Experience - Volume I

Experience

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Contents

Volume 1

•

2011|2012 Season

Concert Experience

Patron Experience

• Pictures at an Exhibition September 17 & 18........................................... 9

• Membership Benefits...................................... 61

• Bach, Brahms & Beethoven September 20.................................................. 23 • Dvorˇák’s “New World” Symphony October 15 & 16............................................. 31 • Broadway Rocks!

October 22....................................................... 40 • Mei-Ann Chen, Music Director .................... 52 • Orchestra Roster.............................................. 56

• Contributors.................................................... 62 • Sponsors.......................................................... 60 • Honorariums & Memorials ........................... 70 • Advertiser Listing............................................ 73

Community Experience • Musician Lives MSO Mission Through Mentoring........................................................ 73

• Stilian Kirov, Associate Conductor................ 53

Your Experience

• Susanna Perry Gilmore, Concertmaster ...... 54

• MSO Board of Directors & Staff ................. 58

• Lawrence Edwards, MSO Chorus Director.... 55

• Memphis Symphony Orchestra League......... 74 • Patron/Ticket Information ........................... 76

The Memphis Symphony Orchestra, Inc., is a qualified 501(c)(3) deductible organization funded by gifts from you, ticket sales and contracted services. We are recipients of grants from ArtsMemphis and the Tennessee Arts Commission. ©2011|2012 Memphis Symphony Orchestra • 585 S. Mendenhall Rd., Memphis, TN 38117

Your attendance constitutes consent for use of your likeness and/or voice on all video and/or audio recordings and in photographs made during Symphony events.

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Theo Memphis OPUS Ne Symphony Presents

OPUS oNe

Opus One with Al Kapone The New Daisy | November 10, 2011

Opus One with Marcela Pinilla Rumba Room | March 1 & 2, 2012

Opus One with Lucero Stop 345 | May 3 & 4, 2012 *All Shows begin at 7:30 pm

LISTEN

Tickets Available at

OpusOneMemphis.com 901.537.2525

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Special Offer for Delta SkyMiles® Credit Cardmembers from American Express The Memphis Symphony Orchestra has joined with American Express to provide a special offer to all Delta SkyMiles Credit Cardmembers. Enjoy a “Buy one get one free” offer on symphony concert single admission. Just mention that you are paying with your Delta SkyMiles Credit Card to receive your discount.

To learn more about the Delta SkyMiles Credit Card, visit mycardcan.com. *Terms & Conditions: The “buy one get one free” offer is good for up to 4 tickets of equal or lesser value. This cannot be combined with other promotional offers.

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SHAKESPEARE’S

Macbeth

OCTOBER 5-23

TRUMAN CAPOTE’S

A Christmas Memory DECEMBER 14-24

SHAKESPEARE’S

The Tempest

APRIL 11-22

TENNESSEE WILLIAM’S

The Glass Menagerie MAY 23-JUNE 3

GENERAL ADMISSION TICKETS: ADVANCE $25 / GATE $30

INTRODUCING AT SHELBY FARMS PARK &

Shakespeare in the Park Southern ExposureSeries AT DIXON GALLERY & GARDENS

TnShakespeare.org . (901) 759-0604 . Box Office Hours: Monday-Friday, 9a-5p

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Our support extends beyond our delivery routes.

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Powering your next stage in life At First Tennessee, we love the arts as much as you do. That’s why we support them. And why we make it easier for you to be there for every great performance by providing convenient hours and online banking. Not to mention multiple ATMs and locations that make it easy to find us on the way to the show.

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Pictures at an Exhibition Saturday, September 17, 2011 at 8:00 p.m.

Cannon Center for the Performing Arts Sunday, September 18, 2011 at 2:30 p.m.

GPAC Mei-Ann Chen, Conductor Susanna Perry Gilmore, Violin José Francisco Salgado, Astronomer and Visual Artist MICHAEL GANDOLFI (1956 - )

KORNGOLD (1897 - 1957) ERICH

Selections from The Garden of Cosmic Speculation

The Zeroroom

Solition Waves

The Willowtwist

The Universe Cascade Concerto for Violin and Orchestra, Op. 35

Moderato nobile

Romance

Finale

Susanna Perry Gilmore, Violin INTERMISSION

MODEST MUSSORGSKY (ORCH. RAVEL) (1839 - 1881) Pictures at an Exhibition

Introduction: Promenade

The Gnome Promenade The Old Castle Tuileries Bydło Ballet of the Unhatched Chicks Samuel Goldenberg and Schmüyle The Marketplace at Limoges The Catacombs With the Dead in a Dead Language The Hut on Fowl’s Legs (Baba-Yagá) The Great Gate of Kiev

José Francisco Salgado, Astronomer and Visual Artist

Sponsored by: * A special thanks to Justin Bruns, Assistant Concertmaster for the Atlanta Symphony Orchestra for joining us as Guest Concertmaster for this program.

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Concert Preview a • Cannon Center for the Performing Arts 7:15 p.m.

Concert Hall

• GPAC 1:45 p.m.

Concert Hall

one-minute notes Our program begins and ends with artists’ depictions of science, nature, and expressions of the visual through music. There is a history of this: Mozart’s Jupiter Symphony (mythology); Holst’s The Planets (astrology); Bartok’s Music for Strings, Percussion and Celeste (The Golden Ratio); Lennon’s Lucy in the Sky with Diamonds (chemistry).

The Garden of Cosmic Speculation: Mr. Gandolfi’s beautiful and breathtaking score captures the connections between these seemingly disparate ideas: a musical depiction of a garden that pays homage to abstract physics and its manifestation in nature.

Concerto for Violin and Orchestra, Op. 35: Erich Korngold’s music holds a special place in the hearts of both our Music Director and our Concertmaster.

While Music Director of the Portland Youth Philharmonic in Portland Oregon, Mei-Ann Chen became closely acquainted with the Korngold family and his music. Susanna Perry Gilmore has long been fascinated with Korngold’s music and his forced exile from Nazi Germany.

Pictures at an Exhibition: A refined French composer orchestrates an obscure piano piece by a Russian drunkard. Ravel’s orchestration is so unmatched that one composer even withdrew and banned any future performances of his own orchestration after hearing Ravel’s. José Francisco Salgado’s visual choreography shows us, again, that art, science and nature are never far apart.

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Mei-Ann Chen Music Director Biography on page 52

Susanna Perry Gilmore Violin

Biography on page 54

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José Francisco Salgado Astronomer and Visual Artist

José Francisco Salgado is an astronomer and visual artist at the Adler Planetarium in Chicago and Executive Director and Founder of KV 265. Formally trained in Physics (BS, Univ. of Puerto Rico) and Astronomy (PhD, Univ. of Michigan), he uses his skills in astronomy, education, and visual arts to create multimedia works that communicate science in engaging ways. His education and outreach efforts include an Emmy-nominated astronomy TV news segment (Nuestra Galaxia, WGBO), and critically acclaimed astronomy films (Gustav Holst’s The Planets and Astronomical Pictures at an Exhibition) created to accompany live performances of classical music works. These films were featured in the opening ceremony of the International Year of Astronomy (IYA2009) at the UNESCO Headquarters in Paris and were shown around the world as part of IYA2009 festivities. To date, the films have been presented more than 55 times in 13 countries including collaborations with the Boston Pops and Buzz Aldrin, the San Francisco Symphony, the Czech National Symphony Orchestra, and the Orchestra e Coro del Teatro Regio di Torino.

Salgado, an avid photographer named Photo Ambassador by the European Southern Observatory, experiments with high dynamic range imaging, time-lapse, infrared, fisheye, and stereoscopic photography to enhance his multimedia works. Through his artwork, Salgado seeks to create visually appealing images to provoke curiosity and a sense of wonder about the Earth and the Universe. His artwork, astronomy films, photographs, and illustrations have been published in magazines and science books; shown on CNN, National Geographic, History, and Discovery Channel; and presented in cities such as San Juan, Chicago, Victoria, Melbourne, Belgrade, Athens, Piestany (Slovakia), Paris, Madrid, Valencia, Taipei, Venice, Prague, and Cape Town. He is currently producing new science and symphony films and collaborating with musician/composer Tom Bailey (formerly of British pop group Thompson Twins) under the moniker Bailey-Salgado Project.

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program notes Selections from The Garden of Cosmic Speculation (2007) Duration: 20 minutes Michael Gandolfi was born in Melrose, Massachusetts, on July 5, 1956. The premiere of The Garden of Cosmic Speculation took place in Miami, Florida, on April 21, 2007, with Robert Spano conducting the New World Symphony Orchestra. The Garden of Cosmic Speculation is scored for piccolo, three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion and strings.

Approximate performance time of selections is twenty minutes.

American composer Michael Gandolfi’s orchestral work, The Garden of Cosmic Speculation, is the product of an extended and ongoing creative process. As Mr. Gandolfi describes: “The Garden of Cosmic Speculation,” a thirty-acre private garden in the Borders area of Scotland created by architect and architectural critic Charles Jencks, is a joining of terrestrial nature with fundamental concepts of modern physics (quantum mechanics, super-string theory, complexity theory, etc.)…I have long been interested in modern physics and it seemed proper for music to participate in this magnificent joining of physics and architecture. I discovered “The Garden of Cosmic Speculation” in January of 2004 and after a month or so of sketching musical ideas I decided to focus on several aspects of the garden to which I had the strongest musical response.

Michael Gandolfi’s Impressions from “The Garden of Cosmic Speculation” premiered at the Tanglewood Music Festival in 14

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August of 2004, with Robert Spano conducting. The Atlanta Symphony Orchestra commissioned Michael Gandolfi to create an expanded version of Impressions from “The Garden of Cosmic Speculation” (a four-movement, twenty-minute work). As part of the creative process, Mr. Gandolfi paid a visit to the Garden in June of 2006.

The Garden of Cosmic Speculation, a fifty-minute piece comprising sixteen movements, received its world premiere in Miami, Florida, in April of 2007, with Robert Spano conducting the New World Symphony Orchestra. Robert Spano conducted the Atlanta Symphony premiere on May 24, 2007. Following the performances, Maestro Spano and the ASO recorded the work for Telarc Records (CD-80696).

Michael Gandolfi encourages orchestras and conductors to perform selected movements from the work, “to choose their own pathway through the garden.” This concert features three selections from Part I (The Zeroroom, Soliton Waves and The Snail and the Poetics of Going Slow) and one selection from Part 3 (The Nonsense).

The work’s introduction, The Zeroroom, depicts the entrance to the Garden, described by Mr. Gandolfi as “a fanciful, surreal cloakroom.”

The next selection, Soliton Waves, relates to a phenomenon depicted throughout the Garden.

Soliton waves are able to maintain their original characteristics while interacting with other waves. The final selection from Part I, The Snail and the Poetics of Going Slow, is inspired by the Garden’s Snail Mound, a 20-foot high mound of earth. In this selection, Mr. Gandolfi “chose to focus on the serene quality of this majestic garden structure.”

The final selection is the work’s concluding movement, The Nonsense. Inspired by the composer’s favorite sculptural object in the Garden, The Nonsense, according to Mr. Gandolfi, “is clearly postmodern in design, with strong mid-20th-century modernist overtones. I chose to incorporate references to modernist music of the mid-to-late 20th century to match the postmodern architectural design.

Copyright 2010 by the Woodruff Arts Center, Atlanta, Georgia. Reprinted by permission.

— Ken Meltzer

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program notes Concerto for Violin and Orchestra In D Major, Opus 35 (1945) Duration: 24 minutes Erich Wolfgang Korngold was born in Brno, (now the Czech Republic), on May 29, 1897, and died in Hollywood, California, on November 29, 1957. The premiere of the Violin Concerto took place on February 15, 1947, with Jascha Heifetz as soloist and Vladimir Golschmann conducting the St. Louis Symphony Orchestra. In addition to the solo violin, the Concerto is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, trombone, timpani, percussion and strings. Approximate performance time is twenty-four minutes.

In 1934, Austro-Hungarian composer Erich Wolfgang Korngold traveled to Hollywood to arrange a film score based upon Felix Mendelssohn’s Incidental Music to William Shakespeare’s A Midsummer Night’s Dream. Korngold’s opera, Der Kathrin, was scheduled for its Vienna premiere in the spring of 1938; however, the Nazi Anschluss forced its cancellation. Korngold then emigrated to the United States, returning to Hollywood. There, Korngold applied his prodigious talents to the cinema, composing numerous film scores, two of which—Anthony Adverse (1936) and Robin Hood (1938)—received Academy Awards.

With the conclusion of World War II, Korngold was able to return his attentions to music for the concert hall. Korngold composed his D-Major Violin Concerto in 1945, dedicating the score to Gustav Mahler’s widow, Alma Mahler-Werfel. Korngold originally intended the work for the Polish virtuoso Bronislaw Huberman; however, it was the legendary Jascha Heifetz who premiered the Concerto with Vladimir Golschmann and the St. Louis Symphony on February 15, 1947.

To some extent, the D-Major Concerto represents a synthesis of Korngold’s dual careers as a composer of film and concert music. Several of the Concerto’s principal melodies originally appeared in Korngold film soundtracks. The work is a fine example of Korngold’s melodic genius and late-Romantic style that made him the sensation of both Vienna and Hollywood.

The Violin Concerto is in three movements. The first movement (Moderato nobile) begins with the soloist’s introduction of the wide-ranging principal melody, derived from the score to the film, Another Dawn (1937). The second movement Romance opens with a brief, evocative orchestral introduction featuring a magical combination of vibraphone, 16

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harp and celeste. The soloist enters with the principal theme of the Romance, originally from the score to Anthony Adverse (1936). The virtuoso Finale is based upon a theme that made its first appearance in the movie The Prince and the Pauper (1937).

Pictures at an Exhibition (1874) (Orchestrated by Maurice Ravel—1923) Duration: 33 minutes Modest Mussorgsky was born in Karevo, district of Pskov, Russia, on March 21, 1839, and died in St. Petersburg, Russia, on March 28, 1881.

The premiere of the Maurice Ravel orchestration of Mussorgsky’s Pictures at an Exhibition (originally composed for piano solo) took place in Paris, France, on May 3, 1923, with Serge Koussevitsky conducting.

The Ravel orchestration is scored for two piccolos, three flutes, three oboes, English horn, two clarinets, bass clarinet, alto saxophone, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, two harps, celeste, percussion and strings. Approximate performance time is thirty-four minutes.

In 1873, the Russian artist Viktor Hartmann died at the age of 39.

After Hartmann’s death, the St. Petersburg Society of Architects presented an exhibition of Hartmann’s works. One of the people attending the exhibition was Hartmann’s dear friend, the Russian composer Modest Mussorgsky.

Mussorgsky was as profoundly impressed with the quality of Hartmann’s works as he was saddened by the loss of his friend. Mussorgsky decided to offer a tribute to Hartmann in the form of a musical representation of several of the pieces of art featured at the St. Petersburg exhibit. In 1874, Modest Mussorgsky completed his work for solo piano, Pictures at an Exhibition, published after the composer’s death in 1881.

While many critics have suggested that Mussorgsky did not write in a particularly idiomatic fashion for the piano, the original version of Pictures can make a stunning impact when interpreted by a sympathetic virtuoso. Still, it was not until Maurice Ravel applied his brilliant talents to Mussorgsky’s original score that the work was destined for the immense popularity it enjoys today. Conductor Serge Koussevitsky commissioned Ravel’s orchestration for the annual Paris Concerts Koussevitsky, where it premiered, to great acclaim, on May 3, 1923. Since that time, the Mussorgsky/Ravel Pictures at an Exhibition has been celebrated as a quintessential showpiece for orchestras and conductors alike. It is one of the most performed and recorded works in the concert repertoire.

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program notes Musical Analysis Introduction: Promenade: Allegro giusto, nel modo russico; senza allegrezza, ma poco sostenuto—The Promenade serves as a connecting motif between the musical portrayals of the various pictures. Russian music critic Vladimir Stassov described the Promenade as depicting the composer “moving now to the left, now to the right, now wandering about aimlessly, now eagerly making for one of the pictures...”

