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CMY

7/11/19

9:05 AM

WELCOME

BRENT HART, President Oklahoma Philharmonic Society, Inc. Welcome to tonight’s concert. For thirty-three seasons, the OKC Phil has been performing incredible concerts in Civic Center Music Hall, performances throughout our community and just this last year directly in your homes as we practiced social distancing. This year we are most excited to welcome you back! Our Classics and Pops series, Discovery concerts, partner collaborations and community performances are an integral component of our vibrant arts community. Our dedicated musicians, led by Maestro Alexander Mickelthwate, continue to delight us each season with vibrant programming, and this year is no exception. Executive Director Agnieszka Rakhmatullaev and her exceptional team collaborate with city and public health officials to make these performances possible and our heartfelt thanks go to our community leaders and healthcare workers for all their tireless efforts. We also thank the Orchestra League and the Associate Board for their volunteer and fundraising efforts that make these programs possible. One final thanks to our valued patrons, for being here tonight and for your continued support. I hope you enjoy this musical journey at this, and many more, concerts to come.

KRISTEN BRANDT FERATE, President Oklahoma City Orchestra League

CHRISTA BENTLEY, President Associate Board

On behalf of the Oklahoma City Orchestra League, welcome back to our beloved Civic Center and the music.

On behalf of the Oklahoma City Philharmonic Associate Board, I am honored to welcome you to the 2021-2022 season. The OKC Philharmonic and their team of staff proved last season that they are capable of making music in any and all circumstances. If you take a glance at this season’s program, you’ll see that concert goers in Oklahoma City are once again receiving a concert music experience that will enrich our city, featuring innovative programming and top-notch musicians.

Music is the Universal Language. It is the only language that every individual can comprehend. Each member of the audience tonight will share in a social cohesion that can only occur through the appreciation and hearing of symphonic music. As we emerge from the chaos and anxiety of the pandemic let us take joy and find peace in the gift of the Oklahoma City Philharmonic. The Oklahoma City Orchestra League is comprised of a diverse and energetic membership whose mission is to support the Oklahoma City Philharmonic through educational, community and fundraising endeavors. We would be delighted to have you join.

It’s the Associate Board’s mission to connect young professionals to this concert-going experience. We do this through our Overture Society—a three-concert package— plus expanded networking opportunities, social events, and discounts. Reach out to join Overture and take the next steps to becoming a supporter of the arts in OKC!

kucofm.com A community-supported outreach of the University of Central Oklahoma

EXECUTIVE DIRECTOR R

AGNIESZKA RAKHMATULLAEV Welcome to the OKCPHIL’s 2021-22 Season and we are thrilled to have you back with us! After an unprecedented season, your OKCPHIL under the direction of Maestro Mickeltwate is coming back onto the stage full force with some wonderful programs. While things might not be entirely back to normal yet, we hope that each of our concerts will bring you joy and inspiration. The Inasmuch Foundation Classics Series features orchestral staples, such as the First Symphonies of Beethoven and Mahler, Dvořák’s “New World” Symphony and Rimsky Korsakov’s beloved Scheherazade. We will collaborate with world-renowned artists including Berlin Phiharmonic’s First Concertmaster Noah Bendix-Balgley, Tabla virtuoso Sandeep Das, and guest conductor Rei Hotoda. We will also continue to feature the remarkable talents of our own musicians with Principal Horn Kate Pritchett and Principal Bassoonist Rod Ackmann joining us as soloists for the opening and closing Classics programs of the season. We are excited to continue our journey of discovering the lesser-known gems and celebrating diversity through music by exploring works by African American, American Indian, and East Indian composers.

As always, our Pops Series offers something for everyone: the popular songs of Billy Joel and Whitney Houston, the spectacular Holiday tradition The Christmas Show, the dazzling dancers who will turn the Civic Center stage into a ballroom, and our season’s grand finale featuring the timeless Star Wars This lineup will be accompanied by our phenomenal orchestra, so I encourage you to bring your family and friends along to enjoy each of these programs. Additionally, the OKCPHIL remains committed to expanding its presence outside of the concert hall through a variety of Education and Community Engagement programs. From our Society of Strings program for adult amateur string players, to our ongoing partnership with OU Health, as well as small ensemble presence in local schools, our mission continues to impact thousands of Oklahomans of all ages. We are deeply grateful for the ongoing support and generosity that makes all of this possible. Despite the challenges brought by the pandemic, the OKCPHIL remains committed to serving our community and we look forward to seeing you at our concerts throughout this season!

Oklahoma’s Original - Lyric Theatre at The Civic is Back! “The Musical of the Decade!” - Sunday Times

JUNE 21-26, 2022

Book for the Musical by Dennis Kelly Based on the Book by Roald Dahl Music and Lyrics by Tim Minchin Directed by Ashley Wells

“Best Musical of the 20th Century!” - Time Magazine

JULY 5-10, 2022

Music by Richard Rodgers Book and Lyrics by Oscar Hammerstein II Based on Ferenc Molnar’s Play Liliom as adapted by Benjamin F. Glazer Original Choreography by Agnes de Mille Directed by Michael Baron

“A Glorious, High-Kicking Romp!” - Evening Standard

JULY 19-24, 2022

Book by Harvey Fierstein Music and Lyrics by Cyndi Lauper Based on the Miramax motion picture Kinky Boots Written by Geoff Deane and Tim Firth Directed by Ashley Wells

Subscribe 24/7 at LyricTheatreOKC.org or Call (405) 524-9312 Or, visit Lyric’s Box Office at 1727 NW 16th Street, Monday - Friday, Noon-5 p.m.

SEE ALL 3 SHOWS FOR AS LITTLE AT $32 EACH! • ORDER NOW FOR BEST SEATS AND PRICES!

MUSIC DIRECTOR

ALEXANDER MICKELTHWATE Beginning his fourth season as Music Director of the Oklahoma City Philharmonic, Conductor Alexander Mickelthwate’ s exciting musical programming has created a buzz across the city, drawing people from all walks of life to the concert hall. Originally from Germany, Mickelthwate is also Music Director Emeritus of the Winnipeg Symphony Orchestra in Canada. Since starting his Winnipeg tenure in 2006 he played a pivotal role in the rejuvenation and turnaround of the Winnipeg Symphony which culminated in a highly successful and critically acclaimed performance at Carnegie Hall in May 2014. The New York Times noted the performance was “conducted expertly,” and the New York Classical review stated “under music director Alexander Mickelthwate, they play with excellent intonation and such a fine overall blend and balance of sound that, on their own terms, they may be the best orchestra to appear in the week’s worth of concerts.” Deeply rooted in his German heritage, Norman Lebrecht wrote about Mickelthwate’s interpretation of Mahler’s 10th Symphony with the Winnipeg Symphony: “Both Mahler 10 performances were intense and engaging. Every twist and turn in the score was fresh and surprising to my ears.” And his interpretation of Bruckner’s Symphony No. 7 prompted the pianist Anton Kuerti to write a letter to the newspaper saying, “I would like to call attention to the stunning performance heard after the intermission. To play Bruckner’s Symphony No. 7 with the passion, profundity, emotional intensity, subtlety and degree of perfection achieved by conductor Alexander Mickelthwate and the Winnipeg Symphony can only be called miraculous.” In North America Alexander has guest conducted the New York Philharmonic, the Chicago Symphony, Seattle Symphony, Houston Symphony, Vancouver Symphony, Atlanta Symphony, Saint Paul Chamber Orchestra, Saint Luke’s, Milwaukee Symphony, Rochester Philharmonic and Toronto Symphony, among others. His European debut was with the Hamburg Symphony. He also conducted the BBC London, Stuttgart Radio Orchestra, Royal Scottish, Deutsche Kammerphilharmonie Bremen and NDR Hannover. Other notable performances include the Sao Paulo Symphony and the Simon Bolivar Orchestra in Venezuela. He made his Australia debut with the Adelaide Symphony and the Tasmania Orchestra where he recorded the Mozart piano concerti Nos. 7 and 10 with the Silber Garburg Duo. Alexander Mickelthwate has worked several times with Dame Evelyn Glennie conducting the world premiere of two new

percussion concerti by Vincent Ho. He also worked with Itzhak Perlman, Joshua Bell, Yuja Wang, Dawn Upshaw, Plácido Domingo, Ben Heppner, Horatio Gutiérrez, Emanuel Ax, Leonidas Kavakos and Sarah Chang, among many others, and he worked very closely with a wide range of composers including Phil Glass, Steve Reich, Sofia Gubaidulina, Kaija Saariaho, John Adams, John Luther Adams and Mason Bates. After guest conducting the Simon Bolivar Orchestra and experiencing the life-changing power of the El Sistema program in Venezuela for underprivileged children, Alexander played an instrumental part in creating Sistema Winnipeg. For three years Alexander created a critically acclaimed Indigenous Festival in Winnipeg. Passionate to connect with all cultures, he created artistic collaborations between First Nations and western cultures that culminated in the performances of Stravinsky’s Rite of Spring and Revueltas’ Les Noches de los Mayas with new choreographies of contemporary and First Nations dance. The Winnipeg New Music Festival is an international institution. Alexander broadened the repertoire and created many new collaborations connecting with different audiences. Because of the programming of the festival the WSO was chosen to perform at the Spring for Music Festival at Carnegie Hall in 2014. A few of the most creative projects of the festival for Alexander were the performance of movie director Guy Maddin’s Brand Upon a Brain with narration by actress Isabella Rossellini, the workshopping of a new opera Tesla by movie director Jim Jarmusch and composer Phil Klein, and a production of Gavin Bryar’s The Sinking of the Titanic at PanAm Pool. Alexander has conducted for President Jimmy Carter and the Queen of England, and he received the Queen Diamond Jubilee Medal and the Key to the City of Winnipeg. Born and raised in Frankfurt Germany to a musical family, Alexander received his degree from the Peabody Institute of Music. He studied conducting under Fredric Prausnitz and Gustav Meier as well as with Seiji Ozawa, Andre Previn, Daniel Barenboim and Robert Spano at Tanglewood. Following his tenure as Assistant Conductor with the Atlanta Symphony Orchestra, which he completed in 2004, Alexander was Associate Conductor of the Los Angeles Philharmonic for three years, under the direction of Esa-Pekka Salonen. Alexander and his family make Oklahoma City their home. He is married to fashion designer Abigail Mickelthwate and has two sons.

