 2003, Monteiro won the 2nd Annual Martha Argerich International Piano Competition in Buenos Aires, thus launching Sergio’s international career. He has appeared with orchestras in South America, Europe and North America, under the direction of Charles Dutoit and Rafael Fruhbeck de Burgos, among others.

Since 2015, he has launched five recordings with Naxos featuring music of Henrique Oswald, Franz Liszt, Mendelssohn and Domenico Scarlatti. His Scarlatti recordings are considered outstanding and his recording of Mendelssohn’s early piano music is a true ear-opener. Two more albums, with the complete piano works of the French composer Louis Vierne, will be released in 2021.

Dr. Monteiro will celebrate the 250th anniversary of Beethoven in 2021, performing the complete cycle of the 32 Beethoven sonatas in 8 recitals at the Oklahoma City University.

IGOR LIPINSKI Polish-born pianist Igor Lipinski made his U.S. debut with the Buffalo Philharmonic Orchestra on NPR’s Performance Today and maintains an active concert career in the U.S. including a live broadcast recital at Chicago’s premiere classical music station 98.7 WFMT and “33 Variations,” an award-winning theater play about Beethoven’s Diabelli Variations. Highlights of recent concert seasons include recitals at the San Francisco International Piano Festival, College of Charleston International Piano Series, The Evelyn Miller Young Pianists Series in Knoxville, Tennessee, and WNYC’s Greene Space in New York City. After the halt of

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his concert tour caused by COVID-19 in 2020, he turned to recording, started his own record label Vanishing Records, and released his first album Alchemy available for streaming on Spotify and Apple Music. His most recent releases feature an EP of Ravel’s piano music and masterpieces, a collection of piano music inspired by works of art. Upcoming 2021-22 releases feature an album of Liszt’s song transcriptions, an EP of piano music by Grażyna Bacewicz, and two books of Janácek’s On an Overgrown Path. Graduate of Eastman School of Music and Northwestern University, Lipinski is an Assistant Professor of Piano at the University of Oklahoma.

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Promenade Overture John Corigliano First Performance on this Series Born: February 16, 1938, in New York City Work composed: 1981 Work premiered: July 10, 1981, at Boston’s Symphony Hall, with John Williams conducting the Boston Pops Orchestra Instrumentation: Two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns (or optionally six), four trumpets, three trombones, tuba, timpani, percussion, harp, and strings

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University of New York. In 1992, Corigliano was named Musical America’s first Composer of the Year and was elected into the American Academy and Institute of Arts and Letters. In 2002 he was honored with the Gold Medal of The National Arts Club in New York City.

His music is often called cinematic or theatrical thanks to its vivid imagery, and indeed he has written for both films and the lyric stage. His score for the 1980 motion picture Altered States is a classic, and his music for The Red Violin (1998) earned the Academy Award for Best Score and spawned several independent concert works, including his much-played Concerto for Violin and Orchestra. His opera The Ghosts of Versailles (to a libretto by William M. Hoffman) was premiered in 1991 by the Metropolitan Opera, which had commissioned it, and this past July and August his second opera, The Lord of Cries (to a libretto by Mark Adamo), enjoyed a six-performance premiere run at Santa Fe Opera.

Form the Composer John Corigliano has provided this comment about his Promenade Overture: The premise of Promenade Overture took root years ago when the composer was caught off guard

by Haydn’s delightful Farewell Symphony. This Haydn work is often used to end a concert because during the last movement the players gradually exit, leaving two violins to finish the symphony on a bare stage.

John Corigliano was born into a musical family; his mother was an accomplished pianist and his father, John Corigliano Sr., served for more than two decades as concertmaster of the New York Philharmonic. As a young composer, Corigliano studied with Otto Luening at Columbia University and Vittorio Giannini at the Manhattan School of Music and worked for nearly a decade with Leonard Bernstein on the CBS broadcasts of the New York Philharmonic Young People’s Concerts. Following an early period during which his music—as he has described it—was a “tense, histrionic outgrowth of the ‘clean’ American sound of Barber, Copland, Harris, and Schuman,” he embraced a posture in which Romantic grandeur can rub elbows with an unmistakably modernist musical vocabulary. In the mid-to-late 1970s he developed what he calls his “architectural” method of composing, which allows him to explore diverse musical materials and idioms within arches of structural logic that support formal rigor. As a teacher, he has nurtured a generous roster of emerging composers through his work on the composition faculty of The Juilliard School and as Distinguished Professor of Music at Lehman College, City

Since overtures usually begin concerts, a reverse of this procedure—the entrance of an orchestra while playing—became both an interesting idea and a compositional challenge.