I. The Gnome: Vivo—Many of Hartmann’s works disappeared during the period between the 1874 St. Petersburg exhibition and Ravel’s 1923 orchestration of Mussorgsky’s composition. There is disagreement as to the exact nature of the picture that inspired this music. In the original piano edition, Stassov describes Hartmann’s work: “A dwarf walks about awkwardly on crooked little legs.” However, Alfred Frankenstein, longtime Music and Art Editor of the San Francisco Chronicle, stated that “(t)he picture was a design for a nutcracker in the form of a gnome with huge jaws.”

Promenade: Moderato commodo e con delicatezza—A more introspective statement of the Promenade theme serves as a bridge to the following picture.

II. The Old Castle: Andante—The painting depicts an old Italian castle, before which a lute-bearing troubadour stands.

Promenade: Moderato non tanto, pesante—A brief, weighty restatement of the Promenade leads to: III. Tuileries: Allegretto non troppo, capriccioso—Mussorgsky’s own subtitle for this section is “Children Quarreling After Play.” The painting depicts the Parisian Tuileries gardens, where children play under the watchful eye of their nurses.

IV. Bydło: Sempre moderato pesant e—“Bydło” is the Polish word for “cattle.” Hartmann’s watercolor depicts an ox-drawn cart with massive wooden wheels.

Promenade; Tranquillo—A short reprise of the Promenade serves as a bridge to: V. Ballet of the Unhatched Chicks: Scherzino: Vivo leggiero—The sketch that inspired this delightful miniature scherzo was made by Hartmann for the ballet, Trilby. It features costumed children impersonating chicks newly emerging from their shells.

VI. Samuel Goldenberg and Schmüyle: Andante—The title of this section is the creation of Stassov–Mussorgsky’s original reads, “Two Polish Jews; one rich, the other poor.” This episode appears to be based upon a Hartmann drawing of the Sandomir ghetto. Mussorgsky owned the drawing and loaned it to the St. Petersburg exhibit. The exchange between the wealthy Goldenberg (lower strings supported by woodwinds) and Schmuyle (muted trumpet) eventually erupts into argument as the two simultaneously attempt to express themselves.

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Here, Ravel omits Mussorgsky’s repetition of the Promenade and proceeds to: VII. The Market Place in Limoges: Allegretto vivo sempre scherzando—Hartmann’s watercolor portrays the façade of the Limoges Cathedral. Mussorgsky focused on a small portion of the watercolor, depicting market women engaged in lively conversation. The quicksilver musical portrayal of their gossip is interrupted by: VIII. The Catacombs: Sepulchrum Romanum; Largo—The painting depicts Hartmann and a friend standing in a Paris catacomb, observing a pile of skulls illuminated by a guide’s lantern. Brass pronouncements alternating loud and soft dynamics lead directly to: With the Dead in a Dead Language: Andante non troppo, con lamento—Mussorgsky’s own footnote to this section’s title reads: “A Latin text: ‘With the Dead in a Dead Language.’

Well may it be in Latin! The creative spirit of the departed Hartmann leads me to the skulls, calls out to them, and the skulls begin to glow dimly from within.”

A moment of silence is shattered by: IX. The Hut on Fowl’s Legs (Baba-Yagá): Allegro con brio, feroce—Andante mosso—Allegro molto—Baba-Yaga is a mythical Russian witch who lured victims into her hut. There, Baba-Yaga ground her prey’s bones with a giant mortar that she also used to transport herself through the air. Hartmann’s drawing is a representation of a huge clock in the shape of the witch’s hut that, according to legend, stood on four chicken feet, thereby allowing the quick capture of each new victim. Mussorgsky’s musical portrayal of the witch’s grotesque hut and her flight leads without pause to: X. The Great Gate of Kiev: Allegro alla breve. Maestoso. Con grandezza—The final picture represented Hartmann’s entry in a competition to erect a gateway in Kiev. The gateway was intended to serve as a memorial to Czar Alexander II’s escape from assassination.

Hartmann envisioned a massive and ornate structure, featuring a cupola in the form of a Slavonic war helmet.

— Ken Meltzer

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Fall 2011 Per formance Schedule

The Memphis Boychoir & Memphis Chamber Choir Fall Recital Friday, October 21 at 7:30 p.m.

Guest Artist: Dr. James Higdon, Professor of Organ, University of Kansas

24th Annual Service of Lessons & Carols Sunday, December 18 at 4:00 & 7:00 p.m.

Above: The choirs performed at Washington National Cathedral, Washington, D.C., July 1, 2011

Saint John’s Episcopal Church Central at Greer 901-323-8597 memphisboychoir.org 20

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Watoto Memphis

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It’s Happening at GPAC Tommy Tune “Steps in Time”

David Sedaris

Thursday, November 10

Swan Lake Moscow Festival Ballet

Saturday, September 17

Ronald K. Brown/Evidence

Sunday, February 26

The Capitol Steps

Saturday, November 12

Diavolo - Friday, March 2

The 5 Browns

Red Priest - Friday, March 9 Bela Fleck and The Flecktones

Friday, September 23

Compañia Flamenca Jose Porcel

Friday, January 27

Friday, October 14

Saturday, February 4

National Acrobats of the People’s Republic of China Saturday, October 22

Stanley Clarke

Saturday, November 5

Joey DeFrancesco Trio Van Cliburn International Piano Competition Silver Medalist, Yeol eum Son Friday, February 24

Friday, April 13

Poncho Sanchez with Terence Blanchard Cubano Be! Cubano Bop! A tribute to Chano Pozo and Dizzy Gillespie Sunday, April 22

2011-2012 SEA SON GERMANTOWN PERFORMING ARTS CENTRE Call 901-751-7500 or visit www.GPACweb.com

Delores Kinsolving

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Milton Schaeffer Scheidt Family Foundation www.MemphisSymphony.org

Bach, Brahms & Beethoven Friday, September 30, 2011 at 7:30 p.m.

Hutchison School – Wiener Theatre

Mei-Ann Chen, Conductor

LUDWIG VAN BEETHOVEN (1770 - 1827) Overture to The Creatures of Prometheus, Op. 43

JOHANN SEBASTIAN BACH (1685 - 1750) Brandenburg Concerto No. 3 in G Major, BWV 1048

Allegro

Adagio

Allegro

JOHANNES BRAHMS (1833 - 1897)

Variations on a Theme by Haydn, Op. 56a

Chorale St. Antoni: Andante

Variation I: Poco più animato

Variation II: Più vivace

Variation III: Con moto

Variation IV: Andante con moto

Variation V: Vivace

Variation VI: Vivace

Variation VII: Grazioso

Variation VIII: Presto non troppo

Finale: Andante

LUDWIG VAN BEETHOVEN (1770 - 1827) Symphony No. 4 in B-flat Major, Op. 60

Adagio - Allegro vivace

Adagio

Allegro vivace

Allegro ma non troppo

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one-minute notes Mei-Ann Chen Music Director Biography on page 52

You will read in the program notes that the creatures Beethoven depicted in the ballet score travel to Parnassus (Heaven, if you will). As it turns out, music has its very roots in Parnassus.

The seed of all music is counterpoint (or two melodies going on at the same time). How composers do this and make the melodies sound better than they do alone is not trial and error or a genetic gift. They follow some very basic steps outlined most famously in Johann Fux’s book Gradus ad Parnassum (or Steps to Parnassus). This book, more than any other, has influenced all composers: the greatest masters we will hear today.

Bach had a copy of Gradus in his library. We hear Beethoven (who also had a copy) build the drama of the story by combining musical lines once we get past the pomp and circumstance of the beginning. When Brahms said, “Without craft, inspiration is a mere reed shaken in the wind,” he was talking about counterpoint. Even Schoenberg (not on this program), who changed the musical landscape in the 20th century, taught only one thing while living in Los Angeles - counterpoint.

Perhaps it is only fitting that one of Bach’s Brandenburg Concertos was chosen to be broadcast into space from the Voyager probes. We creatures of Prometheus have truly found music to be our steps to Parnassus.

Please join the musicians, Board of Directors and

a staff in the lobby for a post-concert reception.

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RISING TO NEW HEIGHTS, TRANSFORMING LIVES, BUILDING NATIONAL AUDIENCES, CELEBRATING 25 YEARS.

9.24 Connections: Food annual five-star dining fundraiser

10.22–30 Fall Performance a mixed-rep evening at Playhouse

12.2–4 Nutcracker

with the Memphis Symphony Orchestra

2.17–19 AbunDANCE

a mixed-rep evening at Playhouse

4.14–15 Spring Performance

a fairytale evening at The Orpheum

4.28 Connections Season Finale

Season Tickets on sale now starting at just $30.

Visit balletmemphis.org

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program notes Overture to The Creatures of Prometheus, Opus 43 (1801) Duration: 5 minutes Ludwig van Beethoven was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The premiere of The Creatures of Prometheus took place at the Burgtheater in Vienna on March 28, 1801. The Overture to The Creatures of Prometheus is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. Approximate performance time is five minutes.

Beethoven composed his only ballet, The Creatures of Prometheus, for a Vienna production choreographed by the Italian ballet-master, Salvatore Viganò. Viganò and his wife were quite popular in Vienna, and were particular favorites of Empress Maria Theresa.

Viganò conceived his ballet as an entertainment for the Empress. At the March 28, 1801 premiere, Viganò and his wife danced the leading roles.

The Creatures of Prometheus enjoyed a fine success, with fourteen performances in 1801, and nine more the following year. The charming score contains numerous points of interest, including a melody in the finale that would play a major role in the concluding movement of Beethoven’s path-breaking Third Symphony, “Eroica,” Opus 55 (1803).

The ballet scenario fashioned by Viganò is based upon Greek mythology. Prometheus uses clay to construct two human figures. He steals fire from heaven in order to bring the figures to life. Prometheus then transports the figures to Parnassus, where they study with Apollo, Bacchus and the muses. According to the original playbill, the figures are “through the power of harmony made susceptible to all the passions of human life.”

The brief Overture to The Creatures of Prometheus opens with a majestic slow introduction (Adagio), resolving to the work’s principal, fast section (Allegro molto con brio). A joyous spirit prevails to the Overture’s scintillating close.

Brandenburg Concerto No. 3 in G Major, BWV 1048 Duration: 10 minutes Johann Sebastian Bach was born in Eisenach, Germany, on March 21, 1685, and died in Leipzig, Germany, on July 28, 1750. The Brandenburg Concerto No. 3 is scored for three violins, three violas, three cellos, double-bass and continuo. Approximate performance time is ten minutes.

In the winter of 1718-19, Johann Sebastian Bach traveled to Berlin. It was during this journey that Bach probably first met the Margrave Christian Ludwig of Brandenburg, the youngest son of the “Great Elector,” Frederick William. The Margrave offered Bach a com26

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mission to compose a series of works. Two years later, Bach presented the Margrave with scores he entitled, “Six Concerts Avec plusieurs Instruments,” (“Six Concertos with Several Instruments”).

It appears that the Margrave never heard the magnificent works that ultimately became known as the Brandenburg Concertos. The Margrave employed a small ensemble of musicians, too few to encompass all the parts of the Six Concertos. Scholars believe that Bach originally composed these works not for the Margrave, but for performance at various concerts by the excellent musicians employed by Prince Leopold in Cöthen (Bach served as Prince Leopold’s Kappellmeister from 1717-1723). Bach presented these completed, independent works as a collection to fulfill the Margrave’s commission.

According to Bach’s son Carl Philipp Emanuel, his father preferred to play the viola when leading an instrumental ensemble. It seems reasonable to assume that in performances of the Third Brandenburg Concerto, Bach played first viola and led the instrumental group that features strings in nine parts (three each of violins, violas and cellos).

The vigorous sixteenth and eighth-note figure, immediately presented by the violins, forms the basis for the entire opening movement. Bach’s masterful combinations of instruments in solo, group and tutti fashion create sonorities of extraordinary variety. The ensuing Adagio consists of a single measure, comprising two chords. In Bach’s time, a solo cadenza may have been performed here as prelude to the finale, (Allegro) a lively gigue.

Variations on a Theme of Joseph Haydn, Opus 56a (1873) Duration: 19 minutes Johannes Brahms was born in Hamburg, Germany, on May 7, 1833, and died in Vienna, Austria, on April 3, 1897. The premiere of the “Haydn Variations” took place at the Grosser Musikvereinssaal in Vienna, on November 2, 1873, with the composer conducting the Vienna Philharmonic. The “Haydn Variations” are scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, timpani, triangle and strings. Approximate performance time is nineteen minutes.

In 1870, Carl Ferdinand Pohl, a musicologist and biographer of Austrian composer Franz Joseph Haydn (1732-1809), showed Johannes Brahms the score of a Feldpartita (open-air suite), purportedly by Haydn, for eight wind instruments. More recent scholarship, however, indicates the most likely composer of the Feldpartita was Haydn’s pupil, Ignaz Pleyel.

In any event, the piece contained a second-movement theme that greatly appealed to Brahms. It was this theme, entitled the “St. Anthony Chorale,” that served as the basis for a series of variations, composed by Brahms in 1873. These variations manifested themselves in two arrangements—one, for two pianos, Opus 56b, and the other, in the more familiar orchestral version, Opus 56a.

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program notes The orchestral setting of the “Haydn Variations” received its premiere in Vienna on November 2, 1873. The composer led the Vienna Philharmonic in a highly successful concert. For years, Brahms, fearful of the inevitable comparison with Ludwig van Beethoven, had resisted the temptation to try his hand at composing a symphony. Perhaps the triumph of the “Haydn Variations” helped steel Brahms’s resolve finally to take the plunge, and complete his First Symphony in 1876.

Nevertheless, it would be misleading to suggest that Brahms’s “Haydn Variations” were a mere stepping-stone to the Four Symphonies. The “Haydn Variations” represent the work of a master of orchestral composer, providing a remarkably wide range of moods and instrumental colors, all building inexorably to the work’s exalted conclusion.

The “Haydn Variations” open with a presentation of the “St. Anthony Chorale.” The use of the winds, over pizzicato lower strings, evokes the scoring the original Feldpartita. A series of eight variations follows. The Finale employs a ground bass figure, derived from the “St. Anthony” melody, and played by the lower strings. This figure serves as the foundation for yet another series of variations, culminating in a final, spectacular presentation of the “St. Anthony Chorale.”

Symphony No. 4 in B-flat Major, Op. 60 (1806) Duration: 32 minutes Ludwig van Beethoven was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The Symphony No. 4 is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. Approximate performance time is thirty-two minutes.

During the summer of 1806, Beethoven visited his friend and patron, Prince Karl Lichnowsky, who owned a Silesian country estate in Grätz, near the city of Troppau. During that visit, Lichnowsky introduced Beethoven to Count Franz von Oppersdorf, whose castle was located nearby. Oppersdorf, an avid music-lover, greeted Beethoven with a performance of the composer’s Symphony No. 2, played by the Count’s own court orchestra.

It was on that occasion that Count Oppersdorf commissioned Beethoven to write a new symphony. Beethoven had already begun work on what would become known as his Symphony No. 5. However, he temporarily put that work aside, in order to compose the B-flat Major Symphony for Prince Oppersdorf. Beethoven composed his Fourth Symphony during the months of September and October, 1806, while residing at Prince Lichnowsky’s estate. The Symphony probably received its premiere in March of the following year, at the Vienna Palais Lobkowitz.

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German composer Robert Schumann characterized Beethoven’s Fourth Symphony as, “a slender Greek maiden between two huge Nordic giants.” It is certainly true that the Fourth does not present the kinds of epic struggles found in the composer’s Third, (“Eroica”) and Fifth Symphonies. Nevertheless, there is plenty of drama to be found in the Beethoven Fourth, as well as humor—a characteristic not always associated with the determined and stern composer. Still, we know from contemporary accounts that Beethoven did, indeed, possess a robust sense of humor. And, we should also bear in mind that in his early years, Beethoven was a student of the greatest of all symphonic humorists, Franz Joseph Haydn. In listening to the Fourth, it is appropriate to recall what Haydn wrote of his young pupil in 1793: “Beethoven will in time become one of the greatest musical artists in Europe, and I shall be proud to call myself his teacher.”

