OKC PHIL program magazine 2015-16 edition 2

2 0 1 5 -2 0 1 6 S E A S O N

OKC photo courtesy of Rick Buchanan Photography

THE CHRISTMAS SHOW December 3-5, 2015 pg. 25

STEPHEN HOUGH, PIANO January 9, 2016 pg. 33

DO YOU HEAR THE PEOPLE SING January 29-30, 2016 pg. 39

facebook.com/okcphilharmonic

@OKC_PHIL

ROBERT MOODY, GUEST CONDUCTOR February 6, 2016 pg. 47

@OKC_PHIL

JAMES BOND, THE SPY WHO LOVED ME February 19-20, 2016 pg. 57

WELCOME

T W E N T Y - S E V E N T H

S E A S O N

RENATE WIGGIN, President Oklahoma Philharmonic Society, Inc. Welcome! As we enter the Philharmonic’s 27th season, we look forward to another exciting program Maestro Joel Levine has prepared for both the Classics and Pops series. Small wonder there is so much enthusiasm and dedication among the musicians, staff and volunteers. I am therefore truly honored to serve the Board of Directors this year. Excellence, relevance and fiscal responsibility are the Phil’s core values and we hope this season will in every way exemplify them.

What you experience on stage today represents only part of the Phil’s activities. Our outreach program centers on introducing the importance of music to children in the public school classrooms and the Discovery Concert Series aimed at younger audiences but attended by all age groups. We could not accomplish any of this without the generosity and loyalty of our patrons, donors, the Associate Board and the Orchestra League.

Please know how grateful we are to each and every one of you. As audience members and donors you are vital to the Philharmonic’s health and success as one of the crown jewels of Oklahoma City’s cultural life. Now sit back, relax, and enjoy your evening with the Philharmonic.

JULIA HUNT, President Oklahoma City Orchestra League, Inc. As the Oklahoma City Philharmonic begins its 27th concert season, the Oklahoma City Orchestra League is proud of the part it plays in the cultural legacy provided to our community by this outstanding orchestra!

Through our partnership with the Phil, the League brings a variety of educational programs to Oklahoma City’s children and adults as well as state wide instrumental competitions.

The League’s Symphony Show House is the crown jewel of the spring season in Oklahoma City. Funds generated by the Symphony Show House represent the largest portion of our annual gift to the Phil.

The OCOL is proud to announce that a new and exciting annual event will premier in October. The Maestro’s Ball promises to be an unforgettable evening with pre-concert dining and entertainment and following the concert, a lavish party of dancing and more entertainment surprises!

On behalf of the Orchestra League, I’d like to express gratitude to Maestro Joel Levine and the outstanding musicians who bring the gift of music to us each season!

JENNI FOSBENNER, President Associate Board Welcome to the 27th season of the Oklahoma City Philharmonic. It is an honor and privilege to serve as the President of the Philharmonic’s Associate Board.

The Associate Board is looking forward to bringing the orchestra to the next generation thru Overture. We are excited to join familiar faces and new ones as we enjoy an unforgettable line-up of concerts, pre- and post-show parties, volunteer opportunities and special networking events.

The Philharmonic is one of the many things that makes this community great. I hope you enjoy this evening’s concert and are inspired by the incredible performance of the Philharmonic. Join us for the opportunity to meet new people and expand your appreciation of orchestral music. You won’t be disappointed!

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www.okcphilharmonic.org

MUSIC DIRECTOR

T W E N T Y - S E V E N T H

S E A S O N

JOEL LEVINE Beginning his twenty-seventh season leading the Philharmonic, Joel Levine is the longest serving music director in our City’s history. Including his tenure with the Oklahoma Symphony, Maestro Levine is enjoying his thirty-seventh year 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, 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 Dvorˆák Hall, and the Symphony Orchestra of Portugal in Lisbon. Other international 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 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.

“Joel Levine proved that he is an absolute master of his profession...”

— Havelstadt Brandenburg

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E. L. & THELMA GAYLORD FOUNDATION PRESENTS

SUNDAY, NOVEMBER 22, 2015 This concert features familiar music from Native inspirations to Western trail rides and more. Come dressed in your favorite western wear!

SUNDAY, FEBRUARY 21, 2016 In addition to orchestral arrangements, this concert features the evolution of the African American influence in America, including Blues, Jazz, Gospel and rap. Join us for a celebration of this uniquely American Music!

SUNDAY, APRIL 3, 2016 A classic for all generations, get to know all the sounds of the instruments in the orchestra as you follow the story of Peter and the Wolf, plus a few surprises with other forest friends, that are sure to please. www.okcphilharmonic.org

Shiloh Morning Inn Bed & Breakfast ­

A Romantic Country Getaway www.shilohmorning.com 2179 Ponderosa Rd • Ardmore, OK 73401

888-554-7674

OKLAHOMA PHILHARMONIC SOCIETY, INC.

P R O V I D I N G

I N S P I R A T I O N

A N D

J O Y

T H R O U G H

O R C H E S T R A L

M U S I C .

THE BOARD OF DIRECTORS Officers

Lifetime Directors

Renate Wiggin President

Jane B. Harlow Patrick Alexander

Debbie Fleming President Elect

Directors

Teresa Cooper Vice President Louise Churchill Treasurer Gary Allison Secretary John Higginbotham Immediate Past President

Steve Agee Zonia Armstrong Edward Barth Cathy Busey Elliot Chambers Robert Clements Joseph Fleckinger Jenni Fosbenner Ryan Free Kirk Hammons Brent Hart Patricia Horn Dr. Sonja Hughes

Julia Hunt Michael E. Joseph Kathy Kerr Brad Krieger David McLaughlin Becky Ross Roten Melissa Scaramucci John Shelton Jeff Starling Doug Stussi Glenna Tanenbaum Donita Thomas Cheryl Brashear White

Honorary Directors Josephine Freede Mary Nichols Dick Sias

ADMINISTRATIVE STAFF Michelle Ganson Education Director

Simone Laday Customer Service

Chris Stinchcomb Concert Operations and P.R. Coordinator

Pam Glyckherr Development Director

Kris Markes General Manager

Eddie Walker Executive Director

Daniel Hardt Finance Director

Jennifer Owens Annual Fund Manager

Susan Webb Marketing & P.R. Director

Stephen Howard Database/Records Manager

Judy Smedley Administrative Assistant

ACKNOWLEDGEMENTS Classical KUCO 90.1 Garman Productions Heritage Press

Reynolds Ford Ryan Audio Services, LLC. The Skirvin Hotel

Stubble Creative Inc. Tuxedo Junction

THE OKLAHOMA PHILHARMONIC SOCIETY, INC. 428 W. California Ave., Ste 210 • Oklahoma City, Oklahoma 73102 Tickets: 405-842-5387 • Administration: 405-232-7575 • Fax: 405-232-4353 • www.okcphilharmonic.org

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OKLAHOMA CITY ORCHESTRA LEAGUE, INC. EXECUTIVE COMMITTEE Julia Hunt Polly Worthington President Programs VP

Lisa Reed OCOL Executive Director, Ex-Officio

Cinda Lafferty Rachael Geiger Governance VP & Secretary Membership VP

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

Judy Moore Yvette Fleckinger Financial VP & Treasurer Ways & Means VP Deanna Pendleton Past President & Chairman, Ex-Officio

BOARD OF DIRECTORS Sarah Sagran Budget & Finance Chair Carol McCoy Competitions Chair Linda Rowland-Woody Education Chair

Judy Austin Randy Buttram Jean Hartsuck Cheryl Hudak Penny McCaleb Debbie Minter Mike Palmer

Pat Sholar Sam Sims Glenna Tanenbaum Wendi Wilson

Iva Fleck Priscilla Braun Susan Robinson Minna Hall Yvette Fleckinger June Parry Jean Hartsuck Grace Ryan Judy Austin LaDonna Meinders Dixie Jensen Lois Salmeron

Glenna Tanenbaum Debbie McKinney Anna McMillin Sue Francis Peggy Lunde Cathy Wallace Sharon Shelton Rhonda White Cindy Raby Debbie Minter Deanna Pendleton

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

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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THE ORCHESTRA

T W E N T Y - S E V E N T H

S E A S O N

JOEL LEVINE, Music Director and Conductor EDDIE WALKER, Executive Director

FIRST VIOLIN

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

SECOND VIOLIN

Katrin Stamatis, Principal McCasland Foundation Chair Catherine Reaves Michael Reaves Principal Emeritus Brenda Wagner Angelica Pereira Mary Joan Johnston Sarah Brown Laura Young Sarah McKiddy TBA Lois Fees June McCoy

VIOLA

Royce McLarry, Principal Mark Neumann Joseph Guevara Kelli Ingels Steve Waddell Joseph Young Donna Cain Brian Frew Shaohong Yuan Derek Mosloff

CELLO

Jonathan Ruck, Principal Orchestra League Chair Tomasz Zieba, Associate Principal Meredith Blecha-Wells Valorie Tatge Emily Stoops Jim Shelley Angelika Machnik-Jones Jean Statham Dorothy Hays Rob Bradshaw

BASS

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

FLUTE

Valerie Watts, Principal Parthena Owens Nancy Stizza-Ortega

PICCOLO

Nancy Stizza-Ortega

OBOE

Lisa Harvey-Reed, Principal Dan Schwartz Katherine McLemore

ENGLISH HORN Dan Schwartz

CLARINET

BASSOON

Rod Ackmann, Principal James Brewer Barre Griffith Larry Reed

CONTRABASSOON Barre Griffith

HORN

Kate Pritchett, Principal G. Rainey Williams Chair Nancy Halliday Ben Korzelius Frank Goforth

TRUMPET

Karl Sievers, Principal Jay Wilkinson Michael Anderson

TROMBONE

John Allen, Principal Philip Martinson Noel Seals, Bass Trombone

TUBA

Ted Cox, Principal

PERCUSSION

David Steffens, Principal Stuart Langsam Roger Owens

TIMPANI

Lance Drege, Principal

HARP

Gaye LeBlanc, Principal

Bradford Behn, Principal Tara Heitz James Meiller

PIANO

BASS/E-FLAT CLARINET

PERSONNEL MANAGER/LIBRARIAN

James Meiller

Peggy Payne, Principal Michael Helt

PRODUCTION MANAGER Leroy Newman

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PLANNED GIVING

E

NCORE SOCIETY

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

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

Mr. and Mrs. William J. Ross

Pam and Gary Glyckherr

Drs. Lois and John Salmeron

Carey and Gayle Goad

Mr. and Mrs. William F. Shdeed

Mr. and Mrs. J.A. Gowman

Richard L. Sias

Carol M. Hall

Doug and Susie Stussi

Ms. Olivia Hanson

Larry and Leah Westmoreland

Jane B. Harlow

Mrs. Martha V. Williams

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 the Development Office at (405) 231-0146 or pam@okcphilharmonic.org.

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NICHOLS HILLS PLAZA 63RD & N. WESTERN RMEYERSOKC.COM

405.842.1478

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 the seasons of 2014-2015 and 2015-2016. Contributions of $100 and above are listed through November 13, 2015.

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 Anschutz Family Foundation/ The Oklahoman Media Company The Chickasaw Nation Devon Energy Corporation Inasmuch Foundation Kirkpatrick Foundation Inc. Oklahoma Arts Council Oklahoma City Orchestra League, Inc. The Oklahoman The Skirvin Hilton Hotel

PLATINUM SPONSORS $10,000 - $39,999 405 Magazine Access Midstream Partner Ad Astra Foundation American Energy Partners American Fidelity Foundation BancFirst Bank of Oklahoma The Boeing Company Chesapeake Energy Corporation E.L. and Thelma Gaylord Foundation Express Employment Professionals HSPG and Associates, PC Love’s Travel Stops & Country Stores Mathis Brothers Furniture Co., Inc. MidFirst Bank OGE Energy Corp.

Presbyterian Health Foundation SandRidge Energy Tri-State Industrial Group, LLC Tyler Media Co./Magic 104.1FM and KOMA

W&W Steel, LLC Williams Companies Wilshire Charitable Foundation

GOLD SPONSORS $5,000 - $9,999 McGladrey, LLP The Crawley Family Foundation Garman Productions ITC Holdings Corp Mekusukey Oil Company, LLC The Metro Restaurant

SILVER SPONSORS $3,000 - $4,999 Clements Foods Foundation Gordon P. and Ann G. Getty Foundation Great Plains Coca-Cola Bottling Company Linn Energy, LLC. OK Gazette Target Stores The Friday Torchmark Benevolent Foundation US Fleet Tracking

BRONZE SPONSORS $1,750 - $2,999 Anthony Flooring Systems Inc. The Black Chronicle Globe Life and Accident Insurance Co. Oklahoma Allergy & Asthma Clinic Paycom Testers, Inc. Wells Fargo

GOLD PARTNERS $1,250 - $1,749 Flips Restaurant, Inc. The Fred Jones Family Foundation Norick Investment Company Oklahoma Natural Gas RealTime Layout Solutions, LLP

SILVER PARTNERS $750 - $1,249 Charles M. Zeeck, CPM Garvin County News-Star M-D Building Products, Inc.

BRONZE PARTNERS $300 - $749 Armstrong International Cultural Foundation Junior League of Oklahoma City The Kerr Foundation, Inc. The Reserve Petroleum Company

BUSINESS MEMBERS $100 - $299

Anonymous Bright Music Chamber Ensemble Casady School Journey House Travel, Inc. Ledbetter Insurance Agency, Inc.

Special Thanks to: E.L. & Thelma Gaylord Foundation Oklahoma City Philharmonic Foundation

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

American Fidelity Corporation Bank of America Matching Gifts Program

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Ethics and Excellence in Journalism Foundation ExxonMobil Foundation

Inasmuch Foundation

GIFTS TO THE PHILHARMONIC MAESTRO SOCIETY Providing leadership support.

Guarantor $10,000 and above

Benefactor $5,000 - $9,999

Mr. Howard K. Berry, Jr. Priscilla and Jordan Braun Mr. and Mrs. Andrew J. Evans, II The Freede Family Aubrey K. McClendon and Katie McClendon Jean and David McLaughlin Mary D. Nichols Nancy and George Records Mr. and Mrs. John Richels Mr. Richard L. Sias Mr. and Mrs. Richard Tanenbaum

Steven C. Agee, Ph.D. Mr. and Mrs. Patrick B. Alexander Mrs. Betty D. Bellis-Mankin Marilyn and Bill Boettger Molly and Jim Crawley Mr. and Mrs. Douglas R. Cummings Mr. and Mrs. John A. Frost Mrs. Jane B. Harlow

INDIVIDUALS

M

John and Claudia Holliman Mr. Albert Lang Mr. Wendell E. Miles Ms. Veronica L. Pastel and Mr. Robert B. Egelston Mr. H.E. Rainbolt Mr. and Mrs. Douglas J. Stussi Dr. and Mrs. Kenneth and June Tucker Mr. and Mrs. Charles E. Wiggin Anne and Dick Workman

MAESTRO SOCIETY

Providing essential support for the Annual Fund.

