2017-2018 Program Book Vol. 3 by Wichita Symphony

WICHITA SYMPHONY

VOL. 60, NO. 3 JANUARY-FEBRUARY 2018

Setting

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SATURDAY, APRIL 14 @ 8PM SUNDAY, APRIL 15 @ 3PM 2018

CLASSICS 8 Maestro Daniel Hege conducts

THE PLANETS HOLST The Planets RESPIGHI Pines of Rome

A concert of epic proportions, Holst’s The Planets is performed while cosmic images from NASA and photography by astronomer José Francisco Salgado are projected above the Orchestra.

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Faculty Artist Fairmount Piano Quartet 7:30 p.m., Friday, Jan. 26 Rescheduled from Nov. 5, 2017 Wiedemann Hall

Orfeo Trio 3 p.m., Sunday, Feb. 25 Wiedemann Hall

Second Stage Theatre I Love You Because 7:30 p.m., Feb. 14-17 2 p.m., Feb. 18 Welsbacher Theatre

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WICHITA SYMPHONY VOL. 60 | NO. 3 JANUARY-FEBRUARY 2019

PROGRAM CONTENTS MOZART WINTERFEST, JANUARY 20/21 Program

Guest Artist

Program Notes

A PATRIOTIC SALUTE, FEBRUARY 10 Program

Guest Artists

Wichita Symphony Orchestra Chorus

BOLÉRO, BERNSTEIN & BARBER, FEBRUARY 17/18 Program

Guest Artist

Program Notes

Wichita Symphony Society Board of Directors

Daniel Hege, Music Director and Conductor

Wichita Symphony Staff

Wichita Symphony Orchestra Personnel

Women’s Association of the Wichita Symphony

Preview of Coming Events

Contributors

Memorials & Tributes

Wichita Symphony Orchestra House Policies

List of Advertisers

WICHITA SYMPHONY SOCIETY

OFFICERS F. Tim Witsman, Chairman of the Board Lori Supinie, Vice Chair Roger Eastwood, Treasurer Kurt A. Harper, Secretary Jon Tiger, Immediate Past Chair

BOARD OF DIRECTORS Suzie Ahlstrand

Richard C. Shaw, M.D.

Chris Callen

James M. Thomas

Richard Chambers

Isaac Ulbrich

Ebony Clemons-Ajibolade

James Vayda, M.D.

Bill Cook

Lisa Vayda

Barbara Crotchett

Ted Vlamis Jr.

Stephen English

Kathryn M. Webb

Sharon Fearey

Janet C. Wesselowski

Daniel A. Flynn

Ken White

Kurt Friesen

Carlos Wriedt

H. Guy Glidden, Ph. D. William E. Hercher

DIRECTOR EMERITI

Jerry Juhnke

Anna Anderson

Greg Keith

Bill DeVore

Delmar D. Klocke

Phillip S. Frick

Brenda Lawton

Marilyn McNeish

George L. Lucas, M.D.

Mrs. Russell W. Meyer, Jr.

Rodney E. Miller

Doris Nelson

Lisa Muci Miah Schneider Bob Scott Shoko Kato Sevart

DANIEL HEGE

MUSIC DIRECTOR AND CONDUCTOR

The 2017-2018 season marks Daniel Hege’s eighth as Music Director and Conductor of the Wichita Symphony Orchestra. Hege has been widely recognized as one of America’s finest conductors, earning critical acclaim for his fresh interpretations of the standard repertoire and for his commitment to creative programming. He served for eleven seasons as the Music Director of the Syracuse Symphony and was appointed Music Director of the Wichita Symphony in June 2009. As of the 2015/16 season, he was named Principal Guest Conductor of both the Tulsa Symphony and the Binghamton (NY) Philharmonic. In addition to programming and conducting the subscription concerts in Wichita, Mr. Hege has conducted a number of cutting edge concerts, including Bartok’s Bluebeard’s Castle with the legendary Samuel Ramey in the title role and with sets by the glass sculptor Dale Chihuly, and a semi-staged production of Rodgers and Hammerstein’s Carousel in collaboration with Music Theatre Wichita. Daniel Hege has guest conducted the Detroit, Seattle, Oregon, Colorado, San Diego, Columbus, and Phoenix symphonies as well as the Calgary Philharmonic, among others. International engagements include performances with the Singapore Symphony and the St. Petersburg Symphony at the Winter Nights Festival. Recent and upcoming guest conducting engagements include appearances with the Rochester, Buffalo, Oklahoma, Rhode Island and Naples Philharmonics; the Louisville, Sarasota and Florida Orchestras; and the Houston, Edmonton, Pacific, Puerto Rico, Hartford, Omaha, Madison, Tucson, Charleston and Virginia symphonies. Daniel Hege received his Bachelor of Arts Degree in 1987 from Bethel College, Kansas where he majored in music and history. He continued his studies at the University of Utah, where he received a Master of Music degree in orchestra conducting and also founded the University Chamber Orchestra and served as Assistant Conductor of the University Orchestra and Music Director of the Utah Singers. He subsequently studied with Paul Vermel at the Aspen Music Festival and in Los Angeles with noted conductor and pedagogue Daniel Lewis. In May 2004, Mr. Hege was awarded an honorary degree of Doctor of Humane Letters from Le Moyne College in Syracuse for his contributions to the cultural life in central New York State. Born in Colorado, Mr. Hege currently resides in Syracuse with his wife and their three daughters.

WICHITA SYMPHONY SOCIETY STAFF ARTISTIC

ADMINISTRATIVE

Daniel Hege

Don Reinhold

Music Director and Conductor

Chief Executive Officer

Jean and Willard Garvey

Arleigh McCormick

Endowed Chair

Marketing and Public Relations Manager

Dr. Michael Hanawalt

Samantha Davis

Symphony Chorus Director

Operations Manager Tiffany Bell

Dr. Mark Laycock

Education & Community

Director, Youth Orchestras Program

Engagement Manager

Youth Symphony Conductor

Nina Longhofer

Fred and Mary Koch Foundation Endowed Chair Dr. Wesley DeSpain

Patron Services, Box Office, and Database Administrator

Repertory Orchestra Conductor

Leigh Ann Haman

Delmar and Mary Klocke Endowed Chair

Business Manager

Eric Crawford

Cindy Bailey

Youth Chamber Players Conductor

Chorus Administrative Assistant

The Wichita Symphony Program Magazine is published four times during the season by the Wichita Symphony Society, Inc., 225 West Douglas, Wichita, Kansas 67202, 316-267-5259.

WICHITA SYMPHONY Daniel Hege Music Director and Conductor Jean and Willard Garvey Endowed Chair Dr. Michael Hanawalt Symphony Chorus Director VIOLIN I John Harrison, Concertmaster S. M. and Laura H. Brown Charitable Trust Endowed Chair Nancy Luttrell, Acting Associate Concertmaster Bobbie and Marvin Bastian Endowed Chair Susan Linnebur Adrienne Dougherty* Laura Hammes Black Cindy Dantic-Watson Linette Gordon Chelley A. Graves Joan Pfaff Marta Prugar James Rebecca Schloneger Cristian Damir Martinez Vega Nancy Woodruff Evgeny Zvonnikov* VIOLIN II Nancy Johnson, Principal Dominique Corbeil Emily Bishop Shelley Closson Natalia Korenchuk* Brandon Lay Cheryl Myer Judith Naillon Jane Ray

ORCHESTRA PERSONNEL FLUTE Carmen Lemoine, Principal Mitchell A. Berman Endowed Chair Christina M. Webster Chastity Pawloski, Piccolo Caitrine-Ann Massoud

Suzanne D. Schiffel Elizabeth Wallace VIOLA Catherine Consiglio, Principal Larry and Anita Jones Endowed Chair Nicole K. Feryok Caroline Anderson Emily A. Baldridge Rosemarie Barney Kay N. Buskirk Cynthia L. Cook Pedro Oviedo Kristen Smaglik

OBOE Andréa E. Banke, Principal George and Marilyn McNeish Endowed Chair Mickey Hansen Cindy C. Thompson

CELLO Leonid Shukaev, Principal Lois Kay Walls Foundation Endowed Chair Camille M. Burrow Tiffany Bell Gabriela Garzón Avendaño Patricia K. Hart Quinn Lake Laura C. Martinez Susan Mayo Arleigh McCormick*

CLARINET Trevor Stewart, Principal Helen and Russ Meyer Endowed Chair Rachelle Goter Michael Unruh, Bass Clarinet David Cook, E-flat Clarinet BASSOON Scott Charles Oakes, Principal Zach Hague Merrilee Tuinstra, Contrabassoon Angela Hull

DOUBLE BASS Mark Foley, Principal Don Jacobsen Oswald Backus Eric L. Crawford Marcia C. Hatfield Kathy Luttrell Kirsten Moler Carol Neighbor

SAXOPHONE Geoffrey Deibel, Principal FRENCH HORN Jeb Wallace, Principal Meri Jenkins Assistant Principal

Stephanie Nelson Mirella Gauldin James Rester TRUMPET David Hunsicker, Principal Daniel J. and Shoko Kato Sevart Endowed Chair Daniel Bardan Lamadrid Dana Hamant Gray A. Bishop TROMBONE Tyler Vahldick, Principal Matt Blauer David Muehl, Bass Trombone TUBA Phillip C. Black, Principal TIMPANIPERCUSSION Gerald Scholl, Principal Joe Mikelait Andrew Slater HARP Jane Hyde, Principal KEYBOARD J. Bradley Baker Anna Jeter Matt Blauer, Personnel Manager Nancy Johnson, Librarian Carol Neighbor, Librarian Urza Silverwind, Stage Manager * On Leave of Absence

Musicians in the First Violin, Second Violin, Viola, Cello and Double Bass sections rotate seating for each concert and are therefore listed alphabetically (except for the first stand of strings.)

WICHITA SYMPHONY ORCHESTRA | CLASSICS 5

MOZART WINTERFEST CENTURY II CONCERT HALL

SATURDAY | JANUARY 20, 2018 | 8PM Ending approximately 9:35 PM

SUNDAY | JANUARY 21, 2018 | 3PM Ending approximately 4:35 PM

JAIME LAREDO Guest conductor

CHRISTOPHER O’RILEY Piano

PROGRAM WOLFGANG AMADEUS MOZART (1756-1791) Overture to Così fan tutte, K. 588 (5‘)

WOLFGANG AMADEUS MOZART Piano Concerto No. 22 in E-flat Major, K. 482 Allegro (14‘) Andante (8‘) Rondo: Allegro (12‘)

INTERMISSION

PROGRAM WOLFGANG AMADEUS MOZART Symphony No. 38 in D Major, K. 504 (“Prague”) Adagio-Allegro (9‘) Andante (8‘) Presto (5‘) This program will be re-broadcast on Radio Kansas, 90.1 FM, Friday, April 6, 2018 at 7pm.

These concerts are made possible by generous gifts from THE DEVORE FAMILY FOUNDATION EMPRISE BANK THE FRED & MARY KOCH FOUNDATION THE ROSS FOUNDATION TEXTRON AVIATION

Flowers provided by Keith and Georgia Stevens

Gary Telleen, piano technician Unless otherwise announced, the use of cameras or recording devices during concerts is strictly prohibited.

