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BRENT HART, President Oklahoma Philharmonic Society, Inc. Welcome to the (re)IMAGINE(d) 2020-21 season. It has been a long journey to get here and, on behalf of the OKC Phil family, we are so happy to have you join us. Music has the power to heal, to inspire and to unite in unmatched ways and I hope that you have enjoyed connecting with us through social media since last season. None of us could have imagined how much we would long for the opportunity to be together for this concert. The OKC Phil plays a leading cultural role in Oklahoma City, providing Classics, Pops and Discovery concerts. Maestro Alexander Mickelthwate along with Executive Director Agnieszka Rakhmatullaev and her team have worked tirelessly to bring music to the stage, and your screens, this season. New this year, we are adding smaller ensemble performances in community settings to connect with new audiences. In addition to these performances, our community engagement and music education programs reach music lovers of all ages. We are grateful to our patrons, donors and volunteers for your ongoing support. We also thank the Orchestra League and the Associate Board for their volunteer and fundraising efforts that make these programs possible. Now sit back, leave the world outside and enjoy the story that unfolds through each note.
KRISTEN BRANDT FERATE, President Oklahoma City Orchestra League This Season the Oklahoma City Philharmonic embarks on a (re)IMAGINE(d) adventure. The Oklahoma City Orchestra League is honored to support this historic undertaking. The orchestral experiences offered this season will change the collective perspective. The Orchestra League, founded in 1948, will move forward with our great and celebrated legacy. We will support music education and fundraising efforts of the Philharmonic. We will share in the knowledge gained from new forms of musical education, volunteerism and appreciation. The Orchestra League membership offers a chance to witness history and help shape the future of symphonic music in our great city. I invite you to join us! More information can be found at www.okcphil.org/about-us/orchestra-league
DAVID WHITE, President Associate Board On behalf of the Associate Board, welcome to the 2020-21 (re)IMAGINE(d) season. While the offerings may look a little different than in previous years you can always expect the same excellent entertainment and artistry from our Oklahoma City Philharmonic. From Beethoven to Broadway, we have something in store for everyone. The Associate Board brings together civic-minded young professionals to support and fulfill the mission of the PHIL. There’s more to the Philharmonic than concerts. From classrooms to community outreach, the OKCPHIL is working to spread the joy of orchestral music across our state--and the Associate Board is proud to be a part of that work. Thank you for supporting the Oklahoma City Philharmonic, we look forward to seeing you again soon. Enjoy the show!
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AGNIESZKA RAKHMATULLAEV Welcome to the OKCPHIL’s (re)IMAGINE(d) Season. After a long pause, we are thrilled to be back and thank you for joining us on this journey! While the majority of concert stages across the country remain silent, we wanted to find a way to continue our mission and bring live orchestral music to you and our community. With everyone’s safety and well-being as our top priority, we had to reimagine nearly every single aspect of our operations: from programming choices for each concert, to accommodating the needs of our patrons, continuing our partnership with area schools, and many more. Orchestrating the plan for each individual area required creative thinking, out-of-the-box approaches, collaboration, and a lot of hard work. We are pleased to present to you this unique season, shaped around the challenges of the unprecedented times we live in. While this season might look and feel different, many of its components will remain the same, perhaps with a few twists. The OKCPHIL’s Classics and Pops series will continue to bring high-caliber performances, presented in smaller settings to create a more intimate experience. The programming will
continue to be shaped by Maestro Mickelthwate’s artistic vision and desire to combine traditional repertoire with today’s music. And, of course, you will continue to be blown away by the talented musicians of our orchestra, some of whom will be featured as guest soloists. As part of this unique season, you will also notice a few new and exciting initiatives. Our concerts will be digitally available for those patrons who are not able to join us in the hall. Additionally, our musicians will frequently be performing in smaller settings in venues across the city, as part of our expanded Education and Community Engagement programs. We are excited about these new opportunities, as we broaden our reach, serve more people, and become more accessible in a different way. Of course, none of this would be possible without YOU, our loyal patrons! We are sincerely grateful for your ongoing support, generosity, flexibility, and understanding that allow us to keep the music playing on our main stage, on your screen, or in your neighborhood. While we continue to navigate these turbulent waters, the OKCPHIL is committed to serving our mission as we strive to bring healing, unity, and hope to our entire community.
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ALEXANDER MICKELTHWATE Beginning his third season as Music Director of the Oklahoma City Philharmonic, Conductor Alexander Mickelthwate’ s exciting musical programming has created a buzz across the city, drawing people from all walks of life to the concert hall. Originally from Germany Mickelthwate is also Music Director Emeritus of the Winnipeg Symphony Orchestra in Canada. Since starting his Winnipeg tenure in 2006 he played a pivotal role in the rejuvenation and turnaround of the Winnipeg Symphony which culminated in a highly successful and critically acclaimed performance at Carnegie Hall in May 2014. The New York Times noted the performance was “conducted expertly,” and the New York Classical review stated “under music director Alexander Mickelthwate, they play with excellent intonation and such a fine overall blend and balance of sound that, on their own terms, they may be the best orchestra to appear in the week’s worth of concerts.” Deeply rooted in his German heritage, Norman Lebrecht wrote about Mickelthwate’s interpretation of Mahler’s 10th Symphony with the Winnipeg Symphony: “Both