Experience Magazine 2016-2017 Vol 2

2016-2017 | volume 2

Experience

BMW 5 Series

contents roadshowbmw.com 901-365-2584

CONCERT EXPERIENCE Robert Moody, Principal Conductor.......................................................................................................... 4 Orchestra Roster................................................................................................................................................ 6 Elvis™ at the Movies........................................................................................................................................ 9 Rachmaninoff Concerto No. 2................................................................................................................... 15 Beethoven’s Second.......................................................................................................................................23 Brahms Fourth................................................................................................................................................... 27 Mozart & Schumann....................................................................................................................................... 37 Orchestral Fireworks!..................................................................................................................................... 41 A Salute to John Williams............................................................................................................................ 51 An American in Paris......................................................................................................................................53

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PATRON EXPERIENCE

Hardin Charitable Trust.................................................................................................................................64 MSO Governance and Staff.........................................................................................................................66 Memphis Symphony League.......................................................................................................................68 Advertiser Listing..............................................................................................................................................71 Supporting Partners....................................................................................................................................... 72

Symphony Fund................................................................................................................................................ 74 Contributors........................................................................................................................................................ 75 Tributes.................................................................................................................................................................87 Patron Information........................................................................................................................................ 90 The Memphis Symphony Orchestra, Inc. is a qualified 501(c)(3) tax deductible organization funded by gifts from you, ticket sales and contracted services. We are recipients of grants from ArtsMemphis and the Tennessee Arts Commission. ©2016|2017 Memphis Symphony Orchestra 610 Goodman Rd., Memphis, TN 38152 Your attendance constitutes consent for the 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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MEMPHIS SYMPHONY ORCHESTRA | 3

ROBERT MOODY Principal Conductor

Bowl, in addition to the symphonies of Toronto, Houston, Indianapolis, Detroit, Seattle, Ft. Worth, San Antonio, Buffalo, Louisville, and, in Europe, the Slovenian Philharmonic. Summer festival appearances include Santa Fe Opera, Spoleto Festival USA, Brevard Music Center, Eastern Music Festival, PortOpera, and the Oregon Bach Festival.

Robert Moody has been Music Director of the Winston-Salem Symphony (North Carolina) since 2005, Artistic Director of Arizona Musicfest since 2007, and Music Director of the Portland Symphony Orchestra (Maine) since 2008.

Mr. Moody’s 2015-2016 season included debuts with the Vienna Chamber Orchestra and Columbus Symphony, as well as return engagements with the Memphis and Pacific Symphonies, and the Oklahoma City Philharmonic.

His most recent guest conducting appearances include the Chicago Symphony at Ravinia, and the Los Angeles Philharmonic at the Hollywood

4 | MEMPHIS SYMPHONY ORCHESTRA

Equally at home in the opera pit, Moody began his career as apprentice conductor for the Landestheater Opera in Linz, Austria. He has gone on to conduct at the opera companies of Santa Fe, Rochester, Hilton Head, and the Brevard Music Center. He also assisted on a production of Verdi’s Otello at the Metropolitan Opera, conducted by Valery Gergiev. He debuted with the Washington National Opera and North Carolina Opera in 2014.

Moody served as Associate, then Resident Conductor, of The Phoenix Symphony (AZ) from 1998 through 2006.

There he conducted a wide variety of concerts, including Classics, Chamber, Pops, Family, Handel’s Messiah, and the New Year’s Eve gala. His ability to speak with ease from the podium helped new converts to classical music and enthusiasts alike to gain a greater appreciation for orchestral

music. Audiences at his concerts grew considerably during his time in Phoenix.

Moody also founded The Phoenix Symphony Chorus, and for seven years was Music Director of the Phoenix Symphony Youth Orchestra.

Prior to Phoenix, Maestro Moody served as Associate Conductor for the Evansville (IN) Philharmonic Orchestra, and Music Director (and founder) of the Evansville Philharmonic Youth Orchestra.

Moody conducted the first professional performance of a work by the brilliant young composer Mason Bates, now Composer-in-Residence with the Chicago Symphony Orchestra, and was instrumental in the commissioning and premiere performances of several of his important new works for orchestra.

artists, including Yo-Yo Ma, Itzhak Perlman, Renee Fleming, Denyce Graves, Andre Watts, Nadja Salerno-Sonnenberg, Midori, Time for Three and Chris Thile.

His work can be heard on several commercially released compact disc recordings. He collaborated with the Canadian Brass for their “Bach” and “Legends” CDs; he is also the conductor for the CD “4th World,” highlighting the music of Native American recording artist R. Carlos Nakai (available on the Canyon Record label); and in 2010, the Winston-Salem Symphony released their performance (live from 2009) of Beethoven’s Symphony No. 9. A DVD of Beethoven Symphony No. 9 with Arizona Musicfest was released in 2012.

Maestro Moody has accompanied many of the world’s greatest performing

The Memphis Symphony Orchestra is a proud member of the League of American Ochestras.

MEMPHIS SYMPHONY ORCHESTRA | 5

Memphis Symphony Orchestra Robert Moody, Principal Conductor

VIOLIN I Barrie Cooper, Concertmaster The Joy Brown Wiener Chair Marisa Polesky, Assistant Concertmaster Diane Zelickman Cohen, Assistant Principal Wen-Yih You, Assistant Principal Paul Turnbow Jessica Munson Greg Morris Long Long Kang* VIOLIN II Gaylon Patterson, Principal The Dunbar and Constance Abston Chair Heather Trussell, Assistant Principal Erin Kaste, Assistant Principal Christine Palmer*

Jeffrey Jurciukonis Hannah Schmidt Mark Wallace BASS Scott Best, Principal Chris Butler, Assistant Principal Sean O’Hara Andrew Palmer Timothy Weddle Jeremy Upton Sara Chiego FLUTE Karen Busler, Principal The Marion Dugdale McClure Chair Chris James

BASSOON

HARP

Susanna Whitney, Principal

Marian Shaffer, Principal

Michael Scott

The Ruth Marie Moore Cobb Chair

Christopher Piecuch CONTRABASSOON

Adrienne Park, Principal

Christopher Piecuch

The Buzzy Hussey and Hal Brunt Chair

HORN

*Currently on leave

Caroline Kinsey, Principal The Morrie A. Moss Chair Robert Patterson TRUMPET Scott Moore, Principal The Smith & Nephew Chair Susan Enger J. Michael McKenzie

Ann Spurbeck

PICCOLO

Lenore McIntyre

Chris James

TROMBONE

VIOLA

OBOE

Greg Luscombe, Principal

Jennifer Puckett, Principal The Corinne Falls Murrah Chair Michelle Pellay-Walker, Assistant Principal Irene Wade, Assistant Principal Beth Luscombe Karen Casey Kent Overtur

Joseph Salvalaggio, Principal

CELLO Ruth Valente Burgess, Principal The Vincent de Frank Chair Iren Zombor, Assistant Principal Phyllis Long, Assistant Principal Jonathan Kirkscey

6 | MEMPHIS SYMPHONY ORCHESTRA

Wes Lebo

Saundra D’Amato

Mark Vail

Shelly Sublett, Assistant Principal

BASS TROMBONE

ENGLISH HORN

Mark Vail

Shelly Sublett

TUBA

CLARINET

Charles Schulz, Principal

Andre Dyachenko, Principal

TIMPANI

Rena Feller Nobuko Igarashi BASS CLARINET Nobuko Igarashi

PIANO/CELESTE

Frank Shaffer, Principal PERCUSSION

PROUD SUPPORTER OF THE MEMPHIS SYMPHONY ORCHESTRA

David Carlisle, Principal Ed Murray, Assistant Principal MEMPHIS SYMPHONY ORCHESTRA | 7

P O P S !

Elvis™ at the Movies Saturday, January 7, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts

PRESENTED BY

SPECIAL THANKS TO:

WILLIAM LANGLEY, CONDUCTOR TERRY MIKE JEFFREY - LEAD VOCALS, GUITAR, PIANO ADAM JEFFREY - PIANO, PERCUSSION, SAXES, VOCALS DEBBIE JEFFREY - KEYBOARD, VOCALS TIFFANY OKERSON - VOCALS STEVE WALSTON - DRUMS KEVIN SYNAN - BASS GUITAR, VOCALS

Fan favorite Terry Mike Jeffrey, returns to join the Memphis Symphony Orchestra for his astonishing salute to Elvis Presley.™ This all-new edition features the smash hits from your Elvis film favorites. A cinematic celebration of The King!™ Elvis Presley ™© 2016 ABG EPE IP LLC

THOMAS MICHAELS - LEAD GUITAR

8 | MEMPHIS SYMPHONY ORCHESTRA

MEMPHIS SYMPHONY ORCHESTRA | 9

Elvis™ at the Movies Saturday, January 7, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts

year, Langley was guest conductor with the Memphis Symphony Orchestra for the launch of their Orff Music Side by Side concert series, which featured a tour to 6 schools throughout the city of Memphis.

William R. Langley conductor

William R. Langley began pursuing a career as an orchestral conductor at the age of 16. In 2009, he was both founder and conductor of the Wolf River Chamber Orchestra and in 2011 established the Memphis Repertory Orchestra. Currently, the MRO is the Orchestra in Residence at the Buckman Performing Arts Center, which to date has given over 40 concerts in the Memphis Area. He recently made his debut as guest conductor with the Memphis Youth Symphony during their 50th Anniversary Season. Earlier this

10 | MEMPHIS SYMPHONY ORCHESTRA

He is currently studying at the CollegeConservatory of Music in Cincinnati, Ohio under the tutelage of Maestro Mark Gibson working toward a Master’s degree in Orchestral Conducting. This summer Langley was invited by Maestro Harold Farberman to be a fellow at the Conductors Institute at Bard College in Annandale-on-Hudson, New York. He has worked with Michael Gilbert, Aik Khai Pung, Eduardo Navega, Gianmaria Griglio, Lawrence Golan and Apo Hsu, among others.

In the 2016-2017 season Langley will continue to present concerts with the Memphis Repertory Orchestra, return to guest conduct the Memphis Symphony Orchestra and make his debut with both the CCM Philharmonia and the CCM Concert Orchestra.

Langley was the subject of a featured article entitled “Young Conductor Realizing Dreams” in the Commercial Appeal as well as the Memphis Flyer’s cover story “20<30” as one of “20 young Memphians shaping the city’s future”.

over a dozen appearances fronting the Memphis Symphony. With the blessings of Graceland/EPE, and the original orchestra charts from the official Elvis archives, he and his band blend with full orchestras in presenting their salute to the King of Rock & Roll, minus the impersonator element. Terry Mike is also a frequent guest deejay and performer on Sirius/XM’s Elvis Radio, and routinely sings with Elvis’ former band members and background singers.

Terry Mike Jeffrey’s other career highlights include: • a 1997 Emmy Award nomination (songwriting for TV’s Sesame Street)

Terry Mike Jeffrey

lead vocals, guitar, piano Veteran singer, multi-instrumentalist and songwriter Terry Mike Jeffrey began singing on stages at the age of 3.

Fronting his own band since the early ‘70’s, he has performed all over the planet. A unique entertainer singing musical styles from most genres all of his life, Terry Mike is especially known world-wide for his presentation of Elvis Presley’s music. In recent years he has performed the King’s songs with symphony orchestras across the country, including those in Detroit, Jacksonville, Birmingham, Denver, Knoxville, and

• Live performances in Italy, France, Germany, Sweden, Norway, Switzerland, England, Belgium, Holland, Denmark, Russia, Canada, and Hawaii • Musical director and starring role in Elvis - An American Musical, a New York-produced multi-media show from the producers of Grease and Beatlemania. Toured the US & Canada with a Broadway run in the late ‘80’s. His other musical theater adventures include regional productions of Beehive, Hairspray, Always Patsy Cline and a 2-year run in Stand By Your Man - The Tammy

MEMPHIS SYMPHONY ORCHESTRA | 11

Elvis™ at the Movies Saturday, January 7, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts (continued) Wynette Story, which was featured for extended runs at Nashville’s Ryman Auditorium 2001-2002 • 56 performances on TNN’s Music City Tonight w/Crook & Chase (mid ‘90’s).

A regular solo vocalist and musician on the show, TMJ shared the stage with country music legends such as Eddy Arnold, Shania Twain, Ray Price, Toby Keith, Kenny Chesney, and Chet Atkins • Critical praise from the New York Times, Variety, Billboard Magazine, Los Angeles Times, Ottawa Citizen, Houston Post, Nashville Banner, Memphis Commercial Appeal, Music City News

Magazine, Country Weekly • Network TV appearances on NBC’s Today Show (twice!), CBS This Morning, CNN’s Show Biz Today, and Live with Regis and Kathie Lee • World-wide radio interviews, including London, England’s BBC, Sirius/XM satellite radio • Live shows with such stars as Jewel, Dixie Chicks, Fats Domino, Fabian, Travis Tritt, Carl Perkins, Steve Wariner, Jerry Lee Lewis, Boots Randolph, Billy Ray Cyrus, Jose Feliciano, Juice Newton, The Jordanaires, The Guess Who, Ricky Skaggs, Leon Russell, and the 2002 American Idol top 3

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MEMPHIS SYMPHONY ORCHESTRA | 13

M A S T E R W O R K S Rachmaninoff concerto no. 2 Saturday, January 14, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, January 15, 2017 at 2:30 pm at Germantown Performing Arts Center

PRESENTED IN MEMORY OF DR. & MRS. SHELDON KORONES

“KNOW THE SCORE” a pre-concert presentation sponsored by

ROBERT MOODY, CONDUCTOR STEWART GOODYEAR, PIANO

DANIEL LOCKLAIR (b. 1949) PHOENIX for Ochestra (2007) IGOR STRAVINSKY (1882 - 1971) Pétrouchka (1947 version) I. The Shrovetide Fair II. Petrouchka’s Cell III. The Moor’s Room IV. The Shrovetide Fair (towards evening)

begins 1 hour prior to showtime.