The Fourth Symphony opens with an extended and mysterious slow introduction (Adagio).

A crescendo leads to a whiplash motif in the strings, serving as the springboard to the skipping principal motif of the ensuing Allegro vivace. The slow second movement (Adagio) begins with a repeated figure in the second violins, serving as accompaniment for the lovely opening theme. Although Beethoven designated the Symphony’s third movement as a Minuet (Menuetto; Allegro vivace), it is, in fact, an example of the more vigorous Scherzo. High spirits abound in the finale (Allegro ma non troppo), opening with a perpetuum mobile figure in the strings, and capped by a raucous fortissimo conclusion.

— Ken Meltzer

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Joy and Russel Wiener Thank you for sponsoring the Joy Brown Wiener Musical Excellence First Prize Award and hosting the Conducting Competition Welcome Reception. We are truly grateful for your support of this innovative way to create meaning ful experiences through music. The board, musicians, staff and supporters thank everyone who helped make this event a success.

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Dvorˇák New World Symphony Saturday, October 15, 2011 at 8:00 p.m.

Cannon Center for the Performing Arts Sunday, October 16, 2011 at 2:30 p.m.

GPAC Conducting Competition Winners Ken Lam, Joy Brown Wiener

Musical Excellence Award Roger Kalia, 2nd Prize Aram Demirjian, 3rd Prize Jura Margulis, Piano PAUL HINDEMITH (1895 - 1963) Symphonic Metamorphosis on Themes of Carl Maria von Weber

Allegro

Scherzo, Turandot; Moderato

Andantino

Marsch

Roger Kalia, Conductor

MAURICE RAVEL (1875 - 1937) Piano Concerto in G Major

Allegramente

Adagio assai

Presto

Aram Demirjian, Conductor

Jura Margulis, Piano

INTERMISSION

ANTONIN Dvorˇ ák (1841 - 1904) Symphony No. 9 in E Minor, Op. 95, (From the New World)

Adagio - Allegro molto

Largo

Scherzo (Molto vivace)

Allegro con fuoco

Ken Lam, Conductor

Joy Brown Wiener Musical Excellence Award

Concert Sponsored by: Guest Artist Sponsored by: Mr. & Mrs. J. W. McAllister For Tickets 901-537-2525

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Concert Preview a • Cannon Center for the Performing Arts 7:15 p.m.

Mezzanine lobby

• GPAC 1:45 p.m.

Green Room

one-minute notes Things rarely end the way you expect when you begin. Our program highlights two examples for us. As you will read further in the program notes, Hindemith’s Symphonic Metamorphosis began with the intention of becoming a ballet score. Another ballet score that you will hear later in the season, Prokofiev’s Romeo & Juliet, was initially rejected by the ballet company that commissioned it as “un-danceable.”

Likewise, Dvorˇák’s Symphony No. 9 (or 5 if you had asked the composer), had its humble beginnings as a grand opera based on Longfellow’s epic poem Song of Hiawatha. This fictional (and not very PC) story of a Native American deeply influenced Dvorˇák. Listen for the distinctive hidden rhythm throughout the whole piece: (DUM da DUM da DUM da DUM da) By the shores of Gitche Gumee, By the shining Big-Sea-Water, Stood the wigwam of Nokomis, Daughter of the Moon, Nokomis.

The last thing about this program is something that all of tonight’s compositions share: they are American. German composer (and US immigrant) Paul Hindemith composed and premiered this work in New York. Ravel (as French as they get) was vocal about the influence of America’s “national music” (jazz) on this concerto.

When Czech composer Dvorˇák was asked to come to America to help develop our own national music, he proclaimed that we didn’t need to look to Europe to find our way. We had all the inspiration we needed in the folk traditions around us.

This is our music. Dvorˇák would have liked Memphis.

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L

It is with great pleasure that we welcome Ken Lam, Roger Kalia, and Aram Demirjian back to Memphis! These three rising conductors are the winners of the MSO’s first International Conducting Competition and were selected from 226 applications from 35 countries and 30 states, rising to the top out of 10 finalists over three days of competition in May. The performances you will hear are a culmination of months of preparation since May. This competition exemplifies our mission to create meaningful experiences through music and is the sort of innovative project that is bringing national and international attention to our wonderful city. Please join us in welcoming our guests from around the world.

Ken Lam

Conductor Joy Brown Wiener Musical Excellence Award Lam is assistant conductor of the Cincinnati Ken

Symphony Orchestra and resident conductor of the Brevard Music Center in North Carolina.

Ken was a featured conductor in the League of American Orchestra’s 2009 Bruno Walter National Conductors Preview with the Nashville Symphony and made his US professional debut with the National Symphony Orchestra in June 2008 as one of four conductors selected by Leonard Slatkin. Last season he gave concerts with the Hong Kong Philharmonic, the Hong Kong Sinfonietta and the Taipei Symphony Orchestra.

In opera, he regularly directs productions at Brevard Music Center and was Assistant Conductor at Cincinnati Opera, Baltimore Lyric Opera and at the Castleton Festival under Lorin Maazel.

He studied economics and law at St. John’s College, Cambridge University and studied conducting at the Peabody Conservatory. He was a Fellow of the American Academy of Conducting at Aspen under David Zinman.

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Roger Kalia 2nd Prize Conductor

Roger Kalia is entering his second season as music director of the Columbus (IN) Symphony Orchestra. He is also the newly appointed assistant conductor of the prestigious Indiana University Opera Theater.

This past summer, he was personally selected by David Zinman to conduct the Tonhalle Orchestra Zurich, as part of his 2nd International Conducting Masterclass. Roger was also a scholarship recipient to attend the Cabrillo Festival of Contemporary Music, where he worked with Marin Alsop and made his debut with the Cabrillo Festival Orchestra. During the summer of 2010, he was a conducting fellow at the American Academy of Conducting at Aspen.

Roger was recently named a finalist for the American Prize in Orchestral Conducting. In June 2010, he was the only American conductor to advance to the semi-finals of the Cadaques International Conducting Competition in Spain. He was also one of 16 conductors worldwide to compete in the Dimitris Mitropoulos Conducting Competition in Athens in November 2010.

Roger is currently in his last year as a Doctoral Conducting Fellow at Indiana University, where he studies with David Effron and Arthur Fagen.

Aram Demirjian 3rd Prize Conductor

Aram Demirjian is among the most promising emerging conductors in America. Described as “spirited and lively” by the Boston Musical Intelligencer, Mr. Demirjian is active as a conductor of symphonic, operatic and contemporary repertoire. He is the most recent winner of the prestigious Robert J. Harth Conductor Prize from the Aspen Music Festival. His recent engagements include performances with the Boston Pops, New England Conservatory Symphony, Aspen Academy Orchestra, Lowell House Opera, and an appointment to the faculty of New England Conservatory Preparatory School. He has twice been named conducting fellow at the American Academy of Conducting at Aspen and was one of sixteen finalists in the 2010 Dimitris Mitropoulos International Competition in Conducting. A graduate of Harvard, Mr. Demirjian served for two seasons as Music Director of the Harvard Bach Society Orchestra and has collaborated with renowned artists including Yo-Yo Ma, John Adams, Robert Levin and Ryu Goto. Mr. Demirjian holds an M.M. in Orchestral Conducting from New England Conservatory, where he studied with Hugh Wolff.

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Jura Margulis Piano

Pianist Jura Margulis has been internationally recognized for his compellingly communicative performances, as well as for the range of his tonal palette and his consummate virtuosity.

Reviewers have praised the “absolute authority” of his interpretations and the sense of “controlled obsession” he transmits at the keyboard (Fono Forum). The Frankfurter Allgemeine Zeitung noted that his aesthetic is both “impulsive and contemplative.”

The Los Angeles Times praised his “excellent pianism” and called him “highly musical”. The Washington Post applauded his “titanic reserves of sheer power” and his “effortless spontaneity.” The Fort Worth Star-Telegram called his performance “… the perfect Beethoven for the audience of our time … sweeping lyricism … imagination, originality, and good taste pervaded every phrase.”

His orchestral appearances include performances with the Russian National Orchestra at the Hollywood Bowl, the Montreal Symphony Orchestra under Charles Dutoit, the Südwestrundfunk Orchestra, the National Orchestra of Venezuela, the Thailand Philharmonic Orchestra, and the Prague Symphony Orchestra. He has played in numerous festivals, including the Schleswig Holstein Musik Festival, the Berliner Festwochen at Berlin Philharmonic Hall, the Verbier, the BSI, and the Sommets du Classique Festivals in Switzerland, the Argerich-Beppu Music Festival in Japan, and the Salzburger Festspiele in Austria. He has won prizes in more than a dozen international competitions, including Busoni in Italy and Guardian in Ireland. He is also a recipient of the esteemed Pro Europa prize awarded by the European Foundation for Culture.

Recent years have brought him to New York, Chicago, Los Angeles, St. Louis, Dallas, Cincinnati, Salt Lake City, Little Rock, Tulsa, Carmel, Austin, Phoenix, San Jose, Minneapolis, Memphis, and New Orleans in the US, as well as abroad to Frankfurt, Düsseldorf, Hamburg, Berlin, Tübingen, Freiburg, Bologna, Salzburg, Barcelona, Lugano, Crans-Montana, Sapporo, and Bangkok. Active as a chamber musician, Margulis has performed recitals with, among others, Dmitry Sitkovetsky, Lilya ZIlberstein, Alissa Margulis, the soloists of the Moscow Virtuosi, members of the Chicago Symphony Orchestra, and the Moscow String Quartet. He has also concertized with Martha Argerich on two pianos in Germany, Japan, and the USA. Born in St. Petersburg, Russia, Jura Margulis was raised in Germany, where he studied with his father, Dr. Vitaly Margulis, at the Musikhochschule Freiburg. He was also a student at the prestigious Fondazione per il Pianoforte in Cadenabbia at Lake Como in Italy. He moved to the United States to study with Leon Fleisher at the Peabody Conservatory in Baltimore, and made the US his home. Margulis is the inaugural holder of the Emily J. McAllister Endowed Professorship in Piano at the J.W. Fulbright College of the University of Arkansas, Fayetteville.

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program notes Symphonic Metamorphosis on Themes of Carl Maria von Weber (1943) Duration: 21 minutes Paul Hindemith was born in Hanau, near Frankfurt, Germany, on November 16, 1895, and died in Frankfurt on December 28, 1963. The premiere of the Symphonic Metamorphosis on Themes of Carl Maria von Weber took place at Carnegie Hall in New York on January 20, 1944, with Artur Rodzinski conducting the New York Philharmonic. The Symphonic Metamorphosis on Themes of Carl Maria von Weber is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, percussion and strings. Approximate performance time is twenty-one minutes.

In 1938, composer Paul Hindemith left his native Germany. Hindemith first moved to Switzerland, and then, in February of 1940, to the United States. The following month, Hindemith attended a performance by a ballet company led by the famous dancer and choreographer, Leonide Massine. After the performance, Massine told Hindemith that he wanted to stage a new ballet, featuring arrangements of music by the German earlyRomantic composer Carl Maria von Weber (1786-1826).

It soon became clear that Hindemith and Massine had quite different views as to the handling of Weber’s music. Hindemith wanted to use Weber’s pieces as the starting point for rather free orchestral adaptations. Massine, according to Hindemith, “simply wanted an exact orchestral arrangement of the original Weber. I am not just an orchestrator and furthermore I had already told them what I was going to do.”

Although the Hindemith-Massine Weber project never came to fruition, the composer’s efforts were not wasted. Three years after the fallout with Massine, Hindemith used the intended ballet music as the basis for his most popular work, the Symphonic Metamorphosis on Themes of Carl Maria von Weber. Hindemith completed the orchestral piece in the summer of 1943. The Symphonic Metamorphosis received its premiere at New York’s Carnegie Hall on January 20, 1944. Artur Rodzinski conducted the New York Philharmonic. The audience greeted the work (and the composer, who was in attendance) with a stirring ovation.

For the 1944 premiere, Hindemith refused to disclose the precise origin of the various Weber melodies included in the Symphonic Metamorphosis. Subsequently, various musicologists identified the pieces, which are noted below.

I. Allegro—The first movement, a vigorous Allegro, is based upon Weber’s piano duet, Opus 60, No. 4.

II. Turandot, Scherzo; Moderato—The second movement employs music from Weber’s 36

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1809 Overture to Turandot. The original Weber piece was part of incidental music he composed for Friedrich Schiller’s translation of Carlo Gozzi’s 1762 play (Gozzi’s Turandot, the story of a Chinese princess, also served as the inspiration for Giacomo Puccini’s final opera of the same name).

III. Andantino—The work’s slow movement is based upon music from the Six Pieces for piano duet, Opus 10.

IV. Marsch—The finale, a boisterous March, features music from Weber’s piano duet, Opus 60, No. 7.

Piano Concerto in G Major (1931) Duration: 21 minutes Maurice Ravel was born in Ciboure, Basses-Pyrénées, France, on March 7, 1875, and died in Paris, France, on December 28, 1937. The premiere of the G-major Piano Concerto took place at the Salle Pleyel in Paris on January 14, 1932, with Marguerite Long as soloist and the composer conducting the Lamoureux Orchestra. In addition to the solo piano, the G-major Concerto is scored for piccolo, flute, oboe, English horn, B-flat clarinet, E-flat clarinet, two bassoons, two horns, trumpet, trombone, harp, timpani, percussion and strings. Approximate performance time is twenty-one minutes.

Toward the close of 1927, French composer Maurice Ravel embarked upon a fourmonth tour of the United States and Canada. Ravel traveled across the North American continent, appearing in twenty-five cities as pianist and conductor. Ravel enjoyed a glorious reception from the American people. At an all-Ravel concert at New York’s Carnegie Hall by Serge Koussevitsky and the Boston Symphony, the composer was greeted by a standing ovation. “You know, this doesn’t happen to me in Paris,” Ravel wistfully commented.

While in America, Ravel had the opportunity to meet such musicians as George Gershwin and Paul Whiteman. In fact, Ravel and Gershwin traveled to Harlem on several occasions to listen to jazz. Ravel was greatly impressed by what he termed “the national music of the United States.”

Ravel completed his Piano Concerto in G in the fall of 1931. Ravel originally intended to be the soloist in the Concerto’s world premiere, but illness prevented that. The composer did, however, conduct the January 14, 1932 premiere with pianist Marguerite Long (who also played the first performance of Ravel’s Le tombeau de Couperin).

In an interview, Ravel acknowledged that the jazz he so enjoyed in the United States influenced the G-major Concerto. “What is being written today without the influence For Tickets 901-537-2525

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program notes of jazz?”, Ravel queried. “It is not the only influence, however; in the concerto one also finds bass accompaniments from the time of Bach, a melody that recalls Mozart, the Mozart of the Clarinet Quintet, which by the way is the most beautiful piece he wrote.”

Of course, the success of the G-major Concerto is the product of Ravel’s remarkable ability to synthesize these various and potentially disparate influences into an engaging, unified and individual work.

The Concerto’s opening movement (Allegramente) begins with the soloist accompanying a vivacious piccolo melody. Ravel later introduces several themes, notably a descending blues passage first played by the clarinet. Ravel admitted to Marguerite Long that the Concerto’s slow movement (Adagio assai), inspired by its counterpart in Mozart’s Clarinet Quintet, K. 581, was crafted “bar by bar.” Still, there is no apparent sense of effort in the Larghetto’s flowing lyricism. The virtuoso finale (Presto) is the most overtly jazz-influenced of the Concerto’s three movements.

