CSO Bach & Mozart - program 01-10-25

January 10 – 12 Knight Theater

CONCERT SPONSORED BY

DIGITAL PROGRAM BOOK

Contents

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What’s Inside...

A Message from the President & CEO 3 Your CSO Experience 4 Concert Program 5 Artist Biographies 6 2024/25 Musician Roster 10 Musician Spotlight 14 About the CSO 15 Program Notes 16 Annual Fund Donors 22 Corporate & Foundation Sponsors 28 Comprehensive Campaign 31 Board of Directors & Trustees 32 Administration 34

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Welcome Note

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Happy New Year!

As we step confidently into 2025, we are energized by the many incredible events and opportunities that lie ahead at the Charlotte Symphony. From immersive performances to milestone celebrations, and the exciting culmination of the Symphony’s $50M comprehensive campaign that will play a pivotal role in shaping our future, 2025 promises to be a year of growth and inspiration.

One of the most anticipated events this February 28 and March 1 is Become Ocean, a 360-degree immersive audio experience at Blumenthal Arts’s new venue, Blume Studios. With its spatial audio and immersive lighting, you’ll be surrounded by John Luther Adams’s captivating soundscape, inspired by the waters of the Pacific Northwest. It promises to be a one-of-a-kind experience.

Looking ahead, Music Director Kwamé Ryan returns March 7 & 8 to lead Rachmaninoff’s Piano Concerto No. 2 with pianist Louis Schwizgebel. Later in the month, we’re delighted to welcome back former Music Director Christoph Perick to conduct orchestral highlights from Wagner’s most beloved operas on March 21 & 22.

As always, thank you for your continued support of the Charlotte Symphony. We can’t wait to share these extraordinary moments with you.

David Fisk President & CEO

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.

Concert Program

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T H E N I N E T Y- T H I R D S E A S O N

Bach & Mozart Jeri Lynne Johnson, conductor Orion Weiss, piano

January 10 – 12, 2025 Knight Theater at Levine Center for the Arts

JOHANN SEBASTIAN BACH (1685-1750) Orchestral Suite No. 3 in D Major, BWV 1068 I. Overture II. Air III. Gavotte I and II IV. Bourrée V. Gigue

[~20ʹ]

IGOR STRAVINSKY (1882-1971) Concerto for Piano & Wind Instruments I. Lento - Allegro II. Largo III. Allegro Orion Weiss, piano

[~20ʹ]

- INTERMISSION JOHANN SEBASTIAN BACH (1685-1750) Keyboard Concerto No. 6 in F Major, BWV 1057 I. Allegro II. Andante III. Allegro assai Orion Weiss, piano

[~17ʹ]

WOLFGANG AMADEUS MOZART (1756-1791) Symphony No. 25 in G Minor, K. 183 I. Allegro con brio II. Andante III. Menuetto IV. Allegro

[~24ʹ]

CONCERT DURATION: Approximately 2 hours, with one 20-minute intermission.

Conductor Bio

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Jeri Lynne Johnson guest conductor In 2005, Jeri Lynne Johnson made history as the first Black woman to win an international conducting prize when she was awarded the Taki Alsop Conducting Fellowship. Since then, she has continued to break barriers in Europe and the United States as the first woman or first African-American woman on the podium for many orchestras and opera companies, including the Bournemouth Symphony (UK) and the Weimar Staatskapelle. Recent conducting engagements include performances with the Los Angeles Philharmonic, Chicago Symphony Orchestra, National Symphony Orchestra, Sao Paulo Municipal Symphony Orchestra, and Santa Fe Opera. Jeri was also selected to conduct the Pulitzer Prize-winning composition Stride by Tania Leon as part of the composer’s tribute for the 2022 Kennedy Center Honors performance.

Lauded by the Los Angeles Times as “a stunning, rhythmically vital conductor,” Johnson is a versatile artist who is comfortable with a variety of genres and styles. She has developed a reputation for offering masterful and compelling performances of contemporary repertoire and has led numerous world premieres. In the 2022–23 season, Johnson performed with the Indianapolis Symphony Orchestra, Omaha Symphony, Symphony Nova Scotia, Opera Theater of Saint Louis, and Santa Fe Opera, and Cincinnati Symphony. Johnson made appearances in the 2023–24 season with Oakland Symphony, Baltimore Symphony, the Norwegian Radio Orchestra, the National Philharmonic, Louisiana Philharmonic, Tulsa Symphony, and Manitoba Chamber Orchestra.

Johnson is the Founder and Artistic Director of the Black Pearl Chamber Orchestra — a model for the 21st-century American orchestra. Established in 2008, Black Pearl combines artistic excellence and cultural diversity and has been recognized nationally and internationally as a leading innovator in meaningful community engagement. Her innovative performance projects have won multiple

Conductor Bio (continued)

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awards, and in January 2021, she and Black Pearl had the honor of being the only orchestra in North America invited to participate in a virtual collaborative concert as part of the World Economic Forum at Davos. This inspiring event, called See Me! A Global Concert, involved filmmakers, visual artists, choirs, orchestras, and musicians from around the world.

Johnson is also civically engaged and has served on prestigious grant panels and Boards of Directors of a number of organizations including Einstein Health Network, the National Endowment for the Arts, New Music USA, the Philadelphia Chapter of the National Academy of Recording Arts and Science (the “GRAMMYS”), the Stockton Rush Bartol Foundation, Greater Philadelphia Cultural Alliance, and the Philadelphia Award.

When she is not on the podium, she enjoys playing golf, traveling and spending time with her daughter, Evelyn.

Soloist Bio

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Orion Weiss piano One of the most sought-after soloists and chamber music collaborators of his generation, Orion Weiss is widely regarded as a “brilliant pianist” (The New York Times) with “powerful technique and exceptional insight” (The Washington Post). He has dazzled audiences with his passionate, lush sound and performed with dozens of orchestras in North America including the Chicago Symphony, Boston Symphony, Los Angeles Philharmonic, and New York Philharmonic.