GUEST ARTIST

JANUARY 20/21, 2018 JAIME LAREDO, Guest Conductor

“...music-making of unusually high quality - the sort of playing which comes only from understanding, love, painstaking care, and, quite simply, great ability.” - The Guardian, London For over six decades, Jaime Laredo has excelled in the multiple roles of soloist, conductor, recitalist, pedagogue, and chamber musician. Since his stunning orchestral debut at the age of eleven with the San Francisco Symphony, he has won the admiration and respect of audiences, critics and fellow musicians with his passionate and polished performances. At the age of seventeen, Jaime Laredo won the prestigious Queen Elisabeth of Belgium Competition, launching his rise to international prominence. With 2009 marking the 50th anniversary of his prize, he was honored to sit on the Jury for the final round of the Competition. In the 2017-2018 Season, Mr. Laredo tours the United States as conductor, soloist and as a member of the award-winning KalichsteinLaredo-Robinson Trio, which continues its 40th Anniversary celebration. This season, as soloist, he reprises André Previn’s Double Concerto for Violin and Cello, with his wife, cellist Sharon Robinson in Vermont. Performances of this work have received raves since its 2016 premiere. It was commissioned specifically for the duo by the Cincinnati, Kansas City, Austin, Detroit, Pacific and Toronto symphony orchestras, as well as the Deutsche Kammerphilharmonie Bremen and the Swedish Chamber Orchestra. A new double concerto by Chris Brubeck is their next collaboration. The world premiere will take place in August 2018 at the Classical Tahoe Festival.

of Brahms Piano Quartets with Emanuel Ax, Isaac Stern, and Yo-Yo Ma. His recordings range from the complete Bach Sonatas with Glenn Gould (SONY Classical) to recent premiere recordings of double concertos with violinist Jennifer Koh, 2x4 (Cedille Records) and with cellist Sharon Robinson, Triple Doubles (BRIDGE), as well as many award-winning recordings with The Kalichstein-Laredo-Robinson Trio. This season the Trio records two works written for them, Stanley Silverman’s Trio No. 2, ‘Reveille’ and Ellen Taaffe Zwilich’s Pas de Trios. Mr. Laredo’s stewardships of the annual New York String Orchestra Seminar at Carnegie Hall, which he has conducted for 23 years, and the International Violin Competition of Indianapolis have become beloved educational pillars of the musical community. 2017 also marks the sixth year of Laredo’s tenure at the Cleveland Institute of Music. He concurrently holds Director posts with the Vermont Symphony Orchestra and Cincinnati’s Linton Chamber Music, serves as Principal Conductor for the Westchester Philharmonic, and was Artistic Director of the Chamber Music at the “Y” series in New York for forty years. Born in Bolivia, Jaime Laredo resides in Guilford, VT and Cleveland, OH, with his wife, cellist Sharon Robinson.

Mr. Laredo has recorded close to one hundred discs, including a Grammy Award-winning disc

GUEST ARTIST

JANUARY 20/21, 2018 CHRISTOPHER O’RILEY, piano Last performed with the Wichita Symphony April 7/8, 2001

“…infectious passion…” – The Los Angeles Times Acclaimed for his engaging and deeply committed performances, the pianist Christopher O’Riley is known to millions as the host of NPR’s From the Top. Now in his seventeenth year on-air with From the Top, O’Riley introduces the next generation of classical-music stars to almost a million listeners each week, broadcast by 250 stations across the United States. As an acclaimed soloist and recitalist his repertoire spans a kaleidoscopic array of music from the prebaroque to present-day. He performs around the world and has garnered widespread praise for his untiring efforts to reach new audiences.

four-star review from Rolling Stone magazine. O’Riley strives to introduce new audiences to classical music with an almost missionary zeal by performing piano arrangements of music by Radiohead, Elliott Smith, Pink Floyd, and Nirvana alongside traditional classical repertoire. He has performed recitals featuring these arrangements at such diverse venues as the Istanbul Jazz Festival, Highline Ballroom (NYC), the Knitting Factory (NYC), and South by Southwest (Austin, TX). O’Riley also tours with a program called “Shuffle.Play.Listen” together with the cellist Matt Haimovitz that combines classical and contemporary repertoire; a program called “Two to Tango” together with Pablo Ziegler featuring new compositions and arrangements based on the music of Astor Piazzolla; and one called “Out of My Hands” featuring music from many genres in a program that changes with each performance and is announced from the stage.

O’Riley has performed as a soloist with virtually all of the major American orchestras, including the New York Philharmonic, Los Angeles Philharmonic, Philadelphia Orchestra, Chicago Symphony, National Symphony, and San Francisco Symphony. He led the Academy of St. Martin in the Fields on a two-week tour of ten American cities performing concertos by Bach, Mozart, and Liszt. He has worked with such renowned conductors as Alan Gilbert, David Robertson, Leonard Slatkin, Neeme Järvi, Marin Alsop, Semyon Bychkov, and Hugh Wolff.

A prolific recording artist, O’Riley has recorded the music of Beethoven, Stravinsky, Scriabin, Liszt, Ravel, Gershwin, Debussy, and John Adams for Sony Classical, Oxingale Records, RCA Red Seal, Decca, and Harmonia Mundi. His most recent solo recording featured two discs of Liszt’s transcriptions, including songs by Schumann and Schubert, the opera paraphrase on Mozart’s Don Giovanni, the Don Juan Fantasy, and Liszt’s own transcription of Berlioz’s Symphonie Fantastique, liberally re-imagined by O’Riley.

Living by the Duke Ellington axiom “There are only two kinds of music, good music and bad,” O’Riley – a proponent of the former in all its forms – has received the prestigious Avery Fisher Career Grant and an equally coveted

Visit Christopher O’Riley online at christopheroriley. com, and From the Top at fromthetop.org.

PROGRAM NOTES | JANUARY 20/21, 2018 Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart

OVERTURE TO COSI FAN TUTTE, K. 588

PIANO CONCERTO NO. 22 IN E-FLAT MAJOR, K 482

Born in Salzburg, Austria, January 27, 1756 Died in Vienna, December 5, 1791 While Cosí fan tutte is unquestionably one of Mozart’s triumphs, it remains the least well known of his “big five” operas: Don Giovanni, The Marriage of Figaro, The Magic Flute, The Abduction from the Seraglio, and Cosí. Part of its mystery and mystique undoubtedly lie in its untranslatable title, which means something to the effect of “thus do they all,” with “they” alluding to the female 18th-century population. The opera deals with the fickleness of women shifting their romantic interest from one suitor to another with startling rapidity. Mozart’s overture adheres to 18th-century convention by opening with a slow introduction and proceeding to a zesty Allegro in sonata form that encapsulates the flirtatious chatter of the opera. While the slow introduction links this overture structurally with Don Giovanni’s overture, the sparkling syncopated themes that follow are spiritually far closer to those of Figaro. Mozart allots a surprisingly prominent role to flute, an instrument of which he was not particularly fond but for which he wrote magnificently. His energetic syncopations lend the overture a jaunty forward momentum that fairly bursts with energy. The score calls for woodwinds, horns, and trumpets in pairs, timpani, and strings.

When Mozart first performed the E-flat concerto at a subscription concert in December 1785, he reported to his father, Leopold, that the middle movement had been encored. Leopold in his turn passed on the news to Mozart’s sister Marianne [Nannerl]: Meanwhile to two letters of mine I have had only one reply from your brother, dated December 28, in which he said that he gave without much preparation three subscription concerts to 120 subscribers, that he composed for this purpose a new piano concerto in E-flat, in which (a rather unusual occurrence!) he had to repeat the Andante. . . . Hearing this work today, we are hardly surprised. In the magnificent C minor Andante that forms the emotional core of this concerto, Mozart’s music is on par with his finest wind serenades. But it is tough to single out only one of the rich movements in K. 482. This was the first concerto in which Mozart chose to include the sweeter clarinets rather than the more piquant oboes. He did so in three masterful works composed in rapid succession: this concerto, K. 488 in A (No. 23), and K. 491 in C minor (K. 491). This extraordinary productivity is all the more amazing when we realize that he was working on The Marriage of Figaro at the same time.

PROGRAM NOTES | JANUARY 20/21, 2018 From the opening fanfare and ensuing response of descending wind chords, Mozart establishes the woodwinds as the concerto’s principal expressive force. They mesh convincingly with the soloist, and yet seem soloists themselves, so absorbing are their passages in all three movements. The principal bassoon has an unusually prominent role, alternately endearing in its punctuation of the first movement’s main theme, and dazzling in the virtuoso lines Mozart demands in the finale.

improvised them in performance. Mr. O’Riley plays his own cadenzas. Mozart scored this concerto for flute, clarinets, bassoons, horns, trumpets, timpani, solo piano and strings. Wolfgang Amadeus Mozart

SYMPHONY NO. 38 IN D MAJOR, K. 504 (“PRAGUE”)

In the Andante, the entire woodwind section comes to the fore. Muted strings, piano, and woodwinds form three separate choirs, which Mozart uses to great coloristic effect in combining variations with rondo. Because of its lilting 6/8 meter, the Allegro finale has often been compared to a “hunting” rondo. Only its time signature relates it to the concluding movements of, say, the four horn concertos. Midway through, Mozart interjects yet another miniature woodwind serenade featuring clarinets and bassoons in an A-flat minuet marked Andante cantabile. Only one precedent exists for this extraordinary interruption: a similar shift in tempo in the earlier Concerto No. 9 in E-flat, K. 271, known as the “Jeunehomme.” This temporary shift recalls the poignant tragedy of the slow movement, and raises the finale to a higher expressive plane.

Mozart’s beloved opera The Marriage of Figaro was greeted with only lukewarm enthusiasm when it was first presented in Vienna on May 1, 1786. To the northwest, however, in the Bohemian capital of Prague, the Czechs loved it. They thronged to performances, adapted its arias into popular dances and sang its melodies in the streets. Hungry for the acclaim that continued to elude him in Vienna, Mozart set out for Prague in January 1787 to capitalize on Figaro’s success. He took with him a new symphony that he had completed in early December. Though it was probably finished before he decided to make the journey to Prague, the work has been known as the “Prague” symphony since its first performance there on January 19, 1787. K. 504 is also known as the “symphony without minuet,” unusual in Mozart’s late works. Music historians suggest that Czech audiences were accustomed to such curtailed symphonic form.

Because Mozart composed K. 482 for his own use, none of his original cadenzas survive; he

An extensive slow introduction to the first movement presages the world of Don

PROGRAM NOTES | JANUARY 20/21, 2018 Giovanni. Specifically, Mozart’s Overture to Don Giovanni is also in the key of D, with a portentous slow introduction even more sinister in its implications. The Allegro section of the symphony’s first movement overflows with the delighted exuberance Mozart must have experienced in receptive Prague. Its development section foreshadows The Magic Flute, particularly in the handling of the woodwinds. Many musicians consider the “Prague’s” first movement to be Mozart’s finest symphonic effort.

A relaxed Andante in triple time seems to merge characteristics of courtly minuet and cantilena; however, this slow movement, like the outer movements, is in sonata form. The finale, marked Presto, is mischievous and spirited, rounding out a work that is surely on a par with Mozart’s superb final symphonic trilogy. Mozart scored the “Prague” symphony for flutes, oboes, bassoons, horns, and trumpets in pairs; timpani, and strings.

A WORD ON MOZART’S NAME Mozart was baptized with the names Joannes Chrysost[omus] Wolfgangus Theophilus. His parents chose Johann and Chrysostom because he was born on that saint’s day. Wolfgang was the first name of Mozart’s maternal grandfather. ‘Theophilus’ (Greek for ‘beloved of God’) came from the godfather, Joannes Theophilus Pergmayr, a Salzburg businessman and local official. Days after the boy’s birth, Leopold referred to his infant son as Gottlieb (the German for Theophilus). ‘Amadeus’ is the Latinate form. In letters, the composer signed his name variously as ‘Mozart,’ ‘W.A. Mozart,’ ‘Wolfg. Amad. Mozart,’ ‘MZT,’ ‘Wolf. Amdè Mozart’

and, most frequently, ‘Wolfgang Amadè Mozart.’ As a boy in Italy, he occasionally signed in the Italianate spelling: ‘Wolfgango Amadeo.’ Despite Peter Shaffer’s stage play Amadeus and Miloš Forman’s even more popular film, Mozart did not use the name Amadeus. In recent years, the spelling ‘Wolfgang Amadè Mozart’ has supplanted the oldfashioned ‘Wolfgang Amadeus Mozart’ in common usage and printed programs. The glory of his music remains unchanged. Program Notes by Laurie Shulman ©2018

Richard Crowson Editorial Commentary

WICHITA SYMPHONY ORCHESTRA | POPS 2

A PATRIOTIC SALUTE CENTURY II CONCERT HALL

SATURDAY | FEBRUARY 10, 2018 | 8PM Ending approximately 10:00 PM

CAROL TOPILOW Guest Conductor

SAMUEL RAMEY Narrator

WICHITA SYMPHONY ORCHESTRA CHORUS MICHAEL HANAWALT Chorus Director

PROGRAM A SALUTE TO THE ARMED FORCES John Stafford Smith (1750-1836)

James Horner (1953-2015)

Lyrics By Francis Scott Key (1779-1843)

MUSIC FROM GLORY

STAR SPANGLED BANNER

Julia Ward Howe (1819-1910)

John Williams (1932- )

Arr. Peter Wilhousky (1902-1978)

LIBERTY FANFARE

BATTLE HYMN OF THE REPUBLIC

John Williams

Aaron Copland (1900-1990)

THEME FROM THE PATRIOT

Samuel Ramey, narrator

Samuel A. Ward (1847-1903)

A LINCOLN PORTRAIT

Katharine Lee Bates (1859-1929)

AMERICA THE BEAUTIFUL 16

INTERMISSION

“A TRIBUTE TO THE GREATEST GENERATION” John Williams

Kenneth Alford (1881-1945)

MARCH FROM MIDWAY

COLONEL BOGEY MARCH

Michael Kamen (1948-2003)

John Williams

Arr. Roy Phillipe (1950- )

AMERICA, THE DREAM GOES ON

BAND OF BROTHERS

Arr. Robert Lowden (1920-1998)

ARMED FORCES SALUTE

Richard Rodgers (1902-1979) Arr. Rober Russell Bennett (1894-1981)

Arr. Richard Hayman (1920-2014)

VICTORY AT SEA

SING OUT AMERICA

John Williams

John Philip Sousa (1854-1932)

SAVING PRIVATE RYAN: HYMN TO THE FALLEN

THE STARS AND STRIPES FOREVER

GLENN MILLER MEDLEY THANK YOU TO ALL WHO HAVE SERVED OUR NATION, PAST AND PRESENT. THIS CONCERT IS DEDICATED TO YOU. These concerts are made possible by generous gifts from THE FRED & MARY KOCH FOUNDATION JOYCE AND GARY BACHUS THE YARD

Unless otherwise announced, the use of cameras or recording devices during concerts is strictly prohibited.