Patron $3,000 - $4,999 Lawrence H. and Ronna C. Davis Mrs. Carlene Edwards Mrs. Bonnie B. Hefner Kim and Michael Joseph Mrs. Donna W. Miller Mrs. Ruby C. Petty Lance and Cindy Ruffel Mrs. Kathleen Weidley Mr. and Mrs. Richard Young

Sustainer $1,750 - $2,999 Dr. and Mrs. Dewayne Andrews Mr. J. Edward Barth Dr. and Mrs. Philip C. Bird Dr. and Mrs. L. Joe Bradley Mr. and Mrs. Russal Brawley Dr. and Mrs. Robert C. Brown Phil and Cathy Busey Bill and Louise Churchill Mrs. Teresa Cooper Mr. Thomas Davis Mr. and Mrs. David C. DeLana Mrs. Patty Empie Mr. and Mrs. George Faulk Mr. and Mrs. Joseph M. Fleckinger Paul and Debbie Fleming Mrs. Linda Gardner

Mr. and Mrs. George Gibson Mr. Jerry A. Gilbert Mr. and Mrs. Carey Don Goad Mr. G. Curtis Harris Dr. and Mrs. James M. Hartsuck Mrs. Janice Singer Jankowsky and Mr. Joseph S. Jankowsky Tom and Cindy Janssen Mr. and Mrs. W. A. Joseph Terry and Kathy Kerr Mr. and Mrs. Harrison Levy, Jr. Dr. and Mrs. Patrick McKee Mr. and Mrs. Herman Meinders Mr. Robert B. Milsten Ms. Annie Moreau Mr. J. Edward Oliver Mr. and Mrs. 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 Susan and Steve Raybourn Mrs. Don F. Rhinehart Mr. and Mrs. William J. Ross Mr. Donald Rowlett Mr. and Mrs. Patrick J. Ryan Drs. Lois and John Salmeron Mr. and Mrs. Samuel Sanchez Mrs. Sally B. Saunders Ms. Jeanne Hoffman Smith

Ms. Jane Smythe Mr. and Mrs. John E. Stonecipher Mr. & Mrs. Frederick K. Thompson William P. Tunell, M.D. Mr. and Mrs. James P. Walker Ron and Janie Walker John and Lou Waller Mr. Tom L. Ward Mrs. Martha V. Williams

Associate $1,250 - $1,749 Mrs. Richard E. Adams, Jr. Mrs. Ann S. Alspaugh Mr. Barry Anderson Dr. and Mrs. John C. Andrus Dr. and Mrs. William L. Beasley Dr. John E. Beavers Mr. and Mrs. William Beck Mr. and Mrs. Robert M. Benham Mr. Howard K. Berry, Jr. and Denise Berry Ms. Pamela Bloustine MAJ. GEN. William P. Bowden, Rt. Mr. and Mrs. Del Boyles Ms. Betty Bridwell Mr. and Mrs. Barney U. Brown Mr. Randy Buttram J. Christopher and Ruth Carey Dr. John M. Carey Dr. and Mrs. Charles W. Cathey Mr. Elliot Chambers CONTINUED ON PAGE 61

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THE CHRISTMAS SHOW December 3, 2015 at 7:30 P.M. December 4, 2015 at 8:00 P.M. December 5, 2015 at 2:00 P.M. and 8:00 P.M.

POPS S P O N S O R E D BY

Family Fun with the OKC PHIL! Starring

Michele Ragusa With

Daisy Wright, Brandon Block, Jeff Jordon, The Philharmonic Pops Chorale, The Mistletoes, Stephen Hilton and Children from Dance Unlimited DIRECTION AND CHOREOGRAPHY BY LYN CRAMER JOEL LEVINE, MUSIC DIRECTOR AND CONDUCTOR EDDIE WALKER, EXECUTIVE PRODUCER Choral Preparation: Vince Leseney, Technical Direction: Amanda Foust, Lighting Design/Programming: Brad Criswell, Set Design: Amanda Foust, Props: Courtney Strong, Costumes: Jeffrey Meek, Sound: George Ryan Productions, Production Stage Manager: Jenny Lang, Assistant Stage Managers: Jenise Catrone and A.J. Orth, Assistant to the Director: Aubrey Reese, Additional Choreography: Daisy Wright, Additional Choral Arrangements: Don Clothier, Children’s and Additional Choreography: Amy Reynolds Reed THIS CONCERT IS GENEROUSLY SPONSORED BY:

SPECIAL THANKS TO:

E.L. and Thelma Gaylord Foundation I Amy Reynolds Reed and Dance Unlimited PRE CONCERT LOBBY BELL CHOIRS: The Canticle Ringers - St. Paul’s Lutheran, The Bulldog Bell Ringers, St. Charles Borromeo Catholic School Handbell Ensemble, and the Oklahoma City Handbell Ensemble

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PROGRAM P

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“THE CHRISTMAS SHOW”

HANDEL . ...................................... JOY TO THE WORLD

The Philharmonic Pops Chorale

STYNE & CAHN.............................. THE CHRISTMAS WALTZ POLA & WYLE THE MOST WONDERFUL TIME OF THE YEAR

Michele Ragusa, The Philharmonic Pops Chorale and The Mistletoes

VARIOUS........................................ SANTA’S SMASHING MEDLEY

Michele Ragusa and The Philharmonic Pops Chorale

SCHMIDT & JONES......................... I THANK YOU FOR YOUR LOVE

Michele Ragusa

TRADITIONAL................................ GOOD KING WENCESLAS

Gregory Lee, violin

LEONTOVICH.................................. CAROL OF THE BELLS

Daisy Wright, Brandon Block and The Philharmonic Pops Chorale

ANDERSON.................................... THE ENCHANTED TOYS OF CHRISTMAS

Santa and The Children

BROWN & FREED............................ IT’S CHRISTMAS

Daisy Wright, Brandon Block and Jeff Jordan

STROUSE & ADAMS........................ YOU’VE GOT POSSIBILITIES

Michele Ragusa and Santa with The Philharmonic Pops Chorale

CAHN & LANE................................ A WINTER ROMANCE

Michele Ragusa and The Philharmonic Pops Chorale

GILLESPIE & COOTS....................... SANTA CLAUS IS COMING TO TOWN

The Mistletoes featuring Daisy Wright

INTERMISSION HERMAN........................................ WE NEED A LITTLE CHRISTMAS

The Philharmonic Pops Chorale

BERLIN.......................................... SNOW

The Philharmonic Pops Chorale

DeROSE & SIGMAN........................ MARSHMALLOW WORLD

The Philharmonic Pops Chorale with Michele Ragusa

REGNEY & SHAYNE........................ DIDN’T I GET THIS LAST YEAR?

Michele Ragusa and Friends

SMALLS......................................... HOME (from “The Wiz”)

Michele Ragusa and The Philharmonic Pops Chorale

ALLEN........................................... COOL YULE

Michele Ragusa and The Mistletoes

HAYES & PARKER........................... SILVER WINGS

The Philharmonic Pops Chorale

GRUBER........................................ SILENT NIGHT

Michele Ragusa and The Philharmonic Pops Chorale

DRAKE & SHIRL............................. ONE GOD

Michele Ragusa, The Philharmonic Pops Chorale and The Mistletoes

BERLIN.......................................... WHITE CHRISTMAS

Michele Ragusa, The Philharmonic Pops Chorale and The Mistletoes

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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 30 years. OU productions include 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 a dozen shows for Lyric Theatre of Oklahoma including The Little Mermaid, The Will Rogers Follies, Bye Bye Birdie, Hairspray, 42nd St., Swing, Smokey Joe’s Café, Cabaret, Singing 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 roles

include Mrs. Wilkinson in Billy Elliot, 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 a 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. She is the author of Creating Musical Theatre: Conversations with Broadway Directors and Choreographers.

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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MICHELE RAGUSA Michele is thrilled to be returning to OKC and the Christmas Show! Audiences may remember her performance in 2012 – It was received with rave reviews:

“Ragusa demonstrated she knows her way around a comedy number with “Santa, Keep Those Reindeer Quiet”….. she also had no trouble changing the mood for the poignancies of “Count Your Blessings”. Sitting alone on stage, Ragusa turned the Irving Berlin classic into an evocative Judy Garland moment….The evening’s element of surprise surfaced once again in “Star of Bethlehem”, this time with an unexpectedly heart-rending performance ….the evening’s emotional high point, “The Prayer”, with Ragusa, chorus and orchestra weaving a magical spell that dares the audience not to be touched.”

She was fortunate to have shared the stage with the late great Marvin Hamlisch at the Kennedy Center as well as headlining with The Toronto, Detroit, Kansas City, Modesto, Indianapolis, Phoenix, Chautauqua and Long Beach Symphonies and with the Buffalo, Naples, Abilene and Long Island Philharmonics — to name a few.

As far as her theatrical career is concerned, she’s received rave reviews from all NY papers for her incredible voice and comic timing. She was last seen on Broadway in Mel Brook’s Young Frankenstein, as Elizabeth (succeeding Megan Mullally). In addition, she won the Barrymore Award and received both Lortel and Drama League nominations for her performance as Corinna in Christopher Durang’s Adrift In Macao at Primary Stages-NYC. She received rave reviews for her performance as Lilli/Kate in Kiss Me Kate, as well as for her portrayal of the Witch in Into The Woods. Broadway: Urinetown (Penny/Hope cover); Ragtime (Evelyn); A Class Act (Mona); Titanic (Caroline); Cyrano (the Novice). Regional Credits: King and I (Anna – Carbonell Nom.); Spamalot (Lady of the Lake); Sweeney Todd (Beggar Woman); The Drowsy Chaperone (Chaperone); Singing In The Rain (Lina Lamont); The Full Monty (Vickie); She Loves Me (Amalia); Guys and Dolls (Adelaide – Rabin Award); Noises Off (Belinda); Nunsense (Sr. Amnesia); My Fair Lady (Eliza -w/ Michael Moriarty).

STEPHEN HILTON Stephen Hilton is Director of Education for Lyric Theatre’s Thelma Gaylord Academy.

His performing credits include dozens of performances with Lyric Theatre including Wilbur in Hairspray, Cogsworth in Beauty and the Beast and Mushnik in Little Shop of Horrors; Sweeney Todd at Pollard Theatre, Emile DeBeque at Jewel Box, and numerous roles at theatres across the country. He is amazed to be returning for his TENTH Philharmonic Christmas Show, and dedicates his performances to his Mom and Dad, Wayne and Martha Hilton, who have always been there for him.

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DAISY WRIGHT Daisy Wright is returning for her fourth year as a featured dancer in The Christmas Show. Currently a senior at the University of Oklahoma, finishing her BFA in Musical Theater, some of her professional credits include: Music Theater of Wichita: Hello, Dolly (Minnie Fay), South Pacific, West Side Story, Joseph, Catch Me If You Can, 42nd Street, Aida, My Son Pinocchio, Billy Elliot, Big Fish. For OU University Theater she appeared in Ragtime (Evelyn Nesbit), On The Town (Ivy u.s./Ensemble), The Drowsy Chaperone (Mrs. Tottendale u.s./Ensemble). Special thanks to director Lyn Cramer.

BRANDON BLOCK Brandon is returning for his third year for The Christmas Show. His regional credits include Lyric Theater of Oklahoma: Bernice Bobs Her Hair (Jim Strain), Mary Poppins (Nelius/Dance Captain), The Little Mermaid (Dance Captain), Spamalot, Oklahoma! and Big Fish. For St. Louis Muny: Oklahoma! (Jake). Other performances include Cats (Mr. Mistoffelees).

Brandon thanks his mother and sister.

JEFF JORDAN Jeff is currently a junior at the University of Oklahoma and is making his The Christmas Show debut. His credits include: OU University Theater Rocky Horror (Rocky), La Cage Aux Folles (Chantal), The First Gentlemen (Steven). Other performances include: Kurt in the regional premier of Heathers and Jesus in Godspell. Jeff would like to thank his family and friends!

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VINCE LESENEY This year marks Vince’s 18th 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 thirty 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.

THE PHILHARMONIC POPS CHORALE Beth Adele Chad Anderson Renee Anderson Sam Briggs Don Clothier Brooke Gebb Mary Clayton-Gilbert

Tommy Glenn Brian Hamilton Mattie Joyner Spencer Laboda Ashley Mandanas Heather Mayfield Ashley Mortimer

Harold Mortimer Dalycia Phipps Tanner Rose Brian Stockton Marita Stryker Greg White

Jeff Jordon Sarah Quinn Gray Randolph

Taylor Steedman Daisy Wright

THE MISTLETOES Brandon Block Taylor Bryant Conor Donnelly

CHRISTMAS KIDS FROM DANCE UNLIMITED Caris Attebery Rachel Burton Reese Deaton Noele Eccellente Natalie Goodin Rachel Griffin

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Katie Harden Jaley Hunt Emma Kollie Suzie Linihan Cate Nichols Maddie Nguyen

Ashley Owens Sawyer Schultheis Caroline Smith Madison Tate Nicole Vaughn

CONCERT PREVIEW SCHEDULE

A MASTERPIECE – A SURPRISE January 9, 2016 8:00 P.M.

CLASSICS

JANUARY 9, 2016:: STEPHEN HOUGH, PIANO JOEL LEVINE, CONDUCTOR

Q & A with Stephen Hough, Piano and Peggy Payne, Principal Piano, OKC Philharmonic Mr. Hough is a visiting professor at the Royal Academy of Music in London and holds the International Chair of Piano Studies at his alma mater, the Royal Northern College in Manchester.

In 1973, Peggy Payne became the Orchestra Pianist with the Oklahoma City Symphony and continued in that position as Principal Keyboard with the Oklahoma City Philharmonic. She is an adjunct piano faculty member at Oklahoma City University and Keyboard/Manager for the Go For Baroque Quartet.

FEBRUARY 6, 2016:: Robert Moody, Music Director, Portland Symphony Orchestra, and Andrea Segar, Violin Robert Moody has been Music Director of the Winston-Salem Symphony (North Carolina) since 2005, Artistic Director of Arizona Musicfest since 2007, and Music Director of the Portland Symphony Orchestra (Maine) since 2008.

Andrea received her Bachelor and Master of Music degrees with Honors from the New England Conservatory of Music and her Doctor of Musical Arts degree from SUNY Stony Brook. She recently joined the faculty of the Young Performers Program at the Chamber Music Institute at Music at Menlo.

MARCH 5, 2016::

TCHAIKOVSKY ................. Symphony No. 6 in B minor, Op. 74, Pathétique

Adagio—Allegro non troppo—Andante—Allegro vivo— Andante come prima—Andante mosso Allegro con grazia Allegro molto vivace Adagio lamentoso—Andante

INTERMISSION

Jon Nakamatsu, Piano A native of California, Mr. Nakamatsu came to international attention in 1997 when he was named Gold Medalist of the Tenth Van Cliburn International Piano Competition, the only American to have achieved this distinction since 1981. He is a graduate of Stanford University with a bachelor’s degree in German Studies and a master’s degree in Education.

