Legends and Swans

NEW BEGINNINGS 2022–2023 SEASON

Corporate

Season Sponsor:

GREETINGS FROM THE PODIUM

This season we embark on many New Beginnings as we not only have a new artistic director and are coming back from a global pandemic, but we are also working to redefine what it means to be an orchestra of the 21st century.

I am ecstatic to be here in Tulsa sharing the wondrous world of live music and helping to shape the musical and cultural landscape with the incredible Signature Symphony! Not only should the Signature Symphony be a musical conduit for the community we live in, but reflect the changing world around us, including helping shape the future of live orchestral music.

We are proud to bring you fun and impactful musical experiences this season, from Christmas in Tulsa to our annual Tulsa Sings! Competition with Broadway star, Scott Coulter. I also want to help draw even deeper connections to the vast symphonic world by bringing you programs like Rachmaninoff and the Dance Floor or our Legends and Swans concert to show the incredible interconnectivity of it all. We will feature world-class guest artists this season, including pianist Charlie Albright and violinist Andrew Sords, as well as local collaborations within Tulsa.

I cannot wait to meet you all and talk about what you would like to see and hear at the Signature Symphony in future seasons. In a time where everyone has been through so much, we rely on music and the power of human connection more than ever as we heal, inspire, and continue to build our community.

We will see you at the symphony!

SCOTT SEATON

American conductor Scott Seaton has been praised for possessing “finesse, clarity, and precision” by the Luxembourg Times and has left audiences “breathless” according to Entertainment News Northwest. He was a finalist in the Chicago Symphony Orchestra’s Solti Competition as well as the 2012 Sir Georg Solti International Conducting Competition, placing in the top ten conductors from a pool of over 400 conductors from 73 countries that were initially considered. He is in his eighth season as Music Director of the North State Symphony in Northern California where he has garnered acclaim for his dynamic performances, innovative programming, and community and youth outreach. He was also recently named the Artistic Director of the Signature Symphony in Tulsa and will lead them beginning in the 2022–2023 season.

Since his international debut in 2007 with the Orchestre Philharmonique du Luxembourg, Seaton has conducted orchestras spanning North America, South America, and Europe. Originally from Nashville, Tennessee, Seaton has earned degrees from the Université de Montréal, the New England Conservatory, and Vanderbilt University. He has also studied at Tanglewood and the National Conducting Institute sponsored by the National Symphony Orchestra.

An avid cyclist and runner, Seaton recently did a solo coast-to-coast cycling expedition from Oregon to Massachusetts. As a marathoner, he has run races across the USA and Canada, and qualified for and ran in the 2018 Boston Marathon. He and his wife Julia enjoy feeding neighborhood cats and traveling the world in search of the perfect cappuccino.

Scott Seaton, Artistic Director

MISSION

Create meaningful shared experiences between professional musicians and our community.

VISION

VALUE STATEMENTS

Inspire a passion for music. Enrich lives through education. Create a sense of belonging. Nurture creativity. Empower innovation. Pursue continued excellence. Demonstrate responsible stewardship and accountability. Promote a fun environment.

Make professional orchestral music accessible to all.

Legends and Swans

Saturday, February 25, 2023

AndrewSords,violin

SwanLake: Suite, Op. 20a

No. 1, Scène

No. 2, Valse

No. 3, Dancesdescygnes

No. 5, Dansehongroise;Czardas

No. 7, Dansenapolitaine

No. 29, Scène Finale

Légende,Op. 17

Zigeunerweisen,Op.20

Symphony No. 5 in E-flat Major, Op. 82

I. Tempo molto moderato

II. Andante mosso, quasi allegretto

III. Allegro molto

The use of cameras andrecording devices isstrictlyprohibited. As a courtesy to others aroundyou, please turn off cellular phones.

