OKC PHIL program magazine 2018-2019 edition 2

THE CHRISTMAS SHOW November 29 December 1, 2018

PG 25

REVOLUTION: THE BEATLES SYMPHONIC EXPERIENCE January 4-5, 2019

PG 33

THE HOT SARDINES February 1-2, 2019

IMPRESSIONIST VARIATIONS Daniel Binelli, bandoneon

THE SOUNDS OF SIMON AND GARFUNKEL

PG 41

February 16, 2019

March 1-2, 2019

PG 45

PG 55

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TERESA COOPER, President Oklahoma Philharmonic Society, Inc. It is a joy and an honor to welcome you to the OKC Philharmonic’s 30th season. We are all thrilled to welcome to our Philharmonic family and community our new Music Director, Maestro Alexander Mickelthwate, who follows the beloved Joel Levine, Founder and Music Director Emeritus. We encourage all of you to welcome him and his family to Oklahoma.

The greater Philharmonic organization is comprised of several entities, each working to promote and support our outstanding orchestra and working to bring you exciting, beautiful and interesting music and to make it successful. Working with the amazing staff lead by our Executive Director extraordinaire Eddie Walker, the OKC Philharmonic is privileged to enjoy the support of the Orchestra League which provides critical financial support along with numerous educational programs and the Associate Board which encourages support from our new generation leaders. Together we encourage appreciation of our fabulous musicians who make the music happen.

We are so grateful to you —­ our audience, patrons, donors and supporters who help make everything possible. Please share your joy for orchestral music with friends, family and colleagues so that they too can “Phil the Electricity” as we approach our 4th decade of bringing you the gift of music.

WENDI WILSON, President Oklahoma City Orchestra League On behalf of the Oklahoma City Orchestra League, I welcome you to the 30th Season of the OKC Phil! We too are celebrating a milestone, as we embark on our 70th year - our platinum anniversary celebration! Over the last 69 years we have been a continual supporter of orchestral music in our community, through our educational programs, to our musical competitions, volunteerism, and of course our financial support of the OKC Phil. We believe that music is to educate, enrich and inspire people of all generations.

As you enjoy this most anticipated season with new Music Director Alexander Mickelthwate, we too are looking forward to our coming year. Our annual Maestro’s Ball will be a celebration to remember as we, and Honorary Chair Lee Allan Smith, exalt and welcome Mrs. Josephine Freede into our Maestro’s Circle. Become a League member and be “in the know”. Find out more at www.okcorchestraleague.org.

Now, enjoy the talents of tonight’s special guest artist and our amazing OKC Philharmonic musicians, and thank you for helping to support music in our community. Que the Maestro!

JOHN P. CANNON, President Associate Board It is my honor to serve as President of the Philharmonic’s Associate Board and to welcome each of you to our inaugural season with Music Director Alexander Mickelthwate.

He has prepared a challenging and exciting series for the Classics and Pops, which offers something for everyone.

This year, the Associate Board is dedicated to finding and fostering the next generation of symphony enthusiasts by bringing classical music to our community. The Philharmonic presents an opportunity unlike any other in Oklahoma City to experience orchestral music, while learning and supporting the arts.

The Associate Board, through its signature Overture program, offers a great way for you or someone you know to get involved and experience the Philharmonic in a deeper way. On behalf of the Associate Board, welcome to the 30th season of the Oklahoma City Philharmonic and enjoy the show.

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ALEXANDER MICKELTHWATE German Conductor Alexander Mickelthwate is the newly appointed Music Director of the Oklahoma City Philharmonic and Music Director Emeritus of the Winnipeg Symphony Orchestra in Canada.

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

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

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

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

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

Ben Heppner, Horacio Gutiérrez, Emanuel Ax, Leonidas Kavakos and Sarah Chang, among many others, and he worked very closely with a wide range of composers including Philip Glass, Steve Reich, Sofia Gubaidulina, Kaija Saariaho, John Adams, John Luther Adams and Mason Bates.

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

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

The Winnipeg New Music Festival is an international institution.

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

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

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

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

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

He is married to fashion designer Abigail Mickelthwate and has two sons.

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OKLAHOMA PHILHARMONIC SOCIETY, INC.

P R O V I D I N G

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J O Y

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O R C H E S T R A L

M U S I C .

THE BOARD OF DIRECTORS Officers

Lifetime Directors

Teresa Cooper President

Jane B. Harlow Patrick Alexander

Jeff Starling President Elect

Directors

Brent Hart Vice President Tony Welch Treasurer Kathy Kerr Secretary Louise Churchill Immediate Past President

Steve Agee J. Edward Barth Lori Dickinson Black John Cannon Robert Clements Lawrence H. Davis Veronica Pastel Egelston Joseph Fleckinger Jane Jayroe Gamble Dean Jackson Michael E. Joseph Wesley Knight

Bradley W. Krieger David McLaughlin Margaret Freede Owens Donald Rowlett Melissa Scaramucci John Shelton Jerrod Shouse Glenna Tanenbaum J. Mark Taylor Donita Thomas Cheryl Brashear White Renate Wiggin Wendi Wilson

Honorary Directors Josephine Freede Richard Sias

ADMINISTRATIVE STAFF Katie Barrick Education Coordinator

Stephen Howard Database/Records Manager

Chris Stinchcomb Concert Operations and P.R. Coordinator

Tara Burnett Development Manager

Daryl Jones Box Office Manager

Eddie Walker Executive Director

Daniel Hardt Finance Director

Kris Markes General Manager

Susan Webb Marketing & P.R. Director

Whitney Hendricks Customer Service Representative

Jennifer Owens Development Director

Judy Hill Administrative Assistant

Ulises Serrano Digital Strategies Coordinator

ACKNOWLEDGEMENTS Classical KUCO 90.1 Garman Productions George Ryan

Heritage Integrated Solutions Oklahoma City Police Association Production Essentials, Inc.

Stubble Creative, Inc. The Skirvin Hotel

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

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

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OKLAHOMA CITY ORCHESTRA LEAGUE

EXECUTIVE COMMITTEE Wendi Wilson Judy Austin President Ways & Means VP

Lisa Reed OCOL Executive Director, Ex-Officio

Glenna Tanenbaum Martha Pendleton Secretary Education VP

Eddie Walker Executive Director Oklahoma City Philharmonic (Ex-Officio, Advisory)

Judy Moore Treasurer

Margaret Biggs Competitions VP

Debbie Minter Membership VP

Julia Hunt Past President, Ex-Officio

BOARD OF DIRECTORS Newt Brown Joan Bryant Rita Dearmon

Jean Hartsuck Dixie Jensen Rachel Morris

Kirstin Reynolds Matt Thomas

Priscilla Braun Susan Robinson Minna Hall Yvette Fleckinger June Parry Jean Hartsuck Judy Austin LaDonna Meinders Dixie Jensen Lois Salmeron Glenna Tanenbaum Debbie McKinney

Anna McMillin Sue Francis Peggy Lunde Cathy Wallace Sharon Shelton Cindy Raby Debbie Minter Deanna Pendleton Julia Hunt Carol McCoy

PAST PRESIDENT’S COUNCIL Katherine Kirk Janelle Everest Lael Treat Josephine Freede Jane Harlow Jane Rodgers Joyce Bishop Ann Taylor Lil Ross Sandra Meyers Mona Preuss Iva Fleck

ORCHESTRA LEAGUE OFFICE 3815 N. Santa Fe Ave., Ste. 105 • Oklahoma City, Oklahoma 73118 Phone: 405-601-4245 • Fax: 405-601-4278 Hours: 10 a.m. to 3 p.m. • E-mail: orchleag@coxinet.net Website: www.okcorchestraleague.org

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ALEXANDER MICKELTHWATE, Music Director and Conductor JOEL LEVINE, Founder and Music Director Emeritus EDDIE WALKER, Executive Director

FIRST VIOLIN

Gregory Lee, Concertmaster Gertrude Kennedy Chair Marat Gabdullin, Associate Concertmaster Densi Rushing, Assistant Concertmaster Ai-Wei Chang Lu Deng Sam Formicola Janet Gorton Deborah McDonald Benjamin Shute Beth Sievers James Thomson Hong Zhu

SECOND VIOLIN

Katrin Stamatis, Principal McCasland Foundation Chair Catherine Reaves Sarah Brown Mary Joan Johnston Corbin Mace June McCoy Angelica Pereira Sophia Ro Brenda Wagner Laura Young Cindy Zhang TBD

VIOLA

Royce McLarry, Principal Mark Neumann Donna Cain Brian Frew J. Michael Garland Joseph Guevara Kelli Ingels Lacie Savage Steve Waddell Shaohong Yuan

CELLO

Jonathan Ruck, Principal Orchestra League Chair Tomasz Zieba, Associate Principal

Meredith Blecha-Wells Rob Bradshaw Angelika Machnik-Jones Jim Shelley Jean Statham Emily Stoops Valorie Tatge Ann Wilson

BASS

George Speed, Principal Anthony Stoops, Co-Principal Christine Craddock Kara Koehn Larry Moore Mark Osborn Parvin Smith Jesus Villarreal

FLUTE

CONTRABASSOON Barre Griffith

HORN

Kate Pritchett, Principal G. Rainey Williams Chair Nancy Halliday Mirella Gable Frank Goforth

TRUMPET

Karl Sievers, Principal Jay Wilkinson Michael Anderson

TROMBONE

Philip Martinson, Acting Principal David Giaco, Acting Second John Allen, Bass Trombone

Valerie Watts, Principal Parthena Owens Nancy Stizza-Ortega

TUBA

PICCOLO

PERCUSSION

Nancy Stizza-Ortega

OBOE

Ted Cox, Principal David Steffens, Principal Patrick Womack Roger Owens

Lisa Harvey-Reed, Principal Dan Schwartz Katherine McLemore

TIMPANI

ENGLISH HORN

HARP

Dan Schwartz

Gaye LeBlanc Germain, Principal

CLARINET

PIANO

Bradford Behn, Principal Tara Heitz James Meiller

BASS/E-FLAT CLARINET James Meiller

Lance Drege, Principal

Peggy Payne, Principal

PERSONNEL MANAGER/LIBRARIAN Michael Helt

STAGE MANAGER Leroy Newman

BASSOON

Rod Ackmann, Principal James Brewer Barre Griffith Larry Reed

Please Note: The seating positions of all string section musicians are listed alphabetically and change on a regular basis.

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PLANNED GIVING

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

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

Anonymous (3)

Joel Levine

Steven C. Agee, Ph.D.

John and Caroline Linehan

Mr. and Mrs. Patrick B. Alexander

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

Gary and Jan Allison

Mrs. Jackie Marron

Dr. Jay Jacquelyn Bass

Mr. and Mrs. John McCaleb

Louise C. Churchill

Jean and David McLaughlin

Mr. and Mrs. Robert H. Clements

R.M. (Mickey) McVay

Thomas and Rita Dearmon

Robert B. Milsten

Dr. and Mrs. James D. Dixson

W. Cheryl Moore

Paul Fleming

Carl Andrew Rath

Hugh Gibson

Michael and Catherine Reaves

Pam and Gary Glyckherr

Mr. and Mrs. William J. Ross

Carey and Gayle Goad

Drs. Lois and John Salmeron

Mr. and Mrs. J.A. Gowman

Mr. and Mrs. William F. Shdeed

Carol M. Hall

Richard L. Sias

Ms. Olivia Hanson

Doug and Susie Stussi

Jane B. Harlow

Larry and Leah Westmoreland

Dr. and Mrs. James Hartsuck

Mr. John S. Williams

Mr. and Mrs. Michael E. Joseph

Mr. and Mrs. Don T. 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 Jennifer Owens at (405) 231-0148 or jennifer@okcphil.org or Eddie Walker at eddie@okcphil.org.

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GIFTS TO THE PHILHARMONIC The Oklahoma City Philharmonic Orchestra 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 performances and education programs, please contact the Philharmonic’s Development Office at (405) 232-7575.

This Annual Fund recognition reflects contributions made in the 2017-2018 and 2018-2019 season. Contributions of $100 and above are listed through October 2, 2018.

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

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

UNDERWRITER $40,000 & Above Allied Arts Foundation The Chickasaw Nation Devon Energy Corporation E.L. and Thelma Gaylord Foundation Inasmuch Foundation Kirkpatrick Foundation Inc. Oklahoma Arts Council Oklahoma City Orchestra League The Oklahoman The Skirvin Hilton Hotel

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

GOLD SPONSORS $5,000 - $9,999 BancFirst The Crawley Family Foundation Garman Productions Mekusukey Oil Company, LLC The Metro Restaurant

PLATINUM SPONSORS $10,000 - $39,999

SILVER SPONSORS $3,000 - $4,999

405 Magazine Ad Astra Foundation American Fidelity Foundation Anschutz Family Foundation/ The Oklahoman Media Company Bank of Oklahoma Express Employment Professionals HSPG and Associates, PC I Heart Media Love’s Travel Stops & Country Stores Mathis Brothers Furniture Co., Inc. MidFirst Bank OGE Energy Corp.

