CSO Holst's The Planets - program 05-17-24

Welcome to Your CSO!

This May and June, the Charlotte Symphony Orchestra will present a rich selection of performances that will take us through neighborhoods across the Charlotte region, celebrating our vibrant communities and forging new partnerships along the way.

Fresh from the success of our inaugural immersive concert, MERGE, where symphonic music met electronic dance beats, we’re gearing up for an exciting summer season. Our highly anticipated annual Summer Pops series, presented by Novant Health, will return to Symphony Park with four spectacular concerts in June: “Sonidos Latinos: Latin Sounds,” “A Juneteenth Celebration,” “Music from the Movies,” and “Celebrate America!” Join us for all four concerts and we’ll reserve a premium spot for you on the lawn where you can soak up the music and the atmosphere. CSO Roadshow will hit the road again with performances at the Simmons YMCA on May 12 and the Ophelia GarmonBrown Community Center on June 21. Plus, we’re bringing music to local parks this June with five free community concerts in Matthews, Cornelius, Pineville, Kannapolis, and Lake Norman. And don’t miss our performance of the ultimate summer movie blockbuster, Jaws, featuring John Williams’s iconic score performed live along with the fulllength film on June 14 & 15 at Belk Theater.

But before we dive into summer, we have some exciting performances in Uptown this May, including the finale of our Bank of America Classical series with Holst’s The Planets on May 17 & 18, conducted by the remarkable William Eddins, and our Youth Orchestras’ season final concert on May 18, showcasing the talents of our young musicians from the Youth Orchestra, Youth Philharmonic, and Youth Ensemble.

Visit charlottesymphony.org for our full schedule, and join us this spring and summer in Uptown, or catch us for a performance in your neighborhood!

David Fisk President & CEO

ANNOUNCING THE CHARLOTTE SYMPHONY’S NEXT MUSIC DIRECTOR

We are thrilled to announce that Kwamé Ryan, hailed as a “dynamic conductor” by The Baltimore Sun, will assume the role of your Charlotte Symphony’s 12th Music Director, beginning in 2024–25, ushering in a new era for the Orchestra’s 93rd season.

“On my very first visit to Charlotte, I felt instantly connected with the dynamic energy of the city and then profoundly inspired by the wonderful musicians of the Charlotte Symphony Orchestra … I very much look forward to discovering how this exciting new partnership can enrich the orchestra’s legacy and the cultural fabric of Charlotte.”

– Music Director Designate Kwamé Ryan

Born in Canada and raised on the Caribbean island of Trinidad, Kwamé Ryan discovered his passion for conducting at the age of nine. He studied Musicology at Cambridge University and trained in conducting under the guidance of renowned composer/conductor Peter Eötvös. An active guest conductor, Ryan has led orchestras across the United States, UK, and Germany. In the fall of 2023, Ryan conducted the world premiere of Jake Heggie’s Intelligence at Houston Grand Opera, and in 2024, he makes his debut with Opera Theatre of St. Louis and the New York Philharmonic.

When not on the podium, Ryan dedicates his time to educational and community engagement initiatives. He has previously served as Musical Director of the National Youth Orchestra of France and as Director of the Academy for the Performing Arts at the University of Trinidad and Tobago. Additionally, Ryan is the host of “8 Minute Idea,” a podcast in which he offers insights, tools, and life hacks.

“As a dynamic leader who understands the full potential of the relationship between an orchestra and its community, Kwamé will undoubtedly deepen the Charlotte Symphony’s service to Charlotte and the region, and, with his passion for music education, bring extraordinary, powerful music-making to a wider audience of all ages.”

– President & CEO David Fisk

Ryan’s selection was unanimous by the Music Director Search Committee, comprised of Charlotte Symphony musicians, staff, and members of the Board of Directors.

“From the outset, there was an incredible chemistry between Kwamé Ryan and the musicians which created an atmosphere of collaboration and inspiration. Kwamé’s dynamic performances, as well as his ability to connect with audiences in a meaningful way, truly distinguished him. We are thrilled to welcome this exceptional conductor to Charlotte!”

– Bassist Jeffrey Ferdon and Principal Violist Ben Geller, who served on the Music Director Search Committee

Your Charlotte Symphony Experience

Whether you’re attending your first Symphony performance, or you’re a longtime subscriber, we’d like to extend to you a warm and inclusive welcome! Below is some helpful information to ensure you make the most of your Charlotte Symphony experience.

What should I wear?

The Charlotte Symphony has no specific dress code. We encourage you to be comfortable and come as yourself in a style of your choice.

When do I applaud?

Audiences applaud to welcome the concertmaster, conductor, and featured artists onstage. Some works may have several sections, or movements, separated by a brief silent pause. It is tradition to hold applause until the last movement. If you are unsure, wait for the conductor to face the audience. But if you feel truly inspired, do not be afraid to applaud!