Signature Symphony 2022-2023 Corporate Season Sponsor

1

Pyotr Ilyich Tchaikovsky (1840-1893)

Henryk Wieniawski (1835-1880)

Pablo de Saraste (1844-1908) INTERMISSION

Jean Sibelius (1865-1957)

Scott Seaton, ArtisticDirectorDd

VIOLIN 1

Maureen O’Boyle, Concertmaster

Josiah Baker

Alicia Ranne

Rachel Hay

Esther Fellows

Val Hinkle

James Ruggles

Sarah Bryant

Kiersten Moser

Brian Dunagan

VIOLIN 2

Nancy Rath1

Carol Lehman

Melody Garrett

Laura Duncan

Paul Roberts

Elizabeth Obal

Allison Johnston

Anna Albert

VIOLA

Jeff Smith1,2

Christy Roberts

Terry Pollak

Ethan Landis

Sarah Bailey2

Micah Neely

1Principal

CELLO

Erica Parker1 2,3

Gordon Robson

Ashley Allison

Gulya Hollopeter

Ji Anderson

Amelia Ivory

BASS

Robin Smith1

Greg Spears

Colin Healey

Jeff Erb

FLUTE

Cherie Thomas1

Knowlan Randza

Valerie Goforth

OBOE

Lisa Wagner1

Sarah Evans

CLARINET

Christy Foster1

Anne Watson

BASSOON

Andrew Davis1

Dayna Smith

2Member of the SignatureStringQuartet

3TCC Adjunct Music Instructor

HORN

Joseph Falvey1,3

Marsha Wilson

Marci Falvey

Ben Korzelius

Alyson Byers - assistant

TRUMPET

Ben Hay1

Kade Goforth3

Keysto Stotz

Bill Gable

TROMBONE

Rich Fisher1

Brian Haapanen

BASS TROMBONE

L. Dale Barnett

TUBA

Brett Nichols1

TIMPANI

Jim Clanton1

PERCUSSION

Adam Bruce1

Ethan Linfoot

Becky Tupper

HARP

Margera Shaw1

Assistant Conductor

Amelia Ivory

SIGNATURE SYMPHONY STAFF

Orchestra Manager

Joseph Falvey

Event Coordinator

Susan Martin

Librarian

Ed Morse

Personnel

Ashley Allison

VANTREASE PACE STAFF

Dean of Visual & Performing Arts

Kelly Clark

Administrative Assistant

Michelle Dixon

Sound Designer

Jon Kreilaus

Lighting Designer

Stephanie Stone

Operations Manager

Jess Gray

Assistant House Manager

Marie Smith

House Assistants

Ivanna Charpentier

Zander Majors

Chase Posey

Hallie Willard

Join Signature Symphony

April 2–3, 2023 for our first-ever Conducting Seminar led by internationally renowned conductor

Deadline to apply is March 5. For details and to apply go to: signaturesymphony.org/community-education/conductor-seminar/

Alexander Mickelthwate, Music Director of the Oklahoma City Philharmonic, and the Bear Valley Music Festival in California, and Scott Seaton, Artistic Director of Signature Symphony and Music Director of the North State Symphony in California.

SIGNATURE SYMPHONY 2

Andrew Sords, guest artist

American violinist ANDREW SORDS has a celebrated career as a soloist, recitalist, and in performances with his trio. Having appeared with nearly 300 orchestras on 4 continents, Sords has been cited for combining visceral virtuosity with a ravishing tone, while international critics endorse Sords as “a fully formed artist” (Kalisz-Poland News), “utterly radiant” (Canada’s Arts Forum), and “exceptionally heartfelt and soulful” (St. Maarten’s Daily Herald). Closer to home, ClevelandClassical.com gushed: “the stunner of the afternoon was a breathless but magnificently controlled performance of Beethoven’s “Kreutzer” sonata, which Sords charged through with giddy aplomb. Sords impressed with his total command of technique, consummate musicianship, and bravura as he tossed off scads of notes and sang out like a diva - he and Eriko Izumida kept the audience in the palm of their hands all afternoon.” A 2022 début for Palms Springs Concerts elicited the Desert Sun to enthuse: “[The Sords-Walz-Durkovic Trio’s] playing was not just technically superb; it was melodious, resonant, expressive, and passionate. The audience could not stop applauding.”