APRIL 2, 2016:: Judith Willoughby, Professor of Conducting and Choral Music Education, Oklahoma City University, and Artistic Director, Canterbury Youth Choruses

DVOŘÁK ........................... Piano Concerto in G minor, Op. 33 Allegro agitato Andante sostenuto Finale: Allegro con fuoco

First performance on this series

Stephen Hough, piano

As a guest conductor, conference headliner and clinician, Professor Willoughby has led choruses and orchestras in the world’s major concert halls in the United States, Canada, Europe, the Caribbean, Australia, Russia, China and Hong Kong. Her interest in public policy’s intersection with arts education and performance has resulted in her continuing service on panels for the National Endowment for the Arts and its partner agencies.

MAY 14, 2016::

THIS CONCERT IS GENEROUSLY SPONSORED BY:

Joel Levine, Music Director, OKC Philharmonic Leading the Philharmonic in its 27th Season, founding music director Joel Levine continues to orchestrate passion in our community. Maestro Levine’s reputation for sensitive musical accompaniment has enabled the PHIL to present one of the country’s most distinguished series of world-renowned guest artists.

Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, February 10, 2016 at 8 pm and Saturday, February 13, 2016 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

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STEPHEN HOUGH Stephen Hough is regarded as a renaissance man of his time.

Over the course of his career he has distinguished himself as a true polymath, not only securing a reputation as a uniquely insightful concert pianist, but also as a writer and composer.

Mr. Hough is commended for his mastery of the instrument along with an individual and inquisitive mind which has earned him a multitude of prestigious awards and a long-standing international following.

In 2001 Mr. Hough was the first classical performing artist to win a MacArthur Foundation Fellowship. He was awarded Northwestern University’s 2008 Jean Gimbel Lane Prize in Piano, won the Royal Philharmonic Society Instrumentalist Award in 2010 and in January 2014 was made a Commander of the Order of the British Empire by Queen Elizabeth in the New Year’s Honors List. He has appeared with most of the major European and American orchestras and plays recitals regularly in major halls and concert series around the world. His recent engagements include recitals in Chicago, Hong Kong, London, New York’s Carnegie Hall and Lincoln Center, Paris, Boston, San Francisco, the Kennedy Center and Sydney; performances with the Czech, London and New York Philharmonics, the Chicago, Boston, Pittsburgh, San Francisco, St. Louis, National, Detroit, Dallas, Atlanta and Toronto symphonies, and the Philadelphia, Minnesota, Budapest Festival and Russian National Orchestras; and a performance televised worldwide with the Berlin Philharmonic and Sir Simon Rattle. He is also a regular guest at festivals such as Aldeburgh, Aspen, Blossom, Edinburgh, Hollywood Bowl, Mostly Mozart, Salzburg, Tanglewood, Verbier, Chicago’s Grant Park, Blossom, and the BBC Proms, where he has made over 20 concerto appearances, including playing all of the works written by Tchaikovsky for piano and orchestra over the summer of 2009, a series he later repeated with the Chicago Symphony.

Mr. Hough’s 15/16 season begins with an extensive tour to Asia, which includes complete Beethoven cycles in Australia and Singapore, followed by recitals in Beijing, Taipei and Tokyo. That season continues with return appearances with the Cleveland Orchestra, Los Angeles Philharmonic, and the San Francisco, Montreal, Houston, Vancouver and New Jersey symphonies among others in North America as well as re-engagements with the London Philharmonic Orchestra and the Finnish Radio Symphony Orchestra in Europe; and recitals at New York’s 92nd Street Y, London’s Barbican Centre, and in Quebec, Kansas City and at Dartmouth and Northwestern University.

Many of Mr. Hough’s catalogue of over 50 albums have garnered international prizes including the Deutsche Schallplattenpreis, Diapason d’Or, Monde de la Musique, several Grammy nominations, eight Gramophone Magazine Awards including ‘Record of the Year’ in 1996 and 2003, and the Gramophone ‘Gold Disc’ Award in 2008, which named his complete Saint-

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Saens Piano Concertos as the best recording of the past 30 years. His 2012 recording of the complete Chopin Waltzes received the Diapason d’Or de l’Annee, France’s most prestigious recording award. His 2005 live recording of the Rachmaninoff Piano Concertos was the fastest selling recording in Hyperion’s history, while his 1987 recording of the Hummel concertos remains Chandos’ best-selling disc to date. Mr. Hough’s most recent releases, all for Hyperion, include the two Brahms Piano Concertos with the Salzburg Mozarteum Orchestra under Mark Wigglesworth; “In the Night” featuring Beethoven’s Moonlight Sonata, Schumann’s Carnaval and his second piano sonata “notturno luminoso;” Grieg: Lyric Pieces; and a recording of his mass, “Missa Mirabilis,” with the Colorado Symphony.

Mr. Hough is also the featured artist in an iPad app about the Liszt Piano Sonata, which includes a fully-filmed performance and was released by the cutting-edge, award-winning company Touch Press.

Published by Josef Weinberger, Mr. Hough has composed works for orchestra, choir, chamber ensemble and solo piano. His “Mass of Innocence and Experience” and “Missa Mirabilis” were respectively commissioned by and performed at London’s Westminster Abbey and Westminster Cathedral. In 2012, the Indianapolis Symphony commissioned and performed Mr. Hough’s own orchestration of “Missa Mirabilis,” which was subsequently performed by the BBC Symphony as part of Mr. Hough’s residency with the orchestra. Mr. Hough has also been commissioned by the musicians of the Berlin Philharmonic, London’s National Gallery, Wigmore Hall, Le Musée de Louvre and Musica Viva Australia among others and he has performed his two piano sonatas, “Sonata No. 1 (broken branches)” and “Sonata No. 2 (notturno luminoso)” on recital programs in London, New York, St. Paul and Chicago.

A noted writer, Mr. Hough regularly contributes articles for The Guardian, The Times, The Tablet, Gramophone and BBC Music Magazine and was invited by The Telegraph in London in 2008 to start a blog that has become one of the most popular and influential forums for cultural discussion. His book, The Bible as Prayer, was published by Continuum and Paulist Press in 2007.

Mr. Hough resides in London where he is a visiting professor at the Royal Academy of Music and holds the International Chair of Piano Studies at his alma mater, the Royal Northern College in Manchester. He is also a member of the faculty at The Juilliard School.

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Symphony No. 6 in B minor, Op. 74, Pathétique Pyotr Ilich Tchaikovsky First performance: 11/24/1941 Conductor: Victor Alessandro Last Performance: 2/2/2008 Conductor: Joel Levine Born: April 25 (old style)/May 7 (new style), 1840, in Votkinsk, Vyatka Province, Russia Died: October 25/November 6, 1893, in St. Petersburg, Russia Work composed: February through August 1893 Work dedicated: to Vladimir (“Bob”) Lvovich Davidov, the composer’s nephew Work premiered: October 16/28, 1893, at the Hall of Nobles in St. Petersburg, with the composer conducting Instrumentation: Three flutes (third doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, cymbals, bass drum, tam-tam (ad lib), and strings

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In the Composer’s Words In 1892, before he began to set any notes down on manuscript paper, Tchaikovsky wrote a cursory sketch toward a scenario for his impending symphony: “The ultimate essence of the thirst for activity. Must be short.

(Finale DEATH—result of collapse.) Second movement, love; third, disappointments; fourth ends dying away (also short).” First thoughts often give way to editing, and this would be no exception; but at least it is clear that some vague narrative informed this enigmatic symphony from its very beginning.

— JMK Bob Davidov (to whom the symphony is dedicated), that the piece would have “a program of a kind that would remain an enigma to all …, [a] program saturated with subjective feeling.” Subjective feeling was as mother’s milk to Tchaikovsky, and it is abundantly displayed in this work; but even without the composer’s intimation, the listener would suspect that something specific was being suggested through this symphony. Tchaikovsky, however, had his way: the exact program remains a mystery.

Tchaikovsky was always given to self-doubt, such that the satisfaction he expressed in a letter to Jurgenson leaps off the page: “I give you my word of honor that never in my life have I been so contented, so proud, so happy in the knowledge that I have written a good piece.” The other shoe was bound to drop, and it did two months later, with the premiere.

“It was not exactly a failure,” Tchaikovsky reported, “but it was received with some hesitation.” He should not have been surprised. What was an audience to make of a symphony so unorthodox as this, so redolent of private agony, so mysterious that its ending dies away in a whimper of nearly inaudible pianissississimo?

Most subtitles attached to symphonies are appended after the fact without the composer’s involvement. True to form, the name Pathétique (to be understood in the classic connotation of “infused with pathos” rather than the modern sense of “sadly inept”) was suggested after this work was first heard, but barely. Tchaikovsky’s brother Modest proposed the subtitle Pateticheskaia the day after the premiere, and the composer embraced it enthusiastically—for about 24 hours.

Then he shot off a note to his publisher, Pyotr Jurgenson, asking that the name not be printed on the title page, a request the publisher ignored.

In any case, it was an improvement on the title that had identified the work at its premiere: Program Symphony.

Nikolai Rimsky-Korsakov said that at the concert he asked Tchaikovsky what the program was, to which Tchaikovsky replied that “there was one, of course, but he did not wish to announce it.” Months earlier, Tchaikovsky had told his nephew,

The symphony had emerged slowly from nothingness 45 minutes before, with the unusual sound of divided double basses and a solo bassoon, then enriched by divided violas, then with melancholy comments from the woodwinds, before breaking into a nervous Allegro non troppo. Tenderness, too, inhabits this movement, in the ardent theme for strings that all but quotes the “Flower Song” from Bizet’s Carmen, an opera Tchaikovsky admired greatly; and this gives way to a blustery section that quotes a Russian liturgical chant, surely connected in some way to the composer’s unrevealed plot.

Quirkiness continues with the second movement, which one would be tempted to call a captivating waltz were it not for the fact that it is in 5/4 meter. We can be sure that choreographers of that time would have demanded the composer’s head on a platter if he had required dancers in one of his ballets to count out five beats to a bar. The movement’s wistfulness is swept away by the ensuing scherzo, growing CONTINUED ON PAGE 36

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from quiet fluttering into a march that crashes relentlessly to its deafening conclusion.

Were it not for its sinister overtones, one might take the march for the symphony’s conclusion. The real Finale is a curious appendage, the opposite of a “victory ending.” Its overriding emotion is despair, underscored by descending melodic sighs, an insistence on the minor mode (or, at least, a failure of major-mode passages to break through the gloom), and a final page that disappears into nothingness. What could it all mean?

Tchaikovsky died nine days after the Pathétique’s premiere, apparently the victim of cholera (though suicide has been suggested—and endlessly debated). Three weeks later, his final symphony received its second performance. “This time,” Rimsky-Korsakov wrote, “the public greeted it rapturously, and since that moment the fame of the symphony has kept growing and growing, spreading gradually over Russia and Europe.”

Not a Fan Tchaikovsky’s Sixth Symphony was not to everyone’s taste. Surprisingly, the Viennese critic Eduard Hanslick, usually a devoted Tchaikovsky-hater, chose to tolerate the piece. There was plenty to complain about, to be sure, such as the “disagreeable rhythm” of the movement in 5/4 meter, which he found “disturbing to listeners and players alike” and “superfluous, moreover, since the piece could be adapted to six-eight time without damage.” But in the end he pronounced it an “original and intelligent composition which, despite unbeautiful, purely operatic characteristics and a merciless length, has made a strong impression.”

Less open-minded was Gustav Mahler. According to his amanuensis-with-benefits Natalie BauerLechner, “he called it a shallow, superficial, distressingly homophonic work—no better than salon music.” His interlocutor protested that at least the instrumental effects were delightful, and reported his response: Even coloring, replied Mahler, should not really be the sort of thing he gives us here. His is fake, sand thrown in one’s eyes! If you look more closely, there is precious little there. These rising and falling arpeggios, these meaningless sequences of chords, can’t disguise the fundamental lack of invention and the emptiness. If you make a colored dot spin round an axis, it appears to be magnified into a shimmering circle. But the moment it comes to rest, it’s the same old dot, which wouldn’t tempt even the cat to play.

— JMK

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Piano Concerto in G minor, Op. 33 Antonín Dvořák First Oklahoma City Performance Born: September 8, 1841, in Nelahozeves, near Kralupy, Bohemia Died: May 1, 1904, in Prague Work composed: 1876, apparently begun that August, completed November 14 Work premiered: March 24, 1878, in Prague, with pianist Karel Slavkovský (a.k.a. Karel ze Slavkovských) and the Slavonic Concert orchestra, conducted by Adolf Čech Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings, in addition to the solo piano

As a child, Antonín Dvořák did not reveal precocious musical talent. Though his family was poor (his father was an innkeeper and butcher), they arranged for him to study music with the local schoolmaster, and later with an organist in a nearby town. He gained enough competence on violin, viola, and keyboard instruments to suggest that serious musical training might be worth pursuing. In 1857, he entered the Prague Organ School, where he received training in music theory and performance and graduated second in a class of 12 students. He soon secured a spot as violist in a dance orchestra. The group prospered, and in 1862 its members formed the founding core of the Provisional Theatre orchestra in Prague. Dvořák would play principal viola in that orchestra for nine years, sitting beneath the batons of such musicians as Bedřich Smetana and Richard Wagner.

During those early years, Dvořák also honed his skills as a composer, and by 1871 he felt compelled to leave the orchestra to devote himself to composing full-time. He eked out his income by giving piano lessons and (for four years beginning in 1873) playing the organ at St. Adalbert’s Church in Prague. In 1874 he was awarded the Austrian State Stipendium, a grant newly created by the Ministry of Education to assist young, poor, gifted musicians—which defined his status at the time. That he received the award twice again, in 1876 and 1877, underscores how his financial situation was improving slowly, if at all, in the mid-1870s. Fortunately, the powerful music critic Eduard Hanslick encouraged him to send some scores to Johannes Brahms in 1877. Brahms was so delighted with what he received that he recommended Dvořák to his own publisher, Fritz Simrock, who immediately published Dvořák’s Moravian Duets, commissioned a collection of Slavonic Dances, and contracted a first option on all of the composer’s new works.

Dvořák’s Piano Concerto dates from this make-or-break juncture in his career. It was the second of four concertots he would produce in a 30-year span of his career. The first, completed in 1865, was a Cello Concerto in A major; a curiosity of his early years, it seems not to have been played until long after his death—in 1927 with piano accompaniment and not until 1977 in an orchestrated version. His three published concertos spotlight the three principal “solo concerto” instruments: his relatively obscure Piano Concerto (1876)

PROGRAM NOTES of Beethoven and Brahms (with occasional bows to Liszt and Chopin), but it also offers glimpses of the distinctive voice he would develop, nowhere more than in the bucolic charm of its middle movement.

Looking East Many of Dvořák’s most famous compositions display a nationalist element, incorporating melodies and rhythms born of Bohemian dances. There is not much of Czech nationalism in the Piano Concerto, although the rondo finale does incorporate some high-kicking rhythms into its principal melody. The most exotic part, however, comes in that movement’s second theme.

Here the melody’s wide intervals and unanticipated chromaticism suggest that Dvořák was influenced by the orientalism popular among the Russian nationalists, or—perhaps more likely—it may reflect the modal pungency encountered in some of Chopin’s mazurkas.