Mahler 10 performances were intense and engaging. Every twist and turn in the score was fresh and surprising to my ears.” And his interpretation of Bruckner’s Symphony No. 7 prompted the pianist Anton Kuerti to write a letter to the newspaper saying, “I would like to call attention to the stunning performance heard after the intermission. To play Bruckner’s Symphony No. 7 with the passion, profundity, emotional intensity, subtlety and degree of perfection achieved by conductor Alexander Mickelthwate and the Winnipeg Symphony can only be called miraculous.” In North America Alexander has guest conducted the New York Philharmonic, the Chicago Symphony, Seattle Symphony, Houston Symphony, Vancouver Symphony, Atlanta Symphony, Saint Paul Chamber Orchestra, Saint Luke’s, Milwaukee Symphony, Rochester Philharmonic and Toronto Symphony, among others. His European debut was with the Hamburg Symphony. He also conducted the BBC London, Stuttgart Radio Orchestra, Royal Scottish, Deutsche Kammerphilharmonie Bremen and NDR Hannover. Other notable performances include the Sao Paulo Symphony and the Simon Bolivar Orchestra in Venezuela. He made his Australia debut with the Adelaide Symphony and the Tasmania Orchestra where he recorded the Mozart piano concerti Nos. 7 and 10 with the Silber Garburg Duo. Alexander Mickelthwate has worked several times with Dame Evelyn Glennie conducting the world premiere of two new
percussion concerti by Vincent Ho. He also worked with Itzhak Perlman, Joshua Bell, Yuja Wang, Dawn Upshaw, Plácido Domingo, Ben Heppner, Horatio Gutiérrez, Emanuel Ax, Leonidas Kavakos and Sarah Chang, among many others, and he worked very closely with a wide range of composers including Phil Glass, Steve Reich, Sofia Gubaidulina, Kaija Saariaho, John Adams, John Luther Adams and Mason Bates. After guest conducting the Simon Bolivar Orchestra and experiencing the life-changing power of the El Sistema program in Venezuela for underprivileged children, Alexander played an instrumental part in creating Sistema Winnipeg. For three years Alexander created a critically acclaimed Indigenous Festival in Winnipeg. Passionate to connect with all cultures, he created artistic collaborations between First Nations and western cultures that culminated in the performances of Stravinsky’s Rite of Spring and Revueltas’ Les Noches de loss Mayas with new choreographies of contemporary and First Nations dance. The Winnipeg New Music Festival is an international institution. Alexander broadened the repertoire and created many new collaborations connecting with different audiences. Because of the programming of the festival the WSO was chosen to perform at the Spring for Music Festival at Carnegie Hall in 2014. A few of the most creative projects of the festival for Alexander were the performance of movie director Guy Maddin’s Brand Upon a Brain with narration by actress Isabella Rossellini, the workshopping of a new opera Tesla by movie director Jim Jarmusch and composer Phil Klein, and a production of Gavin Bryar’s The Sinking of the Titanic at PanAm Pool. Alexander has conducted for President Jimmy Carter and the Queen of England, and he received the Queen Diamond Jubilee Medal and the Key to the City of Winnipeg. Born and raised in Frankfurt Germany to a musical family, Alexander received his degree from the Peabody Institute of Music. He studied conducting under Fredric Prausnitz and Gustav Meier as well as with Seiji Ozawa, Andre Previn, Daniel Barenboim and Robert Spano at Tanglewood. Following his tenure as Assistant Conductor with the Atlanta Symphony Orchestra, which he completed in 2004, Alexander was Associate Conductor of the Los Angeles Philharmonic for three years, under the direction of Esa-Pekka Salonen. He is married to fashion designer Abigail Mickelthwate and has two sons.
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OKLAHOMA PHILHARMONIC SOCIETY, INC.
P R O V I D I N G
I N S P I R A T I O N
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THE BOARD OF DIRECTORS Lifetime Directors
Officers
Debra Kos Kristian Kos David McLaughlin Margaret Freede Owens Donald Rowlett Kelly Sachs Jennifer Schultz Michael Sweeney Glenna Tanenbaum J. Mark Taylor Tony Welch Cheryl Brashear White David White Renate Wiggin Nick Wu
Jane B. Harlow Patrick Alexander
Brent Hart President
Directors
Jane Jayroe Gamble President Elect
Steve Agee Robyn Birdwell Lori Dickinson Black Phil Busey Robert Clements Lawrence H. Davis Veronica Pastel Egelston Kristen Ferate Joy Hammons Dean Jackson Michael E. Joseph Kathy Kerr Wesley Knight
Melissa Scaramucci Vice President Kevin Dunnington Treasurer Jerrod Shouse Secretary Jeff Starling Immediate Past President
Honorary Directors Richard Sias
ADMINISTRATIVE STAFF Tara Burnett Associate Director of Development
Daryl Jones Box Office Operations Manager
Chris Stinchcomb Concert Operations & Guest Artist Liaison
Jeana Gering Education Manager
Chris Merkle General Manager
Corbin Taggart Customer Service Representative
Daniel Hardt Finance Director
Agnieszka Rakhmatullaev Executive Director
Susan Webb Marketing & P.R. Director
Judy Hill Administrative Assistant
Whitney Redding Development and Volunteer Coordinator
Stephen Howard Development Operations Manager
Ulises Serrano Digital Strategies Coordinator
ACKNOWLEDGEMENTS Classical KUCO 90.1 Garman Productions
Morningstar Properties Oklahoma City Police Association
George Ryan Stubble Creative, Inc.
The Skirvin Hotel Titan AVL
Photographers: Michael Anderson, David Bricquet, Rick Buchanan, Heather Hanson, Mutz Photography, Shevaun Williams and Associates, Ulises Serrano
THE OKLAHOMA PHILHARMONIC SOCIETY, INC. 424 Colcord Drive, Ste. B • Oklahoma City, Oklahoma 73102 Tickets: 405-842-5387 • Administration: 405-232-7575 • Fax: 405-232-4353 • www.okcphil.org
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AFFLIATED PARTNERS
The Oklahoma City Philharmonic Foundation was established to provide leadership and endowment expertise to help ensure a stable financial base for orchestral music and musical excellence in Oklahoma City for generations to come. Distributions from the Oklahoma City Philharmonic Foundation provide a meaningful and secure source of annual income for the Philharmonic’s operations, continually confirming the importance of endowment in an organization’s longrange planning and overall success. Current officers and directors of the Oklahoma City Philharmonic Foundation are: OFFICERS Douglas J. Stussi President Charles E. Wiggin Vice President Louise Cleary Cannon Treasurer Penny M. McCaleb Secretary DIRECTORS Steven C. Agee Patrick B. Alexander J. Edward Barth L. Joe Bradley Teresa Cooper T.A. Dearmon Paul Dudman Thomas J. Enis Mischa Gorkuscha Jane B. Harlow Brent Hart Michael E. Joseph Harrison Levy, Jr. Duke R. Ligon Jessica Martinez-Brooks Michael J. Milligan Alice Pippin Jeff Starling Richard Tanenbaum
