Signature Symphony New Beginnings: Rachmaninoff and the Dance Floor

N EW BEG INN IN GS 2022–2023 SEASON Corporate Season Sponsor:

G R EE TIN GS FRO M TH E P O DI U M 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, Artistic Director

MISSION Create meaningful shared experiences between professional musicians and our community.

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.

VALUE STATEMENTS Inspire a passion for music.

Enrich lives through education.

Create a sense of belonging.

Nurture creativity.

Empower innovation.

VISION Make professional orchestral music accessible to all.

Pursue continued excellence.

Demonstrate responsible stewardship and accountability.

Promote a fun environment.

Rachmaninoff and the Dance Floor Saturday, October 1, 2022

Charlie Albright, guest artist Mothership

Mason Bates

New World A-Comin’

Duke Ellington

Rhapsody in Blue

George Gershwin

INTERMISSION

Symphonic Dances, op. 45 I. II. III.

Sergei Rachmaninoff

Non allegro-Lento-Tempo 1 Andante con moto (Tempo di valse) Lento assai-Allegro vivace

The use of cameras and recording devices is strictly prohibited.

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

Signature Symphony 2022-2023 Corporate Season Sponsor

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SIGNATURE SYMPHONY

Charlie Albright, guest artist Hailed as “among the most gifted musicians of his generation” with a “dazzling natural keyboard affinity” who “made quite an impression” by the Washington Post, American pianist/composer/improviser Charlie Albright has been praised for his “jaw-dropping technique and virtuosity meshed with a distinctive musicality” by The New York Times, and his “extravagance that had showmanship but never felt cheap” with his “ease and smoothness that refuses to airbrush the music, but animates it from within” by the Philadelphia Inquirer. Recipient of the prestigious Avery Fisher Career Grant and Gilmore Young Artist Award, Albright won the Ruhr Klavier Festival Young Artist Award presented by Marc-André Hamelin (Germany) and the Young Concert Artists International Auditions. In addition to performing, Albright is sought after as a speaker, masterclass instructor, teacher, and competition judge. His debut commercial recording, Vivace, has sold thousands of copies worldwide and the first two parts of a 3-part Schubert Series of live, all-Schubert recordings was released in 2017 and 2020. Charlie Albright breaks the "classical" rules of music by connecting with audiences like no other. Through his music, speaking, and unique improvisations that bring music to life, he crosses all genres...and makes it fun.

Albright regularly appears at major concert halls, festivals, and with artists of all genres worldwide. In 2019, he was the guest artist at the Isaac Stern Auditorium main stage of Carnegie Hall with the American Symphony Orchestra and Maestro Leon Botstein, and made his return appearances at the 2019 Bergen International Festival in Norway, where he performed a sold-out solo recital and was given the honor of performing the festival’s traditional yearly concert of the Grieg Piano Concerto at Grieg Concert Hall with the Bergen Philharmonic Orchestra.

He is a frequently returning guest artist with such orchestras as the BBC Concert Orchestra; the Alabama, Baltimore, Boston Pops, Buffalo, California, Chamber Orchestra of Philadelphia, Edmonton (Canada), Des Moines, Fort Smith, Houston, Kymi Sinfonietta (Finland), Lansing, Mobile, National Center for the Performing Arts (Beijing, China), Omaha, Phoenix, Seattle, San Francisco, Victoria (Canada), and West Michigan Symphony Orchestras. He has performed worldwide, including at the Kennedy Center for the Performing Arts (Washington, D.C.); Symphony Hall (Boston); the Salle Cortot (Paris, France); the Arsht Center for the Performing Arts (Miami); the Kumho Art Hall (Seoul, South Korea); the NCPA (Beijing); and Alice Tully Hall (Mostly Mozart Festival, New York).

Albright regularly collaborates with artists from all genres, including vocalist/conductor Bobby McFerrin and violinist Joshua Bell. He has collaborated five times with revered cellist Yo-Yo Ma: at the honorary degree ceremony at Harvard University for Senator Ted Kennedy; at a 10th anniversary remembrance of 9/11; at the 60th anniversary of the Universal Declaration of Human Rights with Nobel Laureate Toni Morrison; at the Aspen Institute’s Citizen Artistry conference in New York; and with the Silk Road Project.

Albright’s compositions and improvisations have been likened to “the great Romantic-era composer-pianists” by Classical Source and have been praised as “thrilling” by the DC Metro Theatre Arts. The Philadelphia Inquirer raved that he “brought the art of classical-music improvisation to a new level.”