Clements Foods Foundation OK Gazette The Friday True Sky Credit Union

BRONZE SPONSORS $1,750 - $2,999 The Black Chronicle Globe Life and Accident Insurance Company The HoganTaylor Foundation Norick Investment Company

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

American Fidelity Foundation Bank of America Matching Gifts Program The Boeing Company

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Inasmuch Foundation The Williams Companies

Oklahoma Allergy & Asthma Clinic Testers, Inc. The Wachovia Wells Fargo Foundation

GOLD PARTNERS $1,250 - $1,749 Coca-Cola Southwest Beverages

SILVER PARTNERS $750 - $1,499 Flips Restaurant, Inc. The Fred Jones Family Foundation The Kerr Foundation, Inc. M-D Building Products, Inc.

BRONZE PARTNERS $300 - $749 Charlesson Foundation Tom Johnson Investment Management LLC

BUSINESS MEMBERS $100 - $299 Amazon Smile Foundation

GIFTS TO THE PHILHARMONIC MAESTRO SOCIETY Providing leadership support.

Mr. and Mrs. Douglas J. Stussi Glenna and Dick Tanenbaum Renate and Chuck Wiggin

Benefactor $5,000 - $9,999 Guarantor $10,000 and above Mr. and Mrs. Patrick B. Alexander Mr. and Mrs. Andrew J. Evans, II The Estate of Lois M. Fees Mrs. Josephine Freede Mrs. Jane B. Harlow Joel Levine Jean and David McLaughlin Nancy and George Records Mr. Richard L. Sias

Mrs. Betty D. Bellis-Mankin Marilyn and Bill Boettger Molly and Jim Crawley Mr. and Mrs. Douglas R. Cummings Lawrence H. and Ronna C. Davis Mrs. Carlene Edwards Mr. and Mrs. John A. Frost John and Claudia Holliman Mr. Albert Lang Ruth Mershon Fund Ms. Veronica Pastel-Egelston Mr. H.E. Rainbolt Lance and Cindy Ruffel Michael J. Sweeney, Jr.

INDIVIDUALS Providing essential support for the Annual Fund.

Patron $3,000 - $4,999

Sustainer $1,750 - $2,999

Anonymous Steven C. Agee, Ph.D. Mr. and Mrs. John Biggs Mike and Dawn Borelli Dr. and Mrs. L. Joe Bradley Mrs. Phyllis Brawley Bruce Campbell Louise Churchill Mrs. Teresa Cooper Mr. and Mrs. David C. DeLana Mr. and Mrs. Sidney G. Dunagan Paul and Debbie Fleming Mrs. Bonnie B. Hefner Kim and Michael Joseph Mr. Robert B. Milsten Larry and Polly Nichols Mrs. Ruby C. Petty Mr. Donald Rowlett Mrs. June Tucker Mrs. Anne Workman Mrs. Carol Wright

Dr. and Mrs. Dewayne Andrews Dr. and Mrs. John C. Andrus Dr. John E. Beavers J. M. Belanger and Sarah Sagran Dr. and Mrs. Philip C. Bird Larry and Sarah Blackledge Priscilla and Jordan Braun Dr. and Mrs. Robert C. Brown Mr. and Mrs. Robert F. Browne Phil and Cathy Busey Mr. John Crain David and Druanne Durrett Mrs. Patty Empie Bruce and Joanne Ewing Mr. and Mrs. George Faulk Mr. and Mrs. Joseph M. Fleckinger Mr. Jerry A. Gilbert Mr. and Mrs. Carey Don Goad Dr. and Mrs. James Hartsuck Mr. Joseph S. Jankowsky Tom and Cindy Janssen Mrs. Lois Joseph Terry and Kathy Kerr Mr. and Mrs. Harrison Levy, Jr.

Cindy and Johnny McCharen Dr. and Mrs. Patrick McKee Bruce and Claire McLinn Mr. and Mrs. Herman Meinders Annie Moreau, MD Mrs. Jeaneen Naifeh Mr. and Mrs. Ronald J. Norick Mr. William G. Paul Dr. Joseph H. Phillips Mr. and Mrs. Jerry W. Plant Drs. Gary and Mary Porter Mr. and Mrs. Ray H. Potts Mr. Joshua Powell Kathryn and Robert Prescott Mr. and Mrs. Steven Raybourn Mrs. Melba Rhinehart Mrs. Carol Ricks Mr. and Mrs. William J. Ross Drs. Lois and John Salmeron Mr. and Mrs. Samuel Sanchez Todd and Melissa Scaramucci Mr. and Mrs. Fred Schmitt Ms. Jeanne Hoffman Smith Mr. and Mrs. John S. Spaid Sr. Mr. and Mrs. John E. Stonecipher Mrs. Billie Thrash William P. Tunell, M.D.

CONTINUED ON PAGE 60

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THE CHRISTMAS SHOW November 29, 2018 at 7:30 P.M. November 30, 2018 at 8:00 P.M. December 1, 2018 at 2:00 P.M. and 8:00 P.M.

POPS

Family Fun with the OKC PHIL! Starring

Nikki Renée Daniels With

Daryl Tofa, Stephen Hilton, The Philharmonic Pops Chorale, The Mistletoes, Caroline Coffey and The Christmas Kids JOEL LEVINE, MUSIC DIRECTOR AND CONDUCTOR DIRECTION AND CHOREOGRAPHY BY LYN CRAMER EDDIE WALKER, EXECUTIVE PRODUCER Choral Preparation: Vince Leseney, Technical Direction: Amanda Foust, Lighting Design/Programming: Brad Criswell, Set Design: Amanda Foust, Properties: Courtney Strong, Costumes: Jeffrey Meek, Sound: George Ryan, Production Stage Manager: Jenny Lang, Assistant Stage Managers: Brea Clemons and Tim Wils, Additional Choreography: Amy Reynolds-Reed, Additional Choral Arrangements: Don Clothier, Children’s Coordinator: Kate Brimmer THIS CONCERT IS GENEROUSLY SPONSORED BY:

SPECIAL THANKS TO:

E.L. and Thelma Gaylord Foundation PRE CONCERT LOBBY BELL CHOIRS: Church of the Servant, Cleveland Elementary School,

and St. Charles Borromeo Catholic School Text PhilFun to 95577 to stay up to date on the latest Philharmonic info.

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WADE......................................................O COME, ALL YE FAITHFUL The Philharmonic Pops Chorale POLA & WYLE.........................................IT’S THE MOST WONDERFUL TIME OF THE YEAR Nikki Renée Daniels, The Philharmonic Pops Chorale and The Mistletoes BROWN...................................................WE WISH YOU THE MERRIEST Nikki Renée Daniels, The Philharmonic Pops Chorale and The Mistletoes MENDELSON & GUARALDI.......................CHRISTMAS TIME IS HERE Nikki Renée Daniels SMITH & BERNARD/STYNE & CAHN.........WINTER WONDERLAND - LET IT SNOW Nikki Renée Daniels and Daryl Tofa BERLIN...................................................I’VE GOT MY LOVE TO KEEP ME WARM Nikki Renée Daniels and The Mistletoe Men BERLIN...................................................THE BEST THINGS HAPPEN WHILE YOU’RE DANCING Daryl Tofa, Caroline Coffey, The Mistletoes and The Philharmonic Pops Chorale BALLARD & SILVESTRI............................MUSIC FROM THE POLAR EXPRESS The OKC Philharmonic CHARLAP & LEIGH..................................I WON’T GROW UP Santa and The Christmas Kids STROUSE................................................THE HARD KNOCK LIFE The Elves HERRON.................................................THE SANTA SONG Santa and the Elves GILLESPIE & COOTS................................SANTA CLAUS IS COMING TO TOWN The Mistletoes featuring Daryl Tofa

INTERMISSION

VARIOUS.................................................A CHRISTMAS JUKEBOX MEDLEY Nikki Renée Daniels, The Philharmonic Pops Chorale and The Mistletoes BROWN...................................................CHRISTMAS LULLABY (from “Songs for a New World”) Nikki Renée Daniels HOPKINS................................................WE THREE KINGS The Pops Chorale Men GREENE & LOWRY...................................MARY, DID YOU KNOW? Nikki Renée Daniels and The Philharmonic Pops Chorale ADAM.....................................................O HOLY NIGHT Nikki Renée Daniels, The Philharmonic Pops Chorale and The Mistletoes BERLIN...................................................WHITE CHRISTMAS Nikki Renée Daniels, The Philharmonic Pops Chorale and The Mistletoes

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MUSIC DIRECTOR EMERITUS P

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JOEL LEVINE Joel Levine has been the longest serving music director in our city’s history. On retirement in June 2018, he was named “Founder and Conductor Emeritus” by the Philharmonic Board of Directors and will begin a new role as the Orchestra’s Archivist and Historian. Including his tenure with the Oklahoma Symphony, Maestro Levine has been active for forty years on the podium at Civic Center Music Hall. Under his leadership, the orchestra has appeared on international, national and local television broadcasts and released several recordings. Maestro Levine’s reputation for exceptional musical collaboration has enabled the Philharmonic to present one of the country’s most distinguished series of world-renowned guest artists. He has collaborated with many of the greatest performing artists of our time and has been called a “remarkable musician and visionary”

by Yo-Yo Ma. For three decades, Maestro Levine has conducted many of the city’s historic programs including “Porgy and Bess” with the legendary Cab Calloway, the Paris Opera Ballet starring Rudolf Nureyev, “Rodeo” for Ballet Oklahoma under the direction of Agnes DeMille, the Philharmonic’s 100th anniversary production of “La Boheme,” the State of Oklahoma’s official Centennial Celebration, and the National Memorial Service following the Oklahoma City bombing. He has also conducted Young People’s programs around the State for thousands of children, twenty-five OKC productions of “The Nutcracker” since 1980, and led programs featuring Oklahoma’s celebrated native stars including Vince Gill, Reba McEntire, Jimmy Webb, Patti Page, Blake Shelton, Toby Keith, Kristin Chenoweth, Kelli O’Hara, Megan Mullally, Sandi Patty, Susan Powell and Leona Mitchell.

He has received international recognition for performances reflecting many different styles in the classical repertoire.

His program of Schubert and Schumann symphonies with Germany’s Brandenburg Symphony Orchestra led the reviewer to write: “Joel Levine proved that he is an absolute master of his profession; the audience honored this impressive performance with much applause.” Engagements in the great European capitols include concerts with the Czech National Symphony in Prague’s Dvorák Hall, and the Symphony Orchestra of Portugal in Lisbon. Other interna-

tional invitations have included orchestras in Spain, Israel, Belgrade, Bucharest, and an appearance with the Mexico City Philharmonic.

Maestro Levine has conducted many of America’s major ensembles including three seasons with The National Symphony Orchestra at the Kennedy Center in Washington, D.C. and the orchestras of St. Louis, Detroit, Minneapolis, Baltimore, Indianapolis, Seattle, Denver, Nashville, Milwaukee and New Orleans. The national press has praised his performances: “the orchestra played with clarity and energy” (Los Angeles Times), “fine musicianship” (Washington Post), “Levine brings the needed sheen and rhythmic verve to the music” (Minneapolis Star), “Levine drew a crisp, bold and tonally lustrous account of the varied score from the orchestra and full-throated chorus” (Houston Post). His Detroit Symphony performances received “four stars” - the highest rating from the Detroit News.

Known for his work with major artists in the world of classical dance, he has conducted for three of the greatest male dancers: Rudolf Nureyev, Edward Villella, and Peter Martins. For the Kansas City Ballet, he collaborated with famed choreographer, Alvin Ailey and conducted the first contemporary performance of a “lost” Balanchine ballet, “Divertimento.”

Maestro Levine’s résumé includes collaborations with many of the immortal names of jazz, musical theater, film and television. Several of his recordings with Mexico’s Xalapa Symphony Orchestra are in international release and have been broadcast on the BBC. Maestro Levine has taken an active role in the cultural life of Oklahoma City since he arrived in 1976 as music director for Lyric Theatre. He worked actively for the passage of MAPS 1 and played a key role in the renovation of our hall.

For his work as a founder of the Orchestra, he received The Governor’s Arts Award (1989), was named Oklahoma Musician Of The Year (1991), is a 2008 “Treasures of Tomorrow” honoree of the Oklahoma Health Center Foundation, received the 2014 Stanley Draper Award for his contributions to downtown Oklahoma City, and has received an Honorary Doctorate in Music from Oklahoma City University.

