OKCPHIL program edition 4 for the 24-25 season

POPS

CLASSICS

CLASSICS

POPS

The Music of Tina Turner APRIL 11-12, 2025

World Premiere!

April 19, 2025

An Alpine Symphony May 17, 2025

Kirsten C. Kunkle, Mark Billy, Canterbury Voices PG. 33

Clayton Stephenson, piano PG. 43

Cody Fry Live with The OKCPHIL May 23-24, 2025

PG. 25

F O R H O USE N OT E S SEE PAG E 2 3 .

PG. 49

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JERROD SHOUSE, President Oklahoma Philharmonic Society, Inc. Welcome to the Oklahoma City Philharmonic! We are delighted to welcome our loyal season subscribers, our generous philanthropic partners, and our first-time attendees. The magic of tonight’s concert is made possible by year-round effort, dedicated volunteers, and numerous donors. Since ticket sales only cover a portion of our concert expenses, we extend our deepest gratitude to our donors and volunteers for their invaluable support of our mission.

This year marks the 36th season of the OKCPHIL, where we continue to inspire and bring joy to the community through the beauty of orchestral music. We take pride in our legacy and look forward to an exciting future. A crucial part of our vision is to enrich the cultural fabric of our community and to educate future generations about the profound value of music. In pursuit of this vision, the OKCPHIL is more committed than ever to creating programs and concert experiences that unite our entire community.

Thanks to the expertise and passion of our Music Director, Maestro Alexander Mickelthwate, and our dynamic and dedicated staff led by Executive Director, Brent Hart, this season promises something for everyone. Our Classics, Pops, and Discovery concerts are sure to delight audiences of all ages and tastes. We encourage you to invite someone new to join us at a future concert and help us cultivate the audiences of tomorrow.

On behalf of the entire Oklahoma City Philharmonic family, thank you for being here. We invite you to say “hello” to someone you haven’t met before and look forward to seeing you again soon!

GEETIKA VERMA, President Oklahoma City Orchestra League On behalf of the Oklahoma City Orchestra League, we are thrilled to welcome you to another inspiring year of music.

It is an honor to address you as the President of the Orchestra League.

Our league is a testament to the power of music to inspire, unite, and elevate the human spirit. As we embark on this new season, we are committed to fostering a community that celebrates excellence, innovation, and passion in orchestral music. Where words fail, music begins. It touches us emotionally and spiritually, uniting us in shared feeling and experience.

We invite you to join the league and support our musicians, promote educational initiatives, and bring the joy of orchestral performances to audiences far and wide. Thank you for being a part of this vibrant community. Let’s create harmonious and unforgettable experiences in the year ahead.

JAMES HULSEY, President Associate Board On behalf of the Associate Board, welcome to the OKC Philharmonic’s 2024-2025 Season! This season promises a rich tapestry of musical styles that celebrate diverse cultures and geographies, performed by world-class musicians. We are thrilled to present a lineup that ensures every concert is a journey through community and culture, leaving you with a smile each time!

At the OKCPHIL, the Associate Board is dedicated to fostering community, culture, and connectivity, especially among young professionals. We achieve this through the Overture Society, offering concert packages that includes 3-4 concerts paired with engaging social events. Stay connected with us on social media, explore our Overture web page, and join us for what promises to be an exhilarating season!

Thank you for joining us! Your presence and support at our concerts contribute significantly to the vibrant orchestral music scene in our thriving city. Sit back, 7 relax, and enjoy the show!

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E XECUTIVE DIR ECTOR T

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BRENT HART

Dear Friends of the OKCPHIL, On behalf of the entire OKCPHIL family, welcome to our 2024-25 Season! We are thrilled to present another year of incredible performances and programs as we continue to serve our mission of bringing joy and inspiration through orchestral music to our community.

This season’s Classics Series features an array of inspiring programs, showcasing some of the most beloved works in the classical repertoire. Our concerts will feature a diverse range of instruments, including the organ, bagpipes, and sitar, along with beautiful violin performances by the renowned Midori and Sarah Chang. These compositions draw inspiration from nature, various cultures, and the unique sounds of the instruments themselves. We are excited to welcome Misha Dichter at the piano and Cameron Carpenter at the organ, performing extraordinary concertos. To learn more about the Classics programs, join us in the Concert Hall at 7:00 p.m. before each concert.

A highlight of our season is the World Premiere of American Indian Symphony, a new work by Chickasaw composer Jerod Tate. This symphony introduces native stories from different cultural regions across the country. We hope this piece resonates deeply with you and audiences worldwide. Our Classics Series will culminate with Richard Strauss’ Alpine Symphony, promising a breathtaking musical journey for us all.

The Chickasaw Nation Pops Series offers something for everyone, featuring the iconic music of your favorite artists and blockbuster Broadway musicals. Our cherished holiday tradition, A Very Merry Pops, will feature Ashley Brown and Tony DeSare for a soulful celebration of the season. We are also delighted to welcome back the immensely popular Pink Martini, who last captivated us in 2020!

At the Civic Center Music Hall and throughout our region, OKCPHIL remains committed to making music accessible through our Education and Community Engagement programs. From free outdoor orchestral concerts at Scissortail Park to music education programs and Youth Concerts for elementary school students, our initiatives enrich the lives of thousands of Oklahomans of all ages. Our Society of Strings program supports adult amateur string players, and our Young Musician Competition nurtures the talents of budding musicians.

We are deeply grateful for your ongoing loyalty, support, and generosity, which make all of this possible. Your ticket purchases, season subscriptions, and donations of all sizes enable us to deepen our impact on the community in countless ways.

Thank you for listening to our music, believing in our mission, and supporting us. I look forward to seeing you at our concerts throughout the season!

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ALE XANDER MICKELTHWATE As he prepares for his seventh season leading the Oklahoma City Philharmonic, Maestro Alexander Mickelthwate has become part of the community.

“It’s amazing, and also quite humbling,” Mickelthwate said. “My morning routine usually consists of studying at a local coffee shop. Quite often customers will approach me and say they saw me on television or on the side of a bus. To me, that signifies what we are doing at the OKCPHIL is resonating with the community, and making everyone feel welcome.”

The OKCPHIL has been a source of joy and inspiration for 36 years, enriching Oklahoma and its communities through orchestral music. When Mickelthwate came on board, he brought with him an eagerness to build on the successes of the past and pave the way for the future.

“Oklahoma City should be known as a breeding ground for fun and creativity,” he said. “That’s my thing. In our first season, we were always surprised how the audiences were really open to the contemporary. It’s crazy how embracing the audience is for adventurous, fun new things.”

Born and raised in Frankfurt, Germany, Mickelthwate grew up in a home filled with classical music. He received his degree from the Peabody Institute of Music, and has worked with orchestras in Atlanta, Winnipeg and Los Angeles.

He is Music Director Emeritus of the Winnipeg Symphony Orchestra in Canada, and in 2022, accepted the position of Music Director for the prestigious Bear Valley Music Festival in Bear Valley, California. In early 2023, Mickelthwate traveled to Hanoi where he was Guest Conductor at the Vietnam National Symphony Orchestra.

Since he’s been in Oklahoma, Mickelthwate has received numerous awards and honors, including being named three time “The Face of Music” by 405 Magazine. Newspaper OKC Friday named him one of the “Top 50 Most Powerful,” and the Ladies Music Club of Oklahoma City lauded him “Musician of the Year.”

Accolades aside, one of Mickelthwate’s goals is to tell Oklahoma stories through music.

“When I first came to Oklahoma City, I read Sam Anderson’s book, ‘Boom Town,’ and from there I began studying Oklahoma’s colorful history,” he said. “We have so many great stories, and seeing them come to life through music is awe-inspiring. This season, we’ve programmed “World Premiere!” American Indian Symphony by Native American composer Jerod Tate. I want to continue bringing more of these stories to our audiences.”

When he’s not studying music or planning future OKCPHIL concerts, Mickelthwate is Artist in Residence at the University of Central Oklahoma where he enjoys working with the next generation of musicians, and conducting UCO’s symphony orchestra. After the music is over Mickelthwate loves spending time with his two sons, trying to beat them at ping pong, creating adventurous new recipes or improvising together on piano and guitar.

“My personal philosophy is that music has a way of reaching us in a way nothing else does,” Mickelthwate said. “It goes deep inside, creating and facilitating beauty in a harsh world. We want the Oklahoma City Philharmonic to be meaningful, to be fun and a place where we are all one. I have often said we feel the love, Oklahoma City. And we are giving it right back.

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A S S O C I AT E C O N D U C T O R T

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DR . SHANTI SIMON Associate Conductor Dr. Shanti Simon joined the OKCPHIL team in September 2023, programming and conducting the Discovery Family Series concerts. Her engaging personality and lively programming resonate with children of all ages. She also conducts Youth Concerts for elementary school field trips at the Civic Center Music Hall, where thousands of students are captivated by hearing familiar songs performed by a live orchestra. Dr. Simon captures their full attention. This season, she will make her Pops debut conducting “Defying Gravity: Stephen Schwartz & Friends.”

“The OKCPHIL is a world-class orchestra and it is an honor to join this team of engaging professional musicians. We love sharing music with young people in a setting that resonates with their world view. Kids naturally move and engage with music in an uninhibited, inspiring way. They remind us professionals why we got into music in the first place – because music speaks to our souls deeply beyond the boundaries that words can reach. Music makes us want to move, to dance, and to sing. We are looking forward to an exciting season with you and the kids of all ages in your lives!,” said Simon.

In addition to her work with the OKCPHIL, Dr. Simon is the Director of Bands at the University of Oklahoma where she conducts the Wind Symphony and leads the graduate wind conducting program. Prior to joining the faculty at OU, Dr. Simon was the Flight Commander and Associate Conductor with The United States Air Force Academy Band in Colorado Springs. Before moving to Colorado, Simon served as Flight Commander and Associate Conductor with The United States Air Force Band in Washington, D.C., where she conducted performances in the national capital region and around the country including the 2011 National Tree Lighting Ceremony with the Airmen of Note, hosted by President Obama and the First Family. Dr. Simon was on the faculty of Shenandoah Conservatory as the Associate Director of Bands for the 20132014 academic year. In 2016, she deployed to the Middle East with the United States Air Force Central Command bands as the Officer-In-Charge, overseeing musical troop-support, community-outreach and partnership-building missions in seven countries.

Before joining the Air Force, Dr. Simon earned her MM and DMA degrees in conducting from the University of Minnesota where she studied with Craig Kirchhoff. She received her BME and BM degrees from Stetson University with Bobby Adams. Hailing from Florida, Simon served as the Associate Director of Bands at Vero Beach High School for four years, where her ensembles consistently earned top ratings in all areas of district and state assessment. Simon is active nationally and internationally as a guest conductor and clinician.