In 2024, Weiss will release Arc III, the final album in his Arc recital trilogy (First Hand Records). His live performance schedule includes engagements with violinist James Ehnes, who joins Weiss for his return to London’s Wigmore Hall as well as for performances in Tokyo, Seoul, Hong Kong, Seattle, Bloomington, Indiana, and Bergen, Norway.

Among numerous engagements with U.S. orchestras, Weiss makes his David Geffen Hall debut with the American Symphony Orchestra.

He is featured in recitals at the Santa Fe Chamber Music Festival, Italy’s Teatro Marrucino Biglietteria, and Washington University in St. Louis, as well as on a tour with Chamber Music Society of Lincoln Center and an appearance at La Musica Chamber Music Festival in Sarasota, Florida. Over the last year, he made his return to the Chicago Symphony Orchestra, led by Michael Tilson Thomas; debuted with the National Symphony; gave multiple performances in the United States, Canada, and Asia with violinist Augustin Hadelich; and appeared at the Kennedy Center, Lincoln Center, and Carnegie Hall’s Zankel Hall.

Known for his affinity for chamber music, Weiss performs regularly with violinists Augustin Hadelich, William Hagen, and James Ehnes; pianists Michael Brown and Shai Wosner; cellist Julie Albers; and the Ariel, Parker, and Pacifica Quartets. In recent seasons, he has also performed with the San Francisco Symphony, Philadelphia Orchestra, Pittsburgh Symphony, Toronto Symphony Orchestra, National Arts Centre Orchestra, Israel Philharmonic Orchestra, and Orpheus Chamber Orchestra.

Soloist Bio (continued)

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A native of Ohio, Weiss attended the Cleveland Institute of Music and made his Cleveland Orchestra debut performing Liszt’s Piano Concerto No. 1 in 1999. That same year, with less than 24 hours’ notice, Weiss stepped in to replace André Watts for a performance of Shostakovich’s Piano Concerto No. 2 with the Baltimore Symphony Orchestra. Weiss’s awards include the Classical Recording Foundation’s Young Artist of the Year, Gilmore Young Artist Award, an Avery Fisher Career Grant, and more. His teachers include Paul Schenly, Jerome Lowenthal, and Sergei Babayan. In 2004, he graduated from the Juilliard School, where he studied with Emanuel Ax. Learn more at orionweiss.com.

Musicians

Christopher James Lees Resident Conductor

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Christopher Warren-Green Conductor Laureate

2024 · 2025 MUSICIAN ROSTER FIRST VIOLINS Calin Ovidiu Lupanu, Concertmaster

VIOLAS Benjamin Geller, Principal

The Catherine & Wilton Connor Chair

The Zoe Bunten Merrillt Principal Viola Chair

Joseph Meyer,* Associate Concertmaster Kari Giles, Acting Associate Concertmaster Dustin Wilkes-Kim,

Kirsten Swanson†

Acting Assistant Concertmaster

Susan Blumberg°° Jane Hart Brendle Cynthia Burton Ayako Gamo David Horak† Lenora Leggatt Jenny Topilow Angela Watson† 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

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

Acting Assistant Principal

Matthew Darsey† Ellen Ferdon Wenlong Huang Viara Stefanova Ning Zhao CELLOS Jon Lewis, Principal

The Kate Whitner McKay Principal Cello Chair

Allison Drenkow, Assistant Principal Alan Black, Principal Emeritus Marlene Ballena Jeremy Lamb Amy Sunyoung Lee Sarah Markle DOUBLE BASSES Jason McNeel, Acting Principal Judson Baines, Assistant Principal Justin Cheesman† Jeffrey Ferdon

° 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

Musicians (continued) HARP Andrea Mumm Trammell, Principal The Dr. Billy Graham Chair

FLUTES Victor Wang, Principal

The Blumenthal Foundation Chair

Amy Orsinger Whitehead Erinn Frechette

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BASSOONS AJ Neubert, Principal Joshua Hood Nicholas Ritter CONTRABASSOON Nicholas Ritter HORNS Byron Johns, Principal

PICCOLO Erinn Frechette

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

OBOES Timothy Swanson, Principal

The Robert E. Rydel, Jr. Third Horn Chair

Andrew Fierova Bradley Burford

The Leo B. Driehuys Chair‡

Richard Goldfaden Paige Quillen

Erica Cice Jamison Hillian† Terry Maskin*

TRUMPETS Alex Wilborn, Principal

ENGLISH HORN Erica Cice CLARINETS Taylor Marino, Principal

The Gary H. & Carolyn M. Bechtel Chair

Samuel Sparrow Allan Rosenfeld E ♭ CLARINET Samuel Sparrow BASS CLARINET Allan Rosenfeld

The CSO is a proud member of the League of American Orchestras.

The Betty J. Livingstone Chair

Jonathan Kaplan* Peter Stammer† 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

U P N E X T. . .

Mendelssohn’s

Double Concerto Jan 31 & Feb 1 Knight Theater

Akiko Fujimoto, conductor Calin Ovidiu Lupanu, violin Phillip Bush, piano

FARRENC Overture No. 2 MENDELSSOHN Concerto for Violin & Piano R. SCHUMANN Symphony No. 1 (“Spring”)

GET YOUR TICKETS TODAY! box office: 704.972.2000

charlottesymphony.org

CHAMBER SINGERS PRESENT

ERIC WHITACRE’S

THE SACRED VEIL Friday, January 24, 2025 7:30 PM

CHRIST CHURCH CHARLOTTE 1412 PROVIDENCE RD, CHARLOTTE, NC WITH

PHILIP BIEDENBENDER, PIANO TANJA BECHTLER, CELLO KENNEY POTTER, CONDUCTOR Experience the mesmerizing beauty of Eric Buy Tickets Whitacre’s The Sacred Veil, a poignant composition that weaves together voices and instruments to explore the depths of love, loss, and the enduring power of the human spirit, performed by the Charlotte Master Chorale Chamber Singers.