Offstage brass announce the start of the work, with the trumpets playing the last five measures of the Farewell Symphony—backwards. This forms a fanfare announcing the promenade of performers, which starts with the piccolo, concludes with the tuba, and contains a variety of motives which eventually form a lyrical melody that is built to a climax by the full orchestra.

—JMK

Corigliano’s imposing catalogue of instrumental pieces includes concertos for a variety of instruments: flute, oboe, clarinet, piano, and percussion, in addition to violin. (His Saxophone Concerto—one movement each for soprano, alto, and baritone saxophones—will be unveiled by the San Francisco Symphony later this season.) Acclaimed CONTINUED ON PAGE 34

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as a leading American composer of symphonic music, he has produced three symphonies so far. His Symphony No. 1 (from 1988, a commission from Meet the Composer and the Chicago Symphony Orchestra, where he was then serving as composer-in-residence) earned him both the prestigious Grawemeyer Award and a 1991 Grammy award for best recording of a classical composition. (Further Grammies would go to his String Quartet in 1997, his Mr. Tambourine Man: Seven Poems of Bob Dylan in 2009, and his Conjurer: Concerto for Percussionist and String Orchestra in 2014.) Programmed by more than 150 orchestras around the world, the Symphony No. 1, along with its subsequent choral incarnation, Of Rage and Remembrance (based on the Symphony’s third movement), has been acknowledged as one of the most compelling artistic statements related to the AIDS crisis. With his Symphony No. 2, an expanded re-composition of his String Quartet, he was awarded the Pulitzer Prize in Music in 2001. His Third Symphony, from 2004, is for a large wind ensemble divided into three separate groups.

Deeply eclectic in his response to influences, Corigliano is not a composer to whom one turns with expectations of a predictable style. “I don’t think of style as the basic unifying factor in music,” he has said. “I feel very strongly that a composer has a right to do anything he feels is appropriate, and that stylistic consistency is not what makes a piece impressive.” What he does value in a composition is its ability to convey its musical and emotional content in a way that involved listeners can grasp. “I wish to be understood,” Corigliano says, “and I think it is the job of every composer to reach out to his audience with all the means at his disposal. Communication should always be a primary goal.”.

The Carnival of the Animals Camille Saint-Saëns First Performance: 4/6/1948 Pianists: Mertina Rudie and Gloria Appleman Last Performance: 11/13/1983 Pianists: Peggy Payne and Elaine Walters Born: October 9, 1835, in Paris, France Died: December 16, 1921, in Algiers, Algeria; this year marks the centennial of his passing.

Work composed: February 1886 Work premiered: March 9, 1886, at a private concert arranged in Paris by the cellist Charles Lebouc (with the composer appearing as one of the pianists), with many salon performances taking place in ensuing years; the first public performance took place February 26, 1922, with Gabriel Pierné conducting the Orchestre Colonne in Paris.

Instrumentation: Flute (doubling piccolo), clarinet, glass harmonica (normally played on celesta), xylophone, two pianos, and strings

“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

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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 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, 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 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,” quipped his friend Hector Berlioz. He lived to the advanced 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 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

PROGRAM NOTES continued to develop practically until the day he died, while on vacation in Algiers.

From 1861-65 Saint-Saëns taught piano at the Ecole Niedermeier in Paris, where his pupils included such figures of later fame as the organist Eugène Gigout and the composers André Messager and, most importantly, Gabriel Fauré. Reported one his students: “Apart from the technical matters on which he was very strict—purity of execution, care for sonority, quality of sound, pianistic color, phrasing, accentuation, and the style appropriate to the composer—he liked to open our minds to all that was worthy of interest, even outside music, and he stimulated our imagination by leading us on to the other arts and arousing our curiosity about everything.” He devised all sorts of clever teaching techniques, and one of his goals was to compose a group of musical portraits of animals that might amuse his charges.

