OKCPHIL program edition 1 for the 22-23 season

CLASSICS

Opening Night SEP 17, 2022 Garrick Ohlsson, piano PG. 25

CLASSICS

Mahler’s Vienna OCT 15, 2022 PG. 31

POPS

Happy 90th, John Williams!

NOV 4 & 5, 2022 PG. 37

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

CLASSICS

Bolero!

NOV 12, 2022 Joseph Young, guest conductor Pepe Romero, guitar PG. 41

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JANE JAYROE GAMBLE, President Oklahoma Philharmonic Society, Inc. Welcome to this time of magnificent music by The Oklahoma City Philharmonic Orchestra. As we begin this thirty-fourth season, it is with enormous gratitude to each of you for sharing the music, for supporting our musicians, and for applauding our extra efforts to educate as well as perform. For decades, you have said this type of artistic excellence makes a difference. It not only provides high quality entertainment but it helps define a great city—our city.

It is my greatest privilege to serve as President of the OKCPHIL board this season. Our leadership team is strong, our musicians are extraordinary, and our board is dedicated.

The past few years have been an enormous challenge to everyone, leaving scars and divisions, as well as losses. Music is one way back to wholeness – individually and as a community. Let’s not miss a beat, as the Philharmonic presents a stunning season under the creative direction of Maestro Alexander Mickelthwate with some of the nation’s most outstanding artists. Executive Director Agnieszka Rakhmatullaev and her dedicated team will assure successful programming and continual growth and service in our community. Also, thanks to the Orchestra League and the Associate Board for their volunteer efforts.

We’re all a dedicated and musical family!

This is the season to be a part of something grand that is yours to claim and enjoy. Be proud, OKC, we have so much to celebrate together. Hallelujah!

DEBRA KOS, President Oklahoma City Orchestra League The Oklahoma City Orchestra League is honored to welcome you to the 34th season of the OKC Philharmonic. We are excited about the lineup presented by our wonderful Maestro, Alexander Mickelthwate, and our talented OKCPHIL musicians!

This year, it is my privilege to serve as President of the Orchestra League, and we will continue with our mission to educate, enrich, and inspire our community by supporting orchestral music and promoting volunteerism. Our social activities and fundraising efforts provide support to the Oklahoma City Philharmonic, and our educational programs and instrumental competitions promote inspiration and inclusion to our community at large. As always, we look forward to welcoming you to our annual Symphony Show House and other special events.

If music is the universal language of mankind, uniting us all by providing connection and inspiration, then we say “let the music play”!

DESIREE SINGER, President Associate Board On behalf of the Oklahoma City Philharmonic Associate Board, it is my privilege to welcome you to the 2022-2023 season!

This season is brimming with dynamic and diverse programming that will resonate with everyone.

From works that graced the Silver Screen, to an evening in Vienna, to a one-of-a-kind work commissioned by your OKC Philharmonic honoring the 100th birthday of the great Civil Rights icon and native Oklahoman, Clara Luper , this season is sure to excite.

The mission of the Associate Board is to provide an environment for young professionals to cultivate a love for the orchestral arts and connections with others who value what the arts add to our beautiful city. To do this, we have created the Overture Society, a threeconcert package that also provides other opportunities to socialize, network and serve the community.

Consider joining the Overture Society today and show your support for OKC’s arts. We are excited to have you!

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AGNIESZKA RAKHMATULL AE V

On behalf of the entire OKCPHIL Family, welcome to our 2022-23 Season! We are thrilled to present another year of phenomenal performances and programs, as we continue to serve our mission of providing joy and inspiration through orchestral music to our community.

This season’s Inasmuch Foundation Classics Series continues to present orchestral staples, such as Mahler’s Fifth Symphony, Stravinsky’s “The Rite of Spring,” and Mussorgsky’s “Pictures at an Exhibition.” We will bring onto our stage some of the most renowned artists of the world, including pianist Garrick Ohlsson, guitar legend Pepe Romero, percussionist Evelyn Glennie, and violin virtuoso Joshua Bell. Our season finale will feature OKCPHIL’s large-scale commission by award-winning composer Hannibal Lokumbe to celebrate the Centennial of civil right activist Clara Luper.

The Chickasaw Nation Pops Series continues to present diverse offerings of highest caliber: the 90th Birthday Celebration of John Williams, a special Christmas program featuring the Grammy and Emmy nominated artist Michael Feinstein, an evening with Oklahoma’s beloved Kelli O’Hara, and much more. This fantastic lineup is not to be missed, so bring along your family, friends, colleagues, and neighbors to enjoy a special evening of musical entertainment!

Additionally, the OKCPHIL continues its commitment to offering accessible music, both in the hall and across our region, through a great variety of Education and Community Engagement programs. From our free outdoor orchestral concerts at the Scissortail Park, annual “Youth Concerts” for elementary school students, “Society of Strings” program for adult amateur string players, and Young Musician Competition for talented players, these initiatives continue to serve thousands of Oklahomans of all ages.

We are deeply grateful for your ongoing loyalty, support, and generosity that makes all of this possible. Your individual ticket purchases, season subscriptions, and annual fund donations allow us to deepen our impact in the community in numerous ways. As we continue to navigate some challenging times, the OKCPHIL remains committed to bringing high-caliber orchestral performances and accessible Education and Community and Engagement programs to our community, while partnering with various organizations and elevating the quality of life in our beautiful state.

Thank you and we look forward to seeing you at our concerts throughout this season!

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ALE XANDER MICKELTHWATE

When Alexander Mickelthwate told his young son Jack they were moving from Winnipeg, Canada, to Oklahoma City, his first thought was: “But Dad, they have tornadoes there!”

It was 2018, and Mickelthwate had just accepted a new position as Music Director of the Oklahoma City Philharmonic. Tornadoes aside, he knew instinctively Oklahoma City would be a good fit—both personally and professionally.

“We spent 12 years in Winnipeg,” Mickelthwate said, “And I also lived in Los Angeles and New York City. But Oklahoma—it is a perfect fit. For my wife and our two sons, it gives us the feeling of a large city, yet small enough to have a sense of community. And leading our state’s premiere orchestra is an amazing opportunity.”

Mickelthwate was born and raised in Frankfurt, Germany. He received his degree from the Peabody Institute of Music, and has worked with orchestras in Atlanta, Winnipeg and Los Angeles.

He is Music Director Emeritus of the Winnipeg Symphony Orchestra in Canada, and in 2022 Mickelthwate accepted the position of Music Director for the prestigious Bear Valley Music Festival in Bear Valley, California.

As he begins his fifth season with the OKCPHIL, Mickelthwate has become quite aware of what his hometown audiences want in a performance—sometimes traditional, sometimes innovative, but always with a good dose of enthusiasm.

“My wife Abigail and I celebrated our 25th anniversary at ‘Nonesuch’ restaurant,” Mickelthwate said. “Our meal consisted of a number of different dishes—some familiar, and some new and exciting. As I sampled each course, I thought that’s how our programming is. We are giving our audiences the traditional music they love, but also letting them experience a new palate.”

Giving back to the community is an important role Mickelthwate takes seriously. After guest conducting the Simon Bolivar Orchestra in Venezuela and experiencing the life-changing power of the El Sistema program, he played an instrumental part in creating Sistema Winnipeg.

Mickelthwate has embraced Oklahoma City and it’s rich and colorful tapestry. Artistically, he has programmed several concerts with a Native American theme, and has created some touching tributes to our city’s history. Two years ago, he led the commissioning of a special piece for the 25th anniversary of the Oklahoma City bombing, and this season the OKCPHIL presents an original work celebrating the centennial of civil rights icon Clara Luper.

“I have so much I want to do,” Mickelthwate said. “I want Oklahoma City to think of us as part of the family. If you’re a regular patron, we thank you. If you’re new to the OKCPHIL, welcome—we are thrilled you’re here!

“I believe music has a healing effect,” he continued. “It goes straight to the heart, and it unites us all. I truly love Oklahoma City and am so proud to be part of the community.”

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O K L A H O M A P H I L H A R M O N I C S O C I E T Y, I N C P R O V I D I N G

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THE BOARD OF DIRECTORS LIFETIME DIRECTORS Jane B. Harlow Patrick Alexander

OFFICERS Jane Jayroe Gamble President Jerrod Shouse President Elect

Craig Perry Jim Roth Amalia Miranda Silverstein Doug Stussi Michael Sweeney Geetika Verma Renate Wiggin Nick Wu

DIRECTORS Phil Busey Louise Cleary Cannon Robert Clements Joy Hammons Kirk Hammons Dean Jackson Mautra Staley Jones Debra Kos Kristian Kos Jessica Martinez-Brooks Margaret Freede Owens

Kelly Sachs Vice President Kevin Dunnington Treasurer Jennifer Schultz Secretary Brent Hart Immediate Past President

ADMINISTRATIVE STAFF John Allen General Manager

Judy Hill Administrative Assistant

Allison Demand Concert Operations Assistant and Guest Artist Liaison

Mark Beutler Director of Marketing & Public Relations

Stephen Howard Development Operations Manager

Jeana Gering Education Manager

Daryl Jones Box Office Operations Manager

Blossom Crews Director of Development

Daniel Hardt Finance Director

Jared Davis Customer Service Representative

Mady Hendryx Donor & Volunteer Relations Coordinator

Agnieszka Rakhmatullaev Executive Director Corbin Taggart Marketing 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, Simon Hurst, Mutz Photography, and Shevaun Williams and Associates

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

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A F F I L I AT E D PA R T N E R S The Oklahoma City Philharmonic Foundation was established to provide leadership and endowment expertise to help ensure a stable financial base for orchestral music and musical excellence in Oklahoma City for generations to come. Distributions from the Oklahoma City Philharmonic Foundation provide a meaningful and secure source of annual income for the Philharmonic’s operations, continually confirming the importance of endowment in an organization’s long-range planning and overall success.

Current officers and directors of the Oklahoma City Philharmonic Foundation are: OFFICERS 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 Paul Dudman 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 Erik Salazar Jeff Starling Richard Tanenbaum Jerod Tate 14

EXECUTIVE COMMITTEE

OFFICERS

Debra Kos President

Desiree Singer President

Geetika Verma President-Elect

Pending President-Elect

Newt Brown Treasurer

J. Cruise Berry Treasurer

Meredith Blecha-Wells Development VP Marion Burcham Membership VP Joan Bryant Communications VP Kristen Ferate 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

James Hulsey Membership Chair Kelsey Karper Marketing Chair DIRECTORS Dr. Genevieve Clarkson Cordon DeKock Tom Lerum Patrick E. Randall, II Jennifer Stadler

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ALEXANDER MICKELTHWATE, Music Director and Conductor JOEL LEVINE, Founder and Music Director Emeritus AGNIESZKA RAKHMATULLAEV, Executive Director FIRST VIOLIN Gregory Lee, Concertmaster Marat Gabdullin, Associate Concertmaster Densi Rushing, Assistant Concertmaster Yena Lee Hong Zhu Beth Sievers Jamie Thomson Deborah McDonald Lu Deng SECOND VIOLIN Katrin Stamatis, Principal Catherine Reaves, Assistant Principal Sophia Ro Sarah Sanford Brown Corbin Mace Angelica Pereira Yajing Cindy Zhang VIOLA Royce McLarry, Principal Mark Neumann, Assistant Principal Joseph Guevara Kelli Ingels Steve Waddell Donna Cain Brian Frew CELLO Jonathan Ruck, Principal Tomasz Zieba*, Assistant Principal Meredith Blecha-Wells** Valorie Tatge Emily Stoops Jim Shelley Angelika Machnik-Jones Jean Statham BASS Anthony Stoops, Principal Larry Moore, Assistant Principal Parvin Smith Mark Osborn

FLUTE Valerie Watts, Principal Parthena Owens Nancy Stizza-Ortega PICCOLO Nancy Stizza-Ortega OBOE Lisa Harvey-Reed, Principal Rachel Maczko Katherine McLemore ENGLISH HORN Rachel Maczko

TUBA Ted Cox, Principal HARP Gaye LeBlanc, Principal PIANO/CELESTE Peggy Payne** TIMPANI Jamie Whitmarsh, Principal PERCUSSION Patrick Womack, Principal Roger Owens

CLARINET Bradford Behn, Principal Tara Heitz Jim Meiller

* On Leave for 2022-23 Season ** On Leave for partial Season

BASS CLARINET Jim Meiller

Substitute/Extra Musicians Gena Alexander, Ashley Allison, Lacie Bowlware, Rob Bradshaw, Ai-Wei Chang, Ashley Cooper, Lydia Consilvio, Will Coppoc, Christine Craddock, Gina Davis, Jared Davis, Paulo Eskitch, Chandler Fadero, Patti Gaddis, Keith Hendricks, Jake Johnson, Kara Koehn, Michael Mann, Derek Matthesen, Caleb Mitchum, Peggy Moran, Sarah Neely, Tova Olkinetzky, Chris Ozinga, Jenny Rucker, Jennifer Sherman, Jackie Skara, Jennifer Slater, Robin Sweeden, Jesus Villarreal, Chuong Vu, Betty Yuan

BASSOON Rod Ackmann, Principal James Brewer Barre Griffith CONTRABASSOON Barre Griffith HORN Kate Pritchett, Principal, G. Rainey Williams Chair James Rester Mirella Gable Matt Reynolds TRUMPET Karl Sievers, Principal Jay Wilkinson Michael Anderson TROMBONE Adam Hanna, Principal Philip Martinson John Allen, Bass Trombone

PRODUCTION STAFF John Allen, General Manager Valorie Tatge, Personnel Manager Jose Batty, Music Librarian Leroy Newman, Stage Manager Allison Demand, Guest Artist Liaison

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

Anonymous (3)

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

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

PHILIP MARTINSON

ALLISON DEMAND

Second Trombone OKCPHIL Musician

Guest Artist Liaison/Operations Assistant OKCPHIL Staff

Philip Martinson was in junior high when he began playing the trombone, quickly developing a new-found passion. “A band director really got me excited about music,” Philip said. “By the time I reached 8th grade my interest had really picked up.” His first lessons, however, were not that great. “In the beginning I was terrified,” Philip said. “My first teacher was very intimidating.