BancFirst believes life is about more than balance sheets and bottom lines. That’s why we’re proud to support the arts in every community we serve.

MORE THAN 20 OKC METRO LOCATIONS B A N C F I R S T. B A N K member fdic

OKLAHOMA PHILHARMONIC SOCIETY, INC.

P R O V I D I N G

I N S P I R A T I O N

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 Brent Hart President Jane Jayroe Gamble President Elect Jerrod Shouse Vice President Kevin Dunnington Treasurer Kelly Sachs Secretary Jeff Starling Immediate Past President

Lifetime Directors

Debra Kos Kristian Kos Jessica Martinez-Brooks Margaret Freede Owens Donald Rowlett Jennifer Schultz Doug Stussi Michael Sweeney J. Mark Taylor Geetika Verma Tony Welch Renate Wiggin Nick Wu

Jane B. Harlow Patrick Alexander

Directors Christa Bentley Robyn Birdwell Lori Dickinson Black Phil Busey Lawrence H. Davis Kristen Ferate Joy Hammons Kirk Hammons Dean Jackson Mautra Staley Jones Wesley Knight

Honorary Directors Richard Sias

ADMINISTRATIVE STAFF John Allen General Manager

Mady Hendryx Donor & Volunteer Relations Coordinator

Clint Moore Operations Coordinator

Mark Beutler Director of Marketing & Public Relations

Judy Hill Administrative Assistant

Agnieszka Rakhmatullaev Executive Director

Stephen Howard Development Operations Manager

Ulises Serrano Associate Director of Digital Strategies

Daryl Jones Box Office Operations Manager

Corbin Taggart Customer Service Representative

Tara Burnett Director of Development Jeana Gering Education Manager Daniel Hardt Finance Director

Colton Kirton Institutional Giving Coordinator

ACKNOWLEDGEMENTS Classical KUCO 90.1 Morningstar Properties

Oklahoma City Police Association George Ryan

Stubble Creative, Inc. The Skirvin Hotel

Titan AVL

Photographers: Michael Anderson, David Bricquet, Rick Buchanan, Heather Hanson, Simon Hurst, Mutz Photography, Shevaun Williams and Associates, Ulises Serrano

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

AFFLIATED PARTNERS

The Oklahoma City Philharmonic Foundation was established to provide leadership and endowment expertise to help ensure a stable financial base for orchestral music and musical excellence in Oklahoma City for generations to come. Distributions from the Oklahoma City Philharmonic Foundation provide a meaningful and secure source of annual income for the Philharmonic’s operations, continually confirming the importance of endowment in an organization’s longrange planning and overall success. Current officers and directors of the Oklahoma City Philharmonic Foundation are: OFFICERS Douglas J. Stussi President Charles E. Wiggin Vice President Louise Cleary Cannon Treasurer Penny M. McCaleb Secretary DIRECTORS Steven C. Agee Patrick B. Alexander J. Edward Barth L. Joe Bradley Teresa Cooper T.A. Dearmon Paul Dudman Thomas J. Enis Mischa Gorkuscha Jane B. Harlow Brent Hart Jean Hartsuck Michael E. Joseph Harrison Levy, Jr. Duke R. Ligon Jessica Martinez-Brooks Michael J. Milligan Alice Pippin Jeff Starling Richard Tanenbaum

EXECUTIVE COMMITTEE Kristen Ferate President Debra Kos President-Elect Pending Secretary Newt Brown Treasurer Meredith Blecha-Wells Development VP Marion Burcham Membership VP Sherry Rowan Education VP Joan Bryant Communications VP Wendi Wilson Past President, Ex-Officio Agnieszka Rakhmatullaev Executive Director Oklahoma City Philharmonic (Ex-Officio, Advisory) BOARD OF DIRECTORS Helen Chiou Jeanne Drake Yvette Fleckinger Sue Francis Jane Krizer Patsy Lucas Geetika Verma Heather Walter Dwayne Webb Orchestra League Office 424 Colcord Dr., Ste. B Oklahoma City, Oklahoma 73102 Phone: 405.232.7575 Fax: 405.232.4353 e-mail: league@okcphil.org website: www.okcorchestraleague.org

OFFICERS Dr. Christa Bentley President Jay Scambler President-Elect J. Cruise Berry Treasurer Desiree Singer Secretary Sam Rainbolt Membership Chair Kelsey Karper Marketing Chair Tyler Larson Events Chair DIRECTORS Gennie Clarkson Cordon DeKock James Hulsey Tom Lerum Patrick E. Randall, II Jennifer Stadler Collin Walke

THE ORCHESTRA T

ALEXANDER MICKELTHWATE, Music Director and Conductor JOEL LEVINE, Founder and Music Director Emeritus AGNIESZKA RAKHMATULLAEV, Executive Director

FIRST VIOLIN

BASS

Gregory Lee, Concertmaster Gertrude Kennedy Chair Marat Gabdullin, Associate Concertmaster Densi Rushing, Assistant Concertmaster Yena Lee Hong Zhu Beth Sievers Deborah McDonald Lu Deng Ai-Wei Chang Chandler Fadero Sondra Brudnak Paulo Eskitch

Anthony Stoops, Principal Larry Moore, Assistant Principal Parvin Smith Mark Osborn Landon Honolka Christine Craddock Kara Koehn Jesus Villarreal

SECOND VIOLIN

OBOE

Katrin Stamatis, Principal McCasland Foundation Chair Catherine Reaves, Assistant Principal Sophia Ro Corbin Mace Angélica Pereira Cindy Zhang Gena Alexander Tova Olkinetzky Jennifer Sherman Chloe Johnson

VIOLA

FLUTE

Valerie Watts, Principal Parthena Owens Nancy Stizza-Ortega

Adam Hanna, Principal Philip Martinson John Allen, Bass Trombone

TUBA

Ted Cox, Principal

TIMPANI

Jamie Whitmarsh, Principal

PERCUSSION

Rachel Maczko

Patrick Womack, Principal Roger Owens Keith Hendricks Sara Neely Tommy Dobbs Joseph Craven Darren Heath David Bessinger Cameron Duncan Alex McDaniel Christine Souza Shannon Lockwood Karl Kirch

CLARINET

HARP

PICCOLO

Nancy Stizza-Ortega Lisa Harvey-Reed, Principal Rachel Maczko Katherine McLemore

ENGLISH HORN

Bradford Behn, Principal Tara Heitz Jim Meiller

BASS CLARINET

Royce McLarry, Principal Mark Neumann, Assistant Principal Joseph Guevara Kelli Ingels Steve Waddell Donna Cain Betty Yuan Jackie Skara Lacie Bowlware

Jim Meiller

CELLO

Kate Pritchett, Principal G. Rainey Williams Chair Matt Reynolds Mirella Gable Peggy Moran Lanette Compton, asst.

Jonathan Ruck, Principal Orchestra League Chair Tomasz Zieba, Assistant Principal Meredith Blecha-Wells Valorie Tatge Emily Stoops Angelika Machnik-Jones Jean Statham Rob Bradshaw Vilma Peguero Jing Yuan

TROMBONE

BASSOON

Rod Ackmann, Principal Larry Reed Barre Griffith

CONTRABASSOON Barre Griffith

HORN

TRUMPET

Karl Sievers, Principal Jay Wilkinson Michael Anderson

Gaye LeBlanc, Principal

PIANO

Jake Johnson, Principal

ABSENT OR ON LEAVE

James Rester, horn Peggy Payne, piano James Thomson, violin Ben Shute, violin Janet Gorton, violin Brenda Wagner, violin Sarah Sanford Brown, violin Brian Frew, viola Jim Shelley, violin

PRODUCTION STAFF

Valorie Tatge, Personnel Manager Jose Batty, Music Librarian Leroy Newman, Stage Manager

APPRENTICE CONDUCTOR Guanlu Guan

PLANNED GIVING

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

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

Anonymous (3)

Mr. and Mrs. Michael E. Joseph

Steven C. Agee, Ph.D.