GUEST ARTIST

FEBRUARY 10, 2018 CARL TOPILOW, Guest Conductor Last performed with the Wichita Symphony February 14, 2015

Carl Topilow is renowned worldwide for his versatility, whether he is holding a conductor’s baton or his trademark red clarinet. He is a multi-talented virtuoso who equally at home in classical and popular music both as conductor and instrumentalist. Carl’s pops performances blend light classical, swing, jazz, Broadway, Dixieland, and Klezmer music, usually finding occasion to include a number on his array of brightly colored clarinets. His unique approach to pops programming includes extensive audience involvement and true showmanship. Following his longtime dream of conducting his own pops orchestra, Carl founded the Cleveland Pops Orchestra. The orchestra, currently in its 22nd season, plays to large audiences in Severance Hall and in several other venues throughout Northeast Ohio. The Cleveland Pops Orchestra’s diverse, innovative and electrifying programs have been critically acclaimed. The orchestra has two CDs, Music to Grow On, an exciting collection of music for children and adults of all ages, and Live at the Pops, a stirring compilation of music taken from live performances, as well as several sampler CDs used for promotions. A new CD, issued in 2016, commemorates the orchestra’s 20th anniversary and includes a selection of live performances selected from concerts over a span from the past decade. Carl is also Conductor and Director of the Orchestral Program at the Cleveland Institute of Music, where he is also head of the Masters program in orchestral conducting.

Carl is Music Director and Conductor of the National Repertory Orchestra, a summer music festival based in beautiful Breckenridge, Colorado. He has assisted in the training of talented young musicians and conductors for positions in symphonic orchestras in the United States and abroad. In 2008, Carl was appointed Music Director and Conductor of the The Firelands Symphony Orchestra, based in Sandusky, Ohio. Carl has also served as Principal Pops Conductor for the Southwest Florida Symphony Orchestra in Ft. Myers, Florida, as well as for the Toledo Symphony Orchestra. As a guest conductor, Carl has appeared around the world with more than 120 orchestras, in 37 states in the USA, as well as orchestras in Canada, China, Czech Republic, England, France, Germany, Italy, Korea, Mexico, Spain, Switzerland and Venezuela. In addition to his busy conducting schedule, Carl avidly pursues his passion for performing as clarinetist. He often performs with his brother Arthur, a pianist, and the duo can be heard on three CDs: Come in from the Cold, A View from the Top, and Music of America. Carl is a graduate of the Manhattan School of Music, with a degree in clarinet performance and a masters degree in music education. He has held conducting fellowships with the National Orchestral Association with Leon Barzin and the Aspen Music Festival with under Jorge Mester. Carl began his professional career as Exxon Arts Endowment Conductor of the Denver Symphony Orchestra.

GUEST ARTIST

FEBRUARY 10, 2018 SAMUEL RAMEY, narrator Last performed with the Wichita Symphony March 13 & 15, 2015.

For almost three decades, Samuel Ramey has reigned as one of the music world’s foremost interpreters of bass and bass-baritone operatic and concert repertoire. With astounding versatility he commands an impressive breadth of repertoire encompassing virtually every musical style from the fioratura of Argante in Handel’s Rinaldo, which was the vehicle of his acclaimed Metropolitan Opera debut in 1984, to the dramatic proclamations of the title role in Bartok’s Bluebeard’s Castle, which he sang in a new production at the Metropolitan Opera televised by PBS., and most recently at the Wichita Symphony. Mr. Ramey’s interpretations embrace the bel canto of Bellini, Rossini and Donizetti; the lyric and dramatic roles of Mozart and Verdi; and the heroic roles of the Russian and French repertoire. The combination of Samuel Ramey’s commanding vocalism, exceptional musicianship, elegant stage presence, and uncommon theatrical abilities enables him to portray a wide variety of characters from the sharp-witted protagonist of Mozart’s Le nozze di Figaro to the somber, tortured King Philip II of Verdi’s Don Carlos; from the terrorizing Hun of Verdi’s Attila to the terrorized Tsar of Mussorgsky’s Boris Godunov; from the capricious libertine of Mozart’s Don Giovanni to the troubled preacher Olin Blitch in Carlisle Floyd’s Susannah; from the sober and profound Field Marshal Kutuzov in Prokofiev’s War and Peace to the comedic title role in Puccini’s Gianni Schicchi; from the benevolent Giorgio in I Puritani and Raimondo in Lucia di Lammermoor to the sinister incarnations of the devil in Gounod’s Faust, Boito’s Mefistofele, and Berlioz’ La damnation de Faust.

The unique expressiveness of the bass voice has inspired many composers to assign the portrayal of devils and villains to basses, and it is in this repertoire that Mr. Ramey has established a reputation unequaled in the musical world. Méphistophélès in Gounod’s Faust has become his mostperformed role with over 200 performances in more than twenty productions. He is equally well-known in opera houses and concert halls throughout the world for his performances of Boito’s Mefistofele, including over 70 performances in the Robert Carsen production of this work specifically created for Mr. Ramey; Berlioz’ devil in La damnation de Faust; the sinister Nick Shadow in Stravinsky’s The Rake’s Progress; and the tour de force of all four villains in Offenbach’s Les contes d’Hoffmann. Samuel Ramey holds the distinction of being the most recorded bass in history. His more than eighty recordings include complete operas, recordings of arias, symphonic works, solo recital programs, and popular crossover albums on every major label. His recordings have garnered nearly every major award including three Grammy Awards, Gran Prix du Disc Awards, and “Best of the Year” citations from journals including Stereo Review and Opera News. A native of Colby, Kansas, Samuel Ramey was active in music throughout high school and college. In 1995 he was named “Kansan of the Year,” and in 1998 the French Ministry of Culture awarded him the rank of Commander in the Order of Arts and Letters.

DR. MICHAEL HANAWALT CHORUS DIRECTOR Michael Hanawalt is Director of Choral Activities at Wichita State University, where he conducts the Concert Chorale, the Women’s Glee Club, and teaches courses in conducting and choral literature. Dr. Hanawalt also serves as Chorus Director for the Wichita Symphony Orchestra and Director of Music at University Congregational Church in Wichita. Prior to his appointment at Wichita State, Dr. Hanawalt was Visiting Instructor in Music at St. Olaf College, where he conducted the Chapel Choir and the Viking Chorus. Active as a tenor soloist, Dr. Hanawalt is the winner of competitions held by the Schubert Club in Minneapolis, MN, Thursday Musical in St. Paul, MN, and the National Association of Teachers of Singing in Collegeville, MN. Recent past engagements include the Evangelist in J. S. Bach’s Weinachts-Oratorium with the Florida State University Symphony Orchestra and Chamber Choir, the Evangelist in J. S. Bach’s Matthäus-Passion with the Bethany College Messiah Festival of the Arts, as well as tenor soloist in Handel’s Messiah with the Wichita Choral Society and Mozart’s Requiem with the Tarleton State University choirs and orchestra and at Westfield State University in Massachusetts. Dr. Hanawalt holds a B.M. in Vocal Performance from St. Olaf College, an M.M. in Choral Conducting from Michigan State University, and a Ph.D. in Choral Music Education from The Florida State University. He is the recipient of the 2016 Mickey and Pete Armstrong Faculty Award for Excellence in Teaching from the Wichita State University College of Fine Arts.

INSIDE THE MUSIC WITH DANIEL Discover the wonderful music we play by attending Inside the Music with Wichita Symphony music director and conductor, Daniel Hege, Thursdays before each Classics concert at 9:30am (2nd floor next to WSO Office)* $5 at the door, coffee and baked goods served.

WICHITA SYMPHONY ORCHESTRA CHORUS DR. MICHAEL HANAWALT Wichita Symphony Chorus Director Cindy Barker Bailey Administrative Assistant Helen Griffin Rehearsal Accompanist

Michaela Reason Giovanna Schnabel Mary Ellen Settle Darla Steinert Audrey Thomas Dana S. Wattson Pat Welker Danielle Wilson Cathy Woodring

SOPRANOS

ALTOS

Katherine Abel Barbara Almy Cindy B. Bailey Elizabeth Baker Michelle Baker Heather Chapman Barb Claassen Rachel Copper Meghan Edmiston Cathy Elmore Graber, Colleen Shera Haase Billie Hegge-Duval Susan Hilt Janet Janzen Heidi Jensen Gail Juell Gwen Johnson Karen Kennedy Katie Kliewer Elizabeth Labes Misty Layland Annette Lindal Karin Linenberger Emily Lubrano Anne Maack Bethany Miller Kaye Miller Kendra Moon Leyanne Oller Carol Parsons Clarissia Prater

Cathy Anderson Lindsay Bench Tina Biles Olivia Burkhart Sara Campbell Shirley Ceradsky Mava Christo Dorene Cochran Claire Drevets Danielle Elliott Vanessa Emming Jeanne Erikson Lois Gelonek Sarah Glenn Janet Graf Jennifer Gragson Cherlene Graves Veda Hamill Ann Harder Leah Heathcole Marilyn Heffner Harriett Hickman Lydia Holden Rosemary Holthaus Jacque Howe Jennifer Johnson Lesley Johnson Sally Kimball Erin Koochel Katie LaVoie Alicia Mann Robin Rives McAdoo

A PATRIOTIC SALUTE FEBRUARY 10, 2018

Katharine McCarthy Yvonne McCarthy Susan J. Meyer Jean Mulford Laurie Mulford Mimi Newman Jenny Olsen Karen Pfeiffer Kari Plagmann Angela Rathbun Miriam Reason Virginia Revering Bethany Rowley Elisha N. Samuel Sondra Schmittgens Janet Setser Paula Smith Emily Son Myra Swartz Kathe Thompson Jenny Wall Vanessa Whalen

TENORS Brent Arbalo Michael Barrett Marty Beard Philip Coleman Logan Combs Thomas DiMattia Steve Dillon Chad Doeden Roger Eastwood Jim Graves Matthew Hanne Sean Hepher Rod Kremer Douglas Miller Jonathan Mullinix Robert Pfeiffer Vicki Ronn Alex Rosell

Sam Smith Dee Starkey Gary Unruh Howard Webb

BASSES Chy Billings Richard Bowman Ken Ceradsky James Classen Dwight Corrin Bill Ester Marv Flickinger Sean Garvey David Goering Ken Graf Thomas J. Hallstrom Richard Harder Jack Hezlep Ken Juell Gabe Karst Wes Karst Rich Kimball Steve Kimball Lawrence Kliewer Phil Koontz Aaron Kuenn Alan Lindal Steve Martz James Miller Andrew Nutter Keihl Rathbun Tim Rawlin Bradley Robertson David Robinson Nathan Rose Thomas Schermuly Jonathan Arron Weatherbie Keith Welty Rick Wulf

WICHITA SYMPHONY ORCHESTRA | CLASSICS 6

BOLÉRO, BERNSTEIN & BARBER CENTURY II CONCERT HALL

SATURDAY | FEBRUARY 17, 2018 | 8PM Ending approximately 9:45PM

SUNDAY | FEBRUARY 18, 2018 | 3PM Ending approximately 4:45 PM

DANIEL HEGE Music Director & Conductor

ELENA URIOSTE Violin

PROGRAM ROBERTO SIERRA (1953- ) Fandangos (10‘)

SAMUEL BARBER (1910-1981) Violin Concerto, Op. 14 Allegro (12‘) Andante (9‘) Presto in moto perpetuo (4‘) Elena Urioste, violin

INTERMISSION 22

PROGRAM LEONARD BERNSTEIN (1918-1990) Overture & Suite for Orchestra from Candide (23‘)

MAURICE RAVEL (1875-1937) Boléro (13‘)

This program will be re-broadcast on Radio Kansas, 90.1 FM, Friday, April 13, 2018 at 7pm.

