Unforgettable 2019-2020 Season Program

UNFORGETTABLE 2019–2020 SEASON

POPS

Feb. 14–15, 2020

QUEENS OF ROCK AND SOUL

SIGNATURE CLASSICS

Mar. 14, 2020

BEETHOVEN 5 Beethoven Egmont Overture Hummel Trumpet Concerto in E-flat major Beethoven Symphony No. 5 in C minor

LaKisha Jones

Stephen Goforth

POPS

UNFORGETTABLE 2019–2020 SEASON

The Maestro Andrés Franco Currently in his fifth season as Music Director of the Signature Symphony at TCC and his first as Resident Conductor of the Pittsburgh Symphony, Andrés Franco continues to delight audiences with his imaginative programming and energetic style. In 2019/2020 he returns to work with the Dallas Symphony, Fort Worth Symphony Orchestra, and the Round Top Music Festival.

A frequent guest conductor in the U.S., Europe, and South America, Mr. Franco has appeared with the symphonies of Columbus, Corpus Christi, Detroit, Elgin, El Paso, Eugene, Houston, Indianapolis, Lake Forest, Mississippi, Omaha, Saginaw Bay, Springfield, St. Louis, Stockton, and Wheeling; the philharmonic orchestras of Boise and Oklahoma City; and the Chicago Sinfonietta. Worldwide, he has conducted the Orquesta Sinfónica de Castilla y León/Spain, the Orquesta Sinaloa de las Artes/Mexico, the National Symphony Orchestra

of Peru, as well as the Orquesta Sinfónica Nacional, Bogotá Philharmonic, Medellin Philharmonic, and EAFIT Symphony Orchestra in Colombia. He has also appeared at the Cabrillo, Grant Park, OK Mozart, Oregon Bach, and Texas Music festivals.

Mr. Franco formerly served as Music Director of the Philharmonia of Kansas City (2004–2010); as Associate and Resident Conductor of the Fort Worth Symphony (2009–2014); and as Leonard Slatkin’s Assistant Conductor during the 14th Van Cliburn International Piano Competition (2013).

Born into a musical family, Andrés Franco began piano studies with his father, Jorge Franco. An accomplished pianist, he studied with Van Cliburn Gold Medalist Jose Feghali and attended piano workshops with Rudolph Buchbinder in Switzerland and Lev Naumov in France. He studied conducting with Marin Alsop, Miguel Harth-Bedoya, Kurt Masur, Gustav Meier, Helmut Rilling, Gerard Schwarz, and Leonard Slatkin.

Mr. Franco holds a bachelor’s degree in Piano Performance from the Pontificia Universidad Javeriana in Bogotá, Colombia, as well as master’s of music degrees in Piano Performance and Conducting from Texas Christian University.

He is married to Victoria Luperi, associate principal clarinetist of the Pittsburgh Symphony Orchestra.

SIGNATURE SYMPHONY AT TCC

VANTREASE PACE STAFF

Signature Symphony at TCC is a professional orchestra operating as part of Tulsa Community College. In addition to performance, music education and community outreach are priorities for Signature Symphony and the Signature Symphony musicians.

The orchestra includes 70 professional musicians who not only perform with the orchestra but also teach and coach music students at TCC, other colleges and universities, and various public and private schools and studios in the Tulsa area.

Dean of Visual and Performing Arts Kelly Clark

PACE Operations Manager Ginelle Gordon

Signature Symphony Event Coordinator Susan Martin

PACE Accounting Assistant Jessica Gray

Administrative Assistant Michelle Dixon

PACE Marketing Assistant Tabitha Littlefield

Production Manager Bill Carter Lighting Design Justin Peer Sound Design Jon Krielaus

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

Her last album, “So Glad I’m Me” was full of Jones’ expressive, full-bodied and arresting vocals, the same voice that electrified “American Idol” viewers with the “Dreamgirls” showstopper “And I Am Telling You” and later the Broadway stage in the Oprah Winfrey produced, Tony Award-winning musical, “The Color Purple.”

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

Her drive and motivation date back to her childhood in Flint, Michigan. Raised by her mother and grandmother, Jones was exposed to music by legendary singers such as Whitney Houston, Aretha Franklin and Patti LaBelle, with her grandmother urging the young girl to “let your voice shine” thereby prompting Jones to sing in church choirs and music programs. Joining various chorale groups and a cappella choruses throughout high school, Jones entered and won the top prize at Flint’s local talent contest, “The Super Show” in 1997. A two-year stint studying vocal performance at the University of Michigan left the high school graduate craving to sing more than hit the books. She relocated to various cities (Dallas, Houston and Virginia Beach) to pursue her dream as a singer.

She auditioned for “American Idol” once before in 2003 but didn’t make the cut. Jones drove to New York to audition again for “Idol” and made it to the 2007 season where she became the fourth finalist. She segued from “Idol” to the Broadway stage for “The Color Purple” where she played two roles: that of a “church lady” and of the pivotal character “Sophia.” The latter role she alternated with R&B icon Chaka Khan, who became her mentor. Jones participated in Khan’s 35th Anniversary Tour. Following her Broadway stint, Jones provided vocal coaching on MTV’s reality competition “Legally Blonde: The Search for Elle Woods,” a show designed to find and hone Broadway’s next star.