Joel Levine and Don Clothier

Linda and Patrick Alexander

John and Caroline Linehan

Gary and Jan Allison

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

Dr. Jay Jacquelyn Bass

Mrs. Jackie Marron

Louise Cleary Cannon

Mr. and Mrs. John McCaleb

Mr. and Mrs. Robert H. Clements

Jean and David McLaughlin

Thomas and Rita Dearmon

W. Cheryl Moore

Dr. and Mrs. James D. Dixson

Carl Andrew Rath

Dr. Ralph and Lois Ganick

Mrs. Catherine Reaves

Hugh Gibson

Mr. and Mrs. William J. Ross

Pam and Gary Glyckherr

Drs. Lois and John Salmeron

Carey and Gayle Goad

Mr. and Mrs. William F. Shdeed

Mr. and Mrs. J.A. Gowman

Richard L. Sias

Carol M. Hall

Doug and Susie Stussi

Ms. Olivia Hanson

Larry and Leah Westmoreland

Jane B. Harlow

Mr. John S. Williams

Dr. and Mrs. James Hartsuck

Mr. and Mrs. Don T. Zachritz

THANK YOU The Oklahoma Philharmonic Society, Inc. is grateful for the support of caring patrons who want to pass on a legacy of extraordinary music to future generations. You can join this special group of music enthusiasts by including a gift for the OKC Philharmonic’s future in your own will or estate plan. For more information on how to become an Encore Society member, contact Tara Burnett at (405) 232-7575 or tara@okcphil.org.

o d n e c res

JOIN US FOR

AN EVENING WITH CANTERBURY

19 MAY 2022 | 7-9 PM OKL AHOMA HISTORY CENTER 800 NAZIH ZUHDI DR, OKC

Hors d’oeuvres | Open bar | Cocktail attire | Music FEATURING AN INTIMATE CONCERT BY THE

C A N T E R B U RY C H A M B E R VO I C E S THE MYLES CRISS VISIONARY AWARD G. JASON JOHNSTON

TICKETS | RSVP JUSTIN@CANTERBURYOKC.COM

Oklahoma City Community College presents:

2021-2022 Performing Arts Series

Potted Potter: The Unauthorised Harry Experience | October 12 Cirque Mechanics - Birdhouse Factory | November 20 Ballet Folklórico de México | January 28 The TEN Tenors presents LOVE IS IN THE AIR | February 25 Drum Tao | March 22 An Evening with Renee Elise Goldsberry | April 29 Get tickets at tickets.occc.edu

Proceeds benefit Canterbury Youth Voices, Canterbury Voices’ educational program.

Season Specials

at Hudiburg Center

LEARN MORE AT OKCBROADWAY.COM

MEET OUR FAMILY

THE PEOPLE BEHIND THE MUSIC

VALORIE TATGE Cello OKCPHIL Orchestra OKCPHIL Staff Valorie Tatge has been playing cello in the OKCPHIL since 1992, and was recently named Orchestra Personnel Manager. She is currently on faculty at Southern Nazarene University and Oklahoma Christian University. She is also a long-time member of the Lawton Philharmonic Orchestra and the Norman Philharmonic. Valorie also enjoys being active in both local and national touring productions of Broadway shows and pop artists as they come through OKC. As a chamber musician, she was cellist of New Lyric Quartet, from 2002-2007 and is now cellist of CRUSA String Quartet, formed by fellow members of the OKCPHIL in 2018. Valorie also maintains a studio of young students which she teaches from her home.

DESIREE SINGER Associate Board Member OKCPHIL Associate Board Secretary Born and raised in Oklahoma City, Desiree attended Classen School of Advanced studies then completed her undergraduate at Harvard University. She returned to Oklahoma to attend OU College of Law, and has been serving our state as Assistant Attorney General for four years. She found an early passion for music, learning classical music on piano, taught by her Aunt who was a music teacher. In addition she grew up singing in both church and school choirs. At Classen she was constantly surrounded by the visual and performing arts, increasing her appreciation for how influential the arts can be in someone’s life. “What I enjoy most about being an Associate Board member is joining forces with other passionate young professionals to spark an interest in our generation for orchestral music.”

GIFTS TO THE PHILHARMONIC The Oklahoma City Philharmonic Orchestra gratefully acknowledge the commitment and generosity of individuals, corporations, foundations, and government agencies that support our mission. To help us provide inspiration and joy to the community through live orchestral performances and a variety of Education and Community Engagement programs, please contact the Philharmonic’s Development Office at (405) 232-7575. This Annual Fund recognition reflects contributions made in the 2021-22 season. Contributions of $250 and above are listed through March 1, 2022. If your name has been misspelled or omitted, please accept our apologies and inform us of the error by calling the phone number listed above. Thank you for your generous support!

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

UNDERWRITER $40,000 & Above Allied Arts Foundation The Chickasaw Nation Delaware Resource Group of Oklahoma, LLC E.L. and Thelma Gaylord Foundation Inasmuch Foundation Kirkpatrick Foundation Inc. Oklahoma Arts Council The Oklahoman The Skirvin Hilton Hotel

PLATINUM SPONSORS $10,000 - $39,999 405 Magazine Ad Astra Foundation American Fidelity Foundation Devon Energy Corporation Express Employment International HSPG and Associates, PC I Heart Media Love’s Travel Stops & Country Stores

MidFirst Bank OGE Energy Corp. Tyler Media Co./Magic 104.1FM and KOMA W&W Steel, LLC

GOLD SPONSORS $5,000 - $9,999 BancFirst Bank of Oklahoma Clements Foods Foundation Mekusukey Oil Company, LLC The Metro Restaurant

SILVER SPONSORS $3,000 - $4,999 OK Gazette OKC Friday

BRONZE SPONSORS $2,250 - $2,999

GOLD PARTNERS $1,500 - $2,249 Charlesson Foundation Flips Restaurant, Inc. The Fred Jones Family Foundation Morningstar Properties, LLC

SILVER PARTNERS $1,000 - $1,499 BRONZE PARTNERS $500 - $999 Tom Johnson Investment Management LLC

BUSINESS MEMBERS $250 - $499 The Kerr Foundation, Inc. Intrinsic Health

The Black Chronicle

MATCHING GIFT COMPANIES AND FOUNDATIONS Double the impact of an individual’s gift. American Fidelity Foundation Bank of America Matching Gifts Program

The Boeing Company Inasmuch Foundation

Merrill Lynch & Co. Foundation, Inc.

GIFTS TO THE PHILHARMONIC MAESTRO SOCIETY Providing leadership support.

Underwriter $25,000 and above

Guarantor $10,000 and above

Benefactor $5,000 - $9,999

Phil G. and Cathy Busey Dr. Margaret Freede Joel Levine and Don Clothier Jean and David McLaughlin Dr. Amalia Silverstein George Records Mr. Richard L. Sias and Alice and Phil Pippin Glenna and Dick Tanenbaum

Steven C. Agee, Ph.D. Linda and Patrick Alexander Marilyn and Bill Boettger Lawrence H. and Ronna C. Davis Mr. and Mrs. Andrew J. Evans, II Mr. and Mrs. John A. Frost Gerald and Jane Jayroe Gamble Jane B. Harlow Mary Ann Holdrege Mr. Albert Lang Susan Robinson Doug and Susie Stussi Renate and Chuck Wiggin

Mo Anderson Mrs. Betty D. Bellis-Mankin John and Margaret Biggs Louise Cleary Cannon and Gerry Cannon Teresa Cooper James B. Crawley Darleene A. Harris Claudia Holliman Dr. and Mrs. Patrick McKee

INDIVIDUALS Providing essential support for the Annual Fund. Patron ($3,500 - $4,999) Dr. Charles and Marilyn Bethea Mike and Dawn Borelli Mr. and Mrs. David C. DeLana Mr. Sidney G. Dunagan Mrs. Bonnie B. Hefner Jerry and Jan Plant Ms. Jeanne Hoffman Smith Mrs. Anne Workman

Sustainer ($2,250 - $3,499) Anonymous Dr. and Mrs. Dewayne Andrews Dr. and Mrs. John C. Andrus Larry and Sarah Blackledge Mrs. Carole S. Broughton Mr. and Mrs. Robert F. Browne Mr. and Mrs. Robert H. Clements Mr. and Mrs. Joseph M. Fleckinger Paul and Debbie Fleming

Frank Goforth and Nancy Halliday Brent Hart and Matt Thomas Dr. and Mrs. James Hartsuck Frank and Bette Jo Hill Colonel (ret.) Dean and Mrs. Jeanne Jackson Tom and Cindy Janssen Kim and Michael Joseph Kathy and Terry Kerr Annie Moreau, MD Mr. H.E. Rainbolt Ruth Mershon Fund Dr. and Mrs. Hal Scofield Jeff and Kim Short John and Katherine Spaid Jim and Debbie Stelter Mr. and Mrs. John E. Stonecipher John Stuemky and James Brand Mrs. Billie Thrash Mrs. June Tucker

Mrs. Janet Walker Ron and Janie Walker Jeanise Wynn

Associate ($1,500 - $2,249) Anonymous Virginia and Albert Aguilar Mr. and Mrs. Louis Almaraz Dr. Sterling and Cheryl Baker Mr. J. Edward Barth Dr. and Mrs. William L. Beasley William Beck Nick and Betsy Berry Bart Binning Dr. and Mrs. Philip C. Bird Dr. Robyn Birdwell and Dr. Mark Fixley Mr. and Mrs. Del Boyles Martha and Ronnie Bradshaw Mrs. Phyllis Brawley Dr. and Mrs. Robert C. Brown CONTINUED ON PAGE 44

SPECIAL EVENT GIFTS

Thank you to the following who believed in our mission by supporting the 2021 Symphony Show House!