Throughout the 2022/23 concert season, Andrew Sords is highlighting the Beethoven sonata cycle, the Bologne Sinfonia Concertantes, and concerti by Mendelssohn, Bruch’s Scottish Fantasy, and Beethoven in varied locales. Uniting with his LA-based trio (John Walz, cello and Timothy Durkovic, piano), the ensemble returns to Pasadena’s Boston Court Series, the St. Cross Music Guild, and presents the Brahms & Mendelssohn trios in Beverly Hills, CA. Sords appears for the Traverse Symphony’s Maestro Series, trots out works by Sarasate and Wieniawski with the Signature Symphony, performs with both Symphony Irvine & the Charleston Chamber Orchestra with Mendelssohn’s evergreen concerto, and will headline an evening at Toronto’s Glenn Gould Theatre (Bruch’s “Scottish Fantasy”). Sords has numerous recital appearances: Augusta, GA’s “Tuesday’s Live”, Harrisburg, PA’s “Arts on the Square”, Trinity Cathedral’s (OH) Bach and Franck cycle, the Chamber Music Society of Mississauga, and Québec’s Hudson Série de Musique Chambre and La Société de Musique du Lakeshore. A passionate chamber musician, Sords curates several eclectic combinations of instruments featuring colleagues Mari Sato (violin), Eric Schultz (clarinet), and John Walz (cello) in works by Dvorâk, Khachaturian, Shostakovich, and Schumann.

In recent seasons, Sords opened the Symphony of Southeast Texas’s concert season with Bruch’s “Scottish Fantasy”, returned to the Malone University Concert Series, and had a far-reaching range of recital appearances. Appearing on 3 continents during the 2019/20 season, Andrew Sords toured extensively with works by Beethoven: the sonata and piano trio cycles, the Triple Concerto, and the Violin Concerto in celebration of the composer’s 250th anniversary. In 2017, Sords made his UK debut with concerts in Edinburgh and Scotland (Tchaikovsky concerto) with the Glasgow Philharmonia, and his Guatemala City debut (Bruch concerto).

A man of diverse interests, Sords has competed in the charity fundraiser “Pittsburgh’s Dancing with The Stars” as the first classical artist to do so. Passionate about social causes, Sords has performed numerous times for LGBT outreach, including Bruch’s “Scottish Fantasy”, Tchaikovsky, and Beethoven in collaborations with the Minnesota Philharmonic, the Bay Area Rainbow Symphony, and the Atlanta Philharmonic.

Sords is a popular guest for various media platforms: featured four times on Sirius XM’s Derek and Romaine Show; profiled by “OUT Magazine”, NPR’S Morning Edition, Australia’s ABC Music Now, Cleveland’s WCLV, and Colorado Public Radio; Sords also performed the National Anthem for ESPN2’s WNBA Pride Game (2014) and a sold-out Cleveland Indians game at Progressive Field. Sords’ recent collaboration with Sean Christopher on the New-Age album “Transcendence” has been a commercial and critical success, with reviews stating: “much of this is owed to the gorgeous and precise playing by Andrew Sords, whose violin adds a thrumming undercurrent of pure life throughout the album’s stainless steel structure.” This album is available on iTunes, Amazon.com, and CDBaby.

Born in Newark, Delaware, Sords was raised in Shaker Heights, Ohio, and asked for piano lessons at age five. Shortly thereafter, Sords commenced violin lessons, and his studies led him to the ENCORE School for Strings, the Cleveland Institute of Music, and Southern Methodist University. As a teenager, Sords garnered prizes from concerto competitions (including the NFMC National Competition and the Pittsburgh Society Career Grant), signed with management, and cultivated a media and audience following from innumerable interviews, profiles, and appearances. Following Sords’ debut in Australia, the Melbourne Age declared, “Sords made a voluble soloist in Mozart's Turkish concerto, forging his statements with an admirably firm clarity and bringing out the work's virtuosity as often as possible. His bowing arm showed an attractive suppleness and an attention to variety of phrasing that made even the episodic finale a pleasure.” Sords makes his home in Chagrin Falls, Ohio, and his website yields up-to-date news and touring activities

http://www.andrewsords.com

SIGNATURE SYMPHONY 3

Program Notes

Program notes are copyright SusanHalpern, 2022

Swan Lake Suite, Op. 20

Peter Ilyich Tchaikovsky

(BornMay7,1840,inVotkinsk;diedNovember6,1893,inSt.Petersburg)

One of the most popular ballets of all time, Tchaikovsky’s SwanLake , composed for the Bolshoi Theater in Moscow, premiered on March 4, 1877. The original choreography and its production were inept, so the ballet initially failed. Tchaikovsky mistakenly thought that the fault lay in his music and decided to rewrite it, but died before he could do so.