Can I take photos?

Certainly! We welcome and encourage you to capture and share photos before and after the concert, as well as during intermission. Feel free to use your cell phone for photography without flash during the performance, but please refrain from video or audio recording.

Friday, May 17, 2024, at 7:30 pm

Saturday, May 18, 2024, at 7:30 pm Belk Theater at Blumenthal Arts

William Eddins, conductor Charlotte Master Chorale

JEREMY LAMB (b. 1981) A Ride on 'Oumuamua

CAROLINE SHAW (b. 1982)

The Observatory

INTERMISSION

GUSTAV HOLST (1874-1934)

The Planets, Op. 32

[approx. 12 minutes]

[approx. 19 minutes]

[approx. 51 minutes]

I. Mars, the Bringer of War. Allegro

II. Venus, the Bringer of Peace. Adagio

III. Mercury, the Winged Messenger. Vivace

IV. Jupiter, the Bringer of Jollity. Allegro giocoso

V. Saturn, the Bringer of Old Age. Adagio

VI. Uranus, the Magician. Allegro

VII. Neptune, the Mystic. Andante

concert duration: approximately 2 hours, with one 20-minute intermission.

This concert is made possible in part by The Symphony Guild of Charlotte

William Eddins guest conductor

William Eddins is the Music Director Emeritus of the Edmonton Symphony Orchestra and a frequent guest conductor of major orchestras throughout the world.

Recent engagements include conducting the Philadelphia Orchestra with Yo-Yo Ma, and collaborations with Wynton Marsalis’ Jazz at Lincoln Center Orchestra with both the Detroit Symphony and Minnesota Orchestra.

Eddins has conducted the New York Philharmonic, St. Louis Symphony, the symphony orchestras of Boston, Cincinnati, Atlanta, Detroit, Dallas, Baltimore, Indianapolis, Milwaukee, Houston, and the Los Angeles Philharmonic.

Internationally, Eddins was Principal Guest Conductor of the RTÉ National Symphony Orchestra (Ireland). He has also has conducted the Berlin Staatskapelle, Berlin Radio Orchestra, Welsh National Opera, and the Royal Scottish National Orchestra.

Career highlights include taking the Edmonton Symphony Orchestra to Carnegie Hall in May of 2012, and leading the Natal Philharmonic on tour in South Africa with soprano Renée Fleming.

An accomplished pianist and chamber musician, he regularly conducts from the piano in works by Mozart, Beethoven, Gershwin, and Ravel. Recently, Eddins has been performing Enrique Granados’ seminal solo piano work Goyescas (1911), having performed recitals in Minneapolis, Milwaukee, and Houston in 2023.

Mr. Eddins has performed at the Ravinia Festival, the Aspen Music Festival, the Hollywood Bowl, Chautauqua Festival, the Boston University Tanglewood Institute, and the Civic Orchestra of Chicago.