He was a college professor at a local university, and I learned quickly to not disappoint him!”

Hello, OKCPHIL Family—it’s so nice to meet you!

As he begins his ninth season with the Oklahoma City Philharmonic, Philip remembers vividly hearing the news that he had been hired. “I was ecstatic,” he said.

“I remember sitting on one of those benches in front of the Civic Center lawn and just having such a wonderful fulfillment. Lots of work had paid off.”

Outside his work with OKCPHIL, Philip likes to hike, play board games and do wood-working projects in the summer. His homelife? Well, that keeps him busy too.

“I admit I am usually a bit sleep deprived,” he says with a laugh. “I’m very lucky to have three wonderful kids to keep me busy. Most of my home life is based around doing activities with them. I just feel very fortunate and very blessed to be able to balance home life with my passion for my work at OKCPHIL. It’s a good life.”

Originally from Michigan, I grew up surrounded by music. From listening to my mom practice and taking naps in her bass case to hearing my grandmother play the organ, no one was surprised when I decided to pursue music. I graduated from Eastern Michigan University with a Bachelor of Fine Arts in Flute Performance and realized I wasn’t done.

In 2020, I chose to move to Oklahoma to pursue a double masters at Oklahoma City University, where I recently graduated with a Master of Music in Instrumental Performance and a Master of Arts in Nonprofit Leadership with a specialization in Arts Administration. I know, it’s a mouthful!

Outside of the Philharmonic, I am engaged to marry my college sweetheart, Mac, and I am so happy that we found our way to Oklahoma City. We have created our home here and Mac is so happy that it rarely snows! I love working at the Phil and if you see me, come to say hi, I would love to hear about why you love the Phil!

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G I F T S TO T H E P H I L The Oklahoma City Philharmonic gratefully acknowledges the commitment and generosity of individuals, corporations, foundations, and government agencies that support our mission. To help us provide inspiration and joy to the community through live orchestral performances and a variety of Education and Community Engagement programs, please contact the Philharmonic’s Development Office at (405) 232-7575.

This Annual Fund recognition reflects contributions made in the 2021-22 and 2022-23 seasons. Contributions of $250 and above are listed through August 3, 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

GOLD PARTNERS $1,500 - $2,249

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

Allied Arts Foundation The Chickasaw Nation E.L. and Thelma Gaylord Foundation Inasmuch Foundation Kirkpatrick Foundation Inc. Oklahoma Arts Council The Oklahoman The Skirvin Hilton Hotel

Charlesson Foundation Flips Restaurant, Inc. The Fred Jones Family Foundation

GOLD SPONSORS $5,000 - $9,999

SILVER PARTNERS $1,000 - $1,499

BancFirst Bank of Oklahoma Bryan Garrett Injury Law Firm Clements Foods Foundation Mekusukey Oil Company, LLC The Metro Restaurant

PLATINUM SPONSORS $10,000 - $39,999

BRONZE PARTNERS $500 - $999 Tom Johnson Investment Management LLC

SILVER SPONSORS $3,000 - $4,999

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.

BUSINESS MEMBERS $250 - $499

Hatton Enterprises OK Gazette OKC Friday Oklahoma Allergy & Asthma Clinic

Harrison-Orr Air Conditioning, LLC Intrinsic Health The Kerr Foundation, Inc.

BRONZE SPONSORS $2,250 - $2,999 The Black Chronicle Morningstar Properties, LLC

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

American Fidelity Foundation Bank of America Matching Gifts Program

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The Boeing Company Inasmuch Foundation

Merrill Lynch & Co. Foundation, Inc.

G I F T S TO T H E P H I L MAESTRO SOCIETY

Providing leadership support.

UNDERWRITER $25,000 and above 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

GUARANTOR $10,000 and above

BENEFACTOR $5,000 - $9,999

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 Ed and Barbara Krei Mr. Albert Lang Susan Robinson Doug and Susie Stussi Renate and Chuck Wiggin

Mo Anderson Mrs. Betty D. Bellis-Mankin John and Margaret Biggs Dr. and Mrs. L. Joe Bradley Louise Cleary Cannon and Gerry Cannon Teresa Cooper James B. Crawley Darleene A. Harris Claudia Holliman Dr. and Mrs. Patrick McKee Larry and Polly Nichols Donald Rowlett

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 Jeff and Kim Short 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 Martha and Ronnie Bradshaw Mrs. Carole S. Broughton

Mr. and Mrs. Robert F. Browne Mr. and Mrs. Robert H. Clements David and Druanne Durrett 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 Linda and Duke R. Ligon Annie Moreau, MD Mr. H.E. Rainbolt Ruth Mershon Fund Dr. Lois Salmeron Dr. and Mrs. Hal Scofield Jerrod and Jamie Shouse John and Katherine Spaid

Jim and Debbie Stelter Mr. and Mrs. John E. Stonecipher John Stuemky and James Brand Mrs. Billie Thrash 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 Ms. Zonia Armstrong Dr. Sterling and Cheryl Baker Mr. J. Edward Barth Dr. and Mrs. William L. Beasley William Beck Nick and Betsy Berry Bart Binning CONTINUED ON PAGE 56

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SPECIAL E VENTS GIF TS S Y M P H O N Y

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Thank you to the following who believed in our mission by supporting the 2022 Symphony Show House!

SHOW HOUSE COMMITTEE

Symphony Show House Chair J. Mark Taylor

Boutique Chair Cindy Solomon

Treasurer /Designer Sales Chairs Jeannie Drake Carole Doerner

Design Inventory Taylor Vogel, SORT Organization Services

2022 SYMPHONY SHOW HOUSE COMMUNIT Y PARTNERS David DeLana with Heritage Press Martin Taylor Creative Group Shane Brock with Stubble Inc. 405 Magazine Julie Ayers with Sevens Photography

Headlining Show House Patron Dr. Margaret Freede In Memory of Josephine Freede

Glenna and Dick Tanenbaum Silver Patron Lance and Cindy Ruffel

Bronze Patron The Kerr Foundation, Inc. Mrs. June Tucker Dr. Don and Eleanor Whitsett

James Long with Jameson Realty Group Lord of Life Lutheran Church Kings Worldwide Transportation SORT Organizational Services Maggie Sermersheim with The Barlor

2022 SYMPHONY SHOW HOUSE TOUR BOOK David DeLana with Heritage Press Julie Ayers with Sevens Photography Martin Taylor with Martin Taylor Creative Group

Benefactor John and Margaret Biggs Janice B. Carmack John and Sue Francis John and Anna McMillin Bill and June Parry Dr. Lois Salmeron Judith Clouse Steelman Friend Rita and Thomas Dearmon Carole Doerner Margaret and Drake Keith

Supporter Janie Axton Laura Canedy Sally Crawford Susan Fendley Sharon Gilbert Terri Greenly Keith Nevish Marcia Peeler Jody Prince Billie Rodely Mr. and Mrs. Edward J Tellone

Thank you to the Talented Designers who made the 2022 Symphony Show House a Reality!

Rosinna Gies, Amini’s Galleria Tuesday Fay & Halah Songer, Bob Mill’s Furniture Crystal Carte, Carte’s Interiors Katelynn Henry, Steve Calonkey, Steve Simpson, & Peyton Ward, Henry Home Interiors Patty Tippet, Home Dazzle Nora Johnson, Johnson Manor Dr. Kari Lopez & Renae Brady, LOREC Ranch Home Furnishings

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Lynda Savage, Lynda Savage Art Nathan Hughes & Susan Nixon, Mathis Design Studio Keven Calonkey Carl, John Carl, Cassidy Brunsteter & Lance Whitlow, Mister Robert Fine Furniture & Design Travis Neely & Phara Queen, Neely + Queen Design Cindy Curley & Ryan Johnson, Norwalk Furniture and Design Ronette Wallace, OTW Interiors & Suburban Contemporary Furnishings

Deb Johnson, Paint Inspirations Inc. Patti Williams, The Enchanted Cottage Julie Miller, Tin Lizzie’s J. Mark Taylor & Grayson Ingram, Traditions Fine Furniture & Design Pam Cravens, Vintage Gypsies Boutique Ashlyn Johnson Walker, Wild Abandon Grow Co.

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M A E S T R O ’ S

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The OKCPHIL would like to thank the following people who believe in our mission by providing support through the 2021-22 Maestro’s ball that honored beloved friend and OKCPHIL founder Mrs. Jane B. Harlow.

PRESENTING Margaret Freede and Daniel Owens

Glenna and Dick Tanenbaum

SPONSORS Platinum

Jane B. Harlow Christian Keesee Charitable Trust

Frank and Bette Jo Hill Cathy and Frank Keating Mrs. Anne Workman

Gold

Benefactor

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

Silver

405 Magazine Julie and Mark Beffort Mr. and Mrs. Clayton I. Bennett Gerald and Jane Jayroe Gamble Kirk Hammons Joel Levine and Don Clothier OKC Friday Prairie Surf Media 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 Dinesh Dalbir and Sumita Pokharel

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 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 Jeff and Sally Starling 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

Jewelry Sponsor Diamonds Direct

Tribute Video Sponsor Prairie Surf Media

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RESTROOMS are conveniently located on all levels of the theater. Please ask your usher for guidance.

LATECOMERS and those who exit the theater during the performance may be seated during the first convenient pause, as determined by the management.

ELECTRONIC DEVICES must be turned off and put away during the performance (no calling, texting, photo or video use please).

BEVERAGES: Bottled water is permitted in the theater at the Classics Series concerts. Beverages are permitted in the theater at the Pops Series concerts; however, bringing coffee into the theater is discouraged due to the aroma.

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

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

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

CHILDREN of all ages are welcome at the Philharmonic Discovery Family Series and Holiday Pops performances; however, in consideration of the patrons, musicians and artists, those under five years of age will not be admitted to evening Classics and Pops concerts unless otherwise noted.

BOOSTER SEATS for children are available in the Civic Center lobby. Please inquire at the Box Office.

STUDENT RUSH Tickets are $10 each and available with a high school or university I.D. and email address at the Box Office 1 hour prior to the start of each Philharmonic performance. Tickets are offered based on availability only and seats may be located throughout the theater.

VIDEO MONITORS are located in the lobby for your convenience.

WHEELCHAIR AVAILABLE SEATING – Persons using wheelchairs or with walking and climbing difficulties will be accommodated when possible. Those wishing to use the designated wheelchair sections may purchase the wheelchair space and a companion seat. Please inform the Philharmonic or Civic Center Box Office staff of your need when ordering tickets so that you may be served promptly and appropriately. Please request the assistance of hall ushers to access wheelchair seating.

HEARING LOOPS have been installed. Ask your audiologist to activate the telecoil in your hearing aid or cochlear implant. Due to the mechanics of the stage, the hearing loops do not reach the pit section but are available at 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, PROGRAMMING, AND DATES SUBJECT TO CHANGE.

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OPENING NIGH T

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CONCEPTS

Maestro

OPENING NIGHT In our Opening Night we are starting with a bang. A Big Bang.

Metaphorically. You all remember Stanley Kubrick’s Space Odyssey 2001. It’s not only an epic story but also features epic classical music, from Johann Strauss to Richard Strauss. The sunrise of our civilization burnt itself into my memory through the open Fifth and following timpani notes of Richard Strauss’ deeply romantic tone poem Also sprach Zarathustra.

We are welcoming back Garrick Ohlsson, one of the world’s most formidable piano soloists with Beethoven’s Emperor Concerto. E-flat major. Grandiose. Timeless.

A true classic.

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CLASSICS

FROM THE

Music, to me personally, is the ultimate reflection of the inner feelings of the composer put into sounds. This season we will take you on a journey through multiple composers where you will experience an array of sounds and feelings.

The canvas of each composer is literally alive ... we experience different instruments dominating the texture, from a single piano or guitar to the full Symphony Orchestra.

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ALEXANDER MICKELTHWATE, CONDUCTOR GARRICK OHLSSON, PIANO

Gabriela Lena FRANK .............. Escaramuza * BEETHOVEN ............................... Piano Concerto No. 5 in E-flat major, Op. 73, Emperor

Allegro Adagio un poco mosso [attacca] Rondo: Allegro

Garrick Ohlsson, piano Intermission R. STRAUSS ............................... Also sprach Zarathustra (Thus Spake Zarathustra), Op. 30 *First Performance on this series

In Memory of Dr. John Salmeron THIS CONCERT IS GENEROUSLY SPONSORED BY:

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

Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, October 12 at 8 pm and Saturday, October 15 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

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GUEST ARTIST O P E N I N G

N I G H T

GARRICK OHL SSON

Pianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess. Although long regarded as one of the world’s leading exponents of the music of Chopin, Mr. Ohlsson commands an enormous repertoire ranging over the entire piano literature and he has come to be noted for his masterly performances of the works of Mozart, Beethoven and Schubert, as well as the Romantic repertoire. To date he has at his command more than 80 concertos, ranging from Haydn and Mozart to works of the 21st century.