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EXECUTIVE COMMITTEE Kristen Ferate President Debra Kos President-Elect Julia Hunt Secretary Newt Brown Treasurer Meredith Blecha-Wells Development VP Marion Burcham Membership VP Sherry Rowan Education VP Joan Bryant Communications VP Wendi Wilson Past President, Ex-Officio Agnieszka Rakhmatullaev Executive Director Oklahoma City Philharmonic (Ex-Officio, Advisory) BOARD OF DIRECTORS Helen Chiou Jeannie Drake Yvette Fleckinger Sue Francis Jane Krizer Patsy Lucas Geetika Verma Heather Walter Dwayne Webb Orchestra League Office 424 Colcord Dr., Ste. B Oklahoma City, Oklahoma 73102 Phone: 405.232.7575 Fax: 405.232.4353 e-mail: league@okcphil.org website: www.okcorchestraleague.org
OFFICERS David White President Christa Bentley President-Elect Jay Scrambler Secretary Sam Rainbolt Membership Chair Kelsey Karper Marketing Chair Tyler Larson Events Chair DIRECTORS J. Cruise Berry John Cannon Peter Harlin Patrick E. Randall, II Kara Simpson Desiree Singer Jennifer Stadler Collin Walke Jabee Jackie Zamarippa
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FIRST VIOLIN
Gregory Lee, Concertmaster Gertrude Kennedy Chair Marat Gabdullin, Associate Concertmaster Densi Rushing, Assistant Concertmaster Sam Formicola Hong Zhu Beth Sievers James Thomson Benjamin Shute Deborah McDonald Janet Gorton Lu Deng Ai-Wei Chang*
SECOND VIOLIN
Katrin Stamatis, Principal McCasland Foundation Chair Catherine Reaves Sophia Ro Brenda Wagner Sarah Sanford-Brown Corbin Mace Angelica Pereira Cindy Zhang Laura Young* Ashley Cooper*
VIOLA
Royce McLarry, Principal Mark Neumann Joseph Guevara Kelli Ingels Steve Waddell Donna Cain Brian Frew Shaohong Yuan* Lacie Savage* Julie Dodge*
CELLO
Jonathan Ruck, Principal Orchestra League Chair Tomasz Zieba, Associate Principal Meredith Blecha-Wells
Valorie Tatge Emily Stoops Jim Shelley Angelika Machnik-Jones Jean Statham Rob Bradshaw* Ann Wilson*
BASS
Anthony Stoops, Principal Larry Moore Parvin Smith Mark Osborn Jesus Villarreal* Christine Craddock* Kara Koehn*
FLUTE
Valerie Watts, Principal Parthena Owens Nancy Stizza-Ortega
PICCOLO
Nancy Stizza-Ortega
OBOE
Lisa Harvey-Reed, Principal Dan Schwartz Katherine McLemore
CONTRABASSOON Barre Griffith
HORN
Kate Pritchett, Principal G. Rainey Williams Chair James Rester Mirella Gable Matthew Reynolds
TRUMPET
Karl Sievers, Principal Jay Wilkinson Michael Anderson
TROMBONE
John Allen, Acting Principal Philip Martinson
TUBA
Ted Cox, Principal
TIMPANI
Jamie Whitmarsh, Principal
PERCUSSION
Patrick Womack, Acting Principal Roger Owens
ENGLISH HORN
HARP
Dan Schwartz
Gaye LeBlanc Germain, Principal
CLARINET
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Bradford Behn, Principal Tara Heitz James Meiller
BASS/E-FLAT CLARINET James Meiller
BASSOON
Rod Ackmann, Principal James Brewer Barre Griffith Larry Reed*
Peggy Payne, Principal
PERSONNEL MANAGER John P. Allen
MUSIC LIBRARIAN Jose Batty
STAGE MANAGER Leroy Newman
*Denotes Substitute and Extra Musicians Please Note: The seating positions of all string sections change on a regular basis.
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PLANNED GIVING
O F T H E O K L A H O M A P H I L H A R M O N I C S O C I E T Y, I N C .
The Oklahoma Philharmonic Society, Inc. is honored to recognize its Encore Society members — visionary thinkers who have provided for the future of the Oklahoma City Philharmonic through their estate plans.
Anonymous (3)
Joel Levine and Don Clothier
Steven C. Agee, Ph.D.
John and Caroline Linehan
Mr. and Mrs. Patrick B. Alexander
Mr. and Mrs. Marvin C. Lunde, Jr.
Gary and Jan Allison
Mrs. Jackie Marron
Dr. Jay Jacquelyn Bass
Mr. and Mrs. John McCaleb
Louise C. Churchill
Jean and David McLaughlin
Mr. and Mrs. Robert H. Clements
W. Cheryl Moore
Thomas and Rita Dearmon
Carl Andrew Rath
Dr. and Mrs. James D. Dixson
Mrs. Catherine Reaves
Hugh Gibson
Mr. and Mrs. William J. Ross
Pam and Gary Glyckherr
Drs. Lois and John Salmeron
Carey and Gayle Goad
Mr. and Mrs. William F. Shdeed
Mr. and Mrs. J.A. Gowman
Richard L. Sias
Carol M. Hall
Doug and Susie Stussi
Ms. Olivia Hanson
Larry and Leah Westmoreland
Jane B. Harlow
Mr. John S. Williams
Dr. and Mrs. James Hartsuck
Mr. and Mrs. Don T. Zachritz
Mr. and Mrs. Michael E. Joseph
THANK YOU The Oklahoma Philharmonic Society, Inc. is grateful for the support of caring patrons who want to pass on a legacy of extraordinary music to future generations. You can join this special group of music enthusiasts by including a gift for the OKC Philharmonic’s future in your own will or estate plan. For more information on how to become an Encore Society member, contact Tara Burnett at (405) 232-7575 or tara@okcphil.org.
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MEET THE MUSICIANS
THE PEOPLE BEHIND THE MUSIC
SARAH SANFORD-BROWN
JAY WILKINSON
A native Oklahoman, second violinist Sarah Sanford-Brown received her Undergraduate degree from The University of Oklahoma where she studied with Felicia Moye, and earned her Masters at the Chicago College of Performing Arts. She was a member of the Civic Orchestra of Chicago while participating as an active member for the Chicago music community. She made her solo debut with the Henderson Symphony in Las Vegas, and has performed at The Kennedy Center with the Washington Chamber Symphony’s Vivaldi Orchestra. She has been a member of the OKCPHIL since 2009.
Jay Wilkinson plays second Trumpet with the OKCPHIL and is Professor of Jazz at The University of Oklahoma where he also acts as Jazz Coordinator. He holds a Bachelors in Music Education as well as a Masters in Music from OU, and is currently working on his Doctorate at University of North Texas. A man of a variety of talents, Jay can be found composing, arranging, performing, serving as a clinician as well as singing and playing trumpet with a variety of local jazz and music ensembles. His works have been performed at events like DJango Fest, Jazz in June, and the National Trumpet Competition.
What do you do in your spare time? My favorite is traveling with my husband and two boys.
Tell us a life changing moment you had on stage with the OKCPHIL. On a pops concert, I sang, “Someone to Watch Over Me,” and brought my wife, Jessica, on stage to propose with her parents, Mike and Cathy Reaves, just behind me in the violin section.