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Kenney

Philip Biedenbender,

SOPRANO

ALTO

Cece

YOUR CHARLOTTE SYMPHONY

Kwamé Ryan, Music Director Designate

Christopher James Lees, Resident Conductor

Christopher Warren-Green, Conductor Laureate

FIRST VIOLINS

Calin Ovidiu Lupanu, Concertmaster

The Catherine & Wilton Connor Chair

Joseph Meyer, Associate Concertmaster

Kari Giles, Assistant Concertmaster

Susan Blumberg°°

Jane Hart Brendle

Cynthia Burton

Ayako Gamo

David Horak †

Lenora Leggatt

Jenny Topilow

Dustin Wilkes-Kim

Hanna Zhdan

SECOND VIOLINS

Oliver Kot, Principal

The Wolfgang Roth Chair

Kathleen Jarrell, Assistant Principal

The Pepsi-Cola Foundation of Charlotte Chair

Carlos Tarazona°

Monica Boboc

Martha Geissler

Sakira Harley

Tatiana Karpova

Ellyn Stuart

VIOLAS

Benjamin Geller, Principal

The Zoe Bunten Merrill Principal Viola Chair

Kirsten Swanson, Acting Asst. Principal †

Matthew Darsey †

Ellen Ferdon

Wenlong Huang

Viara Stefanova

Ning Zhao

CELLOS

Jonathan Lewis, Principal

The Kate Whitner McKay Principal Cello Chair

Allison Drenkow, Acting Asst. Principal

Alan Black, Principal Emeritus*

Marlene Ballena

Jeremy Lamb

Amy Sunyoung Lee

Sarah Markle

Oksana McCarthy †

DOUBLE BASSES

Kurt Riecken, Principal*

Jason McNeel, Acting Principal

Judson Baines, Assistant Principal*

Justin Cheesman, Acting Asst. Principal

Jeffrey Ferdon

Luis Primera†

FLUTES

Victor Wang, Principal

The Blumenthal Foundation Chair

Amy Orsinger Whitehead Erinn Frechette

PICCOLO

Erinn Frechette

OBOES

Erica Cice, Acting Principal

The Leo B. Driehuys Chair‡

Teil Taliesin†

Terry Maskin

ENGLISH HORN

Terry Maskin

CLARINETS

Taylor Marino, Principal

The Gary H. & Carolyn M. Bechtel Chair

Samuel Sparrow

Allan Rosenfeld

E♭ CLARINET

Samuel Sparrow

BASS CLARINET

Allan Rosenfeld

BASSOONS

Joseph Merchant, Principal

Joshua Hood

Nicholas Ritter

CONTRABASSOON

Nicholas Ritter

MUSICIAN ROSTER (continued)

HORNS

Byron Johns, Principal

The Mr. & Mrs. William H. Van Every Chair

Andrew Fierova

Philip Brindise†

The Robert E. Rydel, Jr. Third Horn Chair

Richard Goldfaden

Andrew Merideth†

TRUMPETS

Alex Wilborn, Principal

The Betty J. Livingstone Chair

Jonathan Kaplan

Gabriel Slesinger, Associate Principal

The Marcus T. Hickman Chair

TROMBONES

John Bartlett, Principal

Thomas Burge

BASS TROMBONE

Scott Hartman, Principal

TUBA

Colin Benton, Principal

The Governor James G. Martin Chair

TIMPANI

Jacob Lipham, Principal

The Robert Haywood Morrison Chair

PERCUSSION

Brice Burton, Principal

HARP

Andrea Mumm Trammell, Principal

The Dr. Billy Graham Chair

This roster lists the full-time members of the Charlotte Symphony. The number and seating of musicians onstage varies depending on the piece being performed.

° Non-revolving position

°° Alternates between first and second violins

† Acting member of the Charlotte Symphony

‡ Funded by The Symphony Guild of Charlotte, Inc.

* On leave

ARTISTIC OPERATIONS

Carrie Graham, Senior Director of Artistic Planning

Tim Pappas, Director of Operations

Nixon Bustos, Principal Music Librarian

Emily Schaub, Assistant Music Librarian

Erin Eady, Personnel Manager

Claire Beiter, Operations Coordinator

John Jarrell, Stage Manager

The Charlotte Symphony is a proud member of the League of American Orchestras.

Join the CSO for an exciting new season with a compelling lineup of concerts!

SEASON HIGHLIGHTS:

TCHAIKOVSKY'S PIANO CONCERTO No. 1 October 25 & 26, 2024

BRAHMS' A GERMAN REQUIEM November 22 & 23, 2024

DEBUSSY’S LA MER April 25 & 26, 2025 ...and more!

THE MUSIC OF QUEEN

November 1 & 2, 2024

DISCO FEVER

January 17 & 18, 2025

HAVANA NIGHTS

February 21 & 22, 2025 ...and more!

LEMONY SNICKET'S THE COMPOSER IS DEAD November 16, 2024

HOLIDAY POPS! December 7, 2024

GERSHWIN'S MAGIC KEY January 18, 2025 ...and more!

THE WIZARD OF OZ IN CONCERT September 27 & 28, 2024

THE MUPPET CHRISTMAS CAROL IN CONCERT November 29 & 30, 2024

PIRATES OF THE CARIBBEAN IN CONCERT June 6 & 7, 2025 ...and more!

Subscribe today for the best seats, the best prices, and great benefits! Single tickets on sale later this summer.

One of the premier music organizations in the Southeastern United States and the oldest operating symphony orchestra in the Carolinas, the Charlotte Symphony Orchestra (CSO) connects with more than 100,000 music lovers each year through its lively season of concerts, broadcasts, community events, and robust educational programs. The CSO is committed to its mission of uplifting, entertaining, and educating the diverse communities of Charlotte-Mecklenburg and beyond through exceptional musical experiences.

The Charlotte Symphony upholds the highest artistic integrity and takes bold steps to engage with its community through music. Its 65 professional, full-time musicians perform throughout the region — from community parks and breweries, to places of worship and senior care centers — and offer significant educational support, aimed at serving the underresourced areas of our community.

The Charlotte Symphony is deeply committed to the notion that music, accessible to all and experienced in its many forms, enriches and unifies our community. The CSO believes in equity and inclusion and strives to be an industry leader in imaginative, relevant programming by intentionally seeking out women conductors, underrepresented in our industry, and conductors, composers, and guest artists of color.

Founded in 1932, the Charlotte Symphony plays a leading cultural role in the Charlotte area and serves the community as a civic leader, reflecting and uniting our region through the transformative power of live music.

OUR MISSION

The Charlotte Symphony uplifts, entertains, and educates the diverse communities of Charlotte-Mecklenburg and beyond through exceptional musical experiences.