TICKETS: $30 GENERAL ADMISSION | STUDENTS: $10 WITH ID

charlottemasterchorale.org/sacredveil

Musician Spotlight

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Musician Spotlight

Cynthia Burton Violin Member of the CSO since Sept. 2024 · Received tenure Oct. 2024 HOMETOWN: Banner Elk, North Carolina

Fun Facts • Cynthia nearly went to school for engineering, but chose music instead.

• A native of Western NC, she enjoys hiking and exploring new trails wherever she travels.

• If she could meet any composer, it would be Haydn, to see if his personality matches the humor in his music.

About the CSO

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The Charlotte Symphony Orchestra (CSO) is one of the premier music organizations in the Southeastern United States and the oldest continuously operating symphony orchestra in the Carolinas. As Charlotte’s most active performing arts group, the CSO presents around 150 concerts each season, reaching more than 130,000 music lovers.

The 2024-25 season marks a transformative era under the dynamic leadership of newly appointed Music Director Kwamé Ryan. With 65 full-time musicians, the Symphony performs throughout the community in a variety of venues, from the Belk and Knight theaters to parks, breweries, community centers, schools, senior care centers, and places of worship. With its new mobile stage, CSO Roadshow, the Symphony extends its reach directly into neighborhoods, bringing live music to communities across the region.

Engaging with more than 10,000 students each year, the Charlotte Symphony nurtures the next generation of musicians and music lovers through its four diverse youth orchestras, in-school education programs, instrument coaching, and Project Harmony — which offers free after-school lessons in music and life skills to over 200 students in under-resourced areas.

Founded in 1932, the Charlotte Symphony Orchestra continues to play a vital cultural role in the region and remains committed to the belief that music, accessible to all, enriches and unites our community.

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

Program Notes by Ken Meltzer

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Johann Sebastian Bach BORN: March 21, 1685 in Eisenach, Germany DIED: July 28, 1750 in Leipzig, Germany

Orchestral Suite No. 3 in D Major BWV 1068 (ca. 1717-1723) Approximate performance time is 20 minutes.

Bach’s Four Orchestral Suites date from his seven-year tenure as Kapellmeister to Prince Leopold in the German town of Cöthen, northwest of Leipzig. Prince Leopold was a talented musician (Bach described him as “a gracious prince, a lover and connoisseur of music”).

The Prince hoped to duplicate in Cöthen the superb court music establishments he encountered during his studies throughout Europe.

Thanks to the patronage of Prince Leopold, Bach was able to compose for several of Europe’s finest instrumentalists.

The orchestral suite, an extremely popular form of instrumental ensemble music in the 17th and 18th centuries, comprises an overture and several dance movements. Because of the preeminence of the introductory movement, the full works were known as “overtures.” 19th-century scholars later applied the term “suite” to the multi-movement overture.

These works showcase the talents of the instrumentalists, and Bach certainly allows for moments of thrilling display. The Third Orchestral Suite prominently features oboes, trumpets, and timpani in the generally festive piece. However, as with virtually all of Bach’s works, the Third Suite also contains moments of unrivaled poignancy and eloquence, notably in the second movement (the famous “Air on a G string”).

The Third Orchestral Suite is in five movements. First is the Overture, stately music juxtaposed with a lively fugue. The radiantly beautiful Air is scored for strings and continuo. The third movement offers a pair of Gavottes, a dance set in duple meter and moderate tempo. Next is a Bourrée, a sprightly dance in duple meter. The Suite closes with a Gigue (Jig), a dance of moderate to quick tempo, here cast in 6/8 meter.

Program Notes (continued)

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Keyboard Concerto No. 6 in F Major BWV 1057 (1738) Approximate performance time is 17 minutes.

The F-Major Keyboard Concerto is the last in a series that Bach compiled, circa 1738. Each of the six concertos, BWV 1052-57, is a transcription of an earlier work for “melody” instrument and orchestra.

The F-Major Concerto, BWV 1057, is Bach’s arrangement of his Fourth Brandenburg Concerto No. 4 in G Major, BWV 1049 (1721), originally scored for two recorder and violin soloists, continuo, and strings.

Scholarship indicates that Bach composed the six Keyboard Concertos for performance by the Leipzig Collegium Musicum, a municipal musical society, which gave weekly concerts at the Café Zimmermann.

It is quite possible that Bach himself appeared as soloist in the Collegium Musicum performances of his Keyboard Concertos. If so, it must have been a thrilling experience for the Leipzig audiences. Bach was one of the finest keyboard artists of his time, although he avoided any sort of overt virtuoso display.

As Bach’s first biographer, Johann Nicolaus Forkel, described: Bach is said to have played with so easy and so small a motion of the fingers that it was hardly perceptible. Only the first joints of the fingers were in motion; the hands retained, even in the most difficult passages, its rounded form; the fingers rose very little from the keys, hardly more than in a trill, and when one was employed the others remained quietly in position. Still less did the other parts of his body take any share in his playing, as happens with many whose hand is not light enough. He rendered all of his fingers, of both hands, equally strong and serviceable, so that he was able to execute not only chords and all running passages, but also single and double trills with equal ease and delicacy.

The Concerto is in three movements. The flutes immediately present the first movement’s playful main theme. The middle section features virtuoso episodes for the piano. The Allegro concludes with a reprise of the opening section. The central Andante features a melancholy, undulating theme. The movement is notable for its constant juxtaposition of piano and forte dynamics, and solo and tutti instrumental forces. The violas and piano initiate the fugue of the fourth Brandenburg Concerto’s final movement (Allegro assai). Once again, the piano is prominently featured in dazzling passagework.