What would you like the audience to know about you? I love how music can transport the listener to another time and place anywhere in the world. The experience of playing the world’s most beautiful music with my treasured colleagues is an honor and privilege.
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GIFTS TO THE PHILHARMONIC The Oklahoma City Philharmonic Orchestra gratefully acknowledge the commitment and generosity of individuals, corporations, foundations, and government agencies that support our mission. To help us provide inspiration and joy to the community through live orchestral performances and a variety of education and community engagement programs, please contact the Philharmonic’s Development Office at (405) 232-7575. This Annual Fund recognition reflects contributions made in the 2020-2021 season. Contributions of $250 and above are listed through February 24, 2021. If your name has been misspelled or omitted, please accept our apologies and inform us of the error by calling the phone number listed above. Thank you for your generous support!
CORPORATIONS, FOUNDATIONS & GOVERNMENT Express their generous commitment to the community.
UNDERWRITER $40,000 & Above Allied Arts Foundation Delaware Resource Group of Oklahoma, LLC E.L. and Thelma Gaylord Foundation Inasmuch Foundation Kirkpatrick Foundation Inc. Oklahoma Arts Council Oklahoma City Orchestra League, Inc. The Oklahoman The Skirvin Hilton Hotel
MidFirst Bank OGE Energy Corp. Tyler Media Co./Magic 104.1FM and KOMA W&W Steel, LLC
GOLD PARTNERS $1,500 - $2,249
GOLD SPONSORS $5,000 - $9,999
SILVER PARTNERS $1,000 - $1,499
Bank of Oklahoma Garman Productions Mekusukey Oil Company, LLC The Metro Restaurant
Trade Mechanical Contractors, Inc.
PLATINUM SPONSORS $10,000 - $39,999
SILVER SPONSORS $3,000 - $4,999
405 Magazine Ad Astra Foundation American Fidelity Foundation Devon Energy Corporation Express Employment International HSPG and Associates, PC I Heart Media Love’s Travel Stops & Country Stores Mathis Brothers Furniture Co., Inc.
The Friday Intrinsic Health OK Gazette
BRONZE SPONSORS $2,250 - $2,999 The Black Chronicle Globe Life and Accident Insurance Company
MATCHING GIFT COMPANIES AND FOUNDATIONS Double the impact of an individual’s gift. American Fidelity Foundation Bank of America Matching Gifts Program
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The Boeing Company Inasmuch Foundation
Charlesson Foundation Morningstar Properties, LLC
BRONZE PARTNERS $500 - $999 Hatton Enterprises Parrish DeVaughn Injury Lawyers Tom Johnson Investment Management LLC
BUSINESS MEMBERS $250 - $499
GIFTS TO THE PHILHARMONIC MAESTRO SOCIETY Providing leadership support.
Underwriter $25,000 and above
Guarantor $10,000 and above
Benefactor $5,000 - $9,999
Phil G. and Cathy Busey Freede Family Foundation Joel Levine and Don Clothier Jean and David McLaughlin George Records Mr. Richard L. Sias and Alice and Phil Pippin Glenna and Dick Tanenbaum
Steven C. Agee, Ph.D. Linda and Patrick Alexander Marilyn and Bill Boettger Lawrence H. and Ronna C. Davis Mr. and Mrs. Andrew J. Evans, II Mr. and Mrs. John A. Frost Jane B. Harlow Andria and Paul Heafy Mr. Albert Lang Larry and Polly Nichols Doug and Susie Stussi Renate and Chuck Wiggin
Mark and Julie Beffort Mrs. Betty D. Bellis-Mankin Mr. and Mrs. John Biggs Dr. and Mrs. L. Joe Bradley Louise Cleary Cannon and Gerry Cannon Mrs. Teresa Cooper Mr. and Mrs. David C. DeLana Gerald and Jane Jayroe Gamble Mary Ann Holdrege John and Claudia Holliman Donald Rowlett Ruth Mershon Fund
INDIVIDUALS Providing essential support for the Annual Fund. Patron ($3,500 - $4,999) Mike and Dawn Borelli Mrs. Bonnie B. Hefner Michael J. Sweeney, Jr.
Sustainer ($2,250 - $3,499) Dr. and Mrs. Dewayne Andrews Dr. and Mrs. John C. Andrus Larry and Sarah Blackledge Mrs. Carole S. Broughton Mr. and Mrs. Robert F. Browne Bruce Campbell Mr. and Mrs. Robert H. Clements Mr. and Mrs. Sidney G. Dunagan David and Druanne Durrett Mr. and Mrs. Joseph M. Fleckinger Frank Goforth and Nancy Halliday Sam and Joy Hammons Brent Hart and Matt Thomas Dr. and Mrs. James Hartsuck Tom and Cindy Janssen
Kim and Michael Joseph Kathy and Terry Kerr Dr. and Mrs. Patrick McKee Todd and Mary Margaret Miller Annie Moreau, MD Ms. Veronica Pastel Egelston Mr. William G. Paul Mrs. Ruby C. Petty Mr. and Mrs. Jerry W. Plant Drs. Gary and Mary Porter Mr. H.E. Rainbolt Drs. Lois and John Salmeron Dr. and Mrs. Hall Scofield John and Katherine Spaid Jim and Debbie Stelter Mr. and Mrs. John E. Stonecipher Mrs. Billie Thrash Donna Kennedy Vogel Mrs. Janet Walker Ron and Janie Walker John and Lou Waller
Dr. James and Elizabeth Wise Mrs. Anne Workman Jeanise Wynn
Associate ($1,500 - $2,249) Anonymous (2) Mrs. Mary Louise Adams Virginia and Albert Aguilar Mr. and Mrs. Louis Almaraz Ms. Zonia Armstrong Sterling and Cheryl Baker Dr. and Mrs. William L. Beasley William and Melissa Beck Nick and Betsy Berry Dr. and Mrs. Charles F. Bethea Dr. and Mrs. Philip C. Bird Robyn Birdwell and Mark Fixley Ms. Pamela Bloustine Mr. and Mrs. Del Boyles Mrs. Phyllis Brawley Dr. and Mrs. Robert C. Brown CONTINUED ON PAGE 36
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SPECIAL EVENT GIFTS
Thank you to the following who believed in our mission by supporting the 2020 Symphony Show House!
