Program: Signature Symphony LIVE at ONEOK Field

Signature Symphony LIVE at ONEOK Field Saturday, September 19, 7:30 pm Richard Wagner, conductor

Go Forth

James Stephenson Ben Hay, Trumpet Rob Muraoka, Piano

Symphony No. 5 in C minor, Op. 67 I. Allegro con brio II. Andante con moto III. Allegro IV. Allegro

Ludwig van Beethoven

The Natural: Main Title Oklahoma!

Randy Newman Richard Rodgers and Oscar Hammerstein II

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.

Signature Symphony

Musicians VIOLIN 1 Maureen O’Boyle, Concertmaster Jennifer Sherman Alicia Ranne Elena Gavrilov Esther Fellows Dina Litvinova VIOLIN 2 Corbin Bodley1, Principal Amanda Hamm Paula Surface Nancy Rath Carol Lehman VIOLA Jeff Smith1, Principal Christy Roberts Terry Pollak Missy Townsend

CELLO Monty Lawson, Principal Erica Parker1 Gordon Robson Lauren Green Ashley Allison

BASSOON Jim Fellows, Principal Andrew Davis

BASS Robin Smith, Principal Greg Spears

HORN Joseph Falvey, Principal Marci Falvey

FLUTE Cherie Thomas, Principal Sarah Thompson

TRUMPET Ben Hay, Principal Jeff Loud

PICCOLO Knowlan Randza

TROMBONE Brian Haapanen, Principal John Jenkins

OBOE Lisa Wagner, Principal Sarah Evans

BASS TROMBONE L. Dale Barnett

CONTRABASSOON Charlotte Couch

CLARINET Christy Andrews, Principal Anne Watson 1

Member of the Signature String Quartet

TIMPANI James Clanton PIANO Rob Muraoka

VanTrease PACE Staff Dean of Visual & Performing Arts Kelly Clark Administrative Assistant Michelle Dixon

PACE Production Manager Bill Carter Lighting Design Justin Peer

PACE Operations Manager Ginelle Gordon

Sound Design Jon Kreilaus

Accounting Assistant Jessica Gray

Signature Symphony Staff Orchestra Manager Joseph Falvey

Development Officer Isaac Sheets Librarian Ed Morse

Event Coordinator Susan Martin Personnel Ashley Allison

First Chair Society The First Chair Society is a premier package for Signature Symphony at TCC patrons who support the outstanding musical performances and educational outreach programs provided by Signature Symphony. Members enjoy special events with visiting guest artists and members of the orchestra throughout the season.

Loren Arnoff Howard and Billie Barnett Shelby Beil Terry and Richard Bevins Eric and Jan Bohne Linda Booker Montie and Betty Box Jim and Marilyn Brill Marcia and Dan Brueggenjohann John and Mary Ann Bumgarner Tim and “K� Caldwell Jim Cameron Tom and Billie Clarke Jim and Marilyn Connor Steve and Ruthie Duenner Bill and Daryl Eaton Mary Ann Elliott Kim Falcon Kelly and Phil Fonkalsrud Janice A. Fonkalsrud Dixie and Irving Frank Terence Golla Leigh and Mark Goodson Susan and Jim Harris

We greatly appreciate the members of this special donor group who help make our work possible.

For information about joining the First Chair Society, please call 918-595-8147 or email signature@tulsacc.edu.

Mary Rae Hawthorne James and Julie Higgins Jerry and Cathy Hoopert Katie and David Johnson Ken and Judi Klein Kim and Travis Kunnemann Jim Langdon and Juley Roffers Robert and Mary Lengacher Ron and Susie Looney Lisa Malone and Jody Tidwell Tammie and David Maloney Philip Maltby and Leslie Brier-Maltby Joe and Carol McGraw Jim and Ann McKellar Barbara and David Merrill Carol Messer David Morse Edwin Morse Jenny Niman Tom and Jennifer Palmer Eleanor Payne Delia Pierson Jane and Henry Primeaux

Public Service Company of Oklahoma Andrew and Hannah Ralston Bill and Donna Ramsey Richard and Alicia Ranne Robert and Linda Reins Geordie and Kristine Robinson Hannah and Joe Robson Dick and Alma Schmitz Kari and Matt Shults Skip and Dyanne Sidner Jeffrey and Robin Smith Stinnett and Associates Erma Spann and Loren Stout Weldon and Belynda Spitzer Dawne and Robert Stafford Greg Stone Lee and Carol Swarthout Michael Tate and Aubrey Cain Dean and Vesta VanTrease In memoriam Lyda Rita Vitale David and Rachel Wagner Steve and Nancy Wells Jacqueline Wilson Roy and Becky Wood

Signature Symphony Advisory Board Dawne Stafford, Chair Shelby Beil, Vice-Chair Leslie Brier-Maltby, Secretary Julie Mills, Treasurer

Marcia Brueggenjohann Cathy Campbell Laura Cowan Dr. Noam Faingold Dr. Kim Falcon Susan Harris Carole Huff Hicks Julie Higgins

The Signature Symphony Advisory Board supports the mission of 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 Signature Symphony through membership on our board is greatly appreciated.