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GUEST ARTISTS P

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LYN CRAMER An Endowed Professor in the Weitzenhoffer School of Musical Theatre at the University of Oklahoma, Lyn Cramer has been a teacher, director, and choreographer for over 35 years. OU productions include Dogfight, Curtains, Thoroughly Modern Millie, La Cage aux Folles, The Drowsy Chaperone, On The Town, Seussical, A Chorus Line, Anything Goes, Sweet Charity, Cabaret, Company, Baby, Pal Joey, My One and Only, Good News, Nine, How to Succeed, Rent, and Urinetown. Cramer has directed and choreographed many shows for Lyric Theatre of Oklahoma including Little Mermaid, The Drowsy Chaperone, Dream Girls, Big Fish, The Will Rogers Follies, Bye Bye Birdie, Hairspray, 42nd Street, Swing, Smokey Joe’s Café, Cabaret, Singin’ in the Rain, The Best Little Whorehouse in Texas, The Sound of Music, Dames at Sea, Five Guys Named Moe, Grease, and Joseph and the Amazing Technicolor Dreamcoat. Other theatre credits include Casa Mañana, Music Theatre of Wichita, Oklahoma City Repertory Theatre and The Broadway Rose in Portland, Oregon. Favorite stage roles include Alison Bechdel in

Fun Home, Mrs. Wilkinson in Billy Elliot, Sara Jane Moore in Assassins, Becky Two Shoes in Urinetown the Musical and Bertha in Boeing-Boeing. Cramer’s professional acting career began in 1982, and she is a member of Actors Equity Association and The Stage Directors and Choreographers Society. Lyn received The Irene and Julian J. Rothbaum Presidential Professor of Excellence in the Arts award from the Weitzenhoffer Family College of Fine Arts and the Artistic Achievement Award from Chicago National Association of Dance Masters. Featured on Cathy Roe’s instructional tap and jazz videos, Cramer is master teacher throughout the United States, publishing curriculums in jazz and tap pedagogy. She has served as an adjudicator and master teacher in musical theatre dance at the Hong Kong Academy for the Performing Arts. Her students grace the Broadway stage, perform in national tours, international theatre, regional theatre, and cruise lines. She is the author of the book Creating Musical Theatre: Conversations with Broadway Directors and Choreographers.

NIKKI RENÉE DANIELS Nikki Renée Daniels recently starred as Nabulungi in The Book of Mormon on Broadway. Other Broadway credits include The Gershwins’ Porgy and Bess (Clara), Les Miserablés (Fantine), Nine, Aida, Little Shop of Horrors, Promises, Promises, Anything Goes and Lestat. She made her New York City Opera debut as Clara in Porgy and Bess. Other New York credits include 1776 (Martha Jefferson) at City Center Encores! and The Secret Garden (Rose Lennox) at David Geffen Hall. Regional Theater credits include Ray Charles Live! (Della B.) at Pasadena Playhouse; Anything Goes (Hope) at Williamstown Theatre Festival; Beauty and the Beast (Belle) at

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Sacramento Music Circus, American Musical Theater of San Jose and North Shore Music Theater; Ragtime (Sarah) at North Shore Music Theatre; Aida (Aida) and Joseph and the Amazing Technicolor Dreamcoat (Narrator) at ArtPark. Film and television work has included The Other Woman, “Chappelle’s Show”, “Madam Secretary” and “The Sound of Music: Live”. Nikki has performed as a soloist with symphony orchestras across the country and Canada. She has also performed as a soloist at Carnegie Hall. Her debut CD, Home, is available on iTunes and CDBaby.com.

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VINCE LESENEY This year marks Vince’s 20th production of the OKC Philharmonic’s The Christmas Show. In addition to directing the POPS Chorale, he is also professor of voice in the Weitzenhoffer School of Musical Theatre at the University of Oklahoma. Vince has performed in over fifty productions with Lyric Theatre of Oklahoma and played Franz Liebkind opposite Roger Bart and Brad Oscar in The Producers at Kansas City Starlight in 2010. In 2003 he performed at the opening of the Robert J Dole Institute of Politics at the University of Kansas before three former Presidents and several Congressional Medal of Honor recipients. Vince has been a guest artist with the Kansas City Symphony and the American Music Festival Orchestra. He also proudly serves as Minister of Music at Memorial Presbyterian Church in Norman.

SANTA CLAUS Santa has been delivering Christmas Spirit all around the world for as long as he can remember. He is not only the world’s foremost expert on good boys and girls, but he’s begun to take a look at parents as well. His latest project, a series of workout videos for those who might overdo it with the Christmas Cookies, has been a big hit at the North Pole. Santa is thrilled to be back at the Philharmonic and wants to dedicate his appearance again this year to Mrs. Claus and all the little elves without whom Christmas would not be possible.

DARYL TOFA Daryl is excited and grateful to be returning for The Christmas Show with the OKC Philharmonic. He is a senior at The University of Oklahoma. Regional performances include South Pacific, West Side Story, Joseph and the Amazing Technicolor Dreamcoat, Catch Me If You Can (Music Theatre Wichita), Wizard of Oz, The Music Man, Mamma Mia!, Aida, Jesus Christ Superstar, Unsinkable Molly Brown and Newsies (The Muny). He is a proud member of Actor’s Equity.

CAROLINE COFFEY Caroline Coffey is thrilled to be returning to the Christmas Show! She is a Senior finishing her BFA this year at the University of Oklahoma. Credits Include: The OKC Philharmonic: The Christmas Show, Lyric Theatre: Mamma Mia! The University of Oklahoma: Nice Work if you Can Get It, Thoroughly Modern Millie, Curtains and The Rocky Horror Show.

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THE PHILHARMONIC POPS CHORALE Beth Adele Chad Anderson Chris Bourgeois Joseph Campbell Abby Cramer Stephanie Easley Elvie Ellis

Brooke Gebb Tommy Glenn Aaron Gooden Davy Green Brian Hamilton Scott Hynes Tatum Ludlum

Jessica Martens Harold Mortimer Olivia Reid Jenny Rottmayer Greg White Katha Yanko

Aidan DeWitt Natalie Goodin Lena Owens Daryl Tofa

John Tupy Cameron Saims

THE MISTLETOES Bianca Bulgarelli, Dance Captain Brick Ban Kate Brimmer Caroline Coffey

THE CHRISTMAS KIDS Dylan Byrum Eli Fortney Reese Fruend Coulter Hershey

Hudson Ratcliff Sydney Starr Connor Willis Sutton Willis

THE WEITZENHOFFER SCHOOL OF MUSICAL THEATRE All of the Mistletoes and several members of the Pops Chorale are musical theatre majors from the Weitzenhoffer School of Musical Theatre at the University of Oklahoma. The mission of the School is to provide an excellent education, training and varied production experiences to selected students to assure them the opportunity to be artistically competitive on a national level upon graduation from the University of Oklahoma. The School is committed to the development of new musical properties, cooperating with professional producers, companies and creative leaders in the field, in addition to regularly presenting works from the musical theatre repertoire. It is a comprehensive and balanced interdisciplinary B.F.A. degreegranting program that collaborates with other units in the Weitzenhoffer Family College of Fine Arts. musicaltheatre.ou.edu

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nichols hills plaza

shoes . handbags . clothing . accessories www.ckandcompany.com 405.843.7636

REVOLUTION: THE BEATLES SYMPHONIC EXPERIENCE JANUARY 4-5, 2019 8:00 P.M.

POPS JEFF TYZIK, CONDUCTOR

STARRING

Paul Christian Saylor and Kelly McIntyre WITH

Greg Mayo, Zach Jones, Andy Roninson, and Josh Myers

This concert is generously sponsored by:

A special Thank You to Scratch Kitchen and Cocktails for providing musicians’ catering services.

Text POPS1 to 95577 to stay up to date on the latest Philharmonic Info.

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REVOLUTION: THE BEATLES SYMPHONIC EXPERIENCE a Schirmer Theatrical/Greenberg Artists co-production Arrangements by Jeff Tyzik Casting by Laura Stanczyk, CSA

GNIK NUS originally released on Love (2006) BECAUSE originally released on Abbey Road (1969) GET BACK originally released on Let It Be (1970) TICKET TO RIDE originally released on Help! (1965) DRIVE MY CAR originally released on Rubber Soul (1965) YESTERDAY originally released on Help! (1965) PENNY LANE originally released on Magical Mystery Tour (1967) THINGS WE SAID TODAY originally released on Hard Day’s Night (1964) LADY MADONNA originally released on Past Masters: Volume Two (1988) FLYING originally released on Magical Mystery Tour (1967) IN MY LIFE originally released on Rubber Soul (1965) I’VE JUST SEEN A FACE originally released on Help! (1965) ELEANOR RIGBY originally released on Revolver (1966) BLACKBIRD originally released on The Beatles (The White Album) (1968) HELLO, GOODBYE originally released on Magical Mystery Tour (1967) HERE COMES THE SUN originally released on Abbey Road (1969) HEY JUDE originally released on Past Masters: Volume Two (1988) INTERMISSION

TOMORROW NEVER KNOWS originally released on Revolver (1966) THE FOOL ON THE HILL originally released on Magical Mystery Tour (1967) GOT TO GET YOU INTO MY LIFE originally released on Revolver (1966) SHE’S LEAVING HOME originally released on Sgt. Pepper’s Lonely Hearts Club Band (1967) MAXWELL’S SILVER HAMMER originally released on Abbey Road (1969) WITH A LITTLE HELP FROM MY FRIENDS originally released on Sgt. Pepper’s Lonely Hearts Club Band (1967) COME TOGETHER originally released on Abbey Road (1969) SOMETHING originally released on Abbey Road (1969) YOU WON’T SEE ME originally released on Rubber Soul (1965) I AM THE WALRUS originally released on Magical Mystery Tour (1967) LET IT BE originally released on Let It Be (1970) GOLDEN SLUMBERS/CARRY THAT WEIGHT originally released on Abbey Road (1969) TWIST AND SHOUT originally released on Please Please Me (1963) ALL ARRANGEMENTS LICENSED BY SCHIRMER THEATRICAL, LLC ALL IMAGES LICENSED FROM ADAMS MEDIA WORK LTD, OWNER OF THE BEATLES BOOK PHOTO LIBRARY

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Creative Team Robert Thompson, Producer Jeff Tyzik, Producer & Arranger Jami Greenberg, Producer & Booking Agent Alyssa Foster, Producer Mary Helen Gustafson, Assistant Producer Charles Yurick, Projection Designer (Tour de Force) Jeff Sugg, Production Consultant (Handmade Media, LLC) Adam Grannick, Video Designer for Pre-Concert and Intermission Braulio Barquero, Video Designer for “Blackbird” Ilana Becker, Stage Direction

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JEFF TYZIK GRAMMY Award winner Jeff Tyzik is one of America’s most innovative and sought after pops conductors. Tyzik is recognized for his brilliant arrangements, original programming and engaging rapport with audiences of all ages. This is the sixth season that Tyzik has held The Dot and Paul Mason Principal Pops Conductor’s Podium at the Dallas Symphony Orchestra. He also serves as Principal Pops Conductor of the Detroit Symphony, the Oregon Symphony and The Florida Orchestra. This season, Tyzik will celebrate his 25th season as Principal Pops Conductor of the Rochester Philharmonic Orchestra.

Frequently invited as a guest conductor, Tyzik has appeared with over fifty orchestras including the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, Philadelphia Orchestra, Los Angeles Philharmonic, Orchestre Philharmonique de Monte Carlo, Malaysian Philharmonic Orchestra and the Royal Scottish National Orchestra.

In May 2007, the Harmonia Mundi label released a recording of works by Gershwin with Tyzik conducting the RPO and acclaimed pianist Jon Nakamatsu. This recording stayed in the Top 10 on the Billboard classical chart for over three months.

Alex Ross of The New Yorker, called it “one of the snappiest Gershwin discs in years”. “His concert is the kind of thing that’s likely to give classical music a good name, perhaps even make it seem, dare I say, relevant”, writes John Pitcher of the Gannett News Service.

As an accomplished composer and arranger, Tyzik has had his compositions recorded by the London Symphony Orchestra, Erich Kunzel and the Cincinnati Pops Orchestra, the Rochester Philharmonic Orchestra, the Vancouver Symphony and Doc Severinsen with the Royal Philharmonic Orchestra in London.

He has also produced and composed theme music for many of the major television networks, including ABC, NBC, HBO, and Cinemax, and released six of his own albums on Capitol, Polygram and Amherst Records.

Tyzik worked closely with Doc Severinsen on many projects including orchestrating many of the great band leader’s symphony orchestra programs. He produced a GRAMMY Award winning album, The Tonight Show Band with Doc Severinsen,

Vol. 1. Tyzik’s subsequent recordings with Severinsen garnered three more GRAMMY nominations.

In his twenty-five years with the Rochester Philharmonic Orchestra, Tyzik has written over 200 arrangements, orchestrations and compositions for orchestra. A consummate musician, Tyzik regularly appears as a guest conductor in the orchestra’s classical subscription series. He has also been commissioned to compose original works for orchestra, including a trombone concerto, which was funded by a grant from the National Endowment of the Arts and subsequently performed at Carnegie Hall. Tyzik conducted the world premiere of his original work New York Cityscapes with the Royal Scottish National Orchestra in 2010. Tyzik composed a timpani concerto, commissioned by the RPO, and also led the RPO in the premiere of his new orchestral suite, “Images: Musical Impressions of an Art Gallery” to rave reviews. In the 2015/16 season, Tyzik premiered his new work “Jazz Concerto for Violin and Orchestra” on his Philharmonic Series performance with the Rochester Philharmonic Orchestra. The Eastman Wind Ensemble has just released “Images”, an all Tyzik CD of his compositions for wind ensemble.