PACE Ticket Office Assistants Richard Ellis Atlantis Frank Nick Lutke Destiny Mayorga Arick Mounts Michael Roue Spencer Smith

3

SIGNATURE CLASSICS

B EETHOVEN 5 Beethoven Egmont Overture Hummel Trumpet Concerto in E-flat major Beethoven Symphony No. 5 in C minor Dr. Stephen Goforth is an Oklahoma musician, entertainer, and speaker who continues to distinguish himself as wonderfully versatile and thrilling to a broad spectrum of audiences. From sacred to secular, classical to jazz, Dr. Goforth continues a most active performance schedule and private studio.

He grew up in the western mountains of Virginia, completed a BME from Oklahoma Baptist University, an MM from Florida State University and a DMA from The University of Oklahoma.

In addition to his university trumpet professors, he studied with Rick Giangiulio of the Dallas Symphony and Guy Touvron of the Paris Conservatory. He has been a winner in the International Trumpet Guild solo competition and has lived in Europe and performed with the AIMS Orchestra in Graz, Austria. In 1989 he won the Second Prize in the Baroque/Classical category in the Ellsworth Smith International Trumpet Solo Competition.

He has toured with the Dallas Brass, served as Assistant Band Director at OBU, as Director of Jazz Studies at OCU, and Principal Trumpet with the Oklahoma Philharmonic.

Dr. Goforth played lead trumpet for the Oklahoma Lyric Theater for many years and served as Trumpet artist for the Oklahoma Quartz Mountain Summer Arts Institute.

Throughout the years he has maintained an extensive recording schedule with studios such as Cornerstone,

Benson, Christian World and Hendersongs, recording for artists and arrangers including Amy Grant, Keith Green, Larry Dalton, Rob Sterling, David Powell, Mark Hayes, Dennis Jernigan, Brad Henderson, and many others.

Dr. Goforth has performed with numerous recognized artists, including Doc Severinsen, Bobby McFerrin, Bob Hope, Henry Mancini, Maurice André, Jim Nabors, Itzhak Perlman, Arturo Sandoval, Chris Brubeck, Chip Davis and Mannheim Steamroller, Allen Vizzutti, Byron Stripling, Sandy Patty, Kristin Chenoweth, and many more, as well as for recognized leaders including Ronald Reagan, Barbara Bush, Henry Kissinger, and Kevin Stitt.

Dr. Goforth currently serves as Principal Trumpet with the Signature Symphony, Principal Trumpet and Contractor for the Bartlesville Symphony, Principal Trumpet with the Starlight Band, and as Director of his own group The Tulsa Brass. He plays tuba with the Oklahoma Baptist Symphony, as well as horn and trombone for a variety of engagements.

He has been a featured artist for the OK Mozart festival many times, particularly with his Experience Trumpets concert. In addition Dr. Goforth is Adjunct Professor of Horn at ORU and Adjunct Professor of Trumpet at The University of Mobile.

During the last several years he has composed and recorded many pieces on both trumpet and horn now being played on TV around the world. He is often heard on networks such as Fox, Disney, Nickelodeon, Comedy Central, in many European countries, Asia, and Australia. Most notable was that NBC used one of his recordings during the broadcast of the opening night ceremonies of the 2016 Olympics in Rio.

BEETHOVEN 5 Egmont Overture, Op. 84

Ludwig van Beethoven

Trumpet Concerto in E-flat major I. Allegro con spirito II. Andante III. Rondo

Johann Hummel

Stephen Goforth, trumpet

Intermission Symphony No. 5 in C minor, Op. 67 I. Moderato – Allegro non troppo II. Allegretto III. Largo IV. Allegro non troppo

Ludwig van Beethoven

The use of cameras and recording devices is strictly prohibited.

As a courtesy to others around you, please turn off cellular phones, pagers and alarms.

4

Program Notes, page 1

The following program notes are copyright Susan Halpern, 2019.

Program Program Notes, Notes, page page 21

The following program notes are copyright Susan Halpern, 2019.

Concerto for Trumpet and Orchestra in E-flat major

John Nepomuk Hummel (Born November 14, 1778, Pressburg, today’s Bratislava; died October 17, 1837 in Weimar)

Overture to the Tragedy, Egmont, Op. 84

Ludwig van Beethoven (Born December 16, 1770, in Bonn; died March 26, 1827 in Vienna) In 1809, the Vienna Court Theaters planned a series of innovative productions of Schiller and Goethe plays with new incidental music. The first two plays produced were Schiller’s William Tell and Goethe’s Egmont, and the composers chosen to write the music were Beethoven and a forgotten figure named Adalbert Gyrowetz.