Saturday, January 14 6:30 pm Morgan Keegan Lobby Sunday, January 15 1:30 pm Ballet Room

INTERMISSION SERGEI RACHMANINOFF (1873 - 1943) Concerto No. 2 in C minor for Piano And Orchestra, Opus 18 (1901) I. Moderato II. Adagio sostenuto III. Allegro scherzando

14 | MEMPHIS SYMPHONY ORCHESTRA

MEMPHIS SYMPHONY ORCHESTRA | 15

Rachmaninoff concerto no. 2 Saturday, January 14, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, January 15, 2017 at 2:30 pm at Germantown Performing Arts Center

Program Notes by: Ken Meltzer DAN LOCKLAIR (b. 1949) Phoenix for Orchestra (2007) Duration: approximately 10 minutes Dan Locklair was born in 1949. The first performance of Phoenix for Orchestra took place in Winston Salem, North Carolina, on September 16, 2007, with Robert Moody conducting the Winston Salem Symphony. Phoenix for Orchestra is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, two trombones,

the James Memorial Chapel. In 1985,

of this dialoguing quickly grows to

Dan Locklair created a Phoenix Fanfare

include the entire orchestra, which

and Processional, first performed at the

eventually leads to the composition’s

September 1985 Opening Convocation

processional-like main section. The

of Wake Forest University. In the fall

primary, stately melodic material is

of 2006, Mr. Locklair, at the request of

first presented by the strings alone,

the Winston Salem Symphony’s Music

then handed over to the antiphonal

Director, Robert Moody, created an

brass quartet just before all forces

orchestra version of the Phoenix Fanfare

join together as the section regally

and Processional which was performed

builds. After a large climax is reached,

on their first concert of their 2007-8

a contrasting and delicately colored

season.

middle section for the orchestra

The composer provided the following commentary on his Phoenix for Orchestra:

alone emerges. After this section reaches its zenith, a variant of the opening fanfare section between the antiphonal brass and orchestral brass emerges. This section leads to

harp, organ (optional), antiphonal brass

As in the original Phoenix Fanfare,

ensemble, placed off-stage in rear

an antiphonal brass ensemble (here

balcony or on the sides of the hall (two

two trumpets and two trombones)

trumpets in C, two trombones, tuba),

is a vital part of the composition,

timpani, large suspended cymbal, large

with this ensemble being placed

tam-tam, vibraphone, xylophone, crash

either in the rear or to both sides

cymbals, crotales, chimes, glockenspiel,

of the performance space. Whereas

bass drum, and strings.

the original Phoenix Fanfare had

IGOR STRAVINSKY (1882-1971) Pétrouchka (1947 version)

extensive antiphonal writing between

Duration: approximately 34 minutes

The distinguished American composer Dan Locklair is Composer-in-Residence and Professor of Music at Wake Forest University in Winston-Salem, North Carolina. Mr. Locklair’s Phoenix for Orchestra originated as a brief fanfare, commissioned in 1979 by Union Theological Seminary in New York City for the reopening and dedication of

16 | MEMPHIS SYMPHONY ORCHESTRA

the brass ensemble in the rear and the organ and percussion in the front, in the new Phoenix for orchestra the dialoguing is now between the off-stage brass ensemble and an identical one contained within the on-stage orchestra. As the opening bars progress, the activity

a return of the primary processionallike section of the piece and, ultimately, to the piece’s majestic conclusion.

Igor Stravinsky was born in Lomonosov, Russia, on June 17, 1882 and died in New York on April 6, 1971. The first performance of Pétrouchka took place at the Théâtre du Chatelet in Paris, France, on June 13, 1911, with Pierre Monteux conducting. The 1947 version of Pétrouchka is scored for piccolo,

three flutes, two oboes, English horn, three clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, tambourine, snare drum, small snare drum, cymbals, bass drum, suspended cymbal, bass drum with attached cymbals, triangle, xylophone, tam-tam, celesta, piano, and strings.

Pétrouchka, along with The Firebird (1910) and The Rite of Spring (1913), form the remarkable trilogy of ballets Igor Stravinsky composed for Sergei Diaghilev’s Ballets Russes. At premier, the legendary dancer Vaslav Nijinsky interpreted the title role. After witnessing Nijinsky’s performance, Sarah Bernhardt exclaimed: “I am afraid, I am afraid—because I have just seen the greatest actor in the world!”

While the production was generally a success, more than a few observers were taken aback by music that was at times brittle, caustic, and even grotesque. One critic approached Diaghilev after a dress rehearsal and exclaimed: “And it was to hear this that you invited us!” “Exactly,” was Diaghilev’s reply.

I.

The Shrovetide Fair—The action of Pétrouchka takes place in the 1830s in Admiralty Square, St. Petersburg, during Shrovetide rejoicing Stravinsky’s stunning orchestration and rapidly shifting rhythms MEMPHIS SYMPHONY ORCHESTRA | 17

Rachmaninoff concerto no. 2 Saturday, January 14, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, January 15, 2017 at 2:30 pm at Germantown Performing Arts Center (continued)

magically depict the hustle and bustle of the fair. An organ grinder and dancing girl entertain the crowd. Drummers announce the appearance of the Old Wizard, who charms the captivated audience.

The Old Wizard uses a flute to cast a magic spell (The Magic Trick). The curtain rises on a tiny theater, revealing three puppets Pétrouchka, the Ballerina, and the Moor. The puppets perform a vigorous Russian Dance.

II.

Pétrouchka’s Room—Pétrouchka lands in his cell with a resounding crash. Although Pétrouchka is a puppet, he feels human emotions, including bitterness toward the Old Wizard for his imprisonment, as well as love for the beautiful Ballerina. Pétrouchka unsuccessfully tries to escape from his cell. The Ballerina enters.

Pétrouchka attempts to profess his love, but the Ballerina rejects his pathetic advances.

III.

The Moor’s Room—The scene changes to the Moor’s lavishly decorated cell. The Ballerina, who is attracted by the Moor’s handsome appearance, enters his room. The two begin their lovemaking (Waltz), interrupted by the entrance of Pétrouchka. The

18 | MEMPHIS SYMPHONY ORCHESTRA

angry Moor chases Pétrouchka away.

IV.

The Shrovetide Fair—The scene returns to the fairground toward evening, where a series of characters come and go (Dance of the Nursemaids, Dance of the Coachmen and the Stable Boys, The Mummers). At the height of the festivities, a cry is heard from the puppet-theater. The Moor chases Pétrouchka into the crowd and kills him with his scimitar.

The police question the Old Wizard, who reminds everyone that Pétrouchka is but a puppet with a wooden head, and a body filled with sawdust.

SERGEI RACHMANINOFF (1873-1943) Concerto No. 2 in C minor for Piano and Orchestra Opus 18 (1901) Duration: approximately 33 minutes Sergei Rachmaninoff was born in Semyonovo, Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. The first performance of the Second Piano Concerto took place in Moscow, Russia, on October 14, 1901, with the composer as soloist and Alexander Siloti conducting the Moscow Philharmonic Society. In addition to

the solo piano, the Second Concerto is

really helped me. Already at the

scored for two flutes, two oboes, two

beginning of the summer I began

clarinets, two bassoons, four horns,

again to compose. The material grew

two trumpets, three trombones, tuba,

in bulk, and new musical ideas began

timpani, bass drum, cymbals, and

to stir within me—far more than I

strings.

needed for my Concerto.

After the disastrous March 15, 1897

Rachmaninoff completed the final

premiere in St. Petersburg of his

two movements of his Second Piano

First Symphony, Sergei Rachmaninoff

Concerto in the autumn of 1900 and

lapsed into a profound depression.

performed them at a Moscow charity

Rachmaninoff’s friends tried all forms

concert on October 14. Rachmaninoff

of cures to buoy his spirits. Finally, they

added the opening movement in

convinced Rachmaninoff that he should

the spring of the following year and

consult Dr. Nikolai Dahl, a doctor who

appeared as soloist in the 1901 premiere

had gained some prominence for his

of the entire Second Concerto. The

employment of suggestion and auto-

composer readily acknowledged Dr.

suggestion. Between January and April

Dahl’s role in the creation of one of the

of 1900, Rachmaninoff visited Dr. Dahl

most popular works of the 20th century,

on a daily basis.

and dedicated the Concerto to him.

Rachmaninoff told Dahl that he had

The Concerto, in three movements,

promised to compose a Piano Concerto.

opens with eight tolling chords by the

Dr. Dahl set about treating his patient:

soloist, leading to the surging first

I heard the same hypnotic formula repeated day after day while I lay half asleep in the armchair in Dr. Dahl’s study. “You will begin to write your Concerto...You will work with great facility...The Concerto will be of an excellent quality...” It was always the same, without interruption. Although it may sound incredible, this cure

principal melody, marked con passione.

The slow-tempo second movement (Adagio sostenuto) is a fantasia on a lovely theme, related to a melody in the Concerto’s opening Moderato. The finale (Allegro scherzando) is based upon two themes, the second, one of Rachmaninoff’s most beloved. That theme makes a triumphant return in the Concerto’s glorious closing measures.

MEMPHIS SYMPHONY ORCHESTRA | 19

Rachmaninoff concerto no. 2 Saturday, January 14, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, January 15, 2017 at 2:30 pm at Germantown Performing Arts Center (continued) the Fields, Bournemouth Symphony, Frankfurt Radio Symphony, MDR Symphony Orchestra (Leipzig), Montreal Symphony, Toronto Symphony Orchestra, Dallas Symphony , Atlanta Symphony, Baltimore Symphony, Detroit Symphony, Seattle Symphony, Mostly Mozart Festival Orchestra, Royal Liverpool Philharmonic, and NHK Symphony Orchestra.

Stewart Goodyear piano

Proclaimed “a phenomenon” by the Los Angeles Times and “one of the best pianists of his generation” by the Philadelphia Inquirer, Stewart Goodyear is an accomplished young pianist as a concerto soloist, chamber musician, recitalist and composer. Mr. Goodyear has performed with major orchestras of the world , including the Philadelphia Orchestra, New York Philharmonic, Chicago Symphony, Pittsburgh Symphony, San Francisco Symphony, Los Angeles Philharmonic, Cleveland Orchestra, Academy of St Martin in

20 | MEMPHIS SYMPHONY ORCHESTRA

Mr. Goodyear began his training at The Royal Conservatory in Toronto, received his bachelor’s degree from Curtis Institute of Music, and completed his master’s at The Juilliard School. Known as an improviser and composer, he has been commissioned by orchestras and chamber music organizations, and performs his own solo works. This year, Mr. Goodyear premiered his suite for piano and orchestra, Callaloo, with Kristjan Jarvi and MDR Symphony Orchestra in Leipzig, and in July of this year, the Clarosa Quartet will premiere his Piano Quartet commissioned by the Kingston Chamber Music Festival. Mr. Goodyear performed all 32 Beethoven Piano Sonatas in one day at Koerner Hall, McCarter Theatre, the Mondavi Center, and the AT&T Performing Arts Center in Dallas.

Best Classical Solo Recording in 2014) and Diabelli Variations for the Marquis Classics label, Tchaikovsky First Piano Concerto and Grieg’s Piano Concerto, and Rachmaninov’s Piano Concertos No. 2 and 3, both recorded with the Czech National Symphony under Stanislav Bogunia and Hans Matthias Forster respectively, and released to critical acclaim on the Steinway and Sons label.

His Rachmaninov recording received a Juno nomination for Best Classical Album for Soloist and Large Ensemble Accompaniment. Also for Steinway and Sons is Mr. Goodyear’s recording of his own transcription of Tchaikovsky’s The Nutcracker (Complete Ballet), which was released October 2015 and was chosen by the New York Times as one of the

best classical music recordings of 2015.

Mr. Goodyear’s recording of Ravel’s piano works will be released on the Orchid Classics label this fall.

This past summer, Mr. Goodyear made his recital debut at the Rheingau Musik Festival standing in for Maria Joao Pires, and two performances at the Frankfurt Museum-Gesellshaft under the baton of Lawrence Foster. Highlights of the 2016-2017 season are recital dates at McCarter Theatre and the Phillips Collection, return engagements with the New Jersey Symphony Orchestra and Toronto Symphony, and his debut at the Savannah Music Festival performing the complete Beethoven piano sonatas in one day.

EM PRINTING

Mr. Goodyear’s discography includes Beethoven’s Complete Piano Sonatas (which received a Juno nomination for

MEMPHIS SYMPHONY ORCHESTRA | 21

Some are born with

in their souls If authenticity had a soul, you would find it at the UofM Rudi E. Scheidt School of Music. Here, our performances elevate the art of music in unforgettable ways.

If you were born with music in your blood, you belong at a UofM concert.

UPCOMING EVENTS Sep 19 Opening Night at the Scheidt Oct 4 Southern Comfort Jazz Orchestra Oct 17 UofM Symphony Orchestra Oct 28 Faculty and Friends Oct 31 Ceruti Quartet presented by Concerts International Nov 6 University Singers and Chamber Choir Nov 18 UofM Opera: Strauss Die Fledermaus Nov 20 UofM Opera: Strauss Die Fledermaus Nov 28 UofM Chamber Orchestra Nov 29 UofM Wind Ensemble Feb 17 Faculty and Friends Mar 4 Southern Comfort Jazz Orchestra Mar 23 UofM Wind Ensemble Mar 26 Ceruti Quartet Mar 27 UofM Symphony Orchestra Apr 21 UofM Opera: Gianni Schicchi and Giacomo Puccini Suor Angelica Apr 23 UofM Opera: Gianni Schicchi and Giacomo Puccini Suor Angelica memphis.edu/music 901.678.2541

22 | MEMPHIS SYMPHONY ORCHESTRA

PAUL & LINNEA BERT

Classic Accents Beethoven’s Second Saturday, January 22, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts

ROBERT MOODY, CONDUCTOR ELIZABETH BISHOP, MEZZO-SOPRANO IGOR STRAVINSKY (1882 - 1971) SUITE FROM PULCINELLA (1949 REVISION) I. Sinfonia II. Serenata III. Scherzino IV. Tarantella V. Toccata IV. Gavotta VII. Duetto VIII. Minuetto - Finale JOSEPH CANTELOUBE (1879 - 1957) Chants d’Auvergne, 2nd Series I. Pastourelle—E passo dedossai (Ah!

Viens pres de moi) II. L’Antueno (L’Antoine) III. La pastrouletta e lou chibalie (La

bergere at le cavalier) IV. La delaissado (La delaissee) V. Bourees INTERMISSION LUDWIG VAN BEETHOVEN (1770 - 1827) Symphony No. 2 in D major, Opus 36 I. Adagio Molto - Allegro con brio II. Larghetto III. Scherzo: Allegro IV. Allegro Molto MEMPHIS SYMPHONY ORCHESTRA | 23

Beethoven’s Second Saturday, January 22, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts

Last season, she travelled to Scotland for Beethoven’s Ninth Symphony with the BBC Scottish Symphony Orchestra under Donald Runnicles as part of his sixtieth-birthday celebrations. In the US, she joined the Winston-Salem Symphony for Handel’s Messiah.

Additionally she sang Brangäne to Jay Hunter Morris and Heidi Melton’s Tristan und Isolde in concert at North Carolina Opera.

Elizabeth Bishop mezzo-soprano

Following last season’s success as Mother Marie Dialogues of the Carmelitesat Washington National Opera, American mezzo Elizabeth Bishop returns to the house in 2015-16 as Fricka in Das Rheingold and Die Walküre. She appears in concert performances of Beethoven’s Ninth Symphony with the New Jersey Symphony and at the Grand Teton Music Festival, Verdi’s Requiem with the Baltimore Symphony Orchestra, and in a mixed programme at Arizona Musicfest.