— JMK

and Violin Concerto (1879), and his much performed Cello Concerto in B minor (1894-95).

He wrote the Piano Concerto for the pianist Karel Slavkovský, who had performed in the premiere of Dvořák’s Piano Quintet of 1872 (not to be confused with his very famous Piano Quintet of 15 years later). Dvořák was an accomplished keyboard player if not a true piano virtuoso— apart from playing the organ professionally, he appeared as a pianist in his chamber works—but the difficult solo part nonetheless fell somewhat awkwardly under the hands. He may have retouched it just prior to its publication in 1883, and his son-in-law, the composer Josef Suk, maintained that Dvořák hoped to rework it thoroughly at some point—which he never did. Eventually the solo part was revised extensively by Vilém Kurz (1872-1945), a professor at the Prague Conservatory; and further changes were effected by the pianist Rudolf Firkusný (1912-94), who was for years the work’s most enthusiastic champion. As the 20th century proceeded, however, preferences increasingly favored authenticity in scores. Taste accordingly swung away from these revised versions, effective as they were, to focus instead on what Dvořák actually wrote. Sviatoslav Richter began performing the original version, and even Firkusný sometimes played it late in his career. That original version, published in 1956 in the critical edition of Dvořák’s works (where it is presented alongside Kurz’s revision), is used in this concert. This large-scale Piano Concerto reflects its composer’s deep-seated appreciation

JAMES M. KELLER James M. Keller is Program Annotator of the New York Philharmonic (The Leni and Peter May Chair) and the San Francisco Symphony, and is the author of Chamber Music: A Listener’s Guide (Oxford University Press), which is now also available as an e-book and an Oxford paperback.

Earlier versions of these notes appeared in the programs of the New York Philharmonic and are used with permission. ©New York Philharmonic

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DO YOU HEAR THE PEOPLE SING JANUARY 29-30, 2016 8:00 P.M.

POPS KEVIN STITES, CONDUCTOR

DO YOU HEAR THE PEOPLE SING A CONCERT CELEBRATING THE WORK OF BOUBLIL AND SCHÖNBERG

Featuring GUEST CONDUCTOR KEVIN STITES with Vocalists Ben Crawford, Eric Kunze, Jennifer Paz, Kathy Voytko and Marie Zamora OCU Chamber Choir, Randi Von Ellefson, Conductor

Do You Hear the People Sing appears by arrangement with IMG Artists, LLC.

This concert is generously sponsored by:

A special Thank You to Fuzzy’s Tacos for providing musicians’ catering services.

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OVERTURE.................................................................................. Orchestration by William David Brohn Selections from Miss Saigon.................................................... Music by Claude-Michel Schönberg “Bui Doi” Lyrics by Alain Boublil and Richard Maltby, Jr. “The Heat is on in Saigon” Additional lyrics for “Maybe” and “American Dream” by Michael Mahler “I’d Give My Life for You” Orchestrations by William David Brohn “Last Night of the World” “Maybe” “The American Dream” Selection from La Révolution Française.................................. Music by Claude-Michel Schönberg and Raymond Jeannot “Au Petit Matin” Lyrics by Alain Boublil and Jean-Max Rivière

Orchestration by Adrian Jackson and William David Brohn Selections from Martin Guerre................................................ Music by Claude-Michel Schönberg “I’m Martin Guerre” Lyrics by Alain Boublil, Edward Hardy, and Stephen Clark “Live with Somebody You Love” Orchestrations by Jonathan Tunick, William David Brohn, “In the Land of the Fathers” and Adrian Jackson “I Saw Him Once” from Les Misérables................................... Orchestration by William David Brohn and Neil Douglas Reilly “Too Much For One Heart” from Miss Saigon. ........................ Orchestration by Gerard Salonga “I Dreamed a Dream” from Les Misérables............................. Orchestration by Christopher Jahnke

INTERMISSION

Selections from The Pirate Queen........................................... Music by Claude-Michel Schönberg Entr’acte/The Pirate Queen Lyrics by Alain Boublil, John Dempsey, and Richard Maltby, Jr. “Woman” Orchestrations by Julian Kelly, William David Brohn, and Neil Douglas Reilly “If I Said I Loved You” Selections from Les Misérables............................................... Music by Claude-Michel Schönberg “Mon Histoire”/”On My Own” Original French lyrics by Alain Boublil and/et Jean-Marc Natel “At the End of the Day” English lyrics by Herbert Kretzmer, “Master of the House” “On My Own” lyrics by Herbert Kretzmer, Trevor Nunn, and John Caird “In My Life – A Heart Full of Love” Orchestrations by John Cameron, Stephen Metcalfe, and Christopher Jahnke “Stars” “Bring Him Home” “One Day More”

Conceived by Alain Boublil & Claude-Michel Schönberg in collaboration with Jason Moore, Musical Supervisor – Kevin Stites, Director – Jen Bender, Interstitial Dialogue - Blair Fell; Produced by Alain Boublil / Bouberg Productions, Company/Production Manager – Shelly Stannard Fuerte; Booking Agent – Steve Linder / Maureen Taylor / IMG Artists All songs by Alain Boublil Music Limited & Bouberg Music

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KEVIN STITES Kevin Stites just finished his second season as Music Supervisor/Principal conductor at Radio City Music Hall for the Christmas Spectacular. Prior to that, he served as MD for the highly acclaimed Broadway revival of On The 20th Century, starring Kristin Chenoweth and Peter Gallagher. He recently accompanied two solo concerts with Kristin Chenoweth, conducted Do You Hear The People Sing with the Hartford Symphony Orchestra, and served as Music Director/Conductor for Titanic In Concert, with members of the original Broadway cast, and a 250-voice choir with the New York City Chamber Orchestra at Avery Fisher Hall, and served as Music Director/Pianist for Deborah Voigt’s Voigt Lessons in Boston and Provincetown. He also conducted the Los Angeles Philharmonic Orchestra and the Louisiana Philharmonic Orchestra in concert with Kristin Chenoweth, as well as conducting two PBS specials for il Volo, and Music Directing Oklahoma! and Les Misérables at the Muny in St. Louis.

Kevin has served as the Music Director and Conductor for the 25th Anniversary National Tour of Les Misérables as well as the Musical Director for The Producers at the Hollywood Bowl, (directed by Susan Stroman) and Conductor for Perfectly Frank: From Hollywood To Broadway at the Grant Park Music Festival. He has worked as the Music Supervisor for the German Premiere of Rebecca in Stuttgart, as well as the Music Supervisor/Conductor for the World Premiere of Maury Yeston’s Death Takes A Holiday at Roundabout

Theatre Company, and as Music Director/Pianist for Deborah Voigt’s Voigt Lessons at The Glimmerglass Festival.

Other work includes - Broadway: South Pacific (LCT), Tale Of Two Cities, The Color Purple (Music Supervision/Incidental Music), Titanic (Original Musical Supervisor/Music Director), Sunset Boulevard, Pamela’s First Musical, Children And Art, Les Misérables (2006 revival), The Threepenny Opera (Roundabout Revival), Fiddler On The Roof (Alfred Molina), NINE (Antonio Banderas), Oklahoma! (Nunn/Stroman), On The Town, Nine To Five (Additional Musical Arrangements).

National Tours: Little House On The Prairie, The Color Purple, Martin Guerre, Miss Saigon, The Phantom Of The Opera, Les Misérables, Titanic. Regional: The Master Butchers Singing Club (world premiere) by Marsha Norman (Composer/Music Arranger) at The Guthrie, Titanic at the St. Louis Muny, and Take Flight at The McCarter Theatre. Film/Television: “Rosie Live!,” “Reefer Madness,” “Letterman,” “Rosie,” several Tony Awards telecasts, and others. Guest Conductor: Grant Park Symphony (Sondheim, Bernstein, and Gershwin tributes), Hollywood Bowl’s Guys And Dolls and Les Misérables.

Future projects include Maury Yeston and Tom Meehan’s new musical The Lady Eve, as well as more Voigt Lessons, and two concerts with the Grant Park Music Festival Orchestra in Chicago.

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ALAIN BOUBLIL Alain Boublil is the author of the librettos and original lyrics for the musicals La Révolution Française, Les Misérables, Miss Saigon, Martin Guerre, and The Pirate Queen, all in collaboration with Claude-Michel Schönberg, as well as Marguerite with Michel Legrand, Claude-Michel Schönberg, and Herbert Kretzmer. Boublil is the recipient of two Tony Awards, two Grammys, two Victoire de la Musique Awards and a Molière Award for Les Misérables. He received an Evening Standard Drama Award for Miss Saigon and a Laurence Olivier Award for Martin Guerre. In 2014, he wrote a new play, Manhattan Parisienne, with songs by Gershwin, Cole Porter, Charles Aznavour, Michel Legrand, Steve Allen, and more,

which recently played in New York. He is the author/librettist of Abbacadabra, of the stage adaptation of Demy/Legrand film Les Demoiselles de Rochefort, author of the play The Diary of Adam and Eve (based upon short stories by Mark Twain), and the prize-winning French novel Les dessous de soi. He co-wrote the screenplay of the Golden Globe-winning and Oscar-nominated film Les Misérables. He has received a New York Chapter Honors Grammy Award for his outstanding contribution to the creative community. Currently he is working on a revised version of Martin Guerre to open in the U.K. Boublil lives in New York with his wife, actress/singer Marie Zamora, and is the father of four sons.

CLAUDE-MICHEL SCHÖNBERG Born in 1944 of Hungarian parents, Claude-Michel Schönberg began his career in France as a singer, writer and producer of pop songs. In collaboration with Alain Boublil he is the book co-writer and the composer of La Révolution Française, Les Misérables, Miss Saigon, Martin Guerre and The Pirate Queen.

In 2008 his new musical, Marguerite, in collaboration with Alain Boublil, Michel Legrand and Herbert Kretzmer opened at the Haymarket Theatre in London. Claude-Michel has supervised overseas productions and co-produced several international cast albums of his shows. In 2001 he composed his first ballet score, Wuthering Heights, which was created by the Northern Ballet in 2002. His ballet, Cleopatra, which opened in 2011, was

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his second collaboration with David Nixon and his seventh complete score. In 2012 Claude-Michel co-wrote the screenplay and reconceived the music for the Les Misérables musical movie.

His shows have won many awards over the years, most recently the WhatsonStage audience awards for Best West End Show and Best Musical Revival for the new London production of Miss Saigon which opened in 2014. Golden Globe winner, Oscar nominee and recent Grammy Award winner for outstanding contribution to the creative community, Mr. Schönberg married the English ballerina, Charlotte Talbot, in 2003. He is the father of one son and two daughters.

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BEN CRAWFORD Ben began his Broadway career when he covered the roles of Javert & Jean Valjean in the revival of Les Misérables.

Since then his Broadway credits include Shrek the Musical (Shrek), Big Fish (Don Price, Ed Bloom u/s), and last season’s On The Twentieth Century starring Kristin Chenoweth & Peter Gallagher (Bruce Granit u/s, Max Jacobs u/s). Other credits on stage include Next to Normal (Dr. Madden), Titanic (Frederick Barrett), Guys and Dolls (Sky Masterson), Carousel (Billy Bigelow), A New Brain (Gordon), Oklahoma! (Jud),

Oliver! (Bill Sykes), Merrily We Roll Along, 35MM, Jasper In Deadland (Mister Lethe), & Irma La Duce. Concerts with the Indianapolis, Cleveland, Pittsburgh, and Chicago Symphony Orchestras, Rochester and Naples Philharmonics, and The National Arts Centre in Ottawa. Soundtracks: On the Twentieth…, Big Fish, Merrily…, 35MM, Writing Kevin Taylor, Frozen.

Ben also appears in the film The Standbys, a documentary focusing on Broadway swings, standbys, and understudies.

ERIC KUNZE Eric has had the rare pleasure of starring on Broadway in leading roles for the better part of his professional career.

Mr. Kunze recently received an IRNE Award for his performance as “The Man” in the national tour of Andrew Lloyd Webber’s Whistle Down the Wind. Prior to that he starred in the title role of the national tour of Jesus Christ Superstar (with Carl Anderson). Broadway credits: “Marius” in Les Misérables (opposite Lea Salonga), “Chris” in Miss Saigon and “Joe Hardy” in Damn Yankees (with Jerry Lewis), was recently “Prince Eric” in the West Coast premiere of Disney’s The Little Mermaid. He has received rave reviews for the

title role in Joseph and the Amazing Technicolor Dreamcoat (Los Angeles, KC Starlight, Sacramento Music Circus and Boston, earning him an IRNE award for best actor). Other regional (selected): the title role in Jesus Christ Superstar (Los Angeles Ovation nomination), Evita (Los Angeles Ovation nomination), West Side Story, Into the Woods, the title role in Pippin (Los Angeles Robbie award), South Pacific and the title role in The Who’s Tommy (Los Angeles). Eric has recently performed with The Vancouver Symphony, The Cincinnati Pops, The Detroit Symphony, and The Kennedy Center with The Music of Andrew Lloyd Webber. Eric is currently touring the country with The Little Mermaid as Prince Eric.

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JENNIFER PAZ Jennifer Paz can currently be heard as the voice of “Lapis Lazuli” (2015 Behind the Voice Actors Award) on Cartoon Network’s Emmy-nominated series “Steven Universe.” Broadway, tour, regional and international credits include the 10th Anniversary Broadway company of Les Misérables, Miss Saigon (Kim, original cast 1st National Broadway Tour, Helen Hayes Award nomination, Carbonnell Award), Joseph and the Amazing Technicolor Dreamcoat (Narrator, Broadway Asia Tokyo), David Henry Hwang’s newly adapted Flower Drum Song (Mei-Li, pre-Broadway Mark Taper Forum), The Last Five Years (Cathy, 2009 LA Ovation Award nomination), Cinderella (Cinderella, Seattle’s 5th Avenue Theatre), Disney’s Beauty and the Beast (Belle), Songs for a New World (LA Premiere, LA Ovation Award nomination), The Fantasticks (Luisa, Singapore Repertory Theatre). Her other regional credits include Sacramento Music Circus, North Shore Music Theatre, Ordway Center for the Performing Arts, Casa Mañana, Moonlight Stage and Ogunquit

Playhouse. A Seattle native, Jennifer’s favorite credits with Seattle area’s Village Theatre under the direction of Pulitzer Prize and Tony winner Brian Yorkey (If/Then, Next to Normal) include Jesus Christ Superstar (Mary), Evita (Eva), and The Who’s Tommy (Sally Simpson), and was most recently seen at Village Theatre in In the Heights (Carla). Concerts: soloist in Suites by Sondheim (Alice Tully Hall at Lincoln Center), Original Cast 2 (Luckman Fine Arts Complex, LA). Film, TV and Recordings: “Can’t Hardly Wait,” “Santa With Muscles,” “Touched by An Angel,” Disney’s “The Lost Chords” series (Cinderella, The Rescuers) and “Every Little Thing” debut duo album with real life partner and singer-songwriter Anthony Fedorov (“American Idol,” “Pink & Blue Movie”).

