COMMON SENSE

TAKES CENTER Saturday, April 24, 2021 • 5:00pm Live from The Church of St. John the Divine STAGE HERE.

Brett Mitchell, conductor • Kathryn Mueller, soprano Edith NIño, dancer, Solero Flamenco

Errollyn Wallen Photography (5 minutes) I. Vivace

Quinn Mason Princesa de la Luna (Princess of the Moon) (10 minutes) ROCO WORLD PREMIERE We’ve been giving sensible, prudent advice since 1868. And we’ll Samuel Barber never stop working to make you a big fan of everything we do. Knoxville: Summer of 1915, Op. 24 (16 minutes)

See how at frostbank.com/expectmore Manuel de Falla or call us at (800) 51-FROST. Danse Espagnole from La Vida Breve (4 minutes) Reena Esmail Frost is proud to partner with the River Oaks Chamber Orchestra The History of Red (16 minutes) ROCO CO-COMMISSIONED WORLD PREMIERE as we work to make our community a better place. Carlos Surinach Ritmo Jondo, Flamenco for Orchestra (17 minutes) III. Bulerias • V. Saeta • VII. Garrotin Palmas by Irma La Paloma and Jeremías García of Solero Flamenco

MEMBER FDIC *Please see page 12 for instruction on how to access LiveNote. 3 Nathan Williams Kristin Wolfe Jensen Christina Carroll Principal Principal *Scott Strong Susan Whitfield Jeanie Flowers Sarah & Jeffrey McParland Principal Chair *Spencer Park in loving memory of in memory of Angeleen McParland Dan Flowers Beverly & Bill Coit Chair Chair Chair Timpani & Percussion Matt McClung Clarinet Bassoon Principal Gretchen & Andrew McFarland Chair Sandor Ostlund Principal Leslie & Jack Blanton Brook Ferguson Alecia Lawyer Principal Chair Principal Erik Gronfor Mary Margaret & Mike Stude Founding Consortium Russell Schulze II Chair Chair Chair George Chase Principal Musician Consortium Oboe/English Jennifer Weston horn Chair

Courtenay Vandiver Pereira Laurie Meister Musician Consortium Principal Chair *Katie Carrington Founding Consortium Kit Gwin Chair *Philip Borter Chair In loving memory of Principal Lorento Golofeev Bruce Harrington Denman/Newman Leslie & Jim Loftis Chair Foundation Meredith Harris Chair Shino Hayashi Musician Consortium The Deshpande-Helmer Family Matt Dane Chair Chair Principal Susanne and Randall Evans Chair