She makes her debut as Herodias in Salome at Cincinnati Conservatoire.

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where she has a regular presence and appeared as Mère Marie, Sieglinde in Die Walküre, Brangäne in Tristan und Isolde, Second Norn in Götterdämmerung, Meg Page in Falstaff, Gertrude in Hamlet, Fricka in Das Rheingold, Eboli in Don Carlo, the leading role of the Marquise de Merteuil in Conrad Susa’s The Dangerous Liaisons, Suzuki in Madama Butterfly, and Emilia in Otello, among other appearances.

Miss Bishop continues to enjoy a long relationship with the Metropolitan Opera of New York, which began with her win at the National Council Auditions in 1993; since then, she has returned many times, most recently last season as Teresa in La sonnambula and Enrichetta in I Puritani, and prior to that in such roles as Fenena Nabucco, Venus Tannhäuser, Mère Marie, Second Norn Götterdämmerung, in the title role of Iphigenie in Iphigenie en Tauride and for its productions of War and Peace. She also appeared as Didon in Les Troyens and Fricka in Das Rheingold.

At home in Washington DC, Miss Bishop has many appearances to her credit, both with Washington Concert Opera, where she sang Principessa Adriana Lecouvreur, Santuzza in Cavalleria Rusticana and Sara Roberto Devereux, and at Washington National Opera

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r e a t i v e

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Artistic endeavors bring out the best in all of us – whether we’re involved in the act of creation, or simply enjoying the beauty, drama and emotion of the arts. That’s why Trustmark provides volunteers and financial support to hundreds of programs, performances and events every year.

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MEMPHIS SYMPHONY ORCHESTRA | 25

M A S T E R W O R K S Brahms fourth Saturday, February 25, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, February 26, 2017 at 2:30 pm at Germantown Performing Arts Center

PRESENTED BY

“KNOW THE SCORE” a pre-concert presentation sponsored by

JAMES MEENA, CONDUCTOR BARRIE COOPER, VIOLIN RICHARD WAGNER (1813-1883) Prelude to Act I of Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg) (1868) SERGEI PROKOFIEV (1891-1953) Concerto No. 2 in G minor for Violin and Orchestra, Opus 63 (1935) I. Allegro moderato II. Andante assai III. Allegro, ben marcato

begins 1 hour prior to showtime.

Saturday, February 25 6:30 pm Morgan Keegan Lobby Sunday, February 26 1:30 pm Ballet Room

INTERMISSION JOHANNES BRAHMS (1833-1897) Symphony No. 4 in E minor, Opus 98 (1885) I. Allegro non troppo II. Andante moderato III. Allegro giocoso IV. Allegro energico e passionato

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Brahms fourthNotes Program Saturday, February 25, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Brahms Fourth Sunday, February by: Ken Meltzer 26, 2017 at 2:30 pm at Germantown Performing Arts Center

Program Notes Brahms Fourth

by: Ken Meltzer RICHARD WAGNER (1813-1883) Prelude to Act I of Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg) (1868) Duration: approximately 9 minutes Richard Wagner was born in Leipzig, Germany, on May 22, 1813, and died in Venice, Italy, on February 13, 1883. The first performance of The Mastersingers of Nuremberg took place at the Hoftheater in Munich, Germany, on June 21, 1868, with Hans von Bülow conducting. The Prelude to Act I is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, triangle, cymbals, and strings.

As with any revolutionary composer, Richard Wagner encountered a considerable amount of critical resistance during his career. In Wagner’s only successful comedy, Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg), the composer lampoons his critics, but also acknowledges that youthful inspiration must be tempered by the wisdom of tradition.

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Die Meistersinger takes place in Nuremberg toward the middle of the 16th century. The young knight Walther von Stolzing is in love with Eva, daughter of Veit Pogner, a member of the Nuremberg Mastersingers’ guild. Walther attempts to join the Mastersingers in order to win Eva as his bride. But the guild members, led by the pedantic town clerk Sixtus Beckmesser (also a rival for Eva’s hand), reject the knight’s inspired, but undisciplined, song. Even the support of the cobbler Hans Sachs, the most respected Mastersinger, fails to aid Walther.

The next day, Sachs assists Walther to craft a song that synthesizes the knight’s youthful eloquence with accepted musical structure and discipline. At the contest, Beckmesser attempts to present the song as his own, but so mangles the piece that he is humiliated. Walther’s presentation wins the admiration of the Mastersingers. With the urging of Sachs, Walther accepts membership in the Mastersingers guild and marries Eva. The assembled join in praising Nuremberg’s beloved Sachs.

The majestic orchestral Prelude to Act I (Sehr gehalten) (Molto tenuto) opens with a grand statement of the Mastersingers’ theme. Other themes include melodies associated with Walther’s love for Eva, and the knight’s

conflict with Beckmesser. Wagner manipulates (and often brilliantly combines) the various melodies, as the Prelude resolves to a final grand statement of the Mastersingers’ theme.

SERGEI PROKOFIEV (1891-1953) Concerto No. 2 in G minor for Violin and Orchestra, Opus 63 (1935) Duration: approximately 26 minutes Sergei Prokofiev was born in Sontsovka, Russia, on April 23, 1891, and died in Moscow, Russia, on March 5, 1953. The first performance of the Violin Concerto No. 2 took place in Madrid, Spain, on December 1, 1935, with Robert Soëtans as soloist and Enrique Arbos conducting the Madrid Symphony Orchestra. In addition to the solo violin, the Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, two trumpets, two horns, triangle, suspended cymbal, castanets, snare drum, bass drum, and strings. Approximate performance time is twenty-six minutes.

In his autobiography, Sergei Prokofiev recalled the circumstances surrounding the creation of his Violin Concerto No. 2: In 1935 a group of admirers of the French violinist (Robert) Soëtans asked me to write a violin concerto for him, giving him exclusive rights

to perform it for one year. I readily agreed since I had been intending to write something for the violin at that time and had accumulated some material. As in the case of the preceding concertos, I began by searching for an original title for the piece, such as “concert sonata for violin and orchestra,” but finally returned to the simplest solution: Concerto No. 2. Nevertheless, I wanted it to be altogether different from No. 1 both as to music and style.

Despite Prokofiev’s apparent desire that his Second Violin Concerto stand in sharp contrast to the First, most commentators have noted the similarly elegant and lyric nature of the two works. Regardless of Prokofiev’s stated intent, what emerged is a work of enduring charm and grace that demands the highest level of technical mastery from the soloist.

The Concerto is in three movements. The opening movement (Allegro moderato) is based upon two themes, both introduced by the soloist. In the slow-tempo second movement (Andante assai), clarinets and pizzicato strings introduce an ascending figure that serves as the accompaniment to the soloist’s introduction of the tender, lyrical central theme. Restatements of the melody alternate with contrasting

MEMPHIS SYMPHONY ORCHESTRA | 29

Brahms fourth Saturday, February 25, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, February 26, 2017 at 2:30 pm at Germantown Performing Arts Center (continued) sections of varying moods and colors.

The virtuoso finale (Allegro, ben marcato), a rondo in the style of a rustic peasant dance, stands in sharp contrast to the refinement of the preceding two movements.

JOHANNES BRAHMS (1833-1897) Symphony No. 4 in E minor, Opus 98 (1885) Duration: approximately 26 minutes Johannes Brahms was born in Hamburg, Germany, on May 7, 1833 and died in Vienna, Austria, on April 3, 1897. The first performance of the Symphony No. 4 took place in Meiningen, Germany, on October 25, 1885, with the composer conducting the Meiningen Orchestra.

The Symphony No. 4 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, triangle, and strings. Approximate performance time is thirty-nine minutes.

Johannes Brahms composed his Fourth (and final) Symphony during the summers of 1884 and 1885, while vacationing in the Alpine village of Mürzzuschlag. The eminent German pianist and conductor Hans von Bülow was thrilled by the score, and invited Brahms to conduct his Meiningen

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Orchestra in the October 25, 1885 premiere. The favorable response prompted that Orchestra to perform the Symphony during its autumn tour of Germany and Holland.

On March 7, 1897, in Vienna, the mortallyill Brahms attended his final orchestral concert, in which Hans Richter conducted the E-minor Symphony. The audience became aware of Brahms’s presence, and applauded after each movement. At the conclusion of the Symphony, the audience leapt to its feet and offered a massive ovation in tribute to Brahms. The frail composer summoned his remaining energy to rise and acknowledge the cheers. As biographer Florence May described: Tears ran down his cheeks as he stood there, shrunken in form with lined countenance, strained expression, white hair hanging lank, and through the audience there was a feeling as of a stifled sob, for each knew that he was saying farewell. Another outburst of applause and yet another; one more acknowledgment from the master, and Brahms and his Vienna had parted forever.

It is entirely appropriate that the Fourth Symphony served to mark the farewell of Brahms to his beloved Viennese public. The work represents the

summit of the composer’s extraordinary symphonic output. While each of the Four Symphonies is an undisputed masterpiece, the E-minor is the perfect synthesis of Classical (and even preClassical) form with searing Romantic passion and lyricism. The Fourth Symphony’s dramatic power—couched in a miraculous economy of utterance— continues to move and amaze audiences.

James Meena conductor

James Meena, Opera Carolina’s General

Director and Principal Conductor since 2000, consistently earns critical acclaim for his artistic vision and dynamic presence on the podium. The breadth of his repertoire is represented by the works of Mozart, Beethoven, Puccini, Berlioz and Verdi, the world première of Victor Davies’ Transit of Venus, to full ballet productions and symphony concerts. This season, Mo. Meena conducts a double-bill of Pagliacci/ Aleko with New York City Opera; Il barbiere di Siviglia, La fanciulla del West, and La traviata with Opera Carolina; a Masterworks Concert with Memphis Symphony Orchestra; Vanessa for Toledo Opera; and La bohème with Opéra de Montréal.

Maestro Meena has conducted at leading opera houses throughout North America, including Opera Carolina for Fidelio, Nabucco, Turandot, Lucia di Lammermoor, to name a few, and an exciting new co-production of Roméo et Juliette with Virginia Opera and Toledo Opera; Toledo Opera for Porgy and Bess, Tosca, and Lucia di Lammermoor; Opéra de Montréal for Madama Butterfly, Pagliacci/Gianni Schicchi, Le nozze di Figaro, and La traviata; Michigan Opera Theatre for Die Zauberflöte; Jacksonville Symphony Orchestra for Porgy and Bess; Edmonton Opera for Falstaff, Otello, Macbeth and Eugene Onegin; and

MEMPHIS SYMPHONY ORCHESTRA | 31

Brahms fourth Saturday, February 25, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, February 26, 2017 at 2:30 pm at Germantown Performing Arts Center (continued) Manitoba Opera, where he conducted the première of Transit of Venus by the Canadian team of composer Victor Davies and librettist Maureen Hunter, recorded for national broadcast on the CBC. His Opera Carolina performances of Faust, Eugene Onegin, and Il trovatore are captured on recording for NPR World of Opera.

With extensive experience in opera, ballet, and symphonic music, Maestro Meena held principal and resident conducting posts with the Cleveland Ballet, Toledo Symphony, and Toledo Opera, in addition to guest conducting appearances that include a nationally televised Thanksgiving concert for the Korean Broadcasting System Symphony; performances of Stravinsky’s tour de force La sacre du printemps with the National Symphony Orchestra, Taiwan; concerts with the Cairo Symphony Orchestra in the new Cairo Opera House; and symphony concerts with the orchestra of the Teatro Massimo Bellini in Catania, the Orchestra della Toscana in Italy.

Mo. Meena was engaged as guest conductor with orchestras and opera companies in the United States, Italy, Taipei, Korea, Canada and Mexico including the Mexico City Philharmonic, the Washington Opera, Opera Pacific, Portland Opera and the Utah Opera.

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On opera stages, he has conducted legendary singers including Renée Fleming, Denyce Graves, James McCracken, Mignon Dunn, Marilyn Horne, Jerome Hines, Diana Soviero, Jerry Hadley, Mark Delavan and Marcello Giordani.

and playing tonight were among the best I’ve ever heard, and the highest musical value of the evening. It was a true pleasure to hear. We are blessed at Opera Carolina with an excellent conductor and a truly superior orchestra.”

From Voix des Arts of Mo. Meena’s most recent performances of Turandot: “Under the baton of James Meena the Charlotte Symphony Orchestra delivered an awe-inspiring performance of the score. Maestro Meena’s conducting was notable for the manner in which, like the great past interpreters of the operas of Richard Strauss, he coaxed sounds from the orchestra that compellingly fulfilled the lush late-Romantic promise of the melodic lines while also always sounding like an opera composed in 1924. The influence of Debussy has almost never been more discernible than in Maestro Meena’s handling of the score. His work in Charlotte has been consistently perceptive, but he found in Turandot—a score by which many conductors have been defeated—an ideal outlet for the controlled ecstasy of which he is a master.”

Since becoming General Director and Principal Conductor of Opera Carolina, Mo. Meena has demonstrated exceptional leadership, vision and finesse in the area of philanthropic development, having expanded the Opera Carolina season from 3 to 4 main-stage productions, as well as adding an annual Gala Benefit Concert.

He expanded the Education touring company from 8 weeks in 1999 to 17 weeks, and, in the face of government funding cutbacks, generated twice the requisite private sector funding needed.

From the online Opera Magazine Opera Lively of his 2014 performances of Nabucco: “Maestro Meena and the Charlotte Symphony were spot on - this is as good as it gets; the conducting

Since 2000-2001 season, Opera Carolina has presented six regional premières, including Cold Sassy Tree and Susannah

by Carlisle Floyd, the company’s first productions of Der Rosenkavalier, Nabucco, Macbeth, and Les pêcheurs des perles, and the regional premiere of Richard Danielpour’s new American opera, Margaret Garner, starring Denyce Graves in April 2006. Through Meena’s personal efforts, the Charlotte performances of Margaret Garner were

recorded and broadcast over National Public Radio’s World of Opera program.

Since 2000, Opera Carolina’s budget has increased from $1.9 million to $3.5 million, and has posted positive fund balances in each of these years, with the exception of those immediately following 9/11.

Maestro Meena is a graduate of Carnegie Mellon University and Baldwin Wallace College Conservatory of Music. His principal conducting teachers include Thomas Mihalak (New Jersey Symphony), Robert Page (Cleveland Orchestra), Rudolph Fellner (Pittsburgh Opera), and Boris Halip (Bolshoi Ballet), with whom he also studied violin. Mr. Meena has served as Assistant Conductor to Andre Previn, Gunther Schuller, Michael Tilson Thomas, Anton Guadagno, and Anton Coppola. For several seasons, he was Associate Conductor of the Pittsburgh Opera, where he made his operatic début conducting Die Zauberflöte.

