Edition 2 | 2019-2020

CORPUS CHRISTI SYMPHONY GENERAL INFORMATION

TICKET OFFICE/CONTACT INFORMATION PAGERS/WATCHES/CELLULAR PHONES Address: 555 N. Carancahua, Tower II, Patrons are asked to ensure that all electronic Suite 410, Corpus Christi, TX 78401 devices are turned off prior to a performance. Hourly signals on electronic watches should be Office hours: 9am to 5pm – Monday through disabled prior to the performance as well. Friday. On concert Saturdays, the Ticket Office is open from Noon to 4 pm. SMOKING Smoking is not permitted inside any CCSO The Box Office at the Performing Arts Center concert venue. opens 90 minutes prior to concert start time. CAMERAS/RECORDING Telephone: 361.883.NOTE (6683) Cameras and recording equipment Email: [email protected] are prohibited. Website: ccsymphony.org PROGRAM BOOK ADVERTISING LATECOMERS Program book advertising is sold by the season. Latecomers will be seated by an usher during Limited space is also available per concert. an appropriate pause in the music at the For rates and information, call the Symphony discretion of the CCSO management. Office at361.882.2717 .

STUDENT DISCOUNTS DONATE YOUR TICKETS Discount tickets for subscription concerts are Can’t make it to the next concert? Donate available to anyone with student identification. your tickets to the CCSO for a tax deduction. Seating is limited and sold on a first come, first Your thoughtfulness will also give other patrons served basis. the opportunity to attend a performance that might otherwise be sold out. Call 361.883.NOTE EMERGENCY SITUATIONS by 5 p.m. on the day of the concert, or sooner In the event of fire, please use the exit nearest if possible. your seat indicated by a lighted exit sign. In the event of inclement weather, please remain in CORPORATE SPONSORSHIPS the Performing Arts Center for further information Please support our generous sponsors and and instructions. advertiserswith your patronage. If you are interested in finding out about corporate sponsorship opportunities, please contact the CCSO office at 882.2717. Corporate sponsors are recognized in the center section of the program book.

CORPUS CHRISTI SYMPHONY ORCHESTRA | 3

MESSAGE FROM THE PRESIDENT Dear Symphony Family and Friends, It is my pleasure to welcome you to the Corpus Christi Symphony Orchestra’s 74th season, our most entertaining and engaging one yet! The 2019–2020 season features world- renowned artists and gifted young musicians, the super stars of the future. You’ll experience a wide variety of music, as well as bonus educational and musical events for you and your family to enjoy. In addition to our venerable subscription concert series, we will present a children’s holiday matinee, planned especially for families, and we will greatly broaden the scope of our community outreach. Our ever-popular Pops in the Park has a few innovative surprises for you, too! If you are not already a member of our CCSO family, please consider this your personal invitation to join us. We are a diverse group of music lovers determined to ensure that the CCSO continues to bring performances and educational programs of the highest caliber to the Coastal Bend. Our Symphony Society offers you an effortless (and much appreciated) way to become a part of our family. As a Society member, you will join your friends and our patrons to enjoy such exclusive benefits as invitations to private events, premium ticketing renewal, reserved parking, and complimentary drink vouchers—all while supporting the CCSO. We are extremely grateful to our CCSO family, especially our musicians, our generous donors, our grantors, our subscribers, our personal and corporate sponsors, and our Society family. We couldn’t accomplish our musical mission without you. Again, thank you. Now—sit back, relax, and “See it Live!”

Barbara Ostarch President

CORPUS CHRISTI SYMPHONY ORCHESTRA | 5 6 | CORPUS CHRISTI SYMPHONY ORCHESTRA MESSAGE FROM THE EXECUTIVE DIRECTOR

Welcome to 74th season of the Corpus Christi Symphony. This is my third season with the CCSO and I am very excited about this season’s programming. Our guest artists come from Texas and from major concert halls around the world. Among our goals for the 19–20 season is to expand our presence in the community, particularly in the area of music education. Our chamber ensembles will be visiting area schools, hospitals and retirement communities throughout the season. Thank you for 74 seasons of support. We look forward to many more Saturday nights on the Bay sharing music and friendship. Always the best,

Dr. Mark L. Francis Executive Director

CORPUS CHRISTI SYMPHONY ORCHESTRA | 7 8 | CORPUS CHRISTI SYMPHONY ORCHESTRA MESSAGE FROM THE MUSIC DIRECTOR Dear friends: There is nothing more exciting than a LIVE musical performance. If you add to it artists such as the Texas Tenors, the Texas Guitar Quartet, opera star Arturo Chacon, two sensational pianists, a spectacular Holiday concert and your very own Corpus Christi symphony…well…you have it all! Whether you are a new subscriber or a longtime patron, these are concerts that will thrill you and make you love music even more. Thank you for your continued support. Your presence will make this season an amazing musical experience and yes…let’s SEE IT LIVE!!!!! Musically yours,

Hector Guzman, music director Corpus Christi symphony orchestra

CORPUS CHRISTI SYMPHONY ORCHESTRA | 9 BIOGRAPHY HECTOR GUZMAN, MUSIC DIRECTOR

A recipient of the 2012 “For the Love of Art” Lifetime Achievement Award, the 2012 “Man of the Year” award by New York based Madison’s Who is Who, and the 2014 Sigma Alpha Iota International Music Fraternity’s National Arts Associate award, Maestro Hector Guzman is Music Director of the Plano Symphony Orchestra, the Irving Symphony and the San Angelo Symphony in the United States. In 2004, he was declared winner of the “Seven Conductors-One Baton” International Conducting competition and appointed Music Director of the Jalisco Philharmonic in Mexico. Since 2010 and for the first time in its history, the Jalisco Philharmonic named him “Conductor Emeritus.”