SHOW HOUSE COMMITTEE Show House Chair

Designer Sales

IT Support

J. Mark Taylor

Lacey Gilliam

Honorary Chairs

Jeannie Drake Carole Doerner

First Lady Sarah Stitt Debbie Thompson

Cinda Lafferty

Boutique

Design Inventory

Cindy Solomon

Jeannie Sanford

Staffing

Program Book Marty Taylor David Delana and Heritage Press

SHOW HOUSE SPONSORS Headlining Show House Patron

Friend

Dr. Margaret Freede In Memory of Josephine Freede Glenna and Dick Tanenbaum

Carole Doerner

Bronze Patron Mrs. June Tucker Dr. Don and Eleanor Whitsett The Meinders Foundation

Benefactor Janice B. Carmack John and Sue Francis Margaret and Drake Keith Bill and June Parry Lance and Cindy Ruffel Judith Clouse Steelman

Supporter Jennifer Bass-Billman Patricia Boone Joni Brown Debra Bugg Megan Clement Tiana Douglas Alexis Downs Michelle Early Elizabeth Eickman and Marvin Quinn Joan Ferrell David Gandall Shelley Goetz

Sue Goodman Jeanie Griffin Ellen Harmon Travis Kirk Alexander Leach Linda and Richard Mason Jill McCartney Pam McClure Virginia Myers Bonnie Naifeh Kevin Nevish Marcia Peeler Jody Prince Sheila Walker Elizabeth Wilson

Thank you to the Talented Designers who made the 2021 Symphony Show House a Reality! Rosinna Gies, Amini’s Galleria Tuesday Fay & Halal Songer, Bob Mills Furniture Abbie Wilkerson, Aleks Payne, & Doris Medrano, Calvert’s Plant Interiors Johnathan Kwee, Fabricologie Katelynn Henry, Steve Calonkey, Steve Simpson, Madison Denison, & Mackenzie Matray, Henry Home Interiors Patty Tippet, Home Dazzle Dr. Kari Lopez, Renae Brady, & Tracy Knoche, LOREC Ranch Home Furnishings Lynda Savage, Lynda Savage Art

Nathan Hughes & Gabrielle Roberts, Mathis Design Studio Keven Calonkey Carl, Cassidy Brunsteter, & Lance Whitlow, Mister Robert Fine Furniture and Design Travis Neely & Phara Queen, Neely + Queen Cindy Curley & Ryan Johnson, Norwalk Design Ronette Wallace, OTW Interiors and Suburban Contemporary Furniture Julie Miller, Tin Lizzie’s J. Mark Taylor & Adriana Nunez, Traditions Fine Furnishings & Design Pam Cravens, Vintage Gypsy

SPECIAL EVENT GIFTS

2022

The OKCPHIL would like to thank the following people who believe in our mission by providing support through the 2021-22 Maestro’s Ball as we honor beloved friend and OKCPHIL founder Mrs. Jane B. Harlow. This recognition reflects contributions received through April 21, 2022.

PRESENTING

Margaret Freede and Daniel Owens

Glenna and Dick Tanenbaum

SPONSORS Platinum Jane B. Harlow Christian Keesee Charitable Trust

Cathy and Frank Keating Joel Levine and Don Clothier Mrs. Anne Workman

Gold

Benefactor

Linda and Patrick Alexander American Fidelity Foundation Lawrence H. and Ronna C. Davis Bryan Garrett Injury Law Firm David and Aimee Harlow Debra and Kristian Kos The Ann Lacy Foundation Doug and Susie Stussi

Steven C. Agee, Ph.D. Bob and Cindy Barnard J. Edward Barth John and Margaret Biggs MAJ. GEN. William P. Bowden, Rt. Martha and Ronnie Bradshaw Louise Cleary Cannon and Gerry Cannon Robert and Sody Clements Rita and Thomas Dearmon Nancy P. Ellis Kristen and Anthony Ferate Joseph and Yvette Fleckinger John and Sue Francis William and Kristin Frankfurt Jay and Debbie Harper Linda and Ken Howell Sue Ann and Dudley Hyde Colonel (ret.) Dean and Mrs. Jeanne Jackson Margaret and Drake Keith The Kerr Foundation Mr. and Mrs. Harrison Levy, Jr. Midge W. Lindsey Christopher Lloyd and Erik Salazar Rob and Karen Luke Shaye and Travis Matthews

Silver 405 Magazine Julie and Mark Beffort Mr. and Mrs. Clayton I. Bennett Gerald and Jane Jayroe Gamble Kirk Hammons Brent Hart and Matt Thomas OKC Friday Presbyterian Health Foundation Dr. Pal Randhawa Linda and Steve Slawson Drs. Bobby and Geetika Verma

Bronze Sharon and John R. Bozalis Barbara Cooper Teresa Cooper Frank and Bette Jo Hill

John and Anna McMillin Randy and Barbe von Netzer Marilyn North Charles L. Oppenheim Cynda and Larry Ottaway Paycom Payroll, LLC Paul and Gina Pierce Jerry and Jan Plant Drs. Robert and Suzanne Reynolds Mr. and Mrs. William J. Ross Pam and Bill Shdeed Lee Allan Smith Family Judge and Mrs. Ralph G. Thompson Britta Thrift Eddie Walker and Timothy Fields Chris and Meredith Wells Carolyn T. and Don T. Zachritz

Friend Judy Austin Ms. Janice B. Carmack Carole Doerner Mrs. Jeannie Drake Irma B. Elliot Sorelle Fitzgerald Dallas Gwin Dr. Carol McCoy, Ph.D. Debbie McKinney William G. Paul Jeff and Sally Starling

The Heartbeat of a Vibrant City

Shevaun Williams and Associates

Investing in the Arts and Community for 40 Years

WIGGINPROP.COM

OKLAHOMA STORIES April 30, 2022 8:00 P.M.

CLASSICS

CONCEPTS

ALEXANDER MICKELTHWATE, CONDUCTOR ROD ACKMANN, BASSOON

Maestro FROM THE

Our 21/22 season, we will be taking you on a journey, from In memory of

smaller, more intimate gems

Bill and Helen Cleary

to powerhouse blockbusters. You will experience the entire musical color pallet only possible with the symphony orchestra.

KILPATRICK .............................. Four Ozark Dances * KILPATRICK .............................. Three Cherokee Cosmogenic Legends * Ace Greenwood, narrator

OKLAHOMA STORIES Native American cultures lived on this continent way before the first Europeans, and that is what we are celebrating in “Oklahoma Stories!” We are starting with two tone poems by Oklahoma’s own Jack Kilpatrick: Four Ozark Dances and Three Cherokee Cosmogenic Legends. Jerod Tate’s Ghost of the White Deer will delve us deeper into native American story telling. A bassoon concerto with our principal bassoon Rod Ackmann. And we are ending with Revuelta’s La Note de Los Mayas, s symphony based on images and legends of the Maya’s, with a percussion candenca of 13 percussionists in the last movement.

TATE ........................................ Ghost of the White Deer * bassoon concerto Rod Ackmann, bassoon Intermission REVUELTAS .............................. La noche de los mayas* (The Night of the Mayas)

Noche de los Mayas (Molto sostenuto) Noche de Jaranas (Scherzo) Noche de Yucatán (Andante espressivo) Noche de encantamiento (Tema y variaciones)

Hartel Dance Group *First Performance on this series

THIS CONCERT IS GENEROUSLY SPONSORED BY:

Alexander Mickelthwate

Text CLASSICS to 95577 to stay up to date on the latest Philharmonic info. Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, May 25 at 8 pm and Saturday, May 28 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

GUEST ARTISTS C

ROD ACKMANN Rodney Ackmann is the Irene and Julius J. Rothbaum Presidential Professor of Excellence in the Arts at the University of Oklahoma where he also performs as a member of the Oklahoma Wind Quintet and is Director of the renowned Sooner Bassooners. Additionally, he serves as Principal Bassoonist of the Oklahoma City Philharmonic and performs as a member of the Brightmusic Chamber Ensemble. Mr. Ackmann previously served as Principal Bassoonist of the Tulsa Philharmonic and Tulsa Opera Orchestra for 22 seasons. Other performance affiliations have included the Saint Louis Symphony Orchestra, Solisti New York, Kansas City Symphony, Odyssey and Nova Chamber Music Series, and the Musica nel Chiostro, Spoleto and Assisi Music Festivals in Italy. As guest soloist, Ackmann has appeared with the Saint Louis Symphony Orchestra, Musica Regala, and numerous times with the Tulsa Philharmonic. He has also performed as soloist in the People’s Republic of China at the Forbidden City Concert Hall, Beijing, and before an audience of 8,000 at Chongqing University. In 2015, he was one of only seven Americans, among 123 musicians invited from 43 countries, to perform with the 24/04 World Orchestra in Yerevan, Armenia He has recorded for Chandos, Mark Records, and Enharmonic, and has been heard on National Public Radio’s (NPR) “Performance Today”. Mr. Ackmann has performed numerous solo and collaborative recitals at six recent conferences of the International Double Reed Society (IDRS), both in the United States and abroad. In 2011 and 2017, he led highly acclaimed performances

of the University of Missouri Bassoon Ensemble and the Sooner Bassooners, respectively, at the prestigious Midwest International Band and Orchestra Clinic, accompanying soloists from the Chicago Symphony Orchestra. He has also presented pedagogical clinics as well as performed at the Midwest International Band and Orchestra Clinic and state music educators’ conferences in Texas, Michigan, Florida, Nevada and Missouri. Mr. Ackmann served as a juror for the final round of the 2012 Meg Quigley Vivaldi International Competition in Stockton, California. Prior to joining the OU faculty, he served as Professor of Bassoon at the University of Missouri School of Music, and for seven summers as Visiting Assistant Professor of Bassoon at the Indiana University Jacobs School of Music. Mr. Ackmann’s students have been featured on NPR’s “From The Top”, and won numerous awards in the Music Teachers National Association Competition, in both solo and chamber music categories. His students have also performed in Master Classes for annual conferences of the IDRS and the Midwest Double Reed Society (MDRS). Mr. Ackmann holds the Bachelor of Music Education, Master of Music and Performer’s Certificate from the Indiana University Jacobs School of Music where he studied with Leonard Sharrow and Sidney Rosenberg. He currently serves on the Music Advisory Panel for the Oklahoma Arts Institute, District Representative for the MDRS, as well as Instrumental Music Coordinator for the Auditions and Competitions Committee of the Oklahoma Music Teachers Association.