He made his professional début with the Pittsburgh Symphony conducting Haydn’s monumental oratorio The Creation. Mo. Meena was awarded the Distinguished Alumni Award by his undergraduate alma mater in 1997 for his commitment to visionary excellence and growth of cultural institutions.

MEMPHIS SYMPHONY ORCHESTRA | 33

Brahms fourth Saturday, February 25, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, February 26, 2017 at 2:30 pm at Germantown Performing Arts Center

Barrie attended Ithaca College in Ithaca, New York and graduated from Peabody Conservatory in Baltimore Maryland. At Peabody, Barrie won the Marbury Violin Competition and the Josef Kasper Prize for excellence in violin performance.

Barrie has spent the last 16 summers as principal Second violin in the American Institute of Musical Studies orchestra in Graz, Austria as well as being part of the violin section of the Arizona Musicfest in 2016.

Barrie is a die hard St Louis Cardinal fan and shares her home with 2 beautiful dogs and 5 wonderful cats.

Sound and vision.

The gifts of music and visionary thinking have the power to inspire, transform and connect the world. We’re proud to support the Memphis Symphony Orchestra and everyone who helps to make the world a better place.

Barrie Cooper violin

Barrie Cooper, acting concertmaster of the Memphis Symphony, started violin at the age of 4 with John Kendall at the Suzuki program at Southern Illinois University at Edwardsville. She also served as Kendall’s assistant traveling across the United States and Japan to workshops and conferences.

Because none of her friends would, Barrie studied viola to play in the Piu Mosso quartet which gave numerous concerts in the Midwest and east coast.

She was principal viola for 2 years in the St Louis Symphony Youth Orchestra.

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MEMPHIS SYMPHONY ORCHESTRA | 35

Sunday , Mar c h12, 2017at2: 30p. m. atGer mant ownPer f or mi ngAr t sCent er

Sunday , Mar c h12, 2017at2: 30p. m. atGer mant ownPer f or mi ngAr t sCent er

M A S T E R W O R K S 45 Years of Fine Chamber Music CO NCE RT S 2016 - 2017 Season INTERNATIONAL

Orchestral Fireworks!

Saturday, March 25, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, March 26, 2017 at 2:30 p.m. at Germantown Performing Arts Center PRESENTED BY

“KNOW THE SCORE” a pre-concert presentation sponsored by

ROBERT MOODY, CONDUCTOR JOSHUA ROMAN, CELLO Wu Han and David Finckel Thursday, October 13, 2016

Ceruti Quartet Monday, October 31, 2016

MASON BATES, ELECTRONICA BENJAMIN BRITTEN (1913-1976) Variations and Fugue on a Theme of Purcell, “The Young Person’s Guide to the Orchestra,” Opus 34 (1946) MASON BATES (b. 1977) Cello Concerto (2014)

Dali Quartet with Vanessa Perez Tuesday, January 24, 2017

Cuarteto Casals Thursday, February 16, 2017

INTERMISSION

begins 1 hour prior to showtime.

Saturday, March 25 6:30 pm Morgan Keegan Lobby Sunday, March 26 1:30 pm Ballet Room

MASON BATES (b. 1977) Mothership (2011) OTTORINO RESPIGHI (1879-1936) Pini di Roma (Pines of Rome) (1924) I. The Pines of the Villa Borghese II. The Pines Near a Catacomb

Philharmonia Quartett Berlin Thursday, March 9, 2017

Stephanie Tatum Executive Director

Dmitry Sitkovetsky and Cathal Breslin Thursday, May 11, 2017

III. The Pines of the Janiculum IV. The Pines of the Appian Way

Julie Schap Artistic Director

For tickets call 901-527-3067 or visit concertsinternationalmemphis.org

40 | MEMPHIS SYMPHONY ORCHESTRA

MEMPHIS SYMPHONY ORCHESTRA | 41

Orchestral Fireworks!

Saturday, March 25, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, March 26, 2017 at 2:30 p.m. at Germantown Performing Arts Center

Program Notes by: Ken Meltzer

BENJAMIN BRITTEN (1913-1976) Variations and Fugue on a Theme of Purcell, “The Young Person’s Guide to the Orchestra,” Opus 34 (1946) Duration: approximately 18 minutes Benjamin Britten was born in Lowestoft, England, on November 22, 1913, and died in Aldeburgh, England, on December 4, 1976. The first performance of The Young Person’s Guide to the Orchestra took place on October 15, 1946, with Sir Malcolm Sargent conducting the Liverpool Philharmonic Orchestra. The Young Person’s Guide to the Orchestra is scored for narrator (optional), piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, harp, xylophone, tambourine, triangle, bass drum, gong, side drum, castanets, whip, cymbals, suspended cymbal, Chinese blocks, and strings.

“I have a small film to write for the Board of Education,” Benjamin Britten informed Mary Behrend, a friend who had commissioned the composer’s Second String Quartet (1945). The educational film, commissioned by the Crown Film Unit, was designed to introduce children to the various

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instruments of the orchestra.

The premiere of the educational film, entitled Instruments of the Orchestra, took place on November 29, 1946. Sir Malcolm Sargent served as conductor and narrator. During the previous month, Sargent conducted the Liverpool Philharmonic Orchestra in the first concert performance of the Young Person’s Guide to the Orchestra. Sargent also delivered the text, authored by Eric Crozier.

The Young Person’s Guide to the Orchestra proved to be a success from its inception and remains one of the most popular compositions of its kind.

The piece begins with a grand, tutti declaration of a melody that was originally a hornpipe, featured in British composer Henry Purcell’s (1659-95) Incidental Music to the play, Abdelazar, or The Moor’s Revenge (1695). Statements of the melody by each of the four instrument families (woodwind, brass, strings, and percussion) lead to a reprise of the orchestral tutti. A series of thirteen variations follows, each designed to highlight particular instruments. The variations are succeeded by a lively fugue, with the instruments making their entrances in the same order as the preceding variations. In the grand climax, the brass majestically proclaims

the original Purcell melody, while the remainder of the orchestra continues the fugue. A brief, spirited coda rounds out the performance.

MASON BATES (b. 1977) Cello Concerto (2014) Duration: approximately 25 minutes The first performance of the Cello Concerto took place in Benaroya Hall in Seattle, Washington, on December 11, 2014, with Joshua Roman as soloist, and Mirga Gražinytė-Tyla conducting the Seattle Symphony. In addition to the solo cello, the Concerto is scored for piccolo, two flutes, alto flute, two oboes, 2 B-flat clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, finger cymbals, triangle, crotales, vibraphone, kalimba, almglocken, glockenspiel, tamtam, suspended cymbal, piccolo snare drum, tambourine, bass drum, marimba, low Asian drum, woodblock, hi-hat, sandpaper blocks, two flexible switches, crash cymbals, piano/celesta, harp, and strings. Approximate performance time is twenty-five minutes.

Mason Bates’s Cello Concerto was commissioned by the Seattle Symphony Orchestra, the Los Angeles Chamber Orchestra, and the Columbus Symphony

Orchestra with funding from the Johnstone Fund for New Music.

This cello concerto began with a friendship. Josh Roman is beloved by just about everyone who meets him, and I am no exception. Immediately apparent is his unusual combination of enlightened prodigy and everyman approachability (he’s from Oklahoma).

I noticed this when we first crossed paths in New York, where we were thrown together at the inaugural YouTube Symphony in New York to improvise an electro-acoustic duo at Le Poisson Rouge. That shotgun wedding left me mesmerized at his unmatched musicianship and technique, and soon I was composing a fiendishly difficult solo work for him to premiere on his series at Town Hall. He played it from memory.

That experience proved to be a great warm-up for this concerto. That it is premiering in Seattle is especially meaningful, as it is his former home and also the home of my wife’s family (they are the ones wearing cycling outfits in the audience). The piece begins plaintively, with Josh floating over a restless orchestra, and the lyricism only expands in the central slow movement. But by the final movement the rhythmic energy wins the day, and at one point Josh

MEMPHIS SYMPHONY ORCHESTRA | 43

Orchestral Fireworks!

Saturday, March 25, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, March 26, 2017 at 2:30 p.m. at Germantown Performing Arts Center (continued) even plays with a guitar pick. This is, after all, the same fellow who played arrangements of Led Zeppelin at Town Hall, so I had to send him out with a bang. Many thanks to a dear friend, and to the Seattle Symphony for launching this new work.

—Mason Bates http://www.masonbates.com/work/ work-cello.html MASON BATES (b. 1977) Mothership (2011) Duration: approximately 25 minutes The first performance of Mothership took place at the Sydney Opera House in Sydney, Australia, on March 20, 2011, with Michael Tilson Thomas conducting the YouTube Symphony. Mothership is scored for piccolo, three flutes, three oboes, English horn, E-flat clarinet, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, percussion (three players), laptop, harp, piano, and strings. Approximate performance times is nine minutes.

This energetic opener imagines the orchestra as a mothership that is ‘docked’ by several visiting soloists, who offer brief but virtuosic riffs

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on the work’s thematic material over action-packed electro-acoustic orchestral figuration. The piece follows the form of a scherzo with double trio (as found in, for example, the Schumann Symphony No. 2).

Symphonic scherzos historically play with dance rhythms in a high-energy and appealing manner, with the ‘trio’ sections temporarily exploring new rhythmic areas.

Mothership shares a formal connection with the symphonic scherzo but is brought to life by thrilling sounds of the 21st Century — the rhythms of modern-day techno in place of waltz rhythms, for example.

Recorded by the London Symphony Orchestra under Michael Tilson Thomas, Mothership received its world premiere at the Sydney Opera House and the YouTube Symphony on March 20, 2011, and it was viewed by almost two million people live on YouTube.

—Mason Bates http://www.masonbates.com/work/ work-mothership.html OTTORINO RESPIGHI (1879-1936) Pini di Roma (Pines of Rome) (1924) Duration: approximately 36 minutes Ottorino Respighi was born in Bologna,

Italy, on July 9, 1879, and died in Rome, Italy, on April 18, 1936. The first performance of Pines of Rome took place at the Augusteo in Rome on December 14, 1924, with Bernardino Molinari conducting. Pines of Rome is scored for piccolo, three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, four trombones, six buccine (a buccina is a curved Roman brass instrument— flicorni or flugelhorns may substitute for the buccine), tuba, timpani, orchestra bells, bass drum, tambourine, tam-tam, triangle, cymbals, suspended cymbal, nightingale recording, harp, celesta, organ, piano, and strings. Approximate performance time is twenty-three minutes.

The Pines of Rome is the second in a trilogy of orchestral tone poems (along with the 1916 Fountains of Rome, and the 1928 Roman Festivals) by Italian composer Ottorino Respighi. In a preface to the score, Respighi described the four movements of the Pines of Rome (which are played without pause): I.

The Pines of the Villa Borghese Children are at play in the pine groves of Villa Borghese; they dance round in circles, they play at soldiers, marching and fighting,

they are wrought up by their own cries like swallows at evening, they come and go in swarms. Suddenly the scene changes, and

II.

The Pines Near a Catacomb we see the shades of the pine-trees fringing the entrance to a catacomb From the depth rises the sound of mournful psalmsinging, floating through the air like a solemn hymn, and gradually and mysteriously dispersing.

III.

The Pines of the Janiculum A quiver runs through the air: the pine-trees of the Janiculum stand distinctly outlined in the clear light of a full moon. A nightingale is singing (Annotator’s note: Here, Respighi specifies that a recording of the nightingale’s song be used).

IV.

The Pines of the Appian Way Misty dawn on the Appian Way: solitary pine-trees guarding the magic landscape; the muffled, ceaseless rhythm of unending footsteps. The poet has a fantastic vision of bygone glories: trumpets sound and, in the brilliance of the newly-risen sun, a consular army bursts forth toward the Sacred Way, mounting in triumph to the Capitol.

MEMPHIS SYMPHONY ORCHESTRA | 45

Orchestral Fireworks!

Saturday, March 25, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, March 26, 2017 at 2:30 p.m. at Germantown Performing Arts Center (continued)

Joshua Roman cello

Joshua Roman has earned an international reputation for his wide-ranging repertoire, a commitment to communicating the essence of music in visionary ways, artistic leadership and versatility. As well as being a celebrated performer, he is recognized as an accomplished composer, curator, and programmer.

In a multifaceted 2015-16 season, Roman will premiere his own Cello Concerto with the Illinois Philharmonic Orchestra and subsequently perform it with Pro Musica Chamber Orchestra. In April

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2016, he begins a residency with the Los Angeles Chamber Orchestra, as part of which he will perform the Mason Bates Cello Concerto. Roman premiered this work with the Seattle Symphony in 2014, and will perform it with various orchestras throughout the 2015-16 season. He will pursue his artistic vision both as Artistic Director of TownMusic at Town Hall Seattle and as Artistic Advisor of Seattle’s Second Inversion. His plans for TownMusic include a presentation of his own song cycle, ...we do it to one another, based on Tracy K. Smith’s book of poems “Life on Mars,” with soprano Jessica Rivera. He also continues to perform classics of the repertoire, and in February makes his debut with the Pittsburgh Symphony Orchestra playing Dvorák’s beloved Cello Concerto.

Before embarking on a solo career, Roman spent two seasons as principal cellist of the Seattle Symphony, a position he won in 2006 at the age of 22.

Since that time he has appeared as a soloist with the San Francisco Symphony, Seattle Symphony, Los Angeles Philharmonic, BBC Scottish Symphony, and Mariinsky Orchestra, among many others. An active chamber musician, Roman has collaborated with Cho-Liang Lin, Assad Brothers, Christian Zacharias, Yo-Yo Ma, the JACK Quartet, the Enso String Quartet and Talea Ensemble.

His YouTube series Everyday Bach, features Roman performing Bach’s cello suites from beautiful settings around the world. He was the only guest artist invited to play an unaccompanied solo during the YouTube Symphony Orchestra’s 2009 debut concert at Carnegie Hall, and gave a solo performance on the TED2015 main stage.

Roman is grateful for the loan of an 1899 cello by Giulio Degani of Venice.

Mason Bates electronica

Recently named the second mostperformed living composer, Mason

Bates currently serves as the first composer-in-residence of the Kennedy Center for the Performing Arts. His music fuses innovative orchestral writing, imaginative narrative forms, the harmonies of jazz and the rhythms of techno, and it has been the first symphonic music to receive widespread acceptance for its unique integration of electronic sounds. Leading conductors such as Riccardo Muti, Michael Tilson Thomas, and Leonard Slatkin have championed his diverse catalogue. He has become a visible advocate for bringing new music to new spaces, whether through institutional partnerships such as his residency with the Chicago Symphony Orchestra, or through his club/classical project Mercury Soul, which has transformed spaces ranging from commercial clubs to Frank Gehry-designed concert halls into exciting, hybrid musical events drawing over a thousand people. In awarding Bates the Heinz Medal, Teresa Heinz remarked that “his music has moved the orchestra into the digital age and dissolved the boundaries of classical music.