These concerts are made possible by generous gifts from DR. PHILLIP AND LINDA ALLEN THE MICHAEL BAYOUTH CHARITABLE FUND THE BONAVIA FAMILY CHARITABLE TRUST THE TRUST COMPANY OF KANSAS Stage flowers generously provided by Lisa D. Muci & Major Herbert Eckhoff, USAF (Ret) Unless otherwise announced, the use of cameras or recording devices during concerts is strictly prohibited.

SATURDAY, MARCH 10 @ 8PM & SUNDAY, MARCH 11 @ 3PM

CLASSICS 7 Maestro Daniel Hege conducts

FIRE & ICE Stewart Goodyear, piano Stewart Goodyear, piano

GRIEG Peer Gynt Suite No. 1 SIBELIUS Symphony No. 3 RACHMANINOFF Piano Concerto No. 2

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VISIT WICHITASYMPHONY.ORG OR CALL 316.267.7658 TO PURCHASE TICKETS

GUEST ARTIST

FEBRUARY 17/18, 2018 ELENA URIOSTE, violin First performances with the Wichita Symphony

Elena Urioste, amusingly hailed by The Washington Post as “a dropdead beauty who plays with equal parts passion, sensuality, brains and humor,” was recently selected as a BBC New Generation Artist and has been featured on the cover of Symphony magazine. She has given acclaimed performances with major orchestras throughout the United States, including the Philadelphia and Cleveland Orchestras; Boston Pops; New York and Buffalo Philharmonics; and the Chicago, San Francisco, National, Atlanta, Baltimore, Detroit, Pittsburgh, Columbus, Austin, and San Antonio Symphony Orchestras. Abroad, Elena has appeared with the London Philharmonic Orchestra, Hallé Orchestra, BBC Symphony, BBC Philharmonic, BBC National Orchestra of Wales, Edmonton Symphony, Würzburg Philharmonic, and Hungary’s Orchestra Dohnányi Budafok and MAV Orchestras. Recent season highlights have included return performances with the Cleveland and Hallé Orchestras and the Chicago and Detroit Symphony Orchestras, a recital debut at the Kennedy Center with pianist Michael Brown, and a series of live BBC Radio 3 broadcasts from England’s Roman River Music Festival. This season sees debuts with the Los Angeles Philharmonic, IRIS Orchestra, and England’s Philharmonia and Opera North Orchestras; return engagements with the Delaware and Asheville Symphony Orchestras; and three separate concerto and chamber music appearances in Carnegie Hall’s Zankel Hall. She has collaborated with acclaimed

conductors Sir Mark Elder, Yannick Nézet-Séguin, Christoph Eschenbach, and Robert Spano; pianists Mitsuko Uchida, Dénes Várjon, and Ignat Solzhenitsyn; cellists Peter Wiley, Colin Carr, and Carter Brey; violists Kim Kashkashian and Michael Tree; and violinists Joseph Silverstein, Arnold Steinhardt, and Cho-Liang Lin. An avid chamber musician as well as soloist, Elena has been a featured artist at the Marlboro, Ravinia, La Jolla, Bridgehampton, Moab, and Sarasota Music Festivals, as well as Switzerland’s Sion-Valais International Music Festival, the Verbier Festival’s winter residency at Schloss Elmau, and is a regular at the Roman River Music Festival in Essex, England. She performs extensively in recital with pianists Michael Brown and Tom Poster. Her second album, Echoes, a recital disc with Michael Brown, was released on BIS Records in October 2016; a disc of violin and piano miniatures with Tom Poster will be released in 2017. The outstanding instruments being used by Elena are an Alessandro Gagliano violin, Naples c. 1706, and a Nicolas Kittel bow, both on generous extended loan from the private collection of Dr. Charles E. King through the Stradivari Society of Chicago. In addition to being a devoted musician, Elena is a yoga fanatic; voracious reader; lover of delicious food, semi-colons, and corgis; hopeless dreamer; and occasional scarf-knitter.

PROGRAM NOTES | FEBRUARY 17/18, 2018 Roberto Sierra

FANDANGOS Born in Vega Baja, Puerto Rico, October 9, 1953 First performances by the Wichita Symphony In 1987 Roberto Sierra came to international attention with the Carnegie Hall performance of his Júbilo by the Milwaukee Symphony Orchestra. Since then his works have been commissioned and performed by major orchestras across the United States and abroad, from the New York and Los Angeles Philharmonics to the Royal Scottish National Orchestra and Tonhalle Orchestra of Zurich. Equally at home in chamber music genres, Sierra has composed for such renowned groups as the Kronos Quartet, Continuum, and Opus One. Sierra has served as composer-in-residence with the Philadelphia Orchestra and the symphony orchestras of Milwaukee, Puerto Rico, and New Mexico. Among numerous honors he received the 2003 Academy Award in Music from the American Academy of Arts and Letters and was elected to the American Academy of Arts and Sciences in 2010. Professor of composition at Cornell University since 1992, Sierra himself studied at the Puerto Rico Conservatory of Music, the University of Puerto Rico, London’s Royal College of Music, Utrecht’s Institute for Sonology, and the Hamburg Hochschule für Musik as a student of the renowned György Ligeti. Sierra’s current orchestral project Dos piezas para orquesta, receives its premiere this

June with the Dallas Symphony Orchestra and the Bravo! Vail Festival. Recent seasons have seen the premieres of his Loíza by the Eugene Symphony, his Triple Concerto by the Trio Arbós and Madrid’s Orquesta Sinfonica de Radio y Televisión Española (RTE), and the chamber version of his Missa latina by the New York Virtuoso Singers and Canticum Novum Singers. Conductor and avid Sierra champion Leonard Slatkin, who premiered the original version of the Missa latina in 2006 at the Kennedy Center with the National Symphony Orchestra, also introduced Fandangos there with the NSO in 2001. Sierra’s music combines European modernist tendencies with Puerto Rican, Latin American, and African elements, a synthesis the composer describes as “tropicalization.” His scores are also celebrated for their imaginative and percussion-filled orchestrations. A prime example of his “tropicalization,” Fandangos, composed in 2000, does for the fandango what Ravel’s Bolero did for the bolero— epitomize the dance form in a riveting display piece for the orchestra. “There are two prevailing theories about the origins of the fandango,” Sierra writes. “One places it in the Iberian Peninsula, while the other points to the New World, the West Indies and Nueva España—modern México. Although during the eighteenth century the dance was considered to be too sensual, the fandango became very popular and many composers integrated it in their works.”

PROGRAM NOTES | FEBRUARY 17/18, 2018 Sierra had long been fascinated, he said, by the “strange and whimsical twists and turns” of the celebrated, flamboyant keyboard Fandango of Antonio Soler (1729–1783). Taking this improvisatory-sounding masterpiece as his point of departure, he also incorporated elements of fandangos by Luigi Boccherini (1743–1805) and Domenico Scarlatti (1685–1757). “A basic D minor chord progression,” he writes, “can be heard through different transformations, from beginning to end, over a web of elaborated orchestration and highly virtuosic instrumental writing that brings the music of the eighteenth and the twenty-first centuries together. These transformations . . . amplify small motives and elaborate the musical fabric by varied repetition or dense superimpositions of melodic and rhythmic layers.” The kaleidoscopic refractions of Sierra’s imaginative orchestration have made this variation-fantasy among his most frequently performed works.

Samuel Barber

VIOLIN CONCERTO, OP. 14 Born in West Chester, Pennsylvania, March 9, 1910 Died in New York, January 23, 1981 Last performed by the Wichita Symphony January 12/13, 2008 In May of 1939 American industrialist Samuel Fels commissioned Barber to write a violin concerto for fellow Curtis Institute graduate Iso Briselli, whom Fels had

sponsored in Philadelphia ever since the young violinist had emigrated from Russia in 1924. The work was slated to be premiered the following January with the Philadelphia Orchestra. Barber composed much of the concerto in the Swiss village of Sils Maria that summer, then went to Paris where he hoped to complete it. All Americans were soon warned to leave, however, so Barber sailed for America. He worked on the piece briefly in August at his parents’ home in West Chester, then for three-and-a-half weeks in the Poconos before returning to his new post at Curtis. Barber delivered the first two movements in mid-October and Briselli said he thought they were “beautiful,” but hoped for something more virtuosic in the last. When Barber showed him the perpetual-motion finale in late November, Briselli wasn’t pleased and offered suggestions, none of which Barber accepted. The composer also resisted any of the changes advocated by Briselli’s New York violin coach, Albert Meiff. Briselli returned the Concerto and eventually it was agreed that Barber could keep the $500 he had been paid in advance—and had already spent—but he forfeited the concluding $500 installment. Briselli instead played the Dvořák Concerto on the January concert. Barber’s faith in his piece had been bolstered by informal trials. One occasion, overlooked for decades, occurred just before Barber delivered the finale to Briselli. Herbert Baumel, a violin student at Curtis,

PROGRAM NOTES | FEBRUARY 17/18, 2018 was asked by Ralph Berkowitz, a faculty pianist, if he could play the not-quitecomplete last movement on short notice for a few people. “I looked it over,” said Baumel, “practiced it for an hour or so, and returned to school in the afternoon to play it for Sam Barber, Gian Carlo Menotti, Mary Louise Curtis Bok (not yet Mrs. Zimbalist), and her friend Mrs. Braun in Josef Hofmann’s studio. I proved to their delight that I could play it at any tempo they wanted me to.” Barber continued to tinker with the Concerto, and in early 1940 Baumel gave a private performance with the Curtis Orchestra conducted by Fritz Reiner. Then in March, violinist Oscar Shumsky agreed to play through the work, so he met up with Barber at the apartment of another violinist, Gama Gilbert, and sightread over Barber’s shoulder as Barber played from the manuscript at the piano. Gilbert’s wife reported that everyone was pleased, especially Barber.

terms with Barber and did play the Concerto privately, but, owing to an early report about his role in the affair, he had to defend his reputation until his death in 2005. In any case, the work met with an enthusiastic reception in Philadelphia and on run-outs to New York and Washington, D.C. Early critics were somewhat divided in their opinions, but the Concerto has become a beloved part of the standard concerto repertory. The first two movements are lyrical and Romantic, similar in style to other early works by Barber, such as the Adagio for Strings, Essay for Orchestra, and First Symphony. They follow traditional formal procedures—sonata form in the first and ternary form in the second. The first movement employs two main themes, the first gracefully spun out for twenty-seven bars with the melody in the solo violin. The second theme, initiated by the clarinet, is still espressivo but slightly jazzy with its “Scotch snaps” (short-long rhythms); the violin does not play this theme until the very end. The lovely melody of the second movement features the oboe in the opening section and the violin in the reprise. Cadenzas provide drama in both movements—in the first the violin spins out a melodic idea over a sustained harmony, and in the second the orchestra adds color.

