WHAT’S INSIDE A MESSAGE FROM THE PRESIDENT | 3 A MESSAGE FROM THE EXECUTIVE DIRECTOR | 5 MEET OUR MUSIC DIRECTOR | 6 DEBUTANTE CLASS OF 2019 | 7

MISSION OF THE PLANO SYMPHONY It is the mission of our orchestra to inspire, educate, entertain and involve the children, youth and adults of our community in the enjoyment of great music.

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a message from THE PRESIDENT

On behalf of the Board of Directors of the Plano Symphony Orchestra, I would like to welcome you to this performance as we celebrate our 37th season. The PSO constantly strives to provide our patrons with excellent programs featuring both and Pops, and we believe that this year has set a new standard. With performing talents such as Sharon Isbin and Kenneth Broberg, classical works such as Gershwin’s Rhapsody in Blue and Ravel’s Bolero, and music presentations of all-time favorites ABBA and Queen, we think you’ll agree that this season is outstanding.

My wife Jan and I have been attending the PSO for the past 11 years. What started out as “Date Night” has evolved into a more personal relationship with the organization, as we’ve come to appreciate and enjoy the talents of our PSO musicians and staff, our wonderful Guild and Board, and the many others who volunteer their time and talents to help bring the enjoyment of music and music education to our North community. All help to fulfill our mission — to inspire, educate, and involve the children, youth, and adults of our community in the enjoyment of great music!

The PSO’s efforts go far beyond the performances that you’ll see as part of this subscription series. This year, our School Concert Program be providing 11 performances to over 14,000 4th and 5th Graders from most of the area’s Independent School Districts. Our PSO staff provides the curriculum necessary to help the students better understand and appreciate those performances. For many students, this will be their first introduction to the enjoyment of classical music. Participating schools also receive an on-campus visit from a PSO musician to introduce their instrument and concert repertoire, providing each student with an up-close and personal experience with music.

I would like to provide a special “Thank You” to our many contributors who help make all of our subscription and school concerts possible, plus much more. Whether it be our EncoreYouth music programs, our Healing Notes musical therapy visits to senior living facilities, or our many other community outreach programs, please know that your donations are very much appreciated and directly impact the programs we offer. All gifts of $250 receive two tickets to our School Concert Program, so you can come along and directly see how your donation benefits our area youth.

Thank you for your continued patronage, and to our many volunteers: Bravo!

Warmest regards, Craig Barber President, PSO Board of Directors

Plano Symphony | 2019-2020 3

a message from THE EXECUTIVE DIRECTOR

Dear Friends,

Music can be found everywhere in our world. Music gives us ways to express ourselves. Music helps us celebrate, it is something we share and, it culturally defines us. Every culture in the world has its own form of music that is enjoyed by all ages. Although each culture is different, music unifies all races, religions, and ages. Music, of course, is all about community!

I’m so proud of the work the Plano Symphony Orchestra accomplishes in our community. Whether it’s through our many classical or popular concerts or our varied music arts education programs, your orchestra has become an integral part of North Texas. What you may not know is that your PSO has developed award-winning, multi-dimensional education and community outreach programs. From “Healing Notes,” our music-therapy program for seniors and incarcerated youth, to our Salvation Army After School Program, we have seen first-hand the power of music to positively impact the lives of children, teens, and adults alike.

Of course, a crucial element of a professional orchestra is the artistry presented on stage. That’s why your PSO is widely acknowledged as one of the leading professional regional orchestras in the country. Led by our beloved music director Hector Guzman, your Symphony is comprised of the most highly accomplished musicians to be found anywhere in the country.

As you can see, I’m very proud of the PSO and all of its musicians, staff, Board of Directors, and volunteers who make our organization work each and every day. However, it also takes an engaged, supportive, and loyal audience of supporters like you, our many subscribers and individual ticket buyers. It also takes hundreds of individual donors, corporations, foundations and government entities to support our annual operations. Without YOU, your PSO would not exist. I know I speak for our entire organization when I offer my thanks for your continued support. I invite you to be an ambassador for the Plano Symphony Orchestra. Please tell your family, friends and acquaintances about the Plano Symphony and invite them to attend some of our performances and events. I am confident they will have a great time and want to become more involved with the Plano Symphony Orchestra family.

I hope you will enjoy our 2019-2020 season. If there is anything we can do to make your experience more enjoyable, please do not hesitate to reach out to us. We’re here for you!

Thank you again!