Headlining Show House Patron
Benefactor
Mrs. Josephine Freede Glenna and Dick Tanenbaum
Mr. and Mrs. John Biggs John and Sue Francis Dick and Julia Hunt Margaret and Drake Keith John and Anna McMillin Angela Miller Drs. John and Lois Salmeron Benjamin Williams
Silver Patron Lance and Cindy Ruffel Jean and David McLaughlin
Bronze Patron Teresa Cooper Dr. and Mrs. William L. Parry Mrs. June Tucker Dr. Don and Eleanor Whitsett The Meinders Foundation
Friend Ms. Janice B. Carmack Carole Doerner Mrs. Lou Kerr/The Kerr Foundation, Inc. Cinda Lafferty
Larry and Deanna Pendleton Meg Salyer Judith Clouse Steelman
Supporter Joe and Kerry Bocock Alix Darden Karen Delaney Lu Ann Faulkner-Schneider Linda Mason Pamela Parker Kate Pritchett and Neal Kellogg Myrna Ranney Michael Winters Bev Wood
Thank you to the Talented Designers who made the 2020 Symphony Show House a Reality! Elizabeth Richardson, Adorn Rosinna Gies, Amini’s Galleria Rachael Gruntmeir, The Black Scintilla Tuesday Fay and Halah Songer, Bob Mills Furniture Abbie Wilkerson, Aleks Payne, Victor Goetz and Doris Medrano, Calvert’s Plant Interiors Crystal Carte, Carte’s Interiors Shara Castillo, Castle Rock Granite Cindy Raby, Cindy Raby Interiors Patti Williams, The Enchanted Cottage Nora Johnson, Johnson Manor Interior Design Katelynn Henry, Steve Calonkey and Steve Simpson, Henry Home Interiors Patty Tippit, Home Dazzle Jeff Muse and Beth Ketchum, K&N Interior Fabrics Lezley Lynch, Lezley Lynch Designs Dr. Kari Lopez, Renae Brady and Tracy Knoche, LOREC Ranch Home Furnishings
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Lynda Savage, Lynda Savage Art Nathan R. Hughes and Maria Magana, Mathis Design Studio Keven Calonkey Carl, ASID, NCIDQ, Cassidy Brunsteter, Allied ASID, and Lance Whitlow, Mister Robert Fine Furniture & Design Cindy Curley and Ryan Johnson, Norwalk Design Ronette Wallace, OTW Interiors and Suburban Contemporary Furniture Deb Johnson, Paint Inspirations, Inc. Duff Jack, Suburban Furniture Julie Miller, Tin Lizzie’s J. Mark Taylor, RID, Assoc. ASID, Traditions Fine Furniture & Design Pam Smart, Vintage Gypsy Steve Winters and Lisa Smallwood, Winter House Interiors
THANK YOU
Endowment Campaign Donors In celebration and in honor of Maestro Joel Levine and the founders of the Oklahoma City Philharmonic.
Louise Cleary Cannon In Memory of Bill Cleary Lawrence H. and Ronna C. Davis The Estate of Lois Marie Fees The Kirkpatrick Family Fund Joel Levine and Don Clothier Michael and Catherine Reaves Susan Robinson Glenna and Dick Tanenbaum Mr. and Mrs. Robert H. Clements Ms. Barbara Crabtree The Payne Family Mrs. Josephine Freede Pam and Gary Glyckherr In Memory of Jackson Cash Lamb Jane B. Harlow Kim and Michael Joseph Doug and Susie Stussi Dr. and Mrs. Dewayne Andrews Anonymous In Honor of June H. Parry Mr. J. Edward Barth Valerie and Joe Couch Molly and Jim Crawley David and Jan DeLana Annie Moreau, M.D. Mr. William G. Paul Presbyterian Health Foundation Leah and Larry Westmoreland Anne W. Workman Mr. and Mrs. Don T. Zachritz Karen Beckman Linda and Morris Blumenthal Jo Carol Cameron Ms. Janice B. Carmack Shirley E. Dearborn, M.D.
Gwen Decassios Charles and Dorothy Ellis John and Sue Francis Stephen P. and Nancy R. Friot Ms. Joan Gilmore Jerry H. and Judy Johnson L. M. Johnston, Ph.D. The Kerr Foundation, Inc. Gerry Mayes Ronald T. and Linda Rosser McDaniel Mr. and Mrs. Michael R. Perri Dr. and Mrs. Marvin D. Peyton Gary and Carol Sander John W. and Rose Steele Mrs. Dorothy J. Turk Dr. Don and Eleanor Whitsett Anonymous Dr. and Mrs. John C. Andrus Norwood Beveridge Carla Borgersen In Honor of Maestro Joel Levine Mr. and Mrs. Bob G. Bunce Dr. and Mrs. Don R. Carter Ms. Martha A. Custer Mr. and Mrs. Sam Decker Sarah Jane Gillett In Memory of Ken McKinney Julia and Dick Hunt Colonel (ret.) Dean and Mrs. Jeanne Jackson Patricia Matthews Ms. Carol McCoy Cheryl Moore Judy and Wes Morrison Michael and Ginger Penn Ms. Margaret L. Price Tommie and Gary Rankin Dean Rinehart Janice and Lee Segell Cindy Solomon Tom and Venita Springfield K. Kay Stewart Paula and Carl Stover Dorothy and Udho Thadani
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RIVER DEEP, ROYAL HIGH(NESS) April 24, 2021 8:00 P.M.
THE PEOPLE BEHIND THE MUSIC
CLASSICS TED COX, TUBA ALEXANDER MICKELTHWATE, CONDUCTOR
ULISES SERRANO Digital Strategies Coordinator (Digital Guru)
BACH ........................ Brandenburg Concerto No. 3 in G major, BWV 1048
[Allegro] Adagio Allegro
STRAUSS, R ............... Horn Concerto No. 1 in E-flat major, Op. 11, TrV 117 (transcribed for tuba) Greetings OKCPHIL family! A little about me and what I do: I was born in Mexico raised in Oklahoma, I graduated from Oklahoma City University with a Music Business degree on a Viola scholarship. As the Digital Strategies Coordinator, I help create and capture captivating content for our social media and lead the way in new digital marketing techniques to reach OKCPHIL patrons! Other than music, I am passionate about cinema, video games, cooking, and family.
Allegro Andante Allegro
Ted Cox, tuba
SCHUMANN, R ........... Symphony No. 3 in E-flat major, Rhenish, Op. 97
Lebhaft (Lively) Scherzo: Sehr mässig (Very moderate) Nicht schnell (Not fast) Feierlich (Solemn) Lebhaft (Lively)
THIS CONCERT IS GENEROUSLY SPONSORED BY:
Text CLASSICS to 95577 to stay up to date on the latest Philharmonic info. Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, May 19 at 8 pm and Saturday, May 22 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.