In August 1940 Barber showed the Concerto to violinist Albert Spalding who was looking for an American piece to offer on tour. He “took it on the spot,” reported Barber. Spalding gave the premiere with the Philadelphia Orchestra conducted by Eugene Ormandy on February 7, 1941, but Barber had not forgotten Baumel’s earlier assistance and arranged for him to stand in for some of the rehearsals—a grand opportunity that led to his being hired by that orchestra when he graduated. For Briselli’s part, he remained on collegial

The third movement drives forward in perpetual motion, activated by hushed timpani. Only twice does the orchestra

PROGRAM NOTES | FEBRUARY 17/18, 2018 seize the propulsive activity from the violin in explosive fiery passages. Barber gives his traditional Classical scoring added color by including piano and “military drum.” The entirely different style of this movement with its irregular rhythms and unexpected dissonance once earned it the label “modernistic,” yet Barber never embraced the era’s avant-garde language. It is a fascinating quirk of history that his “conservative,” neo-Romantic orientation has returned to fashion.

Leonard Bernstein

OVERTURE AND SUITE FOR ORCHESTRA FROM CANDIDE Born in Lawrence, Massachusetts, August 25, 1918 Died in New York, October 14, 1990 Suite arr. Charlie Harmon The Overture alone last performed June 2, 2017 at the Riverfest Twilight Pops Concert After collaborating on The Lark, a play with incidental music about Joan of Arc, Leonard Bernstein and Lillian Hellman turned their attention in 1954 to Voltaire’s novella Candide. They thought it the perfect vehicle to make an artistic statement against political intolerance in American society, just as Voltaire had done in eighteenthcentury France. After bringing in poet Richard Wilbur to write the lyrics, they worked intermittently on Candide for two years. Enormous amounts of money were spent on the production, which opened in Boston on October 29, 1956. Though many

critics called it brilliant, the production failed financially; after moving to New York in December, it was shut down after just seventy-three performances. Everyone had someone to blame, but many thought it failed because of audience confusion about its hybrid nature—was it an opera, operetta, or a musical? The story revolves around the illegitimate Candide, who loves and is loved in return by Cunegonde, daughter of nobility. They are plagued by a myriad of disasters, which lead them from Westphalia to Lisbon, Paris, Cadiz, Buenos Aires, Eldorado, Surinam, and finally Venice, where they are united at last. Bernstein’s often witty, sometimes tender music has been considered the work’s greatest asset, both in the initial failed production and in later successful versions. The Overture, possibly Bernstein’s most frequently performed piece, perfectly captures the mockery and satire as well as the occasional introspective moment of Voltaire’s masterful creation. In an artfully compact form, Bernstein incorporates tunes from the show, including the instrumental Battle Music, the love parody “Oh Happy We,” and Cunegonde’s giddy coloratura aria “Glitter and Be Gay,” a take-off on “The Jewel Song” from Gounod’s Faust. In 1998 Charlie Harmon, who served as a personal assistant to Bernstein in the 1980s, arranged a suite of selections from Candide, which was premiered by the Minnesota Orchestra under Eiji Oue on January 14,

PROGRAM NOTES | FEBRUARY 17/18, 2018 1999. The Suite has brought well-deserved attention to some of the lesser-known numbers. It contains the poignant and dramatic “You Were Dead, You Know,” the alternately grand and wistful “Paris Waltz,” the jaunty “Bon Voyage,” the tempestuous “Drowning Music” paired with the gentle “Kings’ Barcarolle,” the “Ballad of El Dorado” with its tender cello solo, the exuberant/ Latin-infused “I Am Easily Assimilated,” the high-spirited “Entr’Acte,” a taste of the wellknown “Best of All Possible Worlds,” and the touching “Make Our Garden Grow.”

a tune that he thought had an “insistent quality” and told critic Gustave Samazeuilh, “I’m going to try to repeat it a number of times without any development, gradually increasing the orchestra as best I can.” Thus was Boléro conceived, without any real relation to the Spanish folk dance of the same name, but displaying Ravel’s recurrent interest in Spanish music. The work is a study in crescendo as much as in repetition. Furthermore, it makes a statement about modulation: the tenacious hold on one key (C major) with a continuous C pedal point, makes the late unexpected switch to E major particularly exhilarating. Ravel’s most popular melody with its Spanish-Arab flavor is ideal for his orchestrational prowess, in highlighting a succession of solo players and instrumental sections and sustaining the psychological tension as the musical forces gradually increase.

Maurice Ravel

BOLÉRO Born in Ciboure, Basses Pyrénées, March 7, 1875 Died in Paris, December 28, 1937 Last performed by the Wichita Symphony January 26/27, 2003

The ballet was an incredible success when it was introduced on November 22, 1928, but Ravel was convinced the music would not survive separate from the ballet. He was proved wrong; it immediately became his most popular orchestral work.

When Ravel left Paris in 1927 for a North American concert tour, he promised dancer Ida Rubinstein an orchestration of some piano pieces from Albeniz’s Iberia as soon as he returned. The tour was incredibly successful—he brought back $27,000 in concert fees and the overwhelming admiration of his American audiences. Back in Paris Ravel found that Enriqué Arbós had beaten him to Iberia, and copyright laws prohibited him from making another transcription of Albeniz’s music. Though Arbós offered to cede his rights, Ravel had already resigned himself to composing a new Spanish ballet. He came up with

—©Jane Vial Jaffe

WOMEN’S ASSOCIATION

OF THE WICHITA SYMPHONY

The Women’s Association of the Wichita

2017 – 2018 BOARD OF DIRECTORS

Symphony has contributed significantly

to further assist the Orchestra. Throughout

President: Lisa Vayda First Vice President: Linda Nugent Second Vice President: Nancy Moore Recording Secretary: Ali Darnell Corresponding Secretary: Pat Porter Treasurer: Janet Elliott

the season, members volunteer their time

Advisor: Elizabeth Carroll

to the success of the Orchestra for more than 60 years. Members provide invaluable volunteer time, ideas and financial support

for such important projects as the Young

Newsletter/ Yearbook/Historian Carol Darnell

People’s Concerts and fund-raising projects. Women’s Association members are also often found in the lobby at selected Classics and Pops concerts selling compact discs of the program’s featured guest artist. During the past 35 years, the Women’s Association has raised more than a million dollars through its Symphony Showhouse

Luncheons Charlotte Bales Karen Campbell Alta DeVore Janet Elliott Brittany Monroe Mailings Ginny Bair Mzia Gibson Diana Morton Pam Postier

project, the largest of its fund-raising efforts. These celebrated projects incorporate the work of nearly one thousand volunteers and dozens of local decorators, designers and artists.

Membership/ Placement Nancy Moore

If you would like to have your home considered for a Showhouse or know of a house that might be ideal, please call

Membership Committee Marilyn Loy Cynthia Ellis-Stoll Sandy Stout Diane Wingate

Showhouse Selection Chair Linda Nugent at (316) 655-2656. Women’s Association members get together and enjoy three general luncheons each year. Membership in the Women’s Association is

Phone Mary Klocke

open to anyone interested in supporting the Wichita Symphony Orchestra. For

Publicity Carol Taylor Lisa Vayda

more information, please contact Women’s Association President Lisa Vayda at (316) 733-9954 or membership Placement

Young People’s Concerts Coordinator: Judy Frank

Nancy Moore at (316) 722-7123 or the Wichita Symphony office at (316) 267-7658.

Showhouse Selection Elizabeth Carroll Barbara Crotchett Lilly-Ann Huffman Linda Nugent Lisa Vayda Symphony Store Charlotte Bales Ali Darnell Margaret McKinney Outside Ushers Elizabeth Carroll Janet Elliott Marilyn Ramsey Adriene Rathburn Inside Ushers Suzanne Laycock Pat Porter Counting Carol Glidden Lilly-Ann Huffman Orchestra Courtesy Helen Bullock Barbara Crotchett Mzia Gibson Carol Glidden Carol Taylor Janet Wesselowski

PREVIEW OF COMING EVENTS WICHITA SYMPHONY

CLASSICS CONCERTS

YOUTH ORCHESTRAS

THE PLANETS

SPRING CONCERT

April 14 & 15, 2018

March 4, 2018 A concert of epic proportions, Holst’s The Hear some of the region’s most talented

Planets is performed with cosmic images

young instrumentalists in their spring concert

from Dr. José Francisco Salgado and NASA

with music by Stravinsky, Liszt, Mendelssohn,

projected above the Orchestra. The Classics

Bach, and more!

season ends with Respighi’s Pines of Rome for a triumphant finale.

CLASSICS CONCERTS

FIRE & ICE

POPS CONCERT

March 10 & 11, 2018 Passionate melodies flow from Rachmaninoff, Grieg, and Sibelius with scores from the icy North. Stewart Goodyear returns to perform Rachmaninoff’s sumptuous Second Piano Concerto.

WHAT A WONDERFUL WORLD: A TRIBUTE TO LOUIS ARMSTRONG May 5, 2018 The brilliant jazz vocalist/trumpeter Byron Stripling joins the WSO for a riveting tribute to Louis Armstrong, including classic melodies What a Wonderful World, Ragtime Blues, All That Jazz, and more!

Wichita Symphony concert tickets may be purchased in advance online at wichitasymphony.org, by calling 316-267-7658 or in person at the Wichita Symphony box office on the second floor of Century II Concert Hall. Box office windows open one hour and fifteen minutes prior to all performances at the WichitaTix window on the first floor.

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DONâ&#x20AC;&#x2122;T LEAVE QUIETLY MAKE YOUR LEGACY

Symphonic!

Your bequest or legacy gift, and memorial gifts in your name to the Wichita Symphony Society Endowment Fund helps ensure that the Symphony will continue to enrich and educate the lives of generations to come throughout our region with symphonic music. For more information concerning bequests, legacy gifts, IRA rollovers, or establishing a memorial fund, contact Don Reinhold, CEO, at (316) 267-5259, ext. 106.

WICHITA SYMPHONY SOCIETY CONTRIBUTORS SEPTEMBER 1, 2016 – OCTOBER 1, 2017

With deep appreciation, the Wichita Symphony Society gratefully acknowledges all gifts received in financial support of the Symphony’s programs, services, and activities during the indicated calendar period. Please know that your support enables the Symphony to fulfill its mission of enriching, educating and entertaining diverse audiences of all ages in our region through performances of orchestral music, thereby enhancing the vitality and vibrancy of Wichita. To find out how you can contribute to the effort to keep great symphonic music alive in our community, please contact the Symphony office at (316) 267-7658. We apologize in advance for any omission or errors in this list of donors. Please bring corrections to the attention of our office. Donor levels may shift from one program book edition to another depending on the timing and receipt of gifts.

PACESETTER Sam & Rie Bloomfield Foundation, Inc. $25,000 & Above

City of Wichita Fred & Mary Koch Foundation Lattner Family Foundation in honor of Jay Decker Estate of the Margie L. Roehr Living Trust Spirit AeroSystems, Inc.