*Melissa Williams Musician Consortium Tammy Linn Chair *Boson Mo Founding Consortium Mrs. Clare A. Glassell Ben Grube Chair Chair Musician Consortium Chair Pasha Sabouri Aloysia Friedmann Kana Kimura John Bradshaw Jr. Musician Consortium Ann & Randy Fowler *Rachel Shepard Chair Chair *Sandy Yamamoto Chair Musician Consortium Chair Amanda McMillian and Andrés González Benjamin Holloway Ali & Frank Donnelly Chair Chair Maureen Nelson Rasa Kalesnykaite Concertmaster Consortium Principal Chair * ROCO guest musicians Brett Mitchell Conductor 4 Conductor Consortium 5 Houston, Milwaukee, National, Oregon, and San Antonio symphonies, the Grant Park Festival Orchestra, the Rochester Philharmonic, the Saint Paul Chamber Orchestra, and the New Zealand Symphony Orchestra. From 2013 to 2017, Mr. Mitchell served on the staff of The . He joined the orchestra as Assistant Conductor in 2013, and was promoted to Associate Conductor in 2015, becoming the first person to hold that title in over three decades and only the fifth in the orchestra’s hundred-year history. In these roles, he led the orchestra in several dozen concerts each season at Severance Hall, Blossom Music Center, and on tour. From 2007 to 2011, Mr. Mitchell led over one hundred performances as Assistant Conductor of the Houston Symphony. He also held Assistant Conductor posts with the Orchestre National de France, where he worked under from 2006 to 2009, and the Castleton Festival, where Photo by Peter Lockley he worked under in 2009 and 2010. In 2015, Mr. Mitchell completed a highly successful five-year appointment as Music Director of BRETT MITCHELL the Saginaw Bay Symphony Orchestra, where an increased focus on locally relevant programming and community collaborations resulted in record Conductor attendance throughout his tenure. He has collaborated with such soloists as Yo-Yo Ma, Renée Fleming, Conductor Consortium Rudolf Buchbinder, , James Ehnes, Augustin Hadelich, Leila Josefowicz, and Alisa Weilerstein. Hailed for presenting engaging, in-depth explorations of thoughtfully As an opera conductor, Mr. Mitchell has served as music director of curated programs, Brett Mitchell began his tenure as Music Director of nearly a dozen productions, principally at his former post as Music Director the Colorado Symphony in July 2017. Prior to this appointment, he served of the Moores Opera Center in Houston, where he led eight productions as the orchestra’s Music Director Designate during the 2016-17 season. He from 2010 to 2013. His repertoire spans the core works of Mozart (The leads the orchestra in ten classical subscription weeks per season as well Marriage of Figaro and The Magic Flute), Verdi (Rigoletto and Falstaff), and as a wide variety of special programs, featuring such guest artists as Renée Stravinsky (The Rake’s Progress) to contemporary works by Adamo (Little Fleming, Yo-Yo Ma, and . Women), Aldridge (Elmer Gantry), Catán (Il Postino and Salsipuedes), and Mr. Mitchell is also in consistent demand as a guest conductor. Hagen (Amelia). As a ballet conductor, Mr. Mitchell most recently led a Highlights of his 2018-19 season included subscription debuts with the production of The Nutcracker with the Pennsylvania Ballet in collaboration Minnesota Orchestra and Vancouver Symphony Orchestra, and return with The Cleveland Orchestra during the 2016-17 season. appearances with the orchestras of Cleveland, Dallas, and Indianapolis. Other upcoming and recent guest engagements include the Detroit,

6 7 Brett Mitchell

In addition to his work with professional orchestras, Mr. Mitchell is also well known for his affinity for working with and mentoring young musicians aspiring to be professional orchestral players. His tenure as Music Director of the Cleveland Orchestra Youth Orchestra from 2013 to 2017 was highly praised and included a four-city tour of China in June 2015, marking the orchestra’s second international tour and its first to Asia. Mr. Mitchell is regularly invited to work with the highly talented musicians at the Cleveland Institute of Music and the orchestras at this country’s high-level training programs, such as the National Repertory Orchestra, Music Festival, Sarasota Music Festival, and Interlochen Center for the Arts. Photo by Rob Taylor Born in Seattle in 1979, Mr. Mitchell holds degrees in conducting from the University of Texas at Austin and composition from Western Washington University, which selected him in as its Young Alumnus of KATHRYN MUELLER the Year in 2014. He also studied at the National Conducting Institute, and was selected by Kurt Masur as a recipient of the inaugural American Soprano Friends of the Mendelssohn Foundation Scholarship. Mr. Mitchell was also Kathryn Mueller, praised for her “beautiful voice of shining clarity”, one of five recipients of the League of American Orchestras’ American sings a wide range of repertoire from period baroque performances Conducting Fellowship from 2007 to 2010. to world premieres of new works. She has sung with the LA Chamber Orchestra, American Bach Soloists, Portland Baroque Orchestra, Santa Fe Pro Musica, Charlotte Symphony, Memphis Symphony, and Phoenix Symphony. Favorite concert works include Barber’s Knoxville: Summer of 1915, Glière’s Concerto for Coloratura Soprano, Haydn’s Creation, Bach’s St. John Passion, and anything by Mozart or Handel. The most fun Kathryn’s honors include a GRAMMY nomination for her solo work on you can have True Concord’s album Far in the Heavens, and prizes from the Oratorio with serious music Society of New York’s Solo Competition and Early Music America’s Baroque Performance Competition. In 2011 she was one of four Adams

8 9 kathryn Mueller fellows at the Carmel Bach Festival. Kathryn has recorded two GRAMMY- nominated albums with Seraphic Fire, and is featured as a soloist on Seraphic Fire’s best-selling Monteverdi Vespers of 1610.