A native of Hyde Park, New York, Tyzik began his life in music when he first picked up a cornet at age nine. He studied both classical and jazz throughout high school and went on to earn both his Bachelor’s and Master’s degrees from the Eastman School of Music. While there, he studied composition/arranging with Radio City Music Hall’s Ray Wright and jazz studies with Chuck Mangione. Tyzik subsequently toured with Mangione as lead trumpet and worked on five Mangione recordings as a producer and performer from 1976 to 1981.

Committed to performing music of all genres, Tyzik has collaborated with such diverse artists as Megan Hilty, Chris Botti, Matthew Morrison, Wynonna Judd, Tony Bennett, Art Garfunkel, Dawn Upshaw, Marilyn Horne, Arturo Sandoval, The Chieftains, Mark O’Connor, Doc Severinsen and John Pizzarelli.

Tyzik has created numerous original programs that include the greatest music from jazz, classical, Motown, Broadway, film, dance, Latin and swing.

For more information about Jeff Tyzik, please visit www. jefftyzik.com.

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PAUL CHRISTIAN SAYLOR Paul Saylor is thrilled to be joining the “Revolution” team after a lifelong love affair with the music of the Beatles. Paul began his music career at the age of twelve, performing rowdy Irish drinking songs and folk standards alongside his multi-instrumentalist father in the pubs and bars of Charleston, South Carolina. Since then, he has performed extensively across the United States and beyond as a singer, actor, and musician. In the theatre world, Paul’s favorite roles include Hedwig in Hedwig and the Angry Inch, Curly in Oklahoma! (natn’l tour), Joseph in Joseph… Dreamcoat, Frederic in The Pirates of Penzance, and the Antipholus twins in The Comedy of Errors. Paul is currently based in New York City,

where he fronts multiple rock bands including Party Rock (www.partyrocklive.com) and original folk-rock duo West Side Waltz (www.westsidewaltz.com). When not performing, Paul works part-time as a personal trainer and shares a cozy one-bedroom apartment with his loving partner, their seven musical instruments, and five tenacious houseplants.

He is deeply grateful to Schirmer Theatricals and his amazing support team for this opportunity, and sends special thanks to Charlie at Wright Talent Management, to U-Shin and the gang at UGA Talent, and as always to Stefanie, for always going through. Insta: @TooTallPaul.

KELLY MCINTYRE McIntyre is thrilled to join the “Revolution” team! Since 2016, McIntyre has been channeling Janis Joplin in A Night With Janis Joplin, headlining the National Tour and regional productions around the country such as McCarter Theatre, Laguna Playhouse, A.C.T., Barter Theatre, and Capital Repertory Theatre. Other NYC credits: Beau (The Directors Company);

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The Accidental Club; For Tonight (Goodspeed Opera House); Into The Sun (New York Musical Theatre Festival); Days of Rage, Ruth Maier (New York Theatre Barn). McIntyre has sung in concerts and readings all over NYC in venues such as 54 Below, Joe’s Pub, The Cutting Room, and Don’t Tell Mama. @kellymcintyre22

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GREG MAYO Born and raised only miles from New York City, Greg grew up in a musical household. The son of legendary musician Bob Mayo (of Peter Frampton, Hall and Oates, Foreigner and others), he’s had it in his blood, and at his fingertips. Since studying jazz and studio composition at The Hartt School of Music and The Conservatory of Music at SUNY Purchase, he has been living and working in the New York music scene for 15 years.

In addition to producing for and performing in countless projects scattered across the musical spectrum, Greg plays guitar and sings in Brooklyn Sugar Company, a rock and roll band based in New York. Greg also leads an old school soul band appropriately called Greg Mayo Band singing and playing piano. In the last year, along with creating music for television, he’s produced records

for soul singer BSKi, hip hop group ItsTheReal, rock/folk artist Robbie Gil, and kids music artist Suzi Shelton.

Over the years, Greg has cut his teeth alongside some of the world’s best musicians. He had the opportunity to tour the states and Norway in 2016 with Grammy nominated soul artist Bernhoft.

In 2017 Greg joined up with Jon Bon Jovi and performs in his band Kings of Suburbia, and his acoustic outfit Jon Bon Jovi and Friends. He also recently began touring with legendary jazz-rock band Blood Sweat and Tears. Despite all that, Greg is never happier than when he’s playing Beatles songs with his friends. Add an orchestra and he’s in heaven! He’s absolutely honored to be a part of Revolution.

ZACH JONES Zach Jones is a drummer, singer, songwriter, and producer from Brooklyn, NY. Zach has shared the stage and studio with Sting, A Great Big World, Elle King, Marc Broussard, Liz Longley, and many others. He also writes and records music with his

own group, Zach Jones & the Tricky Bits. A lifelong Beatlemaniac, Zach is honored to help bring this timeless music to life.

Keep up with him on Instagram at @zachjonesmusic. Endless love and thanks to Mom, Dad, Natalie, and Hannah. Ram on.

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ANDY RONINSON Andy Roninson is a New York City-based music director, orchestrator, and writer.

As a music director, he has worked Off-Broadway (Public Theater, Playwrights Horizon, Atlantic Theater Company), regionally (New London Barn Playhouse, Park Playhouse), and at universities (Dartmouth, Fordham, NYU). His orchestrations have been heard Off-Broadway (Wonderland: Alice’s Rock & Roll Adventure), in commercials (Match.com), and in children’s musicals by Beat By Beat Press. As a composer-lyricist, he is a member of the Tony-awarded BMI Lehman Engel Musical Theatre Writing Workshop, where he was awarded the Robert B. Sherman Scholarship and the Jerry Harrington Award for Creative Excellence. He wrote music, lyrics, and orchestrations for two full-length original musicals, both produced at Purchase College.

He is the creator/host/producer of TAKE A TEN, the all-original ten-minute musical podcast. TAKE A TEN features the voices of Broadway talent like Laura Osnes, George Salazar, Rob McClure, Nick Blaemire, and others. Episodes have won awards and been produced live around the world. Notable episodes: “Evelyn Shaffer and the Chance of a Lifetime” (Winner SFOOB Festival 2015, published by Samuel French, Inc., Winner City Theatre National Award for Short Playwriting), “The Answering Machine” (Winner Best Musical at Sound Bites in NYC, produced by Baldwin Wallace University, produced by Broadway au Carré in Paris, France), and “The Almost In-Laws” (Winner Best Musical at Sound Bites in NYC, produced at City Theatre in Miami, FL).

JOSH MYERS Josh Myers is proud to offer his open ears and big earthy bass tone to various incredible projects including Sister Sparrow & The Dirty Birds, Big Words, Heather Christian & The Arbornauts and Kinan Azmeh’s CityBand. He has had the pleasure of performing in legendary venues such as the Fillmore, Lincoln Center, The Royal Opera House in Muscat Oman, Levon Helm Studios, Carnegie Hall, The Capitol Theater and The Library of Congress, and performed alongside such greats as John Scofield, Kenny Werner, Stanton Moore, Wayne Krantz and Bernard Purdie.

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THE HOT SARDINES FEBRUARY 1-2, 2019 8:00 P.M.

POPS ENRICO LOPEZ-YAÑEZ, CONDUCTOR

First half selections to be announced from the stage – intermission – the HOT SARDINES This concert is generously sponsored by:

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

Text POPS1 to 95577 to stay up to date on the latest Philharmonic Info.

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ENRICO LOPEZ-YAÑEZ Enrico Lopez-Yañez is Assistant Conductor of the Nashville Symphony, where he leads over 50 performances annually on the Pops Series, Family Series, Young People’s Concerts and Community Concerts. In his time with the Nashville Symphony, Lopez-Yañez has conducted concerts with Kenny Loggins, Megan Hilty, the Marcus Roberts Trio, Jennifer Nettles and CeCe Winans, among others. He previously held the position of Assistant Conductor with the Omaha Symphony.

Castleton Music Festival, where Lorin Maazel invited him as a Conducting Associate.

During the 2018/19 season, Lopez-Yañez will make appearances with the Detroit Symphony, Sarasota Orchestra and Symphony NH, as well as return appearances with the Rochester Philharmonic and Omaha Symphony. His international appearances have included guest conducting with the Orquesta Filarmónica de Zacatecas (Mexico), the Orquesta Sinfónica de Aguascalientes (Mexico), the Prague Summer Nights Orchestra (Czech Republic) and at the Festival de Musica in Londrina, Brazil.

Sharing an equal love for opera, Lopez-Yañez served as Assistant Conductor and Chorus Master for the Berkshire Opera Festival, where his work was met with rave reviews.

He has led opera gala concerts in San Diego and Aguascalientes (Mexico), led a production of Madama Butterfly with Main Street Opera in Chicago, and served as Assistant Conductor for Opera Omaha’s production of La bohéme.

Additionally, Lopez-Yañez has served as assistant conductor to Christoph Eschenbach and Valery Gergiev for the National Youth Orchestra’s Carnegie Hall, New York state and European tour performances. He also held the title of Assistant Conductor of the Capital City Symphony and attended the

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An enthusiastic proponent of innovating the concert experience, Lopez-Yañez is the Artistic Director and co-founder of Symphonica Productions, LLC, which designs exciting education, classical and pops concerts for orchestras across the United States.

Lopez-Yañez’s principal teachers were Jim Ross and Thomas Wilkins, with additional studies and masterclasses with Lorin Maazel, Michael Tilson Thomas and Ken Kiesler. He holds a Master’s in Music from the University of Maryland and received a Master’s in Music and his Baccalaureate from UCLA, where he graduated summa cum laude.

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THE HOT SARDINES Quality is timeless. Just ask The Hot Sardines.

In the talented hands of the New York-based ensemble, music first made famous decades ago comes alive through their brassy horn arrangements, rollicking piano melodies, and vocals from a chanteuse who transports listeners to a different era with the mere lilt of her voice. On French Fries & Champagne, The Hot Sardines’ new album for Universal Music Classics, the jazz collective broadens its already impressive palette, combining covers and originals as they effortlessly channel New York speakeasies, Parisian cabarets and New Orleans jazz halls. Bandleader Evan “Bibs” Palazzo and lead singer “Miz Elizabeth” Bougerol met in 2007 after they both answered a Craigslist ad about a jazz jam session above a Manhattan noodle shop. The unlikely pair — she was a London School of Economics-educated travel writer who grew up in France, Canada and the Ivory Coast, he was a New York City born and raised actor who studied theater at the University of the Arts in Philadelphia — bonded over their love for Fats Waller. Influenced also by such greats as Dinah Washington, Louis Armstrong and Billie Holiday, they began playing open mic nights and small gigs and by 2011, they headlined Midsummer Night Swing at New York’s Lincoln Center.

The Hot Sardines’ self-titled debut album, named by iTunes as one of the best jazz albums of 2014, spent more than a year on the Billboard Jazz Chart, debuting in the top 10 alongside Michael Bublé, and Tony Bennett and Lady Gaga. The accolades began pouring in for the band: Downbeat called The Hot Sardines “one of the most delightfully energetic bands on New York’s ‘hot’ music scene,” while The London Times praised their “crisp musicianship” and “immaculate and witty showmanship,” declaring them “simply phenomenal.”

“We found ourselves in the perfect place at the perfect time,” says Evan. “As we explored this 100 year-old jazz, we began to look at it as a journey forward, not so much as a look back. This is music for today, not a museum piece.” Indeed, “People Will Say We’re In Love” from the Rodgers & Hammerstein musical Oklahoma! gets reinvented as a tart tango. Jazz standard “Comes Love” starts as a minuet before vocalist Elizabeth, singing in her native French, conjures up spirits from the roaring ‘20s. The Hot Sardines even upend Robert Palmer’s 1985 classic “Addicted To Love” with Elizabeth’s cool vocals and hot horn arrangements.

The album title celebrates the duality of The Hot Sardines, reflecting both their glamorous and gritty sides. “When we started out as a band, we played illegal parties in these secret spots in Brooklyn. It was pretty down and dirty, and that was one of the reasons we loved it,” Elizabeth says. “Cut to a few years later and

we were invited to play with the Boston Pops. We came up with the idea of half of the album being elegant and lush with strings, and then the other half is us going back to our roots.”

The name is also a reflection of the times, as lines blur between high and low culture, luxury and comfort. “The old rules – that champagne goes with caviar, or couture and takeout don’t mix – are out the window. You see it everywhere … fashion, travel, food,” says Elizabeth. “Just be yourself and do what you like,” adds Evan. “Which is really how the Sardines approach everything we do.”

The title track is a reminder that when the going gets tough, the tough go for comfort food and bubbly. About the pair’s original song, Elizabeth says, “I wanted to write something that could be taken as the end of a love affair, but with a second layer that expressed what we’re all feeling,” she says. “These are uncertain times. When everything’s hopeless, throw a party.”