Warmly, Robert A. Reed Executive Director Plano Symphony Orchestra

Plano Symphony | 2019-2020 5 music DIRECTOR

Hector Guzman

Maestro Hector Guzman is regarded as one of the most respected and admired conductors in this country and abroad. His recent appointment as music director of the Corpus Christi Symphony Orchestra in May 2017 and his tenure as music director of the Plano Symphony, the Irving Symphony, the San Angelo Symphony, and as Conductor Emeritus of the Jalisco Philharmonic in Mexico, have placed him among the most important musical figures on the podium today. He has been a frequent guest conductor of an array of prestigious ensembles: Mexico: National Symphony, Mexico City Philharmonic, UNAM Philharmonic, Xalapa Symphony, Bellas Artes Chamber Orchestra, Vivaldi Orchestra of Mexico City, and State of Mexico Symphony. United States: Dallas Symphony, Symphony, Wheeling Symphony, Phoenix Symphony, and the Chicago Sinfonietta. Dominican Republic: National Symphony. Czech Republic: Collegium Orchestra of Prague. Poland: Rszezow Philharmonic. Japan: Japan Philharmonic. South Korea: Masan Philharmonic, and Gangsam Symphony. Italy: Amadeus Orchestra, Sinfonia Venetto, Milano Classica Orchestra, Bari Symphony, San Remo Symphony, and Pomeriggi Musicale Orchestra of Milan. Spain: Sinfónica de Murcia, Joven Orquesta de la Comunidad de Madrid, and Excelentia Orchestra. Panamá: National Symphony, among many others.

In addition to a spectacular career as a conductor, he continues to enjoy international success as a concert organist, performing in venues such as the Meyerson Symphony Hall in Dallas, the Spivey Hall Distinguished Artist Series in Atlanta, the Olivet Nazarene recital series in Illinois, the cathedrals of Morelia, Guadalajara (Mexico) and Chartres (France), and the International Music Festivals in Toledo, Spain and Zamora, Mexico.

Maestro Guzman holds degrees from: The Conservatory of Music in Mexico City, the University of North Texas (BM), and Southern Methodist University (MM). His teachers include his mentor Anshel Brusilow, former concertmaster of the Philadelphia Orchestra and former music director of the Dallas Symphony, as well as internationally renowned conductors Helmuth Rilling (University of Oregon) and Carlo Maria Giulini (Accademia Chigiana in Siena, Italy). He was also a protégé of the late Maestro , music director of the Dallas Symphony. In his native Mexico, Hector Guzman achieved an impressive reputation as an organist, under Prof. Victor Urban, by taking first prize in the “Chamber Soloists” and the “Manuel M. Ponce” national organ competitions. In the United States, while a student of world famous master teachers Dr. Robert Anderson and Alfred Mouledous, he earned further distinction by winning solo competitions at Southern Methodist University, the University of North Texas, and he was the first Latin-American ever chosen as a finalist in the “Grand Prix de Chartres,” the world’s most prestigious international organ competition celebrated in France. He is also the recipient of the “Mozart Medal,” Mexico’s highest musical honor, presented by the embassy of Austria and the Mozart Academy in Mexico City, as well as the 2012 “Lifetime Achievement Award” of North Texas, and the 2014 Sigma Alpha Iota National Arts Associate award.

6 Plano Symphony | 2019-2020 2019-2020 BOARD OF DIRECTORS

President Vice President Secretary Treasurer Craig Barber Mary Jo Cater Janie Orr Ed Coyle

Parliamentarian Erin Stewart

Linda Ballard Stephen Kyriakos Wanda Parker, P.E. Vicky Teherani Julianne Barnum William Langford Dr. Christopher Parr Lisa Traeger Marion Brockette Mirna Lynch Sheri Pixley Bill Tucker Rebeka Ecker Mike Mangum Carlos Rodriguez- Lauren Wood Ross Gillispie Brenda Mills Garcia Sue Wood Dr. Christine Hopkins Darlene Morford Gobriel Rusthoven Autumn Zank Marcia Nelson Jackson Dr. Betty Bell Muns Christina Ryan Hector Guzman Humera Kassem Shirley Ogden Melissa Sauvage Robert A. Reed Buzz Kolbe Polly Pardo Senter

executive STAFF

Robert A. Reed, Lisa Phillips, Isaiah McKee, Marc Jennings, Executive Director Director of Operations Creative Services Patron Services Greg Patterson, and Events Manager Manager Director of Kaitlin Einkauf, Linda Housewright, Douglas W. Kinzey, Development Finance Director Patron Services Director of Audience Gobriel Rusthoven, Specialist Engagement Debutante Luis Rodriguez, Dr. Jennifer Wheeler, Co-Director Music Librarian Director of Education Lisa Traeger, Debutante Director

Plano Symphony | 2019-2020 I II Plano Symphony | 2019-2020 tonight’s PROGRAMPROGRAM