KATHY VOYTKO Kathy comes directly from performing on Broadway in the 2014 Tony Award-winner, A Gentlemen’s Guide To Love And Murder. She made her Broadway debut in the original cast of the Oklahoma! revival, starring Andrea Martin and Patrick Wilson, and then the Tony Award-winning Nine starring Antonio Banderas and Chita Rivera. She originated the role of Ariadne in Stephen Sondheim’s The Frogs opposite Nathan Lane at Lincoln Center. She also appeared in Broadway’s The Pirate Queen and the Pulitzer Prize-winning Next To Normal.

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Kathy toured the United States as Christine in The Phantom Of The Opera, and as Eva in the 25th anniversary tour of Evita, and as a soloist in The Music Of Andrew Lloyd Webber.

Kathy sang at Carnegie Hall in Oscar Hammerstein & Jerome Kern’s Showboat, and in the live concert recording of Kristina, by Benny Andersson and Bjorn Ulvaeus, the writers of Mamma Mia! and Chess. The company then reprised the concert live at the Royal Albert Hall in London.

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Marie originated the role of Cosette in the Paris production of Les Misérables. Her other principal roles include Kate in Kiss Me, Kate, Chairy in Barnum and Sina Marnis in Pirandello’s Les Nouvelles de Sicile, to name a few. Ms. Zamora’s many concert appearances have included the Hey Mr. Producer Concert at the Lyceum Theatre in London, celebrating 25 years of Cameron Mackintosh’s career with an all-star cast including Julie Andrews, Hugh Jackman, Judi Dench and Bernadette Peters. She has been the guest soloist for Michel Legrand Concert Tours at the Theatre Royal Haymar-

ket in London, in France, Japan, Israel, Russia, and Bulgaria.

She has also appeared as a solo performer at Joe’s Pub, New York and in a solo benefit concert for LFNY. She played Eve, the female lead, in Manhattan Parisienne, a new play by Alain Boublil with songs by Gershwin, Cole Porter, Charles Aznavour, Michel Legrand, Steve Allen and more, which recently played to sold-out audiences at 59E59, New York.

Marie’s most recent role was that of Queen Marie-Antoinette in the Chicago world premiere concert in English of Boublil and Schönberg’s La Révolution Française. Her films have included Cassandra’s Dream directed by Woody Allen and Pizza Verdi, an award winning short film directed by Gary Nadeau. Ms. Zamora is the co-book writer and the director of the 2010 Czech Republic production of Marguerite in collaboration with Michel Legrand and Alain Boublil. She is the author of a new movie Aurora, partly based upon events from her life story, being developed into a screenplay. Marie would like to thank Joan Lader for her guidance.

OKLAHOMA CITY UNIVERSITY CHAMBER CHOIR Randi Von Ellefson, Conductor The University Chamber Choir members are selected through audition each academic year. The ensemble ranges in size from 35-40 members and is one of the five choirs on the campus of OCU. The members are primarily made up of upper division vocal students at the university as well as graduate conducting students.

The Chamber Choir is featured throughout the year at concerts on and off campus as well as in Chapel Worship at the Bishop Angie Smith Chapel. In October, the Chamber Choir joined the University Singers, Canterbury Choral Society and the Oklahoma City Philharmonic to perform Igor Stravinsky’s Symphony of Psalms and the monumental Belshazzar’s Feast by William Walton in the Civic Center Music Hall.

They have appeared at the OMEA (Oklahoma Music Educator’s Association) Conference in Tulsa in 2009 and 2015. Alumni from the Chamber Choir have gone on to become music educators, performers, administrators and church musicians across the United States.

TENOR

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Audrey Ballish (Section Leader) Nicole Choate Liza Clark Libby Dowell Melina Hawk

Carly Sinclair Allison Swift Monica Thompson Margaret Vogel

ALTO

Megan Ewy Emma Foroutan Selena Gilliam Sarah Lapaz London Long-Wheeler Brennan Martinez (Section Leader)

Ben Allen Colin Briskey Jacob Elliott Jordan Gaches Nicolas Haas

Nathan Hilger (Section Leader) Joseph Lyons Alex Petersen Kevin Taylor

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Maddie Razook Maddie Smith Liz Wasson Cora Winstead

Cooper Baldwin Travis Burch Walker Degerness Matt Flowers Gray Leiper

Ian Marcontell Austin Martin Sam Ritter Lucas Tarrant (Section Leader) Austin Thompson

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OKLAHOMA PHILHARMONIC SOCIETY, INC. ASSOCIATE BOARD

SYMPHONIE FANTASTIQUE February 6, 2016 8:00 P.M.

CLASSICS ROBERT MOODY, GUEST CONDUCTOR ANDREA SEGAR, VIOLIN

Jenni Fosbenner President Cheryl White Past President Mike McClellan VP of Fundraising Dwayne Webb VP of Events Matt Bell Treasurer Kevin Learned Secretary

MOZART ....................... The Abduction from the Seraglio: Overture, K. 384

CHEN AND HE .............. The Butterfly Lovers Violin Concerto First performance on this series

Andrea Segar, violin

INTERMISSION

Robyn Berko Katie Cunningham Laura Cunningham Jason Dunnington Allison Goodman Christopher Lloyd

BERLIOZ ...................... Symphonie Fantastique, Op. 14 Rêveries, Passions (Reveries, Passions): Allegro agitato e appassionato assai— Religiosamente Un Bal (A Ball): Valse: Allegro non troppo Scène aux champs (Scene in the Fields): Adagio Marche au supplice (March to the Scaffold): Allegretto non troppo Songe d’une nuit du sabbat (Dream of a Witches’ Sabbath)

Lisa Perry Marti Ribeiro Michael Thomas

THIS CONCERT IS GENEROUSLY SPONSORED BY:

Cyndi Tran Ashley Wilemon Emerging Artist Series Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, March 9, 2016 at 8 pm and Saturday, March 12, 2016 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

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ROBERT MOODY Robert Moody has been Music Director of the Winston-Salem Symphony (North Carolina) since 2005, Artistic Director of Arizona Musicfest since 2007, and Music Director of the Portland Symphony Orchestra (Maine) since 2008.

Mr. Moody’s 2015-2016 season includes debuts with the Vienna Chamber Orchestra and Columbus Symphony, as well as return engagements with the Memphis and Pacific Symphonies, and the Oklahoma City Philharmonic.

His most recent guest conducting appearances include the Chicago Symphony at Ravinia, and the Los Angeles Philharmonic at the Hollywood Bowl, in addition to the symphonies of Toronto, Houston, Indianapolis, Detroit, Seattle, Ft. Worth, San Antonio, Buffalo, Louisville, and, in Europe, the Slovenian Philharmonic.

Summer festival appearances include Santa Fe Opera, Spoleto Festival USA, Brevard Music Center, Eastern Music Festival, PortOpera, and the Oregon Bach Festival.

Equally at home in the opera pit, Moody began his career as apprentice conductor for the Landestheater Opera in Linz, Austria.

He has gone on to conduct at the opera companies of Santa Fe, Rochester, Hilton Head, and the Brevard Music Center. He also assisted on a production of Verdi’s Otello at the Metropolitan Opera, conducted by Valery Gergiev. He debuted with the Washington National Opera and North Carolina Opera in 2014.

Moody served as Associate, then Resident Conductor, of The Phoenix Symphony (AZ) from 1998 through 2006. There he conducted a wide variety of concerts, including Classics, Chamber, Pops, Family, Handel’s Messiah, and the New Year’s Eve gala. His ability to speak with ease from the podium helped new converts to classical music and enthusiasts

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alike to gain a greater appreciation for orchestral music.

Audiences at his concerts grew considerably during his time in Phoenix. Moody also founded The Phoenix Symphony Chorus, and for seven years was Music Director of the Phoenix Symphony Youth Orchestra.

Prior to Phoenix, Mr. Moody served as Associate Conductor for the Evansville (IN) Philharmonic Orchestra, and Music Director (and founder) of the Evansville Philharmonic Youth Orchestra. Moody conducted the first professional performance of a work by the brilliant young composer Mason Bates, now Composer-in-Residence with the Chicago Symphony Orchestra, and was instrumental in the commissioning and premiere performances of several of his important new works for orchestra.

Mr. Moody has accompanied many of the world’s greatest performing artists, including Yo-Yo Ma, Itzhak Perlman, Renee Fleming, Denyce Graves, Andre Watts, Nadja SalernoSonnenberg, Midori, Time for Three and Chris Thile.

His work can be heard on several commercially released compact disc recordings. He collaborated with the Canadian Brass for their “Bach” and “Legends” CDs; he is also the conductor for the CD “4th World,” highlighting the music of Native American recording artist R. Carlos Nakai (available on the Canyon Record label); and in 2010, the Winston-Salem Symphony released their performance (live from 2009) of Beethoven’s Symphony No. 9. A DVD of Beethoven Symphony No. 9 with Arizona Musicfest was released in 2012.

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ANDREA SEGAR “The technical and expressive demands of Enescu’s spacious Third Violin Sonata were brilliantly met by Andrea Segar [...] in a performance that must have had most audience members on the edge of their seats in response to the often dizzying turns of the music and the virtuosity...”

Seen and Heard International Violinist Andrea Segar enjoys a varied career as a soloist, chamber musician and teacher. She has performed concertos with numerous ensembles across the country, including the Portland Symphony, Arizona Musicfest Orchestra, Oakland-East Bay Symphony, ProArt Symphony, and the New England Conservatory Bach Ensemble, in such prestigious venues as the Kennedy Center in Washington D.C. and Jordan Hall in Boston. She also appears frequently in recital, giving solo performances in international music festivals including IMS Prussia Cove (Cornwall, United Kingdom), Festival de San Miguel de Allende (Mexico) and the Bedford Chamber Music Festival (United Kingdom). Andrea has also appeared as a chamber musician in festivals including the Olympic Music Festival, Birdfoot Festival, Perlman Music Program Chamber Music Workshop, Music at Menlo, Music Academy of the West, Jigsaw Players (United Kingdom), Yellow Barn Music Festival, and the Chamber Music Society of Sacramento. Her chamber music collaborations include performances with members of the Grammy Award-winning Emerson String Quartet, Soovin Kim, Colin Carr, Stefan Milenkovich, the Doric Quartet, members of the Peabody Trio and Mendelssohn Quartet, Jean-Michel Fonteneau, Peter Frankl, Grammy Award-winning artists Roger Tapping and Susan Narucki, and members of the London Philharmonic Orchestra and the Philharmonia Orchestra. Andrea is a frequent guest with the Grammy-nominated ensemble A Far Cry, and has performed on their recordings for Naxos and Crier Records.

Her competition awards include first prizes in the Washington International String Competition and the American String Teachers Association National Solo Competition, second prize and the “Most Promising Talent” award in the California International Young Artists Competition, and two first prizes in the Pacific Musical Society Competition.

Andrea was a winner of the Heifetz Violin Competition for three consecutive years, and granted the use of the “Heifetz ex-David” Guarneri del Gesu violin for recitals at the San Francisco Palace of the Legion of Honor. She is also a past recipient of a Williamson Foundation festival grant, a Dorothy Richard Starling scholarship and the Students House Scholarship. Her performances have been broadcast on National Public Radio’s Performance Today and From The Top, and various regional radio stations including Vermont Public Radio, King FM and WGBH Boston.

Andrea received her Bachelor and Master of Music degrees with Honors from the New England Conservatory of Music, where she served as the teaching assistant to violin professor Donald Weilerstein. She was previously a member of the violin faculty in the New England Conservatory Preparatory Division. She received her Doctor of Musical Arts degree from SUNY Stony Brook, where she served as the head violin studio teaching assistant. Andrea recently joined the faculty of the Young Performers Program at the Chamber Music Institute at Music at Menlo. She performs on an 1840 JeanBaptiste Vuillaume violin.

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Overture to Die Entführung aus dem Serail (The Abduction from the Seraglio), K. 384 Wolfgang Amadè Mozart Sole performance: 12/7/1980 Conductor: Kurt Woss Born: January 27, 1756, in Salzburg, Austria Died: December 5, 1791, in Vienna, Austria Work composed: 1782 Work premiered: July 16, 1782, at the Burgtheater in Vienna Instrumentation: Piccolo (doubling flute), two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, triangle, cymbals, bass drum, and strings

Wolfgang Amadè Mozart was 25 when he arrived in Vienna in March 1781, eager to leave behind the provincial musical life of his native Salzburg and seek his fortune in the big city. He understood that the route to success was paved with connections, and he lost no time contacting acquaintances who might be in a position to open doors for him. One of the most helpful was Johann Gottlieb Stephanie “the Younger,” an actor and playwright from Breslau who had achieved influence in Vienna as a leading figure at the Käntnertortheater and, since 1779, director of the German National Singspiel. On August 1, Mozart reported in a letter to his father: “The day before yesterday Stephanie the Younger handed me a libretto to set to music. ... The text is quite good. The subject is Turkish and is called Belmonte und Konstanze, oder Die Verführung aus dem Serial (Belmonte and Constanze, or The Seduction from the Seraglio).”

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Notwithstanding his slip with the title—Verführung (“seduction”) for Entführung (“abduction”)—Mozart had in hand a libretto that could help him make a mark in his adopted city.

Stephanie had not written the libretto himself. It was the work of Christoph Friedrich Bretzner, a Leipzig businessman and avocational author, and Mozart shrewdly asked Stephanie if he would care to adapt Bretzner’s libretto. Stephanie consented. Bretzner got wind of this and, offended by the thought that someone might alter his sparkling text, placed an advertisement in the Leipziger Zeitung: “A certain person in Vienna by the name of Mozart has taken the liberty of misusing my drama Belmonte und Constanze as an opera libretto. I hereby solemnly protest against this violation of my rights and propose to take further action.” His threat was hollow. In the days before copyright, he did not enjoy any rights whatsoever over his libretto, and he apparently did not pursue legal action.

Mozart spent nearly a year working on Die Entführung aus dem Serail before it was finally unveiled at Vienna’s Burgtheater on July 16, 1782. A group of Italian opera singers in Vienna aimed their ire at the new singspiel, alarmed that the piece aspired beyond its middle-brow genre and into theirs. The claque they organized made a dent on the opening night, though the premiere rose above the protests to count as a smashing success anyway. The production held sway for 40 performances—a very respectable run, especially in light of the summer heat, which could become most unpleasant inside the theatre. In its first decade, Die Entführung boasted 44 productions in practically as many cities. If criticism is to be leveled at the piece, it is that its music reveals a depth of humanity that is not entirely supported by the plot—which, after all, is why today Mozart is revered while Stephanie and Bretzner are forgotten. Perhaps that disparity is what inspired the famous (if perhaps apocryphal) comment of Emperor Joseph II, who remarked of this opera, “Too beautiful for our ears, my dear Mozart, and vastly too many notes.” To which Mozart is said to have replied, “Just as many notes as are necessary, your Majesty.”

The first of those necessary notes, of course, are those of the overture. While he was working on the opera, Mozart described the overture in a letter to his father: “[It] is very short with alternate fortes and pianos, the Turkish music always coming in the fortes. The overture modulates through different keys; and I doubt whether anyone, even if his previous night has been a sleepless one, could go to sleep over it.” Mozart provides contrast to the “Turkish music” through a brief slow section in the middle, which provides a foretaste of Belmonte’s opening aria. In the opera, the overture fades without a break into the first scene—specifically, to that aria, which makes for considerable structural cleverness. When the overture is extracted for concert performances, however, it is traditionally furnished with an editorial ending that is solid, stylistically plausible, and fortissimo to the end.