OUR VISION

Reaching out through the transformative power of live music, the Charlotte Symphony will be a civic leader, reflecting and uniting our region.

For more information, visit us online at charlottesymphony.org

JEREMY LAMB

born: September 22, 1981 in Apex, North Carolina

A Ride on 'Oumuamua (2022)

orchestral premiere: May 17, 2024 in Charlotte, NC

approx. duration: 12 minutes

'Oumuamua is Hawaiian for "first reach out" and it was the name given to the unusual, pancake-shaped object that floated through our Solar System in late 2017. It caught the public's attention partly due to being the first interstellar object ever observed, but it also became famous because of its strange shape and the mysterious acceleration it made after passing by the sun. Many scientists, including the notable Harvard professor Avi Loeb, began serious discussions about its nature. Perhaps it wasn't a rock at all; perhaps it was an object of alien manufacture?

As interested as I was in the swirling debate, what really inspired me for this piece was a little fact I came across one evening: 'Oumuamua had come from an area of sky that contained almost nothing, which meant it had been traveling for billions of years in absolute silence and then — suddenly — it appeared within a stone's throw of our beautiful planet Earth. In less than a month, 'Oumuamua was already gone, hurtling into another vast emptiness perhaps even larger than the one it had come from. To me, that sounded almost as magical as it did tragic.

A Ride on 'Oumuamua is a fantastical journey I composed with the hopes of conveying some of the awe I felt from imagining its long and lonely voyage. I wrote a few lines to better give you an idea of the narrative I had in mind:

In the beginning, the motion of the stars... ...and 'Oumuamua is born; a song is sung... ...'Oumuamua is hurled away; the journey begins... ...bursting stars, spectacular sights... ...icy worlds appear... ...a lonely voyage; calling out... ...but alone, the journey continues... ...entering deep space; no star in sight... ...approaching the Solar System, at last... ...through powerful magnetic storms... ...Earth appears... ...Earth fades into the distance... ...into the glorious unknown... ...infinite vistas; time loses meaning... The piece was originally for two cellos and a double bass, specifically to play as a trio with my two closest friends in Charlotte, Sarah Markle and Taddes Korris. Sarah is a fulltime member of the orchestra, and Taddes plays with us quite regularly, so you've probably seen them both on stage numerous times. Truthfully, I owe my inspiration for this piece as much to them as to 'Oumuamua itself. Friends like those two only come around once in a lifetime.

After some successful trio performances and a lot of encouragement from my girlfriend Jessica Swirat, I expanded the piece from trio to string orchestra, and that's the version you'll hear at this concert. I'm a very slow composer, though — it took me almost two years to finish this piece — so you can imagine how proud I'll be to hear it brought to life by my incredible colleagues in the Charlotte Symphony.

I also had the honor of speaking with Professor Avi Loeb earlier this month, so if you'd like to see someone speak about 'Oumuamua who really understands the science behind it, check out the video on charlottesymphony.org! - Jeremy Lamb

PROGRAM NOTES by Ken Meltzer

The Observatory (2019)

CAROLINE SHAW

born: August 1, 1982 in Greenville, North Carolina

premiere: August 27, 2019 in Los Angeles

approx. duration: 19 minutes

American composer Caroline Shaw’s orchestral work The Observatory was co-commissioned by the Cincinnati Symphony Orchestra and Los Angeles Philharmonic. The premiere took place at the Hollywood Bowl in Los Angeles, with Xian Zhang conducting the Los Angeles Philharmonic.

Creating a score for full orchestra can feel like simultaneously standing on a mountaintop, scrubbing your kitchen floor, swimming in the middle of a lake, riding the subway during rush hour, and gently holding someone’s hand. It’s not a medium that I work in very often. I always try to write for the particular environment (place, ensemble or person, time of year, etc.) in which the music will first be heard (in this case: the Hollywood Bowl, the LA Phil, the brilliant Xian Zhang, the heat of August 2019). It’s a fun constraint, and it helps keep the writing personal and connected to the real world. The first and only time I’ve ever been to the Hollywood Bowl was in September 2015, singing with Kanye at the 808s and Heartbreak show. It was a wild ride, and I remember feeling like an observer of a mysterious workshop that somehow churned beauty out of chaos. There is also something about writing an orchestral work for a summer evening in Hollywood that got me thinking about my favorite genre of film and storytelling — sci-fi. I love the way epic tales of the beyond can zoom in and out, using grand imagined alternate universes to tell stories about ourselves. And I love how music in these films carves and colors our attention to those worlds (in their various scales).

