OKCPHIL program for the 21-22 season, September 11, 2021 Classics concert, "Opening Night" Beethoven

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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.

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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

M U S I C .

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

Daryl Jones Box Office Operations Manager

Ulises Serrano Digital Strategies Coordinator

Jeana Gering Education Manager

Colton Kirton Institutional Giving Coordinator

Chris Stinchcomb Concert Operations & Guest Artist Liaison

Daniel Hardt Finance Director

Chris Merkle General Manager

Corbin Taggart Customer Service Representative

Judy Hill Administrative Assistant

Agnieszka Rakhmatullaev Executive Director

Susan Webb Marketing & P.R. Director

Stephen Howard Development Operations Manager

Whitney Redding Development and Volunteer Coordinator

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 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 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

TROMBONE

John Allen, Acting Principal Philip Martinson

TUBA

Ted Cox, Principal

TIMPANI

Jamie Whitmarsh, Principal

PERCUSSION

Nancy Stizza-Ortega

Patrick Womack, Acting Principal Roger Owens

OBOE

HARP

Lisa Harvey-Reed, Principal Katherine McLemore

CLARINET

Bradford Behn, Principal Tara Heitz James Meiller

BASS/E-FLAT CLARINET James Meiller

BASSOON

Rod Ackmann, Principal James Brewer Barre Griffith

Gaye LeBlanc Germain, Principal

PIANO

Peggy Payne, Principal

PERSONNEL MANAGER John P. Allen

MUSIC LIBRARIAN Jose Batty

STAGE MANAGER Leroy Newman

CONTRABASSOON Barre Griffith

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

HORN

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

TRUMPET

Karl Sievers, Principal Jay Wilkinson Michael Anderson

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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

Patrick and Linda 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

GAYE LEBLANC GERMAIN Gaye LeBlanc Germain has been the principal harpist of the OKC Philharmonic since 1996 and also Harp Instructor at the University of Oklahoma since 1998. A native of Dallas, Texas, Gaye started harp in college at the age of 20 after many years of piano, and received her BM in harp performance at the University of North Texas and Masters of Music at Southern Methodist University. She has played in numerous orchestras in Oklahoma, Texas, Louisiana, Arkansas and Arizona. A tireless teacher, Mrs. LeBlanc Germain enjoys working with her harp students and her “Understanding Music” classes at OU. In her spare time she enjoys relaxing and watching movies with her husband, her friends and her pups Luke & Ellie. She loves fishing and has been doing it since she was a kid. “It’s so peaceful and mysterious to me”.

DARYL JONES Meet: Daryl Jones Box Office Operations Manager Hello, OKCPHIL Family! My love for music began as a third grader when my family was stationed at Dover Air Force Base. I can remember my parents taking me to a church concert, where I sat directly on the stage. The vibration of the music was like electricity flowing through my body, and soon after I began piano, trombone and vocal lessons.

We were relocated to Altus Air Force Base where I studied Music Performance and Entertainment Business at Western Oklahoma State College and then transferred to Oklahoma City University. After college I interned with Palm Canyon Theatre in California where I received a nomination and won best lead male – musical for my role as Jesus in Godspell. I spent 8 years at Zach Theatre, in Austin TX as the Box Office Manager then joined AT&T Performing Arts Center in Dallas, TX as Director of Ticketing.

A blessing in disguise brought me back to Oklahoma to accept the position of Box Office Manager with the OKCPHIL, and it’s good to be home!

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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. and Mrs. 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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The Heartbeat of a Vibrant City

Shevaun Williams and Associates

Investing in the Arts and Community for 40 Years

WIGGINPROP.COM

OPENING NIGHT September 11, 2021 8:00 P.M.

CONCEPTS

CLASSICS

Maestro FROM THE

KATE PRITCHETT, HORN 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

PÄRT ........................ Cantus in Memory of Benjamin Britten

with the symphony orchestra.

BIBER ....................... Sonata à 7 in C major, C.111*

OPENING NIGHT

G. GABRIELI ............. Canzon septimi toni No. 2*

Our opening gala starts the season off with a classically intimate program, ranging from Mozart’s horn concerto to Beethoven’s Symphony No. 1. The second and third pieces on the program are by Biber and Gabrieli and spotlight antiphonal (played alternately between two groups) brass. Set in the theater, audience members will experience a renaissance surround sound experience featuring our own principal horn, Kate Pritchett as guest soloist.