Bates’s activities as a DJ have highly informed not only his compositional approach, but his distinctive curating projects. As part of his multi-year residency, he will work with the

MEMPHIS SYMPHONY ORCHESTRA | 47

We salute your commitment.

Mason Bates electronica (continued) Kennedy Center’s broad range of artistic constituents, from performances with the National Symphony to appearances with Jason Moran on Kennedy Center Jazz, often integrating electronica artists into the Center’s unique spaces. He is launching a new-music series, KC Jukebox, that will feature the immersive production and eclectic programming for which his curating projects have become known.

The 2015-2016 season marked the release of much of his music on CD. As part of the San Francisco Symphony’s Beethoven & Bates Festival, the SFS released three of his largest works, Alternative Energy, Liquid Interface, and The B-Sides. A CD by the Boston Modern Orchestra Project complemented this with some of his most-performed works, from Mothership to Rusty Air Carolina.

Also this season, the San Francisco Symphony premiered Auditorium, which incorporated the sounds of ancient instruments into the orchestral palette. The premiere performance was streamed live on Facebook in April 2016 His music’s dramatic realization of narrative forms has recently attracted the attention of artists in dramatic forms, such as famed film director Gus Van Sant, and he is composing an opera on the topic of Steve Jobs to be

48 | MEMPHIS SYMPHONY ORCHESTRA

premiered at Santa Fe Opera in 2017.

Continuing performances of his music have demonstrated that electronic sounds can be a welcome addition to the orchestral palette with minimal logistics. While Bates often performs the electronica onstage with orchestras, dozens of repeat performances of his symphonic music happen without him.

Your tax deductible gift to the MSO keeps the music alive! Give today!

And are proud to be “in concert.”

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© 2016 KPMG LLP, a Delaware limited liability partnership and the U.S. member firm of the KPMG network of independent member firms affiliated with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. The KPMG name and logo are registered trademarks or trademarks of KPMG International. NDPPS 605924

CALL. GO ONLINE. VISIT US! 901-537-2525 www.MemphisSymphony.org Memphis Symphony Orchestra 610 Goodman St. Newport Hall University of Memphis Memphis, TN 38152

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M A S T E R W O R K S An American in Paris Saturday, May 13, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, May 14, 2017 at 2:30 p.m. at Germantown Performing Arts Center PRESENTED BY:

“KNOW THE SCORE” a pre-concert presentation sponsored by

ROBERT MOODY, CONDUCTOR RICARDO MORALES, CLARINET CLAUDE DEBUSSY (1862-1918) Première Rapsodie for Clarinet and Orchestra (1909-1910) La mer (The Sea), Three Symphonic Sketches (1905) I.

De l’aube à midi sur la mer (From Dawn until Noon on the Sea)

begins 1 hour prior to showtime.

Saturday, May 13 6:30 pm Morgan Keegan Lobby Sunday, May 14 1:30 pm Ballet Room

II. Jeux de vagues (Play of the Waves)

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AARON COPLAND (1900-1990) Concerto for Clarinet and String Orchestra, with Harp and Piano (1948) GEORGE GERSHWIN (1898-1937) An American in Paris (1928)

hear better MEMPHIS SYMPHONY ORCHESTRA | 53

An American in Paris Saturday, May 13, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, May 14, 2017 at 2:30 p.m. at Germantown Performing Arts Center

Program Notes

by Ken Meltzer

CLAUDE DEBUSSY (1862-1918) Première Rapsodie for Clarinet and Orchestra (1909-10) Duration: approximately 8 minutes Claude Debussy was born in St. Germaine-en-Laye, France, on August 22, 1862, and died in Paris, France, on March 25, 1918.

In addition to the solo clarinet, the First Rhapsody is scored for three flutes, two oboes, English horn, two clarinets, three bassoons, four horns, two trumpets, triangle, cymbals, suspended cymbal, two harps, and strings. Approximate performance time is eight minutes.

In 1910, Claude Debussy completed two works for clarinet and piano. Debussy originally wrote the Première Rapsodie to serve as a test piece for students participating in wind competitions at the Paris Conservatoire. The far briefer Petite pièce was intended to be a sightreading test. Later, Debussy created orchestral versions of the piano parts for both the Rapsodie and Petite pièce.

The Rapsodie had its first performance in Paris on January 16, 1911, part of a concert by the Société Musicale Indépendente. The Rapsodie’s

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dedicatee, P. Mimart, was the clarinetist.

Debussy seemed to hold this charming, lyrical work in high esteem, commenting that the Rapsodie was “one of the most pleasing pieces I have ever written.”

CLAUDE DEBUSSY (1862-1918): La mer (The Sea), Three Symphonic Sketches (1905) Duration: approximately 23 minutes The first performance of La mer took place at the Concerts Lamoureux in Paris, on October 15, 1905, with Camille Chevillard conducting. La mer is scored for piccolo, two flutes, two oboes, English horn, two clarinets, three bassoons, contrabassoon, four horns, three trumpets, two cornets, three trombones, tuba, timpani, orchestra bells, tam-tam, cymbals, suspended cymbal, triangle, bass drum, two harps, and strings. Approximate performance time is twenty-three minutes.

French composer Claude Debussy once confided to fellow composer André Messager: “You perhaps do not know that I was destined for the fine life of a sailor and that it was only by chance that I was led away from it. But I still have a great passion for the sea.” That “passion” may be traced as far back as Debussy’s childhood visits to Cannes.

The composer’s fascination with the sea

continued throughout his life.

The majority of the composition of La mer took place when Debussy was residing inland. However, Debussy did not view this as a handicap. As he told Messager: you’ll reply that the Atlantic doesn’t wash the foothills of Burgundy...! And that the result could be one of those hack landscapes done in the studio!

But I have innumerable memories, and those, in my view, are worth more than a reality which, charming as it may be, tends to weigh too heavily on the imagination.

In fact, Debussy once confessed that he found it difficult to compose while in close proximity to the sea he so loved.

While critical reaction varied to La mer, most recognized its importance in the development of French musical expression. Debussy’s La mer is a magical product of the composer’s lifelong fascination with the sea and its infinite mysteries. Like its subject, La mer continues to elude description, all the while exerting a powerful attraction.

La mer is in three movements, each with a descriptive title: I. De l’aube à midi sur la mer (From .

Dawn until Noon on the Sea)

II. Jeux de vagues (Play of the Waves) III. Dialogue du vent et de la mer

(Dialogue of the Wind and the Sea) AARON COPLAND (1900-1990) Concerto for Clarinet and String Orchestra, with Harp and Piano (1948) Duration: approximately 18 minutes Aaron Copland was born in Brooklyn, New York, on November 14, 1900, and died in North Tarrytown, New York, on December 2, 1990. The first performance of the Clarinet Concerto took place at the NBC studios in New York City on November 6, 1950, with Benny Goodman as soloist, and Fritz Reiner conducting the NBC Symphony. In addition to the solo clarinet, the Concerto is scored for harp, piano, and strings. Approximate performance time is eighteen minutes.

Aaron Copland’s Concerto for Clarinet and String Orchestra, with Harp and Piano, was commissioned in 1947 by the great American jazz bandleader and clarinetist, Benny Goodman (1909-1986) and offers a fascinating synthesis of musical styles.

While jazz ensembles provide the accompaniment for the piano soloist in Gershwin’s original Rhapsody in Blue (1924), and for the clarinet in

MEMPHIS SYMPHONY ORCHESTRA | 55

An American in Paris Saturday, May 13, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, May 14, 2017 at 2:30 p.m. at Germantown Performing Arts Center (continued) Stravinsky’s Ebony Concerto (1945), Copland scored his work for a classical ensemble of strings, harp, and piano.

Indeed, the plaintive opening movement (Slowly and expressively), featuring an extended, arching melody for the solo clarinet, affectionately supported by the orchestra, seems to rest squarely within the classical tradition.

An extended and lively improvisational Cadenza (freely), offering tantalizing hints of what will follow, serves as a bridge to the concluding movement (Rather fast). Here, jazz takes center stage, with frequent syncopation and meter changes that give the music a freewheeling, improvisational character.

The introduction of the piano and use of such techniques as “slapped” basses reinforce the jazz atmosphere. All the while, the clarinetist enjoys frequent riffs that showcase the instrument’s range and soloist’s technique. Finally, an audacious upward glissando (shades of the opening of Rhapsody in Blue!) brings the Concerto to a thrilling, jazzy conclusion.

GEORGE GERSHWIN (1898-1937) An American in Paris (1928) Duration: approximately 16 minutes George Gershwin was born in Brooklyn,

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New York, on September 26, 1898, and died in Hollywood, California, on July 11, 1937. The first performance of An American in Paris took place at Carnegie Hall in New York on December 13, 1928, with Walter Damrosch conducting the New York Philharmonic-Symphony Society. An American in Paris is scored for piccolo, three flutes, two oboes, English horn, two clarinets, bass clarinet, alto saxophone, tenor saxophone, baritone saxophone, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, snare drum, wood block, cymbals, bass drum, triangle, tomtoms, taxi horn, xylophone, orchestra bells, celesta, and strings. Approximate performance time is sixteen minutes.

In March of 1928, George Gershwin departed New York for Europe, and trips to Paris, London, and Vienna.

Prior to that time, Gershwin received a commission from conductor Walter Damrosch and the New York Symphony Society (later, the New York Philharmonic-Symphony Society) for a new orchestral work. Gershwin returned to New York in June, where he completed An American in Paris a month before the work’s premiere.

Gershwin provided a description of An American in Paris, which is included below (indented and in italics):

Allegretto grazioso— This new piece, really a rhapsodic ballet, is written very freely and is the most modern music I’ve yet attempted. The opening part will be developed in typical French style, in the manner of Debussy and the Six, though the themes are all original.

My purpose here is to portray the impression of an American visitor in Paris, as he strolls about the city, and listens to various street noises and absorbs the French atmosphere.

An American in Paris opens with a jaunty “Walking Theme,” introduced by the violins and oboes, conjuring a leisurely stroll through the City of Light.

The inclusion of French taxi horns in the percussion section is a delightful, atmospheric touch. Gershwin went to great time and expense to secure these horns for the premiere. Other Parisian elements include the popular song, “La Maxixe,” played by the trombones.

An episode featuring a magical combination of celesta and solo violin (Calmato) may, according to program notes for the premiere, suggest a brief conversation between the American and a Parisian woman.

Andante ma con ritmo deciso— As in my other orchestral

compositions, I’ve not endeavored to represent any definite scenes in this music. The rhapsody is programmatic only in a general impressionistic way, so that the individual listener can read into the music such as his imagination pictures for him.

The opening gay section is followed by a rich blues with a strong rhythmic undercurrent. Our American friend perhaps after strolling into a café and having a couple of drinks, has succumbed to a spasm of homesickness. The harmony here is both more intense and simple than in the preceding pages.

A solo trumpet (with felt crown) plays a haunting, espressivo blues melody, soon taken up by other instruments. The music builds to a Grandioso climax, and finally resolves to a hushed episode, featuring a lilting violin solo. The blues melody temporarily yields to a playful Charleston (Allegro), introduced by the trumpets.

Allegretto— The blues rises to a climax followed by a coda in which the music returns to the vivacity and bubbling exuberance of the opening part with its impressions of Paris. Apparently the homesick American, having left

MEMPHIS SYMPHONY ORCHESTRA | 57

An American in Paris Saturday, May 13, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, May 14, 2017 at 2:30 p.m. at Germantown Performing Arts Center (continued) the café and reached the open air, has disowned his spell of the blues and once again is an alert spectator of Parisian life. At the conclusion, the street noises and French atmosphere are triumphant.

A varied reprise of material from the opening “Walking” section joins with a reappearance of the blues melody, as An American in Paris reaches its grand conclusion.

of the Metropolitan Opera Orchestra, a position he assumed at the age of 21 under the direction of James Levine.

He began his professional career as principal clarinet of the Florida Symphony at age 18. In addition, he has performed as guest principal clarinet with the Chicago Symphony Orchestra, The New York Philharmonic and at the invitation of Sir Simon Rattle, performed as guest principal clarinet with the Berlin Philharmonic. He has also participated as principal clarinet of the Saito Kinen Festival Orchestra in Matsumoto, Japan, under maestro Seiji Ozawa.

A native of San Juan, Puerto Rico, Mr. Morales began his studies at the Escuela Libre de Musica along with his five siblings, who are all distinguished musicians. He continued his studies at the Cincinnati Conservatory of Music and Indiana University, where he received his Artist Diploma.

Ricardo Morales clarinet

Ricardo Morales is the principal clarinetist of The Philadelphia Orchestra.

Prior to this, he was principal clarinet

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He has been a featured soloist with many orchestras including the Metropolitan Opera Orchestra, the Chicago Symphony, the Cincinnati Symphony, the Indianapolis Symphony, the Seoul Philharmonic, Les Violons du Roi, the Flemish Radio Symphony, the North Carolina Symphony, the Puerto Rico Symphony, the Florida Symphony

and the Columbus Symphony. During his tenure with the Metropolitan Opera Orchestra, Mr. Morales soloed under the baton of James Levine in Carnegie Hall and on two European tours. He made his solo debut with The Philadelphia Orchestra in 2004 with Charles Dutoit and has since performed as soloist on numerous occasions.

An active chamber musician, Mr. Morales has performed in the MET Chamber Ensemble series at Carnegie’s Weill Recital Hall with James Levine at the piano, at the Santa Fe Chamber Music Festival, the Philadelphia Chamber Music Society, the Saratoga Chamber Music Festival, on NBC’s The Today Show, and with the Chamber Music Society of Lincoln Center. He has performed with many distinguished ensembles such as The Juilliard Quartet, the Pacifica Quartet, the Miró Quartet, the Leipzig Quartet and The Kalichstein-LaredoRobinson Trio. He has also collaborated with Christoph Eschenbach, André Watts, Emmanuel Ax, Jean-Yves Thibaudet, Gil Shaham and Kathleen Battle. Mr. Morales is highly sought after for his recitals and master classes, which have taken him throughout North America and Europe. In addition, he currently serves on the faculties of the Juilliard School, Temple University and the Curtis Institute of Music.