PLANO SYMPHONY ORCHESTRA, HECTOR GUZMAN, music director Rhapsody in Blue

Kenneth Broberg, piano October 19, 2019 Eisemann Center

8:00pm PROGRAM

Rodrigo Loman (US premiere) (6’) Huateque for orchestra

M. Ravel (24’) Piano concerto in G Allegramente Adagio assai Presto Mr. Broberg

INTERMISSION

G. Gershwin (18’) Rhapsody in Blue for piano and orchestra

Mr. Broberg

G. Gershwin (18’) An American in Paris

Plano Symphony | 2019-2020 III guest ARTIST

KENNETH “a highly auspicious debut, marked by poise [and] BROBERG, PIANO technical brilliance” (Star Tribune). Other recent and upcoming highlights include his debut with the American pianist Kenny Kansas City Symphony Orchestra; residencies at the Broberg continues Montreal Symphony’s Festival Virée Classique, Rye to build a reputation Arts, Methow Chamber, Strings, and Sunriver Music for “blazing intellect, Festivals; recitals in Houston, Denver, Pittsburgh, impeccable technical Los Angeles, and Minneapolis; and tours of Japan, skills, and the ability Australia, and Italy. to build a strikingly imaginative and He has been featured on NPR, WQXR, APM’s intelligent program.” His fresh interpretations are Performance Today, MPR, and ABC (Australia) radio. complemented by a natural, honest stage presence Several of his performances at the 2016 Sydney and “an almost miraculous array of tone qualities” International Piano Competition were included on (Theater Jones). The Minneapolis native first came CDs released on the Universal Music Australia to international attention when he captured the label. His solo debut album was released in August silver medal at the 2017 Van Cliburn International 2017 on the Decca Gold label, featuring one of his Piano Competition with performances marked by signature pieces, the Barber Piano Sonata, as well “an imaginative shaping of themes, revelation of as works by Bach, Schubert, Chopin, and Franck. inner voices, and an unfailing sense of momentum” (Texas Classical Review). He followed this with The first musician in his family, Kenny started piano a bronze medal win at the 2019 International lessons at age 6, when he was first fascinated by his Tchaikovsky Competition, adding to his numerous mother’s upright—a wedding gift from her parents. competition prizes at the Hastings, Sydney, Seattle, He studied for nine years with Dr. Joseph Zins before and New Orleans International Piano Competitions. entering th University of Houston’s Moores School of Music, where he earned a Bachelor of Music degree Kenny has appeared with the Royal Philharmonic, with Nancy Weems in 2016. He currently resides Minnesota, Sydney Symphony, Seattle Symphony, in Parkville, Missouri, under the guidance of 2001 Fort Worth Symphony, and the Louisiana Cliburn Gold Medalist Stanislav Ioudenitch at Park Philharmonic Orchestras, among others, University. Alongside his teachers, he is influenced collaborating with conductors Ludovic Morlot, Kent by the recordings of Alfred Cortot, William Kapell, Nagano, , Vasily Petrenko, Nicholas and Claudio Arrau. Milton, Nicholas McGegan, Carlos Miguel Prieto, and Stilian Kirov. His subscription concert debut with the A hockey and baseball athlete in high school, Kenny Minnesota Orchestra—stepping in for André Watts still enjoys watching and playing sports, in addition with Beethoven’s “Emperor” Concerto days before to listening to jazz and reading. the performance in February 2018—was declared

IV Plano Symphony | 2019-2020 program NOTES

A Frenchman in New York Meets cross rhythms (triple against duple) and by subtly An American in Paris shifting harmonies (off the beat).