Mozart loved the horn, so much that he wrote three complete and one partial horn concerti. Beethoven’s first symphony was the first major work written after the French Revolution, incorporating a musical feel and understanding of a changed world.

Allegro moderato Andante Rondeau (Allegro)

MOZART ................... Horn Concerto No. 2 in E-flat major, K.417/386b*

Allegro maestoso Andante Rondo

Kate Pritchett, horn BEETHOVEN ............. Symphony No. 1 in C major, Op. 21

Adagio molto—Allegro con brio Andante cantabile con moto Menuetto: Allegro molto e vivace Finale: Adagio—Allegro molto e vivace

*First Performance on this series

THIS CONCERT IS GENEROUSLY SPONSORED BY:

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Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, October 6 at 8 pm and Saturday, October 9 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

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KATE PRITCHETT Kate Pritchett moved to Oklahoma in 2005 to teach at the Bass School of Music at Oklahoma City University, having taught as an adjunct instructor since 2002. Previously, she pursued graduate degrees in horn performance at the University of North Texas, and taught at Texas Woman’s University and the University of Texas at Arlington. Kate played horn in the Las Colinas Symphony, Garland Symphony, Orchestra of New Spain, and the Dallas Opera.

Upon arriving in OKC, Kate played as a sub/extra player with the OKC Philharmonic, as well as with the Tulsa Symphony, and as principal horn in the Lawton Philharmonic. Other regular playing opportunities arose with Brightmusic Chamber Ensemble, Lyric Theatre, and touring Broadway

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shows. Kate completed her doctorate at UNT in 2008, became full-time faculty at OCU, and, in 2009, won the audition for third horn with the OKCPhil. In 2015, Kate proudly became the first woman principal in the brass section of the OKC Philharmonic.

Kate is a native of Colorado Springs. She attended the University of Northern Colorado for her undergraduate studies in horn performance, playing professionally in Greeley and Loveland while in school. She then played in the DFW area, followed by a one year stint in the Christchurch Symphony in New Zealand. Kate, who lives in OKC with her husband and various large rescue dogs, enjoys traveling to the mountains.

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Sonata à 7 in C major, C.111 Heinrich Biber First Performance on this Series Born: August 1644 (he was baptized on the 12th of that month) in Wartenberg, Bohemia, which is now Stráz pod Ralskem, Czech Republic Died: May 3, 1704, in Salzburg, Austria Work composed: 1668 C numbers: These refer to the 1987 “Catalog of Heinrich Biber’s Works”

by Eric Thomas Chafe.

Instrumentation: Originally for six trumpets, timpani, and basso continuo, but played here in an arrangement by Bill Bjornes, Jr., for two trumpets, horn, trombone, tuba, and timpani

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Absam (just outside Innsbruck, Austria) to purchase new instruments for the court. Biber didn’t make it that far. While passing through Salzburg en route, he was offered, and accepted, a position with the Prince-Archbishop of Salzburg.

His ex-employer was not amused and held off releasing Biber from his service officially until 1676, by which time it was clear that Biber would not be returning. In the meantime, Biber had at least tried to temper the situation by sending musical compositions back to the Prince-Bishop in Olmütz.

He rose quickly through the ranks of courtiers in Salzburg, publishing several collections of instrumental music that he prudently dedicated to his new Prince-Archbishop. In 1684, he was appointed Kapellmeister and dean of the choir school in Salzburg. In recognition of his expertise as a violinist and composer as well as his service to the community, Emperor Leopold I raised him to the noble rank of Knight in 1690, at which point the composer could employ the very complete name of Heinrich Ignaz Franz Biber von Bibern. On the heels of this honor, he was named Lord High Steward by the new Prince-Archbishop of Salzburg (Biber’s original Salzburg boss having died in 1687), marking the lofty apex of his professional and social ascent. Despite his expertise as a violinist, he appears not to have pursued a touring career as a virtuoso, instead applying himself to his work in Salzburg. Nonetheless, he certainly was known in Munich (about seventy miles distant) as he was decorated twice by the Bavarian Court there. His reputation lingered long after his death. A century later the eminent British music historian Charles Burney wrote, “Of all the violin players of the last century Biber seems to have been the best, and his solos are the most difficult and most fanciful of any music I have seen of the same period.”