Solero Flamenco, Houston’s premier flamenco performance company, Kathryn was born in San Francisco, and began her musical studies on the presents vibrant performances with artistic integrity and trademark edge of Arizona’s Fort Apache Reservation. She first worked professionally passion. Soulful song, enchanting guitar and exhilarating dance while still in high school, serving as a section leader of a church choir. She converge in this highly improvised art form to present traditional, continued her education with music degrees from Brown University (BA) contemporary and original works. Whether in the theater, concert and The University of Arizona (masters). hall, or other venues, audiences experience the heart, soul and skill of professional flamenco artists. Kathryn belongs to Beyond Artists, a coalition of musicians who donate a percentage of their concert fees to organizations they care about; Under the artistic direction of Irma La Paloma she supports the Poor People’s Campaign through her performances. (cante) and Jeremías García (guitarra), Solero Kathryn is happily based in Raleigh, NC. kathrynmueller.com. Flamenco maintains an active performance calendar and enjoys collaborating with local and international artists. As founders and directors of the Houston Spanish and Flamenco Festival in collaboration with San Jacinto College and the Consulate General of Spain in Houston, Solero Flamenco promotes flamenco arts, ROCO has been livestreaming for many years and this season we will be offering education and culture. all of our performances virtually. We also have a vast collection of audio recordings from past concerts, as well as videos on our rocohouston channel on YouTube. All you need is a sense of curiosity and an internet connection and you can be tran- sported to a ROCO experience under the LISTEN tab at roco.org or on all streaming channels! https://www.soleroflamenco.com/

10 11 ROCO has an App!

In keeping with our commitment to innovation, ROCO has partnered with InstantEncore to bring you the ROCO App! On the app, you can access LiveNote which brings you unique, real-time commentary during the concert. The ROCO App also keeps you up-to-date on everything ROCO between concerts.

Here’s how you can get in on the action:

■ Place your phone on “silent” or “do not disturb”.

■ Go to the App Store or Google Play, ROCO’s newest adventure: search for “ROCO Houston”, and download the app to your phone. a musical scavenger hunt!

■ Open the ROCO app. Explore 40 stops along many miles of trails and ■ LiveNote only runs during specific pieces discover musical selections from ROCO’s many (check your program). When it’s time, you’ll see a “LiveNote” icon along the bottom menu years of live performance recordings curated of the app. Tap this to launch LiveNote and specifically for the landmarks and public art of access the musician commentary. Buffalo Bayou. Simply open your smartphone ■ On the next screen, tap on the highlighted box around the name of the first movement camera and place it over the QR codes to and LiveNote will automatically advance once participate in a musical scavenger hunt! An example here takes you to the music starts. the main page for ROCO on Buffalo Bayou. ■ Two fun features: The dot at the bottom of the screen shows where we are in the piece, and if you see any highlighted terms, you can tap on them to view a definition.

■ In a multi-movement piece, each movement will start automatically – just sit back and enjoy! 12 13 carol recorded by the Choir of King’s College, Cambridge. But if you listen to nothing else, do check out her Mighty River, a powerful piece inspired by the anti-slavery efforts of William Wilberforce and by the spirituals sung by the Fisk Jubilee Singers.

I. Errollyn Wallen Quinn Mason Photography Princesa de la Luna (Princess of the Moon) Quick Intro: Commissioned by ROCO WORLD PREMIERE the Orchestra of the Swan (based in Stratford-Upon-Avon) and premiered Quick Intro: Written in 2017 in 2006. and revised in 2019. This is the world premiere. The title is Spanish for About the piece: Structured in “Princess of the Moon.” four movements without individual titles (ROCO is performing only the About the piece: The score begins with the indication, “like a lonely, first), the piece explores angular, moonlit night,” and Mason’s orchestration illustrates this aptly. Both colorful string textures and lively harp and first violin play harmonics, a string technique which results in a rhythms. Yet this is music of contrasts: shimmering, ghostly sound. Each new section in the piece demonstrates while some of the more jaunty moments evoke modern sensibilities, the ’s skill writing for string ensemble, as he subdivides sections the music of the past is never that far away. My inquiry here is a tired, to add layers, much like a painter might do when visualizing a nighttime hackneyed one, but would Bach himself have written music like this were scene. Listen for how each individual layer is completely unique within he alive today? –music full of bustling counterpoint, rich layering devices, the larger musical texture, and you’ll see an analogue of how individual and dance? (I think so.) brushstrokes combine on a canvas to make a larger painting. The evocation of a cool, starry night is here the musical equivalent of Van Gogh. Meet the Composer: Born in Belize, Wallen trained for a time as a dancer in Harlem before moving to the U.K. to study music composition. Meet the composer: Born in 1996, Mason, a Dallas-based composer, She has written work in every medium and in 2007 was awarded an MBE. is already making a name for himself. His music has been performed by Of her music, she writes, “We don’t break down barriers in music… we don’t orchestras across the country, and he has racked up a number of awards see any.” for young .