Inside The Carnival of the Animals Saint-Saëns wrote The Carnival of the Animals as a suite of musical episodes with no texts apart from movement titles—though, in truth, a couple of those titles are informed with good humor that is practically poetic, such as “Characters with Long Ears” or “The Cuckoo in the Depth of the Woods.” The piece is full of musical references that expand the work’s irony, as when the tortoises trudge to a can-can Offenbach had used to riotous effect in Orpheus in the Underworld, when a lumbering elephant is portrayed by a slowed-down version of the “Dance of the Sylphs” from Berlioz’s The Damnation of Faust, and when Saint-Saëns quotes his own Danse macabre to portray “Fossils.” Quite a few authors have provided texts to accompany these delightful movements. In English-speaking lands, the most famous are by Ogden (“Candy / Is dandy / But liquor / Is quicker”) Nash. But in this performance we hear the piece just as Saint-Saëns composed it, with no narration interpolated—an opportunity to appreciate these miniature tone poems on their musical merits alone.

Charles Lebouc, whom he spotlighted in the suite’s most enduringly famous movement, “The Swan.” While writing his suite, Saint-Saëns sent a letter to his publisher, August Durand, apologizing for spending time on these 14 short numbers when he really should be working on his Symphony No. 3, which was then in progress. He further informed Durand that The Carnival of the Animals would not be for publication, but instead “will be one of my posthumous works.” He did allow “The Swan” to be published, but apart from that he held steadfastly to his prohibition until it was reversed upon his death by a stipulation in his will. The complete Carnival was therefore not heard publicly until it was presented in February 1922, on the first Shrove Tuesday after he died.

Symphony No. 45 in F-sharp minor, Farewell Franz Joseph Haydn First Performance: 10/12/1980 Conductor: Luis Herrera Last Performance: 3/2/1986 Conductor: Luis Herrera Born: Almost certainly on March 31, 1732, since he was baptized on April 1, in Rohrau, Lower Austria Died: May 31, 1809, in Vienna, Austria Work composed: 1772 Work premiered: Likely the beginning of December 1772 Instrumentation: Two oboes, two horns, and strings

—JMK

Not until 1886 did he realize his plan—a pity, since one can imagine the humbling amusement his Niedermeier pupils would have derived from finding pianists included among the various species of fauna, alongside hens and roosters, tortoises, kangaroos, and so on. He wrote The Carnival of the Animals as a surprise gift to unveil at a private Shrove Tuesday (Mardi gras) gathering organized by the cellist CONTINUED ON PAGE 36

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Franz Joseph Haydn’s appointment as Vice-Kapellmeister of the Esterházy Court in 1761 and his elevation to the post of full Kapellmeister five years later marked watershed moments of his career. In the early years, the music staff traveled with Prince Paul Anton and Prince Nikolaus “the Magnificent” (who came to power upon Paul Anton’s death, in 1762) to the court’s palaces in Vienna, Eisenstadt (some thirty miles to the southeast), and Kitsee (overlooking the Danube). By the late 1760s the court began spending more time at Esterháza, in a remote corner of Hungary, in a palace dubbed “the Hungarian Versailles.” Haydn was perpetually occupied composing new works for his musicians’ use and his princes’ delectation, upholding an astonishingly high standard of composition even in the midst of such productivity. As he recalled of these years, in an interview with his biographer Georg August Greisinger: “My sovereign was satisfied with all my endeavors. I was assured of applause and, as head of an orchestra, was able to experiment, to find out what enhances and detracts from effect, in other words, to improve, add, delete, and try out. As I was shut off from the world, no one in my surroundings would vex and confuse me, and so I was destined for originality.”

In the late 1760s and early ’70s, Haydn became captivated with the hyper-emotive style known in posterity as Sturm und Drang. During this time, he produced numerous works, including six minor-key symphonies, marked by dramatically delineated phrases, harmonic surprises, and abrupt changes of character. By the mid-1770s his fascination with the language and mannerisms of Sturm und Drang ran its course (although he internalized some of its features to become part of his ongoing style) and he returned to a less confrontational language in his symphonies.

Symphony No. 45, certainly one of the finest works among Haydn’s early to middle-period symphonies, is an inspired example of his Sturm und Drang achievements. A fascinating story attaches to it, and particularly to its finale.

The account in Greisinger’s early biography seems the most reliable version of the tale: In Prince Esterházy’s orchestra,” he recounted, “were several vigorous young married men who in summer, when the Prince stayed at Esterháza Castle, had to leave their wives behind in Eisenstadt. Contrary to his custom, the Prince once wished to extend his stay in Esterháza by several weeks. The fond husbands, especially dismayed at this news, turned to Haydn and pleaded with him to do something.