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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 P R O V I D I N G

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THE BOARD OF DIRECTORS OFFICERS

LIFETIME DIRECTORS

Jerrod Shouse President

Jane B. Harlow Patrick Alexander

Jim Roth President Elect

DIRECTORS

Debbie McKinney Vice President Louise Cleary Cannon Treasurer Jennifer Schultz Kouandjio Secretary Jane Jayroe Gamble Immediate Past President

Tracey Budz Robert Clements Lawrence H. Davis Kevin Dunnington Kirk Hammons Honorable Jerome A. Holmes James Hulsey Debra Kos Kristian Kos

Tom Lerum Matt Paque Craig Perry Sam Rainbolt Robert Ruiz Kelly Sachs Amalia Miranda Silverstein Doug Stussi Geetika Verma Evan Walter Travis Weedn Wendi Wilson

ADMINISTRATIVE STAFF John Allen General Manager

Kate Furney Marketing Associate

Jose Batty Music Librarian

Daniel Hardt Finance Director

Austin Bewley Data Analyst

Brent Hart Executive Director

Mason Board Graphic Design and Digital Marketing Coordinator

Judy Hill Office Manager

Blossom Crews Development Director Jared Davis Patron Services Lead

Chase Kerby Education Manager Joel Levine Archivist/Historian

Shannon Lockwood Education and Community Engagement Director Cassie Pastor Events and Stewardship Associate Jenni Shrum Marketing and Public Relations Director Hannah Stewart Development Manager Valorie Tatge Orchestra Personnel Manager

ACKNOWLEDGEMENTS Classical KUCO 90.1 Will Jarrell

Morningstar Properties Oklahoma City Police Association

Stubble Creative, Inc. The Skirvin Hotel

Titan AVL

PHOTOGRAPHERS:

Michael Anderson-Performing Arts Photography, Jesse Edgar Photography, Simon Hurst, and Shevaun Williams and Associates

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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A F F I L I AT E D PA R T N E R S

Providing Leadership and Annual Support 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 long-range planning and overall success.

Current officers and directors of the Oklahoma City Philharmonic Foundation are: OFFICERS

DIRECTORS

Douglas J. Stussi, President Charles E. Wiggin, First Vice President Jeff Starling, Second Vice President Louise Cleary Cannon, Treasurer Alice Pippin, Secretary

Steven C. Agee Patrick B. Alexander J. Edward Barth L. Joe Bradley Teresa L. Cooper Paul Dudman Jane Jayroe Gamble Mischa Gorkuscha

EXECUTIVE COMMITTEE

OFFICERS

Geetika Verma President

James Hulsey President Desiree Singer Immediate Past President Mady Hendryx President-Elect Daniel Karami Secretary Ashleigh Robinson Social Chair

Debra Kos Immediate Past President Rachael Geiger President-Elect 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

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Jane B. Harlow Jean A. Hartsuck Michael E. Joseph Duke R. Ligon Penny McCaleb Erik Salazar Patrick E. Randall, II Richard Tanenbaum

Members:

Piper Allred Reagan Collins Ragan Franklin Mya Reid Rebecca Ward

THE ORCHESTRA T

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ALEXANDER MICKELTHWATE, Music Director and Conductor JOEL LEVINE, Founder and Music Director Emeritus BRENT HART, Executive Director FIRST VIOLIN Marat Gabdullin, Acting Concertmaster, Gertrude Kennedy Chair Densi Rushing, Assistant Concertmaster Hong Zhu Beth Sievers Juan Moreno Ashley Cooper Halilu Zhang Lu Deng Lok-Hin Cheng SECOND VIOLIN Chandler Fadero, Principal, McCasland Foundation Chair Angélica Pereira, Assistant Principal Sophia Ro Sarah Sanford Brown Corbin Mace Catherine Reaves, Assistant Principal Emeritus Audrey Lee Yajing (Cindy) Zhang Paulo Eskitch 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 Kevin Flynn, Assistant Principal Valorie Tatge Emily Stoops Jim Shelley Angelika Machnik-Jones Jean Statham Samantha Kerns

BASS Anthony Stoops, Principal Larry Moore, Assistant Principal Christine Craddock Mark Osborn Taylor Dawkins DoYoun Kim FLUTE Valerie Watts, Principal Parthena Owens Nancy Stizza-Ortega

TRUMPET Karl Sievers, Principal Jay Wilkinson Michael Anderson TROMBONE Philip Martinson, Principal Hope Bellows John Allen, Bass Trombone TUBA Ted Cox, Principal

PICCOLO Nancy Stizza-Ortega

TIMPANI Jamie Whitmarsh, Principal

OBOE Lisa Harvey-Reed, Principal Rachel Maczko Katherine Casto

PERCUSSION Patrick Womack, Principal Stephanie Krichena Roger Owens

ENGLISH HORN Rachel Maczko

HARP Gaye LeBlanc, Principal

CLARINET Bradford Behn, Principal Tara Heitz James Meiller

PIANO Peggy Payne, Principal *on leave for 2024-25 season

BASS/E-FLAT CLARINET James Meiller BASSOON Rod Ackmann, Principal James Brewer Tyler Van Zuiden CONTRABASSOON Tyler Van Zuiden

PRODUCTION STAFF John Allen, General Manager Valorie Tatge, Personnel Manager Jose Batty, Librarian Ken Dines, Stage Crew Leader

HORN Kate Pritchett, Principal, G. Rainey Williams Chair James Rester* Mirella Gable* Matt Reynolds

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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

Louise Cleary Cannon

Mr. and Mrs. John McCaleb

Mr. and Mrs. Robert H. Clements

Mrs. Jean McLaughlin

Thomas and Rita Dearmon

W. Cheryl Moore

Dr. and Mrs. James D. Dixson

Carl Andrew Rath

Dr. Ralph and Lois Ganick

Mrs. Cathy Reaves

Hugh Gibson

Mrs. Lil Ross

Pam and Gary Glyckherr

Dr. Lois Salmeron

Carey and Gayle Goad

Mr. and Mrs. William F. Shdeed

Ms. Olivia Hanson

Susie and Doug Stussi

Jane B. Harlow

Larry and Leah Westmoreland

Dr. and Mrs. James Hartsuck

Mr. John S. Williams

Mr. and Mrs. Michael E. Joseph

Mrs. Carolyn Zachritz

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 the Philharmonic’s Development Office at (405) 232-7575.

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M E E T O U R FA M I LY THE PEOPLE BEHIND THE MUSIC

AUDRE Y LEE

HANNAH STEWART

Second Violin OKCPHIL Musician

Development Manager OKCPHIL Staff

Hi, my name is Audrey Lee, and I am a member of your OKC Philharmonic’s second violin section. I also perform with the Tulsa Symphony, the Dallas Chamber Symphony, and Kahlo Quartet, a Philadelphia-based string quartet. I have enjoyed the breadth of repertoire and musical storytelling I’m able to experience with these ensembles. Additionally, I am an aural skills instructor at Southeastern Oklahoma State University.

I’m Hannah, a native of Fredericksburg, Virginia, and a graduate of the College of Charleston in South Carolina.

My career began in public relations, events, and hospitality, where I developed a passion for storytelling and community engagement. Three years ago, my husband Joseph and I relocated to Oklahoma, where I began my nonprofit career at the National Cowboy & Western Heritage Museum. There, I gained experience in marketing and development, which ignited a new excitement for connecting people through cultural experiences.

I grew up in Houston, Texas. I began violin lessons at age five, studying with Lucy Shaw in a Suzuki violin program where I learned to love music and live performance.

I then received a scholarship to study with Kenneth Goldsmith in the Shepherd School preparatory program at Rice University. I double majored in violin performance and psychology at Vanderbilt University, where I studied with Cornelia Heard. Graduate studies took me back to Texas where I completed my MM with Miro Quartet member (and fiddle champion) William Fedkenheuer at the University of Texas at Austin. I currently reside in Calera, Oklahoma with my husband, Ian Gerg, and our dog Scout.

Though my personal musical journey—playing the flute and piano—ended in high school, I’ve remained a lifelong lover of the arts and cultural institutions. Now, five months into my role as the Development Manager for the Oklahoma City Philharmonic, I’m excited to use my background to share the Philharmonic’s story and help bring the joy of orchestral music to the vibrant community that has become my second home.

In my free time, you can find me doing home projects, gardening, reading, practicing yoga, or traveling to visit family in upstate New York and Pennsylvania (Go Steelers!).

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G I F T S TO T H E P H I L The Oklahoma City Philharmonic gratefully acknowledges 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 2024-25 Season through March 5, 2025.

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!

Providing leadership support.

UNDERWRITER $25,000 - $49,999 E.L. and Thelma Gaylord Foundation Dr. Margaret Freede-Owens and Daniel Owens Express Employment Professionals International Headquarters Oklahoma City Community Foundation in partnership with the John E. Kirkpatrick Partners Fund Oklahoma City Philharmonic Foundation Dr. Amalia Silverstein The Ann Lacy Foundation

Linda and Patrick Alexander American Fidelity Foundation Lawrence H. & Ronna C. Davis Devon Energy Corporation Gerald Gamble and Jane Jayroe Gamble Jane B. Harlow Barbara and Edward Krei Mr. Albert Lang Joel Levine and Don Clothier Larry and Polly Nichols OGE Energy Corp.

Dr. Lois Salmeron Susie and Doug Stussi W&W | AFCO Steel John Walker BENEFACTOR $5,000 - $9,999

GUARANTOR $10,000 - $24,999 Ad Astra Foundation

Bank of Oklahoma Margaret and John Biggs Dr. and Mrs. L. Joe Bradley Martha and Ronnie Bradshaw Louise Cleary Cannon and Gerry Cannon Mr. and Mrs. Robert H. Clements Clements Foods Foundation Terri Cooper Mr. David Daugherty David and Janice DeLana Frank Goforth and Nancy Halliday Darleene Harris Patrick and Sarah McKee Mekusukey Oil Company, LLC Ruth Mershon Fund Donald Rowlett Linda and Steve Slawson Glenna and Dick Tanenbaum

Steven C. Agee, Ph.D. Dr. and Mrs. Sterling S. Baker

CORPORATIONS, FOUNDATIONS & GOVERNMENT AGENCIES SUSTAINERS $2,500 - $4,999

ASSOCIATES $1,500 - $2,499

FRIENDS $1,000 - $1,499

Oklahoma Allergy & Asthma Clinic Oklahoma Craft Omni Hotels

AEIOU Foundation Dr. Elliott Schwartz and Pam Shanklin M.V. Williams Foundation Inc.

PARTNERS $500 - $999

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Cable Family Charitable Foundation

MEMBERS $250 - $499

G I F T S TO T H E P H I L INDIVIDUALS

Providing essential support for the Annual Fund.