An American Composer’s Perspective on Lomán relates that Mexican celebrations called Lomán, Ravel and Gershwin “fandangos” can last up to two or three days. Performances often include jaranas (small guitars) © Robert Xavier Rodríguez and violins, with the players creating percussion by dancing and stomping on a wooden platform. The The Plano Symphony Orchestra’s opening-night composer says, “Huateque tells us about Mexican concert presents music from the 20th and 21st parties, full of color and happiness. It also has a centuries by composers from Mexico, France touch of heroism and triumph, since, in my opinion, and the U.S.A. The curtain-raiser is the American the Mexican people have recently experienced a premiere of a new work by Rodrigo Lomán, and new joy and triumph over the corruption from which the finale is Gershwin’s An American in Paris. In they have suffered in previous governments.” between is the apt juxtaposition of Ravel’s Piano Concerto in G with Gershwin’s Rhapsody in Blue: II. two concertos composed during the same period by composers on opposite sides of the Atlantic who Maurice Ravel (1875-1937) was one of France’s knew, admired and inspired each other. greatest composers. He studied with Gabriel Fauré (1845-1924) at the Paris Conservatory, where he I. was a classmate of Claude Debussy (1862-1918) and (1887-1979). His output was Mexican composer Rodrigo Lomán (b. 1986) relatively small, but his few pieces, particularly was born in Veracruz. He studied guitar with the famous Boléro, are performed so often that Roberto Aguirre at the Universidad Veracruzana, the royalties from his compositions continue to be and he is self-taught as a composer. He has greater than those of any other French composer. won the Arturo Márquez Competition and the Ravel’s music is characterized by formal and Second Iberoamerican Competition. Among his stylistic elegance and by a sensuous gift for compositions are Concerto for Huasteco Violin, sound, executed with meticulous craftsmanship. Classical Concerto for Requinto Jarocho, Obertura Ravel steeped himself in the study of Rimsky- Mexicana and Fanfarria Veracruzana. Orchestras Korsakov’s Russian methods of orchestration, and who have played his music include the Orquesta his masterly scoring is a supreme example of how Sinfónica de Xalapa, Orquesta Filarmónica de to use a symphony orchestra to create opulent and la Ciudad de México, Orquesta Filarmónica de powerful colors with maximum clarity. Zacatecas, Orquesta Sinfónica de la Universidad de Guanajuato, Orquesta Filarmónica de la Ravel’s wrote his ebullient Piano Concerto in Universidad de Aguascalientes, Banda Sinfónica G Major (1931) at the same time that he was del Estado de Veracruz, Orquesta de Cámara de composing his darker Concerto for the Left Hand Xalapa and the Orquesta Mexicana de las Artes. (1930). The two concertos turned out to be among the composer’s last completed works. Ravel was Lomán is well-versed in traditional Mexican music, inspired to write the G-Major Concerto after an and he regularly mixes folk idioms with echoes extensive American concert tour in which he of Copland, Chávez and Hollywood. Lomán’s experienced first-hand the exciting world of jazz Huateque (2019) is a festive concert overture which had already become the talk of Paris. The which depicts a wild, spontaneous party with concerto could thus be called “A Frenchman in drinking and dancing. There are references to New York” as a musical counterpart to George Mexican folk music in the Son Jarocho style of the Gershwin’s An American in Paris. Ravel had met Tuxtlas region of Veracruz and of the Son Huasteco Gershwin and had marveled at his natural musical of the Huasteco region. The music is characterized facility and at the way Gershwin had absorbed the by a chaconne-like set of harmonic changes with elements of jazz in his compositions. Gershwin contrapuntal variations, often characterized by revered Ravel and asked Ravel for lessons, but

Plano Symphony | 2019-2020 V program NOTES

Ravel told him, “Why be a second-rate Ravel, when of its beauty.” Boulanger was referring to the you can be a first-rate Gershwin?” Ravel then way that the serene Mozartean arioso solo can asked Gershwin how much money he made in a tempt pianists to add musical mascara by taking year. Gershwin answered, “$100,000” (over $1.5 rhythmic liberties with the soaring melody and with million today), to which Ravel replied, “I should the unassuming left-hand accompaniment, which study with you!” is notated not as 6/8 “oom-pa-pas” but as a series of simple duplet “oom-pas” in 3/4 time. After Indeed, in his G-Major Concerto, Ravel actually the piano solo, the conductor’s beat returns as a helped himself to liberal doses of Gershwin, pungent C-sharp in the flute ushers in the orchestra particularly Gershwin’s piano concerto Rhapsody for an intense, jazzy development followed by in Blue, composed seven years earlier. Ravel had an ecstatic reprise of the opening theme by the already dabbled in jazz with the foxtrot from the English horn with piano accompaniment. opera L’enfant et les sortilèges (1925) and with his charmingly bluesy Violin Sonata (1927), but in Surprisingly, the Finale contains only a few jazz the G-major Concerto, he showed himself smitten licks. Instead, there is a scintillating toccata moto with the style. Ravel said, “The most captivating perpetuo in which the piano solo completely part of jazz is its rich and diverting rhythm.... Jazz dominates the action. Ravel had stated that his is a rich and vital source of inspiration for modern ideal for a concerto was to be “lighthearted and composers, and I am astonished that so few brilliant,” and this movement clearly fills the bill. Americans are influenced by it.” Material from the first movement reappears in short motifs which are tossed about the orchestra with By channeling Gershwin and jazz, Ravel proved dashing trombone smears and virtuoso figuration Jean Cocteau’s wise statement that “a truly in the bassoons. When he began writing, Ravel creative artist cannot copy; therefore, in order to intended to end his concerto with pianissimo create, an artist need only try to copy. The artist’s trills, but the composer got those sounds out of true self, if he has one, will then emerge.” In this his system in the second movement. Here, there case, Ravel was like a bee which absorbs pollen are brassy explosions and percussion cracks that from the blossoms around it and produces honey invoke the first movement. The work roars to its flavored by those blossoms: in came jazzy Gershwin brilliant conclusion as the bass drum seals the deal. blossoms, and out came jazzy Ravel honey. III. The concerto is in three movements. The first movement begins with a sassy percussion slap George Gershwin (1898-1937) was one of the and a bubbling Basque-inspired melody in the greatest American composers, and, in his brief piccolo over piano figuration. A trumpet joins, and 39 years, he achieved enormous artistic and the scene could well be a busy Parisian boulevard professional success. In 2005, the British journal until the piano solo slinks into the foreground The Guardian called him “the wealthiest composer to introduce an unmistakably American second of all time.” Gershwin’s unique combination of theme in blues style. A simple folk-like melody classical complexity and popular appeal makes him leads to languid echoes of a French cabaret, and – like Kurt Weill, Leonard Bernstein, Aaron Copland the movement continues to develop this material and Stephen Sondheim – one of the few composers in a loose sonata-allegro form in which the bluesy whose music is admired equally by lovers of theme eventually gives way to the bustling opening classical music and of Broadway and film music. material. Brilliant piano passage work abounds, and the movement ends with raucous brass and a Gershwin began his career writing songs for thump on the bass drum. “Tin Pan Alley,” the street on New York’s west side where many music publishers had their offices. Of the ravishing slow movement, Ravel’s friend Composers would go up and down the street Nadia Boulanger said, “It is a masterpiece, but it playing the publishers’ tinny upright pianos to stir is a flawed masterpiece because it knows that it interest in their tunes. Gershwin was a fine pianist, is a masterpiece. True beauty must be unaware and he had a charismatic personality. At parties, he