In 2018/19 season he launched an ambitious project spread over multiple seasons exploring the complete solo piano works of Brahms in four programs to be heard in New York, San Francisco, Montreal, Los Angeles, London and a number of cities across North America. A frequent guest with the orchestras in Australia, Mr. Ohlsson has recently visited Perth, Brisbane, Melbourne, Sydney, Adelaide and Hobart as well as the New Zealand Symphony in Wellington and Auckland. In February 2020 he accomplished a seven-city recital tour across Australia just prior to the closure of the concert world due to Covid-19. Since that time and as a faculty member of San Francisco Conservatory of Music he has been able to contribute to keeping music alive for a number of organizations with live or recorded recital streams including a duo program with Kirill Gerstein with whom he will tour the US in winter 2022. With the reopening of concert activity in the US in summer 2021 he appeared with the Indianapolis and Cleveland orchestras, in recital in San Francisco, Brevard Festival and 4 Brahms recitals at Chicago’s Ravinia Festival. The 21/22 season began with the KBS orchestra, Seoul followed by Atlanta, Dallas, Seattle symphonies, BBC Glasgow and European orchestras in Prague, Hamburg, Lyon and St. Petersburg. In recital he can be heard in Los Angeles, Houston, Kansas City as well as Poland, Germany and England. The 2022/23 season will begin with a US tour with Poland’s Apollon Musagete quartet and will also include performances with orchestras in Boston, Detroit, Minneapolis, San Diego, Spain, Poland and the Czech Republic.

An avid chamber musician, Mr. Ohlsson has collaborated with the Cleveland, Emerson, Tokyo and Takacs string quartets, including most recently Boston Chamber Players on tour in Europe. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio. Passionate about singing and singers, Mr. Ohlsson has appeared in recital with such legendary artists as Magda Olivero, Jessye Norman, and Ewa Podleś. Mr. Ohlsson can be heard on the Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, Hyperion and Virgin Classics labels.

A native of White Plains, N.Y., Garrick Ohlsson began his piano studies at the age of 8, at the Westchester Conservatory of Music; at 13 he entered The Juilliard School, in New York City. He has been awarded first prizes in the Busoni and Montreal Piano competitions, the Gold Medal at the International Chopin Competition in Warsaw (1970), the Avery Fisher Prize (1994), the University Musical Society Distinguished Artist Award in Ann Arbor, MI (1998), the Jean Gimbel Lane Prize in Piano Performance from the Northwestern University Bienen School of Music (2014), and the Gloria Artis Gold Medal for cultural merit from the Polish Deputy Culture Minister.

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N I G H T

with the San Francisco Chamber Orchestra and Aspen Music Center.

FRANK Escaramuza Gabriela Lena Frank First Performance on this Series Born: September 26, 1972, in Berkeley, California Residing: Boonville, California Work composed: 2010, on commission from the Huntsville Symphony Orchestra League Work premiered: September 11, 2010, in Hunstsville, Alabama, with Carlos Miguel Prieto conducting the Huntsville Symphony Orchestra Instrumentation: Strings, timpani, bass drum, suspended cymbal, contra snare with small cymbal, roto-tom, three marimbas, tambourine, large and small triangles (two sets), slap stick, castanets, crash cymbals, medium nipple gong, claves, harp, and piano.

Gabriela Lena Frank often explores her multicultural heritage through her compositions. Rather than pigeonhole her, that opens up broad possibilities since her father was of Lithuanian/Jewish descent and her mother of mixed Peruvian/Chinese ancestry—and, as Frank points out, “Peruvian” itself represents a combination of Hispanic and various indigenous cultures. Many of her works incorporate poetry, mythology, and native musical styles that she has studied in the course of extensive travel in South America. “There’s usually a story line behind my music—a scenario or character,” she says.

She graduated from Rice University in Houston and the University of Michigan, where she earned her doctorate in composition. Her composition teachers included William Albright, William Bolcom, Michael Daugherty, and Leslie Bassett (whose solo-piano and chamber works she has recorded on the Equilibrium label). She has most recently served as composer-in-residence at The Philadelphia Orchestra, having previously held similar appointments at the symphony orchestras of Houston, Seattle, and Detroit (among others), as well as

She has enjoyed long-standing involvements with the Silk Road Ensemble, which promotes cross-cultural musical collaboration, and with Caminos del Inka, which is dedicated to research, composition, and performance involving the Americas. She is deeply committed to social causes. In 2017, she established the Gabriela Lena Frank Creative Academy of Music “to inspire emerging composers to create self-determined artistic lives,” “strategize and realize their own potential citizenship in low arts access areas,” and “practice climate citizenship.”

In 2020 she was honored with the prestigious Heinz Award for, in that foundation’s words, “weaving Latin American influences into classical constructs and breaking gender, disability and cultural barriers in classical music composition.” It surprises many musiclovers to learn that Frank achieved her expertise as a composer and pianist despite having been born with near-profound hearing loss.

Most of her compositions relate to Latin American sounds and traditions, including her much-performed Leyendas: An Andean Walkabout (2001, for string orchestra or string quartet), Ritmos Anchinos (2006, written for Silk Road Ensemble), Inca Dances for Guitar and String Quartet (which won the 2009 Latin Grammy for Best Classical Contemporary Composition), and her first opera, El último sueño de Frida y Diego (The Last Dream of Frida and Diego) (2019, libretto by Nilo Cruz), which San Francisco Opera will produce in 2023. In a 2008 interview with New Music Box, Frank discussed how her identity, and particularly the Latin American thread of her identity, informs her musical style. “Some pieces will sound more or less Latin,” she said, “but that can mean a lot of different things. There have been times where somebody heard something and they’re expecting a certain sound, and then there’s nothing Latin in the music itself. It’s just programmatically based on a myth, a fairy tale from Latin America. And they get a little upset. They come up to me and say, ‘What was Latin about that? I didn’t hear anything Latin.’ Other times, it’s too Latin for them. ‘String quartets don’t play like that.’ And so it’s fluid in the degree in which I will pull on influences.”

Escaramuza, which is played in this concert, is overt in its display of South American musical influence. Listeners will be struck by its active use of the percussion section, although every section of the orchestra contributes to the work’s bright color and memorable vibrancy. Frank has provided this comment about her piece: CONTINUED ON PAGE 28

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Escaramuza, which signifies “skirmish” in the Spanish language, is inspired by the kachampa music of Andean Perú. Celebrating the pre-Hispanic Inca warrior, the kachampa dance is executed by athletic men who convey a triumphant, even joyful, spirit. Inspired by the kachampa dances done with fast-snapping ropes that I’ve witnessed in Perú, especially in Paucartambo during the Virgen de la Carmen festival, I’ve created a brightly chiseled romp in an asymmetrical 7/8 rhythm that is launched after an extended bass drum solo. Through most of Escaramuza, no section of the ensemble is allowed to rest for long, maintaining the high energy typical of kachampas.

BEE THOVEN Piano Concerto No. 5 in E-flat major, Op. 73, Emperor (1809) Ludwig van Beethoven First Performance: 1/4/1940 Piano: Harold Bauer Last Performance: 1/7/2012 Piano: Andrew von Oeyen Born: December 16, 1770 (probably, since he was baptized on the 17th), in Bonn, Germany Died: March 26, 1827, in Vienna, Austria Work composed: 1809 Work premiered: November 28, 1811, at the Gewandhaus in Leipzig, with Friedrich Schneider as soloist and with Johann Philipp Christian Schulz conducting the Gewandhaus Orchestra Work dedicated: to Archduke Rudolph Cadenzas: Written into the score by Beethoven Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings, in addition to the solo piano

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Beethoven’s Piano Concerto No. 5 was born into troubled times, with the Napoleonic Wars coursing to full tide across Europe. When the composer’s Leonore (the opera that would eventually morph into Fidelio) was premiered, on November 20, 1805, French armies were closing in on Vienna. Ulm fell on October 20, Salzburg ten days later, and by the time the first 15,000 of Napoleon’s troops entered Vienna, on November 13, most of the town’s noble or otherwise upper-class citizens had fled. The aftermath was not good for Austria or its allies—Great Britain, Russia, Sweden and some German states. Prussia grew nervous and within a year it joined the alliance. Napoleon quickly redeployed his troops, captured the Prussian capital of Berlin, and in late 1806—at the zenith of his career—made his move toward Russia. In 1807 he also decided to subjugate Portugal and Spain as a way to cut off British supply routes (Goya’s famous ink drawings document the horrors of this so-called Peninsular War). Austria re-organized its army and, in the spring of 1809, in alliance with Britain, it took advantage of Napoleon’s distraction with the Peninsular War to launch an attack on French strongholds in Bavaria. Napoleon’s armies descended on Vienna again, but this time they met far more resistance than they had three and a half years earlier. Ferocious and costly fighting ensued between April and July until the Battle of Wagram swung the balance of victory to Napoleon, who appeared yet again to be invincible.

Monetary inflation spiralled out of control and people were fleeing Vienna in droves. The Empress left, and with her the Archduke Rudolph, who was her brother-in-law and Beethoven’s piano pupil. Hoping to keep Beethoven from joining the exodus, Rudolph—along with two of his aristocratic friends, Prince Lobkowitz and Price Kinsky— had just recently pledged to support Beethoven for life as long as he remained in Vienna or thereabouts. Who knows if the composer would have stayed to endure the constant artillery attacks but for that inducement? “We have been suffering misery in a most concentrated form,” wrote Beethoven that July to his publisher in Leipzig. “What a destructive and disorderly life I see and hear around me, nothing but drums, cannons, human misery in every form.”

Through it all he had been writing a piano concerto, and it is marvelous to think that anything so uplifting and inspiring could emerge from such dismal surroundings.

When it finally received its Vienna premiere two years later, a French officer in the audience had the audacity to shout out “C’est l’Empereur!”—at least so the tale is told.

The name stuck, with the ironic result that throughout history this transcendent concerto, Beethoven’s last, has been shackled with a nickname relating to the Emperor

P R O G R A M N OT E S O P E N I N G

Short Report

The very brief review of the E-flat Concerto by the critic of the Allgemeine musikalische Zeitung will be sufficient to give the reader the idea of the public reception of the work. Here is the review in its entirety: “The immense length of the composition robs it of the impact that this product of a gigantic intellect would otherwise practice upon its hearers.” Who would today [i.e., 1860] find this concerto excessively long? This critical remark shows us once more that it was then, as later, the external form of Beethoven’s works that gave the most offence.

—JMK Napoleon Bonaparte, the same Napoleon in whom Beethoven had once placed so much humanitarian hope but whose name he had scratched from the title page of his Sinfonia eroica, enraged upon learning that the French general had crowned himself Emperor. You can bet that, wherever he is spending his afterlife, Beethoven is not referring to this piece as the Emperor Concerto.

Uniquely among Beethoven’s five piano concertos, this one was not premiered by its composer. By the time it was introduced, in 1811, he was substantially deaf and he no longer felt comfortable performing publicly at the

keyboard (though he would still do so, very occasionally, until 1815). The world premiere, which took place in Leipzig, was accordingly entrusted to Friedrich Schneider, of whom we know little except that he had a friendly visit with Beethoven in 1819 when he passed through Vienna giving organ recitals. The Vienna premiere—the one at which the piece apparently got its nickname—took place only on February 12, 1812, on which occasion the soloist was Beethoven’s pupil Carl Czerny, remembered chiefly for the unavoidable finger exercises he penned to bedevil piano students long into eternity.

—James M. Keller

R S T R AU S S

Anton Schindler (1795-1864) was a sometime law clerk, sometime violinist, and, beginning in 1820, the untiring volunteer amanuensis of Vienna’s most irascible composer. Beethoven’s biographer Alexander Wheelock Thayer wrote, “Schindler was called upon to write, fetch and carry as steadily and industriously as if he were, in fact, what he described himself to be—a private secretary.” After Beethoven’s death he continued to promote the composer’s music zealously. In 1840 he published a biography of Beethoven, which during his lifetime grew through three greatly evolving German-language editions and appeared in English and French translations. For all his good intentions he was not very credible; much of his information is baldly contradicted by documentary facts. Still, he was close to the source, even if he was drawn to embellishing.

Here is an item from his account of the Vienna premiere of the Fifth Piano Concerto:

N I G H T

Also sprach Zarathustra (Thus Spake Zarathustra), Op. 30 Richard Strauss First Performance: 10/23/1977 Conductor: Ainslee Cox Last Performance: 5/23/1992 Conductor: Joel Levine Born: June 11, 1864, in Munich, Bavaria Died: September 8, 1949, in Garmisch, Germany Work composed: 1895-96 Work premiered: November 27, 1896, with the composer conducting the Frankfurt City Orchestra in a Museum Society Concert in Frankfurt am Main, Germany Instrumentation: Three flutes and piccolo (third flute doubling second piccolo), three oboes and English horn, two clarinets plus E-flat clarinet and bass clarinet, three bassoons and contrabassoon, six horns, four trumpets, three trombones, two bass tubas, timpani, bass drum, cymbals, triangle, glockenspiel, deep bell in E-flat, two harps, organ, and strings

The idea of the symphonic poem, or tone poem, traces CONTINUED ON PAGE 30

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its ancestry to the dramatic or depictive overtures of the early 19th century, such as Mendelssohn’s Fingal’s Cave Overture or Berlioz’s Waverley Overture, but it was left for Franz Liszt to mold it into a clearly defined genre. This he did through a dozen single-movement orchestral pieces composed in the 1840s and ’50s that drew inspiration from literary sources. As time went by, composers might also derive depictive influence for their symphonic poems from paintings or other visual artworks, but in any case from some non-musical germ. The idea proved popular and the repertoire grew thanks to impressive contributions by such composers as Smetana, Dvořák, Musorgsky, Tchaikovsky, Saint-Saëns, Franck, and—most devotedly of all—Richard Strauss.