Dr. John Jenkins Katie Johnson Kimberly Kunnemann Ron Looney Lisa Malone Tammie Maloney Erica Parker Dr. Eleanor Payne Delia Pierson

Jane Primeaux Andrew Ralston Geordie Robinson Jaime Smith Jeremy Stevens Michael Tate Dr. Dean VanTrease David Wagner

TCC Staff Representatives Monica Champ Kelly Clark Dr. Joseph Falvey Susan Martin Isaac Sheets Kari Shults Dr. Greg Stone

Program Notes

The following program notes are copyright of Susan Halpern, 2019

Symphony No. 5 in C minor, Op. 67 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 that while it is often heard, it “still exercises its power over all ages, just as those great phenomena of nature that, no matter how often they recur, fill us with awe and wonder. This symphony will go on centuries hence, as long as the world and world's music endure."

Beethoven’s Symphony No. 5 has always been popular and recognizable because of the famous four-note phrase with which it opens. Since Beethoven composed the symphony, critics and commentators have attempted to give that phrase some programmatic significance. Beethoven’s not altogether trustworthy friend, Anton Schindler, presumably quoted the composer as saying it represented Fate knocking at the door. Schindler, however, had a reputation for not letting facts get in the way of a good story. The conversation in which he quoted Beethoven took place years after Beethoven finished the symphony, which makes it a bit suspect. Accounts also say that Beethoven would say nearly anything to rid himself of annoying questioning about his compositions. Nevertheless, Schindler’s statement began a never-ending stream of interpretations of the symphony.

Whether it has a programmatic significance or not, unquestionably the phrase has definite importance musically, and it recurs throughout the entire symphony. The repetition of this phrase differs from a later-named technique called “cyclical form” in which a well-defined melody is stated in one movement and, retaining its original identity, is quoted and re-used in another. Beethoven’s method is to use his musical phrase as a germinal idea that generates new phrases, which resemble the original but are not identical with it. He begins with G and E-flat 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, uniting the symphony's four movements.

Beethoven began to compose Symphony No. 5 in 1804, just after finishing Symphony No. 3, but put it aside to finish Symphony No. 4, and, after that, he worked simultaneously on the next two symphonies. He completed Symphony No. 5 early in 1808 and Symphony No. 6 in autumn of the same year. On December 22, 1808, Beethoven gave a concert in which his latest works were premiered. The program included Symphonies Nos. 5 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 conducted and also played the solo piano parts for this monumentally long concert. Since he completed Symphony No. 5 almost at the same time when he finished Symphony No.6 (“Pastorale”), at the premiere, the “Pastorale” bore the number 5. Somewhere between performance and publication, Beethoven renumbered the two symphonies. The C minor became Symphony No. 5, and the F Major became Symphony No. 6, and they remain thus today.

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. The orchestra stopped mid-composition several times, and the soprano who sang the aria was given a sedative for her nerves, yet despite the difficult conditions of its premiere, Symphony No. 5 soon gained its designation as a masterwork.

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 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, a scherzo, Allegro, which runs without pause directly into the noble finale, Allegro which introduces the sound of the trombone to the orchestra for the first time in the history of

Program Notes music. Piccolo and contrabassoon also participate in the finale. Steinberg described the last movement 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 a model for symphonic writing to the present day.”

Over the years, two critics in particular have in some way grasped the essence of this symphony with few words. Amadeus Wendt wrote: “Beethoven's music inspires in its listeners awe, fear, horror, pain, and that exquisite nostalgia that is the soul of romanticism.” E.T.A. Hoffmann called the symphony “one of the most important works of the master whose position in the first rank of composers of instrumental music can now be denied by no one... It is a concept of genius, executed with profound deliberation, which in a very high degree brings the romantic content of the music to expression.”

Symphony No. 5 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, two horns, two trumpets, three trombones, timpani, and strings. The piccolo, contrabassoon, and trombone only play in the last movement, where they greatly enrich the sound of the orchestra.

Contribution opportunities to honor Dr. Stephen Goforth Oklahoma Baptist University Scholarship Fund: https://www.okbu.edu/giving/music-scholarship.html Gifts to Signature Symphony in Stephen's Honor: http://signaturesymphony.org/make-a-gift/