VI Plano Symphony | 2019-2020 program NOTES needed no encouragement to play his songs late material already in my mind and tried to conceive into the night. Gershwin became a star composer the composition as a whole. I heard it as a sort both on Broadway and in Hollywood, but his life- of musical kaleidoscope of America, of our vast long ambition was to transcend the commercial melting pot, of our unduplicated national pep, of realm in favor of what he considered the more our metropolitan madness.” respectable and meaningful world of classical music. To this end, he, like Copland, approached It is this idea of a sublime melting pot of musical Nadia Boulanger for composition lessons. ideas that characterizes the Rhapsody in Blue, both Boulanger did not want for Gershwin to alter for its admirers and for its critics. Leonard Bernstein his musical personality by emulating academic wrote, “The Rhapsody is not a composition at all. models, so she refused, explaining later that, “By It's a string of separate paragraphs stuck together. then, he was already Gershwin.” As we have seen, The themes are terrific, inspired, God-given. he had the same experience with Ravel, and for the I don't think there has been such an inspired same reasons. melodist on this earth since Tchaikovsky. But if you want to speak of a composer, that's another Gershwin’s Rhapsody in Blue is an American matter. Rhapsody in Blue is not a real composition classic. The work is often hailed as the first jazz in in the sense that whatever happens in it must the concert hall, but it was not. That distinction goes seem inevitable… You can cut parts of it without to Darius Milhaud’s brilliant African-inspired 1922 affecting the whole. You can remove any of these jazz ballet La création du monde (The Creation stuck-together sections and the piece still goes on of the World). Gershwin’s first masterpiece, the as bravely as before. It can be a five-minute piece piano concerto Rhapsody in Blue, followed in or a twelve-minute piece. And in fact, all these 1924. The breakout success of Rhapsody in Blue things are being done to it every day. And it’s still immediately prompted the conductor Walter the Rhapsody in Blue.” Damrosh to commission Gershwin to write another piano concerto, the Concerto in F, for Another major development between the the following year. Both of Gershwin’s concertos Rhapsody in Blue and the Concerto in F is that, are inspired by jazz, but even though they were for the concerto, Gershwin had learned how to written within a year of each other, the two are orchestrate, so he wrote the full score himself. miles apart in terms of musical sophistication In 1924, however, Gershwin had little experience and thematic development. The Rhapsody is a writing for instruments beyond voice and piano, loosely-constructed cornucopia of hit tunes, tied so the Hollywood composer-arranger Ferde Grofé together with sparkling virtuoso piano figuration, orchestrated the Rhapsody for him. Grofé created while the 1925 Concerto in F (originally “New a wonderfully raw and rowdy bar-room romp which York Concerto”) is a three-movement integrated Paul Whiteman’s legendary jazz band premiered structure in the classical tradition. The less-often- with Gershwin at the piano. Saxophones carried performed Concerto in F lacks the incomparable most of the melodic material, and, in addition to Broadway show-stopper melodies of the Rhapsody, winds and percussion, the orchestration included but the work’s formal and technical assurance are a second piano plus celesta, accordion, banjo, a testament to Gershwin’s growing compositional violins and string basses. The famous clarinet integrity and powerful musical personality. In the smear at the opening began as a joke which case of this later concerto, Gershwin can be seen the player improvised at the dress rehearsal. to be learning from Ravel, just as, earlier, Ravel Gershwin liked it, so it became part of the piece. had, been learning from Gershwin. Grofé subsequently made two other arrangements, including a more decorous version for full orchestra Gershwin said that the inspiration of Rhapsody with silky strings, which is how the work is most in Blue was “on the train, with its steely rhythms, often performed today. its rattle-ty bang, that …I suddenly heard, and even saw on paper – the complete construction of the rhapsody, from beginning to end. No new themes came to me, but I worked on the thematic Plano Symphony | 2019-2020 VII program NOTES

