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INCONCERT YOUR NASHVILLE SYMPHONY • LIVE AT THE SCHERMERHORN

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Dee Dee Bridgewater & Bill Charlap February 28


Winter Getaway

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From Darkness to Sight From Darkness to Sight chronicles the remarkable life journey of Dr. Ming Wang, Harvard & MIT (MD, magna cum laude); PhD (laser physics), a world-renowned laser eye surgeon, philanthropist, and Kiwanis Nashvillian of the Year. As a teenager, Ming fought valiantly to escape one of history's darkest eras - China's Cultural Revolution - during which millions of innocent youth were deported to remote areas to face a life sentence of poverty and hard labor. He eventually made his way to the U.S. with $50 in his pocket, where against all odds, he earned a PhD in laser physics and graduated with the highest honors from Harvard Medical School and MIT.

IOR>: O,; c\ SENATOR WILLIAM FRIS- MD

Dr. Wang has performed over 55,000 eye procedures including on over 4,000 physicians. He has published 9 textbooks, holds several U.S. patents, and performed the world's first laser artificial cornea implantation. Drs. Ming Wang and Joshua Frenkel are currently the only surgeons in the state who performs 3D SMILE and 3D LASIK (18+), 3D Implantable Contact Lens (21+), 3D Forever Young Lens ( 45+ ), and 3D Laser Cataract Surgery (60+). Dr. Wang established a non-profit charity, which to date has helped patients from over 40 states in the U.S. and 55 countries, with all sight restoration surgeries performed free-of-charge.

MING WANG

JO 'Wa� Minqxu 'With best wishes,

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A JOURNEY FROM HARDSHIP TO HEALING

Hmard MIT (M 1:

PhD {laser ::ih·;':1

Major motion picture coming soon

Ming and his younger brother Ming-yu

With President Ronald Reagan at The White House

Harvard & MIT (MD); PhD (laser physics)


Your Nashville Symphony

Live at the Schermerhorn

APPALACHIAN SPRING March 6 & 7

CELTIC JOURNEY

March 8*

THE

GOLD RUSH An American Musical Adventure with the Nashville Symphony

March 12 to 14

March 14 at 11 am

BEETHOVEN’S PASTORAL SYMPHONY March 15*

March 19 to 21

diSCO FEVER March 22*

March 26 to 28

*Presented without the Nashville Symphony.

615.687.6400 NashvilleSymphony.org

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INCONCERT A PUBLICATION OF THE NASHVILLE SYMPHONY

FEBRUARY 2020 6 Orchestra Roster 7 Conductors 19

CLASSICAL SERIES

Romantic Rhapsodies January 30 to February 1

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CLASSICAL SERIES

Beethoven’s Birthday Bash February 20 to 23

40

BLAKEFORD JAZZ SERIES

Dee Dee Bridgewater & Bill Charlap February 28

26

MOVIE SERIES

StarWars In Concert: Return of the Jedi

42 Board of Directors Roster

27

42 Annual Fund: Individuals

with the Nashville Symphony February 6 to 9 SPECIAL EVENT

Boudleaux & Felice Bryant Centennial Celebration

58 Annual Fund: Corporations

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60 Capital Funds Donors

February 13

SPECIAL EVENT

Valentine’s with Patti LaBelle

and the Nashville Symphony February 14

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2019/20 NASHV I LLE SYMPHONY ORCHESTRA GIANCARLO GUERRERO

ENRICO LOPEZ-YAÑEZ

Martha & Bronson Ingram Music Director Chair

Principal Pops Conductor

NATHAN ASPINALL

TUCKER BIDDLECOMBE

Assistant Conductor

Chorus Director

Music Director

FIRST VIOLINS*

Jun Iwasaki, Concertmaster

Walter Buchanan Sharp Chair

Erin Hall,

Acting Associate Concertmaster

Gerald Greer,

Acting Assistant Concertmaster

Mary Kathryn Van Osdale,

Concertmaster Emerita

Denise Baker Kristi Seehafer John Maple Alison Hoffman Paul Tobias Beverly Drukker Anna Lisa Hoepfinger Kirsten Mitchell Isabel Bartles Alicia Enstrom+

SECOND VIOLINS* Carolyn Wann Bailey, Principal

Jung-Min Shin

Acting Assistant Principal

Emilio Carlo+ Bruce Christensen Michelle Lackey Collins Christopher Farrell Tony Parce Melinda Whitley Clare Yang

CELLOS*

OBOES

Titus Underwood, Principal Ellen Menking, Assistant Principal

Roger Wiesmeyer

ENGLISH HORN Roger Wiesmeyer

CLARINETS

Kevin Bate, Principal

James Victor Miller Chair

Xiao-Fan Zhang,

Acting Assistant Principal

Anthony LaMarchina, Principal Cello Emeritus

James Zimmermann, Principal

Gilbert Long, Principal

TIMPANI

Sam Bacco, Principal ◊ Richard Graber,

E-FLAT CLARINET

BASSES*

Julia Harguindey, Principal Dawn Hartley,

Robert Marler, Principal

Gil Perel

Luke Bryson, Librarian David Jackson,

Joel Reist, Principal Glen Wanner,

Katherine Kohler

HARP

Daniel Lochrie

Licia Jaskunas, Principal

BASSOONS

KEYBOARD

Assistant Principal

Assistant Principal

TRUMPETS

FLUTES

Érik Gratton, Principal

Anne Potter Wilson Chair

Leslie Fagan,

Assistant Principal

Norma Grobman Rogers Chair

Gloria Yun

Norma Grobman Rogers Chair

+ Replacement

Acting Principal

BASS CLARINET

PICCOLO

FEBRUARY 2020

TUBA

Bradley Mansell Lynn Marie Peithman Stephen Drake Christopher Stenstrom Keith Nicholas Andrew Dunn+

VIOLAS*

6

Steven Brown

PERCUSSION

Hunter Sholar Radu V. Rusu,

* Seating Section Revolves

BASS TROMBONE

Daniel Lochrie

Gloria Yun

Judith Ablon Hari Bernstein ◊

Assistant Principal

Joshua Hickman, Principal

Assistant Principal

Matthew Abramo Kevin Jablonski Katherine Munagian Tim Pearson+

Assistant Principal

Paul Jenkins, Principal ◊ Derek Hawkes,

Katherine Kohler,

Jessica Blackwell Annaliese Kowert+ Jimin Lim Zoya Leybin+ Benjamin Lloyd Louise Morrison Laura Ross Esther Sanders+ Johna Smith Daniel Reinker, Principal Shu-Zheng Yang,

TROMBONES

CONTRA BASSOON Gil Perel

HORNS

Leslie Norton, Principal Beth Beeson Patrick Walle,

Associate Principal/3rd Horn

Assistant Principal/Utility Horn

Jeffrey Bailey, Principal Patrick Kunkee, Co-Principal Alexander Blazek

◊ Leave of Absence

LIBRARIANS Library Assistant

ORCHESTRA PERSONNEL MANAGER John Wesolowski ASSISTANT ORCHESTRA PERSONNEL MANAGER Joseph Demko

STAGE MANAGER W. Paul Holt


C O N D U C TO R S

MUSIC DIRECTOR

GIANCARLO GUERRERO Martha & Bronson Ingram Music Director Chair

G

iancarlo Guerrero is a six-time GRAMMY® Award-winning conductor now in his 11th season as Music Director of the Nashville Symphony. Guerrero is also Music Director of the Wrocław Philharmonic at the National Forum of Music in Poland and Principal Guest Conductor of the Gulbenkian Orchestra in Lisbon, Portugal. He has been praised for his “charismatic conducting and attention to detail” (Seattle Times) in “viscerally powerful performances” (Boston Globe) that are “at once vigorous, passionate and nuanced” (BachTrack). Through commissions, recordings and world premieres, Guerrero and the Nashville Symphony have championed the works of American composers who are defining today’s musical landscape, making Nashville a destination for contemporary orchestral music. Guerrero has presented 11 world premieres with the Nashville Symphony, including the GRAMMY®-winning performance of Michael Daugherty’s Tales of Hemingway and Terry Riley’s The Palmian Chord Ryddle. Guerrero’s rich discography with the Nashville Symphony numbers 17 recordings, including the 2019 Naxos release of Jonathan Leshnoff ’s Symphony No. 4 “Heichalos.” The work was commissioned by the Nashville Symphony for the Violins of Hope, a collection of restored instruments that survived the Holocaust. This recording marks the first time the instruments have been heard on a commercially available album. Other albums have been dedicated to the music of composers as diverse as Jennifer Higdon, Richard Danielpour, Joan Tower and Béla Fleck. During the 2019/20 season, Naxos will release recordings of Aaron Jay Kernis’ Symphony No. 4 and Christopher Rouse’s Concerto for Orchestra,

both recorded with the Nashville Symphony. As part of his commitment to fostering contemporary music, Guerrero, together with composer Aaron Jay Kernis, guided the creation of Nashville Symphony’s biennial Composer Lab & Workshop for young and emerging composers. Guerrero’s 2019/20 season will include return engagements with the Boston Symphony, Orquestra Sinfônica do Estado de São Paulo, Deutsches Symphonie-Orchester Berlin, Bamberg Symphony, Frankfurt Opera and Museums Orchestra, and the New Zealand Symphony. In January 2020, Guerrero will conduct the Wrocław Philharmonic on a 12-city North American tour. Guerrero has appeared with prominent North American orchestras, including those of Baltimore, Cincinnati, Chicago, Cleveland, Dallas, Detroit, Houston, Indianapolis, Los Angeles, Milwaukee, Montréal, Philadelphia, Seattle, Toronto and Vancouver, as well as the National Symphony Orchestra. He has developed a strong international guest-conducting profile and has worked in recent seasons with the Frankfurt Radio Symphony, Brussels Philharmonic, Deutsches Radio Philharmonie, Orchestre Philharmonique de Radio France, Netherlands Philharmonic, Residentie Orkest, NDR in Hannover, Orquesta Sinfónica de Galicia and the London Philharmonic Orchestra, as well as the Queensland Symphony and Sydney Symphony in Australia. Guerrero was honored as the keynote speaker at the 2019 League of American Orchestras conference, where his address on transforming “inspiration and innovation into meaningful action” was met with a unified standing ovation. Guerrero made his debut with Houston Grand Opera in 2015 conducting Puccini's Madama

INCONCERT

7


C O N D U C TO R S Butterfly. Early in his career, he worked regularly with the Costa Rican Lyric Opera and has conducted new productions of Carmen, La bohème and Rigoletto. In 2008 he gave the Australian premiere of Osvaldo Golijov's one-act opera Ainadamar at the Adelaide Festival. Guerrero previously held posts as the Principal Guest Conductor of The Cleveland Orchestra Miami (2011-2016), Music Director of the Eugene Symphony (2002-2009), and Associate Conductor of the Minnesota Orchestra (1999-2004). Born in Nicaragua, Guerrero immigrated during his childhood to Costa Rica, where he joined the local youth symphony. As a promising young

student, he came to the United States to study percussion and conducting at Baylor University in Texas; he earned his master’s degree in conducting at Northwestern, where he studied with Victor Yampolsky. Given his beginnings in civic youth orchestras, Guerrero is particularly engaged with conducting training orchestras and has worked with the Curtis School of Music, Colburn School in Los Angeles, and Yale Philharmonia, as well as with the Nashville Symphony’s Accelerando program. In recent years, he has also developed a relationship with the National Youth Orchestra (NYO2) in New York, created and operated by the Weill Institute of Music at Carnegie Hall.

ENRICO LOPEZ-YAÑEZ

Symphony, Rochester Philharmonic and Sarasota Orchestra. He has appeared with orchestras throughout the United States, including the Utah Symphony, Omaha Symphony and Oklahoma City Philharmonic. As artistic director and co-founder of Symphonica Productions, LLC, Lopez-Yañez curates and leads programs designed to cultivate new audiences. An enthusiastic proponent of innovating the concert experience, he has created exciting education, classical and pops concerts for orchestras across the United States. Sharing an equal love for opera, Lopez-Yañez served as Assistant Conductor and Chorus Master for the Berkshire Opera Festival, where his work was met with rave reviews. He has led opera gala concerts in San Diego and Aguascalientes (Mexico), as well as a production of Madama Butterfly with Main Street Opera in Chicago. Lopez-Yañez is an active producer, composer and arranger whose work can be heard on numerous albums, including the UNESCO benefit Action Moves People United and the children’s music collection The Spaceship That Fell in My Backyard, winner of the John Lennon Songwriting Contest, Global Music Awards, Hollywood Music and Media Awards, and more. Lopez-Yañez previously held the position of Assistant Conductor with the Nashville Symphony and Omaha Symphony. He holds a Master’s in Music from the University of Maryland and received a Master’s in Music and his Baccalaureate from UCLA, where he graduated summa cum laude.

Principal Pops Conductor

E

nrico Lopez-Yañez is the Principal Pops Conductor of the Nashville Symphony. Appointed in 2019, he leads the Symphony’s Pops Series and Family Series. Since working with the Nashville Symphony, Lopez-Yañez has conducted concerts with a broad spectrum of artists, including Toby Keith, Richard Marx, Jennifer Nettles, Renée Elise Goldsberry, Megan Hilty, Hanson, Kenny Loggins and more. During the 2019/20 season, Lopez-Yañez will make appearances with the San Diego Symphony, Indianapolis Symphony and Edmonton Symphony, and return performances with the Detroit

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FEBRUARY 2020

For more information, visit www.enricolopezyanez.com.

Conductors continue on page 17


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T H E AT R E

DA N C E


NATHAN ASPINALL

C O N D U C TO R S

Assistant Conductor

N

athan Aspinall begins his role as Assistant Conductor of the Nashville Symphony with the 2019/20 season. Previously, he was Assistant Conductor of Jacksonville Symphony. On a tour of South Florida with pianist Bezhod Abduraimov, he led performances of Shostakovich’s Symphony No. 5 and Rachmaninoff’s Piano Concerto No. 3. Kevin Wilt of the Palm Beach Daily News said of the performance, “In recent years the Kravis Center has heard performances by the Chicago Symphony, the Royal Philharmonic, The Philadelphia Orchestra and more. This one was just as polished as any of those.” During the 2018/ 19 season, Aspinall led Jacksonville Symphony in two masterworks subscription programs and a tour with organist Cameron Carpenter. He was selected as one of two conducting fellows at the Tanglewood Music

Festival during the summer of 2019. Formerly, Aspinall held the position of Young Conductor with the Queensland Symphony Orchestra in Australia, where he assisted Chief Conductor Johannes Fritzsch and visiting guest conductors, and where he conducted concerts for the orchestra’s education series. He studied French horn and conducting at the University of Queensland and upon graduation was awarded the Hugh Brandon Prize. In 2012, he attended the Aspen Music Festival, where he was awarded the Robert J. Harth Conducting Prize. Aspinall has guest-conducted several symphony orchestras, as well as the Queensland Conservatorium Chamber Orchestra. Festival appearances and masterclasses have included the Cabrillo Festival of Contemporary Music, Oregon Bach Festival and the Tanglewood Music Center Conducting Seminar. He studied Orchestral Conducting at New England Conservatory in Boston.

TUCKER BIDDLECOMBE Chorus Director

N

ow entering his fourth season as director of the Nashville Symphony Chorus, Dr. Tucker Biddlecombe has raised the bar of excellence for Nashville’s premier choral ensemble through intense musical preparation, diverse programming and community building. Under his direction, the Chorus has expanded to 170 members and recently toured Prague, Czech Republic, performing Orff’s Carmina Burana. He also serves as Associate Professor and Director of Choral Studies at Vanderbilt University’s Blair School of Music, where he directs the Vanderbilt Chorale and Symphonic Choir and teaches courses in choral conducting and music education. Biddlecombe’s work with the Nashville Symphony has included chorus preparation for the world-premiere recording of John Harbison’s Requiem (Naxos) and concert performances of choral orchestral masterworks by Stravinsky, Ravel, Haydn, Verdi, Handel and Mahler. He conducts the orchestra and chorus in performance during the annual Voices of Spring concert. In 2018 the Vanderbilt Chorale released its first solo

album, Music in the Listening Place (Navona), with Gramophone UK noting that the Chorale “launch into each track with the earnest passion that only university music students can innocently and genuinely provide.” Biddlecombe made his Carnegie Hall debut in 2019 conducting Morten Lauridsen’s Lux Aeterna. A passionate advocate of music education and a veteran teacher, Biddlecombe is active in school music programs, working with teachers as a side-by side coach with Metro Nashville Public Schools. In 2019 he completed a residency with the Central Conservatory in Beijing, China, where he was honored to work with student and professional choral educators. He is in demand as a conductor and clinician, having served as a clinician to choirs in 25 states. A native of Buffalo, New York, Biddlecombe is a graduate of SUNY Potsdam and Florida State University, where he completed doctoral studies in choral conducting and music education with André Thomas. He resides in Nashville with his wife Mary Biddlecombe, Artistic Director of the Blair Children’s Chorus. INCONCERT

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CLASSICAL S E R IES

ROMANTIC RHAPSODIES THURSDAY, JANUARY 30, AT 7 PM FRIDAY & SATURDAY, JANUARY 31 & FEBRUARY 1, AT 8 PM

NASHVILLE SYMPHONY LAWRENCE FOSTER, conductor JUN IWASAKI, violin

JOHANNES BRAHMS Symphony No. 3 in F major, Op. 90 - 33 minutes Allegro con brio Andante Poco allegretto Allegro

C L AS S I CA L S E R I E S RA D I O PA RT N E R

C L AS S I CA L S E R I E S M E D I A PA RT N E R

– INTERMISSION – BÉLA BARTÓK Rhapsody No. 1 for Violin and Orchestra- 10 minutes Lassú Friss

JUN IWASAKI, VIOLIN

This concert will last one hour and 55 minutes, including a 20-minute intermission. This concert is being recorded for future broadcast. To ensure the highest-quality recording, please keep noise to a minimum.

GEORGE ENESCU Romanian Rhapsody in D major, Op. 11, No. 2- 11 minutes BÉLA BARTÓK Rhapsody No. 2 for Violin and Orchestra- 11 minutes Lassú Friss

JUN IWASAKI, VIOLIN GEORGE ENESCU Romanian Rhapsody in A major, Op. 11, No. 1- 11 minutes INCONCERT

19


CLASSICAL

PROGRAM SUMMARY Beethoven’s dominating position in the music of the 19th century was both an inspiration and a serious problem for composers like Johannes Brahms. Through great effort, Brahms eventually found his own voice as a symphonist. His Third Symphony is a work of special genius that shows the extraordinarily original and individual approach he developed. You might also see the Beethoven’s-looming position in orchestral music as a metaphor for the domination of a Austro-Germanic repertoire in American concert programming. Against this gravitational pull, composers like Belá Bartók and George Enescu mined the authentic folk musics of Eastern Europe for the material they transformed into glorious virtuoso vehicles in the pairs of rhapsodies that comprise the rest of this program.