While writing music, I often imagine some kind of visual (usually abstract, sometimes figural, rarely narrative) as a guide for myself and sometimes as a thing to write against . There’s an invisible counterpoint here, but I’d rather someone simply listen and

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create their own contrapuntal narrative adventure than read an account of mine — to leave space for one’s own observation and reflection, whether it be of the music or their neighbor’s T-shirt or cosmology or tomorrow’s grocery list. (The grand story arcs of our lives sometimes play out in minutiae and the mundane.) And often the imagined visuals that I write to are nothing more than shifts in color or a quick cut between undefined scenes. (Sometimes the juxtapositions and transitions [and parentheticals] are where the stories are.)

I was in the midst of writing The Observatory while in LA earlier this spring to record some vocals (hi, Teddy Shapiro!). So one morning before our session I went up to the Griffith Observatory to clear my head. I looked down at the city with all its curves and all its edges (thanks, John Legend), and up at the sky, which has been observed and wondered about since the beginning of consciousness. I had been thinking about my friend Kendrick Smith, a cosmologist at the Perimeter Institute (and also my favorite grill master). Kendrick is at the cutting edge of the ancient tradition of stargazing, constructing new frameworks for analyzing data collected by the CHIME radio telescope. My simplistic distillation of his work: Kendrick develops ways of looking at ways of looking at ways of looking at nn(ways of looking at) the universe. Sometimes I think maybe that’s what music is. Or maybe it’s just a way to acknowledge and pass the time.

If you’ve gotten this far in the program note, you’re probably wondering if I’ll actually talk about the music you will hear in The Observatory . Okay. There are some very large chords , and some . There are patterns and details of movements of patterns (thanks, T.S.). There are motives that appear in diminution and augmentation simultaneously, like objects in orbit at different phases. There is foreground and background. There is love for Andrew Norman. There are references to Strauss’ Don Juan , Bach’s Brandenburg Concerto No. 3, Sibelius’ Symphony No. 2, Brahms’ Symphony No. 1, and the arpeggiated chimes used to summon audiences to their seats at orchestra concerts. There is celebration and criticism of systems. There is chaos and clarity. The very large chords return at the end, but their behavior is not the same as when we began. Welcome to The Observatory

—Caroline Shaw, 2019

GUSTAV HOLST

born: September 21, 1874 in Cheltenham, England died: May 25, 1934 in London, England

approx. duration: 51 minutes The Planets Suite for Large Orchestra, Opus 32 (1916)

premiere: September 29, 1918 in London

Gustav Holst once observed: “As a rule I only study things that suggest music to me.” And it was his lifelong interest in astrology that provided the inspiration for his most popular work, The Planets. Holst characterized the piece as “a series of mood pictures” in which the movements — each representing a planet of the solar system — “acted as foils to one another.” The various movements were not arranged in accordance with the order of the planets in the solar system, but rather in such a manner as to achieve optimal musical contrast and effect.

Although Holst completed The Planets toward the close of 1916, the onset of the First World War precluded a concert performance of the work. In the summer of 1918, Holst prepared to depart England to aid the war effort. As a special farewell gift, Henry Balfour Gardiner arranged for a private concert premiere of The Planets at Queen’s Hall in London. Holst chose the young Adrian Boult to conduct the first performance, which proved to be a great success. The first public performance of The Planets took place on February 27, 1919, again with Boult conducting at Queen’s Hall (although Venus and Neptune were not played on that occasion). The Planets soon received numerous performances in England, Europe, and throughout the world. Along with Edward Elgar’s Enigma Variations, The Planets, a thrilling sonic adventure, remains one of the most popular large-scale British orchestral works.

I. Mars, the Bringer of War. Allegro — While many believed that Holst created the opening movement as a memorial to the horrors of World War I, the composer insisted: “I had the whole of Mars fixed in my mind before” war was declared. The movement begins softly, but ominously, with an incessant rhythm introduced by the timpani and col legno

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strings (“with the wood,” played with the stick of the bow across the strings), with interjections by woodwinds and brass. The music proceeds to a furious climax. Several brief episodes follow, all maintaining a relentless momentum to the shattering final bars.

II. Venus, the Bringer of Peace. Adagio — Venus offers blissful contrast to the violent opening movement. A solo horn’s ascending phrase is answered by a descending woodwind figure. A solo violin introduces the central Andante episode, followed by a reprise of the opening Adagio.

III. Mercury, the Winged Messenger. Vivace — The third movement is a scherzo that exhibits a charm and grace reminiscent of Mendelssohn’s Midsummer Night’s Dream. A 6/8 figure is deftly transferred from instrument to instrument. A middle section features lovely solo appearances by the violin, oboe, flute, and celeste. The return of the opening section (with a nod to its predecessor) concludes Mercury.

IV. Jupiter, the Bringer of Jollity. Allegro giocoso — Jupiter most clearly reflects Holst’s love of British folk music. It opens with a flurry of activity in the violins and a bold orchestral statement. Several melodies follow, including an eloquent theme, marked Andante maestoso, introduced by the strings and horns. This melody was later used as the basis for a patriotic hymn, “I Vow to Thee, My Country.” The bustle of the opening reappears for the jubilant finish.