Biber’s Brilliance Mention the Austrian city of Salzburg and music-lovers instinctively think of Wolfgang Amadé Mozart, its most famous native son. Far fewer people are likely to think of it as the city of Heinrich Ignaz Franz Biber, who moved to Salzburg in 1670 from his home in the Czech Lands and stayed for the remaining 34 years of his life. Keep your eyes peeled next time you find yourself in Salzburg and you may spot the historical marker posted on his one-time residence at Kranzlmarkt Nr. 2, just a block from where crowds line up to enter the Mozart Birth-house.

As a teenager Biber was already fraternizing with the important Bohemian composer Pavel Vejvanovský (still appreciated today, especially by brass players), and in 1668 he was named musician and valet de chambre to Karl Liechtenstein-Kastelkorn, the Prince-Bishop of Olmütz (Olomouc), where Vejvanovský was working as a trumpeter.

He achieved distinction as a virtuoso violinist, and in 1670 the Prince-Bishop sent him to the luthier Jacob Stainer in

Although we are most likely to encounter Biber through his chamber works, he also had a gift for supreme opulence. His orchestral works sometimes call for an ensemble of ten separate parts—unusually large for his time—and his sacred compositions could be grander still. He marked his arrival in Salzburg in 1682 by writing his Missa Salisburgensis, for 16 voices and 37 instrumentalists—53 parts in all—and that same year he used the same number of musicians in his hymn Plaudite tympana à 53. In these works he employed the polychoral principles that had been developed in Venice by Giovanni Gabrieli and his contemporaries, positioning sub-groups of the performers at different places in the Salzburg Cathedral.

—JMK

CONTINUED ON PAGE 34

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Indeed, it is for his string music that we mostly remember Biber today, although the recent revival of his vastly scaled, richly scored masses and other sacred works alerts us to how much we have missing by not knowing his vocal compositions. Nonetheless, today he is represented principally by his compositions for string ensemble and his marvelous violin sonatas (many of which use unorthodox string tunings), including a contemplative series based on the Mysteries of the Rosary.

His Sonata à 7 is a work of grandeur, whether performed in in its original setting for six trumpets, timpani, and basso continuo or in this arrangement for a standard brass quintet plus timpani. It dates from 1668, which is the year he began working at the trumpet-obsessed court of the PrinceBishop of Olmütz. It must have made a terrific impression on his new employer and the courtiers that surrounded him. Brass instruments in Biber’s day were limited in their harmonic scope. This sonata accordingly, sticks close to its anchor in the key of C, deriving its effect not from harmonic complexity but rather from its resplendent sonority.

Canzon septimi toni No. 2 Giovanni Gabrieli First Performance on this Series Born: Sometime between 1554 and 1557, probably in Venice, Italy Died: August 12, 1612, in Venice Work composed: Published in 1597, so composed that year at the latest Instrumentation: In this edition by Robert King, two brass choirs; one consists of trumpet, horn, and two trombones, the other of trumpet, horn, trombone, and tuba

In the waning years of the Renaissance, northern Italy emerged as an epicenter of musical breakthroughs. While Rome, to the south, hewed to sublime, classic counterpoint—a stabilizing influence, as the conservative Vatican saw it—proud and powerful Venice, at the northern tip of the Adriatic, grew ever more audacious in its musical experiments. Musicians from all the northern Italian cities and from foreign lands aspired to appointments there, and the Doges supported their musical enterprises lavishly, nowhere more exorbitantly than at the Basilica of San Marco. During the second half of the 16th century, San Marco’s staff included a musical director (maestro di cappella), three organists (plus an organ technician), a roster of professional singers (29 full-timers in 1562, declining to 13 as the century progressed, though their ranks were expanded by freelance “extras”), the giovani di coro (boy choristers, who sang plainchant in the services), a music copyist, a music librarian, a beat-tapper, a pitch-giver, and a host of well-paid instrumentalists. Four cornetto and sackbut players were hired in 1568; by 1616, no fewer than 16 string and wind players were on the full-time roster. In addition, six piffari del doge, wind players employed primarily to play in Ducal processions, often augmented San Marco’s core group of instrumentalists.

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Some of the other churches of Venice—where notable churches stood, and stand, on nearly every square—echoed San Marco’s enthusiasm for lavish music, though none exceeded it. One of San Marco’s defining characteristics was architecture that supported the separation of the performers into discrete units that could be stationed in various balconies around the church. These cori spezzati (“spacedout choirs” might serve as a jocular translation) gave rise to a repertoire of polychoral vocal and instrumental music that has rarely been matched for sheer splendor.