Beethoven reportedly expressed a preference for William Tell, but Gyrowetz procured the commission for William Tell through political intrigue, leaving the more difficult Goethe play to Beethoven.

Goethe wrote the tragedy Egmont in 1788 and used the history of Count Egmont, (1522-1568) a Flemish captain in the Spanish army under Charles V and Philip II, as the foundation of his plot. Defiance of tyranny forms the crux of the plot. This 16th century nobleman earned the undying gratitude of the people of the Netherlands by aiding them in their fight for independence from tyrannical Spanish rule; yet, Egmont also brought about his own destruction at the hands of the public executioner by incurring the enmity of King Philip and the court of Alba.

He could neither support the Duke of Alba nor join a military insurrection against him, and thus he was beheaded as a traitor for his exemplary moral scruples. His death made him a martyr to the cause of freedom and roused the Netherlanders to a successful revolution against the Spaniards.

Beethoven composed his music for Goethe’s Egmont during the early part of 1810 for performance at the Hofburg Theater in Vienna that spring, but the music was not quite ready on May 24, the opening night. It was finally heard for the first time at the fourth performance, on June 15, under the composer’s direction. Beethoven wrote the overture and also four entr’actes, two arias for the Clärchen the heroine, (the music for her death and a melodrama) and a “Victory Symphony” for the finale. The overture’s closing section, its coda, is identical with the “Victory Symphony” that Goethe called for in the play that musically symbolizes Egmont’s moral victory, even as he marches off to his death.

The overture begins with strongly accented staccato chords in F minor in a rhythm reminiscent of an old stately Spanish dance, the sarabande. A melodic motive grows with repetition until it becomes the restless theme and receives its full declamation in the cellos. Finally, it reaches a climax with the full orchestra. The second theme is a major mode version of the chords that begin the overture; in some critics’ minds, the mid-section sounds descriptive of an epic struggle. At its height, there is a pause; the subsequent soft passage helps make the transition to the military fanfares of piccolos and brass. The music of the coda is of triumphant rejoicing, the “Victory Symphony.”

The overture is scored for piccolo, pairs of flutes, oboes, clarinets and bassoons, four horns, two trumpets, timpani and strings.

Overture to the Tragedy, Egmont, Op. 84

Ludwig van Beethoven (Born December 1770, but in Bonn; March 26,remembered 1827 in Vienna) Hummel was an 16, authentic minordied genius, now mostly for this famous concerto, yet during his long and successful career as a composer and pianist, he received the admiration of many. The Trumpet Concerto is not typical of his work, it, surprisingly, never circulated while he was alive.

In 1809, the Vienna Courtthough, Theatersand planned a series ofwas innovative productions of Schiller and Goethe plays with new incidental music. The first two plays produced were Schiller’s William Tell and Goethe’s Egmont, and the When he was only eight years Hummel to live with Mozart family two Adalbert years as aGyrowetz. pupil and composers chosen to write theold, music werewent Beethoven and atheforgotten figure for named protégé.

In 1787, he made his first public appearance in a concert that Mozart gave in Dresden.

At ten, Beethoven reportedly expressed a preference for William Tell, but Gyrowetz procured the commission forHummel William had a string quartet performed, and shortly afterward, he played a Mozart piano concerto in London.

In 1793, he Tell through political intrigue, leaving the more difficult Goethe play to Beethoven. returned to Vienna, where, like Beethoven, he studied with Albrechtsberger, Salieri, and Haydn. His travels took him as far as St. Fromin1804 1811, held Haydn's old post as Music Director, aKapellmeister, to Goethe wrote thePetersburg. tragedy Egmont 1788toand usedhethe history of Count Egmont, (1522-1568) Flemish captain the Esterházy family.

Hummel became Beethoven's friend and was a pallbearer at his funeral. in the Spanish army under Charles V and Philip II, as the foundation of his plot. Defiance of tyranny forms the crux of the plot. This 16th century nobleman earned the undying gratitude of the people of the Netherlands by Hummel wrote his Trumpet Concerto for from Antontyrannical Weidinger, a player theEgmont Esterházy Weidinger’s aiding them in their fight for independence Spanish rule;inyet, alsoorchestra. brought about his own innovative solution to theofproblem of being able toby getincurring more notes the of “natural” trumpets of the timeofwas to destruction at the hands the public executioner thefrom enmity King Philip and the court Alba. fit them with keys like those on woodwinds.

Although his instruments worked, they never really caught on.

When He could neither support the Duke of Alba nor join a military insurrection against him, and thus he was beheaded theavalve is still inmoral use today was introduced 1815, it was to found to be so few as traitorsystem for histhat exemplary scruples.

His death around made him a martyr the cause of superior freedomthat andthe roused keyed brass instruments that existed then simply disappeared.

Haydn was the first to write a trumpet concerto for the Netherlanders to a successful revolution against the Spaniards. the Weidinger instrument in 1796. Around the same time, Hummel wrote a trio for trumpet with piano and violin.