A firm believer in education, Albright founded the Charlie Albright Scholarship and Charlie Albright Piano in collaboration with the Centralia College Foundation in his hometown. The Scholarship provides financial aid to music students, and money was raised to purchase and maintain a new 9-foot Steinway Piano for the college’s Corbet Hall.

Winner of the Louis Sudler Prize in the Arts and named one of the “15 Most Interesting Seniors,” Albright was also named Artist-inResidence for Harvard University’s Leverett House, a position last filled by cellist Yo-Yo Ma. Albright’s numerous awards include First Prize in both Solo and Ensemble categories at the 2006 New York National Piano Competition; First Prize and all other awards offered at the 2006 Eastman International Piano Competition; Third Prize at the 2007 Hilton Head International Piano Competition; Semi-Finalist Award and Best Performance of a Work by Liszt in Stage I at the 2008 Sydney International Piano Competition; and the Vendome Virtuoso Prize and the Elizabeth Leonskaya Special Award at the 2009 Vendome Prize International Piano Competition.

Born in Centralia, Washington, Albright began piano lessons at the age of 3. He studied with Nancy Adsit and earned an Associate of Science degree at Centralia College while still in high school. He was the first classical pianist in the Harvard College/New England Conservatory 5-Year AB/MM Joint Program, completing a Bachelor’s Degree as an Economics major and Pre-Med student at Harvard, and a Master of Music Degree in Piano Performance at NEC, having studied with Wha-Kyung Byun. He graduated with the prestigious Artist Diploma (A.D.) from The Juilliard School, having studied with Yoheved Kaplinsky. Albright is an official Steinway Artist. For the latest information, please visit CharlieAlbright.com and Facebook.com/CharlieAlbrightPianist.

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Scott Seaton, Artistic Director VIOLIN 1 Maureen O’Boyle,

Concertmaster Rachel Hay Alicia Ranne Elena Gavrilov Esther Fellows Dina Litvinova

CELLO

HORN 1

Monty Lawson

Joseph Falvey1,3

Erica Parker2,3

Marsha Wilson

Gordon Robson

Marci Falvey

Ashley Allison

Ben Korzelius

Amelia Ivory Gulya Hollopeter

TRUMPET Ben Hay1 Kade Goforth3

Val Hinkle

Robin Smith1

Bill Gable

Kiersten Moser

Greg Spears

Erik Reed

Nicholas Bashforth

Colin Healey Jeff Erb

Brian Haapanen

FLUTE

Amanda Hamm

Dana Higbee

Nancy Rath

Cherie Thomas

Carol Lehman

Knowlan Randza

Melody Garrett Laura Duncan Elizabeth Obal Sarah Bryant

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VIOLA Jeff Smith1,2 Christy Roberts Terry Pollak Mimi Dye Sarah Bailey2 Micah Neely

1

Lisa Wagner1 Sarah Evans Lauren White

Principal

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Member of the

Administrative Assistant Michelle Dixon Sound Designer Jon Kreilaus

Brett Nichols1

Lighting Designer

TIMPANI Stephen Craft3 PERCUSSION

Christy Foster1

Russell Grant

Anne Watson

Becky Tupper

Ed Morse

Adam Bruce

BASSOON 1

Jim Fellows

1

Stephanie Stone

Marie Smith

Aidan Eames

Zander Majors Brooklynn Swift

KC Chai

Lorelei Barton

ALTO SAXOPHONE Victor Anderson

PIANO

1

Rob Muraoka 1,3

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House Assistants Chase Posey

HARP

TCC Adjunct Music Instructor

Ginelle Gordon Assistant House Manager

Kyle Maxwell-Doherty

Signature String Quartet 3

Kelly Clark

Operations Manager

CLARINET

Andrew Davis

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BASS TROMBONE Greg Funk TUBA

OBOE

VANTREASE PACE STAFF Dean of Visual & Performing Arts

Rich Fisher1

Corbin Bodley1,2

Librarian Ed Morse Personnel Ashley Allison

TROMBONE

VIOLIN 2

Orchestra Manager Joseph Falvey Event Coordinator Susan Martin

BASS

James Ruggles

SIGNATURE SYMPHONY STAFF

SIGNATURE SYMPHONY

PROGRAM NOTES Program notes are copyright Susan Halpern, 2022

Mothership

Mason Bates (Born January 23, 1977 in Philadelphia) In a 2004 interview for the Los Angeles Times, the composer Mason Bates said, “Music, for me, is not a mental exercise, not an abstract construction. It’s intuitional. It needs to have the power to viscerally move people and to communicate strongly, across a broad reach.” Communicative crossing of boundaries has become standard for Bates; this practice has given his music strength and dynamism. His symphonic music was the first to receive widespread acceptance for its unique integration of electronic sounds. A curator and a communicator, Bates holds as a central tenet of his work what he calls “the magical intersection between music and technology.” He has moved fluidly between the worlds of concert music and electronica. His symphonic music was the first to receive widespread acceptance for its unique integration of electronic sounds. Busy with both commissions and performance engagements, he has created music described by the San Francisco Chronicle as “lovely to hear and ingeniously constructed."