He has been a featured soloist with many orchestras including the Metropolitan Opera Orchestra, the Chicago Symphony, the Cincinnati Symphony, the Indianapolis Symphony, the Seoul Philharmonic, Les Violons du Roi, the Flemish Radio Symphony, the North Carolina Symphony, the Puerto Rico Symphony, the Florida Symphony and the Columbus Symphony. During his tenure with the Metropolitan Opera Orchestra, Mr. Morales soloed under the baton of James Levine in Carnegie Hall and on two European tours. He made his solo debut with The Philadelphia Orchestra in 2004 with Charles Dutoit and has since performed as soloist on numerous occasions.

His performances have been met with critical acclaim. The Philadelphia Inquirer hailed his appointment to the Philadelphia Orchestra, stating “…in fact, may represent the most salutary personnel event of the orchestra’s last decade.” He was also praised by the New York Times as having “...fleet technique, utterly natural musical grace, and the lyricism and breath control of a fine opera singer.” Mr. Morales was also singled out in the New York Times review of the Metropolitan Opera’s production of Berlioz’s Les Troyens, describing his playing as “exquisite” and declared that he “deserved a place onstage during

MEMPHIS SYMPHONY ORCHESTRA | 59

O P E N I N G L A T E O C T O B E R 2 0 1 6 · R e s e r va t i o n s N o w Ava i l a b l e

An American in Paris Saturday, May 13, 2017 at 7:30 p.m. at Cannon Center for the Performing Arts Sunday, May 14, 2017 at 2:30 p.m. at Germantown Performing Arts Center (continued) curtain calls.”

His debut solo recording, French Portraits, is available on the Boston Records label. Morales’ recent recordings include performances with The Kalichstein-Laredo-Robinson Trio and also with the Pacifica Quartet, which was nominated for a Latin Grammy Award. Mr. Morales has joined forces

with internationally recognized master acoustician and instrument maker Morrie Backun, of Backun Musical Services, to create MoBa, a line of artist clarinets and clarinet accessories including: mouthpieces, bells, and barrels. Mr. Morales has also been teaching clarinet online since 2012 as part of the ArtistWorks Classical Campus.

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Hardin Charitable Trust a new generation of music appreciators and future attendees for the Symphony through interaction with our musicians whom this gift supported.

The Hardin gift, designated to the MSO musicians, was thoughtful and timely, given our well known and documented 2014 financial crisis. The crisis required us to end our community engagement programming and had a devastating impact on our musicians.

In institutions throughout Memphis, the Hardin name is recognized for generosity to the community. Gifts to organizations like the Memphis Zoo, Memphis Botanic Gardens and the University of Memphis have resulted in Hardin buildings, Hardin halls and Hardin scholarship funds. Beyond these prestigious monuments, however, there is a quiet side to the Hardin Charitable Trust – one that celebrates the core values of its founders, Helen and Jabie Hardin, by investing in “hard work and honesty.” In 2015, the Memphis Symphony Orchestra became the beneficiary of the Hardin’s generosity through a $1 million-dollar gift made as an investment in our most precious asset; our musicians. This gift produced a lasting legacy by developing

64 | MEMPHIS SYMPHONY ORCHESTRA

Thanks to the generosity from the Helen and Jabie Hardin Charitable Trust, MSO could directly invest in restoring seven weeks of musician’s services over the last two seasons.

This gift was an extraordinary show of support and commitment to the musicians. It also posed an interesting challenge for MSO leadership: without additional resources to increase the concert season, what should a workforce of salaried musicians do for seven weeks? The answer was easy. Reinvest in community education and engagement.

Additional services on the musicians’ calendar positioned MSO to pilot a new in-school platform in 2015-16, The Hardin Charitable Trust Music Education Program. Now in its second year, the program focuses on elementary schools with three signature projects.

School Tunes & Tales are storybook concerts that not only introduce instruments of the orchestra, but also promote reading and comprehension.

Presented at Family Nights, Literacy Nights, and other in-school activities, this program supports Title I compliance and 3rd Grade reading proficiency goals through musical engagement.

The Orff-Orchestra Partnership takes the full orchestra into local elementary schools for a public side-by-side concert in which every grade participates in content creation and performance. In partnership with the MSO, participating Orff music teachers have established a high-functioning network to support integrated learning, student performance, and professional development. Currently nine elementary schools, strategically located throughout Memphis, take part in this new MSO program.

MSO’s annual Young People’s Concert, a school-day musical experience at the Cannon Center, now targets students in Grade 5 with six performances. This concert program is supported by an integrated unit of classroom lesson plans available through the SCS website.

MSO is currently developing recorded pre-/post-concert ensemble visits for download in the classroom.

Most importantly, MSO’s Hardin Charitable Trust Music Education Program provides continuous, quality musical experiences during elementary years that motivate students to pursue music in middle and high school. In this way, the program not only supports academic success, but also builds a pipeline of young musicians and music lovers for one of America’s great cities of music. Jabie Hardin once said, “I am a strong believer in the philosophy that if you take something from the land/ community, you should also give/put something back.” Through the Hardin Charitable Trust Music Education Program, MSO musicians are paying forward and fulfilling the Hardin vision.

On behalf of the Musicians, MSO Board, and Staff we’d like to thank the Helen and Jabie Hardin Charitable Trust for their generosity and ongoing support!

THANK YOU!

MEMPHIS SYMPHONY ORCHESTRA | 65

Governance and Staff Board of Directors OFFICERS Gayle S. Rose Chairman EVS Corporation Belinda Anderson Vice Chair - Diversity Carol Johnson Vice Chair - Education Louise Barden Secretary Trustmark Bank Pam Guinn Treasurer St. Mary’s Episcopal School BOARD Ben Buffington Hi-Speed Industrial Service Nancy Coe Dominion Partners Mark Crosby Michael Douglas Gerber Taylor Jason Farmer Donna Flinn Memphis Symphony League Shea Flinn Greater Memphis Chamber

66 | MEMPHIS SYMPHONY ORCHESTRA

Dr. Suzanne Gronemeyer St. Jude Children’s Research Hospital Mark Glover Baker, Donelson, Bearman, Caldwell Scott Heppel Retired Louis Jehl Carlisle Corporation Greg Luscombe MSO Musicians Dr. Lisa Mendel University of Memphis MSO Chorus Gloria Nobles Arts Advocate Laretha Randolph Ashley Remmers Diversified Trust John Speer Bass, Berry, and Sims, PLC Phil Stevenson Pinnacle Financial Partners Tish Towns Regional One Health Jim Vining Retired Isabelle Welch

PAST CHAIRS Dunbar Abston, Jr. Newton P. Allen, Esq.* Walter P. Armstrong, Jr. * Leo Bearman, Jr., Esq. Paul A. Bert Jack R. Blair Robert L. Booth, Jr. Judge Bailey Brown* Robert E. Cannon* George Cates Eric A. Catmur* Charles P. Cobb, Esq.* Nancy R. Crosby* Mike Edwards George E. Falls, Jr. David B. Ferraro Lewis E. Holland William F. Kirsch* 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

Staff George Monger Chief Operating Officer Eva Beckemeyer Executive Assistant Calley Anderson Diversity & Inclusion Manager Jason Barnett Communications & Public Relations Manager Kaitlyn Barnhill Individual Giving Director Spencer Blank Director of Operations Rhonda Causie Director of Innovation and Impact Sandy D’Amato Education Coordinator Brandy Gann Business Manager Lauren Hales Marketing & Development Assistant Erin Kaste Personnel Manager Vicki Kirchoff Interim Director of Marketing Douglas Mayes Production Manager Jane Mims Corporate Sales & Sponsorships Director Irene Wade Orchestra Librarian Rodney Gilchrist Technical Support

MEMPHIS SYMPHONY ORCHESTRA | 67

memphis symphony league

• •

LETTER FROM THE PRESIDENT The excitement continues into the second half of the Memphis Symphony Orchestra season! There were so many exhilarating surprises during the opening of the season that I cannot help but wonder what principal conductor Robert Moody and the musicians of the Memphis Symphony Orchestra are planning next. With each performance I learn something new.

Here are some interesting facts I have learned recently about instrument ensembles.

•

•

The word “orchestra” comes from a Greek phrase meaning “dancing place”.

There are two kinds of orchestras:

68 | MEMPHIS SYMPHONY ORCHESTRA

Chamber (small number of instruments) and Symphony (large number of instruments)

BOARD OFFICERS Donna Flinn

The word “symphony” comes from a Latin word meaning “concert”.

Eula Horrell

The clarinet is the instrument that sets the concert pitch for all the orchestra instruments in the key of A. Listen for it!

The musicians of the Memphis Symphony Orchestra are highly involved in educating the next generation of musicians in our city. They are truly an integral part of our community in contributing their knowledge and talent while tirelessly championing higher education through the arts. With your help we can sustain these wonderful and accomplished artists. Consider becoming a member of the Memphis Symphony League today! Together, we can grow the next generation of Memphis talent.

A toast to our Memphis Symphony Orchestra which has continuously performed brilliant programs since 1952!

Bravo!

Musically yours, Donna Flinn (Mrs. Carl) President of the Memphis Symphony League “Where words fail, music speaks” Hans Christian Andersen

President First Vice President Betty Weiss Second Vice President for Education Dinah Makowsky Recording Secretary Nancy Lou Jones Corresponding Secretary Sue Saltiell Treasurer Isabelle Welch Nominations Chair Florence Leffler Parliamentarian BOARD OF DIRECTORS Mary Beth Bryce Scottie Cobb Honey Cannon Alice Dudas Jean de Frank Mary Lawrence Flinn Kathy Gardner Billie Jean Graham Gail Kimball Sissy Long Amy Meadows Gloria Nobles Tommie Pardue Julie Smith

Shelly Sublett Lura Turner Joy Brown Wiener LIFETIME MEMBERS Abraham, Rev. Dr. Jane Anderson, Ms. Pat Bohon, Scott E. Burnett, Alice and Phil Clark, Kenneth Coe, Nancy Hughes Dudas, Alice Whitten and John Duignan, Kate and Chris Peck Flinn, Mary Lawrence Gerard, Jere Halloran, Ann and Pat Handorf, Miriam and Charles King, Kathryn A. Liles, Kay Taylor Loeb, Katherine Manning Maroda, Dr. and Mrs. Stephen J., Jr. McDow, Phillip McDow, Mary Ellen Meadows, Amy and Dr. Dan T. Mims, Jane Montesi, Pam Nunn, Madeline (Mrs. Stewart L.) Orgill, Irene and Joe Pardue, Ms. Tommie Parker, Lyda G. Perry, Sally (Mrs. Alan L.) Pritchard, Elizabeth A. and John E. Shields Rose, Gayle S. Savell, Sara T. Singh, Ms. Vicki

MEMPHIS SYMPHONY ORCHESTRA | 69

memphis symphony league (continued) Smith, Irene and Fred Smith, Julie Spangler, Cynthia Hubard and Charles Earl Askew Turner, Lura and Steve Turner, Ryan Turner, Megan Vaccaro, Maris T. Webb, Gina Welch, Isabelle and Lee

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70 | MEMPHIS SYMPHONY ORCHESTRA

ArtsMemphis.............................................................63 Busters Liquor............................................................71 Chez Philippe.............................................................50 Ciao Bella.......................................................................8 Concerts International..........................................40 Crescent Club............................................................26 Draper’s Catering......................................................13 Duncan-Williams......................................................62 Ear, Nose & Throat Group....................................52 EM Printing..................................................................21 Feathers Spa..............................................................50 FedEx.............................................................................35 First Tennessee..........................................................14 Graceland....................................................................61 Grey White Paws.......................................................13 Heart & Soul..............................................................36 Hog & Hominy.............................................................60

India Hicks................................................................................51 KPMG.........................................................................................49 Kroger.........................................................................................26 League of American Orchestras.........................................5 Party Connection..................................................................36 Roadshow BMW.................................. Front Inside Cover Shred-it.....................................................................................49 Sissy’s Log Cabin................................................Back Cover Trustmark Bank.....................................................................25 University of Memphis........................................................22 Woodruff Fontaine House Museum............................12

MEMPHIS SYMPHONY ORCHESTRA | 71

supporting partners The Memphis Symphony Orchestra is fortunate to have many generous companies whose commitment to the arts in Memphis enables us to present the quality concerts and community programs our patrons have come to expect. At this printing of Experience, the following corporations join us.

$2,500 - $4,999

$100,000+

HARDIN CHARITABLE TRUST

UP TO $2,499

$50,000 - $99,999

GREAT WHITE PAWS

IN KIND $15,000 - $49,999

PAUL & LINNEA BERT

SCOTT AND CAROLYN HEPPEL

FOUNDATIONS $10,000 - $14,999

The Memphis Symphony Orchestra is fortunate to have many generous foundations whose commitment to the arts in Memphis enables us to present community programs. At this printing of Experience, the following institutions will join us for the 2016-2017 season.

TM

$5,000 - $9,999

72 | MEMPHIS SYMPHONY ORCHESTRA

THE ANDREW W. MELLON FOUNDATION BELZ FAMILY FOUNDATIONS HOHENBERG FOUNDATION JENIAM CLARKSON FOUNDATION PATTON FAMILY FOUNDATION

PLOUGH FOUNDATION BRIGGS FOUNDATION ASSISI FOUNDATION GETTY FOUNDATION KEMMONS WILSON FOUNDATION MEMPHIS SYMPHONY ORCHESTRA | 73

symphony fund As a community-supported organization committed to Memphis, the MSO depends on the generosity of donors who make it possible for us to make meaningful experiences through music.

We are pleased to offer the following benefits in response to your support: STRADIVARIUS CIRCLE ($25,000+) Stradivarius Circle donors receive premium recognition and customized benefits. In addition to all the Maestros Circle benefits, Stradivarius Circle donors also receive recognition as a host for a program that matches their personal interests, including:

• A visiting artist through the Guest Artists Circle

• A concert or a series • An education or community program MAESTROS CIRCLE ($10,000+)

• Invitation to a backstage tour and toast

• Invitation to a luncheon with orchestra musicians

• Priority access to Memphis Symphony Orchestra VIP patron tours

for-one ticket voucher

• Invitation to a backstage tour of the

BENEFACTOR’S CIRCLE ($5,000+)

• Two VIP parking passes for the

• Invitation to dinner featuring a special performance by members of the MSO

Cannon Center for the Performing Arts (upon request)

• Plus all of the privileges below

• Opportunity to donate 10 Masterworks

• Access to MSO open rehearsals • One VIP parking pass for the Cannon

performances at the Dixon Gallery and Gardens

concert tickets to a charity of your choice

• Invitation to special guest artist

reception at someone’s private home

• Plus all of the privileges below PATRON’S CIRCLE ($2,500+)

• Invitation to Bob & Friends, an

intimate evening at the Woodruff Fontaine House hosted by Maestro Robert Moody

• Receive a 20% discount on all single ticket purchases

• Plus all of the privileges below GOLDEN CIRCLE ($1,000+)

• Admission to the donors-only

VIP backstage reception during intermission at Masterworks concerts

• VIP parking passes for all concerts at

• Invitations to Open Rehearsals • Two free ticket vouchers and a two-

• Plus all of the privileges below

74 | MEMPHIS SYMPHONY ORCHESTRA

Cannon Center for the Performing Arts

• Special VIP seating for all MSO

• Listing in Experience concert program • Special VIP seating for Summer Symphony at the Live Garden

ASSOCIATE’S CIRCLE ($500+)

• Plus all of the privileges below

the Cannon Center for the Performing Arts

MEMBER’S CIRCLE ($300+)

Center for the Performing Arts (upon request)

• Plus all of the privileges below FRIEND’S CIRCLE ($100+)

• Acknowledgement in one volume of

Experience, the MSO concert magazine

Consider a gift to the Symphony Fund today!