Further Listening: Photography was recorded by Ensemble X on the Further Listening: Mason’s website includes lots of recordings and is NMC label, alongside other of her works. Make time too to listen to her The rewarding for anyone wishing for a deep dive into his music. His orchestral Girl in My Alphabet and, for some serious contrast, her Peace on Earth, a music is certainly worth a further look, but make time, too, for his solo vocal works, which show a different and contrasting side.

14 15 Further Listening: Barber’s Dover Beach, scored for voice and string III. quartet. John Corigliano’s A Dylan Thomas Trilogy, which similarly sets to Samuel Barber music a text by a great American poet. Knoxville: Summer of 1915, Op. 24

Quick Intro: Written in 1947 IV. Reena Esmail and premiered the following year by The History of Red soprano Eleanor Steber and the Boston ROCO CO-COMMISSIONED WORLD PREMIERE Symphony Orchestra under Serge Koussevitzky. Text by James Agee. Quick Intro: For soprano and orchestra. Commissioned by About the text: In the turbulent a consortium including ROCO. years following World War II, American This is the world premiere. Text composer Samuel Barber turned to the by Linda Hogan. preamble from Agee’s A Death in the Family, in which the poet describes the In her own words: “The first last year of normalcy before his father’s time I heard Samuel Barber’s death upended life as he knew it. The prose poem describes an idyllic time, Knoxville: Summer of 1915, it a time of innocence and an awakening to ordinary beauty surrounding changed my life. I was fourteen the observer. Agee explores the multisensory world of his remembered years old, and as I sat under childhood, luxuriating over rocking chairs on the porch, “the taste…of the stars at the beautiful Ford vanilla, strawberry, pasteboard and starched milk,” a streetcar, “blue dew,” Theater on a summer night in in Los Angeles with my parents, I completely locusts, “rough wet grass.” Yet amid all this peace, we sense that things are identified with the voice of the child who narrates the text of the piece - so almost too perfect, that around the corner lies something: perhaps the aware of the huge, complex world that I was seeing, even through young onset of adulthood, in the case of the poet, with its responsibilities and eyes. Just trying to parse it all. I can pinpoint that one performance as a challenges which would dampen the innocent enthusiasms of the viewer. pivotal moment in my decision to be a musician. I just wanted be someone who could create that kind of beauty. …The History of Red is borne from Barber’s Setting: The musical frame the composer creates here adds a the same bones as Knoxville: it is also a large-scale work for soprano and new dimension to an already-powerful text, resulting in the work becoming chamber orchestra (intentionally written for the same instrumentation), one of Barber’s most-performed works. While he avoids temptation to where the singer grapples with the world around her. And yet it is different merely illustrate all of the sounds the poem posits, we can hear subtle — Linda Hogan’s beautiful text is clearly the voice of an adult woman, aware choices which serve to illuminate the text. Listen for the rocking opening, not only of her own current world, but of the entire, complex history of her mirroring Agee’s kinetic text; for a more chaotic soundscape descriptive of ancestors. Perhaps that is why her words instantly grabbed me — at this streetcars and honking horns on the bustling street; for the raw emotion time in the world, when we are each grappling with our own complicated, as the poet’s father is referenced. (Notably, during the work’s composition, intertwined histories, her journey felt so resonant to me. …I wrote this piece Barber’s own father was also ailing.) as the pandemic was raging around the world, as the effects of decades of 16 continued... 17 reena Esmail Three Dances: Bulerias is a fast dance which shows off the skill of the flamenco dancer. Typically we expect to hear lots of improvisation from the racism hit a new fever pitch in the US, and as we headed into the 2020 guitarist, along with hand claps and finger-snaps from the dancer. Seata is presidential election with so much trepidation. My own complicated a song traditionally sung by participants in the streets during processions history, and the history of this time, is also embedded in every note of on Good Friday. Drums play an outsized role here, as pitched instruments this piece. …I love the last lines of Hogan’s poem: “This life in the fire, I love are deemed too celebratory in nature. Garrotín is another flamenco dance, it / I want it, / this life.” What an incredible aspiration: more than simply typically red-blooded and passionate – certainly an ideal vehicle for a agreeing to confront her own history, she beckons it. She craves a life of composer like Surinach, who sought to bring traditional Spanish music the deepest engagement with it. It feels to me like the most beautiful into the concert hall. way to build the world we want to see from the ashes of the world that The Catalan terminal “-ch” is pronounced as has fallen apart.” Pronunciation guide: a “k.” In non-Spanish-speaking countries, he spelled his name without a tilde, but did use it otherwise. So: “sur-ih-nock.” Or “sur-ih-nyock” if you’re Further Listening: Head over to ROCO’s Listening Room to hear our the kind of person who lisps the “c” in Barcelona. other performances of Esmail: Teen Murti and Tuttarana. Further Listening: Head to ROCO’s Listening Room to hear our performance of Falla’s El Amor Brujo.