Symphony No. 9 in E Minor, Op. 95 (From the New World) (1893) Duration: 40 minutes Antonín Dvorˇák was born in Mühlhausen, Bohemia (now Nelahozeves, the Czech Republic), on September 8, 1841, and died in Prague on May 1, 1904. The premiere of the “New World” Symphony took place at Carnegie Hall in New York on December 16, 1893, with Anton Seidl conducting the New York Philharmonic. The Symphony No. 9 is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, cymbals and strings. Approximate performance time is forty minutes.

From the fall of 1892 through the summer of 1895, Czech composer Antonín Dvorˇák served as Director of the National Conservatory of Music of America, located in New York City. Dvorˇák came to New York at the invitation of Jeannette Meyer Thurber, who founded the Conservatory with the hope that it would foster the development of important American concert music.

Dvorˇák had always taken a keen interest in the folk music of his native Bohemia, and indeed, acknowledged: “I myself have gone to the simple, half forgotten tunes of Bohemian peasants for hints in my most serious works. Only in this way can a musician express the true sentiment of his people. He gets into touch with the common humanity of his country.”

It’s not surprising that when Dvorˇák arrived in America, he began to study the musical heritage of the “New World.” Dvorˇák concluded that America’s great folk tradition 38

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was based in the music of African-Americans (it should be noted that in May of 1893, the National Conservatory opened its doors to African-American students). Dvorˇák also acknowledged the importance of the folk music of Native Americans, which, the Czech composer felt, was “virtually identical” to “Negro melodies.”

On May 24, 1893, Dvorˇák completed his Symphony in E Minor, begun the previous December. The work received its premiere at New York’s Carnegie Hall on December 16, 1893, with Anton Seidl conducting the New York Philharmonic. A month earlier, Dvorˇák gave the E-Minor Symphony its famous nickname, “From the New World.”

In an article published in the New York Herald the day before the premiere, Dvorˇák offered this analysis of his “New World” Symphony: Since I have been in this country I have been deeply interested in the national music of the Negroes and the Indians. The character, the very nature of a race is contained in its national music. For that reason my attention was at once turned in the direction of these native melodies...

It is this spirit which I have tried to reproduce in my new Symphony (“The New World”). I have not actually used any of the melodies. I have simply written original themes embodying the peculiarities of the...music and, using these themes as subjects, have developed them with all the resources of modern rhythms, harmony, counterpoint and orchestral color.

The premiere of the “New World” Symphony was an unqualified success. Dvorˇák proudly informed his publisher, Simrock: “The papers say that no composer ever celebrated such a triumph. Carnegie Hall was crowded with the best people of New York, and the audience applauded so that, like visiting royalty, I had to take my bows repeatedly from the box in which I sat.”

The “New World” Symphony is in four movements. The first opens with a pensive slow introduction (Adagio), leading to the principal Allegro molto. Dvorˇák presents several themes, including one introduced by the flute that bears a kinship to “Swing Low, Sweet Chariot,” a spiritual especially favored by the Czech composer. The slow second movement (Largo) features one of Dvorˇák’s most beloved melodies. Sung by the English horn, this melody was later adapted by Dvorˇák’s pupil, William Arms Fisher, as the spiritual, “Goin’ Home.” The third-movement Scherzo (Molto vivace) was, according to Dvorˇák, inspired “by a scene at the feast in (Longfellow’s) ‘Hiawatha’ where the Indians dance…”

The dramatic finale (Allegro con fuoco) is notable for the return of themes from the Symphony’s first three movements.

— Ken Meltzer

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BRAVO Broadway Rocks!

Saturday, October 22, 2011 at 8:00 p.m.

Cannon Center for the Performing Arts

Steven Reineke, Conductor Capathia Jenkins, Rob Evan, Christiane Noll, Vocalists Memphis Symphony Chorus, Artistic Director Lawrence Edwards Memphis University Singers, Artistic Director Lawrence Edwards Rocks Overture (arr. Fleischer) Everybody Rejoice (The Wiz/Smalls) This Is The Moment (Jekyll and Hyde/Wildhorn) Good Morning Baltimore (Hairspray/Shaiman) Jersey Boys Medley Total Eclipse (Dance of the Vampires/Steinman) Circle of Life (Lion King/John) Proud Mary (Fogerty) JC Superstar Overture (Lloyd Webber) Seasons of Love (Rent/Larsen) You Can’t Stop the Beat (Hairspray/Shaiman)

INTERMISSION Come Sail Away For Good (Wicked/Schwartz) Anthem (Chess/ Andersson/Ulvaeus) I Will Survive Defying Gravity (Wicked/Schwartz Mama Mia Medley (Andersson/Ulvaeus) And I Am Tellin’ You (Dreamgirls/Krieger) Phantom of the Opera (Phantom/Webber) Music of the Night (Phantom/Webber)

Sponsored by: 40

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Steven Reineke Conductor

Steven Reineke’s boundless enthusiasm and exceptional artistry have made him one of the nation’s most soughtafter pops conductors, composers and arrangers. In recognition of his successful leadership, The New York Pops have extended his contract as Music Director through the 2015-2016 Season. In addition to conducting the orchestra’s annual Carnegie Hall concert series, Mr. Reineke leads concert tours, recordings and nationwide telecasts, including the Macy’s 4th of July Fireworks on NBC Television.

Mr. Reineke is the newly appointed Principal Pops Conductor of the National Symphony Orchestra and begins his first season in 2011/2012. In addition, he serves as Principal Pops Conductor of the Long Beach and Modesto Symphony Orchestras, and Associate Conductor of the Cincinnati Pops Orchestra, where for fifteen years he served as a composer, arranger and conducting protégé of the late celebrated pops conductor Erich Kunzel.

As the creator of more than one hundred orchestral arrangements for the Cincinnati Pops Orchestra, Mr. Reineke’s work has been performed worldwide, and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. Mr. Reineke is also an established symphonic composer. His works Celebration Fanfare, Legend of Sleepy Hollow and Casey at the Bat are performed frequently in North America, with recent performances by the New York Philharmonic and Los Angeles Philharmonic. In August 2008 his Sun Valley Festival Fanfare debuted with the Sun Valley Summer Symphony to commemorate the opening of the orchestra’s new pavilion. In 2005 his Festival Te Deum and Swan’s Island Sojourn were performed by the Cincinnati Symphony and Cincinnati Pops respectively. The Cincinnati Enquirer had this to say about Festival Te Deum: “Melodious and joyous, it had antiphonal brass in the balconies, organ, full orchestra and wonderful choral passages.” His numerous wind ensemble compositions are published by the C.L. Barnhouse Company and are performed by concert bands around the world.

A native of Ohio, Mr. Reineke is a graduate of Miami University of Ohio, where he earned bachelor of music degrees with honors in both trumpet performance and music composition. He currently resides in New York City. Mr. Reineke is represented by Peter Throm Management, LLC.

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Capathia Jenkins Vocalist

This Brooklyn-born and raised actress made her Broadway debut in The Civil War, where she created the role of Harriet Jackson. She then starred in the Off-Broadway revival of Godspell, where she wowed audiences with her stirring rendition of ‘Turn Back, O Man’ which can still be heard on the original cast recording. She returned to Broadway in The Look of Love and was critically acclaimed for her performances of the Bacharach/David hits.

Ms. Jenkins then created the roles of ‘The Washing Machine’ in Caroline, Or Change and ‘Frieda May’ in Martin Short-Fame becomes me where she sang ‘Stop the Show’ and brought the house down every night.

In 2007 she went back to Off-Broadway and starred in (mis) Understanding Mammy-The Hattie McDaniel Story for which she was nominated for a Drama Desk Award. Most recently she was seen in Nora Ephron’s Love, Loss, and What I Wore.

Capathia has been working with the acclaimed composer Louis Rosen for about six years and together they have released three cds: South Side Stories (rosecap), One Ounce of Truth-The Nikki Giovanni Songs (PS Classics) and most recently The Ache Of Possibility (Di-Tone).They have enjoyed much concert success in New York, Chicago, DC and Harare, Zimbabwe.

Ms. Jenkins has appeared with the Cleveland Orchestra, National Symphony, Utah Symphony, Minnesota Orchestra, Atlanta Symphony, Edmonton Symphony, San Diego Symphony and the Hong Kong Philharmonic.

Her Television credits include 30 Rock, the Practice, Law & Order SVU, the Sopranos. She can be heard on the following film soundtracks: Nine, Chicago, Legally Blonde 2.

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Rob Evan Vocalist

Robert Evan starred in the original Broadway cast of Jekyll & Hyde, playing the title roles for three years and over 600 performances.

His rendition of This Is the Moment has been heard at numerous prestigious events, including the 2001 Inaugural Gala for President George W. Bush, the Millennium Independence Day US Naval Revue aboard the USS JFK for President Clinton, the Millennium World Forum Conference with guest speaker Mikhail Gorbachev, the 1998 Goodwill Games, the New York City Mayor’s Inaugural Gala, the 1998 and 1999 NY Yankees World Series Celebration at City Hall, The Georgia Music Hall of Fame Awards Telecast, the Today Show, and Monday Night Football. Robert has starred around the world in the all-new Jekyll & Hyde: The Concert, having enjoyed a 16-show run in Olympic Hall in Seoul, South Korea.

Robert also appeared in the role of Jean Valjean in Les Miserables on Broadway, and was chosen to lead the critically acclaimed National Touring Company to its history-making stop on Broadway. Recently, he played the role of Kerchak in Disney’s Tarzan at the Richard Rodgers Theater. Robert starred as the sadistic Orin Scrivello D.D.S. in Little Shop of Horrors with Joey Fatone from *NSYNC on Broadway. He also had the pleasure of singing the role of the Count von Krolock in Jim Steinman’s Dance of the Vampires at the Minskoff Theater. Off-Broadway, Robert created the roles of The Dancin’ Kid in Johnny Guitar and the hero Miles Hendon in The Prince and the Pauper.

As a vocalist and recording artist, Robert is a member of the platinum-selling rock band, the Trans-Siberian Orchestra. He has played in arenas across the country for up to 20,000 people. Currently, Mr. Evan is touring with Trans-Siberian Orchestra in the first ever production of their Rock Opera, Beethoven’s Last Night. Robert is playing the role of Ludwig Von Beethoven. He is also lead vocalist for Jim Steinman’s The Dream Engine and recently released the debut album for his new progressive rock band Menrva Realm.

In concert, Robert has been a featured soloist for many leading symphonies across the nation, including recent appearances in San Francisco, San Diego, Atlanta, Chicago, Alabama, and Indianapolis. He previously starred in the touring production of The Music of Andrew Lloyd Webber, which originated at the Kennedy Center in 2004.

A native of Monticello, Georgia, Rob is a former varsity athlete at the University of Georgia, where he majored in finance. His favorite roles continue to be that of husband to Beate and father to Johan, Max, and Birk.

For Tickets 901-537-2525

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Christiane Noll Vocalist

This New York born, New Jersey raised actress was nominated for both a Tony Award and Drama Desk Award and won a Helen Hayes Award for her portrayal of Mother on Broadway in the Kennedy Center Revival of Ragtime. She made her Broadway debut starring in Jekyll & Hyde, creating the role of Emma. Ms. Noll received an Ovation Award for her comedic turn as Hope Cladwell in the National Tour of Urinetown, wowed audiences again as Vanna Vane in the new musical The Mambo Kings and soared as Jane Smart in the American premiere of The Witches Of Eastwick.

She has been a member of the national tours of Grease! as Sandy, Miss Saigon as Ellen, and City Of Angels as Mallory/Avril as well as a tour of Australia and Thailand as Nellie in South Pacific. Ms. Noll made her opera debut with Plácido Domingo and the Washington National Opera in The Merry Widow as Valencienne at The Kennedy Center, her Hollywood Bowl debut with Julie Andrews - The Gift Of Music, and her Carnegie Hall debut as one of the 3 Broadway Divas with The New York Pops and Skitch Henderson in his last pops performance.

Ms. Noll was critically acclaimed for her operetta performances as Marianne in City Center Encores! The New Moon, Kathie in The Student Prince and Mabel in The Pirates Of Penzance. Other favorite roles include Audrey in Little Shop Of Horrors, The Baker’s Wife in Into The Woods, Mabel in Mack & Mabel, working with Jerry Herman and winning a Connecticut Critics Circle Award, Lizzie in Lizzie Borden, Genevieve in The Baker’s Wife, and Carrie in Carousel. She starred in the premieres of Frankenstein (37 Arts), Ace (Signature-Helen Hayes Nom.), Kept (Krieger/Russell), Take Flight (Maltby/Shire), Call The Children Home (Primary Stages), A Fine And Private Place (York) and Little By Little (York Theater).

Christiane has performed her solo show in cabaret at The Plush Room, The Duplex, The Nevermore, Arci’s Place, The China Club, Peaches, B.Smith’s and The West Bank Café as well as appearing in Town Hall’s Broadway By The Year and the Lincoln Center American Songbook Series. She is a Founding Member of Midtown Direct Rep. Theater Company.

Christiane is a graduate of Carnegie Mellon University.

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OPUThe SMemphis oNeSymphony Orchestra’s OPUS oNe At the New Daisy Theater Special Guest

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OpusOneMemphis.com 901.537.2525

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Memphis Symphony Chorus Lawrence Edwards, Artistic Director

The Memphis Symphony Chorus is an integral part of the Memphis Symphony Orchestra family. Begun in 1965, the chorus is now 130 members strong, performing under the direction of Dr. Lawrence Edwards. This group of dedicated volunteer vocalists celebrated their 45th anniversary during the 2010-2011 season.

In a perfect collaboration of orchestral and vocal musicians, the chorus has performed major works across the entire spectrum of classical choral music, opera choruses, and concert pops repertoire. The Memphis Symphony Orchestra’s Masterworks concerts have included the chorus recently in performances of Handel’s The Creation, the Berlioz Requiem, Elijah, J.S. Bach’s Mass in B Minor, Beethoven’s Ninth Symphony, Missa Solemnis, Bernstein’s Chichester Psalms, Handel’s Messiah, Mahler’s Second and Eighth Symphonies, Orff’s Carmina Burana, and the Requiems of Mozart, Verdi, and Brahms. The chorus also performs each year with the orchestra in the Holiday Pops concert and other swingin’ and rockin’ Pops Concerts, including the music of John Williams, Disney tunes, and other popular composers.

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The orchestra and chorus perform in the Cannon Center for the Performing Arts in downtown Memphis. This hall has been created with acoustical excellence and features the choral sound to perfection.

Chorus membership grows through a twice-yearly audition process supervised by Dr. Edwards. Being a professional vocalist is not a prerequisite for acceptance; however, one must have in equal proportion vocal skill, a love for great choral music, and the time and energy to devote to a weekly rehearsal schedule. Each new season for the chorus begins in the late summer and lasts through their final performance, usually in May. For more information about the Memphis Symphony Chorus, visit our website at www. memphissymphonychorus.org or email info@MemphisSymphonyChorus.org.

