This was particularly true with the masterful oboe and bassoon dialog and the grand finale -- more than hinting with classical harmony of the structure and order of the Viennese universe. Harbison -- Another short and enjoyable piece, masterfully done featuring the HSO's brass section. This is brass playing of the highest degree -- perfect pitch, blended coloration, interesting harmonic structures, and, after the Mozart finale, one is forced to think, "how far we've come in combining harmony and structure." I am not quite sure this is evocative of a Houston landmark, but it is evocative of the power of music to celebrate and rejoice.

Poulenc -- Being a fan of the Mozart and Verdi Requiem Masses, the Poulenc takes one's breath away in its truly celestial harmonization. I sometimes wonder why composers put a soprano voice into their word (e.g. Mahler), it seems as if it is just a way to get larger and more complex tonality; but this is not the case with Poulenc. The soprano is not a soloist, but a part of the orchestra featuring the human voice. One need not know the words,...

This music soars when necessary, meditates when called upon, and was clearly the pinnacle job of the concert.
WORKS REFERENCED or CONSULTED

Anthony, M. (March 2, 2001). "Cool and Composed: John Harbison Learned." the

Star Tribune. Cited in: http://www.encyclopedia.com/doc/1G1-71017371.html

Blair, E. (January 27, 2006). "Mozart's Last Symphony." NPR Music. Cited in:

http://www.npr.org/templates/story/story.php?storyId=5173337

Gutman, P. (2001). "Francis Poulenc- Gloria." Music Notes. Cited in:

http://www.classicalnotes.net/classics/gloria.html

Horsley, P. (November 15, 2008). "Symphonies of Wind Instruments." The Kennedy Center.

Cited in: http://www.kennedy-center.org/calendar/?fuseaction=composition&composition_id=3181

"Houston Symphony Orchestra." (2010). The Handbook of Texas Online. Cited in:

http://www.tshaonline.org//handbook/online/articles/HH/xgh1.html