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TED COX Ted Cox is Principal Tubist with the Oklahoma City Philharmonic, a position he has held since 1992. Ted owns two yoga studios, Spirit House Yoga and YogaLab. Ted is the author of two books, Warrior Self and Warrior Truth. In 2009, Ted released his solo CD, Bach to Bix – Live. From 1993 to 2003, Ted was on the faculty of the University of Oklahoma School of Music. During his tenure at the University of Oklahoma, Ted served six years as both Director and artist/ faculty of the International Tuba-Euphonium Workshop. Other performing credits include positions with the Mississippi Symphony Orchestra and Brass Quintet, as
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well as the Evansville (Indiana) Philharmonic. July of 2002 marked the inaugural season of the Music from Greer Chamber Music Festival held in Greer, Arizona. Ted is the creator of this weeklong festival, serving as both Artistic Director and as an artist in residence from 2002 to 2005. Ted is a graduate of Indiana University, where he was a student and teaching assistant of the world-renowned soloist and teacher, Harvey Phillips. While attending Indiana University, Ted was awarded the prestigious Performers Certificate, the highest performance award given by the music faculty for his junior recital.
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Brandenburg Concerto No. 3 in G major, BWV 1048 Johann Sebastian Bach First Performance: 3/29/1960 Conductor: Guy Fraser Harrison Last Performance: 11/13/1983 Conductor: Luis Herrera Born: March 21, 1685, in Eisenach, Duchy of Saxe-Eisenach, Thuringia (Germany) Died: July 28, 1750, in Leipzig, Saxony (Germany) Work composed: During the period 1717-21, perhaps earlier; Bach assembled his six Brandenburg Concertos into a formal collection in March 1721. Work dedicated: To Christian Ludwig, Margrave of Brandenburg Work premiered: Not known Instrumentation: Three violins, three violas, three cellos, and continuo
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Many of Bach’s most buoyant instrumental works date from his years at Cöthen, including his Brandenburg Concertos and his violin concertos. The exact dating of these works is often problematic, since most of Bach’s Cöthen manuscripts are lost. The Brandenburg Concertos appeared as a group of six works, at least part of which Bach arranged from earlier settings. He assembled the collection as a sort of job application. In 1721, he was in his third year as Prince Leopold’s musical director, and everything was going more-or-less swimmingly on a professional level. But in 1721, the Prince married a woman who did not share his musical interests, and the court’s musical life immediately took a plunge. On March 24 of that year, the composer, three days past his 36th birthday, inscribed a servile dedication letter in courtly French to the Margrave of Brandenburg, whom he apparently had met a couple of years before, and who Bach hoped might hire him at his court in Berlin. The letter and the six concertos that accompanied it seem never to have been acknowledged, and it is all but certain that the Margrave never had the works performed. He probably couldn’t have, since they call for the instrumental forces approximating those of Anhalt-Cöthen, which considerably surpassed those then in place at the Margrave’s palace. Nonetheless, the name Brandenburg became attached to them many years later. Each of the six Brandenburg Concertos has a distinct character and employs a different combination of instruments. These are concertos in the sense that the word was employed in the Baroque to mean a “coming together” of instruments. In general, the Third Brandenburg Concerto, along with the First and the Sixth, exemplify the emerging of what we recognize as an orchestral style, stressing the blend of instrumental sections. In contrast, the Second, Fourth, and Fifth Brandenburg Concertos stand as celebrating sheer instrumental virtuosity.
Johann Sebastian Bach was 32 years old when he assumed the position of Kapellmeister (music director) at the Court of Prince Leopold of Anhalt in Cöthen, in December 1717. It was a big decision for the composer, who already had a good job as orchestra leader for the Duke of Weimar, where he had worked since 1708. Accepting the new position was personally disruptive beyond the fact that it entailed moving Bach’s quickly growing family the distance of about sixty miles; refusing to accept Bach’s resignation, the Duke had him held under arrest for a month before he finally let his orchestra leader go.
The Brandenburg Concerto No. 3 is for a string orchestra alone (three parts each of violins, violas, and cellos, with basso continuo) without any soloists—or, when the piece is played with a single musician on each part, then with nothing but soloists. Part of the excitement of the Third Brandenburg Concerto involves the way this essentially homogenous string sound yields a constantly varying texture in which instrumental sections emerge from and recede back into the overall texture, yielding a surface sound that is constantly in a state of subtle flux. In performance, the movement of the music from group to group is practically choreographic; you can see it travel around the ensemble. This concerto is cast in only two movements, both fast (although the first lacks a tempo marking), connected by a pair of modulatory chords (marked Adagio; see sidebar). Stylistic analysis and details of Bach’s notation have led scholars to believe that this may have been the earliest of the Brandenburg Concertos to be composed—and if not the entire concerto, then at least its opening movement. That’s not to say that Bach considered CONTINUED ON PAGE 32
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it old-fashioned; in 1727, six years after he assembled the presentation copy of the Brandenburg Concertos, he wrote a new version of this first movement to serve as the introduction to his Cantata No. 174—a good example of how easily Bach’s music could waft across the boundary separating sacred from secular music.
The Adagio of Brandenburg Concerto No. 3 The Third Brandenburg Concerto is the shortest of the six, in large part because it has only two complete movements. Though placed in the score as a separate movement, the central Adagio consists of only a time signature (C—or “common time”), and two chords, written in half notes, fully scored through all ten independent parts, spelling a sequence that would be considered a Phrygian cadence to close a movement in the key of E minor.
Horn Concerto No. 1 in E-flat major, Op. 11 (transcribed for tuba) Richard Strauss First Performance: 3/3/1985 Horn: Dan Meier Last Performance: 3/27/1993 Horn: David Jolley Born: June 11, 1864, in Munich, Bavaria (Germany) Died: September 8, 1949, in Garmisch, Germany Work composed: 1882-83 Work premiered: March 4, 1885, in Meiningen, Germany, with Hans von Bülow conducting the Meiningen Orchestra and its principal hornist, Gustav Leinhos, as soloist; the work had previously been presented at the Munich Tonkünstlerverein by hornist Bruno Hoyer with the composer playing his piano reduction of the orchestral score. Work dedicated: The piano-reduction version is dedicated to Strauss’ father, Franz Strauss, the orchestral score to the hornist Oscar Franz Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings; in this performance, the solo part is played by tuba rather than by horn.