For Tickets 901-537-2525

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Memphis Symphony Chorus Lawrence Edwards, Artistic Director Jeremy T. Warner, Assistant Conductor Liz Parsons, Accompanist Alto 1 Lily S. Axelrod Sarah G. Baum Patricia S. Carreras Laura J. Crane Kim Eggert Pamela Gold * Deborah K. Goodman * Anita Hester * Anita I. Lotz Lisa Lucks Mendel * Kelley Muller-Smith * Rebecca Naro Martha Pearson Wesson Terron K. Perk * Ashley A. Rieves Chandra D. Savage Chrisann Schiro-Geist Charissa M. Shiver Betty M. Smith Cassandra R. Walters Terri V. Watts Alto 2 Cindy Armistead Catherine Bilow Melanie M. Bradshaw Wanda L. Caldwell Kathie Fox Barbara Frederick Jennifer N. Friedman Cathy Ginn Vicki C. Hornsby Leisa B. Kennin Suzanne H. Lease Jean Matthews Shana N. Moore Vivian H. Norman 48

Marsha T. Rider Stephony L. Robinson Patricia D. Rogoski Mary Seratt * Jamie L. Walker Jackie B. White * Bass 1 Steven Alsobrook * Steve D. Broome Ted A. Gibboney Wes L. Kirkpatrick Reggie M.. LeSueur Benjamin D. Maxwell James McClanahan Martin “Skip� Monfort Keith M. Nichols Malcolm Payne Eugene M. Reyneke Sandeford J. Schaeffer, III Jeremy T. Warner William G. Weppner Barry F. White Herb Zeman Bass 2 Bob Brittingham Bob Brown David P. Comperry Kenneth S. Goldsby Michael J. Herr Boyd R. Highfield, III Ryan Johnson Joey Miller David G. Orland David M. Patterson Lewis R. Wright

Soprano 1 Sarah D. Barlow Linda Brittingham Marcia Buster Tiffany Cadenhead Janet Carnall * Becky R. Darnell Claire E. Fox Sandra J. Hunt Cristi Okello Gwendolyn Reese Virginia L. Vann * Rosemary Winters Tina Dawn Womack Paula M. Wood Soprano 2 Ruth K. Allen Elizabeth H. Buls * Aimee L. Cancienne Janyce C. Cash Dianne Curtiss Jennifer J. Dickerson Chelsea C. Digby Jeannine Edwards Roberta K. Gibboney Betsy Hamric Theresa A. Hayes Beth Hoople Emily Huseth Shay M. Kearney Rosalyn M. Lake C. Carol Martindale McKinzie Mitcham Molly K. Rice Kathryn E. Smith Oma R. Strickland Katie Sucha www.MemphisSymphony.org

LaChelle D. Walker Deb Dallas Walker Paula L. Wallace Linda H. Waltz Nancy M. Wiggs Jaime S. Yaich Tenor 1 Aaron C. Gilmer JohnPaul R. Abbott Joseph E. Anderson

Joel W. Chapman Clint M. Early, Jr Russell W. Hardeman Rick W. Johnson Matthew R. Lott Dustin Phelps Shane Rasner* Matthew T. Williams Tenor 2 Matthew L. Bowlin

David L. Harrison * Reginald Hinson John T. Killmar Christopher R. Marshall Roderick L. Vester Mathew M. Vrabel Jaime Yanes *Denotes current board member

University Singers Rudi E. Scheidt School of Music University of Memphis Lawrence Edwards, Conductor Jeremy Warner, Assistant Liz Parsons, Accompanist Soprano Olivia Bufkin Megan Carolan Moriah Drinkard Emily Farris Kaitlyn Fleet Mikenzie Gregory Seika Hall Courtney Harrough Rayna M. Holmes Jessica McCullough Margaret McMurray Anne Miller Melanie Scarborough Jacquelyn Skoog Tanisha Ward Karah Lyn Watkins

For Tickets 901-537-2525

Alto Jacquelene Cooper Kayla Grieme Molly Johnson Erin Kulinski Rebecca Payne Shauntyce Plowden Veda Polk Amanda Rackley Lanita Smith Ciyadh Wells Tenor Mark Blackburn Jonathan Glisson Lucas Hefner Frank Johnson Michael Mathenia Brett Nelson Landon Rodgers Dante’ Webb

Bass Jacob Burton Datris Cobb Nathan Dumser Jason Dwyer Harrison Ervin Morgan Fite John Tyler Hampton Matthew Hayner Dedrick Howard Steven L. Milam Christopher J. Mitchell Jeremiah Padilla Jeremy Warnerďż˝ Bobby Watkins

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6/14/11 12:29 PM

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Strength in numbers.

For nearly a century, the mission of Baptist Memorial Health Care has been to serve others, both inside our hospitals and in our communities. From building a Habitat for Humanity home to the many health fairs, free health screenings, and educational initiatives, we provided more than $200 million in community outreach in 2010. For us, it’s a reminder of how much we can accomplish and motivation to do even more to support our community in ways that strengthen all of us.

To view a full copy of our 2010 community report, please visit www.baptistonline.org.

www.baptistonline.org | 1-800-4-BAPTIST

For Tickets 901-537-2525

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Mei-Ann Chen music director One of the most dynamic young conductors in America, Mei-Ann Chen will embark on her second season as Music Director of the Memphis Symphony Orchestra.

During this time, the impact of her energy, enthusiasm and high level of music-making has already been felt by the orchestra, audiences and entire community. In June, she also assumed the music directorship of the Chicago Sinfonietta, only the second person to hold this position.

In great demand as a guest conductor, Ms. Chen has appeared with the symphonies of Alabama, Atlanta, Baltimore, Chicago, Colorado, Columbus, Edmonton (Canada), Florida, Fort Worth, Honolulu, National (Washington, DC), Oregon, Pacific, Phoenix, Princeton, Seattle, Toronto, and the Grand Teton Festival Orchestra. Worldwide engagements include all the principal Danish orchestras, BBC Scottish Symphony, Bournemouth Symphony, Graz Symphony, Norwegian Radio Orchestra, Tampere Philharmonic, and the Trondheim Symphony. During the 2011-12 season, she will debut with the symphonies of Jacksonville, Naples, Nashville, Pasadena, Sarasota, as well as the National Symphony of Mexico and the Netherlands Philharmonic at the Amsterdam Concertgebouw.

The first woman to win the Malko Competition (2005), Ms. Chen has served as Assistant Conductor of the Oregon Symphony, and has recently completed highly successful tenures as Assistant Conductor of the Atlanta Symphony and Baltimore Symphony; these two positions were sponsored by the League of American Orchestras. Recipient of the 2007 Taki Concordia Fellowship, she has appeared jointly with Marin Alsop and Stefan Sanderling in highly acclaimed subscription concerts with the Baltimore Symphony, Colorado Symphony and Florida Orchestra.

In 2002, Ms. Chen was unanimously selected as Music Director of the Portland Youth Philharmonic in Oregon, the oldest of its kind and the model for many of the youth orchestras in the United States. During her five-year tenure with the orchestra, she led its sold-out debut in Carnegie Hall, received an ASCAP award for innovative programming, and developed new and unique musicianship programs for the orchestra’s members. She was honored with a Sunburst Award from Young Audiences for her contribution to music education.

Born in Taiwan, Mei-Ann Chen has lived in the United States since 1989. She holds a Doctor of Musical Arts degree in conducting from the University of Michigan, where she was a student of Kenneth Kiesler. Prior to that, she was the first student in New England Conservatory’s history to receive master’s degrees, simultaneously, in both violin and conducting. Ms. Chen also participated in the National Conducting Institute in Washington, D.C. and the American Academy of Conducting in Aspen.

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Stilian Kirov associate conductor Stilian Kirov is currently the Associate Conductor of the Memphis Symphony Orchestra and Music Director of the Memphis Youth Symphony Program. In the 2011-12 Season, he also joins the conducting staff of the Seattle Symphony for few weeks of residency. He previously served as Music Director and founder of the Art Symphony Orchestra in New York and has conducted major orchestras in France, Germany, Italy, Greece, United States and in his native country Bulgaria. Mr. Kirov was awarded numerous prizes and merits including Third Prize and the Orchestra Preference Award at the 2010 Mitropoulos Conducting Competition, The Charles Schiff Conducting Award for outstanding achievement at the Juilliard School, 1st distinction (equal 4th place) at the V Witold Lutosławski International Contest for Young Conductors and the Bruno Walter Memorial Scholarship. Mr. Kirov has been awarded France’s 2010 "Young Conducting Talent" Prize by ADAMI Association, culminating in a showcase concert at the Salle Gaveau with Orchestre Colonne in October, 2010. Following the successful performance, Mr. Kirov was re-invited to conduct the orchestra's 2011-12 Season Opening Concert in Paris. 2011 also marks Mr. Kirov's debut at the prestigious Musical Olympus International Festival in St. Petersburg, Russia. The members of the Festival's honorary committee include some of the world's most distinguished artists such as Claudio Abbado, Daniel Barenboim, Placido Domingo, Montserrat Caballe, Zubin Mehta, Yuri Temirkanov, Mariss Jansons, Yo-Yo Ma, among others.

Stilian Kirov served as assistant conductor at the National Repertory Orchestra in 2009 and l’Orchestre de l’Opéra de Massy in France for the 2005-2006 Season. He also worked as a cover conductor for the Princeton Symphony in 2009-2010 and for a co-production between Opéra de Massy and Opéra National de Montpellier in 2005. Mr. Kirov has collaborated with orchestras around the globe including Orchestre Colonne (France), Orchestra of Colours (Greece), State Hermitage Orchestra (Russia), New World Symphony, The Thüringen Philharmonic Orchestra (Germany), National Repertory Orchestra, Sofia Festival Orchestra, Philharmonic Chamber Orchestra “Leopolis” (Ukraine), The Juilliard Orchestra, The Lansing Smphony, and others.

Mr. Kirov has graduated from the Orchestral Conducting Program of The Juilliard School, where he studied with Maestro James DePreist. He also holds a master’s degree from Ecole Normale de Musique de Paris, where his teacher was Dominique Rouits. Additionally, he has attended masterclasses with such distinguished conductors as Michael Tilson Thomas, Gianluigi Gelmetti, George Manahan and Asher Fisch, among others.

As a pianist, Mr. Kirov is a gold medalist of the “Claude Kahn” International Piano Competition in Paris, 2001 and has worked with eminent conductors such as Maestro James Conlon, Roberto Abbado and James Levine.

For Tickets 901-537-2525

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Susanna Perry Gilmore concertmaster Susanna Perry Gilmore joined the Memphis Symphony Orchestra in 1997. During her tenure with the MSO, Ms. Gilmore has frequently been featured as a soloist, including performances of the W. A. Mozart Violin Concerto no. 5 in A Major, Alban Berg Violin Concerto, Max Bruch Scottish Fantasy, J.S. Bach Brandenburg Concerti, Karl Amadeus Hartmann Concerto Funebre, W.A. Mozart Sinfonia Concertante, and Antonio Vivaldi Four Seasons. Ms. Gilmore maintains an active schedule of solo recitals and chamber performances and in August 2009 was nationally broadcast twice on NPR’s Performance Today. She currently holds the position of Distinguished Adjunct Professor of Violin at the University of Memphis, Applied Violin Instructor at Rhodes College, and Valade Violin Fellow at Interlochen Summer Arts Camp in Michigan.

During her tenure in Memphis, Ms. Gilmore’s performance abilities have contributed to a wide variety of musical programs. In October 2008 she and her husband collaborated with the Tennessee Shakespeare Company to compose, arrange and perform Celtic music for the production of As You Like It and she also arranged and adapted the music of Bela Bartok for the October 2009 production of A Midsummer Night’s Dream. She will appear in both dramatic and musical roles in the upcoming film, Narcissus, filmed on location in Lithuania and premiering Fall of 2011. Ms. Gilmore has twice been named Premier String Player in the region by the National Academy of Recording Arts and Sciences; she has appeared on recordings by Kallen Esperian, Shelby Lynne, Ruby Wilson, and the Naxos and Dorian record labels. She has also served as a faculty member and guest artist at the Sewanee Summer Music Festival, Tennessee Governor’s School for the Arts, Hot Springs Music Festival, and the Grand Canyon Music Festival.

Ms. Gilmore received her Bachelor’s in Music at Oxford University, England and spent a year of postgraduate study at the Guildhall School of Music and Drama in London, where she studied with violinist Yfrah Neaman. She then received her Master’s degree in Violin Performance at New England Conservatory in Boston under the instruction of James Buswell. Prior to her studies in England, Ms. Gilmore studied with Christian Teal at the Blair School of Music and Mimi Zweig at Indiana University.

Before joining the Memphis Symphony, Ms. Gilmore spent two years as a member of the Rackham String Quartet, a nationally touring ensemble based in California. She was also a fellow at the Tanglewood Music Festival, the Norfolk Music Festival, and the Sarasota Chamber Music Festival.

When not working as a classical violinist, Ms. Gilmore plays the Irish fiddle with her husband Barry in the band Planet Reel spends time with her two daughters Katy and Zoe and her dog Heidi. She performs on a 1776 Joseph Odoardi violin.

This year marks her fifteenth and final season with the orchestra, after which she will join the Omaha Symphony Orchestra in the position of Concertmaster. Ms. Gilmore is profoundly grateful for her years with the MSO and the opportunity to perform with its excellent musicians and for the many wonderful audiences in Memphis.

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Lawrence Edwards artistic director of the mso chorus Lawrence Edwards has been Artistic Director of the Memphis Symphony Chorus, since the 1987-1988 season. He has also been the Director of Choral Activities for the University of Memphis’ Rudi E. Scheidt School of Music since 1987; his responsibilities there include directing the vocal ensemble Sound Fuzion, the University Singers and the University Chamber Choir. He also coordinates the graduate program in conducting mentoring both masters and doctoral students pursing degrees Choral Conducting. During summers, Dr. Edwards also teaches graduate classes at Villanova University in Philadelphia, PA. He is active as a choral clinician, working with junior and senior high school honor choirs throughout the nation.

Dr. Edwards received his undergraduate degree in music from Seattle Pacific University, where he directed the Seattle Pacific Singers. He holds both Masters and Doctoral degrees in Music from the University of Illinois at Champaign, where he studied orchestral conducting with Romanian conductor Mircia Cristescu. Prior to assuming his position at the University of Memphis and the Memphis Symphony, he was Director of Choral Activities, Music Director and Conductor of Musical Theatre at West Virginia University at Morgantown.

For Tickets 901-537-2525

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Memphis Symphony Orchestra mei-ann chen, music director Violin I Susanna Perry Gilmore, Concertmaster The Joy Brown Wiener Chair

Paul Turnbow, Assistant Concertmaster The Maxine Morse Chair

Marisa Polesky, Assistant Principal Barrie Cooper, Assistant Principal Laurie Pyatt Wen-Yih You Jessica Munson Greg Morris Long Long Kang Violin II Gaylon Patterson, Acting Principal The Dunbar and Constance Abston Chair

Heather Trussell, Acting Assistant Principal Erin Kaste Christene Palmer Ann Spurbeck Neal Shaffer Lenore McIntyre* Viola Jennifer Puckett, Principal The Corinne Falls Murrah Chair

Michelle Walker, Assistant Principal Marshall Fine, Assistant Principal Irene Wade Karen Casey Michael Barar Kent Overturf Beth Luscombe Cello Ruth Valente Burgess, Principal The Vincent de Frank Chair

Iren Zombor, Assistant Principal Milena Albrecht, Assistant Principal Phyllis Long Jonathan Kirkscey 56

Jeffery Jurcuikonis Mark Wallace Susan Rice Bass Scott Best, Principal Christopher Butler, Assistant Principal Andrew Palmer David Troupe Jeremy Upton Sara Chiego Flute Karen Busler, Principal The Marion Dugdale McClure Chair

Todd Skitch Sarah Beth Hanson Piccolo Sarah Beth Hanson Oboe Joseph Salvalaggio, Principal Saundra D’Amato Shelly Sublett, Assistant Principal English Horn Shelly Sublett Clarinet James Gholson, Principal Rena Feller Nobuko Igarashi Bass Clarinet Nobuko Igarashi Bassoon Jennifer Rhodes, Principal Michael Scott Christopher Piecuch www.MemphisSymphony.org

Contrabassoon Christopher Piecuch

Tuba Charles Schulz, Principal

Horn Samuel Compton, Principal

Timpani Frank Shaffer, Principal

The Morrie A. Moss Chair

Robert Patterson Caroline Kinsey Ion Balu*

Percussion David Carlisle, Principal Ed Murray, Assistant Principal

Trumpet Scott Moore, Principal

Harp Marian Shaffer, Principal

The Smith & Nephew Chair

Susan Enger J. Michael McKenzie Trombone Greg Luscombe, Principal James Albrecht Mark Vail

The Ruth Marie Moore Cobb Chair

Piano/Celeste Adrienne Park, Principal The Buzzy Hussey and Hal Brunt Chair

* Currently on leave.