Giovanni Gabrieli proved especially adept with instrumental writing of this sort. Schooled by his uncle Andrea Gabrieli and enriched by work and study with Orlando di Lasso at the Bavarian court in Munich from 1575-79 (during which he fortuitously avoided a plague that devastated Venice), the composer returned to his native city in 1584. In a surprise move, the reigning organist of San Marco, Claudio Merulo, resigned his post to move to Parma (a step down, in terms of prestige); and at an open competition for his successor, held on New Year’s Day of 1585, Gabrieli was unanimously accepted to join the basilica’s staff as deputy to his uncle, who ascended to the principal organist’s post. A month later he assumed a concurrent position as organist at the Scuola Grande di San Rocco, which became second only to San Marco as a hotbed of sumptuous music-making. From then until 1612, when he died of a kidney stone and was buried in the parish

PROGRAM NOTES church of San Stefano, Gabrieli composed prolifically, leaving a legacy of motets, madrigals, organ works, canzonas, and sonatas. In fact, he appears to have been the first composer to employ the term “sonata,” which he used in a generalized way to describe instrumental works that didn’t strongly adhere to any other established form.

Horn Concerto No. 2 in E-flat major, K.417/386b Wolfgang Amadé Mozart

Although he produced a large body of choral music both sacred and secular, he is principally represented in modern concert life through his instrumental ensemble music, which has been particularly adopted by brass players. Most of these pieces were published in either of two collections: the Sacrae symphoniae of 1597 and the posthumous Canzoni et sonate of 1615. The 1597 collection, from which the Canzon septimi toni No. 2 is extracted, proved hugely successful.

(The designation septimi toni refers to the seventh mode, a particular organization of the musical scale in the period before modern major and minor keys were established.)

Many of the pieces it contained were reprinted north of the Alps, inspiring a stream of pupils to travel to Venice to study with Gabrieli, a roster that included such future notables as Morgens Pedersøn from Denmark and Heinrich Schütz from Saxony. In this canzona, the two instrumental groups often respond to each other in antiphonal fashion, but Gabrieli also finds opportunities for them to intertwine as a full octet.

Born: January 27, 1756, in Salzburg, Austria Died: December 5, 1791, in Vienna, Austria His name: You may know him as Amadeus, but he preferred Amadé and used the latinized form Amadeus only in jest.

Work composed: Completed in Vienna on May 27, 1783 Work premiered: No information has survived about the early performance history of this concerto Instrumentation: Two oboes, two orchestral horns, and strings, in addition to the solo horn

First Performance on this Series

Gabrieli for Brass The scores for Gabrieli’s canzonas do not specify any instrumentation. Today, these works are nearly always played by brass ensembles, but in the Venetian churches of San Marco and San Rocco they were normally performed by mixed groups of strings (both bowed and plucked), winds, and keyboards. Gabrieli’s brass instruments were of two families: cornettos, which were wooden pipes covered with leather, played with a cuplike mouthpiece (like modern trumpets), their different notes achieved by opening or closing finger-holes (as with a recorder); and sackbuts, which were an early form of the slide trombone. Both cornettos and sackbuts could easily play entire scales of notes, which is why they could handle the full harmonic spectrum of Gabrieli’s pieces while Biber’s more limited trumpets could not stray as far from their fundamental notes..

—JMK

When, in 1862, Ludwig von Köchel put the finishing touches on his Chronological and Thematic Catalogue of the Complete Works of Wolfgang Amadé Mozart, he could do so with the contentment of someone who had made the best of a difficult job. His catalogue has gone through six editions since then and is poised to appear in a seventh one of these years. Each of these has updated the chronology of Mozart’s compositions (and, in some cases, rendered decisions pro or con concerning their authenticity) to reflect the ongoing parade of musicological research. Today we know much more about the historical and bibliographical details of Mozart’s music than Köchel did in 1862; and, accordingly, many of the hallowed “Köchel numbers” attached to Mozart’s works can no longer be taken to reflect the current understanding about chronology as revealed by modern Mozart research.