Haydn had the notion of writing a symphony (known as the Farewell Symphony) in which one instrument after the other falls silent. This symphony was performed at the first opportunity in the presence of the Prince, and each of the musicians was directed, as soon as his part was finished, to put out his candle, pack up his music, and, with his instrument under his arm, to go away. The Prince and the audience understood the meaning of this

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pantomime at once, and the next day came the order to depart from Esterháza.

This nudge took the form of a finale that bustles along in a robust Presto before coming to a sudden halt. After a brief pause, the music picks up again, now in a markedly different character, as a lyrical Adagio—with the orchestra thinning out until just two violins remain, exhaling their final notes pianissimo.

The preceding movements, though less curious, are still remarkable. The opening Allegro assai bristles with excitement or even minor-mode anxiety except for a brief oasis of calm that sets all the rest in even higher relief.

In the Adagio, the strings tamp down their tone with mutes. Even this relaxed slow movement gets an infusion of heightened emotion through unanticipated harmonic side-steps. It would hard to imagine anyone actually dancing to the third-movement Minuet, with its intrusions of syncopated rhythms and “extra” measures. Notice Haydn’s cleverness in making this movement begin and end with violins alone, a detail that seems more logical in retrospect, prefiguring as it does the famous trick of the finale.

Putting things in order When it comes to chronology, the numbers attached to Franz Joseph Haydn’s 104 symphonies are approximate at best. He himself did not assign numbers to them; instead, the numbering reflects the work of later scholars who at some point shrugged their shoulders in despair and mostly decided to maintain the numbering everybody had come to recognize. We know that the Haydn symphonies that preceded this one include quite a few with “later” numbers, including his Symphonies Nos. 49, 52, 58, 59, and 72. A reasonable guess has the Symphony No. 45 falling in spot number 54 in a proper chronology of his symphonies, which places it just about at the midpoint of his symphonic output and a year beyond the mid-point of the composer’s life..

—JMK

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. Thomas Coniglione Barbara Cooper Clay Cooprider William and Mary Ann Corum Mr. John Crain Albie Dale Mr. David Daugherty Dr. Harold Davidson Lawrence H. and Ronna C. Davis Carol A. Davito Dr. Nancy Dawson Kathryn Dean Mark Deaton Gary and Fran Derrick Linda Dines Mr. Joel Dixon Ann Dow Doug Dowler Daniel J. DuBray and Kayleen M. Jones Richard and Cindy Dugger David and Druanne Durrett Dennis Echard Ron Eden Richard and Marilyn Ehlers Nancy Payne Ellis

Dr. and Mrs. Royice B. Everett Dr. Thurma J. Fiegel Mr. and Mrs. Joseph M. Fleckinger Mrs. Betty Foster Dr. Margaret Freede Stephen P. and Nancy R. Friot Mr. and Mrs. John A. Frost Gerald and Jane Jayroe Gamble Nina Gaugler Brenda Godwin Janet Gruel Earle Haggard Kirk Hammons Jane B. Harlow Dr. and Mrs. James Hartsuck Karen Hasenbeck Karen Hennes Kenneth and Linda Howell Diane Hutchinson Dudley and Sue Ann Hyde Tom and Cindy Janssen Lauren and Rich Johnson Mr. and Mrs. Carlos Johnson Doneen and Glenn Jones

Mrs. Lou Kerr Ms. Claren Kidd Doris King Kevin and Tina Kint Mr. and Mrs. Jerald Koehn Eric Laity Mary Jane Lawson Kathy Leithner Kareen Man Ms. Vickie McIlvoy John and Anna McMillin Alice Meek Penny Moore Annette Munson Don Nieser Ms. Veronica Pastel Egelston Mr. William G. Paul Mrs. Barbara Pirrong Drs. Gary and Mary Porter Richard Pralle Ms. Elizabeth Raymond Valerie Reimers Mr. and Mrs. William J. Ross James Schmaelzle John Schwind Jeff Scott

Jerrod and Jamie Shouse Mr. Richard L. Sias Michele Simon Cecil Smith John and Katherine Spaid Jymmie Stanton Judith Clouse Steelman Dennis and Marianne Stover John Stuemky and James Brand Mrs. Marilyn Summers Michael J. Sweeney, Jr. Glenna and Dick Tanenbaum Curtis and Shellie Thornton Billie Thrash Sammy and Janet Todd Mona Mae Waymire Donna Weaver-McGinty Elaine Weise Robert and Tammy Weiss Mr. and Mrs. Kenneth K. Wert Janie Wester Philip and Ashton Whaley David Williams Mrs. Anne Workman Mr. and Mrs. Don T. Zachritz

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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