As a guest conductor, Maestro Guzman has appeared with all of Mexico’s most prestigious orchestras: National Symphony, State of Mexico symphony, UNAM Philharmonic, Xalapa symphony, Bellas Artes chamber orchestra, Mexico City Philharmonic, Vivaldi orchestra of Mexico City and many others, as well as the San Antonio, Dallas, Wheeling and Phoenix symphonies and the Chicago Sinfonietta in the United States, the National Symphony of the Dominican Republic, the Collegium Orchestra of Prague in the Czech Republic, the Rszezow Philharmonic in Poland, the Japan Philharmonic, the Masan Philharmonic and the Gangsam Symphony in South Korea, Italy’s Amadeus orchestra, Sinfonia Venetto, Milano Classica orchestra, Bari Symphony, San Remo Symphony, Pomeriggi Musicali orchestra of Milan and the Sinfonica de Murcia, Joven Orquesta de la Comunidad de Madrid and the Excelentia Orchestra in Spain. He made his operatic debut in 2005 with Rossini’s Barber of Seville and his performance of the opera Frida in 2007, was considered the “best opera of the year” by the Mexican press. He has also appeared as soloist and recitalist in venues such as the Meyerson Symphony Hall in Dallas, the Spivey Hall Distinguished Artist Series in Atlanta, Olivet Nazarene University recital series, the cathedrals of Morelia, Guadalajara, Chartres, and the 2015 International Music Festival in Toledo, Spain.

10 | CORPUS CHRISTI SYMPHONY ORCHESTRA In his native Mexico, Hector Guzman achieved an impressive reputation as an organist studying with Victor Urban, by taking first prize in the “Chamber Soloists” competition and the “Manuel Ponce” national organ competition. In the United States, while a student of world famous master teachers Alfred Mouledous and Robert Anderson, he earned further distinction by winning solo competitions at Southern Methodist University and the University of North Texas. In 1978, he gained world acclaim when he became the first Latin-American ever chosen as a finalist in France’s “Grand Prix de Chartres”—the world’s most prestigious international organ competition.

Mr. Guzman holds degrees from the Conservatory of Music in Mexico City, the University of North Texas and Southern Methodist University and has studied with many illustrious conductors including his mentor Anshel Brusilow, and well as Helmuth Rilling and Carlo Maria Giulini at the Accademia Musicale Chigiana in Siena, Italy. For several years, he was a protégé of the late Maestro Eduardo Mata, Conductor Emeritus of the Dallas Symphony Orchestra.

In demand internationally as a conductor and recitalist, Maestro Guzman was accorded the “Outstanding National Young Artist” award from the government of Mexico, the “Golden Lyre” award, given by the Mexican Union of Musicians, the “Meadows” award from SMU, the DeVry Institute’s “Director Par Excellence” award and in 2000, he was included in the Outstanding Musicians of the XX Century magazine, published by the International Biographical Centre in Cambridge, England.

In 2004 he received the “Silver Good Citizenship Medal” from the Sons of the American Revolution for his outstanding contributions to the arts. The 2005 “Artistic Merit Medal” was awarded to Maestro Guzman by the Government of the State of Mexico for his contributions to music world-wide and was also the recipient of the 2006 “Artistic Silver Medal” awarded by the government of his native state, Zacatecas, Mexico. In 2008, he was the recipient of the Mozart Medal, the highest musical honor in Mexico, awarded by the Embassy of Austria and the Mozart Academy in Mexico City.

The Corpus Christi Symphony Society Gratefully Acknowledges the Generous and Accumulative Support of its Official Sponsors, Partners, Society Members, and Pops in the Park Sponsors (as of January 15, 2019). $25,000+ $3,000-$4,999 $500-$1,499 FOUNDATION AND GOVERNMENT CORPORATE FOUNDATION AND GOVERNMENT Coastal Bend Community Foundation Beeville Concert Association, Inc.* The Larry & Pat McNeil Foundation HEB Tournament of Champions Exxon Mobil Corporation CORPORATE IndustrialQUIP LLC* CORPORATE The Exchange* Wood, Boykin & Wolter* AEP Texas* Frazer Construction Company* INDIVIDUALS Gill Garden Center + Landscape Co.* $10,000-$24,999 Charlene and John Chesshir* Harrison’s Landing* Patrick and Kathleen Horne* Richter Architects* FOUNDATION AND GOVERNMENT St. Rep. Todd Hunter* Southern Landscapes* LaVerne and Thomas Howell Foundation Symphony Guild of Corpus Christi, Inc. * Dr. & Mrs. Hugh Kennedy Foundation Texas Commission on the Arts $1,500-2,999 INDIVIDUALS FOUNDATION AND GOVERNMENT Ms. Dorothy N. Adair* CORPORATE Warren Foundation Dr. Javier Alonso & Ms. Michelle Bauer* American Bank Phyllis C. Allen Citgo CORPORATE Ms. Carolyn Baker* Navy Army Community Credit Union CHRISTUS Spohn Hospital* Jane and Phillip Bell Cocker Moving and Storage* INDIVIDUALS Randy and Dawn Bissell Joe R. Nemec & Company* Louise G. Chapman Edwin and Peggy Bomer Kleberg Bank Tom and Diane Gates* Mike and Cindy Boudloche LNV Engineering, Inc.* Mr. & Mrs. Phillip M. Plant* Jennifer Bowen* Symphony Guild of Corpus Christi* Gene and Ellen Seaman Dr. & Mrs. Fred Brackett Turner Ramirez Architects* Roger and Sandra TenNapel* Patsy and Garnett Brooks* Karen & Larry Urban INDIVIDUALS Charles and Gayle Doraine* John and Myriam Bell* Alta Exxex* $5,000-$9,999 Becky and Marty Davis* lucinda j. garcia Ann and David Engel* Dr. Mary Jane Garza* CORPORATE Dr. Robert & Mrs. Gloria Furgason* James Gold and Barbara Shurte First Community Bank* Samantha and Dos Gates* Cherry and Hix Green* Flint Hills Resources Dr. and Mrs. John Gay Ms. Cathy Harrison* Merrill Lynch* Maestro Hector Guzman & Mr. and Mrs. Mike Hughes* PORT CORPUS CHRISTI Daisy Piantini* Harold and Karen Kane* San Jacinto Title* Mr. Robert & Dr. Mary Jane Hamilton Dr. & Mrs. Paul Kennedy* Texas A&M University-Corpus Christi Ms. Kathy Haynes* Drs. Lynn and Burton Kittay* voestalpine Mr. & Mrs. Melvyn Klein* Mel Klein Interests Wells Fargo* Ms. Carroll P. Matthews* Roger and Jan Lawrence INDIVIDUALS Dr. & Mrs. Fred McCurdy* Phyllis Lewis Dr. Charles & Mary M. Campbell* Mrs. James M. Motes, Jr. Mary Ann and John McGregor* Mr. & Mrs. Philip Denniston* Barbara and Gerald Ostarch* Dr. Michael & Mrs. Laurie Mintz* Mr. & Mrs. Hugh Dobson* Rabbi Kenneth & Phyllis Roseman Dr. J. Mark & Mrs. Patti Morales* Ken and Amanda Kellar* Richard and Manette Scanio* Robert & Kim Ortiz Patty & Henry Nuss Judge and Mrs. Richard Schmidt* Judge and Mrs. Robert C. Pate Mr. Phil Plant* Mr. and Mrs. Morgan Spear Kathy and Richard Porter* Mrs. Ella Prichard* Steven J. Tillinger Mary Dale Peterson* Mrs. Celika Storm* Patsy Winn Toby Shor* Joyce Zarsky Mr. & Mrs. Harry Morgan Spear III* Dee and Ted Stephens*