PROGRAM NOTES The Turkish Fad Eighteenth-century Europeans were fascinated with the Middle East, a locale they generally referred to, with sweeping inexactitude, as Persia or Turkey. European literary and dramatic depictions of Middle Eastern characters were largely based on fantasy. Sometimes “Moorish” characters were invoked to provide ironic observations on the shortcomings of Western society (as the Sieur de Montesquieu did in his famous Lettres Persanes in 1722), but more often they appeared as stock figures whose presumed customs set them up as ridiculous personages of farcical comedy. The mid-18th through early-19th centuries were also the high-water mark of the Viennese taste for singspiel, a popular form of musical theatre in which light operatic music was interspersed with spoken German dialogue. In Die Entführung aus dem Serail we find the dovetailing of the popularity of Turkish subjects with the rage for singspiel. A Turkish subject invited musical treatment that incorporated the sounds of the mehter, the socalled Janissary bands associated with Ottoman court and military gatherings, rich in clangorous percussion, especially bass drum, triangle, and cymbals.

—JMK

The Butterfly Lovers, Concerto for Violin and Orchestra Gang Chen and Zhanhao He First Oklahoma City Performance Gang Chen Born: March 10, 1935, in Shanghai, China Zhanhao He Born: August 29, 1933, in Hajiasham, Zhuji, Zhejiang Province, China Work composed: 1958-59 Work premiered: May 1959, in Shanghai’s Lyceum Theatre, with violinist Yu Lina and the Shanghai Conservatory Symphony Orchestra conducted by Fan Chengwu Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, cymbals, tam-tam, clappers, harp, piano, and strings, in addition to the solo violin

For most concertgoers in North America or Europe, the emergence of Chinese composers seems a relatively recent phenomenon. Nonetheless, the musical rapprochement between China and the West extends farther back than most of us might expect. In 1879, a Shanghai Municipal Band was jointly sponsored by the local municipality and French expatriates, and in 1918 an Italian pianist and conductor named Mario Paci led the first concerts of the Shanghai Municipal Orchestra, which evolved into the Shanghai Symphony Orchestra, today an orchestra of international repute. By 1927, the city boasted a National Conservatory of Music, founded by the Leipzig-educated Chinese citizen Xiao Youmei. In 1937,

the Shanghai Opera House presented a season of six standard European operas, produced by the house itself and, in the case of Rigoletto, including on its roster two Chinese singers.

Western music had clearly built up a considerable following in China prior to the disruptions in the second half of the 20th century, even if its enthusiasts were few compared to the extraordinary Chinese presence in European and American musical life or the emphatic embrace of Western concert music among Chinese audiences that is so evident today.

GANG CHEN

ZHANHAO HE

In the mid-1950s, Chinese composers became active in producing concert works that amalgamated Chinese and Western modes of music-making. The most enduring example from that period is The Butterfly Lovers, a violin concerto composed collaboratively by Gang Chen and Zhanhao He, two students at the Shanghai Conservatory, and completed in 1959. (Collaborative composition was not uncommon, reflecting as it did the cooperative attitude that was promoted in China.) Gang Chen was born into a musical family—his father was also a composer—but aspired to a military career. Unable to join the Air Force due to near-sightedness, he was assigned instead to perform in the Liberation Army Song and Dance Troupe. There he polished his musical skills enough to gain admittance to the Shanghai Conservatory in 1955. He would later teach harmony and composition on the school’s faculty, direct the Shanghai Chamber Music Ensemble, and serve as president of the Chinese Musicians’ Society. Zhanhao He grew up immersed in folk music and yueju (Shaoxing opera), but he became a violin major at the Shanghai Conservatory. “But, I asked, who am I studying this for?” he recalled in an interview in 2000. “Am I going to play Bach and Beethoven for the peasants? … I ask if they understand, they all say no. But they love to hear Yueju! …

So this influenced our thinking—how could we use folk music with the violin? How could we nationalize the violin?”

The solution to this conundrum was The Butterfly Lovers, in which the solo violin employs many gestures characteristic of yueju, such as extravagant portamento, glissandos, and expressive shadings of vibrato. The composers also grafted into the violin part sounds associated with other Chinese instruments, including the cheng, pipa, and erhu. The piece proved popular from the outset, but the composers later revised it into a final form in which its original preponderance of Chinese-opera style assumed a more Western guise. The CONTINUED ON PAGE 52

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piece was temporarily silenced during the Cultural Revolution due to what was deemed its “feudalist” foundation, but it has since emerged as an essential classic of Chinese concert music.

The musicologist Liu Ching-chih, in his 2010 study A Critical History of New Music in China, observes of the east-west fusion compositions of the 1950s and ’60s: “Superficially, all of these works look Chinese, but within the Chinese packaging lurk foreign goods: the harmony, counterpoint, forms, structures, and textures are all European imports.” He finds this at odds with traditional values of Chinese music. “The principal point about music in China … has been that it conveys ideas and is permeated by philosophy. There is not the emphasis on beauty of sound, line and form found in European music.

Whether vertically (time), horizontally (place) or philosophically (content), Chinese music has held a special and profoundly traditional style of its own. … However, whether or not a work has a Chinese style is not the sole criterion by which to judge it. The true value of a work of music lies in the motivation, expressive capacity, sentiments and particular qualities of its composer.”

Symphonie fantastique: Episode de la vie d’un artiste (Fantastic Symphony: Episode in the Life of an Artist), Op. 14 Hector Berlioz First performance: 3/9/1954 Conductor: Guy Fraser Harrison Last Performance: 2/27/2010 Conductor: Joel Levine Born; December 11, 1803, in La Côte-Saint-André, Isère, France Died: March 8, 1869, in Paris, France Work composed: 1830, incorporating some material sketched previously, perhaps as early as 1819 Work premiered: December 5, 1830, in Paris, with François-Antoine Habeneck conducting a large orchestra comprising members of the orchestras of the Nouveautés, Théâtre-Italien, and Société des Concerts du Conservatoire. Berlioz revised the piece considerably after the premiere, and the new version (which is nearly always heard today) was unveiled on December 9, 1832, again with Habeneck conducting.

Instrumentation: Two flutes (second doubling piccolo), two oboes (second doubling English horn), two clarinets (first doubling E-flat clarinet), four bassoons, four horns, two cornets, three trombones, two ophicleides (the parts being played here by tubas CK), timpani, bass drum, snare drum, cymbals, bells, two harps, and strings

There can be no doubt that Hector Berlioz was a genius, but genius does not always ensure a calm passage through life.

Berlioz’ biography makes extraordinary reading, especially when liberally peppered with accounts lifted from his beautifully written and often hilarious Mémoires (which have been vividly captured in English translation by David Cairns). His father was a physician in a town not far from Grenoble, within view of the Alps; and since the father assumed to a certainty that his son would follow in the same profession, the son’s musical inclinations were largely ignored. As a result, Berlioz never learned to play more than a few chords on the piano,

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The Narrative of The Butterfly Lovers The Butterfly Lovers is based on a Chinese folk tale, dating back to the late Tang Dynasty (ninth or tenth century) involving Liang Shanbo (a boy) and Zhu Yintai (a girl). In fact, the work’s title in Chinese is Liang Shanbo yu Zhu Yintai, and it is popularly referred to as the Liang Zhu Concerto. (The names are sometimes transliterated as Shanpo and Yingtai.)

Zhu ran away from home, disguised herself as a boy, and enrolled in a school, where she was a classmate of Liang’s for three years. She fell in love with Liang but could not reveal this without compromising her disguise. She eventually left. Liang, missing his companion deeply, traveled to Zhu’s home, where he discovered not only that his beloved friend was a girl, but that her father had arranged her marriage to a wealthy neighbor. She tried in vain to defy her father’s decision. Liang died of a broken heart, and Zhu visited his grave, which she begged might open to her. At the sound of a thunderclap, the grave opened and Zhu leapt in. The two lovers then emerged as butterflies and flew away to their happy future together.

The concerto, which runs about 27 minutes, is cast in a single movement made up of three principal sections.

The first corresponds to the idea of romance, with the violin presenting a love theme and then duetting with the cello to depict the intertwining emotions of Liang and Zhu, before the friends separate in a spirit of sadness. The second principal section focuses on Zhu’s defying her father over the arranged marriage, with some of the orchestra’s deepest sounds—bassoon, double bass, gong—creating an ominous atmosphere. Brasses proclaim the father’s decree, the violin represent’s Zhu’s vain arguments, another duet between violin and cello depicting the lovers’ farewell, a percussion crash signaling the opening of the grave, and the swelling of the orchestra suggesting Zhu’s jumping into it. In the third and final section, flute and harp recall some of the music from the concerto’s opening, after which the muted violin and the delicate orchestral texture illustrate the lovers’ transformation into butterflies, in which form they flutter off to a happy life free from earthly constraints.

and his practical abilities as a performer were limited to lessons on flute and guitar, on neither of which he achieved true virtuosity. His unorthodox musical background surely contributed to his nonconformist musical language. He was sent to Paris to attend medical school, hated the experience, and enrolled instead in private musical studies and, beginning in 1826, the composition curriculum at the Paris Conservatoire. The seal of approval for all Conservatoire composition

PROGRAM NOTES accompanied by an idée fixe, a musical theme that surfaces throughout the piece in various transformations. It is first played by flute and violins at the beginning of the opening movement’s “Passions” section (following the “Rêveries” introduction), and pervades the ensuing material. In succeeding movements the artist finds himself in a ballroom, where he waltzes with his beloved, and in the Alpine countryside, where memories of his beloved disturb his peace. Under the influence of a narcotic drug, he imagines himself being led to the scaffold, where he is executed for murdering his beloved, and finally to a Witches’ Sabbath convened in honor of his death, at which the idée fixe now appears as a grotesque dance heard along with a parody of the funeral chant Dies irae.

Preparing the Way students was the Prix de Rome, and in 1830 (in his fourth consecutive attempt) he was finally honored with that prize.

The work that won him this distinction, the cantata La mort de Sardanapale, is long forgotten; in fact, only a fragment of it survives. Ironically, Berlioz had already composed earlier in the same year the work that would most consistently forge his place in posterity, the Symphonie fantastique. It would be the first of four Berlioz symphonies, all of which leave the abstract realm of Beethoven’s symphonic ideal for the programmatic terrain that would find fruition later in the 19th century in the new genre of the symphonic poem.

The originality of Berlioz’ achievement in the Symphonie fantastique is simply astonishing; it has been truly observed that this must be the most remarkable First Symphony ever written, not to be rivaled in this regard until the appearance of Mahler’s six decades later. Even those rare listeners familiar with the excellent but neglected symphonies of Berlioz’ predecessors in Paris, including Etienne-Nicolas Méhul and Luigi Cherubini, will be compelled to acknowledge that those works do little to prepare the ear for Berlioz’ accomplishment. Certainly programmatic symphonies had been written before—Beethoven’s Pastoral is a famous example—but in the Symphonie fantastique the images are depicted with such vibrant specificity as to become downright cinematic.

Furthermore, Berlioz’ sense of the programmatic goes well beyond the “merely” descriptive to enter the realm of the psychological—the image of a state of mind, one that is far from stable and that spills into hallucinations. (It is doubtless no coincidence that the modern Berlioz revival, which shows no sign of abating, began in the acid-tripping 1960s.) The Symphonie fantastique is an extraordinary example of selfexploration and self-expression, a work of autobiography underscored by the subtitle Episode de la vie d’un artiste (“Episode in the Life of an Artist”).

The episode in question was carefully described in a program note Berlioz prepared (see sidebar). The action is often

The Symphonie fantastique encountered competition on the way to its premiere. It was initially supposed to be unveiled in May 1830, and a couple of rehearsals had already taken place when several other musical events were suddenly announced for the same time and Berlioz felt it wise to re-schedule his premiere. Already in May audience interest in the new work was high, thanks to an advance piece that ran in the newspaper Le Figaro on May 21. The article printed the complete literary program Berlioz had penned for the symphony, prefaced by an enthusiastic recommendation: It often happens that a composer sits down at his piano, torments the keys of the instrument, strikes some chords, and scribbles notes onto staff-paper, without so much as glimpsing, in the entire course of his labor, the least glimmer of what is known in artistic parlance as an idea.

Even more commonly he will, with the liberal aid of invitations and bill-posters, assemble friends, music-lovers, and an orchestra and have his scribblings performed and his audience will find in it an idea, or will quite misunderstand the nature and drift of the idea, always assuming the composer has had one.

M. Hector Berlioz, a young composer with an original imagination, is determined to play a different game. He does not wish to be misinterpreted, so he has himself analyzed his own inspirations. The symphony of which he has written the program has not yet been performed in public. What effect it will produce one can, in advance, only guess; but the program of the different movements which compose it already constitutes an act of candor and whimsicality that cannot but impress the reader. …

CONTINUED ON PAGE 54

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From the Composer At the premiere of the Symphonie fantastique members of the audience received a printed copy of the symphony’s scenario as penned by Berlioz: Part One: Dreams—Passions The author imagines that a young musician, afflicted with that moral disease that a well-known writer calls the vague des passions, sees for the first time a woman who embodies all the charms of the ideal being he has imagined in his dreams, and he falls desperately in love with her. Through an odd whim, whenever the beloved image appears before the mind’s eye of the artist, it is linked with a musical thought whose character, passionate but at the same time noble and shy, he finds similar to the one he attributes to his beloved.

This melodic image and the model it reflects pursue him incessantly like a double idée fixe. That is the reason for the constant appearance, in every movement of the symphony, of the melody that begins the first Allegro.

The passage from this state of melancholy reverie, interrupted by a few fits of groundless joy, to one of frenzied passion, with its gestures of fury, of jealousy, its return of tenderness, its tears, its religious consolations—this is the subject of the first movement.

Part Two: A Ball The artist finds himself in the most varied situations— in the midst of the tumult of a party, in the peaceful contemplation of the beauties of nature; but everywhere, in town, in the country, the beloved image appears before him and disturbs his peace of mind.

Part Three: A Scene in the Country Finding himself one evening in the country, he hears in the distance two shepherds piping a ranz des vaches in dialogue. This pastoral duet, the scenery, the quiet rustling of the trees gently brushed by the wind, the

hopes he has recently found some reason to entertain—all concur in affording his heart an unaccustomed calm, and in giving a more cheerful color to his ideas. He reflects upon his isolation; he hopes that his loneliness will soon be over.—But what if she were deceiving him!—This mingling of hope and fear, these ideas of happiness disturbed by black presentiments, form the subject of the Adagio.

At the end, one of the shepherds again takes up the ranz des vaches; the other no longer replies.—Distant sound of thunder—loneliness—silence.