As both a DJ and a curator, Bates is a visible advocate for bringing new music to new spaces, whether through institutional partnerships such as his residency with the Chicago Symphony Orchestra, or through his club/classical project called Mercury Soul, which transforms commercial clubs into exciting hybrid musical events. He has also composed for films, including Gus Van Sant’s The Sea of Trees starring Matthew McConaughey and Naomi Watts. Bates is on the faculty of the San Francisco Conservatory of Music, which offers both traditional compositional training and instruction in music technology through its Technology and Applied Composition program.

Mothership was commissioned by Michael Tilson Thomas and premiered March 20, 2011 at the Sydney (Australia) Opera

House, performed by the YouTube Symphony; it was viewed online by nearly two million people worldwide. It blends the usually divergent worlds of classical symphonic music, the driving rhythms of techno, and the contemporary sounds of electronics.

Bates wrote his own note for Mothership, “This energetic opener imagines the orchestra as a mothership that is ‘docked’ by several visiting soloists, who offer brief but virtuosic riffs on the work’s thematic material over action-packed electroacoustic orchestral figuration.” The mothership floats high above an orchestra pulsing rapidly with a heart of techno. At several moments in the piece, various soloists dock with the mothership, dropping in with solos both virtuosic and lyrical.

“The piece follows the form of a scherzo with double trio (as found, for example, in Schumann’s Symphony No. 2.) But while symphonic scherzos historically play with dance rhythms such as the waltz, Mothership looks to 21st Century dance music (such as techno) to enliven its journey. The brief solos can be played as written or improvised. “Symphonic scherzos historically play with dance rhythms in a high-energy and appealing manner, with the ‘trio’ sections temporarily exploring new rhythmic areas. Mothership shares a formal connection with the symphonic scherzo but is brought to life by thrilling sounds of the 21st Century—the rhythms of modern-day techno in place of waltz rhythms, for example.”

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New World a Comin’

Duke (Edward Kennedy) Ellington (Born April 9, 1899, in Washington, D.C.; dies May 24, 1974, in New York)

Edward Kennedy Ellington, universally known as Duke, was one of the most inventive and most fertile of 20th century American musicians. His smooth and regal style in both speech and manner inspired a childhood friend to dub him “Duke,” a nickname that stuck. In spite of the odds stacked against him, Ellington rose to become a giant of American jazz, composing and arranging more than 1,000 works and revolutionizing the concept of the jazz ensemble. By introducing more instruments and larger forces to the “big band,” Ellington expanded its scope. He is remembered as being among the few who helped to elevate jazz to the status of art when the medium was still young.

The range and complexity of his musical arrangements led him also to explore composition on a symphonic scale. His largescale works, suites for orchestra, and sacred services with voices, were frequently performed in concert halls and churches; Broadway and Hollywood producers often called on him to write music for their spectacles as well. He broadened the parameters of jazz, edging closer to the classical idiom. His compositions showed an ambition for expanding traditional jazz forms in order to tell the story of Black America with dignity. He was ultimately recognized with presidential honors, thirteen Grammy awards, a Pulitzer Prize, and even the French Legion of Honor.

New World A-Comin’ was originally written as a rhapsody for piano and band. Ellington eventually orchestrated it for

orchestra and performed with several symphony orchestras, including the Los Angeles Philharmonic at the Hollywood Bowl in 1966. Its title comes from New World a-Coming: Inside Black America, the first of his six books by the much-decorated Black journalist and author Vincent Lushington 'Roi' Ottley (1906-1960). In this book, Ottley envisioned improved conditions for blacks in postwar America. In his memoir Music Is My Mistress, Ellington wrote about his inspiration for his New World A-Comin’. “I visualized this new world as a place in the distant future where there would be no war, no greed, no categorization, no non-believers, where love was unconditional, and no pronoun was good enough for God.”

Rhapsody in Blue

George Gershwin (Born September 26, 1898, in Brooklyn, New York; dies July 11, 1937, in Hollywood, California)

Rhapsody in Blue remains an important monument in the history of American music as well as George Gershwin's first

major achievement in which he combined jazz and classical music in an extended composition. The composer’s great natural melodic gifts had already made him famous as a writer of popular songs, but he had not yet succeeded with larger musical forms and was just learning how they worked and what held them together.