He completed his Trumpet Concerto several years later, in December 1803; it was first performed on January 1, Beethoven his music Goethe’s Egmont during the early part of 1810 for performance at the Hofburg 1804, at an composed entertainment at the for Esterházy court.

Theater in Vienna that spring, but the music was not quite ready on May 24, the opening night. It was finally heard for the first time at the fourth performance, on June 15, under the composer’s direction. Beethoven wrote Hummel seems havefour taken the manuscript of the with him London(the on one of his tours, anda the overture andtoalso entr’actes, two arias forconcerto the Clärchen thetoheroine, music forconcert her death and eventually, found its waySymphony” into the British Library.

1957, it was closing published for theitsfirst time in an edition melodrama)itand a “Victory for the finale. InThe overture’s section, coda, is identical with prepared by the German musicologist Fritz Stein, and two years later, it was first published in the United States, the “Victory Symphony” that Goethe called for in the play that musically symbolizes Egmont’s moral victory, edited Ghitalla the Boston Symphony Orchestra. Since that time, it has appeared in many more even asby heArmando marches off to hisofdeath. editions and been very widely performed.

The overture begins with strongly accented staccato chords in F minor in a rhythm reminiscent of an old stately The concerto hasthe three movements in the Classical sequence: the itfirst a spirited spirito, Spanish dance, sarabande.

A melodic motive fast-slow-fast grows with repetition until becomes theAllegro restlesscon theme and areceives celebratory movement notable for its unusual modulations, perhaps included to display the new keyed its full declamation in the cellos. Finally, it reaches a climax with the full orchestra. The second theme instrument's expanded capability.

The second movement, a slowinAndante, has aminds, plaintive and the last, an is a major mode version of the chords that begin the overture; some critics’ thefeel; mid-section sounds energetic Rondo, Allegro molto, has many brilliant passages for the soloist that are technically very demanding descriptive of an epic struggle. At its height, there is a pause; the subsequent soft passage helps make the transition and were conceived to create a bravura to the military fanfares of piccolos andeffect. brass. The music of the coda is of triumphant rejoicing, the “Victory Symphony.”

Hummel originally composed the Concerto in E flat major, a key that was evidently convenient for at least one of Eitherpairs Hummel or Weidinger createdand a less frequently in E major as TheWeidinger's overture is instruments. scored for piccolo, of flutes, oboes, clarinets bassoons, fourplayed horns,version two trumpets, well. timpaniThe andorchestral strings. accompaniment is scored for flute, two oboes, two clarinets, two bassoons, two horns, timpani and strings.

Program Program Notes, Notes, page page31

Symphony No. 5 in C minor, Op. 67

The following program notes are copyright Susan Halpern, 2019.

Ludwig van Beethoven (Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna) Fellow composer Robert Schumann gave Beethoven’s Symphony No. 5 the greatest praise possible when he wrote Overture Egmont, Op.its84 that while ittois the oftenTragedy, heard, it “still exercises power over all ages, just as those great phenomena of nature that, Ludwig Beethoven no mattervan how often they recur, fill us with awe and wonder. This symphony will go on centuries hence, as long (Born December 16, 1770, in Bonn; died March 26, 1827 in Vienna) as the world and world's music endure."

Beethoven’s Symphony No.Theaters 5 has always been popular and recognizable because the famous four-note phrase In 1809, the Vienna Court planned a series of innovative productions of of Schiller and Goethe plays with with which it opens.

Since Beethoven composed the symphony, critics and commentators have attempted to new incidental music. The first two plays produced were Schiller’s William Tell and Goethe’s Egmont, andgive the that phrase some programmatic significance.

Beethoven’s not altogether trustworthy friend, Anton Schindler, composers chosen to write the music were Beethoven and a forgotten figure named Adalbert Gyrowetz. presumablyreportedly quoted theexpressed composera preference as saying itfor represented Fatebut knocking at procured the door. the Schindler, however, had a Beethoven William Tell, Gyrowetz commission for William reputation for not letting facts get in the way of a good story.

The conversation in which he quoted Beethoven Tell through political intrigue, leaving the more difficult Goethe play to Beethoven. took place years after Beethoven finished the symphony, which makes it a bit suspect. Accounts also say that Beethoven would say nearly to rid of annoying questioning about his compositions.

Goethe wrote the tragedy Egmontanything in 1788 and usedhimself the history of Count Egmont, (1522-1568) a Flemish captain Nevertheless, a never-ending stream of interpretations of the symphony. in the SpanishSchindler’s army understatement Charles Vbegan and Philip II, as the foundation of his plot. Defiance of tyranny forms the

crux of the plot. This 16th century nobleman earned the undying gratitude of the people of the Netherlands by Whether it has a programmatic significancefrom or not, unquestionably phrase has definite importance musically, aiding them in their fight for independence tyrannical Spanish the rule; yet, Egmont also brought about his own and it recurs throughout the entire symphony.