SUSTAINER $2,500-$4,999 Albert and Virginia Aguilar Dr. and Mrs. Dewayne Andrews Dr. and Mrs. John C. Andrus Dr. Mary Zoe Baker Mrs. Betty D. Bellis-Mankin Dr. and Mrs. Philip C. Bird Robert and Karen Browne Family Fund Phil G. and Cathy Busey Mari Cook Medley Barbara Cooper Mr. Sidney G. Dunagan Druanne and David Durrett Dr. Thurma J. Fiegel Mr. and Mrs. Joseph M. Fleckinger Karen and Fred Hall Kirk Hammons Dr. James Hartsuck William Hoch Colonel (ret.) Dean and Mrs. Jeanne Jackson Tom and Cindy Janssen Carlos and Pamela Johnson Mrs. Margaret Keith Kathy and Terry Kerr Tom and Jane Lerum Mr. Charles Oppenheim Gayle and Richard Parry Phil and Alice Pippin Jerry and Jan Plant Mr. Larry Reed Mrs. Lil Ross Ernesto and Lin Sanchez Dr. and Mrs. Hal Scofield Pam and Bill Shdeed Jeff and Kim Short John and Katherine Spaid Mr. and Mrs. John E. Stonecipher John Stuemky and James Brand Billie Thrash Janie Pryor Tubb Ron and Janie Walker Dr. James and Mrs. Elizabeth Wise Ms. Jeanise Wynn

ASSOCIATE $1,500 - $2,499 Fatima Abrantes-Pais

Nancy and Louis Almaraz Ms. Beth M. Alonso Ms. Zonia Armstrong Mr. J. Edward Barth Dr. and Mrs. William L. Beasley Mr. William Beck Dr. and Mrs. Jack Beller Nick and Betsy Berry Dr. and Mrs. Charles Bethea Bart Binning Dr. Robert and Kristin Blakeburn Ms. Pamela Bloustine Mike and Dawn Borelli Mr. and Mrs. Del Boyles Mrs. Phyllis L. Brawley Mrs. Carole S. Broughton Mr. and Mrs. Pete Brown J. Christopher and Ruth Carey Ms. Janice B. Carmack Drs. Fong Chen and Helen Chiou Mrs. Nancy Coleman Cynthia Cortright Patricia Czerwinski Mr. Chuck B. Darr, III William E. Davis and Margaret H. Davis - Charles and Libbi Davis Legacy Fund Tony and Pam Dela Vega Ms. Vickie Dennis Gary and Fran Derrick Mr. Joel Dixon Dr. Matthew Draelos and Mrs. Jenie Draelos Nancy Payne Ellis Royice B. and Dian Everett Paul and Debbie Fleming Mr. and Mrs. Kelly George Natalie Kurkjian and Christopher Geyer Mrs. Ann Felton Gilliland Mrs. Lyn Graham Dr. Stephen Hamilton and Dr. Pamela Craven Hamilton David and Sandra Haskett Mr. and Mrs. Lawrence K. Hellman Walt and Jean Hendrickson Frank and Bette Jo Hill Mr. and Mrs. Joe R. Homsey, Jr. Mrs. Elizabeth Hrubik John and Janet Hudson Leslie and Cliff Hudson

David and Vicki Hunt Ms. Ashley Hurley Mary Lu Jarvis Zach Johnson Kim and Michael Joseph Mike and Kay Kellogg Drs. Daniel and Diana Kennedy Aaron and Jennifer Ketter Claren Kidd David Kinnard Debra Klinghoffer Debra and Kristian Kos Mike and Kay Lacey Richard and Dr. Barbara Masters William and Oxana Matthey John and Penny McCaleb Cindy and Johnny McCharen Debbie McKinney John and Anna McMillin Mr. Herman Meinders Robert and Kathy Mendez Deann Merritt Parham Sandra Meyers Tom and Katherine Milam Peggy and Tom Miller Betsy Mitschke and Steven Helt Dustin and Krystal Murer Dr. Gene L. Muse Steven Newell and Deborah Naylor Edward Oliver and Harriet Lord Kathleen Oliver Sandra Peyton Mrs. Pat Potts Patrick and Amy Randall Mr. and Mrs. Kenneth R. Rees Kathryn and Thomas Ryan Patricia and Larry Sanford John and Hattie Santore Maria and Fred Schmitt Mary and John Seward Emma and John Shelton Robert and Susan Shoemaker Jamie and Jerrod Shouse Rick and Amanda Smith Donald J. Smock, M.A. Susan Sutter Mr. James Taylor Michelle Tompkins Robert and Sharon Varnum Drs. Bobby and Geetika Verma CONTINUED ON PAGE 51

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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 lobby 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 under five years of age 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.

STUDENT RUSH TICKETS are available with a high school or university I.D. and email address at the box office 1 hour prior to the start of each Philharmonic performance. Or may be purchased online the Wednesday prior to each concert for $11. Limit: 2 tickets per I.D. Tickets are offered based on availability only and seats may be located throughout the theatre.

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) By attending this event, you consent to being photographed and/or recorded for marketing and promotional purposes by the Oklahoma City Philharmonic and grant the Oklahoma City Philharmonic permission to use your image or video recordings in promotional materials, including print, digital, editorial, television and social media.

ARTISTS, PROGRAMMING, AND DATES SUBJECT TO CHANGE. 23

T H E M USI C O F T I N A T U R N ER A P R I L 1 1 - 1 2 , 2 0 2 5, 8 : 0 0 P. M .

DAVID ANDREWS ROGERS, GUEST CONDUCTOR

VOLUNTEER APPRECIATION NIGHT

Featuring vocalists Lakisha Jones

Nova Y. Payton

Armando Imagines

THIS CONCERT IS GENEROUSLY SPONSORED BY:

A special Thank You to Bo Taylor for providing musicians’ catering services.

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THE MUSIC OF TINA TURNER

LaKisha Jones, vocalist • Nova Y. Payton, vocalist • Armando Imagines, vocalist 2:00 KERSEY / GREEN Disco Inferno (Arr Matt Smith) 4:00 SYLVESTER STEWART I Want to Take You Higher (Arr Daryl McKenzie) LaKisha Jones, Nova Y. Payton, and Armando Imagines 4:00 TINA TURNER Nutbush City Limits (Arr Lucas Waldin) LaKisha Jones 4:00 BRITTEN / LYLE What’s Love Got to Do With It (Arr Daryl McKenzie) Nova Y. Payton 4:00 MITCHELL / JACKSON / GREEN Let’s Stay Together (Arr Sam Shoup) Armando Imagines background vocals by LaKisha Jones and Nova Y. Payton 4:30 BRITTEN / LYLE We Don’t Need Another Hero (from Mad Max: Beyond Thunderdome) (Arr Roger Müller) 4:00 BONO / EVANS Goldeneye (Arr Jan Angermüller) Lakisha Jones 4:00 LIONEL RICHIE All Night Long (All Night) (Arr Matt Amy) Armando Imagines background vocals by LaKisha Jones and NovaY. Payton 4:30 MARK KNOPFLER Private Dancer (Arr Daryl McKenzie) Nova Y. Payton 4:00 BARRY / GREENWICH / SPECTOR River Deep - Mountain High (Arr Lucas Waldin) LaKisha Jones and Nova Y. Payton

INTERMISSION 3.30 PETER TOWNSHEND Tommy: Overture (Arr Lucas Waldin) 3:30 PETER TOWNSHEND Tommy: Pinball Wizard (Arr Lucas Waldin) Armando Imagines, LaKisha Jones, and Nova Y. Payton 2:00 STEVENSON / MOY It Takes Two (Arr Lucas Waldin) LaKisha Jones and Armando Imagines 2:00 IGGY POP / DAVID BOWIE Tonight (Arr Lucas Waldin) LaKisha Jones and Armando Imagines 2:00 VALANCE / ADAMS It’s Only Love (Arr Lucas Waldin) LaKisha Jones and Armando Imagines 3:00 WILKINS / HURLEY Son of a Preacher Man (Arr Lucas Waldin) Nova Y. Payton Background vocals by Lakisha Jones and Armando Imagines 3:30 STEVIE WONDER Living for the City (Arr Daryl McKenzie) Armando Imagines 4:00 CHAPMAN / KNIGHT The Best (Simply the Best) (Arr Richard Maslove) Nova Y. Payton 6:30 LENON / McCARTNEY (Arr Randall Craig Fleischer)

Music of The Beatles

5:00 JOHN FOGERTY Proud Mary (Arr Lucas Waldin) Armando Imagines, LaKisha Jones, and Nova Y. Payton

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Artists and Programming Subject to Change

G U E S T C O N D U C TO R T H E

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DAVID ANDREWS ROGERS David Andrews Rogers (DAR) is always happy to return to Oklahoma City to guest conduct the extraordinary musicians of the Oklahoma City Philharmonic.

He debuted with the orchestra in 2012 for the ABBA tribute Concert, Waterloo.

He has returned to conduct the Midtown Men (2013), All That Jazz; A Symphonic Tribute to Kander and Ebb (2015), The Spy Who Loved Me starring Sheena Easton (2016), The Wonderful Music of Oz (2017), and most recently, Disney: Magical Music from the Movies (2022).

DAR made his Carnegie Hall debut conducting the NEW York Pops in 2003 with an All-Star Tribute to Kander and Ebb. He returned to Carnegie Hall annually for several years as a conductor, an orchestrator, or both, including Bravo to Broadway in 2008. His other guest conducting experience includes New York’s Lincoln Center, The Nebraska Jazz Orchestra, and Harlem’s legendary Apollo Theatre.

Oklahoma City audiences may also know DAR from his 50+ appearances as Music Director/Conductor for Lyric Theatre, his favorite Summer Music Theatre Home, and he has also appeared at regional theatres all over the US including Ford’s Theater in Washington, DC, among many others.

On the road, DAR has been Music Director and Conductor for the World Tour of The Phantom of the Opera, for the Lincoln Center/Broadway touring production of My Fair Lady, and as Assistant Music Supervisor for the first-ever Mandarinlanguage production of Phantom in Shanghai, China.

DAR has conducted for many Broadway stars and recording artists including 12 years as Music Director and Conductor for 80’s recording artist Debbie Gibson. As an orchestrator and arranger, DAR’s work has been played by orchestras all over the United States and Canada, and he was a contributing orchestrator for Debbie’s Holiday 2022 album, Winterlicious.

In New York City, DAR has been Music Director, Supervisor, and /or Arranger for numerous readings and workshops of new musicals, and he made his off-Broadway debut as Music Supervisor for The Vocal Lords at St. Clements Theatre.

As an educator, DAR has been on the faculty of New York’s American Musical and Dramatic Academy and Dallas’ Performing Artists’ Musical Theatre Conservatory, as well as in his private voice studio in New York.

Educated at Southern Methodist University in Dallas and Queen’s College, Oxford University in England, DAR is originally from Texas, lived in New York City for 27 years, and now makes his home in Palm Springs, California.

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L AKISHA JONES Best known to millions of TV viewers as a top four finalist during the 2007 season of American Idol, LaKisha Jones is ready to reclaim center stage in music, theatre and television.

Having worked with hit-making songwriters and producers including Tony Nicholas (Patti LaBelle, Luther Vandross), Ro & Sauce (Brandy, Ne-Yo) and Greg Curtis (Keyshia Cole, Yolanda Adams), Jones’ album, So Glad I’m Me featured a spirited mix of R&B and soul. A few noteworthy songs included the single “Same Song,” penned by award-winning songwriter Dianne Warren, Whitney Houston’s “You Give Good Love,” the gospel song “Just as I Am,” and Jones soaring ballad to her daughter, “Beautiful Girl.”

Her drive and motivation dates back to her childhood in Flint, Michigan. Raised by her mother and grandmother, Jones was exposed to music by legendary singers such as Whitney Houston, Aretha Franklin and Patti LaBelle, with her grandmother urging the young girl to “let your voice shine” thereby prompting Jones to sing in church choirs and music programs. Joining various choral groups and a cappella choruses throughout high school, Jones entered and won the top prize at Flint’s local talent contest, The Super Show in 1997.