V. Saturn, the Bringer of Old Age. Adagio — The hypnotic opening features the flutes, bass flute, and harps. Over the repeated tread of pizzicato cellos and basses, the trombones introduce a somber march. The music builds to a powerful climax, featuring the repeated tolling of the bells. A reprise of the opening finally yields to a serene conclusion.

VI. Uranus, the Magician. Allegro — The trumpets and trombones, followed by the tubas and timpani, intone a four-note motif that returns throughout the movement. The bassoons then offer a puckish staccato figure, soon taken by the remainder of the orchestra. A prominent recapitulation of the four-note motif leads to a martial passage. A fortissimo climax is followed by an eerie postlude.

VII. Neptune, the Mystic. Andante — The composer directs that in the finale, “the Orchestra is to play sempre pianissimo throughout.” Various repeating figures, couched in orchestration of the utmost delicacy, masterfully evoke a sense of timelessness.

We gratefully acknowledge these generous donors to the Charlotte Symphony Annual Fund. This list reflects gifts received between July 1, 2023 through May 1, 2024.

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Celene & Marc Oken

Dr. Reta R. Phifer

Mr. Vincent Phillips & Mr. Paul Pope

Marshelette & Milton Prime

Kathleen D. Prokay

Drew & Beth Quartapella

Mr. & Mrs. Robert R. Rollins, Jr.

Dr. Mahesh Sardesai

Paulette Sherrill

Nancy E. Simpson

Emily & Zach Smith

Elizabeth Connor Stewart

Dr. Mark R. Swanson

Drs. Chris & Lillian Teigland

Dr. John A. Thompson, Jr. & Dr. Lee Rocamora

Mindy & Don Upton

Paul & Susan Vadnais

Steph & Gemo Yesil

For more information on how to make a gift to the CSO Annual Fund, please contact Libby Currier, Director of Individual Giving, at 704.714.5137 or lcurrier@charlottesymphony.org

PATRON CIRCLE

$1,500 – $2,499

Anonymous Marcia Adams

Dan & Barbara Austell

Sharon Baker & Peter Moore

Mr. & Mrs. Taylor Batten

Erskine & Crandall Bowles

Mr. Brent Clevenger Ms. Susan Cybulski Elizabeth Betty Eaton William & Patricia Gorelick Family Foundation

Judith Greene

Angela & Michael Helms

Mr. James Howell & Mrs. Deanna Kelly

Martha D. Jones

Gene & Helen Katz

Ginger Kemp

Mr. Alan Kronovet & Ms. Cary J. Bernstein

Dr. & Mrs. Randolph Mahnesmith

Staci & Adam Marino

Anna Marriott

Ms. Rosemarie Marshall & Mr. Lee Wilkins

Mr. Glenn Mincey & Mrs. Macie Mincey

Caroline Olzinski

Pamela Pearson & Charles Peach

Jeanine & Naeem Qasim

John & Susan Rae

Anne & Mark Reichmann

Suzy & Robert Schulman

Jane Perry Shoemaker

Ken Spielfogel & Richard Withem

Joseph & Aleca Stamey

& Maxine Stein

Mr. Hans Teich Tillie S. Tice

Jenny & Ken Tolson

Molly & Chris Tull

James H. Trexler & Kelly Zellars

Drs. Iris Cheng & Daniel Uri

Vera Watson

Grant Webb

Linda & Craig Weisbruch Pam West

Cricket Weston & David Molinaro

Bryan Wilhelm

Deems Wilson

Ms. Deborra Wood & Mr. Russell Propst

$1,000 – $1,499

Anonymous (5) Ross & Michele Annable

Kathleen & Richard Anderson

Mary Lou & Jim Babb

Dianne & Brian Bailey

Mr. & Mrs. Lincoln A. Baxter Morgan & Katie Beggs

W. Benfield

Donald H. & Barbara K. Bernstein

Family Foundation

Sam

Susan

Janet

Mr. & Mrs. E. O.

Katy

Rebecca

Pamela

Ms.

$500 – $999

Anonymous (4)

Michael

Doug

Mr.

JWD

Bob

Emerson

Dr.

Ms.

Mr.

Angie

Greg

Barbara

Amanda

Dr.

Mr.

Mrs.

Dr.

Jack

Mr.

Mr.

Angela

Dr. Roy E. DeMeo, Jr. & Ms. Linda A. Evanko

Doug

Cheryl

Gloria

Dr.

Donna

Sarah

Mr.

Barbara

Dr.