IV. spectator of Parisian life.” At the end, the “blues” theme and the French atmosphere and street Gershwin’s An American in Paris (1928) came noises merge in a triumphant synthesis. four years after Rhapsody in Blue, and by then, as with the Concerto in F, Gershwin had learned to do Some New York critics of the time were not his own orchestration. The work was inspired by enthusiastic about accepting jazz-influenced a trip to Paris, which at that time was the mecca music on the same program with classics of the of modernism. The music represents Gershwin standard repertoire. Always sensitive about the at full musical maturity. The commissioner was issue of popular vs. classical music, Gershwin Walter Damrosh, who conducted the premiere retorted, “It’s not a Beethoven Symphony, you with the New York Philharmonic. According to know... It’s a humorous piece, nothing solemn Gershwin’s own notes, as relayed to Deems Taylor, about it. It’s not intended to draw tears. If it pleases “My purpose here is to portray the impression of an symphony audiences as a light, jolly piece, a series American visitor in Paris as he strolls about the city of impressions musically expressed, it succeeds.” and listens to various street noises and absorbs the And so it does. French atmosphere.” Gershwin specifies French automobile horns in the score, and he brought actual taxi horns from Paris to New York for the premiere. Midway in the piece, the energy winds Robert Xavier Rodríguez has served as down, a solo violin gets sentimental, and a muted Composer-in-Residence for the Dallas Symphony trumpet plays a bluesy tune backed by a chorus of and the . He holds an saxophones to show that, as Gershwin put it, “our Endowed Chair in Art and Aesthetic Studies and American friend ... has succumbed to a spasm of is Director of the Musica Nova ensemble at the homesickness.” But, since “nostalgia is not a fatal University of Texas at Dallas. His compositions are disease,” the American visitor quickly recovers his published by G. Schirmer. joie de vivre and becomes once again “an alert

VIII Plano Symphony | 2019-2020 2019-2020 DONOR BENEFITS

Enjoy the benefits of giving and see the PSO like never before through new experiences and access granted exclusively to our donors!

GIFTS OF $50+ GIFTS OF $1,000+ Eligibility to join the Guild Benefits in Previous levels + Subscription to monthly Symphony newsletter Recognition as a member of the Virtuoso Society Recognition on website and invitation to the annual Rotogravure Dinner Priority in requests for Seat Selection Change GIFTS OF $100+ Eligibility for Subscription seating in the Luxury Benefits in Previous levels + Loge Box Name recognition in Concert Programs Invitation to Season Sneak-Peek hosted by Invitations to 2 post-concert receptions Maestro Guzman Invitation to all open rehearsals GIFTS OF $250+ Invitations to ALL season post-concert receptions Benefits in Previous levels + Guest pass for 2 seats to select concerts GIFTS OF $2,500+ 2 complimentary tickets to your choice of a Benefits in Previous levels + school concert performance or the Collin County Valet parking at Eisemann concerts Young Artist Competition Invitation to the annual “Dinner Under the Stars” Invitations to 3 post-concert receptions VIP on-stage seating for all open rehearsals On screen recognition at February Concert GIFTS OF $600+ Benefits in Previous levels + GIFTS OF $5,000+ Invitation to “Mimosas with the Maestro” brunch Benefits in Previous levels + Annual Backstage Tour of the Eisemann Center Sponsor a musician/chair with name recognition Invitation to 1 open rehearsal in program book and private lunch with musician Invitations to 4 post-concert receptions Private backstage meet-and-greet with musicians and select guest artists