Bach’s Adagio is a riddle. It used to be standard for performers to conform to the written score exactly, playing nothing more than the two chords as they stand. Modern interpreters sometimes incorporate a short improvisation by violin or harpsichord over the first chord, resolving (with the second chord) in the notated cadence. That is the strategy used here, with the concertmaster offering a brief flight of elaboration. It remains curious that Bach should have placed a fermata over the second of the chords rather than the first, which in this case would need to be held for a considerable span; but so he did, unequivocally, in his manuscript. Beneath the speculation lurks the assumption that Bach, as leader of the ensemble, would have done something at this point in the score and that the reason the Adagio exists in such telescoped shorthand is that he would have been on hand to finesse things. The Bach scholar Malcolm Boyd wisely reminds us that Bach did copy out this piece—with the two-chord Adagio—expressly for the Margrave of Brandenburg, and that he would not have been there to assist if the Margrave had managed to assemble enough musicians for a performance. “Without Bach himself to guide them,” writes Boyd, “they would surely have been placed in a novel situation, since they could never have encountered in printed concertos … a work in which the composer abdicated responsibility for an entire movement.” The whole matter remains a puzzle without a certain solution. —JMK
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Richard Strauss was the first of two children (preceding his sister, Johanna) born to Josephine Pschorr Strauss, daughter of a prosperous Munich brewer, and Franz Strauss, who by that time had served for 17 years as principal hornist of the Bavarian Court Orchestra in Munich. Franz Strauss was the most respected hornist of his day—and a long day it was, since his tenure in the orchestra extended from 1847 until 1889, during the course of which he garnered lavish praise from the likes of Richard Wagner and the conductor Hans von Bülow (who, invoking one of the era’s leading violinists, called him “the Joachim of the French horn”). Richard would grow up enveloped by the sound of his father’s
PROGRAM NOTES horn and would eventually enrich the instrument’s repertoire with two concertos, not to mention numerous passages of breathtaking virtuosity in his orchestral scores. When Strauss the Father objected that the horn solo at the opening of Till Eulenspiegel was unplayable, Strauss the Son is said to have responded, “Don’t be silly; I’ve heard you warm up with that passage every day of my life.”
The Solo Instrument In this concert we hear Strauss’ Horn Concerto No. 1 played not on the horn, but rather on the tuba. A good many tuba concertos do exist, but tubists with a nimble technique have long embraced this piece as a welcome expansion of the concerto repertoire available to them. Principal Tubist Ted Cox, the soloist in this concert, has performed this concerto previously with piano accompaniment but never with orchestra. “I play it on a bass tuba in F,” he says, “and it lies perfectly on the instrument, much of it in the middle register. I was having coffee with Alexander Mickelthwate when he caught me off guard by inviting me to play a concerto for our reimagined season. I immediately suggested this piece. The tuba concertos by Ralph Vaughan Williams and John Williams both require larger orchestras, but the Strauss is scored for strings plus just pairs of winds—a natural since we have to limit the number of people onstage. I also wanted to play something I knew the audience would like, and this is a totally enjoyable piece. Strauss didn’t attach a program to it, as he would when he began writing tone poems a few years later. But privately, I imagine a narrative running through it; the melodies have such a vocal quality that you could put words to it. The second movement is highly Romantic. There I picture Strauss in love. At one point I imagine the beloved coming in via a countermelody from the clarinet, which leads to a beautiful duet between the clarinet and the horn.” Or, in this performance, between the clarinet and the tuba.. —JMK
When he was 14 years old, Richard Strauss composed two pieces for his father: the “Introduction, Theme, and Allegro” is for the predictable combination of horn and piano, while the song “Alphorn” is for voice and piano with obbligato horn. It seemed inevitable that a full-blown horn concerto would spring from his pen eventually; Papa, after all, had written one himself back in 1865. The moment arrived in 1882-83, during the period when the precocious Strauss was producing a freshet of major-genre works: his Symphony in D minor and String Quartet in A major (both in 1880), Violin
Concerto (1882), Cello Sonata (1880-83), Horn Concerto No. 1 (1882-83), and Symphony in F minor and Piano Quartet (both in 1883-84). Of these early pieces, the Horn Concerto No. 1 is the most thoroughly successful. A tightly constructed work lasting some 16 minutes, its three movements are fused into a single, elegantly flowing span, with eight measures of Allegro serving to connect the slow movement to the Rondo finale proper. On the whole it is a conservative piece, its cheerful good humor somewhat evoking the Classical spirit of Mozart. Franz Strauss would have appreciated that aspect of it, since his musical tastes (about which he was very outspoken) veered toward the old-school. On the other hand, this concerto, like the symphonies and chamber works that are its contemporaries, already sounds unmistakably like Richard Strauss, presaging the famous symphonic poems and operas that lay not far in his future. In the event, Franz Strauss never performed this concerto in public, and Strauss’ sister reported that when he played it at home, with the composer assisting at the piano, he complained about there being too many high notes in the piece—a seemingly specious criticism. Papa Strauss received the dedication of his son’s concerto, in its horn-and-piano version, whether he wanted it or not. The dedication of the full orchestral score, however, went to another noted horn player, the Dresden-based Oscar Franz, who, as it happened, also never performed it in public. (In his defense, he didn’t have much time to act on it since he died in 1886, at the age of only 43.) The premiere, which used the piano reduction, was entrusted to a different hornist, Bruno Hoyer, reputedly Franz Strauss’ favorite pupil at the Munich Academy of Music. When the concerto was unveiled in its full orchestral glory, yet another soloist stood in the spotlight: Gustav Leinhos, the first hornist of Hans von Bülow’s acclaimed orchestra at the Ducal Court of Meiningen, who several months after the premiere would serve as that conductor’s emissary in inviting Strauss to become Bülow’s musical apprentice—the step that decisively launched Strauss’ career.
Symphony No. 3 in E-flat major, Rhenish, Op. 97 Robert Schumann First Performance: 3/3/1985 Conductor: Guy Fraser Harrison Last Performance: 10/15/2011 Conductor: Joel Levine Born: June 8, 1810, in Zwickau, Saxony (Germany) Died: July 29, 1856, in Endenich, near Bonn (Germany) Work composed: From November 2 to December 9, 1850 Work premiered: February 6, 1851, by the Düsseldorf Orchestra, with the composer conducting Orchestration: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings. CONTINUED ON PAGE 34
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that in the fall of 1853 the town fathers tried diplomatically to enact a plan that would release him from projects he obviously could not handle. In February 1854, he would dash through Carnival revelers and throw himself into the Rhine in an unsuccessful suicide attempt. His next stop would be the asylum in Endenich, up-river near Bonn, where he committed himself lest he injure anyone and spent the remaining two and half years of his life wafting in and out of lucidity.