JOHANNES BRAHMS Symphony No. 3 in F major, Op. 90 Born on May 7, 1833, in Hamburg, Germany; Died on April 3, 1897, in Vienna

Composed: 1882-1883

J

Estimated length: 33 minutes

ohannes Brahms took years to overcome the paralyzing effect of Beethoven’s symphonic achievement — what was left to be done in the genre after that? — patiently working toward the breakthrough of his First Symphony, which he unveiled in 1876. Its success emboldened the now middle-aged composer with confidence, and he went on to produce his Second Symphony with remarkable speed. After another pause of several years, Brahms returned to the genre with his Third Symphony in F major. Despite attempts by the composer’s enemies to disrupt the premiere, the work earned an enthusiastic reception. Yet as the official Brahms canon eventually took shape, the Third came to be regarded as one of the most elusive of his compositions, rich in subtleties and paradoxes — the connoisseur’s Brahms. The critic Eduard Hanslick, an 20

FEBRUARY 2020

First performance: December 2, 1883, with Hans Richter leading the Vienna Philharmonic in its premiere on in Vienna

First Nashville Symphony performance: January 15, 1957, with music director Guy Taylor

important advocate of the composer in these years, observed: “Many music lovers will prefer the titanic force of the First Symphony; others, the untroubled charm of the Second. But the Third strikes me as being artistically the most nearly perfect.” Undue emphasis on the “Beethoven problem” by Brahms’ contemporaries tended to obscure how truly original his approach to the symphony was. This had happened with the First (which echoed both Beethoven’s “Ode to Joy” and the fate-filled power of his Fifth Symphony), while the relaxed lyricism of Brahms’ Second Symphony evoked comparisons with Beethoven’s Sixth, the “Pastoral.” Similarly, Brahms’ Third Symphony — even according to its original conductor — was said to share a “heroic” quality with Beethoven’s own Third Symphony, the Eroica.


CLASSICAL

Yet for all its moments of surging, dynamic passion, Brahms’ Third is remarkably antiheroic. Its sound world is saturated with deliciously unexpected moments of inwardlooking intimacy. More fundamentally, the Third subverts the ultimate “heroic” paradigm of an aggressively victorious conclusion. That each of the preceding movements ends quietly only emphasizes the novelty of its ethereal closure, which predates the famously subdued endings of Tchaikovsky’s “Pathétique” and Mahler’s Fourth and Ninth Symphonies.

WHAT TO LISTEN FOR

T

he opening ranks among the most striking in the literature, with three sustained chords that lead right into the first theme proper, launching what sounds like an epic journey in fully “heroic” mode. As it happens, the Third is the briefest, most compact of Brahms’ four symphonies. Instead of taking a far-ranging journey, it will come full circle to end with a variant on this gesture. As for those first three ascending chords, they outline a basic musical figure that is part of the score’s DNA. A famous bit of lore holds that Brahms had devised a personal code for his status as a bachelor: F-A-F, cor-responding to the initials of the phrase “frei aber froh” (“free/ unattached but happy”), which represents the Third’s three-note motto. Brahms scholars have debunked the validity of this particular association, but, in purely musical terms, the F-A-F motif does serve as a significant unifying element. The sweeping first theme is connected to another personal element: Brahms’ memories of his former mentor Schumann. Here, the reference is to the grand opening theme of the latter’s “Rhenish” Symphony, weaving a kind of homage into the Third. But the music is unmistakably Brahmsian, and his style shapes every parameter. The same holds for the fertile lyricism of the

Third, which is among the most exquisitely tuneful of Brahms’ works: savor, for example, the exquisite grace of the second theme, which is initially sung by clarinet and bassoon. This undergoes some surprising transformations — even borrowing the more passionate character of the first theme — before the movement winds down to a subdued close. The two middle movements, which feature some of Brahms’ subtlest orchestral touches, reinforce the wistful, autumnal character often associated with the Third. The Andante brings the earlier clarinet-bassoon combination to the fore. Together, these instruments present the chorale-like main theme, as well as the second one, which “disappears” but returns later in the final movement. Instead of a scherzo, Brahms offers a poignant intermezzo (in C minor to the Andante’s C major). Its chief melody imitates the rhythm of breathing, as if alternately inhaling and exhaling its sighs. New rhythmic figures flicker through the intervening middle section. The final movement begins in F minor, with a mysteriously meandering theme given by the strings in unison. Its suppressed quality contrasts with the violent outbursts that follow, but Brahms continually implies new connections and links between the various musical ideas. Eventually, the second theme from the Andante reappears, preparing the way for the return to the beginning in the highly original coda. In fact, it’s possible to think of the Third as a single “super-movement” made of four large sections. Brahms swerves back to F major and prepares for the recall of the final measures. With a sense of inevitability that doesn’t resort to the ham-fisted rhetoric of a Big Statement, the symphony’s opening theme lands into place and gently spirals downward through the strings. The Symphony No. 3 is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani and strings. INCONCERT

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CLASSICAL

BÉLA BARTÓK Rhapsodies No. 1 and 2 Born on March 25, 1881, in Nagyszentmiklós in the Habsburg Empire (now Sînnicolau Mare, Romania)

First performance: Rhapsody No. 1: November 1, 1929, in Königsberg, with Josef Szigeti as the soloist and Hermann Scherchen conducting; Rhapsody No. 2: November 26, 1929, in Budapest, with Zoltán Székely as the soloist and Ernő Dohnányi conducting

Died on September 26, 1945, in New York City

Composed: 1928-29 (No. 2 revised 1944-45)

B

Estimated length: 21 minutes (combined)

éla Bartók’s two Rhapsodies for violin, which date from the late 1920s, exemplify the evolution of the Hungarian composer’s thinking about the use of folk material and its capacity for renewing modern musical language — rather than serving as a nostalgic nod to the past. Toward the end of a decade in which he had composed some of the most radically challenging scores of his career, Bartók seems to have recognized the audience’s need for more readily accessible material. The Rhapsodies were conceived as versatile vehicles for performance as well: Bartók initially composed these pieces for violin and piano, but then prepared versions for solo violin and orchestra and even for string trio; he additionally published a cello and piano version of the Rhapsody No. 1. The Rhapsodies are not mere transcriptions of appealing folk tunes, neatly packaged for the concert hall. Bartók focused great attention on how to distill the flavor and spirit of his authentic sources. He also made them vehicles for virtuoso performance, evoking folk styles of fiddle playing, as well as the artistry he would further explore in his Second Violin Concerto, from 1938. By casting these pieces as “rhapsodies,” Bartók moreover reclaimed a genre type that had been popularized by his fellow Hungarian Franz Liszt in the Hungarian Rhapsodies. The

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FEBRUARY 2020

First Nashville Symphony performance: These are the orchestra’s first performances.

two-part structure associated with this type of rhapsody — beginning with a slow section that segues into a virtuosically whirling fast one — derives from the so-called verbunkos, a form of traditional dance music used in the mid-19th century to lure recruits into the Austro-Hungarian military. Bartók brushes aside the Romantic tropes with which this genre had become encrusted — tropes that can even be found in his own early works in the genre. He draws instead on the fresh perspective he gained from his extensive research into authentic folk music sources from Eastern Europe and beyond.

WHAT TO LISTEN FOR

T

he standard verbunkos dance unfolds in two parts, moving from a slow preliminary section (lassú) to a fast-paced, wildly virtuosic movement (friss). The authentic folk style, which Bartók painstakingly replicates, also refers to specific melodic and rhythmic contours, such as the typically assertive dotted rhythm of the first theme in the lassú that opens the Rhapsody No. 1. Bartók drew on his store of Romanian folk material for five of the six melodies used in this piece, while only one (in the middle part of the lassú) is of Hungarian origin. The first tune in the sequence comprising the friss


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section resembles (purely by accident) the beginning of “Simple Gifts,” the Shaker melody Aaron Copland later adapted for Appalachian Spring. The Rhapsody No. 1 contains the only instance in Bartók’s oeuvre that calls (optionally) for a cimbalom, the hammered dulcimer associated with Magyar and other Central-Eastern European folk culture. The Classical form of the rondo — in which the main theme is contrasted with a series of intervening episodes — is superimposed onto

the slow first movement of the Rhapsody No. 2, followed by a rich offering of no fewer than seven dance tunes in the fast movement. In this evening’s performance, we hear the alternate ending that Bartók provided for the Rhapsody No 1. In addition to solo violin, the Rhapsodies are scored for 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets (2nd doubling bass clarinet), 2 bassoons, 2 horns, 2 trumpets, trombone, tuba, percussion, cimbalom (for Rhapsody No. 1) and strings.

GEORGE ENESCU Romanian Rhapsodies No. 1 in A major and No. 2 in D major Born on August 19, 1881, in Liveni Vîrnav, Romania (a village since renamed after the composer)

Died on May 4, 1955, in Paris

Composed: 1901

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Estimated length: 22 minutes (combined)

here is an instructive irony in the fact that this music, so closely identified with a particular national origin, was in fact composed in the cosmopolitan capital of Paris, where George Enescu had come from his native Romania to study at the Conservatoire. A versatile performer, he was also a busy conductor and pianist, but he became especially associated with the violin and was the teacher of such legendary figures as Yehudi Menuhin and Arthur Grumiaux. Born in 1881 into a large family in northern Romania, where he was the only child to survive infancy, Enescu was regularly compared to Mozart and ranks among the most extraordinary child prodigies in music history. He gained admission to the Vienna

First performance: March 8, 1903, in Bucharest, with the composer conducting.

First Nashville Symphony performance: Rhapsody No. 1 was first performed on December 11, 1952, with music director Guy Taylor; Rhapsody No. 2 was first performed on December 2-3, 1968, with music director Thor Johnson

Conservatory at age 7 — by then he was both playing violin and composing — and headed to Paris in 1895 to continue his studies. Enescu was only 16 when his Op. 1 suite Poème Roumain was premiered in Paris. In 1901, at age 20, he wrote his pair of Romanian Rhapsodies for orchestra, which were first heard in reverse order (according to the composer’s preference) in a concert in Bucharest in 1903. These were published together as Op. 11. There is a tantalizing reference in some documents to a “Third Rhapsody in G minor,” also allegedly part of this publication, but no evidence for such a score exists. The First Rhapsody in particular gained great popularity — it’s easy to understand why — causing Enescu later to complain that it INCONCERT

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eclipsed interest in his subsequent development as a composer. Enescu would spend much of his life shuttling between his base in Paris (where he is buried) and Romania. Yet for all his identification as the proud musical voice of his native country, he was a widely traveled cosmopolitan and developed a deep interest in world music as well.

WHAT TO LISTEN FOR Enescu’s fresh approach makes the language of both Romanian Rhapsodies especially engaging. He drew from actual Romanian folk tunes for his musical material, but he also sought to imitate the effects of folk playing in his instrumentation, which features numerous notable solos. Each rhapsody contains quotations from Romanian folk song and draws on Eastern European scales and intervals that sounded “exotic” to Parisian audiences. The episodic nature of the music also conveys an improvisatory air, though Enescu’s method of composition was, in fact, carefully calculated.

The musicologist Maria Zlateva explains that the more extroverted Rhapsody No. 1 is distinguished by its use of popular dance idioms, which gradually increase in speed, to present “colorful episodes portraying festive scenes from rural life,” while No. 2 is more focused on “the realm of song, only periodically interrupted by dance rhythms.” The composer Pascal Bentoiu observed that “Ensescu succeeds in materializing the most profound Romanian expression not because he might have used certain melodic cells derived with scientific certainty from folk music, but because of his enormous capacity for sentimental solidarity…for Einfühling [empathy].” In addition to solo violin, the Romanian Rhapsodies are scored for 3 flutes (3rd doubling piccolo), 2 oboes (2nd doubling English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 cornets in Rhapsody No. 1, 3 trombones, timpani, percussion, 2 harps and strings. — Thomas May is the Nashville Symphony’s program annotator.

ABOUT THE ARTISTS LAWRENCE FOSTER

conductor

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awrence Foster celebrates his seventh year as music director of Opéra de Marseille in the 2019/20 season, as well as his first as artistic director and chief conductor of the National Polish Radio Symphony Orchestra. Known for his exhilarating and expressive performances in a wide range of music, he enjoys a major career spanning the U.S., Europe and Asia. He is a champion of the music of 24

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Enescu, and his interpretations are renowned for their faithfulness to the score. Foster begins his tenure with the National Polish Radio Symphony at the prestigious Enescu Festival, performing music by Adrian Pop, Chopin and Lutosławski. During the season he conducts the complete Schumann symphonies, the piano concertos of Liszt, Berlioz’s Roméo et Juliette, and a concert performance of Ravel’s L’heure espagnole. He takes part in Beethoven’s 250th anniversary year with the Third and Ninth symphonies, and he conducts repertoire ranging from Vivaldi, Mozart and Mendelssohn to Tchaikovsky,


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Enescu and Bartók. Foster’s opera season opens at Opéra de Marseille with Die Zauberflöte. As a guest conductor he returns to Oper Frankfurt for Britten’s Peter Grimes and to Opéra de Monte-Carlo for Kurt Weill’s Street Scene. He has conducted in major opera houses around the world, with highlights including Troilus and Cressida at the Royal Opera House Covent Garden, recorded for EMI; the first performance of Berg’s Lulu at Houston Opera; and Enescu’s Oedipe at the Deutsche Oper, also recorded for EMI. Following his successful 10-year tenure as

JUN IWASAKI violin

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un Iwasaki was appointed concertmaster of the Nashville Symphony by music director Giancarlo Guerrero at the beginning of the 2011/12 season. A graduate of the Cleveland Institute of Music’s prestigious Concertmaster Academy, he has been hailed for his combination of dazzling technique and lyrical musicianship. In a review of Iwasaki’s performance at the Mimir Chamber Music Festival, the Fort Worth Star Telegram called him “the magician of the evening. He could reach into his violin and pull out bouquets of sound, then reach behind your ear and touch your soul.” Prior to joining the Nashville Symphony, Iwasaki served as concertmaster of the Oregon Symphony from 2007-11, and he performed

artistic director and chief conductor of the Gulbenkian Orchestra, he now serves as its conductor laureate. He has also held music directorships with the Orquestra Simfònica de Barcelona, Orchestre Philharmonique de Monte Carlo, Houston Symphony, Orchestre de Chambre de Lausanne, Orchestre et Opéra National de Montpellier and the Aspen Festival Music School. Born in Los Angeles to Romanian parents, Foster served as artistic director of the Georg Enescu Festival from 1998 to 2001. In 2003 he was decorated by the Romanian president for services to Romanian music.

with that ensemble at the first annual Spring For Music Festival in 2011. Throughout his career, he has appeared with numerous other orchestras, including the Tokyo Symphony Orchestra, Columbia Symphony Orchestra, Blossom Festival Orchestra, Rome (Georgia) Philharmonic, New Bedford Symphony, Canton Symphony, Richardson Symphony, Cleveland Pops Orchestra, Plano Symphony Orchestra and the Cleveland Institute of Music Orchestra. In addition, he has served as guest concertmaster of the São Paulo Symphony Orchestra in 2015, Santa Barbara Symphony in 2010 and National Arts Center Orchestra in Ottawa in 2006. He served in the same position with the Canton (Ohio) Symphony Orchestra from 2005-07. In addition to teaching at Vanderbilt University’s Blair School of Music, Iwasaki is the artistic director of Portland Summer Ensembles in Portland, Oregon, a workshop for young musicians focusing on chamber music.

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MOVIE SERIES

STAR WARS IN CONCERT:

RETURN OF THE JEDI

with the Nashville Symphony THURSDAY TO SATURDAY, FEBRUARY 6 TO 8, AT 7 PM SUNDAY, FEBRUARY 9, AT 2 PM

NASHVILLE SYMPHONY NATHAN ASPINALL, conductor JOHN WILLIAMS

STAR WARS RETURN OF THE JEDI Feature Film with Orchestra Starring: Mark Hamill Harrison Ford Carrie Fisher Billy Dee Williams Anthony Daniels as C-3PO Co-Starring: David Prowse Kenny Baker Peter Mayhew Frank Oz Directed by Richard Marquand Produced by Howard Kazanjian Story by George Lucas Screenplay by Lawrence Kasdan and George Lucas Executive Producer: George Lucas Music by John Williams MPAA PG Rating Original Motion Picture Soundtrack Disneymusicemporium.com Presentation licensed by Disney Concerts in association with 20th Century Fox, Lucasfilm Ltd., and Warner/ Chappell Music. All rights reserved.

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STAR WARS FILM CONCERT SERIES PRODUCTION CREDITS President, Disney Music Group: Ken Bunt SVP/GM, Disney Concerts: Chip McLean Music Preparation: Mark Graham, Matthew Voogt, Joann Kane Music Service Business Affairs, Disney Concerts: Darryl Franklin, Gina Lorscheider Supervising Technical Director: Alex Levy – Epilogue Media Film Preparation: Ramiro Belgardt Operations, Disney Concerts: Brannon Fells, Royd Haston Business Affairs, Lucasfilm: Rhonda Hjort, Chris Holm Business Affairs, Warner-Chappell: Scott McDowell Disney Music Library This concert will last two hours and 30 minutes, including a 20-minute intermission.

T H A N K YO U TO O U R CO N C E RT PA RT N E R


SPECIAL EVENT

BOUDLEAUX & FELICE BRYANT CENTENNIAL CELEBRATION:

A Diamond Anniversary Love Story in Song THURSDAY, FEBRUARY 13, AT 7:30 PM

NASHVILLE SYMPHONY ENRICO LOPEZ-YAÑEZ, conductor DEL & CAROLYN SMITH BRYANT, emcees

Proceeds will benefit The Heads Up Penny Foundation and the Nashville Symphony's education programs

CHRIS SCRUGGS, steel guitar JAMEY JOHNSON, vocals STEVE TYRELL, vocals

B O U D L E AUX ' S B I RT H DAY BAS H U N D E RW R I T E R

THE WAR AND TREATY MEMBERS OF THE UT-KNOXVILLE PRIDE OF THE SOUTHLAND MARCHING BAND

Selections to be announced from the stage. This concert will last approximately two hours, including a 20-minute intermission.