It’s one of several originals on the album, including Evan’s instrumental homage to his old neighborhood, “Gramercy Sunset,” and “Here You Are Again,” a woozy, country-leaning track written by Elizabeth about “that person in your life who you can’t seem to break up with who keeps popping up like a bad penny,” she says.

“The most fun part of the tune is I got to play a little bit of Hammond organ,” Evan says. “It was sitting there in the corner of the studio and it called me over.”

The Hot Sardines played more than 100 shows last year, taking their act from their familiar confines of New York across the country. And, to no one’s surprise but their own, they were greeted by music lovers everywhere. “In a weird way, it never occurred to me that anyone was listening to us outside of New York City. To show up in a town and have people say, ‘I love this song. I love this video’ is mind-blowing to me,” says Elizabeth, who adds she remembers the towns by the food. “I’m always trying to find some sort of mom-and-pop place where I can eat something that they make in that area.”

In New York City, The Hot Sardines draw a young audience. In the rest of the country, multi-generations come to enjoy the music.

“We’ll see daughters, mothers and grandmothers coming to our show together,” Evan says. “In Long Island, a young girl came up to Elizabeth with a can of sardines to sign. She was 7!”

In the hot jazz movement, The Hot Sardines stand apart for the innovation, verve and sheer joy they bring to music, both new and old. “It’s a really cool time to be making music,” Elizabeth says. “Especially if you’re making music that started its life 100 years ago.”

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IMPRESSIONIST VARIATIONS February 16, 2019 8:00 P.M.

CLASSICS CONCERT PREVIEWS

DANIEL BINELLI, BANDONEON ALEXANDER MICKELTHWATE, CONDUCTOR

The Oklahoma City Orchestra League presents CONCERT PREVIEWS at 7 PM, prior to each Classics Series concert in the Thelma Gaylord Theater at the Civic Center Music Hall.

Spearheading lively conversation that will focus on inspiration and insight into the musical program of the evening, Maestro Alexander Mickelthwate will also invite various special artists and guests to stop in and share unique and interesting perspectives with you.

DEBUSSY (arr. Büsser) ....... Printemps, Suite symphonique*

Très modéré Modéré

PIAZZOLLA ...................... Concerto for Bandoneon, Aconcagu*

On the evening of March 16, Guest Conductor James Feddeck will lead the Concert Preview talk.*

For more detail go to www.okcphil.org/concert preview

Daniel Binelli, bandoneon

IMPRESSIONIST VARIATIONS Daniel Binelli, bandoneon February 16, 2019

INTERMISSION

GRAND ROMANTICISM * Stewart Goodyear, piano March 16, 2019

FANTASTIC CONTRASTS Natasha Paremski, piano April 6, 2019 DEEP GERMAN ROMANTICISM Jean-Yves Thibaudet, piano May 11, 2019 DANCE OF THE SEASONS Gregory Lee, violin June 1, 2019

Allegro marcato Moderato Presto

TATE ................................ Lowak Shoppala’ (Fire and Light), Scene 4: Clans* Minko (Chief) Bird (Foshi’) Alligator (Acho’chaba’) Squirrel (Fani’) Skunk (Koni) Panther (Kowishto’ Losa’) Raccoon (Shawi’) Minko (Chief), reprise

RAVEL .............................. La valse ​​​​​

*First performance on this series

THIS CONCERT IS GENEROUSLY SPONSORED BY:

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

Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, March 13 at 8 pm and Saturday, March 16 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

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DANIEL BINELLI Binelli is also widely acclaimed as the foremost exponent and torchbearer of the music of Astor Piazzolla. In 1989 Daniel Binelli joined Piazzolla´s New Tango Sextet and toured internationally.

Orchestras with whom Mr. Binelli has appeared as guest soloist include, among others, the Philadelphia Orchestra, Atlanta Symphony, Virginia Symphony, Sydney Symphony, Tonhalle Orchestra in Zurich, Montreal Symphony, Ottawa Symphony, Dayton Philharmonic (OH) and St. Petersburg Symphony, (Russia).

Some of the conductors with whom Binelli has worked include Charles Dutoit, Lalo Schifrin, Franz Paul Decker, Robert Spano, JoAnn Falletta, Giselle Ben-Dor, Isaiah Jackson, Michael Christie, Lior Shambadal and Daniel Schweitzer. Binelli conducted Piazzolla´s operetta María de Buenos Aires in Sicily (Italy) with Italian singer Milva.

Mr. Binelli’s collaborations include duo performances with pianist Polly Ferman and guitarist Eduardo Isaac, as well as the Binelli-Ferman-Isaac Trio.

Daniel Binelli is the Musical Director of Tango Metropolis (http://www.tangometropolis.com/, recently featured in a PBS Documentary ”Tango the Spirit of Argentina“ and in a BBC documentary about Astor Piazzolla’s life.

“A researcher of Argentine music, Daniel Binelli has become one of the foremost in–depth connoisseurs of the tango in all its styles—styles that date from the beginning of the cen-

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tury up to present day. Binelli is an internationally renowned composer, musical arranger, bandoneónist and Argentinian musical director. Considered the best instrumentalist of the tango genre (Argentina), Binelli is the honored recipient of the 1995 Konex Prize.”

A seasoned composer in his own right. Binelli has created and arranged music for solo instruments, quintet, chamber and symphony orchestras, dance and film music. His versatility allows him to work from all Tango styles up to the present. Binelli has composed three concertos: one for bandoneón, one for piano and another for guitar and orchestra. He was commissioned by Utah State University for a concerto for piano, bandoneon and orchestra. The piece, “Homage to Tango”, was premiered on March 2008.

See a performance of the work on YouTube . His work “Golden Gate Fantasy” has been funded by a grant from the American Music Center.

Some of the many international orchestras, ensembles, Tango companies and soloists that have requested arrangements or commissioned works from Daniel Binelli include the Zurich Symphony, Edmonton Symphony, Buffalo Philharmonic, Colorado Music Festival, Montevideo Philharmonic, Colombia Symphony, and Buglisi/Foreman Dance Company, as well as Osvaldo Pugliese Orquesta Tipica and Tango 7.

Additionally, Binelli has composed music for the Argentine films India Pravile, Funes un Gran Amor and Tango Baile Nuestro.

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Printemps, Suite symphonique Claude Debussy (orchestrated by Henri Büsser) First Performance on this Series Born: August 22, 1862, in St. Germain-en-Laye, just outside Paris, France Died: March 25, 1918, in Paris Work composed: 1887 in its original, lost form for women’s voices and orchestra; arranged in 1904 by the composer for piano voices and piano four-hands; in 1912, that version was turned into the setting for orchestra without voices by Henri Büsser (born on January 16, 1872, in Toulouse; died December 30, 1973, in Paris), working under Debussy’s supervision.

Work premiered: circa 1887, at the Villa Medici in Rome, with Debussy and Augustin Savard playing the composer’s reduction for piano four-hands; the Debussy-Büsser version was premiered April 18, 1913, at a concert of the Société Nationale de Musique in Paris.

Instrumentation: Two flutes (second doubling piccolo), oboe and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, cymbals, triangle, snare drum, harp, piano four-hands, and strings

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The experience did not agree with him, and he moved back to Paris shortly after his second year was up. At least he did make good on the requirement to submit to the Academy an annual envoi, a work accomplished during the residency.

The second of his envois, the score of which he dated February 1887, was Le printemps, a symphonic suite in two parts for orchestra and wordless chorus. He reported to a friend that it had cost him considerable travail. It was inspired to some extent by Botticelli’s famous painting La primavera—or, more precisely, by the painting Printemps by Marcel Baschet (his neighbor at the Villa Medici), which was in turn derived from Botticelli.

He sent his orchestral score to the Academicians in Paris, but through a most regrettable oversight the score (which existed in only a single copy) was inadvertently burned while at the bookbinder’s. Fortunately, Debussy had made a reduction for piano four-hands, which he had used when he introduced

Debussy the Impressionist The Academy of Fine Arts panel that reviewed Debussy’s submission of Printemps could hardly have been less encouraging. The official summary was drafted by the group’s secretary, Henri Delaborde:

Debussy turned 25 in 1887, the year he composed Printemps (Spring). He had begun studying at the Paris Conservatoire in 1872, when he was only 11, and through the next 11 years he proved to be a competent but hardly extraordinary student.

An almost essential step for every aspiring French composer at that time was to win the Prix de Rome, an honor given annually by the Academy of Fine Arts in Paris. On his first attempt, in 1881, Debussy had submitted a chorus for women’s voices titled Printemps, based on a poem by Comte de Ségur—not the piece played here. He finally won in his fourth try, when one of his submissions was his setting of another “springtime” poem, this one by Jules Barbier—and finally he won. Apart from serving as an important imprimatur, the award sent him off to spend the next three years in Italy, living at the famed Villa Medici in Rome, where he arrived in the winter of 1885.

M. Debussy assuredly does not transgress by platitude or banality. He has, quite to the contrary, a pronounced, even too pronounced, tendency toward the pursuit of the strange. One recognizes in his case a feeling for musical color, the exaggeration of which makes him too easily forget the importance of precision of design and form. It is strongly desired that he guard against this vague “impressionism” that is one of the most dangerous enemies of truth in works of art. The first movement of the symphonic piece of M. Debussy is a sort of adagio prelude, of a reverie and affectation that lead to confusion. The second movement is a bizarre and incoherent transformation of the first, which the combinations of the rhythm render at least a little clearer and more perceptible. The Académie expects and hopes for better from a musician as talented as M. Debussy.

This was apparently the first instance of the word “impressionism” being applied to Debussy’s style.

The Academicians’ misgivings were severe enough to keep them from including the piece in the all-Debussy concert it sponsored in Paris after his Prix de Rome period expired, a breach of tradition.

—JMK

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the piece to his colleagues in Rome. He was therefore able to supply that as a replacement, hastily “scoring up” a few spots to full orchestral texture. (This was Debussy’s explanation, anyway; some historians wonder if he made it up as an excuse for not finishing his orchestration.) The board of reviewers responded negatively. Perplexed by Debussy’s use of the key of F-sharp major, panel member Camille Saint-Saëns offered a blunt assessment: “One does not write for orchestra in six sharps.” Others took exception to the textless voices, which struck them as somehow unseemly.

which he would make an important mark as a composer. In 1950 he disbanded his ensemble, the better to dedicate his time to composing, and as early as 1953 he produced his first works for symphonic forces. The following year he received a grant from the French Government to travel to Paris; there he studied with Nadia Boulanger, famous as the teacher of many American composers, including Aaron Copland, Virgil Thomson, and Elliott Carter. She urged him to develop his language as a composer on a foundation of distinctly Argentine sound. “Up to then,” he recalled, “I had composed

It is difficult for us not to admire the gorgeous lushness of Debussy’s score, but we might also sympathize with the Academicians, who were discovering this piece mostly through a piano four-hand reduction. Following unsuccessful attempts to place Printemps with a publisher, Debussy set it aside for some years. In 1904, he produced a score for piano four-hands with voices, apparently a refinement of the replacement version he sent to the Academy in 1887. This in turn served as the basis for the orchestration of Printemps made by Henri Büsser, under Debussy’s supervision, in 1912. Büsser taught at the Paris Conservatoire and would later become director of the Paris Opéra. In addition to Printemps, he orchestrated the symphonic versions of Debussy’s keyboard works Petite suite, La cathédrale engloutie, La puerta del vino, and La soirée dans Grenade.

The most obvious difference between Büsser’s orchestration and Debussy’s original was the elimination of the chorus, which the composer obviously sanctioned. But the changes went beyond that, and Büsser’s version reduces Debussy’s extant score by 36 measures—some logically required due to the cutting of the chorus, others left out for less apparent reasons. The orchestration is elegantly realized and does sound authentically Debussian, although Büsser’s unorthodox inclusion of piano four-hands into the chamber-orchestra texture adds a distinctive flavor that is doubtless a holdover from the score as Debussy left it.

Concerto for Bandoneon, Aconcagua Astor Piazzolla First Performance on this Series Born: March 11, 1921, in Mar del Plata, Argentina Died: July 4, 1992, in Buenos Aires, Argentina Work composed: 1979 Work premiered: December 14, 1979, at the Auditorio de Belgrano in Buenos Aires, with Piazzolla as soloist and Simón Blech conducting Instrumentation: Harp, piano, timpani, percussion (bass drum, triangle, güiro), and strings, in addition to the solo bandoneon

Born in Argentina, Astor Piazzolla grew up in New York City, where his family moved in 1925; there, he learned to play the bandoneon, a concertina-accordion whose timbre instantly evokes the Argentine tango. Returning to his native country at the age of 16, he performed with many popular ensembles before forming his own tango orchestra, the “Orquesta del 46,” in 1946. In that year he wrote his first tango, the genre in

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symphonies, chamber music, string quartets; but when Nadia Boulanger analysed my music, she said she could find nowhere any Piazzolla. She could find Ravel and Stravinsky, also Béla Bartók and Hindemith—but never Piazzolla. … Nadia made me play a tango to her and then she said, ‘You idiot!