The repetition of this phrase differs from a later-named destruction at the hands of the public executioner by incurring the enmity of King Philip and the courttechnique of Alba. called “cyclical which melody is stated in one against movement retaining original He could neither form” supportinthe Dukeaofwell-defined Alba nor join a military insurrection him, and, and thus he wasitsbeheaded identity, is quoted and re-usedmoral in another.

Beethoven’s is to use histomusical phrase as a germinal idea as a traitor for his exemplary scruples.

His death method made him a martyr the cause of freedom and roused that generates new phrases, which resemble the original but are not identical with it.

He begins with G and E-flat the Netherlanders to a successful revolution against the Spaniards. for the notes of the opening motive: these are two of the three notes that make up a C minor chord. This way he establishes the key of his symphony, and he announces a rhythmic motif, which repeats throughout the work, Beethoven hisfour music for Goethe’s Egmont during the early part of 1810 for performance at the Hofburg uniting the composed symphony's movements.

Theater in Vienna that spring, but the music was not quite ready on May 24, the opening night. It was finally heard for the first time at the fourth performance, on June 15, under the composer’s direction. Beethoven wrote Beethoven began to compose Symphony No. 5 in 1804, just after finishing Symphony No. 3, but put it aside to the overture and also four entr’actes, two arias for the Clärchen the heroine, (the music for her death and a finish Symphony No. 4, and, after that, he worked simultaneously on the next two symphonies. He completed melodrama) and a “Victory Symphony” for the finale. The overture’s closing section, its coda, is identical with Symphony No. 5 early in 1808 and Symphony No. 6 in autumn of the same year. On December 22, 1808, the “Victory Symphony” that Goethe called for in the play that musically symbolizes Egmont’s moral victory, Beethoven gave a concert in which his latest works were premiered. The program included Symphonies Nos. 5 even as he marches off to his death. and 6, the concert aria Ah, Perfido!, a Latin hymn, the “Sanctus” from the Mass in C Major, a fantasia for piano solo, the Choral Fantasy, Op. 80, for piano, chorus, and orchestra, and Piano Concerto No. 4. Beethoven The overture begins with strongly accented staccato chords in F minor in a rhythm reminiscent of an old stately conducted and also played the solo piano parts for this monumentally long concert. Since he completed Symphony Spanish dance, the sarabande. A melodic motive grows with repetition until it becomes the restless theme and No. 5 almost at the same time when he finished Symphony No.6 (“Pastorale”), at the premiere, the “Pastorale” receives its full declamation in the cellos. Finally, it reaches a climax with the full orchestra. The second theme bore the number 5. Somewhere between performance and publication, Beethoven renumbered the two is a major mode version of the chords that begin the overture; in some critics’ minds, the mid-section sounds symphonies. The C minor became Symphony No. 5, and the F Major became Symphony No. 6, and they remain descriptive of an epic struggle. At its height, there is a pause; the subsequent soft passage helps make the transition thus today. to the military fanfares of piccolos and brass. The music of the coda is of triumphant rejoicing, the “Victory Symphony.”

A contemporary observer said the concert lasted for over four hours. The occasion was memorable and stressful: the theater was unheated, the orchestra was under-rehearsed, and the soprano soloist had a bad case of stage fright. overture isstopped scored mid-composition for piccolo, pairs several of flutes, oboes, and bassoons, fouraria horns, trumpets, The orchestra times, andclarinets the soprano who sang the wastwo given a sedative for timpani andyet strings. her nerves, despite the difficult conditions of its premiere, Symphony No. 5 soon gained its designation as a masterwork.

Program Notes, page 4 1 Program Notes, page

Beethoven perhaps intended the opening movement, Allegro con brio, to be mysterious yet powerfully dramatic.

The thematic statement of the famous four-note motif appears first in the clarinet and violins, and, in the The following program notes are copyright Susan Halpern, 2019. recapitulation, the whole orchestra joins in with the same figure. According to the late musicologist Michael Steinberg, an unexpected oboe cadenza at the end of the movement has a special function, serving both to disrupt and to integrate. The contrasting slow movement, Andante con moto, plainly and distinctly sets forth a long melody as its principal subject. Then a series of variations follow. Mystery dominates again in the third movement, to a scherzo, Allegro,Egmont, which runsOp. without Overture the Tragedy, 84 pause directly into the noble finale, Allegro which introduces the sound of Beethoven the trombone to the orchestra for the first time in the history of music. Piccolo and contrabassoon Ludwig van also participate the1770, finale.in Steinberg described the1827 last movement (Born Decemberin16, Bonn; died March 26, in Vienna)as a motion “into the sureness and daylight” with its transition into the major tonality. He summed up Beethoven’s achievement succinctly, “The victory symphony was a new kind of symphony, and Beethoven’s invention here of a path from strife to triumph became In 1809, the Vienna Court Theaters planned a series of innovative productions of Schiller and Goethe plays with a model for symphonic writing to the present day.” new incidental music. The first two plays produced were Schiller’s William Tell and Goethe’s Egmont, and the composers chosen to write the music were Beethoven and a forgotten figure named Adalbert Gyrowetz.