ABOUT THE ARTISTS BOUDLEAUX AND FELICE BRYANT

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usband and wife, and legendary lyrical partners, Boudleaux and Felice Bryant, the first professional songwriters of Nashville, have sold over half a billion records and shaped the soundtrack of millions of lives with hits including “Bye Bye Love,” “Wake Up Little Susie,” “All I Have to Do Is Dream,” “Love Hurts,” “Rocky Top,” “Country Boy” and many more. The Bryants wrote more than 6,000 songs, more than 900 of which were recorded and performed by artists working in many different musical genres, including The Beach Boys, Tony Bennett, The Osborne Brothers, Ray Charles, Kenny Chesney, Jimmy Dickens, Bob Dylan, the Everly Brothers, the Grateful

Dead, Joan Jett, Gram Parsons, Phish, Eddie Vedder, Simon & Garfunkel and countless others. They were elected to the Nashville Songwriters Hall of Fame in 1972, the National Academy of Popular Music’s Songwriters Hall of Fame in 1986 and the Country Music Hall of Fame in 1991. In 2019, the Americana Music Association awarded the Bryants a lifetime achievement award, and the Country Music Hall of Fame debuted a personal exhibit of writing journals and other career artifacts, which will be on display through August 2, 2020. In November, BMI recognized “Rocky Top” with the inaugural Evergreen Award, which highlights one-ofa-kind songs that have left an unforgettable imprint on our lives and an enduring legacy through the years. INCONCERT

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S P E C I A L EV E N T

JAMEY JOHNSON vocals

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leven-time GRAMMY®nominated singer-songwriter Jamey Johnson is “one of the greatest country singers of our time,” according to The Washington Post. He is one of only a few people in the history of country music to win two Song of the Year Awards from both the CMA and ACM. Johnson’s 2008 album That Lonesome Song was certified Platinum, and his ambitious 2010 double album, The Guitar Song, received a

STEVE TYRELL vocals

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n his nearly five decades in the music business, Steve Tyrell has achieved success as a singer, producer, musical supervisor and radio host. His performances in Father of the Bride and Father of the Bride II helped Tyrell reinvent and repopularize classic pop standards for a modern-day audience. All 10 of his albums of American standards have achieved Top Five

THE WAR AND TREATY

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s The War and Treaty, Michael and Tanya Trotter have been compared to Ike and Tina Turner, and they recently earned the Americana Music Association’s 2019 Emerging Act of the Year. Funky bass lines, keys, lap steel, acoustic

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Gold certification. He has received tremendous praise from The New York Times, Rolling Stone, The Wall Street Journal and other publications. In 2012, the Alabama native released the GRAMMY®-nominated Living for a Song: A Tribute to Hank Cochran, which paired him with Willie Nelson, Alison Krauss, Emmylou Harris, Ray Price, Elvis Costello, George Strait, Vince Gill and Merle Haggard. In 2013, the Nashville Scene’s 13th annual Country Music Critics’ Poll named it the year’s best album. In 2011, the same poll named Johnson’s The Guitar Song as the year’s best album, and Johnson as best male vocalist, best songwriter and artist of the year.

status on Billboard’s Jazz charts, with his latest, A Song for You, reaching No. 1. Tyrell has had the pleasure of singing for three out of the last four presidents, and for heads of state including Israeli Prime Minister Benjamin Netanyahu, President Juan Manuel Santos of Colombia and Archbishop Desmond Tutu, as well as at Buckingham Palace. Tyrell’s work in the studio as a record producer has included collaborations with such diverse and legendary artists as Rod Stewart, Diana Ross, Ray Charles and Linda Ronstadt.

strings and stripped-down percussion create a swampy Southern soul bed for the couple’s transcendent vocals. Michael is a wounded warrior who found his voice while serving in Iraq, when he was pulled from the frontlines to write songs for the fallen. Tanya is drawn to singing’s power to take another’s pain away. This tour-de-force duo swaggers with confidence only gained by artists who are wholly, proudly, themselves.


S P EC I A L EV E N T

CHRIS SCRUGGS

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native son of Nashville, Chris Scruggs comes from a long line of legendary country music performers and is one of the world’s few living masters of non-pedal steel guitar. He was raised listening to the compositions of the great Felice and Boudleaux Bryant, and discovered the steel guitar artistry of Jerry Byrd as a teenager.

“The lifelong influence I have felt, from both the Bryant and Byrd legacies, makes this once-in-a-lifetime opportunity to perform Polynesian Suite live, and in its entirety, a crowning career moment,” Scruggs says. Scruggs has worked live and in the studio with an eclectic range of performers, from rock greats like Michael Nesmith, Roger McGuinn and Chris Hillman, to country and Americana icons like Charlie Louvin, Jim Lauderdale and Ray Price. He is currently a member of Marty Stuart’s Fabulous Superlatives.

PRIDE OF THE SOUTHLAND MARCHING BAND

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he University of Tennessee Marching B and, known as t he “Pride of the Southland,” has represented The University of Tennessee and the State of Tennessee since its organization following the Civil War. What began as a small all-male band attached to the Military Department on the Knoxville campus has grown to a 350-member marching band known worldwide for its outstanding musical performance and precision marching. The ensemble made its first appearance at

a UT football game in 1902, and underwent considerable change in the 1940s, introducing female musicians into the band and expanding its halftime show performances. It was during this era that a Knoxville sportswriter dubbed the band the “Pride of the Southland.” In 1972, band director Dr. W.J. Julian introduced a new song to Neyland Stadium crowds – “Rocky Top!” – which became the school’s unofficial fight song, and also established countless other traditions that continue to this day.

THE MILK CARTON KIDS

tour dates. The Milk Carton Kids performed their concerts the same way they recorded their songs — huddled around the same microphone, guitars in hand, capturing the magic of the moment — and that raw intimacy helped draw audiences' attention. Their latest release, The Only Ones, finds the duo revisiting their acoustic roots from new angles and experimenting with longer song structures. Featuring some of their best work to date, the album shines its light on the warm blend of Ryan and Pattengale's voices and the interplay of their guitars, creating both a revival of something familiar and an embrace of something fresh.

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he Milk Carton Kids began sticking together in 2011, when Los Angeles natives Joey Ryan and Kenneth Pattengale decided to pull the plug on their respective solo careers and join forces. That spring, Prologue introduced the duo's blend of harmony-driven folk and unplugged Americana. What followed was a multi-year blur of milestones, from GRAMMY® nominations to TV appearances to a near-infinite string of

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THE MCCRARY SISTERS

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he McCrary Sisters sing a unique style of gospel. Influenced by classic soul, Americana, blues and R&B, these sisters bring an indescribable joy to singing. Dynamic, powerful and thrilling are just a few words to describe The McCrary Sisters’ live performances. Steeped in tight soulful harmonies, the Sisters will have the audience dancing in the aisles celebrating life with words of hope and love. Ann, Deborah, Regina and Alfreda are the daughters of the late Rev. Samuel McCrary — one of the original members of the legendary gospel quartet The Fairfield Four. The daughters

were raised in harmony, singing at home and at their father’s church, but word soon spread of their individual accomplished voices and each began sharing the family vocal legacy as solo artists with a wide range of performers including Bob Dylan, Elvis, Isaac Hayes and Stevie Wonder. In 2011, the Sisters officially formed their own group and have since recorded or performed with Delbert McClinton, Black Keys, Martina McBride, Eric Church, Patty Griffin, Buddy Miller, Jonny Lang, Robert Randolph, The Winans, Donnie McClurkin, Rosanne Cash, Carrie Underwood, Hank Williams Jr., Dr. John, Widespread Panic, Sheryl Crow, Maren Morris, Gregg Allman and many more.

Live at the Schermerhorn

March 8

March 22

TICKETS: 615.687.6400 | NashvilleSymphony.org 30

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SPECIAL EVENT

Valentine’s with

PATTI LABELLE

and the Nashville Symphony

FRIDAY, FEBRUARY 14, AT 8 PM

NASHVILLE SYMPHONY

PATTI LABELLE

ENRICO LOPEZ-YAÑEZ, conductor

JOHN STANLEY, piano/musical director STANTON LEWIS, keyboards DANNY NIXON, keyboards ERIC SEATS, drums ERIC DUBOSE, guitar ALEX EVANS, bass NORMAN JEFF BRADSHAW, trombone MATTHEW CAPPY, trumpet MICHAEL BURTON, saxophone BRENDA ROY, background vocals DEBBIE HENRY RAMSEY, background vocals ANTHONY WILLIAMS, background vocals/percussion

This performance made possible by Mr. Michael Carter, Sr. & Mrs. Pamela Carter.

Selections to be announced from the stage. This concert will last approximately two hours, including a 20-minute intermission.

ABOUT THE ARTIST PATTI LABELLE

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eautiful” simply does not describe the incomparable force known to the world as Patti LaBelle. As time continues to evolve, the soulful songbird’s name has become synonymous with grace, style, elegance and class. Belting out classic rhythm and blues, pop standards and spiritual sonnets have resulted in the versatility for which she is known and revered. It is a small wonder that LaBelle has time for anything else in between recording and touring. She has written six books including, Don’t Block the Blessings and her most recent, Desserts LaBelle. Several years ago, she introduced Patti’s Good Life, a successful food line that includes a variety of pies, cobblers and cakes. She has also starred in a highly rated cooking show, Patti LaBelle's Place, on the Cooking Channel. In 2017, she released

her first jazz album, Bel Hommage, on her own record label, GPE Records. And most recently, she expanded the Patti’s Good Life line to include frozen comfort foods Her work as a humanitarian is just as legendary. She remains an advocate for adoption, diabetes, cancer, HIV/AIDS and many other causes and nonprofit initiatives. While she has reached the heights of success throughout her 50-plus-year career, she has also endured and survived personal strife. Within a 10-year period, she lost her mother, three sisters and best friend to diabetes and cancer. In 1994, she was diagnosed with diabetes and shortly thereafter became a spokesperson for the American Diabetes Association. The same motivation that saw Patricia Louise Holte blossom from a choir member to lead vocalist for Patti LaBelle & The Bluebelles, and later into a solo artist, is the same energy that keeps her fire burning at 75 years young. INCONCERT

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BEETHOVEN’S BIRTHDAY BASH THURSDAY, FEBRUARY 20, AT 7 PM FRIDAY & SATURDAY, FEBRUARY 21 & 22, AT 8 PM SUNDAY, FEBRUARY 23, AT 2 PM

NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor

T H A N K YO U TO O U R CO N C E RT PA RT N E R

BARRY DOUGLAS, piano

LUDWIG VAN BEETHOVEN Leonore Overture No. 3, Op. 72A - 14 minutes LUDWIG VAN BEETHOVEN Concerto No. 1 in C major for Piano and Orchestra, Op. 15 - 36 minutes Allegro con brio Largo Rondo: Allegro

C L AS S I CA L S E R I E S RA D I O PA RT N E R

Barry Douglas, piano – INTERMISSION – LUDWIG VAN BEETHOVEN Symphony No. 3 in E-Flat major, Op. 55, “Eroica” - 47 minutes Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto

C L AS S I CA L S E R I E S M E D I A PA RT N E R

This concert will last 2 hours and 10 minutes, including a 20-minute intermission. This concert is being recorded for future broadcast. To ensure the highest-quality recording, please keep noise to a minimum.

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PROGRAM SUMMARY Part of what enabled Beethoven to become “Beethoven” — the larger-than-life figure we know today — was the fact that he lived through an era of dynamic transformation. According to John Clubbe in his brand-new biography of the composer, the decades from 1790 to 1810 “appeared to mark the beginning of a new stage” in human history…. Poets and musicians differentiated and refined the inner life.” It was precisely during these decades that Beethoven set out from his native Bonn to settle in Vienna and composed many of the works for which he is still best known. The three pieces we hear on this program all date from these years. The First Piano Concerto (in fact, the second to be completed) reminds us of Beethoven’s roots in the Classical style forged by the geniuses he was up against — Mozart and Haydn — while also revealing the uniqueness of his approach. The name he gave to his Third Symphony, Eroica, is typically used to describe the “heroic” style that Beethoven went on to forge — not from scratch, to be sure, but through a profoundly personal and at times revolutionary rethinking of what he had learned from his predecessors. This style is inherently theatrical, conveying a sense of individual struggle and triumph — as Beethoven’s only opera, Fidelio, explicitly stages.

LUDWIG VAN BEETHOVEN Leonore Overture No. 3, Op. 72a Born on December 16, 1770, in Bonn, Germany Died on March 26, 1827, in Vienna

Composed: 1804-06

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Estimated length: 14 minutes

eethoven’s only opera dramatizes a regime based on cruelty and injustice being toppled through the power of courageous love. It has lost none of its urgency as societies careen from crisis to crisis. Merely performing Fidelio can signal an implicit political or social critique, for the walled grimness of its prison setting has remained distressingly relevant. With the slightest of allegorical touches, Fidelio can seem convincingly “about” the Third Reich, the Soviet gulag or the most contemporary permutations of the fascist impulse. The story of Fidelio is straightforward. Set in a prison outside Seville, it centers around

First performance: March 29, 1806, at the Theater an der Wien in Vienna

First Nashville Symphony performance: April 29, 1947, with music director William Strickland

the heroic plan of a noblewoman, Leonore, to search for her husband, Florestan, who has been “disappeared” as a political prisoner. His actual crime is never specified, but it clearly has to do with his opposition to the unjust policies of the prison governor, Don Pizarro, who has placed him in solitary confinement in the lowest dungeon out of revenge. Using the assumed identity “Fidelio,” Leonore disguises herself as a man to gain access to the prison. In the end, Pizarro’s atrocities are uncovered and Florestan and his fellow prisoners are freed. Beethoven referred to Fidelio as his “child of sorrow” because it cost him so much struggle INCONCERT

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to write — for the story meant so much to him. But it was also troublesome because Beethoven, not a man easily given to compromise, had to accommodate the practical necessities of the theater. The first version of the opera, given on November 20, 1805 (the year the Eroica was introduced to the public) was a failure. Beethoven quickly withdrew it but introduced a tighter, revised version the following spring. The overture we hear was intended for that production. Beethoven wrote still another overture a couple years later for a production in Prague that never materialized. Finally, in 1814 he created the version of the opera that became most widely known, changing its name from Leonore to Fidelio, and writing a much more compact, brisk overture.

WHAT TO LISTEN FOR

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eonore No. 3 turned out to be, paradoxically, too dramatic for the opera house. Adopting the “heroic” manner of the recent Eroica, it encapsulates the very soul of the drama in purely instrumental terms and thus, Beethoven came to realize, overwhelms the ensuing opera instead of preparing for it. Gustav Mahler conducted a celebrated production that ingeniously made a place for the Leonore No. 3 during the scene change before the triumphant finale in which the prisoners are liberated. In any case, it has

long been a concert favorite as a symphonic counterpart to the idealism expressed in the opera. The slow introduction descends — literally, in a stepwise motion at the beginning — into the despairing depths of the dungeon where Florestan languishes but has a vision of hope that his wife will save him. The musical material is essentially taken from the point of view of Florestan, who can be seen as an alter ego for Beethoven (who was imprisoned, in his own way, by deafness). Both muscular and nimble, the main theme of the Allegro is Beethoven at his most dramatic. The hope anticipated earlier in the music returns, but so do the shadows, eventually leading to an extraordinary climactic moment in which the atmosphere suddenly changes. As he does in the opera itself, Beethoven uses a trumpet fanfare to symbolize the abrupt end of Pizarro’s corrupt power and the prisoners’ coming liberation. In the final pages, Beethoven achieves a remarkable effect by overlaying a series of patterns that scurry through the strings. These build tension to an unbearable level before the dam bursts and the full ensemble joins in unstoppable, joyous excitement. The Leonore Overture No. 3 is scored for pairs of flutes, oboes, clarinets and bassoons; 4 horns; 2 trumpets; 3 trombones; timpani and strings.

Concerto No. 1 in C major for Piano and Orchestra, Op. 15 Composed: c. 1795, with later revisions before publication in 1801 First performance: Possibly during Beethoven’s first public concert in Vienna, on March 29, 1795

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s far back as his teenage years in Bonn, we can find evidence of Beethoven’s preoccupation with the concerto genre. He tried his hand at composing a piano concerto that, technically speaking, is the chronological 34

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Estimated length: 36 minutes

First Nashville Symphony performance: January 31-February 2, 1980, with guest conductor Jorge Mester and soloist Lydia Artymiw

“No. 1” (only a piano score survives), and the work that officially became known as the Piano Concerto No. 2 (Op. 17) has its origins in the Bonn years as well. At this very time, Mozart was producing his famous series of piano


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concertos in Vienna. For Mozart, keyboard concertos provided much-needed income to support his new freelance career and kept his name before the public. When Beethoven resettled in 1792 in the “land of the clavier,” as his predecessor once described Vienna, he would repeat that pattern, relying on his talents as a keyboard performer to build a reputation. Contemporar y diarists recorded the spellbinding effect of Beethoven’s performances in intimate recital-improvisations, which often resulted in snapped strings and splintered hammers, given the more delicate instruments available at the time — Beethoven was continually in search of a more expressive, more robust keyboard. Carl Czerny, a freakishly young prodigy when Beethoven took him on as a pupil, later recalled the charismatic impact made by his famous improvisations: “There was something wonderful in his expression in addition to the beauty and originality of his ideas and his spirited style of playing them.” Czerny added that Beethoven “would burst into loud laughter and banter his hearers” after seeing how his playing had brought many of them to tears. His fans became eager bystanders during the keyboard duels to which Beethoven challenged his rivals. As had been the case with Mozart, the concerto format proved useful to Beethoven because it showcased his art not just as a composer, but also as a performer — at least before his deafness reached the point when he could no longer function as a concert pianist. He was the soloist for four of his five piano concertos. The first three of these, in particular, incorporate many of the tricks of the trade Beethoven had learned from Mozart — along with several strategies learned from his teacher Haydn (a teacher with whom the student had a rapport that notoriously lacked harmony). It’s tempting to accuse Beethoven (and, some decades later, Chopin) of deliberately setting out to confuse posterity, since in each case their “First Piano Concerto” was chronologically

the second to be composed. Though he had completed his Concerto No. 2 in B-flat prior to this one, Beethoven made a savvy choice to hold off on publishing it so that the more overtly brilliant Concerto in C major would be his first publication in the genre — and make it clear that he was the real heir to Mozart, a dazzling new talent to whom attention must be paid.