CHAMPION $10,000 $24,999

Gary & Joyce Bachus The Michael Bayouth Charitable Fund Bonavia Family Charitable Trust Cessna Aircraft Company - A Textron Company Commerce Bank Gordon W. Evans Charitable Trust Drs. Daniel & Martha Housholder Jerry & DeDe Juhnke C. Chase & Anna B. Koch Paul Ross Charitable Foundation Dwane L. & Velma Lunt Wallace Charitable Foundation Stone Family Foundation Ted A. & Betty Vlamis Art* & Betty Wood

BENEFACTOR $5,000 - $9,999 Dr. Phillip & Linda Allen Bank of America Buckley Industries, Inc. Emprise Bank Lois & Joe Friesen Grumpy Old Men Husky Liners IMA Foundation Intrust Bank Christine & J. Fred Kubik Dr. Jerry & Diane Leisy Carolyn Lindsey Howard & Rose Marcus Sandlian Realty Daniel J.* & Shoko Kato Sevart Stephen & Ann Starch TCK-The Trust Company of Kansas The Shaw Family Foundation Westar Energy Foundation DeVore Family Donation The Yard

SPONSOR $2,500 - $4,999 Anna Anderson & Christopher Shank Mrs. E. W. Armstrong Tom & Lily Ashcom Berry Foundation Charitable Foundation, Inc. Cox Communications Roger & Ann Eastwood Phil & Judy Frick Mrs. Norma Greever Stanley & Judith Guyer

Kurt A. & Kelly R. Harper Daniel & Katarina Hege Ed & Jean Hett Anita Jones Sondra M. Langel & Richard D. Smith Dr. & Mrs. Steen Mortensen Carol & Frank Mulhern Dr. Gerald & Doris Nelson Ross Foundation Rudd Foundation Ed & Charleen Salguero Keith & Georgia Stevens Andy & Lori Supinie Jim & Lisa Vayda Janet C. Wesselowski Gail Williams & Bill Morris Estate of Albert A. Miller

GUARANTOR $1,000 - $2,499 Susan & Chris Addington Richard & Suzie Ahlstrand Larry & Patty Aldrich Mark & Caroline Anderson Roy & Ann Baker Dolores Bean Bob & Martha Buford Richard & Amy Chambers Mrs. C. Q. Chandler William E. & Cynthia L. Cook Benjamin S. Davis, M.D. Sarah Feiertag Sy & Neva Fischer Daniel A. & Kathy Flynn Fred Wolfe Endowment Fund James Garvey Family Charitable Trust H. Guy & Carol Glidden Larry & Linda Hahn Gary D. Harms Edward J. & Helen Healy Julia I. Hoppes Joan C. Loehr & Gerald L. Howell

Louis & Margaret Johansen Donald & Elizabeth King Philip & Laura Knight Ralph & Kay Lanzrath George & Eleanor Lucas Marilyn L. McNeish Tim & Janet Miller Marianne & Glen Misko David & Rynthia Mitchell Dr. Barry & Jane Murphy Joel & Cheryl Myer Judy Curtis Naylor Robert J. & Ann* Oâ&#x20AC;&#x2122;Bleness Stacy & Allison Peterson David & Doris Prater Patricia Purvis Don & Pat Reinhold Larry J. & Linda R. Richardson Scott & Carol Ritchie Suzanne D. & Jeffrey Schiffel Dorothy Shannon Robert Singleton Judy Slawson Mary Sue Smith State Farm Insurance Chris & Jessica Stong James & Mary Beth Thomas Jon & Laurel Tiger Ted J. & Karen Vlamis Lowell & Marcia Wilder David & Annette Wood Stephen Paul Wunsch Foundation for Young Musicians

PATRON $500 - $999 Georges Ausseil Dennis A. & Sara E. Bearden Glee Becker Kim & Allen Bell Tom & Maggie Benefiel Gayle Gentry Bishop Don & Jill Bostwick

Alta Brock Mary Douglass Brown Richard & Cynthia Carl Sally & Don Chesser Carol & Jim Clark Janice & Charles Cole Stephen D. & Sharon Cranston Roger & Sandra Cusack Phyllis Decker Dan DeMott & Denise Wickham James W. & Mary Ann Deskins Alan & Sharon Fearey Timothy J. Finnerty Kurt Friesen & Gwen Neufeld Justus Fugate Joseph Gile Groves Retail Liqour Betty & Barth Hague LeAnn Hansen Kathleen Hastings & Douglas Wilcox Brian & Joy Heinrichs Nancy L. & William E. Hercher Harriet Hickman Michael Costello & Jennifer N. Horchem Michael Dwyer & Rebecca Hoyer Dr. Kenneth & Anne Hull Sue Harper Ice Hon. Gregory Keith & Mrs. Allison Keith Lawrence & Gail Kliewer Thomas & Grace Kneil Mr. & Mrs. Charles Koch Clinton and Julie Koker Therese C. Lair Claudia Lawn Tim & Brenda Lawton The Logan Foundation Donald & Linda Mallonee Thomas Marshall Dr. & Mrs. Ernest McClellan

Jane McHugh William & Margaret McKay Margaret K. McKinney Lisa M. Mueller Ron & Pat Myers Michael & Sheila Nally Linda & Bob Nugent Tom & Katie Pott Bruce & Diane Quantic Cleo & Joyce Rucker Bob & Patsy Scott Security 1st Title Kenneth & Irene Shaw Vel Teichroew Mr. & Mrs. R. Byrne Vickers Nestor Weigand, Jr. Forest Tim Witsman Dr. Yoram Leitner & Dr. Cathy Woodring

DONOR $250 - $499 Elaine D. Aaron & Wayne J. Hemmen Donald & Lu Ann Allen Dr. Alex & Pamela Ammar Dr. Mary Ann Beattie Susan & Richard Bentson Dr. & Mrs. William T. Braun, III Judy Clark Joseph & Jaclyn Cofield Dr. David & Lois Crane Lee & Margaret Crawford Barbara Crotchett Carol & Jim Darnell John M. Davis Dan Deener Downing & Lahey Mortuaries Mike & Charli Frederick Jo Lin Gardner Theodore C. & Alice Geisert Bruce & Judy Gesson Dr. Hew & Judy Goodpasture Robert Goudy Jim & Karen Graves

Glen & GayLynn Grider Jim & Nancy Gustavson Dana Hamant Frederick Hansen Greg & Teri Harpool William & Marlene Hayes Priscilla Hearn Edith Hodgson Ron & Karen Holt Gary & Lilly-Ann Huffman W. James & Gay J. Jones Rodney Klausmeyer Mr. & Mrs. Delmar Klocke Hans & Karen Kraus Sherri Lichtenberger Mar & Lennon Dentistry Joe & Trudy Miller Richard & Dorothy Miller D.J. & Pat Moore Lisa D. Muci & Major Herbert Eckhoff, USAF (Ret) Dwight D. & Virginia Murphey Phil & Cherri Murray Dewey William & Louise Neal Jim & Dene Nelson Miriam Nofsinger & James Juhnke Frank & Mary Lynn Priest David & Christie Reynolds Sarah Robinson Dr. & Mrs. Stephen J. Rohner Dan Rouser J. Randall & Gail Routsong Gary & Virginia Ruedebusch Frank Russold Schaefer Johnson Cox Frey & Associates Virgil & Carol Stinson Carol A. Taylor Roger & Becky Turner Nancy & Don Vine Harold Ward Women’s Association of the Wichita Symphony Scott & Ann Weidensaul

Paul Conrad Woolwine “Rising Star” String Scholarship Orlyn & Jan Zehr

CONTRIBUTING MEMBER $100 - $249 David & Katherine Abel Constance Adams David & Susie Anderson Thornton E. Anderson Rodney & Josie Bahr Dr. Colin & Joan Bailey William & Barbara Baker Robert & Charlotte Bales Tamara & Jerry Bauer Christina Bennett Mary & Jerry Blain Robert & Sue Boewe Stanley & Anita Bohn Dr. Roger & Victoria Bond Catherine P. Brady Preston & Katy Brammer Phyllis Brothers Donna Callen Alfred & Sara Campbell Barbara Carlson Norman & Lois Carr Matthew & Christine Carson James Harvey & Trudy Childers Arthur & Sheri Claassen Dolores B. Coady Dr. Donald & Janice Collins Crystal Collinsworth David Corman Lisa Crittenden Dennis & Janis Danders David M. Dayvault, Jr. Tom & Myra Devlin Mary Druding Cathy Monger Duncan James Duram David & Debbie Elkouri Stephen English Jeanne Erikson

Richard & Mary Lou Etherington David & Charlene Evans Everence Financial Advisors Marjorie Everoski Shane Ewing Household S. Jim Farha, M.D.. Orlando & Maxine Fast Robert Feldt Robert & Brenda Ferguson Robert Filbey & Anne Frey Ann Garvey Sally Geisert Lou & Kim Gollin Alice Griffitt Richard & Diana Guthrie Johnna Hall Leigh Ann & Dan Haman Samuel & Stephanie Harder Dennis & Elaine Harvey Dr. Mary L. Herrin Marty & Anna Hess Kellie Hogan Bonnie Jo Holmes Steve & Susan Houlik Nancy Howey Laura Ice Charles & Joan Johnson Robyn & Pat Johnson Garth & Karen Kennedy Donald & Marilyn Killian J. E. & Bea Kirkham Barbara Knopick Jack & Ginger Koelling Barbara Koelsch Patrick & Kimberly Konecny John & Susan Franz Koslowsky Mary Ann & Ron Kringen Sandy Kruback & Jane Smith Betty Ladwig Mark & Suzanne Laycock J. Michael & Jane F. Leach Leroy & Pat Lehman Robert & Bobbie Leverich Alan & Annette Lindal

Lorraine Lovette & Myron Rake Hsien Lu & Wen Shieh Dr. Don & Jane Luellen Robert & Susan Mann Jerry Martin Joanne McClelland Marlen McIntosh Phil Michel Jill Miller Kenneth G. Miller Richard J. Miller Belden & Anna Mills Dorothy Minson Bill & Carolyn Mix Nancy Moore Kent* & Jackie Morgan Bernie & Alberta Nichols Aunt Beeâ&#x20AC;&#x2122;s Honey Etcetera Shop Sally Ottaway Harold V. & Beverly J. Parson Dr. Larry* & Suzie Peak George & Marilyn Pearson Mary K. Peltzer Neal Pfeiffer & Karen Mork Pfeiffer Dr. & Mrs. John R. Provenzano Merrill & Boots Raber Samuel Ramey Mr. & Mrs. James C. Remsberg Robert & Priscilla Rives Bryan & Catherine Rocky Dorothy Lee Roger Mary Beth Ross Novelene Ross Al & Carol Roth Judy (Smith) Rudrow Cheryl Runyan Teresa I. Rupp Drs. Les & Courtney Ruthven Dr. Michael Hanawalt & Dr. Justine Sasanfar Jolene Satterthwaite Ruth & Harold Scheer Jay & Carolyn Schlegel

Ilene & Hartzel Schmidt Carolyn Schmitt LewJene Schneider & Tony Caputo Miah Schneider Elyse Scholl Dwayne & Sandy Schrag Criss & Joan Schulz David & Callie Seaton Cameron Sellers George & Mary Short Steven & Elisabeth Shouse Glen Snell Dawna Snyder Harvey & Stephanie Sorensen Keith & Aldine Sprunger Donald & Elsie Steelberg Frederick and Linda Stephen Linda & Ron Stephen Melva Stinson Substance Abuse Center of Kansas Larry Suttle Sandra Tangeman Stephen L. Taylor Kathe & John Thompson Mike & Lillie Thompson Williard & Barbara Thompson Richard & Nancy Tredway Earl Unruh Mr. & Mrs. Gordon C. Vieth Lee & Don Wadsworth Deanna Waggaman Gary Wagner A. Paul & Mary Wagoner Phillip G. & Donna Wahlbeck Tom & Mari Wallrabenstein M. Kathryn Webb Dick & Alisa West Melissa Wilk Harry* & Mary Ellen Williford Jerry & Lisa Winkley Ken & Sharon Witzell Carlos Wriedt Janet & Greg Wright

Steve & Cathie Yager Vern & Myrna Zielke Mel Zimmerman

SUSTAINING MEMBER $50 - $99 Nancy Anderson Jon & Julia Beadles Ronald & Linda Black Louis & Susan Bourlard David & Caryn Bryant Buckley Industries, Inc. Bill & Barbara Casey Carolyn Conley* June M. Costin Mike & Judy Cyphers Mari DiMattia Catherine & Russell Doerksen William H. Dorr Jr. Janet E. Elliott Eunice Ellis William C. Estes Derek Ethridge Virginia Finnerty Lynne Frazier Buma & Ludmila Fridman Barbara & John Fuller GAP Club Lindsey Gentry Betsey & Jonathon Goering Josh & Linette Gordon Betty Grier Stephen & Michelle Grindel Eric Gustafson JoAnn Hagans Gerald & Beverly Hallberg Mrs. Francis E. Harmon Mary Harms Robert L. & Sabine Heath Jane Heller Jeffrey Hetler Allen & Lois Hiebert Harvey & Alison Hiebert Alan R & Bobbie M Jaax Bill & Elaine Johnson

Mark & Vicki Jones Bruce & Mariam LeBaron Kathie Leighty Linda Gregory Photography Luke Lindsay Mr. & Mrs. R. Wayne Livingston Nita Long Nina Longhofer Scott Marshall Eric D. Mead Dr. & Mrs. Joseph C. Meek Charles Merrifield Daniel & Nancy Trier Metzger William Mills Ken & Virginia Morgan Ben & Lyndal Nyberg Johanne Pachankis Dianan Palenz Martin Park Jerry Prichard Carl & Ann Reeder Jim Robillard Jeff & Patty Roskam Nancy Oberg Schottelkotte William H. Schultz Richard C. & Barbara Shaw James & Mary Sheldon Nancy McCarthy Snyder Mr. & Mrs. Dwight Beckham Jeanette Stucky Patricia Surls-Templeman Larry Tobias Jorge & Tina Tomas Scott & Elizabeth Wadle Warren & Nancy Wandling Carol Ware Flo L. Watson Melvin Werner Katherin Wilkerson Jim & Doris Yoder James & Gail York