ACE GREENWOOD Narrator

Ace (Chickasaw/Cherokee) has been in the entertainment business for over 30 years. He has performed all across the United States, throughout Europe, for countless dignitaries, two Presidents, and continues to use his craft as a means to educate people on the Native American Culture. He is a Dancer, Singer, Actor, Educator, and Rapper. Ace resides in Oklahoma near Norman “the Holy Land”.

GUEST ARTIST C

HARTEL DANCE GROUP Hartel Dance Group is a professional modern dance company in Oklahoma City and the parent company of the Oklahoma International Dance Festival. Through the medium of dance/theater, the Hartel Dance Group creates and presents work that conveys a positive, inspiring, and life-enriching experiences to audiences; and create and perform innovative dance works of extraordinary artistry that engage and inform diverse audiences. Their passionate and athletic style explores physical and emotional human boundaries while communicating with audiences on a visceral level. The company has held a dynamic presence in Oklahoma City and its surrounding areas, performing since 2006. Hartel Dance Group has performed at Rose State College Performing Arts Center, the New Genre Festival in Tulsa, OK, and the Florida Arts Festival in Fort Myers. In Fall 2009 they had a one-month international residency in Asuncion, Paraguay, with performances and educational programs. Awards include the 2008 Audience Choice Award for best performing group at the Annual Carnality Ball in Oklahoma City. Austin Hartel, Artistic Director, brings his incomparable experience as a performer, teacher, and director to his newest endeavor. Mr. Hartel danced for five years as a soloist and co-choreographer with Pilobolus Dance Theater, making appearances worldwide and on television. Mr. Hartel has also danced with The Frank Holder Dance Company, Dendy Dance and Theater, and The Opera Company of Philadelphia, among others. In 2006, he taught master classes in choreography abroad and technique at the I.A.L.S. in Rome, Italy.

For 10 years he served as the Artistic Director of Dalton-Hartel Dance, which toured both nationally and internationally to critical acclaim, performing throughout North America, Europe, South America, and Korea. Under Mr. Hartel’s leadership, Dalton Hartel Dance performed at such prestigious festivals as The Vignale Dance Festival, The Florence Dance Festival and the Versiliana Festival in Italy, The 5th Festival de Danca Mercosur, and the VI International Seminar de Danca in Brazil. National performance venues include NYC’s The Sylvia and Danny Kaye Playhouse, DIA, The Mulberry Street Theater, Hudson Guild Theater, Clark Studio Theater at Lincoln Center, and St. Mark’s Church among others. International commissions include works for the Company Teatro Nuovo of Torino, Italy, The National Ballet of Suriname, and The National Ballet of Paraguay. Mr. Hartel’s opera credits include Director John Eliot Gardiner’s “The Magic Flute”, which toured Europe for four months. Former honors include The U.S. Dept. of State’s selection to serve as a Cultural Specialist in 1990 and most recently Mr. Hartel was granted a 2009 Fulbright Fellowship, to provide a teaching and choreographic residency at The National Ballet of Paraguay. He continues to represent American Arts and Culture, by teaching, lecturing, and performing throughout South and Central Americas. He is currently the director of the Oklahoma International Dance Festival, on faculty at the University of Oklahoma’s School of Dance where he coordinates the Modern Dance Program.

Choreographer: Austin Hartel Choreographer: Adelita Dixon-Hernandez Rehearsal Director: Thyrsa Da Rosa Dancers: Carlie Preskitt Grace Manuel Layla Rickman Mailee Reavis

Tamia Piazza Mia Jackson Shianne Brown Madelyn Ybarra

Constance Stanfa Colten Hernandez Daniela Torres Nadia Burciaga

PROGRAM NOTES

Four Ozark Dances, Op. 10 Three Cherokee Cosmogenic Legends, Op. 9 Jack Frederick Kilpatrick First Performance on this Series Born: September 23, 1915, near Stilwell Oklahoma Died: February 22, 1967, in Muskogee Oklahoma Both works composed in Oklahoma City and completed in 1940 Four Ozark Dances Premiered: 1941 by Victor Alessandro the Oklahoma City Symphony Instrumentation for Four Ozark Dances: two flutes (one doubles on piccolo), two oboes, two clarinets, bass clarinet, two bassoons, four horns, two trumpets in Bb, two trombones, bass trombone, tuba, timpani, cymbals, bass drum, bells, xylophone, and strings Three Cherokee Cosmogenic Legends Premier: Unknown Instrumentation for Three Cherokee Cosmogenic Legends: narrator, two flutes (one doubles on piccolo), two oboes, two clarinets, bass clarinet, two bassoons, four horns, three trumpets in Bb, two trombones, bass trombone, tuba, timpani, cymbals, bass drum, gong, snare drum, bells, triangle, and strings

were found at the University of Oklahoma. This discovery opened a window into the mediated intercultural and musical experiences of Kilpatrick and the Oklahoma Cherokee during the mid-twentieth century. Throughout his career Kilpatrick taught at Bacone College in Muskogee, Oklahoma, the Navy School of Music in Washington D.C., and Southern Methodist University in Dallas, Texas, eventually becoming the chairman of the Department of Music there; he was also the music critic for the Dallas Times Herald, and a program writer for the Dallas Symphony. In addition to his teaching and professional career he worked as the composer and arranger for the WPA Oklahoma Symphony Orchestra and had several premiers from the Indianapolis Symphony Orchestra, the San Antonio Symphony, and Oklahoma City Symphony Orchestra (now the Oklahoma City Philharmonic). His works were performed by an illustrious list of incredible conductors, including Leopold Stokowski, Hans Kindler, Thor Johnson, José Iturbi, Efrem Kurtz, Vladimir Golschmann, Walter Hendl, Victor Kolar, and Fabien Sevitzky. He also worked closely with Victor Alessandro, the Oklahoma City Philharmonic’s music director from 1938–1951, and Guy Fraser Harrison, the Oklahoma City Philharmonic’s music director from 1951–1973. The dance suite has been an important part of classical instrumental music since the 1600s and was a particularly popular structure during the Baroque era with famous examples by J.S. Bach, George Frederic Handel, and Francois Couperin with the familiar movement titles of Allemande, Sarabande, Gigue, Minuet, and Prelude. However, in the 20th century American composers began to create their own dance suites out of the popular dance music of their own time, with examples including Florence Price’s Suite of Dances (1933), featuring the southern black folk tunes Rabbit Foot, Hoe Cake, and Ticklin’ Toes, and Edward Kennedy “Duke” Ellington’s prolific dance suites featuring spirituals, blues songs, and work songs in large-scale compositions like Black, Brown and Beige (1943).

Self-identified Cherokee Native Jack Frederick Kilpatrick was born and raised in Stilwell Oklahoma (1915–1967). He composed one hundred and eighty-eight major works major works, including symphonies, concertos, and choral music, and additionally composed extensively for the screen and stage. Anna Gritts Kilpatrick and her husband Jack Frederick Kilpatrick are well known for their academic writing and work on preserving Cherokee performance traditions, histories, religion, and medicine. However, unknown to most, Kilpatrick is also believed to be one of the first professional American Indian classical composers. In a recent discovery, Kilpatrick’s personal manuscript collection and hand-written notes

The four movements of Jack Kilpatrick’s Four Ozark Dances consist of the folk music of his youth, featuring a joyous and playful reel, a graceful and bucolic waltz, a distinguished and grand dance song, and a final unpretentious, honest hornpipe. These songs take the listener back to the contradances and county fairs popular in the Ozarks during Kilpatrick’s youth and preserve and re-introduce audiences to the historical soundscapes of Oklahoma in the early 20th century. Both Four Ozark Dances and Three Cherokee Cosmogenic Legends were completed in 1940 and are indicative of Jack Frederick Kilpatrick’s early compositional style. During his early “Oklahoma” period (1938—1946), which consists of his first seventy opus numbers (out of one hundred and eighty-eight), Jack Kilpatrick’s music focused on the culture, land, and music of his native Stilwell, Oklahoma. In many of these early works, Kilpatrick uses the concert hall as a medium for transmitting cultural knowledge – of sharing and

PROGRAM NOTES preserving the culture he was raised in through orchestral scores and performances. It was not unusual for Kilpatrick to compose works that included narrator as he was drawn to also writing historical dramas and pageants. One of Kilpatrick’s seminal works, Symphony No. 8 “Oklahoma,” (1957) was commissioned by Guy Fraser and the Oklahoma City Symphony Orchestra and was orchestrated for narrator, tenor soloist, chorus, orchestra, and ballet dancers. Notable performers of this work included Will Rogers Jr. as narrator and Marie and Marjorie Tallchief as principal dancers. While in Four Ozark Dances Kilpatrick is preserving, sharing, and elevating the folk music he grew up listening to in Western Oklahoma in the Ozark Mountain range, in Three Cherokee Cosmogenic Legends, Kilpatrick is preserving and sharing cultural knowledge through narration and musical text painting.