WHAT TO LISTEN FOR

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n the lengthy opening movement, Beethoven makes sure to evoke the poised grandeur of Mozart’s C major concertos, but he cleverly teases us with a deceptively quiet initial statement of the first theme. The militaristic pomp and march-like character of the first and third themes, emphasized by assertive trumpets and drums, make them close cousins. A lyrical second theme intervenes, but Beethoven has another trick in store: he makes us wait until the solo piano partners with the orchestra before allowing us to hear this melody unfold to completion. In other words, nothing will be rote or predictable here. At the same time, it’s a good way of indicating how Beethoven is thinking big in this first movement, creating architecture on the grand scale. The soloist’s entrance is strangely oblique. In his fascinating study of all the Beethoven concertos, the musicologist Leon Plantinga points out that, throughout this entire movement, the piano comments and elaborates on the first theme but never actually quite plays the theme itself. Characterizing the rapport Beethoven sets up between the soloist and orchestra, he writes: “It is as if the mass of the orchestra is easily roused to overt, forceful action, while its leader favors a more nuanced, artful approach.” Beethoven takes the section in which these themes are developed as an occasion for a genuinely unusual harmonic odyssey, a fantasy of hushed suspense that continually reveals new angles on what had seemed such INCONCERT

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obvious and straightforward material. This culminates in a notoriously tricky right-hand octave sweep down the keyboard to launch the reprise. Here, and in an enormous alternative cadenza Beethoven later penned, we can probably obtain a good impression of what one of his wildly ranging improvisations must have sounded like. The Largo showcases Beethoven’s undeniable gift for serene melody — its delivery and ornamentation are also important components of the virtuoso’s toolkit — and settles in a reposeful A-flat major far afield from the busy C major of the outer movements. Though he lightens the orchestral texture (no flutes or oboes, let alone trumpets and drums), Beethoven actually generates a new sound world, thanks in part to the solo clarinet’s role as a soulful partner for the piano’s rhapsodic meditations. This movement demands the utmost in what Czerny described as Beethoven’s “cantabile expression” and “refined tone and elegant delivery.” If Beethoven puts his own stamp on Mozart’s archetypal concerto in the first two movements, the finale represents an extreme take on Haydn’s vigorously earthy humor. Listen for the contrasting central episode, a very scenic detour in A minor full of interesting new flavors. As for the main rondo tune itself, a catchy ear worm, Beethoven restates its three reappearances with delightfully engaging theatricality — above all, before his final orchestral statement of this tune, when the soloist strays into nearby but dangerously dissonant B major, as if trying to get everybody in trouble before the flute gingerly leads everyone back to the sure path of C major. In the coda, Beethoven unexpectedly introduces a brief spell of wistful nostalgia — only to pull the carpet out from underneath such indulgence with a final orchestral flourish. In addition to solo piano, the Concerto is scored for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.

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BARRY DOUGLAS

piano

B

arry Douglas has established a major international career since winning the Gold Medal at the 1986 Tchaikovsky International Piano Competition. As artistic director of the chamber orchestra Camerata Ireland and the Clandeboye Festival, he continues to celebrate his Irish heritage while also maintaining a busy international touring schedule that has included appearances with major orchestras around the world. Career highlights include recital tours in the United Kingdom and U.S. and new collaborations with both the Endellion String Quartet and the Borodin Quartet, as well performances of Tchaikovsky with the RTE Orchestra (Dublin), Ulster Orchestra (Belfast), London Symphony Orchestra and St. Petersburg Philharmonic, all marking the 30th anniversary of his Tchaikovsky International Competition win. An exclusive Chandos recording artist, Douglas has released critically acclaimed recordings of all of Brahms’ solo piano works, as well as the solo piano works of both Schubert and Tchaikovsky. He has also released two albums that feature his own arrangements of Irish folk music. Douglas founded Camerata Ireland in 1999 to celebrate and nurture the very best of young musicians from both Northern and the Republic of Ireland. In addition to striving for musical excellence, one of the orchestra’s aims is to further the peace process in Ireland by promoting dialogue and collaboration through its musical education programs. He regularly tours with the ensemble throughout the world and visited the U.S. in the spring of 2018. Douglas received the Order of the British Empire (OBE) in the 2002 New Year’s Honours List for services to music.


CLASSICAL

Symphony No. 3 in E-flat major, Op. 55 “Eroica” Estimated length: 47 minutes

Composed: 1802-04 First performance: In the summer of 1804, in a private performance at the estate of Beethoven's patron Prince Franz Joseph von Lobkowitz, to whom he dedicated the work. The first official public performance followed in Vienna on April 7, 1805.

T

he Eroica is rightly described as a giant advance in the history of Western music. But along with its central historical significance in claiming a lofty new position for symphonic music, the Eroica is closely connected to the personal breakthrough it represents in Beethoven’s own life. The music is part of his creative response to the profound crisis of his early 30s, shortly after the turn of the 19th century. What Beethoven probably hoped was a passing phase of troubled hearing, which had been tormenting him for several years, in fact marked the onset of permanent deafness, an appalling nightmare for an active musician. In the summer of 1802, doctor’s orders were to take it easy and spend some time in Heiligenstadt, then a distant suburb, peacefully removed from the hectic pace of Vienna. The promised cure, however, didn’t happen, and Beethoven’s despair led him to contemplate suicide. The so-called Heiligenstadt Testament is the moving confessional letter that the composer penned in the form of a will that autumn. Beethoven recounts in it the reasons for his depression, how he had felt the need to keep his growing deafness hidden from the world and was misunderstood as “misanthropic” by nature. He then explains his determination to continue living, prompted by an overpowering conviction of artistic mission: “It seemed impossible to leave the world until I had produced all that I felt called upon me to produce, and so I endured this wretched

First Nashville Symphony performance: November 29, 1949, with music director William Strickland

existence.” This renewed sense of purpose went hand in hand with a desire to forge what Beethoven was calling “a new path” in music. This new attitude bore fruit in the Third Symphony, which soon absorbed Beethoven. Almost everything about this symphony indicates that the stakes have been raised to a higher level. Its only “traditional” aspect is the instrumentation, which calls on the standard forces used by Mozart and Haydn in their mature symphonies, with the exception of three horns instead of two. What are some examples of this sea change? They extend from the large-scale architecture of the work, which dramatically expands the dimensions of the symphony, to shocking shifts in harmonic thought and an intensification of familiar devices, such as changes in volume. A quick word on the famous French connection: the story goes that Beethoven’s admiration for Napoleon Bonaparte as a heroic force for revolutionary change soured when the French leader had himself crowned emperor in December 1804. Yet while the idealistic Beethoven abhorred tyranny and did in fact violently scratch out his original dedication from the title page of the score, he hadn’t categorically ruled out the practical advantages of such a dedication (at the time he was considering resettling in Paris). In the end, he published the work as a “Heroic Symphony” (Sinfonia Eroica), which was “composed to celebrate the memory of a great man.”

INCONCERT

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CLASSICAL

WHAT TO LISTEN FOR

A

ll manner of imagery has been invoked to get to the heart of this urgent music. The first movement has been said to suggest scenarios ranging from a metaphoric battlefield (with the assertive opening chords as “cannon shots,” etc.) to the tireless energy of early industrialism. What is unmistakable is the driving, epic force that resonates. The famous “surprise” note of C-sharp (outside the home key of E-flat major), which appears when the cellos come to rest as they state the first theme, is an emblem for this musical eagerness to encounter experience head on, no matter where it leads. And this certainly includes pain along with joy, although the music as a whole seems to be reaching for an optimistic outlook. Unlike the Fifth Symphony, which achieves drama via intense compression, the Eroica uses expansion to convey this sense of experience: through distant keys, a plenitude of thematic material and a swelling of the form traditionally used for the opening movement of a Classical symphony. The thrilling coda, for example, is no longer a quick wrap-up, but an enormous counterweight to the development of ideas preceding it. Beethoven writes a monumental funeral march rather than a lyrical slow movement, a meditation on death to follow the epic life journey of the opening movement. Mahler would later turn to this as a template for some of the marches in his own symphonies. Here, Beethoven balances public mourning against private grief. Notice the “personal” sound of the oboe, highlighted as a leading character in each of the four movements, set against the more formal public rhetoric of the strings. Where Beethoven introduced pain into the surging course of the first movement, he reverses the pattern here: a bright streak of hope intrudes (again, introduced by the oboe) before the march returns to its tragic C minor,

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now unfolding in a fugue of overpowering majesty. The final pages of the march are almost cinematic, as Beethoven suggests an individual mourner breaking down, unable to go on, while the crowd eventually proceeds. In place of a classical minuet, the Scherzo brings a return to the surging life force of the first movement, yet on a more elementary level. Beethoven focuses on the inherent tension — and playfulness — of pairs of chords jostling against a backdrop of triple meter. The reason behind his choice of three horns becomes apparent when that section gets its spotlight in the echoing calls of the trio. Capping the Eroica is a marvelously innovative final movement made up of variations: not only on a theme (the tune introduced a few minutes in by the oboe), but on the simpler bass line underpinning it as well, which we hear as a sort of teasing prelude. Beethoven had used the theme in several earlier compositions, including a ballet titled The Creatures of Prometheus, and that mythological reference adds yet another dimension to the Eroica. Some see the defiant god Prometheus, who endured terrible suffering to bring humanity enlightenment, as the true hero of the work. Beethoven reconsiders this previously used musical material in the light of the “new path” we have heard throughout the Eroica. This unassuming tune is revealed to contain enormous potential, from the chattering virtuosity of the flute to the nobly triumphant climax for the entire orchestra, which wells into a frightening reminiscence of the tragic depths of the Funeral March. In his ingenious transformations, Beethoven uncovers the creative self as the true hero of the music. The Eroica is scored for pairs of flutes, oboes, clarinets, and bassoons; 3 horns; 2 trumpets; timpani and strings. — Thomas May is the Nashville Symphony’s program annotator.


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BLA K E F O R D JA ZZ S E R I ES

DEE DEE BRIDGEWATER & BILL CHARLAP FRIDAY, FEBRUARY 28, AT 8 PM

DEE DEE BRIDGEWATER, vocals

T H A N K YO U TO O U R JA ZZ S E R I E S PA RT N E R

BILL CHARLAP, piano Selections to be announced from the stage. This concert will last approximately 90 minutes.

ABOUT THE ARTISTS DEE DEE BRIDGEWATER

vocals

O

ver the course of a multifaceted career spanning four decades, GRAMMY®- and Tony Award-winning jazz giant Dee Dee Bridgewater has ascended to the upper echelon of vocalists, putting her unique spin on standards, as well as taking intrepid leaps of faith in re-envisioning jazz classics. Ever the fearless voyager, explorer, pioneer and keeper of tradition, Bridgewater most recently won a GRAMMY® in 2010 for Best Jazz Vocal Album, for Eleanora Fagan (1915-1959): To Billie With Love From Dee Dee. Bridgewater’s career has always bridged musical genres. She earned her first professional experience as a member of the legendary Thad Jones/Mel Louis Big Band, and throughout the ’70s she performed with such jazz notables as Max Roach, Sonny Rollins, Dexter Gordon 40

FEBRUARY 2020

and Dizzy Gillespie. After a foray into the pop world during the 1980s, she relocated to Paris and began to turn her attention back to jazz. Signing with Universal Music Group as a producer — Bridgewater produces all of her CDs — she released a series of critically acclaimed titles, beginning with Keeping Tradition in 1993. All but one of Bridgewater’s albums, including her double-GRAMMY®-winning tribute to Ella Fitzgerald, Dear Ella, have received GRAMMY® nominations. Bridgewater also pursued a parallel career in musical theater, winning a Tony Award for her role as “Glinda” in The Wiz in 1975. Having recently completed a run as the lead role of Billie Holiday in the off-Broadway production of Lady Day, her other theatrical credits include Sophisticated Ladies, Black Ballad, Carmen, Cabaret and the off-Broadway and West End productions of Lady Day, for which Bridgewater received a British


JA Z Z

Laurence Olivier nomination for Best Actress in a Musical. As a Goodwill Ambassador to the United Nations’ Food and Agriculture Organization (FAO), Bridgewater has appealed for international solidarity to finance global

BILL CHARLAP piano

O

ne of the world’s premier jazz pianists, Bill Charlap has performed and recorded with many leading artists of our time, ranging from jazz masters Phil Woods and Wynton Marsalis to singers Tony Bennett and Barbra Streisand. Since 1997, he has led the Bill Charlap Trio with bassist Peter Washington and drummer Kenny Washington, now recognized as one of the leading jazz groups. Charlap is the artistic director of New York City’s Jazz in July Festival at the 92nd Street Y, and he has produced concerts for Jazz at

grassroots projects in the fight against world hunger. She was recently honored with a stage dedication in her name at the new People’s Health New Orleans Jazz Market. In 2017, Bridgewater was the recipient of an NEA Jazz Masters Fellows Award.

Lincoln Center, the JVC Jazz Festival and the Hollywood Bowl. A two-time GRAMMY® nominee, Charlap is married to renowned jazz pianist Renee Rosnes. In the spring of 2010, the pair released Double Portrait, their acclaimed duo piano recording on the Blue Note label. According to Time magazine, “Charlap approaches a song the way a lover approaches his beloved…. When he sits down to play, the result is an embrace, an act of possession. The tune rises, falls, disappears and resurfaces in new forms as Charlap ranges over the keyboard with nimble, crisply swinging lines, subtly layered textures, dense chords and spiky interjections.”

Live at the Schermerhorn THE HOT SARDINES

GREGORY PORTER April 24

June 5

TICKETS: 615.687.6400 | NashvilleSymphony.org INCONCERT

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INDIVIDUALS

The Nashville Symphony is deeply grateful to the following individuals who support its concert season and its services to the community through their generous contributions to the Annual Fund and support for Special Events. Donors as of December 19, 2019.

MARTHA RIVERS INGRAM SOCIETY Gifts of $50,000 + Mr. Newman & Mr. Johnathon Arndt ◊ Mr. & Mrs. Jack O. Bovender Jr. Mr. Michael Carter, Sr. & Mrs. Pamela Carter ◊

Mr. & Mrs. Kevin W. Crumbo ◊ Mr. & Mrs. Andrew Giacobone ◊ Mrs. Martha Rivers Ingram ◊ Donna & Ralph Korpman

Richard & Sharalena Miller ◊ Mr. & Mrs. Robert D. Olsen ◊ Drs. Mark & Nancy Peacock ◊ Mr. & Mrs. James C. Seabury III ◊

Gifts of $25,000 - $49,999

WALTER SHARP SOCIETY Mr. & Mrs. James Ayers Mr. Russell W. Bates ◊ Mr. & Mrs. Dennis Bottorff ◊ Mr. & Mrs. Martin S. Brown Sr.* Mr. & Mrs. Richard W. Carlton The Rev. & Mrs. Fred Dettwiller

Mr. & Mrs. Anthony Giarratana Giancarlo & Shirley Guerrero ◊ Mr.* & Mrs. Spencer Hays ◊ Orrin and Lee Ann Ingram Mr. & Mrs. Ben R. Rechter ◊

Gifts of $15,000 - $24,999

VIRTUOSO SOCIETY Anonymous Mr. and Mrs. Stephen Bailey Mr. & Mrs. Ward Baker Mrs. Melinda S. & Dr. Jeffrey R. Balser ◊ H. Victor Braren, M.D. ◊ Mr. & Mrs. Colin A. Butler ◊ Mr. & Mrs. John Chadwick Carol & Frank Daniels III ◊ Tommy & Julie Frist Mrs. & Mrs. Paul Gravette Ms. Gail Danner Greil ◊

Mr. Ronald P. Soltman, in memory of Judith Cram ◊ Mr. & Mrs. Mark Tillinger ◊ Mr. & Mrs. Steve Turner ◊ David* & Gail Williams ◊ Mr. & Mrs. Joel Williams ◊

Brenda & David Griffin ◊ Patricia & H. Rodes Hart ◊ Mr. and Mrs. James A. Haslam II Vicki & Rick Horne ◊ Drs. Edmund & Lauren Parker Jackson ◊ Mr. & Mrs. T. K. Kimbrell ◊ Dr. & Mrs. Howard S. Kirshner ◊ Mr. Neil B. Krugman and Ms. Leona Pratt Ellen Harrison Martin ◊ Mr. and Mrs. Robert A. McCabe Jr. ◊

Mr. & Mrs. David K. Morgan ◊ Mr. & Mrs. Mark E. Nicol ◊ Mr. & Mrs. Philip M. Pfeffer ◊ Mr. & Mrs. Gustavus A. Puryear IV ◊ Anne & Joe Russell ◊ Mr. & Mrs. Rick Scarola Ron & Diane Shafer ◊ Mr. Robert J. Turner & Mr. Jay Jones ◊ Alan D. & Jan L. Valentine ◊ The Harris Widener Family Fund ◊

2 019/20 B OA R D O F D I R ECTORS OFFICERS

DIRECTORS

Mark Peacock

Russell Bates

Board Chair

Treasurer

Pamela Carter

Hank Ingram

Chair Elect

Secretary

Kevin Crumbo

Alan D. Valentine

Immediate Past Chair

President & CEO

Rev. Dexter Sutton Brewer Vice Chair

+ Indicates Young Leaders Intern

Newman Arndt Melinda Balser Dr. H. Victor Braren Mary Cavarra Michelle Collins Carol Daniels Nick Deidiker James Edward Demont, II + Christopher Farrell Andrew Giacobone Edward A. Goodrich Brenda P. Griffin

Derek Hawkes Michael W. Hayes Christopher T. Holmes Vicki Horne Emily Humphreys Lee Ann Ingram Martha R. Ingram Dr. Edmund Jackson Jay Jones Laura Kimbrell Sandra Lipman Cynthia Clark Matthews

Andy Miller Richard L. Miller Pat Murphy Bob Olsen Victoria Pao Jeremie Papin W. Brantley Phillips, Jr. Ric J. Potenz Jennifer H. Puryear Dr. Janice Riley-Burt E. Kelly Sanford Carolyn W. Schott

James C. Seabury III Luis Solana Karl Sprules Mark Tillinger Glen Wanner Jonathan G. Weaver James W. White Peri Widener Betsy Wills Clare Yang Alan R. Yuspeh Shirley Zeitlin

2 019/2 0 A S SO C I AT E B OA RD OF DIRECTORS OFFICERS

42

DIRECTORS

Nicholas Deidiker

Andrew Hard

Victor Evans

Lenai Augustine

Chair

Secretary

Membership Chair

Samantha Breske

Jason Palmer

Brian Cook

Cassandra Petty

Amos Glass

James Richfield

Sarah Kendrick

Ginny Stalker Taylor Vickery

Allison Reed

Andrew Martin

Kayla Counts

Past Chair

Treasurer

Events Chair

Hank Ingram

Amanda Kane

Catherine Grace

Laura Kimbrell

Chair Emeritus

Communications Chair

Spirits of Summer Chair

Megan Koch

FEBRUARY 2020

Ryan Lipscomb


I N D I V I D UA L PAT R O N S

SPRING 2020

ENGAGEMENT EVENTS Jay Jones, Chair Ric Potenz, Chair Emeritus

G

overning Members receive access to Founders Hall donor lounge, complimentary drinks, special access, exclusive invitations a n d b e h i n d - t h e -s c e n e s experiences. Membership is offered with an annual gift of $3,000 and purchase of 4+ concerts.