In the story line of SwanLake,the young Prince Siegfried accompanies his companions to hunt swans. In a mysterious, romantic lake, swans float gracefully, becoming lovely young ladies as they touch shore, but the evil magician, Rotbart, only allows them to remain human between midnight and dawn. Siegfried falls in love with Odette, the Queen of the Swans, and invites her to a ball so he can propose to her She cannot attend the ball unless Rotbart no longer weaves his spell.

At the ball, many seek the Prince’s hand, each performing a national dance from her country. The Prince dances with them all, but he awaits Odette. Two new guests arrive: Rotbart, dressed as the Knight of the Black Swan, and Rotbart’s daughter Odile, transformed into Odette’s twin. Siegfried, initially deceived, declares he will marry Odile, while Odette, still a swan, beats against the window in vain to warn Siegfried. Rotbart, delighted that he has forced the prince to break his vow, disappears with Odile. Siegfried realizes the truth and rushes out to find Odette. Rotbart creates a storm in hopes that Odette will drown in the lake, but Siegfried risks his life to save her, proclaiming his willingness to die with her. His heroism breaks the magician’s spell. The floodwaters recede, and the girls regain their human form, freed forever.

In 1880, Tchaikovsky’s benefactress, Nadezhda von Meck, wrote that she had commissioned a young Frenchman to make piano arrangements of three dances from the ball scene; it became Debussy’s first published work. In 1882, Tchaikovsky decided to create a suite from the ballet, but unfortunately, he never did. SwanLakeSuitewas selected by others and varies greatly in movements from performance to performance.

Legende, Op. 17

Henryk Wieniawski

(BornJuly10,1835 , inLublin,Poland;diedApril12,1880,inMoscow)

The great Polish violinist, Henryk Wieniawski, displayed his rare musical gifts at an early age. Wieniawski’s father was Jewish, but decided to convert to Catholicism, probably to assimilate. As the family came from the Lublin neighborhood of Wieniawa, the father adopted the name Wieniawski. When young Wieniawski chose the violin as his instrument at age five, he had lessons with Jan Hornziel, a pupil of Louis Spohr; later, he studied with Stanislaw Serwaczynski, who had taught the great violinist-composer Joseph Joachim. Wieniawski made his public début at seven, and at eight, was admitted to the Paris Conservatoire with a special exemption; the minimum age for admission was twelve. When he graduated from the Conservatoire at eleven, Wieniawski received the top prize over all his older classmates.

He immediately began the life of a traveling virtuoso but returned to Paris for further study; at the age of fifteen, he won the first prize in composition. He then became solo violinist to the Czar of Russia, before beginning a teaching post at the St. Petersburg Conservatory.

Wieniawski’s pianist friend Anton Rubinstein introduced the composer to the Hampton family and their daughter Isabella, with whom Wieniawski fell in love. The composer soon wrote to a friend in Brussels of his intention to “marry a young English woman whom I Love more deeply than the finest Stradivarius or Guarneri.” Isabella’s father did not want to accept the violinist/composer, hoping his daughter instead would marry a man with “a more solid financial background.”

SIGNATURE SYMPHONY 4

The story goes that in 1860, when Wieniawski composed Légende , a concert piece showcasing violin, which he dedicated to his beloved, he invited Isabella’s parents to a private concert, at which he performed the violin solo. The parents were overwhelmed with the work and its expression of emotion, as well as the passion and sincerity of Wieniawski’s playing, and were convinced by it to allow their daughter to marry him.

In 1872, Wieniawski began a joint tour of the United States with Rubinstein as pianist, and then continued on his own, making solo appearances as far west as California. In 1874, Wieniawski succeeded the composer Vieuxtemps as professor of violin at the Brussels Conservatory. He resigned three years later for health reasons, but, nevertheless, continued to give concerts throughout Europe, which, it has been speculated, hastened his early death. Even as a concert violinist, he found time to compose large quantities of music.