Paul Whiteman's Aeolian Hall concert on February 12, 1924 was an “Experiment in Modern Music” that launched Rhapsody in Blue. He asked Gershwin to contribute a “serious” piano composition for this unusual formal concert in which his popular band was to perform. Whiteman knew Gershwin’s songs; Gershwin ultimately felt flattered by Whiteman’s invitation to write and play a piece for piano and jazz band, but initially Gershwin had believed the project to be a prank and dismissed Whiteman’s proposal until an announcement in the New York Tribune stated that a Gershwin jazz concerto would be debuted at the concert.

Gershwin began work on January 7, 1924 for the February 12th concert, and in a very short time, he composed a piano version of Rhapsody in Blue. Whiteman's arranger, Ferde Grofé, who later wrote the Grand Canyon Suite, developed the orchestration. “There had been so much chatter about the limitations of jazz,” Gershwin said later, “not to speak of the manifest misunderstandings of its function [that] I resolved to kill that misconception with one sturdy blow. I set to work

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with no set plan, no structure to which my music would conform. The Rhapsody began as a purpose, not a plan. I worked out a few themes and tried to conceive the composition as a whole. I hear it as a sort of musical kaleidoscope of America.”

The occasion marked Gershwin's first appearance as a concert pianist performing his own work.

Gershwin often performed Rhapsody in Blue as a piano solo. For the first concert occasion though, his performance resembled some fabled performances of Mozart’s: Gershwin, like Mozart before him, had left huge sections of the solo piano part blank with the instruction that he would nod to the conductor (Whiteman) when it came time to bring in the orchestra.

Gershwin improvised or reconstructed from memory the solo passages and wrote them on paper only after the premiere, when he had more time to concentrate on finalizing the composition.

Rhapsody in Blue is a succession of melodies rather than an organic whole, a work in which, as in the music of Liszt and

Tchaikovsky, slight variation may take the place of true development. The striking quality of the melodies Gershwin assembled, the vitality of the piece’s rhythms and the force and the strength of the creative energy that the young composer put into creating Rhapsody in Blue, have given it a long and vigorous life. Today it is much loved for its evocative nature and for its apotheosis of the American spirit.

Symphonic Dances, Op. 45

Sergei Rachmaninoff (Born April 1, 1873, in Oneg, Novgorod, Russia; died March 28, 1943, in Beverly Hills, California) Sergei Rachmaninoff was one of those great versatile musicians who appear in history from time to time, one of the supreme pianists of his era, an admired composer and a conductor good enough to have been twice offered the directorship of the Boston Symphony Orchestra. Despite his busy life as a touring performer, Rachmaninoff found or made the time to write a great deal of music: four piano concertos, three symphonies, three operas, a large number of other works in many forms, and a larger number of songs and piano pieces.

Rachmaninoff was educated at the Conservatories of St. Petersburg and Moscow. He left Russia in 1917 and lived in the United States for the rest of his life. The great melodic power and the rich, characteristically Russian sonority of his music made him one of the most popular composers in the 20th century.

Symphonic Dances is, by turns, festive, grandiose, elegant, plaintive, grotesque, and even uneasy. The first movement, Non Allegro, is the most rhythmic of the three, and has often been likened to a march; Rachmaninoff intended it to represent midday, giving it a modal melody in its central section and including what may be a closing reference to his Symphony No.1, which he had written in his early 20’s. The second movement is a waltz, Andante con moto (Tempo di valse), free form and rhapsodic in nature, with languorous melodies, sometimes sounding bittersweet. The third begins with a slow introduction, Lento assai, then shifts to Allegro vivace. It has three main sections; he used the ancient hymn Dies irae (“Day of Wrath”) from the Latin Mass for the Dead, which had become a recurring motive in his work and a quotation from the All-Night Vigil (or Vespers) Op. 37, an a cappella choral work from 1915; together they are woven into the music but ultimately the Dies irae chant is overcome by the Russian Orthodox liturgical hymn.

The critic Michael Steinberg noted that at a point shortly before the movement concludes, Rachmaninoff wrote “Alliluya” at the top of a page. He goes on to say, “Given what we know of Rachmaninoff’s state of mind in 1940, it is likely that he thought of this as his last composition. We see him then taking leave of his craft with a hymn of thanks and praise.” Rachmaninoff wrote at the end of his manuscript, “I thank thee, Lord.”