Over the years, two critics in particular have for in some wayTell, grasped the essence of this the symphony with for fewWilliam words.

Beethoven reportedly expressed a preference William but Gyrowetz procured commission Amadeus Wendt wrote: “Beethoven's music inspires in Goethe its listeners awe, fear, horror, pain, and that exquisite Tell through political intrigue, leaving the more difficult play to Beethoven. nostalgia that is the soul of romanticism.” E.T.A. Hoffmann called the symphony “one of the most important works the master whoseEgmont positioninin1788 the first instrumental can nowa Flemish be deniedcaptain by no Goetheofwrote the tragedy and rank used of thecomposers history of of Count Egmont,music (1522-1568) one...

It is a concept of genius, executed with profound deliberation, which in a very high degree brings the in the Spanish army under Charles V and Philip II, as the foundation of his plot. Defiance of tyranny forms the th romantic content the16 music to expression.” crux of the plot. of This century nobleman earned the undying gratitude of the people of the Netherlands by aiding them in their fight for independence from tyrannical Spanish rule; yet, Egmont also brought about his own Symphony No. 5 ishands scored two flutes,by two oboes, two clarinets, two bassoons, two destruction at the of for the piccolo, public executioner incurring the enmity of King Philip andcontrabassoon, the court of Alba. horns, two trumpets, three trombones, timpani, and strings.

The piccolo, contrabassoon, and trombone only play He could neither support the Duke of Alba nor join a military insurrection against him, and thus he was beheaded in last movement, where they greatly enrichHis thedeath soundmade of thehim orchestra. as the a traitor for his exemplary moral scruples. a martyr to the cause of freedom and roused the Netherlanders to a successful revolution against the Spaniards.

Beethoven composed his musicUpcoming for Goethe’s Egmont during the early partEvent of 1810 for performance at the Hofburg Signature Chorale Theater in Vienna that spring, but the music was not quite ready on May 24, the opening night. It was finally heard for the first time at the fourth performance, on June 15, under the composer’s direction. Beethoven wrote the overture and also four entr’actes, two arias for the Clärchen the heroine, (the music for her death and a melodrama) and a “Victory Symphony” for the finale. The overture’s closing section, its coda, is identical with the “Victory Symphony” that Goethe called for in the play that musically symbolizes Egmont’s moral victory, even as he marches off to his death.

The overture begins with strongly accented staccato chords in F minor in a rhythm reminiscent of an old stately Spanish dance, the sarabande. A melodic motive grows with repetition until it becomes the restless theme and receives its full declamation in the cellos. Finally, it reaches a climax with the full orchestra. The second theme is a major mode version of the chords that begin the overture; in some critics’ minds, the mid-section sounds descriptive of an epic struggle. At its height, there is a pause; the subsequent soft passage helps make the transition to the military fanfares of piccolos and brass. The music of the coda is of triumphant rejoicing, the “Victory Symphony.”

The overture is scored for piccolo, pairs of flutes, oboes, clarinets and bassoons, four horns, two trumpets, timpani and strings.

Signature Program Notes, Symphony page 1

FIRST CHAIR SOCIETY

Andrés Franco, Music Director* The following Halpern, 2019.

VIOLIN 1program notes are copyright Susan CELLO

CONTRABASSOON Samuel Macken

Maureen O’Boyle, Concertmaster Monty Lawson, Principal Valerie Hinkle Erica Parker HORN Alicia Ranne Gordon Robson Marsha Wilson, Principal Overture to the Tragedy, Egmont, Op.Lauren 84 Green Elena Gavrilov Ludwig van Beethoven Dave Pennekamp Kiersten Moser Gulnara Hollopeter (BornDina December 16, 1770, in Bonn; died March 26, 1827 in Vienna) Joseph Falvey Litvinova Amelia Ivory Richard Wagner James Ruggles In 1809, the Vienna Court Theaters planned BASS a series of innovative productions of Schiller and Goethe plays with Nicholas Bashforth TRUMPET Robin Smith, Principal new Josiah incidental music.

The first two plays produced were Schiller’s William Tell and Goethe’s Egmont, and the Baker Stephen Goforth, PrincipalGyrowetz.

Greg Spears composers chosen to write the music were Beethoven and a forgotten figure named Adalbert Diana Farah Florido Jeff Loud Beethoven reportedly expressed a preferenceColin for William the commission for William Healey Tell, but Gyrowetz procured Sarah Bryant Ben Hay Tell through political intrigue, leaving the more difficult Goethe play to Beethoven.

Jeff Erb VIOLIN 2 Noam Faingold TROMBONE Goethe wrote the Egmont in 1788 and used the history of Count Egmont, (1522-1568) a Flemish captain 1tragedy Corbin Bodley , Principal Rich Fisher, Principal in the Spanish army under Charles V and Philip II, as the foundation of his plot.