Strauss’ direct link to the Liszt-Wagner circle was Alexander Ritter, an Estonian-born violinist and composer who married a niece of Wagner’s, composed six symphonic poems of his own, and eventually acceded to the position of associate concertmaster of the Meiningen Court Orchestra, which was conducted by the eminent Hans von Bülow. In Meiningen he grew friendly with the young Richard Strauss, brought in by von Bülow as an assistant music director in 1885. Strauss would later say that it was Ritter who opened his eyes to the possibilities of the symphonic poem. In 1886, Strauss produced what might be considered his first symphonic poem, Aus Italien (it is more precisely a descriptive symphony), and he continued with hardly a break through the series of tone poems that many feel represent the genre at its height: Macbeth (1886-8), Don Juan (1888-89), Tod und Verklärung (also 1888-89), Till Eulenspiegels lustige Streiche (1894-95), Also sprach Zarathustra (1895-96), Don Quixote (1896-97), Ein Heldenleben (1897-98), and Symphonia Domestica (1902-03), with Eine Alpensymphonie (1911-15) arriving as a late pendant. He was drawn to the idea (as he would recall in his memoirs) that “new ideas must search for new forms; this basic principle of Liszt’s symphonic works, in which the poetic idea was really the formative element, became henceforward the guiding principle for my own symphonic work.”

Strauss immersed himself in the writings of Friedrich Nietzsche (1844-1900) in the early 1890s and was impressed by the philosopher’s attacks on formalized religion, which mirrored Strauss’s own stance. Nietzsche’s philosophy had just then reached its mature formulation, and it was articulated most completely in his four-part treatise Also sprach Zarathustra (published 1883-85). In this work the philosopher speaks in a prose narrative (as opposed to the formalized style of traditional philosophical treatises) through the voice of Zarathustra, a fanciful 30

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adaptation of the Persian prophet Zoroaster, who spends years meditating on a mountaintop and then descends to share his insights with the world. Most of the catchphrases popularly associated with Nietzsche—“God is Dead,” the “Will to Power,” the “Übermensch” or “Superman”—appear as keystones in these volumes. Nietzsche’s ideas went to the heart of human existence and aspiration, which he viewed (quite pessimistically) as an endless process of self-aggrandizement and self-perpetuation, over which the much-heralded achievements of civilization—morality, religion, the arts—stand merely as pleasant distractions from the underlying banality of humanity.

Nietzsche’s text, Strauss wrote to his friend Romain Rolland, was “the starting point, providing a form for the expression and the purely musical development of emotion.” Indeed, it would be difficult for a listener not armed with a score to follow anything but a musical narrative in this symphonic poem. Nonetheless, a sort of narrative does exist, and following the stentorian fanfares of the work’s famous introduction, Strauss inscribed textual indications in the score to punctuate the sections of the piece’s program: “Of Those of the Unseen World,” “Of the Great Longing,” “Of Joy and Passions,” “The Dirge,” “Of Science,” “The Convalescent,” “Dance Song,” “Night Wanderer’s Song.” This last is sometimes given as “Song of Those Who Come Later,” the discrepancy coming from an apparent misprint in the score whereby Nachtwandlerlied is misspelled as Nachwandlerlied. The consensus is that that the former (meaning “Night Wanderer’s Song”) is correct.

—James M. Keller

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. Portions of these notes previously appeared in the programs of the New York Philharmonic and are used with permission.

CONCEPTS

Maestro FROM THE

Music, to me personally, is the ultimate reflection of the inner feelings of the composer put into sounds. This season we will take you on a journey through multiple composers where you will experience an array of sounds and feelings.

The canvas of each composer is literally alive ... we experience different instruments dominating the texture, from a single piano or guitar to the full Symphony Orchestra.

MAHLER’S VIENNA In our second Classics of the season, we are once again going to delve into Gustav Mahler. This time: his Symphony No. 5.

In last season’s performance of his Symphony No. 1 the music started with the cosmos, zeroing in to the hero, going through pain and death until he “broke through to the other side.” His symphony no. 5 on the other hand is starting with a funeral march.

The third movement “is simply the expression of incredible energy.” The Adagietto is a love letter Alma, his wife. He finishes with utter joy.

To put the composition in context, we are going to resurrect some sounds of the Vienna of the late 19th century, a time where everything, the entire life of every part of society was focused around the emperor and around a deep-rooted system of nobility, bourgeoisie, workers and farmers without any options of vertical development. Yet, music connecting everybody, being the life blood of society.

MAHLER ’S VIENNA O C T O B E R

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CLASSICS ALEXANDER MICKELTHWATE, CONDUCTOR

SUPPÉ ....................... Overture to Morning, Noon and Night in Vienna* J. STRAUSS II ......... On the Beautiful Blue Danube Intermission MAHLER .................... Symphony No. 5 in C-sharp minor

PART I

Funeral March: With measured step.

Strict. Like a cortège Stormily. With greatest vehemence

PART II Scherzo: Vigorously not too fast

Dr. Kate Pritchett, horn obligato

PART III Adagietto: Very slow

Rondo-Finale: Allegro giocoso. Lively. *First Performance on this series

THIS CONCERT IS GENEROUSLY SPONSORED BY:

Jim and Debbie Stelter

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, November 9 at 8 pm and Saturday, November 12 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

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S U P P E’ Overture to Morning, Noon, and Night in Vienna Franz von Suppé First Performance on this Series Franz von Suppé Born: April 18, 1819, in (or on a boat near) Spalato, Dalmatia, which is today Split, Croatia Died: May 21, 1895, in Vienna, Austria Work composed: 1844 Work premiered: February 26, 1844, at the Theater in der Josefstadt in Vienna Instrumentation: Flute and piccolo (doubling flute), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, snare drum, bass drum, and strings

Take a deep breath and marvel at the name of Francesco Ezechiele Ermengildo Cavaliere di Suppé Demelli, who in daily life went by just Franz von Suppé. Croatia is proud to claim him as its own, and he was indeed born in what is now that country, although at the time it was in the Kingdom of Dalmatia within the Austrian Empire.

His parents were Austrian, and his father was assigned to Dalmatia in a civil-servant capacity. The family was actually of Belgian extraction. Franz was distantly related to Gaetano Donizetti, who encouraged his career as a composer. He also was an accomplished singer, and one of the roles in which he appeared professionally was Dulcamara, the basso snake-oil salesman in Donizetti’s L’elisir d’amore.

Italy figured prominently in his upbringing. While being schooled in Cremona and Padua, he basked in the musical opportunities of the region, even meeting Rossini, Verdi, and distant cousin Donizetti in Milan.

After his father’s death, Franz and his mother moved to Vienna, where he threw himself into musical studies. His 32

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principal teachers there were the revered music theorist Simon Sechter and Ignaz von Seyfried, a Mozart pupil who had conducted the premiere of Beethoven’s opera Leonore (aka Fidelio). In 1840, Seyfried wrote Suppé a glowing recommendation that underscored his talent and achievements in serious composition, and the same year he also helped him secure a low-level, apparently volunteer position on the music staff at the Theater in der Josefstadt, an establishment that is today the oldest continuously operating theatre in Vienna. In 1841, Suppé’s first theatre-piece—a musical farce titled Jolly when Young, Sad when Old (Jung lustig, im Alter traurig)—was produced there, and it earned a superlative review. That launched him on his path as a stage composer. He would compose nearly fifty operas, mostly in an operetta style, plus an immense number burlesques and parodies, for a succession of prestigious Viennese theatres: first for the Theater in der Josefstadt, then as part of his position as music director of the Theater an der Wien (beginning in 1845), the Kai-Theater (from 1862), and the Carltheater (from 1865).

He conducted many important operatic productions and is credited with establishing the genre of Viennese operetta, as distinct from the French operettas. Many of his Viennese operettas were hits, but Suppé never reached quite the height Johann Strauss II achieved with Die Fledermaus in 1874. Suppé responded two years later with his three-act comic opera Fatinitza, enlisting the same librettists who had crafted Die Fledermaus. It was a huge international success, enabling the composer to purchase an impressive estate in Lower Austria. There he composed his late operetta Boccaccio (1879), based only slightly on the Decameron, which scored what he termed the greatest triumph of his life. By that time he was internationally acclaimed and immensely wealthy.

In 1881, he was given the Freedom of the City of Vienna, the ultimate honor for a composer in the city that viewed itself (not unjustly) as the center of song.

His operettas were of their time, and almost none of them are produced today. What keeps his name alive are his operetta overtures, principally those for his Poet and Peasant (Dichter und Bauer, 1846) and Light Cavalry (Leichte Kavallerie, 1866), but sometimes those for Morning, Noon, and Night in Vienna (Ein Morgen, ein Mittag und ein Abend in Wien, 1844) and Beautiful Galatea (Die schöne Galathée, 1865).

Morning, Noon, and Night in Vienna was one of his early productions, composed just after he left his position, at the Theater in der Josefstadt (where the piece was

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What’s Up? Suppé’s overtures may have reached their largest audience in the middle decades of the 20th century, thanks to animated films. The Morning, Noon, and Night in Vienna Overture served as a showpiece for Bugs Bunny’s turn on the podium in the 1959 Chuck Jones cartoon Baton Bunny, in which the wabbit must overcome a succession of obstacles, including various garment malfunctions. The Light Cavalry Overture provided the impetus for Mickey Mouse’s Symphony Hour, a Walt Disney production from 1942 directed by Riley Thomson; here, a blunder

by Goofy causes an orchestra’s instruments to be damaged, with calamitous results that Mickey discovers only when he tries to conduct the piece in a radio broadcast. The Poet and Peasant Overture, in rather abused form, was featured in a 1935 cartoon titled The Spinach Overture. Here, Popeye leads a small ensemble, but arch-enemy Bluto steals the players to augment his own more impressive orchestra. Popeye, however, has a secret weapon. After downing a can of spinach, he ferociously battles his adversary while conducting all the musicians in a triumphant performance of Suppé’s overture. YouTube can help you out with these.

—JMK

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premiered). He called it not an opera or operetta but rather a “Lokales Gemälde,“ a “painting of a local scene.”

A play with charming songs interpolated, it closed after three performances, criticized for striving to be more “artistic” than its subject demanded. That ended up being a good thing in the long run. The stage-piece is consigned to obscurity, but its overture (with its beloved cello solo) lives on precisely because it was so much better than the piece it introduced. In fact, Suppé got further immediate use out of the overture, which he adapted to introduce his farce The Grocer and his Clerk (Der Krämer und sein Kommis) seven months after Morning, Noon, and Night was put to rest.

On the Beautiful Blue Danube, Op. 314 Johann Strauss II First Performance: 3/28/1939 Conductor: Victor Alessandro Last Performance: 12/7/1980 Conductor: Kurt Woss Born: October 25, 1825, in Vienna, Austria Died: June 3, 1899, in Vienna Work composed: 1866-67 Work premiered: In its original version with chorus and orchestra on February 18, 1867, in the Dianabadsaale in Vienna, on a concert of the Wiener Männergesangverein (the Vienna Men’s Choral Society, to which the piece is dedicated), with Rudolf Weinwurm conducting the singers and the orchestra of the “George V, King of Hanover” Forty-second Infantry Regiment Instrumentation: Two flutes (one doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, trombone, tuba, timpani, triangle, snare drum, bass drum, cymbals, harp, and strings

Johann Strauss II (aka Johann Strauss Jr.) first made his mark as an orchestra leader at the age of 19, and he quickly emerged as a rival to his more established orchestra-leader father, Johann Strauss Sr. Initial uneasiness over this situation was overcome, and when Johann Sr. died, in 1848, Johann Jr. merged his late father’s orchestra into his own. From 1863 to 1871 he served as director of Viennese court balls, just as his father had, and when he relinquished the position he merely handed off the reins to his brother Eduard.

In addition to the nearly five hundred pieces of dance music he published, Johann Strauss Jr. scored important successes as a composer of operetta and light opera. Quite a few of his standalone pieces became evergreens—the Emperor Waltz, Thunder and Lightning Polka, Voices of Spring, Roses from the South, Artist’s CONTINUED ON PAGE 34

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Life, and on and on. Still, none of his waltzes can rival the popularity of On the Beautiful Blue Danube (An der schönen blauen Donau), which has been embraced as a near-universal anthem of carefree elegance. Its intent was strikingly different. Its genealogy can be traced to early July 1865, when the prestigious Wiener Männergesangverein (Viennese Men’s Choral Society) asked him to write a waltz for a concert the Society would give a couple of weeks later. Other obligations and personal concerns prevented Strauss from participating, but in a letter to the group’s management committee he pledged, “I hereby commit myself next summer, if I am still alive, to make up for what I am now hindered from doing, and with pleasure I offer the esteemed Committee a new composition—written especially for the purpose, as well as my personal participation.”

Good intentions notwithstanding, his promise remained unfulfilled as 1866 came and went. In the course of that year the Austrian army suffered a defeat from Prussia and the mood of the formerly buoyant Habsburg Empire turned grim. The social balance became so unstable that the Wiener Männergesangverein decided to tone down its traditionally rowdy Carnival concert for February 1867, substituting a more sedate program than usual. Finally Strauss was able to make good on his commitment, pulling together ideas for a waltz-suite during the finale months of 1866 and delivering most of his new waltz to the Society in January. By the time of the concert, a month later, he expanded his waltz from four waltz-sections to five, which were surrounded by an introduction and a coda. A text was provided by Josef Weyl, a police official who served avocationally as a sort of “special-material” poet for the Society. His words have often been dismissed as cliché-ridden doggerel—“Wiener seid froh!/Oho, wie so?”; “Rejoice, Viennese!/, Oh, yeah?