To donate, please visit the MSO office, go online to www.memphissymphony.org, call Kaitlyn Barnhill, Individual Giving Director at (901) 537-2522, email kaitlyn. barnhill@memphissymphony.org, or mail to: Memphis Symphony Orchestra, University of Memphis, 610 Goodman Street, Memphis, TN 38152

Contributors Thank you! Individuals, corporations, foundations, ArtsMemphis, the Tennessee Arts Commission, and others make annual contributions to support the Memphis Symphony Orchestra.

Because the MSO, like other orchestras throughout the country, obtains less than 30% of our 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 in FY16, between July 1, 2015 and June 30, 2016. We are most appreciative.

VIRTUOSO’S CIRCLE ($100,000+): Anonymous FedEx Corporation Helen & Jabie Hardin Charitable Trust Hyde Family Foundations The Poplar Foundation IMPRESARIO’S CIRCLE ($50,000+): Anonymous Assisi Foundation AutoZone, Inc. First Tennessee Foundation Mr. & Mrs. Frederick W. Smith Paul & Linnea Bert Plough Foundation Scott & Carolyn Heppel

MEMPHIS SYMPHONY ORCHESTRA | 75

symphony fund Tennessee Arts Commission

Michael & Joan Lightman

Bene Kaplan

Rose Johnston

The Andrew W. Mellon Foundation

Kirby Pines Retirement Community

Ben & Lauren Keras

The Peabody Hotel

NewSouth Capital Management

Judy Korones

Ellen Klyce

Wil & Sally Hergenrader

Orphanos Foundation

Leslie & Nathaniel Landau

Mr. Edwin Koshland III

Mary Alice Quinn

Sylvia Goldsmith Marks

LeMay+Lang, LLC

Bryson & Laretha Randolph

Mr. & Mrs. Alexander D. McLean

Dr. & Mrs. William Long

Raymond James Morgan Keegan & Co., Inc.

Dr. & Mrs. Dan Meadows

Evelyn & Jerome Makowsky

Estie Sheahan

Ann L. Powell

Arsen & Liz Manugian

Mr. & Mrs. Robert J. Quinn

J. W. McAllister

John & Cristina Speer

Zoe & Alan Nadel

Bruce & Gillian Steinhauer

Captain & Mrs. Robert R. Proctor, USN (Ret.)

SunTrust Bank

Barbara & Bill Runyan

Mrs. Charles E. Walker

Chuck & Susan Schadt

Jack & Cristina Ward

Ron & Linda Sklar

Becky & Spence Wilson

Southern Sun Asset Management

STRADIVARIUS CIRCLE ($25,000+): Anonymous Baker Donelson Bearman Caldwell & Berkowitz Belz 2008 Foundation Belz Enterprizes Jack & Marilyn Belz Ron & Anise Belz Kitty Cannon & Jim Waller George & Bena Cates Harriet and Thomas Stern Foundation

Ham & Katie Smythe Thomas W. Briggs Foundation Ann & Jim Vining Patricia Walker Mr. & Mrs. Joseph C. Weller Joy Brown Wiener

Buzzy Hussey & Hal Brunt

BENEFACTOR’S CIRCLE ($5,000+):

Gayle S. Rose

Anonymous

PATRON’S CIRCLE ($2,500+):

Honey & Rudi Scheidt

Avery & Meadows, D.D.S., PC.

Baptist Memorial Health Care Corp.

Scott E. Bohon

Louise & Will Barden

Boots & Maggie Boyd

Jack & Kathleen Blair

Alice & Phil Burnett

Boyle Investment Co.

Kenneth Clark

Mr. & Mrs. Mark Crosby

Draper’s Catering

Mr. & Mrs. John Evans

GOLDEN CIRCLE ($1,000+):

Duncan-Williams, Inc.

Farrell Calhoun, Inc.

Rev. Dr. Jane Abraham

Getty Foundation

Shea Flinn

Peter & Fran Addicott

Dr. Suzanne Gronemeyer & Mr. Ellis Delin

Janice Garrison & Barry White

Elizabeth & Lorin Allen

Pam & Steve Guinn

Dr. Phillip George

Belinda & Calvin Anderson

Larry Hardy

Mrs. Katherine Buckman Gibson

Kay & Keith Anderson

Dr. & Mrs. Masanori Igarashi

Jim & Lucia Gilliland

Anonymous

International Paper Foundation

Donna & Mark Glover

Carol & Bert Barnett

Carol Johnson

Mason & Ann Hawkins

Reed Baskin & Alice Nishiwaki

MAESTRO’S CIRCLE ($10,000+): Anonymous Bass Pro Shops Carmen Bond Charles & Nancy Coe Michael & Maria Douglass The Estate of Jane Dutcher Elvis Presley Enterprises, Inc. Graceland Laura & Lowry Howell Dorothy O. Kirsch

76 | MEMPHIS SYMPHONY ORCHESTRA

Andie & Michael Uiberall Roland & Milisa Valliere Dr. & Mrs. Otis South Warr III Watkins Uiberall, PLLC Mr. & Mrs. Charles L. Wurtzburger

MEMPHIS SYMPHONY ORCHESTRA | 77

symphony fund Joy & Leo Bearman

DelBrocco & Associates, PLLC

Happy Jones

Dr. Sandra Reed

Ron & Anise Belz

Alice & John Dudas

Mr. & Mrs. Robert K. Jones

Regional One Health

Stanley & Dorothy Bilsky

Lawrence Edwards & Shane Rasner

Susan Kingston

Ashley & John Remmers

Fiona & Lance Binder

Carolyn & Michael Edwards

Yoriko Kitai

Mrs. Linda W. Rhea

Rosie Bingham

David & Susan Ellison

Preston & Sally Klinke

Anne Roane

David & Betty Blaylock

George & Jackie Falls

KPMG Peat Marwick

Lori & Eric Robertson

Peggy Bodine

Bobbie & Dave Ferraro

Florence Leffler

Ellen Rolfes

Joseph Boeckmann, Jr.

Donna Fisher

Al & Janet Lyons

Elizabeth Rouse

Karen Bowyer

Jim & Susan Fletcher

Dinah & Gary Makowsky

Carol Lee & Joe Royer Emily Ruch

Janis Boyd

Fred & Mary Lawrence Flinn

Deidre Malone

Bev & Ken Sakauye

Jen Bradner

Barbara & Hiram Fry

Debra McAdoo

Albert & Susan Saltiel

J. Richard Briscoe

Donna & Robert Goodman

Marion McClure

Andrea & Dr. Craig Sander

Walter Brown

GP Cellulose

Phillip & Mary Ellen McDow

John Pickens & Suzanne Satterfield

Mary Beth Bryce

Jerrold & Martha Graber

Daphene McFerren

Mary & Joe Scheuner

David & Marion Burton

Lauryce & Harrison McIver

Dr. Shanea McKinney

Scott & Pohlman, P.C.

Joanne & George Buzard

Paula Crocker

T. W. Medlin

Eric & Connie Scott

Canale Foundation

Albert & Elizabeth Grobmyer

Memphis Boychoir & Chamber Choir

Karen B. Shea

Henry & Christy Cannon

Mimi Grossman

Memphis Opportunity Scholarship Trust, Inc

Lynda Shea

Jeanne Gray Carr

Heather & Henry Grosvenor

Nancy & Rodgers Menzies

Bruce R. & Jane Scharding Smedley

Dr. Fenwick W. Chappell

Dr. & Mrs. Charles R. Handorf

Bob & Jane Mims

Irene & Fred Smith

Gloria & Irvine Cherry

Page Price Henrion

Pam & Fred Montesi

Graham & Jennifer Smith

Karen Clawson

Emil Henry

Carey & Rick Moore

Julie Smith

Donna & Jeff Coat

Deborah Hester Harrison

Henry & Snowden Morgan

Charles Askew & Cynthia Spangler

Ms. Jeanette S. Cooley

Highwoods Properties, Inc.

Gloria Nobles

Rita Sparks

Bill & Foy Coolidge

David Hill

Sarah & Dr. Frank Ognibene

Phil & Leigh Ann Stevenson

David & Barbara Crippen

Bill & Marian Himmelreich

Marianne Parrs

Reginald Coopwod & Erica Stiff-Coopwood

Senter Crook

Sara Holmes

Patricia Gray & Robert Patterson

Irvin & Pat Tankersley

Dr. Loren & Elaine Crown

Susan & Frank Inman

Martha Pearson-Wesson

Leon & Madeleine Taylor

Carol Cummings

Janas L. Jackson

Chloee and G. Dan Poag

Deanna Langfitt & Paul Thomas

Dr. & Mrs. Ray Curle

Lisa & Louis Jehl

Lana & Gary Prosterman

Ryals & Gwendolyn Thomas

Mike & Blanche Deaderick

Frank & Jeanne Jemison

Ann Ray

Deborah Tipton

78 | MEMPHIS SYMPHONY ORCHESTRA

MEMPHIS SYMPHONY ORCHESTRA | 79

symphony fund Ashley & Todd Tobias

Dr. & Mrs. Paul Burgar

Jan & Scott Morrell

Laura Crane

Tish Towns

Robert & Sheila Cohen

Lane Music

Gay Daughdrill Boyd

Laurie Tucker

Emily Davis

Max B. Ostner, Sr. Endowment Fund

James & Susan Ferguson

Lura & Steve Turner

Richard & Ellen Dixon

Jennifer & Jack Sammons

Heather Fleming

James Newcomb & Susan Van Dyck

Lewis Donelson

Sara T. Savell

Juan Fuentes

Jeanne Varnell

Dr. Michael R. Drompp

W. Rowlett Scott

John Gilmer & Catherine Willner

Dr. Robert Vidulich & Ms. Diane Sachs

Jane & John Dulin

Shelley Shanaman

Mary Evelyn Goodwin

Owen & Margaret Tabor

Dr. & Mrs. Joseph Fisher

Charles & Nino Shipp

Billie Jean Graham

Dawn Vincent

Pat Flynn & Jerry Heston

Maida Pearson Smith

Daniel Michael Green

Lee & Mary Wardlaw

Kathleen C. Gardner

Trish & Richard R. Spore III

Phyllis & Thomas Guenter

Graham & Megan Warr

Luther & Dot Gause

Tracey Williams Stallings

John and Loredana Haeger

Gina Webb

Dr. James Gholson, Sr.

Mr. & Mrs. William M. Vaughan, Jr.

Julie & Michael Harreld

Jules & Elizabeth Weiss

Sharon J. Gilbert

Don Vollman

Joanna Hwang

Lee & Isabelle Welch

Kristy Gipson Goodwyn

Dick & Shirley Vosburg

David & Lisa Jennings

A C & Ruby Wharton

Joanne & Willis Hackman

Bill Weppner

William Keiser

Dr. Benton M. Wheeler

Louis Hamric

C. & Katherine Whitman

J.D. Kelly

Alvin & Myra Whitney

Mrs. O. Brewster Harrington

Mrs. David G. Williams, Sr.

Bill & Lynda Kettinger

Evelyn B. Wofford

John and Sandra Jones

Gary & Noell Wilson

Mr. & Mrs. Jerry D. Kirkscey

Jocelyn Wurzburg

Nancy Lou & Mott Jones

Jan Young

Father Albert Kirk

Lyn and Gordon Yukon

Chris Knott-Craig

ASSOCIATE’S CIRCLE ($500+): Ben & Kathy Adams Anonymous Edward & Margaret Apple Don Voth & Carol Beachey Memphis Music Initiative Nancy Bogatin Lillian Brown Shannon & Beryl Brown

80 | MEMPHIS SYMPHONY ORCHESTRA

Janie & Martin Kocman Barbara & George Lapides Lester and Roslyn Lit Carolnie MacQueen Jean Maher Montgomery & Laura Martin John & Jo Maxwell Mary Allie & Denton McLellan Tina McWhorter Memphis Urban League

MEMBER’S CIRCLE ($300+): Anonymous Kaitlyn & Cody Barnhill John & Wanda Barzizza Curtis Bickers George & Linda Bond Jerry & Marjorie Bowman Martha & Jim Boyd Jennifer Brady Leigh Chiles Mr. & Mrs. Charles P. Cobb, Jr. Jim & Pat Corbitt

Gregory Lake Sara Lam Leticia Lindsey Leonard & Jennifer Lyons Jerry & Elizabeth Marshall Linda Milbradt Dr. & Mrs. David M. Mirvis Robert Neimeyer & Kathryn Story Johanna & Peter Pranica Joel & Eileen Prout Kerry Regen Curtis & Patricia Ringold Barbara & Harry Soldan

MEMPHIS SYMPHONY ORCHESTRA | 81

symphony fund Katharine Sorenson

Gary Beard

David & Carol Ciscel

Brooke & Nita Faye Ferris

Charles & Mary Stagg

Thomas Beasley

Sue & Marshall Clark

David Burton & Tanya Fitts

Harold & Margie Steinberg

Jack & Marilyn Belz

Christina Collier

David & Jackie Flaum

Jill & Kenneth Steinberg

Linda Bennett

Bob & Elaine Colmer

Gregory Fletcher

Donald Tucker

William & Annette Bickers

Steve & Kathy Counts

Dr. & Mrs. Carl Flinn

Page & Gail Williamson

Dr. Hal D. & Mrs. Peggy Bishop

Alfred & Betty Cowles

Katherine Fox

Virgina Wilson

Delano & Lynette Black

Stan & Carol Craig

Leigh R. Frazier

Jerry Wolfe

Sharis Blackburn

Elizabeth Cranwell

Joan Freund

Modine & Lee Bolen

Michelle Cronk

Caroline Fruchtman

Charles & Mary Booker

Dale & Gina Cunningham

Kelley Funderburg

Ruby Bright

Eric Daub

Gail Gaddie

Jonathan Brody

Dr. Ira Davis

Don Gallant

Charles Brown

Steve Davis

Robert Gilbert

David Brown

Gerald & Marcelle De Corte

Mary Lee & Charles Gilliland III

Michael & Gwen Bruno

Mrs. Vincent De Frank

Joan Gips

Melinda Buchanan

Phili & Terry Deboo

Marylon R. Glass

Charles & Judy Burkett

David & Cheri DelBrocco

Dr. & Mrs. Emmel B. Golden, Jr.