Program Notes (continued)

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Igor Stravinsky BORN: June 17, 1882 in Lomonosov, Russia DIED: April 6, 1971 in New York City

Concerto for Piano and Wind Instruments (1923-24, rev. 1950) PREMIERE: May 22, 1924 at the Théâtre de l’Opéra in Paris Approximate performance time is 20 minutes.

Igor Stravinsky composed his Concerto for Piano and Wind Instruments at the suggestion of Serge Koussevitsky (1874–1951), the Russian-born double bass virtuoso and conductor. Koussevitsky, one of the great champions of contemporary music, was responsible for the commissions and/or premieres of many of the 20th century’s enduring masterworks, including Maurice Ravel’s 1923 orchestration of Modeste Mussorgsky’s Pictures at an Exhibition, Béla Bartók’s Concerto for Orchestra (1943), and Aaron Copland’s Third Symphony (1946).

Koussevitsky suggested to Stravinsky that he not only compose the Concerto, but appear as piano soloist. Stravinsky was a proficient keyboard artist, but by no means a concert virtuoso. Stravinsky overcame doubts about having sufficient time to prepare, as well as battles with stage fright, “chiefly due to fear of a lapse of memory or of some distraction, however trifling, which might have irreparable consequences.” In fact, Stravinsky did have a brief memory lapse at the Concerto’s premiere, which took place at the Paris Théâtre de l’Opéra on May 22, 1924, led by Koussevitsky: Having finished the first part of my Concerto, just before beginning the (second movement) Largo which opens with a piano solo, I suddenly realized that I had entirely forgotten how it started. I whispered this to Koussevitsky. He glanced at the score and whispered the first notes. That was enough to restore my balance and enable me to attack the Largo.

Program Notes (continued)

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It appears that the audience was unaware of this brief glitch; and over the next five years, Stravinsky appeared as soloist in some 40 performances of his Concerto, collaborating with such legendary conductors as Wilhelm Furtwängler, Willem Mengelberg, Fritz Reiner, Otto Klemperer, Bruno Walter, and Eugene Goossens.

The Concerto for Piano and Wind Instruments belongs to the early years of Stravinsky’s “neo-classical” period, when the composer turned to the music of the 18th century as a source of inspiration. The result was a series of works featuring an economy of structure and performing forces, couched in a modern harmonic idiom.

Stravinsky always believed that the character of the music dictated the specific instrumental forces. For his Concerto, Stravinsky abandoned the traditional orchestral complement of strings, retaining only the double basses. Stravinsky observed: The short, crisp dance character of the Toccata (the first movement), engendered by the percussion of the piano, led to the idea that a wind ensemble would suit the piano better than any other combination. In contrast to the percussiveness of the piano, the winds prolong the piano’s sound as well as providing the human element of respiration.

The Concerto is in three movements. The first opens with an extended, and somber, slow-tempo (Largo) orchestral introduction, featuring dotted rhythms and dark instrumental colors. The introduction’s hushed final measures are swept aside by the entrance of the soloist, the start of the principal Toccata (Allegro) section. The pianist initiates the Concerto’s slow-tempo movement (Largo), punctuated by two dramatic solo cadenzas. The finale (Allegro) suggests a marriage of Baroque and Jazz elements. A recollection of the first movement’s slow-tempo introduction (Lento) and a measure of silence precede the vigorous dash to the finish (Stringendo).

Program Notes (continued)

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Wolfgang Amadeus Mozart BORN: January 27, 1756 in Salzburg, Austria DIED: December 5, 1791 in Vienna, Austria

Symphony No. 25 in G Minor K. 183 (1773) COMPLETED: October 5, 1773 Approximate performance time is 24 minutes.

Mozart was only seventeen in 1773 when he completed his Symphony No. 25. The work is sometimes referred to as the “Little” G minor Symphony, to distinguish it from another work in the same key, Mozart’s “Great” 1788 Symphony No. 40, K. 550. Mozart frequently turned to the key of G minor as a favored mode of tragic expression. In addition to the two Symphonies already mentioned, other prominent G minor works include the Piano Quartet, K. 478 (1785), the String Quintet, K. 516 (1787), and Pamina’s despairing aria, “Ach, ich fühl’s,” from the opera The Magic Flute, K. 620 (1791).

The “Little” G minor is the earliest of the Mozart Symphonies to maintain a notable presence in the concert repertoire. In truth, there is nothing “little” about the Symphony in terms of its length (a performance with all repeats lasts about twenty-five minutes), instrumentation (four horns instead of the usual two), or emotional depth.

This tempestuous work marks a stunning departure from Mozart’s previous symphonic output. As a result, many scholars have attempted, unsuccessfully, to find some specific tragic incident in the young composer’s life that might have served as inspiration. But then again, one would be hard pressed to explain why Mozart composed his stormy D-minor Piano Concerto (1785) during one of the most successful and happy periods of his life, or, for that matter, the triumphant “Jupiter” Symphony (1788) during one of the most desperate.

Perhaps the inspiration was of a strictly musical nature. When Mozart completed his Symphony No. 25, he and his father had just returned from a two-and-a-half-month stay in Vienna. Mozart may have had the opportunity to hear tempestuous works by such composers as

Program Notes (continued)

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Gluck, Haydn, and Vanhal that embraced the popular Sturm und Drang (Storm and Stress) artistic movement. Perhaps the Symphony No. 25 was the young Mozart’s response to the impassioned minor-key works of his elders.

Whatever the impetus for the “Little” G-minor Symphony, one can only marvel that a work of such technical mastery and emotional resonance is the creation of a 17-year-old composer, even one by the name of Wolfgang Amadeus Mozart.