18 | CORPUS CHRISTI SYMPHONY ORCHESTRA CORPUS CHRISTI SYMPHONY ANNUAL GIVING

Steven and Kimberly Stockseth* Ms. Bernadette Hardcastle* HONORARIUMS, Mr. Neill Taylor* Kim & Randy Hill* MEMORIALS & BEQUESTS Debi and Gordon Welch, Jr.* Sharron Hines Glenda and George Worthley* Gary Jeffress and Rhonda Bergey IN HONOR OF LEISA AHMUTY Don and Lu Ann Kingsbury Dr. Jessi LaPointe $250-$499 Dr. and Mrs. Herbert E. Madalin IN HONOR OF James Mallette, Jr. * FOUNDATION AND GOVERNMENT MS. LOUISE CHAPMAN Mike and Janet Miller TAMUCC Warren Foundation Gene and Ellen Seaman Jim and Beverly Naismith* INDIVIDUALS Dr. and Mrs. Blake O’Lavin IN HONOR OF Susan Dougherty Dolores Perrine DIANE AND TOM GATES Sam and Rhonda Ganz Mr. Earl Pixley* Gene and Ellen Seaman Mitty Hayek Julie Rogers IN HONOR OF Delbert and Hedy Hooper Mr. & Mrs. John Scarpa* DR. MARY JANE HAMILTON Ms. Bonnie Heinz* Mr. and Mrs. Michael B. Schmidt Gene and Ellen Seaman Dr. William Huie & Ms. Melissa Haddad Roberta Sewell* Susan Hutchinson* Dr. & Mrs. Randall Simonsen IN HONOR OF Dr. and Mrs. Richard Ingraham Drs. Diana and Dan Sipes PATTY AND HANK NUSS Brad and Jane Kisner- Joan Spradley Gene and Ellen Seaman Sammy Logsdon* Mrs. Deenie Roper Tillman IN HONOR OF Bill and Marybeth Maxwell Dr. and Mrs. Neal VanZante SANDRA AND ROGER TENNAPEL Richard and Sandra Messbarger Kathleen White* Gene and Ellen Seaman Ms. Donna Shurley & Betty Whitt* Mr. George Munroe Joyce and Norman Wilcox* IN HONOR OF KAREN URBAN Alan J. Stoner* Gloria Hicks HOTEL SPONSOR Mr. and Mrs. Kent and Veerle Ullberg Holiday Inn Downtown Marina IN MEMORY OF Jim and Sylvia Whitworth PATRINA BEHRMANN Dr. Bruce Wilson & Michael O’Hare HOUSING HOST Dr. Mark Francis Rabbi Kenneth and Phyllis Roseman $100-$249 IN MEMORY OF EQUIPMENT MOVING SPONSOR ROBERT H. COOPER INDIVIDUALS Crocker Moving and Storage Dr. James Cooper DDS Nelwyn B. Anderson* CORPORATE SPONSOR Honorable Susan E. Barclay* IN MEMORY OF EVELYN M. CUIPER ERF Tower II, Inc. Jane R. Bachman Barbara and Jerry Ostarch Ed Rachal Foundation Philip L. Boehk* IN MEMORY OF Mrs. Kapka Charlebois* TELEVISION SPONSOR CLARA AND DICK DAVY Dr. Susan Comer* KRIS Communications Dr. and Mrs. Robert Cone Dr. & Mrs. Robert Cone* MEDIA SPONSORS Peggy and José M. Duran, M.D IN MEMORY OF ELIZABETH NESBIT iHeart Media Dottie Ewing Barbara and Jerry Ostarch KEDT South Texas Public Broadcasting Mrs. Marlis Frank KLUX “Good Company” IN MEMORY OF Mr. & Mrs. G. Rudy Garza* MAYME ALICE PECK Dr. Robert & Tammy Gates* SEASON PARTNERS Diane P. Peters Mr. Lowell Gaut* AEP Texas *New or Increase Gift Dr.Everett & Mrs. Marie Gayle* The Blossom Shop Dr. Mary Gleason The Piano Gallery Names listed have made gifts Mary D. Goldston Molly Pierce Design between April 1, 2019 and Ms. Nancy Goodman Eddie Seal Photography January 17, 2020. Every effort was Mr. Gregory Gowan* PERFORMANCE PARTNER made to include all donors. We regret Mr. & Mrs. Van Greene Texas A&M University-Corpus Christi any error or omission that may have Mr. Michael Hampf* occurred in this listing.