Backstage Post-Concert Toast January 31

Insider’s Access Event: Learn About Viola February 26

Pre-Concert Irish Whiskey Tasting March 12-14

Hot Sardines Pre-Concert Happy Hour April 24

Musician Recognition Dinner May 13

Visit NashvilleSymphony.org/GoverningMembers for more information.

MUSICIANS CIRCLE Anonymous Mr. & Mrs. Ward A. Baker Mr. & Mrs. John H. Bailey III Clara and Wesley Belden ◊ Belvins, Inc. ◊ Mrs. J.C. Bradford Jr. ◊ Ann & Frank Bumstead ◊ Drs. Rodney & Janice Burt ◊ Mary & Joseph Cavarra ◊ Mrs. William Sherrard Cochran Sr. Mr.* & Mrs. W. Ovid Collins Ben & Julie Cundiff ◊ Mr. & Mrs. Brownlee O. Currey Jr.

Hilton & Sallie Dean ◊ Nick & Connie Deidiker ◊ Mr. & Mrs. Robert S. Doochin ◊ Tom & Judy Foster ◊ Allis Dale & John Gillmor ◊ Mr. & Mrs. F. David Haas ◊ Dick & Vicki Hammer ◊ Gregory T. Hersh ◊ Mr. Robert C. Hilton Mr. and Mrs. J. L. Holloway Hank Ingram ◊ Mr. & Mrs. Charles L. Irby Sr. ◊ Mr. and Mrs. R. Milton Johnson

Gifts of $10,000 - $14,999 Retired COL's, Steve & Julie Lomax ◊ Mr. & Mrs. Robert J. Mendes The Honorable Gilbert S. Merritt ◊ Victoria & William Pao ◊ Mr. Randy Bernard Ms. Carolyn W. Schott Mrs. Nelson Severinghaus ◊ David & Niki Smith ◊ Mr. Karl Sprules Margaret* & Cal Turner ◊ Mr. & Mrs. James F. Turner Jr. ◊ Jimmie D. & Patricia L. White ◊

STRADIVARIUS SOCIETY Gifts of $5,000 - $9,999 Anonymous Dr. & Mrs. Gregg P. Allen ◊ Mr. and Mrs. Gregory T. Allen Mr. & Mrs. Timothy W. Arnold Brian & Beth Bachmann Judy & Joe Barker ◊ Ned Bates and Brigette Anschuetz ◊ Michael V. and Sharry D. Beard ◊ Mr. & Mrs. Earl Bentz Dr. & Mrs. Frank H. Boehm ◊ Mr. & Mrs. Charles C. Boyd Mr. & Mrs. Harold Brewer Chuck & Sandra Cagle ◊ John E. Cain III Mike & Jane Ann Cain ◊ Ms. Pamela Casey ◊ Fred Cassetty ◊ Dr. Elizabeth Cato Dorit & Donald Cochron ◊ Brian & Haden Cook ◊

* denotes donors who are deceased

Ms. Amy J. Smith and Mr. Michael Cronin Mr. & Mrs. Justin Dell Crosslin Drs. Michael S. and Rowena D. Cuffe Mr. & Mrs. J. Bradford Currie BioVentures, Inc. ◊ Mr. Robert J. Deal and Mr. Jason T. Bradshaw Mr. & Mrs. Robert J. Dennis ◊ Marty & Betty Dickens ◊ Laura & Wayne* Dugas ◊ Mr. and Mrs. Burton Dye ◊ Mr. & Mrs. Jere Mann Ervin Mrs. Annette S. Eskind ◊ Dr. & Mrs. Jeffrey B. Eskind ◊ The Jane & Richard Eskind & Family Foundation ◊ Laurie & Steven Eskind Marilyn Ezell Jennifer & Billy Frist

◊ denotes donors who are Governing Members

Mr. and Mrs. Jeffrey D. Fuller Ed & Nancy Goodrich ◊ Dr. and Mrs. Donald Griffin Carl & Connie Haley ◊ Carolyn N. and Terry W. Hamby ◊ Mr. & Mrs. Tom Harrington ◊ Mr. Donald B. Hastings Mr. & Mrs. J. Michael Hayes Dr. Jan Van Eys & Judith Hodges ◊ Steven & Catherine Hoffman Barron Patterson & Burton Jablin Keith & Nancy* Johnson Ms. Sarah Kendrick ◊ Mr. & Mrs. Stewart Koch Mr. & Mrs. David Kretchmer Heloise Werthan Kuhn ◊ Drs. Paul & Dana Latour Dr. & Mrs. George R. Lee ◊ Dr. and Mrs. Joseph B. Ledbetter Jr. Mr. & Mrs. Ryan C. Lipscomb ◊

INCONCERT

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I N D I V I D U A L PAT R O N S Mr. Mark E. Lopez & Mr. Patrick J. Boggs ◊ Myles & Joan MacDonald ◊ Red & Shari Martin ◊ Dr. Shawn Mathis & Mrs. Vida Mathis ◊ Ms. Jennifer McCoy & Mr. JT Dominick ◊ Jayne Menkemeller ◊ Edward D. & Linda F. Miles ◊ Christopher & Patricia Mixon ◊ Mr. & Mrs. A. Bruce Moore Jr. Mrs. Gwen Noe ◊

Jonathan Norris & Jennifer Carlat ◊ Mr. & Mrs.* Robert J. Notestine ◊ Mr. & Mrs. Larry D. Odom ◊ Dr. Christopher J. Ott & Mr. Jeremy R. Simons Mr. and Mrs. Laurence M. Papel Todd & Diandra Peacock ◊ Peggy & Hal Pennington Joelle & Brant Phillips CW Pinson, M.D., MBA ◊ DeDe Priest ◊ Mrs. Donna L. Richardson

Carol & John T. Rochford ◊ Mr. & Mrs. David L. Rollins Mr. & Mrs. John B. Rosen ◊ Dr. Norm Scarborough & Ms. Kimberly Hewell ◊ Joe & Dorothy Scarlett ◊ Dr. & Mrs. John Schneider ◊ Mrs. J. Ronald Scott ◊ The Shields Family Foundation ◊ Mr.* & Mrs. Martin E. Simmons Mr. & Mrs. Irvin Small ◊ Michael & Grace Sposato ◊ Dr. & Mrs. Jack Stalker ◊

Carol A. Tate ◊ Mr. & Mrs. Matthew K. Taylor ◊ Mr. and Mrs. Bradley D. Thacker Mr. and Mrs. George B. Tomlin Jr. Peggy & John Warner ◊ Mrs. Lisa W. Wheeler ◊ Jerry & Ernie Williams ◊ Barbara & Bud* Zander ◊ Mr. Nicholas S. Zeppos and Ms. Lydia A. Howarth ◊

GOLDEN BATON SOCIETY Gifts of $3,000 - $4,999 Anonymous (6) Mr. & Mrs. John V. Abbott ◊ Mr. & Mrs. Stephen M. Abelman ◊ Shelley Alexander ◊ Mr. and Mrs. C. Dale Allen Mr. and Mrs. William F. Andrews Mr. and Mrs. Davir F. Arnholt Jeremy & Rebecca Atack ◊ Jon K. & Colleen Atwood ◊ Grace & Carl Awh ◊ David Baldwin & Melissa K. Moss ◊ Elisabetha Baugh ◊ Dr. & Mrs. John Baxter ◊ Dr. & Mrs. Robert O. Begtrup ◊ Betty C. Bellamy ◊ Dr. and Mrs. Randy Bellows ◊ Dr. Eric & Elaine Berg ◊ Celia Applegate & David Blackbourn ◊ Dennis & Tammy Boehms ◊ Mr. & Mrs. Jerry D. Bostelman Jamey Bowen & Norman Wells ◊ Randal & Priscilla Braker ◊ Mary Lawrence Breinig ◊ Dr. & Mrs. Phillip L. Bressman ◊ Steven & Cassandra Brosvik ◊ Mr. and Mrs. Gary M. Brown Mr. & Mrs. Steve R. Brubaker ◊ Mr. and Mrs. Del R. Bryant Dr. Melinda and Mr. John B. Buntin Ms. Betsy Calabrace ◊ Mr. and Mrs. John P. Campbell III Mary Taylor Gallagher & Chris Cardwell Sykes & Ann Cargile ◊ David L. Carlton ◊ Crom & Kathy Carmichael ◊ Tom & Kathi Carr ◊ Dr. & Mrs. Dennis C. Carter ◊ Mrs. Joanne Cato Mr. & Mrs. Cooper Chilton ◊ Catherine Chitwood ◊

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FEBRUARY 2020

David & Starling Clark Jay & Ellen Clayton ◊ Terry & Holly Clyne ◊ Ed & Pat Cole ◊ Marjorie Collins ◊ Dr. Michael Conver Mr. & Mrs. Charles W. Cook Jr. ◊ Kathy & Scott Corlew ◊ Teresa Corlew & Wes Allen ◊ Roger & Barbara Cottrell David Coulam & Lucy A. Visceglia ◊ Mr. & Mrs. Donald L. Counts, III Mr. & Mrs. Roy J. Covert Joel* & Charlotte Covington ◊ Dr. Leslie J. Crofford Janine Cundiff ◊ Angela & Charles Curtiss ◊ Dr. and Mrs. Charles E. Daley III ◊ Myrtianne Downs ◊ Stephen & Kimberly Drake ◊ Mr.* & Mrs. Glenn Eaden Dr. Mac & Brenda Edington Drs. James & Rena Ellzy ◊ Mr. Owen T. Embry ◊ Mr. M. Bradshaw Darnall III Dr. Noelle Daugherty & Dr. Jack Erter ◊ Victor Evans Dr. Meredith A. Ezell Ms. Paula Fairchild ◊ Mr. & Mrs. Will Fischer ◊ Dr. Arthur C. Fleischer & Family ◊ John & Barbara Fletcher ◊ Mr. & Mrs. Pete Franks ◊ Mrs. Karyn Frist Cathey & Wilford Fuqua ◊ Dr. Ronald E. Galbraith & Mrs. Faith H. Galbraith ◊ Ms. Harper Ganick Mr. & Mrs. Mike Gann ◊ Harris A. Gilbert ◊ Mr. & Mrs. Roy J. Gilleland III ◊ Mr. Amos R. Glass ◊ Andrew & Alene Gnyp ◊

Mr. & Mrs. Steve T. Greene ◊ Mr. Gerald C. Greer and Dr. Scott Hoffman Dr. & Mrs. Benjamin D. Griffin Karen & Daniel Grossman & Family ◊ John & Libbey Hagewood ◊ Mr. & Mrs. Gregory Hagood Mrs. Robbie J. Hampton ◊ Ted Hanson ◊ Dr. Edward Hantel ◊ Suzy Heer ◊ Mr. & Mrs. Robert E. Henry ◊ Ms. Cornelia B. Holland ◊ Mr. and Mrs. Christopher T. Holmes Drs. Robert Hines* & Mary Hooks ◊ Mr. & Mrs. Donald J. Israel ◊ Mr. & Mrs. Clay T. Jackson ◊ Mr. & Mrs. John F. Jacques ◊ Janet & Philip Jamieson ◊ Mr. & Mrs. Lou Jennings ◊ George & Shirley Johnston ◊ Mr. Mountaine M. Jonas ◊ Ms. Amanda K. Kane ◊ Mr. and Mrs. John S. Kendall Mrs. Edward C. Kennedy William Killebrew Tom & Darlene Klaritch ◊ Mr. & Mrs. David J. Klintworth ◊ Anne Knauff ◊ Walter & Sarah Knestrick ◊ Jack T. & Sophie Knott ◊ Mr. & Mrs. Michael A. Koban Jr. ◊ Ms. Pamela L. Koerner ◊ Mr. & Mrs. Edward J. Kovach ◊ Mrs. Nona Jane Kroha ◊ Kevin & Nicole Krushenski ◊ Mr. Paul H. Kuhn, Jr. ◊ Mr. & Mrs. Mike LaDouceur ◊ Robert & Carol Lampe Mr. & Mrs. Thomas W. Land Mr. Edward Lanquist ◊ Martha & Larry Larkin ◊ Kevin & May Lavender

Dr. Michelle Law ◊ Mr. & Mrs. Joseph C. Lentini ◊ Hon. & Mrs. Thomas R. Lewis ◊ Marye & Bill Lewis ◊ Dr. & Mrs. Nicholas Lippolis ◊ Mr. Brent D. Longtin & Mr. Douglas A. Darsow ◊ Mr. & Mrs.* George Luscombe II ◊ Mr. John Maddux ◊ Ms. Orlene Makinson ◊ Mr. and Mrs. David L. Manning Lynn & Jack May ◊ Mr. & Mrs. Chet Melvin ◊ Dr. Mark & Mrs. Theresa Messenger ◊ Ms. Jennifer L. Michaeli Laurie Miller ◊ Mr. David K. Mitchell ◊ Mr. & Mrs. S. Moharreri ◊ Mr. & Mrs. James Moore ◊ Bill & Cindy Morelli Dr. & Mrs. Kelvin A. Moses ◊ Matt & Rhonda Mulroy ◊ James & Patricia Munro ◊ Mr. & Mrs. Joseph L. Nave Jr. ◊ Mr. and Mrs. Michael S. Neal Leslie & Scott Newman ◊ Dr. Agatha L. Nolen ◊ Mr. & Mrs. Robert J. Notestine Dr. John A. Oates Jr.* & Meredith S. Oates ◊ Mr. & Mrs. John Ohlinger ◊ David & Pamela Palmer ◊ Susan Holt & Mark Patterson ◊ Drs. Teresa & Phillip Patterson ◊ Mr. Richard M. Patterson Dr. & Mrs. Dale Pilkinton Donna and Tom Priesmeyer ◊ Dr. Zeljko & Tanya Radic ◊ Mr. & Mrs. W. Edward Ramage ◊ Allison Reed & Sam Garza ◊ Mr. & Mrs. Alexander T. Renfro ◊ Mr. James E. Richfield Mr. & Mrs. Stephen Riven ◊ Dr. Robert & Taylor Robinson ◊


I N D I V I D UA L PAT R O N S Misha Robledo Anne & Charles Roos ◊ Ms. Sara L. Rosson & Ms. Nancy Menke ◊ Ms. Mary Frances Rudy ◊ Samuel A. Santoro & Mary M. Zutter ◊ Mr. & Mrs. Eric M. Saul ◊ Dr. & Mrs. Timothy P. Schoettle Peggy C. Sciotto ◊ Dr. & Mrs. Stephen Seale ◊ Dr. & Mrs. Robert A. Sewell ◊ Joan Blum Shayne ◊ Allen Spears* & Colleen Sheppard

Bill & Sharon Sheriff ◊ Mr. and Mrs. Brian S. Smallwood Dr. Neil & Ruth Smith ◊ K.C. & Mary Smythe ◊ Mr. Jason P. Somerville & Mr. Eric Cook ◊ Clark Spoden & Norah Buikstra ◊ Christopher & Maribeth Stahl ◊ Mr. & Mrs. Joe N. Steakley Mr. & Mrs. Barry Steele ◊ Mr. and Mrs. Thomas R. Steele Robert & Virginia Stewart ◊ Deborah & James Stonehocker ◊ Mr. & Mrs. James G. Stranch III ◊

Dr. Steve A. Hyman & Mr. Mark Lee Taylor ◊ Mr. & Mrs. Jerry Thursby ◊ Dr. & Mrs. Alexander Townes ◊ Martha J. Trammell ◊ Mrs. Catherine W. Turner Mr. James N. Vickers & Mr. Brian Schafer ◊ Mr. & Mrs. William H. Wade ◊ Dr. & Mrs. Martin H. Wagner ◊ James & Greta Walsh ◊ Dr. & Mrs. Mark Wathen ◊ Talmage M. Watts & Debra Greenspan Watts ◊ Carroll Van West &

Mary Hoffschwelle ◊ Mr. James L. White ◊ Stacy Widelitz ◊ Mr. & Mrs. Ridley Wills III Mr. and Mrs. William M. Wilson Mr. and Mrs. Joseph J. Wimberly IV Mr. and Mrs. William S. Wire II Mr. & Mrs. Marvin L. Wood ◊ Ira Work ◊ Dr. Artmas L. Worthy ◊ Donna B. Yurdin ◊ Mr. Craig Zimberg & Ms. Tara Sawdon ◊ Dr. & Mrs. Victor L. Zirilli ◊

CONDUCTOR’S CIRCLE Gifts of $1,500 - $2,999 Anonymous (6) Jeff & Tina Adams Drs. Wendell S. & Paige Akers Mr. & Mrs. Roger Allbee Lisa & Mr. Gerry Altieri Ms. Jennifer McNew Appelt Ms. Deborah Arvin Ms. Peggy Mayo Bailey Mr. Ron Balcarras Mr. & Mrs. John Bearden Craig & Angela Becker Mrs. Raymond P. Bills Randolph & Elaine Blake Dr. & Mrs. Marion G. Bolin Gene & Donna Bonfoey Dan & Mindy Brodbeck Berry & Connie Brooks Jean & David Buchanan Mr. Brian Carden Dr. Robert J. Carroll Bill & Chris Carver Vickie & Buzz Cason David & Pam Chamberlin Mr. & Mrs. Terry W. Chandler ◊ Mr. & Mrs. Robert W. Chasanoff Barbara & Eric Chazen Mr. & Mrs. Sam E. Christopher Cindy & Doug Cobb Amy & Overton Colton Greg & Mary Jo Cote Katherine C. Daniel Linda & Ben Davis ◊ Dr. & Mrs. Eric Delpire Carol & Harold Donaldson Peter & Kathleen Donofrio Ms. Linda Kartoz-Doochin & Mr. Michael Doochin Kathryn Applegate Duffer Mr. & Mrs.* DeWitt Ezell John & Debbie Farringer John David & Mary Dale Trabue Fitzgerald

Ann D. Frisch Mr. & Mrs. Stephen A. Frohsin Dr. & Mrs. John R. Furman Mr. & Mrs. Stuart Garber Carlene Hunt & Marshall Gaskins John & Lorelee Gawaluck ◊ Mr. Norman B. Gillis Mr. & Mrs. Fred C. Goad Jr. James C. Gooch & Jennie P. Smith Richard A. Green Dr. Gary S. Gutow John & Melissa Halsell The Evelyn S. & Jim Horne Hankins Foundation Jim & Stephanie Hastings Mr. & Mrs. John Burton Hayes Lisa & Bill Headley Mr. & Mrs. Marion W. Hickerson III Mr. Kevin E. Hickman Mr. & Mrs. Benjamin H. Hill ◊ Dr. Elisabeth Dykens & Dr. Robert Hodapp Mr. and Mrs. Hampton A. Holcomb Jr. Mrs. Henry W. Hooker* Mr. & Mrs. Ephriam H. Hoover III Bruce & Diane Houglum Hudson Family Foundation Mr. & Mrs. John Huie Bud Ireland Donald L. Jackson G. Brian Jackson & Roger E. Moore Mr. David James & Ms. Jeri Thomson Barry & Suzanne Jennings Mary Loventhal Jones Mr. and Mrs. Russell A. Jones Jr. Mr. & Mrs. W Evans Kemp Jr.