The Symphony No. 25 is in four movements. The first (Allegro con brio) opens with the agitated principal theme. The first violins introduce the graceful major-key second theme. The movement concludes with a stormy coda, based upon the opening theme. The lovely second movement (Andante), in E-flat Major, features muted violins throughout. Mozart returns to the home key of G minor for the concluding movements. First is a stark Minuet (Menuetto), with a central G-Major Trio. The final movement Allegro is dominated by the opening theme, first played quietly, then forte. Major-key subsidiary themes later return in the minor as the Symphony No. 25 hurtles to a turbulent close.

Annual Fund Supporters

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We gratefully acknowledge these generous donors to the Charlotte Symphony Annual Fund.

This list reflects gifts received between July 1, 2023 through December 1, 2024.

BENEFACTOR CIRCLE $100,000+ Jacqueline B. Mars

$50,000 – $99,999 Jane & Hugh McColl*

Douglas Young

$25,000 – $49,999 Anonymous Joan & Mick Ankrom Ruth & Richard Ault Dr. Milton & Arlene Berkman Philanthropic Fund Judith & Mark Brodsky Roberta H. Cochran Catherine & Wilton Connor* Jean & Dick Cornwell Susan Cybulski J. Porter & Victoria Durham Linda & Bill Farthing Karen Fox

Maria & John Huson Ginger Kelly Richard Krumdieck & Sally Gregory Patricia & Thrus Morton Patrick J. O’Leary Richard J. Osborne Debbie & Pat Phillips Kathy & Paul Reichs Pat Rodgers Carolyn Shaw Andrea & Sean Smith Melinda & David Snyder

$15,000 – $24,999 Anonymous (2) Nicola & Emanuel Clark Denise & Peter DeMaio Ralph S. Grier Sandra Levine Tanya & Steve Makris

DeDe & Alex McKinnon Ulrike & Alex Miles Keith Oberkfell & Mica Post Oberkfell Judy & Derek Raghavan Sienne & Adam Taylor Ken & Tara Walker

$10,000 – $14,999 Anonymous (2) Jeannette & Francisco Alvarado Joye D. Blount & Jessie J. Knight Jr. Katharine & Frank Bragg Mr. & Mrs. R. Alfred Brand III Lynne & Colby Cathey Margarita & Nick Clements Jeanie & Tom Cottingham Donna & Alvaro de Molina Lisa & Carlos Evans Robin & Christoph Feddersen Eileen Friars & Scott Pyle Janet M. Haack Betty P. & Jeffrey J. Lee

In Loving Memory of Lopez-Ibanez from Lina & Enrique Lopez-Ibanez Elizabeth & Jay Monge Robert Norville Kelli & Michael Richardson Rosalind S. Richardson Sherry & Thomas Skains Drs. Jennifer Sullivan & Matthew Sullivan Ann & Michael Tarwater Kelly & Neal Taub Jill & Kevin Walker Andromeda & John Williams Lisa & Richard Worf

* The CSO recognizes donors of exceptional generosity whose cumulative giving exceeds $1 million with the designation of Music Director Society.

Annual Fund Supporters (continued) page 23 VIRTUOSO CIRCLE $5,000 – $9,999 Wedge & Debbie Abels Howard P. Adams & Carol B. McPhee Paul & Kristen Anderson Tiffany & Jason Bernd Mr. James Biddlecome In Loving Memory of Bernadette Zirkuli Biddlecome Mary & Charles Bowman Barbara & Twig Branch Robin & William Branstrom Shirley & Michael Butterworth The Jack H. & Ruth C. Campbell Foundation Glenda Colman & Floyd Wisner Morgan & Brian Cromwell Mary Anne Dickson Peggy & Richard Dreher David J.L. Fisk & Anne O’Byrne William & Patricia Gorelick Family Foundation Sidney & Amy Fletcher Joan & Parker Foley Carol & Ron Follmer Patty & Alex Funderburg Dr. Robert A. Gaines & Toni Burke Caren & Charles Gale Sarah & Frank Gentry Laura & Marshall Gilchrist Laurie & Barry Guy Leigh & Watts Humphrey Page & Ed Kizer The Jenny Lillian Semans Koortbojian Trust in honor of Sally Trent Harris Vivian & Robert Lamb Anna & Lazlo Littmann Leslie & Michael Marsicano Susanne & Bill McGuire Paula & Paul McIntosh Susan & Loy McKeithen Carolyn & Sam McMahon Chuck Miller & Marcy Thailer Vincent Phillips & Paul Pope Kim & Torsten Pilz Emily & Nima Pirzadeh Ann & Fritz Rehkopf Sara Garcés Roselli & Dan Roselli Lindsay & Frank Schall Laura & Michael Schulte Ylida & Bert Scott Mr. & Mrs. Harley F. Shuford, Jr. Mr. & Mrs. Pope A. Shuford Emily & Zack Smith Chris & Jim Teat Brienne Tinder & Thomas Lervik Judith & Gary Toman

Mr. Herbert Verbesey In Memory of Tess Verbesey Michael Waterford Joan H. Zimmerman Abby & Albert Zue

$3,500 – $4,999 Anonymous Andrea & Alexander Bierce Si and Michael Blake Jan & Bob Busch Mary & Phil Delk Pat English & Clay Furches Dick Metzler Joan Morgan Linda & Tony Pace Karen & Edgar Whitener