Defiance of tyranny forms the FLUTE Amanda Hamm crux of the plot. This 16th century nobleman earned the undying gratitude of the people of Brian Haapanen the Netherlands by Cherie Thomas, Principal Nancy Rath aiding them in their fight for independence from tyrannical Knowlan RandzaSpanish rule; yet, Egmont also brought about his own Carol Lehman destruction at the hands of the public executioner by incurring the enmity of King Philip and the court of Alba.

TROMBONE Sarah Thompson Melody Garrett He could neither support the Duke of Alba nor join a military insurrection against him,Barnett and thus he was beheaded L. Dale Laura Duncan as a traitor for his exemplary moral scruples.PICCOLO His death made him a martyr to the cause of freedom and roused Elizabeth Obal to a successful revolution against the Spaniards. the Netherlanders TIMPANI Knowlan Randza Allison Johnston James Clanton, Principal Rachel Neely Beethoven composed his music for Goethe’sOBOE Egmont during the early part of 1810 for performance at the Hofburg

Theater in Vienna that spring, but the musicLisa wasWagner, not quite ready on May 24, the opening night. It was finally Principal VIOLA heard for the first time at the fourth performance, on June 15, under the composer’s direction. Beethoven wrote Sarah Evans 1,2, Principal Jeff Smith the overture and also four entr’actes, two arias for the Clärchen the heroine, (the music for her death and a Christy Roberts melodrama) and a “Victory Symphony” for CLARINET the finale. The overture’s closing section, its coda, is identical with Mimi Dye the “Victory Symphony” that Goethe calledChristy for in Andrews, the play Principal that musically symbolizes Egmont’s moral victory, even Sarah as heThomas marches off to his death.

Anne Watson Ethan Landis

The overture begins with strongly accented staccato chords in F minor in a rhythm reminiscent of an old stately Phil Lowry BASSOON Spanish dance, the sarabande.

A melodic motive grows repetition until it becomes the restless theme and Micah Neely Andrew Davis, with Principal receives its full declamation in the cellos. Finally, it Couch reaches a climax with the full orchestra. The second theme Charlotte is a major mode version of the chords that begin the overture; in some critics’ minds, the mid-section sounds 1 Member of the Signature String Quartet descriptive of an epic struggle. At its height, there is a pause; the subsequent soft passage helps make the transition 2 TCC Adjunct Music Instructor to the military fanfares of piccolos and brass. The music of the coda is of triumphant rejoicing, the “Victory Symphony.”

Signature Symphony Staff

2019–2020 SEASON

The overture is scored for piccolo, pairs of flutes, oboes, clarinets and bassoons, four horns, two trumpets, timpani and strings.

Development Officer Orchestra Manager Event Coordinator Librarian Personnel Isaac Sheets Joseph Falvey Susan Martin Ed Morse Ashley Allison

The First Chair Society is a premier package for Signature Symphony at TCC patrons who wish to enjoy outstanding musical performances and a privileged relationship with our music director, guest artists and members of the orchestra. Our First Chair Society members enjoy preconcert and post-concert receptions throughout the season, which includes a special season kick-off reception, along with other exclusive events and activities.

MAESTRO John and Mary Ann Bumgarner James and Julie Higgins Jim Langdon and Juley Roffers Ron and Susie Looney Jane and Henry Primeaux Dean and Vesta VanTrease CONCERTMASTER Ray and Linda Booker Marcia and Dan Brueggenjohann Bill and Daryl Eaton Kelly and Phil Fonkalsrud Jacqueline Wilson FIRST CHAIR PLUS Howard and Billie Barnett Tim and “K” Caldwell Jim and Janet Cameron Steve and Ruthie Duenner Lloyd and Mary Ann Elliott Janice Fonkalsrud Terence Golla Susan and Jim Harris David and Katie Johnson

We appreciate the members of this special donor group who support the Signature Symphony and our music education and community outreach. For information about joining the First Chair Society, please call the Signature Symphony office at 918-595-8147 or email signature@tulsacc.edu.

Ken and Judi Klein Phil and Leslie Maltby David Morse Edwin Morse Delia Pierson Andrew and Hannah Ralston Richard and Alicia Ranne Hannah and Joe Robson Stinnett and Associates Lee and Carol Swarthout David and Rachel Wagner Steve and Nancy Wells FIRST CHAIR Loren Arnoff Shelby Beil Terry and Richard Bevins Eric and Jan Bohne Montie and Betty Box Jim and Marilyn Brill Tom and Billie Clarke Jim and Marilyn Connor Dixie and Irving Frank Leigh and Mark Goodson Mary Rae Hawthorne

Travis and Kim Kunnemann Robert and Mary Lengacher Lisa Malone and Jody Tidwell Tammie and David Maloney Joe and Carol McGraw Jim and Ann McKellar Barbara and David Merrill Carol Messer Jenny Niman Tom and Jennifer Palmer Public Service Company of Oklahoma Bill and Donna Ramsey Robert and Linda Reins Geordie and Kristine Robinson Dick and Alma Schmitz Kari and Matt Shults Skip and Dyanne Sidner Jeffrey and Robin Smith Erma Spann and Loren Stout Weldon and Belynda Spitzer Dawne and Robert Stafford Greg Stone Michael Tate and Aubrey Cain In Memoriam Lyda Rita Vitale Roy and Becky Wood

The Signature Symphony truly appreciates the generous planned giving donation from the estate of Carolyn Grove, a long-time patron of the orchestra. Her gift will help the Signature Symphony continue to provide rich musical experiences in Tulsa through live performances and music education and community outreach programs.