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2022-2023 TULSA SINGS! COMPETITION AUDITION SUBMISSION DEADLINE THIS MONDAY, OCTOBER 3 AT 5:00 PM! After a 2 year hiatus due to the COVID-19 pandemic, Signature Symphony is excited to announce our 4th Tulsa Sings! vocal talent competition to shine the spotlight again on yet undiscovered talent.

The Tulsa Sings! competition welcomes anyone with ties to Tulsa to compete for the opportunity to perform beside Scott Coulter and other Broadway stars with the orchestra at Signature Symphony’s final 20222023 season concert “American Jukebox” on April 8, 2023 as a finalist.

The winner will be chosen by a panel of judges which include Broadway star Scott Coulter. There will be an “audience choice” award that evening with the grand prize winner announced at the end of the Saturday performance.

The grand prize winner could have the opportunity to be featured in a Signature Symphony concert during the 2023-2024 season.

Competition details and registration and audition procedures are on our website: signaturesymphony.org/tulsa-sings/ For additional information call 918-595-7776 or email

signature@tulsacc.edu.

Signature Symphony’s 2022-2023 Tulsa Sings! competition is sponsored

by KOTV- News on 6

UPCOMING TCC MUSIC AND THEATRE PERFORMANCES

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SIGNATURE SYMPHONY

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 about joining the First Chair Society, call 918-595-7977 or email tccfoundation@tccfoundation.org.

MAESTRO

FIRST CHAIR PLUS

FIRST CHAIR

Carol Messer

Shelby Beil

Tim Caldwell

Loren Arnoff

Kay Miller

Dean and Vesta VanTrease

Kevin and Susan Gross

Terry Bevins

David Morse

Susan and Jim Harris

Eric and Jan Bohne

Tom and Jennifer Palmer

CONCERTMASTER

Ron and Susie Looney

Montie and Betty Box

Millard and Susanne Pickering

Kelly and Phil Fonkalsrud

Philip and Leslie Maltby

Jim and Marilyn Brill

Michael Pierce

Terence Golla

Helen Monahan

Scott and Kim Burnett

Delia Pierson

Jim and Julie Higgins

Jane and Henry Primeaux

Steve and Ruthie Duenner

Bill and Donna Ramsey

Geordie and Kristine Robinson

Andrew and Hannah Ralston

Leigh and Mark Goodson

Kari and Matt Shults

Dawne and Robert Stafford

Richard and Alicia Ranne

Jim and Ginelle Gordon

Jeffrey and Robin Smith

Hannah and Joe Robson

Janet and Norman Hyne

Greg Stone

David and Rachel Wagner

Katie and David Johnson

Lee and Carol Swarthout

Tim and Carol Lyons

Jacqueline Wilson

Joe and Carol McGraw

Roy and Rebekah Wood

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 Signature Symphony continue to provide rich musical experiences in Tulsa through live performances and music education and community engagement 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

Geordie Robinson

Leslie Brier Maltby

Vice Chair

Jaime Smith Tareq

Secretary

Marcia Brueggenjohann Cathy Campbell Laura Cowan Dr. Noam Faingold Dr. Kim Falcon

Colin Healey Julie Higgins Dr. John Jenkins Katie Johnson

Kelly Clark Dr. Joseph Falvey

Dr. Leigh Goodson Ginelle Gordon

Treasurer

Ron Looney Joel-lyn McCormick Erica Parker Dr. Eleanor Payne

TCC Staff Representatives Megan Korn Susan Martin

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Dawne Stafford Past Chair

Andrew Ralston Alicia Ranne Dean VanTrease David Wagner Sydney Wilson Kari Shults Dr. Greg Stone

YO U R G IF T MAT TERS 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 Scan to Donate

Thank you for your generosity!

202 3 OVE RTU R E FU N D R AI S E R GAL A 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.

N EW BEGIN N IN G S 2022–2023 SEASON October 1, 2022

February 25, 2023

R AC H M A N I N O F F A N D T H E DA N C E F LO O R

LEG E N DS A N D SWA N S Andrew Sords, violin

Charlie Albright, piano December 16 & 17, 2022

April 8, 2023

CHRISTMAS I N T U L SA

TU LS A S I N G S !

AM E R I C A N J U K E B OX

Tulsa Opera Signature Chorale

Scott Coulter and 2023 Tulsa Sings! Finalists

ALL CONCERTS START AT 7:30 P.M. VanTrease Performing Arts Center for Education 81st Street and Highway 169

SEASON SUBSCRIPTIONS ON SALE NOW. For tickets and more info, go to signaturesymphony.org or call 918-595-7777.

Corporate Season Sponsor:

TTCU SUPPORTS EDUCATION www.ttcu.com | Federally insured by NCUA

With approved credit. Some restrictions apply.