V. Carlos Surinach Ritmo Jondo, Flamenco for Orchestra

Quick Intro: ROCO is performing the original version of this work, comprised of three movements: Bulerias, Saeta, and Garrotín. Originally written in 1952 for clarinet, trumpet, percussion, and hand- clappers, Surinach re-scored it the following year for chamber orchestra. Premiered in New York in 1953 at the Alvin Theatre, now the Neil Simon Theatre, on Broadway.

About the composer: Surinach was born in Barcelona in 1915 and Shaping the Future of Classical Music studied music first there, then in Madrid and Berlin (notably with Richard Strauss). In the 1950s, he emigrated to the United States, where his energetic music made a profound impression on New York choreographers, including Martha Graham, with whom he began a fruitful professional relationship.

18 19 Paul Comstock Partners is proud to support the Conductor’s Consortium and invites you to join us! Please join us for Contact ROCO or Alison Moss for more information. Season 17!

Alison Comstock Moss 832 563 5521 [email protected]

20 Commissioning Lifecycle

Every commission has a unique story, Make a resonating impact towards shaping the future of classical music but they all have a similar path... with us by joining ROCO Resound! This new consortium, dedicated to supporting ROCO’s commissions, brings together like-minded individuals to invest in the creation of new music.

verb, 1. fill a place with sound; be loud enough to echo Every new piece of music starts quietly with an idea, which grows louder An idea is when it is premiered, and eventually reverberates through audiences and developed, often by a ROCO musician the world as it is performed again and again. ROCO has commissioned and performed the world premiere of over 100 new works over our ROCO identifies and history, making us the 3rd highest commissioner of new music in the collaborates with United States. the composer verb, 2. sing the praises of Composer writes the piece

f Forte ROCO performs Ty R. Ashford and J. Nicholas Jitkoff* • Fran Sampson Riepe and Chuck Riepe and records the premiere mf Mezzo-forte Bowen Foundation • Jaena and Andrew Coit* • Lori and Joseph Flowers* Jane B. Wagner and Family • Barbara Burger mp Mezzo- Erin Tsai and Daniel Allison* • Barbara and James Cauble The score is published and Joanna and Patrick Cannizzaro • Mike Muña and Marcus Maroney* available for Patti Lennon and Bruce Potter* • Susanne and Diderico van Eyl* other ensembles to perform p Piano Jim Crump • Kate and Malcolm Hawk • Alecia and Larry Lawyer* Mimi Lloyd • Sandra and Kenneth McClain* ROCO's recording Other Sarah and Doug McMurrey • Greta and Jeremy Rimpo* is broadcast on ensembles perform the Jo Dee and Cliff Wright* the radio and available piece elsewhere for streaming on Additional Support roco.org and music Amy Gibbs • Drew Helmer and Salil Deshpande 22 23 streaming platforms *Founding Member Ravneet Nagi • Brian McColloch and Jeremy Garcia 2020-2021 Season Sponsors 2020-2021 Season Partners

Hildebrand Foundation

24 25 Alecia Lawyer Rachel Smith McClarty Founder/Artistic Director/ Marketing and Audience Principal Oboe Engagement Coordinator