In 1879, Wieniawski began a tour of Russia, but couldn’t complete it. He found himself in a Moscow paupers’ hospital, without the money his tour organizers had promised him, and with no means to survive. Musician friends and well-wishers, notably Nadezhda von Meck, who was the patroness of Tchaikovsky, rallied and organized charity concerts to help Wieniawski and his family. His wife travelled from Brussels to be at his bedside. He died shortly after, only months before his forty-fifth birthday.

As a composer, Wieniawski had a unique style, an amalgam of Paganini’s technical advancements that he combined with Romantic themes and a spirit of Polish nationalism. His most well-known works include his mazurkas, polonaises, and two concertos. The two concertos are very popular staples of violin repertoire, the first virtuosic and the second an expression of sweeping Romanticism, which he dedicated to the violinist Sarasate. Wieniawski’s etudes are considered among the most musical and technically demanding studies for the violin. The brief LégendeOp. 17 has remained a famous showpiece in which Wieniawski emphasizes the Romantic theme of love. The music displays an exemplary combination of technical virtuosity with emotional and lyrical Romantic themes.

In the beginning of the piece, the minor tonality highlights the longing encapsulated in the phrasing; an emotional intensity is created by the use of extreme dynamics, slides, and octaves. In the second section, in a major key, a sequence of double stops climaxes with open string chords, and then ultimately progresses to tonic octaves. A quickly descending chromatic scale resolves in the initial key as the first section returns, now muted and with different coloration.

Zigeunerweisen(Gypsy Airs)Op. 20

Pablo de Sarasate

(BornMarch10,1844,inPamplona,Spain;diedSeptember20,1908,inBiarritz,France)

Pablo Martín Melitón Sarasate y Navascuez is the full name of the Spanish violinist who was one of the great virtuoso-composers of his time. The Queen of Spain first heard him play when he was only a ten-year-old boy and generously presented him with a Stradivarius violin and subsidized his studies at the Paris Conservatory. He made his home in France for most of the rest of his life, but he always made an annual visit to Spain part of his touring itinerary.

George Bernard Shaw, who was a music critic in London in the 1890’s, said that Sarasate played with “a quiet and certain mastery” and with “exclusive attention to the absolutely musical side of his classical repertory.” This comment is testimony enough to the serious, artistic aspect of Sarasate’s performing career. Saint-Saëns, Bruch, and Lalo were among the composers who wrote concertos for him. Sarasate was a brilliant virtuoso with a repertoire of dazzling showpieces among which were many of his own original compositions flavored with recollections of the folk songs and dances of Spain.

Zigeunerweisenis a dazzling virtuosic one-movement medley of Gypsy (Romany) songs, in contrasting fast and slow tempos. They are similar in kind to the HungarianRhapsodies that Franz Liszt based on the songs of the Gypsies of his country. In a minor tonality throughout, the work begins Moderato, with a virtuosic introduction, before it transitions to a slow section, Lento, in which the violin plays in melancholy fashion. The violin’s lines are embellished with virtuosic figures including difficult spiccato and ricochet bowings. When the tempo increases to a speedy Allegro molto vivace, the violin soloist is called on to play more lengthy runs with difficult double stops and even left-hand pizzicato. In the final part, the Hungarian csárdás(a Hungarian dance form of alternating slow and fast sections) uses a theme Liszt had used before Sarasate employed it. The orchestral accompaniment is almost completely a support for the soloist who is challenged to create an extravagant technical display.

SIGNATURE SYMPHONY 5

Symphony No. 5, in E-Flat,Op. 82

Jean Sibelius

(BornDecember8,1865inTavastehus,Finland;diedSeptember20,1957,inJärvenpää,Finland)

Jean Sibelius is one of very few composers from the Scandinavian north to become a musical figure of worldwide importance. There was a time when serious critics, especially in England and the United States, even described his seven symphonies in terms usually reserved for Beethoven and Brahms, but a later generation assigned him a place with the finest national composers of Europe: Tchaikovsky, Dvorák and Grieg, for example.