Jones then went to New York to audition for American Idol and segued from Idol to the Broadway stage for The Color Purple where she played “Sophia”, which she alternated with R&B icon Chaka Khan, who became her mentor. Jones participated in Khan’s 35th Anniversary Tour. Following her Broadway stint, Jones provided vocal coaching on MTV’s reality competition Legally Blonde: The Search for Elle Wood, a show designed to find and hone Broadway’s next star.

A frequent soloist with symphony around the world, Ms. Jones has performed as a guest soloist with the National Symphony, San Diego Symphony, Utah Symphony and Opera, Winnipeg Symphony, Evansville Philharmonic, Jacksonville Symphony, Minnesota Orchestra, Houston Symphony, Phoenix Symphony, Colorado Symphony, Winnipeg Symphony, Windham Chamber Singers, Grand Rapids Symphony, Vancouver Symphony, Calgary Symphony, Battle Creek Symphony, Reno Philharmonic, Oregon Symphony, Long Bay Symphony and the Festival Cesky Krumlov in the Czech Republic, among many others.

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NOVA Y. PAY TON Chances are that you’ve heard the amazing soprano voice of Nova Y. Payton in internationally staged musicals, on PBS in one of the specials with The American Pops Orchestra or 3 Mo’ Divas or in countless regional theatre productions across the country. Boasting a prolific catalog of artist collaborations, the former American Musical and Dramatic Academy (AMDA) student has shared the stage with Stevie Wonder, Roberta Flack, Levi Kreis, Bobby McFerrin, John Michael Higgins, Yolanda Adams, Betsy Wolfe, Michael Uris, Anthony Hamilton, and Michelle Williams. She has also opened for heavyweights like Ashford and Simpson, Will Downing, Stephanie Mills, Melba Moore, The Chi-Lites and the Dramatics. Nova has performed in over 150 major cities in the US, as well as Canada, Japan, Singapore, Saudi Arabia, and Europe.

Nova has been recognized with nominations and awards for her talents. Nova starred in a soul-stirring rendition of Effie White in Dreamgirls, which earned her the 2006 Barrymore nomination for Outstanding Leading Actress in a Musical.

The DVD/ CD for 3 Mo’ Divas received a 2010 NAACP nomination for Outstanding Duo, Group or Collaboration. In 2012, Nova was honored as the Helen Hayes Award Recipient as the Best Supporting Actress in a Resident Musical for her portrayal of MotorMouth Maybelle in Hairspray. For her performance as Effie White in Dreamgirls during the 2012-2013 season at Signature Theatre, Nova was nominated for the Helen Hayes Award for Outstanding Lead Actress in a Resident Musical. In 2015, Nova was nominated for Best Supporting Actress (Musical) for her role in Elmer Gantry. She was also nominated in 2018 for Lead Actress (Musical) in Caroline, Or Change and Supporting Actress (Musical) in Ragtime.

Other honors have come in the form of singing for President Biden and Vice President Harris and performing the National Anthem at the dedication of the Reverend Dr. Martin Luther King, Jr. Memorial live as the world watched on C-SPAN. Nova has also appeared on the Jimmy Fallon late-night talk show accompanying artist Glen Hansard. Most recently in 2022 alone, Nova starred in Grace The Musical, The Color Purple, Into The Woods, and Fela!

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ARMANDO IMAGINES A

Bronx native, Armando Imagines is a dynamic force in music, television, and film, known for his versatile talents as a singer, actor, dancer, and writer. Armando has graced stages alongside music legends like Paul McCartney, Alicia Keys, Michael Bolton, Lionel Richie, Missy Elliott, Gwen Stefani, Jason Derulo, Luis Fonsi, and Prince Royce. His performances have captivated audiences in iconic venues such as Madison Square Garden and Radio City Music Hall and at high-profile events like the MTV Music Awards, The Brit Awards, and The Latin Grammys. He has also made a striking orchestral debut, performing with Amie Doherty and Orchestra for the premiere of the hit TV series POWER.

In television, Armando has brought such characters to life as Hector in NBC’s Prodigal Son alongside Michael Sheen and Tom Payne, or as Resonance, the reggaeton sensation, in ABC’s Queens. Most recently, he starred as Rufus, the health-food fanatic coach, in Disney’s The Mighty Ducks: Game Changers, with appearances in hit series like NCIS: Hawaii and 911: Lonestar.

Armando’s passion for storytelling extends beyond acting. Between roles, he crafts his own creative projects, including Die Laughing, an original short film he wrote and will be starring in. Currently, he’s developing a TV series about a pop star finding fame at 40—a project that showcases his creative talents not just as a writer, but as an actor, singer, and musician. Armando’s work reflects his dedication to telling compelling stories through music and performance that resonate with authenticity and artistry.

Maestro CONCEPTS FROM THE

WORLD PREMIERE! A P R I L

1 9 ,

2 0 2 5

•

8 : 0 0

P . M .

CLASSICS

This season, we’re celebrating our “classical” repertoire—music that is tried and true, resonating deeply with audiences over time and embodying a deeply romantic spirit, cherished by many. Join us as we explore these beloved classics!

ALEXANDER MICKELTHWATE, CONDUCTOR

0:09 LESHNOFF .......... Elegy*

WORLD PREMIERE! This season, we are proud to continue our Oklahoma Stories with a historic first: an American Indian Symphony.

The composer is Oklahoma’s own Jerod Impichchaachaaha’ Tate, a citizen of the unconquered and unconquerable Chickasaw Nation. His American Indian Symphony is structured in six sections, each representing one of the six regions of Native Americans in North America and sung in six different Native American languages.

The evening will begin with a brief musical prayer in honor of the Oklahoma City bombing, featuring Jonathan Leshnoff’s beautiful Elegy.

Additionally, we’ll present Stravinsky’s Firebird. When I asked Jerod Impichchaachaaha’ Tate about his inspiration to become a composer, he mentioned his mother’s influence in teaching ballet, which sparked his love for the great ballet scores. It felt fitting to include one of the best.

Join us for this unique and meaningful evening celebrating a rich cultural heritage!

For a deeper understanding of concert programming, please, join Maestro Mickelthwate for his Preconcert Talk at 7pm in the auditorium. Open seating.

0:23 STRAVINSKY ..... Suite from The Firebird (1919 version) The Firebird and its Dance; Variation of the Firebird The Princesses’ Round-Dance (Khorovod) Infernal Dance of King Kashchei Lullaby Finale Intermission 0:40 TATE ...................... American Indian Symphony (World Premiere)* Wichita Potawatomi Apache Chickasaw Modoc Cheyenne Kirsten C. Kunkle, soprano Mark Billy, baritone Canterbury Voices under the direction of Julie Yu World Premiere of Oklahoma City Philharmonic commission.

Commissioned piece underwritten by Oklahoma City Community Foundation: Culture and Community John Walker Recording underwritten by Chickasaw Nation Oklahoma City Community Foundation in partnership with John E. Kirkpatrick Partners Fund This project is supported in part by the National Endowment for the Arts *First Performance on this Series

THIS CONCERT IS GENEROUSLY SPONSORED BY:

OKCPHIL Spotlight School: Edmond North High School

Listen to a broadcast of this performance on KUCO 90.1 FM on Saturday, May 17, at 9 am and Sunday, May 18, at 7 pm on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

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KRISTEN C. KUNKLE Lauded as the leading Native American soprano in today’s classical music world, Dr. Kirsten C. Kunkle is a voting citizen of the Mvskoke (Muscogee-Creek) Nation. She has been hailed as an outstanding singing actress with a voice that has been described as beautiful, ethereal, powerful, fiery, and bewitching.

Kirsten commissioned and premiered sixteen original compositions, including one of her own, based upon the poetry of her ancestor and highly-acclaimed poet of the Native American Muscogee Nation, Alexander Posey. Her recordings are collected at the Library of Congress, the National Museum of the American Indian at the Smithsonian Institution (NMAI), and the Merkel Area Museum in Merkel, Texas. Kirsten is included on the list of Classical Native American Artists and Musicians at the NMAI. Among her favorite roles in the standard operatic repertoire are Agathe in Der Freischütz, the title role in Suor Angelica, Magda and the Foreign Woman in The Consul, Mimì in La bohème, Rosalinda in Die Fledermaus, Contessa in Le nozze di Figaro, Mother in Amahl and the Night Visitors, Iolanta and Brigitta in Iolanta, Zemfira in Aleko, Lisa in Pique Dame, Donna Elvira in Don Giovanni, Laetitia in The Old Maid and the Thief, the Witch in Hansel and Gretel, and Dido in Dido and Aeneas.

She made her Carnegie Hall debut in 2014, and in the same year she was the Pennsylvania District National Association of Teachers of Singing Artist Award winner. Kirsten won second place in the Roschel Vocal Competition in 2015.

Kirsten served as opera stage director for four years at Lincoln University, the nation’s first degree-granting HBCU. Prior to her time at Lincoln, she directed opera scenes at Shorter University, for which she commissioned the work “The Tribunal” by composer Bradley Harris. Favorite productions directed include Treemonisha, Hansel and Gretel, Man of La Mancha, The Telephone, The Medium, and Kismet.

Kirsten is the Co-Founder and Artistic Director of Wilmington Concert Opera, a women and minority led opera company in Wilmington, Delaware. She is a proud graduate of Bowling Green State University and University of Michigan. She is thrilled to make her Oklahoma City Philharmonic debut in April 2025 as the soprano soloist for “American Indian Symphony.”

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MARK BILLY Mark Billy is a Verdi baritone of Native (Choctaw) ancestry from Finley, Oklahoma. Mr. Billy enjoys a multi-faceted career in opera, recital, and concert work.

In November Mark made his Madison Opera debut singing the role of the Sacristan in Puccini’s Tosca and covering the role of Baron Scarpia. Last spring Mark jumped in as a last-minute replacement in University of Wisconsin Opera’s performances of La Traviata as Giorgio Germont.

Later this spring, Mark will make his debut singing the baritone solos in Orff’s Carmina Burana with the Duluth Superior Symphony and will return to the Iron Range to join the Mesabi Symphony Orchestra as a baritone soloist for two performances of the Brahms Requiem. 2024 included many important recital debuts, one in Seattle with the Music of Remembrance concert series; and one in New York City with National Sawdust.

Mr. Billy has performed twice in the Wheels of Harmony Tour sponsored by Intermountain Opera Bozeman. The Wheels of Harmony tour presents vocal works composed by Indigenous composers and a sampling of standard operatic repertoire to rural and Tribal schools across Montana. Mark has on two occasions joined the Oklahoma City Philharmonic, singing in Choctaw and playing the native flute. In the 2021-22 season, the baritone stepped in last minute to sing Jerod Impichchaachaaha’ Tate’s work Standing Bear in the Ponca language at the 2022 Moab Music Festival in Utah.

Mark is the recipient of numerous awards and performance grants including the Music in Action Grant from the Wagner Society of the Upper Midwest, Opera Reading Project’s IDEA Fellowship, 1st prize in the St. Croix Valley Opera Competition and first prize in the Schubert Club Competition.

Mark has been a young artist with Hawaii Opera Theatre and a Gate City Bank Young Artist with Fargo Moorhead Opera. Mark was a national finalist in the Ryan Opera Center auditions at the Lyric Opera of Chicago. In the summer of 2023, the baritone made his debut with the Minnesota Orchestra. Mark’s major teachers have been George Smith, Richard Anderson, Carol Vaness, Marilyn Horne, and David Etheridge (clarinet).