Bass Trombone Mark Vail

For Tickets 901-537-2525

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Memphis Symphony Orchestra governance & staff Officers Paul Bert, Chair Retired Corporate Executive Ryan Fleur, President & CEO Memphis Symphony Orchestra Michael Edwards, Chair Elect Banking Consultant Bryan Jordan, Secretary First Horizon National Corp Louis Jehl, Treasurer Diversified Trust Company Michael Uiberall, Immediate Past Chair Watkins Uiberall Board Louise Barden First Tennessee Bank

Larry J. Hardy Retired Corporate Executive Scott Heppel Retired Corporate Executive Buzzy Hussey Babcock Gifts Natalie Kerr UT Medical Group, Inc Joanna Lipman Arts Advocate Alec McLean New South Capital Management Lisa Mendel Memphis Symphony Chorus Gloria Nobles Emeritus

Paul Berz

Carol W. Prentiss River Oaks Investments

Ritche Manley Bowden Arts Advocate

Robert Quinn FedEx

Dr. Karen Bowyer Dyersburg State Community College

Dr. Charles Schulz Memphis Symphony Orchestra

Austin Byrd Smith & Nephew

Janet Seessel Arts Advocate

Darrell Cobbins Universal Commercial Real Estate

Charles Shipp Architect

Mark Crosby Crosby & Higgins LLP

Jim Vining Vining Sparks

Billie Jean Graham Memphis Symphony League

Anneliese Watts Morgan Keegan

Steven L. Guinn Highwoods Properties

Jeff Weintraub Weintraub, Stock & Grisham

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Past Chairs Dunbar Abston, Jr. Newton P. Allen, Esq.* Walter P. Armstrong, Jr.* Leo Bearman, Jr., Esq. Troy Beatty* Paul Bert Jack R. Blair Robert L. Booth, Jr. Judge Bailey Brown* Robert E. Cannon* George E. Cates Charles P. Cobb, Esq.* Nancy R. Crosby* George E. Falls, Jr. David B. Ferraro Lewis E. Holland William F. Kirsh* Martha Ellen Maxwell Dr. Joseph Parker* G. Dan Poag Thomas M. Roberts Jeff Sanford P.K. Seidman* Michael Uiberall Joseph Weller Dr. Russel L. Wiener (*deceased) Board Emeritus Gloria Nobles Administration Ryan Fleur President & CEO

Rodney Gilchrist Technical Support Artistic Engagement Brandon Knisley Vice President of Artistic Engagement Jenny Compton Music Librarian Laura Mirahver Orchestra Personnel Manager Susan Miville Director of Musician Engagement Doug Whitaker Director of Operations Patron Engagement Nicki Inman Vice President of Patron Engagement Denise Borton Director of Patron Engagement & Marketing Nicole Davis Patron Engagement Manager Erica Eason Patron Engagement Assistant Chris Owens Patron Engagement & Advancement Manager Mandy Porch Box Office Manager

Veronica Bashbush Director of Strategic Planning & Projects

Ellen Rolfes Advancement Specialist

Accountability Anita Redden Chief Financial Officer

Grants Team Rhonda Causie Director of Grants & Innovation

Grace McAlister Finance Manager

Ricardo Callender Grants & Accountability Specialist

For Tickets 901-537-2525

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Thank You Sponsors!

The Memphis Symphony Orchestra is fortunate to have many generous sponsors whose commitment to the arts in Memphis enables us to present the quality concerts our patrons have come to expect. At this printing of Experience, the following corporations, foundations and individuals have joined us as sponsors for the 2011-2012 season.

$100,000+

$50,000-$99,999

$25,000-$49,999

Paul & Linnea Bert

Sally & Wil Hergenrader Thomas W. Briggs Foundation

Jeniam Foundation Joy & Russel Wiener

$15,000-$24,999

$10,000-$14,999

Arthur F. & Alice E. Adams Foundation

$5,000-$9,999

Carolyn & Scott Heppel Bena & George Cates Phyllis & Paul Berz

MGM Resorts Foundation

$2,500-$4,999

In Kind

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Symphony Fund 2011-2012 Maestro’s Partners $10,000 and above Maestro’s Partners welcomes annual donors of $10,000 and above. In recognition of their support, donors receive unprecedented opportunities to engage with the MSO through personalized events. For more information, please call Nicki Inman, Vice President of Patron Engagement at 537-2519.

Benefactor $5,000 - $9,999 Invitation to join Maestro Mei-Ann Chen and the orchestra on-stage for a First Tennessee Masterworks or Paul & Linda Bert Classic Accents rehearsal Personalized concierge ticket services (with waiver of service fees) Plus all below Patron $2,500 - $4,999 Invitation to MSO Annual Review meeting Invitation to the annual Season Preview Party Eight passes for free parking at the Cook Convention Center, good for First Tennessee Masterworks or Pops concerts.

Plus all below Golden Circle $1,000 - $2,499 Admission to the donors-only Golden Circle Room, during intermission, at First Tennessee Masterworks and Pops concerts.

Plus all below MSO Associates Associate $600 - $999 Invitation to a backstage tour of the Cannon Center for the Performing Arts by Ryan Fleur.

Opportunity to purchase tickets in advance Plus all below Member $300 - $599 Invitation to MSO open rehearsals Plus all below Friend $100 - $299 Two tickets to Contributor Recognition Night Acknowledgment in Experience, the MSO concert magazine, in all volumes published during the season.

Supporter Up to $99 Acknowledgment in Experience, the MSO concert magazine, in one volume published during the season.

Early notification of events.

For Tickets 901-537-2525

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Contributions Individuals, corporations, foundations, ArtsMemphis, the Tennessee Arts Commission and others make annual contributions to support our Symphony. Because the Memphis Symphony Orchestra, like orchestras throughout the country, obtains less than 30% of its income from ticket sales, these gifts and grants are crucial to our ability to provide music of the highest quality. The following community members have expressed their support for the Memphis Symphony Orchestra between July 1, 2010 and August 15, 2011. We are most appreciative.

Virtuoso - ($100,000 + ) Anonymous (2) ArtsMemphis FedEx Corporation First Tennessee Bank First Tennessee Foundation The Andrew W. Mellon Foundation Impresario - ($50,000 - $99,999) Paul & Linnea Bert Hyde Family Foundations Mr. Milton T. Schaeffer Tennessee Arts Commission Visionary - ($25,000 - $49,999) Anonymous AutoZone, Inc. Mr. & Mrs. George E. Cates Scott & Carolyn Heppel Wil & Sally Hergenrader Jeniam Foundation Smith & Nephew Mrs. Thomas N. Stern Thomas W. Briggs Foundation Joy & Russel Wiener Pacesetter - ($15,000 - $24,999) Bank of America Charitable Foundation Baptist Memorial Health Care Corp.

Phyllis & Paul Berz Buzzy Hussey and Hal Brunt Kim & Bryan Jordan Marion & James McClure National Endowment for the Arts Susan & Robert J. Quinn Roadshow BMW, Inc. Mr. & Mrs. Arthur Seessel III The Scheidt & Hohenberg Families SunTrust Bank Sustainer - ($10,000 - $14,999) The Arthur F. and Alice E. Adams Charitable Foundation American Express Baker Donelson Bearman Caldwell & Berkowitz Mr. & Mrs. Mike Bruns Kitty Cannon Mr. & Mrs. Robert E. Craddock Elvis Presley Charitable Foundation Kemmons Wilson Family Foundation Andrew R. & Anne H. McCarrol Phillip & Mabel McNeill Morgan Keegan & Co., Inc. Northwestern Mutual Financial Network

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Pinnacle Airlines, Inc. Regions Bank Craig A. Simrell & Mark Greganti Bonnie & Chapman Smith Henry Turley Andie & Michael Uiberall Watkins Uiberall, PLLC Mr. & Mrs. Joseph C. Weller Benefactor - ($5,000 - $9,999) Violet Apperson Belz Enterprises Mr. & Mrs. Marion S. Boyd, Jr. Buckeye Technologies, Inc. Bill and Foy Coolidge Diversified Trust Mike and Carolyn Edwards Dr. Suzanne Gronemeyer & Mr. Ellis Delin Guardsmark, Inc. Pam and Steve Guinn Larry J. Hardy Lowry Howell International Paper Foundation Dorothy O. Kirsch J. W. & Emily McAllister MGM Resorts Foundation NewSouth Capital Management nexAir Schadt Foundation, Inc. Charles & Nino Shipp Ann & Jim Vining Jack & Cristina Ward Patron - ($2,500 - $4,999) Amro Music Stores Ann and Gordon Getty Foundation Jack & Kathleen Blair Florence & Scott Bohon Ms. Mei-Ann Chen Mr. & Mrs. John H. Coats Mikki & Darrell Cobbins Nancy and Chuck Coe Collier Insurance Mark Crosby Mr. & Mrs. John S. Evans Ryan Fleur & Laura Banchero Martha & Robert Fogelman and Bradley and Robert Fogelman Peter Formanek Kathy & J. W. Gibson Mr. & Mrs. Robert A. Goodman Mr. Sigmund F. Hiller Dr. & Mrs. Masanori Igarashi

www.MemphisSymphony.org

Nicki & Brian Inman Brig Klyce Ellen Cooper Klyce Mr. Edwin Koshland III Marti & Mike Laslavic Suzana & Michael Lightman Joanna & Josh Lipman Mr. & Mrs. Alexander D. McLean Dr. & Mrs. Dan Meadows Morgan Keegan & Co., Inc. Morgan Stanley Ron & Jessica Morris Zoe & Alan Nadel Mr. & Mrs. Joseph H. Powell Carol W. Prentiss CAPT & Mrs. Robert R. Proctor, USN (Ret.) Alice Rawlins Jenny & Graham Smith Mr. & Mrs. John W. Stokes, Jr. Mrs. Charles E. Walker Mr. & Mrs. Jeff Weintraub Whitehorn Tankersley & Davis, PLLC Partner - ($1,000 - $2,499) Anonymous (2) Ben & Kathy Adams Peter & Fran Addicott Kay Farrish & Roger Arango Richard W. Barnes & Peter R. Pauciello Carol & Bert Barnett Mr. & Mrs. Stanley L. Bilsky Mr. & Mrs. Emile A. Bizot III Mr. & Mrs. Richard H. Bodine, Jr. Joseph Boeckmann, Jr. Phillip Bowden & Ritche Manley Bowden Dr. Karen A. Bowyer Canale Foundation Carrefour at Kirby Woods Dan & Rhonda Causie Dr. Fenwick W. Chappell Chorus Board of Directors Mr. & Mrs. David Crippen Dr. & Mrs. Ray E. Curle Barbara A. Denley Mr. & Mrs. William W. Deupree, Jr. Lisa Dixon Jason Dunn Drs. Lawrence Edwards & D. Shane Rasner Susan & David Ellison Mr. & Mrs. David B. Ferraro Mr. William H. French III Barbara & Hiram Fry Allison Garrott Dr. Phillip George Trow Gillespie Salil & Malika Goorha Sally & Michael Gordon Mimi & Dr. Ronald Grossman

For Tickets 901-537-2525

Judith & John Hansen Dot & Jim Harwood David O. Hill & Elisabeth Hills Lunida & Lewis Holland Mr. & Mrs. Walter B. Howell, Jr. Terri & Don Hutson Lisa & Louis Jehl Dr. & Mrs. Eric E. Johnson Ms. Freddie Johnson Dr. Natalie Kerr Delores Kinsolving Dr. & Mrs. Sheldon Korones Marcia & Jerry Kronenberg Mr. & Mrs. George Lapides Florence Leffler LeMay + Lang Daniel Lewis Dr. & Mrs. William E. Long Al & Janet Lyons Mr. & Mrs. Gerald Marshall Martha Ellen Maxwell Mr. & Mrs. Michael McDonnell Freddie McEwan Jean & Michael McSwain Dr. Lisa & Dr. Maurice I. Mendel Nancy & Rodgers Menzies Gloria P. Nobles Oak Hall Marianne Parrs Robert G. Patterson, Jr. & Patricia Gray Elisabeth & Lewis Perry Chloee & Dan Poag Anca Pop Mr. & Mrs. Bryson Randolph Anita Redden Robert D. Goldfarb Foundation Dr. & Mrs. Brown Robertson Rose and Walter Montgomery Foundation Jocelyn & William Rudner Jeff Sanford & Cynthia Ham Suzanne Satterfield, M.D. & John Pickens, M.D. Charles Schulz Mary M. Seratt Mr. John Seubert Estelle & John Sheahan William W. Siler Ron & Linda Sklar Bruce & Jane Scharding Smedley Karen Spacek & William Solmson Bruce & Gillian Steinhauer Owen & Margaret Tabor Paul G. Thomas Mr. & Mrs. Corey B. Trotz Steve & Lura Turner Mr. & Mrs. William M. Vaughan, Jr. Dr. Robert Vidulich & Ms. Diane Sachs Lee & Nancy Wakeman Patricia & Charles Walker

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Contributions James Walker Dr. Jane Walters Graham Warr Dr. & Mrs. Otis S. Warr III K. C. & Jeff Warren Anneliese & William Watts Martha & Lee Wesson Barry White & Dr. Janice Garrison Mr. and Mrs. C. Thomas Whitman Mike & Gay Williams Mr. & Mrs. Charles L. Wurtzburger Associate - ($600 - $999) Charles S. & Stephanie Baer Mary Nell & Pervis Ballew Carol Beachey & Donald Voth Phyllis & Tandy Brannon Reggi and Sharon Burch Buster’s Liquors and Wines Austin Byrd Ruth Moore Cobb Joe & Martha Dooley Betty & Leiland Duke Marcia & John Dunlap Lillian & Kemper Durand Sara G. Folis Ms. Barbara A. Frederick Dot and Luther Gause Marylon R. Glass Susan Lawless-Glassman & Richard Glassman Mr. & Mrs. Jerrold Graber Jewish Foundation of Memphis Dr. Edward & Linda Kaplan Sue Kaplan Susan Kingston William D. & Marcia B. Mathis III Mickey & Pat Moran Robert G. & Jane M. Patterson, Sr. Johnny & Kim Pitts Cynthia Ross Mr. and Mrs. Joe Royer Marshall and Maida Smith Ryals & Gwendolyn Thomas Ms. Susan Van Dyck & Dr. James Newcomb Dr. Ethelyn Williams-Neal Mr. Winston Wolfe Member - ($300 - $599) Anonymous (2) Gwendolyn & John Ahlemann John & Wanda Barzizza Mary & Allen Battle Dianne & John Beauregard Mrs. Irvin Bogatin Denise & Scott Borton J. Richard Briscoe Walter Brown Gregory Buckley & Susan Berry-Buckley