How so?”--but a closer reading suggests that their frolicsome inanities are rich in ironic content that would not have been lost on Viennese listeners in the throes of societal and economic upheaval.

Filled as it is with barbs aimed at Vienna’s politicians, landlords, and dancing citizenry, Weyl’s text nowhere makes mention of the Danube—which, in any case, no Viennese of that time, and few today, would likely describe as being a color that resembled blue. The phrase apparently was lifted from a poem by Carl Isidor Beck, and when Strauss appropriated it as his title he may have intended it to announce the sense of unlikely parody that inhabits Weyl’s poem. An der schönen blauen Donau is very occasionally heard in its choral setting, but it is more likely to be encountered as an orchestral piece.

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Both are entirely authentic readings: Strauss basically wrote this as a string of orchestral waltzes and seems to have had no particular involvement in selecting the text— which, in fact, had to be adapted to the music as Strauss effected some changes to his waltz shortly before the premiere.

American Grandeur In the summer of 1872, Johann Strauss II and his entourage set out for a visit to the United States, where he performed in Boston and New York.

Audience enthusiasm bordered on the maniacal, stirred up by not only Strauss’s celebrity but also the grand scale of the events. Strauss would recall of his opening concert at the World Peace Jubilee in Boston: On the musicians’ platform there were 20,000 singers; in front of them the members of the orchestra—and these were the people I was to conduct. A hundred assistants had been placed at my disposal to control these gigantic masses, but I was only able to recognize those nearest to me, and although we had had rehearsals there was no possibility of giving an artistic performance, a proper production.

But if I had declined to conduct it would have cost me my life.

Now just imagine my position, face to face with a public of a hundred thousand Americans.

There I stood at the raised platform, high above all the others. ... Suddenly a cannon shot rang out; a gentle hint for us 20,000 to begin to perform The Blue Danube.

I gave the signal; my 100 assistant conductors followed me as quickly and as best they could and then there broke out an unholy row such as I shall never forget. As we had begun more or less together, I concentrated my entire attention on seeing that we should also finish together!—Thank Heaven, I managed even that. ... The hundred thousand mouths in the audience roared their applause and I breathed a sigh of relief when I found myself in fresh air again and felt firm ground beneath my feet.

—JMK

P R O G R A M N OT E S M A H L E R ’ S

V I E N N A

the Vienna Court Opera; but that job was stressful, too, and Mahler’s anxiety at work led to frequent medical problems.

MAHLER Symphony No. 5 in C-sharp minor Gustav Mahler First Performance: 2/25/1979 Conductor: Luis Herrera Last Performance: 3/19/1999 Conductor: Joel Levine Born: October 25, 1825, in Vienna, Austria Born: July 7, 1860, in Kalischt (Kaliště), Bohemia (now the Czech Republic), near the town of Humpolec Died: May 18, 1911, in Vienna, Austria Work composed: 1901-1902, with revisions following for at least five years.

Work premiered: October 18, 1904, in Cologne, Germany, with the composer conducting the Gürzenich Orchestra Instrumentation: Four flutes (two doubling piccolo), three oboes and English horn, three clarinets and bass clarinet, three bassoons and contrabassoon, six horns, four trumpets, three trombones, tuba, timpani, cymbals, two bass drums (one with cymbals attached), snare drum, triangle, glockenspiel, tam-tam, slap stick, harp, and strings

Throughout his career, Gustav Mahler balanced the competing demands of his dual vocation as a composer and conductor. Responsibilities on the podium and in the administrative office completely occupied him during the concert season, forcing him to relegate his composing to the summer months, which he would spend as a near-hermit in the countryside. When he came to write his Fifth Symphony, during the summers of 1901 and 1902, he was escaping a Vienna that had become a source of inordinate stress. On April 1, 1901, he was ousted from his position as director of the Vienna Philharmonic following a three-year tenure in which the normal rollercoaster of Viennese musical politics was rendered more intense by the anti-Semitic sentiments that often dogged him. He was hanging on to his other principal position, as director of

Fortunately, he had his composing to look forward to.

His summer getaway was now at Maiernigg, a bump on the map on the south shore of the Wörthersee (known sometimes to English speakers as Lake Worth), a bucolic spot in the region of Carinthia in southern Austria. He was in the process of building a villa on the lake, and the construction would be completed while this piece was in progress. Another important event occurred while he was working on this symphony: in November 1901, at a dinner party, he met Alma Schindler, who was just then concluding a fling with her composition teacher, Alexander von Zemlinsky. Gustav and Alma were smitten with one another and they married a few months later, on March 9, 1902, having already set about making their first baby, Maria, who arrived on November 2. It would be a complicated and often unhappy marriage, though they stayed together until Mahler’s death, in 1911. After that Alma would marry and divorce the architect Walter Gropius, marry and survive the novelist Franz Werfel, and enjoy romantic adventures with several other overachievers in the arts.

At Maiernigg, Mahler had constructed a tiny, sparsely furnished composing hut on the hill behind his villa, and every morning he would meander up a forest path to work in splendid seclusion. He enforced his privacy: a servant-girl, for example, would leave the villa moments after him on a more direct trail so she could deposit his hot breakfast at the cabin and make her getaway before he arrived.

What Mahler achieved during those two summers marked his return to the purely instrumental symphony.

His First Symphony had been strictly orchestral, but the three that followed it all expanded the forces by using singers, whether as soloists or in chorus (or both). But if Mahler’s Fifth Symphony is not unusually radical in the forces it requires—extensive though they be—his use of those forces is profoundly imaginative. On top of that, its structure is curious. The piece unrolls over five movements (rather than the classic four of most symphonies), and those movements are grouped into three over-riding sections; the first and third section both comprise two movements, while the Scherzo stands in the middle as a section unto itself. From its initial, ominous trumpet fanfare through to its majestic conclusion an hour and a quarter later (and a semitone higher), Mahler’s Fifth Symphony traces a panorama of human emotions. In 1911, Mahler remarked that his Fifth CONTINUED ON PAGE 36

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Symphony had come to represent “the sum of all the suffering I have been compelled to endure at the hands of life.” For us, too, it may convey suffering, but also joy, hope, and a hundred other signs of the human condition.

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. Portions of these notes previously appeared in the programs of the New York Philharmonic and are used with permission.

V I E N N A

About Mahler’s Adagietto The Adagietto of Mahler’s Fifth is the most famous movement from any Mahler symphony.

The conductor Willem Mengelberg claimed that the movement was an encoded love-letter from Gustav Mahler to Alma—a fact he insisted both had confirmed to him. Scored for only strings and harp, it stands apart from the rest of the symphony in its basic sound; and its character—pensive, soulful, nostalgic, more resigned that mournful—renders it unique and memorable. This movement has been often extracted for stand-alone performance in concert or as a ballet score. It was used to set the mood in Luchino Visconti’s film Death in Venice and it has been played at funerals or memorial services for many great figures of music and politics, including Serge Koussevitzky, Robert Kennedy, and Leonard Bernstein.

—JMK

HAPPY 90 TH , JOHN WILLIAMS! N O V E M B E R

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BRIAN BYRNE, CONDUCTOR

HAPPY 90TH

John Williams!

John Towner Williams (born February 8, 1932) is an American composer, conductor and pianist. In a career that has spanned seven decades, he has composed some of the most popular, recognizable and critically acclaimed film scores in cinematic history. Williams has won 25 Grammy Awards, seven British Academy Film Awards, five Academy Awards and four Golden Globe Awards. With 52 Academy Award nominations, he is the second most-nominated individual, after Walt Disney. His compositions are considered the epitome of film music and he is considered among the greatest composers in the history of cinema.

While Maestro Williams will not be present, and no film clips will be shown this evening, we join orchestras across the country in celebrating this legendary composer’s 90th Birthday through his extraordinary music.

THIS CONCERT IS GENEROUSLY SPONSORED BY:

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

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HAPPY 90TH John Williams! arr. Brian Byrne ....................................................... Star Spangled Banner

John Williams .......................................................... Superman March Henry Mancini ........................................................ Medley: Peter Gunn and the Pink Panther arr. Brian Byrne John Williams ........................................................... Make Me Rainbows from Fitzwilly arr. Brian Byrne John Williams ........................................................... Main Title from Fiddler on The Roof arr. Brian Byrne featuring Gregory Lee, violin John Williams ........................................................... Theme from Jaws John Williams ........................................................... Star Wars Suite

Leia’s Theme

Throne Room & End Title John Williams ........................................................... Raiders March from Raiders of the Lost Ark John Williams ........................................................... Adventures on Earth from E.T. INTERMISSION John Williams ........................................................... Flight to Neverland from Hook John Williams ........................................................... Suite from Far and Away John Williams ........................................................... Main Theme from Jurassic Park John Williams ........................................................... Moonlight from Sabrina arr. Brian Byrne John Williams ........................................................... The Same Hello, The Same Goodbye arr. Brian Byrne John Williams ........................................................... Hedwig’s Theme from Harry Potter John Williams ........................................................... main Theme from Angela’s Ashes John Williams ........................................................... Escapades from Catch Me If You Can

featuring Brian Gorrell, alto saxophone John Williams ........................................................... Can You Read My Mind/Happy Birthday

featuring Brian Byrne, piano 38

Program is Subject to Change

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

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BRIAN BYRNE

Golden Globe nominated composer Brian Byrne moved to Los Angeles from Ireland in July 2003 to expand his career as a film and television composer. Since then, he has consistently worked as a composer, conductor, producer, arranger and pianist in the US and in Europe and has twenty-four film and television scores to his credit.

Brian is a two-time World Soundtrack Awards and a Satellite Award winner for his music to the song “Lay Your Head Down” lyrics by Glenn Close and score for the Academy Award nominated movie “Albert Nobbs.” The song also earned him his Golden Globe nomination. He received his third World Soundtrack Award nomination for Best Original Song “True Love Avenue” lyrics by Kasey Jones in 2016 for the film “Jenny’s Wedding.” Brian is a three-time Irish Film and Television Award winner for his scores to the Irish Sci-Fi comedy “Zonad,” “Albert Nobbs,” and “The Secret Scripture.”

Brian’s American conducting debut came in 2004 at Carnegie Hall with Irish Tenor Ronan Tynan. Subsequently, he was commissioned to write all the arrangements and conduct the Royal Philharmonic Orchestra for the release of Ronan Tynan’s first solo album. In 2012, he released a classical album “Tales From the Walled City,” also with the RTE Orchestra. Even though living in the United States, Brian conducts and arranges many Pops Concerts and TV shows for both the RTÉ and the BBC Ulster Orchestra. He was Artist in Residence with the RTE Concert Orchestra in Ireland from 2012-2018. Brian has collaborated with international luminaries such as Katy Perry, Bono, Pink, Lisa Stansfield, Van Morrison, The Corrs, Alan & Marilyn Bergman, Luis Miguel, Vince Gill, Gladys Knight and has composed and conducted original songs for Barbra Streisand, Josh Groban, Alanis Morrisette, Kelly Clarkson, Sinead O’ Connor and Kurt Elling. He also conducts many scoring sessions in Hollywood for such projects as the Academy Award Winning animation film “Piper” for Disney Pixar, “Modern Love” for Amazon and most recently, “Ireland” for IMAX. Brian was educated at the Royal Scottish Academy of Music and Drama and graduated in 1997 with first-class honors.

He attended the Berklee College touring faculty in Scotland and received their Outstanding Musicianship Award as well as winning the PRS Sir Arthur Bliss Prize Scholarship for composition that enabled him to study film composition at London’s Royal College of Music.

Brian is married to Oklahoma writer Kasey Jones. They have two small children and divide their time between Oklahoma, Los Angeles and Ireland.

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BOLERO!

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Maestro

BOLERO! Our guest conductor this season is African American Joseph Young, music director of the Berkley Symphony in California. Young put together a program of exciting music coming right from the ballet stage.

And our guest soloist is a master of the guitar, Pepe Romero. He made his first recording back in 1959, and has since recorded more than 60 albums! Pepe has performed with symphonies across the country and throughout the world.

Performing in Oklahoma City, his music leads us from Mexico to Spain and France as he communicates the richness and beauty of the classical guitar.

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CLASSICS

FROM THE

Music, to me personally, is the ultimate reflection of the inner feelings of the composer put into sounds. This season we will take you on a journey through multiple composers where you will experience an array of sounds and feelings.

The canvas of each composer is literally alive ... we experience different instruments dominating the texture, from a single piano or guitar to the full Symphony Orchestra

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JOSEPH YOUNG, GUEST CONDUCTOR PEPE ROMERO, GUITAR Volunteer Appreciation Night

REVUELTAS....... Redes (Nets)* (arr.

Kleiber)

PART I The Fishermen

The Child’s Funeral

Setting Out to Fish PART II The Fight

The Return of the Fishermen with their Dead Friend RODRIGO ........... Concierto de Aranjuez for Guitar and Orchestra Allegro con spirito Adagio Allegro gentile Pepe Romero, guitar Intermission DEBUSSY ........... Prelude to The Afternoon of a Faun PART III Adagietto: Very slow

Rondo-Finale: Allegro giocoso. Lively.

FALLA .................. The Three-cornered Hat (excerpts) Introduction Afternoon The Neighbors’ Dance (Seguidillas) The Miller’s Dance (Farruca) Final Dance (Jota) RAVEL ................. Boléro Oklahoma City Ballet Maria A. Konrad, choreographer *First Performance on this series THIS CONCERT IS GENEROUSLY SPONSORED BY:

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

Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, December 7 at 8 pm and Saturday, December 10 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

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JOSEPH YOUNG

Praised for his suavely adventurous programing, Joseph Young is increasingly recognized as “one of the most gifted conductors of his generation.” Joseph is Music Director of the Berkeley Symphony, Artistic Director of Ensembles for the Peabody Conservatory, and Resident Conductor of the National Youth Orchestra–USA at Carnegie Hall.