$2,500 – $3,499 Anonymous Harriet B. Barnhardt Bill & Georgia Belk Si & Michael Blake Lee & Alan Blumenthal Dr. & Mrs. O. Robert Boehm Frances & Herbert Browne Dr. William H. Carson Brent Clevenger Ann Thomas Colley Dorothy & Mike Connor Melissa Cornwell Deborah J. Cox & Bob Szymkiewicz Elizabeth & Christopher Daly in Memory of Betty Haggerty Amy & Alfred Dawson Peter De Arcangelis Cheryl DeMaio Peggy & Charles Dickerson Elizabeth Betty Eaton Kara & Timothy Gallagher Billy L. Gerhart in memory of Judith Gerhart Heather & Kevin Gottehrer Andrea & Todd Griffith Katherine G. Hall Ivan Hinrichs Christy & Ben Hume Fran & Greg Hyde Peggy & Jim Hynes Shirley & Bob Ivey Nina & James Jackson David S. Jacobson Martha & Bruce Karsh Dr. & Mrs. Christ A. Koconis Meghan & Luis Lluberas James Lynch Dottie & Jim Martin

Annual Fund Supporters (continued) page 24 $2,500 – $3,499 (continued) Rob Roy McGregor Richard I. McHenry & Cynthia L. Caldwell Dee Dee McKay Posey & Mark Mealy Debbie Miller & Tim Black Eleanor W. Neal Holly & Jason Norvell Pamela Pearson & Charles Peach Dr. Reta R. Phifer Marshelette & Milton Prime Kathleen D. Prokay Beth & Drew Quartapella Lisa and Robert R. Rollins, Jr. Dr. & Mrs. Mahesh Sardesai Suzy & Robert Schulman Glenn Sherrill, Jr. In Honor of Robin Branstrom Nancy E. Simpson Hazel & Murray Somerville Patricia & Morris Spearman Aleca & Joseph Stamey Dottie Stowe in Loving Memory of Dickson Stowe Dr. Mark R. Swanson Dr. John A. Thompson, Jr. & Dr. Lee Rocamora Jenny & Ken Tolson Mindy & Don Upton Susan & Paul Vadnais Mary Claire & Dan Wall Deborra Wood & Russell Propst

PATRON CIRCLE $1,500 – $2,499 Anonymous Marcia Adams Barbara & Dan Austell Sharon Baker & Peter Moore Merilyn & Craig Baldwin Phillip J. Bischoff & Dawn Beatty-Batten Drs. Iris Cheng & Daniel Uri Rebecca & D. Mark Cody Dorothy & Mike Connor Jean E. Davis & Robert A. Metzger Dr. Kandi & Gary Deitemeyer Elizabeth Betty Eaton Martin Ericson, Jr. Jenn & Taylor Gherardi Carol & Joseph Gigler Judith Greene Angela M. & Michael D. Helms Maureen & Daniel Haggstrom Megan & Brendan Hoffman Martha D. Jones Helen & Gene Katz

Ginger Kemp Dr. & Mrs. Randolph Mahnesmith Anna Marriott Rosemarie Marshall & Lee Wilkins Janet & Peter Nixon Caroline Olzinski Helen & Arvind Patil Jeanine & Naeem Qasim Dr. John & Susan Rae Anne & Mark Riechmann Audrey & Donald Schmidt Dr. Stephen P. Schultz & Donna Dutton Jane Perry Shoemaker Rebecca & Eric Smith Patricia & Morris Spearman Ken Spielfogel & Richard Withem Maxine & Robert Stein Jean Summerville Tillie S. Tice James H. Trexler & Kelly Zellars Vera Watson Grant Webb Linda & Craig Weisbruch Pam West Cricket Weston & David Molinaro Elizabeth & Stephan Willen Deems Wilson Barbara Yarbrough

$1,000 – $1,499 Anonymous (5) Michele & Ross Annable Marc Aspesi & Paulette Isoldi Dianne & Brian Bailey Mr. & Mrs. Lincoln A. Baxter Katie & Morgan Beggs Katherine & John Beltz Shirley W. Benfield Donald H. & Barbara K. Bernstein Family Foundation Ethan Blumenthal & Sara Kidd Cristina & James Bolling Marilyn & Herb Bonkovsky Jodie & Erik Bowen Khary Brown In Memory of Kyden Justice Brown Jane & Larry Cain Dr. & Mrs. Bill Chu & Jin Wang John Colton Dr. Kilian Cooley Ann F. Copeland Kathleen Goldammer-Copeland & Mark Copeland Dr. & Mrs. Mark Couture Larry J. Dagenhart Gwin Dalton Judy & Bob Erb Heather & Thomas Finke

Annual Fund Supporters (continued) Melisa & Frank Galasso Carol & Joseph Gigler Karen Gunther Mariam Abdul Hamid & Ferd Davis Joyce and Ed Hamilton Johanne & Patrick Hawk Anne J. Henderson Jennifer & Logan Henderson Juliet & Brian Hirsch Barbara Holt Linda & Paul Ibsen Joan Irwin Joan Kirschner Marilyn Kroll Michael Lewandowski Lucinda Nisbet Lucas Holly & Christopher Maurer Anna & John McCoy Nydia McCrohan Arrington Mixon Susan D. Montgomery Sally Staub Moore Janet Preyer Nelson Mr. & Mrs. E. O. Oakley Debbie & Michael O’Hara Nancy Olah & Bill Pace Gwen Peterson & Tom Hodge Patricia & James Petillo Catherine Philpott Wilma & John Pinter Elizabeth & Rodney Pitts Dr. William G. Porter Lucy Quintilliano & Leonard Fumi Dr. & Mrs. R. Pinkney Rankin, Jr. Sabine & Haywood Rankin Joan Rasmussen & Morry Alter Brendan Reen Rita & Thomas Robinson Sally & Russell Robinson William R. Rollins Elizabeth Rostan Betty & Bill Seifert Marjorie Serralles-Russell & Terrence Russell Cindy & Larry Stern Marsha & Robert L. Stickler Alice & Al Sudduth Ann & Wellford Tabor Catherine Thompson Libby & Vint Tilson Sarah S. Tull Rebecca Waters Linda & Craig Weisbruch Peter White Bryan Wilhelm Noni Williams John Drew Witherington Judith Wood