That is the real Piazzolla!’ So I threw away all the other music and, in 1954, started working on my New Tango.” By 1956 he began presenting these new, hybrid tangos in concert. On his return to Argentina he formed another ensemble, the Octeto de Buenos Aires, the first of several chamber ensembles that would serve as a laboratory for his continuing experiments in developing tango as a genre of contemporary music.

The tango he inherited was a seductive dance born in the back alleys and brothels of Buenos Aires. Piazzolla injected modernity into the genre, so transforming it that his music, and that of his colleagues and followers, defines “the new tango” in contradistinction to the classic dance form, which is referred to as tango de la guardia vieja. While the classic tango remains recognizable as the root of his music, his pieces also reflect aspects of jazz as well as classical developments that trace their ancestry to Stravinsky. Piazzolla’s works met resistance from tango traditionalists, many of whom dismissed them outright.

Piazzolla composed his Concerto for Bandoneon in 1979 and was the soloist at its first performance. The day before the

PROGRAM NOTES premiere, in an interview with the Argentine newspaper Clarín, he disclosed that the work would include no wind instruments, which he feared might compete with the sound of the bandoneon, and stressed that he was not aiming for an “intellectual” composition. Three days later, an enthusiastic review in La Nación, another newspaper, provided an apt account of the piece: In the first movement, an Allegro marcato, we get into … a rhythmic pulsation, full of accents and inflections.

Rather than the irregular tempos of Bartók or Stravinsky, the passage recalls the Czech Martinů, with its palpitating, percussive richness. The second movement … Moderato, is perhaps the most intense and personal.

With his bandoneon Piazzolla displays one of his typical themes in a harmonic climate that resembles a chorale. … The last movement, which could be a “rondo,” is where certain techniques … are more likely to surprise the traditional listeners to tango bands than to Piazzolla’s own youthful public.

Lowak Shoppala’ (Fire and Light), Scene 4: Clans a Jerod Impichch_achaaha’ Tate First Performance on this Series Born: July 25, 1968, in Norman, Oklahoma Residing: in Oklahoma City, Oklahoma Work composed: 2006 Work premiered: November 21, 2009 Instrumentation: Three flutes (two doubling piccolos), two oboes, three clarinets (one doubling bass clarinet), three bassoons (one doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, and strings

The concerto’s language is markedly accessible, including one of the composer’s signature languorous melodies in the slow movement. The finale begins in his modernist vein, but midway through it morphs into a more standard “new tango.” “Actually, I didn’t know how to finish it,” Piazzolla said. “And then I told myself: I give ’em a tango so the erudite know that when I want I can write like them, and when I want I can do my thing.” His publisher attached the subtitle Aconcagua to this concerto, alluding to the 22,837-foot mountain in western Argentine, near the Chilean border. He explained, “this is the peak of Astor’s oeuvre, and the highest mountain peak in South America is Aconcagua.”

The Bandoneon The bandoneon takes its name from Heinrich Band, who invented it in Krefeld, Germany, in the mid-19th century. In truth, he was more of a marketer than an inventor, and he derived his instrument largely from a model devised by the German Hermann Uhlig in 1854.

It was originally promoted as a “poor man’s organ,” used to accompany hymns in small churches. A fully chromatic model was introduced in 1921. That same year was born Astor Piazzolla, who would become its most famous practitioner. The instrument had been brought to South America by an English or Irish sailor around 1870—so Piazzolla said. It became essential to the sound of tango, and by 1930 some 25,000 of them were shipped annually to Argentina and Uruguay from the leading factory in Germany.

—JMK

A citizen of the Chickasaw Nation, Oklahoma-born Jerod Impichch_achaaha’ Tate is a leading force of concert music in a American Indian communities and beyond. He was born into a family professionally involved in the arts. His Chickasaw father, Charles Tate, is a classically trained pianist; his mother, Patricia (of Manx Irish descent) was a choreographer and a professor of dance. He received his bachelor’s degree in piano performance from Northwestern University and his Master’s in piano and composition from the Cleveland Institute of Music, where his teachers included Elizabeth Pastor and Donald Erb. Since the history of music is jam-packed with composers who pursued their path against the objections of their parents, it is unusually heartwarming that Tate embarked on composition at the specific instigation of his mother, who commissioned him to write a ballet score. In the resulting piece, Winter Moons, he explored traditions of the tribes from the Northern Plains and the Rocky Mountain regions, and found a way to amalgamate those ideas with the language of classical CONTINUED ON PAGE 50

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composition. The piece was premiered at the University of Wyoming in 1992 and 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.”

Since then, his works have been performed by notable musical organizations around the country, including the National Symphony Orchestra, San Francisco Symphony and Chorus, Detroit Symphony Orchestra, and Minnesota Orchestra, in addition to the Oklahoma City Philharmonic. In 2008 he 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. In 2017 he began a three-year residency with the South Dakota Symphony Orchestra as part of the nationwide Music Alive program created by New Music USA. He has been central to numerous incentives promoting creativity and artistic outlets in American Indian 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.’”

Tate composed Lowak Shoppala’ (Fire and Light) on commission from the American Composers Forum Continental Harmony Project, and it was unveiled as a joint presentation of the Chickasaw Nation Division of Arts and Humanities and East Central University (Ada, Oklahoma), where it was premiered on November 21, 2009, with the composer conducting the Oklahoma Youth Orchestra and other performers. He explained the background to the piece in an article published in Native Times a few days before the first performance: The title of the work comes directly out of the poetry of Linda Hogan. She composed a poem called “Fire and Light” for the tribe back in 2004. I was so moved by the poetry and the idea that I realized I wanted to use her poetry in the work as well. It’s a multimedia work in that it’s for theater, so it involves acting and staging and costumes and there’s dance and soloists, singers, and the children’s chorus and traditional dancers from the tribe as well.

The complete Lowak Shoppala’ consists of eight scenes, each depicting an aspect of Chickasaw history and culture, from its earlier years in the American Southeast to its removal to Oklahoma and its reconstruction and revitalization of the traditions that were frayed in the process. The fourth of the eight scenes concerns the tribe’s clans. “In old Chickasaw culture,” Tate wrote, “a family clan system was maintained through matrilineal descent. Each clan had an animal name.

[The scene titled] Clans focuses on seven of these family

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lines—Minko, Bird, Alligator, Squirrel, Skunk, Panther and Raccoon—and incorporates numerous traditional Chickasaw melodies and rhythms.”

What’s in a Name?

On his website, Jerod Impichch_achaaha’ Tate explains a that his “middle name, Impichch_achaaha’ , means ‘his a high corncrib’ and is his inherited traditional Chickasaw house name. A corncrib is a small hut used for the storage of corn and other vegetables. In traditional Chickasaw culture, the corncrib was built high off of the ground on stilts to keep its contents safe from foraging animals.”

—JMK

La valse Maurice Ravel First Performance: 3/3/1946 Conductor: Victor Alessandro Last Performance: 11/14/2009 Conductor: Joel Levine Born: March 7, 1875, in Ciboure, near St-Jean-de-Luz, Basses-Pyrénées, France Died: December 28, 1937, in Paris, France Work composed: 1919-20, drawing on sketches made as early as 1906 Work premiered: October 23, 1920, at the Kleiner Konzerthaussaal in Vienna, Austria, played in its two-piano version by Ravel and Alfredo Casella at a concert of Arnold Schoenberg’s Society for Private Musical Performances; the orchestral version was premiered December 12, 1920, with Camille Chevillard conducting the Lamoureux Orchestra in Paris.

Instrumentation: Three flutes (third doubling piccolo), three oboes (third doubling English horn), two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, triangle, tambourine, snare drum, cymbals, bass drum, castanets, tam-tam, glockenspiel, crotales, two harps, and strings

Ravel was occasionally given to commenting on earlier cultural achievements through his own music, even to an extent that may be said to prefigure the postmodern obsessions of the late 20th century. One such historical strand of music that intrigued Ravel was the Viennese waltz, which reached its apex in the hundreds of examples by Johann Strauss II and came to symbolize the somewhat formalized joyfulness of 19th-century Austria. To some, it also suggested the assumed cultural superiority of a city (and a populace) that could boast of having supported some of the most notable composers of all time, from the age of Haydn and Mozart through the period of Beethoven and Schubert to the era of Brahms and Bruckner and the modernist fin-de-siècle moment of Mahler and Schoenberg. In 1911, Ravel paid homage to the Viennese waltz in his Valses nobles et sentimentales, inspired most particularly by the waltzes of Schubert, and he

PROGRAM NOTES piece’s conclusion, which is nothing short of violent, terrifying, and bitterly final.

“I conceived of this work as a sort of apotheosis of the Viennese waltz,” Ravel wrote, “mingled with, in my mind, the impression of a fantastic, fatal whirling.” In fact, he intended the piece to serve as a ballet score for Serge Diaghilev’s Ballets Russes, and he accordingly prefaced his score with a vague scenario, signaling specifically two spots in the piece: “Through breaks in the swirling clouds, waltzing couples may be glimpsed. Little by little they disperse: one makes out (A) an immense hall filled with a whirling crowd. The stage is illuminated gradually. The light of the chandeliers peaks at the fortissimo (B). An Imperial Court, about 1855.”

In the event, it would not be staged by Diaghilev. When Ravel and his pianist-colleague Marcelle Meyer played through the piece in a two-piano arrangement for the great ballet impresario, Diaghilev said (according to Francis Poulenc, who was present), “Ravel, it’s a masterpiece, but it’s not a ballet. …

It’s the portrait of a ballet, a painting of a ballet.” clarified his interest in the extra-musical connotations of the genre by inscribing this epigram at the top of the first page: “… le plaisir délicieux et toujours nouveau d’une occupation inutile” (“… the delicious and ever-fresh pleasure of a useless occupation”).

As early as 1906, Ravel started thinking about creating a musical tribute to Johann Strauss II, but he didn’t get much farther with the composition than deciding on its title: Wien (Vienna). Years passed and Ravel was continually distracted by other projects; and then Europe crumbled under the calamity of World War I, during which Ravel served as a driver in the motor transport corps, having been turned down in several applications to enlist as an air-force pilot.

When the War ended, Ravel retained his admiration for the waltz as a musical genre, but its sociological implications had changed considerably. What had formerly signified buoyant joie de vivre assumed an ominous tone in retrospect. The self-satisfied pleasure of 19th-century Vienna had led to national hubris and international catastrophe.

By the time Ravel composed La valse, in 1919-20, the gaiety of the Viennese ballroom could no longer be presented without knowing comment. Instead, Ravel’s 20-minute tone poem reveals itself, ever so gradually, to be a sort of danse macabre. The interval of the tritone (the augmented fourth or diminished fifth), historically understood to convey some diabolical connotation, is shot through the melodies of La valse, yielding a bitonal sense of something being out of kilter. As we listen, we can’t help feeling that the ballroom the piece depicts is oddly out of focus. Nonetheless, a listener encountering La valse for the first time will find it easy to make excuses for the disturbing undertones and the general wooziness: the surface is undeniably festive, after all. Not until the final minutes of the piece are we forced to accept that the waltz has run irretrievably amok. Even understanding that, we are likely to be shocked by the brutality of the

End of the Affair When Diaghilev announced that he preferred not to shepherd La valse to the ballet stage it was not really a surprise. Things had been going downhill ever since Ravel and Diaghilev had collaborated on Daphnis et Chloé in 1912, so the composer simply picked up his manuscript and walked out—and that was the end of their association. The piece was eventually staged as a ballet, first by Bronislava Nijinska for the Ida Rubinstein troupe in 1929, later by such luminaries as George Balanchine (in 1951). But it is as a “poème chorégraphique” for orchestra that La valse entered the repertoire, and it is in the realm of the concert hall— played either by full orchestra or by two pianos—that it is most frequently heard today.

—JMK

JAMES M. KELLER James M. Keller is the long-time Program Annotator of the New York Philharmonic and the San Francisco Symphony. The Ravel note is derived from an essay that originally appeared in the programs of the San Francisco Symphony and is used with permission. ©James M. Keller

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THE SOUNDS OF SIMON AND GARFUNKEL MARCH 1-2, 2019 8:00 P.M.

POPS MICHAEL KRAJEWSKI, CONDUCTOR

STARRING

AJ Swearingen and Jonathan Beedle

This concert is generously sponsored by:

A special Thank You to Raising Cane’s Chicken Fingers for providing musicians’ catering services.

Text POPS1 to 95577 to stay up to date on the latest Philharmonic Info.