Joseph made his major American orchestral debut in January 2008 with the Baltimore Symphony Orchestra, and has since appeared with the San Francisco, Seattle, Charlotte, Berkeley, Saint Louis, Colorado, Charleston, New World, National, North Carolina, Detroit, Fayetteville, Pasadena and Phoenix Symphonies as well as the Los Angeles, Rochester, Buffalo and Savannah Philharmonics, Bamberger Symphoniker, Spoleto Festival Orchestra, Orquestra Sinfónica do Porto Casa da Música, Orquesta Sinfonica y Coro de RTVE (Madrid), Guanajuato Symphony Orchestra (Mexico)and the Chicago Sinfonietta, among others.

Previously, Joseph served as the Assistant Conductor of the Atlanta Symphony where he conducted more than 50 concerts per season. Mr. Young also served as the Music Director of the Atlanta Symphony Youth Orchestra, where he was the driving force behind the ensemble’s artistic growth. Previous appointments have included Resident Conductor of the Phoenix Symphony, and the League of American Orchestras Conducting Fellow with Buffalo Philharmonic and Baltimore Symphony.

Joseph is a recipient of the 2015 Solti Foundation U.S. Career Assistance Award for young conductors, an award he also won in 2008, and 2014. In 2013, Joseph was a Semi-finalist in the Gustav Mahler International Conducting Competition (Bamberg, Germany). In 2011, he was one out of six conductors featured in the League of American Orchestras’ prestigious Bruno Walter National Conductor Preview.

Joseph completed graduate studies with Gustav Meier and Markand Thakar at the Peabody Conservatory in 2009, earning an artist’s diploma in conducting. He has been mentored by many world-renowned conductors including Jorma Panula, Robert Spano and Marin Alsop with whom he continues to maintain a close relationship.

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GUEST ARTIST B O L E R O !

PEPE ROMERO There are very few true living legends in the world of classical music, few who have sustained greatness and grown throughout their lives. Pepe Romero is such an artist. He has been honored by kings, heads of state, and major institutions-the encomiums continue to pour in. But to Romero, his most important contribution has been reaching the common man. He has communicated the richness and beauty of the classical guitar to millions of people throughout the world. He has, indeed, become an ambassador of classical music, and, correspondingly, of the classical guitar.

But this gift did not just appear out of nowhere. Pepe is the second son of one of the greatest guitarists that ever lived—Celedonio Romero. And he is brother to two more musical phenoms—Celin and Angel Romero.

In the United States, he has appeared with leading symphony orchestras in Philadelphia, Cleveland, Chicago, Houston, Detroit, Pittsburgh, Boston, San Francisco, Dallas, New York, and Los Angeles, as well as with the Orpheus Chamber Ensemble and Boston Pops. European ensembles with which he has appeared include the Academy of St-Martins-inthe-Fields, Dresden Philharmonic, London Symphony, la Accademia Santa Cecilia di Roma, Monte Carlo Philharmonic, I Musici, Zurich Chamber Orchestra, Philharmonia Hungarica, Solisti di Zagreb, Hungarian State Orchestra, Spanish National Orchestra, Spanish National Radio Television Orchestra, Norddeutscher Rundfunk, Hamburg Philharmoniker, L’Orchestre de la Suisse-Romande, Lausanne Chamber Orchestra, New Moscow Chamber Orchestra, American Sinfonietta, and Bournemouth Symphony—among many others.

In addition, he has collaborated with such distinguished conductors as Sir Neville Marriner, Rafael Frühbeck de Burgos, Jesús López-Cobos, Eugene Ormandy, Antoni Ros-Marbà, Josep Pons, Arthur Fiedler, Lawrence Foster, Enrique Jordá, Andre Kostelanetz, Leonard Slatkin, Phillipe Entremont, Odón Alonso, Morton Gould, Michael Palmer, Guillermo Figueroa, Michael Zearrot, Miguel Ángel Gómez Martínez, Pedro Halffter, and Christoph Eschenbach.

Pepe Romero has always felt, along with his father and brothers, that the sharing of one’s art is a personal responsibility. Mr. Romero has served as Professor of Guitar at the University of Southern California, University of California at San Diego, Southern Methodist University, and the University of San Diego. Every summer at the Celedonio Romero Guitar Institute, currently held at Oklahoma City University, the Romeros conduct an intensive guitar workshop including master classes, private lessons, student concerts and a final concert featuring the students performing with the Romeros. Pepe has conducted master classes at the Salzburg Summer Academy, Córdoba Guitar Festival, and the Schleswig-Holstein Festival. In 2004 he was appointed Distinguished Artist in Residence at the University of Southern California’s Thornton School of Music. His newly revised guitar method “La Guitarra” was published and released by Tuscany Publications in 2012. Currently he is finalizing a teaching video that discloses the principles of the Pepe Romero guitar technique.

Pepe Romero holds honorary doctorates in music from the San Francisco Conservatory of Music and the University of Victoria, British Columbia. In June 1996, he received the “Premio Andalucía de la Música,” the highest recognition given by his native land for his contribution to the arts. In addition, His Majesty, King Juan Carlos I of Spain, has knighted Pepe and his brothers into the Order of “Isabel la Católica.” In June 2018 he received the Medalla de Honor from the Real Academia de Bellas Artes de Granada for his lifelong achievement in performance and pedagogy.

A biographical documentary about the Romeros appeared on PBS in 2001 entitled “Los Romeros, the Royal Family of the Guitar.” Following this production, German television released another brilliant documentary about the Romeros entitled “Los Romeros, the Dynasty of the Guitar.” In 2007, the Romeros received the President’s Merit Award from the Recording Academy, producers of the Grammy Awards, for their significant contributions to the music world and professional career achievements.

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MARIA A . KONRAD Maria A. Konrad earned her BFA in Performing Arts at The University of the Arts in Philadelphia, Pennsylvania. As a teacher in Philadelphia, Ms. Konrad created the early-dance-education curriculum for the school of the Koresh Dance Company. Her work has been picked up by choreographic workshops in NYC such as The STEPS Beyond Foundation at STEPS on Broadway and the “Come Together Festival hosted by Koresh Dance Company. She has choreographed for Opera Tampa in Les Pêcheurs de Perles and Aida. She has been a guest choreographer with Pennsylvania Ballet 2 (Dir. Eddy Tovar) for three seasons. She has been recognized for her choreography by organizations such as Young Arts, Youth America Grand Prix for “Outstanding Choreography”(2022 Finals, 2015, 2017) and ADCIBC (2021). She has been a guest teacher for institutions such as The Colorado Ballet School, Nashville Ballet, Tulsa Ballet, The Joffrey (Chicago), University of the Arts, Florida’s Young Dancers Workshop and Florida Dance Festival. She served on the 2018 faculty at The International Ballet Competition in Jackson, Mississippi. She is excited to join the YAGP organization for a fourth season as a judge and Master Teacher. She is currently resident choreographer with The Next Generation Ballet (Dir. Philip Neal). She has been a guest instructor for the fitness line “Eleven” by Venus Williams. She also hosts series “Barre Talk” on YouTube for So’Danca where she chats, laughs and loves with some of the biggest names in dance.

P R O G R A M N OT E S B O L E R O !

R E V U E LTA S Redes (Nets) Silvestre Revueltas First Performance on this Series Born: December 31, 1899, in Santiago Papasquiaro, Durango, Mexico Died: October 5, 1940, in Mexico City, Mexico Work composed: 1934-35 as a score for the film of the same name Work premiered: The film was released in 1936 Arrangement: 1943, by Erich Kleiber (1890-1956) Instrumentation: Flute and piccolo, two oboes, two clarinets, two bassoons, four horns, three trumpets, two trombones, tuba, timpani, cymbals, tam-tam, Indian drum, and strings

Silvestre Revueltas Sánchez 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 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. 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. This past April, the Oklahoma City Philharmonic performed the penultimate of his eight film scores, La noche de los mayas (The Night of the Mayas), from 1939, and now it visits a slightly earlier work, Redes (Nets), composed in 1935. The film featured cinematography by the American photographer and filmmaker Paul Strand, one of the seminal figures in promoting the reception of photography as a full-fledged art form in the nation’s aesthetic circles. He lived from 1932 through 1935 in Mexico, where the Mexican government commissioned him to shoot a film about the fishing community at Alvarado, south of Veracruz, along the Gulf of Mexico.

He had initially come at the invitation of the composer Carlos Chávez, who was serving as Mexico’s director of fine arts. Strand’s assignment was to build up a body of photographs for a museum show, but before long they settled on a second project—the film whose working title of Pescados (Fish) evolved into Redes (Nets). In 1934 a shift in the Mexican government put Chávez out of his fine-arts job. Work on the film continued all the same, but the political change may account for why Chávaz himself did not write the score.

The film was still in gestation in 1934, when Revueltas was approached to provide music. He set about work immediately and wrote a 20-minute orchestral score by that October. The 86 pages of this initial score include references to points in the scenario, but this was before the movie had been entirely filmed. Another version of the score followed in December 1935, now with a revised orchestration, running to 157 pages, divided into three sections, and closely aligned to the action.

Revueltas conducted this as a concert piece on at least two occasions—in 1936 in Mexico City and in 1937 in Barcelona. “The music of Redes has brought me into contact with many people,” he wrote to his wife as he returned home from Europe. “It confirms for me that my work has not been lost. ... It looks like I have stirred up great interest.”

Nonetheless, the most frequently encountered concert version of this score—the one played here—was made in 1943, after Revueltas’s death, by the conductor Erich CONTINUED ON PAGE 46

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Paul Strand’s Redes Much of Paul Strand’s work had overtones of populist politics. He was on the cinematography crew for the 1936 film The Plow that Broke the Plains, about social history and farming practices on the Great Plains that culminated in the tragedy of the Dust Bowl, and he co-directed the 1942 Native Land, a pro-union, anti-fascist film that used Paul Robeson as narrator and vocalist. He originally conceived Redes as a documentary but gradually reformulated it into a work of fiction shot in documentary style—“docufiction,” as he called it. It was filmed on location, and most of the cast comprised villagers rather than professional actors. Its story involved consciousness-raising among the fisherman, but it wasn’t warmly received when it was released in Mexico. It was, however, embraced elsewhere, where political sentiments of the 1930s were more focused on oppression of workers, earning accolades in the United States and in Europe.

—JMK

Concierto de Aranjuez for Guitar and Orchestra Joaquín Rodrigo First Performance: 10/27/1968 Guitar: Ray De La Torre Last Performance: 2/11/2000 Guitar: Sharon Isbin Born: November 22, 1901, in Sagunta, Spain Died: July 6, 1999, in Madrid, Spain Work composed: 1939 Work premiered: November 9, 1940, at the Palau de la Música Catalana in Barcelona, Spain, with guitarist Regino Sainz de la Maza and the Barcelona Philharmonic Orchestra, César Mendoza Lassalle conducting Instrumentation: Two flutes (one doubling piccolo), two oboes (one doubling English horn), two clarinets, two bassoons, two horns, two trumpets, and strings, in addition to the solo guitar

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RODRIGO

Kleiber. He assembled extracts from the first and third sections of the score, maintaining the composer’s final orchestration.

The Concierto de Aranjuez earned Joaquín Rodrigo a place on the list of classical music’s one-hit wonders.

It is a list of real distinction. There we find, for example Carl Orff and his Carmina Burana, Paul Dukas and The Sorcerer’s Apprentice, Gustav Holst and The Planets, Ferde Grofé and the Grand Canyon Suite ... and plenty more. Such composers produced rich catalogues of compositions, many of which deserve to be far better known. But in every case, one masterwork tends to elbow the rest of their music into the shadows.

It seems terribly unjust to Rodrigo, whose output included a fair amount of estimable choral music and reached even to a ballet and a zarzuela. Nonetheless, he was at his most comfortable in instrumental music, composing notable solo works for piano, violin, cello, and guitar. The most impressive section of his catalogue is devoted to orchestral music, most of it consisting of concertos. The Concierto de Aranjuez was the first of them, composed in 1939, and it scored such a success that it launched a succession of nine further concertos, each with a qualifying or descriptive title: a second for guitar (Concierto para una fiesta, 1982), plus concertos for two guitars (Concierto madrigal, 1966) and four guitars (Concierto Andaluz, 1967); two for cello (Concierto en modo galante, 1949, and Concierto como un divertimento, 1981); and one each for harp (Concierto serenata, 1954), piano (Concierto heroico, 1943), violin (Concierto de estío, 1943), and flute (Concierto pastoral, 1978). That doesn’t count his several concertante works that aren’t actually titled concierto, although one of those, the Fantasía para un gentilhombre for Guitar and Orchestra (1954), is the non-Aranjuez work of his that most frequently gets a dusting-off—and it is the piece most likely to be coupled with the Concierto de Aranjuez on recordings.

Blind since the age of three, Rodrigo began his musical studies in Valencia before moving to study with Dukas

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The concerto stands as a tribute from a Spanish composer to a Spanish city rich in history. The medieval city of Aranjuez was widely known for its ancient palace, which was reconstructed in the 18th century and became the base for the Bourbon monarchy. The composer wrote: The Concierto de Aranjuez is named for the famous royal site on the River Tagus, not far from Madrid, along the road to Andalucía, and some perceive Goya’s shadow in the notes of its music, full of melancholy emotion. Its music seems to bring to life the essence of an 18th-century court, where aristocratic distinction blends with popular culture.