page 25

$500 – $999 Anonymous (5) Lee & Michael Abbott Larry Anderson JWD Atchison Natascha A. Bechtler Cathy & Bob Becker Emerson Bell Dr. John L. Bennett & Mr. Eric T. Johnson Nancy & Sam Bernstein Nicholas Bonevac James Broadstone Aram & Scott Bryan Angie & Howard Bush Mary Lou & Greg Cagle Barbara F. Caine Catherine P. Carstarphen Amanda & Kevin Chheda Dr. W. Gerald Cochran & Mr. Timothy D. Gudger Thomas E. Collins, Jr. Dr. & Mrs. Charles E. Cook Jack Cook Margie & Alpo Crane Ellen M. Crowley Todd Croy Libby & David Currier Margaret & George Dewey Diane & Doug Doak Kris & Thomas Duffy Heather & Gray Dyer Kate & Trae Fletcher Dr. John & Eileen Gardella Jean & Stephen Geller Stacy & Pete Gherardi Walter H. Goodwin, Esq. Linda & Dan Gordon Cynthia Greenlee Dr. & Mrs. Michael D. Heafner Stefan Heinzelmann Priscilla & Michael Johnson Mary & Steven Kesselman Nancy H. Kiser Dorothy & Theodore Kramer Scott Kupersmit Jonathan Lamb Barbara & Jerome Levin Megan Levine John J. Locke Katherine & Mark Love Dr. & Mrs. William W. MacDonald Allison Malter Leigh & Bruce Marsh Paula & Francis Martin Wendy & Ed Matthews Tammy and Steve Matula Jill Maxwell

Annual Fund Supporters (continued) $500 – $999 (continued) Constance & Kiran Mehta Valerie & Thomas McKernan Anne & Brad Mitchell Amanda & Matthew Molbert Kimberly Moore-Wright Fran & Gary Morrison Carla & Robert Murray Mary Newsom Ms. Ynez Olshausen Cookie & Jerry Parnell Janet & Rick Pfeiffer Catherine Philpott Hilda & Victor Pineiro Barbara M. Pooley Moira Quinn Sabine & Haywood Rankin Susanne & Mark Rascio and Family Emily & Brian Reinicker Shaiza Rizavi Margaret Rogers & John R. Willis

page 26

Katy & Raleigh Shoemaker Sandra Shuster Michael Silverman Stephanie & Jonathan Simon Carol Smith Dr. & Mrs. Henry L. Smith II Scott Smith Julia J. Souther Kathryn Stewart, MD, MPH Tim Timson Maureen Turner Sarah & Tim Turner Cordelia G. Thompson In Memory of Dr. Chandler Thompson Melanie & James Twyne Rebecca Valenstein Andrea & Scott Vallandingham Emily & Jeff Vaughan Mandy Vollrath & Luke Shaver Michelle & Tom Weidman Zelda White Sandy & John Yakob

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.

Your gift brings music to our community.

Our mission is to uplift, entertain and educate the diverse communities in Charlotte and beyond through exceptional musical experiences.

Thank you for making this possible.

DONATE TODAY

Planned Giving

page 27

The

Encore Society

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.

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 † Deceased

Leave a lasting legacy of great music through your planned gift.

For more information, please contact Shayne Doty at 704.714.5104.

Sponsors

page 28

Corporate Partners We are grateful for the following outstanding corporate funders:

Greater Golf Express GreerWalker CPAs & Advisors New Systems Ethic NoDa Brewing Co. Park, Inc. Publix Super Markets Charities SouthState Bank For more information, please contact Mandy Vollrath at mvollrath@charlottesymphony.org

Sponsors (continued)

page 29

Government & Foundations We are grateful for the following outstanding foundation and government funders:

The Trexler Foundation Dowd Foundation, Inc. The Dickson Foundation Cole Foundation The Charlotte Assembly The Jack H. & Ruth C. Campbell Foundation The Mary Norris Preyer Fund The George W. & Ruth R. Baxter Foundation Barnhardt/Thomas Trust Blumenthal Foundation For more information, please contact Mandy Vollrath at mvollrath@charlottesymphony.org

COMING SOON...

VALENTINE'S WEEKEND!

February 14 & 15 Belk Theater

Ruth Reinhardt, conductor Olga Kern, piano

SUK Fairy Tale R. SCHUMANN Piano Concerto ELGAR Engima Variations

GET YOUR TICKETS TODAY! box office: 704.972.2000

charlottesymphony.org

Comprehensive Campaign

page 31

We gratefully acknowledge these generous donors to the Charlotte Symphony Comprehensive Campaign. This list reflects gifts received through November 1, 2024.

$10,000,000+

Bank of America · The C.D. Spangler Foundation

$5,000,000 - $9,999,999

John S. & James L. Knight Foundation

$2,000,000 - $4,999,999

Jane & Hugh McColl · The Leon Levine Foundation

$1,000,000 - $1,999,999

Michele & Ross Annable · Atrium Health · Howard C. & Margaret G. Bissell Foundation Coca-Cola Consolidated, Inc. · EY · Contributions Associated with Falfurrias Capital Partners · Lynn & Brian Good · Julie & Howard Levine Loy & Susan McKeithen · Novant Health

$500,000 - $999,999

Anonymous · Arlene & Milton Berkman · Robin & Bill Branstrom Mary & Mike Lamach · Rich Osborne · Debbie & Pat Phillips Robert Haywood Morrison Foundation · Trane Technologies · Truist Financial Corporation

$250,000 - $499,999

Cathy Bessant · The Dickson Foundation · The Gambrell Foundation Moore & Van Allen PLLC · Janet Preyer Nelson