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THE SOUNDS OF SIMON AND GARFUNKEL MICHAEL KRAJEWSKI, conductor & piano** AJ Swearingen and Jonathan Beedle, vocalists*

Simon and Garfunkel (arr. Gregory Prechel)..................... Sounds of Simon and Garfunkel

Bridge Over Troubled Water; The Sounds of Silence; Mrs. Robinson

Simon and Garfunkel (arr. Christopher J. Wills)................ Homeward Bound* Simon and Garfunkel (arr. Wills)............................................. The 59th Street Bridge Song (Feelin’ Groovy)* Felice & Boudleaux Bryant (arr. Wills)................................... All I have To Do Is Dream* Simon (arr. David Yackley)........................................................ I Am A Rock* Simon............................................................................................... The Sounds of Silence* Simon and Garfunkel (arr. Wills)............................................. Cecilia* Simon (arr. Joel Pierson).......................................................... Keep The Customer Satisfied* Chris Kenner; Paul Leka; Gary DeCarlo & ............................ Na Na Medley Dale Frashuer; Paul McCartney Land of 1000 Dances; Kiss Him Goodbye; Hey Jude (arr. & orch. Prechel)

INTERMISSION

Simon (arr. Prechel)................................................................... Paul Simon in Concert (Medley)

You Can Call Me Al; Kodachrome; Loves Me Like A Rock; Slip Slidin’ Away; Still Crazy; 50 Ways To Leave Your Lover; Me and Julio; Mother and Child Reunion

Jimmy Webb (arr. & orch. Prechel)........................................ All I Know** Simon and Garfunkel (arr. Wills)............................................. A Hazy Shade of Winter* Simon and Garfunkel (arr. Wills)............................................. The Dangling Conversation* Simon and Garfunkel (arr. Wills)............................................. America* Simon............................................................................................... Scarborough Fair* Simon and Garfunkel (arr. Wills)............................................. Old Friends/Bookends* Simon and Garfunkel (arr. Wills)............................................. Bridge Over Troubled Water* ** Simon (arr. Tim Berens)............................................................. Mrs. Robinson*

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MICHAEL KRAJEWSKI “…his wry wit, as spontaneous as a stand-up comedian’s, emerged to amuse the audience. Krajewski turned to the orchestra to lead a bright, sassy account. It showed that he is as effective and entertaining a communicator in music as he is in words.” — Charles Ward, Houston Chronicle Known for his entertaining programs and clever humor, Michael Krajewski is a much sought after conductor of symphonic pops. He is Music Director of The Philly Pops and Principal Pops Conductor of the Atlanta and Jacksonville Symphonies. He previously served as Principal Pops Conductor of the Houston Symphony for sixteen seasons.

As a guest conductor Michael has performed with the Cleveland and Philadelphia Orchestras; the Boston and Cincinnati Pops; the San Francisco, Baltimore, Detroit, Indianapolis, Seattle, Dallas, St. Louis, Pittsburgh and National Symphonies, and numerous other orchestras across the United States. In Canada he has led Ottawa’s National Arts Centre Orchestra, the Toronto Symphony Orchestra, Calgary Philharmonic, and the Edmonton, Winnipeg and Kitchener-Waterloo Symphonies. Other international appearances include performances in Dublin and Belfast with the Ulster Orchestra as well as performances with the Hong Kong Philharmonic, Malaysian Philharmonic Orchestra, the Iceland Symphony Orchestra and Spain’s Bilbao Symphony Orchestra.

Michael is the conductor of the video Silver Screen Serenade with violinist Jenny Oaks Baker that aired worldwide on BYU Broadcasting. On recording he has led the Houston Symphony on two holiday albums: Glad Tidings and Christmas Festival.

Michael’s collaborative programs have included such artists as flutist James Galway, mezzo Marilyn Horne, pianist Alicia de Larrocha, guitarist Angel Romero, and pop artists Rufus Wainwright, Jason Alexander, Roberta Flack, Judy Collins, Art Garfunkel, Wynonna Judd, Kenny Loggins, Ben Folds, Doc Severinsen, Patti Austin, Sandi Patty, Ann Hampton Callaway, Chicago, the Preservation Hall Jazz Band, The Chieftains, Pink Martini, Rockapella, Cirque de la Symphonie, The Doo Wop Project, Classical Mystery Tour, Big Bad Voodoo Daddy and The Midtown Men. With degrees from Wayne State University in Detroit and the University of Cincinnati College-Conservatory of Music, Michael furthered his training at the Pierre Monteux Domaine School for Conductors. He was a Dorati Fellowship Conductor with the Detroit Symphony and later served as that orchestra’s assistant conductor. He was resident conductor of the Florida Symphony and for eleven years served as music director of the Modesto Symphony Orchestra. Michael lives in Orlando, Florida with his wife Darcy. When not conducting he enjoys travel, photography and solving crossword puzzles.

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AJ SWEARINGEN AJ Swearingen, born in Bethlehem PA, grew up in a house where the classic country records of Kris Kristofferson, Merle Haggard, Johnny Cash and Willie Nelson were always spinning.

“I love that music, but the folk records of the early ‘70s like Gordon Lightfoot and Simon & Garfunkel are what really fueled my desire to pursue a life in music.” He started playing the guitar and writing songs at the age of thirteen and has performed professionally since his late teens. He recorded six solo albums that showcase his soulful baritone and finger-style acoustic guitar playing. AJ now performs in the Americana-folk duo, Swearingen and Kelli; an inevitable union marked with a self-

produced album in 2013 featuring Swearingen’s song “You’re Not Here With Me” (also recorded by folk icon Tom Rush). Their sophomore album, “The Marrying Kind” (released 2017), is replete with full-throttle emotion and steeped in the sounds of Americana and country-folk. Their music is layered with lap-steel guitar, rich harmonies, and character voices that are a modern echo of the singer-songwriters of the ’60s and ’70s.

The first single “Annalise” was featured on Gretsch Guitars and The Daily Country touts their honest songwriting and emotional vocals as poignant, yet haunting. The new music video for “The Marrying Kind” was released early 2018.

JONATHAN BEEDLE For over 40 years, Jonathan Beedle has been a performing musician. Harmony is Jonathan’s forte. “I just gravitated toward harmony from the very beginning,” he says. “The parts just jumped out at me and those are the parts I would sing.”

Collaborations with partners and band mates seasoned Jonathan as a performer. As a songwriter, Jonathan’s inspiration comes from the artists he was drawn to growing up in Hellertown, Pennsylvania; The Beatles, Johnny Cash, Mike Nesmith, John Prine, Joni Mitchell and many others. His original CD “A Long Day Gone” is a record filled with rich heartfelt songs in the storytelling style he finds so compelling.

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Jonathan’s voice was heard in the Season 1 finale of the HBO series Big Love, singing the Civil War-era classic, “Lorena”.

“Hearing myself singing in the background during a scene with Harry Dean Stanton was a surreal experience and quite a thrill!” he said recently.

Jonathan has performed across the country and has shared the stage with Jimmy Webb, Steve Forbert, The Strawbs, Ellis Paul, and Lucy Kaplansky.

GIFTS TO THE PHILHARMONIC CONTINUED FROM PAGE 23

INDIVIDUALS Providing essential support for the Annual Fund.

Mrs. Janet Walker Ron and Janie Walker John and Lou Waller Mr. Tom L. Ward Dr. James B. Wise Jeanise Wynn Mr. and Mrs. Ron Youtsey

Associate $1,250 - $1,749 Mrs. Mary Louise Adams Virginia and Albert Aguilar Mr. and Mrs. Louis Almaraz Mr. Barry Anderson Mr. J. Edward Barth Dr. and Mrs. William L. Beasley Mr. and Mrs. William Beck Lori Bedford Mr. and Mrs. Robert M. Benham Nick and Betsy Berry Lori Dickinson Black and Robert Black Ms. Pamela Bloustine MAJ. GEN. William P. Bowden, Rt. Mr. and Mrs. Gary W. Bowker Mr. and Mrs. Del Boyles Ms. Betty Bridwell Carole S. Broughton Mr. Fred Brown Mr. Derek K. Burch J. Christopher and Ruth Carey Mr. and Mrs. Elliot Chambers Mrs. Anita Clark-Ashley and Mr. Charles Ashley Mr. and Mrs. Robert H. Clements Rodney Coate and Juan Camarena Nancy Coats and Charlie Ashley Mr. and Mrs. Jack H. Coleman Dr. Thomas Coniglione Ms. Barbara Cooper Mr. Chuck Darr Mr. and Mrs. Mike Darrah Mr. David Daugherty Mr. and Mrs. Charles T. Davis Mr. and Mrs. T. A. Dearmon Gary and Fran Derrick Mr. Joel Dixon Mary Ann Doolen Mr. and Mrs. Joe Edwards Nancy Payne Ellis Dr. and Mrs. Royice B. Everett Mr. and Mrs. Gerald L. Gamble Mrs. Linda Gardner Mr. and Mrs. Jason Garner

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Mr. and Mrs. Kelly George Mr. Jack Golsen Drs. Stephen and Pamela Hamilton Mr. and Mrs. Royce M. Hammons Brent Hart and Matt Thomas Walt and Jean Hendrickson Mr. and Mrs. John D. Higginbotham Mr. and Mrs. Joe R. Homsey, Jr. Thomas and Elizabeth Hrubik Mr. and Mrs. J. Clifford Hudson Mr. and Mrs. Carlos Johnson Mr. Dan Kennedy and Dr. Diana Kennedy Mrs. Lou Kerr Ms. Claren Kidd Debra and Kristian Kos Mr. and Mrs. Brad Krieger Dr. and Mrs. H. T. Kurkjian Scott Davis and David Leader Dr. and Mrs. Jay E. Leemaster Drs. Jason and Julie Lees Mr. and Mrs. Duke R. Ligon Press and Susan Mahaffey Barbara Masters, M.D. Mr. and Mrs. William Matthey Mr. and Mrs. John A. McCaleb Mr. and Mrs. Tom J. McDaniel Mr. Jeffrey McDougall Mrs. Debra McKinney John and Celestine McKnight John and Anna McMillin Mr. and Mrs. K. T. Meade, Jr. Mrs. Deann Merritt Parham Mrs. Sandra Meyers Tom and Katherine Milam Chip and Michelle Mullens Dr. and Mrs. Gene L. Muse Dr. O’Tar and Elissa Norwood Mr. J. Edward Oliver Mr. Chip Oppenheim Mr. and Mrs. Lynn Pringle Elizabeth Raymond Mr. Larry Reed Mr. and Mrs. Christopher Salyer Ernesto and Lin Sanchez Mrs. Sally B. Saunders Dr. and Mrs. Hal Scofield Janet and Frank Seay Mr. and Mrs. John M. Seward Mr. and Mrs. William F. Shdeed Sharon and John Shelton Robert and Susan Shoemaker Mr. and Mrs. Jerrod Shouse Drs. Paul and Amalia Silverstein

Dr. Richard V. and Jan Smith Dr. and Mrs. Brian E. Snell Mr. and Mrs. Jeff Starling John Stuemky and James Brand Rob Teel Joseph and Theresa Thai Mr. and Mrs. Frederick K. Thompson Ms. Betsy Timken Robert Varnum and Sharon Varnum, LCSW Tony Vaughn Mr. Robert Weiss Mr. and Mrs. Kenneth K. Wert Mr. John S. Williams Mrs. Carol F. Williams Larry and Paula Willis Robert and Lorraine Wilson John and Linda Withner M. Blake and Nancy Yaffe

Friend $750 - $1,249 Anonymous Hugh G. and Sharon Adams Ms. Lois Albert Tom and Fran Ayres Mr. and Mrs. Van A. Barber Jackie and Jerry Bendorf Dr. and Mrs. William G. Bernhardt Mr. Gene Binning Mr. and Mrs. Glenn Blumstein Mrs. Grace Boulton Carole and Deal Bowman Dennis and Chris Box Mr. and Mrs. David G. Bryant Mr. and Mrs. Bob G. Bunce Mr. and Mrs. Robert M. Calvert Ms. Janice B. Carmack Mr. and Mrs. Earl J. Cheek Drs. Fong Chen and Helen Chiou Ms. Julie Collins Joseph and Valerie Couch Mrs. Patricia Czerwinski Dr. Nancy Dawson Tony and Pam Dela Vega Richard and Cindy Dugger Ms. Anna Eischen Dr. Thurma J. Fiegel John and Sue Francis Brenda Freeman Dr. and Mrs. Ralph G. Ganick Melvin and Bobbie Gragg

Mr. and Mrs. Nick S. Gutierrez, Jr. ,M.D. George M. and Jo Hall J. Mark and Ruth E. Harder Mr. and Mrs. Lawrence K. Hellman Frank and Bette Jo Hill Terry and Betty Hollrah Julia and Dick Hunt Colonel (ret.) Dean and Mrs. Jeanne Jackson Mr. and Mrs. David R. Johnson Mr. and Mrs. Drake Keith Mr. and Mrs. Owen Lafferty Ms. Mary Jane Lawson Mr. and Mrs. Paul Lindsey Brad and Janet Marion Anita R. May Ronald T. and Linda Rosser McDaniel Ms. Vickie McIlvoy Mrs. D. Yvonne Mercer Ann Marie and Jerry Parker Dr. and Mrs. William L. Parry Richard and Gayle Parry Donita and Curtis Phillips Carl and Deborah Rubenstein Mr. and Mrs. John Santore Dr. and Mrs. Olaseinde Sawyerr Ms. Madeline E. Schooley Mrs. Mary Sherman Rick and Amanda Smith Mr. Frank J. Sonleitner Judith Clouse Steelman Jim and Debbie Stelter Dr. and Mrs. James B. Stewart, Jr. Paula and Carl Stover Donita and Larry Thomas Dale Toetz and Charlotte Gibbens Mr. Phillip S. Tomlinson Mrs. Donna Vogel Larry L. and Leah A. Westmoreland Denver and Yvonne Woolsey Jim and June Young Mr. and Mrs. Don T. Zachritz Linda and Mike Zeeck