2020-2021 BOARD OF DIRECTORS Amy Gibbs Erin Tsai Drew Helmer, Chair • Frank Donnelly, Vice Chair Managing Director Operations and Personnel Manager Rebecca F. Upchurch, Treasurer • Jennifer Klein Strauss, Secretary Paige Myrick Ty R. Ashford • Andrew R. Coit • Jim Cross Director of Development Jason Stephens Calvin W. Crossley • Randall Evans • Alecia Lawyer Librarian Greta Rimpo Gabriela Martinez • Doug McMurrey • Cora Bess Meyer Director of Marketing Patricia Hendrickson Mike Muña • Gavin Reed and Communications Bookkeeper Fran Sampson Riepe • Russ Schulze Rachael Fernandez Teresa B. Southwell BOARD OF ADVISORS Production and Access Manager Graphics Jay Berckley • John Bradshaw Jr. • David Brady Alison Comstock Moss • Wafi Dinari • Bob Fry • Terri Golas Kit Gwin • Melissa Hobbs • Benjamin Holloway • Sharon Keith David LePori • Joel Luks • Suzanne Lyons • Mimi McGehee Bruce Potter • Patti Lennon-Potter • Charles Riepe • Chris Ross Garvin Stryker • Amanda Watson

NATIONAL ARTISTIC ADVISORY COUNCIL Derek Bermel • José Antonio Bowen • Aubrey Bergauer Fred Child • Aaron Flagg • Sam Holland Perryn Leech • Matthew Loden • Greg Sandow There are not enough emojis on the internet to thank every single human who has supported ROCO these past BOARD OF HONORARY ADVISORS 16 years! Because of YOU, we are able to offer our online Leslie Blanton • Joseph Flowers • Sharon Ley Lietzow digital content for free to everyone in the world. Access Mimi Lloyd • Sarah McParland • Janet Moore is our number one value and priority and we are thrilled Mary Ann Newman • Kathy Segner • Mike Stude • Chris Ross to be able to thrive. Our field might be changing and shifting, but as always, we keep on innovating to continue our musical conversation with you.

26 27 Conductor Consortium Concertmaster Consortium Peggy and Calvin Crossley • Paul Comstock Partners Gabriela and Grant Martinez • Cora Bess Meyer Jennifer and David Strauss

Suzanne Riepe Joy of Music Individual Chair Sponsors Memorial Consortium Supporting conductor travel Leslie and Jack Blanton • John Bradshaw Jr. Maurice Bass • Mr. and Mrs. Joseph M. Binney Beverly and Bill Coit • Jim Cross • Ali and Frank Donnelly, III Marguerite and Jim Borden • Ann Butler Susanne and Randall Evans • Jeannie Flowers Marlene and John Childs • Patricia and Wolfgang Demisch Lori and Joseph Flowers • Ann and Randy Fowler Carol and Walter Diggs • Carol Dietz Jo Ann and Bob Fry • Susie and Mel Glasscock • Clare Glassell Susanne M. and Mel Glasscock • Kersten Gorski Kit Gwin • Drew Helmer and Salil Deshpande Katie and Cliff Gunter • Ann and Charles Finch • Priscilla W. Foster Melissa and Mark Hobbs F. Paul Henderson • Brenda and Brice Higgins Amanda McMillian and Benjamin Holloway Pam and Jim Higgins • Dorene and Frank Herzog Leslie and Jim Loftis • Gretchen and Andrew McFarland Judith B. Hundertmark • Dennis Hykes • Sue Kerr Sarah and Jeff McParland • Mary Ann Newman Suzanne and Daniel Kubin • Marjorie Harris and Peter Lambert Mary Margaret and Russell Schulze • Kathy and Ed Segner Merlin Miller • Judith and James Macey • Nancy and Jim Moye Mike Stude • Susan Whitfield Susan Timmons • Fran Sampson Riepe and Chuck Riepe Birgit and Gavin Riepe • James Riepe • Vicki and Steve Smith Binky and John Strom • Ingrun and Rolf Wagschal Janne Lee and David Webber • Sara White