$100,000 - $249,000

Jeannette & Francisco Alvarado · Joan & Mick Ankrom · Ruth & Richard Ault NCFI/Barnhardt Foundation · Wilton & Catherine Connor · Robin Cochran Denise & Peter DeMaio · The Dowd Foundation · Linda & Bill Farthing Dr. Richard Krumdieck & Mrs. Sally Gregory · Elizabeth & Jay Monge Steelfab, Inc. · Andromeda & John Williams

$50,000 - $99,999

Crescent Communities · Karen Fox · Ulrike & Alex Miles Chris & Jim Teat · Lisa & Richard Worf

$10,000 - $49,999

Anonymous · Wedge & Debbie Abels · Mary Lou & Jim Babb · Tiffany & Jason Bernd Frank Bragg · Shirley & Mike Butterworth · Joye Blount & Jesse Knight, Jr. The Cato Corporation · Margarita & Nick Clements · Mary Delk Caroline & Ben Dellinger III · David Fisk & Anne O’Byrne · Michael Marsicano Dede & Alex McKinnon · Posey & Mark Mealy · Larry & Dale Polsky Steve & Wanda Phifer · Judy & Derek Raghavan · Eric & Shannon Reichard Sara & Daniel Roselli · Melinda & David Snyder Dr. John A. Thompson, Jr. & Dr. Lee Rocamora · Jill & Kevin Walker

$5,000 - $9,999

Brian S. Cromwell · Toni Burke & Bob Gaines · Sarah & Frank Gentry Carol & Joseph Gigler · Lucinda Nisbet Lucas · Melissa & Dennis McCrory Cyndee Patterson · William & Betty Seifert · Peggy & Pope Shuford Nancy E. Simpson · Drs. Jennifer & Matthew Sullivan

Board of Directors 2024-2025 OFFICERS Richard Krumdieck, Chair Ulrike Miles, Vice Chair Melinda Snyder, Vice Chair Linda McFarland Farthing, Immediate Past Chair Kevin Walker, Treasurer Denise DeMaio, Secretary David Fisk, President & CEO Kwamé Ryan, Music Director

2024-2025 DIRECTORS Mick Ankrom Joye D. Blount Krisha Blanchard Mike Butterworth Nick Clements Mary Delk* Sidney Fletcher Lucia Zapata Griffith Byron Johns* Valerie Kinloch Stephen Makris

Alex McKinnon Sara Garces Roselli Lindsay Schall Ylida Scott Jennifer Sullivan Brienne Tinder* Andrea Mumm Trammell* Ken Walker *ex-officio

page 32

Board of Trustees

page 33

2024-2025 TRUSTEES Richard Osborne, Chair Paul Anderson Ruth & Richard Ault Arlene & Milton Berkman Jason & Tiffany Bernd Mary & Charles Bowman Frank Bragg Robin & Bill Branstrom Dr. William Charles & Dr. Cynthia Nortey Derick & Sallie Close Robin Cochran Catherine & Wilton Connor Jeanie & T. Thomas Cottingham III Brian Cromwell Susan Cybulski Alessandra & Pasquale De Martino Alvaro & Donna de Molina Peggy & Richard Dreher Lisa Hudson Evans Karen Fox Eileen Friars & Scott Pyle Ralph S. Grier Laurie Guy Janet Haack

Reginald B. Henderson, Esq. Mark & Whitney Jerrell Jeff Lee Gov. James G. Martin Jane & Hugh McColl Susan & Loy McKeithen Elizabeth & Jay Monge Mica Oberkfell Patrick J. O’Leary Debbie & G. Patrick Phillips Paul Reichs Nancy & Charles Robson Patricia A. Rodgers M.A. Rogers Laura & Mike Schulte Carolyn Shaw Emily & Zach Smith Will Sparks Bob & Marsha Stickler Kelly & Neal Taub Adam Taylor Elizabeth & Steve Willen Braxton Winston Richard Worf Joan Zimmerman Albert Zue

Administration

page 34

EXECUTIVE David J. L. Fisk, President & CEO Samantha Hackett, Executive Administrator ARTISTIC OPERATIONS Scott Freck, Vice President for Artistic Operations & General Manager Carrie Graham, Senior Director of Artistic Planning Tim Pappas, Director of Operations Bart Dunn, Principal Music Librarian Nixon Bustos, Senior Music Librarian Emily Schaub, Assistant Music Librarian Erin Eady, Senior Manager of Orchestra Personnel Claire Beiter, Artistic Operations Manager John Jarrell, Stage Manager 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 Meghan Woolbright, Annual Fund Manager Noel Kiss, Advancement Associate Josh Bottoms, Institutional Giving Coordinator FINANCE & ADMINISTRATION Christian Drake, 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

Administration (continued)

page 35

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 Bria Alexander, Learning & Community Engagement Assistant MARKETING & AUDIENCE DEVELOPMENT Frank Impelluso, Vice President of Marketing & Audience Development Deirdre Roddin, Director of Institutional Marketing & Communications Nicole Glaza, Senior Manager of Digital Marketing Laura Thomas, Senior Manager of Marketing & Audience Development Chad Calvert, Visual Communications Manager Meghan Starr, Patron Experience Manager Garrett Whiffen, Ticketing Manager

128 S. Tryon Street, Suite 350 Charlotte, NC 28202 tickets:

704.972.2000 office: 704.972.2003

charlottesymphony.org

COMING SOON...

john luther adams

become ocean feb 28 & mar 1

an immersive soundscape Dive into the world of John Luther Adams’s Pulitzer Prize-winning Become Ocean as the Charlotte Symphony Orchestra transforms Blume Studios into an immersive soundscape, featuring dynamic light projections and a 360° spatial audio experience.

Don’t miss it — buy your tickets now! box office:

704.972.2000 · charlottesymphony.org