In its melody the perfume of magnolias lingers, the song of birds and the whisper of fountains, although specific descriptions are not found here. ... The Concierto de Aranjuez, a synthesis of classical and popular in both form and emotion, lies dreaming beneath the foliage of the park that surrounds the Baroque Palace, and only wishes to be as agile as a butterfly and as precise as a matador’s cape pass.

Prelude to the Afternoon of a Faun (Prélude à l’après-midi d’un faune) Claude Debussy First Performance: 2/21/1938 Conductor: Ralph Rose Last Performance: 2/4/2017 Conductor: Adreas Delfs Born: August 22, 1862, in St. Germain-en-Laye, just outside Paris, France Died: March 25, 1918, in Paris, France

Work composed: Begun in 1892—perhaps as early as 1891—and completed by October 23, 1894 Work premiered: December 22, 1894, at a concert of the Société nationale de Musique in Paris, with Gustave Doret conducting Instrumentation: Three flutes, two oboes and English horn, two clarinets, two bassoons, four horns, two harps, antique cymbals, and strings

DEBUSSY

in Paris, which remained his home through the time of the Spanish Civil War. It is there that he composed his Concierto de Aranjuez, which had been inspired by a dinner where he encountered the noted guitarist Regino Sainz de la Maza, who would play the concerto’s premiere and to whom Rodrigo would dedicate the score. “We ate well and the wine was not bad at all,” Rodrigo recalled.

“It was the right moment for audacious fantasizing. ... All of a sudden, Regino, in that tone between unpredictable and determined which was so characteristic of him, said: ‘Listen, you have to come back with a Concerto for Guitar and Orchestra’—and to go straight to my heart, he added in a pathetic voice: ‘It’s the dream of my life’—and resorting to a bit of flattery, he continued, ‘This is your calling, as if you were ‘the chosen one.’ I quickly swallowed two glasses of the best Rioja, and exclaimed in a most convincing tone, ‘All right, it’s a deal!’”

Claude Debussy achieved his musical maturity in the final decade of the 19th century, a magical moment in France when partisans of the visual arts fully embraced the gentle luster of Impressionism, poets navigated the indirect locutions of Symbolism, composers struggled with the pluses and minuses of Wagner, and the City of Light blazed even more brightly than usual, enflamed with the pleasures of the Belle Époque.

Several early Debussy masterpieces of the 1890s have lodged in the enduring repertoire, including most strikingly the Prelude to the Afternoon of a Faun. Debussy was hardly a youngster when he composed it. He had begun studying at the Paris Conservatoire in 1872, when he was only ten; had served as resident pianist and musical pet for Nadezhda von Meck, Tchaikovsky’s mysterious patron, in Russia and in her travels during the summers of 1880-82; had gained the imprimatur of the Prix de Rome in 1884, enabling him to spend the next two years in Italy; had inhaled the Wagnerian breezes of Bayreuth in 1888 and 1889; had grown enamored of the Javanese gamelan at the Paris International Exposition of 1889; and had composed a great many songs and piano pieces, some of which are ensconced in the repertoire today.

While it defined the composer’s distinctive voice, this tenminute piece baffled many listeners. Debussy’s fellowcomposer Alfred Bruneau wrote of it: “[It] is one of the most exquisite instrumental fantasies which the young French school has produced. This work is too exquisite, CONTINUED ON PAGE 48

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alas! it is too exquisite.” Even at the distance of a century, listeners can appreciate Bruneau’s concern. Debussy—or at least the Debussy of the 1890s—sometimes seemed so obsessed with minute details of timbre that other musical concerns appeared to be overlooked; everything threatened to implode into a mass of sensual loveliness.

Of the Prelude to the Afternoon of a Faun the composer Ferruccio Busoni said (I think as a compliment), “It is like a beautiful sunset; it fades as one looks at it.”

Debussy’s eventual style was not to display the sort of firm, unmistakable architecture that most composers up until that time had cherished. His method would evolve into something more intuitive, with themes that invite little development, with harmonies inspiring momentary excitement rather than underscoring long trajectories. Although he is sometimes called a musical Impressionist, his esthetic affinities would seem to be more allied to the Symbolists, those poets and artists of the late-19th century who disdained the purely expository or representational and sought instead to evoke specific, fleeting emotional illuminations in the reader or viewer through mysterious metaphors.

One of the highpoints of Symbolist poetry was “L’Aprèsmidi d’un faune” (The Afternoon of a Faun), by Stéphane Mallarmé. The poem first appeared in 1865 under title “Monologue d’un faune” and then kept evolving until it reached a definitive version in 1876. At that point Mallarmé published it, under its new title, in a slim volume embellished with a drawing by Édouard Manet.

Vintage Symbolism it is: a faun (a rural deity that is half man and half goat) spends a languorous afternoon observing, recalling, or fantasizing about—it’s not always clear which—some alluring nymphs who clearly affect him in an erotic way. The poem became iconic in its time (though it was merely a point of departure for Mallarmé’s further, even more revolutionary poetry) and Debussy fell beneath its spell by the early 1890s, when he seems to have discussed with Mallarmé the idea of creating a musical parallel.

Debussy probably embarked on the project sometime in 1892. The score was complete by October 23, 1894, and the piece was premiered two months later, to such acclaim that it was immediately encored on the same program. It was certainly radical in its unremitting sensuality, but the work’s harmonic implications were also profound. In retrospect, the Prelude to the Afternoon of a Faun may be taken as a harbinger of the musical century that lay ahead.

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A Piece to Reckon With The Prelude to the Afternoon of a Faun inspired a river of commentary that continues to flow to this day. Here’s an appreciation from the composer Pierre Boulez: “It has been said often: the flute of the Faune brought new breath to the art of music; what was overthrown was not so much the art of development as the very concept of form itself, here freed from the impersonal constraints of the schema, giving wings to a supple, mobile expressiveness, demanding a technique of perfect instantaneous adequacy. ... The potential of youth possessed by that score defies exhaustion and decrepitude; and just as modern poetry surely took root in certain of Baudelaire’s poems, so one is justified in saying that modern music was awakened by L’Après-midi d’un faune.”

—JMK

The Three-cornered Hat (El sombrero de tres picos), Suites No. 1 and No. 2 Manuel de Falla Suite 1 Sole Performance: 4/3/1977 Conductor: Ainslee Cox Suite 2 First Performance: 3/20/1951 Conductor: Victor Alessandro Last Performance: 5/2/2015 Conductor: Joel Levine Born: November 23, 1876, in Cádiz, Spain Died: November 14, 1946, in Alta Gracia, Argentina Work composed: 1916-19 Work premiered: July 22, 1919, at the Alhambra Theatre in London, with Ernest Ansermet conducting the premiere production of the ballet by the Ballets Russes; some of the music had already been heard in an earlier form as the score for the pantomime El corregidor, premiered April 7, 1917, at the Aslava Theatre in Madrid with Joaquín Turina conducting.

Instrumentation: Two flutes (second doubling piccolo), two oboes and English horn, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, xylophone, cymbals, bells, snare drum, triangle, bass drum, castanets, tam-tam, harp, piano, celesta, and string

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a set of three “symphonic impressions”—his term—for piano and orchestra.

FA L L A As a teenager, Manuel de Falla y Matheu set his sights on becoming an author, but by the time he was 20 he acquiesced instead to a consuming passion for music.

His youthful piano studies paid off, and he advanced quickly through conservatory instruction, graduating in 1899 from the Madrid Conservatory with a first prize in piano and a thorough education in harmony, counterpoint, and composition. Nonetheless, Falla’s first steps in his chosen profession were far from dynamic.

Unable to scrape together a living by composing serious music and not quite a good enough pianist to find acclaim in the recital hall, he turned to the closest enterprise that might prove commercially viable, the composition of zarzuelas (peculiarly Spanish stage works that might be described as a regional variation on operetta). He composed six from 1900 to 1904; only one reached the stage, and it left him no better off than before.

Still, those early experiences helped clarify his goals, and in 1905 he won an important prize for his first certifiable masterpiece, La vida breve, a true opera. But plans to produce it fell through, and Falla, recognizing that Spain was too far off the beaten path of culture for his restless talent, left in 1907 for where the action was—Paris. He would remain there until 1914, associating closely with Dukas, Debussy, and Ravel. During those years he refined his craft as a musical Impressionist without sacrificing the Spanish flavor that lay at the root of his inspiration.

The outbreak of World War I forced his return to Spain, but this time Madrid proved more amenable to his talent.

Further stage works rich in Spanish flavor flowed from his pen, beginning with El amor brujo (1915), and in 1916 Falla heard the premiere of his first major symphonic work, which had occupied him since 1909: Nights in the Gardens of Spain (Noches en los jardines de España),

The Three-cornered Hat (El sombrero de tres picos) followed shortly thereafter, and its genesis was somewhat convoluted. It shares its title with that of its source, a famous novella published in 1874 by Pedro Antonio de Alarcón based on the popular romance The Magistrate and the Miller’s Wife (El corregidor y la molinera). Back in 1905 it had been one of three possibilities Falla and his librettist considered turning into an opera. The three prospective subjects were written on pieces of paper and the decision was left to the chance of the draw. La vida breve was picked, and The Three-cornered Hat went on the back burner.

Falla continued to harbor hopes of setting it as an opera, but a problem arose: it turned out that Alarcón’s will forbade a texted musical setting of this novella, though it seemed that a staged version could pass legal muster so long as no text was involved. In 1916-17 Falla therefore composed his long-simmering score and the work was unveiled as a staged pantomime, in 1917 in Madrid, to a scenario by María Martínez Sierra under the title The Magistrate and the Miller’s Wife. The famous impresario Serge Diaghilev happened to be in Madrid with his Ballets Russes just then. He attended numerous performances of The Magistrate, was captivated by what he saw, and asked Falla to expand the work into a full ballet for his troupe. This involved quite a bit of work both in creating some entirely new numbers and in expanding the instrumentation throughout, since the pantomime version had been crafted for a small orchestra of 18 players. The premiere was planned for 1917, but the First World War dragged on and made that schedule impractical. With the war finally ended, the premiere was set for 1919 in London, a starry affair that brought Falla together with conductor Ernest Ansermet, Pablo Picasso as the designer of sets and costumes, and Leonide Massine as choreographer and one of the principal dancers, who took over the role after his own Spanish flamenco coach had to withdraw.

CONTINUED ON PAGE 50

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The Plot of The Three-cornered Hat

That night the neighbors gather at the miller’s home to celebrate the Feast of St. John (“The Neighbors’ Dance” followed by “The Miller’s Dance”). Now comes much confusion. The magistrate has the miller arrested, and with the miller temporarily out of the way he renews his pursuit of the millers’ wife. They end up on a bridge; she pushes him into the shallow stream below and flees. He goes to her home, but finding nobody there he removes his wet clothes, lays them out to dry (with his tricorn hat prominent, of course), puts on the miller’s own nightshirt, and falls asleep on the bed. The miller manages to escape his captors and returns home to find the magistrate in the bed. Assuming that his wife has actually given in to her suitor, the miller decides to take revenge by courting the magistrate’s wife.

After the miller leaves on this mission, policemen enter in search of him and, seeing the figure in his clothes, mistakenly try to arrest the magistrate.

The miller, his wife, and the neighbors enter and gradually sort out the confusion, and in the end everyone dances a jota (“Final Dance”) while tossing the magistrate’s effigy in a blanket.

—JMK

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R AV E L

Variously constituted orchestral suites have been drawn from the ballet The Three-cornered Hat. Here’s the general idea of the plot, condensed to reflect the excerpts performed in this concert.

The action involves three principal characters in an Andalusian village: the miller and his wife, who love each other so deeply that they normally have no problem with one another’s flirtations, and an old magistrate. The ballet opens with a fanfare (“Introduction”) and continues with a depiction of a languorous afternoon (“Afternoon”), during which the old magistrate happens by (portrayed by a bassoon), formal and pompous in his tricorn hat. He and the miller’s wife flirt with each other before the miller chases him away.

Boléro (1928) Maurice Ravel First Performance: 2/21/1938 Conductor: Ralph Rose Last Performance: 5/21/2011 Conductor: Joel Levine Born: March 7, 1875, in Ciboure, near St-Jean-de-Luz, BassesPyrénées, France Died: December 28, 1937, in Paris, France Work composed: July 6 through October 1928 Work premiered: November 22, 1928, at the Paris Opéra, in a ballet production by Ida Rubinstein directed by Bronislava Nijinska and conducted by Walther Straram; the first concert performance took place on November 14. 1929, at Carnegie Hall in New York, with Arturo Toscanini conducting the New York Philharmonic Instrumentation: Two flutes and piccolo, two oboes (second doubling oboe d’amore) and English horn, two clarinets plus E-flat clarinet and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets and piccolo trumpet in D, three trombones, tuba, three saxophones (sopranino in F, soprano, and tenor, although soprano often handles the sopranino part, sopranino saxophones in F being largely extinct), timpani, two side drums, cymbals, tam-tam, celesta, harp, and strings

Melody, harmony, rhythm, timbre, dynamics—these are the irreducible materials of musical composition, and in nearly every piece they follow a certain hierarchical pecking order. In Western music, melody and harmony— the tune and the way the tune weaves through the gravity exerted by its key—are generally conceded to be the most important elements of composition, with rhythm—the pulse underlying these musical processes—placing a distant third. Timbre—the acoustical sound of the instruments playing the music—is widely viewed as icing on the cake, as is dynamics—the volume in which the music is played; although both unquestionably effect how

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music comes across, composers have often considered them as less vital in defining the essence of a composition.