Part Four: March to the Scaffold Convinced that his love is unappreciated, the artist poisons himself with opium. The dose of the narcotic, too weak to kill him, plunges him into a sleep accompanied by the most horrible visions. He dreams that he has killed his beloved, that he is condemned and led to the scaffold, and that he is witnessing his own execution. The procession moves forward to the sounds of a march that is now somber and fierce, now brilliant and solemn, in which the muffled noise of heavy steps gives way without transition to the noisiest clamor. At the end of the march the first four measures of the idée fixe reappear, like a last thought of love interrupted by the fatal blow.

Part Five: Dream of a Witches’ Sabbath He sees himself at the sabbath, in the midst of a frightful troop of ghosts, sorcerers, monsters of every kind, come together for his funeral. Strange noises, groans, bursts of laughter, distant cries which other cries seem to answer.

The beloved melody appears again, but it has lost its character of nobility and shyness; it is no more than a dance tune, mean, trivial, and grotesque: it is she, coming to join the sabbath.—A roar of joy at her arrival.—She takes part in the devilish orgy.—Funeral knell, burlesque parody of the Dies irae [a hymn sung in the funeral rites of the Catholic Church], sabbath round-dance. The sabbath round and the Dies irae are combined.

—JMK

Earlier versions of the Mozart and Berlioz notes appeared in the programs of the New York Philharmonic and are used with permission. ©New York Philharmonic. The Butterfly Lovers note ©James M. Keller

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JAMES BOND, THE SPY WHO LOVED ME FEBRUARY 19-20, 2016 8:00 P.M.

POPS

The Spy Who Loved Me JAMES BOND

Featuring Guest Conductor DAVID ANDREWS ROGERS Starring SHEENA EASTON and DOUG COULTER

David Andrews Rogers

Sheena Easton

Doug Coulter

This concert is generously sponsored by:

A special Thank You to Knuck’s Wheelhouse/In The Raw for providing musicians’ catering services.

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JAMES BOND, THE SPY WHO LOVED ME

MISSION IMPOSSIBLE THEME GET SMART THEME PINK PANTHER THEME ALFRED HITCHCOCK THEME A VIEW TO A KILL....................................................................................... Scott Coulter WINDMILLS OF YOUR MIND....................................................................... Scott Coulter AGAINST ALL ODDS.................................................................................... Scott Coulter SOONER OR LATER FROM DICK TRACY..................................................... Sheena Easton WHISTLIN AWAY THE DARK FROM DARLING LILI ..................................... Sheena Easton I KNOW HIM SO WELL FROM CHESS.......................................................... Sheena Easton SEPARATE LIVES FROM WHITE KNIGHTS.................................................. Sheena Easton and Scott Coulter

INTERMISSION

THEME TO AUSTIN POWERS THEME TO THE SAINT INTO CHARLIE’S ANGELS SPY GOES POP MEDLEY............................................................................. Scott Coulter MACK THE KNIFE....................................................................................... Scott Coulter JAMES BOND THEME GOLDFINGER.............................................................................................. Sheena Easton DIAMONDS ARE FOREVER.......................................................................... Sheena Easton SKYFALL..................................................................................................... Sheena Easton FOR YOUR EYES ONLY................................................................................ Sheena Easton NOBODY DOES IT BETTER.......................................................................... Sheena Easton and Scott Coulter

*Song selection and order subject to change

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DAVID ANDREWS ROGERS David Andrews Rogers is always thrilled to return to Oklahoma City to guest conduct the remarkable Oklahoma City Philharmonic. He made his debut with the orchestra in their 2011 season with the ABBA Tribute concert starring Waterloo, and returned in 2013 to conduct The Midtown Men, and again in 2015 to conduct All That Jazz: A Symphonic Tribute to Kander and Ebb. David made his Carnegie Hall debut conducting the New York Pops in 2003 in an All-Star Tribute to Kander and Ebb. He returned to Carnegie Hall annually for several years as a conductor or orchestrator or both, including Bravo to Broadway in 2008. His other guest conducting experience includes New York’s Lincoln Center, the Nebraska Jazz Orchestra, and Harlem’s legendary Apollo Theatre.

As an orchestrator and arranger, David’s work has been played by orchestras all over the United States and Canada, and he has been represented on recordings including Broadway singer Sal Viviano’s “The Standards of Love”, former star of the Moulin Rouge, Debbie DeCoudreaux’s debut album “Have a Little Paris on Me”, and RSVP …the vocal group’s debut recording “No Holds Barred”. His most recent orchestrations have been for recording artist Debbie Gibson in association with Cirque Musica, for Florence Henderson in the 2015 edition of Broadway Backwards, and for The Midtown Men. In addition, he has conducted and/or written orchestrations for Broadway stars Patti LuPone, Joel Grey, Sutton Foster, Nell Carter, Kristin Chenoweth, Karen Ziemba, Robert Cuccioli, Florence Henderson, Harvey Fierstein, and Topol.

In 1995, David began his touring career with the Broadway National Tour of The Phantom of the Opera. His additional

road experience includes the Broadway National Tours of Hal Prince’s production of Show Boat, as well as Les Misérables, Chicago, Cats, and Fiddler on the Roof starring Topol and, later, Harvey Fierstein. Currently, David is Associate Music Supervisor for Andrew Lloyd Webber’s new production of The Wizard of Oz. He has been Music Director and Conductor for that show in a National Tour, a European production — as Le Magicien D’Oz — in Paris and Brussels, and he is currently on the road with a 2nd North American Tour.

David’s regional theatre experience includes Ford’s Theatre in Washington DC, Sacramento’s Music Circus, Westchester Broadway Theatre, the Gateway Playhouse on Long Island, the North Carolina Theatre, the Dallas Repertory Theatre, and over 40 hit productions at OKC’s Lyric Theatre. David will return to Lyric in the Summer of 2016 to conduct their summer season.

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

As an educator, David has been on the faculty of New York’s American Musical and Dramatic Academy and Dallas’ Performing Artists’ Musical Theatre Conservatory as well as in his private voice studio in New York and in master classes and workshops for the Broadway Classroom. Educated at Southern Methodist University in Dallas and at Queen’s College, Oxford University in England, David is originally from Texas, and now makes his home in New York City.

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GIFTS TO THE PHILHARMONIC

CONTINUED FROM PAGE 23

INDIVIDUALS Providing essential support for the Annual Fund.

Mrs. Anita Clark-Ashley and Mr. Charles Ashley Mr. and Mrs. Robert H. Clements Mr. Rodney Coate and Mr. Juan Camarena Nancy Coats and Charlie Ashley Mr. and Mrs. Jack H. Coleman Ms. Barbara Cooper Dr. Thomas Coniglione Mr. Jim Daniel Mr. and Mrs. Mike Darrah Mr. & Mrs. William E. Davis Mr. and Mrs. T. A. Dearmon Mr. and Mrs. Michael W. Dickinson Dr. and Mrs. James D. Dixson Mr. and Mrs. Sidney G. Dunagan Mr. and Mrs. Joe Edwards Dr. and Mrs. Robert S. Ellis Dr. and Mrs. Royice B. Everett Ms. Carolyn Frans Mr. and Mrs. Gary F. Fuller Mr. and Mrs. Gerald L. Gamble Mr. and Mrs. Jason Garner Mr. Kelly George Mr. Jack Golsen Mr. and Mrs. Gary Gordon Mr. and Mrs. Don Greiner Drs. Stephen and Pamela Hamilton Mr. and Mrs. Royce M. Hammons Mr. and Mrs. Jim Hatt Mr. and Mrs. Michael Haynes Walt and Jean Hendrickson Mr. and Mrs. John D. Higginbotham Mr. Ivan Holt II Mr. and Mrs. Joe R. Homsey, Jr. Mr. and Mrs. J. Clifford Hudson Mr. and Mrs. Carlos Johnson Mr. David R. Johnson Mrs. Ruth Ann Kalbfleisch Mr. Dan Kennedy and Dr. Diana Kennedy Mrs. Lou Kerr Gary King Bishop and Mrs. Ed Konieczny Mr. and Mrs. Kristian Kos Dr. and Mrs. H. T. Kurkjian Mr. and Mrs. Richard E. Lampton Mr. Scott Davis and Mr. David Leader Dr. and Mrs. Jay E. Leemaster Drs. Jason and Julie Lees Mr. and Mrs. Duke R. Ligon Susan Mahaffey Mr. and Mrs. William Matthey Mr. and Mrs. John A. McCaleb Cindy and Johnny McCharen Mr. Ron McCord Mr. and Mrs. Tom J. McDaniel Mr. Jeffrey McDougall Mr. and Mrs. Kenneth N. McKinney Mr. and Mrs. Bruce McLinn Mr. and Mrs. John P. McMillin Mr. and Mrs. K. T. Meade, Jr.

Mrs. Valerie Merritt Mr. and Mrs. Stewart E. Meyers, Jr. Tom and Katherine Milam Chip and Michelle Mullens Dr. and Mrs. Gene L. Muse Mrs. Robert Z. Naifeh Bill and Tracy Nester Mr. and Mrs. Ronald J. Norick Mr. Chip Oppenheim Mrs. Glenda G. Payne Mrs. Barbara Pirrong Mr. and Mrs. Kent Plaster Mr. and Mrs. Lynn Pringle Mrs. Berta Faye Rex Mrs. Ran Ricks Dr. Mel Robison Mr. Christopher Salyer Todd and Melissa Scaramucci Mr. Fred Schmitt Mrs. Janet G. Seay Mr. and Mrs. John M. Seward Mr. and Mrs. William F. Shdeed Sharon and John Shelton Mr. and Mrs. Robert Shoemaker Drs. Paul and Amalia Silverstein Mr. John Slupsky Mr. and Mrs. Darryl G. Smette Dr. Richard V. and Jan Smith Dr. and Mrs. Brian E. Snell Mr. and Mrs. John S. Spaid Sr. Mr. and Mrs. Jeff Starling Mrs. Billie Thrash Ms. Betsy Timken Mr. and Mrs. Dale Toetz Mr. John A. Vance Robert Varnum and Sharon Varnum, LCSW Mr. Robert Weiss Mr. and Mrs. Kenneth K. Wert Mrs. Georgiana Wiesner Mr. John S. Williams Dr. Lorraine T. Wilson Mrs. Carol Wright M. Blake and Nancy Yaffe Mr. and Mrs. Michael Young Mr. and Mrs. Ron Youtsey

Friend $750 - $1,249 Hugh G. and Sharon Adams Ms. Zonia Armstrong Mr. and Mrs. Van A. Barber Ms. Suzanne Baxter Mr. and Mrs. B. Billington Beals J.M. Belanger and Sarah Sagran Dr. and Mrs. William G. Bernhardt Mr. and Mrs. John Biggs Mr. and Mrs. Glenn Blumstein Don and Grace Boulton

Carole and Deal Bowman Dr. and Mrs. David R. Brown Mr. and Mrs. Bob G. Bunce Ms. Annette Clifton Joseph and Valerie Couch Ms. Barbara Crabtree Dr. and Mrs. Anthony W. Czerwinski Ms. Nancy Dawson Tony and Pam Dela Vega Mr. Joel Dixon Mr. and Mrs. Richard Dugger Doug and Tish Eason Ms. Anna Eischen Bruce and Joanne Ewing Dr. Thurma J. Fiegel John and Sue Francis Mr. and Mrs. Ryan Free Dr. and Mrs. Ralph G. Ganick Mr. and Mrs. Nick S. Gutierrez, Jr. ,M.D. Mr. and Mrs. Lawrence K. Hellman Frank and Bette Jo Hill Mr. and Mrs. David D. Hunt, II Colonel and Mrs. Dean C. Jackson Mr. and Mrs. Alfred H. Karchmer Mr. and Mrs. Drake Keith Ms. Claren Kidd Mr. and Mrs. Jerald Koehn Mr. and Mrs. Brad Krieger Mr. Owen Lafferty Ms. Mary Jane Lawson Mr. Joel Levine Mr. and Mrs. Paul Lindsey Brad and Janet Marion Dr. Gary L. Massad J. Thomas and Anita R. May Ms. Vickie McIlvoy Mr. and Mrs. Jere W. McKenny Mr. and Mrs. Stuart P. Milsten Mr. James Nix Dr. and Mrs. William L. Parry Mr. and Mrs. R. Curtis Phillips, Jr. Dr. Steven V. Richards Mrs. Linda Kennedy Rosser and Mr. Ronald McDaniel Carl and Deborah Rubenstein Dr. and Mrs. Olaseinde Sawyerr Ms. Madeline E. Schooley Mr. and Mrs. Don Sherman Rick and Amanda Smith Mr. Frank J. Sonleitner Teresa Stephenson Dr. and Mrs. James B. Stewart Mr. and Mrs. Thomas E. Stott Mr. Phillip S. Tomlinson Mrs. Dorothy J. Turk Mrs. Donna Vogel Larry L. and Leah A. Westmoreland Dr. James B. Wise CONTINUED ON PAGE 62

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GIFTS TO THE PHILHARMONIC CONTINUED FROM PAGE 53

INDIVIDUALS Providing essential support for the Annual Fund.