Plano Symphony | 2019-2020 IX 2019-2020 season CONTRIBUTORS

The Plano Symphony Orchestra Association gratefully acknowledges the following individuals, families and companies who support the Symphony with a gift in value of $100 or more. Gifts listed were received prior to 10/3/19. ($100,000+) The Doctors Edling* Sherry & Art Stone* City of Plano Lydia Feuerberg* Vicky & Siroos Teherani* Nancy Freeman* Andrea & Kent Thompson* ($25,000 AND UP) Linda & Matt Gulick* Lisa & Jack Traeger* The Andrea-Mennen Freda Hanley* Arla & Bill C. Tucker* Family Foundation Jean & Ken Hill* Janice & James Watson* Marilyn & Dr. James Hinton III* Karen & Ron Wilson* ($10,000-$24,999) Drs. Christine & Lauren Michelle Wood* Cigna Eric Hopkins* Sue & Will Wood* Frisco Association Carolyn & John Huggins* for the Arts Marcia & Ronald Jackson* ($600-$999) Sandy Nachman* Valerie & Hal Kauffeldt* Sharon & Mark Fritz Wanda & Cliff Parker* Buzz Kolbe* Maria & Richard Mott Wendy & Bill Kula* Kathy Minor Schneider ($5,000-$9,999) Marla & Stephen Kyriakos* Sharon Tiger & Merrilee & Tim Kick* Lolisa Laenger* Robert Edwards City of McKinney Lorraine & Paul Landefeld* Ralph E. Toll City of Richardson Karen & William Langford* Carol & Joe Layne* ($250-$599) ($2,500-$4,999) Jennie & Russell LeClaire* Jeanne Abrams Atmos Energy Allison & Mike Mangum* Diane Berman* Jan & Craig Barber* Deepa & Dr. Raj Menon* Brian & Rosemarie Byrwa Mrs. Forrest Green* Yvonne & Stephen Miller* Gladys & Albert Chan Alice & Bill Hobbs* Brenda & Coby Mills* Nancy Box Day Doug Kinzey* Darlene Morford* Connie & Oscar Einkauf Mirna Lynch* Suzanne & Lonnie Morris* Connie & David Eldred Tammy & Charles Miller* Terry & Mike Nettleton* Kay & David Ewing Pat & Bruce Morrice* Shirley & Dave Ogden* Deborah & Donald Fabian Dr. Betty & James Muns* Janie & David Orr* Janice D. Fandrick Drs. Pat Storck & Robert Paton* Burke Asher & Chris Parr Donna Pellett* Jean Grissom Mary Lou & Will Smith* Peter Krause & Anna Hale Carol & Bill Tempest* Marita Miller* Deborah Hendrix Debbie & Keith Watson* Sheri Lynn Pixley* Geri Hetterich* Diana & Randy Wright Denise & Larry Pollis* Kathy Kuddes Polly & Armando Pardo* Irma Landis ($1,000-$2,499) Gregory Patterson* Kenneth Maun Linda Ballard* Robert A. Reed* Brenda & C Gwin Morris Ellie & Ira Barash* Ryan Riggs* Carol & Wendell Pieper Emma M. Barnum* Robbie Robinson* Randi M. Ross-Quick & Dianne & Marion Brockette* Laura & Carlos Jeffry M. Quick Barbara Buehler* Rodriguez-Garcia* Evelyn & Ron Thompson Mary Jo Cater* Patsy & Gordon Roe* Rebecca Warren Stephanie & Gobriel & Jeff Rusthoven* Beverly Wester Mike Christians* Christina Ryan* Paul & Anne Whiteman Ed and Marilyn Coyle* Melissa & Mark Senter* Ron Wignall Joan Dawson* Ann & Jack Schulik* Elizabeth Witt Vicki & Rick Dean* Sandy & Mike Simpson Sharon & Jerry DeFalco* Lillian & Edward Stankunas* Rebeka S. Ecker* Erin & Ben Stewart*

We try to keep the listing as accurate as possible, if for some reason there is an error in the listing. Please contact at [email protected] X Plano Symphony | 2019-2020 2019-2020 season CONTRIBUTORS

($100-$249) Sally Lain MATCHING GIFT Reva Bartlett Lauretta Little CORPORATIONS Carol & Douglas Boyle Mei Meermans AT&T Sharon Cowin Mary & Dr. Frank Mocek Boeing Donald Cutler Kathryn & Dan Mosher Conoco Phillips June & Edward Dunkle David Owens Medical City of Plano Janet & Martin Fried Marcela Holley Schweers Pepsico Foundation Beverly & Martin Gallagher Leslie & Steven Pidgeon Texas Instrument Foundation Annette & William Gieseker Brenda & Sherman Steig Mervin Ginsburg Judith Steine HONORARIUM Gina Hadly Jacqueline Tomkinson Alice & Bill Hobbs Vy Hansen Rachelle Van Derven & Tammy & Charlie Miller Susan & Morris Hasson Joe Milkes Gregory Patterson Suzy Jones Sheila & Don Wilhelmus Robert Reed Rosie Kartalis Linda & Robert Wilson Lois & Alan Kohn Anne Zhang

Plano Symphony | 2019-2020 XI 2019-2020 season CONTRIBUTORS

* THE VIRTUOSO SOCIETY The Virtuoso Society is a special group of passionate and committed supporters of the Plano Symphony Orchestra. Members of the Virtuoso Society enjoy special recognition, a “Sneak Peek” at the coming new season, receptions with guest artists, an elegant annual Rotogravure dinner, a chance to sit in the Orchestra during a rehearsal, “Dinner Under the Stars” with the Maestro (Emerald Level of $2,500 annually), and more. For additional information on the Virtuoso Society, please call Greg Patterson, Director of Development, at 972-473-7262 x27.