All five of these elements are present in Boléro, to be sure, but Ravel manipulates them in a way that skews their accustomed balance. The work’s extended, sinuous melody is surely memorable, but there is no more than a single melody in the entire 17-minute piece and it is repeated over and over without the slightest development or elaboration until near the very end. The harmony, working in lockstep with the melody, is similarly repetitive and unvarying. Since the melody never changes, its rhythm (like its pitches) remains always constant; and so does the essentially pitchless two-bar rhythmic figure that accompanies the melody: tat, rat-a-tat tat, rat-a-tat tat tat, tat, rat-a-tat tat, rat-a-tat rat-a-tat rat-a-tat. In the course of Boléro that rhythmic cell is heard ceaselessly, 169 times over, collapsing only in the rupture of the final few measures. By dint of obsessive repetition, the interest of the melody, harmony, and rhythm is dissipated; the listener remains very much aware of them, but their unchanging patterns soothe the ear into complacency.

As these aspects of the composition fade into familiarity, timbre and dynamics take on unaccustomed importance in how the piece unrolls. From the nearly silent beginning—the pianissimo drum tattoo, the pizzicato string chords suggestive of a guitar, and the melody introduced by a flute in its low register—the composer builds in a tour-de-force of additive instrumentation, increasing the texture of those parts with every repetition and seizing upon an astonishing variety of constantly changing instrumental combinations, including prominent input from such rarely spotlighted orchestral instruments as oboe d’amore and three sizes of saxophones. What begins by occupying only three separate lines of musical score grows to occupy huge pages of staves, and, as one would expect, the volume increases accordingly, from gentlest pianissimo to grand fortissimo. The work’s method, however revolutionary, was essentially simple. Wrote Ravel in a 1931 letter to his friend the critic M.D. Calvocoressi: “It is an experiment in a very special and limited direction, and should not be suspected of achieving anything different from, or anything more than, it actually does achieve. [It is] a piece lasting seventeen minutes and consisting wholly of orchestral tissue without music—of one very long, very gradual crescendo. The themes are impersonal—folk tunes of the usual Spanish-Arabian kind.”

Ravel wrote this piece on request as a ballet score for the troupe of Ida Rubinstein. At first, he demurred, suggesting instead that he merely orchestrate an existing piece by

Isaac Albéniz. Ravel put off the project and, in the end, decided to write something original, explaining, “After all, I would have orchestrated my own music much more quickly than anyone else’s.” When all is said and done, the piece he wrote turned out to be principally orchestration. At the first orchestral rehearsal Ravel was as astonished as everyone else by the momentum his piece conveyed, but he nonetheless told his friends that he had no doubt that so radical an experiment would never find a place in normal orchestral concerts. Was he ever wrong! It became an instant mega-hit. Invitations to conduct the piece poured into Ravel’s mailbox and today its niche in the orchestral repertoire remains utterly secure. “Malheureusement il est vide de musique,” Ravel remarked—“Unfortunately, it contains no music.”

Audiences tend not to agree with him about that.

Anti-Fans Notwithstanding its great success, so radical a piece as Boléro left the door wide open to witty ripostes from critics. Edward Robinson, in his article “The Naïve Ravel” in The American Mercury (May 1932), took a psychoanalytical approach: Ravel’s Bolero I submit as the most insolent monstrosity ever perpetrated in the history of music. From the beginning to the end of its 339 measures it is simply the incredible repetition of the same rhythm ... and above it the blatant recurrence of an overwhelmingly vulgar cabaret tune that is little removed, in every essential of character, from the wail of an obstreperous backalley cat. ... Although Ravel’s official biography does not mention it, I feel sure that at the age of three he swallowed a musical snuff-box, and at nine he must have been frightened by a bear. To both phenomena he offers repeated testimony: he is constantly tinkling high on the harps and celesta, or is growling low in the bassoons and double-basses.

And Constant Lambert, whose 1934 book Music Ho!: A Study of Music in Decline threw down the gauntlet to quite a few progressive styles, remarked: “There is a definite limit to the length of time a composer can go on writing in one dance rhythm. This limit is obviously reached by Ravel toward the end of La Valse and toward the beginning of Boléro.”

—JMK 51

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DEBBIE RE YNOLDS Hollywood icon Debbie Reynolds starred in some of the most memorable motion pictures of the 20th Century. “Singin’ in the Rain,” “Tammy,” and “The Unsinkable Molly Brown,” to name a few.

In 2009, Reynolds made a trip to the Midwest, where she performed with your Oklahoma City Philharmonic.

“She came onstage during the first half, and remarked about how easy it was to get from Los Angeles to Oklahoma City” said Joel Levine, OKCPHIL Founder and Music Director Emeritus. “Her punchline was ‘It took two airplanes and a covered wagon!’ And with that, the audience erupted in laughter and was firmly in her grasp.”

The idea for the concert, Levine remembers, was to give the audience something light and fun, sort of a “young people’s concert for adults.”

“We chose Debbie because we had worked with her before on the Pops; we knew she was fun and had the ability to be appropriately funny OR serious as required. Her narrations were absolutely straightforward—we just had the bonus of that Debbie Reynolds voice!”

Reynolds narrated Benjamin Britten’s Young Person’s Guide to the Orchestra, and then Peter and the Wolf.

During rehearsal, Levine says she walked onstage and was busy “chattering away” with the orchestra members.

“She was telling them all kinds of short stories and comic bits,” he recalls. “Finally, I realized she was looking for the orchestra’s reaction as a way of judging what kind of stories would be appropriate to a Classics audience. She had a ton of stories and was definitely in ‘editing’ mode!”

Reynolds was actively performing until her death in late 2016, starring in movies like In & Out, Mother, and on TV in her Emmy-nominated role on Will & Grace.

“She was an absolute joy to work with,” Levine says. “Debbie was the consummate professional and she and I and the orchestra had a wonderful time from rehearsals all the way to the concert.”

Archival photo and recollections courtesy of Joel Levine.

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Dr. and Mrs. Philip C. Bird Dr. Robyn Birdwell and Dr. Mark Fixley Mr. and Mrs. Del Boyles Mrs. Phyllis Brawley Dr. and Mrs. Robert C. Brown J. Christopher and Ruth Carey Ms. Janice B. Carmack Jeff Caughron Mr. and Mrs. Mike Cawley Drs. Fong Chen and Helen Chiou Nancy Coleman Dr. Thomas Coniglione Barbara Cooper Patricia Czerwinski Mr. Chuck Darr Rita and Thomas Dearmon Tony and Pam Dela Vega Gary and Fran Derrick Kevin and Alisha Dunnington Nancy Payne Ellis Dr. and Mrs. Royice B. Everett Ann Felton Gilliland Kristen and Anthony Ferate Dr. Thurma J. Fiegel Mrs. Linda Gardner Mr. and Mrs. Kelly George Drs. Stephen and Pamela Hamilton Kirk Hammons Walt and Jean Hendrickson Mr. and Mrs. John D. Higginbotham Mr. and Mrs. Joe R. Homsey, Jr. Lois and Roger Hornbrook Thomas and Elizabeth Hrubik Leslie and Cliff Hudson David and Vicki Hunt Mr. and Mrs. Carlos Johnson Mike and Kay Kellogg Margaret and Drake Keith Ms. Claren Kidd Natalie Kurkjian and Christopher Geyer Mary Jane Lawson Mr. and Mrs. Harrison Levy, Jr. Midge Lindsey Barbara Masters, M.D. Mr. and Mrs. John A. McCaleb 56

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Debra and Wayne Lord David Lynch Kareen Man Allison Matoi Gerry Mayes Frank McPherson Lt. Col. Terry L. Mock Debra and Don Nevard Steven Newell and Deborah Naylor Chintan Parikh Michael and Ginger Penn Kevin Pitcock Richard Pralle Mr. and Mrs. Ray Reaves Mr. and Mrs. Sheldon M. Reznik Dr. and Mrs. Michael Fred Robinson Barry Roseman Lyla Rousseau Mr. and Mrs. Arthur J. Rus Mr. John Schwind Jody and Pat Smith Paul and Carolyn Specht Rick Spence Tom and Venita Springfield Chris Steves Greg Taber David and Peggy Tanner Ken Thiele Bethany Toombs Mr. and Mrs. Lawrence Towell Ronald Ward Dick Wegener Elaine Weise John and Cheryl White Ghita Williams Jim and Polly Worthington

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G I F T S TO T H E P H I L SPECIAL GIFTS

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 Dr. John M. Carey Jay and Linda Leemaster Cliff and Vickie Miller In Memory of Earl J. Cheek Cindy and John Crittenden Vickie Norick 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 Memory of Thomas J. Enis Robert Short, M.D., Ph.D. In Honor of Marti Ferretti Sondra and Steve Balaban 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

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In Honor of Linda Mason Anonymous In Honor of June H. Parry Anonymous 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 Malcolm Robinson, MD Susan Robinson In Honor of Paulette Schroeder Shirley Jones 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

G I F T S TO T H E P H I L THANK YOU!

The OKCPHIL gratefully acknowledges the generosity of individuals who have chosen to return concert tickets as a tax donation. This recognition reflects contributions made in the 2021-22 and 2022-23 concert season and are listed through August 3, 2022.

Anonymous Dr. Lisa Abney Hugh G. and Sharon Adams Steven C. Agee, Ph.D. Linda and Patrick Alexander Mr. and Mrs. Louis Almaraz Ms. Beth M. Alonso John and Nancy Alsup Mary Ellen Anderson Dr. and Mrs. Dewayne Andrews Dr. and Mrs. John C. Andrus Ms. Zonia Armstrong Dr. Henry and Carol Asin Tom and Fran Ayres Dr. Sterling and Cheryl Baker Betsy Banks Anne Barker Mr. J. Edward Barth Sherry K. Barton Ben Baysinger Mrs. Betty D. Bellis-Mankin Elizabeth Bennett Ann Beutel Dr. Ajay Bhargava, M.D. James Blank Billie G. Boston Joe and Nancy Bradley Mrs. Carole S. Broughton Mr. and Mrs. Kenneth Brown James Bussell Barbara and Gregory Cable Nancy Cain Lori Christensen Jennifer Clair Deborah Collins Julie Collins Dr. Thomas Coniglione Teresa Cooper Ms. Joan Corbin William and Mary Ann Corum Bridger Cox Lawrence H. & Ronna C. Davis Carol A. Davito Dr. Nancy Dawson Tony and Pam Dela Vega

Vickie Dennis Richard and Cindy Dugger Dennis Echard Nancy P. Ellis Mrs. Patty Empie Mrs. Barbara L. Eskridge Dr. and Mrs. Royice B. Everett Marian Ezzell Arnold and Mari Fagin Joseph and Yvette Fleckinger Ret. MSGT and Mrs. Andres E. Flores, Jr. Gerald and Jane Jayroe Gamble Sam and Becky Garlow Mrs. and Mr. Ruth Giddens Greg and Robin Glenn Robert Gray Marsha and John Greiner Marcine Grey Janet Gruel Kirk Hammons Sonja Hannon Brent Hart and Matt Thomas Karen Hennes Rita Henry Frank and Bette Jo Hill Jane Hogg-Krizer Carl and Ruth Holloway Ken and Nora House Richard Howell Thomas and Elizabeth Hrubik Theresa Huebner Wendy Huff Diane Hutchinson Sue and Dudley Hyde Mr. and Mrs. Carlos Johnson Mr. and Mrs. L.J. Johnson Nita Johnson Sharon K. Johnson Gary C. Johnston Kathy and Terry Kerr Linda Knox Linda Kodad John Rollin Koons Mary Jane Lawson Sharon and Ken Lease

Kathy Leithner Robert Leveridge Virginia Locke Lisa Loewenkamp Lorraine Longo Debra and Wayne Lord Roy and Sharon Love Marvin and Peggy Lunde James and Bette Mackellar Kareen Man Kathie Marshall Anita R. May Charles H. and Caroline Mayfield Debbie McCowan Elizabeth McGuiness Ms. Vickie McIlvoy John and Anna McMillin Cindy Miller Betsy Mitschke and Steven Helt David Miller and Barbara Neas Debra and Don Nevard Steven Newell and Deborah Naylor Larry and Polly Nichols Susan and James Nicholson Charles L. Oppenheim Chintan Parikh Ann Marie and Jerry Parker Kathy Pearson Mrs. Barbara Pirrong Beth Plant Richard Pralle Gary Rankin Dr. Cynthia Redding Mr. and Mrs. Sheldon M. Reznik Jim and Claudia Robertson Dr. and Mrs. Michael Fred Robinson Barry Roseman Mr. and Mrs. William J. Ross Lyla Rousseau Dr. Linda Rowland Woody, Ph. D. Carl J. and Deborah Rubenstein Ernesto and Lin Sanchez Delilah Sanderson Dr. and Mrs. Olaseinde Sawyerr Elizabeth Schumacher

Mr. John Schwind Jan Shannon Pam and Bill Shdeed Robert and Susan Shoemaker Jerrod and Jamie Shouse Mr. Richard L. Sias Cecil Smith Lucy Smith John and Katherine Spaid Gary and Brenda Spangler Tom and Venita Springfield Fred Staker Judith Clouse Steelman Jim and Debbie Stelter Chris Steves Dr. and Mrs. James B. Stewart, Jr. Jonathan and Andrea Stone Dennis and Marianne Stover Reta and Richard Strubhar Leanne Suhre Marilyn Summers Sarah Tracy Diane Tucker Mrs. June Tucker Donna Kennedy Vogel Christopher Weimer Elaine Weise Robert and Tammy Weiss Margaret Holloway Wells Phillip and Ashton Whaley Mary Ann Williams Paul Wilson Mrs. Anne Workman Jim and Polly Worthington Carol Wright Odile Wright Carolyn T. and Don T. Zachritz

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