28 29 Musician Consortiums Founding Consortium

Bess and Milton Black • Ana Bovet • Shirley Burgher • Ana Bovet Aloysia Friedmann, Associate Concertmaster Donnie Davis • Karen and William J. Donovan Cheri and Andy Fossler • Terrylin Neale • Doug Petitt Julia Kirkpatrick Fleming • Diane Foutch • Clare Glassell Min-Jeong Koh, Violin Anne Harrington and Charles Hall • Hiedi Heard • Bridget Jensen Sharon Ley and Bob Lietzow • Lisa and Rex Wooldridge Suzanne and David Kerr • Kathleen Campbell Laws Vicki Lovin • Suzanne Lyons • Sally and Charles McCollum Amy Thiaville, Violin Jane McCord • Alice and Frank McWilliams • Melissa McWilliams Janice and Barrett Green • Lucy and Vic Kormeier Margaret C. Pack • Fairfax and Risher Randall Mary Reed, Violin Fran Sampson Riepe and Chuck Riepe • Barbara and Keith Short Leslye and David Weaver Sherry and Jim R. Smith • Don P. Speers • Barbara Spell Binky and John Strom • Carol and Garvin Stryker Suzanne LeFevre, Viola Mimi McGehee Virginia and Gage Van Horn

Courtenay Vandiver Pereira, Cello ROCO Brass Quintet Consortium Sue Schaefer and David Bellamy Rebecca Upchurch Cynthia and Pete Dempsey Sandra and Kenneth McClain George Chase, Trumpet Sunny and Steve McKinnon Sandra and Kenneth McClain • Vivie and Chris O’Sullivan Jennifer Weston ROWBC Consortium Spring Hill, Oboe/English Horn Josephine Firat • Ann Goldstein Marcia and Michael Feldman Laura McWilliams • Susan Morrison

30 31 Annual Support Commissioning Consortium FOUNDATIONS forte Aaron Copland Fund for Music Ty R. Ashford and J. Nicholas Jitkoff* Albert and Margaret Alkek Foundation Fran Sampson Riepe and Chuck Riepe Albert and Ethel Herzstein Charitable Foundation Alice M. Ditson Fund • Amazon Smile Foundation mezzo-forte Amphion Foundation • Betty Jane Seydler Foundation Bowen Foundation • Jaena and Andrew Coit* • Lori and Joseph Flowers* Brown Foundation, Inc. • Crain Foundation Jane B. Wagner and Family • Barbara Burger Cullen Trust for the Performing Arts Denman-Newman Foundation mezzo-piano George and Mary Josephine Hamman Foundation Erin Tsai and Daniel Allison* • Barbara and James Cauble Greater Houston Community Foundation Joanna and Patrick Cannizzaro • Mike Muña and Marcus Maroney* Hildebrand Foundation • H. Fort Flowers Foundation Patti Lennon and Bruce Potter* • Susanne and Diderico van Eyl* Houston Endowment Inc. • Humphrey’s Foundation piano Jack and Annis Bowen Foundation • Powell Foundation Strake Foundation • W.T. and Louise J. Moran Foundation Jim Crump • Kate and Malcolm Hawk • Alecia and Larry Lawyer* Wortham Foundation Mimi Lloyd • Sandra and Kenneth McClain* Sarah and Doug McMurrey • Greta and Jeremy Rimpo* CORPORATIONS Jo Dee and Cliff Wright* AIG Your Cause • Alta Arts • Allan Edwards Builders Inc. Chevron • Enterprise Products Company, Inc. additional support EOG Resources • ExxonMobil • Frost Bank Amy Gibbs • Drew Helmer and Salil Deshpande • Ravneet Nagi Greenwood King Properties • Nancy Littlejohn Fine Art Brian McColloch and Jeremy Garcia Occidental • Shell Foundation Matching • Speedy Printing The Church of St. John the Divine The Cynthia Woods Mitchell Pavilionn *Founding Member 32 33 GOVERNMENT Terri and Steve Golas • Clare Glassell City of Houston Kathleen and Martyn Goossen • Trish and Gary Greaser Houston Arts Alliance Jeannie and Kenneth Griffin • Eileen Hairel Texas Commission on the Arts Anne and Brett Hamilton • Carla and David Hammock INDIVIDUALS Margaret Hansen • Anna and Dave Harris Mert and Wade Adams • Ann Ayre • Aintre and Bob Antonoff Christine Heggeseth • Kathleen Heinz Diane R. and Burt Bailey • Sue Schaefer and David Bellamy Marj and Don Helmer • Ann Hendrix • Jason Herbst Derek Bermel • Chantale Bernatchez • Leslie and Jack Blanton Dorene and Frank Herzog • Doug Hillegeist • Hank Hilliard Kimberly and José Antonio Bowen • Annie and David Brady Raycene and Bob Hilsher • Kathleen Hilterman Robert Briggs • Catherine and Michael Brock Becky Houston • Ruth Hollyer • Juliet Hsu • Jill Jewett James Bulger and Phyliss Troxell • Esther and Mark Buller Erika and Don Johnson • Yigal Kass • Patricia King Anne Bushman • Linda Jo Butterfield • Dean and Clinton Bybee Ann and Howard Kiecke • Min-Jeong Koh • Anita Kruse Christina Carroll • Betty Chapman • George Chandler Chase Tina Lee and Joel Smith • Steward Legacy Fund Mary and Robert Chase • Mei-Ann Chen Jill and Clay Lein • Kristen and Matthew Loden Reagan and Stephanie Cocke • Betty Cody • Candi Ann Clement Susanne Lyons • Jane and David Malin • Nancy Mathé Harry Davidow and Lucy Collins • Linda and Michael Condit Franklin Mayo • Aileen Mason • Sandra and Kenneth McClain Martha Craig • Jim Cross • Mary McBeth and Jim Crump Jane McCord • Flo McGee and Wade Upton Jill Cude • Claire and John Curtin Tevia and Chris McLaren Christina Jennings and Matt Dane • Sandra Dillon Benjamin Holloway and Amanda McMillian Judith Dines • Jeff Dixon • Pat Derhovsepian Cora Bess Meyer • Ginni and Richard Mithoff Frank Dumanoir • Sue and Ralph Egizi • Margaret Ehrlich Candice and Christopher Nevins • Michael Newton Kelly Epstein • Andrea and Max Evans James Nutter • Elaine and Richard Oblath • John Parkerson Julia and Robert Fleming • Rachel and Bud Frazier Lynn Pennington • Dereth Phillips Aloysia Friedmann and Jon Kimura Parker • Janet Frost Kathy and Frederick Plaeger • Carol and Dan Price Isabelle Ganz • Gary Gee • Chistianne Gell • Jason Gerraughty Janet Priest and Gregory Ludlow • Pamela Radford Amy Gibbs • Owen Gibbs • Pin Oaks Care Givers Susan and Randy Raimond • Fairfax and Richer Randall