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CANTERBURY VOICES Now in its fifth decade, Canterbury Voices has grown into the premier symphony chorus of Oklahoma, bringing singers and audiences from throughout our great state to the place where music truly comes alive! Canterbury Voices was founded in May 1969 as Canterbury Choral Society and met at All Souls Episcopal Church with 60 singers. Today, the 150-member adult chorus is the largest of its kind in Oklahoma. All singers are auditioned, most with extensive musical and stage experience, and come from all over Oklahoma. Canterbury also leads a 200-voice youth music education program named Canterbury Youth Voices for children and youth grades 2-12. Canterbury Voices collaborates with other arts organizations including the OKC Philharmonic, Oklahoma City Ballet, and Oklahoma City Jazz Orchestra, as well as many talented singers and musicians from around the United States, including Kelli O’Hara, Sarah Coburn, Gabriel Preisser, Barry Manilow, and Ron Raines; and joined with the OKC Philharmonic in June, 2022, to perform with Andrea Bocelli.

Canterbury Voices also strives to grow the catalog of new music by commissioning new choral works by composers including Stephen Paulus, Edward Knight, Jerod Impichchaachaaha’ Tate, and Dominick Argento. In June, 2022, Canterbury Voices received the American Prize for Best Choral Performance, Community Division.

JULIE YU, Artistic Director Award-winning choral conductor and educator Dr. Julie Yu is the artistic director of Canterbury Voices and director of choral activities at the Bass School of Music at Oklahoma City University.

As artistic director, she conducts and guides the creative direction of Canterbury Voices’ award-winning 150-voice ensemble. At OCU, she oversees the artistic vision of OCU’s four major choirs, conducts the Chamber Choir and Ad Astra women’s chorus, and teaches courses in conducting and in the graduate choral curriculum.

She holds the Doctor of Musical Arts degree in Choral Conducting with specialized studies in Early Music from the University of North Texas, a Master’s degree in Choral Conducting from Oklahoma State University, and a Bachelor of Music Education degree from the University of Central Oklahoma. Her choirs have performed in Carnegie Hall, at the National Cathedral in Washington, D.C., as well as in Austria, Czech Republic, and France. She was an ACDA International Conducting Exchange Fellow to Kenya in 2019 and has led All-State choruses from Florida to Utah to Maine.

Yu conducted the Oklahoma Arts Institute (OAI) chorus at Quartz Mountain in 2016 and 2020. She was featured conductor at Ireland’s 2019 International Dublin Choral Festival. Dr. Yu was a clinician and keynote speaker at the European Music Educators Association Conference in Naples, Italy, and also served in 2018-2020, as president of ACDA’s Southwestern Region.

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LESHNOFF Elegy Jonathan Leshnoff First Performance on this Series Born: September 8, 1973, in New Brunswick, New Jersey Residing: Baltimore, Maryland Work composed: 2022 Work premiered: May 1, 2022, at the Mount Baker Theatre in Bellingham, Washington, with Yaniv Attar conducting the Bellingham Symphony Orchestra Instrumentation: Four horns, timpani, harp, and strings

In a 2021 interview published on MusicWeb International, the journalist Lee Denham asked composer Jonathan Leshnoff how he would like to be remembered in posterity.

“I would like to be remembered as a symphonist,” Leshnoff replied, “but if not that, then as a composer whose music took people on a journey. Where that journey took them, what they choose to see or hear, whether they experienced something scary, or painful—that’s their choice, but it’s my job to open that door. However, if at the end of that journey their life is at a better place than it was at the start, then I have done my job – and that would make me very happy.”

symphony or the concerto. In fact, concertos make up a large chapter in his voluminous catalogue of compositions.

He has composed 14 at last count—for cello, violin (two full scale ones plus a shorter “chamber concerto”), two violins, violin and viola, guitar, clarinet, clarinet and bassoon, flute, trombone, piano, a pair of percussionists, and a group of five percussionists (plus band). Alexander Mickelthwate and the Oklahoma City Philharmonic recorded his Violin Concerto No. 2 with soloist Noah Bendix-Balgley, released on the Naxos label in 2023, a compilation CD that also included two other works: his Elegy (played in this concert) and his Of Thee I Sing, for chorus and orchestra (with OKC’s Canterbury Voices joining the OKC Philharmonic). The Orchestra commissioned Of Thee I Sing to commemorate the 25th anniversary of the Oklahoma City bombing. It was, Leshnoff said, “the most serious commission I have ever received.” In extending the commission, Maestro Mickelthwate expressed what he hoped the work might be: “[A piece] that transcends the atrocity and focuses on all the good that came out of it in the last 25 years. A city growing together. But also transcending death. To the point where in this bizarre world music actually unifies and makes the listener step out of the crazy into a spiritual sphere. Where the spiritual becomes reality and the other just a dream.”

Those hopes have not diminished in the five years since, and we may bear them in mind as the Orchestra revisits the third piece on that CD, Leshnoff’s Elegy. It is performed in this concert in memory of the bombing, which took place 30 years ago to the day. The Elegy stands in a tradition of pieces that were not written as specific memorials but that have been widely adopted for that purpose, such as Mahler’s Adagietto (from his Fifth Symphony) or Barber’s Adagio for Strings.

Unlike those, Leshnoff’s Elegy was written within a general context of remembrance. It was co-commissioned by the Bellingham (Washington) Symphony Orchestra and the Tennessee Holocaust Commission as part of We do not meet Leshnoff as a symphonist in this concert, that orchestra’s Harmony from Discord initiative, which although one can understand why he views symphonies celebrates music that transcends oppression. Although as a central part of his oeuvre. “With a symphony,” he says, this 10-minute piece is not programmatic in a specific “the composer can say what they have to say in the purest, sense, the composer has reflected its topic in both its unfiltered form. Whenever I compose a symphony, I view musical structure (see sidebar) and its sound. “Elegy,” it as a sacred act in the sense that I know that I am able he explains, “is scored for the unusual combination of to say something in such a way that nobody is going to horns, harp, timpani, and strings. These instruments bother me in a direct way.” He has written four so far, this in were selected for their darker color, a natural fit for this an era when rather few composers are tackling this longcomposition, which is introspective and somber. Elegy is revered genre, and some even dismiss it as hopelessly old- written in memory of the thousands of nameless people fashioned. But Leshnoff finds that it is still possible to pour who suffered under oppression.” new wine into old bottles, and he embraces genres like the CONTINUED ON PAGE 38

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Jonathan Leshnoff has provided this comment about his Elegy: Writing a new composition for the Harmony from Discord series, I chose to musically depict these two contrasting moods with two contrasting ideas: a somber, dark theme that dominates the beginning of the work and a hopeful, brighter theme that is heard in the middle. Elegy starts with this lonely and contemplative theme first played by the violins and then slowly spreading throughout the string section, with the harp offering a haunting echo.

After a brooding cadence, the hopeful theme is introduced in the horns. Full of moving lines and sweeping harmonies, the music builds to a resounding climax, accompanied by the timpani grounding the ensemble in successive strikes.

After a cascading cadence, the dark opening theme again returns, but this time, the hopeful theme intertwines itself with the darker theme, symbolic of the hope that has emerged through the dark, discordant eras of history. The piece notably ends on a major chord.

—JMK

April 19, 1995 We remember and honor the 168 men, women, and children who were killed, those who survived, and those whose lives were forever changed.

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S T R AV I N S K Y

From the Composer

Suite from The Firebird (1919 version) Igor Stravinsky First Performance: 1/25/1940 Conductor: Victor Alessandro Last Performance: 9/12/2015 Conductor: Joel Levine Born: June 5 (old style)/17 (new style), 1882, in Oranienbaum, now Lomonosov, near St. Petersburg, Russia Died: April 6, 1971, in New York City Work composed: November 1909 to May 18, 1910; the concert suite heard here was made in 1919 Work premiered: The original ballet was unveiled June 25, 1910, in a staged production of the Ballets Russes at the Paris Opéra, with Gabriel Pierné conducting; the 1919 concert suite was premiered on April 12, 1919, in Geneva, Switzerland, with Ernest Ansermet conducting.

Instrumentation: Two flutes (one doubling piccolo), two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, triangle, tambourine, xylophone, harp, piano (doubling celesta), and strings

Serge Diaghilev’s Ballets Russes made a specialty of dancing pieces that were inspired by Russian folklore, and The Firebird was perfectly suited to its designs. The tale involves the dashing Prince Ivan (otherwise put, Ivan Tsarevich), who finds himself one night wandering through the garden of King Kashchei, an evil monarch whose power resides in a magic egg that he guards in an elegant box. In Kashchei’s garden, the Prince captures the Firebird, which pleads for its life; the Prince agrees to spare it if it gives him one of its magic tail-feathers, which it consents to do.

Thus armed, the Prince continues through his evening and happens upon 13 enchanted princesses. The most beautiful of them catches his eye, and (acting under Kashchei’s spell) lures him to a spot where Kashchei’s demonic guards can ensnare him. But before he can be put under a spell himself, the Prince uses the magic tail-feather to summon

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the Firebird, which reveals to him the secret of the magic egg from which Kashchei derives his power. The Prince locates and smashes the egg, breaking the web of evil enchantment, and he goes off to marry the newly liberated beautiful Princess, with whom, of course, he will live happily ever after.

A French critic reported his experience of hearing Stravinsky play through his work-in-progress that winter in St. Petersburg: “The composer, young, slim, and uncommunicative, with vague meditative eyes, and lips set firm in an energetic looking face, was at the piano. But the moment he began to play, the modest and dimly lit dwelling glowed with a dazzling radiance. By the end of the first scene, I was conquered; by the last, I was lost in admiration.

The manuscript on the music-desk, scored over with fine penciling, revealed a masterpiece.”

TAT E

The Firebird would be the first of Stravinsky’s truly original Diaghilev scores, but the opportunity came to him rather by accident. One of Diaghilev’s set designers, Alexandre Benois, pushed to have Nikolai Tcherepnin write the score.

Diaghilev favored his own one-time harmony professor Anatoly Lyadov and, even though he was well aware of Lyadov’s reputation for procrastination and debilitating selfcriticism, invited him to accept the commission for the new ballet. Lyadov strung Diaghilev along for months without managing to fish or cut bait. Eventually Diaghilev, who had exhausted his patience and was running out of time, turned instead to the aspiring young Stravinsky. Eager to capitalize on this break, Stravinsky immediately dropped what he was working on, installed himself in a dacha belonging to the family of his late teacher Nikolai Rimsky-Korsakov, and turned out his sparkling score in short order, between November 1909 and March 1910, with final orchestration and retouching continuing until May.

magic. More folk tunes inform The Princesses’ Round-Dance, which is thrown into disarray when Kashchei’s diabolical guards swarm onto the scene with their Infernal Dance. A solo violin comes to the fore in the tender Lullaby; and, with the evils spells broken, the Finale depicts a beautiful wedding processional for the Prince and his chosen Princess.