Before his marriage to Clara Wieck, Robert Schumann had composed exclusively for the piano, the instrument on which he was most proficient. But after he married, in September 1840, he wrote surprisingly little for the instrument, all the more curious since Clara was not only his personal muse but also one of the greatest pianists of her day. Instead, Robert turned his attention to other genres in obsessive, quick succession. In 1841 the orchestra had its turn. In that year alone he produced his Symphony No. 1 (Spring); his buoyant “Overture, Scherzo, and Finale” (essentially a symphony without a slow movement); the original version of his Symphony in D minor (recast a decade later into what we know as his Symphony No. 4); and yet another symphony, in C minor, which he left incomplete. After that he eased up on symphonic music. His Symphony No. 2 waited until 1845-46, and almost another five years passed before he embarked on his Symphony No. 3. Its subtitle, Rhenish, bears tribute to the Rhine River, the waterway of Germany’s western spine. The Schumanns had recently moved to the Rhineland, arriving on September 2, 1850, in Düsseldorf, where Robert had accepted a position as the city’s municipal music director. He was in a manic state of creativity when they arrived. He quickly embarked on writing his Cello Concerto, which he completed in a mere ten days that October, and threw himself into producing an extensive ten-concert series that proved quite successful. In the end, things would not turn out well for the Schumanns in Düsseldorf. Robert began descending into insanity and grew so eccentric in carrying out his duties
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But in 1850, the Rhine held out only hope to him, and the symphony it inspired contains many of his most buoyant and optimistic pages. It is a thoroughly German symphony; in fact, Schumann here used German-language movement markings for the first time in his symphonies, and he crafted themes that clearly evoked the landscape, such as the Ländler-like folk-waltz of the Scherzo movement, which he initially intended to actually title “Morning on the Rhine.” Schumann told his biographer William Joseph von Wasielewski that, in this work, “popular elements should prevail, and the result, I think, has been a success”; and in 1851 he wrote to his publisher that “here and there [this symphony] reflects a bit of local color.” The Cologne Cathedral, the Gothic crown of one of the Rhine’s great cities, makes an appearance here, too; the fourth movement, Schumann wrote in the symphony’s manuscript, should be “like the musical accompaniment for a solemn ceremony,” probably a reference to the Schumanns’ visit to that cathedral when it was being prepared for the local archbishop’s elevation to the rank of cardinal. Trombones, historically taken to signify things ecclesiastical, wait until this fourth movement to make their first appearance in this symphony, their mellow tones (joined by horns and bassoons) singing forth in an impressive chorale right at the outset. This music stands in high contrast to the overwhelmingly cheerful, or at least bucolic, material that has preceded it. But it proves essentially integrated into the symphony, and these solemn tones will be recalled even in the bustling merriment of the finale. Near the end, the horns also make allusions to the music of the symphony’s opening, tying up this potentially sprawling, five-movement span with an impressive display of the composer’s mastery of large-scale structures.
JAMES M. KELLER James M. Keller recently completed 25 years as Program Annotator of the New York Philharmonic and is in his 21st as Program Annotator of the San Francisco Symphony. He is the author of Chamber Music: A Listener’s Guide (Oxford University Press).
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HOUSE NOTES
CIVIC CENTER COVID-19 HEALTH AND SAFETY PROTOCOLS INCLUDE: • Masks will be required over nose and mouth for all patrons upon entry and throughout the performance • 6 foot social distancing will be required • Temperature checks will be performed upon entry • Hand sanitizing stations will be readily available throughout the building • As you exit the theater please allow the rows closest to the exit to rise and exit first, then the next row and the next… think of it like a wedding. RESTROOMS are conveniently located on all levels of the theater. Please ask your usher for guidance. LATECOMERS and those who exit the theater during the performance may be seated during the first convenient pause, as determined by the management, and as is possible while maintaining safe social distancing. ELECTRONIC DEVICES must be turned off and put away during the performance (no calling, texting, photo or video use please). BEVERAGES: Bottled water is permitted in the theater at the Classics Series concerts. Beverages are permitted in the theater at the Pops Series concerts; however, bringing coffee into the theater is discouraged due to the aroma. Beverage stations will be located on floors 1-4. SMOKING in the Civic Center Music Hall is prohibited. The Oklahoma City Philharmonic promotes a fragrance-free environment for the convenience of our patrons. FIRE EXITS are located on all levels and marked accordingly. Please note the nearest exit for use in case of an emergency. ELEVATORS are located at the south end of the atrium of the Civic Center Music Hall. CHILDREN of all ages are welcome at the Philharmonic Discovery Family Series and Holiday Pops performances; however, in consideration of the patrons, musicians and artists, those under five years of age will not be admitted to evening Classics and Pops concerts unless otherwise noted. BOOSTER SEATS for children are available in the Civic Center lobby. Please inquire at the Box Office. VIDEO MONITORS are located in the lobby for your convenience. WHEELCHAIR AVAILABLE SEATING – Persons using wheelchairs or with walking and climbing difficulties will be accommodated when possible. Those wishing to use the designated wheelchair sections may purchase the wheelchair space and a companion seat. Please inform the Philharmonic or Civic Center Box Office staff of your need when ordering tickets so that you may be served promptly and appropriately. Please request the assistance of hall ushers to access wheelchair seating. HEARING LOOPS have been installed. Ask your audiologist to activate the telecoil in your hearing aid or cochlear implant. Due to the mechanics of the stage, the hearing loops do not reach the pit section but are available at concession stands, the Box Office and the Thelma Gaylord Performing Arts Theatre. The copper wire in the floor and telecoil work together to connect the hearing device to the theater’s sound system using a magnetic field which dramatically improves sound clarity for patrons using hearing devices. LOST & FOUND is located in the Civic Center office (405-594-8300) weekdays 8:30 a.m. – 5:00 p.m. PHILHARMONIC TICKET OFFICE may be contacted by calling 405-TIC-KETS (405-842-5387) or you can visit the Philharmonic Ticket Office located on the first floor of the Arts District Garage at 424 Colcord Drive in Suite B. The Philharmonic Ticket Office is open Monday through Friday, 9:00 a.m. to 5:00 p.m. and by phone on concert Saturdays from 10:00 a.m. to 2:00 p.m. CIVIC CENTER BOX OFFICE hours are Monday through Friday, 10:00 a.m. to 6:00 p.m. and two hours prior to each performance. (405-594-8300) Programming has been kept to a one hour format with no intermission as a Covid-19 safety measure for Staff and Audience alike. Artists and Programming Subject to Change.
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