FRIEND UP TO $49 Manuel Abarca David & Mary Louise Adams Walter & Kathy Adkins Gerald & Joan Aistrup Rebekah Alexander Sarah Allen Teresa Allison Kay Alston Sean Amore Amber & Matthew Anderson Vicky Baker Dorlan Bales Ed & Sharon Barrett Michael Barrett Becky Beal William G. & Marilyn Beaver Ronald Bentley David J. & Dr. Elaine Bernstorf Margaret Bishop Rachel Black Richard Black Scott Bleier Tiffany Bonds Rebecca Bordeaux Susayn Brandes Iain & Maureen Bray Robert & Mary Broeckelman Walter Brosch Natalie Brown Ryan Brown James & Sueanna Budde Trinh Bui Helen Bullock Andrea Bullok Matt & Lisa Campbell Heather Cashman Suzanne & Jeff Cassidy Chapter DJ P.E.O. Robert Ciski Sherri Claridge Krista Clark Joni Cole Colter Cookson

Barbara Cowl Jon & Kendra Cremin Betty Curtis George Custer Angelina Daniel Daryl & Denise Batchelor Jeanie Davis Sheryl & Paul Davis Karen Deaver Sherryl Determann Marshall Dock Gregory & Tara Dold Lora Dome Sherryl Doran Jennifer Downing Angela Dudley Deborah & Anthony Dunne Merlin Eck Ken & Mary Eckrote Susan Edwards Leslie Eidem Margaret Elworth Carol Evans Jerome J. & Elvera T. Ewald Nancy Eyres Jenny Farha Norman & Carol Farha Jack & Kay Ann Feiden Alicia Fisher Tiffany Fisher Jack Focht & Gloria Farha Flentje Ron French Charlotte & Sterling Friedman Tanya Friesen Monte & Carri Fry Chunmei Fu Kathryn Gaeddert Cheri Gage Treveda Gardenhire Edward Gates Susan Gegner Nadine Girrens Terry Goforth Laura Gregory

Rebecca Gremmel Barbara Grier Marian & Randy Guapo John & Linda Guyot Kimberly Hall Stuart & Quinn Hall Laura Hand Marty & Lorraine Handel Gary & Joan Hanna Richard & Glenda Harder Sara Harmon Kurtis & Susanne Haynes Daniel & J. Elizabeth Heflin Karen & Kenneth Heidebrecht Leo & Martha Heidebrecht Fred & Joyce Heismeyer Erica Hickerson Liz Hicks Carol & Rick Hladik Jack & Mary Hollowell Michael Horsch Mike & Laura Hurley Martha Hynes Paul & Delores Inman Tom Innis Debra Iwinski Rita Jack Wilma Jeane Jackson Edgar Jaimes Finita Johns Bill Johnson Claudia Johnson Shawn Jones Joshua Keese Harold & Lorine Kieler David King John Kirkland & Janet Bradshaw David Knak Teresa LaCoss Lisa Lang Mr. & Mrs. Robert E. Lee Barbara Leftwich Don & Allison Lemons Elizabeth Linn

Huabo Lu Eva Lull Matthew Macaluso Lee Marshall James Mason Albert Maus Karen McCalla Parker McConachie Kyle & Arleigh McCormick Robert McCoy April McElroy Harriett McGuire Thomas Melland Helena Mendoza Axl Meyer Leonor & Michael Mills Stephen Mills Erika Neale Chanel Neises Randy & Maria Nicholas Jason & Amy O’Byrne John & Karen O’Loughlin Jamie Opat Jenay O’Shaughnessey Bruce & Joanne Pafume Glenn & Ira Palmer Andrea & Steve Parker Mark Patchett Jean Patterson Amy Payant Janet Powers Corlin Pratt Joan Pritchard Patricia Pullman Dr. Lucynda Raben Tim Rawlins Karen Rector Sarah Reed Kelley & Curtis Richardson Elizabeth & Darryl Roberts Maria & German Rodriguez JoAnn Rogers Doris Rucker Carolyn Rundle Shari Salem-Kizziar

Tammy Schneider Bethany Schrag Denise Scribner Eric Scriven Jennifer Sebits Kathleen Shea Cynthia K. Shelden Eric Shepard Sigma Alpha Iota Stephen Simpson Stephanie Skillman Keith & Cheryl Slater Chris Smith Granvill Smith Jessica Solis Kali Solomon Emily Y Son Craig Soutiere Timothy & Jana Stocker Raymond Stroud Blaine Stucky Jeannine Stuewe Blair Sullivan & Jennifer Jull-Sullivan John & Kelly Sullivan Joanne Tallman Jill Taylor Jennifer & Greg Tiano Heather Tilton Lucinda Tippin Prairie Todd Dulce Torres Trojan Children’s Choir James Turner Jill Turner Rachel Unruh Will Unruh Miranda Valadez Christopher Valentine Megan Van Meter Laurinda & Edward Wade Lori & Charles Wagner Ed and Karen Wagner Tamia Washington Larry Weikal

Dwight & Becky Wheeler Rebecca White Tisha Whitehead Bonnie Whitley Jennifer Whitney Justin & Lee Whyte Amber Willis Clifford and Lois Winter Michael Wolfe Kurtis Woltemath Brandie Wood Nancy & Lee Woodard Karina Wyatt James Young

IN-KIND CONTRIBUTORS Aero Plains Brewing Ambassador Hotel Aspen Boutique Emily Baldridge Beau Monde Beehive Salon Darren Berkman Beyond Napa Bill Rutherford Studio Bonefish Grill Botanica Guy & Beth Bower Bradley Fair Donna Bunk Burnell’s Fine Jewelry and Design Cafe Bel Ami Chamber Music at the Barn Chester’s Chophouse & Wine Bar Cocoa Dolce Roger & Sandra Cusack Exploration Place Sharon & Alan Fearey Jason Febres Firebirds Wood Fired Grill The First Place The First Place

Georges French Bistro GM ClothesHorse Granite City Food & Brewery Greystone Steak & Seafood Hana Cafe Healing Waters Joy & Brian Heinrichs The Hill Bar & Grill Homewood Suites by Hilton Hotel at Old Town Hotel at Waterwalk Hyatt Regency Wichita Don & Pat Hysko INTRUST Bank Arena Issa Group Kansas City Symphony Karg Art Glass Koch Industries KPTS Luciano’s Italian Restaurant Lyndon’s in Bradley Fair Mark Arts Massage Envy Molino’s Mexican Cuisine David & Terry Moses Mosley Street Melodrama Music Theatre Wichita Nectar Republic Newport Grill Nola Tedesco Jewelry Nouveau Quintette Oh Yeah! China Bistro Orangetheory Fitness P.F. Chang’s Mr. & Mrs. Harry Pape Pink Saloon Pinot’s Palette Planet Hair Pure Barre Adriene & Randy Rathbun Razook’s Home Furnishings Royal Heirs Pet Spa Gerald A. Scholl & Dominique Corbeil Harrison Schreck

Larry Schwarm Sedgwick County Zoo Senseney Music Spice Merchant Splurge Magazine Tallgrass Film Association The Wine Dive Ken White & Robin Macy Wichita Brass Quintet Wichita Country Club

Wichita Grand Opera Wichita Jazz Festival Wichita State Athletic Department Wichita State University College of Fine Arts Women’s Association of the Wichita Symphony

MATCHING COMPANY CONTRIBUTIONS Cessna Aircraft Company A Textron Company GE Foundation *Deceased Contributions received from December 1, 2016 – December 31, 2017

Occasionally, errors may inadvertently appear in our database. Please notify us of any misspellings or omissions. We apologize in advance for any errors.

WICHITA SYMPHONY MEMORIALS & TRIBUTES Throughout the history of the Wichita Symphony Society, thoughtful friends and families have honored the memory of loved ones by establishing memorials with the organization. Memorial gifts are designated for the Orchestra’s endowment by the Symphony’s Board of Directors.

IN MEMORY OF NANCY A. BEARD John & Barbara Decker

DAVID M. BUCK

Anita Jones

David L. Buck

Mr. & Mrs. Delmar Klocke

Dr. Lawrence P. Buck

Patti & Gerry Knorr

Mary Havey

DR. JAY C. DECKER

Brian & Linda Hopper

Arzell L. & Thelma G. Ball

Harold & Lorine Kieler

Anna Brady

Larry & Christie LeMaster

Vicki Cady

Marilyn Lytle

DeVore Family Foundation

Norval & Joyce Madden

Daniel & Mary Dugan

Cal & Polly McMillan

Robert & Brenda Ferguson

Barbara Novotny

Bruce & Nancy Gordon

Dove Pate Jr.

Mrs. Norma Greever

Charles & Nell Pate

Dana Hamant

David & Linda Stauffer

Nancy L. & William E. Hercher

Arden & Mary Strole

Leigh Hercher Hood

Edith A. Williams

Gary & Lilly Ann

Mr. & Mrs. Charles Koch Marilyn L. McNeish Belden & Anna Mills Joel & Cheryl Myer

Ann Huffman Charles & Joan Johnson

Mr. & Mrs. Lee Phillips III Anne Marie Brown & Max Ranney Jane A. Ray Don & Pat Reinhold Lisa C. & Scott Ritchie Judy Slawson Brian & Valerie Sullivan Julia Tretbar Tom & Christine Triplett Charles & Virginia Vance

WICHITA SYMPHONY MEMORIALS & TRIBUTES ROBERTA FEIBACH

Neil Depew

Marcia & Steven Miller

Mrs. E. W. Armstrong

E.J. & Mark DeWald

George & Janice Naylor

Robert & Mary Broeckelman

The Hodges Family

Ellen Neufeld

Buckley Industries, Inc.

Kevin & Lisa Findley

James & Barbara Nickels

David Corman

Garet & Jennifer Fitzpatrick

James & Joyce Phillips

Jack & Kay Ann Feiden

Thomas & Carol Franks

Howard & Gloria Pitler

Buma & Ludmila Fridman

Greg & Marilyn Giles

Jane A. Ray

Nadine Girrens

Andre & Penny Glacet

Don & Pat Reinhold

J. Michael & Jane F. Leach

James & Cherlene Graves

Ken & Connie Rickard

Dr. Barry & Jane Murphy

Stephen & Michelle Grindel

Angela Rowland

Robert & Priscilla Rives

Ronald & Joneen Hale

Emil & Cheryl Savaiano

Elizabeth & Darryl Roberts

Dana Hamant

Steve & Kathy Scobee

Nancy Oberg Schottelkotte

Mark Harris

Heather Shackelford

James & Mary Sheldon

Carol Hess

C.B. & Joan Showalter

High Plains Music

David & Lu Ann Siemens

BERNICE KLENDA Marian & Randy Guapo

& Band Camp

Mr. & Mrs. Dwight Beckham

Kathleen Hildenbrand

John & Barbara Summervill

JANICE E. LEE

Crystal Hummel

Chris Terrill

Larry & Pat Abston

Roberta Jam

Ron Thompson

Craig & Nancy Allison

Bill & Elaine Johnson

Ricky & Jane Tolin

Kathy Amrein

Gregory & Marla Johnson

Trojan Childrenâ&#x20AC;&#x2122;s Choir

Andover Education

Jerry Keller

Robert & Dorothy Truitt

Jack & Joan Kelley

Thomas & Carol Tweito

James & Candace Ashcraft

Dennis & Ellen Kerr

Marc & Diana Webster

David & Annette Barber

Ken & Jean Knappenberger

Dick & Kay Werth

Susan & Richard Bentson

Gerald & Ann Knepp

Wheatland Elementary Staff

Randy & Paula Bernhardt

Joel & Lori Knudsen

Harold & Connie Willis

Charles & Linda Bishop

Judy Langley

Robert & Luana Bitter

Robert E. Lee

Robert & Joyce Du Bois

Lynette Legleiter

Donald & Sue Buhler

Vaughn & Velma Lippoldt

Elizabeth Cain

Wesley Case Management

Rick & Rondi Caywood

Craig & Pauletta Manteuffel

James & Karen Chadwick

Chrystal D. Miles

Bill & Rita Clausing

Ken & Jeanne Miles

Mr. & Mrs. R.E. Craig

Michelle Miles

Association

Daryl & Denise Batchelor

LINDA MARSHALL Gary & Joyce Bachus Robert Couchman Dana Dreher Mr. & Mrs. Delmar Klocke Scott Marshall Thomas Marshall Virgil & Karen Neises