* denotes donors who are deceased

William C. & Deborah Patterson Koch ◊ Linda R. Koon Mr. & Mrs. Randolph M. LaGasse Mr. & Mrs.* Samuel W. Lavender John & Barbara Lawless Mr. & Mrs. John M. Leap ◊ Sally M. Levine ◊ Katherine C. Follin and Robert Straus Lipman ◊ Mrs. Travis B. Loller & Mr. James A. Nichols ◊ Captain Nathan Marsh Metro Fire Fighter Ms. Helen J. Mason Steve & Susie Mathews Mr. and Mrs. Cary A. McClure Ms. Kathryn McDaniel Dr. Hassane Mchaourab Mr. & Mrs. Michael McIlwain Mr. Steve Merryman Ingrid Meszoely MD Mr. & Mrs. Michael G. Miller ◊ Joseph & Julia Moore Mr. & Mrs.Timothy L. Morris Kaatz, Binkley, Jones & Morris Architects, Inc. Margaret & David Moss Anne & Peter Neff Mary & Gudger Nichols Virginia O'Brien Mr. & Mrs.* Douglas Odom Jr. Judy Oxford & Grant Benedict David Oxley, MD FACS Catherine & John Perry Claude Petrie Jr. Robert & Laura Pittman Carol Armes & Bob Pitz Mr. Charles H. Potter Jr.* Mr. & Mrs. Thomas F. Potter

◊ denotes donors who are Governing Members

Brad S. Procter Nancy Ray Delphine and Kenneth Roberts David & Karin Roland Barry & Melissa Rose Peoples Robert Lawrence Sadler, Sr. Paul H. Scarbrough Judy & Hank Schomber Mrs. Alexandrino Severino Drs. Walter E. Smalley Jr. & Louise Hanson Mrs. Ione Smith Mr. & Mrs. Kevin Scott Smith ◊ Nan E. Speller & Dan Eisenstein Stuart & Shirley Speyer Sid Stanley Mr. & Mrs. Thomas H. Stearns Pamela & Steven Taylor Mr. and Mrs. T. Stephen C. Taylor Mr. & Mrs. David B. Thomas Sr. Larry & Paula Throneberry Ms. Janice E. Ticich Norman & Marilyn Tolk Mila & Bill Truan Thomas L. & Judith A.* Turk Rodney Irvin Family ◊ Larry & Brenda Vickers Kris & G. G. Waggoner Mike & Elaine Walker Kevin & Elizabeth Warren Mr. & Mrs. Herbert Wiesmeyer Marilyn Shields-Wiltsie & Dr. Theodore E. Wiltsie Wood Family Trust Berje Yacoubian & Kathy Wade-Yacoubian Mr. Jeffery A. Zeitlin Glenn & Heather Zigli

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I N D I V I D U A L PAT R O N S

ENCORE CIRCLE Anonymous (10) Jerry Adams Carol M. Allen Adrienne Ames Candy Burger & Dan Ashmead Mr. & Mrs. John S. Atkins Mr. & Mrs. J. Oriol Barenys Mrs. Brenda Bass Dr. & Mrs. David M. Bayer Katrin T. Bean Annie Laurie & Irvin* Berry Dr. Diane Rae & Mr. Greg Berty Ms. Christa M. Bowdish Mr. & Mrs. John R. Braden Robert & Barbara Braswell Mr. James I. Brown & Ms. Lindella Johnson Mr. & Mrs. Eugene N. Bulso Jr. Gina & Sam Burnette Howard & Karen Burris Mr. & Mrs. William F. Carpenter III Dean & Sandy Chase Renée Chevalier Dr. Amy Chomsky Ms. Christine Quinn Mr. & Mrs. Ernest Clevenger III Teri & Alan Cohen Esther & Roger Cohn Chase Cole Joe & Judy Cook Nancy Krider Corley Ms. R. Suzanne Cravens Dr. & Mrs. Glen W. Davidson Drs. Maria Gabriella Giro & Jeffrey M. Davidson Barbara* & Willie K. Davis

Dr. & Mrs. Henry A. DePhillips Mr. & Mrs. Rodger Dinwiddie Dr. Tracey E. Doering Mr. & Mrs. Frank W. Drake Joe & Shirley Draper Mr. & Mrs. Samuel Driggins Laura L. Dunbar Mr & Mrs. Mike Dungan Melissa Eckert Mr. & Mrs. Thomas S. Edmondson Sr. Susan H. Edwards Dr.* & Mrs. William H. Edwards Sr. Bill & Dian S. Ezell Dr. Kimberly D. Ferguson Mr. & Mrs. Keith D. Frazier John C. Frist Jr., M.D. Chris & Mandy Genovese Gregory George & Mary E. Fortugno Erin Gillaspie Dr. Fred & Martha Goldner W.L & Lynn Gray Dr. & Mrs. John D. Hainsworth Elinor Hall Pam Hamrick Andrew & Ally Hard Mr. and Mrs. Michael J. Havens Michael & Catherine Hayes Dr. & Mrs. Douglas C. Heimburger Ms. Doris Ann Hendrix Mr. Bradley Hickman Ms. Jere R. Hinman Sonny Gichner Mr. & Mrs. Mark Hommrich

Gifts of $1,000 - $1,499

Drs. Richard T. & Paula C.* Hoos Ken & Beverly Horner Mr. David Huckabee Donna & Ronn* Huff Mr. & Mrs. Robert J. Huljak Mr. & Mrs. Thomas W. Hulme Mr. & Mrs. David Huseman Mr. & Mrs. Steven L. Jackson Margaret & Richard Bruce Jennings Susan & Evan Johnston Mr. & Mrs. Tarpley Jones Mr. & Mrs. Michael Kane George C. King William & Bethany Kroemer Dr. Karen Duffy & Mr. Henry E. Kromer Tim Kyne Joyce K. Laben* Mr. Jerry Lackey Rob & Julia Ledyard John & Mary Leinard Mr.* & Mrs. Irving Levy William R. & Maria T. MacKay Mr. & Mrs. Ben T. Martin Dr. & Mrs.* Raymond S. Martin Mr. and Mrs. James L. Martineau Mr. & Mrs. Jonathan Marx Bob Maynard Dr. Wendell McAbee Ron & Karen Meers Eric & Denise Mericle Bruce & Bonnie Meriwether F. Max & Mary A. Merrell Mr. & Mrs. Anthony Meyers Mr. Michael Mishu

Rev. Dr. & Mrs.* Charles L. Moffatt Ms. Gay Moon James & April Moore Lynn Morrow Mr. & Mrs. Gregory J. Mueller Teresa & Mike Nacarato Mr. Chase Neely Mr. Robert O'Quin Ms. Susan Palmer Mr. & Mrs. Tim & Sue Palmer Janie E. Parmley Clint Parrish Mr. & Mrs. Jimmy Powell Jr. Ms. Deborah Putnam Tom & Chris Rashford Paul & Gerda Resch Candace Mason Revelette Mr. Allen Reynolds Don* & Connie Richardson Dr. & Mrs. Jorge Rojas Richard Rosenthal & Audrey Anderson Ms. Caroline Rudy G. Kyle Rybczyk David Sampsell Mr. Paul Sanderson Mrs. Cooper Schley Dr. & Mrs. Stephen J. Schultenover Dr. & Mrs. John S. Sergent Hon. Wayne C. Shelton Ms. Diane M. Skelton Ashley N. Skinner George & Mary Sloan Susan Diane Sloan Dr. & Mrs. Norman Spencer

Nashville Symphony Crescendo Club & City Winery Present:

Wine & Woodwinds Enjoy a musical wine tasting featuring members of your Nashville Symphony and curated pairings chosen by City Winery’s winemaker, Robert Kowal, in collaboration with our musicians.

February 19 46

FEBRUARY 2020


I N D I V I D UA L PAT R O N S Dr. & Mrs. Robert E. Stein Dr. Martha Walker-Stratton Hope & Howard* Stringer Bruce & Elaine Sullivan Craig & Dianne Sussman Clay & Kimberly Teter Torrence Family Fund

Mr. Michael P. Tortora Dr. & Mrs. Michael Tyler Dr. & Mrs. Robert W. Wahl Mr. and Mrs. John M. Wallick Dr. & Mrs. John J. Warner Ms. Libby R. Werthan Dr. & Mrs. Joseph A. Wieck

CONCERTMASTER SOCIETY Anonymous (19) Henry J. Abbott Ben & Nancy* Adams Jeffrey H. Adams Ms. Arnelle S. Adcock Newton & Burkley Allen Mr. Geoff Amateau Betty Anderson Newell Anderson & Lynne McFarland Judith Andrews Mr. & Mrs. Carlyle D. Apple Geralda M. Aubry Mr. & Mrs. James E. Auer Philip E. Autry, DMA Dr. Joseph Awad & Jane Gilliam Lawrence E. Baggett Mr. Omar S. Bakeer Mr. Bradford Baldauf Ms. Emiko S. Baldwin Dr. & Mrs. Jere Bass Mr. & Mrs. David L. Bata Mr. & Mrs. Royce A. Belcher Rick & Stephanie Belcher Carl W. Berg Mr. Calvin Bishop Rick & Abby Blahauvietz Marilyn Blake Mr. Kevin L. Bowden & Candice Ethridge Dr. Scott B. Boyd Mr.* & Mrs. William E. Boyte Ms. Linda W. Bramblett Dr. Joe P. Brasher Bob & Linda Brewer Pamela Brown & Lynn McCraney Steven & Jill Brown David Bruce Richard Bruehl & Nancy Stott Martha S. Bryant Dr. & Mrs. Glenn Buckspan Mr. & Mrs. G. Rhea Bucy Ben F. Burns III Mr. & Mrs. Carl Bush Ms. Constance L. Caldwell Ms. Marguerite E. Callahan Mrs. Julia C. Callaway Dr. & Mrs. W. Barton Campbell Mr. & Mrs. Luther Cantrell Jr. Dr. & Mrs. Michael A. Carter

Mr. & Mrs. Christopher John Casa Santa Mrs. Gay Chamberlain Mrs. Sharon Charney Dr. & Mrs. Robert H. Christenberry Donna P. Clark Mr. & Mrs. John W. Clay Jr. Mr. & Mrs. T. Kent Cochran Colonel (ret.) Dr. & Mrs. James R. (Conra) Collier Marion Pickering Couch Mr. & Mrs. Richard Courtney Mr. & Mrs. Brennis Craddock Mr. & Mrs. George Crawford Jr. Mr. & Mrs. Buddy R. Curnutt Mr. Timothy D. Curtis & Adam N. Castellarin Mr. & Mrs. Robert Y. Dale Dr. & Mrs. Brett W. Darwin Andrew Daughety & Jennifer Reinganum Thomas G. Davidson Janet Keese Davies Mr. Frank C. Davis Steve & Julie Davis William Davis & Catherine Colbert Dr. & Mrs. Ben Dehner Mr. & Mrs. Joe H. Delk Mrs. Keith C. DeMoss Ms. Laura Denison Anne R. Dennison Mr. & Mrs.* J. William Denny Bob Dozier Mr. Carl Dreifuss & Mrs. Elizabeth G. Tannenbaum Dr. Robert E. Dudley Mr. Michael L. Duffer Mr. & Mrs. John C. Egyed Mrs. Clara Elam The S. Brent Elliott Family Dr. William E. Engel Dr. & Mrs. James Ettien David & René Evans Dr. John & Janet Exton Frank & Shirley Fachilla Alex & Terry Fardon Mr. & Mrs. Joseph Fell Anita Schmid & Tyree Finch Béla Fleck

* denotes donors who are deceased

Marie Holman Wiggins Diana T. Wilker Craig P. Williams & Kimberly Schenk Mr. & Mrs. Rick Wilson Mr. & Mrs. William (Dan) F. Wolf Brian & Mary Jessica Woodrum

Gifts of $500 - $999

Dr. Evon Flesberg & Mr. Norm Nelson Andrew & Mary Foxworth Sr. Judson & Leah Fredrickson Dr. Alex B. Fruin Dr. Paul O. Gaddis Ms. Anne W. Gaither Kathy & Marbut Gaston Gatewood Consulting Services Dr. & Mrs. Harold L. Gentry Rick & Sara Getsay Dr. Mark Glazer & Cindy Stone Ms. Jennifer Goetz Dr. James R. Goldenring & Ms. Barbara M. Fingleton Kathleen Gould Brent & Pat Graves Dr. Cornelia R. Graves Mr. Michael P. Griffin Judith & Peter Griffin Mr. Willard W. Griffin Jr. Richard & Carol Ann Haglund Mr. Christopher Hamby Walter H. White III & Dr. Susan Hammonds-White Mr. & Mrs. Joseph Hardy H. Clay & Mary Harkleroad Cindy Harper Drs. Liana and Frank Harrell Mr. & Mrs. J. George Harris Jason & Carrie Haslam Dr. Christopher H. Hawkins Veronica Hawkins H. Carl Haywood Dr. James L. Head & Dr. Anita R. Head Doug & Becky Hellerson Dennis & Leslie Henson Gerald Hill Robert C. & Shirley M. Hilmer Mr. & Mrs. Jim Hitt Mr. & Mrs. Donald Hofe Robert Hoffman Frances Holt Mr. Richard D. Holtz Allen, Lucy & Paul Hovious Mrs. Charlotte E. Hughes Mr. & Mrs. David Hunt Margie Hunter Dr. & Mrs. Timothy Hutchison Roger T. Jenkins & Gayle Jenkins Ms. Janice A. Jennings

◊ denotes donors who are Governing Members

Mary Yarbrough & Terry Wharton Dr. & Mrs. Donald Yurdin Ms. Jane Zeigler

Richard W. Jett Hal & Dona Johnson Bob & Virginia Johnson Mr. & Mrs. Timothy K. Johnson Mary & Doug Johnston Dr.* & Mrs. Sam Jones Byron and Carolyn Kamp John & Eleanor Kennedy Patrick B. Kennedy & Jamie S. Amos Jane S. Kersten Mr. & Mrs. Brock Kidd The Kimball Family Mr. & Mrs. Kurt W. Koehn Dr. Valentina Kon & Dr. Jeffrey L. Hymes Mr. Daniel Kula Drs. Cheryl Laffer & Fernando Elijovich Mr. & Mrs. Joseph A. Lawrence Mr. Joseph Y. Lee & Ms. Erica Fetterman Mr. Talmage Lefler Mr. & Mrs. Jeremy R. Lemmon Ted & Anne Lenz Dorothy & Jim Lesch Michael & Ellen Levitt Ms. Delorse A. Lewis Dr. Christopher & Melissa Lind Burk & Caroline Lindsey Jeffrey & Lori Lipscomb Richard & Tad Lisella Chris & Elizabeth Long Kim & Bob Looney Mr. Enrico Lopez-Yanez Mr. & Mrs. Denis Lovell Kenyatta & Tracey Lovett Mr. & Mrs. Jay Lowenthal Jim & Debbie Lundy Drs. Amy & George Lynch Michael & State Representative Susan Lynn Herman & Dee Maass Dr. & Mrs. Mark A. Magnuson Ms. Sheila Mann Mr. & Mrs. John F. Manning Jr. Mr. Troy B. Marden & Jerome Farris Dr. Dana R. Marshall Mr. & Mrs. Ronald C. Marston Henry & Melodeene Martin

INCONCERT

47


I N D I V I D U A L PAT R O N S Curt & Cynthia Masters John H. Mather M.D. Dr. Nancy Brown & Mr. Andrew May Drs. Ricardo Fonseca & Ingrid Mayer Dr. James S. McBride Dr. & Mrs. Alexander C. McLeod Linda & Ray Meneely Peter & Mecky Meschter David & Lisa Minnigan Dr. & Mrs. Guy B. Mioton Dr. & Mrs. William M. Mitchell Diana & Jeff Mobley Marian R. Moore Mr. and Mrs. Paul G. Moore Mr. & Mrs. Jonathan Morphett Andrew Moyer Mary Jo & Dick Murphy Mr. & Mrs. B. Dwayne Murray Jr. Ms. Sheryl A. Mustain Mr. and Mrs. J. William Myers Ms. Kenya Nelson Stevens Dr. & Mrs. Harold Nevels Mrs. Beth Newell Drs. John* & Margaret Norris Mr. David W. Oglesby Hunt* & Debbye Oliver Karl M. Olsen Mrs. Argie C. Oman Frank & Betty Orr Drs. Lucius & Freida Outlaw Dr. & Mrs. Aydin Ozan

Dr. & Mrs. Harry L. Page Mrs. Douglas J. Parsons Ms. Jennifer C. Peters Faris & Bob Phillips Charles & Mary Phy Mr. & Mrs. Charles Poole Ms. Elizabeth M. Potocsnak Ms. Cynthia M. Powell Dr. & Mrs. Tim Powers George & Joyce Pust Ross & Suzanne Rainwater Charles H. & Eleanor L. Raths Mr. & Mrs. J. David Rawle David Reynolds & Shei Dewald Drs. Jeff & Kellye Rice Barbara Richards Mrs. Jane H. Richmond Ms. Linda N. Rittenhouse Dr. & Mrs. Ivan Robbins Mr. & Mrs. John A. Roberts Mr. & Mrs. Paul Robertson Julie Roe, PhD Marc R. Rogers Rodney & Lynne Rosenblum Ed & Jan Routon Lauren & Christopher Rowe Mr. Stephen Sachs Mr. & Mrs.William B. Saunders & Family Robert Schlafly & Teri Arney Mr. and Mrs. Roland Schneller Jack Schuett Mr. & Mrs. Robert Scott