CORPUS CHRISTI SYMPHONY ORCHESTRA | 19 20 | CORPUS CHRISTI SYMPHONY ORCHESTRA CORPUS CHRISTI SYMPHONY ORCHESTRA | 21 22 | CORPUS CHRISTI SYMPHONY ORCHESTRA

SAT., FEBRUARY 8 AN AMERICAN RHAPSODY 7:30PM TEXAS A&M UNIVERSITY-CORPUS CHRISTI PERFORMING ARTS CENTER

Hector Guzmán, music director James Tien, guest artist

G. Gershwin/Bennett Suite from Porgy and Bess Clara A Woman is a Sometimes Thing I Got Plenty of Nuttin’ Bess, You is My Woman Oh, I Can’t Sit Down There’s a Boat Dat’s Leavin’ Soon For New York It Ain’t Necessarily So Lord I’m On My Way

G. Gershwin Rhapsody in Blue

INTERMISSION

A. Dvorak Symphony No. 9 (from The New World ) I. Adagio – Allegro Molto II. Largo III. Scherzo IV. Finale: Allegro con Fuoco

24 | CORPUS CHRISTI SYMPHONY ORCHESTRA GUEST ARTIST

James Chung Yue Tien James Chung Yue Tien was born in Hong Kong in 2005. He expressed an interest in piano after attending a concert at age 3 and soon began playing piano in a local workshop. At age 4 he started learning piano with Dr. Helen Hoi Lun Cha. James made his concert debut at Hong Kong Citibank Plaza when he was 8. After attending the SMU Institute for Young Pianists in 2014, James decided to move to Dallas to continue his piano studies with Dr. Catharine Lysinger as a student in the SMU Piano Preparatory Department.

In February 2015, James was awarded medal at the IKOF Concerto Division with 1st place in the Dallas Symphonic Festival, no age limit. James was again awarded the Elementary II Concerto Division. In February Linda Leirfallom Brewer Award for the Best 2016, James won 1st prize in the Dallas Performance of Chopin. Symphonic Festival, Elementary II Sonata Division. A month earlier, James won one of Since March 2018 James has been travelling the Grand Prizes at the 2016 Collin County weekly from Edmond, Oklahoma, to study Young Artist Competition. As a Grand Prize piano with Dr. Pamela Mia Paul of UNT in winner, James played Chopin Concerto in Texas. In May 2019 James attended the E minor on March 19, with Plano Symphony Cliburn Junior International Competition in Orchestra at the Eisemann Center in Dallas. Dallas and became the youngest Quarter Finalist in the competition. In July 2016, James won 1st place, Solo Level A, in the International Keyboard James is currently an 8th grader at the Odyssiad Festival & Competition (IKOF) at Heritage Hall Middle School in Oklahoma City. Fort Collins, Colorado. In addition, James was He loves the beautiful weather in Oklahoma. also awarded the Linda Leirfallom Brewer Besides practicing piano, he enjoys bicycling, Award for the Best Performance of Chopin. jogging, swimming, reading, and singing in In August 2017, James won the bronze the choir.

CORPUS CHRISTI SYMPHONY ORCHESTRA | 25 PROGRAM NOTES

Suite from Porgy and Bess Porgy and Bess, and it should be, but it is Instrumentation: 2 flutes, 2 oboes, English also worth considering how slow the ivory horn, 2 clarinets, bass clarinet, 2 bassoons, towers of American society were to allow 4 horns, 3 trumpets, 3 trombones, tuba, that tough question to face our full scrutiny. timpani, percussion, harp, saxophones, strings. The Metropolitan Opera, the tallest of those towers, did not present a black artist until Duration: 15 minutes. 1955 and Gershwin’s masterpiece would not grace that venerable stage until 1985! THE COMPOSER – GEORGE GERSHWIN European houses, perhaps not surprisingly, (1898-1937) – Gershwin read DuBose were more eager to embrace the project in Heyward’s novel Porgy in 1926 and the intervening years, but those productions immediately recognized its potential for were often riddled with racially egregious musical stage drama. His previous bid to practices and did little to confirm the work’s blend the idiomatic worlds of serious and relevance. A (mostly) more enlightened popular music in an opera setting had not world greets this wonderful music today. been successful, but Blue Monday’s lack of Porgy and Bess is among the most public traction did not dissuade him for long. frequently performed operas annually and, It would be another nine years, however, perhaps more importantly, is easily the most before Gershwin would get the chance to regularly excerpted. Gershwin’s bespoke make the new dream a reality. ‘folk’ songs are as timeless as they were THE HISTORY – Gershwin and Heyward timely and have become essential listening visited the author’s home city of Charleston, for anyone interested in exploring the South Carolina in 1934 so the composer American vernacular. could soak up some southern culture and THE WORLD – Alcoholics Anonymous experience the life rhythms that influenced was founded in 1935. That same year, the novel. He got to work on the score the Nuremburg Laws went into effect in for his ‘folk opera’ right away. Heyward Germany, T. E. Lawrence (Lawrence of adapted the libretto himself and Gershwin’s Arabia) died in England and the Vuelta a brother Ira contributed invaluable lyrical España bike race was held for the first time. brilliance. Between the three of them, they created an American landmark. The 1935 Rhapsody in Blue premiere in Boston featured an all-black Instrumentation: 2 flutes, 2 oboes, 2 clarinets, cast, an audacious choice for the time that bass clarinet, 2 bassoons, 3 horns, forced the country to confront some its 3 trumpets, 3 trombones, tuba, timpani, long-held prejudices. The issue of cultural percussion, saxophones, strings. appropriation is constant companion for Duration: 16 minutes.