Finally, Movement III: Origin of Fire, tells the story of how lightning struck an island and how the smallest of the animals, a tiny water spider, was the only one brave and clever enough to go fetch a coal to grant fire to the animals. Through direct orchestration choices, Kilpatrick represents the roll of thunder, flickering of fire, the fear of the shivering animals, and the bravery of the tiny water spider in this adventurous tale.

Three Cherokee Cosmogenic Legends, Op. 9 I. Origin of the Pleiades “Long ago, in the beginning there were some disobedient boys, playmates” “This is their story.”

During the 1930s and 40s, radio dramas were one of the leading forms of entertainment in the United States until the advent of television ended the Golden Age of Radio in the 1950s. Radio dramas depended on dialogue, music, and sound effects to help the listener imagine characters and stories. During this time, orchestral compositions – especially those written for nationally broadcast radio orchestras like the Oklahoma City Symphony – were heavily influenced by radio dramas, with famous examples of narrated orchestral compositions including Sergei Prokofiev’s Peter and the Wolf (1936) and Benjamin Britton’s Young Person’s Guide to the Orchestra (1945).

“Rather than work in the cornfields or learn the art of hunting they preferred to play ball all day long, around and around the council house.”

Drawing on these influences, and written for narrator and symphony orchestra, each movement of Three Cherokee Cosmogenic Legends, shares a different Cherokee origin story with the audience. Preserving and sharing origin stories, charm songs, and translations of Cherokee manuscripts on medicine and magic would remain a lifelong calling for both Jack and Anna, and Three Cherokee Cosmogenic Legends is a prime example of how Jack Kilpatrick used the popular styles of classical composition during his time to further he and his wife’s work as Cherokee preservationists, translators, and historians.

“But it was too late.”

Movement I: Origin of the Pleiades tells the story of how the star constellation Pleiades, popularly known today as the Seven Sisters, came to be through the tragic choices of unruly children. Through the whirling woodwind figures and a stern horn and oboe duet, the music paints the picture of children playing and crashing around the house, parents lecturing, and finally the children’s slow ascent into the heavens. Movement II: Origin of Medicine tells the story of how animals, in response to being hunted and killed by humans, cursed them with disease and sickness. In response, plants, mistreated themselves by the animals and used for food, decide to save humanity through their healing leaves and medicines. Listeners can hear the rage of the Great Animals and the heroism and kindness of the plants council through clear and affective text painting.

“Their parents pleaded with them to give up their idle ways.” “But soon they were back at their games, around and around the council house.” “Said their parents: “since you must play, you shall not eat” “Ah-yo! ah-yo! cried the boys, ‘since our parents treat us this way, we shall pray to the spirits to take us away from them.” “‘Do not leave us!’ implored their parents” “The whirling boys were by now leaving the ground, and soon were whirled up into heaven!” II. Origin of Medicine “In solemn council met the Great Animals, to curse mankind with sickness and disease” “’Man has slain our brothers!’ they said.” “Hearing of this, the kind Plants held a council of their own.” “’We shall help mankind with our healing leaves. The Great Animals devour us, they are our enemies.’” “And that’s the way it happened, the cursing of all mankind by the Great Animals.” III. Origin of Fire “Once the earth was cold and dark, and the heavens stormy” “In the middle of a great lake was an island, and in this island there was a hollow sycamore tree which was struck by a great bolt of lightning, setting it afire.” “At last, the brave and cunning little Water Spider, one of the smallest of animals, set himself to get a coal, while the other animals watched anxiously” CONTINUED ON PAGE 36

PROGRAM NOTES

“Snatching up a coal in his web, he brought it back in triumph.” — Kilpatrick Program Notes written by Dr. Christina Giacona

Ghost of the White Deer (bassoon concerto) Jerod Impichchaachaaha’ Tate First Performance on this Series

Recent commissions include Shell Shaker: A Chickasaw Opera for Mount Holyoke Symphony Orchestra, Ghost of the White Deer, Concerto for Bassoon and Orchestra for Dallas Symphony Orchestra, Hózhó (Navajo Strong) and Ithánali (I Know) for White Snake Opera Company. His music was recently featured on the HBO series Westworld. His commissioned works have been performed by the National Symphony Orchestra, San Francisco Symphony and Chorus, Dallas Symphony Orchestra, Detroit Symphony Orchestra, Minnesota Orchestra, Buffalo Philharmonic Orchestra, Oklahoma City Philharmonic, Winnipeg Symphony Orchestra, South Dakota Symphony Orchestra, Colorado Ballet, Canterbury Voices, Dale Warland Singers, Santa Fe Desert Chorale and Santa Fe Chamber Music Festival. Tate has held Composer-in-Residence positions for Music Alive, a national residency program of the League of American Orchestras and New Music USA, the Joyce Foundation/American Composers Forum, Oklahoma City’s NewView Summer Academy, Oklahoma Medical Research Foundation and Grand Canyon Music Festival Native American Composer Apprentice Project. Tate was the founding composition instructor for the Chickasaw Summer Arts Academy and has taught composition to American Indian high school students in Minneapolis, the Hopi, Navajo and Lummi reservations and Native students in Toronto. Mr. Tate is a three-time commissioned recipient from the American Composers Forum, a Chamber Music America’s Classical Commissioning Program recipient, a Cleveland Institute of Music Alumni Achievement Award recipient, a governor-appointed Creativity Ambassador for the State of Oklahoma and an Emmy Award winner for his work on the Oklahoma Educational Television Authority documentary, The Science of Composing.

Jerod Impichchaachaaha’ Tate, is a classical composer, citizen of the Chickasaw Nation in Oklahoma and is dedicated to the development of American Indian classical composition. His Washington Post review states that “Tate is rare as an American Indian composer of classical music. Rarer still is his ability to effectively infuse classical music with American Indian nationalism.” Tate is a 2022 Chickasaw Hall of Fame inductee, a 2022 Distinguished Alumni Award recipient from The Cleveland Institute of Music and was appointed 2021 Cultural Ambassador for the U. S. Department of State. He is Guest Composer/Conductor/Pianist for San Francisco Symphony Currents Program Thunder Song: American Indian Musical Cultures and was recently Guest Composer for Metropolitan Museum of Art’s Balcony Bar Program Home with ETHEL and Friends, featuring his commissioned work Pisachi (Reveal) for String Quartet.

In addition to his work based upon his Chickasaw culture, Tate has worked with the music and language of multiple tribes, such as: Choctaw, Navajo, Cherokee, Ojibway, Creek, Pechanga, Comanche, Lakota, Hopi, Tlingit, Lenape, Tongva, Shawnee, Caddo, Ute, Aleut, Shoshone, Cree, Paiute and Salish/Kootenai. Among available recorded works are Iholba‘ (The Vision) for Solo Flute, Orchestra and Chorus and Tracing Mississippi, Concerto for Flute and Orchestra, recorded by the San Francisco Symphony Orchestra and Chorus, on the Grammy Award winning label Azica Records. Tate earned his Bachelor of Music in Piano Performance from Northwestern University, where he studied with Dr. Donald Isaak, and his Master of Music in Piano Performance and Composition from The Cleveland Institute of Music, where he studied with Elizabeth Pastor and Dr. Donald Erb. He has performed as First Keyboard on the Broadway national tours of Les Misérables and Miss Saigon and been a guest pianist and accompanist for the Colorado Ballet, Hartford Ballet and numerous ballet and dance companies.

PROGRAM NOTES Mr. Tate’s middle name, Impichchaachaaha’, means “his high corncrib” and is his inherited traditional Chickasaw house name. A corncrib is a small hut used for the storage of corn and other vegetables. In traditional Chickasaw culture, the corncrib was built high off the ground on stilts to keep its contents safe from foraging animals.