American Indian Symphony (World Premiere) Jerod Impichcha̱achaaha’ Tate First Performance on This Series Born: July 25, 1968, in Norman, Oklahoma Residing: Oklahoma City Work composed: 2025

A citizen of the Chickasaw Nation, Oklahoma-born Jerod Impichcha̱achaaha’ Tate is a leading force of concert music in Native American communities and beyond. He was born into a family professionally involved in the arts. His father, Charles Tate, a tribal judge, was classically trained The ballet was well established by the time Stravinsky assembled several of its movements into a symphonic suite as a singer and pianist; his mother, Patricia (of Manx Irish descent) was a choreographer and a professor of dance. in 1919. (He would later expand this in 1945, but the 1919 He received his bachelor’s degree in piano performance version remains more popular.) This is one of music’s great from Northwestern University and his Master’s in piano showpieces of orchestration, a remarkable tour-de-force and composition from the Cleveland Institute of Music, for a 28-year-old composer, even one who had issued from where his teachers included Elizabeth Pastor and Donald the studio of Rimsky-Korsakov, himself acknowledged as a wizard of instrumentation. Even in the reduced orchestration Erb. In 2022, the Cleveland Institute of Music honored him with its Distinguished Alumni Award. Also in 2022, of the 1919 version the music of The Firebird is filled with he was inducted into the Chickasaw Hall of Fame, and in astonishing instrumental effects. Some of the sounds 2021 he was appointed a Cultural Ambassador for the U. S. are frankly startling, such as when, in the Introduction, Department of State. the strings play eerie glissandos over their instruments’ fingerboards to evoke the mystery of the garden at night.

Tate embarked on composition at the instigation of his When the Firebird dances, it does so to a set of variations mother, who commissioned him to write a ballet score. In on a Russian song, and the overlay of wind orchestration the resulting piece, Winter Moons, he explored traditions makes us believe that its feathers must indeed sparkle with CONTINUED ON PAGE 40 39

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of the tribes from the Northern Plains and Rocky Mountain regions and found a way to amalgamate those ideas with the language of classical composition. The piece, premiered at the University of Wyoming in 1992, was later revived in two separate seasons by the Colorado Ballet. “I didn’t mix my identities of being a classically trained musician and being an American Indian,” Tate observed in a 2009 interview for National Public Radio’s All Thing Considered.

“I never saw that there was even a possible relationship between those two until I started composing.”

His works have been performed by notable musical organizations around the country, including the New York Philharmonic, American Composers Orchestra, National Symphony Orchestra, San Francisco Symphony and Chorus, Detroit Symphony Orchestra, Minnesota Orchestra, and South Dakota Symphony Orchestra (where he served three years as composer-in-residence), in addition to the Oklahoma City Philharmonic. Last fall, OKC’s Canterbury Voices, along with the OKC Philharmonic, performed the semi-staged premiere of his opera Loksi’ Shaali’ (Shell Shaker); the first opera composed entirely in an American Indian language (in this case, Chickasaw), it narrates the journey of the Chickasaw-Choctaw migration.

In 2008, Tate was appointed Creativity Ambassador for the State of Oklahoma, and in 2011 he received a regional Emmy Award for his work on the Oklahoma Educational Television Authority documentary The Science of Composing. He has been central to numerous incentives promoting creativity and artistic outlets in Native American communities. “I have worked with many tribes, including Navajo, Ojibway, Lakota, Sac and Fox, Ponca, Cherokee, Hopi, Creek, Tohono O’odham, Choctaw, Apache, Lakota, and Chickasaw,” he said when interviewed by Brandy McDonnell of The Oklahoman.

“There is a benefit to be gained by tribes coming together and saying ‘We are truly Indian Country. We work together for positive growth and the common good for all our people.’”

His American Indian Symphony, commissioned by the OKC Philharmonic, is cast in six movements. “Each movement is dedicated to a different cultural region of Indian Country,” he says. “It features full orchestra, full chorus, and two American Indian opera soloists singing in Apache, Chickasaw, Cheyenne, Modoc, Potawotomi, and Wichita.

Native Americans have changed history through their contributions in the arts and this work will allow Native people to be heard, vocally and symphonically, on the world concert stage.”

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From the Composer Jerod Impichcha̱achaaha’ Tate has provided these thoughts about his American Indian Symphony: After many years of collaborating with me on my existing works, Maestro Mickelthwate approached me about a new and original work for the Oklahoma City Philharmonic. Maestro and I share a unified vision to develop the presence of American Indian symphonic composition and the idea of our new work came effortlessly. We have 39 federally recognized tribes in the state of Oklahoma and I was given a beautiful opportunity to pay homage to our major cultural groups.

In addition, my work has allowed me to pay tribute to my Native cousins with the presence of our traditional languages. Thus, the American Indian Symphony was conceived for the following six movements: Wichita: This movement recognizes the Wichita Nation, which was aboriginal to Oklahoma, welcoming native cousins who are about to settle with them.

Potawatomi: This movement acknowledges the relationship the Potawatomi Nation has to rattle sounds and water.

Apache: This movement honors the crown dancers of the Apache Nation and the gifts the crowns bring to the people.

Chickasaw: This movement represents the Chickasaw Nation’s songs to the legendary Thunder Beings.

Modoc: This movement honors the Annual Spiritual Run through the Ancestral Modoc Territory.

Cheyenne: This movement celebrates the buffalo, considered a sacred animal by the Cheyenne Nation, and—as a source of food, clothing, and shelter—was responsible for their survival.

I composed the poetry in English and the text has been translated by Gary McAdams (Wichita), Robert Collins (Potawatomi), Darrin Cisco (Apache), Lokosh Hinson (Chickasaw), Joseph Dupris (Modoc), and Wayne Leman (Cheyenne).

—JMK

JAMES M. KELLER Now in his 25th season as Program Annotator of the San Francisco Symphony, James M. Keller is the former Program Annotator of the New York Philharmonic and the author of Chamber Music: A Listener’s Guide (Oxford University Press).

AN ALPINE SYMPHONY

Maestro CONCEPTS FROM THE

This season, we’re celebrating our “classical” repertoire—music that is tried and true, resonating deeply with audiences over time and embodying a deeply romantic spirit, cherished by many. Join us as we explore these beloved classics!

AN ALPINE SYMPHONY Our final Classics concert of the season will feature Richard Strauss’ iconic An Alpine Symphony. Strauss is renowned for his operas and tone poems, and this work requires a vast romantic orchestra to depict a day in the Alps—from sunrise to sunset, capturing the ascent through forests and meadows, all the way to the glacier and summit. I fondly recall several hikes to beautiful mountain huts in Austria and Switzerland, breathing in the crisp mountain air and marveling at the massive rock formations. Strauss masterfully creates a wealth of tonal colors and musical shapes that evoke the grandeur of the Alps.

We’ll begin the program with Beethoven’s Piano Concerto No. 4, setting the stage for an unforgettable evening. Join us for this celebration of breathtaking music!

For a deeper understanding of concert programming, please, join Maestro Mickelthwate for his Preconcert Talk at 7 pm in the auditorium. Open Seating.

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CLASSICS ALEXANDER MICKELTHWATE, CONDUCTOR CLAYTON STEPHENSON, PIANO

0:34 BEETHOVEN .... Piano Concerto No. 4 in G major, Op. 58 Allegro moderato Andante con moto Rondo vivace Clayton Stephenson, piano Intermission 0:47 STRAUSS ......... Eine Alpensinfonie (An Alpine Symphony), Op. 64*

Night

Sunrise

Ascent

Entering the Forest

Strolling by the Stream

By the Waterfall

Apparition

In Flowery Meadows

In Pastures

Through Thickets and Briars

on a Mistaken Route

On the Glacier Dangerous Moments On the Summit Vision Mists Rise Up The Sun Gradually Grows Dark Elegy Calm before the Storm Thunder and Tempest—Descent Sunset Fading Tones Night

(The sections are performed without pause.) *First Performance on this Series THIS CONCERT IS GENEROUSLY SPONSORED BY:

AMALIA MIRANDA SILVERSTEIN, M.D. In Memory of Paul Silverstein OKCPHIL SPOTLIGHT SCHOOL: Carl Albert High School

Listen to a broadcast of this performance on KUCO 90.1 FM on Saturday, June 14, at 9 am and Sunday, June 15, at 7 pm on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

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CL AY TON STEPHENSON American pianist Clayton Stephenson’s love for music is immediately apparent in his joyous charisma onstage, expressive power, and natural ease at the instrument. Hailed for “extraordinary narrative and poetic gifts” and interpretations that are “fresh, incisive and characterfully alive” (Gramophone), he is committed to making an impact on the world through his music-making.

Growing up in New York City, Clayton started piano lessons at age 7 and was accepted into the Juilliard Outreach Music Advancement Program for underprivileged children the next year, where he attended numerous student recitals and fell in love with music. At the age of 10 he advanced to Juilliard’s elite Pre-College program with the help of his teacher, Beth Nam. At Juilliard he studied with Matti Raekallio, Hung-Kuang Chen and Ernest Barretta. Clayton practiced on a synthesizer at home until he found an old upright piano on the street that an elementary school had thrown away; that would become his practice piano for the next six years, until the Lang Lang Foundation donated a new piano to him when he was 17.

He credits the generous support of community programs with providing him musical inspiration and resources along the way. As he describes it, the “3rd Street Music School jump-started my music education; the Young People’s Choir taught me phrasing and voicing; the Juilliard Outreach Music Advancement Program introduced me to formal and rigorous piano training, which enabled me to get into Juilliard Pre-College; the Morningside Music Bridge validated my talent and elevated my self-confidence; the Boy’s Club of New York exposed me to jazz; and the Lang Lang Foundation brought me to stages worldwide and transformed me from a piano student to a young artist.”

Recent and upcoming highlights of Clayton’s burgeoning career include appearances with the Calgary Philharmonic, Chicago Sinfonietta, and the Fort Worth, Louisville, Lansing and North Carolina Symphony Orchestras; as well as recitals at the Phillips Collection Concert Series in Washington, DC, Foundation Louis Vuitton Auditorium in Paris, Bad Kissinger Sommer Festival and BeethovenFest in Germany, Colour of Music Festival, Ravinia Festival and Weill Recital Hall at Carnegie Hall. He has been featured on NPR, WUOL, and WQXR, and appeared in the “GRAMMY® Salute to Classical Music” Concert at Carnegie’s Stern Auditorium.

He now studies in the Harvard-NEC Dual Degree Program, pursuing a bachelor’s degree in economics at Harvard and a master’s degree in piano performance at the New England Conservatory under Wha Kyung Byun. And his accolades along the way have been numerous - in addition to being the first Black finalist at the Van Cliburn International Piano Competition in 2022, he was named a 2022 Gilmore Young Artist, as well as a 2017 U.S. Presidential Scholar in the Arts and a Young Scholar of the Lang Lang International Music Foundation. He also received a jury discretionary award at the 2015 Cliburn International Junior Piano Competition and Festival.