Despite our best efforts, the names of members are sometimes omitted or misspelled. We hope you will call the Plano Symphony at 972-473-7262 so that corrections can be made for the next book. We apologize for any inconvenience this may cause and sincerely appreciate your generous and continued support for the Plano Symphony.

PLANNED GIVING RECOGNITION A planned gift to the Plano Symphony Endowment will leave an enduring legacy of great music for your community. When funds are received they will be invested and managed by the Dallas Foundation on behalf of your Plano Symphony to ensure great music and education programs for generations to come.

With grateful thanks to Dr. George (Robbie) S. and Lynore Ward Robinson, Jr. for the inaugural planned gift to the Plano Symphony Orchestra. Others including the Plano Symphony in their estate planning: Ellie & Ira Barash, Sandy Nachman, Wanda & Cliff Parker, Robert Paton, Lindsey & Bruce Roberts.

If you are planning a legacy gift to the Plano Symphony, we would be honored to include your name on this page. Call Greg Patterson, Director of Development at 972-473-7262 x27 or email [email protected].

XII Plano Symphony | 2019-2020 plano symphony orchestra MUSICIANS

Violin I Bass Tuba Elisabeth Adkins, Concertmaster Jack Unzicker * Nathan Frazier Szemoke Jobbagy, Graham Eubanks Associate Concertmaster Daniel Nix Timpani Abigail Potts Nestor Zayas Jeffrey Keene Mevlan Mecid Scott Sheffler Chuong Vu Percussion Julia Brandenburg Flute Steven Kimple * Yida Hu Lisa Nickl * Jay Majernik Rachel Orth Janelle Olson Jon Lee Gary Schnitzer Jennifer Wheeler (Piccolo) Derron Bell Ronnamarie Jensen Oboe Harp Violin II Steve Pettey * Juliette Buchanan Hubert Pralitz * Ashley Howe-Flores Saejin Yoon Susanna Hilliard (English Horn) Celeste Xinye Niu Linda Massinger Sarah Figueroa Clarinet Yuhong Sun Deborah Fabian * Saxophones Claudia Jones Robin Korevaar Matt Stookey, (Lead Alto) Allie Stewart Miller Donald Fabian (Bass Clarinet) Chris Beaty, (Tenor) Leihlani Garcia Tamez John Sweeden, (Baritone) Crissanti Garcia Tamez Bassoon Leslie Massenburg * Librarian Viola Marty Spake Luis Rodriguez April Kondrat * Monika Nierychlo-Fryklund Horn Personnel Manager Bo Landefeld Susan Frazier * Jim Gasewicz Monika Idasiak David Lesser Iris Messinger Kirstin Schularick Norbert Gerl Jason Hofmeister Oscar Rendon Caroline Swanson Trumpet Glen Hummel * Cello Adam Miller Eugene Osadchy * Nathan Little John Landefeld Dan Totan Trombone Kyungjin Yoo James McNair * Claire Dresselhuis Efrain Sain Ya-Cen Lee Barney McCollum Journey Choi (Bass Trombone) Vilma Peguero *denotes principal

Plano Symphony | 2019-2020 XIII CORPORATE | FOUNDATION | GOVERNMENT

(in the past 12 months) $100,000+

The Plano Symphony Orchestra is funded in part by The City of Plano.

$25,000-$99,999

$10,000-$24,999

XIV Plano Symphony | 2019-2020 CORPORATE | FOUNDATION | GOVERNMENT

$5,000-$9,999

Funded in part by the City of McKinney through the City of McKinney Arts Commission.

Funded in part by the City of Richardson through the City of Richardson Cultural Arts Commission.

Muns Foundation Burnham Foundation Robinson Foundation

$2,500-$4,999

Plano Symphony | 2019-2020 XV XVI Plano Symphony | 2019-2020 debutante class of 2019

Miss Grayson Arcemont Miss Reece Barbara Miss Molly Cooke daughter of daughter of daughter of Mr. and Mrs. Dave Arcemont Mr. and Mrs. Dan Barbara Mr. and Mrs. Steve Cooke

Miss Madison Doyle Miss Whitney Ecker Miss Janey Jackson daughter of daughter of daughter of Mr. and Mrs. James Doyle Mr. and Mrs. David W. Ecker Mr. and Mrs. Earl Jackson

Miss Fallon Phillips Miss Elaina Wheeler daughter of daughter of Ms. Elizabeth Phillips Mr. and Mrs. Nick Wheeler Plano Symphony | 2019-2020 7 8 Plano Symphony | 2019-2020

10 Plano Symphony | 2019-2020

12 Plano Symphony | 2019-2020