Dr. Larry* & Suzie Peak Alan Reichert Don & Pat Reinhold Spirit AeroSystems, Inc. Barbara Weinberg Don H. & Caryl Weinberg

ELIZABETH TEMPLE Corinne Jervis David & Sarah Jervis

TRIBUTES Marilyn & Bob Alldredge in Honor of Dr. Jim & Lisa Vayda John T. & Shirley J. Barnes in Honor of Dwight & Virginia Murphey’s Birthdays Ebony Clemons-Ajibolade in Memory of Louise Clemons The Garvey Kansas Foundation in Memory of Jean K. Garvey & in Honor of Emily J.G. Bonavia

Loren Groves & Marilyn Milligan Groves in Honor of Kenneth & Mable McKee Carrie Heiman in Honor of Jerry Juhnke’s (Prairie Hills Financial Group) Dedication to the WSO

Louis & Mallory Medvene in Honor of Ludmilla Fridman Sam & Ellan Muyskens in Honor of Jo Lin Gardner’s Birthday Robert J. O’Bleness in Memory of Ann O’Bleness

Mark & Vickie Jones in Honor of Barbara Crotchett’s Birthday

Ken & Tena Stoppel in Honor of Barbara Crotchett’s Birthday

Mr. & Mrs. Delmar Klocke in Honor of Bill & Alta DeVore

Verne & Anita Vance in Honor of Jay & Phyllis Decker

The Lattner Family Foundation in Memory of Jay Decker

Dr. Jim & Lisa Vayda in Honor of Barbara Crotchett’s Birthday

Barbara Leftwich in Honor of Barbara Crotchett’s Birthday

David & Annette Wood in Memory of Art Wood

Carl E. Martin in Memory of Mary Lou Bauer Martin

Terrill & Anne Woolsey in Honor of Dwight & Virginia Murphey’s Birthdays

Andrew Garvey in Honor of Barbara Crotchett’s Birthday

OPENS SATURDAY, FEBRUARY 24: Fiftynine superb artworks including work by such premier artists as Paul Cézanne, Marc Chagall, Edgar Degas, Henri Matisse, Claude Monet, Berthe Morisot, Pierre-Auguste Renoir, and many illustrious others.

Édouard Manet (French, 1832-1883). Young Girl on a Bench (Fillette sur un Banc), 1880. Oil on canvas, 29½ x 24 inches. Brooklyn Museum, Collection of The Rita and Alex Hillman Foundation, L2009.5.9. PHOTO: Brooklyn Museum

The Wichita presentation has been generously underwritten by lead sponsors Paula and Barry Downing. The Lattner Family Foundation provided additional major underwriting. Mrs. E.W. Armstrong, DeVore Foundation, and Dr. Dennis and Mrs. Ann Ross are principal sponsors. The Trust Company of Kansas, Emprise Bank, and Fred and Mary Koch Foundation are generous exhibition sponsors.

Additional private support has been provided by Charles Baker, Patty and Bill Bennett, Louise Beren, the Berry Foundation, Norma Greever, Helen and Ed Healy, Mike and Dee Michaelis Sarah T. Smith, Martin Pringle Attorneys at Law, Ann and Martin Bauer, Nancy and John Brammer, Doug Brehm, Donna Bunk, Anne Coffin, Karen and John Hageman, Jeff Kennedy and Patti Gorham, Georgia and Keith Stevens, Sue and Kurt Watson,

Alice and Dale Wiggins, and James Boyd.

Friends of the Wichita Art Museum

1400 West Museum Boulevard wichitaartmuseum.org

Monet to Matisse: French Moderns from the Brooklyn Museum, 1850–1950 is organized by the Brooklyn Museum.

WICHITA SYMPHONY

TICKET EXCHANGES AND RETURNS

ORCHESTRA HOUSE POLICIES

Exchanges Subscribers who cannot attend their scheduled performance may exchange their tickets for any other Classics Concert performance. However, ALL exchanges MUST be made before 5:00 p.m. of the Friday of the weekend concerts. If you fall ill the day of the concert, please leave a phone message with the box office before the performance and an exception can be made. The exchange of tickets is subject to availability. Tickets may be exchanged at the Symphony office, by mail or by phone at 316-267-7658; subscribers are encouraged to exchange as soon as possible.

BOX OFFICE Tickets may be purchased Monday through Friday, 10am â&#x20AC;&#x201C; 5pm, at the Symphony office located on the second floor of the Century II Concert Hall, Suite 207. The Box Office is also open one hour prior to each performance at the entrance of the Concert Hall. Tickets may be purchased online at wichitasymphony.org, by phone at 316-267-7658, in person or by mail. We accept cash, check or credit card.

DISCOUNTS Student Full-time students may purchase tickets for Classics Concerts for $10 the week of a performance online, in person, or by phone. Tickets are held at Will Call until a Student ID is produced. Premium Classics and Pops are decided on a case-by-case basis. Senior Patrons 65 years or older may receive a 10% discount on tickets when tickets are purchased the week of a Classics concert. Military 50% discounts for all Classics concerts, subject to availability, are offered to active military personnel with ID the week of a Classics concerts. Please call Box Office at (316) 267-7658 for more information. Discounts are not available on Pops concerts. All discounts are subject to ticket availability, and not applicable to Section F.

Returns Subscribers may release their tickets to the Symphony for resale by calling the Symphony office before 5:00 p.m. of the Friday of the weekend concerts. Your seat may then be sold as additional income for the Wichita Symphony. Upon request, we will provide a receipt for your tax-deductible donation. If you do not release your tickets prior to the concert, we will not be able to provide a receipt. PLEASE DO NOT LET YOUR TICKETS GO UNUSED! NO REFUNDS. ALL SALES ARE FINAL.

LOST OR DESTROYED TICKETS In the event your season tickets are lost or destroyed, please notify the Symphony office immediately at 316-267-7658. In most cases, replacement tickets will be reissued for your convenience at no charge.

PARKING Parking information for specific performances may be found on our website, wichitasymphony.org/night-out/ location-parking.

SERVICES FOR THE DISABLED

CHILDREN AT THE SYMPHONY

Infrared Listening System The Century II Concert Hall is equipped with a new Listening System for hearing-impaired patrons. Headsets are available at the Box Office. A personal ID is required, which will be held until the headset is returned to the Box Office following the performance.

Only children who are mature enough to sit quietly during a concert, without disturbing their neighbors, should attend Wichita Symphony Classics or Pops performances. We recommend patrons with young children purchase seats near the aisle in case a restless child needs to be taken out of the concert hall during the performance. The Wichita Symphony reserves the right to ask any individuals who are disrupting fellow patrons or the concert setting to leave the hall.

Restrooms Handicapped-accessible restrooms are located on the first and second floors of the Concert Hall.

For parents looking to introduce younger children to symphonic music, our Family Matinee Concerts are the perfect opportunity. They are programs designed specifically with children in mind, each lasting about one hour. These concerts are

PERFORMANCE POLICIES •

•

• •

• • •

•

QUIET PLEASE! In consideration of your fellow concertgoers and the performers, please refrain from talking during the actual performance of music. Latecomers will be seated at the first convenient pause in the program, at the direction of the ushers. Cameras and recording devices are not allowed inside the Concert Hall. Unless otherwise announced from the stage, all cell phones and electronic devices should be silenced during all performances. The emergency number for the Concert Hall is 316-267-7658. Century II is a smoke-free facility. Bottled/covered drinks and food are allowed in the Concert Hall. Refillable, spill-proof cups are available for sale at the concession stand. Patrons who have left personal belongings at a concert should contact the Century II Administrative Office 316-264-9121, Monday-Friday, 8:30 a.m.-5:00 p.m.

recommended for ages three and up.

GIFT CERTIFICATES Wichita Symphony gift certificates are a great way to introduce your friends to the Symphony and may be redeemed for tickets to any Symphony event during the 20162017 season. For more information, call the Symphony office at 316-267-7658. At the discretion of the Wichita Symphony Administration, audience members may take cell phone photographs, recording, and other social media postings before the start of a Wichita Symphony concert, during intermission of a concert, and following the end of a concert before the Musicians exit the stage. Unless otherwise announced, at no time will cell phone usage be allowed while music is being performed.

ADVERTISERS INDEX Ayesh Law Office

Blue Cross Blue Shield of Kansas

Burnell’s Fine Jewelry and Design

Chamber Music at the Barn

Commerce Trust Company

CrossFirst Bank

Delta Dental of Kansas

Don Hattan Chevrolet

Downing & Lahey Mortuaries

Emprise Bank

Ferguson-Phillips

Fidelity Bank

Friends University-Dept. of Fine Arts

Homewood Suites by Hilton

Hyatt Regency Wichita

Intrust Bank

Johnson’s Garden Centers

KMUW

R, 15

Koch Foundation

Back Cover

Larksfield Place

Larkspur Restaurant

Linda Gregory Photography

McClelland Sound Inc.

Music Theatre Wichita

Perfection Builders Prairie Hills Financial Group

U Inside Back Cover

Prairie View

Printing Inc.

AA, 25

Radio Kansas

Rose Hill Bank

Senseney Music

Stinson Leonard Street LLP

TCK-The Trust Company of Kansas

Inside Cover

Textron Aviation

The Dermatology Clinic

The Spice Merchant & Co.

Theater League Inc.

Times Sentinel News

University Congregational Church

Visit Wichita

Wichita Arts Council, Inc.

Wichita Art Museum

Wichita Chamber Chorale

WSU College of Fine Arts

N, 32

Wichita Grand Opera

Wichita Musicians Association

WSU Ulrich Museum of Art

ENJOY THE SYMPHONY AS MUCH AS WE DO? Ensure the arts most important to you and your family continue for years to come. Commerce Trust Company advisors can help structure a charitable giving strategy that meets your needs, maximizes tax benefits* and aligns with your overall financial goals.

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CONTACT A COMMERCE TRUST ADVISOR TODAY. GAYLYN MCGREGOR – 316-261-4930 commercetrustcompany.com *Please consult a tax professional. Commerce Trust Company is a division of Commerce Bank. | Commerce Bancshares, Inc. Investment products: Not FDIC insured – May lose value – No bank guarantee. © 2017

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2017-2018 YOUTH ORCHESTRA CONCERTS SUNDAY, MARCH 4, 2018 | 3PM

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“ music can change

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10/9/17 3:21 PM

Enjoy the concert

We proudly support the Wichita Symphony Orchestra. Thank you for inspiring and entertaining us. ROBERT OVERMAN, PARTNER

316.268.7910 robert.overman@stinson.com 1625 N. Waterfront Parkway, Suite 300 Wichita, KS 67206

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SATURDAY, MAY 5 @ 8PM 2018

POPS 3

WHAT A WONDERFUL WORLD A TRIBUTE TO LOUIS ARMSTRONG

Byron Stripling, trumpet Ron Spigelman, guest conductor

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VISIT WICHITASYMPHONY.ORG OR CALL 316.267.7658 TO PURCHASE TICKETS

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SATURDAY, MARCH 10 @ 8PM & SUNDAY, MARCH 11 @ 3PM

CLASSICS 7 Maestro Daniel Hege conducts

FIRE & ICE Stewart Goodyear, piano

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Stewart Goodyear, piano GRIEG Peer Gynt Suite No. 1 SIBELIUS Symphony No. 3 RACHMANINOFF Piano Concerto No. 2

VISIT WICHITASYMPHONY.ORG OR CALL 316.267.7658 TO PURCHASE TICKETS

2018

Chamber Music at

The Barn

Art by Brian Hinkle

Chamber Music at The Barn at Prairie Pines • 316 -721-7666 • cmatb.org

ENHANCING

KANSAS CULTURE The Fred and Mary Koch Foundation is proud to support the Wichita Symphony Orchestra and all it does to bring music education and memorable concerts to our community. Since 1953, the Foundation has supported quality, Kansas-based initiatives that enrich the lives of our neighbors in the areas of the arts, education and youth programs.