Mozart’s horn concertos are particularly problematic in this regard. He wrote four of them, plus (in March 1781) a Rondo in CONTINUED ON PAGE 36

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E-flat major that was apparently never attached to a larger concerto. We now know that the earliest of Mozart’s horn concertos dates from May 1783, and it is that work that we hear in this concert. It’s in E-flat major, and Köchel, thinking it was the second one Mozart wrote, called it the Horn Concerto No. 2 and assigned it spot “K. 417” in his catalogue. In the current edition of the Köchel catalogue, it has been moved earlier, to spot number 386b. The next one Mozart wrote was a concerto (also) in E-flat major composed in June 1786: Köchel thought it was Mozart’s Fourth, and assigned it the K. number 495. The “Third” Horn Concerto (again in E-flat major, K. 447) may have been written as early as 1783 or as late as 1787-88. And then there is the so-called Horn Concerto No. 1 in D major (K. 412), which consists of two completed movements from sometime around 1786-88 plus a fragment of finale from 1791, the composer’s final year.

All of Mozart’s major compositions for horn—the concertos and the Horn Quintet (K. 407/386c)—were written for his friend Joseph Leutgeb or, as Mozart sometimes spelled it in his letters, “Leitgeb.” Leutgeb (1732-1811) had known the Mozart family for many years, since in 1762 or 1763 he began playing with Court Orchestra in Salzburg, where he was a colleague of Leopold Mozart and his precocious son. Like young Wolfgang, he enjoyed a busy career touring as a popular soloist in the musical capitals of Europe, but in 1777 he settled in his native Vienna to assume the day-to-day responsibilities of running a cheese shop his wife had inherited from her father.

It seems that he flourished less as a cheesemonger than he had as a concert soloist, and at one point Mozart interceded to beg patience from his own tightfisted father, who had uncharacteristically extended a loan to their old friend. “I beg you to be patient a little while longer with poor Leutgeb,” wrote Wolfgang in May 1782. “If you knew his circumstances and saw how he has to struggle to make ends meet, you would, I am sure, feel sorry for him.”

Mozart’s best friends knew they would have to endure practical jokes and other crudities from time to time. At the top of the manuscript for this Horn Concerto, for example, the composer inscribed, “Wolfgang Amadé Mozart has taken pity on Leutgeb, ass, ox, and fool, at Vienna, March 27, 1783.”

(How Köchel missed this inscription when misdating the score is hard to figure out.) Mozart related a specific prank in a letter he wrote to his wife on June 25, 1791, of which Leutgeb was almost surely the unnamed victim: a fallacious message was sent to him announcing the imminent arrival of a distinguished friend from Rome. Thus forewarned, Mozart continued, “the poor man put on his best Sunday clothes and dressed his hair most splendidly—you can imagine how we made fun of him—it’s true, I always need to make a fool of someone.”

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The Waldhorn Mozart composed all of his horn music for what was later called the Waldhorn or Natural Horn, which refer to the valveless horns of the 18th and early-19th centuries. The Waldhorn consisted of a metal tube (coiled for convenience) into which replaceable sections, called crooks, could be inserted to effectively alter the length of the tube overall. Changing crooks was not an instantaneous process, so in the course of a movement a player was theoretically limited to playing only the notes made available when a given crook was installed.

But intricate movements of the player’s hand within the horn’s bell (called “stopping”) could alter those tones and achieve more-or-less complete scales in various registers, somewhat opening the door to a solo repertoire that many other wind instruments already enjoyed. Even with the introduction and acceptance of valves that could adjust the length of the instrument’s tubes (and, thereby, its chromatic possibilities) with the flick of a finger, some composers continued to champion the Waldhorn; as late as 1865 Brahms specified that it should be used in his Horn Trio.

—JMK

Symphony No. 1 in C major, Op. 21 Ludwig van Beethoven First Performance: 1/27/1953 Conductor: Guy Fraser Harrison Last Performance: 3/26/1994 Conductor: Joel Levine Born: December 16, 1770 (probably, since he was baptized on the 17th), in Bonn, Germany Died: March 26, 1827, in Vienna, Austria Work composed: Following preliminary sketches in 1795, composed mostly in 1799 and early 1800 Work dedicated: to Baron Gottfried van Swieten, the Viennese Court Librarian Work premiered: April 2, 1800, at the Hofburgtheater in Vienna Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings

When Beethoven left his native Bonn in 1792 to seek his fortune as a pianist and composer in the cultural capital of Vienna, he was entering a world dominated by the spirit of the late lamented Mozart and the still-living, universally revered Haydn. “By untiring work you will receive the spirit of Mozart from the hands of Haydn,” Count Ferdinand von Waldstein (the future dedicatee of Beethoven’s C-major Piano Sonata, Op. 53) had written in the composer’s autograph book shortly before

PROGRAM NOTES the aspiring composer packed his bags for Vienna. Soon after he arrived there, he did indeed seek out Haydn for lessons; and although that turned into a not-very-fruitful experience, it didn’t hurt Beethoven to begin his career through an attachment to the composer who then represented the pinnacle of the present.