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Judy & Charles Burkett Joanne & George Buzard Gary Carlson Dr. Nancy A. Chase Mary Davis Lewis Donelson Fredrika & Joel Felt Emily & Jerry Gay Mr. & Mrs. James S. Gilliland Rose and Wesley Goldfarb Robert Hanusovsky Paul & Marisa Hess Judith & Howard Hicks Bill & Marian Himmelreich Joanna Hwang William B. Keiser, Jr. Father Albert Kirk Mr. & Mrs. Lloyd C. Kirkland, Jr. Gumersindo & Marianne Leal Jennifer Lyons Jake & Harriett McFadden Lucius and Holley McGehee Mary Allie & Denton McLellan Shirley W. McRae Richard McStay Simone & Logan Meeks Stanley & Emelia Miekicki Dr. & Mrs. Lee Milford, Jr. Dave and Jeanne Miller Madeleine Moore Ed & Anne Motley Mr. & Mrs. Greg Nomland Max B. Ostner, Sr. Endowment Fund Ronald Pfeiffer Betsy Reeder Geraldine Rhodes Jimmy and Mary Jane Richens Mrs. Emily Ruch Joseph & Mary Scheuner Sheri L. Spunt, M.D. Fred & Shirley Stinson Keith & Anne Townsend Don B. Vollman Dr. William W. Walker & Ms. Mary L. Belenchia Mr. & Mrs. Alonzo Weaver, Jr. Mr. Jules Weiss Dr. & Mrs. Benton Wheeler William & Cheyenne Widdop Mary & Rene Wolf Dr. Herbert D. Zeman Friend - ($75 - $299) Anonymous (13) Mack Acuff Marilyn Albert John Albertson Sylvia G. Alimena Frank Anthony

www.MemphisSymphony.org

Dot Arata Dr. & Mrs. Philip Aronoff Clayton Baker Dr. & Mrs. George I. Balas Mr. Gary Baldwin Sue & A.E. Balkin David & Debbie Balling George & Carol Barnes Robert Bartolotta & Ellen Hutchinson-Bartolotta Mrs. Frank Barton, Jr. Dr. & Mrs. Tom Beasley Ann Bell Ernest Bell Mr. & Mrs. Jack A. Belz Ron & Anise Belz Kathryn & William Bendall Eugene Bernstein Dr. Karen Berry Flona & Lance Binder Dr. & Mrs. H. Delano Black Clark & Yolanda Blatteis Modine & Lee Bolen Jan & John Boudreaux Jennifer Brady Augustus Brown Anne Brown Mr. and Mrs. Monte & Grace Brown Whitney Brown Deana Brunjes Dr. & Mrs. Paul Burgar Mr. & Mrs. Gregory E. Busby Linda Butler Eleanor & Gerald Byrne Mr. & Mrs. Irvin Califf Ricardo Callender Dr. Patty & Dennis Calvert Cham & Hazel Canon Daniel Case Ruby Chittenden Billy J. Christian Parrott Christina David Ciscel Andrew & Julie Clarke Chuck & Scottie Cobb Allen E. Cohen Jenny & Samuel Compton Jerry Conway Jeff & Lisa Cook Mike & Jane Coop Mr. & Mrs. William Craddock Laura & Robert Crane Ann & Drury Crawley Elaine & Loren Crown Susanna & Daniel Cullen Dale & Gina Cunningham Sally Damron Diane & Joe Davis Karen Davis

For Tickets 901-537-2525

Marilu Davis Steve Davis Kathryn Deshpande & Jon Katze Lisa & Timothy DiScenza Ann Dixon Drs. Robert & Heather Donato Jed Dreifus Dr. Michael R. Drompp Anne Dugan Betty Jo & William P. Dulaney Mr. & Mrs. Douglas Duncan Earline Duncan Teresa Dunlap Betty & Robert Ebbers Ruth Edmonds Patti & Lew Ellis Veronica Engle Lillian & Thomas Ernst Dr. & Mrs. John Fain Eddie Felsenthal James & Sue Ferguson Ms. Pat Fernicola Nita Faye & Brooke Ferris Walter Fields Tanya Fitts Jackie & David Flaum Turner Foster Desi Franklin Hugh Fraser Caroline Fruchtman Christine & William Fulliton Virginia Gandy Kathleen C. Gardner Mr. & Mrs. E. W. Gaudet, Jr. Robyn & Ted Gibboney Ann & Marsh Gibson Jeremy Gill & Amy Clithero Gill Mary Gill Harriett Gillis John Gilmer Barry Gilmore & Susanna Perry Gilmore Capt. & Mrs. James P. Googe, Jr. Billie Jean Graham Adam & Amy Grossman Gerard & Alessandra Grosveld Phyllis Guenter Dorothy Gunther Pugh Bela & Nan Hackman Mr. Reb Haizlip Clarence & Harriett Halmon Doug Hamik Robert Hamilton Maurice Hamm Thomas Harrison III Albert Harvey Diane Hawks Dr. Jean S. Hayden Janet D. Held

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Contributions Emil Henry Martha & Robert S. Hester, Jr. Sara Holmes Dr. & Mrs. Horace K. Houston, Jr. Dr. G. Leon Howell James Howell Julia Howell Mr. & Mrs. Jerry L. Huff Bobby and Eva Hussey Mr. & Mrs. Antonino Incardona Susan & Frank Inman Mr. & Mrs. James B. Jalenak Ann & David James David & Ann James Dr. & Mrs. Russell James Mr. David Jennings Betty Jones Mr. & Mrs. Robert K. Jones Betty Lou & Warren Jones Kathy Junkin Tom and Anne Marie Kadien Helen & J.D. Kelly Don Kern Mr. & Mrs. Jerry D. Kirkscey Ms. Yoriko Kitai Janie & Martin Kocman William & Betty Koval Barry Kuhn Nancy & Brian Kuhn Michael & Diane Kuhn Bobbie Kyle Mr. & Mrs. Bob Laman Kitty and Howard Lammons Dr. & Mrs. Mack A. Land Mr. & Mrs. Pierre T. Landaiche III Frank M. Langford, Jr. James W. Langston Ms. Demetra Lawrence Mr. Shelby R. Lee III Sandra Leftwich Kristin Lensch & Tim Huebner Dr. & Mrs. Michael J. Levinson Jean & Melvyn Levitch Mr. & Mrs. Lester F. Lit Col. George M. Livers Aron Livnah & Rose Merry Brown Mrs. Robert H. Lockwood Michael Lubiani Mrs. Esther K. Lubin Mr. Joseph Luttrell Jose & Nancy Magallanes Jeanine Mah Mr. Allen T. Malone Cameron Mann Charles & May Lynn Mansbach Mr. & Mrs. Jack H. Marks Frank & Mary Markus Nelda & Freeman Marr

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Nancy Masterson Kris & Lori Matula Ethel T. Maxwell Robin Mayhall Diane & Kit Mays Jill & Tibor Mazar Grace McAlister Michael McCanless Peggy & Don McClure, Jr. Dave McConnico Sandra & Lynn McCorry Marion McDonald Jeffrey McEvoy Jeremy C. McGee Sylvia & Ron McSwain T. Medlin Diane Meess Dr. Thomas E. Merchant & Ms. Martha K. Tibbs Rita Mercille Mr. & Mrs. John E. Minton Dr. & Mrs. David M. Mirvis Susan Miville Mrs. Houston Niller Moore Alan’s Carpetland Ken Neill Stephen & Mary Nelson Drs. Thomas J. & Monika Nenon Lytle W. Nichol Julie & William Nicholson Ben Nicol Cecile & Frederick Nowak Mr. & Mrs. J. A. O’Neill, Jr. Michael Ostien C. P. Owen Jr. Christopher A. Owens Mr. Robert C. Owens Joy Ozbirn Bill and Roylyn Parks Gaylon McKay Patterson Eugene Pearlman Ms. Margaret Philbin Mr. & Mrs. Tom Phillips W. Phillips William Phillips Hajnal & Lawrence A. Pivnick O.C. Pleasant, Jr. Charles & Carole Plesofsky Josh & Amy Poag Marianne Popper Mr. & Mrs. Robert Propst Gay Quaintance Mary Alice Quinn Brenda & Robert Rachor Mr. & Mrs. Neil Ringel Mr. & Mrs. Curtis E. Ringold Ellen Rolfes Dr. & Mrs. E. William Rosenberg Dr. & Mrs. Richard T. Ross

www.MemphisSymphony.org

Martha H. Routh R. H. Routon Thelma Rudd Barbara & Bill Runyan Vincent Samuel Sandy & Beth Schaeffer Marcia Schlesinger Jean & Phil Schmidt Mary Lynn Scoggins Joan Senhausen Douglas Seymour Jill & Scott Shanker Phil & Fran Shannon Mr. Roy Shepherd Bonnie and Bill Siler Kenneth & Mary Sipley John H. Sligh Richard & Michelle Smeyne John Snowden Charles & Mary Stagg Shannon Stanley Jill & Kenneth Steinberg Fred & Joan Stephenson Diane D. Steven Betty & Vaughn Stimbert Leslie Stratton Harriett Surprise Denise Taylor Robin Taylor Mrs. Janet Templeton Dr. & Mrs. Terry Templeton Heather L. Tetleton The Pillsbury Foundation John J. Thomason, Esq. Ashley & Todd Tobias Barbara B. Turner Joan & James Vogel Mr. & Mrs. David S. Waddell Peggy & Dennis Waleri Sonia Walker Evelyn Walpole Gerald & Julie Walton Nicole Ward Dick & Dianne Warder Matilda Washington VistaCare Health Services Inc. Susan S. Webb Dr. Lawrence Weeda, Jr. Judge & Mrs. Bernie Weinman Ira & Deborah Weinstein Harry Wellford Diane & Walker Wellford Bill Weppner Julia Wilkins Elsa & David Williams Tige Williams Mr. & Mrs. Page Williamson Mrs. Barbara H. Wilson

For Tickets 901-537-2525

Elise & Robert Wilson Patricia Wilson Tripp Stewart Wingate Oneida Wittichen Jerry Wolfe Josephine M. Wood Eugene Woods Nick and Charlotte Woodward Dorothy Work Peggy Wroten Berje & Katherine Yacoubian Mr. & Mrs. William M. Yandell III Supporter - (Less than $75) Anonymous (7) Mr. Kazimierz Abrahamczyk Ray & Nancy Roosevelt & Jo Ann Allen Ruth Allen Lisa Anderson Genni Arledge Art and Garden Club Elsie Bailey Thomas Bailey Mary Baird William Baker Tom Ballard Bernice Banes Donna Barnhart Joe & Gayle Barnwell Mitchell Bartkiewicz Veronica Bashbush Mr. Herbert Battle Jane Battle Becky Bayless James Beck Dea & Richard Beckwith Robert Bell Sheila Bentley Katherine & Stephen Berger David & Betty Blaylock Ms. Joanne Bloom Ronald Bonner Charles & Mary Booker Ray Brandon Mr. & Mrs. Robert L. Brittingham Kaye D. Brooksbank Ann Brown Caroline Brown Robert & Beverly Buchalter Roger & Jill Buckmaster Phyllis Burkett C. J. & Joyce Burti Marcia Buster Raymond Butts Tom Callihan & Robin Mayer Mrs. Louise Cannon John Caradonna

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Contributions Sally & Charles Carmichael Robert Chandler Steven Chow Gina Christian Diana Clark Eulah Clarke Ms. Lee Clarke Brian Clement Charles Clerget David & Amy Cluck Thomas Coffelt George & Jan Colgate Fred Collins Thomas & Marcia Collins Billy & Sara Colvard Anne Connell David Cooper Theresa Corbett Jim Corter Jewell Crowson Ms. A. J. Daneman Susanne Darnell Data Facts Jean M. de Frank Carolyn & Kevin Delaney Mark & Tanya Dely George Douglas Amy Downing Alan Doyle Regina Duberstein Denise H. DuBois Mr. & Mrs. Duckworth Robert Dumais John & Lissa Duston Dr. Donald L. Edwards Steve Ehrhart Dr. Charles M. Elliott Graves Enck Dolores & Arnold Engelberg Lawrence A. Estes John Faulconbridge Vlasta Fedinec Helen Ferguson Robert & Brenda Ferralasco Linda Finch Laura Firrone Erika M. FitzGibbons Yvonne Fournier Katherine Fox Ms. Kathie Fox Rebecca Fraser Mike Freeman Joan D. Freund Bill Friedl Kim & John Gaskill Robert Gilbert Sharon Gilbert Mr. Marvin Glatstein

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Richard Graff Piper Gray Sheri & Donald Grear Ms. Amy Greenberg Ms. Thelma W. Greenberg Mrs. Rick Grove Michael Halliburton Paul & Agnes Hanson Dr. & Mrs. O. Brewster Harrington Deborah Hayes Deborah Hester Ms. Jane Hester The Renaissance Music Circle Donna P. Holliday Josh Howard Sandra Hunt Margaret Hurley Linda Hyde Matt Blake & Nobuko Igarashi Integrated Learning Solutions Memphis, LLC Larry & Diane Jackson Daisy Jefferson Mr. & Mrs. Ben R. Johnson Inez Johnson James & Theresa Johnson Robin Johnson Shelby Johnson Mr. Jeff Johnston Charlie Joiner Cynthia Jones John & Anne Jones John & Emelyn Joyner Cantor & Mrs. John M. Kaplan Mrs. Susan Karpie Philip & Carol Keith Donna & John Kelly Richard Kessler Kathryn King and Mo Fite Dr. & Mrs. Morris D. Klass Virginia Klettner Kalyan Krishnamurthi Daniel Krumer Diane & Mark LaCroix Paolo & Linda Laudadio Xue Leng Marc Levells Peter Limper Mary Livaudais Gloria J. Love Carol Lowry Kyle Lynch Mrs. Floyd Lyons Emilie Maheu Jo Ann Mamelli Frances Manley Mr. & Mrs. Eugene Mathes Shannon G. Matta, Ph.D. Mary Alice McAlister

www.MemphisSymphony.org

Jan McClain Brother Joel McGraw Martha and I. W. “Dan” McGuire William P. McLemore George McMahon Randy Meeks Barbara H. Migliara Lee Miller Kenneth & Julie Mills Linda Mohns Leroy Mosby Mr. & Mrs. Oscar Moser, Jr. Harry & Vivian Murchison Martha Myers Gary Nesbit Irene & Svend Nielsen Elizabeth Norworth Mr. & Mrs. Herbert L. Notowich Dr. & Mrs. Stewart L. Nunn Mr. & Mrs. Thomas Oates Rose Mary Pace Gertrude Parker Steve and Sue Parr Clyda Parrish Binford Peeples Dana Sue Percer Thomas Wright Pillow Peter Pollard Paula Posey Kelly Pouncey Leon & Ruby Powell Kara Preston Libby and Howard Pritchard Mrs. Van Pritchartt Lana & Gary Prosterman LTC Judith C. Pruitt Erin Raccah Mark Ratay Lynn Rawlings Nancy Reed Ralph Reed Joseph Rimstidt Mr. & Mrs. Larry Robertson Gwelyne Robinson Luther Robinson Bonnie & Joel Robison Marian & Stan Roller Elena Ross James B. Rothman Aileen Ruben Amy & William Ryan Leonid Saharovici Konnie K. Saliba-Reid & Dennis Reid Marion L. Samuel Mark & Barbara Scarbecz Cathy & Ray Schwill Michael & Kelly Scott Marian & Frank Shaffer

For Tickets 901-537-2525

Dr. & Mrs. Stuart Shanker William Short Carl Shorter Bill & Cheryl Simco Shirley Simha Susan & Wilburn Simmons Leeann & John Sloan Rochelle & Avron Slutsky Betty Smith Mr. Bruce Smith Cecil Smith Ritchie and Patti Smith Ms. Dorothy Spikner Eugene Spiotta Trish & Richard R. Spore III Mary Steele Dorothy Steen Eugene Stengel David & Alicia Stires Maury Strauss Joy & Robert Straw Sarah Sullivant Hermione S. Swindoll Carol W. Tabor Joseph J. Tamul Michael Taube Daniel Taylor Herbert & Diane Taylor Jane & Reede Taylor Lavern Terrell David Tipton Touchdown Club Elaine Turner Less Doll Twillie Jane Umfress Mr. & Mrs. Bob and Pam Van Doren Janice Vanderhaar Mr. Erick Vasquez Geraline Wardlow Maryann Wehrum Marcia B. Wells James Werkhoven Jennifer & Brian Wilder Mr. & Mrs. Robert M. Williams, Jr. Betsy Wilson Mrs. John M. Wilson Gayl Woityra Marianne & Berkley Wolff Dr. Richard L. Wooten Mary & Lucius Wright

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Honorariums and Memorials

The following Honorarium and Memorial contributions were made to the Symphony Fund between July 1, 2010 and August 15, 2011.

In Honor of Michael Barar Anonymous In Honor of Mr. and Mrs. Ron Belz Anonymous

In Memory of Nancy Crosby Sally & Charles Carmichael Betty & Vaughn Stimbert Owen & Margaret Tabor Joy & Russel Wiener

In Honor of Paul & Linnea Bert Mr. & Mrs. George E. Cates Anneliese & William Watts

In Memory of Charles Crump Mr. & Mrs. David B. Ferraro Sandra Leftwich

In Honor of the Birthday of Paul Berz Sally & Michael Gordon

In Honor of Virginia Cupples Kathryn King and Mo Fite

In Memory of Dan Bookoff Dr. & Mrs. Dan Meadows

In Memory of John Dennington Dr. & Mrs. Horace K. Houston, Jr.