26 | CORPUS CHRISTI SYMPHONY ORCHESTRA PROGRAM NOTES

THE COMPOSER – GEORGE GERSHWIN work in his head before ever picking up the (1898-1937) – From the earliest days of pen. In his own words, “It was on a train… his life as a musician, Gershwin wanted to that I suddenly heard – and even saw on make his mark as a ‘serious’ composer. paper – the complete construction of the Sadly however, his first attempts to present Rhapsody in Blue, from beginning to end.” traditionally ‘classical’ music through the The fate of Blue Monday was not revisited, lens of contemporary innovation often failed and Rhapsody in Blue still stands among the to convince his audiences. Blue Monday greatest utterances in the artistic history of was conceived as a jazz opera in 1922 and, our country. though it was not a success for Gershwin, it did signal an important way forward for him. THE WORLD – Vladimir Lenin died in 1924. Also that year, MGM was founded in the THE HISTORY – Bandleader Paul Whiteman United States, George Mallory vanished was so excited by the revolutionary on Mount Everest, E. M. Forster published potential of the Blue Monday experiment A Passage to India and Greece proclaimed he commissioned Gershwin to compose a the Second Hellenic Republic. concert piece using the same conceptual ingredients. Gershwin was reluctant at first Symphony No. 9 in E Minor, op. 95 and perhaps a little gun shy after his opera (“From The New World”) did so poorly, but he didn’t say no, at least Instrumentation: piccolo, 2 flutes, 2 oboes, not loudly enough to keep Whiteman from English horn, 2 clarinets, 2 bassoons, 4 horns, advertising the collaboration later as part of 2 trumpets, 3 trombones, tuba, timpani, an American music program. It’s a good thing triangle, cymbals, strings. too, because Gershwin was reminded about Duration: 40 minutes in four movements. the commitment when he read it in the paper just like everyone else, one month before the THE COMPOSER – ANTONÍN DVOŘÁK premiere date in 1924. He was busy putting (1841-1904) – In 1891, Dvořák was offered the finishing touches on Sweet Little Devil a position at the National Conservatory of when he read the article and had either Music in New York. America was already been confused about the timing of the new greatly enamored of his music and the project or had completely forgotten about his Conservatory leaders were intensely conversation with Whiteman. The description interested in his nationalistic voice as of the unwritten work as a ‘jazz concerto’ an artist. In a country without its own was also a surprise to Gershwin, but it was established musical identity, his example an idea he came around to after the shock could have a powerful effect. Dvořák was wore off. Like Mozart, luckily, he seemed to fully aware of this hope and took the desires possess the gift of divining a fully formed of his hosts quite seriously.

CORPUS CHRISTI SYMPHONY ORCHESTRA | 27 PROGRAM NOTES

THE HISTORY – Two months after his arrival that he crafted them from scratch, using his in the States, Dvořák wrote to a friend. “The deep study of our indigenous melodies as Americans expect great things from me,” a guide. So natural were his distillations of he acknowledged, adding, “I am to show our heritage that, even today, this can be them a way into…the realm of a new, difficult to accept. The finest example of this independent art.” Hardly daunted, he felt effect comes from the Symphony’s famous inspired to succeed and immediately sought Largo movement and the music we now out samples of American folk idioms. Dvořák know familiarly as “Goin’ Home.” Though it is found a wealth of possibility in the spirituals easy to imagine this as a pre-existing Negro of the African-American tradition as well as Spiritual, one already present in America the culture of the continent’s Native people. for decades, the words to this distinctive He believed the future of American music tune were actually added later by William to be dependent on these two sources, Arms Fisher. Whatever the provenance of that they were a “product of the soil” and his source material, Dvořák gifted America that young composers should turn always with a masterpiece, one that delighted in to them if they wished to “express the true the charms of our nation and celebrated its sentiment of [their] people.” The heartfelt unique musical soul. Symphony No. 9 (1893) grew out of this fascination and created a representation THE WORLD – 1893 was the year of of the “New World” that hardly seemed the World’s Fair in Chicago, the first ever possible from the pen of a guest, even a vehicle license plates in Paris, the fall of the pen as talented as Dvořák’s. Many of the Hawaiian monarchy and the publication of themes in the symphony appeared to be Oscar Wilde’s controversial play Salome. folk quotations but Dvořák was insistent