The pinnacle of the present is always built on the past, to be sure, and Beethoven’s First Symphony further cemented itself to the musical past through its dedication to Baron Gottfried van Swieten. In his long career, van Swieten (17331803) had served in a variety of diplomatic and court posts, but his enduring impact came from his curiosity about music past and present. He headed a circle of mostly aristocratic music-lovers who gathered to pore over the scores of Bach and Handel—it was thanks to these sessions that Mozart re-orchestrated masterpieces by both—and he himself crafted the librettos for Haydn’s late oratorios The Creation and The Seasons. Beethoven had intended to dedicate his First Symphony to the Elector Maximilian Franz of Bonn, but when the Elector died in 1801, prior to the symphony’s publication, the composer directed the dedication instead to van Swieten, who had enthusiastically introduced the young Beethoven to his well-placed acquaintances. Just as Beethoven received “the spirit of Mozart from the hands of Haydn,” he received the spirit of Bach and Handel—the latter of whom Beethoven would later cite as his favorite composer—from the hands of van Swieten.

Beethoven’s First Symphony is clearly anchored in tradition, yet, as in the case of his early string quartets and concertos, it already strains in new directions. A century later, Gustav Mahler described this work as “Haydn raised to the highest degree of perfection.” “And that was Beethoven’s good fortune!” he continued. “For precisely this fact gave him access to his contemporaries. They could find a link with what they already understood—whereas he himself, the later, totally individual Beethoven, would probably have seemed to them completely incomprehensible—in fact, quite mad.” Hector Berlioz, however, sensed that Beethoven’s point of departure in this symphony was not Haydn: “The composer evidently remained in the course of writing it under the influence of Mozart’s ideas, which he sometimes enlarges, and everywhere imitates with ingenuity.”

Succinct themes capable of extensive development; endlessly imaginative melodic manipulation; startling dynamic contrasts; complete, if sometimes radical, formal mastery: these are all glimpsed at least in embryonic form in Beethoven’s First Symphony. On the other hand, we find here a young Beethoven eager to court favor in the musical establishment of a Vienna that prided itself on its consummate musical achievement. As Mahler pointed out, he would logically reach his goal by demonstrating expertise within recognizable boundaries rather than by coming across as a complete radical. Even Beethoven, arguably the most radical composer in history, sat squarely on the shoulders of his predecessors when he launched his magnificent succession of symphonies.

The piece was warmly received at its premiere, the capstone of a concert that also included an unidentified Mozart symphony, an aria and a duet from Haydn’s Creation, a piano concerto by and featuring Beethoven (his C-major, apparently), Beethoven’s Septet, and a piano improvisation

by Beethoven. The critic for the Allgemeine musikalische Zeitung found that the symphony displayed “considerable art, novelty, and a wealth of ideas,” though he felt the composer made too much use of the orchestra’s wind section. Concerns were quickly swept aside, and before long critics were singling out the work’s orchestration—and particularly its telling use of wind instruments—for special praise.

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

In Honor of Jeff and Sally Starling Rev. Dr. Carl Bosteels, D.Min. 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 Glen Koons Margaret and Drake Keith

In Memory of Molly Crawley Margaret and Drake Keith In Memory of Carlene Edwards Kathleen and Eric Andres Marilyn Cook

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

2021 27 Oklahoma artists. 115 works.

Reserve free tickets through Sept. 13

Carrie Kouts, Dominion, 2020

oklahomacontemporary.org | 11 NW 11th St., OKC, OK

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 2020-21 concert season and are listed through July 23, 2021.

Anonymous Hugh G. and Sharon Adams Steven C. Agee, Ph.D. Linda and Patrick Alexander Joan Allmaras Ms. Beth M. Alonso Dr. and Mrs. Dewayne Andrews Dr. and Mrs. John C. Andrus Anne Barker John and Ethelyn Barnett Mr. J. Edward Barth Eloise Bentley James Blank Marilyn and Bill Boettger Rev. Thomas Boyer Dr. and Mrs. L. Joe Bradley Mike Brake Mrs. Carole S. Broughton Ryan Bunyan Mr. and Mrs. F.M. Buxton Ms. Kathryn Carey Margaret Clyne Ken Coffey Deborah Collins Ms. Julie Collins

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

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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