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BEE THOVEN Piano Concerto No. 4 in G major, Op. 58 Ludwig van Beethoven First Performance: 2/4/1945 Piano: Rudolf Serkin Last Performance: 10/18/2008 Piano: Andre Watts Born: December 16, 1770 (probably, since he was baptized on the 17th), in Bonn, Germany Died: March 26, 1827, in Vienna, Austria Work composed: Early 1806, perhaps earlier; probably completed March 27, 1806 Work premiered: In a private performance in March 1807 in the palace of Beethoven’s patron Prince Lobkowitz; the public premiere was December 22, 1808, at the Theater an der Wien in Vienna Instrumentation: Flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

Beethoven’s Piano Concerto No. 4 fades into existence with unexpected gentleness. In 1807, when this music was first heard, any reasonably informed member of a Viennese audience would have known that a concerto should begin with a long introduction during which the orchestra presents some of the first movement’s principal themes. In the case of a piano concerto, the soloist might play along, adding an underpinning to the orchestral texture; but the featured instrument would not move into the spotlight until the introduction had come to a resolute conclusion. Beethoven had at least respected that aspect of the Classical mold in his first three piano concertos (not to mention his early “non-canonical” E-flat-major Piano Concerto of 1784) and his Violin Concerto.

Imagine, then, the astonishment with which listeners conditioned in this way must have heard his Fourth Piano Concerto when it was new. Rather than the authoritarian sounds of a full orchestra, the first notes were played softly on the piano, the gentle murmuring of a theme based on

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repeated notes and simple harmonies. And then—just as surprising—following its five-measure presentation of the thematic germ of this movement, the piano simply withdraws, not to be heard from again for another 69 measures, during which suspense mounts as to what is fueling its behavior. You might say that the silent piano is unusually “present” during the 69 measures of that orchestral introduction, precisely because it made its mark so indelibly at the outset.

The second movement, too, is extraordinary, even apart from its uncharacteristic brevity (lasting as it does only about five minutes). The music theorist Adolf Bernhard Marx, in his 1859 biography of Beethoven, suggested that this Andante con moto bore some relationship to Gluck’s opera Orfeo ed Euridice—specifically, to how Orpheus used music to tame wild beasts. At some point music historians began misattributing this observation to Franz Liszt, who probably would have been very happy to assign a programmatic explanation to this expressive, conversational movement, but apparently didn’t. (You will still read Liszt’s “quotation” in many discussions of this concerto, even though historical research squashed it a few decades ago.) In 1985 the musicologist Owen Jander pointed out that Beethoven’s music—indeed, in the whole concerto, not just the slow movement—seems to follow point by point a popular version of the Orpheus legend that was presented in the Vienna of Beethoven’s day. Such a literal interpretation of text into tones would have been an extraordinary method for Beethoven to follow, and opinions are divided about whether there is much likelihood that this took place; yet Jander put forth a strong argument, and the idea does capture the imagination.

Beethoven unveiled his Fourth Piano Concerto at a private concert in the mansion of his patron Prince Franz Josef von Lobkowitz in March 1807. Then he put it away for nearly two years and performed it only one more time, in a concert at Vienna’s Theater an der Wien on December 22, 1808. This all-Beethoven marathon has gone into the annals as one of the most extraordinary events in all of music history. In addition to this concerto, the performance included the world premieres of Beethoven’s Symphonies No. 5 and No. 6, as well as the Choral Fantasy (for piano, choir, and orchestra); the Vienna premieres of the concert scena Ah Perfido! and three movements from the C-major Mass; and a solo keyboard improvisation by the composer. To encounter all of these revolutionary pieces at one sitting must have been overwhelming, and to some attendees the Fourth Piano Concerto must have sounded like just more of the same madness—and who knows what the all-but-deaf Beethoven actually accomplished at the piano.

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His pupil Carl Czerny termed Beethoven’s performance on that occasion as “playful,” an odd enough descriptor that you might wonder if it should be read as a euphemism. It was Beethoven’s last public appearance as a concerto soloist, although he would continue to perform in chamber music and as an accompanist.

Beethoven Playing his Fourth Piano Concerto In his Autobiography, published in 1865, the composer Louis Spohr recounted an anecdote told to him by Ignaz Xaver Seyfried, music director of the Theater and der Wien from 1797 to 1825, about Beethoven’s performance at the premiere of the Fourth Piano Concerto: Beethoven was playing a new Pianoforte-Concerto of his, but forgot at the first tutti, that he was a solo player, and springing up, began to direct in his usual way. At the first sforzando he threw out his arms so wide asunder, that he knocked both the lights off the piano upon the ground. The audience laughed, and Beethoven was so incensed at this disturbance, that he made the orchestra cease playing, and begin anew. Seyfried, fearing that a repetition of the accident would occur at the same passage, bade two boys of the chorus place themselves on either side of Beethoven, and hold the lights in their hands.

One of the boys innocently approached nearer, and was reading also the notes of the piano-part. When therefore the fatal sforzando came, he received from Beethoven’s outthrown right hand so smart a blow on the mouth, that the poor boy let fall the light from terror. The other boy, more cautious, had followed with anxious eyes every motion of Beethoven, and by stooping suddenly at the eventful moment he avoided the slap on the mouth. If the public were unable to restrain their laughter before, they could now much less, and broke out into a regular bacchanalian roar. Beethoven got into such a rage that at the first chords of the solo, half a dozen strings broke. Every endeavor of the real lovers of music to restore calm and attention were for the moment fruitless. The first allegro of the Concerto was therefore lost to the public.

—JMK

Eine Alpensinfonie (An Alpine Symphony), Op. 64 Richard Strauss First Performance on This Series Born: June 11, 1864, in Munich, Bavaria Died: September 8, 1949, in Garmisch-Partenkirchen, Germany Work composed: 1911-1915, though related sketches extend as far back as 1902 Work premiered: October 28, 1915, at the Berlin Philharmonie, with the composer conducting the Dresden Hofkapelle Instrumentation: Two flutes and two piccolos (both doubling flute), two oboes plus English horn (doubling oboe) and bass oboe, four clarinets (one in E-flat, two in B-flat, one in C, with the last doubling bass clarinet), three bassoons and contrabassoon (doubling bassoon), four horns and four “tenor tubas” (a.k.a. Wagner tubas, with all four doubling horns), four trumpets, four trombones, two bass tubas, two harps, organ, celesta, timpani (two players), wind machine, thunder machine, glockenspiel, cymbals, bass drum, snare drum, triangle, cowbells, tamtam, and strings (18 first violins, 16 second violins, 12 violas, 10 cellos, and 8 double basses)

The idea of the symphonic poem was codified in the 1840s and ’50s by Franz Liszt through a dozen single-movement orchestral pieces that drew inspiration from, or were otherwise linked to, literary sources. The repertoire quickly grew thanks to notable contributions by such composers as Smetana, Dvořák, Musorgsky, Tchaikovsky, Saint-Saëns, Franck, and—most impressively of all—Richard Strauss. In his memoirs Strauss recalled being drawn to the idea that “new ideas must search for new forms; this basic principle of Liszt’s symphonic works, in which the poetic idea was really the formative element, became henceforward the guiding principle for my own symphonic work.”

In 1886, Strauss produced what might be considered his first symphonic poem, Aus Italien (it is more precisely a sort of descriptive symphony), and he continued with

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hardly a break through the series of tone poems that many feel represent the genre at its height: Macbeth (1886-8), Don Juan (1888-89), Tod und Verklärung (Death and Transfiguration, also 1888-89), Till Eulenspiegels lustige Streiche (Till Eulenspiegel’s Merry Pranks, 1894-95), Also sprach Zarathustra (Thus Spake Zarathustra, 1895-96), Don Quixote (1896-97), Ein Heldenleben (A Hero’s Life, 1897-98), and Symphonia domestica (1902-03). Eine Alpensinfonie (An Alpine Symphony, 1911-15) would become a late pendant to Strauss’ catalogue of symphonic poems.

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in the course of 22 discrete episodes (one is bipartite, so we may identify 23 events) the listener goes up the mountain and down again, encountering along the way a catalogue of natural features one might expect to find on such a journey—forests, streams, meadows, and so on—as well as a hunting party (in the “Sunrise”), some close calls (a slippery “dangerous moment” and a violent storm), a spectacular view from the summit, and a post-sunset return home where our mountaineer(s) must surely sit back and contemplate what has been a most excellent excursion.

In his earlier symphonic poems Strauss had engaged topics with distinguished literary or philosophical pedigrees.

By the time he reached Ein Heldenleben and Symphonia domestica he got around to the subject of himself and expanded the programmatic possibilities to embrace autobiography. For Eine Alpensinfonie, Strauss adopted a narrative that was neither drawn specifically from a pre-existing literary source nor from autobiography, but rather one that embraced both in a general way. It is autobiographical to the extent that it represents man’s ardent celebration of nature—indeed, of nature at its most spectacular, as epitomized by a day of mountain climbing in the Alps. This landscape was ultra-familiar to Strauss, who was born in mountainous Bavaria and, buoyed with the earnings of his opera Salome, constructed a villa in the gorgeous high-altitude landscape of Garmisch (which in 1936 would merge with its sister-town Partenkirchen to host the Olympic Winter Games). He moved into his new villa at the beginning of 1908, and he lived there to the end of his days, composing in a room that afforded a spectacular view of the surrounding mountains.

But Eine Alpensinfonie also draws, if indirectly, on the philosophical writings of Friedrich Nietzsche, another of whose texts had inspired the composer’s Also sprach Zarathustra some years earlier. This time it was Nietzsche’s 1888 essay Der Antichrist that had Strauss’ attention.

Engrossed in soul-searching following the death of his friend Gustav Mahler, Strauss wrote in his diary in 1911: “It is clear to me that the German nation will achieve new creative energy only by liberating itself from Christianity. ... I shall call my alpine symphony: Der Antichrist, since it represents: moral purification through one’s own strength, liberation through work, worship of eternal, magnificent nature.”

JAMES M. KELLER Now in his 25th season as Program Annotator of the San Francisco Symphony, James M. Keller is the former Program Annotator of the New York Philharmonic and the author of Chamber Music: A Listener’s Guide (Oxford University Press).

The Antichrist scenario soon fell by the wayside, left to hover in the background as a shadow of inspiration. Instead Eine Alpensinfonie unrolled as a detailed piece of landscape tone-painting that the listener can enjoy thoroughly without getting wrapped up in philosophical implications. The action unrolls in the space of 24 hours, from the pre-dawn of a new-born day through the late-night of the next, and 47

CO DY F R Y LI V E WI T H T H E O KCPH I L M AY 2 3 - 2 4 , 2 0 2 5, 8 : 0 0 P. M .

SHANTI SIMON, ASSOCIATE CONDUCTOR

CODY FRY LIVE WITH

THE

OKCPHIL

Program to be announced from the stage

THIS CONCERT IS GENEROUSLY SPONSORED BY:

GERALD GAMBLE AND JANE JAYROE GAMBLE 49

GUEST ARTIST

C O D Y

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CODY FRY Cody Fry, the son of orchestral composer Gary Fry, is a Nashville-based singer, songwriter, and musician. He moved to Nashville to study voice at Belmont University after graduating from New Trier High School in 2008, where he actively participated in various ensembles such as the symphony orchestra, choir opera, swing choir, and chorus.

In 2015, Cody gained national recognition as one of the 48 final contestants on the 14th season of American Idol, leaving a lasting impression with his remarkable vocal abilities.