28 | CORPUS CHRISTI SYMPHONY ORCHESTRA ORCHESTRA ROSTER

Corpus Christi Symphony Orchestra Hector Guzman, Music Director An American Rhapsody February 8, 2020 VIOLIN I CELLO HORN CORPUS CHRISTI *Elisabeth Adkins *Susan Sturman *Roger Simmons SYMPHONY Concertmaster Carrie Pierce Anthony Martin ADMINISTRATION Pablo Donatti Ying Zhang Karl Kemm Dr. Mark L. Francis, Steve McMillan Sarah Milnarich Wanda Avila Executive Director Associate Tido Jansen Joel Bright Madeline Schmidt, Concertmaster Phyllis Kline Director of Jose Flores Nancy Bandy TRUMPET Development & Sixto Elizondo Rex Spencer *Ron Ledbetter Marketing Elizabeth Frederick Mary Thornton Theresa Gayle, Helen Pat Karakas BASS Kyle Millsap Operations & Madea Guldedava *George Amorim Personnel Manager Bethany Raynes Jeff Swope TROMBONE Victoria N. Alaniz, Emily Madonia Diego Garza *Paul Hageman Office & Box Office Ryan Coppin Robert Burwell Ed Avila Manager Johnny Chang Roberto Ramon Oscar Diaz Joyce Flores, Isai Martinez Development VIOLIN II TUBA *Dan Sipes & Marketing *Nina Mavrinac FLUTE Coordinator Lynn Butler Bradford *Diana Sipes TIMPANI Molly Pierce Design, Nancy Reyes Jasmine Kienne *John Godoy Graphic Designer Eva Weber Diann Wylie, OBOE Steve Merson PERCUSSION Music Librarian Bruce Kanagaki *Stanley Chyi Katherine Hart *Victor Lara Dr. Dan T. Sipes, Terri Hammon James Young Audio Engineer & Oscar Dodier CLARINET Richard Rodgriguez University Consultant Claudia Ferguson *Ivan Petruzziello Freddy Galindo, Bethany Turriff Alan Olson HARP Stage Manager *Naomi Hoffmeyer VIOLA Julie Linder *Jennifer Clark BASSOON PIANO Stephanie Phillips *Michael Frederick *David Sutanto Jennifer A. Mark Rogers Carrie Howell ALTO SAXOPHONE Teresa Nguyen Thomas Zinninger Veronica Salinas Lopez Darryl Tolliver TENOR Sallie Juvenal SAXOPHONES Mark Saldivar Olivia De La Rosa

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32 | CORPUS CHRISTI SYMPHONY ORCHESTRA SAT., MARCH 14 DREAMS AND VISIONS 7:30PM TEXAS A&M UNIVERSITY-CORPUS CHRISTI PERFORMING ARTS CENTER

Hector Guzmán, music director Michael Brown, guest artist

M. de Falla La Vida Breve: Interlude & Dance

M. de Falla Nights in the Gardens of Spain I. En el Generalife II. Danza Lejona III. En los jardines de la Sierra de Cordoba

INTERMISSION

M. Mussorgsky/Ravel Pictures at an Exhibition I. Gnomus Promenade II. The Old Castle Promenade III. Tuileries IV. Bydlo Promenade V. Ballet of the Chicks in their Shells VI. Samuel Goldenburg and Schuyle VII. Limoges VIII. Catacombs Cum Mortuis in Lingua Mortua IX. The Hut on Fowl’s legs X. The Great Gate of Kiev

CORPUS CHRISTI SYMPHONY ORCHESTRA | 33 GUEST ARTIST

Winner of a 2018 Emerging Artist Award from Lincoln Center and a 2015 Avery Fisher Career Grant, Brown has recently performed as soloist with the Seattle Symphony, the National Philharmonic, and the Grand Rapids, North Carolina, New Haven, and Albany symphonies; and in recitals at Carnegie Hall, the Mostly Mozart Festival, and Caramoor. Brown is an artist of the Chamber Music Society of Lincoln Center, performing frequently at Alice Tully Hall and on tour. He was selected by András Schiff to perform on an international tour making solo debuts in Berlin, Milan, Florence, Zurich’s Tonhalle, and New York’s 92nd Street Y. He regularly performs recitals with his longtime duo partner, cellist Nicholas Canellakis, and Michael Brown has appeared at numerous festivals including Michael Brown has been hailed by Tanglewood, Marlboro, Music@Menlo, The New York Times as “one of the Gilmore, Ravinia, Saratoga, Bridgehampton, leading figures in the current renaissance Bard, Sedona, Moab, and Tippet Rise. of performer-composers.” His artistry is His Concerto for Piano and Strings will be shaped by his creative voice as a pianist premiered in 2020 at the Gilmore Festival and composer, praised for his “fearless and by the NFM Leopoldinum Orchestra in performances” (The New York Times) and Poland, with Brown as soloist. Brown was “exceptionally beautiful” compositions the Composer and Artist-in-Residence at (The Washington Post ).

34 | CORPUS CHRISTI SYMPHONY ORCHESTRA GUEST ARTIST the New Haven Symphony for the 2017-19 A Steinway Artist, Brown was First Prize winner seasons and the recipient of a 2018 Copland of the Concert Artists Guild Competition, a House Residency Award. He has received winner of the Bowers Residency (formerly commissions from the Gilmore Keyboard known as CMS Two) at the Chamber Music Festival, Concert Artists Guild, Shriver Hall, Society of Lincoln Center, and a recipient of the New Haven and Maryland symphony the Juilliard Petschek Award. He earned dual orchestras, and Osmo Vänskä; pianists Adam bachelor’s and master’s degrees in piano and Golka, Roman Rabinovich, Orion Weiss, and composition from The Juilliard School, where David Kaplan; and a consortium of gardens. he studied with pianists Jerome Lowenthal and Robert McDonald and composers He is a prolific recording artist whose Samuel Adler and Robert Beaser. Additional upcoming releases in 2020 include Ravel’s mentors have included András Schiff and Miroirs and Medtner’s Second Improvisation Richard Goode as well as his early teachers, with movements newly discovered by Herbert Rothgarber and Adam Kent. Brown. His discography with orchestra features Brown as soloist with the Seattle A native New Yorker, he lives there with Symphony and Ludovic Morlot, and with the his two 19th-century Steinway D’s, Octavia Brandenburg State Symphony in Samuel and Daria. Adler’s First Piano Concerto. Other albums include Mendelssohn and Beethoven on First Brown is represented worldwide by Hand Records; an all-George Perle CD; and New York-based Sciolino Artist Management. collaborative albums with pianist Jerome Lowenthal, cellist Nicholas Canellakis, and violinist Elena Urioste. He has plans to embark on a multi-year project to record the complete piano music of Felix Mendelssohn.