In Honor of George and Bena Cates Mr. and Mrs. C. Thomas Whitman

In Memory of Jan Donelson Jack & Kathleen Blair

In Honor of Mei-Ann Chen Joseph Boeckmann, Jr. Mr. & Mrs. George E. Cates

In Honor of Jane S. Dutcher Kitty Cannon Norma Rogers

In Honor of Ruth Cobb Jane Battle Chuck & Scottie Cobb Dr. & Mrs. Horace K. Houston, Jr.

In Honor of Mr. and Mrs. John S. Evans Anonymous

In Memory of Charles P. Cobb, Sr. Dr. & Mrs. H. Delano Black Anne Brown Whitney Brown Jean M. de Frank The Renaissance Music Circle Dr. & Mrs. Horace K. Houston, Jr. Marti & Mike Laslavic Diane & Kit Mays Lytle W. Nichol Gertrude Parker Frank Stubblefield Jane & Reede Taylor Joy & Russel Wiener In Honor of Sam Compton Sylvia G. Alimena

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In Honor of Laura, Ryan, Robert and Anna Fleur Mr. & Mrs. George E. Cates In Memory of Leonard Fry Joy & Russel Wiener In Honor of Thomas Garrott Bill and Foy Coolidge In Memory of Reverend George Gracey Marti & Mike Laslavic In Honor of Pam and Steve Guinn Anonymous In Honor of Scott & Carolyn Heppel Piper Gray

www.MemphisSymphony.org

Honor/Memorial Contributors List Honor/Memorial Overture 11-12

In Honor of Dr. Kenneth Hopkins Frank Anthony

In Memory of Lewis Kavanaugh McKee The Renaissance Music Circle

In Honor of Robert E. Horrell Piper Gray

In Honor of Memphis Symphony Chorus Board of Directors Dr. Lisa & Dr. Maurice I. Mendel

In Honor of Mrs. Buzzy Hussey & Dr. Hal Brunt Bill and Foy Coolidge In Memory of Veronica Hyde The Renaissance Music Circle In Honor of Dorothy O. Kirsch Dr. Edward & Linda Kaplan In Honor of Mr. & Mrs, George Lapides Anonymous In Honor of Marti Laslavic Jane S. Dutcher Diane & Mark LaCroix In Honor of Florence Leffler Dr. & Mrs. William E. Long In Memory of Mr. Ronnie Lightman Jocelyn & William Rudner In Honor of Joanna & Josh Lipman Mr. & Mrs. Corey B. Trotz In Honor of William and Sissy Long Dr. Edward & Linda Kaplan Mary Alice Quinn

In honor of Nancy & Rodgers Menzies Anonymous In Memory of Madeleine Moore Mrs. Houston Niller Moore Bonnie & Chapman Smith Peggy & Dennis Waleri Mrs. John M. Wilson In Memory of Helen Mosby Dr. & Mrs. H. Delano Black Dr. Edward & Linda Kaplan Chloee & Dan Poag In Honor of Gloria Nobles Bill and Foy Coolidge In Memory of Dr. Joseph Parker Joy & Russel Wiener In Memory of Virginia Peterson Joy & Russel Wiener In Honor of Dan and Chloee Poag C. P. Owen Jr. In Honor of Susan and Bob Quinn Betsy Wilson

In Honor of Gregory Luscombe Kathryn King and Mo Fite

In Honor of Ellie Rencher Mary Alice Quinn

In Memory of Dorothy March Gayl Woityra

In Honor of Ellen Rolfes Mr. & Mrs. William S. Craddock

In Honor of Myron Mau Mr. & Mrs. Arthur Seessel III

In Memory of Ted Rust Joy & Russel Wiener

In Memory of Margaret McClanahan Marti & Mike Laslavic

In Honor of Jimmilou Rye Kathryn King and Mo Fite

For Tickets 901-537-2525

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Honorariums and Memorials In Honor of Rudi Scheidt, Sr. Mr. & Mrs. Arthur Seessel III Watkins Uiberall, PLLC

Marian & Frank Shaffer Anonymous Mr. & Mrs. Corey B. Trotz

In Memory of Carroll Seabrook-Leatherman Mr. & Mrs. John S. Evans

In Honor of Mr. and Mrs. Michael Uiberall Paul & Linnea Bert Mr. & Mrs. George E. Cates Jeff & Lisa Cook Larry J. Hardy Scott & Carolyn Heppel Suzana & Michael Lightman Dr. & Mrs. Stuart Shanker Anonymous

In Honor of Marian & Frank Shaffer Josephine M. Wood In Memory of Steve Shook Chorus Board of Directors In Memory of John Wesley Smith Chuck & Scottie Cobb

In Honor of the 50th Anniversary of Ann and Peter Spurbeck Jane S. Dutcher Barry Gilmore & Susanna Perry Gilmore Jimmy and Mary Jane Richens

In Honor of the Marriage of Michelle Walker and Paul Pellay Paul & Linnea Bert Dan & Rhonda Causie Dr. & Mrs. Ray E. Curle Mr. & Mrs. John S. Evans John & Emelyn Joyner Dr. Edward & Linda Kaplan Sonia Walker

In Memory of Robert A. Spurbeck Susan S. Webb

In Memory of Nancy L. Welsh Mr. & Mrs. John S. Evans

In Memory of Jake Stiles Diane & Mark LaCroix

In Honor of Joy Brown Wiener Dr. & Mrs. H. Delano Black Mrs. Van Pritchartt

In Honor of Dr. and Mrs. Chapman Smith Anonymous

In Honor of the Marriage of Parrish & Loraine Taylor Dr. Charles M. Elliott

In Honor of Russel L. Wiener Dr. & Mrs. H. Delano Black

In Honor of Randy Turner Bill and Foy Coolidge

In Honor of Corinne M. Wilson Betsy Wilson

In Memory of Jay Uiberall Ron & Anise Belz Paul & Linnea Bert Jason Dunn Mr. & Mrs. David B. Ferraro Pam and Steve Guinn Buzzy Hussey and Hal Brunt Dr. Edward & Linda Kaplan Marti & Mike Laslavic Ellen Rolfes 72

www.MemphisSymphony.org

Musician Lives MSO Mission Through Mentoring For principal violinist Jennifer Puckett, mentoring to middle school student musicians was another way to live the mission of the MSO­—to create meaningful experiences through music. However, she had no idea that she would learn a lesson in how music can transform lives.

Jennifer began to mentor Cindy, a student at The Soulsville Charter School. Cindy had a passion for music, but she was shy and had never played the violin before. New to the orchestra class, she struggled to catch up with other more-experienced students.

Thanks to Jennifer’s coaching, Cindy made great progress throughout the year. Jennifer’s guidance also encouraged other students in the class to mentor Cindy. From that point forward, Cindy found the motivation and self-assurance to learn her craft and make meaningful music. By the end of the year, Cindy felt confident enough to perform in concert with her peers. Her hard work paid off!

Cindy’s story is one example of how our talented musicians touch the lives of citizens through innovative, community-supported programming. Students across the city can experience personal growth like Cindy’s, but only with your help. Call 537-2500 to learn more about how the MSO is creating meaningful experiences through music.

Advertisers For information about advertising in Overture, call Denise Borton at 537-2516

American Express................................................... 5 ArtsMemphis..........................................................21 Ballet Memphis......................................................25 Baptist.......................................................................51 Busters........................................................................ 5 CA Media...................................Inside Back Cover David Lee Financial..............................................50 Duncan-Williams, Inc..........................................51 FedEx........................................................................... 7 First Tennessee........................................................ 8 For Tickets 901-537-2525

Germantown Performing Arts Center..........22 Highwoods Properties........................................75 Mednikow Jewelers........................... Back Cover Memphis Boy Choir.............................................20 Memphis University School.............................11 Meeman Center....................................................50 Roadshow BMW................... Inside Front Cover Tennessee Arts Commission............................13 Tennessee Shakespeare Co................................ 6 Theatre Memphis.................................................78 73

Letter from the League President The 2011-2012 season for the Memphis Symphony Orchestra was filled with meaningful experiences and outstanding music from the Masterworks to Pops concerts to Classic Accents as promised by Mei-Ann Chen, our director.

We are encouraged as we embark upon our new season because all of you have supported the Symphony not only through your generous donations, but also your time, talent and dedicated work to make ours the best Symphony ever.

The Memphis Symphony League continues to provide an avenue of strength to our Memphis Symphony Orchestra and we hope you will join us for our upcoming events on Friday, October 14, “Breakfast at Tiffany’s and The Little Black Dress,” and for our Christmas Gala on Saturday, December 10, in the lobby of the Crescent Center catered by the Crescent Club (more about these events later).

As we renew our spirit of commitment to the League and the Symphony we ask you to join with your membership. Last season we gave the Memphis Symphony $25,000. With your help, we can make it $50,000 this year.

Billie Jean Graham President Memphis Symphony League

2011-2012 Memphis Symphony League Membership Form (PLEASE PRINT) Name _____________________________________ Spouse’s Name _________________________________________ Address __________________________________________________________________________________________ City _______________________________________________ State _____________ Zip _________________________ Home Phone _____________________ Work Phone _______________________Cell Phone ______________________ Fax _______________________ E-mail Address _______++++______________________________________________

PAYMENT

_____ I have enclosed a total of $______ (Single $40; Couple $50)

_____Check

Check# ________

_____Credit Card

Visa/Mastercard CC#_________________________ Exp. _________

Interested in volunteering?

Please mark the following events/activities in which you are interested: _____ Education Projects

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_____ Concert Concierge

_____ Special Events

www.MemphisSymphony.org

Š 2010 Highwoods Properties

Memphis’ First LEED-Certified Office Building Built by the NAIOP 2009 Developer of the Year

Triad Centre III at 6070 Poplar Avenue features earth-friendly materials, water-saving systems, improved lighting, and remarkably lower utility bills. For more details on how greener offices can benefit your business environment, call (901) 683-2444.

The Memphis Symphony Orchestra is a proud member of the League of American Orchestras For Tickets 901-537-2525

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Patron Information Your attendance constitutes consent for use of your likeness and/or voice on all video and/or audio recordings and in photographs made during Symphony events.

Box Office Location/Hours: The Box Office is located at 585 South Mendenhall Road, between Cadence Bank and Folk’s Folly. We are open weekdays 9 a.m. to 5 p.m. and on concert Saturdays from 10 a.m. to 2 p.m. The Box Offices at the concert venues open 90 minutes prior to each performance and remain open until intermission begins.

Please note that for tickets for concerts at the Cannon Center on the night of concerts must be purchased through the Ticketmaster Box Office located in the east hallway.

Services and Will Call for MSO patrons are located near the box office at each venue.

Venues: Saturday First Tennessee Masterworks Series and Memphis Symphony Pops Series concerts are performed at the Cannon Center for the Performing Arts, 255 North Main Street in downtown Memphis. Paid parking is available in the Cook Convention Center garage or surface lots. (Symphony in the Gardens is performed at the Dixon Gallery and Gardens at 4339 Park Ave.) Friday performances of the Paul and Linnea Bert Classic Accent Series are at the Wiener Theater at Hutchison School, 1740 Ridgeway Road in east Memphis. First Tennessee Germantown Sundays are performed at the Germantown Performing Arts Centre (GPAC), 1801 Exeter Road in Germantown.

Free parking is available at Hutchison and GPAC. Cameras and Recording Devices: No photos or video recordings are allowed during the performance due to potential injury to performers on stage Concert Preview: Free pre-concert lectures begin 45 minutes prior to each First Tennessee Masterworks series performance. Join us in the Cannon Center west mezzanine and the GPAC Dance Studio to get the inside scoop on the upcoming performance.

Coat Check: In the lobby of the Cannon Center and GPAC. Wheelchair Seating: Wheelchair seating is available upon request at each of our concert venues. Please call our Box Office for more information.

Ticket Information Subscriptions: Buy a series and save! Subscribers get the best seats in the house.

Plan for the music you love with our First Tennessee Masterworks, Pops, and Paul & Linnea Bert Classic Accents series. As a subscriber, you will not only save off the single ticket price but also enjoy priority seating and ticket flexibility! Subscribers have the opportunity to purchase the best available seats for your series before tickets go on sale to the general public. You also have the same great seats all season and every year!

Subscribers also have the opportunity to purchase tickets for special events before they are available to the general public! New season ticket patrons receive up to a 50% savings off the single ticket price. Returning subscribers receive up to a 33% discount for their second year and established (3+ year) subscribers save 20% off the full price.

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www.MemphisSymphony.org

For subscriber services or to order, call the Box Office at (901) 537-2525 or visit www.MemphisSymphony.org.

Single Tickets: Tickets for all events are available through the MSO Box Office by phone, in person, or online at www.MemphisSymphony.org. Please note that vouchers and coupons may only be redeemed at the MSO office and must be done in person.

Gift Certificates: Give the gift of music! Gift certificates to the Memphis Symphony Orchestra may be purchased in any denomination. Please call the Box Office at (901) 537-2525 for details.

Refunds/Exchanges: There are no refunds or exchanges on single ticket purchases or returned tickets. Subscribers have the benefit of exchanging their subsription tickets.

All subscription ticket exchanges are subject to availability. Ticket exchanges must be made 24 hours before the date of the original performances.

Lost Tickets: Lost subscription tickets can be reprinted by calling the Box Office at (901) 537-2525 or visiting the Box Office prior to the concert.

Student Tickets Student Tickets are available for $5.00 (plus applicable processing fees) to regular series concerts based on availability. Please come to the box office prior to the performance.

Students must show a valid student ID. A maximum of 1 ticket per ID is available. All discount tickets are subject to availability.

Group Discounts: For more information, call our Box Office at (901) 537-2525.

Other Information • Please turn off all cell phones and pagers when the performance begins.

• Food and beverages are not allowed in the concert halls.

• Lost and Found is located at the box office. Management is not responsible for lost, stolen or damaged property.

• Restrooms are located off the main floor, lobby and balcony areas of the concert hall.

Facilities for wheel chair bound patrons are also available in each main floor restroom.

First Aid • Contact an usher for assistance • Emergency Evacuation – In case of a fire or other emergency, please use the exit nearest to your seat, indicated by a lighted Exit sign. This is the shortest route out of the performing arts center. Please be sure to walk to the exit – do not run.

All concerts and performers are subject to change with or without notificiation.

For Tickets 901-537-2525

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Join us for the fun of it!

2010-2011 production photos by Skip Hooper.

Our 92nd consecutive season

bye bye birdie Aug 19 – Sept 11, 2011

Nationally recognized by AACT in 2011 as an outstanding community theatre taking major steps in new directions.

With a variety of entertaining shows in our 2011-12 season, see the classics, comedies, musicals and new works on the Lohrey Stage and Next Stage.

Memberships include six tickets to use in any combination on any unrestricted show and Member Card benefits are all part of your membership, including discounts on adult tickets to A Christmas Carol, TM’s special events and ShoWagon children’s camps. A Christmas Carol* is not part of the season membership but season members get discounts on adult full price tickets. Season Memberships may be purchased through November 23, 2011 for only $120.

Purchase tickets online www.theatrememphis.org or call 682.8323

glengarry glen ross Sept 16 – Oct 2, 2011 JAne AuSten’S emma Oct 7 – 23, 2011 sondheim concert nov 4 – 20, 2011 a christmas carol* Dec 2 – 23, 2011 the importance of being earnest Jan 27 – Feb 12, 2012 circle mirror transformation Feb 17 – March 4, 2012 chicago March 9 – April 1, 2012

Season sponsored by the Arthur F. and Alice E. Adams Foundation Theatre Memphis receives generous support from

hedda gabler April 6 – 22, 2012 noises off April 27 – May 13. 2012 no, no, nanette June 8 – July 1, 2012

unrivaled performance. unending applause.

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www.MemphisSymphony.org

You can almost hear the applause.

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www.MemphisSymphony.org