The old idea of Sibelius as a solitary figure, alone and separate from Europe on the distant Karelian peninsula, was never correct. He studied in Berlin and Vienna, and he was published in Leipzig. He made concert tours to the principal cities of Europe, and quite often he went to England, where his works were very popular. He taught for a while at the New England Conservatory of Music in Boston and was awarded an honorary degree by Yale. He was a cosmopolitan musician and an international figure. When Sibelius wrote his Symphony No. 1 in 1899, he was experimenting with a form that was a new means of musical expression for him. It is clear that he looked backward for models and found them in the symphonies of Tchaikovsky, yet in SymphonyNo.2,he set out on a new and independent path with music of great individuality with a strong Nordic flavor and only a nod in the direction of his earlier Russian models.

At the time of the writing of SymphonyNo.5 in 1915, life became difficult for him. The First World War was shaking Europe. Because Finland was part of the troubled Czarist Empire, Sibelius could not collect his royalties from his German publisher. Work on the symphony provided an escape from the concerns and the hardships of everyday life. On the composer’s fiftieth birthday, December 8, 1915, the new symphony had its first performance in Helsinki. He revised it somewhat for a performance a year later. The first version had four movements, with a scherzo following the slow opening movement. When he reworked it, he compressed the two opening movements into one, and made other substantial revisions.

Soon after the second version was performed, Sibelius, then suffering ill health, had several operations for what was misdiagnosed as throat cancer. In 1917, he began a final revision of Symphony No. 5 , but unfortunately, the Russian Revolution and other social upheavals prevented further progress on the score until 1919, when it finally took its present shape. Sibelius wrote in a letter, “The Fifth Symphony is in a new form, practically newly composed. I am working on it every day. A lively climax at the end, triumphal.” The final product is a noble work, one of the finest of the composer’s seven symphonies.

The final version replaced his four-movement work with one of three-movements with an almost completely new finale. The opening movement, Tempo molto moderato, still resembles the original two separate movements, but they have been blended into a single movement with the scherzo, Allegro moderato, ma poco a poco stretto, now transformed into more of a recapitulation. The new version has more boldness, which immediately becomes evident in the horn call of the opening. The wind instruments introduce all the subject matter of this first movement.

The second movement, Andante mosso, quasi allegretto, has a feeling of pastoral tranquility and develops in a simple, charming, and loosely structured theme and variations with a constant rhythmic figure and a continuously changing melody. The theme is made up of an intense rhythmic pattern stated by pizzicato strings. That rhythmic figure is then used in several melodies that follow. Woodwinds, which begin the movement, provide a background for the variations. At the conclusion, the strings have an expansive theme that is an outgrowth of the opening woodwind figure.

The landscape and animals near Sibelius’ home outside of Järvenpää inspired the music of the last movement, Allegro molto, which alternates between rapid, running passages and a memorable grand theme that the composer slowly assembles out of tiny fragments of melody. Sibelius wrote in his diary in the spring of 1919, that a flight of swans was flying in circles above his house and motivated him to create a subject in response, which became the foundation for the symphony’s finale. The opening music suggests the fluttering of wings, which leads to the lofty, imposing swan theme first heard in the horns and then in the entire brass section. After a long central section including a dissonant version of the theme in the trumpets, the music returns briefly to the main theme before the symphony concludes with loud chords interspersed with silence.

It is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, timpani, and strings.

SIGNATURE SYMPHONY 6

FIRST CHAIR SOCIETY

The First Chair Society is a premier package for Signature Symphony at TCC patrons who support the outstanding musical performances and education engagement programs provided by Signature Symphony. Members enjoy special events with visiting guest artists and members of the orchestra throughout the season. We greatly appreciate the members of this special donor group who help make our work possible.

For information aboutjoining the First ChairSociety, call 918-595-7977 or email tccfoundation@tccfoundation.org