Joseph

Steven & Mary Kesselman

James

Dr. & Mrs. William W. MacDonald

Bruce & Leigh Marsh

Francis & Paula Martin

Ed & Wendy Matthews

Steve & Tammy Matula

Mr. & Mrs. Kiran H. Mehta

Roy H. Michaux

Miller

Anne & Brad Mitchell

Amanda & Matthew Molbert Tom & Sally Moore

Gary & Fran Morrison

Robert & Carla Murray Nancy Olah & Bill Pace

Cookie & Jerry Parnell

Janet & Rick Pfeiffer

Hilda & Victor Pineiro

Dr. & Mrs. R. Pinkney Rankin, Jr.

Mr. & Mrs. Rodney C. Pitts

Barbara M. Pooley

Haywood & Sabine Rankin

Shaiza Rizavi

Nancy Rutledge & Jim Rutledge

Michael Silverman

Dr. & Mrs. Henry L. Smith II

Rebecca & Eric Smith

Julia J. Souther Bill & Mary Stanton

William & Catherine Stone

Gretchen & Jean-Claude Thill Tim Timson

Sarah & Tim Turner

James & Melanie Twyne

Rebecca Valenstein

Mr. and Mrs. Scott Vallandingham

Emily & Jeff Vaughan

Greg & Sandy Vlahos

Minyan & Guan Wang

Mr. & Mrs. Tom Weidman

Zelda White

For more information on how to make a gift to the CSO Annual Fund, please contact Libby Currier, Director of Individual Giving, at 704.714.5137 or lcurrier@charlottesymphony.org.

The Encore Society includes individuals who have made provisions for the CSO in their estate plans. We are honored to recognize their support:

Anonymous (3)

Geraldine I. Anderson†

Richard & Ruth Ault

Baldwin Family Trust

Barnhardt Thomas Trust

Lincoln A. Baxter & Helen M. Fowler

Larry & Joyce† Bennett

Dr. Milton & Arlene Berkman

Donald H. & Barbara K. Bernstein

Mark & Louise Bernstein†

Rosemary Blanchard†

Twig & Barbara Branch

Saul Brenner

Mike & Joan Brown†

Mrs. Joan Bruns †

Jan & Bob Busch

Dr. Helen G. Cappleman, Ph.D.†

Jim Cochran† Robin Cochran

Catherine & Wilton Connor

Tom Covington

Charles & Peggy Dickerson

Mr. Martin Ericson, Jr.

David J.L. Fisk & Anne P. O’Byrne

Peter & Ann† Guild

William G. &

Marguerite K. Huey Fund†

Dr. Nish Jamgotch, Jr.

† Deceased

Betty & Stanley Livingstone†

Lucille & Edwin Jones

Paula & Paul McIntosh

Nellie McCrory † M. Marie Mitchell†

Cricket Weston & David Molinaro

Joan & Richard Morgan

Don C. Niehus

Eva Nove

Richard J. Osborne

Gwen Peterson & Tom Hodge

James Y. Preston†

Mrs. Clayton (Dusty) Pritchett

Ann & Fritz Rehkopf

Elizabeth Waring Reinhard

Nancy W. Rutledge

Mike Rutledge

Harriet Seabrook

Mr. & Mrs. William Seifert

Morris & Patricia Spearman

Bob & Maxine Stein

Dr. Ben C. Taylor III

Mr. & Mrs. Hans Teich

Cordelia G. Thompson

Tim Timson

Jenny & Ken Tolson

Ms. Deborra Wood & Mr. Russell Propst

Leave a lasting legacy of great music through your planned gift. For more information, please contact Shayne Doty at 704.714.5104.

With your gift, the Charlotte Symphony uplifts, entertains, and educates the diverse communities of Charlotte-Mecklenburg and beyond through exceptional musical experiences.

We are grateful for the following outstanding corporate funders:

GOVERNMENT & FOUNDATION SUPPORT

We

For

The Trexler Foundation

Dowd Foundation, Inc.

The Dickson Foundation

Cole Foundation

The Jack H. and Ruth C. Campbell Foundation

The Mary Norris Preyer Fund

The George W. & Ruth R. Baxter Foundation

Barnhardt/Thomas Trust

Blumenthal Foundation

The Truist Charitable Fund is a donor-advised fund created by Truist and administered by The Winston-Salem Foundation

We're rolling out something big! This spring, your Charlotte Symphony takes the music on the road for CSO Roadshow, a traveling concert series that will bring pop-up music experiences to neighborhoods across Charlotte.

Our mobile stage will bring the power of live music to the heart of local communities as our 40-foot trailer takes Charlotte Symphony musicians to streets, parks, and plazas in free "walk up" concerts for all to enjoy. Keep an eye out for upcoming CSO Roadshow concerts near you!

charlottesymphony.org/csoroadshow

The Charlotte Symphony is supported, in part, by the Infusion Fund and its generous donors.