Partner $300 - $749 Dr. Gillian Air Ms. Mary Allred John and Nancy Alsup Arden Barrett Ms. Sherry K. Barton Morris and Linda Blumenthal

Dr. and Mrs. Harry Boyd Dr. Reagan Bradford, Jr. Mrs. Jo Carol Cameron Dr. Kathryne Cates Carol Combs Ms. Betty Crow Ms. Madeleine W. Cunningham Dr. Shirley E. Dearborn Brandon Downey Ms. Melinda Finley Mrs. Betty Foster Mr. George R. Francis, Jr. Athena Friese, M.D. Laura Gary Joe and Tjuana Gilliland Mr. and Mrs. Keith G. Golden John and Judy Gorton Mr. Herbert M. Graves Mr. and Mrs. Ronald Greenberg LTC and Mrs. Walter A. Greenwood Charles Griffin David and Marilyn Henderson Judy Hill Lois and Roger Hornbrook Mrs. Lily R. Hummel Mr. and Mrs. L.J. Johnson Mr. and Mrs. Stephen Johnson Mr. and Mrs. Alfred H. Karchmer Mr. and Mrs. Wes Knight Ms. Hilda Lewis Ms. Allison Matoi Mr. Joe A. McKenzie Dorman and Sheryl Morsman David Miller and Barbara Neas Rudi Nollert and Mary Brodnax The O.K. Detrick Foundation Fund Larry and Deanna Pendleton Mr. and Mrs. Michael R. Perri Gary and Tommie Rankin Dr. and Mrs. Laurance Reid Mr. and Mrs. Sheldon M. Reznik Mr. Arthur J. Rus Shirley and Ben Shanker Mr. Lee Allan Smith Mr. and Mrs. Paul A. Specht Jonathan and Andrea Stone Ms. Susan Sutter Jo Ann Taylor Mrs. Evelyn Margaret Tidholm Mr. and Mrs. Sammy Todd Mr. and Mrs. Lawrence Towell Mr. Curtis VanWyngarden Albert and Elaine Weise

Mr. and Mrs. Tony Welch John and Cheryl White Ms. Linda Whittington Jim and Polly Worthington Amy Young

Member $100 - $299 Anonymous Mrs. Joan Allmaras Ms. Beth M. Alonso Mr. David Andres Mrs. Patricia Austin Mr. Paul D. Austin and Jane Ford Austin Mrs. Pamela S. Bale Judy Barnett Marion and Dianne Bauman Paul B. and Terry Bell Dr. Paul and Bonnie Benien Ms. Marcia M. Bennett Ms. MarEllen Benson Mrs. Mary C. Blanton Mrs. Lillian Boland Ann Borden Rev. Thomas Boyer Mr. Reagan Bradford, Sr. John D. Bradley Shane Brock and Deana Parsons Mr. Ryan Bunyan James Burns Vikki Ann Canfield, M.D. Ms. Kathryn Carey Mr. and Mrs. Jack Carpenter Terry and Linda Carr Dr. and Mrs. Don R. Carter Mr. Michael P. Cassidy Linda Cavanaugh Clark Dr. and Mrs. Douglas C. Chancellor Ms. Henrie Close Ms. Susan Coatney Emogene Collins Ms. Rosemarie Coulter Ms. Carol A. Davito Diane and Ken Dragg Mr. W. Samuel Dykeman David Eaton Richard and Marilyn Ehlers Ms. Elizabeth K. Eickman Dr. and Mrs. Robert Epstein and Scott Epstein Mrs. Barbara L. Eskridge Mr. and Mrs. Ryan Free CONTINUED ON PAGE 62

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GIFTS TO THE PHILHARMONIC CONTINUED FROM PAGE 61

INDIVIDUALS Providing essential support for the Annual Fund.

Stephen P. and Nancy R. Friot Scott and Michelle Ganson Mr. and Mrs. Robert Garbrecht M. Charles Gilbert Robert and Carmen Goldman Barry and Gay Golsen Mr. Steven Graham and Ms. Vicky Leloie Kelly Bob Gregory Ms. Deborah Gresh Dr. and Mrs. John E. Grunow Mr. and Mrs. John Gunter Pat Hackler Lisa Hart Mrs. Diane Haser-Bennett and Mr. Ray Bennett Ms. Zoe Haskins Mr. and Mrs. J.C. Herriage Charles and Joyce Hladik Mr. Jerome A. Holmes Kenneth Hopkins Mrs. LeAnn Hufnagel Nasrin Jalilvand Ms. Mary Lu Jarvis Jann Jeffrey Mrs. Janice C. Jenkins Mr. Peter Jensen K. Robert and Juanita Johansen Judy and Jerry Johnson Mr. Richard Johnson Edwina Johnston Mr. Bill Kemp Ms. Young Y. Kim Bishop and Mrs. Ed Konieczny Edith and Michael Laird Mr. and Mrs. Kenneth T. Lease Mr. Robert Leveridge David and Lynne Levy Bob and Kay Lewis Diane Lewis Rosemary and Paul Lewis Charles Lodge Dr. William Lovallo Roy and Sharon Love Robert Lynn Donald and Peggy Manning Mr. and Mrs. Ronald M. Manning Mrs. Patricia Matthews Mrs. M. Geraldine Mayes Mr. and Mrs. Kenneth R. McAlister Ms. Carol McCoy, Ph.D. Mr. and Mrs. Robert S. McKown

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Ms. Ann McVey Mr. and Mrs. Harry Merson Terry L. Mock Monireh Mohamadi Connie Monnot Mr. Cole Morgan Judy and Wes Morrison Ms. Sylvia Ochs Mrs. Mildred B. Parsons Michael and Ginger Penn Robert and Karen Petry Kent and Susan Pinson Mr. William Powell Ms. Jan Prestwood Mrs. Mona Preuss Ms. Margaret L. Price Dr. Jenney Qin Roger and Joy Quinn Carole and Michael Read Mr. and Mrs. Ray Reaves Ms. Valerie Reimers Tom and Fran Roach Dr. and Mrs. Michael Fred Robinson James and Sherry Rowan Gary and Carol Sander Carolyn Sandusky-Williams Hank and Anne Schank Gayle Scheirman Ms. Geraldine Schoelen Theresa Cunha and Kurt Schroeder Mr. and Mrs. A. Lee Segell Fred and Carolyn Selensky Mr. Robert R. Shaw Mr. and Mrs. Richard Shough Mr. and Mrs. R. Emery Smiser Jody and Pat Smith Tom and Venita Springfield Mrs. Joyce Statton Mr. Paul Stillwell Reta and Richard Strubhar Ms. Xiao-Hong Sun and Mr. Xiaocong Peng Greg Taber Paul Thomason Mr. Michael Thrower Jan and Paul Tisdal LTC Ret. and Mrs. George B. Wallace Dr. and Mrs. D. A. Weigand Ms. Cheryl Weintraub Mr. and Mrs. Ted Wernick Mr. Don Wester Mr. Phillip Whaley

Mr. and Mrs. Jack Wheeler Ms. Ghita Williams Ms. Lonnie F. Williams Ms. Neta J. Wilson Wendi and Curtis Wilson Mr. and Mrs. R. Deane Wymer Ruth and Stanley Youngheim Rachel and Leon Zelby Helene Zemel

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

In Memory of Martin and Gladys Brechbill Ms. Janice B. Carmack

In Memory of Anne Levine Mrs. Jane B. Harlow

In Memory of Jackson Cash Pam and Gary Glyckherr Joe Howell and Jennifer Owens

In Honor of Joel Levine Nancy Payne Ellis Kim and Michael Joseph

In Memory of William B. and Helen P. Cleary Steven C. Agee, Ph.D. Marilyn and Bill Boettger Louise Churchill Mr. and Mrs. Andrew J. Evans, II

In Honor of Michael McCartney and Cyndi Tran Alexander Hart

In Honor of Louise Cleary Churchill Kim and Michael Joseph In Memory of Jean Dale Kathleen and Michael Rollings In Memory of Sam Decker Colonel (ret.) Dean and Mrs. Jeanne Jackson In Memory of James O. Edwards, Jr. Mrs. Carlene Edwards

In Memory of Mary Nichols Mrs. Jane B. Harlow Glenna and Dick Tanenbaum Renate and Chuck Wiggin In Memory of William and Jessie Bruce Pequignot Kim and Michael Joseph In Memory of Grace Ryan Marilyn and Bill Boettger In Memory of Patrick J. Ryan Dorothea Baltes

In Memory of Rubye M. Hall Suzette Hardeman

In Honor of Matt Thomas, Brent Hart, and Chris Stinchcomb Amy Young

In Honor of Dorothy Hays Scott and Michelle Ganson

In Memory of Kathy Weidley Shane Brock and Deana Parsons

In Memory of Betty Johnson Dr. Kathryne Cates

In Memory of Richard D. Williams Mrs. Carol F. Williams

In Memory of George and Ruth Ann Kalbfleisch Julie Collins

In Honor of Joseph Young Charles Griffin

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THANK YOU

Endowment Campaign Donors In celebration and in honor of Maestro Joel Levine and the founders of the Oklahoma City Philharmonic.

Louise C. Churchill In Memory of Bill Cleary Lawrence H. and Ronna C. Davis The Estate of Lois Marie Fees The Kirkpatrick Family Fund Joel Levine Michael and Catherine Reaves Susan Robinson Glenna and Dick Tanenbaum Ms. Barbara Crabtree The Payne Family Mrs. Josephine Freede Pam and Gary Glyckherr In Memory of Jackson Cash Lamb Jane B. Harlow Kim and Michael Joseph Doug and Susie Stussi Dr. and Mrs. Dewayne Andrews Anonymous In Honor of June H. Parry Mr. J. Edward Barth Valerie and Joe Couch Molly and Jim Crawley David and Jan DeLana Annie Moreau, M.D. Mr. William G. Paul Presbyterian Health Foundation Leah and Larry Westmoreland Anne W. Workman Mr. and Mrs. Don T. Zachritz Karen Beckman Linda and Morris Blumenthal Jo Carol Cameron Ms. Janice B. Carmack Shirley E. Dearborn, M.D. Gwen Decassios

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Charles and Dorothy Ellis John and Sue Francis Stephen P. and Nancy R. Friot Ms. Joan Gilmore Jerry H. and Judy Johnson L. M. Johnston, Ph.D. The Kerr Foundation, Inc. Gerry Mayes Ronald T. and Linda Rosser McDaniel Mr. and Mrs. Michael R. Perri Dr. and Mrs. Marvin D. Peyton Gary and Carol Sander John W. and Rose Steele Mrs. Dorothy J. Turk Dr. Don and Eleanor Whitsett Anonymous Dr. and Mrs. John C. Andrus Norwood Beveridge Carla Borgersen In Honor of Maestro Joel Levine Mr. and Mrs. Bob G. Bunce Dr. and Mrs. Don R. Carter Ms. Martha A. Custer Mr. and Mrs. Sam Decker Sarah Jane Gillett In Memory of Ken McKinney Julie and Dick Hunt Colonel (ret.) Dean and Mrs. Jeanne Jackson Patricia Matthews Ms. Carol McCoy Cheryl Moore Judy and Wes Morrison Michael and Ginger Penn Ms. Margaret L. Price Tommie and Gary Rankin Dean Rinehart Janice and Lee Segell Cindy Solomon Tom and Venita Springfield K. Kay Stewart Paula and Carl Stover Dorothy and Udho Thadani

HOUSE NOTES

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 will be seated at intermission or 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).

FOOD AND 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.

Snacks, drinks and desserts are available at the Civic Center Café on the main floor and snack areas located on floors 1-4.

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

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

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

CHILDREN of all ages are welcome at the Philharmonic Discovery Family Series and Holiday Pops performances; however, in consideration of the patrons, musicians and artists, those 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 event office. Please inquire at the Box Office.

STUDENT RUSH TICKETS are $6 each and available with a high school or university I.D. and email address at the Box Office 45 minutes prior to the start of each Philharmonic performance. Tickets are offered based on availability only and seats may be located throughout the theater.

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 concession stands, 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 (405-297-2584) 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, 9:00 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. (405-297-2264) Artists and Programming Subject to Change.

MIDTOWN 432 N.W. 10th Street (E. of St. Anthony Hospital) (405) 602-6333

MOORE 1611 South I-35 Service Rd. (S.of Warren Theater) (405) 794-3474