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La vida breve: Interlude & Dance opera is unusual for having nearly as much Instrumentation: 2 flutes, piccolo, 2 oboes, instrumental music as vocal: act 1, scene English horn, 2 clarinets, bass clarinet, 2 consists entirely of a short symphonic 2 bassoons, 4 horns, 2 trumpets, 3 trombones, poem (with distant voices) called Intermedio, tuba, timpani, percussion, 2 harps, depicting sunset in Granada; act 2, Scene 1 celesta, strings includes the above-referenced Danza and Interludio, with the latter ending the scene. THE COMPOSER – MANUEL DE FALLA (1876-1946) – When Falla fled Paris in 1914, Nights in the Gardens of Spain he brought much of his French life back to Instrumentation: 3 flutes (3rd doubles piccolo), Spain with him. In his artistic luggage was 2 oboes, English horn, 2 clarinets, 2 bassoons, certainly a general affinity for impressionistic 4 horns, 2 trumpets, 3 trombones, tuba, tone painting, but also an incomplete piano timpani, percussion, harp, celesta, strings. work his Parisian colleagues had been talking Duration: 23 minutes in three movements. about for years. That piece would eventually, and appropriately, belong to his homeland. THE HISTORY – Falla had begun sketching The same could not be said for the toupee out Nights in the Gardens of Spain as a he dropped in haste on the train platform. collection of solo piano nocturnes back in 1909 but, on the advice of pianist Ricardo La vida breve (Spanish THE HISTORY – Viñes, he shifted his focus to a set of Life is Short or The Brief Life) is an opera orchestral impressions with the piano serving in two acts and four scenes by Manuel de as guide. By the time he finished the project Falla to an original Spanish libretto by Carlos in late 2015, Falla had become Spain’s Fernández-Shaw. Local (Andalusian) dialect unofficial king of art music. Perhaps this is used. It was written between August 1904 ascension occurred somewhat by default, and March 1905, but not produced until what with the death Granados that very year, 1913. The first performance was given (in but Falla’s creative output would quickly a French translation by Paul Millet) at the prove the status apt. Falla had enjoyed Casino Municipal in Nice on 1 April 1913. success with his opera La vida breve before [1] Paris and Madrid performances followed, leaving France and it was that very positive later in 1913 and in 1914 respectively. reception that made his Parisian cohort Claude Debussy played a major role in so eager to hear the piano and orchestra influencing Falla to transform it from the piece he had been teasing so for so long. number opera it was at its Nice premiere Falla looked for an opportunity to mount a to an opera with a more continuous musical production of the opera in Madrid when he texture and more mature orchestration. This got there, delaying Nights even further, but revision was first heard at the Paris premiere he eventually completed the transformation at the Opéra-Comique in December 1913, of his simple nocturnes in time for a 1916 and is the standard version. premiere. The composer’s own words on the Only an hour long, the complete opera is music stated that “The themes employed seldom performed today, but its orchestral are based on the rhythms, modes and sections are, especially the act 2 music, ornamental figures which distinguish the published as Interlude and Dance. Indeed the popular music of Andalusia” and he also

36 | CORPUS CHRISTI SYMPHONY ORCHESTRA PROGRAM NOTES offered that “The music has no pretentions to badly. He was present the following year being descriptive; it is merely expressive. But when the Academy of Arts opened a something more than the sounds of festivals commemorative exhibition of Hartmann’s and dances has inspired these ‘evocations work. The sober experience of moving in sound,’ for melancholy and mystery have among his friend’s images inspired what their place also.” has become Mussorgsky’s most famous music. Pictures at an Exhibition began as THE WORLD – 1916 was the year of the a cycle of character pieces for piano, each Easter Rebellion in Ireland, the Battle of movement based on various Hartmann works the Somme in France, the killing of Rasputin and occasionally separated by “Promenades” in Russia and the publication of James that depict Mussorgsky’s progress through Joyce’s Portrait of the Artist as a Young Man. the gallery. The composer’s letter to mutual friend and exhibition organizer Pictures at an Exhibition Vladimir Stassov show the depth of feeling Instrumentation: 3 flutes (2nd and 3rd double that informed the music. “[O]ne cannot and piccolo), 3 oboes (3rd doubles English horn), must not be comforted,” he wrote, “there 2 clarinets, bass clarinet, 2 bassoons, can be and must be no consolation – contrabassoon, 4 horns, 3 trumpets, it is a rotten mortality!” But if not comfort, 3 trombones, tuba, alto saxophone, timpani, Mussorgsky certainly found much to fire his bass drum, xylophone, snare drum, tam-tam, creative imagination. He told Stassov that triangle, whip, ratchet, cymbals, glockenspiel, he was “ingesting” the sounds that “hung suspended cymbal, chimes, 2 harps, in the air” around their friend’s work and celesta, strings. that he could “scarcely manage to scribble Duration: 35 minutes in ten sections (played them down on paper” quickly enough. Sadly, without pause). Mussorgsky would not live to see his tribute presented in its now traditional orchestral THE COMPOSER – MODEST MUSSORGSKY robes. Though the 1891 premiere featured (1839–1881) – When Boris Godunov the arrangement of Mikhail Tushmalov, it is premiered with great success in 1874, Maurice Ravel’s utterly brilliant orchestration Mussorgsky seemed at the pinnacle of that we know best today. Serge Koussevitsky, his career. He was not, however, at his arguably the 20th Century’s most influential best personally. Mussorgsky was highly commissioner, hired Ravel in 1922 and sensitive to the critical reactions to Boris, performed his version that October with the which ran counter to those of the audience Boston Symphony. and included some particularly harsh words from his colleague Cesar Cui. Perhaps not THE WORLD – In 1874, Denmark granted surprisingly, signs of ill health and a return Iceland a constitution and limited home rule, to drinking also marked the period. Far From the Madding Crowd was published by English novelist Thomas Hardy and THE HISTORY – Russian architect and cartoonist Thomas Nast first symbolized the artist Victor Hartmann, a dear friend of American Republican Party with the image Mussorgsky, had passed away in 1873 of an elephant. and the composer took the loss very

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Corpus Christi Symphony Orchestra Hector Guzman, Music Director Dreams and Visions March 14, 2020