In 2021, his song “I Hear a Symphony” became a hit on TikTok, achieving massive success and climbing the Spotify Global Viral Charts, charting in 38 countries. This achievement solidified his reputation as an artist with global appeal and a unique musical style. Furthermore, Cody’s talent as an arranger was acknowledged in 2021 when his cover of The Beatles’ Eleanor Rigby received a GRAMMY® nomination in the GRAMMY® Award for Best Arrangement, Instrumental and Vocals category. He received his second GRAMMY® nomination in the same category in 2025 for his cover of Paul Simon’s The Sound of Silence.

Fry’s musical career has afforded him the opportunity to perform at prestigious venues worldwide and collaborate with various artists in the industry. In 2020, he performed with the Metropole Orkest for the live show Live in Amsterdam, featuring Cory Wong and the Metropole Orkest. In 2023, Fry performed his songs “Underground” and “Photograph” at John F. Kennedy Center for the Performing Arts with Ben Rector and the National Symphony Orchestra conducted

by Steven Reineke. Ben Rector and Cody Fry continued their partnership and toured their orchestra show around the country appearing with orchestras including the Nashville Symphony, Pacific Symphony, and Dallas Symphony (conducted by Enrico Lopez-Yañez), as well as the Minnesota Orchestra (conducted by Sarah Hicks), and the Cincinnati Pops among others.

This spring, Cody will be performing at the Walt Disney Concert Hall and with the Boston Pops, in addition to his Oklahoma City debut.

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G I F T S TO T H E P H I L INDIVIDUALS Continued from page 21 Mrs. Judie Webb Bob and Tammy Weiss Mr. and Mrs. Kenneth K. Wert Larry and Leah Westmoreland Drs. Ryan Williams and Melissa Plamann Mrs. Carol Wright Blake and Nancy Yaffe

FRIEND $1,000 - $1,499 Hugh G. and Sharon Adams Debra and Glenn Blumstein Rev. Dr. Carl and Linda Bosteels Mrs. Barbara J. Bunce Louise Cheek Dr. Thomas Coniglione Dr. William Cook Dr. and Mrs. Ralph G. Ganick MH & BL Gragg Family Fund George M. and Jo Hall Mr. Mark Harder The Honorable Jerome A. Holmes Mrs. Lois Hornbrook James Hulsey Brenda and Kent Johnson Sharon and Charles Johnson Christian K. Keesee and Larry Keigwin Mary Jane Lawson Sharon and Ken Lease Brad and Janet Marion Dr. Scott McCalla and Mrs. Leslie McCalla William and Marilyn North Dr. Carl Rubenstein Elizabeth Ryan

PARTNER $500 - $999 Dr. Gillian Air Mr. Van Barber Mrs. Arden Barrett Dr. Ajay Bhargava, M.D. Bob and Anne Calvert Ms. Susan Coatney Joseph and Valerie Couch Betty Crow Audie Dorrough Patricia Edwards

Bruce and Joanne Ewing Melinda Finley Keith and Jessica Golden Dr. Nancy and Capt. George H. Hector David and Marilyn Henderson Mr. and Mrs. Joe A. McKenzie Mr. William McNeese Ms. Rebecca L. McNeese K. T. and Marilyn Meade Virginia Meade Jim and Martha Murtaugh Annette Munson Michael and Ginger Penn Carol and Gary Sander The O.O. Detrick Foundation Fund Linda and Mike Zeeck

MEMBER $250 - $499 John and Nancy Alsup Brian and Julia Bakeman Nina and Kash Barker Judy Barnett Brent D. Bell, D.O. Jackie and Jerry Bendorf Ryan Bunyan Ms. Carol Combs Mark Doescher Arnold and Mari Fagin Mrs. Betty Foster Mr. George R. Francis, Jr. Steven Graham and Vicky Leloie Kelly Mr. Herbert M. Graves Marsha and John Greiner Judy Hill Patricia Hooten David Lynch Allison Matoi Gary Myers Ms. Xiao-Hong Sun and Mr. Xiaocong Peng Arthur and Janet Rus Mr. John Schwind Mr. Eric Simson Rick Spence Greg Taber Lawrence and Sherry Towell Wendi and Curtis Wilson 51

THE MAESTRO’S BALL

The OKCPHIL would like to thank the following people who believe in our mission by providing support through the 2024-25 Maestro’s Ball as we honor our beloved Maestro’s Circle inductees Robert and Sody Clements.

EVENT CO-CHAIRS Terri Cooper Farooq Karim EVENT COMMITTEE Rachel Gieger, Mady Hendryx, Daniel Karami, Debra Kos, Desiree Singer, Geetika Verma, and Wendi Wilson

DONORS PRESENTING SPONSORS Glenna & Dick Tanenbaum PLATINUM SPONSORS WW/AFCO Steel Robert and Sody Clements Margaret Freede GOLDEN SPONSORS American Fidelity Lawrence H. and Ronna C. Davis Jane B. Harlow Susie and Doug Stussi Drs. Geetika and Bobby Verma SILVER SPONSORS BancFirst Bryan Garrett Law Firm 52

Louise Cleary Cannon and Gerry Cannon Christopher Lloyd and Erik Salazar Amalia Miranda-Silverstein Presbyterian Health Foundation Rees BRONZE SPONSORS Flintco Lingo Construction Services Jim Roth and Phillip Koszarek Jamie and Jerrod Shouse BENEFACTOR SPONSORS Steven C. Agee and Sue Ann Arnall Dinesh Dalbir and Ms. Sumita Pokharel Rita and Al Dearmon

Sue and John Francis Col. (ret.) Dean and Mrs. Jeanne Jackson Peggy Kates Margaret Keith Manhattan Construction Penny and John McCaleb Sharon and Robert Varnum Bob and Tammy Weiss Wendi and Curtis Wilson FRIEND SPONSORS Rachael and Alan Geiger

THE MAESTRO’S BALL

OTHER SUPPORTERS Rachel Ackerman Linda and Patrick Alexander Ms. Piper Allred Judy Austin Ms. Kelley Barnes Mr. J. Edward Barth Dr. and Mrs. Charles Bethea Ms. Tracey Budz Wendy Calvin Laura Chong and Mark Godish Clay and Julie Cockrill Terri Cooper Blossom Crews and Farooq Karim Jolene and Aaron Curry Eric and Nadine Davis Elizabeth Farabee Mr. and Mrs. Joseph M. Fleckinger Marsha and John Funk Gerald Gamble and Jane Jayroe Gamble Anthony and Jennifer Godinez Kirk Hammons Debbie and Jay Harper Darleene Harris Brent Hart and Matt Thomas Frank and Bette Jo Hill The Honorable Jerome A. Holmes James Hulsey Lauren and Rich Johnson Scott and Carol Johnson

Kim and Michael Joseph John and Ilana Keeling Lou Kohlman Debra and Kristian Kos Jane Krizer Dr. Alain Le Seth Lewis Maria Lim Dominique and Travis Mason Oxana Matthey Allison McMichael Kathy and Robert Mendez Jordan and Paul Morton Larry and Polly Nichols Jaymie Phillips Phil and Alice Pippin Ameya Pitale Mary and Bill Price Audrey Benson Renegar and Eric Renegar Suzanne Reynolds Pamela Richman Danny and Brooke Rivera Leah Roper Jim Roth and Phillip Koszarek Kelly and Andy Sachs Sarah Sagran Drs. Lois Salmeron Lin and Ernesto Sanchez Melanie and Jim Shelley Ms. Michele Simon

Ms. Desiree Singer Sally and Jeff Starling Dana and Larry Stone D. Wayne and Emy Trousdale David and Yenni Vance Barbe and Randy von Netzer Justin Walke and Julie White Heather and Evan Walter Sarah Wickersham and August Frank Drs. Linda and Soni Zacharias Kirkpatrick Family Fund Rose Rock Orthodontics

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G I F T S TO T H E P H I L SPECIAL GIF TS Honor loved ones, celebrate occasions, recognize achievements, and support the Philharmonic’s mission.

In honor of Betty Zoe and W.W. Baker Dr. Mary Zoe Baker In honor of Geetika Verma Kristen and AJ Ferate In memory of Jackson Cash Pam and Gary Glyckherr In memory of Jean Hartsuck Mr. J. Edward Barth Jane B. Harlow Brent Hart and Matt Thomas Joel Levine and Don Clothier Mrs. Lil Ross Dr. Lois Salmeron Susie and Doug Stussi In honor of Joshua David Smith Jody and Pat Smith

In memory of June Parry Gayle and Richard Parry In memory of Lacy McLarry Shirley and Paul Moore Nancy Cain Mr. and Mrs. John E. Frank Nancy Garcia Mr. and Mrs. David L. Robillard In memory of LaDonna Meinders Kirk Hammons Debbie McKinney In memory of Malcolm Robinson Susan Robinson In honor of Martin and Gladys Brechbill Ms. Janice B. Carmack

In memory of Peggy Cummings Mr. and Mrs. Patrick B. Alexander Steve and Cara Belcher Jean C. Burke Robert and Sody Clements Kirk Hammons JoAnn H Holden Jana Perkins Rebecca Young In memory of Renate Wiggin Kirk Hammons Mr. Donald Wiggin In honor of Sarah Brown Mr. and Mrs. Pete Brown In memory of William Kaighn Luceen Dunn

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 for the 24-25 season and are listed through March 5, 2025.

Steven C. Agee, Ph.D. John and Nancy Alsup Lynn Anderson Dr. and Mrs. Dewayne Andrews Dr. and Mrs. John C. Andrus Ms. Catherine Arthur Mr. J. Edward Barth Mrs. Betty D. Bellis-Mankin Margaret Bergant Dr. Ajay Bhargava, M.D. Louise Cheek Ms. Susan Coatney Dr. Thomas Coniglione Ms. Joan Corbin Ms. Kathy Crews Dr. Nancy Dawson Gary and Fran Derrick Mark Doescher Royice B. and Dian Everett Mr. and Mrs. John Francis Mr. George R. Francis, Jr. Marcia Garst Nina Gaugler Ms. Gaydosik 54

Mr. and Mrs. Daniel Glatzhofer Greg and Robin Glenn Dorothy Gray Marsha and John Greiner Kirk Hammons Karen Hennes Frank and Bette Jo Hill B/H Legacy Fund Carl and Ruth Holloway Jane Kenney Mr. and Mrs. Stephen G. LaFollette Mary Jane Lawson Diane Lewis John and Penny McCaleb Dr. Carol McCoy, Ph.D. Ms. Paula Mullenix Annette Munson Debra and Don Nevard Ms. Gillian O’Farrell Beth Plant Mr. Robert Qualls George Records Mr. and Mrs. Kenneth R. Rees Valerie Reimers

Tom and Fran Roach Dr. & Mrs. Michael Fred Robinson Mrs. Lil Ross Lyla Rousseau Dr. and Mrs. Olaseinde Sawyerr Mrs. Anne Schank Mr. Fred Schneider Ms. Theresa Schuldt Mr. John Schwind Jamie and Jerrod Shouse Rick and Amanda Smith Mr. John Spencer Jona Steed Dr. James and Mrs. Linda Stewart, Jr. Jonathan and Andrea Stone Janet Thiessen Mr. David Warren Bob and Tammy Weiss Phillip and Ashton Whaley Mrs. Anne Workman Odile Wright Mrs. Carolyn Zachritz