34 35 John Randolph • Shelley and Jim Rice • Gavin Riepe Anne and Joe Romano • Edson Rosenberg • Allison Ross Catherine Ross • Nicola Rothkop • Barbara and Carl Rountree The Rydberg Family • Fran Sampson and Chuck Riepe Gregory Sandow • Lea Sanford • Schwab Charitable Fund Mary Schneidau • Mary Margaret and Russell Schulze Evan Schumacher • Donna Scott and Mitch Glassman Bryan Scrivner • Sandra Scurria • Kathy and Ed Segner Kerry Lynch and Dean Slocum • John Slaby • Charis Smith Paul Kevin Smith • Mary and Robert Snell • Sharon Snowden Suzanne LeFevre and David Spath • Lois and George Stark Sharon Wei and Scott St. John • Susan Steinhardt Lail Storch Friedmann • Jennifer and David Strauss Binky and John Strom • Jamie and Howard Strong You have a lifelong commitment Richard Brown and Laura Sulak • Sam Touchet to your health. So do we. Ileana and Michael Treviño • Danica and Jim Tyler Baylor Medicine Stratos Integrated Health is a new vision for primary care. As a member, your Karen Tyrell • Elliott Valentine • Sherrilyn Van Dyke healthcare is informed by a more personal and long-term relationship with your Baylor Stratos physician and strengthened by a seamless connection to the Baylor Medicine network. Virginia and Gage Van Horn • Leslye and David Weaver Available same- or next-day appointments Private, state-of-the-art clinic Olena Weaver • Diane and Jack Webb Increased access to your own personal 24/7 access for any health questions Michael Webster and Leone Buyse • Jane Ann and Jasper Welch primary-care doctor

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