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2019-2020 SIGNATURE SYMPHONY ADVISORY BOARD

SIGNATURE SYMPHONY EDUCATION AND COMMUNITY OUTREACH Since its formation in 1979, the Signature Symphony at TCC has been committed to providing rich musical experiences through its performances and valuable musical instruction by supporting music education and aspiring musicians. Our goal is to expose more than 4,000 students each year to classical music and help instill a lifelong love of music.

Our Signature Quartet offers educational performances and coaching to students in Tulsa area schools, along with clinics to help teachers incorporate music into their classrooms. Seedling Symphony is a program developed by Signature Quartet members to raise the level of music exposure during early childhood, and their most recently launched outreach, Helpful Harmonies for Wellness, focuses on sensoryfriendly performances at nursing homes and treatment facilities.

FREE OPEN REHEARSALS Signature Symphony’s most exciting music education outreach program is Free Open Rehearsals. These events allow the audience to experience actual professional orchestra rehearsals and to get to know our conductor, musicians, and guest artists as they prepare for upcoming Signature Symphony Classics concerts.

Music lovers of all ages will enjoy a lively and educational interactive experience with Signature Symphony Music Director, Andrés Franco, and our featured artists at 6:30 p.m., followed by an opportunity to observe the orchestra on stage during the first part of the evening’s rehearsal from 7 to 8 p.m.

Thursday, March 12, 2020 Beethoven 5 Thursday, April 23, 2020 Mahler The Song of the Earth

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The Signature Symphony Advisory Board supports the mission of the Signature Symphony at TCC and promotes the growth of the orchestra through fundraising, advocacy, and education. The commitment and dedication of these community leaders to the Signature Symphony through memberships on our board are greatly appreciated.

Andrew Ralston, Chair Dawne Stafford, Vice Chair Jane Primeaux, Secretary Julie Mills, Treasurer Shelby Beil Angela Browning Marcia Brueggenjohann Cathy Campbell Laura Cowan Dr. Noam Faingold Dr. Kim Falcon Darcy Golla Susan Harris Carole Huff Hicks Julie Higgins Dr. John Jenkins Katie Johnson Kim Kunnemann Ron Looney Tammie Maloney Leslie Brier Maltby Erica Parker Delia Pierson Geordie Robinson Cynthia Simmons Taylor Jaime Smith Jeremy Stevens Michael Tate Dr. Dean VanTrease David Wagner TCC STAFF REPRESENTATIVES Monica Champ Kelly Clark Dr. Joe Falvey Andrés Franco Susan Martin Isaac Sheets Kari Shults Dr. Greg Stone

Join us as we go through a playlist of 1950s hit tunes. Enjoy an evening of live music, dinner, dancing and entertainment that will rock you back to this fabulous era while supporting Signature Symphony!

Sponsorship Opportunities Available Reserve your spot today!

918-595-8147 • overture@tulsacc.edu • signaturesymphony.org/overture

WITH ADDITIONAL SUPPORT FROM: AND

Tri-Angle Development, LLC

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2019–2020 SEASON POPS SEPT 6–7

THE WONDERFUL MUSIC OF OZ With Scott Coulter and a trio of New York’s top vocalists

2019

OCT 18–19

THE GOLDEN AGE OF GREENWOOD With Tulsa native Ernie Fields Jr.

2019

DEC 13–14 2019

FEB 14–15

CHRISTMAS IN TULSA With Sam Briggs, winner of the 2019 Tulsa Sings! competition, and the Signature Chorale

QUEENS OF ROCK AND SOUL With LaKisha Jones

2020

APR 3–4

YOU’RE DOIN’ FINE, OKLAHOMA! Tulsa Sings Rodgers and Hammerstein

2020

SIGNATURE CLASSICS SEPT 28

TCHAIKOVSKY 5 With Jeff Midkiff, mandolin

2019

NOV 2 2019

JAN 25

MOZART PRAGUE SYMPHONY With Alejandro Gómez Guillén, conductor, and the Signature Chorale

SHOSTAKOVICH 5 Connecting the Dots — Bringing the Score to Life

2020

MAR 14

BEETHOVEN 5 With Stephen Goforth, trumpet

2020

APR 25

MAHLER THE SONG OF THE EARTH

2020

With Clara Osowski, mezzo-soprano, and John David Nevergall, tenor

Mahler Das Lied von der Erde

— ALL CO N C ERTS S TART AT 7:30 P. M . — Free Open Rehearsals are held the Thursday evening preceding each Signature Classics concert.

Don’t miss a beat. Call 918-595-7777 or email signature@tulsacc.edu for ticket info.