Phyllis Burkett

Mr. Dave & Dr. Joan F. Dermon

Kristi Goldsmith

Charles Caldwell

Curtis & Jean Rittmueller

Capt. & Mrs. James P. Googe, Jr.

Doris & Irvin Califf

Elizabeth Domico

Diane Gordon

Ms. Nell Cannon

Dr. Jayna Kelly

Devon Gosnell

Elvin Carlson

Jed Dreifus

Marie Goulet

Joyce & Richard Carter

Delories A. Duncan

Arthur & Nancy Graesser

Daniel Case

Bryan & Mary Ann Eagle

Genie & Ralph Gray

Karen J. Casey

Bill Eddings

Don & Sheri Grear

Paula Casey

Clyde Elder

Laura Greinke

Jackie Cash

Lew and Patricia Ellis

Ralph & Teresa Gusmus

William & Rhonda Causie

V. Lynn Evans

Nicholas Halk

Nancy A. Chase, M.D.

Susan & Tom Fagan

Mr. & Mrs. Marshall F. Hall, Jr.

Mei-Ann Chen

Jeremy Feinstone

Pamela & David Hallin

Ruby Chittenden

Edward & Gloria Felsenthal

Clarence & Harriett Halmon

FRIENDâ&#x20AC;&#x2122;S CIRCLE ($100+): Dunbar & Connie Abston Jane Adam Dr. Rob & Mrs. Brenda Adams William & Sylvia Adams Mr. & Mrs. Jim Alexander Alison Wetter David Alperin Ruble Anderson Anonymous (2) Frank Anthony Jane Antrobus Murphy Appling Bill & Jeanne Arthur Mari Askew William & Linda Austin Dr. & Mrs. George I. Balas Andrew Balogh E.W. & Nancy Barnett Dr. & Mrs. Allen O. Battle Mr. Herbert Battle Becky Bayless

82 | MEMPHIS SYMPHONY ORCHESTRA

MEMPHIS SYMPHONY ORCHESTRA | 83

symphony fund Bill & Claudia Haltom

Jason & Kelli Kelly

Jerry Lyons

Dr. R. J. & Susan Moskop, Jr.

Suzanne Hammons

Randy & Rhinda Kesselring

Mr. & Mrs. William Barton Mallory III

Ed & Anne Motley

Jerry & Carol Harber

Kathryn A. King

Uzi & Helen Mann

Ann Mullis

Summer Hardy

Nadine King

Julia & Vann Manning

Monika & Thomas Nenon

Forrest Harrell

Delores Kinsolving

Randy & Carol Martin

Pamela Nix

Charles Hartwig

Carol Kirk

Mr. & Mrs. Ramon A. Marus, Jr.

Deborah Northcross

Albert & Nancy Harvey

Robert Kirk

Douglas Mayes

Cecile & Frederick Nowak

Diane Hawks

John & Betty Klinke

Mrs. Eloise Mays

Maxine Oliver

Jean Hayden

Kitty Kosman

Courtenay McAllister

Elizabeth & Mark Oâ&#x20AC;&#x2122;Malley

Judith & Howard Hicks

Reva Kriegal

Thomas McCalla

Elvira Ormseth

Bliss & Jan Hicky

Barbara Burch Kuhn & Barry W. Kuhn

Joseph & Cheryl McCormack

Joy Ozbirn

Larry Hilbun

Robert S. Kulinski, MD

Charles & Janie McCrary

Cindy Pace

Glenn Hodges

Jerome Kutliroff

Norma McCrory

Lyda Parker

Lunida & Lewis Holland

Kitty Lammons

Mr. & Mrs. James West McDonnell, Jr.

Christina and Timothy Parrott

Howard & Janice Horn

Gay & Pierre Landaiche

Jeffrey & Emily McEvoy

Keith Parsons

Rob & Eula Horrell

Bruce & Susanne Landau

Holley & Lucius McGehee

William Patton

Alice & David Howard

Ms. Demetra Lawrence

Dan McGuire

Mr. & Mrs. Clyde Lee Patton III

Josh Howard

Scott & Kathy Ledbetter

Virginia McLean

Ande Payne

Julia Howell

Lucy & Tom Lee

Gary Meece

Dr. & Mrs. William Peer

Jack & Laurinda Ingram

Mr. Shelby R. Lee III

Simone & Logan Meeks

Helen Phillips

Karen Isaacman

Sandra Leftwich

Diane Meess

Billy and Lauren Pickens

Kenny & Margaret Jabbour

David & Cecile Leggett

Memphis Wire & Iron Works, Inc.

Johnny & Kim Pitts

Carl Jackson

Jim & Kay Liles

Rita Mercille Green

Pat Plumlee

Mr. & Mrs. L. R. Jalenak, Jr.

Philip & Arina Lim

Barbara H. Migliara

Suzanne Plyer

Braden Jensen

Sandy & Clifton Lipman

Sonja Miller

Selden Popwell

James & Theresa Johnson

Aron Livnah & Rose Merry Brown

Mr. & Mrs. John and Carolyn Minton

Mary Kate Potts

Rob & Jean Johnston

Betty & David Llewellyn

Shamim Moinuddin

Howard & Libby Pritchard

Ms. Lynn J. Jones

LaVerne & Margaret Lovell

Kent & Laurie Monypeny

Franklin Ray

Mrs. W. Wise Swepston Jones

Babbie Lovett

Ray Moore

Max Ray

Warren & Betty Lu Jones

Melissa Luck & William Payson

Karen Morrise

Nancy Reed

Edward Kasper

Charlton Lyons

Nancy & Steve Morrow

Betsy Reeder

84 | MEMPHIS SYMPHONY ORCHESTRA

MEMPHIS SYMPHONY ORCHESTRA | 85

symphony fund Tributes

Larry & Joy Rice

David Slocum

Robert & Shirley Turner

Gerald Risher

Bryan Smith

Fred Turverey

Howard & Beverly Robertson

Polly & Charles Smith

Pam & Robert Van Doren

Dr. & Mrs. Brown Robertson

Hue Smith

Mariet & Sam Rogers

Dr. & Mrs. E. William Rosenberg

Robyn Snow

Lucy & Mims Van Zandt

Elena & Tom Ross

Lisa & Bayard Snowden

Gib & Margaret Vestal

Chuck & Diane Rowe

Robert Spiecha

Shelly Vincent

Caroline Royal-Evans

Lisa St. Clair

Mr. & Mrs. Pete Voehringer

Ron & Joni Rukstad

James Stafford

James & Joan Vogel

Brandon Saint

Sheila & Gary Hahn

Robert Waldo

Joseph Samaha

Claudia Stenberg

Dolores Waldrup

Gifts received in honor of Paul Bert:

Barbara Sax

Denise & Kenneth Stewart

Eugenia Walker

Leonard & Jennifer Lyons

Harry Sayle

Lois Stewart-Wiebe

Gerald & Julie Walton

Sandy & Beth Schaeffer

Stephanie Storgion

Ann Warner

Memphis Symphony Orchestra, Board, Musicians, & Staff

Mildred Schiff

Cynthia & John Straton

Kathleen Waters

Laura Schriner

Clarence & Lynn Strickland

William Watson

Richard D. Seymour

Oma R. Strickland

Lawrence Weeda

Douglas Seymour

Henry & Lois Strock

Ira & Deborah Weinstein

Gifts received in honor of Karen Casey:

Erin Shackelford

Shelly Sublett

Jacqueline & Joseph White

Jeanne Ellett

Frank & Marian Shaffer

Steve & Brenda Swan

Chuck Fox & Mary Wilder

Elaine Shanley

Jeannie Tabor

Erma & Bennie Williams

Fran & Phil Shannon

David & Elizabeth Tate

Bob Williams

Carol Sharpe

Mr. & Mrs. Sledge Taylor III

Patricia Wilson

Elizabeth Pritchard & John Shields

Jerold Teachey

John & Darlene Winters

Gifts received in memory of Marilyn Curle:

Jacob Shiloah

Gayle &Terry Templeton

Mr. Winston Wolfe

Carl & Susan Shorter

Mr. & Mrs. C. Michael Thompson, Sr.

Mike & Willie Wood

Dr. Suzanne Gronemeyer & Mr. Ellis Delin

Ms. Evonne Siemer

Dr. David A. Tipton

Dorothy Work

Bill Siler

Harold & Beth Truebger

Bindy & Robert Snyder

Liz & Rouben Simonian

Kelly & Sharon Truitt

John & Peggy Wroten

Kimberley Simpson

Calvin Turley

Susan Yount

Jane G. Slatery

Ann & Darrell Turner

Herbert Zeman & Jeffrey Harwood

John Sligh

J. Elaine Turner

Qihong Zhou

86 | MEMPHIS SYMPHONY ORCHESTRA

Gifts received in memory of Charlotte Bernsen: Marcia Bicks Dolories A. Duncan Blanchard Gardner Mr. & Mrs. L. R. Jalenak, Jr. Carol & Eugene Katz Patricia Westland

Gifts received in honor of Spencer Blank: Memphis Botanic Garden

Gifts received in honor of Elizabeth Carter: Elizabeth and Charles Carter

Gifts received in memory of Sue Douglass: David & Betty Blaylock Cissy and Waldrup Brown John Emmett Stephen Goodwin MEMPHIS SYMPHONY ORCHESTRA | 87

symphony fund

Jan and Marc Hanover

Gifts received in memory of Willis Hackman:

Lisa Mallory

Rob Parker

Elizabeth Sights

Maureen Arendt Smithers

Pam & Steve Guinn

Lisa St. Clair Preston & Betsy Wilson Gifts received in memory of James Ferguson: Judy Dorsey Julie Muhsmann Gifts received in memory of James Gates: Nancy & Rodgers Menzies Gifts received in honor of Dorothea Gause: J. Richard Briscoe

Gifts received in memory of Margaret Halle: Scott & Carolyn Heppel Gifts received in memory of Marilyn Heppel: Buzzy Hussey & Hal Brunt Gifts received in memory of Louis Hamric: Lakethia Glenn Bob & Jane Mims Gifts received in memory of Judith Korones:

Gifts received in memory of David Goldberger:

Doug and Hilary Apicella

Freddi and Joel Felt

Helen Jabbour

Brenda Landman

Ellen Klyce

Faye Levine

Faye Levine

Becky Ravinett

Memphis Symphony Orchestra Board, Musicians, & Staff

Gifts received in honor of Good Show: Douglas Mayes Gifts received in honor of Suzanne Gronemeyer:

Dorothy Hamer

Bob & Jane Mims Judy & Nick Ringel Gayle S. Rose Trudy Rosen

Anonymous

Ellen Ziskind

Memphis Symphony Orchestra, Board, Musicians, & Staff

Gifts received in honor of George Lapides:

88 | MEMPHIS SYMPHONY ORCHESTRA

Gifts received in honor of Florence Leffler:

Gifts received in honor of Gayle Rose:

Dr. & Mrs. William Long

Ruby Bright

Gifts received in honor of William Long:

Memphis Symphony Orchestra Board, Musicians, & Staff

Dr. & Mrs. Edward Kaplan Gifts received in memory of Barbara Marshall: Doris Thomas Hill Gifts received in memory of James McClure:

George Monger Gifts received in honor of Jane Rousseau: William & Annette Bickers Gifts received in honor of Sam Shuster: Dan McGuire

Pam & Steve Guinn

Gifts received in honor of Ann Smith:

Memphis Symphony Orchestra Board, Musicians, & Staff

Janet Allen

Gifts received in memory of Betty Milford:

Nancy Lou & Mott Jones

Ron & Linda Sklar

Gifts received in honor of Graham Warr:

Gifts received in honor of Robert Moody:

Gifts received in memory of Mary Tisdale Wells:

Curtis Bickers

Carole Freeman

Memphis Symphony Orchestra Board, Musicians, & Staff

Gifts received in memory of Russel Wiener:

Gifts received in honor of Jennifer Puckett:

Delano & Lynette Black

James & Joan Vogel

Gloria Nobles

Gifts received in honor of Laretha and Bryson Randolph: Kaitlyn & Cody Barnhill

Charles Brown

Gifts received in honor of Herbert Zeman: Keith Parsons

Gifts received in memory of Louis Roman: Nancy & Rodgers Menzies

Jack & Kathleen Blair

MEMPHIS SYMPHONY ORCHESTRA | 89

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.

DURING THE CONCERT Cameras and Recording Devices: No photos or video recordings are allowed during the performance due to potential injury to performers on stage.

BEFORE THE CONCERT Box Office Location/Hours: The Box Office is located at 610 Goodman Road on the University of Memphis campus in Newport Hall. We are open weekdays 9 a.m. to 5 p.m. The Box Office at the concert venue opens 90 minutes prior to each performance and remains open until intermission begins. Please note that for concerts at the Cannon Center on the night of, concert tickets 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.

Concert Preview: Free pre-concert discussions begin one hour prior to each Masterworks series performance.

Join us in the Cannon Center Morgan Keegan Mezzanine Lobby and the GPAC Ballet Room to get the inside scoop on the upcoming performance.

Venues: Saturday Masterworks and Memphis Symphony Pops 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. Masterworks Sundays and Paul & Linnea Bert Classic Accent Series on Sundays are performed at the Germantown Performing Arts Center (GPAC), 1801 Exeter Road in Germantown. Free parking is available at GPAC.

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Wheelchair Seating: Wheelchair seating is available upon request at each of our concert venues. Please call our Box Office for more information.

TICKET INFORMATION Single Tickets: Tickets for all events are available through the MSO Box Office by phone, (901) 537-2525, 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 subscription tickets.

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

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

Student/Child Tickets: Student Tickets are available for $10.00 (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 one ticket per ID is available. All discount tickets are subject to availability.

Donate Tickets: Prior to a performance, you may return tickets to the MSO and receive credit for their value as a tax deductible charitable contribution.

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 at each venue. 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 wheelchair

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, guest artists, and times are subject to change.

Would You Like to be a Host Family?

A host family agrees to host one or more musicians for the several days prior to, and during a scheduled performance (usually 3-4 days) The optimal host family can provide a private bedroom and bathroom and an area where practice can be done. Providing meals and libation is not required but very much appreciated. The musicians provide their own transportation.

It is a wonderful way to get to know a musician from another city and show them great Memphis hospitality.