Mr. Michael A. Seiler Odessa L. Settles Max & Michelle Shaff Mr. & Mrs. Alan Sielbeck Faye Silva Mr. Heber Simmons III Mr. & Mrs. John C. Slater Dr. Robert Smith & Barbara Ramsey Mr. & Mrs. S. Douglas Smith Mr. Robert Sneed Mr. James H. Spalding Dr. & Mrs. Anderson Spickard Jr. Mr. & Mrs. William T. Spitz Ms. Karen G. Sroufe Dr. Ernest D. Standerfer Ward Stein Mr. & Mrs. Glenn C. Stophel Gayle Sullivan Frank Sutherland & Natilee Duning Dr. Becky E. Swanson Eric & June Swartz Mark S. Tallent Mr. Philip S. Tatum Mr. & Mrs. Daryle Teague James Temple Jeanne & Steve Thomas Mr. & Mrs. Wendol R. Thorpe Walter & Cindy Tieck Mrs. Stephen C. Tippens Mr. Lloyd Townsend Jr. Mr. & Mrs. John A. Turnbull

* denotes donors who are deceased

Miss Laura Anne Turner Frances Anne Varallo Candace & William Wade Mr. & Mrs. Jack Wallace Kay & Larry Wallace Mr. Kenneth F. Walters Major & Yong Wang Ms. Karen M. Warren Gayle & David Watson Franklin & Helen Westbrook Linda & Raymond White Jonna & Doug Whitman Ms. Eleanor D. Whitworth James L. Wilbanks III Mr. & Mrs. David M. Wilds Mr. & Mrs. Wayne P. Wilkinson Mr. and Mrs. Charles S. Williams Judy S. Williams Ben Williamson Mr. & Mrs. John W. Williamson Amos & Etta Wilson Mary E. Womack Mr. & Mrs. H. Lee Woosley III Pam & Tom Wylly Vivian R. & Richard A. Wynn Mr. Richard S. Yadach Mr. Mark A. Young Dr. Michael Zanolli & Julie K. Sandine Roy & Ambra Zent Mrs. Nancy O. Zoretic

Individual Patrons continue on page 57

SUPPORT MUSIC IN TENNESSEE WITH AN ARTS PLATE TNSpecialtyPlates.org

48

FEBRUARY 2020


Open an account

that gives back. the philanthropy account We believe in supporting a variety of needs in our local community, and maintain a desire to contribute when it’s needed and where it’s needed. We’re proud to partner with the Community Foundation of Middle Tennessee to make this possible through The Philanthropy Account and INSBANK’s Philanthropic Fund. » Money market account earns interest at a competitive rate. » Contribution made on your behalf to the INSBANK Philanthropic Fund. » Benefit two unique nonprofits every six months. » Create community awareness and volunteer opportunities.

615.515.2265 I 866.866.2265 I www.insbanktn.com

Create Your Experience. At Christ the King, we provide a traditional curriculum with innovative learning opportunities for children Pre-K to 8th grade.

A ministry of

CKSraiders.org


Sometimes you want to go where everybody knows your name and they’re always glad you came... Join us. Make new friends. Take a class. Learn. Travel. Volunteer. Access Resources. FiftyForward has seven lifelong learning centers in Middle Tennessee, supportive care programs and volunteer opportunities. Learn more: www.FiftyForward.org or 615-743-3400.

Follow us on:

I am thriving because of FiftyForward Adult Day Services and the help they offered me … I went from a living death to being revived. — Larnetta


Encore Dining Rodizio Grill The Brazilian Steakhouse

Rodizio Grill is Nashville’s authentic Brazilian Churrascaria (Steakhouse). Guests feast on unlimited starters, a gourmet salad and side area and fresh rotisserie grilled beef, lamb, chicken, pork and more carved table side. Private and Banquet rooms available. Reservations Accepted. Valet Parking. Locally Owned and Operated. Ph: (615)730-8358. | 166 Second Ave. N. | www.rodizio.com/nashville

Melting Pot Fondue Restaurant

Where fun is cooked up fondue style. Join us for Cheese and Chocolate fondue or the full 4-course experience. Casually elegant – Always Fun. Open 7 Days for dinner. Sundays after the Matinee. Valet Parking. Reservations Recommended. Ph: (615)742-4970. | 166 Second Ave. N. | www.meltingpot.com/nashville

Sambuca

At Sambuca, we think friends, family, food and fun are what life should be about. Our philosophy is shared with all who walk into our restaurants. Sambuca features savory new American food and modern cocktails that will tempt any palate and nourish the soul. Our nightly live music will engage our guests in the energetic vibe of the restaurant, reminding them to enjoy the simple pleasures of life. We throw a party ---a really great party---for our guests every night! Ph: (615)248-2888 | 601 12th Ave. S. | www.SambucaRestaurant.com

Possible 2019 production of Cinderella

GOODPASTURE C H R I S T I A N

S C H O O L

From 12 months to 12th grade Building Confidence, Intellectual Growth and Spiritual Strength.

goodpasture.org


BUILD A DREES HOME ANYWHERE. Drees Homes Main Office 615-371-9750 ©2018 The Drees Company. All Rights Reserved. 20-0901-231 12/19

615-235-0725 dreeshomes.com

20-0901-231 • Nash Performing Arts Mag • 6.625 x 5.125


NASHVILLE SY M P H O N Y

2019-20 shows

Date Night JIMMY BUFFET T’S

©

2 CONCERT TICKETS

Photo by Francesco Scavullo

2 GLASSE S OF WINE

show dates and more at

TPAC.ORG

Some shows contain mature content. Event, date, time, guest artists, and repertoire are subject to change. TPAC.org is the official online source for buying tickets to TPAC events.

Tennessee Performing Arts Center 505 Deaderick Street

GOO GOO CHOCOLATE S

boasting not-to-be-missed

Book Your Date Night

NASHVILLE PREMIERES

ONLINE NashvilleSymphony.org/Love

BROADWAY BLOCKBUSTERS

CALL 615.687.6400

Join us for a

BOLD

40 ANNIVERSARY SEASON TH

plus the return of audience-favorite

Coming in 2020-21 Details at TPAC.ORG

QUESTIONS? EMAIL US: tickets@nashvillesymphony.org


STI GMA ADocument ar ybyTEN/ 28

Expl or i ngs t i gmaasi tr el at est o Subs t anceUseDi sor derandi t sef f ectonr ecov er y

"I can't express what my life would be like without Hope Clinic... They were my rock. Support and care like I've never received from an organization before."

WOMEN HAVE A CHOICE FOR QUALITY HEALTHCARE.. Established in 1983, Hope Clinic for Women is a faith-based safe and confidential place equipping women, men and families dealing with: unplanned pregnancies, access to women's healthcare, prevention education, pregnancy loss and postpartum depression. We provide support regardless of age, race, religion or ability to pay.

a Safe Place for Tough Choices

Over 2,700 clients will receive services from Hope Clinic this year. You can join us in our mission of supporting the women, men, and families of Nashville in receiving necessary medical care, counseling, education, and practical support. Visit our website at www.hopeclinicforwomen.org/donate/ to give today!

Annual $1.2 Million Budget

Your Donations

96%

1810 Hayes Street, Nashville TN 37203 | HopeClinicForWomen.org | 615.321.0005

Client Contribution

4%


Creating Spaces to Nurture the Imagination New Arts Performance center opening fall 2020

Soli Deo Gloria

Christ Presbyterian Academy / Preschool-12 / Christ-Centered Worldview / cpalions.org


I N D I V I D UA L PAT R O N S

H O N O RA RY In honor of Newman and Johnathon Arndt In honor of Cynthia Arnholt In honor of Jack Briner In honor of Henry Byington In honor of the Nashville Symphony Chorus In honor of Katie Crumbo In honor of Nathan William Davis

In honor of Eric Gratton In honor of Brenda & David Griffin In honor of Erin Hall In honor of Steven M. Hoffman In honor of Martha Rivers Ingram In honor of Jay Jones' Birthday In honor of Elizabeth Nickerson "Tutter" McCabe In honor of Kathleen McCracken

In honor of Gayley and Bob Patterson In honor of Mark Peacock In honor of Maya Stone In honor of Anna Szczuka In honor of Brian Uhl In honor of Meghan Vosberg

M EM O R IA L In memory of Linda G. Allison, MD, MPH In memory of Joan Strait Applegate In memory of Benjamin Patrick Belden In memory of Jessica Bloom In memory of Frederic Blumberg In memory of Harold Cruthirds In memory of Gene Dietz In memory of Philip Dikeman In memory of Glenn Eaden In memory of Al Hacker

In memory of Gary Kenneth Hughes In memory of Dr. Martin Katahn In memory of Gary Kelly In memory of Martha Lamprecht In memory of Sara Harris Moffatt In memory of Lt Cmdr Alan A. Patterson, USN In memory of Charles Howell Potter, Jr. In memory of Prince In memory of Edgar Arthur Reed

In memory of John L. Seigenthaler In memory of Fred Simon In memory of Leah (Simer) Stufflebam In memory of Robert Polk Thomson In memory of H. Martin Weingartner In memory of David Williams In memory of Professor Vicki Gardine Williams

LAW R EN C E S. LEVINE MEMO RIAL FUND George E. Barrett* John Auston Bridges Mr.* & Mrs. Arthur H. Buhl III Barbara & Eric Chazen Donna R. Cheek* Dr. & Mrs. Alan G. Cohen Esther & Roger Cohn Wally & Lee Lee Dietz Dee & Jerald* Doochin Robert D. Eisenstein* Mrs. Annette S. Eskind Laurie & Steven Eskind

Harris A. Gilbert Allis Dale & John Gillmor Dr. Fred & Martha Goldner Mr.* & Mrs. Billy Ray Hearn Judith Hodges Judith S.* & James R. Humphreys Walter & Sarah Knestrick Sheldon Kurland Ellen C. Lawson Sally M. Levine Frances & Eugene Lotochinski

Ellen Harrison Martin Mr. & Mrs. Martin F. McNamara III

Dr. & Mrs. Anderson Spickard, Jr.

Cynthia* & Richard* Morin

Vicky & Bennett Tarleton

Dr. Harrell Odom II & Mr. Barry W. Cook

Mr.* & Mrs.* Louis B. Todd, Jr.

Mr. and Mrs. Craig E. Philip

Betty & Bernard* Werthan

Anne & Charles Roos

Mr. Mark Zimbicki and Ms. Wendy Kurland

Mr.* & Mrs. John L. Seigenthaler

Dr. & Mrs. Robert Stein

Mr. & Mrs. Byron Trauger

Alice A. Zimmerman

Joan B. Shayne

CO R P O RATE MATCHING CO MPANIES Arcadia Healthcare American General Life & Accident American International Group, Inc. Atmos Energy AT&T Higher Education /Cultural Matching Gift Program Bank of America BCD Travel Becton Dickinson & Co. BLR CA Matching Gifts Program Caterpillar Foundation

Cigna Foundation Community Health Systems Foundation Eaton Corporation ExxonMobil Foundation First Data Foundation GE Foundation General Mills Foundation Hachette Book Group IBM Corporation Illinois Tool Work Foundation McKesson Foundation Merrill Lynch & Co Foundation, Inc.

Microsoft Matching Gifts Program Nissan Gift Matching Program P&G Fund Matching Gifts Program PulteGroup Regions Scottrade Square D Foundation Matching Gifts Program Shell Oil Company Foundation Starbucks Matching Gifts Program The Aspect Matching Gifts Program

The HCA Foundation The Meredith Corporation Foundation The Prudential Foundation The Stanley Works UBS United Health Group U.S. Bancorp Foundation Williams Community Relations

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CO R P O R AT E , F O U N DAT I O N & G OV E R N M E N T PA RT N E R S

The Nashville Symphony is deeply grateful to the following corporations, foundations and government agencies that support its concert season and its services to the community through their contributions. Donors as of December 19, 2019.

SEASON PRESENTERS & OFFICIAL PARTNERS THE ANDREW W.

MELLON FOUNDATION

PREMIER PARTNERS Ann and Gordon Getty Foundation

LEAD PARTNERS

MIKE CURB FAMILY FOUNDATION MARY C. RAGLAND FOUNDATION

GOVERNMENT PARTNERS METROPOLITAN G OV E R N M E N T OF N ASH VIL L E A N D DAVIDSON COUNTY

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FEBRUARY 2020

WASHINGTON FOUNDATION


A N N UA L F U N D

ORCHESTRA PARTNERS

THE ESTATE AT CHEROKEE DOCK

SAMUEL M. FLEMING FOUNDATION

HENDRIX FOUNDATION ANN HARDEMAN AND COMBS L. FORT FOUNDATION

MUSICIAN PARTNERS American Paper and Twine BDO USA, LLP Carter Haston Real Estate Chet Atkins Music Education Fund of The Community Foundation of Middle Tennesse Cumberland Trust & Investment Co. Cumberland University

Ensworth School Flavor Catering

I.C. Thomasson Associates Inc.

Robert K. & Anne H. Zelle Fund for Fine and Performing Arts of The Community Foundation of Middle Tennessee Ryman Hospitality Properties Foundation

NAXOS

The Houghland Foundation

Parking Management Companies

The Cupcake Collection

Hans and Nancy Stabell HUB International Mid-South

CORPORATE AND FOUNDATION PARTNERS AmazonSmile Foundation Craft Brewed Jimmy Choo USA Midtown Corkdork Wine Spirits Beer Nashville First Baptist

SONY ATV Tennsco Corporation The Game 102.5Â / Game2 94.9 Tiffs Treats 101.1 THE VILLE

Mix 92.9 The Cockayne Fund Inc. 92.1 Q

INCONCERT

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CAPITAL FUNDS The Nashville Symphony wishes to acknowledge and thank the following individuals, foundations and corporations for their commitment to the Symphony. This list recognizes donors who contributed $15,000 or more to one of the Symphony’s endowment or capital campaigns. These capital campaigns make it possible to ensure a sustainable future for a nationally recognized orchestra worthy of Music City. AmSouth Foundation Andrea Waitt Carlton Family Foundation The Ayers Foundation Bank of America Alvin & Sally Beaman Foundation Lee A. Beaman, Trustee Mr. & Mrs. Dennis C. Bottorff Ann* & Monroe* Carell Caterpillar Inc. & Its Employees The Community Foundation of Middle Tennessee Mike Curb Family Foundation CaremarkRx Greg & Collie Daily

Dollar General Corporation Laura Turner Dugas The Frist Foundation Amy Grant & Vince Gill Patricia & H. Rodes Hart Mr.* & Mrs. Spencer Hays HCA Ingram Charitable Fund Mr. Orrin Ingram II The Martin Foundation Ellen Harrison Martin Mr.* & Mrs. R. Clayton McWhorter The Memorial Foundation Metropolitan Government of Nashville & Davidson County

Anne* & Dick Ragsdale Mr. & Mrs. Ben R. Rechter Estate of Walter B & Huldah Cheek Sharp State of Tennessee Margaret* & Cal Turner Jr.* James Stephen Turner Charitable Foundation Vanderbilt University The Vandewater Family Foundation Ms. Johnna Benedict Watson Colleen* & Ted* Welch The Anne Potter Wilson Foundation

$500,000+

Mr. Tom Black Dr. & Mrs. Thomas F. Frist, Jr. Giarratana Development, LLC Carl & Connie Haley Mr. & Mrs. J. Michael Hayes

HCA Foundation, in honor of Dr. & Mrs. Thomas F. Frist Mr. & Mrs. Robert A. McCabe Jr. Regions Bank Mr. & Mrs. James C. Seabury III

Estate of Anita Stallworth SunTrust Bank Tennessee Arts Commission Laura Anne Turner

$250,000+

American Constructors, Inc. Barbara & Jack Bovender American Retirement Corp. Connie & Tom Cigarran E.B.S. Foundation Gordon & Shaun Inman

Harry & Jan Jacobson The Judy & Noah Liff Foundation Robert Straus Lipman Mrs. Jack C. Massey* Mr. & Mrs. Henry McCall Lynn & Ken Melkus

Richard L. & Sharalena Miller National Endowment for the Arts Mr. & Mrs. Philip Maurice Pfeffer Justin & Valere Potter Foundation Irvin & Beverly Small Anne H. & Robert K.* Zelle

$100,000+

Mr. & Mrs. Dale Allen Phyllis & Ben* Alper Andrews Cadillac/ Land Rover Nashville Averitt Express Barbara B. & Michael W. Barton BellSouth Julie & Frank Boehm Richard & Judith Bracken Mr.* & Mrs. James C. Bradford Jr. Boult, Cummings, Conners & Berry, PLC The Charles R. Carroll Family Fred J. Cassetty Mr.* & Mrs. Michael J. Chasanoff Leslie Sharp Christodoulopoulos Charitable Trust CLARCOR Mr.* & Mrs. William S. Cochran Mr. & Mrs. Thomas Fite Cone Corrections Corporation of America Estate of Dorothy Parkes Cox Janine, Ben, John & Jenny Cundiff Deloitte & Touche LLP The Rev. Canon & Mrs. Fred Dettwiller Marty & Betty Dickens Michael D. & Carol E. Ennis Family Annette & Irwin* Eskind

The Jane & Richard Eskind & Family Foundation The M. Stratton Foster Charitable Foundation Mr. & Mrs. Steven B. Franklin Frost Brown Todd LLC Gannett Foundation / The Tennessean Dr. Priscilla Partridge de Garcia* & Dr. Pedro E. Garcia* Gordon & Constance Gee Genesco Inc. Mr. & Mrs. Joel C. Gordon Guardsmark, LLC Billy Ray* & Joan* Hearn The Hendrix Foundation Mr.* & Mrs. Henry W. Hooker & Family Mr. & Mrs. Elliott Warner Jones Walter & Sarah Knestrick ESaDesign Team Earl Swensson Associates Inc. I.C. Thomasson Associates Inc. KSi/Structural Engineers Lattimore, Black, Morgan & Cain PC Mr. & Mrs. Fred Wiehl Lazenby Sally M. Levine Andrew Woodfin Miller Foundation Morgan Stanley Dean Witter & Co. Nashville Symphony Chorus

Nashville Symphony Orchestra League Pat & John W. Nelley Jr. O’Charley’s Partnership 2000 Bonnie & David Perdue Mr. & Mrs. Dale W. Polley Mary C. Ragland Foundation The John M. Rivers Jr. Foundation Inc. Carol & John Rochford Mr. & Mrs. Alex A. Rogers Anne & Joseph Russell & Family Daniel & Monica Scokin Bill & Sharon Sheriff Mr.* & Mrs. Martin E. Simmons Luke & Susan Simons Mr. & Mrs. Michael W. Smith Barbara & Lester* Speyer The Starr Foundation Hope & Howard* Stringer Louis B.* & Patricia C.* Todd Jr. Lillias & Fred* Viehmann The Henry Laird Smith Foundation Mr. & Mrs. E.W. Wendell Mr. David M. Wilds Mr. & Mrs. W. Ridley Wills III Mr.* & Mrs. David K. Wilson

Adams and Reese / Stokes Bartholomew LLP American Airlines American General Life & Accident Insurance Company Baker, Donelson, Bearman, Caldwell & Berkowitz

J B & Carylon Baker Dr. & Mrs. T.B. Boyd III William H. Braddy III Dr. Ian* & Katherine* Brick Mr. & Mrs.* Martin S. Brown Sr. Michael & Jane Ann Cain Mike Curb/Curb Records Inc.