Ghost of the White Deer is a romantic and dramatic bassoon concerto which tells the legend of two young Chickasaw Indians in love. In this concerto, the bassoon depicts all aspects of the characters, specifically the timbre and calling of the sacred white deer. The story is as follows: A brave and young Chikasha warrior, Blue Jay, fell in love with Bright Moon, the daughter of a Minko (Chief). The Minko did not like the young man, so he created a price for the bride that he was sure Blue Jay could not pay. “Bring me the hide of the White Deer,” said the Minko. The Chikasha believed that all white animals were magical. “The price for my daughter is one white deer,” the Minko laughed. He knew that an albino deer was very rare and would be very hard to find. White deerskin was the best material to use in a wedding dress, and the best white deer skin came from the albino deer. Blue Jay went to his beloved, Bright Moon. “In one moon’s time, I will return with your bride price and we will be married. This I promise you.” Taking his best bow and his sharpest arrows, Blue Jay began to hunt. Three weeks went by. Blue Jay was hungry, lonely, and scratched by briars. Then, one night during a full moon, Blue Jay saw a white deer, who seemed to drift through the moonlight. When the deer was very close to where Blue Jay hid, he shot his sharpest arrow. The arrow sank deep into the deer’s heart. But instead of sinking to his knees to die, the deer began to run. Instead of running away, he charged straight toward Blue Jay, with his red eyes glowing and his horns sharp and menacing…

Out of the Ashes Ghost of the White Deer

Ghost of the White Deer was commissioned by Ted Soluri, Principal Bassoon of the Dallas Symphony Orchestra. — Program Notes written by Composer Jerod Tate

La noche de los mayas (The Night of the Mayas) Silvestre Revueltas Sánchez First Performance on this Series Born: December 31, 1899, in Santiago Papasquiaro, Durango, Mexico Died: October 5, 1940, in Mexico City Work composed: 1939 (likely late April and May) as a score for the film of the same name Work premiered: September 7, 1939, at the film’s pre-release screening at the Cine Alameda in Mexico City Concert version: The four-movement suite played here was arranged and edited by José Ives Limantour (1919-76) in 1960 and was premiered January 31, 1961, in Guadalajara, Jalisco, Mexico, with Limantour conducting the Guadalajara Symphony Orchestra Instrumentation: Two flutes (doubling piccolos), two oboes, two clarinets (doubling E-flat clarinets) and bass clarinet, two bassoons, four horns, three trumpets, two trombones, tuba, piano, timpani, and strings, as well as a large percussion section comprising timpani, bongos, deep congo, tom-tom, güiro, metal rattle, tumkul (a large drum made from the zapote tree, with two tongues high on the drum yielding distinct pitches; replaced if desired by two deep woodblocks of different pitches), caracol (conch shell, replaced if desired by a tenor tuba), bass drum, Indian drum, drum with snares, drum without snares, tamtam, and xylophone

A month passed and Blue Jay did not return as he had promised Bright Moon. After months of waiting, the tribe decided that he would never return. But Bright Moon never took any other young man as a husband, for she had a secret. When the moon was shining as brightly as her name, Bright Moon would often see the white deer in the smoke of the campfire, running, with an arrow in his heart. She lived believing the deer would finally fall, and Blue Jay would return. The concerto is a continuous work, delineated by the sections entitled: Prelude Laughing Minko The Forest Shared Dreams Dawn/Sunrise

Silvestre Revueltas entered the world at the dawn of the 20th century—literally, since he was born on the very last day of 1899—and in his short, messy life he staked an essential place CONTINUED ON PAGE 38

PROGRAM NOTES

in the currents of modernism that were then emerging in his country. He came of age during the blood-soaked decade of the Mexican Revolution, which drew to an end in 1920. By 1917, Mexican schools were in such disarray that his father sent him and his brother Fermín (who would become a noted painter) to St. Edward’s College, a high school in Austin, Texas; and in 1919 the brothers continued to Chicago, where Fermín enrolled at the Art Institute of Chicago and Silvestre at the Chicago Musical College (later incorporated into Roosevelt University), where he developed into a highly accomplished violinist. Revueltas shuffled back and forth between the United States and Mexico for much of his life. In his home country he rose in professional stature to become violin professor at the National Conservatory and assistant conductor of the Mexico Symphony Orchestra. His affiliation with that orchestra, which lasted from 1929-35, helped jump-start his largely unrealized instincts as a composer. Though his catalogue is not vast, it includes some dozen works for small orchestra, about the same of chamber music, a fair amount of vocal music, two ballets, and a significant body of work for theatre and cinema. In fact, his output is larger than one might expect, since it represents essentially ten years of work that were seriously impacted by his alcoholism and even, beginning in 1936, sporadic confinement to a psychiatric hospital. He was strongly drawn to composing for cinema, which was viewed not merely as an entertainment genre but indeed as a medium for social commentary and political expression. The penultimate of his eight film score dates from 1939: La noche de los mayas (The Night of the Mayas), directed by the largely forgotten Chano Urueta (see sidebar). The film was shot from February through April 1939, mostly at Mayan sites such as Cichén Itzá in the state of Yucatán and Tulum in Quintana Roo. It was received with interest at its premiere but it has not aged gracefully. Revueltas’ score fared better in posterity than would the movie for which it was written. In 1960 the composer and conductor José Ives (or Yves) Limantour arranged the film score as a four-movement suite balanced rather in the mold of a traditional symphony. The opening movement begins and ends with wide-open intervals and a melody intoned at parallel intervals, a time-honored evocation of the primeval. The opening gives way to a delicate expanse in which the principal melody is played by solo flute against murmuring repeated notes in the strings and, later, the second clarinet. “Noche de Jaranas,” the second movement, refers to a quick dance derived from the Spanish fandango. The meter alternates between rapid 5/8 and 6/8 time, which the strings, sometimes reinforced by winds and percussion, spin out as a sparkling perpetual motion against which brass instruments occasionally play heroic phrases. After this scherzo, “Noche de Yucatán” serves as a symphonic slow movement, opening with Stravinskian “mouth-organ harmonies” but soon growing so chromatic as to sound momentarily Wagnerian. Midway through, the tender introspection yields to an actual Mayan song played by solo flute, low in its register, accompanied

only by a drone bass and simple drum rhythms. The movement segues seamlessly to “Noche de encantamiento,” a transition marked by the arrival of sudden quiet arpeggios in the clarinets and a mysterious melody from the solo oboe. Thus begins the finale, a theme-and-variations set that grows into one of the “sonic spectaculars” of the orchestral repertoire. A propulsive melodic motif emerges in the depths of the orchestra and rises through the octaves, building up into a complex chord (played fortississimo by the brasses) that resolves into an orgy of percussion. Revueltas notes in his score that the percussion section is subdivided into four groups and that, at one point, “each individual group should be given the opportunity to improvise freely on its basic rhythm whilst the other three accompany these players until it is their turn to improvise.” Four variations follow, and after that the battery continues at full force as the primitivistic music from the opening of the suite returns, now against pounding percussion, to bring La noche de los mayas to a thundering close. — Program Notes written by James M. Keller

PROGRAM NOTES WRITTEN BY:

DR. CHRISTINA GIACONA JAMES M. KELLER James M. Keller is the longtime Program Annotator of the San Francisco Symphony and was formerly Program Annotator of the New York Philharmonic and a staff writer-editor at The New Yorker. The author of Chamber Music: A Listener’s Guide (Oxford University Press), he is writing a sequel volume about piano music for the same publisher.

COMPOSER JEROD TATE

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William and Mary Ann Corum Sally Crawford Gail and Bruce Daniels Mr. and Mrs. Charles T. Davis Merle and Elizabeth Davis Carole Doerner William Dooley Brandon Downey Arnold and Mari Fagin Mrs. Betty Foster Mr. and Mrs. John E. Frank Steven Graham and Vicky Leloie Kelly Robert Gray Dr. and Mrs. John E. Grunow Curtis and Mimi Hendricks Judy Hill Patsy Hooten Michael Kellogg Mrs. Lou Kerr Mr. and Mrs. Wes Knight Cinda Lafferty Robert Leveridge Rosemary and Paul Lewis David Lynch Allison Matoi Gerry Mayes Lt. Col. Terry L. Mock Steven Newell and Deborah Naylor Dr. and Mrs. Michael Fred Robinson Mr. and Mrs. Arthur J. Rus Drs. Lois and John Salmeron Ernesto and Lin Sanchez Mr. John Schwind Jody and Pat Smith Paul and Carolyn Specht Rick Spence Chris Steves Reta and Richard Strubhar Greg Taber David and Peggy Tanner Bethany Toombs Mr. and Mrs. Lawrence Towell Ronald Ward Dick Wegener Elaine Weise Phillip and Ashton Whaley John and Cheryl White Ghita Williams Jim and Polly Worthington Mr. and Mrs. Don T. Zachritz

SPECIAL GIFTS TO THE PHILHARMONIC Honor loved ones, celebrate occasions, recognize achievements and support the Philharmonic’s mission. In Memory of Florence Birdwell Dr. Robyn Birdwell and Dr. Mark Fixley In Memory of Joyce Bishop Margaret and Drake Keith

In Memory of Michael Reaves Tom and Dorothy Hays Margaret and Drake Keith Steven and Nancy Krause Peter and Kris Markes Ms. Vicki Williams

In Memory of Dr. John M. Carey Jay and Linda Leemaster Cliff and Vickie Miller

In Memory of Malcolm Robinson, MD Susan Robinson

In Memory of Earl J. Cheek Cindy and John Crittenden Vickie Norick

In Honor of Paulette Schroeder Shirley Jones

In Memory of William B. and Helen P. Cleary Steven C. Agee, Ph.D. Marilyn and Bill Boettger Louise Cleary Cannon Mr. and Mrs. Andrew J. Evans, II In Memory of Herschal Crow Betty Crow In Honor of Jane B. Harlow Louise Cleary Cannon and Gerry Cannon In Memory of Katherine A. Kirk D. Benham and Cheryl Kirk In Honor of Paul B. Lindsey Midge Lindsey

In Memory of Sharon Shelton Linda and Patrick Alexander Dr. Sterling and Cheryl Baker Stuart and Jill Bombel Carol Cooley John and Sue Francis Beth and James Hammack Marvin and Peggy Lunde In Honor of Jeff and Sally Starling Linda and Carl Bosteels Larry and Polly Nichols In Honor of Emily Stoops Betsy Banks In Honor of Donna Vogel Donna McCampbell In Honor of Irv Wagner Jody and Pat Smith