Denver and Yvonne Woolsey Jim and June Young Mr. and Mrs. Don T. Zachritz

Partner $300 - $749 Dr. Gillian Air Ms. Lois Albert John and Nancy Alsup Tom and Fran Ayres Ms. Sherry K. Barton Ms. Karen J. Beckman Jackie and Jerry Bendorf Mr. and Mrs. G.T. Blankenship Mrs. Mary C. Blanton Mr. and Mrs. Morris Blumenthal Harry S. and Elaine Boyd Mr. and Mrs. Bill D. Broughton Mr. and Mrs. David G. Bryant Mrs. Katherine Bushnell Mr. and Mrs. Fred M. Buxton Mr. and Mrs. Robert M. Calvert Vikki Ann Canfield, M.D. Ms. Janice B. Carmack Mr. and Mrs. Earl J. Cheek Mr. and Mrs. Edward Ciardi Ms. Carol Combs Mr. and Mrs. Ed Cunningham Dr. Shirley E. Dearborn Mr. and Mrs. James H. Everest Ms. Melinda Finley Mrs. Betty Foster Mr. and Mrs. Keith G. Golden Mr. Gary Graham Mr. Herbert M. Graves Mr. and Mrs. Ronald Greenberg LTC and Mrs. Walter A. Greenwood George M. and Jo Hall Mr. Brent Hart Tom and Dorothy Hays Carol and George Hoebing Lois and Roger Hornbrook Mrs. Lily R Hummel Judy and Jerry Johnson Mr. and Mrs. Stephen Johnson Greg and Mary Joan Johnston Ms. Elizabeth D. May Mr. Joe A. McKenzie Ronald L. and D. Yvonne Mercer Mr. Robert A. Moore Dorman and Sheryl Morsman Hattie B. Mullaly David Miller & Barbara Neas Rudi Nollert and Mary Brodnax Mr. and Mrs. Larry Pendleton Mike and Cathy Perri Mrs. Donald G. Preuss

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Dr. and Mrs. Laurance Reid Mr. and Mrs. Sheldon M. Reznik Mr. and Mrs. Christopher Rick Mr. and Mrs. Ronald K. Roeseler Ms. Carolyn Sandusky-Williams Shirley and Ben Shanker Mr. and Mrs. Lee Allan Smith Mr. and Mrs. Paul A. Specht Paula and Carl Stover Mr. and Mrs. Richard Strubhar Ms. Donita Thomas Mrs. Evelyn Margaret Tidholm Mr. and Mrs. Lawrence Towell Mr. Curtis VanWyngarden Mr. and Mrs. Albert Weise Mr. and Mrs. John White Jim and Polly Worthington Mr. John M. Yoeckel Ruth and Stanley Youngheim

Member $100 - $299 Dr. and Mrs. Henry M. Asin Judy and Sanford Austin Mr. and Mrs. Earl Austin Mr. Paul D. Austin and Jane Ford Austin Ms. Judy Barnett Marion and Dianne Bauman Dr. Paul and Bonnie Benien Rev. Thomas Boyer Dr. Reagan Bradford, Jr. Mrs. Betty L Brady Sharlene S Branham Ms. Judith Butler Mrs. Jo Carol Cameron Ms. Kathryn Carey Mr. and Mrs. Jack Carpenter Dr. and Mrs. Don R. Carter Mr. and Mrs. David Casper Mr. Michael P. Cassidy Drs. Fong Chen and Helen Chiou Mr. Richard L. and Dr. Melissa Clements Ms. Henrie Close Mrs. Victoria Cobb Mr. and Mrs. David O. Cordell Mr. and Mrs. John Crittenden Ms. Madeleine W. Cunningham Mr. and Mrs. Kevin M Davis Ms. Carol A. Davito Mr. James Dearner Mr. and Mrs. Sam Decker Mr. Jim T. Dennis Mr. James DeWarns Ms. Deidre Downham Mrs. Carole J. Drake Mr. Richard Dulaney Mr. W. Samuel Dykeman

Mr. and Mrs. Richard Ehlers Ms. Elizabeth K. Eickman Dr. and Mrs. Robert B. Epstein Mrs. Edward Eskridge Irving and Sandy Faught Mike and Deb Felice Mr. and Mrs. Mead Ferguson Mr. and Mrs. John E. Frank Judge and Mrs. Stephen R. Friot Ms. Carol M. Hall and Mr. Sam Gann Mr. Hugh Gibson Mr. and Mrs. M. Charles Gilbert Ms. Joan Gilmore Mr. Barry Golsen Jesse and Jordan Gould Mr. and Mrs. M. H. Gragg Mr. Steven Graham and Ms. Vicky Leloie Kelly Mr. Bob Gregory Mr. and Mrs. John T. Greiner, Jr. Mr. and Mrs. Barre Griffith Mr. and Mrs. John Gunter Ms. Elizabeth Hammons Mr. Sam Hammons Mr. Allen K. Harris Mrs. Diane Haser-Bennett and Mr. Ray Bennett Mr. and Mrs. David Haskett Major and Mrs. John M. Heitz Mr. David C. Henderson Robert and Jan Henry Mr. Jerome A. Holmes Mrs. Julia Hunt Ms. Mary Lu Jarvis Mr. Kent Johnson Mr. and Mrs. L.J. Johnson Ms. Young Y. Kim Mr. Nick Knezevich Mrs. Patricia Legako Mr. and Mrs. John Lennon David and Jynne Levy Bob and Kay Lewis Rosemary and Paul Lewis Roy and Sharon Love Mr. and Mrs. Marvin C. Lunde, Jr. Mrs. Patricia Matthews Mr. Kirean Maye Mrs. M. Geraldine Mayes Mr. and Mrs. Kenneth R. McAlister Mr. Bervis B. McBride, Jr. Mr. and Mrs. Mark McCubbin Mr. and Mrs. Robert S. McKown Mr. and Mrs. Mason McLain Ms. Ann McVey Lt. Col. Terry L. Mock Mr. Lou Montgomery Ms. Cheryl Moore Mr. Cole Morgan

Ms. Sylvia Ochs Mr. Robert G. Oltmanns Mildred B. Parsons Mrs. Olga Pellow Mr. and Mrs. Michael W. Penn Robert and Karen Petry Dr. and Mrs. Marvin D. Peyton Ms. Harriette Porter Mr. William Powell Roger and Joy Quinn Gary and Tommie Rankin Mr. R. Dean Rinehart Paul and Les Risser Tom and Fran Roach Dr. and Mrs. Michael Fred Robinson Mr. and Mrs. Douglas Samuels Col. and Mrs. Warren M. Schaub Ms. Gayle A. Scheirman Ms. Geraldine Schoelen Theresa Cunha and Kurt Schroeder Ms. Edith Nan Scott Mr. and Mrs. A. Lee Segell Fred and Carolyn Selensky Mr. Robert R. Shaw Dr. and Mrs. Richard Shifrin Mr. and Mrs. Richard Shough Mr. Robert E. Simmons Mr. H. F. Singleton Judy Smedley Mr. and Mrs. Robert E. Smiser Mr. Jay Smith Dr. Jerry Neil Smith Mrs. Joyce Statton Mr. Keith Stelting Mr. and Mrs. Marvin Stice Mr. John Stuemky Ms. Xiao-Hong Sun and Mr. Xiaocong Peng Mrs. Ann Taylor Mr. and Mrs. Sammy Todd Ms. Janice L Townsend Juan and Elvia Vazquez Mr. N. Blake Vernon Mr. Rodney Wall LTC Ret. and Mrs. George B. Wallace Paul and Carlita Walters Ms. Jean M. Warren Mr. and Mrs. Wesley Weast Nate and Susan Webb Dr. and Mrs. Dennis A. Weigand Ms. Cheryl Weintraub Mr. and Mrs. Ted Wernick Mr. Don Wester Mr. E. Michael Whittington Ms. Linda Whittington Mrs. Matha A. Wilkerson Ms. Ghita Williams Ms. Lonnie F. Williams Mr. and Mrs. R. Deane Wymer

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

In Memory of Mr. Horace V. Apgar, Jr. Mr. and Mrs. Don C. Boulton

In Honor of Mary Nichols Junior League of Oklahoma City

In Memory of Robert H. Brady Betty L. Brady

In Honor of Barbara Paul The Kerr Foundation, Inc.

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

In Memory of Bill and Jessie Pequignot Kim and Michael Joseph

In Memory of John Bushnell Mrs. Katherine Bushnell

In Honor of Quail Creek WGR Mr. and Mrs. David Casper

In Memory of William and Helen Cleary Bill and Louise Churchill Mr. and Mrs. Andrew J. Evans, II

In Membory of Ila Belle Raby Ms. Judith Butler Mrs. Patricia Legako

In Memory of Mike Dickinson Pam and Gary Glyckherr

In Memory of Berta Faye Rex Mr. and Mrs. William F. Shdeed

In Memory of Marge Duncan Mr. and Mrs. Marvin C. Lunde, Jr.

In Memory of Jeannette Sias Mr. J. Edward Barth Dr. and Mrs. L. Joe Bradley Priscilla and Jordan Braun Dr. and Mrs. David R. Brown Mr. and Mrs. David O. Cordell Mr. and Mrs. Douglas R. Cummings Mrs. Carole J. Drake Mr. Richard Dulaney Mr. and Mrs. Theodore M. Elam Dr. and Mrs. Robert S. Ellis Mr. and Mrs. James H. Everest Mrs. Josephine Freede Mr. and Mrs. Gary F. Fuller Ms. Carol M. Hall and Mr. Sam Gann Mr. and Mrs. M. H. Gragg Mrs. Jane B. Harlow Mrs. Nadine Holloway J.R. and Patsy Homsey Mr. David R. Johnson Mrs. and Mr. Judy Jordan Mr. and Mrs. Don J. Leeman Mr. and Mrs. Duke R. Ligon Mr. and Mrs. Robert P. Luke Mr. and Mrs. Marvin C. Lunde, Jr. Aubrey K. McClendon and Katie McClendon Mr. and Mrs. Mark McCubbin Mr. and Mrs. Jere W. McKenny Mr. and Mrs. Kenneth N. McKinney Mr. and Mrs. Mason McLain Mrs. Rita King Moore Mr. and Mrs. Ray H. Potts Mrs. Donald G. Preuss Mr. H.E. Rainbolt Mr. and Mrs. Roy A. Reeves Mr. and Mrs. Christopher Rick Mr. and Mrs. William J. Ross Mr. and Mrs. Lee Allan Smith Ms. Jeanne Hoffman Smith Mr. and Mrs. Douglas J. Stussi

In Memory James O. Edwards, Jr. Mrs. Carlene Edwards In Memory of Michael Ellis Mr. and Mrs. Douglas Samuels In Honor of Josephine Freede Ms. Joan Gilmore In Memory of Steve Garrett Mr. and Mrs. Marvin C. Lunde, Jr. In Memory of Jane Griffith Mr. and Mrs. Barre Griffith In Honor of Jane B. Harlow Dr. and Mrs. Robert S. Ellis Mrs. Linda Kennedy Rosser and Mr. Ronald McDaniel In Honor of Miss Molly Haskett Mr. and Mrs. David Haskett In Memory of John and Suzanne Hebert Gregory W. and Mary Joan Johnston In Memory of Dr. and Mrs. Philip Joseph Kim and Michael Joseph In Honor of Maestro Joel Levine Judy and Sanford Austin Mr. J. Edward Barth J.R. and Patsy Homsey In Honor of Margaret and Drake Keith Mr. and Mrs. Wayne Cranford In Memory of Roy Matthews Mrs. Patricia Matthews In Memory of Wendell Miles Mr. Joe Howell and Mrs. Jennifer Owens

Mrs. Millicent Sukman Mr. and Mrs. Richard Tanenbaum Mrs. Billie Thrash Ms. Janice L Townsend Mr. N. Blake Vernon Ms. Jean M. Warren Mr. and Mrs. Charles E. Wiggin Mrs. Martha V. Williams Mr. and Mrs. Dick Workman Mr. John M. Yoeckel Armstrong International Cultural Foundation Bright Music Chamber Ensemble Casady School Inasmuch Foundation Journey House Travel, Inc. MidFirst Bank In Memory of Joan L. (Templar) Smith Dr. Jerry Neil Smith In Memory of Earl Statton Mrs. Joyce J. Statton In Memory of John A. Taylor Mr. and Mrs. Marvin C. Lunde, Jr. Mr. and Mrs. Kenneth N. McKinney Mrs. Ann Taylor In Memory of Karen Vollbrecht Ms. Connie M. Bryan Mr. and Mrs. Sam Decker Ms. Deidre Downham Mr. and Mrs. Kraettli Epperson Mr. and Mrs. John Gunter Mr. and Mrs. Jasper L. Gunter Tom and Dorothy Hays Colonel and Mrs. Dean C. Jackson Mr. and Mrs. Jerry W. Plant Mr. and Mrs. Ronald K. Roeseler Mr. Gary Bankhead and Mrs. Ann Simank Mr. and Mrs. Raymond M. Woods Society of Strings In Honor of Eddie Walker Judy and Sanford Austin J.R. and Patsy Homsey In Memory of Dick Workman Sharlene S. Branham Mr. Richard L. and Dr. Melissa Clements Mr. and Mrs. Richard Dugger Mr. and Mrs. Gary F. Fuller Mrs. Jane B. Harlow Ms. Elizabeth D. May Mr. Kirean Maye Mrs. Billie Thrash Ledbetter Insurance Agency, Inc.

ORCHESTRA LEAGUE UPDATE

2016 MUSIC COMPETITIONS

Each year since 1958, the Oklahoma City Orchestra League, Inc., sponsors a Music Competitions event.

The goal of the competitions is to recognize and showcase talented young musicians residing in the state of Oklahoma. The students are offered the opportunity to compete in an educational and rewarding environment.

Students in grades one through twelve are eligible to enter competitions in piano, strings, classical guitar, harp, woodwind, brass, and percussion. Winners receive medals and cash awards and then perform in a Winners’ Concert at a later date. David Lee of Edmond, who was the Buttram cello winner in 2015, was invited by Maestro Joel Levine to play in the Side-by-Side concert.

Competitions and the concert are held in the Wanda L. Bass School of Music at Oklahoma City University and are possible through the generous support of our underwriters: Mr. Randy & Kathy Buttram in memory of Dorsey & Phyllis Buttram and the founders of the competition, Merle and Frank Buttram — The Buttram Senior Strings Competition Mrs. William Abney — The Carver Competition for woodwind, brass, harp, and percussion Mr. and Mrs. Mike Gilliam — The Gilliam Junior Piano Competition Mr. William H. Haire and family — The Donna Marie Haire Competition for classical guitar Mr. and Mrs. R. Drake Keith — The Keith Junior Strings Competition Mr. Herman Meinders — The Meinders Senior Piano Competition The 2015 competition involved 97 students, 15 judges, members of OCU Sigma Alpha Iota fraternity and Phi Mu Alpha Sinfonia fraternity and 57 Orchestra League volunteers. Additional OCOL volunteers provided food for contestants, their families, and volunteers. It was a busy exciting day and a thrill to hear these amazing young musicians.

The 2016 Music Competitions will be held on January 31st and the Winners’ Concert on February 7th .

All young Oklahoma musicians are invited to participate. Competition details and entry information may be found on the League website: www.okcorchestraleague.org 2016 Competitions Chair is Carol McCoy; co-chairs are: Jean Sanford and Dorothy Hays, Buttram; Dwayne Webb and Larry Buss, Carver; Phyllis Morrow and JonEvah Murray, Gilliam; Cheri Weintraub and Carol Bowman, Haire; Casey Hasenbeck and Margaret Biggs, Keith; Janice Carmack and Martha Pendleton, Meinders.

www.okcorchestraleague.org Check out our twitter and facebook locations : www.twitter.com/orchestraleague I www.facebook.com/orchestraleague Contact us at: 405.601.4245 or Orchleag@coxinet.net

64

Deborah Crabtree Fedder, LPC-LMFT Children, Adolescents, Couples and Adults

Crabtree Family Therapy Licensed Professional Counselor and Licensed Marital and Family Therapist

11212 N. May Ave., Ste. 203 • Oklahoma City, OK 73120

405.323.9466

crabtreefamilytherapy@gmail.com crabtreefamilyther.wix.com/okcfamtherapy

teaching minds

and reaching hearts

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 before entering the theater (no calling, texting, photo or video use please). Cameras, recording devices and food are not permitted inside the theater.

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 CafĂŠ and snack bar on the main floor.

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 ticket office.

COLLEGE STUDENT RUSH TICKETS are $5 each and available with a college or university I.D. and email address at the box office 30 minute prior to the start of each Philharmonic performance. Tickets are offered based on availability only and seats are 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 Ticket 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.

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 second floor of the McAlpine Center at 428 W. California in Suite 210. The Philharmonic Ticket Office is open Monday through Friday, 9:00 a.m. to 5:00 p.m. and concert Saturdays from 10:00 a.m. to 2:00 p.m. The Ticket Office at the Civic Center Music Hall (405-297-2264) will be open 6:30 p.m. to 8:30 p.m. on performance evenings.

CONCERT NIGHT PHONE: Call 405-842-5387 CIVIC CENTER TICKET OFFICE hours are 9:00 a.m. to 5:00 p.m., weekdays.

Programs and Artists are subject to change without notification.