The Danner Foundation Dee & Jerald* Doochin Ernst & Young Mr. & Mrs. David S. Ewing Ezell Foundation / Purity Foundation Mr.* & Mrs.* Sam M. Fleming In Memory of Kenneth Schermerhorn

$1M+

$50,000+

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FEBRUARY 2020


$25,000+

$15,000+

Letty-Lou Gilbert*, Joe Gilbert & Family James C. Gooch & Jennie P. Smith Edward A. & Nancy Goodrich Bill & Ruth Ann Leach Harnisch Hastings Architecture Associates, LLC Dr. & Mrs.* George W. Holcomb Jr. Mr. & Mrs. Clay T. Jackson KPMG LLP Mrs. Heloise Werthan Kuhn John T. Lewis

Gilbert Stroud Merritt Mr. & Mrs. David K. Morgan Musicians of the Nashville Symphony Anne & Peter Neff Cano & Esen Ozgener Ponder & Co. Eric Raefsky, M.D.* & Ms. Victoria Heil Delphine & Ken Roberts Ro’s Oriental Rugs, Inc. Mrs. Dan C. Rudy*

Mary Ruth* & Bob Shell Mr. & Mrs. Richard Speer Stites & Harbison, PLLC Mr. & Mrs. Bruce D. Sullivan Alan D. Valentine Waller Lansden Dortch & Davis, LLP Estate of Christine Glenn Webb David* & Gail Williams Nicholas S. Zeppos & Lydia A. Howarth

AMSURG Family of Kenneth Schermerhorn The Bank of Nashville Bass, Berry & Sims PLC Tom & Wendy Beasley The Bernard Family Foundation The Honorable Philip Bredesen & Ms. Andrea Conte The Very Rev. Robert E. & Linda M. Brodie Mr.* & Mrs. Arthur H. Buhl III Mr. & Mrs. Frank M. Bumstead Community Counselling Service Co., Inc. Mr. & Mrs. Charles W. Cook Jr. Doug & Sondra Cruickshanks Mr. & Mrs. Robert V. Dale Gail & Ted DeDee In Memory of Ann F. Eisenstein Enco Materials, Inc./ Wilber Sensing Jr., Chair Emeritus Nancy Leach & Bill Hoskins John & Carole Ferguson Estate of Dudley C. Fort

Mr. & Mrs. F. Tom Foster Jr. Mr. & Mrs. Keith D. Frazier John & Lorelee Gawaluck Giancarlo & Shirley Guerrero Mr. & Mrs. James Earl Hastings Hawkins Partners, Inc. Landscape Architects Neil & Helen Hemphill Hilton Nashville Downtown In Memory of Ellen Bowers Hofstead Hudson Family Foundation Iroquois Capital Group, LLC John F. & Jane Berry Jacques Mercedes E. Jones Mr. & Mrs. Randall L. Kinnard KraftCPAs PLLC Estate of Barbara J. Kuhn Mr. & Mrs. Lawrence M. Lipman The Howard Littlejohn Family The Loventhal and Jones Families Mimsye* & Leon May Kevin P. & Deborah A. McDermott Rock & Linda Morphis Carole & Ed* Nelson

Nissan North America, Inc. Odom’s Tennessee Pride Sausage, Inc. Larry D. Odom, Chairman/CEO Hal N. & Peggy S. Pennington Celeste Casey* & James Hugh Reed III* Renasant Bank Jan & Stephen S. Riven Lavona & Clyde Russell Dr. & Mrs. Michael H. Schatzlein Kenneth D. Schermerhorn* Lucy & Wilbur Sensing Nelson & Sheila Shields Michael & Lisa Shmerling Joanne & Gary Slaughter Doug & Nan Smith Hans & Nancy Stabell Ann & Robert H. Street Mr. & Mrs. William J. Tyne Washington Foundation, Inc. Mr. & Mrs. W. Ridley Wills II Mr. & Mrs. Joseph J. Wimberly Janet & Alan Yuspeh Shirley Zeitlin

Kent & Donna Adams Ruth Crockarell Adkins Aladdin Industries, LLC American Brokerage Company, Inc. American Paper & Twine Co. Mr. & Mrs. William F. Andrews Dr. Alice A. & Mr. Richard Arnemann Mr. & Mrs. J. Hunter Atkins Sue G. Atkinson Mr. & Mrs. Albert Balestiere Baring Industries Brenda C. Bass Russell W. Bates James S. & Jane C. Beard Allison & John Beasley Ruth Bennett & Steve Croxall Frank* & Elizabeth Berklacich Ann & Jobe* Bernard Mr.* & Mrs. Boyd Bogle III John Auston Bridges Mr. & Mrs. Roger T. Briggs Jr. Cathy & Martin Brown Jr. Grennebaum Doll & McDonald PLLC Patricia & Manny* Buzzell Mr.* & Mrs.* Gerald G. Calhoun Mr. & Mrs. William H. Cammack Terry W. Chandler Neil & Emily Christy Chase Cole Dr. & Mrs. Lindsey W. Cooper Sr. Mr. & Mrs. Andrew D. Crawford Barbara & Willie K. Davis Mr. & Mrs. Arthur C. DeVooght Mr. & Mrs. Matthew H. Dobson V Mike & Carolyn Edwards Mr. John W. Eley & Ms. Donna J. Scott

Sylvia & Robert H. Elman Martin & Alice Emmett Larry P. & Diane M. English Dr. & Mrs. Jeffrey B. Eskind Bob & Judy Fisher Karen & Eugene C. Fleming Mr. & Mrs. H. Lee Barfield II Cathey & Wilford Fuqua Mr. & Mrs. Paul J. Gaeto The Grimstad & Stream Families Heidtke & Company, Inc. Robert C. Hilton Dr. & Mrs. Stephen P. Humphrey Franklin Y. Hundley Jr. Margie & Nick* Hunter Joseph Hutts Mr. & Mrs. T.J. Jackson Mr. & Mrs. David B. Johnson Mr. & Mrs. Russell A. Jones Jr. John Kelingos Education Fund Beatriz Perez & Paul Knollmaier Pamela & Michael Koban Jr. Mr. & Mrs. Kenneth G. Langone Richard & Delorse Lewis Robert A. Livingston Frances & Eugene Lotochinski Mr.* & Mrs. Robert C.H. Mathews, Jr. Betsy Vinson McInnes Jack & Lynn May Mr. & Mrs. James Lee McGregor Dr. & Mrs. Alexander C. McLeod Mr. & Mrs. Robert E. McNeilly III Dr. Arthur McLeod Mellor Mary & Max Merrell Donald J. & Hillary L. Meyers Christopher & Patricia Mixon

NewsChannel 5 Network Susan & Rick Oliver Piedmont Natural Gas David & Adrienne Piston Charles H. Potter Jr. Joseph & Edna Presley Nancy M. Falls & Neil M. Price Mr. & Mrs. Charles R. Pruett Linda & Art Rebrovick Mr. & Mrs. Doyle R. Rippee Dr. & Mrs. Clifford Roberson Mr.* & Mrs.* Walter M. Robinson Jr. Anne & Charles Roos Ron Rossmann Joan Blum Shayne Mr. & Mrs. Irby C. Simpkins, Jr. Patti & Brian Smallwood Murray & Hazel Somerville Southwind Health Partners® The Grimstad & Stream Families Dr. Steve A. Hyman & Mark Lee Taylor John B. & Elva Thomison Mr. & Mrs. Marshall Trammell Jr. Eli & Deborah Tullis Mr. & Mrs. James M. Usdan Louise B. Wallace Foundation Mr.* & Mrs. George W. Weesner Ann & Charles* Wells In Memory of Leah Rose B. Werthan Mr.* & Mrs.* Albert Werthan Betty & Bernard* Werthan Foundation Olin West, Jr. Charitable Lead Trust Mr. & Mrs. Toby S. Wilt Dr. & Mrs. Lawrence K. Wolfe Dr. Artmas L. Worthy Mr. & Mrs. Julian Zander Jr.

* denotes donors who are deceased INCONCERT

61


N A S H VI L L E SY M P H ON Y

LEGACY SOCIETY LEAVING A LEGACY, BUILDING A FUTURE

T

he Nashville Symphony is grateful to those donors who have remembered the orchestra in their estate plans. Legacy gifts to the Nashville Symphony help Middle Tennessee’s resident orchestra achieve its mission of making beautiful music, reaching diverse audiences and improving life in our community for generations to come through the following: – World-class performances of enduring orchestral music, from Bach to Beethoven to Bernstein – Affordable ticket prices for music lovers of all ages and backgrounds – Commissions and recordings of America’s leading composers, who are keeping classical music relevant for 21st-century audiences – Life-changing education programs that provide inspiration, instruction and mentorship for students from kindergarten through high school – The acoustical brilliance of Schermerhorn Symphony Center, a venue built to serve the entire community Be “instrumental” in our success by sharing your passion for music with future generations. For more information on the many creative ways to make a planned gift, please visit NashvilleSymphony.org/plannedgiving or call Andrew Shafer at 615.687.6484.

Anonymous (4) Stephen Abelman & Robin Holab-Abelman Barbara B. & Michael W. Barton Russell Bates Elisabetha C. Baugh Ann Bernard Congressman Diane Black & Dr. David L. Black Julie G. & Frank H. Boehm, MD Ellen & Roger Borchers Mr. & Mrs. Dennis C Bottorff H. Victor Braren, M.D. Charles W. Cagle Mr. and Mrs. Christopher John Casa Santa Paul Catt and Linda Etheredge Donna & Steven* Clark George D. Clark Jr. Dr. Cliff Cockerham & Dr. Sherry Cummings Barbara J.* and John J.* Conder Marianne Connolly Kelly Corcoran & Joshua Carter Mr. & Mrs. Roy Covert Kevin and Katie Crumbo Janet Keese Davies Andrea Dillenburg

The William M.* and Mildred P.* Duncan Family and Deborah Annette & Irwin* Eskind Paula Fairchild Judy and Tom Foster Henry S. Fusner* Dr. Priscilla Partridge de Garcia* & Dr. Pedro E. Garcia* Harris Gilbert Allis Dale & John Gillmor James C. Gooch Ed & Nancy Goodrich Landis Bass Gullett* Connie & Carl T. Haley, Jr. Martin Todd Harris David & Judith S. Hayes Billy Ray Hearn* Eric Raefsky, M.D.* & Victoria Heil Gregory T. Hersh Judith Hodges Mr. & Mrs. Bennett F. Horne Judith Simmons Humphreys* Martha R. Ingram Elliott Warner Jones & Marilyn Lee Jones Anne Knauff Heloise Werthan Kuhn Paul Kuhn Barry S. Lapidus

Sally M. Levine John T. Lewis Todd M. Liebergen Clare* & Samuel* Loventhal Ernestine M. Lynfoot Ellen Harrison Martin Thomas McAninch Dr. Arthur McLeod Mellor James Victor Miller* Sharalena & Dick Miller Rev. Dr. Charles L. Moffatt, III Ellen Livingfield More Cynthia* & Richard* Morin Patricia W. & James F. Munro Anne T. & Peter L. Neff Jonathan Norris & Jennifer Carlat Mr. & Mrs. Michael Nowlin Harry & Shelley Page Juanita M. Patton* Drs. Mark & Nancy Peacock Pamela K. & Philip Maurice Pfeffer Joseph Presley Dr. Zeljko Radic & Tanya Covington Radic David & Edria Ragosin Nancy Ray Mr. & Mrs. Ben R. Rechter Fran C. Rogers Judith A. Sachs

Mr. James A. Scandrick Jr.* Kristi Lynn Seehafer Mr. Martin E.* & Mrs. Judy F. Simmons Irvin & Beverly Small Mary & K.C. Smythe Dr. and Mrs. Anderson Spickard Jr. Maribeth & Christopher Stahl Betsy Proctor Stratton* & Harry E. Stratton* Patricia Mlcuch Strickland Dr. Esther & Mr. Jeffery Swink Steve Alan Hyman & Mark Lee Taylor Dr. John Brown Thomison, Sr.* Mr. Robert J. Turner & Mr. Jay Jones Alan D. & Janet L. Valentine Mrs. Johnna Benedict Watson Dr. Colleen Conway Welch* Jimmie D. & Patricia Lee White Lalah Gee Williams Dr. Patricia B. Willoughby Donna B. Yurdin Barbara & Bud Zander Shirley Zeitlin Anne H. & Robert K.* Zelle

*denotes donors who are deceased

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FEBRUARY 2020


NAS HV I LLE SYMP HONY ADM I N I STRATIVE STAFF

EXECUTIVE

Alan D. Valentine, President and CEO Steven Brosvik, COO Marye Walker Lewis, CPA, CFO Heather Romero, Executive Assistant

ARTISTIC ADMINISTRATION Jessica Slais, V.P. of Artistic Administration Ellen Kasperek, Senior Manager of Artistic Administration

Eleanor Roberts, Manager of Artistic Administration

Harrison Bryant, Artistic Coordinator Luke Bryson, Librarian David Jackson, Assistant Librarian Andrew Risinger, Organ Curator

COMMUNICATIONS Jonathan Marx, V.P. of Communications Dave Felipe, Publicist & Communications Manager

Justin Bradford, Director of Digital Media Diana Rosales, Digital Media Coordinator Sean Shields, Art Director Alina Van Oostrom, Graphic Design Associate

DATA SERVICES

Jesse Strauss, Grants Assistant Samantha Solatka, Stewardship Coordinator

EDUCATION Kimberly Kraft McLemore, Director of Education and Community Engagement

Kelley Bell, Education and Community Engagement Program Manager

Kristen Freeman, Education and Community Engagement Program Manager

Bryson Finney, Accelerando Coordinator

FINANCE Karen Warren, Controller Bobby Saintsing, A/P & Payroll Manager Sheri Switzer, Senior Accountant Charlotte Schweizer, Retail Manager and Buyer

Marketing & Communications Coordinator

Marketing Associates: Henry Byington, Jim Davidson, Kimberly DePue, Rick Katz, Misha Robledo Ticket Services Supervisors: Jesse Baker, Jean-Marie Clark, Peter Donnelly, Melissa Messer Ticket Services Specialists: Erin Caby, Tyrone Cadogan, Kaitlyn Elsen, Lindsey George, Rachael Greenman, Dana Manno, Casandra Nevils, Mary Self, Elizabeth Singer, Lindsey Smith-Trostle, Rachel Stigliano

PRODUCTION & ORCHESTRA OPERATIONS Sonja Thoms, Sr. Director of Operations and Orchestra Manager

John Wesolowski,

FOOD, BEVERAGE AND EVENTS

Orchestra Personnel Manager

Senior Event Sales Manager

Mark Dahlen, Audio Engineer Emily Yeakle, Senior Lighting Director Trey Franklin, Lighting Director W. Paul Holt, Stage Manager Josh Walliser, Production Manager Trevor Wilkinson, Recording Engineer &

Johnathon McGee,

Schuyler Thomas, Senior Event Manager Lee Ann Eaton, Event Facilitator Anderson S. Barns, Beverage Manager

Joseph Demko Assistant Orchestra Personnel Manager

Tara Shirer, Manager of Data Services Sheila Wilson, Sr. Database Associate Tatyana Bristol, PT Database Associate

HUMAN RESOURCES

DEVELOPMENT

Manager of Volunteer Services

Katy Lyles, Operations Coordinator

Jonathan Norris, V.P. of Development Maribeth Stahl, Sr. Director of Development Kortney Toney,

I.T.

VENUE MANAGEMENT

Corporate Partnerships Manager

Trianne Newbrey, Corporate Partnerships Officer

Ashlinn Snyder, Development Programs Manager

Dennis Carter, Patron Engagement Officer Judith Wall, Patron Engagement Officer Jacob Tudor, Patron Engagement Officer Andrew Shafer, Planned Giving Manager Brooke Stuart, Development Events Manager

Celine Thackston, Grants Manager

Nakisha Hicks, Director of Human Resources and Inclusion

Catherine Royka,

Trenton Leach, Director of Information Technology

MARKETING Daniel B. Grossman, V.P. of Marketing Misty Cochran, Director of Marketing Lindsay Bergstrom, Director of Ticket Services

Gena Staib, Box Office Manager Rachael Downs, Assistant Box Office Manager

Rich Bartkowiak, Marketing Supervisor Missy Hubner, Ticket Services Assistant Sarah Rose Peacock,

Assistant Production Manager

Larry Bryan, Audio Engineer & Assistant Production Manager

Eric Swartz, V.P. of Venue Management John Sanders, Chief Technical Engineer Kenneth Dillehay, Chief Engineer Wade Johnson, Housekeeping Manager James Harvell, Housekeeper Tony Meyers, Director of Security and Front of House

Alan Woodard, Security Manager Sam Harrington, Facility Maintenance Technician

Gregory Weiss, Facility Maintenance Technician

INCONCERT

63


Your Nashville Symphony

Live at the Schermerhorn

CELTIC JOURNEY March 12 to 14

diSCO FEVER March 26 to 28 615.687.6400 NashvilleSymphony.org

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Profile for Performing Arts Magazines of Nashville

Nashville Symphony InConcert February 2020  

Nashville Symphony InConcert February 2020  

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