VIOLIN I CELLO HORN CORPUS CHRISTI *Elisabeth Adkins *Susan Sturman *Roger Simmons SYMPHONY Concertmaster Carrie Pierce Anthony Martin ADMINISTRATION Pablo Donatti Ying Zhang Karl Kemm Dr. Mark L. Francis, Steve McMillan Diego Rodriguez Wanda Avila Executive Director Associate Sarah Milnarich Joel Bright Madeline Schmidt, Concertmaster Phyllis Kline Director of Jose Flores Nancy Bandy TRUMPET Development & Sixto Elizondo Rex Spencer *Ron Ledbetter Marketing Helen Pat Karakas Mary Thornton Theresa Gayle, Emily Madonia BASS Kyle Millsap Operations & Kristen Mortenson *George Amorim Personnel Manager Elizabeth Frederick Andres Vela TROMBONE Victoria N. Alaniz, Madea Guldedava Jeff Swope *Paul Hageman Office & Box Office Bethany Raynes Robert Burwell Ed Avila Manager Johnny Chang Diego Garza Oscar Diaz Joyce Flores, John Hunter Development TUBA VIOLIN II & Marketing *Dan Sipes *Nina Mavrinac FLUTE Coordinator Lynn Butler Bradford *Diana Sipes TIMPANI Molly Pierce Design, Nancy Reyes Jasmine Kienne *John Godoy Graphic Designer Eva Weber Izumi Miyahara Diann Wiley, Bruce Kanagaki Music Librarian OBOE PERCUSSION Oscar Dodier Randy Fluman Dr. Dan T. Sipes, *Stanley Chyi Laura Caprez Victor Lara Audio Engineer & Serena Finnigan Terri Hammon Richard Rodgriguez University Consultant Claudia Ferguson CLARINET James Young Freddy Galindo, Juan Fiestas *Alan Olson Bob Clarke Stage Manager VIOLA Julie Linder James Warth HARP *Jennifer Clark *Naomi Hoffmeyer Melissa Melendez BASSOON Hope Cowan Stephanie Phillips *Michael Frederick Jennifer A. Scott Pool PIANO Carrie Howell *David Sutanto Mark Rogers Teresa Nguyen Shawn Sommerville Veronica Salinas Lopez

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CORPUS CHRISTI SYMPHONY ORCHESTRA | 45 46 | CORPUS CHRISTI SYMPHONY ORCHESTRA THE LEGACY FOREVER SOCIETY The Endowment of the Corpus Christi Symphony Orchestra*

WHAT IS IT? The Legacy Forever Society honors donors who preserve and pass on the CCSO’s promise through a gift that provides a reliable source of income to the symphony in perpetuity. We cordially invite you to join the Legacy Forever Society so that we may recognize your generosity and provide a point of pride for your children, grandchildren, and countless future generations. THE LEGACY FOREVER SOCIETY Donors whose generous contributions to the Legacy Forever Society result in annual income for the CCSO.

$1,000 – $4,999 annual income $5,000 – $9,999 annual income Jeff and Mary Bell Foundation Gene Seaman Family John O. and Louise G. Chapman Mr. Robert & Dr. Mary Jane Hamilton $10,000 – $20,000 annual income Patty and Henry Nuss

HERE’S’ HOW YOU CAN PARTICIPATE A planned charitable gift to the CCSO is an investment in our orchestra and a gift to future generations of your family. CASH CONTRIBUTIONS allow the donor to receive the tax benefits of a gift in the year they are made. Outright gifts of cash are the most direct and immediate way of helping the CCSO in this important undertaking. PLEDGES make up a majority of commitments made. These may be paid over as many as five or more years. Pledges are the most popular form of commitment as they allow donors to best manage their giving. SECURITIES Gifts of appreciated securities or other marketable assets are welcome. A gift of appreciated securities may provide significant tax advantages when compared to gifts of cash. REAL ESTATE or other property gifts are welcome but are subject to final acceptance by the CCSO board of directors. All costs of appraisal or valuation are at the donor’s expense. LIFE INSURANCE When the CCSO is named as sole and irrevocable owner and beneficiary of a life insurance policy, the market value (usually the cash surrender value) of the policy is deductible as a charitable gift. ESTATE GIFTS A bequest in a donor’s will serves as a lasting tribute to a person’s life and to the work of the CCSO.

CREATE A LEGACY – now and forever. *Administered by the Coastal Bend Community Foundation

CORPUS CHRISTI SYMPHONY ORCHESTRA | 47 48 | CORPUS CHRISTI SYMPHONY ORCHESTRA CORPUS CHRISTI SYMPHONY ORCHESTRA | 49 50 | CORPUS CHRISTI SYMPHONY ORCHESTRA PIANO CELEBRATION WEEK 2020 Texas A&M University-Corpus Christi Performing Arts Center Events Schedule

Friday 3:00 - 9:30 PM Piano Marathon Concert March 27

Saturday 11:30 AM - 9:30 PM Piano Marathon Concert March 28

Sunday 3:00 - 5:00 PM Piano Monster Concert Extravaganza March 29

Monday Senior Recital 7:30 - 9:00 PM March 30 Alexandra Flint

Tuesday Piano Duo Recital 7:30 - 9:00 PM March 31 Sangmi Lim & Dino Mulic

2:00 - 3:00 PM Discover YAMAHA Wednesday 3:00 - 5:00 PM YAMAHA RemoteLessonTM April 1 5:30 - 9:30 PM Piano Marathon Concert

Thursday Master Class 6:00 - 9:00 PM April 2 Edisher Savitski

Friday Piano Recital 7:30 - 9:00 PM April 3 Edisher Savitski

Sunday 10:00 AM - 4:00 PM Young Artists Series April 5

All events are free and open to the public. Email: [email protected] for more information.

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