MAESTRO

Shelby Beil

Dean and Vesta VanTrease

Ron and Susie Looney

Philip and Leslie Maltby

Helen Monahan

Jane and Henry Primeaux

CONCERTMASTER Andrew and Hannah Ralston

Kelly and Phil Fonkalsrud

Terence Golla

Jim and Julie Higgins

Geordie and Kristine Robinson

Dawne and Robert Stafford

FIRST CHAIR PLUS

Richard and Alicia Ranne

Hannah and Joe Robson

David and Rachel Wagner

FIRST CHAIR

Loren Arnoff

Terry Bevins

Tim Caldwell Eric and Jan Bohne

Kevin and Susan Gross

Susan and Jim Harris

Montie and Betty Box

Jim and Marilyn Brill

Marcia and Dan Brueggenjohann

John and Mary Ann Bumgarner

Scott and Kim Burnett

Jim Cameron

Steve and Ruthie Duenner

Leigh and Mark Goodson

Jim and Ginelle Gordon

Janet and Norman Hyne

Katie and David Johnson

Tim and Carol Lyons

Carol Messer

Joel- lyn and Joseph McCormick

Joe and Carol McGraw

Kay Miller

Anna Milligan

David Morse

Tom and Jennifer Palmer

Larry and Eleanor Payne

Millard and Susanne Pickering

Michael Pierce

Delia Pierson

Bill and Donna Ramsey

Kari and Matt Shults

Jeffrey and Robin Smith

Greg Stone

Lee and Carol Swarthout

Mustafa and Jaime Tareq

Steve and Nancy Wells

Jacqueline Wilson

Roy and Rebekah Wood

SignatureSymphonytrulyappreciates thegenerous plannedgiving donation from the estate ofCarolyn Grove, a long-timepatron of the orchestra. Hergift willhelpSignatureSymphony continue to provide rich musical experiences in Tulsathrough liveperformances and music education andcommunityengagement programs.

SIGNATURE SYMPHONY ADVISORY BOARD

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 membership on our board are greatly appreciated.

Shelby Beil Chair

Corbin Bodley

Marcia Brueggenjohann

Cathy Campbell

Laura Cowan

Dr. Noam Faingold

Kelly Clark

Dr. Joseph Falvey

Geordie Robinson Vice Chair

Dr. Kim Falcon

Colin Healey

Julie Higgins

Dr. John Jenkins

Katie Johnson

Leslie Brier Maltby Secretary

Jaime Smith Tareq Treasurer

Ron Looney

Joel-lyn McCormick

Erica Parker

Dr. Eleanor Payne

Alicia Ranne

TCC Staff Representatives

Dr. Leigh Goodson

Jess Gray

Megan Korn

Susan Martin

Dawne Stafford Past Chair

Dr. James Ross

Dr. Dean VanTrease

David Wagner

Sydney Wilson

Kari Shults

Dr. Greg Stone

SIGNATURE SYMPHONY 7

Join us for one of the most entertaining fundraising events of the year! Funds raised help Signature Symphony provide music education engagement, community enrichment opportunities, and premier concerts to the greater Tulsa area.

Become a sponsor or purchase tickets

Congratulations to our 2023 TulsaSings! Competition finalists!

For more information and concert dates visit us at our website signaturesymphony.org and like us on social media!

SIGNATURE SYMPHONY 8

Ashton Jones, Trent Taber, Rachel Miller, Michelle Eiler, Olivia Fu, Andrea Bar and Brock Ryne

YOUR GIFT MATTERS

Signature Symphony at TCC provides audiences of all ages with opportunities for live music and learning.

These concerts and community engagement programs wouldn’t be possible without the generous support of businesses and patrons. You can help keep the music playing and ensure future audiences benefit from Signature Symphony’s music education resources by making your gift today.

Consider joining the First Chair Society to elevate your Signature Symphony experience throughout the season. First Chair Society members play a big part in sustaining Signature Symphony’s work in the community while also enjoying invitations to receptions with guest artists and other perks.

The TCC Foundation offers a variety of ways for you to be involved in supporting Signature Symphony at TCC. To discuss your giving options, please call us at 918-595-7977 or email tccfoundation@tccfoundation.org

Thank you for your generosity!

2023 OVERTURE FUNDRAISER GALA

April 13, 2023

• River Spirit Casino Resort

Celebrate the 2022–2023 Signature Season during this evening of music and cuisine benefiting Signature Symphony and our music education and community engagement programs.

The seventh annual Overture event will feature a cocktail hour, dinner, program, live auction, silent auction, and other activities with a tantalizing musical atmosphere to complement the evening.

Sponsorship opportunities available. Call 918-595-7977 or visit signaturesymphony.org/overture for details.