In Honor of June H. Parry Anonymous

THANK YOU! The OKCPHIL gratefully acknowledges the generosity of individuals who have chosen to return concert tickets as a donation. This recognition reflects contributions made in the 2021-22 concert season and are listed through February 7, 2022. Anonymous Dr. Lisa Abney Hugh G. and Sharon Adams Steven C. Agee, Ph.D. Ms. Beth M. Alonso Mary Ellen Anderson Dr. and Mrs. Dewayne Andrews Dr. and Mrs. John C. Andrus Dr. Henry and Carol Asin Tom and Fran Ayres Dr. Sterling and Cheryl Baker Mr. J. Edward Barth Elizabeth Bennett Ann Beutel Mr. and Mrs. Kenneth Brown Barbara and Gregory Cable Nancy Cain Jennifer Clair Dr. Thomas Coniglione Teresa Cooper Ms. Joan Corbin William and Mary Ann Corum

Lawrence H. and Ronna C. Davis Carol A. Davito Dr. Nancy Dawson Richard and Cindy Dugger Dr. and Mrs. Royice B. Everett Arnold and Mari Fagin Ret. MSGT and Mrs. Andres E. Flores, Jr. Gerald and Jane Jayroe Gamble Ruth Giddens Greg and Robin Glenn Robert Gray Marsha and John Greiner Marcine Grey Janet Gruel Kirk Hammons Brent Hart and Matt Thomas Karen Hennes Frank and Bette Jo Hill Jane Hogg-Krizer Wendy Huff John Rollin Koons

1100 N. Walker Oklahoma City, OK 73102 405-232-0363 Family Owned & Operated in OKC since 1946

Bring program in and get 10% off through 2022

Mary Jane Lawson Kathy Leithner Robert Leveridge Virginia Locke Lisa Loewenkamp Debra and Wayne Lord Roy and Sharron Love Kareen Man Ms. Vickie McIlvoy Betsy Mitschke and Steven Helt Debra and Don Nevard Steven Newell and Deborah Naylor Chintan Parikh Anne Marie and Jerry Parker Kathy Pearson Gary Rankin Dr. Cynthia Redding Mr. and Mrs. Sheldon M. Reznik Jim and Claudia Robertson Dr. and Mrs. Michael Fred Robinson Dr. Linda Rowland Woody, Ph.D. Carl J. and Deborah Rubenstein

Ernesto and Lin Sanchez Delilah Sanderson Dr. and Mrs. Olaseinde Sawyerr Mr. John Schwind Pam and Bill Shdeed Jerrod and Jamie Shouse Mr. Richard L. Sias John and Katherine Spaid Tom and Venita Springfield Jim and Debbie Stelter Chris Steves Reta and Richard Strubhar Sarah Tracy Diane Tucker Mrs. June Tucker Donna Kennedy Vogel Christopher Weimer Robert and Tammy Weiss Phillip and Ashton Whaley Mary Ann Williams Paul Wilson Mr. and Mrs. Don T. Zachritz

QUALITY CHICKEN

FINGER

MEALS A Preferred Restaurant of the Oklahoma City Philharmonic

23rd & Penn, Oklahoma City Sun-Thurs 10am-11pm | Fri & Sat 10am-Midnight

WEITZENHOFFER FAMILY COLLEGE OF FINE ARTS

UNIVERSITY THEATRE

The UNIVERSITY of OKLAHOMA

University Theatre invites you to join us for an intriguing lineup of dance, musicals, plays and opera productions that inspire the imagination!

MAD FOREST

A PLAY FROM ROMANIA

A gripping dramatic play by Caryl Churchill. Sept. 24 – Oct. 3, 2021

SHE LOVES ME

OUR PLATINUM SEASON

BACH’S COFFEE CANTATA

70th CONSECUTIVE YEAR!

LA SERVA PADRONA

AWARD-WINNING OPERA & MUSIC THEATER

A heart-warming romantic musical comedy. Oct. 15 – 24, 2021 by Johann Sebastian Bach

by Giovanni Battista Pergolesi Two one-act operas brimming with comedic entertainment. Nov. 11 – 14, 2021

CONTEMPORARY DANCE OKLAHOMA

Energetic and extraordinary modern dance works with guest choreography by Sidra Bell, Gus Solomons Jr. and Tommie-Waheed Evans. Dec. 3 – 11, 2021

Oct. 1-3

Nov. 5-7

MAINSTAGE MUSICAL CHILDREN OF EDEN

SPOTLIGHT MUSICAL CABARET

YOUNG CHOREOGRAPHERS’ SHOWCASE A perennial favorite featuring exciting, imaginative choreography by School of Dance students with lighting design by Helmerich School of Drama students. Jan. 27 – 30, 2022

THE SCARLET LETTER

Nov. 19-21 MAINSTAGE OPERA THE THREEPENNY OPERA

This compelling new opera composed by Lori Laitman is a cautionary tale of puritanical patriarchy. Feb. 10 – 13, 2022

Feb. 18-20

A MIDSUMMER NIGHT’S DREAM

MAINSTAGE OPERA LITTLE WOMEN

Shakespeare’s comic fantasy of four star-crossed lovers who find themselves bewitched by fairies. Feb. 25 – March 6, 2022

Featuring guest conductor Alexander Mickelthwate

PIPPIN

This Tony Award-winning musical tells the story of one young man’s journey to be extraordinary. April 1 – 10, 2022

OKLAHOMA FESTIVAL BALLET

Featuring The Sleeping Beauty Suite with additional exciting choreography by Robyn Mineko Williams. April 22 – May 1, 2022

OU Fine Arts Box Office

(405) 325-4101 theatre.ou.edu

The University of Oklahoma is an equal opportunity institution. www.ou.edu/eoo

This advertisement issued by the University of Oklahoma costs $775 to the taxpayers of Oklahoma.

Feb. 25-27

Apr. 22-24

SPOTLIGHT MUSICAL LEGALLY BLONDE

MAINSTAGE MUSICAL IN THE HEIGHTS

TICKETS

www.okcu.edu/tickets

www.okcu.edu/music

PROUD SUPPORTERS OF THE PHILHARMONIC

EDMOND

BETHANY

OKC MIDWEST CITY

NORMAN

24/7 SECURE ACCESS | FREE MOVING TRUCKS | 9 CONVENIENT LOCATIONS

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HOUSE NOTES

REVISED COVID 19 HEALTH AND SAFETY PROTOCOLS (AS OF 3/31/2022): • Masks optional. RESTROOMS are conveniently located on all levels of the theater. Please ask your usher for guidance. LATECOMERS and those who exit the theater during the performance may be seated during the first convenient pause, as determined by the management. ELECTRONIC DEVICES must be turned off and put away during the performance (no calling, texting, photo or video use please). BEVERAGES: Bottled water is permitted in the theater at the Classics Series concerts. Beverages are permitted in the theater at the Pops Series concerts; however, bringing coffee into the theater is discouraged due to the aroma. SMOKING in the Civic Center Music Hall is prohibited. The Oklahoma City Philharmonic promotes a fragrance-free environment for the convenience of our patrons. FIRE EXITS are located on all levels and marked accordingly. Please note the nearest exit for use in case of an emergency. ELEVATORS are located at the south end of the atrium of the Civic Center Music Hall. CHILDREN of all ages are welcome at the Philharmonic Discovery Family Series and Holiday Pops performances; however, in consideration of the patrons, musicians and artists, those five years and under will not be admitted to evening Classics and Pops concerts unless otherwise noted. BOOSTER SEATS for children are available in the Civic Center lobby. Please inquire at the Box Office. VIDEO MONITORS are located in the lobby for your convenience. WHEELCHAIR AVAILABLE SEATING – Persons using wheelchairs or with walking and climbing difficulties will be accommodated when possible. Those wishing to use the designated wheelchair sections may purchase the wheelchair space and a companion seat. Please inform the Philharmonic or Civic Center Box Office staff of your need when ordering tickets so that you may be served promptly and appropriately. Please request the assistance of hall ushers to access wheelchair seating. HEARING LOOPS have been installed. Ask your audiologist to activate the telecoil in your hearing aid or cochlear implant. Due to the mechanics of the stage, the hearing loops do not reach the pit section but are available at the Box Office and the Thelma Gaylord Performing Arts Theatre. The copper wire in the floor and telecoil work together to connect the hearing device to the theater’s sound system using a magnetic field which dramatically improves sound clarity for patrons using hearing devices. LOST & FOUND is located in the Civic Center office (405-594-8300) weekdays 8:30 a.m. – 5:00 p.m. PHILHARMONIC TICKET OFFICE may be contacted by calling 405-TIC-KETS (405-842-5387) or you can visit the Philharmonic Ticket Office located on the first floor of the Arts District Garage at 424 Colcord Drive in Suite B. The Philharmonic Ticket Office is open Monday through Friday, 10:00 a.m. to 5:00 p.m. and by phone on concert Saturdays from 10:00 a.m. to 2:00 p.m. CIVIC CENTER BOX OFFICE hours are Monday through Friday, 10:00 a.m. to 6:00 p.m. and two hours prior to each performance. (405-594-8300) Artists, Dates, and Programs Subject to Change.