Multimillion Dollar Commitment

City of Charlotte

$1.5 million and above

Bank of America

C.D. Spangler Foundation / National Gypsum Company

John S. and James L. Knight Foundation

Trane Technologies

$600,000 - $1 million

Albemarle Foundation

Atrium Health

Barings

Duke Energy

Honeywell

JELD-WEN, Inc.

LendingTree Foundation

Lowe’s Companies, Inc.

Novant Health

Red Ventures

Truist

$300,000-$600,000

Ally Financial

The Centene Charitable Foundation

Childress Klein Properties

Coca-Cola Consolidated

Deloitte

EY

The Gambrell Foundation

Moore & Van Allen

PwC

Robinson, Bradshaw & Hinson, P.A.

Rodgers Builders

Wells Fargo

Up to $300,000

Fifth Third Bank

Foundation For The Carolinas

Deidre and Clay Grubb

Leslie and Michael Marsicano

Jane and Hugh McColl

Nucor Corporation

PNC Bank

Premier, Inc.

Jane and Nelson Schwab

LEADERSHIP

BOARD OF DIRECTORS

Linda McFarland Farthing

Chair

Richard Krumdieck

Vice Chair

John Williams

Vice Chair

Mick Ankrom

Treasurer

Manny Clark

Secretary

David Fisk

President & CEO

Joye D. Blount

Mike Butterworth

Nick Clements

Catherine Connor

Mary Delk*

BOARD OF TRUSTEES

Richard Osborne, Chair

Paul Anderson

Ruth & Richard Ault

Kat Belk

Arlene & Milton Berkman

Jason & Tiffany Bernd

Andrea & Alexander Bierce

Mary & Charles Bowman

Frank Bragg

Robin & Bill Branstrom

Derick & Sallie Close

Robin Cochran

Wilton Connor

Jeanie & T. Thomas Cottingham III

Brian Cromwell

Alessandra & Pasquale De Martino

Alvaro & Donna de Molina

Peggy & Richard Dreher

Lisa Hudson Evans

Karen Fox

Eileen Friars & Scott Pyle

Todd Gorelick

Ralph S. Grier

Laurie Guy

Janet Haack

Denise DeMaio

Sidney Fletcher

Kevin Gottehrer

Lucia Zapata Griffith

Byron Johns*

Valerie Kinloch

Stephen Makris

Alex McKinnon

Ulrike W. Miles

Sara Garcés Roselli

Ylida Scott

Melinda Snyder

Jennifer Sullivan

Jenny Tolson*

Jenny Topilow*

Ken Walker

Kevin Walker

*ex officio

Reginald B. Henderson, Esq.

Mark & Whitney Jerrell

Jeff Lee

Gov. James G. Martin

Jane & Hugh McColl

Susan & Loy McKeithen

George McLendon

Mica Oberkfell

Patrick J. O’Leary

Debbie & G. Patrick Phillips

Paul Reichs

Nancy & Charles Robson

Patricia A. Rodgers

M.A. Rogers

Lindsay & Frank Schall

Laura & Mike Schulte

Carolyn Shaw

Emily & Zach Smith

Bob & Marsha Stickler

Kelly & Neal Taub

Adam Taylor

Braxton Winston

Richard Worf

Joan Zimmerman

Albert Zue

EXECUTIVE

David J. L. Fisk, President & CEO

Samantha Hackett, Executive Administrator

ARTISTIC OPERATIONS (see p. 13)

DEVELOPMENT

Shayne Doty, Vice President of Development

Mandy Vollrath, Director of Corporate & Institutional Relations

Libby Currier, Director of Individual Giving

Tammy Matula, Senior Manager of Development Operations

Jennifer Gherardi, Development Manager - Campaign & Special Events

FINANCE & ADMINISTRATION

Angel Adams, Vice President of Finance & Administration

Chazin & Company, Financial Services

Amy Hine, HR Coordinator & Office Administrator

Channing Williams, Accounting Associate

HUMAN RESOURCES

Maribeth Baker, Human Resources Counselor

LEARNING & COMMUNITY ENGAGEMENT

Aram Kim Bryan, Vice President of Learning & Community Engagement

Dylan Lloyd, Senior Manager of Youth Orchestras

Mark Rockwood, Education & Community Programs Manager

Michaela Sciacca, Project Harmony Manager

Gavin Fulker, Education & Community Programs Assistant

Lily Moore, Youth Orchestras Assistant

Jirah Montgomery, Youth Orchestras Program Assistant

Bria Alexander, Learning & Community Engagement Assistant

MARKETING

Mical Hutson, Vice President of Marketing & Audience Development

Deirdre Roddin, Director of Institutional Marketing & Communications

Nicole Glaza, Senior Manager of Digital Marketing

Chad Calvert, Visual Communications Manager

Laura Thomas, Marketing Manager

Meghan Starr, Patron Experience Manager

Garrett Whiffen, Ticketing Manager